Indian - Pakistani

sangeet ka safar

on this post get very rare and good news from Indian - pakistani
film story , music , on big ways here


>>>> S O O N H E R E 1944 GUL -BALOCH PANJABI FILM STORY WITH ONE PICTURE <<<<<<<<<

dhall

This post has been edited by surhall: Jan 2 2010, 02:52 PM

sangeet ka safar
wait and see about 1944 panjabi movie Gul baloch ( rafi ji sing) story

today well singer Shamshad Begum ji

Shamshad Begum (b. 1919)

Shamshad Begum
The inimitable Shamshad Begum was the reigning queen of film music in its earliest years. From the 1940s to the early 1960s, her unmistakable voice sang such memorable songs as Kaahe koyal shor machaye re (Aag), Pee ke ghar aaj pyari dulhaniya chali (Mother India), and Kajra mohabbat wala (Kismet).

Shamshad Begum was never trained to be a singer; she strayed into a career in music when the Jenaphone music company signed her as their artiste following an audition. She soon began singing on the Lahore radio, gaining popularity with the song Ik baar phir kaho zara.

It was music director Ghulam Haider who groomed the young singer and she sang for him in a couple of successful films including Yamla Jatt, Khazanchi and Khandaan. A string of subsequent successes spread her fame to Bombay. Shamshad Begum shifted to the city in the mid-1940s and established herself with such films as Taqdeer, Anmol Ghadi, and Shahjehan.

Shamshad Begum’s distinct nasal voice and ghazal-inflected folk style of singing made her a favorite of the leading music directors of the time, including O.P. Nayyar, Naushad, and C. Ramchandra. Under their baton, she moulded her voice to sing songs of every mood — the teasing Kahin pe nigahen kahin pe nishana (CID), the tragic Hum dard ka afsana (Dard), the romantic Kabhi aar kabhi paar laage teere nazar (Aar Paar), and the incensed Teri mehfil mein kismat aazmakar (Mughal-e-Azam).

Although her style was never imitated or challenged, Shamshad Begum went into semi-retirement with the advent of younger singing stars in the late 1960s. Shamshad Begum sang her last three songs in 1981 for Ganga Maang Rahi Balidan. She now leads a quiet life in Mumbai –

Sinbad the Sailor (1952) – Ada sai Jhoomte
Hemant Kumar – Shamshad Begum
Mukesh – Shamshad Begum
Shamshad Begum – Talat Mahmood
Mohd Rafi – Shamshad Begum
Lata – Shamshad Begum
Naushad – Shamshad Begum
>>>>>>>>>>>>>>>>>>>>>NEXT THIS LIST POST HERE <<<<<<<<<<


DHALL

soon u/l next posting
dhall

sangeet ka safar
Mukesh & Shamshad Begum
Mukesh and Shamshad Begum approximately sang 26 duets together. Details are provided below :-

Song Film Music Director Year
KYA JADU HAI TERE PASS PIYA CHEHRA M. A. Mukhtar 1946
MOTI CHUGNE GAYI RE HANSI CHHEEN LE AAZADI Hansraj Behl 1947
LUT GAYI HO,LUT GAYI LAJO CHHEEN LE AAZADI Hansraj Behl 1947
AGARE SE ODANI MANGVA DE BALMA LAKHON MEIN EK Hansraj Behl 1947
RAAT KO JI HAAY CHAMKE AAG Ran Ganguly 1948
KASE BATAUN UNSE IS DIL KO PYAR ANJUMAN Bulo C. Rani 1948
BHOL GAYE KYON DE KE SAHARA ANOKHI ADA Naushad 1948
TERE NAAJ UTHANE KO JI CHAHATA GRAHASTHI Ghulam Mohd. 1948
AAI SAVAN RITU AAI SAJAN MORA MELA Naushad 1948
DHARTI KO AAKASH PUKARE MELA Naushad 1948
MERA DIL TODNE WALE MERE DIL KI MELA Naushad 1948
MAIN BHANWARA TO HAI PHOOL MELA Naushad 1948
O JANE WALE HAMKO BHOOL NA O JANE WALE Pankaj Mullick 1948
SAJANVA PREM KAHANI,SAJANVA PREM O JANE WALE Pankaj Mullick 1948
O BADI JULMI TAMNA HAI AAJ DADA Shaukat Ali 1949
TUMAHRE LIYE HUE BADNAM SHABNAM S.D. Burman 1949
TU MAHAL MEIN RAHNE WALI MAIN SHABNAM S.D. Burman 1949
PYAR MEN TUMNE DHOKHA SEEKHA SHABNAM S.D. Burman 1949
MAINE DEKHI JAG KI REET (HAPPY) SUNHERE DIN Gyan Dutt 1949
MAINE DEKHI JAG KI REET (SAD) SUNHERE DIN Gyan Dutt 1949
HUMSE NAIN MILANA B.A. PASS KARKE ANKHEN Madan Mohan 1950
O KAALE KAALE BADAL CHHAYE PIYA APNI CHAAYA Husnlal Bhagatram 1950
KAHNE WALE KAHTE HAI BHAGWAN BIJLI Khemchand Prakash 1950
O LIMBO…HATO HATO JI AATI HAI DILRUBA Gyan Dutt 1950
MOHABAT KARNE WALO SE KOI PUCHHE HANSTE AANSU Ghulam Mohd. 1950
DUNIYA NE CHHEDI KAHANIYA EK THA RAJA C. R. Subramaniam 1951

Observations
Their first duet was kiya jadoo hai tere pass piya from Chehra (1946), composed by lesser known music director M.A. Mukhtar. Their nasalish voices were a perfect match for each other and composers like Naushad, S.D. Burman, and Gyan Dutt brought out the best in them.

The maximum number of Mukesh-Shamshad duets i.e. 5 were composed by Naushad. Naushad brought out the best in them and it isn’t surprising that duets from Mela and Anokhi Ada - Bhool gaye kiyoun dai kai sahara, Mein bhanwara tou hai phool, Mera dil toodne waley remain popular even today.

S.D. Burman also used Mukesh-Shamshad voices effectively when he composed three Mukesh-Shamshad duets for Filmistan’s Shabnam (1949). Picturized on Paro and Dilip Kumar, Tumhare liye huwe badnaam, Pyar mein tumnai dhoka seekha, and Tu mahal mein rehnai wali became extremely popular and established S.D. Burman as one of the leading music directors.



>>> next Geeta dutt ji story and song list .<<<<<<<<
song 128/44 kbs 3.31 min
dhall

This post has been edited by surhall: Jan 3 2010, 08:24 PM

sangeet ka safar

Hemant Kumar & Shamshad Begum
Hemant Kumar (the music director) and Shamshad Begum – Like other music directors from Bengal belt i.e. Anil Biswas and Salil Chaudary, Hemant Kumar used Shamshad’s voice sparingly. As far as I know, the only song he composed for Shamshad, was a duet with Geeta Dutt from Yahudi ki Ladki (1957) – Hum Kisi Se Na Kahenge. Sadly, this was also the last duet Geeta and Shamshad Begum sang together.

Hemant Kumar (the singer) and Shamshad Begum – This is one of the most unusual combination of singers singing together. Shamshad and Hemant sang only 1 to 2 duets together in their long careers. One of them was from the 1953 film Sholey with music by Naresh Bhattacharya and Dhaniram – Ae dil to kahin lai chal. The song appears two times in the film – once as a solo by Hemant and then as a duet by Hemant and Shamshad. The solo version starts slowly and the opening lines are sung at low pace without orchestral support. In duet version the orchestra is right from the beginning. The duet is more catchy owing to change of rhythm from Hemant to Shamshad after mukhada; and then again after the antara.


dhall

sangeet ka safar

Hemant Kumar & Shamshad Begum
Hemant Kumar (the music director) and Shamshad Begum – Like other music directors from Bengal belt i.e. Anil Biswas and Salil Chaudary, Hemant Kumar used Shamshad’s voice sparingly. As far as I know, the only song he composed for Shamshad, was a duet with Geeta Dutt from Yahudi ki Ladki (1957) – Hum Kisi Se Na Kahenge. Sadly, this was also the last duet Geeta and Shamshad Begum sang together.

Hemant Kumar (the singer) and Shamshad Begum – This is one of the most unusual combination of singers singing together. Shamshad and Hemant sang only 1 to 2 duets together in their long careers. One of them was from the 1953 film Sholey with music by Naresh Bhattacharya and Dhaniram – Ae dil to kahin lai chal. The song appears two times in the film – once as a solo by Hemant and then as a duet by Hemant and Shamshad. The solo version starts slowly and the opening lines are sung at low pace without orchestral support. In duet version the orchestra is right from the beginning. The duet is more catchy owing to change of rhythm from Hemant to Shamshad after mukhada; and then again after the antara.


dhall

sangeet ka safar

Hemant Kumar & Shamshad Begum
Hemant Kumar (the music director) and Shamshad Begum – Like other music directors from Bengal belt i.e. Anil Biswas and Salil Chaudary, Hemant Kumar used Shamshad’s voice sparingly. As far as I know, the only song he composed for Shamshad, was a duet with Geeta Dutt from Yahudi ki Ladki (1957) – Hum Kisi Se Na Kahenge. Sadly, this was also the last duet Geeta and Shamshad Begum sang together.

Hemant Kumar (the singer) and Shamshad Begum – This is one of the most unusual combination of singers singing together. Shamshad and Hemant sang only 1 to 2 duets together in their long careers. One of them was from the 1953 film Sholey with music by Naresh Bhattacharya and Dhaniram – Ae dil to kahin lai chal. The song appears two times in the film – once as a solo by Hemant and then as a duet by Hemant and Shamshad. The solo version starts slowly and the opening lines are sung at low pace without orchestral support. In duet version the orchestra is right from the beginning. The duet is more catchy owing to change of rhythm from Hemant to Shamshad after mukhada; and then again after the antara.


dhall

sangeet ka safar

Hemant Kumar & Shamshad Begum
Hemant Kumar (the music director) and Shamshad Begum – Like other music directors from Bengal belt i.e. Anil Biswas and Salil Chaudary, Hemant Kumar used Shamshad’s voice sparingly. As far as I know, the only song he composed for Shamshad, was a duet with Geeta Dutt from Yahudi ki Ladki (1957) – Hum Kisi Se Na Kahenge. Sadly, this was also the last duet Geeta and Shamshad Begum sang together.

Hemant Kumar (the singer) and Shamshad Begum – This is one of the most unusual combination of singers singing together. Shamshad and Hemant sang only 1 to 2 duets together in their long careers. One of them was from the 1953 film Sholey with music by Naresh Bhattacharya and Dhaniram – Ae dil to kahin lai chal. The song appears two times in the film – once as a solo by Hemant and then as a duet by Hemant and Shamshad. The solo version starts slowly and the opening lines are sung at low pace without orchestral support. In duet version the orchestra is right from the beginning. The duet is more catchy owing to change of rhythm from Hemant to Shamshad after mukhada; and then again after the antara.


dhall

sangeet ka safar

Talat Mahmood & Shamshad begum
Talat Mahmood and Shamshad approximately sang 10 duets together. Details are provided below :-

Song Co- Singer Film Music Director Year
Dekho baras rahi barsaat Titli Vinod ?
Nadiya mein uth raha hai Rafi Babul Naushad 1950
Milte hi ankhen Babul Naushad 1950
Duniya badal gaee Babul Naushad 1950
Jawani ke zamaane mein Madhubala Lachiram 1950
Tu mignaini Mr. Sampat Shanker Shastri 1952
Hey bhagwaan Mr. Sampat Shanker Shastri 1952
Hazaron chal kapat dhoke Asha & Rafi Laadla Vinod 1954
Mohabbat dil ke bas Mangu Mohd. Shafi 1954
Khena mera maan Balbir Shaan-e-Hatim A.R. Qureshi 1958

Observations
Talat-Shamshad best known and most popular duets were with music director Naushad from the film Babul (1950). Nadi kinare saath hamare with Rafi, Duniya badal gayi and Milte hi aankhein dil hua picturized on Dilip Kumar and Munawwar Sultana remain popular even today. Ironically, Babul was the only film where Talat Mahmood lent his vocals for Naushad. Naushad never repeated Talat, despite the success of Babul. The reason behind not repeating Talat again is mentioned by Subhash K. Jha in “Mohd. Rafi – The Virtuoso”. “Angered with Talat Mahmood, whom he found smoking during a recording, the perfectionist composer, hired Rafi on a whim and decided that he would sing all the songs of Baiju Bawra.”

talat__some_words. 128/44 kbs


dhall

This post has been edited by surhall: Jan 5 2010, 02:23 AM

Thanks Dhallji for starting new thread
Kirat Pal

ssangeet ka safar Khazanchi (1941)


this movie one song lata ji as child sing many time home and satge 1941



This is an example of the work of the studio in Lahore that was a centre of the Indian film industry before partition and is now the home of ‘Lollywood’ or the Pakistani film industry. A huge hit, it is one of the films that helped to establish the musical style of the Hindi film industry in
subsequent years.

Shadilal (M. Ismail), the khazanchi (cashier) must take some jewellery to Bombay. His son Kanwal (S. D. Narang) wants to marry Madhuri (Ramola), the daughter of the rich Durgadas (Durga Mota), but the wicked Ramesh (Ajmal) is determined to marry her to get his hands on her wealth. The news comes from Bombay that Shadilal has murdered an actress and stolen her jewellery, although it seems that Ramesh was involved in hiring a vamp and putting powder in his drink…

The film puts great emphasis on the modern, with shots of clocks, banks, bicycles, train and phones. It uses many outdoor locations, and its stars, who are mostly fairly ordinary-looking, though well dressed, give strong performances. (Pran, who goes on to play a villain, then also a hero’s friend in Hindi films, has a small role in the film.)

The outstanding feature of this film is its music composed by Ghulam Haider, especially ‘Saawan kenazaare hain’, ‘Ek kali naazon ki pali’ and ‘Nainon ke baan’. Originally a dentist from Sindh, Haider had previously worked in Calcutta but his first hits were those he composed for Pancholi, introducing the young Noor Jehan, although Shamshad Begum was the main Pancholi singer. Khazanchi was Haider’s biggest hit, his music drawing on Punjabi and light classical styles; using Punjabi rhythms and instruments like the dholak (a kind of drum), it became a huge craze across the country. After this he moved to Bombay, where he had several hits and famously ‘discovered’ Lata Mangeshkar, before moving back to Lahore after partition, leaving the field open for Naushad, the other music director who, with him, shaped the history of Hindi film music –

Cast and Production Credits
Year – 1941, Genre – Drama, Producer – Pancholi Production, Director – Moti B. Gidwani, Music Director – Ghulam Haider, Language – Urdu/Hindi, Country – India, Cast – M. Ismail, Ramola, S.D. Narang, Manorama, Durga Mota, Ajmal


dhall

This post has been edited by surhall: Jan 17 2010, 04:20 AM

sangeet ka safar

Navaratna
The nine voices of Hindi cinema

A look at the nine female voices on the Hindi playback scene whose voices still haunt movie buffs...

Ever since Parul Ghosh became India’s first playback artiste in the early 30s, the playback system (here to stay in a culture rooted in music) spawned dozens of voices. The early singing stars were a compromise — either histrionically or vocally. But a few like Khursheed, Kanan Devi and Amirbai Karnataki left a vocal impact, the latter even switching to playback after the 1943 blockbuster Kismet.

From there to Lata Mangeshkar (the one single name that epitomises Hindi film music globally), and beyond has been an enriching, image-defining and image-defying evolution. Over the decades, nine voices have perhaps left the most enduring impressions on the sands of musical time. Together, they can be termed the Navratnas of playbackdom amidst a dozen other jewels from Rajkumari, Khursheed, Leela Chitnis and Zohrabai, to Suman Kalyanpur, Sudha Malhotra, Mubarak Begum, Usha Mangeshkar, Sadhana Sargam and the upcoming generation.

SHAMSHAD BEGUM

The later generations may merely remember her by her hit swan song, which she vocalised for a Biswajeet in drag, O.P.Nayyar’s ‘Kajra mohabbatwala...’ from the 1968 Manmohan Desai thriller Kismat. But Shamshad Begum was to female playback what Mukesh was to the males — she had the highest-ever percentage of hit songs among any major singer. She began to sing in a burqa and legend has it that she even fell asleep at the mike at an early recording in her career.

Beginning with Khazanchi (1941) in which she sang all nine songs, the songstress with the punchy, earthy voice sang for every top star and composer of her time, her characteristic vocals even helping set composers like mentor Ghulam Haider, S.D. Burman (‘Saiyyan dil mein aana re...’/ Bahar), O.P. Nayyar (‘Kabhi aar kabhi paar...’/ Aar Paar) and even Madan Mohan (‘Mohabbat karne...’/ Aankhen) on professional track. And the range was amazing, from ‘Hello hello gentlemen...’ (Actress) and ‘Kahin pe nigahein...’ (C.I.D.) to ‘Bachpan ke din...’ (Deedaar) and ‘Meri neendon mein tum...’ (Naya Andaz).

SURAIYA

India’s first major singing star made her debut with ‘Boot karoon main polish...’ (Nai Duniya) and hit big time with Hamari Baat (1943). The mid-40s and early 50s were her fiefdom to a good extent, as she unleashed an array of hit films and even more chartbusters like ‘Main dil mein dard basaa layi...’ (Anmol Ghadi), ‘Jab tum hi nahin...’ (Parwana), ‘Woh paas rahen...’ (Badi Bahen), ‘Tera khayaal dil se...’ (Dillagi), ‘Yeh na thi hamari qismat...’ (Mirza Sahiban) and ‘Man mora hua matwala...’ (Afsar) (the film with which she entered Navketan as well as Dev Anand’s heart).

Like Sunidhi Chauhan today, Suraiya began when barely into her teens, her earliest recordings needing a stool in the recording rooms for her to stand on. But today she stands tall as India’s greatest star-singer.

NOORJEHAN

Here again was an artiste who began when she was a bare 13, to emerge as a trendsetter star-singer who broke in with a voice that enthralled an audience, used to the ancient mujra-oriented styles. Beginning with Khandaan (1942), in which she sang nine of the 10 songs under Ghulam Haider, Noorjehan soon emerged as a major player with instant chartbusters like ‘Jawaan hai mohabbat...’, ‘Awaaz de kahaan hai...’ and ‘Aaja meri barbad mohabbat ke sahare...’ (all from Anmol Ghadi), ‘Yahaan to badlaa wafaa ka...’ (Jugnu), ‘Aahen na bhari...’ (Zeenat, the first significant qawwali in films), ‘Mohaniya sundar mukhda...’ (Lal Haveli), ‘Tum humko bhula baithe ho...’ (Badi Maa) and ‘Main ban patang ud jaoon...’ (Dupatta).

Noorjehan migrated to Pakistan shortly after Independence, leaving behind a legacy of hits and the monumental talent who had made Noorjehan her initial role model — Lata Mangeshkar.

GEETA DUTT

If Noorjehan inspired Lata, Geeta Dutt, who began as Geeta Roy in the early 40s, became the base of Asha Bhosle’s style and career. Geeta Dutt remains India’s most inimitable voice, her unique vocal magic matched only by her perennial flexibility.

Geeta Dutt’s career can be briefly divided into three distinct stages — initially beginning as a singer with a folk and ghazal base, she acquired a ‘pious’ image with Bhakt Prahlad (1946), till O.P. Nayyar changed the ‘Ghunghat ke pat khol...’-Jogan image with ‘Mera naam Chin Chin Chu...’ in Aar Paar (1952).

It was from here that Geeta’s career took off to its crescendo, an upward graph that did not falter even as Lata and vocal protege Asha Bhosle made it big. The silken voice enriched the compositions of all top composers, mostly O.P. Nayyar and S.D. Burman, and the films of Guru Dutt, whom she married for a tumultuously short span. And Mr & Mrs 55, Do Bhai, Baazi, Devdas, Pyaasa, Howrah Bridge, C.I.D., Sahib Bibi Aur Ghulam and Kaagaz Ke Phool were only the creme-de-la-creme of her output. She succumbed to her emotional troubles in the early 70s, shortly after recording the songs of Kanu Roy’s Anubhav (1972), which proved that the voice was as supple, as nuanced, and as seductive (‘Meri jaan mujhe jaan na kaho...’) as at her peak. Technically, however, her last release was Love And God in 1986.

LATA MANGESHKAR

It was pre-ordained. Why else did 1929 see the biological birth of three legends — Suraiya, Noorjehan and Lata Mangeshkar? But of the three, Lata probably was born under the best constellations, her early hardships notwithstanding.

Today, Lata embodies more than just perfection and permanence in playback — she encompasses single-minded devotion to her art, an untiring thirst for growth, an awesome vocal quality and range and above all, is the first name synonymous with Indian music. From Aap Ki Sewa Mein in 1947, she’s done nothing but sewa to the seven notes, and she continues to strike gold every year, even now when she barely records 10 songs a year. Lata will always remain the benchmark for every singer to come, the lucky mascot of established and debutante heroines, and the complete textbook for present and future singers galore.

ASHA BHOSLE

They revelled in calling her the underdog. But Asha, however subtly and slowly, steadily established her niche as an extraordinarily versatile diva, who was broadminded enough to connect with the bratpack composers, sing for Western musicians and come back to an album with Ustad Ali Akbar Khan. Her film repertoire spans from a ‘Dum maro dum...’ (Hare Rama Hare Krishna) to a ‘Dil cheez kya hai...’ (Umrao Jaan), with a ‘Tora man darpan kehlaaye...’ (Kaajal), a ‘Jhumka gira re...’ (Mera Saaya) and ‘Yeh hai reshmi zulfon ka andhera...’ (Mere Sanam) sparkling in-between.

If everyone else latched on to Lata Didi, the Burmans and O.P. Nayyar loyally moulded her, away from early Geeta influences, to etch out her status as a greater icon of youth than all the poppers and rappers put together.

ANURADHA PAUDWAL

She is the tough one — the ‘iron lady’ who made it her lifetime mission to crack the Mangeshkar monopoly. Anuradha Paudwal remains a key factor in the emergence of the post-Lata-Asha generation, as even detractors will have to admit that she showed and prepared the way for the singers who rule today. Her ascent to the top was not due to strategy alone. She had talent by her side as evidenced in her songs from Hero, Nagina, Tezaab, Ram Lakhan, Batwara, Dil, Aashiqui and Sangeet.

ALKA YAGNIK

She laughs off comparisons to Lata Mangeshkar, and she is both right and wrong. Right, because she has now emerged as a singer with her own distinct leitmotif, and because she rightly considers Lata to be on a far-off pedestal, and wrong because she is the only singer today who can match Lata’s flexibility and vocal allure. She does not deny the early Lata influence, though impartial listeners will note that unlike Anuradha, her similarities to Lata were brought up by her composers more than Alka herself. Today, she is the Queen Bee of playbackdom, a singer who refuses to take her success and growth for granted, a singer who has conquered all her limitations, a singer who gets paid more than the topmost male singer and rules the charts despite being choosy.

KAVITA KRISHNAMURTHY

She broke the mould, proving that a South Indian could sing with a perfect Hindi-Urdu accent. She also proved that a low-profile singer, who started off as a dubbing artiste for Lata and Asha, could be among the leading singers with an array of hits like ‘Hawa Hawaii...’ (Mr India), ‘Kyoon naye lag rahe...’ (1942-A Love Story), ‘Tu hi re...’ (Bombay) and her raag-based songs in Bhairavi and Saaz.

—Rajiv Vijayakar

Who will be the next addition to these Nine Greats? As of today, the tenth name might well be SUNIDHI CHAUHAN, the prodigy who was a mere 13 when she sang her first film song in Shastra (1996).

Blessed with a unique voice and a style that are a heady amalgam of Indian earthiness and Western techniques, Sunidhi took off with Mast (‘Ruki ruki thi zindagi...’) and within just three years has emerged as the ‘item’ specialist who can sound her age or double that figure.

She has that rare quality that inspires music directors to expand their compositional vision, as evidenced from her chartbusters in films like Fiza, Mission Kashmir, Champion and Asoka. And now with Chori Chori, she has brilliantly succeeded in breaking the item barrier to prove that she can do the conventional croons.

this news from net
dhall

Oh God!!

Mister Dhall,

How many times I have told you in the past that stop copying stuff from my websites and blogs. We had an argument about this before on Noor Jehan forum too, and then you lied that you have Newspaper cuttings. I don't mind you copying stuff from my website (articles and photos), but atleast give the author its original due and post the link where are you getting all this info from

http://cineplot.com/

Almost all the articles and pictures you posted in this thread are from my website, and not even once you mentioned the original website or its author.

Ummer.

This post has been edited by Ummer: Jan 25 2010, 07:10 AM

Interesting website....I especially enjoyed the Maula Jatt article. I still remember seeing the film as a kid in the cinema with my much older cousins on Eid Day!