Asha Bhonsle- The World's Most Recorded Artist.

 

Asha Bhosle (Born on 8th Sep 1933) made her Hindi film debut when she sang the song "Saawan Aaya" for Hansraj Behl's Chunariya (1948) but before that she sang her first film song '"Chala Chala Nav Bala" for the Marathi film Majha Bal (1943). She had sung over 12,000 songs, she was officially acknowledged by the Guinness Book of World Records as the most recorded artist in music history

Initially, she sang songs in low-budget B- or C-grade films. She used to get the assignments only when reputed female singers of that time like Geeta Dutt, Shamshad Begum, and Lata Mangeshkar refuse singing for the bad girls and vamps, or songs. The first time she sang in a big banner film was in Bimal Roy's Parinnta 1953 The song of that film  "Gore gore haathon me mehndi racha ke"..but none of the songs was picturised on the heroine of the film Meena Kumari.

Another big banner film was RK Films Boot Polish in 1954,  Raj Kapoor signed her to sing "Nanhe Munne Bachche" with Mohammed Rafi.It was O. P. Nayyar who gave Asha a break in CID (1956). For the first time, she sang for a heroine in Big banner.The song O Leke Pehla  Pehla Pyar is basically sung by Mohammad Rafi and Shamshad Begum but in the second version, Asha sang for Shakeela the heroine of the film. After that O P Nayyar took her in  B. R. Chopra's Naya Daur (1957),  Her duets with Rafi like "Maang Ke Saath Tumhara", "Saathi Haath Badhana" and "Uden Jab Jab Zulfein Teri", penned by Sahir Ludhianvi, earned her recognition. It was the first time she sang all the songs for a film's leading actress. In 1957 another hit film released  Tumsa Nahin Dekha and the song Dekho Kasam Se Kahate Hain Tum Se became another hit that year.

Sachin Dev Burman and his favourite singer, Lata Mangeshkar, were not on good terms from 1957 to 1962.During this period, S D Burman used Asha as his lead female voice.She and Burman gave many hit songs in movies such as Kaala Pani, Kaala Bazaar, Insaan Jaag Utha, Lajwanti, Sujata and Teen Deviyaan (1965).In 1958 Kaala Pani she gave voice to Madhubala once again recall the duet song "Achcha Ji Main Haari Chalo Maan Jaao"  The song "Ab Ke Baras" in Bimal Roy's Bandini (1963) consolidated her position as a lead singer.

 With O P Nayyar she gave hit songs in  Ek Musafir Ek Hasina (1962) and Kashmir Ki Kali (1964). Recall the songs "Main Pyaar Ka Rahi Hoon" (Ek Musafir Ek Haseena), "Deewana Hua Baadal" and "Ishaaron Ishaaron Mein" (Kashmir Ki Kali). Mere Sanam, another great hit of 1965, has several beautiful songs sung by Asha and composed by Nayyar. Jaayiye aap and Yeh hai reshmi zulfon ka andhera. Both solos present two distinct emotions. Asha does full justice to both. The former is a haunting love number while the latter is a seductive one.

In 1966, she collabarated with R D Burman for Teesri Manzil.  From this film started a creative and romantic partnership that revolutionised Hindi Film Music. 

After Teesri Manzil both sang together a song in 1970 film The Train, Meri Jaan Maine Kaha which became hit.Asha Bhosle and R D Burman created nostalgia from Dum Maro Dum from Hare Rama Hare Krishna.The same year released Caravan,it's song Piya Tu Ab To Aaja became a cult song of this Jodi.In the 1970s, Asha and Pancham's youthful Western songs took Bollywood music by storm.

 The romantic "Chura Liyaa Hai Tumne" (Yaadon Ki Baaraat, 1973). Pancham also recorded many hit duets with Asha and Kishore Kumar such as "Jaane Jaan" (Jawani Diwani) and "Bhali Bhali Si Ek Soorat" (Buddha Mil Gaya).
The 1975 hit Khel Khel Mein is yet another R D Burman favourite. It had fun-filled duets like Khullam khulla pyar karenge, but its most outstanding number was the mournful solo Sapna mera. 

 In the 1980s, she traveled across the US, Canada and Britain to give concerts that draw thousands of South Asians. Unlike other singers, including Lata Mangeshkar who remains stiff, she moves around. Her concerts are always lively.In 1981 she scales epoch-creating heights with the Rekha-starrer Umrao Jaan (1981). Khayyam's soft, lingering songs like In aankhon ki masti mein and Dil cheez are among the best film songs ever composed.
By the mid-80s Asha was not singing enough.With the rise of singers like Anuradha Paudwal and Alka Yagnik, her career starts sliding but she simply cannot be written out. RD burman was also not getting films.RD reinvents his and Asha's career with an astounding score in the 1987 Gulzar film Ijaazat. The hauntingly sad song Mera kuch samaan sounds sadder by Asha's passionate rendering. 
  The 1990 film Lekin is produced by Lata and her brother Pandit Hridaynath Mangeshkar. The film, whose score is composed by Hridaynath, sees Lata singing more numbers. But Asha also gets an opportunity to transform the intricate song Jhoote naina into a masterpiece.
 Composer A R Rahman ropes her in to sing in Ram Gopal Varma's Rangeela (1995). The songs  "Rangeela Re" and Tanha Tanha were especially famous. After that in Daud (1997), the O Bhanware number with Yesudas reminds listeners that Asha is still in command over her voice. In 1999 film Takshak composed by Rehman, One of the best songs in the film, Rang de, goes to Asha Bhosle.
In 2001 a new composer Sandeep Chowta got her to sing the song  Kambakth Ishq number in Pyaar Tune Kya Kiya (2001), She was at her seductive best.In the same year, her duet with Udit Narayan, Radha kaise na jale, in the Aamir Khan-starrer Lagaan (2001) wins her more fame.She got  Dadasaheb Phalke Award in 2001.
Asha Bhosle has won seven Filmfare Best Female Playback Awards of 18 nominations.After receiving the award in 1979, Bhosle emulated her elder sister and requested that her name not be considered for the nominations hereafter.She was later given a Special Award for Rangeela in 1996, and the Filmfare Lifetime Achievement Award in 2001

Asha has won the National Film Award for Best Female Playback Singer twice:

• 1981: Dil Cheez Kya Hai (Umrao Jaan)
• 1986: Mera Kuch Samaan (Ijaazat)
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•                              The Story Behind The Song Dum Maro Dum Asha Bhonsle Ki Jubani
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• Magic of Two Golden Voices When Lata and Asha Sing Together


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Mukesh- The Man With Golden Voice

 

‘Dil jalta hai to jalne de’. was the first major song from Mukesh from ” Pehli Nazar”(1945). It was Anil Biswas who composed this song and wanted him to sing in Saigal style The song became so popular that he was branded for the sad songs. He was next to Saigal for such types of songs. Initially, all the composers used Mukesh mainly for such songs.

After this film, however, Anil Biswas helped Mukesh to develop his own distinct style, away from the Saigal effect. Mukesh's songs of Anokha Pyaar-1948, Lajawab-1950, and Aaram-1951 are a testimony to this effort becoming a success. Just listen to the ‘ Aye Jaan e Jigar’ song and you will agree.  The anguish of a failed lover, despondency of a purposeless life, the Heartache-all this is expressed by Mukesh like no other singer.

Naushad also recognized Mukesh's voice, he took him for the first time in the 1948 film 'Anokhi Ada'.Mukesh coming out a winner with his ‘ kabhi dil dil se takrata to hoga’. Mela-1948 put a stamp of approval on Mukesh from none other than Dilip Kumar. He sang many songs for him, in fact he was the voice of Dilip Kumar in Andaz(1949) and Rafi was the voice of Raj Kapoor in that film.

Along with Mohammad Rafi, Manna Dey, and Kishore Kumar, he was one of the most popular and legendary singers of his era. Amongst the numerous nominations and awards he won, his song "Kai Baar Yuhi Dekha Hai" from filmRajnigandha (1973) won him the National Film Award for Best Male Playback Singer. Mukesh was also popular as being the voice of the actor Raj Kapoor.

Mukesh won 4 Filmfare Awards,Sab Kuch Seekha Humne from Anaari 1959,Sabse Bada Naadan from Pehchan 1970,"Jai Bolo Beimaan Ki" from Beiman 1972 and "Kabhi Kabhie Mere Dil Mein" from Kabhi Kabhi 1976

Mukesh died of a heart attack on 27 August 1976 in Detroit, Michigan, US, where he had gone to perform in a concert. His body was flown to India by Lata Mangeshkar, where a grand funeral ceremony was held in the presence of several actors, with personalities of the Indian film industry and fans paying tribute.

In this blog, we have chosen a few of his Jolly & Happy Songs. Watch the video below from my Youtube channel

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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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PIYA PIYA PIYA MORA JIYA PUKARE- How a Mistake in the middle of the song recording covered during picturizing of the Song

 

This song appears in the 1955 hit musical comic Baap Re Baap directed and produced by A R Kardar. The movie starred Kishore Kumar, Chand Usmani. This song is a duet of Kishore Kumar and Asha Bhonsle, written by Jan Nisar Akhtar, and the music was composed by O P Nayyar.

During those times, there were no digital recording facilities like today, where if there is a mistake it can be rectified by computers. Those days there used to be only one microphone for the singers, and another for musicians. If the singers want to record a duet, one would sing his/her line, get away noiselessly for other singers to sing, and come again for their own part. And, if a musician makes a mistake, the whole track would be recorded again from the top. There was also no technique to alter the intensity of sound, if the sound was supposed to come from a distance, the singer had to stand away from the mic, slowly advancing towards it, to get the desired effect.

This song is significant in that Asha Bhonsle made a mistake in the middle of the song and late Kishore Kumar went ahead with the mistake in the song, without going for a retake. When the song was being recorded, Asha Bhonsle gave an alaap a second time, when it was not required. Kishore Kumar signaled her to go on and complete the song as it was. After the recording was over, he told everybody that he, being the hero of the movie, would place a hand on his heroine’s mouth, when that particular shot in the song would come. That was how the problem was resolved.

This song was picturized on Kishore Kumar and Chand Usmani on a Ghoda Gadi (a horse carriage). Watch this song video at 2:09 minute of this video, how brilliantly Kishore Kumar covers up the mistake made by Asha Bhonsle  She started singing the part which was to be done by Kishore Kumar. But then she stopped abruptly. The music director wanted a second recording. But Kishore Kumar denied of recording the second time and as he was the hero of the film he did a cover up of that part by closing her mouth. What a genius! Kishore Kumar the legend.

Song of Baap Re Baap 1955

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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.

Click Below the Link

https://youtu.be/xv1Bu7nSmmY

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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