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sangeet ka safar

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>>>> S O O N H E R E 1944 GUL -BALOCH PANJABI FILM STORY WITH ONE PICTURE <<<<<<<<<

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This post has been edited by surhall: Jan 2 2010, 02:52 PM

[surhall]

sangeet ka safar

Navaratna
The nine voices of Hindi cinema

A look at the nine female voices on the Hindi playback scene whose voices still haunt movie buffs...

Ever since Parul Ghosh became India’s first playback artiste in the early 30s, the playback system (here to stay in a culture rooted in music) spawned dozens of voices. The early singing stars were a compromise — either histrionically or vocally. But a few like Khursheed, Kanan Devi and Amirbai Karnataki left a vocal impact, the latter even switching to playback after the 1943 blockbuster Kismet.

From there to Lata Mangeshkar (the one single name that epitomises Hindi film music globally), and beyond has been an enriching, image-defining and image-defying evolution. Over the decades, nine voices have perhaps left the most enduring impressions on the sands of musical time. Together, they can be termed the Navratnas of playbackdom amidst a dozen other jewels from Rajkumari, Khursheed, Leela Chitnis and Zohrabai, to Suman Kalyanpur, Sudha Malhotra, Mubarak Begum, Usha Mangeshkar, Sadhana Sargam and the upcoming generation.

SHAMSHAD BEGUM

The later generations may merely remember her by her hit swan song, which she vocalised for a Biswajeet in drag, O.P.Nayyar’s ‘Kajra mohabbatwala...’ from the 1968 Manmohan Desai thriller Kismat. But Shamshad Begum was to female playback what Mukesh was to the males — she had the highest-ever percentage of hit songs among any major singer. She began to sing in a burqa and legend has it that she even fell asleep at the mike at an early recording in her career.

Beginning with Khazanchi (1941) in which she sang all nine songs, the songstress with the punchy, earthy voice sang for every top star and composer of her time, her characteristic vocals even helping set composers like mentor Ghulam Haider, S.D. Burman (‘Saiyyan dil mein aana re...’/ Bahar), O.P. Nayyar (‘Kabhi aar kabhi paar...’/ Aar Paar) and even Madan Mohan (‘Mohabbat karne...’/ Aankhen) on professional track. And the range was amazing, from ‘Hello hello gentlemen...’ (Actress) and ‘Kahin pe nigahein...’ (C.I.D.) to ‘Bachpan ke din...’ (Deedaar) and ‘Meri neendon mein tum...’ (Naya Andaz).

SURAIYA

India’s first major singing star made her debut with ‘Boot karoon main polish...’ (Nai Duniya) and hit big time with Hamari Baat (1943). The mid-40s and early 50s were her fiefdom to a good extent, as she unleashed an array of hit films and even more chartbusters like ‘Main dil mein dard basaa layi...’ (Anmol Ghadi), ‘Jab tum hi nahin...’ (Parwana), ‘Woh paas rahen...’ (Badi Bahen), ‘Tera khayaal dil se...’ (Dillagi), ‘Yeh na thi hamari qismat...’ (Mirza Sahiban) and ‘Man mora hua matwala...’ (Afsar) (the film with which she entered Navketan as well as Dev Anand’s heart).

Like Sunidhi Chauhan today, Suraiya began when barely into her teens, her earliest recordings needing a stool in the recording rooms for her to stand on. But today she stands tall as India’s greatest star-singer.

NOORJEHAN

Here again was an artiste who began when she was a bare 13, to emerge as a trendsetter star-singer who broke in with a voice that enthralled an audience, used to the ancient mujra-oriented styles. Beginning with Khandaan (1942), in which she sang nine of the 10 songs under Ghulam Haider, Noorjehan soon emerged as a major player with instant chartbusters like ‘Jawaan hai mohabbat...’, ‘Awaaz de kahaan hai...’ and ‘Aaja meri barbad mohabbat ke sahare...’ (all from Anmol Ghadi), ‘Yahaan to badlaa wafaa ka...’ (Jugnu), ‘Aahen na bhari...’ (Zeenat, the first significant qawwali in films), ‘Mohaniya sundar mukhda...’ (Lal Haveli), ‘Tum humko bhula baithe ho...’ (Badi Maa) and ‘Main ban patang ud jaoon...’ (Dupatta).

Noorjehan migrated to Pakistan shortly after Independence, leaving behind a legacy of hits and the monumental talent who had made Noorjehan her initial role model — Lata Mangeshkar.

GEETA DUTT

If Noorjehan inspired Lata, Geeta Dutt, who began as Geeta Roy in the early 40s, became the base of Asha Bhosle’s style and career. Geeta Dutt remains India’s most inimitable voice, her unique vocal magic matched only by her perennial flexibility.

Geeta Dutt’s career can be briefly divided into three distinct stages — initially beginning as a singer with a folk and ghazal base, she acquired a ‘pious’ image with Bhakt Prahlad (1946), till O.P. Nayyar changed the ‘Ghunghat ke pat khol...’-Jogan image with ‘Mera naam Chin Chin Chu...’ in Aar Paar (1952).

It was from here that Geeta’s career took off to its crescendo, an upward graph that did not falter even as Lata and vocal protege Asha Bhosle made it big. The silken voice enriched the compositions of all top composers, mostly O.P. Nayyar and S.D. Burman, and the films of Guru Dutt, whom she married for a tumultuously short span. And Mr & Mrs 55, Do Bhai, Baazi, Devdas, Pyaasa, Howrah Bridge, C.I.D., Sahib Bibi Aur Ghulam and Kaagaz Ke Phool were only the creme-de-la-creme of her output. She succumbed to her emotional troubles in the early 70s, shortly after recording the songs of Kanu Roy’s Anubhav (1972), which proved that the voice was as supple, as nuanced, and as seductive (‘Meri jaan mujhe jaan na kaho...’) as at her peak. Technically, however, her last release was Love And God in 1986.

LATA MANGESHKAR

It was pre-ordained. Why else did 1929 see the biological birth of three legends — Suraiya, Noorjehan and Lata Mangeshkar? But of the three, Lata probably was born under the best constellations, her early hardships notwithstanding.

Today, Lata embodies more than just perfection and permanence in playback — she encompasses single-minded devotion to her art, an untiring thirst for growth, an awesome vocal quality and range and above all, is the first name synonymous with Indian music. From Aap Ki Sewa Mein in 1947, she’s done nothing but sewa to the seven notes, and she continues to strike gold every year, even now when she barely records 10 songs a year. Lata will always remain the benchmark for every singer to come, the lucky mascot of established and debutante heroines, and the complete textbook for present and future singers galore.

ASHA BHOSLE

They revelled in calling her the underdog. But Asha, however subtly and slowly, steadily established her niche as an extraordinarily versatile diva, who was broadminded enough to connect with the bratpack composers, sing for Western musicians and come back to an album with Ustad Ali Akbar Khan. Her film repertoire spans from a ‘Dum maro dum...’ (Hare Rama Hare Krishna) to a ‘Dil cheez kya hai...’ (Umrao Jaan), with a ‘Tora man darpan kehlaaye...’ (Kaajal), a ‘Jhumka gira re...’ (Mera Saaya) and ‘Yeh hai reshmi zulfon ka andhera...’ (Mere Sanam) sparkling in-between.

If everyone else latched on to Lata Didi, the Burmans and O.P. Nayyar loyally moulded her, away from early Geeta influences, to etch out her status as a greater icon of youth than all the poppers and rappers put together.

ANURADHA PAUDWAL

She is the tough one — the ‘iron lady’ who made it her lifetime mission to crack the Mangeshkar monopoly. Anuradha Paudwal remains a key factor in the emergence of the post-Lata-Asha generation, as even detractors will have to admit that she showed and prepared the way for the singers who rule today. Her ascent to the top was not due to strategy alone. She had talent by her side as evidenced in her songs from Hero, Nagina, Tezaab, Ram Lakhan, Batwara, Dil, Aashiqui and Sangeet.

ALKA YAGNIK

She laughs off comparisons to Lata Mangeshkar, and she is both right and wrong. Right, because she has now emerged as a singer with her own distinct leitmotif, and because she rightly considers Lata to be on a far-off pedestal, and wrong because she is the only singer today who can match Lata’s flexibility and vocal allure. She does not deny the early Lata influence, though impartial listeners will note that unlike Anuradha, her similarities to Lata were brought up by her composers more than Alka herself. Today, she is the Queen Bee of playbackdom, a singer who refuses to take her success and growth for granted, a singer who has conquered all her limitations, a singer who gets paid more than the topmost male singer and rules the charts despite being choosy.

KAVITA KRISHNAMURTHY

She broke the mould, proving that a South Indian could sing with a perfect Hindi-Urdu accent. She also proved that a low-profile singer, who started off as a dubbing artiste for Lata and Asha, could be among the leading singers with an array of hits like ‘Hawa Hawaii...’ (Mr India), ‘Kyoon naye lag rahe...’ (1942-A Love Story), ‘Tu hi re...’ (Bombay) and her raag-based songs in Bhairavi and Saaz.

—Rajiv Vijayakar

Who will be the next addition to these Nine Greats? As of today, the tenth name might well be SUNIDHI CHAUHAN, the prodigy who was a mere 13 when she sang her first film song in Shastra (1996).

Blessed with a unique voice and a style that are a heady amalgam of Indian earthiness and Western techniques, Sunidhi took off with Mast (‘Ruki ruki thi zindagi...’) and within just three years has emerged as the ‘item’ specialist who can sound her age or double that figure.

She has that rare quality that inspires music directors to expand their compositional vision, as evidenced from her chartbusters in films like Fiza, Mission Kashmir, Champion and Asoka. And now with Chori Chori, she has brilliantly succeeded in breaking the item barrier to prove that she can do the conventional croons.

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