Manna dey

That he was a classical titan is acknowledged. That he was an indomitable performer is a given. That he enriched the Hindi film music’s musical vocabulary is accepted. His vocal artistry and virtuosity are recognised. Why, therefore, did he not sit in the first row? Why was he always consigned to the second place? Why did Talat Mehmood, Rafi, Kishore Kumar and Mukesh always remain ahead of him? He was unsurpassed in classical compositions. Except for Rafi and Talat (to some extent), the other two did not count. Consider some of his songs in the classical genre: Poochho Na Kaise Maine Rain Bitayee from Meri Surat Teri Aankhen (1963), Kaun Aaya Mere Man Ke Duare from Dekh Kabira Roya (1957), Tum Bin Jeevan Kaisa Jeevan from Bawarchi (1972), Jhanak Jhanak Toree Baaje Payaliya from Mere Huzoor (1968), Re Man Sur Mein Ga from Lal Patthar (1971), Phool Gendva Na Maaro from Dooj Ka Chand (1964), Sur Na Saje Kyaa Gaoon Main and Bhay Bhanjana Vandana Sun Hamari from Basant Bahar (1956), Laaga Chunri Mein Daag from Dil Hi To Hai (1963), Aayo Kahhan Se Ghanshyam from Buddha Mil Gaya (1971), and so many others. In the Qawwali of all Qawwalis — Na Toh Karvaan Ki Talaash Hai from Barsaat Ki Raat (1960) — only this genius, with his inimitable paltaas and sargams, and total command of the Sufiana journey from the worldly to the spiritual, could have pulled off this Roshan/ Sahir masterpiece – Rafi took charge of the second half when the solid foundation had already been laid. And who else...

From Manna Dey to Lungi Dance! Who killed Hindi film music? With the death of Manna Dey, the last of the greats, an era ends in Hindi film music. But how did a cinema that is inseparable from music descend to the pits of Lungi Dance? Does A.R. Rahman who revolutionized our music also share some of the blame? by Gautam Chintamani Sometime ago Internet rumors of Manna Dey’s death threw many into a tailspin where they sought answers to which gem amongst Aye Meri Zohara Jabeen ( Waqt), Poocho Na Kaise Maine Rain Bitai ( Meri Surat teri Aankhen) or Yaari Hai Imaan Mera ( Zanjeer) besides hundreds of others would be the singer’s most enduring legacy. But considering the interesting times we live in, sadly, a greater number might have asked "Who’s Manna Dey?" For all his life Manna Dey, one of India’s greatest singers ever, didn’t require any introduction but by the time the 94-year-old fell silent forever, the standard of playback singing in Hindi cinema had fallen so much that youngsters couldn’t really be blamed for being unaware of the legendary singer who possessed molten gold for vocal chords. Ever wonder why the songs from yesteryears were better? Technically superior as it might be, contemporary Hindi cinema music lacks the distinct identity it used to once possess and a lack of vocal identity in present day stars could be a big reason for it. When was the last time you heard a song on the radio and managed to put an actor’s face to it? Years ago when Rafi passed away som...

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আধুনিক বাংলা গানের কিংবদন্তি মান্না দে [ Manna Dey ]। যারা আধুনিক বাংলা গানের ভক্ত, আজও তাদের বেশরভাগের প্লেলিস্টের সিংহভাগ জুড়ে আছে মান্না দে’র গানে। আজও গুগুলে আধুনিক বাংলাগানের সর্চ তালিকায় মান্নাদের নাম সর্বপ্রথমেই থাকে। মান্না দে আধুনিক বাংলা গান ঠিক কতগুলো গেয়েছে সেটা নিশ্চিত করে বলা মুশকিল। তবে আমরা দীর্ঘ সময় নিয়ে মান্না দে’র প্রচলিত অপ্রচলিত সকল আধুনিক বাংলা গানের একটা তালিকা করেছি। মান্না দের গান যারা নিয়মিত শোনেন এমন বেশ কিছু শ্রোতাকে তালিকাটি দেখানো হয়েছে। পাশাপাশি ইন্টারনেটে খুঁজে দেখা হয়েছে। তবে এই তালিকার বাইরে কোন গান আর পাওয়া যায়নি। Table of Contents 1 • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • মান্না দে’র সব আধুনিক বাংলা গানের তালিকা : অ – দিয়ে মান্না দে [ Manna Dey ] ‘র সব আধুনিক বাংলা গানের তালিকা • অন্ধ, খোঁড়া, বোবা, হাবা পার করে – সুরকার : মৃণাল বন্দোপাধ্যায় – গীতিকার : দেবপ্রসাদ চক্রবর্তী • অন্ধকারের অন্তরেতে সুরকার : কৃষ্ণচন্দ্র দে হেমেন্দ্রকুমার রায় • অন্নপূর্ণা বিশ্বনাথের পূর্ণ ছোয়া – সুরকার : মৃণাল বন্দোপাধ্যায় – গীতিকার : দেবপ্রসাদ চক্রবর্তী • অপবাদ হোক না আরও – সুরকার : মান্না দে – গীতিকার : পুলক বন্দোপাধ্যায় • অবিদ্যাকে বিদ্যা দিলে অশিক্ষাকে… – সুরকার : মৃণাল বন্দোপাধ্যায় – গীতিকার : দেবপ্রসাদ চক্রবর্তী • অভিনন্দন নয়, প্রশংসা নয় – সুরকার : মান্না দে – গীতিকার : আনন্দ মুখোপাধ্যায় • অনেক কথা বলেও তবু – গৌরীপ্রসন্ন মজুমদার, সুপর্ণকান্তি ঘোষ • অভিনন্দন নয় প্রশংসা নয় – আনন্দ মুখোপাধ্যায়, মান্না দে • অভিমানে চলে যেও না – সুরকার : রতু মুখোপাধ্যায় – গীতিকার : পুলক বন্দোপাধ্যায় আ – দিয়ে মান্না দে [ Manna Dey ] ‘র সব আধুনিক বাংলা গ...

Born on 1 May 1919 in Calcutta, West Bengal to Mahamaya Devi and Poornachand Dey, Manna Dey was named Prabodh Chandra Dey. His uncle He held an interest in music even at a young age, often participating in stage shows as a schoolgoing child. He completed his Bachelor’s degree from Vidyasagar College in Calcutta, and was expected to become a lawyer soon. In 1940, when K C Dey decided to move to Bombay, Manna Dey went with him. Once in Bombay, he had the opportunity to be trained under the tutelage of Pandit Tulsidas Sharma, Ghulam Mustafa Khan, Abdul Rehman Khan and Ustad Amaan Ali Khan. K C Dey was appointed to compose music for the film Jaago aayi usha, was to be filmed on the characters of a beggar and a young girl. Manna Dey lent his voice for the beggar’s part, while Impressed by his voice, the filmmaker Chaltu door nagari ya teri, Ajab vidhi ka lekh and Tyag mayi tu gayi teri amar bhavna amar rahi. Due to his success singing for Ram Rajya, he soon started receiving offers to sing mainly for mythological films. From 1943 to 1950, he sang for a number of films in the genre including In the initial years of his career, Manna Dey sang under the name Prabodh Chandra Dey, and there are still 78 rpm records voiced by him credited to this name. Later, his uncle K C Dey pushed him to change his name to Manna. He found some popularity after he sang Upar gagan vishaal, neeche gehra pataal in In 1951, Tere bina aag ye chandni for Pyar hua iqraar hua hai ( Yeh raat bheegi bheegi, ...

Manna From Heaven, Celebrating A Special ‘Dey’ on Manna Dey's birth anniversary Manna Dey was over-qualified to be a popular singer. Whenever there was a number that required intricate Hindustani classical raga interpretations they went to Manna. Or else all the popular songs went to the proudly self-taught Kishore Kumar.“He was well-known for his classical numbers. But I also loved his comedy songs especially Ek chatur nar karke sringar in Padosan. Whenever I felt low I listened to Mannada and Kishoreda in Ek chatur naar. They were a laugh riot in this song.” Lataji recalled some of her most memorable duets with Manna Dey. “Whenever I sang with him I had to be on my toes. Many of our songs together like Yeh raat bheegi bheegi (Chori Chori), Pyar hua iqraar hua (Shree 420), Soch ke yeh gagan jhoome (Jyoti), Jhoomta mausam (Ujala), Dil ki girah khol do (Raat Aur Din), Dharti ambar neend se jaage (Chaitali) were memorable. But the songs that I really enjoyed singing with Mannada were Aio re paapi bichua (Madhumati) and Chunri sambhaal gori (Bahaaron Ke Sapne). Mannada sailed through the folk numbers. But for me these two songs were a challenge.” Lataji also singled out Salil Chowdhary’s exquisite compositions in Basu Bhattacharya’s Sangat. “Mannada and I sang together in two wonderful duets Balma mora aachra mehke re and Kanha bole na. The irony was, I was supposed to be teaching him singing in these songs.”