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

Posts Tagged ‘Mahendra Kapoor


This article is written by Arunkumar Deshmukh, 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 (24 february 2017) is the biggest Shiv festival of India-MAHASHIVRATRI. I, on this occasion, wish all our readers a very pious,happy and fulfilling day of Bhakti and celebration.

Shravan Somvar and Mahashivratri have been special days in my life. My father was a great Shiv-Bhakta and he had built a big Shiv Temple in the premises of our bungalow in Hyderabad. On every Shivratri day, there used to be a long queue of devotees for Darshan and Pooja. The temple was always open for the public. The temple was situated in the open area adjacent to our bungalow, so we had no problem with the crowd of devotees. Whole day bhajans were played on loudspeakers and a special pooja by 101 Bramhins was arranged. All this made a deep impact on my mind.

In addition, we had stayed in Banares for an year, in 1948. Our house was close to Vishweshwar mandir and the river Ganga. So, Shiv has been a part of my life since my childhood.Till my wife was alive, we used to celebrate Mahashivratri, with great enthusiasm and religious fervour, in our house.

Shiv literally means auspiciousness, welfare. He is the third god of the Hindu Trinity, representing darkness. Because he is often portrayed as the angry God and the God of destruction. Lord Shiv is one of the most feared and worshipped gods in Hinduism. He is said to play a complementary role to Brahma because he is protector of souls until they are ready for recreation by Lord Brahma. Shiv has eight forms: Rudra, Sharva, Bhava, Ugra, Bhima, Pashupati, Ishana and Mahadeva; which, according to the Shiv Purana, correspond to the earth, water, fire, wind, sky, a yogi called Kshetragya, the sun, and the moon respectively.

Shiv symbolically represents the tamasic quality. This happens to be one of the gunas in Hinduism, symbolizing inactivity. His body color, which is white, denotes his purity and association with the snowy mountains. His three eyes represent the sun, the moon and the earth, the three paths of liberation and the triple nature of creation. The third eye is actually the eye of wisdom or occult knowledge. Epithets note his distinctive hairstyle; he has matted hair which holds the flowing Ganges River and a crescent moon. Shiva is said to be the essence of the Vedas and the creator of the Word. He is also the creator of Dance. Shiva’s dance of anger is called the Roudra Tandava and his dance of joy, the Ananda Tandava. He dances both the dance of destruction and the dance of creation. The rhythms he dances to are that of a world continuously forming, dissolving and re-forming.

The legend of marriage of Shiv and Shakti is one the most important legends related to the festival of Mahashivaratri. The story tells us how Lord Shiva got married a second time to Shakti, his divine consort. According to legend of Shiv and Shakti, the day Lord Shiv got married to Parvati is celebrated as Shivaratri – the Night of Lord Shiva.

Legend goes that once Lord Shiv and his wife Sati or Shakti were returning from sage Agastya’s ashram after listening to Ram Katha or story of Ram. On their way through a forest, Shiva saw Lord Rama searching for his wife Sita who had been kidnapped by Ravana, the King of Lanka. Lord Shiv bowed his head in reverence to Lord Rama. Sati was surprised by Lord Shiv’s behavior and inquired why he was paying obeisance to a mere mortal. Shiv informed Sati that Rama was an incarnation of Lord Vishnu. Sati, however, was not satisfied with the reply and Lord asked her to go and verify the truth for herself.

Using her power to change forms, Sati took the form of Sita appeared before Rama. Lord Rama immediately recognized the true identity of the Goddess and asked, “Devi, why are you alone, where’s Shiv ji ? ” At this, Sati realized the truth about Lord Ram. But, Sita was like a mother to Lord Shiv and since Sati took the form of Sita her status had changed. From that time, Shiva detached himself from her as a wife. Sati was sad with the change of attitude of Lord Shiv but she stayed on at Mount Kailash, the abode of Lord Shiv.

Later, Sati’s father Daksha organised a yagna, but did not invite Sati or Shiv as he had an altercation with Shiva in the court of Brahma. But, Sati who wanted to attend the Yagna, went even though Lord Shiva did not appreciate the idea. To her great anguish, Daksha ignored her presence and did not even offer Prasad for Shiv. Sati felt humiliated and was struck with profound grief. She jumped into the yagna fire and immolated herself.

Lord Shiv became extremely furious when he heard the news of Sati’s immolation. Carrying the body of Sati, Shiv began to perform Raudra Tandava or the dance of destruction and wiped out the kingdom of Daksha. Everybody was terrified as Shiva’s Tandava had the power to destroy the entire universe. In order to calm Lord Shiv, Vishnu severed Sati’s body into 12 pieces and threw them on earth. It is said that wherever the pieces of Shakti’s body fell, there emerged a Shakti Peetha, including the Kamaroopa Kamakhya in Assam and the Vindhyavasini in UP.
Lord Shiv was now alone, undertook rigorous penance and retired to the Himalayas. Sati took a re-birth as Parvati in the family of God Himalaya. She performed penance to break Shiva? meditation and win his attention. It is said that Parvati, who found it hard to break Shiv’s meditation sought help of Kamadeva – the God of Love and Passion. Kaamadeva asked Parvati to dance in front of Shiv. When Parvati danced, Kaamadeva shot his arrow of passion at Shiv breaking his penance. Shiv became extremely infuriated and opening his third eye that reduced Kaamadeva to ashes. It was only after Kamadeva? wife Rati? pleading that Lord Shiv agreed to revive Kaamadeva.

Later, Parvati undertook severe penance to win over Shiv. Through her devotion and persuasion by sages and devas, Parvati, also known as Uma, was finally able to lure Shiv into marriage and away from asceticism. Their marriage was solemnized a day before Amavasya in the month of Phalgun. This day of union of God Shiv and Parvati is celebrated as Mahashivratri every year.

According to another version of the legend, Goddess Parvati performed tapas and prayers on the auspicious moonless night of Shivaratri to ward off any evil that may befall her husband. Since then, womenfolk began the custom of praying for the well being of their husbands and sons on Shivaratri day. Unmarried women pray for a husband like Shiv, who is considered to be the ideal husband.

Today’s bhajan is from film Mahashivratri-72. I have not seen this film, because by 1970, I was busy in Career building and family raising etc, and I had practically stopped seeing films. In any case, films made after 1970,according to my opinion, were not as good quality- wise as earlier movies,especially the music part, which further discouraged me. Also by the 80s, VCR and VCPs were in vogue, so homes had become theatres of convenience.

The song/bhajan is written by Bhagwat Mishra aka B.D.Mishra or Bhagwat Datt Mishra. He entered the film world in as far back as 1948 with Wadia’s film “Shri Rambhakta Hanuman”. He was brought in by Homi Wadia himself. After this film Mishra was closely associated with S.N.Tripathi and wrote songs for as many as 26 of his films, out of 45 films for which he wrote about 200 songs. unfortunately he wrote for only Action, stunt and Mythological films. Though his lyrics were of good quality, he never came to limelight as his field remained B and C grade films only.

The film was directed by Shantilal Soni, who started his directorial career with ‘Sinhaldweep ki Sundarei-60’and went on to direct 30 films. His last film was ‘Mahima kaali maa ki-2000’. Most of his films were Mythologicals( 20 out of 30). Some of his well known films were Mr.X in Bombay-64, Shreeman Funtoosh-65, and Professor ki Padosan-93.

Let us now listen and enjoy this Bhajan from Film “Mahashivratri”-72, on this holy occasion of Mahashivratri. Jai Mahadev !

With this song, Maha Shivratri(1972) makes its debut in the blog.


Song-Aayi mahaa shivraatri siddhi ki daatri (Maha Shivratri)(1972) Singers-Mahendra Kapoor, Lyrics-B D Mishra, MD-S N Tripathi
Mahenda Kapoor + Laxmi Nayampalli
Chorus

Lyrics

aayi maha shivraatri
aayi maha shivraatri
siddhi ki daatri
sakal bhav bhay haari
jai mahaadev mangalkaari
aayi maha shivraatri
siddhi ki daatri
sakal bhav bhay haari
jai mahadev mangalkaari

jai ho
shambhu jai ho
shambhu
jai hove tumhaari
har har mahadev

aa aa aa
aa aa aa
aa aa aa
sagaar manthan se jab nikli
kaal koot ki jwaala
nikli kaal koot ki jwaala
sabki raksha karne ko
tumne wo vish pee daala
tumne saara vish pi daala
neelkanth tum huye
sabhi ke liye
sarv sankat haari
jai mahadev mangalkaari

aayi maha shivraatri
siddhi ki daatri
sakal bhav bhay haari
jai mahadev mangalkari
jai ho
shambhu jai ho
shambhu
jai hove tumhaari
har har

aa aa aa
aa aa aa
aane lagi jab swarg se ganga aa aa
aa aa
aane lagi jab swarg se ganga
apna veg badhaaye
ganga apna veg badhaaye
baandh jataaon mein ganga ko
ganga dhar kahlaaye
prabhu tum ganga dhar kahlaaye
sheesh suhaaye
gang uma hai sang tumhaari chhabinaari
jai mahadev mangalkaari

aayi maha shivraatri
siddhi ki daatri
sakal bhav bhay haari
jai mahadev mangalkaari
jai ho
shambhu jai ho
shambhu
jai hove tumhaari
har har mahadev

aa aa aa
aa aa aa
aa aa aa
tumhe digaane ko jab manmathh ne
pushp baan jab maare
tum par pushp baan jab maare
khol teesra lochan
khol teesra lochan
tumne barsaaye angaare
tumne barsaaye angaare
jala kaam ka ang
hua wo anang
rahe tum adhikaari
jai mahadev mangalkari

aayi maha shivratri
siddhi ki daatri
sakal bhav bhay haari
jai mahadev mangalkaari
jai ho
shambhu
jai ho
shambhu
jai hove tumhaari
har har mahadev

aa aa aa
aa aa aa
aa aa aa
tumhe pooj kar hi raghav ne
om namah shivaay
tumhe pooj kar hi raghav ne
raavan par jai paayi
raam ne raavan par jai paayi
sakal bhav bhayhari
jai mahadev mangalkaari
jai ho
shambhu jai ho
shambhu
jai hove tumhaari
har har mahadev
har har mahadev
har har mahadev
har har mahadev

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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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, February 21st 2017 is the 26th Remembrance Day ( I, feel it is better to call it Remembrance Day than calling it death anniversary) of Nutan, one of my favourite actresses. The first film of her which I saw in a theatre was ‘Milan’ in 1967. Thereafter, I had watched her black & white films when they were telecast on Doordarshan sometime in the early 80s. I am sure, many readers would agree with me that Nutan, through her intense acting, made us to ponder over the some of the social issues raised in films like ‘Seema’ (1955), ‘Sujaata’ (1959), Bandini’ (1963), ‘Saraswatichandra’ (1968) etc.

I had watched the film ‘Seema’ (1955) for the first time on Doordarshan probably in late 70s or early 80s. The story of the film and the roles played by Nutan and Balraj Sahani created so much impact on me that the story of the film lingered in my mind for few days. I had a similar experience when I saw ‘Kaagaz Ke Phool’ (1959) on its rerun some time in 1974. But this time the impact was such that I had no desire to watch this classic film once again. The story and scenarios were too gloomy for me. I had no such worries as far as ’Seema’ (1955) was concerned and I watched it multiple times.

I watched the film ‘Seema’ (1959) once more from my collections of DVDs of the classic Hindi films a few months back. After watching the film this time, I had a strong urge to write an article on Nutan’s journey in the film industry for the Blog in token of my gratitude for such a fine actress. I had done some research on her journey of almost 4 decades in Hindi film industry. I watched some of her classic black & white films once more to get a feel of her acting talent. I had also gone through some comments on the 4th updated edition of Nutan’s biography in Marathi ‘Asen Me Nasen Me’ (I may be I may not be) which was released about a year back. These coupled with interviews and few articles including one in ‘Filmfare’ magazine gave me an idea about Nutan’s filmy career which I find unique and interesting.

At the outset, it would appear that initially, Nutan (04/06/1936-21/02/1991) was reluctant to be an actress. Probably her mother, Shobhana Samarth, one of the top actresses of the 1940s may have decided that Nutan would become an actress. So she launched Nutan in her home production ‘Hamaari Beti’ (1950) which she produced and directed when Nutan was barely 14 years. Even though, the film did not fare well on the box office front, Nutan was noticed as a fine actress. This was followed by ‘Ham Log’ (1951) and ‘Nageena’ (1951) among other films in the early 50s which were successful.

However, most of her films released during 1952-54 did not fare well on the box office. Even though film offers were coming to her, Nutan decided to quit films for short period and pursue a course in Swiss Finishing School La Chatelaine. The school was meant for girls to acquire social grace and etiquette in the upper class society, especially as a precursor for the marriage. But Nutan was destined to become an actress.

A few profile pictures of her which Nutan sent from Switzerland of her trips in Europe to her mother was published in ‘Filmindia’ magazine, probably at the behest of her mother. The pictures attracted the attention of Shashdhar Mukherjee of Filmistan for the role of Heer for the film ‘Heer’ (1956). Nutan was called back from Switzerland to sign the film. During the same time, she also signed ‘Seema’ (1955). While ‘Heer’ (1956) did not fare well on the box office, ‘Seema’ (1955) became one ?of the top 10 hit films of 1955. This success was followed by the success of ‘Paying Guest’ (1957), ‘Dilli Ka Thag’ (1958), ‘Anaari’ (1959) and ‘Sujaata’ (1959) among some other films in which she acted.

Sometime in 1959, Nutan married Rajnish Bahl, a Lieutenant Commander in Indian Navy. At the time of her marriage, Nutan announced her retirement from films.

In 1960, Bimal Roy approached her with a script of ‘Bandini’ (1963) and said that this script was written keeping her in mind. If she declines the offer, he would not make the film. Since she had already decided not to work in the films, she was in a piquant situation. But her role in the film was challenging. Accepting the film would open the pandora’s box as few other banners had also been approaching her to accept the heroine’s role in the films.

It was very difficult to her say no to Bimal Roy especially when the role was a challenging one and Bimal Roy was prepared to wait. She agreed to work for the film. With this acceptance, she also signed ‘Tere Ghar Ke Saamne’ (1963) and ‘Dil Hi To Hai’ (1963). All these films became box office hits.

Generally, we talk about ‘first coming’ or ‘second coming’ in regard to any artist’s career. For Nutan, it was her ‘third coming’. Normally in the film industry, once an artist announces retirement or becomes out of sight, he or she becomes out of mind from those who matters in the film industry. Even if one calls her absence ?from? the film? industry in 1954 and again in 1960 as short sabbaticals, it is difficult for most of the artists in such situation to regain the pivotal position in the film industry. Nutan proved it wrong. Not only she proved her worth in terms of box office success of the films on her ‘second coming’ and ‘third coming’, she lapped up Filmfare awards for the Best Actress in ‘Seema’ (1955), ‘Sujaata’ (1959), ‘Bandini’ (1963), ‘Milan’ (1967) and ‘Main Tulsi Tere Aangan Ki’ (1978). It may be something of a record that she got 5 Filmfare Awards for the same category (Best Actress) over a period of 22 years from the age of 17 to 42 years.

And what a versatile actress Nutan was. If she did an intense acting of a rebellious and angry girl in ‘Seema’ (1955), she was also good in projecting herself in light romantic films like ‘Paying Guest’ (1957). If she wore swimming suit in the role of a swimming champion in ‘Dilli Ka Thag’ (1958), she was equally at ease in an intense role of a low caste adopted daughter in ‘Sujaata’ (1959). Again if she got an unconventional role of a jailed girl in ‘Bandini’ (1963), she also excelled in the light social comedy film ‘Tere Ghar Ke Saamne’ (1963).

From the 1980s onward, Nutan started getting supporting roles. Her role of a woman suffering from amnesia in the film ‘Meri Jung’ (1985) won her the Filmfare award for the Best Supporting Actress. During this phase of her career, Nutan worked with Dilip Kumar for the first time in the film ‘Karma’ (1986).

Nutan died of cancer on February 21, 1991 at the age of 55.

Two of her films – ‘Naseebwala’ (1992) and ‘Insaaniyat’ (1994) were released after her death.

Just as Shabhana Samarth produced and directed ‘Hamaari Beti’ (1950) for launching her elder daughter Nutan, She also produced and directed ‘Chhabili’ (1960) for launching her younger daughter Tanuja. With these two films, Shobhana Samarth probably created a history of launching her both the daughters by producing the films and directing her two daughters. It is also a co-incidence that Nutan sang her own songs in these two films produced and directed by her mother under the baton of Snehal Bhatkar.

There were 7 songs in the film CHHABILI (1960) of which as many as 6 songs were sung by Nutan either solo or as duet. 4 songs (including one multiple version song) from the film have been covered in the Blog.

On the occasion of Nutan’s 26th remembrance day, I am presenting the 5th song ‘O my darling, O my sweety’ from the film CHHABILI (1960) Sung by Nutan and Mahendra Kapoor. The song is written by S Ratan which is set to music by Snehal Bhatkar.

After listening to most of the songs rendered by Nutan including the playful song under discussion, I wonder as to why her potential as a singer was not exploited by producers/directors of her films.


Song-O my darling O my sweety (Chhabeeli)(1960) Singers-Nutan, Mahendra Kapoor, Lyrics-S Ratan, MD-Snehal Bhatkar
Both

Lyrics

o my darling
o my sweety
tujh pe fida
haay
mera dil hai
kya nigaahen
kya adaayen
tere bina jeena mushqil hai
o my darling
o my sweety
tujh pe fida haay mera dil hai
kya nigaahen
kya adaayen
tere bina jeena mushqil hai

phir wo kahegi
hehehe
how sweet
how sweet
how sweet

tu hai meri laila tu meri shirin
tu hai meri sohni sab se haseen
arre waah
tu hai meri laila
tu meri shirin
tu hai meri sohni
sab se haseen
tera mera pyaar ho jhoomti bahaar ho
par tujhe paana badi mushqil hai

o my darling
hmm hmm
o my sweety
hmm hmm
tujh pe fida haay mera dil hai
arre kya nigaahen
kya adaayen
tere bina jeena mushqil hai

how sweet
how sweet
how sweet

tere liye saara jag chhod diya
apnon se naata tod diya aa
haay haay

tere liye saara jag chhod diya
apnon se naata tod diya
baaten kar pyaar ki
dil beqaraar ki
ae dil waale
tu kyun be-dil hai
o my darling
o my sweety
tujh pe fida

haay
mera dil hai
kya nigaahen
arre kya adaayen
tere bina jeena mushqil hai

o my darling
hmm hmm
o my sweety
hmm hmm
tujh pe fida
haay mera dil hai
kya nigaahen
kya adaayen
tere bina jeena mushqil hai


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.

“Shaahi Lutera”(1965) was produced by Nirmal Anand and directed by Akkoo for BNT Films. The movie had Chitra, Azad, Indira, B.M.Vyas, Nirmal Anand, Tiwari, Shaikh, Heera Sawant, Ram Raseela, Arvid Kumar, Jilani, Krishna, Dog Tiger, Bela Bose etc in it.
Read more on this topic…


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.

“Mera Qasoor Kya Hai”(1964)directed by Krishnan -Panju for Bahar Films, Madras. The movie had Nanda, Dharmendra, Shashikala, Babloo, Om Prakash, Randhir, Raj Mehra , Mohan Choti etc in it.
Read more on this topic…


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.

“Ganwaar”(1970) was produced and directed by Naresh Kumar for Dimple Films. This movie had Rajendra Kumar, Vyjayanthimala, Pran, Tarun Bose, Nishi Kohli, Jeevan, David Abraham, Sunder, Dulari, Viju Khote, Ram mohan, Sadhu Singh, Kamal Deep, Ravi Kale, Master Ratan, Randhir, Gulshan Bawra, Pratima, Shefali, Sabina, Seema, Tabassum, Nikita, Ramlal, Madhu Apte, Tilak Raj, Dhanraj, Bashir, Chandra, Rammurthi, Radheyshyam, Ujagar Singh, Gulab Singh, Maherunnisa, Dulari, Shamsher, Ravikala, Satya Devi, Rita etc in it.
Read more on this topic…


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.

“Dilli Ka Daada” (1962) was directed by R S Tara for Film Sagar productions. The movie had Sahira, Sheikh Mukhtar, Shekhar, Mukri, Nishi etc in it.
Read more on this topic…


This article is written by Raja, 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(27 november 2016) is the birthday of one of the most popular music composers of the last 40 years, Bappi Lahiri.
Read more on this topic…


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. 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 Decade of Seventies – 1971 – 1980 #
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# Bhoole-Bisre Geet # 48 # Remembering Dara Singh on his Birth Anniversary #
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Today (19th November 2016) is the eighty eighth Birth anniversary of Dara Singh (19.11.1928-12.07.2012).
Read more on this topic…


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. 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 Decade of Seventies – 1971 – 1980 #
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# Bhoole-Bisre Geet # 45 # ‘Sahir Ludhianvi – in remembrance #
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Today (25th October 2016) is the ‘thirty-sixth ‘death anniversary of Sahir Ludhianvi (08th March’ 1921 – 25th Oct’1980).
Read more on this topic…


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. 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. This is his 100th writeup in the blog

#the Decade of Seventies – 1971 – 1980 #
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# Bhoole-Bisre Geet # 44 # ‘Shammi Kapoor – in remembrance #
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Today 21st October 2016 is the birth anniversary of Shammi Kapoor (21.10.1931-14.08.2011) – the ‘charming’ – ‘flamboyant’ – ‘infectious energetic’ (as some sources mentioned it) – ‘graceful’ etc.etc. One may keep on adding the adjectives that would come to mind and when one is talking of Hindi Cinema, we know we are talking of Shammi Kapoor.
Read more on this topic…


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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 more than 12900 song posts by now.

This blog is active and online for over 3000 days since its beginning on 19 july 2008.

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