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Archive for the ‘Songs of 1982’ Category


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Blog Day :

4333 Post No. : 15629 Movie Count :

4304

Regulars of this blog are aware that my family had three pets namely Nuppy (cat), Bhole (dog) and Chhote (Dog) that my wife adopted in september 2010, october 2010 and december 2010 respectively in the place where she lived. I was based at Nagpur those days, some 300 km away. They were all very young when they were brought home. I would visit my wife and daughter and bring them to Nagpur along with the pets during their holidays.

These pets and their interesting tales are covered in several of my writeups, viz. Aaye ho to dekh lo duniya zaraa (Chiraag Kahaan Roshni Kahaan), Jab koi ladki baar baar mere dil ko tadpaaye (Chattan Singh), Ye pyaari pyaari paati (Janmbhoomi), Tu hai mera yaar (Milan),Jahaan chaar yaar mil jaaye wahaan raat ho gulzaar (Sharaabi)(1984), Jaa jaldi bhaag jaa (Deshpremi)(1982), Bade miyaan to bade miyaan (Bade Milaay Chhote Miyaan)(1998) etc.

Most of these writeups were happy tales describing the amusing antics of the pets. The first and so far the only sad writeup appeared on 29 june 2012, where I broke the news that the cat nuppy was no more.

There have been no detailed posts in the blog about my pets since 2015 though I had a collection of many new interesting stories about them.

I have finally decided to pen another writeup on my pets. This is unfortunately another obituary. It is Chhote, the youngest pet who passed away on 27 may 2020.

When we got the medical cards of our pets made in Nagpur in January 2011, the three of us were the owners of the three pets. Chhote was shown as owned by my wife, Bhole by me and Nuppy by our daughter.

The three pets have brought us countless hours of joy as long as they lived and left fond memories after two of them left us.

Chhote was the centre of attraction of our household. Not just the humans in the house, even the other two pets of the house were very fond of him. He had a natural knack of winning over strangers (animals as well as human beings). He was the youngest pet, and the other two pets were very protective of him. In the winter season of 2010-11, the three of them would sleep snuggled up with each other. The two senior pets would keep Chhote between them, protecting him from both sides.

My wife never pampered our daughter (despite she being our only child), but Chhote was pampered by her, to the extent that she began to give step motherly treatment to Bhhole. Later she realised the error of her ways and made amends. Chhote began to assert proprietary claims over my wife and would prevent Bhole form coming close to her. When I came visiting from Nagpur, Bhole paid Chhote in the same coin. He staked a proprietary claim over me and prevented Chhote from coming close to me, much to our amusement. Till the last moment, this ownership claim was not given up. But to our credit, we tried to treat both dogs fairly even if he was not the owner. 🙂

Chhote had such smooth silky coat. In Nagpur, I would hear the door bell. At the door, I would find the padosan living upstairs holding Chhote and telling me that he was going to the busy main road. I would thank her and take hold of Chhote. People loved to hold Chhote in their arms, just to feel the texture of his smooth silky coat.

Cat was allowed to go out and come in but the dogs were not. But Chhote, always looking for challenges and adventures would often escape out of the home. Bhhole would then seek to escape so that he could go out and protect Chhote.

While Bhole and nuppy knew their way back home, Chhote did not and he would lose his way. Then my wife would order nuppy to go and bring Chhote back. Amazingly, nuppy understood the command. She would go and bring Chhote home. This happened more than once and so it could not be just a coincidence.

Even street dogs began to know him. Once a street dog brought him back to the home! As a reward, my wife gave that dog some foodstuff to eat.

Chhote gave respect to his senior pets, just like humans do.

While Chhote had the temperament of being a dog seeking to socialise with everyone, Bhhole was an athletic dog, with strong jaws and good running speed. My daughter appointed him her sprint coach. The two would begin their sprint together. Bhhole would easily outrun her and then stop to allow her to catch up with him before resuming his sprint. Bhhole’s coaching was quite useful seeing that my daughter was the 100 metre sprinting champion of her class among girls and once she even won a District level sprint.

Bhhole would also play football with my daughter while being dressed properly in football shorts. Bhhole, proudly sporting his footballing short looking like Scoobie Doo, would be seriously tackling the daughter for ball possession when he would suddenly find his shorts being pulled down. It was Chhote (looking like Scrapy Doo) entering the arena wondering what happened to the tail of Bhhole. Bhhole would snarl at him, asking him to leave him alone. 🙂

Once, Chhote for some reason began to whine and whimper and got into the nerves of my wife. It is said by wise men, and morning message to this effect regularly gets circulated in whatsapp groups that “One should not take imortant decisions when angry and one should not make promises when happy”. It is a wise saying that my wife does not practice. She got annoyed with Chhote and decided to give away the trouble making Chhote to someone else. She convinced a lady to take Chhote and handed Chhote to her.

That was a saturday. When the daughter came back home from school and found Chhote missing, she started crying and insisted that Chhote be brought back. Even the other two pets were silent and sad. Next morning, wife and daughter went to that lady. They found Chhote, who roamed around freely inside his earlier home, tied by a chain in that household. Chhote was very happy to see them. My wife asked Chhote back. Much to their relief, the lady agreed to hand Chhote back. While they were bringing Chhote back, a cow who had recently given birth to a calf though that her calf was being taken away. she gave a chase. My wife went to the cow and showed her Chhote and convinced her that it was a pup and not her calf. 🙂 When Chhote was brought back home, the other pets, silent since morning, became happy and cheerful. The raunaq of the household had returned. The voice of Chhote which my wife was finding annoying till the previous day began to sound like music to her ears.

Chhote was quite intelligent and smart. Unlike most humans, he could think out of the box and outsmart humans. A human would chain him and think that Chhote cannot get away. Chhote would pull his head out of the neck collar and the human would be left holding the chain with the collar. Chhote had used this trick on many unsuspecting humans. In the early days, we tied him with chain made of fibre. He would bite off the rope and free himself. Then we bought metal chains to tie him and Bhole.

In Nagpur, we had a garden adjacent to my residence. The garden is closed from all sides. I would leave the dogs in the garden every morning for an hour before bringing them inside the home. I was secure in my knowledge that there was no way the dogs can go out of the garden. But as I mentioned before, Chhote outwitted me. He laid a detailed long term plan. This plan was carried out so well that I could notice nothing. One week later, when I went to the garden to bring the two pets back, they were nowhere to be found. They had escaped !

What Chhote had done was an example of a lateral thinking at its best. He found out that the mud under the gate was soft. So every day, he got Bhhole (the athletic dog) to dig some mud from under the gate. Bhhole dug some mud everyday for seven days. On the seventh day, enough gap got created under the gap and the two escaped through that gap.

Where did they go ? There was a children’s part nearby. The board said-“only for Children of Railway employees”. The two dogs were playing there, considering themselves as children of a Railway employee.

Both dogs had different natures and different qualities. Chhote, the brainy one, had the ability to analyse things and work out ingenious solutions, which is unusual for most other dogs. For instance Bhole could never do these things. When it came to opening doors, Bhhole only knew how to open door by pushing. If the door needed to be pulled then Bhole was all at sea. But Chhote could easily pull a door. He even worked out the way to go through spring loaded doors by pulling it safely.

Bhole was good in barking whereas Chhote was not. When Bhole barked, his bark was so furious that people thought that many dogs were barking. Chhote accompanied him in barking but he in reality would only be only lip syncing in Bhole’s voice.

Chhote had some superhuman abilities in him. For instance he could tell by smell if the foodstuff was edible. We often used to buy milk packets when running short of Milkman supplied milk. Once we bought one such milk packet and offered this milk to the pets. Pets, who would dring milkman supplied milk without a fuss, refused t drink it despite being hungry. Later they drank milkman supplied milk. That is how we realised that the milk suppled in milk packets was not safe.

Chhote’s hearing ability was truly superhuman. The car that we have is one of millions such cars built to the same specifications, but Chhote could tell this car apart by the sound of its engine. He could do it when the car was at least a kilometer away. The person driving the car could barely listen to the sound of the engine, whereas Chhote, located one kilometer away could tell that this car belonging to the family was arriving back home in five minutes.

Chhote was very fond of being driven around in that car. He would take the passenger seat and look around, soaking in the scenario. He has traveled a lot between Maharashtra and MP, seated on the passenger seat.

When visitors came home, they were afraid of Bhole and they would request that Bhole be tied down by chain. No one was afraid of Chhote. Chhote would remain free and join in watching the visitors (plumbers/ electricians etc) do their stuff. If luggage was being moved from one place to another (for instance during transfers) Chhote would sit on the furnitures and would get carried along with the furniture. If the school friends of the daughter drop in and had their discussion while seated on chairs, Chhote too would hop on a chair and give them company.

From Nagpur, I got transferred to Bilaspur during end of 2011 and shifted the luggage in February 2012. All six of us travelled from Nagpur to Bilaspur in that car.

Bilaspur residence had a sprawling premise. The wall was broken at places. Initially I was worried that the dogs would escape through the gaps and would be lost. But after nearly one year of tussle between the pets and me, I realised that the pets could go out and come in safely. There were many occasions when I felt that the dogs (one or both) were lost, but fortunately they came back safely every time. In due course, the premise became a safe haven for pups and their mothers. The two pets would repel any male dogs from entering the premise, but pups and their mothers were welcome to reside in the premise. There was a time when the premise housed, apart from Bhhole and Chhote, two female dogs and nearly a dozen pups.

Bhole and Chhote had their meals in their earmarked pots. Bhole was very possessive about his meal and would not share it with any other dogs. Chhote on the other hand was quite accommodating and shared the meal of his pot with any pup who approached him. The pups adored him. I had taken photographs (that I shared on facebook) that show Chhote walking around with nearly a dozen pups following him.

We also had some temporary pets there that lasted for just a few months before being lost for one reason or the other. My wife had given them interesting names. One of these temporary pets was a pup named Kabra Singh. Both Bhole and Chhote were quite friendly with Kabra Singh and they would teach him tricks of dogfight. I have a photograph where Kabra Singh is seen trying to apply those tricks on his own gurus. 🙂 Kabra Singh tried to copy the mannerisms of Chhote. If Chhote was seated on a chair then he would get seated on a small stool striking the same pose as Chhote.

When I was transferred from Bilaspur to Izatnagar in UP in 2015 then bringing the two pets offered challenges because of the distance involved. Finally I worked out an elegant solution (first suggested by the daughter). She suggested that we needed to bring them by train. Initially I told her that it was not possible. Then on checking up the rules I found that dogs could be brought in guards van or in AC first (if other passengers do not object). No self respecting pet dog would ever travel in the guard van with the guard (without the owner) so that option was ruled out. The dogs had to be taken only by AC first. The best and fail safe way to ensure that there was no objection from other fellow passengers was to ensure that we got the cabin of two berths instead of four berth cabin. I requested for it. I was ensured that I would get that provided no VIPs traveled that day by that train. I prayed and my prayers were answered. VIPs kept away and we were allotted two berth cabin. The dogs, duly certified fit to travel (certificate issued by a government vet), with their documents and tickets were with us. THe TTE saw the tickets and raised no alarms (I had already ensured that the TTE was briefed beforehand). Chhote occupied the lower berth and watched eagerly out of the window like a wide eyed kid. Bhole, not interested , made himself comfortable at the floor of the cabin. Chhote let my wife share the lower berth with him. 🙂

Early morning, we arrived at Agra cantt. From there, we reached Izatnagar by road.

Izatnagar in UP was different from Bilaspur in Chattisgarh. The premise of the residence was just as porous as was the case with Bilaspur residence but I realised that allowing the dogs to roam free like they did at Bilaspur was not safe. So after a few close shaves, it was made sure that the two dogs were taken out of the residence only while chained. Of course then escaped from the chain many a times and those who ran behind to bring them back aften had harrowing time cornering them and bringing them back.

Every morning I would take the dogs on walk, one dog at a time. It was alweays Chhote first, because it was he who insisted on being taken for a walk first thing in the morning, come rain or snow. Thanks to him, I became the most disciplined officer in Izatnagar who would regularly go on a walk at 6 AM and even earlier while others were still sleeping. Even during torrential rain, Chhote would insist on having his daily morning walk. He was that kind of outgoing dog.

The street dogs in Izatnagar were quite big built and fearsome. They would try to bully Chhote and Chhote would get nervous. I , armed with a stick, assured him that he was under Z category security and he was well protected. I would manage to keep the gang of street dogs at bay. When it was the turn of Bhole to go on his morning walk, the tables were turned. For some reason, the appearance of Bhole unnerved even those big built hardened street dogs assembled in a gang and they would quickly disperse at the sight of Bhole. Bhole walked the street like a dabang dog.

Like at Bilaspur, even at Izatnagar, pups and their mothers were allowed to stay in the premises of the residence. As at Bilaspur, even here the pups were fond of the pets. Even Bhole was admired by pets. When they went on their morning walk, these pups also accompanied them. Pups accompanying Bhole would take advantage of Bhole’s appearance to bully even big looking street dogs and chase them away. 🙂

Izatnagar has an IVRI (Indian Vetenary Research Institute) nearby. The two dogs would often go there for their medical check ups and there they would combine to bully other dogs.

When I was transferred from Izatnagar to Gorakhpur in August 2018, I and my wife travelled by our car with our pets. The residence at Gorakhpur had proper walls so the pets could not go out. So for the first time in years, we could leave the dogs in the premise without worrying about them going out of premises. On three occasions, during heavy rains, I found parts of wall falling down and the premise getinmg exposed to public. Those were harowing days, because it meant dogs could escape to busy main road and from then onwars there was no hope for seeing them again. On all these occasions, I managed to somehow keep the dogs restrained while the wall got repaired (first temporarity and then permanently). On those days, I would take them out of residence while chained. Otherwise the dogs had forgotten the experience of being chained after coming to Bilaspur.

After one year of stay at Gorakhpur, Chhote suddenly developed the desire to go on a walk out of the residence every morning and afternoon, like how it was in Izatnagar. It was from december 2019 onwards. Chhote continued to go on his walks till march 2020,

It was during the last months of 2019 that Chhote started suffering from a medical problem that initially went unnoticed. My wife feels that he had developed a tiny swelling inside his mouth on the right side. Later, on being checked, it turned out to be malignant cancer. My wife took him to a vet for treatment in early march 2020, hoping that it would help. Next date of treatment was 25 march 2020, which turned out to be the date when lockdown started in India. It was in the second week of april that the Vet clinic finally opened. When Chhote was taken to the vet, he had become quite weak and thin by then because he was not able to eat properly. He was given driops and some injections, which helped a bit, and his appetite returned a bit. He has stopped eating his normal food. My daughter suggested that he be fed soft chicken pieces. She ordered chicken biryaani online every afternoon. I would feed Chhote soft pieces morsel by morsel which he would struggle to eat. He would then drink lots of water in a bid to wash it down.

The cancerous growth was becoming bigger. It led to continuous secretion that Chhote would try to wipe on his forelimbs. So his shiny white coat wou;d get dirty and discolored. I began to give him baths every second day which gave him relief for some time before his body would once again be covered with that secretion.

Chhote was suffering. Inability to take in nourishment was telling on him. An erstwhile burly looking Chhote was getting shrunk in size which was sad to see. When I showed his video to my daughter she began to cry at his plight.

When Chhote was taken to the vet again one week later, this time he stated that it was a hopeless case. The swelling is solid swelling. Nothing can be done to reduce it- the vet stated.

So I came back and informed this fact tyo my wife on phone.

To the credit of Chhote, he endured this pain stoically. He had realised that his last time was approaching. He seemed to be reconciled to it, secure in the knowledge that we tried everything we could for him. In his prime, he would bother us for many things, but this time he had decided that he would try and be as less of a problem on us as he could help. He did not whimper once throughout his suffering.

On my part, I made sure that Chhote did not feel unwanted, unloved and uncared for because of his medical condition. He was given the same freedom as before. No quarantine, no restrictions, no stigmas. He in fact was given special attention as far as feeding him and bathing him was concerned.

When my wife and daughter first became aware of the worsening condition of Chhote, they opined that he should not be made to suffer like this and he should be given euthanasia. I opposed the idea telling them that he was eating chicken and so he was getting nourishment.

By 25th may, his condition took a turn for the worse. He stopped taking even the little nourishment he was able to take earlier. And he had become so weak that he struggled to stand on his feet.

On 26th may, I phoned my wife and informed her of Chhote’s situation. I told her that I could no see Chhote holding on for much longer. It was now I, instead of she, who broached the subject of euthanasia. My wife, from her location in MP tried to get things arranged by talking to people concerned. The feedback was that no doctor was prepared. So be it. But we needed to be ready since the end was near.

On 26th of night, Chhote struggled to move around in the hall. He tried to sit in one place, and then another, then at yet another place and so on. He did not eat anything. with some effort, he drank water.

At night, he was sleeping in the hall. Late at night, when I woke up and looked at the hall, he was not there. It meant that he had gone to some other room where he liked to stay.

Every night, I am woken up by Bhhole a few times who wants to go out to relieve himself. And I take his out. Every time I do that, more often than not, Chhote too joins in. On this night, Chhote did not come out.

Next morning, when I hardly got any sleep, I took Bhole out of residence. At about 5 AM, I mustered enough courage to venture in the direction where Chhote had gone at night. There he was, lying stone cold at the floor. He had expired, after bravely fighting off this killer disease for several weeks.

As instructed by my wife the previous day, I kept the body on Chhote’s bed, which my daughter had ordered for him online the previous year. Then I covered him with a dupatta of my wife.

My wife had phoned the concerned people. An area was located in one corner of the premise adjacent to the boudary wall. A grave was dug. Chhote along with his bed and my wife’s dupatta covering him was laid to rest in that grave. Flowers, plucked from the plants in the premise were laid on the grave. Agarbattis were lit.

When nuppy had died, it came as a sudden shock because Nuppy was young and without any ailments. Chhote’s death on the other hand was not unexpected. It had become nevitable after cancer was detected inside his mouth and it was diagnosed as incurable. The pain of losing Chhote was tempered by other feelings, viz, feeling of relief that Chhote was finally put out of the terrible misery he was going through.

Then there was the feeling that I was spared a moral dilemma of subjecting my pet to euthanasia. No doubt I wanted that in order to save the pet from further pain, but that would have still amounted to murder. I was mightily relived that I could now could keep a clear conscious. I also felt morally upright knowing that I did not lt my pet down, I did not betray him and I did not hurt his feelings while he was undergoing his suffering. He was in need of support and comfort and I tried to provide that. When I realised that his end was near then I decided not to leave him alone.I took leave from office and stayed at home in the second half of 26 may 2020. So I was at home when the end came sometime in the night of 26 may-27 may.

My daughter asked me, did Chhote sport his collar while being buried ? I replied in the affirmative. Then I realised how wise it was on my part to fit Chhote’s favourite collar around his neck. Pet dogs wear this collar proudly as a badge of honour for being a pet of a household. Chhote departed from the world, secure in the knowledge that he was sporting his favourite collar at that time.

How did Bhole react to the demise of Chhote ? In the morning of 27 may 2020. Bhole must have gone to the room where Chhote was lying dead. He must have seen that Chhote was no more alive. Bhole kept a sombre silence throughout the morning. He saw Chhote, with his bed and dupatta cover being carried out. So he knew that Chhote would no longer be around.

Chhote got a decent honorable burial with eight human beings present. If there is something like soul which watches from above, then the soul of Chhote would have felt that he was treated well in his life and also while bidding him a final farewell.

There is this concept of “Shaapit gandarv” and “shaapit dev”. In ancient mythology, some gods would anger some rishis/ munis and the rishis / munis woud curse them to get born in the Mrityulok. On request, the sentence would be reduced a bit. Like for instance, in Mahabharat, eight vasus were cursed by Rishi Vashisht that they would e born as humans. On request, it was stated by Rishi that they would hav to spend just a few moments as human, as their mother would kill them immediately and then they could be back as Vasus. Some acquaintances, who are familiar with our pets have suggested that our pets too were like such devas who were cursed by some munis that they would be born as dogs on earth. On being requested, their sentence was softened. It was ordained that they would be brought up by a kind human family that would bring them up with care and affection. It is a theory that I agree with. Chhote and Bhole, and also nuppy seem to be very special pets who possessed qualities that seem unreal in a normal cat/ dog.

So, nuppy and Chhote are back to being the devas that they were before they came into our lives. Bhole is the only one left now. He perhaps needed to serve the longest sentence of them all. Like the humans, Bhole too is remarkable well composed and is coping well with the loss. Hopefully, we will get over the loss soon. The font memories of Chhote will ofcourse linger for many years. We have not forgotten nuppy who left us eight years ago, and I am sure same will be the case with Chhote as well.

I am sad but also relieved, and philosophical about this loss. Two days have already passed. I thought that I would keep this news to myself. But then I decided that it would be a burden on my chest if I kept this fact to myself. So this writeup, the longest in the blog for some time is my effort to get the load off my chest and then resume my normal life.

I searched for a suitable somh to go with the occasion. The search led me to a song from “Pyaas”(1982).

“Pyaasa”(1982) was produced and directed by O P Ralhan for Ralhan Productions Bombay. It had Kanwaljeet, Zeenat Aman, Tanuja, Anju Mahendroo, Madan Puri, Kamini Kaushal, A K Hangal, Dheeraj Kumar, Manmohan Krishna, Ram Mohan, Brahmchaari, Kamaldeep, Jagdish Raj, Devyani Thakkar, Shivraj, R S Chopra, Asha Sharma, Gauri Verma, Sunil Dhawan, Dhanraj, Maqbool, Hakeem, Ashok, Rafiq, Anil Ahuja, Rani Gill, Surjit Kaur, Shwini Kumar, Zeenat, Satyarani, Ramlal , Jimmy, Gopal Ralhan, Vinod Talwar, Ashok, Ratan Gaurang, Harendra, Kumud Tripathi, Ramesh Kumar, V K Chopra, Renu Kumar, Tarana, G Ansari, Ameer, Raj Kishore, Master Chhotu, Debut-Aaloka, Guest appearances by McMohan and Om Shivpuri.

This forgotten movie had eight songs by three lyricists. This song from “Pyaasa”(1982) is a song that seems tailormade for the sombre occasion. The song is sung by Kishore Kumar. Shiv Kumar Saro is the lyricist. Music is composed by Bappi Lahiri.

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

With this song, “Pyaas”(1982) makes its debut in the blog.


Song=Saath mera chhod kar (Pyaas)(1982) Singer-Kishore Kumar, Lyrics-Shiv Kumar Saroj, MD-Bappi Lahiri
Chorus

Lyrics

hmm hmm hmm hmm hmm
hmm hmm hmm hmm hmm
hmm hmm hmm hmm hmm

saath mera chhod kar
saath mera chhod kar
chal diya tu kahaan
dil mera tod kar
dil mera tod kar
saath mera chhod kar
saath mera chhod kar
chal diya tu kahaan
dil mera tod kar
dil mera tod kar

aaa aa aa aa
aaa aaa aa aaa aaa

gham se bhara hoon main
aur mujhe gham na do
phool maange thhe maine
mujhko khaar na do
saath mera chhod kar
saath mera chhod kar
chal diya tu kahaan
dil mera tod kar
dil mera tod kar

hmm hmm hmm hmm
hmm hmm

yaaden thhin kitni haseen roye aasmaan roye zameen
sahar ka ham kya karen yaar apna saath nahin
saath mera chhod kar
saath mera chhod kar
chal diya tu kahaan
dil mera tod kar
dil mera tod kar

aa aa aa aa
har dil mein zinda hai tu
insaan nahin farishta hai tu
gareebon ki hai jaan tu
insaan par ehsaan tu
saath mera chhod kar
saath mera chhod kar
chal diya tu kahaan
dil mera tod kar
dil mera tod kar
hmm hmm hmm hmm hmm


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 :

4329 Post No. : 15622 Movie Count :

4303

Hullo Atuldom

This is an attempt to remember two legends of Bollywood with one post.

On reviewing the “anniversaries page” of the blog I found an opportunity to introduce the qawwali song from a 1982 released (exact date being 27/05/1982 meaning the movie is 38 years old), Raj Kumar Kohli produced and directed, multi starrer “Badle Ki Aag” (Flames of Revenge).

The recent stay-at-home gave me the time to sit through this movie. It is a very typical, simple, regular story with a slight twist.

There is a family of father (Kadar Khan), mother (Nirupa Roy), two sons and a daughter. The father in his greed for wealth wipes out his partner’s family but the children of this family escape the mass-murder. Nirupa Roy gets separated from her sons in the course of walking out on her cruel greedy husband. She has her daughter with her. The sons grow up to be dacoits Shera (Dharmendra) and Lakhan (Sunil Dutt) and daughter (Sarika) an aspiring lawyer whose education is funded by Lakhan who has kept in touch with the mother and sister. Lakhan is a do-gooder daku where as Shera is ruthless.

Meanwhile the daughter (Reena Roy) of the affected family has been brought up in a kotha and nurses a desire to revenge her families misfortune. Her brother (Rajeev Anand who was seen in about 5 movies after which he turned producer) grows up to be a cop. There is one more important character in the whole setup- Inspector Amar Verma (Jeetendra) who is the son of Mohanlal Verma (Madan Puri) who is constantly tormented by Shera and Lakhan. Now here is the promised twist- at different times Geeta (Reena Roy) the dancer has had interaction with the three heroes and all of them have developed feelings for her. But she loves the Inspector who has seen her at different times with the other two and misunderstands her. Isn’t that a different kind of love-story. Here I should mention the existence of Bijli (Smita Patil) who loves Shera. Hope the readers have got confused about the very regular story that this movie had. The movie was a success at the Box-Office what with so many stars.

Today’s songs has the three heroes disguised as Qawwals at Janakidas’s son’s wedding. We have Smita Patil dancing around. Here I must admit that this post reminded me of this Qawwali sung by Kishore Kumar, Mahendra Kapoor and Suresh Wadkar. It had music by Laxmikant- Pyarelal and had lyrics by Verma Malik.

Small thoughts after seeing the song on repeat for writing this post- (1) Sunil Dutt and Jeetendra are jumping around and Dharmendra stays put on his mat. (2) Looks like this is the only time when Smita Patil has shared screen time with Jeetendra.

With this song we remember Sunil Dutt and Laxmikant Shantaram Kudalkar on their anniversaries.

Video

Audio

Song-Main jis mehfil mein aata hoon (Badle Ki Aag)(1982) singers-Kishore Kumar, Mahendra Kapoor, Suresh Wadkar, Lyrics-Verma Malik, MD-Laxmikant Pyarelal
All

Lyrics

ho ho ho
ho o ho
ho ho ho ho
ho o ho
main jis mehfil mein aata hoon
main jis mehfil mein aata hoon
main jis mehfil mein aata hoon
main jis mehfil mein aata hoon
main jis mehfil mein aata hoon
aata hoon aata hoon aata hoon
jo chaahta hoon
le jaata hoon
jo chaahta hoon
le jaata hoon
main jis mehfil mein aata hoon
jo chaahta hoon
le jaata hoon

main woh bala hoon
main woh bala hoon
jis se khudaayi darr gayi
main woh bala hoon
jis se khudaayi darr gayi
maut se takkar huyi toh maut tauba kar gayi
tauba tauba tauba
main jis mehfil mein aata hoon
jo chaahta hoon
le jaata hoon
main jis mehfil mein aata hoon
jo chaahta hoon
le jaata hoon

duniya ka iss mutthi mein aaghaaz hai anjaam hai
duniya ka iss mutthi mein aaghaaz hai anjaam hai
aur khuda ke baad har ek
leta mera naam hai
naam hai naam hai
main jis mehfil mein aata hoon
jo chaahta hoon
le jaata hoon

main kya hoooon
main kya hoon
aur kaun hoon tum jaante nahin
main kya hoon aur kaun hoon
tum jaante nahin
donon ka malkul(?) maut hoon pehchaante nahin
main maut se bhi lad jaata hoon

main maut se bhi lad jata hoon
main maut se bhi lad jsata hoon
hoon hoon hoon hoon hoon
jo chaahta hoon le jaata hoon
jo chaahta hoon le jaata hoon
main jis mehfil mein aata hoon
jo chaahta hoon le jaata hoon

main woh azeem hasti hoon
jise waqt na mita sake
arre main woh azeem hasti hoon
jise waqt na mita sake
na aandhi hi uda sake
na shola hi jalaa sake

bandook se jo baat kare
main us nasal ka khoon hoon
jo dushmanon ko kuchal de
main aisa ek janoon hoon
zaalimon aur baaghiyon qaatil luteron ke liye ae
zaalimon aur baaghiyon qaatil luteron ke liye ae
main khud hi toh insaaf hoon
main khud hi ek kaanoon hoon
kanoon se main takraata hoon

kanoon se main takraata hoon
kanoon se main takrata hoon
hoon hoon hoon hoon hoon
jo chaahta hoon le jaata hoon
jo chaahta hoon le jaata hoon
main jis mehfil mein aata hoon
jo chaahta hoon le jaata hoon

zulm hoon aur andher hoon main haan
aur jangal ka sher hoon main haan
ser pe sawa ser hoon main haan haan
tujh mein itna josh nahin
arre tujh ko apna hosh nahin
main bhi toh khaamosh nahin
fitna aur fasaad hoon main
tere liye jallaad hoon main
donon ka ustaad hoon main
fitna aur fasaad hoon main
tere liye jallaad hoon main
donon ka ustaad hoon main
haan haan haan haan
main jis mehfil mein aata hoon
jo chaahta hoon
le jaata hoon
main jis mehfil mein aata hoon
jo chaahta hoon
le jaata hoon
main jis mehfil mein aata hoon
jo chaahta hoon le jaata hoon


This article is written by Avinash Scrapwala, a fellow enthusaist 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 :

4321 Post No. : 15609 Movie Count :

4300

(#Music Composer-Singer-Bappi Lahiri#2)
————————————————
#the Decade of Eighties – 1981 – 1990 #
———————————————————–——

Rising temperatures is normal in our country in the month of May. At this time of the year, we are used to seeing temperatures soaring high. Under normal circumstances, terms like ‘rising temperatures’, ‘global warming’ etc would have been ‘hot’ topic of media and general talk. But the term ‘Covid19’ has taken the wind out of the sail of the usual terms.

The current ‘lockdown’ conditions have given respite to many people from going out for work in this ‘peak summer’. However even at home now people are feeling the ‘heat’ and currently my base-station Vadodara is recording 42 to 44 degC temperature during these days. Since work at my workplace has been resumed since 21st April, I can enjoy the ‘summer’ as I did in the past, an experience that I had “missed” for the last three years thanks to my stint at Kenya for three years.

The pandemic has forced people to be more worried about the other temperature i.e. the ‘body temperature’ or ‘fever’ as we generally talk about instead of worryng about atmospheric temperature. The current situation has also brought ‘Infrared thermometers’ (‘temperature guns’:) ) to daily usage and checking of body temperature has become customary for all venturing out of home for work. For me it is checked at our company bus stop then after arrival at workplace and before leaving the workplace. (Nose masks, Sanitisers and Handwash have also become a part of life now.)

Coming back to the ‘fever’ or ‘bukhaar’ it so happened recently that family members of one of our family friends were admitted to hospital in anticipation of ‘Covid19’. Since one of the family members was working in health department it was easy for ‘Corona’ to attack this person first. Because of to this one-person other family members also got infected and one by one they were admitted to hospital (thank god all of them have recovered and they are now back to home fully ‘fit’ after getting treatment). Since my daughter has her friend from this family, I was enquiring with her everyday about their health, after returning from office. One day she told me that her friend’s father is having ‘fever’ and the temperature was around 100. I do not know from where, but I immediately said “well, no need to worry’ the danger level is more or ‘104’ I think?”

Since she has been a ‘science student’ (more a ‘doodle artist’ now) I asked, “Is there anything that 104-degree fever is dangerous”. Guessing where I was heading, she immediately asked me is there any song on that? Or a movie I had in mind? “‘jinko filmon aur gaanon ka bukhaar ho, unke dimaag mein to hameshaa gaane hi chalte rahenge na?” (and now my family members have taken it as ‘normal’ for me 🙂 )

Yes, I know it there was a song something like … “ek sau chaar bukhaar!!!”

Though I said it but even I had not visited or listened to this song for many years or I should say almost thirty-six or thirty-five years now. I only remember the lines “ek sau chaar bukhaar, ek sau chaar bukhaar”.  I remember there was this song which I had listened to, and it was a part of all ‘disco’ compilations then in 1982-1983 or 1983-1984. But I had forgotten it after that, but the current ‘pandemic’ reminded me of this song. We are going to listen and enjoy this song today. Fortunately, the audio and a partial video link of this song was available when I looked for it.

I was not aware about any other details of this song like the movie, singers etc. I was only remembering its line “ek sau chaar bukhaar”. From the audio I got to the movie name this song was from and from the movie name I found the movie details in HFGK Vol-VI. The movie name is ‘Sugandh’ – must be an obscure movie, I think.

“Sugandh-1982” was directed by Ravikant Nagaich for Gopi Enterprises, Madras. He was also the producer of this movie and cinematographer too. This movie has Shakti Kapoor, Aarti Gupta, Anand Balraj, Paintal, Bindu, Birbal, Sunil Thapa, Gulshan Grover, Leena Das, Heena Kausar, Goga Kapoor, Prem Bedi, Mukri, Kasuhik Basin, Poornima, Amrish Puri and others. HFGK mentions that this movie was based on a novel ‘Khilaadi’ by writer Rajvansh. This movie was passed by Censor Board on 08.07.1982 with restricted viewing i.e. with ‘A’ Certificate.

As per information of this movie provided in HFGK, it has total seven songs in it. Lyricist Ramesh Pant wrote four songs and lyricist Farooque Kaiser wrote three songs for this movie. This song is written by Ramesh Pant, The seven songs include one song in two parts. Music of this movie was composed by Bappi Lahiri and Anil, Arun and Bansari Lahiri were his assistants in music of this movie. Kishore Kumar, Asha Bhonsle, Usha Mangeshkar, Shubha Dhote and SP Balasubramanian had given their voices to the songs in this movie.

1982-83 was the year of matriculation for me, and I remember that after finishing the exams we were relaxed and that time the we were regularly listening song on radio and around. And I remember that the songs of ‘Nikaah’ and ‘Disco Dancer’ were heard very frequently then and so were there many disco numbers, as ‘Disco’ wave and ‘Bappi Da’ era had already ‘taken-off’. Going by the date this movie was passed by Censor Board and guessing its releasing time I think the songs of this movie were over shadowed by the songs of the movie ‘Disco Dancer’ (1982) which came in December that year (passed by Censor Board on 10.12.1982).

On this auspicious 4321st day for the blog, let us get introduced to movie number 4300 on the blog with this song 🙂

This song is sung by Kishore Kumar with his characteristic style and gusto. Enjoy how every time he sings ‘disco o o o’ and ‘ek sau chaar bukhaar’ in this song. On screen Anand Balraj is lip syncing in Kishore Kumar’s voice and accompanying him performance is Leena Das while we can see Mukri, Paintal, Gulshan Grover and others present in picturization of this song.

Enjoy this foot tapping disco song. . .

[Ed Note: With this song, ‘Sugandh’ (1982) becomes the 4300th movie whose songs are represented in the blog.]

Audio (Full)

Video (Partial)

Song – Bukhaar ye hai disco bukhaar (Sugandh) (1982) Singer – Kishore Kumar, Lyrics – Ramesh Pant, MD – Bappi Lahiri
Male chorus
Female chorus
All Chorus
Mukri
Paintal

Lyrics

d
i
s
c
o

disco disco
disco disco
disco disco
disco disco
aa aa aa nachnaa
aa aa aa nachnaa
aa aa aa nachnaa
aa aa aa nachnaa
disco disco
disco disco

he he
arey kya huaa isko

ha ha ha ha
ek sau chaar bukhaar

bukhaar ye hai disco bukhaar
ye hai disco bukhaar

ek sau chaar bukhaar
ek sau chaar bukhaar

ye disco ka shikaar hai ae
isko chadhaa bukhaar hai ae
degree ek sau chaar hai ae
har ilaaj bekaar hai ae
arey
jhoomne do
naachne do
gaane do
disco o o o
ek sau chaar bukhaar
ek sau chaar bukhaar
disco disco
disco disco

bukhaar ye hai disco bukhaar
ye hai disco bukhaar

waah waah
waah waah
waah waah
waah waah

dil iska rangeen hai ae
soorat bhi namkeen hai ae
phir bhi is se rehnaa door
maamla sangeen hai ae
ye bijlee hai
jhatkaa lagtaa chhoone se jisko
disco o o o
ek sau chaar bukhaar
ek sau chaar bukhaar
disco disco
disco disco

bukhaar
ye hai disco bukhaar
ye hai disco bukhaar

aa aa aa naachnaa
aa aa aa naachnaa

jawaan dilon mein josh hai ae
kisko apnaa hosh hai ae
ye raftaar jawaani ki ee
nahin kisi ka dosh hai ae ae
phir kab aaye aisa maukaa
maaloom hai kisko
disco o o o
ek sau chaar bukhaar
ek sau chaar bukhaar
disco disco
disco disco

bukhaar
ye hai disco bukhaar
ye hai disco bukhaar

hey ae
hey ae
hey ae
hey ae

dil ko roz machalne do o o
pyaar ke rang badalne do o o
koyi hamaari khushiyon se ae ae
jaltaa hai to jalne do o
pyaar karo to thhokar maaro
tum har bandish ko
disco o o o
ek sau chaar bukhaar
ek sau chaar bukhaar
disco disco
disco disco

bukhaar
ye hai disco bukhaar
ye hai disco bukhaar

ek sau chaar bukhaar
ek sau chaar bukhaar
ek sau chaar bukhaar
ek sau chaar bukhaar
bukhaar
ye hai disco bukhaar
ye hai disco bukhaar

 

 


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. 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 :

4305 Post No. : 15576

Imagine, a tall and lanky young man from India, trained to be a wrestler, and a state level sportsman from Bengal, appearing in the Indian contingent at the Olympics in 1936 / 1940 / 1944. Unfortunately (or maybe fortunately) the Olympics of 1940 and 1944 were cancelled due to the ongoing World War II. Had there been peace in the world during those years, maybe the course of history of the Hindi film music may have been different.

Well OK, the previous paragraph is quite speculative. But yes, the fact is that in his younger years, PC Dey was much more inclined towards body building and wrestling. Trained by one Gorobabu, a pehalwan of repute in Bengal, he represented his institution, Vidyasagar College of Calcutta (now Kolkata) at the state level championships and reached the finals in his category. Never mind that his uncle, the renowned KC Dey, would continue to press him to take his music training more seriously. But that was not to be so. Well, for some time at least.

The young Prabodh Chandra developed weakness in his eyesight, which became a handicap in continuing his proposed career as a wrestler. Getting into the wrestling ring with eyeglasses was never a good option. And so, this vision problem coupled with the second World War eventually decided the career path for this young man. And that, to the greater gain and benefit for the music lovers of this country.

Remembering Manna Dey, the stalwart singer of Indian film industry, on the 101st anniversary of his birth today. Born in 1919, we celebrate it today in 2020.

His uncle, KC Dey would goad him, guide him and train him with a vision to for Manna Da to become one of the top singers in the country. In 1942, KC Dey was preparing music for the film ‘Tamanna’. He called upon his nephew to sing a duet with Suraiya – “Jaago Aayee Usha. . .”. With this song, the film career of Manna Dey was launched.

A little time later, Vijay Bhatt and Shankar Rao Vyas approached KC Dey to request him for playback singing in their upcoming film – ‘Ram Rajya’ (1943). Understandably, KC Dey declined the offer, since he would never give playback to any other actor. Providence would have it that the young Manna was also in the room at that time. Vijay Bhatt then directed his attention to the nephew singer. The consent was given and the agreement was in place. Manna Dey would sing for Shankar Rao Vyas in this upcoming film. The song “Tyagmayi Tu Gayi. . .” is the first solo song recorded by Manna Da.

More recordings followed. And then we come to 1950, and the film ‘Mashaal’. The song is “Upar Gagan Vishal“. Manna Dey, and his voice have arrived on to the Hindi film stage.

But then, yes, there is more to his voice than just the film songs. There is a wonderful set of non-film songs that he has recorded during his career. I bring to attention this endearingly beautiful piece, that is written by Madhukar Rajasthani. The music composition is by Manna Da himself. A wondrous song of the first tryst between the lovers. So less words, so short and sweet. And yet, the entire saga of that encounter is ensconced in this brief song of two antaraas. A small pearl from the nose pin of the damsel, gets loose and is lost. And the poet says,

kajraari akhiyaan
reh gayin roti re. . .

Beautiful, simply delightful – that is the softness of this singing voice. Manna Dey – at 101.


Song – Sajni. . . Nathli Se Toota Moti Re (Manna Dey – NFS) (1982) Singer – Manna Dey, Lyrics – Madhukar Rajasthani, MD – Manna Dey

Lyrics

sajni..ee

sajni..ee

nathli se toota moti re
nathli se toota moti re
kajraari akhiyaan
reh gayin roti re
kajraari akhiyaan
reh gayin roti re
nathli se toota moti re
sajni..ee
nathli se toota moti re

roop ki agiya
ang mein laagi
ang mein laagi
kaise chhupaa..aaye
laaj abhaagi
laaj abhaagi
manwa. . .
kehta. . .
bhor kabhi na hoti re
kajraari akhiyaan
reh gayin roti re
nathli se toota moti re

bholi dulhaniya
palken jhukaaye
palken jhukaaye
ghunghatwa mein
sehme lajaaye
sehme lajaaye
balmaa..aa
padhaaye
preet ki pehli pothi re
kajraari akhiyaan
reh gayin roti re
nathli se toota moti re

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

सजनी॰॰ई

सजनी॰॰ई

नथली से टूटा मोती रे
नथली से टूटा मोती रे
कजरारी अखियाँ
रह गईं रोती रे
कजरारी अखियाँ
रह गईं रोती रे
नथली से टूटा मोती रे
सजनी॰॰ई
नथली से टूटा मोती रे

रूप की अगिया
अंग में लागि
अंग में लागि
कैसे छुपा॰॰आए
लाज अभागी
लाज अभागी
मनवा॰ ॰ ॰
कहता॰ ॰ ॰
भोर कभी ना होती रे
कजरारी अखियाँ
रह गईं रोती रे
नथली से टूटा मोती रे

भोली दुलहनीया
पलकें झुकाये
पलकें झुकाये
घूंघटवा में॰ ॰ ॰
सहमे लजाये
सहमे लजाये
बलमा॰॰आ
पढ़ाये
प्रीत की पहली पोथी रे
कजरारी अखियाँ
रह गईं रोती रे
नथली से टूटा मोती रे


This article is written by Raja, a fellow enthusaist 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 :

4270 Post No. : 15500 Movie Count :

4271

Ok, so Atul approached me a few days ago requesting me for a post for a special occasion.

My posts have become very infrequent here – in fact, before my latest post on Sahir’s birth anniversary (8th March), my previous post was on his death anniversary last year (25th October). So a gap of more than 4 months.

But then, like often happens in Test cricket, you wait and wait for a wicket to fall – and when one falls, another quickly follows.

Same has happened here. Following quickly on the heels of the 8th March post, here is another one.

And on such an occasion that I just could not refuse. Let’s just call it the perfect yorker. 🙂

Friends, I am SO honoured here to present Rafisaab’s 3000th song on this blog.

Please allow me now to take a deep breath to let this sink in.

I don’t remember now when we got to Rafisaab’s 1000th and 2000th songs, but as we scale new heights, it feels like we’re entering rarified space.

3000 songs of one artiste on our blog is quite an astonishing achievement. Of course, we’ve already got there with Lata Mangeshkar (she’s going strong with 3500+ right now) but Rafisaab is only the second artiste to hit this milestone here.

Even as I write this post, I feel extremely humbled – and undeserving of this honour. This post is supposed to be a tribute not just to Rafisaab, but to this blog itself.

And there have been so many more here, starting with Atul himself, who deserve to write this. My contributions have dramatically reduced – while there are at least a dozen others (actually many more), who contribute much more, and far more regularly.

But since I am a big Rafisaab fan, I think Atul approached me for this. (In fact there are even bigger Rafisaab fans here – but let’s not start comparing. :-))

Having said all that, let’s talk a bit about Rafisaab here – and our love for him.
I say “our”, because I know I speak for everyone here when I say, we all love Rafisaab here. Only the degree might differ.

Speaking for me personally (and maybe for others too), it has never been about just Rafisaab’s voice.

Sure, for his voice alone, he would easily have had a special place in my heart. That divinity in his voice, his ability to transport me into a different realm altogether, the intonations, the “thehraav” – all of these put him on a level that’s stratospheric for me.

I have spent hours listening to Rafisaab, often intending to listen to just one song. 🙂 I’d listen to one, then get tempted to listen to another, then another, and so on. And before I’d realize it, the minutes would turn into hours. I’ve even spent all night listening to him (ok, that was a few years ago, when I coul stay awake all night). 🙂

It has been said many times before, and by many, but I will say it again – at least in HFM, I haven’t seen any singer with the versatility of Rafisaab. He could deliver every single song in exactly the mood and range required for it. Which is why he could do rock and pop singing just as comfortably as he could do bhajans and ghazals.

Rafisaab could totally get you into any mood the song demanded. He could just mesmerize you into it.

One moment he’s singing the breezy “pukaarta chala hoon main” or the sensuous “aaja re aa zaraa”, the next he’s singing the bhajan “sukh ke sab saathi”. 🙂

One moment, you’re imagining yourself as Shammi Kapoor with “aaja aaja main hoon pyaar tera”, the next you’re Bharat Bhushan lamenting “o duniya ke rakhwaale”. 🙂

They said of Rafisaab that he was an extremely shy and quiet person outside the recording room. You could barely hear his voice.

But once, in the room, recording?

He was a totally different person.

He would be so totally immersed in the song, giving it the very best he could, that you couldn’t believe it was the same person who, outside the room, hardly ever spoke.

In this sense, Rafisaab was a thorough professional. He always sought to give his very best, regardless of who the composer was.

In stature, he was often far higher than most of the composers he sang for. So it is only normal that composers might have hesitated to ask him for a retake, and could have just gone with whatever had been recorded, even if they were not fully satisfied.

But such was Rafisaab’s humility, such was his professionalism, such was his lack of ego, that he would ask the composer if it was ok – and if the composer had any suggestions for improvement, Rafisaab would redo it to the composer’s satisfaction.

That is truly the sign of greatness of an artiste.
And, considering how many successful artistes end up with ego too to match, Rafisaab stands out as an exception.

There are so many other things about Rafisaab that speak of the greatness of him as a human being.

There are other examples of Rafisaab’s nature that are also endearing.

For example, the fact that he sang for composers for a nominal fee, even just a token one rupee, because he knew they could not afford to pay him fees compatible with his stature.

Even in the royalty issue, which resulted in his fallout with Lata, his stand was typical. I don’t want to play judge here, and talk about whether his/Lata’s action was right or wrong, but it was typical of Rafisaab to feel that he had been adequately compensated for the work he had done, and shouldn’t ask for more.

Rafisaab’s generosity went beyond the industry. He provided financial support to people who did not even know who their benefactor was.

All of this, without the slightest arrogance. When someone would praise one of his songs, Rafisaab would just smile and point upwards , as if to say “sab ooparwaale ki kripa hai”.

There’s SO much one could learn from Rafisaab and his values. Ever-polite, ever-professional, ever-helpful, ever-smiling, ever-humble. And ever the family man too, because he always enjoyed spending time with his family.

I’ve written many times about him here – and much of what I’m saying here is repetitive (and possibly boring), but it always gives me great joy to write about Rafisaab, whatever the occasion.

I invariably then write about his character and not just his songs, because his character amazes me just as much as his amazing voice.

So the fact that we have now got 3000 songs of Rafisaab on this blog is a hugely satisfying achievement. My hearty congratulations to Atul, and to everyone else who has been part of this process.

Oh, and in all the discussion about Rafisaab and his 3000th song, I almost forgot.

There’s another milestone to celebrate today – today’s song also happens to be the 15500th song on the blog.

Yes, 15,500.

There was a time, in the early years of the blog, when every century was a major milestone. Then, as the centuries began getting clocked with regularity, the celebration around them decreased. We had entered the chiliad league, so our major milestones became 1000, 2000, 3000 and so on….now past 15000.
The 100s became minor milestones.
While this is understandable to some extent after 155 centuries, I still think every century deserves to be celebrated.

Let us NEVER forget that EVERY song involves a fair amount of effort, and though contributors (*cough*, *cough*) do their bit, every song still requires time & effort from Atul/Sudhirji. And they’ve put this effort 100 times, since 15400. So, I definitely think they deserve appreciation and a round of applause for this.

Now onto the song for today.

You can always trust Atul to unearth songs that have long faded from people’s memory. Or maybe they never got attention when they were released.

The same applies to films too. After all, the Hindi film industry is prolific, with hundreds of films being released every year, and thousands of songs.

As a result, many songs and films never get attention.

This blog has always tried to unearth such songs and films, and to give them their share in the limelight, even if it is several years after their release. After all, every song involves a lot of effort from many artistes. And for a film? The effort is several times more – involving so many more people, in various capacities, each one playing his/her role hoping to see the film succeed at the box-office.

I don’t know the success rate of films, but I’d say there are far more films that don’t click at the box-office, than those which do. Let’s not get into reasons here – I’m no pundit – but I do always like to acknowledge the effort that has gone into making a film anyway.

Why so much of a build-up in this post?

Because the song for today has as much to do with the film as with the song itself.

Prima facie, the song looks like a routine song. It’s a qawwali, with its usual nok-jhok, and, as isn’t uncommon in movies, with disguises. 🙂

Now I’m a sucker for qawwalis, so even though this probably isn’t in the same league as many more illustrious ones, I’m happy to just listen to it, and enjoy it.
Besides, this was 1982 – and by then, qawwalis were slowly on the decline. The times had changed, and naturally films had to reflect the changed times.
So I wouldn’t judge this qawwali, keeping other classics in mind. 🙂

When Atul sent me an e-mail requesting me for a write-up, he explained why he picked this song. It has to do with not just the song, but the film as well.

This is what he said:

The song that I have chosen for the occasion is a special song. It is a rare song. It is composed by an obscure music director called B T Singh. It is the only song of B T Singh with Rafi in his career. HFGK mentions that music was arranged and composed by Uttam Singh. He could be assistant to B T Singh.

The movie is an obscure movie called “Chambal Ke Daaku”(1982). This movie was Produced by R S Sandhu , written and directed by S Azhar for S L Cheema films, Bombay.
The USP of the movie was “Real dacoits pesented first time on screen.”
The movie had real dacoits viz Mohar Singh, Madho Singh, Fateh Singh, Lakhan Singh, Kalyan Singh and hundred of ex dacoits, and actors like Nazneen, Javed Khan, Madhumalini, Sulochana, Malti Joshi, Yasmeen, Birbal, Dushyant, Deep, Ashok, S S Khan, Nirmal Singh, Shamsher Singh, Jeewan Singh, Joginder Singh, Amreek Singh, Joginder Singh Laddhar, Mahendra Singh, Chandrakala, Ramesh Deo, Sohel Khan, Joga Singh, Sayyad Khan, Praveen Lakhad, Gajendra Gadge, Rajkumar, Baw Brar, Shabbir Khan, Guest apppearances by Padma Khanna, Hina Kausar, Mahendra, Raza Murad etc.”

Wow!
So now we have a film here where real-life dacoits just decided to act in a film. Maybe there are other examples too (what about “Jis Desh Mein Ganga Behti Hai”)?

In any case, it is a rather fascinating scenario. And of course, when I learnt about this, my mind began working overtime, imagining all sorts of things.

– Were they active dacoits, wanted by the police? If so, how did they get to act? Or had they served their sentence, and reformed? In which case, they shouldn’t be judged on their past, of course.
– How much were they paid?
– Was it maybe just a smart move for the producer to co-opt real-life dacoits so that not only does he have a USP, but he also has access to their expertise, and could film in locations he wouldn’t otherwise dare to?
– How did co-stars, and the rest of the crew feel? Imagine having chai with a real-life dacoit. You’d probably not want to upset him, or even crack a joke about him, for fear of him taking offence at it
– In the shooting scenes, was anyone worried that the dacoits might just get excited and take it all too literally?

Such thoughts, and more, came to my mind, because this was reel life and real life potentially getting mixed up. The key word here is “potentially”. 🙂

Chambal itself was a common film theme in those days – especially in the 70s and early 80s. Films mirror real-life events, and dacoity used to be in the news off and on in those days. There were plenty of dacoit films made in that time, the most famous being Sholay, of course. 🙂

I remember VP Singh, CM of UP (1980-82) came down hard on dacoity in his time, and even got a lot of praise for it. But soon after, there was a major dacoity, as if to spite him – and he offered to resign as CM.

I myself used to travel a lot by train from Orissa to Delhi in the early 80s, and go through Gwalior-Morena (I think Dholpur in Rajasthan also), which I think is the Chambal area. The landscape would be “interesting”, and would trigger my imagination. 🙂

Anyway, enough of digression.

Back to the song, it is sung by Rafisaab (of course), together with Asha Bhosle and Manna Dey. Rafisaab passed away in 1980, so it’s possible this is one of his last few songs – unless the film took a while to get released.

I must admit I couldn’t recognise many faces – but Ramesh Deo is, of course, unmistakeable.

Hope you enjoy the song, and imagine yourself singing it with real-life dacoits in Chambal Valley. 🙂

And once again, congratulations to the blog for clocking Rafisaab’s 3000th, and the blog’s 15500th.

Audio

Video


Song-Uljhan ho chaahe koi aa jaaye mushqil (Chambal Ke Daaku)(1982) Singers-Rafi, Asha Bhonsle, Manna Dey, Lyrics-Gauhar Kanpuri, MD-B T Singh
Male chorus
Female chorus

Lyrics

banaayenge bhanwar mein raasta
aur lahron pe saahil
bhanwar kehte hain uljhan ko o
lahar ka naam hai ae ae mushqil

uljhan ho chaahe koi aa jaaye mushqil
uljhan ho chaahe koi aa jaaye mushqil
mil ke rahegi yahin apni manzil
mil ke rahegi yahin apni manzil
kehta hai aaj yehi mera dil
uljhan ho chaahe koi aa jaaye mushqil
uljhan ho chaahe koi aa jaaye mushqil

kahaan se aaye ho
bolo ji kya iraada hai

Ji kya iraada hai
hamaari baat hai
ya doosron se waada hai

ye dil ka raaz hai
dil mein hi rehne do dilbar
haan rehne do dilbar
banega baat ka afsaana honthon pe aa kar
dilon ke raaz ko
o o o o o o
dilon ke raaz ko
nazron se ham to
kehte hain
kehte hain
kehte hain
ham si haseenon ko samjho na gaafil
gaafil
ham si haseenon ko samjho na gaafil
uljhan ho chaahe koi aa jaaye mushqil
uljhan ho chaahe koi aa jaaye mushqil

haaye
haseen adaaon ka rangeen nazaara dekhenge
nazaara dekhenge
ham apni aankh se kismat ka taara dekhenge
haaye ae ae ae
ae ae ae
aa aa aa aa aa
aa aa aa aa
nazar nawaaz
nazaaron mein jee nahin lagta
haaye ae ae
haseen chaand sitaaron mein aen
jee nahin lagta
sa ni ma dha pa ni
dhi ma pa ni sa
sa ni sa dha ni
pa dha
ma pa
ma ga ma
ga re ga sa re
sa re ga ma pa
nigaah e naaz ka hamko ishaara mil jaaye

ishaara mil jaaye
hamen bhi jeene ka
koi sahaara mil jaaye

isharaa paaoge ae ae ae
isharaa paaoge
jhaanko hamaari aankhon mein
aankhon mein
aankhon mein
chaand se chehre pe
taaron ki jhilmil
jhilmil

chaand se chehre pe taaron ki jhilmil
uljhan ho chaahe koi aa jaaye mushqil
uljhan ho chaahe koi aa jaaye mushqil

samajh gaya hoon main
dil aur nazar ke afsaane

nazar ke afsaane
anaar ek hai
aur uske do hain deewaane

deewaana kaun hai
duniya ko ye bataana hai
yahi bataana hai
nazar ke teer se taqdeer aazmaana hai
jo hoshiyaar hai
ae ae ae ae ae
jo hoshiyaar hai
duniya usi ke kaabil hai
kaabil hai
kaabil hai
mehfil se baahar bhi hai ek mehfil
mehfil

mehfil se baahar bhi hai ek mehfil
uljhan ho chaahe koi aa jaaye mushqil
uljhan ho chaahe koi aa jaaye mushqil
kahin uljhan hai
kahin mushqil hai

kahin mehfil kahin manzil
ye lo mera fasaana
ye kissa hai puraana
oho
hamaara dil na todo
oho
ye dil ki bat chhodo
oho
mere nazdeek aao
oho
qayaamat na uthhaao
oho
tumhaara dil hai patthar
aha
magar tum ho sitamgar
oho
mujhe tarpaaya tumne
oho
mujhe uljhaaya tumne
oho
tujhe hamne pooja
oho
mere dil mein hai dooja

oho
kahaan hai wo kidhar hai
oho
idhar hai ye udhar hai


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: 4270 Post No.: 15499

———————————————–——————————-
Blog 10-Year Challenge (2010-2020) – Song No. 14
——————————————————————————

In my personal opinion, “Namak Halaal”(1982) is one movie that had come at a critical juncture in the history of HFM and also in my personal life as well. 1982 was a time when the golden era of HFM was over. Songs and also movies were plainly becoming ridiculously rubbish. This was my personal opinion and many others shared this view.

But common people, what is often described as the LCD (Lowest common denominator) could not care less. This section of moviegoers, who are not much into thinngs like class, taste etc and are more into instant gratification loved whatever was being dished at that time.

And what was that ? That was disco. Most of them mindless, brainless kind of it. Standard formula of those days was to fill the movie with a few loud disco music where lyrics did not matter much. The lyricist only had to fit in a few arbitrary words including the word Disco, and the lyrics was done. Music director had an easier time. They only had to lift tunes of disco music from west. This lifting was shameless and blatant, without giving any credit to the original composer , and obviously without buying its rights.

The person who was almost singlehandedly responsible for this rot was Bappi Lahiri.

But Bappi Lahiri was not always like that. He started his career in mid 1970s and created some veryfine compositions. His music was so catchy that I often mistook his composition for R D Burman compositions, which is real high praise for a music director. It was he who composed such catchy and often iconic songs such as Chalte chalte mere ye geet yaad rakhna(Chalte Chalte)(1976), Aali re aali re Holi(Zakhmee)(1975), Pyaar maanga hai tumhi se(College Girl)(1978), Maana ho tum behad haseen (Toote Khilone) , Haan pahli baar ik ladki mera haath pakadkar (Aur Kaun), Hamse nazar to milaao (Ikraar), Tumhaaraa pyaar chaahiye mujhe jeene ke liye (Manokaamna) etc.

The problem with these tunes was that most of these tunes were class but these movies and its songs often went unnoticed. As a result, Bappi Lahiri’s career was going nowhere. So he finally decided that “to hell with class. I will compose music that sells.” So he started creating plagiarised disco songs. These songs were so popular that the entire music industy was forced to copy his disco music. And that sounded the death knell for the golden era of HFM.

Ironically, Bappi Lahiri kept producing some classy compositions even during the post Goolden era. My simple observation is that he did so when he used golden era singers in movies of golden era directors. On rest of the occasions, when mediocre producers and directors along with mediocre starcast was used, Bappi Lahiri would produce mediocre plagiarised music, and he would insist on giving playback for the hero in such movies.

“Namak Halaal”(1982) was directed by a golden era director namely Prakash Mehra. This movie, which was produced by Satyendra Pal for Chaudhary Enterprises, Bombay was a A grade movie with top stars of the day. Amitabh Bachchan was the hero. Others in the movie were Waheeda Rehman, Shashi Kapoor, Parveen Babi, Smita Patil, Satyen Kappu, Ashalata, Harish, Chandrashekhar, Dev Kumar, R S Chopra, Tuntun, Asha Chandra, Aazaad, Bob Cristo, Viju Khote, Jinder Walia, Nandita Thakur, Ram Sethi, Ranjeet Sood, Om Prakash, Ranjeet etc, with special appearances by Suresh Oberoi and Kamal Kapoor.

I had watched this movie by bunking my college (so what is new 🙂 ). Being a movie goer of high standards, I did not like the movie much. Having watched the movie, I went to the college the next day in what was the college recreation room which has facilities for indoor games like carrom board, TT etc. Some sports magazines were also available there.

There a few staff were playing carrom. While playing it, one of the staff, who had watched the movie, animatedly described the movie in glowing terms to his colleagues, leaving others suitably impressed and overwhelmed. He certainly made them eager to watch the song. I was listening to the discussion and I too got inflenced and realised that the movie was not all that bad that I had thought. This movie indeed was fun to watch. subsequently, I have watched parts of this movie and realised that this movie has some parts that have become all time classic scenes. For instance, there is this scene where hotel manager (played by Ranjeet) asks hairon Singh (played by Amitabh Bachchan) if he can speak English. The scene that follows can amuse movie goers even today. It is this movie that gave us a classic dialogue- “Moochhen ho to Nathhulal jaisi warna na hon.”

The movie had five songs in it. These songs had the golden era singers in it. Kishore Kumar sang for Amitabh Bachchan and his singing made all the difference. No one else could have sung these songs with so much energy, verve and midas touch. And the picturisation of these songs were fantastic. There are cases when poor picturisation destroys the effect of a great song. But that is not the case in this movie. all the songs have been picturised superbly. watching the picturisation of these songs is a highly entertaining and fulfilling experience.

Four of these songs have been covere in the past. Here are the details of the songs already covered in the blog:-

S N Song Song number in blog Date of posting
1 Pag ghunghroo baandh Meera naachi thi 143 11-Oct-2008
2 Jawaan jaaneman haseen dilruba 2364 27-Mar-2010
3 Raat baaqi baat baaqi 8622 1-Sep-2013
4 Thhodi si jo pee li hai 14951 23-Mar-2019

One can see that the previous song from the movie was covered more that one year ago. After covering that song, I had become aware that only one song from the movie remained. But this song was such a song that it deserved a befitting writeup, and that required time. And I for some reason or the other was not able to find time for a writeup.

So I kept dilly dallying and things kept getting delayed. Finally a time came when I was informed that “Namak Halaal”(1982) becomes eligible for the blog ten year challenge. I informed other potential writers- “Dont dare touch it. It is my song.” 🙂

So here I am, finally forced to bring thing song onboard in the blog.

This song “aaj rapat jaaye to hamen na uthhaiyo” is a rain song extraordinaire. And it becomes so because it had been sung with gusto by Kishore Kumar and Asha Bhonsle. It is difficult to think of any other singers who could have sung this song with this much aplomb.

The song was picturised on Amitabh Bachchan and Smita Patil as a rain song. In rain songs, the actors , especially the lady gets dangerously wet. This song is one of the most dangerously wet sari song of them all. We are aware of several occasions when censors have ordered that songs be deleted because they found the picturisation as objectionable. Some examples being Balmaa khuli hawaa mein (Kashmir Ki Kali) and Jaata kahaan hai deewaane sab kuchh yahaan hai sanam (CID). Censors found the depiction of the female character objectionable in these songs. So these songs were deleted from the movie. Only their audio remain. and I need not tell you how popular these songs are.

When I posted the previous song from the movie, which was Thhodi si jo pee li hai , and which happened to be posted on 3900th day of the blog, our beloved Khyati jee censured me as well as Sudhir jee.

Congratulations Atulji and team on reaching this milestone.
I am thinking what kind of spell ASAD is under recently? Aap nashe waali baat kar rahe ho, seedhe shaade Sudhurbhai pichkaari maarne ki baat kar rahe hai… Just concerned or rather worried. 😉
Regards
Khyati

My comment was:

Agla jo gaana bacha hua hai is movie ka, that will increase your anxiety about us even more. That song is- aaj rapat jaaye. 🙂 🙂

Khyati jee commented

That song should be played/posted behind the curtain. Bachhon pe bura asar padega. 😉

The picturisation of this song is indeed like that. Fortunately Indian censors had become more liberal since the days of 1950s and 1960s and this song passed muster with the censors. The fact that this movie was directed by a heavyweight diirector and starred the biggest star of the day, who also had strong political connections must have certainly helped.

So, here is this song, the fifth and final song from “Namak Halaal”(1982). as part of blog ten year challenge. With this song, all the songs of “Namak Halaal”(1982) have been covered and this movie thus joins the list of movies that have been YIPPEED in the blog.

Devnagri script lyrics are provided by Avinash Scrapwala, a person who keeps an eagle eye on “blog ten year challenge” opportunities. 🙂

Video

Audio

Song-Aaj rapat jaaye to hamen na uthhaiyyo (Namak Halal)(1982) Singers-Kishore Kumar, Asha Bhonsle, Lyrics-Anjaan, MD-Bappi Lahiri

Lyrics

aaj rapat jaayen to hamen na uthhaiyyo
aaj phisal jaayen to hamen na uthhaiyyo
hamen jo uthhaiyo to o
hamen jo uthhaiyyo to
khud bhi rapat jaiyo
haan khud bhi phisal jaiyo
aaj rapat
aa ha aaj rapat jaayen to hamen na uthhaiyyo

barsaat mein thhi kahaan baat aisi
pehli baar barsi barsaat aisi
barsaat mein thhi kahaan baat aisi
pehli baar barsi barsaat aisi
kaisi ye hawa chali
ha
paani mein aag lagi
ha
jaane kya pyaas jagi re ae
bheega ye tera badan
ha
jagaaye meethi chubhan
ha
nashe mein jhume ye mann re
kahaan hoon main
mujhe bhi ye hosh nahin aa

ha ha ho ho ha ha ho ho
aaj behak jaayen to hosh na dilaiyo
aaj behak jaayen to hosh na dilaiyo
hosh jo dilaiyo to o
hosh jo dilaiyo to
khud bhi behak jaiyo
aaj rapat
aa ha aaj rapat jaayen to
hame na uthhaiyyo

baadal mein bijli baar baar chamke
dil mein mere aaj pehli baar chamke
baadal mein bijli baar baar chamke
dil mein mere aaj pehli baar chamke

haseena dari dari
ha
baahon mein simat gayi
ha
seene se lipat gayi re ae
tujhe to aaya maza
ha
tujhe to soojhi hansi
haa
meri to jaan phasi re
jaan e jigar kidhar chali
nazar churaa ke
aa ha ho ho ha ha o ho
baat ulajh jaaye to aaj na suljhaiyo
baat ulajh jaaye to aaj na suljhaiyo
baat jo suljhaiyo to o o
baat jo suljhaiyo to
khud bhi ulajh jaiyo

aaj rapat
aa ha aaj rapat jaayen to
hame na uthhaiyo

baadal se chham chham sharaab barse
saanwri ghata se shabaab barse
baadal se chham chham sharaab barse
ho saanwri ghata se shabaab barse
boondon ki baji paayal
ha
ghata ne chhedi ghazal
ha
ye raat gayi machal re ae
dilon ke raaz khule
ha
fiza mein rang ghule
ha
jawaan dil khulke miley re ae
hona thhaa jo hua wahi
abb darna kya
aa ha
o ho aa ha ho ho
aaj doob jaayen to hamen na bachaiyo
aaj doob jaayen to hamen na bachaiyo

hamen jo bachaiyo to o o
hamen jo bachaiyo to
khud bhi doob jaiyo
aaj rapat
aa ha aaj rapat jaayen to
hame na uthhaiyo
aaj phisal jaayen to hamen na uthhaiyo
aa ha
o ho
aa ha
o ho

——————————————–
Devnagri script lyrics (Provided by Avinash Scrapwala)
———————————————
अरे अरे अरे
ना ना ना ना
ना ना ना ना आ

आज रपट जाएँ तो
हमें ना उठैय्यो
आज फिसल जाएँ तो
हमें ना उठैय्यो
हमें जो उठैय्यो तो ओ
हमें जो उठैय्यो तो
खुद भी रपट जैय्यो
हाँ
खुद भी फिसल जैय्यो
आज रपट
आ हा
आज रपट जाएँ तो
हमें ना उठैय्यो ओ

बरसात में थी कहाँ बात ऐसी
पहली बार बरसी बरसात ऐसी
बरसात में थी कहाँ बात ऐसी
पहली बार बरसी बरसात ऐसी
कैसी ये हवा चली
हाँ
पानी में आग लगी
हाँ
जाने क्या प्यास जगी रे ए
भीगा ये तेरा बदन
हा
जगाये मीठी चुभन
हा
नशे में झूमें ये मन रे ए
कहाँ हूँ मैं
मुझे भी ये होश नहीं आज

आ हा
ओ हो
आ हा
ओ हो
आज बहक जाएँ तो होश न दिलैय्यो
आज बहक जाएँ तो होश न दिलैय्यो
होश जो दिलैय्यो तो ओ ओ
होश जो दिलैय्यो तो
खुद भी बहक जैय्यो
आज रपट
आ हा
आज रपट जाएँ तो
हमें ना उठैय्यो ओ

बादल में बिजली बार बार चमके
दिल में मेरे आज पहली बार चमके
बादल में बिजली बार बार चमके
दिल में मेरे आज पहली बार चमके

हसीना डरी डरी
हा
बाहों में सिमट गयी
हा
सीने से लिपट गयी रे
तुझे तो आया मज़ा
हा
तुझे तो सूझी हंसी
हा
मेरी तो जान फँसी रे ए
जान जिगर किधर चली
नज़र चुरा के
आ हा
ओ हो
आ हा
ओ हो
बात उलझ जाए तो
आज ना सुलझैय्यो
बात उलझ जाए तो
आज ना सुलझैय्यो
बात जो सुलझैय्यो तो
खुद भी उलझ जैय्यो

आज रपट
आ हा
आज रपट जाएँ तो
हमें ना उठैय्यो ओ

बादल से छम छम
शराब बरसे
सांवरी घटा से
शबाब बरसे ए

बादल से छम छम
शराब बरसे ए
ओ सांवरी घटा से
शबाब बरसे ए

बूंदों की बजी पायल
हा
घटा ने छेदी ग़ज़ल
हा
ये रात गयी मचल रे ए
दिलों के राज़ खुले ए
हा
फिजा में रंग घुले ए
हा
जवान दिल खुलके मिले रे ए
होना था जो हुआ वही
अब डरना क्या
आ हा
ओ हो
आ हा
ओ हो
आज डूब जाए तो
हमें न बचैय्यो
आज डूब जाए तो
हमें न बचैय्यो

हमें जो बचैय्यो तो ओ ओ ओ ओ
हमें जो बचैय्यो तो
खुद भी डूब जैय्यो
आज रपट
आ हा
आज रपट जाएँ तो
हमें ना उठैय्यो
आज फिसल जाएँ तो
हमें ना उठैय्यो
आ हा
ओ हो
आ हा
ओ हो


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 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 :

4162 Post No. : 15333 Movie Count :

4224

Hullo Atuldom

Sometimes a sudden tune or memory or word sends the mind looking for a song or visual connection. So, a few days back it was a tune in my head that sent me looking for today’s song. I remembered, rather vaguely, that the song had Ashok Kumar dancing away merrily. I remember having seen it eons ago on Doordarshan – the one source of most of my nostalgia.

I hunted down the song. I found the name of the movie it was from. Searched for it on YouTube. Enjoyed my first encounter with that movie thoroughly. It has been listed on IMDB.com under “action, crime, drama” genre. It should also have been categorised as “comedy”.

The movie had a huge cast- a set of dancing actresses headed by Shashikala, Aruna Irani, Prema Narayan, Helen, Jayshree T., Meena T. and Shubha Khote & Manorama. The male line up was headed by Ashok Kumar, Ranjeet, Sujit Kumar, Keshto Mukherjee, Asrani, Jagdeep, Viju Khote, Krishan Dhawan, Chandrashekhar, Coca Cola, Pinchoo Kapoor, Birbal, Yusuf Khan (Zabisco from Amar Akbar Anthony), Babban, Pakoda Kader etc. There were a few more known faces which were billed as guest appearance- Amjad Khan, special appearance- Danny and friendly appearance -Mehmood.

There were many movies back then where we had known faces putting in appearances in these categories as a gesture to the maker of the movie. And I think I know why Mehmood did this movie as the maker S. Ramanathan had been a co-director on “Bombay to Goa”.

This movie begins on a night where Ranjeet (one of the serious persons throughout the movie) is hatching a plot to steal diamonds from the vault of Pinchoo Kapoor’s residence in the company of Sujit Kumar (he plays a dead body for half the movie)- that is where the crime angle is. As the plan is being executed Pinchoo Kapoor is shot dead (crime angle again). But he Dials 100 with the help of his pet Pomeranian -that is one intelligent pet which has a good part to play in helping recognize the lost daughters of the family. That is when the ‘drama angle’ comes into play when the pet recognizes one daughter because of her locket, takes her to the bungalow where the loyal servant of the house enquires about the girl whose photo is in the locket. Further family-drama comes into play when it turns out that the girl in possession of the above mentioned locket is also the younger daughter of the family and in the absolute climax of the movie the sisters unite and with the aide of the hero and practically the entire cast catches Ranjeet and hands him over to the cops headed by Krishan Dhawan and Chandrashekhar.

Of course, we have to sit through the movie, from the murder to reach the climax (only place where there is dishoom- dishoom in the movie), through a not-so-boring movie. Danny was a revelation as far as his comic timing was concerned. I will not spell here what transpires through the movie and spoil the fun for anyone who may wish to see this movie.

Today’s song features the tenants of Manorama’s apartment as they gather to wish the newly-engaged hero -heroine (every Bollywood movie worth its name needs a jodi) Vinod Mehra and Bindiya Goswami. Everyone is singing and having the time of their life except Bindiya Goswami. The song is sung by Manna Dey (for all the males present), Asha Bhonsle (for the females) and Bappi Lahiri for Vinod Mehra. Anjaan wrote the song and Bappida was the music director for this S. Ramanathan directed “Dial 100” which released on 2nd April 1982.

Here is the song where Ashok Kumar leads along with Aruna Irani and the rest of those present join. I have always loved songs where Ashok Kumar visibly enjoys himself. Let us also enjoy this song.

Thinking of Dada Moni today on his anniversary.

Audio

Video


Song-Maara gaya maara gaya koi bechaara maara gaya (Dial 1000(1982) Singers-Asha Bhonsle, Manna Dey, Bappi Lahiri, Unknown voice, Lyrics-Anjaan, MD-Bappi Lahiri
Male chorus
Female chorus
All chorus
Manna Dey + Asha Bhonsle

Lyrics

Haaan
Haaaa
Haaan
Haaaa

maaraa gaya
maaraa gaya
koi bechaara maaraa gaya
maaraa gaya
maaraa gaya
koi bechaara maaraa gaya

(arey kaun maaraa gaya)
oye hoye hoye hoye hoye

koi kunwaara maaraa gaya
ye maazra kaise kab ho gaya haan
koi kunwaara maaraa gaya
ye maazra kaise kab ho gaya
ladka jawaan ladki jawaan
dono mile toh ghazab ho gaya

koi kunwaara maaraa gaya
ye maazra kaise kab ho gaya
koi kunwaara maaraa gaya
ye maazra kaise kab ho gaya

laa lala laa lalala laa
laa lalalaa laa
laa lala laa lalala laa
laa lalalaa laa
laa lala laa lalala laa
laa lalalaa laa
laa lala laa lalala laa
laa lalalaa laa

kahaan dono mile kaise mile
haa haa haa
ho kahaan aankh ladi kaise ladi
haa haa haa
kahaan teer chale kaise chale
haa haa haa
ho kahaan baat badhi kaise badhi
haa haa haa
chhupi chhupi
tauba re tauba
chori chori
haye re haye

kahaan bandhi
gaya re gaya
prem dori

aankhon aankhon mein jud gaya taanka
pada kaise kahaan dil pe daaka
aankhon aankhon mein jud gaya taanka
pada kaise kahaan dil pe daaka
bolo ji bolo ye bhed kholo
kaise ye sab ho gaya aaa aaa

ooi
koi kunwaara maaraa gaya
ye maazra kaise kab ho gaya
arrey ladka jawaan ladki jawaan
donon mile to gazab ho gaya

ho koi kunwara maaraa gaya
ye maazra kaise kab ho gaya

aaaa aaaaaaa
aaaaa aaaaaa

kahaan pyaar ki yeh baat chhupe
haa haa haa
kahin jaake kahin raaz khule
haa haa haa
ho jahaan pyar mein do yaar milen
haa haa haa
wahin dekh ke yeh log jalen
haa haa haa
yahaan wahaan
oooi maa
baat chali
baba re baba
shor macha
gayi re gayi
gali gali
chhora chhori pe hoke lattoo
hua sabki nazar mein nikhattu
ho chhora chhori pe hoke lattoo
hua sabki nazar mein nikhattu
do dil mile toh hangama aisa yun besabab ho gaya aa
ooi
koi kunwaara maaraa gaya
ye maazra kaise kab ho gaya
arey ladka jawaan ladki jaawan
dono mile to gazab ho gaya

hey koi kunwaara maaraa gaya
ye mazara kaise kab ho gaya

laa lalalaa laalalalaa
laa lalalaa laalalalaa

hooo ohhoo
hohoho hohoho
kahin koi jale jalta rahe

haa haa haa
koi kuch bhi kahe kahta rahe
haa haa haa
yahaan tera mera saath rahe
haa haa haa
yahi pyar yahi baat rahe
haa haa haa
toone mujhe
kya
maana sajan
haay re haay
maine tujhe
oye hoye
maana dulhan
gayi re gayi
kahin saabit na ho preet jhoothi
aayi dene gawaahi angoothi
kahi saabit na ho preet jhoothi
aayi dene gawaahi angoothi
ungali pakad ke
bahe pakad li
kissa gazab ho gaya aaa

hurr
koi kunwaara maaraa gaya
ye maazra kaise kab ho gaya
arey ladka jawaan ladki jawaan
dono mile to gazab ho gaya

hurr
koi kunwara maaraa gaya
ye mazara kaise kab ho gaya

maaraa gaya maaraa gaya (oooooooooooo)
koi kunwara maaraa gaya (oooooooooooo)
maaraa gaya maaraa gaya (oooooooooooo)
koi kunwara maaraa gaya (oooooooooooo)
maaraa gaya maaraa gaya (oooooooooooo)
koi kunwara maaraa gaya (oooooooooooo)
maaraa gaya maaraa gaya (oooooooooooo)
koi kunwara maaraa gaya (oooooooooooo)


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 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 : 4155 Post No. : 15322

Hullo Atuldom

We are into the last month of 2019. There are a lot of messages being forwarded on WhatsApp and other social media platforms urging the reader to enjoy the last TEEN year in a long time to come, after this the new millennium will be on the threshold of adulthood (India has 21 as the official age at which a person is considered an adult).

Here is the first birthday post for the month. Let us all wish the “raunaq e blog”- titled bestowed on the recipient two years ago on this date- a very Happy Birthday. May she be forever healthy happy cheerful and full of life, as she has been described by Atulji and Sudhirji in their posts in the blog.

I have not gone looking for hitherto unposted Talat Mehmood songs as Atulji had suggested two years back but went with my regular practice of mixing this birthday girl with the flamboyant, evergreen, forever PACHCHEES (25) actor of the 50s, 60s, 70s and 80s who was forever hyperactive. And going by what the two Sutradhars of our blog have written, our birthday gal sounds to be ‘hyperactive’ and may she be forever PACHCHEES or shall I say “Aththara” (18). Wish you a very happy birthday Ben Katie a.k.a Khyatiben. Lets us have a great time today on your birthday. Let the music begin and play through the day from this end of the globe to your end.

tum jiyo hazaaron saal saal ke din hon pachaas hazaar,
sau saal jiyo tum jaan meri , or the evergreen baar baar din ye aaye.
Let all these and other birthday songs available here and elsewhere be played on loop (as kids we used to say rewind and replay the cassette). Let our dear birthday gal choose a song she likes; we shall play that too on LOOP.

Today we also remember Raju “Guide” on his 8th Remembrance Day with a song that showcases him with his typical mannerisms which I feel he adopted after around 30-35 years in the industry. That typical nod, crooked smile that made ladies go weak at the knees (or was that smile always a killer) etc. This is from the 1982 release “Swami Dada” which was produced and directed by Dev Anand and had a large cast. The ladies in the movie were Rati Agnihotri, Padmini Kolhapure (she was still a teenager), Urmila Bhatt, Sushma Seth, Naaz, Christine O’Neil, Beena, Baby Khushboo etc. The male cast was headed by Dev Anand, Mithun Chakravarty, Naseeruddin Shah, Shakti Kapoor, Kulbhushan Kharbanda, Tom Alter, Bharat Kapoor, Sudhir etc, this was Jackie Shroff’s first credited screen appearance playing Shakti Kapoor’s confidant.

The first song from this movie was posted exactly seven years back for the same occasion; at that time, I had found this on IMDB.com –

Hari Mohan is a saintly person who organizes Hindu prayers and discourses in a warm and welcoming atmosphere. He is called “Swami Dada” by everyone. He has many followers, and devotees who throng in large numbers to hear his sermons. What they do not know that Hari Mohan is a professional thief, and is now conspiring with a young woman, and a group of orphaned children to steal the temple jewellery.

On revisiting imdb I found a little more to go with the above –
Dev Anand is one of the tapori gang, handled by Kulbhushan Kharbanda. He escapes to Western country, only to come back and see that the members of the gang living in same conditions. He, himself have become a spiritual person. Named Swami. In order to break the gang, Dev poses himself as Ringo Dada. Hence the name Swami Dada
Hari Mohan is a saintly person who organizes Hindu prayers and discourses in a warm and welcoming atmosphere. He is called “Swami Dada” by everyone. He has many followers, and devotees who throng in large numbers to hear his sermons. What they do not know that Hari Mohan is a professional thief, and is now conspiring with a young woman, and a group of orphaned children to steal the temple jewellery.

“Swami Dada” had music by RD Burman and Anjaan was the lyricist. The playback for today’s song is by Lata Mangeshkar and Kishore Kumar.
Thinking of the style icon, winner of Dadasaheb Phalke award (2002), Padma Bhushan (2001), and three-time filmfare award recipient one of which was the life-time achievement in 1993, and a darling of the masses for nearly sixty years who is still an inspiration and will remain one for generations to come thanks to the legacy he has left behind. I am not trying to describe the kind of movies he was associated with or anything about his biography here. Let us just get on to the song.


Song-Galiyon galiyon khaak bahut din humne chhaani (Swaami Dada)(1982) Singers-Lata, Kishore Kumar, Lyrics-Anjaan, MD-R D Burman

Lyrics

paanch ke note mein ab kya dam hai

ho o o dus ka note cigarette ko bhi kam hai
ho o ab hare note ka mol hai kya
socho kuchh oonchi baat zara
ab baat karo toh laakhon ki
dekhenge khwaab karodon ke

galiyon galiyon khaak bahut din humne chhaani
ho badla hai ab daur badal jaayegi kahaani
ho ik banjaaran banegi kal mehlon ki raani
ho o o galiyon galiyon khaak bahut din humne chhaani
badla hai ab daur badal jaayegi kahaani
ho o ik banjaaran banegi kal mehlon ki raani
ho o o galiyon galiyon khaak bahut din humne chhaani

aaj sanwar ke dekha jo darpan
apni nazar se sharma gayi ee
kiske hunar ka chal gaya jaadoo
kahaan thi kahaan se kahaan aa gayi
ho mera haar

iss heere ke haar mein kya hai
apna mol toh aanko
tum kya ho kya ban sakte ho
apne dil mein jhaanko
jhoothhe nakli sapne dekhe
jhoothhe nakli sapne dekhe
asli baat na jaani ho o o

galiyon galiyon khaak bahut din humne chhaani
ho badla hai ab daur badal jaayegi kahaani

mil ke mere saath chalo toh
woh duniya dikhlaoon
jeete ji woh jannat kaise
milti hai batlaoon

tumko masheeha maan liya hai
ab jaana hai aur kahaan aan
tumse mile toh dekhe ujaale
varna dhuaan thhe donon jahaan
badlen hum aur yoon badlen
badlen hum aur yoon badlen
ho duniya ko hairaani ho o

galiyon galiyon khaak bahut din humne chhaani
ho badla hai ab daur badal jaayegi kahaani
ho ik banjaaran banegi kal mehlon ki raani
ho o o galiyon galiyon khaak bahut din humne chhaani


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 :

4089 Post No. : 15231

Today (28 september 2019) is the 90th birthday of Lata Mangeshkar (DoB 28 september 1929).

When one discusses songs sung by Lata, we mostly discuss all time classics, songs that have stood the test of time, songs that have become iconic etc. And there are hundreds of such songs.

Also, she was very particular about the kind of songs that she would sing. She would look down upon songs with lyrics that she found objectionable. Instead of facing her ire, music directors would often take the easy way out and get these songs sung by some other singer. And the major beneficiary was her own sister Asha Bhonsle. Most cabaret songs sung by shady female characters (often Helen, Bindu etc: ) in the movie went to Asha Bhonsle. On some occasions, some music directors who had the necessary connections with Lata ji (viz Laxmikant Pyarelal) managed to convince her to sing such songs. That is how we found her agreeing to sing a few cabaret songs for Laxmikant Pyarelal.

The “Inteqam”(1969) cabaret song Aa jaane jaan tere liye main aas lagaaye is a song that is normally the preserve of Asha Bhonsle, Lata has done an Asha Bhonsle in this song !

Likewise, when the “disco” craze began, which killed off the golden era of HFM for ever, it is rare to see her singing “disco” songs.

So it comes as a great surprise to everyone how she agreed to sing this “disco” song from “Khuddaar”(1982). This movie was produced by F K Rattonse and Anwar Ali and directed by Ravi Tandon for Yokohoma Productions, Bombay. The movie had Sanjeev Kumar, amitabh Bachchan, , Vinod Mehra, Tanuja, Parveen Babi, Bindiya Goswami, Prem Chopra, Mehmood, A K Hangal, Ramesh Dev, Pinchoo Kapoor, Raveendra Kapoor, Madhu Malini etc in it.

The movie had seven songs in it and the songs were mostly of “Chaalu” kind as was the trend in those days. Our own Raja, even to this day, can be successfully trolled by reminding him that the song Angrezi mein kahte hain ki I love you wfrom this movie was the top hit song of Binaca Geetmala that year. 🙂

On the occasion of Lata Mangeshkar’s birthday, here is a “Disco” song from “Khuddaar”(1982).To this day, I have not been able to understand how Lata Mangeshkar agreed to sing this song ! But she sang this song alright. And this song is a party song too, fit to be covered on the occasion of her birthday.

The song is sung by Lata and Kishore Kumar. If Lata agreed to sing such a song, then Majrooh Sultanpuri agreed to pen a song like this ! Music is composed by Rajesh Roshan. He certainly must have been quite a persuasive person, who convinced Majrooh Sultanpuri and Lata to be associated with this song. 🙂

The song is picturised as a party song on Vinod Mehra, Kalpana Aiyyer and many others.


Main ek disco tu ek disco (Khuddaar)(1982) Singers-Lata, Kishore Kumar, Lyrics-Majrooh Sultanpuri, MD-Rajesh Roshan
Chorus

Lyrics

main ek disco
tu ek disco
main ek disco tu ek disco
duniya hai ek disco
disco eighty two
disco eighty two
disco eighty two
lalalalalala
pani sa
ni dha re sa ni sa pa
pa ni re
ramaramarama

meri khushiyaan
mere sapne
hain zinda yahin
mujhe pinjra na dikhaao
main parinda nahin
meri khushiyaan mere sapne
hain zinda yahin
mujhe pinjra na dikhaao
main parinda nahin
mujhe kehne de kehne de
tujhko meri kasam

disco eighty two
disco eighty two
disco eighty two

lalalalala
pa ni sa
ni sa ni sa ni sa pa
pa ni re
ramaramarama

ye jaam to phir jaam hai koi eher to nahin
ise peeke gungunaaun
tu khafa to nahin
ye jaam to ye jaam hai koi zeher to nahin
ise peeke gungunaaun
tu khafa to nahin
mujhe jeene de jeene de
tujhko meri kasam

disco eighty two
disco eighty two
disco eighty two
disco eighty two
disco eighty two
lalalalalala

tu mujhse main tujhse kuchh kehte rahen
raat aadhi baat baaki
hum bahakte rahen
mujhe udne de udne de
tujhko meri kasam
disco eighty two
disco eighty two
disco eighty two
lalalalala
main ek disco
tu ek disco
main ek disco tu ek disco
duniya hai ek disco

disco eighty two
disco eighty two
disco eighty two
lalalalala

ru ru ru
ru ru ru ru ru ru ru


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 : 3949 Post No. : 15025

———————————————–——————————————
Blog 10-Year Challenge (2009-19) – Song No. 31
——————————————————————————————

Aah, the heady days of a decade before. Posting six songs was quite the norm. On 11th May, the following films got represented on the blog.

Mashaal

1950
Hamraaz 1967
Aankhen 1968
Parichay 1972
Ghar 1978
Nikaah

1982

Believe it or not, except for ‘Ghar’, all the remaining films made their debut on the blog that day. As I check the record of the films over the intervening years, five of the films have completed their tenure, and all their songs are now showcased here. Just one of these films has not yet been yippeee’d. And that is ‘Nikaah’ from 1982.

When ‘Nikaah’ hit the theatres in 1982, it did create a popular flutter. The doe eyed Salma Agha caught the fancy of the audiences early on. For a brief time, she was quite a rage. Then, the second quality of this film, that drew crowds and appreciation, was the music and the songs. Practically all the songs were hits, and have enjoyed lasting popularity and appeal.

The film has six songs, and four of them have already occupied their places on the blog. Browsing the list, one is once again struck with wonderment and praise, for the songs are –

Beete Huye Lamhon Ki Kasak Saath To Hogi
Dil Ke Armaan Aansuon Mein Beh Gaye
Fazaa Bhi Hai Jawaan Jawaan
Dil Ki Ye Aarzoo Thhi Koi Dilruba Miley

Fabulous songs, each one of them. Now about the remaining songs of this film. There is one qawwaali song, which is more or less incidental in the film. It is the other remaining song that is notable, unique and having its own claim to fame.

Ghulam Ali does not need any introduction to the readers. This phenomenal singer, was quite a rage in India during the 1980s and 90s. Even today, his performances are enthralling and much awaited. It is quite sad that his performance trips to India have become a victim of politics.

When this film was released, it was acknowledged that BR Chopra had accomplished almost a coup, in being successful to have a song, a ghazal actually, sung by this popular and legendary singer, included in the film. I am not sure, but perhaps this is the only instance of Ghulam Ali’s voice being a part of a Hindi film.
[Ed Note: Based on the inputs received from Anekant ji and Sadanand ji, in the comments section below – certainly this song is not the only instance of Ghulam Ali singing for Hindi films. Thanks to both for this important update. 🙂 ]

And so, as I was checking the details, I was quite taken by surprise that this song is not yet posted here on our blog. Well, today, it comes on board.

For its times, this film was a bold statement addressing social issues relating to marriage and divorce in the Muslim community. The predicament of the lady getting a raw deal in life at the hands of a whimsical male partner, whose bizarre behavior and fanciful decisions are quite supported by the norms of the society, completely unmindful of the traumatizing consequences on the mind and the psyche of the lady – and all that, for no fault of hers.

This famous ghazal, which has been one of the all time favorites outside of the film domain, is penned by Maulaana Hasrat Mohaani.
[Ed Note: Sadanand ji further informs us that this ghazal as a non-filmi creation, is also sung by Jagjit Singh for the the TV Serial ‘Kahkashaan’ (1992) produced by Ali Sardar Jaffrey. That version is already posted on our blog at “Chupke Chupke Raat Din. . .“, by Sadanand ji himself. That post also includes a detailed bio-sketch of the poet, Maulaana Hasrat Mohaani – a very interesting read. Thanks Sadanand ji.]

The music composition is by Ghulam Ali himself. The complete ghazal is of course much longer, and there are various variations in different live performances and other recordings. In the film, only two she’rs are included. There are versions of this ghazal as being in the film, which are apparently longer with more couplets, but those are the handiwork of technology only. Some folks have uploaded longer versions, which are copy-paste extensions of the visual clips, overlaid with additional audio, giving an impression of a longer song in the film. But watching with little attention, one can make out that it is a fake.

On screen, this rendition is performed by the gramophone player. Deepak Prashar, having dismissed and divorced his wife, Salma Agha, is having bouts of depressive regrets, and he misses her. If I recall rightly, it is his birthday celebration, and he invites Salma. In this clip it is cake that we encounter first. Then we see a weepy Deepak listening to this ghazal, as it plays on a gramophone in the room. Salma makes an entry, unnoticed by Deepak, and she witnesses the pain of loss and regret that Deepak is exhibiting. Rest, as part of the story, to be discussed another time.

A salute to this legendary singer from across the border, who has a very solid grounding and training in the Hindustani classical music. And this post brings this popular film to being one short of having all its songs posted here. So the yippee-dom announcement should not be too far off now. 🙂

 


Song – Chupke Chupke Raat Din Aansoo Bahaana Yaad Hai (Nikaan) (1982) Singer – Ghulam Ali, Lyrics – Maulaana Hasrat Mohaani, MD – Ghulam Ali
Chorus

Lyrics

hmmm mmmm mmmm mmmmmm
aaa aaaa aaaaaa
hmmm mmmm mmmm mmmmmm

chupke chupke raat din
aansoo bahaana yaad hai
chupke chupke raat din
aansoo bahaana yaad hai
hum ko ab tak aashiqui ka wo
zamaana yaad hai
chupke chupke raat din
aansoo bahaana yaad hai

khench lena wo mera
parde ka kona daf-attan
khench lena wo mera
parde ka kona daf-attan
aur dupatte se wo tera
munh chhupaana yaad hai
hum ko ab tak aashiqui ka wo
zamaana yaad hai
chupke chupke raat din
aansoo bahaana yaad hai

dopehar ki dhoop mein
mere bulaane ke liye
dopehar kid hoop mein
mere bulaane ke liye
wo tera kothe pe
nange paanv aana yaad hai
hum ko ab tak aashiqui ka wo
zamaana yaad hai
chupke chupke raat din
aansoo bahaana yaad hai

hmmmmm hmmmmmm hmmm hmmm hmmm
aaaa aaaa aaaa
hmmmmm hmmmmmm
hmmm hmmmm hmmmm
hmmm hmmmm hmmmm
hmmmm hmmmm hmmm
hmmmm hmmmm hmmm

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

हम्मम म्ममम म्ममम म्मममममम
आs आsss आsssss
हम्मम म्ममम म्ममम म्मममममम

चुपके चुपके रात दिन
आँसू बहाना याद है
चुपके चुपके रात दिन
आँसू बहाना याद है
हमको अब तक आशिकी का
वो ज़माना याद है
चुपके चुपके रात दिन
आँसू बहाना याद है

खेंच लेना वो मेरा
पर्दे का कोना दफ़-अतन
खेंच लेना वो मेरा
पर्दे का कोना दफ़-अतन
और दुपट्टे से वो तेरा
मुंह छुपाना याद है
हमको अब तक आशिकी का
वो ज़माना याद है
चुपके चुपके रात दिन
आँसू बहाना याद है

दोपहर की धूप में
मेरे बुलाने के लिए
दोपहर की धूप में
मेरे बुलाने के लिए
वो तेरा कोठे पे
नंगे पाँव आना याद है
हमको अब तक आशिकी का
वो ज़माना याद है
चुपके चुपके रात दिन
आँसू बहाना याद है

हम्मममम हम्ममममम हम्मम हम्मम हम्मम
आss आss आsss
हम्मममम हम्ममममम
हम्मम हम्ममम हम्ममम
हम्मम हम्ममम हम्ममम
हम्मममम हम्ममम हम्मम
हम्मममम हम्ममम हम्मम

 

 


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 ELEVEN years. This blog has over 15700 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

Important Announcement

(© 2008 - 2020) 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.

Total number of songs posts discussed

15715

Number of movies covered in the blog

Movies with all their songs covered =1211
Total Number of movies covered =4326

Total visits so far

  • 13,607,960 hits

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Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

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