This BLOG is about the Past of Hindi Films Specially Black and White Cinema We will refresh your memories by bringing out forgotten or unseen songs and clippings of film scenes We will try to give you as much information as we gather from our research.
This Blog was started as a one-man’s passion for film history but has now become an addiction for many music lovers who are equally passionate about Hindi films
Showing posts with label playback singer. Show all posts
Showing posts with label playback singer. Show all posts
Meena Kumari (1 August 1933– 31 March 1972) who is known as Tragedy Queen of Bollywood was not only an ace actress but also a singer and a poet. She started her career as a child artist.In an interview given in 1962, Meena Kumari explained that the fact she had been supporting her parents from the age of four gave her immense satisfaction. Director Vijay Bhatt cast her in the film Leatherface and on the first day she was paid Rs. 25. She appeared in many films as a child artist In 1941 Mehboob Khan took her in his film "Bahen" as a child artist and also got her sing for the first time in the films. As a heroine, she rendered her voice to songs from films like Duniya Ek Sarai (1946), Piya Ghar Aaja (1948), Bichchade Balam (1948)and Pinjre Ke Panchhi (1966). She also sung for Pakeezah (1972), however, the song was not used in the film and was later released in the album Pakeezah-Rang Ba Rang (1977). In this blog, I am posting the songs Meena Kumari sang for herself.
Not many of us remember her today but once she was among the topmost singers of Bollywood. She sang for 100 films, till the early 1950s. She is best known for her songs, "Sun Bairi Baalam Sach Bol Re" in Bawre Nain (1950), "Ghabaraa Ke Jo Hum Sar Ko Takraayan" in Mahal (1949) and "Najariya Ki Maari" in Pakeezah (1972). She was just 10 years old when she recorded her first song for HMV in 1934 and she started her career as a stage artist. Vijay Bhatt and Shankar Bhatt of Prakash Pictures spotted her during one of her shows. Her first film with them was a Hindi-Gujarati bilingual called Sansar Leela Nayi Duniya. She got important roles in films like Aankh Ka Tara and Turki Sher (1933). She was the heroine in Bhakt Ke Bhagwan and Insaaf Ki Topi (1934). She also used to sing for popular music director Lallubhai. He gave music to films starring Rajkumari ji like Nai Duniya, alias Sacred Scandal (1934) (Sansaar Leela in Gujarati version), Laal Chitthi, alias Red Letter (1935), Bombay Mail (1935), Bambai Ki Sethaani (1935) and Shamsheer-e-Arab (1935). She sang many duets with G M Durrani. The 1942 film Nai Duniya had many duets of Rajkumari and G M Durrani. Nai Duniya was a 1942 Bollywood film directed by Abdul Rashid Kardar and starring P. Jairaj, Shobhana Samarth, and Mazhar Khan. Suraiya sang her first song; "Boot Karun Mai Polish, Babu" with Naushad as M.D. in this film. Rajkumari had a soft and very sweet voice with a small range. She sang quite a few songs with Mukesh. She did not get much opportunity to sing with Mohammed Rafi – mainly because Lata Mangeshkar was a fast upcoming singer at the time. She sang with Noor Jehan in Naukar (1943). She never sang with K. C. Dey, but she did sing songs composed by him, as well as his nephew, Manna Dey. Rajkumari was married very late in life. Her husband was V.K. Dubey who was from Varanasiwhere he spent a lot of his time (because he owned a shop there), while she settled in Bombay. He later joined her in Bombay. Rajkumari Dubey died in 2000. Her last song was with R D Burman for the 1977 film Kitab.
Amirbai Karnatki (19 Feb 1906 – 3 March 1965), was a famous actress/singer and playback singer of the early Hindi cinema She was a singing star of the late 30s and 40s.In 1943, with the release of Bombay Talkies' Kismet (1943 film), she achieved popularity: the songs of Kismet became a rage and Amirbai became famous. Mahatma Gandhi was an ardent fan of her song Vaishnav Jan To. She was fluent in Kannada (mother tongue) and Gujarati languages. "Mahre te gamray ek baar aawjo" is one of her famous Gujarati songs from the film Ranrakdevi. She was not a trained singer but during the 1940s, Amirbai became one of the most sought after singers. She reached her career peak by 1947. There was a time. when other singers used to get Rs. 500 for singing a song, Amirbai used to get Rs. 1000 per recording. Those days she avoided taking acting roles and concentrated more on her singing.
After 1947, Lata Mangeshkar became a rising star, so once again Amirbai switched over to acting. In her later years, she mostly played character roles. Amirbai also composed music for Wahab Pictures' film Shehnaaz (1948). In the same year, she almost left Hindi Cinema for Gujarati and Marwari films.
She had a paralytic attack in 1965, died just four days later and was buried in her hometown. A cinema hall is still run in the name of "Amir Talkies" in the city of Bijapur, by her family.
Mohammed Rafi (24 December 1924 – 31 July 1980) is considered as one of the greatest and most influential singers of the Indian subcontinent.He was known for his ability to mold his voice to the persona and style of an actor, lip-syncing the song on screen in the movie. He has recorded songs for over a thousand Hindi films and has sung songs in various regional Indian languages as well as foreign languages, though primarily in Hindi-Urdu and Punjabi over which he had a strong command. In this blog, I plan to divide Rafi’s very long career into 10-year slots, look for a film that has his first association with the music director, and then pick up one solo song that seems to slip from our memories. 1944 to 1953 Rafi moved to Bombay, Maharashtra in 1944. His first recorded song in a Hindi film was a duet with G M Durrani "Aji dil ho kaabu mein to dildar ki aisi taisi...," for Gaon Ki Gori, As can be expected the first five-year period of Rafi had a very large number of music directors who deployed Mohammad Rafi first time.
Song of Gaon Ki Gori. 1944
Pandit Govindram, one of the then leading music director, teamed up with lyricist Ramesh Gupta for Hamara Sansar with what may be termed as a full-fledged 1st solo song. The experts may see that youthful rawness in Rafi’s voice but not in his singing prowess.
Muhammad Rafi 1st solo Song from Film Hamara Sansar 1945
Song of Hamara Sanar 1945
In 1946 S Quereshi another popular composer of that era composed a slightly fast-paced tune which is essentially in the nature of a traditional prayer. Shevan Rizvi has made required changes in the lyrics to suit the song to probably a 78-RPM
record singing length duration. In the years to come, Mohammad Rafi developed a special
forte for this genre.
Song of Arab Ka Sitara 1946
Song of Shahjahan (1946)
Composer Naushad took Rafi for the first time in a chorus with Shyam Kumar, Alauddin and others from the film" Pehle Aap." in 1944. In 1945, he appeared on the screen for the song "Tera Jalwa Jis Ne Dekha" in the film Laila Majnu. He sang a number of songs for Naushad as part of the chorus, including "Mere Sapnon Ki Rani, Roohi Roohi" with K. L. Saigal, from the film Shahjahan (1946). Rafi sang "Tera Khilona Toota Balak" from Mehboob Khan's Anmol Ghadi (1946) and a duet with Noor Jehan in the 1947 film Jugnu, "Yahan Badla Wafa Ka".
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Song of Anmol Ghadi (1946)
Song of Jugnu 1947
C Ramachandra has scored a double solo in Safar. Kehke Bhi Na Aaye Tum can be treated as one of the popular among Mohammad Rafi’s early songs.C.Ramchandra went onto
compose 22 more songs of Mohammad Rafi by 1949
Song of Safar 1946
Song of Safar 1946
S D Burman also opens an account with Mohammad Rafi solo in Do Bhai. Raja Mahendi Ali Khan’s lyrics have been done a very fair justice by Mohammad Rafi in the way the song has been rendered. S.D. Burman used Rafi as a singing voice of Dev Anand and Guru Dutt in the years to come.
Song of Do Bhai 1947
In 1948 composer Ram Ganguly had used Mohammad Rafi in the maiden Raj Kapoor film Aag, but that is a duet with Shamshad Begum – Solah Baras Ki Bhayee Umariya.
Song of Aag 1948
Hans Raj Behl has used Mohmmad Rafi for one solo and one duet (with Geeta Dutt) for Chunariya. This can be taken as first of the signature HRB-Rafi song, which seems to pave for fairly qualitative combined work in the years to come.
Song of CHUNARIYA 1948
Rafi's partnership with Shankar Jaikishan was among the most famous and successful in the Hindi film industry. Rafi sang his first song under Shankar Jaikishan in their Debute film Barsaat in 1949. This was the only song he sang in his movie
By the end of the year 1949, Mohammad Rafi became very popular among music directors and the public. The overall tally of Mohammad Rafi’s songs for the year 1949 is 121 songs, with 21 music directors, spread over 49 films.
Song of Barsaat 1949
In 1950, Mohammad Rafi had had 29 solos out of 108 songs He became a favorite of Naushad. This year another great music director Madan Mohan gave Rafi his first solo with him in the 1950 film Aankhen
Song of Aankhen 1950
The year 1951 has 26 solos from a total of 72 Mohammad Rafi songs. The year had Naushad switching over to Mohammad Rafi for background voice of Dilip Kumar and we have some of the top Mohammad Rafi songs in Deedar. Husnlala Bhagatram also has a twin solo for Mohammad Rafi in Afasana – Duniya Ek Kahani Re Bhaiya – which also was quite popular. Shankar Jaikishan has used Mohammad Rafi for special songs in RK’s Aawara, which is also going to be a very notable trend in itself.
Song of Deedar 1951
Another song by Mohammad Rafi for the film Janam Janam Ke Phere 1951 became very popular. The year, on the whole, seems to be the game turner in the career path of Mohammad Rafi.
Song of Janam Janam Ke Phere 1951
The year 1952 was the year of Baiju Bawra, Naushad gave a slew of Rafi hits in Aan and Baiju Bawra. For Deewana, Naushad had one of Rafi’s immortal "Tasweer Banata Hun Teri Khoon-e-Jigar Se."
The year 1952 had 80 songs to Mohammad Rafi’s account, of which 32 songs were solos.
Song of Deewana 1952
Song of Baiju Bawra 1952
The year 1953 had 31 solos songs of Mohammad Rafi out of a total of 71 songs. This year Salil Chaudhary made his debut with Do Bigha Zameen, Rafi was given one song in this film. Rafi also sang for O P Nayyar for the first time in Baaz.
Here is the song that can be said to be one more defining step in Mohammad Rafi’s career.
Jal Jal Ke Shama Ki Tarah Fariyad from the film Fariyadi 1953 composed by Baldev Nath Baali
The song is cast in what we know as Mohammad Rafi’s signature style for the songs of sad mood.
In the 60s and 70s, the world of ghazals was dominated by renowned names like Noor Jehan, Malika Pukhraj, Begum Akhtar, Talat Mahmood, and Mehdi Hassan but In the 70s a new voice appeared in Ghazals in India. It was Jagjit Singh with a different melody and freshness in his voice appealed to all and he was recognized by the industry. His pairing with Chitra and the use of unconventional musical instruments in the Ghazal and catchy rhythms and soulful music popularised Ghazals to the masses during the 70s and 80s. The couple's first Album " The Unforgettables" released in 1976 made them star in the ghazal Industry in India. It became the highest-selling album at a time when there was no market for non-film albums. The Unforgettables is also notable for one exceptional ghazal, Raat Bhi Neend Bhi, based on a Firaq Gorakhpuri poem. Chitra did not like the initial composition. Jagjit changed the tune and it became one of her most recognized solos in an album over which her husband towers with Baat Niklegi Toh Phir Door Talak Jayegi and Sarakti Jaaye Hai Rukh Se. Jagjit Singh touched unprecedented heights and a number of his songs are considered classics. He is also the first Indian musician to record a purely digital CD album, titled ‘Beyond Time’ (1987). Jagjit Singh has also sung many songs for Hindi movies. Popular films include Arth, Saath Saath, Premgeet, Tum Bin, Sarfarosh, Dushman and Tarkeeb. Jagjit Singh has proved himself as a genius as he brings out the true meaning of Mirza Ghalib's poetry by singing them as melodious Ghazals. The album can be easily called a masterpiece.
He was one of the pillars of the Golden Era of Hindi Music, he had his own style of singing and was different from other singers of his time. Mahendra Kapoor had a very large vocal range, and he is sometimes known as The Vibrant Voice of India. He was the first Indian playback singer to record music in English. He was asked by the group Boney M to sing their songs in Hindi with Musarat from Pakistan, which resulted in the Pop Album M-3. Mahendra Kapoor (9 January 1934 – 27 September 2008) was an Indian playback singer. Best known for the song MERE DESH KI DHARTI from Upkar.He started his career as a playback singer in V. Shantaram's Navrang in 1958, singing Aadha Hai Chandrama Raat Aadhi, under the musical direction of C. Ramchandra. At an early age, he was inspired by singer Mohammed Rafi but he started learning classical music under classical singers like Pt. Hussanlal, Pt. Jagannath Bua, Ustad Niaz Ahmed Khan, Ustad Abdul Rehman Khan and Pt.Tulsidaas Sharma. He is perhaps most notable for lending his voice to actor Manoj Kumar in most of his films, mainly in the patriotic genre of music.He was a favorite singer for B R Chopra's films. Some of the films of BR Chopra camp were Dhool Ka Phool, Gumrah, Waqt, Hamraaz, Dhund and Nikaah He sang in a large number of Indian languages and was the playback singer who has performed in the largest number of in Gujarati, Punjabi, Bhojpuri and Marathi movies. He also performed the title song for the TV series Mahabharat. In Marathi, he was very popular for being the voice of Dada Kondke in all his movies. In spite of being associated with Dada Kondke's colloquial style, his singing for Marathi movies was not limited to Dada Kondke's movies only. .He remained a respected and popular figure across his five-decade cinema career. During his singing career, he sang more than 2500 songs in various languages.In 1972, he was awarded the Padma Shri by the Government of India. On 27 September 2008, Kapoor died following cardiac failure. He was survived by his wife, children, children-in-law and grandchildren.
Manna Dey( 1 May 1919 − 24 October 2013), started his career in playback singing with the movie Tamanna, in 1942. The musical score was by Krishna Chandra Dey and Manna Dey sang a duet named "Jago Aayee Usha Ponchi Boley Jago" with Suraiya which was an instant hit. There he started working as an assistant music director first under Krishna Chandra Dey, and then under Sachin Dev Burman. Later, he assisted other music composers and then started to work independently. While working independently as a music director for various Hindi movies, In this blog, I have selected the first and rare duets of Manna Da with the great singers of that era. His duets with Amirbai Karnatki like "E Duniya Jara Sun Le" from Kamla (1946) and duet song "Aaj Bor Aayee" with Meena Kapoor from 1947 film Chaltey Chaltey became chartbusters in respective years. Between 1945–47 many Manna Dey-Rajkumari duets like "Hay Gagan Me Badal" in 1945 for the film Vikramaditya, "Aowji Morey" from Insaaf (1946), all 4 duets from the film Geet Govind composed by Pandit Indra – "Kit Ho Nando Kumar", "Chorr Sakhi Aaj Laj", "Apney Hi Rang", "Lalit Labang Lata" from Geet Govind became popular.
His first duet with the then-upcoming singer Lata Mangeshkar was "Lapat Ke Pot Pahaney Bikral" composed by Vasant Desai for Narsingh Avtar (1949), later with Lata Mangeshkar, Manna recorded around 103 Hindi duets of which songs like "Tere Bina Aag Yeh Chandni" from Awara, "Yeh raat bhigi bhigi" and "Aaja Sanam Madhur Chandni Mein" from Chori Chori, "Pyar hua iqrar hua" from Shree 420, "Woh Chand Muskaye" from Akhri Dao (1958), "Ritu aye", "Dil Ki Girah Khol Do" from Raat Aur Din (1966), "Aya Abdulla Aya" from Juaari (1968), "Soch Ke Ye Gagan Jhume" from the flop film Jyoti (1969) and "main buddho lambo lambo" of Buddha Mil Gaya (1971) were extremely popular.
He sang around 27 Hindi duets with Geeta Dutt from 1949 with the last being from Ziddi in 1964. The popular duets of Geeta Dutt-Manna Dey include both classical songs as well as those which have style of Twist dance, Rock & Roll, cha-cha-cha like "Aan aan milo" from Devdas, :O Mister Suno Ek Baat" from Agra Road (1957),His first duet with Geeta Dutt was "Dhonyo Dhonyo He Ayodh Puri" from the film Ram Vivah (1949) composed by Shankar Rao Vyas.
With Asha Bhosle, Manna recorded around 160 Hindi songs from 1953–1982 through their duets kept releasing till 1986 and their last song is sung together was in Teri Maang Sitaaron Se Bhar Doon(1982). Popular duets of Asha-Manna Dey include "Ye Hawa Yeh Nadi Ka" fromGhar Sansar(1958), "Tu chupi hai kahan" fromNavrang(1959), "Jodi Hamari Jamegi" fromAulad(1968), "Sanjh Dhali Dil Ki Lagi" fromKala Bazar(1960), "Aye Kash Chalte Milte" fromManzil(1960), "Na Tohh karvan Ki Talaash Hai" fromBarsaat Ki Raat(1960), "Jane Na Doonga" fromD In 1956, he sang with a new batch of singers. He recorded his first duets with Sudha Malhotra "Ghar Ghar Deep Jalao Re" from Ayodhyapati in 1956, with singer Meena Kapoor in the song "Rim Jhim Jhim Rim Jhim" from Pardesi (1957) composed by Anil Biswas. Manna Dey's duets with Suman Kalyanpur were very popular making them a celebrated team. Their first duet was "Prem Bada Balwan Jagat" from Maayaa Nagri (1957) composed by B.N.Bali and since then have sung around 45 songs together. Their popular duets include "Tum Jo Aao" from Sakhi Robin (1962) composed by Robin Bannerjee, "Dil Se Jo Baat" from Al Hilal (1958) composed by C.Ramachandra, "Na Jane Kahan" from Zindagi Aur Khwab (1963), "Ye Din Hai Khushi Ke" from Jab Se Tumhe Dekha Hai (1963) and "Bheegi Hawaon Mein" from Shriman Sataywadi (1960).
Among the male singers, he sang withMohd. Rafi He sang 101 Hindi songs along-with Rafi which include 58 duets with Rafi such as "Ishq Ishq" (Barsaat Ki Raat) "Tu hai mera prem Devta" (Kalpana), "Mama o mama" (Parvarish), Duniyaan ke liye from Maan Gaye Ustaad (1981), "Main Hoon Tera Prem Aur Tu Ho Meri Pran" from Rahu Ketu (1979), the song "Hindustan Ki Kasam" from Hindustan Ki Kasam (1973), "Hum To Tere Hai Deewane" from Johar Mehmood in Hong Kong, "Badey Miya Diwane" from Shagird, "Ye Do Diwane Dil Ke" from Johar Mehmood in Goa, "Agar Dil Dil Se" from Shola Aur Shabnam (1961).
His first duet with Kishore Kumar was "Subaho Ki Paheli Kiran" from 1951 film Anadolan composed by Pannalal Ghosh. They recorded only 6 songs together until 1968 and all proved to be hits, some of them being "Ye Duniya hai usaki nyari hai" from Sauraksha composed by Bappi Lahiri, "Ye Dosti humnai todenge" from Sholay, "Tubhi Piya Chikara Hoon" and "Tu Jaam Liye Jaa" from Bewakoof (1960), "Babu Samjho Ishaare" from Chalti Ka Naam Gaadi (1958) all three composed by S.D. Burman and "Baheta Pani Baheta Jaye" from Dhaake Ke Malmal composed by C. Ramachandra, "Joyo Joyo Mere Lal" composed by S.K. Pal in 1952 and the immortal song In 1968, R.D. Burman brought them together for "Ek Chatur Naar" in Padosan. The demand for Kishore-Manna Dey combination only grew after 1972. Their popular songs were "Mere Pyale Mein" from Aamir Garib (1974), "Is Ishq Mein Har" from Mr. Romeo (1974), "Yeh Dosti" from Sholay (1975), "Duniya Me Jeeney" from Naukri, "Kamal Hain" from Karz, "Phool Chaahiye Na" from Pyas (1982) and their last duet was in 1986 film Maqqar – "Tu Hi Mera Sapna". Salil Chowdhry compositions rendered by Dey from films like Ananad and Anadatta became popular as well. Also the trio of Rafi-Kishore-Manna Dey sang together hits like "Tujhme Ishwar, Allah Tujhme" from Nanha Farishta (1969) and "Band Mutthee" from Chalti Ka Naam Zindagi (1981). Kishore-Manna Dey together also sang with Asha in many films and famous among them are "Khan Chacha" from Dil Deewana (1974), "Aa Kitni Sundar Jagah" from Chandi Sona, both composed by R.D. Burman and with Lata in "Goyakechu Nanche" from Manoranjan (1974), "Logo Ke Juban Me Apna" from Nehla Pe Dehla, both composed by Pancham. Duet with Suraiya ( This is also the first recording of Manna De)
