Showing posts with label binaca geetmala. Show all posts
Showing posts with label binaca geetmala. Show all posts

Saturday, 21 December 2019

Ameen Sayani is radio, and radio is Ameen Sayani.


When we think of Radio Ceylon, only one name emerges in our brain and that of Ameen Sayani. He is definitely the most popular and most renowned radio announcer from India. He achieved worldwide fame, and especially in all across South Asia when he presented his hit countdown show Binaca Geetmala How can we forget  his signature address ‘Behenon aur bhaiyo…!’
His best-known radio show was; Binaca Geetmala, later renamed as Cibaca Geetmala which has been broadcasted since 1952 from Radio Ceylon, and later from Vividh Bharati, AIR – for a total of over 42 years. 
Ameen Sayani (Born on 21 Dec 1932) started his career as an English broadcaster but when he went for an audition for AIR’s Hindi section, he was told after the test that there are hints of English and Gujarati in his accent and he cannot be recruited. But Sayani was not someone to be disheartened and went on to become one of India’s most loved radio presenters.
Ameen Sayani is from the family of Freedom Fighters, his mother was a close associate of Mahatma Gandhi. As advised by Mahatma Gandhi, his mother published The fortnightly, RAHBER (1940 to 1960), was simultaneously published in the Devnagri (Hindi), Urdu and Gujarati scripts – but all in the simple "Hindustani" language promoted by Gandhi. Sayani assisted his mother, Kulsum Sayani, in editing, publishing and printing a fortnightly journal for neo-literates.
He was introduced to All India Radio, Bombay, by his brother Hamid Sayani. Ameen participated in English programs there for ten years.
Beside announcer he has produced, compered (or spoken for) over 54,000 radio programmes and 19,000 spots/ jingles since 1951.
He has conferred the Padma Shri award in 2009. Besides this, Ameen Sayani has been felicitated with many awards:
  • Living Legend Award (2006) from Federation OF Indian Chambers OF Commerce & Industry, with India Radio Forum
  • Kaan Hall Of Fame Award (2003) from Radio Mirchi (FM Network of the Times Group)
  • Golden Abby by Advertising Club, Bombay (2000 ) for the OUTSTANDING RADIO CAMPAIGN OF THE CENTURY ( “Binaca/Cibaca GEETMALA” ).
  • Hall Of Fame Award (1993) from Indian Academy Of Advertising Film Art (IAAFA)
  • Person Of The Year Award (1992) Limca Book Of Records
  • Gold medal(1991) from Indian Society Of Advertisers (ISA) presented by Mr. K.R. Narayanan, then Vice-President of India.





1958 Annual Binaca geetmala


Friday, 21 December 2018

Ameen Sayani` - The grand old man of radio


His style of addressing the crowd with "Bhaiyo aur Behno " (meaning "brothers and sisters") is still treated as an announcement with a melodious touch. He achieved fame and popularity all across South Asia when he presented his Binaca Geetmala, a countdown program of Hindi hit songs over the airwaves of Radio Ceylon on every Wednesday from1952 to 1988. He remains one of the most imitated announcers of India  
His mother Kulsum Sayani was a social activist, recipient of Padma Shri and a disciple of Mahatma Gandhi. She edited, published and printed a fortnightly journal for neo-literates in simple language, on the instructions of Mahatma Gandhi. From his childhood, Ameen helped his mother in all the activities related to the journal, Rahber, which was published from 1940 to 1960. 
In the early 1950s, All India Radio (AIR) had stopped broadcasting Hindi film music. It was a mad decision, which hit AIR very badly and Radio Ceylon, which was still finding its ground in the radio industry, came up because of that. Ameen Sayani joined All India Radio, Bombay, on a reference from his brother Hamid Sayani. There, Ameen did English programs for ten years. It was sad that AIR never recognized Ameen's talent, and he had to use Radio Ceylon all the time. 
Between All India Radio (since 1951), AIR’s Commercial Service (since 1970) and various foreign stations (since 1976), Sayani has produced, compared (or spoken for) over 54,000 radio programmes and 19,000 spots/ jingles.
He was also a part of various movies throughout the years like Bhoot BunglaTeen Devian, Boxer, and Qatl. He appeared in all of these movies in the role of an announcer in some event.
He has conferred the Padma Shri award in 2009.
In one of his interviews, the versatile presenter revealed that Amitabh Bachchan, who had wished to become a radio presenter before he tried his luck in Bollywood, visited the studios multiple times but failed to make the cut as Ameen Sayaani didn’t clear him.
Binaca Geet Mala



Binaca Geet Mala part 2



Binaca Geet Mala part 3



Binaca Geet Mala 1952-54



Binaca Geet Mala part 4


Friday, 27 July 2018

The song Khoya Khoya Chaand was written on a piece of cigarette pack foil


Every song has a story behind it. On this subject, I have written a blog earlier. In this blog, I take this immortal song from Kala Bazar. The song was written by Shailendra and composed by S.D. Burman.
 This was the first time that Dev Anand, Vijay Anand, Waheeda Rehman, S D Burman and Shailendra came together.
Vijay Anand who was the director of the film, who narrated the situation of the song to Shailendra and asked him to write a romantic song for this situation. Shailendra, probably too busy with his other assignments, was not delivering a song, urgently needed for the film. Shailendra was making all kinds of excuses for not delivering.S D Burman, known for his bad temper, was under tremendous pressure. So one fine day Shailendra was at his residence and asked him to give him the words for his tune for this song. Burman da called his young son, Pancham ( R D Burman ) and told him – ” You will go with Shailendra and DO NOT come home unless he gives you the lyrics ” !!!
This incident was narrated by R D Burman in a radio interview in AIR. As Burman da was very angry on Shailendra he asked RD Burman to come along with him and drove to his home. On the way, they stopped at Shankar  Jaikishan's place to finish some pending work.
It was evening…. Shailendra finished his work with Shanker Jaikishen and with Pancham, got into his car. He instructed the driver to go to National Park. There, Shailendra kept smoking cigarette after cigarette. BUT NO WORDS !!! 
Shailendra then thought of a change of place, he asked his driver to proceed to Juhu Beach
R D Burman was cursing his luck as they got back into the car, it was almost night, what will he tell his father about the song.He was 20 years old that time and was an assistant so he couldn't pressurise Shailendra to give him the song immediately.
The time was 11 in the night and nothing is written. The beach was deserted. Those days people used to return home by 7 orr 8 in the evening. Shailendra was leisurely strolling along with the eager Pancham trying to keep step. Suddenly Shailendra asked Pancham for a matchbox. He sheepishly handed over his matchbox to Shailendra. Shailendra was lost in thought, he lit his cigarette, returned the matchbox and asked Pancham to give him the tune Burman da had composed. Pancham, tapping the matchbox in rhythm, hummed the tune.
It was a full moon night and Shailendra was looking at the sky puffing away on his cigarette
and suddenly started writing on a piece of cigarette pack foil. after a while, he told Pancham – “You can go home, tell Dada, I will be at your place in the morning with the full song..”
He hummed the mukhda
Khoya khoya chand, khula aasmaan,
Aankhon mein saari raat jaayegi,
Tum ko bhi kaise neend aayegi
Pancham smiled, he knew that this song was a winner! He ran, hailed a cab and went home. Pancham  in the next morning handed Dada a crumpled piece of cigarette pack foil with the words of the mukhda scribbled on it!!! Burman Da instantly liked the mukhda and asked Pancham to call Shailendra to complete the song.

As we all know that Burman Da was very particular about the words of his songs and similarly Shailendra too chooses his words very carefully as per the situation. Thus the full song was completed in that sitting. Same day Burman Da called Mohammad Rafi to come for the rehearsal of this song The song was recorded after two days.

We must appreciate Vijay Anand who picturised the song so well that it became the highlight of the film. It topped Annual Binaca Geetmala that year. What Vijay Anand achieves is a feat which is very rare. Most directors shy away from shooting and showing us more than two verses of a song. Here, his shooting, along with Burmanda’s music and Shailendra’s words, is so perfect that we go through FOUR verses of this song just glued to our seats !!!! That is why Vijay Anand is adored by film-goers and film-makers all over India.
Song from Kala Bazar 1960





Sunday, 22 July 2018

Mukesh-who wanted to be like K L Saigal



 Similar to the story of Eklavya, Mukesh initiated in music.He started learning music indirectly  from his sister’s Guruji . He would listen from the next room and keep practicing until the day.Those days K L Saigal was the star singer actor.Like every body
KL Saigal was Mukesh’s idol.He wanted to be like him. Mukesh had good looks and his nature was very industrious, thus trying his luck at acting was natural for him.It was the actor Motilal who was his relative attended the marriage of Mukesh's sister at Delhi where he heard Mukesh singing a song.He liked his singing and advised him to come to Bombay and try his luck in films.
After few months Mukesh saw an advertisement in a News Paper from Ranjit Movitone for requirement of Actor cum Singer.He applied for this and was called to Bombay for an interview.It was Chandulal Shah of Ranjit Movietone who selected him and gave him the job.
He got his first project as an actor-singer in a film named Nirdosh in 1941 which has his first song ‘Dil hi ho bujha hua to’.His second film was Adab Arz in 1943.He acted as a hero in the film Mashooka in 1953, opposite Suraiya. During these period he sang and acted in few films but his career was not rising.It was in 1945 when Moti Lal asked Anil Biswas to take Mukesh as his playback singer for the film Pehli Nazar.The song he sang for the film was "Dil Jalta Hai To Jalne De".This song became so popular which opened the door of success for Mukesh.
Mukesh was such a fan of singer K. L. Saigal that in his early years of playback singing he used to imitate his idol. In fact, it is said that when K. L. Saigal first heard the song "Dil Jalta Hai...", he remarked, "That's strange, I don't recall singing that song"
It was  music director Naushad Ali, who helped Mukesh to come out of his Saigal style and create his own style. Naushad gave him songs for the film Andaz. Initially Mukesh was the ghost voice of Dilip Kumar in this movie and Mohammed Rafi sang for Raj Kapoor. He delivered many Hits for Naushad in films like: Anokhi Ada (1948), Mela (1948), Andaz (1949). Other composers who used Mukesh voice for great Dilip Kumar in hit songs like "Jeevan Sapna toot gaya" were Anil Biswas in Anokha Pyar, Ye Mera Diwanapan hai, Shankar-Jaikishan in Yahudi and Suhana Safar and Dil Tadap Tadap ke, Salil Choudhary in Madhumati. However, later Dilip Kumar choose Rafi as his ghost voice and Mukesh became the ghost voice of Raj Kapoor. Mukesh recorded highest number of songs for Shankar Jaikishan ie 133 songs followed by kalyanji Anandji ie 99 songs. Out of 4 Filmfare awards, Mukesh won 3 awards for Shankar Jaikishan songs.


The duo of Raj Kapoor and Mukesh had hell lots of songs among which the most remembered and played is ‘Awara Hoon’. This song has lived almost 65 years yet kids know this song and the song is so stuck in everyone’s mind. Other famous songs were Mera Joota hai Japani, Jeena yahan marna yahan, Dost dost na raha, Jaane kaha gaye vo din, Kisiki muskurahaton pe, Ichak Daana beechak Daana, Sajan re jhoot mat bolo, Ramaiya vastavaiya, Dum Dum Diga Diga, Vo subah kabhi to aayegi, Kehta hai Joker saara jamana, Begaani shaadi me Abdullah deewana.The first song Mukesh sang for Raj kapoor was ‘Zinda hoon is tarah’ in 1948 film Aag, the lifelong partnership started from this song.
Like Talat, Mukesh also had an inherent sadness in his voice. So songs like ‘Woh tere pyar ka gham’, ‘Saranga teri yaad mein’ or ‘Baharon ne mera chaman lootkar’ sounded even more soulful in his voice. But unlike Talat, he could even belt out light numbers with gay abandon. Songs like ‘Ruk jaa o jaanewali ruk jaa’, ‘Aasman pe hai khuda aur zameen pe hum’ or ‘Bina badra ke bijuriya kaise chamke’ confirmed this time and again.
Many critics derided him as an imperfect singer who had a nasal twang and who would often miss a note or a beat and many a time they had a valid point. His limited vocal range also made high-pitched songs difficult for him. Mukesh proved them wrong 
After Shankar Jaikishan Mukesh sang lot of songs for Kalyanji Anandji  "Naina hai jadoo bhare..." Bedard Zamana Kya Jane (1958) composed by Kalyanji alone as Kalyanji Virji Shah, and "Main hoon mast madari..." Madari (1959) as the first Kalyanji-Anandji-Mukesh combo, to "Chahe aaj mujhe napasand karo" Darinda/ 1977, the K-A, Mukesh combination gave numerous popular songs like "Chhalia mera naam...", "Mere toote hue dil se...", "Dum dum diga diga" Chalia(1959), "Mujhko iss raat ki tanhai mein..." Dil Bhi Tera Hum Bhi Tere(1960), "Hum chhod chale hain mehfil ko..." (Ji Chahta Hai), "Humne tumko pyar kiya hai jitna..." (Dulha Dulhan), "Chal mere dil lehraake chal..." Ishara and "Dheere se chalo..." Johar Mehmood in Goa,"Main to ek khwab hoon..." and "Chand si mehbooba ho..." Himalay Ki Godmein(1965), "Waqt kartaa jo wafaa..." Dil Ne Pukara,"Deewanon se yeh mat poocho..." Upkar, "Khush raho har khushi hai..." Suhaag Raat and "Humsafar ab yeh safar kat jaayega..." Juari, "Chandi ki deewaar..." and "Le chal le chal mere jeevan saathi..." Vishwas (1969), "Koi jab tumhara hriday tod de..." Purab Aur Paschim, "Darpan ko dekha..." Upaasna, "Jo tumko ho pasand..." Safar and "Mujhe nahin poochni tumse beeti baatein..." Anjaan Raahein (1970).
Mukesh died of a heart attack on 27 August 1976 in Detroit, Michigan, US, where he had gone to perform in a concert. That morning, he got up early and went to take a shower. He came out panting and complaining of chest pains. He was rushed to a hospital but was pronounced dead. The rest of the concert was completed by Lata Mangeshkar and surprisingly his son Nitin Mukesh . 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. 
Mukesh had the voice that could paint a thousand shades of melancholy. The way he sang, with the perfect tone and diction, he was considered as second to none. The pain that he had in his voice could not be imitated by anyone else.

SONGS THAT WON HIM FILMFARE

  • Sab Kuch Seekha Humne(Anari)
  • Sabse Bada Naadan(Pehchan)
  • Jai Bolo Beimaan Ki(Be-imaan)
  • Kabhie kabhie mere dil me(Kabhie Kabhie)
  • .SONG THAT WON HIM NATIONAL FILM AWARD
  • Kai Baar Yuhi Dekha Hai(Rajnigandha)
Song from Pehli Nazar 1945


Song from Anokha Pyar, 1948


Song from Aag 1948


Song from Mela 1948


Song from Andaz 1949


Song from Awaara 1951


Song from Parvarish 1958


Song from Anari 1959


Song from Kala Aadmi, 1960


Song from Dil Bhi Tera Hum Bhi Tere(1960)


Song from Bandini, 1963


Song from Sangam (1964)


Song from Himalay Ki Godmein(1965)


Song from Teesri Kasam 1965


Song from Milan 1967


ong from Mera Naam Joker 1970


Song from Safar, 1970


Song from Kabhie Kabhie 1976












Saturday, 14 July 2018

Milestone Songs of Roshan


Roshan Lal Nagrath (14 July 1917-16 November 1967) the father of the actor and film director Rakesh Roshan and music director Rajesh Roshan and paternal grandfather of Hritik Roshan came to Bombay in 1949, became assistant of music composer Khawaja Khurshid Anwar in the film Singaar. He struggled until meeting Kidar Sharma, who gave him the job of composing for his film Neki aur Badi (1949).which was a flop,Kidar Sharma gave him another film Bawre Nain,the music of this film became hit and it opened door of success to Roshan 
His biggest strength was that he was very comfortable in mixing the folk music with the complex classical tunes. He use to make a fusion of folk and classical music and that too with ease. This was the speciality which belonged to Roshan only. It was his approach which made his music stand out from the others. In the 60’s, Roshan gave hits like,Barsaat Ki Raat, which featured hits like 'Na To Karavan Ki Talaash Hai..' and 'Yeh Hai Ishq Ishq..', Aarti ('Ab Kya Misaal Doon..'), Devar ('Baharon Ne Mera Chaman Lootkar..'), Bheegi Raat ('Kahin To Milegi..', 'Dil Jo Na Kehsaka..'), Chitralekha ('Sansaar Se Bhaagte Phirte Ho..', 'Man Re Tu Kahe Na..'), Taj Mahal ('Jo Wada Kiya Who Nibhana Padega.', 'Paon Choo Lene Do..'), Bahu Begum ('Hum Intezaar Karenge..' and 'Pad Gaye Jhoole..'), Dooj Ka Chand ('Mehfil Se Uth Jaanewalon..'), Nai Umar Ki Nai Fasal ('Carvan Guzar Gaya..' and 'Dekhti Hi Raho Aaj Tum..' ), Dil Hi To Hai ('Nigahen Milane Ko Ji Chahata Hai..' and 'Laaga Chunri Me Daag..' ) and finally his swan song from Anokhi Raat ('Oh Re Taal Mile..' and 'Mere Beri Ke Ber..').
He did not achieve big commercial success as some of his peers, but for music lovers he was among the greatest, especially as regards his songs for the two titans Rafi and Lata Mangeshkar. His compositions were unmistakably identifiable with incredibly beautiful use of the flute and sarangi.
Roshan died at a young age of a sudden heart attack on November 16, 1967. The song Mehlon ka raja mila from Anokhi Raat, which was composed by him, was recorded posthumously. Here are my 15 favourite Roshan-Lata songs as my tribute to him on his Birth Anniversary.
Song from Bawre Nain 1950



Song from Malhar (1951)



Song from Anhonee 1952



Song from Anhonee 1952



Song from  Naubahaar. 1952



Song from Aji Bas Shukriya” (1958).



Song from Barsat Ki Raat” (1960)



Song from Aarti (1962)



Song from Taj Mahal” (1963) 



Song from Dil Hi to Hai 1963



Song from Chitralekha” (1964)



Song from Bheegi Raat” (1965)



Song from Mamta” (1966)



Song from Bahu Begum (1967)



Song from Anokhi Raat” (1968)

Thursday, 7 June 2018

The Popularity Of Bollywood Songs


Hindi, in all its various dialects, is actually one of the most popular languages in the world after Chinese and English.Hindi films are now very popular in throughout the world.Bollywood Dance and Music is becoming popular everywhere. The popularity of Indian films has impacted fashions as far away as Nigeria, and new releases frequently enter the top 10 lists of popular films in European regions, including the United Kingdom.
Hindi film songs are present in Hindi cinema right from the first sound film Alam Ara (1931) by Ardeshir Irani which featured seven songs. This was closely followed by Shirheen Farhad (1931) by Jamshedji Framji Madan, also by Madan, which had as many as 42 song sequences strung together in the manner of an opera, and later by Indra Sabha which had as many as 69 song sequences. 
In the 30s Radio was a luxury very few households had a radio,so the songs were not reaching to the majority of the people.The music was not popular among the masses. The first few songs to hit the nation as a whole may well have been from ACHHUT KANYAA and some contemporary Sagar Movietone productions. 
The nation wide popularity of hindi songs started with the music of Khajanchi in 1941.. Master Haider consciously broke away from the dull and monotonous delivery of the ’30s songs. KHAZAANCHI has gone down in history as the movie that defined the very structure of the modern Hindi song, much in the style of Von Neumann.The ’40s witnessed some of the quickest changes in the way the industry operated.The days of stable employment were coming to an end. 
Artists, young and old, high and low profile, from all walks of the industry, were now on their own. New studios emerged notable among them being the one founded by Abdul Rashid Kardar. His musical soulmate, Naushad Ali, injected a new sound into the spirit of the young Indian movie. Mehboob started his productions with a flourish. Bombay Talkie brought in Anil Biswas and brother-in-law Pannalal Ghosh. New singers, better sounding and accomplished than those of the previous decade, suddenly appeared in the recording studio. Parul Ghosh, Kanan Devi, Amirbai Karnataki, Arun Kumar, Snehprabha, Zohrabai Ambaalewaali, and to be complete, Noorjehan, were all household names already.
After Independence  most of the movies were based on social and political issues, even their songs were restricted to such issues. Gradually, other forms of songs like ghazals, romantic songs, instrumental and wedding songs came up.  Over the years, the Western elements have increased significantly and there have been a lot of changes in the pattern of the Bollywood music. In the 50s and 60s Caberet songs were popular and later Disco music was popular in the hindi films.
The music belonging to the golden era of films had two main achievements to its credit; one, popularizing various raags in the Indian as well as the Carnatic classical music among the masses, and two, allowing the music directors from various states, who had come down to Mumbai, to use the folk music from their native place, for films.” Today anybody who is over the age of 40 can easily make out that the film music is greatly based on the commercial aspects of the same.
In the 50s a radio Programme started from Radio Ceylone Binaca Geetmala started It was the weekly countdown programme which increased the popularity of Hindi film songs throughout the world.
Today theSatellite television, radio, internet sites, mobile phones, music has lost its approachability. Gone are the days when people used to throng and wait for hours outside shops for records and cassettes to be the first ones to buy their favorite songs which they heard on the radio from the latest film.  
It’s almost impossible to choose just fifteen great songs from over seven decades of popular Hindi cinema, so here my fav songs of each decade.
.The 1930s:
The first decade of Hindi film songs was the decade of composers like RC Boral, Pankaj Mullick,K L Saigal and Hindi cinema’s first female music director, Saraswati Devi (of Main ban ki chidiya fame).
Song from President 1937

The 1940s:
The 1940s saw the rise of Rafi, Lata, Noorjehan, Suraiya, and Mukesh. Among the music directors, there were Anil Biswas, Khemchand Prakash and Naushad. 

Song from Mahal 1949

The 1950s:
The 50s were the golden age, the names associated with the songs of this period a veritable who’s who of Hindi film music:  Manna Dey, Rafi, Geeta Dutt, Shamshad Begum, Lata, Asha, Suraiya, Talat, Mukesh, Hemant, Kishore… and, among the music directors, greats like SD Burman, Salil Choudhary, Roshan, Madan Mohan, Naushad, O P Nayyar and Shankar-Jaikishan.

Song from Shree 420 (1955)



Song from Taxi Driver (1954)


Song from Sujata 1959

The 1960s:

Song from Taj Mahal (1963)



Song from Guide 1965

The 1970s:
 In Hindi film music, too, there was a new wave—with RD Burman, despite the presence of Kalyanji-Anandji and Laxmikant-Pyarelal, being the undisputed king.

Song from Hare Rama Hare Krishna (1972)



Song from Kabhi Kabhie (1976)

The 1980s:
The 80s saw the nadir of Hindi cinema, both in terms of stories and music. ‘disco’ songs that became the hallmark of 80s Hindi films. There were some films having different music like Umrao Jaan

Song from Umrao Jaan 1981



Song from Qayamat Se Qayamat Tak (1988)

The 1990s:
The 90s saw some hit romances and Govinda type of songs and dances.The emergence of A R Rehmaan was also beginning of new music.

Song from 1942 A Love Story 1993


Song from Rangeela 1995

The 2000s 
The new style of music was the trend. Bhanra Pop and Hip hop style of dance became the craze.

Song from Murder 2004



Song from Fanaa 2006





Thursday, 24 May 2018

Majrooh Sultanpuri-Who wrote songs for heroes from Saigal to Aamir Khan


Majrooh Sultanpuri was the most versatile lyricist in Hindi cinema. In a career spanning half a century, he is the only lyricist who wrote songs for heroes ranging from Saigal to Aamir Khan and leading ladies from Nargis to Madhuri Dixit.
He could write any kind of lyrics tailor-made for the situation in the film. Be it the peppy “Hum hain rahi pyar ke” (Nau Doh Gyarah) or the nonsense lyrics of “C-A-T cat, cat maane billi” (Dilli Ka Thug) to “Aaj main upar aasman neeche” (Khamoshi – The Musical), Majrooh became the undisputed king of the “situational song.He  got his first break as a lyricist in A R Kardar’s Shah Jahan in 1945, penning the last classic by K L Saigal “Jab dil hi toot gaya”.
Majrooh Sultanpuri was born Asrar Hussain Khan in Sultanpur, Uttar Pradesh, the son of a police constable on October 1,1919. After studying Persian in Aligarh, He then joined Lucknow’s Takmeel-ut-Tib College of the Unani (Greek) System of Medicine. He was an established ‘Hakim’ when he happened to recite one of his ghazals at a mushaira in Sultanpur. The ghazal was extremely well received with the audience and Majrooh decided to drop his prosperous medical practice and begin writing poetry seriously.
When he came to Bombay he got the break in 1946 film Shahajehan starring K L Saigal and the immortal song he wrote in that film was Jab Dil hi Toot Gaya..He subsequently did films like Natak (1947)Doli (1947) and Anjuman (1948) but his major breakthrough was Mehboob Khan’s immortal love triangle, Andaz (1949), with hit songs like Tu Kahe Agar, Jhoom Jhoom ke Naacho Aaj, Hum Aaj Kahin Dil Kho Baithe, Toote na Dil Toote na and Uthaye Ja Unke Situm.
Majrooh Sultanpuri worked with all the top music directors of the day – Anil Biswas, Naushad, Madan Mohan, OP Nayyar, Roshan and Laxmikant Pyarelal, his associations with SD Burman and later were with RD Burman stand out.In fact he introduced R D Burman to Nasir Hussain for Teesri Manzil.
He  was part of the formidable quartet of lyricists that ruled Hindi Cinema in the 1950s and early 60s, the others being Sahir Ludhianvi, Shakeel Badayuni and Shailendra. Majrooh Saab’s career, spanning over five decades, saw him writing wonderful lyrics for well over 300 films, many of them extremely successful at the box office.
Majrooh Saab was the first film lyricist to be awarded the Dadasaheb Phalke Award for his invaluable contribution to Indian Cinema. He has also been a recipient of the Iqbal Samman from the Madhya Pradhesh Government, the Sant Gyaneshwar Puraskar of the Maharashtra Government and an award from the Maharashtra State Urdu Academy for Ghazal, his collection of Urdu Ghazals. But perhaps the biggest injustice to his writing came from Filmfare which awarded him the Best Lyricist Award just once – for Dosti (1964)!He passed away in Mumbai on May 24, 2000. Among the last films he wrote for was the Shah Rukh Khan starrer One Two ka Four released after his death in 2001.
My Fav Songs of Majrooh Sultanpuri
Song from Shahjehan 1946


Song from Andaz, 1949


Song from Arzoo (1950)


Song from Footpath (1953)


Song from Aar Paar (1954)


Song from C. I. D. (1956)


Song from Solva Saal (1958)


Song from Kala Pani (1958)


Song from Sujata (1959)


Song from Chalti Ka Naam Gaadi (1959)


Song from Baat Ek Raat Ki (1962)


Song from Aarti (1962)


Song from Dosti (1964)


Song from Teen Devian (1965)


Song from Teesri Manzil (1966)


Song from Mamta (1966)


Song from Pakeezah (1972)


Song from Yaadon Ki Baarat (1973)


Song from Qayamat Se Qayamat Tak (1988)