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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Archive for the ‘Begam Akhtar NFS’ Category


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

There has been some confusion as to when Begum Akhtar (1914-1974) first sang in a concert. Also, associated with this confusion is when she first recorded the ghazals and thumris for the issue of her 78 rpm discs. Rita Ganguly, one of the senior disciples of Begum Akhtar, in her book ‘ Ae Mohobbat – A Reminiscing Begum Akhtar’ (2008) has mentioned that Begum Akhtar’s first participation in a concert as a singer was at the age of 11 (1925) at Calcutta (now Kolkata) which was arranged for Bihar Flood Relief Fund. However, many of the articles and blogs mention that her first concert was in 1934 for Bihar Earthquake Relief Fund. Some articles even mention that she sang in a concert for the first time at the age of 15.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

main dhoondhta hoon jise wo jahaan nahin milta
nayi zameen naya aasmaan nahin milta

Begum Akhtar recorded this ghazal written by Kaifi Azmi (at the age of 11) for Doordarshan just a few days before she left for heavenly abode on October 30, 1974. And this turned out to be her last recording for Doordarshan.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

I had listened to most of the audio clips of Begum Akhtar’s ghazals and other semi-classical songs uploaded on YT. She had rendered ghazals of many well known Urdu poets like Ghalib, Mir, Daagh, Momin Khan Momin, Faiz Ahmed Faiz, Jigar Moradabadi, Firaq Ghorakhpuri, Behzad Lucknowi etc. In the later part of her singing carrier, she sang ghazals of the then emerging poets like Shamim Jaipuri, Shakeel Badayuni, Kaifi Azmi, Sudarshan Faakir, Amir Qabalbash etc. Jigar Moradabadi was one of her favourite poets. Begum Akhtar started singing his ghazal sometime in the second half of 30s when Jigar was already popular among the mushiara audience because of his captivating style of rendering his poetry. Because of his popularity, he was called ‘people’s poet’.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

hamri atariya pe aajaa re saanwariya dekha dekhi tanik hoi jaaye

This is the mukhda of the song from the film ‘Dedh Ishqiyaa’ (2014) which I partly heard for the first time during the promotion of the film on various TV channels in December 2013. I was very happy that in the era of Hindi film music where loud songs with high velocity instrumentation and the meaningless lyrics are the order of the day, this semi-classical song had also found a place in the scheme of things of the modern day movie makers.
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This article is written by Bharat Upadhyay, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

After quite a long time, I am concluding the series ‘Songs from the album Varsha Ritu’ with a piloo thmri by Padmabhushan Begum Akhtar. I am not going to post Mahendra Kapur’s song from that alum due to my personal prejudice. (At my age of 82 years, I have full rights to have some prejudices. !!!)
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This article is writtten by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

The ghazal ‘ae mohabbat tere anjaam pe ronaa aayaa’ and Begum Akhtar are inseparable. If ‘deewaana banaana hai to deewaana banaa de’ (1925) heralded the arrival of Begum Akhtar as a ghazal singer, ‘ae mohabbat tere anjaam pe ronaa aayaa’ (early 1950s) consolidated her position in ghazal singing paving the way for her to be bestowed upon the title of ‘mallika-e-ghazal’ later. I came to know about Begum Akhtar in my younger days only because of this ghazal which was regularly played on the radio. The simple words in this ghazal with the captivating style of Begum Akhtar’s rendition attracted not only the connoisseurs of ghazals but also the commoners. No wonder, the sales of gramophone records of this ghazal attained the stature of a platinum disc.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

When the techniques of song recording were first introduced in India by a few music record companies, there was some initial myths and superstitions associated with it. A few of the professional singers believed that song recordings reduced the life span of singers as the electric gadgets suck away the lung power. A few even went to the extent in saying that the microphone takes away all the good qualities of a singer’s voice. It is said that Kesarbai Kerkar, the classical singer did not record a single song for music companies during her life time. Ustad Bade Ghulam Ali Khan, the doyen of Patiala Gharana initially evaded recordings on some pretext or other but the underlying factor seemed to be the fear of losing the quality of his voice.
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This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for more than nine years. This blog has over 13800 song posts by now.

This blog is active and online for over 3400 days since its beginning on 19 july 2008.

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Blog Start date: 19 july 2008

Active for more than 3250 days.

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