Atul’s Song A Day- A choice collection of Hindi Film Non-Film Songs | Over sixteen thousand song

Time 2020-12-26 05:02:46

Web Name: Atul’s Song A Day- A choice collection of Hindi Film Non-Film Songs | Over sixteen thousand song

WebSite: http://atulsongaday.me

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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.‘Baazooband’ (1954) was produced by Ashalata Biswas under the banner of Variety Productions jointly with Ramanand Sagar who also directed it. The star cast included Balraj Sahni and Sulochana Chatterjee in the lead with Roopmala, Anwar Hussain, Om Prakash, Radhakrishan, Shanta Kanwar, Noor Jahan (Sr.), Noreen Linford etc in the subsidiary roles. The story, screenplay and dialogues were written by Ramanand Sagar.The main theme of the story of the film is that in a well-settled family, a distraction by way to some vices especially when ‘other woman’ comes into the life of the husband, can wreck the family – both financially and emotionally. It is the faith and the trust with which an understanding wife can steer the husband from the wrong path. The gist of the story of the film is as under:Seth Surajmal (Balraj Sahni), his wife, Radha (Sulcohana Chatterjee) and his two children are a wealthy and happy family. But Surajmal has one weakness. Come evening and he is magnetically attracted to make a visit to Amma’s kotha where he is under the magical spell of the dancer Chanda (Roopmala). He watches her dance and gift costly jewelries to her on his each visit . By mid-night, he returns home fully sozzled in alcohol. This is Surajmal’s daily routine.The regular patrons of Chanda include Saanwariya (Om Prakash) and Bankelal (Anawar Hussain). Saanwariya, once upon a time a wealthy merchant, has now become almost pauper and spend his entire time in the kotha. Bankelal on the other hand is financially weak and looking for some way to raise money so that he and his foreign fiancé Josephine (Noreen Linford) can settled abroad. For this, Bankelal has found a way out by joining hands with Chanda to financially fleece Surajmal with a false promise to her that when she has collected sufficient money from Surajmal, he will marry her and settle abroad.Radha’s mother and younger sister try to impression upon her to confront Chanda but she takes a stand that the fault lies with her husband who is mesmerised by Chanda. So, she has to take measure to bring her husband to the correct path. She is sure that her devotion towards her husband and the children would one day bring him back to senses. But would it not be too late for Radha?In the meanwhile, hearing the news that her mother is unwell, Radha leaves for her mother’s place leaving the children with Surajmal. Bankelal finds a opportunity to place Chanda in Surajmal’s house in the guise of looking after his children. One day, when Surajmal is under the influence of liquor, Chanda gets him to sign a will that after his death, Chanda will be the sole owner of all his assets including the house.Bankelal’s next move is to get Surajmal killed in such a way so as to appear as accidental fall from a hill top while under the influence of liquor though he would by pushed to death by Chanda. This plan is accidentally heard by Saanwariya. He cautions Radha and at the same time, he decides to tackle Bankelal. While both Bankelal and Saanwariya seems to be enjoying their drinks in the former’s house, Saanwariya mixes poison in the drinks as a result of which Bankelal dies.Simultaneously, as per plan, Chanda after making Surajmal drinks a lot, takes him to a hilltop in the pretext of a romantic walk. However, Radha has been following them. When Chanda is struggling to push Surajmal from the hilltop, Saanwariya also reaches the spot and kills Chanda by stabbing. He throws her dead body from the hilltop. Radha reaches the spot and rescues Surajmal. Police arrives and arrests Saanwariya when he tells them that he had killed Bankelal by poisoning him and stabbed to death Chanda. Surajmal has now a changed man spending his evenings with his family. All is well that ends well.The problem with the film is that the story is too familiar for the audience as they would have watched many films with such story in the 40s and early 50s. There is no harm making one more film on such a story provided the director has presented the story in a different cinematic presentation. But it is not. As I watched the film, I did not find the film gripping to an extent that I would complete the film in one sitting.Balraj Sahni did not have much scope to show his performance as an actor as most of his scenes were with Chanda (Roopmala) in a drunken state. Sulochana Chatterjee as Radha did her best to reflect in her performance the balancing act between her husband and the children while tackling the husband’s problems. Roopmala in the role of Chanda performed very well both as a dancer as well as a vamp. Ramanand Sagar did not make the film melodramatic to draw the sympathy for the role of Radha nor he made Chanda more villainous to make the audience to hate her character. This would have been certainly a negative for the audience of that time.Ramanand Sagar collaborated with Ashalata Biswas in three films – ‘Badi Bahoo’ (1951) as a story, screenplay and dialogue writer followed by ‘Mehmaan’ (1953) and ‘Bazooband’ (1954) – the last two also as a director and producer in partnership with Ashalata Biswas’s Variety Productions. Unfortunately, despite the good music, none of these films succeeded in the box office front. ‘Bazooband’ (1954) was the worst performer on the box office to such an extent that after this, Ashalata Biswas’s film production company, Variety Productions did not venture into the film production. Ramanand Sagar did not direct any film for the next 6 years until ‘Ghoonghat’ (1960).On the positive side of the film, ‘Baazooband’ (1954) had 5 beautifully tuned songs from Lata Mangeshkar (out of 7 songs) under the baton of Mohammed Shafi. 3 songs from the film have been covered in the Blog.I am presenting the 4th song, ‘aarzoo ye hai ki nikle dam tumhaare saamane’ from the film ‘Baazooband’(1954). The song rendered by Lata Mangeshkar is picturised on Roopmala who is dancing to seduce Balraj Sahni in the presence of Anwar Hussain who is the instigator for such an act. Om Prakash is a moot spectator to his dislike. The song is written by Daagh Dehlvi which is set to music by Mohammed Shafi. It may be a rare occasion in a film in which as many as 4 songs (out of 7) have been picturisedon Roopmala who is not only the mujra dancer but also a vamp in the film. All the 4 mujra dance songs picturised on Roopmala were choreographed by Gopikrishna. Roopmala (real name, Mumtaz) was a popular dancer of Hyderabad. She started her filmy career with Basera (1950). In this song, everything is best – Daagh Dehlvi’s words, Lata Mangeshkar’s voice, Mohammed Shafi’s tune and musical arrangements, Roopmala’s dance performance with seductive expressions and gestures and choreography by Gopikrishna.Video Clip:Audio Clip:Song-Aarzoo ye hai ke nikle dam tumhaare saamne (Baazooband)(1954) Singer-Lata, Lyrics-Daag Dehalvi, MD-Md ShafiLyrics (Based on Video Clip)aa aa aa aaaaa aaa aaaaarzoo ye hai ke nikledam tumhaare ae saamnehaan aaa aaa aaaaaa aaa aaaaaa aan aaaaa aa aatum hamaare saamne hohum tumhaare saamnehum tumhare saamnetum hamaare saamne hohum tumhaare saamnehum tumhaare saamneaaaa aaa aaa aaaaaa lab paraaye thham thham kar ketum ghabra na jaaoo o o o o o o odard dil mein ho magaraeji dard dil mein ho magarkum tumhaare saamnekum tumhaare saamneaarzoo ye hai ke nikledam tumhaare saamnedam tumhaare saamneaaa aaa aaa aaa aaaa aaabaad mere royegasaara zamaana dekhnaaa aa aa aajhoom ke hoga merajhoom ke hoga meramaatam tumhaare saamnehaan tumhaare saamneaarzoo ye hai ke nikledam tumhaare saamnedam tumhaare saamneaaaa aaaaaa aaaaakatl kar daalo hamenyaa zulm e ulfat baksh dohaan aaa aaaaaa aaa aaaaan aan aanlo khade hain haath baandheaeji lo khade hain haath baandhehum tumhaare saamnehum tumhaare saamneaarzoo ye hai ke nikledam tumhaare saamnedam tumhare saamnetum hamaare saamne hohum tumhaare saamnehum tumhaare saamneHullo AtuldomI am not attempting a tribute to the great favorite of millions of Hindi film music lovers. I am sure there are many Atulites who are competent and will do a great job of it.I am just presenting HFM lovers a song which is not from a Hindi movie. I landed on this song as I was going through the discography of the singer whose voice has mesmerized an entire generation and his fans exist across the length and breadth of this vast country and beyond the boundaries. His fan following is not bounded by language barriers as we know that he has sung in various Indian and foreign languages.So without beating around the bush, I shall straight away get to the song. It is from the 27th June, 1980 released, Malayalam movie Thaliritta Kinakkal . Thalir means tender leaf and Kinakkal means dreams. So the title should loosely translate to Tender Dreams .It was directed by P. Gopikumar, Jamal Kochangadi was the story, screenplay and dialogue writer. When I read the cast of the movie I was astonished to find Madhu Malini and Tanuja s names; of course I am aware that Madhu Malini (sister in many Hindi movies of the 80s) had done a few movies in Malayalam. But Tanuja!!! (I need to see this movie). More importantly for the sake of the song with this post.I was amused to see the actor Padmadalakshan (who was more popular as Kuthiravattam Pappu) lip syncing to this wonderful voice of HFM. I immediately showed the video of the song to my dear Mom-in-law as I was having trouble recalling the name of the lady to whom the song was being addressed. She instantly pointed the direction and I recalled the various characters that this lady has played in Malayalam movies; beginning her career in 1957 till her death in 2009; her last release was in 2004. This lady goes by the name Adoor Bhavani. She was a Kerala Sangeetha Natak Academy award winning stage actress as well as popular enough to have appeared in about 450 films. She was also associated with Kerala People s Art Club.Coming back to the song. The makers of this movie, being huge fans of the Hindi film legend were keen on getting him to record for them. The legend commented that he needed a few weeks to learn the pronunciation of the language and also the meaning as without that he would not be able to impart the right emotions. Don t we know this about our legend- how meticulous he was about each and every song that he has recorded. Whether it were his halke-phulke yahoo-type songs, bapu ki yeh amar kahaani type patriotic songs, or any ghazal, bhajan, highly romantic or supremely melodious sad numbers. This legend was a go-to for songs of every genre and actor and emotion and pitch. There has been no replacement for him.I seem to be straying.So, as I said earlier, there are fans of this legend across the country and it is a small wonder that the makers of Thaliritta Kinnakal approached the legend and he didn t refuse them. But I would surely love to know what transpired in the interim and the legend ended up recording a Hindi song for the Malayalam film.Thus, we are having a Hindi song from a Malayalam film, sung by our very own Mohd. Rafi saab (I am sure I didn t have to mention the playback singer s name) which is lip synced by Kuthiravattam Pappu addressing Adoor Bhavani. We see, as the song is coming to a close, Adoor Bhavani is actually dancing to the song that is playing on a Two-in-one. I vividly recall that it was customary for all gulf-returnees to get one for their dear ones back home. We also see that Pappu spies Bhavani and calls Madhu Malini too, to enjoy the sight of the 50-year-old lady s antics.The composer is Jithin Shyam and Aayish Kamal is the lyricist.I would like to mention here that both these talented actors of Malayalam are impersonating characters usually played by Prem Nazir and Jayabharathi (the pair known for romantic duets of those times). I am assuming that this is part of the comic-romantic-sub plot of the movie something that our Mehmood used to excel in with either Shubha Khote or Aruna Irani in tow.Wishing that our Rafisaab was here, in this mortal world, to see us, his fans, going crazy on his 96th birthday.Song-Jaadoo hai meethha meethha jaana meri baaton mein (Thaliritta Kinakkal)(Malayalam)(1980) Singer-Rafi, Lyrics-Aayish Kamal, MD-Jithin ShyamLyricsshabaab leke wohjaane shabaab aaya haiutar ke jaise yahaanaaftaab aaya haitujh ko ochaand sitaare salaamkehte hainteri aankhen hain ya koi jaamkehte hainjaadu hai meetha meethajaana meri baaton meinapna bana hi loongaik do mulaaqaaton meinjaadu hai meetha meethajaana meri baaton meinapna bana hi loongaik do mulaaqaaton meinho o o dilrubaa aajaane adaa aa aa aa aasun zaraa aa aachaahat pe zor kisi baat ka kabhi na chalashama jali toh wahin aake parwaana jalachaahat ke rog se bacha hai yahaan kaun bhalaae mere dil tu u u uho na beqaabu u u uhaansaara zamaana dekha tujh sa mila na koimehfil mein aaya tere pyaar ka deewaana koijalwe lutaate huyechhed de taraana koihai yehi maukaa aa aa aa aayoon toh na sharmaa aa aa aa aahaanjaadu hai meetha meethajaana meri baaton meinapna bana hi loongaek do mulaaqaaton meinjaadu hain meetha meethajaana meri baaton meinapna bana hi loongaek do mulaaqaaton meinho o o dilrubaa aa aajaane adaa aa aa aa aasun zaraa aa aajaane adaa aa aasun zaraa aa aao o o This article is written by nahm, 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.This article marks the 3100th song post of Mohammad Rafi in the blog. This aticle is the 300th writeup of nahm in the blogkhud apni awaaz ho ki mahaul ki sadaayenyeh zehan mein banti aur bigadti hui fazaayenwoh fikr mein aaye zalzale hon ki dil ki halchaltamaam ehsaassaare jazbeye jaise patte hainbehte paani ki sateh parjaise tayrte hainabhi yehaan hainabhi wahaan hainaur ab hain ojhaldikhaayi detaa nahin hai lekinyeh kuchh to haijo ki beh rahaa haiyeh kaisa dariya haikin pahaadon se aa rahaa haiyeh kis samandar ko jaa rahaa haiyeh waqt kya haikabhi kabhi main yeh sochtaa hoonki chalti gaadi se ped dekhoto aisa lagtaa haidoosri simt jaa rahe hainmagar haqueeqat meinped apni jagah khade hainto kya yeh mumkin haisaarisadiyaanqataar-andar-qataar apni jagah khadi honyeh waqt saakit hoaur ham hi guzar rahe honis ek lamhe meinsaare lamhetamaam sadiyaan chhupi hui honna koyi ‘aayindana guzishtaajo ho chukaa haijo ho rahaa haijo hone waala haiho rahaa haimain sochtaa hoonki kya yeh mumkin haisach ye hoki safar mein ham hainguzarte ham hainjise samajhte hain hamguzarta haiwo thhamaa haiguzarta hai ye thhamaa huaa haiik aayi hai ye bataa huaa haihai munjamidyaa pighal rahaa haikise khabar haikise pataa haiyeh waqt kya haiyeh kaaynaat-e-azeemlagtaa haiapni azmat seaaj bhi mutma’een nahin haiki lamha lamha wohwasee’a-tar aur wasee’a-tar hoti jaa rahi haiyeh apni baahen pasaarti haiyeh kehkashaaon ki ungliyon senayi khalaaon ko chhoo rahi haiagar yeh sach haito har tasavvur ki had se baaharmagar kahin paryaqeenan aisa koyi khalaa haiki jis koin kehkashaaon ki ungliyon neab tak chhuaa nahin haikhalaajahaan kuchh huaa nahin haikhalaaki jis ne kisi se bhi ‘kun’ sunaa nahin haijahaan abhi tak khudaa nahinhaiwahankoyi waqt bhi na hogaaye kaayenaat-e-azeemik dinchhuegiis an-chhuye khalaa koaur apne saare wajood sejab pukaaregi‘kun’to waqt ko bhi janam milegaaagar janam hai to maut bhi haimain sochtaa hoonyeh sach nahin haiki waqt ki koyi ibtidaa hai na intehaa haiyeh dor lambi bahot hailekinkahin to is dor ka siraa haiabhi yeh insaan ulajh rahaa haiki waqt ke is qafas meinpaida huaayahin woh palaa badhaa haimagar use ‘ilm ho gayaa haike waqt ke iss qafas se baahar bhi ik fazaa haito sochtaa haivo puchhtaa haiyeh waqt kya hai Javed Akhtar –I had heard a part of the above poem and just decided to reproduce it in a post. But while typing the whole saga, it lost me on the way to the end. I am able to understand it word to word, but to understand what exactly Javedsahab is trying to say or ‘in ke kehne ka tatparya kya hai’, I will have to go deep. Or maybe not so deep and what he says is what he means. ______________________________________________This terrible year is coming to an end. Human kind has endured a test of psychological strength this year. And has learned (hopefully) that even if places of worship are not open, the Almighty is reachable from anywhere, for the universe, the world and its occupants, owners and tenants, wheelers and dealers, the powerful and the poor, the destitute and the able bodied, are all His creations. The ‘khalaa’ that Javed Akhtar refers to in the poem above, is also the creation of the Almighty creator. So is the concept if ‘waqt’. Whether it is running away from you or towards you. The time is allotted to us, to live on this earth peacefully with other creations. Before I move on, ‘khalaa’ is space, in worldly terms is means ‘empty space’ and in celestial terms it is infinite. Its Mohammed Rafi Sahab’s 96th birth anniversary on 24/12/2020. Usually for Rafi sahab’s anniversary posts, or for the century posts, Raja ji is invited to do the honors of writing a special post. But I am seizing the opportunity, this time round. It is Rafi Sahab birth anniversary post as well as the 3100th songs post by Rafi sahib on the blog. This post is also my 300th song post, so a special Rafi song is called for this occasion. Two months ago, I was looking for a song by Usha Timothy to post for her birthday on 8th October. I found a song by her, but it turned out to be a group song. The audio clip was 11 minutes long. The song itself is more than 9 minutes. Myswar.com listed this as a two part song one by Suman Kalyanpur and Usha Timothy and another by Mohammad Rafi and Manna Dey. It is from the 1966 film Sunehre Kadam” and is composed by Bulo C. Rani. The lyricist is Nyay Sharma. This is a very special song I have come to realize it while writing the lyrics. I will have to list them so that I don’t miss any points:1. It has the longest solo rally, for a group song by Rafi sahab and large part of this rally is with minimal music.2. This must be the only song with these four singers together.3. The way the repetition of lines is done throughout the song, with singing of the same line in a different way. This is especially true of Rafi sahab’s repeated lines and also Manna De’s. In Rafi sahab’s songs, invariably it can be taken for granted, that the repetition of lines will have variations.4. The song is a like a relay race, and the one starting it is doing the winner’s lap, with the trophy.Actually Manna De has a small part to sing but Usha Timothy is having very few lines to sing. Seeing the video was a surprise again. It is a competition sort of song with two artists performing on stage and singing is done by Agha in Rafi’s voice and Shashi Kala in Suman Kalyanpur’s voice. Rehman is seen standing next to Agha and enjoying his singing, so is a female standing next to Shashi Kala similarly amused by the song. The expressions of quite enjoyment on Rehman’s face can be described perfectly in one word, i. e. “Mehzooz”. A comment on youtube said that this song based on raag zhinjhoti/maanjhkhamaj. Whether it is true or not, the song does sound unique and stand out as a song to be savoured. These are the songs from the movie already posted in the blog :The song is like a gorgeous long meal, a smorgasbord. Mohammed Rafi sahab is singing different portions of this song, with relish. And we listeners are mesmerised. The bass of Manna Dey’s parts is in tune with Rafi sahab’s sometimes sweet, sometimes mischievous, nasheeli, some with smooth softness. We can’t actually eat this, but we consume it and our senses absorb the nuances of the song. I just wish the parts where Suman Kalyanpure and Usha Timothy are singing, could be softened a little. They bring a mesmerised person back to earth, but Rafi sahab is back again in the last part of the song, in tandem with Manna Dey and they both bring it to a level field so we are not too sorry the song has ended, and there is no more of it to be heard for the first time. I actually looked far and wide, to find if there is still more left to be found of this song. Lyrics by Nyay Sharma are equally good and make the most of the tune of the song. But for the large parts of the song, the words were redundant I felt, it was the raag and the rhythm and soft vocal voice singing the words which became paramount. This is a rarity, as it happens only with classical raagaa’s. The only other time I can recall this happening with me, was when I heard Kumar Gandharv here .Is this what is known as a sum total greater than its parts? Video :Audio:Song-Taqdeer ne kya angdaai li (Sunahre Qadam)(1966) Singers-Rafi, Manna Dey, Suman Kalyanpur, Usha Timothy, Lyrics-Nyay Sharma, MD-Bulo C RaniLyricsMaah e nau ki eenaav parnikli sawaari raat kineel ke dariyaa mein bastidhundh kijazbaat kihusnwaalon ke aesaron parphool barsaati huigudgudaatimuskuraatichhedti ee eegaati huijab kabhi patwaar se aeyoonhiishaare ho gayekuchh udeqatre hawaaa aa aa aa aa aameinaur sitaare ho gayewaqt ko taareeki – ye –shab nemeherbaan kar diyaado jawaan roohonke mil jaane kasaamaan kar diyare taqdeer ne kya angdaai lijeene ki fizaa namkeen huikuchh ishq badhaakuchh husn badhaakuchh ishq badhaa aakuchh husn badhaaaur dil ki duniyaa aao o oo o oaur dil ki duniyaahaseen huiaur dil ki duniyaahaseen hui eeaur dil ki duniyaahaseen huisitaaron dhaleek khandar ke taledo dil yoon mileyoon mileyoon miletaare lehraa gayehar kali khil gayibekali dhul gayiapne hi aap parapne hi aap parapne hi aap parphool sharmaa gayewaqt ke saaz parhusn ke naaz parehl e dil mar miteo o oaarzuen to kya aaaahen tak phoonk dinaarzuen to kyaaahen tak phoonk dinmanzil e husn parqaafile yoon luteqaafile yoon lute aeo oqaafile yoon lute aeqaafile yoon lute ae aejab khoon bahaa apne dil sejab khoon bahaa apne dil semehfil unn ki rangeen huyikuchh ishq badhaakuchh husn badhaakuchh ishq badhaakuchh husn badhaaaur dil ki duniyaao o oo o oaur dil ki duniyaahaseen huiaur dil ki duniyaahaseen huiaur dil ki duniyaahaseen huitaqdeer ne kyaa angdaai lijeene ki fizaa sangeen huijab pyaar ki baaten ishq ne kijab pyaar ki baaten ishq ne kitab husn ki roohho o ho otab husn ki roohghamgeen huyitab husn ki roohghamgeen huyi eetab husn ki roohghamgeen huyiik ?? gul jabeenshaakh par ho haseeniss ko chhedohaan chhedohaan chhedonahin eemaili ho jaayegigird to ghoom lodekhkar jhoom lonigaah se choom lowarna kho jaayegiham vashinde nahinapnaa saahil nahinjis ka ye dil nahinrooh so jaayegiho o o oari jadoo gayaao o o o ojism keqadardaanare jadoo gayaajism ke qadardaanpyaar ki daastaanpyaar ki daastaanruswaa ho jaayegipyaar ki daastaanaa aa aaruswaa ho jaayegiruswaa ho jaayegi ee eetum aag ko raag samajh baithhetum aag ko raag samajh baithheangaaron se hi taskeen huyijab pyaar ki baatenishq ne kijab pyaar ki baatenishq ne kitab husn ki rooho o o otab husn ki roohghamgeen huyitab husn ki roohghamgeen huyitab husn ki roohghamgeen huyitaqdeer ne kya angdai lijeene ki fizaa namkeen huikuchh ishq badhaakuchh husn badhaa aakuchh ishq badhaa aakuchh husn badhaaaur dil ki duniyaao o o oaur dil ki duniyaahaseen huiaur dil ki duniyaahaseen hui eeaur dil ki duniyaahaseen huiho oooo o o o o oo o o o o oo o o o o oho o o oo o o oshaakh par ki kaliho wo kitni bhalijo na dil se lagijo na dil se lagiumr dhal jaayegihawas aur pyaar kaqissa takraar kafarq bekaar kafarq bekaar kajawaanidhal jaayegiho ooojadoo ye dam ba damho oo ooooooonaghmon ke taal o sammjadoo ye dam ba damnaghmon ke taal o sammye sunehre qadamye sunehre qadammai ubal jaayegi eekhud ko awaaz dowaqt ko saaz doishq ka naaz doraat tal jaayegio jaanemanyoon na ghabraayiyepaas to aayiyehar adaaa apkidil nasheen huyikuchh ishq badhaakuchh husn badhaakuchh ishq badhaa aakuchh husn badhaaaur dil ki duniyaaoooooooooooaur dil ki duniyaahaseen huiaur dil ki duniyaahaseen hui eeaur dil ki duniyaahaseen huiShare this:EmailTumblrLinkedInRedditPrintPinterestFacebookTwitterLike this:Like Loading... This article is written by Raja, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.I’m back here after another long absence.And as usual, it is a very special anniversary that brings me back to writing here. To be honest, I’m very much out of touch with writing nowadays. Can’t even remember when I last wrote anything more than 280 characters. So this post is going to be a struggle – but I still want to go through with it, because it is about someone who is very dear to me.And not just to me, but to millions of music lovers around the world.I’m talking about Rafisaab, of course.Today is his birth anniversary – and I am sure there are many around the world who are remembering him very fondly today. On this day every day, there are also concerts held in various places to celebrate the occasion.The mark that Rafisaab has left on the Hindi film industry cannot be described in words. The best way to probably understand his impact is to imagine the industry if he’d never been part of it.It’s extremely hard to imagine it, isn’t it?How much poorer would the world of music have been!I often say the word “legend” is overused and abused nowadays. People who don’t have the required stature get loosely referred to as “legends”.But when you use the same term for a person like Rafisaab, it suddenly feels the other way round. As if the word “legend” doesn’t have the required stature to be used for Rafisaab.

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