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Posted by: khawar Sohail Jul 10 2010, 05:03 AM

[attachmentid=332737]I will now be putting all rare and popular old song under this Thread. Other people are welcome to contribute.
I start by putting the Title song of this Program used to be aired from Srilanka Radio on Sunday nights. This also tribute to the Presenter during 1970's Vijay Lakshmi Pandit (If I remember correctly) Khawar

Abhi tu mein jawaan hoon
Film Afsana
Music: Husnlal Bhagatram
Total: 1.45 MB
128 kbps
Duration:1. 36 min

Posted by: khawar Sohail Jul 10 2010, 12:07 PM

Film: larrai ke baad-1943
Singers: Sneha prabha+ Sahu
Duration: 3.08 min
total: 4.29 MB
128 kbps
People are requested to add Music directors, Lyricists & Singers where missing. I start by this beutiful duet. People can also request songs. I will try to locate in my collection.
khawar

Posted by: khawar Sohail Jul 10 2010, 12:19 PM

QUOTE(khawar Sohail @ Jul 10 2010, 12:07 PM)

Posted by: khawar Sohail Jul 10 2010, 12:29 PM

QUOTE(khawar Sohail @ Jul 10 2010, 12:19 PM)

QUOTE(khawar Sohail @ Jul 10 2010, 12:07 PM)

Film: larrai ke baad-1943
Singers: Sneha prabha+ Sahu
Duration: 3.08 min
total: 4.29 MB
128 kbps
People are requested to add Music directors, Lyricists & Singers where missing. I start by this beutiful duet. People can also request songs. I will try to locate in my collection.
khawar

A solo by Hemant kumar from film Irrada (1944)
Total: 4.68 MB
Duration: 3.26 min
128 kbps
khawar[attachmentid=332795]

Posted by: khawar Sohail Jul 10 2010, 12:40 PM

QUOTE(khawar Sohail @ Jul 10 2010, 12:29 PM)

QUOTE(khawar Sohail @ Jul 10 2010, 12:19 PM)

QUOTE(khawar Sohail @ Jul 10 2010, 12:07 PM)

Film: larrai ke baad-1943
Singers: Sneha prabha+ Sahu
Duration: 3.08 min
total: 4.29 MB
128 kbps
People are requested to add Music directors, Lyricists & Singers where missing. I start by this beutiful duet. People can also request songs. I will try to locate in my collection.
khawar

A solo by Hemant kumar from film Irrada (1944)
Total: 4.68 MB
Duration: 3.26 min
128 kbps
khawar[attachmentid=332795]

A lata+Chitalkar duet from Bhedi Bangla.
Duration: 3.29 min
128 kbps
Total: 4.74 MB
Enjoy! Khawar[attachmentid=332798]

Posted by: Viraj Padhye Jul 10 2010, 06:43 PM

QUOTE(khawar Sohail @ Jul 10 2010, 12:40 PM)

QUOTE(khawar Sohail @ Jul 10 2010, 12:29 PM)

QUOTE(khawar Sohail @ Jul 10 2010, 12:19 PM)

QUOTE(khawar Sohail @ Jul 10 2010, 12:07 PM)

Film: larrai ke baad-1943
Singers: Sneha prabha+ Sahu
Duration: 3.08 min
total: 4.29 MB
128 kbps
People are requested to add Music directors, Lyricists & Singers where missing. I start by this beutiful duet. People can also request songs. I will try to locate in my collection.
khawar

A solo by Hemant kumar from film Irrada (1944)
Total: 4.68 MB
Duration: 3.26 min
128 kbps
khawar[attachmentid=332795]

A lata+Chitalkar duet from Bhedi Bangla.
Duration: 3.29 min
128 kbps
Total: 4.74 MB
Enjoy! Khawar[attachmentid=332798]

This geeta solo is a treat to ears.
Duration: 3.43 min
total:5.09 MB
128 kbps
Khawar[attachmentid=332802]

Posted by: khawar Sohail Jul 11 2010, 05:27 AM

QUOTE(Viraj Padhye @ Jul 10 2010, 06:43 PM)

QUOTE(khawar Sohail @ Jul 10 2010, 12:40 PM)

QUOTE(khawar Sohail @ Jul 10 2010, 12:29 PM)

QUOTE(khawar Sohail @ Jul 10 2010, 12:19 PM)

QUOTE(khawar Sohail @ Jul 10 2010, 12:07 PM)

Film: larrai ke baad-1943
Singers: Sneha prabha+ Sahu
Duration: 3.08 min
total: 4.29 MB
128 kbps
People are requested to add Music directors, Lyricists & Singers where missing. I start by this beutiful duet. People can also request songs. I will try to locate in my collection.
khawar

A solo by Hemant kumar from film Irrada (1944)
Total: 4.68 MB
Duration: 3.26 min
128 kbps
khawar[attachmentid=332795]

A lata+Chitalkar duet from Bhedi Bangla.
Duration: 3.29 min
128 kbps
Total: 4.74 MB
Enjoy! Khawar[attachmentid=332798]

This geeta solo is a treat to ears.
Duration: 3.43 min
total:5.09 MB
128 kbps
Khawar[attachmentid=332802]

Hi Khawarji,

Fantastic post. Great job!!

Movie of last long posted is Darogaji.

Viraj

Posted by: khawar Sohail Jul 11 2010, 05:55 AM

QUOTE(Viraj Padhye @ Jul 10 2010, 06:43 PM)

QUOTE(khawar Sohail @ Jul 10 2010, 12:40 PM)

QUOTE(khawar Sohail @ Jul 10 2010, 12:29 PM)

QUOTE(khawar Sohail @ Jul 10 2010, 12:19 PM)

QUOTE(khawar Sohail @ Jul 10 2010, 12:07 PM)

Film: larrai ke baad-1943
Singers: Sneha prabha+ Sahu
Duration: 3.08 min
total: 4.29 MB
128 kbps
People are requested to add Music directors, Lyricists & Singers where missing. I start by this beutiful duet. People can also request songs. I will try to locate in my collection.
khawar

A solo by Hemant kumar from film Irrada (1944)
Total: 4.68 MB
Duration: 3.26 min
128 kbps
khawar[attachmentid=332795]

A lata+Chitalkar duet from Bhedi Bangla.
Duration: 3.29 min
128 kbps
Total: 4.74 MB
Enjoy! Khawar[attachmentid=332798]

This geeta solo is a treat to ears.
Duration: 3.43 min
total:5.09 MB
128 kbps
Khawar[attachmentid=332802]

Hi Khawarji,

Fantastic post. Great job!!

Movie of last long posted is Darogaji.

Viraj

Posted by: khawar Sohail Jul 11 2010, 09:30 AM

[attachmentid=332945]

QUOTE(khawar Sohail @ Jul 11 2010, 05:55 AM)

QUOTE(Viraj Padhye @ Jul 10 2010, 06:43 PM)

QUOTE(khawar Sohail @ Jul 10 2010, 12:40 PM)

QUOTE(khawar Sohail @ Jul 10 2010, 12:29 PM)

QUOTE(khawar Sohail @ Jul 10 2010, 12:19 PM)

QUOTE(khawar Sohail @ Jul 10 2010, 12:07 PM)

Film: larrai ke baad-1943
Singers: Sneha prabha+ Sahu
Duration: 3.08 min
total: 4.29 MB
128 kbps
People are requested to add Music directors, Lyricists & Singers where missing. I start by this beutiful duet. People can also request songs. I will try to locate in my collection.
khawar

A solo by Hemant kumar from film Irrada (1944)
Total: 4.68 MB
Duration: 3.26 min
128 kbps
khawar[attachmentid=332795]

A lata+Chitalkar duet from Bhedi Bangla.
Duration: 3.29 min
128 kbps
Total: 4.74 MB
Enjoy! Khawar[attachmentid=332798]

This geeta solo is a treat to ears.
Duration: 3.43 min
total:5.09 MB
128 kbps
Khawar[attachmentid=332802]

Hi Khawarji,

Fantastic post. Great job!!

Movie of last long posted is Darogaji.

Viraj

Here is one geeta song on Request from Film lanka Dhana-1952...khawar
Duration: 3.30 min
4.77 MB @128 kbps[attachmentid=332906]

Posted by: khawar Sohail Jul 11 2010, 10:15 AM

[attachmentid=332959]

QUOTE(khawar Sohail @ Jul 11 2010, 05:55 AM)

QUOTE(Viraj Padhye @ Jul 10 2010, 06:43 PM)

QUOTE(khawar Sohail @ Jul 10 2010, 12:40 PM)

QUOTE(khawar Sohail @ Jul 10 2010, 12:29 PM)

QUOTE(khawar Sohail @ Jul 10 2010, 12:19 PM)

QUOTE(khawar Sohail @ Jul 10 2010, 12:07 PM)

Film: larrai ke baad-1943
Singers: Sneha prabha+ Sahu
Duration: 3.08 min
total: 4.29 MB
128 kbps
People are requested to add Music directors, Lyricists & Singers where missing. I start by this beutiful duet. People can also request songs. I will try to locate in my collection.
khawar

A solo by Hemant kumar from film Irrada (1944)
Total: 4.68 MB
Duration: 3.26 min
128 kbps
khawar[attachmentid=332795]

A lata+Chitalkar duet from Bhedi Bangla.
Duration: 3.29 min
128 kbps
Total: 4.74 MB
Enjoy! Khawar[attachmentid=332798]

This geeta solo is a treat to ears.
Duration: 3.43 min
total:5.09 MB
128 kbps
Khawar[attachmentid=332802]

Hi Khawarji,

Fantastic post. Great job!!

Movie of last long posted is Darogaji.

Viraj

Here is one geeta song on Request from Film lanka Dhana-1952...khawar
Duration: 3.30 min
4.77 MB @128 kbps[attachmentid=332906]

Posted by: khawar Sohail Jul 11 2010, 11:11 AM

QUOTE(khawar Sohail @ Jul 11 2010, 05:55 AM)

QUOTE(Viraj Padhye @ Jul 10 2010, 06:43 PM)

QUOTE(khawar Sohail @ Jul 10 2010, 12:40 PM)

QUOTE(khawar Sohail @ Jul 10 2010, 12:29 PM)

QUOTE(khawar Sohail @ Jul 10 2010, 12:19 PM)

QUOTE(khawar Sohail @ Jul 10 2010, 12:07 PM)

Film: larrai ke baad-1943
Singers: Sneha prabha+ Sahu
Duration: 3.08 min
total: 4.29 MB
128 kbps
People are requested to add Music directors, Lyricists & Singers where missing. I start by this beutiful duet. People can also request songs. I will try to locate in my collection.
khawar

A solo by Hemant kumar from film Irrada (1944)
Total: 4.68 MB
Duration: 3.26 min
128 kbps
khawar[attachmentid=332795]

A lata+Chitalkar duet from Bhedi Bangla.
Duration: 3.29 min
128 kbps
Total: 4.74 MB
Enjoy! Khawar[attachmentid=332798]

This geeta solo is a treat to ears.
Duration: 3.43 min
total:5.09 MB
128 kbps
Khawar[attachmentid=332802]

Hi Khawarji,

Fantastic post. Great job!!

Movie of last long posted is Darogaji.

Viraj

Here is one geeta song on Request from Film lanka Dhana-1952...khawar
Duration: 3.30 min
4.77 MB @128 kbps[attachmentid=332906]

Posted by: khawar Sohail Jul 11 2010, 01:44 PM

QUOTE(khawar Sohail @ Jul 11 2010, 11:11 AM)

QUOTE(khawar Sohail @ Jul 11 2010, 05:55 AM)

QUOTE(Viraj Padhye @ Jul 10 2010, 06:43 PM)

QUOTE(khawar Sohail @ Jul 10 2010, 12:40 PM)

QUOTE(khawar Sohail @ Jul 10 2010, 12:29 PM)

QUOTE(khawar Sohail @ Jul 10 2010, 12:19 PM)

QUOTE(khawar Sohail @ Jul 10 2010, 12:07 PM)

Film: larrai ke baad-1943
Singers: Sneha prabha+ Sahu
Duration: 3.08 min
total: 4.29 MB
128 kbps
People are requested to add Music directors, Lyricists & Singers where missing. I start by this beutiful duet. People can also request songs. I will try to locate in my collection.
khawar

A solo by Hemant kumar from film Irrada (1944)
Total: 4.68 MB
Duration: 3.26 min
128 kbps
khawar[attachmentid=332795]

A lata+Chitalkar duet from Bhedi Bangla.
Duration: 3.29 min
128 kbps
Total: 4.74 MB
Enjoy! Khawar[attachmentid=332798]

This geeta solo is a treat to ears.
Duration: 3.43 min
total:5.09 MB
128 kbps
Khawar[attachmentid=332802]

Hi Khawarji,

Fantastic post. Great job!!

Movie of last long posted is Darogaji.

Viraj

Here is one geeta song on Request from Film lanka Dhana-1952...khawar
Duration: 3.30 min
4.77 MB @128 kbps[attachmentid=332906]

On request of hariShankar sahib, here is better (78rpm) version of madhubala Zaveri song from Khyber: khawar
Duration: 3.27 min
4.71 MB @128 kbps[attachmentid=332967]

Posted by: Faraaj73 Jul 11 2010, 02:00 PM

Khawar Saab attempted to upload a Razia Begum duet from Shikarpur (1947) in Purani Yaadein but the upload was unsuccessful. I am now uploading this song on Khawar Saab's behalf.

Good ole Earthmusic lists the male singer was Mohd Shafi, composer of that Lata classic Bajoobandh Khul Khul Jaaye and films like Hulchul (a few songs). If the singer is indeed Mohd Shafi, his voice has an uncanny resemblance to another singer who shares the same first name!

Old Filmi - 1947 Shikarpur - Razia Begum, Rafi - Balam Harjai Jao Ji-mohd shafi 3m 36s 192kbps mp3

Posted by: khawar Sohail Jul 12 2010, 03:56 PM

QUOTE(khawar Sohail @ Jul 10 2010, 05:03 AM)

Posted by: khawar Sohail Jul 12 2010, 03:57 PM

Is there an extented longer version of this beautiful song "Abhi tu mein jawaan hoon" available??Khawar

Posted by: khawar Sohail Jul 12 2010, 04:05 PM

QUOTE(Faraaj73 @ Jul 11 2010, 02:00 PM)

Posted by: khawar Sohail Jul 12 2010, 04:20 PM

QUOTE(khawar Sohail @ Jul 12 2010, 04:05 PM)

QUOTE(Faraaj73 @ Jul 11 2010, 02:00 PM)

Khawar Saab attempted to upload a Razia Begum duet from Shikarpur (1947) in Purani Yaadein but the upload was unsuccessful. I am now uploading this song on Khawar Saab's behalf.

Good ole Earthmusic lists the male singer was Mohd Shafi, composer of that Lata classic Bajoobandh Khul Khul Jaaye and films like Hulchul (a few songs). If the singer is indeed Mohd Shafi, his voice has an uncanny resemblance to another singer who shares the same first name!

Old Filmi - 1947 Shikarpur - Razia Begum, Rafi - Balam Harjai Jao Ji-mohd shafi 3m 36s 192kbps mp3

Moving on to Asha now from film GrahLakshmi 1959 movie...khawar[attachmentid=333147]
Duration: 3.14 min
4.41 MB@128 kbps

Posted by: r&d Jul 12 2010, 08:21 PM

May I request that you not quote your previous post that are unrelated,
it makes for easier reading. Just use the "Add reply" button. Thanks.


PS obviously it is your thread, you can do whatever you want.

Posted by: khawar Sohail Jul 13 2010, 08:37 AM

You are right. I also do not understand how the text and attacments keep on repeating many times. I never used QUOTE button but use REPLY when uploading. You say I use ADD REPLY button. I will try that next time.
Thanks. Khawar

Posted by: khawar Sohail Jul 13 2010, 04:53 PM

[attachmentid=333289]Srilankan Radio Morning program "Purani filmoon ka Sangeet" from 7 to 7-30 AM ofter played this humerous lata song which was quiet appropriate for the early Morning. Here it is from film Chhoti Bhabhi (1950)
3.22 min duration
4.60 MB @128 kbps
Khawar

Posted by: khawar Sohail Jul 14 2010, 04:44 PM

Another Lata gem from Bhedi Bangla. All the info is in the attachment. Kindly upload non-lata songs of this film if any body has any song. [attachmentid=333397]Khawar

Posted by: khawar Sohail Jul 14 2010, 04:56 PM

Most of my favourite songs are from New Theatres Calcutta. Here is one such song from 1942 movie Saheli (I think it was produced under New Theatre's banner but I am not 100% sure ??) sung by Ratana bai & pahari sanyal. Kindly upload any other songs from this movie. Info is attached with the song. Song is dedicated to Pradeep sahib, a die-hard fan of New Theatre's[attachmentid=333398]. khawar

Posted by: khawar Sohail Jul 14 2010, 04:58 PM

Tomorrow I will try to upload a rare filmi ghazal by Rajkumari specially for Prabharkar sahib. Khawar

Posted by: nandi Jul 14 2010, 07:34 PM

Thanks for some great oldies.
nandi

Posted by: khawar Sohail Jul 15 2010, 04:38 PM

As you are aware that recently lots of pak parliamentarians have been disqualified for fake Uni (BA) degrees. Geo TV in its humerous program "Hum sab umeed se hain" showed a funny clip with a back ground duet of Shamshaad begum & male singer. The wording was something like this " Mere piya ne BA ki degree ley le". These wordings are not accurate. Can any body give info about this song or better upload here. Thanks...khawar

Posted by: khawar Sohail Jul 15 2010, 04:48 PM

Here is a filmi ghazal penned by the Last Mughal Emperor and sung by Rajkumari in 1948 movie Tote taare.
Duration: 3.39 mi
4.97 MB @128 kbps......khawar[attachmentid=333519]

Posted by: Aditya Pant Jul 15 2010, 05:01 PM

QUOTE(khawar Sohail @ Jul 15 2010, 04:38 PM)

Posted by: khawar Sohail Jul 15 2010, 05:08 PM

[attachmentid=333521]Here is another Geeta gem from Daroghaji....Khawar
duration:3 min
4.07MB@128 kbps

Posted by: khawar Sohail Jul 15 2010, 05:14 PM

Thanks Aditya sahib for this funny song. I was exactly looking for this song. Its very popular now-a-days in Pak and I can tell you MNA & MPAs dont like it at all. Its a funny situation. Khawar

Posted by: pradeepasrani Jul 16 2010, 12:36 PM

QUOTE(khawar Sohail @ Jul 14 2010, 05:56 PM)

Posted by: khawar Sohail Jul 16 2010, 04:30 PM

I wonder if more songs from this movie are available...khawar

Posted by: khawar Sohail Jul 16 2010, 04:38 PM

A suriya gem from 1945 movie Mein kiya karoon....khawar[attachmentid=333660]

Posted by: khawar Sohail Jul 16 2010, 04:54 PM

A song composed by my favourite composer/singer Kamaldas Gupta of bengal. He discovered Talat & Feroza Begum and probably Judhika roy......... Listen to the wonderful opening music. About Singer I am not sure......[attachmentid=333662]Khawar

Posted by: khawar Sohail Jul 16 2010, 05:08 PM

[attachmentid=333663]A Naushad composition from his earlier movie Jevan. All female duet...khawar
The statistics of songs are with the tag.

Posted by: Viraj Padhye Jul 17 2010, 07:43 AM

Khawar ji, you are doing a fantastic job!!

Here is one from my side. Details in filename.

Viraj

Posted by: khawar Sohail Jul 17 2010, 10:57 AM

[attachmentid=333775]Thanks Viraj sahib for the missing song. I urge other people also to contribute missing info or missing songs. Here is a lovely song from Amiiri 1945. I do not know the singer or MD. The opening music has a distinctly New Theatre element in it. may be NT expert Pradeep sahib can shed more light? I will U/L another gem from the same movie later on....khawar

Posted by: khawar Sohail Jul 17 2010, 11:05 AM

[attachmentid=333776]Althouhg the next song is easily available but this is also my all-time favourite in every respect. Its Perfect song. Radio Ceylon used to play this song quite regularly at the end of morning program "Purani filmoon ka sangeet". This is CD Version. Enjoy! I also have a video of this song where pankhaj is replaced by KC dey....khawar

Posted by: khawar Sohail Jul 17 2010, 11:06 AM

I think the Bindiya song may have been sung by Kalyaani?? Khawar

Posted by: Faraaj73 Jul 17 2010, 03:11 PM

QUOTE(khawar Sohail @ Jul 17 2010, 03:36 PM)

Posted by: Faraaj73 Jul 17 2010, 04:06 PM

Here is a beautiful Zeenat Begum solo composed by Pt Amarnath. One of the best songs of the 40s...

1944 Shahr Se Door - Zeenat Begum - Lo Phir Yaad Kisi Ki Aayi-pt amarnath 2m 49s 128kbps mp3

Posted by: Faraaj73 Jul 17 2010, 04:14 PM

And here is a lovely Naseem Akhtar classic - one of Naushad's best compositions. The orchestration is vintage Naushad and he never bettered it.

Old Filmi - 1946 Keemat - Naseem Akhtar - Humse Khush Hai Zamana-na 2m 43s 128kbps mp3

Posted by: pradeepasrani Jul 17 2010, 07:51 PM

QUOTE(khawar Sohail @ Jul 17 2010, 11:57 AM)

Posted by: khawar Sohail Jul 18 2010, 10:18 AM

Here are two duets (Part 1&2) from film Bindiya that Farraj sahib is talking about. Brilliant composition by kamaldas Gupta again. I think Kamaldas Gupta worked in calcutta through out his life or did he migrate to Bombay? Pradeep sahib can shed light on whether Bindya was produced in Bombay or Calcutta? Khawar[attachmentid=333863][attachmentid=333864]

Posted by: khawar Sohail Jul 18 2010, 10:25 AM

Moving on to a Noor Jahan duet with Salim Raza from film Mirza Ghalib. This ghazal have been sung by many artists, however this is my favourite. khawar
Duration 3.10 min
2.81MB@128 kbps[attachmentid=333866]

Posted by: khawar Sohail Jul 18 2010, 10:34 AM

[attachmentid=333867]Well I have not played any song by Rafi so here it is a duet with Shamshaad from Raseeli. A beautiful song!
Khawar

Posted by: Faraaj73 Jul 18 2010, 02:27 PM

QUOTE(khawar Sohail @ Jul 18 2010, 03:04 PM)

Posted by: pradeepasrani Jul 18 2010, 10:08 PM

QUOTE(khawar Sohail @ Jul 18 2010, 11:18 AM)

Posted by: khawar Sohail Jul 19 2010, 04:20 PM

[attachmentid=333966]Very valuable information from pradeep sahib re NT era. Here is another song from Amiri...Khawar

Posted by: khawar Sohail Jul 19 2010, 04:27 PM

[attachmentid=333967]Now we move to lata's Punjabi Gem from lacchi. another of my favourite! Absolutely brilliant!!Khawar

Posted by: Prabhakar Jul 20 2010, 03:58 PM

Dear Khawarsaab,

Thank you for thinking of me and posting this song. I am honored and pleased.

Prabhakar

QUOTE(khawar Sohail @ Jul 15 2010, 04:48 PM)

Posted by: khawar Sohail Jul 21 2010, 04:38 PM

QUOTE(Faraaj73 @ Jul 18 2010, 02:27 PM)

QUOTE(khawar Sohail @ Jul 18 2010, 03:04 PM)

[attachmentid=333867]Well I have not played any song by Rafi so here it is a duet with Shamshaad from Raseeli. A beautiful song!
Khawar

Khawar Saab

There seems to be an issue with the songs speed - especially in the earlier part of the song. I think its a little slow...

Posted by: khawar Sohail Jul 21 2010, 04:42 PM

The Khan mastana song is of 3.55 min @128kbps.

Posted by: khawar Sohail Jul 21 2010, 04:51 PM

[attachmentid=334284]

QUOTE(Faraaj73 @ Jul 18 2010, 02:27 PM)

QUOTE(khawar Sohail @ Jul 18 2010, 03:04 PM)

[attachmentid=333867]Well I have not played any song by Rafi so here it is a duet with Shamshaad from Raseeli. A beautiful song!
Khawar

Khawar Saab

There seems to be an issue with the songs speed - especially in the earlier part of the song. I think its a little slow...

Posted by: Faraaj73 Jul 21 2010, 04:58 PM

QUOTE(khawar Sohail @ Jul 21 2010, 09:08 PM)

Posted by: khawar Sohail Jul 22 2010, 04:59 PM

An everlasting gem sung by Kalyani and written by Fayyaz Hashmi. It is interesting that Fayyaz sahib is still living in karachi ~ 92 years old. I dont remember the composer of Zameen aasmaan. khawar
3.54 min @128kbps[attachmentid=334531]

Posted by: pradeepasrani Jul 23 2010, 01:14 PM

Responding to the queries of Khawar and Faraaj in the above two posts, MD of Zameen Aasman was Kamal Dasgupta. Shyam Sunder indeed died prematurely in 1953 while he was at the peak of his prowess and was composing music for Alif Laila. Madan Mohan stepped in to complete the music composition for the movie. Gyan Dutt simply faded away in 50s, much like Anil Biswas, Husnlal Bhagatram, Bulo C.Rani, Hansraj Behl, etc in 60s. He did get a few assignments for a few movies between mid - 50s and mid - 60s. Possibly his last assignment was Janam Janam Ke Saathi, released in 1965.

Pradeep

Posted by: Faraaj73 Jul 23 2010, 04:04 PM

QUOTE(pradeepasrani @ Jul 23 2010, 05:44 PM)

Posted by: khawar Sohail Jul 24 2010, 03:12 PM

A duet of hemant kumar with kalyani (1947) from Calcutta film Faisla. duration 2.59 min @128kbps...Enjoy
Khawar[attachmentid=334749]
If somebody can upload other songs from this film in good recording.

Posted by: RajanCS Jul 24 2010, 06:13 PM

Khawar Saheb,

This is an excellent thread. Each of the song posted here is a gem. Thanks a lot for sharing them.

Sincere regards,

-- Rajan

Posted by: khawar Sohail Jul 25 2010, 04:42 AM

Here is a parul ghosh_panalaal ghosh combination from film Beesvi shaadi.
Duration is 2.50 min @128 kbps....There are only few songs available composed by pannalaal ghosh....[attachmentid=334860]khawar

Posted by: khawar Sohail Jul 25 2010, 04:49 AM

[attachmentid=334861]Lets move to Begum Akhtar filmi song from Roti. Unfortunately none of BA songs are in the movie. Khawar

Posted by: pradeepasrani Jul 30 2010, 01:11 PM

QUOTE(Faraaj73 @ Jul 23 2010, 05:04 PM)

QUOTE(pradeepasrani @ Jul 23 2010, 05:44 PM)

Responding to the queries of Khawar and Faraaj in the above two posts, MD of Zameen Aasman was Kamal Dasgupta. Shyam Sunder indeed died prematurely in 1953 while he was at the peak of his prowess and was composing music for Alif Laila. Madan Mohan stepped in to complete the music composition for the movie. Gyan Dutt simply faded away in 50s, much like Anil Biswas, Husnlal Bhagatram, Bulo C.Rani, Hansraj Behl, etc in 60s. He did get a few assignments for a few movies between mid - 50s and mid - 60s. Possibly his last assignment was Janam Janam Ke Saathi, released in 1965.

Pradeep

Thanks for the info Pradeep Sahab. I did read somewhere that Shyam Sunder died prematurely but what you say confirms that. Its interesting and sad to hear about true musical genius like Gyan Dutt simply fading away...the last albums of his I've heard are from Sunehre Din '49 and Dilruba '50...were his later songs not that good?

Posted by: Faraaj73 Jul 30 2010, 04:08 PM

QUOTE(pradeepasrani @ Jul 30 2010, 05:41 PM)

Posted by: Debopriyo Jul 30 2010, 08:52 PM

QUOTE(Faraaj73 @ Jul 30 2010, 04:08 PM)

QUOTE(pradeepasrani @ Jul 30 2010, 05:41 PM)

Gyan Dutt's career began and virtually ended with Ranjit Movietone, the great movie studio of 1920s, 30s and 40s, owned by the legendary Seth Chandulal Shah. Gyan Dutt was the most prolific music composer of 1940s, along with Khemchand Prakash and later Bulo C. Rani because Ranjit Movietone produced the maximum number of movies in that period. The studio went in decline from early 1950s. So did Gyan Dutt. KP had passed away in 1950 while BCR moved on to other pastures. Gyan Dutt unfortunately could not adjust himself to the rat race of free lance music composition. He had one notable musical score in Ghayal in 1951 but thereafter finds sporadic mention in some stunt movies like Dariyaai Lutera, Gul - e - Bakawli, etc. in 1950s. I guess movies like these didn't inspire him to compose his best or perhaps he had given away whatever he had while he was at his peak in 1940s, so there are not many numbers after Ghayal which would be remembered for their quality but listen to this song from possibly his last movie and you can say "Khandhar Bataa Rahey Hain Ke Imaarat Buland Thi"

Pradeep

Thanks for this lovely Hemant solo and yes, Imaarat Buland Thi. Sad that a musical genius like Gyan Dutt was wasted when he could have produced so many more gems...

Posted by: Faraaj73 Jul 31 2010, 04:03 AM

QUOTE(Debopriyo @ Jul 31 2010, 01:22 AM)

Posted by: khawar Sohail Jul 31 2010, 05:41 AM

[attachmentid=335650]Here is this lata gem in memory of Erum Hashmi sahiba.
"Kab beet gayi jevan ki subha yeh mein na jaan payi" Khawar
duration is 3.17 min @128kbps
BTW what happened to her suddenly?

Posted by: khawar Sohail Jul 31 2010, 05:50 AM

[attachmentid=335651]

QUOTE(Faraaj73 @ Jul 31 2010, 04:03 AM)

QUOTE(Debopriyo @ Jul 31 2010, 01:22 AM)

khawar Sohailji really speechhless --excellent upload ? can you upload these 2 track ...


13 dhiire dhiire aa tuu nadii me(w/ Kalyani Das) Manmaani 1947 Kamal Dasgupta ??
14 baimaan torii batiyaa.N jaaduu bharii Manmaani 1947 Kamal Dasgupta ??
--------looking????

Old Filmi - 1947 Manmani - Hemant, Kalyani Das - Dheere Dheere Aa-kdg 3m 09s 128kbps mp3[attachmentid=335631]

Posted by: khawar Sohail Jul 31 2010, 01:41 PM

[attachmentid=335720]I am unable to locate song#14 from manmaani yet in my collection. If anybody have that song, kindly upload. However here is another hemant song from manmaani...Khawar
duration 2.45 min @128kbps[attachmentid=335720]

Posted by: khawar Sohail Jul 31 2010, 04:00 PM

QUOTE(khawar Sohail @ Jul 31 2010, 01:41 PM)

Posted by: khawar Sohail Aug 1 2010, 12:14 PM

Now is turn of Shamshaad Begum song from film jaltarang. khawar Duration 3.11 min@128kbps[attachmentid=335832]

Posted by: khawar Sohail Aug 1 2010, 12:21 PM

[attachmentid=335833]A combination of New Theatre's + RC Boral composition and Kanan devi has no match. Here is one such song from lagan. A gem by kanan. khawar
Duration 3.34 min @128kbps

Posted by: RajanCS Aug 1 2010, 06:18 PM

QUOTE(pradeepasrani @ Jul 30 2010, 01:11 PM)

Posted by: Debopriyo Aug 2 2010, 02:12 PM

QUOTE(RajanCS @ Aug 1 2010, 06:18 PM)

QUOTE(pradeepasrani @ Jul 30 2010, 01:11 PM)

Gyan Dutt's career began and virtually ended with Ranjit Movietone, the great movie studio of 1920s, 30s and 40s, owned by the legendary Seth Chandulal Shah. Gyan Dutt was the most prolific music composer of 1940s, along with Khemchand Prakash and later Bulo C. Rani because Ranjit Movietone produced the maximum number of movies in that period. The studio went in decline from early 1950s. So did Gyan Dutt. KP had passed away in 1950 while BCR moved on to other pastures. Gyan Dutt unfortunately could not adjust himself to the rat race of free lance music composition. He had one notable musical score in Ghayal in 1951 but thereafter finds sporadic mention in some stunt movies like Dariyaai Lutera, Gul - e - Bakawli, etc. in 1950s. I guess movies like these didn't inspire him to compose his best or perhaps he had given away whatever he had while he was at his peak in 1940s, so there are not many numbers after Ghayal which would be remembered for their quality but listen to this song from possibly his last movie and you can say "Khandhar Bataa Rahey Hain Ke Imaarat Buland Thi"


Pradeep

I found a Talat-Jikki duet from the movie Gul-E-Bakavali which is posted at the following link:

http://www.hamaraforums.com/index.php?showtopic=69316&st=150&gopid=669379&

It appears that this Hindi movie was a dubbed version of a tamil movie of the same name. The tune of Talat-Jikki duet is same as a duet from the tamil movie. For details please above link.

We should hear other songs (if available) from this Hindi Movie where Gyan Dutt has been mentioned as the MD as per EM.

Regards,

-- Rajan

Posted by: khawar Sohail Aug 2 2010, 04:43 PM

[attachmentid=335955]I am looking for these songs in my collection. Here is another song from Bindiya..khawar Duration 3.26 min @128 kbps

Posted by: Debopriyo Aug 2 2010, 07:34 PM

QUOTE(khawar Sohail @ Aug 2 2010, 04:43 PM)

Posted by: khawar Sohail Aug 11 2010, 10:49 AM

[attachmentid=337299]
Moving on to a lovely Mukesh solo from film Chehra (1946).
Duration 3.26 min @128 kbps......khawar

Posted by: khawar Sohail Aug 11 2010, 10:59 AM

When the talkies came to India in the early 30s, film lyricists and music directors began to compose songs for films. Most of the lyricists who then wrote songs for films were reputed Urdu and Hindi poets. Quite a few of the songs they wrote for films were ghazals, to which music directors of those days gave memorable tunes. Thus, people who were not literary-minded enough to read what these great Urdu poets had written, now got the opportunity to listen to their creations beautifully set to music.
Hindi films provided Udru poets like Arzoo Lakhnavi, Shakeel Badayni, Majrooh Sultanpuri, Sahir Ludhianvi, Kaifi Azmi, Rajinder Krishan, Qamar Jalalabadi, Prem Dhawan, Hasrat Jaipuri and several others with the opportunity to have their creations immortalised in the voices of our eminent playback singers.
Here is one such song composed by Aarzoo Lukhnavi [attachmentid=337300]who worked as a lyricist for New Theatre's. Listen to this beautiful poetry.
pankhaj Mullick in Doctor, Duration = 3.28 min @128 kbps...khawar

Posted by: khawar Sohail Aug 11 2010, 02:08 PM

Zia Sarhadi, the man who gave us memorable films such as Humlog (1951) and Footpath (1953), lived in virtual oblivion after his misfortune with the Pakistani film censors in the late ‘50s. He passed away in Madrid last month, having spent the last 15 years of his life in self-exile in London.

Born in Peshawar in 1914, Zia began his film career in Bombay when his friend Mehboob Khan asked him to write the screenplay, dialogue and songs for his Sagar Movietone venture, Deccan Queen. Quite contrary to the social realism Zia became known for in his later days, this debut film was an action thriller. However, it was Manmohan (1936) which actually brought him to fame. Besides acting in the film, he also wrote the lyrics, story, screenplay and dialogue. Over the next 15 years he received the writing credit for such films as Jagirdar, Kal Ki Baat (1937), Jeevan Saathi (1939),Sajan (1940), Behan (1941), Ghalib ((1942), Badi Maa (1945), Elan (1947), Anokha Pyar (1948), Dil Ki Duniya (1949), Khel (1950) and Baiju Bawra (1952 – dialogue only). Among the films he directed were Abhilasha (1938), Humlog (1951), Foot Path (1953) and Awaz (1956).

Humlog, one of the finest movies of the 1950s, was a great success. Unfortunately, his other films were not box office hits, but in terms of quality, all three left a lasting impact on the tradition of parallel cinema.

Zia was an “unaffiliated Marxist” and his films were known for their social themes. Moving to Pakistan, therefore, proved creatively stifling for his committed and restless soul. Rahguzar, his first movie in this country, turned out to be the last that he ever directed. By the time he could complete it, General Ayub Khan had imposed martial law in the country and the compromise with the censors shattered him. Those who have watched it are unanimous that it is still a very fine movie, but the hassles with the censors ensured that Zia never took up the megaphone again. However, he did write dialogue occasionally. Most noteably for the celebrated Lakhon Mein Eik (1966), directed by Raza Mir. His other credits include the ambitious commercial disaster, Aftab Manghi’s existentialist action movie, Shehar aur Saye and the outrageous cult classic, another film plagued by censor problems, Rangeela’s Aurat Raaj.

The third martial law, imposed by his namesake, was the final blow. The last straw came when he was picked up by the army and kept in solitary confinement in terrible conditions. The charges against him were sedition and an inclination towards Marxism. He left the country to settle in the UK, where he supported himself by working mainly on assignments for the BBC.

With a lifespan of 82 years, Zia was only truly productive for a mere 20 years. Others such as Manto, Faiz, Quratul Ain Hyder have been able to withstand the tyrannical oppression of social factors and still produce their best. A future biographer of this fascinating personality would, perhaps, be able to tell us why Zia Sarhadi was different. Taken from internet
Here is one of his songs as a poet from Meri kahani sung by geeta dutt. Duration 3.18 min @ 128 kbps.....Can anybody provide info about his 1942 film GHALIB songs and may be upload any songs from this movie. may be Prabharkar sahib might have few songs. [attachmentid=337307]khawar

Posted by: Debopriyo Aug 11 2010, 02:53 PM

QUOTE(khawar Sohail @ Aug 11 2010, 02:08 PM)

Posted by: khawar Sohail Aug 12 2010, 08:59 AM

Debopriyoji, Shukriya for liking uploads. I would be delighted to u/l your farmaish, however my collection is all over the place and is not yet organized into a database. I myself do not know which songs I have and which are missing. Therefore its very difficult to find particular songs in my collection. When ever I come across these songs I will upload.
The people with geetkosh are requested to u/l info about the songs of film Glalib (1942)...khawar

Posted by: khawar Sohail Aug 14 2010, 12:52 PM

[attachmentid=337906]The following song is sung by an obscure singer Binapaani but have a look at the music style which to me is uncharacteristic of CRam Chandra. This is more or less a Thumri from film Leela (1947). Duration is 2.51 min @128kbps.
Enjoy this amazing song....khawar

Posted by: khawar Sohail Aug 14 2010, 01:00 PM

[attachmentid=337910]Here is another song penned by Zia sarhady and composed by another great MD, K Dutta for 1945 film Bari Maa. This is a historic song as it is the first urdu/hindi song by lata. Also the only film in which both Noor Jahan & Lata sang. The song was picturized on Asha. Duration = 3.46 min @128 kbps.......khawar

Posted by: Aditya Pant Aug 14 2010, 01:12 PM

QUOTE(khawar Sohail @ Aug 14 2010, 01:00 PM)

Posted by: khawar Sohail Aug 14 2010, 04:34 PM

Thanks for clarification Aditya sahib...I wonder what happened to other lata song in this movie" janani janam bhomi" and why the Movie Bari Maa is not available on DVD??? khawar

Posted by: khawar Sohail Aug 15 2010, 07:49 AM

Vasant Desai [size=3]was the composer who could easily pivot the various situations of life around his simple and classy tunes. He was a man of great musical insight. He could easily grasp the situations and put them successfully in his songs. Who can forget his composition, 'Aei Maalik Tere Bande Ham..', in fact, Punjab govt. declared it as a part of morning prayers in their schools.

Vasant Desai was born in 1914. In his early days, he used to act in silent films. Prabhat's Khooni Khanjar (1930) was his first film as an actor. He also used to sing songs in films. He sang his first song, 'Jay Jay Rajadhiraaj..' in Ayodhaya Ka Raja (1932). In 1934, he sang a popular 'Kajri', 'Barsan Laagi..' in Amrit Manthan. He sang many songs in those times in various films. But that was not his destiny, his career took a turn with 1939's Aadmi. He could not managed to get the role of Hero in the film, so gave up acting and started his training in music, under Ustaad Aalam Khan and Ustaad Inaayat Khan.

He became an assistant of music director Govind Rao Tembe. He did Our India, Monsoon, Amar Bhoopali, Shobha Aankh Ki Sharam and Mauj with him as an assistant. He got his first opportunity in 1943 to work independently for Shantarm's Shakuntala. The film was a major hit of those times. It ran for 104 weeks. After Shakuntala's overwhelming success, Vansat Desai became a part of V. Shanatram's Rajkamal Studio. He gave unforgettable music for Shantaram's Do Aankhen Barah Haath and Jhanak Jhanak Paayal Baaje. He became very popular in his early career as a music director. He composed music for 14 films in the 1940's. Parvat Pe Apna Dera (1944), Subhadra (1946), Jivan Yatra (1946), Dr. Kotnis Ki Amar Kahani (1946), Matwala Shaayar Raam Joshi (1947), Uddhar (1949) were some of his popular films.

In 1955, 1956 and 1957, Rajkamal's Jhanak Jhanak Paayal Baaje, Toofan Aur Diya, Do Aankhen Baarah Haath, got released. Desai worked very hard for the music of these films. He gave all sort of music in these films, successfully. He used pure classical, folk and thematical music perfectly for these films. Jhanak Jhanak Payal Baaje was purely based on dance theme, so he composed classical dance tunes. He used the voice of great vocalist Ustaad Amir Khan for the title song of the film. In 1960's he did comparatively less number of films but he managed to maintain his style and melody of his tunes. Use of classical music was clearly visible in his music in this era. The decade saw the release of Pyar Ki Pyaas, Raahul, Yaadein, Ladki Sahayadri Ki, Bharat Milaap, Aashirwad and few more. Yaadein (1964), was a movie with only one artist and the story was portrayed with the help of background music and dialogues. It was a big task for Vasant to compose the music for 'Yaadein', yet he came out with perfect background score and a perfectly composed 'Dekha hai sapna koi..' sung by Lata Mangeshkar. Later, in 1974, when Gulzar made Achaanak, which again was a songless film, he called Vasant Desai for its music. The film has a great weightage for background music and Gulzar knew that Vasant was the perfect man for the job. Vasant did a great job as expected, for the film.

Vasant Desai used the voice of veteran Ashok Kumar for his film Aashirwaad (1968). He put his best effort for the music of Aashirwaad. 'Ek thaa bachpan..' sung by Lata Mangeshkar was composed in Raag Pooriya Ghanashri. He composed "Jeevan Se Lambe Hai Bandhu..' sung by Manna Dey in Raag Shiv Ranjini. Vasant introduced Vani Jayram in Guddi (1970) as a playback singer. 'Bole Re Papihara..' sung by Vani is one of a few remembered rain songs, till date. He introduced Dilraaj Kaur in Rani Aur Laalpari (1975), as a playback singer.

Vasant believed in quality and not quantity, therefore he composed music for only 46 films. He never felt at ease while composing qawallis or ghazals. He always gave his heart for classical music. His favourite poets were Majrooh Sultanpuri, Kavi Pradeep, Gulzar and Pt. Narendra Sharma. He left us in 1974, with his 'Yaadein'.
Source: Article By Dr. R C Misra, Kanpur

Shobha
Aankh Ki Sharam
Mauj
Shakuntala
Parbat Pe Apna Dera
Dr. Kotnis Ki Amar Kahani
Jivan Yatra
Subhadra
Andhon Ki Duniya
Matwala Shayar Ram Joshi
Mandir
Sona
Narsinh Awataar
Uddhar
Dahej
Hindustaan Hamara
Sheesh Mahal
Jivan Taara
Hyderabad Ki Naazneen
Anand Bhawan
Jhansi Ki Rani
Jhanak Jhanak Payal Baaje
Toofan Aur Diya
Do Aankhen Barah Haath
Do Phool
Mausi
Ardhangini
Do Bahan
Goonj Uthi Shehnai
Samraat Prithviraj Chauhan
School Master
Pyar Ki Pyaas
Sampoorn Ramayan
Rahul
Yaadein
Amar Jyoti
Bharat Milaap
Ladki Sahayadri Ki
Ram Rajya
Aashirwad
Guddi
Achaanak
Grahan
Jai Radha Krishna
Rani Aur Lal Pari
Shaque
Note above that his 1960 Unrealed movie Amar Samadhi is not mentioned which had at least 3 lata songs. Any lata solo/duet from Amar Samadhi is requested.[attachmentid=338047]
Here is one Vasant Desai composed song from Jevan Yatra 1946 which is also lata first solo....khawar

Posted by: khawar Sohail Aug 15 2010, 07:57 AM

[attachmentid=338049]Here I post some very good songs which are either incomplete or are defective in some way. It is requested that if somebody has complete or good recordings of these songs, kindly upload...Khawar

The first one it seems is a New Theatre duet. Film unknown. Pradeep sahib may have some clue?![attachmentid=338048]

The second duet from ghar is also incomplete...khawar

Posted by: khawar Sohail Aug 20 2010, 04:27 PM

[attachmentid=338770]Lets resume the program with an Asha solo from Jawaab composed by Naashaad. Duration 3.07 min ....Khawar

Posted by: khawar Sohail Aug 20 2010, 04:31 PM

Followed by a song by Geeta from tutte Khilone. A lovely composition by Chitragupt. Enjoy! Duration 3.22 min @128 kbps....[attachmentid=338771]Khawar

Posted by: khawar Sohail Aug 20 2010, 04:54 PM

Sahir Ludhianvi [size=3]was born into the wealthy family of a Muslim Gujjar[3] as Abdul Hayee on 8 March 1921 in Ludhiana, Punjab in India [4]. His mother name was Sardar Begum. Sahir's parents had a very loose and estranged relationship. In 1934, when he was thirteen years old, his father married for the second time. At that time, his mother decided to take the bold step of leaving her husband, forfeiting all claims to the financial assets. Sahir's father then sued his mother for child custody but lost. He threatened to make sure Sahir did not live with his mother very long, even if that meant taking the child's life.[5] Sahir's mother then found friends who kept a close watch on him and didn't let him out of sight. Fear and financial deprivation surrounded the formative years of this young man. His parents' divorce brought him and his mother face to face with poverty and struggle in life.

The house where Sahir was born, a red sand-stone haveli, stands in Karimpura, a Muslim neighborhood of Ludhiana, with a small plaque announcing its importance upon the arched mughal darwaaza — the only effort by the city to remember him.

Sahir studied at and graduated from Khalsa High School in Ludhiana. Upon matriculation, he joined the Satish Chander Dhawan Government College For Boys, Ludhiana, from which he was famously expelled within the year 'for sitting in the Principal's lawn with a female class-mate'.[6][7]. He was quite popular for his ghazals and nazms in the college. About his expulsion from college, some accounts erroneously mention Amrita Pritam as that girl, but she never lived in Ludhiana. They met after the partition of India, when she arrived in Delhi from Lahore in 1947.

His most famous love affair, however, was with Amrita Pritam, who became his most ardent fan. She has openly acknowledged her love for Sahir in interviews and her books.[8]Apart from Amrita, several other women too came in his life but he could never decide on accepting any of those as his life partner. He remained a bachelor all his life.[9]

In 1943, after being expelled from college, Sahir settled in Lahore. Here, he completed the writing of his first Urdu work, Talkhiyaan ("Bitterness"). He then began searching for a publisher and, after two years, he found a one in 1945. After his work was published, he began editing four Urdu magazines, Adab-e-Lateef, Shahkaar, Prithlari, and Savera; these magazines became very successful.[citation needed] He then became a member of the Progressive Writer's Association. However, inflammatory writings (communist views and ideology) in Savera resulted in the issuing of a warrant for his arrest by the Government of Pakistan. So, during in 1949, Sahir fled from Lahore to Delhi. After a couple of months in Delhi, he moved to and settled in Bombay. A friend of his recalls Sahir telling him "Bombay needs me!"[citation needed]

[edit] Lyrics and Bollywood
Sahir lived on the first floor of the main building of an Andheri outhouse. His famous neighbours included the poet, Gulzar and Urdu litterateur, Krishan Chander. In the 1970s, he constructed "Parchaiyaan" ("Shadows"), a posh bungalow, and lived there till his death. Journalist Ali Peter John, who knew the poet personally, says real-estate sharks have been eyeing Sahir's abode after the death of his sister. His belongings and trophies are in a state of ruin, according to the journalist.[citation needed]

Sahir Ludhianvi made his debut in films writing lyrics for the film Aazadi Ki Raah Par (1949). The film had four songs written by him and his first song was "Badal Rahi Hai Zindagi..." Both the film and its songs went unnoticed. However, with Naujawaan (1951), he gained recognition. S.D. Burman composed the music for Naujawaan. Even today, the film's lilting song, "ठंडी हवाएँ लहराके आएँ...," remains popular. His first major success came the same year with Guru Dutt's directorial debut, Baazi (1951), again pairing him with Burman. Thus he became part of the Guru Dutt team, and after the success of Naujawaan and Baazi, the combination of Sahir Ludhianvi and S.D. Burman came out with many more everlasting songs.

Sahir worked with many music composers, including Ravi, S.D. Burman, Roshan and Khayyam, and has left behind many unforgettable songs for fans of the Indian film industry and its music. Pyaasa marked an end to his successful partnership with S.D. Burman over what is reported to be S.D. Burman's displeasure at Sahir receiving more admiration (and thus credit for the success) from audiences for the words of the lyrics than S.D. Burman did for his memorable tunes.[citation needed] Later, Sahir Ludhianvi teamed up with composer Datta Naik in several films. Datta, a Goan, was a great admirer of Sahir's revolutionary poetry. They had already worked together to produce the music for Milaap (1955). Sahir wrote many unforgettable gems for Datta.

In 1958, Sahir wrote the lyrics for Ramesh Saigal's film Phir Subah Hogi, which was based on Fyodor Dostoevsky's novel Crime and Punishment. The male lead was Raj Kapoor and it was presumed that Shankar-Jaikishan would be the music composers. However, Sahir insisted that only someone who had read the novel could provide the right score. Thus, Khayyam ended up as the music composer for the film, and the song "Woh Subah Kabhi Toh Aayegi" with minimal background music remains an all-time hit. Khayyam went on to work with Sahir in many films including Kabhie Kabhie and Trishul.

Admirers and critics rate Sahir's work in Guru Dutt's Pyaasa as his finest. Pyaasa, some say, bears resemblance to Sahir's early years as a poet. The onscreen poet, Vijay played by Guru Dutt, bears a strong likeness to the man whose poetry gave the film its soul.

Sahir Ludhianvi's work in the 1970s was restricted to films mainly directed by Yash Chopra. Though his output in terms of number of films had thinned out, the quality of his writing commanded immense respect. Kabhie Kabhie (1976) saw him return to sparkling form. These songs won him his second Filmfare Award for Best Lyricist, the first being for Taj Mahal (1963).

[edit] Last days
On 25 October 1980, at the age of fifty-nine, Sahir Ludhianvi suffered a massive heart attack and died in the arms of his friend Dr R.P. Kapoor. He was buried at the Juhu Muslim cemetery. His tomb was demolished in 2010 to make space for new bodies.[10]

Sahir's final works were released for the Hindi film Lakshmi (1982). He will always be remembered along with Kaifi Azmi as the poet who brought Urdu literature to Indian motion pictures. Over twenty-five years after Sahir Ludhianvi's death, his poetry and lyrics remain an inspiration for lyricists of the day. Composers and singers of Sahir's time swear by the depth, intensity and purity in his poetry. As singer, Mahendra Kapoor said in a Vividh Bharati interview, "I don't think a writer like Sahir Ludhianvi will be born again."

[edit] The person
[edit] Personality
It was ironically appropriate; while the poet's heart bled for others, he never paid enough attention to his own life.

His friend, Prakash Pandit once recalled how, after the Partition of India, Sahir was unhappy without the company of his Hindu and Sikh friends (they had all fled to India). A secular India was Sahir's preference to an Islamic Pakistan.[11]

Sahir Ludhianvi was known to be very egotistic[citation needed], perhaps as a result of his zamindar background; he fought for, and became the first lyricist or songwriter, to get royalties from music companies. Sahir insisted on writing the songs before the song was composed, against the Bollywood norm. However, some of his songs were written after the tunes were ready. For example, मांग के साथ तुम्हारा (Naya Daur 1957 - music by O.P. Nayyar). At the height of his popularity, Sahir is known to have demanded a rupee more than what was paid to Lata Mangeshkar for singing it. It was on Sahir's insistence that All India Radio started crediting lyricists along with singers and music composers for songs it aired.

[edit] Poetry
"मै पल दो पल का शायर हूँ, पल दो पल मेरी कहानी है

पल दो पल मेरी हस्ती है, पल दो पल मेरी जवानी है

मुझसे पहले कितने शायर आए और आकर चले गए,

कुछ आहें भरकर लौट गए, कुछ नग़मे गाकर चले गए

वो भी एक पल का किस्सा थे, मै भी एक पल का किस्सा हूँ

कल तुमसे जुदा हो जाऊँगा, जो आज तुम्हारा हिस्सा हूँ"

A colossus amongst film lyricists, Sahir Ludhianvi was slightly different from his contemporaries. A poet unable to praise Khuda (God), Husn (Beauty) or Jaam (Wine), his pen was, at its best, pouring out bitter but sensitive lyrics over the declining values of society, the senselessness of war and politics, and the domination of materialism over love. Whenever he wrote any love songs, they were tinged with sorrow, due to realisation that there were other, starker concepts more important than love. He could be called the underdog's bard; close to his heart were the farmer crushed by debt, the soldier gone to fight someone else's war, the woman forced to sell her body, the youth frustrated by unemployment, the family living on the street and other victims of society. His lyric from Payasa when lead actor Guru Dutt (Vijay) was passing through a red light area by singing this song, moved even Pt. Jawaharlal Nehru, Honourable Prime minister of India that time.

"yea kuche,(road) nilam ghar(auction house) dilkashi(pleasure) ke,
Yea lut te huye caravan zindegi ke,
kahan hai kahan hai muhafiz khudi(self satisfied) ke,
jinhe naaz(pride) hai Hind(India) par,wo kahan hai."
Sahir Ludhianvi's poetry had a "Faizian" quality. Like Faiz Ahmed Faiz, he too gave Urdu poetry an intellectual element that caught the imagination of the youth of the 1940s, 1950s and 1960s. He helped them discover their spine. Sahir asked questions and was not afraid of calling a spade, a spade; he roused people from an independence-induced smugness. He would pick on the self-appointed custodian of religion, the self-serving politician, the exploitative capitalist, and the war-mongering super-powers.

Sahir's poetry reflected the mood of the age. Whether it was the arrest of progressive writers in Pakistan, the launch of the satellite Sputnik or the discovery of Ghalib by a government lusting after minority votes, Sahir reacted with a verve not seen in many writers' work. Kahat-e-Bangal ("The Famine of Bengal"), written by a 25-year-old Sahir, bespeaks maturity that came early. His Subah-e-Navroz ("Dawn of a New Day"), mocks the concept of celebration when the poor exist in squalor.

Perhaps Sahir is the first renowned Urdu poet, who, could express his view towards The Tajmahal in a complete different way. He wrote

"Mere mahboob kahi aur mila kar mujhse, bazm- e- sahi me gharibo ka guzar kya mane. sabat jis raho par hai satbate sahi ka nishan uspe ulfat bhari ruho ka guzar kya mane."-

The poet asks his lover to meet him anywhere else but Tajmahal. A tomb which has been a symbol of luxurious monarchy for years, there is no need to make journey of love by two beautiful but not famous hearts there.

Sahir will always be remembered as a poet who made his creation a lesson for all ages of Urdu poetry to come. In this way he contradicts his own creation: "kal aur ayenge naghmo ki khilti kalian chunnewale, koi mujhse behtar kehnewale, koi tumse behtar sunne wale;kal koi mujhe keun yaad kare, keun koi mujhe yaad kare, masroof zamana mere lie keun waqt apna barbad kare?"

[edit] Relationships
Although Sahir Ludhianvi remained a bachelor all his life, he had two failed love affairs with journalist Amrita Pritam and singer/actress Sudha Malhotra.[12]. These relationships could not be cemented in marriage because these women's fathers refused to let them marry a Muslim.[citation needed] In fact, Sahir Ludhianvi was an atheist. These relationships had left Sahir Ludhianvi an embittered man. He took to drinking heavily and drank himself deep into alcoholism. The tragedies and pathos of his personal life most truly reflected in his poignant poetry.

His relationship with Amrita Pritam was so passionate that at one time, while attending a press conference, Amrita wrote his name hundreds of times on a sheet of paper. The two of them would meet without saying a word and Sahir would puff away with his cigarettes, and after he left, Amrita would smoke the cigarette butts left by him. After his death, she hoped the smoke from her cigarettes would meet him in the other world.[12]

It is said that when Sahir was courting Amrita Pritam, he built a taller house in front of Amrita Pritam's residence in Ludhiana to show her father that he could afford a house. This statement is a fallacy derived from the Hindi film Tere Ghar Ke Samne. Sahir's economic position at the time was pitiful, so 'building a house' would be out of the question; and secondly, Amrita Pritam does not belong to Ludhiana but to Amritsar; and the "love of her life" was another Urdu shayar, Imroz, as detailed extensively in her autobiography, written in Punjabi for which she got a Sahitya Academy Award.

[edit] Famous works
English translations of Sahir's poetry: LUDHIANVI, Sahir (1921–1980)
SHADOWS SPEAK tr. with intro. Khwaja Ahmad Abbas {Abbas, Khwaja Ahmad} pref. Sajjad Zaheer {Zaheer, Sajjad} English text only. P.P.H. Bookstall (Bombay) 129pp (intro. 7-12) 1958 paper only.
THE BITTER HARVEST tr. Rifat Hassan {Hassan, Rifat} Urdu & English texts. Aziz Publishers (Lahore) 169pp (pref. i-iii) 1977 cloth only.
SORCERY/ (Sahir) tr. with pref. Sain Sucha {Sucha, Sain} Urdu & English texts. Vudya Kitaban Forlag (Sollentuna, Sweden) 114pp (pref. 1-6, essay in Urdu 106-114) 1989 paper only.
Gaata jaye Banjara - A Collection of film lyrics
[edit] Bollywood songs
Sahir Ludhianvi penned some of the finest Bollywood songs.

आना है तो आ (Naya Daur 1957), composed by O.P. Nayyar
ये दुनिया अगर मिल भी जाए तो क्या है (Pyaasa 1957), composed by S.D. Burman
तू हिंदू बनेगा ना मुसलमान बनेगा (Dhool Ka Phool 1959), composed by Datta Naik
ये इश्क़ इश्क़ है (Barsaat Ki Raat 1960), music by Roshan
ना तो कारवाँ की तलाश है (Barsaat Ki Raat 1960), music by Roshan
अल्ला तेरो नाम ईश्वर तेरो नाम (Hum Dono 1961), composed by Jaidev
चलो इक बार फिर से अजनबी बन जाए हम दोनों (Gumrah 1963), composed by Ravi
मन रे तू काहे ना धीर धरे? (Chitralekha 1964), composed by Roshan
संसार से भागे फिरते हो, भगवान को तुम क्या पाओगे (Chitralekha 1964), composed by Roshan
ईश्वर अल्ला तेरे नाम (Naya Raasta 1970), composed by Datta Naik
मै पल दो पल का शायर हूँ (Kabhi Kabhi 1976), composed by Khayyam
कभी कभी (Kabhi Kabhi 1976), music by Khayyam
aye meri zoharjabin (waqt)
aagey bhi jane na tu (waqt)
[edit] Published collection of Urdu poetry
Talkhiyan ("Bitterness")
[edit] Awards
1964: Filmfare Best Lyricist Award: Jo Wada Kiya ( Taj Mahal)
1977: Filmfare Best Lyricist Award: Kabhi Kabhie Mere Dil Mein ( Kabhi Kabhie ) [13]
Courtesy: WIKIPEDIA[attachmentid=338772]
Here I u/L one of his finest poetry in pure Hindi sung by lata in film Chitralekha. Duration 3-58 min @128 kbps.

Posted by: khawar Sohail Aug 20 2010, 05:01 PM

Here is another gem by Sahir. Sung by Rafi in film Payaasa. These 2 songs are the best example of Sahir-Rafi_SD Burman combination....khawar
[attachmentid=338774]

Posted by: khawar Sohail Aug 21 2010, 10:19 AM

A rare song from baghi sardaar....khawar[attachmentid=338885]

Posted by: khawar Sohail Aug 21 2010, 10:33 AM

Josh Malihabadi (Urdu: جوش ملیح آبادی)[size=4] (born as Shabbir Hasan Khan; شبیر حسن خان) (December 5, 1898 – February 22, 1982) was a noted Urdu poet born in British India, who was an Indian citizen until 1958, when he emigrated to Pakistan and became a Pakistani citizen. He wrote ghazals and nazm under the takhallus (Urdu for nom de plume) Josh (جوش) (literally, "Passion" or "Intensity").Josh[size=3] was born in Malihabad, United Provinces, British India. He studied at St Peter's College, Agra and passed his Senior Cambridge examination in 1914. Although Josh subsequently studied Arabic and Persian and, in 1918, spent six months at Tagore's university, Shantiniketan, the death of his father, Bashir Ahmed Khan, in 1916, prevented him from undertaking a college education.

[edit] Career
In 1925, Josh began to supervise translation work at Osmania University, in the princely state of Hyderabad. However, his stay there ended, when he found himself exiled from the state for writing a nazm against the Nizam of Hyderabad, the then ruler of the state.

Soon thereafter, he founded the magazine, Kaleem (literally, "interlocutor" in Urdu), in which he openly wrote articles in favour of independence from the British Raj in India. As his reputation spread, he came to be called Shaayar-e-Inquilaab ("Poet of the Revolution"). Subsequently, he became more actively involved in the freedom struggle (albeit, in an intellectual capacity) and became close to some of the political leaders of that era, especially Jawaharlal Nehru (later to be the first Prime Minister of independent India).

After the end of British Raj in India (1947), Josh became the editor of the publication Aaj-Kal .

[edit] Josh in Pakistan
Josh migrated to Pakistan in 1958 - despite Jawaharlal Nehru's insistence against it - over what is generally believed to be his concern regarding the future of the Urdu language in India, where he thought the Hindu majority would encourage the use of Hindi rather than Urdu. After migration, Josh settled in Karachi and rigorously worked for Anjuman-i-Tarraqi-i-Urdu with Maulvi Abdul Haq.

He remained in Pakistan until he died on February 22, 1982 in Islamabad. Faiz ahmad Faiz and Syed Fakhruddin Balley both were the closest companion and friend of Josh and Sajjad Hyder Kharosh (son of Josh). Faiz ahmad Faiz visited Islamabad during his sikness and Syed Fakhruddin Balley remained entirely angaged with Hazrat Josh and Sajjad Hyder kharosh. Even then , when Josh was on the death bed only Fakhruddin Balley Sajad Hyder Kharosh his son Fawwad and daughter Tabbasum were there. It is reported that he was not entirely well-received in Pakistan where his iconoclastic ideas and socialistic leanings and views were not in tandem with the political and the social set up of the country. In fact, he deeply regretted his decision (as he would tell his close friends and acquaintances) and felt slighted that he was not accorded the respect and importance he had expected on becoming a Pakistani citizen.

[edit] His poetry and publications
Josh is reputed to have had a masterful command over Urdu and was quite strict about respecting the grammar and rules of the language. The first collection of his poetry was published in 1921. The collection of his poetry include Shola-o-Shabnam, Junoon-o-Hikmat, Fikr-o-Nishaat, Sunbal-o-Salaasal, Harf-o-Hikaayat, Sarod-o-Kharosh & "Irfaniyat E Josh" (all Urdu titles). On the advice of film director W.Z.Ahmed, he also wrote songs for Shalimar Pictures. During this time, he was staying in Pune. His autobiography is titled Yaadon ki Baarat.

[edit] Poetic work
Here's a brief list of his contribution to Urdu poetry.

آوازۂ حق
روح ادب
شاعر کی راتیں
جوش کے سو شعر
نقش و نگار
شعلہ و شبنم
پیغمبر اسلام
فکر و نشاط
جنوں و حکمت
حرف و حکایت
حسین اور انقلاب
آیات و نغمات
عرش و فرش، رامش و رنگ
سنبل و سلاسل
سیف و سبو
سرور و خروش
سموم و سبا
طلوع فکر
موجد و مفکر
قطرۂ قلزم
نوادر جوش
الہام و افکار
نجوم و جواہر
جوش کے مرثیے
عروس ادب - حصہ اول و دوم
عرفانیات جوش
محراب و مضراب
دیوان جوش

[edit] Prose work
مقالات جوش
اوراق زریں
جذبات فطرت
اشارات
مقالات جوش
مکالمات جوش
(یادوں کی بارات (خود نوشت سوانح

[edit] Awards
He was honored with the Padma Bhushan in 1954.
Source: WIKIPEDIA
Here I present 4 songs penned by Josh Sahib. 2 before 1947 and 2 post-47.
The 2 before 1947 are from film man ki jeet sung by Sitara. Both are all-time great songs and wonderful music by SK pal. The post 1947 songs are sung by Noor jahan in Film Aag ka Darya. These are also lovely songs. All 4 songs are perfect example of extraordinary poetry+composition and singing.... The Nj songs are courtesy Inaam Nadeem sahib.....[attachmentid=338886]khawar

Posted by: khawar Sohail Aug 21 2010, 10:36 AM

[attachmentid=338887]

Posted by: khawar Sohail Aug 21 2010, 02:23 PM

Nagri meri kab tak yoonhe barbaad rahe gi, Josh Malahiabadi, Sitara Kanpuri, man ki jeet, SK pal...khawar[attachmentid=338891]

Posted by: khawar Sohail Aug 21 2010, 02:28 PM

[attachmentid=338892]Noor jahan sings Josh in Aag ka darya...khawar

Posted by: khawar Sohail Aug 21 2010, 02:37 PM

[attachmentid=338893]Lets move onto Parul_Dr Safdar Aah and Anil Biswas combination from Pehli nazar....khawar

Posted by: khawar Sohail Aug 22 2010, 01:29 PM

Next song is from film Rekha. Singer is unknown...khawar[attachmentid=339086]

Posted by: khawar Sohail Aug 22 2010, 01:43 PM

[attachmentid=339087]Qamar Jalalabadi (Punjabi: ਕ਼ਮਰ ਜਲਾਲਾਬਾਦੀ, Urdu: قمر جلال آبادی[size=3]), also known as Qamar Jalabadi (1919 - 9 January 2003), was a writer, particularly of soundtracks of Bollywood movies.
Early life
He was born in a Punjabi family in 1917 in Amritsar, in a small town called Jalalabad, and was named Om Prakash. Right from the age of seven he starting writing poetry in Urdu. There was no encouragement from home, but a wandering minstrel poet named Amar met him in his hometown and encouraged him to write, recognizing his immense talent and potential. He also gave him the ‘takhallus’ of ‘Qamar’ which means moon, and Jalalabadi was added for effect because Qamarji hailed from that town. It was the general trend in those days for writers to name themselves after the towns they hailed from. After completing his matriculation from Amritsar, Qamarji embarked on his journalistic career journey by writing for Lahore based newspapers like Daily Milap, DailyPratap, Nirala, Star Sahakar.

Career
The lure of the Film industry brought him to Pune in the early Forties. In 1942, he wrote lyrics for his first film Zameendar which was a Pancholi Pictures production and the songs of this film were very well received, especially the song sung by Shamshad Begum “Duniya me garibonko aaraam nahi milta….rote hain to hasne ka paigaam nahi milta…." which also had a line or two written by writer and poet Behzaad Lucknowi.

Thereafter he shifted to Mumbai with family and thus began an eventful career in the glorious film industry which went on for nearly 4 decades. His songs were elusive wordplays that made you ponder deeply, looking for the hidden depths that were left upon the listener to uncover. Although he wrote what the need of the moment dictated, his gentle personality seeped through his lyrics. Potent love, deep excruciating pain and longing, ecstasy beyond comprehension, also hurt and humiliation that one faces in life through no fault; in other words every itsy bitsy emotion a lover or beloved goes through in the tryst to acquire true love, were portrayed in his effervescent songs. Golden voices of the legendary singers like NoorJehan, G.MDurrani, Zeenath Begum, Manju, Amirbai Karnatqi and many others added mesmeric glitz to Qamarji’s deeply meaningful songs; along with eclectic singers like Mohd. Rafi, Talat Mahmood, Geeta Roy, Suraiya, Shamshad Begum, Mukesh, Manna Dey, Asha Bhonsle, Kishore Kumar and the Nightingale of India Lata Mangeshkar.

Not many people may know that the immortal composer S.D Burman had also rendered a comic song penned by Qamarji in the film Eight Days in 1946. The song was tuned by S.D Burman and the ticklish wordings were as follows…“O babu babu re dil ko bachana bachana, tere dilka banega nishaana…….”. Music composer Sardar Malik had rendered a few soulful songs in his heyday, and Qamarji had written several ballads for him. One memorable song was from the film Renuka in 1947 “sunti nahi duniya kabhi fariyaad kissi ki, Dil rota raha aati rahi yaad kissiki….”. The regal Beauty of her times Naseem Banu sang a heart-wrenching ghazal penned by Qamarji “Dil kis liye rota hai...pyar ki duniya me, aisa hi hota hai” for the film Mulaquat in 1947. Dancing legend Sitara Devi emoted a few of Qamarji’s songs in the film Chand In 1944 and in this film she played a cameo role as the slim and svelte second leading lady along with the charming Begum Para and dashing hero Prem Adib. Chand was one of the earliest of Qamarji’s successful and memorable films.

As a lyricist he handled anything from the ridiculous to the sublime with equal deftness. On one hand he wrote mesmeric duets like “sun mere sajana dekhoji mujhko bhool na jana…” sung by Lata Mangeshkar and Mohd. Rafi (film: Aansoo 1953) and on the other hand he penned comic relief songs like “aaj pahli taarik hai” endured with full throttle gusto by Kishore Kumar (film: Pehli Tarikh-1954). This song turned into veritable anthem and was played on Radio Ceylon on the first if every month for decades, and it probably still is. The film Howrah Bridge (1954) sky-rocketed his career as lyricist to unpredescented heights. Songs like “mera naam Chin Chin Chu” (Geeta Dutt) and “aaiye meherbaan, baithiye janejaan….” (Asha Bhonsle) are still as breathtaking as ever, and are remembered far and wide for their rollicking tunes by Maestro Music composer O.P Nayyar as well as for the succulent lyrics. It is a sad thought though that very few people know who the writer of these songs is.

In his personal life he was a highly principled personality who had his own unique rules and beliefs. He began each day with prayers that consisted of loud chanting of excerpts from The Bhagwad Geeta, The Koran as well as The Bible. He was deeply into transcendental meditation, and was mostly embedded in his writing for most part of the day. A true Karma yogi as well, who took care of his ailing parents as long as they lived, nurtured his brothers and sisters, even gave up a bungalow in Khar in his heyday to one of his married sisters to save her from a difficult marriage, and shifted to simpler accommodation in Juhu with family. He was a benevolent and kind father and fought against all odds to provide for his seven children, and he managed to give us all a pretty decent life and put us all through college. His relationship with his wife was unique in the sense that my mother Smt. Leelawati was the traditional housewife, but also a friend and philosopher to my Father. They shared a rare bond of togetherness, he preferred to sit at home and chat with her over a cuppa, discussing every topic under the sun, instead of blowing his time in some mehfil with friends with a drink in hand.

He had several friends and hundreds of fans whom he lovingly called his “pankhe”. His fan mail came in various languages; Hindi, English, Urdu and many regional languages as well. I remember how meticulously he replied to all his fan mail and judiciously sent an autographed photo as well. Some of his favorite people were poet Qateel Shifai, Ameen Sayani, Kalyanji and Anandji, the elusive O.P Nayyar who visited him some time before Qamarji’s demise, Music Composer S.D. Batish, C.L Kavish, D.D Kashyap and many more. From his past associations he remembered G.Damle of Prabhat Film Company, Dattaram Pai of Filmistan, Babubhai Mitra, Husnlal Bhagatram and S.Mukherji the most as they had been a part of his initial glorious days as a lyricist. It is impossible to equate a man’s lifetime in words. In his long career span he worked for several Film Companies like; Prabhat Film Company, Pancholi Pictures, Filmistan Ltd., Famous Pictures, Minerva Movietone, Prakash Pictures, Wadia Films Ltd., Filmkar Ltd., Sippy Films, N.C Sippy Films, Shri Shakti Films, Mitra Productions and many more.

He was one of the founder Members of prestigious organizations like FILM WRITERS ASSOCIATION & IPRS in Mumbai. The music Composers he worked with were; Ghulaam Haider, G.Damle, Pt.Amarnath, Khemchand Prakash, Husnlal Bhagatram, S.D. Burman, Anil Biswas, Shyam Sunder, Sajjad Hussain, C.Ramchandra, Madan Mohan, Sudhir Phadke, S.D. Batish, Sardar Malik, Ravi, Avinash Vyas and in the latter phase of his career with O.P Nayyar, Kalyanji Anandji, Sonik Omi, Uttam Singh and Laxmikant Pyarelal as well. Most music lovers may not be aware that Qamarji was a polished and highly acclaimed Adabi Shayar as well, and had graced innumerable Mushairas and symposiums related to Urdu Poetry all over India. Some gems of his Shairy are available at www.qamarjalalabadi.com for all the die-hard fans of Vintage music and mystical Poetry.

Extracted from an article at www.qamarjalalabadi.com written by Swar Jalalabadi, the daughter of Qamar Jalalabadi.
Year Name of FIlm Starring Film Director(s)
1942 ZAMEENDAAR Manorama, Gulam Mohd Moti.B.Gidwani
1943 PAGLI Padam, Asha,S.Kapoor Shankar Mehta
1943 SAHAARA Renuka Devi,Narang J.P.Advani
1944 RAM SHASTRI Meenaxi,Jagirdar Gajanan Jagirdar
1944 CHAAND Begum Para\Prem Adib D.D.Kashyap
1946 8 DAYS Veera,Ashok Kumar Dattaram N Pai
1946 GOKUL Kamla Kotnis, Anant Marathe Vasant Painter
1946 NARGIS Nargis,Rehman D.D.Kashyap
1947 MIRZA SAHIBAN Noorjehan,Trilok Kapoor K.Amarnath
1947 SINDOOR Shamim,Kishore Sahu Kishore Sahu
1948 PYAR KI JEET Suraiya\Rehman O.P.Dutta
1948 SHAHEED Kamini Kaushal\Dilip Kumar Ramesh Saigal
1949 BADI BAHEN Suraiya\Geeta Bali\Rehman D.D.Kashyap
1949 BALAM Suraiya\Wasti Homi Wadia
1949 BAZAAR Nigaar, Shyam K.Amarnath
1949 SHABNAM Kamini Kaushal\Dilip Kumar B.Mitra
1950 MEENA BAZAAR Nargis, Shyam Ravindra Dave
1951 SANAM Suraiya.Dev Anand Nandlal Jashwantlal
1951 SHABISTAN Naseem,Shyam B.Mitra
1953 AANSOO Kamini Kaushal\Shekhar Shanti Kumar
1953 FARMAISH Vijay Laxmi, Bharat Bhooshan B.K.Sagar
1953 MASHOOKA Suraiya, Mukesh Shanti Kumar
1954 PEHLI TARIKH Nirupa Roy, Raja Nene Raja Nene
1954 WAARIS Suraiya\Talat Mahmood Nitin Bose
1955 ADAL-E-JAHANGIR Meena Kumari, Pradeep Kumar G.P.Sippy
1956 RAJDHANI Nimmi, Sunil Dutt Naresh Saigal
1957 CHANGEZ KHAN Beena Roy, Premnath Kedar Kapooor
1957 MISS BOMBAY Nalini Jaywant,Ajit Kedar Kapooor
1957 JALTI NISHANI Geeta Bali, Kamal Kapoor Harish
1957 LAKSHMI Roop Mala ,Chandrashekhar G.P.Pawar
1958 FARISHTA Meena Kumari,Ashok Kumar Ravindra Dave
1958 HOWRAH BRIDGE Madhubala\Ashok Kumar Shakti Samanta
1958 RAGINI Padmini, Kishore Kumar Raakhan
1958 PHAGUN Madhubala\Bharat Bhushan B.Mitra
1959 DO USTAD Madhubala,Raj Kapoor Tara Harish
1959 GOKUL KA CHOR Kumkum, Romi Vasant Painter
1959 SAAZISH Nalini Chonkar, Ranjan Surya Kumar
1960 CHHALIA Nutan\Raj Kapoor Manmohan Desai
1960 KALPANA Ragini\Padmini\Ashok Kumar Raakhan
1960 BASANT Nutan,Shammi Kapoor B.Mitra
1961 APSARA Padmini, Pradeep Kumar V.M.Vyas
1961 PYASE PANCHHI Ameeta, mehmood Harsukh Bhatt
1963 RUSTOM SOHRAB Suraiya\Prithviraj Kapoor Vishram Bedekar
1963 SHIKARI Ragini,Ajit Mohammad Hussain
1963 Yeh dil kisko doon Shashi Kapoor\Ragini K.Mishra
1964 BIRJU USTAD Vijaya Choudhury,Chandrasekhar Manu Desai
1965 himalayki god me Manoj Kumar\Mala Sinha Vijay Bhatt
1965 johar meh.in Goa Johar\Mehmood\Sonia Sahni I.S.Johar
1966 Preet Na Jane Reet B.Saroja devi,Shammi Kapoor S.Bannerjee
1966 Hum Kahan Jaa Rahe Hain Neena \ Prakash Nitin Bose
1967 UPKAAR Manoj Kumar\Asha Parekh Manoj Kumar
1967 MERA MUNNA Nutan\Rehman Madhusudan
1968 Suhaag Raat Rajashree\Jeetendra R.Bhattacharya
1968 Haseena Maan jayegi Babita\Shashi kapoor Prakash Mehra
1969 MAHUA Anjana\Shiv Kumar B.Mitra
1970 HOLI AYI RE Mala sinha\Premendra Harsukh Bhatt
1970 Ansoo Aur Muskaan Hema Malini,Ajay Sahani P.Madhavan
1970 SACHHA JHOOTHA Mumtaz\Rajesh Khanna Manmohan Desai
1971 PARAS Rakhee\Sanjeev Kumar C.P.Dixit
Here I present Shamshaad Begum song from his first film Zameendaar. Music by another legend master Ghulam Haider....khawar

Posted by: RajanCS Aug 23 2010, 01:55 PM

Khawar Saheb,

Thanks for life and career details of Qamarji.

I found a song - Log Mujhko Khush Samajhte hain - from Zamindar in my collection. As per the tag in my library it is penned by Behzad Lucknavi. I must have taken it from EM. Can you please confirm the lyricist for this song? ALSO, please let me know who the singer of this song ( a male voice which I cannot recognize).

Sincere regards,

Rajan

Posted by: khawar Sohail Aug 23 2010, 04:36 PM

Well I do not have Geet Kosh so I can not tell the lyricist of this particular song. However, regarding the male voice I can guess it might be MD Ghulam Haider. However, I have not heard this song. If you can upload the song that might help...khawar

Posted by: RajanCS Aug 23 2010, 04:51 PM

Here is the beautiful Zamindar song by unknown male singer.... (Raag Darbari?)

Log Mujhko Khush Samajte Hain
Singer - ?
Film: Zamindar
Year - 1942
Music by Ghulam Haider
Lyrics by Behzad Lucknavi (?)
Bitrate: 128 Kbps
Duration: 00:03:20

[attachmentid=339291]

-- Rajan

Posted by: Aditya Pant Aug 23 2010, 05:47 PM

QUOTE(RajanCS @ Aug 23 2010, 04:51 PM)

Posted by: RajanCS Aug 23 2010, 08:40 PM

Aditya ji,

Thanks for the confirmation about the lyricist. I also tend to agree with Khawar Saheb that it could be the MD himself singing this song. But a confirmation is always awaited.

Sincere regards,

Rajan

Posted by: Faraaj73 Aug 24 2010, 04:28 PM

QUOTE(RajanCS @ Aug 24 2010, 01:10 AM)

Posted by: khawar Sohail Aug 25 2010, 03:38 PM

Three forgotten music greats
Khalid Hasan

--------------------------------------------------------------------------------
I met Fayyaz Hashmi[size=3], the great poet and lyricist of the Indian-Pakistani cinema and entertainment industry only once and now regret that I made no attempt to meet him again. It was in Lahore in 1968 or thereabouts and it was at the offices of a company that supplied hydropower plants and components to Wapda. I used to drop in there off and on to see a couple of friends. That day, there he was, a dark thick-set man wearing dark glasses, sitting in a chair quietly drinking tea. What he was doing there I have no idea. “This is Fayyaz Hashmi,” my friend said. I registered nothing. We shook hands. My friend spoke again, “Yes, the Fayyaz Hashmi.” The penny dropped. There in front of me sat one of the all-time greats of the music industry with few, if any, equals. Pakistan did not treat him well, as it did not treat Saadat Hasan Manto or “Prince of Minerva Movietone” Sadiq Ali or Mumtaz Shanti or Rehana or Meena Shorey, the “ lara lappa” girl, well.

What follows about Hashmi and two others is based on the research work of movie encyclopedist extraordinaire, my friend Muhammad Rafiq of Southend-on-Sea in Essex, England.

Fayyaz Hashmi was born in Calcutta in 1920 and it is a shame that his name is never mentioned among those acknowledged to stand in the first rank, nor has the industry to which his contribution is immense, or the state which he chose to become a citizen of, recognised his work. He started life with the Gramophone Company of India and in 1947 on his insistence he was sent to organise the derelict music scene in Pakistan. Lahore, which was the third important EMI centre after Calcutta and Bombay, lay in ruins, so he began to bring together instrumentalists and vocalists of merit, some of whom had come from the other side of the great divide. To him goes the credit for the first recordings made in Lahore after the maelstrom of 1947 and he it was who brought to the fore Munawwar Sultana (not the actress), Farida Khanum and Zeenat Begum, among many others.

His father, a writer and director, worked for Madan Theatre and they lived in Hayat Khan Lane in Calcutta, next to Agha Hashr Kaashmiri, the “Indian Shakespeare”. Fayyaz imbibed the literary and artistic spirit at the gatherings that took place at their home which Agha Hashr attended regularly. At the age of 13 or 14, he wrote a ghazal that was very well received. Then Master Fida Hussain sang another of the boy wonder’s ghazals that also became a hit from one end of India to the other. ( Qadr kisi ki hum ne na jaani: Haa’i mohabbat haa’i jawani).

He was 20 when the Gramophone Company of India employed him as its resident lyricist. The music director of the company was the great Kamal Dasgupta with whom Fayyaz formed a long and memorable creative association. Fayyaz wrote the first song that Talat Mahmood sang in 1941 ( Sab din ek samaan nahin tha) and the runaway hit Tasveer teri dil mera behla na sakay gi. He also wrote the immortal Pankhij Malik song Ye raatain, ye mausam and the first Urdu/Hindi songs for Hemant Kumar, Juthika Roy, Feroza Begum and Jagmohan. In all, he wrote more than 500 non-film songs, each one of which defines a human situation poignantly, romantically. He also wrote lyrics for a large number of movies, both in India and Pakistan. The good news is that he is alive but I am not sure if he lives in Lahore, Karachi or elsewhere. There is time yet to honour him nationally.

The two other greats who remain all but forgotten are the sweet-voiced Bengali singer Feroza Begum, one of the great exponents of Nazrul Geeti. Born in Faridpur district, now in Bangladesh, she showed promise at an early age and was just eight when she won a place on the Children’s Corner programme of All India Radio, Calcutta. Her first record was cut by Columbia when she was barely 12. She received her early training from Chitta Roy who taught her a number of Nazrul Islam songs. She also began to explore other forms, including ghazal and light classical. She reached full flowering under the great Kamal Dasgupta who also set some of Nazrul’s poetry to music. Kamal Dasgupta was born in Jassore district in 1912 and started out with the Gramophone Company of India for which he made music history, writing compositions for such immortals as Pankaj Malik, Juthika Roy and Kanan Devi, Kalyani Das, Jagmohan and Hemant Kumar. His most memorable films as music director were Jawab ( Aye chand chhup na jana by Kanan Devi) and Hospital ( Meri majbooryoon nain mera daaman chaak kar dala by Kanan Devi). Fayyaz Hashmi wrote the lyrics.

Kamal Dasgupta felt ignored in the years after independence. He found it hard to accept the neglect he faced once his great work was done and then forgotten. He and Fayyaz Hashmi earned vast sums of money for the cinema and the record industry, not to mention the pleasure and happiness they brought to the viewing and listening millions, but as time passed, they were thrown on the slag heap and assigned to oblivion as if they had never existed. Forgotten stood the man who had written such undying tunes as the Kanan Devi hits Prabhoo ji, Prabhoo ji tum mano baat hamari, Yeh dunaya Toofan Mail, Ai chand chhup na jana, or Jagmohan’s O varsha ke pehle baadal or Kamla Jharya’s Na tum meray, na dil mera, na jaan-e-na’tawaan meri. He was a man of few words. A faint smile from him meant that the artist’s rendition had pleased him. Juthiki Roy waited all her life to hear a word of praise from him.

Kamal Dasgupta left Calcutta sometime in the 1960s and came to Dhaka where he converted to Islam, taking the name Kamal Islam, before marrying Feroza Begum whom he must have always loved. He did not work or he wrote no music. They had three children. He died in Dhaka in 1974, unsung and unremembered. Feroza Begum, who was younger, lives in Dhaka. In 1971, in a letter to a friend, Kamal Dasgupta wrote in Bengali, “The pictures you see in front, everybody remembers them and praises them. But nobody wants to know the people who work behind the scenes, nor talk about them. That is the nature of the world.”

This entry was posted on Friday, September 26th, 2003 at 11:08 am.
Here is one pvt song by Talat mahmood sung brilliantly and [attachmentid=339553]written by Fayyaz Hashmi....khawar

Posted by: khawar Sohail Aug 25 2010, 03:43 PM

[attachmentid=339554]This Fayyaz ghazal is sung by Kamla Jhariya...khawar

Posted by: khawar Sohail Aug 25 2010, 03:51 PM

[attachmentid=339557]Here is anothe song penned by qamar jalalabadi from film Gokul and beautifully sung by GM Durrani....khawar

Posted by: khawar Sohail Aug 25 2010, 04:01 PM

[attachmentid=339564]Another kamla Jhariya Fayyaz Hashmi combination...What a lovely ghazal!!!khawar

Posted by: khawar Sohail Aug 27 2010, 04:04 PM

[attachmentid=339925]Lyrics in Hindi Films
By A C TuliTechnologically, Hindi films may have come a long way since the first talkie ‘Alam Aara’ was released in 1931, but, like an immutable law of nature, one basic feature of our filmmaking has remained the same.

That is, songs. Songs have always been one unchanging feature of Bollywood films. Over the last seven decades, the number of songless films we have made perhaps does not run into even double digits. In fact, very few filmmakers are venturesome enough to risk making films sans songs. Songs, therefore, are, and perhaps shall always remain, an important part of Hindi films.

Of course, the quality of lyrics has undergone a vast change over the years. In the initial years of the talkies, film songs were couched in a language that tended to be rather literary, even ornate. Lyricists who were then attracted to the film industry were talented versifiers who had earlier earned some repute by reciting their creations in mushairas and kavi sammelans.

But these poets could hardly make both ends meet by reciting their creations in mushairas and kavi sammelans or even getting them published in magazines and newspapers, so the lure of a steady income brought them to Bombay and Calcutta, two major centers of Hindi films in those days.

In most of the songs of the 30s and 40s recorded on shellac record discs, the name of the lyricist does not appear. Unlike today, perhaps the lyricists of those days were too modest to bother about whether their names had found a mention on the record discs.

However, some well known lyricists of those years were Kamal Amrohi, Kidar Sharma, Dr Safdar ‘Aah’, P.L. Santoshi, D.N. Madhok, Pandit Indra, Wali Saheb, Pradeep, Faiyaz Hashmi, Narender Sharma, Ramesh Gupta and a few others. All of them were gifted poets and quite a few of their creations, set to music by able composers, became very popular.

Some of the best film songs were written by these lyricists in the 40s. Kamaal Amrohi was mostly associated with Sohrab Modi’s Minerva Movietone. He wrote the lyrics of ‘Pukar’ (1939) and ‘Sikandar’ (1941). Later he was associated with Bombay Talkies, where he directed the blockbuster ‘Mahal’ (1949). He also wrote some beautiful lyrics for this film. D.N. Madhok penned some memorable songs for three films with K. L Saigal in the lead – ‘Bhakt Surdas’ (1942), ‘Tansen’ (1943) and ‘Banwara’ (1944). All the songs of these films became popular.

But he touched rare heights of fame when he wrote the lyrics of ‘Rattan’ and which were set to immortal music by Naushad. His songs, ‘Akhiyan mila ke jiya bharma ke chale nahin jana’ and ‘Sawan ke badlo unse yeh ja kaho, taqdeer mein yehi tha sajan mere na ro…’ and ‘Jab tum hi chale pardes laga kar thes o preetam pyara…’ were such a rage with the cine-going masses of the 40s that these remained on their lips for years together.

Kidar Sharma began his career with New Theatres of Calcutta. He wrote the songs of ‘Devdas’ starring K. L. Saigal and several other New Theatres films before moving to Bombay in the early 40s. The famous Saigal lori ‘So ja rajkumari so ja…’ was also written by Kidar Sharma for the New Theatres film ‘Zindagi’ (1940). Apart from writing lyrics for films, he was also a successful film director who directed some memorable films like ‘Chitralekha’ and ‘Banwre Nain’.

P.L. Santoshi, apart from scripting and directing films, was also a good lyricist. His lyrics for the Filmistan’s ‘Shenai’ (1947) and ‘Sargam’ (1950) created a sensation. Particularly his comic number for ‘Shehnai’, ‘Aana meri jaan meri jaan, Sunday ke Sunday’ was hilarious with its rib-tickling wording.

Lyricists who were based in Calcutta also deserve a mention here. They were on the payroll of New Theatres. Prominent among them were Arzoo Lakhnavi, Kidar Sharma, Pandit Sudarshan, Pandit Bhushan and a few others. Of all these, Arzoo Lakhnavi was the most talented lyricist. He was an Urdu poet of considerable merit.
He wrote the lyrics of many New Theatres films, among which ‘Dushman’, ‘Lagan’ and ‘Doctor’ are well known. Songs like ‘Chale pawan ki chaal jag mein chale pawan ki chaal’, ‘Aaj apni mehnaton ka mujh ko samra mil gaya’, ‘Karun kya aas niras bhai karun kya aas niras bhai…’, ‘Ik bangla bane nyara’, ‘Preet mein hai jeevan jokhon’, ‘Yeh kaisa anyaye data, yeh kaisa anyaye…’, and several others were written by Arzoo Lakhnavi.

Pt. Sudarshan wrote some beautiful songs to which the blind singer K. C. Dey gave his melodious voice. Among them are such well-known bhajans, ‘Baba man ki aankhen khol’, ‘Teri gathri mein laga chor musafir jaag zara’ and others.

Pandit Bushan wrote lyrics for several New Theatres films, but his best ones figured in the film ‘Meri Behn’ (1944). Songs like ‘Ai katib-e-taqdeer mujhe itna bata de…’, ‘Do naina matwale tihare hum par zulm karen’, and ‘Chhupo na chhupo na o pyari sajaniya hum se chhupo na chhupo na…’ are the perennial favourite of lovers of film music.

In the 30s and 40s, actors, lyricists and music directors were often associated with certain filmmaking companies. Thus, poet Pradeep who was also a good singer, started his career with Bombay Talkies and wrote songs for mostly their films. He wrote some outstanding songs for the super-hit film of 1943 - ‘Kismet’.

The patriotic number of this film, ‘Door hato ai duniya walo Hindustan hamara hai’, was at one time as famous as our national anthem. Songs written by Pradeep and to which he gave his own voice are also quite popular. His ‘Dekh tere sansaar ki halat kya ho gayee bhagwan, kitna badal gaya insaan…’, ‘Pinjare ke panchhi re…’ and quite a few others are as popular today as they were in the 50s.

Two lyricists who dominated the film scene after the partition of the country are Shakeel Badayuni and Majrooh Sultanpuri. Others who vied with them for name and fame were Rajinder Krishan, Prem Dhawan, Bharat Vyas, Raja Mehdi Ali Khan, Qmar Jalalabadi, Sahir Ludhianvi, Anjaan (father of present-day lyricist Sameer) et al. Rajinder Krishan, apart from scripting stories for films, was perhaps the most creative lyricist of the 50s. His lyrics for films like ‘Anarkali’ (1953) and ‘Adalat’ (1958) are impeccable gems of Urdu ghazal writing. Present-day lyricist Javed Akhtar is one of his ardent admirers.

Shakeel Badayuni teamed up mostly with music director Naushad. Their pairing led to the creation of some immortal melodies. The songs of films like ‘Dard’, ‘Mela’, ’Dilagi’, ‘Dulari’, ‘Jadoo’, ‘Baiju Bawra’, ‘Aan’, ‘Mother India’, ‘Kohinoor’ and several others are now considered classics of Hindi film music.

Majrooh Sultanpuri began his career with A.R. Kardar’s ‘Shahjehan’ (1946). He was lucky enough to have his lyrics rendered in the voice of the immortal singer K. L. Saigal. So, from the very first film he became a popular lyricist when his songs, ‘Jab dil hi toot gaya’ and ‘Gham diye mustkil kitna nazuk hai dil’ became chartbusters of those days. Majrooh had a fairly long career in the film industry. He teamed up with different music directors and such indeed was his talent that he did not disappoint any. Some of the most haunting songs of Hindi films were crafted by Majrooh Sultanpuri.

Sahir Ludhiavi began his career by writing lyrics for two films ‘Sazza’ and ‘Naujawan’, both released in 1951. He was at the peak of his career with Guru Dutt’s ‘Pyasa’ (1957). Sahir wrote lyrics for scores of films and he was one of the most highly paid lyricists of the film industry.

There were a few other lyricists in the 50s who distinguished themselves by writing some memorable songs. Noor Lakhnavi wrote the lyrics for V. Shantaram’s ‘Parchhain’ (1952). The song, ‘Mohabat hi na jo samje wo zalim pyar kya jane…’ such a haunting melody that even today it rings a bell in old-timers. Baizad Lakhnavi wrote the lyrics for Raj Kapoor’s maiden directorial effort ‘Aag’ (1948). The song of this film, ‘Zinda hoon is tara ke gham mein zindagi nahin…’ is a flawless peace of versification. Thereafter he wrote lyrics for many films.

In the 70s it was Anand Bakshi who towered above all. He was such a prolific song writer that at the peak of his career he signed films by the dozens and yet disappointed no filmmaker. He had a natural gift for writing the lyrics demanded of him. Dev Kohli was another lyricist in the 80s who specialized in writing songs with a sprinkling of Punjabi words in them.

Presently, we have a number of lyricists in the film industry who are quite capable of writing songs demanded of them. But we should not fault them for writing mostly cheap stuff, for that is what our filmmakers nowadays want. Sameer is still prominent among them.

Of course the language of present-day film songs has come down to the level of banality. But, we still have some highly talented lyricists like Javed Akhtar and Gulzar around. But the sort of films that we make nowadays have hardly any scope for adjusting the sort of ghazals that Shakeel Badayuni, Majrooh Sultanpuri and Sahir Ludhianvi wrote for films in the 50s and 60s.

Imagine a song like ‘Tum na jane kis jahan mein kho gaye’ or ‘Chaudhvi ka chaand ho yaa aftaab ho’ picturised on a present-day film heroine or hero! No, we are quite comfortable with our bawdy buffoonery expressed through songs like ‘Tujhe ghori pe bithaya kisne bootni ke…’ and such other songs with the language of the streets.
Here I present one song penned by DN Madhok, film Preet.......khawar

Posted by: khawar Sohail Aug 27 2010, 04:09 PM

[attachmentid=339926]K Dutta composed Lata's first song in Bari maa. Here is another gem by same composer from film Gumashtta. Song is penned by Waheed Qureshi. This song is on request of R&D....khawar

Posted by: khawar Sohail Aug 27 2010, 04:14 PM

[attachmentid=339927]Here I present a beautiful song by Feroza Begum (wife of kamaldas gupta).....khawar

Posted by: khawar Sohail Aug 28 2010, 11:26 AM

[attachmentid=340016]Here is another song by poet DN madhok brilliantly sung by lata and composed by Hansraj behl......khawar

Posted by: khawar Sohail Aug 28 2010, 11:36 AM

[attachmentid=340017]Here is another beautiful Faiz nazm by Feroza begum......khawar

Posted by: khawar Sohail Aug 28 2010, 11:46 AM

[attachmentid=340018]Music director Zafar Khursheed did very few movies (any body have list of his movies, kindly upload here). His most famous one was Dil 1946 with Nurjahan. Here is one rare duet of NJ with moti from dil. The song is dedicated to Prof. Inaam Nadeem sahib....khawar

Posted by: khawar Sohail Aug 28 2010, 12:27 PM

It is a cruel irony of fate that Khan Mastana who has also provided music for some films under a different name and was also a singer of repute, would die decades later on the streets of Mumbai, begging near the Mahim Dargah. I learn that the same fate awaits his son too near the said Dargah. Some of his beautiful songs are PANGAT PE EK CHHABEELEE in Main Hari (1940), ZINDAGI HAI PYAAR SE with chorus and two others in Sikandar (1941), a duet with Parul Ghosh, KANTE LAAGE RE SAJANWA MOSE RAAH CHALI NA JAAYE in Basant (1942), HAMM APNE DARD KA QISSAA SUNAAYE JAATE HAIN in Muqabla (1942) and even as late as 1959 in Nek Parveen: MAULA KI REHMAT SE HOGI HAR MUSHKIL AASAAN.

Here i play one of his songs from film sawna aaya re 1949....khawar[attachmentid=340020]

Posted by: Faraaj73 Aug 28 2010, 06:40 PM

QUOTE(khawar Sohail @ Aug 28 2010, 04:57 PM)

Posted by: khawar Sohail Aug 29 2010, 08:45 AM

Thanks for correction Faraaj sahib. I took this info from internet. Are Khan Mastana & Hafeez khan same person? khawar

Posted by: khawar Sohail Aug 29 2010, 08:53 AM

[attachmentid=340128]Lets move on to Rafi rare song from film Rahnuma 1948. This song was composed by an obscure music director Dhummi Khan. I was unable to find much info about him.
Following are some Rafi songs from the year 1948.
Some of 1948 songs of Rafi:

Actress:

HAMM APNE DIL KA FASAANAA; AY DIL MEREEE AA.NHO.N ME.N, and a duet with Shamshad Begum: DHEERE DHEERE BOL KOEE SUN NAA LE.
Shyam Sunder provided the music, while J.Naqshab wrote the lyrics. Raja Mehdi Ali Khan was another lyricst for this movie which had Rehana and Prem Adib in the lead roles while the story was written by K.A. Abbas. Najam Naqvi was the director. In Bombay, it was premiered at the Novelty Cinema.

Adalat:

DOH VIDAA DOH PRAAN; QISMAT TOH DEKHO; KYOO.N BICHA.D GAYEE; and a duet with Mohantara Talpade, BAIRAN HO GAYEE RAAT.
Music Director was Datta Devjekar. Mahipal was the lyricist.

Shehnaz:

The unforgettable solo, MOHABBAT MEIN KHUDAAYA AYSE GUZRE ZINDAGI APNI, and AY DIL TUJHEE KO NEEND NAA AAYE. Then there were four duets with Amirbai Karnataki who was also the music director for Shehnaz: TERE NAZDEEK AATE HAIN; and NAZAARON SE KHELOON. These two songs and the 2nd solo were written by Pilbheeti. Then then we have ZINDAGI KEE RAAH MEIN TEZ CHAL and the first solo penned by Devbandi. Fiza Kausari wrote the duet MUJHE TUMSE MUHABBAT HAI.

Lal Dupatta:
This was a Madhubala starrer and a movie of "Dances, Songs and Love". Sapru and Ulhas also figured in this movie which was released at the Opera House in Bombay. The two duets of Rafi with Shamshad Begum are: CHALO JAMNA KE TEER and ARREE O ALBELI NAAR. The first one was penned by D.N Madhok and the second one by Manhar Khanna. Gyan Dutta was the music director.

Rehnuma (The Guide):

It had two solos: QISMAT SE KOEE KYAA BOLE and SULTAAN-E-MADINA. The two duets were: EK AISA MAHAL BANAAYEN with Rekha Rani, and EK ABRE SIYAAH CHHAAYAA with Shamshad Begum. The last song was written by Dhumi Khan and the others were written by Habib Sarhadi. It was Dhumi Khan who provided the music.

Amar Prem:

Rafi had two duets here. One was with Raj Kumari: AAO CHALE MANVAA MORE DUUR and the other was with Rekha Rani: YAMUNAA KE TAT. Music was by Datta Thakar and the lyrics were written by Mohan Mishra.

Khidki:

The music for this film was composed by C.Ramchandra who was also a singer. Rafi sang with him and Shamshad Begum in AJI MERAA BHEE KOI HAAL SUNO (which cites FIFTY-FIFTY as the solution to all problems of the world), comedy song. The tune of just the two words, FIFTY-FIFTY reminds me of a Shabnam (Dilip-Kamini-S.D. Burman) song of Shamshad Begum: PHIR DEKH MAZAA! Another song, KHUSHIYAAN MANAAYEN KYOON had Rafi sing along with him again and with G.M. Sajan and chorus. The songs were written by P.L. Santoshi.

Chunariya:

A duet with Geeta Dutt was: PHOOL KO BHOOL KE LE BAITHA KHAAR. The solo of Rafi, SAB KUCHH LUTAAYAA HAMNE AAKAR TERI GALI MEIN, placed the music director Hansraj Behl among the top class music directors of the day. This movie saw Asha Bhonsle singing her first Hindi line in Chunariya under Hansraj Behl. Mulkraj Bhakri was the lyricist.

Satyanarayan:

Rafi had three duets with Beena Pani: KYAA YAAD HAI TUMKO; MERA DIL GHAAYAL KARKE; and DIL WAALE SAAHAB GHAZAB KAR DAALA. The lyricists were Surjit Sethi and Sevak.

Kajal:

A duet with Suraiya: TAARON BHARI RAAT HAI which was written by D.N. Madhok. Music was by Ghulam Mohammed.

Rang Mahal:

Again, a duet with Suraiya, ROOTHO NAA TUM BAHAAR MEIN, composed by K. Dutta.

Bhakt Gopal Bhaiya:
This was the movie that exclaimed that it was for the mothers of today and the generations of tomorrow. Rafi had two solo Bhajans: RADHE SHYAM, RADHE SHYAM RADHE SHYAM TUU GAAYE JAA and BHAGWAAN HAMM CHEEKH RAHEN HAIN, and there was ASSI BARAS KA BUDDHA BAABA, all written by Ramesh Gupta. Music was by S.R. Vyas.
Khawar

Posted by: khawar Sohail Aug 29 2010, 09:12 AM

[attachmentid=340129]Coming back to Khan Mastana. It is sad to see such a brilliant singer had to beg to live. I think these things can only happen in South Asia. In pak artists/poet have been persecuted for their views whereas in India its mostly the economical hardships. Here I post a breathtaking song sung by Khan Mastana from 1950 Hanste Rehna. Listen to this song and decide for yourself....khawar

Posted by: khawar Sohail Aug 31 2010, 04:04 PM

[attachmentid=340368]  master_madan.bmp ( 135.99 k ) Number of hits: 13 by members
A child prodigy: Master Madan
‘Yun naa reh reh kar hamein tarsaaiye’ and ‘Hairat se tak rahaa hei jahane wafa mujhe’ these two ghazals of Master Madan recorded at the tender age of eight years, on a 78 rpm gramophone record is a priceless collection of yesteryears’ immortal music.

Anyone with even a passing interest in music is familiar with these two Sagar Nizami’s ghazals, sung by the extraordinary child prodigy- Master Madan, who died at an age of just less than fifteen.

These two ghazals have certainly retained the magic even after a gap of more than sixty five years, which is evident from a collection of ten CDs released by HMV by the title- ‘Ghazal Ka Safar’. This collection includes these two ghazals of Master Madan, along with recordings of majority of eminent ghazal singers of the previous century. The collection was edited by Jagjit Singh, the famous singer.

Till the end of previous century, just these two songs of Master Madan were available. However, after strenuous efforts by some ardent music collectors, we could trace six more of his fabulous renderings. Thus, making available collection of his perfectly modulated songs to eight.

A few lines about the life of the celebrity. Master Madan was born on 26 December, 1927, in an orthodox Sikh family in a village of Punjab called- ‘Khankhana’, built and named by Abdul Rahim Khankhana in Jallandhar District. Abdul Rahim Khankhana was one of the nauratans (courtiers) of Emperor Akbar. Besides a warrior, an eminent Hindi & Arabic poet-philosopher, he was popularly known as ‘Rahim’.

Master Madan’s father Sardar Amar Singh was in the service with Education Department and his mother Puran Devi was a religious lady. She too died young in the year 1942

The child prodigy started singing at the tender age of three and quickly became a craze all over India. His astonishingly mature voice left a deep impression on the listeners in general and devout Sikhs in particular. Listen to his captivating rendition- ‘Chetna hei to chet ley’ a hymn (sahabad) of Guru Teg Bahadur Saheb- which is a classic example of his excellent understanding of thought and feel of whatever he sang. Shanti Devi, his elder sister had revealed that- he always carried a portrait of Guru Nanak wrapped in silk, a rosary and a ‘gutka’ (abridged holy Granth) where ever he went.

He gave his first public performance at the age of three and a half years at Dharampur Sanitorium (Himachal Pradesh) where he enthralled the audience by singing in dhrupad style of Indian classical music. According to Shanti Devi; the listeners were spell-bound with his command over laykaari and surtaal (rhyme and rhythm). The young lad concluded the recital with a devotional composition ‘Hey sharda naman karoon’ in raag mishr kafi. The critics hailed it as the beginning of a fabulous era.

After the conclusion of this captivating recital, he was bestowed with a gold ring, a shawl and a gold medal. His first successful performance made him a celebrity. There was a grand news coverage in the print media. Some of such paper clippings are still available with Ravinder Kaur, the niece (bother’s daughter) of Master Madan at Butail Building, Shimla.

Overnight, the identity of the genius spread like fire all over the music fraternity of the country. After his grand success, he commenced giving performances along with his elder brother Master Mohan. Every where he was in demand. Though, posters portrayed the photographs of both the brothers, there used to be a special mention of mesmerizing singing of Master Madan.

The maestro commenced his training in music at the age of seven years, under the able guidance of Pt Amar Nath, a great musician and elder brother of composer duo- Husnalal Bhagatram. He had composed music for film ‘Mirza Saheban’, wherein Noorjehan sang some of her captivating numbers. The two ghazals referred to above were also composed by Pt Amar Nath.

Master Madan’s elder brother Master Mohan, who was in Shimla, also used to sing and played violin. This was the time when the legendry singer K.L. Saigal too was in Shimla. Very often, Saigal used to bring his harmonium to their home- ‘Butail Building’ Lower Bazar, Shimla- for his singing and his brother played violin..

In 1940 Mahatma Gandhi visited Shimla and very few people turned up at his meeting, as most of them had gone to a concert of Master Madan.

The singing sensation was a particular favourite of the rulers of Indian states, who conferred many medals on him, which he invariably wore at his recitations. He was always in demand for his singing. Thereby his family was thrilled, as he used to bring lot of money and valuable presents.

But, this took its toll. In view of excessive strain under which the young boy lived and performed, his health began to suffer. He would complain of exhaustion and low fewer. Sadly, he was not properly taken care of and provided adequate medical attention. When at a later stage, he was taken for an examination, he was found to be beyond recovery. The diagnosis was a slow poison that had affected his vital organs. The genius with his immortal voice died in Shimla on 5 June, 1942 several months short of his 15th birthday. He was cremated wearing all his medals.

There had been many rumours about the cause of his death. One such gossip went that at one time when he was performing at Ambala, a local singing girl had invited him to her Kotha and gave him a doctored paan (betel leaf). Another said that at Radio Station Delhi, he was given mercury in his drink by a jealous performer. Yet another was that in Calcutta, after his sensational concert at which he sang a thumri- Bintee suno meri, someone gave him a slow-acting poison in his drink. It was noticed in retrospect that he never recovered his voice after that particular performance. .

However, the fact is that it was the greed of the family or envy of the rivals that killed the child-prodigy- Master Madan, leaving behind recordings of just eight classic classicals:
Here I post a thumri by Master madan......khawar

Posted by: khawar Sohail Aug 31 2010, 04:17 PM

[attachmentid=340370]I now play a Saigol/semaab akbarabadi combination. A beautiful ghazal.......khawar
The year was 1932; a gramophone record- ‘Jhulana jhulao’ appeared in the music world, sung by a totally unknown singer. It was an instant hit, a class in itself by all parameters and till date the glitter of its glory has not faded.

This was the origin of an unknown singer, who was destined to rule the music arena not only for the next fifteen years which he lived, but for many years to come. The singer was ‘Kundan Lal Saigal’ or more popularly, [size=4]K.L. Saigal[size=4]. Today, deservedly -the singer of the century.

Kundan Lal Saigal was born on 04.04.04 of the twentieth century in the town of Jammu. It is a matter of coincidence that Bade Ghulam Ali Khan, another great in the field of classical music, was born on 02.02.02 and master of the masters amongst the music composers- Anil Biswas was born on 07.07.14. These captivating birth-dates are a matter of fascinating study for numerologists.

Kundan’s family belonged to Jullunder (now known as Jallandhar) in Punjab and his father Amar Chand Saigal, was posted as a Tehsildar at Jammu at the time of his birth. There appears nothing exciting about the early life of the singer, except that he was a below average student in his school days. However, he took keen interest in theatre and acting in ‘Ramlila’, where he played the role of Sita.
His mother Kesar Kaur used to sing bhajans and mystic-songs and young Kundan used to accompany her, wherever she used to go for such singing. Once during his early childhood, he lost his voice-quality. His perturbed mother took him to a faqir (saint) called- Salman Yousuf, who blessed the young soul and predicted that one day Kundan will be a world known personality in the field of music.
How accurate was the ‘Divine’ prediction!

Kundan Lal Saigal, in his early youth worked as a salesman for Remington Rand; subsequently served as a goods clerk with the Railways and later a petty cloth-merchant in Calcutta; before his singing talent was identified by Rai Chand Boral, the music-maestro and composer of ‘New Theatres’ a renowned film producing company of Calcutta. This was the beginning of his acting and singing career and the year was 1932.
A line about ‘New Theatres’ of Calcutta. It produced a large number of legendaries in the field of acting, music, photography, direction, and almost in all spheres of film making. The list of such personalities includes- Prithviraj Kapoor, Devaki Bose, Pahari Sanyal, Kidar Sharma, Timir Baran, Rai Chand Boral, Pankaj Mullik, Durga Khote, Kanan Devi, Panna Lal Ghosh, K.C. Dey, Nitin Bose, S. D. Burman, Bimal Roy and others; besides the one and only- Kundan Lal Saigal.

KL Saigal Commemorative Postage Stamp

A mere glance at Saigal’s acting and singing career beginning in the year 1932 till 1946, would reveal an amazing contrast. Amongst his earliest films were ‘Pooran Bhagat’ (Music- R.C. Boral) and ‘Yahudi ki Ladki’ (Music-Pankaj Mullick) released in the year-1933. While acting in ‘Pooran Bhagat’, he sang four bhajans viz ‘Bhaju mein to bhav se shree girdhari’, ‘Sumrin kar jiya ram naam’, ‘Ausar beeto jaat prani tero’ and ‘Radhe rani re de daro naa’. Whereas, in ‘Yahudi ki Ladki’, he sang four ghazals viz ‘Nukta cheen hei gamey dil’, ‘Lag gayee chot karejawa me’, ‘Laakh sahee hum pee ki batiyan’ and ’Ye tassaruf allah allah’. Saigal had arrived!
A singer who is singing bhajans with such sublime emotional feelings- ‘Bhaju mein to’ and ‘Radhe rani re’- in particular, is also singing the ghazals of ‘Ghalib’ - ‘Nukta cheen hei gamein dil’ and eight others with a masterly command on Urdu poetry, deep understanding of the thought and above all, keeping the melody in its true eloquence. An exemplary contrast!
In a brief span of fifteen years, Saigal sang in Hindi, Urdu, Pashto, Punjabi, Bangla and even in Tamil, in the varied genres of ghazals, bhajans and other modes, many in classical styles.
He sang exceptionally well the simplest of the simple songs and with same fervour, he could sing some wonderful classical melodies, including in most difficult ‘Dhrupad’ style.
Let me, therefore, evaluate his different forms and styles of singing; beginning with the ghazal.

In the recorded history of ‘ghazal’ singing the name of the first and foremost amongst countless singers is and perhaps will remain for a long time of - K.L.Saigal, who needs no introduction to earnest music lovers. The genre was further enriched by another legend- Begum Akhtar.

To me, these two legends never sang merely the words, but expressed in their singing, the feelings and thoughts immersed in the lyrics. And, when they sang ‘ghazals’ of Ghalib, the poet appears to have come alive. If you have not yet experienced this soul stirring experience, try it.

Saigal was amongst the earliest, who sang and recorded ‘ghazals’ of Ghalib. He sang his nine ghazals, namely - ‘Aah ko chahiyey’, ‘Dil se teri nigah’, ‘Har ek baat pe’, ‘Ibne mariyam hua karey’, ‘Mein unhein chherun’, ‘Nukta cheen hai’, ‘Wo aakey khwab mein’,’Phir mujhe did-aye-tar yaad ayaa’ and ‘Ishq mujhko nahin’.

Is it a coincidence that Begum Akhtar also sang nine compositions of Ghalib- ‘Ibne mariyam hua karey koyee’, ‘Aah ko chahiye’, ‘Dard minnat kashey’, ‘Taskeen ko hum na royein’, ‘Zikr us parivash ka’, ‘Dil hi to hai sangey kisht’, ‘Phir mujhe did-aye-tar’, ‘Koyee ummeed bar nahin aatee’ and ‘Dayam paraa hua hoon’.

While comparing these eighteen fabulous masterpieces of these two great singers, my pen pauses; it is extremely difficult to comment on their unique voice-quality, citation, soul stirring performance that captivates ‘nobility’ of the accompanying instrument, be it harmonium, tabla and or tanpura.

Once while discussing with select scholars of Urdu (one of them being an Associate Professor of Urdu & Persian in the University of Oxford ) about the future of Urdu language, which has certainly enriched our cultural heritage; but with the passage of time, whose learning has been squeezed into a particular class of our society. As a lover of Urdu literature and an ardent listener of music, who can’t even read and write Urdu script (but have read Ghalib and Sahadat Hasan Manto and other legendary Urdu writers and scholars through Devnagari & English) could only add to the discussion that- had these two legends (Saigal & Begum Akhtar) and some other singers were not there, the ‘diwanns’ (compilations of written works) of Ghalib and other outstanding luminaries would have remained buried in the archives (book-shelves) of Colleges, Universities and other research institutions.

Doubtlessly, it was Saigal the first and foremost and others to follow his foot-steps, who kept alive (through their singing) – verses of a large number of Urdu poets -known and unknown.

Seemab Akbarabadi was a poet of stature. Saigal by singing a few of his ghazals viz ’Ab kya bataun’, ‘Aie bekhabri dil ko deewana banaa dena’, ‘Duniyan mein hoon duniyan ka’, ‘Jaag aur dekh jaraa’, ‘Jalwa gahey dil mein’, ‘Shukriya hastee ka’ etc. he made the poet live for ages to come.Seemab began ghazal writing in 1892 and in 1898 became a disciple of Nawab Mirza Khan Daagh Dehlawi (1831–1905) to whom he was personally introduced by Munshi Nazar Hussain Sakhaa Dehlawi at the Kanpur Railway Station [5]. After founding " Qasr-ul-adab ", in the year 1923 with Saghar Nizami as its editor he started publishing the Monthly " Paimana ". Thereafter, in the year 1929 he started the Weekly " Taj " and in 1930 the Monthly " Shair ". The publication of " Paimana " was stopped in 1932 when Saghar Nizami separated from Seemab and moved to Meerut. " Shair " continued to be published long after Seemab’s death, managed and edited (since 1935) by his son, Aijaz Siddiqui.Beginning with the publication of his first collection of poems," Naistaan ", in the year 1923,and up to 1982 in all seventy five books of Seemab Akbarabadi came to light,these included twenty two of poetry and " Loh-e-mahfooz " (1979)," Wahi manzoom " (1981) and " Saaz-e-hijaz " (1982) published long after his death.He is more known by his ghazals[6] particularly by those sung by Kundan Lal Saigal[7]. He wrote far more than what is contained in these books. He also wrote short stories, novels, dramas, biographies & critical appraisals and was acknowledged as a master of Urdu, Persian and Arabic language & grammar. According to one count there were 375 disciples of his, more prominent being Saghar Nizami(1905–1983), Mehr Lal Soni Zia Fatehabadi(1913–1986), Raaz Chandpuri(1892–1969), Bismil Saeedi(1902–1972), Altaf Mashhadi(1914–1991), Zia Jalandhari(1923 - ), Nissar Itawi, Shifaa Gwaliori(1912–1968), Naazish Pratapgarhi(1924–1981) and Turfa Qureshi. Many of his unforgettable ghazals were put to music and sung by noted singers such as Kundan Lal Saigal [8] and continued to charm the listeners. Today, they are a part of Indian Light Classical music. At this juncture, it will not be out of place to mention that Saigal by singing the ghazals of Seemab Akbarabadi, made the poet immortal. In the same manner; Habib Tanvir, (the Theatre-maestro) immortalized Nazir Akbarabadi through his all time great play -‘Agra Bazaar’.

I would like to invite listeners’ and readers’ attention particularly to the beauty of delivery of words and feelings expressed distinctively in the ghazals of Arzu Lucknavi (popularly & respectfully known as ‘Arzu Saheb’ by music-lovers, singers and the composers). When Saigal sings his verses –’Bahut us galee ke’, ‘Ghar ye tera sadaa na mera hei’, ‘Idhar phir bhi aanaa’, ‘Jeevan asha ye hai’, ‘Mein sotey bhaag jagaa doonga’,’Matwale paney se jo ghataa jhoom paree hei’, ‘Preet mein hai jeevan jokhon’, ‘Sanwariya prem ki bansi bajay’, ‘Yey kaisa anyay daataa’ etc and in particular when the maestro recites- ‘Chhatee se dhuan uthaa hai jo boond paree hei’ lines of the ghazal- ‘Marwale pane se_’; he makes the listeners enthralled and spell bound. This is just one of such examples of his masterpiece renderings.

Let me play for you a ghazal of Ibrahim Zauk, as sung by Saigal. The verses of this ghazal- ‘Laayee hayat aaye’ not only captivates the listener, it deeply provokes his/her thought with the process of message and the immersed mysticism of this immortal piece; especially in the follow up- ’Apni khushi naa ayey/ naa apni khushi chaley___’. It compels you to pause and reflect the poet’s creation. Aren’t you transformed and transfixed? The manner in which this ghazal has been recited; without any hesitation, I may add that it is one of the rarest of rare examples of expression of mysticism in the annals of ghazal-singing.

These are just a few of such illustrations of Saigal’s capacity of communicating the depth of thoughts and feelings immersed in the lyrics of legends of Urdu poetry and ghazals.

Saigal, besides singing ghazals of these three lyricists- Ghalib, Zauk and Seemabh; also sang a number of ghazals of other noted poets of his time. viz Kidar Sharma, Jameel Mazhari, Pt Sudarshan, Safdar Aah, D.N.Madhok, Khumar Barabankvi, Aga Hashr Kashmiri, Ameer Minai, Majrooh Sultanpuri, Bedam Warsi, Swami Ramanand and others.

In this context, some of his all time popular ghazals- ‘Aie dil-e beqarar jhoom’ & ‘Chah barbad karegi’ (Khumaar Barabanqvi); ‘Apni hasti ka agar’ (Bedam Warsi); ‘Deewana hoon’, ‘Shamma ka jalnaa hai’ (Kidar Sharma); ‘Binaa pankh panchhi hoon mein’, ‘Us mast nazar per paree jo nazar’ (D.N. Madhok); ‘Kaun veeraney mein dekhega bahaar’ (Ameer Minai) etc are a few references, enough to establish the ability of ghazal singing of the maestro.

Naushad, the master composer, composed music for the film ‘Shahjahan’. In this film Saigal acted and sang some popular numbers like ‘Jab dil hi toot gaya’, ‘Aie dil-e beqarar jhoom’, ‘Chah barbaad karegi’. These songs added to the recognition of the music-director. In a tribute to Saigal, Naushad has very appropriately commented-”Naushad mere dil ko yakeen hai yeh mukamal/ Nagmon ki kasam aaj bhi zinda hei woh Saigal”. (Naushad swears by his lyrics that his heart is certain that even today Saigal is alive).

If Saigal was a better singer of ghazals or that of bhajans and mystic-songs? This aspect of his music legacy is generally debated amongst his critics and listeners.

The era of ghazal-singing in a way commenced with Saigal. Because of its mass appeal, a large number of singers followed; some of them earned fame and handsome money. A few cine-singers also sang ghazals for the films, which further popularized ‘ghazal’ singing. Notable amongst such ghazal-singers were -Begum Akhtar, Mallika Pukhraj, Talat Mehmood, Mohd Rafi, Jagjit Singh, Ghulam Ali, Mehdi Hassan, Abida Parveen, Tahira Syed et al.

Yet again, let me introduce you to Saigal’s bhajan and mystic singing aspect. Saigal sang some fascinating bhajans. Amongst, his all time greats include- ’Bhaju mein to bhaav se shree girdhari’, ‘Radhe rani re de daro na’, ‘Nein heen ko raah dikhaa prabhu’, ‘Madhukar sham hamare chor’, ‘Sumiran kar piya ram naam’, ‘Mein nahin maakhan khayo’, ‘Suno suno re krishan kala’, ‘Janam janam ka dukhia prani’, ‘Jeevan ka such aaj prabhu’, ‘Hari bin koyee kaam na aayo’ etc wherein I found his complete surrender to the ‘Sublime’, as immense and matchless.

Listen to his voice quality, when he sings ‘Do charnon pe balihari’ -in ‘Bhaju mein to bhaav say shree girdhari’; and ‘Is bansee mein merey praan basat hein’ in ’Radhe rani re’; ‘ Chahun or merey ghor andhera’ in ‘Nein heen ko raah dikha prabhu’; here he makes the listener visualize, what blindness is. After listening to these renderings, I have no hesitation to admit that Saigal makes me cry time and again, whenever I listen to these heavenly gifts to mankind through Saigal.

Such illustrations of communicating the feelings expressed in the bhajans, which Saigal sang are endless. Though, it is the listener’s understanding and intake, as to how he/she enjoys the allure of the singer’s renderings.

There is a very interesting story about legendary classical singer Ustad Bade Ghulam Ali Khan. A journalist approached Khan Saheb for an interview. He (the journalist) introduced himself as a scholar, columnist, a Phd in music and having a deep knowledge of music. After listening to the journalist, Khan Saheb enquired- ‘Miyan, kabhee royey ho; kabhee muhabbat ki hei?’ (Gentleman, have you ever shed tears and have you ever been in love?). The journalist was speechless. At this Khan Saheb advised him- ‘Mian, chaye-waye pio aur jao, tumhein mausikee sey kya lenaa dena?’ (Gentleman, have some tea and leave, what relationship do you have with music?)

The fact remains that music cannot be understood with the laws of physics or mere theoretical knowledge. The saying goes true with the music of Saigal, as well. If someone wants to enjoy the music and more particularly the melodies of Saigal, one must listen to them with heart and not merely with head.

A unique feature of Saigal’s singing was that he always sang totally at ease, in a totally relaxed manner, without any particular kind of physical-gesture, which is not usually noticed in the music concerts.

Once, while discussing Saigal and his music with Raghva R. Menon (the biographer of Saigal) I was given to understand that he himself was fortunate enough to have listened to Saigal in person, four times during the maestro’s life time. He recalled that when Saigal used to sing, there was never any kind of expression on his face nor any kind of hand movements. It almost appeared that sound was coming out of a statue or a robot. This was, thus, a unique characteristic of the maestro’s personality.

In addition to ghazals and bhajans, Saigal sang a large number of songs -classical and or otherwise- which will continue to haunt the listeners till there is music in the atmosphere and there are listeners, who value the meaning of love, affections, virtue, endearment and pleasure of solitude.

Listeners may relish listening to some of his notable and easiest looking melodies- ‘Jo beet chukee so beet chukee ab uskee yaad satay kyun’; ‘Baalam aye baso merey man mein’, ‘Chhupo na chhupo na’, ‘ Do naina matwarey’, ‘Jaag aur dekh zara’, ‘Jeevan been madhur na baje’, ‘Preet mein hai jeevan jokhon’, ‘Sar pey kadamb ki chhaiyan’, ‘Morey balapan ke saathi’, ’Ye kaisa anyay dataa’ etc. (Listening to these everlasting melodies, gives the listener a heart-felt eternal pleasure.)

In the present day set-up of mad rush for amassing wealth and other material possessions, by means fair and foul, and consequent distress of head and heart; one should try to understand the meaning of contentment and solitude through such divine and heavenly music.

Saigal’s contribution in this respect will be adjudged as ‘everlasting’ !

A totally un-known poet wrote one of the easiest looking lyrics for Saigal viz ‘Ausar beeto jaat pranee tero ausar beeto jaat/ is kaal ki hera pheree mein tero ausar beeto jaat/ saath mint (minute) gujrey gaya ghanta, chaubis mein din-raat (day & night)/ pal pal kar key ksheen hot hein_____’. The impact of this mystic song, as Saigal sings is simply matchless. I am very much confident that lyricist could never have imagined that he wrote such fascinating lines.

Likewise, listen to ‘Preet mein hei jeevan jokhon/ jaise kohloo mein sarson’; what a wonderful expression of pain of love! The lines were written by Arzu Lucknavi and composed by Pankaj Mallick in film ‘Dushman’ in the year 1939. The delivery of words, once again and quality of music rendered is a class in itself and words will be inadequate to express my feelings on this immortal rendering.

In the year 1938, Saigal acted in the film ‘Street Singer’ (music-R.C. Boral) where he sang ‘Babul Mora naihar chhuto jaye’.. He preferred to sing this song on the sets while acting, though facility of playback music was available. This was in view of the fact that he did not want the authenticity of the scene to be diluted in any way. According to the version of the Director of the film, Phani Majumdar –“He requested me for such singing while acting. It was a difficult task to shoot the song live on the roads. Saigal did a great job. He was completely immersed in the song and the role. Every thing looked so real. I don’nt think any other actor could have done so well.”

To my mind, ‘Babul Mora’ has proved to be the most popular and rarest of the rare high quality film or non-film song of the century.

Prior to Saigal, ‘Babul Mora’ was also sung by Ustad Faiyyaz Khan in the year 1932.

In view of the fame and applause of the listeners for Saigal’s ‘Babul Mora’, a galaxy of singers singing ‘Babul Mora’ followed. The list of such luminaries includes: Kanan Devi, Pt Bhim Sen Joshi, Kesarbai Kerkar, Mushtaq Hussain Khan, Siddheshwari Devi, Rasoolan Bai, Begum Akhtar, Girija Devi, Kishori Amonkar, Jagmohan, Mahender Chopra (Saigal’s son-in-law), Khadim Hussain Khan, Shanti Sharma and Padma Talwalkar. Did any of them outstand Saigal?

In the present time, well-known ghazal-singer Jagjit Singh, came to limelight by his ‘Babul Mora’ which he sang along with Chitra Singh in early seventies. He sang and recorded yet another time ‘Babul Mora’, which is his solo version.

A collection of all these recordings of ‘Babul Mora’ sung by these luminaries; is certainly a ‘Collectors’ Treasure’ and can be made available to the music-lovers.

Once while discussing music of thirties & forties with the master-composer- Anil Biswas, (who brought Mukesh and Talat Mehmood initially to limelight) about Saigal’s ‘Babul Mora’. His remarks to this were simply fabulous- ‘Betey, Saigal ke alawa kisi ka babul nahin chhoota’.

Anilda (Anil Biswas) is no more; but in the casual manner, what he said, I have nothing to say on his comments. As I became speechless. But, the fact remains that ‘Babul Mora’ sung by Saigal will be listened by upright music-lovers time and again for the ages to come. About others, no one can predict. Rest, I leave it the listeners. Let them evaluate.

Pankaj Mullick recorded his three songs viz ‘Aie qatib-e-taqdeer, Do naina matware and Chhupo naa chhupo naa’. Saigal, as well sang these three songs in film ‘My Sister’ in the year-1944. The music was composed by Pankaj Mullick. Both the singers were and are considered to be ‘Masters’ and any comparison is certainly meaningless. But, the fact remains that what Saigal sang, it will be remembered till time stops.

The film ‘Devdas’ released in the year 1935, is a milestone in the history of Indian cinema, primarily because in this film, Saigal acted and sang his all time favorites- ‘Balam aye baso merey man mein’, ‘Dukh ke din ab beetat naahin and just two lines of a classic ‘thumri’- ‘Piyaa bin naahin aawat chein’ (earlier sung by Ustad Abdul Karim Khan). The music of this film was composed by Timir Baran, who played ‘Sarod’ for the first time in the history of film-music, while composing ‘Balam aye baso morey man mein’.

When Khan Saheb came to know about his singing, he called on at Saigal’s residence and asked him to sing for him once again in his presence. After listening to Saigal, he was spellbound over Saigal’s mastery of expression and his ease of singing. He enquired as to who is his Ustad (teacher), who has taught him singing. To this, Saigal replied that he has not learnt from any ‘Ustad’ and it is only ‘Ooparwala’ (‘Almighty’), who has taught him singing. Khan Saheb blessed the maestro and gave him a hundred rupee note, which Saigal kept with him till his death, as a token of his respect to Ustad Abdul Karim Khan.

During the course of shooting of the film –‘Devdas’, Sarat Chandra Chatterjee, the celebrated author visited the sets. He was deeply impressed with the acting of Saigal; though, he was surprised as to how a non-Bangali (Punjabi) could understand so intelligently the character, he created in his novel.

The other notable features of this film were that it was produced and directed by P.C. Barua (who himself earlier acted in its Bangla version) and its photographer was Bimal Roy, who later on produced and directed another version of ‘Devdas’ with Dilip Kumar as its hero. It is needless to add that as a mark of respect; Bimal Roy dedicated his film ‘Devdas’ to the memory of K.L.Saigal and P.C.Barua.

While waiting for a train at a railway platform, he wrote a fascinating poem on the back of the railway receipts. In this poem, he has expressed his attachment to the city of Calcutta, which shaped his destny and initial personality. From Calcutta Saigal later-on moved to Bombay. I have a copy of the manuscript of this verse entitled -‘O des se aaney waley bataa’. The pain of parting expressed in this poem is somewhat unique and thereby is a matter of deep study of poet’s head and heart.

Saigal sang two Punjabi numbers -‘O soney sakia meri galee wee’ & ‘Mahee naal jey akh lardee kadee na’. Both these songs bear the fragrance of soil and soul of Punjab. Though, he himself was a Punjabi, a question is generally asked: why did Saigal sing only two songs in Punjabi; as against 28 songs he sang in Bangla. On this question, I once spoke to one of Saigal’s close relatives, who narrated that during one of his visits to his home town Jallandhar, a Punjabi singer from a nearby place named ‘Sham Chaurasi’ came to meet Saigal and told him in Punjabi- ‘ Hunn tussee Punjabi wich wee ganaa shuroo kar ditta hei; assee tan phukhey mar jawaan gey’ (Now that you have started singing in Punjabi as well, we will be starved to death). At this Saigal assured him that he will no longer sing in Punjabi. And he did keep his promise.

Dilip Sarkar son of B.N. Sarkar, the owner of ‘New Theatres’ while speaking at a public gathering narrated that once Saigal accompanied Pankaj Mullick to Santiniketan, where he introduced Saigal to Tagore. Gurudev asked Saigal to sing. After listening to Saigal, the poet blessed him and appreciated his performance.

Saigal sang 28 Bangla songs. The beauty of his Robindra Sangeet and Bangla singing lies in its totality. At times, the candid listener, even without understanding a single word of language (Bangla) of the respective verse of the song, is spellbound by his loveable and divine voice quality.

Likewise, it must be recorded that Saigal also sang two Tamil songs in Tamil version of film ‘Devdas’.

A few lines about the classical singing aspect of the maestro:

Films produced after the year 1941 came out with some fabulous songs, based on pure classical music. Such songs were sung by the classical singers and also by traditional film singers. A collection of these recordings include:

* ‘Shubh din aayo’ & ‘Prem jogan bun gayee’- both sung by Ustad Bade Ghulam Ali Khan in film ‘Mugal-e- Azam’, music-Naushad.

* ‘Jhanak jhanak paayal baaje’- sung by Ustad Amir Khan in film ‘Jhanak Jhanak Paayal Baaje’, music- Vasant Desai.

* ‘Aaj gavat man mero jhoom key’- sung by Pt D.V. Paluskar & Ustad Amir Khan in film ‘Baiju Bawra’, music – Naushad.

* ‘Ketaki gulab juhi’- sung by Pt Bhim Sen Joshi & Manna Dey in film ‘Basant Bahaar’, music - Shanker Jaikishan.

* ‘Ritu aye ritu jaye’- sung by Manna Dey & Lata Mangeshkar in film ‘Humdard’, music - Anil Biswas.

* ‘Garjat barsat saawan aayo rey’- sung by Lata Mangeshkar in film ‘Malhaar’, music – Roshan.

* ‘Garjat barsat saawan aayo re’- sung by Kamal Barot in film ‘Barsaat Ki Raat’, music – Roshan.

* ‘Boley re papiharaa’- sung by Vani Jairam in film ‘Guddi’, music - Vasant Desai.

* ‘Man ki been matwari baaje’- sung by Rafi & Lata in film ‘Shabaab’, music – Naushad.

* ‘Laga chunri mein daag’- sung by Manna Dey in film ‘Dil Hi To Hai’, music – Roshan.

* ‘Tarana’- sung by Jagjit Singh in film ‘Kalka’ in his own music.

In the bouquet of all these classical melodies, when Saigal’s evergreen ‘Sapt suran teen gram’ sung in classical (Dhrupad) form and ‘Diya Jalao’ from the film ‘Tansen’ (music- Khemchand Prakash) are included- the beauty of the collection emerges multifold.

It is an established fact that Saigal was a renowned celebrity during his lifetime. Here are some of the clippings of the news/reports published in few film journals and magazines of his era:

“Saigal the Singing sweetheart of millions was invited by Mahatama Gandhi (in the year-1941) at Wardha to sing for him the National Anthem ‘Jeete Desh Hamara’ on the happy occasion of his birth day but the singer had to decline the invitation as he had to go to Hyderabad Deccan along with Pancholi Art Picture to shoot Scandal.” (‘Talkie Hearald’- October’1941)

Saigal acted in film ‘Zindagi’, which was released in the year 1940. In his review, published in cine journal ‘Filmindia’- April 1940 issue Babu Rao Patel wrote about Saigal’s singing:

“What Saigal sings is music and when the golden notes come out of his throat, people forget the story writer, the director, the producer and even Saigal’s big face monopolizing the screen for a long time. They just want his maddening music and there is a good amount in this picture. If this picture runs (for) a long time it will be because Saigal has sung beautifully and not because Barua has directed it.”

In another write-up he (Patel) observed: “Saigal was a bard who sang the poetic sighs of human soul and warmed the heart of heartless world.”

“Saigal was like a soft grass sprouting out of the holes of a solid cement wall, always bubbling with life, full of enthusiasm, an epitome of gentleness, as it were. It is a rare experience to come across such loving person”- perceived Kanan Devi.

Saadat Hasan Manto, the legendary Urdu writer, while writing a sketch of actress and singer ‘Noorjehan’ wrote- “Saigal key baad mein Noorjehan ke galey se muttassir hua__. Jab tak rekaard jinda hai, Saigal mahroom ki awaaz kabhee nahin mar saktee.” (After Saigal, I am impressed with the voice quality of Noorjehaan___. As long as Record (Gramophone-Record) is alive, Saigal’s voice will never die). The candid truth immersed in these lines came from the soul and not merely from the heart.

Apart from being an actor and a singer ‘par-excellence’, Saigal was a wonderful human-being. There are a large number of incidences to establish his kind-heartedness towards whosoever came in his contact for help.

His driver, Yousuf once narrated with tears in his eyes an incidence of the life of his master. Yousuf told a columnist that once, when he fell ill, Saigal came to his house with lot of fruits and medicines. After enquiring about his health, Saigal started rubbing and pressing his legs. “Sahib, wo to ek farishta the” (Sir, he was an angel.) -said Yousuf, in a voice choked with emotions.
Kidar Sharma, the famous producer-director became very close to Saigal; as it was Saigal who introduced Kidar Sharma to Devaki Bose to initially work for ‘New Theatres’. Subsequently, it was Kidar Sharma who wrote some memorable songs for Saigal such as ‘So ja rajkumari’, ‘Balam aye baso mere man mein’, ‘Dukh ke din ab beetat naahin’, ‘Mein kya jaanu kya jadoo hai’ ‘Kya humne bigara hai’ etc etc. In his several interviews he (Kidar Sharma) admitted that had Saigal not been there, his fate would have been different. As the fate would have been, later on, it was Kidar Sharma, who was instrumental in launching Raj Kapoor, Madhubala and Geeta Bali in his films.
In 1945, Kidar Sharma and Saigal were invited by an elite to his newly built bungalow at Ville Parle, a suburb in Bombay (Mumbai) very close to sea beach. In the large gathering of guests, Saigal somehow felt uneasy and silently without informing the host, he slipped alongwith Kidar Sharma and went to nearby sea shore for a stroll. It was little dark. In that dusk, they saw a faqir, who was singing a ghazal of Ghalib and was playing his harmonium along with. Both of them sat on the sand and listened to the singer. Saigal was overwhelmed. After the singing was over, he touched the feet of the singer, took out five thousand rupees from his pocket and gave it to the faqir. Kidar Sharma was amazed and spellbound at this gesture. He asked Saigal, if he knew how much money had he given to the faqir? Saigal replied- “Oopar waley ney kee mannu gin key dittey si?” in Punjabi. (Did the ‘Almighty’ count before he gave me?)
By the year-end of 1946, it appears that Saigal had the intuition that he was not going to live long more. He was a patient of diabetes and had other problems.
He left Bombay, where K.N. Singh, one of his closest friends besides others came to see him off at Bombay Central (railway-station). Saigal reached Jullunder on 26 December, 1946 by Frontier Mail (which proved to be his last journey) at about 4.00 a.m. when it was extremely cold. He was wearing a brand new woolen suit. At the railway platform, he saw a beggar shivering with cold. Saigal, who was a little ahead of his family took out his coat and gave it to the beggar and also about 1800 rupees from his purse.
This particular incident was narrated to me by two of his relatives separately, one being Smt Durgesh Mehta, niece of Saigal (daughter of Saigal’s elder brother -Hazari Lal Saigal), who was brought-up by Saigal as his daughter; and also by Roshan Lal Saigal, a nephew of Saigal, who met me at Dehradun in October, 1994.
Saigal on reaching his home town Jallandhar, in view of his poor health and the intuition that his doom’s day was fast approaching, got his head shaved. As he was too weak, he had to call his religious mentor ‘guru’ from nearby village- ‘Noormahal’ for paying his last respects.

Since he was very fond of ‘sarson ka saag’, a mound (37 kg) saag was got prepared and distributed to all and sundries in fulfillment of his last wish.

The inevitable came on the wee hours of 18 January, 1947 when the whole of Punjab (of un-divided India) was in-flames on account of partition riots. Smt Durgesh Mehta (who was at his death-bed) narrates that about 30-40 close relatives thought that it will be most appropriate to have the last rites performed as early as possible.

With all the heavenly melodies of Saigal alive in the hearts of millions of music lovers; who says Kundan Lal Saigal is dead?

-Satish Chopra, BA/26B Ashok Vihar-I, Delhi-110052 #27134229/27450869 Email: satishchopra@rediffmail.com

Posted by: khawar Sohail Sep 1 2010, 03:40 PM

[attachmentid=340498][attachmentid=340499][attachmentid=340499]

Posted by: khawar Sohail Sep 1 2010, 03:46 PM

[attachmentid=340500]Here are two more songs by Master Madan including Saghar Nizaami ghazal....khawar

Posted by: khawar Sohail Sep 1 2010, 03:51 PM

[attachmentid=340501]

Posted by: khawar Sohail Sep 1 2010, 04:05 PM

[attachmentid=340502]Here is another song penned by Saghar Nizaami and sung by Mannawar Sultana....khawar

Posted by: khawar Sohail Sep 1 2010, 04:06 PM

Kidar Nath Sharma also Kedar Sharma (12 April 1910 - 29 April 1999), was an Indian film director, producer, Screenwriter, and Lyricist of Hindi films.[1] While he had great success as a director of such movies as Neel Kamal (1947 film), Bawre Nain (1950) and Jogan (1950), he is often most remembered for starting the acting careers of Bollywood greats Geeta Bali, Madhubala and Raj Kapoor.

Contents [hide]
1 Early life
2 Career
3 Awards and nominations
3.1 International honours and recognitions
3.2 National honours and recognitions
4 Film Credits
5 Children's Film Society of India Contributions
6 References
7 External links

[edit] Early life
Kidar Sharma was born in Narowal in what was then the Punjab region of India and grew up in a life of poverty. Two brothers, Ragunath and Vishwa had died as infants and his sister, Taro, died of Tuberculosis at an early age. A younger sister Guro survived as did a younger brother, Himmat Rai Sharma, who would later work with Kidar on films before establishing himself as a successful Urdu poet. Kidar attended the Baij Nath High School in Amritsar where he became interested in philosophy, poetry, painting and photography. Upon completion of high school, he ran away from home to pursue a career in cinema in Mumbai but was unsuccessful in gaining employment. He returned to Amritsar and attended the Hindu Sabha College where he founded a College Dramatic Society which would later give him his first break in film.[2]

[edit] Career
The head of a local Temperance movement would attend one of Kidar's plays and hired him to produce a silent film depicting the evils of alcohol. Using the money he earned from this project he would receive his Masters degree in English at Amritsar's Khalsa College before joining a local theater group that earned him limited acting success in 1931. He was married in 1932 and painted to earn income. Upon seeing an early talkies film Puran Bhagat (1933) by film director Debaki Bose, he left for Calcutta hoping to get his big break at New Theatres Studios, where Debaki Bose worked. After many months of unemployment he managed to meet a then-unknown actor of New Theatres, Prithviraj Kapoor (where he would meet Prithviraj's eight year old son for the first time, Raj Kapoor). Prithviraj Kapoor introduced Kidar to his neighbor, then-unknown Kundan Lal Saigal, who through an acquaintance allowed Kidar to meet Debaki Bose. Debaki Bose hired Kidar initially to become the Movie stills photographer for the film Seeta (1934) but would give Kidar his first part in the creation of film with that of set painter for the film Inquilab (1935) where Kidar also had a bit part.[3] Kidar would continue to work with New Theatres on films such as Dhoop Chhaon (1935) and Pujarin (1936) but a big break would come when Kidar was asked to write the dialog and lyrics for the 1936 adaptation of Devdas starring his friend Kundan Lal Saigal. Devdas was not only a hit, but songs from the film such as Balam Aaye Baso Moray Man Mein and Dukh Ke Ab Din Beetat Naahi became feverishly popular throughout the country, giving Kidar Sharma acclaim by the press and public. Kidar would later say, "Both Bimal Roy and I got our first big break in Devdas. He as the cameraman and I as the writer."[2]

Kidar's big directing break came in 1940 when asked to complete the film Tumhair Jeet. Upon its completion he was given the opportunity to direct his own screenplay for Aulad / Dil Hi to Hai, which met with some success. He was then asked to direct Chitralekha which became a smash hit and gave Kidar credibility as a director. He would go on to begin producing his own movies, casting Raj Kapoor and Madhubala in their first film Neel Kamal. He would also cast Geeta Bali in her first movie, Sohag Raat and later he would team her with Raj Kapoor for the film Bawre Nain (1950). That same year he directed Jogan starring Nargis and Dilip Kumar. In the late 1950s Jawaharlal Nehru who had heard Sharma's lyrics, summoned him and asked him to become director-in-chief of the Children's Film Society. Kidar Sharma would work on many movies for the Children's Film Society, including the film Jaldeep which would go on to receive international acclaim.[4] In 1958, he would work for one year directing movies in Singapore for Shaw Brothers Studio.

An outstanding poet, Sharma wrote some of the most memorable songs including Balam aayo baso more man mein, Dukh kay ab din beetat nahi and Teri duniya mein dil lagta nahi. Kidar would continue to contribute as a lyricist and to write and direct films through the 1990s. Ironically, many Indian film critics and historians argued that he deserved the highest cinema award from the government of India but he died a day before he was to receive the Raj Kapoor Award, named in honor of the actor he helped make a success.

[edit] Awards and nominations
[edit] International honours and recognitions
Part of the Indian Delegation in 1945 who travelled to England and Hollywood and met with Charlie Chaplin, Walt Disney and Cecil B. DeMille
Best Children's Film, International Film Festival at Venice 1957 for Jaldeep[1]
[edit] National honours and recognitions
1956 for the film Jaldeep: All India Certificate of Merit, as best children film State Awards for Film [2]
Indian Film Directors' Association Lifetime Achievement Award
Gold Award from Prime Minister Indra Ghandi in 1982 for contribution to Indian Cinema
Maharashtra Government's Raj Kapoor Award (awarded in 1999 after his death)[3]
[edit] Film Credits
Inquilab (1935), Set Painter, Actor
Dhoop Chhaon (1935), Actor, Assistant Manager
Pujarin (1936), Actor
Devdas (1936), Dialog and lyrics
Vidyapati (1937), Actor
Anath Ashram (1937), Writer
Jawani Ki Reet (1939), Dialog
Badi Didi (1939), Writer, Actor
Zindagi (1940), Writer
Tumhair Jeet (1940), Director
Aulad (1940), Director
Chitralekha (1941), Director
Armaan (1942), Director
Gauri (1942), Director
Mumtaz Mahal (1944), Director
Dhanna Bhagat (1945), Director
Chand Chakori (1945), Director
Duniya Ek Sarai (1946), Director
Neel Kamal (1947), Writer, Director, Producer
Sohag Raat (1948), Director
Neki Aur Badi (1949), Director, Actor
Bawre Nain (1950), Writer, Director, Producer
Jogan (1950), Director
Gunah (1953), Director
Chora-Chori (1954), Director
Hamari Yaad Aayegi (1961), Director
Fariyad (1964), Director
Chitralekha (1964), Writer
Kaajal (1965), Writer
[edit] Children's Film Society of India Contributions
Jaldeep (Light House) (1956), Writer, Director
Ganga Ki Lahren (1957), Writer, Director
Bachchon Se Bate (Talking To Children) (1957), Writer, Director
Haria (1958), Writer
Gulab Ka Phool (The Rose Among Flowers) (1958), Writer, Director
26 January (India's Republic Day) (1959), Writer, Director
Ekta (In Unison) (1959), Writer, Director
Guru Bhakti (Devotion) (1959), Writer
Panchtantra Ki Ek Kahani (A Story From The Panchantra) (1959), Writer
Yatra (Journey) (1959), Writer
Dilli Ki Kahani (The Story Of Delhi City) (1960), Writer
Chetak (1960), Writer, Director
Meera Ka Chitra (Portrait of Meera) (1960), Writer, Director
Nyaya ( Justice) (1960), Camera
Mahateerth (Great Pilgrimage) (1961), Writer, Director
Khuda Hafiz (Goodbye) (1983), Writer, Director, Lyricst
Source Wikipedia

Posted by: Faraaj73 Sep 2 2010, 04:43 PM

Khawar Saab

Thanks for this article about Master Madan. He deserves to be remembered!

QUOTE(khawar Sohail @ Aug 31 2010, 08:34 PM)

QUOTE(khawar Sohail @ Aug 31 2010, 08:34 PM)

QUOTE(khawar Sohail @ Aug 31 2010, 08:34 PM)

Posted by: khawar Sohail Sep 3 2010, 04:07 PM

This is a special song dedicated to Faraaj sahib. The recording quality is low. The song and info is courtesy Dr Suresh Chandvankar sahib, Secretary Indian Record Collector, Bombay.  gauhar_jan.doc ( 122.5 k ) Number of hits: 12 by members
[attachmentid=340810]
I am attaching the photo of 78rpm record of this song as Doc document as I do not know how to put the photo on forum. I hope some body can extract the photo and put it on the the HF....khawar
Gauhar Jan, Month of July and Mumbai
[Rahegi yaad mujhko, Bambai vaalon ki mehmani]
--------------------------------------------------
July 2010.

A month to remember ‘Kalkatte wali Gauhar Jan’, a famous ‘tawaif’ (courtesan) and the first gramophone celebrity of last century. After about a century, she is again ‘talk of the town’ because of the latest English book, ‘My Name is Gauhar Jan’ by Vikram Sampath. [Rupa publications, New Delhi]. The book has been released ceremonially in major cities in India and has now entered into the second impression in just three months. On this occasion, in July, two listening sessions were organized in Mumbai, one at Bhavan’s cultural center, Andheri and the other at NCPA complex, Nariman Point, in South Mumbai. Large crowd of senior citizens was drawn by her recorded music. Every song that was played finished with a slogan: ‘My Name is Gauhar Jan’. While listening to these rather noisy recordings, my mind began to wander in the past

July 1907.

‘Gauhar Jan of Calcutta’ had become quite famous through her gramophone records and had also appeared on picture postcards. She used to visit Bombay mainly for two reasons. She had a lover ‘Amrut Keshav Nayak’, a famous actor of Gujrathi stage in Bhangwadi Girgaon, and her passion towards horses and race course. In the season, both would spend day at Mahalaxmi race course. In the evenings, she would often perform for common citizens (Aam admi) at ‘Capitol’ theater opposite Boribunder (V.T.) station. The concert would be packed since the tickets were affordable. She would entertain the audience with her songs and dance. Located nearby was the famous and a century old ‘Town Hall’ (Asiatic Library) where elites of the town or ‘Khas’ citizens would meet. In July 1907, Gauhar Jan was invited for a concert in this hall. She gave an excellent performance for the august audience including great personalities like Phirozeshah Mehta, Seth Gokuldas and Seth Ratansi. She sang a ‘Najma’ (urdu poem) in which she coined the names of these persons in the audience. She also included the blessings sought for King Edward to live to eternity (kayamat). The song was appreciated by everyone and became popular. After five years, ‘The Gramophone Company’ decided to record it for a commercial release. So, in 1912, a 78 rpm disc was cut with a special label containing the picture of a recording angel. [Record No. P 365. Dhun Kalyan. Sung by Gauhar Jan, at the Town Hall, Bombay in July 1907.] This record was a collector’s item for quite some time. Recently it has been found. The song contains eight stanzas and describes the importance of ‘Mumbai’ city in the life of Gauhar Jan. She expresses her gratitude towards the town and patrons of Mumbai. At the end after her usual announcement, she says, ‘Yeh Kammal ka gana hai. Phirozeshah Mehtaki tarifmen’. [This is an amazing song. In praise of Feroz Shah Mehta]

Soon after this concert, Amrut Keshav Nayak passed away suddenly on July 18th 1907. Today, road behind Khadi Bhandar on P.M. (Phirozeshah Mehta) road is named after him. Gauhar has left behind over 200 songs on three minute shellac discs. The ‘Town Hall’ building has completed over two hundred years and going strong. ‘Capitol’ theater building is surrounded by drug addicts and waiting for its reincarnation.
----------------------------------------------------------
Dr. Suresh Chandvankar. July 29, 2010.
‘Society of Indian Record Collectors’, Mumbai
chandvankar.suresh@gmail.com
cell - 9920813336
----------------------------------------------------------
Dhun Kalyan Quawali (P.365)
--------------------------------------

Chalo guljar aalam me havaye fajla rahmani
Phala phoola khada har kaam ise rakhna nakhla bostani…1

Hai to yeh jahanmen aab hath gar dastyon bhi man
Garja hindu musalman sab ke sab hai khanda peshani…2

Jaiye majlis hun jinke sadra sarbhi dor ka aisa
Vah bark andaz Gokul Das jee Iqbal ho bani…3

Rahe abad ya rab bambai tu aur bambai wale
Kahan main ek musafir aur kahan yeh kadra sultani…4

Mujhe ijjat jo bakshi aur jo hai kadra kee meri
Rahegi yaad mujhko bambai walon ki mehmani…5

Jahanke school ke malik Ratansi sethji sahab
Karen bachhonki khidmat aur Karen unki nigehbani…6

Khudaya Shah Edward ko tu rakh jinda kayamat tak
Rahe kayam hukumat aur hove fajla rabbani………….7

Duva par sar jhuka kar khatma karta hun kalam apna
Rahen sab meherban unpar ho sab par fajla ehsani…..8

My Name is Gauhar Jan
Yeh Kammal ka gana hai
Phirozeshah Mehta ki tarifmen
----------------------------------------------------------

Posted by: khawar Sohail Sep 3 2010, 04:21 PM

[attachmentid=340812]A master-piece combination of Kidar sharma-lata-Khyaam....khawar

Posted by: khawar Sohail Sep 3 2010, 04:27 PM

[attachmentid=340813]Another song penned by Kidar sharma from Gunah 1953....khawar

Posted by: Debopriyo Sep 3 2010, 09:08 PM

QUOTE(khawar Sohail @ Sep 3 2010, 04:27 PM)

Posted by: khawar Sohail Sep 4 2010, 05:36 AM

[attachmentid=340928]I will check songs in my collection. Presently listen to this Saghar Nizaami song sung by lata and composed by Sajjad husain from khel...khawar

Posted by: Faraaj73 Sep 4 2010, 06:39 AM

QUOTE(khawar Sohail @ Sep 3 2010, 08:37 PM)

Posted by: khawar Sohail Sep 5 2010, 11:44 AM

I am in process of converting some old cassettes of habibWali Mohd's ghazals and geets. I will be posting here. The first one is penned by qamar jalalabadi. Here it is. If anybody has ‘Ja kahio unsay naseem-e-sahar’: poet: Bahadur Shah Zafar, kindly upload...khawar

[attachmentid=341080]HABIB WALI MOHD:
Born in Rangoon to a conservative memon family. His family, Tabani, an industrial house has large business holdings in Pakistan.

He received his MBA from Syracuse University in 1947, and then lived in Bombay for about 10 years before moving to Pakistan. His brother Ashraf W. Tabani was governor of the province of Sindh around 1988.)

[edit] Career
Habib Wali is practically from the very second group of singers ever to record the art form and is still at his peak today. But probably because of his background and place as a member of a well-established family, Habib Wali has never pursued as aggressive and mainstream a career as a singer as others, though is still highly regarded.

He is known for singing ghazal of last Moghul Emperor Bahadur Shah Zafar, Lagta Nahin Hai Jee Mera Ujray Diyar Mein.

His family name was Tabani, though he became famous as Habib Wali Mohammad. His family migrated to Bombay, where he took classical music lessons from Ustad Latafath Husain, nephew of Ustad Fayyaz Khan. But due to economic reasons, he gave priority to academics. His musical activities were limited to singing ghazals in college functions. After completing bachelors in Bombay, he studied for his MBA in USA. In mid 1940s he returned to Bombay.

In Bombay he won first prize in a large music competition. This propelled him to release his first album of ghazals. This record was to make him a celebrated singer. After partition, his family migrated to Pakistan and established an industrial group. He gave most of his time to the family business, recording ghazals and geet-s for films in his spare time. Concerts though were limited. In the eighties he released an album of ghazals composed by Nisar Bazmi.

He has been awarded the Nigar award. His famous ghazals include Bahadur Shah Zafar's 'Na kisi ki Aankh ka noor hoon' and Qamar Jalalavi's 'Kab mera nasheman ahelay chaman'. He is now retired and lives in California with his family.

His other well known ghazal includes "Aaj jane ki zidd na karo". He also sang the famous national song, "Roshan-o-Rakhshan, Nayyar-o-Tabaan, Pakistan rahay".

Way back in 1941, in Bombay, some young music lovers between 17 and 19 years of age were waiting outside a room for an audition.One by one, each candidate went in the room and was tested for his voice, diction, pronunciation and other technicalities necessary to become a singer. Amongst those enthusiastic teenagers was an eighteen year old lad, whose name was Mukesh Chand Mathur. Behind Mukesh was another young boy and whose family name was Habib Tabani (popularly known as Habib Wali Mohammad). Both of these young gentlemen passed the audition!

Habib Wali Mohammad was born in 1921, in Rangoon, to a conservative memon family. He migrated to Bombay at a young age. He was very fond of listening to Qawwali since his childhood. Innocent as he was, he thought that Qawwali is what the music is all about. A little later, he started taking interest in classical music in Bombay. He took lessons in classical music from Ustaad Fayyaz khan’s nephew, Latafath Husain. However, due to academic pursuits, his interest in music was pushed aside.

With the passage of time, he was more inclined towards ghazal singing. He participated in college musical functions and came to be known as the ‘Taan sain’ in his college. As soon as he finished his college education, his parents sent him to America and he completed his MBA degree in the U.S.A.

He returned to Bombay in the mid forties, and took part in a music competition, in which 1200 singers had participated. Habib Wali Mohammad had sung Bahadur Shah Zafar’s immortal ghazal: ‘Lagta nahi hai jee mera, ujray dayar mein’ and a panel of judges awarded him the first prize.

Encouraged by this honor, at a young age, he took more interest in ghazal singing. During his stay in America, he had been out of touch with music. Hence, he felt lonely and missed his earlier college functions in Bombay. In his own words: He was not happy in ‘Ujray dayar mein’ the same ghazal which had won him an award of a life time. He put a lot of effort and came out with a gramophone record of ghazals in his voice. On one side of the record, he dubbed Bahadur Shah Zafar’s ghazals and on the other side, Ghalib’s ghazals.

Unfortunately, the Indian public was reluctant to buy them.

In those days, a prominent Indian actress, Meena Kumari, was affiliated with Radio Ceylon, she happened to listen to those ghazals and liked them so much, that she made it a point to broadcast them daily from Radio Ceylon. Thousands of listeners heard those ghazals on radio and rushed to the music stores to buy the gramophone records: Habib Wali Mohammad became a celebrity.

After partition, he migrated to Pakistan and sang ghazals for the gramophone companies.(including a geeth written by Perveen Shakir: ‘Gori karath singhar’) In eighties, he recorded ghazals in audio cassettes which were composed by renowned music director Nisar Bazmi. Also, he received offers to record play back songs for the Pakistan film industry.

First and foremost, he is a businessman.(Shalimar silk mills is owned by Tabani group), however, at his leisure, he did record quite a few numbers for movies. He never made music his profession. Music has always been a hobby for him.

Every now and then, he took some time off for radio, television, film or private concerts.

Apart from this, he also received the prestigious nigar award.

He sang a ghazal written by Ustaad Qamar Jalalavi which was an instant hit: ‘Kab mera nasheman ahelay chaman’. All ghazals of Bahadur Shah Zafar, sung by Habib Wali Mohammad were mega hits, including: 'Na kisi ki Aankh ka noor hoon'

[edit] Personal life
Habib Wali Mohammad lives in California, United States with his wife, Rehana and his family, including his son, Nadeem Wali Mohammad

[edit] Discography
Some of the ghazals, recorded in the voice of Habib Wali Mohammad are listed here below:

‘Ye na thi hamari Qismath’: poet: Ghalib

‘Ja kahio unsay naseem-e-sahar’: poet: Bahadur Shah Zafar.

‘Gajra bana kay lay Aa malaniya’: poet: Afshan Rana.

Following are the ghazals, which are considered as a treasure for the Pakistani films:

‘Aaj janay ki zid na karo’: poet: Fayyaz Hashmi, picturised on Nadeem

‘Aashiyan jal gaya’ :poet: Raaz Illahabadi, film: ‘Baazi’

'Raatain theen chandni':Film: ‘Baazi’

National songs like: ‘Roshan-o- afshan, nayyar-o-taban’

[edit] Recent Concerts
Habib Wali Mohammad Recently had a ghazal concert on Saturday February 27, 2010 in Edison, NJ and on February 28 in West Virginia, performing with his son Nadeem Wali Mohammad, and former singer Bela modi

[edit] References
1.^ http://www.chowk.com/articles/6571

Posted by: khawar Sohail Sep 5 2010, 01:37 PM

QUOTE(Faraaj73 @ Sep 4 2010, 06:39 AM)

QUOTE(khawar Sohail @ Sep 3 2010, 08:37 PM)

This is a special song dedicated to Faraaj sahib. The recording quality is low. The song and info is courtesy Dr Suresh Chandvankar sahib, Secretary Indian Record Collector, Bombay

In July 1907, Gauhar Jan was invited for a concert in this hall. She gave an excellent performance for the august audience including great personalities like Phirozeshah Mehta, Seth Gokuldas and Seth Ratansi. She sang a ‘Najma’ (urdu poem) in which she coined the names of these persons in the audience. She also included the blessings sought for King Edward to live to eternity (kayamat). The song was appreciated by everyone and became popular. After five years, ‘The Gramophone Company’ decided to record it for a commercial release. So, in 1912, a 78 rpm disc was cut with a special label containing the picture of a recording angel. [Record No. P 365. Dhun Kalyan. Sung by Gauhar Jan, at the Town Hall, Bombay in July 1907.] This record was a collector’s item for quite some time. Recently it has been found. The song contains eight stanzas and describes the importance of ‘Mumbai’ city in the life of Gauhar Jan. She expresses her gratitude towards the town and patrons of Mumbai. At the end after her usual announcement, she says, ‘Yeh Kammal ka gana hai. Phirozeshah Mehtaki tarifmen’. [This is an amazing song. In praise of Feroz Shah Mehta]

----------------------------------------------------------
Dhun Kalyan Quawali (P.365)
--------------------------------------

Khawar Saab

Thanks for this extremely rare upload - its a beautiful tune and beautifully sung by Gauhar. It helps to be able to read the romanised lyrics because as you point out the recording quality is low. Much appreciated nonetheless.

Kind Regards
Faraaj

Posted by: khawar Sohail Sep 5 2010, 01:41 PM

[attachmentid=341085]Here is a fabulous geet by HWM from Tiger Gang. This geet reminds me of Rafi's Madhuban mein radhika naache re composed in Raag Hamir. ...khawar

Posted by: khawar Sohail Sep 5 2010, 01:52 PM

[attachmentid=341086]HWM has sung the best ghazals by Bahadur Shah Zafar, although it is controversial if all these BSZ ghazals infact have been writen by himself. According to The last Moghul BSZ was never given any material to write any thing. The writings on walls may have been erased by British security guards.
Here is one such ghazal which has an extra verse (#2). Prabharkar and Faraaj sahib comments are awaited...khawar

Posted by: Faraaj73 Sep 5 2010, 04:26 PM

QUOTE(khawar Sohail @ Sep 5 2010, 06:07 PM)

Posted by: Exon Sep 5 2010, 04:35 PM

QUOTE(khawar Sohail @ Sep 3 2010, 04:07 PM)

This is a special song dedicated to Faraaj sahib. The recording quality is low. The song and info is courtesy Dr Suresh Chandvankar sahib, Secretary Indian Record Collector, Bombay.  gauhar_jan.doc ( 122.5 k ) Number of hits: 12 by members
[attachmentid=340810]
I am attaching the photo of 78rpm record of this song as Doc document as I do not know how to put the photo on forum. I hope some body can extract the photo and put it on the the HF....khawar
Gauhar Jan, Month of July and Mumbai
[Rahegi yaad mujhko, Bambai vaalon ki mehmani]
--------------------------------------------------

Posted by: Faraaj73 Sep 5 2010, 04:51 PM

QUOTE(khawar Sohail @ Sep 5 2010, 06:22 PM)

Posted by: Faraaj73 Sep 5 2010, 04:56 PM

QUOTE(Exon @ Sep 5 2010, 09:05 PM)

QUOTE(khawar Sohail @ Sep 3 2010, 04:07 PM)

This is a special song dedicated to Faraaj sahib. The recording quality is low. The song and info is courtesy Dr Suresh Chandvankar sahib, Secretary Indian Record Collector, Bombay.  gauhar_jan.doc ( 122.5 k ) Number of hits: 12 by members
[attachmentid=340810]
I am attaching the photo of 78rpm record of this song as Doc document as I do not know how to put the photo on forum. I hope some body can extract the photo and put it on the the HF....khawar
Gauhar Jan, Month of July and Mumbai
[Rahegi yaad mujhko, Bambai vaalon ki mehmani]
--------------------------------------------------

Here is the Record image:



Exon

Posted by: khawar Sohail Sep 6 2010, 08:25 AM

QUOTE(Exon @ Sep 5 2010, 04:35 PM)

QUOTE(khawar Sohail @ Sep 3 2010, 04:07 PM)

This is a special song dedicated to Faraaj sahib. The recording quality is low. The song and info is courtesy Dr Suresh Chandvankar sahib, Secretary Indian Record Collector, Bombay.  gauhar_jan.doc ( 122.5 k ) Number of hits: 12 by members
[attachmentid=340810]
I am attaching the photo of 78rpm record of this song as Doc document as I do not know how to put the photo on forum. I hope some body can extract the photo and put it on the the HF....khawar
Gauhar Jan, Month of July and Mumbai
[Rahegi yaad mujhko, Bambai vaalon ki mehmani]
--------------------------------------------------

Here is the Record image:



Exon

Posted by: khawar Sohail Sep 6 2010, 08:27 AM

QUOTE(Faraaj73 @ Sep 5 2010, 04:51 PM)

QUOTE(khawar Sohail @ Sep 5 2010, 06:22 PM)

[attachmentid=341086]HWM has sung the best ghazals by Bahadur Shah Zafar, although it is controversial if all these BSZ ghazals infact have been writen by himself. According to The last Moghul BSZ was never given any material to write any thing. The writings on walls may have been erased by British security guards.
Here is one such ghazal which has an extra verse (#2). Prabharkar and Faraaj sahib comments are awaited...khawar

Khawar Saab

We know that Bahadur Shah Zafar was an accomplished point in Urdu and Farsi, and also wrote some poetry in Brij Bhasha and Punjabi. Daily meetings with his Ustad Zauq to review and correct his poetry were part of his court routine as Badshah of an empire that barely extended beyond the boundaries of the Lal Qila!

It is true that his British jailers denied him pen and paper in captivity. But according to the famed war correspondent William Howard Russell, Zafar wrote on the walls of his prison with a charred stick and his verses were probably copied before they could be erased by the security guards. Historians have generally accepted the verses as Zafar's off the back of Russell's comments.

Posted by: romesh Sep 6 2010, 12:35 PM

QUOTE(khawar Sohail @ Sep 5 2010, 11:44 AM)

Posted by: Faraaj73 Sep 6 2010, 03:09 PM

QUOTE(romesh @ Sep 6 2010, 05:05 PM)

Posted by: romesh Sep 6 2010, 05:50 PM

QUOTE(Faraaj73 @ Sep 6 2010, 03:09 PM)

QUOTE(romesh @ Sep 6 2010, 05:05 PM)

here is your request pl enjoy. Recently I got hold of four audio CD set of Habib wali mohammad. The names of the CD'S are as under

1--down memory lane vol-1
2--popular film songs vol-2
3--ultimate collection vol-4
4--ultimate collection vol-5

. besides these i have some more ghazals and geet by the same singer . if u want i can upload these ghazals & geet by habib wali mohammad sahib

Romesh Saab

Do you have Roshan o Afshan Naiyyar O Taaban....if so, pls upload that as well.

Posted by: Faraaj73 Sep 6 2010, 06:33 PM

QUOTE(romesh @ Sep 6 2010, 10:20 PM)

QUOTE(Faraaj73 @ Sep 6 2010, 03:09 PM)

QUOTE(romesh @ Sep 6 2010, 05:05 PM)

here is your request pl enjoy. Recently I got hold of four audio CD set of Habib wali mohammad. The names of the CD'S are as under

1--down memory lane vol-1
2--popular film songs vol-2
3--ultimate collection vol-4
4--ultimate collection vol-5

. besides these i have some more ghazals and geet by the same singer . if u want i can upload these ghazals & geet by habib wali mohammad sahib

Romesh Saab

Do you have Roshan o Afshan Naiyyar O Taaban....if so, pls upload that as well.

dear faraaj

here is your request pl

roshan o rakshan nayyar o tabaan---6.00mts@192kbps
[attachmentid=341186]


quote=romesh

Posted by: khawar Sohail Sep 7 2010, 05:42 AM

Thanks Romesh Sahib! Kindly also upload " na kisi ki aankh ka noor hoon" by BS Zafar.......khawar

Posted by: romesh Sep 7 2010, 01:34 PM

QUOTE(khawar Sohail @ Sep 7 2010, 05:42 AM)

Posted by: khawar Sohail Sep 8 2010, 04:23 PM

[attachmentid=341539]Thanks Romesh sahib. Here is another ghazal by HWM....khawar

Posted by: khawar Sohail Sep 8 2010, 04:27 PM

Another beautiful ghazal. ..khawar[attachmentid=341540]

Posted by: khawar Sohail Sep 8 2010, 04:29 PM

[attachmentid=341541]Now lets turn to Madhok/Gyanndutt combination. Sung by Geeta...khawar

Posted by: khawar Sohail Sep 10 2010, 06:57 AM

As the Lata 81st Birthday is approaching, I urgently need her 3 songs in reasonable or good recording quality. I will be grateful if anybody can upload...Thanking in advance...khawar
1.Lo woh aai nindiya re.....mandir...1948....vasant desai
2. kabhi hans hans ke.....chakori...1949.....hanshaj behl
3. jia naheen laage ho mera.......badnaam......1952......basant prakash

Posted by: khawar Sohail Sep 10 2010, 07:13 AM

[attachmentid=341787][attachmentid=341788]I am u/l SD Burman first compositions from film SHIKAARI 1946. Both songs are sung by Paaro....khawar
PS: the song Chup chup is 3-10 min duration and not 5.59 min.
S. D. Burman (1906-1975)Known as "Sachin Karta" to the music connoisseurs of Kolkata, "Burman Dada"
as fondly called by the musicians of Bombay, "Shochin Deb Bormon" by the radio
listeners of Bangladesh and West Bengal, India, "S.D. Burman" by the film cine
goers or simply "SD" by his film fans, was born on October 1, 1906 at Komilla in
a Royal family of Tripura. His uncles deceived his father and conquered the
throne. As a result, Burman family had to live in isolation like refugees in their
own kingdom. Many stories, myths and rumors isolated young Sachin even
further. With unrest and disturbed mind, he used to wander in streets of Agartala.
He did not like school much but was passionate about music and sports. His
father Navdweep Chandra Burman was Sitarist and a Dhrupad singer. Kumar
Sachin had first music lessons from him. Later on he learnt from Krishna
Chandra Dey, Badal Khan, Girija Shankar Chakraborty and Baba Allauddin Khan
of Maihar [father of Ali Akbar Khan and father in law of Ravi Shankar]. He was in
close association with a Sufi saint Saheb Ali and had recorded several songs of
Saheb Ali. He learnt folk music of Bengal such as Bhatiali, Baul, Bangla Keertan
from many gurus. He borrowed freely from folk music and composed several
songs both in Hindi and in Bengali. He used to handle and play several
instruments and had a mastery over sitar and flute. His passion and interest in
football was so deep that organizers of major football matches used to invite him
as referee. Soon he became star football player, singer and a musician. No
wonder then that he received an invitation from the Hindusthan Musical Products
Ltd. Calcutta for cutting gramophone discs on their Hindusthan record label.
He cut his first Bengali song disc in September 1932 at the age of twenty-six
years and it was released on ‘Hindusthan’ label. The record label reads as: by
Kumar Sachin Dev Burman. The word ‘Kumar’ relates to his stature as a Royal
Prince (Raj Kumar) and not as a child prodigy. Later on he dropped this title
‘Kumar’. Hindusthan Main List catalogue published in 1966 gives following
information about his Hindi records:
Kumar Sachin Dev Varma
H 461 Nain More Daras / Preetmen Huve Badnaam
H 548 Aab Main Sharan Tumhare / Mere Preetam Pyare
H 922 Chale Chalo Premke Sathi / Premki Pyari Nishani
H 1001 Dheerese Jana Bagiyanmen / Kaun Nagariya Jaore
H 1094 Pile Harinaamka Pyala / Mere Shyam Suno Meri
H 1179 Balam Mujhse Ruthke / Mere Jobanke Phulwari
51
H 1211 Nainonke Suljhake / Rimjhim Rimjhim
H 1321 Gundham Hamare / Sab Deshki Janata
Kumar Sachin Dev Varma and Meera Dev Varma
H 1232 Phulgendava Na Maro / Tumho Bade Chitchor
---------------------------------------------------------------------------
Due to the popularity and sale of these discs, some songs were reissued on EP
and LP records by the Hindusthan records.
Later on he also recorded prolifically for the Gramophone Company and many
78-rpm records were issued on HMV label. Compressive list is under
preparation.
As per the information from the record collectors, details of his solo songs are:
Hindusthan records – 55 songs, HMV - 19 songs and 4 songs on Super Seven
HMV EP.
Reissued on EP’s – Angel: 6, Hindusthan: 8, HMV: 3
LP’s – HMV: 4, Hindusthan: 3
Thus, in all 102 songs are available on discs. He has composed most of his
songs himself except 17 that were composed by Sursagar Himanshu Dutt and
Kazi Nasrul Islam. His lyricists are: Ajay Bhattacharya, Meera Dev Burman,
Gouriprasanna Mujumdar, Mohini Choudhury, Kazi Nasrul Islam, Munshi Zahid
Hussain, Pandit Bhushan, Shailendra, Majrooh Sultanpuri and Anand Bakshi.
------------------------------------------------------------------------------------------------------------
He used tunes of his several Bengali songs in Hindi films. Some examples are:
Pavan Diwani (Dr. Vidya), Jhan Jhan Payal Baje (Buzdil), Jane Kya Tune Kahi
(Pyasa), Nain Churaye Chain Churaye (Anurag), Hum Bekhudimen Tumko (Kala
Pani), Vahan Kaun Hai Tera (Guide), Khai Haire Humne Kasam (Talash). These
songs are hit even today because of their origin in sufi and devotional music.
Between 1937-43, he recorded these songs on 78-rpm discs. He also composed
music for five Bengali films: Rajshree, Nirbadshan, Jeevan Sangini, Chadma
Beshi and Matir Ghar. In 1966, ‘Matir Ghar’ was re-made in Nepali language as
‘Maiti Ghar’ and music of this film was composed by his assistant Jaidev.
In 1942, film producer Mr. Chandulal Shaha of Ranjit studio invited him to work
with him in Bombay but he did not come. Rai Bahadur Chunilal, Sushil Mujumdar
and Shashdhar Mukherjee of Filmisthan studio persuaded him and in 1944, he
shifted to Bombay and settled with his family. As a composer, Filmisthan’s
52
Shikari (1946) was his first Hindi film. He met Dev Anand in 1948 and then he
was the music director for most of Navketan’s films. His association with Dev
Anand was a long one beginning with Afsar (1950), Bazi, Taxi Driver, Ghar
no.44, Fantoosh, Nau Do Gyarah, Kala Pani, Kala Bazzar, Guide, Jewel Thief,
Prem Pujari, and Tere Mere Sapne (1971) . He also composed music for other
Dev’s films on other banners such as Paying Guest, Teen Devinya and Munimji
and the songs were very popular.
During 1950-60, Hindi films were centered around Raj Kapoor, Dev Anand and
Dilip Kumar with their own set of musicians and singers. Rafi and Mukesh were
the singing voices of Dilip Kumar and Raj Kapoor respectively. In such a
situation, Sachnda used every available voice for Dev Anand. In the beginning
Hemant Kumar sang ‘Gupchup Gupchup Pyar Karen’ (Saja, 1951), ‘Ye Raat Ye
Chandani Phir Kahan’ (Jaal, 1952), ‘Ter i Duniya Men Jeenese’, ‘Chup Hai
Dharati Chup Hai Chand Sitare’ (Ghar no. 44, 1955) for Dev. Talat Mehmood
sang ‘Jayen To Jayen Kahan’ in film Ta xi Driver. In Munimji (1955), Dev sang
‘Jeevanke Safarmen Rahi’ in Kishore Kumar’s voice whereas in the same film,
Hemant Kumar lent him his voice for the song ‘O Shivji Byahane Chale’. Later on
both Mohammad Rafi and Kishore Kumar sang many songs for Dev Anand and
cine-goers never found it odd.
Although S. D. Burman was at home in Navketan camp, he composed wonderful
music for many films of Bimal Roy and Guru Dutt. These songs are remembered
by film music lovers of all generations. He used large musical canvas using
words, chorus, tonal colors of instruments and orchestration in the following
songs: ‘Bichade Sabhi Bari Bari, ‘Waqt Ne Kiya Kya Hansi Sitam’ (Kagaz Ke
Phool), ‘Jane Wo Kaise Loga The Jinke’. ‘Jinhe Naj Hai Hindpar Wo Kahan Hai’,
‘Ye Duniya Agar Mil Jayen To Kya Hai’ (Pyasa). In spite of the rudimentary
recording equipment of 50’s, his songs are real masterpieces. The songs were
based on classical, light classical, folk and devotional music. He also composed
several duets, comedy, and cabaret numbers. This was part of his profession
that he had chosen. His family members and relatives criticized him heavily for
diluting and commercializing the art. Towards the end of his life, he severed the
relations with Agartala. Although he was denied the princely throne in Tripura, he
ruled over the hearts of millions of music lovers. He was a simple man wearing
dhoti-kurta and liked tamkuwala paan very much. His life style was simple but he
was extremely miser, money conscious and preferred to live in isolation. He used
to say, “ Make yourself rare, then only people pay you attention in this film
industry”.
He has sung very few solo songs in Hindi films and composed songs for Mukesh.
Although both of them had distinct voices, one can hear sufi/devotional music in
their songs. Some examples of Mukesh songs are: ‘Ae Dile Awara Chal’
(Dr.Vidya), ‘O Janewale Ho Sake To Lautke Aana’ (Bandini), ‘Ye Kisne Geet
Cheda’ (Meri Surat Teri Aankhe), ‘Chalri Sajani Aab Kya Soche’ (Bambai ka
Babu), whereas those of S. D. Burman are: ‘Wanha Kaun Hai Tera’ (Guide),
53
‘Suno Mere Bandhu Re’ (Bandini), ‘O Re Manjhi’ (Sujata), ‘Saphal Hogi Teri
Aradhana’ (Aradhana) and many others.
It is interesting to note that beginning with Mashal of 1950 to Barood of 1976,
Lata Mangeshkar has sung 132 solo songs composed by S. D. Burman. Among
other singers, number of songs are: Asha Bhosle (75), Kishore Kumar (53),
Mohammad Rafi (45) and Geeta Dutt (44). He set tunes to the songs of 27
lyricists and 57 singers have sung them. He has composed about 700 songs in
90 Hindi and five Bengali films out of which 157 Hindi film songs are duets.
Today, towards the closure of S. D. Burman’s birth centenary, most of his film
songs are available on CD’s and tapes. Internet sites are full with lot of
information. However, his Hindi and Bengali private songs are relatively less
known. Many of these songs need to be reissued and preserved for posterity and
researchers of film music. S. D. Burman passed away on October 31, 1975 at the
age of 69 years. However his voice and music is alive for ever.

Bengali Films of S. D. Burman:
1937 Rajshree
1940 Rajkumar Nirbadshan
1943 Jeevan Sangini
1943 Chadma Beshi
1943 Matir Ghar
Hindi Films of S. D. Burman:
1946: Shikari, Aath Din
1947 Do Bhai, Dilki Rani, Chittod Vijay
1948 Vidya
1949 Kamal, Shabnam
1950 Afsar, Mashal, Pyar
1951 Baji, Bahar, Bujhdil, Ek Nazar, Naujawan, Saza
1952 Jal, Lal Kunwar
1953 Arman, Babla, Jeevan Jyoti, Shahanshah
1954 Aangare, Chalis Baba Ek Chor, Radha Krishna, Taxi driver
1955 Devdas, Ghar Number Chavalis, Madbhare Nain, Munimji, Society
1956 Fantoosh
1957 Miss India, Nay Do Gyarah, Paying Guest, Pyasa
1958 Chaltika Naam Gadi, Kala Pani, Lajwanti, Sitaronse Aage, Solvan Saal
1959 Insan Jaag Utha, Kagazke Phool, Sujata
1960 Apna Haath Jagannath, Bambaika Babu, Bewakuf, Ek Ke Baad Ek, Kala
Bazzar, Manjhil, Miyan Bibi Raji
1962 Baat Ek Raatki, Dr. Vidya, Naughty Boy
1963 Bandini, Meri Surat Teri Aankhen, Tere Gharke Samne
1964 Benzir, Kainse Kahun, Ziddi
1965 Guide, Teen Devinyan
1967 Jewel Thief
1969 Jyoti, Aradhana, Talash
1970 Ishq Per Jor Nahin, Prem Pujari
1971 Gambler, Naya Zamana, Sharmili, Tere Mere Sapne
1972 Anurag, Ye Gulistan Hamara, Zindagi Zindagai
1973 Abhiman, Chupa Rustom, Jugnu, Phagun
1974 Prem Nagar, Sagina, Us Par
1975 Chupke Chupke, Mili
1976 Arjun Pandit, Barood, Tyag, Diwangi
? Saaz [between 1950-60]

Posted by: khawar Sohail Sep 10 2010, 04:25 PM

[attachmentid=341865]

QUOTE(khawar Sohail @ Sep 10 2010, 07:13 AM)

Posted by: khawar Sohail Sep 10 2010, 04:30 PM

[attachmentid=341866]

QUOTE(khawar Sohail @ Sep 10 2010, 04:25 PM)

[attachmentid=341865]

QUOTE(khawar Sohail @ Sep 10 2010, 07:13 AM)

[attachmentid=341787][attachmentid=341788]I am u/l SD Burman first compositions from film SHIKAARI 1946. Both songs are sung by Paaro....khawar
PS: the song Chup chup is 3-10 min duration and not 5.59 min.
S. D. Burman (1906-1975)Known as "Sachin Karta" to the music connoisseurs of Kolkata, "Burman Dada"
as fondly called by the musicians of Bombay, "Shochin Deb Bormon" by the radio
listeners of Bangladesh and West Bengal, India, "S.D. Burman" by the film cine
goers or simply "SD" by his film fans, was born on October 1, 1906 at Komilla in
a Royal family of Tripura. His uncles deceived his father and conquered the
throne. As a result, Burman family had to live in isolation like refugees in their
own kingdom. Many stories, myths and rumors isolated young Sachin even
further. With unrest and disturbed mind, he used to wander in streets of Agartala.
He did not like school much but was passionate about music and sports. His
father Navdweep Chandra Burman was Sitarist and a Dhrupad singer. Kumar
Sachin had first music lessons from him. Later on he learnt from Krishna
Chandra Dey, Badal Khan, Girija Shankar Chakraborty and Baba Allauddin Khan
of Maihar [father of Ali Akbar Khan and father in law of Ravi Shankar]. He was in
close association with a Sufi saint Saheb Ali and had recorded several songs of
Saheb Ali. He learnt folk music of Bengal such as Bhatiali, Baul, Bangla Keertan
from many gurus. He borrowed freely from folk music and composed several
songs both in Hindi and in Bengali. He used to handle and play several
instruments and had a mastery over sitar and flute. His passion and interest in
football was so deep that organizers of major football matches used to invite him
as referee. Soon he became star football player, singer and a musician. No
wonder then that he received an invitation from the Hindusthan Musical Products
Ltd. Calcutta for cutting gramophone discs on their Hindusthan record label.
He cut his first Bengali song disc in September 1932 at the age of twenty-six
years and it was released on ‘Hindusthan’ label. The record label reads as: by
Kumar Sachin Dev Burman. The word ‘Kumar’ relates to his stature as a Royal
Prince (Raj Kumar) and not as a child prodigy. Later on he dropped this title
‘Kumar’. Hindusthan Main List catalogue published in 1966 gives following
information about his Hindi records:
Kumar Sachin Dev Varma
H 461 Nain More Daras / Preetmen Huve Badnaam
H 548 Aab Main Sharan Tumhare / Mere Preetam Pyare
H 922 Chale Chalo Premke Sathi / Premki Pyari Nishani
H 1001 Dheerese Jana Bagiyanmen / Kaun Nagariya Jaore
H 1094 Pile Harinaamka Pyala / Mere Shyam Suno Meri
H 1179 Balam Mujhse Ruthke / Mere Jobanke Phulwari
51
H 1211 Nainonke Suljhake / Rimjhim Rimjhim
H 1321 Gundham Hamare / Sab Deshki Janata
Kumar Sachin Dev Varma and Meera Dev Varma
H 1232 Phulgendava Na Maro / Tumho Bade Chitchor
---------------------------------------------------------------------------
Due to the popularity and sale of these discs, some songs were reissued on EP
and LP records by the Hindusthan records.
Later on he also recorded prolifically for the Gramophone Company and many
78-rpm records were issued on HMV label. Compressive list is under
preparation.
As per the information from the record collectors, details of his solo songs are:
Hindusthan records – 55 songs, HMV - 19 songs and 4 songs on Super Seven
HMV EP.
Reissued on EP’s – Angel: 6, Hindusthan: 8, HMV: 3
LP’s – HMV: 4, Hindusthan: 3
Thus, in all 102 songs are available on discs. He has composed most of his
songs himself except 17 that were composed by Sursagar Himanshu Dutt and
Kazi Nasrul Islam. His lyricists are: Ajay Bhattacharya, Meera Dev Burman,
Gouriprasanna Mujumdar, Mohini Choudhury, Kazi Nasrul Islam, Munshi Zahid
Hussain, Pandit Bhushan, Shailendra, Majrooh Sultanpuri and Anand Bakshi.
------------------------------------------------------------------------------------------------------------
He used tunes of his several Bengali songs in Hindi films. Some examples are:
Pavan Diwani (Dr. Vidya), Jhan Jhan Payal Baje (Buzdil), Jane Kya Tune Kahi
(Pyasa), Nain Churaye Chain Churaye (Anurag), Hum Bekhudimen Tumko (Kala
Pani), Vahan Kaun Hai Tera (Guide), Khai Haire Humne Kasam (Talash). These
songs are hit even today because of their origin in sufi and devotional music.
Between 1937-43, he recorded these songs on 78-rpm discs. He also composed
music for five Bengali films: Rajshree, Nirbadshan, Jeevan Sangini, Chadma
Beshi and Matir Ghar. In 1966, ‘Matir Ghar’ was re-made in Nepali language as
‘Maiti Ghar’ and music of this film was composed by his assistant Jaidev.
In 1942, film producer Mr. Chandulal Shaha of Ranjit studio invited him to work
with him in Bombay but he did not come. Rai Bahadur Chunilal, Sushil Mujumdar
and Shashdhar Mukherjee of Filmisthan studio persuaded him and in 1944, he
shifted to Bombay and settled with his family. As a composer, Filmisthan’s
52
Shikari (1946) was his first Hindi film. He met Dev Anand in 1948 and then he
was the music director for most of Navketan’s films. His association with Dev
Anand was a long one beginning with Afsar (1950), Bazi, Taxi Driver, Ghar
no.44, Fantoosh, Nau Do Gyarah, Kala Pani, Kala Bazzar, Guide, Jewel Thief,
Prem Pujari, and Tere Mere Sapne (1971) . He also composed music for other
Dev’s films on other banners such as Paying Guest, Teen Devinya and Munimji
and the songs were very popular.
During 1950-60, Hindi films were centered around Raj Kapoor, Dev Anand and
Dilip Kumar with their own set of musicians and singers. Rafi and Mukesh were
the singing voices of Dilip Kumar and Raj Kapoor respectively. In such a
situation, Sachnda used every available voice for Dev Anand. In the beginning
Hemant Kumar sang ‘Gupchup Gupchup Pyar Karen’ (Saja, 1951), ‘Ye Raat Ye
Chandani Phir Kahan’ (Jaal, 1952), ‘Ter i Duniya Men Jeenese’, ‘Chup Hai
Dharati Chup Hai Chand Sitare’ (Ghar no. 44, 1955) for Dev. Talat Mehmood
sang ‘Jayen To Jayen Kahan’ in film Ta xi Driver. In Munimji (1955), Dev sang
‘Jeevanke Safarmen Rahi’ in Kishore Kumar’s voice whereas in the same film,
Hemant Kumar lent him his voice for the song ‘O Shivji Byahane Chale’. Later on
both Mohammad Rafi and Kishore Kumar sang many songs for Dev Anand and
cine-goers never found it odd.
Although S. D. Burman was at home in Navketan camp, he composed wonderful
music for many films of Bimal Roy and Guru Dutt. These songs are remembered
by film music lovers of all generations. He used large musical canvas using
words, chorus, tonal colors of instruments and orchestration in the following
songs: ‘Bichade Sabhi Bari Bari, ‘Waqt Ne Kiya Kya Hansi Sitam’ (Kagaz Ke
Phool), ‘Jane Wo Kaise Loga The Jinke’. ‘Jinhe Naj Hai Hindpar Wo Kahan Hai’,
‘Ye Duniya Agar Mil Jayen To Kya Hai’ (Pyasa). In spite of the rudimentary
recording equipment of 50’s, his songs are real masterpieces. The songs were
based on classical, light classical, folk and devotional music. He also composed
several duets, comedy, and cabaret numbers. This was part of his profession
that he had chosen. His family members and relatives criticized him heavily for
diluting and commercializing the art. Towards the end of his life, he severed the
relations with Agartala. Although he was denied the princely throne in Tripura, he
ruled over the hearts of millions of music lovers. He was a simple man wearing
dhoti-kurta and liked tamkuwala paan very much. His life style was simple but he
was extremely miser, money conscious and preferred to live in isolation. He used
to say, “ Make yourself rare, then only people pay you attention in this film
industry”.
He has sung very few solo songs in Hindi films and composed songs for Mukesh.
Although both of them had distinct voices, one can hear sufi/devotional music in
their songs. Some examples of Mukesh songs are: ‘Ae Dile Awara Chal’
(Dr.Vidya), ‘O Janewale Ho Sake To Lautke Aana’ (Bandini), ‘Ye Kisne Geet
Cheda’ (Meri Surat Teri Aankhe), ‘Chalri Sajani Aab Kya Soche’ (Bambai ka
Babu), whereas those of S. D. Burman are: ‘Wanha Kaun Hai Tera’ (Guide),
53
‘Suno Mere Bandhu Re’ (Bandini), ‘O Re Manjhi’ (Sujata), ‘Saphal Hogi Teri
Aradhana’ (Aradhana) and many others.
It is interesting to note that beginning with Mashal of 1950 to Barood of 1976,
Lata Mangeshkar has sung 132 solo songs composed by S. D. Burman. Among
other singers, number of songs are: Asha Bhosle (75), Kishore Kumar (53),
Mohammad Rafi (45) and Geeta Dutt (44). He set tunes to the songs of 27
lyricists and 57 singers have sung them. He has composed about 700 songs in
90 Hindi and five Bengali films out of which 157 Hindi film songs are duets.
Today, towards the closure of S. D. Burman’s birth centenary, most of his film
songs are available on CD’s and tapes. Internet sites are full with lot of
information. However, his Hindi and Bengali private songs are relatively less
known. Many of these songs need to be reissued and preserved for posterity and
researchers of film music. S. D. Burman passed away on October 31, 1975 at the
age of 69 years. However his voice and music is alive for ever.

Bengali Films of S. D. Burman:
1937 Rajshree
1940 Rajkumar Nirbadshan
1943 Jeevan Sangini
1943 Chadma Beshi
1943 Matir Ghar
Hindi Films of S. D. Burman:
1946: Shikari, Aath Din
1947 Do Bhai, Dilki Rani, Chittod Vijay
1948 Vidya
1949 Kamal, Shabnam
1950 Afsar, Mashal, Pyar
1951 Baji, Bahar, Bujhdil, Ek Nazar, Naujawan, Saza
1952 Jal, Lal Kunwar
1953 Arman, Babla, Jeevan Jyoti, Shahanshah
1954 Aangare, Chalis Baba Ek Chor, Radha Krishna, Taxi driver
1955 Devdas, Ghar Number Chavalis, Madbhare Nain, Munimji, Society
1956 Fantoosh
1957 Miss India, Nay Do Gyarah, Paying Guest, Pyasa
1958 Chaltika Naam Gadi, Kala Pani, Lajwanti, Sitaronse Aage, Solvan Saal
1959 Insan Jaag Utha, Kagazke Phool, Sujata
1960 Apna Haath Jagannath, Bambaika Babu, Bewakuf, Ek Ke Baad Ek, Kala
Bazzar, Manjhil, Miyan Bibi Raji
1962 Baat Ek Raatki, Dr. Vidya, Naughty Boy
1963 Bandini, Meri Surat Teri Aankhen, Tere Gharke Samne
1964 Benzir, Kainse Kahun, Ziddi
1965 Guide, Teen Devinyan
1967 Jewel Thief
1969 Jyoti, Aradhana, Talash
1970 Ishq Per Jor Nahin, Prem Pujari
1971 Gambler, Naya Zamana, Sharmili, Tere Mere Sapne
1972 Anurag, Ye Gulistan Hamara, Zindagi Zindagai
1973 Abhiman, Chupa Rustom, Jugnu, Phagun
1974 Prem Nagar, Sagina, Us Par
1975 Chupke Chupke, Mili
1976 Arjun Pandit, Barood, Tyag, Diwangi
? Saaz [between 1950-60]

Posted by: Debopriyo Sep 10 2010, 08:16 PM

QUOTE(khawar Sohail @ Sep 10 2010, 04:30 PM)

[attachmentid=341866]

QUOTE(khawar Sohail @ Sep 10 2010, 04:25 PM)

[attachmentid=341865]

QUOTE(khawar Sohail @ Sep 10 2010, 07:13 AM)

[attachmentid=341787][attachmentid=341788]I am u/l SD Burman first compositions from film SHIKAARI 1946. Both songs are sung by Paaro....khawar
PS: the song Chup chup is 3-10 min duration and not 5.59 min.
S. D. Burman (1906-1975)Known as "Sachin Karta" to the music connoisseurs of Kolkata, "Burman Dada"
as fondly called by the musicians of Bombay, "Shochin Deb Bormon" by the radio
listeners of Bangladesh and West Bengal, India, "S.D. Burman" by the film cine
goers or simply "SD" by his film fans, was born on October 1, 1906 at Komilla in
a Royal family of Tripura. His uncles deceived his father and conquered the
throne. As a result, Burman family had to live in isolation like refugees in their
own kingdom. Many stories, myths and rumors isolated young Sachin even
further. With unrest and disturbed mind, he used to wander in streets of Agartala.
He did not like school much but was passionate about music and sports. His
father Navdweep Chandra Burman was Sitarist and a Dhrupad singer. Kumar
Sachin had first music lessons from him. Later on he learnt from Krishna
Chandra Dey, Badal Khan, Girija Shankar Chakraborty and Baba Allauddin Khan
of Maihar [father of Ali Akbar Khan and father in law of Ravi Shankar]. He was in
close association with a Sufi saint Saheb Ali and had recorded several songs of
Saheb Ali. He learnt folk music of Bengal such as Bhatiali, Baul, Bangla Keertan
from many gurus. He borrowed freely from folk music and composed several
songs both in Hindi and in Bengali. He used to handle and play several
instruments and had a mastery over sitar and flute. His passion and interest in
football was so deep that organizers of major football matches used to invite him
as referee. Soon he became star football player, singer and a musician. No
wonder then that he received an invitation from the Hindusthan Musical Products
Ltd. Calcutta for cutting gramophone discs on their Hindusthan record label.
He cut his first Bengali song disc in September 1932 at the age of twenty-six
years and it was released on ‘Hindusthan’ label. The record label reads as: by
Kumar Sachin Dev Burman. The word ‘Kumar’ relates to his stature as a Royal
Prince (Raj Kumar) and not as a child prodigy. Later on he dropped this title
‘Kumar’. Hindusthan Main List catalogue published in 1966 gives following
information about his Hindi records:
Kumar Sachin Dev Varma
H 461 Nain More Daras / Preetmen Huve Badnaam
H 548 Aab Main Sharan Tumhare / Mere Preetam Pyare
H 922 Chale Chalo Premke Sathi / Premki Pyari Nishani
H 1001 Dheerese Jana Bagiyanmen / Kaun Nagariya Jaore
H 1094 Pile Harinaamka Pyala / Mere Shyam Suno Meri
H 1179 Balam Mujhse Ruthke / Mere Jobanke Phulwari
51
H 1211 Nainonke Suljhake / Rimjhim Rimjhim
H 1321 Gundham Hamare / Sab Deshki Janata
Kumar Sachin Dev Varma and Meera Dev Varma
H 1232 Phulgendava Na Maro / Tumho Bade Chitchor
---------------------------------------------------------------------------
Due to the popularity and sale of these discs, some songs were reissued on EP
and LP records by the Hindusthan records.
Later on he also recorded prolifically for the Gramophone Company and many
78-rpm records were issued on HMV label. Compressive list is under
preparation.
As per the information from the record collectors, details of his solo songs are:
Hindusthan records – 55 songs, HMV - 19 songs and 4 songs on Super Seven
HMV EP.
Reissued on EP’s – Angel: 6, Hindusthan: 8, HMV: 3
LP’s – HMV: 4, Hindusthan: 3
Thus, in all 102 songs are available on discs. He has composed most of his
songs himself except 17 that were composed by Sursagar Himanshu Dutt and
Kazi Nasrul Islam. His lyricists are: Ajay Bhattacharya, Meera Dev Burman,
Gouriprasanna Mujumdar, Mohini Choudhury, Kazi Nasrul Islam, Munshi Zahid
Hussain, Pandit Bhushan, Shailendra, Majrooh Sultanpuri and Anand Bakshi.
------------------------------------------------------------------------------------------------------------
He used tunes of his several Bengali songs in Hindi films. Some examples are:
Pavan Diwani (Dr. Vidya), Jhan Jhan Payal Baje (Buzdil), Jane Kya Tune Kahi
(Pyasa), Nain Churaye Chain Churaye (Anurag), Hum Bekhudimen Tumko (Kala
Pani), Vahan Kaun Hai Tera (Guide), Khai Haire Humne Kasam (Talash). These
songs are hit even today because of their origin in sufi and devotional music.
Between 1937-43, he recorded these songs on 78-rpm discs. He also composed
music for five Bengali films: Rajshree, Nirbadshan, Jeevan Sangini, Chadma
Beshi and Matir Ghar. In 1966, ‘Matir Ghar’ was re-made in Nepali language as
‘Maiti Ghar’ and music of this film was composed by his assistant Jaidev.
In 1942, film producer Mr. Chandulal Shaha of Ranjit studio invited him to work
with him in Bombay but he did not come. Rai Bahadur Chunilal, Sushil Mujumdar
and Shashdhar Mukherjee of Filmisthan studio persuaded him and in 1944, he
shifted to Bombay and settled with his family. As a composer, Filmisthan’s
52
Shikari (1946) was his first Hindi film. He met Dev Anand in 1948 and then he
was the music director for most of Navketan’s films. His association with Dev
Anand was a long one beginning with Afsar (1950), Bazi, Taxi Driver, Ghar
no.44, Fantoosh, Nau Do Gyarah, Kala Pani, Kala Bazzar, Guide, Jewel Thief,
Prem Pujari, and Tere Mere Sapne (1971) . He also composed music for other
Dev’s films on other banners such as Paying Guest, Teen Devinya and Munimji
and the songs were very popular.
During 1950-60, Hindi films were centered around Raj Kapoor, Dev Anand and
Dilip Kumar with their own set of musicians and singers. Rafi and Mukesh were
the singing voices of Dilip Kumar and Raj Kapoor respectively. In such a
situation, Sachnda used every available voice for Dev Anand. In the beginning
Hemant Kumar sang ‘Gupchup Gupchup Pyar Karen’ (Saja, 1951), ‘Ye Raat Ye
Chandani Phir Kahan’ (Jaal, 1952), ‘Ter i Duniya Men Jeenese’, ‘Chup Hai
Dharati Chup Hai Chand Sitare’ (Ghar no. 44, 1955) for Dev. Talat Mehmood
sang ‘Jayen To Jayen Kahan’ in film Ta xi Driver. In Munimji (1955), Dev sang
‘Jeevanke Safarmen Rahi’ in Kishore Kumar’s voice whereas in the same film,
Hemant Kumar lent him his voice for the song ‘O Shivji Byahane Chale’. Later on
both Mohammad Rafi and Kishore Kumar sang many songs for Dev Anand and
cine-goers never found it odd.
Although S. D. Burman was at home in Navketan camp, he composed wonderful
music for many films of Bimal Roy and Guru Dutt. These songs are remembered
by film music lovers of all generations. He used large musical canvas using
words, chorus, tonal colors of instruments and orchestration in the following
songs: ‘Bichade Sabhi Bari Bari, ‘Waqt Ne Kiya Kya Hansi Sitam’ (Kagaz Ke
Phool), ‘Jane Wo Kaise Loga The Jinke’. ‘Jinhe Naj Hai Hindpar Wo Kahan Hai’,
‘Ye Duniya Agar Mil Jayen To Kya Hai’ (Pyasa). In spite of the rudimentary
recording equipment of 50’s, his songs are real masterpieces. The songs were
based on classical, light classical, folk and devotional music. He also composed
several duets, comedy, and cabaret numbers. This was part of his profession
that he had chosen. His family members and relatives criticized him heavily for
diluting and commercializing the art. Towards the end of his life, he severed the
relations with Agartala. Although he was denied the princely throne in Tripura, he
ruled over the hearts of millions of music lovers. He was a simple man wearing
dhoti-kurta and liked tamkuwala paan very much. His life style was simple but he
was extremely miser, money conscious and preferred to live in isolation. He used
to say, “ Make yourself rare, then only people pay you attention in this film
industry”.
He has sung very few solo songs in Hindi films and composed songs for Mukesh.
Although both of them had distinct voices, one can hear sufi/devotional music in
their songs. Some examples of Mukesh songs are: ‘Ae Dile Awara Chal’
(Dr.Vidya), ‘O Janewale Ho Sake To Lautke Aana’ (Bandini), ‘Ye Kisne Geet
Cheda’ (Meri Surat Teri Aankhe), ‘Chalri Sajani Aab Kya Soche’ (Bambai ka
Babu), whereas those of S. D. Burman are: ‘Wanha Kaun Hai Tera’ (Guide),
53
‘Suno Mere Bandhu Re’ (Bandini), ‘O Re Manjhi’ (Sujata), ‘Saphal Hogi Teri
Aradhana’ (Aradhana) and many others.
It is interesting to note that beginning with Mashal of 1950 to Barood of 1976,
Lata Mangeshkar has sung 132 solo songs composed by S. D. Burman. Among
other singers, number of songs are: Asha Bhosle (75), Kishore Kumar (53),
Mohammad Rafi (45) and Geeta Dutt (44). He set tunes to the songs of 27
lyricists and 57 singers have sung them. He has composed about 700 songs in
90 Hindi and five Bengali films out of which 157 Hindi film songs are duets.
Today, towards the closure of S. D. Burman’s birth centenary, most of his film
songs are available on CD’s and tapes. Internet sites are full with lot of
information. However, his Hindi and Bengali private songs are relatively less
known. Many of these songs need to be reissued and preserved for posterity and
researchers of film music. S. D. Burman passed away on October 31, 1975 at the
age of 69 years. However his voice and music is alive for ever.

Bengali Films of S. D. Burman:
1937 Rajshree
1940 Rajkumar Nirbadshan
1943 Jeevan Sangini
1943 Chadma Beshi
1943 Matir Ghar
Hindi Films of S. D. Burman:
1946: Shikari, Aath Din
1947 Do Bhai, Dilki Rani, Chittod Vijay
1948 Vidya
1949 Kamal, Shabnam
1950 Afsar, Mashal, Pyar
1951 Baji, Bahar, Bujhdil, Ek Nazar, Naujawan, Saza
1952 Jal, Lal Kunwar
1953 Arman, Babla, Jeevan Jyoti, Shahanshah
1954 Aangare, Chalis Baba Ek Chor, Radha Krishna, Taxi driver
1955 Devdas, Ghar Number Chavalis, Madbhare Nain, Munimji, Society
1956 Fantoosh
1957 Miss India, Nay Do Gyarah, Paying Guest, Pyasa
1958 Chaltika Naam Gadi, Kala Pani, Lajwanti, Sitaronse Aage, Solvan Saal
1959 Insan Jaag Utha, Kagazke Phool, Sujata
1960 Apna Haath Jagannath, Bambaika Babu, Bewakuf, Ek Ke Baad Ek, Kala
Bazzar, Manjhil, Miyan Bibi Raji
1962 Baat Ek Raatki, Dr. Vidya, Naughty Boy
1963 Bandini, Meri Surat Teri Aankhen, Tere Gharke Samne
1964 Benzir, Kainse Kahun, Ziddi
1965 Guide, Teen Devinyan
1967 Jewel Thief
1969 Jyoti, Aradhana, Talash
1970 Ishq Per Jor Nahin, Prem Pujari
1971 Gambler, Naya Zamana, Sharmili, Tere Mere Sapne
1972 Anurag, Ye Gulistan Hamara, Zindagi Zindagai
1973 Abhiman, Chupa Rustom, Jugnu, Phagun
1974 Prem Nagar, Sagina, Us Par
1975 Chupke Chupke, Mili
1976 Arjun Pandit, Barood, Tyag, Diwangi
? Saaz [between 1950-60]

Posted by: khawar Sohail Sep 11 2010, 12:56 PM

[attachmentid=342
041][attachmentid
=342037]
OP Nayyar
I will be posting his life history in JPEG. I do not know how to directly put as graphic file. I am sure some Computer expert can download all these and put as graphic files. This article & pictures courtesy Dr Suresh Chandvankar form his SIRC meetings....Khawar

Posted by: khawar Sohail Sep 11 2010, 01:03 PM

[attachmentid=342045]Here are 3 songs from his first film Kaneez...khawar

Posted by: khawar Sohail Sep 11 2010, 01:04 PM

[attachmentid=342046]

Posted by: khawar Sohail Sep 11 2010, 01:05 PM

[attachmentid=342047]

Posted by: khawar Sohail Sep 12 2010, 09:09 AM

 mughal_e_azam.pdf ( 1.65 MB ) Number of hits: 10 by members
An article on Mughal-e-azam by Dr Suresh Chandvankar is attached. I am attaching pdf file....khawar


Attached image(s)

Posted by: khawar Sohail Sep 13 2010, 07:55 AM

[attachmentid=342191]

Posted by: khawar Sohail Sep 13 2010, 07:57 AM

[attachmentid=342195]

Posted by: khawar Sohail Sep 13 2010, 01:34 PM

[attachmentid=342206][attachmentid=342
207]

Posted by: khawar Sohail Sep 13 2010, 01:46 PM

A very informative book by Australian Musicologist...khawar

Posted by: khawar Sohail Sep 13 2010, 01:53 PM

[attachmentid=342209]A rare song from 1940 film Intazaar sung by malarani. MD and Lyricist are unknown. can any body figure it out...khawar

Posted by: khawar Sohail Sep 15 2010, 05:58 AM

Can anybody kindly upload Lata+Shamshaad duet from pyar ki manzil (Hum se dil ki lagi na chhupana) in good recording. My song is in bad recording with distortion and low bit-rate....thank you....khawar

Posted by: Devje Sep 15 2010, 09:56 PM

QUOTE(khawar Sohail @ Sep 15 2010, 04:28 AM)

Posted by: khawar Sohail Sep 16 2010, 08:07 AM

Thanks a lot Devje...khawar

Posted by: khawar Sohail Sep 18 2010, 02:00 PM

QUOTE(Viraj Padhye @ Sep 17 2010, 10:16 PM)

QUOTE(khawar Sohail @ Sep 17 2010, 08:53 AM)

how we know this song is not even with radio ceylon? are they contactable? khawar

My friend gave me this info. Not sure if its correct.

Viraj

Posted by: khawar Sohail Sep 18 2010, 02:01 PM

QUOTE(Viraj Padhye @ Sep 17 2010, 10:16 PM)

QUOTE(khawar Sohail @ Sep 17 2010, 08:53 AM)

how we know this song is not even with radio ceylon? are they contactable? khawar

My friend gave me this info. Not sure if its correct.

Viraj

Posted by: khawar Sohail Sep 18 2010, 02:05 PM

[attachmentid=342765]

QUOTE(Viraj Padhye @ Sep 17 2010, 10:16 PM)

QUOTE(khawar Sohail @ Sep 17 2010, 08:53 AM)

how we know this song is not even with radio ceylon? are they contactable? khawar

My friend gave me this info. Not sure if its correct.

Viraj

Posted by: khawar Sohail Sep 18 2010, 04:36 PM

Can any body kindly u/l this complete lata song from Do Badan in CD or near-CD quality" Lo aagi un ki yaad woh naheen aaye"...khawar

Posted by: G.Nabee Sep 18 2010, 05:57 PM

Do Badan-(1966)- Lata- Lo aagai unki yaad- Shakeel Badayuni- Ravi
...mp3, 192 kbps, 4'46''
[attachmentid=342768]
--G.Nabee

Posted by: romesh Sep 18 2010, 10:36 PM

QUOTE(G.Nabee @ Sep 18 2010, 05:57 PM)

Posted by: khawar Sohail Sep 19 2010, 12:32 PM

An early Husnlaal bhagatram composition. Not sure if it is their first from film bambii 1940...khawar[attachmentid=342822]

Posted by: khawar Sohail Sep 19 2010, 12:41 PM

A very good duet of Aasha with shankardas gupta from a 1940 film 4 din ki chaandni. I am not sure if this asha is same as lata's sister. cant be singing so early in 1940's...khawar

Viraj sahib u/l a very rare lata gem (recorded from radio) from Mr Chakram (Kyoon jhuki jaati haeen nazrain). Can anybody kindly upload a non-radio recording of this lovely song....khawar[attachmentid=342823]

Posted by: Viraj Padhye Sep 19 2010, 12:44 PM

QUOTE(khawar Sohail @ Sep 19 2010, 12:32 PM)

Posted by: khawar Sohail Sep 20 2010, 04:55 AM

Can any body also u/l lata song from Piyaar ki manzil (Bicchre hoey sajan) in good recording and atleast 128 kbps ORIGINAL rate. My song has high distortion...khawar

Posted by: khawar Sohail Sep 20 2010, 09:46 AM

URGENT MESSAGE:Are there any songs in Mughal-e-azam which were recorded but never used in film by K asif? If there are can anybody kindly upload them....Khawar

Posted by: Prabhakar Sep 20 2010, 02:35 PM

From what I can find on the net, there were 2 songs that were not used in the movie Mughal-e-Azam.

(link:http://groups.google.com/group/rec.music.indian.misc/browse_thread/thread/fcdabf544b1b14c0/4afe3bdeee768a40?lnk=gst&q=ae+ishq+ye+sab+duniya+wale#4afe3bdeee768a40):

Here they are:

1. Aye Ishq Yeh Sab Duniyawale
Lyrics by Shakeel Badayuni
Music by Naushad
128 kbps
4.08 minutes

2. Humein Kaash Tumse Mohabbat Na Hoti
Lyrics by Shakeel Badayuni
Music by Naushad Ali
192 kbps
3.04 minutes

Hope these were the songs you had in mind.

Enjoy them.

Prabhakar

QUOTE(khawar Sohail @ Sep 20 2010, 09:46 AM)

Posted by: Aditya Pant Sep 20 2010, 03:29 PM

Here is one song that that was recorded but not included either on the film or audio releases. It is a qawaali by Shamshad-Mubarak-Lata. Here it is:

Husn Ki Baraat (unreleased) - Mughal-e-Azam - Lata Shamshad Mubarak - Naushad - 128 - 03:07
[attachmentid=342910]

Aditya

Posted by: romesh Sep 20 2010, 09:50 PM

QUOTE(khawar Sohail @ Sep 20 2010, 04:55 AM)

Posted by: khawar Sohail Sep 22 2010, 07:53 AM

thanks a lot for u/l mughal-azam unreleased songs and song from piyaar ki manzil.
One more request of non-radio high recording quality song from shirin Farhad:
Aasmaan bata de.....lata.....shirin Farhaad....Music Amarnath
khawar

Posted by: khawar Sohail Sep 25 2010, 06:09 AM

An early shamshaad Begum [attachmentid=343420]song...khawar

Posted by: khawar Sohail Sep 25 2010, 06:27 AM

The Shamshaad song from film Bahut door is @ 128kbps and of 3.34min duration...khawar

Posted by: khawar Sohail Sep 25 2010, 06:37 AM

This may be earliest song sung by Prem Lata in 1940 film Bahut door[attachmentid=343421]....khawar

Posted by: Viraj Padhye Sep 25 2010, 06:55 AM

QUOTE(khawar Sohail @ Sep 25 2010, 06:37 AM)

Posted by: khawar Sohail Sep 26 2010, 03:43 PM

[attachmentid=343598]

Posted by: khawar Sohail Sep 26 2010, 03:46 PM

[attachmentid=343599]An early duet from film Basant panchami 1940. Singers & MD are unknown. Any info is appreciated...khawar

Posted by: khawar Sohail Sep 26 2010, 03:48 PM

QUOTE(khawar Sohail @ Sep 22 2010, 07:53 AM)

Posted by: khawar Sohail Sep 28 2010, 09:02 AM

LATA MANGESHKAR 81st BIRTHDAY
Here are some photos and articles on Lata Mangeskar courtesy Dr Suresh Chandvankar. I will also be poting some of her songs here in coming days. I request all her fans to contribute atleast one of her RARE GEMS here to celebrate her BD.... khawar[attachment
id=343867]


Attached image(s)

Posted by: khawar Sohail Oct 2 2010, 05:04 AM

[attachmentid=344189][attachmentid=344190]here are 2 rare lataji songs from my side...khawar

Posted by: khawar Sohail Oct 2 2010, 12:12 PM

This one is a beautiful song by Asha from film Dhoop chhaoon...khawar

can anybody kindly upload lata song from film SAGAI.....Ankhoon se aansoo...1951
shukriya![attachmentid=344258]

Posted by: khawar Sohail Oct 3 2010, 04:46 AM

[attachmentid=344342]A song by Jyoti & composed by Arun Kumar (cousin of Kishore Kumar).....khawar

Posted by: khawar Sohail Oct 3 2010, 04:55 AM

[attachmentid=344343]Dukhyari is the only movie in which lata sang for Gyan Dutt. Here I am u/l GM durrani song. I will u/l lata song next time...khawar

Posted by: khawar Sohail Oct 3 2010, 05:53 AM

[attachmentid=344344]

QUOTE(khawar Sohail @ Oct 2 2010, 12:12 PM)

Posted by: khawar Sohail Oct 4 2010, 04:29 AM

[attachmentid=344439][attachmentid=344439]A am u/l this lata classical song. Kindly help me identify this song. Aditya sahib is lata expert. I am certain he can identify the film and MD and year....khawar

Posted by: khawar Sohail Oct 4 2010, 04:32 AM

[attachmentid=344440]Another Lata + Rafi duet for identification....khawar

Posted by: romesh Oct 4 2010, 04:57 AM

QUOTE(khawar Sohail @ Oct 4 2010, 04:32 AM)

Posted by: Viraj Padhye Oct 4 2010, 08:17 AM

QUOTE(khawar Sohail @ Oct 3 2010, 05:53 AM)

Posted by: Aditya Pant Oct 4 2010, 08:23 AM

QUOTE(khawar Sohail @ Oct 4 2010, 04:29 AM)

Posted by: khawar Sohail Oct 4 2010, 09:51 AM

QUOTE(Viraj Padhye @ Oct 4 2010, 08:17 AM)

QUOTE(khawar Sohail @ Oct 3 2010, 05:53 AM)

Here I am u/l Lata's only song she sang for Gyan Dutt in 1948 film Dukhyari. Howecver note that recording is very poor. If somebody have better quality, kindly u/l. Thanks....khawar[/b]

Check this ...

Viraj

Posted by: khawar Sohail Oct 4 2010, 09:52 AM

QUOTE(romesh @ Oct 4 2010, 04:57 AM)

QUOTE(khawar Sohail @ Oct 4 2010, 04:32 AM)

[attachmentid=344440]Another Lata + Rafi duet for identification....khawar

dear khawar

"tum to pyar ho sajna" song is from film sehra-1963---m/d--ram lal
As regards the song "jhanan ghungar" From these these two words one can imply that the song is jhanak jhan ghungroo baji ri from film raaton ka raja-1970 m/d--r d burman or could u pl take the trouble of writing the complete mukhda of the song.

romesh

Posted by: khawar Sohail Oct 4 2010, 01:28 PM

[attachmentid=344476]Here is a lovely song by an UNKNOWN Singer. The song is about children. Film is Santaan....khawar

Posted by: Viraj Padhye Oct 4 2010, 07:55 PM

QUOTE(khawar Sohail @ Oct 4 2010, 09:51 AM)

Posted by: khawar Sohail Oct 7 2010, 09:31 AM

DR Kotnis and his AMAR KAHANI.........Some pictures and article........Khawar [attachmentid=344
756]


Attached image(s)

Posted by: khawar Sohail Oct 9 2010, 03:50 AM

100th BIRTH CENTENARY of DR Dwarkanath Kotnis:
Here is one song from Dr Kotnis ki amar kahani. The song is courtesy Faraaj sahib

The Photos u/l earlier were: V. Shantaram in 1946 film Dr. Kotnis ki Amar Kahani...
V. Shantaram honoring Dr. Kotnis's chinese
wife at Rajkamal studios in Mumbai...
...at Rajkamal studios..[attachmentid=344940].[/b[b]]......Khawar

Posted by: khawar Sohail Oct 9 2010, 03:57 AM

[attachmentid=344941]Another song from 1948 Dukhiyari sung by Surendra..........khawar

Posted by: khawar Sohail Oct 9 2010, 04:05 AM

[attachmentid=344942][attachmentid=344943]
More songs from film DUKHIYARI....khawar

Posted by: khawar Sohail Oct 9 2010, 12:50 PM

[attachmentid=344993][attachmentid=344994]Same song, two singers Asha & Kishore. Film Mem sahib...khawar

Posted by: Faraaj73 Oct 9 2010, 01:47 PM

QUOTE(khawar Sohail @ Oct 9 2010, 06:20 PM)

Posted by: khawar Sohail Oct 16 2010, 11:41 AM

A duet from Ghunghat-1946. Female singer can not be identified....khawar

Posted by: khawar Sohail Oct 16 2010, 12:14 PM

KHURSHEED BANOShe was born Irshad Begum in the village of Choonian, in Kasur District, Lahore (in British India, now Pakistan).

[edit] Career
Khursheed Bano started her film career as Shehla in the silent film Eye For An Eye (1931) the year when the first talkie film (Alamara) of the sub-continent was released. Some of the films that were released during these phase were Laila Majnu, and Shakuntla in 1931, Chatra Bakavli, Hatili Dulhan, Muflis Aashiq, Radheshyam in 1932, Naklee Doctor in 1933, Suarag ki Serhi, Bomb Shell, Chiragh-e-Husn, and Mirza Sahiban in 1935, Ailan-e-Jang, Kimiagar in 1936, Iman Farosh in 1937, Madhur Milan in 1938, Murad, Kaun kisi ka and Sitara in 1939.

But most of her films that were released between 1931 and 1942, a period during which she went unnoticed. Khursheed acted in a number of films for Ranjit Movietone and her leading men included K. L. Saigal, Motilal, Jairaj, and Isharilal.

Some of her films in 40s were Musafir and Holi (“Bhigoi Moree Saree Ray”), in 1940, Pardesi ("Pahley Jo Mohabbat Sey Inkaar Kia Hota","Mori Ateria Hai Sooni"), Beti, and Shaadi (“Ghir Ghir Aaye Baderia”), in 1942, Bhakta Surdas (Her famous song “Panchee Bawra” whose composer was Gyan Dutt became a very famous song of the forty’s. The other famous and popular songs from the same film are “Madhur Madhur Ga Ray Manwa”, “Jholee Bhar Taray Laday Ray”, and a duet “Chandni Raat Aur Taray Khilay Hon” with K. L. Saigal.), Chandni and Patola (in Punjabi) in 1941, Tansen and Nurse (“Koyalia Kahay Bolay Ree”) in 1943. Tansen (1943), with music composed by Khem Chandra Prakash, was a high point in her acting career. She became known both as an actress and a singer. Her famous songs (with her name as Tani as heroine in this film) included such popular songs as “Barso Re”, “Ghata Ghan Ghor Ghor”, “Dukhia Jiara”, “Ab Raja Bhae Moray Balam”, and a duet, “Moray Bala Pun Kay Sathee Chela” with K. L. Saigal.

Her other famous films are, Mumtaz Mahal (“Jo Hum Pay Guzarti Hai”, “Dil Kee Dharkan Bana Liya”), Shahenshah Babar (“Mohabbat Mein Sara Jahan Jal Raha Hai”,”Bulbul Aa Tu Bhi Ga”) in 1944, Prabhu ka Ghar and Moorti (“Ambwa Pay Koyal Boley”, “Baderia baras gayee uss paar”) with music composition by Bilo. C. Rani in 1945, Aagey Barho and Mitti ("Chahi Kali Ghata More Balam") in 1947, Aap Beetee (“Meree Bintee Suno Bhagwan”) in 1948.

[edit] Migration to Pakistan
Her last film in India was Papeeha Re (1948), which was a great hit, prior to her migration to Pakistan, leaving her mark in the Indian film industry. Khursheed migrated to Pakistan after the Partition of India, with her husband where she settled down in Karachi, Sind, Pakistan.

She worked in two films in 1956, Fankar and Mandi. Mandi attracted some attention because of Khursheed, but because of technical shortcomings including poor direction, neither Khursheed as singer nor Rafiq Ghaznavi's musical score were able to produce the hoped-for ticket sales. Fankar was produced by Robert Malik, a teacher at a Christian missionary high school. The film also lagged in commercial success.

[edit] Personal life
Khursheed married her manager Lala Yakub, who was an occasional actor and member of the Bhati Gate Group, Lahore. Due to personal problems, she divorced Yakub. She remarried in 1956 to Yusuf Bhaimia, an admirer of her work, entrepreneur in the shipping business, and eventually a philanthropist.

[edit] Death
Khursheed died on April 18, 2001 in Karachi, four days after her 87th birthday.

[edit] Trivia
She was among the two singing actresses of Indian cinema who have shared stellar honors with the renowned singer K. L. Saigal. Suraiya, another popular singer/actress of the forty’s and fifty’s.

Posted by: khawar Sohail Oct 16 2010, 12:21 PM

Amirbai Karnataki (ca 1906 - March 3, 1965) was a famous actress/singer and playback singer of the early Hindi cinema and was famous as Kannada Kokila. Mahatma Gandhi was an ardent fan of her song Vaishnav Jan To.

Contents [hide]
1 Personal life
2 Career
3 Romances
4 Death
5 External links

[edit] Personal life
Amirbai Karnataki was born in Bilgi village, District of Bijapur in Karnataka into a middle class family. Of all of her five sisters, Amirbai and her elder sister, Gauharbai, earned fame and fortune. Amirbai completed her matriculation and went to Bombay at the age of fifteen.

[edit] Career
A representative from HMV was so impressed by her singing talent that he made her sing a Qawwali, which became very popular. Her elder sister, Gauherbai, was an actress and helped Amirbai get a role in the film Vishnu Bhakti in 1934.

Initially, Amirbai sang songs in films, but they failed to attain the success she desired. In 1943, with the release of Bombay Talkies' Kismet (1943 film) (1943), she achieved popularity: the songs of Kismet became a rage and Amirbai became famous. The man behind the success was the composer Anil Biswas. She was initially known as a singing star, but at the decline of her career she became a playback singer. She reached her peak by 1947.

At this time Lata Mangeshkar became a rising star, so once again Amirbai switched over to acting. In her later years she mostly played character roles. Amirbai also composed music for Wahab Pictures' Shehnaaz (1948). In the same year she almost left Hindi Cinema for Gujarati and Marwari films.

[edit] Romances
She was married Badri Kaanchwala, the editor of Paras.

[edit] Death
She had a paralytic attack in 1965, died just four days later and was buried in her hometown. A cinema still runs in the name of 'Amir Talkies' in the city of Bijapur by her family.

Posted by: khawar Sohail Oct 17 2010, 03:06 AM

Since yesterday I am unable to u/l songs. I do not know whats the problem.
However, I am giving a list of songs needed by Aman Durrani sahib below. can any body u/l any song they have.
three sisters Noor jahan ,eden bai and hyder bandi
appeared in first pujabi film ,SHEELA urref Pind de kuri
music by Dhumi khan1935
1935 Miser ka sitara Dhumi khan
1937Fekhre islam music by safder mirza
1937Mr. 420 music by bhai chhaila
1937 Heer Siyal music by dhumi khan
allthe three sisters acted in above mentioned
films and sung
!938 Na Houne Wali Baat, music by Prem Kumar
sessi Punhu music by dhumi khan
Kis Ki Peyari
Beri maan
Khawar

Posted by: khawar Sohail Oct 23 2010, 09:22 AM

Dr Surjit Singh sahib has send me this You-tube link of 16 year old lata singing Raag maulkaus. Its a collectors item. I am trying to convert You-tube format to some other common format but dont know much about these things. Any help! Khawar
The link is http://www.youtube.com/watch?v=6h9MPK4pE4Y

Posted by: khawar Sohail Oct 23 2010, 09:24 AM

I am still unable to upload songs. Is there a problem?
khawar

Posted by: Debopriyo Oct 23 2010, 10:55 AM

QUOTE(khawar Sohail @ Oct 23 2010, 09:24 AM)

Posted by: romesh Oct 23 2010, 08:20 PM

QUOTE(khawar Sohail @ Oct 23 2010, 09:22 AM)

Posted by: khawar Sohail Oct 24 2010, 03:57 AM

Any common format such as AVI which is playable on any DVD player without losing any resolution will be OK. Khawar

I do not have any books such as Geet kosh so I am unable to give info about Arab ka saudagar. Khawar
Why songs can be uploaded now on HF. I am trying without success. khawar

Posted by: khawar Sohail Oct 24 2010, 04:01 AM

At last songs are being attached. Continueing from Ghooghat duet. Female singer is unknown..khawar[attachmentid=345644]

Posted by: khawar Sohail Oct 24 2010, 04:03 AM

A khursheed song...khawar[attachmentid=345645]

Posted by: khawar Sohail Oct 24 2010, 04:07 AM

[attachmentid=345646]

Posted by: khawar Sohail Oct 24 2010, 04:14 AM

A very rare and lovely song from Krishan Sudhama...khawar[attachmentid=345647]

Posted by: khawar Sohail Oct 24 2010, 04:54 AM

Lata has sung many songs based on Eastern classical Raags. Here I u/l Lata + talat duet based on Western classical Symphony (Mozart Symphony # 41) + the symphony itself. I am wondering if there are more such Indian songs based on Western classicals....khawar

Posted by: romesh Oct 24 2010, 07:47 AM

QUOTE(Debopriyo @ Oct 23 2010, 10:55 AM)

QUOTE(khawar Sohail @ Oct 23 2010, 09:24 AM)

I am still unable to upload songs. Is there a problem?
khawar

Khawarji ..can you give me some info on arab ka sirara 1946..songs

Posted by: khawar Sohail Oct 24 2010, 12:09 PM

Here are both examples. Mozart Symphony #41 and lata+Talat duet from Chhayya that is based on it. This was a very good experiment where an Indian song is based on Western Classical music. If any body knows any other example, kindly let know...khawar[attachmentid=345669][attachmentid=345670]

Posted by: khawar Sohail Oct 24 2010, 12:18 PM

Kindly note that Mozart Symphony #41 was of 7.07 min duration and all songs u/l by me are 128 kbps...khawar[attachmentid=345671][attachmentid=345672]


The following 2 songs are an Indian classical raag (Bihaag) sung by Fayyaz Khan and the same raag rendered by lata in film Buzdi.....khawar

Posted by: Debopriyo Oct 24 2010, 12:28 PM

QUOTE(khawar Sohail @ Oct 24 2010, 12:18 PM)

Posted by: Prabhakar Oct 24 2010, 02:54 PM

Dear Khawarji,

RealPlayer SP - free version - has a video converter feature that allows you to convert videos to mp3 format. Here is the link to download the program:

http://download.cnet.com/RealPlayer-SP/3000-13632_4-10073040.html

After downloading the program, everytime I look at a video on Youtube, a box appears at the top right corner of the video giving one the option of downloading the video. Once the video is downloaded, it can be converted to mp3 format using the video converter portion of the program. Another nice feature of this program allows one to choose a segment of video and trim off only the portion one wants to save.

I hope this helps.

Prabhakar

QUOTE(khawar Sohail @ Oct 23 2010, 09:22 AM)

Posted by: Exon Oct 24 2010, 07:13 PM

QUOTE(romesh @ Oct 24 2010, 07:47 AM)

Posted by: khawar Sohail Oct 25 2010, 07:49 AM

thank you very much Prabharkar sahib. Talking about misprinting on records, we had Chanda re ja re ja 78rpm HMV record, which credited this song to Asha. Yesterday I was watching Ziddi movie which credited Music to Anil Biswas. As everybody knows it is Khemchand Prakash....khawar

Posted by: Debopriyo Oct 25 2010, 10:35 AM

QUOTE(khawar Sohail @ Oct 25 2010, 07:49 AM)

Posted by: khawar Sohail Oct 30 2010, 04:07 PM

I present here two lovely songs by Mina Kumari. Both songs are composed by Bulo C Rani......Khawar

Can anybody upload a LONGER VERSION of Lata song from Naya Ghar " Jhoom jhanan jhoom, yeh sama aur hum". I have all songs from Naya ghar but this song is in 2.11 min duration. I do not know if a longer version of this song exists. If it exist[attachmentid=346460][attachmentid=346461]s kindly upload here. Thanks.

Posted by: urzung khan Nov 3 2010, 03:35 AM

QUOTE(khawar Sohail @ Jul 22 2010, 04:29 PM)

Posted by: urzung khan Nov 3 2010, 05:14 AM

QUOTE(Faraaj73 @ Jul 17 2010, 02:41 PM)

QUOTE(khawar Sohail @ Jul 17 2010, 03:36 PM)

I think the Bindiya song may have been sung by Kalyaani?? Khawar

I would guess the same based on the voice. Add to that the fact that some other songs from Bindiya are also known to be sung by Kalyani (Badal baras baras ke/Badal garaj garaj ke) and it increases the probability of it being her.

Posted by: urzung khan Nov 5 2010, 03:10 AM

QUOTE(pradeepasrani @ Jul 16 2010, 12:06 PM)

QUOTE(khawar Sohail @ Jul 14 2010, 05:56 PM)

Most of my favourite songs are from New Theatres Calcutta. Here is one such song from 1942 movie Saheli (I think it was produced under New Theatre's banner but I am not 100% sure ??) sung by Ratana bai & pahari sanyal. Kindly upload any other songs from this movie. Info is attached with the song. Song is dedicated to Pradeep sahib, a die-hard fan of New Theatre's[attachmentid=333398]. khawar

Many thanks Khawar for remembering me on this thread. I guess for most Vintage music fans from the sub-continent, the music of New Theaters is the ultimate bliss. Certainly for me, it is.

You have uploaded some really rare, awesome songs. Again many thanks for the same.

HFGK attributes the movie Saheli to Star Productions, Bombay and the only New Theatres connection seems to be Pahadi Sanyal and Ratanbai, the lead artistes. Pahadi had moved to Bombay in early Forties and Ratanbai much earlier. Other stars Yaqoob and zilloobai were always acting in the movies produced in Bombay. The lyrics for the songs in the movie are by Wahid Qureshi and the music is by Bashir Khan Dehlvi. So everything points to this being a movie produced in Bombay.

The song is quite fabulous.

Pradeep

Posted by: khawar Sohail Nov 6 2010, 01:34 PM

[attachmentid=347366]One of my favourite Shamshaad song....khawar

Posted by: khawar Sohail Nov 6 2010, 01:38 PM

[attachmentid=347367]A very nice song from 1947 composed by Baba GA Chisti. However the female singer is unknown. Can any body identify her? Khawar

Posted by: khawar Sohail Nov 6 2010, 01:46 PM

QUOTE(khawar Sohail @ Sep 8 2010, 04:29 PM)

Posted by: khawar Sohail Nov 6 2010, 02:08 PM

One more thing, the MD of dhamaka was Laal Mohammad. Is he the same MD who composed songs of Omar Khhyyam 1946???

Posted by: shoom Nov 7 2010, 04:50 AM

QUOTE(khawar Sohail @ Aug 27 2010, 03:44 PM)

Posted by: khawar Sohail Nov 19 2010, 12:51 PM

A lovely & rare duet by Batish a[attachmentid=348374]nd female from Chupke chupke....khawar

Posted by: khawar Sohail Nov 20 2010, 11:58 AM

QUOTE(shoom @ Nov 7 2010, 04:50 AM)

QUOTE(khawar Sohail @ Aug 27 2010, 03:44 PM)

[attachmentid=339927]Here I present a beautiful song by Feroza Begum (wife of kamaldas gupta).....khawar

A question :
What is the duration of the uncompressed file ??
////////////////////////////////////////////////////////
No response ..... so downloaded myself.

Khawar Sahib....

The full song is a little over 3 minutes.
Please upload full song if you have it.

-hashmat

Posted by: khawar Sohail Nov 20 2010, 12:05 PM

[attachmentid=348464][attachmentid=348465]Now I present 4 songs by Noor jahan from film Azra composed by Master Inayat Hussain...Khawar

Songs courtesy Prof Inaam sahib

Posted by: khawar Sohail Nov 20 2010, 12:10 PM

[attachmentid=348466]A shamshaad Begum rare from Mitti ke khiloone...khawar

Posted by: khawar Sohail Nov 20 2010, 12:14 PM

A legendry musicsian
Master Inayat Hussain was a legendry music director in Pakistani films. He composed many ever green and unforgettable film songs in almost four decades long film career.
His first composition was in a Lahore based Punjabi film Kamli before partition in 1946. After independence he was music director in film Hachkolay (1949) but the breakthrough came in the next year with a super hit Punjabi song "suhe choorhe waliye.." sung by Inayat Hussain Bhatti in film Shammi. He became popular in the whole subcontinent after his memorable composition of film Gumnam's song "Payel mein geet hayn chham chham ke...". (singer Iqbal Bano)
Master Inayat Hussain was recognised as a legend after his performance in film Qatil. "Ulfat ki nayi manzil ko chala..." sung by Iqbal Bano was all time greatest classic hit. He also composed three songs in film Annar Kalli - the only partnership with Madam Noor Jehan in her acting/singing period. "Kahan tak suno ge, kahan tak sunaun..." was another classic hit.
He continued his heigh quality work and created some super hit music with Saleem Raza (who was introduced by Master sahib in film Qatil) in films like Azra, Ik tera sahara, Seema, Do rastey and Dil dian lagian. Mala sang her best collection in film Naela (1965) in the composition of Master sahib as well.
Master Inayat Hussain was brother of musician Akhtar Hussain (Patey Khan fame) and Master Abudulla (Malangi and Ziddi fame). He was oncle or Mamu of late musician M. Ashraf.
He composed music in 65 films from 1949-85.
Master sahib died on March 26, 1993.






Some memorable film songs
(Famous film songs not mentioned in "Memorable Musical Films" on Pakistan Film History segment)
Ni suhe choorhe waliye, zara ik wari aaja...
(singer Inayat Hussain Bhatti, film Shammi 1950)
Dugdugi baja ke, zara Mela laga ke...
(singer Inayat Hussain Bhatti, film Inteqam 1955)
Bana ke mera Nasheman, bhula diya tu ne...
(singer Saleem Raza, film Do rastey 1961)
Dil deta hay ro ro duhai, kisi se koi pyar na kare...
(singer Mala, film Ishq par zor nahin 1963)
A jan-e-aarzoo...
(singer Mujeeb Alam, film Jan-e-Aarzoo 1968)
Ham se badal geya woh nigahen, to kya hua...
(singer Noor Jehan/Mehdi Hassan, film Dil-e-betab 1969)
Tum ne waada kiya tha, aane ka apna, waada...
(singer Mujeeb Alam, film Maa Beta 1969)
Gulab ki si Patti, Peshor ka Makhana...
(singer Mala & Masood Rana, film PakDaaman 1969)
Haar dena na himmat kahin, ek sa waqt rehta nahin...
(singer Mala & Masood Rana, film PakDaaman 1969)
Agar tu bura na mane, tujhe pyar main sikha dun...
(singer Ahmad Rushdi, film Ansoo ban geye Moti 1970)
Rim jhim, barsaney lagi hay phawar......
(singer Mala, film Ansoo ban geye Moti 1970)
Chaley thandi hawa chham chham...
(singer Mala & Ahmad Rushdi, film Najma 1970)
Ja charh ja Doli ni, Mapeyan di lajj utte harf na aye...
(singer Masood Rana, film Sasta Khoon mehnga Pani 1974)
Husn walieyan da dosto yaarana bura honda a
(singer Inayat Hussain Bhatti, film Challenge 1974)
Gum sum rehn leyi, chup chup rehn leyi...
(singer Inayat Hussain Bhatti, film Challenge 1974)
Jadoogara, teri been da hogeya jadoo...
(singer Noor Jehan, film Jadoo 1974)
Assan maan Watan da rakhna a, sir lathna a...
(singer Masood Rana, film Chitra te Shera 1976)
Na main Panchhi hun, na main Badal hun...
(singer Masood Rana, film Awara 1977)
Rove maan te gharoor, ajj hanse majboor...
(singer Noor Jehan, film Moula Jatt 1979)
Ni nashey diye Botley, na aini att chuk ni...
(singer Inayat Hussain Bhatti, film Moula Jatt 1979)

Posted by: khawar Sohail Nov 21 2010, 10:34 AM

Master Inayat Husain
By Choudhry Mazhar Hussain
In the initial period of his career Master Inayat Husain joined Imperial Film Company at Mumbai. To utilize his creative capabilities he soon abandoned that assignment and returned to Lahore. Later on he joined Columbia Recording Co. as music director. His musical compositions had classical blend. He composed music for many popular songs like the (Late) Zeenat Begum's "Ghangor Ghataen Lehrai Hein, Phir Yaad kisi ki Aai Hae, Mera Sathi Mere Pas Nahein, Mere Naina Basein Cham Cham Cham" She will also be remembered for the famous national songs like "Chand Roshan Chamakta Sitara Rahe, sub se uncha yeh jhanda hamara rahe".

In pre-independence India he composed music for the film "Kamli". Rani Kiran was the heroin (elder sister of Asha Posley and Kauser Perveen- the famous playback singer of Pakistan) of that film. After independence producer Sheikh Muhammed Hussain introduced Master Inayat Hussain as Music director first time in his film "Hichkolay" released in 1949.This was the first film released after "Teri yaad". The film could not make business although its songs "Jise dekho wohi dushman hey mere ashiane ka" by Munawar Sultana and "Mein payar ka dia jalata hun" by Ali Bux Zahoor are still remembered. At that time the Pakistan's films industry was in primitive stage and its productions were generally unable to compete with the selected (imported) Indian Films. Music was the exception.

His next film Malika Pukhraj's "Shammi" was released in 1950 - a Punjabi film with Urdu song of Malika Pukhraj "Kia sunain majboor zindagi ka afsana". The Punjabi popular songs of the film were "Suhe chorey walie" by Inayat Husain Bhatti and "Meri Akh Mustani Pharhke" by Iqbal Begum. His selection of musical instruments used to match with the scenic situation.

After a long pause his two films, "Mehbooba" and "Aagosh" were released in 1953. "Mehbooba" had the popular songs "Dal peh papiha jab holay holay roota hay" by Pukhraj Pappo and "Dil se teri yaad" by Pukhraj Pappo and Inayat Hussain Bhatti. In "Aaghosh" "Mohabbat Muskarai Jhoom uthi her shey jawani mein - Kisi ka naam bhi shamil ho gea meri kahani mein" by Munnawar Sultana and Fazal Hussain and "Kya khabar thi ke dil toot jata bhi hai" by Fazal Hussain were other hit songs. He used to compose every song in five or six alternate tunes and then adopt the best.

Mr. Anwar Kamal Pasha, the famous producer director of Pakistan selected Master Inayat Husain for the music direction of his film "Gumnam" (released in 1954). Iqbal Bano's first hit film song "Payal Mein Geet Hein Chham Chham ke" became popular in the whole subcontinent. It also became the identity of the Master Inayat Husain. Other hit songs of the film include "Ae chand unse kehna" - Kauser Parveen, "Chandi ki ik jhankar per" - Munawar Sultana, "Bhag yehan se Bhag" - Fazal Husain, chorus "Chhum Chhum nach utha" and "Aankhein mila ke payar se" by Kauser Perveen.

In the same year "Raat ki Baat" was released but due to its failure the songs were also lost.

Mr Anwar Kamal again selected Master Inayat Hussain for his film "Qatil" released in 1955 and Iqbal Bano's song "Ulfat ki nai Manzil ko Chala - to behein dal kar bahon mein - Dil torhne waley dekhke Chal - hum bhi to parhey hein rahon mein" became a super hit melody of the subcontinent. The record was sold like hot cakes and topped the list of Binaca Geetmala of Radio Ceylon for weeks.

Ustad Amir Khan of India while on his way to participate in Jash-e-Kabul stayed for a while at Lahore. On arrival his host asked him "What would you like to drink, thanda,chae,lassi". Ustad Amir Ali Khan said "I would take drink afterwards. Bhai Yahan koi Master Inayat hai jo gaane banata hae - us se milwao". The host replied "He had just left after taking pan". Master Inayat Husain was conveyed the request and on his arrival Ustad Amir Khan honoured him by embracing with love and commended "Bhai kia gana banaya hae tum ne - is ko sunne ke liye kai athania (coins) kharch kar dalein". (Coin operated record players were then installed in many restaurants in major cities throughout the subcontinent.)

Other famous songs of "Qatil" were- "Dil ki yeh awaz hay peyar hona chaiye" and "O mena na jane kia ho gia" and "Wah re badalte zamane" by Kauser Perveen, "Le ke peyar ka payam" by Munawar Sultana and "Aate ho yad bar bar" by Salim Raza.

The hat trick was completed with Anwar Kamal's "Intiqam" having all hit songs;

Posted by: khawar Sohail Nov 21 2010, 10:35 AM

His next film was Mr. Kamal Pasha's "Anarkali" with Madam Noor Jehan as heroin. Only three songs were recorded by Master Inayat in the voice of Noor Jehan, viz "Jalte hein arman mera dil rota hay", "Kahan tak sunoge" and "Bewafa hum na bhole thujey" and the film was released in 1958 after completion of music by Rashid Attrey.

Thereafter music for Sudher's film "Ankh ka Nasha" was composed by him with all hit songs.
"Thandi hawa chale" - Salim Raza & Nahid Niazi
"Pal pal mera anchal dhulke" - Zubeda Khanum
"O sajan bichwa baje re" - Iqbal Bano
"Ek pal bhi nahin aaram yahan" - Iqbal Bano

His other musical films include:

"Masum" "Le lo chorian" by Zubeda / Munawar Sultana and "Diye dil ke bujha ke" by Kauser Parween,

"Tere Bagher" - "Mushkil kusha hay to meri mushkil mein kaam aa" by Naseem Begum "Sanwaria ana chori chori" by Iqbal Bano

"Watan"

"Do Raste" - "Paon kahin rakhoon nazar kahin jae re" & "Dil le ke kahan chale" by Nahid Niazi "Ghugar Baje", "Jab bhi teri yad" & "Ho sanwaria" by Naseem Begum and "Banake mera nasheman" by Salim Raza

"Azra" - "Jane Baharan" by Saleem Raza, "Kuch bhi na Kaha" by Noor Jehan "Sharma ke hum se ankh milane ka shukria" Salim Raza & Noor Jehan. "Meri wafain" and "Hae Janam" by Noor Jahan Naseem Begam's "Idher bhi dekhe", "sub dagh dil ke bana kar" by Noor Jehan (Dance Music Composition)

"Isq Par Zor Nahin"- "Dil deta hae ro ro duhai kisi se koi payar na kare" by Mala "alap" by Sain Akhtar

"Doshiza" - "Lo ji hum ja rahe hein" by Mala "Insaf na tha jo tu ne kia" by Salim Raza and "Her nazar se ek naya sawal" Fazal Husain & Nahid Niazi.

"Seema" - "Bhool jao tum waida kar ke sanam", "Sham-e-gham phir aa gai" by Salim Raza "Aa dilruba sanam" Nahid & Salim Raza

"Ek Tera Sahara" - "Ghangor Ghata Lehrai hae" earlier sung by Zeenat Begum was repeated by Naseem Begum in 1962 and became super-hit along with other songs including "Badlon mein chup raha hay chand keon" by Salim Raza and Naseem Begum.

"Lae Lug" (Punjabi) - "Chunni kesri te gote dian taran", "Aj galgal te teri sang aawey", "Bajre di roti te makai da pera" (Mala), "Po phat gai akhian de which" (Noor Jehan), "Tenu soun meri" (Mala & Fazal Husain) and "Ae dharti panj daryawan di" Alam Lohar.


"Rawaj" had many popular songs "Door door reh ke guzara nahin hoga" - by Mala.

"Naila" -All songs were super hit, especially "Mujhe Arzoo thi jiski who peam aa gea hae", "Gham-e dil ko in ankhon se chalak jana bhi aa ta hae", "Door verane mein ek shama hae roshan" by Mala and also with Masud Rana.

"Elan" - "Gati Havaen" & "Tera Intezar kare beqarar" by Noor Jehan, "Aji banda parwar" by Salim Raza / Nahid and "Kis se koi Peyar kare" by Mala.

"Devar Bhabhi" - "Tum wahi ho", "Hip hip hurray" by Ahmed Rushdi, "Mera ghar meri jannat" - Noor Jahan "Yeh Kaghzi phool" Mehdi Hasan and "Na aye tum" by Ahmed Rushdi &Mala

"Aalia" - "Nishan Bhi na chora" by Medhi Hassan, "aji waada hua" by Mala Rushdi, "Hum jis se darr rahe the" by Mala.

"Jan-e-Arzoo" - "Ae jan-e-arzoo" by Mujeeb Alam, "Takra gai nazrein" & "Mein zaroor gaoin gi" by Mala.

"Dil Mera Dharkan Teri" - "Kia hay jo piar" Ahmed Rushdi and also by Mala

"Dil-e-Betab" -"Hum se badal giya hay" Mehdi Hassan and also Noor Jehan

"Najma"- "Chale thandi hawa thum thum" Ahmed Rushdi and Mala

"Dil Dian Lagian" -"Dil dian lagian jane na" by Masud Rana and Noor Jahan

"Ansoo Ban Gae Moti" - "Rhim jhim barsan lagi phuwar" by Mala

Pak Daman, Mahmaan, Maan beta, Yaar Badshah, Suhag tera lahoo mera had many popular songs.

There was a trend to produce more Punjabi films by the middle of seventies. During that period his music in "Jadoo" made it a golden jubilee film The eight songs including "Jadoogara teri been da ho gea jadoo" were all super-hit. His film "Maula-jat" was also superhit.

His other films include "Hunsde Aao hunsde jao", "Reshma jawan ho gai", "Bikhre Mooti", "Awara", "Zaibun-nisa"(Urdu), "Josh", "Do nishan", "Pehli Nazar"(Urdu), "Ek puter ek veer", "Taqat", "Dulabhatti" & "Haq mehar" All of these had hit songs - narration of which is being avoided.

Master Inayat Hussain composed very popular songs to the lyrics of Qateel Shafai, Saifuddin Saif, Tufail Hoshyarpuri, Tanveer Naqvi, Ahmed Rahi. He had a very long association with them throughout his career.

The following rare films with his music direction need to be preserved - Hichkole, Shammi, Mehbooba, Aaghosh, Raat ki Baat, Masum, Tere Bagher, Watan, Do Raste, Ek tera sahara, , Rawaj and Aankh ka Nasha.

Creator of such classics in music passed away on 24th March1993 (chandraat) and buried on Eid Day. Masters like him are very rarely born. (Date of demise by courtesy of Mr. Ali Sufian Afaqi)

Posted by: khawar Sohail Nov 21 2010, 10:44 AM

This song is from Pakistani film 'Qaatil' Music by Master Inayat Hussain, I think you will like to read the following information.
"Qatil" released in 1955 and Iqbal Bano's song "Ulfat ki nai Manzil ko Chala - to behein dal ke bahon mein - Dil torhne waley dekhke Chal - hum bhi to parey hein rahon mein" became a super hit melody of the subcontinent. The record was sold like hot cakes and topped the list of Binaca Geetmala of Radio Ceylon for weeks.
Ustad Amir Khan of India while on his way to participate in Jash-e-Kabul stayed for a while at Lahore. On arrival his host asked him "What would you like to drink, thanda,chae,lassi". Ustad Amir Ali Khan said "I would take drink afterwards. Bhai Yahan koi Master Inayat hai jo gaane banata hae - us se milwao". The host replied "He had just left after taking pan". Master Inayat Husain was conveyed the request and on his arrival Ustad Amir Khan honoured him by embracing with love and commended "Bhai kia gana banaya hae tum ne - is ko sunne ke liye kai athania (coins) kharch kar dalein". (Coin operated record players were then installed in many restaurants in major cities throughout the subcontinent.)
Other famous songs of "Qatil" were- "Dil ki yeh awaz hay peyar hona chaiye" and "O mena na jane kia ho gia" and "Wah re badalte zamane" by Kauser Perveen, "Le ke peyar ka payam" by Munawar Sultana and "Aate ho yad bar bar" by Salim Raza.
Inaam Nadeem on Hamara Forum 2004

Posted by: abhayp Nov 21 2010, 03:03 PM

Khawar-saahib: The 5-1/2 minute version of "ulfat kii nayii manzil ko chalaa" is not the film version: it is live recording done much later. The version recorded for the film in 1955 is 3-1/2 minutes long - and Iqbal Bano is brilliant in that! Here it is.

[attachmentid=348565]


Warm regards,
Abhay

Posted by: Faraaj73 Nov 21 2010, 04:09 PM

QUOTE(abhayp @ Nov 21 2010, 08:33 PM)

Posted by: khawar Sohail Nov 24 2010, 10:32 AM

Thanks a lot for the original gem. I always admire first original recording compared to later or concert version. khawar

Posted by: khawar Sohail Nov 29 2010, 07:24 AM

Abhay sahib can you also u/l original Filmi Iqbal bano song " To lakh chale re gori tham tham ke, piyal mein hain geet".......khawar

Posted by: khawar Sohail Dec 8 2010, 07:44 AM

Yesterday I saw on Geo News that Asif Noorani has written first book on Mehdi Hassan accompanied by 2 CDs of his rare songs...khawar

Posted by: khawar Sohail Feb 13 2011, 04:54 AM

[attachmentid=354859][attachmentid=354858][attachmentid=354857]

QUOTE(khawar Sohail @ Dec 8 2010, 07:44 AM)

Posted by: surhall Feb 13 2011, 01:42 PM

sangeet ka safar

dhall


Attached image(s)

Posted by: khawar Sohail Feb 13 2011, 01:46 PM

[attachmentid=354882]
Another one from Chitralekha....khawar

Posted by: surhall Feb 13 2011, 01:54 PM

sangeet ka safar

original Filmi Iqbal bano song " To lakh chale re gori from old pakistani movie gumnaam

128/44 2. 27 min
dhall


Attached image(s)

Posted by: surhall Feb 13 2011, 02:04 PM

i haveIqbal bano song Chaand hee nikla na badal"
her rec , 1950 old

dhall

Posted by: lalo Feb 14 2011, 12:11 AM

Thanx a lot Khawar saab,please upload more songs of Ustaad Jhande Khaan saab
Regards
lalo

Posted by: khawar Sohail Feb 15 2011, 09:44 AM

QUOTE(surhall @ Feb 13 2011, 02:04 PM)

Posted by: Debopriyo Feb 15 2011, 10:00 AM

QUOTE(khawar Sohail @ Feb 15 2011, 09:44 AM)

QUOTE(surhall @ Feb 13 2011, 02:04 PM)

i haveIqbal bano song Chaand hee nikla na badal"
her rec , 1950 old

dhall

Thanx for gumnaam song. Kindly u/l chand he nikla. I do not have it. I will u/l more of Jhande khan later. Khawar

Posted by: khawar Sohail Feb 19 2011, 12:13 PM

[attachmentid=355365][attachmentid=355366][attachmentid=355368][attachmentid=355
369]More Jhande Khan from film: Jawaani ka saaz....khawar

Posted by: khawar Sohail Feb 19 2011, 12:17 PM

QUOTE(Debopriyo @ Feb 15 2011, 10:00 AM)

QUOTE(khawar Sohail @ Feb 15 2011, 09:44 AM)

QUOTE(surhall @ Feb 13 2011, 02:04 PM)

i haveIqbal bano song Chaand hee nikla na badal"
her rec , 1950 old

dhall

Thanx for gumnaam song. Kindly u/l chand he nikla. I do not have it. I will u/l more of Jhande khan later. Khawar

Request To Khawar Bhai Few H kumar tracks ?

apne suron se tumne ek aag laga di - Hemant Kumar - Kamal Dasgupta - Faiyaz
- beimaan tori batiyaan jaadu bhari - Hemant Kumar - Kamal Dasgupta - ???
- ek raat kabhi aisi aaye - Hemant Kumar - Kamal Dasgupta - Faiyaz Hashmi
- ek raat kabhi aisi aaye - Hemant Kumar & Kalyani Das - Kamal Dasgupta - Faiyaz Hashmi
kaun musafir leke aaya - Mala (1951)
De De Pet Ko roti - Maldaar (1954)
Sab Ko Mubarak Naya Saal - Samrat (1954)
chiatrakut par raam ne ma ko kiya pranaam - hemant kumar - ayodhyapati
danka baja,bahadur jaga,kayar bhaga-hemant,jagmohan,asha -shamsheer

Posted by: lalo Feb 19 2011, 09:49 PM

Thanks a lot Khawar Bhai
Regards
lalo

Posted by: Debopriyo Feb 20 2011, 10:01 AM

QUOTE(lalo @ Feb 19 2011, 09:49 PM)

Posted by: Debopriyo Mar 18 2011, 02:18 PM

QUOTE(lalo @ Feb 19 2011, 09:49 PM)

Posted by: khawar Sohail Apr 21 2011, 10:07 AM

can somebody kindly upload manadey song from kabuliwala " Aye mere watan" in near-CD quality.
Thanks......I am tagging my collection. The first phase includes ~ 5000 songs. Its near completion. Then I will resume uploading as well try to u/l requests.........khawar

Posted by: G.Nabee Apr 21 2011, 11:24 AM

Here's your song:
Kabuliwala-(1961)- Manna Dey- Ae Mere Pyare Watan- Prem Dhawan- Salil Chowdhury (192 kbps, mp3, 5'03'')
[attachmentid=359044]
--G.Nabee

Posted by: khawar Sohail Jun 4 2011, 12:03 PM

I am u/l some high resolution old 78 rpm record labels which people would like to use them to tag these songs on the MP3 players.
khawar


Attached image(s)

Posted by: khawar Sohail Sep 3 2011, 09:45 AM

Can any body identify the film of this duet...khawar[attachmentid=367207]

Posted by: Debopriyo Sep 3 2011, 09:52 AM

QUOTE(khawar Sohail @ Sep 3 2011, 09:45 AM)

Posted by: khawar Sohail Sep 3 2011, 09:53 AM

Can any body identify this song and if somebody has full/complete version of this song, kindly upload here.
thanks
khawar[attachmentid=367208]

Posted by: khawar Sohail Sep 3 2011, 09:54 AM

QUOTE(Debopriyo @ Sep 3 2011, 09:52 AM)

QUOTE(khawar Sohail @ Sep 3 2011, 09:45 AM)

Can any body identify the film of this duet...khawar[attachmentid=367207]

film Main Aur Mera Bhai 1961

Posted by: khawar Sohail Sep 3 2011, 09:58 AM

Another unknown film duet. khawar[attachmentid=367209]

Posted by: Debopriyo Sep 3 2011, 09:59 AM

QUOTE(khawar Sohail @ Sep 3 2011, 09:54 AM)

QUOTE(Debopriyo @ Sep 3 2011, 09:52 AM)

QUOTE(khawar Sohail @ Sep 3 2011, 09:45 AM)

Can any body identify the film of this duet...khawar[attachmentid=367207]

film Main Aur Mera Bhai 1961

THANKS a lot!!! khawar

Posted by: khawar Sohail Sep 3 2011, 10:06 AM

QUOTE(Debopriyo @ Sep 3 2011, 09:59 AM)

QUOTE(khawar Sohail @ Sep 3 2011, 09:54 AM)

QUOTE(Debopriyo @ Sep 3 2011, 09:52 AM)

QUOTE(khawar Sohail @ Sep 3 2011, 09:45 AM)

Can any body identify the film of this duet...khawar[attachmentid=367207]

film Main Aur Mera Bhai 1961

THANKS a lot!!! khawar

nina jo nain se miley ? ....not getting?

Posted by: Debopriyo Sep 3 2011, 10:07 AM

QUOTE(khawar Sohail @ Sep 3 2011, 10:06 AM)

QUOTE(Debopriyo @ Sep 3 2011, 09:59 AM)

QUOTE(khawar Sohail @ Sep 3 2011, 09:54 AM)

QUOTE(Debopriyo @ Sep 3 2011, 09:52 AM)

QUOTE(khawar Sohail @ Sep 3 2011, 09:45 AM)

Can any body identify the film of this duet...khawar[attachmentid=367207]

film Main Aur Mera Bhai 1961

THANKS a lot!!! khawar

nina jo nain se miley ? ....not getting?

can you identify singers?

Posted by: Aditya Pant Sep 3 2011, 12:44 PM

QUOTE(khawar Sohail @ Sep 3 2011, 09:53 AM)

Posted by: Aditya Pant Sep 3 2011, 12:46 PM

QUOTE(khawar Sohail @ Sep 3 2011, 09:58 AM)

Posted by: khawar Sohail Sep 6 2011, 10:08 AM

Thanks for identifying songs...khawar

Posted by: khawar Sohail Jan 2 2012, 07:05 AM

Happy New Year. I will soon revive this page in 2012 with more rares.
khawar

Posted by: khawar Sohail Jan 6 2012, 08:54 AM

[attachmentid=374307]

QUOTE(khawar Sohail @ Jan 2 2012, 07:05 AM)

Posted by: khawar Sohail Jan 7 2012, 08:23 AM

[attachmentid=374406]
This is the 2nd program uploaded recorded today on 7-1-2012.
enjoy! Khawar

Posted by: khawar Sohail Jan 8 2012, 08:19 AM

Todays program (sunday) from Srilanka Radio morning ansmission.
Enjoy! khawar[attachmentid=374472]

Posted by: surhall Jan 8 2012, 12:13 PM

hi
file not open
dhall

Posted by: khawar Sohail Jan 8 2012, 03:11 PM

i t seems the file is fine. kindly try again and let me know. khawar

Posted by: surhall Jan 8 2012, 06:07 PM

hi
yes working thanks
dhall

Posted by: gop Jan 9 2012, 10:31 AM

QUOTE(khawar Sohail @ Jan 8 2012, 08:19 AM)

Posted by: khawar Sohail Jan 10 2012, 02:11 PM

QUOTE(gop @ Jan 9 2012, 10:31 AM)

QUOTE(khawar Sohail @ Jan 8 2012, 08:19 AM)

Todays program (sunday) from Srilanka Radio morning ansmission.
Enjoy! khawar[attachmentid=374472]

Sohail saab,

Pehle Radio Cylon bahut suna karthi thi. Aajkal yahan par SW par teek se milti nahin aur ghar mein net connection bhi nahin hai. Raat ke bhoole bisre geet mein bahut rare songs aathi thi. Good work keep it up. My poor ratio is not allow me to download these gems.

gop

Posted by: abhijoy Jan 11 2012, 08:19 AM

great uploads.....

Posted by: khawar Sohail Jan 11 2012, 02:21 PM

QUOTE(abhijoy @ Jan 11 2012, 08:19 AM)

Posted by: khawar Sohail Jan 12 2012, 02:41 PM

[attachmentid=374632]

QUOTE(khawar Sohail @ Jan 11 2012, 02:21 PM)

QUOTE(abhijoy @ Jan 11 2012, 08:19 AM)

great uploads.....

todays (every wednessday) program is about bohle bisre songs. I missed 1st 10 min today. I noticed that last 2 programs have distortion in them. I will write to progran Engineer. today program have 2 lovely rares by rajkumari. Can any fellow with sound engineering skills can remove distortion and reupload here these two rares. that will be great!!!!
khawar[attachmentid=374606]

Posted by: gop Jan 13 2012, 02:20 PM

QUOTE(khawar Sohail @ Jan 10 2012, 02:11 PM)

QUOTE(gop @ Jan 9 2012, 10:31 AM)

QUOTE(khawar Sohail @ Jan 8 2012, 08:19 AM)

Todays program (sunday) from Srilanka Radio morning ansmission.
Enjoy! khawar[attachmentid=374472]

Sohail saab,

Pehle Radio Cylon bahut suna karthi thi. Aajkal yahan par SW par teek se milti nahin aur ghar mein net connection bhi nahin hai. Raat ke bhoole bisre geet mein bahut rare songs aathi thi. Good work keep it up. My poor ratio is not allow me to download these gems.

gop

Gop sahib, I use to listen Srilanka radio from 60-90 and not all India radio simply because all india radio never had as rare collection as Srilanka had. [attachmentid=374567]where you live? I can try sending you few programs by email if you wish. I will soon get more programs soon. Here is todays program.....khawar

Posted by: Nandu Jan 18 2012, 12:07 PM

Thanks khawar Sohail for the Radio Cylone recordings.

Posted by: khawar Sohail Jan 18 2012, 02:30 PM

Two things happened with the internet transmission. Lately there is distortion in the song sounds. May be due to too loud transmission. Secondly the last 4 internet transmissions keep on droping due to buffering. I increased buffering of windows media player from 4 sec to 40 sec but it did not totally eliminate the roblem. Any ideas?

Posted by: Viraj Padhye Jan 18 2012, 09:04 PM

QUOTE(khawar Sohail @ Jan 18 2012, 02:30 PM)