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

Posts Tagged ‘Tanvir Naqvi


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.

Blog Day :

4278 Post No. : 15515 Movie Count :

4277

Today’s song is from film ‘Yaadgaar’ (1947). There were two more films with the same title made in 1970 and 1984. Today’s film was made by Hind Pictures, owned by actor, director and producer Nazir Ahmed Khan – also known to be the nth husband of actress Sitara Devi and actress Swarnalata. The film was directed by Nazir himself, who had also acted in it. The other cast was Jyoti, M Ismail, P Kailash, Agha, Tasneem, Cuckoo and many others. Tanvir Naqvi was the lyricist and music director was AR Qureshi.

I started writing on songs and films of yore, since almost end of 2012. Initially, my posts were based on information I had jotted down in my several diaries and notebooks. However, later I realised that I needed more information. After visiting some well known sites, I understood that either their information was incomplete or unreliable. So I decided to add more books to my existing library. At the same time research and thesis papers on old Hindi cinemas and related matters, articles in newspapers like The Hindu, Indian Express, Times of India, regional cine magazines in Hindi, Marathi, English and Telugu also came very handy. From the beginning, I made two rules. One, write only what can be defended, if challenged, and two, mention and thank the source if referred to, at the end of the post – if it is something special or unique.

Not only this, but I started preserving useful articles and bits of information on my laptop, divided into two different accounts. In few cases, I just jotted down the relevant URL details and description of type of information that it gives. By now their number has crossed almost 1000. Despite my age, I remember where is what information and I can put my hand on the required information in a few minutes. Sometimes, I find that there is no mention of any source for some information, as that is from an old book without author’s name. In the last 8 years, due to my extensive writings on this and other blogs and sites, I became known and friendly with many like minded scholars and writers. My library started bulging and friendly authors sent copies of their books as gifts to me.

This made my resources rich and luckily I have a knack of picking up the right information from the crowd of my resources at my disposal. Likewise, knowledgeable personalities like Harish Raghuwanshi ji, Rajnikumar Pandya ji, Biren Kothari ji, Shishir Krishna Sharma ji, Yasir Abbasi ji, Harmandir ji, Sanjit Narvekar ji, Amrit Gangar ji and many others on Facebook groups like MN Sardana ji etc help me from time to time. These names are only as examples, but there are many more actually. All this and friendly pressures led me to go for publishing my first book in 2018.

While writing more that 850 articles on old films and related matters, I concentrated only on the prose side of films, i.e. writing mainly about persons involved in films and not so much on the poetry side, i.e. music and songs. However, they can not be separated easily, so while emphasis was on people, but music and song too was base of my writing articles.

During these years, I have come across few personalities in films, who devoted half of their time on films, but achieved peaks in totally different fields too. Such cases are not many, but such people must get highlighted. Some people first shine in other fields and then come to films, but leaving this alluring magic of film life after a successful stint and then following a different life is surely worth praise.

Off hand, I can name a few such persons. One is Shashi Kapoor Sr. He worked as a very successful child artiste in 21 films from 1944 to 1955. While still in great demand, he left films and continued education. He did MSc and LLB here in India, and PhD in USA. He worked as a Professor of Maths in Michigan University for many years. Retired in 1997 and now lives in USA. Another person was SD Batish. After singing 115 songs in 70 films and giving music in 20 films, composing 154 songs, he left films, went to USA. He wrote many books on music and started a music institute to teach hundreds of students.

Similarly, singer Laxmi Shankar sang 27 songs in 18 films, shifted to USA and started a music school. She won many awards there. Lyricist Moti, BA (who was actually an MA) left films after writing 60 songs in 18 films, still in great demand, left films, went to his village in UP and taught in a College.

Ashraf Khan’s case is unique. After a successful career in Hindi films, he left everything and became a Sufi saint. His dargah is situated on Mumbai-Ahmedabad highway, where every year an Urs is held, to which many artistes from Bollywood go.

Similarly music director GA Chishti aka Babaji, became a faqir after leaving films. Actress of the 1940s, Renuka Devi migrated to Pakistan. She left films and became a social worker for women’s uplift and education in Pakistan. She worked for this, on Radio and TV of Pakistan for 20 years. She also wrote her autobiography,’A Woman of Substance’, which was published by her daughter after Renuka’s death.

Lastly Mukund Rai Trivedi aka Roy of the Roy-Frank pair who gave music to film ‘Gogola’ (1966), left films and returned to family business of mining in MP. He became a billionaire and later an MP in Lok Sabha.

The reason for remembering all this is because the music director of today’s film is AR Qureshi, who too is one who left films after giving music to 42 films, from 1943 to 1958, and became an internationally recognised tabla maestro, winning several awards. Just read his biodata. . .

Ustad Allah Rakha, born as Allah Rakha Khan Qureshi, was born in Jammu and Kashmir on 29-4-1919. He was an Indian tabla player, who popularised the art of tabla playing all over the world. Allah Rakha was born to a soldier, who later returned from the army and worked as a farmer after that to earn his bread and butter. Being the eldest of seven sons, his father did not expect him to learn music and opposed his idea of learning classical music.

Ustad Allah Rakha, as a young boy of 12 years, found the instrument fascinating while visiting his uncle in Gurdaspur. His inclination towards Indian classical music and the performing arts made him run away to Lahore for further learning, as he found little scope of learning the art-form in his home-town. Allah Rakha studied at the Punjab school of classical music (gharana) where he became a student of Ustad Mian Khadarbaksh Pakhawaji (Mian Quader Bakshi). He trained to be a singer under Ustad Ashiq Hussain.

Allah Rakha was also associated with theater as he lived in Pathankot for sometime and worked for a theater company. In 1930, Allah Rakha worked at the radio station in Lahore. According to reports, he moved to Delhi after six years, in 1936, to work with All India Radio. In 1940, he moved to Bombay and worked with Pandit Ravi Shankar and again on All India Radio. He was the station’s first ever tabla solo player then.

After which he even composed music for 42 Hindi films from 1943 to 1958. His first film as a MD was ‘Mahasati Anusuya’ (1943) and the last released film was ‘Idd Ka Chaand’ (1964). He even sang 14 songs in 7 films between 1942 to 1949. He worked mostly in films made by Hind Pictures, Magnet Films, Sunrise Films and Mohan Studios of Dave brothers. Barring 1 or 2 films like ‘Bewafa’ (1952), he got only C grade stunt films or Muslim ibaadati films. He gave music in 3 Punjabi Films ‘Madari’ (1950), ‘Fumman’ (1951), and ‘Jagga’ (1964). He gave background music in ‘Pyar Ki Baatein’ (1951). He acted in ‘Aabida’ (1947). Uma Devi (Tuntun) first sang in ‘Wamiq Azra’ (1946) under AR Qureshi.

Ustad Allah Rakha had established the Alla Rakha Institute of Music in Bombay in 1986 and imparted his knowledge of the instrument to all his disciples in the institute. Allah Rakha and sitar maestro Pandit Ravi Shankar brought classical Hindustani music to Western audiences as well. He was honoured with the Padma Shri Award by the Government of India in 1977 for his contributions to elevate the reach of tabla playing as an art form across the globe. Later on, Sangeet Natak Akademi also honoured him.

Ustad Allah Rakha and sitar maestro Pandit Ravi Shankar brought classical Hindustani music to Western audiences as well. Their partnership reached legendary heights with performances at the Monterey Pop Festival in 1967 and the Woodstock Festival in 1969. The two performed together in a lot many festivals and elevated the respect and popularity of tabla playing as an art form. Other than Pandit Ravi Shankar, he also worked with renowned Kathak dancers like Sitara Devi and Birju Maharaj.

Ustad Allah Rakha found fans not only in India but abroad as well. Reportedly, American percussionist, the Grateful Dead’s Mickey Hart, was his huge fan. Hart always tried to learn from him even from single visits that Ustad used to make to his country. Hart was also quoted saying, “Alla Rakha is the Einstein, the Picasso; he is the highest form of rhythmic development on this planet.”

Other than the Grateful Dead drummer, Mickey Hart, Ustad Allah Rakha inspired George Harrison from The Beatles as well. Both of them performed together for a concert for Bangladesh in 1971. Mickey Hart also collaborated with him for the famous album ‘Rolling Thunder’ in 1972. The picture we have here is of Hell’s Angels member Terry The Tramp with tabla player Ustad Alla Rakha as they were set to perform together at the Monterey International Pop Festival, June 17th, 1967. He had collaborated with many prominent rock groups.

While Ustad used to generally team up with Pandit Ravi Shankar for his performances, he once collaborated with jazz drummer Buddy Rich for an album, ‘Rich à la Rakha’ in 1968. Some of his greatest works have been in the form of albums Improvisations – ‘West Meets East – Album 3’ (with Ravi Shankar, Yehudi Menuhin, Jean Pierre Rampel, Martine Gelliot), (on Angel records) (1976), ‘Master Drummers’ with Zakir Hussain (1991), ‘Tabla Duet, Chhanda Dhara’ (1994), ‘Ultimate in Taal-vidya’, (Magnasound/OMI) (1996).

Ustad Allah Rakha had married twice. He was first married to Bavi Begum and had three sons, Zakir Hussain, Fazal Qureshi and Taufiq Qureshi and two daughters Khurshid Aulia née Qureshi and Razia. Razia served him in his later years and was like a constant companion to her father. She died after a routine cataract surgery and Allah Rakha could not cope with the shock of her death and immediately slipped into a coma and passed away within 24 hours on 3-2-2000. Zakir Hussain is one of the most renowned tabla players of India.

Allah Rakha’s son Zakir Hussain grew up to be another legend in the country. Zakir Hussain has also been honoured with the Padma Shri in 1988 and the Padma Bhushan in 2002, by the Government of India. The honour that was bestowed upon his father by the Sangeet Natak Akademi came to him as well in 1990. Hussain has been working in films and on albums in India as well as abroad. Hussain owes his career to his father, who had made sure that he remained focused on this art-form.

Today’s song is sung by AR Qureshi himself. No information is available on this film. With this song, film ‘Yaadgaar’ of 1947, makes its debut on the Blog.

(Thanks to Harish Raghuwanshi ji for information on AR Qureshi, some time back)


Song-Kaahe door khada muskaaye (Yaadgaar)(1947) Singer- Alla Rakha Qureshi, Lyricist- Tanvir Naqvi, MD- AR Qureshi

Lyrics

kaahe door khada muskaaye
kaahe door khada muskaaye ae
kaliyon mein sharmaane waale
kaliyon mein sharmaane waale
phoolon ko mahkaane waale
phoolon ko mahkaane waale
kis kaaran ye phool tumhaare
kis kaaran ye phool tumhaare
bina khile murjhaaye
kaahe door khada muskaaye
door khada muskaaye
kaahe door khada muskaaye

kuchh kah le kuchh sun le daata
kuchh kah le kuchh sun le daata
hamre bahre goonge daata
hamre bahre goonge daata
jag mein tere baalak tadpen
jag mein tere baalak tadpen
tujh ko daya na aaye
kaahe tujh ko daya na aaye
kaahe ae ae


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.

Blog Day :

3983 Post No. : 15072

Today’s song is from film ‘Kaarwaan’ (1956), a costume drama, made by Shahkaar productions, Bombay. Produced by Dev Jolly, it was directed by Rafiq Rizvi – whose career as a director came to a close with this film. His 6 films began with ‘Waayda’ (1940). The music was by S Mohinder. The lyricists were Tanvir Naqvi, Pt. Bhushan and Saarshaar Sailani.

S Mohinder aka Bakshi Mohinder Singh Sarna, was one of the very few Sikh composers in Hindi films (only 3 till 1970. Sardul Kwatra, GS Kohli and S Mohinder). For this film, he had 2 assistants. One was Inderjeet Singh, who was the maternal Uncle (mamma) of today’s singer Daler Mehndi and the other was Pt Kishen who was Husnlal and Bhagatram’s nephew (sister’s son). These two assistants were working with S Mohinder till 1961, after which both died one after another.

S Mohinder was born on 24-2-1925 in a small town called Silanwali in Montgomery District of un-divided Punjab. His full name was Bakshi Mohinder Singh Sarna.  His father Sujan Singh Bakhshi was a sub-inspector in police. Soon the family moved to a comparatively larger city Lyallpur, where young Mohinder around 1935 came in contact with an accomplished Sikh religious vocalist Sant Sujan Singh. He honed his skills for several years in classical music in the tutelage of Sant Sujan Singh. Initially he wanted to be a singer. The family moved to Sheikhupura , close  to Nankana Sahib, the birth place of Guru Nanak and S Mohinder got his further training in classical music from legendry Sikh religious musician Bhai Samund Singh. Frequent transfers of his father kept the family on the move. Since S Mohinder’s education was suffering badly, durIng early forties, he was enrolled in Khalsa High School in village Kairon in Amritsar District.

In 1947, the rest of the family too moved to East Punjab in India. The love for classical music brought S Mohinder to Benares. After a couple of years of grooming in classical music in Benares, the Mecca of Indian classical music, S Mohinder, came to Bombay, the leading center of film industry. His first successful film was ‘Neeli’ (1950), which was musically a hit but not successful on the box office. S Mohinder took a regular job of music director with Filmistan Studios, which was churning out movies like factory. He composed music for Filmistan for half a decade. It was a great experience.

After a successful relationship as a music director with Filmistan Studios, S Mohinder composed music for Chandu Lal Shah’s (Ranjit Movietone) film ‘Zameen Ke Taare’ (1960). It became a hit. After that he composed the music for Wadia Brothers film ‘Reporter Raju’ (1962) and producer Roop K Shori’s film ‘Ek Ladki Saat Ladke’ (1961). He gave music for unreleased film ‘Do Dost’ also.

S Mohinder says that during the sixties, when only Hans Raj Behl and Sardul Singh Kwatra were in the field of composing music for Punjabi films, he also tried his hand at Punjab films. The response was good. His music for his first Punjabi film ‘Pardesi Dhola’ was a hit. After that he mainly devoted his attention on composing music for Punjabi films only. His music for ‘Chambe Di Kali’ also became a hit. Inderjit Hassanpuri, a friend of S Mohinder, made a Punjabi film ‘Daaj’ for which S Mohinder composed very emotional tunes. Later on during the late seventies S Mohinder composed music for some non-film Punjabi albums too and the singers included the best in the Punjabi music business, Surinder Kaur and Asa Singh Mastana. These private albums were also instant hits.

In 1960, S Mohinder composed music for the film ‘Mehlon Ke Khwaab’ produced by Madhubala. The film did quite well at the box office and its music became a hit. The untimely death of Madhubala in 1969, during the prime of her youth deeply saddened S Mohinder. He came to the conclusion that the field of composing music for Hindi films was getting a lot of new players and the melody was slowly yielding place to noisy heavy metal music. So he decided to go back to his roots and switch to composing music for Punjabi movies.

Ram Maheshwari and Panna Lal Maheshwari, originally from Amritsar, decided to make a movie in Punjabi based on Sikh religious sentiments. The film was titled ‘Nanak Naam Jahaaz Hai’. S Mohinder got the contract to compose the music. The story of the film required some scenes to be picturized in the Golden Temple. S Mohinder thought that the music for those scenes was a very sensitive subject and must be performed by the finest exponent of Sikh Religious classical music. So he requested Bhai Samund Singh to sing the Shabads. Bhai Samund Singh was also the mentor of S Mohinder during his early training in classical music. Initially Bhai Samund Singh hesitated, but eventually he agreed to sing for the movie. S Mohinder believes that what Bade Ghulam Ali Khan’s singing was to the great movie ‘Mughal e Azam’, the shabads sung by Bhai Samund Singh are to Punjabi film ‘Nanak Naam Jahaaz Hai’. As we all know film ‘Nanak Naam Jahaaz Hai’ has been an all time hit Punjabi movie. Its music was also as big a success.

The runaway success of ‘Nanak Naam Jahaaz Hai’ ushered in an era of for making well meaning movies based on Sikh religious stories. S Mohinder composed the music for most of these Sikh religious movies.’Dukh Bhanjan Tera Naam’ (1974) featuring Shaminder Singh as the hero was the next film, it was also quite successful. Then came two more namely ‘Man Jeete Jag Jeet’ (1973) and ‘Paapi Tare Anek’ (1976). Both were successful at the box office. All these movies were made during the decade of seventies. S Mohinder also composed some of his most memorable music for these movies.

During the decade of nineteen seventies, S Mohinder composed music for some private albums also including some featuring Sikh devotional music and some featuring the folk music of Punjab. Legendry Punjabi singer Surinder Kaur was prominently featured on some of these albums. He gave music to 36 Hindi films, composing 243 songs. He also sang 3 songs in 3 films.

S Mohinder left India for the USA in October 1982, when he was at the peak of his career as a music composer. The last film featuring his music was named ‘Maula Jatt’, with Dara Singh in the male lead role. Even in US, he did lot of work in Music – like recording songs, running a music school etc. (Adapted, with thanks, from an article in apnaorg.com)

Today’s song is written by Tanvir Naqvi. Tanvir Naqvi (real name – Syed Khursheed Ali) was born on 16th February 1919, at Lahore. His father was a jaagirdar and elder brother was ADC to a nawab. Tanvir went to Persia, along with father, where he was educated in Urdu and Persian. From the age of 14 years, he started writing poetry and participated in various mushairas. He published a book of poetry, titled ‘Suhaane Sapne. By chance, AR Kardar read it and called Tanvir to Bombay to write for his film ‘Swami’ (1941), made by CIRCO Productions.

In his next film, ‘Nai Duniya’ (1942), Suraiya sang his song as her first song. His films ‘Anmol Ghadi’ (1946) and ‘Jugnu’ (1947) became hits and all his songs were appreciated much. He had earned a good name. However, after film ‘Parda’ (1949), he migrated to Pakistan. In 1954, K Asif invited him to India to write songs for his film ‘Mughal e Azam’, but by that time, Naushad had built his own team and he declined to take Tanvir Naqvi. From 1954 to 1959, Tanvir did many films. He also joined S Mohinder and wrote songs for his 7 films.

In 1959, Tanvir Naqvi shifted again to Pakistan, but this time for good. There also he wrote for many films, like ‘Koel’, ‘Jhoomar’, ‘Salma’, ‘Gulfam’, ‘Elaan’etc. He wrote also for Punjabi films. He had married Idaan – elder sister of actress singer Nurjehan. However, since he had no children from her, so he married again and had 2 children.  He died in Lahore on 1-11-1972. In India, he wrote 224 songs for 48 films. Some of his songs are popular even today.

The cast of the film consisted of Shakila, Mahipal, Heeralal, Gope, Yashodhara Katju, Randhir, Satish, Sheila Vaz, Helen, Cuckoo and others. All the usual actors for a C grade costume drama. I find that most main actors are the subject matters of many articles, but actors like Heeralal are left out. I reproduce below a brief biosketch of Heeralal that I have earlier posted for the song “Main Hoon Bhaiya Dim Timkar“.

Heeralal is a familiar face to every fan of vintage Bollywood as he played countless character parts, often as the villain, in literally hundreds of films both big and small. He was born Heeralal Thakur, on March 14, 1912 in Lahore (now part of Pakistan) and began his career in silent films with AR Kardar’s ‘Safdar Jung’ which was released in 1930. Incidentally, his second film, ‘Daughters of Today’, actually made it to movie theaters first, in 1929. He was under contract to United Players Corporation and made several silent pictures for them before making the transition to talkies and moving on to other studios for films like ‘Pavitra Ganga’ (1932), ‘Seeta’ (1934), and ‘Blood Feud’ (1935).

Some of his notable fantasy, sci-fi and horror films include ‘Khooni Jaadugar’ (1939), ‘Arabian Nights’ (1946), ‘Mehbooba’ (1954), ‘Hatimtai Ki Beti’ (1955), ‘Roop Basant’ (1955), ‘Sakhi Hatim’ (1955), ‘Shah Behram’ (1955), ‘Indra Sabha’ (1956), ‘Shaan e Hatim’ (1958), ‘Dr. Z’  (1959), ‘Dr. Shaitan’ (1960),  ‘Jadoo Mahal’ (1962), ‘Flying Man’ (1965), ‘Gumnaam’ (1965), ‘Sindbad, Alibaba and Alladin’ (1965), ‘Love And Murder’ (1966), ‘Sheba And Hercules’ (1967), and ‘Alibaba’ (1976). Hiralal worked continuously until his death on June 27, 1982.

He had worked in 203 films. His first film was ‘Pavitra Ganga’ (1932) and last film was ‘Kaalia’ (1981).

Today’s song is actually a very sweet song and had been a popular song in its time. This is a duet of Lata and GM Durrani. The mukhda says – “Ae Saarbaan, Saarbaan. . .”. The word saarbaan means actually ‘camel handler’, but in Persian language it also means the caravaan leader. I liked this song very much. In fact, many of the songs composed by S Mohinder are very good, but somehow he never became an A grade composer.

 

Song – Ae Saarbaan Saarbaan, Kis Raah Ka Raahi Hai Tu (Kaarwaan) (1956) Singer – Lata Mangeshkar, GM Durrani, Lyrics – Tanveer Naqvi, MD – S Mohinder

Lyrics

ae saarbaan saarbaan
ae saarbaan saarbaan

kis raah ka raahi hai tu
hai tujhko kiski justju
hogi teri manzil kahaan
ae saarbaan saarbaan
ae saarbaan saarbaan

teri meri manzil nahin
manzil hai manzil ka nishaan
ae jaan e jaan jaan e jaan
ae jaan e jaan jaan e jaan

mujhko ko bhi apne saath le. . .
de haath mera haath le
de haath mera haath le
mushkil bahut hain raaste
aasaan hain mere waste
aasaan hain mere waste
raste ki sab dushwaariaan
ae saarbaan saarbaan
ae saarbaan saarbaan
ae jaan e jaan jaan e jaan
ae jaan e jaan jaan e jaan

gar tujhko khud pe hai yakeen. . .
mushkil koi mushkil nahin
mushkil koi mushkil nahin
ghat’ta rahega har khatar
kat’ta rahega ye safar
kat’ta rahega ye safar
badhta rahega kaarwaan
ae saarbaan saarbaan
ae jaan e jaan jaan e jaan

badh kar na thehren phir kadam. . .
ye shauk ka dastoor hai
ye shauk ka dastoor hai
teri mohabbat ke liye
sab kuchh mujhe manzoor hai
sab kuchh mujhe manzoor hai
le chal mujhe chaahe jahaan
ae saarbaan saarbaan
ae saarbaan saarbaan
ae jaan e jaan jaan e jaan
ae jaan e jaan jaan e jaan

ae saarbaan saarbaan
ae saarbaan saarbaan

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

ए सारबाँ सारबाँ
ए सारबाँ सारबाँ

किस राह का राही है तू
है तुझको किसकी जुस्तजू
होगी तेरी मंज़िल कहाँ
ए सारबाँ सारबाँ
ए सारबाँ सारबाँ

तेरी मेरी मंज़िल नहीं
मंज़िल है मंज़िल का निशां
ए जान ए जान जान ए जान
ए जान ए जान जान ए जान

मुझको भी अपने साथ ले॰ ॰ ॰
दे हाथ मेरा हाथ ले
दे हाथ मेरा हाथ ले
मुश्किल बहुत हैं रास्ते
आसाँ है मेरे वास्ते
आसाँ है मेरे वास्ते
रस्ते की सब दुश्वारीयाँ
ए सारबाँ सारबाँ
ए सारबाँ सारबाँ
ए जान ए जान जान ए जान
ए जान ए जान जान ए जान

गर तुझको खुद पे है यकीं॰ ॰ ॰
मुश्किल कोई मुश्किल नहीं
मुश्किल कोई मुश्किल नहीं
घटता रहेगा हर ख़तर
कटता रहेगा हर सफर
कटता रहेगा हर सफर
बढ़ता रहेगा कारवां
ए सारबाँ सारबाँ
ए जान ए जान जान ए जान

बढ़ कर ना ठहरें फिर कदम॰ ॰ ॰
ये शौक का दस्तूर है
ये शौक का दस्तूर है
तेरी मोहब्बत के लिए
सब कुछ मुझे मंजूर है
सब कुछ मुझे मंजूर है
ले चल मुझे चाहे जहां
ए सारबाँ सारबाँ
ए सारबाँ सारबाँ
ए जान ए जान जान ए जान
ए जान ए जान जान ए जान

ए सारबाँ सारबाँ
ए सारबाँ सारबाँ

 


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

PARAAYI AAG (1948) was produced under the banner of Great India Pictures and was directed by Najam Naqvi. The star cast included Munawwar Sultana, Ulhas, Mumtaz (Madhubala), Sheri, A Shah, W M Khan, Jilloo Bai etc. The story of the film revolves around the mistaken identities of the two prospective brides and bridegrooms. This leads to first, the comical situations and later, to some melodrama before misunderstandings are sorted out.
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.

“Naata” (1955) was a Madhubala Pvt Ltd Production movie. It was directed by D N Madhok. The movie had Abhi Bhattacharya, Madhubala, Chanchal, Vijayalaxmi, Kanhaiyalal, Heeralal, Gope etc in it.
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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.

“Naata” (1955) was a Madhubala Pvt Ltd Production movie. It was directed by D N Madhok. The movie had Abhi Bhattacharya, Madhubala, Chanchal, Vijayalaxmi, Kanhaiyalal, Heeralal, Gope etc in it.
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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.

“Nayi Duniya”(1942) was produced by Naushad and directed by A R Kardar for Sirco Productions, Bombay. The movie had Jairaj, Shobhna Samarth, Azurie, R Vasti, Mazhar Khan, Hari Shivdasani, Jeeva, Ram autaar, Alauddin etc in it.
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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.

“Shirin Farhaad”(1956) was directed by Aspi Irani for Super Pictures. The movie had Madhubala, Pradeep Kumar, P. Kailash, Kamal, Ram Avtaar, Uma Dutt, H. Prakash, Ameeta, Shakuntala etc in it.
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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.

Going through the posts in the blog does not give readers an indication of my whereabouts at the time of posting, unless I mention it. When I think about it, I have been to several places in the last few months and my posts have been made from places like Madhya Pradesh, Rajasthan, Delhi, Gujarat, Maharashtra etc in addition to my present day location in Chattisgarh. Even in Chhattisgarh, I do not remain at one fixed place all the time.
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This article is written by Arunkumar Deshmukh, a fellow enthusiast and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

THE VIBRANT 40s (Episode No. 6)
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CREDIBILITY is certainly a valuable virtue and a treasure to possess. Our parents enjoy a high credibility quotient with us. Anything told by them was accepted without a doubt or a question.(This is, of course, in olden days). We respect people with credibility. Books like Dictionaries and Encyclopedias carry the highest credibility. Does anyone question the meaning of words in a Dictionary ? Certainly not ! Likewise Encyclopaedias too give credible information.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Suron ki malika – Suraiya.
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There is no better epithet that so appropriately suits this princess of musical notes. A princess who has also been called the Cindrella of Hindi cinema. A possessor of remarkable beauty, a talent that oozes with the formal ‘adaayagi’ of the north Indian urdu ‘tehzeeb’, and a voice that casts a magic spell difficult to snap out of, Suraiya is the fulfillment of the feminine essence of the quintessential heroine of the silver screen. But despite being what she was, she was destined to remain a Cindrella, forever waiting for a companion, for her knight on a white horse. Thirty four is an age when most other artists are still on the rise in their careers, getting into their prime time. But for her, thirty four was the age when she retired from the industry, to spend the remaining four decades of her life in relative anonymity and reclusion.
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What is this blog all about

This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for over TWELVE years. This blog has over 15700 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

Important Announcement

(© 2008 - 2020) 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.

Total number of songs posts discussed

15786

Number of movies covered in the blog

Movies with all their songs covered =1212
Total Number of movies covered =4345

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Blog Start date: 19 july 2008

Active for more than 4000 days.

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