Shamshad Begum sings mul wikda sajan mil jaave for Indian Punjabi film Bhangra 1959 music by Hansraj Behl

Shamshad Begum sings mul wikda sajan mil jaave for Indian Punjabi film Bhangra 1959 music by Hansraj Behl

Alam Ara (1931)

Alam Ara (1931)

Alam_Ara_poster,_1931Directed by Ardeshir Irani
Produced by Imperial Movietone
Written by Joseph David
Munshi Zaheer (Urdu)
Starring Master Vithal, Zubeida, Jilloo, Sushila, Prithviraj Kapoor
Music by Ferozshah M. Mistri, B. Irani
Cinematography Wilford Deming, Adi M. Irani

AlamAraStillAlam Ara (Hindi: आलम आरा, Urdu: عالم آراء ‎, translation: The Ornament of the World) is a 1931 film directed by Ardeshir Irani. It was the first Bollywood and Indian sound film

Still from Alam Ara (1931): Master Vitthal, Wazir Mohammed Khan and Zubaida in the climax scene

Still from Alam Ara (1931): Master Vitthal, Wazir Mohammed Khan and Zubaida in the climax scene

Irani recognised the importance that sound would have on the cinema, and raced to complete Alam Ara before several contemporary sound films. Alam Ara debuted at the Majestic Cinema in Mumbai (then Bombay) on 14 March 1931. The first Indian talkie was so popular that “police aid had to be summoned to control the crowds.”

Wazir Mohammed Khan singing first Indian film song, "De De Khuda Ke Naam Pe"

Wazir Mohammed Khan singing first Indian film song, “De De Khuda Ke Naam Pe”

The film has long been lost and was not available as far back as 1967 according the National Film Archive of India, Pune.

The film is a love story between a prince and a gypsy girl, based on a Parsi play written by Joseph David. David later served as a writer at Irani’s film company. The story centres on an imaginary, historical royal family in the kingdom of Kumarpur. The main characters are the king and his two warring wives, Dilbahar and Navbahar. Their rivalry escalates when a fakir predicts that Navbahar will bear the king’s heir.

Dilbahar, in a fit, attempts to have an affair with the kingdom’s chief minister, General Adil (Prithviraj Kapoor). The affair goes sour and a vengeful Dilbahar imprisons him and exiles his daughter, Alam Ara (Zubeida). In exile, Alam Ara is brought up by Gypsies. Upon returning to the palace at Kumarpur, Alam Ara meets and falls in love with the charming young prince (Master Vithal). In the end, Adil is released, Dilbahar is punished and the lovers marry.

Ardeshir_Irani_recording_Alam_Ara,_1931

Ardeshir_Irani_recording_Alam_Ara,_1931

Both the movie and its music were widely successful, including the hit song “De de khuda ke naam per”, which was also the first song of the Indian cinema. It was sung by actor Wazir Mohammed Khan who played a fakir in the film. As playback singing had yet to start in Indian cinema, it was recorded live with musical accompaniment of a harmonium and a tabla.

The film marked the beginning of filmi music in the Cinema of India, as noted film director Shyam Benegal said, “It was not just a talkie. It was a talking and singing film with more singing and less talking. It had a number of songs and that actually set the template for the kind of films that were made later”. In fact, the 1932 film ‘Indrasabha’ had an overwhelming 71 songs in it.

Ardeshir Irani handled the sound recording department, using the Tanar Sound System. It was shot with the Tanar single-system camera, which recorded sound directly onto the film. Since there were no soundproof studios available at the time, the shooting was done mostly at night, to avoid daytime noises, with microphones hidden near the actors

Alam Ara

Alam Ara 1931

The film was inspired by the first movie version of Jerome Kern’s Show Boat (1929), released by Universal Pictures. There is no known copy of the film today. The National Archives of India says that they do not possess a print and couldn’t locate one as far back as 1967. It was incorrectly reported that the last known prints, in Pune’s film archives, were damaged by a fire in 2003 when in fact no copy was ever possessed by the film archive. According to P.K. Nair, founder director of the National Film Archives of India (NFAI), Pune, “The report that Alam Ara print was destroyed at the NFAI is incorrect.”

Master_Vithal_and_Zubeida_in_Alam_Ara,_1931

Master_Vithal_and_Zubeida_in_Alam_Ara,_1931

The film had music by Ferozshah M. Mistri and B. Irani, and had seven songs:

“De de khuda ke naam pe”, Wazir Mohammed Khan
“Badla Dilwayega Ya Rabb”, Zubeida
“Rutha Hai Asman gum ho gaya mahatab”, Jillu
“Teri Kaatil nigahon ne mara”
“De dil ko aaram aye saki gulfam”
“Bhar bhar ke jam pila ja sagar ke chalane bala”
“Daras bina mare hai tarse naina pyare”

Zeenat Begum

Zeenat Begum

Zeenat Begum

Zeenat Begum

Zeenat Begum (not to be confused with actress Zeenat) was a kothewali (courtesan). Her first recorded songs mostly composed by Pandit Amarnath and mostly sung in Punjabi language for HMV and Jienophone appeared around 1937.
Her first success as a playback singer came in 1942 when she sang for Pt. Govind Ram for Punjabi film Mangti. Most of the songs from this film were superhits and the film itself went on to become first Golden Jubilee film produced in Lahore. She remained a particular favorite of Pandit Amarnath (elder brother of famous music directors Husnlal Bhagatram) who used her voice in many films including Panchhi (1944), Shalimar (1946), Shehar se Door (1946) and Daasi (1944). She also sang for Husnlal Bhagatram for their debut film Chand (1944).
With the arrival of new playback singers in Pakistan after partition, Zeenat Begum’s playback singing career got eclipsed. However, she remained a prominent artist of Radio Lahore until the late 50s. She died on 12 November 1966 – Ummer Siddique

Meena Shorey

Meena Shorey

Courtesy: Karan Bali aka 

Meena Shorey

Meena Shorey

From being the heart throb of India (being known as the ‘Lara Lappa girl’ at her peak) to begging at a film function in the 1980s in Pakistan for money to marry off her sister’s daughters, Meena Shorey’s is the classic and tragic riches-to-rags story one often finds in the filmline.

She was born Khursheed Jehan, the second of four children, in Raiwind in a small rural household. Her father was based in Multan but due to his wayward ways, he lost whatever land the family owned. He tried his hand in the dyeing business in Lahore but that too failed and to make things worse for the family, he used to brutally beat his wife. Meena’s elder sister, Wazir Begum, married and shifted to Bombay and she got Meena and their mother to move there as well.
In Bombay, she accompanied her brother-in-law to the mahurat of Sohrab Modi’s Sikandar (1941). Modi, taken in by her beauty, offered her a supporting role in the film and bound her to a contract to work exclusively for him. He also gave her the name Meena. Sikandar did extremely well and Meena was on her way. Modi then cast her as the second lead in Phir Milenge (1942) and Prithvi Vallabh (1943). In the last named, she was paired opposite Al Nasir, whom she later married. The marriage did not last very long due to Nasir’s womanising ways.
Meena first met the Lahore based filmmaker Roop K Shorey, when he came to Bombay to look for a heroine for his forthcoming film, Shalimar (1946). Though he wanted Meena as the heroine of the film, Sohrab Modi’s rigid contract came in the way. According to Meena, the contract again prevented her from doing Mehboob Khan’s Humayun (1945) as well. Further, on a visit to Lahore, she met producer Dalsukh Pancholi, who signed her on for two films Shahar se Door (1946) and Arsi (1947). Immediately, Sohrab Modi took her to court asking for damages of Rs 3 lakhs. According to Meena, taking advantage of her illiteracy, Modi bound her for three years whereas the contract was supposed to be for a year only. She added that Modi then demanded Rs 60,000 to release her and seeking help from Modi’s wife, Mehtab, the matter was finally settled for Rs 30,000. Meena was now free. She returned to Lahore and fulfilled her contractual obligations by starring in Shahar Se Door and Arsi.
Meena’s last film in Lahore was Pathjad (1948). Following the partition of India, she came to Bombay where she did films like Actress (1948) and Dukhiyari (1948). In this period she heard that Roop K Shorey had also moved to India following partition. His studio having burnt down in Lahore, he was financially hard up in Bombay. Meena and Karan Dewan got together and helped him make his first film in India, Chaman (1948) in Punjabi. The film, with music by Vinod, was the first ever Punjabi film in which Lata Mangeshkar lent her voice. Her songs in the film like Galiyan Che Firdey Dhola Nikke Nikke Baal Wey and Chan Kithe Guzare-e-Raat Wey were highly appreciated.
Meena hit the apex of her screen career with Roop K Shorey’s Ek Thi Ladki (1949) co-starring Motilal. The film, a comedy thriller, looks at a girl (Meena) on the run after she witnesses a murder and shows a new facet of Meena exploring her comic talents, which were considerable. But above all it was the popularity of the song Lara Lappa Lara Lappa that was chiefly responsible for the film’s success. The song was hummed in every nook and corner of the country and as mentioned, Meena became known as the ‘Lara Lappa girl!’ She also got married to Roop K Shorey becoming Meena Shorey.
After Ek Thi Ladki, Meena did a steady lot of movies, mostly with Roop K Shorey, but none measured up to Ek Thi Ladki. Perhaps, the best of the lot was Ek Do Teen (1953) re-uniting the Shoreys with Motilal. By the mid 1950s though she was still doing the odd film or two every year, it was obvious her career was in decline.
At this point, the Shoreys were invited to come to Pakistan and make a film. The result was Miss 1956 (1956), a copy of Guru Dutt’s Mr and Mrs 55 (1955) starring Meena Shorey, Santosh Kumar, Aslam Pervez, Shamim Ara, Zarif and Charlie with music by the great GA Chisti. Though the film did just average business, the adulation that Meena got on returning to Lahore was tremendous. She decided to relocate to Pakistan, even at the cost of her marriage.
Meena’s most successful film in Pakistan was Sarfarosh (1956) co-starring Sabiha Khanum and Santosh Kumar. According to Meena, she was signed on to play the lead role of a princess in the film, but later on Sabiha was given the role and Meena was asked to play the ‘lesser’ role of a bandit queen. She says she walked out of the film but on the pleading of the director, Anwar Kamal Pasha and his father, she relented. Nevertheless, she still made a strong enough impact in the film and perhaps the best song in the film, Teri Ulfat Mein Sanam, sung by Zubaida Khanum was picturised on her. She also became the first Pakistani actress to model for Lux soap, thus becoming the ‘Lux Lady of Pakistan.’
However soon, even in Pakistan, with her subsequent films making no impression at the box office, she began getting supporting or negative roles and found herself getting sidelined. Though she made an impression in the odd Mousiqar (1962) as the vamp and Khamosh Raho (1964) playing the madam of a brothel, the roles were becoming a rarity and soon she found herself playing small character roles. A short-lived marriage to actor Asad, her co-star in Jamalo (1962) during this period proved disastrous for her. Perhaps, among the last roles she made any sort of impact was in the Punjabi film Jigri Yaar (1967), her comedy track with Zeenat proving quite popular and Humraz (1967), where she played a negative character of a governess. Thereafter, her roles amounted to little more than small cameos with her last screen appearance coming in the Shabnam – Waheed Murad starrer Nishani (1979).
Meena lived the last few years of her life in abject poverty in Pakistan. She had no savings and was reduced to living in a couple of rooms in Lahore’s Mohni Road. There was no one to look after her and she subsisted on a small stipend paid to her by the Pakistan Arts Council and sometimes the Rotary Club. It is said she compared herself to a dried up tree in a grove full of green young saplings that everyone was out to destroy and burn.
Meena Shorey died lonely and forgotten in 1989. Her burial was arranged with charity money and few came to attend her funeral.

 

Eric Roberts Vinod

Vinod, Eric Robert ER

Vinod, Eric Robert ER

Vinod, Eric Robert ER

Born Eric Roberts – 28 May 1922 – Lahore, Pakistan, British India
Died 25 December 1959 (aged 37) – Mumbai, Maharashtra, India
Vinod was a famous music director of 1950’s. In 1949, he gave a popular Music score Lara Lappa Lara Lappa sung by Mohammed Rafi and Lata Mangeshkar, in the film Ek Thi Ladki.

Vinod.with.family

Vinod.with.family

Real name of Vinod is Eric Robert, Vinod was popular name given by Bombay Film Industry.
When Vinod was a child, he was fascinated by music played at Hindu weddings. Vinod was a student of Pandit Amar Nath, a musical director from Lahore. At a young age of 17yrs, his first official record composition was released, Samne Aaga Koi Jalwa Dikha gaya koi.
Vinod started composing songs for films in 1946. He composed music for the 1949 film Ek Thi Ladki, which, along with the song Lara lappa lara lappa layi rakhda, addi tappa addi tappa layi rakhda, became successful. He moved to Bombay when Roop Shori, a producer for who Vinod had previously composed songs, brought his team there. Vinod composed music for 36 films, viz. 30 in Hindi and 6 in Punjabi. He also composed 4 non-film songs.
Vinod married in Lahore to Sheela Betty and then moved to Delhi. Composed a lot of Punjabi film music like Saari Raat teri tak lena nam. Has two daughters Veena and Veera and grand and great grand children. Presently Veena Solomon, widow of late Newton Solomon and Veera Mistry married to Kelly Mistry.
01 Khamosh Nigahen (1946)
02 Paraye Bas Mein (1946) (with Niaz Husain)
03 Kamini (film) (1946)
04 Chaman (film) (1948) (Punjabi)
05 Ek Thi Ladki (1949)
06 Taara (film) (1949)
07 Anmol Ratan (1950)
08 Bhaiya Ji (1950) (Punjabi)
09 Waffa (1950) (with Bulo C. Rani)
10 Mutiar (1950) (Punjabi)
11 Bulbul (1951 film) (1951)
12 For Ladies Only (film) (1951) (Titli)
13 Mukhrha (1951)
14 Sabz Bagh (1951) (with Gulshan Sufi)
15 Saloni (film) (1951)
16 Aag Ka Dariya (1953)
17 Ek Do Teen (1953)
18 Ashtalli (1954) (Punjabi)
19 Laadla (film) (1954)
20 Ramman (film) (1954)
21 Haa Haa Hii Hii Hoo Hoo (1954)
22 Jalwa (film) (1955)
23 Oot Patang (1955)
24 Shri Naqad Narain (1955)
25 Makhi Choos (1956)
26 Amar Shaheed (year unknown) (with Vasant Desai)
27 Kamini (film) (year unknown)
28 Sheikh Chilli (1956)
29 Garma Garam (1957)
30 Mumtaz Mahal (film) (1957)
31 Nikki (film) (1958) (Punjabi)
32 Miss Hunterwali (1959)
33 Dekhi Teri Bumbai (1961)
34 Ekk Ladki Saat Ladke (1961) (with S. Mohinder)
35 Rang Raliyan (1962) (with Lachhi Ram and Mukherjee)
36 Ladaki (year unknown)
Note: Last three films were released after his death at the age of thirty seven in 1959.

Kuldip Kaur – A Spoiled Rich Punjaban Actress by Harjap Singh Aujla

Kuldip Kaur – A Spoiled Rich Punjaban Actress by Harjap Singh Aujla

Courtesy:  Harjap Singh Aujla

Kuldip Kaur

Kuldip Kaur

Since times immemorial India was famous amongst its North Western neighbors as a land of plenty and opportunity. From the Aryans of Central Asia to Alexander the Great of Macedonia and the Islamic invaders from the Western and Central Asian countries, India has been a land of fascination for every invader. Some of them were interested only in plundering the wealth of its state and citizens and some decided to adopt this four season fertile land as their future dream home. Most of the invaders crossed into India through the Khyber Pass in Pakhtoonkhwa area with the aim of capturing or looting the affluent capital of this country and other wealthy towns and cities. Peshawar and Lahore were the other important landmark cities on the way to the national capital, which most of the time used to be Delhi, Agra or Patliputra (Patna).

Actress Kuldip Kaur’s life story cannot be separated from erstwhile united Punjab’s premier twin cities of Lahore and Amritsar. She was the daughter of a wealthy landlord family of Punjab and the daughter –in –law of the Emperor of the Sikh Empire Maharaja Ranjit Singh’s daredevil military commander General Sham Singh Attariwala’s grandson. Her in-law’s place of residence was in village Attari located on Amritsar district’s border with Lahore district just off the Grand Trunk Road and was eighteen miles away from both Amritsar and Lahore. The lady, Kuldip Kaur was a shy, simple and a beautiful Sikh young lady. With skin so fair and translucent that she had no competition among the elite class that she belonged to. Although her beauty had no comparison, still her mind was very much down to earth and traditional. But the affluent lifestyle of the elite in Punjab changed her life forever.

Kuldip Kaur

Kuldip Kaur

Her rich landlord husband Mohinder Singh Sidhu (also called Mohinder Singh Pompa) was a spoiled young man. He was fond of enjoying the good life offered by Punjab’s both premier cities of Lahore and Amritsar. He became a member of Amritsar Club Amritsar, Lumsden Club of Amritsar, Service Club of Amritsar as well as the Gymkhana Club of Lahore, Service Club of Lahore and the Golf Club of Lahore. He engaged in a lavish lifestyle, mostly having lunch and dinner in clubs of separate cities in a single day. He was fond of owning the latest models of European and American cars. Amongst the least expensive cars that he owned were; Renault, Baby Morris and Austin. While his favorites included the top models of Chevrolet, Cadillac, Buick and Studebaker. The car dealers of Lahore and Amritsar always spread a red carpet in his honor. He hardly spent a day without visiting either Lahore or Amritsar. He was a good friend of Maharaja Jagatjit Singh of Kapurthala and visited his French style palace as well as the magnificent Jagatjit Club several times during the winters. During the summers the Maharaja himself was often on a tour of France and other European countries and was seldom available in Kapurthala

Her rich landlord husband Mohinder Singh Sidhu (also called Mohinder Singh Pompa) was a spoiled young man. He was fond of enjoying the good life offered by Punjab’s both premier cities of Lahore and Amritsar. He became a member of Amritsar Club Amritsar, Lumsden Club of Amritsar, Service Club of Amritsar as well as the Gymkhana Club of Lahore, Service Club of Lahore and the Golf Club of Lahore. He engaged in a lavish lifestyle, mostly having lunch and dinner in clubs of separate cities in a single day. He was fond of owning the latest models of European and American cars. Amongst the least expensive cars that he owned were; Renault, Baby Morris and Austin. While his favorites included the top models of Chevrolet, Cadillac, Buick and Studebaker. The car dealers of Lahore and Amritsar always spread a red carpet in his honor. He hardly spent a day without visiting either Lahore or Amritsar. He was a good friend of Maharaja Jagatjit Singh of Kapurthala and visited his French style palace as well as the magnificent Jagatjit Club several times during the winters. During the summers the Maharaja himself was often on a tour of France and other European countries and was seldom available in Kapurthala

Amritsar Khalsa Colllege

Amritsar Khalsa Colllege

 

Kuldip Kaur was born sometime between 1926 and 1928 and was brought up like a princess. Her spoiled Sardar husband always wanted his charming wife Kuldip Kaur to live and act like a modern lady of any metropolis of India. He wanted his wife to learn swimming and rub shoulders with the club going English elite based in Lahore and Amritsar. Once exposed to the club culture, Kuldip Kaur also started getting effected by its dark side. Since Lahore was a popular film city, Kuldip Kaur started dreaming about becoming a film actress. According to one story, Kuldip Kaur started admiring the professional qualities of actor Pran Nath, who was in acting profession in Lahore since 1940, when he successfully performed the role of a hero in Punjabi film “Yamla Jatt”. Pran loved the modern and permissive lifestyle of Lahore. By July and August of 1947, communal violence erupted into a full-fledged operation of ethnic cleansing primarily between the Muslims and the Sikhs and both Lahore and Amritsar were engulfed in the worst sectarian violence in recent history. Kuldip Kaur had no ill will against the Islam as a religion and several Muslims were her and her husband Mohinder Singh Pampa’s good friends. But things were getting out of control in Lahore and Amritsar. Both Pran and Kuldip Kaur were compelled by the quickly changing circumstances to leave Lahore in a jiffy, leaving virtually every belonging behind. Her own village being right on the border was also not peaceful either. So Kuldip Kaur decided to leave straight for Bombay. According to one story, in order to impress actor Pran, Kuldip Kaur decided to bring Pran’s stranded car from Lahore to Bombay. In a gesture of unprecedented daredevilry, she travelled from the safety of Bombay and Amritsar to Lahore and drove Pran’s car first to Amritsar and then she drove it all the way to Bombay, where she handed over the keys to a surprised but thankful Pran.

Lahore City

Lahore City

After leaving for Bombay, Kuldip Kaur’s contact with her parents and in-laws got diminished. On arrival in Bombay, Kuldip Kaur made up her mind to plunge headlong into the film industry. She was prepared to act in Hindi/Urdu as well as Punjabi films. The experts of film industry were of the opinion that her large piercing eyes, robust build and her flat chin made her an ideal choice for the role of a vamp. The first ranking heroines of the time included Durga Khote, Naseem Bano, Madhubala, Nargis, Suraiya and Nutan. Other heroines included Binarai, Shyama, Nimmi, Nirupa Roy, Meena Shori, Nigar Sultana, Veena and Kamini Kaushal. There was a real shortage of ladies willing to perform the role of vamps. One of Kuldip Kaur’s first films was a Punjabi blockbuster “Chaman” (1948). Within the same year Kuldip Kaur acted in two Hindi/Urdu films Ziddi and Grahsthi. All her 1948 films did well at the box office. After that she never looked back and went from strength to strength. At one stage Kuldip Kaur was so busy in her film roles that for a long duration she did not have time to visit Punjab

Anarkali Bazar Lahore

Anarkali Bazar Lahore

In 1949, Kuldip Kaur worked in at least two films “Ek Thi Ladki” and “Kaneez”. “Ek Thi Ladki” was a blockbuster. Music Director Vinod composed some great tunes for this movie. “Kaneez”, featuring the music of Ghulam Haider did not do too well. In 1950, Kuldip Kaur acted in two great musical Hindi movies “Samadhi” and “Adhi Raat” and did two Punjabi movies “Madari” and “Chhai”. 1951 was a great year for Kuldip Kaur, she played the roles of vamps in six movies “Stage”, “Rajput”, “Nai Zindagi”, “Ek Nazar”, “Afsana” and “Mukhra”. Her role in film “Afsana”, which featured a brilliant actor Ashoke Kumar was critically appreciated. 1952 was another great year for Kuldip Kaur. She worked in four movies “Shisham”, “Nau Bahar”, “Baiju Bawra” and “Anjaam”. Again her role was highly praised in film “Baiju Bawra”. In 1953 again Kuldip Kaur had four films “Mashooka”, “Baaz”, “Anarkali” and “Aabshar”. Out of these “Anarkali” was a super hit and her role stole the limelight. 1954 was another great year for Kuldip Kaur. She was featured in three movies “Lal Pari”, “Gul Bahar” and “Daak Babu”. 1955 was one of the busiest professional years for Kuldip Kaur. She played the bad girl’s role in “Teer Andaz”, “Miss Coca Cola”, “Mast Qalandar” and “Jashan”. 1956 was sort of a lean year for Kuldip Kaur, she worked in two films, but none was released. Two of Kuldip Kaur starrer movies, spilled over from 1956, were released in 1957. These were “Sheroo” and “Ek Saal”. In 1958 Kuldip Kaur had her roles in two films “Sahara” and “Panchayat”. In 1959, Kudip Kaur had her roles in three more films “Pyaar Ka Rishta”, “Mohar” and “Jagir”. Out of these, one film “Mohar” was a great musical, its music composed by Madan Mohan was simply outstanding. When she had fewer Hindi films in hand, she worked in Punjabi films. 1960 started as a reasonably good year for Kuldip Kaur. She had already completed a Hindi film “Maa Baap” and a Punjabi film “Yamla Jatt” and more pictures were on the way.

Services Club Amritsar

Services Club Amritsar

But during this very year, her life was cut short when she got some thorns in her feet and legs and she pulled those out by herself. True to her character of a daredevil woman, she took her injuries lightly and did not seek medical advice immediately. Her sores became not only septic, but she got Tetanus too, which is incurable. Kuldip Kaur died in 1960. She led a fast paced life and her end came as abruptly too. Her husband, who even in separation loved her immensely was left a heart broken man. A few years later one day, while blessing a newly married couple, he told them to live together until death and not abandon each other while living. This message reflected his extreme pain at the desertion by his beloved wife. I thought it will be appropriate to record, at least a partial history of Kuldip Kaur. Her fascinating life story has several lessons for the present readers and the unborn posterity.

Music of Indian Subcontinent – Song ID 18661-18667 (VintageSense Hub 1 – Randomly Indexed in Un-categorized Form)

Music of Indian Subcontinent – Song ID 18661-18667 (VintageSense Hub 1 – Randomly Indexed in Un-categorized Form)

VintageSense Song ID: 18661
18661- Indian Music VintageSense.com Zindagi Aur Hum 02 1962 Lata Hum teri lagan mei n magan dukh paaya hum ne Roshan (VintageSense.com Song ID: 18661)

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VintageSense Song ID: 18662
18662- Indian Music VintageSense.com Zindagi Aur Hum 03 1962 Lata Dheeray se gagri utaar Roshan (VintageSense.com Song ID: 18662)

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VintageSense Song ID: 18663
18663- Indian Music VintageSense.com Zindagi Aur Hum 04 1962 Lata matwali mulariya baaji re aadhi raat Roshan (VintageSense.com Song ID: 18663)

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VintageSense Song ID: 18664
18664- Indian Music VintageSense.com Zindagi Aur Hum 05 1962 Lata Chheen liya re beimaan mera dil Roshan (VintageSense.com Song ID: 18664)

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VintageSense Song ID: 18665
18665- Indian Music VintageSense.com Zindagi Aur Hum 06 1962 Lata Tu hum ko dekh aur hamaari nazae se dekh Roshan (VintageSense.com Song ID: 18665)

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VintageSense Song ID: 18666
18666- Indian Music VintageSense.com Zindagi Aur Hum 07 1962 Lata Jaa re jaa re meri chhod chunariya Roshan (VintageSense.com Song ID: 18666)

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VintageSense Song ID: 18667
18667- Indian Music VintageSense.com Zindagi Aur Hum 51 1962 Roshan Musical interludes Roshan (VintageSense.com Song ID: 18667)

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Music of Indian Subcontinent – Song ID 18651-18660 (VintageSense Hub 1 – Randomly Indexed in Un-categorized Form)

Music of Indian Subcontinent – Song ID 18651-18660 (VintageSense Hub 1 – Randomly Indexed in Un-categorized Form)

VintageSense Song ID: 18651
18651- Indian Music VintageSense.com zeenat 07 sakhi aya awan (VintageSense.com Song ID: 18651)

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VintageSense Song ID: 18652
18652- Indian Music VintageSense.com zeenat 08 aahen na bharin (VintageSense.com Song ID: 18652)

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VintageSense Song ID: 18653
18653- Indian Music VintageSense.com Zila 16 01 Kesaria Zila Khan (VintageSense.com Song ID: 18653)

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VintageSense Song ID: 18654
18654- Indian Music VintageSense.com Zila 26 02 Bhairvi In Three Forms Zila Khan (VintageSense.com Song ID: 18654)

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VintageSense Song ID: 18655
18655- Indian Music VintageSense.com Zila 36 03 Lat Uljhi Zila Khan (VintageSense.com Song ID: 18655)

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VintageSense Song ID: 18656
18656- Indian Music VintageSense.com Zila 46 04 Mori Dheemi Dheemi Zila Khan (VintageSense.com Song ID: 18656)

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VintageSense Song ID: 18657
18657- Indian Music VintageSense.com Zila 56 05 Aeri Sakhi Zila Khan (VintageSense.com Song ID: 18657)

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VintageSense Song ID: 18658
18658- Indian Music VintageSense.com Zila 66 06 Tum Agar Hann Kaho Zila Khan (VintageSense.com Song ID: 18658)

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VintageSense Song ID: 18659
18659- Indian Music VintageSense.com Zindagi Aur Hum 00 1962 Roshan Title music Roshan (VintageSense.com Song ID: 18659)

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VintageSense Song ID: 18660
18660- Indian Music VintageSense.com Zindagi Aur Hum 01 1962 Lata Sudha malhotra Hum teri lagan mei n magan tu milay sanam to 1 Roshan (VintageSense.com Song ID: 18660)

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Music of Indian Subcontinent – Song ID 18641-18650 (VintageSense Hub 1 – Randomly Indexed in Un-categorized Form)

Music of Indian Subcontinent – Song ID 18641-18650 (VintageSense Hub 1 – Randomly Indexed in Un-categorized Form)

VintageSense Song ID: 18641
18641- Indian Music VintageSense.com Zaban43 Chal Re Chal Ab Aur Kahin (VintageSense.com Song ID: 18641)

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VintageSense Song ID: 18642
18642- Indian Music VintageSense.com Zaban43 Dekha Hai Ek Sapna Suhana (VintageSense.com Song ID: 18642)

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VintageSense Song ID: 18643
18643- Indian Music VintageSense.com Zamana1938 Aye Dard Jara Dam Le (VintageSense.com Song ID: 18643)

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VintageSense Song ID: 18644
18644- Indian Music VintageSense.com zeenat 00 title (VintageSense.com Song ID: 18644)

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VintageSense Song ID: 18645
18645- Indian Music VintageSense.com zeenat 01 nach sitaro nacho (VintageSense.com Song ID: 18645)

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VintageSense Song ID: 18646
18646- Indian Music VintageSense.com zeenat 02 dulhan ban jao (VintageSense.com Song ID: 18646)

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VintageSense Song ID: 18647
18647- Indian Music VintageSense.com zeenat 03 bulbulo mat ro (VintageSense.com Song ID: 18647)

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VintageSense Song ID: 18648
18648- Indian Music VintageSense.com zeenat 04 haye re duniya (VintageSense.com Song ID: 18648)

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VintageSense Song ID: 18649
18649- Indian Music VintageSense.com zeenat 05 aandhiyan gham ki (VintageSense.com Song ID: 18649)

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VintageSense Song ID: 18650
18650- Indian Music VintageSense.com zeenat 06 aja ri aa (VintageSense.com Song ID: 18650)

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Music of Indian Subcontinent – Song ID 18631-18640 (VintageSense Hub 1 – Randomly Indexed in Un-categorized Form)

Music of Indian Subcontinent – Song ID 18631-18640 (VintageSense Hub 1 – Randomly Indexed in Un-categorized Form)

VintageSense Song ID: 18631
18631- Indian Music VintageSense.com ysmoolky piano05 (VintageSense.com Song ID: 18631)

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VintageSense Song ID: 18632
18632- Indian Music VintageSense.com ysmoolky piano06 (VintageSense.com Song ID: 18632)

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VintageSense Song ID: 18633
18633- Indian Music VintageSense.com ysmoolky piano07 (VintageSense.com Song ID: 18633)

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VintageSense Song ID: 18634
18634- Indian Music VintageSense.com ysmoolky piano08 (VintageSense.com Song ID: 18634)

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VintageSense Song ID: 18635
18635- Indian Music VintageSense.com ysmoolky piano09 (VintageSense.com Song ID: 18635)

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VintageSense Song ID: 18636
18636- Indian Music VintageSense.com ysmoolky piano10 (VintageSense.com Song ID: 18636)

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VintageSense Song ID: 18637
18637- Indian Music VintageSense.com ysmoolky piano11 (VintageSense.com Song ID: 18637)

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VintageSense Song ID: 18638
18638- Indian Music VintageSense.com ysmoolky piano12 (VintageSense.com Song ID: 18638)

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VintageSense Song ID: 18639
18639- Indian Music VintageSense.com zabaan1943027707 dekhahaieksapansuhaana (VintageSense.com Song ID: 18639)

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VintageSense Song ID: 18640
18640- Indian Music VintageSense.com zabaan1943027711 chalrechalabaurkahinbas (VintageSense.com Song ID: 18640)

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