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  Kishore Kumar was eccentric or unusual start from his childhood, when he was studying in a boarding school of Indore,in his hostel room's wall he  scribbled Kishore's name, in his own handwriting, in his favorite style, in reverse: Ramaku Rashoki.  For several years, one of the walls of his hostel room stood witness to his eccentricity. He was a rare combination of madness and devotion to work. He was unpredictable, he was a genius, and he was even crazy. He had a relaxed appeal to him evident in films like  Chalti Ka Naam Gaadi  throughout his music performance he fools around from one corner to another. His madness and frolic become amply resound when in the song    Aaake Seedhi Lagi  filmed on both him and Pran, he sings the parts of both the male and the female. The song can make anybody laugh in seconds! And who can forget the song from the film  Padosan  in which he played the music teacher and participated in a hilarious mu...

    He began to play the tabla at the tender age of three. Even at that tender age, Bappi showed signs of greatness as he played the tabla with the proficiency of an experienced professional.  He received his first opportunity in a Bengali film, Daadu (1972) at the age of 19 and the first Hindi film for which he composed music was Nanha Shikari (1973). The film which established him in Bollywood was Tahir Husain's Hindi film, Zakhmee (1975), He  shot to fame in the 80s and 90s with foot-tapping  disco  numbers.  He introduced Vijay Benedict and Sharon Prabhakar to Bollywood and paved the path to fame for Alisha Chinai and Usha Uthup through his compositions. He  popularized the use of  synthesized   disco  music in Indian cinema with an Indian flavor. Chalte Chalte (1976) was his earliest chartbuster movie,  its soundtrack was a hit & very popular in the 70s. Yes, the film is remembered today only for Kishore...

  O P Nayyar and Asha Bhonsle gave us some of the most memorable songs of Hindi Cinema. S ongs like ‘Jaayiye aap kahan’ (Mere Sanam), ‘Raaton ko chori chori’ (Yeh Raat Phir Na Aayegi), ‘Zara haule haule’, ‘Meri jaan tumse sadke’ and ‘Aaj koi pyar se’ (all in Sawan Ki Ghata), ‘Aayiye Meherbaan’ (Howrah Bridge) and ‘Aankhon se jo utri hai dil mein’ (Phir Wohi Dil Laya Hoon) to sense the profound wavelength the two worked on.   Born on 16th Jan 1926, he came to Bombay for giving music for films. initially, he was offered  the background score for  Kaneez  (1949), and 1952's  Aasmaan (produced by  Dalsukh M. Pancholi ), was his first film as music director. His real break came with Guru Dutt's Aar Paar in 1954. After that, he gave music for    Mr. & Mrs. '55  (1955) and  C.I.D.  (1956). The songs of all these three films established him among the top composers of that time. The two met in 1952 at the music recording of a song f...

  When we think of the film Qawwali, this 12-minute long Qawwali comes to our mind. This Qawwali is from the super hit film Barsat Ki Raat (1960).  The other song of the film, especially the romantic title track  Zindagi Bhar Nahin Bhoolegi , is another immortal song composed by Roshan.  There is a story behind this song,   that it was music director Khayyam wa signed on to compose the music for  Barsaat Ki Raat  (1960). But when R Chandra, the film’s producer and elder brother of its leading man Bharat Bhushan, insisted that the composer use the tune of  the qawwali   Na Toh But-Kade Ki Talab Mujhe , sung by the famed Pakistani duo of Mubarak Ali Khan and Fateh Ali Khan, Khayam refused to use the same tune, so he was  replaced by  Roshan, he  had no qualms about using the tune.       This Qawwali was written by Sahir Ludhianvi and  sung by Mohammad Rafi, Manna Dey, Asha Bhonsle, Sudha Malhotra and...

  Anil Biswas, Pankaj Mallick, Saraswati Devi, and Master Ghulam Haider were the first generation composers of Hindi Films. They started giving music in the mid-1930s and continued till the independence of the country. Anil Biswas made his  debut as a music director with "Dharam ki Devi" (1935).  It was the popularity of the Mehboob Khan film "Jagirdar" (1937), which proved that he could turn out hit songs.  Soon many more independent assignments came his way, most notably,  300 Days and After ,  Gramophone Singer ,  Hum Tum Aur Woh ,  Ek Hi Raasta , and  Mehboob Khan 's  Watan   (1938),  Alibaba  (1940), the classic,  Aurat (1940),  Bahen  (1941), before working with him again, in  Roti  (1942). He was  a mentor to many singers like Zohrabai Ambalewali,  Begum Akhtar,  Mukesh, Talat Mahmood,  Lata Mangeshkar, Meena Kapoor. From 1942 to 1947 he worked for Bombay Talkies.During t...

Vasant Desai (9 June 1912–22 Dec 1975 ) used to say “I don’t care. I don’t make songs for Binaca Geetmala [or] for sales or popularity. I make it for my character and that particular situation in my film as conceived by my director.  P eople will remember my songs because it will become part of their life."   He was groomed by V Shantaram.  At the age of 16, he wanted to be an actor, so he came to Kolhapur and one of his   uncles  took him to Shantaram at Prabhat.Studio. He was  kept as an office boy. Young Vasant's job was to take chits in for Shantaram. For about eight months, he worked without pay. He was given a few acting roles in Marathi films. He also sang a few songs in the films and gave the background music in many Marathi films. V Shantaram gave him 'Shakuntala'(1943) as an independent music director. His compositions like     Ae Malik Tere Bande Ham  from  Do Aankhen Barah Haath  and Hum Ko Mun Ki Shakti Dena from G...

  Vinod( May 28, 1922)  born as Eric Robert was a music director of the golden era but   fell short of reaching the pinnacle of commercial success in an era dominated by prominent composers like Shankar Jaikishan, S D Burman, O P Nayyar and C Ramchandra    He became a  household name.with the song Lara Lappa  Lara lappa Layee Rakhda from the 1949 film 'Ek Thi Ladki'. It  was a big musical hit of 1949 like Mahboob's Andaz and Raj Kapoor's Barsat.  The next two films in which Vinod composed were Kamini and Nagin. In 1950, Vinod came back with superb music in Anmol Ratan directed by M Sadiq, starring Meena and Karan Deewan. One could see the versatility in his compositions. Talat Mehmood and Lata sang their all-time great duets, Shikwa tera main gaun and Yaad aane wale phir yaad aa rahein hain, set in Kehrawa Tall with soft notes of flute. Another rare gem was Talat's Jab kisi ke rukh pe zulfein aake lehrane lagi set in Raag Bhairv. Nirmala...