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Shuklas : Rares of Jagmohan-Sursagar Man Teri Tarf Kyun Jata hai haye bar bar tadpata hai

#1 User is offline   Shuklas 

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Posted 10 May 2006 - 01:20 AM

Legendary singer Jagmohan no more

KOLKATA, Sept 4: Legendary Bengali singer of yesteryears Jagonmoy Mitra, fondly known as ‘Jagmohan’, whose rendition of love songs enthralled hearts of millions, died at his Juhu residence in Mumbai last night following a cardiac arrest, family sources said today.

Mitra, 85, who was recuperating from brain haemorrhage, is survived by three sons and two daughters.

The veteran singer, known as ‘Jagmohan’ to the Hindi music world, had over 400 music records to his credit in a career spanning over 40 years.

A Padmashree Award winner for his contribution to the Indian music, he had given music in many films.

Mitra will be long remembered by his countless admirers for his song ‘Chithi’ (a letter to wife).

Born on September 6, 1918, Mitra brought out his first disc ‘Sawana Rate Jadi’ in 1939 and soon caught the imagination of Bengali music lovers with such ever-green hits like ‘Ami Duranta Baishaki Jhar’, ‘Ei Ki Go Sheh Gaan’, ‘Tumi Aaj Koto Dure’ besides scores of Rabindra sangeet and Najrul songs.

Mitra, who settled in Mumbai in the 1950s, had also authored an autobiography titled after his first recorded song ‘Sawana Rate Jadi’.

Contributing his golden voice in over 100 Hindi discs, he directed music in ‘Sharhad’, besides being popular in Gujarati and Marathi music world.

A near contemporary of Hemant Kumar and eminent Bengali singer late Dhananjoy Bhattacharjee, Mitra popularised Indian music in the US, Britain and East African countries. (PTI)


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This article is written by Sadanand Kamath.

In the 30s and 40s, legendary singers like K C Dey, K L Saigal and Pankaj Mullick with their Hindi film and non-film songs mesmerized not only the people of Bengal but the whole of India. In fact,it was the K L Saigal-Pankaj Mullick duo who ruled the music scene in Calcutta (Kolkatta) in the 1940s. It was during this time that a new singer emerged in Calcutta who, with his solo song ‘o varsha ke pehle baadal meraa sandesaa le jaana’ in the film MEGHDOOT (1945) impressed the listeners very much. This song became the most popular song of the film. The singer was none other than Jagmohan Sursagar, born as Jaganmoy Mitra. The popularity of this song resulted in a collaboration of Jagmohan-Faiyyaz Hashmi-Kamal Das Gupta trio in bringing out some of the finest non-film Hindi songs which became even more popular than their filmy songs.
Surprisingly, Wikipedia does not list the biography or profile of Jagmohan Sagar (6/09/1918 – 04/09/2003) while Cineplot has a small write up on him. I, however, found an interesting article on Jagmohan Sursagar on the internet, written by Tushar Bhatt, a journalist who interviewed him sometime in 1994 in Ahemdabad where the singer lived in the 90s. The article is here. There are a couple of errors in this article. It is said in the article that Jagmohan did not sing any film song after he came to Mumbai in 1950. The fact is that he did sing a song kya maze ki baat hai ye baat bhi in Hindi film ‘Sardar’ (1955) for which he was also the music director. Secondly, the article gives an impression that he died in Ahmedabad. But a newspaper report (The Tribute, Chandigarh – 08/10/2003 issue) said that he died in his Juhu residence in Mumbai on September 4, 2003 and his death was reported in the local newspapers about two weeks after his death.
Jagmohan Sursagar received his initial training in khayal, dhrupad, tappa and ghazal singing from Dilip Kumar Roy, Bhishmadeb Chatterjee, Ustad Zamiruddin etc. He cut his first record disc in 1939 of a Bengali song ‘shaono rate jadi’ specially written by Kazi Nazrul Islam for the young Jagmohan as a reward for his impressive voice. This song became very popular and he sang some more songs composed by Rabindranath Tagore and Kazi Nazrul Islam in his unique style for which he was conferred the title of ‘Sursagar’ in 1945, the second and last person to be honoured with this title after Pankaj Mullick. As has been said earlier, after the success of his song from ‘Meghdoot’ (1945), he recorded many non-filmy Hindi songs which were mostly written by Faiyyaz Hashmi and composed by Kamal Das Gupta. Two of trio’s non-filmy songs dil ko hai tumse pyaar kyun and us raag ko paayal main jo soya hai jagaa do have already been discussed in this blog. It is said that Mahatma Gandhi used to affectionately call him Jagmohan, the name which he adopted as a singer adding the title Sursagar after 1945.
In 1950, Jagmohan came to Bombay (Mumbai) trying to pursue playback singing career in Hindi films. But the type of songs and music churned out in Hindi films did not enthuse him to become a playback singer. The first and the last Hindi film in which he was the music director was ‘Sardar’ (1955) after which he bid adieu to film industry and spent the rest of his life keeping a low profile. Though he did not record any songs after 1958 but occasionally gave vocal performances in public concerts both in India and abroad. Jagmohan died of a brain hemorrhage in his Juhu resident on September 4, 2003 at the age of 85.
The song ‘o varsha ke pehle baadal’ from the film MEGHDOOT (1945) was written by Faiyyaz Hashmi and set to music by Kamal Das Gupta. The film was directed by Debaki Bose and the star cast included Shahu Modak, Leela Desai, Kusum Deshpande, Wasti, Hari Shivdasani, Agha etc. From the title of the film as well as from the lyrics of the song, it is apparent that the film was based on Kavi Kalidas’s Sanskrit poem ‘Meghdootam’. The story of Meghdootam goes like this:-
One day Lord Kubera, the God of Wealth got annoyed with Yaksha (divine attendant to Lord Kubera) for delinquency in his duties and as a punishment, he was exiled for one year in the forest on the earth, the region which is now in Madhya Pradesh. Dejected and alone in the forest, he remembered his wife who was in Alkanagari near Mount Kailash. The day when the first rain arrived, Yaksha saw a passing rain cloud and requested him to carry a message to his wife.
This, I believe,in nutshell, is a prelude to the song.
Faiyyaz Hashmi’s lyrics are a shorter version of the original Sanskrit verses written by Kavi Kalidas. It is a song of separation. The emotions portrayed in the lyrics are heart touching. Note the description by Yaksha of the attractions enroute Alkanagari which could also turn into distractions. This is a pointer to the cloud messenger that the journey is rewarding for his labour of carrying the message yet caution need to be exercised. The idea is that while cloud messenger should enjoy his journey but while doing so he should not get delayed in delivering the message of Yaksha to his wife. Jagmohan Sursagar has rendered this song alternating with slow and fast tempos – the former for the poignant verses and latter for verses describing the route to reach Alkanagari and distractions enroute.
It is a beautiful poem and a divine song with a marvelous composition. What a poet’s imagination! Take for instance:
dekh andhera piyaa milan ko chalegi chhup kar koi gori
bas tum bijali chamaakar kol na denaa uski chori
[In the darkness of a night if a girl is walking to meet her lover secretly, never expose her surreptitious movement by striking a lightening]
Only the audio clip of the song is available but I guess the song is pictuirsed on Shahu Modak.
By the way, in ‘Kavi Kalidas’ (1959), the cloud message song more or less with the same theme was composed by S N Tripathi in raagmalas. The song o ashaad ke pahale baadal was sung by Manna Dey and Lata Mangeshkar and it was nearly 11 minutes long.

Song-O varsha ke pehle baadal (Meghdoot)(1945) singer-Jagmohan Sursagar, Lyrics-Faiyyaz Hashmi, MD-Kamal Dasgupta
Lyrics
o varsha ke pehle baadal
meraa sandesaa le jaanaa
o varsha ke pehle baadal
meraa sandesaa le jaanaa
ansuwan ki boondan barsaakar
ansuwan ki boondan barsaakar
Alkanagari mein tum jaakar
khabar meri pahunchaanaa aa aa
o varsha ke pehle baadal
meraa sandesaa le jaanaa
Maalbhoomi aur Amarkoot se
Vindhyaachal Narmada ko jaana
Vidishanagari aur Betwa tak
hokar aage paanv badhaanaa
aag virah ki jahaan bhi paanaa




A golden voice, a golden man and his not-so-golden twilight
Tushar Bhatt


The years roll by easily as the chariot of time presses on relent-lessly. But some time-spots remain green in memory. This tête-à-tête took place way back in 1994 but it seems like it was yesterday.

This would, perhaps, be more difficult of the questions in any music quiz programme: Name a singer, who lived for a while in Ahmeda-bad, for whom the revolutionary Bengali poet, Kazi Nazrul Islam, specially wrote a song to make a debut as a recording artist ?
Even more difficult would be the poser: What was the first line of the song ?
No prizes are offered for the right answer, but the countless who might fail to answer correctly may also not feel so embarrassed. Very few as such are aware that it was Jagmohan Sursagar for whom the Kazi wrote the song in Bengali and its first line ran thus: Saono Ratey Jadi Smaraney Ashey Morey. And, what is more Jag-mohan has been a resident of Ahmedabad for sometime, living at D-8,Rajdeep Park Society, Baliakaka Road, Bhairavnath Road, Ahmedabad.
At 77 then, Jagmohan defied the customary description of being old. His face did not have the dull skin of the aged. It had a glow, reflecting the good health of the stocky body on which it sat. The balding head was held high, the friendly smile he flashed still showed teeth, and there were virtually no wrinkles on his familiar face, the familiarity springing from the fact that it has been seen on record albums and cassettes by lovers of the non-film light classi-cal music all over the sub-continent, both for his Bengali and Hindi compositions.
The drawing room in the ground floor apartment that Jagmohan occupies was rather spartan. There was a sofa set with a tea-table in front. A window at the back of the sofa set even did not have cur-tains.There were no trophies or other memorabilia adorning the room; none of the trappings through which the celebrities re-emphasise their celebrity status to their visitors. Dressed in a deep cream colour achkan and surwal,the singer-composer obviously was not a man who depends on external embellishments to under-line his towering music personality. Since 1958,he has not cut a single record. In 1950,he came to Bombay to become a playback singer in the films but the trends in music composition even at that time in India's Bollywood put him off so badly that he never sang in films. And,yet,the music-maker,the poet,the singer in Jagmohan stood the test of time; his non-film songs of yesteryear are still a big draw.More pertinently,the chosen path he took away from the filmdom did not push him into oblivion.
A dignified individual,Jagmohan never turned bitter,became more of an introvert,paying heed to the calls of none but his inner voice.After the deaths of his mother and his wife in 1981,feeling lonely,he had moved residence thrice-- from Bombay to Delhi for two years while he was a member of Censor Board,then to Cal-cutta and to Ahmedabad.
He did not seem to regard his moving from one city to another as something of great importance. He declared :"I crave for affec-tion ,respect and human warmth and go wherever my inner-self tells me to. I have followed the dictates of my inner-self only all my life."
"I can go away from a city,but I cannot go away from music",he said.Then,no place has really been alien to him. "I have been com-ing to Gujarat for nearly half a century,to cities and towns like Porbandar ,Gondal, Rajkot, Surendranagar,and ,of course, for countless times to Ahmedabad."
He would not talk much about the inner landscape of his heart. But it would appear that an event in 1991,when he was on a brief visit to Ahmedabad,moved him deeply.In April that year,says Mr Rajnikumar Pandya, a noted Gujarati writer ,who looked upon the singer as a father-figure,Jagmohan was at his house when news came that an aged fan of the singer,Mr Manubhai Trivedi in Isanpur suburb was critically ill, and was pining to hear a Jagmohan song. All through the years, Manubhai,whose son Niranjan Trivedi is a humour writer of note in Gujarati, had developed a habit of listening to Jagmohan before going to bed. He had one wish to see the singer personally and hear him sing,before he went into the eternal sleep.
Jagmohan took his harmonium and went to see the ailing fan.At the sick-bed,he rendered a Bhajan by Kabir Saheb,Ab tum kab sumiroge Ram,Jeevan do din ka mehman...and it seemed to many that the very air ,the ambience in the room echoed his deep,melodious voice,soothing the dying.They said Manubhai,who had been unconscious,briefly regained partial, flickering con-sciousness during the bhajan, and slipped back into a coma,perhaps with the satisfaction of having fulfilled his last wish. Everybody was stunned even as Jagmohan wept after completing the bhajan.
But,if Jagmohan was capable of melancholy,he was capable of recovering fast as well.Remembers Pandya:"He was again deeply moved when the same day,my daughter ,Tarjani,showed him her collection of dolls that included a doll bride.In the next visit,the singer had brought a bridegroom doll to celebrate the doll wedding.
That Jagmohan was a cut above the normal run of singers was an established fact even in the hey days of the stalwarts like Pankaj Mullick and Kundan Lal Saigal.But what is not generally known is that the singer is a deeply philosophical person as well.He did not sing in films after 1950 in Bombay was an act of conviction,but he has not run away from the battle. "There is so much of moral degradation everywhere,including in music.Music should not elevate you momentarily as the modern ones-- derived from rock-and-roll variety-- does. It should uplift the body as well the soul.I have always worked in my own way to propagate the music that would lead to the total uplift of human beings rather than providing thrills of transitional nature", he says,referring to the fast beat music that is the craze today.
"There is no reason to despair. This is a passinge phase -- or,craze and again the real music will take hold,"he asserts with confidence. As proof he cites a recent concert of light music he gave in Ahmedabad; not only the large half was full, they had to set up close-circuit television sets outsides to enable the crowds out-side to enjoy it all. "I get letters aplenty ,telling me how they love my songs and these are not old timers. A lot of youngsters also write to me."
Apart from the heavy dependence on ever quickening rhythm ,Jagmohan finds another major drawback in the modern day music. "It lacks poetry". He says that "poetry is at the core of music; first came the poetry,then the ras and then the music. It happens some-times that you have a tune,but unless proper words can be penned to fit it,it will never catch on for any lasting popularity."
His most precious gift, the lilting,soft and yet booming and deep voice that Jagmohan has,according to the singer,"is a gift of God". But he also admits to having tended it properly through riyaz or sadhna; he has an impressive array oof Gurus-- Dilip Kumar Roy, Bhishmadeb Chatterjee,Shambhu Maharaj,Ustad Zamiruddin Khan and master Gama.
Born on September 6,1918,Jagmohan whose real name is Ja-ganmoy Mitra coomes from a conservative family of land-lords.Sometime before he was born,his father died of a stomach ailment, while his mother was still in her teens. Though Jagmohan had no problems in childhood,he was to grow up an ardent devotee of his mother.When she died in 1981,and was followed by the singer's wife,in a few months time,Jagmohan felt a terrible void in his life,something that he appears to have been unable to fill ever.There was an atmosphere of music in his maternal grandfa-ther's house where they went to live after Jagmohan's father died.He literally grew up listening to dhrupad,khayal,thumri and tappa,surreptiously learning from his uncle's ustads ragas and raginis as also the tabla.It all paid off when after passing his ma-triculation examination, Jagmohan took part in all Bengal music competition ,topping the list in dhrupad,tappa,thumri,kritan and baul,religious folk music of Bengal.The year was 1937.In the same year,his professional singing career began at All India Radio.The next year,he stood first in khayal singing in an all India competition at Allahabad.A music recording company, HMV,grabbed him for recording.Says Jagmohan: " I had a tune and had been trying to compose a song to suit it.But,an acquaintance, Hembabu asked me to see Kazi Nazrul Islam,the great poet.Hembabu took me to him and left me with the poet.The poet was a very kindly man and my diffidence vanished after a while. I sang the few lines I had composed.He praised my tune and music but offered to write a song for me to fit them.I sang the tune several times as the Kazi sat writing stanza after stanza;his words, as if poured after,and there nary was a change or scratching out of a word here or there.That was the song Saaon Ratey Jadi.... on which my re-cording was made." It was a great hit.Then,in 1940,came two songs of Rabindranath Tagore,both approved by the Nobel prize winning poet.Tagore permitted him to record two more of his songs.
In 1945,Jagmoohan was given the award of Sursagar (ocean of music) in Bengal.The award has not since been given to anyone else,and the singer was only the second recepient of the honour.In fact, most people have forgotten that Mitra is Jagmohan's real sur-name; it has just become Jagmohan Sursagar, a name under which he also wrote an auto-biography in Bengali. It has recently been translated into Gujarati and brought out under the title of one his more famoous songs, Dil Dekar Dard Liya Hai Maine...
Gandhiji too had appreciated Jagmohan's singing and the singer recorded Sapt Kand Ramayana in six minutes at the Mahatma's suggestion.Another national leader fond of his singing was Jay Prakash Narayan.
Jagmohan toured abroad also extensive and has been to among other countries East Africa,the U.K.,the U.S.A.and Can-ada,earning vast fan following everywhere. Speaking at the Ontario College of Art in Toronto,Jagmohan held his audience spell-bound,claiming there essentially was no barrier to music.He sang a Bengali composition in Bhairavi and followed up with an English song ,rendered in the same raga.
Jagmohan has never regretted that he did what he did in abjur-ing film singing.In 1965, Mouni Baba initiated him into meditation, but Jagmohan has been rather clinically detached from the mad mad world of filmdom even before that time."Essentially,I sing for myself" he confesses. The involvement has been so total that any-time he starts playing on the harmonium and begins singing, a visible thrill runs through his body. He asked photographer,Kalpit Bhachech, who was clicking away as the singer talked to me,to bring the harmonium box to him. For,once he gets keyed up,he cannot but sing. And,he launched into a poetic description of Krishna and Gopi,the effects of music became visible on the tiny,grey hair on his hands. There is no English equivalent for it; but he experiences romaharsh when he sings.And, it was just two line that took him into the trance like situation.He was talking of the wonderment at Krishna playing ras with so many gopis and said there is a question in the first line."When you write or speak, the way you do makes it amply clear that there is a question mark at the end of the line. But how do you convey the impression in sign-ing without resorting to anything else."
He says: "This is how it is done",and launches into raising the question is it possible to play ras or have premlila even with one in a night? " The composition, obviously, his own, began with the ac-companiment of the harmonium,then the harmonium receded and his voice became a whisper,almost conspiratorial,with the notes of harmonium faintly echoing in the background.The listener would have no doubt there was a question mark at the end.
Innumerable songs have been composed and sung by Jagmo-han and he ,and his solitary discipline,go on bringing out diary after diary,full of notations written down in Bengali. In between ,he talks about his life now. How they presented him with a purse of Rs.five lakhs and how it has been made into a trust to help the penniless artistes in their twilight years and to promote music. He is not even a member of the trustee board. "My attraction to be in Gujarat is partly owing to my ambition to raise as much as Rs.50 lakhs for the benefit of aged artistes." He also went for performing concerts oc-casionally. "No I do not get tired even after singing for three or four hourse.I do not have blood pressure,my systems are normal. I do not consume alcohol,do not eat onions and garlic.My meal consists of two chapatis twice a day. I take milk, as also tea but without sugar. I have no chillies in my food,but would have raw green chilly, which contains vitamins."
Apart from this regimen,there is a stricter one in his lifestyle. He gets up att 3 a m and goes to bed at 11 p m.After getting up,he does meditation for three hours in the morning,and then some riyaz whenever there is mood.He derives immense satisfaction from the fact that his hit songs such as Mujhe na sapnose behlavo,Meri ankhen bani diwanee,Ye chand nahin teri arasi hai, Dil dekar dard liya.... The list is seemingly endless. But the curious detachment also shows up:he tells you he recorded his last song,titled Antim Gaan in 1958 and it goes something like this...My time to go has come,and while taking my leave I bow my head to everyone..
Yet,in the same moment he believes in doing whatever he thinks as his primary task till the last breath. One song he has never re-corded and which has been rendered by innumerable others ,ranging from K L Saigal to Bhimsen Joshi to Kishori Amonkar to Faiyaz Khan is Nawab Wajid Ali's compsition... Babul mora naiyar chhuto jaaye.. "Do you want to hear it?" He picks up the diary,leafs through the pages to come to the notation and begins. This man of 77 sang without any effort or strain,maintaining the breath for more than a minute in one particular line.His entire being seemed to sing -- not just his vocal chords.The effects are almost electric as the notes fill the room, travel out of the half-opened window,into the evening sky.Everything else stands motionless, rapt in listening.
After what appears like ages,he concludes,by which time his lis-teners are on the verge of tears. He feels at home in Gujarat where ,he says, there are innumerable fans of his.He recounts the experi-ence on his birthday a few days ago in Gandhinagar. He was at the Aurobido centre and got up as usual at 3 a m, going into the medi-tation room to find Happy Birthday written in large letters. At the vedi,there were 77 roses,marking his 77th birthday. They want to put 78 roses next years and one more there after and one more thereafter,and yet another,and on and on.Thirsting for affec-tion,Jagmohan appears to find it in abundance,an eloquent repu-diation of the myth that Gujarat is synonymous with money.
Jagmohan left Ahmedabad when he felt he should. He went away.never to come and died.


aag virah ki jahaan bhi paanaa
baras baras kar usse bujhaanaa
o varsha ke pehle baadal
meraa sandesaa le jaanaa
dekh andheraa
dekh andheraa piyaa milan ko
chalegi chhup kar koi gori
bas tum bijli chamkaakar
khol na denaa
khol na denaa
khol na denaa uski chori
virahan ko tum jahaan bhi paanaa
usse kabhi na jalaanaa aa aa
o varsha ke pehle baadal
meraa sandesaa le jaanaa
Ujjaini mein mahaakaal kaa mandir jab tum paao
pujaariyon kaa naach dekh kar
pujaariyon kaa naach dekh kar apnaa man bahlaao
par tum unke ang dhang ko dekh atak na jaao
par tum unke ang dhang ko dekh atak na jaao
Shipra mein na Chambal mein na Kurukshetra mein ruknaa
Kankhal mein na Ganga ki lehron ko choomne jhuknaa
atal Himaalay pe chad kar phir youn mudnaa Kailaash ki aur
jyun chandaa ko dekh pyaare
gagan ko jhoome jaaye chakor
Alkaa mein phir dhoondh usse tum
meraa sandesaa sunaanaa aa aa
o varsha ke pehle baadal
meraa sandesaa le jaanaa
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#2 User is offline   Shuklas 

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Posted 02 June 2006 - 01:47 PM

Jagmohan Sursagar-


Ek Bar Muskura Do.........Ek bar


[email protected] Sounds

Shuklas


http://www.4shared.c...f5/sharing.html



http://www.4shared.c...878900/1989798e
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#3 User is offline   Shuklas 

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Posted 06 July 2006 - 11:22 AM

Milind Jee :


Here is your request- Rares of Jagmohan


Jagmohan -Man Khoj Raha Do Naina...Jin nano ne nind churayee...


Enjoy.

Shuklas

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#4 User is offline   Arun Kumar 

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Posted 06 July 2006 - 11:33 AM

[quote name='Shuklas' post='734' date='Jul 6 2006, 07:22 PM']
[size=3]Milind Jee :
Here is your request- Rares of Jagmohan
Jagmohan -Man Khoj Raha Do Naina...Jin nano ne nind churayee...
Enjoy.

Shukla Ji,

Thanks for this one.

Arun Kumar
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#5 User is offline   Milind 

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Posted 06 July 2006 - 04:54 PM

[quote name='Shuklas' post='734' date='Jul 6 2006, 04:52 PM']
Milind Jee :
Here is your request- Rares of Jagmohan
Jagmohan -Man Khoj Raha Do Naina...Jin nano ne nind churayee...
Enjoy.

Shuklas


Thank you very, very much Shuklajee.
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#6 User is offline   Shuklas 

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Posted 13 March 2007 - 10:40 PM

Jagmohan- Rares- Continuous Play
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#7 User is offline   Shuklas 

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Posted 24 June 2007 - 01:31 PM

Jagmohan-Bhul Chuka hu mithe gane
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#8 User is offline   Arun Kumar 

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Posted 16 September 2007 - 06:23 AM

Shukla Ji,

Do you have:

1 Prayr Ki Manzil Nahin

2 teri Chanchal Ankhen Hain

I will be grateful for these songs

Arun Kumar
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#9 User is offline   Shuklas 

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Posted 22 September 2007 - 09:43 PM

Arunkumar Jee-

We do not have above one & looking for them too. You may wish to contact Noopur Jagmohan- residing in Bomaby. Will send you her contact number separately by e-mail. May be she has.

Thanks.

Shuklas

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#10 User is offline   Arun Kumar 

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Posted 24 September 2007 - 01:52 PM

Shukla ji,

I have radio recordings of these songs. Recording of 'Teri Chanchal Ankhen Hain' is reasonably good but recording of the other song is poor.

I will contact Noopur Jagmohan on hearing from you.

Thanks for your response.

Arun Kumar
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#11 User is offline   Shuklas 

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Posted 29 December 2007 - 03:49 PM

Is Chandani ko.............
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#12 User is offline   Arun Kumar 

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Posted 03 January 2008 - 02:20 PM

Shukla Ji,

'Is Chandni Ko''. Is this not N L Puri ?

Arun Kumar
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#13 User is offline   Shuklas 

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Posted 06 January 2008 - 03:31 PM

Arunkumar Jee-

Yes.You are right. The singer is N.L.Puri.

Thanks.

Regards.

Shukkas

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#14 User is offline   Shuklas 

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Posted 16 February 2008 - 09:24 PM

Malum Hai Mujko -Jagmohan
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#15 User is offline   Arun Kumar 

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Posted 26 February 2008 - 04:00 PM

Shukla ji,

Wah kya baat hai. Extremely grateful for this rarest of Jagmohan's songs. Thanks of course to Dr Miten mehta for uploading this song. Thanks indeed.

One more Jagmohan song remains to be unearthed:

'Neele Gagan Ke Neeche Naina
Lakhon Naina Neele Neele
Lekin Jinse Nain Lade Hain
Wo Naina Bade Rasile'

I am sure you will find it also.

Thanks once again

Arun Kumar
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#16 User is offline   Shuklas 

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Posted 06 March 2008 - 04:33 PM

Arun Kumar Jee-


Thanks. Lets hope if we can find other one too.

Warm Regards.

Shuklas



Download Link :
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#17 User is offline   Shuklas 

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Posted 29 March 2008 - 08:34 PM

Rare one -

Jagmohan-Teri chanchal ankhein hai pyar bhare paimane..........
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#18 User is offline   Arun Kumar 

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Posted 31 March 2008 - 07:18 AM

Dear Shukla ji,

Extremely grateful fir this rare song I have been looking for. Thanks indeed

Arun Kumar
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#19 User is offline   Shuklas 

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Posted 14 June 2008 - 11:21 PM


Yeh mana ki tumse

Us Raang ko payal mein

Ulfat Ki saza do

Yeh Na Bata Sakoonga

Tum mere saamne

Sapnon mein mujhko

Prem ki root chali gai

Nirash mein aas prabhu

Mujhe na sapnon mein

Mujhe Khamosh rehne do


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#20 User is offline   Shuklas 

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Posted 14 June 2008 - 11:24 PM

Meri aankhen bani deewani

Mat kar saaj singar

Jal rahe hain arman

Ek baar muskura do

Dil Dekar Dard Liya

Deewana Tumhara

Chand hain mehman

Ae Barsaat ke pehle badal

Aankhon mein chupa

Yeh chand nahin


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