MUHABBAT KI DHUN BEKARRARON SE PUCHHO YE NAGMA HAI KYA CHAND TARON SE PUCHHO...

Melodious song from Talat Mahmood movie....
Thanks for sharing beautiful memorable oldies! ..mastkalandr
DIL-E-NADAN - MUHABBAT KI DHUN BEKARARON SE POONCHHO

FILM - DIL-E-NADAN [1953]
CAST : TALAT MAHMOOD, SHYAMA, PEACE KAMAL, SHYAM KUMAR
MUSIC : GHULAM MAHOMMED
LYRICS : SHAKEEL BADAYUNI
SINGERS : JAGJIT KAUR, SUDHA MALHOTRA, TALAT MAHMOOD

BECHAIN NAZAR BETAB JIGAR...

Movie:Yasmin (1955)

Music:C.Ramchandra

Starring:Vyajayantimala,Suresh,Maruti

Lyrics:Jaan Nissar Akhtar

Singer:Talat mahmood

bechain nazar betab jigar
ye dil hai kisika divana hay divana
kab sham ho aur vo shamma jale
kab ud kar pahunche paravana hay paravana

hai dil ka chaman khilane ke liye
aega koi milane ke liye
phulon se kaho taron se kaho - 2
chupake se saja den virana, hay virana

jab rat zara shabanam mein ghule
laharai hui vo zulf khule
nazaron se nazar ej bhed kahe - 2
dil dil se kahe ek afasana, hay afasana

rangin fiza chhae to zara
vade pe koi ae to zara
ai josh-e-vafa dil chiz hai kya - 2
ham jan bhi den den nazarana, hay nazarana

BECHAIN NAZAR BRTAAB JIGAR

Talat Mehmood - Live
Song from film Yasmin (1955]

yeh nayi nayi prit hai....

Music - Madan Mohan Cast - Dev Anand, Geeta Bali, Nadira
Movie - Pocketmaar (1956)
Yeh nai nai preet hai - Talat Mahmood Lata Mangeshkar

LYRICS:
Ye nayi nayi preet hai tu hi to mera meet hai
Na jaane koyi saajna ye teri meri daastaan
Sama hai ye pyaar ka naye iqraar ka
Na ho koyi jahaan bana le wahi aashiyaan
Ye nayi nayi preet hai…

Nazar tumse mili aise ke ham sharma gaye
Pukaara jab tere dil ne to phir ham aa gaye
Kasam tumhein pyaar ki issi iqraar ki
Na jaane koyi saajna ye teri meri daastaan
Sama hai ye pyaar ka…

Nigaaho hi nigaaho mein kaho kya kar diya
Mere daaman ko phoolo se ye kisne bhar diya
Chalo chal de waha zameen aur aasmaan
Gale milte jahaan bana le wahii aashiyaan
Ye nayi nayi preet hai tu hi to mera meet hai
Na jaane koyi saajna ye teri meri daastaan
Sama hai ye pyaar ka naye iqraar ka
Na ho koyi jahaan bana le wahi aashiyaan
Ye nayi nayi preet hai...

ai meri jane gazal...

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Talat Mehmood - Live
Song from film Nigahe Karam

fir tumhari yad aayi hai sanam ab na bhulenge allah kasam...

name="movie" value="http://www.youtube.com/v/_k2S3Ku9pxM&hl=en&fs=1">


FILM - RUSTOM-SOHRAB (1963)
PRITHVIRAJ KAPOOR, SURAIYA, HIRA LAL, PREMNATH, MUMTAZ, MURAD, SAJJAN
Produced By: RAMSAY PRODUCTION
Directed By: VISHRAM BEDEKAR
Music By: SAJJAD HUSSAIN

lMAZANDARAN

FILM - RUSTAM SOHRAB
SINGER : TALAT MEHMOOD
MUSIC BY SAJJAD HUSSAIN

zindgi dene wale sun teri duniya se dil bhar gaya...

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Timeless Song !singer talat mehmood
Music. Ghulam Mohd

Lyrics - Zindagi Dene Wale Sun Teri Duniya Se Dil Bhar Gaya

jindagee denewaale sun
teree duniyaan se dil bhar gayaa
mai yahaa jeete jee mar gayaa

raat katatee nahee, din gujarataa nahee
jakhma ayesaa diyaa hain ke bharataa nahee
aankh wiraan hai, dil pareshaan hai
gam kaa saamaan hai, jaise jaadoo koee kar gayaa

bekhataa too ne muz se khushee chhin lee
jindaa rakhaa magar jindagee chhin lee
kar diyaa dil kaa khoon choop kahaa tak rahoo
saaf kyo naa kahoo, too khushee se meree dar gayaa

YEH KAISI AJAB DASTAN HO GAI HAI....

FILM - RUSTOM-SOHRAB (1963)
PRITHVIRAJ KAPOOR, SURAIYA, Directed Music By: SAJJAD HUSSAIN.
SINGER : SURAIYA

Music Director Sajjad Hussain : They could be apocryphal or they could be true, but two anecdotes about the late Sajjad Hussain are now virtually part of Hindi film music lore. One: how, during a recording, he called out tartly to Lata Mangeshkar struggling at the mike with one of his intricate compositions, "Yeh Naushad miyan ka gaana nahin hai, aap ko mehnat karni padegi." Two: how at a music directors' meet, eschewing the customary diplomacy of that era, he walked up to Madan Mohan and demanded belligerently, "What do you mean by stealing my song ?" ("Yeh hawa yeh raat yeh chandani" from his 'Sangdil' had just found a new avatar as "Tujhe kya sunaoon main dilruba" in Madan Mohan's 'Aakhri Dao'.) These two hallmarks of Sajjad's identity -- his penchant for complex, many-- layered compositions and his singularly forthright nature -- stuck to him like a second skin throughout his life. And they combined in a rather unfortunate manner to diminish the potential brilliance of a career that could have ranked among the most celebrated. It was not the intricacy of his compositions that put Sajjad at a disadvantage -- he worked, after all, in an era that belonged to music directors with erudition and firm classical foundations. Where he lost out was in his handling of producers and directors, sometimes musical illiterates, who sought to simplify or alter his tunes -- his contemporaries dealt with such "suggestions" rather more tactfully than Sajjad, who would immediately [get] up and walk out of the film. "He was an extremely talented man, very knowledgeable about music, but his temperament was his undoing," says Naushad. "Even if someone made a minor suggestion, he'd turn on him and say, 'What do you know about music ?' He fought with almost everyone. Because of this, he sat at home most of his life and wasted his talent. But the body of work he has produced, small as it might be, ranks among the best in Hindi film music." Music historian Raju Bharatan, whose interaction with Sajjad goes back a long way, has a somewhat different insight into the man. "It's true he wouldn't let musically unqualified people interfere with his work,but the popular perception of him being stubborn is not right," he says. "Sajjad had a rational explanation for every action of his. You had to know him to recognise his tremendous erudition, the fact that he was far superior to every other music director in the industry." This erudition, the cornerstone of Sajjad's work, is recalled affectionately by Naushad. "He took pride in his ustaadi," he says. "He'd tell the producer, 'I've created a tune which even Lata can't sing.' And the producer would say, 'If Lata can't sing it, how do you expect the common man to sing it ?' But at the same time he did create simple, yet extraordinary, compositions -- for example, "Yeh kaisi ajab daastaan ho gayi hai" from 'Rustam Sohrab'." Indeed, as far as Sajjad's formidable talent goes, there are no two opinions. Madan Mohan, when confronted with the charge of plagiarism, reportedly told him, "I take pride in the fact that I lifted your tune, not that of some second- or third-rater." Anil Biswas, himself hailed as a creative genius, declared in an interview that Sajjad was the only original composer in Hindi films. "All of us, including myself, turned to some source for inspiration," he said. "This, Sajjad never needed to do. Each note of the music he composed was his own." If Sajjad was known primarily for his film scores, there was also another facet to his art -- he was an accomplished albeit self-taught mandolin player who could stun even purists with his ability to play Hindustani classical music on this rather uninspiring western instrument. His performances at concerts alongside the biggest names in classical music spurred rave reviews, and connoisseurs would be agog at his ability to coax the meend, for instance, out of the instrument of play entire ragas with the help of the tuning key. "In the hands of Ustad Sajjad Husain," said a review of a Madras concert in 1982, "the mandolin bore the halo of a Ravi Shankar sitar or [an] Ali Akbar sarod. His playing is that of a mighty maestro." On July 21, the 79-year-old composer breathed his last. The leitmotif of his lifetime, isolation, cast its shadow over his death too, when, with the notable exception of Khayyam and Pankaj Udhas, nobody else from the film industry bothered to turn up to pay him their last respects. "It hurt," admits his son, "but what is far more important is that to the last day of his life, my father was happy. There was no bitterness, no regrets. He could have been hugely successful, made piles of money, but the only thing he wanted was to be acknowledged as a great musician, and to live life on his own terms. And I think he achieved that."
Enjoy the Two Songs Plz...
Regards
Dr.Bukhari