Archive for the ‘NFS’ Category
Chaand tanha hai aasmaan tanha
Posted on: March 31, 2013
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
A remembrance of today that must include her own expressions. Mahajabeen was an emotional personality, and as with all emotional people, there is an expression of the artist in ways more than one. A poetess in her own right, she is known to have been writing couplets and ghazals from a very young age. And when her life started on downhill glide, it was the drink that became a faithful companion, and it was her pen that became an outlet for her to tell the world, about her sorrows and her wounds.
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Jeewan ek adhoora sapna
Posted on: March 30, 2013
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
In 1968, when HMV brought out an LP of CH Atma’s non film songs, the disc was titled as ‘Lingering Melodies’. Such an appropriate epithet and such a fitting description of the quality of this voice – ‘lingering’. The baritone sounds rendered by this wonderful singer, assuredly have this lingering quality. The sound and the words stay with the listener, as if still around, as if still playing somewhere, even after the song is complete. That is the kind of effect this voice has on the listener.
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Ek baar muskuraa do
Posted on: March 25, 2013
This article is written by Shekhar Gupta, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
Recently our Mr. Sadanand Kamath has posted on this Blog two superb numbers by Jaganmoy Mitra, better known as Jagmohan Sursagar, together with rich information (and links) on this veritable ocean of melody. They are: O varsha ke pehle baadal from Meghdoot (1945), and a non-filmy song Mat kar saaj-singaar sundari.
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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.
If I were to ask the question ‘what was the common between Shailendra, Jaan Nisar Akhtar and Nyay Sharma’, the obvious answer is that they were lyricists for Hindi film songs during the golden era of Hindi film music. There is one more commonality between them. All of them tried their hands in producing a Hindi film in the 1960s which resulted in great financial strains on them from which they did not fully recover. In fact, after the release of their films, their careers as lyricist was on the downhill and in case of Shailendra, it ended with his untimely death.
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Mat kar saaj singaar sundari
Posted on: March 22, 2013
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
Jagmohan Sursagar was known mostly for his non-filmy songs whether in Bengali or Hindi. After the success of his songs in ‘Meghdoot’ (1945), he collaborated with Faiyyaz Hashmi and Kamal Das Gupta for recording many non-filmy Hindi songs which became very popular. Faiyyaz Hashmi was a full time employee of EMI (HMV) at Calcutta. After bifurcation of British India, Faiyyaz Hashmi was transferred to Dhaka in 1947 and to Lahore a year thereafter to strengthen the office which was affected by the migration of many of its artists to India. With this, the collaboration of these trios virtually came to an end. Thereafter, Jagmohan Sursagar recorded some more Hindi non-film songs with different lyricists such as B C Madhur, Madhuraj, Rajinder Krishan etc. But most of these songs are silent on the name of the composer. It is believed that during this period, Jagmohan himself may have composed the music for most of his non-filmy songs.
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Zihaal e miskin makun tagaaful
Posted on: March 16, 2013
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
For the past few days, I have been going through the poems of Amir Khusrau. Fortunately, most of his poems are available on the internet with English translation. His love poems, riddles, dohas (couplets in Hindwi), qawwalis etc are very absorbing. I feel, it will not be an exaggeration to say that the trigger for the first literary renaissance especially in northern India was witnessed during the time of Amir Khusrau. He was one among the first in elite class to propagate the use of an Indian vernacular language in his poems which he called Hindawi ( mix of Hindi and its subsidiary dialects). I am not sure but the development of Urdu language in later years may have come as a continuum from Hindwi language.
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Sur ki gati main kyaa jaanoon
Posted on: March 14, 2013
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
In a book ‘Vedanta Treatise’ I have with me, four types of yogas have been prescribed for attainment of salvation. They are Bhakti (devotion), Gyaana (knowledge), Karma (activity) and Hata (compulsion). It is generally believed that devotion is the mother of all other yogas. Without devotion, all other yogas would be incomplete for attaining the objective. In this context, I recall an introduction by late C Rajagopalichari on a LP of M S Subbulaxmi’s immortal ‘Bhaj Govindam-Vishnu Shashtranamavali and I quote a part of it from the CD I have with me:
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Dahar mein naqsh e wafaa
Posted on: March 7, 2013
This article is written by Sadanand Kamath,a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
The year was 1947. Dilip Kumar, Anil Biswas and Lata Mangeshkar were travelling in a suburban local train to Malad where Filmistan Studio was located. During the journey, Anil Biswas introduced Lata Mangeshkar as a Maharashtrian girl who would be the singing star of tomorrow. Those days most of the Hindi film songs used to have more Urdu words than Hindi. Dilip Kumar retorted sarcastically. ‘A Maharashtrian? Her Urdu would not do justice to the song. My ears would tingle in shame’. These words stung Lata Mangeshkar so much that in the following morning, she started learning Urdu from an Urdu tutor just to prove Dilip Kumar wrong. This incident was revealed by Lata Mangeshkar in a private function at Dilip Kumar’s residence some time in 1970. Dilip Kumar in his characteristic style, replied that Lata Mangeshkar’s pronunciations and diction both in Hindi and Urdu are so clear and correct that now his ears tingle in shame for those remarks he made in 1947.
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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