Zindagi ka aasra samjhe lyrics | Lata Mangeshkar | Ziddi | 1948
Movie: Ziddi
Singers: Lata Mangeshkar
Song Lyricists: Raja Mehdi Ali Khan
Music Composer: Khemchand Prakash
Music Director: Khemchand Prakash
Khemchand Prakash (12 December 1907 – 10 August 1949) was a music composer in the Hindi film industry. He had few peers in 1940s, the decade for Indian film music which started with Saigal very active on the scene and ended with Lata Mangeshkar firmly established in the industry. Lata had fruitful association with him (in films Asha, Ziddi, Mahal) when she started making a name for herself. Many years after Khemchand Prakash’s death, the ace composer Kamal Dasgupta rated him the best composer.
Khemchand’s brother, Basant Prakash, was also a film composer. Khemchand Prakash had only 1 daughter & her name was Savitri.
Zindagi ka aasra samjhe lyrics | Lata Mangeshkar | Ziddi | 1948
zindagi ka aasra samjhe lyrics :
Zindagi ka aasra samjhe
Tujhe o bewafa
Zindagi ka aasra samjhe
Tujhe o bewafa
Bade nadan the ham
Haye samjhe bhi to kya samjhe
Bade nadan the ham
Haye samjhe bhi to kya samjhe
Mohabbat mein hame taqdeer ne
Dhokhe diye kya kya
Dhokhe diye kya kya
Mohabbat mein hame taqdeer ne
Dhokhe diye kya kya
Dhokhe diye kya kya
Jo dil ka dard tha
Us dard ko dil ki dava samjhe
Jo dil ka dard tha
Us dard ko dil ki dava samjhe
Hamari bebasi ye keh rahi hai
Haye ro ro ke
Hamari bebasi ye keh rahi hai
Haye ro ro ke
Duboya usne kasti ko
Jise hum apna khuda samjhe
Duboya usne kasti ko
Jise hum apna khuda samjhe
Kidar jaye ke is duniya mein
Koi bhi nahi apna
Usi ne bewafai ki
Jise jane wafa samjhe
Usi ne bewafai ki
Jise jane wafa samjhe
Tujeh o bewafa hum
Zinadgi ka aasara samjhe.
Lata Mangeshkar (born as Hema Mangeshkar; 28 September 1929 – 6 February 2022) was an Indian playback singer and occasional music composer. She is widely considered to have been one of the greatest and most influential singers in India.
Early career in the 1940s
In 1942, when Mangeshkar was 13, her father died of heart disease. Master Vinayak (Vinayak Damodar Karnataki), the owner of Navyug Chitrapat movie company and a close friend of the Mangeshkar family, took care of them. He helped her get started in a career as a singer and actress.
She sang the song “Naachu Yaa Gade, Khelu Saari Mani Haus Bhaari”, which was composed by Sadashivrao Nevrekar for Vasant Joglekar’s Marathi movie Kiti Hasaal (1942), but the song was dropped from the final cut. Vinayak gave her a small role in Navyug Chitrapat’s Marathi movie Pahili Mangalaa-gaur (1942), in which she sang “Natali Chaitraachi Navalaai” which was composed by Dada Chandekar. Her first Hindi song was “Mata Ek Sapoot Ki Duniya Badal De Tu” for the Marathi film Gajaabhaau (1943).
The Bollywood industry was yet to find its feet, so Mangeshkar had to first concentrate on acting, which she didn’t like, as the lights and people ordering her around made her feel uncomfortable.
She moved to Mumbai in 1945 when Master Vinayak’s company moved its headquarters there. She started taking lessons in Hindustani classical music from Ustad Aman Ali Khan of Bhindibazaar Gharana She sang “Paa Lagoon Kar Jori” for Vasant Joglekar’s Hindi-language movie Aap Ki Seva Mein (1946),which was composed by Datta Davjekar. The dance in the film was performed by Rohini Bhate, who later became a famous classical dancer. Lata and her sister Asha played minor roles in Vinayak’s first Hindi-language movie, Badi Maa (1945).
In that movie, Lata also sang a bhajan, “Maata Tere Charnon Mein.” She was introduced to music director Vasant Desai during the recording of Vinayak’s second Hindi-language movie, Subhadra (1946).
After Vinayak’s death in 1948, music director Ghulam Haider mentored her as a singer. He introduced her to producer Sashadhar Mukherjee, who was then working on the movie Shaheed (1948), but Mukherjee dismissed her voice as “too thin”. An annoyed Haider responded that in coming years producers and directors would “fall at Lata’s feet” and “beg her” to sing in their movies. Haider gave her her first major break with the song “Dil Mera Toda, Mujhe Kahin Ka Na Chhora”—lyrics by Nazim Panipati—in the movie Majboor (1948), which became her first big breakthrough film hit.
In an interview on her 84th birthday in 2013, she declared “Ghulam Haider is truly my Godfather. He was the first music director who showed complete faith in my talent.”
One of her first major hits was “Aayega Aanewaala,” a song in the movie Mahal (1949), composed by music director Khemchand Prakash and lip-synced on screen by actress Madhubala.This was a defining moment for her, and a catalyst for the recognition of playback singers in India. Before this, playback singers were seen as the vocal equivalent of a stuntman and remained invisible and uncredited. This song was such a big hit, that Radio Goa revealed her identity and she became a star in her own right. This opened the door for other playback singers to achieve the recognition they deserved.
During the 1960s, she continued her association with Madan Mohan, which included the songs “Aap Ki Nazron Ne Samjha” from Anpadh (1962), “Lag Jaa Gale” and “Naina Barse Rim Jhim” from Woh Kaun Thi? (1964), “Woh Chup Rahen To” from Jahan Ara (1964), “Tu Jahan Jahan Chalega” from Mera Saaya (1966) and “Teri Aankho Ke Siva” from Chirag (1969), and she had a continuing association with the maestros Shankar Jaikishan, who got her to sing in various genres in the 1960s.
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