#Best of Naushad Mohammed Rafi and Lata Mangeshkar

[bollywoodproduct]

Lyrics Bhula Nahi Dena Jee

Lyrics Bhula Nahi Dena Jee

Lyrics in English | Bhula Nahi Dena Jee | Bara-Dari-1955 | Mohammed Rafi, Lata Mangeshkar Bhula Nahin Dena JeeBhula Nahin DenaZamaana Kharaab HaiDaga Nahin Dena JeeDaga Nahin DenaBhula Nahin Dena JeeBhula Nahin DenaZamaana Kharaab HaiDaga Nahin Dena JeeDaga Nahin Dena…………. Pyar Ki MastiChhaayi Hui HaiPyar Ki MastiChhaayi Hui HaiNeend See Mujh KoAayi Hui HaiNeend Se DekhoJaga Nahi DenaZamaana…

[bollywoodirect]

Remembering Ustad Bade Ghulam Ali Khan Saab on his 117th birth anniversary. Bade Ghulam Ali Khan (2 April 1902 – 23 April 1968) was a Hindustani classical vocalist, from the Patiala Gharana. Though he started his career by singing a few compositions of his late father Ali Baksh Khan and uncle Kale Khan, Bade Ghulam amalgamated the best of three traditions into his own Patiala-Kasur style: the Behram Khani elements of Dhrupad, the gyrations of Jaipur, and the behlavas (embellishments) of Gwalior. Many of his raga expositions were brief contrary to convention and while he agreed that the beauty of classical music lay in leisurely improvisation, he believed that the audience would not appreciate long alaps and he had to sing for the masses and change the music to what the audience wanted. He excelled at more light-hearted ragas such as Adana, Bhupali, Hameer, Jaijaiwanti and Jaunpuri. Under the pen name of Sabrang he created many new compositions. Unlike his younger son Munawar Ali Khan, who had an open-throated voice, Khansahib's voice was slurred. After the partition of India in 1947, Bade Ghulam went to his hometown Kasur in Pakistan, but returned to India later to reside permanently there in 1957. With the help of Bombay Chief Minister Morarji Desai he acquired Indian citizenship and moved to a bungalow at Malabar Hill in Mumbai. He lived at various times in Lahore, Bombay, Calcutta, and Hyderabad. For a long time, he stayed away from singing in films despite requests and persuasions from well-known producers and music directors. However he was coaxed and convinced by film producer K Asif to sing two songs based on ragas Sohni and Rageshree for the 1960 film Mughal-e-Azam with the music directed by Naushad. He demanded and received an extremely high price, reportedly to the tune of Rupees 10,000 per song, when the rate for popular and star playback singers such as Lata Mangeshkar and Mohammed Rafi was below Rupees 500 per song at that time. He was awarded the Sangeet Natak Akademi Award and in 1962 the Padma Bhushan Award. He died at Basheerbagh Palace in Hyderabad on 23 April 1968 after a prolonged illness which left him partially paralyzed in the last few years of his life. He continued to sing and perform in public with the support of Munawar Ali Khan until his death.

[viralhai]

The Way We Were: Lata and the Dawn of the Playback Era - Art and Culture | ViralHai News [ad_1]

This theme is music, background score, soundtrack of our lives. The Hindi film song has been a part of our existence, seemingly forever. But you can actually put a date for it: 85 years ago, in 1935, the first playback song for Nitin Bose was recorded Curse six, By music directors RC Boral and Pankaj Mullick.

Previously, actors sang their own songs on the set, and musicians also played on the set - often hidden behind trees and other props! But not every star could sing, and in his book, Behind the Scenes: Making Music in the Film Studio of Mumbai, Gregory D. Booth, Auckland University Professor of Ethnomucology, quoted a letter to a film magazine in 1940, urging Ashok Kumar to "stop singing in pictures".

It took time to settle into playback singing, but 1947 was a turning point. India's best-known singing star KL Sehgal died earlier that year, and female singer of the reigning star Nur Jahan moved to newly-carved Pakistan, leaving behind a huge void. That void was filled by two singers who became playback legend: Lata Mangeshkar and Mohammed Rafi.

But it would be another two years before playback singers achieved independent fame and fantasy. In film lore that things have changed Palace in1949. Lata was not mentioned as a singer Will come, On the music record for that film; The film was credited to the standout song instead of the character Kamini played by Madhubala. Fans were attached to the name of the actual singer and the 'mistake' was corrected in the next batch of records. Subsequently, giving credit to playback singers became the norm.

In his 2015 book by American music professor Jason Beister-Jones, Bollywood Sounds: The Cosmopolitan Meditations of Hindi Film SongStates that the presence of playback singers' names on the recording was "the turning point when playback singing was fully accepted by Indian audiences".

In these years the foundation of lateral singing was laid; Born in the late '40s and early' 50s in the '50s, it is generally considered the golden age of Hindi film music. Shankar Iyer, a musician at Team Rewind, a group of corporate professionals who strive to showcase films as art, agrees that the '50s was the defining decade. But he adds, "The overall song composition evolved over the next two decades, as singers matured more in their styles, but also thanks to the beautiful orchestral arrangements that embellished the original melodies of the songs."

Along with Lata and Rafi, other revered singers have come into their own over the years: Mukesh, Talat Mahmood, Geeta Dutt. (Kishore Kumar and Asha Bhosle later gained their huge stardom.) And the lyrics were of exceptional poets like Shakeel Badayuni and Shailendra.

Playback singing meant that the songs were recorded in different locations, usually in advance, and released before the film, to promote it - a practice that continues to this day. Booth points to that lateral technology, as it separated the production of music from films, giving the Hindi film song an independent existence (often cited for the absence of a non-film musical culture in India).

The professional recording space cropped up in Bombay and music composers and what Iyer mentioned earlier became the film orchestra, perhaps the biggest pillar of Hindi film music. Goans and Parsis (both had a strong grounding in Western music, classical and popular) became the backbone of the film orchestra, even bringing their expertise in sitar, tabla and other Indian musical instruments.

Not like the nostalgic roll calls of these sparkling years: cellist Alfonso Albuquerque, guitarist Peter Sequeira, trumpet player chic chocolate, violinist Joaquim Menezes, jazz drummer Cavas Lord, Contestantist Gudi Cervei and many more.

These were busy years for musicians, as they stayed from recording to recording. Creators such as Naushad, SD Burman, C Ramachandra and Shankar-Jaikissen established their own orchestras, a system that would continue for decades, right up until the dawn of digital music in the 1990s. The classical, folk and western sounds merged into a spectacular blend, setting a pattern for years to come.

Perhaps it is not a coincidence that in the early years of nation-building, playback singing created a heart-warming landscape where everyone - not to mention singers, musicians, songwriters, orchestral musicians, directors and actors - worked together. Done, irrespective of region and religion. If it calls for a song, what could be more appropriate than the 1955 Mukesh number Shree 420: 'My jute is Japanese / Tu Pagla Inglitani / Sir Pe Lali Topi Rusi / Fer Bhi Dil Hai Hindustani. '

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[hookhumor67-blog]

25 Moods Of Asha Bhosle

She sung a song for every mood, every situation. Sukanya Verma dives into Asha Bhosle's magnificent repertoire and pulls out gems on her 85th birthday.

The difference between a good singer and a great singer is that one sticks to the tune while the other brings it to life.

From the era of black-and-white to colour to 3D, the matchless Asha Bhosle has breathed life into thousands of magical songs for numerous decades and regaled us with her endless energy and mastery of sur and taal.

Her inimitable voice -- be it as the heroine, vamp or supporting actor -- is responsible for countless memorable moments on the big screen and off it. Truly, her rare gift has produced a song for every emotion, occasion and ambience.

One of India's most loved voices turns 85 on September 8. Rediff.com celebrates the legendary songstress and her astonishing versatility with a compilation of 25 songs that bring to life various moods and set-ups.

Aiye Meherbaan, Howrah Bridge (1958) Mood: Seductive Music: O P Nayyar

Asha Bhosle livens up the atmosphere with her sensual rendition of this timeless sizzler from Shakti Samanta's black-and-white mystery.

Bhanwra Bada Madaan, Sahib Bibi Aur Ghulam (1962) Mood: Playful Music: Hemant Kumar

Known to modulate her voice to match a song's feel, the singer is at her animated best when she conveys the liveliness of Shakeel Badayuni's lyrics.

Chura Liya Hai Tumne, Yaadon Ki Baarat (1973) Mood: Romantic Music: Rahul Dev Burman

Despite the overexposure, there's much affection and elegance in Asha's admission of love in this chartbusting number from Nasir Hussain's lost and found musical.

Justuju Jiski Thi, Umrao Jaan (1981) Mood: Heartbroken Music: Khayyam

While a misty-eyed Rekha expresses the pathos of the ill-fated courtesan on celluloid, Asha Bhosle exudes her heartfelt agony behind it.

Sabarmati Ke Sant Tune Kar Diya Kamaal, Jagriti (1954) Mood: Patriotic Music: Hemant Kumar

The celebrated singer pays a rich tribute to the Father of the Nation in this melodious creation of Satyen Bose's National Award-winning feature film.

Parde Mein Rehne Do, Shikar (1968) Mood: Mysterious Music: Shankar-Jaikishan

The Padma Vibhushan recipient gets all secretive and guarded while teasing her listeners with a guessing game of concealed identities that is picturised on her namesake, Asha Parekh.

O Mere Sona Re, Teesri Manzil (1966) Mood: Appeasing Music: R D Burman

The two Ashas come together yet again to kiss and make up with their sulking sona -- Shammi Kapoor -- in Vijay Anand's deft whodunit.

Chanda Re Chupe Rehna, Lajwanti (1958) Mood: Maternal Music: Sachin Dev Burman

Asha Bhosle is the sound of motherly love delivering a soothing lullaby, lip-synced by Nargis in this sentimental drama about an estranged maa-beti.

Jawani Jaaneman, Namak Halal (1982) Mood: Glamorous Music: Bappi Lahiri

Nobody blends sophistication and siren quite like Asha Bhosle. And that's exactly what the queen of flamboyance does with this snazzy Bappi beat.

Piya Tu Ab To Aaja, Caravan (1971) Mood: Anxious Music: R D Burman

At a time when women were portrayed as prudishly prim, Asha Bhosle not only acknowledges the aggressively sexy possibility of Monica but gives her a sensational twist, on par with Helen's on screen bravado in this no-holds barred cabaret treat.

Dum Maaro Dum, Hare Rama Hare Krishna (1971) Mood: Hippie Music: R D Burman

Nothing explains the wild aura of the 1970s better than Asha Bhosle's free-spirited rendition of the gypsy soul in RD's equally tantalising arrangement.

Khaali Haath Shaam Aayi, Ijaazat (1987) Mood: Melancholic Music: R D Burman

The pitch-perfect disappointment in Asha's rendering of the serene albeit sad notes of Khaali Haath communicate the loneliness in a hopeless situation perfectly.

Deva Ho Deva Ganpati Deva, Humse Badhkar Kaun (1998) Mood: Devotional Music: Raam-Laxman

Asha Bhosle collaborates with Mohammed Rafi, Shailendra and Bhupinder to celebrate the grand festival of Ganesh Chaturthi in this popular song from a long forgotten Mithun Chakraborty-Ranjeeta potboiler.

Tum Kitne Din Baad Mile, The Great Gambler (1979) Mood: Peeved Music: R D Burman

Do Lafzon may be the most popular on the soundtrack but Asha shows off her awe-inspiring range while letting off steam, anger and sarcasm in Tum Kitne dDin Baad Mile.

Jaane Jaan O Meri Jaane Jaan, Sanam Teri Kasam (1982) Mood: Party-hopper Music: R D Burman

RD's foot-tapping score was easily the USP of this typical poor boy-rich girl romance starring Kamal Haasan and Reena Roy.

And the husband-wife team burns the floor effortlessly with this East-West fusion leaving you a-ha, ha, ha-ing for more.

Nahi Nahi Abhi Nahi, Jawani Diwani (1972) Mood: Shy Music: R D Burman

Asha has this rare ability to act out the emotions of a scene within the song. And for this catchy number featuring Jaya Bachchan (then Bhaduri), the singer is delightfully demure as she resists the hero's eager advances.

Aao Huzoor Tumko, Kismat (1968) Mood: Drunk Music: O P Nayyar

Asha Bhosle humors Babita's intoxicated state and has fun with it to convey a lack of inhibition and control in this memorable ditty from Manmohan Desai's stable.

Yeh Saaye Hain, Yeh Duniya Hai, Sitara (1980) Mood: Reflective Music: R D Burman

Yahan Saare Chehre Hain Maange Hue Se... With grace and skill, a subdued Asha Bhosle brings life to Gulzar's insightful poetry about the emptiness that underlines the hustle bustle of show business.

saare Niyam Tod Do, Khubsoorat (1980) Mood: Rebellious Music: R D Burman

A clearly enthusiastic Asha Bhosle kickstarts a defiant non-cooperation movement, resonating the discipline vs carefree theme of Hrishikesh Mukherjee's feel-good flick.

Mere Mehboob Mein Kya Nahi, Mere Mehboob (1963) Mood: Proud Music: Naushad

Sisters and heavyweights of playback singing -- Lata Mangeshkar and Asha Bhosle -- get together to tussle over the best mehboob in this silvery Naushad composition, brimming with exaggeration and adjectives.

Khatouba, Ali Baba Aur Chalees Chor (1980) Mood: Exotic Music: R D Burman

For Umesh Mehra's Indo-Russian take on the classic Arabian fairy tale, RD employs Middle-Eastern influences while Asha lends it zing and zest with her merry inflections.

Aa Dekhen Zara, Rocky (1981) Mood: Competitive Music: R D Burman

Even as Kishore Kumar (for Sanjay Dutt) and RD (for Shakti Kapoor) spar over words; Asha Bhosle competes with herself -- providing the voice for both Tina Munim and Reena Roy in everyone's favourite song about trash talking.

Jhuka Ke Sarr Ko Puchho, Satte Pe Satta (1982) Mood: Makeover time Music: R D Burman

Asha Bhosle turns romance coach with her how-to-win-a-girl's-heart-in-five-courteous-steps guidebook for her six scruffy brothers-in-law.

Pyar Ke Mod, Parinda (1989) Mood: Persuasive Music: R D Burman

The singer is at her soulful best for Madhuri Dixit in trying to convince Anil Kapoor to commit to a life of love and harmony in this sublime beauty from Parinda.

Rangeela Re, Rangeela (1995) Mood: Happy-go-lucky Music: A R Rahman

The youthful, exuberant and starry-eyed vibe of Rangeela's title track is lovingly captured in Asha Bhosle's eternally vivacious spirit. No wonder it became an instant hit.

This feature was first published on September 7, 2012.

Source: http://www.rediff.com/movies/special/25-moods-of-asha-bhosle/20180908.htm

[theincidence-blog]

New Post has been published on http://theincidence.com/theincidence-nightingale-of-bollywood-turns-89-11-little-known-stories-about-lata-mangeshkar/

#THEINCIDENCE @Nightingale of Bollywood Turns 89: 11 Little Known Stories About Lata Mangeshkar!

On her 89th birthday, we document some of the lesser-known stories about the legend’s life.

The Nightingale of Bollywood turned 89 today. She has recorded over 27,000 songs in 36 regional and foreign languages.

This is none other than legendary playback singer, Lata Mangeshkar. With melodious and soulful hits like Dafli Wale, Pyar Kiya Toh Darna Kya, Dil To Pagal Hai, Luka Chupi, the woman who has earned herself the fond moniker of Lata Didi, enraptured the country with her ability to sing in the rare third octave.

But did you know Lata Didi’s original name is Hema? She was renamed Lata based on a character ‘Latika’ from her father’s play, BhaawBandhan.

And so, on her 89th birthday, we document some of the lesser-known stories about the legend’s life:

1. How her father discovered her singing talent at a tender age

A young Lata Mangeshkar.

Lata didi was born into a family of artists where her father, Pandit Deenanath Mangeshkar, a classical singer and theatre actor discovered her singing talent.

Deenanath ran a theatre company that produced musical plays where Lata started acting by the age of five.

Lata’s ability to sing Raag Puriya Dhanashree helped him discover her singing talent. Speaking to Stardust, she recalls, “It so happened that once my father asked his shagird (disciple) to practise a raag while he finished some work. I was playing nearby and suddenly a note of the raag that shagird was rendering, jarred. And the next minute, I was correcting him. When my father returned, he discovered a shagird in his own daughter.”

Lata’s father said to her mother, “We have a singer at home. We never knew it.”

2. A legend around why she left school

Lata & Asha – The Mangeshkar Sisters.

At five, Lata started working as an actress in her father’s Marathi musical plays, also known as ‘Sangeet Natak’.

On her first day at school, when she started teaching songs to other children, the teacher stopped her. While some believed that she stopped going to school because she was so angry, others said she left because they would not allow her to bring Asha.

3. Did you know that she made her singing debut in a studio at the age of 13?

Lataji learned music from stalwarts like Aman Ali Khan Sahib and Amanat Khan, apart from her father. She recorded her first song in 1942 for the Marathi film, Kiti Hasaal; but it never saw the light of day, as it was edited from the film. The song was called Naachu Yaa Gade, Khelu Saari Mani. Although Natali Chaitraachi Navalaai is known as her Marathi song debut.

3. Did you know that she tried her hand at professional acting too?

After he father’s death in 1942, she tried her hand at acting until 1948 and acted in eight films. The oldest of five siblings–Meena, Asha, Usha and Hridaynath, Lata then shouldered the financial responsibility of the family.

Even though her acting career did not take off, she debuted with playback singing for Kiti Hasaal (1942).

4. She was told her voice was ‘too thin’ when she first started out in the industry

When she first entered the film industry as a playback singer, she was rejected. At the time, singers like Noor Jehan and Shamshad Begum ruled the roost. She was told her voice was ‘too thin’ for the time, in comparison to the heavy-nasal voices that belted hits.

Her major break came in 1949, with the song Aayega Aanewala from the film Mahal. She turned a sensation overnight with the song that not many can muster the courage to croon.

5. The time she moved Prime Minister Jawaharlal Nehru to tears

The year was 1962. India had lost the war against China. When Lata Didi sang Aye Mere Watan Ke Logon to salute the martyrs of war, PM Nehru told her she had moved him to tears.

6. She was poisoned in 1962.

Naushad, Lata Mangeshkar, Mohammed Rafi and Majrooh Sultanpuri.

In 1962, when Didi fell extremely ill, her medical investigation revealed that she was given slow poison. She battled death for three days. Even though her life was saved, recovery was a long journey where she remained bedridden for three months.

It was later found that her cook had vanished from her home without taking his wages. For precautionary measures, late Bollywood lyricist Majrooh Sultanpuri would regularly visit her, taste her food first and only then allow her to eat.

7. Didi’s love for Cricket, Madan Mohan and Saira Banu

With Madan Mohanji.

Her favourite game is cricket. Didi is reported to have a permanent gallery reserved for her at the Lord’s Stadium from where she enjoys watching her favourite game.

Of all the spectacular music directors she has worked with, Madan Mohan was closest to her heart.

“I shared a special relationship with Madan Mohan, which was much more than what a singer and a music composer share. This was a relationship of a brother and a sister. He trusted me to sing his best compositions,” she said in a 2011 collector’s item calendar.

Didi reportedly thinks her voice suits actress Saira Banu’s the best!

8. A global star!

The legendary singer’s fame goes far beyond the shores. In 1974, Didi became the first Indian to perform in the Royal Albert Hall, London. She has been awarded an Honorary Doctorate by six universities, including the New York University.

France conferred its highest civilian award (Officer of the Legion of Honour) on Didi in 2007.

9. She served as an MP without charging a penny!

Didi was also nominated as a Member of Parliament. But her health restricted her from attending the sessions in the Rajya Sabha, which drew the ire of a few.

But according to a TOI report, it is said that she did not take a single penny or a salary or a house in Delhi for her services as an MP.

10. Her designs for a diamond company raked £105,000!

In 1999, the perfume Lata Eau de Parfum was launched in her honour. Didi also designed a collection called Swaranjali for an Indian diamond export company, Adora. Five pieces from this collection, when auctioned at Christie’s, earned £105,000 which Didi generously donated to the relief fund for the Kashmir earthquake in 2005.

11. Her last recorded song was in 2015

It was for an Indo-Pak gay love story. This means that from 1942 to 2015, she worked as a playback singer for 73 years!

In a career spanning seven decades, Didi has been bestowed several prestigious awards including the Bharat Ratna, India’s Highest Civilian Award. Didi became the second vocalist to ever receive it after M S Subbulakshmi!

Source

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[bollywood24x7worldwide-blog]

Best Bollywood Songs of 50s | Epic Songs of Bollywood

50s Bollywood is not something that easily forgettable. This decade is one of the decade comes within the golden era of Bollywood. This decade consider as the most important decade in Hindi Cinema. This decade is the witness of a fresh new wave of parallel cinema. Old songs evoke a special feeling.

Epic Songs of Bollywood

Here I list down the epic Bollywood songs of 50s

Ae Dil Mujhe Aisi Jagha Le Chal- Talat Mahmood (Arzoo- 1950)

Gore Gore O Banke Chhore- Amirbai Karnataki and Lata Mangeshkar (Samadhi- 1950)

Khayalon Mein Kisi Ke- Mukesh and Geeta Dutt (1950)

Ae Shama Tu Bata Tere Parwane Kaun Hai- Naushad (Dastan- 1950)

Mera Jeevan Saathi Bichad Gaya- Talat Mahmood (Babul- 1951)

Awara Hoon- Mukesh (Awara- 1951)

Dum Todte Hai Aarman- Mohammed Rafi (Shagun- 1951)

Suno Gajar Kya Gaaye- Geeta Dutt (Baazi- 1951)

Dil Yeh Kya Cheez Hai- Kishore Kumar (Baazi- 1951)

Shola Jo Bhadke- C. Ramchandra and Lata Mangeshkar (Albela- 1951)

Yeh Raat Yeh Chandni- Hemant Kumar, Lata Mangeshkar(Jaal-1952)

Vande Mataram - Lata Mangeshkar, Hemant Kumar (Anand Math -1952)

Yaad Kiya Dil Ne Kahan- Hemant Kumar (Patita- 1953)

Yeh Zindagi Usi Ki Hai- Lata Mangeshkar (Anarkali- 1953)

Mera Dil Ye Pukare Aaja- Lata Mangeshkar (Nagin- 1954)

Babuji Dheere Chalna- Geeta Dutt (Aar Paar- 1954)

Jayen To Jayen Kahan- Lata Mangeshkar (Taxi Driver- 1954)

Na Yeh Chand Hoga- Hemant Kumar and Geeta Dutt (Shart- 1954)

Oh Door Ke Musafir- Mohammed Rafi and Lata Mangeshkar (Uran Khatola- 1955)

Mera Joota Hai Japani- Mukesh (Shree 420- 1955)

Jeevan Ke Safar Mein Raahi- Kishore Kumar (Munimji- 1955)

Aye Dil Mujhe Bata De- Geeta Dutt (Bhai Bhai- 1955)

Thandi Hawa Kali Ghata- Geeta Dutt (Mr & Mrs’ 55- 1955)

Piya Piya Piya Mora Jiya- Kishore Kumar and Asha Bhosle (Baap-Re-Baap- 1955)

Dukhi Mann Mere- Kishore Kumar (Funtoosh- 1956)

Nakhrewali- Kishore Kumar (New Delhi- 1956)

Ae Dil Hai Mushkil Jeena Yaha- Mohammed Rafi and Geeta Dutt (CID- 1956)

Jata Kahan Hai Diwane- Geeta Dutt (CID- 1956)

Chhod Aanchal Zamana Kya Kahega- Kishore Kumar and Asha Bhosle (Paying Guest- 1957)

Aankhon Mein Ky Ji- Kishore Kumar and Asha Bhosle (Nau Do Gyarah- 1957)

Mana Janab Ne Pukara Nahi- Kishore Kumar (Paying Guest- 1957)

Zara Saamne To Aao Chhaliya- Mohammed Rafi and Lata Mangeshkar (Janam Janam Ke Phere- 1957)

Eena Meena Deeka- Kishore Kumar (Aasha- 1957)

Tumsa Nahin Dekha- Mohammed Rafi (Tumsa Nahin Dekha- 1957)

Kaun Aaya Mere Mann Ke Dware- Manna Dey (Dekh Kabira Roya- 1957)

Ude Jab Jab Zulfen Teri- Mohammed Rafi and Asha Bhosle (Naya Daur- 1957)

Yeh Raaten Yeh Mausam- Kishore Kumar and Asha Bhosle (Dilli Ka Thug- 1958)

Haal Kaisa Hai Janab Ka- Kishore Kumar and Asha Bhosle (Chalti Ka Naam Gaadi- 1958)

Ek Ladki Bheegi Bhaagi Si- Kishore Kumar (Chalti Ka Naam Gaadi- 1958)

Hai Apna Dil To Awara- Hemant Kumar (Solva Saal- 1958)

Toote Huye Khwabon Ne- Mohammed Rafi (Madhumati- 1958)

Hum Bekhudi Mein Tumko Pukare- Mohammed Rafi (Kala Pani- 1958)

Suhana Safar Aur Ye- Mukesh (Madhumati- 1958)

Ghadi Ghadi Mora Dil Dhadke- Lata Mangeshkar (Madhumati- 1958)

Ek Pardesi Mera Dil Le Gaya- Mohammed Rafi and Asha Bhosle (Phagun- 1958)

Yun Hasraton Ke Daag- Lata Mangeshkar (Adalat- 1958)

Dheere Dheere Chal Chand Gagan Mein- Mohammed Rafi and Lata Mangeshkar (Love Marriage- 1959)

Adha Hai Chandrama- Asha Bhosle and Mahendra Kapoor (Navrang- 1959)

Who Chand Khila- Mukesh and Lata Manageshkar (Anari- 1959)

Sab Kuchh Seekha- Mukesh (Anari- 1959)

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[bollywoodirect]

Remembering Ustad Bade Ghulam Ali Khan Saab on his 116th birth anniversary. Bade Ghulam Ali Khan (2 April 1902 – 23 April 1968) was a Hindustani classical vocalist, from the Patiala Gharana. Though he started his career by singing a few compositions of his late father Ali Baksh Khan and uncle Kale Khan, Bade Ghulam amalgamated the best of three traditions into his own Patiala-Kasur style: the Behram Khani elements of Dhrupad, the gyrations of Jaipur, and the behlavas (embellishments) of Gwalior. Many of his raga expositions were brief contrary to convention and while he agreed that the beauty of classical music lay in leisurely improvisation, he believed that the audience would not appreciate long alaps and he had to sing for the masses and change the music to what the audience wanted. He excelled at more light-hearted ragas such as Adana, Bhupali, Hameer, Jaijaiwanti and Jaunpuri. Under the pen name of Sabrang he created many new compositions. Unlike his younger son Munawar Ali Khan, who had an open-throated voice, Khansahib's voice was slurred. After the partition of India in 1947, Bade Ghulam went to his hometown Kasur in Pakistan, but returned to India later to reside permanently there in 1957. With the help of Bombay Chief Minister Morarji Desai he acquired Indian citizenship and moved to a bungalow at Malabar Hill in Mumbai. He lived at various times in Lahore, Bombay, Calcutta, and Hyderabad. For a long time, he stayed away from singing in films despite requests and persuasions from well-known producers and music directors. However he was coaxed and convinced by film producer K Asif to sing two songs based on ragas Sohni and Rageshree for the 1960 film Mughal-e-Azam with the music directed by Naushad. He demanded and received an extremely high price, reportedly to the tune of Rupees 10,000 per song, when the rate for popular and star playback singers such as Lata Mangeshkar and Mohammed Rafi was below Rupees 500 per song at that time. He was awarded the Sangeet Natak Akademi Award and in 1962 the Padma Bhushan Award. He died at Basheerbagh Palace in Hyderabad on 23 April 1968 after a prolonged illness which left him partially paralyzed in the last few years of his life. He continued to sing and perform in public with the support of Munawar Ali Khan until his death. Bollywoodirect बॉलीवुड डायरेक्ट Bollywoodirect

[bollywoodirect]

Tributes to Sajjad Hussain, the enigmatic genius of Hindi cine music world, on his 22nd death anniversary.

Sajjad Hussain was born in 1917 in the Sitamau, which was at that time, a village in the then Central India Agency, now called Madhya Pradesh, India . As a child, he was taught sitar by his father Mohammed Amir Khan. He learned veena, violin, flute and piano during his teenager years. He was also an accomplished mandolin player, and could play Indian classical music on the instrument.

In 1937, Sajjad Hussain decided to try his luck as a film score composer, and came to Bombay with his elder brother Nisar Hussain. His first job was at Sohrab Modi's Minerva Movietone at Rs. 30 a month. He later moved to the Wadia Movietone, working at Rs. 60 a month. During the next few years, he worked as an assistant to music composer Meer Saheb and Rafiq Ghaznavi, and as a contract player for Shaukat Hussain Rizvi.

In the early 1940s, Sajjad was introduced to the composer Ali Baksh (father of the actress Meena Kumari) by a friend. Impressed with Sajjad's mandolin skills, Ali employed him as an assistant.

Sometime later, Sajjad became an assistant to the music director Hanuman Prasad. In this capacity, he composed two songs for the film Gaali (1944): Aag Lage Saavan Mein and Ab Aaja Dil Na Lage (both sung by Nirmala Devi). The songs of Dost (1944), his first film as an independent music director, were hit. These songs included three songs sung by Noor Jehan: Koi Prem Ka Deke Sandesa, Alam Par Alam Aur Sitam Par Sitam and Badnaam Mohabbat Kaun Kare.

Sajjad went on to work with many notable singers, including Suraiyya, Lata Mangeshkar and Asha Bhosle. He was regarded highly by his contemporaries, including Anil Biswas. One of the best scores that Sajjad Hussain created was in the film 'Rustam Sohrab (1963)' in which Suraiyya sang 'Ye kaisi ajab dastan ho gayi hai', Lata Mangeshkar's one of the most favourite songs 'Ae dilruba' and 'Phir tumhari yaad aayi ae sanam' by Mohammed Rafi, Talat Mahmood and Manna Dey were appreciated. In a 2012 interview, Lata Mangeshkar named him as her favourite composer.

Sajjad Hussain was known for his contentious personality. He often landed in controversies due to his short temper, outspokenness, moody behaviour and perfectionist nature. When Shaukat Hussain Rizvi gave the credit for the musical success of Dosti (1944) to his wife and singer Noor Jehan, Sajjad vowed never to compose a song for Noor Jehan. He had conflicts with the lyricist D. N. Madhok during recording of film Saiyyan (1951), and with the actor Dilip Kumar during the recording of film Sangdil (1952). He made disapproving remarks on Lata Mangeshkar's singing, leading to differences between the two for a short period. He called Talat Mahmood as "Galat Mehmood" (Wrong Mehmood) and Kishore Kumar as "Shor Kumar" (Noisy Kumar), and also criticised Naushad's music. He rejected an offer by Shashadhar Mukherjee of Filmistan, and lost the opportunity to compose music for film Mughal-e-Azam (1960) due to differences with film producer-director K. Asif. Once, heavily impressed by Sajjad Hussain's Yeh hawa yeh raat yeh chandni (Sangdil), the composer Madan Mohan created Tujhe kya sunau mein dilruba (Aakri Dao) on the same metre. At a concert when Madan Mohan walked past Sajjad, the hot tempered Sajjad taunted "Aaj kal toh parchaiyyan bhi ghoomne phirne lagi hai" ("Even shadows are moving around now"). Hindi film expert Rajesh Subramanian explains that such comments made him an avoidable character and people from the industry started ignoring him. As a result of his controversial behaviour, Sajjad got less than 20 film score assignments in his 34-year-long music career. However, one notable milestone in his career as music Director is songs he composed for Sri Lankan Sinhala film "Daiwa yogaya-1959". Daiwa Yogaya was filmed in Prasad Studios in Pune and was a box office hit in Sri Lanka mainly owing to the songs he composed. His last film as a composer was Aakhri Sajda (1977), although he participated in concerts till the 1980s.

Sajjad Hussain lived in the Natalwala Building at Mahim in the last years of his life. He had five sons and one daughter. All five of his sons (Mustafa, Yusuf, Noor Mohammad, Nasir Ahmmad and Abdul Karim) went on to become musicians. He died in 1995 in oblivion: Khayyam and Pankaj Udhas were the only notable film personalities to attend his funeral.

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