Archive for the ‘Translation by Sudhir’ Category
Chanda ke paas ik taara
Posted on: April 26, 2012
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
Sometimes a rhythm, a tune just sticks into the mind and keeps replaying itself over and over again. This is what has happened, when I bumped into this song two days ago. I was preparing for a write up on Shailendra, having identified other songs (which I will post later now). And then found this song – “dar a dad a daa a dad daaraa, chandaa ke paas ik taara”. The rhythm just refuses to go away from my mind, even though it is a tongue twisting formation, and the mind does stumble sometimes, when trying to go over it. A real foot tapping, ear catching melody that just stays with you once you have heard it.
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Jhuka lo badey badey naina
Posted on: April 18, 2012
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
I am writing again today to document another very important interaction; an interaction that has been a dream for me for many months now. I am in San Diego today, and the local time is 2.00 am. And I am writing this post from the residence of Shri Surjit Singh ji. I am sure friends on this blog would be familiar with his name, in context of Hindi films and film music. He is a diehard fan of this music, and has been playing a major role in raising awareness about it, collecting rare materials and making them available on the internet. His web site is at here , and I recommend friends and readers on this blog to visit this and find out more about him.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
Maybe the friends on this blog have given up on me, if my inconsistency of the past few days, some weeks is any evidence. Well yes, the things are kind of busy in life at this time (now why should that be an excuse?) :). Nonetheless, today I do want to write about a wonderful song I came across for the first time last week, and also write about where I am and of the interesting things that have happened today.
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Dil shaam se doobaa jaata hai
Posted on: April 14, 2012
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
When one would sit down to list and compile a gold collection of Asha Bhonsle, this ghazal is a ‘must have’ in such a compilation. It is a short ghazal, by many standards. Just three verses, but the words are like sharp stilettos of passion that twist and wrench inside the heart. The composition is fairly simple yet emphatic, and the rendition that sounds apparently casual to start with, carries the words with a resounding conviction – almost a categorical statement of resignation to the wiles of fate. There is a compelling question that the singing voice asks at the end of each verse, and one is forced to absorb and contemplate and empathize and feel the restless, and yet a resigned passion that dominates this poetic expression. What a creation this one is !
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
Talking about romantic pairing in Hindi films, Nanda – Shashi Kapoor pairing is probably the most attractive pair in the 60s. It is interesting to note their career graphs. Both of them started off in the films as child artists. Nanda’s father, Master Vinayak, passed away when she was just 8 years old. She was obliged to start working in films as a child artist, Baby Nanda, due to financial difficulties at home. On the other hand, as a child, Shashi was part of the already famous Kapoor clan, and the youngest son of Prithviraj Kapoor. And with all his family seniors in the cine business, it was only natural that followed their footsteps. He too appeared in many films as a child artist.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
The saga of Hindi films will never be complete without the discussion of the “formula” that used to be, and continues to be, followed by the production banners. More often than not, once a film became a hit, and brought profits for the producers, generally there used to be a spate of new productions trying to imitate the theme, the storyline, and the main attractive ingredients of that successful film, in an effort to duplicate that success. Over a period of time, such duplications would get refined into a list of specific ingredients that should be part of a film production strategy. Besides the components of the storyline, and type of characters and the list of events that should form part of the film, a main item of consideration was the type of music and songs that a film should contain.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
The past two three weeks have been somehow overtly busy and a run around for me, and I must apologize that I have not been very regular in writing and posting. Just too many things seem to be happening on the domestic and professional front, and time is at a premium. Being connected to email most of the time, I do follow the posts on email, all the day, but have been delinquent in responding regularly.
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This article is written by Sudhir,a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
Rewinding back to 1950. The earlier year, 1949, had proved to be a golden year for music and songs in Hindi films. Many a memorable films and many many memorable songs got released in this year, and many relatively new artists got launched on hugely prolific careers. Some writers accord the period from 1949 to 1952 as the best period of music in Hindi film industry. But one voice was relatively unheard. A very new singer by the name Asha Bhosle, was just fledgling, and a career that was still to take a shape. Sixty one years hence, she would be celebrated as the most recorded singer in history. But back, in 1949 and 1950, you could count her songs on your fingers. All of sixteen years old at that time, and already saddled with turbulent personal affairs, no wonder that she did not have many songs to her credit in this golden period of Hindi film music.
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Raam duhaayi hai raam duhaayi hai
Posted on: March 26, 2012
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
Roshan, a name that immediately brings to mind the iconic qawwalis of ‘Barsaat Ki Raat’ (1960), or the perennial sentimental favorite “Caarvaan Guzar Gayaa, Gubaar Dekhte Rahey” from the film ‘Nai Umar Ki Nai Fasal’ (1965). A master musician who would blend the classical and the folk with graceful ease, Roshan had his training under famous masters such as Ustad Allauddin Khan and Ustad Bundu Khan (saarangi king). After working with All India Radio in Delhi for about a decade, he moved to Bombay in 1948 in search of a career as a music director in films. He got introduced to Kidar Sharma, who was so impressed by his musical acumen that he actually made some changes to his next production. Plans were underway for the film ‘Neki Aur Badi’, and Snehal Bhatkar was already assigned the music direction responsibility. After meeting with Roshan, Kidar Sharma had a talk with Snehal Bhatkar, who agreed to let Roshan handle the music department. That is how the debut break came Roshan’s way.
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Hain abhi aur ae dil tere imtihaan
Posted on: March 23, 2012
This article is written by Sudhir, a fellow enthusiast of Hindi movie songs and a regular contributor to this blog.
Today is 23rd March, a day that is remembered as the day of martyrdom of the three young and brave sons of this earth, Bhagat Singh, Sukh Dev and Raj Guru. In 1931, the supreme sacrifice that these young men in their twenties chose to make for the cause of our nation, became an inspiration for the subsequent generations – a ideal that still arouses the patriotic fervor.
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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