A.R.Rahman (Fan Club)-Part2 - Page 107

Originally posted by: Jaseeka

cool thanx for the article 😊

You are most welcome Geeta. Its really cold, cant we add somthing hot here?

hm.. i know what u mean...

wel... yesterday a friend told me that AR Rahman came 5th in the top 10 composers of the year.

That isnt very... good... actually... i think that was popularity based, which makes sense, because HR was number 1, and he did make a large number of hits this year. Whereas ARR made 2-3 albums... on that basis...

BUT... hehe... look at this beautiful article:

Indian film music lovers have always appreciated and applauded the haunting evergreen pieces of music of the great masters. Some composers with their unique distinguishing features in their styles have left an indelible impression on our minds. Since music has always been an integral part of Indian cinema, particularly Hindi films, composers of the past to the present give it their all as they compose songs to cater to the demands of innumerable listeners across the country or make tailor-made numbers to suit the situational settings in films. From Alam Ara, the first Indian talkie, to Omkara, the current release, Hindi film music has seen many stalwarts sway the popularity charts in their favor. Here is a tribute to the top ten composers of Hindi cinema, who stand out for their distinctive style and instinctive melody.


Anil Biswas (1914-2003): One of the pioneers of Hindi film music, he moved to Mumbai from Calcutta in 1934, and is credited for the shift of focus from New Theatres, Calcutta to Sagar Movitone, Bombay, in production of Hindi musicals. He initially assisted composer Ashok Ghosh in Manmohan and Deccan Queen .The famous producer-director Mehboob Khan, mainly to compete with New Theatres' films with K. L. Saigal, produced these films with his discovery, the singing star Surendra. These were followed by his music compositions for Jagirdar, Hum Tum Aur Who, Alibaba (in Hindi and Punjabi), all great musicals produced by Mehboob, with Surendra as the singing lead player. Inspired by MGM's The Good Earth, Mehboob produced Aurat (1940), which was remade by him as Mother India. Anil Biswas composed songs of Aurat were much appreciated by audiences. Then followed Asra, Apna Paraya, Roti and Anokha Pyar, all musical hits. Kismet was his biggest hit in the 40s – 'Door Hato Ai Duniawalo Hindustan Hamara Hai', 'Ghar Ghar Mein Diwali Hai', 'Dheere Dheere Aa'. Suraiya sang for Anilda in Gajre, Jeet, Do Sitare and Waris. In the 50s he shifted to Delhi for academic work and was appointed Vice-chancellor of Jawaharlal University. He also remained Chief Producer (Sugam Sangeet) at AIR, Delhi from 1963 to 75. He later scored music for Doordarshan's pioneering TV serial Hum Log (1984) and a number of documentaries for the Films Divisions.


Vasant Desai (1914-1974): Vasant Desai was the composer who could easily pivot the various situations of life around his simple and classy tunes. He was a man of great musical insight. Who can forget his composition, 'Aei Malik Tere Bande Hum', which is still sung as Morning Prayer in most schools throughout India. After acting in some films he started his training in music when he was refused the lead role in V. Shantaram's Admi. Ironically, it was Shantaram who gave him break as music director in Shakuntala (1943). The film was a major hit of those times that ran for 104 weeks at a single theatre. After Shakuntala's overwhelming success, Vasant Desai became a part of V. Shantaram's Rajkamal Studio. He gave unforgettable music for Shantaram's Do Aankhen Barah Haath and Jhanak Jhanak Payal Baje. He composed music for 14 films in 1940s including the hit movies, Parbat Pe Apna Dera, Dr. Kotnis Ki Amar Kahani, Ram Joshi, Jivan Yatra and Udhar. In the 50s, Jhanak Jhanak Payal Baje, Toofan Aur Diya, Do Aankhen Barah Haath and Goonj Uthi Shehnai were his most popular films. Desai used pure classical, folk and theatrical music perfectly for these films. JJPB was purely based on dance theme, so he composed classical dance tunes. He used the voice of great vocalist Ustaad Amir Khan for the title song of the film. In 1960s he did comparatively less number of films but he managed to maintain his style and melody of his tunes. The decade saw the release of Pyar Ki Pyas, Rahul, Yaadein, Bharat Milap and Aashirwad. He introduced Vani Jayaram in Guddi (1970) as a playback singer. He also introduced Dilraj Kaur in Rani Aur Lalpari (1975). Vasant Desai believed in quality and not quantity. Therefore, he composed music for only 46 films in his career spanning four decades.


Naushad Ali (1919-2006): Regarded as one of the greatest music directors of Hindi cinema, Naushad moved to Mumbai in the late 1930s from Lucknow to try his luck as a musician. He really had to struggle hard before he joined music director Khemchand Prakash as his assistant. Prem Nagar (1940) was his first break as independent composer but he got noticed with Sharda (1942) wherein 13-year old Suraiya did the playback for Mehtab. It was Rattan (1944) that took Naushad right to the top. 'Sawan Ke Badlo' became the most popular song of the day. Every film Naushad composed for in the 40s was a great musical hit – Shahjehan, Anmol Ghadi, Dard, Elan, Anokhi Ada, Dillagi and Andaaz. Naushad's greatest contribution was to bring Indian classical music into the film medium. He went on to score the music for perennial classics – Baiju Bawra, Mother India, Mughl-E-Azam, Ganga Jamuna and Mere Mehboob, besides blockbusters, Mela, Dulari, Dillagi, Babul, Deedar, Aan, Udan Khatola, Ram Aur Shyam etc. A winner of Dada Sahib Phalke award, the last film that Naushad composed music for was Akbar Khan's Taj Mahal, before he passed away in 2006.


Ghulam Haider (1908-1953): An early music composer of great repute, Ghulam Haider had the distinction of working both in India and Pakistan. He started his career as a composer in Lahore with Dalsukh M. Pancholi's Gul Bakawali (1939) that became an instant hit. Baby Noorjehan's songs 'Shala Jawania Mane' and 'Pinjare Wich Kaid Jawani' were on the lips of every Punjabi fan. His biggest hit came with Khazanchi (1941). The music of Khazanchi caused a revolution. Combining popular ragas with the rich verve and rhythm of Punjabi music, Haider ensured the Indian film music would never be the same again. He moved to Mumbai in 1944 where he worked for films like Chal Chal Re Naujawan, Phool, Humayun, Bairam Khan and Shama. His best known compositions are sung by Shamshad Begum, and invoke Punjabi folk song. Haider also composed music for Bombay Talkies' Majboor featuring Lata's 'Dil Mera Toda'. It was Haider who gave Lata Mangeshkar her major break in Hindi films with Majboor (1948). He had earlier taken 16-year old Lata to S. Mukherjee to try and win her the opportunity to sing for Shaheed, but Mukherjee rejected her, saying her voice was too thin. Haider predicted that this "poor little thing" would soon put every other singer to shame, including Noorjehan. Other singers he introduced were Sudha Malhotra and Surinder Kaur in Shaheed, his last big hit in India. Who can forget the patriotic song 'Watan Ki Rah Par Watan Ke Naujawan Shaheed Ho'? Ghulam Haider later migrated to Pakistan where he died in 1953 at the age of 45.


Khayyam (b 1927): Mohammed Zaheer Khayyam Hashmi, popularly known as Khayyam, evolves memories of soothing, lilting melodies. Since the late 40s, the veteran composer has done films at his pace – less than one film a year. But oh, what songs he has given us. Think of Footpath, Kabhi Kabhie, Umrao Jaan and Razia Sultan and Khayyam evokes nostalgic memories in music lovers. Khayyam became a household name with his songs in Footpath, Mohabbat Isko Kehte Hain, Lala Rukh, Shagun, Shola Aur Shabnam, Aakhri Khat and Phir Subah Hogi. However, his all time greatest musical is Umrao Jaan, which brought glory not only to him but also to Asha Bhonsley for her beautiful rendering of the songs composed by Khayyam. Currently he is composing for two films – Banares 1918 and Yatra. In Yatra Rekha plays a dancer, which gives a lot of scope for music. Asha Bhosle, the playback voice for Rekha in Umrao Jaan, once again sings for Rekha in the film. The three of them seem to be working hard to recreate the magic of Umrao Jaan music. Khayyam has also recently come up with Shaguftagi, a ghazal album with lyrics penned by long time friend Kaifi Azmi. This album has given Khayyam the opportunity to work with contemporary popular singers like Alka Yagnik, Udit Narain, Roop Kumar Rathod and Kavita Krishnamurthy. Ofcourse, they have all sung in the Khayyam style and enjoyed every note in it. Humble to the core, Khayyam says he owes his success to God, his wife, singer Jagjit Kaur and the blessings of his gurus Pandit Amarnath and Husnlal Bhagatram. Not once do you hear him referring to his talent.


S. D. Burman (1901-1975): The greatest all-rounder in Indian film music, S. D. Burman could be equally classy and jazzy. His grip on Indian folklore, his sound classical base, his capacity to absorb from the scene around him made him in high demand right till the end of his life. Initially a music director in Calcutta in the late 30s, he moved to Mumbai in 1944. His first major breakthrough came in Filmistan's Do Bhai (1947). 'Mera Sunder Sapna Beet Gaya' sung by Geeta Dutt is remembered till today. Shabnam (1949) was his biggest hit with Filmistan with the multi-lingual song 'Yeh Dunia Roop Ki Chor' becoming the rage of the day. Burmanda 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 Dev Anand was on its way. Baazi's jazzy musical score was astounding success for Burmanda and singer Geeta Dutt with every song in the film a raging hit. Ill health caused a slump in his career in the early 60s but his compositions for Bandini, Guide, Jewel Thief and Aradhna showed that S. D. Burman could still dictate trends. Aradhna was responsible for Kishore Kumar's second coming and went on to make him the top male playback singer of Hindi films. Burmanda was also responsible along with O. P. Nayyar in shaping Asha Bhonsle as a singer of repute. S. D. Burman's memorable movies include Do Bhai, Shabnam, Baazi, Bahar, Jaal, Taxi Driver, Devdas, Munimji, Nau Do Gyarah, Paying Guest, Chalti Ka Naam Gaadhi, Kala Paani, Lajwanti, Kagaz Ke Phool, Sujata, Bombai Ka Babu, Kala Bazar, Bandini, Guide, Jewel Thief, Aradhna, Sharmilee and Abhiman.


Madan Mohan (1923-1975): Son of the Hindi cinema mogul, Rai Bahadur Chunilal, Madan Mohan was a famed music director of the golden era of Hindi film music – 1950s-70s. He is particularly remembered for the ghazals he composed for the film industry, mainly using the voice of India's melody queen, Lata Mangeshkar. After assisting S. D. Burman for a short time, Madan scored his first big break with the film Aankhen (1950). This film saw the beginning of a long partnership with Lata Mangeshkar. Madan Mohan songs sung by Lata have certain magic and sweetness to them that few music directors, if any, have been able to recreate. 'Woh Chup Rahen To' from Jahan Ara and 'Maine Rang Li Aaj Chunaria' from Dulhan Ek Raat Ki are just two such examples. Madan also crafted beautiful songs for male singers such as Talat Mehmood – 'Phir Wahi Sham', 'Main Teri Nazar Ka Saroor Hun' and 'Teri Aankh Ke Aansoo' from Jahan Ara and 'Meri Yaad Main Tum Na' from Madhosh. In 1957 Madan Mohan came out with a huge musical blockbuster Dekh Kabira Roya in which legendary singer Manna De gave his voice to the very sweet song 'Kaun Aya Mere Man Ke Dware'. In the same movie he used Talat Mehmood's voice for the superhit song 'Hum Se Aya Na Gaya'. One of Madan's famous films was Chetan Anand's Haqeeqat (1964). In this film he used Mohd. Rafi for the songs 'Kar Chale Hum Fida'and 'Main Yeh Soch Kar', and Lata for the hit song 'Zara Si Ahat Hoti Hei', enthralling millions of moviegoers. And the same film saw Rafi, Talat, Manna De and Bhupinder singing 'Hoke Majboor Mujhe Usne Bulaya Hoga'. When Madan Mohan composed the classic 'Aap Ki Nazron Ne' from the movie Anpadh (1962), Naushad Ali is reported to have complimented him saying, "Let me have this ghazal and take all my compositions in return". In 2004, his son Sanjeev Kohli recreated Madan's unused tunes for the Yash Chopra blockbuster Veer Zara.


O. P. Nayyar (b 1926): Born in Lahore, O. P. Nayyar came to Mumbai after partition. Lady luck smiled on him when Santoshi dropped the then most sought after music director Naushad and signed him instead. Around the same time Guru Dutt too opted for him. Fortunately for him Aar Paar was a major hit and later on they worked together in Mr. And Mrs. 55. Thereafter there was no looking back. His compositions for B. R. Chopra's Naya Daur created sensation with their distinctive Punjabi influence – 'Ude Jab Jab Zulfen Teri'. In the late 50s, audiences immensely appreciated his songs from Tumsa Nahin Dekha, C.I.D., Phagun, Howrah Bridge etc., with their strong western influence and yet original melodies. Nayyar's music for many hit musicals of 50s earned him the epithet 'Rhythm King' for his inimitable and exclusive brand of music. However, his glory would perhaps have been incomplete without her favorite playback singer Asha Bhonsle's lilting rendition of his compositions, though he did compose some of his best works with two of the most naturally gifted singers – Shamshad Begam and Geeta Dutt. Their personal close relationship resulted in a strong professional bonding as well. In Asha's repertoire there are several songs that have been marked as everlasting and most of her career best have been Nayyar's compositions – 'Mang Ke Saath Tumhara', 'Aao Hazoor Tumko, 'Who Haseen Dard Dedo', 'Jaiye Aap Kahan Jayenge' etc. Just like the way he became Asha's mentor, who can ever forget Rafi's 'Banda Parvar', 'Aapke Haseen Rukh Pe', 'Tareef Karun Kya Uski', 'Lakhon Hein Nigahon Mein', to name a few that have the stamp of Nayyar's brilliance and Rafi's incomparable range. O. P. Nayyar's mode and technique to this date have not been replicated, and for this he remains a legend in the industry.


R. D. Burman (1939-1994): It was R. D. Burman who ushered in the era of electronic rock, providing Hindi film music with a whole new happening sound. His hip and energetic youthful compositions proved extremely popular from the late 1960s till the mid-80s providing much of the music that defines the reputation of singers Asha Bhonsle (whom he married) and Kishore Kumar. R.D. entered films assisting his father S. D. Burman, and occasionally composed a tune or two – 'Sar Jo Tera Chakraye' from Pyasa (1957). Comedian Mehmood gave R.D. his first film Chote Nawab (1961). However, his big break came with Nasir Hussain's Teesri Manzil (1966). The songs like 'O Haseena Zulfon Wali', 'Aaja Aaja Mein Hun Pyar Tera', 'O Mere Sona Re Sona Re', 'Dewana Mujh Sa Nahin, were unlike anything audiences had heard till then. The music of Teesri Manzil was hummed across the nation. R.D. formed a formidable team with Nasir Hussain scoring music in all his movies thereafter. With popular hits like Padosan (1968) and Hussain's Pyar Ka Mausam (1969) behind him and informally assisting his father in Aradhna (1969), R.D. hit his peak in the early 1970s with Kati Patang and Amar Prem. Even as he stunned his audiences with a classical gem like "Raina Beeti Jaye' in the latter, that same year also saw his phenomenal rock score in 'Hare Rama Hare Krishna'. Even as R.D. became a pop icon with films like Apna Desh, Jawani Dewani, Yadon Ki Baraat, Khel Khel Mein and Hum Kisi Se Kam Nahin, he teamed up with writer-director Gulzar to give such evocative masterpieces like 'Beeti Na Bitayi Raina' (Parichay), 'Is Mod Se Jaate Hein' (Aandhi), 'O Manjhi Re' (Khushboo). With Love Story (1981), R.D. became the first choice for teenage love stories like Betaab (1983). His last score to stand out was perhaps 1942-A Love Story (1994), released after his untimely death due to heart attack.


A. R. Rahman (b 1966): The new millennium composer, A. R. Rahman's technical wizardy is well complemented by his artistic innovation. He started his film career in film music with Mani Ratnam's Roja. The score of Roja was the first step in changing the face of Indian film music. Roja won every conceivable award for music that year. Time Magazine of the US listed Roja album in the top ten music sound tracks of all time. His 1995 sound track for Bombay crossed 5 million units, and Rahman had arrived as the king of Indian pop with sale of 40 million albums over a period of three years. Rahman goes on from strength to strength with the release of each one of his movies – Roja, Bombay, Dil Se, Doli Sajake Rakhna, Hum Se Hei Muqabla, Rangeela, Lagaan, Saathia, Swades, Kisna, Pukar, Taal, Tehzeeb, Yuva, Water, Zubeida, The Rising and Rang De Basanti. After wowing the international audiences with Bombay Dreams, The Lord of the Rings and the Chinese venture Warriors of Heaven and Earth, he is lending music to the sequel of Shekhar Kapur's Elizabeth and a musical London Dreams. Back home, Mani Ratnam's Guru, Shyam Benegal's Chamki Chameli and the periodical Akbar Jodha are some of the projects that are keeping him busy. Recently Rahman has come with his own rendition of the national anthem Jana Gana Mana. This comes after the popular Vande Matram. On July 16, 2006, Rahman performed to a sell-out crowd at the 26000 plus capacity natural ampitheatre, Hollywood Bowl. Rahman is the only music composer of Indian cinema who has so far won National awards for Best Music Director 4 times (Roja, Minsaara Kanavu in Tamil, Lagaan and Kanathu Muthamulla in Tamil) and Filmfare awards 5 times (Rangeela, Dil Se, Taal, Lagaan and Saathia).

http://tilakrishi.sulekha.com/blog/post/2006/08/bollywood-s- top-ten-composers.htm

AR Rahman is in the top 10 list of the legendary composers of the Indian Music Industry... this dates way back in the 1920s. 👏 👏 👏

I think that is a great placing

'Sivaji' story? Wait and see! PVS [Friday, December 29, 2006]

Sivaji The Boss : | Stills | Wallpapers Film buffs have been hearing a lot about "Sivaji" these days as superstar Rajinikanth plays the lead role in it. Besides Rajinikanth, AVM, director Shankar and music director A.R. Rahman have teamed up for this venture, raising great expectations among the audiences. The media hype of "Sivaji" began even before the formal launch of the venture as the earlier Rajini-Jothika starrer "Chandramukhi" evoked such great response which surpassed all expectations. Reports have been appearing regularly about "Sivaji" touching on all aspects of the film but the story proper. Whatever appeared in media in bits and pieces failed to convey what "Sivaji" is all about. An English newspaper today (Dec.29) carried a gist of the story under the headline "Worst kept secret". What the daily calls a "quick recap" reads: Rajini returns from a stint abroad with a mission to build a college which provides education at government college fee rates and no donations. He gets the support from the state ministry and he starts work on building the college. This irks the lobby controlling higher education. The ministry is voted out and a new ministry comes in. It is backed by anti-lobby. Rajini is harassed and his project put on hold. He tries to take a legal recourse but finally he decides to adopt his own methods to checkmate them. A website had earlier carried the story according to which Rajini plays double roles One role is that of a rich father, a well respected man in the community and the other is that of a joyful son of the rich Rajini. Big Rajini owned a college. He became very popular by doing a lot of good things to the people. A group of people were always against Big Rajini and were creating problems for his college and for him. This group eventually killed him. After Big Rajini's death, son Rajini takes over all the responsibility of his father and continues to run the college the same way as his father did. Son Rajini is also humble and kind-hearted .But a few who are closely working with him, join hands with his father's, enemy, cheat the son and seize all his father's wealth, leaving him on the streets with just one rupee. Junior Rajini tosses the one rupee coin and proclaims that he would get back all the wealth and fame of his father with this one rupee. In the climax the superstar becomes a millionaire and gets back all his father's wealth and fame. Then he takes revenge on all the people who were involved in the killing of his father. He then gives away all the money he has earned to his people and leaves the place tossing the one rupee coin. It looks like that one has to wait and see the movie to know the authentic story.

http://www.nowrunning.com/news/news.asp?it=8992

welcome :D

and thanks for the article... the tamil songs r really worth listening... i'm trying to look for a source...

Originally posted by: rachna_5

Indian film music lovers have always appreciated and applauded the haunting evergreen pieces of music of the great masters. Some composers with their unique distinguishing features in their styles have left an indelible impression on our minds. Since music has always been an integral part of Indian cinema, particularly Hindi films, composers of the past to the present give it their all as they compose songs to cater to the demands of innumerable listeners across the country or make tailor-made numbers to suit the situational settings in films. From Alam Ara, the first Indian talkie, to Omkara, the current release, Hindi film music has seen many stalwarts sway the popularity charts in their favor. Here is a tribute to the top ten composers of Hindi cinema, who stand out for their distinctive style and instinctive melody.


Anil Biswas (1914-2003): One of the pioneers of Hindi film music, he moved to Mumbai from Calcutta in 1934, and is credited for the shift of focus from New Theatres, Calcutta to Sagar Movitone, Bombay, in production of Hindi musicals. He initially assisted composer Ashok Ghosh in Manmohan and Deccan Queen .The famous producer-director Mehboob Khan, mainly to compete with New Theatres' films with K. L. Saigal, produced these films with his discovery, the singing star Surendra. These were followed by his music compositions for Jagirdar, Hum Tum Aur Who, Alibaba (in Hindi and Punjabi), all great musicals produced by Mehboob, with Surendra as the singing lead player. Inspired by MGM's The Good Earth, Mehboob produced Aurat (1940), which was remade by him as Mother India. Anil Biswas composed songs of Aurat were much appreciated by audiences. Then followed Asra, Apna Paraya, Roti and Anokha Pyar, all musical hits. Kismet was his biggest hit in the 40s – 'Door Hato Ai Duniawalo Hindustan Hamara Hai', 'Ghar Ghar Mein Diwali Hai', 'Dheere Dheere Aa'. Suraiya sang for Anilda in Gajre, Jeet, Do Sitare and Waris. In the 50s he shifted to Delhi for academic work and was appointed Vice-chancellor of Jawaharlal University. He also remained Chief Producer (Sugam Sangeet) at AIR, Delhi from 1963 to 75. He later scored music for Doordarshan's pioneering TV serial Hum Log (1984) and a number of documentaries for the Films Divisions.


Vasant Desai (1914-1974): Vasant Desai was the composer who could easily pivot the various situations of life around his simple and classy tunes. He was a man of great musical insight. Who can forget his composition, 'Aei Malik Tere Bande Hum', which is still sung as Morning Prayer in most schools throughout India. After acting in some films he started his training in music when he was refused the lead role in V. Shantaram's Admi. Ironically, it was Shantaram who gave him break as music director in Shakuntala (1943). The film was a major hit of those times that ran for 104 weeks at a single theatre. After Shakuntala's overwhelming success, Vasant Desai became a part of V. Shantaram's Rajkamal Studio. He gave unforgettable music for Shantaram's Do Aankhen Barah Haath and Jhanak Jhanak Payal Baje. He composed music for 14 films in 1940s including the hit movies, Parbat Pe Apna Dera, Dr. Kotnis Ki Amar Kahani, Ram Joshi, Jivan Yatra and Udhar. In the 50s, Jhanak Jhanak Payal Baje, Toofan Aur Diya, Do Aankhen Barah Haath and Goonj Uthi Shehnai were his most popular films. Desai used pure classical, folk and theatrical music perfectly for these films. JJPB was purely based on dance theme, so he composed classical dance tunes. He used the voice of great vocalist Ustaad Amir Khan for the title song of the film. In 1960s he did comparatively less number of films but he managed to maintain his style and melody of his tunes. The decade saw the release of Pyar Ki Pyas, Rahul, Yaadein, Bharat Milap and Aashirwad. He introduced Vani Jayaram in Guddi (1970) as a playback singer. He also introduced Dilraj Kaur in Rani Aur Lalpari (1975). Vasant Desai believed in quality and not quantity. Therefore, he composed music for only 46 films in his career spanning four decades.


Naushad Ali (1919-2006): Regarded as one of the greatest music directors of Hindi cinema, Naushad moved to Mumbai in the late 1930s from Lucknow to try his luck as a musician. He really had to struggle hard before he joined music director Khemchand Prakash as his assistant. Prem Nagar (1940) was his first break as independent composer but he got noticed with Sharda (1942) wherein 13-year old Suraiya did the playback for Mehtab. It was Rattan (1944) that took Naushad right to the top. 'Sawan Ke Badlo' became the most popular song of the day. Every film Naushad composed for in the 40s was a great musical hit – Shahjehan, Anmol Ghadi, Dard, Elan, Anokhi Ada, Dillagi and Andaaz. Naushad's greatest contribution was to bring Indian classical music into the film medium. He went on to score the music for perennial classics – Baiju Bawra, Mother India, Mughl-E-Azam, Ganga Jamuna and Mere Mehboob, besides blockbusters, Mela, Dulari, Dillagi, Babul, Deedar, Aan, Udan Khatola, Ram Aur Shyam etc. A winner of Dada Sahib Phalke award, the last film that Naushad composed music for was Akbar Khan's Taj Mahal, before he passed away in 2006.


Ghulam Haider (1908-1953): An early music composer of great repute, Ghulam Haider had the distinction of working both in India and Pakistan. He started his career as a composer in Lahore with Dalsukh M. Pancholi's Gul Bakawali (1939) that became an instant hit. Baby Noorjehan's songs 'Shala Jawania Mane' and 'Pinjare Wich Kaid Jawani' were on the lips of every Punjabi fan. His biggest hit came with Khazanchi (1941). The music of Khazanchi caused a revolution. Combining popular ragas with the rich verve and rhythm of Punjabi music, Haider ensured the Indian film music would never be the same again. He moved to Mumbai in 1944 where he worked for films like Chal Chal Re Naujawan, Phool, Humayun, Bairam Khan and Shama. His best known compositions are sung by Shamshad Begum, and invoke Punjabi folk song. Haider also composed music for Bombay Talkies' Majboor featuring Lata's 'Dil Mera Toda'. It was Haider who gave Lata Mangeshkar her major break in Hindi films with Majboor (1948). He had earlier taken 16-year old Lata to S. Mukherjee to try and win her the opportunity to sing for Shaheed, but Mukherjee rejected her, saying her voice was too thin. Haider predicted that this "poor little thing" would soon put every other singer to shame, including Noorjehan. Other singers he introduced were Sudha Malhotra and Surinder Kaur in Shaheed, his last big hit in India. Who can forget the patriotic song 'Watan Ki Rah Par Watan Ke Naujawan Shaheed Ho'? Ghulam Haider later migrated to Pakistan where he died in 1953 at the age of 45.


Khayyam (b 1927): Mohammed Zaheer Khayyam Hashmi, popularly known as Khayyam, evolves memories of soothing, lilting melodies. Since the late 40s, the veteran composer has done films at his pace – less than one film a year. But oh, what songs he has given us. Think of Footpath, Kabhi Kabhie, Umrao Jaan and Razia Sultan and Khayyam evokes nostalgic memories in music lovers. Khayyam became a household name with his songs in Footpath, Mohabbat Isko Kehte Hain, Lala Rukh, Shagun, Shola Aur Shabnam, Aakhri Khat and Phir Subah Hogi. However, his all time greatest musical is Umrao Jaan, which brought glory not only to him but also to Asha Bhonsley for her beautiful rendering of the songs composed by Khayyam. Currently he is composing for two films – Banares 1918 and Yatra. In Yatra Rekha plays a dancer, which gives a lot of scope for music. Asha Bhosle, the playback voice for Rekha in Umrao Jaan, once again sings for Rekha in the film. The three of them seem to be working hard to recreate the magic of Umrao Jaan music. Khayyam has also recently come up with Shaguftagi, a ghazal album with lyrics penned by long time friend Kaifi Azmi. This album has given Khayyam the opportunity to work with contemporary popular singers like Alka Yagnik, Udit Narain, Roop Kumar Rathod and Kavita Krishnamurthy. Ofcourse, they have all sung in the Khayyam style and enjoyed every note in it. Humble to the core, Khayyam says he owes his success to God, his wife, singer Jagjit Kaur and the blessings of his gurus Pandit Amarnath and Husnlal Bhagatram. Not once do you hear him referring to his talent.


S. D. Burman (1901-1975): The greatest all-rounder in Indian film music, S. D. Burman could be equally classy and jazzy. His grip on Indian folklore, his sound classical base, his capacity to absorb from the scene around him made him in high demand right till the end of his life. Initially a music director in Calcutta in the late 30s, he moved to Mumbai in 1944. His first major breakthrough came in Filmistan's Do Bhai (1947). 'Mera Sunder Sapna Beet Gaya' sung by Geeta Dutt is remembered till today. Shabnam (1949) was his biggest hit with Filmistan with the multi-lingual song 'Yeh Dunia Roop Ki Chor' becoming the rage of the day. Burmanda 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 Dev Anand was on its way. Baazi's jazzy musical score was astounding success for Burmanda and singer Geeta Dutt with every song in the film a raging hit. Ill health caused a slump in his career in the early 60s but his compositions for Bandini, Guide, Jewel Thief and Aradhna showed that S. D. Burman could still dictate trends. Aradhna was responsible for Kishore Kumar's second coming and went on to make him the top male playback singer of Hindi films. Burmanda was also responsible along with O. P. Nayyar in shaping Asha Bhonsle as a singer of repute. S. D. Burman's memorable movies include Do Bhai, Shabnam, Baazi, Bahar, Jaal, Taxi Driver, Devdas, Munimji, Nau Do Gyarah, Paying Guest, Chalti Ka Naam Gaadhi, Kala Paani, Lajwanti, Kagaz Ke Phool, Sujata, Bombai Ka Babu, Kala Bazar, Bandini, Guide, Jewel Thief, Aradhna, Sharmilee and Abhiman.


Madan Mohan (1923-1975): Son of the Hindi cinema mogul, Rai Bahadur Chunilal, Madan Mohan was a famed music director of the golden era of Hindi film music – 1950s-70s. He is particularly remembered for the ghazals he composed for the film industry, mainly using the voice of India's melody queen, Lata Mangeshkar. After assisting S. D. Burman for a short time, Madan scored his first big break with the film Aankhen (1950). This film saw the beginning of a long partnership with Lata Mangeshkar. Madan Mohan songs sung by Lata have certain magic and sweetness to them that few music directors, if any, have been able to recreate. 'Woh Chup Rahen To' from Jahan Ara and 'Maine Rang Li Aaj Chunaria' from Dulhan Ek Raat Ki are just two such examples. Madan also crafted beautiful songs for male singers such as Talat Mehmood – 'Phir Wahi Sham', 'Main Teri Nazar Ka Saroor Hun' and 'Teri Aankh Ke Aansoo' from Jahan Ara and 'Meri Yaad Main Tum Na' from Madhosh. In 1957 Madan Mohan came out with a huge musical blockbuster Dekh Kabira Roya in which legendary singer Manna De gave his voice to the very sweet song 'Kaun Aya Mere Man Ke Dware'. In the same movie he used Talat Mehmood's voice for the superhit song 'Hum Se Aya Na Gaya'. One of Madan's famous films was Chetan Anand's Haqeeqat (1964). In this film he used Mohd. Rafi for the songs 'Kar Chale Hum Fida'and 'Main Yeh Soch Kar', and Lata for the hit song 'Zara Si Ahat Hoti Hei', enthralling millions of moviegoers. And the same film saw Rafi, Talat, Manna De and Bhupinder singing 'Hoke Majboor Mujhe Usne Bulaya Hoga'. When Madan Mohan composed the classic 'Aap Ki Nazron Ne' from the movie Anpadh (1962), Naushad Ali is reported to have complimented him saying, "Let me have this ghazal and take all my compositions in return". In 2004, his son Sanjeev Kohli recreated Madan's unused tunes for the Yash Chopra blockbuster Veer Zara.


O. P. Nayyar (b 1926): Born in Lahore, O. P. Nayyar came to Mumbai after partition. Lady luck smiled on him when Santoshi dropped the then most sought after music director Naushad and signed him instead. Around the same time Guru Dutt too opted for him. Fortunately for him Aar Paar was a major hit and later on they worked together in Mr. And Mrs. 55. Thereafter there was no looking back. His compositions for B. R. Chopra's Naya Daur created sensation with their distinctive Punjabi influence – 'Ude Jab Jab Zulfen Teri'. In the late 50s, audiences immensely appreciated his songs from Tumsa Nahin Dekha, C.I.D., Phagun, Howrah Bridge etc., with their strong western influence and yet original melodies. Nayyar's music for many hit musicals of 50s earned him the epithet 'Rhythm King' for his inimitable and exclusive brand of music. However, his glory would perhaps have been incomplete without her favorite playback singer Asha Bhonsle's lilting rendition of his compositions, though he did compose some of his best works with two of the most naturally gifted singers – Shamshad Begam and Geeta Dutt. Their personal close relationship resulted in a strong professional bonding as well. In Asha's repertoire there are several songs that have been marked as everlasting and most of her career best have been Nayyar's compositions – 'Mang Ke Saath Tumhara', 'Aao Hazoor Tumko, 'Who Haseen Dard Dedo', 'Jaiye Aap Kahan Jayenge' etc. Just like the way he became Asha's mentor, who can ever forget Rafi's 'Banda Parvar', 'Aapke Haseen Rukh Pe', 'Tareef Karun Kya Uski', 'Lakhon Hein Nigahon Mein', to name a few that have the stamp of Nayyar's brilliance and Rafi's incomparable range. O. P. Nayyar's mode and technique to this date have not been replicated, and for this he remains a legend in the industry.


R. D. Burman (1939-1994): It was R. D. Burman who ushered in the era of electronic rock, providing Hindi film music with a whole new happening sound. His hip and energetic youthful compositions proved extremely popular from the late 1960s till the mid-80s providing much of the music that defines the reputation of singers Asha Bhonsle (whom he married) and Kishore Kumar. R.D. entered films assisting his father S. D. Burman, and occasionally composed a tune or two – 'Sar Jo Tera Chakraye' from Pyasa (1957). Comedian Mehmood gave R.D. his first film Chote Nawab (1961). However, his big break came with Nasir Hussain's Teesri Manzil (1966). The songs like 'O Haseena Zulfon Wali', 'Aaja Aaja Mein Hun Pyar Tera', 'O Mere Sona Re Sona Re', 'Dewana Mujh Sa Nahin, were unlike anything audiences had heard till then. The music of Teesri Manzil was hummed across the nation. R.D. formed a formidable team with Nasir Hussain scoring music in all his movies thereafter. With popular hits like Padosan (1968) and Hussain's Pyar Ka Mausam (1969) behind him and informally assisting his father in Aradhna (1969), R.D. hit his peak in the early 1970s with Kati Patang and Amar Prem. Even as he stunned his audiences with a classical gem like "Raina Beeti Jaye' in the latter, that same year also saw his phenomenal rock score in 'Hare Rama Hare Krishna'. Even as R.D. became a pop icon with films like Apna Desh, Jawani Dewani, Yadon Ki Baraat, Khel Khel Mein and Hum Kisi Se Kam Nahin, he teamed up with writer-director Gulzar to give such evocative masterpieces like 'Beeti Na Bitayi Raina' (Parichay), 'Is Mod Se Jaate Hein' (Aandhi), 'O Manjhi Re' (Khushboo). With Love Story (1981), R.D. became the first choice for teenage love stories like Betaab (1983). His last score to stand out was perhaps 1942-A Love Story (1994), released after his untimely death due to heart attack.


A. R. Rahman (b 1966): The new millennium composer, A. R. Rahman's technical wizardy is well complemented by his artistic innovation. He started his film career in film music with Mani Ratnam's Roja. The score of Roja was the first step in changing the face of Indian film music. Roja won every conceivable award for music that year. Time Magazine of the US listed Roja album in the top ten music sound tracks of all time. His 1995 sound track for Bombay crossed 5 million units, and Rahman had arrived as the king of Indian pop with sale of 40 million albums over a period of three years. Rahman goes on from strength to strength with the release of each one of his movies – Roja, Bombay, Dil Se, Doli Sajake Rakhna, Hum Se Hei Muqabla, Rangeela, Lagaan, Saathia, Swades, Kisna, Pukar, Taal, Tehzeeb, Yuva, Water, Zubeida, The Rising and Rang De Basanti. After wowing the international audiences with Bombay Dreams, The Lord of the Rings and the Chinese venture Warriors of Heaven and Earth, he is lending music to the sequel of Shekhar Kapur's Elizabeth and a musical London Dreams. Back home, Mani Ratnam's Guru, Shyam Benegal's Chamki Chameli and the periodical Akbar Jodha are some of the projects that are keeping him busy. Recently Rahman has come with his own rendition of the national anthem Jana Gana Mana. This comes after the popular Vande Matram. On July 16, 2006, Rahman performed to a sell-out crowd at the 26000 plus capacity natural ampitheatre, Hollywood Bowl. Rahman is the only music composer of Indian cinema who has so far won National awards for Best Music Director 4 times (Roja, Minsaara Kanavu in Tamil, Lagaan and Kanathu Muthamulla in Tamil) and Filmfare awards 5 times (Rangeela, Dil Se, Taal, Lagaan and Saathia).

http://tilakrishi.sulekha.com/blog/post/2006/08/bollywood-s- top-ten-composers.htm

AR Rahman is in the top 10 list of the legendary composers of the Indian Music Industry... this dates way back in the 1920s. 👏 👏 👏

I think that is a great placing

wow very good written and has also lots of infos. Thanx yaar.😊

Originally posted by: rachna_5

welcome :D

and thanks for the article... the tamil songs r really worth listening... i'm trying to look for a source...

Welcome sis😊, I will try to give u some non downloadable links soon

I am: A R Rahman
Music is my means of connecting with the divine. What cannot be put into words, can be expressed through music. When one listens to music, one closes one's eyes because music is an expression and celebration of the divine.

There are countless names of God, which we cannot utter simultaneously, but through a soulful composition, we can experience the whole power of God's presence amidst us.

When I was composing for my first film Roja, I often went into a spiritual vacuum where nothing else mattered except the music.

At those times, I felt connected with a supreme power. That is why I credit whatever success has come my way to the Almighty.

I feel that the power and grace of the divine is infinite — it is we human beings who create boundaries and try to limit this power.

For artists, I believe that this manifests itself in the form of inspiration which helps you create something wonderful.

I often work through the night because that is when I feel closest to the divine. The divine power works in a mysterious way to offer you experiences, which enrich and make you a better person.

As a composer, I have often felt that life's experiences — both good and bad — have greatly added to my compositions.

My belief in Sufism has helped me emerge as a stronger person and has given me the equanimity to view life objectively.

Often, when I visit a dargah, I feel a sense of peace enveloping me. I also believe in the power of prayer. I had an occasion to experience it for myself, when my daughter was diagnosed with a hole in her heart when she was born.

However, by the time she was two, the hole vanished without any operation. It was considered nothing short of a miracle.

I believe it happened because of the power of prayer. If one is sincere, no prayer goes unanswered.

(As told to Atul Sethi)

Nelly Furtado was to feature in 'Rang De Basanti'
30th Dec 2006 22.17 IST
By Agencies

International pop singer Nelly Furtado was to originally feature on the soundtrack of the film Rang De Basanti that starred Aamir Khan in the lead role and was one of the biggest hits of the year 2006.

This was disclosed by A R Rahman , who scored the super hit music of the film.


Rahman added that but changes in producers and other things resulted in Nelly not being there on the film's soundtrack.

Addressing a press conference in Mumbai on Saturday ahead of a concert featuring both artistes, Rahman and Nelly did not rule out collaborating in the future though they would have to decide which language it would be in since both of them are fluent with multiple languages.

Nelly, who can trace her ancestry to Goa, said that this was her first visit to India and said that while growing up with Indians in Canada, she had sung in Hindi at marriages and a temple.

"I grew up hearing Indian artistes like Lata Mangeshkar and though am not very fluent with the language I do know songs like 'Yeh Samaa' and 'Kabhi Kabhi'," said Nelly who recently released an album titled 'Loose'.

Nelly also accepted requests from assembled media persons and sang one line from "Kabhi Kabhi" to applause.

Nelly will perform with Priyanka Chopra and Koena Mitra at a musical concert on December 31, at the Andheri Sports Complex in Mumbai.
http://www.apunkachoice.com/scoop/music/20061230-0.html