Singer Salim Raza approached some music composers of the 1950s like M Sadiq Ali and Aashiq Hussain to acquire knowledge of the intricacies of music.
Salim Raza’s break came with famous director Syed Ataullah Hashmi’s 1955 film ‘Naukar’ in which he rendered his first film song which was a tragic number “Taqdir Ke Malik Dekh Zara Kya Zulm Hai”; a duet with music artist Kausar Parveen. Famous music composer GA Chishti booked Raza for another duet “Haal Apne Dil Ka Deewana” with Kausar Parveen for the 1956 film ‘Haqeeqat’. Having said that, Raza’s first film as a playback singer was ‘Qatil’ in 1955. Penned by poet Qateel Shifai and music by Master Inayat Hussain, “Aate Ho Yaad Baar Baar” was probably the first released film song of Raza, performed by actor Santosh Kumar. YouTube contributor tmjatala reports that his first recorded film song was from film ‘Sohni’, with music by Feroz Nizami. A song that I have traced is “Teri Yaad Sataye Saajna” from producer MA Khan’s film ‘Sohni’ sung by Raza with Parveen. MJ Rana had directed this film with lyrics by Qateel Shifai. Cast comprised Sabiha, Sudhir, Shammi, Zeenat and Nazar. A solo song by Raza from this film was “Hum Teri Yaad Main Roein Ge”. One of his earlier songs with Parveen was “Raat Ho Gai Jawan” for the film ‘Sabira’ penned by lyricist Tufail Hushiarpuri for music composer Safdar Hussain. As time passed by, the film industry recognised Raza’s genius for rendering sad and romantic songs and he continued singing with distinguished luminaries.
Raza had a soft melodious voice. Although his voice became shrill at higher notes but he was a full throat singer with a broad voice range. Songs in which he took his voice on higher notes with ease are “Tum Jug Jug Jiyo Maharaj Re” from music composer Rasheed Attre’s movie ‘Mausiqar’ and “Ghari Ghari Yun Khari Khari Kaya Soch Rahi Hai Tu” from Rasheed Attre’s film ‘Salma’. This was actress Bahar’s debut film in which singer and actress Noor Jahan also lent her voice as her first film song “Zindigi Hai Ya Kisi Ka Intizar” as a background voice.
Raza’s voice exhibited emotions. With the passage of time, his everlasting solo songs and romantic duets gained him heights of popularity. I shall mention most of his popular songs in this discourse.
It was for the film ‘Anchal’ that music composer Khalil Ahmad recorded the song “Kisi Chaman Main Raho Tum Bahar Bun Ke” in Raza’s voice. He was not satisfied with the voice on higher notes. Singer Mehdi Hassan was considered for the song but the same problem was anticipated. So the song was recorded in singer Ahmad Rushdi’s voice. This was director Al Hamid’s film with lyricist Himayat Ali Sha’air. The stars of the film were Darpan, Nayyar Sultana, Saba and Talish.
Raza was a dominating male voice from 1957-65. He also played back for two other big singers who were also actors. First he sang for the top Punjabi singer and actor Inayat Hussain Bhatti for the film ‘Kartar Singh’ and then he sang a classical song for an Urdu film on Ahmad Rushdi who played the role of Tansen in the film ‘Jhalak’.
The submission of Raza would remain incomplete if we do not mention his contributions for the 1965 war’s national songs. I am witness to the fact that Munir Hussain and Raza were regular visitors at Radio Pakistan’s Lahore Studios during war. The others sang from Karachi Radio and gramophone companies.
It was noted that Raza was the choice of hero brothers Santosh Kumar and Darpan. In most of their films, Raza gave them his background voice. The moment their demand gradually diminished, so did the demand for Raza. A writer on music Asif Javed from the US, in his discourse on singers has tried to give a religious discrimination touch to Raza’s decline. I do not agree with this analysis because had it been so, Raza would not have reined music industry for two decades. Some people ascribe the reason of Raza getting fewer songs in the latter part of his career to the entry of Ahmad Rushdi, singer Mujib Alam and alike. In my humble opinion, they were no match to Raza. It was the entry of Mehdi Hassan that mattered more. Music composers started making tailor-made tunes suited to his style and voice range instead.
Raza migrated to Vancouver, Canada in 1975. He established a music school to earn his bread and butter. From 1975 to 1983, Raza taught music to his disciples. Continued