Posts Tagged ‘1969’
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.
khoobsurat haseen, koi tujh sa nahin
aate hain nazar aise chehre magar
kabhi kabhi
kahin kahin
Greetings to Asha Parekh ji, on completing 75 illustrious years, with all but 10 of them, in the film (and TV) industry.
The years have come and gone by, but the grace, the radiance, and smile is still the same. Having made her debut as a child star at the tender age of 10, it indeed has been a very fruitful and a prolific inning that she has played. The wires carried the news today in the day that her autobiography (co-authored with Khalid Mohammed) was released today. The title of the book is ‘The Hit Girl’. I am sure no explanation needs to be rendered for the title. Starting with ‘Dil Deke Dekho’ in 1959, there is a long list of hit films in which she has played the female lead role, all the way till the mid 1970s, when she moved into senior and supporting roles. The list of films reads like the ‘Best of 1960s/70s’. The list contains a ton of favorites. And I am sure all of us have a few on this list, that we will pick as our favorite films.
My love affair with Asha ji started with the song “O Mere Sona Re Sona Re Sona Re”. Film is ‘Teesri Manzil’ (1966). Too much of a small pre-school/early school kid that I was, this is one of the earliest memories that I carry of having seen a film on big screen. Not yet trained in the discussions of the finer details of music and instruments, those were the days that the melody would fall into the ears and the mind would capture it instantaneously and store it in the neurons forever. The music of ‘Teesri Manzil’ had this first impact on my nascent mind. Soon the brainwaves would be crowded with thousands of songs that the mind soaked in from listening to the radio. But the music of ‘Teesri Manzil’ – let me ask you, what would you do with your first out-of-this-world music experience. An yes, right, you will store it forever, and play it often.
Watching the film, I had an additional impact. Most of the films memories and emotions have been built and retained from watching it again and again over the years. But that first viewing in the big and dark cinema hall, with the larger than life images thrown on to the huge white screen – the memory that is retained is of this young, very beautiful girl singing “O Mere Sona. . .”, and making an all out effort to pacify a gentleman named Shammi Kapoor, who seemed to be upset and angry.
The mind at that time was too unfamiliar with the grown up emotions, to appreciate that the two characters on screen are in the process of falling in love. All I know is that I took an intense fancy to this young lady singing on the screen. Her expressions, her vitality, her antics took my heart away, and in its place, left her own images, that I remember, I would ruminate (yes, sorry, I did not know these words at that time; I am articulating them now) and dwell upon for weeks and months. In short, if I knew then and understood the grown-up emotions, I would have happily declared that I was in love. The expressions in this song are so natural, so much in flow, so much coming from the bottom of a playful and naughty young heart, that I believed all I saw on the screen. And simply fell in love.
Being what I was, a pre school small child, I did not know what to do with that fancy. All I know is that I would think about her, and this song I witnessed in the cinema hall. I would think about her often; likely that it was more often than often. I just liked being with her thoughts, and being with her in thoughts. I would fancy that we would meet, that we would be together. I did not know then, what else to do with that fancy. Other than the thing that I quite enjoyed to be in her company in thoughts. The song and its associated images would continue to replay on the screen of the mind, all the time. Yes, that is what it felt like, being in love.
I remember it took some months for this fancy to wear off. The song, the antics, the images in the mind – all of that was intact, and still is. Just that, that unnamed craving to be with her in person, quite faded away, and settled down into a liking in the heart, that would say – she is my favorite. Maybe so – maybe it was another fancy that would steal my attention away (more about that later 😉 ). But I do know that the fancy strongly lasted well for many months.
As I was looking to replay this episode, and searching for a suitable song, I happened to chance upon this song, that was quite unfamiliar for me before I heard it with some attention earlier today. I remember that ‘Saajan’ (1969) was not one of those films that I had watched in its original run. With limited opportunities to watch new releases in the cinema hall, I had very little say in which movies to see. As i played this song today, the lines that immediately caught my attention, are the ones I have noted at the beginning of this article.
khoobsurat haseen, koi tujh sa nahin
aate hain nazar aise chehre magar
kabhi kabhi
kahin kahin
That there is none so beautiful
And so charming as you are
Faces, enchanting as much as yours
Are surely seen at times
But oh so rarely
And oh so scarcely
Oh so true, and so well in tune with that fancy of mine years ago. A face so charming as hers, a screen presence so appealing as hers, comes by quite rarely, quite once in a while.
An eminent celebration for this gorgeous milestone today, Asha ji. And I pray that there be many more such celebrations to come. May He endow good health and longevity upon you, and that you be khoobsurat haseen, forever.
Many many happy returns of today.
Song – Ae Mere Meharbaan Ae Mere Hamnasheen (Saajan) (1969) Singer – Lata Mangeshkar, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal
Chorus
Lyrics
ooo oooo oooo ooooooo
ooooo oooo ooooo ooo ooo ooo
oooo ooo ooo oooo oooo oooooooo
oooo oooo ooooo ooooo
ooooooo
wai wai yaa
wai wai yaa
yaa wai wai yaa
wai wai yaa wai wai yaa
yaa wai wai yaa
wai wai yaa wai wai yaa
ae mere meharbaan
ae mere hamnasheen
ae mere meharbaan
ae mere hamnasheen
khoobsurat haseen
koi tujh sa nahin
aate hain nazar
aise chehre magar
kabhi kabhi
kahin kahin
ae mere meharbaan
ae mere hamnasheen
khoobsurat haseen
koi tujh sa nahin
aate hain nazar
aise chehre magar
kabhi kabhi
kahin kahin
ae mere meharbaan
ae mere hamnasheen
phoolon ko bahaar jaise pyaar karti hai
jaise pyaa..aar karti hai
dil ko teri yaad beqaraar karti hai
beqaraa..aar karti hai
hota hai asar. . .
hota hai asar
pyaar mein ye magar
kabhi kabhi
kahin kahin
ae mere meharbaan
ae mere hamnasheen
laayi tere naam mein pyaam aankhon ka
mein pyaa..aam aankhon ka
kar le tu qubool ye salaam aankhon ka
ye salaa..aam aankhon ka
milti hai nazar. . .
milti hai nazar
dilbaron se magar
kabhi kabhi
kahin kahin
ae mere meharbaan
ae mere hamnasheen
khoobsurat haseen
koi tujh sa nahin
aate hain nazar
aise chehre magar
kabhi kabhi
kahin kahin
ae mere meharbaan
ae mere hamnasheen
aaa aaaa aaaa aaaaa
aaaaa aaaaa aaaaa aaaa
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
ओss ओsss ओsss ओssssss
ओssss ओss ओsss ओs ओs ओs
ओsss ओs ओs ओss ओss ओssssss
ओss ओss ओsss ओsss
ओssssss
वई वई या
वई वई या
या वई वई या
वई वई या वई वई या
या वई वई या
वई वई या वई वई या
ए मेरे मेहरबान
ए मेरे हमनशीं
ए मेरे मेहरबान
ए मेरे हमनशीं
खूबसूरत हसीं
कोई तुझ सा नहीं
आते हैं नज़र
ऐसे चेहरे मगर
कभी कभी
कहीं कहीं
ए मेरे मेहरबान
ए मेरे हमनशीं
खूबसूरत हसीं
कोई तुझ सा नहीं
आते हैं नज़र
ऐसे चेहरे मगर
कभी कभी
कहीं कहीं
फूलों को बहार जैसे प्यार करती है
जैसे प्या॰॰आर करती है
दिल को तेरी याद बेक़रार करती है
बेक़रा॰॰आर करती है
होता है असर॰॰॰
होता है असर
प्यार में ये मगर
कभी कभी
कहीं कहीं
ए मेरे मेहरबान
ए मेरे हमनशीं
लाई तेरे नाम में पयाम आँखों का
मैं पया॰॰आम आँखों का
कर ले तू क़बूल ये सलाम आँखों का
ये सला॰॰आम आँखों का
मिलती है नज़र॰॰॰
मिलती है नज़र
दिलबरों से मगर
कभी कभी
कहीं कहीं
ए मेरे मेहरबान
ए मेरे हमनशीं
खूबसूरत हसीं
कोई तुझ सा नहीं
आते हैं नज़र
ऐसे चेहरे मगर
कभी कभी
कहीं कहीं
ए मेरे मेहरबान
ए मेरे हमनशीं
आs आsss आsss आssss
आsss आssss आssss आsss
Sehmi Sehmi Kahaan Chali
Posted on: September 27, 2017
- In: "beach" song | "Fun on Sea" song | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lyrics contributed by readers | Mahendra Kapoor solo | Mahendra Kapoor songs | Post by Raja | Romantic song | Songs of 1960s (1961 to 1970) | Songs of 1969 | Underwater Cinematography | Yearwise breakup of songs
- 9 Comments
This article is written by Raja, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
Today we pay tribute here on the blog to Mahendra Kapoor, one of the well-known voices of the golden era of Hindi music, on the occasion of his 9th death anniversary. There are many ways to start this tribute but, instead of “getting my eye in”, let me, Sehwag-style, straightaway go for it. By “it”, I mean the elephant in the room.
That is, why are there so many people who dislike Mahendra Kapoor’s voice? On many occasions when I’ve discussed music with other music-lovers, there have been varying opinions on Rafisaab, Kishore, Shankar Jaikishen, RD Burman and others. Most of these artistes are much-admired but there has been the occasional detractor too. This makes for interesting debate for me, because I like to understand the rationale behind the minority contrarian view.
With Mahendra Kapoor, it seems to be just the opposite. In fact, I probably find myself now holding the minority contrarian view on him, considering the majority view of music lovers seems to not rate him much. In fact, even amongst some Atulites, there is a certain scepticism about Mahendra Kapoor. So where does this come from? And if many, knowledgeable, music-lovers share this, can they all be wrong?
Even OP Nayyar in an interview late in his life said that he didn’t exactly rate Mahendra Kapoor as a singer. And this, from someone, who used Mahendra Kapoor fairly extensively in the mid/late 60s after being upset with Rafisaab. In fact, MK had delivered quite a few hits for OP – songs like “Mera Pyaar Wo Hai“(from ‘Ye Raat Phir Na Aayegi’, 1966), “Laakhon Hain Yahaan Dilwaale” and “Aankhon Mein Qayaamat Ke Kaajal” (from ‘Kismat’, 1968), “Andhere Mein Jo Baithe Hain” (from ‘Sambandh’, 1969), “Kamar Patli, Nazar Bijli“, “O Yaaron Ki Tamanna Hai Teri Zulfon Mein Fans Jaayen” and “Tumhaara Chaahne Waala Khuda Ki Duniya Mein” (from ‘Kahin Din Kahin Raat’, 1968). All popular songs. In the interview, OPN made this comment in the context of missing Rafisaab, but I feel it was rather harsh on MK.
Yet, MK had a fairly successful career spanning five decades. Would that have happened if he had really not been of a certain standard?
My take on this is, each singer is different. He has his own voice, style, range which makes him unique. This might endear him to others – or it might not, depending on the listener’s taste. There are many who do not even like Mukesh’s singing. They consider him limited. And there are many who swear by him. So it is a matter of taste.
We could apply the same reasoning to MK too. He had his unique voice, style and range – which clearly did not appeal to some. I think what made it much more difficult for him was the constant comparison with Rafisaab. Invariably, it ended up making MK look like an imitator, the poor man’s Rafisaab – with the consequent aversion to his singing. In MK’s defence, this is not his fault. He was who he was, never claiming to be anywhere at the level of Rafisaab. He was very conscious of the fact that Rafisaab was in a different league altogether – MK considered him his guru. He can hardly be blamed if the composers wanted a Rafisaab clone and thought he could fit the bill.
I must mention here that when the two, MK and Rafisaab, did sing together in Aadmi (1968) for “Kaisi Haseen Aaj Bahaaron Ki Raat Hai”, MK totally held his ground. (This song was initially recorded as a Rafisaab-Talat duet, but in the film version, the playback pair was Rafisaab-MK).
And that is the point I am trying to make. I am no diehard MK fan – but I am not a critic either. Like I’ve often said, I enjoy listening to various singers – and that includes MK. Every singer has sung excellent songs – and some not-so-good ones (at least in my humble opinion). MK is no exception. I’m no music expert, but I think the one thing that is most impressive about MK’s singing – and I hope even his critics will agree on this – was his high range. It is really astounding – he could hold his voice even at highest octaves, which even a singer of Rafisaab’s stature could not match. Just listen to “Chaand Chhupaa Aur Taare Doobey” from the 1958 film ‘Sohni Mahiwal’ and “Na Munh Chhupaa Ke Jiyo Aur Na Sar Jhukaa Ke Jiyo” from ‘Hamraaz’ in 1967, and you’ll know what I mean. Another song that comes to mind is “Ramchandra Kah Gaye Siya Se” (from ‘Gopi’, 1970). There are other songs too where this particular ability of MK was sought to be put to good use by the composers.
Talking about composers, it is hard to think of Mahendra Kapoor without thinking of Ravi. Now Ravi is another artiste who sometimes draws criticism from music lovers. But if anyone could get the most out of MK, it was certainly Ravi. Especially in BR Chopra films, the combination of Mahendra Kapoor and Ravi, with Sahir as lyricist, delivered hit after amazing hit. Songs of ‘Gumraah’ (1963) and ‘Hamraaz’ (1967), to name just two of these films, are hugely popular to this day. I used to have a cassette with songs of these two films (on the two sides) and would play it non-stop on long car journeys. To date, I can listen to the songs of these two films any number of times. Fast forward, and I would also like to mention “Dil Ki Ye Aarzoo Thi Koi Dilruba Miley” from ‘Nikaah’ (1982).
Another composer who used MK successfully is the Kalyanji Anandji duo. Manoj Kumar often used Mahendra Kapoor as his voice, especially after the huge success of “Mere Desh Ki Dharti” (Upkaar). In fact, this is the first Mahendra Kapoor song that I remember listening to in my life. Other songs that come to mind are “Iktaara Boley” from Yaadgaar (1970), “Hai Preet Jahan Ki Reet Sada” and “Dulhan Chali O Pehan Chali” from ‘Purab Aur Paschim’ (also 1970), which were also hugely popular. In fact, except for the one Mukesh song in ‘Purab Aur Paschim’, Mahendra Kapoor was the main male playback in a film full of songs.
Manoj Kumar’s preference for Mahendra Kapoor, even in the 70s and later, when Kishore Kumar was the reigning voice, could be seen in ‘Roti Kapda Aur Makaan’ (1974) – “Aur Nahin Bas Aur Nahin” and ‘Kranti’ (1981) – “Ab Ke Baras Tujhe Dharti Ki Raani Kar Denge“. Both these films had Laxmikant-Pyarelal as composers, but Manoj Kumar preferred MK as his voice.
Apart from Hindi films, Mahendra Kapoor sang a number of songs for regional cinema. Younger generations (well, younger than those who were already familiar with MK from before the 80s) will probably remember him best for the TV serial, Mahabharat, produced by, who else but, BR Chopra.
So, whatever be anyone’s opinion of Mahendra Kapoor (and each person is entitled to his/her opinion), I will always be grateful to him for the songs of ‘Hamraaz’ and ‘Gumraah’.
Now, moving on to the song for today. This is from the film ‘Anmol Moti’ (1969), starring Jeetendra and Babita. After the phenomenal success of ‘Farz’ (1967), this was a popular pairing, especially after ‘Aulaad’ (1968) also did well. They also came together in ‘Bikhre Mot’ (1971), ‘Banphool’ (1971) and ‘Ek Haseena Do Deewaane’ (1972).
Anmol Moti (1969) is a film I remember seeing as a very young boy. In fact, I saw this film right after I saw ‘Suhaag Raat’ (1968), also starring Jeetendra. In that film, Jeetendra’s character dies at the end. So when I saw ‘Anmol Moti’, I was very confused. I remember asking my sisters how he had come back after dying. They had a jolly good laugh at my expense. 🙂
I haven’t seen this film recently but I do remember this being a film about pearl diving. It was also the first time I heard of an octopus in my life. I also remember a few songs from this film, the most famous song probably being”Ae Jaane Chaman Tera Gora Badan“. The song being posted today, “Sehmi Sehmi Kahaan Chali” was also quite popular in its time. So when I was looking for a song for Mahendra Kapoor, this one came to mind – and happened to still be available for posting. The music is by Ravi, the lyrics by Rajinder Krishan.
Enjoy this popular song from the radio listening days.
Song – Sehmi Sehmi Kahaan Chali (Anmol Moti) (1969) Singer – Mahendra Kapoor, Lyrics – Rajendra Krishan, MD – Ravi
Chorus
Lyrics
sehmi sehmi kahaan chali
chhod ke dilwaalon ki gali
kab tak aankh churaayegi
kabhi na kabhi to phansegi mere jaal mein
ho kabhi na kabhi to phansegi mere jaal mein
o sehmi sehmi kahaan chali
chhod ke dilwaalon ki gali
kab tak aankh churaayegi
kabhi na kabhi to phansegi mere jaal mein
hoy kabhi na kabhi to phansegi mere jaal mein
haaye tera ye alhadpan
tauba tauba ye chitwan
aankhon mein shole naachen
zulfon mein khele saawan
haaye tera ye alhadpan
tauba tauba ye chitwan
aankhon mein shole naachen
zulfon mein khele saawan
ghir kar aa
baras bhi jaa
kab tak yunh tarsaayegi
kabhi na kabhi to phansegi mere jaal mein
hoy kabhi na kabhi to phansegi mere jaal mein
o sehmi sehmi kahaan chali
chhod ke dilwaalon ki gali
kab tak aankh churaayegi
kabhi na kabhi to phansegi mere jaal mein
hoy kabhi na kabhi to phansegi mere jaal mein
nayi jawaani ki hulchul
jaise bin barsaa baadal
kehti hai har angdaayi
saath hamen bhi letee chal
nayi jawaani ki hulchul
jaise bin barsaa baadal
kehti hai har angdaayi
saath hamen bhi letee chal
aankh milaa
maan bhi jaa
kab tak haath na aayegi
kabhi na kabhi to phansegi mere jaal mein
hoy kabhi na kabhi to phansegi mere jaal mein
o sehmi sehmi kahaan chali
chhod ke dilwaalon ki gali
kab tak aankh churaayegi
kabhi na kabhi to phansegi mere jaal mein
hoy kabhi na kabhi to phansegi mere jaal mein
o sehmi sehmi kahaan chali
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
सहमी सहमी कहाँ चली
छोड़ के दिलवालों की गली
कब तक आँख चुराएगी
कभी ना कभी तो फसेगी मेरे जाल में
हो कभी ना कभी तो फसेगी मेरे जाल में
ओ सहमी सहमी कहाँ चली
छोड़ के दिलवालों की गली
कब तक आँख चुराएगी
कभी ना कभी तो फसेगी मेरे जाल में
होए कभी ना कभी तो फसेगी मेरे जाल में
हाए तेरा ये अल्हड़पन
तौबा तौबा ये चितवन
आँखों में शोले नाचें
ज़ुल्फों में खेले सावन
हाए तेरा ये अल्हड़पन
तौबा तौबा ये चितवन
आँखों में शोले नाचें
ज़ुल्फों में खेले सावन
घिर कर आ
बरस भी जा
कब तक यूं ही तरसाएगी
कभी ना कभी तो फसेगी मेरे जाल में
होए कभी ना कभी तो फसेगी मेरे जाल में
ओ सहमी सहमी कहाँ चली
छोड़ के दिलवालों की गली
कब तक आँख चुराएगी
कभी ना कभी तो फसेगी मेरे जाल में
होए कभी ना कभी तो फसेगी मेरे जाल में
नई जवानी की हलचल
जैसे बिन बरसा बादल
कहती है हर अंगड़ाई
साथ हमें भी लेती चल
नई जवानी की हलचल
जैसे बिन बरसा बादल
कहती है हर अंगड़ाई
साथ हमें भी लेती चल
आँख मिला
मान भी जा
कब तक हाथ ना आएगी
कभी ना कभी तो फसेगी मेरे जाल में
होए कभी ना कभी तो फसेगी मेरे जाल में
ओ सहमी सहमी कहाँ चली
छोड़ के दिलवालों की गली
कब तक आँख चुराएगी
कभी ना कभी तो फसेगी मेरे जाल में
होए कभी ना कभी तो फसेगी मेरे जाल में
ओ सहमी सहमी कहाँ चली
Tere bina kal aaye na sajnaa
Posted on: May 29, 2017
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.
“Chaalbaaz”(1969) was directed by Kamral for Rainbow Pictures, Bombay. The movie had Dara Singh, Sanjana, Ullhas, Shyam Kumar, Meenaxi, Vijay Kumar, Habib, Tiwari etc in it.
Read more on this topic…
Munh pher ke mat jaao
Posted on: May 28, 2017
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.
“Chaalbaaz”(1969) was directed by Kamran for Rainbow Pictures, Bombay. The movie had Dara Singh, Sanjana, Ullhas, Shyam Kumar, Meenaxi, Vijay Kumar, Habib, Tiwari etc in it.
Read more on this topic…
Kaun hai wo kaun mujhe jisne jagaaya
Posted on: May 15, 2017
- In: "Bhoot" Song | "Diversion" song | "Witch Doctor" song | Asha Bhonsle songs | Comedy song | Devnagri script lyrics by Sudhir | Duet | Fun lyrics song | Lyrics contributed by readers | Manna Dey songs | Manna Dey-Asha Bhonsle duet | Songs of 1960s (1961 to 1970) | Songs of 1969 | Yearwise breakup of songs
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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.
We in this blog had two new resolutions and I had decided to stick to them as long as I can. One was to introduce a “new” movie daily and another was to to close the account of another movie by YIPPying it.
We are in may 2017, and both these resolutions have finally seen breaks. For instance, there was no YIPPEE song on 13 may 2017, a day that had only one post, a post that introduced a “new” song. The string on YIPPEE posts was in fact broken a few days earlier on 6 may itself when I posted a song that I thought was YIPPYing its movie but I was wrong. The “new” post string had got broken a while ago.
Read more on this topic…
Ham Punjaabi Ham Bangaali
Posted on: May 13, 2017
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
REPORT ON MUMBAI GANGOUT – Part 2
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……Javed ji was introduced to Sadanand ji, as they were meeting each other for the first time. Even I had met him for the first time, though we had E-mail communications earlier. It so happened that, in the last Mumbai Gangout which Sudhir ji attended, he had gifted all of us a copy of Javed ji’s first Hindi book ( he has more books in Urdu), ” Kuchh kalaakaar-kuchh yaden “. After reading that book, I wrote a mail to Javed ji about certain discrepancies, I had found in the book. Actually I was hesitant whether to write such a mail to him, but my adventurism won over me and the mail was sent finally.
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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.
“Jigri Dost”(1969) was directed by Ravi Nagaaich for Vijaylaxmi Pictures. The movie had Jeetendra, Mumtaz, Basant, K. N. Singh, Komal, Agha, Nirupa Roy, Aruna Irani, Jagdeep, Prem Kumar etc in it.
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Pag mein ghunghroo chhanke
Posted on: April 1, 2017
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.
“Jyoti”(1969) was produced by A Devdas and directed by Dulal Guha for Chitra Mitra productions. The movie had Sanjeev Kumar, Nivedita, Aruna Irani, Abhi Bhattacharya, Tarun Bose, Moppet Soorja aka Sarika, Lalita Kumari, Jagdeep, Gopal Saigal, Pardesi, Shekhar Purohit 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.
“Jigri Dost”(1969) was directed by Ravi Nagaaich for Vijaylaxmi Pictures. The movie had Jeetendra, Mumtaz, Basant, K. N. Singh, Komal, Agha, Nirupa Roy, Aruna Irani, Jagdeep, Prem Kumar etc in it.
Read more on this topic…
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