Sunday, August 6, 2017

இளையராஜா பாடிய பாடல்களின் தொகுப்பு

இளையராஜா தனி பாடல்கள்

1 16 வயதினிலே - சோளம் வ்தக்கையிலே
2 ஆண்பாவம் - காதல் கசக்குதையா
3 ஆண்பாவம் - வந்தனம் வந்தனம்
4 ஆனந்தக்கும்மி - திண்டாடுதே ரெண்டு கிளியே
5 ஆவாரம் பூ - அலேலம் பாடி
6 ஆயிரம் வாசல் இதையம் - மனதார காதலித்தால் (துனுக்கு)
7 அக்னி நட்சத்திரம் - இராஜா ராஜாதி
8 அஜந்தா - எங்கே இருந்தாய்
9 அலைகள் ஓய்வதில்லை - தரிசனம் கிடைக்காதா
10 அம்மன் கோவில் திருவிழா - மாஞ்சோலை கிளியிருக்கு
11 அம்மன் கோவில் திருவிழா - நான் சொன்னால் கேளம்மா
12 அம்மன் கோவில் திருவிழா - தெய்வம் தந்த
13 அன்பே சங்கீதா - அடி ஆத்தா ஆத்தா
14 அன்பு கட்டளை - எங்கே சென்றாலும்
15 அன்பு கட்டளை - ஒரு கூடின் கிளிகள்தான்
16 அண்ணன் - கன்மனிக்கு வாழ்த்து பாடும்
17 அரண்மனைக்கிளி - என் தாயெனும் கோயில
18 அரண்மனைக்கிளி - இராமர நெனக்கும்
19 அதர்மம் - ஒரு பக்கம் நியாயம்
20 அது ஒரு கணா காலம் - காட்டுவழி கால்நடையா
21 அவதாரம் - சந்திரறும் சூரியரும்
22 அவதாரம் - ஒரு குண்டுமல்லி குலுங்குதடி
23 அழகர்மலை - கருகமனி கருகமனி
24 அழகர்மலை - உலகம் இப்போ எங்கோ
25 அழகி - உன்குத்தமா என்குத்தமா
26 பகவதி புரம் ரயில்வே கேட் - வெதச்சதெல்லாம் வெளஞ்சு வரும்
27 பரணி - தேனா ஓடும் ஓடகரையில்
28 பரதன் - அழகே அமுதே பூந்தென்ற்ல்
29 பரதன் - நல்வீனை நாதம்
30 பாரதி - நின்னைச்சரன் அடைந்தேன்
31 சக்களத்தி - என்ன பாட்டு பாட
32 சக்களத்தி - வாடை வாட்டுது
33 சின்னக்கவுண்டர் - அந்த வானத்தபோல
34 சின்னக்கவுண்டர் - கண்ணுபடபோகுதையா
35 சின்னக்கவுண்டர் - சொல்லால் அடிச்ச சுந்தரி
36 சின்ன ஜமீன் - நான் யாரு எனக்கேதும்
37 சின்ன குயில் பாடுது - சின்னகுயில் ஒரு பாட்டு
38 சின்னத்தாயி - நான் ஏரிக்கரை மேலிருந்து
39 சின்ன வீடு - ஜாக்கிரதை ஜாக்கிரதை
40 சிட்டுக்குருவி - நீரோட ஆள காத்தோடும்
41 சிட்டுக்குருவி - பாரனஜனம் ஆடுதடி
42 தெய்வவாக்கு - இந்த அம்மனுக்கு எந்த
43 தேசியகீதம் - அம்மா நீயும்
44 தேசியகீதம் - அன்னல் காந்தி
45 தேசியகீதம் - ஏழபாழ
46 தேசியகீதம் - நன்பா நன்பா
47 தர்மா - இருகண்கள் போதாதே
48 தர்மா - இருகண்கள் போதாதே (சோகம்)
49 தர்மம் வெல்லும் - பூவோடு காற்றுவந்து
50 ஈரவிழி காவியங்கள் - பழைய சோகங்கல்
51 ஈரவிழி காவியங்கள் - தென்றல்டை தோரணங்கள்
52 எல்லமே என் ராசாதான் - வீனைக்கு வீனைகுங்சு
53 என் அருகே நீ இருந்தாள் - நிலவே நீவரவேண்டும்
54 என் பொம்முக்குடி அம்மாவுக்கு - காலெல்ளாம் நோகுதடி
55 என் பொம்முக்குடி அம்மாவுக்கு - கண்ணே நவமனியே
56 என் ஜீவன் பாடுது - எங்கிருந்தோ அழைக்கும்
57 என் மனவானில் - உன்னைத்தேடி வெண்ணிலா
58 என் ராசாவின் மனசிலே - குயில் பாட்டு வந்த்தென்ன
59 என் ராசாவின் மனசிலே - பென்மனசு ஆழமுன்னு
60 என் ராசாவின் மனசிலே - சோளபசுங்கிளியே
61 என் உயிர் கண்ணம்மா - பூம்பாரையில் பொட்டு
62 எனக்காக காத்திரு - ஊட்டி மலைக்காட்டில்
63 எங்க ஊரு காவக்காரன் - எங்க ஊரு காவகாரா
64 எங்க ஊரு மாப்பிள்ளை - வலது காலை எடுத்து
65 எங்க ஊரு பாட்டுக்காரன் - எங்க ஊரு பாட்டுகாரா
66 என்னப்பெத்த ராசா - எல்லோருக்கும் நல்லவனக
67 என்னப்பெத்த ராசா - பெத்தமனசு சுத்த்திலும்
68 என்னை விட்டு போகாதே - எலூம்பாலே கூடுகட்டி
69 என்னை விட்டு போகாதே - பொண்ணப்போல ஆத்தா
70 எதிர் காற்று - சாமியாரா போணவனுக்கு
71 ஏழை ஜாதி - இந்த வீடு நாமக்கு
72 கீதாஞ்சாலி - துள்ளி எழுந்த்து பாட்டு
73 குணா - அப்பனென்ரும் அம்மை
74 ஐ ல்வ் இந்தியா - பாசம் வைத்த முல்லை
75 இங்கேயும் ஒரு கங்கை - பரமசிவன் தலையில்
76 இரண்டில் ஒண்ரு - நாரினில் பூ தொடுத்து
77 இரவு பூக்கள் - இந்த பூவுக்கொரு
78 இதயகோயில் - இதையம் ஒரு கோவில்
79 இதயம் - பொட்டு வைத்த ஒரு
80 ஜப்பானில் கல்யாணராமன் - காதால் உன் லீலையா
81 காக்கை சிறகினிலே - பாடித்திரிந்த எந்தன்
82 காதல் சாதி - என்ன மரந்தாலும்
83 காத்திருக்க நேரமில்லை - கஸ்தூரி மானே மானே
84 காவலுக்கு கெட்டிக்காரன் - காவலுக்கு கெட்டிகாரன்
85 கடலோர கவிதைகள் - தாஸ் தாஸ் சின்ன்ப்பதாஸ்
86 கைவீசம்மா கைவீசு - கைவீசம்மா கைவீசு
87 கைராசிக்காரன் - ஊமைமேகமே
88 கலிகாலம் - காலம் கலிகாலம் தான்
89 கண்ணா உன்னை தேடுகிரேன் - ஊருரங்கும் நேரத்தில்
90 கண்ணாத்தாள் - மாலை வெயில் அழகி
91 கண்ணுக்கொரு வண்ணக்கிளி - கானம்தான் காற்றோடு
92 கண்ணுக்கொரு வண்ணக்கிளி - யார் அழுது யார்
93 கண்ணுக்கு மைஎழுது - பூவே நீ நானாகவும்
94 கண்ணுக்கு மைஎழுது - சோகங்கள் கீதங்களோ
95 கரகாட்டகாரன் பாட்டாலே - புத்தி சொன்னா
96 கரகாட்டகாரி - என்ன பெத்த ஆத்தா
97 கரையெல்லாம் செண்பக்ப்பூ - காடல்லாம் பிச்சிப்பூவூ
98 கரிமேடு கருவாயன் - அட கதைகேலு கதை
99 கரிசக்காட்டுப்பூவே - வானம் பார்த்த கரிசக்காடு
100 கட்டபஞ்சாயத்து - தலைவன் ஒருத்தன்

(தொடரும்)

Sunday, July 31, 2016

8 Sparkling Gems of Madan Mohan Which Remained Unreleased

The beauty in Lag ja gale, the classicism in Phir wahi shaam, the poignancy in Unko ye shikayat hai, the patriotism in Kar chale lo fida, the mischief in Suniye suniye aaj kal ki ladkiyon ka program. All these songs have one thing in common. Their master. Madan Mohan. The knack and imagination with which he made music, showed that his mind was skilfully honed. Christened as “The Emperor of Ghazals”, he had class and spontaneity. Be it the lyrics of Raja Mehdi Ali Khan, Rajendra Krishan, Sahir Ludhianvi or Majrooh sultanpuri, his masterly tunes brought those words alive.

Beginning with Ankhein (1950), he went on to compose timeless, pristine songs in films like Bhai Bhai, Dekh Kabira Roya, Adalat, Sanjog, Anpadh, Woh Kaun Thi, Mera Saaya, Dastak, Heer Ranjha and last but not the least Mausam. Though unfortunately, he did not win a single Filmfare award for his compositions, he won National award for the film Dastak (1970). He was never in the rat race, but he was a special prodigy. The audience of today also find his music relevant and suitable. The best example of this being Veer Zara, which released in 2004. Yash Chopra re-recorded some unused compositions of Madan Mohan and it gives thumping evidence of his genius. The maestro still has a list of exotic numbers which are unreleased or haven’t been heard or more sadly some are lost.

Some of these songs from unreleased/shelved films have been released on albums Tere Bagair and Kaise Kategi Zindagi. Some songs were found on his master tapes, while others have been lost. Hearing these sparkling, shimmering gems is sure going to be a treat for the listeners and his fans. Here are a few of them!!

1. Mere Dil Se Aake Lipat Gayi ( Neela Aakash) – This romantic duet by Mohammaed Rafi and Asha Bhonsle was originally recorded in 1965 for the film Neela Aakash. The song was rejected after being recorded.

2. Ya Ilahi Ek Haseena Ne – A typical frothy Rafi number was probably recorded in the mid sixties and was found on his original spool.

3. Ladkiyon ko Chahiye Woh Ladko – This song was recorded in the early 70’s in the voice of Kishore Kumar. A teasing, naughty song written by Naqsh Lyallpuri. It is a situational song and indeed different from the Madan Mohan’s style of songs.

4. Mere Ashkon ka Gham Na Kar – Film unknown. Written by Naqsh Lyallpuri, rendered by Lata Mangeshkar.

5. Phir Wohi Shaam Phir Wohi Gham – Written by Rajindra Krishan, rendered by Asha Bhonsle. This song is supposed to be from an R K Nayyar movie called Phir Wohi Shaam starring Sadhna.

6. Aaj Mujhe Jal Jaane Bhi Do – Recorded in that distinctive voice of Kishore Kumar, the song sounds like a seductive one.

7. Dhadkan Hai Tu Har Dil Ki – This songs rendered by Rafi, Asha Bhonsle, Balbir and Brij Bhushan belongs to the pop genre. The tempo is up beat with beautiful orchestration.

8. Har Sapna Ek Din Toote – A philosophical song recorded in the early 70’s. Rendered by Rafi again in his pathos driven voice.

https://www.youtube.com/watch?v=Cy0rPj1pmcM

MUSIC AND INDIA - 9 (Sonik-Omi) A Musical Struggle

Sonik-Omi was an uncle-nephew music director duo in the Hindi film industry in the 1960s and 70s. They have, in their stint as music directors, composed music for over 120 Hindi films.

Om Prakash Sonik, was born in Sialkot and moved to Bombay in 1948 at the age of eight. In his career, he partnered with his uncle Manohar Lal Sonik and created some memorable songs together. Om Prakash was a chorus singer and then assistant to music director Roshan before branching off as a music director. They debuted as music directors with the film “Dil Ne Phir Yaad Kiya” (1966) and all the nine songs went on to become hits.

https://www.youtube.com/watch?v=2YohEL8ZkFg 

A few of the songs they have composed music for include “Aai Aai Re Holi” (“Aabroo”, 1968), “Dono Ne Kiya Tha Pyar Magar” (“Mahua”, 1969), “Kaan Mein Jhumka” (“Sawan Bhadon”, 1970), “Wafa Ke Naam Par” (“Ladki Pasand Hai”, 1971), “Yaad Rahega Pyar Ka” (“Umar Qaid”, 1975) and “Jeewan Path Pe” (“Agar”, 1977).

They have worked with singers like Mohammad Rafi, Manna Dey, Asha Bhosle, Sulakshana Pandit, Mukesh, K.J. Yesudas and Lata Mangeshkar.

The city of Mumbai has been known to witness and test the potentials and patience of artists. This city has seen the struggle, birth and death of numerous talents. Being the creative pool of India, Mumbai isn’t a place for easy survival.

Towards the starting of 1950s, a man without any sight or vision stepped his foot in Mumbai (previously Bombay) accompanied by another young lad with the aim to become a singer. The duo struggled to strive hard and get one chance to demonstrate their talent. But luck and fate both turned a blind eye towards them. Their days at Mumbai not only consisted of hardship but also included starvation and constant failure. And this has been the inception of the success that was yet to come their way.

Popularly known as Master Sonik and his young nephew Omi (Om Prakash Sharma), appeared in Mumbai during the early 1950s. The pair of uncle-nephew was irregular and unconventional at that time as Master Sonik was already a sightless man with a brilliant voice and Omi as his accompany was too young to be recognised.

They came to Mumbai for the first time to complete a recording contract at the M. N. T Studios of Mumbai. The duo later landed up in a small hut consisting of one single tiny room several miles away from Thane.

In 1951, Master Sonik finally got his desired break as a music director in movies like ‘Mamta’, ‘Mehfil’ and ‘Ishwar Bhakti’. However, all his movies failed to deliver at the box office and he was reduced again to a B-grade music director with minor or no work in hand. Survival again become difficult and even the mere necessities were beyond any reach. Even a proper meal once in a day wasn’t in their fate. Soon, Omi found out a job in a female chorus group . He accepted the offer to get rid of starvation.

After a prolonged struggle, fate finally smiled at them when Master Sonik was spotted and appointed as an arranger by Madan Mohan in his troupe. He went on to arrange music for other maestros like S. D. Burman as well. During the same time, Omi too got the job of being an assistant to Roshan. He assisted Roshan in movies like ‘Taj Mahal’, ‘Barsaat Ki Raat’, ‘Aarti’ and many more.

Dil Ne Phir Yaad Kiya (Poster)

In the 1965, G. L. Rawal appointed the duo for composing the songs of his upcoming Dharmendra and Nutan starred movie ‘Dil Ne Phir Yaad Kiya’. The tracks ‘Aaja Re Pyar Pukaare’, ‘Dil Ne Phir Yaad Kiya’, ‘Main Suraj Hun Tu Meri Kiran’, ‘Kaliyon Ne Ghunghat Khole’, were noteworthy from the film. The soundtrack of the movie was appreciated a lot after its release. However, still the duo of Sonik-Omi were deprived of good opportunities in the industry.

In 1968, G. L. Rawal again signed them for his movie ‘Aabroo’. ‘Jinhe Hum Bhoolna Chahe Woh Aksar Yaad Aate Hain’ is a soft emotional track from the movie that met a lot of accolades. ‘Har Chehra Yahaan Chaand Hai Har Zarra Sitaara’ by Mohammad Rafi is another notable track from the movie.

They went on to provide music for films like ‘Beti’ in 1969 and the song ‘Kaha Re Kanha’ from ‘Truck Driver’ by Lata Mangeshkar became famous.

‘Kitna Hai Suna Suna’ from ‘Mehmil’ was a song that was sung by Omi himself. ‘Dono Ne Kiya Tha Pyar Magar Mujhe Yaad Raha Tu Bhool Gayi’ from ‘Mahua’ by Mohammad Rafi was one of the successful tracks from the bag of the duo.

Their fortune again was lighted up when Mohan Segal offered them to compose music for his Rekha starred movie ‘Sawan Bhado’. With ‘Sawan Bhaado’ their career took a major turn and produced hit tracks like ‘Kaan Mein Jhumka Chaal Mein Thumka’ by Mohammad Rafi, ‘Aankhein Meri Maikhaana’, ‘Mera Mann Ghabraye’, and ‘Akhiya Naa Maar’ by Asha Bhosle.

‘Desh Tera Bhagwaan Hai Sunle Naujawaan’ from ‘Dharti Ki God Mein’ in 1968 is another distinguished track from Sonik-Omi. This movie gave them the opportunity to compose music for a different genre of patriotism.

              Dharma (Poster)

In 1973, they got the opportunity to compose music for the movie ‘Dharma’. The qawali track ‘Raaz Ki Baat Keh Doon To Jaane Mehfil Mein Kya Ho’ by Mohammad Rafi and Asha Bhosle turned a lot of heads after its release. For composing this track Sonik-Omi took inspiration from a real life incident. They were invited as honourable judges in a qawali competition in Mumbai. However, the competition took a bad turn when the contestants started arguing fiercely and attacked each other with knives and weapons. Sonik-Omi being irked and miffed with the clashes at the competition decided to take their leave from the event. Later, they claimed that this event inspired them to compose the infamous qawali track from ‘Dharma’.

‘Sansaar Hai Ek Nadiya’, a duet of Mukesh and Asha Bhosle from the 1974 release ‘Raftaar’ won the hearts of many. ‘Yaad Rahega Woh Rangeen Nazaara’ from ‘Umar Qaid’ in 1975 is another beautiful track by Sonik-Omi.

The 1978 release ‘Chawki No. 11′ had a rare piece of mujra ‘Kahiin Ho Na Mohalle Mein Halla’ featuring Zarina Wahab and sung by Shobha Gurtu. This would be Sonik-Omi’s another example of unconventional composition.

Their last movie together had been Nagarjuna’s ‘Biwi No. 2′ in 2000.

The man who has been blind ever since birth never lost hope and continued his struggle until he achieved what he was destined for. Master Sonik is remembered for his strain and battle against the fate who made music the light his eyes were seeking for. After a prolonged toil and hardship the duo of Sonik-Omi finally did achieve their dream and established themselves as successful composers among the talented crowd of the music industry in Mumbai.

Friday, January 30, 2015

MUSIC AND INDIA - 8 (S.D. BURMAN)

Sachin Dev Burman was a connoisseur and titan among the composers of Indian film music and was a scion of the princely family of Tripura. He underwent classical training from his father, Sitar player and Dhrupad singer Nabadweep Chandra Dev Burman, he chose the legendry KC Dey (Manna Dey’s uncle) as his first guru in Kolkata. Ustad Badal Khan, Ustad Allauddin Khan and Ustad Bishwadev Chatterjee were also his teachers.

In 1944 at the request of Sasadhar Mukherjee of Filmistan, Sachin Dev Burman left Kolkata and came to Bombay and scored music for Shikari and Aath Din, he did few other films but these did not have much impact until he composed for Mashaal on the insistence of Ashok Kumar who asked dejected Burman Dada to compose for the movie and then return to Kolkata. “Upar Gagan Vishal” launched Manna Dey and established SD Burman in the Hindi Film industry.

It was a matter of time before Dev Anand signed him for Baazi the super hit movie of 1951 followed by Jaal in 1952 that consolidated SD Burman’s position and became a force to reckon with.

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 them. 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. His music had a strong foundation of folk and classical and was known to innovate by mixing them with Western arrangements.

When Lata Mangeshkar refused to record with him, he delivered hit after hit with Asha Bhosle and Geeta Dutt and only made up with her because his son R. D. Burman wanted her to sing his careers first song. He groomed singers like Asha Bhosle, Kishore Kumarand even Hemant Kumar and made Rafi sing in a soft, crooning fashion when others wanted high pitched or maudlin vocals from him.

He struck a balance with most poets/lyricists including Kaifi Azmi (Kagaz Ke Phool), Sahir Ludhianvi (Pyaasa), Majrooh Sultanpuri (Nau Do Gyarah), Shailendra (Guide), Hasrat Jaipuri (Ziddi), Neeraj (Prem Pujari), Shakil Badayuni (Kaise Kahoon) and Anand Bakshi (Aradhana). He had a long standing association with Dev Anand and composed music for all his movies starting from Baazi and worked with other film makers like Bimal Roy, Guru Dutt, Shati Samanta, Pramod Chakraborty, Hrishikesh Mukherjee and NC Sippy.

S. D. Burman was a prolific singer too and lent his voice to many memorable songs that he composed and also composed by others.

He never took many assignments at a time and when a theme of a film was not suited to his composing range, he would recommend his colleagues to the producers as he did for Madhumati (Salil Chowdhury). He was a perfectionist and hard taskmaster, he recorded songs only after sufficient rehearsals.

His contribution to Hindi film remains unparalleled and he passed on his legacy to his son R. D. Burman and left for his heavenly abode on October 31, 1975.

Some of his composition:

https://www.youtube.com/watch?v=n9XOBlsNfh8

https://www.youtube.com/watch?v=i1rzBZCxJtA

https://www.youtube.com/watch?v=Pk6gv1JQm5g

https://www.youtube.com/watch?v=AYOh2gPe2cQ

https://www.youtube.com/watch?v=yiviSaSSK7g

Kala Pani - Hum Bekhudi Mein Tumko Pukare - Mohd Rafi

https://www.youtube.com/watch?v=XaOj7OJaVZw

Meri Surat Teri Ankhen 1963 - Tere Bin Soone Nain Hamare Baat Takat Gaye

https://www.youtube.com/watch?v=nY8cFBljzQc

Kaise Kahoon - Man Mohan Man Mein

https://www.youtube.com/watch?v=A9ignpH-K3k

Kaagaz Ke Phool - Dekhi Zamane Ki Yaari - Mohammed Rafi

https://www.youtube.com/watch?v=CAGqPIki0vI

Pyaasa (1957) - Yeh Duniya Agar Mil Bhi Jaye To - Mohammed Rafi

https://www.youtube.com/watch?v=7Z6Lr0JYAro

Kala Bazaar - Khoya Khoya Chand Khula Aasman - Mohd Rafi

https://www.youtube.com/watch?v=oT9kqNvaUoQ

Guide - Wahan Kaun Hai Tera Musafir - S.D.Burman

https://www.youtube.com/watch?v=7KR67xAVj5U

Guide - Aaj Phir Jeene Ki Tamanna Hai - Lata Mangeshkar

https://www.youtube.com/watch?v=1odcNKyfZJU

Abhimaan - Lootey Koi Man Ka Nagar

https://www.youtube.com/watch?v=pZXFhAs3AyM

https://www.youtube.com/watch?v=SPy1VYXSrYc

https://www.youtube.com/watch?v=2aQDjbwc-v8

https://www.youtube.com/watch?v=J7lFQ2iOU4Y

My all time favorite sung by Dada Burman is the song from Aradhana

https://www.youtube.com/watch?v=yYF9RIPNHac

Mad Gops