Archive for the ‘Songs of 2003’ 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.
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Blog Day : |
5340 | Post No. : | 17510 | Movie Count : |
4711 |
Madhur Bhandarkar, the four-time National Film Award winner, is known to make films on some unusual issues. Some of his films’ titles like ‘Chandni Bar’ (2001), ‘Satta’ (2003), ‘Page-3’ (2005), ‘Corporate’ (2006), ‘Traffic Signal’ (2007), ‘Fashion’ (2008), ‘Heroine’ (2012), ‘Calendar Girls’ (2015) are indicative of the diverse and unusual subjects he has covered in his films. He does not think that his films are exposes but they show what is happening in society without passing value judgement. Usually, he makes films with one or two well-known actors. Rest of actors are usually from the theatre/TV background. Songs in his films are not a priority. Most of the issues he takes up in his film is Mumbai-based.
With this background of his film making, I thought that Madhur Bhandarkar may have come from theatrical background or from FTII. But surfing on the internet including the Radio/T V interviews, for his profile revealed that he came from a humble background, and he had no theatre or filmy experiences. His is one of rags to riches stories.
Madhur Bhandarkar was born in a middle-class Gowd Saraswat Brahmin family staying in Khar in Mumbai suburb. He was a school dropout due to financial reasons. At the age of 16, he started the business of renting film video cassette in his neighboring areas which included all types of his customers – hutment dwellers, politicians, fashion and corporate world, film actors and directors, bar girls, people connected with gangsters and many more category. He himself used to watch many Hindi films which led to developing his interest in filmmaking. He has said in an interview that he is the encyclopedia of Hindi films released between 1970-80 during which period, he watched films in all the theatres located between Colaba and Virar.
After the advent of cable TV, the business of renting film video cassette no longer became profitable. Madhur Bhandarkar, probably through the networking with his customers connected with Hindi film industry, got entry into film industry as assistant to some ‘B’ grade film directors. He graduated to become the Assistant Director to Ram Gopal Varma while he was making ‘Rangeela’ (1995). In this film, Madhur Bhandarkar did a cameo role of Assistant Director. He worked with Ram Gopal Varma for 4 years before venturing into an independent director. While he wanted to make issue-based films, no producer/financier was willing to support him in his maiden film. So, perforce, he had to make his first directorial venture, ‘Trishakti’ (1999), a pure masala film which miserably failed at the box office.
With the failure of ‘Trishakti’ (1999), Madhur Bhandarkar took an issue-based subject for his second film, ‘Chandni Bar’ (2001). However, as it often happens in Hindi film industry, it is difficult to get a producer or a financier for a film with a realistic story. It was only when Tabu agreed to do the film, R Mohan, a Malayalam film producer came forward to produce the film. This film not only became a box office success, but it also got 4 National Film Award for Best Film covering other social issues, best actress for Tabu, best supporting actor for Atul Kulkarni and Best supporting actress for Ananya Khare.
Madhur Bhandarkar made some more issue-based films like ‘Satta’ (2003) – a political drama, ‘Page 3’ (2005) – on the life of a journalist vis-à-vis the business interest of the newspapers, ‘Corporate’ (2006) – on corporate war between two powerful industrialists, ‘Traffic Signal’ (2007) – the life around traffic signals in Mumbai, ‘Fashion’ (2008) – on fashion industry, ‘Heroine’ (2012) – on a career path of a heroine from superstar to a decline, ‘Calendar Girls’ (2015) – the jumping platform from pin-up girls to dreaming about stardoms, etc. However, from 2008 onwards, his films did not fare well on box office though the films were critically acclaimed. Madhur Bhandarkar co-produced along with Gaurang Jalan, his first Bengali film, ‘Avijatrik’ (2021) which was directed by Subhrajit Mitra. The film won the National Film Award for the Best Feature Film in Bengali.
Following the critically acclaimed, commercially successful and strong woman-oriented film, ‘Chandni Bar’ (1999), Madhur Bhandarkar’s next film was about an independent woman who had a strong dislike for politicians. But the circumstances made her to take plunge in the world of murky politics in order to survive in the midst of a political family. The film is a lesser known, ‘Satta’ (सत्ता, 2003). The film’s cast included Raveena Tandon, Atul Kulkarni, Govind Namdev, Sameer Dharmadhikari, Manoj Joshi, Anju Mahendru, Abhay Bhargva, Abhijit Lahiri, Amardeep Jha etc. The gist of the film’s story is as under:
Anuradha Sehgal (Raveena Tandon) is a daughter of a Delhi-based divorced parent who is independent minded and fun-loving girl. She shifts to Mumbai on a job and meets a debonaire, Vivek Chauhan (Sameer Dharmadhikari), son of a leading politician, Mahendra Chauhan (Shri Vallabh Vyas). They fall in love and get married. Anuradha shifts to her husband’s place in Mumbai. Within few days, she discovers the true nature of Vivek who is a spoilt brat, a drunkard, and a womaniser. In the house also, there are restrictions on women on free conversations when men are discussing some matters. Mahendra is planning to make his son, Vivek stand for state assembly election and make him the potential candidate for the Chief Minister.
One day while in the bar, Vivek kills a bar girl for not serving him drink (probably a la Jessica Lal murder case) for which he is imprisoned. This put Mahendra’s plan in jeopardy as Vivek will not get ticket for contesting election. Other party functionaries suggest Mahendra Chauhan that his daughter-in-law, Anuradha should context the election in place of Vivek.Under pressure to contest election, Anuradha wins the election and become MLA. Her father-in-law assings his close confident, Yeshwant Varde (Atul Kulkarni) to Anuradha to guide her in the survival games of politics. Gradually, Anuradha learns of ropes of political games and transforms herself from homely woman into a strong political leader. She introduces reforms to change the complex of party politics in which there is no place for double standard politicians.
After facing some obstacles, like floating the news of her suspected ‘affairs’ with Yeshwant from the opponents of her own partymen, Anuradha is successful in cleansing the system of nexus between politicians, businessmen, underworld, and the policemen. She becomes the kingmaker of her party by playing the same crooked games of politics which were hitherto played by her adversaries. She chooses Anna Saheb Joshi (Hemendra Bhatia), a veteran of the party with a clean image and honesty to be the Chief Minister who believes that ‘satta’ (power) is an opportunity to bring a positive changes in the standard of living of the people.
I had watched Raveena Tandon in her glamourous roles in the mainstream Hindi films. It is the first time that I have watched her in the powerful role of Anuradha. She has truly justified the faith reposed by the director by giving her the best performance in the film. Performances from other main actors have also very good.
‘Satta’ (2003) had six songs (including a multi-version song) written by Javed Akhtar and set to music by Raju Singh. I was not even aware that there were songs in this film until I watched the film recently. Of the 5 songs of the film, I liked only the multiple version song which I am presenting here. The song is ‘gungunaati hai geet gaati hai zindagi’. The song is rendered by Asha Bhosle and Sonu Nigam separately as a solo song on the same lyrics. Asha Bhosle version is a background song picturised on Raveena Tandon and Atul Kulkarni. I could not locate in the film as to where Sonu Nigam version of the song got picturised. I suspect that Sonu Nigam version of the song may have got deleted in the DVD.
The song starts with a beautiful prelude of interplay of piano and flute. Asha Bhosle sings the song with ‘harkat’ on some words which is more noticeable in audio clip than on video clip as latter’s sound quality is not so good. Sonu Nigam’s rendition is also very good.
I have listened to both the versions of the songs many times during the last one week. And each time I listen to this song I get reminded of R D Burman especially in antaras.
Video Clip (Asha Bhosle version):
Audio Clip: (Asha Bhosle version):
Audio Clip (Sonu Nigam version):
Song-Gungunaati hai geet gaati hai zindagi (Satta)(2003) Singer- Asha Bhonsle/ Sonu Nigam, Lyrics-Javed Akhtar, MD-Raju Singh
Lyrics
gungunaati hai
geet gaati hai
zindagi..ee
tum jo aaye to
muskuraati hai
khilkhilaati hai
zindagi..ee
tum jo aaye to
dil mein ab jaise
kaliyaan si khilti hain
dil mein ab jaise
kaliyaan si khilti hain
gul khilaati hai
mehke jaati hai
zindagi ee ee
tum jo aaye to
gungunaati hai
geet gaati hai
zindagi..ee
tum jo aaye to
muskuraati hai
khilkhilaati hai
zindagi..ee
tum jo aaye to
bechain ik lahar thhi
ab usse
mil gaye hain
kinaare
ho
bechain ik lahar thhi
ab usse
mil gaye hain
kinaare
betaab ik nazar thhi
ab usse
mil gaye hain
nazaare
dil mein ab jaise
tasveeren banti hain
dil mein ab jaise
tasveeren banti hain
gudgudaati hai
chhed jaati hai
zindagi..ee
tum jo aaye to
gungunaati hai
geet gaati hai
zindagi..ee
tum jo aaye to
paaya jo dil ne tumko
zindagi ee
har khushi paa gayi hai
paaya jo dil ne tumko
zindagi
har khushi paa gayi hai
mere humsafar ho tum jo
raah mein
raushni chhaa gayi hai
dil mein ab jaise
kirne si chhanti hain
dil mein ab jaise
kirnen si chhanti hain
jhilmilaati hai
jagmagaati hai
zindagi..ee
tum jo aaye to
gungunaati hai
geet gaati hai
zindagi..ee
tum jo aaye to
muskuraati hai
khilkhilaati hai
zindagi..ee
tum jo aaye to
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.
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5326 | Post No. : | 17461 | Movie Count : |
4698 |
Khalid Mohamed, the journalist, the film critic, the former editor of Filmfare magazine and The Hindustan Times, started his career in Hindi film industry when he wrote the story and screenplay for Shyam Benegal’s trilogy on Indian Muslim Women – Mehmooda Begum in ‘Mammo’ (1994), ‘Sardari Begum’ (1996) and Zubeida Begum in ‘Zubeida (2001). All these three women were the relatives of Khalid Mohamed, Zubeida Begum being his mother. After working with Shyam Benegal, Khalid Mohamed turned director with his first film, ‘Fiza’ (2000). This was followed by ‘Tehzeeb’ (2003) and ‘Silsilay’ (2005). While ‘Fiza’ (2000) was a box office hit, his next two films were box office disasters. The last film he directed was ‘Katha’ – a remake of ‘Katha’ (1983) which has remained unreleased after the completion of the film in 2016.
‘Tehzeeb’ (2003) is Khalid Mohamad’s second film as a director for which he also wrote story and screenplay. The film is based on Ingmar Bergman’s Swedish drama film, ‘Höstsonaten’ (English title: ‘Autumn Sonata’, 1978). It is a woman-oriented Muslim social film with story mainly hovering around the mother-daughter relationship. The cast includes Shabana Azmi, Urmila Matondkar, Arjun Rampal, Dia Mirza, Namrata Shirodkar, Diana Hayden, Satish Kaushik, Palak Jain, Rekha Rao, and Rishi Kapoor in a special appearance. The gist of the story is as under:
Rukhsana (Shabana Azmi) and Anwar (Rishi Kapoor) have been married for long time with two daughters – Tehzeeb (Urmila Matondkar) and Nazneen (Dia Mirza) who is mentally challenged. Anwar is not doing well in his business and is depressed. Rukhsana on the other hand, is a popular and ambitious singer who has been doing very well in her career. One day, the depressed Anwar after some heated argument with Rukhsana commit suicide. This was seen by Tehzeeb (as a child) from a distance. Rukhsana is suspected to have killed Anwar for which she is arrested and jailed. However, she is released from the jail for the lack of evidence. She rebuilds her career as a singer and looks after her two daughters as a single mother.
As Tehzeeb grows into her adulthood, she develops some sort of grudge against her mother. She feels that during her childhood, she had not given enough time to them by spending more time in furthering her career as a singer. She also feel that her mother was responsible for her father’s suicide. Another friction point between mother and daughter is that Tehzeeb got married to Salim Mirza (Arjun Rampal), a writer, against her wishes. After marriage, Tehzeeb shifts to her husband’s place along with Nazneen.
Five years have passed since the marriage and Tehzeeb is happy in her married life. She also looks after her mentally challenged sister, Nazneen. At this juncture, Rukhsana decides to make a visit to Tehzeeb’s house to meet her and Nazneen. Both are happy to renew their ties after 5 years but at the same time there is some apprehensions as to how the visit will go. For the first few days, their relations are cordial. But eventually, the bent-up tensions between them surfaces on some occasions with arguments and counterarguments. Nevertheless, both have some happy moments too and recall their childhood nostalgia. So, mother and daughters become close to each other.
When things were looking normal, one day, Nazneen shoots herself with a gun which was in fact used by Anwar for his suicide. Luckily, she survives after some anxious moments. But this incidence indirectly facilitates removing Tehzeeb’s misunderstanding about her mother. She feels guilty about her attitudes towards the mother until now. She wants to say sorry to her mother and seek pardon for her misunderstanding. She approaches her mother who is sitting on a swing and apologises for the way she has treated her so far. But it is too late. Rukhsana does not respond as she has died of heart-attack. The film ends with Tehzeeb singing one of her mother’s favourites songs.
When I started watching the film, I was not very optimistic as to how the theme of mother-daughter relationship will be handled. My fear was that there would be a lot of melodrama with high-pitched arguments. The director has handled the grudge of a daughter against her mother very sensitively without appearing too melodramatic. At the same time, he has taken care to show in a subtle way that there is love and respect for each other. I liked the scene in which mother and daughter who are scheduled to personally meet after 5 years, start rehearsing in front of the mirrors in their respective homes as to how they would greet each other. The confrontation scenes between mother and daughter have been gracefully performed by both Shabana Azmi and Urmila Matondkar without sounding too melodramatic.
I felt that scenes involving Namrata Shirodkar as a budding singer and Diana Hayden as a publishing executive who flirts with Arjun Rampal looked superfluous. These two characters were like speed breakers to the smooth progression of the main theme of the story.
‘Tehzeeb’ (2003) has six songs of which Javed Akhtar wrote two and Blaze wrote one English song. The remaining songs are ghazals written one each by by Urdu poets Momin Khan Momin, Daagh Dehlvi and Shaad Azimabadi. All songs were set to music by A R Rahman.
I am presenting the first song from the film to appear on the Blog. It is a ghazal ‘mujhe pe toofaan uthhaaye logon ne’ written by Urdu Poet, Momin Khan Momin (1801-1852). In the soundtrack version, the film ends with two couplets of this ghazal picturised on Urmila Matondkar.
The ghazal is rendered by Sujata Bhattacharya and I have become a fan of her in recent times. Most of the time, I am not able to differentiate her voice with that of Shreya Ghoshal whom I also admire among the current playback singers in Hindi films.
Kolkata born Sujata Bhattacharya (later renamed herself as Madhushree) is a trained Hindustani classical vocalist with specialization in Khayal and Thumri. She was trained by Pandit Amiya Ranjan Bandopadhyay of Bishnupur Gharana. She completed her post graduate degree in music from Rabindra Bharati University. She was deputed to Surinam by Government of India to teach Hindustani classical music where Indian origin people form a bulk of the population. When she found that her students were more interested in light music and Hindi film songs, she had to change her teaching syllabus. At this juncture, she also felt that she should pursue more of playback singing career than the career as a Hindustani classical vocalist.
Javed Akhtar was instrumental in introducing Sujata Bhattacharya in Hindi films as playback singer when he recommended her name to Rajesh Roshan for a song in the film ‘Moksha’ (2001). Thereafter, she has sung under many prominent music directors, majorly with A R Rahman and M M Kreem (Keeravani) in Hindi, Tamil and Telugu films. It is at the instance of A R Rahman that she changed her name from Sujata Bhattacharya to Madhushree since Rahman had many Sujatas in his music team.
Madhushree’s forte is semi-classical and the light musical genres of songs comprising ghazal, thumri, devotional, folk and romantic though she has also sung under A R Rahman, some peppy songs. In ‘Tehzeeb’ (2003), she has sung 3 ghazals including the one under discussion.
Coming back to the ghazal under discussion, I find this ghazal unique in the sense that all the couplets are thematically inter-linked whereas in traditional ghazal, they are supposed to be autonomous. Another uniqueness in this ghazal is that Momin imagines a situation ahead of falling in unrequited love that normally is the subject matter of the ghazal. This will become clear from what Momin has conveyed in this ghazal.
The poet is sad that that people have created storms with accusation and have spread baseless stories about their love. He was only longing to meet his beloved but people have fabricating stories as if we have already met. It is strange that people are forcing us to see as our grand show of love which we ourselves have not personally experienced. All these rumours and fabricated stories have deprived them of the excitement of falling in love and have upset his beloved. It is pity what the people have done to Momin.
Another uniqueness of this ghazal is that A R Rahman has composed this ghazal in ‘nazm’ format. This is evident from the fact that the musical interlude comes after every two couplets. The background music sounds like symphony orchestra when the song is rendered. Overall it is a melancholic ghazal.
Audio Clip:
Video Clip:
Song-Mujhpe toofaan uthhaaye logon ne (Tehzeeb)(2003) Singer-Madhushree, Lyrics-Momin Khan Momin, MD-A R Rahman
Lyrics (Based on Audio Clip)
mujhpe toofaan uthhaaye logon ne
mujhpe toofaan uthhaaye logon ne
muft baithhe bithhaaye logon ne ..ae ae
muft baithhe bithhaaye logon ne..ae ae
kar diya apne aane jaane ke ae
kar diya apne aane jaane ke ae
tazkire jaaye jaaye logon ne
mujhpe toofaan uthhaaye logon ne
muft baithhe bithhaaye logon ne ae
vasl ki baatein kab ban aayin thh…ee ee
dil se daftar banaaye logon ne
baat apni wahaan na jamne dee
apne naqshe jamaaye logon ne ae
mujhpe toofaan uthhaaye logon ne
muft baithhe bithhaaye logon ne ae
muft baithhe bithhaaye logon ne ae
sunke udti si apni chaahat ki
sunke udti si apni chaahat ki ee
donon ke hosh udaaye logon ne ae
bin kahe raaz aaye pinhaani
bin kahe raaz aaye pinhaani ee
usey kyunkar sunaaye logon ne
mujhpe toofaan uthaaye logon ne
kya tamaasha hai jo na dekhe thhe
kya tamaasha hai jo na dekhe thhe ae
woh tamaashe dikhaaye logon ne ae
kar diya ‘Momin’ us sanam ko khafa
kya kiya haaye re haaye logon ne ne
kya kiya haaye re haaye logon ne
mujhpe toofaan uthaaye logon ne
muft baithhe bithhaaye logon ne
mujhpe toofaan uthhaaye logon ne
mujhpe toofaan uthhaaye logon ne ae
mujhpe toofaan uthhaaye logon ne
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.
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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
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This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.
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Blog Day : |
4833 | Post No. : | 16616 |
Hullo Atuldom
Another date of October for which I always need to write out a post for.
It being the birth date of an actor whose work I began liking post 1975- “Sholay” to be exact. I liked the way he delivered his dialogues. Some dramatic dialogues which he had casually uttered are iconic and classic and stuff which fans quote as legendary.
Remember ‘mere paas maa hai’ it was not said forcefully or with banging of fists or any such heavy add-ons. He was also given dialogues which were comic in nature -for example the cricket commentary in English that has made “Namak Halal” a movie worth watching; he even managed to squeeze in some comedy intto the fight sequence in the climax of the movie. But I always loved the late night scene in Asrani’s office when Amitabh Bachchan calls Asrani and Dharmendra for a meeting to discus the situation between Vasudha and himself. I know I need not mention that I am talking of the Hrishikesh Mukherjee ’70s classic “Chupke Chupke” and the expression that he had when he said “for safety’s sake main woh bhi batadoonga”- priceless. He was so nice at depicting his emotions and I may have mentioned this a few times in earlier posts about how the scene between Sanjeev Kumar and AB Sr. in “Khuddar” was memorable as both the actors spoke with their eyes. An added advantage the film industry had when working with AB Sr. was he was good in action sequences too and is known to have enacted many of them without using a body-double or ‘stuntman’ (in filmy parlance). He managed to overcome his awkwardness where dance (a necessity in Indian movies) was concerned. He has also tried his hand at singing for his characters; for which initially, he was made-fun-of as he was considered to be a tuneless singer but he has sung and many of them have been very popular with his fans.
Today’s post which celebrates this all-time favorite actor of mine turning a year older or a step closer to 80 has a song from the 2003 (can’t believe this film was 18 years back, time has just flown) B R films production and Ravi Chopra directed “Baghban”. It had music by Aadesh Srivastava and Uttam Singh and songs were penned by Sameer. Alka Yagnik, Hema Sardesai, Richa Sharma, Sneha Pant, Udit Narayan, Aadesh Srivastava, Sudesh Bhonsle and Amitabh Bachchan were the playback singers used.
This song is pictured with an emotional Raj Malhotra (AB Sr.) singing, and yearning for his wife Pooja (Hema Malini) who is staying with one of their sons and he himself with another son. The story of ‘Baghban’ was something which was popular in the 60s and early 70s; but even this movie was successful with the new generation moviegoers. This song can also been seen as proof of what I stated earlier in this post viz. “actors speaking with their eyes”; here it is Hema and AB Sr. They have played the old couple so convincingly. The song is sung by Amitabh Bachchan and Alka Yagnik.
Here is wishing the (once) Angry- Youngman, Shahenshah of Bollywood, Star of the Millennium, Big B or AB Sr. (people in entertainment industry have been addressing him in this manner for a few years now) a Happy Birthday and lots of good health.
Audio
Video
Song-Main yahaan tu wahaan zindagi hai kahaan (Baagbaan)(2003) Singers-Amitabh Bachchan, Alka Yagnik, Lyrics-Sameer, MD-Aadesh Srivastava
Lyrics
main yahaan tu wahaan
zindagi hai kahaan
main yahaan tu wahaan
zindagi hai kahaan
main yahaan tu wahaan
zindagi hai kahaan
tu hi tu hai sanam dekhta hoon jahaan
neend aati nahin yaad jaati nahin ee ee
neend aati nahin yaad jaati nahin
bin tere abb jiya jaaye naa aa aa
main yahaan tu wahaan
zindagi hai kahaan
waqt jaise thehar gaya hai yahin
har taraf ek ajab udaasi hai
bekaraari kaa aisa aalam hai
jism tanha hai rooh pyaasi hai
teree soorat ab ek pal kyun nazar se hatati nahin
raat din toh kat jaate hain
umr tanha katati nahin
chaah ke bhi naa kuchh keh sakoon tujhse main aen aen
chaah ke bhi naa kuchh keh sakoon tujhse main
dard kaise karoon main bayaan aan aan
main yahaan tu wahaan
zindagi hai kahaan
jab kahin bhi aahat huyi
yoon laga ke tu aa gaya aa
khushboo ke jhonke ki tarah
meri saansen mehka gaya
ek woh daur thha
ham sada paas thhe ae ae
ek woh daur thha
ham sada paas thhe
ab toh hain faasle darmiyaan aan aan
main yahaan tu wahaan
zindagi hai kahaan
hmm hmm hmm
hmm hmm hmm
hmm hmm hmm
beeti baaten yaad aati hain
jab akela hota hoon main
bolti hain khaamoshiyaan
sabse chhupke rota hoon main
ek arsa huwa muskuraaye huye ae ae
ek arsa huwa muskuraaye huye
aansuon mein dhali daastaan aan aan
mai yahaan tu wahaan
zindagi hai kahaan
tu hi tu hai sanam dekhta hoon jahaan
neend aati nahin
yaad jaati nahin ee ee
neend aati nahin
yaad jaati nahin
bin tere ab jiya jaaye naa aa aa
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
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Blog Day : |
4760 | Post No. : | 16505 | Movie Count : |
4485 |
Hullo to all in Atuldom
Ideally I would have liked to send the song with this post, a few days back so as to be posted on 26th July which was ‘Kargil Vijay Diwas’. A day, which commemorates India’s victory over Pakistan, and regaining control of the mountain tops in Northern Kargil of Ladakh in July 1999.
I am sure that we all are aware of the background that led to the 1999 war between India and Pakistan, inspite of the Lahore Declaration of February 1999, which was meant to provide a peaceful and bilateral solution to the Kashmir-issue.
Here is what I have gathered from various sources on the internet about the Kargil conflict:
“During the winter of 1998-1999, some elements of the Pakistani Armed Forces were covertly training and sending Pakistani troops and paramilitary forces, some allegedly in the guise of mujahideen, into territory on the Indian side of the line of control (LOC). The infiltration was code named “Operation Badr.” The aim of the Pakistani incursion was to sever the link between Kashmir and Ladakh and cause Indian forces to withdraw from the Siachen Glacier, thus forcing India to negotiate a settlement on the broader Kashmir dispute. Pakistan also believed that any tension in the region would internationalise the Kashmir issue, helping it to secure a speedy resolution. Yet another goal may have been to boost the morale of the decade-long rebellion in Indian Administered Kashmir by taking a proactive role.
Initially, with little knowledge of the nature or extent of the infiltration, the Indian troops in the area assumed that the infiltrators were jihadis and claimed that they would evict them within a few days. Subsequent discovery of infiltration elsewhere along the LOC, and the difference in tactics employed by the infiltrators, caused the Indian army to realize that the plan of attack was on a much bigger scale. The total area seized by the ingress is generally accepted to between 130 sq.km – 200 sq.km.
The Government of India responded with Operation Vijay, a mobilisation of 200,000 Indian troops. Finally, war came to an official end on July 26, 1999, thus marking it as Kargil Vijay Diwas.
527 soldiers from Indian Armed Forces sacrificed their lives during the war”
I have written a post to commemorate Kargil Divas once before too, where the song was from “Lakshya- 2004”. There was one movie that was made on the theme of Kargil-war in 2003 too. That was written and directed by J P Dutta. It had a huge star-cast and songs were penned by Javed Akhtar which were set to music by Anu Malik. The song tries to express the feeling of a martyr who wishes well for his fellow warriors and I don’t want to dilute it by expressing my opinions etc about it.
I had first thought of this song when the Pulwama suicide attack had happened. I had felt that it was not the first of its kind; I remembered the attack on the Indian Parliament on 13th December 2001 as well as the 26/11 terrorist attack of 2008, on various locations around Mumbai. I am sure all these unwanted tensions will keep popping up till the Kashmir issue is resolved. The least an Indian can do is pay respects to the departed heroes and show gratitude to the armed forces.
Today’s song is in the voice of Sonu Nigam. It has (in order of their appearance) – Akshaye Khanna, Ashutosh Rana, Manoj Bajpai, Abhishek Bachchan, Ajay Devgan, Puru Rajkumar, Saif Ali Khan, Sanjay Kapoor, Rohit Roy, Suneil Shetty, Sanjay Dutt, Deepraj Rana, Sudesh Berry, Mukesh Tiwari, Kareena Kapoor, Rani Mukherjee, Esha Deol, Raveena Tandon, Namrata Shirodkar, Armaan Kohli, Preethi Jhangiani, Isha Koppikar, Mahima Chaudhry on-screen. “LOC Kargil” (2003) showed the war/ conflict almost as it had happened in the winter of 1999. Also, the names of the principal characters were also (almost) true-life as also the names of the various battalions.
Incidentally, 30th July is the birthdate of Sonu Nigam who was born in Haryana to Agham Kumar and Shobha Nigam in Faridabad. He began at singing at the age of four when he joined his father Agham Kumar on stage to sing ‘Kya Hua Tera Wada’- the Mohd. Rafi classic. He continued accompanying his father on various occasions before finally shifting to Mumbai at the age of 19 to try his luck in Bollywood. He has been singing in Bollywood from 1993 and has various hits to his credit. His voice is soft on the ear. Many of his songs are my personal favourites with ‘Sandese aate hain’ from ‘Border’ and ‘yeh dil deewaana’ from ‘Pardes’ topping my list. I don’t know if the followers of this blog have heard the song with this post but it is another one from my playlist.
Here is wishing this singer a healthy and happy future.
Audio
Video
Song-Bas itna yaad rahe ek saathhi aur bhi thha (LOC Kargil)(2003) Singers-Sonu Nigam, Lyrics-Javed Akhtar, MD-Anu Malik
Lyrics
Khaamosh hai jo yeh woh sada hai
Woh jo nahin hai woh keh raha hai
(Bharat Mata Ki Jai
Bharat Mata Ki Jai)
Saathiyon tumko miley ae
jeet hi jeet sada aa
bas itna yaad rahe ae ae
ek saathi aur bhi thha
jaao jo laut ke tum m
ghar ho khushi se bhara
jaao jo laut ke tum m
ghar ho khushi se bhara
bas itna yaad rahe ae ae
ek saathi aur bhi thha
bas itna yaad rahe ae ae
ek saathi aur bhi thha
kal parbaton pe kahin een
barsi thhi jab goliyaan
hum log thhe saath mein aen
aur hausle thhe jawaan
ab tak chattaanon pe hai ae
apne lahoo ke nishaan aan
saathi mubaarak tumhen aen
ye jashn hai jeet ka
bas itna yaad rahe ae ae
ek saathi aur bhi thha
(Vande Matram
Vande Matram)
kal tumse bichhdi hui
mamta jo phir se miley
kal phool chehra koi
jab tumse milke khiley
kal tumse bichhdi hui ee
mamta jo phir se miley
kal phool chehra koi ee
jab tumse milke khiley
paao tum itni khushi ee
mit jaayen saare giley ae ae
hai pyaar jinse tumhen aen
saath rahen woh sada
bas itna yaad rahe ae ae
ek saathi aur bhi thha
(this part plays along with end titles)
jab aman ki baansuri ee
goonje gagan ke taley
jab dosti ka diya aa
inn sarhadon pe jaley
jab bhool ke dushmani ee
lag jaaye koi galey ae ae
jab saare insaanon ka aa
ho ek hi kaafila
bas itna yaad rahey ae ae
ek saathi aur bhi thha
jaao jo laut ke tum
ghar ho khushi se bhara aa aa
bas itna yaad rahe ae ae
ek saathi aur bhi thha
bas itna yaad rahe ae ae
ek saathi aur bhi thha
Bhaage re mann kahin aage re mann
Posted on: August 14, 2020
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.
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4410 | Post No. : | 15805 | Movie Count : |
4355 |
This is a song for the rainy season. I have the lyrics noted with me since last year’s rainy season, but the post never got written. This is from the film Chameli (2003), which has 6 songs and Sunidhi Chauhan is the singer in all of them. Two are duets and the rest 4 are solo songs. This rain song is one of the solos. Sandesh Shandilya is the composer and lyricist is Irshad Kamil. This must be a record of sorts for the new millennium, one singer singing in all songs. Today is 14th August and it is Sunidhi Chauhan’s birthday. Can’t say for sure that there is no better song for celebrating the event, but the song is quite good. Sunidhi Chauhan is very versatile and has made a name for herself in her field. She has followed the footsteps of Alka Yagnik and a predecessor to Shreya Ghoshal. There was enough scope for many singers to work and make a name.
I was meant to watch the film for writing the post, but that was not to be. So, I have not seen the film, and as far as I know, I have seen only this song. The other details are available (here. This was a hit song and was all over the FM channels when the movie was new. Come to think of it, it sounds as if it is very new song and not 17 year old. Meaning it has fallen on unsuspecting ears all through the 16 years. For the last one year, this has been growing on me. Now it has come of age and time for it to arrive on the blog.
Kareena is singing this song in the rain and it is clear that she is a prostitute, in the movie.
The other day I read this post by Atul Jee . In this post he gave some highlights of Munshi Premchand’s life. Munshi Premchand’s literary contributions I was aware of since school days, through lessons in text books. It is an appreciable quality that he practiced what he preached in terms of women’s rights. A belief has to be translated into deeds, only than it is a belief otherwise it is hypocrisy. I can imagine how difficult it was for Munshi Premchand to go against the society norms and marry a widow in those times. But I dare say, for a large section of the population of undivided india, this was no crime. Widow remarriage, divorcee remarriage all was legally allowed for them. A part of the illiterate population may not have known about those rights, is another matter, being a socio-economic problem.
India’s struggle of independence was a revolutionary period in many aspects with society struggling with changes and newer values.
The struggle for women’s rights is a classic case study, in my opinion. And we have lost the game in our developed sense of rightness.
Over the centuries, women demanded voting rights, got them. They wanted property rights, got them. They want to be treated as an equal; they are getting there all the time. Right to divorce, right to re-marry etc. the list is endless.
But all through this so called cultural revolution and great emancipation of women in the last one century, one indignity, which I consider an ultimate insult to womanhood, has been blatantly allowed to flourish. A woman who is the mother of mankind is made to suffer this atrocity as a ‘profession’. It is a legalized profession in many countries of this modern world. By what law and rule of justice and fraternity, is this explainable or excusable? This is the social development the human race has achieved in 3+ millennia of recorded history.
All great religions of the world, all the prophets, all the emperors and kings, all just and unjust rulers of the civilized world, have taken their bow. And who among them was ever able to ensure a just and dignified life to women?
Where women were not made to suffer such humiliating life,
Where women had property rights and voting rights,
Where women had right to divorce, remarry and conjugal rights,
Where there existed a system for social security equality for all including women and their children, which more than adequately provided for all their needs, legally, without having to compromise on dignity and self-respect.
Everyone knows that ‘prostitution’ is a social evil. But has any one ever taken a step to eradicate it?
Many poets have raised the issue, and received accolades for his efforts. But poets can only show a mirror to the society, society has to make the correction itself. The poets alone cannot do it for the whole society.
Saahir said : Sansaar ki har ek besharmi, gurbat it god mein palti hai….
This is no longer true in our social set up of the modern world.
Some social reformers might have tried to oppose this practice, but there is no end to this, as far as the eye can see. The answer to the questions is available within this universe. One only needs to have eyes and ears and sense to find it. The universal rules of economics apply here, but calling it the oldest profession in the world will not suffice.
The civilization has made no progress in my opinion, as this most degrading of all social-economic condition is allowed to prevail. We the citizens of this world are responsible for this.
May be it is time that the civilization looks at this issue in the morally correct and humane way. It is less a women’s issue and more a social issue.
I have digressed enough now. Coming back to the song, let us enjoy this song as a song for “barsaat ka mausam”.
Audio
Video
Song-Behta hai man kahin (Chameli)(2003) Singer-Sunidhi Chauhan, Lyrics-Irshad Kaamil, MD-Sandesh Shandilya
Lyrics
Behta hai man kahin
Kahaan jaanti nahin
Behta hai man kahin
Kahaan jaanti nahin
Koyi rok le yahin
Bhaage re man
Kahin Aage re man
chalaa jaane
Kidhar jaanoon naa aa aa
Bhaage re man
Kahin Aage re man
chalaa jaane
Kidhar jaanoon naa aa
Behta hai man kahin
Kahaan jaanti nahin
Koyi rok le yahin
Bhaage re man Kahin
Aage re man
chalaa jaane
Kidhar jaanoon naa aa aa
Bhaage re man
Kahin Aage re man
chalaa jaane
Kidhar jaanoon naa
Hannnnnnn
aaan
Chale thhandi hawaa
Hannnnnnn
Sang man bhi gayaa
Dhoondhhoon main kahaan uss ko
Batlaaye koyi mujh ko
Ke haay haay haa re…
Bhaage re man
Kahin Aage re man
chalaa jaane
Kidhar jaanoon naa aa aa
Bhaage re man
Kahin Aage re man
chalaa jaane
Kidhar jaanoon naa aa
Behta hai man kahin
Kahaan jaanti nahin
Koyi rok le
yahin
Haaaaan aan aan
haay aisa samaa aa
hmmmm mmmm
Phir hogaa kahaan
Jee loon main issey khul ke
Saawan mein zaraa ghul ke
Arrey sun sun sunnn ….
Bhaage re man
Kahin Aage re man
kahin Aage
Kidhar jaanoon naa
Ab Ghar Aa Ja, Piya Morey Aa Ja
Posted on: April 17, 2019
- In: 15K Song Milestone Celebration Posts | Background song | Calling the beloved | Classical composition | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Javed Ali Solo Song | Love song | Lyrics contributed by readers | Missing the loved ones | Post by Ava Suri | Rail song | Songs of 2000s (2001 to 2010) | Songs of 2003 | Yearwise breakup of songs
- 15 Comments
This article is written by Ava Suri, 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.
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3925 | Post No. : | 14992 | Movie Count : |
4102 |
= = = = = = = = = = = = = = = = = = = = = = = =
Atul Song-A-Day 15K Song Milestone Celebrations – 4
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It is that time of the year again. Time to celebrate another landmark of this beloved blog by all the members who contribute to it. Congratulations to the blog, its members and readers for hitting the 15K landmark.
I tend to ‘wake up’ only during the celebrations, though I like to keep afoot of the blog, not as much as I used to. Time was when I was tethered to a chair and computer for eight hours a day when I was working. There were many hours to be whiled away at times and it was easy to read the blog more often. Now that I am retired and a new member of Grandparents Club, I find less time to sit at the laptop. I often read posts on my mobile and find it hard to post comments from there. Nevertheless, it is still my number two most visited blog. Number one is my own blog, sorry, heh heh.
From something that was once Atul ji’s hobby, posting a song a day, this blog has burgeoned into a treasure trove of information. Various contributors keep the blog humming and it now has two fathers, Atul ji has been joined by Sudhir ji. This makes it easier for the blog to keep growing. There are a number of regular contributors, Arunkumar ji Deshmukh is the Bhishm Pitamah of the blog. Nalini ji is passionate about the blog, commenting and writing posts. Sadanandji, Avinash ji, Nahm ji, Mahesh ji, Satyajit ji, Gajendraji, Satishji are some of the other stalwarts. Raja is a personal friend of mine as well as the co-mentor of the blog. Forgive me if I have forgotten the names of other contributors – my memory is shaky post-retirement. 🙂
What do I love most about this blog? Number one reason is the sheer amount of information I gather by being here. Number two is the consistency of high standards in keeping the posts original and error free. Number three is the liveliness of the blog, the constant refreshment of content.
Hindi film music is a vast ocean, no, it is more like the skies that are endless. Luckily for the lovers of this blog, there will always be new songs and new posts to keep us occupied.
Now about this song. When new movies are promoted on television, they are accompanied by one or two big songs from the film. It becomes the signature song for the movie. Hence we get to know the popular songs from each movie and hum it more often. Yet there are often hidden gems within the songs of each movie, less popular but more beautiful. We do not hear them unless we watch the movie and are struck by it or listen to the complete playlist. ‘Haasil’ has a signature song too, “Ankhen Bhi Hoti Hain Dil Ki Zubaan”. But I am struck more by this song – “Ab Ghar Aa Ja”, a classical number which plays in the background during a poignant passage in the film.
‘Haasil’ (2003) was directed by Tigamanshu Dhulia and featured Jimmy Shergill, Irfan Khan and Hrishita Bhatt. College politics and gang war in Allahabad form the backdrop in which Jimmy and Hrishita meet and fall in love. Unfortunately, Jimmy becomes involved in the gang wars between two student leaders and is forced to flee to Mumbai. But soon he realises that he cannot keep hiding and lose his girlfriend in the bargain. He decides to return to Allahabad and face the consequences.
This song plays when the hero is traveling back to Allahabad from Mumbai in a train. The picturisation is very apt, the hero is pensive as he misses his girl, also because he knows he is soon going face danger. His mood is reflected in this slow classical number.
This song will debut the movie ‘Haasil’ on the blog. If I am not mistaken, singer Javed Ali debuts on the blog too. I hope you will like the song as much as I do.
Video
Audio
Song – Ab Ghar Aa Ja, Piya Morey Aa Ja (Haasil) (2003) Singer – Javed Ali, Lyrics – Satyaprakash, MD – Jatin Lalit
Lyrics
(Based on Video Version)
piya morey aa ja
tum bin kaun
mora dukh jaane
ab ghar aa ja
kaahe aiso nithur
bhayo bataa de
ho
kaahe aiso nithur
bhayo bataa de
ho
tum bin saawan jiyaara jalaave
ab… ghar aa ja
hum se chhal na kariyo
piya morey
hum se chhal na kariyo
piya morey
hamri preet hai
tumhri pooja
hamri preet hai
tumhri pooja
ab… ghar aa ja
ghar aa ja
ghar aa ja
ghar aa..aa ja
(Based on Audio Version)
ab.. ghar aa ja
piya morey aa ja
ab ghar aa ja
piya morey aa ja
ab ghar aa ja
piya morey aa ja
tum bin kaun
mora dukh jaane
tum bin kaun
mora dukh jaane
ab ghar aa ja
piya more aa ja
tum bin kaun
mora dukh jaane
ab ghar aa ja…
kaahe aiso nithur
bhayo bataa de
ho
kaahe aiso nithur…
nithur…
kaahe aiso nithur
bhayo bata de
ho
tum bin saawan
jiyara jalaave
ab ghar aa ja
piya morey aa ja
ab ghar aa ja
hum se chhal naa kariyo
piya morey
ham se chhal naa kariyo… piya…
piya…
piya…
piya…
hum se chhal naa kariyo
piya morey
hamaree preet hai
tumhri puja
hamaree preet hai
tumahri puja
ab ghar aa ja
piya morey aa ja
tum bin kaun
mora dukh jaane
tum bin kaun
mora dukh jaane
ab ghar aaja…
ghar aa ja…
ghar aa..aa ja…
———————————————————-
Hindi script lyrics (Provided by Sudhir Kapur)
———————————————————-
(विडियो पर आधारित)
पिया मोरे आ जा
तुम बिन कौन
मोरा दुख जाने
अब घर आ जा
काहे अइसो निठुर
भयो बता दे
हो
काहे अइसो निठुर
भयो बता दे
हो
तुम बिन सावन
जियरा जलावे
अब॰ ॰ ॰ घर आ जा
हमसे छल ना करियो
पिया मोरे
हमसे छल ना करियो
पिया मोरे
हमरी प्रीत है
तुम्हरी पूजा
हमरी प्रीत है
तुम्हरी पूजा
अब॰ ॰ ॰ घर आ जा
घर आ जा
घर आ जा
घर आ॰॰आ जा
(औडियो पर आधारित)
अब॰ ॰ ॰ घर आ जा
पिया मोरे आ जा
अब घर आ जा
पिया मोरे आ जा
अब घर आ जा
पिया मोरे आ जा
तुम बिन कौन
मोरा दुख जाने
तुम बिन कौन
मोरा दुख जाने
अब घर आ जा
पिया मोरे आ जा
तुम बिन कौन
मोरा दुख जाने
अब घर आ जा॰ ॰ ॰
काहे अइसो निठुर
भयो बता दे
हो
काहे अइसो निठुर॰ ॰ ॰
निठुर॰ ॰ ॰
काहे अइसो निठुर
भयो बता दे
हो
तुम बिन सावन
जियरा जलावे
अब घर आ जा
पिया मोरे आ जा
अब घर आ जा
हमसे छल ना करियो
पिया मोरे
हमसे छल ना
करियो॰ ॰ ॰ पिया॰ ॰ ॰
पिया॰ ॰ ॰
पिया॰ ॰ ॰
पिया॰ ॰ ॰
हमसे छल ना करियो
पिया मोरे
हमरी प्रीत है
तुम्हरी पूजा
हमरी प्रीत है
तुम्हरी पूजा
अब घर आ जा
पिया मोरे आ जा
तुम बिन कौन
मोरा दुख जाने
तुम बिन कौन
मोरा दुख जाने
अब घर आ जा॰ ॰ ॰
घर आ जा॰ ॰ ॰
घर आ॰॰आ जा॰ ॰ ॰
Tu Aashiqui Hai
Posted on: April 7, 2015
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.
Today, 6th April, is the birth anniversary of Sanjay Suri, a star of our current times.
Born this day in 1971, he is a native of Srinagar in Kashmir. In 1990, his father was killed in a terrorist attack, and his family was forced to flee their hometown. They came to Jammu and then settled down in Delhi.
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Tere sang ek simple si coffee
Posted on: June 23, 2012
This article is written by Ava Suri, a fellow enthusiast of Hindi movie music and a contributor to this blog.
Browsing through this blog today, my eye fell upon a song category which was “chai song”. The word chai makes me think immediately of one of my best friends ever, lets call her V. We worked in the same office, but it took another common friend who worked elsewhere to introduce us. My friend H got to know her and upon finding out where she worked immediately called me up and said “You must go and talk to this girl called V, she is truly bindaas, you will like her.”
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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