REWIND - Page 2

thanks qwestji..embarassed to admit that i have not heard of (or payed attention)of rai chandra boral,or timir baran 😳 ...i recognise some songs of very late 40s too...but..

about the 1st article...80s really had some unimaginative,very ordinary singers...i liked bhupinders songs in this period very much...

FAYYAZ HASHMI

By

Nadeemur Rehman

Mr. Fayyaz Hashmi is a legendary song and dialogue writer and above all a true loving person. He is by himself an institution and a common asset of the Indo-Pakistan film-world. His admirers as ever are not confined in national frontiers. Those fond of Hindi / Urdu songs anywhere in the world have affection for him. The emergence of this bright star was evidenced much before independence of India, when Fayyaz Hashmi, still a teenager wrote the most famous song "Tasveer Teri Dil Mera Behla Na Sakhe Gi". It was recorded in the voice of Talat Mehmood and music was composed by Kamal Das Gupta. This song brought "Talat" to limelight. Music for most of the Fayyaz Hashmi's songs recorded at Calcutta was composed by Kamal Das Gupta.

The dynamic achievements of young Fayyaz Hashmi and his clarity of expression by using simple words were greatly appreciated by Qazi Nazrul Islam -"Tum mann main doob kar mann ka bhed nikaltey ho. Aasan shubdoon mein mushkil baat kehna buhut mushkil hay". His unique combination of Urdu, Hindi and Sanskrit words to produce a harmonious song thus became a guideline for the future poets of geets. The transformation of some traditional Bangla songs was also facilitated. He has also written songs in Brij Bhasa and Purbi. His pre-independence songs total to about 1000.

Mr. Fayyaz was born at Calcutta. His father, Syed Muhammad Hussain Hashmi Dilgeer was a very famous poet and writer of stage drama. He was director at the top class theater of that time named " MADAN THEATER LTD." He knew 8 languages.

Fayyaz hashmi wrote his first verse "Chaman main Ghuncha-o-gul ka tabassum dekhne walo – Kabhi tum ne haseen kalyoon ka murjhana bhi dekha hai" when he was in 7^th class. As a student of 9^th class, he was participating in regular "mushairas". He got an assignment in the British owned Gramophone Company at DumDum (now called Jessore Road, Kolkotta) India. He served there during 1943 to 1948 period. At that time the average monthly production of record was only 16. Once all the records (16) issued in a month were written by Mr. Fayyaz Hashmi- a record by itself. Some of the evergreen hit songs of Mr. Fayyaz Hashmi are quoted here:

1- Honton se gulfishan hain who – Aankhoon se ashkbar hum	Talat Mahmood
2- Do Kafir Aankhoon ne mara	Talat Mahmood
3- Dil ko hai tum se pyar kyoon	Jag Mohan
4- Aaj use phir dekha hai	Jag Mohan
5- Bhala tha kitna apna bachpan	Hemant Kumar
6- Yeh Raaten yeh mausam yeh hansa hansana (Also re-sung by Lata Mangeshkar as a tribute to the legendary Pankhaj Mallick)	Pankhaj Mallick
7- Tasveer teri dil mera behla na sake gi	Talat Mehmood
8- Ab yad hamein kyoon aati ho	Hemant Kumar
9- Kitna dukh bhulaya tum ne	Hemant Kumar
10-Maloom hay mujhko - ban Jao gi tum ek din taqdeer hamari	Jag Mohan

In 1948, he was posted as recording Manager at Dhaka Center of the Gramophone Company and thereafter in 1951 at Lahore. He promoted many talents like Farida Khanum, Saeen Marna, Saeen Akhtar and Saeen Budha.

He diverted towards the writing of film songs in 1956. "Kunwari Bewa" was the first film in Pakistan with his songs. He wrote more than 2000 songs for films and Gramophone Recording Company. He had also written stories, dialogues and scripts of many hit films like AULAD, ZAMAN KIYA KAHE GA, NEHLEY PE DEHLA, INTEKHAB, PEHCHAN, KHUDA AUR MUHABBAT, GHAREEBON KA BADSHAH etc. including " HUM AIK HAIN" which was also directed by him. It was the first Pakistani film with 5 songs filmed in colour and as such a record in Pakistan film industry.

Every film, songs of which were written by Mr. Fayyaz Hashmi became super hit like SAHELI, AULAD, ASHIANA, SUHAGAN, HONAHAR, PEGHAM, SARTAJ, SHAREEK-E-HAYAT, EID MUBARAK, SHABNAM, LOVE IN JUNGLE, TOBA, SAWAL, LAKHOON MAIN AIK, DEWAR BHABI etc.

He received Graduate Award 3 times and also Nigar award for the best song in 1978 on "Chalo Achha Hua Tum Bhool Gaye" film "Lakhoon Main Aik". He received International award in 1986 and another Nigar award in 1988 for the best dialogue of film " Ghareebon Ka Badshah". In addition to these he recounts about 11 Silver Jubilee Awards and 17 Golden Jubilee**. "Deewane Tere Pyar ke" is the latest film all songs of which have been written Fayyaz Hashmi.

The first compilation of his poetry was published as " RAG RANG" in 1944 in India. His poems were published in various journals and magazines like Adbi Duniya, Adbe Lateef, Alamgeer, Beesveen Sadi, Shama (Delhi), Chitrali (Dhaka), Nigar (Karachi), Amar Jadeed and Amrit Bazar Patrika (Calcutta, India). He wrote many Naats and Qawwalis. He also wrote many National songs like (Ae Quiad-e-Azam tera ehsan hai ehsan" & " Suraj Kare Salam – Chanda kare Salam".

On the publication of his mystic versus, Mr. Raees Amrohi commented that "History of Sufi poets is indicative of a glorious future for them and Mr. Fayyaz Hashmi has very faithfully absorbed himself by heart and soul in that trait."

Mr. Fayyaz Hashmi is a great asset and trendsetter. God Bless him with best of health and long life.

**AWARDED SONGS OF FAYYAZ HASHMI

Film	Year	Music Director	Song	Singer	Silver Jubilee Golden Jubilee
Aalia	1967	Inayat Husain	Nishan bhi koi na chora	Mehdi Hasan	Silver Jubilee
Aashiana	1964	A.Hameed	Ja re bedardi to ne kakin ka na chora	Mala	Golden Jubilee
Anokhi	1956	Hasan Latif Lalik	"Gari Ko Chalana Baboo"	Zubeda Khanum	Silver Jubilee
Aulad		A.Hameed	"Tum qaum ki ma ho"	Naseem Begum	Golden Jubilee
Bazi	1970	Sohail Rana	"Duniya ko hum kia samjhain"	Mehdi Hasan	Golden Jubilee
Dastan	1969	Khalil Ahmed	"Qissa gham mein tera nam na ane denge"	Mehdi Hasan	Silver Jubilee
Dewar Bhabhi	1967	Inayat Hussain	"Yeh Kaghzi Phool jese chehrey"	Mehdi Hasan	Golden Jubilee
Dil ke Tukrey	1965	SafdarHusain	"Zindagi tum se mili"	Mala / Munir Husain	Golden Jubilee
Eid Mubarik	1965	A.Hameed	"Taqdeer Hans rahi thi Gham muskura"	Mala	Golden Jubilee
Hazar Dastan	1965	Rashid Attre	"Akhon si mili anhkein"	Mehdi Hasan	Golden Jubilee
Jasoos	1977	Tafoo	"Sathi Mujhey Mil Giya"	Nahid Niazi	Silver Jubilee
Jawab Do	1974	A.Hameed	"Ek birhan bethi"	Naseem Begum	Silver Jubilee
Lakhon Mein Aik	1967	Nisar Bazmi	"Chalo acha hua tum bhool gae"	Noor Jehan	Golden Jubilee
Paigham	1964	Safdar Husain	"teri khatir jal rahe hein kub se parwane"	Mala / Noor Jehan	Golden Jubilee
Piya Milan ki Aas	1969	Saleem Iqbal	" Thumein Chahun Thumarey Chahne Walo"	Mehdi Hasan	Golden Jubilee
Phir Subah Hogi	1967	Nashad	"Daiya re daiya kanta chubha"	Runa Laila	Golden Jubilee
Raat ke Rahi	1960	A.Hameed	"Kia hua dil pe"	Zubeda Khanum	Silver Jubilee
Rishta hay Piar ka	1967	Nashad	"Hum jis ke hein Dewane"	Ahmed Rushdi	Silver Jubilee
Saheli	1960	A.Hameed	'Mukhrey pe sehra"	Naseem Begam	Golden Jubilee
Sawal	1966	Rashid Attre	"Lat uljhi suljha ja"	Noor Jehan	Golden Jubilee
Savera	1959	Manzoor	"To jo Nahin to Kuch bhi nahin"	S.P.John	Silver Jubilee
Sharik-e-Hayat	1968	A.Hameed	"trey liye o jan e janlakhon sitam uthaen ge"	Mala	Silver Jubilee
Shab Bakher	1967	Safdar Husain	"Hume koi gham nahin tha Ashqi se pehle"	Mala	Silver Jubilee
Shabnam	1965	A.Hameed	"Le Dooba Zindagi ko"	Mala	Golden Jubilee
Taqdeer	1966	Deebo Bhatachariyaa	"Hum sher-e-wafa ke logon ko Taqdeer ne aksar loota hai"	Masood Rana	Golden Jubilee
Tauba	1964	A.Hameed	"O re balam din ye "	Mala	Golden Jubilee
Waada	1976	Kamal Ahmed	"Rhim Jhim ki Barsat"	Mehdi Hasan	Golden Jubilee
Zamana kia Kahega	1961	Muslehuddin	"Raat Saloni Ai"	Nahid Niazi	Silver Jubilee

Anil Biswas

(Born 1914)

By Sultan Arshad

Born in Barisal, East Bengal, now Bangladesh, and brought up and fed on the folk songs of the boatman — Bhatiyaali and Baul — octogenarian Anil Biswas is the senior most living legend of the Indian cinema music. He is reverently called Anil Dada, Bengali for big brother — or just Anilda (short for Dada). He rightly calls himself the Uncle of modern film music "If RC Boral was the father of modern film music. I am senior enough to be at least its uncle," he says.

As a child his favourite pastime was to learn Bhajans from his mother who, in his words "possessed the sweetest voice I ever heard" Once the Bhajan sessions were over, young Anil (which means breeze in Sanskrit) would wander in the forest or by the river singing his favourite songs in the company of his best friend, Pannalal Ghosh who was destined to become India's finest flute player. Ghosh married Biswas' younger sister Parul, the renowned singer of the forties.

In the rich cultural environment of Bengal and blessed with a good voice; Anil Biswas decided to take proper lessons in music. He started to learn the Tabla, mastering the art in just a few years. Alongside, he took singing lessons from a couple of teachers and soon acquired confidence to perform as professional singer. As a teenager Anil Biswas had to run away from home; due to police persecution, as he was connected with die freedom movement He came to Calcutta., the dream city of every young Bengali with a fiver in his pocket. Those were tough times. After many sleepless nights on city's pavements he managed to find a job as a singer, lyricist and composer (he was already working on a professional stage as a composer-singer-actor-dancer-drummer etc.) with the Hindustan Recording Company where Kundan Lal Saigal and Sachin Dev Burman were also on the company's staff. The two seniors took a liking for the newcomer. They became good friends and the trio spent their spare time together. The friendship continued even after they had migrated, one after another, to Bombay.

Anil went through many turmoils in his life, including jail terms for his anti British political activities in Calcutta where he had not made any headway in his career either. He decided that Bombay, and not Calcutta was his ultimate destination. So, in 1934 he moved to the film capital of India and found himself a job at Ram Daryani's Eastern Art Production.

During his first year in Bombay he got opportunities to tune an odd song or two for films like BaalHatya and Bharat Ki Beti produced by Eastern for which he got no credit but in 1935 he was assigned to score music as a full fledged composer for Rs. 250 per month for Dharm Ki Devi in which he also sang his first Hindi song Kuch Bhi Nahin Bharosa. It was picturised on him too. Though a modest beginning, it was a turning point in his career. Two years and 11 films (mostly stunt ones) later, and after having joined Sagar Movietone luck smiled on Biswas. His compositions in Sagar's Mehboob-directed "Jaagirdar" (1937), a commercially successful movie, established him finally as a force to reckon with. Some more box office bonanzas like 300 Days and After, Gramophone Singer, Hum Tum Aur Woh, Watan, Ek Hi Rasta, Alibaba and Aurat followed.

Most of his popular movies in that period were directed by Mehboob Khan, first at Sagar Movietone and later at National Studios. The collaboration of the two giants continued during the early forties in such notable films as Behan and Roti. The story and concept of the later was by Anil Biswas.

In 1942 Anil Biswas after accepting an offer made by actress -producer- studio owner Devika Rani, joined her renowned banner Bombay Talkies (B.T.). Before joining this organization he had earlier composed music for its super hit Basant but due to his contractual obligation with National Studios credit could not be given to him and instead the name of his brother-in-law Pannalal Ghosh appeared on the credit titles of the film as music director. Biswas' first official film at B.T-, Hamaari Baat (1943) was incidentally Devika Rani's last film as an actress. Biswas' compositions in this film were as usual of a very superior quality. Most of the songs rendered by his sister, Parul Ghosh, brought great applause to both the singer and the composer.

1943 was also the most significant year in Anil Biswas' illustrious career. It was the year of B.T.'s Kismat.. The film, staring Ashok Kumar and Mumtaz Shanti, broke all previous box office records and, besides celebrating many jubilees all over India, ran for 3 years in a single

theatre (Plaza) in Calcutta — a record that has been broken only by Ramesh Sippy's Sholay in the seventies. Almost all the songs: (Dheerey Dheerey Aa Re Baadal / Ashok Kumar and Ameer Bai, Papiha Re / Parul Ghosh, Aaj Himalay Ki Choti Se / Amir Bai and Chorus, Ab Tere Siwa Kaun Mera / Ameer Bai, Ghar Ghar Mein Dwaali Hai / Ameer Bai) Anil Biswas composed for Kismat became a rage throughout the country. In fact Dheerey Dheerey Aa Re Badal sung for the screen by Ashok Kumar and in the record by his cousin and singer Arun Kumar Mukherji, then Anil Biswas's assistant, is considered to be one of the finest lullabies ever presented in a Hindi film. Biswas was now at the peak of his creativity.

The other notable films in which he gave outstanding music were JuarBhaata (Dilip Kumar's debut making film - 1944). "Pehli Nazar" (1945 - which introduced Mukesh to the Indian public) Milan (1946) Anokha Pyaar (1948) Ladli (1949) and Arzoo (1950). The last one sky-rocketted Talat Melmood's fame for his Aye Dil Mujhe Aisi Jagah Ley Chal. This was also Talat's first song recorded in Bombay.

Anil Biswas's later films were Aaram (1951), Taraana (1951). Doraaha (1952), Hamdard (1953), Waaris (1954), Pardesi (1957), Sautela Bhai (1962) and Chhoti Chhoti Baaten (1965) he last named movie, very sensitively directed and produced by actor-par-excellence, Motilal, turned out to be the swan song for its creator. Motilal died before the film was released and crashed at the box office.

Disillusioned by the changed working environment and the indifference of film makers in Bombay, Anil Biswas shifted to Delhi along with his singer wife Meena Kapoor, having accepted an important post at the All India Radio, Delhi.

Anil Biswas is not only a music director, he is an institution in himself, an epitome of knowledge and authority on both the classical and the folk music. He is also well versed with the western symphonies which he has used extensively and successfully in his musical scores.



The Author with Anil Biswas

Maestro Naushad, has paid glowing tributes to Anil Biswas in a popular TV program in these words- "Anil Biswas, my guru, is the first music director to have introduced the use of melody and counter melody in his songs and his background score, and I and others have greatly benefited from Biswas's successful experimentations"

I would not classify Suresh Wadekar as a "Rafi-wala". His voice and singing style were unique to himself.

Originally posted by: Qwest

The Author with Anil Biswas

Maestro Naushad, has paid glowing tributes to Anil Biswas in a popular TV program in these words- "Anil Biswas, my guru, is the first music director to have introduced the use of melody and counter melody in his songs and his background score, and I and others have greatly benefited from Biswas's successful experimentations"

qwest ji that programme was our very own SRGM !!!!!!it was the final day of the grand mega finals..after bela and md vakil were given their awards....

for me truly one of the great moments on television!!!👏👏

Originally posted by: juggyE

I would not classify Suresh Wadekar as a "Rafi-wala". His voice and singing style were unique to himself.

juggyE ji, yes you could be right, it is a choice of different individual and there opinion.

thanx qwest da.This is surely a jem 😊

qwest di thx a lot for sharing even i myself don't know a few of them despite the fact that i might have heard the songs 😕 thx again👍🏼

Retro rewind

Musical nites, remixes and movies are cashing in on the appeal of evergreen melodies. Is retro the current fad? RADHIKA RAJAMANI explores the scene

HAVE WE not the heard the adage old is gold too often? The Gen-X may cock a snook at this. But there is no denying that when it comes to music, old rules. A five-day music festival held as a tribute to veteran composers of Telugu cinema was proof of this. Singer Vijayalakshmi brought back nostalgia when she sang at Ravindra Bharati. The audience - the old and the young, swayed to her music totally captivated. It proved that the magic of composers like S. Rajeswara Rao, K.V. Mahadevan, Pendyala Nageswara Rao, Master Venu, Ghantasala, Satyam, T.V. Raju, Chakravarthi, M.S. Viswanathan and Ilayaraja and their compositions do not fade with the passage of time. Sanjay Kishore, who conceptualised this event with Vijayalakshmi, has been organising such musical nites (under the aegis of his organisation Sangam) regularly over the past eight years. "This programme was a tribute to music directors who gave us memorable melodies. Melody never dies. Today's fast songs give instant enjoyment but rarely do they last . Also the quality of lyrics made the difference in the old songs, " says Sanjay, who has brought popular veterans like Jikki, P. Suseela, P. Leela, L.R. Eswari, S.P. Balasubrahmanyam, Vani Jairam, Sailaja and newcomers like Usha and Nitya Santoshini on stage. "This programme was a way of introducing senior music directors to the younger generation," he adds. Vijayalakshmialso feels that melody is the main ingredient, which attracts people. "The event was a way of remembering great music directors. I feel like singing old songs. Even in the 24-hour programme held last year I sang mostly old film songs." Composers of yesteryear provided "real good music and it is difficult to sing those songs compared to the new ones." Akkineni Nageswara Rao, one of the chief guests, said, "classical-based songs are still enjoyable. I feel happy when people appreciate them." Film producer M.S. Raju (one of the invitees ) also endorses that "melodies live - they ruled and will rule for ever." Music composer Chakri too feels that the "old songs had good sahityam and melody. Live instruments were used to create the catchy songs." "One can't forget the old songs as they are very melodious," says TV artiste Sravani. "Old songs are pleasant to hear," says G. Vidyasagar, who attended the show. Sandhya, a youngster, feels "one does not get to hear such songs and it is through programmes such as these one gets an opportunity to do so. "Old songs had the stamp of melody and good lyrics which is not the case in today's songs," feels Madhuri, a student. The elements of melody and lyrics apply to Hindi film songs as well. Anu Malik, who brought in a retro feel in Main Hoon Naa says: "Melody is what makes people hear songs in any language - be it Hindi, Tamil, Telugu or even Spanish. In the Fifties and Sixties, technology was not so developed. People composed with just a piano, harmonium, violin, cello and tabla based on raags. They put their heart in creating the best with the limited resources. Today, the focus has shifted from creativity to technology. Melody is discarded for sound. Also there were lyricists (stalwarts) like Majrooh Sultanpuri, Sahir Ludhianvi, Shakeel Badayuni, Shailendra, Hasrat Jaipuri, Anand Bakshi and others who wrote beautiful poetry. Where are they now? Barring Gulzar and Javed Akhtar there are none. Like the saying goes, Tune is the king, word is the crown. The king is nothing without the crown." So when Farah Khan approached Anu Malik (a fan of Pancham Da ) to compose for Main Hoon Naa (she wanted romantic and zingy tunes) he "did not want technology to overshadow melody. Technology should be used but sparingly. So I fell back on my roots and melody to create tunes." Film nites with Hindi film songs held in the twin cities also attract more than capacity crowd. "People (the young and the old) are keen to listen to old songs and Sangeet Yatra (of which Arun Goud is the concept director and Shanta Banerjee the project director and the lead singer) organises programmes with different themes (one was a Kishore Kumar nite and the other traced the musical journey of the Kapoors from Prithviraj to Kareena)," says Rajdeep Bandopadhyay, programme co-ordinator and event manager. All the organisations are enthused to hold more such programmes on account of the overwhelming response. Old songs form the base for the remixes, which are fast gaining ground. But there are different opinions about them. "It's a way of making youngsters listen to old songs," says Sravani. "But for remixes we wouldn't have known the old songs," says Sandhya. "Remixes are just musical jugglery," says Rajdeep. Remixes should be done without spoiling the flavour and experimentation with the background music," says Vijayalakshmi. Anu Malik feels "remixes should be done aesthetically without twisting melody."

There is no doubt that old songs strike a chord with many. Ultimately anything which touches the heart is bound to be everlasting. So when you hear a Neela meghalalo, gaata rahe mera dil just soak in the melody