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

Archive for the ‘Songs of 2000s (2001 to 2010)’ Category


This article is written by Peevesie’s Mom, 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 :

4407 Post No. : 15796 Movie Count :

4351

Hullo Atuldom

We all have some song that occasionally comes to the forefront of our memory. Then we keep playing it in our head as if on LOOP. Very often we are stuck at the mukhda itself. And forget to pay attention to the song as a whole.

Today’s song is one such song which keeps coming up in my mind’s playlist every now and then. I knew who the actors involved in it are. But didn’t know other details like who the lyricist and music director were? I just knew that it was from the 2001 released Rahul Rawail directed “Kuch Khatti Kuch Meethi”.

This was one of the movies that gave the evergreen-lover boy Rishi Kapoor a change of image. He played a father to grown up daughters (twins played by Kajol). He was the divorced husband of Rati Agnihotri. He is brainwashed and kept permanently in a drunken stupor by his step-sister (Mita Vasisht) so that she can usurp (what else) his immense wealth. One daughter is with each parent absolutely unaware that the other is alive. Then in the true tradition of movies with twins, coming down the ages in movies like ‘Parent Trap’ ‘Do Kaliyaan’ ‘Pyar Ke Kaabil’ (this was also a Rishi Kapoor movie) ‘Pyar ke do Pal’ etc., the girls switch places once they discover each other and work towards reuniting the parents. The three Bollywood movies that I mentioned had twins in the age bracket of 7-12 years of age. “KKKM” had twins who were older so that brought in a love-story too for one of the girls and the other one helped in setting things right so that the marriage can happen. Now the love interest of Tina (one of the twins, the other being Sweety) was played by Sunil Shetty (he changed his spelling to Suniel Shetty in 2014 for numerological reasons).

Sunil is one actor who has been around since the ’90s, his debut being “Main Balwaan” opposite the late Divya Bharati. His movies of the ’90s were primarily action oriented and with the turn of the century he found success in multi-starrer movies of various genres including the mad-cap comedy movies “Hera Pheri”, “Phir Hera Pheri”, “Awara Paagal Deewana”, “One Two Three”, “De Dana Dan” etc where his teaming with Paresh Rawal and Akshay Kumar were well received. “Mohra” was an action packed movie of this trio in the ’90s, meaning the new century saw everyone in new avatars. He even played the traditional bad character in Farah Khan’s “Main Hoon Na” in 2004. He is a cricket lover (which Indian isn’t) and is the captain of the Mumbai Heroes in the Celebrity Cricket League. He belongs to a family which is into the restaurant business and he has various other business interests including film production. His daughter Athiya has also made her debut in Bollywood in 2015. His son is also on his way to becoming an actor.

I have always felt that Sunil Shetty has been lucky with some really romantic songs picturised on him. Can anyone forget “tum dil ki dhadkan mein rehte ho”. For a long time I had not seen “Dhadkan” from which that song was and always thought that he was the protagonist. It was later that I discovered that he was playing a jilted lover who tries to reunite with his girlfriend even after she is married; his character was neither good nor bad but somewhere in between and he had the best song of the movie. He won the Filmfare Best villain award for this portrayal.

I also noticed that “main tumhe bhool jaoon yeh ho nahin sakta. Aur tum mujhe bhool jaao yeh main hone nahin doonga” was previously uttered by Pooja Bedi to Naseerudin Shah in the 1993 release “Lootere” (also a Dharmesh Darshan directorial). But this same https://www.youtube.com/watch?v=2hC0K2NMEMA is remembered as Sunil Shetty’s; something like Amitabh’s various dialogues down the years. By the way, “Dhadkan” was also by Dharmesh Darshan and he has written the dialogues of both the movies. That should explain why the statement was repeated.

Now today’s song has Sunil taking lessons from Rishi Kapoor on how to win back the affection of his ‘rootha’ pyar (i.e. appeasing the lover). This was a nice father-in-law son-in-law jodi 😉 This song is in the vocals of Kumar Sanu for both Rishi and Sunil. The female playback is by Alka Yagnik for Kajol and even Rati hums a line in the same voice later in the movie. And it is surprising (for me atleast) that this soft number is composed by Anu Malik and written by Sameer. Some parts of the song has an old times feel to it.

No prizes for guessing my sudden interest in Sunil Shetty. He turns 59 today and here is wishing him all the best for the future.

Rati Agnihotri version

Video

Audio

Song-Tumko sirf tumko hamne chaaha(Kuchh Khatti Kuchh Meethhi)(2001) Singers-Kumar Sanu, Alka Yagnik, Lyrics-Sameer, MD-Anu Malik

Lyrics

hmm hmm hmm hmm hmm hmm
aah haa haa haa haa
he he he
he he
aah haa haa haa haa

tumko .
sirf tumko,
hamne chaaha
chaahat ki kasam
tum bin
agar jeena
pada hamko
mar jaayenge ham
dil hai tumhaara
dhadkan tumhaari
tere liye hai
saansen hamaari
ho
itna hai kehna
sang rehna sanam m
hey hey hey
aa ha ha ha ha
eh hey hey hey hey
aah ha ha ha ha
tumko
sirf tumko
hamne chaaha
chaahat ki kasam
tum bin
agar jeena pada hamko
mar jaayenge ham
dil hai tumhaara
dhadkan tumhaari,
tere liye hai saansen hamaari
ho o
itna hai kehna,
sang rehna sanam m
hey hey hey
aah ha ha ha ha
hey hey hey hey hey
aah ha ha ha ha

phaagun ke khili khili dhoop ke
aashiq hain ham toh tere roop ke
phaagun ki khili khili dhoop ke
aashiq hain ham toh tere roop ke
ho
darrte hain ham toh iss bekhudi se,
dekho na aisi deewaangi se
dil hai tumhaara,
dhadkan tumhaari,
tere liye hai saansen hamari,
ho
itna hai kehna
sang rehna sanam m
hey hey hey
aah ha ha ha ha
hey hey hey hey hey
aah ha ha ha ha

poochho toh
humein kitna pyaar hai,
har lamha
tera intezaar hai

poochho toh
humein kitana pyaar hai,
har lamha
tera intezaar hai
ho
bheeghe labon ki
shabnam chura len
aa iss ghadi mein
sab kuchh bhula den

dil hai tumhaara,
dhadkan tumhaari,
tere liye hai saansen hamaari
ho
itna hai kehna
sang rehna sanam m
hey hey hey
aah ha ha ha ha
hey hey hey hey hey
aah ha ha ha ha

tumko sirf tumko
hamne chaaha,
chaahat ki kasam
tum bin agar jeena pada hamko,
mar jaayenge ham
dil hai tumhaara,
dhadkan tumhaari,
tere liye hai saansen hamaari
ho
itna hai kehna
sang rehna sanam m
hey hey hey
aah ha ha ha ha
hey hey hey ae
aah ha ha ha ha
hey hey hey
aah ha ha ha ha


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 :

4308 Post No. : 15580 Movie Count :

4289

Hullo Atuldom

May 3 is not any celebrities birthday going by the listings on the anniversaries page of the blog. But a more important date for followers of movies. That was the date when the first Indian movie released in the year 1913.

“Raja Harishchandra” directed and produced by Shri. Dhundiraj Govind Phalke a.k.a Dadasaheb Phalke, was a silent film that released in Bombay’s Coronation Cinematograph and Variety Hall, Girgaon on 3rd May 1913 after a Premier at Olympia Theatre on 21st April. This was the genesis of the Indian Film Industry which has been entertaining generations since then. The movies, as we have come to love, has thrown up stories that are inspired from our mythology, history, real-life experiences etc. There are fans for a “Jai Santoshi Maa” as well as “Sholay”. I remember that when the Malayalam movie “Swami Ayyappan” came to the theatres in Bombay (it had hit the marquee in 1975 in Kerala) Manoj Kumar’s “Kranti” had also released and our family chose to see the Malayalam movie as it gave us an insight into the life and times of the lord Ayyappa.

Today we are having a song, from a movie, whose title is inspired from a famous song of the late 70s. The director of the movie was a person who has grown up in the film industry (so to say) as he is the son of a famous producer-director. The cast is headed by a fan of movies who himself has a huge fan-following.

I am talking of a song from the 2008 released “Rab Ne Bana Di Jodi” (meaning “Match made in the heavens”) which was written and directed by Aditya Chopra, son of Yash Chopra who was also the producer of the film. And I need not add that Yash Chopra was a successful producer- director who began his innings in the film industry in the 50s. The movie had a cast headed by Anushka Sharma and Shahrukh Khan.

Today’s song happens when the lead pair have gone to see movie. “A cinema inside a cinema” as I would like to put it. The lady- Taani (Anushka) is bored with the proceedings on the screen. Then she imagines that one of her acquaintances has jumped on to the screen and then the whole atmosphere perks up. He says: “Taani partner do not fear when Raj is here. Humne bhi Ishq ke ustaadon se seekha hai” (I think those are his exact words). And then the song starts.

IMHO this song can claim to be fully inspired by all the preceding generations of actors and actresses. We have Shahrukh Khan and Kajol beginning the song as Raj Kapoor and Nargis, this is followed by Shahrukh as Dev Anand and Bipasha Basu as Sadhana. Then we have Lara Dutta as Helen to Shahrukh’s Shammi Kapoor act which is followed by Rajesh Khanna and Sharmila Tagore by SRK and Preity Zinta. The song has SRK and Rani Mukherjee reminding us of Rishi Kapoor and Neetu Singh. So basically we go down memory lane as we see this song and try and relive the 50s, 60s and 70s.

I must complement the lyricist Jaideep Sahni for coming up with a song that had to have pre-existing words/lyrics/thoughts. One must not miss how “Babu Moshai” has fitted beautifully into the song. Also worth mentioning the art director’s and set designer’s contributions. They have done so much detailing- we should not miss the book that Preity as Sharmila Tagore is trying to read. It is called “Amar Prem” and has a photo of Rajesh Khanna and Sharmila Tagore from “Aradhana” in the song ‘Kora kaagaz tha ye mann mera’. Also we should not miss the huge Raj Kapoor hat at the start of the song as also the Dev Anand Cap, the eye from where the Shammi Kapoor segment starts and finally the long scarfs/mufflers that Rishi Kapoor used to sport and the steps that he and Neetu were exponents of. We should not forget the choreographer too. The composers Salim-Suleiman have also showed that they have also grown up on this fodder. They had an unenviable task of making a song from the music that was tuned by the legends of Bollywood and also not make a bad rehash.

Let us also enjoy this tribute to the great Ustaads (masters).

P.S: After I wrote this post I realized that 3rd May also happens to be Nargis’s death anniversary. It is 39 years since her passing and it was Dadasaheb Phalke’s birth anniversary on 30th April 1870- 150th birthdate.


Song-Hum hain raahi pyaar ke phir milenge chalte chalte(Rab ne bana di jodi)(2008) Singer-Sonu Nigam, Lyrics-Jaideep Sahni, MD-Salim Suleman

Lyrics

(awaara)
(Awaara)

(music uses awaara’s signature tune)

pyaar huwa ikraar huwa
jeena yahaan marna yahaan
inn baahon ko
inn raahon ko
chhod ye chhaliya jaaye kahaan
maana dil toh hai anaari,
yeh awaara hi sahi
are bol radha bol sangam hoga ke nahin
har janam mein
rang badal ke
khwaabon ke pardo pe hum khilte
ham hain raahi pyaar ke
phir milenge chalte chalte
hey
ham hai raahi pyaar ke
phir milenge chalte chalte

(here “Yeh dil na hota bechaara” tune is used)

dil ka bhanwar kare
kare pukaar jab
pyaar kisi se hota hai
jiya o jiya kuchh bol do
ab dard sa dil mein hota hai
tidli yoo
tidli yoo
oo tere ghar ke saamne ghar banaaunga
toota hi sahi
pal bhar ke liye koi humein pyaar karle
jhootha hi sahi
jhootha hi sahi,
haay jhootha hi sahi ee
har janam mein
rang badal ke
khwaabon ke pardo pe hum khilte ae
ham hain raahi pyar ke
phir milenge chalte chalte
ham hain raahi pyaar ke ae
phir milenge chalte chalte

yaahoo
yaahoo

(here “o haseena zulfonwaali” tune is used)

oh haseena
zulfonwaali jaane jahaan
chaahe mujhko
junglee keh de saara jahaan
ho mehfil mehfil tu phire,
yaahoo yaahoo dil kare
mehfil mehfil tu phire,
yaahoo yaahoo dil kare
badan pe sitaare lapete huwe
har janam mein
rang badal ke
khwaabon ke pardo pe hum khilte
ham hain raahi pyaar ke
phir milenge chalte chalte
hey
ham hain raahi pyar ke
phir milenge chalte chalte

babu moshai ( Rajesh Khanna’s voice)
(here the tune is “sapnon ki raani kab aayegi tu)
hooo hehe haaa
hey jai jai shiv shankar,
kaanta laage na kankar
chaahe kuchh kar le zamaana
mere jeevan saathi
mere sapnon ki rani
zindagi safar hai suhaana
hey kuchh to log kahenge,
na suna keejiye
hey chain aaye mere dil ko
duwa keejiye
hey har janam mein
rang badal ke
khwaabon ke pardon pe hum khilte ae
ham hain raahi pyar ke
phir milenge chalte chalte
hey
ham hai raahi pyar ke
phir milenge chalte chalte

papa papapa paaa
papa papapa paaa
zu zu zu zuuu zuuu
zuuu zuuu zu zu zu

(here tune is from “bachna ae haseeno”)

darde dil darde jigar,
zamaane ko dikhaana hai
darde dil darde jigar,
zamaane ko dikhaana hai
hum kisi se kum nahin hai,
tujhko yeh bataana hai
ye waada raha,
oh meri chaandni ee
har janam mein
rang badal ke
khwaabon ke pardon pe hum khilte
ham hain raahi pyar ke
phir milenge chalte chalte
hey ham hain raahi pyaar ke ae
ah ah ah
chalte chalet ae ae ae
ae ae ae ae
aa chalte chalte
hum hain raahi pyaar ke ae
phir milenge chalte chalte


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 : 4209 Post No. : 15403

Hullo Atuldom

26th January is a national occasion which is celebrated across the country with hoisting of the national tricolour in the country’s capital New Delhi followed by the rest of the country in educational institutions, government buildings and some private housing complexes. There are speeches and parades all around showcasing india’s diverse cultures and achievements.

Our housing society too celebrates this national day with flag hoisting and a gathering of the residents. There is a small difference in that we also conduct a small Pooja the previous evening followed by small acts by the children of the apartment, dinner and games (in that order, mind it). The night always comes to an end with a game of housie and antakshari, I am going to be enjoying it this year after a long gap.

25th January happened to be the birthday of Kavita Krishnamurthy who was born Sharada Krishnamurthy in New Delhi. She is a trained classical singer who has also learnt Rabindra Sangeet. She first recorded a song under the baton of Hemant Kumar as a co-singer to Lata Mangeshkar in 1971 for a Bengali movie. In the second half of the 70s she was reintroduced to Hemantda by Ranu Mukherjee and was used as a singer in Hemantdas’ live shows from where Manna Dey spotted her and her slow journey into film music began.

Initially she was a dubbing artist and cut demos of songs intended to be sung by established singers. the 1980 release “Maang Bharo Sajna” featured a song in her own voice but was deleted from the final cut of the film. Her first major hit was in 1985 when “Pyaar Jhukta Nahin” hit the screens and “tumse milkar na jaane kyun” became a hit. From then she has been on the Indian film firmament with songs in Kannada (where she had recorded her first film song), Tamil, Telugu, Malayalam, Marathi, Gujarati, English, Urdu, Nepali, Bengali, Odiya, Konkani etc. She was a Padmashri winner in 2005 and four time filmfare award winner. A humble and courteous human being who I had the luck to meet on one of my trips between Bangalore and Mumbai. She is very approachable and forever smiling. Here is wishing that smile stays forever.

Today we have a version of our National Song “Vande Mataram” in the voices of Kavita Krishnamurthy and Usha Uthup from the 2001 Karan Johar directed Kabhi Khushi Kabhi Gham. We have various artists who have presented this song in their own styles. The ones which I love to hear on repeat are by Hemant Kumar in the 1952 release “Anand Math” and A.R.Rahman’s non-film version which came in 1997 which starts as “Maa tujhe salaam”. K3G had 5 songs by Jatin-Lalit, 5 by Sandesh Shandilya and one by Aadesh Shrivastva. Today’s “Vande Matram” is by Sandesh Shandilya.

Wishing everyone a Happy Republic Day. Let us try and be good citizens who are responsible towards our country with our actions.

Audio
(Audio)
Video

Song-Vande Maatram (Kabhi Khushi Kabhi Gham)(2001) Singer-Kavita Krishnamurthy, Usha Uthup, MD-Sandesh Shandilya

Lyrics

mmmmmm mmmmmmm
vande ae ae maatram
vande ae ae maatram
maatram
hehe
vande maatram
vande maatram
vande maatram
vande maatram
vande maatram
vande maatram
vande maatram
vande maatram
vande maatram
vande maatram
vande maatram
vande maatram
vande maatram
vande maatram

sujalaam sufalaam maatram
malayaj sheetalam maatram
sujalaam sufalaam maatram
malayaj sheetalam maatram
shashya shamlam maatram
vande maatram
vande maatram
vande maatram
vande maatram
vande maatram
vande ae ae ae
maatram

aaaaa aaaaaa
aaaaaaa
aaaaaaa aaaaaa
aaaaaaa aaaaa
aaaaaaa aaaaaa

hum bulbule hain iski
ye gulsitan hamaara hamaara
sare jaha se achcha
hindustan hamaara
hamara
saare jahan se achcha
Hindustan hamaara


This article is written by Nahm, 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 :

4154 Post No. : 15321

As I have said in one of my recent posts, whenever I read something inspiring, be it a poem or an article, it inspires me to write something of my own thoughts. Nowadays there is less and less readable material forthcoming from the print media. The blog and its posts are sometimes savior’s for the intellect. One such article was the post by Sudhir Sir – “Gandhi Tere Desh Mein Ye Kaisa Atyachaar“, on the birth anniversary of Mahatma Gandhi.  It appeared quite late in the night, but as I read it completely, it was a thoroughly readable and thought provoking post. At least I found it thought provoking and for the next few days the matters and the quotes from the Mahatma’s books, and my own thought relating to them were reverberating in my mind. I wrote a lengthy comment on the post which I am reproducing here.

Sir,

Congratulations on writing such an extensive, studied article on Mahatma Gandhi and his philosophies. Reading it, I realised I haven’t read any of his books.  Being a Kitaabi keeda from childhood hasn’t helped me reach out to any of Mahatma’s books. Where ever I have found a bookshelf and a rack of books I tend to go through the titles and authors. In my defence, I can only say that non-fiction is not my strong case. Nevertheless, it is sad and tragic that the works of such great thinking minds are nowhere to be found in present day libraries.

The para’s you quote from his writings, about non-violence and cowardice; I dare say are the sort of philosophy which is popular as well as non-popular, depending on disparities in viewpoints.

I will quote an incident to explain what I mean. This happened in friends household. The son was playing football with his friends. A few other boys from the neighborhood, came up to one of the boy and started beating him over some fight or rivalry. All the friends including my friend’s son ran away from there. The boy came home and told the parents about this. This was just a school going kid. The father said, how can you do this, being a punjab da puttar, how could you not help your friend. The son said, if tried to help him than they will start hitting me too. Logic here, self-preservation not cowardice, the mother opined.

In the light of the above incident, the Mahatma’s point is first one will try to stop the violence by non-violence. But avoiding the situation altogether is not non- violence, but cowardice.  As opposed to valour.  The will to defend the one in difficult situation. Not just defend, but save. This is valour, opposite of cowardice.

But this is an era of “tamashbeen”.  A vast majority of public now prefers to just be a bystander and watch, rather than doing anything to stop the violence. Which neither here, nor there. This is a side kick of mass media. We are used to watching violence and it doesn’t make us flinch. A humans natural tendency to reject violence is gone. We watch it like it is a natural movie watching experience.

I believe, big cities are little better, with regards to violence of any kind. For the disruption is bigger and inconvenient. Crowd will be of various dispositions in any urban setting, someone will be a local and saner than others. Hopefully.

One more point, I would make here is about the “decay” of creation. The decay in creation is caused by impurities. The very nature of creation in mortal. What has started will end, whatever has lived will die. A natural death. Like some civilisation of the past died, due to natural calamities and became a step for newer civilisation to develop.

It is the truth which is pure. The lies added to it make it impure, and cause decadence. The civilisations that decay and then die of decadence,  rot. No new civilisation can emerge from such decayed rot.

So, we as humans, the superior among all creation, have a duty to preserve this purity in ourselves.

Regards.

I realize that the comment is just one dimensional, and could not carry the total sum of my impressions on the article.   I have said that non-fiction is not my strong case, and here I am, daily trying my hand at writing non-fiction  :).

Now I simply must quote this from the article :

It goes to establish that Gandhi was no ordinary soul, and such souls appear on this planet quite rarely. Albert Einstein has so beautifully summed it up in his tribute – “Generations to come will scarce believe that such a one as this ever in flesh and blood walked upon this earth”.

Of course I have read this quote before and this is not fiction. Another important thing he highlighted was about the discourse around ‘the relevance of the Mahatma today’.  And films like “Lage Raho Munna Bhai” were just a final stone dropped in the (already dry) pond, through the popular film media, to explain to the second generation Indians born after the end of the Gandhian era, that over dose of Gandhian philosophy like any other philosophy is also capable of creating a ‘chemical locha’ in the mental equilibrium.

May be the decay of this great civilization of homo-sapiens has started. The very nature of creation is temporary; all that exists will be destroyed one day.  The Universe may be infinite, but the only definite thing here is death. So be it, whether it is the death of a philosophy, a society or a world. The very wisdom of this species is in danger of being homogenized with its earlier extinct versions.

If one really gives deep thought about the situation the human race is facing, it feels as if the ‘Qayamat’ is truly underway.  The life we are living is like a tight rope walk of ‘pul-e-siraat‘.  One wrong step and below is hellfire. It’s that difficult to keep to the truth, obey the truth and keep faith in the truth.

But then there is a superior power, the creator, the sustainer and the nourisher of all that exists. As Allama Iqbal said :

mudda’ee laakh buraa chaahe to kya hota hai
wohi hota hai jo manzoor-e-khuda hotaa hai

So I have here a very positive kind of feel good song written by Javed Akhtar from ‘Dil Chahta Hai’ (2001).  The singer is Srinivas and composers are Shankar-Ehsan-Loy.   Yeah, the name of composers has a message in it.  I can try and translate the middle one i.e. ‘Ehsan’.

We all are familiar with word  ‘ehsaan‘ in songs like “Ehsaan Mere Dil Pe Tumhaara Hai Dosto” and “Ehsaan Tera Hoga Mujh Par“. The word ‘ehsan’ is a related word, with a change in meaning.  It means the ‘beauty of good conduct’. Or rather the beauty of best behavior.

The song I am presenting has a dream like quality with Dimple in white, Akshaye Kumar in white, and a white canvas.  The portrait of Dimple gradually develops on the canvas, while the Akshaye is dreaming on of pure water streams, dipping his hand into the stream,  full moon, in a dreamy halo of light and roshni.   In this moon light, all the colours are amalgamated to make a portrait, in which the fragrances are visibly mingling. Moon, stream, clouds, song, rain and butterflies are all in favour – in favour of the flavor of love, that is created of such different matter.  Some physical and some metaphorical matter, to make the billions and trillions of DNA that comprise this universe.

Video

Audio

Song – Kaisi Hai Ye Rut Ke Jis Mein Phool Ban Ke Dil Khile (Dil Chaahta Hai) (2001) Singer – Srinivas, Lyrics – Javed Akhtar, MD – Shankar-Ehsan-Loy

Lyrics

kaisi hai ye rut ke jis mein
phool ban ke dil khile. . .

kaisi hai ye rut ke jis mein
phool ban ke dil khile
ghul rahe hain rang saare
ghul rahi hain khushbooen
chaandni jharne ghataayen
geet baarish titliyaan
hum pe ho gaye hain
sab meherbaan
kaisi hai ye rut ke jis mein
phool ban ke dil khile

dekho
nadi ke kinaare
panchhi pukaare..ea
kisi panchhi ko
dekho
ye jo nadi hai
milne chali hai..ea
saagar hi ko
ye pyaar ka hi
saara hai kaarwaan
kaisi hai ye rut ke jis mein
phool ban ke dil khile

ho ooo
kaise
kisi ko bataayen
kaise ye samjhaayen..en
kya pyaar hai
iss mein
bandhan nahin hai
aur na koi bhi
deewar hai
suno pyaar ki niraali
hai daastaan
kaisi hai ye rut ke jis mein
phool ban ke dil khile
ghul rahe hain rang saare
ghul rahi hain khushbooen
chaandni jharne ghataayen
geet baarish titliyaan
hum pe ho gaye hain
sab meherbaan

kaisi hai ye rut ke jis mein
phool ban ke dil khile
hnmnmnmnm
hmnmnmnmnmn
hnmnmnmnm
hmnmnmnmnmn
hnmnmnmnm
hmnmnmnmnmn
hnmnmnmnm
hmnmnmnmnmn

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

कैसी है ये रुत के जिस में
फूल बन के दिल खिले॰ ॰ ॰

कैसी है ये रुत के जिस में
फूल बन के दिल खिले
घुल रहे हैं रंग सारे
घुल रही हैं खुशबूएं
चाँदनी झरने घटाएँ
गीत बारिश तितलियाँ
हम पे हो गए हैं
सब मेहेरबाँ
कैसी है ये रुत के जिस में
फूल बन के दिल खिले

देखो
नदी के किनारे
पंछी पुकारे॰॰ऐ
किसी पंछी को
देखो
ये जो नदी है
मिलने चली है॰॰ऐ
सागर ही को
ये प्यार का ही सारा
है कारवां
कैसी है ये रुत के जिस में
फूल बन के दिल खिले

हो॰ ॰ ॰
कैसे
किसी को बताएं
कैसे ये समझाएँ॰॰ऐं
क्या प्यार है
इसमें
बंधन नहीं है
और न कोई भी॰॰ई
दीवार है
सुनो प्यार की निराली
है दास्ताँ
कैसी है ये रुत के जिस में
फूल बन के दिल खिले
घुल रहे हैं रंग सारे
घुल रही हैं खुशबूएं
चाँदनी झरने घटाएँ
गीत बारिश तितलियाँ
हम पे हो गए हैं
सब मेहेरबाँ

कैसी है ये रुत के जिस में
फूल बन के दिल खिले
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न


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 :

4136 Post No. : 15295 Movie Count :

4213

Happy Children’s Day to Atuldom

“Makdee” means spider. This was also the title of a movie in 2002 which was directed by Vishal Bharadwaj who was also the music director. This was one of the movies in recent times that portrayed children the way they actually should be – as bright, intelligent, naughty and playful. I am put-off when children are portrayed as miniature adults and made to mouth huge sentimental dialogues which I am 100% sure kids from normal upbringing would not even dream of. My definition of kids from a normal upbringing is where the only thing that a child has to do is finish their school, come home -play in the ground or backyard, do their studies for the next day, help around the family as per necessity, play mischief and be active through the day so that they sleep peacefully and wake up fresh to have their routines all over again. In between all this they should have time to read comics, novels, have memorable time with their grandparents and friends which will stay with them for their life as pleasant memories. ‘Makdee’ was one such movie.

It had Shweta Prasad play 10-year-old twin sisters – Chunni and Munni. Chunni who was a prankster and Munni the timid, studious kind. Chunni keeps fooling around the village and constantly gets into trouble with the local butcher Kallu along with her friend ‘Mughal-e-azam’ and on one occasion Kallu chases them around the village and in the melee Munni runs into a mansion which is famous around the village as to being haunted. Then what follows is Chunni’s struggle to find her sister, save her from the clutches of the witch who resides in the haunted mansion, and in the process solve the case of all the persons from the village, who went missing, when they ventured into the mansion. She also is felicitated by the collector of the district as she finds the reason for the witch (Shabana Azmi) making the mansion her home- a hidden treasure.

‘Makdee’ had all the elements that would was needed in a children’s film- fun/ fantasy and a moral – which is the essential of any story telling session with kids. The moral being that “you cannot cry wolf always, as a time will come when people will stop believing you.”

14th November is celebrated as children’s day in India in memory of Pandit Jawaharlal Nehru. He was fondly called chacha Nehru and it is said that he was fond of children. I remember my father used to tell me about his school trip to Delhi when he was in class 8 or 9 and they were fortunate to have an audience with the then Prime Minister Pandit Nehru and what an experience it was – today’s youngsters would use the word AWESOME. My father was also proud about nearly sharing birth dates- his birthdate was 15th November. In fact, he used to say that it was not difficult to remember chacha Nehru’s death anniversary as that was the date he landed in Mumbai from Ahmedabad for his job and found all available forms of transport had stopped as a mark of respect to the departed leader. But that is not the purpose of this post.

Let us move on and enjoy this lively song which shows the exact emotion a child will have when it is a holiday from school or vacation or there is an unexpected holiday declared due to rains, bharat bandh, or death of some trustee or anyone remotely important. Here I will confess that I see myself as Chunni, Munni, Mughal-e-azam and all the kids in this movie. I identified with them.


Song-Kukdoo koon chhutti hai (Makdee)(2002) Singer-Upagna Pandya, Lyrics-Gulzar, MD-Vishal Bhardwaj
Chorus

Lyrics

kukdu koon oo
kukdu koon oo
chhutti hai
he chhutti hai
he chhutti hai
kukdu koon oo

ghanti bajaao paape
ghanti bajaao re
bastaa uthhaao paape
bastaa uthhaao bhaago re
hai kitaabon se kutti
chhutti hai
arre chhutti hai chhutti
chhutti hai
hai kitaabon se kutti
kutti hai
arre chhutti hai chhutti
chhutti hai
he chhutti hai
he chhutti hai
kukdu koon oo

jhum tanakum tanakum
jhum tanakum tanakum
tara tara tara
la la la lala

somwaar susti mein katataa hai
mangal ko mood kahaan banta hai
arre somwaar susti mein katataa hai
mangal ko mood kahaan banta hai

budh ki chintaa mein veer ki fikar
shukkar ka tambu shani ke ghar
monday ko sunday ki chhutti hai
hai kitaabon se kutti
chhutti hai
are chhutti hai chhutti
chhutti hai

arre monday ko sunday ki
arre chhutti hai chhutti
chhutti hai
he chhutti hai
kukdu koon oo

ghanti bajaao paape
ghanti bajaao re (he he he he)
bastaa uthaao paape
bastaa uthaao bhaago re
da da daa da da
pom pom pom
da da daa da da
pom pom pom
da da daa da da
pom pom pom
da da daa da da
pom pom pom
master jee
bhaago


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 :

4123 Post No. : 15278 Movie Count :

4203

Hullo Atuldom

November has dawned. Here is the first birthday post of the month.

It is the birthday of Aishwarya Rai Bachchan. This gorgeous Miss World 1994 is also a Padma award winner along with awards for Best Actress (Ham Dil De Chuke Sanam) and Best Actress in a supporting role as Parvati (Devdas).

She made her debut in movies after a brief stint as ramp model and modelling for products like Lux and Coca Cola where she appeared with Aamir Khan. Prior to that she had appeared in an ad for Pepsi with Amir Khan and Ritu Chaudhry (a.k.a Mahima Chaudhry) – remember the ad where the girls are Amir’s new neighbours and he jumps out of his window to run across and get a Pepsi for the girls and tries to impress them and Aishwarya appears as Sanjana at the end. I found other ads featuring Aishwarya on YouTube for products like watches, beauty creams etc. The next step after modelling was movies which happened with the Mani Ratnam directed Tamil film “Iruvar” (1997) with Mohanlal, Revathi, Prakash Raj as co-stars. She made her Hindi debut the same year with “Aur Pyar Ho Gaya” opposite Bobby Deol. And then she has not looked back. She has played a passionate artist in “Kandukondain Kandukondain” (Tamil) 2000, Tagore’s Binodini in “Choker Bali” (Bengali) 2003, depressed woman in “Raincoat’’ (Hindi) 2004, Kiranjit Ahluwalia -a much abused wife who got international attention for burning her husband to death- “Provoked’’ a British-drama genre movie in 2006, a nurse looking after a paralyzed magician turned Radio Jockey who has filed a petition seeking permission to end his life in “Guzaarish’’ in 2010. All the movies that I mentioned here gave her critical acclaim and she had a good number of successful critical and mass appeal films. She has proved the general thought wrong that a heroine loses her popularity and star appeal once married and a mother at that. She has been under public scrutiny for everything that she does but keeps mum and doesn’t reply to the trolls that she is subjected to. Isn’t that noteworthy?

A few years back, for my niece’s wedding, I had purchased a saree which my sister-in-law loved very much and was looking for a similar one only in a different colour combination. I tried to assist her in finding that or a similar saree in the combo she wanted. I am happy to say I finally managed to get it for her on my recent trip to Calcutta (now Kolkata) during Durga Puja. I am sure this sudden off-track by me has jolted the reader into thinking what is the connection with Aishwarya Rai!!

Well it is connected with the song that is coming with this post. It is the almost like the saree that all the ladies are wearing in this song (disclaimer: neither the song nor the movie was reason for my sis-in-law’s liking for the said combination; she doesn’t even know of its connection with Aishwarya 🙂  )

Another connection is that this song happens at a huge haveli in old Calcutta for Durga Puja. It is from the 2002 Sanjay Leela Bhansali directed “Devdas” based on the book of the same name by Sharath Chandra Chattopadhyay. We have Aishwarya Rai dancing with Madhuri Dixit (another heroine whose popularity has not decreased post marriage and kids) at the Sindhoor- Khela which is an essential part of Dussehra during Durga Puja.

The song is in the voice of Shreya Ghosal, Kavita Krishnamurthy and KK. It was written by Nusrat Badr and Ismail Durbar was the composer. Saroj Khan is the choreographer for this magnificent dance which had the two heroines looking extremely gorgeous and they matched step-for-step brilliantly.

It is a song which is my personal favourite 2-heroine dance and I don’t think I will ever tire of seeing it. The choreography got Saroj Khan her 8th Filmfare award and it must be the only song which has a Wikipedia page.

I suggest a visit to the page (dola re dola   ) for interesting trivia about the song.

Today “Devdas” version 2002 makes its debut on the blog to Wish the blue-green eyed Miss World, Miss Photogenic and Miss World Continental Queen of Beauty – Asia- Oceania (sub titles that she won at the Miss world pageant held in Suncity -South Africa) a very Happy Birthday.


Song-Dola re dola re dola (Devdas)(2002) Singers-Shreya Ghosal,  Kavita Krishnamurthy,  KK, Lyrics-Nusrat Badr, MD-Ismail Darbaar

Lyrics

he dola re dola re dola re dola,
he dola re
hpo ho ho ho 

haan haan hmm haan
haan haan haan haan

re dhaiya re dhaiya re re dhaiya aa
re dhaiya re dhaiya re re dhaiya aa

dhim ta dhim ta
dhim ta dhim ta

oooooo aaaa eeee 

he dola re dola re dola re dola
haay dola dil dola mann dola re dola
he dola re dola re dola re dola
haay dola dil dola mann dola re dola
lag jaane do nazariya
gir jaane do bijuriya
bijuriya
bijuriya
gir jane do aaj bijuriya
lag jaane do najariya
gir jaane do bijuriya
baandh ke main ghungharoo,
pehan ke main paayal
ooo baandh ke main ghungharoo,
pehan ke main paayal
ho jhoom ke nachoongi
ghoom ke naachoongi
dola re dola re dola re dola
haay dola dil dola man dola re dola
dola re dolaa re dola re dola
haay dola dil dola man dola re dola 

aiy yai yai yai yaa haa
aiy yai yai yai yaa haa
dekho ji dekho dekho
kaisi ye jhhankaar hai
inki aankhon mein dekho piyaaji ka pyar hai
inki aawaaz bhi haay kaisi khanakaar hai
piya ki yaadon mein yeh jiya bekraar hai 

haay haay haay haay haay haay
maathe ki bindiya mein woh hai
mm palkon ki nindiya mein woh hai
tere to tan man mein woh hai,
teri bhi dhadkan mein woh hai
choodi ki chhan chhan mein woh hai
chhan chhan chhan chhan
chhanak chhanak chhan chhanak chhanak
kangan ki khan khan mein woh hai
khanak khanak khan
khanak khanak khan
khan khan khan
choodi ki chhan chhan mein woh hai
kangan ki khan khan mein woh hai
baandh ke main ghungharoo,
haan pehan ke main paayal
haan jhoom ke naachoongi
ghoom ke naachoongi
dola re dola re dola re dola
haay dola dil dola mann dola re dola
he dola re dola re dolaa re dola
haay dola dil dola mann dola re dola 

hae ae ae ae ae ae
hae hae hae hae hae hae
hae ae ae ae ae ae
hae hae hae hae hae hae

tumne mujhko
duniya de di
mujhko apni
ho khushiya de di
unse kabhi naa hona door
dola dola dil dola dola dil dola dola dola
haan maang mein bhar lena sindoor
dola dola mann dola dola mann dola dola dola
unki baahon kaa tum ho phool
dola dola dil dola dola dil dola dola
main hoon kadmon ki bas dhool
dola dola mann dola dola mann dola dola
baandh ke main ghungharoo.
pehan ke main paayal
haan baandh ke main ghungharoo,
pehan ke main paayal
haan jhoom ke naachoongi
ghoom ke naachoongi
dola re dola re dola re dola
haay dola dil dola mann dola re dola
he dola re dola re dola re dola re dola re dola
haay dola dil dola mann dola re dola

dola dola dola dola dola dola
dola dola dola dola dola dola
dola dola dola dola dola dola
dola dola dola dola dola dola
he dola re


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4119 Post No. : 15272 Movie Count :

4199

Songs Repeated in Hindi Films – 12
– – – – – – – – – – – – – – – – – –

What we have today is a repeat song of a very familiar and a very wonderful hit of its time, and yes, an all time favorite that seems to carry a timeless appeal for people in love. And as is shown on screen, people in love – of all ages. This reuse has some very interesting circumstances, mostly well evident in the picturization itself.

The original song is from the hit film ‘Khel Khel Mein’ from 1975. The lead pair in that film is Rishi Kapoor and Neetu Singh, who were famously in love off the celluloid also. They were referred to as the ‘Love Birds’ of the Hindi cinema. Their affair culminated in their tying the proverbial matrimonial knot in 1980. ‘Khel Khel Mein’ was possibly their second film together, having worked together earlier for the first time together, in ‘Zehreela Insaan’ in 1974. The original song is performed on screen by this pair, playing roles of college students in love, and in search of fun and adventure through petty pranks. On screen, the scenario is that both are drunk, and have got it into their minds to announce their love for each other to the world through this song. The original song is written by Gulshan Baawra and the music is by RD Burman.

The repeat song is from the 2005 film – ‘Pyaar Mein Twist’. The lead roles in this film are played by Rishi Kapoor and Dimple Kapadia. Seeing this pair on screen brought back memories of many a story, all the way back from three decades ago.

Rewind back to 1973. Rishi and Dimple make their individual debuts as lead players in ‘Bobby’, a teen romance that straddles two diverse strata of the society as well as religious affiliations. The film was the big hit of 1973, that revived the fortunes of RK banner after the box office debacle of ‘Mera Naam Joker’ (1970). The release of this film was preceded, and accompanied by a ton of controversies that had the pulp press working overtime for months on end. An uncanny facial resemblance (at that point in time) between Dimple and Nargis of ‘Barsaat’ (1949), created a havoc laden rumor tornado – that Dimple is actually Raj Kapoor’s daughter from his alleged affair with Nargis when the two were a popular and fantastic pair on screen, and off it, in late 1940s to mid 1950s. Of course the rumor was really preposterous; given the dates and timelines of years. But the smut press was really having a great time. Then another storm of rumor was thrown into this mix – that of an off screen affair between Rishi and Dimple. This was even more flabbergasting – as evidenced by the fact that Rishi – fondly called Chintu Baba, would soon be entangled with Neetu Singh, in a relationship that has lasted a life time. The rumor simply refused to die for weeks on end, despite strong denial statements by all parties concerned.

And then, even before the film ‘Bobby’ was formally released, there came another thunderous event that really complicated the already horrendous mess. Totally out of the blue, the marriage of Rajesh Khanna and Dimple Kapadia was announced. Rajesh Khanna was riding a great popularity wave as the superstar of the decade. The decision raised many an eyebrow, all the way to the sky, given that Rajesh Khanna was already in an almost live-in relationship with the small time actress Anju Mahendru. Couple that with the immediate announcement of Dimple’s retirement from the film industry. Goodness, the amount of dirty gossip raised by all these eventualities, was really getting out of hand. To a right thinking person, all the gossip was incredulous and unbelievable, at that time. It would serve no purpose to regurgitate it. And then, in some months’ time, as the controversies appeared to have lived out their usefulness, the box office success of ‘Bobby’ created another gossip storm – that all the controversies and their public discourse associated with Dimple – all the rumor rot was just a marketing ploy to create a box office success for ‘Bobby’. It took almost a year for the storm to die down.

Fast forward now to 1982. The long brewing trouble in the Rajesh-Dimple marriage came to a head, with Dimple leaving the matrimonial home with her two daughters, never to return again. After a cooling period of a year or so, the news emerged about the much awaited return of Dimple to the films. One of the first films that she signed up for was ‘Saagar’ (1985), opposite to Rishi Kapoor once again. The film was delayed by almost a year – in normal course it would have hit the theatres in 1984. Other films starring Dimple got released earlier.

Over the years, this pair has appeared on screen together with an infrequent regularity – ‘Allah Rakha’ in 1986, then on to ‘Ajooba’ and ‘Ranbhoomi’ in 1991. Then in 2005, after another gap of 14 years, came ‘Pyaar Mein Twist’, the film under discussion today. The two actors have appeared together in two more films since then – ‘Luck By Chance’ in 2009 and then ‘Patiala House’ in 2011.

‘Pyaar Mein Twist’ is a romantic comedy underlining a serious subject of mature age romance between two single parents, Yash (role played by Rishi Kapoor) and Sheetal (role played by Dimple Kapadia), both having a flourishing household each of them is responsible for. And yet, Cupid does not spare them from romantic entanglement, leading to a major social upset in the two families. However, with the support of a benevolent aunt (Toshi Auntie – role played by Farida Jalaal) and a supporting future son-in-law (Sanju – role played by Sameer Dattani), all ends well for all parties concerned. The ending sequence shows Yash performing the kanyadaan ceremony at the wedding of Sheetal’s daughter, topped off with a happy smiling family group photo shoot.

The reused song is actually not the real original. It has been re-recorded in different voices for the purpose of this film. It is a duet – but now it is a male-male duet. The original is sung by Kishore Kumar and Asha Bhosle. The repeat version is sung by Babul Supriyo and Vinod Rathod. On screen, it is performed by Yash and his childhood friend Khanna (role played by Satish Shah). The scene is a marriage anniversary party of Khanna. Yash, after a few pegs down his belt, decides to make a public proclamation of his love for Sheetal – much to her visible surprise and suppressed delight.

One query for the more knowledgeable readers – please help to identify the lady in the red saaree standing next to Dimple in this song. She plays the role of Satish Shah’s wife in this film. I have seen her in a couple of other contemporaneous films, but cannot recall her name.

The song starts off with the opening lines of another iconic hit of Rishi Kapoor – the song “Meri Umar Ke Naujawaanon. . . – To Gaao Om Shanti Om”, in his own voice, and then it leads into the lines “Khullam Khulla. . .”. Of the original three stanza song, only two stanzas have been used in repeat version.

So check out this modern day avataar of an iconic song from the 1970s, which is performed on screen by the same actor – thirty years apart. This must be a record of sorts, after considering WM Khan’s performance of the primeval “De De Khuda Ke Naam Pe. . .” in the three versions of the film ‘Alam Ara’ – 1931, 1956 and 1973.

Listen and enjoy.

 

Song – Khullam Khulla Pyaar Karenge Hum Dono  (Pyaar Mein Twist) (2005) Singers – Babul Supriyo, Vinod Rathod, Lyrics – Gulshan Bawra, MD – RD Burman
Rishi Kapoor
Unidentified Male Voice
Babul Supriyo + Vinod Rathod
Chorus

Lyrics

hey..ey..ey
tum ne
kabhi kisi se
pyaar kiya

kiya. . .

kabhi kisi ko dil diya

diya. . .

maine bhi diya. . .
hey..ey..ey

jamaa de

hey y’all party people
listen now
. . .  y’all listen now
. . .  . . .  y’all listen now
. . .  . . .  . . .  y’all listen now
the same old love story
back again

yea
come on
now

say it

come on now
you party people

khullam khulla pyaar karenge hum dono
is duniya se nahin darenge hum dono
arrey khullam khulla pyaar karenge hum dono
is duniya se nahin darenge hum dono
pyaar hum karte hai chori nahi
mil gaye dil jora jori nahi
hum wo karenge jo dil kahe
hum ko zamaane se kya

that’s right

arrey khullam khulla pyaar karenge hum dono
is duniya se nahin darenge hum dono

hey..ey..ey
same old love story
like ya sing it
come on now
feel it

hey
dekh wo
ishq chhup chhup ke farma rahe hain
arrey hai
kya mazaa
dil hi dil me to ghabra rahe hain
hey ey
dekh wo 
ishq chhup chhup ke farma rahe hai
arrey hai
kya mazaa
dil hi dil me to ghabra rahe hain
lagta hai dono padosi hain wo
rishta hi aisa hai jaane bhi do
hum wo karenge dil jo kahe
hum ko zamaane se kya

jamaa de

khullam khulla pyaar karenge hum dono
is duniya se nahin darenge hum dono

oye kitta

one one one one
one more time

hey
bolo na
pyaar ka hai ye dushman zamaana
arrey sun
haan bataa
sab ko milta nahin ye khazaana
hey
bolo na
pyaar ka hai ye dushman zamaana
ae hey hey sun
haan bataa
sabko milta nahi ye khazaana
arrey jinko aji ye khazaana miley
dekh dekh unko ye duniya jaley
hum wo karenge dil jo kahe
hum ko zamaane se kya

khullam khulla pyaar karenge hum dono
is duniya se nahin darenge hum dono

watch it watch it now

pyaar hum karte hai chori nahin
mil gaye dil jora jori nahin
hum wo karenge jo dil kahe
hum ko zamaane se kya

jamaa de

khullam khulla pyaar karenge hum dono

watch it watch it now

is duniya se nahin darenge hum dono

oye kitta

khullam khulla pyaar karenge hum dono

that’s right

is duniya se nahin darenge hum dono

jamaa de

khullam khulla pyaar karenge hum dono. . .


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 :

4102 Post No. : 15252 Movie Count :

4190

The Dadasaheb Phalke Award is India’s highest award in cinema. It is presented annually at the National Film Awards ceremony by the Directorate of Film Festivals, an organisation set up by the Ministry of Information and Broadcasting. The recipient is honoured for their “outstanding contribution to the growth and development of Indian cinema” and is selected by a committee consisting of eminent personalities from the Indian film industry. The award comprises a Swarna Kamal (Golden Lotus) medallion, a shawl, and a cash prize of ?1,000,000 (US$14,000). Presented first in 1969, the award was introduced by the Government of India to commemorate Dadasaheb Phalke’s contribution to Indian cinema. Phalke (1870–1944), who is popularly known as and often regarded as “the father of Indian cinema”, was an Indian filmmaker who directed India’s first full-length feature film, Raja Harishchandra.

The first recipient of the award was actress Devika Rani, who was honoured at the 17th National Film Awards held in 1969. As of 2017, there have been 49 awardees. Among those, actor Prithviraj Kapoor (1971) and actor Vinod Khanna (2017) are the only posthumous recipients. Raj Kapoor accepted the award on behalf of his father Prithviraj Kapoor at the 19th National Film Awards in 1971 and was himself a recipient in 1987 at the 35th National Film Awards ceremony. Bommireddy Narasimha Reddy (1974) and Bommireddy Nagi Reddy (1986); Raj Kapoor (1987) and Shashi Kapoor (2014); Lata Mangeshkar (1989) and Asha Bhosle (2000) along with B. R. Chopra (1998) and Yash Chopra (2001) are the siblings who have won the award.

Note:- all of the above information I have extracted from Wikipedia and apologize for any wrong information therein.

October 11th 1942 was the date when Teji Bachchan- wife of Shri. Harivansh Rai Bachchan gave India the Shahenshah of Bollywood. He goes by the name Shri. Amitabh Bachchan. Anyone who has even the faintest knowledge about Indian movies -anywhere in the world- would have heard about this actor. He may have not been India’s first mega-superstar, that title will always be associated with Rajesh Khanna. The reason I have used the term Mega-Superstar for Rajesh Khanna is because Dilip Kumar- Dev Anand-Raj Kapoor were equally big stars of their generation and the trio were inspiration for the next set of actors like Manoj Kumar, Dharmendra, Rajendra Kumar, Rajesh Khanna, Jeetendra, Amitabh Bachchan etc. The popularity and fan-following that Rajesh Khanna achieved was much more than what the trio of the 50s and 60s may have experienced collectively. Amitabh Bachchan had a long journey to reach the level of popularity that was Rajesh Khanna’s; but even at the height of his superstardom one has never heard of girls writing letters to Amitabh with blood, or throwing themselves at his car or trying to commit suicide at the news of his marriage to Jaya Bhaduri etc.

What Amitabh experienced was a different kind of affection from his fans. There were people who prayed for his life in 1982 when he had an accident during the shoot of “Coolie”. There are accounts of people walking barefoot from far-flung places to the hospital where AB was admitted and battling for life after the accident; people offering prayers at various places of worship cutting across religious differences. AB has always thanked his fans for all the love they showered on him during that period. In fact, he always greets them on Sunday evenings (whenever he is in Mumbai i.e.) for which there is a huge crowd of fans waiting outside his Mumbai residence.

He may have been dubbed the angry-young-man in the early phase of his career but he was equally adept at emotional, romantic or comic roles. “Mahaan” (1983) had him in three roles where we had him as an emotional father/ husband, serious-faced inspector and comic stage artist. The turn of the century saw him change his style and take on a variety of roles and characters- strict father who will not accept his son marrying against his wishes (Kabhi Khushi Kabhi Gham), strict principal who wanted all his students to adhere to the ‘parampara’ ‘pratishtha’ etc laid down by the college (Mohabbatein), friendly-indulgent father to Akshay Kumar (“Ek Rishtaa: the bond of love” and “Waqt: the race against time”) etc. etc. etc. We saw him as a rustic near-bumbling cop in “Bunty Aur Babli”; aging teacher of a deaf-blind girl in “Black”; these successful experiments have seen him through 50 years in an industry which has many talented actors but no one has been given epithets like “Shahenshah of Bollywood”, “Big B” or “Star Of The Millennium”. He continues his reign over the hearts of his fans in spite of the next generation and the one after it giving movies that gross over 100 crores per film. He still gets author backed roles that befit his age and many-a-times is the central character of the story as in “Baghban” and “Baabul”. His detractors may feel that he is the most off-key (besura) singer (and I believe he agrees that he is mostly off-key) but the songs that he has sung (from the first full song “mere pass aao mere doston”) have been well received by his die-hard fans-yours truly included. 🙂

Coming back to the opening para of this post- here is the connection- Amitabh Bachchan is the recipient of this prestigious award for this year. He joins an august list of personalities who have had a major influence on the Indian film industry beginning from Devika Rani who is acknowledged as the first lady of Indian cinema.

This is the latest feather in AB’s cap in addition to the Padma awards – Padma Shri, Padma Bhushan and Padma Vibhushan; 4 National Awards for best actor and 15 Filmfare awards and numerous other awards from various national and international organisations.

Today he turns 77 and I am confused as to which is an appropriate song that should go with this post- I have a big collection to choose from- the blog has about 20 songs which have had Amitabh Bachchan in the recording room as a singer or uttering a few words with the main singer.

Today’s song is from the BR films produced 2006 release “Baabul”. It had AB play an indulgent and friendly father to Salman Khan and a loving father-in-law to Rani Mukherjee. The movie had a simple story of the loving father-in-law, fighting the opposition from his own wife and other family members, against his decision of getting his son’s widow remarried. The song comes at the fag end of the movie. It was on my list of songs under consideration for this post. What clinched the matter in its favour is that the song has two versions to it. The version in the movie is in the voice of Amitabh Bachchan and the album version is in Jagjit Singh’s voice. And only this morning I saw a message on our WhatsApp group that yesterday was Jagjit Singh’s anniversary.

So, we wish our Big B a long and healthy life and lots more years of entertaining us along with remembering Jagjit Singh and his smooth voice.

Video (Amitabh Bachchan voice)

Audio

Song-Kehta hai baabul o meri bitiya (Baabul)(2006) Singer-Amitabh Bachchan/ Jagjit Singh, Lyrics-Sameer, MD-Aadesh Srivastava

Lyrics

kehta hai baabul o meri bitiya
tu toh hai mere jigar ki chitthiya
kehta hai baabul o meri bitiya
tu toh hai mere jigar ki chitthiya
daakiya koyi jab aayega
tujhko churaa ke le jaayega
katega kaise lamha tere bina bata
jiyunga kaise tanha tere bina bata
katega kaise lamha tere bina bata aa aa
jiyuga kaise tanha tere bina bata

tu suhaagan rahe sang saajan rahe raat din
iss khushi ke liye har sitam main uthha loonga aa
tere jaane kaa gham mujhko hoga magar laadli
leke iss dard ko main sada muskuraaoonga
baabul toh dil se de raha duaa yahi
khushi ke saaye mein ho zindagi teri
baabul toh dil se de raha duaa yahi ee
khushi ke saaye mein ho zindagi teri

waqt ke saath zakhm yeh bhar jayega
pal guzar jayega tu meri baat maan le ae
yaadon ke aasre umr kat’ti nahin
hai haqeeqat yahi abb too jaan le ae ae
samundaron ka paani koyi naa pi saka
akela khaara jeevan koyi naa jee saka aa
samundaron ka paani koyi naa pi saka
akela khaara jeevan koyi naa jee saka

kehta hai baabul o meri bitiya
tu toh hai mere jigar ki chitthiya
daakiya koyi jab aayega
tujh ko churaa ke le jaayega
katega kaise lamha tere bina bata
jiyunga kaise tanha tere bina bata
katega kaise lamha tere bina bata
jiyunga kaise tanha tere bina bata


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 :

4069 Post No. : 15205 Movie Count :

4179

Hullo to Atuldom

Today I have a very difficult task. The task of selecting one song from a possible 5251 (7874-2623 as per the stats page of the blog) is almost like needle in a hay stack. And there will be at least a few thousand popular songs in this 5k of which many will fall in the category of “How come…?”. Some may lead to their movies getting Yyippeeeed and some may introduce a new movie onto the blog.

I never added any criteria for the song selection as I had so many songs of this singer, running through my head. Over the last few days I had heard many songs of this artist and found that most of them are yet to appear on the blog. It doesn’t help matters that she has been around since 1948 – just about 71 years of work to choose from. 71 years of work means singing for all the females who have ever graced the Bollywood firmament, of course excluding the ladies of the silent era. I thought I will take the easy way out and try and find the first ever Bollywood song recorded by her for Hansraj Behl in 1948. But, if only, life was that easy!!!! 🙂

Just then, as if Godsend, my daughter called me for getting some clarification and as soon as we finished her work with me, I told her what I was up to, and we went into overdrive about the song selection. She on her part suggested a few songs which both of us love and have music cassettes of, but I shot them down as they were non-filmy. I had my reasons for shooting them down- when there are so many movie songs left why go for non- film songs. We still have years to go before we run out of film songs. Then, after a lot of brain-storming with my dear Peevesie, I zeroed in on a song written by Gulzar.

What is unusual about this song? For one, it is one of the rare occasions where Anu Malik has given music for an album with songs written by Gulzar. This album has songs sung by Asha Bhonsle, K.S. Chitra, Jaspinder Narula, Roop Kumar Rathod, Palash Sen and KK. All the songs of the movie were well received. But the track by our birthday girl was a huge hit. I am talking of the songs from Meghna Gulzar’s directorial debut “Filhaal” of 2002. Meghna, as is well known, is the daughter of Rakhee and Gulzar. She started out her career as a free-lance writer, going on to assist Saeed Akhtar Mirza and her father before going on to direct “Filhaal”. It was not an unusual story but was handled differently.

The movie had Sushmita Sen and Tabu – as stars of commercial value and Dr. Palash Sen and Sanjay Suri as the male actors. The ladies are long-time friends but differ in their dreams and aspiration. They are different where settling into family is concerned but when one of them (Sushmita) has a problem in her family life, as she cannot conceive, the other (Tabu) steps in to be a surrogate mother to her friend’s child. Then differences crop up between the friends as the pregnancy progresses and how they resolve all the confusion forms the gist of the movie. It was critically appreciated but I am unaware of its commercial status.

Today’s song is sung by Asha Bhonsle. I hope all the readers had guessed that I want to wish our Ashaji a lot of health and good times and hope to hear more of her songs.

P.S.: Hope people have noted that I have exercised restraint and not mentioned about her lineage, family, her most popular songs and my favourite Asha Bhonsle song. Only I know how difficult it was not to mention songs. 🙂


Song-Ae zindagi ye lamha jee lene de (Filhaal)(2002) Singer-Asha Bhonsle, Lyrics-Gulzar, MD-Anu Malik

Lyrics

ae zindagi
yeh lamha jee lene de
ho o o o
pehle se likha
kuchh bhee nahin
roz naya kuchh
likhti hai tu
jo bhee likha hai
dil se jiya hai
ye lamha filhaal jee lene de
ye lamha filhaal jee lene de

maasoom si haseen bewajah hee kabhi
honthon pe khil jaati hai
anjaan si khushi
behti huyi kabhi
saahil pe mil jaati hai
ye anjaana sa darr
ajnabi hai magar
khoobsoorat hai jee lene de
ye lamha filhaal jee lene de
ye lamha filhaal jee lene de

dil hi mein rehta hai
aankhon mein behta hai
kachcha sa ik khwaab hai
lagta sawaal hai
shaayad jawaab hai
dil phir bhi betaab hai
ye sukoon hai toh hai
ye junoon hai toh hai
khoobsoorat hai jee lene de
ye lamha filhaal jee lene de
ye lamha filhaal jee lene de

ho o o pehle se likha kuchh bhi nahin
roz naya kuchh
ho o o likhti hai tu
jo bhi likha hai
dil se jiya hai
ye lamha filhaal jee lene de
ye lamha filhaal jee lene de


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 4056 Post No. : 15188

I am an ardent admirer of Ruskin Bond’s short stories. I do not remember as to when I started bonding with Ruskin Bond’s books. It could be sometime early 1990s when I read his first book titled ‘Beautiful Garhwal – Heaven in Himalayas’ (1988). Surprisingly, this book is not listed under the list of his published books. It is a ‘coffee-table book’ with 15 of his articles on the Garhwal Himalayas – from the village life, rivers, valleys, pilgrimage to trees and flowers, etc. It is an excellent and lavishly printed book in art paper with a lot of illustrations and beautiful pictures. This book was printed for Garhwal Mandal Vikas Nigam (GMVL) as a part of promotion of tourism in the Garhwal Himalayas.

Since then, I had ready many of his short stories which are in my collections of books like ‘Rain in the Mountains – Notes from the Himalaya’ (1993), ‘The Lamp is Lit’ (1998), The Room on the Roof’, ‘The Night Train to Deoli & Other Stories’ etc. Very recently, I have read his latest book ‘The Beauty of All My Days’ – A Memoir ( 2018). A few of his books of short story collections which I have read, seems to have been missing from my collections. Probably, I may have given to some ones to read but they did not return.

Ruskin Bond has spent much of his life at the foothills of the Garhwal Himalayas. His last 5 decades have been spent in Landour, a cantonment area of Mussoorie. He has widely travelled in Garhwal Himalayas. Hence, much of his writings is the reflections of the hills and the village life of the Garhwal Himalayas and his nostalgic experiences. His lucid writing style takes the readers to the virtual trip to the Himalayas.

I have been very much influenced by the writings of Ruskin Bond and his nostalgia of the Garhwal Himalayas. Of all the Himalaya treks I have undertaken during the last 35 years, I have done the maximum number of treks in the Garhwal Himalaya. His description of the village life prompted me to prefer home stays in village houses for the overnight stays rather than in the tents whenever I trekked in the Himalayas. I could, therefore, get the first hand experiences of Ruskin Bond’s descriptions of the Garhwal villages and the psyche of the simple villagers.

Recently, I have written an article in the Blog on Gulzar saab on the occasion of his 85th Birthday. When I was going through the profile of Ruskin Bond, I found it interesting to note that there were many similarities in the events in the lives of Ruskin Bond and Gulzar saab. Both were born in 1934, with Gulzar saab being younger by exactly 3 months. Both had a lonely childhood. Gulzar saab lost his mother when he was a child. Ruskin Bond had grown up without the support of his mother as his parents had divorced when he was a child. His mother got remarried and he lived with his father. Circumstances deprived both of them of their fathers’ company when it was most needed. Gulzar saab was sent to Mumbai to stay with his elder step brother, while Ruskin Bond missed his father most of the time because he was in the Royal Air Force and later died from Malaria at an early age.

Both Ruskin Bond and Gulzar Saab developed their writing skills and got their poems/short story published when they were teens. Both got associated with Hindi films albeit with a gap – Gulzar saab in ‘Bandini’ (1963) as a lyricist and Ruskin Bond as a story writer in ‘Junoon’ (1978) based on his novel, ‘A Flight of Pigeons’ (1970s). Both wrote and published a good number of books of children’s literature. Ruskin Bond and Gulzar saab were conferred with Sahitya Akademy Awards in 1992 and 2002 respectively and with Padma Bhushan in 2014 and 2004 respectively.

While the lives of Ruskin Bond and Gulzar saab was moving parallelly, they got merged for the first time when Vishal Bhardwaj decided to make a children’s film in Hindi, ‘The Blue Umbrella’ (Neeli Chhatri, 2005) based on the novella of the same title written by Ruskin Bond. He also wrote screen-play for the film jointly with Vishal Bhardwaj. Gulzar saab got associated with this film as a lyricist.

After a gap of about 5 years, Ruskin Bond and Gulzar saab worked together in Vishal Bhardwaj’s film ‘7 Khoon Maaf’ (2011) which was based on his novel ‘Sussanna’s Seven Husbands’. Ruskin Bond wrote screen-play along with Vishal Bhardwaj and also played a cameo role of a priest in the film. Gulzar saab wrote the lyrics. Collaboration between them for the third film is in the offing. Incidentally, Vishal Bhardwaj has become a neighbour of Ruskin Bond in Landour as revealed by the latter.

As I mentioned earlier, ‘The Blue Umbrella’ (2005) was a children’s film based on Ruskin Bond’s novella by the same name. The film was directed by Vishal Bhardwaj. Except for Pankaj Kapoor and Deepak Dobriyal, rest of the actors in the film are unfamiliar to me. The lead actors in the film is Pankaj Kapoor and 10-year girl, Shreya Sharma. The film was critically acclaimed and it got the National Film Award for the best children’s film in 2008. But the film was a box office disaster.

The film is not available for viewing in any video uploading platforms like YT. I saw the movie on Netflix. There are some minor differences in the story outlined in the film from the story in the book. The story in the book is based in some remote village in Garhwal whereas in the film, the story is based on a remote village in Himachal Pradesh. The end in the film also differ from the book which I will discuss later. The story in the film is as under:

In a remote Himalayan village, 10-year old girl, Biniya (Shreya Sharma) stays with her widowed mother and elder brother. The family has a small terraced field and a couple of cows sufficient to take care of their sustenance.

One day when Biniya goes to graze the cows, she comes across a group of Japanese tourists. Biniya’s eyes fall on a beautiful blue umbrella which is lying open on the meadow. She likes the umbrella and wants to have it but she has no means to get it. The lady tourist sees a necklace with a pedant of bear’s claws in Biniya’s neck and she likes it. Despite the bear’s claws being regarded as a lucky charm, Biniya exchanges for the blue umbrella. From now onward, Biniya and her blue umbrella are inseparable.

Most of the people in her village are envious of her blue umbrella as no one in the village possessed such a beautiful umbrella. The village teacher’s wife pesters her husband to get a similar umbrella for her. But the children in the village are full of praise for Biniya’s blue umbrella.

In the village, Nandkishore (Pankaj Kapoor), the owner of the village’s only tea shop, also becomes envious of Biniya’s blue umbrella as she has become the centre of attention in the village. Even tourists coming in buses for going towards a hill station nearby take a tea break for photographing her with blue umbrella.

Nandkishore tries all tricks of attractive offers to make her sell to him the blue umbrella but she refuses to sell. The blue umbrella causes restlessness in the mind of Nandkishore. He must have that blue umbrella. He tries to get one from the nearby town but it is not available. A similar type of umbrella which may be available in Delhi would cost him a lot. He feels that his attraction to the blue umbrella may have to do with his last birth.

One day, Biniya while grazing the cows on a meadow, finds her umbrella missing. She suspects Nandkishore to be the one who stole her blue umbrella. Police searches the Nadkishore’s shop but does not find the umbrella. Humiliated by the police investigation, Nandkishore buys a colourful red umbrella which, he says, he got from Delhi. He now becomes the centre of attraction in the village.

Biniya’s own investigation on her missing blue umbrella continues which takes her to a nearby town where one umbrella was recently dyed. In the meanwhile, with his status in the village gone up due to owning a red umbrella, Nandkishore is invited as a chief guest for a wrestling competition in the village. During the competition, it starts raining and his red umbrella turns blue as red colour on the umbrella get washed out. It becomes clear that Nandkishore had stolen Biniya’s blue umbrella and got it dyed with red colour. The village panchayat held him guilty and pass a judgement that that the entire village should boycott Nandkishore and his shop.

With the boycott, Nandkishore business is almost stopped. He is not even invited for the marriage of the village chief’s son. Barber’s shop refuses him as a customer. Biniya watches all the happenings to Nandkishore. She feels sorry for him. One day, she visits his shop after a long gap to buy biscuits and forgets her umbrella in his shop. When Nandkishore notices this, he runs after her with the umbrella in snowy conditions and returns to her the umbrella. Biniya refuses to accept the umbrella by telling him that it is not her umbrella and walks away. The village boycott of Nandkishore is lifted and his business in the shop returns to normal.

I found the ending in Ruskin Bond’s book more touching than in the film. In the book, after few days of boycott of Nandkishore’s shop, Biniya feels that she is the cause for all the problems Nandkishore has been facing due to boycott. After many days of boycott, she visits his shop to buy toffees. Nandkishore thinks that Biniya has come to his shop to make fun of his situation or she has come with a counterfeit coin to buy toffees. But none of his presumptions comes out true. She buys the toffee but forget her blue umbrella in the shop. Nandkishore runs after her to give her back the umbrella. However, she tells him that she left the umbrella for him.

After few days of this event, Nandkishore calls Biniya while she is passing by his shop. He shows her his newly made locket of bear’s claws with silver chain. She likes it but she says she has no money to buy. Nandkishore says that it does not matter as she has given him her umbrella and he is giving her a locket of bear’s claws. He places the pedant on her and says that it looks very beautiful on her. She is very much pleased as bear’s claws are regarded luckier than leopard’s claws. For Nandkishore, the smile that she gave him upon receiving the pendant was more rewarding than owning the pendant.

Vishal Bhardwaj, the producer-director of the film had said at the time of the release of the film that it was a children’s film with a message to adults. How true it is! Firstly, how an alien thing like an attractive blue umbrella can disturb the peaceful life of a village. Second, the intense desire to possess something can lead to irrational behaviour and its resultant adverse consequences. Third, forgiveness is the key to normalisation of a relationship. In ‘The Blue Umbrella’ Ruskin Bond has shown that there is always a soft corner in the hearts of individuals. In the end, Biniya gives up her possessiveness and Nandkishore shades his greediness. And the village comes back to its peaceful life.

The film has 3 beautiful songs, all written by Gulzar. One of them has been represented on the Blog.

I have selected for presentation the song ‘neeli aasmaani chhatri’ because this is the only song in which the blue umbrella is on display most of the duration of the song. Like Biniya and Nandkishore in the film, I am also tempted to this beautiful blue umbrella, my temptation being limited to watching it to my heart’s content. The song is sung by Upagna Pandya under the music direction of Vishal Bhardwaj.

It is a lovely song with western symphony music used for interludes.

Video Clip:

Audio Clip :

Song-Neeli Aasmaani chhatri (Blue Umbrella)(2005) Singers-Upagna Pandya, unknown female voice, Lyrics-Gulzar, MD-Vishal Bhardwaj

Lyrics(Based on the Audio Clip)

ku ku ku ku
ku ku kudi ku ku
ku ku kudi ku ku
ku ku kudi ku ku
ku ku kudi ku ku
arre he….ey

(ku ku kudi ku ku )
hey hey
(ku ku kudi ku ku)
neeli aasmaani chhatri
ku ku kudi ku ku
ku ku kudi ku ku
ku ku kudi ku ku,
ku ku kudi ku ku

he…..ey
hey ae
neeli aasmaani chhatri
chhatri ka udan khatola
dole to laage hindola
chhatri ka udan khatola..aa aa
dole to laage hindola
ude kabhi bhaage kabhi
bhaage kabhi daude kabhi
samajh na maane chhatri..ee
ku ku kudi ku ku
ku ku kudi ku ku
ku ku kudi ku ku
ku ku ku ku
ku ku ku ku
ku ku kudi ku ku
ku ku kudi ku ku
ku ku kudi ku ku
ku ku kudi ku ku

ambar ka tukda toda
lakdi ka hattha joda
haath mein apna asmaan hai re
chhatri le ke chalti ho
memon jaisi lagti ho
goron ka dil beimaan hai re
khunti kabhi laathi kabhi
laathi kabhi chhadi kabhi
khunti kabhi laathi kabhi
laathi kabhi chhadi kabhi
paaji shaitaani chhatri..ee

baarish se jo rishta hai
paani pe mann khinchta hai
bijli ko ye pehchaan hai re
shaayad phir ud na jaaye
ambar se jud na chaahe
bholi hai anjaan hai
hai re
doobe kabhi taire kabhi
gote khaati jaaye kabhi
doobe kabhi taire kabhi
gote khaati jaaye kabhi
karein naadaani chhatri..ee
ku ku kudi ku ku
ku ku kudi ku ku
ku ku kudi ku ku
ku ku kudi ku ku

hey ae hey ae
(ku ku kudi ku ku)
hey re
(ku ku kudi ku ku)
neeli asmaani chhatri
chhatri ka udan khatola..aa
dole to laage hindola aa aa
chhatri ka udan khatola..aa aa
dole to laage hindola
ude kabhi bhaage kabhi
bhaage kabhi daude kabhi
samajh na maane chhatri


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 TWELVE 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.

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(© 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

15786

Number of movies covered in the blog

Movies with all their songs covered =1212
Total Number of movies covered =4345

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