Songs of 1980s (1981 to 1990) | Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Archive for the ‘Songs of 1980s (1981 to 1990)’ Category

Posted by: Atul on: October 6, 2025

In: "Mehandi" song | Asha Bhonsle solo | Asha Bhonsle songs | expression of love | Feelings of heart | Guest posts | Post by Sadanand Kamath | Songs of 1980s (1981 to 1990) | Songs of 1983 | Theme song | Title song | Yearwise breakup of songs
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 :

6289

Post No. :

19467

‘Mehndi’ (1983) was produced by Dinesh Kumar and was directed by Asit Sen. The cast included Vinod Mehra, Ranjeeta, Raj Babbar, Tamanna, Raj Bothara, Madan Puri, Usha Kiran, Seema Deo, Meena T, Mohan Choti, Birbal etc. Bindiya Goswami and Sh akti Kapoor made their special appearances in the film. This was Asit Sen’s last Hindi film as a director.

There are confusion galore about two Asit Sen’s works in Hindi films on the internet. Suffice to say here that Asit Sen, the director of the film under discussion did not act in any Hindi film. He directed his first Hindi film ‘Mamta’ (1966) while Asit Sen, the comedian/character actor has also directed only two Hindi films, ‘Parivaar’ (1956) and ‘Apraadh Kaun’ (1957). Hence, there is a clear demarcation of their work as director in terms of the timeframe. Unfortunately, Asit Sen, the director is hardly remembered today who had directed some Hindi classic films such as ‘Mamta’ (1966), ‘Anokhi Raat’ (1968), ‘Khaamoshi’ (1969), ‘Safar’ (1970), ‘Annadaata’ (1972) and some Bengali films. Even if he is remembered, he is often mistaken with Asit Sen, the comedian. For example, an article in ‘The Hindu’ which appeared on April 02, 2010, under ‘Blast From The Past’, calls Asit Sen, the director of ‘Mamta’ (1966) as ‘a disciple of Bimal Roy’. Surely the writer has confused with Asit Sen, the comedian who had worked with Bimal Roy as his assistant director for his films of 1950s.
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Tags: 1983, Asha Bhonsle, Bindiya Goswami, Khayyam, Mehndi, Verma Malik, Vinod Mehra

Main tum ko dekhtee hoon dupatte ko taan ke

Posted by: Atul on: October 4, 2025

Blog Day :

6287

Post No. :

19459

Movie Count :

5136

‘The Gold Medal’ (1984) was produced by Sham Behl under his banner, Time Films and was directed by Ravi Nagaich. The cast included Jeetendra and Raakhi in the lead roles supported by Shatrughan Sinha, Premnath, Bindu, Faryal, Jaishree T, David, K N Singh, Raja Pranjpe, Sundar, Janakidas, Keshav Rana, Jagdish Raj, Gulshan Bawra. Brahm Bhardwaj, Prabhu Dayal, Madhumati etc. Dharmendra made a ‘priceless’ appearance in the film as an union leader. The film belongs the genre of ‘James Bond’ type of spy thriller in the Indian setting.

The film seems to be in the making for a long time. It is said that the film was planned sometime in the second half of 1960s with Rajendra Kumar and Saira Banu in the lead roles. Incidentally, film’s producer, Sham Behl (elder brother of producer, Ramesh Behl) is the brother-in-law of Rajendra Kumar. Later, the lead pair was changed to Jeetendra and Raakhi and shooting of the film commenced in 1969.
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Tags: 1984, Asha Bhonsle, Hasrat Jaipuri, Jayshree T, Jeetendra, Premnath, Raakhi, Shankar Jaikishan, The Gold Medal

Mehfil yaaron kee mehfil

Posted by: Atul on: September 27, 2025

Blog Day :

6280

Post No. :

19438

‘Pakhandee’ (1983) was produced by Robert D’Souza and was directed by Samir Ganguly. The cast included Shashi Kapoor, Sanjeev Kumar, Zeenat Aman, Asha Parekh, Ranjeet, Helen, Jagdeep, Asit Sen, Leela Mishra, Anwar Hussain, Kader Khan, N A Ansari, Dinesh Thakur, Sudhir etc. This was Samir Ganguly’s last film as a director.

Samir Ganguly was born in Lucknow in 1936. His father was working in the railway while his mother was a housewife. He was the youngest of the seven children. After the retirement of his father in 1947, Samir was looked after by his brother-in-law (his sister’s husband) in Jaipur who was financially well-off. After his brother-in-law’s retirement, Samir came to Mumbai in 1953 in search of employment during which he stayed with another brother-in-law, Subodh Mukerji who was the younger brother of Filmistan’s boss, Shashadhar Mukerji.
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Tags: 1983, Asha Bhonsle, Helen, Laxmikant Pyarelal, Majrooh Sultanpuri, Paakhandi, Sanjeev Kumar, Shashi Kapoor, Suresh Wadkar, Zeenat Aman

Ik jug se main tarsaa Sheraanwaaliye

Posted by: Atul on: September 23, 2025

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

6276

Post No. :

19426

#The Decade of Eighties – 1981 – 1990 #
————————————————————————

“Jaag Uthhaa Insaan-1984” was directed by K. Vishwanath for Film Kraft, Bombay. It was produced by Rakesh Roshan. This movie was passed by Censor Board on 24.05.1985. The cast of this movie included Rakesh Roshan, Mithun Chakravarty, and Sri Devi, Deven Verma, Sujit Kumar, Kanan Kaushal, Sudhir Dalvi, Yunus Parvez, Beena, Master Chhotu (2), Surekha, R.R. Somaiyya, Master Subramanyam, Somaiyya Jelu and others. Parikshit Sahni and Paintal made a guest appearance in this movie. The Director of this movie K. Vishwanath also wrote the story and screenplay of this movie other than doing directing this movie.
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Tags: 1984, Indeewar, Jaag Uthha Insaan, Mahendra Kapoor, Parikshit Sahni, Rajesh Roshan, Rakesh Roshan, Sri Devi

Dheere dheere shaam aa rahee hai

Posted by: Atul on: September 23, 2025

In: "Dheere dheere" song | Dance song | Evening song | Ghazal | Guest posts | Peenaz Masani Songs | Post by Sadanand Kamath | Songs of 1980s (1981 to 1990) | Songs of 1986 | Yearwise breakup of songs
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Blog Day :

6276

Post No. :

19424

In my last article, I have covered the details of the film ‘Jumbish’ (1986) which was produced and directed by Salahuddin Pervez who also wrote the fictional story, screenplay, dialogues and the lyrics. Surprisingly, he was not connected with film industry in any capacity before he ventured into making the film under discussion. Since Jaidev, the music director of the film was one of my favourites, I heard all the seven songs in the film which were all melodious as expected from him. The songs, especially the ghazal and nazm written by Salahuddin Parvez were poetic with unusual metaphors. With his poetic lyrics, the unusual story of the film and the symbolic dialogues he used, I became curious to know about his background. Checking on him on the internet led me to a PDF of his biography on Sahitya Akademy website following his winning the Sahitya Akademy Award in 1991. I found his biography interesting, a gist of which is given below:
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Tags: 1986, Jaidev, Jumbish, Penaz Masani, Salahuddin Pervez, Shaila Gulwadi

Koi puraanee magar sansanee see saazish ho

Posted by: Atul on: September 22, 2025

Blog Day :

6275

Post No. :

19422

Movie Count :

5133

‘Jumbish’ (1986) was produced and directed by Salahuddin Pervez who also wrote the story, screenplay, dialogues and songs for the film. I heard his name for the first time. On checking about his filmography, I came to know that this was his first film in all these capacities. The cast included Padmini Kolhapure, Akbar Khan, Shafi Inamdar, Daya Dongre, Shehla Khan (debutant), Bharat Bhushan, Raza Murad, Raju Shreshta, Seema Deo, Prema Narayan, Javed Khan, Mushtaq Merchant etc with Yeshwant Dutt and Jagdeep making their special appearances in the film.

Jumbish is a Urdu word which means a movement or action. The story of the film is unusual compared with other Hindi mainstream films. Naturally, its cinematic presentation is also unusual. Each main character’s name in the film is indicative of their role in the film. Most of the dialogues are symbolic and philosophical in nature.

The main theme of the film is that everyone in the world want peace and properity. But there would be some devils whose main aim is to shatter the peace and prosperity by creating misunderstanding and rift between people on the basis of religion, class and caste which can lead to civil war, terror, violence etc. For centuries, there has been a constant tug of war between the divines and devils. The divines say that because of the devils, large number of human beings get killed all over the world. The devil’s response is that if there were no wars, terror, violence etc, people would have anyway died of natural calamities, diseases etc.

The story of the film is as under:

Manas (Akbar Khan) is a computer scientist who is at pain to see around the world, wars, terrorist acts, bomb blasts, ethnic and communal riots which kills thousands of persons every year. He does not see reasons as to why these destructive things are happening around him. He wants to invent a computer which will facilitate people to live together without war and hatred towards fellow human beings. Being a computer scientist, for the sake of peace and prosperity in the world, he wants to invent new types of computer machines. Whether he will succeed or not is another matter.

With this thought, he starts his computer and a somewhat weird man appears on the screen. He introduces himself as Shaitan (Shafi Inamdar) and tells him that he knows that being an intelligent man (Manas) he is inventing new computer machines to change the history of the world. Similarly, as Shaitan he also wants to change the history of the world in different direction and both of them can be partners. From today onwards, he outlines Manas’s life programme in which there is no place for love, emotion, romance, sex and finally no mother. He only wants disorder. Shaitan further cautions him that if he violets anything what he said, he will not live a life of peace and prosperity. With these words, Shaitan disappears from the computer screen. Manas ponders upon Shaitan’s threat.

After few days, Manas’s mother hears a radio news about the conference of eminent scientists of India in which Manas has made a presentation on his research by which his computer system can create the children outside man-woman relationship. She is shocked by his research and wants him stop the research forthwith which is against the nature. She reminds him that she has also given her assurance to Vidya’s father (Bharat Bhushan) that she would get Vidya (Padmini Kolhapure) married to Manas when she comes of age. Manas rejects the idea of marriage as for him the marriage is a waste of time on emotions, romance, love, sex etc. With his bizarre invention and his rejecting the concept of marriage, his mother gets an heart attack and is bedridden. Manas repents for hurting the feelings of his mother and agrees to marry Vidya.

One day, Vidya’s childhood friend, Prabhat (Raza Murad) visits her house to enquire about her well-being after marriage. Shaitan appears before Manas and manipulates his mind because of which he suspects that Vidya is having an affair with Prabhat. Earlier, the mother has wished to give employment to Mohommed Islam (Javed Khan) to whom she has given shelter after the death of his father. Once again, Shaitan visits him and warns Manas that if he tries to employ Mohommed, he will destroy his house (symbolic of creating the communal divide). The next day, Manas takes Mohommed in his car. While driving, he reveals to him that instead of employing him, he would obliterate the difference in their names through friendship and love for each other (symbolic of the communal harmony). This is not liked by Shaitan. He arranges goons and gets Mohammed killed in the mob frenzy. He abducts Manas and tortures him to obey his command before he is released.

Injured Manas returns home and finds Vidya with Prabhat who has come to take leave of her as he is leaving the city. He once again suspects Vidya of their affairs. Manas takes Vidya in his car and while driving he tells her that there path has become separate because of Prabhat. Vidya cautions him that his mind has become devilish. In his anger, Manas drives the car speedily resulting in the accident in which Vidya dies and Manas lies unconscious after hitting a rock. Shaitan has a last laugh.

A bullock cart man, Gaadiwaan (Yeshwant Dutt) picks the injured Manas who has lost his memory. Since he does not remember about himself and his house address, Gaadiwaan decides to give him shelter in his house. But because of his severe ill-health, he is not able to move his bullock cart. He tells Manas that now onwards, he is his sarathi as well as Arjun for him (symbolic of Arjun and his saarathi, Lord Krishna in Mahabharat). Manas’s mother is worried that she has not been able to find the whereabout of her son although many days have passed.

Gaadiwaan is also the victim of Shaitan as he had abducted his wife, Chandramukhi (Shehla Khan) many years back leaving the infant daughter with him. He has raised her as a single father. He has been searching Chandramukhi for years but without success. Having lost his hope, Gaadiwaan hands over a necklace to Manas with a request to deliver the same to his daughter, Dharti (Padmini Kolhapure, in dual role) who lives at another village. He also gives Manas a new name, Sagar. (symbolic names of the character as Sagar and Dharti mean that ocean touching the land gives a feeling of togetherness). Shortly thereafter, Gaadiwaan dies.

In the meanwhile, one day, Shaitan hears the lecture of Manas’s mother in a Women’s organisation on TV in which she exhorts the need to be vigil against the elements who disturb the peace and unity of the country by creating rift on the basis of religion, caste and class. This is not liked by Shaitan as it is against his wish to have the peace and prosperity. He visits her house and tells her to desist from such ‘rhetoric’ failing which it will not be good for her. But she dismisses him and asks him to leave the house. Soon she is in her car to go to her office when a burst of gun fire kills her.

Manas (now Sagar) is unaware of his mother’s killing. As instructed by Gaadiwaan, he goes to meet Dharti in a different village and gives her the necklace from which she comes to know that her father is no more. She welcomes him into his house and gives him shelter until he remembers his village. She calls him by name Sagar which she explains with a symbolic meaning. In the village, Sagar meets a boy, Kishan (Raju Shreshta) playing the flute and tells him the relevance of flute to Lord Krishna. He goes away by telling him that now nobody can separate Sagar from Dharti (metaphor for the country as well as the name of Gaadiwaan’s daughter).

One day, after taking bath in River Ganga which flows near her house, Dharti walks towards Sagar who admires her beauty in his imagination which brings in him the words, poet and the music to get a feel of her. He falls in love with her and marries Dharti in a temple. He works hard to make a barren land an prosperous agricultural field. A son is born to them who is named as Kishan (Raju Shreshta, in dual role).

Once again Shaitan comes in their way of success. He comes with goons and destroys the harvested crop claiming that the land belongs to him. He files a suit in the court for claiming the ownership of the land. On each hearings, the court adjourned for another date. The next scene goes fast forward by 20 years in which Sagar has become very old and Kishan now grown up has got a job in Mumbai to support the family as the land dispute is still in the court without any outcome. After some resistance from his father, Kishan gets a nod to depart for Mumbai not before Sagar gives him a small quantity of soil from his village (which is metaphorically called Bharat) bundled in a cloth to keep always with him in its entirety.

In the end, Kishan reaches Mumbai where Shaitan meets him and demands the bundle of soil to be given to him. He is prepared to pay him foreign currencies for exchange of the soil. But Kishan declines to sell him even at a higher price. Shaitan pleads for at least some part of the soil. Again Kishan refuses by saying that his father has instructed him not to divide the soil. [again the symbolic of attempt to divide the soil (country) by foreign funding]. At this stage the film ends with a narrator telling the audience that this is not the end of the tug of war between Shaitan (devil) and Manas/Sagar. This has happened in the past and it will happen in the future also. But the people will have to remain united to make sure that Shaitan is defeated at his every attempt.

In the film, Manas/Sagar and his mother represent the people who wants peace and unity. The story writer has created a cosmic character, Shaitan (devil) who manipulates Manas’s mind to achieve his objective. The story is interesting but becomes complex due to use of symbolism and metaphor. Shafi Inamdar in the role of Shaitan has performed wonderfully so also Daya Dongre as Manas’s mother in the film. I have not understood as to why the role of Daya Dongre is presented in Indira Gandhi’s hairstyle and mannerism. She also gets killed in the film in the same way as Indira Gandhi. I feel that the director fell short in putting his complex story cinematically understandable to general audience. The film’s each scene is like each she’r in a classical ghazal which can be interpreted differently by different persons.

Nonetheless, Salahuddin Pervez’s maiden attempt in the film-making on an important issue of peace and unity is to be applauded specially for his foresightedness. About four decades back, he had thought of the bizarre idea of Computer creating a programme for giving birth to the children outside man-woman relationship which is akin to AI in today’s world. Also, he had thought of the foreign funding (use of foreign currencies to lure Kishan to part the bundle containing the soil) in creating multiple ‘shaitans’ on their attempt to destabilse a country.

The film had seven songs (six songs on LP record) written by Salahuddin Pervez which were set to music by Jaidev. I am presenting the first song, ‘koi puraanee magar sansanee si saajish ho’ to appear on the Blog. The song is rendered by Penaz Masani and Bhupinder Singh who sing for Padmini Kolhapure and Akbar Khan, respectively. In this song, Padmini Kolhapure has changed her role from Vidya in the first half of the film to Dharti in the second half as part of her dual role. Akbar Khan, though in the same character, has also changed from Manas to Sagar because he has lost his memory after his head hit a rock when thrown by Shaitan.

The context of the song is that when Padmini Kolhapure returns after taking bath in River Ganga, Akbar Khan arrives and is mesmerised by her beauty. She tells him to imagine her as his words, poetry and the music. In the next visit, he imagines her that way and they both sing their feelings by singing a ghazal. The romantic ghazal is composed in the classical style. The audio clip contains one extra she’r.

By the way, the tune of the verses rendered by Bhupinder Singh reminds of the mukhda tune of the song, dekho roothha na karo from ‘Tere Ghar Ke Saamne’ (1963).

Audio Clip:

Video Clip:

Song-Koi puraanee magar sansanee see saazish ho (Jumbish)(1986) Singers-Penaz Masani, Bhupinder Singh, Salahuddin Parvez, MD-Jaidev
Both

Lyrics (Based on Audio Clip) :

koi puraanee magar
sansanee see saazish ho o
koi puraanee magar
sansanee see saazish ho o o
hamaare shahar mein
ho hamaare shahar mein
kaale paron kee baarish ho o
hamaare shahar mein
kaale paron kee baarish ho
hamaare shahar mein

hamaare honthh bhee shabnam hain koi sang naheen
hamaare honthh bhee shabnam hain koi sang naheen een
tumhaare lab ko zaraa
zaraa
zaraa
lab ko zaraa
ik sajal see koshish ho
tumhaare lab ko zaraa
ik sajal see koshish ho
tumhaaare lab ko zara

duaa ke haathh kabhee chhoo na paayen taaron ko o
duaa ke haathh kabhee chhoo na paayen taaron ko o
kuchh aisee aaj muraadon kee aazmaaish ho
kuchh aisee aaj muraadon kee aazmaaish ho

kuchh iss tarah se utarte ho mere dil mein tum
kuchh iss tarah se utarte ho mere dil mein tum
khizaan mein phool khilen
sardiyon mein baarish ho o
khizaan mein phool khilen
sardiyon mein baarish ho o
khizaan mein phool khilen

badan to jaag rahaa hai
magar tum hee chup ho o
badan to jaag rahaa hai
magar tum hee chup ho o
hayaa nazar se
nazar se ae
hayaa nazar se uthhaao
palak ko jumbish ho o
hayaa nazar se uthhaao
palak ko jumbish ho o
hmm hmm hmm hmm hmm hmm hmm
hmm hmm
hmm hmm hmm hmm
la la la la la la la
la la la la la la la
la la la la la la la
la la la la la la la

Tags: 1986, Akbar Khan, Bhupinder Singh, Jaidev, Jumbish, Padmini Kolhapure, Penaz Masani, Salahuddin Parvez

Chalo bulaavaa aaya hai

Posted by: Atul on: September 21, 2025

Blog Day :

6274

Post No. :

19419

#The Decade of Eighties – 1981 – 1990 #
————————————————————————

After the holy month of shraavan, Ganesh Utsav, Eid and other regional festivals it is time for celebration of another big festival all over the country.

It is time for Mahaalayaa. From tomorrow onwards, nine day long or ten day long nav-durgaa festival will commence all over India. In the state of Gujarat where I have been residing for last twenty-one years, people take ‘pad yaatraas’ (walking on foot) during this festival and offer their prayers to the Goddess Ambe (Amba jee), Chamunda Devee (Chotila), Kalika Maataa (Pavagadh) and many other shrines.
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Tags: 1983, Anand Bakshi, Asha Bhonsle, Avtaar, Laxmikant Pyarelal, Mahendra Kapoor, Narendra Chanchal, Rajesh Khanna, Shabana Azmi

Ishq mera bandagee hai

Posted by: Atul on: September 20, 2025

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 :

6273

Post No. :

19415

“Ye Vaada Raha”(1982) was a very popular movie with the teenagers of those days, but apparently the grown up section of the population did not like the movie much and so the movie received a lukewarm response at the box office. Personally I was barely aware of this movie and I did not watch it seeing that I only watched Amitabh Bachchan movies those days.

“Ye Vaada Raha”(1982) was produced by Ramesh Bahl and directed by Kapil Kapoor for Rose movies, Bombay. This “social” movie had Rishi Kapoor, Tina Munim, Poonam Dhillon, Sarika, Rakhi, Rakesh Bedi, Ifthikar, Agha, Sunder, Gulshan Bawra, Hari Shivdasani, Chandu Prakash, Madan Joshi, Shrimati Mistri, Prasad, Pappu, Geeta, Aditya, Shanta, Salma, Asha, Avinash Thakur etc in it. Shammi Kapoor had played a special role in this movie.
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Tags: 1982, Asha Bhonsle, Gulshan Bawra, Kishore Kumar, R D Burman, Rishi Kapoor, Shammi Kapoor, Tina Munim, Ye Vaada Raha

Maa ka man mamtaa kaa mandir

Posted by: Atul on: September 18, 2025

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 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 :

6271

Post No. :

19408

Hullo Atuldom

2025 marks the 51^st year in the entertainment industry for Shabana Azmi, not counting films that she may have been associated with during her training at FTII. Her ‘Parinay’ released on 1^st January 1974; her debut film Shyam Benegal’s “Ankur’ is also a 1974 film. The last film starring Shabana Azmi came in 2023, actually there were two ‘Rocky Aur Rani Kii Prem Kahaani’ & ‘Ghoomer’- I have seen both and as usual Shabana Azmi (the actor) cannot be missed. There is an upcoming film ‘Lahore 1947’ set against the backdrop of partition of India.
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Tags: 1990, Amba, Anand Bakshi, Anil Kapoor, Anuradha Paudwal, Laxmikant Pyarelal, Md Aziz, Shabana Azmi

Ye faasle ye dooriyaan

Posted by: Atul on: September 18, 2025

In: Guest posts | Lata solo | Lata song | Poignant Song | Post by Avinash Scrapwala | Songs of 1980s (1981 to 1990) | Songs of 1984 | Theme song | Title song | Yearwise breakup of songs
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Blog Day :

6271

Post No. :

19407

Pancham’s Music – Eighties (1981-1990) Part-2 –post-11 (1984)

The song in this post is from the movie ‘Zameen Aasmaan-1984’. It was directed by Bharat Rangachari for Film Group, Bombay. Subhash Gupta & Uday Narayan Singh were the proudcers of this movie. This movie was passed by the Censor Board on 14.05.1984. The cast of this movie has Shashi Kapoor, Rakhi Gulzar, Rekha, Sanjay Dutt, Anita Raj, Mazhar Khan (2), and Satyen Kappu, Kalpana Iyer, Chandramohan Khanna, Rajnath, Amol Sen and others.
Read more on this topic…

Tags: 1984, Anjaan, Lata, R D Burman, Raakhi, Rekha, Zameen Aasmaan

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

Archive for the ‘Songs of 1980s (1981 to 1990)’ Category

Mere angnaa mehndi ka boota

Main tum ko dekhtee hoon dupatte ko taan ke

Mehfil yaaron kee mehfil

Dheere dheere shaam aa rahee hai

Koi puraanee magar sansanee see saazish ho

Ishq mera bandagee hai

Maa ka man mamtaa kaa mandir

Ye faasle ye dooriyaan

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