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

Posts Tagged ‘Laxmikant Pyaarelal


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.

‘Sur Sangam’ is one of the last such examples that I can recall. After the 1980s, my interest in Hindi films kind of petered down, and I would appreciate if other friends and readers can tell about such films beyond the 1980s. This film is a remake (not a dub) of another absolutely fabulous Telegu film, ‘Shankarabharanam’ (1979). It is opportune for me that I have also seen this film, on the big screen. Both films, in their own standing, are wonderful productions in all aspects of combining classical music and cinema. The profundity, the importance, and the current state of affairs in this field, had been excellently expressed. Yes, as opposed to the themes mentioned above, this film is set in the contemporary times, and fate meted out to the exponents of this art form in our times is very well depicted.

As is the requirement of this theme, there are some very wonderful songs in this film, that are about classical music, about learning classical music, about ‘sur’ and ‘naad’. The song that I present today is one such beautiful expression of this art form – “Aaye Sur Ke Panchhi Aaye”. Other songs from this film relating this theme are “Saadh Re Mann Sur Ko Saadh Re” and “Saadho, Aisa Hi Gur Bhaave”.

This song is the first thing we see on the screen within a couple of minutes after the credits have been completed. We are introduced to Pandit Shivshankar Shastri, one of the senior-most and expert practitioner of the art form of classical music. And what better an introduction than presenting a stage performance by him. We see Pandit Shivshankar (role played by Girish Karnad) on stage. His child daughter Sharda (role played by Baby Mamta) accompanies him on stage, playing the taanpura. We also see Gopal (role played by Paintal), one of his disciples, accompanying him on table. There are other artists and musicians also present. In the audience, we see Tulsi (role played by Jayaprada), who is an ardent admirer of Pandit ji, sitting in the front row with her mother Ratnabai (role played by Tabassum). The man wearing a white cap and sitting next to Tabassum, plays the role of Ratnabai’s brother, i.e. uncle to Tulsi.

As the performance is in progress, another gentleman, appearing to be a rich man / politician, enters the hall, and comes and sits in front of Ratnabai, with his back towards the stage. Pandit ji immediately ceases the performance, and walks away. In the film, a little later, the last antaraa of this song – “Sur Ka Hai Sopaan Sureela. . .”, is presented as being played on a gramophone player, and Tulsi is practising alongside with the image of her guru, Pandit Shivshankar Shastri, sitting on a jhoola next to her.  For this part, I have not been able to locate a separate video clip, so the audio clip is included.

The verses of this song are penned by Vasant Dev, and the music is by Laxmikant Pyaarelal. The singing voices are of Rajan-Sajan Misra, the brothers duo of classical singers, and Kavitha Krishnamurthy.’

Celebrating the World Music Day, listen to this magnificent rendition and presentation, in Raag Maalkauns.

Part 1 – Video

Part 2 – Audio

Song – Aaye Sur Ke Panchhi Aaye (Sur Sangam) (1985) Singer – Rajan Sajan Misra, Kavitha Krishnamurthy, Lyrics – Vasant Dev, MD – Laxmikant Pyaarelal
Rajan-Sajan Misra + Kavitha Krishnamurthy

Lyrics

Part  1
(aalaap)

aa..aaye sur ke panchhi aaye
aaye sur ke panchhi aaye
aaye sur ke panchhi aaye
ambar ke onkaar naad ki
goonj sunaate aaye
ambar ke onkaar naad ki
goonj sunaate aaye
aa..aa..aa
aaye sur ke panchhi aaye
aaye sur ke
(sargam)
aaye sur ke panchhi aaye
(aalaap)
aaye sur ke panchhi aaye
aaye sur ke panchhi aaye
(sargam)
aaye sur ke panchhi aaye
aaye sur ke panchhi aaye

kirnon ki avroh raah se
dharti par utar aaye
aaa
aaaaaa
aaaaaa aaaaa aaaaa
kirnon ki avroh raah se
dharti par utar aaye
maati ko chhoo kar jeene ki
chaah jagaate aa..aa..aaye
aaye sur ke panchhi aaye
aaye sur ke panchhi aaye

(sargam)

saam ved ki ras ganga mein
lehar uthaate aaye
ree..eeee.eeee.eeee.eeeee
saam ved ki ras ganga mein
lehar uthaate aaye
veena ki jhankaar sureeli
ban kar mann mein chhaa..aa..aaye
aaye sur ke panchhi aaye
aaye sur ke
(sargam)
aaye sur ke
(sargam)
aaye sur ke
(alaap)

[intrusion and singing ceases]
Part 1 Ends

Part 2
sur ka hai sopaan sureela

su. . . ree. . . laa. . .
aa ha
aaa aaa aaaa
sur ka hai sopaan sureela
amar lok le jaaye
jaaye
jahaan pahunch kar
mann ka saara
jahaan pahunch kar
mann ka saara
dooja pan mit jaa..aa..aa..aa..aaye
aaye sur ke panchhi aaye
aaye sur ke panchhi aaye

(sargam)

aaye sur ke panchhi aaye
aaye sur ke panchhi aaye
aaye sur ke panchhi aa..aa..aa..aaye

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

भाग १
(आलाप)

आ॰॰आए सुर के पंछी आए
आए सुर के पंछी आए
आए सुर के पंछी आए
अंबर के ओंकार नाद की
गूंज सुनाते आए
अंबर के ओंकार नाद की
गूंज सुनाते आए
आ॰॰आ॰॰आ॰॰
आए सुर के पंछी आए
आए सुर के
(सरगम)
आए सुर के पंछी आए
(आलाप)
आए सुर के पंछी आए
आए सुर के पंछी आए
(सरगम)
आए सुर के पंछी आए
आए सुर के पंछी आए

किरणों की अवरोह राह से
धरती पर उतर आए
आs
आsssss
आssss आssss आsssss
किरणों की अवरोह राह से
धरती पर उतर आए
माटी को छू कर जीने की
चाह जगाते आ॰॰आ॰॰आए
आए सुर के पंछी आए
आए सुर के पंछी आए

(सरगम)

साम वेद की रस गंगा में
लहर उठाते आए
री॰॰ई॰॰ई॰॰ई॰॰ई॰॰
साम वेद की रस गंगा में
लहर उठाते आए
वीणा की झंकार सुरीली
बन कर मन में छा॰॰आ॰॰आए
आए सुर के पंछी आए
आए सुर के
(सरगम)
आए सुर के
(सरगम)
आए सुर के
(आलाप)

[अनुचित प्रवेश एवं गायकी का अन्त]
भाग १ का अन्त

भाग २
सुर का है सोपान सुरीला
सु॰॰॰री॰॰॰ला॰॰॰
आ हा
आ आ आ
सुर का है सोपान सुरीला
अमर लोक ले जाये
जाये
जहां पहुँच कर
मन का सारा
जहां पहुँच कर
मन का सारा
दूजापन मिट जा॰॰आ॰॰आ॰॰आ॰॰आये
आए सुर के पंछी आए
आए सुर के पंछी आए

(सरगम)

आए सुर के पंछी आए
आए सुर के पंछी आए
आए सुर के पंछी आ॰॰आ॰॰आए

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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.
With this post, the blog now carries 700 songs by Laxmikant Pyaarelal.

The story of Laxmikant Pyaarelal reads like a dream rags-to-riches story. But it is also a story of hard work and persistent effort. Laxmikant, the senior partner in the team, was three years elder to Pyaarelal. Interestingly, both were born on 3rd of the month, Laxmikant in November and Pyaarelal in September. Pyaarelal is the son of the renowned musician Ram Prasad Sharma. Although active in the film industry since the latter part of 1930s, Ram Prasad did some films independently from 1947 to 1950. Not adept with commercial acumen, his financial status was poor most of his life. Pyaarelal, his eldest son, had to start working as a musician in recording studios at the age of 12, to support his family. The story of Laxmikant’s childhood is even more depressing. He was raised in the slums of Vile Parle in Bombay. His father passed away when he was just a toddler. A friend of his father supported him and guided him towards learning music. With time, his talent shone through, and he too started working as a musician in the film industry.

Remembering Laxmikant Shantaram Kudalkar on the 19th anniversary of his passing away today (25th May).

Growing up in financially difficult times, the childhood of these two great musicians and music directors kind of weaved through the same threads. Laxmikant got the opportunity to learn violin from Husnlal (of Husnlal-Bhagatram duo), and from Bal Mukund Indorekar. Pyaarelal learnt from his father, and other contemporaries of his father, like Anthony Gonsalves.

The two young musicians met in Sureel Kala Kendra, a center for teaching music to young children. This center was run by the Mangeshkar family. Lata ji was very impressed with the talent of this pair, and through her references, they started getting work as musicians for the recordings of some of the main line music directors of that era. The melody was in the making and the 1950s was the time that this pair of youngsters learnt their trade working under the stalwarts like Naushad, C Ramchandra, SD Burman etc. By the later part of 1950s, the career of Kalyanji Anand ji team was taking off, and Laxmi-Pyaare’s team was working as assistants to them. Although both worked together as a team, Pyaarelal was more incharge of orchestration and arrangements, and Laxmikant was more towards composition and vocals. By early 1960s, this team started to get independent offers. What came about in the short space of 5 to 7 years was a string of memorable hits and Jubilee films, that established Laxmi-Pyaare as a force to reckon with in the industry. Sample their successes from the 1960s – ‘Parasmani’ (1963), ‘Dosti’ (1964), ‘Sant Gyaneshwar’ (1964), ‘Mr X In Bombay’ (1964), ‘Hum Sab Ustad Hain’ (1965), ‘Lutera’ (1965), ‘Shriman Funtoosh’ (1965), ‘Aaye Din Bahaar Ke’ (1966), ‘Pyaar Kiye Jaa’ (1966), ‘Milan’ (1967), ‘Pathat Ke Sanam’ (1967), ‘Shagird’ (1967), ‘Night In London’ (1967), ‘Farz’ (1967), ‘Jeene Ki Raah’ (1969), ‘Inteqam’ (1969), ‘Do Raaste’ (1969) – the list simply goes on and on.

Many readers may be aware that Laxmikant made an appearance as himself in the 1983 film ‘Teri Kasam’.  There is a sequence wherein a song is being recorded for a rising young star, role played by Gaurav Kumar. The initial part of this song is pictruized inside a recording studio, where Laxmikant is sitting in the control room. Incidentally we also see Kersi Lord, one of the expert music arrangers of our industry, also present, working on the recording machinery.

For the anniversary today, I bring this last remaining song of the film ‘Aaye Din Bahaar Ke’ from 1966. Six of the seven songs of this film are already posted on our blog. A quick look as the list below, and you can imagine, what a musical treat this film is – one of the early films of Dharmendra as he is taking off as a romantic hero.

1.       Mere Dushman Tu Meri Dosti Ko Tarse
2.       Suno Sajna Papeehe Ne
3.       Khat Likh De Sanwariya Ke Naam Babu
4.       Mera Mehboob Hai Bemisaal
5.       Phoolon Se Mukhde Waali
6.       Ye kali jab talak phool ban ke khiley

This last song is an all female duet, which is sung by Asha Bhosle and Lata Mangeshkar. On screen, it is performed by Nazima and Asha Parekh. The words are from the pen of Anand Bakshi. An important note here about the association of this duo music directors and this song writer. This combination has been one of the most prolific songwriter – MD combinations in the industry. Over the decades, they have produced more than 300 songs together, a majority of which have been significant hits.

With a tribute to Laxmikant today, listen to this wonderful expression of aspirations of falling in love, and the simultaneous advice against it. The words are superb, and the composition is very attractive. And yes, with this song, the film ‘Aaye Din Bahaar Ke’ completes its tally of songs on the blog. Time for another ‘Yippeee’ call.

With this song, Laxmikant Pyarelal now have 700 songs in the blog as music directors. They become only the second music directors, behind Shankar Jaikishan to reach this figure in the blog.

[Ed Note: Harish ji Raghuvanshi (of Surat) has informed in a separate email that Laxmikant-Pyaarelal are the only music directors in Hindi films to have crossed the 500 films milestone. There may be other names from South film centers, but as far as Hindi films is concerned, L-P are the leaders.]


Song – Ae Kaash Kisi Deewaane Ko (Aaye Din Bahaar Ke) (1966) Singers – Asha Bhosle, Lata Mangeshkar, Lyrics – Anand Bakshi, MD – Laxmikant Pyarelal

Lyrics

ae kaash kisi
deewaane ko
hum se bhi mohabbat ho jaaye

ae kaash kisi deewaane ko
hum se bhi mohabbat ho jaaye
hum lut jaayen
dil kho jaaye
bas aaj qayaamat ho jaaye
ae kaash kisi deewaane ko
hum se bhi mohabbat ho jaaye

hai waqt abhi tauba kar lo
hai waqt abhi tauba kar lo
allah museebat ho jaaye
allah museebat ho jaaye
ae kaash kisi deewaane ko
hum se bhi mohabbat ho jaaye

tum maloom nahin shaayad
kitne be-dard sanam hongey
tum maloom nahin shaayad
kitne be-dard sanam hongey
ye aap ne sach farmaaya hai
ulfat mein laakh sitam hongey
ulfat mein laakh sitam hongey
hain laakh sitam manzoor hamen
bas ek inaayat ho jaaye
hum lut jaayen
dil kho jaaye
bas aaj qayaamat ho jaaye
ae kaash kisi deewaane ko
hum se bhi mohabbat ho jaaye

har saans ko har ik dhadkan ko
wo apni yaad banaa daaley
har saans ko har ik dhadkan ko
wo apni yaad banaa daaley
tum aaj agar ik nagma ho
tumko fariyaad banaa daaley
tumko fariyaad banaa daaley

gairon se to ho shiqwe tumko
khud se bhi shikaayat ho jaaye
hai waqt abhi tauba kar lo
allah museebat ho jaaye
ae kaash kisi deewaane ko
hum se bhi mohabbat ho jaaye

har ek khataa ki is duniya ki
is ke khataa se behtar hai
har ek khataa ki is duniya ki
is ke khataa se behtar hai
ye pyaar nahin ik dard sahi
ye dard dawaa se behtar hai
ye dard dawaa se behtar hai
bas chain hamen aa jaaye jo
bechain tabiyat ho jaaye
hum lut jaayen
dil kho jaaye
bas aaj qayaamat ho jaaye
ae kaash kisi deewaane ko
hum se bhi mohabbat ho jaaye
hai waqt abhi tauba kar lo
allah museebat ho jaaye
allah museebat ho jaaye
allah museebat ho jaaye
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

ए काश किसी
दीवाने को
हम से भी मोहब्बत हो जाये

ए काश किसी दीवाने को
हम से भी मोहब्बत हो जाये
हम लुट जाएँ
दिल खो जाये
बस आज क़यामत हो जाये
ए काश किसी दीवाने को
हम से भी मोहब्बत हो जाये

है वक़्त अभी तौबा कर लो
है वक़्त अभी तौबा कर लो
अल्लाह मुसीबत हो जाये
अल्लाह मुसीबत हो जाये
ए काश किसी दीवाने को
हम से भी मोहब्बत हो जाये

तुमको मालूम नहीं शायद
कितने बे-दर्द सनम होंगें
तुमको मालूम नहीं शायद
कितने बे-दर्द सनम होंगें
ये आपने सच फरमाया है
उलफत में लाख सितम होंगें
उलफत में लाख सितम होंगें
हैं लाख सितम मंजूर हमें
बस एक इनायत हो जाये
हम लुट जाएँ
दिल खो जाये
बस आज क़यामत हो जाये
ए काश किसी दीवाने को
हम से भी मोहब्बत हो जाये

हर सांस को हर इक धड़कन को
वो अपनी याद बना डाले
हर सांस को हर इक धड़कन को
वो अपनी याद बना डाले
तुम आज अगर इक नग़मा हो
तुमको फरियाद बना डाले
तुमको फरियाद बना डाले
गैरों से तो हो शिक़वे तुमको
खुद से भी शिकायत हो जाये
है वक़्त अभी तौबा कर लो
अल्लाह मुसीबत हो जाये
ए काश किसी दीवाने को
हम से भी मोहब्बत हो जाये

हर एक खता इस दुनिया की
इस एक खाता से बेहतर है
हर एक खता इस दुनिया की
इस एक खाता से बेहतर है
ये प्यार नहीं इक दर्द सही
ये दर्द दवा से बेहतर है
ये दर्द दवा से बेहतर है
बस चैन हमें आ जाये जो
बेचैन तबीयत हो जाये’
हम लुट जाएँ
दिल खो जाये
बस आज क़यामत हो जाये
ए काश किसी दीवाने को
हम से भी मोहब्बत हो जाये
है वक़्त अभी तौबा कर लो
अल्लाह मुसीबत हो जाये
अल्लाह मुसीबत हो जाये
अल्लाह मुसीबत हो जाये


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.

Today, 08th March 2017, is the 96th birth anniversary of Sahir Ludhianvi – the poet – lyricist – whom we fondly remember for his memorable or rather immortal poetry and songs too – and the classic poetic gems – which he contributed to the Indian Cinema.
Read more on this topic…


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.

Hullo to all in Atuldom

I thought of putting down a few thoughts; that came to me in the last few days; on record. For one who is constantly Bangalore- Bashing as regards to the infrastructure etc, I must admit that it has given me a few PLUSes. I have been able to go for a few musical shows at some of the lovely Halls that Bangalore has. It all began with a show which was titled “Suno Mere Bandho Re” which paid tribute to S.D. Burman to the last one; about which I cannot stop myself from repeating about- where I saw my all time favourite Basanti. This is probably because of the changed working hours of the family members. I have found a little more free time here than in the period when I was a Mumbai-mother. Again the free time could be due to that fact that I go out very little on Social visits. So all things put together I find at least an hour or two to sit at my Desktop and read, listen to songs etc. This has also been the cause of my associating with the blog and getting to know a whole new set of Human Beings who have interests similar to mine. Of course for this I should whole heartedly Thank my daughter who stumbled on the blog.
Read more on this topic…


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.

Mohammed Rafi – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 29
– – – – – – – – – – – – – – – – – – – – – – – – – –

“भूला हुआ फसाना हमको ना था सुनाना

As I continue to search for songs for this series, I continue to keep getting surprises. I keep uncovering uncommonly wonderful gems that either I have not heard before, or keep bumping into songs that are memories from long ago, but not heard for a long time. Today’s song is one that I am encountering for the first time. Searching for a good song starting with today’s alphabet, as I was trawling through the folders of Rafi Sb songs on my hard disk, I found this gem a few days ago. A gem that I had not heard before. The year is 1966. This song should have been in memory banks from radio listening days. But no, I do not recall having heard it before.
Read more on this topic…


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.

Songs to Tickle Your Memory – 34
– – – – – – – – – – – – – – – – – –

This post will go down in the blog history as probably the most peculiar and unique post. As I begin to write these words, I have absolutely no idea what song this post is going to showcase. But still, I am starting to write this, as I have been waiting for quite some time now for things to fall in place. But they are stubbornly resisting.
Read more on this topic…


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.

Mohammed Rafi – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 27
– – – – – – – – – – – – – – – – – – – – – – – – – –

‘फ’

“फुर्र से उड़ जाती थी बुलबुल”

Although he lacked the finesse and comeliness of Shammi Kapoor, yet Jeetendra did acquire the epithet of ‘Jumping Jack’ of Hindi cinema. The film was ‘Farz’ from 1967. White shoes till then, were typically a trademark of either Rajkumar, or of the villain bosses like NK Ansari etc. In ‘Farz’, Jeetendra donned these white shoes for the song “Mast Bahaaron Ka Main Aashiq”. The image captured the imagination and clicked with the audiences. And then of course, followed a string of films with songs by Jeetendra presented with the same vigor and similar mannerisms. The ‘Jumping Jack’ epithet quite stuck on now.
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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.

The saga starts in 1947. It is the runaway hit “Afsaana Likh Rahi Hoon Dil e Beqraar Ka” (film ‘Dard’). Not many artists can lay claim to such a meteoric debut. And also, not many can pride themselves with unbroken partnerships and associations with other artists, that have lasted for an entire lifetime.
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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.

Mohammed Rafi – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 24
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‘ध’

“धीरे चल ज़रा, ओ पागल पुरवइय्या”

Vintage Rafi – that was my reaction on hearing this song, actually for the first time yesterday. And then I checked the other details, and find, this song is likely one the few very last songs that Rafi Sb would have recorded. This song comes from the 1980 vigilantes-and-robbers type story – ‘Hum Paanch’. As I chanced upon this song and started to play, my first feeling was – 1960s, or thereabouts.  The sedate rhythm and the soft rendition, gives that charmed old world feeling of the golden era. Just that the picturization visual in the video clip gives one the clue that this song is much later than 1960s.
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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.

Mohammed Rafi – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 23
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’  ‘द’

“दुपट्टा ओढ़े निकली बहारां देखो यारां”

 

I could not have missed the next episode in the Hindi alphabet series on Rafi Sb today. And it is by good luck that I am able to locate a song that adds one more anniversary together, and quite appropriately so.
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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 more than eight years. This blog has over 13300 song posts by now.

This blog is active and online for over 3200 days since its beginning on 19 july 2008.

Total number of songs posts discussed

13351

Number of movies covered in the blog

Movies with all their songs covered =1012
Total Number of movies covered =3703

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Blog Start date: 19 july 2008 Active for 3000 days.
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