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Muhmmad Usman

@Lovers Ka Love

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Posted: 16 years ago

Is there any Singer, bOut whOm yOu wanna cOllect each and every infOrmatiOn???

Definetly "YES".... sO i've just opened this thread which is related tO singers and their biOgraphy... yOu can pOt yOur favs Singer's biOgraphy here.....

😛

If yOU have any Request then feel free tO PM me... i'll surely add yOUr singer's biOgraphy and everything related tO him.... plzzzzzz dOnt cOmment here....
😊

Viewbie's Note: As mentioned, please do not comment in this thread. You can use the thank you button or PM the person concerned. All comments will be trashed. Thanks for your cooperation.

Edited by SpoILed BraT - 16 years ago

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Muhmmad Usman

@Lovers Ka Love

IF-Rockerz

Posted: 16 years ago

All HistOry and Page numbers are Given belOw....... sO that yOu find them eaisly...

Page # 1
Ustad Baray Ghulam Ali Khan
Adnan Sami
Sonu Nigaam
Madonna
Page # 2
Himesh Reshammiya
Lata Mangeshkar
A.R Rehman
Nusrat Fateh Ali Khan
Melody Queen Noor Jehan
Ali Zafar
Atif Aslam

Page # 3
Sunidhi Chauhan
Anu Malik
Michael jackson
Talat Mahmood

Edited by Lovers Ka Love - 16 years ago

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Muhmmad Usman

@Lovers Ka Love

IF-Rockerz

Posted: 16 years ago

Ustad Baray Ghulam Ali Khan

The death of no other classical musician in recent times has had such a stunning effect as the passing away of Ustad Baray Ghulam Ali Khan had in April 1968 on the world of Indian music. AIR was flooded with poignant tributes and homages from great musicians, musicologists and music-lovers from all over the country.

The great maestro used to say: "Music is to me more than my food. It is my only life and I cannot live without it. I would rather die with a song on my lips than live without music." Years ago, he had to undergo a serious goitre operation after which he was advised complete vocal and physical rest by his surgeon-friend. Hardly 24 hours had elapsed when he burst into a taan covering 3 octaves! When his surgeon affectionately admonished him for it, his childlike reply was: "I had to see if my voice has been affected. Without it, what use is my life to me?"

When Baray Ghulam Ali was stricken with paralysis in 1961 his admirers all over the country felt deeply grieved not only for themselves, but even more for the great Ustad for whom life without music would be nothing better than the silence of the tomb. Those who had seen his utter helplessness after the stroke, had no hope of hearing his wonderful singing voice again. But after some time, excited rumours spread that he was going to stage a come-back, rumours that seemed too good to be true. But he proved how mind can truimph over the body. There he was on the stage- "frail in body, but exuberent in spirit, looking like a disabled lion - still majestic in his deportment, a twinkle in his eyes, and that impish smile on his lips". Music circles took the lead in restoring his self-confidence. In his programme (relayed by AIR) after receiving the Presidential Award, he seemed to have set a challenge for himself by singing Khayals and Tarana (in Yaman) - just to reassure himself that his taans had at least not been "crippled" by the stroke.

Another of his "come-back" appearances was in the Fourth Music and Dance Festival (1967) sponsored by the Goverment of Maharashtra. He had to be brought on a chair and seated on the stage before the curtain went up. He was surrounded by his various accompanists and admirers on the stage; but he refused to start singing. Reason:- "You have switched off all the audience lights and I can see no one in the dark. How can I feel like singing unless I have a darshan of my dear listeners who have come from far and near in their affection for me?" A glimpse of the adoring crowds, and he broke into his inimitable Khayal in Rag Chchaya ("Jo kare Ram Kripa") full of [The kHayAl in Chhayanat is actually "Sugreeva Rama Krupa" - RP] devotional fervour. For the true musician, there is only one God - by whichever name you address Him. The great artist that he was, Ghulam Ali was not interested in political and religious differences. He knew of only two categories of humanity - music-lovers and the uninterested ones. "I know only one thing - Music ! I am little interested in other things. I am just a humble devotee of God and Music."

Ghulam Ali not only believed in the divine origin of music but also in the story that music came into his family when one of his Pathan ancestors (Fazl Peerdad Khan) migrated to Hindustan from Ghazni, became a Fakir, and worshipped the Goddess of music for years among the lonely mountain-tops of the north until one day she appeared before the music-mad devotee and blest him. "Music will run in your family from generation to generation". Peerdada handed over his ilm to Miyan Irshad Ali Khan (great-grandfatber of Ghulam Ali) from whom it came to Id Mohammad Khan (Ghulam Ali's grandfather), to father Ali Buksh, uncle Kale Khan, and on to Baray Ghulam Ali. Their Gharana was known as the Kasur Gharana.

Born in Lahore in 1901, Ghulam Ali's musical gifts were evident at an incredibly early age. As an infant he once wailed in the same pitch in which his father and his famous uncle Kale Khan were singing! Reminiscing over his childhood, the Ustad once said: "I do not know at what age I began to master the 12 notes. This much I can say. At the age of 3 or 4 when I started talking, I had some idea of the 12 notes. I learnt sargam as a child learns his mother-tongue."

Recognising the musical potentialities of the child, Ali Bux put him, at the age of seven, under the tutelage of Khan Sahib Kale Khan of Patiala for the next ten years. After the Khan Sahib's death, Ghulam Ali continued his training under his own father. Both his uncle and father bad received good training from Khan Sahib Fateh Ali Khan, the court musician of Patiala.

What fired him with a feeling of challenge was a small incident. When Kale Khan died, a certain musician made a caustic remark that "music was dead with Kale Khan." This put young Ghulam Ali on his mettle. In his own words: "For the next five years, music became my sole passion. I practised hard day and night, even at the cost of sleep. All my joys and sorrows were centred on music."

Ghulam Ali was gifted with all the attributes of a great musician: musical lineage, sound training and high artistic sensibility. "To me the purity of the note is the supreme thing", he used to say. Ghulam Ali also had the privilege of receiving talim from Ashiq Ali (who belonged to the Gharana of Tanras Khan), and from the late Baba Sinde Khan. Some people detected shades of Ustad Wahid Khan's charming style in his Khayal alap.

Whether it was a Khayal with a courtly theme, a Thumri with wistfully romantic word-content, a playful Dadra or a soulful Bhajan, Ghulam Ali Khan could always put his heart and soul into the song. We have no dearth of great traditionalists and purists who can impress the intellect by their technical mastery. But what is music without a soul! Ghulam Ali's music was "the best imaginable blend of appeal and technique." Few could touch the listeners' hearts as he could. No wonder, that no other classical vocalist earned such country-wide adulation as he did. Among his many contributions to Hindustani music, the outstanding one is that he opened the eyes and ears of contemporary musicians and music-lovers to the prime importance of voice culture and voice-modulation and the supreme value of emotion in music. "A voice is not just a ready-made gift from the gods. One has to earn it, polish it, and gain absolute command over it by Sangeet Sadhana" - he used to say.

A remarkable fact in Baray Ghulam Ali's life was his transformation, in the early part of his life, from the role of a Sarangi player to that of a vocalist. This experience really enriched his taans and we admire him all the more for it, but somehow Ghulam Ali never liked to be reminded about that -early phase of his life!

The amazing pliability of his voice, his unpredictable swara-combinations, the incredible speed of his tans, and the ease with which he could sway his audiences by his emotional renderings - these were some of the qualities which became the envy and despair of many a rival.

As I sit and recall the numerous concerts of Baray Ghulam Ali that I had the good fortune to attend, I find that there was not a single rasa that he could not bring to life through his music. Such was the power of his music that be it summer or winter, if be chose to sing Basant and (or), Bahar, he could conjure up before the audience, the entire beauty, youthful exuberance, bursting buds, and blossoms, the poignancy of separation and the entire atmosphere of Spring. Suddenly he would wave the magic wand of his music, and when he started that peerless Desh of his "Kali Ghata ghir aye Sajani", the audience could almost hear the rumbling of thunder (in the deep, growling mandra notes) see the flashes of lightning (in his sweeping taan), and share the beloved's agony of separation (through the exquisite meends) and so on. In his Thumri "Naina more taras rahe" (in Jangla Bhairavi), he could bring out the entire longing of the eyes to behold the "Pardesi balam." What passion cannot music raise and quell! He sang strictly within the traditional framework, but what varied emotions he could pour into his dignified and devotional Khayals (like "Mahadev Maheshivar", or "Prabhu ranga bheeni"), sensuous thumris like "Yadpiya Ki aye", or "Tirchh najariya ke Baan"), poignant Dadras (Saiya bolbolo) playful Horis, and soulful Bhajans. By his richly expressive style, he has silenced the detractors of classical music who argue that it is "dry and flat," and therefore, sans appeal. This pained Ghulam Ali, who used to say - "This is because generally our musicians are more interested in technical virtuosity. But really, emotion is the very soul of our music which has the power to express the subtlest nuances of feeling". He proved his point by his own style. "From the heart of the singer to the heart of the listener" was true in the case of his music. For the rare perfection and popularity that he brought to the Punjab ang Thumri, he has been rightly called "the King of light classical music". He had cultivated a full and splendidly modulated voice that charmed listeners. It was a soothing, polished voice that could float effortlessly over the 3 octaves, in slow long glides (meends) or in faans of inimitable speed.

It is true that Ghulam Ali belonged to a long and illustrious musical lineage - the Patiala Gharana. But it was his genius that chiselled off all the harsh crudities and angularities of the once dry Patiala Gharana, and lent it such a rare polish and glow that today it has achieved countrywide popularity. Baray Ghulam Ali Khan has left behind not only hundreds of singers trying to emulate him, but also thousands and thousands of music-lovers who cherish his music. No other North Indian vocalist ever attracted such large audiences in the South as did Baray Ghulam Ali Khan.

Baray Ghulam Ali never tried to win the approbation of those classical purists who judge the excellence of a perfor mance by the length of delineation of each raga. His aim was to appeal to the hearts of the millions who heard him. He would say: "What is the use of stretching each raga for hours? There are bound to be repetitions." He was one of those rare musicians who was an adept in matching his music to the mood and tastes of his audiences. Indeed, few classical musicians have equalled his shrewd knowledge of audience-psychology. He used to give brief renderings of ragas at big conferences because he rightly felt that too elaborate alaps and badhat might sound tedious to the uninitiated who form the bulk of big gatherings. However, he inevitably poured out his sweetest art at exclusive private soirees. It was at the great Vikram Samvat Conference in Bombay that Ghulam Ali shot up to dizzy heights of fame. It was an unforgettable occasion. All the shining jewels of Hindustani classical music like Aftab-E-Mausiqui Ustad Faiyaz Khan, Ustad Alladiya Khan, Kesarbai and all the rest of the brilliant galaxy were present.

Young Ghulam Ali's performance made him the sensation of the day. Those who heard him on that occasion still rave about the Khayals in Pooriva, and Marva and the Thumris that he rendered then.

At his abode, wherever he used to stay, whether Bombay, Delhi, Calcutta or Hyderabad, he was surrounded by his admirers all the time, and the Swarmandal was always with him. Every few minutes he would break into song to illustrate a point he was making. A firm believer in the debt that classical music owes to folk music, he could, with amazing dexterity, demonstrate the simple folk tunes like a real villager, and then suddenly sing out its fully polished classical counterpart in a scintillating manner! No wonder his admirers were always crowding around him throughout his waking hours. An ample, corpulent figure with a handlebar moustache, his face would become lighted up with expression as he sang, and music enriched with unsurpassed melodiousness would flow out of this great maestro.

During the Ustad's last stay in Bombay (prior to his departure for Hyderabad and his last fatal attack), my brother, a devout BGA fan, in the course of his Cochin-Bombay-Calcutta flight, had a few hours' halt in Bombay, before taking a plane to Calcutta. It was 11 pm when he reached Baray Ghulam Ali Khan's place. Yet, with joy, the Ustad showed his hospitality, not by serving tea and sweets but by something more precious. "Bring my swarmandal," he said to his son Munawwar. "Let me sing awhile for my dear guest." My brother was overwhelmed by the great artiste's humility, affection, and his utter absorption in music. One of my brother's most cherished. possessions today is an old autographed Swarmandal of the Ustad.

Baray Ghulam Ali was not only everyone's favourite, but the favourite of many musicians. When the news of his death spread (April 1968), great contemporaries like Begum Akhtar, Siddheswari Devi, Bhimsen Joshi, Dilip Chandra Vedi and a host of others spoke out in their grief over the "irreparable loss". Siddheswari Devi looked nostalgically at a group-photo in which she sat next to the great maestro after a grand music conference in 1936, and said in a tearful voice: "The like of Baray Ghulam Ali Khan will never come. There will not be another like him."

Begum Akhtar who had known him since long, paid her tribute thus: "I have never seen such a rare combination of greatness and simplicity. When I first heard him, I felt that I was hearing real music for the first time. He was my honoured guest for several months in Calcutta. He used to sing all day long. In fact, music was his sole interest in life, In sorrow he would draw solace from music. In joy also he would burst into song. What a rare musician!"

Under his pen name, Sabrang, he has left numerous lilting compositions - khayals and thumris. Sabrang had only one passion in life - Music. Edited by Lovers Ka Love - 16 years ago

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Muhmmad Usman

@Lovers Ka Love

IF-Rockerz

Posted: 16 years ago

Adnan Sami

Adnan Sami Khan(born August 15, 1973) is a popular British-born Pakistani singer, musician, pianist, actor and composer. Born to an Indian mother and a Pakistani father, his style merges Indian and Western styles and instrumentation and ranges from classical to jazz to modern pop-rock. He was awarded MTV's 2001 "Breakthrough Artist of the Year".

Biography

Sami was born, reared and educated in Britain. His father, Arshad Sami Khan, was a Pakistani diplomat and had training in composing classical and jazz music.[citation needed] Sami attended Rugby School and studied at the University of London. He had played piano since his childhood and so studied music in school and in college. Indian singer Asha Bhosle spotted talent in a ten-year-old Sami at an R D Burman concert in London, and encouraged him to take up music as a career. Sami then went on to learn Indian classical music from Mahraj Khatak, a Pakistani classical singing teacher and dancer. Sami further learned from Indian Santoor maestro, Pandit Shivkumar Sharma, and became one of the first people to play Indian classical music on the piano and electric piano.

Sami's parents and younger brother now reside in Houston, Texas. He was married to Safa Galadhari and has a son from another previous marriage with Zeba Bakhtiar.

Albums

Sami's vocal albums are consistently successful in sales, each one selling more than a million copies. His album Kabhi To Nazaraan Milao, it became the all-time largest selling independent album in India upon release. It remained number one on the music charts for an unprecedented 78 weeks, and Khan followed that album with Tera Chehra, which sold several million copies all over the world. His latest album is "Kisi Din" which is also a big hit.
Awards and accolades

Sami has won many international awards, including the "Nigar Award", the "Bolan Academy Award", and the "Graduate Award". He was given a "Special Award of UNICEF" and a United Nations Peace Medal for a song he wrote and performed for Africa. He was invited to be a member of the jury of the prestigious music festival "Voice of Asia" competition, held annually at Almaty, Kazhakstan - the jury comprises top music composers of the world. Sami has recently been featured in a documentary, commissioned by the Foreign and Common Wealth Office of Great Britain, about ten people from the sub-continent who have influenced the Asian culture in the UK over the last fifty years.

Reviewing a piano solo performance Khan gave on Channel 4 in the UK, Keyboard Magazine declared him the "Keyboard Discovery of The 90s". Swedish radio and television referred to him as the "fastest keyboard player in the world."[citation needed] Sami has performed for prestigious music festivals to sold-out stadia of his solo concert tours all over the world in over forty countries.[citation needed]

As a classical concert pianist, Sami has had the honour of giving "solo" Royal Command performances before the King of Sweden and King Hussein of Jordan. He has also performed before Heads of State and Government such as President Mitterrand of France, the President of United Arab Emirates, the President and Prime Minister of India, the President and Prime Minister of Pakistan, the President and Prime Minister of Khazakhstan, the Prime Minsiter of Kyrgystan, the Prime Minister and Christina of Sweden.[citation needed] Edited by Lovers Ka Love - 16 years ago

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Muhmmad Usman

@Lovers Ka Love

IF-Rockerz

Posted: 16 years ago

S O N U N I I G A A M
Date Of Birth : 30th July 1973, Faridabad, India...

Sonu Nigam was born July 30, 1973 in Faridabad, Haryana, India,[1] is a playback singer whose songs have been featured in numerous Bollywood movies. He has also released numerous Indi-pop albums. He changed the spelling of his last name from Nigam to Niigaam to reflect an auspicious number in astrology.

Early life

Born in Faridabad, Sonu moved to Delhi with his family. He attended J.D.Tytler School. His father Agam Kumar is also a singer, Sonu also has two younger sisters, of which One, Neekita Nigam is a singer. At the age of four and half Sonu started singing Rafi's numbers at concerts where Sonu's father performed. Discovered and promoted by Gulshan Kumar of T-Series, who gave him his first break. Soon due to his recordings Sonu moved from Delhi to Mumbai to pursue his career, at the age of 19.

Career

Sonu started his career singing covers of Mohammad Rafi songs. His first movie as a playback singer was (Janum) which was a major flop in (1990). This film was not officially released due to some reason but some considered it as a flop. Again he got his big break as a playback singer in Gulshan Kumar's film (Aaja Meri Jaan) and then "Accha Sila Diya Tune" (also sung in Gujarati) from Bewafa Sanam (1996). At this time, he also started hosting Sa Re Ga Ma, a television singing talent competition that became one of the most popular shows on Indian television. Thereafter, the offers poured in, albeit slowly at first. He shot to fame with the song "Sandese Aate Hai" from Border (1997). In the initial stages, he was type-cast as a Rafi-sound-alike. The image was transformed after his brilliant rendition of "Yeh Dil, Deewana" in the film Pardes (1997). Since then, he has created a unique trademark style of his own.

Over the years, Sonu Nigam has become a major force in the music industry. He has released a number of pop albums including Mausam, Sapnay Ki Baat, Kismat, Deewana, Jaan, Yaad, Chanda Ki Doli and Colours of Love, as well as a Punjabi album 'Pyar'. Besides SaReGaMa, he has also hosted Kisme Kitna Hai Dum and been a judge on Indian Idol. Sonu has also acted in a few films as well, namely Jaani Dushmaan alongside Sunny Deol, Manisha Koirala and Akshay Kumar as well as other actors, Kash Aap Hamare Hote where he plays the lead opposite Juhi Babbar daughter of Raj Babbar who too is in this movie and lastly Love in Nepal with Flora Saini and Sweta Keswani, where he plays the lead again but opposite Flora. However it is to be said that all three films have not done terribly well at the box-office. Recently though, he started hosting his own radio programme called Life Ki Dhun With Sonu Nigam on Radiocity 91 FM, where he has had the opportunity of interviewing industry greats, including the legendary Lata Mangeshkar. This radio show is available on the net. His future projects include a semi-classical album, an English album and an album covering 18 of the greatest Mohammad Rafi songs (recently announced).

Sonu has sung playback for countless Hindi movies. As well, he is a popular playback singer for many regional movies, singing effortlessly in many languages from Kannada, Punjabi to Bengali to Telugu, and many more.He is very famous in South Indian movies especially in Kannada.

Sonu will be touring North America in aMay/June 2007 in a star-studded show called the Incredibles with singing legend Asha Bhonsle, as well as current singing sensations Kunal Ganjawala and Kailash Kher.

Controversy

On 17th July, 2007 Sonu Nigam stunned the bollywood industry by announcing that Subhash K Jha, a film journalist, was forcing him into homosexual relationship and pressuring him by constant critisism of his work, singing and acting. Subhash however denied any such thing and is said to be consulting his lawyers for legal action against Sonu.

Awards

    * 2005, Swaralaya Yesudas Award, for his outstanding performance in Music.

    * 2005, MTV Immies - Best Pop Album, for his self-composed album titled "Chanda Ki Doli".

    * 2005, Star Screen Award Best Male Playback, for the song "Dheere Jalna", from the film "Paheli"

    * 2004, MTV Immies - Best Male Singer, for the song "Main Hoon Na", from the film "Main Hoon Na"

    * 2004, National Film Award for Best Male Playback Singer, for the song "Kal Ho Naa Ho", from the film Kal Ho Naa Ho

    * 2004, IIFA Best Male Playback Award, for the song "Kal Ho Naa Ho", from the film Kal Ho Naa Ho

    * 2003, Filmfare Best Male Playback Award, for the song "Kal Ho Naa Ho", from the film Kal Ho Naa Ho".

    * 2003, Zee Cine Award Best Playback Singer- Male, for the song "Saathiya", from the film "Saathiya"

    * 2003, IIFA Best Male Playback Award, for the song "Saathiya", from the film "Saathiya"

    * 2003, MTV Immies - Best Male Singer, for the sing "Saathiya" from the film "Saathiya".

    * 2002, Filmfare Best Male Playback Award, for the song "Saathiya", from the film Saathiya.

    * 2002, Zee Cine Award Best Playback Singer- Male, for the song "Suraj Hua Maddham", from the film "Kabhi Khushi Kabhie Gham"

    * 2002, IIFA Best Male Playback Award, for the song "Suraj Hua Maddham", from the film "Kabhi Khushi Kabhie Gham"

    * 2001, Star Screen Award Best Male Playback, for the song "Tanhayee", from the film "Dil Chahta Hai"

    * 1998, Zee Cine Award Best Playback Singer- Male, for the song "Sandese Aate Hai", from the film "Border"

Memorable Hits

Accha Sila Diya = Bewafa Sanam    = 1994
Yeh Dil Deewana =    Pardes    = 1997
Sandese Aate Hain = Border = 1997
Satrangi Re =    Dil Se = 1998
Zindagi Maut Na Ban Jaaye = Sarfarosh =    1999
Mere Humsafar = Refugee =    2000
Panchhi Nadiyan = Refugee =    2000
Tanhayee = Dil Chahta Hai = 2001
Suraj Hua Maddham    = Kabhi Khushi Kabhie Gham =    2001
Saathiya = Saathiya = 2002
Mera rang de Basanti = The Legend of Bhagat Singh =    2002
Sarfaroshi Ki Tamanna = The Legend of Bhagat Singh = 2002
Kal Ho Naa Ho, Movie = Kal Ho Na Ho = 2003
Ghum Shuda = Chalte Chalte = 2003
Main Hoon Na = Main Hoon Naa = 2004
Tumse Milke Dil Ka Hai Jo Haal = Main Hoon Na = 2004
Chak De = Hum Tum =    2004
Do Pal = Veer Zaara = 2004
Kyon Hawa = Veer Zaara =    2004
Tujh Sang Bandhi Dor = Dev (film) = 2004
Jeene Ke Hain Chaar Din = Mujhse Shaadi Karogi = 2004
Aaja Soniye = Mujhse Shaadi Karogi = 2004
Sun Zara =    Lucky: No Time for Love = 2005
Chori Chori = Lucky: No Time for Love = 2005
Piyu Bole = Parineeta = 2005
Soona Man Ka Aangan = Parineeta    = 2005
Halka Halka Sa Yeh Sama      Chocolate      2005
Just Chill = Maine Pyaar Kyun Kiya = 2005
Falak Dekhoon = Garam Masala = 2005
Ada = Garam Masala =    2005
Dheere Jalna    = Paheli = 2005
No Entry (Ishq Di Gali Vich) =    No Entry =    2005
Mere Haath Mein = Fanaa = 2006
Dil Wich Lagya Re = Chup Chup Ke =    2006
Dekho Na = Fanaa = 2006
Kabhi Alvida Naa Kehna = Kabhi Alvida Naa Kehna = 2006
Tumhi Dekho Na = Kabhi Alvida Naa Kehna = 2006
Pyaar Ki Ek Kahani = Krrish = 2006
Koi Tumsa Nahin =    Krrish = 2006
Pal Pal Har Pal = Lage Raho Munna Bhai = 2006
Bande Mein Tha Dum =    Lage Raho Munna Bhai = 2006
Humko Maloom Hai = Jaan-E-Mann = 2006
Ajnabi Shehar =    Jaan-E-Mann = 2006
Sau Dard Hain    = Jaan-E-Mann = 2006
Behka Diya Humein = Umrao Jaan =    2006
Aaj Ki Raat = Don = 2006
Anisuthide Yaako indu = Mungaaru Male = 2006
Mungaru Maleye      Mungaaru Male = 2006
Salaam-E-Ishq = Salaam-e-Ishq: A Tribute To Love =    2007
Tenu Leke = Salaam-e-Ishq: A Tribute To Love = 2007
Apne = Apne = 2007
Bhae Bhor = Dharm = 2007

Albums

Sapnay Ki Baat
Kismat
Mausam
Pariyon Se
Deewana
Jaan
Yaad
Chanda Ki Doli
Colours of Love
Pyar

Filmography

Kaamchor
Ustaadi Ustaad Ke
Betaab
Hum se hai zamana
Taqdeer
Jaani Dushman
Kaash..Aap Hamare Hote
Love In Nepal
Navra Maajha Navsacha (Marathi)
Edited by Lovers Ka Love - 16 years ago

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Muhmmad Usman

@Lovers Ka Love

IF-Rockerz

Posted: 16 years ago

M A D O N N A

BIOGRAPHY

Madonna Louise Veronica Ciccone was the third of eight children born into a large Italian family in Michigan. Her father, Sylvio Ciccone, was a design engineer for General Motors, and her mother was Madonna Ciccone. She died when Madonna was six years old.

Madonna attended the University of Michigan on a dance scholarship for two years before heading to New York City to become a ballet dancer. She danced for the Patrick Hernandez Revue before teaming with Dan Gilroy to form the band, Breakfast Club. She later formed the band, Emmy, with Stephen Bray. Their first two singles, "Everybody" and "Physical Attraction" became club hits in New York. The next single, "Holiday," became her first Top Ten hit. Since then Madonna has had a spectacular career in show business as a singer, actress, and producer. Through her ability to evolve with the audiences, she has had more number one singles than any other female artist, eleven in all. Her song, "Rescue Me" off of THE IMMACULATE COLLECTION, became the highest-debuting single by a female artist in U.S. chart history, entering at number 15. She has won numerous MTV Music Awards, five Grammys, and a Golden Globe for her performance in EVITA. In 1992 she signed with Time Warner to create her own record label, Maverick.

Madonna continues to record music and act in films, splitting her time between Los Angeles, New York, Miami, and London. She has a daughter, Lourdes Maria, whom she calls "Lola" and is expecting another baby in late 2000.

CHRONOLOGY

1958 She was born in Bay City, Michigan. (August 16)

1964 Her mother died of breast cancer.

1977 She moved to New York City.

1979 She became part of the Patrick Hernandez Revue.

1980 She formed the band Emmy with Stephen Bray.

1982 She was signed by Sire Records.

1983 MADONNA - album

1984 LIKE A VIRGIN - album; VISION QUEST - film

1985 She married Sean Penn.; DESPERATELY SEEKING SUSAN - film

1986 TRUE BLUE - album; SHANGHAI SURPRISE - film

1987 WHO'S THAT GIRL - album & film; YOU CAN DANCE - album

1989 She and Sean Penn divorced.; LIKE A PRAYER - album; BLOODHOUNDS OF BROADWAY - film

1990 I'M BREATHLESS, THE IMMACULATE COLLECTION - albums; DICK TRACY - film

1991 TRUTH OR DARE - documentary

1992 She won a Grammy for Best Music VideO

1993 BODY OF EVIDENCE, DANGEROUS GAME - films

1994 BEDTIME STORIES - album

1995 SOMETHING TO REMEMBER - album; BLUE IN THE FACE, FOUR ROOMS - films

1996 EVITA -album & film; She won a Golden Globe for Best Actress in a Motion Picture for EVITA.; Her daughter, Lourdes Maria Ciccone Leon, was born. (October 14); GIRL 6 - film

1998 RAY OF LIGHT; She won three Grammy Awards for RAY OF LIGHT in the categories, Dance Recording, Pop Album, and Music Video.

1999 She won a Grammy for a Song Written for a Motion Picture, Television, or Other Visual Media for "Beautiful Stranger."

2000 THE NEXT BEST THING - film; MUSIC - album; She announced in March that she is due with her second child. Edited by Lovers Ka Love - 16 years ago

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Muhmmad Usman

@Lovers Ka Love

IF-Rockerz

Posted: 16 years ago

Himesh Reshammiya

Biography

Profile

Name: Himesh Reshammiya

Date of Birth: 23rd July 1973

Profession: Music Director, Composer & Singer

Favourite colour: Orange

Current career status: According to the Times of India newspaper, Himeshji has been responsible for giving 28 hits in 6 months and BBC did a news piece on the same.

Biography

Himesh Reshammiya is born on 23rd July 1973 and is the son of Veteran Gujarati music director Vipinji Reshammiya.

Himeshji studied at Hill Grange School in Peddar Road where he met his best friend Prashant Chadha. Prashant is responsible for Himesh's new look and for directing all of Himesh's music videos from his private album "Aap Kaa Surroor" as well as promotional videos for the movies "Aashiq Banaya Aapne", "Aksar" & "Tom, Dick & Harry".

At just 16 years old and before Himeshji went into music direction, he produced television serials for Zee TV which included serials such as "Andaz" & "Amar Prem".

The first big break came when Himeshji approached Salman Khan (who had just made it big with the hit movie "Maine Pyar Kiya") who gave Himesh the chance to be a music director for the movie "Bandhan" along with the composer Anand Raj Anand.

He became good friends with Salman Khan, a famous Bollywood actor who starred in the movie, and composed songs for some subsequent movies in which Salman starred. Since then, Himeshji & Salman have had a string of hits for movies such as "Pyar Kiya to Darna kya", "Ye Hai Jalwa", "Dulhan Hum Le Jayenge" and the more recent mega blockbuster album "Tere Naam".

From this experience, Reshammiya was able to develop his own unique style of composition, based on pop music and catchy techno beats. He also places a particular emphasis on indian melodic hooks to his songs. His most popular album can be said to be Tere Naam.

With a series of popular film scores, he is considered to be one of the top music directors in Indian cinema today, along with A. R. Rahman and Anu Malik. His music is associated with the youthful and trendsetting culture that has recently been pervasive in India, particularly due to the popularity of the remixes of his s

Edited by Lovers Ka Love - 16 years ago

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Muhmmad Usman

@Lovers Ka Love

IF-Rockerz

Posted: 16 years ago

Lata Mangeshkar

Birth: September 28th , 1929
Birthplace: Indore
Profession: Playback Singer, Bollywood.

Latabai Mangeshkar was born on 28th September, 1929, at Sikh Mohalla, Indore, Madhya Pradesh, India. Lata's father , Pt. Dinanath Mangeshkar was also an amateur astrologer, he christened his newly born daughter Hema, as per the date and time of her birth. He, however, would prefer to call her Hridiya. Later on, the family members began calling her Lata. The name stuck and the eldest daugter of Dinanath and Shrimati permanently came to be known as Lata Mangeshkar.

Deenanath Mangeshkar a classical singer & stage actor, who came from Mangeshi in Goa was trained in the colourful Punjabi school of Baba Mushelkar. He owned a drama troupe which made him pitch his tent in nearly every town - such as Pune, Kolhapur, Satara, Sangli and Miraj.

Lata's family was a wandering family. Lata's father was a singer and in the employ of a music-theatre outfit, Kirloskar Sangeet Mandali, that would move from place to place to stage its shows. Although, the family surname was Hardikar, it was Lata's father who adopted Lata's paternal ancestors belonged to the priestly caste of the Karhadi Brahmin, and many of them fought fiercely against the Portuguese colonizers to maintain the dignity and sanctity of their temples.

Lata her sisters and a brother ( Meena, Asha, Usha & Hridaynath) did not receive a proper schooling However to compensate this shortcoming he gave his children music lessons early in life.As lata grew up ,the peals of girlish giggles (still a characteristic) were present when Lata was a playful tomboy studying music from her father Master Dinanath Mangeshkar.Dinanath told his wife that Lata is going to be a miracle since he knew a little about astrology though he died before she started singing.

Films in which young Lata acted:

    * 1942 - Pahili Mangalagaur
    * 1943 - Chimukla Sansaar
    * 1943 - Maajhe Baal
    * 1944 - Gajabhau
    * 1945 - Badi Maa
    * 1946 - Jeevan Yaatra
    * 1946 - Subhadra
    * 1948 - Mandir
    * 1952 - Chattrapati Shivaji (only in one song sequence)

The nightingale of India, Lata Mangeshkar, who has charmed her fans with over 50,000 songs she has sung as a playback singer in films, has no regrets that she never got married. Lata, whose voice quality retains the freshness and innocence of a 16-year-old girl, says that in a way it has been good that she did not get married. 'Had I got married, I may have got divorced in a year or two. It has all been all for the good,' she says.

For Lata ,the Filmfare Awards for playback singing first started in the year 1958. In 1956, 'Rasik Balma'( Chori- Chori ) won the Best Song Filmfare Award, Lata refused to sing it live in protest of no Playback Singer category, which paved way in 1958 of this new category ( though Male & Female Awards where started later on).

From the year 1958 to 1966 no other female singer was able to get the filmfare award. Since she had won the popular Filmfare awards so many times & had always been accussed of monopolising the industry (along with sister Asha), after 1969, she made the unusual gesture of giving up FILMFARE awards in favour of fresh talent.

Filmfare Awards:

    * 1958 - Aaja Re Pardesi [Madhumati]
    * 1962 - Kahi Deep Jale Kahi Dil [Bees Saal Baad]
    * 1965 - Tumhi Mere Mandir Tumhi Meri Pooja [Khandan]
    * 1969 - Aap Mujhe Achhe Lagne Lage [Jeene Ki raah]
    * 1993 : Filmfare Lifetime Achievement Award
    * 1993 : Filmfare felicitated by the Maharashra Government for completion of 50 years.
    * 1994 : Filmfare Special Award (Didi Tera Devar Deewana - Hum Aapke Hain Kaun)

National Awards:

    * 1972 - Parichay
    * 1975 - Kora Kagaz
    * 1990 - Lekin

Maharashtra State Award :

    * 1966 - Sadhi Mansa
    * 1967 - Jait Re Jait

Bengal Film Journalist's Association Award:

    * 1964 - Woh Kaun Thi
    * 1967 - Milan
    * 1968 - Raja Aur Rank
    * 1969 - Saraswati Chandra
    * 1970 - Do Raaste
    * 1971 - Tere Mere Sapne
    * 1973 - Marjina Abdulla (Bengali)
    * 1973 - Abhimaan
    * 1975 - Kora Kagaz
    * 1981 - Ek Duje Ke Liye
    * 1985 - Ram Teri Ganga Maili

Other Awards:

    * 1969 : Padam Bhushan
    * 1974 : Guinness Book of World Records:for singing the maximum number Guinness book of World Records.
    * 1980 : Was presented key of the city of Georgetown, Guyana, South America
    * 1980 : Honorary Citizenship. The Republic of Suriname, South America
    * 1985 : 9th June declared as Asia Day in honour of her arrival in Toronto, Canada
    * 1987 : Honorary Citizenship of the U.S.A, Houston, Texas, U.S.A
    * 1989 : Dada Saheb Phalke Award
    * 1990 : Honorary Doctorate (Literature) By Pune University
    * 1996 : Videocon Screen Lifetime Achievement Award
    * 1997 : Rajiv Gandhi Award.
    * 1998 : Lux Zee Cine Lifetime Achievement Award
    * 1999 : Padma Vibhushan
    * 1999 : NTR Award
    * 2000 : Lifetime Achievement Award by IIFA in London
    * 2000 : Jeevan Gaurav Puraskar by the Chaturang Pratishthan
    * 2001 : Bharat Ratna - The Nation's Highest Civilian Award
    * 2001 : Noorjehan Award : First Reciepient
    * 2001 : Maharashtra Ratna : First Reciepient
    * 2002 : Asha Bhosle Award : First Reciepient

Best Of Lata Mangeshkar:

Kahin Deep Jale Kahin Dil      Bees saal Baad
Pyar Kiya To Darna Kya      Mughal - e -Azam
Chalo Sajana      Mere Humdum Mere Dost
Bhai Batoor      Padosan
Chalte-Chalte      Pakeezah
Kuch Na Kaho      1942 A Love Story
Diya Jale      Dil Se
Sunio Ji Araj Mhari      Lekin
Dil Deewana     Maine Pyaar Kiya
Aye Dil-e-Nadaan      Razia Sultana
Dikhaye Diye Ki Bekhud      BazaarEdited by Lovers Ka Love - 16 years ago

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Muhmmad Usman

@Lovers Ka Love

IF-Rockerz

Posted: 16 years ago

Allah Rakha(A . R) Rehman

D.O.B : January 6, 1967

Early life and influences

A. R. Rahman is the only son of R. K. Shekhar, a composer, arranger and conductor for Tamil films. His father died when Rahman was nine years old, and his family used to rent out musical equipment as a source of income. Dileep Kumar became A R Rahman after a turning point in his life, as Rahman himself has claimed in several television interviews. The specific incident involved his mother who developed some sort of illness and was leading a painful existence until a Muslim family friend suggested that they pray to in a prominent mosque in the locality. Rahman claims that after fervent prayers his mother's health showed remarkable improvement. Thus, the whole family converted to Islam as a mark of gratitude. Rahman was also a student at PSBB for a short while before changing schools.

During these early years, Rahman served as a keyboardist and an arranger in bands with friends, embracing numerous music genres. He played the keyboard and piano, in addition to the synthesizer, the harmonium and the guitar. His curiosity in the synthesizer in particular increased because, he says, it was the "ideal combination of music and technology."[3] He began training in Carnatic music. At the age of 11, he joined the troupe of Indian composer Ilaiyaraaja as a keyboardist.[3] Those days, Ilaiyaraaja used to get the keyboard and other musical instruments on rent from A. R. Rahman's home that originally belongs to R. K. Shekhar (A. R. Rahman's father). He later played in the orchestra of M. S. Viswanathan and Ramesh Naidu, and accompanied Zakir Hussain and Kunnakudi Vaidyanathan on world tours. The experience allowed him to obtain a scholarship to Trinity College at Oxford University, where he graduated with a degree in Western classical music.[4]

Film scoring and soundtracks

In 1991, Rahman began his own studio, attached to his house, called the Panchathan Record Inn. His music was used in advertisements, the title music of Indian Television channels and music in documentaries, among other projects. Rahman was, at first, hesitant about composing music for the Indian film industry primarily because most film makers at the time used songs as fillers. In 1992, he was approached by film director Mani Ratnam, who offered Rahman the job as composer for his upcoming Tamil language film Roja, at a price of Rs. 25,000. Rahman accepted, and the movie's debut led Rahman to receive the Rajat Kamal award for best music director at the National Film Awards, the first time ever by a first-time film composer. Rahman has since then gone on to win the award three more times (for Minsaara Kanavu (Electric Dreams, Tamil) in 1997, Lagaan (Tax, Hindi) in 2002 and Kannathil Muthamittal (A Kiss on the Cheek, Tamil) in 2003), the most ever by any composer.

When Rahman arrived on the Indian music scene with his first film Roja, he brought about a transformation of film music. Roja was a hit, in its original and dubbed versions, and Rahman followed it up with a number of other popular films, including Bombay, Kadhalan, Indira, Minsaara Kanavu, Muthu and Love Birds. His soundtracks gained him recognition and notice in the Tamil film industry and across the country for his versatality in classical, folk, jazz, reggae, soft rock and other styles. Rangeela, directed by Ram Gopal Varma, marked Rahman's debut in Hindi films. Many popular albums for films including Dil Se and Taal followed. The sales of these albums prompted movie producers to take film music more seriously. Rahman's playback singing in several of his albums was also admired.

Rahman's work is also unique in the fact that his collaborations with some film directors have always resulted in successful albums. In particular, he has worked with Mani Ratnam on ten films until 2006, all of which have been musical hits. Also notable is his collaboration with the director S. Shankar - in Gentleman, Kadhalan, Indian, Jeans, Mudhalvan, Nayak, Boys and Sivaji.

The following article was written in TIME magazine about Rahman's achievements. His first movie album Roja was listed in TIME magazine's "Top 10 Movie Soundtracks of All Time".[5] In addition to influencing western audiences, Rahman also impressed eastern audiences with his music so much that he was hired by Chinese director He Ping to compose the score and soundtrack for the Chinese film Warriors of Heaven and Earth in 2003.[6]

His latest work includes Water, Rang De Basanti, Sillunu Oru Kaadhal, Guru , Varalaru - The History of the Godfather and Sivaji: The Boss. Rahman has scored the movie Provoked and is also working on Shyam Benegal's next venture, Chamki Chameli, which is set for release in late 2007 as well as Jodhaa Akbar.

Rahman is a recipient of the Padma Shri, one of the highest civilian awards in India.

Other works

He made an album Vande Mataram (1996) on India's national song, singing the title song on the album. He followed it up with an album called Jana gana mana, a conglomeration of performances by all the leading exponents/artists of Indian classical music.

Andrew Lloyd Webber, a well-known composer of musicals, hired Rahman to compose his maiden stage production, Bombay Dreams (2002). This play was well received in England. Furthermore, Rahman, along with the Finnish folk music band Vrttin, composed the music for The Lord of the Rings theatre production, which first opened in Toronto on March 23, 2006, and a new production of which begins previewing in London at The Theatre Royal, Drury Lane from May 9, 2007.

On May 23rd 2006, a two-disc album soundtrack, titled Introducing A. R. Rahman, was released by Times Square Records, featuring 25 songs he composed from Tamil film soundtracks spanning 1993-2001. Rahman has performed in concerts and tours worldwide. He performed at the Hollywood Bowl amphitheatre in July 2006, with Indian singers Sukhwinder Singh, Hariharan and Sadhana Sargam, as well as American performing groups Raagapella and Global Rhythms, to a sold-out crowd.

Music style

Rahman's interest in the works of Classical and Romantic period composers, Carnatic composers, early film composers and predecessors K. V. Mahadevan and Vishwanathan-Ramamoorthy of the Tamil film industry and others continued through his late teens. He further explored and trained in Carnatic music, Western classical, Hindustani music and the Qawalli style of Nusrat Fateh Ali Khan, in addition to numerous other styles. His interest and outlook in music is said to stem from his love of experimentation.[4][7] As a result, his scores have alternated from songs and themes composed covering a variety of genres, with unconventionally-grouped instruments, and different vocal styles being used and combined together in some of his film soundtracks, to more traditional orchestral themes with leitmotif techniques composed in others. Rahman's works often feature a mix of minimalist songs and evocative, thematic pieces, building on his differing chord progressions and rhythms. He has written scores and songs with new and varied melodic and percussive sounds from instruments of different music systems. This unique blend he pioneered would come to be known as his avant-garde sound.

Award List Of A . R . Rehman

National Film Awards (India)
- 1993 - National Film Award for Best Music Direction - Roja
- 1997 - National Film Award for Best Music Direction - Minsaara Kanavu
- 2002 - National Film Award for Best Music Direction - Lagaan
- 2003 - National Film Award for Best Music Direction - Kannathil Muthamittal

Filmfare Awards (India)
- 1995 - Filmfare Best Music Director Award - Rangeela
- 1998 - Filmfare Best Music Director Award - Dil Se
- 1999 - Filmfare Best Music Director Award - Taal
- 2001 - Filmfare Best Music Director Award - Lagaan
- 2002 - Filmfare Best Music Director Award - Saathiya
- 2002 - Filmfare Best Background Score - The Legend of Bhagat Singh
- 2004 - Filmfare Best Background Score - Swades
- 2006 - Filmfare Best Music Director Award - Rang de Basanti
- He also won a "Filmfare R D Burman Music Debutant Award" for Roja's dubbed Hindi version.

South Indian Filmfare Awards
- 1993 - Best Music - Roja
- 1994 - Best Music - Gentleman
- 1995 - Best Music - Kadhalan
- 1996 - Best Music - Bombay
- 1997 - Best Music - Kadhal Desam
- 1998 - Best Music - Minsaara Kanavu
- 1999 - Best Music - Jeans
- 2000 - Best Music - Mudhalvan
- 2001 - Best Music - Alaipayuthey
- 2006 - Best Music - Sillunu Oru Kadhal

Tamil Nadu State Film Awards
- 1993 - Best Music - Roja
- 1994 - Best Music - Gentleman
- 1995 - Best Music - Kadhalan
- 1996 - Best Music - Bombay
- 1997 - Best Music - Minsaara Kanavu
- 2000 - Best Music - Sangamam

Zee Cine Awards (India)
- 2000 - ** 2002 - Zee Cine Award Best Music Director - Lagaan
- 2006 - Zee Cine Award Best Music Director - Rang de Basanti

GIFA Awards (Malaysia)
- 2006 - GIFA Award for Best Music - Rang de Basanti
- 2006 - GIFA Award for Best Background Music - Rang de Basanti

IIFA Awards (UK/South Africa/Malaysia/Yorkshire)
- 2007 - IIFA Best Music Direction - Rang de Basanti
- 2002 - IIFA Best Music Direction - Lagaan
- 2003 - IIFA Best Music Direction - Saathiya
- 2000 - IIFA Best Music Direction - Taal

Star Screen Awards
- 2002 - Best Background Music

Swaralaya Yesudas Award (India)
- 2006 - Swaralaya-Kairali-Yesudas Award for outstanding performance in music field

2000 - Padma Shri (India)

Screen-Videocon Awards Kadhal Desam (South - Tamil; 1997) Minsara Kanavu (South - Tamil; 1998) Vande Mataram (Non-film; 1998) Taal (Hindi; 2000) Other Awards was nominated for Laurence Olivier Theatre Award (2003) (The Hilton Award) for "Best New Musical of 2002" - Bombay Dreams Musical

Sangeet Awards 2005 Best Music Director (Film music - Swades)

The Mahavir-Mahatma Award (Instituted by the Oneness Forum)

National Lata Mangeshkar awards for 2004-05 ( The awards instituted by Madhya Pradesh government )

Sangeet Awards 2004 Best Music Director (Film music - Yuva) Best music arranger (Critics award) for 'Yeh Rishta' - Meenakshi 2004 American India Awards R D Burman Award at the SuMu Music Awards (1993) Madras Telugu Academy Puraskar (1992 to 1994) Bommai Nagi Reddy Award (1995/96) Lux-Kumudam Award for Kadhalan (1995) Mauritius National Award (1995; for contribution to music) Malaysian Award (1996; for contribution to music) Sanskriti Award from Delhi based Sanskriti foundation (1994) Kalaimamani Award from Tamil Nadu Government (1995) Thangapillai Award Rajiv Gandhi Award 3rd Channel [V] Awards - Coca Cola Viewer's Choice Award 1998 The Channel [V]-IMI Award for Best Producer for Vandemataram 1998 Fanta Award in 1999 Stardust Cine Honours Taal (2000) Filmgoers's Award Taal (2000) First Bollywood Music Awards (Best Music Director and Best Song) Taal (2000) V Shantaram Award: Taal (2001) Bollywood US Awards (2003) Best Music Director : Saathiya 8th Annual Planet-Bollywood Awards (People's Choice Awards! - Best of 2002) Best Music Direction : Saathiya, The Legend of Bhagat Singh Star Screen Award - Best Background Score - Rang De Basanti

Dinakaran Cine Awards Minsara Kanavu (1998) Jeans (1999) Mudalvan, Kadhalar Dhinam (2000)

MTV Awards MTV-VMA Award for Dil Se Re song from Dil Se.. 1999 MTV Asia Awards 2003 for Favourite Artist India MTV IMMIES 2003 - Best Music Composer - 'Saathiya' - Saathiya ( Hindi )

A. R. Rahman has been nominated for the following awards:

Laurence Olivier Awards (UK)
- 2003 - Laurence Olivier Theatre Award for Best New Musical - Bombay Dreams

Dora Mavor Moore Awards (Canada)
- 2006 - General Theatre Division - Outstanding Musical Direction - The Lord of the Rings musical

Picture will be added sOon😊
Edited by Lovers Ka Love - 16 years ago

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Muhmmad Usman

@Lovers Ka Love

IF-Rockerz

Posted: 16 years ago

Nusrat Fateh Ali Khan

D.O.B = October 13, 1948

A Pakistani musician, was primarily a singer of Qawwali, the devotional music of the Sufis (a mystical offshoot of Islam).

Traditionally, Qawwali has been a family business. Nusrat's family (originally from Afghanistan) has an unbroken tradition of performing qawwali for the last 600 years. Among other honorary titles bestowed upon him, Nusrat was called Shahenshah-e-Qawwali, meaning The Emperor of Qawwals.

Life and career

Nusrat was born in Faisalabad, Pakistan on October 13, 1948 to Ustad Fateh Ali Khan, a distinguished musicologist, vocalist, instrumentalist, and Qawwali performer. He had one brother, Farrukh Fateh Ali Khan. Initially, his father did not want him to follow him into the family business. He had his heart set on Nusrat choosing a more respectable career path and becoming a doctor, because he felt Qawwals had low social status. However, Nusrat showed such an aptitude for, and interest in, Qawwali that his father finally relented and started to train him in the art of Qawwali and he was also taught to sing within the classical framework of Khayal. This training was still incomplete when Ustad Fateh Ali Khan died in 1964 while Nusrat was still in school, and the training was continued by Nusrat's paternal uncle, Ustad Mubarak Ali Khan. Ten days after his father's death, Nusrat had a dream where his father came to him and told him to sing, touching his throat. Nusrat woke up singing, and was moved by the dream to decide that he would make Qawwali his career. His first public performance was at his father's funeral ceremony forty days later. Under the guidance of Ustad Mubarak Ali Khan, he became the group's leader in 1965 and the group was called Nusrat Fateh Ali Khan, Mujahid Mubarak Ali Khan & Party. ("Party" is the term used in Qawwali for the supporting members of the group.)

Nusrat's first public performance as leader of the family Qawwali group was in March 1965, at a studio recording broadcast as part of an annual music festival called Jashn-e-Baharan organized by Radio Pakistan. It took Nusrat several years more to perfect his craft and emerge from the shadow of the groups that were regarded as the leading contemporary Qawwals. But once he did, there was no looking back. He firmly established himself as the leading qawwal of the 20th century. His incredible voice and his complete mastery of the genre made him a superstar in the Indian subcontinent and the Islamic world. He sang mostly in Urdu and his native Punjabi, but also in Persian, Brajbhasha and Hindi. His qawwali output is almost evenly divided between Urdu and Punjabi, with a smattering of songs in the other languages. Nusrat was also one of the first South Asian singers to perform before large Western audiences.

Nusrat took over his family's qawwali party in 1971 after the death of his father and his uncle. In Pakistan, his first major hit was the song "Haq Ali Ali". This was performed in a traditional style and with traditional instrumentation, and featured only sparse use of Nusrat's innovative sargam improvisations. Nevertheless the song became a major hit, as many listeners were attracted to the timbre and other qualities of Nusrat's voice.

He reached out to Western audiences with a couple of fusion records produced by Canadian guitarist Michael Brook. In 1995, he collaborated with Eddie Vedder on the soundtrack to Dead Man Walking. His contribution to that and several other soundtracks and albums (including The Last Temptation of Christ and Natural Born Killers), as well as his friendship with Peter Gabriel, helped to increase his popularity in Europe and the United States. Peter Gabriel's Real World label released five albums of Nusrat's traditional Qawwali performances in the West. Real World also released albums of his experimental work, including Mustt Mustt (which features a slap bass technique) and Star Rise. He also performed traditional Qawwali live to Western audiences at several WOMAD world music festivals.

Nusrat provided vocals for The Prayer Cycle put together by Jonathan Elias, but died before the vocals could be completed. Alanis Morissette was brought in to sing with his unfinished vocals.

Apparently, when Nusrat toured in foreign countries, he would watch television commercials in order to identify the melodies and chord progressions popular in that country. He would then try to choose similar sounding songs from his repertoire for his performances.

Nusrat contributed songs to, and performed in, several Pakistani movies. Shortly before his death, he also recorded two songs for a Bollywood movie, Aur Pyaar Ho Gaya, in which he also appeared.

According to the Guinness Book of World Records, Nusrat Fateh Ali Khan holds the world record for the largest recorded output by a Qawwali artist—a total of 125 albums.

Nusrat was taken ill with kidney and liver failure on Monday, August 11, 1997 in London, England while on the way to Los Angeles from Lahore to receive a kidney transplant. He was due to perform in a live concert later in August. While still at Cromwell Hospital, Nusrat died of a sudden cardiac arrest on Saturday, August 16, 1997, aged 48. His body was then transported back to Faisalabad, Pakistan where thousands of distraught people attended his funeral and burial procession.

Nusrat's style of Qawwali

Nusrat is responsible for the modern evolution of qawwali. Although not the first to do so, he popularized the blending of khayal singing and techniques with qawwali. This in short took the form of improvised solos during the songs using the sargam technique, in which the performer sings the names of the notes he is singing (for example, in western notation it would be "do re mi"). He also attempted to blend qawwali music with more western styles such as techno.

Nusrat's qawwali songs usually follow the standard form. A song begins with a short instrumental prelude played on the harmonium and tabla. Then the instruments stop, and the main singers (but not the chorus) launch into the alap, which establishes the raga, the tonal structure of the song. At this point, introductory poetic verses are sung. These are usually drawn not from the main song, but from other thematically related songs. The melody is improvised within the structure of the raga.

After the introductory verses, the main song starts, and the rhythmic portion of the song begins. The tabla and dholak begin to play, and the chorus aids and abets percussion by clapping their hands. The song proceeds in a call and response format. The same song may be sung quite differently by different groups. The lyrics will be essentially the same, but the melody can differ depending on which gharana or lineage the group belongs to. As is traditional in qawwali, Nusrat and the side-singers will interject alap solos , and fragments of other poems or even improvised lyrics. A song usually has two or three sets of refrains, which can be compared to the verse chorus structure found in western music. Songs last about 20 minutes on average, with a few lasting an hour or more.

Nusrat was noted for introducing other forms of improvisation into the style. From his classical music training, he would interject much more complex alap improvisations, with more vibrato and note bending. He would also interject sargam improvisations (listen here).

While it is undoubtedly difficult to put into words what makes Nusrat's music appeal so deeply to so many listeners, many of whom do not understand a single word of the languages he sings in, here is one fan's attempt to explain: "Nusrat's music invites us to eavesdrop on a man communing with his God, ever so eloquently. He makes the act of singing a passionate offering to God. But we do not merely eavesdrop. The deepest part of Nusrat's magic lies in the fact that he is able to bring our hearts to resonate with the music, so deeply, that we ourselves become full partners in that offering. He sings to God, and by listening, we also sing to God."

During his lifetime, Khan agreed to all kinds of projects and collaborations, overlooked unauthorized releases—and even sang into personal tape recorders for just about anyone who would ask, though he knew that those bits would probably soon be pirated—with the justification that any recording, "legitimate" or not, would help spread the Sufi word of universal peace and love. However, he probably reached his biggest non-South Asian audience through a celebrated series of recordings made for the Real World label, several of which mixed traditional qawwali and ghazals with largely tasteful forays into Western instrumentation in order to attract European and American listeners. Some highlights from that discography include Devotional Songs, Love Songs, Shahen-Shah and The Last Prophet. The French label Ocora also has an excellent five-CD set of recordings Khan and his "party" made live in Paris for Radio France in the 1980s.

Composition of Nusrat's Qawwali Party

The composition of Nusrat's party changed many times over the 26 years that he led the party. Two members who remained from the beginning to the end were Farrukh Fateh Ali Khan and Dildar Hussain. Listed below is a snapshot of the party on an unknown date, but probably circa 1983:

   1. Mujahid Mubarak Ali Khan: Nusrat's first cousin, Vocals
   2. Farrukh Fateh Ali Khan: Nusrat's brother, Vocals and Lead Harmonium
   3. Rehmat Ali: Vocals and Second Harmonium
   4. Maqsood Hussain: Vocals
   5. Rahat Nusrat Fateh Ali Khan: Nusrat's nephew, pupil singer
   6. Dildar Hussain: Tabla
   7. Majawar Abbas: Mandolin, Guitar
   8. Mohammed Iqbal Naqbi: Chorus, secretary of the party
   9. Asad Ali: Chorus
10. Ghulam Farid: Chorus
11. Kaukab Ali: Chorus

The one significant member of the party who does not appear on this list is Atta Fareed. For many years, he alternated with Rehmat Ali on Vocals and Second Harmonium. He is easily identifiable in videos since he plays the harmonium left-handed.

Tributes

Eddie Vedder said, "I was lucky to work with Nusrat, a true musician who won't be replaced in my life. There was definitely a spiritual element in his music." Eddie Vedder also incorporated 'Nusrat Fateh Ali Khan' into the lyrics of 'Wishlist' during the 98' Yield tour in Melbourne, Australia.

The late American rock singer Jeff Buckley paid his tribute to Nusrat on the album, Live at Sin-. In his introduction, he states, "Nusrat, he's my Elvis," before performing the song "Yeh Jo Halka Halka Saroor Hai." The recording generated interest among the audience who were previously unaware of his music. He also stated in an interview, "I idolize Nusrat, he's a god too." Buckley died in May 1997 in Memphis, Tennessee, 3 months before Nusrat. In addition, Nusrat's posthumously released The Supreme Collection Vol. 1 has liner notes written by Buckley, to whom this album is dedicated.

In 2004, a tribute band called Brooklyn Qawwali Party (formerly Brook's Qawwali Party) was formed in New York City by percussionist Brook Martinez to perform the music of Nusrat. The 13-piece group still performs mostly instrumental jazz versions of Nusrat's qawwalis, using the instruments conventionally associated with jazz rather than those associated with qawwali.

SPIN magazine listed Nusrat as one of the 50 most influential artists of music in 1998.

TIME magazine's issue of November 6, 2006, "60 Years of Asian Heroes", lists Nusrat as one of the top 12 Artists and Thinkers in the last 60 years (see article).

The Red Hot Chili Peppers wrote a tribute song about Nusrat, called "Circle of the Noose". It has never been released.

In 2007, London-based producer Gaudi released Dub Qawwali, featuring dub reggae with Nusrat's vocals. See NPR article.

Documentaries

    * Nusrat has Left the Building... But When? (1997). Directed by Farjad Nabi. (This 20-minute docudrama focuses on Nusrat's early career.)
    * A Voice from Heaven (1999). Directed by Giuseppe Asaro. (This 75-minute documentary, available on VHS and DVD, provides an excellent introduction to Nusrat's life and work.)

Concert films

    * The JVC Video Anthology of World Music and Dance (1990). Video 14 (of 30) (South Asia IV). Produced by Ichikawa Katsumori; directed by Nakagawa Kunikiko and Ichihashi Yuji; in collaboration with the National Museum of Ethnology, Osaka. [Tokyo]: JVC, Victor Company of Japan; Cambridge, Massachusetts: distributed by Rounder Records. Features a studio performance by Nusrat Fateh Ali Khan and Party (two Urdu-language songs: a Hamd (song in praise of Allah), and a Manqabat for Khwaja Mu'inuddin Chishti, a 13th century Sufi saint. Filmed in Tokyo, Japan, September 20, 1987, for Asian Traditional Performing Arts).
    * Nusrat! Live at Meany (1998). Produced by the University of Washington. (87-minute document of a January 23, 1993 concert at Meany Hall, University of Washington in Seattle, during Nusrat's residency at the Ethnomusicology Program there.)

    * Live in Concert in the U.K. (DVD, vols. 1-17) [OSA]; recorded between 1983 and 1993
    * Akhiyan Udeek Diyan (DVD) [Nupur Audio]
    * Je Tun Rab Nu Manauna (DVD) [Nupur Audio]
    * Yaadan Vicchre Sajan Diyan Aayiyan (DVD) [Nupur Audio]
    * Rang-e-Nusrat (DVD, vols. 1-11) [Music Today]; recorded between 1983 and 1993
           o Live in Concert in UK (DVD vol. 1)
           o Live in Concert (DVD vol. 2)
           o Live in Concert (DVD vol. 3)
           o Live in UK (DVD vol. 4)
           o Live in UK (DVD vol. 5)
           o Live in Concert (DVD vol. 6)
           o Live in UK (DVD vol. 7)
           o Live in UK (DVD vol. 8)
           o Live in UK (DVD vol. 9)
           o Live in UK (DVD vol. 10)
           o Live in UK (DVD vol. 11)
           o Digbeth Birmingham 12 November 1983 (DVD vol. 12)
           o Digbeth 30 October 1983 (DVD vol. 13)
           o Luxor Cinema Birmingham (VHS vol. 1, 1979)
           o Digbeth Birmingham (VHS vol. 2, 1983)
           o St. Francis Hall Birmingham (VHS vol. 3, 1983)
           o Royal Oak Birmingham (VHS vol. 4, 1983)
           o Private Mehfil (Wallace Lawley Centre, Lozells Birmingham, November 1983) (VHS vol. 5)
           o Private Mehfil (VHS vol. 6, 1983)
           o Natraj Cinema Leicester (VHS vol. 7, 1983)
           o Live In Southall (VHS vol. 8)
           o Live In Bradford (VHS vol. 9, 1983)
           o Live In Birmingham (VHS vol. 10, 1985)
           o Allah Ditta Hall (VHS vol. 11, 1985)
           o Harrow Leisure Centre (VHS vol. 12)
           o University Of Aston (VHS vol. 13, 1988)
           o Aston University (VHS vol. 14, 1988)
           o WOMAD Festival Bracknell (VHS vol. 15, 1988)
           o Live In Paris (VHS vol. 16, 1988)
           o Poplar Civic Centre London (VHS vol. 17)
           o Imperial Hotel Birmingham (VHS vol. 18, 1985)
           o Slough Gurdawara (SHABADS) (VHS vol. 19)
           o Imran Khan Cancer Appeal (VHS vol. 20)
           o Town Hall Birmingham (VHS vol. 21, 1993)

    *
           o Akhiyan Udeek Diyan (DVD)
           o Je Tun Rab Nu Manauna (DVD)
           o Yaadan Vicchre Sajan Diyan Aayiyan (DVD)

Nusrat in popular culture

    * A hero in the novel "Chapayev and Void" by Viktor Pelevin is listening to a tape by an imaginary band Crimson Jihad which is described as a duo of Nusrat Fateh Ali Khan and Robert Fripp from King Crimson.

References

    * Khan, Nusrat Fateh Ali; Asaro, Giuseppi (Director, Producer); & Sforza, Alessandro (Producer). (2001). A voice from heaven: Nusrat Fateh Ali Khan, the most beautiful voice in the world [DVD]. New York, NY: Winstar TV & Video. ISBN 0794201253.
    * Ruby, Ahmed Aqeel. (1992). Nusrat Fateh Ali Khan: A Living Legend. Translated by Sajjad Haider Malik. Lahore: Words of Wisdom.Edited by Lovers Ka Love - 16 years ago

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