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

Archive for the ‘Yearwise breakup of songs’ Category


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 : 3804 Post No. : 14798

“Akalmand”(1966) was directed by Roop K Shorey for Mukul Pictures, Bombay. This “social” movie had Kishore Kumar, I S Johar, Sonia Sahni, Praveen Chaudhary, Kamal Kapoor, Raj Kishore, V Gopal, Majnoon, Jeewankala, Madhu Malti, Wazeer Mohammad Khan, Kumar, Tuntun, Hari Shivdasani, Pratima Devi, Khursheed, Kaajal, Rajinder Singh, S K Khosla, Ram Kamlani, etc in it.

The movie had nine songs in it. Six of these songs have been covered in the past.

Here is the seventh song from “Akalmand”(1966) to appear in the blog. This song is sung by Asha Bhonsle and Usha Mangeshkar. Aziz Kashmiri is the lyricist. Music is composed by O P Nayyar.

Only the audio of the song is available as far as I can tell. From the sounds of it, the song appears to be a synchronised dance song. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Baalmaa saajna duniya bhula di tere pyaar ne (Akalmand)(1966) Singers-Asha Bhonsle, Usha Mangeshkar, Lyrics-Aziz Kashmiri, MD-O P Nayyar

Lyrics

baalma
saajna aa
baalma
saajna aa
duniya bhula di tere pyaar ne
tere pyaar ne
tere pyaar ne
baalma
saajna aa
baalma
saajna aa
duniya bhula di tere pyaar ne
tere pyaar ne
tere pyaar ne baalma aa

dekha pehli baar tumhen
haay kya nazaara thha
dekha pehli baar tumhen
haay kya nazaara thha
kis tarah bataayen tumhen
haal jo hamaara thha aa
kis tarah bataayen tumhen
haal jo hamaara thha
loota hain dil ye bekraar ne
bekaraar ne
bekraar ne
baalma
saajna aa
baalma
saajna aa
duniya bhula di tere pyaar ne
tere pyaar ne
tere pyaar ne
baalma aa

ho jo mere bas mein to
motiyon mein taul doon
ho jo mere bas mein to
motiyon mein taul doon
pyaar hai kisi se tumhen
bhed saara khol doon
pyaar hai kisi se tumhen
bhed saara khol doon
thhaani hai kya dil mein sarkaar ne
sarkaar ne
sarkaar ne
baalma
saajna aa
baalma
saajna aa
duniya bhula di tere pyaar ne
tere pyaar ne
tere pyaar ne
baalma
saajna aa
baalma
saajna aa
duniya bhula di tere pyaar ne
tere pyaar ne
tere pyaar ne baalma

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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 : 3804 Post No. : 14797

When we talk of Partition and Migration of artistes from India to Pakistan and vice versa, only the famous and the well known names are considered. There were hundreds of small time less known artists, viz. actors, directors, lyricists, composers, instrument players, chorus singers, technicians etc who also had migrated for various reasons. The other day I was reading a book, ” Who’s who: Music in Pakistan ” written by A.Shaikh and M.Shaikh. In this book I found several names of singers,composers,lyricists and above all instrument players, who shifted to Pakistan.

It is a well known fact that in olden times,the instrument players,chorus singers and orchestra players had personal attachments and preferences,for particular composers and vice versa too. That is why, when Ghulam Haider went back to Lahore,he was extremely happy to meet some of his orchestra players in Lahore. In one of the interviews he had said that he felt like a family reunion. He arranged a get together for all those people.

In the Hindi film industry,many Partition immigrants came to dominate and transform the scene here.Film makers like Pancholi, Sippy,B R Chopra,Yash Chopra,Ramanand Sagar-all India’s most successful commercial producers were also Partition immigrants. Once heavily dominated by Muslim Film makers,writers,actors and composers,the Hindi film industry changed drastically after the Partition.

Many successful film personalities had gone to Pakistan between 1947 and 1950,including producers like Mehboob and Shaukat Hussain Rizvi-who went to Lahore,with capital to buy the Hindu-owned studios. Prominent producers of Lahore like Dalsukh Pancholi and Shorey were forced to sell their studios and properties for a song and flee for their life,to India,after riots in Pakistan post Partition. Some Muslim artistes returned to India,after a few years when they realised that Lahore film industry had largely collapsed due to exodus of prominent Hindu producers.

The crucial role played by films in Indian culture could be seen in the Refugee camps of Delhi,where ever evening,for 2 hours Hindi films were shown free to all. ‘ Film India’ commented that there were more than 15000 refugees from Sindh and Punjab in Bombay.It also suggested that good looking and educated women can be employed in films.Due to polarisation,there was much explosive writing published in this magazine,that time.

However,as before and always, Bombay film industry maintained its secular culture and a big rally,led by Durga Khote and Prithviraj Kapoor was taken out on 2-10-1947,in Bombay. The entire film industry had joined in it and slogans like ‘Hindu-Muslim bhai bhai’ etc were shouted in the rally. Similarly,to pacify over one lakh refugees from East Pakistan (now Bangaladesh) in Calcutta, Lata Mangeshkar had led a rally in Calcutta same time.

The famous Music Historian James Mc Connachie said, ” As India marched into an uncertain future-in 1947-Film songs offered something Unique: they helped creating a sense of belonging to One Nation,something that the divisive extremist right wingers in India,chanting” Hindustan for Hindus” could never achieve. When Hindi film singers sang,nobody cared that Mohd.Rafi was a Muslim or Lata was a Hindu Brahmin. Its great music bridged the gap between Hindus and Muslims,mush better than any Politician (including Gandhi and Nehru) ever could achieve.” -World Music-The rough guide,Vol II,pp 106,pub.1990 by Harper.

Like many top class composers who migrated to Pakistan, there were some small time or recently started composers who also left, like Inayat Hussain (only 1 Punjabi film Kamli),Fateh ali khan (2 films,Aaina-44 and Director-47),Tufail farooqi (2 films-Sona Chandi-46 and Dekhojee-47). Inayat Hussai of course became a Legend in Pakistan.

Today’s song is from film Aaina-1944. Its music directors were Gulshan Sufi and Fateh Ali Khan. Fateh ali khan migrated to Pakistan after Partition and Gulshan Sufi went after mid 50s.

Fateh Ali Khan was a classical singer and a Qawwali musician in the 1940s and 1950s. He was born in Jalandhar, Punjab, British India in 1901. Fateh Ali Khan was the father of Pakistani Qawwali musicians, Nusrat Fateh Ali Khan and Farrukh Fateh Ali Khan. Their family had an unbroken tradition of Qawwali, linked closely to the Sufi Chishti Order for over 600 years. Fateh Ali Khan was trained in classical music and Qawwali by his father, Maula Baksh Khan (Ali Khan), and he, soon after his training, distinguished himself as a skilled vocalist and instrumentalist. He learned to play traditional Indian instruments such as sitar, sarod and vichitra veena as well as Western instruments like the violin. He also mastered thousands of verses in Punjabi, Urdu, Arabic and Persian.

Fateh Ali Khan was the leader of his family’s Qawwali party but they were billed as Fateh Ali Khan, Mubarak Ali Khan & Party. Mubarak Ali Khan, his brother, shared both singing and harmonium-playing duties with him. They were regarded as among the foremost exponents of Qawwali in their time. They are credited with popularizing the poetry of Allama Iqbal through their singing. Iqbal’s poetry was regarded as difficult to set musical tunes to, and while he was highly admired in academic circles and by intellectuals, Allama Iqbal did not have much of a popular following yet among the common people mainly due to the radio broadcasting technology still under development back then in British India. Fateh Ali Khan and Mubarak Ali Khan, more than anyone else, helped Iqbal achieve popular success as well: Allama Iqbal paid the ultimate homage to the two brothers by saying: ‘I was restricted to schools and colleges only. You (Ustad Fateh Ali Khan) have spread my poetry through India’.

Like many other musicians,Fateh ali khan too wanted to try his hand at Film music. In India,he gave music only to 2 films, that too with other composers. One was film Aaina-1944, along with Gulshan Sufi and the other was film Director-1947, along with Lachhiram Tamar. After partition he migrated to Pakistan with all his family. In Pakistan, however, he had better luck in films. He gave music to Do kinare-50, Harjaai-52, Shola-52, Bedari-57 ( ditto copy of our film Jagriti-1954), Saathi-59 and Tum na maano-61. He also sang in film Waada-57 and Raagini-58. Ustad Fateh Ali Khan was the foremost sitar-player and film music composer of the 1950’s in Pakistan.His compositions in Bedari (1957)became run-away super-hits in Pakistan because they were a heart-felt tribute to the founder of Pakistan, Mohammad Ali Jinnah, and the public’s sentiments about patriotism.

In 1948, his son, Nusrat, was born in Faisalabad, Pakistan. Fateh Ali Khan wanted Nusrat to become a doctor or an engineer because he felt Qawwali artists had low social status. However, Nusrat showed such interest in and aptitude for Qawwali that his father soon relented, and began training him. However, Fateh Ali Khan died in 1964 at the age of sixty-three, when Nusrat was sixteen and still in school. Nusrat’s training was completed by Fateh Ali Khan’s brothers, Mubarak Ali Khan and Salamat Ali Khan. (information adapted from wiki, Harish Raghuwanshi ji, pakfilms.net and my notes).

The cast of the film Aaina-41 consisted of Husn Banu, Yakub, Trilok kapoor, Yashodhara katju, Rajkumari Shukla, Gope etc etc. The film had two Lyricists- Pt. Phani and Tanvir Naqvi. ( Naqvi had also migrated to Pakistan). The film was directed by S.M. Yusuf. Even he had migrated to Pakistan.

S.M.Yusuf – Shaikh Mohammed Yousuf, (20-6-1910 at Poona to 17-8-1994 at Lahore) was originally from U.P. and started his career by assisting directors in various studios. He was one cine artist who migrated to Pakistan and became a very successful director there too. Actress Nigar Sultana was his second wife for 5 years.

After Partition,several artistes-heroes,heroines,Directors,Comedians,lyricists,Composers, Singers and character artistes migrated to Pakistan. Almost 90% of them failed there miserably. Some of them like Meena Shorey shone for a while but ended up in penury and anonymity. Exceptions were like Malika -e-Tarannum Noorjahan. from the successful artistes,the major chunk was musicians-composers like Khurshid Anwar,Nissar Bazmi, Nashad etc. Among the directors. S M Yusuf was the exception who succeeded. The migration of Cine artistes continued till 1965,when President General Ayub Khan banned Indian actors. Shaikh Mukhtar-1963 and Kumar-64 were probably the last to migrate to Pakistan. Till then some artistes like Sheila Ramani,Nasir Khan,pran,Manorama,composer Timir Baran etc went and worked in Pakistani films.

S.M.Yusuf started directing films in India from Bharat ke Laal-36. He directed 20 films like,Darban, Aaina, grihasthi, Saheli, Mehendi,GuruGhantal, Bahurani, Maalik, Gujara, Hyderabad ki Nazneen, Bikhre Moti etc.

When he went to Pakistan,in late 50s,he made his first film there Saheli,which was a ditto remake of his own Hindi film- Mehendi-1950. This film Saheli became such a great hit that it virtually grabbed all major awards including a Nigar award for S M Yusuf himself. He made about 13 films in Pakistan,before he died on 17-8-1994,at Lahore,from where he had begun his career !

Film Aaina-44 was a social film. It depicted a family, in which the mother in law, due to her short temper, querulous and quarrelsome nature almost destroys her happy family. She has 2 existing daughters in law who are submissive. The third daughter in law is different. Initially she tolerates mother in law’s tantrums,but later on she teaches her a lesson and brings peace and happiness back to the family. This type of stories were abundant in the 70s and 80s in Bollywood. Title Aaina was used in 1944,1977, 1993 and 2014 also.

Film Aaina-44 had 8 songs. 7 songs were already covered. Today’s song is the 8th and the final song of the film. So, film Aaina-44 joins those films which have ALL songs covered.


Song-Bharat Mata ki Beti shakti ka avtaar (Aaina)(1944) Singer-Zohrabai Ambalewali, Lyrics-Pt. Phani
MD- Fateh Ali Khan
chorus

Lyrics

Bharat Mata ki Beti
shakti ka avtaar

ae Bharat Mata ki Beti
shakti ka avtaar
ae Bharat Mata ki Beti
shakti ka avtaar

aa samay samay par devi toone
samay samay par devi toone
badla hai sansaar
samay samay par devi toone
badla hai sansaar
ae Bharat Mata ki Beti
shakti ka avtaar
ae Bharat Mata ki Beti
shakti ka avtaar

jahaan pati pooja karwaaya
wahaan shaanti laayi
jahaan pati pooja karwaaya
wahaan shaanti laayi

deep bani andhere ghar ka
shobha ban muskaayi
deep bani andhere ghar ka
shobha ban muskaayi

pati ki kismat ka hai taara
bindiya teri naam
pati ?? hai taaraaaa
bindiya teri naam
ae bharat mata ki beti
shakti ka avtaar
ae bharat mata ki beti
shakti ka avtaar

dheeraj tera dharam hai naari
daya hai teri shaan
dheeraj tera dharam hai naari
daya hai teri shaan

prem pujaaran tu satwanti
pati tera bhagwaan
prem pujaaran tu satwanti
pati tera bhagwaan

sote bhaagya jagaaye
tere paayal ki jhankaar
sote bhaagya jagaaye
tere paayal ki jhankaar
ae Bharat mata ki beti
shakti ka avtaar
ae Bharat mata ki beti
shakti ka avtaar


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 :

3803 Post No. : 14796 Movie Count :

4046

Sometimes, suddenly and unexpectedly, Lady Luck smiles on you and you are so bewildered, you don’t know how to enjoy that moment of Luck. This happened in my case. I have been writing about songs in old time movies and discussing about the people who made that film, that song and the circumstances in which the movie was made etc.

Sometimes,I come across a film, about which nothing-absolutely nothing- is available. No information, no songs, nothing. This is the dead end. But like a true crusader, I continue my efforts about that film, even when, leaving it aside, I have continued with my work. At times, I strike Gold, when it is not expected and I feel like dancing in the rain !

It is not only about a song or a movie, even an actor can get me stumped and then suddenly, there is light at the end of the tunnel ! I can quote several such examples, but I will limit my discussion only about today’s film, song and the MD.

I bought HFGK in mid 2012, that is six years ago and since then film Chowrangee-42 was on my radar. I was very curious about this film, because this was the only Hindi film in which the Great Poet of Bangladesh- Kazi Nazrul Islam, had composed some songs ( 2 songs, confirmed) as a Music Director and also had written those two songs as a Lyricist.

Kazi Nazrul Islam is to Bangladesh, what Rabindranath Tagore is to West Bengal. While, to my knowledge, Tagore never wrote any Naat or a Muslim religious verse, kazi wrote hundreds of Bhajans and Geets on Lord Rama and Krishna. Though many films- Bangla and Hindi- are based on the stories or novels of Tagore, he has not contributed anything directly to any Hindi film ( I do not know about Bangla films). On the other hand Kazi has written story of film Sapera-39 and provided Lyrics and Music to film Chowrangee-42 directly. Like Tagore’s Rabindra Sangeet, it was Nazrul Geeti in Bengal. I am not comparing them. Both were great souls.

The life story of Kazi is full of ups and downs. His last few years were spent in Glory but in very bad health.There were several deaths in his family. His wife became paralytic and he spent time in a Mental Hospital in Ranchi. After the formation of Bangladesh in 1971, the new country, invited him, bestowed honours on him, declaring him ” The National Poet”. The Bangladesh government also took good care of him in his last 4 years, but he was medically unfit to enjoy his glory.

Kazi Nazrul Islam (24 May 1899 – 29 August 1976) Composer and songwriter was born in Burdwan Dist., Bengal. With Tagore he was the major influence on popular Bengali music in the 20th C. Known as the Bidrohi Kavi or Rebel Poet and directly associated with radical nationalist movements (e.g. through the journal Dhoomketu which he edited in 1922, leading to his imprisonment on a charge of sedition), his poetry constitutes the first radical intervention into Hindu and Muslim devotional music, e.g. his famous addresses to the goddess Kali, his ghazal compilations (Chokher Chatak, 1929) and Islamic devotionals (Zulfikar, 1932). Much of his music, continued by the IPTA’s Bengali song repertoire, was polemically seen as a radical-romantic use of the ‘ tradition’ (e.g. Salil Choudhury, 1955). One of the first composer-writers to sign contracts with major record companies in Bengal (for Megaphone and Senola and later HMV) and with the Indian Broadcasting Corp., opening up new employment opportunities to a generation of younger composers such as Anil Biswas, S.D. Burman, Kamal Dasgupta and even Kishore Kumar (whose song Ai ek dui tran char gili gili/bam chick boob chick badhke bol in Kehte Hain Mujhko Raja, 1975, adapts Islam’s famous Cham chiki ude gelo). Created an urban variation of tribal jhumur music for Sailajananda Mukherjee’s Pataal Puri and wrote the songs for Nandini (1941) and Dikshul (1943). Some sources credit him as director for Dhruva, in which he played the Hindu sage Narad. Started Bengal Tiger Pics with Abbasuddin Ahmed. Their film of Islam’s novel Madina remained unfinished.

A significant impact of Nazrul’s work in Bengal was that it made Bengali Muslims more comfortable with the Bengali arts, which used to be dominated by
Bengali Hindus. His Islamic songs are popular during Ramadan in Bangladesh. He also wrote devotional songs on the Hindu Goddess Kali. Nazrul also composed a number of notable Shyamasangeet, Bhajan and Kirtan, combining Hindu devotional music.

Bengali polymath, poet, writer, musician, revolutionary and philosopher. Popularly known as Nazrul, his poetry and music espoused Indo-Islamic renaissance and intense spiritual rebellion against fascism and oppression. Nazrul’s impassioned activism for political and social justice earned him the title Bidrohi Kobi (The Rebel Poet). His musical compositions form the avant-garde genre of Nazrul geeti (Music of Nazrul). Accomplishing a large body of acclaimed works through his life, Nazrul is officially recognised as the National Poet of Bangladesh and highly commemorated in India and the Muslim world.
Born into a Bengali Muslim Quazi (Kazi) family, Nazrul received religious education and worked as a muezzin at a local mosque. He learned of poetry, drama, and literature while working with theatrical groups. After serving in the British Indian Army, Nazrul established himself as a journalist in Calcutta. He assailed the British Raj in India and preached revolution through his poetic works, such as Bidrohi (The Rebel) and Bhangar Gaan (The Song of Destruction), as well as his publication Dhumketu (The Comet). His nationalist activism in the Indian independence movement often led to his imprisonment by British authorities. While in prison, Nazrul wrote the Rajbandir Jabanbandi (Deposition of a Political Prisoner). Exploring the life and conditions of the downtrodden masses of the Indian subcontinent, Nazrul worked for their emancipation. His poetry and music fiercely inspired Bengalis during the Bangladesh Liberation War.
During his visit to Comilla in 1921, Nazrul met a young Bengali Hindu woman, Pramila Devi, with whom he fell in love, and they married on 25 April 1924. Brahmo Samaj criticised Pramila, a member of the Brahmo Samaj, for marrying a Muslim. Muslim religious leaders criticized Nazrul for his marriage to a Hindu woman.

Nazrul’s writings explore themes such as love, freedom, and revolution; he opposed all bigotry, including religious and gender. Throughout his career, Nazrul wrote short stories, novels, and essays but is best known for his poems, in which he pioneered new forms such as Bengali ghazals. Nazrul wrote and composed music for his nearly 4,000 songs (including gramophone records), collectively known as Nazrul geeti (Songs of Nazrul), which are widely popular today. In 1942 at the age of 43 Nazrul himself fell ill and gradually began losing his power of speech. His behaviour became erratic, he started spending recklessly and fell into financial difficulties. In spite of her own illness, his wife constantly cared for her husband. However, Nazrul’s health had seriously deteriorated and he grew increasingly depressed. He underwent medical treatment under homeopathy as well as Ayurveda, but little progress was achieved before mental dysfunction intensified and he was admitted to a mental asylum in 1942. Spending four months there without making progress, Nazrul and his family began living a quiet life in India. In 1952, he was transferred to a psychiatric hospital in Ranchi. Through the efforts of a large group of admirers who called themselves the “Nazrul Treatment Society”, Nazrul and Promila were sent to London, then to Vienna for treatment. The examining doctors said he had received poor care, and Dr. Hans Hoff, a leading neurosurgeon in Vienna, diagnosed that Nazrul was suffering from Pick’s disease.It was rumoured that this was because of slow poisoning by the British Government. His condition was judged to be incurable, Nazrul returned to Calcutta on 15 December 1953. On 30 June 1962 his wife Pramila died, and Nazrul remained in intensive medical care. He stopped working due to his deteriorating health.

On 24 May 1972, the newly independent nation of Bangladesh brought Nazrul to live in Dhaka with the consent of the Government of India. In January 1976, he was accorded the citizenship of Bangladesh.Despite receiving treatment and attention, Nazrul’s physical and mental health did not improve. In 1974. his youngest son, Kazi Aniruddha, a guitarist, died, and Nazrul soon succumbed to his long-standing ailments on 29 August 1976.

His Filmography – 1937: Bidyapati (Writer), 1938: Gora, 1939: Sapurey (Writer), Sapurey/Sapera (Writer), 1942: Chauranghee, Chauranghee, 1949-Chattagram Astraghar Lunthan, 1972: Padi Pishir Barmi Baksha (Lyricist) ( information adapted from Encyclopedia of Indian Cinema and wiki).

I was ecstatic when recently, I could lay my hands on one song of this film, composed and written by Kazi. These songs are so rare that for the last 76 years none of these songs have ever appeared on public domain, like YT etc.
Film Chowrangee-42 was a Muslim social film on a professional singer’s life, who had a Kotha on Chowrangee area of Calcutta. The film was produced by Fazli brothers, known to make films on Muslim background only. The film was directed by the younger brother- Sibtain Fazli.

The producers Fazli brothers, were the sons of Khan Bahadur S M Fazal Rabb of Beharaich- about 125 kms from Lucknow in U.P. The elder brother was Hasnain and the younger brother was Sibtain ( born on 9-7-1916). Hasnain Fazli was born on 12-1-1912 in United Province (today’s U.P.). Their family belonged to the noble Sayyads of Allahabad. Hasnain was a graduate of Allahabad University. Though his father was a Khan Bahadur, a Government Jahagirdar and lifetime Magistrate, Hasnain refused to do any service and did not complete his I.C.S. studies, as expected by the family.

He had a creative mind. He joined film line. He was very keen on making a film on Muslim Society. In those days it was considered outrageous to produce a film on Muslim society for fear of the ire of the fundamentalists. However Hasnain broke the barrier and the first Muslim Social film Qaidi-40 was produced and directed by him under the banner of Film Corporation of India, Calcutta. Very cleverly, the film was made at Calcutta, ( though the film depicted life in Lucknow ), and not at Bombay to avoid any disruption in the making of the film. The film was made so well that it was received very well by all strata of population, including the Muslims and became a hit film. After this Hasnain made more Muslim social films like Masoom-41, Chowranghee-42, Fashion-43 and Ismat-44. These films discussed Muslim family life and problems etc.

His first directorial film was at his 23rd year- Triya Charitra-35. Then came Sajiv Murti-35, in which the Handsome Vijay Kumar from Himachal Pradesh was the Hero. Fazli brothers also made Dil-46, Mehendi-47, Duniya-49 and Khoobsurat-52. Hasnain was so talented that he himself wrote the film stories, screenplays and dialogues usually. Sibtain Fazli directed 3 films-Chowranghee-42, Ismat-44 and Mehendi-47.

After the Partition, Fazli brothers migrated to Pakistan. Sibtain remained in Pakistan and Hasnain returned to India to make 2 more films. Later Hasnain too relocated to Lahore and died there on 16-7-1957. His brother Sibtain ( 9-7-1916 to 25-7-1985) who had directed 3 films in India, made 4 films in Pakistan, including the most popular Urdu film of Madam Nurjehan – Dupatta-52.

Film Chowrangee had 13 songs. It included 3 wonderful Ghazals- 2 by Jigar Moradabadi and 1 by Mirza Ghalib ( I have heard these songs). It will be the first time that a song from this film-in its full form- will be available on You Tube, because our Sadanand ji Kamath has uploaded it on my request. Thanks Sadanand ji.

Hanuman Prasad Sharma ( aka Hanuman Prasad Triloki. Both are same. Triloki and Sharma are surnames in Brahmins. This is like the other case. The son of Bhagatram Batish, of Husnlal-Bhagatram duo, Ashok, calls himself as Ashok Sharma.) was also a Music Director for this film. With this film he made his debut in Hindi films. Unfortunately, except for 4 songs-2 for each MD- HFGK is silent on the singer or MD’s names of remaining 9 songs, making it difficult to know the reality. However, according to Encyclopedia of Indian Cinema, the Lori, ” aa jaa ri nindiya ” is also composed by Kazi. May be, in future, some proof or information will emerge to confirm or clarify matters !

There were as many as 5 Lyricists for these 13 songs- Kazi Nazrul Islam, Arzoo lucknowi, Mirza Ghalib, Jigar Moradabadi and Partav Lucknowi. With this song , not only the movie, but also Kazi Nazrul Islam makes his Debut on the Blog as an MD and a Lyricist. Enjoy this historical song….


Song-Chowranghee hai ye chowranghee (Chowrangee)(1942) Singer-Unknown female, Lyrics- Kazi Nazrul Islam, MD- Kazi Nazrul Islam

Lyrics

Chowranghee hai ye chowranghee
Chowranghee hai ye chowranghee
iski duniya rang birangee
iski duniya rang birangee
Chowranghee hai ye chowranghee

gore kaale aawen jaawen
gore kaale aawen jaawen
apni apni chhab dikhlaawen
apni apni chhab dikhlaawen
ye dagar mein sab sansaar aar aar
ye dagar mein sab sansaar aar aar
iski duniya rang birangee
iski duniya rang birangee
Chowranghee hai ye chowranghee

kitne aawe raaja baabu
kitne aawe raaja baabu
kitne hamse bechaare
kitne apne dil ke bande
kitne prem pujaari ee ee
kitne prem pujaari
koi kisi ko raah lagaaye
koi aakar khud kho jaaye
koi kisi ko raah lagaaye
koi aakar khud kho jaaye
seedha rasta peer hazaar
seedha rasta peer hazaar
iski duniya rang birangee
iski duniya rang birangee
Chowranghee hai ye chowranghee
Chowranghee hai ye chowranghee
Chowranghee hai ye chowranghee


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 : 3803 Post No. : 14795

Jigar Muradabadi (06/04/1890 – 09/09/1960) has been often called as ‘shaayar of beauty and love’. Jigar confined his poetry mostly covering his admiration for beauty, love, and emotions. It is said that his poetry has some influence of Daagh Dehlvi and Momin Khan Momin.

I have read through almost all of his ghazals that are available online and in Hindi (or Roman Hindi). There are no philosophical or spiritual tones in almost all of his ghazals. Like-wise I have not come across any poetry depicting the situations during the British rules though he had spent much of his life under British rule. Even if such poems do exist, perhaps they have not been well publicised. After independence also, his poetry did not venture much into the socio-economic situations in the country which had been the main plank of Urdu poets associated with PWA.

Jigar says :

Unka jo farz hai wo ahl-e-siyasat jaane
Mera paighaam mohabbat hai jahaan tak pahunche

[What is their duties only politician would know.
I give the message of love wherever it reaches]

As in the case of some Urdu poets like Majaaz Lucknawi, Jigar’s ghazals are a sort of his own autobiography. From 1920 to 1938, his life was captivated by alcohol and the beauty. Married at an early age, he had numerous love affairs, all of which turned out to be failures. These are all reflected in his ghazals. But unlike Majaaz who rued his failed love affairs in his poetry, Jigar can find joy even in his unfulfilled love because, for him, the experience of love itself is a joy.

It has been stated that he had a huge fan following encompassing both the elites and the masses. The respect he got cut across the religious lines. It is said that participation of Jigar Muradabadi was a sure success of a mushiara due to his poetry and the melodious renditions.

Jigar did not formally become guide to the budding young Urdu poets of his time. But he was a source of inspirations and mentors for poets like Behzad Lucknawi, Majrooh Sultanpuri, Shakeel Badayuni, Khumar Barabankvi etc.

I am presenting Jigar Muradabadi’s one of those ghazals which seems to have been ignored by many prominent ghazal singers. This beautiful non-film ghazal is ‘sharmaa gaye lajja gaye daaman chhuda gaye’ (1993). Ghazal is composed and rendered by Rochana Dahanukar. Her rendition of the ghazal is preceded by a she’r which has, more or less, the same meaning as that of the maqta of the ghazal. I am not sure whether the first she’r was written by Jigar Muradabadi. I have tried to translate the ghazal below to the best of my ability:

taghaaful tajaahul tabassum takallum
yahaan tak to pahunche hain wo aate aate

Taghaaful = Neglect, unmindful.
Tajaahul= Feigning ignorance.
Tabassum= Smile.
Takallum= Converations, Talking.

[She is uncaring, she ignores me, at times she talks and smiles.
At least she has slowly reached me thus far.]

sharmaa gaye laja gaye daaman chhuda gaye
ai ishq marhabaa wo yahaan tak to aa gaye

Marhabaa=Hello, Welcome

[She blushed, shied and then moved away from me.
O my love, welcome, at least she came thus far.]

dil par hazaar tarah ke auhaam chhaa gaye
yeh tum ne kya kiya meri duniya mein aa gaye

Auhaam= Whims, superstitions.

[A thousand types of superstitions descended on me.
What you have done by coming into my life.]

sehn-e-chaman ko apni bahaaron pe naaz thha
wo aa gaye to saari bahaaron pe chaa gaye

Sehn-e-chaman= Garden courtyard.

[The courtyard of garden was so proud of the season of spring.
When she came, she overshadowed the season of spring.]

ab kya karoon main fitrat-e-nakaam-e-ishq ko
jitne thhe haadsaat mujhe raas aa gaye

Fitrat-e-nakaam-e-ishq= nature/creation of unrequited love.
haadsaat= Calamities

[What can I do about the creation of unrequited love?
The number of such calamities I faced, I enjoyed them.]

Rochana Dahanukar had started as a classical/ghazal singer with 3 albums to her credit in the 90s. Later on, she had her own musical band giving performance in India and abroad. She is also a voice trainer for the upcoming singers.

This ghazal of Jigar Muradabadi has joie de vivre in all the she’rs except the last one where the poet is helpless in facing numerous calamities from his unrequited love. But he still says that he enjoyed them because of the experience of imagining the love.

Enjoy this beautiful ghazal in the sonorous voice of Rochana Dahanukar.

Audio Clip:

Song-Sharma gaye laja gaye daaman chhuda gaye (Rochana Dahanukar NFS)(1993) Singer-Rochana Dahanukar, Lyrics-Jigar Muradabadi, MD-Rochana Dahanukar

Lyrics

taghaaful tajaahul tabassum takallum
taghaaful tajaahul tabassum takallum
yahaan tak to pahunche hain wo aate aate

sharmaa gaye laja gaye daaman chhuda gaye
sharmaa gaye laja gaye daaman chhuda gaye
ai ishq marhabaa wo yahaan tak to aa gaye
sharmaa gaye laja gaye

dil par hazaar tarah ke auhaam chhaa gaye
dil parrrrrrrrrr
dil par
dil par hazaar tarah ke auhaam chhaa gaye
yeh tumne kya kiya meri duniya mein aa gaye
yeh tumne kya kiya meri duniya mein aa gaye
ai ishq marhabaa wo yahaan tak to aa gaye
sharmaa gaye laja gaye

sehn-e-chaman ko apni
sehn-e-chaman ko apni bahaaron pe naaz thhaa
sehn-e-chaman ko apni bahaaron pe naaz thhaa
wo aa gaye to saari bahaaron pe chhaa gaye
wo aa gaye to saari bahaaron pe chhaa gaye
ai ishq marhabaa wo yahaan tak to aa gaye
sharmaa gaye laja gaye

ab kya karoon main fitrat-e-naakaam ishq ko
ab kya karoon main fitrat-e-naakaam ishq ko
jitne thhe haadsaat mujhe raas aa gaye
jitne thhe haadsaat mujhe raas aa gaye
ai ishq marhaba wo yahaan tak to aa gaye
sharmaa gaye laja gaye daaman chhuda gaye
ai ishq marhabaa wo yahaan tak to aa gaye
sharmaa gaye laja gaye


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Blog Day : 3802 Post No. : 14794

“Kaala Patthar”(1979) was directed by Yash Chopra for Yashraj Films Bombay.

This movie was a multi starrer movie and it had Shashi Kapoor, Rakhi, Amitabh Bachchan, Shatrughan Sinha, Neetu Singh, Parveen Babi, Prem Chopra, Parikshat Sahni, Romesh Sharma, (special apopearance), Poonam Dhillon (special appearance), Manmohan Krishan, Madan Puri, Ifthikar, Satyen Kappu, Yunus Parwez, Geeta Sidharth, Gautam Sareen, Sharat Saxena, MacMohan, Mahaan, Sudhir Dalwai, Sudha Chopra, Harish, Mohan Sherry, Vikas Anand, Jagdeesh Raj, Suresh Oberoi, Prem Sagar, Pardesi, Nazir Kashmiri, Ashok Rajdan etc in it.

The movie was released with great fanfare and it was expected to be a blockbuster. But the movie received lukewarm response from the movie goers, much to the surprise of experts. Subsequently it was concluded that Indian audience do not patronise movies that depict disasters. They are into escapist stuff rather than into tales based on real life disaster. “Kaala Patthar”(1979) was inspired from the Chasnala mine disaster that had taken place on 27 december 1975.

Chasnala mine was located adjacent to an abandoned mine (separated by a wall of coal) that tended to get filled with rain water. A panel of experts had recommended that water accumulation in that abandoned mine was required to be avoided and secondly the barrier of coal separating this abandoned mine from adjacent locations was to be left untouched.

The recommendations were disregarded. Permission was sought and obtained to mine coal from the barrier.

As coal from this barrier was being mined, the coal wall separating this mine from the abandoned water filled mine caved in and water flooded the Chasnala mine, killing 372 miners who were working inside the mine.

This incident was the biggest industrial tragedy of India till that time and subsequently it was overtaken by Bhopal gas tragedy on 2 and 3 december 1984.

Coming to the movie, the movie had six songs in it. Five songs have been covered in the past. Here are their details:-

Song Title

Post No.

Post Date

Ik raastaa hai zindagi 2970 15-Sep-10
Ishq aur mushq kade na chhupde 5273 9-Jan-12
Baahon mein teri masti ke ghere 6005 24-May-12
Mujhe pyaar ka tohfa de ke 14337 12-May-18
Dhoom mache dhoom 14761 24-Nov-18

The sixth and final song from the movie is sung by Lata and chorus. Sahir Ludhianvi is the lyricist. Music is composed by Rajesh Roshan.

The song is picturised as a wedding ritual song where Neetu Singh lip syncs the song. The picturisation shows Poonam Dhillon playing the bride and Romesh Sharma the groom while almost the entire starcast seems to be attending the wedding function.

This song has gone on to become one of several must sung songs in Indian weddings.

Lyrics of this song were sent to me by Avinash Scrapwala long long ago in 2013.

With this song, all the songs of “Kaala Patthar”(1979)have been covered and the movie joins the list of movies that have all their songs covered in the blog.

Video

Audio

Song-Meri dooron se aayi baaraat (Kaala Patthar)(1979) Singer-Lata, Lyrics-Sahir Ludhianvi, MD-Rajesh Roshan
chorus

Lyrics(Provided by Avinash Scrapwala)

meri dooron se aayi baaraat
maiya main to paauni
meri dooron se aayi baaraat
maiya main to paauni

balma chhail chhabeela
mann ko mohe
joda rang rangeela
tan pe sohe
balma chhail chhabeela
mann ko mohe
main to waari jaaun
balihaari jaaun
pada paaon yeh kiska aangan mein
phool khile phool se mere tan mann mein
chhoota mayke ki galiyon kaa saath
maiya main to paauni
meri dooron se aayi baaraat
maiya main to paauni

le gaye dil ko loot ke tere bol raseele ae
ghaayal kar gaye haay
ghaayal kar gaye jaan ko tere nain kateele ae
le gaye dil ko loot ke tere bol raseele
main toh waari jaaun
balihaari jaaun
jab mukhda dekhoon darpan mein
teri soorat ubhre nainan mein
bhali laage naa naihar ki baat
maiya main to paauni
meri dooron se aayi baaraat
maiya main to paauni

waar diya maine tujh par
dil waar diya
haar diya maine sab kuchh
are haar diya
maar diya toone julmi
haay maar diya
main to waari jaaun balihaari jaaun
teraa naam base meri dhadkan mein
teraa roop hanse mere sapnan mein
liya saajan ne haathon mein haath
maiya main to ho paauni
meri dooron se aayi baaraat
maiya main to paauni
meri dooron se aayi baaraat
maiya main to paauni


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 : 3801 Post No. : 14793

“Guru Ghantaal”(1956) was produced by R N Sharma and N K Kaushik and directed by S M Yusuf for V K pictures Bombay. The movie had Sheila Ramani, Motilal, Usha Kiran, Agha, Sundar, Mirza Musharraf, Paro, Sheikh, Kesri, Vijaybala, Ravikant, Jagdev etc in it.

The movie had nine songs in it. Four songs have been covered in the past.

Here is the fifth song from “Guru Ghantaal”(1956) to appear in the blog. The song is sung by Asha Bhonsle. Khawar Zamaan is the lyricist. Music is composed by Pt Lachchiram.

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


Song-O jaane waale salaamat jawaani teri (Guru Ghantaal)(1956) Singer-Asha Bhonsle, Lyrics-Khawar Zamaan, MD-Pt Lachchiram

Lyrics

o o o
o o
jaane waale ae
jaane wale ae ae
salaamat jawaani teri
ik nazar dekh ja meharbaani teri
o meharbaani teri

jaane waale salaamat jawaani teri
ik nazar dekh ja meharbaani teri
o meharbaani teri
jaane waale salaamat jawaani teri
ik nazar dekh ja meharbaani teri
o meharbaani teri
o jaane waale ae

tujhko apni kasam
ek nazar dekh ja
ek nazar dekh ja
ho o o
baat karna
ho baat karna na karna
magar dekh ja
kuchh to rah jaaye dil mein nishaani teri
o meharbaani teri
kuchh to rah jaaye dil mein nishaani teri
o meharbaani teri
o jaane waale ae
jane wale salaamat jawaani teri
ik nazar dekh ja meharbaani teri
o meharbaani teri
o jaane waale ae

mast aankhen teri
jaam hai mad bhari
jaam hai mad bhari o o
jhooth maane to le aaina dekh le
aaina dekh le
aaina keh raha hai kahaani teri
o meharbaani teri
aaina keh raha hai kahaani teri
o meharbaani teri
o jaane waale ae
jaane waale salaamat jawaani teri
ik nazar dekh ja meharbaani teri
o meharbaani teri
o jaane waale salaamat jawaani teri
ik nazar dekh ja meharbaani teri
o meharbaani teri
o jaane waale ae ae ae


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 : 3800 Post No. : 14792

Today’s song is from film ‘Mangala’ (1950). This was a film made by Gemini Films of Madras and directed by its boss SS Vasan. The music was given by a team of Balkrishna Kalla, MD Parthasarathy and E Sankar Sastry. The cast of this film was P Bhanumathi, Ranjan, Agha, David, Badri Pershad, BS Kalla etc.

The film was a remake of the hit Tamil film ‘Mangamma Sapatham’ (1943). After the unprecedented foray of Gemini’s Vasan’s hit film ‘Chandralekha’ (1948) into the All India market, Subramaniam Srini Vasan or simply SS Vasan, became aware of the unlimited scope of the Hindi belt market for south-made Hindi films. Vasan was a writer, editor, producer and director, but above all, he was a business tycoon. He had established the popular Tamil magazine “Anand Vikatan”, and owned Gemini Studios, Gemini Laboratories and Gemini distribution circuits.

He soon decided to take advantage of the success of ‘Chandralekha’ and made another tri-lingual film . In Tamil it was called ‘Apoorva Sahodarargal’, in Telugu, it was ‘Apoorva Sahodaralu’, and in Hindi it was called ‘Nishan’ (1949). This film too was a great success. Encouraged by this, SS Vasan made his 1943 Tamil Hit film ‘Mangamma Sapatham’, into a remake in Hindi with the name ‘Mangala’.

Not by coincidence, but by design, the hero for all these 3 remakes and the originals was Ranjan. (This film was remade in Simhalese as ‘Mathalan’ in 1955, and in Telugu as ‘Mangamma Shapatham’ in 1965, featuring NT Ramarao, later the Chief Minister of erstwhile Andhra Pradesh, and Jamuna).

Enthused and inspired with Vasan’s success in the Hindi belt, another giant from the South came forward. AVM’s Tamil film ‘Vazhkai’ (1949) was a big hit in south. AVM made a Telugu version of it with the name ‘Jeevitham’ (1950) followed by a Hindi version ‘Bahaar’ (1951). They introduced Vyjayantimala with this film, in Hindi. The story of the film and the Music by SD Burman made film a big hit in Hindi too. AVM then made Hindi film ‘Ladki’ (1953), with a Tamil and Telugu version. This too became a hit film. However by that time the South market had grown manifolds and there was no need for the south film makers to venture into the Hindi belt to earn money. Thus, there was a slow down in this type of activity. The south now started making Hindi films directly in Madras by calling actors from Bombay. And some films were dubbed too.

Actually, the southern film activity, though as old as Hindi talkie films, is strictly limited to four southern states. It was only the adventurous SS Vasan who ventured into the bastion of Hindi film markets, by promoting his film ‘Chandralekha’. In fact this had encouraged other producers like AVM, Prasad, Vijaya etc. to tap the Hindi belt. While making a multilingual film, the south producers always called the Hindi artistes, be it actors, directors ,composers or singers to come to Madras, but they never went to Bombay. It was only through dubbed or remade films that south actors, composers or actors were exposed to the Hindi arena. Those days anyone from south was a ‘madrasi‘ and likewise anyone from other than south was a North Indian or a Punjabi ! No one from the North bothered to distinguish between Tamil, Telugu, Kannada or Malayalam – films or people. Everything was ‘madrasi‘.

The divide between the north and the south went on widening, which finally resulted in the anti-Hindi agitations of the 60s and 70s in Madras and other southern places. Fortunately, in recent times and with the new generation, thanks to the coalition politics at the centre and states as well as IT centres at Hyderabad and Bangalore, the North-South exchange is much better and each state is identified individually. Thanks also to writers like Chetan Bhagat’s novels. Thanks to Modernization.

In the early times of the film industry, very few educated people used to join here. That is why graduates or postgraduates used to flaunt their degrees with pride – like Moti, BA – the lyricist (though he was actually MA), or Kavi Pradeep’s pseudo name – Miss Kamal BA or even singer Surendra as BA, LLB etc.

A highly qualified person and that too in an unrelated subject joining films was a wonder then. Thus, a young man with an unlikely name for a hero, like RAMNARAYAN VENKATRAMAN SARMA alias actor RANJAN was a novelty. Ranjan was born in Madras on 2-3-1918 in an orthodox Brahmin family. He did his BA with Physics and then completed M Litt in Carnatak music and dance, and became a Research Fellow for Ph.D. He also became the managing editor of ‘NATYAM‘ a magazine for dance, drama and music. In total contrast to his expertise in fine arts, he learnt fencing (sword fighting) after he saw it in the Olympic Games.

He was spotted by a Tamil producer and he made his debut in the film ‘Ashok Kumar’ (1941). After a few films in Tamil and Telugu he got the role of Shashank in the magnum opus film ‘Chandralekha’ in 1948. The drum dance and his fencing were the two main attractions in the film. The final sword fighting is considered the longest ever fencing fight in films till today ! The film was a hit and Ranjan became type cast in action films. Ranjan was a very poor actor, but his fencing skills were marvelous.

In 1949 came ‘Nishaan’, based on the Hollywood film ‘The Corsican Brothers’ – one good and one bad. It was a story of twins. The audience liked a scene from the film which showed that there were marks on one brother’s back if the other one was whipped ! The film, in Hindi, Tamil and Telugu, was a hit everywhere mainly for its fencing scenes. In ‘Mangala’ opposite Bhanumati, he was the villain and the hero too.

He was invited by New York University for a research fellowship, but Vasan did not leave him, so after ‘Mangala’, as soon as the contract was over, Ranjan came to Bombay.

‘Shin Shinaki Boobla Boo’ (1952) saw him with Rehana but as a romantic hero, he was worse than Bharat Bhushan or Pradeep Kumar ! He acted in ‘Sindbad The Sailor’ (1952),  ‘Nishan Danka’ (1952), ‘Kafila’ (1952), ‘Baaghi’ (1953), ‘Shahenshah’ (1953), ‘Baap Beti’ (1954), ‘Baghdad’ (1961), and a host of B and C grade films, many of them dubbed or remakes of southern films. He was known for only fencing. But he never became famous like Stewart Granger in ‘Scaramouche’ for his fencing. In the 1950s he acted in 23 films, in 1960s he did 18 films and in 1970s his tally was 17 films. A total of 58 films in Hindi.

After sword fighting became obsolete he shifted to writing. The story of film ‘Munim ji’ (1955) was written by him. After few years in south he was seen again in ‘Chor Chor’ (1974) and ‘Chaitali’ (1976). ‘Ram Balram’ (1980) was his last film.

He married a Muslim girl and she converted to Hinduism taking the name of Laxmi. Ranjan wrote 12 books on dancing and music. He shifted to USA to live with his son in New Jersey. He passed away 12-9-1983, due to a heart attack. He was so much forgotten that even the news of his death was not published in India.

The composers of ‘Mangala’ was a team of D Parthsarthi, Balkrishna Kalla and E Shanker. This team also gave music to few other films like ‘Sansaar’ (1951), ‘Mr Sampat’ (1952), ‘Bahut Din Huye’ (1954). Balkrishna Kalla with Mohd Shafi gave music to ‘Krishna Kanhaiya’ (1952). Independently he gave music to only one film – ‘Do Dulhe’ (1954). The southern composers gave music only to dubbed films or remakes.

In the original version of ‘Mangala’, which was ‘Mangamma Shapatham’ (1943), the heroine was Vasundhara Devi – mother of Vaijayantimala. In Hindi film ‘Mangala’, the heroine was P Bhanumathi, but the hero was same – Ranjan. There were some Hindi actors like Agha, David and Badriprasad. The composer of today’s song, Balkrishna Kalla also did a small role in this film. When Shamshad Begum sang songs for ‘Chandralekha’, her songs were recorded in Bombay, but for ‘Mangala’, Shamshad went to Madras first time and sang 9 songs out of its 15 songs. In this film the songs and dances of Carmen Miranda were freely copied in the Tamil, Telugu and Hindi versions.

The late 1940’s was marked in Bollywood with the remake of several super hit movies from south, especially from Tamil. The 1950 hit ‘Mangala’, produced by Gemini Pictures, was one such movie which was originally made in Tamil. SS Vasan was the director of the Hindi version. The newspaper, The Hindu, in its issue of 3-2-2013 has said this, about film ‘Mangala’,

Bhanumathi Ramakrishna was so bowled over by the performance of Vasundhara Devi (mother of yesteryear heroine Vyjayanthimala Bali) in Gemini’s blockbuster 1943 Tamil hit, Mangamma Sabadham , that she wished, if at all the film were to be remade in Telugu, she would act in it. In fact, the Tamil movie was released by Gemini supremo S.S. Vasan at a few centres in Andhra also and was well received there too. A few years later, Vasan decided to remake the movie in Telugu and Hindi under the title Mangala . Impressed by Bhanumathi’s performance in the Tamil film, Rajamukthi , he decided to sign her and approached her husband, Ramakrishna Rao. It was an opportunity she was waiting for and Bhanumathi immediately accepted the offer. She was paid a remuneration of Rs. 1 lakh for both the versions. Ranjan, who did the hero’s role in Mangamma Sabadham , was retained to play the lead role in both Telugu and Hindi versions. Popular editor of the time, Chandru (who had done commendable work as editor for Gemini’s earlier trilingual, Apoorva Sahodarulu) was entrusted with the job of directing the Telugu movie.

Based on a popular folklore, an engrossing narrative was weaved by Gemini’s story department. Mangala (Bhanumathi), the charming daughter of a rich farmer, is very haughty by temperament. When Prince Sugunapal (Ranjan) fails to win her love, he throws a challenge that he would marry her and then imprison her for life, denying her the marital bliss. She counter-challenges him that she would bear a child from him and make the child whip him in his court.

The prince marries her and puts her in a lonely palace. She makes her father (Doraiswamy) dig a tunnel from the palace to her village, sneaks through it to her house and learns dance. Disguised as a gypsy, she entices the Prince, secretly gives birth to a child, and when he grows up (Ranjan – dual role) gets her vow fulfilled through him. Realisation dawns on the Prince and the tale ends on a happy note.

All through it is Mangala’s show and Bhanumathi essayed it brilliantly. If Vasundhara Devi was admired for her nice dances in the Tamil version, Bhanumathi scored through her acting prowess. Ranjan made his presence felt in dual role.

The songs and dance sequences were all hits of that time. Music was composed by Partha Sarathi, Kalla and E Sankar Sastri. Two songs from this film were inspired by the famous Brazilian dancer Carmen Miranda’s classics. The song “Ma Ma Ma Ma Ma Mummy” was based on Carmen Miranda’s “Mama Yo Quiero” and “Ayyi Ayyi Ayyi Ayyi Mari Main To Laaj Se” (today’s song) in which Bhanumathi is dressed like Carmen, was based on “I Yi Yi Yi Yi — I Like You Very Much”  from the film “That Night in Rio ” (1941), sung by Carmen Miranda herself.

Enjoy the dance and song video….

 


Song – Ayyi Ayyi Ayyi Ayyi Mari Main To Laaj Se  (Mangala) (1950) Singer – P Bhanumati, Lyrics – Pt Indra, Music – MD Parthasarthy, BK Kalla, E Shankar Shastri

Lyrics (Provided by Sudhir)

ta na na naa raa nanna
ta na na naa raa nanna
taa naa naanaa
ch ch ch ch..ch

ta na na naa raa nanna
ta na na naa raa nanna
taa naa naanaa
ch ch ch ch..ch

ta na na naa raa nanna
ta na na naa raa nanna
taa naa naanaa
ch ch ch ch..ch

ta na na naa raa nanna
ta na na naa raa nanna
taa naa naanaa. . .
ta na na na ra naa naa. . .
ta na na na na naa. . .
ta na na na ra naa naa. . .
ta na na na na naa. . .
ta na na na na naa
ta na na na na naa

taa na na naa raa nanna
naa raa nanna
naa raa nannaa
ta na na na na naa. . .
ch ch ch ch..ch

taa na na naa raa nanna
taa na na naa raa nanna
taa raa nanna
ta na na naa raa nanna
ta na na na na naa. . .
taa naa naa naa. . .

ayyi ayyi ayyi ayyi mari main to laaj se
sainyyaan dekhe mohey pyaar se
aayi aayi raja torey paas re
piya se milan ki aas re
ayyi ayyi ayyi yaa. . .
ahaa haa haa haa. . .
ayyi ayyi ayyi yaa. . .
ahaa haa haa haa. . .
ahaa haa haa haa. . .

kaun jaane kaisa jaadu daal ke
chheen liya dil mora haaye
khili khili khili rahe chaandni
chanda sa ye much muskaaye
chhoti si raat
chhoti si baat
dil ki pukaar
sumba limbaa. . .
suno suno pyaare morey saajna
baaje morey dil ka sitar
gori gori chhori main to baalma
puchho reejho reejho hai kyon nikhar
ayyi ayyi ayyi yaa. . .
ahaa haa haa haa. . .
ayyi ayyi ayyi yaa. . .
ahaa haa haa haa. . .
ahaa haa haa haa. . .

meri chaal nihaar
kaisi thummakdaar
meri kamar nihaar
kaisi lachakdaar
mere nain nihaar
jaise tez kataar
meri nath nihaar
kaisi hai chammakdaar
ye bahaar
ye nikhaar
tum shikaar
main shikaar
phadak phadak
thadak thadak

ayyi ayyi ayyi ayyi mari main to laaj se
haaye ri main to laajon mari
hanh hanh
ayyi ayyi ayyi ayyi mari main to laaj se
saayyaa ji jee
du du de de dor
ka ka ki ki ku ku ke ke kaye kekor
piya se milan ki aas re
chhoti si raat
chhoti si baat
dil ki pukaar
sumba limbaa. . . aa. . .

suno suno pyaare morey saajna
cha cha chu chu chu chu chaye chechor
ka ka ki ki ku ku ke ke kaye kekor
ta tta ta ti tu tu tuteyi tetor
ayyi ayyi ayyi yaa. . .
ahaa haa haa haa. . .
ayyi ayyi ayyi yaa. . .
ahaa haa haa haa. . .
ayyi ayyi ayyi yayyi yayyi yaa. . .

ta na na naa raa nanna
ta na na naa raa nanna
taa naa naanaa

ta na na naa raa nanna
ta na na naa raa nanna
taa naa naanaa

ta ra ra na na naa naa. . .
ta ra ra na na naa. . .
ta ra ra na na naa naa. . .
ta na na naa raa naa
ta na na naa raa naa

ta na na naa raa nanna naa raa nanna naa raa nanna
taa naa naa naa raa. . .
ta na na naa raa nanna
ta na naa raa nanna
ta na na na naa. . .
ta. . na. . na. . naa. . .

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


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 : 3800 Post No. : 14791

“Spy in Goa”(1966) was directed by Dharam Kumar. This “stunt” movie had Sheikh Mukhtar, Randhwa, Malika, Meenakshi, Amarnath, Maruti, Helen, Hercules etc in it.

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

Here is the second song from “Spy in Goa”(1966) to appear in the blog. The song is sung by Usha Khanna and chorus. Yogesh is the lyricist. Music is composed by Robin Bannerji.

The song is picturised as a club dance song. I am unable to identify the lady who lip syncs in Usha Khanna’s voice. I request our knowledgeable readers to help identify her.


Song-Aao na jaane jaan..ye samaa khushnuma(Spy in Goa)(1966) Singer-Usha Khanna, Lyrics-Yogesh, MD-Robin Bannerji
Chorus

Lyrics

aa aa aa
aa aa aa

aa aa aa
aa aa aa
aa aa aa aa aa
aa aa aa

ye sama
ru ru ru
khushnuma
ru ru ru
aao na
ru ru ru ru
jaane jaan
ru ru ru ru
chhed de hum jawaan
daastaan
aao na
ye sama
khushnuma
aao na jaane jaan
chhed den
hum jawaan
daastaan

aaj chhaaya hai ye kya
in fizaaon mein ae dilruba
haaye jaalim nasha madbhara
saaj-e-dil pe ae sanam
dhun koi haay ab pyaar ki
chhed de tu bhi zara
ye sama
ru ru ru
khushnuma
ru ru ru
aao na
ru ru ru ru
jaane ja
ru ru ru ru
chhed de hum jawaaan
daastaan
aao na
ye sama
khushnuma
aao na ae jaane ja
ched de ham jawaan
daastaan

beet jaaye na yoonhi
baaton baaton mein dekho kahin
aaj humdum ye ghadiyaan haseen
kaun jaane kal ho kya
yahaan pal ka nahin hai pata
kar na kal pe tu yakeen
ye sama
ru ru ru
ho khushnuma
ru ru ru
aao na
ru ru ru ru
jaane jaan
ru ru ru ru
ched de
hum jawaan
ru
daastaan
aao na
ye sama
khushnuma
aao na
ae jaane ja
ched de ham jawaan
daastaan


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 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 :

3799 Post No. : 14790 Movie Count :

4045

Missing Films of 1960s – 88
– – – – – – – – – – – – – – –

This journey of searching out the missing films is such an interesting exploration of the unheard and less heard gems – or as they say on Radio Ceylon (SLBC now) ‘कम सुने और अनसुने गीत’.

Today’s song is one such rarely heard gem, but oh what exquisitely crafted gem this one is. The film is ‘Haveli’ from 1970. The name sounds as if this would be a film of the horror genre, of course mixed with police and robber crime drama. The one poster of this film that I am able to locate on the net (actually an image with the song on YT), shows the leading lady with a revolver in her hand. The rest of the poster combines the film title logo, and another image of the lead pair. This image does not exhibit any overt horror type flavor – just that the title gives such an impression.

The film is from the banner of Movies Den, Bombay. It is produced by Jawahar Anand and is directed by Sudarshan Babbar. The lead pair is Shailesh Kumar and Nivedita, and the remaining cast is listed as Azra, Heeralal, Manmohan Krishan, Ravikant, Brahm Bhardwaj, Lata Arora, Yunus Parvez, Ridku, Anand Prakash, Jawahar Kapoor, BK, Rahi, Dharmesh, Rajendra Kapoor, Jaishri T, Meenakshi, and Shefali.

The film has 5 songs, as per the Geet Kosh listings. Four of these songs, including the one being introduced today, are written by Naqsh Lyallpuri, and one is written by Naseem Sahranpuri. Music for this film and composed by Sapan Jagmohan. The singing voice is Asha Bhosle.

Although I have not seen the video of this song, but still, from the flavor of the words and the style of rendition, this seems to be a sensuous song, possibly even a seduction song. The measured deliberateness with which Asha ji has rendered this song, brings in just that right emphasis making this such an attractively sensuous song.

The cast of actors includes names like Jaishree T, Azra, Meenakshi, Shefali – so I would not even start to guess on whom this song might have been picturized. I request our more knowledgeable friends and readers to please add more information about this song and this film, if available.

But regardless, enjoy this wonderfully sensuous song.

Song – Gesuon Ki Haseen Chhanv Mein Humnasheen  (Haveli) (1970) Singer – Asha Bhosle, Lyrics – Naqsh Lyallpuri, MD – Sapan Jagmohan

Lyrics

gesuon. . .
ki haseen
chhaanv mein
humnasheen
tu hi bata
tere liye
kya nahin
kya nahin

gesuon ki haseen
chhaanv mein humnasheen
tu hi bata tere liye
kya nahin
kya nahin

ishaaron mein kehti hain angdaaian raat ki
abhi aur behakengi tanhaaian raat ki
ishaaron mein kehti hain angdaaian raat ki
abhi aur behakengi tanhaaian raat ki
kya nahin
kya nahin
gesuon ki haseen
chhaanv mein humnasheen
tu hi bata tere liye
kya nahin
kya nahin

meri jawaani bahaaron ka agaaz hai
kitna haseen mere naghmon ka andaaz hai
meri jawaani bahaaron ka agaaz hai
kitna haseen mere naghmon ka andaaz hai
kya nahin
kya nahin
gesuon ki haseen
chhaanv mein humnasheen
tu hi bata tere liye
kya nahin
kya nahin

kya nahin. . .

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

गेसूओं॰ ॰ ॰
की हसीं
छाँव में
हमनशीं
तू ही बता
तेरे लिए
क्या नहीं
क्या नहीं

गेसूओं की हसीं
छाँव में हमनशीं
तू ही बता तेरे लिए
क्या नहीं
क्या नहीं

इशारों में कहती है अंगड़ाइयाँ रात की
अभी और बहकेंगी तनहाइयाँ रात की
इशारों में कहती है अंगड़ाइयाँ रात की
अभी और बहकेंगी तनहाइयाँ रात की
क्या नहीं
क्या नहीं
गेसूओं की हसीं
छाँव में हमनशीं
तू ही बता तेरे लिए
क्या नहीं
क्या नहीं

मेरी जवानी बहारों का आग़ाज़ है
कितना हसीं मेरे नग़मों का अंदाज़ है
मेरी जवानी बहारों का आग़ाज़ है
कितना हसीं मेरे नग़मों का अंदाज़ है
क्या नहीं
क्या नहीं
गेसूओं की हसीं
छाँव में हमनशीं
तू ही बता तेरे लिए
क्या नहीं
क्या नहीं

क्या नहीं॰ ॰ ॰


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 :

3799 Post No. : 14789 Movie Count :

4044

Today’s song is from a very old film of the early talkie cinema – ‘Khwab Ki Duniya’ (1937) aka ‘Dreamland’.

This was the first film directed by Vijay Bhatt, after he and his brother Shankar Bhatt established Prakash Pictures. In those days, the trend was to make films on mythology, folk tales or social issues. Instead, Prakash Pictures took up a totally new and untried topic like Science Fiction story to make a movie. Film ‘Khwab Ki Duniya’ was based on – or took inspiration from the Hollywood popular film, Universal Studio’s ‘The Invisible Man’ (1933). This film was a cinematic adaptation of the famous novel ‘The Invisible Man’ written by HG Wells in 1897.

Originally, this novel was published serially in the ‘Pearson’s Weekly’ in the early part of 1897. At the end of the year 1897, it was published as a novel and very soon it became a best seller. Translated in almost every language in the world, the novel attracted the film makers of the early era and a film was made in 1933. The film also became a hit and in subsequent years several adaptations and film versions in different languages came up. India too did not lag behind and the adventurous duo of brothers made a film on this story, adapting it to Indian context. Several films in many languages using this as a central theme and adapting the story in various ways, were made in India. Some names I remember off hand are ‘Mr X’ (1957), ‘Mr X’ (1938), ‘Mr X In Bombay’ (1964), ‘Mr X’ (2015), and ‘Mr India’ (1987).

Basic problem was how to show the ‘invisible‘ man. There was no special effect technique available in India till then, like in Hollywood. Vijay Bhatt had an assistant called Babubhai Mistri, who accepted the challenge and using a dim light, a black curtain and a black thread to move articles, he achieved the desired results. This made the film not only a hit and popular one, but also a unique one. Babubhai Mistri, thus, became the father of the trick scenes and special effects in India. In the process Babubhai also earned a moniker of ‘kaala dhaaga‘ (black thread) for rest of his life, in the film industry.

Babubhai Mistri was born on 5th September 1918 in Surat, Gujarat. His father – a building contractor, died suddenly when Babubhai was just 14 year old. Being the eldest he had to take care of his mother and 9 younger siblings. He came to Bombay, where his uncle was working for Krishna Cinetone. With his help, he became an assistant in Bharat Movietone. Starting from making posters and helping in set designing, he learnt from every department of film making.

When he learnt that Prakash Pictures faced a difficulty in special effects he volunteered and made history. Impressed with his skill, Wadia Movietone, famous for fantasy and stunt films, took him in for special effects. During his career, Babubhai not only gave special effects to more than 300 mythological, stunt and fantasy films, but also entered the field of direction. Wadia brothers gave him first opportunity to direct their film ‘Muqabala’ (1942), a Nadia film about twin sisters.

Along with co-director Batuk Bhai i.e. Nanabhai Bhatt, he experimented some new special effects. This film was first in India to use ‘split-screen method’ for double roles, where both sisters could cross each others, shake hands and talk together. Another feature for this film was the night club set, which, in case of a police raid, could be converted into respectable home – on screen for the audience to see. It simply mesmerised the people.

In 1942 Wadia Movietone broke up and Homi Wadia started Basant Pictures. Babubhai directed a film ‘Mauj’ (1943) for him too. He became a free lancer and he directed 48 Hindi films. His last film was ‘Hatim Tai’ (1990). He also directed one Telugu and nine Gujarati films. Many of his assistants became famous as trick masters and special effects experts.

After his retirement he suffered from cancer. His voice box was removed and he had to use an artificial devise for speaking. Tata Cancer Hospital made a film on his courage and will power to overcome cancer, to inspire other cancer patients.

Babubhai won many awards and rewards, for his work in films. He died on 20-12-2010, at the age of 92 years. (Thanks to ‘Beete Huey Din‘ blog for some information used here.)

Film ‘Khwab Ki Duniya’ had a cast of Jayant, Sardar Akhtar, Lallubhai, Umakant, Shirin Bano, Ismail, Jahoor, Madhav Marathe etc. In the early phase of film making, it was difficult to get good looking female actors from educated or respected families for working in films. That is because, it was considered a ‘below the dignity’ job. For silent films, many Anglo Indian and Jew girls became heroines because for them it was not a question of dignity and acting was considered like any other vocation.

Dadasaheb Phalke had described an incident. While making his first film (‘Raja Harishchandra’, 1913), he needed a female actor for Taramati’s role. He found it very difficult to get one. Those days, even in stage plays, the female roles were done by handsome (and sometimes, not so handsome also) males. But even they were not ready. He became desperate and went finally to red light area and talked to some prostitutes. Even they refused to do this ‘lowly’ job. Reluctantly, Dadasaheb settled for Salunke, a male impersonator to do this role.

As the talkie films started, the number of Anglo Indian girls rapidly went down as most of them did not know Hindi nor could they sing. Only a few hard working Anglo Indian girls survived and progressed from silent to talkie films, like Savita Devi (Iris Gasper – who learnt Hindi/Urdu and singing, with efforts), Sulochana (Ruby Myers), Indira Devi (Effie Hippolet), Lalita Devi (Bonnie Bird), Pramila (Esher Abrahams), Seeta Devi (Renee Smith), Madhuri (Beryl Classen), Manorama (Winnie Stewart) etc. Since singing was an important requisite, the field was now open to singing girls from kothas, tawaayafs and professional singers. Reasonably good looks and singing ability was what made them actresses. These girls, who came from kothas and professional singer families used the suffix ‘Bai’ to their names to differentiate their specialty. Thus you had Jaddan Bai, Amirbai, Johrabai, Rattan Bai etc.

Many young singing girls considered cinema as a place where they could get (catch ? ) a good husband from a better family background, earning respectability (forget religion). Many starlets married producers, directors, actors, singers and composers, left acting and settled as respectable housewives. Some girls got husbands from Nawabs and the Royalty, as they were patrons of arts. Many examples from early era can be cited in this connection like,

Gulab Bai alias Kamla Devi married S Fatelal – director in Prabhat Films.

Jaddan Bai married Uttamchand – a medical student and a jaagirdar.

Fatima Bai (mother of Zubeida, of Alam Ara fame) married Nawab of Sachin, Guajarat.

Sultana married Yusuf Laljee, businessman and chief of Bombay Municipal Corporation.

Actress Sarojini (Roshan) married Nanubhai Vakil – producer / director (their daughter was actress Azra).

Actress Indurani (Ishrat) – sister of Sarojini – married Ramniklal Shah – producer / director.

Actress Shirin Bai married Nanabhai Bhatt (their sons are Mahesh Bhatt and Mukesh Bhatt).

Actress Zubeida (of Alam Ara) married Raja Dhanrajgir of Hyderabad (Deccan).

The other actress Zubeida (on whose life, the film ‘Zubeida’ (2001) was made) married Maharaja Hanwant singh of Jodhpur.

etc.

This trend continued in the industry even after things changed and educated and respected family people entered the industry. Now, one could see marriages were taking place between people of film industry itself like Rattanbai and Director Hafiz, Jyoti and Durrani, Nalini Jaywant and Virendra Desai, Noorjahan and Shaukat Hussain Rizvi, Meena Kumari, Sardar Akhtar, Snehprabha Pradhan, Anil Biswas, Lalita Deulkar etc.

In recent era instances are Waheeda Rehman, Kishore Kumar, Asha Bhosle, Hemant Kumar, Manik Verma, Premlata, Geeta Dutt, Geeta Bali, Rishi Kapoor, Rajesh Khanna, Amitabh Bachchan and Abhishek Bachchan etc.

In the cast you find a name Shirin Bano. Yes, she too is one of the above listed artistes who joined films to get a suitable husband and lead a respectable and comfortable life. Shirin, Shirin Bai or Shirin Bano was from a tawaayaf mother from Lucknow. Her father was a Tamil Brahmin – Ram Seshadri Aiyar, who worked as an accountant with Kikubhai Desai (father of Manmohan Desai) in his distribution department. They were 5 sisters and 1 brother. Shirin joined films at an early age. Her first film was ‘Maharani’ (1934). The same year she worked in ‘Vehmi Duniya’, ‘Sewa Sadan’ and ‘Bala Joban’. In 1935 her films were ‘Shamsher e Arab’, ‘Pardesi Sainya’ and ‘Bambai Ki Sethani’. In 1936, she worked in ‘Tope Ka Gola’, ‘Snehlata’, ‘Passing Show’ and ‘Azaad Veer’. ‘Khwab Ki Duniya’, ‘His Highness’ and ‘Challenge’ are her films from 1937, ‘State Express’ and ‘Purnima’ in 1938, and ‘Leather Face’ and ‘Hero No. 1’ from 1939. Total 18 films only.

Her youngest sister Meher Bano also joined films with the name Purnima (she also married a producer / director Bhagwandas Varma). Shirin married producer / director Nanabhai Bhatt, who already had a wife and 9 children. They had 2 sons – Mahesh Bhatt and Mukesh Bhatt.

Very surprisingly, Prakash Pictures themselves brought out another film immediately in the next year i.e. 1938, titled ‘Mr. X’. I do not know if this film was based on the same theme. Today’s song is sung by Shirin Bano and Ranjit Roy. I could not get any information on singer Ranjit Roy, even from my Kolkata contacts. MuVyz says that he sang 23 songs in 10 films, from 1936 to 1946. With this song, the film makes its debut on the blog.

 


Song – Chhaai Aayi Saawan Ki Ghata  (Khwaab Ki Duniya) (1937) Singer – Shirin Bano, Ranjit Roy, Lyrics – Sampatlal Srivastav Anuj, Music – Lallubhai Nayak
Shirin Bano + Ranjit Roy

Lyrics (Provided by Sudhir)

chhaai aayi saawan ki ghata
chhaai aayi saawan ki ghata
baag mein boley papiha
baag mein boley papiha
pee..oo..u ka raag sunaave
pee..oo..u ka raag sunaave
chhaai aayi saawan ki ghata
chhaai aayi saawan ki ghata

mand sameer ki lehren aayin
hey. . .
mand sameer ki lehren aayin
mand sameer ki lehren aayin
hey. . .
mand sameer ki lehren aayin
lehren aayin
gaane lagi chidiya jee ki
gaane lagi chidiya jee ki
baadal se barsat hai paani
baadal se barsat hai paani
sab sarita jal bhar aayin
sab sarita jal bhar aayin

chhaai aayi saawan ki ghata. . .

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

छाई आई सावन की घटा
छाई आई सावन की घटा
बाग में बोले पपीहा
बाग में बोले पपीहा
पी॰॰ऊ॰॰ऊ का राग सुनावे
पी॰॰ऊ॰॰ऊ का राग सुनावे
छाई आई सावन की घाटा
छाई आई सावन की घाटा

मंद समीर की लहरें आयीं
हे॰॰॰
मंद समीर की लहरें आईं
मंद समीर की लहरें आईं
हे॰॰॰
मंद समीर की लहरें आयीं
लहरें आयीं
गाने लगा चिड़िया जी की
गाने लगा चिड़िया जी की
बादल से बरसत है पानी
बादल से बरसत है पानी
सब सरिता जल भर आईं
सब सरिता जल भर आईं

छाई आई सावन की घटा॰ ॰ ॰


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(© 2008 - 2018) 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.

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 TEN years. This blog has over 14700 song posts by now.

This blog is active and online for over 3800 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14789

Number of movies covered in the blog

Movies with all their songs covered =1153
Total Number of movies covered =4044

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