New Delhi: If the song of ‘Mere Sapno Ki Rani’ only brings to your mind, thigh about a jeep, while in the train, a curious Sharmila Tagore singing your heart’s will, think again.
Another superstar to sing this Serende for his dreams was KL Siggle, when Khanna was just four years old! Saigal’s ‘Mere Sapno Ki Rani’ (with different songs and melodies) was one of the nine songs in ‘Shah Yeho’ (1946), the second biggest hit of the year, which was behind the ‘Anmol Ghadi’.
Nevertheless, the song, which also brought his chorus singer Mohammad Rafi in prominence, was accepted by more famous ‘Jab Dil Hi Toot Gaya’, which came out of SIGAL’s Hans song. Jabt nuktacheen hai gham-e-tele ‘(‘ Yahudi keadki ‘, 1933) choice-his first hit,’ Duan Ke Ab Din Beatt Nahi ‘(‘ Devdas ‘, 1935),’ Babul Mora Niahar ‘(Rist Street Singer’, 1937 (‘Street Singer’, 1937 (1937, 1937, 1937, 1937).
The first-and men of Hindi cinema conquering many obstacles to become a singing superstar, and an important cultural icon for their singing of hymns and ghazals, Kundan Lal Siegle (1904–47), which were born on this day (April 11), have forgotten to most generations.
And if not forgotten, it is mocked, or in the best form, “old-fashioned” is parked as the exponent of the sorrow and pathos-embuud songs. This is despite being a rare singer, Siggle, who influenced both classical and popular ambition of art, and even a pre-eminent cultural icon, Gurudev Rabindranath Tagore himself.
While all the successful singers of the Hindi film industry – this Mukesh, Mohammad Rafi, Talat Mahmood, and Kishore Kumar – tried to follow them – as the show of his early songs (such as Mukesh’s ‘Dil Jalta Hai’ or Kishore Kumar’s ‘Marne Ki Dau Kyun Moonguz’), which is as an Indian classic world.
Doyen Ustad Fayyaz Khan of Agra Gharana told Sygel that he had nothing to teach him that would make him a big singer and Kiran Gharana’s Ustad Abdul Karim Khan, who first visited a cinema hall, who had only to hear Sigal’s singing for a song in Devdas) and was taken over the Chourahas.
Siggle also became the first non-Bengali, allowing ‘Rabindrasanganenet’ to be presented, Gurudev himself allowed him. And he was also commercially successful.
It was rejected twice by HMV, then India’s largest music recording company, for “lack of training”, he was given a break by Hinduthan records and became a top-bound artist for him. A 1933 record, which included only the captive ‘Jhulana Jhulao Re’ and Bhajan ‘Hori O Brajraj Dulare’, sold half a million pieces in those days when Gramophone was rare.
And then, the Sygel Pitch was so efficient that the composer tuned his equipment by asking his instruments to sing a note. But, even more importantly, Sygel, in their small life and career, were not limited to tragic songs. In a career in the main film centers of the then Calcutta and Bombay, and in a career, 36 films-28 Hindi, seven Bengali, and one in Tamil, in a career, he sang non-film, Bengali, Punjabi, Tamil, as well as Persian and Persian and Persian and also.
And like ‘Rani of my dreams’ from ‘Shah Jehan’, not all were tears. Take ‘Ek Bangla Bain Nyara’ (‘President’, 1937) with your esoteric music with your esoteric music, from Bana Na ” Bhanwara ‘(1944), where he also laughs.
And while ‘Diya Jalo’ (‘Tansenseen’, 1943) is another signature rendering, which he also connects with emotions-especially where he seems a bit uncertain about the power of the raga and also closes his eyes to the middle-notes, ‘garden dung danni’, and ‘Sapt Suran Tin Gram Gavo’. But then, it was not only a list of his performance of sadness, which remained around him and were off-screen, who left a shadow over him in the poster. The fact was that he was never for casual and superficial listener, a measured and sweet approach, because as his baritone/tanner mixture, with a minor sign of a twang, gradually enters you with its intensity and complex art.
His last composer, Sangeet Mestro Naushad wrote to the right Epitaf: “Aisa Koi Fankar-e-Mukammal Nahi Aya/ Nagmon’s Barasta Badal Nahi No
