#Hemant Kumar Songs as Singer

[soulmvtes]

Hiii, Hindi speaker here! The lines that anon sent are from a 1957 Bollywood song Jaane Woh Kaise Log The by Hemant Kumar.

This verse is all about unrequited love. The singer can’t believe or is just curious about how some people actually find love that’s mutual, while they keep getting hurt and let down every time they try.

It's a beautiful song, do listen to it (also if you can find, read the translated lyrics. It's hauntingly beautiful) ❤️

ahh yes someone commented this on my post! thank you so much i'll check it out :)

[hinsaa-paramo-dharma]

12!

You literally picked the most difficult question 😭

I have many singers that I love, some of them are Kishore Kumar, Lata Mangeshkar, Hemant Kumar, Mohammed Rafi, and probably a thousand more that I forgot the name of.

And some of my favourite songs are Mein zindagi ka saath nibhata chala gya, Raat Kali, Oh Sajna (by Lata Mangeshkar, apparently there are several songs with the same name), Jalte hai jiske liye, Ranjish hi sahi, Abhi na jao chodke, Yeh kahani hai diye ki aur toofan ki and literally every robindro sangeet.

[musicverse11]

The Impact of Classical Training on Kavita Krishnamurthy's Singing Style

Kavita Krishnamurthy stands as one of Bollywood’s most esteemed playback singers, celebrated for her versatility, emotive depth, and the sheer adaptability she demonstrated throughout her career. Over the years, her voice has defined some of Bollywood’s most iconic songs, bringing characters and stories to life in unforgettable ways. Her journey reflects not only her evolution as an artist but also the changing landscape of Bollywood music itself. From her classical roots to becoming the voice behind timeless Bollywood hits, Kavita Krishnamurthy’s career is a testament to hard work, dedication, and talent in an industry that continually reinvents itself.

Early Life and Musical Beginnings

Kavita Krishnamurthy, born Sharada Krishnamurthy in 1958, showed an early passion for music. Encouraged by her parents, she received rigorous training in Hindustani classical music, a foundation that would later distinguish her in the Bollywood playback industry. She was tutored by accomplished musicians and received guidance from her aunt, a classical vocalist. By age eight, she had already performed for All India Radio, signaling a promising future.

Her foray into Bollywood began with opportunities that came her way during her college years in Bombay, where she won several singing competitions. Her initial recordings were for commercial jingles and as a background vocalist, with her first major opportunity coming from the legendary composer Hemant Kumar. Her early work involved smaller roles and chorus parts in songs, giving her exposure to the world of playback singing and experience working with industry professionals.

The Breakthrough with “Tumse Milkar Na Jaane Kyon”

After years of working behind the scenes, Kavita Krishnamurthy’s breakthrough came with the song “Tumse Milkar Na Jaane Kyon” in the film Pyaar Jhukta Nahin (1985). The song became a huge hit, launching her into mainstream Bollywood. However, it was in the late 1980s and early 1990s that she began to gain widespread recognition, collaborating with iconic composers and building a reputation as a versatile singer who could handle a range of styles — from classical to pop, romantic ballads to lively dance numbers.

Rising to Fame in the 1990s

The 1990s were a golden era for Kavita Krishnamurthy. It was during this decade that she delivered some of her most memorable performances and cemented her status as one of Bollywood’s leading playback singers. With songs like “Hawa Hawai” from Mr. India and “Hum Dil De Chuke Sanam” from Hum Dil De Chuke Sanam, she became known for her ability to convey a vast emotional range. Her collaborations with renowned composers like Laxmikant-Pyarelal, R.D. Burman, and later, A.R. Rahman, showcased her vocal versatility and adaptability. Each composition brought out a different aspect of her voice, from the playful energy of “Hawa Hawai” to the soulful depth in “Hum Dil De Chuke Sanam.”

In addition to her work in Bollywood, she also lent her voice to devotional songs and regional language songs, including Tamil, Telugu, Kannada, and Bengali, further broadening her reach and fanbase.

Versatility and Collaborations

One of the defining features of Kavita Krishnamurthy’s career is her versatility. She could seamlessly adapt her voice to suit different styles and genres, making her a favorite among composers. For instance, in A.R. Rahman’s “Ek Ladki Ko Dekha” from 1942: A Love Story, her voice added a sense of dreamy nostalgia, perfectly capturing the essence of the song. Working with various composers pushed her to experiment with her vocal techniques, and she embraced these challenges, evolving her style to stay relevant in the rapidly changing Bollywood music industry.

Kavita’s collaborations were not limited to composers. She also worked with leading playback singers, including Kumar Sanu, Udit Narayan, and Alka Yagnik. Her duets, especially with Kishore Kumar and Mohammed Rafi in her early years, added to her appeal as a versatile singer capable of matching her co-singers’ energy and style.

Adapting to New Generations and Trends

As Bollywood music continued to evolve in the 2000s with the advent of a more Western-influenced sound, Kavita Krishnamurthy managed to adapt. Her classical foundation helped her navigate these shifts. However, with the rise of newer playback singers and the changing tastes of the audience, her presence in mainstream Bollywood started to wane. Despite this, she continued to sing selectively, contributing to soundtracks that appreciated her classical edge and unique voice.

Even as the trends shifted, she found new ways to stay connected to her art. In 1999, she married violinist and music director Dr. L. Subramaniam, which led her to explore more cross-cultural and fusion music projects. This partnership opened new avenues for her, allowing her to perform in global concerts and work on projects that combined Indian and Western musical traditions.

Legacy and Continued Influence

Kavita Krishnamurthy’s legacy in Bollywood is defined by her exceptional voice, adaptability, and a career that spans over three decades. Her influence can be seen in the way contemporary singers draw inspiration from her work, particularly her ability to blend classical Indian elements with Bollywood styles. Many modern-day playback singers cite her as an influence, and her timeless songs continue to captivate audiences.

Though not as active in Bollywood today, her contribution to Indian music remains significant. She has become a mentor to budding musicians and continues to perform internationally, ensuring that her voice and influence endure. Her journey from a classically trained child prodigy to a Bollywood playback icon is a story of resilience, passion, and the undying spirit of an artist.

Conclusion

Kavita Krishnamurthy’s career reflects the dynamic nature of Bollywood music and the importance of adaptability and dedication. From her early days singing jingles to becoming one of the most respected playback singers in India, her evolution as an artist is a fascinating journey. Today, she remains a cherished icon in Indian music, her songs evoking nostalgia and admiration across generations. Her career serves as an inspiring blueprint for aspiring singers, a testament to how one’s passion for music can lead to timeless success.

Explore Kavita Krishnamurthy’s unforgettable music on your favorite streaming platform, and let her voice take you through the golden era of Bollywood. Her songs, spanning decades, remind us of the enduring power of soulful music.

[djfloops]

Woh Shaam Kuch Ajeeb Thi | Khamoshi | #GoldminesGaaneSuneAnsune #RajeshKhanna #KishoreKumar #60sHits

Song:- Woh Shaam Kuch Ajeeb Thi Singer(s):- Kishore Kumar Movie:- Khamoshi (1969) Music Director:- Hemant Kumar #GoldminesGaaneSuneAnsune #60sHitSongs #RajeshKhanna #WaheedaRehman #KishoreKumar #Khamoshi #OldSongs _______________________________________ Enjoy and stay connected with us!! Log on to Youtube and tune in to Goldmines Gaane Sune Ansune to listen your all time favourites, any time, any…

[chutneymusic]

Woh Shaam Kuch Ajeeb Thi | Khamoshi | #GoldminesGaaneSuneAnsune #RajeshKhanna #KishoreKumar #60sHits

Song:- Woh Shaam Kuch Ajeeb Thi Singer(s):- Kishore Kumar Movie:- Khamoshi (1969) Music Director:- Hemant Kumar #GoldminesGaaneSuneAnsune #60sHitSongs #RajeshKhanna #WaheedaRehman #KishoreKumar #Khamoshi #OldSongs _______________________________________ Enjoy and stay connected with us!! Log on to Youtube and tune in to Goldmines Gaane Sune Ansune to listen your all time favourites, any time, any…

[my-music-1460]

The Multi-Talented Legends: Singers Who Were Also Composers in the Indian Music Industry

The legends of Indian music industry are often celebrated not just for their vocal prowess but also for their exceptional versatility. While many iconic singers have graced the Indian music scene, a few stand out for their ability to excel in multiple domains, particularly in singing and composing. These multi-talented legends have not only lent their voices to some of the most memorable songs but have also composed music that continues to resonate with audiences across generations. This article delves into the lives and contributions of these extraordinary artists, exploring how they balanced the dual roles of singer and composer, and the lasting impact they have had on the Indian music industry.

The Versatility of Kishore Kumar

Kishore Kumar is a name synonymous with the golden era of Bollywood music. As one of the legends of Indian music industry, Kishore Kumar's versatility knew no bounds. Not only did he possess a voice that could adapt to any genre—be it romantic, melancholic, or peppy—but he was also a gifted composer. His compositions often reflected his unique ability to blend various musical styles, creating songs that were both innovative and timeless. Kishore Kumar's dual role as a singer and composer allowed him to experiment with different musical elements, making him a true pioneer in the industry.

Some of his most notable compositions include "Aa Chal Ke Tujhe" from the film Door Gagan Ki Chhaon Mein, which he also directed. The song is a testament to his ability to create music that is both melodious and emotionally stirring. His work as a composer was often overshadowed by his success as a singer, but those who delve deeper into his discography will find a treasure trove of compositions that showcase his immense talent.

The Melodic Genius of Hemant Kumar

Another legend of the Indian music industry who excelled in both singing and composing was Hemant Kumar. Known for his deep, soothing voice, Hemant Kumar was a master of creating melodies that tugged at the heartstrings. His contribution to Indian music is vast, with numerous songs that have become evergreen hits. However, his talent was not confined to singing alone; he was also an accomplished composer, having created some of the most iconic music in Indian cinema.

Hemant Kumar's work as a composer is particularly evident in the soundtracks of films like Bees Saal Baad and Khamoshi. His compositions were often characterized by their simplicity and emotional depth, making them stand out in an era dominated by more complex musical arrangements. As a composer, he had a knack for creating songs that perfectly complemented the narrative of the films they were a part of, adding an additional layer of depth to the storytelling.

Anil Biswas: The Unsung Maestro

Anil Biswas is often regarded as one of the foundational legends of Indian music industry, particularly in the realm of film music. While his name may not be as widely recognized as some of his contemporaries, his contributions as both a singer and composer are immense. Anil Biswas was instrumental in introducing the concept of orchestration in Indian film music, blending Indian classical music with Western symphonic styles to create a new sound that was both unique and captivating.

As a composer, Anil Biswas had a profound influence on the development of film music in India. His compositions for films like Roti and Anokha Pyar are considered classics, showcasing his ability to create music that was both innovative and emotionally resonant. His singing, though less frequent, was marked by a deep understanding of melody and rhythm, further cementing his status as a multi-talented legend.

The Lasting Legacy of Multi-Talented Legends

The legends of Indian music industry who excelled in both singing and composing have left an indelible mark on the industry. Their ability to master multiple facets of music allowed them to create works that were not only popular but also artistically significant. These legends were pioneers in their own right, pushing the boundaries of what was possible in Indian music and inspiring generations of artists to follow in their footsteps.

Their legacy continues to influence contemporary music, as modern-day artists strive to emulate the versatility and creativity that these legends embodied. The songs they created, both as singers and composers, remain timeless, resonating with audiences across different generations. The multi-talented legends of Indian music industry are a testament to the power of versatility in the arts, proving that true artistry knows no boundaries.

Conclusion: The multi-talented legends of Indian music industry have played a pivotal role in shaping the landscape of Indian music. Their ability to excel in both singing and composing set them apart as true icons, whose work continues to inspire and influence artists today. By mastering multiple disciplines, these legends have not only enriched Indian music but have also left behind a legacy that will be cherished for generations to come. As we celebrate their contributions, it is important to recognize the significance of versatility in the arts and how it can lead to the creation of truly timeless music.

[saleemrajaofficlas]

❤️ 𝐌𝐞𝐫𝐚 𝐃𝐢𝐥 𝐘𝐞 𝐏𝐮𝐤𝐚𝐫𝐞 𝐀𝐚𝐣𝐚 𝐁𝐡𝐞𝐞𝐠𝐚 𝐁𝐡𝐞𝐞𝐠𝐚 𝐇𝐚𝐢 𝐒𝐚𝐦𝐚 - A beautiful rendition by @saleemraja255 from the live show Symphony of Love 🎶

Original by: Song: Mera Dil Ye Pukare Aaja Singer : Lata Mangeshkar Director: I.S. Johar, Music: Hemant Kumar . . . .

🎧 Audio Credits -🎵💕 Singer - Saleem Raja . . Singer :- Rashid Khan Tabla :- Chand khan Guitar :- Sahib E Alam Sitar :- Parvez Khan . . . 𝐂𝐨𝐧𝐭𝐚𝐜𝐭 𝐟𝐨𝐫 𝐋𝐢𝐯𝐞 𝐏𝐞𝐫𝐟𝐨𝐫𝐦𝐚𝐧𝐜𝐞 ☎ +91 9958723204 ✉ saleemraja155@gmail.com

Mera dil ye pukaare aaja Mere gham ke sahaare aaja Bheega bheega hai sama Aise mein hai tu kahaan Mera dil ye pukaare aaja Mere gham ke sahaare aaja Bheega bheega hai sama Aise mein hai tu kahaan Mera dil ye pukaare aaja

Tu nahin to ye rut Ye hava kya karun kya karun Tu nahin to ye rut Ye hava kya karun Dur tujhse main rah ke Bata Kya karun kya karun Suna suna hai jahaan Ab jaaun main kahaan Bas itana mujhe samajha jaa Bhiga bhiga hai sama Aise mein hai tu kahaan Mera dil ye pukaare aaja

[bollywoodirect]

Remembering Hemant Kumar on his birth anniversary (16/06).

“Listening to Hemantda, I feel as though a sadhu sitting in a temple is singing a Bhajan.” commented the nightingale Lata Mangeshkar about Hemant Kumar Mukherjee who was not only a fabulous singer but also an equally indomitable composer.

In this photo, flutist Sumant Raj, Hemant Kumar, Lata Mangeshkar, and Music Director Vasant Desai while recording the song “Nain so nain nahi milaaao” from ‘Jhanak Jhanak Payal Baaje’ (1955).

[indiejones]

FROM THE CAESAR FILES

Aside his deep bond with RD, were 2 other v. big names in Rajesh Khanna's closest circle - Kishore Kumar & Shakti Samanta. The story of how this first association came into being, is also most infotaining. Infact connected to Rajesh's own beginnings in the big league. So happens that great singer & Music director Hemant Kumar was remaking a Bengali superhit into the now legendary 'Khamoshi' in Hindi, in late 1967 or so, whose director Asit Sen wanted Dev Anand as lead, but Waheeda Rehman, it's signed heroine, was deeply impressed by this young man from his first 5 films over past 2 yrs, films he got very good reviews for,& passed very high recommendation for him instead, so Hemant who was also eyeing the boy,had him signed. Thus began shooting when a fine evening Hemant arrived at Rajesh's accommodation for instructions on the next day, & saw Rajesh coolly smoking away with his friends. Rajesh got so embarrassed at being caught smoking, he instantly almost apologized & asked Hemant da why didn't have him called to his place instead, than having to see them so. Hemant got amused at the high sensitivities as also respect for elders displayed by the lad, & while going away, was quietly asked who was singing the bridge song, & if he could take Kishore Kumar as his voice for it! Hemant had someone else in mind, as Kishore was not hot property for quite sometime, but see how fond he was of Rajesh, & as twas his first demand ever, agreed, & gave Kishore Kumar the song & as would turn out, Kishore's first big hit after very long! Ofcourse also giving Ind Cin it's greatest ever actor-singer duo! Here's the song! https://www.youtube.com/watch?v=MDXFi3avqo0 Cut to 3 yrs down the line, to Meena Kumari's last film 'Dushman', with Khanna excitedly in lead. Music Dir Laxmikant had a qawwali song in mind, for which Kishore, Rajesh Khanna's whole & sole voice by then,wasn't used to & comfortable with at all, & practically refused to comply. Just then Khanna,who was narrated this impasse bts,arrived at studios in his green car,entered the room,sat next to Kishore, & began his quiet cajoling. "Ki holo dada! Gaane ka nahi hai kya, babumoshai?" with that mischievous look in his eye. Kishore explained,but Khanna turned to Music Dir Laxmikant & said "If he's not singing it, I'm not acting in it!". Kishore knew the emo blackmailing of his friends, & quietly acquiesced,resulting in Bolly's Top 5 quawwalis in history,& a big feather in LP & Kishore's cap! Here it is https://www.youtube.com/watch?v=GdmQpAKOfdA Similarly, Shakti Samanta was stuck with a script titled 'Anuraag' dearly wanted to make,but as unconventional & non-spicy,turned down by all distributors.A issue he perchance narrated to Rajesh,who having read it,thot twas travesty if left unmade,& came up with a soln. "What if you write a cameo for me!". He shockingly replied,"You!". & Thus got made a Indie Top 600 classic, with RK at peak of career, in v. spl role, just for love of a friend! https://www.youtube.com/watch?v=Xg0IdiRj6Go

[gondia23]

akshay kumar

“Mi Dolkar” beautiful Song sung by Kamal Meshram out now on youtube.

December 29, 2022 by Admin

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Even though Kamal Meshram is a recluse by nature, this very special song is mixture Bengali and marathi version of Mi Dolkar and De Dol Dol.

“Mi Dolkar” the much awaited song from noted singer, actor and filmmaker Kamal Meshram, has been released recently on 29 December 2022 on You Tube.

The much awaited video song, “Mi Dolkar” is the latest production of noted singer Kamal Meshram and recreation of song is tribute to singing legend Late Lata Mangeshkar. “Mi Dolkar” has been sung by Kamal Meshram . The song originally sunged by lata mangeshkar, Hemant Kumar. The lyrics of the song have been penned by Pt. Hridaynath Mangeshkar, Shanta Shelke and bengali version penned by Salil Choudhary singer . The music has been recreated by Angshuman Guha.

A press conference was addressed by Kamal Meshram today in Nagpur. Speaking to the media, Meshram said that he is very excited and enthusiastic about the song and hopes that the song will receive the same kind of love and appreciation as his previous video songs and short films.

[mrssaritadelhi-blog]

https://www.youtube.com/@m4music55/videosmera dil ye pukare aaja full video song mere gham ke sahare aaja bhe...

Mera Dil Ye Pukare Aaja Full Video Song | Mere Gham Ke Sahare Aaja | Bheega Bheega Hai Sama

Credit - Song – Mera Dil Ye Pukare Aaja Lyrics Movie – Naagin (1954) Singer – Lata Mangeshkar Lyricist - Rajendra Krishna Star Cast – Vyjayanthimala, Pradeep Kumar, Jeevan Music Director – Hemant Kumar Mukhopadhyay Music Label – Saregama

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Mera Dil Ye Pukaare Aaja Mere Gham Ke Sahaare Aaja Bhiga Bhiga Hai Sama Aise Mein Hai Tu Kahaan Mera Dil Ye Pukaare Aaja Mere Gham Ke Sahaare Aaja Bhiga Bhiga Hai Sama Aise Mein Hai Tu Kahaan Mera Dil Ye Pukaare Aaja Tu Nahin To Ye Rut Ye Hawa Kya Karun, Kya Karun Tu Nahin To Ye Rut Ye Hawa Kya Karun Dur Tujh Se Main Reh Ke Bata Kya Karun… Kya Karun Suna Suna Hai Jahaan Ab Jaaun Main Kahaan Bas Itana Mujhe Samajha Jaa Bhiga Bhiga Hai Sama Aise Mein Hai Tu Kahaan Mera Dil Ye Pukaare Aaja Andhiyaan Wo Chali Ashiyaan Lut Gaya, Lut Gaya Andhiyaan Wo Chali Ashiyaan Lut Gaya Pyaar Ka Muskuraata Jahaan Lut Gaya, Lut Gaya Ek Chhoti Si Jhalak Mere Mitaane Talak O Chaand Mere Dikhala Jaa Bhiga Bhiga Hai Sama Aise Mein Hai Tu Kahaan Mera Dil Ye Pukaare

[the-voltage-diaries]

Music Shuffle Tag~ 🎶

TASK: It’s easy, all you have to do is put your music library on shuffle and list the first ten songs. Feel free to add in some personal liner notes if you’re inclined!

First off, thanks a lot for the tag, @lin-ful ! <3

Secondly, I’m kind of stuck because I listen to two playlists on repeat, both have a large number of songs and I cannot for the life of me figure out how to compile them... or maybe I’m just too lazy to google it. So what we’re gonna do is make two versions of it, and lmao that’ll just give you more fun stuff to binge listen to if you wish~

List 1: K-pop

This playlist is basically my K-pop music. Some honorable mentions that couldn’t make the list: Oh My God (G-IDLE), Monster (Irene x Seulgi), Way Back Home (SHAUN), Chica (Chung Ha).

1. Heel - NO:EL, Loco

I recently added this to my playlist bc @some-ikemen-snob recommended it and her recommendations are the shit 😎 . And this song IS the shit. So, yeah. 

2. Say My Name - ATEEZ

I remember hearing this song while randomly scrolling through youtube, and I recall when I saw it pop up for the nth time in my recommendations I was baffled at the hype it had, and then I finally heard it and bam now it’s in my playlist.😅

3. Touch - NCT 127

This song is so cute, and the choreography too! I’m absolutely obsessed with the choreography at the “Na na nananana” part, it’s addicting to watch. 

4. Beautiful Goodbye - Chen

Chen’s voice, I mean do I even need to say anything more?

5. Playboy - EXO

This song does things to me. I mean, the way Kai whispers “Play... boy” or rather half moans half groans should be declared illegal. 😉

6. Dinner - Suho, Jane Jang

I love the music and how well both their voices blend in with it. It’s one of my favourites, for sure. ❤️

7. HIP - MAMAMOO

This was the first ever song of MAMAMOO’s I ever heard, and dare I say I fell for Hwa sa after that. I mean have you seen that woman? And the rest too, of course. Such badasses.

8. My Love - Baekhyun

I love his voice so, so much ❤️ ! This song is so calming, so peaceful. It’s the kind of music I would play when I’m stressed, when I’m out, when it’s raining and basically the point is why would you stop playing this?

9. Stay With Me - Chanyeol, Punch

I needn’t explain my obsession love for this song, need I? This song is loved by almost everyone I know who watches K-dramas (even if they don’t listen to Kpop), and that’s because it is indeed such a great song! If you haven’t heard it yet, do give it a try~ 💕

10. 무제(無題) (Untitled, 2014) - G-DRAGON

If you dislike this song, we’re gonna have problems. It’s a masterpiece, one of G-dragon’s most amazing works 💙 . It’s... yeah, I have no words to describe how beautiful this song is.

List 2: Bollywood Classics

Grab a cup of tea, sit down and plug in your earphones. Close your eyes and just let the music take over you, because this is gonna be good.🤭

Honorable Mentions [DO CHECK THEM OUT IF YOU LIKE THE SONGS IN THE PLAYLIST]: Aa Chal Ke Tujhe (Kishore Kumar), Mein Shayar Toh Nahi (Shailendra Singh), Babuji Dheere Chalna (Geeta Dutt), Abhi Na Jao Chod Kar (Asha Bhosle, Mohammed Rafi), Bade Achhe Lagte Hain (Amit Kumar), Kabhi Kabhi Mere Dil Mein (Lata Mangeshkar, Mukesh).

1. Lag Ja Gale Se Phir - Lata Mangeshkar

This song is one of the most popular ones when it comes to classics, and I don’t doubt it because Lata Mangeshkar’s voice is so, so, so sweet and so perfect damn 💜 . Also it’s from a black and white movie and it’s still pretty popular so I hope that speaks for itself? lmao

2. Aaja Sanam Madhur Chandni Men - Lata Mangeshkar, Manna Day

Can you tell Lata Mangeshkar was a popular singer of those times? Her voice is so amazing I swear. And this song’s lyrics and tune is so catchy. Again, it’s from a black and white movie.  🤭

3. Aap Ki Ankhon Mein Kuch - Lata Mangeshkar, Kishore Kumar

Kishore Kumar is SUCH A CLASSIC. He’s a legend, and if my playlist hadn’t brought up one of his songs I’d have sued Spotify. That said, Kishore Kumar was and Indian playback singer, actor, music director, lyricist, writer, director, producer and screenwriter. Need I say more about this man? Also, this song’s lyrics are so respectful and deep, I love those times. 

4. Chala Jata Hoon - Kishore Kumar

Kishore Kumar with his voice, and Rakesh Khanna with his acting for such a powerful duo. You’ll find many more of his songs in this list, most probably. My mom introduced me to Kishore Kumar’s music (She’s a hardcore fan btw) and I haven’t looked back since. Proudly so. <3

5. Tera Mujhse Hai Pehle Ka Naata Koi - Kishore Kumar, Sushma Shrestha

Sharmila Tagore was a beauty, no doubt. And this song has two versions. I’ll link the other one here. Can you tell I’m basically speechless and have no idea how to form sentences with have a flow?

6. Tum Itna Jo Muskura Rahe Ho - Jagjit Singh

The main lyric basically translates to “Why are you smiling so much? What’s is this pain that you’re hiding? You’re smiling so much.” and if that isn’t meaningful, I don’t know what is. Moreover, Jagjit Singh’s voice is so soothing to the ears, I could listen to this song every day and never get tired of it.  🥰

7. Yeh Sham Mastani - Kishore Kumar

Can you guess who the actor is? Damn straight, it’s Rajesh Khanna. I need help 😅 I love Kishore Kumar’s voice so much hELp.

8. Ek Ajnabee Haseena Se - Kishore Kumar

Yes, it’s Rajesh Khanna who’s the actor, yet again. Moreover, this song is so beautiful, so awesome, so pretty, so everything I LOVE IT SO MUCH GAH.

9. Pyar Hame Kis Mod Pe - Kishore Kumar, R. D. Burman, Bhupinder Singh, Sapan Chakraborty, Gulshan Bawra

I kid you not my heart did a little flip when I checked out the youtube video to add the link and saw Amitabh Bachhan 🤭 😂 . Amitabh Bachhan now looks sophisticated and classy, but the Amitabh in his younger days looked so freaking handsome I’m deceased, and I need help. Oh sweet lords, and this song. This song is everything, such deep voices, the lyrics, the beats, this song is EVERYTHING and if you hate this we’re gonna have problems. Also Amitabh Bachhan OH MY GOD HE LOOKS SO NICE

10. Zindagi Kaisi Hai Paheli - Manna Day

Spotify did me good, not gonna lie. It literally saved the best for the last. ❤️ This song is one of my absolute, ultimate, top favourites and that’s because Manna Day’s voice does justice to everything, Rajesh Khanna, the lyrics, the song, us, everything. It’s so pleasing and a complete joy to listen to.

Bonus: Na Tum Hame Jaano - Hemant Kumar

It’s beautiful. I had to. That’s it. ❤️

Ahhh this was so much fun! I had such a good time starting my day off with some of my favourites, so thanks a lot for the tag again, Lin!

I’m gonna tag: @joaxotome , @bakutae , @bibbletae , @voltage-vixen , @awesomeallseeingeye , @otome-writer51 , @redninjakitty14rp , @rougepetale , @rhionhatter , and @anyone else I forgot or anyone who wants to do this!

You don’t have to do this if you don’t feel like it <3

[shankarjaikishanfansassnintl]

30 June Kalyanji Virji Shah (Kalyanji-Anandji): 92nd Birth Anniversary

By

Siraj Syed

Kalyanji Virji Shah (Kalyanji-Anandji): 92nd Birth Anniversary 30 June 1928-24 August 2000

From sleeve notes written for SaReGaMa’s LEGENDS CD set in 2009: More than half a century after the cobra swayed to the clavioline, masquerading as the been, in ‘Tan dole mera man dole’, its notes still reverberate across India, and in many other parts of the world. It was, and remains, Kalyanji Virji Shah’s best-known musical signature. Kalyanji had first used the instrument in a film called Naag Panchami (1953, music Chitragupta), but that went largely un-noticed. ‘Tan dole’, a Hemant Kumar tune from a box-office hit, was the chart-topper of 1954, so listeners took good notice of its mesmerising been theme. Developed in France by a designer named Constant Martin, the clavioline was introduced in 1947. Five years later, musician Kalyanji was playing it here, in India, in film song takes. Four years after Nagin, Kalyanji had arrived as music director, with Samrat Chandragupta. And the following year, younger brother Anandji, who was a child actor and chorus singer too, joined him to create the K-A team that stood firm for over 40 years. Nevertheless, as Anandji, some four years younger (now 88), is often heard saying, “Kalyanjibhai is watching all this from above. He is very much with us in spirit.” Kalyanji Virji Shah died in the year 2000, at the age of 72.

Born in Kundrodi village of the Mundra taluka in Kutchh, the brothers grew up in Mumbai, where their father ran a food-grain store. Inclined more towards music than academics, they developed the self-taught ability to play a host of instruments, and formed part of school bands. By 1944-45, the teenager siblings had started playing in film song recordings. Big brother set up his own band in 1950, calling it Kalyanji and Party, with Purshottam Upadhyaya singing ‘Too mera chaand maen teree chaandnee’, the super-hit Naushad tune from Dillagi, to thunderous encores. The band performed in Bombay and in other nearby towns. For a while, the businessman in him did surface, and Kalyanji started a tailoring shop in partnership with a friend. Destiny, however, ensured that the shop did not prosper, drawing Kalyanji even closer to a world where a needle was something that played a gramophone record, not a device to stitch clothes with.

Many of us have heard the popular tunes the brothers composed for films like Samrat Chandragupta, Bedard Zamana Kya Jane, Chhalia and Bluff Master, the last two being the earliest directorial forays of director Manmohan Desai, but few would be aware that it was producer Subhash Desai, Manmohan’s brother, who gave Kalyanji his music directorial his break. Impressed with his prowess at song recordings of various recognised composers, Subhash saw a competent future music director in Kalyanji, and made him an offer that was strange, but nevertheless one that he could not refuse. Would he agree to a contract offering him 11 film assignments as music director, with a fee of Rs. 5,000 for the first film, Rs. 10,000 for the second…a recurring Rs. 5,000 increment per film, non-negotiable? The offer was too good to resist, so Kalyanji agreed, but he did ask Subhash, “Why11 films? Why not 10? Or 12?” The reply was convincing, “Eleven is my lucky number.” As it transpired, they did not do 11 films together, but Kalyanji’s career choice was made.

The K-A success story begins with Kalyanji’s kingly debut, Samrat Chandragupta. ‘Chahe paas ho’ is a touching lyric, with a tinge of sadness, as is the next number, ‘Door kahin tu chal’, another Rafi-Lata duet, from Bedard Zamana Kya Jaane, both penned by Bharat Vyas. With a title like Madari, there had to be a snake-charmer and his been in play, and the theme track, penned by Faruk Kaiser and rendered by Lata and Mukesh, indeed provided flashbacks of the legendary Kalyanji patent. Soon after he wrote his first song for them in Chandrasena, Gulshan Bawra penned a real gem in Satta Bazar, and this time the brothers invited their mentor Hemant Kumar to join Lata in the recording room, with amazing results. Who can forget ‘Tumhe yaad hoga’? Not yet the He Man he was to become in his later years, Dharmendra in Dil Bhi Tera Hum Bhi Tere was emoting to Mukesh’s emotion-charged playback, rendering Shamim Jaipuri’s rich poetry. Graduating from smaller set-ups into a Raj Kapoor vehicle, K-A hit big time in Chhalia. Nonsensical verse from a sensible writer, Qamar Jalalabadi, ‘Dum dum diga diga’, with Mukesh providing playback to Raj’s on-screen antics, set the aisles afire.

Soon, they were signed to compose for Mehndi Lagi Mere Haath, a Shashi Kapoor starrer, and Bluff Master. Both films enjoyed reasonable success and the music went around too. In Bluff Master, we find the rare phenomenon of four voices being used for the same actor: Mukesh, Hemant Kumar, Shamshad Begum (Shammi Kapoor in drag) and Rafi. It was Rafi who immortalised ‘Govinda ala re’ and sang the duet ‘Husn chala kuchh aisi chal’ with Lata. Anand Bakhshi wrote inspired lyrics for Phool Bane Angaare, and Mukesh, as usual, delivered them with consummate artistry. By 1964, K-A were in the Premier League. That very year, they came up with such melodious tracks as the lilting ‘Humsafar mere humsafar’ (Purnima), where they teamed up with Gulzar, a rarity, and the two Mukesh solos from Ji Chahta Hai and Himalaya Ki God Mein. The former was written by Majrooh, not a K-A regular. Another infrequent teaming worked very well, as Hasrat Jaipuri wrote and Rafi sang in great style, ‘Dil beqarar sa hai’ (Ji Chahta Hai). Melodious, hummable and catchy. A ghazal on Shammi Kapoor with Bakhshi writing and Rafi singing may not be a common occurrence, but just savour ‘Teri zulfen pareshan’ (Preet Na Jane Reet). Staying with Mukesh on Shashi, after MLMH, the duo came up with a moody duet in Juari, ‘Humsafar ab yeh safar kat jayega’. If there was still any doubt about the standing of the duo in the rankings, Jab Jab Phool Khile laid to rest all criticism. Every track was heard everywhere. The songs had it all: pathos, fun, longing, depression, pep. For both K-A and Anand Bakhshi, the success of JJPK was to remain a milestone forever.

Rafi provided playback for debutant Rajesh Khanna in the theme song of his debut vehicle, Raaz, re-uniting K-A with Shamim Jaipuri, producing haunting results. Indeevar’s lyrics sang of cruel fate in Dil Ne Pukara, and who better to voice them than Mukesh, as ‘Waqt karta jo wafa’. In the same vein was the Suhag Raat lament, ‘Khush raho’. Manna De came in to give playback for Pran in Upkar and Zanjeer, rendering two of his most acclaimed numbers. It took the duo 19 hours to record ‘Mere desh ki dharti’, the patriotic anthem of Upkar. Saraswatichandra, based on a literary classic, needed the linguistic mastery of Indeevar to weave in the songs, and the author of ‘Kasme vaade pyar vafa’ made it count. Filmfare awarded the duo for the best music of the year. It was still pristine K-A, full of melody, working with Lata and Mukesh. Another award followed some years later, for Kora Kagaz, which had a pathos-laden title-track in the voice of Kishore. Not many might realise, but K-A used Kishore Kumar for the first time in the 1968 film Suhag Raat, singing a sad song, a full decade after the duo had started their career. A comic song was rendered by Manna De while Mukesh was called-upon to put across the other sad lyric.

Only Rafi could have set swinging mood for Shashi Kapoor to gyrate on screen in ‘Nain milakar chaen churana’ (Aamne Saamne). Rafi for Shashi it was again in Ek Shriman Ek Shrimati and Raja Saab. Part of the female vocals in Raja Saab came from Suman Kalyanpur. Suman had sung for K-A in MLMH and JJPK too, and was to partner Manhar in his first hit number in Vishwas. Giving Hemlata her break in the same film, K-A paired her with good-old friend Mukesh. Soon, the duo was to show its preference for rotating the strike, training and honing a host of budding singing talent, while reverting to the established names with equal regularity. Like a lot of extremely popular Mahendra-Manoj Kumar, Kishore-Amitabh Bachchan and Kishore-Rajesh Khanna outings. Incidentally, K-A took three days to record the back-ground score of Suhaag Raat, while they needed a whole month for Purab Aur Paschim. For the ‘Om jai Jagdeesh Hare’ bhajan of PAP, the composers used 50 chorus singers to get the effect normally created by violins. They called it human resonance. Delay (natural echo) was the highlight of ‘Mere mitwa’ (Geet). The child-like double speed of ‘Na sun sun sun bura’ (Priya) was simply achieved by recording on spool-tape at a particular speed and playing it back at double the speed. Most of their work was done at the Famous, Tardeo, recording studio.

There is Rafi, and not Kishore, for Rajesh Khanna, oozing sensuality as only he could, in Chhoti Bahu: ‘Yeh raat hai pyasi pyasi’, echoing musician hero Rajendra Kumar’s heart-rending call in Geet and charting a romantic route for Dharmendra in Kab Kyon Aur Kahan? He also offers love lessons in Upaasna; in the Haath Ki Safai duet, he makes a solemn promise of eternal love; and he goes on Dilip Kumar for the intoxicating ‘Peete peete’ duet with Asha Bhosle in Bairaag. As Western as it gets is the rare title chorus ‘Pretty pretty Priya’ (Priya) and as Sanskritised as it can get is the Kishore hilarity ‘Priye praneshwari’ (Hum Tum Aur Woh). Kalyanji-Anandji made Shatrughan Sinha sing in Kashmakash, Amitabh Bachchan in Laawaris and Anil Kapoor in Chameli Ki Shaadi. They also gave ample opportunities to the emerging talent of 70s’ generation, as you can sample on the Shailendra Singh, Suresh Wadkar, Anwar, Alka Yagnik and Kanchan tracks.

Known for their hundreds of stage performances, in India and abroad, both brothers also enjoyed a sturdy reputation as funsters, with a joke for every occasion and a keen sense of self-deprecating humour. They once famously described themselves as medical practitioners. “We offer all lines of treatment. If some producer approaches us with symptoms that demand a classical approach, we recommend the Ayurvedic style of medicine: Slow, but efficacious in the long-term. On the other hand, if some film-maker wants to experiment with the musical score of his film, we suggest Homoeopathic type of tunes: May work, may not. Some element of risk is involved. If, however, he wants the juke-boxes to jingle and listeners to start singing along instantaneously, we churn out Allopathic compositions: Like injections, they have instant, strong effect, but the effect may wear out sooner.” Music, along with laughter, is the best medicine known to mankind. Kalyanji-Anandji have already issued a statutory warning to your troubles to keep away, for there’s no place for them, ‘Mere angne men tumhara kya kaam hae?’

[elizadigipro-blog]

Bekarar Karke Hume Yun Na Jaiye | Lyrics Video | Singer Sagarika

Bekarar Karke Hume Yun Na Jaiye | Lyrics Video | Singer Sagarika

Presenting a lyrics video of Bekarar Karke Hume Yun Na Jaiye Aapko Hamari Kasam Laut Aaiye! Bekarar Karke Hume originally sang & directed by Hemant Kumar while the lyricist was Shakeel Badayuni. 

#BekararKarkeHumeYunNaJaiye #OldHindiSongs #LyricsofBekararKarkeHumeYunNaJaiye

Old Hindi Songs Bekarar Karke Hume Yun Na Jaiye Lyrics Video Credits,

Vocal: singer Sagarika

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'Bekarar Karke Hume Yun Na Jaiye' original song credit 

Artiste: Hemant Kumar

Album: Bees Saal Baad (1962)

Music: Hemant Kumar

Lyricist:- Shakeel Badayuni

Music Level: Saregama

[umakantm]

ये रात ये चाँदनी फिर कहाँ ye raat ye chaandni phir kahan जाल-(Jaal) Hemant Kumar by Umakant Mishra

ये रात ये चाँदनी फिर कहाँ ye raat ye chaandni phir kahan जाल-(Jaal) Hemant Kumar by Umakant Mishra

ये रात ये चाँदनी फिर कहाँ सुन जा दिल की दास्ताँ ye raat ye chaandni phir kahan sun jaa dil kii dastan Singer in Video- Umakant Mishra Film: जाल-(Jaal) संगीतकार / Music Director: सचिन देव बर्मन-(S D Burman) गीतकार / Lyricist: साहिर लुधियानवी-(Sahir Ludhianvi) गायक / Singer(s): हेमंत कुमार-(Hemant Kumar) राग / Raag: Kafi Lyrics of the song: ये रात ये चाँदनी फिर कहाँ सुन जा दिल की दास्ताँ पेड़ों की…

[bollywoodirect]

44 years ago, we lost one of the music greats of our country S D Burman was one of the few musicians who we can truly call the architects of the golden era of Hindi film music.

Sachin Dev Burman (1 October 1906 – 31 October 1975) was a music composer. A member of the Tripura royal family, he started his career with Bengali films in 1937. Later he began composing for Hindi movies, and became one of the most successful Bollywood film music composers. S D Burman composed music for over 100 movies, including Hindi and Bengali films. Apart from being a versatile composer, he also sang songs in light semi-classical and folk style of Bengal. His Son Rahul Dev Burman was also a celebrated music composer for Bollywood films.

S.D. Burman's compositions have been sung by leading singers of the period including Lata Mangeshkar, Mohammed Rafi, Geeta Dutt, Manna Dey, Kishore Kumar, Hemant Kumar, Asha Bhosle and Shamshad Begum. Mukesh and Talat Mahmood have also sung songs composed by him. He sang about 14 Hindi and 13 Bengali film songs.