Channel Title: Calcutta Record Company Channel Description: <video> Firoza Begum : Smritir Malika Gathi | Side A Original LP-1979 Description: @hitechbong4175 @CalcuttaRecordCompany @TheBongGuyOfficial Firoza Begum was born in Gopalganj District on 28 July 1930 to the zamindar family of Ratail Ghonaparha. Her parents were Mohammad Ismail and Begum Kowkabunnesa. She became drawn to music in her childhood.She started her career in 1940s. Firoza Begum first sang in All India Radio while studying in sixth grade. She met the national poet Kazi Nazrul Islam at the age of 10. She became a student of him. In 1942, she recorded her first Islamic song by the gramophone record company HMV in 78 rpm disk format. Since then, 12 LP, 4 EP, 6 CD and more than 20 audio cassette records have been released.She lived in Kolkata from 1954 until she moved to Dhaka in 1967. Copyright Disclaimer under Section 107 of the copyright act 1976, allowance is made for fair use for purposes such as criticism, comment, news reporting, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favour of fair use. </video> <video> Geetashree Chhabi Banerjee |Sri Gouranga Mahaprabhu |Jagannath Milan | জগন্নাথ মিলন Original LP 1986 Description: #kirtan #folk #padabali #sangeet Chhabi Bandyopadhyay moulds a Saraswati idol Chhabi Bandyopadhyay, the last of the great kirtan singers, died in Calcutta after a prolonged illness on May 23 at the age of 86. When she sang, the Radha-Krishna lore would come alive, her voice joyful at one moment and immersed in the sorrow of love, separation and parting at another. She had been trained from childhood in classical and folk music, Rabindrasangeet and kirtan under Nabadwipchandra Brajabasi and Ratneswar Mukhopadhyay and she excelled in all these genres. Yet her emotionally-charged and mellifluous voice seemed best suited to the dramatic lyricism of padabali kirtan, to which she had devoted her life. In her youth she was known for her austere beauty. Her father encouraged her to sing. Initially he was reluctant to allow her to perform in public. He had enjoined her never to seek payment for performances. After his death when she faced financial constraints, she was forced to take up the job of lecturer in Bengali music at Rabindra Bharati University. Chhabi Bandyopadhyay was also an artist and sculptor. A deeply religious person who had turned her room into a shrine, she used to mould all the clay images she worshipped. She was withdrawn from public life and rarely allowed photographs to be taken. But she had sung at meetings in the presence of Mahatma Gandhi and Rabindranath. She had cut innumerable discs and sung in 40 films, including Rai Kamal, Panditmashai, Bhagaban Sri Krishna Chaitanya, Mathur, Nilachale Mahaprabhu and Mahakabi Girishchandra. Chhabi Bandyopadhyay recorded and broadcast not only kirtans but Ramprasadi, Dwijendralal, Atulprasadi, Rajanikanta and Shyamasangeet as well. Once she had recorded Rabindrasangeet under the guidance of Santideb Ghosh but it was never released as it did not meet with the approval of the Visva-Bharati Music Board. She had won the Bengal Motion Pictures Award in 1955, and the Sangeet Natak Akademi award in 1986. She valued the title Geetashri most, conferred on her by Ustad Allauddin Khan and Ustad Dabir Khan, the last descendant of Tansen. Chhabi Bandyopadhyay’s passing, an era when devotion was considered an integral part of artistic expression has come to an end. SOUMITRA DAS FAIR-USE COPYRIGHT DISCLAIMER: Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, commenting, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. </video> <video> Gangacharan Biswas লোকগীতি Bengali Folk songs of North Bengal Original EP 1980 Description: #bangla #gaan #gangacharanbiswas #folksong </video> <video> Mintoo Das Gupta - Bengali Parody Songs | Original EP 1978 Description: #kanchanmulya #bangla #gaan #parody DISCLAIMER- Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, commenting, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. </video> <video> Swapna Chakraborty Bengali Songs Original EP 1982 Description: #bangla #swapnachakraborty #kolkata #gaan FAIR-USE COPYRIGHT DISCLAIMER: Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, commenting, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. </video> <video> Anusandhan - Amar Shopno Je / Pora Bashi / Hari Bol / Phulkoli Re / Otho Otho Shurjai Re - 1980 LP Description: #latamangeshkar #rdburman #amitabhbachchan Barsaat Ki Ek Raat (English: One Rainy Night) is a 1981 Bollywood thriller film starring Amitabh Bachchan, Raakhee, Amjad Khan and Utpal Dutt.[1][2][3] It was directed by Shakti Samanta. The film was simultaneously shot in two languages, Hindi and Bengali. The Bengali version, titled Anusandhan, became the highest grossing Bengali film of all time and remained at the spot for several years. The story was adapted from the novel Anushandhan by Shaktipada Rajguru. The Hindi version was an average grosser. The film is remembered for the classic songs "Haye Wo Pardesi",“Apne Pyar Ke Sapne Sach Hue” and “Kaliram Ka Khul Gaya Pol”. The first song was remade by the Bombay Bicycle Club and the second was used in the international song Funky Bijou Anthem. FAIR-USE COPYRIGHT DISCLAIMER: Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, commenting, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. </video> <video> Amar Pal - #folk #songs of #bengal Side - 1 Description: #amarpal #baul_gaan #kolkata Amar Pal was a renowned folk singer from West Bengal, India. He was born in 1922 in Brahmanbaria, now in Bangladesh. He started singing at a young age and learned various styles of folk music, such as baul, bhatiyali, kirtan and bhajan. He moved to Kolkata after the partition of India and became a disciple of Gour Khyapa, a famous baul singer. He also collaborated with other eminent musicians, such as Hemanta Mukherjee, Salil Chowdhury and Ravi Shankar. He recorded more than 500 songs in his career and performed in several films and television shows. He received many awards and honors for his contribution to folk music, such as the Sangeet Natak Akademi Award, the Banga Bibhushan and the Padma Shri. He died in 2019 at the age of 96. (Thanks #bing) This video is for educational purposes only and does not intend to infringe any copyright. It falls under the fair use doctrine as it is transformative, non-commercial and does not harm the original work. </video> <video> রামপ্রসাদ সেন | শ্যামা সঙ্গীত - ভবানি দাশ | Devotional Song Original LP 1979 side A Description: #shamasangeet #ramaprasadi #devotionalsong #banglagaan Sadhak Rāmprasād Sen (Bengali: রামপ্রসাদ সেন; c. 1718 or c. 1723 – c. 1775) was a Hindu Shakta poet and saint of eighteenth century Bengal.His bhakti poems, known as Ramprasadi, are still popular in Bengal—they are usually addressed to the Hindu goddess Kali and written in Bengali.Stories of Ramprasad's life typically include legends and myths mixed with biographical details. It is said that, Ramprasad was born into a Bengali Vaidya family, and showed an inclination towards poetry from an early age. He became a disciple of Krishnananda Agamavagisha, a Tantric scholar and yogi. Ramprasad became well known for his devotional songs, eventually becoming the court poet of Raja Krishnachandra of Nadia. His life has been the subject of many stories depicting his devotion to, and relationship with, Kali. Ramprasad's literary works include Vidyasundar, Kali-kirtana, Krishna-kirtana and Shaktigiti. Ramprasad is credited with creating a new compositional form that combined the Bengali folk style of Baul music with classical melodies and kirtan. The new style took root in Bengali culture with many poet-composers combining folk and raga-based melodies, mixing every common style of music from classical to semi-classical and folk. His songs are sung today, with a popular collection—Ramprasadi Sangit ("Songs of Ramprasad")—sold at Shakta temples and pithas in Bengal. FAIR-USE COPYRIGHT DISCLAIMER: Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, commenting, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. </video> <video> রামপ্রসাদ সেন | শ্যামা সঙ্গীত - ভবানি দাশ | Devotional Song Original LP 1979 side B Description: #shamasangeet #ramaprasadi #devotionalsong #banglagaan Sadhak Rāmprasād Sen (Bengali: রামপ্রসাদ সেন; c. 1718 or c. 1723 – c. 1775) was a Hindu Shakta poet and saint of eighteenth century Bengal.His bhakti poems, known as Ramprasadi, are still popular in Bengal—they are usually addressed to the Hindu goddess Kali and written in Bengali.Stories of Ramprasad's life typically include legends and myths mixed with biographical details. It is said that, Ramprasad was born into a Bengali Vaidya family, and showed an inclination towards poetry from an early age. He became a disciple of Krishnananda Agamavagisha, a Tantric scholar and yogi. Ramprasad became well known for his devotional songs, eventually becoming the court poet of Raja Krishnachandra of Nadia. His life has been the subject of many stories depicting his devotion to, and relationship with, Kali. Ramprasad's literary works include Vidyasundar, Kali-kirtana, Krishna-kirtana and Shaktigiti. Ramprasad is credited with creating a new compositional form that combined the Bengali folk style of Baul music with classical melodies and kirtan. The new style took root in Bengali culture with many poet-composers combining folk and raga-based melodies, mixing every common style of music from classical to semi-classical and folk. His songs are sung today, with a popular collection—Ramprasadi Sangit ("Songs of Ramprasad")—sold at Shakta temples and pithas in Bengal. FAIR-USE COPYRIGHT DISCLAIMER: Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, commenting, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. </video> <video> দ্বিজেন মুখোপাধ্যায় - Tomarei Koriacchi | Amar Nishitha | Se Je Pashe | Tumi Jato Bhar 1973 EP Description: #banglagaan #rabindrasangeet #Dwijenmukherjee #Visva-Bharati দ্বিজেন মুখোপাধ্যায় (১২ই নভেম্বর ১৯২৭ — ২৪শে ডিসেম্বর ২০১৮) ছিলেন একজন ভারতীয় সুরকার ও গায়ক, যাঁর সংগীতজীবন ছয় দশক ধরে বিস্তৃত। তিনি রবীন্দ্রসঙ্গীত, বাংলা মৌলিক গান এবং বাংলা ও হিন্দি চলচ্চিত্রের গানের দক্ষ শিল্পী ছিলেন। তিনি ১৫০০ এরও বেশি গান রেকর্ড করেছেন, যার মধ্যে প্রায় ৮০০ টি রবি ঠাকুরের গান। ২০১০ খ্রিস্টাব্দে রবীন্দ্র সংগীতের জন্য ভারত সরকারের সংগীত নাটক অকাদেমি পুরস্কার লাভ করেন। তিনি অনেক বাংলা চলচ্চিত্রতে সংগীত পরিচালনা করেছিলেন এবং জনপ্রিয় বাংলা মৌলিক গানে সুর সংযোজন করেছিলেন। ২০১৮ সালের ২৪শে ডিসেম্বর তার মৃত্যু হয়। ১৯৪৪ সালে, দ্বিজেনবাবু পেশাদার গায়ক হিসাবে আত্মপ্রকাশ করেছিলেন। ১৯৪৫ সালে তিনি মেগাফোন রেকর্ড সংস্থা থেকে প্রথম বাংলা গানের রেকর্ডিং করেছিলেন। ১৯৪৬ সাল তার জন্য অত্যন্ত ঘটনাবহুল ছিল, কারণ সেই বছর, তিনি যে কেবল আকাশবাণী (অল ইন্ডিয়া রেডিও)র (এআইআর) শিল্পী হিসাবে কাজ শুরু করেছিলেন তাই নয়, এইচএমভি - কলম্বিয়া রেকর্ডিং সংস্থার সাথে রেকর্ডিংও শুরু করেছিলেন। ১৯৫৬ সালে, তিনি লাদাখে গিয়ে ভারতীয় সৈনিকদের গান শুনিয়ে আনন্দ দিয়েছিলেন। তিনি শ্রী সুশান্ত লাহিড়ী, পঙ্কজ কুমার মল্লিক, শান্তিদেব ঘোষ, সন্তোষ সেনগুপ্ত, অনাদি ঘোষ দস্তিদার ও নীহারবিন্দু সেন সহ সংগীত বঙ্গের বিশিষ্ট শিল্পীদের কাছে সঙ্গীতের প্রশিক্ষণ গ্রহণ করেছিলেন। মুখোপাধ্যায়কে বাংলা এবং হিন্দি চলচ্চিত্র সংগীতের সাথে পরিচয় করিয়েছিলেন বিশিষ্ট চলচ্চিত্র-সংগীত সুরকার সলিল চৌধুরী। দ্বিজেন মুখোপাধ্যায় এবং সলিল চৌধুরীর মধ্যে বন্ধুত্ব শুরু হয়েছিল চল্লিশের দশকের শেষের দিকে, আইপিটিএ তে তাঁদের যাতায়াতের মধ্য দিয়ে। এই জুটি বাঙালি শ্রোতাকে "শ্যামল বরণী ওগো কন্যা", " ক্লান্তি নামে গো ", " একদিন ফিরে যাব চলে ", " পল্লবিনী গো সঞ্চারিনী " এবং এইরকম আরো অনেক গান উপহার দিয়েছিলেন। তারা মাইকেল মধুসূদন দত্তের দুটি কবিতা ("রেখো মা দাসের মনে", "আশার ছলনে ভুলি") নিয়ে কাজ করেছিলেন এবং বিরল এবং সুন্দর সুর শুনিয়েছিলেন। পরে দ্বিজেন মুখোপাধ্যায় মুম্বই গিয়েছিলেন সলিল চৌধুরীর সাথে কাজ করার জন্য। সেখানে তিনি 'হানিমুন' (১৯৬০), 'মায়া' (১৯৬১), 'সপন সুহানে' (১৯৬১) এর মতো হিন্দি চলচ্চিত্রের জন্য লতা মঙ্গেশকরের সাথে দ্বৈত সংগীত গেয়েছিলেন এবং 'মধুমতী' চলচ্চিত্রে এককভাবে নেপথ্য সঙ্গীত গেয়েছিলেন। তিনি রবীন্দ্রসঙ্গীতের অন্যতম শীর্ষস্থানীয় এক গায়ক ছিলেন। তিনি নিষ্ঠার সঙ্গে রবীন্দ্রনাথ ঠাকুরের গানের ভাষান্তর করেছিলেন, তারঁ গান শুনে বাংলাএবং এর বাইরের মানুষেরাও রবীন্দ্রসঙ্গীতের শ্রোতা হয়ে গিয়েছিল। তিনি প্রখ্যাত বাংলা ছায়াছবিতে রবীন্দ্রসঙ্গীত গেয়েছিলেন, এর মধ্যে ছিল রবীন্দ্রনাথ ঠাকুরের লেখা ছোট গল্প 'ক্ষুধিত পাষাণ' (১৯৬০)। এছাড়া 'সন্ধ্যা রাগ' (১৯৭৭) ছবির জন্যেও তিনি গান গেয়েছিলেন। দুটি ছবির সঙ্গীত পরিচালনা করেছিলেন যথাক্রমে বিশিষ্ট সংগীত পরিচালক ওস্তাদ আলী আকবর খাঁ এবং পণ্ডিত রবিশঙ্কর। মুখোপাধ্যায় 'মহিষাসুর মর্দিনী' (দানবের ধ্বংস) সঙ্গীতনাটকের অংশ হিসাবে বিখ্যাত ভক্তিমূলক গান 'জাগো দুর্গা' পরিবেশন করেছিলেন। এটি আকাশবাণী (অল ইন্ডিয়া রেডিও) (এআইআর), কলকাতা দ্বারা প্রচারিত একটি অত্যন্ত জনপ্রিয় বেতার অনুষ্ঠান। প্রতি বছর 'মহালয়া'র শুভ দিনে বিখ্যাত শারদীয় উৎসব 'দুর্গাপূজা'র সূচনা উপলক্ষে এই অনুষ্ঠানটি প্রচার করা হয়। গত ৬০ বছর ধরে অসাধারণ জনপ্রিয়তার সাথে, এটি সমগ্র পৃথিবীতে, বাংলাভাষাভাষী সম্প্রদায়ের পরিচায়ক সুর হিসেবে স্বীকৃত এবং ভোর ৪টেতে জেগে উঠে বাঙালি দেবী দুর্গাকে এই চণ্ডীপাঠের মাধ্যমে স্বাগত জানায়। তিনি অন্যদের মধ্যে, মার্শাল জোসিপ ব্রজ টিটো (যুগোস্লাভিয়ার রাষ্ট্রপতি), সর্বপল্লী রাধাকৃষ্ণণ (ভারতের রাষ্ট্রপতি), পণ্ডিত জওহরলাল নেহ্‌রু (ভারতের প্রধানমন্ত্রী), ইন্দিরা গান্ধী (ভারতের প্রধানমন্ত্রী) প্রমুখ বিশিষ্ট ব্যক্তিদের সামনে গান গেয়েছিলেন। 'ভারতীয় সাংস্কৃতিক প্রতিনিধি'র সদস্য হিসাবে তিনি সোভিয়েত ইউনিয়ন এবং পূর্ব ইউরোপীয় দেশসমূহ যেমন পোল্যান্ড, রোমানিয়া, চেকোস্লোভাকিয়া, বুলগেরিয়া, এবং যুগোস্লাভিয়া সফর করেছিলেন। FAIR-USE COPYRIGHT DISCLAIMER: Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, commenting, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. </video> <video> Songs Of Rabindranath By Sagar Sen 1970 EP #rabindranathtagore #vinylrecords Description: #sagarsen #rabindrasangeet #vinyl #bengali Born 15 May 1932 in a zamindar family of Rajbari, Faridpur district in erstwhile East Bengal, Sagar Sen was the youngest son of Bijon Behari Sen and Noyonmanjari Sen. Though his early childhood was spent in what is now Bangladesh, his entire musical career spanning more than 2½ decades mostly based out of Kolkata, West Bengal, India. In his early days, Sagar Sen showed remarkable range and depth, a prodigious ability to convey complex emotions as a singer, impressing audiences through his local performances and building up a strong following. His songs were first broadcast on All India Radio (AIR) Akashvani, Kolkata in 1958. Frequent live AIR broadcasts of his renditions through the following decades became the listening staple of his ardent fans and followers. The legend cut his first album in 1961 under the Megaphone Records label with record topping songs Nupuro Bejey Jaye and Ogo Joler Rani. In 1962, the legend founded the Rabi Rashmi, a Tagorean music academy. The project registered student enrolment in the thousands and garnered a manifold increase in the number of his ardent followers. His singles Apnake Ei Jana Amar and Keno Aamaye Pagol Kore Jaas under the Columbia record label were released in 1964 followed by the release of the songs Oei Malatilata Doley and Aamaar Nayano Tabo Nayaner under the same label. He participated in the recordings of Tagore's operas namely, Shap Mochan (1966) and Valmiki Pratibha (1967). 1968, the defining year of Sagar Sen’s musical journey, saw the release of his cult single Ami Jene Shune Bish Korechhi Paan, a song from Tagore’s first operatic ballad Mayar Khela, under the EMI record label. Jene Shune Bish instantaneously transported Sagar Sen to luminous heights; his dizzying fame transformed Rabi Rashmi to a living institution; the most coveted by students of Tagorean music and adored by music lovers & aficionados. A legend was born. His first stereophonic Long Play (LP) record comprising 12 Tagore songs, 6 each from 'Puja' (Devotional) and 'Prem' (Love) category was released in the year 1974 under the EMI-HMV record label. Through the decades, the legend’s innumerable Rabindrasangeet renditions that were regularly broadcast live by the AIR and Akashvani, now find place in their archival collections. His solo recitals were beamed live during the inaugural broadcasts of the Kolkata Doordarshan in August 1975, the first live television broadcast in Bengali; he featured in several subsequent broadcasts of the Doordarshan. Throughout the 1970s and early 1980s he recorded numerous songs with the erstwhile Gramophone Company of India Ltd. Sagar Sen’s unique understanding & spiritual insight of Tagore's songs has been invariably watermarked in each of his enigmatic renditions. His mellifluous dulcet renditions harmonising with his attention to infinitesimal Tagorean nuances breathed life into the songs he rendered. His golden baritone voice and his near perfect emotional delivery brought out the best that Tagore music had to offer to the listener; and yet he fastidiously stuck to the rigid notations set by Tagore, not once digressing from them in any of his magical renditions. Sagar Sen was the consummate minstrel who satisfied the puritans and yet popularised Tagorean music and brought it to the masses. Sagar Sen has left behind a rich, musical legacy of contemporary Rabindrasangeet renditions through his hundred plus soundtracks recorded with the Megaphone, Columbia, EMI-HMV in several chartbusting albums traversing two and half decades. Apart from staging & conducting innumerable musical theatricals rendering various Tagorean operatic ballads, he has been an exemplary torchbearer in popularising Tagorean music not only through his singular contribution as a virtuoso artiste par excellence, but also through regular concerts & performances of various Tagorean thematic stage shows conceptualized, presented & conducted by him. Sagar Sen had pioneered the model of conceptualizing thematic stage shows & concerts, based solely on Tagorean music. Among his popular stage shows & concerts were Shrabon Sandhya (Monsoon Evening), Bishwajana Mohichhey (World Spellbound in Music), Gaaner Jharnatalaye (Under the Cascade of Songs), Swadeshi Naye Bideshi Kheya (Tagore songs from Western Tunes), Rituranga (Season’s Varieties); Shraban Sandhya was the most acclaimed. Through these thematic stage-show concerts organised at prestigious venues in Kolkata like Rabindra Sadan, Sisir Mancha and Kala Mandir, Sagar Sen provided a huge platform and reach for contemporary Tagorean artistes and danseuse to promote and showcase their talents. All his students from Rabi Rashmi performed choral songs whilst his contemporaries like the legendary Hemanta Mukhopadhyay, Debabrata Biswas, Suchitra Mitra, Kanika Bandyopadhyay and many others performed solos in these concerts. Sagar Sen was a dynamic stage organiser and musical visionary far ahead of his times. </video> <video> লতা মঙ্গেশকর - নাও গো মা ফুল নাও | Edin To Jabe | ঝিলিক ঝিলিক ঝিনুক খুঁজে পেলাম | ও মোর ময়না গো Description: #banglagaan #latamangeshkar #calcutta #salilchowdhuri #calcuttarecordcompany #HridaynathMangeshkar Artist: Lata Mangeshkar Music Director: Hridaynath Mangeshkar & Salil Chowdhury Lyricist: Salil Chowdhury 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. Her contribution to the Indian music industry in a career spanning seven decades gained her honorific titles such as the Nightingale of India, Voice of the Millennium and Queen of Melody. She recorded songs in over thirty-six Indian languages and a few foreign languages, though primarily in Hindi, Bengali, and Marathi. She received several accolades and honors throughout her career. In 1989 the Dadasaheb Phalke Award was bestowed on her by the Government of India.In 2001, in recognition of her contributions to the nation, she was awarded the Bharat Ratna, India's highest civilian honour; she is only the second female singer, after M. S. Subbulakshmi, to receive this honour. France conferred on her its highest civilian award, Officer of the National Order of the Legion of Honour, in 2007. Mangeshkar has sung 185 songs in Bengali,[5] making her debut in 1956 with the hit song "Aakash Prodeep Jwole", composed by Satinath Mukhopadhyay.The same year, she recorded "Rongila Banshite", composed by Bhupen Hazarika, which was also a hit. In the late 1950s, she recorded a string of hits such as "Jaare Ude Jare Pakhi", "Na Jeona", and "Ogo Aar Kichu To Noy", all composed by Salil Chowdhury, and which were respectively adapted into Hindi as "Ja Re Ud Ja Re Panchi" and "Tasveer Tere Dil Mein" in Maya, and "O Sajna" in Parakh.[133] In 1960, she recorded "Akash Pradip Jole". Later in the 1960s, she sang hits like "Ekbar Biday De Ma Ghure Ashi," "Saat Bhai Champa," "Ke Pratham Kache Esechi," "Nijhum Sandhyay," "Chanchal Mon Anmona," "Asharh Srabon," "Bolchi Tomar Kaney," and "Aaj Mon Cheyeche" by composers like Sudhin Dasgupta, Hemant Kumar and Salil Chowdhury. She was the recipient of three National Film Awards, 15 Bengal Film Journalists' Association Awards, four Filmfare Best Female Playback Awards, two Filmfare Special Awards, the Filmfare Lifetime Achievement Award and many more. In 1974, she was one of the first Indian playback singers to ever perform at Royal Albert Hall, London. Her last recorded song was a rendition of the Gāyatrī Mantra at Mukesh Ambani's daughter Isha Ambani's wedding. FAIR-USE COPYRIGHT DISCLAIMER: Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, commenting, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. </video> <video> Hemanta Mukherjee - দিনের শেষে ঘুমের দেশে Original EP 1971 Description: #hemantamukherjee #biswabangla #originalsong Diner Seshe Ghumer Deshe Rabindra Sangeet Song Is Sung by Hemanta Mukherjee From Anindita Bengali Movie. Starring: Gita dey, Mousami chatterjee, Mrinal Mukherjee, Subhendu Chatterjee. Same Song Is Sung by Kishore Kumar, Sagnik Sen, Indranil Sen, Rupankar Bagchi And Many Various Artists In Their Own Way. Song : Diner Sheshe Ghumer Deshe Movie : Anindita Singer : Hemanta Mukherjee Lyricist : Rabindranath Tagore Label : Angel Digital দিনের শেষে ঘুমের দেশে ঘোমটা'পরা ওই ছায়া, ভুলালো রে ভুলালো মোর প্রাণ। ও পারেতে সোনার কূলে আঁধার'মূলে কোন্ মায়া গেয়ে গেল কাজ'ভাঙানো গান, দিনের শেষে। নামিয়ে মুখ চুকিয়ে সুখ যাবার মুখে যায় যারা ফেরার পথে ফিরেও নাহি চায়, তাদের পানে ভাটার টানে যাবো ওরে আজ ঘরছাড়া সন্ধ্যা আসে দিন যে চলে যায়, ওরে আয়.. আমায় নিয়ে যাবি কে রে দিন-শেষের শেষ খেয়ায়, ওরে আয়.. দিনের শেষে। সাঁজের বেলা ভাটার স্রোতে ও পার হতে একটানা একটি-দুটি যায় যে তরী ভেসে। কেমন করে চিনবো ওরে ওদের মাঝে কোন্‌খানা আমার ঘাটে ছিলো আমার দেশে, দিনের শেষে। ঘরেই যারা যাবার তারা কখন গেছে ঘরপানে, পারে যারা যাবার গেছে পারে। ঘরেও নহে, পারেও নহে যে জন আছে মাঝখানে, সন্ধ্যাবেলায় কে ডেকে নেয় তারে। ফুলের বাহার নেইকো যাহার ফসল যাহার ফললো না, অশ্রু যাহার ফেলতে হাসি পায়। দিনের আলো যার ফুরালো সাঁজের আলো জ্বলল না, সেই বসেছে ঘাটের কিনারায়, ওরে আয়.. আমায় নিয়ে যাবি কে রে দিন-শেষের শেষ খেয়ায়, ওরে আয়.. দিনের শেষে। FAIR-USE COPYRIGHT DISCLAIMER: Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, commenting, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. </video> <video> Netai Goswami - Jaydin Tomar keu chilo na / Monidipa Tumi Kothey | Original EP 1973 Description: #netaigoswami #banglagaan #originalsong </video> <video> #calcutta #hifi #bengali Description: </video>

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