#Hindi Songs of 1974

[inmyworldblr]

Charitraheen (1974) | dir. Shakti Samanta

[welidot]

Kajol

This Biography is about one of the best celebrity of the world Kajol including his Height, weight,Age & Other Detail... Express info Real Name Kajol Mukherjee Devgan Nick Name Kads Profession Actress Age (as in 2023) 48 Years old Physical Stats & More Info Height in centimeters- 161 cm in meters- 1.61 m in Feet Inches- 5' 3” Weight in Kilograms- 57 kg in Pounds- 126 lbs Figure Measurements 35-27-34 Eye Color Hazel Hair Color Black Personal Life of Kajol Date of Birth 5 August 1974 Birth Place Mumbai, Maharashtra, India Nationality Indian Hometown Mumbai, Maharashtra, India School St. Joseph's Convent School, Panchgani, Maharashtra College N/A Education Qualifications School dropout Debut Film Debut: Bekhudi (1992) Family Father- Late Shomu Mukherjee (Filmmaker) Mother- Tanuja (Actress) Brother- N/A Sister- Tanishaa Mukherjee (Younger, Actress) Best Friends Shah Rukh Khan Religion Hindu Home Address 1.    5/6, Sheetal Apartments, Ground Floor, Opposite Chandan Cinema, Juhu, Mumbai. 2.   45/D Malgari Road, Mumbai. Hobbies Reading and knitting Like & DisLike N/A Favourite Things Of Kajol Favourite Food Pizza, Spaghetti Salad with Olives and French Fries Favourite Actress Sridevi Favourite Actor Ajay Devgan and Shah Rukh Khan Favourite Colors White Favourite Film Bollywood: Sholay, Chaalbaaz Hollywood: Casablanca, Ironman 3, Gone With The Wind Favourite Sports Tennis, Football Favourite Perfume Cool Waters Favourite Music Old Hindi film songs... Favourite Destination Europe Favourite Book Notes to Myself: My Struggle to Become a Person by Hugh Prather Boys , Affairs and More Of Kajol Marital Status Married Affairs Karthik Ajay Devgan (Actor) Marriage Date 24 February 1999 Husband Ajay Devgan, Actor (1999-present) Children Daughter- Nysa Son- Yug Style Of Kajol Cars Collection Mercedes Benz SUV Bikes Collection N/A Earning Money of Kajol Net Worth $16 million Salary per Film 9-12 crore/film (INR) This Biography written by  www.welidot.com Read the full article

[my-music-1460]

Lata Mangeshkar’s Global Influence: Bridging Cultures Through Music

Lata Mangeshkar, often referred to as the “Nightingale of India,” was not just a singer but a phenomenon that defined an era. Her voice, both versatile and deeply emotive, left an indelible mark on Indian music. As one of the most celebrated playback singers of all time, Lata Mangeshkar epitomized grace, dedication, and excellence in her craft. For over seven decades, her songs resonated with listeners, capturing the essence of love, longing, patriotism, and devotion. This article pays homage to Lata Mangeshkar’s unparalleled legacy, showcasing her rise to fame, her contributions to Indian and global music, and the timelessness of her artistry.

Humble Beginnings: The Making of a Legend

Born on September 28, 1929, in Indore, Madhya Pradesh, Lata Mangeshkar grew up in a family steeped in music. Her father, Deenanath Mangeshkar, was a classical musician and theater artist, and it was under his guidance that Lata’s musical journey began. Tragedy struck early when her father passed away, but young Lata, driven by resilience and talent, took on singing to support her family.

Her early foray into films as a child actor soon gave way to playback singing. Despite initial struggles, including rejections due to her distinctive voice, she persisted. Her big break came with the song “Aayega Aanewala” from the film Mahal (1949), which catapulted her to stardom.

The Golden Voice of Indian Cinema

Lata Mangeshkar’s career was synonymous with the golden era of Bollywood music. She worked with legendary composers like S.D. Burman, Madan Mohan, Shankar-Jaikishan, and Laxmikant-Pyarelal, creating unforgettable melodies. Iconic songs such as “Lag Ja Gale”, “Pyar Kiya To Darna Kya”, and “Tere Bina Zindagi Se Koi” became milestones in Indian cinematic history.

Her ability to adapt her voice to suit different actresses — from Madhubala to Kajol — was a testament to her incredible range. Whether it was a romantic ballad, a devotional hymn, or a patriotic anthem like “Ae Mere Watan Ke Logon”, Lata Ji infused every song with unparalleled emotion.

A Versatile Artist Across Genres and Languages

One of Lata Mangeshkar’s greatest achievements was her linguistic versatility. She sang in over 36 languages, including Hindi, Marathi, Bengali, Tamil, and Malayalam. This linguistic prowess not only expanded her reach but also showcased her ability to embrace diverse musical traditions.

She wasn’t confined to film music alone. Her ghazals, bhajans, and classical renditions further highlighted her versatility. Collaborations with classical legends like Pandit Jasraj and Ustad Amir Khan revealed her deep respect for Indian classical traditions.

International Acclaim and Awards

Lata Mangeshkar’s voice reached beyond Indian shores, earning her global recognition. In 1974, she became the first Indian to perform at the Royal Albert Hall in London. Her accolades include the Bharat Ratna, India’s highest civilian award, and a Grammy nomination.

Her songs were sampled and appreciated in international circles, and she collaborated with global artists, further cementing her reputation as a cultural ambassador of India.

Influence on Generations

Lata Mangeshkar’s impact on the music industry extends far beyond her own era. She inspired countless singers, from Asha Bhosle to Shreya Ghoshal, shaping the soundscape of Indian music for generations. Her dedication to perfection set a benchmark for professionalism and excellence in playback singing.

Through her foundation, she also supported upcoming artists and contributed to charitable causes, proving that her compassion was as boundless as her talent.

Conclusion: Lata Mangeshkar was not just the “Nightingale of India” — she was the soul of Indian music. Her legacy transcends generations, and her songs continue to be a source of comfort, joy, and inspiration. With her unique ability to convey profound emotions through her voice, she remains unparalleled in the history of music. The name Lata Mangeshkar is synonymous with timeless artistry and devotion to craft. As we listen to her melodies, let us remember her not just as a legendary singer but as an eternal symbol of India’s cultural heritage.

[hindikala]

Chor Machaye Shor (1974) - Ghunghroo Ki Tarah Lyrics in Hindi and English with Meaning (Translation) | Kishore Kumar | Shashi Kapoor | घुंघरू की तरह #kishorekumar #kishorekumarsongs Lyrics with Meaning: https://hindikala.com/hindi-songs-lyrics/chor-machaye-shor-1974-kishore-kumar-song-ghunghroo-ki-tarah-lyrics/

[bollywoodirect]

Paying tribute to #KrishnaKalle, an accomplished playback singer in the Hindi and Marathi film industries, on her 83rd birth anniversary today (18/12/1940).

Krishna Kalle was a well-known figure in the music scene, striving for recognition during the era dominated by Lata Mangeshkar. Alongside artists like Suman Kalyanpur, Mubarak Begum, Kamal Barot, and Sharda, she worked hard to make her mark.

Krishna Kalle is remembered for several hit songs from the '60s and early '70s. Her duets, such as 'Meri Hasraton Ki Duniya' with Mohammed Rafi from the film 'Gaal Gulabi Nain Sharabi' (1974), and 'Hume To Maar Diya' with Mahendra Kapoor from 'Hum Kahan Ja Rahe Hain' (1966), remain etched in the memories of old Hindi film song enthusiasts. Her voice graced the soundtracks of notable films like 'Hum Kahan Ja Rahe Hain' (1966), 'Bambai Raat Ki Bahon Mein' (1967), 'Raaz' (1967), 'Naunihal' (1967), 'Shikar' (1968), 'Sati Sulochana' (1969), and 'Gaal Gulabi Nain Sharabi' (1974).

Born in Karwar and raised in Kanpur where her father was stationed, Krishna Kalle absorbed the cultural richness of Hindi and Urdu during her upbringing. At the tender age of 16, she began singing at the Kanpur Radio Station. She gained popularity through her performances at various Yatra music festivals across Uttar Pradesh. In 1957, she received national recognition with youth singing awards from India’s first president, Dr. Rajendra Prasad, and the first prime minister, Pandit Jawaharlal Nehru. The following year brought her the All India Sugam Sangeet Award's first prize, the K L Sehgal Memorial’s Golden Voice Award, among others. Subsequently, she joined All India Radio in 1960.

Arun Date first noticed her talent in Mumbai and introduced her to the music director Yashwant Dev, which kickstarted her career as a Marathi singer. Active in the Hindi film industry from the 1960s to the 1970s, she lent her voice to over 200 Hindi and 100 Marathi film songs, as well as numerous bhajans, ghazals, and devotional songs. Her collaborations included non-film albums with renowned artists like Manna Dey and Mohammed Rafi.

[indiejones]

JAGJIT KAUR ‘S TOP 30 HINDI SONGS! (@INDIES)

🧡💛💚💙💜🧡💛💚💙💜🧡💛💚💙💜🧡💛💚💙💜🧡💛💚💙💜🧡💛💚💙💜

JAGJIT KAUR ‘S TOP 30 HINDI SONGS! (@INDIES)

Yt Link:

https://www.youtube.com/playlist?list=PLm1v8VeYLVlmILY-Ct_cUxjQofp7FJZdk

.Tum apna ranjo gam - Shagoon

.Gori sasural chali – Shagoon

.Baaj rahi hai ohir bansuriya

.Chanda gaye ragini – Dil-E-Nadan

.Mohabbat ki dhun – Dil-E-Nadan

.Dekh lo aaj hum ko - Bazaar

.Pehle toh aankh milana – Shola Aur Shabnam (1961)

.Tu kaunsi badli me mere chand hai aaja

.Agar dil dil se takraye toh – Shola Aur Shabnam

.Khamosh zindagi ko ek afsana mil gaya – Dil-E-Nadan

.Chal aao sainya - bazaar

.Pind dia number dara

.Kahe ko byahi bides

.Hariyala banna aye re – Razia Sultan

.Chanda gaye raagni - Dil-E-Nadaan

.Kab yaad mein tera saath nahi - Anjuman

.Ladi re ladi –Shola Aur Shabnam (1961)

.Dard bola toh sunai dega – Dard (serial)

.Pehle jo mohabbat se inkar kiya – Pardesi (1941)

.Lai we ranjhya wah – (Punjabi folk)

.Uske khel nirale - Noorie

.Phir meri khabar lene – Yeh kya jagah hai doston

.Sakhi re sharmaye – Pyase Dil (1974)

.Phir wohi sawan aya – Shola Aur Shabnam (1961)

.Ada jadoo – Mera Bhai Mera Dushman

.Aashiq ho toh aisa ho- Noorie

.Suniye huzoor pyar ka charcha - Suryamukhi

.Nain milake pyar jagake – Mera Bhai Mera Dushman

.Sadda chidiya da chamba ve – Kabhi Kabhie

.Idhar aa sitamgar – Sawaal

.Baaje shehnai ri banno – Chambal Ki Kasam

.Suno na bhabhi – Thodisi bewafaii

.Mahiya ve mahiya – Posti (1950)(Punjabi) .

🧡💛💚💙💜🧡💛💚💙💜🧡💛💚💙💜🧡💛💚💙💜🧡💛💚💙💜🧡💛💚💙💜

[indiesole]

Indies (Lifetime) Playlist Tributes to Music Legends ! -PART 13

MANHAR UDHAS ‘S TOP 300 (HINDI) SONGS ! (Contd from 184)

Yt Link:

Dil Tod Ke Hanste Ho – Asar

Manzar Samet Lai Hai - Diya Jale Saari Raat

Main Nashe Mein Hoon

Aah Bhare Jivan Mein – Aap Ki Pasand

Hum Teri Yaad Mein – Aap Ki Pasand

Dosti Ki Hai – Teen Mausam

Tum kyu kasam uthate ho - Prem Shakti

Aai Thi Meri Zindagi Mein – Bezubaan

Kyoon Geet Milan Ke – Aap Ki Pasand

Mat Puchho – Aap Ki Pasand

Badal Gaya Hai – Bezubaan

Saranga Teri Yaad Mein – Bhooli Hui Yaadein

Bhooli Hui Yaadon - Bhooli Hui Yaadein

Tum Bin Jeevan - Bhooli Hui Yaadein

Hum Chal Rahen They Woh Chal - Bhooli Hui Yaadein

Ek Woh Bhi Diwali Thi - Bhooli Hui Yaadein

Sab Pyar Ki Baaten - Bhooli Hui Yaadein

Ruk Jaa O Jaanewali - Bhooli Hui Yaadein

Tere Pyar Ko Is Tarha - Bhooli Hui Yaadein

Naina Hai Jadoo Bhare - Bhooli Hui Yaadein

Do Roz Mein Woh Pyar Ka - Bhooli Hui Yaadein

Ek Jholi Mein Phool - Sai Sagar

Mai Kaun Hoon – Sai Ujala

Sai Naam Pukaro – Sai Naam

Duniya Se Ab Fursat – Sai Bharosa

Shirdi Tumhare Andar - Sai Bharosa

Shirdi Mein Jo Mehsoos Kiya – Sai Darbar

Matka Pyas Bhujaye Kaise – Sai Sansar

Tu Hai Ek Pinjre Ka Panchhi - Sai Sansar

Sai Tera Naam Jape – Sai Upasana

Himmat Haar Ke Bhaag Na Jaana – Sai Manzil

Sai Ne Jahaan Jahaan – Sai Rishta

Jahan baje Sai dhun

Sai Raham Nazar Karna

Sai Dohas – Bhaktimala

Chal Chalna Hai Chal – Sai Ujaala

Aankhen Band Karun Ya Kholoon – Sai Arpan

Tu Hai Hamara - Sai Sansar

Sai Deedar Tera Ho Jaaye - Sai Rishta

Tera Haath Jisne Pakda - Sai Sagar

Tune Sai Dwar Pe - Sai Sagar

Zamane Ki Chinta Mein - Sai Bharosa

Kai Janam Se - Sai Rishta

Dheeraj Rakh Wo Rehmat Ki Barkha Barsa Bhi Dega - Sai Arpan

Sai humko rasta dikha do

Sai Bharose Chal -Sai Bharosa

Main Hoon Majboor, Mere Haath Bandhe

Tera Naam Lekar -Sai Naam

Hum Matwale Hain -Sai Rishta

Bechain Hai Dil – Sai Ujaala

Karmon Ka Phal - Sai Naam

Jai Gurudeva

Jis Haal Mein - Sai Sagar

Jab Se Pakde Charan Sai Ke - Sai Arpan

Jag Chaahe Chhode Saath Hamara - Sai Dil

Jab Charon Aur Andhera Ho - Sai Sagar

Chinta se bhara dil Sai ko de de

Ek Waqt Aayega Aisa - Sai Bharosa

Chamka Hai Man Mein - Sai Bharosa

Rishta Bandho Baba Se - Sai Rishta

Mere Khuda Tu Hi Bata - Sai Arpan

Namaskaar Sai - Sai Ujaala

Sai Naam Ki Dhun - Sai Naam

Sai Likhdi Tere Naam Arzi

Tu Maare Ya Taare - Sai Ujaala

Mere Sai - Sai Ujaala

Na Tu Ajnabi - Sai Naam

Sai Ke Ujalo, Mere Sai Ke Ujalo - Sai Arpan

Koi Tera Nahin Bas Ek Sai Aasra Hoga - Sai Drishti

Bharosa Hai Humko - Sai Bharosa

Sai Sharan Mein

Sai Ke bando Sai safar mai

Shirdi Gaon Hai Pyara –

Ga Le Bhajan Sai Bhajan

Roke Na Hamein Sansaar, Hamein Sai Ne Bulaya Hai

Shirdi Ko Jaane Waale – Sai sansaar

Sai Se Man - Sai sansaar

Tujh Ko Sab Kuchh Mila Sai sansaar

Sai Amritwani (full album-in-1)

Shree Sai Amritwani (full album-in-1)

P.S. Free Direct Google links to ~20 of his other songs not available on Yt:

His 8 other songs, from pvt album "Meri Tamannaon ka Nagar' (1974), not on Yt: ( https://gaana.com/album/meri-tamannaon-ka-nagar )

His 10 other songs., from pvt album 'Nanhi Kali' , not on Yt: ( https://wynk.in/music/album/nanhi-kali/um_00602498550809 )

Aaja ri aa - Nanhi Kali - ( https://muxiv.net/playing/473056093 )

Zaalim ke aitbar mein - (https://muxiv.net/playing/472833227 )

SHAMMI KAPOOR'S TOP 230 SONGS !

Yt Link:

1.Govinda Aala Re Aala - Bluff Master

2.Deewana Hua Badal Sawan Ki Ghata Chayi - Kashmir Ki Kali 

3.Dil Deke Dekho - Dil Deke Dekho

4.Baar Baar Dekho Hazar Baar Dekho - Chinatown

5.Chori Chori Ek Ishara - Basant

6.Tum ne mujhe dekha - Teesri manzil

7.Tumne pukara aur hum chale aye

8.Ehsaan tera hoga mujhpe

9.Tum mujhe yun bhula na paoge

10.O haseena zulfon wali

11.Chahe Koi Mujhe…Yahoo - Junglee

12.Pyar Ki Kasam Hai - Dil Deke Dekho

13.Yun To Humne Lakh Haseen Dekhe Hein - Tumsa Nahin Dekha

14.Hum Aur Tum Aur Ye Sama - Dil Deke Dekho

15.Mujhe kitna pyar hai tumse - Dil Tera Diwana

16.Raahi Mil Gaye Rahon Mein - Dil Deke Dekho

17.Tumne Kisi Ki Jaan Ko - Rajkumar

18.Dheere Chal - Boy Friend

19.Hai re hai yeh mere

20.Nahin Ris Punjab Di - Mirza Sahiban

21.Isharon Isharon Mein Dil Lene Wale - Kashmir Ki Kali

22.Mera Dil Hai Tera - An Evening In Paris

23.Subhan Allah haseen chehra - Kashmir Ki Kali

24.Jawaniya Ye Mast Mast Bin Piye - Tumsa Nahin Dekha

25.Sar Par Topi Lal - Tumsa Nahin Dekha

26.Ye chand sa roshan chehra

27.Raat ke humsafar

28.Nazar bachakar chale gaye

29.Main gaoon tum so jao (happy)

30." (sad)

31.Kis kis ko pyar karun

32.Chhupnewale Samne Aa - Tumsa Nahin Dekha

33.Duniya Walo Se Dur - Ujala

34.Vallah Kya Baat Hai (Title Song) - Vallah Kya Baat Hai

35.Dilruba meri neeta

36.Bade hain dil ke kale

37.Yaar chulbula hai

38.Jhumata mausam mast mahina

39.Aaiga aaiga aaiga ye kya ho gaya

40.Halke halke chalo sanwre

41.Bolo bolo kuch toh bolo

42.Dhadakne lagta hai

43.Ek to surat pyari

44.Khanke to khanke

45.O mere sona re

46.Bachke jaane na dungi

47.Re mama re mama re

48.Aaja aaja main hoon pyar tera

49.Tumse achha kaun hai

50.Kabhi hum ne nahi soch tha

51.Deewana mujhsa nahi

52.Milne ki hastar me betabi -Laila majnu

53.Mirza saheba theme - Mirza saheban

54.Subah uthke mirze yaar ne - Mirza saheban

55.Kisi na kisi se kah bi na kabhi - Kashmir ki kali

56.Jab muhabbat jawan hoti hai

57.Nazar mein bijli ada mein shole

58.Aaj kal tere mere pyar ke charche

59.Pagla kahin ka (title song)

60.Dil tera deewana hai sanam

61.Aye gulbadan aye gulbadan

62.Salaam aapki meethi nazar ko salaam

63.Gham e hasti se bas

64.Baharon ki duniya

65.Dekh li aye ishq teri

66.Aye gham e dil (video version)

67."

68.Mil gaya taqdeer se chashma yahan

69.Dil ke jharokhe mein

70.Khuli palak mein - Professor

71.Meri mohabbat jawan rahegi

72.Janam janam ka saath hai

73.Rangat teri surat si

74.Tu bemisaal hai teri tareef kya karoon

75.Jan e bahaar husn tera bemisaal hai

76.Tere dar pe aya

77.Kab tak uthayen - Naqab

78.Gar teri nawazish ho jaye

79.Apni bahon se koi kaam toh lo

80.Humse na poochho hum kahan chale

81.Mujhe apna yaar bana lo (part 1)

82." (part 2)

83.Pehle pehle pyar ka ishara

84.O Mr Banjo ishara toh samjho

85.Kehta hai dil tum ho mere

86.Yamma yamma yamma

87.Dekho kasam se kehta hai tumse

88.Dekho tanga mera nirala

89.Tere aage bolna dushwar

90.Are husn chala

91.Shaam e bahaar ayee

92.Bekaraar hai koyii

93.Hamari gali aana achha ji

94.Suraj zara aa paas aa

95.Aasmaan wali teri duniya se

96.Shabbakhair

97.Laal chhadi maidan khadi

98.Savere wali gaadi se

99.Mohabbat ke khuda

100.Dil ko na mere tadpao

101.Kitni badal gayi hai chaal

102.Budtameez kaho ya kaho janwar

103.Teri zulfen pareshaan

104.Main chali main chali- Professor

105.Jawan muhabbat jahan jahan hai

106.Chham chham baje re payaliya

107.Madhosh hawa matali fiza (part 1)

108." (part 2)

109.Aawaaz deke

110.Mohabbat ka naghma zubaan par

111.Dekhiye saahibon woh koi aur thi

112.Tan mein agni

113.Na rootho na rootho

114.Chal suhani hai baat rasili hai

115.Aai aai ya suku suku

116.Hoga tumse kal bhi saamna

117.Sau baras ki zindagi se - Sachai

118.Dilruba dil pe tu

119.Jaane wafa jaane jahan

120.Chal diya karvan

121.Jane wale zara hoshiyar

122.Muqabla humse na karo

123.Ganga meri maa ka naam

124.Hat jao deewana aye

125.Jaane mera dil kise dhoond raha

126.Bada qaatil hai mera yaar

127.Aaate jaate aankh bachana

128.Tum lakh chhupana chahoge

129.Yaaron surat hamari pe mat jao

130.O megha re bole ghanan ghanan

131.Chandani ki paalki mein baith kar - Jeewan jyoti

132.Dekho ab toh kisi ko (Beatlesque ) - Janwar

133.Teri neeli neeli aankhon ke

134.Chakke mein chakka

135.Dhoka khayegi na yaaron ki nazar

136.Aye dil ab kahin

137.Ab kahan jaye hum

138.Masoom chehra ye qatil

139.Deewane ka naam toh poochho

140.Tere chehre mein hai jo baat kisi aur mein nahi

141." (plain high audio)

142.A kundya a mundya

143.La de mohe balma

144.Is rang badalti duniya mein

145.Akele akele kahan ja rahe ho

146.Aasmaan se aya farishta

147.Hai duniya usiki zamana usika

148.Badan pe sitare

149.Yeh umar hai

150.Hai na bolo bolo

151.Jaan e jigar yoon hi agar

152.Ek nazar ek ada

153.Ayee hai door se

154.Raaste mein ek haseen

155.Bahut aasaan hai chilman se

156.Aye chand zara chhup ja

157.Aankhon aankhon me kisise

158.Zindagi ek safar hai suhana (part 2)

159.Mere sapnon ki rani

160.Jhuka jhuka ke nigahen

161.Jaake laage naina

162.Sar e mehfil jo jala parwana

163.Ye rang na chhutega

164.Chhod ke teri duniya

165.Jane anjane log mile

166.Dil usey do jo jaan de de

167.Ae mere dil yahan tu akela nahi

168.Meri bhains ko danda kyun mara

169.Zulf ke phande

170.Dekho na jaao ae jaaneman

171.Dil le gayi le gayi

172.Jab tak hum hain hum hi hum hain

173.Chham chham lo suno

174.Saat saheliyaan

175.Ae dost mere maine duniye dekhi hai

176.Zulm o sitam

177.Socha tha pyar

178.Dekho ji ek bala jogi - Chinatown

179.Kabse dhari hai samne botla sharab ki

180.Aji aisa mauka phir kahan milega

181.Kya haseenon ka dil nahi hota - College Girl

182.Haseen ho tum khuda nahi ho

183.Rasa sayang re

184.Naino mein suraj ki kirnen

185.Mere lehnge mein - Basant

186.Bade dinon me khushi ka din aya

187.Hum premi prem karna jaanen - Parvarish

188.Sirf tum hi toh ho

189.Rikshe pe mere tum aa baithe

190.Main ne pee hai pee hai

191.Dil ne chheda hai tarana - Sipehsalar

192.O jaanewale sun zara

193.Idhar main khubsurat hoon

194.Are humne unke samne

195.Duniya shamshaan hai, paisa bhagwaan hai

196.Koi jab dard ka maara

197.Ukkad dukkad bamba

198.Bhar de jholi Allah naam

199.Ae maa meri yaadon ko

200.Woh marne se nahi darte

201.Haathon ki chand lakeeron ka

202.O jhuke jhuke nainon wali

203.Aya apni nagariya mein

204.Pyar ka leke udan khatola

205.Raat yun dil mein teri

206.Main bewafa nahi hoon - Preet na jaane reet

207.Zindagi kya hai gham ka dariya hai

208.Tum sa nahi dekha -Wanted Dead or Alive

209.Ae madre watan

210.Kadam kadam se - Char dil char raahen

211.Jani jani buri manmani

212.Kya haseenon ka dil nahi hota

213.Ye shahar bada albela

214.Kyon ji mujhe pehchana

215.Hip hip hurray - College girl

216.Sher se ladne ayee dekho

217.Yun na dekho hamen baar baar

218.Dil ke badle dil loongi

219.Tujhe ishq dekar khuda ne (qawaali)

220.Mere gunaah maaf kar

221.Sarfaroshi ki tamanna - Shaheed Bhagat Singh

222.Mera dil aashiqana hai

223.Chali ho kahan dekho idhar

224.Mere dil pe laga - Basant

225.Mohabbat aur wafa ki - Khoj

226.Chala aa meri mehfil mein

227.Allah hoo allah hoo

228.Parvar digare alam

229.Ghar mere aye - Khoj

230.Lapa changa mein nache

231.Ye zindagi hai do

232.Jeevan mitana hai

233.Baat ye kaise keh di zaalim

234.Bulbul mein hai nagme tere

235.Zamana ruke par - Sar Aankhon Par (5th song on film's jukebox)

SURESH WADKAR’S TOP 360 (HINDI FILM) SONGS !

Yt Link:

Goron ki na kalon ki – Disco dancer

“ (sad)

Chal chameli bagh mein – Krodhi

Main hi main hoon – Ram Teri Ganga Maili Ho Gayi

Seene mein jalan aankhon mein toofan – Gaman

Aaj ek harf ko phir dhoondta hai – Muhafiz

Sita Ko Dekhe - Pinjar

Megha re megha re – Pyasa Sawan

Husn pahadon ka – Ram Teri Ganga Maili Ho Gayi

Yaad nahi bhoolo gaya – Lamhe

Log jahan pe rehte hain – Pyar Ka Mandir

Kisi ka pyaar na chute – Ghar Dwaar

Haathon ki chand lakeeron ka – Vidhaata

Zu zu zu zu zu – Sanjog

Mera karma tu – Karma

Aur iss dil mein kya rakha hai – Imaandaar

Jaanewale o jaanewale – Henna

Ram teri ganga maili – Ram Teri Ganga Maili

Geeta Rani - Naiyya

Bhanwre ne khilaya phool – Prem Rog

Main hoon prem rogi – Prem Rog

Mohabbat hai kya cheez - Prem Rog

Qaid mein hai bulbul – Qaid mein hai bulbul

Aaja na tere bina – Bol Radha Bol

Mohabbat ki ki ki – Saudagar

O Priya Priya – Dil

“ – “

Tune preet jo mujhse Jodi – Meere Ka Mohan

Chappa chappa charkha chale – Maachis

Teri yaad aati hai – Saudagar

Haan mangal murat moray – Bekhabar

Unpe sadke dilo jan – Jaan Hatheli Pe

“ (video)

Surmayi sham is tarah – Lekin

Ayi bahar – Pyar hua chori chori

Main toh deewani hui – Vansh

Pardesi pardesi (sad/climax version) – Raja Hindustani

“ (2nd climax)

Koi Jane Ya Na Jane - Mehandi Rang Layegi

Patjhad Saawan Basant Bahaar – Sindoor

Meri qismat mein tu nahi shayad – Prem Rog

Dhadkan Zara Ruk Gayi Hai - Prahaar

Tu mujhe suna - Chandni

Main Der Karta Nahin - Henna

Huzoor Is Kadar - Masoom

Aaina Hai Mera Chehra – Aaina

Saanj Dhale Gagan Tale Hum Kitane Ekaki - Utsav

Lagi Aaj Sawan Ki - Chandni

Dekho Yeh Kaun Aaya – Savere wali gaadi

Kitni Khoobsoorat Yeh - Bemisal

Ghata chha gayi hai - Waaris

Aao Mil Jaayen - Prem Geet

Jabse Dekha Hai Tumhe - Dil Akhir Dil Hai

Parbat Ke Us Paar – Parbat Ke Us Paar

Yeh Ankhen Dekh Kar - Dhanwan

Pyaar Yeh Jaane Kaise - Rangeela

Pritam Tum Mere Rahoge Sada Yeh Waada Karo - Beshaque

Zindagi Har Janam Song - Vijay

Thoda Sa Gum - Thikana

Aata Hai Mujhko Yaad Tera Pyar - Purani Haveli

O Rabba Koi To Bataye - Sangeet

Dil Aashna Hai, Jigar Aashna Hai - Dil Aashna Hai

Likhne Wale Ne Likh Daale - Arpan

Jinka Ghar Ho - Bade Ghar Ki Beti

Ram Teri Ganga Maili Ho Gayee - Ram Teri Ganga Maili

Tu Hain Khush Rang (Sad) - Henna

Baadal Pe Chalke Aa - Vijay

Kismat Mein likhi koi baat ho tum-Triveni

Rim Jhim Rim Jhim -Ye Rishta Na Tootay

Kismat Ki Baazi Ka Faisla (HD) - Aap To Aise Na The

Bol Radha Bol - Bol Radha Bol

Kis Karan Naiya Doli - Dacait

Kitni Hai Pyari Pyari - Parinda

Kitni Hai Pyari Pyari (Slow)

Tum Jo Mile Ho Geet Saje Hain - Pasand Apni Apni

Tumhari khushbu - Betaabi

O Rani Dhuan Sa Utha Dekho Chaaro- Bhayanaak

Bada Shaitan Hai Dil Aji Beimaan Hai Dil - Imaandaar

Tera Pagal Premi - Tajurba

Ae Saawan Baras Zaraa - Lootere

More Ghar Aaye Sajanwa - Imaandaar

Aayo re aayo nandlal biraj ma – Pyar hua chori chori

Tere Naina Mere Naino Se - Bhrashtachar

Jijaji Jijaji Hone Wale Jijaji - Sajan Bina Suhagan

Aur Kya Ahede Wafa - Sunny

Gulshan Gulshan Kali Kali - Guddu

Nigahon Ne Chheda - Ghatak..

Phool Yeh Nahin Armaan - Ek Ladka Ek Ladki

Kahan Laya Mera Yaar - Agnee

Humrahi Mere Humrahi - Do Dilon Ki Dastaan

Tu Nache Main Gaoo - Parivaar

Aye Zindagi Gale Laga Le - Sadma

Gunja Re Chandan - Nadiya Ke Paar

Aapka Aashiq - Teri Maang Sitaron Se Bhar Doon

Chehra kamal hai aapka - Maine Jeena Seekh Liya

Humse Muqabla - Bad Aur Badnaam

Teri Yaad Tera Naam - Sunny

Mohabbat To Karta Hai Sara Zamana - Hifazat

O Mere Sanam Tera Khat Mila - Palay Khan

Kya Aisa Ho Sakta Hai - Achha Bur

Kya tarif karu iski ye kaisi hain - Paap Ko Jalaa Kar Raakh Kar Doonga

Nazar Ne Nazar Se - Sultanant

Mere Watan Mein - Khuda Gawah

Saathi Mere Tum - Sau Din Saas Ke

Main Pyasi Nadiya Hoon - Hasti

Kore Kaagaz Pe Likhwale - Pehla Pehla Pyar

Tere Liye - 7 Khoon Maaf

In Haseen Vadhiyon Se - Pyaasa Sawan

Dil Se Nikal Kar Dil Ko Gayi Hain - Nigahen

Sangeet Jahan Hai Geet Wahan - Sangeet

Boliyan Ve Boliyan - Jeene Do

Saat Soor Ki Taar Bangayi - Sangeet

Pawan Basanti Behne Lagi - Kayda Kanoon

Tum Mile

Ho gaya tera mera juda rasta – College Girl

Mujhe Apni Baahon Mein - Chauraha

Hum Tum Juda Na Honge - Ek Din Bahu Ka

Jeene Marne Ka Mausam Aaya - Aatishbaaz

O Janu Meri Jaan Hai Tu -Mohabbat Ke Dushman

Maine Kiya Tune Kiya - Sharara

Mere Kurte Me Lag Ja Batan Banke - All Rounder

Naache Man Tan Tan Re – Bhai ka dushman bhai

Jawani Mein Aate Hain -Badle Ki Aag

Sathi O Sathi - Be Aabroo

Phir Pyar Mein Jo Jo Hota Hai - Chambal Ka Badshah

Wahi chal mere dil khushi jisne di hai - Shaukeen

Bolo Jai Seeta Ram - Ghar Ek Mandir

Mera Ek Deewana Mujhe - Mera Faisla

Biwi Hasband Ko Pyar Na Kare To -Tan-Badan

Pyar Mujhe Kab Dogi - Zindagani

Aayega Aayega - Jaagruti

Hum Kon Hai Tere Fan Hai - All Rounder

Koi Jhankaar Hai Naghma Hai Sada Hai Kya - Janam Se Pehle

Badi Mushkil Mein - Yeshwant

Tu ek chingari thi -Bandh darwaza

Baitha Neeli Jheel Kinare -Kurbaan

Khwaboun Ko Sach Mai Kar doun - Prem Geet

Yun Na Dekho Tasveer Banke - Honeymoon

Bin Payal Ke Cham Cham - Saveray Wali Gaddi

Saiyyan Main Aayi Ghar Chhod Ke -Bhayanak

Mehfil Yaro Ki Mehfil - Pakhandee

Apne Apne Se Lage Hamein - Apne Apne

Pagla Pagla – Ghungroo Ki Awaaz

Tumse Milke - Parinda

Der Naa Ho Jaye Kahin - Henna

Mera Pyar Mujh Se Rootha - Kalaakaar

O Aayee Aayee Re Dulhaniya - Shoorveer

Kamre Mein Band Soniye - Oh Bewafaa

Humko To Yaari Se Matlab Hai (1) - Andar Baahar

Humko To Yaari Se (2) -Andar Baahar

Gungunati hui - Betaabi

Dekho jani dushman aapas main yaar -Ladke baaap se badhke

Andar Baahar Baahar Andar - Andar Baahar

Mausam Dhale Usi Rang Mein - Anokha Modh

Maika Piya Bulaave – Sur sangam

Dil Lagate Hain - Ghar Jamai

Do jahaan -Haider

Khoobsurat Tera Chehra - Roohie

Jisne Tera Naam Liya - Ganpati Bappa Moreya

Khamosh Sa Afsana -Libaas

Mehndi To Mehndi Hai Rang Layegi -Mehndi Rang Layegi

Yeh Hawaayein Sard Sard -Nasihat

Rimjhim Rimjhim Haye Jalun Main -Mahaadev

Zulfen Bikhraaye Baahon Mein -Kayda Kanoon

Dulhan Tujhe Banaunga – Paraya Ghar

Hoga Na Hoga Pyar Kabhi Kum -Kaun Kare Kurbanie

Teri Khamoshi Ka Matlab -Himmat

Umar Tere Naam Kar Di – Dekha Pyar Tumhara

Taxiwale Meter Gira - Divorce

Ali Baba Ali Baba –Jeeo..Jeeno Do

Jaane Kaisi - Paheli

Chhed Milan Ke Geet Re Mitwa - Sheshnaag

Mera Dil Kisne Liya - Oh Bewafaa

Bombay Se Aaya Hun Jonny Mera Naam – Ek Baar Phir

Jaani hands up – Bandha Kachche Dhagon ka

Jo bhi kehna - Locket

Deep jalaye jo geeton ke maine -Kalakaar

Karna Fakiri Phir Kya Dilgiri -Bade Ghar Ki Beti

Yaar Ko Salaam –Yeh Desh

Ho Rama Haye Re - Sangeet

Deewana Dil Kahe -Hanste Khelte

Tum Kaho –Chor Police

Manmohak Ye Pyara Pyara - Paheli

Mandir Hai Ghar Ye Hamara -Ek Vivaah Aisa Bhi

Hum Sanam Kuchh Na The –Waqt ke Shehzade (Contd)

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Lyrics Aur Nahin Bas Aur Nahin

Lyrics Aur Nahin Bas Aur Nahin

Aur Nahin Bas Aur Nahin – Song contents: Lyrics in EnglishHindi LyricsYouTube VideoSong TriviaMore Lyrics in English | Aur Nahin Bas Aur Nahin | Roti Kapda Aur Makaan-1974 | Manoj Kumar | Mahendra Kapoor Aur Nahin BasAur NahinGham Ke PyaaleAur Nahin Aur Nahin BasAur NahinGham Ke PyaaleAur Nahin Dil Me JagahNahin BaakiRok NazarApni Saaki Aur NahinBas Aur NahinGham Ke PyaaleAur Nahin Aur…

[postoastblog]

21 Bollywood Old Songs That Will Remain Evergreen Till Eternity

Our Bollywood film industry is known for its amazing songs and dance moves. Indian cinema has a long history of music in films. The legendary singers like Kishore Kumar, Lata Mangeshkar, etc have sung some of the evergreen old songs whose lyrics are so beautiful they’ll instantly make you love the song. Maybe that’s the reason your grandfather or dad keeps playing the old classic songs and gets lost in their melody.

Here we have a list of some best old Bollywood songs that tend to stay close to you forever.

Zindagi Ek Safar Hai Suhana: This song was sung by the legendary Kishore Kumar for the movie Andaz in 1971. The song also received the Filmfare for the Best Lyricist. It was written by Hasrat Jaipuri.

Tere Bina Jiya Jaye Na Jaye Na: This iconic old song was sung by Lata Mangeshkar, written by Gulzar for the 1978 film Ghar featuring and stars Rekha and Vinod Mehra. The music direction of Tere Bina Jiya Jaye Na was done by R.D. Burman.

Hamen Tumse Pyar Kitna: This song was sung by Kishore Kumar for the 1981 film Kudrat. Written by Majrooh Sultanpuri, and the Music Director of Kudrat was R.D. Burman. The song was also nominated for the Filmfare.

Abhi Na Jao Chod Kar: This iconic song was sung by Mohammed Rafi and Asha Bhosle for the 1961 film Hum Dono starring Dev Anand and Sadhna. Jaidev was the Music Director and the lyricist was Sahir Ludhianvi.

Roop Tera Mastana: The song was sung by legend Kishore Kumar and he won the Filmfare for the Best Male Playback Singer for this song. The song was sung for the 1969 film Aradhana that featured Sharmila Tagore and Rajesh Khanna. The lyrics were written by Anand Bakshi and the music was composed by S.D. Burman.

Pyar Hua Ikrar Hua: This amazing song was sung by Lata Mangeshkar, Manna Dey. This song was featured in the movie Shree 420 starring Raj Kapoor and Nargis.

Ek Ajnabee Haseena Se: The song was sung by Kishore Da and was featured in the 1974 film Ajanabee starring Rajesh Khanna and Zeenat Aman. The on-screen chemistry of the actors together made this song magical. R.D. Burman was The Music Director of this song.

Kuch Toh Log Kahenge Logon Ka Kaam Hai Kahana: This superhit classic old Hindi song was sung by Kishore Kumar from the blockbuster Hindi movie of Amar Prem (1972) starring Rajesh Khanna and Sharmila Tagore. The music was composed by R.D.Burman and lyrics were penned by Anand Bakshi.

Mere Sapno ki Rani Kab Ayegi Tu: This iconic Hindi classic romantic song was sung by Kishore Kumar and was featured in the 1969 film Aradhana that featuring Rajesh Khanna and Sharmila Tagore. The lyricist of the song is Anand Bakshi.

Lag Ja Gale: Sung by Lata Mangeshkar, this evergreen song features in Who Kaun Thi?. Written by Raja Mehdi Ali Khan, the iconic song was released in the year 1964. It stars Manoj Kumar alongside Sadhna. Madan Mohan Kohli is the music director.

Likhe Jo Khat Tujhe: Sung by Mohammed Rafi, this old Bollywood song was one of the most heartwarming songs of the movie Kanyadan. The film featured legends like Shashi Kapoor and Asha Parekh. The lyrics were written by Neeraj.

Kya Hua Tera Wada: The song was composed by R. D. Burman. Sung by Mohammed Rafi and Sushma Shrestha, the song won both Filmfare best male playback singer and National film award.

Humein Tumse Pyar Kitna: This beautiful Hindi song was sung by the legend Kishore Kumar and was composed by R. D. Burman. The song was featured in the 1981 Indian Hindi drama film, Kudrat. The movie starred Rajesh Khanna and Hema Malini. The song is heard twice in the movie, the first time by Parveen Sultana and the second time by Kishore Kumar.

Kabhi Kabhie Mere Dil Mein: It is an old Hindi song from the movie Kabhi Kabhie released in the year 1976 featuring Amitabh Bachchan and Raakhee. The lyricist of this amazing song is Sahir Ludhianvi. The original song is in literary Urdu and was in fact a poem from his collection Talkhiyan.

Yeh Dosti Hum Nahi Todenge: This is one of the most epic Bollywood songs on friendship. The song was sung by Kishore Kumar and Manna Dey for the popular movie Sholay featuring Amitabh Bachchan and Dharmendra. R. D. Burman composed the music, and the lyrics were written by Anand Bakshi.

Mera Joota Hai Japani: This song is one of the most popular old songs from Raj Kapoor’s film Shree 420 that was released in 1955. The song was sung by Mukesh and Shailendra was the lyricist.

Tera Mujhse Hai Pehle Ka Naata Koi: This song is from Shashi Kapoor and Sharmila Tagore starrer movie Aa Gale Lag Jaa. Kishore Kumar sang the song and the music was given by R. D. Burman. The lyrics are penned by Sahir Ludhianvi.

Ek Radha Ek Meera: Sung by Lata Mangeshkar, this song featured in the 1985 romantic drama movie Ram Teri Ganga Maili that starred stars Mandakini and Rajiv Kapoor. Ravindra Jain was the music director of the film and he received a Filmfare Award for this movie.

Yeh Raaten Yeh Mausam: Sung by legends like Kishore Kumar and Asha Bhosle, this song featured in the film Dilli Ka Thug. The music was by Ravi and the lyrics were penned by Shailendra.

Tum Ko Dekha Toh Ye Khayal: This evergreen ghazal was sung by Jagjit Singh and Chitra Singh for the 1982 film Saath Saath featuring Farooque Shaikh and Deepti Naval in the lead roles.

Tujhse Naraz Nahin Zindagi: The song has a female and a male version that was sung by Lata Mangeshkar and Anup Ghoshal respectively for the 1983 film, Masoom. The song was composed by R. D. Burman and the lyrics of the song were written by Gulzar. He also won a Filmfare Award for Best Lyricist for this song.

[inmyworldblr]

Charitraheen (1974) | dir. Shakti Samanta

dil se dil milne ka koi kaaran hoga

There has to be some reason for the hearts to unite

bina kaaran koi baat nahi hoti

Nothing happens without any reason

[fiza2220]

Ajnabee Original Song By Shaurya Kapoor Unreleased || AJNABEE || https://youtu.be/rx__EA2Vm1U?si=aZle2QifL-i1m3pe . .

[ofhunter290]

Shalimar 1978 Songs Pk

Shalimar 1978 Songs Pk Songs

Shalimar 1978 Songs Pk Subban

Shalimar 1978 Songs Pk Song

This will remove all the songs from your queue. Are you sure you want to continue? Clear currently playing song. One Two Cha Cha Cha(From 'Shalimar') Lyrics. Old songs indeed have an unmatchable aura from the rest of the songs. These songs, with the combination of meaningful lyrics and melodious tunes, helped in creating a great hype for their film. While some songs are famous by their title, some are famous by the cast that performs in the songs. SUBSCRIBE for the best Bollywood videos, movies, scenes and songs, all in ONE channel: On the run from the police, S.S. Kumar, a thief, comes across a private invitation to. About Us Shalamar Hospital is committed in the delivery of its tripartite mission of exemplary patient care, high-impact research and education. Over the last 44 years, Shalamar Hospital has evolved into a premier tertiary care medical facility with 500.

Category :Bollywood Songs

A number of songs about turmoil in relationships have been made in Hindi films. It’s not easy to get back to normal after a split with the one you love. This article showcases a detailed perspective of the best Bollywood Breakup songs and Heartbreak songs.

Parting ways with the one you love is never easy. Not every love story has a happy ending. The sentiments associated with a breakup have been expressed colloquially in Hindi films. Since its early days the Hindi film industry has depicted varied emotions centrifugal to lovers parting ways. Emotional turmoil is an aspect that has been thoughtfully captured through songs in Hindi films. Since the black and white era, songs about breakup and heartache have been exceedingly popular. Songs about lovers parting ways are exceedingly popular with Bollywood aficionados. People are able to relate with lyrics in breakup songs, and that’s why these songs are close to the heart of many.

Listeners are able to connect with emotions and feelings conveyed through breakup songs. Heartache and breakups is a bitter slice of reality that is painful, and it’s this pain that is expressed poetically through Bollywood breakup songs. The Hindi film industry is known for its high caliber lyricists. Lyricist’s give new life and meaning to songs with words. Lyrical melodies in Bollywood songs have charmed audiences in different decades. The warmth of emotion that oozes forth in Bollywood breakup songs has mesmerized audiences belonging to different age groups.

Breakup songs and heartbreak songs are popular with both youngsters and the older generation. While youngsters relate to present day songs, the older generation loves listening to sad songs from the decades gone by. The sentiments expressed through breakup songs in Hindi films have touched hearts. Emotive lyrics in breakup songs bring back memories of the past. Listening to songs about breakups or heartbreak help you deal with life as it comes. While opinions differ in regard with whether listening to breakup songs impact a person positively or negatively, the truth of the matter is lyrics in songs about heartbreak can only make you stronger and move forward for a better life.

The lines below showcase a comprehensive list of the best Bollywood breakup songs.

100 Greatest Bollywood Breakup Songs and Heartbreak Songs

Tadap Tadap Ke- Hum Dil De Chuke Sanam (1999)

Jag Soona Soona Lage- Om Shanti Om (2007)

Tanahayee- Dil Chahta Hai- (2001)

Jeena Yahan Marna Yahan- Mera Naam Joker (1970)

Bin Tere- I Hate Love Stories- (2010)

Yeh Duniya Yeh Mehfil- Heer Ranjha (1970)

Kabira- Yeh Jawaani Hai Deewani- (2013)

Tum hi Ho- Aashiqui 2 (2013)

Saathi Re Tere Bina Bhi Kya Jeena- Muqaddar Ka Sikandar (1978)

Tu Jaane Na- Ajab Prem Ki Ghazab Kahani- (2009)

Jaane Tu Meri Kya Hai- Jaane Tu… Ya Jaane Na (2008)

Agar Tum Saath Ho- Tamasha (2015)

Teri Meri- Bodyguard (2011)

Tujhe Bhula Diya- Anjaana Anjaani- (2010)

Mora Piya- Raajneeti (2010)

Tere Bin- Bas Ek Pal (2006)

Pyaar Hai Ya Sazaa- Salaam-e-Ishq (2006)

Bhula Dena- Aashiqui 2 (2013)

Jab Rulana Hi Tha- Aggar (2007)

Tujhe Yaad Na Meri Aaye- Kuch Kuch Hota Hai (1998)

Pardesi Pardesi Jaana Nahin- Raja Hindustani (1996)

Tujhe Sochta Hoon- Jannat 2 (2012)

Woh Lamhe Woh Baaten- Zaher (2005)

Chaha Hai Tujhko- Mann (1999)

Tune Jo Na Kaha- New York (2009)

Dil Ke Armaan Aanshuo Main Beh Gaye- Nikaah (1982)

Sunn Raha Hai- Aashiqui 2 (2013)

Hasi- Hamari Adhuri Kahani- (2015)

Tere Liye- Veer Zaara (2004)

Zindagi Ka Safar- Safar (1970)

Laal Ishq- Goliyon Ki Rasleela…Ramleela (2013)

Hone So Batuyaan- Fitoor (2016)

Tere Naam- Tere Naam (2003)

Manchala- Hasee Tooh Phasee (2014)

Kaise Main Kahon Tujhse- Rehna Hai Tere Dil Main (2001)

Ae Dil Hai Mushkil- Ae Dil Hai Mushkil (2016)

Ab Tere Bin- Aashiqui (1989)

Lambi Judaai- Hero (1983)

Main Shayar Badnaam- Namak Haram (1973)

Alvida- D- Day (2013)

Main Tenu Samjhawan- Humpty Sharma Ki Dulhania (2014)

Chingari Koi Bhadake- Amar Prem (1971)

Re Piya- Aaja Nachle (2007)

Koi Yeh Kaise Bataye- Arth (1983)

Tere Bina Zindagi Se Koi- Aandhi (1975)

Din Dhal Jaaye Haaye- Guide (1965)

Hum Bekhudi Mein Tumko Pukare- Kala Pani (1958)

Jiye Toh Jiye Kaise- Saajan (1991)

Pyar Manga Hai Tumhi Se- College Girl (1978)

Waqt Ne Kiya Kya Hansi Sitam- (Kaagaz Ke Phool) (1959)

Mera Kuchh Saaman- Ijaazat (1988)

Dooriyan- Love Aaj Kal(2009)

Justjoo Jiski Thi Usko- Umrao Jaan (1981)

Teri Galiyon Mein Na Rakhenge- Hawas (1971)

Poochoo Na Kaise Maine- Meri Surat Teri Aankhen (1963)

Abhi Mujh Mein Kahin- Agneepath (2012)

Laayi Ve Ne Gayi, Tey Nibhayi Vi Na Gayi- Chalte Chalte (2003)

Bhare Naina- Ra. One (2011)

Do Pal- Veer Zaara (2004)

Yun Hasraton Ke Daag- Adalat (1958)

Zindagi Mein Koi Kabhi Aaye Na Rabba- Musafir (2004)

Dil De Diya Hai- Masti (2004)

Priya Priya- Dil (1990)

Toote Huye Khwabon Me- Madhumati (1958)

Hum Bewfa Hargiz Na Thay- Shalimar (1978)

Jiyien Kyun- Dum Maaro Dum (2011)

Aaoge Jab Tum Sajna- Jab We Met (2007)

Teri Yaad Aati Hain- Saudagar (1991)

Jeena Jeena- Badlapur (2015)

Jeeta Tha Jiske Liye- Dilwale (1994)

Dil Mera Churaya Kyon- Akele Hum Akele Tum (1995)

Who Shaam Kuchj Ajeeb Thi- Khamoshi (1969)

Mujhe Teri Mohabbat Ka Sahara- Aap Aye Bahaar Aye (1971)

Tu Pyaar Hain Kisi Aur Ka- Dil Hai Ki Maanta Nahi (1991)

Zindagi Ke Safar Mein Guzar Jaate- Aap Ki Kasam (1974)

Jaane Kahan Gaye Who Din- Mera Naam Joker (1970)

Koi Hota Jisko Apna- Mere Apne (1971)

Kya Hua Tera Wada- Hum Kisise Kam Naheen (1977)

Shikaayat Hain- Jism (2003)

Sach Keh Raha Hai Deewana- Rehnna Hai Tere Dil Mein (2011)

Aur Is Dil Mein Kya Rakha Hai- Imaandaar (1987)

Chod Gaya Balam- Barsaat (1949)

Banake Kyun Bigada Re- Zanjeer (1973)

Chupana Bhi Nahi Aata- Baazigar (1993)

Mere Toote Huye Dil Se- Chhalia (1960)

Mere Dushman Tu Meri Dosti Ko Tarse- Aaye Din Bahaar Ki (1966)

Mere Piya- Tere Mere Sapne (1996)

Toh Phir Aao- Awarapan (2007)

Shisha Ho Ya Dil Ho- Aasha (1980)

Awaarapan Banjarapan- Jism (2003)

Dil Lagane Ki Do Na Saza- Anmol (1993)

Achha Sila Diya Tune Mere Pyaar Ka- Sanam Bewafa (1993)

Yeh Safar- 1942: A Love Story- (1994)

Mera Yaar Mila Dey Saaiyaan- Saathiya (2002)

Koi Jab Tumhara Hriday Tod De- Purab Aur Paschim (1970)

Aye Ajnabi Tu Bhi Kabhi- Dil Se (1998)

Hum Thay Jin Ke Saharay- Safar (1970)

Ab Naam Mohabbat Ke Ilzaam Yeh Aaya Hain- Ghulam (1998)

Tota Tota Sajan Se Kehna- First Love Letter (1991)

Rula Ke Gaya Sapna Mera- Jewal Thief (1967)

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Post Your Comment

tumbou

Oh my God Tujhey Bhula Diya is my all time favourite. It hits the cord straight of my heart. It's lyrics has so much reality in it. Zindagi Kay safar main guzar jaatay is another reality based song that brings tears

reply 0

biju

Music has become an integral part pf our daily life. If you listen music, you would not feel any pain.

Shalimar 1978 Songs Pk Song

reply 0

[hindikala]

Phir Kab Milogi (1974) - Kahin Karti Hogi Woh Mera Intezaar Lyrics in Hindi and English with Meaning (Translation) | Mukesh | Lata Mangeshkar | कहीं करती होगी वो मेरा इंतज़ार #Mukesh #LagaMangeshkar Lyrics with Meaning: https://hindikala.com/hindi-songs-lyrics/phir-kab-milogi-1974-kahin-karti-hogi-woh-mera-intezaar-lyrics/

[dweemeister]

Kaagaz Ke Phool (1959, India)

Almost a quarter of the way through the twenty-first century, globalization has pierced the remotest corners of the planet. The examples academics and politicians cite demonstrating this globalization are almost always economic, but the most profound examples are cultural. Once known only in South Asia, Indian cinema has burst onto a global stage. Its stars and its most popular directors seem larger than life. Reading on some of modern Bollywood’s (Hindi-language cinema) personalities, I find few of their biographies compelling beyond their unquestionable status as South Asian and international celebrities – I won’t name names here because that is for another time. That is partly a result of not watching enough Bollywood films. It is also because I am making unconscious comparisons between those modern actors to actor-director Guru Dutt. Dutt was a tragic romantic – off- and on-screen – to the point where those personas can become indistinguishable.

As an actor, Dutt can be as charming a romantic male lead as anyone, as well as lend a film the dramatic gravitas it needs. As a director, he refined his sweeping visuals and theatrical flairs over time. That artistic development culminated with Pyaasa (1957) and his final directorial effort, Kaagaz Ke Phool (“Paper Flowers” in English). The latter film is the subject of this piece. Both films elevate themselves to a cinematic altitude few movies anywhere, anytime ever accomplish. They are, for lack of a better word, operatic* – in aesthetic, emotion, storytelling, tone. In Kaagaz Ke Phool, Dutt once again lays bare his artistic soul in what will be his final directed work.

An old man enters a film studio’s empty soundstage, climbs onto the rafters, and gazes wistfully at the darkened workspace below. We learn that this is Suresh Sinha (Dutt), a film director whose illustrious past exists only in old film stock. The film is told in flashback, transporting to a time when his marriage to Bina (Veena) is endangered – the parents-in-law disdain his film work as disreputable to their social class – and he is embarking upon an ambitious production of Devdas (a Bengali romance novel that is among the most adapted pieces of Indian literature to film, the stage, and television). He is having difficulty finding someone to play Paro, the female lead. Due to this conflict, Bima has also forbidden their teenage daughter, Pammi (Kumari Naaz), from seeing Suresh. Pammi is sent to a boarding school far from Delhi (where Bima and her parents reside) and further from Mumbai (where Suresh works), without any sufficient explanations of the spousal strife.

One rainy evening, Suresh generously provides his coat to a woman, Shanti (an excellent Waheeda Rehman). The next day, Shanti arrives at the film studio looking to return the coat. Not knowing anything about film production, she accidentally steps in front of the camera while it is rolling – angering the crew who are tiring of yet another production mishap. Later, while viewing the day’s rushes, Suresh casts Shanti as Paro after witnessing her accidental, but remarkable, screen presence. She achieves cinematic stardom; Suresh and Shanti become intimate. When the tabloid gossip eventually reaches Mumbai and Pammi’s boarding school, it leads to the ruin of all.

What did you expect from an operatic film – a happy ending?

Also starring in the film are Johnny Walker (as Suresh’s brother-in-law, “Rocky”) and Minoo Mumtaz (as a veterinarian). Walker and Mumtaz’s roles are vestigial to Kaagaz Ke Phool. Their romantic subplot is rife with the potential for suggestive humor (she is a horse doctor), but the screenplay never justifies their inclusion in the film.

Shot on CinemaScope lens licensed by 20th Century Fox to Dutt’s production company, Kaagaz Ke Phool is Dutt’s only film shot in letterboxed widescreen. From the onset of his directorial career and his close collaboration with cinematographer V.K. Murthy, Dutt exemplifies an awesome command of tonal transition and control. Murthy’s dollying cameras intensify emotion upon approach: anguish, contempt, sober realization. These techniques render these emotions painfully personal, eliminating the necessity of a few lines of dialogue or supplemental motion from the actor. The effect can be uncomfortable to those who have not fully suspended their disbelief in the plot or the songs that are sung at the time. But to the viewers that have accepted that Dutt’s films exist in a reality where songs about infatuation, love, loss, and regret are sung spontaneously (and where revelations are heard in stillness), this is part of the appeal. Dutt and Murthy’s lighting also assists in directing the narrative and setting mood: a lashing rainstorm signaling a chance meeting that seals the protagonists’ fates, the uncharacteristically film noir atmosphere of the soundstage paints moviemaking as unglamorous, and a beam of light during a love melody evokes unspoken attraction. That final example represents the pinnacle of Dutt and Murthy’s teamwork (more on this later).

As brilliant as his films (including this) may be, Dutt suffered during mightily during Kaagaz Ke Phool’s production. In writings about Dutt, one invariably encounters individuals who believe Dutt’s life confirms that suffering leads to great art. Though I think it best to retire that aphorism so as not to romanticize pain, I believe that the reverse is true with Guru Dutt – his later directing career contributed to his personal tribulations. In some ways, that suffering informed his approach to what I consider an informal semiautobiographical trilogy of his films: Mr. & Mrs. ’55 (1955), Pyaasa, and Kaagaz Ke Phool. Dutt directed and starred in each of these films. In each film he plays an artist (a cartoonist, poet, and film director, respectively); with each successive film his character begins with a greater reputation, only to fall further than the last. The three Dutt protagonists encounter hardship that do not discriminate by caste, professional success, or wealth.

For Dutt’s Suresh, he is unable to consummate his love for Shanti because the specters of his failed marriage haunt him still. He never speaks to his de facto ex, but marital disappointment lingers. Why does he bother visiting his stuffy in-laws when he knows they will never change their opinions about him? Abrar Alvi’s (the other films in the aforementioned informal Dutt-directed trilogy, 1962’s Sahib Bibi Aur Ghulam) screenplay is silent on the matter. Also factoring into Suresh’s hesitation is his daughter, Pammi. Pammi is young, looks up to both her parents, and cannot fathom a parent being torn from her life. Her reaction to learning about Shanti implies that neither of her parents have ever truly talked to her about their separation. Pammi does not appear to blame herself, but it seems that her parents – intent on protecting their child, perhaps speaking to her not as a soon-to-be young adult – are loath to maturely talk about the other. In a sense, Pammi has never mourned her parents’ marriage as we see her deny the tabloid reports about Suresh’s affair and express anger towards her father when she learns the truth.

When Suresh’s film after Devdas flops, his film career is in tatters. But Shanti’s popularity is ascendant, creating a dynamic reminiscent of A Star is Born. In a faint reference to Devdas, Kaagaz Ke Phool’s final act contains anxieties about falling into lower classes. If Kaagaz Ke Phool is contemporaneous to its release date, one could also interpret this as concerns about falling within India’s caste system (reformist India in the late 1950s was dipping its toes into criminalizing caste discrimination, which remains prevalent). Suresh’s fall is stratospheric and, in his caste-conscious, masculine pride, he rejects Shanti’s overtures to help him rebuild his life and film career. This tragedy deepens because Shanti’s offer is in response to the contractual exploitation she is enduring. We do not see what becomes of Shanti after her last encounter with Suresh, but his final scenes remind me, again, of opera: the male lead summoning the strength to sing (non-diegetically in Suresh’s case) his parting, epitaphic thoughts moments before the curtain lowers.

Suresh’s and Shanti’s respective suffering was preventable. Whether love may have assuaged his self-pity and alcoholism and her professional disputes is debatable, but one suspects it only could have helped.

Composer S.D. Burman (Pyaasa, 1965’s Guide) and lyricist Kaifi Azmi (1970’s Herr Raanjha, 1974’s Garm Hava) compose seven songs for Kaagaz Ke Phool – all of which elevate the dramatics, but none are as poetic as numbers in previous Dutt films. Comments on two of the most effective songs follow; I did not find myself nearly as moved by the others.

“Dekhi Zamane Ki Yaari” (roughly, “I Have Seen How Deeply Friendship Lies”) appears just after the opening credits, as an older Suresh ascends the soundstage’s stairs to look down on his former domain. The song starts with and is later backed by organ (this is an educated guess, as many classic Indian films could benefit with extensive audio restorations as trying to figure out their orchestrations can be difficult) and is sung non-diegetically by Mohammed Rafi (dubbing for Dutt). A beautiful dissolve during this number smooths the transition into the flashback that will frame the entire film. That technique, combined with “Dekhi Zamane Ki Yaari”, prepares the audience for what could be a somber recollection. However, this is only the first half of a bifurcated song. The melodic and thematic ideas of “Dekhi Zamane Ki Yaari” are completed in the film’s final minutes, “Bichhde Sabhi Baari Baari” (“They All Fall Apart, One by One”; considered by some as a separate song). Together, the musical and narrative arc of this song/these songs form the film’s soul. For such an important musical number, it may have been ideal to incorporate it more into the film’s score, but now I am being picky.

Just over the one-hour mark, “Waqt Ne Kiya Haseen Sitam” (“Time Has Inflicted Such Sweet Cruelty On Us”; non-diegetically sung by Shanti, dubbed by Geeta Dutt, Guru’s wife) heralds the film’s second act – Suresh and Shanti’s simultaneous realization of their unspoken love, and how they are changed irrevocably for having met each other. Murthy’s floating cameras and that piercing beam of light are revelatory. A double exposure during this sequence shows the two characters walking toward each other as their inhibitions stay in place, a breathtaking mise en scène (the arrangement of a set and placement of actors to empower a narrative/visual idea) foreshadowing the rest of the film.

Dutt’s perfectionist approach to Kaagaz Ke Phool fueled a public perception that the film was an indulgent vanity exercise with a tragic ending no one could stomach viewing. Paralleling Suresh and Shanti’s romantic interest in each other in this film, the Indian tabloids were printing stories claiming that Dutt was intimate with co-star Waheeda Rehman and cheating on Geeta Dutt. These factors – perhaps some more than others (I’m not versed on what Bollywood celebrity culture was like in the 1950s, and Pyaasa’s tragic ending didn’t stop audiences from flocking to that film) – led to Kaagaz Ke Phool’s bombing at the box office. Blowing an unfixable financial hole into his production company, Guru Dutt, a man who, “couldn’t digest failure,” never directed another film. Like the character he portrays here, Dutt became an alcoholic and succumbed to depression in the wake of this film’s release. Having dedicated himself entirely to his films, he interpreted any professional failure as a personal failure.

Kaagaz Ke Phool haunts from its opening seconds. Beyond his home country, Dutt would not live to see his final directorial effort become a landmark Bollywood film and his international reputation growing still as cinematic globalization marches forth. Dutt’s most visually refined films, including Kaagaz Ke Phool, are films of subtraction. The cinematography and music make less movement and dialogue preferable. Kaagaz Ke Phool is a film defined about actions that are not taken and scenes that are never shown. The result is not narrative emptiness, but a receptacle of Dutt’s empathy and regrets. Exploring these once-discarded, partially biographic ideas is not for faint hearts.

My rating: 9/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

* I use this adjective not to reference operatic music, but as an intangible feeling that courses over me when watching a film. Examples of what I would consider to be operatic cinema include: Crouching Tiger, Hidden Dragon (2000, Taiwan); Greed (1924); The Red Shoes (1948); and The Wind (1928). Some level of melodrama and emotional unpackaging is necessary, but the film need not be large in scope or have musical elements for me to consider it “operatic”.

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In this photo Natalya Sazanova is on the far right, Sripad Maharaj is to the left of Ravi Shankar, and George Harrison is behind them (1974)

Tuitions in Vrindavan: When a Russian Indologist taught George Harrison Hindi (20 Sep. 2019)

by Ajay Kamalakaran

When she agreed to teach the legendary English singer Hindi in the 1970s, India scholar Natalya Sazanova had no idea who the Beatles were. Over four months of lessons, George Harrison preferred to keep his fame a secret

On an otherwise uneventful day in Vrindavan in 1974, Natalya Sazanova, a Russian Indologist with a deep interest in Hinduism, was introduced to a “charming young” Englishman by sitar maestro Pandit Ravi Shankar. Decades later, Sazanova, who was one of the best-known professors at the Lomonosov Moscow State University, would tell Russian newspaper Novie Izvestiya in an interview that the young man, who had a ponytail and was wearing a “checkered American jacket and Indian sarong” listened closely as Ravi Shankar and Sazanova spoke in Hindi.

The Russian was so proficient in Hindi that she had defended a thesis on the work of Hindi playwright Bharatendu Harischandra for her candidature of philological sciences degree (equivalent to a masters in philosophy) in 1962.

“George,” who did not understand what the conversation was about, asked the Russian Indologist to teach him Hindi.

“He had an absolute talent,” Sazanova said. While most of her students took about six years to master conversational Hindi, the Beatle managed to learn well in just four months of “irregular” classes. “George grasped the spoken language on the fly. He particularly learnt bhajans fast and sang them.”

Sazanova was also mesmerised with how George mastered the sitar so quickly. “I was so impressed that I asked him, ‘George, what do you do for a living.’ He was terribly embarrassed [by that time, he was world famous]. He said, ‘Actually, I’m a professional musician.’” She added that Ravi Shankar smiled when he heard this.

The teacher, completely ignorant of her student’s fame, asked him to keep a small concert, to which he agreed. “One of the concerts that George and Shankar arranged for several friends, including me, was on a moonlit night in a deserted spot on the banks of the Yamuna River,” Sazanova said. “It was simply amazing. The three of them played—Ravi Shankar, George and an Indian flautist—and I hadn’t heard anything like it before.”

Unfortunately, there were no recordings of the concerts. “Tape recorders were still rare at that time,” Sazanova said. “Today, I am very sorry that at that time I did not have any device. The only thing left are photo slides.”

Spiritual Path

At that time, Sazonova and Harrison were both pursuing their interest in Hinduism. The Russian’s spiritual guru Sripad Maharaj also had an influence on the Beatle. Harrison’s song It is He (Jai Shri Krishna) was based on a bhajan taught to him by Sripad Maharaj.

Sazanova recalled how spirituality and Hinduism always came up during their lessons. “We could not get around philosophy in conversations with him, but I was engaged in Hare Krishna bhakti,” she said. “As much as I could, I explained to George the connection of music with bhakti. I explained that since everything in the world was connected, words and music could not exist separately.”

Harrison, who was well versed with the Bhagavad Gita, chanted the Hare Krishna mantra, and regularly communicated with Srila Prabhupada, the founder of the International Society for Krishna Consciousness or ISKCON, as it’s popularly called. “More than once I attended their meetings and I can say that George always listened very carefully to what the guru told him.”

Harrison never spoke of his fame or international stature during those four months. Once their lessons were over, he wrote a small note in Sazanova’s diary. “I was extremely happy to meet you. You made a tremendous impression on me. God Bless You.”

International Music Sensation

Sazanova did not make too much about her lessons in Vrindavan and thought of them as nothing but one of many pleasant experiences in the country that she had dedicated her life to understanding.

Back in Moscow, she shared her photographs from her time in Vrindavan and then came the excitement. “Oh My God! This is Harrison,” a student screamed. The students then went on explain who the English musician learning Hindi was. They were impressed out of their wits when they heard that George Harrison actually dedicated a song to their teacher at one of his small private concerts by the Yamuna.

It’s a myth that the Beatles were officially banned in the Soviet Union. While anything associated with Western culture was looked upon with great suspicion, there was no Brezhnev-era government call for citizens to not listen to the British band. One of the major reasons that the music of the Beatles wasn’t easily available in the USSR in the mid-1960s was the hostility and envy of Soviet composers. Russian composer Nikita Bogoslovsky once referred to the band as the “dung beetles”.

However, John Lennon’s statement that the band was more popular than Jesus Christ was welcomed by the ideological newspaper Pravda. By the time Sazanova was back in Moscow from Vrindavan, her students would have most likely listened to a poor quality record that was sold by a company called Melodiya. The album cover didn’t have the name of the band but chose to call them a “Vocal Instrumental Ensemble.” Muscovites could also hear the Beatles music on Radio Luxembourg.

The message in Sazanova’s diary and her photographs became the talk of the university in 1975. On hearing that her student in India was a legend in the world of music, she started listening to the Beatles and Harrison’s individual songs. She also listened regularly to her student’s songs that were dedicated to Krishna.

Harrison did not forget his Hindi teacher after he went back to the West. He sent Sazanova a book about Krishna, where he had written the preface. The preface ends with words familiar to each and every fan of the Beatles: ‘Give peace a chance. All you need is love.’

An Illustrious Career in Indology

Sazanova continued her scholarship of Hindi and Sanskrit literature for the next three decades. In 1984, she obtained a PhD by defending a thesis on ‘The Creativity of Surdas and the North Indian Literary Tradition of the 16th to 19th centuries.’

She also cultivated a close friendship with Russian-Indian artist Svetoslav Roerich and his wife, actress Devika Rani. She was on the board of the Moscow Nicholas Roerich Society from its founding in 1980 till her death in 2006.

Sazanova remained a lifelong devotee of Krishna. She was grateful to Harrison for the role he played in popularising Hinduism in the West. In her interview to Novie Izvestiya, she said movements such as “Krishnaism” gave non-Indians the opportunity to access ancient spiritual systems. “Doesn’t George’s sincerity reflect in the (spiritual) songs he composed,” she asked.

In Sazanova’s Footsteps

Once the Soviet Union collapsed in 1992, there were no restrictions of any kind on cultural and musical imports. Along with the growth of popularity of their music, rumours resurfaced of the Beatles actually performing in secret in the Kremlin in the 1960s. Some fans still erroneously believe that the song Back to the USSR was inspired either by this “secret performance” or after another (falsely) rumoured visit of the Fabulous Four to Moscow on account of an emergency landing.

When the story of a Moscow State University professor teaching George Harrison Hindi once again began to do the rounds in the Russian capital in 2005, journalist Ekaterina Maksimova, then 18, decided to check if it was a hoax. “It was very difficult to believe the whole story, so my friend and I decided to try and get in touch with Dr Sazanova,” Maksimova says. “We went to the Moscow State University to find her. She was still a part of the faculty of the Institute of Asian and African Studies.”

On hearing that the girls wanted to know more about the Indologist’s experiences with George Harrison, she invited them home. The excited students went to Sazanova’s home on Russian Orthodox Christmas (January 7th) morning in 2006 and saw some photos and the diary. “Some sceptics have raised questions over the authenticity of the autograph, but I have no doubts,” Maksimova says. “George Harrison had a very unique signature; he used to write his name in a very characteristic manner.”

Over cake and tea, Maksimova and three friends spoke to Sazanova in detail about her interactions with Harrison. “We just sat there, pouring in the questions, still in disbelief that George Harrison’s teacher was sitting in front of us,” she says. “It was unreal. It doesn’t happen… We were so excited that it turned into an interrogation about George.”

Even after three decades, the Russian Indologist was in awe of the music legend’s humility, sincerity and manners. “I remember her telling us several times during the conversation that George was polite and modest,” Maksimova says. “She also told us that he took the lessons very seriously and spent a lot of time praying and reading and citing religious texts.”

Sazanova also spoke of her guru Sripad Maharaj, her passion for Hindi literature, Sanskrit and Hinduism, inspiring Maksimova to enroll at the Moscow State University’s Institute of Asian and African Studies. She studied Hindi, Sanskrit and Urdu and specialised in Chhayavad-era literature, but unfortunately could not study under Sazanova.

Although Sazanova was still a member of the faculty of the Moscow State University, she was too weak to travel daily to the campus in 2006. A handful of students would go for lessons to her apartment, which was in southwestern Moscow.

“When I called her home in June 2006, her son told me that she had passed away,” Maksimova says. “It was a terrible shock for me. I had always loved India, but I found out about the Institute of Asian and African studies only because of her… But more than that, the very idea of being a student of the same teacher who taught George Harrison, was thrilling. It would almost feel like being his classmate.”

Maksimova, who now works for a leading private television channel in Moscow, is a regular visitor to India and has often contemplated organising Beatles tours to Rishikesh and Vrindavan for Russians.

The transcripts of George Harrison’s interviews about Indian culture and Hinduism have been widely translated into Russian. Ardent fans of the music legend in the country take great pride in his Russian connection and the fact the he was in a way a bridge between Russia and India.