#shyama sangeet

[zeherili-ankhein]

Nothing gives the type of peace Shyama Sangeet does....

[musicverse11]

Bappi Lahiri’s Collaborations: A Melodic Journey with Legends

Bappi Lahiri, often referred to as the “Disco King” of India, holds a special place in the hearts of music lovers across the globe. A pioneer in introducing disco music to Bollywood, Bappi Lahiri’s unique style redefined the Indian music scene in the 1970s and 1980s. Known for his peppy beats, iconic melodies, and vibrant persona, he left an indelible mark on Indian cinema and music. This article explores his journey, his contributions to the world of music, and the legacy he has left behind.

Early Life and Musical Beginnings

Born Alokesh Lahiri on November 27, 1952, in Jalpaiguri, West Bengal, Bappi Lahiri grew up in a musically enriched family. His father, Aparesh Lahiri, was a renowned Bengali classical singer, while his mother, Bansari Lahiri, was well-versed in classical music and Shyama Sangeet. Surrounded by music, Bappi started learning the tabla at the tender age of three, showcasing a natural flair for rhythm and melody. It was clear early on that he was destined for a life immersed in music.

Bappi drew inspiration from global music trends, particularly Western pop and disco, which were gaining popularity during his youth. This influence would later define his career and establish him as a trailblazer in Bollywood music.

Rise to Stardom in Bollywood

Bappi Lahiri’s Bollywood journey began in the early 1970s when he composed music for the Bengali film Daadu in 1972. He soon transitioned to Hindi cinema, making his debut as a music director in the film Nanha Shikari (1973). However, his breakthrough came with the 1975 movie Zakhmee, where he not only composed the music but also lent his voice to a few tracks. The songs from this movie became instant hits, showcasing his ability to create memorable melodies.

It was during the late 1970s and early 1980s that Bappi Lahiri truly rose to prominence. Films like Chalte Chalte (1976) and Disco Dancer (1982) cemented his reputation as a hitmaker. The song “Chalte Chalte Mere Yeh Geet Yaad Rakhna” became a timeless classic, while “I Am a Disco Dancer” became an anthem for a generation. His ability to infuse Indian melodies with Western disco beats created a distinct sound that was both innovative and appealing.

The Disco Era and Iconic Contributions

Bappi Lahiri is best remembered for ushering in the disco revolution in India. During the late 1970s and early 1980s, he introduced the high-energy, danceable beats of disco to Bollywood, making the genre a household name. His soundtracks for movies like Namak Halaal (1982), Sharaabi (1984), and Himmatwala (1983) were filled with catchy tunes that quickly climbed the music charts.

Songs like “Pag Ghunghroo Bandh,” “Yaar Bina Chain Kahan Re,” and “Jimmy Jimmy Aaja Aaja” became instant classics. His innovative use of synthesizers, drum machines, and electronic instruments gave his compositions a modern edge. These tracks weren’t just songs; they were cultural phenomena that defined an era in Indian cinema.

Collaborations and Versatility

While Bappi Lahiri is often celebrated as the Disco King, his musical repertoire extended far beyond disco. He was a versatile composer who collaborated with legendary singers like Kishore Kumar, Mohammed Rafi, Lata Mangeshkar, and Asha Bhosle. Each collaboration brought out a different facet of his musical genius.

One of his most memorable collaborations was with Kishore Kumar, with whom he created evergreen hits like “Chalte Chalte” and “Pag Ghunghroo Bandh.” Bappi Lahiri’s ability to blend Western influences with traditional Indian music showcased his range as a composer.

Achievements and Global Recognition

Bappi Lahiri’s contributions to music earned him recognition not just in India but globally. In 1986, he set a Guinness World Record for recording more than 180 songs in a single year, a testament to his prolific output. His song “Jimmy Jimmy Aaja Aaja” gained international acclaim, becoming a hit in countries like Russia and China and even being featured in Hollywood productions.

His work transcended linguistic and cultural boundaries, making him one of India’s first music directors to gain a global audience. Bappi Lahiri also contributed to the soundtracks of several international films, further cementing his status as a global music icon.

The Man Behind the Music

Beyond his music, Bappi Lahiri was known for his larger-than-life persona. His love for gold jewelry, flashy outfits, and sunglasses became his signature look, making him a style icon of his time. This flamboyant image complemented his vibrant music and endeared him to fans worldwide.

Despite his fame, Bappi remained a humble and dedicated musician, always striving to push the boundaries of his craft. His passion for music was evident in every composition, and his ability to adapt to changing trends kept him relevant over the decades.

Legacy and Influence

Bappi Lahiri’s impact on Indian music is undeniable. His innovative approach to music paved the way for future generations of composers to experiment with new sounds and genres. Many contemporary music directors credit Bappi Lahiri as an inspiration for their work.

Even after his passing in February 2022, his music continues to resonate with audiences. His timeless melodies, infectious beats, and groundbreaking innovations have left a legacy that will be cherished for generations to come.

Conclusion

Bappi Lahiri journey from a young tabla player in West Bengal to the Disco King of Bollywood is a story of passion, innovation, and relentless dedication to his craft. His ability to create music that transcended genres, languages, and generations is a testament to his genius. As we celebrate his life and legacy, it is clear that Bappi Lahiri will forever remain an integral part of India’s musical heritage.

[binodkumarsposts]

নাচে নাচে রে মন | Nazrul Shyama Sangeet | Nache Nache Re Mon | Madhumita...

[rishifolk]

Durga Durgoti Hara(দুর্গা দুর্গতি হরা) | Rishi New Song | Purulia Chhau Dance | Durga Puja Song2023 Full Song Link: https://www.youtube.com/watch?v=WnpYlz2fczc

🎶 Watch the enchanting performance of "Purulia Chhau Nachh," a folk masterpiece featuring the talented Rishi Chakraborty and a stellar cast of performers, brought to life by the brilliant lyrics and composition of Shyama Pada Bhattacharya.

🌟 Credits: Singer - Rishi Chakraborty Lyrics & Composition - Shyama Pada Bhattacharya Music Arrangement - Sainik Dey & Rishi Chakraborty Rhythm - Sudipto Chakraborty Flute - Swarup Mukherjee Sound Engineer - Tarun Das Recorded, Mixed & Mastered - Studio Violina Feature - Rishi Chakraborty, Durga: Rajib Poramanik, Mahishasura: Hiralal Poramanik, Singha: Nandalal Sarkar & Chinibas Poramanik Direction - Hiralal Poramanik, Jambad Janakalyan Sangho Chhau Nritta Party Camera Works - Sangeet Roy Video Direction - Rishi Chakraborty Editing Desk - Third eye Malda Thumbnail - Gopal Kirtania Category - Devotional Song Language - Bengali Special Thanks To - Nupur Biswas, Kalyan Saha & Bishnu Mete Digital Advisor - Sanjay Sen Label - Rishi Folk

🌟 Hashtag:

rishichakrabotysong #rishifolk #newbengalisong #puruliachhaudance #durgapujasong2023 #puruliasong #banglafolksong #bengalidevotionalsong #durgamaayergaan #durgapujasongnew #folkmusic #culturalheritage #chhaunritta #traditionalart

[keylyrics4u]

Nithur Monohor Lyrics | নিঠুর মনোহর | Ishaan

নিঠুর মনোহর,  Nithur Monohor by Ishaan এর Gaan. This is my first original song. Thank you all for showing so much love already. Lyrics: Ishaan Mozumder Tune: Traditional (Shyama Sangeet)   Nithur Monohor Lyrics   আমার বন্ধু চিকন কালিয়া দেইখো আসিয়া আমি কেমন আছি পরের ঘরে তোমারে ��াশরিয়া।। যদি দেখার ইচ্ছা হয় তোমার নিঠুর মনে লয় কালিন্দীর ঘাটে আইসো দুপুরের সময় আমি জল ভরিবার ছল করিয়া দেখব নয়ন…

[haruwrites21]

The Glory and Grandeur of Durga Puja: An Insight into the Festive Season

As autumn descends upon the Indian subcontinent, bringing with it the respite from summer's heat, the air fills with an electric anticipation. The moment we've all been patiently waiting for: Durga Puja. This remarkable festival is a testament to India's diverse cultural tapestry, unfolding a spectacle of devotion, artistry, and fervor.

Durga Puja is not just a religious event; it's an emotional journey that artistically bridges spirituality and tradition. The grandeur of this festival stems from the captivating blend of sacred rituals, elaborate decorations, cultural performances, and communal participation, all honoring Goddess Durga. With her ten powerful arms, astride her mighty lion, the deity of strength and courage becomes the epicenter of joyous celebrations.

From humble village squares to bustling city centers, the air resounds with the rhythmic beats of the dhak (a traditional drum), calling devotees to partake in the divine celebration. For five days, the mundane gives way to the sacred, and the secular paves the path for the spiritual. Huge pandals (temporary structures) spring up, ornate with stunning themes, showcasing the immense creativity and craftsmanship of local artisans. These pandals bloom forth like cultural fairylands that push the boundaries of imagination, making the worship of the goddess a multisensory experience.

Durga Puja is also an embodiment of unity and harmony. It transcends societal boundaries and brings people from all walks of life to unite under a single entity - devotion to the mother goddess. From the breaking dawn, with the offering of pushpanjali (floral tribute), to the reverberating aartis (worship rituals with fire) in the evening, devotees immerse themselves in an ocean of spirituality, forgetting the differences that typically separate them.

The cultural aspects of Durga Puja add to its grandeur. The energetic dance with the dhunuchi (an earthen pot carrying incense and coal) is not just a performance, but a devotional trance expressing unfiltered joy. The melodic humming of Shyama Sangeet (songs dedicated to the goddess) lend a celestial ambiance to the festive nights. The vibrancy of Durga Puja culminates in the Sindoor Khela - where married women smear each other with vermilion, epitomizing a shared sisterhood.

This grand festival is also a gastronomical delight. Durga Puja is synonymous with bhog (community feasts), where devotees share a meal together. The assortment of sweets, savories, and local delicacies reflect the diversity and flavor of the Indian palate.

The festival concludes with a mixed bag of emotions. While Bijoya Dashami signifies the victory of good over evil, it also marks the farewell to the goddess. The ceremony of Visarjan (immersion of the idol in a water body) becomes a heart-wrenching goodbye accompanied by drumbeats, dances, and a resounding chant – Asche bochor abar hobe (It will happen again next year).

In retrospect, Durga Puja reflects the circle of life – creation, preservation, and dissolution. It reverberates the message of unity, courage, and the unflagging spirit of humanity to overcome adversities. As we dive into Durga Puja's glory and grandeur, we not only renew our ties with the divine but also with our roots — in a confluence of faith, culture, and love. The festival leaves an indelible impression on the canvas of collective memory, till the drums of the puja beckon us again, echoing the promise of a grandeur even more glorious next year.

[lyric8]

Bengali song lyrics

Bengali song lyrics, Rabindra sangeet Lyrics, shyama sangeet Lyrics.

[arjuna-vallabha]

KAMAL-EY KAMINI - the lady of the lotus - অভয়া মঙ্গল

No one knows the exact time , but the story goes that many hundreds of years ago a merchant ship was sailing through the darks waters of indian ocean on its way to the island of Sinhala . It had set sail from the port of Bengal many days back , stopping by Neelachal to pay homage to Jagannath . It had passed by the cities of Kaladhautapura and Chandrasiddha dweep and covered hundreds of ‘yojanas’ before docking at Setubandha . Bowing to Ramachandra , the merchant Srimanta inquired from the locals how far they still have to travel in order to reach Sinhala . After gathering all the information , the ship was let loose once again . Soon they lost all sight of land . Ahead of them the dark waters of the ocean lay wrapped in mystery . . Then suddenly they came across a wonderful sight . In middle of nowhere sprang forth a beautiful grove of lotus blooms , buzzing with bumblebees and teeming with water birds . Fragrant creepers of ‘malati’ , ‘jaati’ and ‘juthi’ flowers were covered with the pollen of lotuses carried by the wind ! The air was abuzz with melodious songs of birds . This magical forest appeared in middle of the ocean , floating on its rough waters ! And in the middle of all this , sitting inside a fully blossomed lotus was a beautiful lady ! She was bejeweled and her beauty paled the beauties of Saraswati , Sachi , Rambha , Arundhuti , Satyabhama or Lakshmi . She sat there with the elegance of a swan . Her feet was adorned with tingling anklets and the ten nails of her feet shone like ten moons ! Her face was radiating glow like the full moon of autumn and the sindur dot on her forehead shone with the brightness of morning sun ! The air had been made fragrant by the lotus like smell of her body and thousands of intoxicated bees were rushing towards her ! And with wondrous amazement they saw that this lady of the lotus is holding an elephant in her hands as it struggles to set itself free . With perfect ease , the lady lifted the elephant with her left hand and devoured it by swallowing it alive ! And at the very next moment , she regurgitated the elephant and then again tossed it back into the mouth , with the elan and grace of a golden swan ! Sometimes between her act , she was turning her head around to see and smiling to herself . Her teeth shone like flashes of lightening as she hummed ragas and raginis . Sometimes she would stand up and dance in intoxicated joy raising her hands in the air . And thousands of vidyadharis , daakinis , haakinis and yoginis – her attendant confidantes would dance along with her !!! It was a sight to behold and impossible to contemplate ! It was a sight beyond the understanding of god himself !

The dumbfounded merchant could not believe what he was seeing . It was like an unearthly dream unfolding in a fully awakened state ! Srimanta started thinking – ‘How can a lotus support the weight of this lady and the elephants ?! How can this forest of magical flowers stay afloat in this mighty ocean ?! How can these beings survive in middle of nowhere ?! When Krishna ate mud , he revealed the universe in his mouth to mother Yashoda . This must be some sort of similar divine revelation and this lady must be a goddess of some sort ! She cannot be a human ! ‘ Awestruck at this impossible sight Srimanta continued on his journey and reached Sinhala shortly afterwards .

To cut a long story short , this is the story of ‘kamal-ey kamini’ – the lady of the lotus , which had been told over and over again for a thousand years or possibly more in eastern India ! By the late medieval times , sea travels and maritime warfare had almost completely seized in India and the superstition of ‘kaalaa-paani’ had already found root in the decadent society . Therefore this tale must hark back to a more prosperous and glorious times , when indian sailors freely scoured the seas to lands as far as Persia , Cambodia or Siam . The description of such a mighty sea voyage itself testifies to the antiquity of this legend . It was only from the 15th century onwards that the lores began to be written down as divine poetry by mystic poets . Many epic poetries were composed on the same theme by different authors in different periods in history and together these literatures began to be called the chandi mangal kavyas or auspicious poetries of Chandi . In fact the once massive popularity of this goddess can be still seen in the numerous terracotta temple carvings depicting this scene !

So who is this lady of the lotus ?

The late medieval writers call her ‘Abhayaa’ – the one who grants fearlessness , and views her as identical with Chandi of the puranas . Historians think that Abhayaa , as with all other goddesses of the subcontinent , began as a regional folk goddess and then got merged in the identity of puranic Chandi . But then again , Chandi herself has ‘folk’ ( the term is rather ambiguous though ) and non Aryan roots ! In later times , the same goddess would gain popularity by the name ‘Mangal Chandi’ and her vrata ( জয়মঙ্গলবার ) is still observed by devout Bengali woman in the month of Vaisakh Jyeshtha . These poetries were sung in public in form of naratives by professional singers as a devotional act . They were called ‘chandi-r gaan’ or songs of Chandi and were the precursors to shakta padavali literatures and shyama sangeets that would flourish from 18th century .

Interestingly , the iconography of Abhayaa shows her with two elephants , which reminds the onlooker of the more popular similar goddess ‘Gaja lakshmi’ . The only major difference between the two is that in case of Gaja Lakshmi , the elephants pour bath water over the lady . Is there some sort of historical connection between the two forms ? Could the two have sprung from one common proto deity which is now lost ?! In absence of more definite clues , and research , it is hard to say . But definitely not impossible .

In Durga Saptashati or Chandi book , we come across descriptions of the goddess devouring elephants in the battlefields . The elephant is also symbolic of our own mad mind . And her act of catching a struggling elephant and devouring it whole may stand as a graphic symbolism of taming one’s mind .

Whatever may be her origins , her's is one intriguing legend . And her story is no less fascinating . So when I was asked to depict a scene from Chandi mangal kavya , I could not help myself other than choose this epic scene ! The one thousand years old legend of Abhayaa in all her mystic glory .

Art and text by Halley Goswami more at https://www.facebook.com/Halleysart/

[binodkumarsposts]

জয় মা কালী | সুমিত্রা সোম | Joy Maa Kali | Sumitra Shome | Shyama Sangeet

[deepesthideoutfury-blog]

shyamasangeet singer pratanu banerjee singing bhayankari

[dujanesound]

Sadanandomoyee Kali l Best Shyama Sangeet 2020 l Moumita Roysaha l Sudipta Saha l Dujane Full Song Link: https://www.youtube.com/watch?v=pa1uomQQLrM

[somdutta2008]

Shyama Ma Ki Amar Kalo | Shyama Sangeet | Kumar Shanu | Kali Puja Song |...

[bollywoodirect]

Tribute to Anil Biswas, one of the greatest music composers of Hindi cine music, on his 104th birth anniversary today. Anil Krishna Biswas, more popularly known as Anil Biswas is a veteran music composer of the Hindi film industry who is most known for his contribution in redefining the contours of Hindi film music. He was a pioneer in experimenting with song structures and forms, and successfully fused a repertoire of classical and folk tunes with western forms such as the symphony, orchestra and cantala. With films like Kismet (1953) and Jwar Batta (1944) to his credit, Biswas has established himself as a formidable name in the history of Indian cinema. Born on 7 July 1914, in Barisal in East Bengal, now Bangladesh, Anil K Biswas was exposed to the folk songs of the boatmen, Bhatiyali and Baul, since childhood. He was a trained tabla player and singer of Shyama Sangeet and Kirtan. He also performed in amateur theatre productions at the time. In 1930, Biswas moved to Kolkata and worked for Megaphone Company where he was paid Rs. 5 per song composition, but none of the songs composed by him during this time were released. Later, he joined Rang Mahal Theatre where he performed as an actor, singer, and assistant composer. Here he continued his engagement with the Khayal, Dadra and Thumri forms of musical traditions and further honed his skills as a singer. In 1934, Biswas moved to Bombay and joined Kumar Movietone but soon moved to Eastern Art Syndicate where he worked in a number of film projects and got an opportunity to contribute songs in films like Baalhatya (1935) and Bharat Ki Beti (1935). He went on to make his debut as a music composer in Dharam Ki Devi (1935). While Biswas worked on a number of projects during the period, it was Mehboob Khan's Jagirdar (1937) that established his name as a music composer in Hindi films. Subsequently, he composed music for Mehboob Khan in Aurat (1940), Bahen (1941), and Roti (1942). In 1942, Biswas joined Bombay Talkies and worked on prestigious film projects like Kismet (1943), Jwar Bhatta (1944) and Milan (1946) among many others. In 1947, the collapse of the studio system and the rise of more flexible distributor oriented systems prompted Biswas to leave Bombay Talkies. He worked on Abhiman (1957) and Pardesi (1957), but by the 1960s he moved his base to Delhi. Biswas is best remembered for his innovative experiments in compositions, in particular, his use of orchestra with indigenous musical instruments. With Roti (1942), he used an innovative blend of Western techniques with the Indian film song. He was also one of the first music directors to experiment with Raag Mala as seen in the song 'Ruti aaye, ritu sakhi re' from Hamdard (1953). Biswas is also often credited for popularising the ghazal in film music. He introduced many singers and artists during the time including legendary singerTalat Mahmood. In the latter half of his career, Biswas worked closely with the government, as he was involved in their broadcasting and film component. He was appointed as the Director of National Orchestra at All India Radio in 1963 and worked with Doordarshan on popular shows like Hum Log , Baisakhi and Phir Wohi Talaash during the 80s. Biswas also worked very closely with the Films division in the 80s and 90s on a number of documentary projects. For two years, he served as the Vice-Chancellor of India's pioneer educational institution, Jawaharlal Nehru University. In 1986, Biswas was honoured with the Sangeet Natak Akademi Award for his contribution to the field of arts. Anil Biswas died on May 31, 2003 in Delhi at the age of 88. The last film he worked on before his death was Chhoti Chhoti Baten (1965).