Showing posts with label admiring song. Show all posts
Showing posts with label admiring song. Show all posts

Monday, 18 May 2020

Kaanto Se Kheench Ke Ye Aanchal - An Experimental Song

EVERY song of ‘Guide’ is still fresh in the minds of people who love music. This 3.44-minute song of Lata Mangeshkar is one of her favorite songs  Could you believe that initially, she didn't like this song. This song was recorded in between the shooting of the film. Dev Anand, who was the producer of the film was also not satisfied with the song.
S D Burman experimented in his music in many of the songs of this film. In this song, he started the song with an Antara. Usually, Hindi songs start with a Mukhada but here Dada Burman started with Antara. The Mukada of the song is "Aaj Phir Jeene Ki Tamanna Hai" which comes after Antra. Probably a feat no other music director will ever be able to ever repeat
After the recording of this song in Bombay, Dev Anand joined the unit that was shooting at Udaipur in Rajasthan. Vijay Anand who was the director of the film now wanted to shoot the song but Dev Anand who was not satisfied with the song was not interested to shoot, Vijay Anand convinced him to shoot this song if even after he didn't like, they will re-record the song.

The song "was shot at Chittorgarh Fort, Rajasthan. In fact, the reflection of the heroine on one of the mirrors, during the song, is inspired by the legendary tale of Alauddin Khilji catching a glimpse of Queen Padmini on the same mirror in the main hall.
Composer Sachin Dev Burman fell seriously ill during this film and even requested Dev Anand to engage some other composer for the film. But Dev Anand stood firm to his side and said that he would wait till Dada Burman is fit again. Once cured, the masterpiece compositions started to flow; the first song recorded was the evergreen "Gaata Rahe Mera Dil".

Sunday, 13 October 2019

13 October - A Cruel Co incidence in Bollywood

13th Oct is the Birthdate of Dada Muni, Ashok Kumar and unfortunately, it became the last day of Kishore Kumar, who passed away on this day.  Dada Muni was born on 13 Oct 1911. He was an Iconic Actor of the 1940s and 50s. By 1947, he was the most bankable star of Hindi cinema and started producing films for Bombay Talkies. He was the eldest son of the Ganguli family. Kishore Kumar was the youngest among all.
Kishore Kumar who was 18 years younger than Ashok Kumar. He was a lively child who was passionate about singing. He was especially obsessed with legendary singer and composer KL Saigal and learned music by imitating his style.
Kishore had no formal training in music and Ashok Kumar, who was already a film star, discouraged him from taking up a playback career. He felt that Kishore’s voice lacked ‘modulation’, among other things. But Kishore was in no mood to hang up his boots.
It was in 1945 when Kishore Kumar was in Bombay living with Ashok Kumar, who that time shooting for Shikari gave him a small role in that film. However, Kishore disliked acting. His first few films flopped and then he decided to act so badly that nobody will cast him. Kishore’s decision to perform badly became his calling card and the audience’s started loving him for it. It was the 1951 release of Andolan, however, that propelled him to stardom as a singer-actor and ultimately freed him from the shadow of his brother Ashok.
He was given break for singing by Khemchand Prakash for the 1948 film Ziddi, the song was  “Marne ki duayen kyon mangu The song was a hit but he didn't get many offers for singing.It was S D Burman who advised him not to imitate KL Saigal, sing in your own style.
 It was music director SD Burman who gave Kishore opportunities to sing in one movie after another beginning with Dev Anand’s hit films -- Munimji and Taxi Driver (1954), House No. 44 (1955), Funtoosh (1956), Nau Do Gyarah and Paying Guest (1957) and many more. Not only these movies became big hits but their songs too soared in popularity charts. Dev Anand’s own popularity scaled higher peaks while Kishore Kumar began to be recognized as Dev Anand’s voice.
Kishore Kumar and Ashok Kumar acted together in many films.the first time they acted together in Bhai Bhai released in 1956. Ashok Kumar, who played the lead role and Kishore Kumar (real-life brothers) as the two brothers, with the film being referred to as one of Kishore Kumar's prominent films. In this film sang one song for himself "Mera Naam Abdul Rehman"
Both of them are considered to be one of India’s finest artists who have successfully entertained us. Talking about Ashok Kumar, he was an actor who ruled the silver screen whereas, Kishore Kumar’s melodious voice remains etched in our hearts to date, and maybe forever.

Both the brothers were going great when destiny played a cruel game and one’s happy occasion, unfortunately, turned sad and unhappy for the other one. Kishore Kumar died on the birthday of Ashok Kumar in 1987, which shattered Ashok Kumar, he decided that he will never celebrate his birthday now and onwards. Ashok Kumar died 14 years later in 2001.
Here are 5 Prominent films of both brothers working together
Bhai Bhai 1956

Song of Bhai Bhai 1956
The story is of two brothers, with the younger brother running away from home at an early age. The older brother gets entangled with another woman, leaving his wife and child at home. This situation leads to the meeting of the brothers, with the older one mending his errant ways.

Bandi (1957)

Song of Bandi (1957)
This is a 1957 film directed by Satyen Bose and had all three brothers Ashok, Kishore and Anoop coming together for the first time. Ashok Kumar as his educated elder brother has negative shades to his character. while Kishore played a simpleton. The confrontation scenes between Ashok Kumar and Kishore Kumar are superb especially in the end when they meet after 16 years.

Raagini  (1958)

Song of Ragini 1958
It is a 1958 Bollywood film starring Ashok KumarKishore Kumarand Padmini. Kishore sings "Main Bangali Chhokra" The film was an Box office

Chalti Ka Naam Gaadi (1958)-

Song of Chalti Ka Naam Gaadi (1958)
 The film featured the 3 brothers once again and Madhubala. The music was given by SD Burman and the Kishore sang most of the sings along with Asha Bhosle. The film was a huge success.

Door Ka Rahi (1971)

Song of Door Ka Rahi (1971)
 The film was directed by Kishore Kumar himself who also wrote the film and featured Tanuja, Ashok Kumar and himself in major roles. The film strives to deliver a very strong message of humanity using the simplest possible language. 

Tuesday, 20 August 2019

Bollywood Songs songs that do not have tabla, dholak or any other percussion instrument

Last night I was listening the song "Jalte Hain Jis ke Liye" sung  by Talat Mahmood from the film Sujata. One interesting point I noted  that this song has no sound of Tabla, Dholak or any other percussion instrument.This made me curious to research those songs which do not have any rhythmic instruments.
However, you may be surprised to learn that some of the most popular songs of the Golden era (mostly 50s and 60s) do not have any percussion instrument. Yes, you read that right. There are no percussion instruments in some of the most popular songs. 
We all know that Melody and Rhythm are two essential elements of any Hindi film song.  Melody is mostly identified with the vocals or the singable part and rhythm is identified with accompanying percussion instruments like Tabla or Bongo or Drums. 
You may say that the songs that do not have percussion must be sad or slow songs. But it was not like that.There are some bright, cheerful songs as well that have Nothing but melody.
It is possible to create the rhythm for a song without using percussion instruments. Most composers created rhythm by using guitars, banjo or some other stringed instrument like a Double Bass or a Piano. In film songs, guitar can be played in three ways – as a lead guitar, bass guitar or rhythm guitar.
In the above mentioned song the composer of the song SD Burman  usesd Piano to provide rhythm.Similarly SD Burman’s another masterpiece song from Pyaasa – Jaane woh kaise log in which piano supplements guitars and double bass for rhythm.
Hemant Kumar too seems to have a penchant for composing songs without percussion. His lively Bekarar karke from Bees Saal Baad, surprisingly does not have any percussion instruments, very unusual for the situation in the movie.
Here are few songs where the rhythm is provided by a variety of stringed instruments like Double Bass, Guitars and so on. I hope you enjoy these extremely popular Nothing but melody songs.
Song of Pyaasa 1957

Song of Chalti Ka Naam Gaadi 1958

Song of Dilli Ka Thug 1958

Song of Sujata 1959

Song of Kagaz ke phool 1959

Song of Lal Qila 1960

Song of Jhumroo 1961

Song of Bees Saal Baad 1962

Song of Woh Kaun Thi 1964

Song of Waqt 1965

Song of Anupama 1966

Song of Khamoshi 1969

Wednesday, 14 August 2019

Shamm Kapoor- Music and Rythum running in his veins.

When you think of Shammi Kapoor, music cannot be far behind. All his films had  songs and dance that were loud and energetic, joyous and boisterous, soft and romantic. In this blog on Shammi Kapoor,I have worked on the music interest of of Shammi Kapoor.
Few people know that Shammi Kapoor learnt classical music for five years along with his elder brother Raj Kapoor.Shammi  Kapoor became Pandit Jagannath Prasad's pupil. Later, as part of Prithvi Theatres, his music lessons continued. 
He entered the cinema world in 1948, as a junior artiste, at a salary of Rs. 50 per month, stayed with Prithvi Theatres for the next four years and collected his last pay check of Rs. 300, in 1952. He made his debut in Hindi Films in the year 1953, when the film Jeevan Jyoti was released. It was directed by Mahesh Kaul and Chand Usmani was Kapoor’s first heroine. 
He worked closely with the music directors and singers and musicians, and often sat in on recordings. He choreographed his own songs, his loose-limbed grace and innate sense of rhythm shaking every canon of 'dance' that Hindi films had hitherto seen on screen. And his obsession with music meant that, quite often, he often had an instrument with him. 
Shammi Kapoor once said in an interview that at recordings with Shankar-Jaikishen, he would observe the musicians performing, and get (music director) Jaikishen, a close friend, to teach him the nuances of each instrument.
Beside learning Indian Classical music he was also and  admirer of Western Music,Ramba, Samba, Western Classical, Gypsy Music, Jazz....He was a fan of Elvis Presley and later called as Elvis Presley of Bollywood. 
Shammi Kapoor played many instruments in various songs on screen, here I am posting few of those songs in which he is shown as playing the instrument.
Shammi Kapoor (21 October 1931– 14 August 2011) gave us hits like hits like Tumsa Nahin DekhaDil Deke DekhoSingaporeJungleeCollege GirlProfessorChina TownPyaar Kiya To Darna KyaKashmir Ki KaliJanwarTeesri ManzilAn Evening in ParisBramhachariAndaz and SachaaiShortly before his death, he made his last film appearance in Imtiaz Ali's 2011 directorial venture Rockstar co-starring his grand-nephew Ranbir Kapoor, the grandson of his brother Raj KapoorHe died on 14 August 2011, 05:15 am IST, of chronic renal failure, aged 79.
Shammi Kapoor starred in over 50 films as lead actor, and over 20 films in supporting roles. He has won the Filmfare Award for Best Actor once, for his performance in the film Brahmachari (1968) and then in 1982 for Vidhaata. 

The first song in my list is from the film Hum Sab Chor Hain (1956).Here in this song Shammi is trying his best to impress Vimala (Nalini Jaywant). He is a theatre manager, she is hoping to be the lead actress.  But since he cannot sing or play any instrument, his assistant manager (Ram Avatar) is doing both from behind the door.
Song of Hum Sab Chor Hain 1956

The next song in the list is from the film Dil Deke Dekho, in this song Shammi Kapoor is playing drums.
Song of Dil Deke Dekho  1959

Song of China Town 1962

Song of Bluff Master1963

Song of Kashmir Ki Kali1964

Song of Teesri Manzil 1966

Song of Brahamchari 1968

Song of Brahamchari 1968

Song of  Jaane Anjane1971

Thursday, 14 March 2019

The Undying Appeal of the Songs of Golden Era

People say that good music is not being created nowadays but that's not correct, every now and then a good song pop up but these songs have no shelf life. These songs are without soul. Today's composers and lyricists shun the silences that needed for the original thought. Today's music makers believe in creating Hit songs rather creating great art.
In the Golden Era, there was a desire to make tunes of lasting values. To achieve that they were always played with the fresh idea and experimenting with new instruments and sounds. Singers were also putting great effort to cultivate original expressions.
If we look back and see that in the first four decades of cinema and its music (1931-1970), some 4,400 Hindi films were released with about 36,000 songs in them, giving us an average of over 8 songs per film. All this just highlights the importance we have attached to our film music.
For your information, Indrasabha released in1932 remains a film with the highest number of songs in a film with no less than 69 tracks. 
Here is a representation of a few films and the number of songs that were embedded into them in the first decade of Indian filmdom:

  • Satyawadi Raja Harishchandra (1931/27 songs)
  • Chatra Bakavali (1932/49 songs)
  • Gulru Zarina (1932/33 songs)
  • Muflis Ashiq (1932/32 songs)
  • And Shaadi Ki Raat (1935/35 songs) 
This mood spilt over somewhat into the 1950s, with Jogan(1950/15 songs), Albela (1951/12 songs), Sansaar(1951/14 songs), Baiju Bawra (1952/13 songs), Anarkali (1953/12 songs), Nagin (1954/13 songs), and so on, with ten songs being quite a common occurrence. This number has been going progressively down over the decades. In recent years it was in Hum Apke Hain Kaun released in 1994 had 14 songs.
Over the centuries, we have had bhajans and kirtans in homes and in mohallas, qawwalis in dargahs, and plays based on epics such as the Ramayana and Mahabharata in full measure. All these have involved music, as well as folk songs, theatre, puppetry, bidaayi geet, and a wide variety of region-centric street performances. The music is in our blood. Indian films cannot be liked without music.
Since cinema is a very powerful audio-visual medium, we must consider the film song in its visual context too. It is here that beautiful and talented people can elevate the melody, as so many did. Meena Kumari, Nutan, Nargis, Vyjayantimala, Madhubala, Dilip Kumar, Dev Anand, Raj Kapoor, Dharmendra, Suchitra Sen, Shashi Kapoor.etc.
Hindi film songs became so popular among the cine-goers, it attracted more and more audience to cinema theatres. The filmmaker took the talented music directors and lyricists to create songs to attract more public to the cinema. Film song which is packaged as products that not only promote the sale of the film but stand alone as commercial products. 
The songs of the Golden era are so expressive and passionate that they refresh the mood and tired senses. Some of the songs are heart touching, some of them are witty, some are amusing you name the mood and you will find a good old song.
The time is called golden era where style and subtleness ruled, and when the renowned music directors legends like S.D Burman, Naushad, Salil Chowdhary, Shankar-Jaikishan, Laxmikant-Pyarelal, Madan Mohan, O.P.Nayyar, Chitragupt, R D Burman composed magical numbers. Every significant composer from Hindi cinema of that era has left behind a remarkable footprint of tunes based on classical ragas, songs that just refuse to perish, for they have no expiry date.
Singers such as Saigal, Mohammad Rafi, Geeta Dutt, Shamshad Begum, Suraiya, Kishore Kumar, Lata Mangeshkar, Asha Bhosle, Suman Kalyanpur, Manna Dey, Talat Mehmood and many more ruled. The fact is that listening to old Hindi songs in which the lyrics are so wonderful, they are the best medicine for the listeners. 
The lyrics of these old songs also played an important role. The lyrics were penned with the simplicity of words and expression, speaking about the deep spiritual truths about our existence and surroundings. There was pleasure in songs – whether a patriotic song, romantic song or devotional songs, they all celebrated life. Solos expressed the transience of love and life. Lyricists such as Shailendra, Hasrat Jaipuri, Majrooh Sultanpuri, Neeraj, Anand Bakshi, Sahir Ludhiyanvi, Shakeel Badayuni, Pradeep, Kaifi Azami and Gulzar penned remarkable, soul-stirring poetries some of which were replete with clich├ęs and metaphors contributing to the golden era.
Have you ever thought, why these songs were so popular?. Why hasn’t their popularity collapsed? Young contestants often sing old songs in competitions, even if the judges too are young people, and many of these contests are shown on television. At parties, many young people love the work of Madan Mohan, SD Burman, OP Nayyar, Sahir, Shakeel, Mukesh, Shamshad, Rafi, Lata, Asha, Geeta and Talat, even though they were born decades after many of these giants passed on. Get into a taxi in Delhi or in Mumbai, chances are the driver is listening to a radio program of retro Hindi film songs.
Here are some of these Immortal songs of the Golden Era
Anmol Ghadi (1946)

Song of Mahal 1949

Song of Andaz (1949) 

Song of Barsat (1949)

Song of Anarkali (1953)

Song of Taxi Driver (1954)

Song of Shree 420 (1955)

Song of Shree C. I. D. (1956)

Song of Janam Janam Ke Phere (1957)

Song of Solva Saal (1958)

Song of Chalti Ka Naam Gaadi (1959)

Song of Barsaat Ki Raat (1960)


Saturday, 5 January 2019

C Ramchandra - The Composer who Introduced Rock & Roll Music in India.

He was not only a composer but also a singer. He sang some renowned and unforgettable duets with Lata such as Kitna haseen hai mausam in film Azad or Shola Jo bhadke in Albela. Influenced by Benny Goodman, Ramachandra introduced in his compositions the alto sax in combination with guitar and harmonica. 
An outstanding feature of many of these songs is their intense curiosity about western mores and manners; they often employed western musical idioms in exaggerated fashion either for satire or irony. These songs mirrored the curiosity of the educated, urbanized Indian youth.He did numerous experiments in western/Indian and middle-eastern styles. in 'Meri Jaan..Sunday Ke Sunday..' (Shehnai) he introduced the Benny Goodman style of jazz clarinet in combination with an Indian melody.  Other westernized songs e.g. 'Shola Jo Bhadke..' and 'Ye Diwana Ye Parwana..' (Albela) employed cabaret type dance featuring bongo drums, oboes, clarinets, trumpets, saxophones, etc. He sang the title song "Shin Shinaki Boobla Boo" with Lata Mangeshkar, which included rock rhythms. He provided the musical score for the scat song "Ina mina dika" in "Aasha".
C Ramchandra with Lata Mangeshkar

He was born on 12th January 1918 in Puntamba, a small town in Ahmednagar district in Maharashtra. He joined the film industry playing the lead role in Y. V. Rao's movie, Naganand. He also had some small roles at Minerva Movietone in the movies Said-e-Havas (1936) and Atma Tarang (1937). He was a good singer, he sang for all the topmost heroes of that time like Dilip Kumar and Dev Anand.
Ramachandra provided harmonium accompaniment for Minerva composers Bindu Khan and Habib Khan. He debuted as music director in Tamil movies with Jayakkodi and Vana Mohini. He received public notice as a good composer in Bhagwan Dada's "Sukhi Jeevan", and established a long association that culminated with the musical box office hit "Albela".
 C. Ramachandra's biggest success as a music composer was the 1953 movie Anarkali starring Beena Roy in the title role and Pradeep Kumar. The songs that he composed for this movie are today legendary. Songs of this movie like "Yeh Zindagi Usiki Hai", "Mujhse Mat Poochh Mere Ishq Main Kya Rakha Hai", He gave the hit music of V Shantaram's Navrang.
C.Ramchandra with Kavi Pradeep &Lata-Mangeshkar

He was the composer of the highly popular patriotic song "Aye Mere Watan Ke Logo", which was sung by Lata Mangeshkar and penned by poet Pradeep,
He died on 5 January 1982 in Mumbai.

Some of his great songs
Song of Shehnai (1947)

Song of Patanga 1949

Song of Nirala 1950

Song of Albela 1951

Song of Anarkali 1953

Song of Azaad 1955

Song of ASHA 1957

Song of Amar Deep1958