Yesterday’s Melodies Today’s Memories
by Manek Premchand
1st Edition 2003
2nd Edition 2004
3rd Updated Edition: 2018
Notion Press, Chennai
A book review is generally meaningful when the book has come fresh out of the mint. But there are a number of reasons why it is never too late to review ‘Yesterday’s Melodies Today’s Memories’ (YMTM) on this forum. YMTM had made quite a splash when it came out and it has since remained quite popular. Book Review is not a regular feature on this blog. A reader Shachindra Prasad suggested that I review well-known books on Hindi film music, and I recall that he also mentioned this book. But the most important reason for me is that, true to its title, it is so much like Songs of Yore. The tagline of this blog says “A tribute to old film music. Songs of the 30s through 60s”. And Manekji says in the first line of his introduction to the book that it is “essentially about the many creative individuals whose genius produced unforgettable Hindi film songs from 1931 to 1970, and specifically between the years 1947 and 1970”. There couldn’t have been a better fit than this book for review on SOY.
Manekji has solid credentials in Hindi film music – anchoring programmes, interviewing the creative individuals, writing articles and books. His wife, Lata Jagtiani is a highly literate person, and incidentally, among several books on various subjects, her biography of OP Nayyar is regarded as the most authentic. Both Manekji and Lataji have been mentioned prominently on this blog in the review of Guide, The Film: Perspectives. I was also a regular follower of Manekji’s blog, which was more reflective and eclectic, written in a very crisp language. That blog is not traceable now, apparently due to some technical glitch.
As the introduction to the book suggests, YMTM primarily contains short pen portraits (about 5 pages each) of some 105 creative personalities – singers/actor-singers, music directors, and lyricists – who made the most impact in Hindi film music since the beginning of the talkies in 1931 to 1970. They are divided into two segments – Section 2: The Early Greats (1931-46), and Section 3: The Golden Age is Underway Now (1947-80). The section 2 is shorter one consisting of about two dozen personalities, section 3 is more liberal containing some 80 names; in each section the names are put in alphabetical order. At the end of each pen portrait, there is a substantial list of the prominent songs associated with that artiste. The segments cannot be watertight compartments, because the personalities’ impact crossed over two or more periods, and surely not ending at the chalk line of 1970 in cases like Khayyam, Jaidev and SD Burman.
Can you guess which segment KL Saigal belongs to? Neither. Manekji believes like many of us do that Saigal is a class by himself, therefore he has been placed a class apart in the Section 1: Curtain Raiser, just after ‘Introduction’ and ‘A brief history of music, movies and Hindi songs’. And he introduces him befittingly as “the King of Kings in the Hindi film music world, the man who leads the march.” And why this exalted status to Saigal? Manekji takes us to those days when the recording technique was quite primitive. He had no electronic support unlike these days, several songs he sang live along with picturisation of the movie. Today’s singers and music directors can’t even imagine what that means, but he produced immortal melodies which have remained with us till today. He was also an extremely kind-heated person.
In the introduction and a brief history, Manekji gives, in a very compact language, broad overview of the evolution of film music from the talkies till 1970. He also explains why he considers 1947 as the dividing line between the Vintage Era and the Golden Era, which heralded the beginning of a burst of dozens of incredible talents. The year 1947 saw the most cataclysmic event in our history – the Partition, large scale violence, displacement of millions of persons on religious grounds from one side to the other – blotting the joy of Independence. That meant migration of Noorjehan, as also many other talents, such the music directors Firoz Nizami, Ghulam Haider, Rashid Atrey and Rafiq Ghaznavi. KL Saigal, coincidentally, breathed his last that year, marking the end of a legend. And C Ramchandra came up with some incredibly melodious and foot-tapping music in Shehnai and Saajan. Also Khemchand Prakash (Sindoor) and Naushad (Naatak, Dard, Elan) and some others gave everlasting music.
Where you draw the dividing line between the two eras is a matter of perspective. As the SOY regulars are aware, I draw the dividing line at 1949, primarily due to Lata Mangeshkar-tsunami which swept away many vintage female singers, and also due to some other prominent landmarks such as the grand arrival of Shankar-Jaikishan, Shailendra and Hasrat Jaipuri, Naushad’s great music in Andaaz, Chaandni Raat, Dillagi and Dulari etc., which I have discussed from time to time. There is no right or wrong answer. Take your pick.
The pen portraits, though short, give a glimpse of the person’s professional career, as well as his/her personal life in all its shades – the good, the bad and the ugly. Bollywood has many riches to rags stories, some due to the change in tastes, the arrival of a stronger rival, but many simply due to a reckless lifestyle. There are also painful examples of some women trapped into helpless marriage with an obnoxious man. Such was Amirbai Karnataki’s first marriage to a brute; with great difficulty she could come out of that hell and, fortunately, she was second-time lucky. And there are murky events too, such as GM Durrani’s suspected poisoning by a rival.
There is a poignant article by the Times of India’s Washington DC correspondent MV Kamath titled “The Last Supper”. This is about Mukesh’s visit to his home a day before his fatal heart attack in Detroit. Another highlight is Manna Dey’s interview by the author, in which he talks about his multi-faceted personality and tastes, and also his acknowledgement that Rafi was more versatile and wanted as a hero’s singer.
The book ends with Section 4: Close Connections having half-a-dozen articles on persons like Ameen Sayani and Har Mandir Singh ‘Hamraz’ (of Hindi Film Geet Kosh-fame). All the accolades for these two persons are richly deserved. Our history of compilation of film-song titles and other details, like films, singers, lyricists and music directors, frankly started with Hamrazji. Before these volumes came out, artistes would casually claim having sung some 25000 songs which was accepted by Guinness, and therefore, accepted by all of us. Now no one makes such absurd claims. This section also has an article on Filmfare Awards, and another on Dadasaheb Phalke Awards and one on Gopal Sharma.
Are there any flaws in the book? No book on film music can be infallible on data. Besides, in YMTM statistic is incidental. But despite this caveat and the author and publisher’s general disclaimer about errors and omissions, certain omissions and commissions struck me as odd. In a big list of Saigal’s film and non-film songs, I can attribute the omission of Main baithi thi phulwari mein and Hori ho Brijraj dulaare to personal tastes, but did he sing 225 songs? His songs have been so thoroughly dredged that there is not much chance of overstatement by over 20% from the real number, 185. Out of the 185 songs in all languages and genres – film songs, non-film ghazals, bhajans, light classical – I understand 172 have been ‘discovered’. Now the Saigal-challenge is to discover more songs to cover the gap of 13. Further, Mankekji mentions the total number of songs of Rajkumari as 150; I am afraid this is a gross underestimation by a factor of at least two.
The omission of Gyan Dutt and Pt. Govind Ram from the list of the early greats struck me as odd, especially when Datta Davjekar and K Datta find a place. They have been given a couple of lines in a big list of “An Assortment of Talents”. They deserved better. And if I am not seen as nitpicking, Anil Biswas should belong more to the section 2, i. e., the early greats rather than the later period. Finally, when he mentioned in passing Premnath’s career as music director, and Munawwar Sultana’s playback songs (such as three songs in Aabshar, 1953, the last film of Ghulam Haider as music director, in which he composed just these three songs, others being composed by two others), I felt it was necessary to mention that they were different from their famous namesakes who were actors.
Despite my above quibbles, it is overall an excellent bedside book for lovers of the songs of yore.
{ 43 comments… read them below or add one }
Only you could do justice to a review of this book, AK. Those flaws or omissions which you’ve pointed out in the last few paragraphs, I would never even have known! Good review, and I would have said I should buy this book – if only I didn’t already have far too many books waiting to be read (including two on Hindi cinema itself, a bio of Laxmikant-Pyarelal, and a book about the screen villains).
But someday, perhaps.
Madhu,
Thanks a lot for your appreciation. “..if only I didn’t already have too many books waiting to be read” – I understand your feelings, because I think most of us are in the same boat. Now I dread even if someone is willing to gift a book. But if you can get over this problem, YMTM is a good book to have.
After reading this review , I ask myself…’ why I did not know about this book till now ? ‘ The review gives an impression that you may not have to read any other books about SOY and HFM history. Reading good book reviews only increases my TBR books list . In fact some of the book reviews, like say from NYT are just mesmerising and reading the reviews itself is an experience.
I feel that on a platform where you are expected to add something , it would have been better if we had all read the book together and made our comments just like in a readers club. Here I cannot add anything.
I hope to read this book someday.
Mr Joseph,
Thanks for your detailed comments. “….you may not have to read any other book”. Depends. The book has a.very wide sweep, but some look for more intensive analysis. That means a lot of books are very enjoyable and insightful. But if you have to read only one book, YMTM is very good. Another good book could be a chronological history of film music in some detail. This one focussed on personalities, therefore, the write up on brief history is really brief.
AK ji,
Good that you reviewed this book. I had this book. With great expectations, I had bought it. However I was not happy to that extent.
True that no book can be without errors, because history changes as new evidence crops up. But that is a different thing.
It is not expected that ‘same name confusion’ should crop up in a specialised book. It is known to all that Premnath actor and Premnath MD are two different persons. Similarly, Munawwar sultana the actor and Munawwar Sultana the singer were two different persons. The Pakistani singer Munawwar Sultana, initially sang in some Hindi films in undivided India, but later she sang only in Pakistan films.
She sang 25 songs in 14 Hindi films. The films were Shukriya-44,Dhamki-45, Behram Khan-46, Aai Bahar, Pagdandi-47, Mehendi, Intezar ke baad, Ek roz, But Tarash, Rooprekha-48, Reet, Patjhad, Chup chup ke and Barsat ki ek raat. Additionally, 3 songs composed by Ghulam Hyder were used in film Aabshaar-1953. Ghulam Hyder did not come to India for these songs, as he did not keep good health and anyway he died in November 1953 itself.
Further, Rajkumari Dubey acted in 38 films and sang 496 songs in 219 films in her career
As per the book ” Jab dil hi toot gaya” Saigal sang only 110 Hindi film songs and NFS 37. As per book ‘ Legacy of the legend’ it is 126 Film songs and 44 NFS.
These are the figures I have for these artistes.
The book says something else.
-AD
Arunji,
Thanks a lot for the additional information. Manekji does not explicitly say that Premnath and Munawwar were the same persons as their famous namesakes, but failure to say that they were different would create confusion among most people not fortunate to be schooled by you repeatedly on this. 🙂
Your Saigal numbers match. 126+47 ,i.e. 170 must be his ‘discovered’ songs in all languages, both film songs and NFS. Saigal’s official website mentions that two more have been discovered after a great deal of search. His ‘known’ songs listed on the site are 185. There is no chance of it being anywhere close to 225, or 250 that was mentioned by Manekji in the earlier editions.
On Rajkumari I had made a tentative suggestion that 150 songs is a gross underestimation by a factor of at least two, which you corroborate. If your numbers are correct, her songs are more than three times this number.
But we are missing the woods for the trees if we focus on data. The book does serve its purpose of showing a window to the romance of old film music.
I had this book but not knowing its valued content and further it contained information/details pertaining to a very early period of Hindi Film music I gave it to a friend who is older, I contacted him and he said it is a great book. Hope he will give it to me for reading.
Mr Vaudevan,
Only the early greats are about very early period. But the later section deals with 50s and 60s with which we are familiar. I hope you get to read ‘your’ book.
My friend says gifts are not returned. He may not give it.
Not return, borrow to read. The book is now his.
AKji,
I have this book. I refer to it as per need for my posts. It’s sometimes useful.
There’s one mention of Asha Bhosle’s first film as Aandhon Ki Duniya under the baton of Vasant Desai. I had included it in one of my posts published in September 2021.
And I confirmed it with Arunji.
A good review.
Anup
🙂
AK,
As I have more than once mentioned this book in my posts, you must know that I have this book. I got this book just after its 2018 edition came out. It is the beauty of this book that you do not have to read it in one go, as Anup said you can use it as reference book. I have read most of your book reviews and would agree with Madhu that you have a special talent in writing reviews. It is always beneficial to talk about flaws of the book too along with its good things. I think the success of your review can be seen from the comment of Josephji that one may not need any other book after having this. He is talking from the layman’s point of view and the book is fit to be had by those who need to know about ‘a’ to ‘z’ of hfm.
About Arunji’s comments, I would say in Premchand’s defence that he did not write the book for an encyclopedia like Arunji. 😉 But I agree with Arunji that no book should be taken as a final word. I have gone through more than half of the book and I found it very useful on many counts. One of the special features is that he has published some of the interviews as it is in question/answer form and one can draw one’s own conclusions. I have two more of his books and I have benefitted from his details about musical instruments on which I have very primitive knowledge.
I have noticed two drawbacks in addition to the flaws mentioned by you. One is, not much effort has gone in preparing the list of good songs of various artists. I can point out many lists in this regard, but here I mention just the Asha Bhosle list, in which neither her best songs on the basis of popularity have been listed nor her good quality songs have been mentioned. The other thing which appeared jarring to me is his mention of anecdotes as almost truths. They may mislead people especially because he has done good work on facts.
Anup @11,
The book is packed with information. If you are also able to cross-check it, you can be sure. As I have said the book is not primarily about statistic, it gives a very useful panorama.
Hans @12,
Thanks a lot for your appreciation. Because of your mention of the book, and Shachindraji’s request to write reviews on important books on film music, this was on my list. YMTM is a very good book to read and review. As you know I am not obsessed about accuracy of data in film music for valid reasons. Some instances I mentioned just struck me as odd, for example Saigal’s song list is available with great accuracy.
Having written this blog for more than 11 years now, I realise song list is a matter of personal choice. As for anecdotes, I enjoy them as such, without bothering whether they are factually correct.
All said and done, Manekji has spent his lifetime breathing, dreaming, thinking, writing on Hindi film music.
Dear AKji, I am grateful that you have reviewed Yesterday’s Melodies, Today’s Memories, and reviewed it so well, warts and all. One of the above comments is by R Vasudevan, who gave this book to his friend who won’t return it because “gifts are not returned” Mr Vasudevan, may I have the pleasure and honour of gifting you a copy of this book, again on a non-returnable basis?☺️ You can send me your address details on 9820362010.
Meantime AKji, I salute your own work. It seems clear that like me, you too soldier on cheerfully.
Great that the honourable author of YMTM has come to SOY and he can now clear the issues raised here by the learned readers . I have located the book which is easily available in the kindle edition. Even though I have yet to read the book, the wonderful review itself convinced me that for a layman like me this book on HFM would be the best.
Since the book has entered its 2nd edition in 2018 , I thought you might have addressed the issues raised here by the learned readers . In any case why the said factual errors were not noticed by the editors is the question.
I appreciate your great work which can happen only with dedication and a lifetime of labour . You have done a great service. With best wishes to Maneck ji .
Manekji @15,
Thanks a lot for your generous words about my review despite my noticing some insignificant warts. 🙂 And thanks also for your kind words about my blog. It is on for more than eleven years. I have been lucky to get some very knowledgeable readers and a chance to interact with celebrities like you.
Thanks a lot to Mr Manek Premchand for offering to send the book to me. I have sent my address by a SMS. Please check it up.
AK, @ 14
I agree with you on every point, but still I would persist with what I said, because, when I say anything, I say it after thinking it out. I got this book when it was just out in this edition and I liked it very much and the author has gone very high in my esteem. That is why I bought his two other books ‘The Hindi Music Jukebox’ and ‘Hitting the Right Notes’.
First about the anecdotes. What I said is a praise instead of criticism of Manekji. This means his credibility is very high in my mind, unlike the great anecdotal expert Raju Bharatan. Every anecdote is not enjoyable or harmless. I have seen you reject the story about Rafi singing in the presence of KL Saigal, though that story was a harmless one. Look at the story about GM Durrani. Manekji said he was given sindoor in paan and you mentioned it as suspected poisoning. So the story has changed and for those who believe you or Manekji and do not have the balanced approach like you, would believe the story. Firstly, sindoor is suspected to be bad for the throat, but paan is not meant to be swallowed. The true effect of the sindoor on the throat is not known, but such stories circulate and even have been shown in our films.
The other point is about the lists being personal. I agree with you but when you are writing on an artist you have to put personal tastes behind and give his best in the list so that readers can appreciate the artist’s contribution and try to follow that when I write my posts. I have only talked about lists in this book about artists and I have no objection to his selection of songs in the other two books because the purpose of those books is different.
AK ji,
Thanks for introducing a fine book to the readers of SoY. The review is excellent.
The subtle change from vintage to golden period may have happened anytime in the transition period of 1947-49. Lata Mangeshkar’s first iconic solo appears to have come in 1948; this was also the year when Mukesh had a lot of top-ranking songs. The evolution of orchestration in HFM was of course a long-running process – by 1949-50 lots of innovations got established.
Regards.
Hans,
Thans again. After your earlier appreciation and now your agreeing with me, I had no reason to come again. But since you have chosen to exercise your right to elaborate your two points, I feel I need to reply again.
‘Sindoor into paan’ i.e. spiked paan to my choice of words ‘suspected poisoning’ you describe as ‘the story has changed’. The anecdote is always narrated suggesting foul play. I chose to use a more innocuous expression without mentioning the name of the other party, the rest is operational detail. You may not have intended it, but someone may read it as if I have embellished/exaggerated the story.
About Manekji’s selection of songs one can go on ad infinitum. In a list of about 50 Asha Bhosle’s songs you surely expect ‘Ab ke baras bhej bhaiya ko babul’, when ‘O panchi pyare’ is there. If you are asked to make a representative list of 80 songs of Lata Mangeshkar, how would you proceed? I would take at least two of Hudnlal-Bhgatram, such as ‘Chale jana nahin nain mila ke’ and ‘Khushiyon ke din manaye ja…Abhi to main jawan hun’, a couple of Chitragupta, among ‘Kaare kaare baaadra‘, ‘Balma maane na’, ‘Rang dil ki dhadkan bhi laaati to hogi’. HB and Chitragupta are missing altogether in his list. Among the MDs he has included, Roshan’s Ae ri main to prem diwani mera darad na jaane koi, Bahe ankhiyan se dhaar mera jiya beqaraar, Kabhi to milegi kahin to milegi, Raat ki mehfil sooni sooni, Duniya kare sawal to hum kya jawab dein are missing. Can you imagine ten songs of Madan Mohan without Lag ja gale ki phir ye haseen raat ho na ho? We will be lost in the trees, and not see the woods. The lists are not representative. An informed reader should take these as the author’s favourite songs.
Tyagiji,
Thanks a lot for your appreciation.
You make a very nice point about transition from one to another era is gradual. But we tend to look for dramatic events, such as 1969 with ‘Aradhana’ (arrival of Rajesh Khanna and a new Kishore Kumar with a bang). We can similarly understand 1947. I took 1949 for the reasons I have explained. But you are right.
Right sir, the book has been couriered ☺️
AK,
Thanks for the reply. Discussions contribute in enhancing our outlook. Nobody who has known you for so long would believe you will exaggerate. Even the words you used were not wrong, but they could convey a different meaning. My point there was similar to what Motilal said in film Waqt ‘kisi bhi baat ko dohrane ke liye har aadmi apne alfaaj istemal karta hai’. So these anecdotes keep changing the story. I am of the view that if there is an insinuation against some one, then the story would be an injustice to the person who cannot defend himself.
On the point whether the name should be given, I would say that sometimes giving name is better than not giving it. Since in this case the name has been given in print, there is no point in not disclosing it. Durrani blames Khan Mastana who died 15 years earlier than him. It goes to the credit of Manekji, that he has clarified the incident came after Durrani was past his prime. I dont know why anyone would try to damage his voice with a measure which is temporary at best. Khan Mastana was not his rival in true sense. He worked in some films as actor and composed music for 25 films and sang very few songs outside his own films. So how was he competing with Durrani as a singer. His career as a singer had finished much earlier than Durrani. He was also a go-between from Bombay and Hyderabad, which ultimately worked against his film career.
Now look at the case of Lata Mangeshkar, she has outlived many singers, composers etc against whom she has been making insinuations. Some time back, she said she was given slow poison due to which she remained ill for about 3 months. She said she had come to know of the culprit but did not name him/her or proceed against him/her. Her not naming anyone can start tongues talking. It is another matter that her stories have become so commonplace that people have started ignoring them.
One can say why a person would make false accusations. In Lata’s case it is clear that in public perception she is the spoiler of careers of a number of people. As such she wants to play victim card to divert attention from such debates.
Powerful people also play victim card. Nowadays we are witnessing the most powerful person in our country playing gareeb/fakeer card frequently. 😉
I have a colleague who wrote a similar kind of book tracing the careers of a hundred-some authors of sacred music. It was an undertaking of many years, but as soon as it was published, he felt that it was incomplete. I cannot imagine how much more difficult writing a guide to artists whose work so often crossed multiple language barriers. Bravo, Manekji!
Shelomit,
You are right. Writing a book like YMTM and publishing it is an extremely difficult job. Manekji deserves all kudos.
I received the book. Thanks a lot, Mr Manek Premchand.
Upon reading the book, I will post my views/comment in SOY.
Ak
Sorry about a long absence due many pandemics here.
I liked the review and it is helpful for the understanding the ethos of the Indian Filmy music.
I also would like to praise for putting efforts in clarifying the mystic magic of the Indian film music from thirties onwards.
More is needed to write about the thirties music as the decade created an impact on the Indian public who were fighting for the Independence.
Even though Indian films had certain effect of the Hollywood films it seems that the Indian musicians went ahead with the Tagorean line and created their own elm and provided the forties free enterprise and further on great fifties music.
The writer’s book is step forward and other can write more about forties and fifties and sixties music of the Indian films.
Once more I thank AK and the writer Mankechand for contributing the history of the Indian films and film music.
Bravo lads you are doing great work.
Shalan Lalvani
AKji, thanks a lot for this review. accompanied by some crisp and insightful comments towards the end.
Shalan Lal,
Thanks a lot for your appreciation. Now a lot of people are writing about old film music. Internet has been a great forum for making us more informed. May the tribe increase.
Anita,
Thanks a lot for your appreciation.
Thanks AKji for giving us, the ones who has not read the book, a full vicarious feel of the book.
Historian need to put his/her personality aside when narrating the history in order to be be objective enough.
Manek Premchandji is essentially a critic, so one should expect his views to converge over the incidents / personalities he has ‘chose’ to cover in the book.
Tee discussion at SoY on a subject like this always very live and enlightening.
Ashokji,
You are welcome. I am happy you found the review useful.
AK,
We have left some vital things which are there in the book of Manekji, which would be useful for readers. In his song descriptions he has talked about use of orchestra and also given names of musicians who played them at some places. This info is also there in his other books. I have got to know many things about musical instruments after going through his books and have mentioned some in my descriptions of songs. The other thing which he gives now and then is talking about raags and other aspects of music making like taal etc. I have found them very useful.
AKji,
A well-written review!!
I have read the book as I have its Kindle version.
I agree with your conclusion that it is overall an excellent bedside book for lovers of the songs of yore.
It is worth keeping in one’s collection.
I like the way Manekji has divided the book into 4 sections and has managed to include almost everyone who made a major/minor contribution to Hindi film music in the period covered.
The only name that I felt is missing is lyricist Varma Malik who had some popular songs at end of 60s and in early 70s, winning him two Filmfare awards.
I did notice a couple of errors. The Binaca Geetmala topper of 1975 is mentioned as Aur nahin bas aur nahin from Roti Kapda aur Makan while the actual No.1 song was Mehangai maar gayi from the same film.
Similarly, Subah aur sham kaam hi kaam from Uljhan is sung by Lata and not by Sulakshana Pandit though it is picturized on Sulakshana.
But few gaps and errors do not lessen the significance of the book in providing such valuable information on the journey of songs and music in Hindi cinema.
I am now looking forward to reading his two more books – Hitting the Right Notes and the Hindi Music Jukebox.
Dr Deshpande,
Thanks a lot for your appreciation. You are spot on that it is an excellent book despite some errors. About omissions it all depends on the author’s relative preferences. For example, for me more noticeable omissions are Gyan Dutt and Govind Ram in MDs, Jagmohan, KC Dey in singers, PL Santoshi in lyricist (he was much more than that). They are there in ‘An Assortment of Talents’. But I would not hammer it more.
The book ‘YMTM’ in short is unputdownable as I completed reading it
in three sittings skipping my breakfast.
For music lovers especially who love old film songs, this book is a
companion as one goes back down the memory lane, recalling the films that are mentioned and many of them we had seen. I must thank the author who sent me the book and I will be writing to him separately.
After a long time I read a very good book,
Mr Vasudevan,
I am happy you loved the book. My review was worthwhile.
Having come to know about this book I have gone ahead and bought a copy. I shall get back after reading in detail but I wish to indicate with the association of SOY I have generated enough interest to get any book written on the subject of YMTM. However , some earlier books on the subject by Raju Bharathan and R. Vijayakar were thoroughly enjoyable !
KB,
I have not read Vijayakar books. Raju Bharatan’s style is of filmi gossip which was popularised by some film magazines. YMTM’s style is different but very informative. Form your own judgement after reading the book.
Having read the book as someone has already commented we find that the information recorded is excellent. However , it would have been better that some of the rare information and incidents on each of the persons would have been provided . Also it would be nice to provide details on singers such as Binapani Mukherjee, Krishna Goyal and some south indian singers who have sung in hindi and bengali singers like Subir Sain and Dwijen Mujherjea and also composers such as Pandit Ravishankar who have also scored in movies.
KB,
You sum up very well. In the vast ocean of film music, the other has captured a wide perspective. For an exhaustive coverage, you will need four books of this size.
Undoubtedly it is a fine book, replete with information on most of
artists covered. There will always be some omissions here and there and that in a book of such size. In fact, I have read the book twice and can be placed among the best books that I have read in my collections.