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

Archive for the ‘Songs of 1980’ Category


This article is written by Peevesie’s mom, 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.

Hullo to all Atulwaasis

So, we are on that date of the year when we write a special post for a very special person. We have two posts by kids of the 70s who grew up listening to the works of this special person. For once I waited to see what these two are going to say before I pen my own thoughts. This is because I have come to realise that the three of us love the same things about this person- his multi talents- singing (first and foremost), comedy (acting), direction, music direction and he has also written a few songs. We are his fans and he was said to be a huge fan of K.L. Saigal. His aim was to sing like Saigal.

Yes yes, I am talking about our very own Kishore Kumar. The one and only actor who could do comedy while romancing his heroine- saw him, again, in “Dilli Ka Thug” this morning and fell in love with his “Hum toh mohabbat karega” all over again. Even in “Haal kaisa hai janaab ka” his romance is steeped in comedy.

But his sober songs were a class apart- “koi humdum na raha, koi sahaara na rah”, “mere Mehboob qayamat hogi aaj ruswa teri galiyon main mohabbat hogi” to name only two.

He was not trained in music classically or any other form; but never sang a note out of tune. I have heard RD Burman say in some interview a long time back (has to be long time ago as he himself died in 1994) that when they were recording “Mere naina sawaan bhaadon phir bhi mera man pyaasa” RD was briefing Kishoreda about the nuances of the song and the raga it was based in. And Kishoreda is said to have replied “tu mujhe yeh sab mat baata, kya gaana hai bol main gaata hoon.” (don’t give me all these details, just tell me what I should sing).

But I know of a song where in Kishoreda has tutored Goddess Saraswati (that is what many consider Lata Mangeshkar to be) on the do-re-mi of Indian music- I mean there is a song where Kishoreda has given playback to Dev Anand (one can’t escape this combination no? ) who is the music tutor to Tina Munim for whom Lata Mangeshkar was the playback. But of course, in another song the vice versa has also happened- Kishoreda has been tutored by Lata.

When Kishoreda finally chose to do more of singing and less of acting was when he re-emerged as the voice of Rajesh Khanna. But his debut as a playback singer had already happened way back in 1948.

If one charts the life and times of Hindi film music from say 1944/45 to 1987 we see that all three of those whom we had special posts on in the last fifteen days- 2 birthdays (Mukesh and Kishoreda) and one death anniversary (Rafisaab) were active at this time (Kishoreda being the last to leave us). And we have a great song by the trio on our blog Hum ko tumse ho gaya hai pyaar ktya karen . (I don’t know if such a song was there in the period when the three were younger.)

Another fact which I just realised is all three had just stepped into their 50s when they passed on… eerie isn’t it?

But we will not talk of sad things when we speak of Kishoreda. He was a full of wit and charm and pranks kind of person.

I am not in the habit of talking of my personal experiences or sharing my thoughts of the time when I was a kid or adolescent or younger (to put it in one word). Why? Because I never used to listen to songs as a Rafi/ Kishore/ Manna/ Mukesh song. I always needed a song to be playing in the airwaves. It is no different even now. I was as much a fan of “Kya hua tera wada” as of “Rafta rafta dekho aankh meri ladi hai” or “main pal do pal ka shayar hoon” or “ae bhai zaara dekh ke chalo”. I suppose I used to connect the songs with the visual images that used to accompany them. But this post is not about me. It is about a singer whose work I have loved.

We all know Kishore Kumar was chosen to be voice of Rajesh Khanna, or that Kishoreda himself credited RK to be cause of his resurgence. This shows that he must have had a humble personality. As far as I can recollect he had been doing great work with Dev Anand, till then. And later too his work with a Dharmendra/ Sanjeev Kumar/ Shashi Kapoor/ Jeetendra/ Amitabh Bachchan/ Vinod Khanna & Mehra/ Rishi & Randhir Kapoor/ or all the other heroes including the ones who debuted in the 70s/80s was not below par.

Can one forget “ghungroo ki tarah”; “musafir hoon yaaron na ghar hai na thikaana”; “pal dil ke paas tum rehti ho”; “intehaan ho gayi intezaar ki”; “geet gaata hoon main gungunata hoon main” to name a few. All these melodies-Oh God! Thank you for giving us Kishore Kumar this date in 1929. Wish you a lot of fun time Kishoreda (as Rajaji has said in his post) with some of your loved ones who are up there with you.

Today I am at a loss as to which song should accompany this post. The statistics page of the blog says that we have 1030 songs of Kishoreda out of a possible 2709. 1679 songs are a few too many to choose from.

But I am choosing the easy way out and showcasing a song which I have mentioned in the post. We already have the song Gaa re mere sang mere saajna of the 70s where Lata tutors Kishore Kumar. Now we shall have the song from the 1980 Basu Chatterjee directed Dev Anand- Tina Munim- Girish Karnad starrer “Manpasand”. The movie was inspired by George Bernard Shaw’s Pygmalion. So that is the story of the movie in one sentence.

Amit Khanna and Rajesh Roshan were the lyricist and music composer respectively. This is a song which used to be by- heart for me ages ago. I simply love the way they dance through the song specially at the close of the song.

Thinking of you today Kishoreda, missing you too.


Song-Chaaru chandra ki chanchal chitwan (Manpasand) (1980) Kishore Kumar, Lata, Lyrics-Amit Khanna, MD-Rajesh Roshan
Both

Lyrics

saa
sa re ga ma pa ma ga re sa
gaao
sa re ga ma pa ma ga re sa
sa re ga ma pa ma ga re
sa ga
sa ga
phir se gaao
sa re ga ma pa ma ga re
sa ga
sa ga

shaabaash!

chaaru chandra ki chanchal chitwan
bin badra barse saawan
megh malhaar madhur man bhaawan
pawan piya premee paawan
ab tum kaho

chaaru chandra ki chanchal chitwan
bin badra barse saawan
megh malhaar ma

chaaru chandra ki chanchal chitwan
bin badra barse saawan
megh malhaar madhur man bhaawan
pawan piya premee paawan

hmmm
chaaru chandra ki chanchal chitwan
bolo
chaaru chandra ki chanchal chitwan
shaabaash
aage
aage
bin badra barse saawan
shaabaash
chalo aage aage aage badho
chaaru chandra ki chanchal chitwan
bin badra barse saawan

phir se phir se

(dialogue)

sa re ga ma pa ma ga re
sa ga sa ga
re ga ma pa ma ga re sa
re pa re pa
pa dha ni sa ni dha pa ma
ma dha
ga dha pa
ni sa
sa re ga ma pa ma ga re
sa ga sa ga
re ga ma pa ma ga re sa
re pa re pa
pa dha ni sa ni dha pa ma
ma dha ga dha pa ni sa

aawaaz sureeli ka
jaadoo hi niraala hai
aahaahaa ohoho o
sangeet ka jo premee
wo kismat waala hai

aahaahaha
o ho ho ho
tere mere mere tere sapne sapne
sach huye dekho saare apne sapne

phir mera man ye bola bola bola
kya
sa re ga ma pa ma ga re
sa ga sa ga
re ga ma pa ma ga re sa
re pa re pa
pa dha ni sa ni dha pa ma
ma dha ga dha pa ni sa

hey
chaaru chandra ki chanchal chitwan
bin badra barse saawan
megh malhaar madhur man bhaawan
pawan piya premi paawan

ho o o
chalo chaand sitaaron ko
ye geet sunaate hain
aahaha ha ha
oho ho ho
ham dhoom machaa kar aaj
soya jahaan jagaate hain

aahaa ha ha
o ho ho ho
ham tum tum ham gumsum gumsum
jhilmil jhilmil hilmil hilmil

tu moti main maala maala laa laa

armaan bhare dil ki
dhadkan bhi badhhaayi de
ab dhun mere jeewan ki
kuchh sur mein sunaayi de
aahaha haa
ohohoho

rimjhim rimjhim chhamchham gungun
til til pal pal runjhun runjhun
man mandir mein pooja pooja aahaa
sa re ga ma pa ma ga re
sa ga sa ga
re ga ma pa ma ga re sa
re pa re pa
pa dha ni sa ni dha pa ma
ma dha ga dha pa ni sa

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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.

In India, we are often required to attend get togethers (formal/ officials as well as informal/ unofficial etc). Singing of a few film songs is almost always a part of these gatherings, which are sung by enthusiastic singers and their performances are followed by polite clappings.

The songs that are sung on these gatherings are mostly from the golden era originally sung by legends. I often think of that era when these legends were still around me. I would often imagine a gathering where songs were sung not by the enthusiastic singers but by the singers who originally sang these songs. Just imagine participating in a programme where Rafi songs are being sung live by none other than Rafi himself !

During the golden era of HFM, viz from 1950s to 1970s, the playback legends would often visit various cities and towns and sing in public functions.

In eastern part of India, Durga Puja is the most important festival and it would last for many days- typically for for days (saptami to dashmi). The Durga Puja organising committees would arrange for cultural programmes at night on all these days and these cultural programmes would draw big audience. I, growing up in Ranchi, attended lots of such cultural programmes on these nights.

Some durga puja organisers would be more ambitious than others and they would contact legends to participate in their cultural programmes. Some organisers would be even more ambitious and they would invite such legends just as a stand alone function, a musical night. And guess what ! Sometimes these legends would actually agree to participate on these functions.

The true tale that follows is about one such cultural programme that took place some 50 years ago in a small town in West Bengal.

Amirchand informed his friends Dipu and Radhakant that Rafi was coming in for a musical night. Diehard Rafi fans all, they got all enthusiastic about attending the programme. Then Amirchand broke the news that it was not in their city of Calcutta, but at Kanchrapara, a railway town located 50 km away !

On that evening, the three friends had an early dinner and then they boarded a local train to Kanchrapara. Once they alighted at the Railway station, the festive atmosphere and stream of people going in a particular direction meant that they had no difficulty arriving at the railway stadium which was the location for the function.

A large tent was erected and the fucntion was to be held inside it. It turned out that all the tickets were already sold out !

The locals advised them not to lose heart and asked them to wait. In any case, Rafi’s performance was towards the fag end of the programme.

During those days of old, such programmes were not organised for any mercenary purposes. After the tickets were sold out and ticket holders had taken their seats, the side partitions of the tent would be taken out so that even those without tickets could watch from a distance, while being seated on the ground. The stage was quite high so that even people located far off could have decent view.

Finally the partitions were removed for the non ticket holders like Deepu and co. At this moment, something unexpected happened. Deepu noticed an usher cum organiser, proudly sporting the organiser’s large usher badge, coming his way. He was not a stranger, but a familiar face. It was Biman, his childhood acquaintance. “Hey Biman”- Deepu shouted and ran towards him. The two childhood friends hugged each other like how separated at childhood children do in Hindi movies. 🙂

“I did not know that you stay at Kanchrapara”- Deep exclaimed. Biman explained that he lived in the Railway area and it was his youth organisation which was behind this function. He motioned Deepu and his two friends to follow him discreetly. He took then to the front row where their were cushioned seats- seats meant for special guests ! So Deep and his friends found themselves becoming special guests in a programme where they were unable to get tickets just a few hours ago !

It was at around midnight that Rafi made a grand entry with a full throated shot of “Yaahoo”. Mortals, after shouting like this would lose their voice for several days, but it was no ordinary mortal of course ! Audience began to pass on slips with their farmaishes and Rafi saab began to oblige them. He read a slip and asked- “who among you has sent this slip ? Please stand up. This song is my favourite. O duniya ke rakhwaale”.

An old man stood up and raised his hand. “I will sing this song later. Please remind me later.”-Rafi assured him.

Rafi kept singing songs after songs on the farmaishes of audience. There was a farmaish for a duet. He asked for a lady from the audience to accompany him for the duet. A young lady volunteered. The two sang several duets. Rafi took her under his wings and guided her like his child, and covered her lapses expertly.

People were so engrossed that they did not realise that several hours had passed and midnight was giving way to dawn ! A few organisers came up to the stage, perhaps to remind him that it was time to wind up. Rafi requested them to give him a few more minutes. “Is the gentleman still here who requested for duniya ke rakhwaale ?” Rafi saab asked. The old man stood up and raised his hand even before Rafi saab could complete his question.

Rafi saab concluded the programme by singing his favourite song-” o duniya ke rakhwaale”. It had already become daylight by then. Not a sigle soul among the audience had left the area. That was the kind of connect Rafi saab had established with his audience in that small town in Bengal.

Deep and his friends came back home. Full contented and savouring a great experience of a lifetime.

The above experience was easily an experience of the lifetime. Deep aka Deependu Mukherjee shared this experience in his blog in 2016, some five decades later. I stumbled upon this article in december 2016 and I wanted to discuss it in the blog during Rafi saab’s birth anniversary in December 2016. But I could not get Mr Deependu Mukherji’s permission in time to use this article. When he logged into his computer after the Christmas vacation then he came across my request and he permitted me to use this article anyway I wanted. So I am extremely thankful to him for this article as well as his permission. I have gone through this article several times and I get a goosebump every time, and I find the cochlea of my heart getting warmed each time without fail.

Rafi saab singing the farmaishes of his fans live, and the fans lapping up every moment of the experience. Needless to say that the audience who gathered that day fifty years ago were all blessed souls and they would all remember this night as long as they live.

Just imagine Rafi Saab, the undisputed number one playback singer of the era agreeing to participate in a function like this which was truly a function of ordinary music lovers for ordinary music lovers. And Rafi saab merged with the audience like one among them, even seeking out a member of the audience to sing with him ! No airs of superstardom whatsoever ! He never looked at the watch. He in fact took some more time to comply to the farmaish of an old man, remembering to save that song for the last.

The golden era of HFM was from 1949 to 1980. Lots of people contributed in making this era the golden era. It is quite a coincidence that Rafi saab first caught the imagination of public as a playback singer with “Dulaari” in 1949. So Rafi saab making his mark in HFM and HFM entering its golden era happened in the same year.

Coincidence ! Then what about the other coincidence ? The golden era of HFM came to an end in 1980. And Rafi’s tenure in this earth too came to an end in 1980 ! On 31 july 1980, to be precise.

So one can say that the Golden era of HFM began with Rafi and came to an end with him. A coincidence indeed. But what a coincidence. Or may be not.

1980, the last year of Rafi saab on this earth saw some superb songs sung by him. He in fact looked to be firmly on his way to the top once again.

“Asha”(1980) is a movie studded with tremendous songs. One can keep listening to the songs of this movie in loop without feeling bored. All six songs of this movie are timeless gems. Four out of six songs of “Asha”(1980) have already been covered. I was deliberately holding on to the remaining two songs of the movie. Both these songs showcase Rafi’s voice at its very best.

Today (31 july 2017), on this occasion of Rafi saab’s remembrance day, here is this superb Rafi Lata duet from “Asha”(1980). Anand Bakshi is the lyricist. Music is composed by Laxmikant Pyarelal.

I am surprised that the video of this song is not available. I had seen this movie during its time but I do not recall whether the picturisation of this song was there in the movie. It should be a stage performance song going by the lyrics of the song.

I request our knowledgeable readers with better memories to tell us about the picturisation of this song. I am surprised that this song is decribed as a rare song by some uploaders.

Listening to the audio itself is a divine experience. So here it is as a tribute to Rafi!


Song-Tumko salaam hai (Asha)(1980) Singers-Lata, Rafi, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Both

Lyrics

ek din bahaar ne ae ae
phoolon se ye kaha
kaanton ki nok par
khilte ho tum magar
hanste ho jhoom kar r r r
zakhmon ko choom kar
insaanon ke liye
deewaanon ke liye
mushqil ye kaam hai
tumko salaam hai
tumko salaam hai
tumko salaam hai
tumko salaam hai
tumko salaam hai
ho o
tumko salaam hai
ho o
tumko salaam hai

kahiye sahibaan
ye daastaan kaisi lagi
ye daastaan nahin ee ee
haan haan ji
haaan nahin
koi payaam hai
tumko salaam hai
koi payaam hai
tumko salaam hai

ho tumko salaam hai
tumko salaam hai
tumko salaam hai
tumko salaam hai

afsos kya
aa aa aa aa aa
afsos kya
ki dil khushiyon se thha bhara
thhoda sa ye agar
chhalka to kya hua
thhoda sa ye agar
chhalka to kya hua
aadha chhalak gaya
khaali nahin hua
aadha bhara hua aa aa
abhi ye jaam hai
tumko salaam hai
tumko salaam hai
tumko salaam hai
koi payaam hai
tumko salaam hai

tumko salaam hai
tumko salaam hai
tumko salaam hai

tumne to bas mujhe ae ae ae ae
tumne to bas mujhe jeena sikha diya
jalwa dikha diya
parda uthha diya
jalwa dikha diya
parda uthha diya
har zakhm daag hai
har gul charaag hai
maalik dimaag hai ae ae
dil to ghulaam hai

tumko salaam hai
tumko salaam hai
tumko salaam hai
tumko salaam hai
tumko salaam hai
tumko salaam hai
tumko salaam hai
tumko salaam hai

is zindagi ko tum m m m m
is zindagi ko tum thhoda sa pyaar do
gham ke bhi raat din
hans kar guzaar do
gham ke bhi raat din
hans kar guzaar do
kyonki ye zindagi
ae mere hamnasheen

koi saza nahin ee ee
ye ik inaam hai
tumko salaam hai
koi payaam kai
tumko salaam hai
koi payaam kai
tumko salaam hai

tumko salaam hai
tumko salaam hai
sabko salaam hai


This article is written by Bharat Upadhyay, 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.

Jaidev Ki Non-Filmi Suraavali – 01
—————————————————-

Thanks to the help of Researchist Sadanandbhai and few more quotes from here and there, this is going to be quite different to my usual writing of short preface to the presentation of the song.

In my series ‘Genius of Jaidev’, I have presented about 60 filmy songs of Jaidevji, which were not covered on our musical Blog. I am unable to locate few more film songs of Jaidev ji, which are obscure, as I am a poor RESEARCHER. (In spite of the fact that I worked for 40 years in a RESEARCH Institute.)

Anyway, looking at the list of NFS covered on our blog, I realised that there is a huge collection of Jaidev ji’s non film songs in my khajana, waiting to be shared and admired.

Someone, at our ‘Sargam’ program had commented and I had noted it down. He commented that “If Gods up there have to choose a music director for their heavenly pleasure no one could beat Jaidev ji for the spot, with so much experience of creating heavenly tunes here on earth.”

Jaidev has given opportunities to many lesser known singers.Today I have selected Seema Anil Sehgal, a singer-composer from Jammu and Kashmir who is an eminent ghazal singer and an AIR artiste. She is also a recipient of the Jnanpith Award.

Jaishankar Prasad (30 January 1890 – 15 November 1937), one of the most famous figures in modern Hindi literature as well as Hindi theatre. In her glowing tribute to Jai Shankar Prasad, the poet-critic Mahadevi Verma says: “Whenever I remember our great poet Prasad, a particular image comes to my mind. A fir tree stands on the slope of the Himalaya, straight and tall as the proud mountain peaks themselves. Its lofty head braves the assaults of the snow, the rain, and the blazing heat of the sun. Violent storms shake its spreading branches, while a thin stream of water plays hide-and-seek amongst its root. Even under the heaviest snowfall, the fiercest heat, and the torrential rain, the fir tree holds its head high. Even in the midst of the worst thunderstorm and blizzards, it remains steady and unflinching.”

This compliment from a younger contemporary of Prasad summarizes the literary genius of one of the leading lights of “chhaayavaad” (छायावाद) movement in Hindi literature. It recognizes Prasad’s place amongst his peers as well as his relevance to the modern thought. As an author of a classic epic of the human psyche, his magnum opus ‘Kamayani’, Prasad had acquired early eminence. But later his multifaceted personality burgeoned in his contribution to diverse fields of literature in spite of countless storms of personal tragedies, and national social and political upheavals.

Brought up in the affluent family of a tobacco merchant, Prasad was a man of personal charm and of romantic disposition. By temperament a reformer and humanitarian, through his devotion to literature he became a lyric poet, a dramatist, a story writer, and essayist. Thus Prasad emerged as a literary genius. It would be no exaggeration if we rank him with such literary stalwarts as Kalidas, Tulsidas, Shakespeare, Dante, and Goethe in view of his vision and aesthetic consciousness.

With this geet, I also introduce this wonderful young singer and musician, Seema Sehgal. Her musical creations and renditions of Urdu poetry and ghazals of the masters, are treat to listen. I would urge you to know more about this wonderful singer – there is a blog dedicated to her at “Seema Sehgal Sings“.

This particular song, the very famous poem of Kavi Jaishankar Prasad, was sung by her under the baton of our Jaidev, in one of the episodes of ‘Aarohi’, a musical program consisting mostly of geets and ghazals, which used to be telecast by the Mumbai Kendra of Doordarshan.

Legendary thespian Padma Bhushan Dilip Kumar said in one of her program: “. . . a reason to celebrate that there are young and enthusiastic singers of your class and calibre. . . Your creations foster conditions in which music can breathe. . .”.

Dadasahib Phalke Award winner Padma Vibhushan Naushad Ali said: “May God grant me an opportunity wherein I could utilize your mellifluous voice in my songs. . .”.

Renowned Tabla Maestro Padma Bhushan Alla Rakha blessed her with the words: “O nightingale from Jammu and Kashmir! May the fragrance of your melodious and soulful voice spread to all corners of the world. . .”.

I welcome you to listen to this wonderful poetic rendition. This geet should be heard in the night on a good sound system to appreciate its depth and intensity.


Song – Beeti Vibhaavari Jaag Ri (Seema Sehgal NFS) (1980) Singer– Seema Sehgal, Lyrics– Jaishankar Prasad, MD – Jaidev

Lyrics

beeti vibhaavari jaag ri
beeti vibhaavari jaag ri
beeti vibhaavari jaag ri
beeti vibhaavari jaag ri
ambar panghat mein dubo rahi
ambar panghat mein dubo rahi
tara-ghat usha naagari
beeti vibhaavari jaag ri
beeti vibhaavari jaag ri
beeti vibhaavari jaag ri
 
khag-kul kul-kul sa bol raha
kislaya ka anchal dol raha
khag-kul kul-kul sa bol raha
kislaya ka anchal dol raha
lo yah latika bhi bhar laayee
lo yah latika ….
lo yah latika bhi bhar laayee
madhu mukul naval ras-gaagari
beeti vibhaavari jaag ri
beeti vibhaavari jaag ri
beeti vibhaavari jaag ri
 
adharon mein raag amand piye
adharon mein raag amand piye
alakon mein malayaj band kiye
adharon mein raag amand piye
alakon mein malayaj band kiye
tu ab tak soyee hai aali
tu ab tak …
tu ab tak soyee hai aali
aankhon mein bhare vihaag ri
beeti vibhaavari jaag ri
beeti vibhaavari jaag ri
beeti vibhaavari jaag ri
ambar panghat mein dubo rahi
ambar panghat mein dubo rahi
tara-ghat usha naagari
beeti vibhaavari jaag ri
beeti vibhaavari jaag ri
beeti vibhaavari jaag ri
———————————-
Hindi script lyrics (Provided by Sudhir)
———————————–
बीती विभावरी जाग री
बीती विभावरी जाग री
बीती विभावरी जाग री
बीती विभावरी जाग री
अंबर पनघट में डुबो रही
अंबर पनघट में डुबो रही
तारा घाट उषा नागरी
बीती विभावरी जाग री
बीती विभावरी जाग री
बीती विभावरी जाग री

खग-कुल कुल कुल सा बोल रहा
किसलय का अंचल डोल रहा
खग-कुल कुल कुल सा बोल रहा
किसलय का अंचल डोल रहा
लो यह लतिका भी भर लाई
लो यह लतिका॰॰॰
लो यह लतिका भी भर लाई
मधु मुकुल नवल रस गागरी
बीती विभावरी जाग री
बीती विभावरी जाग री
बीती विभावरी जाग री

अधरों में राग अमंद पिये
अधरों में राग अमंद पिये
अलकों में मयलज बंद किए
अधरों में राग अमंद पिये
अलकों में मयलज बंद किए
तू अब तक सोई है आली
तू अब तक॰॰॰
तू अब तक सोई है आली
आँखों में भरे विहाग री
बीती विभावरी जाग री
बीती विभावरी जाग री
बीती विभावरी जाग री
अंबर पनघट में डुबो रही
अंबर पनघट में डुबो रही
तारा घाट उषा नागरी
बीती विभावरी जाग री
बीती विभावरी जाग री
बीती विभावरी जाग री


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.

“Imtihaan”(1974) was directed by Madan Sinha for New Arts Pictures, Bombay. This movie had Tanuja, Vinod Khanna, Bindu, Ranjeet (special appearance), Abhi Bhattacharya, Asit Sen, Sapru, Murad, C S Dubey, Abhijit Sen, Shashtri, Amrit Patel, Sunayna Santosh, Uday Arora, Neel Oberoy, Sonika Khanna, Dewal Verma, Naveen Pandya, Vijay Kumar, Bhanwar Shrivastava, Ibrahim, Seema, Madhu, Jugnu, Durga, Ravi Kanwar, Sunil Rege, Ibrahim Khan, Geeta Shah, Shankar Bhake, Nasir, Farooque, Chanda, Kamal etc in it.
Read more on this topic…


This article is written by Peevesie’s mom, 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.

hullo to all atulwaasis

Last song! Last song! Last Song!

No this is the first song that runs with the movie’s title cards. It is a stage show that introduces the central character Monty played by Chintu alias Rishi Kapoor. He is a singer cum dancer cum guitarist with a large fan following. He has many successful shows to his credit but is forbidden from doing private shows.
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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.

“Saanjh Ki Bela”(1980) was produced by Jagdish Kumar and directed by Madhusudan for J K’s Bombay. The movie had Joy Mukherjee, Nutan, Rehman, Bindu, Laxmi Chhaya, Rancha Sarang, Satyen Kappu, Sapru, Bipin Gupta, I S Johar, Raj Mehra, Pratima Devi, Satish Arora, Iftekhar, Ratna, Birbal, Jankidas, Vimla, Uma Khosla, Geetanjali, Sharmaji, Goyel, Suraj Kumar, Supariwala, Lav Kush, Suparna Biswas etc in it.
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This article is written by Raja, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

It’s been a while since my last post here.  And to be absolutely honest, I haven’t even been active on the blog recently.

This is for a variety of reasons, none of which is, thankfully, any cause of worry. I go into this shell from time to time. I hope Atul, and my other friends here, know me long enough now to not mind my absence. It is nothing to do with the blog or with them, it is just me and my bizarre-ness. Anyway, it doesn’t matter – what matters is that I’m back here today.

But why today? What’s so special about today? Well, today is special, not just for one, but for two reasons. Firstly, the 8th of March is celebrated worldwide as International Women’s Day. Secondly, it also happens to be the birthday of Sahir Ludhianvi, one of our most celebrated poets and lyricists.  And most people who know me on this blog know what a special place Sahir has in my heart.  I have often posted his songs here, especially on his birth and death anniversaries. I feel that’s the least I can do for him.
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This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

hullo Atulwaasis

Welcome to the 97th birthday party of Gubbaare Waale Baba. He was a master of carrying any disguise, get-up or make up. Can one forget the red-wigged Sher Khan? Or Malang chacha. Or Raka. or Gajendra Singh or Halaaku. He had his own style of blowing smoke rings which first appeared in Bari-Behan (1949). He was sinister to the extent that people would not name their new borns – Pran. His name always appeared in the movie credits as “And Pran”.
Read more on this topic…


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.

“Hamkadam”(1980) was produced by Tarachand Barjatya and directed by Anil Ganguly for Rajshree Productions, Bombay. The movie had Rakhee Gulzar, Parikshat Sahni, A.K.Hangal, Dina Pathak, Ritu Kamal, Helen, Biswajeet, Iftekar, Madan Puri, Dinesh Hingoo, Preetam, Pardesi, Partho Guha, Harish Mugan, Deepak, Chaturvedi, John Boland, Amol Sen, Anand Joshi, Pilloo Wadia, Nilu Arora, Komal Soni, Zubeda, Anita, Rajni Verma, Master Ashoo, Sameena Kashimiri, Baby Geeta Khanna etc in it.
Read more on this topic…


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.

“Maan Abhimaan”(1980) was Produced by Tarachand Barjatya and directed by Hiren Nag for Rajshree Productions private Limited, Bombay. The movie had Raj Kiran, Rameshwari,Shashi Puri, Kavita Kiran,Yunus Parvez, C.S.Dubey, Gajanan Jagirdaar,Sunder,Master Rajesh, Arun Kumar(aka Arun Kumar Ahuja), Pardesi, Chandu Ilahabadi, Brijendra Mohan, Albela alongwith Guest artistes Amrish Puri,Sulochana Latkar and Iftekhar.
Read more on this topic…


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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.

Total number of songs posts discussed

13529

Number of movies covered in the blog

Movies with all their songs covered =1015
Total Number of movies covered =3712

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Blog Start date: 19 july 2008

Active for more than 3250 days.

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