Posts Tagged ‘NFS’
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
If one browses through the Hindi films made in the 1940s, it will be observed that there were many lesser known music directors who had tried their luck in Hindi films. My guess is that the number of such lesser known music directors in the 1940s may be a close to 50. Sadly, most of these talented music directors could not sustain their careers for long in the Hindi film industry. This blog has covered songs of many of lesser known music directors of the 40s such as Neenu Majumdar, Shanti Kumar Desai, Shyambabu Pathak, Madhulal Damodar Master, Ramchandra Pal etc. V Balsara was one among such music directors who started his career in Hindi films but could not sustain it for long as a music director. But he changed the track of his career and became a famous instrumentalist, orchestra conductor, a music teacher and the music director of non-filmy songs and a few Bengali films during rest of his life. I became aware of his name in the 1970s mainly for his beautiful compositions of some non-filmy Hindi songs.
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- In: Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lyrics contributed by readers | Post by Sudhir | Rare song | Song from Unreleased Films of 1950s | Song from unreleased movie | Songs of 1950s (1951 to 1960) | Songs of 1960 | Talat Mehmood solo | Talat Mehmood songs | Yearwise breakup of songs
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
Remembering Talat Mehmood (24 february 1924- 9 may 1998) on the anniversary of his birth today(24 february 2013).
The soft velvety voice that has lent itself to a wonderful array of musical creations, and made an indelible mark in the annals of Hindi film and non-film music. Whether the song is of happiness or it is of sadness, the first thing that comes to mind on hearing Talat Sb’s voice begin to sing, is a feeling of utmost comfort. A feeling that releases all other compulsions in the mind, and the mind wants to sit back and relax and just listen to this soft sound serenading the matters of heart.
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Mere geeton ka singaar ho tum
Posted on: February 24, 2013
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
Khayyam is one of the music directors of Hindi film industry who made a significant contribution in propagating the NFSs. By his own admission, he had started declining most of the offers for Hindi films’ music direction during late 50s and early 60s as he did not feel comfortable in working in such films in which interference of producers and distributors in music direction had become the order of the day. It was during this period that he devoted his time and energy in composing some of the finest NFSs especially with Talat Mehmood and Mohammed Rafi.
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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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Udd gaya bhanwra kali udaas
Posted on: February 11, 2013
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
There are singing voices. Then there are voices that sing. And then there is SD Burman – affectionately Sachin Da, or just plain Dada, to most people in the industry, a voice that stands apart from everyone else.
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Odh chunariya taaron ki
Posted on: February 10, 2013
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
Reverberating through the caverns of mind, comes this deep and soothing baritone voice of CH Atma. This song is another priceless and incomparable gem that he has renderded as a non-film offering.
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Nainon mein do nain samaaye
Posted on: February 3, 2013
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
CH Atma, a voice that is soft and slow, a voice that possesses a very deep baritone, a voice that seems as if a guttural sound is passing through very deep caverns, a gravelly sound coming from somewhere deep inside his being. A voice that is oh so unique in the lineup of singers in the industry.
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Nand nandan bilmaai
Posted on: January 28, 2013
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
January 28th is the birth day of playback singer Suman Kalyanpur. She is a living example of how the career of a talented singer can be marred by a close resemblance of the voice of the numero uno singer in the field, in her case Lata Mangeshkar. Naturally, film industry preferred the reigning queen rather than giving enough opportunity to Suman Kalyanpur to prove her worth. She was mostly used as a substitute for Lata Mangeshkar when the latter was not available for recording the songs. Alternatively, she would get the singing assignments in low budget films. In the circumstances, I thought that she would have utilised her spare time in recording many NFSs. I find that even in respect of NFSs, Suman Kalyanpur is lagging in numbers in comparison to other top playback singers like Lata Mangeshkar, Asha Bhonsle, Mohammed Rafi, Mukesh etc. Was she really interested in pursuing playback singing career ? She is known to be a very private and low profile person. Only those who were close to her could get to know her mind. It took Ameen Sayani more than 40 years to persuade her to give an interview for a radio programme. Subsequently, she has given a couple of interviews through which we have come across some more information about her singing career.
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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