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Biography Of Sharda Rajan Iyengar-
The swashbuckler romance ‘Suraj’ starring Rajendra Kumar and Vyjayantimala was released and apart from becoming the second highest grosser of that year the film also turned out to be a musical blockbuster. All the songs composed by the genius duo of Shankar-Jaikishen- became chartbusters.
However one particular song- ‘Titli udi, ud jo chali, phool ne kaha aaja mere paas, titli kahe main chali akash…’-sung by newcomer Sharda, not only became a sensational hit but also resulted in bringing about a major change in the awards scenario awards that year as well as all the subsequent years after that.
…From the year 1959 to 1966, the award for ‘Best playback singer’ went either to a male or a female playback singer depending on the votes they received. But in 1966 this song by the newcomer became so popular that it garnered the same number of votes as Mohammed Rafi’s ‘Baharon Phool Barsao…’ from the same film…
…The awards committee of Filmfare not only decided to make an exception that year by giving a special ‘Best Playback Singer’ award to the newcomer also along with Rafi Saab, but also decided to introduce separate awards for the ‘Best male playback singer’ and the ‘Best female playback singer’ from the next year onward…
Both the newcomer and her song took the industry by surprise because the female playback scene at that time was dominated by Lata Mangeshkar and Asha Bhonsle and for Sharda to have offered them such a tough competition and also emerge a winner seemed unbelievable!
Indeed all the playback singers of the industry must be thankful to Sharda for bringing about this revolutionary change and doing them a favour albeit inadvertently!!!
Here is another beautiful song from the same film and one of my absolute favourites! Sharda’s voice lends a haunting touch to the song and the use of the instrument ‘sitar’ here is awesome!
Dekho mera dil machal gaya
Sharda Rajan Iyengar was born into a middle-class south Indian family and ironically she grew up in a house which did not even have a radio. She would pick up songs by listening to the radio in her friend’s place or outside wherever it was played loudly and then come home and sing the songs she had heard. Realizing her keen interest in music her mother engaged a tutor to train her in basic Carnatic music which was customary at that time in many south-Indian families
She then started singing film songs in friends’ parties and small public gatherings. Meanwhile her family shifted to Iran and as destiny would have it, it was during one such singing session at the party of Shrichand Ahuja-a famous distributor of Hindi cinema, her song was heard by none other than showman Raj Kapoor himself! So impressed was he with her voice that he asked her to come to Bombay for ‘voice testing’ and try her luck in the film industry. Unlike today’s scenario where voice can be manipulated digitally, those days voice testing over the microphone with the live orchestra was mandatory).
Back in India, when she landed at the famed RK Studios, Bombay, she sang a few songs in front of Raj Kapoor’s whole family who had gathered there and they all gave their approval immediately. She was then sent to his music directors Shankar-Jaikishen for voice training as she had not had much professional experience earlier. A music tutor was arranged for her to train her in basic ragas, correct diction, microphone singing, controlling breath, etc.
Raj Kapoor then assured her that he would make her sing under his banner. Her training lasted for almost a year. She was fortunate to have been the protégé of the most popular music director duo of the time and hence got to sing many good songs which were picturized on many top actresses of the era like Vyjayanthimala, Mumtaz, Nanda, Saira Banu, Sharmila Tagore, Babita as well as new talents like Rajashree, Rekha and Hema Malini. She also sang some great foot-tapping numbers for the dancing diva Helen.
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