Old Hindi Film Music

[Oldposts]

Song Thandi hawaayen is from the film Naujawaan
sung by Lata Mangeshkar

[Oldposts]

thanx, aman.

[Oldposts]

Article on Naushad from Deccan herald - 9th April 2000:

font size = 5>Looking for that perfect tune

NIKHIL GAJENDRAGADKAR meets Naushad Ali, the grand old man of
Hindi film music, and talks about the octagenarian`s favourite subject - music

''HOW can one expect good music in Hindi film now. Now film industry is controlled by those who are not related to the soil of India. They are not concerned with Indian culture, common man on the street, people who sweat in the fields, or in a factory. These new 'film people` are only concerned with money.``

Legendary music director Naushad Ali expresses his anguish over the present state of the Hindi film industry. Naushad turned 81 on 25th December 1999. To celebrate his birthday a musical group from Pune had organised a programme based on his hit film songs. This was the reason Naushad was in Pune. And I got an opportunity to interview him exclusively. I consider myself fortunate for in the span of ten years, I was able to meet him twice. The years have taken their toll. Ten years ago he was only 70 years old. Then his latest film 'Aawaz De Kahan Hai` was just released. He was very optimistic about the success of the film.

The film and its music went unnoticed. But even now Naushad Ali is still enthusiastic about his favourite subject - Music. Speaks in chaste 'Lakhanavi Urdu`. His memory does not fail him. He can recount incidents from the early 30s too; rarely forgets a name. He stayed away from the glamorous and 'showy` even in his heydays; he is a simple man even today, living in the realm of music.

When he says 'Money means many things but not everything` he speaks the truth. In his life Naushad never worked just to earn money. Even at the height of his career, he used to accept only one or two films at a time. He used to consider the story, whether it had any good chance to use Indian classical music, the director, actors, etc. Then a long discussion with the lyricist used to take place. ''Then good poets like Majruh Sultanpuri, Shakeel Badauni and the likes were writing poetry of high standard for films`` he tells us. After days of rehearsals Naushad`s song would get ready for recording.

''Now there is no story in our films. What comes as a 'story` is revenge, violence, sex. Naturally poetry ('Kaavya`) has no place in films. Songs are replete with 'double meaning`, obscene words, & actor`s actions, matching words. Where is the place for good music? Everybody wants to imitate western music,`` says Naushad with a sense of dejection.

''In our times music director was considered 'expert` in his field. Nobody used to interfere in their job. Now apart from actors, even distributors, financiers come forward to give some 'advice` to music director to 'improve` music. What is this? 'Put that new tune` 'do something like Michael Jackson`. This way our film music can`t improve, it will deteriorate further,`` the octogenarian becomes a little angry.

''Our music is created by gods. Innumerable combinations with seven notes (Swaras) are possible. The 'Raag` system is unique in the world and yet we are forgetting our music, our rich heritage. Westerners hold our music in high esteem and we are mindlessly aping their cheap 'Pop` music; that is a sad part of the story.``

When Naushad criticises present day Hindi film music, he has every right to do so. He has been 'in the industry` for over five decades. He has witnessed changes in film industry, film music. In fact he is one of those people who has changed the face of Hindi film music.

On the streets of Mumbai

Music was his first love. But music was a taboo in 'good households` then. And then there was choice to be made; family and house or music. Naushad left his home and arrived in Mumbai at the age of hardly 17-18. He had heard that streets of Mumbai are covered with gold. But the reality proved otherwise and Naushad found himself sleeping on a footpath. They were very hard days and nights. It was very difficult to find work in the field of film music. Months passed by. Disappointed Naushad was about to stop the search for an opportunity in the film world when Lady Luck stepped in.

Naushad became a piano player earning Rs 40 per month as the salary. Mushtak Husain was the music director. Then he met Manoher Kapoor, a music composer and Sardar Chandulal Shah a renowned film producer. He appointed Naushad as a music composer for his 'Ranjit Movitone`. The salary was Rs. 75 a month. The going was good. But ill health forced Naushad to leave Ranjit.

The First Film

After a few months of joblessness, a film came his way. 'Prem Nagar` was Naushad`s first film as a music director. A dream fulfilled. After that film, Naushad never looked back. He worked for 'Kardar Productions`, did films with Mehboob Khan, Nitin Bose, nearly all major production houses were after him. 'Anmol Ghadi` and 'Ratan`, his two early films outside Kardar productions, created history.

''In those days we (music directors) had to strive to do something different. Nearly all music directors were experts, knowledgeable in the field of music. They knew the intricacies of 'Sur`, 'Taal` and 'Raaga`. Everybody was composing his 'own` music; that is why we see a personal stamp on their music. Our source of creating film music was pure music itself``, explains Naushad.

Whose song is it....?

''Now every music composer is imitating somebody, their source is casettes of western music. They twist a tune a little and produce a song. 'How many films per year` has become more important than 'what kind` of music. We took composing quite seriously, it was a profession, yes, but now it is just a business. That is the reason, you can`t make out who has composed which song.``

Naushad differentiates music, 'then' and 'Now'.

1942 to 1965 is called as the 'Golden Period` of Hindi film music. Some state 1945 to 1975 as the best period. But certainly it is not beyond that. 'Quality` and not 'Quantity` was the key word. Naushad himself has only 68 films and two tele serials to his credit. But one cannot forget his songs from 'Andaaz` or 'Aan` even today. 'Baiju bavara`, 'Mere Meheboob` are also unforgettable because of his music.

Naushad is the first and perhaps the only one who has preserved the notation of his all songs. This dicipline enabled producers and Naushad himself to re-record, music, songs etc. 'Aan` is the first Hindi and Indian film which had rerecorded its entire music including background, in a London studio. Complete notation of 'Aan` and his other films` music (including background) were published in a book form, and separate records.

Naushad for the first time introduced a special technique of recording musical instruments with as much weight as that of singer`s voice. Fifty-five years ago sound recording techniques wae quite primitive and his technique was path breaking. Naushad was the first music director to use a 100 piece orchestra for a film (Aan).

Naushad loves Indian classical music; he has created many melodious songs. But at the same time he is not known for any experiments in music. When asked about it, his reply was, ''what do you mean by experiment ? I can`t quite understand your question. If structure of a 'Raag` is fixed, what change can you bring? All right, you may experiment with music, but you should not deface the face of a raag or music itself.`` His thoughts on the subject are clear and simple, too.

Experiments

''In the past I also did some experiments, like using human voice as an orchestra in 'Udan-Khatola` - (Song - More Sainyaji utarenge Paar). There was a film called 'Jadoo` (1951) which was based on the story of 'Carmen`. Then for that film I used Spanish instruments, tunes. That was too an experiment.``

But he avoids answering questions related to 'scale change` or using different 'Swar` as basic 'Shadaja` or 'Sa` (In Hindustani music the system is called as 'Moorchanabhed`). Sajjad Husain, Anil Biswas, Jaidev, in some parts C Ramachandra, did many experiments boldly. But with or without experiment, Naushad was successful enough in popularising nearly all his songs, that is a great achievement.

One must remember here, that in those days a normal Hindi film could have songs from 7 to 12, plus background music. Naushad used to keep ready the notation for all songs and background. It was very hard work. But that made him not only popular but a legend.

And one cannot forget Naushad`s contribution in popularising Indian classical music among general public. This music was confined to Royal Courts and few highbrow houses; he took this music to the common man, who could 'hum` these songs. He used western musical instruments, Indian instruments, a combination of both, but always the music was pure Indian. His only brush with Western music in 'My Love` proved disasterous and is best forgotten. Naushad`s songs earn millions of rupees for the record companies even today, that is ample proof of his music`s popularity in times when we are talking about western influence on music.

Immortal Music

Naushad Ali`s music is still listened to, it will remain popular in the times to come. Yet he himself is not satisfied. He is still planning to cut a record of non filmi songs with newcomers. ''I have not given my best. It is yet to come. I cannot point to a song, a tune, that can make me proud,`` says Naushad.

This passion for the best keeps Naushad going. His unquenched thirst makes his and our lives a happy and 'note`worthy life.

[Oldposts]

to anyone,
can u pl. let me know the film names of the foll oldie songs:

yeh hawa yeh nadi ka kinaara --

chanda re jaa re jare


kahin jhoom jhoom raat hey suhaani(lata) --


thanx.

[bollystreet]

http://www.smashits.com

[vaishali_pupul]

[garytros]

Hello everyone.

Does anyone know the name of the song that Behula sings when she is trying to have her husband returned to life?

Any ideas how I might obtain a recording of that song? , or a translation in English? (I have found where to get the film.)

I am comparing the somewhat similar Western story--Orfeo and Euridice--with the Indian version and would be interested in any information.

Thank you.

Gary

[Mohammed Yawaruddin Ahmed]

Here is the answer for vijay@129's question.
1. Yeh hawa yeh nadi ka kinara-- Film :Ghar sansaar, Music : Ravi
2. Chanda ray jaray jaray-- Film : Ziddi , Music : Khemchand Prakash
3. Kahey jhoom jhoom raat yeh suhani-- Love Marriage, Music : Shanker & Jaikishen

Regards
Mohammed Yawaruddin Ahmed

[ramsri]

seems like a great congregation of hindi music lovers here ! also seems like i popped in about 20 pages too late. anyway ...

anyone heard the song "Shaam Dhale Khidki Tale" ?
i want to know the name of the film.

[ramsri]

a few personal favourites:

1. Deewana Hua Badal - Rafi & Asha (easily one of the greatest pieces of hindi music ever composed)

2. Ajeeb Dastan Hei Yeh (great lyrics, especially the lines :

"Mubarakein tumhe ki tum, kisi ke noor ho gaye ,
Kisi ke itne paas ho, ki sabse duur ho gaye " !!!

3. Aa chalke tujhe main leke chaloon (Kishore)

4. Tere mere sapne ab ek rang hain (Rafi)

5. Chookar mere man ko (Kishore at his best)