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If you’re a fan of Hindi film music your collection (assuming people maintain such quaint things these days) will be filled with two names: Lata Mangeshkar and Asha Bhosle. gas in oil car The two sisters who divided the films between themselves and conquered millions of hearts all over the world. Lata took the high road. Her voice was used for the chaste, the innocent, the lonely and the longsuffering woman. The characters who lip synced to her ‘virginal’ voice may have been mistreated but they never schemed for revenge. And by the last reel the world would generally turn towards her advantage.

Debates rage about which of the two was the better singer. Factions exist that protect their position as strongly as politicians. Lata, by sheer volume of output, longevity (she started having hits about a decade before her sister) and the honourable nature of her songs, probably wins out. Asha on the other hand is acknowledged as being the more adventurous artist and enjoys a bigger fanbase in the West. gas 87 89 93 But if one considers the entire oeuvre of Hindi film music it’s easy to see that they must be considered together. Lata the light. Asha the darker. Lata soared in the bright sky and Asha the explored the shadows. Lata the smooth. gas national average 2013 Asha the rough edges. Together their work is truly incredible and unique. Two distinct visions of the female voice in the world’s largest and most popular cinema.

Across the border in Pakistan the female playback singer field was more crowded and in a way more exciting. Noor Jehan (Lata’s idol and the one who everybody who came after her tried to imitate) dominated the scene until the day she died. Earthy and brash, gut-wrenching, audacious and yet, amazingly melodic, the Malika’s (Empress) voice is among the best the world has ever heard. Getting her to sing for your film was considered better than taking out an insurance policy. And in sheer volume of songs sung across more than 6 decades Madam Noor Jehan is and will always remain without peer or rival.

Nahid Akhtar, the subject of today’s post, was for that crucial period from the mid 1970s to the mid-to late 1980s, the undisputed queen of the uptempo, racy and slightly scandalous Pakistani film song. Like Asha, she made her reputation as the go-to voice for the nightclub number, but was able to turn in an excellent ghazal too , if the occasion demanded it.

Born in 1956 in Multan, the ancient city which hosted Alexander the Great as he retreated from India, Nahid began her singing career on the local radio station. electricity transmission and distribution costs Barely 16 years old and horribly self-conscious, when the producer asked her to sing a couple ghazals she turned her back to him and sang facing the wall. Unable to persuade her to turn around he moved his own chair between her and the wall and asked her to sing again. Needless to say, she passed and soon appeared on the popular Lok Tamasha (Folk Fun) TV show. She sang a seasonal folk song celebrating the monsoon, Rim Jhim Badal Barse in Raga Malhar and captivated the audience. Her voice was lively and had that country sizzle that so signals Punjabi rural culture. Her appearances on Lok Tamasha are remembered for such novelty songs as Menoon Soda Watar Leh Dey Way Roz Balma Kehndi in which not only did she show a natural stage presence but also sang with a live orchestra under the direction of the great folksinger Mohammad Tufail Niazi!

From Lok Tamasha she moved to another TV music show, Sangat hosted by Amjad Pervaz. Nahid though growing fast into her voice and style was still a girl from the sticks and according to Pervaz had to have her hair and clothes spruced up in order to connect with the show’s young urban audience. Sangat featured pop music and the house band was none other than The Ajays, Pakistan’s most famous beat group. “Nahid clicked the moment she sang” her first song, recalls Pervaz.

Within a few months the hottest film composer M. wb state electricity board recruitment 2015 Ashraf in the land contacted her, no doubt impressed by her voice but also the theatricality of her style. In 1974 she sang Kisi Meherbaan Ne Aa Ke Meri Zindigi Saja Di for Ashraf in the smash hit, Shama and immediately was nominated for and won the first of three Nigar Awards (Pakistani film industry awards) for best singer. Ashraf and Nahid worked together for the next fifteen years becoming one of the most beloved and accomplished musical teams in Lollywood.

Nahid prides herself on working extremely hard to build her career both in films and as a singer of more serious material. It’s often overlooked what an accomplishment and challenge that was. Films were never fully embraced by respectable circles. In addition to the professional hazards and hurdles women had to overcome in a heavily male dominated industry, there was the constant sense of social scorn that had to be somehow dealt with. And in Nahid’s case, the lyrics and dramatic situations of her songs often pushed the very edges of respectability. gas news uk That she and many of her peers had such success, often, as in her case, without the perceived protection and respect of a husband, is remarkable.

After a decade and a half of an incredible work schedule in which in addition to contributing to well over 100 films, countless TV appearances and live shows, she confessed ‘I needed a rest’. In 1986 she basically took a long leave of absence and while not completely retiring, slowed her career way down before settling into what seems to be a genuinely happy married life with journalist Asif Ali.

Nahid’s contribution to the Pakistani music scene and especially the films is almost impossible to overstate. Her’s is the voice of the Golden Age of Lollywood. She claims she never did anything but be herself from her first scary audition in Multan to her last film in 1991. Her peers speak about her simplicity, personal integrity and absolute professional attitude to work and her voice. Very much a Punjabi voice, it echoed that of Noor Jehan in that whenever a song called for a sense of drama she was able to emote with extreme power in a way that flattened out the sound and took no prisoners. 7 gas station In all her singing you get the feeling that she has this huge force ready to burst forth. Even when the situation demands more restraint there is a surging power that is nearly palatable. Her voice was perhaps not as melodic as Noor Jehan’s but she had the agility that all the great film singers had to master and was able to sing equally well in a multitude of styles including folk, qawwali, Sufi and of course her forte, pop.

As in all careers there was a touch of kismat. o gastro With the creation of Bangladesh in 1971 the film and music industry lost a huge pool of talent. One of other stellar female voices that had dominated the pop/film genre, Runa Laila, spread her wings and began appearing and recording in UK, India and of course, Bangladesh. With her departure Lollywood had a vacancy. Nahid grabbed it, fit in perfectly and until she left in 1986, no one really rivalled her.

This album is a testament to and evidence of her brilliance. Released in 1975, just her second year in the film industry, it is already chockers with hits that continue to thrill fans. Included are such greats as the breathy, sexy Tarasta Hai Yeh Dil (Aarzoo), her breakout award winning Kisi Meherban Ne (Shama), the dreamy Aise Mausam Mein Chup Kyon Ho (Shama) and an early rocker, Dil Dil Dil Sambhala (Mohabbat Zindagi Hai). How many other stars do you know that have a greatest hits album out within 12 months of getting started?