THIS is with reference to Asif Noorani’s article “The songs that refused to die” (May 27). Film songs released in the subcontinent from 1940s to 1960s excelled in all the three compartments, which contribute to making a song. Their lyrics came from the pens of those who did not just write them to suit a particular situation in the film but had a value in the annals of literature. Sahir Ludehanvi in India and Qateel Shifai in Pakistan rank among top poets of Urdu.

When people heard the song Dum dum diga diga, sung by Mukesh for Chhalia in 1960, they made fun of its poetry. Despite being 58 years old, its popularity has not diminished. Film compositions of the greats like Naushad in India and Khawaja Khurshid Anwar in Pakistan still mesmerise the listeners.

Composers of that era made the playback singers rehearse the songs with the whole orchestra for three to four days before their final recording. As a result of this hard work, the background and interlude music would fully gel in with the singers’ voice producing everlasting melodies.

Most of the male and female playback singers of that period possessed voices which were deep and mellifluous. I cannot find any singer from the present times matching their voices. The melody of songs and rendition by them would make a permanent abode in the minds of song lovers, which could never be obliterated.

In 1969, I sang Ahmed Faraz’s ghazal on Lahore TV, music for which was composed by music director Akhtar Hussain Akhian. The programme was produced by Moneeza Hashmi, who made me rehearse the ghazal with full orchestra for three days before I gave just five minutes’ live performance.

Parvez Rahim

Karachi

Published in Dawn, June 9th, 2018