Lesser Known Music Composers >>>>>, Bipin-Babul, Ganesh,G.S.Kohli ... Options

[pinky]

Bipin-Babul

There was a mention of this pair in some recent post.
Here's a collection of two articles taken from 'G' Marathi and Yogesh
S. Yadav's Book on 150 MD's

Bipin Dutt Date Of Birth: 17-08-1930 Babul Date Of Birth: 22-01-1923

Whether they are alive is not known.

-----------------------------------------------------------------------------------------------------------------------------
Bipin-Babul were assistants to Madan Mohan. Their earliest film was
Salaam-E-Mohabbat (First film was Shaahi Mehmaan). They gave music in
films such as Chandu, Chaubees Ghante, Bus Conductor, Jungle King, Raat
Ke Raahi after that. Later they split . Chaalis Din was the first film
done by Babul after the split. And Bipin gave music for the film Kya
Yeh Bambai Hain.

Songs Listing given in Mr. Yadav's book:

1 Main Tujhko Agar Ek Phool Salaam-E-Mohabbat 1955 Talat Mahmood
2 Chal Dheere Dheere Matwaale Badal Aur Bijli 1956 Babul, Bhushan,
Chorus
3 Raat Kithni Haseen Badal Aur Bijli 1956 Talat Mahmood-Mubarak
Begum
4 Bijli Chamke Sultana Daaku Mubarak Begum
5 Tum Ho Kahin Ke Taj Poshi Asha Bhosle
6 Duniya Mujhko Pagal Samjhe 24 Ghante Mukesh
7 Humein Haal-E-Dil Tumse Kehna Hain 24 Ghante Talat
Mehmood-Asha Bhosle

Bipin Solo Music Director:

1 Main Apni Lagan Ka Maara Diamond King 1960 Mukesh

Babul Solo Music Director:

1 Gardish Mein Ho Taare Reshmi Rumaal 1961 Mukesh
2 Zulfon Ki Ghata Lekar Reshmi Rumaal 1961 Manna Dey-Asha Bhosle
3 Jab Chaaye Kabhi Sawan Kim Ghata Reshmi Rumaal 1961 Talat Mahmood
4 Hain Yeh Zameen Hamaari Saara Jahaan Hamara 1961 Mukesh
5 Phoolon Se Rangeen Zameen Hain Naqli Nawaab 1962 Mukesh
6 Hum Jispe Fidaa Hain Naqli Nawaab 1962 Asha Bhosle

Ameen Sayani Did a programme on this pair including playing an
interview of Babul done in 1973.

SALAAM E MUHOBBAT(1955)
SHAHI MEHMAAN(1955)
BADAL AUR BIJLI (1956)
SULTANA DAAKU(1956)
TAJ POSHI(1957)
CHANDU (1958)
CHAUBIS GHANTE (1958)
BUS CONDUCTOR(1959)
RAAT KE RAAHI(1959)
DIAMOND KING(1960)
RESHMI RUMAL(1961)
NAQLI NAWAB(1962)
BAGHI SHEHZADA(1964)
DAWAT(1974)



(source;n.narayanaswamy;derkeiler.com)
DAWAT(1974)

This post has been edited by pinky: May 4 2008, 10:39 AM

[simplefable]

P.ADINARAYANA RAO ( 1918 - 1991 )


P.Adinarayana Rao gave music to two films in Hindi. But his contribution to the music field as a whole is enormous. A very shy man who shunned publicity, his work speaks for the quality he stood for. Infact a book written by him named " Bharatiya Sangeeta Saastram " is considered to be a bench mark in classical music.
There are many Indian music directors who have worked only in a few films.Yet very few have managed to leave such an unique signature on Indian film music as P. Adinarayana Rao has. Consider the fact that in a long career spanning over three and a half decades he scored music for less than thirty films. And it is a no mean accomplishment to capture the hearts of Hindi filmaudience with just two films Suvarna Sundari and Phoolon ka Sej .

Adinarayana Rao was born in 1915 in Kakinada (some sources place his yearof birth in 1918, in Vijayawada). He was introduced to the stage at a very young age of six, playing the role of "naarada" in the play: "Savitri"
under Rajarajeswari Naatya Mandali's baton. He went on to study classical music under Patrayani Sitarama Sastry, a prominent personolity of those days, in Saluru, a major center for music in the early decades of this century. Later he completed his matriculation from Kakinada. At age 12, with an impressive talent to play many instruments, and literary interests, he started working as a music composer and a play writer.


It is in veteran film maker B V Ramanandam's, "varudhini" (1946) he got hisfirst break in films. The oppurtunity came through S.V. Ranga Rao, nephew of Ramanandam and a YMHC member (incidentally this was the debut film for Rangarao too). Although he was initially assigned to write lyrics and compose music, professional differences led to the abrupt ending of theproject after recording just two songs, and he returned to Kakinada.

Later he worked for a couple of films writing lyrics and/or composing music,which include C. Pullayya's (another native of Kakinada), the highly successful, "Gollabhama" (1947, co-MD: Dinakara Rao), in which Anjali made her debut. The songs/verses from Gollabhama are a real delight to hear;chandamaama andamaina, priyatamaa!, bhoopati jampitin, valapu teniyalu,etc. They are in my opinion ahead of their time in terms of pace.
It is also relevant that Anjali Devi the heroine of Golla bhama ( milk maid ) married Adinarayana Rao soon enough after that film.
Its through "palleToori pilla" (1950), a film based on Sheridon's play:"Pijjaro", he became a full-fledged music director, thanks to his friend B A Subba Rao, who was making his directorial debut and went on to make a highly successful career. His adaptation of Spanish tunes - "dheera kampanaa" - with superb orchestration, and usage of Telugu folk melodies set new trends. Songs like: chiTapaTa chinukula duppaTi taDisenu, Saanta vanTi pilla lEdOyi (young Pithapuram Nageswara Rao singing this beautifully) were treats to music lovers. His next venture; "tilOttama" (1951) was a disappointment. Its music reached very few people since it was neither a commercial success at box-office nor were the songs released on records.

In 1949 he founded "Aswini Pictures" with Akkineni Nageswara Rao and makeupartist K. Gopala Rao, producing "maayalamaari" (1951, Tamil: Mayakkaari).Though it ran for 100 days, the music was only a moderate success.So was "annadaata" (1954), made on the same banner. He wrote some lyrics for "palletoori pilla" and "annadaata" too. "annadaata" also heralded thebeginning of the successful team with himself, ANR & Anjali (in lead cast)and Director Vedantam Raghavayya, which continued unbroken for more than a decade.

In 1951 he separated from Aswini banner and founded his own production house; "Anjali Pictures" making "paradESi" (1953, Tamil: Poongottai,with songs like: pilichindi kaluva puvvu - jikki, nEnenduku raavaali -
Jikki, Pithapuram, etc.) under the direction of L. V. Prasad. The superb compositions in big budget "anaarkali" (1955) and "suvarNna sundari(1957) that followed under this banner brought him tremendous recognition.Volumes can be written on these two great musicals. Though a couple of tunes were partly based on Ramachandra Chitalkar's tunes from Hindi version of "Anarkaali" (1953) rest showed his enormous creative talents. the rest showed his enormous creative talents. The song "raajasekharaa nee pai moju teera leduraa" still lingers on every one's tongue. So are: kalise nelaraaju kaluva chelini - Ghantasala, Jikki, sOjaa raajakumari - A. M. Rajah.

Suvarna Sundari was the high point in his career. It was a blockbuster hit running to full houses at all the places it was released for over 6 months. Described as the "Bible to box-office laws" by film critics, it showed the way to later day "formula" filmmakers. It had all the elements, in proper dosage, to attract all sections of film goers. "piluvakuraa alugakuraa, haayihaayigaa aamani saage, bommalammaa bommalu, Eraa manapaaTi dheerulevvaruraa" remain ever-green hits. The raagamaalika set to four Hindusthani Ragas made him very popular and won him many awards and recognition all over India! Some critics unfairly accused him of plagiarising "piluvakuraa" and "haayi haayigaa" tunes from Vasant Desai's
_milan hon kaise_ ("Dhuaan" 1953) and Anil Biswas's _ritu aaya, ritu jaaya_ ("Hamdard" 1953) respectively. But there is very little truth in that.
No one can deny the creative prowess in his works. Riding high on the success, he embarked on his second Hindi production:"Phoolon Ki Sej" (1964), based on Gulshan Nanda's novel: "andheri biran", with big starring. It turned out to be his last hindi film. This film virtually lead the couple to ruins, losing whatever they earned over 17 years. It was a major setback especially at a time when Anjali was considering her retirement from the films after acting in 100 films. Even melodious songs like: aa tu jaraa dil mein (Lata, Mukhesh), abhin jaa rasiya (Lata, Manna),pyar ko madhur madhur (Asha, Rafi), taronki aankhon ka (Lata) could not stop the disaster.

It took nearly a decade for the next 'big' hit from Adinarayanarao's house;"bhakta tukaram" (1973), portraiting the life-story of saint-composer Tukaram. This is yet another gem from the master with memorable songs like:ghanaa ghana sundaraa - Ghantasala, poojaku vELaayeraa - P. Susila, unnaavaa asalunnaavaa - Ghantasala, sari sari vagalu telisera - P.Susila etc. "alluuri seetaraama raaju" (1974), the life-story of revolutionary freedom-fighter, followed soon, making his name well-known to the next
generation of Telugus, gaining fame to both the producer/actor Krishna and Adinarayana rao himself. The whole audience waited along with the heroine for seetaramaraju while she was singing "vastaaDu naa rOju"
(P. Susila). SriSri's "telugu veera levaraa deeksha booni saagaraa" was immortalised by his tune and has become a classic patriotic song.
He never worked for any other production houses in the later period, except for film actor Krishna's productions.

His creation "mahaakavi kshEtrayy" (1978) is a testimony to his quest for perfection and authenticity. He travelled through the coastal districts of Andhra Pradesh, along with well known Telugu poet, historian and
film-writer Arudra, interviewing several dEvadaasis, who have been singing kshEtrayya padam-s for centuries. Unfortunately such thorough fieldwork, and compositions like: ashTa vidha naayika varNana, Sreepati sutu baariki (Ramakrishna), chedero naa saamiki (swapna sundari, famous danseuse) could
not guarantee the film's commercial success.

Certainly we can not forget his other films like; "adutta vittu penn"(1959, Tamil, with P B Sreenivas's solo "Vaadaada malar"), "Runaanubandham" (1960, "andamain baava aavu paala kova", "nindu punnami nela"),
"swarNa manjari" (1962, madhuramaina guru deevana - Nagayya, P. Susila, raavE naa praNaya roopiNi - Ghantasala), "satee sakkubayi" (1966, ranga rangaa rangayanandi - Ghantasala). The last one was also dubbed in to Marathi as "sakhu ali pandarpura" (1969), winning critical acclaims in Maharashtra too. "ammakOsam" (1971), "agni pareeksha" (1970) (konDapai ninDugaa koluvunna maa talli kanakadurga - Ghantasala), "kalyaaNa manDapam" (1971), "pedda koDuku" (1973), "kannavaari yillu" (1978) are his other films.

Apart from his own compositions he left his imprint on the music field indirectly too. Later highly successful music directors; Totakura Venkata Raju (a.k.a T V Raju), Satyam and Lakshmikant-Pyarelal duo (Phoolonki Sej) worked as his assistants.

An "unusual influence of Hindustani classical music and Marathi Natya Sangeet" on Telugu film music is attributed to him. Early Marathi (and Parsi) touring drama troupes left their indelible mark on Telugu stage by the end of 19th century. It is a no surprise since Adinarayanarao who followed the music styles keenly and heard the music of legendary artists of Telugu stage like Tungala Chalapati Rao, K. Raghuramayya, Jonnavittula Seshagiri Rao, C.S.R. Anjaneyulu, et al grasped these styles as well.

His exposure to classical music and stage music from early years at Saluru and Vijayanagaram certainly helped him in better understanding of Hindustani music. Well known music critic V.A.K. Rangarao credits Adinrayana Rao for introducing Hindustani music in contemporary flavour and simplified orchsetration, and thereby impressing both laymen audience as well cognoscenti. It is this music that survives him enthralling all the music

Filmography

Composer:

1. Chandipriya (1980)
2. Kannavari Illu (1978)
3. Mahakavi Kshetrayya (1976)
4. Alluri Seetharama Raju (1974)
5. Bhakta Tukaram (1973)
6. Pedda Koduku (1972)
7. Mosagalaku Mosagaadu (1971)
8. Agni Pareeksha (1970)
9. Ammakosam (1970)
10. Sati Sakkubai (1965)
11. Phoolon Ki Sej (1964)
12. Swarnamanjari (1962)
13. Mangayir Ullam Mangada Selvam (1962)
14. Adutha Veetu Penn (1960)
15. Runanubandham (1960)
16. Suvarna Sundari (1957/I)
17. Manalane Mangayin Bhagyam (1957)
18. Suvarna Sundari (1957/II)
19. Anarkali (1955)
20. Annadata (1954)
21. Pardesi (1953)
22. Palletoori Pilla (1950)
23. Golla Bhama (1947)

Producer:
1. Mahakavi Kshetrayya (1976) (producer)
2. Ammakosam (1970) (producer)
3. Swarnamanjari (1962) (producer)
4. Suvarna Sundari (1957/I) (producer)
5. Pardesi (1953) (producer)

Writer:

1. Suvarna Sundari (1957/I) (story) (as Adityan)


* It is amazing to see so much information being imparted by you all, Pinky in particular for initiating a thread on these lesser known Music Directors, i took up this endeavour to tell a few words about Adinarayana Rao. Unfortunately, lot of his work was confined to regional music in telugu and tamil films. So, i high lighted the relevant portions in RED which can be read by the members who feel bored with this regional lingo...




This post has been edited by simplefable: Jun 11 2008, 09:49 PM