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

Posts Tagged ‘1985


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 : 3982 Post No. : 15069

In some cases, it is the voice – some people will impress you, attract you with their voice. Girish Karnad’s voice has one of the most relaxing sound quality that I have heard. And his presence, his demeanor, his being in a scene, on screen or on stage, always had the same expression of comfort and relaxation as his voice. Seeing him, listening to him, one could never imagine if this person could be moved to a hasty or an impatient action.

He passed away, the day before. The news said that he was 82. I was surprised, it couldn’t be. Over the years since I had first seen him live in a drama in Delhi – almost a millennium ago, and then through films and media images, he always seemed to be the same, never changing, nor ageing. Be it the memories and images from the 60s, 70s, or even recent. He always appeared to be the same.

So when I read this one line in a media news item, I was very taken aback. Sure, I had not seen him active for the past few years, but the thought process probably had never projected far enough to make believe that he was past his 80th. In fact, as I reviewed his filmography in preparation for this article, I find that 5 of his upcoming films are slated for released through the rest of 2019.

Mid 1960s to 70s was an era for the theatre in India. One sees an upsurge in the quality of drama, the subject matter handling by the playwrights and the abilities of the dramatists. If it was Badal Sircar in Bangla (east), it was Vijay Tendulkar in Matathi (west); if it was Mohan Rakesh in Hindi (north), it was Girish Karnad in Kannada (south). These playwrights brought in some very incisive, some very timeless creations, that brought a completely fresh air, breaking new grounds in understanding the human psyche – how the humans interact, with each other and within themselves, how the social influences mould the individual behaviors, and in reverse, how the human expressions manipulate the social conduct. And together, how they shape the movement of history.

Girish K broke out a very crisp and a surprisingly innovative line of enquiry, with his very first play – ‘Yayati’. Most of the readers will be familiar with this episode from the epic, Mahabharat. Yayati is a king in the lineage of the Chandravansh, the lineage of Chandra, the Moon God. He is portrayed as an irresponsible king, consumed by his obsession with young age and the pleasures to be derived from it. He is afraid of getting old. His wife is Devyani, daughter of Rishi Shukracharya. Sharmishtha is the name of one of the ladies in waiting of Devyani. Actually a princess herself from another kingdom, Sharmishtha becomes a bounden server to Devyani due to certain events. As the events unfold furhter, Yayati has an extra marital affair with Sharmishtha, who bears three sons for him. Devyani too has three children, one daughter and two sons. Devyani complains to her father, who is the purohit (high priest) of the demon clan. Incensed by the behavior of his son-in-law, he curses him to a premature and a prolonged old age.

Yayati is shattered. He goes to Shukracharya, begs for forgiveness and removal of the curse. Shukracharaya tells him that his curse cannot be reversed, but it can be transferred to a person willing to take on such a curse. Yayati is overjoyed, but the joy is short-lived as he finds out that no one is ready to accept his curse. Finally, one of his sons, Puru, agrees to take on the curse of his father, wanting to bring peace to his father. Yayati enjoys another one thousand years of youth, donated by his son Puru.

This is a well known tale, and it has its own share of interpretations, analysis and philosophical discourse in literary critique over the ages. Girish K stepped in and asked a question that was never asked for many a millennia. What about Chitralekha?

It is not clear whether this character by this name exists in the annals of Mahabharat. Girish K is alluding to, and enquiring about Puru’s wife. A man goes ahead and takes on the curse of old age for a thousand years. There is name and fame, for this sacrifice. But no one ever asked, what about his wife? What happened to her life and her time, and whether and how did she endure this abnormally changed circumstance foisted upon her. With certain modifications to the original plot, Girish K is the first scholar to ask this question.

This play came about during Girish K’s journey to England by ship in 1960. The version of Mahabharat by C Rajagopalachari was published in 1951. This version of the epic influenced Girish K, and he went on to create two great plays based on themes from this epic. By his own account, ‘Yayati’ came so naturally to him, almost as if someone was dictating and he was just transcribing. The writing of this play was completed on this sea voyage of three weeks. He was traveling to London, having been awarded the Rhodes Scholarship at the Oxford University. During his stay and studies, he completed a triple MA, simultaneously in philosophy, politics and economics. The second play, that was born out of the influence of Mahabharat, sat in his mind for almost three decades, and then was born as ‘Fire and Rain’, which was staged first time in 1995.

His other most celebrated theatrical creation is another view into the history of India. Titled ‘Tuglaq’, this play took the theatre world, the audiences and the socio-political commentators by storm when it was first staged in 1966. In 1972, this play was enacted by the National School of Drama, directed by Ebrahim Elkazi, and presented on the ramparts of the Old Fort (Purana Qila) in Delhi. Using the ruins of the Old Fort as the backdrop, the play was enacted, to a very critical acclaim. Personally, that was my first introduction to Girish K. Quite enchanted by the theatre scene in Delhi, I have seen this enactment of the play while I still was in school.

The play covers the last 5 years of the reign of Mohammed Bin Tuglaq. The protagonist, is portrayed as having great ideas and a grand vision, but his reign was an abject failure. He started his rule with great ideals of a unified India, but his kingdom degenerated into anarchy. His proclamation to move his capital from Delhi to Daulatabad, resulted in a massive exodus that brought misery and sorrow to a huge population. This was seen by the commentators as an allegory to the Partition of the country in 1947, and mass movement of people from both sides of the border.

In his later discussions, Girish K has revealed that the play was not originally written with an intent to comment on the then current political scenario in the country. Writing about the commentary on his play, Girish K has stated – “I did not consciously write about the Nehru era, I am always flattered when people tell me that it was about the Nehru era and equally applies to development of politics since then. But, I think, that is a compliment that any playwright would be thrilled to get, but it was not intended to be a contemporary play about a contemporary situation.”

Girish K started his theatre career in Madras, with a drama group called the Madras Players. Starting with ‘Yayati’ we see the development of a multi-faceted career that has lasted for almost six decades – author, teacher, playwright, director, stage actor, film actor, director of FTII Pune, chairman of the Sangeet Natak Academy – there is so much in his career to write and tell about.

His association with the cinema begins with ‘Samskaara’ (1970) and ‘Vamsh Vriksh’ (1972), both in Kannada, and both well recognized and well awarded films. Girish K was also the co-director of ‘Vamsh Vriksh’. The storylines for both films are a very strong statement on the evolving nature of human relationships, as each individual passes through his or her own pleasures, travails, dreams and anguish. The stories tell of compelling human emotions that drive human beings, to behave in manners that are quite out of the ordinary expectations. In ‘Samskaara’, Praneshcharaya (role played by Girish K), a devout Brahmin, is so convinced of moksha being the ultimate goal of life, and being so focused to achieve it, marries an invalid, so he can remain a celibate all his life. His antithesis is life is Narayanappa, a Brahmin who has given up the traditions – he eats meat and lives with Chandri, a lady of lower standing in the society. As the events unfold, Narayanappa passes away. His final rites become a controversy – a non-Brahmin cannot perform his rites, and no Brahmin in the village is ready to perform the rites for one who has fallen from the tradition. In the midst of all this, Praneshcharya one night wakes up in the lap of Chandri. Unable to reconcile with his own actions, he leaves the village in despair. Chandri secretly performs the last rites of Narayanappa and leaves the village too. In the last scene, Praneshcharya is seen returning to the village. Did he confess and atone for his actions? – the question remains unanswered.

‘Vamsh Vriskh’ is a complex narrative of the progression in a family, the interrelationships, the hidden connects and the invisible knowns. The protagonist, Srinivasa Shrotri, goes through many a tribulation in life, and tries to keep his mental peace intact. Having lost or settled all his affairs, he finally renounces householder’s life to become a sanyaasi.

In 1974, Girish K appeared in a children’s film ‘Jaadu Ka Shankh’. Not much more information about this film is locatable.

In the next three years, we see Girish K in three films that are outstanding statements of the new-wave cinema. In 1975, we see him in ‘Nishaant’ as the timid but principled schoolmaster, whose wife is abducted by the brothers of the landlord. The film has a kind of idealist ending, with the schoolmaster fatally attacking the landlord during a religious celebration and the entire village rising up against the landlord and lynching him and his entire family. In 1976 came ‘Manthan’ – the story of the white revolution in India. Girish K has played the role of Dr Rao, a chemist assigned in the rural areas, to help villagers determine the quality of their milk and to help free them from the clutches of the milk contractors by establishing co-operative societies. In 1977, we see Girish K in ‘Swami’, assaying the role of Ghamshyam, an upright and principled eldest son in the family, after passing away of his father, handling the family matters and his own personal life very maturely and with wisdom, in the presence of a hostile step mother.

In the next four decades , Girish K has appeared in almost 100 films, in Hindi, Kannada, Telugu, Tamil, Malyalam and Assamese. I remember seeing him in ‘Man Pasand’ (1980), playing the role of Kashinath, a close friend of Pratap, the protagonist (role played by Dev Anand). Later, I have seen him in ‘Aasha’ (1980), ‘Ek Baar Chale Aao’ (1983), ‘Tarang’ (1984), till the waning interest in newer films kept me away. Ah yes, he was part of the dear ‘Malgudi Days’ series on the television, playing the role of Swami’s father. In his other directorial outings, he has directed ‘Godhuli’ (1977) and ‘Utsav’ (1984), films that have earned a lot of critical acclaim. He has also made a number of documentaries, like one on the Kannada poet DR Bendre (1972), ‘Kanaka-Purandara’ (English, 1988) on two medieval Bhakti poets of Karnataka, Kanaka Das and Purandara Das, and ‘The Lamp in the Niche’ (English, 1989) on Sufism and the Bhakti movement in India. Many of his films and documentaries have won several national and international awards.

Girish K’s accomplishment as an actor is simply his complete comfort with being the character he is playing. Watching him on the screen, one has this confidence that he knows all the ins and outs of the character he plays, and that in some incarnation he has lived that role himself. The authenticity of portrayal is simply magnificent.

In 1985, he appeared in the role of Pandit Shiv Shankar Shastri in the film ‘Sur Sangam’. The film, and his portrayal of the senior patriarchic exponent of classical music, are my all time favorite. I have written about this film in an earlier article with the song “Aaye Sur Ke Panchhi Aaye”. The film revolves around classical music and the story of Pt Shiv Shankar Shastri, one of the greatest living exponents of this art form. The story line brings in Tulsi (role played by Jayaprada), who is musically inclined and who reveres Shastri ji. The turn of events brings a certain unexplainable element – Tulsi is sexually assaulted, and the man responsible also throws down the portrait of Shastri ji. In a fit of violent anger, Tulsi slays the man with a shard of glass from broken portrait, runs off into the night, and boards a train departing from the local station. As destiny would have it, she barges into a first class coupe whose sole occupant is Shastri ji, who is traveling for participating in an out of town program. The two travel together, and return. Tulsi starts living in the same house as Shastri ji. He is a widower and has a girl child. Slowly, Tulsi becomes a part of the household. Being inclined for classical music, she also starts to practice while staying at Shastri ji’s home. One night, there is a special celebration at the temple of Lord Shiv. Shastri ji is to perform. Tulsi accompanies him, as usual. With the performance about to begin, Shastri ji motions Tulsi to pick up and play the taanpura in accompaniment. At this, all his participating disciples become incensed and leave the stage one by one. Tulsi rushes back home (and then leaves the household for good), the audience leaves and Shastri ji is the sole person left in the temple. In the absence of any accompaniment and musical support, he resolves to make his musical presentation regardless, to the Lord. And he presents this song, alone in a deserted temple, to Lord Shiv.

I picked this song specially, to highlight one aspect of Girish K’s artistic expressions, which was probably hidden until then. An accomplished performer, he has performed the dance steps as part of this song. Every review of the film at that time, commented on the dancer in Girish K. He revealed in an interview that he had taken on special dance training to prepare for this song. You can see the performance for yourself. It is no less than an accomplished and well trained dancer, presenting these steps in unison with the music.

This one song, in my humble opinion, is the best artistic performance that I have seen from Girish K. See the manner in which he starts his dialogue with the Lord. His singing, his facial expressions, his gestures and movements, all coalesce into a fluid expression of a conversation with Lord Shiv. No one else is present so this is a very private conversation, in which Shastri ji is telling the Lord to listen to His own sound coming from inside him. This entire clip is a one wonderful performance by Girish K that probably has not been surpassed.

It is a sad goodbye that we bid today. The person, the artist, and a scholar – it is truly a great loss to the cultural landscape of this sub continent that may never be made up.

One commentator has written about Girish K’s creations, that “. . . Girish Karnad allowed his characters to ask the questions, to struggle with the inconclusive, and hence his stories truly never ended.” Yes, that is the legacy of this multi-faceted artist – his creations, his stories, his characters – all still have a lot be explored for. That “struggle with the inconclusive” is so appropriate a passage dealing with the complex realities and relationships in the course of a human life. His stories have not really ended. And neither has his legacy.

Girish K – Rest in Peace. . . Enduring Peace

 

Song – Hey Shiv Shankar, Hey Karunakar  (Sur Sangam) (1985) Singer – Rajan-Sajan Misra, Lyrics – Vasant Dev, MD – Laxmikant Pyaarelal

Lyrics (Provided by Prakashchandra)

hey..ey..ey shiv shankar
hey..ey..ey karunakar
parmanand maheshwar

hey shiv shankar
hey karunakar
hey shiv shankar
hey karunakar
parmanand maheshwar
mere bheetar tum gaate ho
mere bheetar tum gaate ho
sun lo tum apna ye swar
hey shiv shankar
hey karunakar
parmanand maheshwar

maun gaan ka dhyaan jamaaya
maun gaan ka dhyaan jamaaya
yog raag ko hi maana
tum hi baney ho taan praan ki
tum hi baney ho taan praan ki
mere tan mann ko paawan kar
hey shiv shankar
hey karunakar
parmanand maheshwar

rudra been jhankar tumhaari
rudra been jhankar tumhaari
shudra janon se rahi ansuni
dhanya tumhi ho jaavo sureshwar
dhanya tumhi ho jaavo sureshwar
apne mukh se sun apna swar
hey shiv shankar
hey karunakar
parmanand maheshwar [

nabh chaaya ghan ghor bijuriya damke jhamke
adharon ki muskaan tumhaari cham cham chamke
aaaa aaaaa aaaaa aaaaaa aaaaaa
ghir ghir aaye megh bhayankar garaj garajte
goonja nupur naad tumhaara thirak thirkate
jhuk gaya matha ki tum ne haan kaha jis pal umapati
sheesh ki ganga dharaa par utar aayi chhal-chhalaati
ga ga re ni re ga ma
dha ni re ga re sa
geet ki har lehar par tum jhoom kar naacho nateshwar
aaj is anand varsha mein nahaao tum maheshwar
aaa aaaaaa aaaaaaj is anand varsha mein
nahaa..aavoo tum maheshwar
shiv shankar
maheshwar
shiv shankar
aaaa aaaaa aaaaaaa

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

हे॰॰ए॰॰ए शिव शंकर
हे॰॰ए॰॰ए करुणाकर
परमानन्द महेश्वर

हे शिव शंकर
हे करुणाकर
हे शिव शंकर
हे करुणाकर
परमानन्द महेश्वर
मेरे भीतर तुम गाते हो
मेरे भीतर तुम गाते हो
सुन लो तुम अपना ये स्वर
हे शिव शंकर
हे करुणाकर
परमानन्द महेश्वर

मौन गान का ध्यान जमाया
मौन गान का ध्यान जमाया
योग राग को ही माना
तुम ही बने हो तान प्राण की
तुम ही बने हो तान प्राण की
मेरे तन मन को पावन कर
हे शिव शंकर
हे करुणाकर
परमानन्द महेश्वर

रुद्र बीन झंकार तुम्हारी
रुद्र बीन झंकार तुम्हारी
शूद्र जनों से रही अनसुनी
धन्य तुम्हीं हो जावो सुरेश्वर
धन्य तुम्हीं हो जावो सुरेश्वर
अपने मुख से सुन अपना स्वर
हे शिव शंकर
हे करुणाकर
परमानन्द महेश्वर

घन छाया घनघोर बिजुरिया दमके झमके
अधरों की मुस्कान तुम्हारी चम चम चमके
आsss आssss आssss आsssss आsssss
घिर घिर आए मेघ भयंकर गरज गरजते
गूँजा नूपुर नाद तुम्हारा थिरक थिरकते
झुक गया माथा कि तुमने हाँ कहा जिस पल उमापति
शीश कि गंगा धरा पर उतार आई छल-छलाती
ग ग रे नि रे ग म
ध नि रे ग रे स
गीत की हर लहर पर तुम झूम कर नाचो नटेश्वर
आज इस आनंद वर्षा में नहाओ तुम महेश्वर
आ आ आ॰॰आज इस आनंद वर्षा में
नहा॰॰आवो तुम महेश्वर
शिव शंकर
महेश्वर
शिव शंकर
आsss आssss आssssss

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This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3977 Post No. : 15064

Today (8 june 2019) is the birthday of Dimple Khanna nee Kapadia (Dob 8 june 1957). She was 16 years old when her debut movie “Bobby”(1973) took Hindi movie world by storm. This dubut movie was goin to be her first and only movie for next decade. After “Bobby”(1973) came the surprise announcement of her marriage to the reigning superstar Rajesh Khanna in 1973. Rajesh Khanna at that time was 31, viz twice in age to her.

Two daughters, viz Twinkle and Rinke were born to her. She separated from Rajesh Khanna in 1982 and resumed her acting career in 1984.

In her second innings as an actress, she got “mature” roles, though she was only in her early 30s at that time.

One of her well acclaimed films of that era was “Aitbaar”(1985). This suspense movie was produced by Romesh Sharma and directed by Mukul Anand. The movie had Dimple Kapadia,Raj Babbar, Suresh Oberoi, Danny Denzongpa, Leena Das, Huma Khan, Sharat Saxena, Anupam Kher, Ghanshyam Roherra, Pradeep Singh, Shivraj, Pankaj Kapur etc in it.

The movie had five songs in it. Two of these songs have been covered in the past.

Today, on the occasion of the birthday of Dimple Kapadia, here is this song from “Aitbaar”(1985). This song is sung by Bhupinder Singh and Asha Bhonsle. Hasan Kamaal is the lyricist. Music is composed by Bappi Lahiri.

The song is picturised as a piano cum get together song. Suresh Oberoi is seated at the piano, whereas the song is lip synced by him and Dimple Kapadia, as Raj Babbar dances with Dimple.

The lyrics of this song were sent in by Prakashchandra ji.


Song-Aawaaz di hai aaj ik nazar ne(Aitbaar)(1985) Singers-Bhupinder Singh, Asha Bhonsle, Lyrics-Hasan Kamal, MD-Bappi Lahiri

Lyrics (provided by Prakashchandra ji)

aa aa aa aa
aa aa aa
aa aa aa
aa aa aa

aawaaz di hai aaj ik nazar ne
ya hai ye dil ko gumaan
dohra rahi hai jaise fazaayen
bhooli hui daastaan
aawaaz di hai aaj ik nazar ne
ya hai ye dil ko gumaan
dohra rahi hai jaise fazaayen
bhooli hui daastaan
aa aa aa aa
aa aa aa aa
aa aa aa aa
laut aai hai phir roothi bahaaren
kitna haseen hai samaa
duniya se keh do
na hamko pukaren
hum kho gaye hai yahaan
laut aai hai phir roothi bahaaren
kitna haseen hai samaa
duniya se keh do
na hamko pukaren
hum kho gaye hai yahaan

jeewan mein kitni viraniyan thin
chhaayi thi kaisi udaasi
sun kar kisi ke kadmon ki aahat
halchal hui hai zara si
ho
jeewan mein kitni viraniyan thin
chhaayi thi kaisi udaasi
sun kar kisi ke kadmon ki aahat
halchal hui hai zara si
saagar mein jaise lahren uthhi hain
tooti hain khaamoshiyaan
dohra rahi hain jaise fazaayen
bhooli hui daastaan

aa aa
aa aa aa
aa aa aa
toofaan mein khoyi kashti ko aakhir
mil hi gaya phir kinaara
ham chhod aaye khwaabon ki duniya
dil ne tere jab pukaara
toofaan mein khoyi kashti ko aakhir
mil hi gaya phir kinaara
ham chhod aaye khwaabon ki duniya
dil ne tere jab pukaara
kabse khadi thhin baahen pasaare
is dil ki tanhaaiyaan
duniya se keh do
na ham ko pukaaren
ham kho gaye hain yahaan

ab yaad aaya
kitna adhoora
ab tak thha dil ka fasaana aa
yoon paas aake
dil mein samaa ke
daamaan na hamse chhudaana

ab yaad aaya
kitna adhoora
ab tak thha dil ka fasaana aa
yoon paas aake
dil mein samaa ke
daamaan na hamse chhudaana
jin raaston par tere kadam hon
manzil hai meri wahaan
duniya se kah do
na ham ko pukare
ham kho gaye hain yahaan


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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3737 Post No. : 14686

Hullo all in Atuldom

11th October. A day when all fans of the star of the millennium go on overdrive to wish him on his blog page, Facebook page, Twitter handle etc. He also has kept pace with these new age phenomena and is very active on these social networking sites, either himself or through his well-paid staff. I am no different, I also wish him on his twitter and blog page (in existence for the last 10 years), and wait for a day in my life when I may get a chance to see him in person- my family thinks I am crazy, never mind that 🙂 . (The closest I have come to standing with him is when I visited Madame Tussauds in London, in 2015). So is the case with our blog, I try to write a post every year for this date.

Happy Birthday to you Dear Amitabh Bachchan.

What do I write about this actor that has not been said before. He is, in absolute sense of the term, not a great actor and its about time we should admit it. But he has a quality called persistence that helped him in the initial stages of his career; when he didn’t give up even after a string of flops before ‘Zanjeer’ (1973) and ‘Deewar’ (1975) happened. He has another quality – eye for detail. I have heard from a friend of mine (she used to be an assistant to Prakash Mehra in the 80s) about how during the filming of ‘Jaadugar’ (1989) he used to check every bit of his costume and take care of continuity from one scene to another. One other quality that he has is valuing time and it has been said by many of his co-stars how they were forced to turn up for shoots on time when Amitabh was their co-actor.

In the recent episode of ‘Rangoli’ on Doordarshan I heard how his style of wrapping a handkerchief around his hand and of pushing his hand into his trouser pockets came about. It is a known fact that Amitabh Bachchan is very accident prone and on Diwali, in 1983 or 84, a sparkler or some firecracker burst in his hand and he had the burn scar for some time (this was widely reported in the newspapers back then), this was also the time when he was shooting for “Inquilaab” and “Shaarabi” and these are the movies where he puts his hand into his trousers. Another example to show that he valued time and didn’t ask for a break in the shoot to recover from the scars.

He has been ever grateful to people who stood by him in his worst times be they producers, directors, actors anyone. I suppose these are some qualities that have helped sustain his charisma all through these 50 years in Bollywood. Wow! 50 years and still active!!

No more from me about my favourite actor.

He made a great team with Manmohan Desai and gave us movies which, though not-entirely logical or believable, were extremely entertaining. If in ‘Amar Akbar Anthony’ (1977) Manmohan Desai rescued Amitabh’s mother from the clutches of Jeewan and Ranjeet with the help of a snake, in ‘Mard’ (1985) it was a tiger. In addition, the tiger guides the mother (the eternal ‘Maa’ – Nirupa Roy) towards a waiting boat, pulling her by the ‘pallu’ as if it were a pet dog on a leash. The icing on the cake is the scene when ‘Maa’ bows before the tiger, and it raises its paw to bless her. Man Desai also improved upon Amitabh’s famous ‘Deewar’ scene of remonstrating before the Lord Almighty – he made him sing a song to ‘Maa Sheronwaali’ in ‘Mard’, threatening Her with dire consequences if he cannot or does not meet his mother. And sure enough, by the time the song ends, his mother manages to reach the temple. Thank god for Manmohan Desai’s imagination and Amitabh believing in him.

It is Navaratri time and there is a lot of religious fervour happening all round. In all the states of South India, we have ‘Bomma Kolu‘- Bomma means dolls and Kolu is the artistic arrangement of these on seven tier stands which people display in their homes for nine days, have guests over for haldi-kumkum etc. Western India celebrates the festival with Mata ki Aarti followed by Garba and Dandiya. The festival is called ‘Durga Pooja‘ in Eastern India and there are sarvajanik pandals (temporary worshipping places) where idols of the Mother Goddess with her sons – Ganesh and Kartikeya and other devis – Lakshmi and Saraswati, are installed. And North India has the Navratri with Devi Pooja as well as Ram Leela, the staging of the play based on the life story of Lord Ram. All in all, an enjoyable festival culminating with Dussehra on the 10th day.  Happy Navratri to all.

The song with this post is the Mata ki Bhent (song in worship of the Mother Goddess) that Amitabh sings in ‘Mard’. Playback singer is Shabbir Kumar with Anu Malik being the music director and Indeewar the lyricist.

A few more points about the song – how did anyone allow the tangewala (Amitabh) to light the camphor in his palm? Does lighting the camphor on kumkum covered palm protect the palm from getting burnt? Please note the reaction of the temple pujari (priest) when Amitabh tries to poke himself with the trishul. Is anyone allowed to anoint an idol with blood?

Let us enjoy this masaaledaar song. 🙂

Happy Birthday Amitabh Bachchan.

Song – Maa Sheronwaali O Maa Sheronwaali (Mard) (1985) Singer – Shabbir Kumar, Lyrics – Indeewar, MD – Anu Malik
Chorus

Lyrics

o maa sheronwaali
aaaa aaaaa
o maa shaktishaali
aaaa aaaa
maa meri maa se mila de mujhe
mamta ka main waasta doon tujhe
dar se na tere jaaonga khaali
maa sheronwaali
o maa sheronwaali
maa sheronwaali
o maa sheronwaali
o maa sheronwaali
o maa shaktishaali
maa meri maa se mila de mujhe
mamta ka main waasta doon tujhe
dar se na tere jaaonga khaali
maa sheronwaali
o maa sheronwaali
maa sheronwaali
o maa sheronwaali

maa chup hai beta rota hai
aisa jag mein kab hota hai
maa chup hai beta rota hai
aisa jag mein kab hota hai
patthar ke mandir mein reh kar
dil bhi kya tera maa ho gaya patthar
dil bhi kya tera maa ho gaya patthar
teri daya ko jaga doonga
ro kar main tujh ko rula doonga
pighalegi kab tu pahaadonwaali
maa sheronwaali
o maa sheronwaali
maa sheronwaali
o maa sheronwaali

sab ki maata tab tujhe maanu
mera dukh pehchaane to jaanu
sab ki maata tab tujhe maanu
mera dukh pehchaane to jaanu
jo na dikhaayi maa ki surat
utha le jaaoonga main teri murat
utha le jaaoonga main teri murat
sab kuchh hai dhanwaalon ka
nirdhan ke bas maat pita
daulat yeh meri kyun tu ne chhupa li
maa sheronwaali
o maa sheronwaali
maa sheronwaali
o maa sheronwaali

apne bhakton ki tujhko kasam
aaaaaa
dil ke sachchon ki tujhko kasam
aaaaaaa
tere bachchon ki tujhko kasam
aaaaaaa
na apno ko de ye sazaa
o apne bhakton ki tujhko kasam
aaaaaa
dil ke sachchon ki tujhko kasam
aaaaaaa
tere bachchon ki tujhko kasam
aaaaaaa
na apno ko de ye sazaa
o maa sheronwaali
o maa shaktishaali
trishul tera utha loonga
charanon pe sar ko chadha doonga
rang degi tujhko lahu ki laali
maa sheronwaali
o maa sheronwaali
maa sheronwaali
o maa sheronwaali

doori mita de
maa se mila de
ya meri maa ka roop tu dhar le
roop tu dhar le
roop tu dhar le
oooooo ooooo
oooooo ooooo
oooooo ooooo

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

ओ माँ॰ ॰ ॰
शेरोंवाली
आsss आssss
ओ माँ॰ ॰ ॰
शक्तिशाली
आsss आssss

माँ मेरी माँ से मिला दे मुझे
ममता का मैं वास्ता दूँ तुझे
दर से ना तेरे जाऊंगा खाली
माँ शेरोंवाली
ओ माँ शेरोंवाली
माँ शेरोंवाली
ओ माँ शेरोंवाली
ओ माँ शेरोंवाली
ओ माँ शक्तिशाली
माँ मेरी माँ से मिला दे मुझे
ममता का मैं वास्ता दूँ तुझे
दर से ना तेरे जाऊंगा खाली
माँ शेरोंवाली
ओ माँ शेरोंवाली
माँ शेरोंवाली
ओ माँ शेरोंवाली

माँ चुप है बेटा रोता है
ऐसा जग में कब होता है
माँ चुप है बेटा रोता है
ऐसा जग में कब होता है
पत्थर के मंदिर में रह कर
दिल भी क्या तेरा माँ हो गया पत्थर
दिल भी क्या तेरा माँ हो गया पत्थर
तेरी दया को जगा दूँगा
रो कर मैं तुझको रुला दूँगा
पिघलेगी कब तू पहाड़ोंवाली
माँ शेरोंवाली
ओ माँ शेरोंवाली
माँ शेरोंवाली
ओ माँ शेरोंवाली

सब की मात तब तुझे मानूँ
मेरा दुख पहचाने तो जानूँ
सब की मात तब तुझे मानूँ
मेरा दुख पहचाने तो जानूँ
जो ना दिखाई माँ की सूरत
उठा ले जाऊंगा मैं तेरी मूरत
उठा ले जाऊंगा मैं तेरी मूरत
सब कुछ है धनवालों का
निर्धन के बस मात पिता
दौलत ये मेरी क्यों तू ने छुपा ली
माँ शेरोंवाली
ओ माँ शेरोंवाली
माँ शेरोंवाली
ओ माँ शेरोंवाली

अपने भक्तों की तुझको कसम
आssss
दिल के सच्चों की तुझको कसम
आssss
तेरे बच्चों की तुझको कसम
आssss
ना अपनों को दे ये सज़ा
ओ अपने भक्तों की तुझको कसम
आssss
दिल के सच्चों की तुझको कसम
आssss
तेरे बच्चों की तुझको कसम
आssss
ना अपनों को दे ये सज़ा
ओ माँ शेरोंवाली
ओ माँ शक्तिशाली
त्रिशूल तेरा उठा लूँगा
चरणों पे सर को चढ़ा दूँगा
रंग देगी तुझको लहू की लाली
माँ शेरोंवाली
ओ माँ शेरोंवाली
माँ शेरोंवाली
ओ माँ शेरोंवाली

दूरी मिटा दे
माँ से मिला दे
या मेरी माँ का रूप तू धार ले
रूप तू धार ले
रूप तू धार ले
ओssss ओssssss
ओssss ओssssss
ओssss ओssssss
ओssss ओssssss


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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3669 Post No. : 14545

Hullo Atuldom

4th august 2018 marks the 89th birth anniversary of our beloved Kishore Kumar. 89- oh my god! How I wish Kishoreda had been around. The programme content of all TV or Radio channels would have gone overboard playing wonderful Kishore Kumar songs. And not only ones till 1988/89 (when the songs of “Mamta Ki Chaon Mein” were released) but we -his fans- would have had a lot more songs in Kishoreda’s voice.

But of course, with the available songs itself I am in a dilemma. We have around 2709 Hindi songs – both released and unreleased and short songs to choose from of which the blog has 1101 songs leaving us with very many songs.

The redoubtable Wikipedia has a few tables and going through them I am astonished. One table gives the number of songs that Kishoreda has sung with other singers and it is no surprise (to me) that Asha Bhonsle tops the list with 673 songs (I don’t think the number is of duets only, it could include multi-singer songs also) and among male co-singers Mohammad Rafi has sung 72 songs with Kishore da. I would love to know how many Kishore Kumar – Mohammad Rafi songs we have on the blog and how many of these are duets. Also, on going through the tables that I mentioned, I found that he has sung 73 songs composed by himself and worked with 110 music directors including himself. All these figures need not be accurate but give us a fair idea of what is left for us to look through to celebrate the birth anniversary.

But coming back to my dilemma- I have put a few pre-conditions regarding the song I choose to go with this post. First condition was it should not feature Dev Anand, Rajesh Khanna or Amitabh Bachchan, I don’t know how many potential songs got left out due to this condition. Next, I felt it should be song that takes the movie one more step towards yyiippeeeeing- a not-so-difficult condition to meet. Then my final condition was to try and find a song which was on a character artist or supporting actor or some actor who is least expected to Lip Sync to Kishore Kumar.

And I found just the song I was looking for !

We all know that Kishore Kumar has sung songs for all moods and emotions. His voice when he sings romantic or sentimental songs is outstanding. I am not going to give a sample-list of his romantic/ sentimental songs, I am just going to the song which I have in my mind.

This is from the 1985 Yash Chopra produced and directed “Faasle”. It had about 10 songs 2 of which have been posted. It had Rohan Kapoor- Mahendra Kapoor’s son- making his debut along with Farha- Shabana Azmi’s niece. It also starred Sunil Dutt, Rekha, Farooq Shaikh, Deepti Naval and Raj Kiran. I have seen the movie at the time of its theatrical run and remember that most of the songs were romantic and shot among mountains, lakes or gardens with smoky or cloudy background the kind of weather that hill-stations are famous for. Sunil Dutt played father to his motherless daughter Farha; having lost his wife when the daughter was born. He doesn’t remarry but is in love with Rekha. Problems erupt when the daughter grows up and Rohan Kapoor walks into her life. Shahryar was the lyricist for the movie and Shiv-Hari the music directors. The movie and its songs were the perfect launch for any youngster of that period. It showed that the lead pair could ride horses, show full range of emotions etc.

Thus, I have a song which has fulfilled the three conditions I laid out and the best part is Mahendra Kapoor’s son lip-syncing to Kishore Kumar.

Wish Kishoreda was there to see how this set of Hindi film music crazy set is celebrating his birth anniversary.


Song-Janam Janam mere sanam (Faasle)(1985) Singers-Lata, Kishore Kumar, Lyrics-Shahariar,MD-Shiv Hari
Both

Lyrics

janam janam mere sanam
badan mera bandha rahe
teri saanson ki dor se
janam janam mere sanam
badan mera bandha rahe
teri saanson ki dor se
janam janam mere sanam

thehere kabhi hum na thehere
manzil se pehle kahin ho o o
aao ki hum khul ke barsen
pyaasi hai dil ki zameen ee ee

in labon se aur aage hamko jaana nahin
janam janam mere sanam
badan mera bandha rahe
teri saanson ki dor se
janam janam mere sanam

bichhden kabhi hum na bichhden
saath rahe har kadam
ho o o
badle jahaan hum na badlen
pyaar kabhi ho na kam m m

iss janam mein iss kasam ko
bhool paayen na hum
janam janam mere sanam
badan mera bandha rahe
teri saanson ki dor se

janam janam
janam janam
mere sanam
mere sanam

aaa ohoho
la la la la
laalaalaa aaa aaa
aaa ohoho
la la la la
laalaalaa aaa aaa


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3655 Post No. : 14514

“Raahi Badal Gaye”(1985) was produced by Ravi Malhotra and directed by Ravi Tandon. The movie had Rishi Kapoor, Shabana Azmi, Suresh Oberoi, Padmini Kolhapure, Prem Kalra, Rajendra Nath, Shakti Kapoor, Asha Lata etc in it.

The movie had six songs in it.

Here is the first song from the movie to appear in the blog. The song is sung by Kishore Kumar and Lata. Gulshan Bawra is the lyricist. Music is composed by R D Burman.

This “expression of love” song is picturised on Rishi Kapoor and Shabana Azmi, with the latter looking out of her comfort zone as she often did in romantic songs.

With this song, “Raahi Badal Gaye”(1985) makes its debut in the blog.


Song-Ek baat dil mein aayi hai kahoon ya na kahoon (Raahi Badal Gaye)(1985) Singers-Kishore Kumar, Lata, Lyrics-Gulshan Bawra, MD-R D Burman
Both

Lyrics

ek baat dil mein aayi hai
kahoon ya na kahoon
ek baat dil mein aayi hai
kahoon ya na kahoon
kehne ka mausam bhi hai
uspe ye tanhaayi hai
kahoon ya na kahoon
o o o
baat dil mein aayi hai
kahoon ya na kahoon
ek baat dil mein aayi hai
kahoon ya na kahoon

kayi baar chaaha maine
tujhi ko churaa loon tujhse
hey kayi baar chaaha maine
tujhi ko chura loon tujhse
kahin waadiyon mein dil ki
duniya sajaa loon tujhse
shaayad tu kuchh samajh gayi
isi liye sharmaayi hai
kahoon ya na kahoon
bolo bolo bolo
baat dil mein aayi hai
kahoon ya na kahoon
ek baat dil mein aayi hai
kahoon ya na kahoon

o o o
o o o
aa aa aa
jhalak teri dekhi pahli
doosra na bhaaya tabse
o o
jhalak teri dekhi pahli
doosra na bhaaya tabse
mere devta is dil mein
tu hi tu samaaya tab se
yahi haqeeqat hai
jo ke barson talak chupaayi hai
kahoon ya na kahoon
bolo bolo bolo
baat dil mein aayi hai
kahoon ya na kahoon
ek baat dil mein aayi hai
kahoon ya na kahoon

der se miley hain lekin
mil to gaye hain aakhir
hey der se miley hain lekin
mil to gaye hain aakhir
chalo phool aashaaon ke
khil to gaye hain aakhir

mil ke bhi hum door hain kyun
pyaar ki ye ruswaayi hai
kahoon ya na kahoon
ho o o
baat dil mein aayi hai
kahoon ya na kahoon
kehne ka mausam bhi hai
uspe ye tanhaayi hai
kahoon ya na kahoon
o o o
baat dil mein aayi hai
kahoon ya na kahoon

lalalalalalalala
lalalaalala


This article is written by Avinash Scrapwala, 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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3631 Post No. : 14457

Today 27th June (27th June, 1939 – 4th Jan, 1994) is the 79th birth anniversary of Rahul Dev Burman, whom we fondly remember as ‘Pancham’.

On this occasion here is a song from the 1985 Movie ‘Sitamgar’. Th film was directed by Raj N Sippy for Bikramjeet Films International, Bombay and produced by Bikram Singh Dehal. It had Dharmendra, Parveen Babi, Rishi Kapoor, Poonam Dhillon, Dr. Shreeram Lagoo, Prem Chopra, Jagdish Raj, Gurbachan, Ranvir Raj, Azad, Tilak Mehta, Raj Kaul, Shamsuddin, Nath Kamle, Ved Akash, Ashok Gaekwad, Master Alankar and Baby Geeta. Narendra Nath, Sonia Shania and Sudhir make special appearance in this movie.

Ved Aakash and Pankaj Kharbanda were the Chief Assistant Directors of this movie. Ashok Gaekwad was the Associate Director for this movie. V.N. Mayekar was the editor while Sakharam Borse assisted him in editing. Story and Screenplay of this movie was written by Mirza Brothers and dialogues were written by Dr. Rahi Masoom Raza. The movie was passed by the Censor Board on 08.03.1985.

This movie had six songs written by Majrooh Sultanpuri and composed by RD Burman (Manohari, Babloo and Martin were assistants). Asha Bhonsle, Kishore Kumar and Lata Mangeshkar gave their voices to the songs in this movie.

As the movie makes its debut on the blog today I can select only one song for today’s presentation. Going by the songs of this movie that I have already heard, I can say that some of them are very nice songs.

In 1985 the following movie with music composed by RD Burman were released,

  1. Rahi Badal Gaye
  2. Ram Tere Kitne Naam
  3. Hum Dono
  4. Ek Se Bhale Do
  5. Lava
  6. Zabardast
  7. Sitamgar
  8. Saagar
  9. Alag Alag
  10. Oonche Log
  11. Aawara Baap
  12. Arjun
  13. Hum Naujawan
  14. Shiva Kea Insaaf

From the above list one can easily understand that he was still there composing good music whereas it is said that he was passing through a lean phase and was overshadowed by other music directors during those years in the 1980s. Well, that is the subject for another post and so I am limiting my write-up for this presentation here only.

This movie also falls under one of my objective of ‘movie having the same title’. So far on the blog we have ‘Sitamgar’ from 1958 already launched earlier. As mentioned in HFGK Vol VI movie with same title was also released in 1934 & 1954, making it four times so where movies with same titles have been released. With today’s song, the film ‘Sitamgar’ of 1985 makes a debut on our blog.

Remembering Pancham Da today and his music let us move to the today’ song now. . .

 

Song – Hum Kitne Nadaan The Yaaro (Sitamgar) (1985) Singer – Kishore Kumar, Lyrics – Majrooh Sultanpuri, MD – RD Burman

Lyrics

ham kitne naadaan the yaaron
aaj ye samjhe
aaj ye jaana

ham kitne naadaan the yaaron
aaj ye samjhe
aaj ye jaana
sach hai agar to ek mohabbat
jhooth hai baaki saara fasaana
ham kitne naadaan the yaaron
aaj ye samjhe
aaj ye jaana

pad gaye jaise in aankhon pe
zulm ke nafrat ke parde
pad gaye jaise in aankhon pe
zulm ke nafrat ke parde
zindagi tera mujrim hoon main
ho sake to o maaf kar de
andhi raah ke andhe safar mein
beet gaya jeene ka zamaana
ham kitne naadaan the yaaron
aaj ye samjhe
aaj ye jaana

ab ye mohabbat ka
ehsaan hai
ye jo thhodi jaan hai mujhme
ab ye mohabbat ka
ehsaan hai
ye jo thhodi jaan hai mujhme
aap hi main jiska qaatil hoon
zindaa wo insaan hain mujhme
ham kitne naadaan thhe yaaron
aaj ye samjhe
aaj ye jaana
sach hai agar to ek mohabbat
jhooth hai baaki saara fasaana
ham kitne naadaan the yaaron
aaj ye samjhe
aaj ye jaana

———————————————————
Hindi script lyrics (Provided by Avinash Scrapwala)
———————————————————

हम कितने नादान थे यारों
आज ये समझे
आज ये जाना

हम कितने नादान थे यारों
आज ये समझे
आज ये जाना
सच है अगर तो एक मोहब्बत
झूठ है बाकी सारा फ़साना
हम कितने नादान थे यारों
आज ये समझे
आज ये जाना

पड़ गए जैसे इन आँखों पे
ज़ुल्म के नफरत के परदे
पड़ गए जैसे इन आँखों पे
ज़ुल्म के नफरत के परदे
ज़िन्दगी तेरा मुजरिम हूँ मैं
हो सके तो ओ माफ़ कर दे
अंधी राह के अंधे सफ़र में
बीत गया जीने का ज़माना
हम कितने नादान थे यारों
आज ये समझे
आज ये जाना

अब ये मोहब्बत का
एहसान है
ये जो थोड़ी जान है मुझमे
अब ये मोहब्बत का
एहसान है
ये जो थोड़ी जान है मुझमे
आप ही मैं जिसका कातिल हूँ
ज़िंदा वो इंसान हैं मुझमे
हम कितने नादान थे यारों
आज ये समझे
आज ये जाना
सच है अगर तो एक मोहब्बत
झूठ है बाकी सारा फ़साना
हम कितने नादान थे यारों
आज ये समझे …
आज ये जाना …


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3621 Post No. : 14433

The Golden era of HFM was well and truly over after 1980s, with Disco “music” sounding the death knell of HFM as we knew till then. In these “music”, lyrics were all but dispensed with.

HFM continued to have a few nice songs even during the “disco” era. There were still some artists who refused to compromise with quality and refused to stoop to the new low that was set as the new standards of HFM post 1980.

“Saagar”(1985) was one such movie whose music felt like a breath of fresh air during that era. This movie had come from the stables of a well known and well respected production house, one that had given us “Sholay”(1975).

“Saagar”(1985) was Produced by G P Sippy and directed by Ramesh Sippy. The movie had Rishi Kapoor, Kamal Haasan, Dimple Kapadia, Saeed Jaffrey, Shafi Inamdaar, Nadira, A K Hangal, Madhur Jaffrey, Satish Kaushik, Goga Kapoor, Kiran Vairale, Lilliput, Shobha Khote, Sudhir Pandey, Sharat Saxena, Mushtaq Merchant, Jairaj etc in it.

The movie had seven songs in it. Three of these songs have been covered in the past.

Here is the fourth song from “Saagar”(1985) to appear in the blog. This song is sung by Kishore Kumar. Jawed Akhtar, who wrote the script of “Sholay”(1975) alongwith Salim Khan as Salim Jawed, had turned a lyricist by then. “Saagar”(1975) was one of the first (if not the first) movies where he penned lyrics.

R D Burman composed the music.

The song is picturised as a club song where Rishi Kapoor, holding a guitar, is seen lip syncing this song. The song is addressed to his long separated flame (played by Dimple Kapadia). Rishi Kapoor and Dimple Kapadia had last actded together in “Bobby”(1973) which was the launch vehcle for Rishi Kapoor as well as Dimple Kapadia. while Rishi Kapoor successfully got launched and established, Dimple Kapadia, in a surprise movie married Rajesh Khanna and vanished from films. It was more than one decade later that she was persuaded to make comeback to movies. She made quite a stunning comback in movie like “Aitbaar”(1985) and “Saagar”(1985).

Music of these movies were quie stunning and played stellar roles in the box office success of these movies.

The song under discussion is one such song. It remains a timeless classic to this day.


Song-Ho chehra hai ya chaand khila hai (Saagar)(1985) Singer-Kishore Kumar, Lyrics-Jawed Akhtar, MD-R D Burman
Chorus

Lyrics

ho chehra hai yaa chaand khila hai
zulf ghaneri shaam hai kya
saagar jaisi aankhon waali
ye to bata tera naam hai kya
chehra hai yaa chaand khila hai
zulf ghaneri shaam hai kya
saagar jaisi aankhon waali
ye to bata tera naam hai kya

arre tu kya jaane teri khaatir
kitna hai betaab ye dil
tu kya jaane dekh rahaa hai
kaise kaise khwaab ye dil
dil kehtaa hai tu hai yahaan
to jaataa lamhaa thham jaaye
waqt ka dariyaa behte behte
is manzar mein jam jaaye
toone deewaanaa dil ko banaayaa
is dil par ilzaam hai kya
saagar jaisi aankhon waali
ye to bata tera naam hai kya

ho aaj mai tujhase door sahi
aur tu mujhse anjaan sahi
tera saath nahin paaun to
khair tera aramaan sahi

lalalalala
lalalalala
lalalalala
lalalalala
lalalalalala
lalalalalaa
laalaalaa

ho ye armaan ho
shor nahin ho
khaamoshi ke mele hon
is duniya mein koi nahin ho
ham donon hi akele hon
tere sapne dekh rahaa hoon
aur meraa ab kaam hai kya
saagar jaisi aankhon waali
ye to bataa tera naam hai kya
chehra hai yaa chaand khila hai
zulf ghaneri shaam hai kya
saagar jaisi aankhon waali
ye to bata tera naam hai kya


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 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.

Hullo to all in Atuldom

Only yesterday I saw a rather old episode of the TALK SHOW – back then they used to call it interview (simple)- “Phool Khile Hain Gulshan Gulshan” which Tabassum used to host. I am sure all movie/ music lovers would have seen at least one episode on Friday evenings (I think). I used to try and see it without fail. But the episode (https://www.youtube.com/watch?v=MFFwOfs1IWw) I saw yesterday on YouTube I don’t recollect having seen in 1983. Just as well since; when I saw it yesterday it was an eye opener. It featured Anand Bakshi the lyricist.
Read more on this topic…


This article is written by Bharat Upadhyay, 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.

Jaidev Ki Non-Filmi Suraavali – 05
—————————————————-

This melodius singing by Penaaz under the baton of Jaidev will not easily leave your mind long after the last note is played and heard. “Wow’ is what I can say after listening to her.
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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, 21st June is designated as the World Music Day. The reminders checked in quite late in the afternoon today. The historical details about this event are available on the internet, and our dear Arun ji has also summarized them in a brief post on the Whatsapp group.

As I set down thinking about this event, and to search out an appropriate song for today, my mind almost immediately went to the 1985 film ‘Sur Sangam’.  In my mind, this is probably the best film on the theme of classical music, in the recent decades. Times are past that classical music and the legends of this art form used to be the central themes of many a film, especially from the historical perspective, in the decades that coincide with the golden era of Hindi film music. Historical persona such as Tansen and Baiju, Narsi Mehta and Meerabai, Kalidas and Soordas, Kabir and Rani Roopmati have been central themes and central characters of many a film till the decade of 1970s. Beyond that, I cannot easily recall a film whose theme and storyline is based primarily on classical music.
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What is this blog all about

This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for over TEN years. This blog has over 15000 song posts by now.

This blog is active and online for over 3900 days since its beginning on 19 july 2008.

Total number of songs posts discussed

15070

Number of movies covered in the blog

Movies with all their songs covered =1171
Total Number of movies covered =4135

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