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In Mausam, Madan Mohan uses Singh and Lata for the misty ‘ Dil Dhoondta Hai’, while Singh alone carries the sombre solo, ‘ Dil Dhoondta Hai’. In Mausam (1975) and Gharonda (1977), both Singh and lyricist, Gulzar, do something unique: they collaborate in two versions (one upbeat, the other pensive) of the same song with subtle distinctions in the words and intonations. You feel the honey in Singh’s voice that textures the songs with an inimitable touch. You also find a fluid viscosity in that voice as it moves in song.

In 1979, Singh lent his voice to Basu Bhattacharya’s film on marital blues, Griha Pravesh, singing three numbers composed by Kanu Roy and written by Gulzar: ‘ Machal ke Jab Bhi’, ‘ Logon ke Ghar Mein Rehta Hoon’ (on the eternal tenant), and the duet of poetic intoxication with Sulakshana Pandit, ‘ Boliye Surili Boliya’ (with lines like, “Raat mein ghole chand ki misri / din ke gham namkeen lagte hain”). RD took Singh’s skills as a guitarist seriously and used it memorably in two epic numbers: ‘ Dum Maro Dum’ from the cult film, Hare Rama Hare Krishna (1971) and ‘ Mehbooba Mehbooba’ from Sholay (1975). In RD’s ‘ Huzur is Kadar Bhi’ from Masoom (1983), Singh offers the playful depth, as Suresh Wadekar renders the lighter nuances. Singh is a mood-singer, and doesn’t disappoint, each time you visit him. There is a heavy moodiness in his voice that you want to go to, you want to experience, when you wish to dive into the depths of your own mood. You realise hearing it that Bhupinder Singh is a state of mind.

The tabla and Singh’s voice powerfully resonate in empty space to create a unique experience of emptiness in song. The RD-Bhupinder collaboration flowered in Kinara (1977) not just with the duet with Lata, ‘ Naam Gum Jayega’ (set in Yaman Kalyan again), but with the conversational solo number, written by Gulzar, ‘ Ek Hi Khwaab’, where Singh also plays the guitar. The song ‘ Koi Nahi Hai Kahin‘ about a lyrical state of solitude is also unique. Singh sang his part of the song, set in Yaman Kalyan, with poise, confidence and understated finesse. Burman began in the early 1970s with the duet he sang with Lata Mangeshkar in Parichay (1972), ‘ Biti na Bitai Raina’.

Later, Singh would sing two similar ghazals for Khayyam in the same year: ‘ Ahl-e-Dil Yun Bhi Nibha Lete Hain’ in Dard (1981), and the beautifully written ‘ Kabhi Kisiko Muqammal Jahan’ by Nida Fazli in Ahista Ahista (1981) which has the line that resonates today: Zuban mili hai magar hum-zuban nahi milta (We got tongues, but we don’t find fellow-tongues). Singh’s brooding and unusual voice was finding its ground in cinema. Soon after, in 1966, Singh again appeared on screen to sing his first solo in Akhri Khat (1966), ‘ Rut Jawan Jawan’, a rare jazz composition by the master of the ghazal, Khayyam. Unlike the others, Singh appeared on screen in the song, along with Balraj Sahni and others. Singh started his career in Delhi in All India Radio and Doordarshan, till the music composer Madan Mohan brought him to Mumbai and gave him his first break in the film, Haqeeqat (1964), made on the 1962 Sino-India war, where Singh sang with Manna Dey, Rafi and Talat Mahmood in ‘ Hoke Majboor Mujhe Usne’. The last singer of his generation in Hindi film music, the singer from Amritsar, Bhupinder Singh, passed away on July 18, 2022.

Free download hindi ghazals jagjit singh