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

Posts Tagged ‘Kalyanji Anandji


With the success of “Chor Machaaye Shor” (1974), Shashi Kapoor had become a much sought after actor.Shashi Kapoor decided to make hay while the sun shone and he signed up each and every offer that came his way. Shashi Kapoor signed up so many movies that he did not have dates to give for his various producers for shooting. Normally actors give “dates” in units of “shifts” for shooting, where one shift consists of six hours (I may be incorrect about the duration of a shift. I request our knowledgeable readers to throw more light on a “shift”). But Shashi Kapoor began to give time in hours for shooting, much to the chagrin of his producers, including Raj Kapoor, his own brother.
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“Bluff Master” (1963) was produced by Subhash Desai and directed by Manmohan Desai. This movie had Shammi Kapoor, Saira Bano, Saira Banu, Pran, Rashid Khan, Mohan Choti, Niranjan Sharma, Jugal Kishore, Shyamlal, Anand Joshi, Santosh Kumar, Lalita Pawar, Tuntun, Charlie Walker etc in it.
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This article is written by Santosh Ojha, a fellow enthusiast of Hindi movie music and an old contributor to this blog.

When Atul wrote to me in his usual polite way the other day that I must write a post on this song I was taken aback. I have been a (mostly silent) reader of his blog and I have even written a few pieces for it but none for a very long time. Perhaps he thought I might like to do this piece on Don’s “Khaike paan banaraswala” as most of my early pieces were on Amitabh Bachchan’s movies of that era as I am an unabashed AB fan. What he did not know when he wrote to me is that I had another “qualification” for doing this piece; I studied for five years in Banaras.
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“Ishaara” (1964) was an Amarnath Production movie. It was produced and directed by K Amarnath. The movie had Joy Mukherjee, Vyjayanthimala, Jayant, Subbiraj, Azra, Pratima Devi, Agha, Pran, Shammi, Sajjan, Murad, Praveen Paul, Hari Shivdasani, Kesari, Raja Amrohi, Ruby Meyers, Brahm Bhardwaj, Prem Sagar, Amrit Rana, Ravikant etc in it.
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The regulars of the blog know it by now that I miss no opportunity to gloat about my pets. And such opportunities present themselves in the form of songs featuring dogs and cats. My pets seem to have become popular, guazing by the fact that regulars tell me about various dog songs that they come across.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

The union budget is being presented in the parliament today. Our able finance minister will be making this annual effort to analyze, manage and provide for the various expenses required to run this huge nation of almost 125 crore Indians. The success of the successive governments in honestly deciphering, managing and presenting a budget – well, it has been a questionable exercise over the years to say the least. The bane of the budget, and the misfortune of the entire nation, is the disastrous concept of deficit financing – a device used by the government (not just in India, but everywhere else in the world), wherein the budget outlay proposes expenses much more than the money that is there in government’s kitty.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

Early sixties, and a new kid on the block is trying to catch attention with the clarion call “Banda Parwar, Thhaam Lo Jigar” (‘Phir Wohi Dil Layaa Hoon’ (1963)). Catapulting directly into the top bracket of leading roles, no one can say that Joy Mukherjee had a dearth of roles or big name pictures. The young lad was very handsome, with an open smiling face, and had histrionic talent also. And as is evident from the roles in the first decade of his career, he had lots of energy and had a lots of zeal. Btw, the song I mentioned in this paragraph, well it is not on this blog yet. (Hint, hint. :))
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1970s, especially the first half of it was ruled by R D Burman as a music director. So much so that the other music directors too began to compose music that sounded like R D Burman’s music. And of course they began to use the voice of Kishore Kumar also, who had become the top male singer just as R D Burman had become the top music director.
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