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 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 :

5298 Post No. : 17352 Movie Count :

4672

I was a regular visitor to theatres for watching Hindi films during 1969-72. Almost every weekend (preferably Saturday afternoon shows), I would watch Hindi films in theaters irrespective of what critical reviews say about the films. Gradually, I developed some aversion to Hindi films and my visits to theatres became fewer. I guess, by mid-1975, my visits to theatres for watching Hindi films was considerably reduced to a couple of films in a year, that too after reading positive reviews or on the recommendation of my relatives/friends. The last Hindi film which I watched in the theatre was ‘83’ (2021) in the last week of December 2021. Of course, now OTT platforms have given an alternative option to watch the films of our choices and our convenient time at home with family.

‘Jab We Met’ (2007) was one such films which I saw with my family in the theatre after reading the positive reviews of the film. The lead pair in the film was Shahid Kapoor and Kareena Kapoor. I had not seen their earlier films. Also, I did not come across any mention about the box office successes of their earlier films. Similarly, at that time, I heard of Imtiaz Ali, the film’s director for the first time. With these background in my mind, I was skeptical about the performances of the lead pair as well as the box office success of their latest film. In the event, my pre-viewing assessment of the film went completely wrong . The film was a romantic comedy which kept me engrossed till the end. Contrary to my apprehension, the performances of the lead pair were more than my expectations.

It is almost 15 years since I saw the film. Now, I do not remember as to how the story unfolded towards the end, Except two songs, I do not even remember as to how the rest of the songs were picturised. The two songs which is in my memory was ‘nagaada nagaada nagaada baja….’ and ‘ aaoge jab tum….’, the second one was of my liking. I always felt that songs in the films are the ‘speed breakers’ to the smooth flow of a film’s story and if they are out of context in the film, I tend to forget them. So, to refresh my memory, I watched the film on Youtube just before writing this article. I enjoyed the film watching after a long gap. I feel that this film has a good repeat value.

‘Jab We Met’ (2007) was produced under the banner of Shree Ashthvinayak Cinevision Ltd and was directed by Imtiaz Ali who also wrote story and dialogues. Shahid Kapoor and Kareena Kapoor were the lead pair supported by Dara Singh, Tarun Arora, Pawan Malhotra, Somya Tandon, Kiron Juneja, Ananya Khare, Divya Seth etc.

According to director Imitiaz Ali, he had in mind Bobby Deol and Preity Zinta for the lead roles which did not work out. Shahid Kapoor’s name was suggested to him by one of his friends. Imtiaz Ali felt that Shahid Kapoor looked young to the role of a businessman but he had no choice as he had already lost many months in picking up the lead pair. He had tried to contact Kareena Kapoor for heroine’s role but there was no response from her. It was only when he finalised Shahid Kapoor as the lead actor that Kareena Kapoor agreed to work in the film. At that time, Shahid Kapoor and Kareena were in relationship. It was during the half-way shooting of the film that their relationship was broken. However, according to Imtiaz Ali, he did not face any problem while shooting their remaining scenes in the film.

‘Jab We Met’ (2007) had six songs, excluding remix versions, of which 5 songs were written by Irshad Kamil which were set to music by Pritam. The remaining one song was written by Faaiz Anwar which was set to music by Sandesh Shandilya. As far as I remember, all the songs became popular after the film’s release in October 2007.

I am presenting the first song from the film, ‘aaoge jab tum o saajana’ to appear on the Blog. It is of a semi-classical genre rendered by Ustad Rashid Khan under the music direction of Sandesh Shandilya. It is a background song written by Faaiz Anwar. I came to know from the comments that the song is based on raag Tilak Kamod. I get the shades of both Thumri (human love relationship) and Kajri (pathos of separated lovers in rainy season) in this song. The pathos and the use of words ‘barsega saawan’ in the song indicate that it is more of a Kajri than a Thumri. Flautist Naveen Kumar has beautifully played flute in the prelude and interludes section of the song. Naveen Kumar is a favourite flautist of music directors, A R Rahman and Ilayaraja.

When I heard this song of semi-classical genre for the first time in the film in 2007, it sounded out of place in the film in terms of the genre, especially when rest of the songs belonged to pop and bhangra genres, the favourites mainly among the young generation. Imtiaz Ali, in his interview held about 10 years after the film’s release, revealed that when this song was recorded, almost all the unit members did not like this slow-paced song. Someone from the unit pointed out to him that this song belonged to old generation and the film is about the romance of the new generation. With great difficulties, he convinced to those who mattered in the film that this background song truly conveys the inner feelings of a jilted lover.

Ustad Rashid Khan, current doyen of Rampur-Sahaswan Gharana, is known for his mastery over Khayal, Drupad, Tarana and other semi-classical genres. After the demise of Pandit Bhimsen Joshi, in my view, Ustad Rashid Khan stands tall among the current Hindustani classical vocalists. For him, this song is very simple to render. He starts the song with aalaap and ends with sargam. In-between, he has molded his rendition to make it attuned to the requirements of what I may call as ‘Bollywood genre’ of songs. For music director Sandesh Shandilya, he has nicely blended the traditional rendering with modern orchestration. The resulted fusion music sounds pleasing to the ears. Both have succeeded in their attempts if I go by nearly 55 million hit on the video of this song on Youtube in the period of last two years.

The proof of a pudding is in the eating. So, listen to this well-crafted song.

Video Clip:

Song-Aaoge jab tum o saajna (Jab We Met)(2007) Singer-Ustaad Rashid Khan, Lyrics-Faiz Anwar, MD-Sandesh Shandilya

Lyrics

aa aa aa aa aaaaa
aa aa aa aa aaaa
aa aa aa aa aaa
ha aa aa aaa

aaoge jab tum o saajana
aaoge jab tum o saajana
angana phool khilenge
barsega saawan
barsega saawan jhoom jhoom ke..ae
do dil aise milenge
aaoge jab tum o saajana
angana phool khilenge

naina tere kajraare hain
nainon pe hum dil haare hain
anjaane hi tere nainon ne
waade kiye kayi saare hain
saanson ki lai
madham chale
tose kahe
barsega saawan
barsega saawan jhoom jhoom ke..ae
do dil aise milenge
aaoge jab tum o saajana
angana phool khilenge

ga pa pa sa sa re ga sa

chanda ko taakoon raaton mein
hai zindagi tere haathon mein
palkon pe jhilmil taare hain
aana bhari barsaaton mein
sapanon kaa jahaan
hoga khila khila
barsega saawan
barsega saawan jhoom jhoom ke..ae
do dil aise milenge

pa ni sa re ma ma ga ga ga sa ni
ni re ga ni dha ni re ni ma dha ni dha
dha ni re pa pa ma ma dha dha ma re ma ga
ga ma dha ni sa
sa ni pa ma
ma ga ga sa re ga sa
angna phool khilenge
pa ni dha re sa re
angna phool khilenge
pa pa ma ma ga ga sa sa ni
ma ma pa ni sa ni
ma pa ni ni sa sa
re pa pa ma ma ga ga


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 :

5220 Post No. : 17212

Hullo Atuldom

This is a multi-birthday post.

First and foremost we shall be wishing our Sudhirji- The Dillwala Dilliwala; Atulji’s trusted lieutenant on his birthday. He has been a huge help to Atulji and that has ensured that the blog has had no dot days since 25th December 2019. Let us all wish this Atulite with lots of fun and music.

“Main Hoon Na” (2004) was a Farah Khan directed film which was produced by Gauri Khan’s ‘Red Chillies Entertainment’ & Ratan Jain’s ‘Venus Records and Tapes’. Shahrukh Khan, Sushmita Sen, Zayed Khan, Amrita Rao, Bindu, Boman Irani, Satish Shah, Kirron Kher and Suniel Shetty were the main cast with Naseeruddin Shah and Kabir Bedi in special and guest appearances respectively. The songs were penned by Javed Akhtar and composed by Anu Malik. Shreya Ghoshal, Sonu Nigam, Abhijeet, KK, Vasundhara Das, Alka Yagnik, Sunidhi Chauhan and the Sabri brothers- Hashim & Aftab are the playback singers used in the movie.

With this song SRK (Shahrukh Khan) is shown trying to mingle among the young college crowd. He is shown as the odd man out or a student who is trying to restart his studies which he had to give up owing to family responsibilities etc. The younger crowd initially don’t want to associate with him but eventually they become a clique and then the story proceeds towards a climax where the students are held hostage, SRK with the help of his army forces helps rescue the young brigade, bring/ eliminate Suniel Shetty & group etc. before the happy ending. That means the movie was an all-out masala film.

The song is in the voices of Shreya Ghoshal and Sonu Nigam. There is a sad version too in Abhijeet’s voice.

2nd November also happens to be SRK and Anu Malik’s birthday. Here is wishing them all the best for the future and hoping that they continue go entertain us.

This words of this song may have been what Sudhirji told Atulji when he started sharing the responsibility of keeping the blog from having DOT days. 🙂

Duet version (Sonu Nigam and Shreya Ghoshal)

Solo version video (Partial)(Abhijeet)

Solo version Audio (full)(Abhijeet)

Song-Kiska hai ye tumko intezaar main hoon naa (Main Hoon Na)(2004) Singers-Sonu Nigam, Shreya Ghoshal/ Abhijeet, Lyrics-Javed Akhtar, MD-Anu Malik

Lyrics

Duet version (Sonu Nigam, Shreya Ghoshal)
————————–

hmm
kiska hai ye tumko intzaar
main hoon na aa aa
dekh lo idhar to ek baar
main hoon na aa aa
kiska hai ye tumko intzaar
main hoon na aa aa
dekh lo idhar to ek baar
main hoonn na aa aa
khaamosh kyun ho jo bhi kehna hai kaho
dil chaahe jitna pyaar utna maang lo
ho o
tumko milega utna pyaar
main hoon na aa aa
kiska hai ye tumko intzaar
main hoon na aa aa
dekh lo idhar to ek baar
main hoon na aa aa

kabhi jo tum socho
ke tum ye dekho
arre kitna mujhko tumse pyaar hai ae ae ae
to chup mat rehna
ye mujhse kehna
are koi kya aisa bhi yaar hai
dil hi nahin de
jaan bhi de jo tumhen
dil hi nahin de
jaan bhi de jo tumhen
ho o
to main kahoonga sarkaar
main hoon na aa

kiska hai ye tumko intzaar
main hoon na
dekh lo idhar to ek baar
main hoon na
khamosh kyun ho jo bhi kehna hai kaho
dil chaahe jitna pyaar utna maang lo o
ho o
tumko milega utna pyaar
main hoon na
kiska hai ye tumko intzaar
main hoon na
dekh lo idhar to ek baar
main hoon na

kehne ki ho dil mein koi baat
mujhse kaho
koi pal ho din ho yaa ho raat
mujhse kaho
koi mushkil koi pareshaani aaye
tumhen lage kuchh theek nahin haalaat
mujhse kaho
koi ho tamanna yaa ho koi aarzoo
koi ho tamanna yaa ho koi aarzoo
ho o
rehna kabhi na beqaraar
main hoon na
kiska hai ye tumko intzaar
main hoon na
dekh lo idhar to ek baar
main hoon na
khaamosh kyun ho jo bhi kehna hai kaho
dil chaahe jitna pyaar utna maang lo
ho o
tumko milega utna pyaar
main hoon na aa aa
kiska hai ye tumko intzaar
main hoon na aa aa
dekh lo idhar to ek baar
main hoon na aa

——————————–
Solo sad version (Abhijeet)
——————————–
khoya hai paake jisne pyaar main hoon na
bechain main hoon bekaraar main hoon na
koi toh ho aisa jisko apna keh sakoon
koi toh ho aisa jiske dil mein reh sakoon
ho o
koi toh kehta ek bar main hoon na aa aa
khoya hai paake jisne pyar mai hoon na
bechain mai hoon bekarar main hoon na

jo bandhan toote
jo apne roothhe
paas aa jaaye phir se dooriyaan
yeh kyun hota hai
ke dil rota hai
bebas ho jaati hai yeh zabaan
apne toh saare iss kinaare reh gaye
apne toh saare iss kinaare reh gaye
ho o
tanha chala jo uss paar
main hoon na aa aa
khoya hai paa ke jisne pyaar
main hoon na
bechain main hoon bekarar
main hoon na

jahaan bhi main jaaun
jahaan bhi main dekhoon
saare chehre begaane se hain
kabhi koi tha jo mera hi tha
yeh kisse abb afsaane se hain aen
kal zindagi ne khel khele thhe naye
kuchh log jeete jeet ke sab le gaye
ho o
hisse mein aaya jiske har
main hoon na aa aa
khoya hai paake jisne pyaar main hoon na
bechain main hoon bekarar main hoon na


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 :

5165 Post No. : 17131 Movie Count :

4620

Hullo Atuldom

I am sitting to write a post to wish my favourite singer on turning an year older. The task is not easy. Because the blog has 2967 songs, from a possible 7874, leaving us with 4907 songs to choose from. So, the difficulty is of one-too-many to choose from. The task is further complicated when I have zeroed in on atleast 10 songs in the last few hours. I want to write about each and everyone of them.

The song that first came to my mind is from the 27th April 2001 released, Ram Gopal Verma produced and Rajat Mukherjee written & directed “Pyaar Tune Kya Kiya” (PTKK). It had Urmila Matondkar play a possessive, headstrong, young woman (Ria) and daughter of Suresh Oberoi- a businessman who is concerned about his daughter’s nature. Fardeen Khan played a married fashion photographer (Jai) and Sonali Kulkarni played Jai’s wife. Jai sees Ria in Goa and convinces her to model for his fashion magazine and she also falls in love with him. She is shocked to find his marital status when she visits his house and that he is happily married man.

In her obsession to be with Jai and marry him she tries various methods to disrupt his family life like attempting suicide & calling him to be by her side; creating a situation whereby his wife finds them getting intimate etc. She goes to the extent of even trying to murder the wife but Jai reaches in the nick of time, saves his wife and shows the father his daughter’s mental condition. The film closes with Ria in hospital and Jai feeling guilty for her condition. Urmila Matondkar walked away with a lot of praise for her acting.

PTKK had music by Sandeep Chowta who has been in the film industry since 1996 having made his debut in Telugu films. The lyricist for PTKK was Nitin Raikwar and the playback singers used were K.S. Chitra, Alka Yagnik, Sonu Nigam, Kavitha Krishnamurthy, Alisha Chinai, Sukhwinder Singh etc & our today’s birthday personality- Asha Bhonsle.

She had only one song in the movie but it was very popular back then and the choreography and picturization was classy.

I don’t think we have anything to write about the legend that Ashatai is other than that she kept reinventing herself through the 74 years that she has been in public eye.

The last film with a song sung by AshaTai came in 2020 in a movie called “Bhangra Paa Le”. She has sung for a few mother-daughter actresses like Tanuja and Kajol (there will be many more which the readers will recall).

She has sung songs under fathers and sons like SD Burman- RD Burman, Roshan- Rajesh Roshan and many more.

Sung with Kishore Kumar and his son Amit Kumar, Mukesh and his son Nitin Mukesh.

She has seen song recording style down the decades and has managed to mould herself accordingly.

I can go on & on about Ashatai’s versatility and control over her voice which she modulates according to the on-screen artist. I can list out all the languages that she has sung in. I can write about all the international artists that she has cut albums with over the years. I can write about how I was excited to see her in person at concerts in Bangalore. But let us get on to the song where Sonu Nigam and Sukhwinder Singh accompany her.

Wishing the darling of all Film Music lovers (across the world) a Very Happy Birthday. May she have Good Health and Cheer.

Audio (Longer)

Video

Song-Kambakht ishq hai jo(Pyaar Toone Kya Kiya)(2001) Singers-Asha Bhonsle, Sonu Nigam, Sukhwinder Singh, Lyrics-Nitin Raikwar, MD-Sandeep Chowtha

Lyrics(Based on audio version)

kamabakht ishq
hai jo o
saara jahaan
hai vo o
kab aata hai ae ae
kab jaata hai ae
per rehta hai jab tak
ye kamabakht
jannat dikhata hai

kamabakht ishq hai jo
saara jahaan hai wo
kab aata hai ae ae
kab jaata hai ae
per rehta hai jab tak
ye kamabakht
jannat dikhaata hai ae ae

kamabakht ishq hai jo
saara jahaan hai wo
kab aata hai ae ae
kab jaata hai ae
per rehta hai jab tak
ye kamabakht
jannat dikhaata hai ae ae ae

ye ishq ishq himmat hai
ye ishq ishq kismat hai
ye ishq ishq taakat hai
ye ishq dil ki daulat hai
ye ishq ishq himmat hai
ye ishq ishq kismat hai

ye ishq ishq taakat hai
ye ishq dil ki daulat hai

ye ishq na mit paaega
tu ishq me mit jaayega

hai ishq me mitana aisa
koi nayaa janam ho jaisa

kamabakht ishq hai jo
hai jo
saara jahaan hai wo
hai wo

ho tadpaata hai
per rehta hai jab tak
kambakht
jannat dikhaata hai ae

dil dil mein basa hai aise
patthar pe lakeeren jaise
is’se bachna hai mushqil
bachna chaahe to o o kaise
dil dil mein basa hai aise
patthar pe lakeeren jaise
is’se bachna hai mushqil
bachna chaahe to kaise

saalon se yahaan rehta hai
har koi ise karata hai

is se chhupna hai mushqil
is mein na koi parda hai

kamabakht ishq hai jo
hai jo
saara jahaan
hai wo
hai wo
kab aata hai ae ae
kab jaata hai ae
par rehta hai jab tak
ye kamabakht
jannat dikhaata hai re ae ae
kamabakht ishq hai jo
hai jo
saara jahaan hai vo
hai vo
kab aata hai
tadpaata hai re
kab jaata hai
tarsaata hai
par rehata hai jab tak
ye kamabakht
jannat dikhata hai

jaata hai re ae


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 :

5141 Post No. : 17101

Greetings to all the readers of the Blog on the occasion of आजादी का अमृत महोत्सव on the 75th Year of Independence of India today, August 15, 2022. Independence Day is the reminder to all of us about the sacrifices a large number of Indians made during the freedom struggle to achieve independence on August 15, 1947. Thanks to the history books, the present generation is aware of the sacrifices for the independence struggle, made by Mahatma Gandhi, Jawaharlal Nehru, Netaji Subhas Chandra Bose, Sardar Vallabhbhai Patel, Lala Lajpat Rai, Lokmanya Bal Gangadhar Tilak, Bipin Chandra Pal, Shaheed Bhagat Singh, Chandra Shekhar Azad and many more. But lets us not forget to remember hundreds of other freedom fighters whose sacrifices, by and large, remained in anonymity. One such name which I came to know recently was that of Vidyadhari Bai, a tawaif (courtesan) who, apart from composing and singing patriotic songs in her musical performances, she also provided financial and logistic support to freedom fighters.

A few months back, I had purchased Amritlal Nagar’s Hindi book ‘Ye Kothewalian’ (1958) which gives an account of the life of some courtesans of the early 20th Century. In this book, there is a chapter on Vidyadhari Bai of Jesuri in Chandauli block of the then Banaras district. There is also an addenda chapter which gives an account of Mahatma Gandhi’s meeting with some courtesans of Banaras sometime in 1921 during which he advised Vidyadhari Bai to sing nationalist songs while giving her musical performances in big cities and in princely states. Accordingly, she wrote and rendered some patriotic songs in all her concerts. The courtesans of Banaras formed a Tawaif Sabha to support the independence struggle. Husna Bai, one of the prominent courtesans of Banaras chaired the meeting of the Sabha during which she acknowledged that it was at the initiative of Vidyadhari Bai that Tawaif Sabha was formed.

Saba Dewan’s recent book ‘Tawaifnama’ (2019), more or less, confirms that Vidyadhari Bai organised a series of smaller meetings at her home to enthuse other courtesans to the cause of the non-cooperation movement. She was joined in these efforts by another courtesan, Sultana who too had been closely tracking the unfolding political scenario. Both of them prevailed upon Husna Bai to call a meeting of the entire community to work out the details of the agenda. Tawaifs, who actively participated in the mutiny of 1857, would once again have to come forward and contribute their bit to the nationalist cause. This was not just their duty as daughters of India but also the need of the hour if they did not wish to be consigned to the dustbin of history. They also felt that times were changing and tawaifs too would have to keep pace with fast-changing social and political scenarios in India.

Vidyadhari Bai was a contemporary of Gauhar Jaan. She was born in Jesuri village in present Chandauli district. Her grandfather, Purushottam Rai was a musician. There is confusion as to which year she was born – 1874 or 1881? She got musical training from Pandit Ram Sumeru Mishra, a Sarangi player and later from Ustad Naseer Khan of Darbhanga. She started singing in her early teens with Jayadev’s poems. With this, she became so famous that she started getting invitations from royal courts all over India for her concerts. She became the court singer in the court of Raja of Banaras. She excelled in khayaal, taraana, thumri, dadra, tappa, ghazal and bhajans. It is said that her singing voice was so mesmerizing that even the passer-by would be tempted to attend her concerts. She was so popular that in her concerts, to witness her performances, a large number of people were perforce standing in the back due to shortage of space for sitting. Besides Hindi and Urdu, she was a proficient singer in Marathi, Gujarati, Bangla and Punjabi languages.

Vidyadhari Bai was a fashion icon for the ladies of the royal and landlords’ families. However, after Mahatma Gandhi’s call to shun foreign goods, she stopped wearing jewelries and imported cloth. In all her concerts, she would render at least one patriotic song. Probably, she was the first courtesan to perform mujra by singing patriotic songs.

In her native village, Jesuri, Vidyadhari Bai had constructed a one-story bungalow with some out-houses which became the perfect hideout for freedom fighters to avoid arrest from the British police. During this period, she used to provide financial assistance to them besides regularly donating some part of her income for the cause of India’s freedom movements.

In the early 1940s, probably when the old age had caught up with Vidyadhari Bai and with the decline of the tawaif system, she returned to Jesuri and stayed in her house with her brother’s family. Since she used to donate a large part of her earnings for the cause of freedom movements and also help financially the freedom fighters’ families, she did not have much savings during the latter part of her life. During this period, she started teaching musical lessons to students free of charge.

Vidyadhari Bai had a premonition that her end was near. So, she shifted to Mukti Bhavan in Banaras on May 9, 1971. On the very next day, May 10, 1971, she breathed her last in her 90s, unsung and in anonymity. As per her own submission, she did not get any recognition or honor from the Government.

As mentioned earlier, Amritlal Nagar’s ‘Ye Kothewalian’ (1958) included a letter from Vidyadhari Bai about her meeting with Mahatma Gandhi in Banaras. She wrote in the letter that on his suggestion, some courtesans had decided to start their musical performances with renditions of nationalist songs. Lyrics of one such song written and sung by her, “Chun Chun Ke Phool Le Lo” was included in the letter. She said in the letter that she rendered this song in all her performances despite the presence of policemen from the police stations of the areas of her performances for keeping a close watch on the visitors. The song lives on today – it was included in Hindustani classical singer Shubha Mudgal’s album, ‘Swadheenta Samar Geet’ (2008), a collection of songs from the freedom movement.

On the occasion of the 75th Independence Day, I am presenting the same song rendered by Shubha Mudgal. The music was composed by her husband, Aneesh Pradhan. While composing the song, he has used mainly harmonium and tabla probably to give a feel of the period during which Vidyadhari Bai had rendered this song. In 2011, the couple collaborated with theater director Sunil Shanbhag on a musical drama ‘Stories in a Song’, one episode of which recreated Mahatma Gandhi’s meeting with the courtesans of Tawaif Sabha.

This song takes us back to more than a century to recreate a part of the history of India’s freedom movements.

————————————————————————————————————————————————-

Acknowledgements: In addition to the books I mentioned in my article, I am also thankful to ‘Sureele Dinon Ki Daastan’ and Dr. Manish Kumar Mishra for their videos on Vidyadhari Bai which gave some useful additional information on her.

Audio Clip:

Song-Chun chun ke phool le lo (Shubha Mudgal NFS)(2008) Singer-Shubha Mudgal, Lyrics-Vidyadhari Bai, MD-Aneesh Pradhan

Lyrics

aaa aaa aaa aaa aaaa aa
aaa aaa aaa aaa aaaa aa
aaa aaa aaa aaa aaaa aa
aa aa aa aa aaaa

chun chun ke phool le lo o o….o
chun chun ke phool le lo
armaan rah na jaaye
chun chun ke phool le lo
armaan rah na jaaye
ye Hind kaa bageecha
gulzaar rah na jaaye ae
ye Hind kaa bageecha
gulzaar rah na jaaye
chun chun ke phool le lo
armaan rah na jaaye
chun chun ke phool le lo
armaan rah na jaaye
ye Hind kaa bageecha
gulzaar rah na jaaye ae
ye Hind kaa bageecha
gulzaar rah na jaaye

aa aa aa aaaaa aa aaaa
ye wo chaman nahi hai….ai ae ae
ye wo chaman nahin hai
lene se ho ujaad
ye wo chaman nahin hai
lene se ho ujaad
ulfat kaa jismen kuchh bhi
ehsaan rah na jaaye
ulfat kaa jismen kuchh bhi
ehsaan rah na jaaye
bhar do jawaan bandon
jailon mein chaahe bhar do
bhar do jawaan bandon
jailon mein chaahe bhar do
maata pe koi hota qurbaan rah na jaaye…..ae
aa aa aa aaaaaaa aaa
aa aa aa aaaaaaa aa
maata pe koi hota qurbaan rah na jaaye
chhal-o-fareb se tum Bharat kaa maal looto
chhal-o-fareb se tum Bharat kaa maal looto
iske liye yaa koi saamaan rah na jaaye
iske liye yaa koi saamaan rah na jaaye
ye Hind kaa bageecha
gulzaar rah na jaaye
ye Hind kaa bageecha
gulzaar rah na jaaye
chun chun ke phool le lo
armaan rah na jaaye
chun chun ke phool le lo….o

Bharat na rah sakega hargij ghulaamkhaana….aaaaaaa aa
Bharat na rah sakega hargij ghulaamkhaana
aazaad hoga hoga
aaya hai wo zamaana
aazaad hoga hoga
aaya hai wo zamaana..aa
khoon khaulne laga hai….ai ae
khoon khaulne laga hai ab Hindustaniyon kaa
khoon khaulne laga hai ab Hindustaniyon kaa
kar denge zaalimon ke band bas jurm dhaana
kar denge zaalimon ke band bas jurm dhaana..aa
qaumi tirange jhande pe jaan nisaar unki
qaumi tirange jhande pe jaan nisaar unki
Hindu Masih Muslim gaate hain ye taraana
Hindu Masih Muslim gaate hain ye taraana
aa aa aaaaa
parwaah ab kise hai…ai ae
parwaah ab kise hai
iss jail-o-daman ki
parwaah ab kise hai
iss jail-o-daman ki
ik khel ho raha hai
phaansi pe jhool jaana
ek khel ho raha hai
phaansi pe jhool jaana
Bharat watan hamaara
Bharat ke ham hain bachche
Bharat watan hamaara
Bharat ke ham hain bachche
maata ke waaste hai manzoor sar kataana
maata ke waaste hai manzoor sar kataana
ye Hind kaa bageecha
gulzaar rah na jaaye ae
ye Hind kaa bageecha
gulzaar rah na jaaye
chun chun ke phool le lo….ooo
chun chun ke phool le lo
armaan rah na jaaye
chun chun ke phool le lo
armaan rah na jaaye
chun chun ke phool le lo
armaan rah na jaaye
ye Hind kaa bageecha
gulzaar rah na jaaye ae
ye Hind kaa bageecha
gulzaar rah na jaaye
chun chun ke phool le lo………o

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

आ आ आ आ आ आ
आ आ आ आ आ आ
आ आ आ आ आ आ
आ आ आ आ आ

चुन चुन के फूल ले लो॰॰ओ
चुन चुन के फूल ले लो
अरमान रह ना जाये
चुन चुन के फूल ले लो
अरमान रह ना जाये
ये हिन्द का बगीचा
गुलज़ार रह ना जाये
ये हिन्द का बगीचा
गुलज़ार रह ना जाये
चुन चुन के फूल ले लो
अरमान रह ना जाये
चुन चुन के फूल ले लो
अरमान रह ना जाये
ये हिन्द का बगीचा
गुलज़ार रह ना जाये
ये हिन्द का बगीचा
गुलज़ार रह ना जाये

आ आ आ आsss आ आsss
ये वो चमन नहीं है॰॰ऐ
ये वो चमन नहीं है
लेने से हो उजाड़
ये वो चमन नहीं है
लेने से हो उजाड़
उल्फ़त का जिस में कुछ भी
एहसान रह ना जाये
उल्फ़त का जिस में कुछ भी
एहसान रह ना जाये
भर दो जवान बंदों
जेलों में चाहे भर दो
भर दो जवान बंदों
जेलों में चाहे भर दो
माता पे कोई होता क़ुरबान रह ना जाये॰॰ए
आ आ आ आsssss आ
आ आ आ आsssss आ
माता पे कोई होता क़ुरबान रह ना जाये
छल औ फरेब से तुम भारत का माल लूटो
छल औ फरेब से तुम भारत का माल लूटो
इसके लिए या कोई सामान रह ना जाये
इसके लिए या कोई सामान रह ना जाये
ये हिन्द का बगीचा
गुलज़ार रह ना जाये
ये हिन्द का बगीचा
गुलज़ार रह ना जाये
चुन चुन के फूल ले लो
अरमान रह ना जाये
चुन चुन के फूल ले लो॰॰ओ

भारत ना रह सकेगा हरगिज़ ग़ुलामखाना आ आ
भारत ना रह सकेगा हरगिज़ ग़ुलामखाना
आज़ाद होगा होगा
आया है वो ज़माना
आज़ाद होगा होगा
आया है वो ज़माना॰॰आ
खूँ खौलने लगा है॰॰ऐ
खूँ खौलने लगा है अब हिंदुस्तानीओं का
खूँ खौलने लगा है अब हिंदुस्तानीओं का
कर देंगे ज़ालिमों के बंद बस जुर्म ढाणा
कर देंगे ज़ालिमों के बंद बस जुर्म ढाणा॰॰आ
कौमी तिरंगे झंडे पे जां निसार उनकी
कौमी तिरंगे झंडे पे जां निसार उनकी
हिन्दू मसीह मुस्लिम गाते हैं ये तराना
हिन्दू मसीह मुस्लिम गाते हैं ये तराना

आ आ आssss
परवाह अब किसे है॰॰ऐ
परवाह अब किसे है
इस जेल ओ दमन की
परवाह अब किसे है
इस जेल ओ दमन की
इक खेल हो रहा है
फांसी पे झूल जाना
इक खेल हो रहा है
फांसी पे झूल जाना
भारत वतन हमारा
भारत के हम हैं बच्चे
भारत वतन हमारा
भारत के हम हैं बच्चे
माता के वास्ते है मंजूर सर कटाना
माता के वास्ते है मंजूर सर कटाना

ये हिन्द का बगीचा
गुलज़ार रह ना जाये
ये हिन्द का बगीचा
गुलज़ार रह ना जाये
चुन चुन के फूल ले लो॰॰ओ
चुन चुन के फूल ले लो
अरमान रह ना जाये
चुन चुन के फूल ले लो
अरमान रह ना जाये
चुन चुन के फूल ले लो
अरमान रह ना जाये
ये हिन्द का बगीचा
गुलज़ार रह ना जाये
ये हिन्द का बगीचा
गुलज़ार रह ना जाये
चुन चुन के फूल ले लो॰॰ओ


This article is written by nahm, 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 :

5069 Post No. : 16986 Movie Count :

4602

In 2003 this was a very popular song.  They would constantly play this song on FM channels.  We had kept a small FM radio in the office, and usually it was kept on from mid-day, when all the urgent work of the section was done.  Rest of the work could be handled while listening to songs on FM radio. Listening to it many times, tends to make transcribing the lyrics, an easy task. Analyzing the words and their meaning is not so simple.

I thought the word was “udtaa hua wo. . .” in this line “girtaa hua woh aasman se. . .

girtaa huaa woh aasmaan se aa kar gira zameen par
khwaabon mein phir bhi baadal hi thhe wo kehta raha magar

There is the act of ‘falling’ twice in one line.  The poet could mean, that once the fall starts, it stops only when you reach the earth.  It would also mean that falling from a great height, i.e. aasmaan, only rock bottom will stem the fall.

Similarly, there is very interesting simile used in this first line:

toota toota ek parinda aise toota
ke phir jud na paaya
loota loota kis ne uss ko aise loota
ke phir udd na paaya

The bird is broken,
Never to be whole again
Who has done this great pillage,
So, the bird can never fly again.

kho ke apne par hi to
uss ne thha udnaa seekha
gham ko apne saathh mein le le
dard bhi tere kaam aayegaa

It learnt to fly,
Only by losing the wings,
Hold your sadness close,
The pain also will be useful.

tukde tukde ho gaya thha
har sapna jab woh toota aa
bikhre tukdon mein Allah ki
marzi ka manzar paayegaa

When the dreams are shattered to pieces
Arrange those pieces, to find
A new scenario with Allah’s will.

When dreams are broken, wishes are denied, it is always because Allah has willed something better and different for you.

girtaa huaa woh aasmaan se
aa kar gira zameen par
khwaabon mein phir bhi
baadal hi thhe
wo kehta raha magar
Allah ke bande hans de
jo bhi ho kal phir aayegaa

Falling down from the skies
It fell to the earth,
His vision full of clouds
Kept on the refrain,
O Allah’s faithful, laugh
Tomorrow is a new day
There is hope.

Now I know, why it is not ‘udtaa hua’, but ‘girtaa hua…..’.

This is a great motivational song for when the chips are down.  This was the first song of Kailash Kher, which made him famous.  I always thought that this is a private album song, but it is actually a film song from the film ‘Waisa bhi hota hai – II’.  This is supposed to be a sequel to ‘Aisa Bhi Hota Hai’.  Both these movies have passed me by.  I am not sure if I have seen ‘Aisa Bhi Hota Hai’, but I am sure about ‘Waisa bhi hota hai – II’.  Vishal Dadlani is the lyricist and composer with his partner Shekhar. The credits of this movie have a long list of lyricist and music directors and singers.  It also has a longish line of actors.  It seems that the film’s making is a pool of multiple strugglers in different fields of film making, who were trying to get a foothold in the industry at that time.

Kailash Kher is playing himself in the film singing this song.  So this is also a singer actor song.  Another trivia is that Rabbi Shergil also played himself and performed his own song on the screen in this film.

Song – Allah Ke Bande Hans De, Allah Ke Bande (Waisa Bhi Hota Hai II) (2003) Singer – Kailash Kher, Lyrics – Vishal Dadlani, MD – Vishal Shekhar

Lyrics

toota toota
ek parinda aise toota aa
ke phir jud na paaya
loota loota kis ne uss ko
aise loota aa
ke phir udd na paaya aa

oo ooo oo
toota toota
ek parinda aise toota
ke phir jud na paaya
loota loota kis ne uss ko
aise loota aa
ke phir udd na paaya aa
girta huaa woh aasmaan se
aa kar gira zameen par
khwaabon mein phir bhi
baadal hi thhe
wo kehta raha magar
ke Allah ke bande hans de
Allah ke bande ea
Allah ke bande hans de ea ea
jo bhi ho kal phir aayegaa
Allah ke bande hans de
Allah ke bande ea
Allah ke bande hans de ea ea
jo bhi ho kal phir aayegaa aa

kho ke apne par hi to
uss ne thha udnaa seekha aa
kho ke apne par hi to oo
ooo oooo
kho ke apne par hi to
uss ne thha udnaa seekha aa
gham ko apne saathh mein le le
dard bhi tere kaam aayegaa
Allah ke bande hans de
Allah ke bande ea
Allah ke bande hans de ea ea
jo bhi ho kal phir aayegaa
Allah ke bande hans de
Allah ke bande ea
Allah ke bande hans de ea
jo bhi ho kal phir aayegaa aa

ha aa aaa aa
tukde tukde ho gaya thha
har sapna jab woh toota aa
tukde tukde ho gaya thha
aa aaa aaaaa
tukde tukde ho gaya thha
har sapna jab woh toota aa
bikhre tukdon mein Allah ki
marzi ka manzar paayegaa
Allah ke bande hans de
Allah ke bande ea
Allah ke bande hans de
jo bhi ho kal phir aayegaa
Allah ke bande hans de
Allah ke bande ea
Allah ke bande hans de ea
jo bhi ho kal phir aayegaa

toota toota
ek parinda aise toota
ke phir jud na paaya
loota loota kis ne uss ko
aise loota aa
ke phir udd na paaya aa
girtaa huaa woh aasmaan se
aa kar gira zameen par
khwaabon mein phir bhi
baadal hi thhe
wo kehta raha magar
ke Allah ke bande hans de
Allah ke bande ea
Allah ke bande hans de ea
jo bhi ho kal phir aayegaa
Allah ke bande hans de
Allah ke bande ea
Allah ke bande hans de ea ea
jo bhi ho kal phir aayegaa aa
Allah ke bande hans de
Allah ke bande ea
Allah ke bande hans de ea ea
jo bhi ho kal phir aayegaa aa
Allah ke bande hans de
Allah ke bande ea ea
Allah ke bande hans de ea ea
jo bhi ho kal phir aayegaa aa

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

टूटा टूटा
एक परिन्दा ऐसे टूटा
के फिर जुड़ न पाया
लूटा लूटा किस ने उस को ऐसे लूटा
के फिर उड़ न पाया

ओ ओ ओ ओ ओ ओ ओ
टूटा टूटा
एक परिन्दा ऐसे टूटा
के फिर जुड़ न पाया
लूटा लूटा किस ने उस को ऐसे लूटा
के फिर उड़ न पाया

गिरता हुआ वो आसमां से
आ कर गिरा ज़मीन पर
ख्वाबों मे फिर भी
बादल ही थे
वो कहता रहा मगर
के अल्लाह के बन्दे हंस दे
अल्लाह के बन्दे ए
अल्लाह के बन्दे हंस दे
जो भी हो कल फिर आएगा
अल्लाह के बन्दे हंस दे
अल्लाह के बन्दे ए
अल्लाह के बन्दे हंस दे ए ए
जो भी हो कल फिर आएगा

खो के अपने पर ही तो
उस ने था उड़ना सीखा
खो के अपने पर ही तो
ओ ओ ओ ओ ओ ओ ओ
खो के अपने पर ही तो
उस ने था उड़ना सीखा
ग़म को अपने साथ मे ले ले
दर्द भी तेरे काम आएगा
अल्लाह के बन्दे हंस दे
अल्लाह के बन्दे ए
अल्लाह के बन्दे हंस दे
जो भी हो कल फिर आएगा
अल्लाह के बन्दे हंस दे
अल्लाह के बन्दे ए
अल्लाह के बन्दे हंस दे ए ए
जो भी हो कल फिर आएगा

ह आ आ आ आ आ आ
टुकड़े टुकड़े हो गया था
हर सपना जब वो टूटा
टुकड़े टुकड़े हो गया था
आ आ आ आ आ आ
टुकड़े टुकड़े हो गया था
हर सपना जब वो टूटा
बिखरे टुकड़ों में अल्लाह की
मर्ज़ी का मंज़र पाएगा
अल्लाह के बन्दे हंस दे
अल्लाह के बन्दे ए
अल्लाह के बन्दे हंस दे  ए
ज़ो भी हो कल फिर आएगा
अल्लाह के बन्दे हंस दे
अल्लाह के बन्दे ए
अल्लाह के बन्दे हंस दे ए ए
जो भी हो कल फिर आएगा

टूटा टूटा
एक परिन्दा ऐसे टूटा
के फिर जुड़ न पाया
लूटा लूटा किस ने उस को ऐसे लूटा
के फिर उड़ न पाया

गिरता हुआ वो आसमां से
आ कर गिरा ज़मीन पर
ख्वाबों मे फिर भी
बादल ही थे
वो कहता रहा मगर
के अल्लाह के बन्दे हंस दे
अल्लाह के बन्दे ए
अल्लाह के बन्दे हंस दे
जो भी हो कल फिर आएगा
अल्लाह के बन्दे हंस दे
अल्लाह के बन्दे ए
अल्लाह के बन्दे हंस दे ए ए
जो भी हो कल फिर आएगा
अल्लाह के बन्दे हंस दे
अल्लाह के बन्दे ए
अल्लाह के बन्दे हंस दे
ज़ो भी हो कल फिर आएगा
अल्लाह के बन्दे हंस दे
अल्लाह के बन्दे ए
अल्लाह के बन्दे हंस दे ए ए
जो भी हो कल फिर आएगा अ


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 :

5069 Post No. : 16985 Movie Count :

4601

Hullo Atuldom

‘Rehnaa Hai Terre Dil Mein’ (RHTDM – 2001) was produced by Vashu Bhagnani and directed by Gautam Vasudev Menon. It was either a remake or made along side Gautam Vasudev Menon’s Tamil ‘Minnale’. ‘Minnale’ released in February and RHTDM released in October 2001. Both the versions had R Madhavan play the lead, music was by Harris Jayaraj (I think both the movies were the composers’ debut in the respective languages).

RHTDM was the debut of, second runner-up Miss India 2000, Dia Mirza who had gone to be crowned Miss Asia Pacific 2000. Indian beauties Lara Dutta & Priyanka Chopra were that year’s Miss Universe & Miss World respectively.

‘Rehnaa Hai Terra Dil Mein’ (please note that the extra alphabets in the title may have something to do with numerology and that is how it appeared in the movie’s title card) had Saif Ali Khan as the other male protagonist along with Vrajesh Hirjee, Tannaz Irani (she was Tannaz Currim back then), Anupam Kher, Navin Nischol, etc in the cast. Sameer was the lyricist and Bombay Jayashree, Roop Kumar Rathod, Sonu Nigam, Kavitha Krishnamurthy, Shaan, Preeti – Pinky, Sukhvinder Singh, Shekhar Ravijani, Sunidhi Chauhan, Vasundhara Das and KK were the playback singers used.

The movie was the story of a love-struck man,  (unknowingly) stealing the identity of his former college foe, to pursue his lady-love and the eventual repercussions he has to face, when his cover is blown before he could come clean.

I had originally zeroed in to the songs of this movie to wish R Madhavan on his birthday which was on 1st of June. R Madhavan was born in Jamshedpur to South Indian parents and completed his graduation from Kolhapur. In college he was a leading NCC cadet and had the opportunity to go to England and get training in the Royal Air-Force, Royal Navy and British Army. I read somewhere that he had briefly toyed the idea of joining the armed forces too but missed the cut-off by a few months. A brief stint in modelling helped him gain a foothold in the entertainment industry via the television industry. I remember him playing Satish Shah’s son-in-law and Mandira Bedi’s husband in ‘Ghar Jamai’ in the ’90s. His first chance in Indian films came via Kannada movies.

Before I could complete the post in came the news of the untimely death of the KK aka Krishnakumar Kunnath after a stage performance in Kolkatta. He was only 53.

KK was born to South Indian parents (like Madhavan) in New Delhi. He was an alumnus of Kirori Mal College. He was the voice of the jingles in the ’90s before AR Rehman gave him a break in Tamil. His debut in Hindi films was the full throat song “Tadap Tadap Ke Is Dil Se Aah Nikalti Rahi” from the film ‘Ham Dil De Chuke Sanam’ (1999) under the baton of Ismail Darbar (the song is already present on our blog with a post by Nahmji).

Yesterday fellow-Atulite Satyajitji shared a short clip featuring hits of KK and I found most of them had been my favorites; of course without knowing who was singing those. I must also admit that I am as ignorant about the current lot of singers as I was about the singers of the Golden Era of Indian Music. Just as some songs are prophetic about the concerned writer, music director, singer etc. There is a song which KK sang “Hum Rahe Ya Na Rahe Kal” from the non film album ‘Pal’. It seems that he had sung this song on-stage on that fateful evening of 31st May.

For this post I present the song which I had originally chosen to wish Madhavan on his birthday on 1st June.

But now this song unfortunately also happens to be a tribute to KK.

Song – Sach Keh Raha Hai Deewaana (Rehnaa Hai Terre Dil Mein) (2001) Singer – KK, Lyrics – Sameer, MD – Harris Jayraj

Lyrics (Provided by Sudhir)

sach keh raha hai deewaana
dil
dil na kisi se lagaana
jhoothe hai yaar ke waade saare
jhoothi hain pyaar ki kasmen
maine har lamha jise chaaha
jise pooja
usi ne yaaro mera dil toda
toda
tanha
tanha chhoda

sach keh raha hai deewaana
dil
dil na kisi se lagaana
jhoothe hai yaar ke waade saare
jhoothi hain pyaar ki kasmen
maine har lamha jise chaaha
jise pooja
usi ne yaaro mera dil toda
toda
tanha
tanha chhoda

sunder sunder
wo haseena
badi sunder sunder
main to khone laga
uske nashe mein
bin piye behka. . .
aa aa aa
sunder sunder
wo haseena
badi sunder sunder
main to khone laga
uske nashe mein
bin piye behka. . .
ek din usey bhula doonga main
uske nishaan mita doonga main
chaahoonga na main us patthar ko
ja usey bata de

oo oo
sach keh raha hai deewaana
dil
dil na kisi se lagaana
jhoothe hai yaar ke waade saare
jhoothi hain pyaar ki kasmen
maine har lamha jise chaaha
jise pooja
usi ne yaaro mera dil toda
toda
tanha
tanha chhoda

mausam
mausam
tha bada suhaana
mausam
mausam
maine dekha usey
hua main paagal
bas pal bhar mein
aa aa
mausam
mausam
tha bada suhaana
mausam
mausam
maine dekha usey
hua main paagal
bas pal bhar mein
aake basi hai wo mere mann mein
uski kami hai ab jeevan mein
wo door hai meri nazron se
kyun usey main chaahoon

la laai laai laai laai laa
le
la laai laai laai laai laa
la laai laai laai laai laa
le

maine har lamha jise chaaha
jise pooja
usi ne yaaro mera dil toda
toda
tanha
tanha chhoda

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

सच कह रहा है दीवाना
दिल
दिल ना किसी से लगाना
झूठे हैं यार के वादे सारे
झूठी हैं प्यार की कसमें
मैंने हर लम्हा जिसे चाहा
जिसे पूजा
उसी ने यारो मेरा दिल तोड़ा
तोड़ा
तन्हा
तन्हा छोड़ा

सच कह रहा है दीवाना
दिल
दिल ना किसी से लगाना
झूठे हैं यार के वादे सारे
झूठी हैं प्यार की कसमें
मैंने हर लम्हा जिसे चाहा
जिसे पूजा
उसी ने यारो मेरा दिल तोड़ा
तोड़ा
तन्हा
तन्हा छोड़ा

सुन्दर सुन्दर
वो हसीना
बड़ी सुन्दर सुन्दर
मैं तो खोने लगा
उसके नशे में
बिन पिये बहका
आ आ आ
सुन्दर सुन्दर
वो हसीना
बड़ी सुन्दर सुन्दर
मैं तो खोने लगा
उसके नशे में
बिन पिये बहका॰ ॰ ॰
इक दिन उसे भुला दूँगा मैं
उसके निशां मिटा दूँगा मैं
चाहूँगा ना मैं उस पत्थर को
जा उसे बता दे

ओ ओ
सच कह रहा है दीवाना
दिल
दिल ना किसी से लगाना
झूठे हैं यार के वादे सारे
झूठी हैं प्यार की कसमें
मैंने हर लम्हा जिसे चाहा
जिसे पूजा
उसी ने यारो मेरा दिल तोड़ा
तोड़ा
तन्हा
तन्हा छोड़ा

मौसम
मौसम
था सुहाना बड़ा
मौसम
मौसम
मैंने देखा उसे
हुआ मन पागल
बस पल भर में
आ आ
मौसम
मौसम
था सुहाना बड़ा
मौसम
मौसम
मैंने देखा उसे
हुआ मन पागल
बस पल भर में
आके बसी है वो मेरे मन में
उसकी कमी है अब जीवन में
वो दूर है मेरी नज़रों से
क्यों उसे मैं चाहूँ

ल लाई लाई लाई लाई ला
ले
ल लाई लाई लाई लाई ला
ल लाई लाई लाई लाई ला
ले

मैंने हर लम्हा जिसे चाहा
जिसे पूजा
उसी ने यारो मेरा दिल तोड़ा
तोड़ा
तन्हा
तन्हा छोड़ा


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 :

5064 Post No. : 16979 Movie Count :

4600

Hullo Atuldom

A song from a new movie (by the standards of this blog) for the listening pleasure of followers of this blog.

‘Hungama (The Ruckus)’ is a 2003 release – nearly 20 years old already –  that was produced by Venus records and tapes and directed by Priyadarshan. One of the many that Priyan (as his friends in the South address him as) remade from Malayalam hits. It was a remake of Priyans’ Malayalam ‘Poochakkoru Mookkuthi’ (meaning A Nose-ring for the Cat) which was itself a remake of the Telugu movie ‘Gopala Rao Gari Ammayi’ which had elements borrowed from the plot of Charles Dickens ‘The Strange Gentleman’.

‘Hungama’ had Rimi Sen, Akshay Khanna, Aftab Shivdasani as the youngsters and Paresh Rawal, Shoma Anand, Shakti Kapoor, Neena Kulkarni, Rajpal Yadav, Tiku Talsania, Upasna Singh, Sanjay Narvekar, Manoj Joshi, Razzaq Khan, etc. and Malayalam film actor Jagadish in a minuscule role of Paresh Rawal’s housekeeper. The movie had music by Nadeem Shravan for songs written by Sameer. Babul Supriyo, Shaan, Sadhana Sargam, Richa Sharma, Alka Yagnik, Udit Narayan, Abhijeet, Sonu Nigam and Kumar Sanu were the playback singers used.

The movie revolved around the confusion caused by two characters having the same name. Both Shoma Anand and Rimi Sen are called ‘Anjali’. Then, the conning of Kachra Seth (Shakti Kapoor) by Anil Singh claiming to be Paresh Rawal’s son Munna Tiwari (Sanjay Narwekar) adds to more confusion. Plus, there is the usual love triangle which gives us romantic songs. But, for me, the highlight in the movie is where Shoma Anand doubts her husband (Paresh Rawal) of having a relation with Rimi Sen and Paresh Rawal doubting his wife as her character undergoes a change the minute she lands in their city-home. As if to add fuel to fire Akshay Khanna keeps visiting their house and asking for Anjali (meaning Rimi Sen) which Paresh construes as Anjali (Shoma Anand).

As can be seen from the above, Paresh Rawal was the main character in this movie, just as he was in many of Priyadarshan’s Hindi movies ‘Hera Pheri’, ‘Hulchul’, ‘Chup Chup Ke’, ‘Bhagam Bhag’ and a few more, all of which I have seen more than once. Today we are wishing this versatile actor on turning 67 (is he really that old, unbelievable).

Today’s song happens at a party thrown by Anjali (Shoma Anand) for her birthday where both Anjali (Rimi) and Akshay Khanna are uninvited guests. But the husband and wife feel that the other has invited their new ‘friend’ and fantasize the two dancing with their new-friend. Sadhana Sargam and Shaan are the singers who have been invited to entertain the people at the party. A very cute song which is nice on the ears.

Song – Chain Aapko Mila Mujhe Deewaangi Mili (Hungama) (2003) Singer – Shaan, Sadhna Sargam, Lyrics – Sameer, MD – Nadeem Shravan

Lyrics (Provided by Sudhir)

ey hey hey hey
la la la la
ey hey hey hey
aa haa haa
hmmm hmmm hmmm
la la la la
la la la lalala lalala la

chain aap ko mila
mujhe deewaangi mili
hosh aapko mila
muhe to bekhudi mili
phir bhi pyaar
aap se hi karta hai dil
chain aap ko mila
mujhe deewaangi mili
o ho hosh aapko mila
muhe to bekhudi mili
phir bhi pyaar
aap se hi karta hai dil
chain aap ko mila
mujhe deewaangi mili

manaaun to main isko kaise
ye dil deewaana hai na maane
bataaun to bhala main kaise
ye ishq kya hai ye na jaane
shaidaai main
tera hua
tujhko nahin hai ye pata aa aa aa
jaam aapko mila
mujhe to berukhi mili
o ho hosh aapko mila
muhe to bekhudi mili
phir bhi pyaar
aap se hi karta hai dil
chain aap ko mila
mujhe deewaangi mili

koi kisi pe jaan de de
koi kare hai bewafaai
ye faaslon ka dard kya hai
ye jaanti hai bas judaai
tujhse mili
jabse nazar
deewaani main ho gayi ee ee ee
neend aapko mili
mujhe to bebasi mili
aa haa haa hosh aapko mila
muhe to bekhudi mili
phir bhi pyaar
aap se hi karta hai dil
chain aap ko mila
mujhe deewaangi mili

chain aap ko mila
mujhe deewaangi mili
aa haa haahosh aapko mila
muhe to bekhudi mili

 


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 :

4977 Post No. : 16855 Movie Count :

4586

Songs Repeated in Hindi Films – 25

– – – – – – – – – – – – – – – – – –

This discovery of a repeat song will have to be termed as Mother of All Repeat Songs. And just in case, before you start wondering whether poor dear me has decided to take a step off the deep end, let me explain.

Ostensibly searching for something else totally disconnected with repeat songs in Hindi films, I chanced to read this caption on a YouTube link. The face in the thumbnail image is neither Bharat Bhushan or Shashi Kapoor. And so, intrigued as I was, I clicked on the thumbnail with the face of R Madhavan, to play this song whose caption was sounding so very familiar. It turns out, yes, it is a repeat song – a repeat of the very endearing and a must-have favorite from the 1969 film ‘Pyaar Ka Mausam’. This signature track has been the theme of many an amorous message of love for the connoisseurs of the Hindi film music.

Ah, but the story of my discovery had just started. I checked out the name of the film. Turns out it is ‘Dil Vil Pyaaar Vyaar’ from 2002. I track down the Wikipedia page of this film. I had not heard of this film earlier. The story line weaves around the romance lives of young friends. Seemed like a run-of-the-mill rom-com tales that abound the landscape of the Hindi film world. An immediate analogy that came to mind, from the era familiar to me, was ‘Dekh Kabira Roya’ of 1957. Similar theme, romance tales of three young friends.

Ah but what wonderful and divine music that film has. I will not dwell on the delightful music created by the legendary Madan Mohan – I am sure all readers and friends are already very much taken in by the songs of that film from 1957.

Getting back to ‘DVPV’ (‘Dil Vil Pyaar Vyaar’), I was thinking – seems like the producer of this film did not have much imagination to engage song writers and MDs to create some fresh songs. So he chose to easy route to re-use this song.

But as I continued down the Wikipedia page, and reached the Soundtrack section, my eyes remained agape in wonder. The film has 13 songs listed. And (OK now, hold your breath) – ALL, I repeat ALL songs are repeats of earlier hit songs of the 60s to 80s time period. Looking closey at the list, the second realization, and a big one, hit home. ALL the thirteen tracks are creations of RD Burman. Now this discovery surely something great and different.

A little more research and I am able to locate more information online. The producer of this film is a diehard fan of RD Burman and the music created by him. And this film ‘DVPV’ has been created as a tribute for his favorite MD. So, a story and a screenplay was conjured and 13 of RDB’s famous hits have been woven into it.

The producer of this film is Vivek Vaswani. As it turns out, he himself is the author of the story line of this film. The screenplay has been adapted from the story by Sujit Sen.

Of course the credits for the song will remain with the original creators. But for this film, the music for the songs has been re-arranged and re-recorded by Babloo Chakravorty. So all songs in this film are recorded in different voices.

Ah yes, in case you are wondering – yes, I plan to bring on board all the thirteen songs of this film, in good time. Quite a bonanza here for this series.

This wonderful song from ‘Pyaar Ka Mausam’ has been re-recorded in the voice of Hariharan. On screen, it is performed by R Madhvan. I am sure all are familiar with this new name. My introduction to Madhavan has been through the 2009 hit film ‘3 Idiots’. I will try to say more about this film and its performers, in subsequent episodes, as I venture to cover all the songs of this film.

Other actors we see in this clip are Asrani and Namrata Shirodkar. The wonders that a song can do has not changed across the decades that Hindi films have been created, exhibited and watched. It has only become better, more imaginative and more incredulous. In the very early days of this blog itself, Atul ji had come to a conclusion, and he has so documented it in many a write up. That a situation in Hindi films takes about 3 minutes or so to be transformed. All it takes is a song. The song starts in a particular mood, with a particular expectation, and by the time the song ends, the desired mood and desired outcome is achieved and the expectations realized. In many earlier such discussions, we have seen quite wondrous and amazing things happen during the duration of a song.

With this song, things are no different. Rather, the stretch on the gullibility of comprehension is a bit too much. Madhavan is on a stage, participating in a music competition. Things to be noted about the setting. The stage where the performance happens is designed like a music CD. And the effect is complete with the singer handling a very old fashioned standing microphone. The antics Madhavan attempts with this mike takes us even further back to Elvis Presley performing live on stage, back in the 1950s.

His lady love, Namrata, is at the airport, already checked in for a flight that will take her thousands of miles away to another country, away from her beau. And voila. A ‘strategically’ placed TV screen within her view starts to telecast the music competition just as Madhavan is to present his song. The song starts. It is the replay of the famous aria – this one, from ‘Pyaar Ka Mausam’.

All it takes in one stanza for the lady love to make up her mind to abandon her plans to leave the country, and she decides to go back into the beckoning arms of her lover. The second stanza is even more wondrous. The lady exits from the airport, starts to drive to where the competition is in progress. And, another VOILA – this time in capital letters – she drives through the Bombay traffic, with all her memories about times spent with her lover replaying on the mind’s screen, reaches the location and is on stage with her lover, by the time the second stanza comes to a close. And yes, even has time for a change of attire. The applause by the audience is still in progress as she makes an entrance through a hazy and foggy doorway, with the director making utmost efforts to make it appear like a fairy descending through the clouds.

I remember having seen a cartoon long long back advising filmgoers to please leave their logic and reasoning outside the door, when entering a cinema hall to watch a Hindi film (or maybe any film for that matter).

So mission accomplished. In less than three minutes, from the verge of just starting to board her flight, the lady love makes it from the airport to the competition stage and into the arms of her lover.

Long be loved – the wondrous Hindi film song. Yes, all it takes is a song.

Song – Tum Bin, Jaaun Kahaan. . .  (Dil Vil Pyaar Vyaar) (2002) Singer – Hariharan, Lyrics – Majrooh Sultanpuri, MD – RD Burman
[Music rearranged by Babloo Chakravarty]

Lyricsa

tum bin jaaun kahan
tum bin jaaun kahaan
ke duniyaa mein aake
kuchh na phir chaahaa sanam
tumko chaah ke
tum bin jaaun kahaan
ke duniyaa mein aake
kuchh na phir chaahaa sanam
tumko chaah ke
tum bin

dekho mujhe sar se kadam tak
sirf pyaar hoon main
gale se lagaa lo ke tumhaara
bekaraar hoon main
tum kya jaano ke bhatakta fira
kis kis gali
tum ko chaah ke
tum bin jaaun kahaan
ke duniyaa mein aake
kuchh na phir chaahaa sanam
tumko chaah ke
tum bin

rah bhi sakoge tum kaise
ho ke mujhse judaa
hat jaayengi deewaaren
sun ke meri sadaa
aanaa hogaa tumhen mere liye
saathi meri
sooni raah ke
tum bin jaaun kahaan
ke duniyaa mein aake
kuchh na phir chaahaa kabhi
tumko chaah ke…
tum bin

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

तुम बिन
जाऊँ कहाँ
तुम बिन
जाऊँ कहाँ
के दुनिया में आ के
कुछ ना फिर
चाहा सनम
तुमको चाह के
तुम बिन
जाऊँ कहाँ
के दुनिया में आ के
कुछ ना फिर
चाहा सनम
तुमको चाह के
तुम बिन

देखो मुझे सर से कदम तक
सिर्फ प्यार हूँ मैं
गले से लगा लो के तुम्हारा
बेक़रार हूँ मैं
तुम क्या जानो के भटकता फिरा
किस किस गली
तुमको चाह के
तुम बिन
जाऊँ कहाँ
के दुनिया में आ के
कुछ ना फिर
चाहा सनम
तुमको चाह के
तुम बिन

रह भी सकोगे तुम कैसे
हो के मुझ से जुदा
हट जाएंगी दीवारें
सुन के मेरी सदा
आना होगा तुम्हें मेरे लिए
साथी मेरी
सूनी राह के
तुम बिन
जाऊँ कहाँ
के दुनिया में आ के
कुछ ना फिर
चाहा सनम
तुमको चाह के
तुम बिन

 

 

 


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 :

4951 Post No. : 16817 Movie Count :

4577

Hullo Atuldom

6th February 2022. Sad day for lovers of music. The news which all music fans didn’t want to hear came through a friend’s message on Whatapp. Our dear Sur Saraswati – Nightingale – Miracle of Nature – Swar Kokila (all such epithets fell right and square on her slender shoulders) is no more. She was a power house of talent that came in a small package. She was the face of Indian film music who rode the classical music vehicle with as much ease as light music. Bhajans rendered by her were what the nation woke up to for years and were the inspiration for singers of the later generation to try their hand at classical and devotional songs.

She was a fan of cricket for the longest time and Pt. Vishwa Mohan Bhatt who was pouring his heart out on a TV channel said that she was ill yesterday or else she would have been the first to tweet a congratulatory message to the victorious Under-19 team for winning the World Cup. That is one thing that has amazed me about the Grand-Lady of Indian Film music. She took to Twitter, Facebook and other social media as if she was a person of the now-generation. She was very active on social media.

A cross section of Indians have been pouring their heart out and putting out tweets but one that struck me most was “We will miss you and hope the void left by you doesn’t fill”.

A journey which began in the 40s at the age of 13 has come to an end after giving voice to songs in close to 1884 films in Hindi and about 30 films in other languages. A person who sang for Shobana Samarth in 1949 and Kajol (Shobana Samarth’s grand daughter) in the 90s. A person who brought tears to the eyes of the then Prime Minister Pandit Jawaharlal Nehru with her rendition of “Ae Mere Watan Ke Logo“. A person who has given us songs for every mood is being bid farewell from this mortal world as I write this (those are the visuals playing on all the news channels). She has been draped in her trademark white saree with a simple border. She has been brought to Shivaji Park with full state honors and the nation is in two-day mourning for this Bharat Ratna.

Like she has said in her song “Meri Awaaz Hi Pehchaan Hai” we have her voice with us forever. And the song playing at this point is “Ae Mere Watan Ke Logo“” with Lata Didi saying “Ab Hum To Safar Karte Hain’ —-prophetic.

For this post I was looking for one of her last Bollywood song. We have covered Lata Didi’s last released songs in the course of Atul ji’s series ‘Yearwise Review’. So, the song with this post is not the absolute last but one from the last decade of her journey in Bollywood.

It is from the 2005 release ‘Lucky’ which had the tagline ‘No Time for Love’. The song is sung by Lata Mangeshkar and Adnan Sami, written by Sameer and tuned by Adnan Sami.

Like she has sung

rahen naa rahen hum,
mehkaa karenge
ban ke kali,
ban ke sabaa,
baage wafaa mein

Her mehak will be with us forever

Alvida Lata Mangeshkar

Video

Audio

Song – Ik Ajnabi Sa Ehsaas Dil Ko Sataaye (Lucky) (2005) Singer – Adnan Sami, Lata Mangeshkar, Lyrics – Sameer, MD – Adnan Sami

Lyrics (Provided by Prakashchandra)
(Based on Audio)

ik ajnabi sa
ehsaas dil ko sataaye
shaayad yahi to pyaar hai
betaabion mein
dhadkan meri chain paaye
shaayad yahi to pyaar hai

kuchh bhi kaho na
aaa aaa
kuchh bhi suno na
phir bhi
bechain dil hai hamaara
ho oo oo
behke kadam hain
aaa aaa
mushkil mein hum hain
dekho
sambhlen bhala kaise yaara
chaahe bina hi
nazdeek hum chale aaye
shaayad yahi to pyaar hai

nazren bichha den
pehre laga den
dil pe
par dil kisi ki na maane
kaanton pe chal ke
sholon mein jal ke
ro ke
mil ke rahenge deewaane
oo oo oo
chaahat ki lau to
aandhi mein bhi jhilmilaaye
shaayad yahi to pyaar hai
oo oo oo
ik ajnabi sa
ehsaas dil ko sataaye
shaayad yahi to pyaar hai

ye mulaqaaten
ye teri aankhen
baaten
aaa aaa
ek pal na main bhool paaun
kitni mohabbat
hai kitni chaahat
tum se

ho oo oo
kaise bhala main bataaun
oo oo

achha lage jo
tu saamne muskuraaye
shaayad yahi to pyaar hai
ik ajnabi sa
ehsaas dil ko sataaye
ho oo oo
shaayad yahi to pyaar hai

ho oo oo
kuchh bhi kaho na
aaa aaa
kuchh bhi suno na
phir bhi
aaa aaa
bechain dil hai hamaara
ho oo oo
behke kadam hain
mushkil mein hum hain dekho
ho oo oo
sambhlen bhala kaise yaara
chaahe bina hi
nazdeek hum chale aaye
shaayad yahi to pyaar hai
shaayad yahi to pyaar hai
shaayad yahi to pyaar hai
shaayad yahi to pyaar hai
shaayad yahi to pyaar hai
oo ra oraa
aaa haa haa aa
oo ho oho


This article is written by nahm, 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 :

4950 Post No. : 16814

AR Rehman – The Musician of 21st Century – 3

84th Birthday of Waheeda Rehman on 3rd February 2022

46th Birthday of Abhishek Bachchan on 5th February 2022

The songs of the movie ‘Delhi-6’ are among my favorite music scores by AR Rehman. I rate this qawwaali from the movie, for which I wrote a post back in 2012 as among the best of hindi film songs in this genre.  The links of two songs posted in the blog are given below:

Arziyaan saari main chehre pe likh ke laaya hoon (Delhi 6)
Ye Dilli hai mere yaar (Delhi 6)

 

AR Rehman is also a product of advertising industry, as he started his career is advertising. The one ad I remember is of ‘Garden-Vareili” as composed by AR Rehman. He soon proved his mettle as a talented musician at a very young age working in Tamil and Hindi films, mainly with Mani Rathnam.  Many of his severest critics will agree that, ARR revolutionized the Hindi film music scene in the 90’s and changed the sound of songs completely.  Few of the other musicians have been able to imitate him or his style.  Most of them thought it better to keep to sufiaana or import some songs from other countries like Pakistan or Egypt etc. then try to surpass ARR in creativity.  In many aspects this revolution is even bigger than the reinvention of HFM in 1950 with ‘Barsaat’, by Shankar-Jaikishan.  I am not going towards RDB reinvention, as I have a different opinion about that than the popular conception.

So, Rehman was here, working simultaneously in Mumbai and South, with more focus on southern language films.  This continued till he went truly international and collaborated with other musicians of the west and worked in Hollywood.  Among all these, the Bollywood film work was never his sole focus.  He diversified and did select few films for the Hindi film industry.  The biggies and the not so biggies did go to Chennai to rope him in to give music to their films.  And he has been selective about the projects he takes.  Although he has given 1 or 2 music scores which were not up to the mark, in my opinion.

But overall, his work is critically acclaimed, in all the big banner films like ‘Lagaan’, ‘Guru’, ‘Rang De Basanti’, ‘1947 Earth’, ‘Yuvraaj’ etc. and the Jewel in the crown song of ‘Slumdog Millionaire’.  His mini bio is here.

Recently, he has been seen performing live at a special Pavilion dedicated for him and his troupe at DUBAIEXPO2020.  We did go to explore the expo, but ARR was not performing in the first week.  We landed in Dubai the night before the EXPO was to open, so the ‘raunaq’ at Dubai airport was to be seen to be believed.  But that is a subject of another post.

As post no. 3 of the series, I am presenting this song from ‘Delhi-6’, which has folk origins, or ‘traditional’ as the lyrics are credited. Though some sources are crediting Prasoon Joshi as the lyricist.  Unusual song for ARR, but the hall mark of his fusion and composition with vocals, where musical instruments could be used is visible.   And ARR thrives on the unusual, those who have followed his career will agree.

Waheeda Rehman, the graceful dancing star and an actor of repute of last century and a character actor in current century, celebrated her 84th birthday two days ago.  Born in 1938, which makes her just 18 years old when she debuted in Hindi films with ‘CID’ (1956).  I am presently watching that movie (in installments), so can vouch that she does look very young, despite the heavily made up/get up in the film.   Lot of other information about her is available here.

Abhishek Bachchan is celebrating his 46th birthday today.  As is the ‘chalan’ nowadays for celebrities, he must be somewhere exotic to ring in the birthday.

Both Waheeda Rehman and Abhishek Bachchan are featuring in this song, where Waheeda Rehman, Aditi Rao Hydari, Supriya Pathak and others are singing the song on screen, playback by Rekha Bharadwaj.  Sonam Kapoor and Om puri are also seen, who are not taking part in the song, filmed on the terrace of the houses in old Delhi area of Chaandni Chowk.

I think Abhishek Bachchan is an underrated and under utilized actor in the Hindi film scene.  It can’t have been easy to follow in the giant leaps of Amitabh Bachchan and the remarkable footsteps of Jaya Bachchan.

Simple orchestration and simple filming.   This is a folk song, and it mentions the town of Raipur in the stanza.

What could the term “Sasural genda phool” mean ? I think it means, though ‘sasural’ or the ‘In-laws place’ looks like a Marigold, but our attachment is full of fragrance is great and long lasting.  The appearances can be deceptive.

Video

Audio

Song – Sasuraal Genda Phool (Delhi-6) (2009) Singer – Rekha Bhardwaj, Lyrics – Traditional, MD – AR Rehman

Lyrics

veyh
veyh
veyh
hoen hoen hoeh
hoen hoen hoeh
hoen hoen hoeh
hoen hoen hoeh
veyh veyh
hoen hoen hoeh
veyh veyh
hoen hoen hoeh
veyh veyh
hoen hoen hoeh
veyh veyh
hoen hoen hoeh
veyh veyh
hoen hoen hoeh
veyh veyh
hoen hoen hoeh

saiyyan chhed deve
nanand chutki leve
sasural genda phool
saas gaali deve
devari samjha leve
sasural genda phool
chhodaa baabul ka angnaa
bhave deraa piyaa ka ho oo
saas gaari deve
devarji samjha leve
sasural genda phool
saiyyan hain vyapari
chale hain pardes
sooratiyaa nihaarun
jiyaara bhaari hove
sasural genda phool
hmmm mmmm
hmmm mmmm

saas gaari deve
devarji samjha leve
sasural genda phool
saiyyan chhed deve
nanand chutki leve
sasural genda phool
hmmm mmmm
hmmm mmmm
chhodaa baabul ka angnaa
bhave deraa piyaa ka ho oo

bush-shirt paheene
khaayike beedaa paan
poore raipur se alag hai
saiyyan ji ki shaan
sasural genda phool
saiyyan chhed deve
nanand chutki leve
hoen hoen hoeh

sasural genda phool
saas gaari deve
hoen hoen hoeh
devariji samjha leve
sasural genda phool
chhodaa baabul ka angnaa
hoen hoen hoeh
bhave deraa piyaa ka ho oo

hoen hoen hoeh
hoen hoen hoeh
hoen hoen hoeh
hoen hoen hoeh
hoen hoen hoeh
hoen hoen hoeh
veyh veyh
hoen hoen hoeh
veyh
hoen hoen hoeh
veyh veyh
hoen hoen hoeh
veyh
hoen hoen hoeh
veyh veyh
hoen hoen hoeh
veyh
hoen hoen hoeh
veyh veyh
hoen hoen hoeh
veyh
hoen hoen hoeh
veyh veyh
hoen hoen hoeh
hoen hoen hoeh
hoen hoen hoeh
hoen hoen hoeh
hoen hoen hoeh


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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 FOURTEEN years. This blog has over 17400 song posts by now.

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