Posts Tagged ‘Parakh’
Samay tu dheere dheere beet
Posted on: December 29, 2022
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 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.
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Today’s song is an ‘Unique and a Special’ duet from the film Parakh-1944.
Why and how this song is ‘Unique and Special’ will come later, but first let me point out another important matter. In recent times, in India, the women are better treated, respected and also honoured for their contribution to running the household as well as earning equally to manage the married life on level fields. Women can be seen practically in every field of activity and have reached the top of the work places in almost every sphere. We have seen them as President, Prime Minister of the country, In Judiciary, Banks and even in Armed forces-be it Army, Navy or Air Force, the police, sports etc. There is hardly any field where women have not put their stamp.
But if you go back in the last 100 years, the conditions were different. Women were not so much independent and in an industry like Film Line, women who joined it would be seen in a very bad light. First of all, getting women to work in films was a Herculean task. The actual, real women who worked in a film was in 1913, when Durgabai kaqmat and her daughter worked in a silent film ” Bhasmasur Mohini”. Till then and even after that for some more time, women’s role were done by good looking young actors in stage dramas and films. As the years passed by, slowly girls started joining films – first the Jews, European and Anglo-Indians and then came girls from singing families (read Tawaifs), before girls from educated and respected families joined films.
By the 30’s and the 40’s there were enough women in films.However, most of them were controlled by their nearest kins like parents (Madhubala’s father and Suraiya’s grandmother) or brothers/sisters (Baburao Apte for Shanta Apte and Sardar Akhtar for Bahar). Many actresses, after their marriage, were prohibited from acting in films by their husbands or in-laws, so they quit films. Some examples are – the first heroine of Talkie films, Zubeida Sr. and also Zubeida Jr. in later times, Monika desai, Latika, Mohana, Shahzadi-both Sr. and jr. etc. Those who continued after marriage followed restrictions put by the Husbands. For example, Mumtaz Shanti had to always remain in a Burkha, except actual shooting. She was not allowed to talk to anyone on the set and had to immediately return home after shootings. Her husband, Lyricist, producer and Director Wali Saheb was a very orthodox Muslim. As long as Shamshad Begum’s father was alive she was not allowed to take her Photo anywhere.
Another example was Shanta Apte. When she joined films, her brother Baburao Apte used to hover around constantly during her shoots to prevent her mixing with others. What’s more, she was not allowed to work with anyone as her husband in the films, except only her brother Baburao- who would do the role of her husband.(only after Baburao’s marriage, Shanta Apte became ‘Free’). Yet another example was Meera Mishra. She was forced to retire after her first film “Milan”-1946, because her husband did not like it. (By coincidence, he died suddenly in a Riot and she did act in some more films, before getting married again).
I have quoted only a few examples, but these things were common and could be seen till almost 1970 or so. On the other hand, in the case of some actresses, their husbands encouraged them to join films ( and earn money for them). Some examples are Meenakshi Shirodkar (Bramhachari-1938), Renuka Devi, Nirupa Roy etc . Now we come to today’s song and why it is a special song.
Today’s song is a duet, sung by Ira Nigam and Hriday Narayan Nigam. Ira Nigam was discovered by Music Director Roshan when he was working for Delhi A.I.R. Ira was only 14 year old when Roshan brought Khurshid Anwar, M.D. to her house. They convinced her father to allow her to sing in films. He agreed but with a condition that she will not sing a duet with any other male singer except himself (he was a Singer in A.I.R.). Thus the first and the only Male-female duet of Ira Nigam in the film Parakh-1944 was sung with her own father ! This makes this song an ‘Unique and special’ song in Hindi film history. Because of this unusual condition of her father, Ira could not get many songs. What’s more, after her marriage with Mr. P.N.Nigam,, she was forbidden to sing in films. Thus her flowering career was nipped in the bud after songs in only 5 more films. The other films were Rakhi-49,Chaar Din-49, Ek Teri Nishani-49, Veer Ghatotkach-49 and Guru Dakshina-50.
The film was directed by Sohrab Modi. Music was by Khurshid Anwar (7 songs) and Saraswati Devi (2 songs). The cast was Mehtab, Balwant Singh, Kaushalya, Shah Nawaz, Latika, Sadiq Ali, Tarapore, Balraj Mehta and others.
A very odd name in the cast can be seen- Balraj Mehta. I am sure, hardly anyone has ever heard his name, but he was a very active person in his life. Born on 22-4-1918 at Lahore, he was the son of Sukh Dayal Mehta – Superintendent in the Commissioner’s office at Lahore. He completed Matriculation from Central Model High School and B.A. from Dayal Singh College of Lahore in 1939.
He was active in the Students’ union and held the General Secretary’s post of Punjab University Students’ Union, in 35-37. He organised the All India Student Federation conference in 36/37. He was a born Leader. He was interested in acting on stage. In 1944, he founded Indian National Theatre (I.N.T.), which is a very famous institution in India now also. He wrote, directed and produced its first stage drama ” Aawaaz’ in 1945.
By now he was married and needed to earn money. He joined the film line. He acted first in ‘Dulla Bhatti’ in 1939-40. Then came Sajjan-41,Panna-44, Parakh-44, Patharon ka Saudagar-44, Gulami-45 and lastly Pul-47.In the period 1944-45, he also became Secretary of Film Artistes’ Association and served it for a long time. In 1947, he entered Politics. After Independence, he became a journalist. After this I found his name in the cast of the film Ayodhyapati-56 and then as a Director of the film Trunk Call-1960. However, there is no information about him after this.
So, here is the love duet song, sung by a Father and a Daughter for the film Parakh-1944. Truly an ‘Unique and special’ song ! Enjoy….
Song- Samay tu dheere dheere beet (Parakh)(1944) Singers- Ira Nigam, Hriday Narayan Nigam, Lyricist- Pt. Sudarshan, MD- Saraswati Devi
Lyrics
Dheere dheere beet
Samay tu dheere dheere beet
Samay tu dheere dheere beet
dheere dheere beet
Samay tu dheere dheere beet
Samay tu dheere dheere beet
duniya ho ik raat chaandni
jeewan ho ik geet
duniya ho ik raat chaandni
jeewan ho ik geet
Samay tu dheere dheere beet
dheere dheere kyun kar ???
baat main teri kaise maanoon
dheere dheere kyun kar ???
baat main teri kaise maanoon
udte jaana
haath na aana
ye hai meri reet
udte jaana
haath na aana
ye hai meri reet
Samay tu dheere dheere beet
Samay tu dheere dheere beet
main pagli tu pagla ban jaana
??? ruk jaa ??
man ka meet rahe nit man mein
???
man ka meet rahe nit man mein
???
Samay tu dheere dheere beet
Dheere dheere beet
Samay tu dheere dheere beet
Samay tu dheere dheere beet
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.
| Blog Day : | 3742 | Post No. : | 14696 |
Today’s song is from a film called ‘Parakh’ (1944). This is a special song. It is a song sung by singer Ira Nigam. The song was written by Pt.Sudarshan and the music was by Khursheed Anwar. The cast of the film was Mehtab, Balwant Singh, Yakub, Shahnawaz, kaushalya, Sadiq Ali and others.
Ever since film making progressed and was seen as a job-provider, it attracted people from all over India. Unemployed but ambitious youngsters ran away from their hometowns to Bombay, with dreams in their eyes. As the industry got organised, those who were already working here either called or brought their other kins. Some impatient parents came themselves with their daughters. Due to poverty, examples of the entire family coming to Bombay and all joining the film industry were also seen-like Alla Bux, Iqbal Bano, Meena Kumari and her two sisters. Also seen earlier was Fatima and her three daughters and a step daughter-Mehtab. Some mothers or Grandmothers(Suraiya and Vyjayantimala) chaperoned their star children, while some fathers (like Madhubala’s) squeezed the best out of their child’s earnings (hell with her happiness !). In general,however it was the male part of the family which took charge of the actor or actress in film line.
If one sees the world history, one will find that most nations have changed culture wise and they have adapted themselves to the modern times and needs. Thus,things which were taboo a century ago are not taboo anymore. U.K. accepts jokes and cartoons on its royalty now,whereas hundred years ago, person would have been hanged in public for doing the same. USA can today tolerate parody of Christ and Christianity whereas hundred years ago the person would have been dead.
But our country has not changed its basic culture in spite of hundreds of years. Barring few exceptions, that too, in hi-fi society, Indian women are still ruled by the whims and dictates of males. When women from educated families entered the film industry, it looked like our women are liberated, but alas ! even in the film industry women are ruled by males.
A seemingly rebellious star of yesteryear – Shanta Apte – had to accept her own brother as husband in a film because she was not allowed to be touched by other males, by him. Unfortunately, her brother not only managed her film affairs, but also gave her a daughter. All this is recorded and declared by her daughter herself. She too became an actress in Marathi drama and films.
The most daring and courageous star of the 1940s – Meenakshi Shirodkar – who stunned everybody by donning a swimsuit and bathing in the waters of a river openly, in ‘Bramhachari’ (1938), had to give up her acting career midway because her husband refused to allow her to do any roles other than heroine.
Who knows how many women had to forego opportunities in film line only because their men-folk would not allow.
Today we will talk about a singer who had to forego wonderful opportunities in playback singing in Hindi films, first because of her father and then because of her husband. These days she only recalls and weeps.
Ira Nigam (NOT Ira Nagrath – wife of Roshan. She was different person) was born in October 1930 in Seoni (M.P.) in her mother’s maayeka. She had a God given gift of singing. She was educated in Delhi and Shanti Niketan. Her father Hriday Narayan Nigam was a singer himself. With his help she started singing on AIR Delhi. She completed her graduation in music form DU.
Her voice was sweet and melodious. Roshan, who was also working in AIR Delhi, one day brought the famous composer Khurshid Anwar to her house. They convinced her father to allow her to sing in films. She was so lucky to sing her first song in ‘Parakh’, under the baton of Khurshid Anwar. She was only 14 years old then. Here her father put a condition that only he will sing duets with her and no other male. Due to this strange condition, she got only one more film ‘Asmat’ (1944) and they had to go back to Delhi.
Ira got married meantime and came back to Bombay again in 1948. This time with her husband P.N. Nigam.
Harmandir Hamraaz, who interviewed her in Kanpur in Aug 1984 says that she wept when she told him that as her husband did not like her work in Hindi films, she had to give up singing after doing just 5 films. She did not have her own song records also. It was Hamraaz ji, who met her again and gave her those records. She was very happy.
She sang in ‘Rakhi’ (1949), ‘Chaar Din’ (1949), ‘Ek Teri Nishani’ (1949), ‘Veer Ghatotkach’ (1949) and last film ‘Guru Dakshina’ (1950). There were hundreds of singing offers to her when she left Bombay second time. First it was due to father and next it was due to husband, who cut short a melodious singing career. However, while in Kanpur and Delhi, she sang on A.I.R. and Television.
If you take 100 actors/actresses who worked in films, 20% will be the hero/heroines. The rest 80 % comprise of character actors, comedians, villains etc. Even out of the 20 % lead players, very few – like Dilip, Dev Anand or Amitabh – last as heroes till the end of careers but most others end up as character actors. Some examples are Pran, K N Singh, Om Prakash, Sunder Singh etc etc. Some actors do character roles from start to finish of their careers- like Nazir Hussain, Kanhaiyalal, C S Dubey, Tiwari etc. Some actors, though endowed with good face and personality, could not get a hero’s role and did character roles throughout.
One such actor was Shahnawaz Khan, known only as Shah Nawaz. He was born on 18-9-1906 in Hyderabad Deccan. His father was a Major in Hyderabad’s Nizam Army. During education, he used to act in dramas. After matriculation, he joined a Govt. service in Hyderabad state. He was however keen on joining films and dramas. After 5 years, he left the job and started a motor car business. In that connection, he would visit Bombay and try his luck at different studios. Finally, his efforts bore fruit and he got a villain’s role in film ‘Bharat Ka Laal’ (1936), in which he was listed as S. Nawaz. It was a stunt film made by the Kadam brothers (Harischandra Rao and Chandra Rao Kadam), with Master Bhagwan as the hero.
After this, he did not go back to Hyderabad. Then came ‘Daulat’ (1937), ‘Toofani Khazana’ (1937), ‘Rangila Mazdoor’ (1938), ‘Jungle King’ (1939), ‘Sardar’ (1940) etc. In 1940, he joined Bombay Talkies and worked in films. He was apparently in Devika Rani’s camp. He was in ‘Punarmilan’ (1940),’Bandhan’ (1940), ‘Jhoola’ (1941), ‘Naya Sansar’ (1941), ‘Kismet’ (1943) and ‘Hamari Baat’ (1943). He also worked in ‘Master ji’ (1943), ‘Police’, ‘Parakh’ and’ Anban’ (1944), ‘Zeenat’ and ‘Humayun’ (1945) and some more. In all, he did about 35 films in India. In or around 1948, Shahnawaz migrated to Pakistan. He was welcomed there. He did 41 films in Pakistan (32 Urdu and 9 Punjabi). Some films were quite famous like ‘Aansoo’ (1950), ‘Sassi’ (1954), ‘Ayyaz’ (1960) etc.
Shahnawaz died in Karachi on 18-6-1971. His last released film was ‘Nek Parveen’ (1975).
Another actor was Sadiq Ali. He was born on 6-10-1911 at Jullundhar, Punjab. His 2 cousins- Wazir Ali and Nazir Ali were famous Indian cricketers. Sadiq Ali completed his engineering degree and worked in M.E.S. at Kanpur (Military Engg. Services). Due to strong desire to work in films and dramas, he resigned from his job after 5 years and joined Agha Hashr’s drama company. When the company was closed, he joined The Burma Imperial Film Company at Rangoon. After few small roles, he came down to Bombay.
After working in some smaller companies, he joined Minerva Movietone. Starting with ‘Khan Bahadur’ (1937), he worked in Minerva’s ‘Pukar’ (1939), ‘Sikandar’ (1941), ‘Phir Milenge’ (1942), ‘Prithviraj Sanyogita’ (1943), ‘Parakh’ (1944) (only directed by Modi) and ‘Ek Din Ka Sultan’ (1945). In all he acted in 23 films. His last film was ‘Ever Ready’ (1946). After partition, he migrated to Pakistan. Unfortunately, he got killed in a riot in Karachi in 1947 itself.
Let us now enjoy the song from this film.
(Credits- Listener’s Bulletin no.s 58 and 59, Prof. Yadav’s book, Film Directory, HFGK, and my notes)
Song-Saajan wo din kaun thhe (Parakh)(1944) Singer-Ira Nigam, Lyrics-Pt Sudarshan, MD-Khursheed Anwar
Lyrics
saajan. . .
wo din kaun the
jab tum veena hum ta..aar
kismat phooti veena tooti
taar hui bekaar
bin saajan ke kaise nikle
mann ka meetha geet
bin saajan ke kaise nikle
mann ka meetha geet
samay tu jaldi jaldi beet
jaldi jaldi beet
samay tu jaldi jaldi beet
samay tu jaldi jaldi beet
sukh mein tu pal bhar na thehre
laakh bithaaye tujh par pehre
dukh mein tu kaise dat jaave
dukh mein tu kaise dat jaave
kaisi teri reet
samay tu jaldi jaldi beet
samay tu jaldi jaldi beet
[kuchh kehne](?) ko dar dar bhatkun
piya ki nagri le chal mujhko
[kuchh kehne](?) ko dar dar bhatkun
piya ki nagri le chal mujhko
jis nagri mein jaa ke basaa hai
jis nagri mein jaa ke basaa hai
sunta(?) ho mann meet
samay tu jaldi jaldi beet
samay tu jaldi jaldi beet
jaise bhi tu beet
samay tu jaldi jaldi beet
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Hindi script lyrics (Provided by Sudhir)
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साजन॰ ॰ ॰
वो दिन कौन थे
जब तुम वीणा हम ता॰॰आर
किस्मत फूटी वीणा टूटी
तार हुई बेकार
बिन साजन के कैसे निकले
मन का मीठा गीत
बिन साजन के कैसे निकले
मन का मीठा गीत
समय तू जल्दी जल्दी बीत
जल्दी जल्दी बीत
समय तू जल्दी जल्दी बीत
समय तू जल्दी जल्दी बीत
सुख में तू इक पल ना ठहरे
लाख बैठाएं तुझ पर पहरे
दुख में तू कैसे डट जावे
दुख में तू कैसे डट जावे
कैसी तेरी रीत
समय तू जल्दी जल्दी बीत
समय तू जल्दी जल्दी बीत
[कुछ कहने](?) को दर दर भटकूँ
पिया की नगरी ले चल मुझको
[कुछ कहने](?) को दर दर भटकूँ
पिया की नगरी ले चल मुझको
जिस नगरी में जा के बसा है
जिस नगरी में जा के बसा है
सुनता(?) हो मन मीत
समय तू जल्दी जल्दी बीत
समय तू जल्दी जल्दी बीत
जैसे भी तू बीत
समय तू जल्दी जल्दी बीत
Kehte Hain Raakhi Ke Ye Dhaage
Posted on: August 26, 2018
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.
| Blog Day : | 3691 | Post No. : | 14602 |
Today is the 10th occasion that we are celebrating the festival of Rakshabandhan on our blog. It is customary that on this day, we post a few songs from Hindi films celebrating this wonderful festival of the pious relation of brother and sister in our tradition.
This song is from an unfamiliar film from 1987. The film title is ‘Parakh’. The film is produced by DS Obhan for Nath Pictures, Bombay, and is directed by Vijay Kapoor. The list of star cast is fairly long – Vijayendra Ghatge, Sarika, Madan Puri, Gajanan Jagirdar, Simple Kapadia, Narendranath, Leela Mishra, Baby Pallavi, Urmila Bhatt, Jagdeep, Asit Sen, OP Bharti, Dhumal, Ali Masood, Sunder, Shivraj, Padma Khanna (in special appearance), Laxmi Chhaya (in friendly appearance), Jayant Patel, Nikki, Gurchet Siddhu, Balbir, Monica, Makkhan Singh, Surekha, Zarine Khan, Vijay, Ramachandra, Yaseen, Gabu Agarwal, and Anand Joshi etc.
The songs of this film have been created by Ravindra Jain, who wrote the lyrics and also composed the music. This particular song is sung by Hemlata. The video of this film is available online, but it highly defective. The sound track is displaced, and does not match the visual that is seen. So we are presenting only the audio of this song.
Lyrics for this song have been sent by dear Prakashchandra ji. He as also added that this song is performed by Baby Pallavi on screen, while Sarika, Vijayendra Ghatge, Madan Puri, Shivraj, Asit Sen, Narendranath and Leela Misra are also in the frame.
Once again, greetings to all friends and readers for this celebration of Raakhi today.
Song – Kehte Hain Raakhi Ke Ye Dhaage (Parakh) (1987) Singer – Hemlata, Lyrics – Ravindra Jain, MD – Ravindra Jain
Lyrics (Provided by Prakash Chandra)
saat samandar paar ho chaahe
behnaa se bhai
kitni hi door
chaahe baras bhar
bhoola rahe par
aaj ke din kare
yaad zaroor
kehte hain raakhi ke ye dhaage
kehte hain raakhi ke ye dhaage
le ke chumban teri kalaayee ka
le ke chumban teri kalaayee ka
yug yug se hai
rahegaa yugon tak
pyaar behan aur bhai ka
kehte hain raakhi ke ye dhaage
kehte hain raakhi ke ye dhaage
aaj ke din to bhaiyya ki
behna aarti utaare
mangal deep ki jyoti mein
chanda sa mukhda nihaare
le ke balaayein
de ke duaayein
karti hai shagun mitthai ka
kehte hain raakhi ke ye dhaage
kehte hain raakhi ke ye dhaage
ik vat vriksh ki chhaaya mein
hum donon ka jeevan pala hai
kitni ghani us ki chhaaya hai
wo babul kitna bhala hai
mere bhaiyya
pragati mein teri
nit judey ank dahaai ka
kehte hain raakhi ke ye dhaage
kehte hain raakhi ke ye dhaage
aaj main jo kuchh maangoon gi
bhaiyya tujhe dena padega
haath kisi albeli ka
ab haath mein lena padega
aayegi bhabhi
ghar mein bajega
baaja madhur badhaayee ka
kehte hain raakhi ke ye dhaage
kehte hain raakhi ke ye dhaage
le ke chumban teri kalaayee ka
le ke chumban teri kalaayee ka
yug yug se hai
rahega yugon tak
pyaar behan aur bhai ka
kehte hain raakhi ke ye dhaage
kehte hain raakhi ke ye dhaage
———————————————————
Hindi script lyrics (Provided by Sudhir)
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सात समंदर पार हो चाहे
बहना से भाई
कितनी ही दूर
चाहे बरस भर
भूला रहे पर
आज के दिन
करे याद ज़रूर
कहते हैं राखी के ये धागे
कहते हैं राखी के ये धागे
ले के चुंबन तेरी कलाई का
ले के चुंबन तेरी कलाई का
युग युग से है
रहेगा युगों तक
प्यार बहन और भाई का
कहते हैं राखी के ये धागे
कहते हैं राखी के ये धागे
आज के दिन तो भैया की
बहना आरती उतारे
मंगल दीप की ज्योति में
चंदा सा मुखड़ा निहारे
ले के बलाएँ
दे के दुआएं
करती है शगुन मिठाई का
कहते हैं राखी के ये धागे
कहते हैं राखी के ये धागे
इक वट वृक्ष की छाया में
हम दोनों का जीवन पला है
कितनी घनी उसकी छाया है
वो बाबुल कितना भला है
मेरे भैया
प्रगति में तेरी
एनआईटी जुड़े अंक दहाई का
कहते हैं राखी के ये धागे
कहते हैं राखी के ये धागे
आज मैं कुछ माँगूँगी
भैया तुझको देना पड़ेगा
हाथ किसी अलबेली का
अब हाथ में लेना पड़ेगा
आएगी भाभी
घर में बजेगा
बाजा मधुर बधाई का
कहते हैं राखी के ये धागे
कहते हैं राखी के ये धागे
ले के चुंबन तेरी कलाई का
ले के चुंबन तेरी कलाई का
युग युग से है
रहेगा युगों तक
प्यार बहन और भाई का
कहते हैं राखी के ये धागे
कहते हैं राखी के ये धागे
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.
Forgotten Melodies of the 1940s – 9
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When we hear the song sundar naari preetam pyaari from ‘Manzil’ (1936), the voice of Pankaj Malik vibrates in our ears.
When we hear the ghazal sukoon dil ka mayassar gul-o-samar mein nahin from ‘Street Singer’ (1938), K L Saigal and Kanan Devi come to our mind.
Read more on this topic…
Bhala kyun bhala kyun
Posted on: January 5, 2013
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
The above song is from a film called PARAKH-1937, whose Music Director was B.S.HOOGAN.
When I first came across this name Hoogan, in the list of Hindi composers, my first reaction was, what is this foreigner doing in Hindi Films ?
Read more on this topic…
Koi kyaa jaane
Posted on: October 9, 2012
his article is writteb by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
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Lesser known singers- Singer 4 (Ira Nigam)
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India is a very peculiar country.
It is rather Unique.
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Ye bansi kyun gaaye
Posted on: July 25, 2010
“Parakh” (1960) was a delightfully different kind of a movie. This movie is no longer remembered much, but its songs are fabulous.
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O sajnaa barkhaa bahaar aayi
Posted on: July 12, 2010
This is one song that I thought I had already posted but I was wrong, and this fact was pointed out to me by some readers too.
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Mere man ke diye
Posted on: June 11, 2010
In the past, I have posted two superb songs from “Parakh” (1960), namely Kya hawa chali baba rut badli and Mila hai kisi ka jhumka
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Mila hai kisi ka jhumka
Posted on: September 30, 2009
One of the most lovable category of songs are those that I call “mental massage” category. These are basically sweet, melodious songs with simple lyrics and minimal music that do not tax one’s mental faculties and make one feel relaxed .
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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