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Playlist of Anil Biswas (composer)

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  • Milestone Songs of Anil Biswas.

    9:03

    Anil Da used to say about too much labouring on the tune, If you squeeze the lemon just right you get the desired flavour; squeeze it too much and you get bitterness. He always got the lyrics first and then set them to music. Words seem to be chiselled in his compositions. His mastery of Urdu and Hindi enabled him to bring out the subtlety of words. For example in the song 'Mast pavan hai chanchal dhara man ki naiya dol na jaye' every time the word 'dol' occurs it is given a different glide, signifying the lurching of boat. Listen to 'O saajana' (Heer 1956) and you marvel at his mingling of Punjabi and Bengali music, in the voices of Geeta Dutt and Hemant Kumar respectively, bridged by interludes of Punjabi folk music. How effortlessly he composed is shown by the famous 'Seene mein sulagte hain armaan' (Taraana 1951), one of the most beautiful duets ever composed, and one of Anil Da's personal favourites among his compositions.

    Anil Biswas and Prem Dhawan were going in a car and Prem Dhawan said Dada, how do you like this Mukhda? And he recited Seene mein sulagte hain armaan... Dada liked it. By then they were near the famous singer, Surinder Kaur's house and Prem Dhawan wanted to see her. Dada said, You go, I shall stay here, arrd sat on a parapet facing the sea. A little later when Prem Dhawan returned, Dada said, Here, I have set the tune for your Mukhda', and he sang it. Prem Dhawan was very happy with the tune and completed the song.

    One day Roshan came to Dada and sang a Punjabi folk song and asked him, How do you like it? Very nice, said Dada, and started turning it around. It emerged as Meena Kapoor's famous song 'Kachchi hai umariya' in Chaar Dil Chaar Rahen. When next Roshan carne excited about using that Punjabi folk tune, Dada snapped his fingers and said, Tum baithe raho; hamne usko istemal kar liya hal' . And Dada played the song. The Punjabi Mukhda of the song gives way to Bengali Keertan, and then an instrumental interlude based on Tamil snake charmers' tune and finally it ends with a touch of Bihari folk songs --- an all India musical journey in a span of three minutes twenty seconds.

    I asked him about the rich sound of his orchestra. He gave credit for that to his assistant, Ram Singh. Anil Da told me that Ram Singh landed at his place one day from Karachi and said that he would work with him and him alone, and if that was not possible, then he would go back to Lahore. Anil Biswas agreed and it was a remarkable partnership. Ram Singh's contribution to his music was always acknowledged with respect by Anil Biswas. The credit titles of Taraana say, Music by Anil Biswas and Ram Singh. He told me that he seldom used more than ten to twelve instruments. Voices and instruments were perfectly balanced in his compositions. The use of Komal Dhaivat was a characteristic feature of Anil Biswas's compositions. I have used Komal Dhaivat even where the raga on which the tune was based prohibited Komal Dhaivat, Dada said. His compositions were his creations and not just renditions of Ragas.

    Once Anil Da and I were discussing Urdu poetry. We agreed that Ghalib was great but Nazeer Akbarabadi was the greatest. I said, Dada, I wish somebody would record Nazeer's Banjara Nama, .Dada said he would love to set it to music. He started humming and then and there composed a tune. It was a magical moment: Nazeer Akbarabadi's Banjara Nama being set to tune and sung by Anil Biswas. I had imagined Banjara Nama being sung in the style of Bundelkhaldi balladeers. But Dada composed it as Punjabi Kaafi, which brought out the metaphysical element of the poem, like Bulleh Shah's Kaafis.My most fav. MD.

  • AIR FM GOLD- 31- 05- 2016- RADIO REEL- COMPOSER ANIL BISWAS

    34:54

    1-RAAHI MATWALE TU CHHED EK BAAR MAN KA SITAR-TALAT-SURAIYA-FILM-WARIS(1954)
    MD-ANIL BISWAS LYRICS-QAMAR JALALABADI
    2-DIL JALTA HAI TO JALNE DE-MUKESH-FILM-FILM-PEHLI NAZAR(1945)
    MD-ANIL BISWAS LYRICS-AAH SITAPURI
    3-KACHCHI HAI UMARIYA-MEENA KAPOOR-FILM-CHAR DIL CHAR RAAHEN(1959)
    MD-ANIL BISWAS LYRICS-SAHIR LUDHIANVI
    4-DHIRE DHIRE AA RE BADAL-ASHOK KUMAR-AMIRBAI-FILM-KISMAT(1943)
    MD-ANIL BISWAS LYRICS-KAVI PRADEEP
    5-AE DIL MUJHE AISI JAGAH LE CHAL-TALAT-FILM-AARZOO(1950)
    MD-ANIL BISWAS LYRICS-MAJROOH SULTANPURI
    6-YAAD RAKHNA CHAND TAARON-LATA-FILM-ANOKHA PYAR(1948)
    MD-ANIL BISWAS LYRICS-ZIA SARHADI
    7-SEENE MEIN SULAGTE HAIN ARMAAN-TALAT-LATA-FILM-TARANA(1951)
    MD-ANIL BISWAS LYRICS-PREM DHAWAN

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  • Anil Biswas remembers Roshan and Madan Mohan

    12:51

    In this episode of Rasikeshu, Anil Biswas remembers Roshan and Madan Mohan. Songs composed by these two music directors are played in this episode.

    Source : Vividh Bharati

  • The Very Best Of Lata Mangeshkar Music By Anil Biswas Vintage Hindi Songs

    15:23

    The Very Best Of Lata Mangeshkar Music By Anil Biswas
    Ek dil ka lagaana baaki tha
    Tumhaare bulaane ki jee chahta hai
    Kahan tak hum uthaayen gham
    Badli teri nazar to nazaare badal gaye
    Kat ti hai ab to zindagi

  • x
  • 100 years Happy Birthday... Anil Biswas.

    15:07

    It was to this Chacha that Moti Lal one day brought a young man and introduced him, saying, This young man is my relative. He is fond of singing. See if you can make something out of him. Out of regard for Moti Lal, Anil Biswas agreed to give the young man a chance in Pehli Nazar (1945). After a few rehearsals the song was ready for recording; the studio was booked; the orchestra was waiting; but the young singer was missing. Anil Biswas was furious. He called Moti Lal, who did not know where the young man was. After a few calls he was traced at a place where he was playing cards with some friends and drinking. The prospect of recording with Anil Biswas had made the young singer nervous and to steady himself he had been drinking and lost track of time while playing cards. Anil Biswas took a car, reached the place where the card game was on, slapped the young man, dragged him to the car, took him to the studio, dunked his head in a basin of water, which sobered him and recorded the song Dil jalta hai to jalne de, in a single take. This is how Mukesh's career took off. Anil Da used to say jokingly that perhaps his slap had given that extra touch of pathos to Mukesh's voice in 'Dil jalta hai to jalne de' , which is one of Mukesh's all time great songs, and the first fllm song, according to Anil Da, based on Mishra Darbari. AniI Da had great affection for Mukesh. He groomed Mukesh and helped him come out Sehgal's shadow.
    Another gift of Anil Biswas to the Hindi film music was Talat Mahmood, who remained his favourite till the end, along with Mukesh and Manna Dey. Anil Da always spoke of Talat Mahmood with deep affection. Talat also said in an interview which was telecast a few years back, Mere to bas le de ke ek Anil Da hi hain. Talat's first song for Anil Da is also a classic: Ai dil mujhe aisi jagah le chal jahan koi na ho (Aarzoo 1950). Anil Biswas mentored and guided Talat Mahmood in the formative stage of his career. When other composers told Talat that his voice was shaky, it was Anil Biswas who told him that the vibrato in his voice was his uniqueness and strength and restored his confidence. Thanks to Anil Bisawas's guidance Talat Mahmood reached great heights as a singer and exponent of ghazal. Manna Dey, has said that the finest classical Hindi filrn song of all time is Anil Da's 'Ritu aaye ritu jaaye', sung by Manna Dey and Lata Mangeshkar for Hamdard 1953 (which was Biswases' home production). Hamdard was an ordinary film with extraordinary music. About its music Dada said, I wanted to show in one film all the major types of our music: khayal, thumri, ghazal, Rabindra Sangeet, film song, qawwali, cabaret style song, etc. 'Ritu Aaye Ritu Jaaye' is appropriately the title of Dada's biography written by Sharad Dutt.
    Anil Biswas was one of our most intellectual composers; he was a formidable scholar and musicologist. He used to sparkle in the company of friends, enlivening the gathering with his wit, humour, sharp repartee and original insights. A robust singer himself, he would illustrate his point by singing. Talking of folk music, once he said to me, See, each region's folk music has one or two presiding ragas; lt is Desh and Bilawal for Bengal, Bhairavi and Pahadi for Punjab, Maand for Rajasthan..., and he mentioned all the regions and their ragas. He illustrated his thesis by singing. I wished I had a tape recorder with me; this treatise on folk music and classical music and how they borrowed from and enriched each other was a memorable exposition of the subject.
     
    Anil Biswas had undertaken a tour along with his friend Ghulam Haider, another great composer, who revolutionized film music, collecting folk tunes and discovering singers. Many of the folk tunes found their way into the compositions of these great composers. Some were given to other composer friends also. Dheere se aaja ree akhiyan mein, for example, has its genesis in a tune which Anil Biswas had collected in Rajasthan during that tour and later passed onto his friend C. Ramchandra. Lo, yeh tere kaam aayegi, he said to C. Ramachndra while giving him the tune, Anil Da told me. And what a song C. Ramchandra made out of that!
     
    It was this tour in the company of Ghulam Haider which made Anil Biswas realise the richness of Indian folk music. This richness he introduced into film music at a time when composers in Bombay were content to emulate Natya Sangeet and those in Calcutta Rabindra Sangeet, and that is his great contribution to the development of Hindi film music . He made the horizons of film music limitless.

    full article.

  • Tribute to Anil Biswas... Death Anniversary .

    2:34

    Life in Calcutta was very difficult for the young Anil Biswas. He initially worked in a series of small jobs but then got a small position as a private music teacher. But this was interruped when his past caught up with him. The police came and arrested him and he was again sent to jail.
    Not long after his release from Prison, Kazi Nazrul Islam, used some influence to get Anil Biswas a job. This was with the Megaphone Gramophone Company. He performed for numerous recordings but for various reasons, the recordings were not released. Since this was not working out, Anil-da found it necessary to go elsewhere.
    He joined the Rangamahal theatre group. This job was obtained through the assistance of Nityayi Motilal who was an accomplished music director of the time. Anil Biswas worked in the company as an actor, singer, and assistant music director. He began composing music for plays and proved to be an accomplished singer. He was with this group for two to three years from 1932 to 1934. During this period, his reputation was improving.
    In 1934 he left Calcutta, and moved to Bombay. The film director Hiren Bose knew him from their days in Calcutta, and told Anil that if he wanted to work in the film industry, he needed to move to Bombay. Hiren Bose managed to secure a position for Anil at the Kumar Movietone. But this did not last very long. After some time, he got into a fight with management and was quickly out of a job.
    He was not out of a job very long, for he soon got as position in the Eastern Art Syndicate. He worked in various capacities, but was able to debut as a music director with Dharam ki Devi (1935). From 1934 until 1936, he was involved in 11 films.
    In 1936 he moved to Sagar Movietone. During this period he worked in several capacities. Sometimes he was a composer, an assistant music director, a singer and occasionally music director. During this period he worked on a number of films. However it was the popularity of the Mehboob Khan film Jagirdar (1937), which proved that he could turn out hit songs. He stayed with Sagar Movietone until 1939.
    In 1939 Sagar Movietones was merged with RCA's newly formed National Studio. He returned in 1940. He continued with them until 1942. During this period he worked on a number of projects, including three Mehboob Khan films, Aurat (1940), Bahen (1941) and Roti (1942).
    From 1942 to 1947 he worked for Bombay Talkies. During his tenure there, he worked on numerous films. It was during this period that he reached the height of his career with the success of Kismet (1943). This film broke all records and ran in the theatres longer than any film in history. (This record remained intact until roughly 1978 when Sholay surpassed it.) Kismet was not his only success; other hits as well such as Jwar Bhatta (1944) and Milan (1946).
    During this early period, Anil Biswas is said to have influenced a number of singers of the day. He had the biggest influence of Mukesh, Talat Mahmood, and Lata Mangeshkar.
    It was Anil Biswass who first gave a break to Mukesh. This was in Pehli Nazar (1945). During this time it was Anil Biswas who persuaded Mukesh to stop imitating K.L. Saigal and to develop his own style.

    Anil Biswas also gave Talat Mahmood his first break. He employed him for Arzoo (1949). Talat had a characteristic quiver in his voice that many music directors found annoying, however it was Anil Biswas that persuaded him to keep this, and develop this into his own personal trademark. Further influence was seen in the fact that when Talat first met Anil, Talat was wishing to become an actor. Anil-da pursuaded him that his future was not in acting but in singing.

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  • Aakash~1952~Teri Mehfil Mein Sabhi Kuchh Hai~Shankar Dasgupta~Anil Biswas~Prem Dhawan

    3:15

    Teri Mehfil Mein Sabhi Kuchh Hai Magar Pyar Nahin

    Film: Aakash 1952
    Singer: Shankar Dasgupta
    Composer: Anil Biswas
    Lyricist: Prem Dhawan

  • Talat Mahmood.. Anil Biswas.

    4:49

    Great People...

  • Anil Biswas remembers Khemchand Prakash

    14:11

    Tushar Bhatia recorded a long conversation with legendary music composer Anil Biswas for Vividh Bharati. That conversation was given a name as Rasikeshu by Anil Biswas.

    In this part of conversation, Anil Biswas remembers one of the great music director Khemchand Prakash.

    Source : Vividh Bharati

  • x
  • Lata ji & Anil Biswas...

    48:55

    Two icon of music.

  • Hamdard~1953~Udhar Teri Nazar Badli~Lata Mangeshkar~Anil Biswas~Prem Dhawan

    3:01

    Udhar Teri Nazar Badli

    Film: Hamdard - 1953
    Singer: Lata Mangeshkar
    Composer: Anil Biswa
    Lyricist: Prem Dhawan

    I am surprised that this gem of a song composed by Anil Biswas was not already on YT, when many others from Hamdard are already uploaded.

  • Rasikeshu - Part 1

    14:08

    Anil Biswas on R.C. Boral.

  • Do Geet Ek Rang- Anil Biswas and S.D.Burman

    6:44

    The Bengali song by S.D.Burman was sung by him in 1951. Anil Biswas's Abhiman came in 1957. The songs are very similar.

  • VBS- 27- 05- 2016- VIVIDHA- COMPOSER ANIL BISWAS- LYRICIST MAJROOH SULTANPURI

    57:01

  • Jalti Nishani~1957~Jalne Laga Pyar Ka Ashiana~Lata Mangeshkar~Anil Biswas~Qamar Jalalabadi

    3:24

    Jalne Laga Pyar Ka Ashiana

    Film: Jalti Nishani - 1957
    Singer: Lata Mangeshkar
    Composer: Anil Biswas
    Lyricist: Qamar Jalalabadi

  • Sambhalo Palla Gori, Asha Bhosale, Anil Biswas, Abhiman - Dance Song

    3:51

    Watch Dance Song from old classic movie Abhiman (1957) starring Shekhar, Ameeta, Mehmood, Chand Usmani, Nazir Husain, Sheela Vaz, Indira Bansal
    Music Director : Anil Biswas
    Director : Mahesh Kaul
    Singer : Asha Bhosle, Anil Biswas.

  • Classic Songs...Anokha Pyar 1948.

    10:20

    Anokha Pyar (1948)
    Singers: Lata Mangeshkar.
    Lyricists: Zia Sarhadi
    Music : Anil Krishna Biswas
    Director: M.I. Dharamsey

    Starring: Dilip Kumar, Nargis, Nalini Jaywant
    Release on: 6th August, 1948

  • LATA JI-GAJRE--Kab Tak Kategi Zindagi Kinare- Great Creation By Great Composer

    3:39

    M D-----Great ANIL BISWAS
    Lyrics---GOPAL SINGH NIPALI

  • Anil Biswas remembers Parul Ghosh and Pt. Pannalal Ghosh

    12:51

    Tushar Bhatia had a long conversation with legendary music composer Anil Biswas for Vividh Bharati. That conversation was given a name Rasikeshu by Anil Biswas.

    In this part of conversation, Anil Biswas remembers Parul Ghosh and Pt. Pannalal Ghosh.
    Source : Vividh Bharati

  • AIR F M GOLD- 07- 07- 2016-RADIO REEL- ANIL BISWAS

    35:05

    1-RAAHI MATWALE-TALAT-SURAIYA-FILM-WARIS(1954)
    MD-ANIL BISWAS LYRICS-QAMAR JALALABADI
    2-DIL JALTA HAI-MUKESH-FILM-PEHLI NAZAR(1945)
    MD-ANIL BISWAS LYRICS-AAH SITAPURI
    3-KAAHE KARTA DER BARATI-ANIL BISWAS-FILM-AURAT(1940)
    MD-ANIL BISWAS LYRICS-SAFDAR AAH
    4-DHEERE DHEERE AA RE BADAL-AMIRBAI-ARUN KUMAR-FILM-KISMET(1943)
    MD-ANIL BISWAS LYRICS-KAVI PRADEEP
    5-AE DIL MUJHE AISI JAGAH LE CHAL-TALAT-FILM-AARZOO(1950)
    MD-ANIL BISWAS LYRICS-MAJROOH SULTANPURI
    6-SEENE MEIN SULGTE HAI ARMAAN-TALAT-LATA-FILM-TARANA(1951)
    MD-ANIL BISWAS LYRICS-PREM DHAWAN
    7-KACHCHI HAI UMARIYA-MEENA KAPOOR-FILM-CHAR DIL CHAR RAAHEN(1959)
    MD-ANIL BISWAS LYRICS-SAHIR LUDHIANVI

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  • FAILI HAI KHABAR AAJ YEH- LATA- FILM- MAAN MD- ANIL BISWAS LYRICS- KAIF BHOPALI

    2:40

    MD-ANIL BISWAS LYRICS-KAIF BHOPALI

  • Shankar Dasgupta - Ajeeb Hain Zindagi Ki Manzil - Aakash

    3:08

    Song: Ajeeb Hai Zindagi Ki Manzil ...
    Singer: Shankar Dasgupta
    Movie: Aakash (1953) -- Hindi -- B&W
    Music: Anil Biswas
    Lyrics: Majrooh Sultanpuri

    Director: Manmohan Sabir
    Banner/Productions: Manohar Films (?)
    Leading Cast: Agha, Balraj Sahni, Shammi Kapoor, Nadira, Manmohan Krishan

    PS: The video has been uploaded for musical appreciation only. The credits and copyrights rest with the movie/album makers, original composer, lyricist, singers, recording company and promoters, collectors etc.

  • Kaahe Karta Der Baraati... . Singer & Composer Anil Biswas. काहे करता देर बराती...

    3:09

    Kaahe Karta Der Baraati... (Aurat-1940).
    Singer & Composer Anil Biswas.
    काहे करता देर बराती...

  • Sonu Nigam Sings Special Song Of Anil Biswas For Sa Re Ga Ma Pa | Geet Suno Ae Duniya Waalon

    2:59

    Love You Sonu Nigam Ji 😍 😘
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    Lata Mangeshkar , Sonu Nigam , Kumar Sanu , Udit Narayan , Tochi Raina , Shahid Mallya , S. P. Balasubrahmanyam , Papon , Raj Barman , Pankaj Udhas , Nitin Mukesh ,
    Mohammad Rafi , Kishore Kumar ,Asha Bhosle , Mukesh ,Talat Mahmood , Geeta Dutt , Hemanta Mukherjee , Sukhwinder Singh , Suresh Wadkar , Zubeen Garg , Mohit Chauhan , Mohammed Aziz , Meet Bros , Kunal Ganjawala , Armaan Malik , Ankit Tiwari , Yo Yo Honey Singh , Raftaar , Badshah , Jubin Nautiyal , Kailash Kher
    Shreya Ghoshal , Arijit Singh , Shaan , K.K , Atif Aslam , Sunidhi chauhan , Neha Kakkar , Tony Kakkar , Bollywood , Latest , Songs , Hindi , Actors , actress , Akshay Kumar , SRK , Ranveer Kapoor , Ranveer Singh , Salman Khan , Aamir Khan , Dancing Uncle , Dabbu Uncle , Kanika Kapoor , Neha , Deepika , Madhuri Dixit , Tiger Shroff , Mumbai , Delhi , Hydrabad , Banglore , Bangladesh , chaina , Japan , Srilanka , Trinidad , Moscow , Dubai

    sonu Nigam, Armaan Malik, Atif Aslam, concert, Arijit Singh , Sonu Nigam , Anil Kapoor , Aishwarya Rai , Akshay Kumar , Aamir Khan , Guru Randhawa , Neha Kakkar , Amaal Mallik , Arijit Singh , Fanney Khan , Rajkumar Hirani , Rajkumar Rao , Jahanvi, Ishaan Kapoor , Dahdak , Badan Pe Sitare , Mohammad Rafi , Amitabh Bachchan , Shankar Mahadevan , Shahrukh Khan , Salman Khan , Anushka Sharma , Alia Bhatt , Shreya Ghoshal , Sunidhi Chauhan , Lata Mangeshkar , Asha Bhosle , Kishor Kumar , R.D. Burman , Udit Narayan , Kumar Sanu , Alka Yagnik , Tochi Raina , Shahid Mallya , S. P. Balasubrahmanyam , Papon , Raj Barman , Pankaj Udhas , Nitin Mukesh , Mohammad Rafi , Kishore Kumar ,Asha Bhosle , Mukesh ,Talat Mahmood , Geeta Dutt , Hemanta Mukherjee , Sukhwinder Singh , Suresh Wadkar , Zubeen Garg , Mohit Chauhan , Mohammed Aziz , Meet Bros , Kunal Ganjawala , Armaan Malik , Ankit Tiwari , Yo Yo Honey Singh , Raftaar , Badshah , Jubin Nautiyal , Kailash Kher Shreya Ghoshal , Arijit Singh , Shaan , K.K , Atif Aslam , Sunidhi chauhan , Neha Kakkar , Tony Kakkar , Bollywood , Latest , Songs , Hindi , Actors , actress , Akshay Kumar , SRK , Ranveer Kapoor , Ranveer Singh , Salman Khan , Aamir Khan , Dancing Uncle , Dabbu Uncle , Kanika Kapoor , Neha , Deepika , Madhuri Dixit , Tiger Shroff , Mumbai , Delhi , Hydrabad , Banglore , Bangladesh , chaina , Japan , Srilanka , Trinidad , Moscow , Dubai

  • KAHE KARTA DER BARATI- ANIL BISWAS- FILM- AURAT A TRIBUTE TO ANIL BISWAS

    3:10

    MD-ANIL BISWAS LYRICS-SAFDAR AAH
    A TRIBUTE TO ANIL BISWAS (7 JULY 1914 -31 MAY 2003)

  • A TRIBUTE TO ANIL BISWAS

    11:27

    A TRIBUTE TO ANIL BISWAS (7 JULY 1914 -31 MAY 2003)
    1.NAA DIR DEEM-LATA-FILM-PARDESI(1957) LYRICS-PREM DHAWAN
    2.DHEERE DHEERE AA RE-ARUN KUMAR-FILM-KISMET(1944) LYRICS-KAVI PRADEEP
    3.RAHI MATWALE-TALAT-FILM-WARIS(1954) LYRICS-QAMAR JALALABADI
    4.INTEZAR AUR SAHI-LATA-CHAR DIL CHAR RAAHEN(1959)LYRICS-SAHIR LUDHIANVI
    5.NAIN MILE-TALAT-LATA-FILM-TARANA(1951) LYRICS-PREM DHAWAN
    6.BOL PAPIHE-SANDHYA MUKHERJEE-FILM-TARANA(1951)LYRICS-PREM DHAWAN

  • Fareb Kishore Lata AaMohabbatKiBasti

    3:12

    A lovely Kishore and Lata duet

    Movie: Fareb (1953)
    Music: Anil Biswas
    SIngers: Kishore Kumar and Lata Mangeshkar

  • Aaj Pehlu Me Dard Sa Kya Hai_Parul Ghosh.wmv

    3:05

    Film Sawal(1943)
    Composer Panna Lal Ghosh (Anil Biswas?) Lyrics by Wali
    'maut se jiski hui ibteda ho Wali
    Us mohabbat ki inteha kya hai?'
    Indeed!

  • VBS- 31- 05- 2016- AAJ KE FANKAR-- COMPOSER ANIL BISWAS

    26:46

  • Amirbai Karnataki. Mora Dheera se Ghonghat .. 1945 song.

    3:07

    A representative from HMV was so impressed by her singing talent that he made her sing a Qawwali, which became very popular. Her elder sister, Gauherbai, was an actress and helped Amirbai get a role in the film Vishnu Bhakti in 1934.
    Initially, Amirbai sang songs in films, but they failed to attain the success she desired. In 1943, with the release of Bombay Talkies' Kismet (1943 film) (1943), she achieved popularity: the songs of Kismet became a rage and Amirbai became famous. The man behind the success was the composer Anil Biswas. She was initially known as a singing star, but at the decline of her career she became a playback singer. She reached her peak by 1947.
    At this time Lata Mangeshkar became a rising star, so once again Amirbai switched over to acting. In her later years she mostly played character roles. Amirbai also composed music for Wahab Pictures' Shehnaaz (1948). In the same year she almost left Hindi Cinema for Gujarati and Marwari films.

  • Milestone songs of Khemchand Prakash... Music Director.

    1:2:16

    Khemchand Prakash was one of the leading music directors of the 40s. His contemporaries were Ghulam Haider, C. Ramchandra, Anil Biswas and Naushad. He was a pioneer in the field of classical music. He was an expert in Marwar folk songs, thumris and ghazals.

    In the 1949 movie, Mahal, his music was considered extraordinary, in terms of its melodies, use of sounds and orchestration. Khemchand Prakash gave Lata Mangeshkar her break in Mahal, despite many objections such as her voice was too thin and reedy. The veteran actor, Ashok Kumar suported Khemchand Prakash's choice and the song “Aayega Aanewala'' went on to become one of the most beautiful and lingering songs.

    Mahal is Khemchand Prakash’s best work at the peak of his career. During the production of Mahal, a critic mentioned to the studio authorities that if the film wasn’t a hit, it would only be because of the music. After the release of Mahal, Khemchand received hundreds of letters praising the music from all over India. Khemchand Prakash went over to that critic’s house and made him to read all those letters.

    Khemchand Prakash’s work in movies like Mahal, Tansen and Chalte Chalte was an inspiration to several music composers. He directed some of the industry’s biggest singers like Indubala Ishwarlal, Meena Kapoor, Manna Dey, Asha Bhosle, Kantilal, Brijmala, Geeta Dutt, Khurshid, Rajkumari and Shamshad Begum.

    Khemchand Prakash not only gave a boost to Lata Mangeshkar's career, he was also the one who introduced Kishore Kumar with Marne ki Duayen Kyon Mangoon in Ziddi in 1948 as well as in Rhim Jhim. Unfortunately, Khemchand Prakash passed away in 1950, still in his early 40s.

  • AGAR DENI THI HUMKO - SURENDRA- FILM- JAGIRDAR MD- ANIL BISWAS LYRICS- ZIA SARHADI

    3:15

    MD-ANIL BISWAS LYRICS-ZIA SARHADI

  • Jalti Nishani~1957~O Saki Re Aisa Jaam Pila Nazron Se~Lata Mangeshkar~Anil Biswas~Qamar Jalalabadi

    3:11

    O Saki Re Aisa Jaam Pila Nazron Se

    Film: Jalti Nishani - 1957
    Singer: Lata Mangeshkar
    Composer: Anil Biswas
    Lyricist: Qamar Jalalabadi

  • Mehmaan 1953 - Tum Aao Ya Na Aao Bichhad Jaanewale - Lata - Anil Biswas - Raja Mehdi Ali Khan

    3:06

    Film: Mehmaan 1953
    Singer: Lata Mangeshkar
    Composer: Anil Biswas
    Lyricist: Raja Mehdi Ali Khan

    Tum Aao Ya Na Aao
    Bichhad Jaanewale
    Teri Yaad Is Dil Mein
    Aati Rahegi

    Couldn't find this song in YT. I apologize for the poor audio. Song was extracted from a Radio Ceylon program uploaded by eraksoldies.

  • Anil Biswas talks on Ghazals

    13:26

    In this episode of Rasikeshu, Anil Biswas talks about Ghazals. Popular ghazal Zamane Ka Dastoor Hai Ye Purana sung by Mukesh is played in this episode.

    Source : Vividh Bharati

  • Anil Biswas remembers O.P. Nayyar and Salil Chowdhury

    12:41

    In this episode of Rasikeshu, Anil Biswas remembers O.P. Nayyar and Salil Chowdhury.

    Source : Vividh Bharati

  • ANIL BISWAS LATA MANGESHKAR PART 4 NEW VERSION

    36:13

  • Rajkumari... Milestone Songs.

    41:30

    Rajkumari Dubey was just 10 years old when she recorded her first song for HMV in 1934. But she started her career as a stage artiste. She recounts, “Vijay and Shankar Bhatt of Prakash Pictures spotted me during one of my shows. They liked my voice and persuaded me to discontinue acting on stage, as it would spoil my voice. (In those days, there were no mikes and you had to shout to be heard!) So, I quit theatre and became an employee of Prakash Pictures, as an actress and singer.
    Interview...
    I counted among my peers Shamshad Begum, Zohrabai, Juthika Roy, Zeenat Begum, etc. Our voices were very distinct – both Zohra and Shamshad had resounding voices with a high range, while mine was very soft with a smaller range. I sang quite a few songs with Mukesh, the most popular being ‘Mujhe sach sach batado kya, ke kab dil mein samaye the’. I did not get much opportunity to sing with Mohammad Rafi – mainly because Lata Mangeshkar was just getting popular at the time and, then, all of us took a backseat. In ‘Anhonee’, I sang with Lata Mangeshkar – the song was ‘Zindagi badli’. Nargis had a double role, so I sang for one, while Lata Mangeshkar sang for the other. I sang with Nurjehan in ‘Naukar’. While I never sang with KC Dey, I did sing songs composed by him, along with Manna Dey, his nephew.
    I’ve worked with practically all the composers of my time – Khemchand Prakash, Ghulam Haider, Sajjad Hussain, Husnlal Bhagatram, Naushad, Anil Biswas, O.P. Nayyar, S.D. Burman, R.D. Burman and Khurshid Anwar. Among the composers I sang for, I think the late Sajjad Hussain was the most difficult – his compositions were intricate and his way of explaining very complex. Take, for example, ‘Khel Khel Main’ where I sang ‘Koi kis tarha raaze ulfat chhupaye, aji raahein mili aur kadam dagmagaye’. Most other singers also found him very difficult. I also sang for O.P. Nayyar in ‘Aasman’, picturized on Shyama, ‘Piya aan sakhi mere nainan mein mori nindiya churaye’. In the early ’70s, RD Burman called me and said, ‘Here’s a song which is just right for you’ and, indeed, it was a pleasure to sing. The song was a ‘bhajan’ for Gulzar’s ‘Kitaab’, picturised on Dina Pathak: ‘Hari din to beeta sham hui, ab raat baki kataa de’ – As told to Lata Khubchandani few years ago...
    Full article at

  • BICHHUA ~ SAMPADA & SRIKANT in MADHURIMA by ASMI KALAA and SANJEEV BHAGWAT

    7:15

    MADHURIMA ~ melodies of Anil Biswas, Sachindev Burman, Salil Chowdhary & Hemant Kumar
    Concept : SANJEEV BHAGWAT
    Music Arrangement : Arvind Hasabnis

    Talent of these Bangla music composers went way beyond music direction entering into other areas of hindi films such as play back singing, background scores, lyrics & screenplays. Interestingly some of them have sung songs & have composed background scores for other fellow composers. Though their compositions show subtle influences of Bangla music, they also drew upon folk music and experimented with regional & foreign music forms in different ways. We often find each composer preferred certain melodic phrases, rhythms & instruments, like saxophone. Some of these compositions have been recorded in Bangla & Hindi. Taken together, the film & other songs composed by these stalwarts number in thousands, placing a huge challenge to select a limited number of songs for this evening. We hope you will enjoy as much as we enjoyed putting it up together.
    Singers : Shrikant Narayan, Kiran Shembekar, Sampada Goswami, Dipalee Somaiya, Ananya Bhowmick
    Musicians : Arvind Hasabnis & Team.
    ASMI KALAA is founded by Architect SANJEEV BHAGWAT to design & present live music shows based on themes which are rarely handled by the commercial music shows. These shows are graced by amazingly talented artists from the music industry. The purpose of ASMI KALAA is to explore the pleasure & meaning in Music & Poetry.
    ASMI KALAA dates back to AAWAZ. . . A group of students performing light vocal music in Sir J.J. College of Architecture in the Eighties. SANJEEV BHAGWAT is a proud alumnus of Sir JJ College of Architecture & is instrumental in naming the group AAWAZ & designing its popular logo of the Singing Child.
    SANJEEV BHAGWAT was key organiser of AAWAZ and MANISH RANGNEKAR was the key musician for the group.

  • তোমার চরণ পরশ ছলে

    2:54

    প্রথম প্রকাশ : ১৯৫১

    গান : তোমার চরণ পরশ ছলে

    গীতিকার : সুবোধ পুরকায়স্থ

    সুরকার : অনিল বিশ্বাস

    শিল্পী : মীনা কাপুর

    First Release : 1951

    Song : Tomar Charan Parash Chhale

    Lyricist : Subodh Purokayastho

    Composer : Anil Biswas

    Artiste : Meena Kapoor

  • RAJKUMARI-Film-APNA PRAYA-1945-Ho Pardesi Ghar Aaja,More Sajan More Raja- Rarest Gem

    3:26

    MD~~~~~~~~~~~~~Great COMPOSER ANIL BISWAS

  • Do Geet Ek Rang 12

    9:12

    Both the songs are in Raag Bageshwari.The first song is from Dr.Vidya released in 1962 with music by S.D.Burman and the second is from Soutela Bhai released in the same year with music composed by Anil Biswas. S.D.Burman's composition is based on his Bengali composition 'Alochaya Dola' sung by him in 1934.

  • NAZARE HUE HAI ISHAARE HUE HAI- SURENDRA- FILM- JAWANI MD- ANIL BISWAS

    3:30

    MD-ANIL BISWAS LYRICS-WAJAHAT MIRZA CHANGEZI

  • Naa Dir Dim - Lata Mangeshkar

    3:22

    Song - Naa Dir Dim
    Artist - Lata Mangeshkar
    Composer - Anil Biswas
    Album - Pardesi
    Year - 1958

    This song is based on Raga Gaud Sarang.

    No copyrights.

  • A Tribute to Anil Biswas...on his birthday

    12:41

    Lata sang approximately 120 songs for Anil Biswas in 29 Hindi films. Out of these, approximately 88 were solos and the rest were duets or songs involving more than 2 singers.
    Lata Mangeshkar on Anil Biswas...
    Another music director steeped in classical and folk music is Anil Biswas. A master of Bengali folk music, Anil also has a good knowledge of Urdu poetic and musical traditions. Out of this rich treasure-house he has evolved a distinct style. I remember we were recording a song in one line of which the word hazaar occurred and Anil asked me to prolong the taan on that word to heighten its significance. While working on a song, music directors usually have in mind the voice of the singer who is going to sing it. Not so Anil. He does not take into consideration the voice of the singer. Once the song is composed, he would literally pull it out of the singer's throat — successfully.
    Anil gives form to his melodies according to the situations in the film. In Indian classical music, there are raagas for different parts of the day and night. Anil's music is based on the raagas appropriate to the time at which the situation is supposed to occur in the film. I have learnt many things from Anil Biswas. In Maharashtra, it is generally found that singers neglect the words and concentrate on the taan. At one time, I too did this. But Anil taught me how to concentrate on a clear enunciation of the bol for clarity on the microphone. For many months, I studied voice modulation with Anil.
    Another ability I acquired through Anil's training is to inhale while singing without in the least interrupting the song. I worked at this until I reached the stage when it was not possible to tell when I took a breath. Yet another invaluable lesson I learnt from Anil was to avoid any change in voice, whether I was taking the highest note or the lowest. Your voice must remain the voice of Lata Mangeshkar, no matter at which pitch you are singing, Anil told me. This is very difficult to do. (Interview conducted in January 1958)

  • Husn Bhi Hai Udaas Udaas Kishore Kumar Film Fareb Music Anil Biswas

    3:13

    Husn Bhi Hai Udaas Udaas Kishore Kumar Film Fareb (1953) Music Anil Biswas Lyrics Majrooh Sultanpuri

  • Wah Re Tikdambaazi Mohammad Rafi Film Sanskar Music Anil Biswas

    3:28

    Wah Re Tikdambaazi (Bhagwan Bhi Khush Khush) Mohammad Rafi Film Sanskar Music Anil Biswas Lyrics Indeevar

  • Do Sitare 1951~So Ja Re So Ja Bete Garib Ke~Suraiya~Anil Biswas~Rajinder Krishan

    3:05

    So Ja Re So Ja Bete Garib Ke
    Duniya Ke Sukh Nahin Tere Nasib Ke

    Film: Do Sitare 1951
    Singer: Suraiya
    Composer: Anil Biswas
    Lyricist: Rajinder Krishan

    Many other songs of Do Sitare are on YT, but I could not find this sweet lori with beautiful lyrics by Rajinder Krishan on a grim subject.

  • pujari morey mandir bibbo & surendra music anil biswas

    3:25

    jagirdar-1937

  • VBS- 07- 07- 2016- SADABAHAR GEET -ANIL BISWAS

    24:36

    1-SEENE MEIN SULGTE HAI ARMAAN-TALAT-LATA-FILM-TARANA(1951)
    MD-ANIL BISWAS LYRICS-PREM DHAWAN
    2-ROOTH KE TUM TO CHAL DIYE-LATA-FILM-JALTI NISHANI(1957)
    MD-ANIL BISWAS LYRICS-QAMAR JALALABADI
    3-RASIYA RE-MEENA KAPOOR-FILM-PARDESI(1957)
    MD-ANIL BISWAS LYRICS-PREM DHAWAN
    4-KACHHI HAI UMARIYA-MEENA KAPOOR-FILM-CHAR DIL CHAR RAAHEN(1959)
    MD-ANIL BISWAS LYRICS-SAHIR LUDHIANI
    5-KUCH AUR ZAMANA KAHATA HAI-MEENA KAPOOR-FILM-CHHOTI CHHOTI BAATEIN(1965)
    MD-ANIL BISWAS LYRICS-SHAILENDRA
    6-RAAHI MATWALE-TALAT-SURAIYA-FILM-WAARIS(1954)
    MD-ANIL BISWAS LYRICS-QAMAR JALALABADI
    7-BIN DEKHE PHIRU MASTANA-HEMANT KUMAR-FILM-HEER(1956)
    MD-ANIL BISWAS LYRICS-MAJROOH SULTANPURI
    8-RIM JHIM RIM JHIM BARSE PAANI-MEENA KAPOOR-FILM-PARDESI(1957)
    MD-ANIL BISWAS LYRICS-PREM DHAWAN

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