Chalte Chalte Mere Yeh Geet Yaad Rakhna- BAPPI LAHIRI

 

 He began to play the tabla at the tender age of three. Even at that tender age, Bappi showed signs of greatness as he played the tabla with the proficiency of an experienced professional. He received his first opportunity in a Bengali film, Daadu (1972) at the age of 19 and the first Hindi film for which he composed music was Nanha Shikari (1973). The film which established him in Bollywood was Tahir Husain's Hindi film, Zakhmee (1975),

He shot to fame in the 80s and 90s with foot-tapping disco numbers. He introduced Vijay Benedict and Sharon Prabhakar to Bollywood and paved the path to fame for Alisha Chinai and Usha Uthup through his compositions. He popularized the use of synthesized disco music in Indian cinema with an Indian flavor.

Chalte Chalte (1976) was his earliest chartbuster movie,  its soundtrack was a hit & very popular in the 70s. Yes, the film is remembered today only for Kishore Kumar’s song 'Chalte Chalte Mere Yeh Geet Yaad Rakhna'. 

 Be it college farewells or corporate parties or even simply musical evenings in restaurants across the country, nothing is complete without this magical moment, a time when nostalgia overtakes us all. Kishore da’s long drawls, the whistling quality of his voice, its crystal clarity all shine through. The song was played in almost all programs where a tribute to the genius of Kishore Kumar was paid.

He is also known for soundtracks like Wardat, Disco Dancer, Namak Halaal, Dance Dance, Commando, Gang Leader, Sailaab and Sharaabi 

Song of Chalte Chalte 1976

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O P Nayyar- The heady cocktail of OP-Asha captured the imagination of music lovers

 

O P Nayyar and Asha Bhonsle gave us some of the most memorable songs of Hindi Cinema. Songs like ‘Jaayiye aap kahan’ (Mere Sanam), ‘Raaton ko chori chori’ (Yeh Raat Phir Na Aayegi), ‘Zara haule haule’, ‘Meri jaan tumse sadke’ and ‘Aaj koi pyar se’ (all in Sawan Ki Ghata), ‘Aayiye Meherbaan’ (Howrah Bridge) and ‘Aankhon se jo utri hai dil mein’ (Phir Wohi Dil Laya Hoon) to sense the profound wavelength the two worked on. 

Born on 16th Jan 1926, he came to Bombay for giving music for films. initially, he was offered the background score for Kaneez (1949), and 1952's Aasmaan(produced by Dalsukh M. Pancholi), was his first film as music director. His real break came with Guru Dutt's Aar Paar in 1954. After that, he gave music for  Mr. & Mrs. '55 (1955) and C.I.D. (1956). The songs of all these three films established him among the top composers of that time.

The two met in 1952 at the music recording of a song for the film titled 'Chham Chhama Chham'.  the first solo song of both was AA PARDESI BALMA MORE ANGINA

O P Nayyar is often credited with helping Asha Bhosle develop a distinct style, very different from that of her older sister Lata, who dominated the scene in the 1950s and 1960s. Though Asha sang her first solo song back in 1949, she had to wait till films like CID (1957) and Naya Daur (1957) came along, giving her a taste of success with a style of her own-fearless, breezy and sensuous.

Asha lived under the shadow of her older sister, whose rare finesse, softness, and subtlety of expression, ruled the roost then. She had to contend playing second fiddle for most parts. It is often said that it was OP Nayyar who convinced her that she was individualistic enough to strike out on her own. Under his guidance, Asha developed her carefree and fanciful style. She also mastered cabaret-style singing bringing sensuality into her music. Her duets with Mohammad Rafi, composed by Nayyar, were all chartbusters in their time. Songs from films like Kashmir Ki Kali and Tumsa Nahin Dekha remain immensely popular to this day.

After long years of a professional association, the two parted ways on a rather bitter note in 1972, never to work together again. The last song they created was the Filmfare Award-winning song  'Chein se humko kabhie'  in Pran Jaaye Par Vachan Na Jaaye (1974). 

Song of 'Chham Chhama Chham' 1952

Song from  Jaali Note 1960

Song from Phagun (1958)

Song of Howrah Bridge (1958)

Song from Kismat (1968)

Song from Kismat (1968)

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S D Burman- Always Looking for New Experiments in Music

 

Music Maestro Pt Shiv Kumar Sharma said in an interview that While composing a song, Dada would say, ‘Even if my songs flop, I will still create something new’. What Dada meant was, ‘I will not take the beaten path. I will not compose as per the existing trend. Even if my songs flop, I will still do something new’.Recall the song 'Tadbeer Se Bigdi Hui Taqdeer Bana De' was written as a Ghazal but he converted it to a club song. Sahir the lyricist of the song was not happy with this but Dada was sure that it would be a hit. Sahir then and there decided that he will never write again for S. D. Burman, but changed his mind after the song became super-hit and the film too was a big draw for the audience who used to return again and again.

Similar situation happened during the making of Jaal 1951 song 'Yeh raat ye Chandni'.' He transformed its Ghazal mood giving it a regular stressed beat. When he sang the tune to Sahir Ludhianvi, Sahir laughed. Sahir suggested that it should be sung by Talat but Sachin Da wanted Hemant Kumar.Even when the song was recorded by Hemant Kumar, Guru Dutt wanted to re-dub the song in Rafi Sahib’s voice. Dada stuck on to his choice and the song was a very big hit.

From 1930 to 1936, over these five to six years, he composed music fusing Indian classical music and folk music, which did not resemble anybody else’s. ”Listen to this Bengali song Mono Dukkhe Mori re Shubol (1934), composed and sung by him. This song is a Kirtan which used to be sung in semi-classical style but Sachin Da throws the words in the Bangal dialect that makes it more rural to the roots. The dialect is of East Bengal with some Sanskrit words used. Such songs are sung by boatmen from that part of the world.

Mono Dukkhe Mori re Shubol (1934)

His innovative tendency were visible as early as in 1934 during a Bengal Music Conference in 1934, inaugurated by Rabindranath Tagore, Sachin Dev Burman was asked to sing after Ustad Faiyaz Khan. Ustad Faiyaz Khan had finished with ‘Jhan, jhan, jhan…’, a song that spellbound the audience. Sachin Da began with the same song in Bangla, ‘Jhan, jhan, jhan – manjira baaje’. The audience roared in unison and Karta extended the song to last more than half an hour. Sukla Devi vividly remembers how Ustad Faiyaz Khan came to the stage and hugged Sachin Da. The same tune he used in the Buzdil(1951) song sung by Lata and asked Shailendra to keep same mukhda with a slight change in words. Listen to both version

                                                                   Jhan jhan jhan manjira baje..S D Burman

                                                          jhan jhan jhan manjira baje by Lata from Buzdil 1951

One of the most marvelous experiments that Sachinda carried out was in the song O nighahen mastana (Paying Guest -1957). Young Kishore’s voice, supported by Asha Bhosle’s humming and alaap throughout the song, adds tremendous charm to the song.The unique thing about this song is that when the second antara gets over, the interlude music and the lights start fading out till the music can be hardly heard. While the remaining lights dim out, the third antara is sung in a softer tone.It is one of the most romantic songs ever created by any music director.

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In another Navketan production Kala Pani, in  the song Hum bekhudi mein tum ko pukare chale gaye. He used the rhythm of a ghazal in the mukhda and geet in the antara. This song was originally sung by Dada himself in Bengali,every body wanted Dada to sing this in hindi but he felt that rafi's voice  will suit well to Dev Anand in this situation.one finds Rafi’s soothing voice with only a few instruments used by Dada – Sarangi, tabla, gunghroo, khadtal and harmonium.

Song from Kala Pani 1958

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Na Toh Carvaan Ki Talaash Hai- The Immortal Qawwali by Roshan

 

When we think of the film Qawwali, this 12-minute long Qawwali comes to our mind. This Qawwali is from the super hit film Barsat Ki Raat (1960). The other song of the film, especially the romantic title track Zindagi Bhar Nahin Bhoolegi, is another immortal song composed by Roshan. 

There is a story behind this song,  that it was music director Khayyam wa signed on to compose the music for Barsaat Ki Raat (1960). But when R Chandra, the film’s producer and elder brother of its leading man Bharat Bhushan, insisted that the composer use the tune of the qawwali Na Toh But-Kade Ki Talab Mujhe, sung by the famed Pakistani duo of Mubarak Ali Khan and Fateh Ali Khan, Khayam refused to use the same tune, so he was replaced by Roshan, he had no qualms about using the tune.   

 This Qawwali was written by Sahir Ludhianvi and sung by Mohammad Rafi, Manna Dey, Asha Bhonsle, Sudha Malhotra and even SD Batish lending his voice for a line or two. As the legend goes, the qawwali took 24 hours to record and is till date a musical milestone.

This film had another Qawwali 'Yeh Ishq Hai Ishq Ishq' sung by the same singers. This is also a  long qawwali run for 7 minutes. Apart from this 2 qawwali, there is also an immortal song"Zindagi bhar nahi bhoolegi woh barsaat ki raat" 

.The 1960s proved to be the golden age for Roshan and his music. His ability to mold folk music with Hindustani classical music became his trademark and resulted in successful movie musicals. During this time, Roshan gave hits such as  "Ab kya misaal doon" and "Kabhi to milegi, kahi to milegi" (Aarti, 1962), "Jo vada kiya vo nibhana padega", "Paao chhoon lene do", "Jo baat tujhmein hai" and "Jurm-e-ulfat pe" (Taj Mahal, 1963), "Nigahen milane ko jee chahata hai" and "Laaga chunari mein daag" (Dil Hi To Hai, 1963), "Sansaar se bhaage phirte ho" and "Man re tu kaahe" (Chitralekha, 1964), "Rehte the kabhi jinke dil mein" and "Rahen Na Rahen Hum" sung by Lata Mangeshkar and her hit duet, "Chuppa Lo Yun Dil Mein Pyar Mera" with Hemant Kumar. Devar (1966): "Aaya hai mujhe phir yaad woh zalim, guzara zamana bachpan ka"; "Baharon ne mera chaman loot kar"; "Duniya mein aisa kahan sab ka naseeb hai"and "Oh re taal mile", "Khushi khushi kar do vida" (Anokhi Raat, 1968). 

Song of Barsaat Ki Raat (1960)

Nashad- A Composer who created Immortal Songs in Bollywood and Pakistani films

 

Nashad  (11 July 1923 – 14 January 1981) composed music for Hindi films in the 1940s and 1950s, He composed under several names. He made his music debut under the name Shaukat Dehalvi in the 1947 action film Dildaar.  He composed as Shaukat Ali for the 1948 film Jeene Do. and Toote Taare (1948) as Shaukat Dehalvi.IFrom1949 onwards he composed music for actor-director Yakub's film, Aiye. as Shaukat Ali Haideri   In 1953, film director, Nakshab Jarachavi, changed Shaukat Ali's name to Nashad, which he retained for the rest of his life. He migrated to Pakistan and debuted as a composer in the 1964 film Maikhana, 

As Nashad his first song ' Badee Mushkil Se Dil Kee Bekaraaree Ko from Naghma 1953 sung by Shamshad Begum became a hit 'Baradari(1955) remains one of his memorable films.  This film had some hit songs "Bhula Nahin Dena Ji Bhula Nahin Dena, Zamana Kharab Hai" by Lata Mangeshkar and Mohammed Rafi, and "Tasveer Banata Hoon Tasveer Nahin Banti" by Talat Mehmood. Nashad himself sang a song in this film.

He introduced singer Suman Kalyanpur for the first time in the film. 'Sabse Bada Rupaiya', director: P. L. Santoshi, cast: Shashi Kala and Sundar, music: Nashad and O. P. Nayyar. 'Shehzada' (1955), director: Mohan Sinha, cast: Shela Ramani and Ajeet, music: Nashad and S. Mohinder. 'Jawab'.

 Maikhana (1964) was his first film in Pakistan, he was awarded Nigar Award for Best Music Composer for this film. Nashad had worked with Master Ghulam Haider, Nisar Bazmi, Naushad early in his film career as their assistant to learn from them. He is given credit for first introducing Runa Laila to the Pakistani film industry from Karachi

Nashad died on 14 January 1981 at 57 years of age after composing film music for over thirty films in Bollywood and over 60 films in Pakistan

Song of  Naghma 1953

Song of Darwaza (1954) 

Song of  Baradari 1955

Song of  Zindagi Ya Toofan (1958) 

Song of Maikhana (1964) Pakistani film

Song of Phir Subah Hogi (1966) Pakistani film

Song of Hum Dono (1966) Pakistani film

Song of  Tum mile pyar mila (1969) Pakistani film

Anil Biswas - One of the Pioneers of Hindi Film Music

 

Anil Biswas, Pankaj Mallick, Saraswati Devi, and Master Ghulam Haider were the first generation composers of Hindi Films. They started giving music in the mid-1930s and continued till the independence of the country.

Anil Biswas made his debut as a music director with "Dharam ki Devi" (1935). It was the popularity of the Mehboob Khan film "Jagirdar" (1937), which proved that he could turn out hit songs. Soon many more independent assignments came his way, most notably, 300 Days and After, Gramophone Singer, Hum Tum Aur Woh, Ek Hi Raasta, and Mehboob Khan's Watan (1938), Alibaba (1940), the classic, Aurat(1940), Bahen (1941), before working with him again, in Roti (1942).He was a mentor to many singers like Zohrabai Ambalewali, Begum Akhtar, Mukesh, Talat Mahmood,  Lata Mangeshkar, Meena Kapoor.

From 1942 to 1947 he worked for Bombay Talkies.During this period he gave many hit fils few of them were Kismet(1943),Jwar Bhatta" (1944) and "Milan" (1946).During the 1950's, he served as the music director for a number of films.  Some notable films of his were "Abhimaan" (1957) and "Pardesi" (1957).The last film he did was "Chhoti Chhoti Baatein" (1965)

First Song of Begum Akhtar

Song of Roti 1942

Song of Kismet  1943

Song of Jwar Bhatta" (1944) 

First Song of Mukesh

Song of Pehli Nazar 1945

Lata Mangeshkar: Tumhare Bulane Ko Jee Chahta Hai (Ladli, 1949)

Song of Ladli 1949

Talat Mahmood: Ae Dil Mujhe Aisi Jagah Le Chal (Arzoo, 1950)

Song of Arzoo, 1950

Shukriya Shukriya Ae Pyar Tera Shukriya

Song of Aaram 1951

Seene Mein Sulagte Hain Armaan

Song of Tarana 1951

Song of Chaar Dil Chaar Rahen 1959

Meena Kapoor: Kuchh Aur Zamana Kehta Hai (Chhoti Chhoti Baten, 1965)

Song of Chhoti Chhoti Baten, 1965