Sa Re Ga Ma Pa Singing Superstar

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Sa Re Ga Ma Pa Singing Superstar
Sa Re Ga Ma Pa Singing Superstar

Down Melody lane (Page 2)

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Posted: 29 March 2006 at 11:12pm | IP Logged
OMG - I always thought that 'Mere mehboob na jaa' was Lata'ji! This is very interesting revelation for me... Smile
QWest'ji - can you enlighten us with Vani Jayram as well...?

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Posted: 29 March 2006 at 11:34pm | IP Logged


Intimations of immortality


Two of our national icons have reached significant milestones. Much as it defies belief, Dev Anand has reached 80 years. Wasn't it just the other day he was serenading Mumtaz with Kanchi re kanchi re. It is sobering to think that in Hare Rama Hare Krishna he was very close to his Golden jubilee, not usually a time of life when men go around singing and romancing.

Since the mid to late-1970s, when he had a few hits like Amir Garib and, more modestly, Chhupa Rustam, Dev Anand has not made any successful films, but that has not stopped him from regularly churning out movies like Swami Dada and Mein Sola Baras Ki. Then there was that embarrassing turkey: Return of Jewel Thief, a sequel to possibly the best caper film of all time. That too crashed at the box office. Not that failure has stopped him from enthusiastically, and energetically forging ahead with new projects. In the offing are a film based on Nepal's royal family massacre and another on Ravi Shankar and his two daughters.

Any other actor would have been ridiculed for turning into a pathetic parody of himself, still believing he has box office draw. But India continues to love Dev Anand and forgives him for his cinematic trespasses; when you have a body of work that includes Johnny Mera Naam, Nau Do Gyarah, Paying Guest, Taxi Driver and Guide, you don't have much left to prove. That oeuvre speaks for itself and, for generations of film goers, Dev Anand will always remain evergreen.

No less evergreen is Lata Mangeshkar, who turned 75 this month and whose birthday was celebrated with much more public fanfare that Dev Anand's. Is there any award, accolade or honour left to bestow on the Nightingale of India? She has been an inseparable part of the nation in the last 50-plus years, starting her career when the nation was in the throes of shedding its colonial past, and still around with us when it is emerging as a global cultural presence. She may have cut down her assignments, and may not be a part of the export quality Indipop scene, but is there any young singer who can hold a candle to her? Someday, undoubtedly, there will be a remixed version of Aayega aane wala, but will it last in public memory for as long as the original has? I think not.

Longevity is, of course, something that Lata Mangeshkar and Dev Anand share in common. But something else binds them too. Both had to struggle in their initial years, working in films for a pittance and making enough to just get by. Lata Mangeshkar (and Asha Bhonsle, for that matter) has spoken about rushing from one end of Bombay by local trains to another to sing in decrepit studios with old equipment for years after she made her debut. Aayega aane wala was a huge hit even in the late 1940s, but that did not make Lata Mangeshkar a millionaire. The same goes for Dev Anand, who turned producer early on, but barely scraped by to make enough money to pour into his next film.

That struggle informed their work and made it richer. Dev Anand made a credible taxi driver in the eponymous film because his life experience was close to the characters. This was true of many actors in Hindi cinema for several decades. From Raj Kapoor to Dharmendra to Naseerudin Shah to Shatrughan Sinha to even Amitabh Bachchan, all of them had come from the school of hard-knocks, struggling to find a place for themselves in a tough world. And when they did, by sheer dint of hard work and talent, it showed in their on-screen presence.

This does not imply that an actor must go through the 'sleeping on Marine Drive'€ experience before he does a role. But consider the actual interaction with real life that someone like Abhishek Bachchan has had. Barring his cook and his driver, he must not have had many opportunities to talk to people outside his class, listen to their stories, observe them in their natural habitats and even observe their mannerisms and accents. Could he ever essay a role of a country bumpkin credibly? Indeed, could he bring any depth to a portrayal of suffering? Is it surprising that audiences see through the synthetic acting enveloped in glossy production values and stay away from cinemas?

Lata Mangeshkar too had to go through difficult times for years before she established herself as the premier singer in Hindi cinema. We often read about the Mangeshkar monopoly and the alleged games played by her to sabotage young, upcoming singers. The names of Suman Kalyanpur, Sudha Malhotra and Vani Jayram are mentioned the most and there is no dearth of rumours and stories about how Lata short-circuited their careers to ensure that there was no competition.

Perhaps some of it is true. Certainly in the 1960s Suman Kalyanpur was being mentioned as a serious threat to Lata. Some music directors whom Lata fought with (and there are several of them) turned to Kalyanpur and created some hit songs. OP Nayyar, who felt snubbed by Lata, vowed never to work with her and gave us scores of memorable numbers with Asha Bhonsle. But could Lata Mangeshkar have survived merely on the strength of petty politicking?

One must also remember than when Lata Mangeshkar came on the scene, she was a stripling in a film industry dominated by stalwarts like Noorjehan, Suraiya, Shamshad Begum, Zohra Bai Ambalewali and others. Noorjehan left for Pakistan, but the others were still very much around. Lata was during those days rejected for her thin voice and had to resort to copying Noorjehan to survive in the game.

But soon enough, the bhari awaaz€singers began fading away; the new film makers of a newly independent nation realised that they had to make films that appealed to a pan-Indian audience and the hitherto lucrative East Punjab and Sindh markets was no longer freely available. What worked in pre-Partition India would not click in the new India. A new filmi idiom, a new approach, a new set of ideas were needed to reach out to audiences all across the emergent nation. Lata, who worked hard to acquire a Hindustani inflexion and remove all traces of her linguistic and regional background fit the bill: She was truly a republican voice that sang to and for India. And she has continued to do so for nearly six decades.

If both Lata Mangeshkar and Dev Anand are still around, still working and still loved by millions of fans, it is because of that early hard work and commitment in the most adverse of conditions which have distilled themselves to reflect in everything they do. They had no TV soaps, no channels with deep pockets, no marketing whiz kids and no music videos to create their images and instantly beam it to millions of people. There were no glossies which gave us manufactured controversies and daily newspapers did not write about Hindi cinema. Weak voices were not jazzed up with the help of technology and 16 track recording equipment and then presented to gullible audiences. It was the real world, not a synthetic and plastic one.

Which is why every Indian and lover of Hindi cinema must celebrate these two milestones, which are not mere birthdays but also reminders of how fortunate we have been to live in the same era as these two giants. Who cares if Lata Mangeshkar is not a bit high-pitched or Dev Anand's films have turned into a joke? The question to be asked is: How many of the present-day stars and singers will still be giving us joy 50 years later?

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Edited by Qwest - 29 March 2006 at 11:37pm
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Posted: 29 March 2006 at 11:58pm | IP Logged

Originally posted by jayc1234

OMG - I always thought that 'Mere mehboob na jaa' was Lata'ji! This is very interesting revelation for me... Smile
QWest'ji - can you enlighten us with Vani Jayram as well...?
Thanks for taking time to read this thread. Jayc1234 ji,  here is a little story about this song,

I was a young boy sitting with my father and sipping his coffee from his Mug all in a sudden this Mere Mehboob Na Jaa Aaj Ki Raat Na Jaa (Nur Mahal, MD: Janibabu started in the Radio station call  Bianca Geet Mala in 1970 and Dad introduce me to this great singer Suman Ji.



Edited by Qwest - 29 March 2006 at 11:59pm
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Posted: 30 March 2006 at 8:02am | IP Logged

Hindi Movie Song

Singer(s)

joohee kee kalee meree laadalee

SUMAN KALYANPUR

Thehriye Hosh Main Aao

SUMAN KALYANPUR, MOHHAMAD RAFI

Zindagi imtihaan leti hai

DR. AVASTHI, ANWAR, SUMAN KALYANPUR

Haan Maine Bhi Pyar Kiya

MUKESH & SUMAN KALYANPUR

Na tum humen jaano

SUMAN KALYANPUR, HEMANT KUMAR

Tum jo aao to pyaar aa jaaye

MANNA DEY, SUMAN KALYANPUR

Naache Re Radha

ASHA BHOSLE, SUMAN KALYANPUR, CHORUS

Naa Tum Hame Jaano

SUMAN KALYANPUR - HEMANT KUMAR

na na na re na na

SUMAN KALYANPURI, MINOO PURSHOTTAM

Tumne Pukara Aur Hum Chale Aaye

SUMAN KALYANPUR, MOH. RAFI

Aajkal Tere Mere Pyar Ke Charche

MOHAMMED RAFI & SUMAN KALYANPUR

Behna Ne Bhai Ki Kalaai Pe

SUMAN KALYANPUR

Ajahuna Aaye Balama

MOHD RAFI, SUMAN KALYANPUR




Edited by Qwest - 30 March 2006 at 8:09am
luvmusic Goldie
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Posted: 30 March 2006 at 8:11am | IP Logged
Thanks a ton for the info Qwest ji....
I thought many of the songs were by Lata...I always wanted to know abt the singer, after I heard couple of her songs under Ravindra Jain ji's music though!

Thankyou KB ji for the anecdotes.
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Posted: 30 March 2006 at 8:40am | IP Logged

Films like Pyaase Panchhi (Tumhi mere meet ho - a duet with Hemant Kumar), Shama (Ek jurm karke and Dil gham se jal raha…), Barsaat Ki Raat (Garjat barsaat sawan aayo..), Zindagi aur Khwaab (Na jaane kahan tum the… ), Baat Ek Raat Ki (Na tum hame jaano, na hum tumhe jaane), Dil Ek Mandir (Juhi ki kali meri laadli and the title song Dil ek mandir hai…), Jehan Ara (Baad muddat ke yeh ghadi…), Shagun (Parbaton ke pedhon par and Bujha diya hai khud apne haathon…), Jab Jab Phool Khile (Na, na karte pyar tumhi se), Dil Ne Phir Yaad Kiya (the title song Dil ne phir yaad kiya…), Modern Girl (Yeh mausam rangeen sama…) and several others became huge sensations.

 

BARSAAT KI RAAT

Movie Length : - Year : 1960
Certificate No : Type : U
Movie Type : Black & White Era : Talkies
Production : Shri Vishwabharati Films
Genre : Musical

Actor : Balam, Bharat Bhushan, Chandrashekhar, K. N. Singh, Khurshid Bawra, S. K. Prem
Actress : Madhubala, Mumtaz Begum, Shyama
Director : P. L. Santoshi
Female Singer : Asha Bhosale, Kamal Barot, Lata Mangeshkar , Sudha Malhotra, Suman Kalyanpur
Lyricist : Sahir Ludiyanvi
Male Singer : Balbeer, Bande Hasan , Manna Dey, Md. Rafi, S. D. Batish
Music Director : Md. Rafi, Roshan



 



Edited by Qwest - 30 March 2006 at 8:42am
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MEMORIES: Omprakash Sonik, aka Omi, sits next to a picture of his uncle Manoharlal Sonik

A broad smile illuminates Omprakash Sonik's face when he says: "You won't believe it, but when I was a kid, I sang in a female chorus. In those days, anything was possible. The moment my voice changed as I grew older, I switched to a male chorus."

Better known as 'Omi', he formed part of the Sonik-Omi duo of music directors along with his blind uncle Manoharlal Sonik. The two debuted as composers in Dil Ne Phir Yaad Kiya, and the success of the film's music prompts Omi to speak at length about hit songs like Kaliyon Ne Ghoonghat Khole (Mohammed Rafi), Aaja Re Pyaar Pukare (Lata Mangeshkar), Are To Jal Jaoge (Asha Bhosle-Manna Dey) and the title track (Rafi-Suman Kalyanpur-Mukesh).

The movie, released in 1966, starred Dharmendra, Nutan and Rehman. "Before Dil Ne Phir Yaad Kiya, we had struggled for more than 15 years. We came to Bombay from Sialkot in 1948, and Sonikji became involved in Hindi film music," recalls Omi, as he sits near a photograph of his deceased uncle.

Omi says that while working as assistants for Roshan, they decided to adopt the screen-name Sonik-Omi. "People said that sounded like a good name for a team of music directors. While Sonikji retained his name, I used Omi because everybody called me that. When the Rawal brothers were looking for somebody to compose for their new film, they thought of us," says Omi.

According to the composer, the duo had sittings for almost one and a half months before recording Kaliyon Ne Ghoonghat Khole. "The lyrics were written by G L Rawal. In fact, the songs were written first, and the script was then written keeping the songs in mind. So when we composed music, we knew exactly what the situation in the film demanded," he says.

The songs were recorded at Famous, Tardeo. "While doing a title track, we were thinking of Rafi and Lata. But in those days, the two had had a big fight, and weren't on talking terms. So we chose Suman Kalyanpur," Omi points out.

The music director then narrates this rather interesting incident when Asha Bhosle came to record Are To Jal Jaoge. He reminisces: "We were playing the title song, and Asha thought Lata had sung it. So she asked when Rafi and Lata had begun singing together again. When we told her it was Suman Kalyanpur and not Lata, Asha said: "I felt it wasn't Lata from the way she sang the high notes."


The film's premiere was held in Delhi. "Dharmendra and Nutan were quite popular by then, but we were thrilled that our music got a great response too. In fact, one paper gave a headline that the real hero of the film was Sonik-Omi. This is because those songs had so much melody," says Omi.

Over the years, Sonik-Omi did films like Mahua, College Girl, Bhai Ho To Aisa, Saawan Bhadon, Umar Qaid, Do Chattane and Bindiya Aur Bandook. And though many of their later films didn't taste the same kind of commercial success as their debut, Dil Ne Phir Yaad Kiya remains a memorable experience.


Edited by Qwest - 30 March 2006 at 8:51am
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Posted: 30 March 2006 at 11:13am | IP Logged



Suman with Talat



Edited by Qwest - 30 March 2006 at 11:17am

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