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Archive for February, 2010

Asha Bhosle: Partnership with music directors

Sunday, February 28th, 2010

Asha Bhosle: Partnership with music directors

O.P. Nayyar

Music director O. P. Nayyar’s association with Asha Bhosle is part of Bollywood lore. He was the composer who first gave Asha her own distinct identity. Many people have speculated about a romantic relationship between the two.

O.P. Nayyar

O.P. Nayyar

Nayyar first met Asha in 1952, at the music recording of Chham Chhama Chham.[9] He first called her for a film called Mangu (1954), and gave her a big break in CID (1956). However, it was the success of Naya Daur (1957), that made the duo very popular. After 1959, she was emotionally and professionally involved with

The team of O.P. Nayyar and Asha Bhosle is best remembered for their breezy and sometimes sirenish songs. Some good examples of their sensuous numbers are Aaiye meherbaan picturised on Madhubala (Howrah Bridge, 1958) and Yeh hai reshmi zulfon ka andhera picturised on Mumtaz (Mere Sanam, 1965). They recorded songs for many hit movies like Naya Daur (1957), Tumsa Nahin Dekha (1957), Howrah Bridge (1958), Ek Musafir Ek Hasina (1962), Kashmir Ki Kali (1964), etc. Some of their most popular songs include Aao huzur tumko (Kismat), Jaaiye aap kahan (Mere Sanam) etc. O.P. Nayyar used the Asha Bhosle-Mohammad Rafi duo for his most popular duets. some of these songs include Ude jab jab zulfein teri (Naya Daur). Main pyaar ka rahi hoon (Ek Musafir Ek Haseena), Deewana Hua Baadal, Ishaaron hi isharon mein (Kashmir Ki Kali) etc.
Asha recorded her last song for O.P. Nayyar in the movie Pran Jaye Par Vachan Na Jaye (1974). The solo number Chain se got many awards, but it was not included in the movie.
They split on August 5, 1972. It is not clear what made them part their ways. On being asked the reason for their parting, O P Nayyar once said, “I know astrology very well. I knew that one day I had to part with her. Something also happened, that upset me, so I left her.”[9] Nevertheless, he also said “…now that I am seventy-six, I can say that the most important person in my life was Asha Bhosle. She was the best person I ever met.”
The parting of Asha Bhosle and O.P. Nayyar was bitter, and probably therefore she has hesitated to give Nayyar his due. While talking about O.P. Nayyar in an interview with The Times of India, she once remarked – “Whichever composer gave me work, it was because my voice was suited to his music at that point. No one musician did me any favor by asking me to sing for him.”[10] She gives the credit for her first big break to B. R. Chopra, the producer of Naya Daur.

Another music director who recognized Bhosle’s talent early was Khayyam. His partnership with Asha Bhosle dates back to his first movie Biwi (1948). Khayyam gave her some good assignments in the 1950s, including Dard and Phir Subah Hogi. But the team is chiefly remembered for the songs of Umrao Jaan.

Mohd Rafi with poet lyricist Sahir Ludhianvi and-composer Khayyam

Mohd Rafi with poet lyricist Sahir Ludhianvi and-composer Khayyam

Music composer Ravi considered Asha as one of his favorite singers. She sang for his first movie Vachan (1955). The melodious lullaby from the movie, Chandamama door ke became an overnight hit among young mothers in India. Ravi got her to sing bhajans for the movies Gharana, Grihasti, Kajal and Phool Aur Patthar, at a time when most of the composers remembered her only when they needed to record B-grade songs picturized on the vamps or the side-heroines. Ravi and Asha Bhosle recorded a variety of songs, including the popular funny duet with Kishore Kumar – C A T…Cat maane billi (Dilli Ka Thug). The bhajan Tora man darpan (Kajal) is considered one of Asha Bhosle’s best songs.
They also recorded songs for many popular movies like Waqt, Chaudhvin Ka Chand, Gumrah, Bahu Beti, China Town, Aadmi Aur Insaan, Dhund, Humraaz, and Kajal with her. For Chaudhvin Ka Chand, Ravi wanted Geeta Dutt (the wife of producer Guru Dutt) to sing the songs. But when she backed out, Guru Dutt insisted that Asha Bhosle sing the songs.[5]

Sachin Dev Burman (SD Burman)
One of Bollywood’s most famous composers, Sachin Dev Burman and his favorite singer, Lata Mangeshkar, were not on good terms from 1957 to 1962..[11] During this period, S D Burman used Asha Bhosle as his lead female voice. She and S D Burman gave many hit songs in movies such as Kaala Pani, Kaala Bazaar, Insaan Jaag Utha, Lajwanti, Sujata and Teen Deviyaan (1965). They recorded many songs together after 1962 as well. Most famous of these songs were Asha Bhosle’s duets with Mohammed Rafi and Kishore Kumar. The song Ab ke baras in Bimal Roy’s Bandini (1963) consolidated her position as a lead singer. The seductive song Raat Akeli Hai from Jewel Thief (1967), picturised on Tanuja, became very popular.

Rahul Dev Burman (Pancham)
Asha first met Rahul Dev Burman (a.k.a. “Pancham”) when she was a mother of two and he was in 10th grade having dropped out to pursue music. Their partnership was first noticed in Teesri Manzil (1966). She went on to record a variety of songs with him – cabarets, rock, disco, ghazals, Indian classical music and many more.

Asha Bhosle and RD Burman

Asha Bhosle and RD Burman

In the 1970s, Asha Bhosle and Pancham’s youthful, Western songs took Bollywood music by storm – the raunchy cabaret Piya tu ab to aaja (Caravan, 1971, picturized on Helen), the rebellious Dum Maro Dum ( Hare Rama Hare Krishna, 1971), the sexy Duniya mein (Apna Desh, 1972), the romantic Chura Liyaa Hai Tumne (Yaadon Ki Baaraat, 1973). Pancham also recorded many hit duets with Asha Bhosle and Kishore Kumar – Jaane jaan, dhoondhta phir raha (Jawani Diwani), Bhali bhali si ek soorat (Buddha Mil Gaya) etc.
In 1980s, Pancham and Asha Bhosle recorded subtle numbers for films like Ijaazat (1987)- Mera kuch saaman, Khaali haath shaam aayi hai, Katra Katra. They also recorded the popular duet O Maria (Saagar). Mera Kuchch saamaan, the R.D. Burman composition for Gulzar’s Ijaazat won her the National Award for Best Singer.

Asha Bhosle used to call R D Burman “Bubs”. She married him in 1980. Their partnership lasted until his death.
RD Burman made her sing some of the most legendary songs in Bengali language as well, namely Mohuyae Jomechhe Aaj mou go,Chokhe Chokhe kotha bolo Chokhhe naame brishti(Bengali version of Jaane Kya Baat hai), Baanshi sune ki ghore thaka jaye,Sondhya Belae tumi aami,Aaj Gungun gun gunje amar (Bengali version of Pyaar Deewana hota hai),etc.

The prolific south Indian film composer Ilaiyaraaja began employing Asha Bhosle’s vocals in the early 1980s, their earliest collaboration being for the film Moondram Pirai (1982) (or Sadma, its Hindi remake in 1983). Their association continued, mostly through the latter half of the 1980s and early 1990s. Some of their notable songs from this period include Shenbagamae (Enga Ooru Paattukkaaran, 1987, Tamil). In 2000, Asha sung Ilaiyaraaja’s theme song for Kamal Haasan’s political film Hey Ram. The song, Janmon Ki Jwala (or Aparna’s Theme), was a duet with ghazal singer Hariharan.

A. R. Rahman
A. R. Rahman is given the credit for Asha Bhosle’s “comeback” with Rangeela (1994). Songs like Tanha Tanha and Rangeela Re were chartbusters. She and Rahman went on to record more hits like Mujhe Rang De (Thakshak), Radha Kaise Na Jale (Lagaan, duet with Udit Narayan), Kahin Aag Lage (Taal), O Bhanware (Daud, duet with K. J. Yesudas), Venilla Venilla (Iruvar,1999). Rahman once said, “I think of them (Lata and Asha) only when I feel I have composed something that fits their stature”.[5]

When S D Burman’s assistant Jaidev started giving music independently, he got Asha to sing some of his songs as well. They worked in Hum Dono (1961), Mujhe Jeene Do (1963), Do Boond Pani (1971) and other movies. In 1971, the pair released an LP of eight non-film devotional songs and ghazals called An Unforgettable Treat. Asha considered Jaidev a close friend who stood by her when she was struggling personally and professionally. Upon his death in 1987, she released a compilation album of lesser-known songs he had composed for her, called Suranjali.

Shankar Jaikishan
Shankar Jaikishan worked relatively little with Asha. However, the team produced quite a few hits including the seductive Parde mein rehne do (Shikar, 1968). Asha got her second Filmfare Award for the song. Asha also sang the song Zindagi ek safar hai suhaana (Andaz) for Shankar Jaikishan, in which she tried to yodel like Kishore Kumar, whose version of the song is more better known. When Raj Kapoor was not on speaking terms with Lata Mangeshkar, Asha got to sing the songs of Mera Naam Joker (1970), composed by Shankar-Jaikishan.

Anu Malik
Composer Anu Malik and Asha have recorded many hit songs together, including songs for his first movie Sohni Mahiwal (1984). Their most popular songs include Filhaal (Filhaal), Kitabein bahut si (Baazigar) among others. The four lines sung by Asha in Anu Malik’s Jab dil mile (Yaadein) stood out among voices of Sukhwinder Singh, Udit Narayan and Sunidhi Chauhan. Asha had also sung for Anu Malik’s father Sardar Malik in the 1950s and 1960s, most notably in Saranga (1960).

Other Composers

Madan Mohan recorded a number of songs with Asha, including the popular folk number Jhumka Gira Re from Mera Saaya (1966). In Chhoti Si Baat (1975), Asha sang the Jaaneman Jaaneman number with K. J. Yesudas for Salil Chowdhury. Salil’s 1956 movie Jagte Raho also had a number recorded by Asha, Thandi Thandi Saawan ki Phuhaar. Another Asha patron is the young composer Sandeep Chowta, who got her to sing Kambakht Ishq (A duet with Sonu Nigam) (Pyaar Tune Kya Kiya, 2001). The song gained major popularity among the Indian youth.

Asha has worked with Lata-patrons like Laxmikant-Pyarelal, Naushad, Ravindra Jain, N Dutta, Hemant Kumar. Once when Naushad was asked to sum up the essential difference between Lata and Asha, he said that Asha “lacks certain something which Lata, and Lata alone has”. Later he accepted in an interview, “May be I said it because I then had a closed ear on Asha”.[12] Naushad, later in his life, also admitted that he has been unfair to Asha Bhonsle. Asha has also worked with other noted Bollywood composers like Jatin Lalit, Bappi Lahiri, Kalyanji Anandji, Usha Khanna, Chitragupt, and Roshan.

Asha Bhosle: Career milestones

Sunday, February 28th, 2010

Asha Bhosle: Career milestones

Seen more closely, Asha Bhosle’s singing career can be considered having four milestones — Naya Daur (1957), Teesri Manzil (1966), Umrao Jaan (1981) and Rangeela (1995).

Naya Daur, 1957:

Asha Bhosle’s first big success was B R Chopra’s Naya Daur (“The New Age”, 1957). Her duets with Rafi like Maang ke saath tumhara, Saathi haath badhana and Uden jab jab zulfein teri, penned by Sahir Ludhianvi and composed by O. P. Nayyar, gave her recognition. Asha and O P Nayyar had worked earlier as well. But it was the first time that she had got to sing all the songs for the lead actress. B R Chopra, the producer of Naya Daur recognized her talent and got her to sing in many of his later films including Waqt and Gumraah, Humraaz, Aadmi Aur Insaan, Dhund etc.

Teesri Manzil, 1966
Asha Bhosle became a pop crooner with Rahul Dev Burman’s Teesri Manzil (1966). When she first listened to the tune of the song Aaja Aaja, she felt that she would not be able to sing the Western dance number. R D Burman offered to change the music. She was offended a bit and took it as a challenge to sing the song. After rehearsing for 10 days, when she finally sang the song, an impressed R D Burman handed her a 100-rupee note. Aaja Aaja and other songs of the film, O Haseena Zulfonwali and O Mere Sona Re (all three duets with Rafi, another popular Bollywood singer), became rage of the day. Shammi Kapoor, the actor of the movie, once said – “If I did not have Mohammad Rafi to sing for me, I would have got Asha Bhosle to do the job”.

Umrao Jaan, 1981
By 1980s, Asha Bhosle had been stereotyped as a “cabaret singer” and a “pop crooner”. In Rekha-starrer Umrao Jaan, she sang ghazals like Dil cheez kya hai, In aankhon ki masti ke, Ye kya jagah hai doston and Justju jiski thi. The songs proved her capable of doing fairly serious songs. The music director Khayyam, had lowered her pitch by half a note. Asha herself was surprised that she could sing so differently. The ghazals won her the first National Award of her career and proved her versatility.

Asha Bhosle

Asha Bhosle

Rangeela, 1995
In 1995, a 62-year old Asha Bhosle did playback for young actress Urmila Matondkar in the movie Rangeela. She pleasantly surprised her fans with superhit songs like Tanha Tanha and Rangeela Re. The songs were composed by iconoclastic music director A. R. Rahman, who went on to record many more songs with her. Particularly notable was Asha Bhosle’s first song with A R Rahman, Tanha Tanha, an oomph-oozing number.

Asha Bhosle: Basic Biography

Sunday, February 28th, 2010

Asha Bhosle: Basic Biography

Asha Bhosle (Marathi: आशा भोसले) (born September 8, 1933) is an Indian singer. She is best known as a Bollywood playback singer, although she has a much wider repertoire. Her career started in 1943 and has spanned over six decades. She has done playback singing for over 1000 Bollywood movies and sold many records. She is the sister of playback singer Lata Mangeshkar.

Bhosle is considered one of the most versatile South Asian singers — her range of songs includes film music, pop, ghazals, bhajans, traditional Indian Classical music, folk songs, qawwalis, Rabindra Sangeets and Nazrul Geetis. She has sung in over 14 languages including Assamese, Hindi, Urdu, Telugu, Marathi, Bengali, Gujarati, Punjabi, Tamil, English, Russian, Czech, Nepali, Malay and Malayalam.

Bhosle is believed to have sung over 12,000 songs. Though her sister, Lata Mangeshkar was featured in the Guinness Book of World Records during 1974-1991, for having sung the most songs in the world, reputed sources have introduced concerns to its veracity, claiming that the Guinness counts were exaggerated and Bhosle had recorded more songs than Mangeshkar. Bhosle herself pointed out that she had made the most recordings by any singer – 12,000


Asha Bhosle was born in the small hamlet of Goar in Sangli, Maharashtra, into the musical Marathi family of Pandit Deenanath Mangeshkar. Her father was a theater actor and classical singer. When she was nine years old, her father died. The family moved from Pune to Kolhapur and then to Bombay. She and her elder sister Lata Mangeshkar began singing and acting in films to support their family. She sang her first film song Chala Chala Nav Bala for the Marathi movie Majha Bal (1943). The music for the film was composed by Datta Dawjekar. She made her Hindi film debut when she sang the song Saawan aaya for Hansraj Behl’s Chunariya (1948). Her first solo Hindi film song was for the movie Raat Ki Raani (1949).

Asha Bhosle

Asha Bhosle

At the age of 16, she eloped with 31-year old Ganpatrao Bhosle, marrying him against her family’s wishes. Ganpatrao was sister Lata’s personal secretary. The marriage failed miserably. Her husband and in-laws mistreated her. After a few years of marriage, Bhosle was turned out (around 1960) by a suspicious Ganpatrao and she went to her maternal home with two children and pregnant with her third child, Anand. She continued to sing in films to earn money.

At that time, prominent playback singers like Geeta Dutt, Shamshad Begum and Lata Mangeshkar (her sister) monopolized the singing for the “heroine” roles and the big films, whilst Asha Bhosle used to get the assignments they did not take: singing for the bad girls and vamps, or songs in the second-grade movies. In the 1950s, she sang more songs than any other playback singer in Bollywood, yet most of these were in low budget B or C-grade films. Her earliest songs were composed by A R Qureshi, Sajjad Hussain and Ghulam Mohammed, most of which failed to do well.[5] Singing in Dilip Kumar-starrer Sangdil (1952), composed by Sajjad Hussain, she got reasonable recognition. Consequently, film director Bimal Roy gave her a chance to sing in Parineeta (1953). Raj Kapoor signed her to sing the song Nanhe Munne Bachche with Mohammed Rafi in Boot Polish (1954), which gained popularity.

O. P. Nayyar gave Asha Bhosle a big break in C.I.D. (1956). She first achieved success in B. R. Chopra’s Naya Daur (1957), composed by him. His collaboration with Bhosle produced many hits. Later, she established herself and received patronage of composers such as Sachin Dev Burman and Ravi. Bhosle and Nayyar had a professional and personal parting of ways in the 1970s.
In 1966, Asha’s performance in the duets from music director R D Burman’s first successful movie, Teesri Manzil won popular acclaim. Their collaboration produced numerous hits in the 1970s and resulted in a marriage. In 1960s and 1970s, she became the voice of Bollywood’s most famous dancer, Helen. It is said that Helen would attend her recording sessions so that she could understand the song better and plan dance steps accordingly.[8] Some of the most popular Asha Bhosle-Helen numbers are Piya Tu Ab To Aaja (Caravan), O Haseena Zulfon Wali (Teesri Manzil), and Yeh Mera Dil (Don).
In Umrao Jaan (1981) and Ijaazat (1987), she sang traditional ghazals and proved her versatility, winning the coveted National Film Award for Best Female Playback Singer.

Her film activities continued into the 1990s. Her performance in the 1995 hit Rangeela was particularly notable. As late as 2005, 72-year-old Asha Bhosle’s numbers for the Tamil film Chandramukhi and the pop song Lucky Lips for Salman Khan-starrer Lucky were chartbusters. Some of the other popular Tamil songs sung by Bhosle are Oh! Butterfly, September Maadham and Vennila Vennila.

In October 2004, The Very Best of Asha Bhosle, The Queen of Bollywood, a compilation album of songs recorded by Bhosle for albums and Bollywood films that were released during 1966-2003, was released.

Sachin Dev Burman (SD Burman): Simplicity was his forte

Saturday, February 27th, 2010

Sachin Dev Burman (SD Burman): Simplicity was his forte

Courtesy: K. PRADEEP (The Hindu 2009)

S.D. Burman, whose birth centenary falls this year, was a trendsetter in more ways than one.

SD was the first of those music directors who insisted on composing the tune before listening to the lyrics.

sdburman-mohdrafi (Sachin Dev Burman (SD Burman))

sd burman- mohd rafi (Sachin Dev Burman (SD Burman))

A CLASS APART: Music director S.D. Burman records a song. Accompanying him on the sitar is his son Rahul Dev Burman.
Sachin Dev Burman (1906-1975) stands alone in a world where very often mediocrity is hailed as talent and plagiarism as genius. His songs had a stamp of his inimitable style, simple tunes backed by simple orchestra thereby emphasising the melodic content of the song.

A scion of a princely family in Tripura, SD, as he was sometimes called, picked up early music lessons from his father Nabadweep Chandra Dev Burman.

Student days

During his college days at Comilla Victoria College, near Dhaka, SD was forced to spend a few years in hiding. There was a conspiracy in the royal palace and a threat to SD’s life. His father sent him to the jungles bordering Bengal and Assam. His association with wandering minstrels and Adivasis enabled him to add a new dimension to his music. The haunting folk style that SD later used in some of his immortal songs were perhaps influences from the days of exile.

S.D.Burman and Kishore Kumar

S.D.Burman and Kishore Kumar

Back home, SD travelled to Calcutta for his post-graduation. Here, he came under the magic spell of Bengali music as propagated during those days by musicians like K.C. Dey, the popular actor-singer. SD began learning classical music under Dey and later under great exponents like Ustad Badal Khan, Ustad Bishwadev Chatterjee, Girija Shankar Chakravarthy and the sarod under Ustad Allauddin Khan.

In 1927, SD faced the microphone for the first time. He sang a few songs for All India Radio. Hindustan Records contracted him to record semi-classical songs. That record, which had the song `Dheere je jaana baghiyan me… ,’ became popular.

BurmanFamily The Comilla Branch of the Tripura Royal Family   Back Row (L to R) SDB's Brother (unidentified), SDB's elder brother Lt Col Kumar Kiran Dev Burman, Father, Nadadwip Chandra Dev Burman, SDB's brother-in-law, unidentified   Middle Row (L to R) SDB Sister(unidentified), SDB's Sister-in-law Aparna Devi, SD Burman (small child next to her), Mother Nirupama Devi, Uidenitfied, SDB's sister, SDB's sister   Sitting in Front All unidentified.

BurmanFamily The Comilla Branch of the Tripura Royal Family Back Row (L to R) SDB's Brother (unidentified), SDB's elder brother Lt Col Kumar Kiran Dev Burman, Father, Nadadwip Chandra Dev Burman, SDB's brother-in-law, unidentified Middle Row (L to R) SDB Sister(unidentified), SDB's Sister-in-law Aparna Devi, SD Burman (small child next to her), Mother Nirupama Devi, Uidenitfied, SDB's sister, SDB's sister Sitting in Front All unidentified.

In the 1933 film `Yahudi Ki Ladki’ he recorded a couple of songs but was rejected for his strong Bengali accent and pronunciation. Punkaj Mullick, who was the music director for this film, replaced SD with Pahadi Sanyal. Though SD did manage to sing in a couple of films like `Sita’ he realised that his future was not in singing. SD decided to try his hand at composing music. He also tried acting. He appeared in a small role in Dhiren Ganguly’s film `Birodhi.’

The Bengali film `Rajashri,’ released in 1937, marked the beginning of his career as music composer. SD went on to make music for a few Bengali films such as `Rajkumar Nirbashan,’ `Jeevan Sangini,’ `Chadmabeshi,’ and `Matir Ghar.’

Move to Mumbai

In 1940, SD moved to Mumbai to become a playback singer. SD sang his first solo `Prem ki pyari nishani… ‘ in the film `Taj Mahal’ (1941). He made his debut as a music director in the 1946 film `Shikari.’ A duet from this film `Har din hai naya, har raat nirali hai… ,’ sung by Ashok Kumar and Amirbai Karnataki, became a super hit.

A couple of songs from the film `Eight Days,’ released the same year also turned into hits. This included the immortal `Ummeed bhara panchi… ‘ that he sang. But the film that really sent his stock rising was `Do Bhai’ (1947). All the songs from this film became hits. The film also became a watershed in the career of Geeta Dutt. Two songs `Mera sunder sapna beet gaya… ‘ and `Yaad karoge yaad karoge… ‘ became all-time hits and still remain favourites. In a career spanning more than four decades SD composed music for over 90 films. He was strongly inspired by the two powerful streams of music in Bengal, the Vaishnav and the Sufi styles. But when it came to his own musical creations, SD seemed to be more influenced by the Sufi style than anything else.

SD was very choosy and took time for his compositions. He often recommended other music directors if he found the films not his cup of tea. It is said that SD never allowed his assistants to create music for him. SD was a perfectionist who always insisted on numerous rehearsals and was even prepared to put off recordings till he got what he wanted. SD was also the first of those music directors who insisted on composing the tune before listening to the lyrics.

It was SD who stopped the trend of one singer singing for one particular hero, like Mukesh for Raj Kapoor or Kishore Kumar for Rajesh Khanna. SD used more than one voice for the same actor in the same film. He used a singer to suit the mood and the situation in the film. He had Mukesh, Rafi and Kishore singing for Amitabh Bachchan in the film `Abhimaan.’

Fine sportsman

A fine sportsman, SD was passionate about tennis, football and volleyball. His famous altercation and subsequent patch-up with Lata Mangeshkar was once summed up by SD in a typical `tennis-speak.’ He said: “Lata was always my first serve. Asha (Bhonsle) became my second serve, once again I got my first serve Lata back.” SD also found time to pen his autobiography titled `Sargamer Nikhad,’ which is in Bengali.

SD went into a coma while recording for the film `Mili’ and passed away on October 31, 1975.

Sachin Dev Burman (SD Burman): My Favorite Music Composer

Saturday, February 27th, 2010

Sachin Dev Burman (SD Burman): My Favorite Music Composer

Known as “Sachin Karta” to the music connoisseurs of Kolkata, “Burman Dada” as fondly called by the musicians of Bombay, “Shochin Deb Bormon” by the radio listeners of Bangladesh and West Bengal, India, “S.D. Burman” by the film cine goers or simply “SD” by his “jeans” filmi fans — he created songs that bore the stamp of his inimitable genius, abounding in variety yet retaining the distinction of his style. Drawing from the vast store of folk music-forms and from the classical teachings, as the mood called for, he produced what is known as the Sachin Dev Burman music which is at once rotund, vibrant and unorthodox both in form and substance.

Sachin Dev Burman was born October 10, 1901 as one of the nine children of Prince Komilla of Tripura. Sachin Dev underwent classical training from his father, Sitar player and Dhrupad singer Nabadweep Chandra Dev Burman. He later trained under Ustad Badal Khan and Bhishmadev Chattopadhyay and this classical training gave him a firm rooting for the music that he was to compose later in life.After his father’s death Sachin left home, travelled for years in the forests of Assam and Tripura from where he gained his formidable knowledge and rich repertoire of the rich folk of that region and Bengal. Later he became a disciple of Ustad Aftabuddin Khan, becoming an ace flautist, and starting his own music school, ‘Sur Mandir’ in Calcutta in the 1930’s. He rose to be a popular singer there, learnt more under the illustrious K. C. Dey. He also scored music for Rajkumar Nirshoney, a Bengali film, in 1940. He married Meera, an accomplished singer in 1938. Rahul Dev Burman was born a year later.

SD_Burman_stamp Sachin Dev Burman (SD Burman)

SD_Burman_stamp Sachin Dev Burman (SD Burman)

Dada left for Bombay against his will in 1944 at the request of Sasadhar Mukherjee of Filmistan, to do two films, Shikari and Aath Din. But Bombay was no cake walk. Despite the musical success of Shikari and Aath Din and later on Do Bhai, Vidya, Shabnam, Dada was still not considered a force. Frustrated, Burman decided to pack up for Kolkata. It was at this point Ashok Kumar put his foot down. “Compose the music for Mashaal and then you are free”. Dada took up the baton again. Mashaal was a super hit. The song ” Upar Gagan Vishal”, became a rage. It also launched Manna Dey in a new fold. After that it was just a matter of time before Dev Anand, who had struck a rapport with this kindred progressive soul, launched his own banner Navketan, and signed S. D. Burman for Baazi. This 1951 hit, along with Jaal (1952) and his AVM hits Bahar and Ladki clinched Dada’s success story, and his career never flagged till 1974 when he quit signing films from ill – health.

sd_burman_asha_bhonsle (Asha and R.D. Burman with her in-laws)

sd_burman_asha_bhonsle (Asha and R.D. Burman with her in-laws)

sd_burman_meera (a file photo of the late S.D. Burman and wife Meera)

sd_burman_meera (a file photo of the late S.D. Burman and wife Meera)

Dada Burman has the highest average of hit songs among any composer in Hindi films. Obviously, such success stemmed from his unshakeable belief in himself, and he was known to refuse films where the filmmaker wanted ‘hit’ songs. “I compose only good songs”, he would tell this brigade. S. D. Burman won only a few awards – because he never cultivated them but his greatest triumph lay in the fact that his choosiness made every score count. There was a time in Bombay when the lyrics were set to tune by the music directors. Dada changed the theory. The tune first, the lyrics later. Today nine out of ten songs are composed in this manner. Also for every song sequence Dada had many alternative tunes thus giving the producers a wide choice. Dada would often compose a tune instantly, and his music had a strong foundation of folk and classical and was known to innovate by mixing them with Western arrangements. He was averse to commercialization, but he would also aver that a tune should be so simple that ‘even my servant should be able to sing it’. When necessary, he would compose exquisite classical numbers, but he would always say that film music was not the medium to show off one’s classical prowess.

A CLASS APART: Music director S.D. Burman records a song. Accompanying him on the sitar is his son Rahul Dev Burman.

A CLASS APART: Music director S.D. Burman records a song. Accompanying him on the sitar is his son Rahul Dev Burman.

He would scoff at the so–called indispensability of a singer. When Lata Mangeshkar refused to record with him, he delivered hit after hit with Asha Bhosle and Geeta Dutt and only made with her because his son Pancham wanted her to sing his career first song. He groomed singers like Asha Bhosle, Kishore Kumar and even Hemant Kumar and made Rafi sing in a soft, crooning fashion when others wanted high pitched or maudlin vocals from him. Dada Burman would practice consciously forgetting a song that he had recorded so that it would not subconsciously permeate in a later composition. His firm base and his selective nature kept his music fresh and no song of his ever gave a déjà vu feeling of an older song.

Dada received the prestigious Sangeet Natak Academy Award and the Padmashree for his contribution to music. He got a national award for singing in 1969 for ‘Kahe Ko Roye Hoye Jo Hoye..’ (Aradhana). Earlier in 1934 in Kolkata, Dada was awarded a gold medal in All Bengal Classical Music Conference in which Ustad Fayyaz Khan, Ustad Allauddin Khan, Bishwadev Chatterjee participated. In Agartala, a bridge has been dedicated in his memory. S. D. Burman awards are given from Agartala every year to upcoming artists.And in Bombay Sur Singar Samsad Academy presents S. D. Burman awards to musicians involved in films.

Dada left for heavenly abode on October 31, 1975 after a paralytic stroke felled him a year earlier. There was a time when the royal family of Tripura criticized him for making a living out of music as it brought down the image of royalty. Dada was hurt and slowly he snapped his ties with Tripura. Today, the Tripura royal family is known for Sachin Dev Burman !!

Eight Days
Chitor Vijay
Dil Ki Rani
Do Bhai
Ek Nazar
Laal Kunwar
Jiwan Jyoti
Chalis Baba Ek Chor
Radha Krishna
Taxi Driver
House No.44
Mad Bhare Nain
Miss Indai
Nau Do Gyarah
Paying Guest
Chalti Ka Naam Gadi
Kala Pani
Sitaron Se Aage
Solvaa Saal
Insaan Jaag Utha
Kaagaz Ke Phool
Apna Haath Jagannath
Bambai Ka Babu
Ek Ke Baad Ek
Kala Baazar
Miyan Biwi Raaji
Baat Ek Raat Ki
Dr. Vidya
Naughty Boy
Meri Surat Teri Aankhen
Tere Ghar Ke Saamne
Kaise Kahoon?
Teen Deviyan
Jewel Thief
Ishq Par Zor Nahin
Prem Pujari
Naya Zamana
Tere Mere Sapne
Ye Gulistan Hamara
Zindagi Zindagi
Chhupa Rustam
Prem Nagar
Us Paar
Chupke Chupke
Arjun Pandit

Sachin Dev Burman (SD Burman): A Legendary Figure

Saturday, February 27th, 2010

Sachin Dev Burman (SD Burman) A Legendary Figure

Source: Online web documents

Kumar Shri Sachin Dev Burman (Bengali: শচীন দেব বর্মন; 1 October 1906 – 31 October 1975), also credited as Burman da, Kumar Sachindra Dev Barman, Sachin karta or S. D. Burman, was one of the most famous music composers for Hindi movies and a Bengali singer and composer. His son Rahul Dev Burman also achieved great success as a Bollywood music director in his own right. S D Burman composed music for 100 movies, including Bengali films.
S.D. Burman’s compositions have been mainly sung to a large extent by the likes of Lata Mangeshkar, Mohammad Rafi, Geeta Dutt, Manna Dey,Kishore Kumar, Asha Bhonsle and Shamshad Begum. Mukesh and Talat Mahmood have also sung songs composed by him. He also sang about 20 film songs (inclusive of Bengali films) for which he composed music though he may not have been the music director of the films

Early life
S. D. Burman was born on 1 October 1906, in Comilla, British India, now in Bangladesh, to Nirmala Devi and Nabadwipchandra Dev Burman, the second son of ‘Ishanachandra Dev Burman’, Raja of Tripura, (r. 1849-1862). Sachin was the youngest of the five sons, of his parents, who had nine children in all.
He began his training in classical music under his father, who was a sitarist and Dhrupad singer.
He did his B.A. from Calcutta University  He started his formal music education by training under the famous musician K. C. Dey from 1925 to 1930; thereafter in 1932 he came under the tutelage of Bhismadev Chattopadhaya, who was only three years his senior. This was followed by training from Kahifa Badal Khan, Sarangi player, and Ustad Allauddin Khan. Eventually he got K.C. Dey, Ustad Badal Khan and Allauddi Khan into Agartala, noted Bengal poet laureate, Kazi Nazrul Islam also spent time in their family home, Comilla House, in Agartala.

Sachin Dev Burman (SD Burman)

Sachin Dev Burman (SD Burman)

He started working as a radio singer on Calcutta Radio Station in 1932, where his early work was based on East Bengali and Tripuri folk-music, and soon made a reputation for himself in folk and light classical music, consequently his film compositions were often influenced by his huge repertory of folk-tunes from the Bengali, Bhatiali, Sari and Dhamail traditions of Tripura Kingdom. In the same year, his first record was also released (Hindustan Musical Product), with “Khamaj” semi classical, E Pathery Aaj Eso Priyo on one side and the folk Dakle Kokil Roj Bihane on the reverse side” on 78 rpm for Hindustan Records . In the following decade he reached his peak as a singer, cutting as many as 131 songs in Bengali, and also sang for composers like Himangsu Dutta, RC Boral, Nazrul Islam and Sailesh Das Gupta.

Sachin Dev Burman (SD Burman)

Sachin Dev Burman (SD Burman)

In 1934, he attended the All India Music Conference, at the invitation of Allahabad University, where he presented his Bengali Thumri, at to an illustrious audience, with the likes of Vijaya Lakshmi Pandit and the inimitable Abdul Karim Khan of Kirana Gharana. Later in the year he was invited to Bengal Music Conference, Kolkata, which was inaugurated by Rabindranath Tagore, here again he sang his thumri, and was awarded a Gold Medal .

pyasa (Sachin Dev Burman (SD Burman))

pyasa (Sachin Dev Burman (SD Burman))

He built a house, in Southend Park, Ballygunge, Kolkata, and in 1937, at the All India Music Conference, Allahabad, he met a music student at Rabindranath Tagore’s Shantiniketan, Meera Dasgupta (1923-2007), the granddaughter of Justice Raibahadur Kamalnath Dasgupta from Dhaka; soon she became his student and they married on 10 February 1938 in Calcutta , though having married a non-royal, created a furor within the royal family, and subsequently he severed his ties with the family, and forfeited his inheritance  The couple’s only child, Rahul Dev Burman was born in 1939, and later, both Meera Devi and Rahul assisted, S.D. Burman with some of the musical compositions. S D Burman also did a singing role in Urdu film Selima (1934) and another role in Dhiren Ganguli’s film, Bidrohi

As a music composer, he started with Bengali plays, Sati Tirtha and Janani, and eventually gave his first score in film, Rajgee in 1937, his second film Rajkumarer Nirbashan (1940) became a hit, there was no turning back after that. He gave successful music in Bengali films like, Jevaan Sangini, Protishodh (1941), Abhoyer Biye (1942), and Chaddobeshi (1944) , he continued giving music in Bengali cinema, even after he moved to Bombay in 1944, and started the second inning of his musical career, giving music for over 17 Bengali films in the all .
He made his film debut singing in Yahudi ki Ladki (1933) but the songs were scrapped and re-sung by Pahari Sanyal. His first film as a singer was finally Sanjher Pidim (1935).

guide (Sachin Dev Burman (SD Burman))

guide (Sachin Dev Burman (SD Burman))

In 1944, he moved to Bombay, at the request of Sasadhar Mukherjee of Filmistan, who asked him to give score for two Ashok Kumar starrers, Shikari (1946) and Aath Din , but his first major breakthrough came the following year with the company’s Do Bhai (1947). The song Mera Sundar Sapna Beet Gaya sung by Geeta Dutt was her breakthrough song into the film industry. In 1949, came Shabnam, his biggest hit yet with Filmistan, especially noticeable for its multi-lingual hit song Yeh Duniya Roop ki Chor, by Shamshad Begum, which became a rage in those days

Disillusioned with the materialism of Bombay, S D Burman left the Ashok Kumar starrer Mashaal (1950) incomplete and decided to board the first train back to Calcutta. Fortunately, he was dissuaded from doing so.
In 1950s, S D Burman teamed up with Dev Anand’s Nav Ketan Productions to create musical hits like Taxi Driver (1954), Munimji (1955), Paying Guest (1957), Nau Do Gyarah (1957) and Kalapani (1958). The songs sung by Mohammad Rafi and Kishore Kumar became popular. Burman da composed the music for Dev Anand’s production company Navketan’s first film Afsar (1950). With the success of their second film, Baazi (1951) he made it to the top and a long association with Navketan and Dev Anand was on its way. “Baazi”‘s jazzy musical score revealed a new facet of singer Geeta Dutt, who was mainly known for melancholy songs and bhajans. While every song in the film was a hit, one stood out for special appeal – “Tadbir se Bigdi Hui Taqdeer”, a ghazal that was occidentalized into a seductive song.

He also wrote music for the Guru Dutt classics – Pyaasa (1957) and Kaagaz Ke Phool (1959). The soundtrack of Devdas (1955) was also composed by him. House No. 44 (1955), Funtoosh (1956), and Solva Saal (1958) were other S D Burman hits. In 1959 came Sujata, a masterpiece by Bimal Roy, and S D created magic again with “Jalte hai jiske liye” by Talat Mamood. When Guru Dutt made comparatively light-weight films like Baazi and Jaal (1952), Burmanda reflected their mood with compositions like Suno Gajar Kya Gaye or De Bhi Chuke Hum and when Guru Dutt made his somber masterpieces – Pyaasa (1957) and Kaagaz ke Phool (1959), he was right on target with Jinhe Naaz Hai Hind and Waqt ne Kiya Kya Haseen Sitam. In 2004, the soundtrack for Pyaasa was chosen as one of “The Best Music in Film” by Sight & Sound, the British Film Institute magazine.

In 1957, S D Burman fell out with Lata Mangeshkar and adopted her younger sister Asha Bhosle as his lead female singer. The team of S D Burman, Kishore Kumar, Asha Bhosle and lyricist Majrooh Sultanpuri became popular for their duet songs. Thus, he was responsible along with O.P. Nayyar for shaping Asha Bhosle as a singer of repute, who became his daughter-in-law after she married Rahul Dev Burman .
In 1958, S D Burman gave music for Kishore Kumar’s house production Chalti Ka Naam Gaadi, the same year he was awarded the Sangeet Natak Akademi Award for Music direction, and remains the only music director to have won the prestigious award .

Early on in his career, he refused to allow his voice be lip-synced on film by actors [4], as a result, even later on, in Hindi cinema, his thin yet powerful voice was often used as bardic commentary to haunting results, as in Ore Majhi Mere Sajan Hai Us Paar Bandini (1963), Wahaan Kaun hai Tera from “Guide” (1965) and finally Safal Hogi Teri Aradhana from Aradhana (1969) [15], for which he received the National Film Award for Best Male Playback Singer for the year, 1970 .
Ill health caused a slump in his career in the early 1960s but he gave many hit films in late 1960s. In 1961, S D Burman and Lata Mangeshkar came together during the recording of R D Burman’s first song for the movie Chhote Nawab (1961). They reconciled their differences and started working again in 1962.
The Dev Anand-S D Burman partnership, under Navketan banner, continued to churn out musical hits like Bambai Ka Babu (1960), Tere Ghar Ke Samne (1963), Teen Devian (1965), Guide (1965) and Jewel Thief (1967). In 1963, he composed songs for Meri Surat Teri Aankhen and Manna Dey sang the song “Poocho Na Kaise Maine” in raga Ahir Bhairav. This song is based on a Bengali composition by Kazi Nazrul Islam, Aruno-kaanti ke go jogi bhikaari, based on raga bhairavi (morning raga)[citation needed].

Other S D Burman hits from this period were Bandini (1963) and Ziddi (1964). In Bandini, Sampooran Singh (well known as Gulzar), made his debut as a lyricist with the song “Mora Gora Ang lai le, mohe shaam rang daai de”. Guide (1965) starring Dev Anand, was probably the best of his work during the time with all the songs super hit as well as the film; but unfortunately it did not receive the Filmfare award in best music director category for that year, which remained always a discussion among the Bollywood film pandits.

Aradhana (1969) is considered a landmark score in the Bollywood history. The music of the movie shaped the careers of singer Kishore Kumar, lyricist Anand Bakshi, filmmaker Shakti Samanta and R D Burman (associate music director). For the song “Mere Sapno ki raani”, Sachin Dev made R.D play the mouth organ[citation needed]. It was responsible in Kishore Kumar’s second coming and went on to make him the top male playback singer [citation needed] of Hindi Films.
Dev Anand and S D Burman continued their musical partnership in Prem Pujari (1969).
S D Burman was a frank and outspoken man, with a strong sense of self-pride. He openly criticized people whom he disliked or whose abilities he suspected (like the singer Mukesh). But he was widely respected by the industry as a cranky genius.


Tere Mere Sapne (1971), Sharmilee (1971), Abhimaan (1973), Prem Nagar (1974), Sagina (1974), Chupke Chupke (1975), and Mili (1975) are other classics from this period.

S D Burman went into coma soon after recording the song Badi sooni sooni (sung by Kishore Kumar) for the film Mili. He died on 31 October 1975 in Bombay (now Mumbai).

On 1 October 2007, marking his 101st birth anniversary, India postal department released a commemorative postage stamp, in Agartala, where an exhibition on his life and work was also inaugurated; the state government of Tripura, also confers the yearly, ‘Sachin Dev Burman Memorial Award’ in Music

Cultural references

British singer of South Asian heritage, Najma Akhtar, recorded a Shanachie Records CD of Burman’s work, Forbidden Kiss: The Music of S.D. Burman, an album of covers of Burman compositions.
The Indian cricketer Sachin Tendulkar was named after the composer by Sachin’s grandfather, who was an ardent fan of S. D. Burman.
The singer and mimicry artist Sudesh Bhonsle frequently parodies the nasal high-pitched voice and idiosyncratic singing style of S. D. Burman.

 Rajgee (1937)
 Jakher Dhan (1939)
 Jevaan Sangini (1940)
 Protishodh (1941)
 Abhoyer Biye (1942)
 Chaddobeshi (1944)
 Shikari (1945)
 Aath Din (1946)
 Shabnam (1949)
 Baazi (1951)
 Jaal (1952)
 Baaz (1953)
 Taxi Driver (1954)
 Munimji (1954)
 Devdas (1955)
 Pyaasa (1957)
 Nau Do Gyarah (1957)
 Chalti Ka Naam Gaadi (1958)
 Solva Saal (1958)
 Kaagaz Ke Phool (1959)
 Sujata (1959)
 Kala Bazar (1960)
 Bambai Ka Babu (1960)
 Baat Ek Raat Ki (1962)
 Tere Ghar Ke Samne (1963)
 Bandini (1963)
 Ziddi (1964)
 Guide (1965)
 Jewel Thief (1967)
 Prem Pujari (1969)
 Aradhana (1969)
 Ishq Par Zor Nahin (1970)
 Sharmilee (1971)
 Naya Zamana (1971)
 Tere Mere Sapne (1971)
 Anuraag (1972)
 Phagun (1973)
 Jugnu (1973)
 Chhupa Rustam (1973)
 Abhimaan (1973)
 Phagun (1973)
 Prem Nagar (1974)
 Zameer (1974)
 Sagina (1974)
 Chupke Chupke (1975)
 Mili (1975)
 Chupke Chupke (1975)

Awards and recognitions
 1934: Gold Medal, Bengal All India Music Conference, Kolkata 1934
 1958: Sangeet Natak Akademi Award
 1958: Asia Film Society Award
 National Film Awards
 1970: National Film Award for Best Male Playback Singer: Aradhana: Safal Hogi Teri Aradhana
 1974: National Film Award for Best Music Direction: Zindagi Zindagi
 1969: Padma Shri
 International Jury on Folk Music

Filmfare Awards
 1954: Filmfare Best Music Director Award: Taxi Driver

Vinod (Eric Roberts)

Saturday, February 27th, 2010

Vinod Eric Roberts

Source: Article By Harjap Singh Aujla (The Tribune)

One of the most talented music directors that Punjab has produced was Vinod. His real name was Eric Roberts but for the film industry he chose a more familiar name Vinod.

According to Sardul Kwatra, another Lahore-born music director who knew Vinod since his days in Lahore, as a child Vinod was fascinated by the band music played during Hindu weddings. Vinod also listened carefully to the rababi musicians performing shabad kirtan at Gurdwara Dehra Sahib, Lahore. According to Sardul, Vinod became a student of Lahore’s famous music director Pandit Amar Nath and learnt from him the fundamentals of ragas and composing tunes on a violin.

By 1946, he had started composing music for a number of films, including three Hindi films and a Punjabi film Chaman. However, Chaman could not be taken up due to communal tension in Lahore. It was made in India after 1947 for which Pushpa Hans and Shamshad Begum lent their voices. Vinod gave Lata Mangeshkar three songs to sing. All three numbers became landmark songs. Those were the days of tension on both sides of the Radcliffe line. While the film did not do well in Pakistan, the music of the film did a decent business.

Vinod (Eric Roberts)

Vinod (Eric Roberts)

By 1944, most of the Lahore-based music directors like Khurshid Anwar, Shyam Sunder, Hans Raj Behl, Rashid Atre, Feroze Nizami, Ghulam Haider, Pandit Husna Lal Bhagat Ram had shifted to Bombay. Pandit Amar Nath and Pandit Gobind Ram were the only ones left in Lahore. After Pandit Amar Nath’s death in 1945, Vinod was asked to compose music for his mentor’s films Khamosh Nigahein, Paraye Bas Main and Kamini. However, none of the films did well at the box office.

Vinod got a good break when he composed music for Hindi film Ek Thi Ladki (1949). The film was a success and its song Lara lappa lara lappa layi rakhda, addi tappa addi tappa layi rakhda sung by Lata Mageshkar`A0became a hit. The number was based on a Pahari folk tune of Kangra. Following this, he composed music for another Punjabi film Bhaiya Jee in 1950. Lata sang several memorable songs for this film of which Ajj mera mahi nall tutt gaya pyar ve akhiyan na maar ve became a landmark.

According to Sardul Kwatra, Vinod had no Godfather like Shanker and Jaikishan had in producer-actor Raj Kapoor and producer Amiya Chakravarty and Naushad had in producer Mehboob Khan. Roop K. Shori, for whose films Vinod composed many songs, did not belong to the big league. When Shori a film producer in Lahore moved to Bombay, he took his entire team with him which included music director Vinod and lyricist Aziz Kashmiri. Among some of Vinod’s best-known creations were the musical compositions of Anmol Rattan (1950), Wafaa(1950), Sabaz Bagh(1951), Aag ka Dariya(1953), Laadla(1954) and Makhi Choos(1956).

Vinod worked for a little while as a music director in Filmistan Studios too. A characteristic trait of Vinod’s music was that he inserted Hindi songs in Punjabi films and Punjabi lyrics in Hindi film songs. According to Kelly Mistry, Vinod’s son-in-law, on an average Vinod did one or two successful films a year from 1948 to 1957, but this was not enough to ensure a decent living in a city like Bombay. Vinod, in spite of being thoroughly professional, was never financially well off. A Punjabi to the core, Vinod longed to compose music for Punjabi films but after 1951 music directors Hans Raj Behl and Sardul ended up getting all the music direction contracts. Vinod composed music for only five Punjabi films — Chaman (1948), Bhaiya Jee (1950), Mitiar (1950), Ashtalli(1954) and Nikki(1958).

Vinod died penniless at 37 on December 25, 1959. Although Vinod composed music for 32 films, but most of these films were under small banners and the music of many was let down by the film’s poor showing at the box office. His last three films were released after his death. One of Vinod’s masterpiece creations is the music for the Punjabi film Mutiar (1951). One of its Urdu ghazals Aye dil mujhe jaane de, jis raah pe jaata hoon sung by Talat Mahmood simply stands out. Its Punjabi version was never recorded.

Khaamosh Nigaahen
Ek Thi Ladki
Anmol Taran
For Ladies Only (Titli)
Sabz Baag
Aag Ka Dariya
Ek Do Teen
Haa Haa Hee Hee Hoo Hoo
Shri Naqad Naaraayan
Garma Garam
Mumtaz Mahal
Amar Shaheed
Dil Bahaar
Dekhi Teri Bambai
Ek Ladki Saat Ladke

Sardul Kwatra and His Soulful Music

Friday, February 26th, 2010

Sardul Kwatra and His Soulful Music

Source: Harjap Singh Aujla

Sardul Kwatra (Photo Courtesy: Amarjit Chandan)

Sardul Kwatra (Photo Courtesy: Amarjit Chandan)

Sometimes I feel that there are several important aspects of the history of Punjab, which have gone unrecorded. Although Punjabi pop music is currently dominating the musical scene of India, yet no one has taken pains to discover the pioneering times of its mother, the folk and light Punjabi music. I have hardly seen any material on the history of Punjabi cinema. This article is an attempt to record whatever I know about the history of Punjabi film music.

History of Punjabi films is almost as old as that of Hindi cinema. The first talkie in Hindi Alam Ara was made in 1931 and the first Punjabi film was made in 1934, its print is unfortunately lost to our callous indifference towards our heritage. It is never too late to start preservation, I think it is time we should establish an archive of our old films and their music.

Based on my research, I shall divide Punjabi music directors into three distinct generations. The first being the generation of pioneering music directors, who had no role models to follow? The second generation being that of the trendsetters and the third is the post 1980 period of pop music and innovations in folk. I shall not attempt to write about the contemporary music directors, who are currently composing the Punjabi music and making big bucks. I think it will be more appropriate to write about the strugglers of 1934 to 1979 period, who’s memories are already fading and very soon the people will start forgetting them.

The first Punjabi music director was Ustad Jhande Khan. The second was Rafique Ghaznavi B.A. The third fourth and fifth music directors were Ghulam Haider, Pandit Amarnath and Pandit Gobind Ram. They all attained their peaks prior to 1950. Two more music directors Dalip Chander Vedi and Harish Chander Bali also fall into this category, but they did very little work.

The second generation consists of among others Khurshid Anwar, Feroze Nizami, Rashid Atre, Master Inayat Hussain, Shyam Sunder, Pandit Husna Lal, Bhagat Ram, Hans Raj Behl, Vinod, Alla Rakha Qureishi, Shiv Dayal Batish, Madan Mohan, Sardul Kwatra, S. Mohinder, Roshan, Ravi, Khayyam, K. Panna Lal, Pandit Amarnath Second, O.P. Nayyar and Usha Khanna. Some of them did not compose music for Punjabi films, but by origin all of them were Punjabis.

Out of all these, the ones I know intimately are S. Mohinder and Late Sardul Singh Kwatra. This article is about the life and works of Sardul Kwatra (1928 – 2005). Sardul Singh Kwatra was born and brought up in Punjab’s capital Lahore. Since childhood Sardul was fond of music. Lahore was a place where Punjab’s finest maestros attained name and fame. Sardul while studying in school got the initial training in classical music from Sardar Avtar Singh. Sardar Avtar Singh possessed good knowledge of most of the Ragas mentioned in Sri Guru Granth Sahib as well as those Ragas, upon which the folk tunes of Punjab are based. Among the male voices Sardul was a great admirer of Agha Faiz of Amritsar and among the females he was especially fond of the silken voice of Zeenat Begum.

Sardul thought that Zeenat’s voice was culturally very well marinated into music. He was also a great admirer of Bade Ghulam Ali Khan and his brother Barqat Ali Khan. Since his childhood Sardul Kwatra had a fairly good knowledge of the basic tunes of Central Punjab’s folk songs like “Heer”, “Mirza”, “Tappe”, “Bolian”, “Jugni”, “Dhola”, “Mahiya”, “Multani Kafi” and “Saiful Malook”. Such knowledge came in handy when later on Sardul became a film music director.

I had my first exposure to his film music, when I saw the first “Kwatra Production” a Punjabi film “Posti” in 1950 in New Delhi. Being a child I could not understand the story, but I certainly enjoyed the music and still remember its songs and tunes. In person, I saw him in 1957 in Amritsar, when he came there to accompany Mohammad Rafi in a mixed Hindi Punjabi film song concert. He was playing piano accordion and serving as the master of ceremony.

The second opportunity came my way when I met Sardul Kwatra in the Madhya Marg shopping center in Sector 7, Chandigarh. It was a surprise meeting. I saw someone resembling Sardul Kwatra that I had seen in 1957. On asking he said that he indeed is Sardul Kwatra and has shifted from Bombay to Chandigarh. He said he is rediscovering his roots and wants to open a film institute in this city, where he will impart training in acting, direction, singing, dancing and tune making. I was thrilled to hear all that. From that chance meeting on we used to meet often in his “Chandigarh Film Institute” located in a sprawling Sector 5 house only a stone’s throw away from Sukhna Lake. There were chatting sessions in this building, the adjoining lake and at my house in Sector 11 that gave me a peep into his achievements and failures.

I was fascinated by Sardul Kwatra’s brilliance as a music director of Punjabi films. His tunes reflected the real folk music of Punjab, the music of Lahore and Central Punjab of pre-partition era. His musical score for some Hindi films is also at par with that composed by some of the stalwarts of Hindi film music. Sardul disclosed that he has always been a highly romantic person and his best tunes were composed during various episodes of romancing.

The first production of the Kwatra family was film “Posti”. The idea took shape while the family was still in Lahore, but the partition of Punjab left the family high and dry. After a short duration in Amritsar, the family moved to Bombay virtually penniless. Most of the cast of the film had also arrived in Bombay. Majnu, a Christian stage and film artist of Lahore performed the leading male’s role as Posti. Bhag Singh performed his father’s role. The heroine’s father was a very popular actor Ramesh Thakur. The lady for the role of the heroine was still being searched. Sardul Kwatra took it upon himself to choose a heroine.

In Shyama, a seventeen year old budding actress Sardul found the heroine of the movie. Shyama, an athletically built charming girl hails from a Punjabi family. She was conversing in chaste Punjabi. Sardul’s choice received the final nod from the senior member of the family the elder brother of Sardul Singh and the producer of the film Harcharan Singh Kwatra. After initial hiccups financing was also arranged. The film was completed in 1949. It was an instant hit. The music was brilliant. Shamshad Begum and Mohammed Rafi were the leading female and male singers. A famous Hindi playback singer Rajkumari sang for the first time for a Punjabi film. Asha Bhonsle made her debut in film “Posti”.

Sardul Kwatra said that he was a great admirer of the femininity and beauty of “Shyama” and Shyama was a natural dancer, who will instantly start dancing to the tune composed. Sardul never touched Shyama, but being a silent admirer, he created some of the most everlasting Punjabi tunes.

The Kwatra family was so much impressed with Shyama’s fluent Lahori Punjabi and her natural gift of dancing and acting that it engaged her as the heroine for their second Punjabi film “Kaude Shah” made in 1952. Sardul Singh composed the music of this film too. Like “Posti”, “Kaude Shah” also became a hit movie. Its music reached newer heights in popularity. Shamshad Begum excelled as the female Punjabi film singer. Hindi cinema’s most romantic male singer Talat Mahmood also sang a Punjabi duet with Rajkumari for this movie. This soulful song “Zulfan Ne Khul Gaiyan, Akhian Ne Rul Gaiyan, Ki Khattia e Dil Laa Ke” is one of the evergreen Punjabi film songs.

The Kwatra family shortly there after made a Hindi film “Mirza Sahiban” also in 1953. The hero was Shammi Kapoor, but the heroine once again was Shyama. This film did not do too much business, but it launched Sardul Kwatra as a music director for the mainstream Hindi cinema. Lata Mangeshkar and Mohammad Rafi sang most of its songs. The music became more popular than the movie. One Punjabi song in Rafi’s voice “Nahin Rees Punjab Di, Kehndi e Lehar Charab Di” became very popular all over Punjab.

During the mid fifties, Shaminder Singh, a landlord from Muktsar in Ferozepore District reached Bombay with a hope to produce a Punjabi film and desire to have an opportunity to sing a song or two with Lata Mangeshkar. Shaminder with the collaboration of Kwatra Brothers produced a Punjabi film “Vanjara”. Lata was the leading female singer. Shaminder did sing a couple of duets with Lata. Sardul Kwatra scored the music. The film was not a big success, but Sardul Kwatra’s music attained new heights in excellence.

Sardul Kwatra scored the music for a Hindi film “Pilpli Sahib”. Its songs are great pieces of art. Sardul did not hide his admiration for actress singer Suraiya. He always longed to compose tunes for her. Suraiya was a real star. She was rich and classy. She used to travel in a shoffer driven long black Cadillac Sedan. It was a treat to watch this VIP. In 1957, Suraiya accepted Sardul Kwatra’s request.

The Kwatra family made a Hindi film “Goonj” in 1957. Sardul Kwatra himself composed the music. Suraiya became the lead singer and heroine. Sardul composed all the tunes by sitting in front of Suraiya. To Sardul, Suraiya was such a celebrity that out of reverence he will start sweating in front of her. Suraiya was fond of the finest perfumes, but French cosmetics were her first love. Sardul was aspiring to compose tunes that could match the scents radiating from Suraiya. This is how, according to Sardul’s own admission, he composed the memorable tunes of film “Goonj”. Some of the songs of “Goonj” are featured on the four cassette set of Suraiya’s songs as well as a two CD set released recently. Sardul used to admit that he did not have the courage to even formally shake hands with Suraiya. His romanticism revolved around secret admiration of Suraiya and that was enough to induce him into composing soulful tunes to be sung by Suraiya. On the day of the demise of Suraiya, Sardul was in uncontrollable tears. He was recollecting the precious moments he spent in her company in Bombay.

Sardul and Mohammad Rafi used to be good friends. Rafi suspected that Sardul had cheated him of a sizable amount of money. Sardul denied it, but the industry had more faith in Rafi. That was one of the reasons of Sardul Kwatra leaving Bombay and initially settling in Punjab and later on moving to the United States. He had a wife and children, they were all nice folks. Somehow Sardul’s excessive romanticism became a bone of contention. He left his family behind in India and moved to the United States, in the company of a much younger girl, who aspired to be an actress and a dancer. There were two sons from this relationship, but some irreconcilable differences led to a divorce.

While in the U.S. Sardul tried to stay in the profession of composing music, but California was no Bombay. In Bombay he could get the finest instrument players without much efforts, in California Indian style musicians were hard to find. Thus his film career came to an abrupt end. While in India Sardul Kwatra composed music for about two dozen movies, mostly Punjabi movies. “Billow” was another great musical, but it failed at the box office. He composed music for the first Punjabi version of “Shaheed Udham Singh”; this film was also called “Sarfrosh”. This movie was not a bad failure. Sardul’s last movie was “Anthelia Métier” made in 1979. He had composed several tunes in America, but there were no takers.

In America Sardul was a frustrated man. Several times, when he was in a pensive mood, he called me from California, we used to have long talks and from those conversations, I could extract a lot of material for this article. There are stories or rumours that Sardul wanted to romantically involve with some women in America too, but things here are not as easy as those could be in India. Plus age was not on his side. This led to, at times, heavy drinking on his part. He was diabetic and developed hypertension too. He died in 2005 as a financially uncomfortable and professionally frustrated man. I am firmly of the opinion that Sardul Kwatra was a genius, but his brilliance was at best under used. Staying in Bombay, during the years of his creative best, would have been best for music.

Following information are acquired from Wikipedia

Sardul Singh Kwatra (Punjabi: ਸਰਦੂਲ ਸਿੰਘ), best known as Sardul Kwatra, was a noted film director and music composer from Punjab. He composed music for more than half a dozen Hindi and about 25 Punjabi films.

Singh was born in 1928 to a Sikh family in Lahore in British Punjab. He was very fond of music since his childhood. During his school days he got his initial training in classical music from Sardar Avtar Singh of Lahore. Later joined popular music director Hansraj Behl as an assistant.

Personal life

He was in love with a Muslim girl and composed some tunes celebrating her femininity and charm. He left Lahore in 1947 but his beloved’s mesmerising looks lingered in his thoughts and once admitted that he can’t create good music without being in love.


After partition, Kwatra family moved to Amritsar and then to Bombay. The first film of Kwatra Production was a Punjabi film, Posti (1950). The entire cast was refugee from Lahore. Sardul picked a young girl Shyama for the female lead. The music of the film was a hit and critically acclaimed. Sardul modified the folk tunes of Punjab and introduced Asha Bhosle and Jagjit Kaur as playback singers for Punjabi films, with Asha Bhosle making her debut. In 1953, another Kwatra Production, Kaude Shah with Shyama as heroine, became a blockbuster. Sardul also composed the music of another Punjabi film Vanjara, in which Lata Mangeshkar sang majority of songs. He also introduced Shaminder as a playback singer. he composed the music for another great Punjabi musical Billo in the later 1950s. He later composed music for some Hindi films from which, Goonj and Mirza Sahiban 1953 are among the hits.

In the mid 1970s he moved to Chandigarh and established the Chandigarh Film Institute in sector 5. His last assignment was a Punjabi film, Ankheeli Mutiar in 1979. He was in Bombay from 1975 with his eldest son. He was great friends with actor Pradeep Kumar. It was struggle, even then he found his way to do whatr he loved the most MUSIC and MOVIES. Then he left for U.S. where he died in 2005.


Master Inayat Husain (An Overview of a Legendary Musician)

Friday, February 26th, 2010

Master Inayat Husain (An Overview of a Legendary Musician)

Courtesy:  Choudhry Mazhar Hussain (Mr. Mazhar Hussain Choudhry is a retired Director Telecom. He is a connoisseur and has a broad based collection of rare gramophone records and videocassettes.)

Master Inayat Hussain

Master Inayat Hussain

In the initial period of his career Master Inayat Husain joined Imperial Film Company at Mumbai. To utilize his creative capabilities he soon abandoned that assignment and returned to Lahore. Later on he joined Columbia Recording Co. as music director. His musical compositions had classical blend. He composed music for many popular songs like the (Late) Zeenat Begum’s “Ghangor Ghataen Lehrai Hein, Phir Yaad kisi ki Aai Hae, Mera Sathi Mere Pas Nahein, Mere Naina Basein Cham Cham Cham” She will also be remembered for the famous national songs like “Chand Roshan Chamakta Sitara Rahe, sub se uncha yeh jhanda hamara rahe”.

In pre-independence India he composed music for the film “Kamli”. Rani Kiran was the heroin (elder sister of Asha Posley and Kauser Perveen- the famous playback singer of Pakistan) of that film. After independence producer Sheikh Muhammed Hussain introduced Master Inayat Hussain as Music director first time in his film “Hichkolay” released in 1949.This was the first film released after “Teri yaad”. The film could not make business although its songs “Jise dekho wohi dushman hey mere ashiane ka” by Munawar Sultana and “Mein payar ka dia jalata hun” by Ali Bux Zahoor are still remembered. At that time the Pakistan’s films industry was in primitive stage and its productions were generally unable to compete with the selected (imported) Indian Films. Music was the exception.

His next film Malika Pukhraj’s “Shammi” was released in 1950 – a Punjabi film with Urdu song of Malika Pukhraj “Kia sunain majboor zindagi ka afsana”. The Punjabi popular songs of the film were “Suhe chorey walie” by Inayat Husain Bhatti and “Meri Akh Mustani Pharhke” by Iqbal Begum. His selection of musical instruments used to match with the scenic situation.

After a long pause his two films, “Mehbooba” and “Aagosh” were released in 1953. “Mehbooba” had the popular songs “Dal peh papiha jab holay holay roota hay” by Pukhraj Pappo and “Dil se teri yaad” by Pukhraj Pappo and Inayat Hussain Bhatti. In “Aaghosh” “Mohabbat Muskarai Jhoom uthi her shey jawani mein – Kisi ka naam bhi shamil ho gea meri kahani mein” by Munnawar Sultana and Fazal Hussain and “Kya khabar thi ke dil toot jata bhi hai” by Fazal Hussain were other hit songs. He used to compose every song in five or six alternate tunes and then adopt the best.

Mr. Anwar Kamal Pasha, the famous producer director of Pakistan selected Master Inayat Husain for the music direction of his film “Gumnam” (released in 1954). Iqbal Bano’s first hit film song “Payal Mein Geet Hein Chham Chham ke” became popular in the whole subcontinent. It also became the identity of the Master Inayat Husain. Other hit songs of the film include “Ae chand unse kehna” – Kauser Parveen, “Chandi ki ik jhankar per” – Munawar Sultana, “Bhag yehan se Bhag” – Fazal Husain, chorus “Chhum Chhum nach utha” and “Aankhein mila ke payar se” by Kauser Perveen.

In the same year “Raat ki Baat” was released but due to its failure the songs were also lost.

Mr Anwar Kamal again selected Master Inayat Hussain for his film “Qatil” released in 1955 and Iqbal Bano’s song “Ulfat ki nai Manzil ko Chala – to behein dal kar bahon mein – Dil torhne waley dekhke Chal – hum bhi to parhey hein rahon mein” became a super hit melody of the subcontinent. The record was sold like hot cakes and topped the list of Binaca Geetmala of Radio Ceylon for weeks.

Ustad Amir Khan of India while on his way to participate in Jash-e-Kabul stayed for a while at Lahore. On arrival his host asked him “What would you like to drink, thanda,chae,lassi”. Ustad Amir Ali Khan said “I would take drink afterwards. Bhai Yahan koi Master Inayat hai jo gaane banata hae – us se milwao”. The host replied “He had just left after taking pan”. Master Inayat Husain was conveyed the request and on his arrival Ustad Amir Khan honoured him by embracing with love and commended “Bhai kia gana banaya hae tum ne – is ko sunne ke liye kai athania (coins) kharch kar dalein”. (Coin operated record players were then installed in many restaurants in major cities throughout the subcontinent.)

Other famous songs of “Qatil” were- “Dil ki yeh awaz hay peyar hona chaiye” and “O mena na jane kia ho gia” and “Wah re badalte zamane” by Kauser Perveen, “Le ke peyar ka payam” by Munawar Sultana and “Aate ho yad bar bar” by Salim Raza.

The hat trick was completed with Anwar Kamal’s “Intiqam” having all hit songs;

1. “Dono dilon pe hua hay ulfat ka asar” – Iqbal Bano
2. “Khizan hans rahi hay chaman ro raha hay” – Kauser Perveen
3. “Jane de Jane de” – Zubeda
4. “Chorh hamein kis desh sidhare” – Iqbal Bano
5. “Dugdugi bajake” – Inayat Bhatti
6. “Bol terey saghar mein kia hay” – Zubeda
7. “Roy jaon pal pal” – Kauser Perveen.

His next film was Mr. Kamal Pasha’s “Anarkali” with Madam Noor Jehan as heroin. Only three songs were recorded by Master Inayat in the voice of Noor Jehan, viz “Jalte hein arman mera dil rota hay”, “Kahan tak sunoge” and “Bewafa hum na bhole thujey” and the film was released in 1958 after completion of music by Rashid Attrey.

Thereafter music for Sudher’s film “Ankh ka Nasha” was composed by him with all hit songs.
“Thandi hawa chale” – Salim Raza & Nahid Niazi
“Pal pal mera anchal dhulke” – Zubeda Khanum
“O sajan bichwa baje re” – Iqbal Bano
“Ek pal bhi nahin aaram yahan” – Iqbal Bano

His other musical films include:

“Masum” “Le lo chorian” by Zubeda / Munawar Sultana and “Diye dil ke bujha ke” by Kauser Parween,

“Tere Bagher” – “Mushkil kusha hay to meri mushkil mein kaam aa” by Naseem Begum “Sanwaria ana chori chori” by Iqbal Bano


“Do Raste” – “Paon kahin rakhoon nazar kahin jae re” & “Dil le ke kahan chale” by Nahid Niazi “Ghugar Baje”, “Jab bhi teri yad” & “Ho sanwaria” by Naseem Begum and “Banake mera nasheman” by Salim Raza

“Azra” – “Jane Baharan” by Saleem Raza, “Kuch bhi na Kaha” by Noor Jehan “Sharma ke hum se ankh milane ka shukria” Salim Raza & Noor Jehan. “Meri wafain” and “Hae Janam” by Noor Jahan Naseem Begam’s “Idher bhi dekhe”, “sub dagh dil ke bana kar” by Noor Jehan (Dance Music Composition)

“Isq Par Zor Nahin”- “Dil deta hae ro ro duhai kisi se koi payar na kare” by Mala “alap” by Sain Akhtar

“Doshiza” – “Lo ji hum ja rahe hein” by Mala “Insaf na tha jo tu ne kia” by Salim Raza and “Her nazar se ek naya sawal” Fazal Husain & Nahid Niazi.

“Seema” – “Bhool jao tum waida kar ke sanam”, “Sham-e-gham phir aa gai” by Salim Raza “Aa dilruba sanam” Nahid & Salim Raza

“Ek Tera Sahara” – “Ghangor Ghata Lehrai hae” earlier sung by Zeenat Begum was repeated by Naseem Begum in 1962 and became super-hit along with other songs including “Badlon mein chup raha hay chand keon” by Salim Raza and Naseem Begum.

“Lae Lug” (Punjabi) – “Chunni kesri te gote dian taran”, “Aj galgal te teri sang aawey”, “Bajre di roti te makai da pera” (Mala), “Po phat gai akhian de which” (Noor Jehan), “Tenu soun meri” (Mala & Fazal Husain) and “Ae dharti panj daryawan di” Alam Lohar.
“Rawaj” had many popular songs “Door door reh ke guzara nahin hoga” – by Mala.

“Naila” -All songs were super hit, especially “Mujhe Arzoo thi jiski who peam aa gea hae”, “Gham-e dil ko in ankhon se chalak jana bhi aa ta hae”, “Door verane mein ek shama hae roshan” by Mala and also with Masud Rana.

“Elan” – “Gati Havaen” & “Tera Intezar kare beqarar” by Noor Jehan, “Aji banda parwar” by Salim Raza / Nahid and “Kis se koi Peyar kare” by Mala.

“Devar Bhabhi” – “Tum wahi ho”, “Hip hip hurray” by Ahmed Rushdi, “Mera ghar meri jannat” – Noor Jahan “Yeh Kaghzi phool” Mehdi Hasan and “Na aye tum” by Ahmed Rushdi &Mala

“Aalia” – “Nishan Bhi na chora” by Medhi Hassan, “aji waada hua” by Mala Rushdi, “Hum jis se darr rahe the” by Mala.

“Jan-e-Arzoo” – “Ae jan-e-arzoo” by Mujeeb Alam, “Takra gai nazrein” & “Mein zaroor gaoin gi” by Mala.

“Dil Mera Dharkan Teri” – “Kia hay jo piar” Ahmed Rushdi and also by Mala

“Dil-e-Betab” -“Hum se badal giya hay” Mehdi Hassan and also Noor Jehan

“Najma”- “Chale thandi hawa thum thum” Ahmed Rushdi and Mala

“Dil Dian Lagian” -“Dil dian lagian jane na” by Masud Rana and Noor Jahan

“Ansoo Ban Gae Moti” – “Rhim jhim barsan lagi phuwar” by Mala

Pak Daman, Mahmaan, Maan beta, Yaar Badshah, Suhag tera lahoo mera had many popular songs.

There was a trend to produce more Punjabi films by the middle of seventies. During that period his music in “Jadoo” made it a golden jubilee film The eight songs including “Jadoogara teri been da ho gea jadoo” were all super-hit. His film “Maula-jat” was also superhit.

His other films include “Hunsde Aao hunsde jao”, “Reshma jawan ho gai”, “Bikhre Mooti”, “Awara”, “Zaibun-nisa”(Urdu), “Josh”, “Do nishan”, “Pehli Nazar”(Urdu), “Ek puter ek veer”, “Taqat”, “Dulabhatti” & “Haq mehar” All of these had hit songs – narration of which is being avoided.

Master Inayat Hussain composed very popular songs to the lyrics of Qateel Shafai, Saifuddin Saif, Tufail Hoshyarpuri, Tanveer Naqvi, Ahmed Rahi. He had a very long association with them throughout his career.

The following rare films with his music direction need to be preserved – Hichkole, Shammi, Mehbooba, Aaghosh, Raat ki Baat, Masum, Tere Bagher, Watan, Do Raste, Ek tera sahara, , Rawaj and Aankh ka Nasha.

Creator of such classics in music passed away on 24th March1993 (chandraat) and buried on Eid Day. Masters like him are very rarely born. (Date of demise by courtesy of Mr. Ali Sufian Afaqi)

Master Inayat Hussain (Basic Introduction)

Friday, February 26th, 2010

Master Inayat Hussain (Basic Introduction)

A legendry musicsian

Master Inayat Hussain was a legendry music director in Pakistani films. He composed many ever green and unforgettable film songs in almost four decades long film career.

His first composition was in a Lahore based Punjabi film Kamli before partition in 1946. After independence he was music director in film Hachkolay (1949) but the breakthrough came in the next year with a super hit Punjabi song “suhe choorhe waliye..” sung by Inayat Hussain Bhatti in film Shammi. He became popular in the whole subcontinent after his memorable composition of film Gumnam’s song “Payel mein geet hayn chham chham ke…”. (singer Iqbal Bano)
Master Inayat Hussain was recognised as a legend after his performance in film Qatil. “Ulfat ki nayi manzil ko chala…” sung by Iqbal Bano was all time greatest classic hit. He also composed three songs in film Annar Kalli – the only partnership with Madam Noor Jehan in her acting/singing period. “Kahan tak suno ge, kahan tak sunaun…” was another classic hit.

He continued his heigh quality work and created some super hit music with Saleem Raza (who was introduced by Master sahib in film Qatil) in films like Azra, Ik tera sahara, Seema, Do rastey and Dil dian lagian. Mala sang her best collection in film Naela (1965) in the composition of Master sahib as well.
Master Inayat Hussain was brother of musician Akhtar Hussain (Patey Khan fame) and Master Abudulla (Malangi and Ziddi fame). He was oncle or Mamu of late musician M. Ashraf.

Master Inayat Hussain (Music Composer of Pakistan)

Master Inayat Hussain (Music Composer of Pakistan)

He composed music in 65 films from 1949-85.

Master sahib died on March 26, 1993.

Some Memorable Songs of Master Inayat Hussain

Ni suhe choorhe waliye, zara ik wari aaja…
(singer Inayat Hussain Bhatti, film Shammi 1950)

Dugdugi baja ke, zara Mela laga ke…
(singer Inayat Hussain Bhatti, film Inteqam 1955)

Bana ke mera Nasheman, bhula diya tu ne…
(singer Saleem Raza, film Do rastey 1961)

Dil deta hay ro ro duhai, kisi se koi pyar na kare…
(singer Mala, film Ishq par zor nahin 1963)

A jan-e-aarzoo…
(singer Mujeeb Alam, film Jan-e-Aarzoo 1968)

Ham se badal geya woh nigahen, to kya hua…
(singer Noor Jehan/Mehdi Hassan, film Dil-e-betab 1969)

Tum ne waada kiya tha, aane ka apna, waada…
(singer Mujeeb Alam, film Maa Beta 1969)

Gulab ki si Patti, Peshor ka Makhana…
(singer Mala & Masood Rana, film PakDaaman 1969)

Haar dena na himmat kahin, ek sa waqt rehta nahin…
(singer Mala & Masood Rana, film PakDaaman 1969)

Agar tu bura na mane, tujhe pyar main sikha dun…
(singer Ahmad Rushdi, film Ansoo ban geye Moti 1970)

Rim jhim, barsaney lagi hay phawar……
(singer Mala, film Ansoo ban geye Moti 1970)

Chaley thandi hawa chham chham…
(singer Mala & Ahmad Rushdi, film Najma 1970)

Ja charh ja Doli ni, Mapeyan di lajj utte harf na aye…
(singer Masood Rana, film Sasta Khoon mehnga Pani 1974)

Husn walieyan da dosto yaarana bura honda a
(singer Inayat Hussain Bhatti, film Challenge 1974)

Gum sum rehn leyi, chup chup rehn leyi…
(singer Inayat Hussain Bhatti, film Challenge 1974)

Jadoogara, teri been da hogeya jadoo…
(singer Noor Jehan, film Jadoo 1974)

Assan maan Watan da rakhna a, sir lathna a…
(singer Masood Rana, film Chitra te Shera 1976)

Na main Panchhi hun, na main Badal hun…
(singer Masood Rana, film Awara 1977)

Rove maan te gharoor, ajj hanse majboor…
(singer Noor Jehan, film Moula Jatt 1979)

Ni nashey diye Botley, na aini att chuk ni…
(singer Inayat Hussain Bhatti, film Moula Jatt 1979)


Total 66 films (1946-85)
44 Urdu, 21 Punjabi films
1 Indian Punjabi film

in India (1946)
» Kamli

in Pakistan (1949-85)
» Hachkolay

» Shammi

» Mehbooba
» Aghosh

» Gumnam
» Raat ki baat

» Qatil
» Inteqam

» Masoom

» Annar Kali
» Aankh ka nasha

» Tere baghair
» Aaj kall
» Gumrah

» Watan

» Sher-e-Islam
» Do rastey

» Azra
» Dosheeza

» Ik tera sahara
» Ishq par zor nahin
» Ik tera sahara
» Seema

» Lailagg

» Rawaaj
» Naela

» Dever Bhabi
» Elan
» Aaliya

» Dil mera dharkan teri
» Jangli Phool
» Jan-e-aarzoo
» Jugnu
» Jehan baje Shehnai

» Dil-e-betaab
» Mehmaan
» Maa Beta
» Pak Daaman

» Aansoo ban geye Moti
» Najma
» Dil dian lagian

» Yaar Badshah

» Wichharya saathi

» Sasta Khoon mehnga Pani
» Suhag mera lahu tera
» Challenge
» Hasde ayo hasde jao
» Jaadoo

» Reshma jawan hogeyi
» Bikhre Moti

» Zaib-un-Nissa
» Chitra te Shera

» Pehli nazar
» Aawara
» Jabroo
» Inasaan

» Body Guard
» Josh
» Moula Jatt

» Do nishan

» Ik Puttar ik Veer

» Baghi Sher

» Taqat
» Dulla Bhatti

» Haq Mehr