Showing posts with label immortal songs. Show all posts
Showing posts with label immortal songs. Show all posts

Tuesday, 16 June 2020

Hemant Kumar- Aap Ko Hamari Kasam Laut Aiye


 Every distinguished creative artiste is born with one gift, but, Hemantda was born with several gifts. As a singer, he reigned supreme in Calcutta and Bombay. From "Naagin", "Jaal" to "Bees Saal Baad" and the '50s and '60s were decades that 'belonged' prominently to the unique talents of Hemant Kumar.
He started in Bollywood as a singer, turned into a composer, and later a producer and director. His first Hindi film as a composer was the 1952 film "Anand Math".
The music of Anand Math (1952) was a moderate success. Perhaps, the most notable song from this movie is 'Vande Mataram' sung by Lata Mangeshkar, which Hemanta set to a marching tune. Hemanta Kumar gained popularity in Mumbai as a playback singerHis songs play backed for Dev Anand under music director S D Burman in movies like Jaal ("Yeh raat, yeh chandni phir kahan ... "), House No. 44 ("Chup hai dharti, chup hai chand sitare... "), Solva Saal ("Hai apna dil to awara ..... "), Funtoosh ("Teri duniya mein jeene se ... "), and Baat ek raat ki ("Na tum hame jaano ..... "), became very popular.
He became popular as a composer after the release of "Nagin" in 1954 which became a major success owing largely to its music. He received the prestigious Filmfare Best Music Director Award for this film in 1955.his classic ‘been’ music in the song “Man Dole Mera Tan Dole" is now immortal.
In the late 1950s, Hemanta ventured into movie production under his own banner: Hemanta-Bela productions. The first movie under this banner was a Bengali film directed by Mrinal Sen, titled Neel Akasher Neechey (1959). Latter he made films in Hindi, his production company was renamed Geetanjali productions and it produced several Hindi movies such as Bees Saal BaadKoharaBiwi Aur MakaanFaraarRahgir,  and Khamoshi — all of which had music by Hemanta Da. Only Bees Saal Baad and Khamoshi were major commercial successes.
1962 was a special year for him, The music of Bees Saal Baad and Saheb Biwi aur Ghulam became very popular. Hemanta Da pulled out all stops for a score that ranks as one of the ten best ever composed for the Hindi cinema. Between them, Geeta Dutt and Asha Bhosle created a universe of pain and romance in Sahib Biwi Aur Ghulam. From Geeta Dutt's 'Na Jao Saiyyan..' to Asha'a 'Bhanwara Bada Naadan Hai..', each song stuns each note cuts deeply in Sahib Biwi Aur Ghulam.
Hemant Kumar was also remained connected with Bangla Films throughout his career, in fact, he was very busy there in the late 60s and 70s. He remained the foremost exponent of Rabindra Sangeet, film and non-film songs. His output continued to be popular for most of the decade. Some of them are Jodi jante chao tumi... (1972), Ek gochha rajanigandha , Aamay prasno kore nil dhrubatara..., Sedin tomay dekhechilam... (1974), Khirki theke singho duar... (Stree, 1971), Ke jane ko ghonta... ( Sonar Khancha, 1974), Jeona daraon bandhu... ( Phuleswari, 1975 ) and popularised Rabindra sangeet using them beautifully in films as per situations. A very popular and classic example is the song Chorono dhorite diyogo amare.. in Dadar Kirti(1980). 
In 1980, Hemanta had a heart attack that severely affected his vocal capabilities, especially his breath control. After that, he composed music for a handful of Bengali movies and one Bengali and one Hindi tele-series.In 1987, he was nominated for Padmabhushan which he refused politely.
In September 1989 he traveled to DhakaBangladesh to receive the Michael Madhusudan Award, as well as to perform a concert. Immediately after returning from this trip he suffered another heart attack on 26 September and died at 11:15 pm in a nursing home in South Calcutta.
With him, an era ended, but Hemant Kumar can never be forgotten. His music will live on for another 100 years. “Beqaraar Karke Humein Yun Na Jaaiye, Aap Ko Hamari Kasam, Laut Aiye"
Song of Anandmath 1951


Song of Sazaa 1951


Song from Patita (1953)


Song from Shart (1954)


Song from Nagin (1954)


Song from Jhanak Jhanak Payal Baje (1955)


Song from House No. 44 (1955)


Song from Pyaasa (1957)



Song from Solva Saal (1958)



Song from Kabuliwala (1961)



Song from Anupama 1966



Song from Khamoshi 1969


Song from Bees Saal Baad 1963











Saturday, 13 June 2020

Story Behind the Song "Chalo Dildar Chalo"


This immortal song from Pakeezah(1972) was originally a solo sung by Lata Mangeshkar, intended for use as a dancing number, the fascinating solo version was cut from both the film and record released, later a romantic version, a duet was recorded. You may have noticed it or not, Rafi sab has sung but just a single line in it which is the Mukhda. Amazing how a single line sung by Rafi sab had made it an immortal Rafi song.
This was the only song in this film having a male voice. All the other songs were female solo. The music of this film was given by Ghulam Mohammad. He composed a total of 15 songs for the film out of which only six were used. The remaining songs were released in 1977 in an album called "Pakeezah Rang Barang". This album was released exclusively by Saregama in 1977.
This film took 16 years to complete. The mahurat of the film happened on July 16, 1956, and the film got released in Feb 1972. The music of the film was recorded by the end of 1959. Kamal Amrohi wanted this film to be a musical so 15 songs were recorded earlier.
The shooting of the film was halted in 1964 due to mutual differences between lead heroine Meena Kumari and her director-husband Amrohi. In 1968, the composer of the film passed away. So, when the film was revived in 1969, Naushad was roped in to complete the background music for the film. Many exhibitors suggested Kamal Amrohi change the music according to the then-popular trend and style. To this Amrohi said that he would have readily done this if only Ghulam Mohammed was still alive but now he cannot betray a man, who gave him such melodious songs, after his death. So he kept his music intact but used fewer songs as planned to keep up with the fast-changing trend.
In 1969 the shooting of the film resumed after a gap of five years. By this time Meena Kumari's health got deteriorated. She was suffering from Liver Cirrhosis. Few songs were yet to be picturized. Her condition became so bad that during the filming of the grueling emotional Mujraa “Teer-e Nazar,” Meena Kumari collapsed.  Keeping in mind her medical condition, a body double was brought. Actress Padma Khanna played her body double in this song as she was an adept Kathak dancer which was an urgent requirement of the song. Meena Kumari personally trained her for the scene, and the song was filmed with the majority of the dancing done under a veil in order to hide her face. 
Similarly in this song too Padma Khanna acted as Meena Kumari. Her face was actually never shown in the song.
Song of Pakeezah 1972




                    Chalo Dildar Chalo - Lata Solo version not in the film


Wednesday, 20 May 2020

Suhana Safar Aur Yeh Mausam Haseen - The song that was kept on Hold


This song remains one of the most popular songs of Madhumati, released in 1958. The Madhumati soundtrack features eleven songs composed by Salil ChowdhryShailendra wrote the lyrics The soundtrack of Madhumati became the best-selling Bollywood soundtrack of 1958. This remains one of the personal favorite songs of Mukesh.
Suhana Safar Aur Ye Mausam Haseen is one of Hindi cinema’s greatest musical scores. An anthem in praise of natural beauty. Mukesh’s inimitable voice emanates the joy with a fantastic echo effect. Salil Chowdhury utilized this quality so adeptly in this composition that listening to it one feels like none but Mukesh could have rendered this song. Charming its way into people’s hearts and rightly securing his position in the league of legends.
It is said that Dilip Kumar, the hero of the film wanted this song to be sung by Talat Mahmood but Talat himself declined to sing saying Mukesh needed that break much more than him, Mukesh was not getting songs during those years and that he was hard up for money.
There is another story behind this song, that Shailendra who was the lyricist for this song couldn’t find a suitable line to follow this particular one “Ye Gori Nadiyon Ka Chalna Uchhal Kar”. So the song was kept on hold for quite some time till one day, he happened to chance upon a little girl who was crossing a lane and singing to herself. This inspired him to write the next line “Ki Jaise Alhad Chale Pee Se Mil Kar”. He immediately went to Salil Da's home and completed the full song. Shailendra has used words like ‘Alhar’, which is seldom used in film songs and it is north Indian rooted word, generally used by village and small-town folks.
Along with the composition of the song and its picturization; the lyrics were unique. Describing the movement of rivers, 
Unlike other films, shot indoors, Roy decided to shoot Madhumati outdoors and at a hill station. It had a six-week schedule in Ranikhet, Nainital. Some scenes were shot in Ghorakhal, near Nainital. In those days there were no monitors, so when the negatives were developed, it was found that most of the footage was foggy. Since a reshoot in far-away Uttarakhand wasn't possible, sets were created near Vaitarna Dam, Igatpuri, near Nashik. Art direction team, led by Sudhendu Roy, created fake pine trees, which were planted to matched the location in Nainital.
Song of Madhumati 1958

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".

Saturday, 9 May 2020

Talat Mahmood- The Singer, who gave us many Immortal Songs.


Talat Mahmood, the legendry singer of the Golden Era died on 8th May 1998 has given many Immortal songs to us. Although his peak barely spanned a decade, he has produced some of Bollywood's most treasured songs.  This accomplishment has earned him a place in our hearts and souls for all time to come.
Talat’s impeccable command over Urdu was the flavor of the films. Top music directors of that time were giving him songs. The first song he sang for Dilip Kumar was "Milte Hi Ankhe Dil Hua Deewana Kisi Ka" a duet from Babul 1950. He gave playback to all the big stars of that era such as Dev Anand, Raj Kapoor, Shammi Kapoor, and Sunil Dutt 
 His big break came with the song Ae dil mujhe aisi jagha le chal jahan koi na ho composed by music director Anil Biswas for the soundtrack of the movie Arzoo. The song proved to be extremely popular.
After Babul, he sang for Dilip Kumar in the 1951 film Tarana, the song "Seene Mei Sulagte Hai Arman" became super hit. The same year another song from Madhosh " Meri Yaad Mein Na Tum Aanso Bahana" also became hit.His voice was now being appreciated by all, most of the music directors were now giving him a chance. In 1952 he sang in 26 films, the songs of Daag and Anhonee became super hit. He sang for the first time for Raj Kapoor, this song" Mein Dil Hoon Ek Arman Bhara" is an immortal song.
Though he sang for Dev Anand in 1951 film Nadaan,"Aa Teri Tasvir Bana Loon"but the 1953 song "Andhe Jahan Ke Hum Hain" became hit. The same year "Sham-E-Gham ki qassam" for Footpath and "Zindagi dene wale sun" for Dil E Nadaan were a massive hit.
In 1954 he again sang for Dev Anand in Taxi Driver, the song  "Jayen to jayen kahan" became immortal and one of his greatest hits.
Talat sang approximately 800 songs spread over 4 decades spanning between the 40s and 80s Here I am posting a few of his immortal songs



Song of Arzoo 1950



Song of Baabul 1950



Song of Taraana 1951



Song of Madhosh 1951



Song of Daag 1952


Song of Anhonee 1952



Song of Foothpath 1953



Song of Dil-e-Nadaan  1953


Song of Taxi Driver  1954


Song of Baradari  1955



Song of Yasmeen  1955



Song of Dekh Kabira Roya 1957



Song of Sujata  1959


Song of Chhaya 1961



Song of Jahan Aara 1964






Tuesday, 5 May 2020

Naushad- The Classical Genius


Naushad (25 December 1919 – 5 May 2006 ) started as an independent music director from the 1940 film Prem Nagar. He made the Hindi songs popular by mixing UP and Bihar folk music with Indian classical music. It was in 1946 he got the superstar status with the two immortal songs from the film Anmol Ghadi.
The simple melody in Raag Pahari in the voice of Noorjehan " Jawan Hai Mohabbat" and the duet of Noorjehan and Surendra"Awaz Do Kahan Ho" mesmerized the music lovers. In the same year, K L Saigal gave one of his immortal songs "Jab Dil Hi Toot Gaya" under his composition in Shahjehan (1946) in Raag Bhairavi.

His classical genius was the 1952 film Baiju Bawra in which he used the voices if the great Ustad Amir Khan and D V Palusjar. The climactic contest between Tansen and Baiju Bawra in the royal court of Mughal emperor Akbar demanded music of the highest finesse to exemplify the capabilities of these historical legends. Naushad introduced classical music with deft handling, making it melodious for mass appeal and yet retaining enough artistry as the situation demanded. 
There could not have been a better composer than Naushad Ali to make this film an unforgettable feature of Indian cinema. The music in “Baiju Bawra” is divine! It is, in fact, the soul of the film.
There are many moments in “Baiju Bawra” when the contribution of Naushad emerges the strongest point of the movie. Mohammad Rafi, lyricist Shakeel Badayuni and Naushad leave you in a trance with the all-time great number “Man tarpat hari darshan ko aaj”. Rafi had reportedly confessed to this being one of the toughest songs of his career as a demanding Naushad sought perfection from the legendary singer.

Raag Pahari, Raag Darbari, Raag Yaman, and Bhairvi were few of his favorite ragas. Many immortal songs in this raga were composed by him. Right from composing Rimjhim barse badarwa in raga Pahadi in film Rattan effortlessly rendered by Zohrabai Amabalewali, Naushad emphasized the durable value of classical mores.
His most durable composition Suhani raat dhal chuki was shaped in Pahadi and was from film Dulari made in 1949 that became legendary and is still considered an integral part of any singer’s repertoire in any musical gathering. 
His other popular number in Pahadi was Tod diya dil mera composed for film Andaz in 1949 and rendered by Lata Mangeshkar. Naushad also utilised Pahadi to create an amazingly profound tune Marna teri gali mein for film Shabab in 1954 sung by Lata 
Naushad was very mich fascinated with Bhairavi He tuned his very fine number Jab dil hee toot gaya in raga Bhairavi in a manner that this raga became his signature tune as Naushadian Bhairavi.
The quality of Naushadian Bhairvi is that it is immediately recognizable. It is amply reflected in his beautiful compositions such as Tu Ganga ki mauj mein for film Baiju Bawrarendered by Rafi that became the standard-bearer for flowing rendition based on classical ragas. Another of his hit songs was Toote na dil toote na picturised on Dilip Kumar in Andaz in 1949 and sung by Mukesh,
In Raag Yaman he composed Jaane wale se mulaqat na hone payee sung by Lata and composed for Mehboob Khan’s powerful drama Amar released in 1954 and later in Mughal-e-Azam, the song once again sung by Lata Mangeshkar "Humein kash tum se mohabbat na woti, "
A Great Trio. of Naushad, Rafi, and Shakeel Badayuni

Two immortal songs in Raag Darbari were created "Beech bhanwar mein aan phasaa hai dil ka safeenaShah-e-Madina, for film Dard in 1947 for Surraya to render it and another by Mohammad Rafi "O dunya ke rakhwale" for 1952 film Baiju Bawra .
Naushad composed two sequentially modulating numbers in rather unconventional raga Jaijaiwanti This song"Hum aaj kahin dil kho bethe poignantly sung by Mukesh for the 1949 film Andaz and the other great song Mohabbat ki rahon mein chalna sambhal ke composed in 1955 for film Uran Khatol a that was playfully performed by Rafi.
One of the exceptionally brilliant compositions of Naushad, Madhuban mein radhika naache re, famous for an excellent Sitar sequence, for film Kohinoor in 1960 was laid out in raga Hameer, which is very rarely used for light music.
These are a few Raag based songs that made Naushad the Classical Genius but in the end, I must mention the song that made Mohammad Rafi a great "Man tarpat hari darshan ko aaj, a complicated semi-classical composition based on raga Malkauns for film Baiju Bawra released in 1952. 
Song of Rattan 1944



Song of Anmol Ghadi 1946



Song of Anmol Ghadi 1946



Song of Shajehan 1946



Song of Shajehan 1946



Song of Dard 1947



Song of Dulari 1949



Song of Dulari 1949



Song of Andaz 1949



Song of Baiju Bawra 1952



Song of Baiju Bawra 1952



Song of Baiju Bawra 1952



Song of Uran Khatola 1955



Song of Mother India 1957


Song of Kohinoor 1960



Song of Mughal e Azam 1960










Saturday, 25 April 2020

The Story Behind the Song" Lag Ja Gale"


This iconic song from the 1964 film "Woh Kaun Thi" was almost not recorded. Madan Mohan had composed the song with great care for a haunting romantic situation in the film but the  Director of the film Raj Khosla didn't like the tune, so he rejected it.
Madan Mohan, who was very sure that this song could be one of his immortal songs approached Manoj Kumar, the hero of the film to request Raj Khosla to listen to the tune once again. Manoj Kumar Kumar, who appreciated the tune too felt that this could be a memorable song.
When the second time this tune was played, Raj Khosla got bowled over by the composition. He immediately approved it. He wondered, how could he reject this song. 
This song was written by Raja Mehdi Ali Khan sung by Lata Mangeshkar was recorded in 1963. When the film released, this song was not as popular as today. You would be surprised to note that this song was not among the top 32 songs of the 1964 Binaca Geet Mala final. Two other songs(Naina Barse andJo Hamne Daastan )of this film were on that list, not this one.
There are many songs who are liked and become popular with the passing of time. This song is one such exceptional and inimitable. This song remains one of the favorite songs of Lata Mangeshkar.
The song has not only stood the test of time but has time and again been used by Bollywood and other to accentuate an emotional note in several films, in 1966 the tune of this song was kept in a Tamil film Yaar Nee, a remake of Woh Kaun This, this song was picturized on Jatyalalitha sung by Sushila.In the same year the Telugu movie Aame Evaru, it is rendered as "Andala ee reyi". Even contemporary ones like Karan Johar’s Ae Dil Hai Mushkil to the new Saheb Biwi Aur Gangster 3.this song is used, sung by different singers, the tune remains the same.
There are many versions of this song now available on Youtube. Very recently a video of this song sung by e years old toddler went Viral over social media,I present all the versions here including the original.
Song of Woh Kaun Thi 1964



                             Lag Ja Gale | Tamil Version 



Lag Ja Gale by 2 years child


Lag Ja Gale  (Acoustic) Sanam

                          

Lag Jaa Gale from Sahib Bibi Aur Gangster 3

                                        


Lag Jaa Gale from Ai Dil Hai Mushkil


Lag Jaa Gale  by Various Artists (Who Sang It Better?)

                                           

Lag Ja Gale by Anuradha Paudwal



Lag Ja Gale by Shreya Ghoshal










Thursday, 23 April 2020

Shamshad Begum- Unique voice and style



Her unique voice and style of singing set her apart from contemporaries such as Geeta Bai, Amirbai Karnataki, Lata Mangeshkar and Asha Bhosle. She sang some of Hindi cinema's best-loved numbers between the 1940s and 1950s.
She was one of the first playback singers in the Hindi film industry and voice behind hit songs like 'Mere Piya Gaye Rangoon', "Meri jaan...Sunday ke Sunday" 'Kabhi Aar Kabhi Paar ' and 'Kajra Mohabbat Wala '. She captivated the hearts of her listeners with the enchanting depth of her voice.
 Shamshad Begum( 14 April 1919 – 23 April 2013 ) was at the peak of her career right from 1941 to 1955 and was the most in-demand female singer and highest-paid female playback singer. It was the composer Ghulam Haider who took her to Bombay in 1944 for singing in the Hindi films. Before this, she sang for Punjabi film Yamla Jatt in 1940. Haider used her voice skilfully in some of his earlier films such as Khazanchi (1941) and Khandan (1942). After partition, Haider moved to Pakistan but Shamshad Beghhum stayed in Bombay. She sang for other music directors like  Naushad AliO. P. Nayyar, C Ramchandra and S. D. Burman who were emerging. It was Begum's solo and duet songs sung for Naushad in the late 1940s and early 1950s which made Naushad famous.
In this blog, I am taking some of her hit songs under the music direction of Naushad.
The first song under Naushad was from the 1946 film Shahjehan 
Song of Shahjehan 1946


Song of Mela (1948)


Song of Anokhi Ada (1948)


Song of Chaandni Raat (1949)


Song of  Dulaari (1949)


Song of  Baabul (1950)


Song of  Deedar (1951)


Song of  Jadoo (1951)


Song of  Aan (1952)


Song of  Mother India (1957)

Her last song for Naushad was the iconic qawwali-muqaabala – Teri mehfil mein kismet aazma kar hum bhi dekhenge (Mughal-e-Azam , 1960).


Song of Mughal-e-Azam , 1960