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

Posts Tagged ‘Indeewar


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 :

4367 Post No. : 15696

Today (2 july 2020) is the 66th birth anniversary of Sayeed Mohammed Aziz-un-Nabi, better known as singer Mohammed Aziz (2 July 1954 – 27 November 2018).

I was under the impression that he made his debut as a playback singer in 1970s. I was mistaking him with Anwar, who began his career in 1970s. Mohammad Aziz made his debut as a playback singer in HFM in 1984. He shot to fame with “Main mard taange waala”, the title song of “Mard”(1985). He then sung some other memorable songs. One of them being “Mai se meena se na saaqi se”.

On the occasion of his birth anniversary, here is a song from “Aakhir Kyon”(1985). This song is sung by Md Aziz. Indeewar is the lyricist. Music is composed by Rajesh Roshan.

The song gets played on a radio / two in one while Rajesh Khanna and Smita Patil, playing an estranged couple, look on.

The lyrics of the song are quite inspirational. The lyrics makes this song a forgotten gem.

Lyrics of this song were sent to me by Avinash Scrapwala.

Video

Audio

Song-Ek andhera laakh sitaare (Aakhir Kyon)(1985) Singer-Md Aziz, Lyrics-Indeewar, MD-Rajesh Roshan

Lyrics

hmm hmm hmm hmm hmm hmm
hmm hmm
hmm hmm hmm

ek andheraa laakh sitaaare ae
ek niraasha laakh sahaare
sabse badi saugaat hai jeewan
naadaan hain jo jeewan se haare ae
ek andheraa laakh sitaaare ae
ek niraasha laakh sahaare
sabse badi ee saugaat hai jeewan
naadaan hai jo jeewan se haare ae
ek andheraa laakh sitaare ae ae

duniya ki ye bagiyaa aisi
jitney kaanten phool bhi utne
duniya ki ye ae ae bagiyaa aisi
jitney kaanten phool bhi utne
daaman mein khud aa jaayenge
jinki taraf tu haath pasaaare
ek andheraa laakh sitaare ae

beete huye kal ki khaatir tu
aanewaala kal mat khona
beete hue kal ki khaatir tu
aanewaala kal mat khona
jaane kaun kahaan se aakar
raahen teri phir se sanwaaare ae
ek andheraa laakh sitaare ae

dukh se agar pehchaan na ho to
kaisaa sukh aur kaisi khushiyaan
dukh se agar pehchaan na ho to
kaisaa sukh aur kaisi khushiyaan
toofaanon se lad kar hi to
lagte hain saahil kitne pyaaare ae
ek andheraa laakh sitaaare
ek niraasha laakh sahaaare
sabse badi saugaat hai jeewan
naadaan hain jo jeewan se haare ae
ek andheraa laakh sitaare ae ae ae

—————————————-
Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————————-
ह्म ह्म ह्म ह्म ह्म ह्म
ह्म ह्म ह्म ह्म ह्म …

एक अन्धेरा लाख सितारे ए
एक निराशा लाख सहारे
सबसे बड़ी सौगात है जीवन
नादाँ है जो जीवन से हारे ए
एक अन्धेरा लाख सितारे ए
एक निराशा लाख सहारे
सबसे बड़ी सौगात है जीवन
नादाँ है जो जीवन से हारे ए
एक अन्धेरा लाख सितारे ए ए

दुनिया की ये बगिया ऐसी
जितने कांटे फूल भी उतने
दुनिया की ये बगिया ऐसी
जितने कांटे फूल भी उतने
दामन में खुद आ जायेंगे
जिनकी तरफ तू हाथ पसारे
एक अन्धेरा लाख सितारे ए

बीते हुए कल की खातिर तू
आनेवाला कल मत खोना
बीते हुए कल की खातिर तू
आनेवाला कल मत खोना
जाने कौन कहाँ से आकर
राहें तेरी फिर से सँवारे ए
एक अन्धेरा लाख सितारे ए

दुःख से अगर पहचान न हो तो
कैसा सुख और कैसी खुशियाँ
दुःख से अगर पहचान न हो तो
कैसा सुख और कैसी खुशियाँ
तूफानों से लड़कर ही तो
लगते हैं साहिल कितने प्यारे ए
एक अन्धेरा लाख सितारे ए
एक निराशा लाख सहारे
सबसे बड़ी सौगात है जीवन
नादाँ है जो जीवन से हारे ए
एक अन्धेरा लाख सितारे ए ए ए


This article is written by Mahesh Mamadapur, 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 :

4353 Post No. : 15669

ना कजरे की धार
ना मोतियों के हार
ना कोई किया सिंगार 
फिर भी कितनी सुंदर हो
तुम कितनी सुन्दर हो

Yes, this song is from film ‘Mohra’ (1994). Ah but I am not bringing on the film version of the song.

This very song was earlier and originally sung by Mukesh in his inimitable voice in the sixties. The film for which he had sang never reached proper production stages. The song has since remained and gets counted amongst the many NFS that he sang. There are almost no details available about Mukesh version and hence this post will be quite short and devoid of any tables, histograms etc. 🙂

But then, I do not want to make the post too short either and so let me write something about the 1994 film which I have never seen. I am told it had a rather unexpected climax and so pondering if I should watch only the ending. 🙂

I consider myself qualified to write about the 1994 film as it is yet to make its debut on the blog which is quite surprising. There is a well-established wiki page of the movie on the net and I request interested readers to visit it for much of the details.

One of the apparent reasons as to why the song sung by Mukesh was included in the film could be probably because Viju Shah the music director of the film is the son of music director Kalyanji Virji Shah of composer duo Kalyanji Anandji. The lyric writer obviously remained Indeewar.

The film has 3-4 versions of the song sung by Pankaj Udhas and Sandhana Sargam.  All these years, I was under the impression that at least the romantic version was picturised on Raveena Tandon but it does not seem to be.

And, with such poor knowledge of “new films”, I am happy I seldom venture into this rather unfamiliar territory. I am sure more knowledgeable contributors will take up the film song and write in detail about the many versions.

As usual, I reached out to Shri Harish Raghuwanshi ji, the Surat based complier of Mukesh Geetkosh to see if I could get more details about the Mukesh version. He gave several leads such as searching the register where song was to be recorded, contacting any of the Kalyanji-Anandji’s orchestra team etc. He has also written to me stating that he has contacted Anandji, Indeewar, Mohnish Behl etc to get some leads but to no avail. All he remembers is the film being about Navagraha. I thank him for the continuous support and help I receive.

All these efforts of tracing the film that never took off being quite an ordeal, I decided to go ahead and represent this post on the blog. What is more important is that the complete song sung by Mukesh is available on several platforms and is a treat to listen.

Song – Na Kajre Ki Dhaar, Na Motiyon Ke Haar  (NFS-Mukesh) (1960s) Singer – Mukesh, Lyrics – Indiwar, MD – Kalyanji Anandji

Lyrics (Provided by Sudhir)

na kajre ki dhaar
na motiyon ke haar
na koi kiya singaar
phir bhi kitni sunder ho
tum kitni sunder ho

na kajre ki dhaar
na motiyon ke haar
na koi kiya singaar
phir bhi kitni sunder ho
tum kitni sunder ho

tu taazgi phoolon ki
kya saadgi ka kehna
tu taazgi phoolon ki
kya saadgi ka kehna
singaar tera yauwan
yauwan hi tera gehna
teri soorat jaise moorat
main dekhoon baar baar
na kajre ki dhaar
na motiyon ke haar
na koi kiya singaar
phir bhi kitni sunder ho
tum kitni sunder ho

tera ang sachcha sona
muskaan sachche moti
tera ang sachcha sona
muskaan sachche moti
tere honth hain madhushala
tu roop ki hai jyoti
ude khushboo jab chale tu
boley to bajey sitaar
na kajre ki dhaar
na motiyon ke haar
na koi kiya singaar
phir bhi kitni sunder ho
tum kitni sunder ho

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

ना कजरे की धार
ना मोतियों के हार
ना कोई किया सिंगार
फिर भी कितनी सुंदर हो
तुम कितनी सुंदर हो

ना कजरे की धार
ना मोतियों के हार
ना कोई किया सिंगार
फिर भी कितनी सुंदर हो
तुम कितनी सुंदर हो

तू ताज़गी फूलों की
क्या सादगी का कहना
तू ताज़गी फूलों की
क्या सादगी का कहना
सिंगार तेरा यौवन
यौवन ही तेरा गहना
तेरी सूरत जैसे मूरत
मैं देखूँ बार बार
ना कजरे की धार
ना मोतियों के हार
ना कोई किया सिंगार
फिर भी कितनी सुंदर हो
तुम कितनी सुंदर हो

तेरा अंग सच्चा सोना
मुस्कान सच्चे मोती
तेरा अंग सच्चा सोना
मुस्कान सच्चे मोती
तेरे होंठ हैं मधुशाला
तू रूप की है ज्योति
उड़े खुशबू जब चले तू
बोले तो बजे सितार
ना कजरे की धार
ना मोतियों के हार
ना कोई किया सिंगार
फिर भी कितनी सुंदर हो
तुम कितनी सुंदर हो


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: 4277 Post No.: 15512

“Ghulaam Begam Baadshah”(1956) was directed by Jugal Kishore for Niagra Films, Bombay. This “costume drama” movie had Sheila Ramani, Daljeet, Wazir Mohammad Khan, Altaf, Nishi, Sadiq, Paaras, Khairaati, Malika, R Nath, Jogendra, Prretam, Dilip Bamblahri, Wazid Ali, Bhanesh Kumar, Svivji Bhai, Chaand, Kamaldeep, Raj Puri, Prakash etc, with Johny Walker in guest appearance.

The movie had six songs. All songs were solo songs. Five different singers sang these six songs.

Two songs from the movie have been covered in the past.

Here is the third song from “Ghulaam Begam Baadshah”(1956) to appear in the blog. this song is sung by Geeta Dutt, who was the only singer to sing two songs in the movie. Other four songers got to sing one song each.

This song is penned by Indeewar. Music is composed by Sudeept.

PS-Sheila Ramani is the dancer, as ponted out by Prakashchandra, our inhouse face recongnition expert.

The song is picturised as a Rajdarbaar dance song. I am unable to identify the dancer. I request our knowledgeable readers to help identify her as well as the other actors seen in the picturisation.


Song-Dil se mere dil mila (Ghulaam Begam Baadshah)(1956) Singer-Geeta Dutt, Lyrics-Indeewar,MD- Sudeept

Lyrics

duniya
kya hai ae ae ae ae ae
dekh zara
o dilruba

dil se mere dil mila aa
aa dil se mere dil mila
dil se mere dil mila aa
aa dil se mere dil mila
chupke se kya jaadu kiya
nazron se kisne mujhe chhoo liya
chupke se kya jaadu kiya
nazron se kisne mujhe chhoo liya
guncha mere dil ka hans kar khila
guncha mere dil ka hans kar khila
dil se mere dil mila aa
aa dil se mere dil mila

lab pe hansi
dil mein khushi
doobi rahe masti mein ye zindagi
lab pe hansi
dil mein khushi
dubi rahe masti mein ye zindagi
ek jaam nazron se aisa pila
ek jaam nazron se aisa pila
dil se mere dil mila aa
aa dil se mere dil mila

kashti hoon main saahil hai tu
kehta hai dil meri manzil hai tu
kashti hoon main saahil hai tu
kehta hai dil meri manzil hai tu
ab toot bhi jaane de faasla
ab toot bhi jaane de faasla
dil se mere dil mila
aa dil se mere dil mila

marzi jahaan
le chal wahaan
tere liye thhukra doon donon jahaan
marzi jahaan
le chal wahaan
tere liye thhukra doon donon jahaan
duniya hai kya mujhko tu jab mila
duniya hai kya mujhko tu jab mila
dil se mere dil mila aa
aa dil se mere dil mila
dil se mere dil mila aa
aa dil se mere dil mila aa aa


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: 4259 Post No.: 15482

———————————————–
Blog 10-Year Challenge (2010-2020)-Song No. 12
———————————————–

“Sunahri Naagin”(1963) was directed by Babubhai Mistry. The movie had Mahipal, Helen, Anwar, Pratibha, Sapru, Ulhas, Kamal Mehra, Ajit, Habib, Shyam Kumar, Ragini, Bir Sakuja, K N Singh, Sulochana, Tun Tun etc in it.

The movie had eight songs in it. Five of these songs have been covered in the past.

Here are the details of the earlier songs covered in the blog:-

Song Posted On
Been na bajaana jaadu na jagaanaa (Sunahri Naagin) 12 march 2010
Tu hi tu hai main dekhaa karoon (Sunahri Naagin) 14 march 2010
Chhedoge mujhko agar jaan ke (Sunahri Naagin) 16 march 2010
Mil ke bhi ham mil na sake (Sunahri Naagin) 3 june 2010
Main to ho gayi re badnaam (Sunahri Naagin) 16 july 2018

As can be noticed, this movie made its debut in the blog on 12 march 2010. Next two songs from the movie were discussed on 14 march 2010 and 16 march 2010. So, a song from this movie was covered on this day ten years ago !

So the movie becomes a candidate for Blog Ten year challenge !

Ten years ago, the daily output of the blog was as low as it is in the present. Nowadays we are plodding along at barely one song a day. Those days, barely one song or two a day were often punctuated by spells of DOT days.

The reason for such slow output was that I was transferred from Jabalpur to Nagpur (in december 2009) and the entire process took upto end of february 2010. During this time I was living a nomad’s life and posting articles was a struggle.

Nevertheless, I was on the verge of settling down, and I had started to post two songs daily by March 2010. Following two songs were covered on this day ten years ago:-

Song Posted On
Chhedoge mujhko agar jaan ke (Sunahri Naagin)(1963) 16 march 2010
Dil le ke jaate ho kahaan(O Tera Kya Kehna)(1959) 16 march 2010

“O Tera Kya Kehna”(1959) has since been YIPPEED in the blog.

Today, as part of “Blog Ten Year Challenge”, here is a synchronised dance song from “Sunahri Naagin”(1963). The song is sung by Lata and Kamal Barot. Indeewar is the lyricist. Music is composed by Kalyanji Anandjui.

Resemblence of this song to “Hansta hua nooraani chehra” (Parasmani)(1963) is no coincidence. Both movies were directed by the same director (Babubhai Mistry) and written by the same screenplay writers (Pandit Madhur and Vishwanat Pandey). Both movies had Mahipal as the hero. This song in fact has the same tune. This song could be described as the equivalent song of “Hansta hua nooraani chehra” (Parasmani)(1963) in this movie. I am sure that Laxmikant Pyarelal were the composer of this tune (like that of “Parasmani”) as assistants to Kalyanji Anandji. Lyricist differs though. Here is in Indeewar. In “nooraani” song it was Asad Bhopali.

It is just a quirk of fate that “Hansta hua nooraani chehra” assumed cult status, while this song did not become that well known.

One of the dancers is Helen. I am unable to identify the other dancer. I request our knowledgeable readers to help identify the actors visible in the picturisation.

PS-Prakashchandra, our inhouse face recognition expert tells us that the dancers are Madhumati (Helen look alike) and Bela Bose. Occupants of the Raj darbaar throne are Anwar Hussain and Zeb Rahman (aka Preeti Bala).


Song-Yoon na akadiye yoon na bigadiye (Sunahri Naagin)(1963) Singers-Lata, Kamal Barot, Lyrics-Indeewar, MD-Kalyanji Anandji
Both

Lyrics

yoon na akadiye
yoon na bigadiye
naam bura takraar ka ho ho
kya jaane ho jaaye kisi se
koi pata nahin pyaar ka ho ho
yoon na akadiye
yooon na bigadiye ho ho
naam bura takraar ka ho ho
kya jaane kab ho jaaye kisi se
koi pata nahin pyaar ka ho ho
yoon na akadiye

chaahe jitna bacho
chaahe kitna daro
aji aankhon ka jaadu chalega
chaahe gussa karo chaahe shikwa karo
aji dil to kisi din jalega
aapka ye guroor koi kar dega choor
aapka ye guroor koi kar dega choor
hosh ud jaayega mere sarkaar ka
yoon na akadiye yoon na bigadiye
naam bura takraar ka ho ho
kya jaane kab ho jaaye kisi se
koi pata nahin pyaar ka ho ho
yoon na akadiye

laakh tan ke chalo
laakh ban ke chalo

nazren to mil ke rahengi
honth daabe raho chaahe kuchh na kaho
aji aankhen to sab kuchh kahengi
oonche sar jhuk gaye
kaafile ruk gaye
oonche sar jhuk gaye
kaafile ruk gaye
jaadu dekha nahin aji deedaar ka
yoon na akadiye
yoon na bigadiye
naam bura takraar ka ho ho
kya jaane kab ho jaaye kisi se
koi pata nahin pyaar ka ho ho
yoon na akadiye

aaj jiski ada nahin janchti zara
aji kal dil ko bhaane lagega
jiske haalaat par nahin karte nazar
aji pal bhar mein aane lagega
ye ajab hai jahaan sab hai mumkin yahaan
ye ajab hai jahaan sab hai mumkin yahaan
dil badalta hai pal bhar mein dildaar ka
yoon na akadiye yoon na bigadiye
naam bura takraar ka ho ho
kya jaane kab ho jaaye kisi se
koi pata nahin pyaar ka ho ho
yoon na akadiye


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

Blog Day :

4245 Post No. : 15464 Movie Count :

4261

Today’s song is from an obscure film – Namak-47. Not only the film title was obscure but even the production House, the Director and even most of the cast too was practically unknown.

And no wonder. 1947 was an year which saw India’s Partition on religion basis. Pakistan was created and there was a stream of film people wanting to migrate. By the beginning of 1947 itself it was clear that there would be a Partition and those of the film industry who wanted to migrate, were in a great hurry to finish off their projects on hand at any cost before the D Day. Investors and artistes of various fields in film making tried their best to complete their films somehow. In this melee, quality of films became the casualty in most such cases, where migration hungry people were involved. This resulted in an unusually high number of films being completed and censored. The year 1947 recorded the maximum number of films – 181, since films were made. This record remained till 1988 when 185 Hindi films were made. So this record stood for 57 years !

This also reflected in the cast of several films, where to fill up vacancies, actors were recruited thoughtlessly. Most such excess people never appeared in films again ever. Film Namak was an example . The film was directed by Balwant B. Dave. He was actually a Cameraman. With the help of an investor S H Torani, he floated a Production company, Azad Pictures to produce film Namak. He also became a director of this film. It is another matter that this Production Company got dissolved after this one film, but Balwant Dave directed 3 more films – White face-48, Shahi Bazar-57 and Gogola-66. This Azad Pictures had even announced 2 more films, namely Kasturba and Voice of India. These ofcourse remained only on paper.

Similarly, the Music Directors were Shyam Babu Pathak and one Naresh Chandra. Though Pathak was an established composer, who remained active many years thereafter, Naresh Chandra was never heard again. Naresh Chandra even sang a song in this film. I have heard his song in this film and wondered who taught him singing. Looks like he went for recording straight from his bathroom !

The cast of film Namak-47 consisted of Dulari, Bhim, Dilawar, Habib, Neelam, Sharda, Chandrashekhar, and Sugandha. The names of Bhim, Sharada, Chandrashekhar and Sugandha were never heard by me after this film. The lead actress Dulari was a comparatively new one. having worked in small roles hetherto, this film was her first film as a Heroine. Earlier in film Adab Arz-43, she had played a side Heroine and the love interest of Mukesh. The Lyricist was Indivar and there were 5 songs in this film- 4 of them composed by Pathak and 1 by Naresh Chandra, the song being sung by him only. For 5 songs a total of 7 singers were used, out of which 4 were New names. These were, Anika Rizvi,Shabnam Hussaini, Naresh Chandra and R P Sharma. These four singers’ names were not heard by me earlier and never later also. They proved to be One time performers only, as far as I know.

In the cast there were two names, which were a part of “Same name Confusion” list. Those names are Heroine Dulari and singer Leela Mehta. Many times, I wondered why same names were used in the film industry at all ? Names like Nalini and Leela could be counted in as many as 5 to 6 artistes. My observation is , whenever the artistes used their Surnames along with own names, there was no confusion. A case in point is name ‘Leela’.

There were following Leelas in film industry…
Leela Chitnis
Leela Chandragiri or Pendharkar,
Leela Mishra
Leela Sawant and
Leela Mehta.

Similarly, there were Shanta Patel, Shanta Mujumdar, Shanta Apte, Shanta Hublikar and many such examples. Since Maharashtriyan actresses were keen on using their Surnames, they were hardly a part of SNC, with the exception of Leelas. Leela Desai and Leela Chandragiri were actresses who operated in same periods in films. Generally, their names were credited full. However some films listed their names as simply, Leela or Miss Leela. In case of Leela Chandragiri , she was listed variously as Leela, Miss Leela, Leela Chandragiri or Leela Pendharkar. This caused lot of confusion in updating their filmographies.

In film Namak-47, the singer was Leela Mehta. Luckily she was essentially a singer, except for one Hindi film-Shri Ram Avatar-50, in which she had acted also.Since she was almost always credited as Leela Mehta, she was not a part of any SNC. Thank God !

Daughter of Kanhaiyalal Mehta and Indumati, Leela was born on 10-12-1935 at Borivali in Bombay. She was elder of the two sisters. Due to loss in business, her family shifted first to Ahmedabad and later to Baroda, where they settled. Leela studied in Marathi medium school- New Era Vidyalay in Baroda. Leela participated in all functions of the school and acted in dramas, much to the annoyance of their social circle. She developed interest in singing after listening to songs by Khursheed and Kananbala. She started learning music despite the resistance from home and others in their society.

V.M.Vyas, the famous Director and a family friend knew about her interest and offered her main role in film Ranak Devi-46. She was just 11 year old and did not suit the role, but she was given another role in it. Kokila Balsara aka Nirupa Roy too acted in it as a Debut film.

Due to her father’s death, the family shifted to Bombay and Leela took the responsibility of being the bread earner by acting and singing in dramas and Radio plays. Meanwhile she learnt further music from Prof. Surendra Rao. She started acting and singing in Gujarati films. Ranjit Movietone offered her a big role in film Gunsundari-48, but since the role needed her to put on a Sleeveless Blouse, she refused that role. Finally, it went to Dulari. She, however sang songs in that film and they became quite popular in Gujarat.

Leela Mehta had grown up in Marathi atmosphere and also was educated in Marathi Medium, so her Marathi was very good. She was invited to work in Marathi dramas. She did roles in famous and popular Marathi dramas and also sang songs. From 1950 onwards, she started acting in Gujarati dramas. Meanwhile she used to sing in Hindi films occasionally. In early 50s, she mad very successful foreign trips with her troupe, to do Gujarati dramas and singing concerts.

Inspite of being successful and acting and singing in Marathi, Hindi and Gujarati films and dramas, her father did not see even one show of hers. This pained her till end. leela stayed in a Bungalow in Versova in Bombay. Once it was rumoured that there was a Ghost in it, she immediately left that house and shifted to Dadar. Inadvertently, she forgot to inform the industry about her change of address, and this diminished her demand drastically.

Her mother died in 1972. In 1982, she toured USA. In 1985, the Marathi Natya Parishad honoured her with a cash award. Till 1992, she acted in Marathi and Gujarati TV serials. In all, Leela acted in 300 Gujarati/Marathi dramas, films and serials. Leela was bedridden and unable to speak also.Her house was demolished. She was under the care of a close relative, Nitin Dahisariya. Finally, the news came that Leela Mehta expired in September 2019.

Leela Mehta acted in only one Hindi film- Shri Ram Avatar-50. She sang 17 songs in 9 Hindi films, including 2 Unreleased films.
Her Films are Nai Kahani-43 ( 2 songs), Gaurav-47 (1), Namak-47 (1), Pehli Pehchan-47 (2), Gunsundari-48(2), Satyawan Savitri-48..No information, Chocolate-50..No information, Shri Ram Avatar-50 (4) and Hanste Rehna-50 (1). Her unreleased films were, Apradh-48 (3) and Bidhata-48 (1).

The other Same name was that of Dulari. There was one more Dulari, since the silent days into the Talkie, but luckily the Sr. Dulari stopped working much before this Dulari entered films, hence there was no SNC.

The Senior Dulari was in silent films starting with film “Poona Raided”-1924, made by Deccan pictures Corpn,Bombay. She acted opposite Vishnupant Pagnis ( who became famous in the Prabhat Talkie film “Sant Tukaram”-1936 and won award in Venice Festival). The silent films were made till 1934. She continued acting in the silent films and when Talkie films started she did act in few Talkie films too. There is a record that she acted in 11 Talkie films. Her last film was Laylo Nihar-1936. Then there is no trace of her.

The Junior Dulari was born as Ambika Vithalrao Gautam, on 18-4-1928 at Nagpur. Her father was in P and T dept. She was called first as Rajdulari and later only Dulari remained. She had 2 younger brothers. Father left P and T job,and joined “Alfred – Khatau” drama company. They shifted to Bombay in 1939.

She started films with Jhoola in 1941. In “Adab Arz”-43, she was the love interest of Mukesh. In film Paapi-53, she was Raj kapoor’s second heroine. In film Namak-47, she first became a Heroine.
Lee
She got married to Sound Recordist Jagannath Jagtap in 1951. They had one daughter. He died in 1972.
She acted in 171 Hindi, 35 Gujarati and 3 Marathi and 1 Rajasthani film till last film Ziddi-1997.

She died on 19-1-2013 at Pune.

I have not seen this film. I saw few advertisements of this film in some old issues of Film India magazine. According to the ads, the film was a social thriller and Dulari played a Christian Convert in this film. The dialogues were by Pt. Anuj.

With today’s song, film Namak-47 makes its Debut on this Blog.


Song-Do hain naina hon chaar kaise (Namak)(1947) Singers- Leela Mehta, Yeshwant Bhatt, Lyricist-Indeevar, MD- Shyam Babu Pathak
Both

Lyrics

Do hain naina
Do hain naina
hon chaar kaise
Do hain naina
Do hain naina
hon chaar kaise
Do hain naina

koi kahe hamko pyaar hai
koi kahe hamko pyaar hai
Do hain naina
Do hain naina
hon chaar kaise
Do hain naina

kisi ka saath nahin
haathhon mein haath nahin
kisi ka saath nahin
haathhon mein haath nahin
?? sharmaaye aur intzaar kaise
?? sharmaaye aur intzaar kaise
Do hain naina
Do hain naina
hon chaar kaise
Do hain naina

karaar kiya nahin
karaar kiya nahin
karaar kiya nahin
dil bhi diya nahin
dil bhi diya nahin
dil koi(?) ho jaaye taiyyaar(?) kaise
dil koi(?) ho jaaye taiyyaar kaise

Do hain naina
Do hain naina
hon chaar kaise
Do hain naina

ek nazar
ek nazar ?? unko ghoorti(?)
ek nazar ?? unko ghoorti(?)
ek nazar man mein bana leti hoor ki
ek nazar man mein bana leti hoor ki

salaam (?)kar le ab kaise kaise
salaam (?) kar le ab kaise kaise
pranaam ka miley adhikaar kaise
pranaam ka miley adhikaar kaise

Do hain naina
Do hain naina
hon chaar kaise
Do hain naina


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

Blog Day : 4240 Post No. : 15456

———————————————–——————————-
Blog 10-Year Challenge (2010-2020) – Song No. 9
——————————————————————————

We have two movies that qualify to be covered Under the ‘Blog Ten Year challenge 2010-2020’ today (26 february 2020). One is the ‘1958’ movie ‘Chaubees Ghante’ and the other movie is from the ‘Seventies’ i.e. ‘Ahsaas-1979’.

‘Ahsaas’ was released in ‘1979’ that is when I was above eleven years old. Since the movie was released with ‘restricted viewing’ means we had no chance of watching and discussing this movie among out not yet adult friend circle.

One song from this movie was frequently played on radio and had also make its mark in the ‘Binaca Geetmala’ (it ranked eighteenth in the annual list of Binaca Geetmala of 1980). Unlike the movie, its songs were not deemed restricted for adult listening. So listened to this song a lot. This song was the main reason why I and others adolescents like me remembered the name of this movie. That song was ‘sapnon ke shahar ham banaayenge ghar’. I think that this this was the only popular song from this movie at that time.

‘Ahsaas-1979’ was directed by S.K. Suri for ‘Sippy Films Pvt Ltd, Bombay’. S.K. Suri or Surendra Suri also wrote the story and screenplay of this movie. It was produced by G.P. Sippy.

(Atul ji has mentioned in his post here that this movie from the Sippy’s came in between ‘Sholay-1975’ and ‘Shaan-1980’. But with newcomers and also with a new music team).

The cast of ‘Ahsaas’ include the new comers Dina, Parvez, Rakesh Bedi, Kiran Vairale, Sahil and Rita Rani Kaul.

This movie had special appearances of Shammi Kapoor, Shashi Kapoor, Amitabh Bachchan, Simmi, Bindiya Goswami, Bindu, Simple Kapadia and Amjad Khan.

The other supporting cast include Chand Usmani, Leela Mishra, Sunder, Mohan Sheri, Asha Potdar, Arun Desai, Deepak, Raj, Sanjay Kaushik, Ashok Junior, K.S. Deshpande and Dina Nath.

M.S. Shinde was the editor of this movie (He was also the editor of ‘Sholay-1975’).

Dialogues of this movie were written by Suraj Sanim.

This movie had six songs written by Indeevar (five songs) and Ravindra Peepat (one song). Music for this movie was composed by Bappi Lahiri.

Lata Mangeshkar, Kishore Kumar, Asha Bhonsle and Shailendra Singh gave their voices to the songs of this movie.

This movie was passed by Censor Board on 23.10.1979.

So far four songs from this movie have been posted on the blog.

During the preparation of this post I also listened to other songs from this movie. I had not paid attention to them earlier though I might have heard them earlier. I discovered that the other songs are also good, particularly today’s song which appears familiar. Among other songs the first song of the movie which starts with the title is also a nice one and seems to be inspired from ‘ye dosti ham nahin todenge’ (the music is nice but may be the song didn’t get much attention since the movie didn’t go well with the audiences).

Coming back to the songs posted on the blog ten years back, three songs were discussed on that day :-

Song Movie title-Year Remarks
Kitne raanjhe tujhe dekhkar bairaagi ban gaye Ahsaas-1979 04 of 06 songs posted
Aur kuchh der thahar aur kuchh der na jaa Aakhri Khat-1966 All Songs posted
Hame haal e dil tumse kahna hai Chaubees Ghante-1958 05 of 08 songs posted

Let us now listen to today’s song sung by Kishore Kumar and Shailendra Singh. Lyrics are by Indeevar and music is composed by Bappi Lahiri.

(Lyrics are noted as per the audio version which is a longer version with three stanzas)

Video

Audio (longer)

Song-Jo na chhote hain na bade (Ahsaas)(1979) Singers-Kishore Kumar, Shailendra Singh, Lyrics-Indeewar, MD-Bappi Lahiri
Both

Lyrics ( As per the audio version)

jo naa chhote hai naa bade
badi mushkil mein wo pade ae

jo naa chhote hai naa bade
badi mushkil mein wo pade
jo naa chhote hai naa bade
badi mushkil mein wo pade ae

unki mushkilon ka
ahsaas nahin ee
unke liye waqt kisi ke paas nahin
ho jo naa chhote hai naa bade
badi mushkil mein wo pade

unki mushkilon ka
ahsaas nahin ee
unke liye waqt kisi ke paas nahin
ho jo naa chhote hai naa bade
badi mushkil mein wo pade ae

unke liye naa to baahar ki duniya
unke liye naa to ghar ki duniya
unke liye naa to baahar ki duniya
naa is kinaare
naa us kinaare
ho naa is kinaare ae
naa us kinaare
beech dhaare par hai wo khade
jo naa chhote hai naa bade
badi mushkil mein wo pade ae

unki mushkilon ka
ahsaas nahin ee
unke liye waqt kisi ke paas nahin
ho jo naa chhote hai naa bade
badi mushkil mein wo pade ae

hamko sabhi har baat pe tokey
jo khud karey wo hi karne se roke ae
hamko sabhi har baat pe tokey
karey ham kisise pyaar
chheena ye bhi adhikaar
karey ham kisise pyaar
chheena ye bhi adhikaar
mele mein ham to akele khade
jo naa chhote hai naa bade
badi mushkil mein wo pade ae

unki mushkilon ka
ahsaas nahin ee
unke liye waqt kisi ke paas nahin
ho jo naa chhote hai naa bade
badi mushkil mein wo pade

toofaan umangon ka itnaa jyaada
duniya badalne ka apnaa iraada
toofaan umangon ka itnaa jyaada
hamaara jawaan pyaar
tod dega har deewaar
hamaara jawaan pyaar
tod dega har deewaar
bandhan mein kab tak rahenge jakde
jo naa chhote hai naa bade
badi mushkil mein wo pade ae

unki mushkilon ka
ahsaas nahin ee
unke liye waqt kisi ke paas nahin
ho jo naa chhote hai naa bade
badi mushkil mein wo pade ae

——————————————————-
Devnagri Script lyrics (Provided by Avinash Scrapwala)
——————————————————–

जो ना छोटे है ना बड़े
बड़ी मुश्किल में वो पड़े

जो ना छोटे है ना बड़े
बड़ी मुश्किल में वो पड़े
जो ना छोटे है ना बड़े
बड़ी मुश्किल में वो पड़े

उनकी मुश्किलों का
अहसास नहीं ई
उनके लिए वक़्त किसी के पास नहीं
हो जो ना छोटे है ना बड़े
बड़ी मुश्किल में वो पड़े

उनकी मुश्किलों का
अहसास नहीं ई
उनके लिए वक़्त किसी के पास नहीं
हो जो ना छोटे है ना बड़े
बड़ी मुश्किल में वो पड़े ए

उनके लिए ना तो बाहर की दुनिया
उनके लिए ना तो घर की दुनिया
उनके लिए ना तो बाहर की दुनिया
ना इस किनारे
ना उस किनारे
हो ना इस किनारे ए
ना उस किनारे
बीच धारे पर है वो खड़े
जो ना छोटे है ना बड़े
बड़ी मुश्किल में वो पड़े

उनकी मुश्किलों का
अहसास नहीं ई
उनके लिए वक़्त किसी के पास नहीं
हो जो ना छोटे है ना बड़े
बड़ी मुश्किल में वो पड़े ए

हमको सभी हर बात पे टोके
जो खुद करे वो ही करने से रोके ए
हमको सभी हर बात पे टोके
करे हम किसीसे प्यार
छीना ये भी अधिकार
करे हम किसीसे प्यार
छीना ये भी अधिकार
मेले में हम तो अकेले खड़े
जो ना छोटे है ना बड़े
बड़ी मुश्किल में वो पड़े

उनकी मुश्किलों का
अहसास नहीं ई
उनके लिए वक़्त किसी के पास नहीं
हो जो ना छोटे है ना बड़े
बड़ी मुश्किल में वो पड़े

तूफ़ान उमंगों का इतना ज्यादा
दुनिया बदलने का अपना इरादा
तूफ़ान उमंगों का इतना ज्यादा
हमारा जवान प्यार
तोड़ देगा हर दीवार

हमारा जवान प्यार
तोड़ देगा हर दीवार
बंधन में कब तक रहेंगे जकड़े
जो ना छोटे है ना बड़े
बड़ी मुश्किल में वो पड़े ए

उनकी मुश्किलों का
अहसास नहीं ई
उनके लिए वक़्त किसी के पास नहीं
हो जो ना छोटे है ना बड़े
बड़ी मुश्किल में वो पड़े ए


This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me.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 : 4202 Post No. : 15388

———————————————–——————————-
Blog 10-Year Challenge (2010-2020) – Song No. 3
——————————————————————————

Under the ‘Blog ten-year challenge’ today’s movie is ‘Kalaakaar-1983’.

This movie is completing full cycle of ten years today on the blog with only one of its songs posted on the blog so far. The song already posted on the blog i.e. ‘Neele Neele Ambar Par Chaand Jab Aaye’ was the most popular song from this movie.

In 1983, I was studying in 11th standard. I remember the above-mentioned song particularly as that song could be heard wherever you passed by (specifically the Kishore Kumar version), either on radio or tape-recorders in shops/hotels. I didn’t like it too much then and it was very irritating to have it playing around every time.

I was under the impression that this song topped the charts then, but when I checked the ‘Binaca Geetmala annual list’ during the preparation of this post, I was surprised to note that this song didn’t appear in the 1983 list where ‘Shaayad Meri Shaadi Ka Khayaal’ from ‘Souten’ was the topper. This may be because the movie ‘Kalaakaar’ must have been released at the end of that year 1983.

However, the above song appeared in the 1984 ‘Binaca Geetmala annual list’ and ranked at number 22 as per information available online.

Coming back to today’s post, I am presenting another good song from this movie which I think was also somewhat popular song. One more song from the movie that I remember ‘Khoye khoye rahe teri chaahon mein’ was a nice song too.

Today’s song is sung by Anuradha Paudwal and Suresh Wadkar.

Ten years back on this day only two movies were represented on the blog;
(here they are in ascending order)

Song Movie title-Year Remarks
Teri nazar mein main rahoon Band Master – 1963 All songs covered on the blog (4/4)
Neele neele ambar par chaand jab aaye Kalaakaar – 1983 01 of 08 songs posted

Incidentally there are three movies with same title viz ‘Kalaakaar’ – whic were released in 1942, 1954 & 1983 – that are represented on the blog so far. Each of these three movies are one s represented by just one song each in the blog.

‘Kalaakaar-1983’ was directed by P. Sambasivarao. It was produced by P. Anand Rao under ‘Anandalakshmi Art Movies’ banner. It had Kunal Goswami, Sreedevi, Dr. Shreeram Lagoo, Rakesh Bedi, Krishan Dhawan, Madhu Malini, Agha, Vijayalakshmi, Rajkishore, Dhanalakshmi, Swaraj Kumar, Kiran, and Paintal in Special appearance.

L.V. Prasad makes a special guest appearance in this movie. Bappi Lahiri and Indeevar make a friendly appearance in this movie.
Mehmood and Kanwal Jeet Singh make a Guest appearance in this movie.

Story of this movie was written by Kovai Thambi and its dialogues were written by Inder Raj Anand. Editing was done by M.G. Balurao.

K. Ganesh was the chief assistant director, and Kuku Kapoor was the dialogue director.

Lyrics of this movie were written by Indeevar, with Manoj Kumar writing one song which was the climax song in the movie.

Music was composed by Kalyanji-Anandji.

The movie had total eight songs (including one multiple version song-already posted on the blog). Kishore Kumar, Suresh Wadkar, Anuradha Paudwal and Sadhna Sargam had given their voices to the songs in this movie.

This movie was passed by Censor Board on 09.11.1983.

Today’s song is the second song from this movie to appear on the blog.

The picturization of the song happens to be in music studio while recording for a song where Kunal Goswami is lip syncing in Suresh Wadkar’s voice with a female artist (I am unable to identify her though she seems to be a familiar face) lip syncing in Anuradha Paudwal’s voice. Sridevi is also seen in the picturization of the song with other artists present in the recording studio shown in this song.

I have not watched this movie so I cannot say much about it. I would request knowledgeable readers to throw more light on the movie and its songs.

Let us now enjoy today’s song.

Video

Audio

Song-Mera pyaar mujh se roothha (Kalaakaar)(1983) Singers- Anuradha Paudwal, Suresh Wadkar, Lyrics-Indeewar, MD-Kalyanji Anandji
Both

Lyrics

Mera pyaar mujhse roothha
O o o o o
Mera pyaar mujhse roothha
Mujhe zindagi ne loota
Jab do kadam manzil rahi
Saathi ka saath chhoota
O o o o o
Mera pyaar mujhse roothha
Mujhe zindagi ne ae loota aa

Duniya mein do premi ee
Milne hi nahin paate hain
Milne hi nahin paate hain

(coughing sound)

Duniya mein do premi
Milne hi nahin paate hain ae
Milne hi nahin paate hain

(coughing sound)

Duniya mein do premi
Milne hi nahin paate hain ae
Milne hi nahin paate hain

Ye zamaana
ye chaahat
Badle se nazar aate hain ae
Badle se nazar aate hain
Ya pyaar hi hota nahin
Ya har premi jhoothha

(coughing sound)

O o o o o
Mera pyaar mujhse roothha
Mujhe zindagi ne ae loota aa

Koyi poochhe kismat se ae
Sab kuchh hamse kyun chheena aa
Sab kuchh hamse kyun chheena

(coughing sound)

Koyi poochhe kismat se
Sab kuchh hamse kyun chheena aa
Sab kuchh hamse kyun chheena
Ik jaisa lagta hai
Kya marna
Aur kya jeena aa
Kya marna
Aur kya jeena aa

Khuli aankh to khuli reh gayi

(coughing sound)

Kahaan jaa ke khwaab toota

(coughing sound)

O o o o o
Mera pyaar mujhse roothha
Mujhe zindagi ne ae loota aa
Jab do kadam manzil rahi
Saathi ka saath chhoota
O o o o o
Mera pyaar mujhse roothha
Mujhe zindagi ne ae loota aa

____________________________________________________________
Devnagri Script lyrics (Provided by Avinash Scrapwala)
____________________________________________________________
मेरा प्यार मुझसे रूठा
ओ ओ ओ ओ ओ
मेरा प्यार मुझसे रूठा
मुझे ज़िन्दगी ने लूटा
जब दो कदम मंजिल रही
साथी का साथ छूटा
ओ ओ ओ ओ ओ
मेरा प्यार मुझसे रूठा
मुझे ज़िन्दगी ने लूटा आ

दुनिया में दो प्रेमी ई
मिलने ही नहीं पातें हैं
मिलने ही नहीं पातें हैं

(पुरुष स्वर में खांसने की आवाज़)

दुनिया में दो प्रेमी
मिलने ही नहीं पातें हैं ए
मिलने ही नहीं पातें हैं

(पुरुष स्वर में खांसने की आवाज़)

दुनिया में दो प्रेमी
मिलने ही नहीं पातें हैं ए
मिलने ही नहीं पातें हैं

ये ज़माना ये चाहत
बदले से नज़र आते हैं ए
बदले से नज़र आते हैं
या प्यार ही होता नहीं
या हर प्रेमी झूठा

(पुरुष स्वर में खांसने की आवाज़)
ओ ओ ओ ओ ओ
मेरा प्यार मुझसे रूठा
मुझे ज़िन्दगी ने ए लूटा आ

कोई पूछे किस्मत से ए
सब कुछ हमसे क्यूँ छीना आ
सब कुछ हमसे क्यूँ छीना

(पुरुष स्वर में खांसने की आवाज़)

कोई पूछे किस्मत से ए
सब कुछ हमसे क्यूँ छीना आ
सब कुछ हमसे क्यूँ छीना
इक जैसा लगता है
क्या मरना
और क्या जीना आ
क्या मरना
और क्या जीना आ
खुली आँख तो
(पुरुष स्वर में खांसने की आवाज़)
खुली रह गयी
कहाँ जा के ख्वाब टूटा

(पुरुष स्वर में खांसने की आवाज़)
ओ ओ ओ ओ ओ
मेरा प्यार मुझसे रूठा
मुझे ज़िन्दगी ने लूटा आ
जब दो कदम मंजिल रही
साथी का साथ छूटा
ओ ओ ओ ओ ओ
मेरा प्यार मुझसे रूठा
मुझे ज़िन्दगी ने लूटा आ


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

Blog Day : 4178 Post No. : 15356

Mohammed Rafi : The incomparable (II) – Song No. 15
———————————————————————–
It is very much true even today that the title of ‘Sone ki chidiya” suits India very well. This guileless person, named Mohammad Rafi is one of the genuine golden feathers of this ‘Sone ki Chidiya”

“Sona” in material terms as we all know is Gold, as in precious metal. And in our country traditionally and religiously Gold is treated as Goddess Laxmi. Other cultures in the world treat it as a precious metal and metal alone. But we in india have been revering “Gold” as much more than a costly metal. It is equated with wealth and prosperity. If a percentage of the country’s household are super rich, a bigger percentage of households are comprising of the so called middle classes and all of these people have amassed gold reserves in the families. I have seen women, mostly housewives saving up to buy gold jewelry. My own mother used to save up to years, so that she could get some small gold jewellery pieces. My mother’s savings habit has saved many a rainy day, if we believe the stories she tells of this event or that event. Many times the relatives will be in trouble and some or the other need will arise in the household and her savings or even gold jewellery was the only thing to be cashed.

It boggles the imagination to ascertain the quantum of gold stashed away in small or minute holdings even, over crores of households. And most of it will hopefully be useful in their hours of need. If a small token of wealth is not useful in saving a life or a way of paying a child’s school fees, than it is not ‘laxmi’, not really.

Southern India and it’s cultural make up is famous for flaunting its obsession with gold. Temples and shrines all over the country are reportedly laden with gold and jewelry, naturally donated by the devotees.

Since ancient times, the regions of present day india were part of the larger region broadly known as ‘Hind’ or ‘Hindustan’. This region is sometimes described as ‘sone ki chidiya’ in legends and ‘daastaan’. By now even if it has broken into many pieces and fragments, with conflict and strife spread over the whole region, with malice towards one and all, inside these fragmented nation states and elsewhere, it is worth reminding ourselves of the history and cultural heritage of our ancestors. A sense of preservation needs to prevail in our collective deeds, if this flourishing civilized society, invaded for centuries on end, and yet surviving all trials and tribulations, because of its thinkers, philosophers, poets, musicians and sant mahatma’s, is to continue the journey into eternity. Languages, arts and cultural values and music has always been the backbone of this heritage.

Some months ago I had written one article in hindi titled “sone ki chidiya” for the office magazine. I am including that article here for the readers benefit and contemplation.

– सोने की चिड़िया –
मकानी हूँ के आज़ाद –ए-मकां हूँ
जहां में हूँ के ख़ुद सारा जहाँ हूँ
वो अपनी लामकानी में रहें मस्त
मुझे इतना बता दें मैं कहाँ हूँ
कुछ दिन पहले मैं अपनी बहन के साथ एक मॉल में गयी । वहाँ घूमते हुए और दुकानों की चकाचौंध देखते हुए अचानक मेरी बहन जो वर्षों से गल्फ में बसी है, कहने लगी की यह बात बहुत उपयुक्त है की यह देश पिछले दो से तीन सौ सालों में दोबारा से ‘सोने की चिड़िया’ बन गया।
प्राचीन काल में हमारा भारत देश सोने की चिड़िया के नाम से मशहूर था यह सब तो हम ने किताबों में बचपन से पढ़ा है। यही वजह थी की हजारों सालों से इस सर – ज़मीन पर विदेशी हुकमुरानों ने बार बार आक्रमण किए । कुछ लोगों ने लूट मार की तो कुछ लोगों ने यहां की तहजीब में रच बस कर इसे और निखारा और संवारा और इस धरती का ‘सोने की चिड़िया’ खिताब को सदियों से बने रहने में अपनी अपनी भूमिका निभाई।

यह भी सम्झना आवश्यक है की ये वो ज़माना था जब सब तरफ ‘ माइट इस राइट ‘ का चलन था , जो कोई भी अपनी भारी भरकम सेना ले कर किसी दूसरे के राज्य पे आक्रमण कर फतेह कर ले वो राज्य उस का हो गया । और इस तरह इस फतेह किए हुए राज्याओं पर राज्य बनाए रखने के लिए ‘फ़िज़िकल माइट’ का बहुत महत्व होता था ।

ऊपर मैंने आक्रमण करने वाले हुकमूरानों के संदर्भ में न चाहते हुए या यूं कहें की बड़ा हिचकिचाते हुए विदेशी शब्द का प्रयोग किया। उस काल में तो हर क्षेत्र के लोग अपने आस पास के इलाक़ो के बाहर हर जगह को विदेश ही समझते होंगे । जबकि यह देश और विदेश की कल्पना उन्नीसवी / बीसवीं सदी में ही जागृत हो कर पूरे विश्व में फैल गयी और एक प्रकार का विभाजन हुआ और अलग अलग ‘nation states’ का चलन चला, चल क्या निकला , पूरा विश्व छोटे छोटे टुकड़ों में बट गया। कहीं मज़हब, कहीं भाषा, कहीं संस्कृति तो कहीं कुछ और, हर एक मुल्क अपनी अपनी सीमाओं में बंद हो गया । यह कैसा सोचों का, विचारों को, नदियों का, हवाओं का, पहाड़ों का, खेतों का, शहराहों का, शहर-क़स्बों का, तंग घाटियों का, द्वीपों का, क़िस्से कहानियों का, गीतों और रागों का, और जाने क्या क्या कुछ….. बटवारा हो गया । साथ ही बंटवारा हुआ प्राकृतिक संसाधनों का और कुदरत की दी हुई बेशुमार नयमतों का । बट गईं मानवता की धार्णएं और 21वी सदी में तो ऐसा लगता है की यह धरनाएं सिर्फ किताबों में सीमित हैं। पिछले युग के राजे महाराजे अपनी ताक़त के बल बूते राज्य करते और आज भी नेशन स्टेट्स अपना ‘पॉलिटिकल माइट ‘ इस्तेमाल कर न सिर्फ स्टेट पर बल्कि दूसरे स्टेट्स की प्रकृतिक संसाधनों पर भी अपना नियंत्रण बनाते हैं और उसे बनाए रखने के लिए हर एक मानव्य/अमानव्य हत्यारों का इस्तेमाल करने से बिलकुल संकोच नहीं करते। और इसी से ज़मीर के साथ conflict वाली स्टीथि भी है की जो कोई कार्य या विचार धारणा मेरे लिए सही है तो वही सोच और धारणा दूसरे के लिए गलत है । मुझे नहीं लगता की इस सृष्टि की रचना का उद्देश्य यह होगा की मानविक समाज इस तरह देशों, प्रान्तों ,भाषाओं और इन सब के प्रेम की आड़ में अपने अपने अहंकारों की, आत्महित के दायरे में, और चक्रव्युह में फंस कर, एक दूसरे से सदैव संघर्ष और तुछ लड़ाईयाँ लड़ता रहे। क्यूंकी आज भी जब हम आपस के संघर्ष को , अपने नजरियों का दायरा बड़ा कर के देखें तो यह सब तुछ ही हैं।
आज मानवता पूरी तरह से बटी हुई है । यह वो मनुष्य जाति है जो इस ब्रह्माण्ड में ईश्वर की सर्वश्रेष्ठ रचना है । सारी की सारी रचनाओं में सर्वश्रेष्ठ होना क्या होता है ये शायद हम मनुष्यों को रास न आया।

ऐसी अंतर्राश्त्र्य अनुशासन तथा सामाजिक तंत्र के चलते किसी एक व्यक्ति, कोन्सोर्टिउम, कॉर्पोरेट, या व्यवस्था या कोई नेशन-स्टेट को सोने की चिड़िया बने रहने में जो मनव्य मूल्यों के त्याग की आवश्यकता थी वो तो हमारी अर्थव्यवस्था कर ही चुकी है और इस की मानवता ने भारी क़ीमत भी चुकाई है और चुका रहें हैं हम सब ही व्यक्तिगत सतह पर। सिर्फ यह है की इस क्षति का और उस के परिणामों का आभास कुछ ही लोग कर पा रहे हैं।

एक और अनुभव जो पिछले कुछ महीनों में मुझे छू गया , उस का विवरण यहाँ करना उपयुक्त है।

मैं मुंबईकर हूँ और यही पली बढ़ी होने के कारण मुझे यहाँ के विद्यालयों के प्रति लगाव है। मेरे माता पिता के बाकी परिवार के सभी लोग बेलगाम (कर्नाटक) में रचे बसे हैं और हर तरफ फैल गए हैं। मेरे छोटे मामा के बेटे ने कुछ वर्ष पूर्व बेलगाम से पढ़ाई पूरी की थी, और नेत्र विशेषज्ञ के रूप में केरल में प्रशिक्षण कर रहा है। मैं ने उसे फोन किया यह पुछने की मैं मेरे बेटे के लिए मुंबई के अलावा कौन से कॉलेज में प्रवेश को प्राथमिकता दूँ। सारी औपचारिकताएँ समाप्त होते ही मैं ने मुद्दे की बात छेड़ दी । मेरी सारी बात सुनते ही पहली बात जो मेरे ममेरे भाई ने कही वो यह थी की आप अपने बेटे को बेलगाम में क्यूँ नहीं दाखिला दिलाते? मैं इस प्रश्न को सुन परेशान हो उठी, की यह सवाल मेरे दिल-ओ-दिमाग में दूर दूर तक नहीं आया। मैं ने अपने लहजे के पूरे आश्चर्य को बिलकुल भी न छिपाते हुए कहा की मुंबई और महाराष्ट्र में इतने अच्छे और नामचीन कॉलेज के होते हुए भी मैं मेरे बेटे के लिए बेलगाम का कॉलेज क्यूँ चुनुंगी । पर वो तो बिलकुल भी प्रभावित न हुआ मेरी बात से और अपने बिन्दु पर टिका रहा और कहा “क्यूँ बेलगाम की जीएमसी तो कर्नाटक के चोटी के 3 कॉलेज में है अच्छे कॉलेज की शिक्षा से काफ़ी फर्क पड़ता है “ । मैं ने कहा की ऐसा होगा लेकिन जब मैं मुंबई निवासी हूँ और यहाँ के 5 में से 4 कॉलेज पूरे देश की किसी भी सूची में चोटी के पंद्रह या बीस के अंदर ही आती हैं तो बेलगाम के कॉलेज के बारे मुझे विचार की भी आवश्यकता नहीं लगती।

इतनी बातचित के बाद भी मेरा ममेरा भाई मेरे दृष्टिकोण को नहीं समझ पा रहा था, तो अंत में मैं ने उस से कह दिया के वो अपने मित्र मण्डल में जो की महाराष्ट्र में पढे हैं उन से सलाह कर के मुझे यहां के कॉलेज की आपस में श्रेणी की सही सही जानकारी दे दे ताकि मेरे बेटे को उस के श्रेणी के अनुकूल मुंबई या मुंबई के बाहर के कॉलेज में प्रवेश मिल सके।

इस वार्तालाप के बाद मैं सोच में पड़ गयी कि वो एक चिकित्सीय व्यवसायिक होने के बावजूद क्यूँ नहीं समझ पा रहा या मान रहा की मैं मुंबई में हूँ जो की हमारे देश की दूसरी बडी जगह है चिकित्सीय शिक्षा के लिए, दिल्ली के बाद । फिर जब सोच की इंतेहा पर समझ आया की वो तो उस का दृष्टिकोण था । ऐसा बिल्कुल नहीं था की वह मेरी बात समझने की क्षमता नहीं रखता । लेकिन यह दोष उसके दृष्टिकोण का था जो उस को उसकी सोच के दायरे से बाहर देखने ही नहीं देता। क्यूंकी वो खुद बेलगाम से हैं और पढ़ाई पूरी वही की और अब भी वहीं जा के बसने की कामना करता है, और उसे अपने शहर और कॉलेज के प्रति बहुत गर्व भी है । यह सब जब मेरे दिमाग में और यादों के पर्दों से बाहर आया, तो प्रतीत हुआ की उस का नज़रिया उस को रोक रहा था मेरे नजरिये को देखने से । उस की सोच की सीमा वहीं तक सीमित है और वो उस से आगे देख नहीं पा रहा।

यही काम तो है सीमाओं का जो की मानवता को बांधने में, इस की मानसिक रूप से मर्यादित करने में सफल हो गयी हैं। सोच की सीमाएं, चाह की सीमाएं, अनजानी चीजों को देखने परखने में संकोच और ऐसी सीमित करने वाली मानसिक पीड़ाओं से हमारा समाज और सामाजिक-तंत्र बंधा हुआ है। हर कोई अपनी सोच और अपने दृष्टिकोण के आगे, बाहर या आस पास और उस से दूर पनपने वाली बेहतर और उच्च चीजों या बातों को अपनी पहुँच से बाहर पता है। ऐसा क्यूँ है ?

और देखिये क्या कहते हैं अललमा इकबाल :

सितारों से आगे जहां और भी हैं ।
अभी इश्क़ के इम्तेहान और भी हैं ।
तिही ज़िंदगी से नहीं ये फ़ज़ाएं
येहां सैकड़ों कारवाँ और भी हैं ।
कनाअत न कर आलम-ए-रंग-ओ-बु पर
चमन और भी हैं आशियाँ और भी हैं।
अगर खो गया एक नशेमन तो क्या ग़म
मुक़ामात-ए-आह-व-फुगाँ और भी हैं।
तू शाहीन है परवाज़ है तेरा काम
तेरे सामने आसमां और भी हैं ।
इसी रोज़-व-शब में उलझ कर न रेह जा
के तेरे ज़मान-व-मकां और भी हैं ।
गए दिन के तन्हा था मैं अंजुमन में
येहां अब मेरे राज़दान और भी हैं ।
***************

Also remembering this song :

jahaan daal par sone ki chidiya karti hai baseraa
woh bhaarat desh hai meraa

The Rafi song featured here is from the film ‘Johar in Kashmir’. The word ‘Johar’ means, a jewel or a gem and pearl. ‘jawahrat’ – is a word for collection of precious jewels, diamonds, pearls etc. ‘Johar’ also means talent or stupendous ability etc.

This song is written by Indeevar and composed by Kalyanji Anandji. The tune is reminding me of Jis ka koi nahin uska to Khuda hai yaaron from Laawaris.

Rafi sahab has rendered this song with his customary gusto. ‘Gusto’ is a word that Atulji used a lot in respect of Rafi songs years ago.

The message in the song is quite apparent. The I S Johar is the dervaish, giving sermons to all and sundry that the day of judgement is not far and none of the oppressors (those committing excesses on fellow beings) will be forgiven and allowed to go scot free.

Essentially what the dervaish is doing is trying to warn the oppressors to be afraid of God almighty and his wrath, ask for his forgiveness while there is still time. It is like trying to help the oppressors, by convincing them to stop the bad deeds and obtain forgiveness from the God Almighty.

Like this hadith:

Allah’s messenger (pbuh) said, ‘Help your brother, whether he is an oppressor or he is an oppressed one.”
People asked “O Allah’s Messenger! It is all right to help him if he is oppressed, but how should we help him if he is an oppressor?”
The Prophet said, “By preventing him from oppressing others.”

Video :

Song-Aanewaala hai din qayamat kaa… koi zaalim na bakhsha jaayegaa (Johar in Kashmir)(1966) Singer-Rafi, Lyrics-Indeewar, MD-Kalyanji Anandji

Lyrics

Begunaahon ka lahu hai
ye rang laayegaa
begunaahon ka lahu hai
ye rang laayegaa
daag daaman pe na aaya
to dil pe aayegaa
aanewaala hai din qayaamat kaa aa aa aa aa
koi zaalim na bakhsha jaayegaa
koi zaalim na bakhsha jaayegaa
begunaahon ka lahu hai
ye rang laayegaa

hamaare bhai huye ham na huye
karbala ke sitam to kam na huye
zulm duniya mein ab bhi zinda hai
aadmeeyat hai ke sharminda hai
aadmeeyat hai ke sharminda hai
maa shaheedon ki ab bhi roti hai
zulm ki hadd bhi koyi hoti hai
haqq paraston ko bhi na-haqq maara
haay dil gham se hai paara paara
haay dil gham se hai paara paara
yazid ki ho hukumat ya kisi zaalim ki
har ek zulm ka insaaf kiya jaayegaa
har ek zulm ka insaaf kiya jaayegaa
aanewaala hai din qayaamat kaa aa aa aa aa
koyi zaalim na bakhsha jaayegaa
begunaahon ka lahu hai
ye rang laayegaa

zarre zarre mein guzar rakkhta hai
sab ki harkat pe nazar rakkhta hai
nek aur bad chhupaa nahi uss se
khudaa to sab ki khabar rakkhtaa hai
khudaa to sab ki khabar rakkhtaa hai
meher pe aaye to gaffar bhi hai
qehar pe utre to jabbar bhi hai
yun to har deen se upar hai khudaa
qadmeeyat ka tarafdaar bhi hai
aadmeeyat ka tarafdaar bhi hai
sholey nafrat ki dilon mein
na tu bhadkaa zaalim
apni hi aag mein tu
aap hi jal jaayegaa
apni hi aag mein tu
aap hi jal jaayegaa
aanewaala hai din qayaamat kaa aa aa aa aa
koyi zaalim na bakhsha jaayegaa
begunaahon ka lahu hai
ye rang laayegaa

nahin kaafi hai musalmaan honaa
bas nahin hafiz-e-quraan honaa
Allah ta’alaa ka pyaar paane ko
laazmi hai teraa insaan hona
laazmi hai teraa insaan hona
amal to saathh tere ho le gaa
khoon to sar pe chadh ke bole gaa
khudaa mazhab hi na dekhegaa teraa
teri insaaiyat bhi toley gaa
teri insaaiyat bhi toley gaa
pyaar par rakkhi hai buniyaad har ek mazhab ki
koyi talwaar pe rakkhegaa to kya paayegaa
koyi talwaar pe rakkhegaa to kya paayegaa
aanewaala hai din qayamat kaa aa aa aaaa
koyi zaalim na bakhsha jaayegaa
begunaahon ka lahu hai
ye rang laayegaa

tu ne pyaason se Pyaale chheene
tu ne honton se niwaale chheene
tu ne sham’ean jalaayin qabron par
aur makaanon se ujaale chheene
aur makaanon se ujaale chheene
dilon mein farq iss qadar daale
tu ne dariyaa bhi khoon se bhar daale
ek dharti banaayi Allah ne
tu ne tukde hazaar kar daale
tu ne tukde hazaar kar daale
tunaah kartaa hai tu kis ke liye soch to le
thaali haathon hi tu tanhaa yehaan se jaayegaa
khaali haathon hi tu tanhaa yehaan se jaayegaa
aanewaala hai din qayamat kaa aa aa aaaa
koyi zaalim na bakhsha jaayegaa
begunaahon ka lahu hai
ye rang laayegaa

ye padosi se ladaayi kaisi
sabhi bhaai hain judaayi kaisi
ye tabaahi ki saari baaten hain
iss mein insaan ki bhalaayi kaisi
iss mein insaan ki bhalaayi kaisi
nek neeyat ko tu armaan kar le
aadmeeyat ko tu imaan kar le
yahi islaam ki naseehat hai
apne dil ko bhi musalmaan kar le
apne dil ko bhi musalmaan kar le
hadd se aage na tu badh waqt hai kar le taubaa
roz samjhaane ko darvesh nahin aayegaa
roz samjhaane ko darvesh nahin aayegaa
aanewaala hai din qayaamat kaa aa aa aa aa
koyi zaalim na bakhsha jaayegaa
begunaahon ka lahu hai
ye rang laayegaa
daag daaman pe na aaya
to dil pe aayegaa


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

Blog Day : 4161 Post No. : 15331

8th December is the 75th birthday of Rinku or Begum Ayesha Sultana Khan who also is known by the name Sharmila Tagore. What was not known is that she was born in Hyderabad. (I didn’t know, the stalwarts of the blog may be aware). She looked so delicate and fragile in “Kashmir Ki Kali” (1964) – her Hindi debut, having debuted in Bengali in 1959 through Satyajit Ray’s “Apur Sansar”; the need to protect her from Pran must have come naturally to Shammi Kapoor. She has a super-sweet smile too with deeeep dimples that form whenever she smiles. It was not as if she excelled only in glamourous baby-doll type of roles; she was comfortable even when she played the roles of mother and daughter – Chanda/ Kajri- in Gulzar’s “Mausam” (1975). 1975 saw her in five movies “Mausam”, “Chupke Chupke”, “Faraar”, “Amanush”, “Ek Mahal Ho Sapno Ka” and the character she played in each of them were completely different from each other.

I started following her from “Chupke Chupke” and then have seen many of her movies from the 60s and 70s on various media- Doordarshan, Satellite Television, YouTube etc. Had been very impressed by her in “Kashmir Ki Kali”, “Anupama”, “Satyakam” and “Viruddh” in the recent times. She was last seen on-screen in 2010 released “Break Ke Baad”. But videos of this elegant lady can be seen on YouTube in interviews etc where she speaks of her life and career and how her sister Oindrila Tagore (Tinku) played Mini, the central child character, in Tapan Sinha’s 1957 “Kabuliwala”.

She speaks of how she was given very short sentences to speak in her first Hindi movie by Shakthi Samanta etc (saw all this on the Zee TV show ‘Jeena Isi ka Naam Hai’).

For the occasion today let us have a song from the 1971 released, K B Tilak directed “Chhoti Bahu” in which she stars with her co-star of several box-office hits – Rajesh Khanna. She paired with him in seven successful movies beginning with “Aradhana” in 1969 and following it up with Amar Prem, Chhoti Bahu, Safar, Daag, Raja Rani, Aavishkaar and Maalik. She had a good pairing with Dharmendra too beginning with Hrishikesh Mukherjee’s Anupama and Devar, Mere Humdam Mere Dost, Satyakam, Chupke Chupke, EK Mahal Ho Sapno ka and the last time we saw the pair together was in Sunny. She also had some good films with Shashi Kapoor- Waqt, Aamne Saamne, New Delhi Times, Suhana Safar etc.

Today’s song reminds me of another song with a similar theme – “Chanda hai tum mera suraj hai tu”. And also “Bada natkhat hai re Krishna Kanhaiya”, she did emote well in these song situations, we could see a lot of love for kids in those expressive eyes
“Chhoti Bahu” had six songs and debuted on the blog with he re Kanhaiyya kisko kahega tu maiyya in Kishore Kumar’s voice. The song is more or less the gist of the movie where we have Nirupa Roy as the equivalent of Devaki and Sharmila as the Yashoda of the young baby Sarika who is called either Kishan or Kanhaiya (have seen the movie ages back, should see again). This was followed by the Mohd Rafi sung ye raat hai pyaasi pyaasi. The third song posted was dulhaniya bata de ree . Today we have the fourth wherein a happy, young girl is seen playing “mother” to her favourite doll. As the movie progresses, we get to know that she cannot beget children of her own so her ‘jethani’ gives her the responsibility of being the mother to baby Sarika.
Wishing our Sharmila ‘dimpled’ Tagore a Happy Birthday.


Song-Koyal bole daali se daali bole maali se (Chhoti Bahu)(1971) Singer-Lata, Lyrics-Indeewar, MD-Kalyanji Anandji

Lyrics

koyal bole daali se
daali bole maali se
bolo
kya boli
til ke phool tili ke daane
munne raaja bade sayaane
saari duniya dekh li munne raaja
ho munne raaja
tujhsa koi nahin
saari duniya dekhli munne raaja
tujhsa koi nahin
til ke phool tili ke daane
munne raaja bade sayaane

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

tu mere mann ka darpan
saathi hai akelepan ka
jaane ajaane jod liya
tujhse naata jeewan ka
atkan chatkan dahi chatokan
atkan chatkan dahi chatokan
naach dikhaa de chhoom chhana chhan
saari duniya dekhli munne raaja
ho munne raaja
tujhsa koi nahin
til ke phool tili ke daane
munne raja bade sayaane

rooth na jaana tu mujhse
duniya roothe to roothhe
yahi mel yahi khel rahe
kabhi saath na apna chhoote
bal bal jaoon munne raaja
bal bal jaoon munne raaja
thhumak thhumak chal ke aaja
saari duniya dekh li munne raaja
ho munne raaja tujhsa koi nahin
til ke phool tili ke daane
munne raja bade sayaane

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

jaan meri rehti hai tujh mein
tu hi jaan hai meri
ek pal tujhe na dekhoon toh
duniya ho jaaye andheri
tujh bin mera jeewan aise
tujh bin mera jeewan aise
bin khushboo ke phool ho jaise
saari duniya dekh li munne raaja
ho munne raaja tujhsa koi nahin
til ke phool tili ke daane
munne raja bade sayaane
hmmm hmmhmm
hmmmm hmmmm
hmmmm hmmhmm


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 : 4153 Post No. : 15319

“Heeraa”(1973) was produced and directed by Sultan Ahmed for Sultan Ahmad Productions, Bombay. The movie had Sunil Dutt, Asha Parekh, Farida Jalal, Shatrughan Sinha, Helen, Kanhaiyyalal, Anwar Hussain, Nazir Hussain, Sulochana, Mukri, Randhir, Tabassum, Tuntun, Mumtaz Begam, B.B. Bhalla, Polsan, Renuka, Keshav Rana, Abhimanyu Sharma, Jankidas, Master Raju, Pahalwan, Habib, Mac Mohan, Maqbool, Bam Lahiri, Abhimanyu Sharma, Master Rajoo etc in it, with friedly appearances by Faryal, Asha Potdar, Shyam Kumar and Satyendra Kappu.

The movie had six songs in it. Four songs have been covered in the past.

Here is the fifth song from the movie to appear in the blog. This song is sung by Lata. Indeewar is the lyricist. Music is composed by Kalyanji Anandji.

This song is a Bihar -Eastern UP kind of song where dancing girls were called to perform at important occasions such as weddings etc. In the picturisation, Asha Parekh is getting married and Helen is called upon to dance on the occasion.

Helen lip syncing in Lata’s voice (instead of Asha Bhonsle) and performing a mujra kind of dance (rather than cabarat). This was perhaps the idea of the moviemaker to cast Helen in a “different” kind of role. 🙂


Song-Der na karo piya pyaare (Heera)(1973) Singer-Lata, Lyrics-Indeewar, MD-Kalyanji Anandji

Lyrics

aa aa
aa aa
shamma hai
gul bhi hai
bulbul bhi hai
parwaana bhi
raat ki raat ye sab kuchh hai
sahar kuchh bhi nahin
der na karo o
der na karo
piya pyaare
paas aate aate tumhaare
kahin door
kahin door
kahin door na main chali jaaun
der na karo o
piya der na karo
na karo

kaahe jodi
kaahe jodi nigodi piya maine tujhse najariya
dega taana
dega taana
dega taana zamana
hansegi ye saari nagariya
ab to hadd ho gayi intzaar ki
laaj rakh lo piya mere pyar ki
ab to hadd ho gayi intzaar ki
jali jaaun
pyaar ki aag mein
piya der na karo
piya pyaare
paas aate aate tumhaare
kahin doon na main chali jaaun
der na karo o
piya der na karo
na karo

dekhoon raahen
dekhoon raahen
nigaahen bichhaa ke main saari umariyaa a
par zamaana
par zamaana
par zamaana begaana
ye mohlat na dega sanwariya
waqt ko kisne roka
kahin de jaaye na dhokha
gair ka mujhe na kar de
maang mein aag na bhar de
aane waale abhi jo na aayega
dekh lena koi jaan se jaayega
aane waale abhi jo na aayega
chhali jaaun hathhon kismat se
main na chhali jaaun
piya der na karo
piya der na karo
na karo


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has over 15700 song posts by now.

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

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(© 2008 - 2020) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

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Movies with all their songs covered =1211
Total Number of movies covered =4325

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