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

Posts Tagged ‘Suman Kalyanpur


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.

ना जाने क्यों॰ ॰ ॰ होता है ये ज़िंदगी के साथ
अचानक ये मन
किसी के जाने के बाद
करे फिर उसकी याद॰ ॰ ॰

Aah, Shyama. . . the vivacious, bubbly, chirpy, charming Shyama. That is the image that the mind always carries, of this spirited young lady, so full of life on the screen. Some memories and some reflections are so firmly engraved in the mind that it simply does not register or acknowledge the passage of time and the passing of eras. That is the beauty of these memories – that their beauty simply never fades away.

My very first encounter with her was the song “Mujhe Mil Gaya Bahaana Teri Deed Ka” (film ‘Barsaat Ki Raat’, 1960). I saw this song on Delhi TV, most probably in some edition of the Chitrahaar program. Shama (Shyama) is on screen with Shabaab (Ratna), her younger sister in the film. There is an exchange that leads to certain wrong impressions. Being secretly in love with Amaan (Bharat Bhushan), Shama interprets that conversation to be in her favour. And this happy song of an assumed fulfilment of love is the outcome. The expressions and the rendering of this love song trickled right into the mind and heart of a very young heart, and the lady on the screen became a favorite crush of mine.

A few years later, I would get a chance to see this complete film. And my heart was both joyous and asunder. I got to see more of her scintillating performance, especially the qawwaali “Ji Chaahta Hai Choom Loon Apni Nazar Ko Main”, in which she is brimming with excitement and delight. She makes you feel the thrill that she is experiencing, going in for the kill of the opposite party in the qawwaali competition. Her performance simply takes you along that joyous path of the victory of her singing group over that of Chand Khan’s (Khurshid Bawra’s) group. But then, I was also sad that in the final outcome, she is not the choice of the person she adores and worships. The film ends with her being the loser in the game of love. My heart wept for her, for her love was true and silent, and it made the sacrifice in face of knowing that her beau’s heart is smitten elsewhere. This film remains an all time favorite in my heart.

Then came other films, viewed some years later during college days. Films from the previous three decades were mostly showing as reruns in morning shows (9am to 12 am). We used to skip the morning classes in the college to go visit these unknown unseen films, for the love of that golden era. In that time, I would get to see ‘Aar Paar’ (1954), ‘Shart’ (1954), ‘Chhoo Mantar’ (1956), ‘Makkheechoos’ (1956), ‘Bhai Bhai’ (1956), ‘Sharda’ (1957), ‘Bhaabhi’ (1957), ‘Lala Rukh’ (1958), ‘Zabak’ (1961) and many more. The ‘puppy’ crush was long over and done with, but Shyama was a favorite actress – always would be ready to go see an unseen film, especially if Shyama was part of the cast of actors.

She was born as Khursheed Akhtar, in Lahore. Her date of birth is stated differently in different online sources. The anniversaries table on our blog gives the date as 12th June of 1935. Cineplot gives the date as 7th June, 1935. In his book ‘Beete Kal Ke Sitaare’, Shri Sriram Tamrakar quotes her birth date as 12th July 1933. There are other sources which are at variance with these dates too.

When she was two years old, her family moved to Bombay. Her father was a fruit merchant and had set up a shop in Byculla. With seven siblings, Shyama was part of a large family. School and studies never did interest her. Right from childhood, being a star on the silver screen was her dream. As a child, she had seen a film starring Ishwarlal and Khursheed (the famous singer-actress). She was very impressed by Khursheed’s singing and her acting. On seeing this role, a resolve started to form in her to become an actor. [Ed Note: This picture possibly could be ‘Shaadi’ (1941) or ‘Chandni’ (1942).]

As a young girl, she was quite mischievous and full of pranks. Her elder sisters would admonish her for being such a tomboy. In her own words (from an interview on Cineplot) she says that she always wanted a hungama, indulge in a little romance. But she was very disciplined and cultured too. She never smoked, or drank all her life. And she never appeared in a swimsuit throughout her career. She was very true to her Muslim upbringing and family traditions.

In 1944/45 she and her sisters and friends, one day went to see the shooting of a film at a studio in Dadar (Bombay). The shooting of the film ‘Zeenat’ (1945) was in progress. The specific sequence being filmed was the now iconic all female qawwaali “Aahen Na Bharin, Shiqwe Na Kiye”. As luck would have it, Shaukat Hussain Rizvi, the director of the film, wanted to have more girls to join the singing group. He asked this group of onlooker young ladies whether they would like to join the filming of this song. Without hesitation, Khursheed raised her hand. Rizvi Sb picked her to join the group and play the dholak. In the video of this song, one can see her sitting in the second row behind the main singers, wearing a traditional cap, with a dholak in her lap. The young lady got a billing in the star credits as Baby Khursheed. She was just about 10 years old.

Her father was very upset that his daughter had made this impromptu decision, and was set against her joining films. However, her mother and her sisters prevailed upon him and calmed him to get his consent to permit her to work in films. So out went the school and studies, and the little Khurshid started her career doing child roles and extras. By her own estimates, she probably has appeared 80 films in which she was just an extra or a chorus girl.

‘Nai Maa’ is a 1946 film, which Shyama herself indicates as being her first formal role as a child star. The film is from the banner of Prakash Pictures – the production house of the Bhatt brothers – Vijay and Shankar Bhai. With the consideration that there already were two actresses named Khursheed in the industry, Vijay Bhatt suggested for her to change her name to avoid same-name-confusions. He thought of the name ‘Shyama’. The young Khursheed happily took it on, and this name turned to be her career and her destiny.

Getting seriously into small roles as a child and a teenage artist, she did two very important things. One, she refused to be disheartened by the long succession of bit-roles and being a supporting cast member. Two, she took on to get trained in music and dance, and spent a good slice of her developmental years under the tutelage of the famous Badri Prasad, the multi-talented artist active in the industry at that time. Her perseverance paid off. Her roles started to get more prominent, and her co-stars the more famous ones. She appeared as the younger sister to KL Saigal in ‘Parwaana’ (1947). The same year, she also appeared as the younger sister of Motilal in ‘Beete Din’. On to 1949, and she was now the younger sibling of actor Shyam in the film ‘Kaneez’.

In 1950, she got a very prominent role as the wayward younger sister of Shyam and Karan Dewan in the film ‘Chhoti Bhaabhi’. The title role was played by Nargis (paired with Karan Dewan), but the role played by Shyama was pivotal as the rebellious daughter in the family, who is on the verge of eloping with Yakub, a self serving con-man. Then came 1951 – she was paired as the love interest of Balraj Sahni in ‘Hum Log’; and the same year, she got to play a prominent role in ‘Taraana’ as the third part of the love triangle completed by Dilip Kumar and Madhubala.

It was in 1952 that she was able to belie the popular adage in the industry – ‘once an extra, always and extra’. But this graduation was not without its moments of anxiety and a heart stopping near miss. IS Johar was looking for an effervescent and a lively young new face as the lead for his maiden directorial venture – ‘Shrimati Ji’. Familiar with Shyama and her capabilities from their earlier films together viz., ‘Chhoti Bhaabhi’ (1950) and ‘Ek Teri Nishaani’ (1949), Johar chose Shyama from a list of over 100 candidates for the role. Shyama was excited and happy with this groundbreaking development in her career.

But a scare was still in store, and the career that we see, was almost never. A couple of reels had been shot. One day on the studio floor, one of the financiers was present. On seeing Shyama, he made a curt remark that this girl is too thin to impress in a leading role, and walked away. One can imagine the turmoil that followed, with doubts appearing in the minds of the entire team. Shyama herself notes that she went home and cried all night – here was a once in a lifetime break that suddenly became so close to slip out of her fingers. After the crying session was over, she pulled herself together and made a resolve to address even this issue. Next day, she went out to seek medical help. Whoever would think of a thing like a diet to ‘gain’ weight? She went on a crash diet to do exactly this – gain weight. In a short period of time, she gained a reasonable amount of weight, and went right back in to complete the film.

One more significant episode occurred in the year 1951. Shyama was filming for ‘Sazaa’; she was the second lead to Nimmi and again, the third vertex of the love triangle that includes Dev Anand and Nimmi. The director and cinematographer of this film was Fali Mistry. Affections developed between the two, and two got married. Her family would have preferred a Muslim son-in-law. Fali Mistry being a Parsi, her father did not accept her new venture in life. She did get support from her mother, who was present at the small and quiet ceremony for the wedding. Her father  did not communicate with her for years. Shyama mentions in her interview that the ice between them was eventually broken when she gave birth to her first son, and went to him to get his blessings.

One of the understandings between Shyama and Fali was that she would continue to work in films. Apparently there were other suitors also, but as per herself, the proposals did not go further because the gentlemen did not agree to allow her to continue her work.

Through the 1950s, as well as early sixties, Shyama was in the top bracket of leading ladies in Hindi cinema. A golden period in her career, her popularity can be gauged by the fact that 82 of her films were released in the period from 1952 to 1960. In 1954 alone, 14 of her films came on the silver screen, and 13 in the year 1955. In all 27 films in a period of two consecutive years is a record in itself. An interesting aspect of her career has been that while she was in demand as the leading lady, she continued to do all kinds of roles, including second lead and even as a vamp. By her own admission, she was never too much hung up on being the leading lady, but was always more interested in the content of the role. In fact her only Filmfare award is for her performance in ‘Sharda’ in 1957 – as the best female actor in a supporting role. In the later part of 1960s, she transitioned into character roles and continued to work till the end of 1980s. Her last film as a character artist is ‘Hathyaar’ released in 1989.

Fali Mistry passed away unexpectedly in 1979, leaving behind a family of two sons and one daughter.

In the past 3, 4 days I was in travel myself, and was disconnected from the net for part of that time. Settling back after returning, as I processed through the email backlog, I got to see this message from Harish Raghuvanshi ji, informing about the sad demise of Shyama. She was 82, and as per her latest interviews some years back, she was quite satisfied with the full life she had led, and with her accomplishments on the silver screen.

As I sorted through the list of her songs as yet unpublished on our blog, searching for an appropriate song for this tribute, I came across this chirpy and playful song from the film ‘Ghar Basaa Ke Dekho’ from 1963. I had not heard it before. As I played this song, it struck me as so much Shyama herself, and I knew this is the song so suitable to go along with the write up about her. On screen, she leads the singing and dancing within a group of friends. Some of the faces are familiar, but I am unable to place any names. I request our knowledgeable readers and friends to help identify other actresses supporting Shyama in this song.

The words are from the pen of Rajendra Krishan and the lilting music comes from the mind of Chitragupt. The singing voices are of Suman Kalyanpur, Usha Mangeshkar and chorus. Shyama gets to lip sync most of the lines of Suman Kalyanpur, and the lines sung by Usha Mangeshkar are shared between more than one of the supporting ladies on screen.

A wonderful expression of a philosophy of life, that one can surmise from her interviews, was very dear to Shyama herself. The thought behind the bubbly vivacity in this song is just the same thought that first made her raise her hand unhesitatingly to Rizvi Sb’s query on who would like to join the filming of the group song (qawwaali song in ‘Zeenat’). That is Shyama.

Or to put it more correctly now – that was Shyama. Only the memories remain now.

bichhad kar chale jaao hum se kahin
magar ye na kehna mohabbat nahin

magar ye na kehna mohabbat nahin . . .

Dear Shyama, RIP – Rest In Playfulness, Always 🙂

[Acknowledgements: source material for the above article is referred from articles and interviews published on the blogs Cineplot, Beete Huye Din (by Shishir Krishna Sharma), Wikipedia, and a profile article in the book ‘Beete Kal Ke Sitaare’ by Shri Sriram Tamrakar.]

[Ed Note: This song also is a remembrance of Chitragupt; reviving memories of this prolific music director on the anniversary of his birth – 16th November.]

 

Song – Jidhar Jee Mein Aaya Udhar Hum Chale (Ghar Basaa Ke Dekho) (1963) Singer – Suman Kalyanpur, Usha Mangeshkar, Lyrics – Rajendra Krishan, MD – Chitragupt
Suman Kalyanpur + Usha Mangeshkar
Chorus

Lyrics

jidhar jee mein aaya
udhar hum chale
jidhar jee mein aaya
udhar hum chale
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley

jinki kismet mein aish likha hai
aish karte hain aur jeete hain
jinki kismet mein aish likha hai
aish karte hain aur jeete hain
aah bharna hai jinki kismet mein
aah bharte hain ashq peete hain
zindagi kya hai ek hungaama
ek hungaama roz ho jaaye
kehkahon ke bagair kya jeena
zindagi kehkahon mein kho jaaye
jidhar jee mein aaya
jidhar jee mein aaya
udhar hum chale
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley

aadmi ko mili hain kyon aankhen
dekh le jis qadar nazaare hain
aadmi ko mili hain kyon aankhen
dekh le jis qadar nazaare hain
baag tera hai phool tere hain
aur tere hi chaand taare hain
zindagi naam hain bahaaron ka
hum bahaaron ka ras nichodenge
zindagi ek baar milti hai
ek armaan bhi na chhodenge
jidhar jee mein aaya
jidhar jee mein aaya
udhar hum chale
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley

zindagi teri ek hulchul hai
raqs hai saaz hain taraana hai
zindagi teri ek hulchul hai
raqs hai saaz hain taraana hai
ik jagah par qayaam kya karna
har chaman tera aashiaana hai
ek pal bhi na fikr mein beete
muskuraata ja geet gaata ja
aur duniya jo raah mein aaye
ek thokar usey lagaata ja
jidhar jee mein aaya
jidhar jee mein aaya
udhar hum chale
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley

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

जिधर जी में आया
उधर हम चले
जिधर जी में आया
उधर हम चले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले

जिनकी क़िस्मत में ऐश लिखी है
ऐश करते हैं और जीते हैं
जिनकी क़िस्मत में ऐश लिखी है
ऐश करते हैं और जीते हैं
आह भरना है जिनकी क़िस्मत में
आह भरते हैं अशक पीते हैं
ज़िंदगी क्या है एक हंगामा
एक हंगामा रोज़ हो जाये
कहकहों के बगैर क्या जीना
ज़िंदगी कहकहों में खो जाये
जिधर जी में आया
जिधर जी में आया
उधर हम चले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले

आदमी को मिली हैं क्यों आँखें
देख ले जिस कदर नज़ारे हैं
आदमी को मिली हैं क्यों आँखें
देख ले जिस कदर नज़ारे हैं
बाग तेरा हैं फूल तेरे हैं
और तेरे ही चाँद तारे हैं
ज़िंदगी नाम हैं बहारों का
हम बहारों का रस निचोड़ेंगे
ज़िंदगी एक बार मिलती है
एक अरमान भी ना छोड़ेंगे
जिधर जी में आया
जिधर जी में आया
उधर हम चले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले

ज़िंदगी तेरी एक हलचल है
रक़्स है साज है तराना है
ज़िंदगी तेरी एक हलचल है
रक़्स है साज है तराना है
इक जगह पर क़याम क्या करना
हर चमन तेरा आशियाना है
एक पल भी ना फिक्र में बीते
मुसकुराता जा गीत गाता जा
और दुनिया जो राह में आए
एक ठोकर उसे लगाता जा
जिधर जी में आया
जिधर जी में आया
उधर हम चले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले

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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.

Today, we are celebrating the 3400th day that this blog has been operating.

And we Yippeee a film that has been waiting for more than two years for the final song to come online. 🙂

Sometimes, Atul ji springs a wonderful surprise. And at a very short notice too. It is 8.30 pm in the night (on 7th Nov). I am just casually checking my emails. Plop. There is a message from him. We have a significant and a very different type of milestone lined up for tomorrow (8th Nov). The immediate next sentence, he is quickly clarifying that no, the said milestone has nothing to do with demonetization anniversary or any other subject of Indian economy. The next sentence he clarifies, without building any suspense or delays in his words. 8th Nov is exactly the 3400th day of the continued existence of our blog. A few lights start blinking inside the head. Wow, – thanks ji, – what a surprise, – such a different type of milestone, – gosh tomorrow, – what a scramble, – and in a secret corner, another light blinks that says – अरे सर, थोड़ा एडवांस नोटिस तो देना चाहिए॰ ॰ ॰ खैर॰ ॰ ॰

Blinking lights aside, many congratulations to all members, friends and readers, and welcome to the 3400th edition of Atul Song A Day, in which, I must emphasize, at the cost of repetition, that the phrase song-a-day has been redundant for, well, let us see – 28th Aug, 2008, i.e. 40 days less, that is 3360 days – I mean the period of redundancy of this phrase. You see, 28th Aug, 2008 was the day (41st in the history of this blog) that Atul ji shifted gears and posted 3 songs in a single day, for the first time. See, that is how long his solemn promise lasted. In just forty days, he was so overwhelmed and got carried away that instead of song-a-day, it was three-songs-a-day that day.

[Tongue in cheek] – I am sure folks in all parts of this subcontinent will be aware and will agree; the tradition is to celebrate the 40th day after childbirth, as the day when the mother of the newborn child, is allowed to start moving outside the confines of the household. There is a celebration and a ceremony to mark this event. (Of course in the current times, quite a few people do not bother to abide by this tradition, which, if I may be allowed to emphasize, has very important reasons of health and well being behind it). But we note that Atul ji quite religiously followed this tradition, and stayed put on one song per day for forty days. And then he ventured out further – starting with the song “Aap Ke Anurodh Pe Main Ye Geet Sunaata Hoon” (film ‘Anurodh’, 1977), on the forty first day. I must add that Atul ji has been a very conscientious ‘mother’, for the first forty days, and for all the days thereafter. 🙂

So, in the tradition of adding new feathers to the caps, we are now adding one more dimension by which we measure the robustness of our blog and its level of enthusiasm / commitment  / entertainment value. No of days that we have been in operation. Today – it is 34 hundred days that are completed. And counting. . .

Changing the topic briefly – I would like to touch upon the query that was raised yesterday by Peevesie’s Mom, regarding the number of posts and the number of songs contained therein. Although we count one post only once, there are many occasions that a single post carries more than one song.

Yes, there are posts that have multiple songs on account of the songs being present more than once in the film, or have been sung by different singers in the same film. Sometimes the multi singer songs are exactly the same, and sometimes they have different antaraas. Same for multi part songs. In some cases, the multiple appearances of the song in the film carry the same lines, and in some cases, they carry different lines.

In cases where the multiple appearance of the song is in the voice of the same singer, and the words are unchanged, then we count them as one song only. However, if the singing voice is different then we count them as multiple songs. Also, if the singing voice being the same, if the words and lines are different, then also we count them as multiple songs.

Another criteria that we follow is to adhere to the listings in the HFGK. In the Geet Kosh, songs which are multi part, or multi singer are listed separately. And so we also follow that scheme to count the songs. An interesting aside here is that the Geet Kosh counts the different parts of the multi-lingual songs, as separate songs. And so do we, counting each part of the multi lingual song as a separate song. The case in point is the last line in the table below. This is the muti lingual song from the film ‘Teen Batti Chaar Raasta’ (1953) “Orey Oo Poraan Bondhu Re. . .”. This song is the post number 10967 (dt 24Mar2015). Geet Kost lists this song as seven separate lines, one for each language covered. And so, on our blog too, we count them as 7 songs, albeit contained in one post.

A few posts carry the original song as well as the version song, which is not carried in the film. E.g. the song “Chhupo Na Chhupo Na Chhupo Na” from film ‘My Sister’ (1944); both the versions – in the voices of KL Saigal and Pankaj Mullick – are contained in the post no. 807 (dt. 26Feb2009), although the film carries the Saigal Sb version only.

Please note that the audio and video versions of the same song are not counted as extras.

When the blog arrived at the 13700th milestone on 4th November just passed, the total number songs contained within these posts reached the number of 14200, exactly five hundred more than the number of posts.

The breakup of multi-songs within posts is as follows,

  • Posts containing 2 songs counted – 410 –  410 extra
  • Posts containing 3 songs counted – 34     –  68 extra
  • Posts containing 4 songs counted – 4       –  12 extra
  • Posts containing 5 songs counted – 1        –   4 extra
  • Posts containing 6 songs counted – 0
  • Posts containing 7 songs counted – 1        –   6 extra

In the above listing, the first number in the row is the number of posts for that category (2 songs or 3 songs etc.), and the second number is the number of additional songs that we count, because of this phenomena. The above list tells us that there are a total of 450 posts out of 13,700, which carry more than one song. This number is the total of the first column in the above lines. The total of the second column gives us the number of additional songs that are carried in these posts, which round figure of 500 extra songs (till 4th Nov that is).

A thought here is that we can request Atul ji to also publish the number of songs, along with the number of posts, on the home page.

Now coming to the song for today. At first, I had some courageous and wishful thoughts to try and search for a song that has something to do with ‘thirty four thousand’ or even ‘thirty four’, you know, just like we had a readymade song for the 11000th post (“Gyaarah Hazaar Ladkiyaan”). But I very soon gave up that pursuit as impractical. And so, in consultation with Atul ji, I bring on board a Yippeee song – a rare one that was not even available online so far. The film is ‘First Love’ from 1961. This film carries six songs. Five of these songs are already posted here. These are

  1. Beete Huye Din Kuchh Aise Hi Hain
  2. Maano Ya Na Maano
  3. Mujhe Mil Gayi Hai Muhabbt Ki Manzil
  4. Wo Dekho Aayi Bahaaren Laayi
  5. Mere Pyaar Mein Ya Wafa Na Thhi

The first two songs listed above, were posted in Dec 2011. The third song came on board in Jun 2012. Then after almost two years, the fourth song made its appearance in Apr 2014. Exactly a year later, the 5th song arrived in Apr 2015. After that, likely the lack of online availability of this song disallowed this film from being Yippeee’d. i.e. till now, more than two and half years later.

This last song which is a wonderful duet by Suman Kalyanpur and Kamal Barot, has now been uploaded and the Yippeee call for this film can now be made. The words are from the pen of Gulshan Bawra and the music is by Dattaram. The very prominent Dattu ‘theka’ rhythm of dholak is very prominently heard in the antaraas.

The list of actors in this film includes Mehmood, Naaz, Preetibala, Raj Mehra, Amar, SN Bannerji, amongs others. The list contains only these two names of lady actors. Possibly this song could have been picturized on Naaz and Preetibala, but that is just a guess.

So, 3400 days, 13710 posts (yes, this post is no. 13710), and 14210 songs. So many milestones and measuring dimensions, and counting. But anyway, do listen to this fantastic duet song, with such an endearing rhythm created by Dattaram. And enjoy.

Song – Kis Ko Aai Hai Tu Mil Ke Mil Ke (First Love) (1966) Singer – Suman Kalyanpur, Kamal Barot, Lyrics – Gulshan Bawra, MD – Dattaram
Suman Kalyanpur + Kamal Barot

 

Lyrics

kis ko aai hai tu mil ke
mil ke
phool bani hai kali khil ke
khil ke
ye milan bada pyaara haaye
ye milan bada pyaara. . .

kis ko aai hai tu mil ke
mil ke
phool bani hai kali khil ke
khil ke
ye milan bada pyaara haaye
ye milan bada pyaara. . . pyaara
kis ko aai hai tu mil ke
mil ke
phool bani hai kali khil ke
khil ke

dekh ke
aaina
neeche nazar jo daali
aa gai
gaalon pe
maare sharam ke laai
dekh ke
aaina
neeche nazar jo daali
aa gai
gaalon pe
maare sharam ke laali
aaj kya baat hai
dil pe kyon haath hai
kis ko aai hai tu mil ke
mil ke
phool bani hai kali khil ke
khil ke
ye milan bada pyaara haaye
ye milan bada pyaara. . .
kis ko aai hai tu mil ke
mil ke
phool bani hai kali khil ke
khil ke

zindagi
mein kabhi
yun bhi ho jaata hai
gair ki
cheez pe
apna dil aata hai
zindagi
mein kabhi
yun bhi ho jaata hai
gair ki
cheez pe
apna dil aata hai
pyaar ki
kya khabar
lad gai
kab nazar
kis ko aai hai tu mil ke
mil ke
phool bani hai kali khil ke
khil ke
ye milan bada pyaara haaye
ye milan bada pyaara. . .

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

किसको आई है तू मिल के
मिल के
फूल बनी है काली खिल के
खिल के
ये मिलन बड़ा प्यारा हाए
ये मिलन बड़ा प्यारा॰ ॰ ॰

किसको आई है तू मिल के
मिल के
फूल बनी है काली खिल के
खिल के
ये मिलन बड़ा प्यारा हाए
ये मिलन बड़ा प्यारा॰ ॰ ॰ प्यारा
किसको आई है तू मिल के
मिल के
फूल बनी है काली खिल के
खिल के

देख के
आईना
नीचे नज़र जो डाली
आ गई
गालों पे
मारे शरम के लाली
देख के
आईना
नीचे नज़र जो डाली
आ गई
गालों पे
मारे शरम के लाली
आज क्या बात है
दिल पे क्यों हाथ है
किसको आई है तू मिल के
मिल के
फूल बनी है काली खिल के
खिल के
ये मिलन बड़ा प्यारा हाए
ये मिलन बड़ा प्यारा॰ ॰ ॰
किसको आई है तू मिल के
मिल के
फूल बनी है काली खिल के
खिल के

ज़िंदगी
में कभी
यूं भी हो जाता है
ग़ैर की
चीज़ पर
अपना दिल आता है
ज़िंदगी
में कभी
यूं भी हो जाता है
ग़ैर की
चीज़ पर
अपना दिल आता है
प्यार की
क्या खबर
लड़ गई
कब नज़र
किसको आई है तू मिल के
मिल के
फूल बनी है कली खिल के
खिल के
ये मिलन बड़ा प्यारा हाए
ये मिलन बड़ा प्यारा॰ ॰ ॰

 


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.

Saga Of Sleepless Nights – 4
– – – – – – – – – – – – – – –

kankariya maar ke jagaaya. . .
kal tu mere sapne mein aaya. . .

I believe this is another so verily a commonplace experience, waking up in the darkness of the night. The structured minds and the regimented ‘scientific’ thought process, has a very different view of what this sleeplessness is. On the other hand, a romantic, poetic mind will have an expression so totally different, and so wonderfully human. And if that mind is familiar with, and is a connoisseur of Hindi film music, that mind will have simply no difficulty in understanding. For there is so much that the song writers have written, and so much that the singers have rendered. . . about this waking up in the middle of a deep sleep.

Sleep itself has been a subject of so much investigation, and philosophy, over the centuries as the human mind made efforts to comprehend this elusive phenomena, that is omnipresent, and yet it defies examination, for such obvious reasons. Philosophers have equated this state of human existence as a temporary ‘death’ – we know not where we are, or have been, from the moment that we lose the power to process the inputs coming in from the five senses, to the moment when we once again feel the pressure touch of the bed (or whatever one has reclined on), signaling that the mind and the senses are back once again to the world of the familiar. For a very brief, fleeting moment, we have this opportunity that we may focus and capture the last of the signals coming in from a world where we have been, for the past few hours. Alas, but the waking mind immediately starts to buzz with – ‘the things to be done’ in this new day. That fleeting opportunity vanishes in a fraction of a moment.

I recall the lines from the hit single by Peter Sarstedt. I am sure many readers will recall the song “Where Do You Go To My Lovely, When You Are Alone In Your Bed. . .”. This song made it to the top charts in 1969, and was a very popular number on the request programs in the 1970s. The song represents the seminal query in trying to understand what is this state of being asleep.

More than the moment of waking up in the new day, it is this waking up in the middle of night that probably could be a more opportunistic moment to consciously follow this exploratory thought process. The sensory inputs are minimal at that time. However, the greater distractions come from within the mind itself, as it immediately starts searching for the most recent input responsible for this midnight wakefulness. Sometimes it creates a worry and stress. Sometimes the mind may recall the remnants of a dream that was playing on the subconscious screen, just a moment before. Sometimes, the mind may zero in on an unfamiliar uncharacteristic sound of recent origin, that disturbed the mind strongly enough. Sometimes, the mind fails to register anything, and then just a fear, an unknown apprehension starts to build within. So many innumerable situations may develop immediately in the mind, to explain and to explore this disturbance in sleep.

For the poète romantique, this middle of the night wakefulness is yet another expression of an amorous tryst, wherein the sudden wakefulness is attributed to the presence of the beloved, or the presence of the thoughts of the beloved. The presence may be real, or it may be in thoughts and dreams, that feel so intensely real, that the personal consciousness that was lost somewhere in the planes of the subconscious, or maybe even deeper, gets a nudge that is sharp enough to push it back into the conscious plane. And so, the poet’s mind will spell it out in words like “Kankariya Maar Ke Jagaaya. . . Kal Tu Mere Sapne Mein Aaya. . .”. Or it may be “Balam Torey Kaaran Nindiya Na Aawe” (‘Calcutta After Midnight’, 1937).
Or maybe “Sapnon Mein Aane Waale Hamko Jaga Rahe Hain” (‘Parbat Pe Apna Dera’,1944).
Or maybe, “Chhed Gayo Mohey Sapne Mein Shyaam” (‘Jhaanjar’, 1953).
Or maybe “Meethi Meethi Neend Mein Soi Thee Jawaani, Jagaa Gaya Koi Deke Pyaar Ki Nishaani” (‘Laakhon Mein Ek’, 1955).
Or maybe “Apne Khayaalon Ko Samjhaa Deejiye” (‘Marine Drive’, 1955)
Or maybe another, “Aankhon Se Nindiya Aankhein Churaaye” (‘Kaala Chashma’, 1962).

And there are more, many more such expressions that tell so many variations of this theme. The song I present today is from an obscure Bhojpuri film, ‘Hamaar Sansaar’ (1965). Initially I was planning this post with the audio of the song, when I realized that I do have this film in my collection. As I looked it up, and it is better that I looked it up, I find one extra antaraa in the video version. The audio has two stanzas, and the video clip has three. The song is written by Majrooh Sb, and the music director is Shyam Sharma. Ah yes, a name that we are familiar with, as dear Bharat Bhai introduced him on this blog, with his series ‘Sureeli Suman’. Thus far, Shyam Sharma has appeared only as a composer for NFS. With this post, he is now also introduced as a music director for film songs. Although the two outings that one can trace in the Geet Kosh, are both Bhojpuri films.

The singers are Krishna Kalle and Suman Kalyanpur. The song is presented as a typical mujra session. It is a twin dance, and I am seeking help to identify the dancers on screen. Two names from the list of cast look very familiar. The names are Lakshmi Chhaaya and Madhmati. I request other knowledgeable friends and readers to confirm, or suggest the correct names.

And so continues the saga of sleepless nights. . .

Song – Kaanche Nindiya Jagaawe Bedardi Na Maane Rama  (Hamaar Sansaar) (1965) Singers – Krishna Kalle, Suman Kalyanpur, Lyrics – Majrooh Sultanpuri, MD – Shyam Sharma
Krishna Kalle + Suman Kalyanpur

Lyrics

aaaa aaaaaa aaaa
aaaaaaaa aaaa

haaaaaye..e..e..e

kaanche nindiya jagaa..aa..aawe rama
ae ji
kaanche nindiya jagaawe bedardi
na maane raama
kaanche nindiya jagaawe bedardi
na maane raama

aadhi aadhi ratiyaan julami ghar aawe
aadhi aadhi ratiyaan ji
aadhi aadhi ratiyaan ji
aadhi aadhi ratiyaan
julami ghar aawe
saanche dehiya jalaawe
ho oo oo oo
saanche nindiya jagaawe bedardi
na maane raama
kaanche nindiya jagaawe bedardi
na maane raama

ras ke lobhi maramio na jaane
lakh kahi mor kehnio na maane
ras ke lobhi maramio na jaane
lakh kahi mor kehnio na maane
ghaayal ji ke daradio na jaane
ghaayal ji ke daradio na jaane
daradio na jaane
kehnio na maane
aaaa aaaa haaye..ey..ey..ey…
saanche agia lgaawe ho raama
saanche agia lgaawe bedardi
na maane raama
kaanche nindiya jagaawe bedardi
na maane raama

dhai ke acharwa nidar naahi chhode
phiri phiri bairi je baiyyaan marode
dhai ke acharwa nidar naahi chhode
phiri phiri bairi je baiyyaan marode
ruslaap sainyyaan ji haath laage jode
ruslaap sainyyaan ji haath laage jode
haath laage jode
nidar naahi chhode
aaaa aaaa haaye..ey..ey..ey…
painyyaan padi ke manaawe ho rama
painyyaan padi ke manaawe bedardi
na maane raama
kaanche nindiya jagaawe
ho oo oo oo oo
kaanche nindiya jagaawe bedardi
na maane raama

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

आsss आsssss आsss
आsssss आsss

हा॰॰आये॰॰ए॰॰ए॰॰ए

कांचे निंदिया जगा॰॰आ॰॰आवे रामा
ए जी
कांचे निंदिया जगावे बेदर्दी
ना माने रामा
कांचे निंदिया जगावे बेदर्दी
ना माने रामा

आधी आधी रतियाँ जुलमी घर आवे
आधी आधी रतियाँ जी
आधी आधी रतियाँ जी
आधी आधी रतियाँ
जुलमी घर आवे
साँचे देहिया जलावे
हो ओ ओ ओ
साँचे निंदिया जगावे बेदर्दी
ना माने रामा
कांचे निंदिया जगावे बेदर्दी
ना माने रामा

रस के लोभी मरमिओ ना जाने
लाख कही मोर कहनीओ ना माने
रस के लोभी मरमिओ ना जाने
लाख कही मोर कहनीओ ना माने
घायल जी के दरदीओ ना जाने
घायल जी के दरदीओ ना जाने
दरदीओ ना जाने
कहनीओ ना माने
आsss आsss हाए॰॰ए॰॰ए॰॰ए
साँचे अगिया लगावे हो रामा
साँचे अगिया लगावे बेदर्दी
ना माने रामा
कांचे निंदिया जगावे बेदर्दी
ना माने रामा

धई के अचरवा निडर नाही छोड़े
फिरी फिरी बैरी जे बँईय्यां मरोड़े
धई के अचरवा निडर नाही छोड़े
फिरी फिरी बैरी जे बँईय्यां मरोड़े
रुसलाप संईय्यां जी हाथ लागे जोड़े
रुसलाप संईय्यां जी हाथ लागे जोड़े
हाथ लागे जोड़े
निडर नाही छोड़े
आsss आsss हाए॰॰ए॰॰ए॰॰ए

पंईय्यां पड़ी के मनावे हो रामा
पंईय्यां पड़ी के मनावे बेदर्दी
ना माने रामा
कांचे निंदिया जगावे
ओ ओ ओ ओ ओ
कांचे निंदिया जगावे बेदर्दी
ना माने रामा


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.

Missing Films of 1960s – 35
– – – – – – – – – – – – – – –

Her name is listed as the fourth lady music director in Hindi cinema. But then, that is where the comparison ends. The first three names considered are Ishrat Sultana, better known as Bibbo, then Jaddan Bai, and then we have Khorshed Minocher-Homji, more popularly known as Saraswati Devi. These stalwart composers from the earlier decades (1930s and 40s) of Indian cinema, were formally trained in Hindustani classical music, which also defined their style and the types of songs they composed.

The other thing is the size of their work portfolio. Checking the Geet Kosh listings, one finds the following data. The name Ishrat Sultana appears for two films – ‘Adl e Jehangir’ from 1934 and ‘Qazzack Ki Ladki’ from (1937).  Then, the name of Jaddan Bai appears for 5 films in the 1930s. In case of Saraswati Devi, this number is 28 films, spread over 1930s and 40s. The actual number could probably be higher, since the Geet Kosh information is not complete for a number of films, especially for the first decade of talkie films. Nonetheless, we get a feel for the body of work of these two lady music directors.

The fourth name, and yes, I am talking about Usha Khanna – she is different from earlier three lady music directors identified above, in the following two respects. One, as per her own submissions, she has had no formal training in music, period. The closest she says she came to be taught music is her father, Manohar Lal Khanna, showing her the keys on a harmonium, for the basic notes of the sargam. Beyond that frugal basic introduction, Usha Khanna is a self taught music person, a fact that most certainly belies both the quality and the quantity of her musical creations. And the second – her longevity in the industry and the no. of films she has worked on. An active career that started in 1959, with the hit musical ‘Dil Deke Dekho’, and continued till at least 2003 with the film ‘Dil Pardesi Ho Gaya’. A musical journey that has lasted well over five decades, and in the process, she has worked for more than 250 films, in Hindi as well as some in other languages. These two factors make her stand apart in greater prominence, than her predecessor luminaries.

Greetings to Usha Khanna ji on her 76th birthday – 7th October, 2017.

And when we take a look at the years, another amazing aspect gets highlighted. Her first film is ‘Dil Deke Dekho’ in 1959. She was born in 1941. Goodness, she was all of eighteen years old when she accomplished her debut hit. That, my friends, is a remarkable showing indeed. Actually, she was introduced to Sashadhar Mukherji of Filmalya, by Indeevar ji. She was present for audition as a singer. On listening to her, S Mukherji ruled her out as a singer – no match for the voices of established artists like Lata ji and Asha ji. But when it was mentioned that she also composed music, it stirred the interest of Mukherji Sb. Not believing what he heard, he challenged her to create tunes for the mukhda lines suggested by him. He put her to this test again and again. After being satisfied with her introductory output, he assigned her as the music director for ‘Dil Deke Dekho’. The rest, my friends, is simply history.

With today’s post, I introduce to our blog, the film ‘Trip To Moon’ from 1967. The film is also known by the title ‘Chaand Par Chadaai’. The film is produced under the banner of Cauvery Productions, Madras and is directed by TP Sundaram. This is a Dara Singh film, notably produced in Madras. The cast of actors includes Dara Singh, Ratna, Bhagwan, Anwar Hussain, S Nazir, Helen, Padma, Kanchanmala and Rajrani etc. The music of this film is composed by Usha Khanna. Coming to the lyricists, the situation is quite interesting. Geet Kosh lists the song writers as SH Bihari, Asad Bhopali, Akhtar Romani and Javed Anwar, with an indication that there may be one more songwriter. Fortunately, this film is available. So when I checked the actual film, in the credits, three song writers are named, viz. SH Bihari, Asad Bhopali and a gentleman named Imam. There is this difference, which may be explained by noting that most listings in the Geet Kosh are based on the information booklets of the films. And yes, specific songwriter’s name for individual songs are not identified.

The song is a twin dance, which is being performed in some sort of a royal darbaar setting. The second dancer, who is lip syncing Kamal Barot’s voice, is a very young Padma Khanna (thanks Prakash ji, for the identification). I am not able to place a name to the first dancer. The dance seems to be a competition, as we can see some men who are possibly judges, as from their attire and appearance, and are holding paper and pencils in their hands. Watching this performance are Dara Singh and Bhagwan, seated in eminent seats, indicating they may be guests of honor. A lone person is sitting in some kind of a throne. He is wearing dark glasses, and I am not able to identify. I request friends and readers to help identify the first lady dancer and other actors visible in this clip.
[Ed Note: Nayan Yagnik ji has identified the gentleman wearing dark glasses as S Nazir. Prakash ji has identified the second dancer as Padma Khanna. Thanks to both.]

Greetings to Usha Khanna ji once again.

Enjoy this delightful twin dance song, that is one of the many keen memories from the radio listening days.

Song – Aap Hain Kya Aji Wo Aap Hain Kya  (Trip To Moon) (1967) Singer – Suman Kalyanpur, Kamal Barot, Lyrics – [Unattributed], MD – Usha Khanna
Suman Kalyanpur + Kamal Barot

Lyrics

aap hain kya
aji wo aap hain kya
aap hain kya
aji wo aap hain kya
yun jhuki jhuki aankhon ne kamaal kar diya
hai chori chori dil ka bura haal kar diya
vallah har kaam bemisaal kar diya
aap hain kya
aji wo aap hain kya
aap hain kya
aji wo aap hain kya
yun jhuki jhuki aankhon ne kamaal kar diya
hai chori chori dil ka bura haal kar diya
vallah har kaam bemisaal kar diya
aap hain kya
aji wo aap hain kya

kahiye janaab ye kya kiya
kyon dil se dil takra diya
hum ko bagair soche huye
kyon ae huzoor tadpa diya
ye addayen
ye ishaare
jitne qaatil
utne pyaare
lagne lagey dil pe teer ki tareh
aap hain kya
aji wo aap hain kya
aap hain kya
aji wo aap hain kya
yun jhuki jhuki aankhon ne kamaal kar diya
hai chori chori dil ka bura haal kar diya
vallah har kaam bemisaal kar diya
aap hain kya
aji wo aap hain kya

hum ek baar dekhen jidhar
lag jaaye aag pal mein udhar
zulfon ke jaal hain har taraf
jaayenge aap bach kar kidhar
humse itni berukhi kyon
dosti mein dushmani kyon
aisi na dijey hamen pyaar ki sazaa
aap hain kya
aji wo aap hain kya
aap hain kya
aji wo aap hain kya
yun jhuki jhuki aankhon ne kamaal kar diya
hai chori chori dil ka bura haal kar diya
vallah har kaam bemisaal kar diya
aap hain kya
aji wo aap hain kya

tumko bhi pyaar
humko bhi pyaar
yun na karo chhup chhup ke waar
hoga abhi har faisla
kiski hai jeet
kiski hai haar
tun jahaan ho
hum wahin hain
hum bhi tumse kam nahin hain
donon hain ek hi haseen bemisaal
aap hain kya
aji wo aap hain kya
aap hain kya
aji wo aap hain kya
yun jhuki jhuki aankhon ne kamaal kar diya
hai chori chori dil ka bura haal kar diya
vallah har kaam bemisaal kar diya
aap hain kya
aji wo aap hain kya
aap hain kya
aji wo aap hain kya. . .

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

आप हैं क्या
अजी वो आप हैं क्या
आप हैं क्या
अजी वो आप हैं क्या
यूं झुकी झुकी आँखों ने कमाल कर दिया
हाय चोरी चोरी दिल का बुरा हाल कर दिया
वल्लाह हर काम बेमिसाल कर दिया
आप हैं क्या
अजी वो आप हैं क्या
आप हैं क्या
अजी वो आप हैं क्या
यूं झुकी झुकी आँखों ने कमाल कर दिया
हाय चोरी चोरी दिल का बुरा हाल कर दिया
वल्लाह हर काम बेमिसाल कर दिया
आप हैं क्या
अजी वो आप हैं क्या

कहिए जनाब ये क्या किया
क्यों दिल से दिल टकरा दिया
हमको बगैर सोचे हुये
क्यों ए हुज़ूर तड़पा दिया
ये अदाएं
ये इशारे
जितने क़ातिल
उतने प्यारे
लगने लगे दिल पे तीर की तरह
आप हैं क्या
अजी वो आप हैं क्या
आप हैं क्या
अजी वो आप हैं क्या
यूं झुकी झुकी आँखों ने कमाल कर दिया
हाय चोरी चोरी दिल का बुरा हाल कर दिया
वल्लाह हर काम बेमिसाल कर दिया
आप हैं क्या
अजी वो आप हैं क्या

हम एक बार देखें जिधर
लग जाये आग पल में उधर
ज़ुल्फों के जाल हैं हर तरफ
जाएँगे आप बच कर किधर
हमसे इतनी बेरुखी क्यों
दोस्ती में दुशमनी क्यों
ऐसी ना दीजे हमें प्यार की सज़ा
आप हैं क्या
अजी वो आप हैं क्या
आप हैं क्या
अजी वो आप हैं क्या
यूं झुकी झुकी आँखों ने कमाल कर दिया
हाय चोरी चोरी दिल का बुरा हाल कर दिया
वल्लाह हर काम बेमिसाल कर दिया
आप हैं क्या
अजी वो आप हैं क्या

तुमको भी प्यार
हमको भी प्यार
यूं न करो छुप छुप के वार
होगा अभी हर फैसला
किसकी है जीत
किसकी है हार
तुम जहाँ हो
हम वहीं हैं
हम भी तुमसे कम नहीं हैं
दोनों हैं एक ही हसीन बेमिसाल
आप हैं क्या
अजी वो आप हैं क्या
आप हैं क्या
अजी वो आप हैं क्या
यूं झुकी झुकी आँखों ने कमाल कर दिया
हाय चोरी चोरी दिल का बुरा हाल कर दिया
वल्लाह हर काम बेमिसाल कर दिया
आप हैं क्या
अजी वो आप हैं क्या
आप हैं क्या
अजी वो आप हैं क्या॰ ॰ ॰


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.

“Air Mail” (1960) was directed by B J Patel for People’s pictures, Bombay. The movie had Ranjan, Malini, Jyoti, Rajan Kapoor, Merajkar, Maruti 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.

“Al Hilal”(1958) is a well known movie for us in this blog becuae of its iconic qawwaali which was the subject of the 5000th post on this blog.
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.

Today is the 98th birth anniversary of a venerated poet and song writer in our Hindi film industry. He is one of those lyricists in the industry, who has a significant portfolio of work but not much is known about his personal life. We only know that he started to work in the Hindi films in 1942. On our blog, the last two posted songs written by him are “Main Nainon Ka Saawan Bhulaane Chali Hoon”, and “Ek Gagan Panth Ka Pakheru”.
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.

taqdeer ka fasaana. . .

So much to be said for destiny and luck. Especially in an industry as unkind and pitiless, as the film industry. They always say, success sells; nothing succeeds like success. But then what to say of success stories that really didn’t go any place.
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.

“Husn Ka Ghulam” (1966) was directed by Kedar Kapoor for Rainbow Pictures Production, Bombay. The movie had Dara Singh, Nishi, Jamal, Maruti,Madhumati, Niranjan Sharma, Khurshid, Krishna Kumari, Bill Robinson 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.

“Janam Janam Ke Saathi”(1965) was directed by Nand Kishore for M B Brothers, Bombay. The movie had Kamini Kaushal, Premnath, Lalita Pawar, Mubarak, Sheila Kashmiri, Durga Khote, Umakant, Maruti, Yakoob etc in it.
Read more on this topic…


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(© 2008 - 2017) 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.

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 nine years. This blog has over 13700 song posts by now.

This blog is active and online for over 3400 days since its beginning on 19 july 2008.

Total number of songs posts discussed

13740

Number of movies covered in the blog

Movies with all their songs covered =1031
Total Number of movies covered =3757

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  • 9,838,866 hits

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Blog Start date: 19 july 2008

Active for more than 3250 days.

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