INDIAN MUSIC ON WESTERN SCORES

GREAT SINGERS OF INDIAN MUSIC

            Lata Mangeshkar (Bharat Ratna, Indian's highest civilian honor) eldest daughter of Pandit Deenanath Mangeshkar(a classical singer and theater actor) was born in a .Lata is the eldest child of her parents. Hridayanath, Asha, Usha, and Meena are her siblings in sequence. Her father's recitals and lessons left a strong impression on her, as did the songs of K.L. Saigal, who was her favorite singer and idol. She lost her father at the age of 13.The owner of Navyug Chitrapat movie company helped Lata get started with her career as a singer and an actress.Lata sang many Marathi songs & her first Hindi song was for the Marathi film, Gajaabhaau (1943).  She came to Mumbai in 1945 while introduced to music director Vasant Desai during the recording of Master Vinayak's second Hindi movie,Subhadra (1946).She started to learn classical music under Amanat Khan Devaswale. Pandit Tulsidas Sharma, a disciple of Ustad Bade Ghulam Ali Khan, also trained her. Initially, Lata imitated Noor Jehan, who was then the most popular singer, but later she developed her own style of singing. The song, Aayega Aanewaala,lip-syncronized by actress, Madhubala in the popular movie, Mahal (1949), which she sang proved a turning point for her. During 1950s, Lata sang songs composed by all acclaimed music directors of the period, including Anil Biswas, Shankar-Jaikishan, Naushad, S.D.Burman,C. Ramchandra, Hemanta Mukherjee,Salil Chowdhury, Khayyam, Ravi, Sajjad Hussain, Roshan, Kalyanji-Anandji, Vasant Desai, Sudhir Phadke, Hansraj Behl, and Usha Khanna. (Music director, O. P. Nayyar, was an exception, who favored her sister, Asha Bhosle, as the singer of many of his compositions.)She sang many raga-based songs for Naushad, in movies such as Baiju Bawra (1952), Mughal-E-Azam, and Kohinoor. Her one of the favorite composers was Salil Chowdhury during the 1950s which won her first Filmfare Best Female Playback Award for Aaja Re Pardesi, in film Madhumati (1958).
The 1960s saw Lata Mangeshkar become the uncrowned queen as female playback singer in Hindi cinema. She recorded songs for nearly every major composer in the industry, many of which became all-time hits.In 1960, her song Pyar Kiya To Darna Kya from Mughal-E-Azam (1960), composed by Naushad and lip synchronized by actress Madhubala, became very popular. The swing number Ajeeb Dastaan Hai Yeh from Dil Apna Aur Preet Parai (1960), composed by Shankar-Jaikishan and picturized on Meena Kumari, also became a hit.In 1961, Mangeshkar took the first step on the road to reconciliation with S. D. Burman, as sherecorded a bhajan, Allah Tero Naam, for Burman's assistant, Jaidev. In 1962, she bagged her second Filmfare Award for the song Kahin Deep Jale Kahin Dil from Bees Saal Baad, composed by Hemanta Mukherjee.Her patriotic song Ae Mere Watan Ke Logon composed by C Ramchandra brought tears to the eyes of Pundit Jawaharlal Nehru, the then Prime Minister of India. Lata had discord with many music director like S.D.Burman & singers like Md.Rafi. In 1963, Lata's relation was patched up with S. D. Burman, mainly as a result of a truce brokered by Burman's son and assistant (and her future brother-in-law) R. D. Burman. She recorded many hits for S. D. Burman, including Aaj Phir Jeene Ki Tamanna Hai (duet with Kishore Kumar) and Piya Tose from Guide (1965), and Hothon Pe Aisi Baat from Jewel Thief (1967), During the 1960s and 1970s, she also sang many hits almost all Puja release of Bengali songs, composed by music directors like Salil Chowdhury and Hemanta Mukherjee. Jare Ja Urde Ja. Lata Mangeshkar recorded duets with all major male singers, including Mukesh, Bhuley Huien Yeadey Manna Dey,Mohammed Rafi, and Kishore Kumar. Few memorable songs :Chalte Chalte and Inhi Logon Ne(1971) lip sequenced by actress Meena Kumari last film, Pakeezah. Beeti Na Bitai from the film Parichay, composed by R. D. Burman, and written by Gulzar. She also released an album of Mirabai's bhajans,composed by her brother Hridayanath Mangeshkar. 1980s onwards, Lata Mangeshkar got selective and reduced her film singing. She worked with many new music directors, including Ravindra Jain, Bappi Lahiri, Shiv-Hari, Ram Laxman, A. R. Rahman. She also recorded many non-film songs, including ghazals with Jagjit Singh. In 1990, Mangeshkar launched her own production house and its first (and only movie), Lekin, that flopped. Mangeshkar sang for all the Yash Chopra films.A. R. Rahman recorded a number of songs with Mangeshkar during this period.

Asha Bhonsle born on September 8, 1933 is now one of the most revered singers in the country, but behind the success of that magical voice is the story of a struggle for survival and the desperation to get out   of the mire of poverty. She is best known as a Bollywood playback singer, although she has a much wider repertoire. Her career started in 1943 and has spanned over six decades. She has done playback singing for over 950 Bollywood movies[2] and sold many records. She is the sister of the equally accomplished Lata Mangeshkar.
Bhosle is considered one of the most versatile South Asian singers — her range of songs includes film music, pop, ghazals, bhajans, traditional Indian Classical music, folk songs, qawwalis, Rabindra Sangeets and Nazrul Geetis. She has sung in over 14 languages including Hindi, Urdu, Telugu, Marathi, Bengali, Gujarati, Punjabi, Tamil, English, Russian, Czech, Nepali, Malay and Malayalam. Her Hindi hit songs : Chura liya,Dum Maro Dum, Her vesetile Gazals : Salonasa Sajan Hai Aur Popular Begali Songs: Aamar Swapo Tumi , Brishti Thamar Shese Cokhe Name Brishti, Haire Haire Bela Boe,Konse Alor tolo chinno beena Songs of Tagore : Kusume Kusume Charano,Tumi Kon Kanoner Phool Asha Bhosle is believed to have sung over 12,000 songs. Though her sister, Lata Mangeshkar was featured in the Guinness Book of World Records during 1974-1991, for having sung the most songs in the world, reputed sources have introduced concerns to its veracity, claiming that the Guinness counts were exaggerated and Bhosle has recorded more songs than Mangeshkar. Bhosle herself pointed out that she has sung the maximum recordings by any singer - 12,000

Mohammed Rafi a versatile singer was born on 24th December, 1924 in Kotla Sultanpur (presently in Pakistan after the separation) in a middle class Muslim family. In his musical life he got the best support from his brother, Hamid.Md.Rafi learned Hindustani classical music under the renowned Bade Ghulam Ali Khan. Rafi's great interest and dedication paid off and he was soon trained to be one of the greatest singers of all time.       Md. Rafi lived in Mumbai, for about 36 years. Soon Rafi's fame spread far and wide and several eminent music directors Naushad, Madan Mohan, S.D. Burman, Hemantaah Kumar, Vasanth Desai, Sardaar Mullick,and few others signed him up. In 1948 on the demise of Mahatma Gandhi, Md. Rafi sang "Suno, suno ae duniya vaalon, bapuji ki amar kahaani", written by Rajinder Krishan and music scored by Husnlal Bhagatram. Rafi's voice was full of emotions and listeners some time had their eyes filled with tears.In 1950's there was a Radio Station called radio Cylone which had a programme called "Binaca Geet Mala" that aired the immortal songs of the film "Baiju Bawra" and this really launched Rafi as a popular singer for all ages. His memorable Bhajan in the Film Kohinoor " Madhubon Mein Radhika Nache Re" till today touches heart of millions. Rafi breathed his last on 31st July, 1980 in Mumbai, a couple of days after he recorded his last song for the film "Aaspaas" (Too kahin aaspaas hain dost", scored by Laxmikant-Pyarelal). He may have physically left us but his songs will echo for generations to come. Few of his popular songs are :Dard E Dil,Baharon Phool Barsao,Chu Lene Deo,Kabhina Kabhi, Taarif Karun Kya Uski,Woh Jab Yaad Aaye,Bar Bar Dekho,Aaaye Na Balam,Aye Dil Mushkil,Suhai raat (film Dlari), Dewana Hua Badal His realization of life was through his bare voice song "   Lagta Nahaien Hai Dil Mera Ujre Dayarme"

Prabodh Chandra Dey allias Padma Shri Manna Dey son of Shri Purna Chandra Dey (born May 1, 1919), is one of the greatest playback singers in Hindi films and other vernacular Indian films, especially Bengali. Arguably he is the greatest trained male singer of Bollywood.Besides his parents, his youngest uncle K. C. Dey highly inspired and influenced him. In 1942, Manna Dey accompanied Krishna Chandra Dey on a visit to Mumbai. There he started working as an assistant, first under uncle Krishna Chandra Dey, and then under Sachin Dev Burman. Later he assisted other music composers and then started to work independently. While working independently as a music director for different successful Hindi movies, Manna Dey continued to take musical lessons in Hindustani classical music from Ustad Aman Ali Khan and Ustad Abdul Rahman Khan.Manna Dey started his career in playback singing with the movie, Tamanna, in 1943. The musical score was set by Krishna Chandra Dey, and Manna sang a duet with Suraiya. The song was an instant  hit
With Kishore Kumar, he sang duets of different genres such as, Yeh Dosti Hum Nehi Torenge (Sholay)and Ek Chatur Naar (Padosan). Manna Dey sang with renowned singer/composer, Hemanta Mukherjee, in Bengali movies, and also for some other Bengali composers. He sang a popular duet, "Ke Prothom Kachhe Esechi", with Lata Mangeshkar in the movie, "Sankhyabela".Manna can be justifiably said to have pioneered a new genre in Indian music wherein Indian classical music is blended with pop music. Manna's versatility extends to the more demanding genre of Rabindra Sangeet as well. Manna Deys own favorite Composer in Bengali was Sudhin Dasgupta & lyricist Pulak Bandopadhaya.
Songs to remember in Bengali Oi Mahasindhur Opar Theke,Swapan Jodi Madhur Hoto, rage based Abhimane Chole Jeo Na,Ke Tumi Tandra Haranee, Dweep Chilo Sikha Chilo,Ogo Borsha Tumi. Songs of Antony Phirighee Ami Jamini Tumi Shashi Hey and   O Amar Mon Jamunar    Jibone Ki Pabona On December 18, 1953, Manna Dey married Sulochana Kumaran from Kerala. Manna Dey currently lives in Bangalore in the township of Kalyannagar after spending more than fifty years in Mumbai. He also maintains a Kolkata address. He still travels widely in the world to present musical programs. He sang many Ghazals few of were highly acclimed like:Nathli Se Toota moti Re,Meri Bhi Ek Mumtaz Thi,

Mohammad Rafi,the renowned singer once said to reporters: "You listen to my songs.
I listen only to Manna Dey's songs". While Manna Dey himself said that his most favorite singer
is Mehdi Hasan.

    "Listening to Hemanta Mukherjee, I feel as though a sadhu sitting in a temple is singing a Bhajan."
comments the nightingale Lata Mangeshkar about the unique unvanquished Hemanta Kumar who was not only a fabulous singer but also an equally indomitable composer. In Hemanta Mukherjee's voice one could experience an amalgamation of Rabindra Sangeet, Bengali folk music, modern and classical elements. Every distinguished creative artiste is born with one gift, but, Hemantada was born with several gifts. As a singer he reigned supreme in Calcutta and Mumbai. As a composer his versatility and staying - power in the charts were astonishing. From Naagin (mana Dole Tan Dole )    and Jaal to Bees Saal Baad and Kohraa the 50's and 60's were decades that 'belonged' prominently to the unique talents of Hemanta Mukherjee.He was born on 16 June 1920 in Varanasi. Music seemed to be an inherent part of his life from the outset. Why else did he leave school to become a professional singer at the age of 17 ?? At an age when young Hemanta's friends were taken up with teen sensations, the earnest boy studied music under stalwarts like Phani Banerjee and Shailendra Prasad Gupta. The early training stood Hemanta in good stead. He could impart a luminous but light weight classicism to his film music without making his tunes cumbersome or over erudite. While Salil Choudhary couldn't quite master the popular idiom Hemanta Mukerjee could set aside his learned antecedents infuse a freshness and modernity into his songs. And that too without sacrificing tonal propriety. Lets take immortal solo 'Ye Raat Ye Chandni..'. The tune contains jolting jazz - tinged interludes which fit into the overall design of the song like a hand in glove. Poet Sukanta -Salil Choudhary- Hamanta Mukherjee combination at one time were the hits of Bengali Puja festival Music release in the 50's  . Duranta Gurnir ei Legeche      Sudhu Ekti Madhabi Tumi          Ami Andharer Rong    Jiboner Haat Theke   Ei Je Pother Ei Dekha
    The sound of Hemanta Mukherjee is the sound of today. The past translates effortlessly into expressions of tuneful emotions. If 'Man Dole Mera..' in Naagin had audiences throwing coins at the screen in Mumbai, in Kolkata Hemanta Mukerjee regaled audiences as the legendary Uttam Kumar's voice singing such all-time hits in Bengali as 'Nir Chotto Khati Nei..' and 'Ei Path Jadi Na Shesh Hoi..'. Hemantada virtually had the best of the worlds. And yet his head remained firmly on his shoulders. Friends were floored by his utter simplicity and genuineness as a human being and his generosity of spirit. The distinguished film maker - composer - singer Bhupen Hazarika who was closely associated with Hamentada remembers him as one of the most generous human beings he had ever met.. By then Hemanta Mukherjee was nationally famous as Hemanta Mukherjee, singing both film and non-film songs.

Hemanta Mukherjee never composed anything but the best melodies. Compromise was alien to him. Whether he composed flirtatious 'Saara Mora Kajra Chhudaya Toone..' or a sublime "Kuchh Dil Ne Kaha..' it was always his dil which spoke up on Hemanta's behalf in the language of the lilt. The piece de resistance of Hemanta's career as a composer in Mumbai was Sahib Biwi Aur Ghulam (1962). For the opportunity that Hemantaada got to compose for Guru Dutt's film (which was dominated by the music of S. D. Burman and O. P. Naiyyar) Hemantaada pulled out all stops for a score that ranks as one of the ten best ever composed for the Hindi cinema. Between them Geeta Dutt and Asha Bhosle created a universe of pain and romance in Sahib Biwi Aur Ghulam. From Geeta Dutt's 'Na Jao Saiyyan..' to Asha'a 'Bhanwara Bada Naadan Hai..', each song stuns each note cuts deeply in Sahib Biwi Aur Ghulam.

Today as we look back on the profound career graph of this expressive singer composer we encounter a never ending terrain of beauty and harmony helmed by a man who could sing like an angel because he came close to being one in real life. Hemantaada's career as a singer began in his teens when he sang on radio. In 1937 he recorded his bengali songs 'Janine Janite Jadi.' and 'Balogo More..'. He began training as a Rabindra sangeet singer under the well known practitioner of the style Aanadi Dastidar. Early vocal influences of Pankaj Mullick soon gave away to his own distinctive style. So pervasive was the 'Hemanta Mukherjee style' in Bengali films and such was his indomitable powers as a vocalist that all the vocalists in Bengal who followed him modelled their vocals on the singing style of Hemantaada. As a composer he shifted base to the Mecca of national popularity (Mumbai) where he made an instant impact with the everlasting patriotic strains of 'Vande Maataram..' in Anand Math. As a singer in Mumbai, Hemantaada became a voice to record with in 1952 when he sang of 'Ye Raat Ye Chandni Phir Kahan..' in the thriller Jaal for the debinair Dev Anand. In 1957, Hemantaada sang one of his career's best solos 'Jaane Wo Kaise Log The..' for Guru Dutt in Pyaasa. Songs like these branded Hemantaa Kumar as the melancholic romantic. However there was a lighter equally persuasive side to Hemantaada's vocals tapped in flirtatious evergreen like 'Zara Nazron Se keh Do Ji..' and 'Dil Ki Umangen Hain Jawan..' the duet with Geeta Dutt which joyfully exemplifies the vocal genius of Hemanta Kumar. He is still alive through his immortal Bengali songs like "Aamar Ganeer Swaralipi Lekha Robey"   Hit songs like Bekarar Karke Hamey and Tagore songs like Bhora Thak was very popular

Sandhya Mukherjee who became famous in Calcutta as the voice of Suchitra Sen was brought to Mumbai to sing the frolicsome duet 'Aa Gupchup Gupchup Pyar Karen..' under the baton of Sachin Dev Burman, reportedly on the recommendation of Hemanta Mukherjee. Geetashri Sandhya Mukherjee was the voice of Suchitra Sen in most of her movies. Like Ghum Ghum Chand Jikimiki Tara ,   In a world where self-interest not only takes precendence, it also limits the human vision. Hemanta Mukherjee always went out of his way to help as colleagues from the music world. To him the rites and process of music creation weren't isolated. He saw himself as just one unit in the creative universe a brick in the creative wall. This accounts for the illimitable reserves of abiding sweetness in the creative faculties of God's chosen one, aka Hemanta Mukherjee.

Kishore Kumar (August 4, 1929 – October 13, 1987) was an Indian film playback singer and a versetile Actor. He also achieved notable successes as a lyricist, composer, producer, director, screenwriter and scriptwriter. Kishore Kumar has sung in many Indian languages including Hindi, Bengali (his mother tongue),Marathi, Assamese, Gujarati, Kannada, Bhojpuri, Malayalam and Oriya. Along with Mukesh and Mohammed Rafi, he was one of the three leading male Bollywood playback singers from the 1950s to the mid-1980s. He holds the record for most number of Filmfare Awards won for Best Male Playback Singer. Kishore Kumar was born as Abhas Kumar Ganguli, in to a Bengali family in the Khandwa town of Central Provinces and Berar, British India (now in the Indian state of Madhya Pradesh). His father Kunjalal Ganguli was a pleader (advocate), and his mother Gouri Devi came from a wealthy family. Abhas Kumar was the youngest of four siblings, the other three being Ashok Kumar (the eldest), Sati Devi, and Anoop Kumar. While Abhas Ganguli was still a child, Ashok Kumar became a popular Bollywood actor. Later, Anoop Kumar also ventured into cinema with the help of Ashok Kumar. Spending time with his brothers, Abhas Kumar too started to take a keen interest in the movies and music. He became a fan of singer-actor Kundan Lal Saigal (whom he considered his guru), and started mimicking him.
         After Ashok Kumar became a Bollywood star, the Ganguli family used to visit Mumbai regularly. Abhas Kumar changed his name to Kishore Kumar and started his cinema career as a chorus singer at Mumbai Talkies, where Ashok Kumar was a star. His first film as an actor was Shikari (1946), in which Ashok Kumar played the lead role. Music director Khemchand Prakash gave him a chance to sing the song Marne ki duayen kyon mangu for the film Ziddi (1948). After this, Kishore Kumar got many other assignments, but he was not very serious about a film career.In 1949, he decided to settle in Mumbai.
Kishore Kumar played hero in in the Mumbai Talkies film Andolan (1951), directed by Phani Majumdar. Although Kishore Kumar got some assignments as an actor with help of his brother, he was more interested in becoming a successful singer. He was not interested in acting, but his elder brother Ashok Kumar wanted him to be an actor like himself.
As an actor, Kishore Kumar worked with many notable directors. He played an unemployed young man seeking a job, in Bimal Roy's Naukri and Hrishikesh Mukherjee's directorial debut Musafir (1957). Salil Chowdhury, the music director for Naukri was initially dismissive of him as a singer, when he came to know that Kishore Kumar didn't have any formal training in music. However, after hearing his voice, he gave him the song Chhota sa ghar hoga, which was supposed to be sung by Hemanta Mukherjee.
       After some initial flops as an actor, Kishore Kumar achieved success as a comic hero with movies like New Delhi (1956), Aasha (1957), Chalti Ka Naam Gaadi (1958), Jhumroo (1961), Half Ticket (1962), and Padosan (1968). Chalti Ka Naam Gaadi, his home production, starred the three Ganguli brothers, and Madhubala (whom Kishore married later). The film is about romance between a city girl (Madhubala) and a car mechanic (Kishore Kumar), with a subplot involving eccentric brothers.
        Music director S. D. Burman is credited with spotting Kishore Kumar's talent as a singer, and advancing his singing career. During the making of Mashaal (1950), Burman visited Ashok Kumar's house, where he heard Kishore imitating the singer K L Saigal in the bathroom. He complimented Kishore, but also told him that he should develop a style of his own, instead of copying Saigal .Kishore Kumar did not have a formal training in music.Initially, he used to copy K. L. Saigal.But, he kept Burman's advice in mind, and eventually developed his own style of singing, which prominently featured the yodeling that he had heard on some records bought by his brother Anoop. In the Bollywood music circles, yodeling became Kishore's trademark.
S. D. Burman recorded with Kishore for Dev Anand's Munimji (1954), Taxi Driver(1954), House No 44 (1955), Funtoosh (1956), Nau Do Gyarah (1957), Paying Guest (1957), Guide (1965), Jewel Thief (1967), Prem Pujari (1970), and Tere Mere Sapne (1971). He also composed music for Kishore Kumar's home production Chalti Ka Naam Gaadi (1958). Some of their initial hits included Maana janaab ne pukara nahin from Paying Guest, Hum hain raahi pyar ke from Nau Do Gyarah (1957), Ai meri topi palat ke aa from Funtoosh, and Ek Ladki Bheegi Bhaagi Si and Haal Kaisa Hai Janaab Ka from Chalti Ka Naam Gaadi (1958). When S. D. Burman was not on good terms with Lata Mangeshkar during 1957-62, he gave patronage to her younger sister, Asha Bhosle. The Asha Bhosle-Kishore Kumar duets composed by S. D. Burman also became very popular. Some of these include Chhod Do Aanchal from Paying Guest (1957), Ankhon Mein Kya Ji from Nau Do Gyarah (1957), C. Ramchandra was another music director who recognized Kishore Kumar's talent as a singer. Some of the C. Ramchandra-Kishore Kumar hits include Eena Meena Deeka from Aasha (1957). Kishore Kumar also gave a few hit songs with other music directors; for example, Nakhrewaali from New Delhi (1956 by Shankar Jaikishan, and C.A.T..Cat Maane Billi and Hum To Mohabbat Karega from Dilli Ka Thug (1958 by Ravi). Kishore Kumar produced, directed, and acted in the film Jhumroo (1961). He wrote the lyrics for the title song, Main Hoon Jhumroo, and composed music for all the songs in the film. Later, he produced and directed the serious film Door Gagan Ki Chhaon Mein (1964). He also wrote the script and composed music for the film. In the 1960s, as an actor, Kishore Kumar landed in trouble.As a singer, he had some hit songs to his credit, including Zaroorat Hai Zaroorat Hai from Manmauji (1961), Gaata Rahe Mera Dil from Guide (1964), and Yeh dil na hota bechara fromJewel Thief (1967).
In the late 1960s, S. D. Burman's son, Rahul Dev Burman also started patronizing Kishore Kumar. Their first notable success was the soundtrack of the film Padosan (1969), in which Kishore Kumar sang popular songs Mere Saamne waali khidki mein and Kehna hai. Padosan was a comedy film, In 1969, Shakti Samanta produced and directed the film Aradhana, for which the music was composed by S. D. Burman. S. D. Burman fell ill after recording some duet songs with Mohammed Rafi, Asha Bhosale, Lata Mangeshkar and Kishore Kumar. Afterwards, his son and assistant R. D. Burman took over the recording. R. D. Burman got Kishore Kumar to solo sing the songs Mere Sapno Ki Rani and Roop Tera Mastana.S. D. Burman and Kishore continued to churn out several hit songs together, including Phoolon Ke Rang Se and Shokhiyon Mein Ghola Jaaye from Prem Pujari (1969), Aaj Madhosh Hua Jaaye Re, Khilte Hain Gul Yahan and O Meri Sharmilee from Sharmilee (1971), Meet na mila from Abhimaan (1973), Pyaar Ke Is Khel Mein from Jugnu. In 1975, S. D. Burman composed his last song for Kishore Kumar. R. D. Burman considered Kishore Kumar his favorite singer, and recorded several hit songs with
him in the 1970s. In the superhit Bollywood film, Sholay (1975), he asked Kishore Kumar to sing for both Amitabh Bachchan and Dharmendra. Some of the popular Kishore Kumar-R. D. Burman songs include Yeh Shaam Mastaani and Yeh jo mohabbat hai from Kati Patang (1970), Kuchh to log kahenge from Amar Prem (1971), Raat Kali Ek Khwab , Meree bheegee bheegee si from Anamika (1973), Zindagee Ke Safar Mein from Aap Ki Kasam (1974), Agar Tum Na Hote, Humein Tum Se Pyaar Kitna. R. D. Burman also recorded several hit duets with Kishore Kumar, and Asha Bhosle and Lata Mangeshkar.
Apart from the Burmans, Kishore Kumar worked with other major music directors as well. The composer duo Laxmikant-Pyarelal (L-P) also composed many hit songs sung by Kishore Kumar. Some of there hit songs include Yeh Jeevan Hai from Piya Ka Ghar, Naach Meri Bulbul from Roti, Chal Chal Mere Haathi from Haathi Mere Saathi,
Kalyanji-Anandji recorded several hit songs with Kishore Kumar including Zindagi Ka Safar from Safar, Pal Pal Dil Ke Paas from Black Mail, Apne Jeevan Ki Uljhan from Uljhan, Mera Jeevan Kora Kagaz from Kora Kagaz, O Saathi Re from Muqaddar Ka Sikander, Khaike Paan Banaraswala from Don,
Neele Neele Ambar Par from Kalakar and Pal Bhar Ke Liye from Johny Mera Naam.

The new composers such as Rajesh Roshan, Swapan Chakravarty (who had earlier worked as R. D. Burman's assistant), and Bappi Lahiri also worked with Kishore Kumar. Rajesh Roshan's first hit film Julie featured hit songs sung by Kishore Kumar, Bhool Gaya Saab Kuch (duet with Lata Mangeshkar) and Dil Kya Kare Jab Kisise. Their other hits include Chhookar mere man ko from Yaarana and Tune abhi dekha nahin from Do Aur Do Paanch. Bappi Lahiri also recorded many popular songs with Kishore Kumar, including Pag Ghunghroo from Namak Halal (1982), Manzilen Apni Jagah Hai from Sharaabi (1984) and Chalte chalte(1976).
Kishore Kumar produced and directed some movies in the late 1970s and early 1980s, such as Badhti Ka Naam Daadhi (1978), Zindagi (1981) and Door Wadiyon Mein Kahin (1982).   One of his favourite hit was Anewala Pal Janewala Haien
In mid-1980s, Kishore Kumar sang for Anil Kapoor in his Kapoor's debut film, Woh Saat Din and
also recorded for his first superhit Mr. India. He also recorded some popular songs for the film Saagar with R. D. Burman. On October 13 1987, he died of a heart attack in Mumbai. His body was taken to Khandwa for cremation. He recorded his last song a day before hedied. The song was Guru O Guru, a duet with Asha Bhosle, for the film Waqt ki Aawaz (1988) composed by Bappi Lahiri.
Many journalists and writers have written about Kishore Kumar's seemingly eccentric behavior. Kishore Kumar had put a "Beware of Kishore" sign at the door of his Warden Road flat, where he stayed for some time while his bungalow was being done up. Once, when a reporter made a comment about how lonely he must be, Kishore Kumar took her to his garden. He then named some of the trees in his garden, and introduced them to the reporter as his closest friends.Kishore Kumar was also noted for defying producers and directors.

Talat Mahmood (February 24, 1924 – May 9, 1998) was a popular Indian playback singer and film actor.Born in Lucknow, his father was a good singer as were his sisters. But coming from a conservative Muslim background, singing was not encouraged. Talat had to choose between a career in acting and singing and staying at home. He opted for the former, though the family accepted the fact only about a decade later when the industry gained respectability. After a three-year course in music, he came to Mumbai and did some broadcasting before composer Anil Biswas gave him his first break. Talat acted in a few films, but preferred singing. And when singers arrived who shifted easily between bass and soprano, he could not keep up -- his voice didn't allow it. He sang few songs after that.Naushad Ali, the legendary composer, was very close to him. Talat and he came upon the new kind of music together. While Naushad adjusted to the new realities, he admits Talat had his problems. A recipient of Padma Bhushan he is famous for his ghazals, resulting in a title of "king of ghazals" bestowed upon him by fans and critics. Talat saab as he is now referred to, has often been described as a singer with a silky voice. His voice never suited loud songs, songs that demanded a high-pitched voice. Shouting or screaming didn't suit him and so he avoided those kinds of songs too. He only sang soft,
romantic, lyrical, ghazals. Early days Talat showed his musical leanings from a very young age and would enjoy sitting through all-night music soiree's listening patiently to some of the biggest names in classical Indian music then.
Talat Mahmood began his singing career at the age of 16 in 1939 when he began singing the Ghazals of Daag, Mir, Jigar etc. on All India Radio, Lucknow. his voice had a quality distinct from all the other singers. HMV was quick to notice this and offered talat his first disc in 1941 "sab din ek samaan nahin tha, ban jaoonga kya se kya main, iska to kuch dhyan nahin tha". indeed how prophetic were these words. little did talat know that he was soon to rise to become the greatest names in Ghazals on the Indian Sub-continent!
His reputation as a fine and promising ghazal singer was not limited to his hometown of Lucknow, but it reached the city that proved to shape his destiny - Calcutta. The then famous ghazal singers were Ustad Barkat Ali Khan, K.L. Saigal and M.A. Rauf. The classical songs he sang were " Sapnon Ki Suhaani Duniyaa Ko " for film Shiqast and " Laage Tose Naina " for Chaandi Ki Deewar. In 1944 came the hit "Tasveer teri dil mera behela na sakegi". The song was an overnight sensation. It's popularity was so phenomenal and unrivalled that even today it remains one of the top selling non-film discs. This disc brought talat fame throughout India and soon he was beckoned by the Calcutta film industry. Talat made cameo appearances and starred in about 16 movies, for both the Calcutta Film Industry (hub of the 1940s) and Bollywood. The 3 movies in which he starred were regional hits in Calcutta.
But fate had even bigger things in store for talat and in 1949 talat came to Bollywood. His name and fame had already preceded him and people in the Mumbai film industry were already aware of this talented singer and soon he was offered the song. His big break came with the song "Ae dil mujhe aisi jagha le chal jahan koi na ho" composed by music-composer Anil Biswas for the soundtrack of the movie "Arzoo". The song was a smash-hit and ensured the box-office success of the movie.
Memorable songs

* Humse aaya na gaya - Dekh Kabira Roya (1957)
* Jayen to jayen kahan - Taxi Driver (1954)
* Tasveer banata hoon - Baradari (1955)
* Dil-E-Nadaan tujhe hua kya hai - Mirza Ghalib (1954)
* Sham-E-Gham ki qassam - Foothpath (1953)
* Jalte hain jiske liye - Sujata (1959)
* Meri yaad me tum na - Madhosh (1951)
* Phir wohi sham wohi gam - Jahan Aara (1964)
* Aye mere dil kahi aur chal - Daag (1952)

Mehdi Hassan, Tamgha-e-Imtiaz, Pride of Performance, Hilal-e-Imtiaz (Urdu: ???) affectionately called Khan Sahib and titled as "Shahenshah-e-Ghazal" (English: King of Ghazals) is a well-known Pakistani Ghazal singer and a former playback singer for Lollywood.
Mehdi Hassan was born in the village of Luna in Rajasthan, India in 1927 into a family of rich traditional musicians. He claims to be the 16th generation of hereditary musicians hailing from the Kalawant. Kala means "Art" and Want means "teacher" so he is from family of teacher who taught Kings and Royal families the art of music. Mehdi Hassan received his musical training and grooming under his father, Ustad Azeem Khan and his uncle Ustad Ismail Khan who were classical musicians, well-versed in dhrupad singing. They instructed him in classical music and voice production within the framework of classical forms of thumri, dhrupad, khayal and dadra, from the young age of eight. After the Partition of India, 20 year-old Mehdi Hassan and his family migrated to Pakistan and suffered severe financial hardships. To make ends meet, Mehdi Hassan began working in a bicycle shop and later became a car and diesel tractor mechanic. Despite the hardships, his passion for music didn't wither and he kept up the routine of practice on a daily basis. The struggle ended when Mehdi Hassan was given the opportunity to sing on Radio Pakistan in 1952, primarily as a thumri singer, which earned him recognition within the musical fraternity. At the time, Ustad Barkat Ali Khan, Begum Akhtar and Mukhtar Begum were considered the stalwarts of ghazal gayaki. Mehdi Hassan’s voice and unique performance skills in ghazal singing were unmatched in the world of South Asian music.
King of Ghazals   :   He is universally acclaimed as the finest ghazal singer of his time, perhaps of all time. His unsurpassable vocal range and his mastery over even the most difficult of raags makes him the undisputed emperor of ghazals. His popularity amongst the masses, appreciation by the masses, and continued success over five decades makes him on par with Noor Jehan and Nusrat Fateh Ali Khan in the league of the greatest Pakistani singers of all time. The ultimate tribute to his greatness was from the eternal nightingale, Lata Mangeshkar, who compared his songs to " voice of god " . Talat Aziz is one of his famous disciples.
Few of his alltime favourite Ranjashi Sahi                Tere Bhigi Badan
Geeta Dutt ( born in Bengal Geeta Ghosh Roy Chowdhuri, November 23, 1930 – July 20, 1972) was a prominent Indian playback singer in Hindi films of the 1950s and 60s, and also a singer of modern Bengali songs. Geeta Dutt was born into a rich zamindaar's family as Geeta Ghosh Roy Chowdhuri in Faridpur, East Bengal in 1930. In 1942, her parents shifted to a Dadar apartment in Mumbai when she was twelve. There, in their modest flat at Dadar, composer/music director Hanuman Prasad, overheard her singing casually and agreed to impart her training in singing. He launched her in a chorus song in Bhakht Prahlad (1946), where she sang only two lines. But her rendering of those two lines stood out and astonished everybody in the recording studio. Her major assignment was in the following year with Do Bhai. The music of that film clicked in a big way and Geeta became a top playback singer. Initially, Geeta was a singer well known for singing bhajans and weepy, sad songs, but 1951 saw the release of Baazi. The jazzy musical score of the film by SD Burman created a new facet in Geeta's singing. The sex appeal in her voice and the ease with which she went western was marvelous to behold. From then on in the 1950s for a club dance and a seductive song, the first choice was Geeta. During the recording of the song she met the young and upcoming director of the film, Guru Dutt. Thus blossomed a romance, which culminated in marriage on 26 May, 1953. Geeta went on to sing some of her best songs in his films while continuing singing in various outside assignments as well. It was however a stormy marriage as the couple fought and made up repeatedly caused it is said by her suspicious and possessive nature.
S.D. Burman was among the earliest to discover the magic in her voice with Do Bhai. He effectively used the Bengali lilt in her voice memorably in films like Devdas (1955) and Pyaasa (1957). The song Aaj sajan mohe ang lagalo from the latter is one of the finest examples of the Bengali kirtan put over on the Hindi screen. In fact, no female singer has better articulated the spirit of Burmanda's music in its early years.
O.P. Nayyar developed the side of Geeta which had emerged with Baazi. Under his freewheeling baton Geeta developed into a really hep singer who could belt out any number - soft, sultry, happy, snappy, romantic, teasing or tragic. It was Geeta Dutt's rare gift that she could effervescently sing for both the doll and the moll. 1947 - 1949 saw Geeta as the number one playback singer in the Mumbai film industry as she moved from strength to strength. Only two playback singers managed to survive Lata's onslaught in the 1950s. They were Shamshad Begum and Geeta Roy. Though relegated to the second spot, Geeta managed to hold her own against Lata for more than a decade, and she and Lata became the premier female playback singers of the 1950s.
In 1958, when S.D. Burman fell out with Lata Mangeshkar, he wanted to make Geeta his main singer rather than the upcoming Asha Bhosle, who he felt was relatively raw. However, Geeta was not able to practice sufficiently, and failed to meet the quality expectations of Burman who was a hard taskmaster. Thus, he (and also O.P. Nayyar) turned to Asha and helped her blossom rather than wait for Geeta.

Her health kept failing as she drank to a point of no return. Despite all this, her singing abilities were intact; Anubhav (1971), highlighted some quality work, and was her last film. She died of cirrhosis of the liver in 1972 at the age of 41.
Her memorable songs: sung by Geeta under S.D. Burman are:
* 'Mera sundar sapna beet gaya' (Do Bhai - 1947 )
* 'Woh sapnewaali raat' (Pyaar - 1950 )
* 'Tadbir se bigdi hui taqdeer' (Baazi - 1951 )
* 'Aan milo aan milo' (Devdas - 1955 ) with Manna Dey
* 'Aaj sajan mohe ang lagalo' (Pyaasa - 1957 )
* 'Hawa dhire aana' (Sujata - 1959 )
* 'Waqt ne kiya kya haseen sitam ' (Kaagaz ke Phool - 1959 )
Koi Doorse Awaaz De Sahi bibi Aur Ghulam
Some immortal gems sung by Geeta Dutt under O.P. Nayyar are:
* 'Zara saamne aa'( Baaz - 1953 )
* 'Babuji dhire chalna' (Aar Paar - 1954 )
* 'Thandi hawa kali ghata' (Mr. & Mrs 55 - 1955 )
* 'Jab badal lehraya' (Chchoomantar - 1956 )
* 'Mere zindagi ke humsafar' (Shrimati 420 - 1956 )
* 'Chor, lutere, daku'( Ustad - 1957 )
* 'Mera naam chin chin choo' (Howrah Bridge - 1958 )
* 'Kaisa jadoo balam tune dara' (12 o'clock - 1958 )
She has also sung a number of    Bengali songs:
* 'Shachimata go char juge hai' (1950)
* 'Ekhan-o dustar lajja' (1952)
* 'Tumi je amaar' (Harano Sur, 1958; Music: Hemanta Kumar)
* 'Ei Sundar Swarnali Sandhyay' (Hospital, 1960; Music: Amal Mukherjee)
* 'Katha achhe tumi aj asbe (kAnu ghosh 1960)
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Kundan Lal (K.L.) Saigal (April 11, 1904 – January 18, 1947) was an Indian singer and actor who is considered the first superstar of Bollywood, the Hindi film industry centered in Mumbai,but at his time in Calcutta. Kundan Lal was born at Nawa Shahar in Jammu, located in the present-day Indian state of Jammu & Kashmir. His ancestors came from the city of Jalandhar in Punjab. Kundan was the fourth-born child of five and his formal schooling was brief and uneventful. Saigal dropped out of school and started earning money by working as a railway timekeeper. Later, he worked as a typewriter salesman for the Remington Typewriter Company, which allowed him to tour several parts of India.          His travels brought him to Lahore where he befriended Meharchand Jain (who later went on to start the Assam Soap Factory in Shillong) at the Anarkali Bazaar. Meharchand and Kundan remained friends when they both moved to Calcutta and had many a mehfil-e-mushaira. In those
days Kundan was a budding singer and Meharchand encouraged him to pursue his talent. Kundan Lal often remarked that he was what he was because of Meharchand's encouragement and early support . He also briefly worked as a hotel manager. Meanwhile, his passion for singing continued and became more intense with the passage of time.
Cn the early 1930s, he was hired by B.N. Sircar, head of the Calcutta-based film studio, New Theatres. Here, Kundan met R.C. Boral, the highly respected music composer of the pioneering film company. R.C. Boral took an instant liking to his talents. Saigal was employed by New Theatres on a contract basis of Rs. 200/month. There he came into contact with contemporaries like Pankaj Mullick, K. C. Dey and Pahari Sanyal. In a short span of time, he stood tallest among them with his brilliant singing and popularity.

The first film in which Saigal had a role was the Urdu film Mohabbat Ke Ansoo, followed by Subah Ka Sitara and Zinda Laash, all released in 1932. However, these films did not do very well. It was in 1933 that his four bhajans for the film Puran Bhagat created a sensation throughout India; thereafter, Saigal never looked back. Films that followed were Yahudi Ki Ladki, Chandidas and Rooplekha. As a youngster, India's melody queen herself, Lata Mangeshkar, is alleged to have said that she wanted to marry K.L. Saigal after seeing his performance in Chandidas. In 1935, Saigal played the role that would come to define his acting career: that of the drunken title character in Devdas, based on Sarat Chandra Chattopadhyay's novel of the same name and directed by P.C. Barua. His songs in the film, Balam Aaye Baso Moray Man Mein and Dukh Ke Ab Din Beetat Naahi, became feverishly popular throughout the country.
Saigal's association with New Theatres continued to bear fruit in subsequent films that became all the rage, which created success after success with films such as Didi (Bengali)/President (Hindi) in 1937, Saathi (Bengali)/Street Singer (Hindi) in 1938, and Zindagi in 1940, with Saigal in the male lead. These films were lapped by audiences mainly for Saigal's songs. There are a number of immortal songs of this era which form the rich heritage of film music in India. Also, it is well-known that in Street Singer, Saigal rendered the song Babul Mora live in front of the camera, even though playback was becoming the preferred method of singing songs in films.
In December of 1941, Saigal moved to Mumbai to work with Ranjit Movietone. Here he acted and sung in a number of hit films. His voice, music and songs took him to even greater heights. Bhakt Surdas (1942) and Tansen (1943) were huge hits during this period. The latter film is still remembered for Saigal's amazing performance of the song Diya Jalao in Raga Deepak. In 1944, he returned to New Theatres to complete Meri Behen. This film contained such Saigal gems as Do Naina Matware and Ae Qatib-e-Taqdeer Mujhe Itna Bata De.
In a career of fifteen years, Saigal acted in 36 feature films - 28 in Hindi/Urdu, 7 in Bengali, and 1 in Tamil. In addition, he acted in a short comedy Hindi/Urdu film, Dulari Bibi (3 reels), released in 1933. After Saigal's death, based on the life and times of K.L. Saigal, B.N. Sircar released a documentary film called Amar Saigal in 1955. In the film, G. Mungheri performed the title role of Saigal. The film contained 19 songs lifted from Saigal's films. In all, Saigal rendered 185 songs which includes 142 film songs and 43 non-film songs. In the film songs category, there are 110 in Hindi/Urdu, 30 in Bengali and 2 in Tamil. In the non-film category, there are 37 in Hindi/Urdu, and 2 each in Bengali, Punjabi and Persian. His non-film songs
comprise of Bhajans, Ghazals and Hori. He has rendered the creations of legendary poets such as Ghalib, Zauq, Seemab and others. Saigal's distinctive singing voice was so melodious and popular that he was idolized by the first generation of post-independence Bollywood playback singers, including Lata Mangeshkar, Mohammad Rafi, Mukesh, and Kishore Kumar. Even today, the name K.L. Saigal conjures up images of the great Indian singing film star of the 1930s and 1940s with the unmatched golden voice.
* KL Saigal - Immortal Singer and Superstar Babul mora and Balam Aye DevdasDo Naiina Matware -My sister

Kanan Devi was among the early singing stars and her singing style usually in rapid tempo was instrumental in some of the biggest hits of New Theatres. An untrained singer when she entered films, she studied briefly with Ustad Allah Rakha in Lucknow. She was employed as a singer at Megaphone Gramaphone Company receiving further training from Bhishmadev Chatterjee. She later learnt Rabindra Sangeet with Anadi Dastidar. Born Kananbala in 1916, she made her debut as a child actress with Joydev (1926). She later worked with Radha Films in films mainly by Jyotish Banerjee. P.C. Barua was unable to secure her services for the role of Paro in Devdas (1935) but she played the lead in his Mukti (1937).Mukti made her a star and led to a fruitful association with New Theatres. The success of Bidyapati (Bengali)/ Vidyapati /(Hindi) (1937) in which she gave perhaps her finest performance, made her the studio's top star. To quote critic Krishna Chaitanya,
"Kanan Devi has the marvellous gift of smoothly carrying over to the melodic elaboration, the intimate expressiveness of speech - occasional aspiration of vowels, accented speech rhythms, sensitive manipulation of volume." Kanan Devi remained the top star of New Theatres till she resigned in 1941 and began to freelance in Hindi and Bengali films. Jawab the following year saw perhaps her biggest ever hit song Toofan Mail.    But even though she was a singing sensation as she recalled music and song were secondary to the primary business of telling a story. In fact powerful narrative appeal made up for most of the technical and other deficiencies Bengal cinema may have suffered from at the time and was a key to the success of the New Theatres Films. Kanan Devi turned producer with Shrimati Pics in 1949 and later launched the Sabhyasachi collective with the film Ananya (1949). Her own productions were mainly based on Sarat Chandra stories and were directed by her husband Haridas Bhattacharya.
Kanan Devi's last film was Indranath Srikanta-o-Annadadidi (1959). She wrote an autobiography Sabare Ami Nomi (1973) and in 1977, Kanan Devi, the first lady of the Bengal screen was awarded the Dadasaheb Phalke award for her contribution to Indian Cinema. She also worked as President of the Mahila Shilpi Mahal, an organization that helps aged and needy female artistes of yesteryear.

Mukesh ((July 22, 1923–August 27, 1976) was an Indian playback singer of Bollywood. Along with Mohammed Rafi and Kishore Kumar, he was one of the three leading male Bollywood playback singers from the 1950s to the 1970s. Born Mukesh Chand Mathurin Punjab on 22 July 1923, in a small middle class family. Mukesh left school after the 10th standard and worked briefly for the Delhi Department of Public Works. Mukesh experimented with voice recordings during his employment in Delhi and gradually developed his singing abilities.
Mukesh's voice was noticed by Motilal (a popular actor in Hindi films, also a distant relative
of Mukesh) when he sang at his sister's wedding. Motilal took him to Mumbai, let him stay with him and even arranged for singing lessons for him. During this period, Mukesh managed to bag a role in a Hindi film, Nirdosh (Innocent) (1941). His first song was dil hi bujha hua ho to as an actor singer for Nirdosh. He got his break as a playback singer in 1945 with the film Pehli Nazar (First Look). The first song he sang for a Hindi film was Dil Jalta Hai to Jalne De. He is best known for the songs he sang as a playback singer for Raj Kapoor, a legendary actor /director of Bollywood in the 1950s and 1960s.
In 1974, Mukesh received National Film Award for Best Male Playback Singer for the song Kain baar yoon bhi dekhaa hai from Rajnigandha (1974), and Filmfare Awards for the songs Sab Kuch Seekha in the movie Anari (1959), Ganga Ram Ki Samajh in Pehchaan (1970), Jai Bolo in Be Imaan (1972) and the title song of Kabhie Kabhie (1976). His song under direction of Salil Chowdhury Kai Bar Uinhi Dekha is remembered till today.
Mukesh died of a heart attack on August 27, 1976 in Detroit, Michigan, USA, where he had gone for a concert. His body was carried back to India with Lata Mangeshkar, where a grand funeral ceremony took place as many famous actors, personalities of the Indian film industry, and fans paid tribute to the late singer. When the news of his death reached Raj Kapoor, he remarked, "I have lost my voice," which is a testimony to the timeless and unforgettable association of Mukesh's voice (in playback) to the immensely popular songs of Raj Kapoor's films.Raj Kapoor's   Mera Naam Joker   Song Dost Dost Na Raha
Memorable songs of Mukesh

* 1961 - Hothon Pe Sacchai song in the film Jis Desh Mein Ganga Behti Hai
* 1964 - Dost Dost Na Raha song in the film Sangam
* 1967 - Sawan Ka Mahina song in the film Milan
* 1970 - Bas Yehi Apradh Main Har Baar Karta Hoon song in the film Pehchan
* 1972 - Ek Pyar Ka Nagma song in the film Shor
* 1974 - Main Na Bhoolunga song in the film Roti Kapda Aur Makaan
* 1976 - Main Pal Do Pal Ka Shayar song in the film Kabhie Kabhie
* 1976 - Ek Din Bik Jayega, Maati Ke Mol song in the film Dharam Karam
* 1977 - Suhani Chandni Raten song in the film Mukti
* 1978 - Chanchal Sheetal song in the film Satyam Shivam Sundaram
Aa Aub Lot Chale,Awar Hoon,Bhooli Huin Yaadon,Chandan Se Badan, Ek Din Beet Jayega,, Kai bar Yuin hi ,Sawan Ki Mahina,     Sajan re Jhoot mat bolo, Tum bin jeewan,
Bengali song by Mukesh   Mon Matal Sanjh Sokal wiil be remembered through his famous Hindi   song "Anshoo Bharey Hain Ee Jewan Ki Rahein"

Ahmed, Abbasuddin (1901-1959) folk singer, was born at Balarampur in Tufanganj subdivision in the district of Cooch Bihar on 27 October 1901. His father, Zafar Ali Ahmed, was a lawyer at the Tufanganj Sub-divisional Court.
Abbasuddin's interest in music grew through attendance at cultural functions at school and college. He was largely self-taught, except for a brief period when he learnt music from Ustad jamiruddin khan in Kolkata. He sang different types of songs such as folk songs, modern songs, patriotic songs, as well as Islamic songs. He also sang Urdu songs. But Abbasuddin became renowned mainly as a singer of folk songs.
Initially, he became famous for bhawaiya, Ksirol, Chatka in rangpur and Cooch Bihar. He became increasingly popular with his rendition of jari, sari, bhatiyali, murshidi, Bichchhedi (songs of estrangement), Marsiya, Dehatattwa and pala gan, specially when these were made into gramophone records. No other singer could surpass his emotional, full-throated rendition of folk songs. He also sang songs on Islamic themes composed by kazi nazrul islam, jasimuddin and golam mostafa. In Kolkata Abbasuddin made a number of gramophone records with His Master's Voice as well as with Megaphone, Twin and Regal. By singing at various functions in villages, towns and cities as well as by recording his songs, Abbasuddin made music acceptable and popular in conservative Bengali Muslim society.Abbasuddin stayed in Kolkata from 1931 to 1947. Initially, he worked temporarily as a clerk in the DPI office and then in the Department of Irrigation in a permanent post. When ak fazlul huq was Chief Minister, Abbasuddin was given a government job as a recording expert. In the 1940s, Abbasuddin's songs played a significant role in raising the Muslim public opinion in favour of the pakistan movement. In 1947, after partition, he joined the Department of Information and Broadcasting as an additional song organiser. As a representative of Pakistan, he participated at the South East Asia Conference in Manila in 1955, at the International Folk Music Conference in Germany in 1956 and at the Bengali Cultural Conference in Rangoon in 1957.
Here are some of his songs:

1. Nao Chariya De , Arre O Bhatiyal Ganger Naiya . Allah megh De Pani De

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