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He started working as assistant to SN Tripathi, which explains a slew of devotional/ mythological films Chitragupta did. The reason perhaps has to do with the sociology of Hindi film world of those days.įor someone who was born as Chitragupta Srivastava (1917) in Karmaini village of Gopalganj district of Bihar and left his job as a lecturer in a Patna college to make a career in music composing, the entry barriers to Bombay film world must have been daunting. Then why did Chitragupta remain unheralded, under-rated and grossly unrewarded? He never won a Filmfare award (that the awards in some years were patently perverse is another story for some other time) or the state Padma awards. The songs of Ganga Maiya Tohe Piyari Chadaibe (1962) such as Hey ganga maiya tohe piyari chhadaibo (Lata, Usha), More karejwa mein peer (Lata, Usha), Sonawa ke pinjra mein band bhaile (Rafi ), Luk chhip kajraa mein, Hum ta khelat rahli ammaji ke godiyaand of Lagi Nahi Chute Ram (1963) such as Lal lal othawa se (Talat, Lata ), Mori kalaiya sukumar ho (Lata), Ja ja re sugana ja re(Talat, Lata), Rakhiya bandhaa la bhaiya jiya tu lakh barees ho were popular much beyond Bhojpuri region without anyone caring for the distinction.
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Their immense popularity, Chitragupta’s characteristic sweetness and the fact that they were sung by Lata Mangeshkar, Rafi, Talat and Usha Mangeshkar made these songs mainstream. Those who lived in Bihar or Eastern UP those days are witness to their mass popularity. In fact he defined Bhojpuri film music in the early sixties. There is a world of Bhojpuri films where Chitragupta was the undisputed monarch.
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Can any list of Mukesh’s songs be complete without Muft hue badnam ( Barat). There is a seldom heard but a very pleasant Rafi solo in Barkha – Admi chirag hai, uski chalegi kya chalti hawa ke saamne. There are some more Rafi solos: Mujhe dard-e-dil ka pata na tha ( Akashdeep), Jaag dile deewana ( Oonche Log), Ankhiyan sang ankhiya laagi aaj ( Bada Admi 1961). Chal ud ja re panchi ( Bhabhi) would be always counted among Rafi’s greatest. Now let us look at some of Chitragupta’s other songs in which Lata Mangeshkar does not feature at all. Gori itna bata tera lagta hai kya Toofan Mein Pyar Kahan Banke piya kaho haan dagabaaz ho Lata Mangehskar with PV Srinivas Chanda se hoga vo pyara phoolon se hoga vo Tumne hansi hi hansi mein kyun dil churaya Lata Mangeshkar with Mahendra Kapur Aa ja re mere pyar ke rahi Lata with Kishore Kumar Machalti hui hawa mein chamchamĬhedo na meri zulfein sab log kya kahenge Lata Mangeshkar with Talat Mahmood Bagon mein khilte hain phool Na milte hum to kaho tum kidhar gaye hote Lata Mangeshkar with Mukesh Dekho mausam kya bahar hai
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These duets are again incredibly sweet and beautiful and would easily figure among the best of Lata with those singers: Lata Mangeshkar with Mohammad Rafi Chali chali re patang meri chali reĬhale hain kahan sarkar humein beqarar kar ke The Chitragupta-Lata story would not be complete without mentioning Lata’s duets with various singers, composed by Chitragupta. There are many more gems Chitragupta composed for Lata such as: SongĬorrection: Haye re tere chanchal nainwa in the above table is a duet with Mahendra Kapoor. Yet you do not hear of the Lata-Chitragupta hyphenation in the same glowing terms as you hear of Lata-Madan Mohan special tuning or Lata-C Ramchandra special bonding (till it turned sour towards the end), or Ghulam Hyder’s role in discovering and introducing Lata, or Naushad grooming Lata’s voice in the 50’s out of Noorjehan’s mould or Khemchand Prakash’s singular contribution of Ayega Anewala ( Mahal 1949), or Lata having the largest number of songs and the most hits with Laxmikant Pyarelal. When I try to compile the most melodious, the most beautiful songs of Lata Mangeshkar, the following songs invariably come to my mind: SongĬorrection: Main hun gori nagin dekhugi rasiya in the above table is a Rafi-Lata duetĪll these songs are composed by Chitragupta and they should figure in any list of Lata’s best.
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