Manna Dey was a classical-trained genius whose voice was often overshadowed by commercial hits. Choosing artistry over fame, he redefined what a ‘character singer’ could be—mastering complex compositions, while shaping the soundtrack of a generation.
Born Prabodh Chandra Dey in Kolkata in 1919, and mentored by his uncle KC Dey, he grew up surrounded by music. He infused his learnings of classical music into many hit songs of mainstream cinema, navigating various genres including Bhajans, qawwalis, and romantic ballads.
The world remembers him as someone who rewired the nuts and bolts of classical music by infusing it with Bollywood flavour. From Laga Chunari Me Daag (Dil Hi To Hai, 1963) to Zindagi Kaisi Hai Paheli (Anand, 1971) and Ae Mere Zohra Jabeen (Waqt, 1965), his songs continue to resonate—even with Gen Z.
Dey recorded over 3,000 songs across Hindi, Bengali, and 14 other languages.
Artistry, integrity and collaboration
Manna Dey’s artistry flourished through collaboration with 195 music directors, including SD Burman, Salil Chowdhury, and Shankar Jaikishan. Burman launched his playback career with Dey’s Upar Gagan Vishal (Mashaal, 1984), while Chowdhury’s mix of folk and Western styles showcased Dey’s versatility. Shankar Jaikishan, in turn, helped him explore romantic and lighter melodies beyond his classical roots.
Dey used to openly praise Mohammed Rafi’s emotive expressions, Talat Mahmood’s melancholy, Mukesh’s serenity, and Kishore Kumar’s playful irreverence. Offstage, his personality shone through cooking sessions, and musician exchanges with comedians like Mehmood.
Despite his immense talent, he was typecast as a ‘character singer,’ and often overlooked for lead playback roles.
Prithvi Haldea, chairman of Ibaadat Foundation, recalled that in the 1960s and 1970s, the golden era of Bollywood music, only three singers ruled the charts.
“Among the men, it was Mukesh, Mohammad Rafi, and on the women’s side, Lata Mangeshkar and Asha Bhosle were unchallenged,” said Haldea.
In that constellation of stars, Dey occupied a curious place, respected and talented yet somehow always on the periphery.
“Dey was a hardcore classical singer, trained in Hindustani music, and he brought technical and emotional precision to every song. But in the 1950s and 1960s, mainstream Hindi cinema didn’t often call for classical music. He did not get to sing much. Therefore, he was used mainly for comedy,” Haldea added.
That perhaps was the paradox of Dey. While Rafi and Mukesh lent their voices to heroes, and Kishore Kumar—after Aradhana(1969)—became the new romantic voice of the generation, Dey was often reserved for the intellectual, the comic, or the technically challenging.
Even if the masses didn’t always hum his tunes, musicians revered his voice for its depth, precision, and soul.
“If there was a Mehmood song or another comedy song, he [Dey] did a lot of those. And when he got a classical song, he mastered it,” said Haldea.
It wasn’t until the later decades, after Rafi and Mukesh had died, and Kishore Kumar had become a legend, that Dey’s genius began to receive its due. “After the new generation took over in the 1970s and 1980s, Dey outlived all of them,” he said.
Dey was never a man chasing work or self-promotion; he embraced introspection and found joy in the act of creating music.
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Performer, comedian, wrestler
In the early 1940s, Dey moved to Mumbai with his uncle KC Dey and continued his classical training under Ustad Dabir Khan, Ustad Abdul Rahman Khan, and Ustad Aman Ali Khan. And when KC Dey became music director for Tamanna (1942), Dey assisted him and sang his first Hindi song, Jaago ayi usha panchhi boley.
His breakthrough with Upar Gagan Vishaal made him realise his true strength lay in singing, prompting him to devote himself entirely to playback singing.
His talent for classical music shone profoundly in songs like Poocho Na Kaise Maine Rain Bitai (Meri Surat Teri Ankhen, 1963) and the duet Ketaki Gulab Juhi (Basant Bahar, 1956) with Pt. Bhimsen Joshi. And after the success of Lapak Jhapak Tu Aa Re Badarwa (Boot Polish, 1954), many of his songs were adapted into comic songs for actors like Mehmood and Johnny Walker.
Once during a recording session, he insisted on repeated takes of a song until every note was perfect. This meticulous nature would sometimes upset directors who wanted faster timeliness, but Dey would stand his ground, refusing to rush through the process.
He was a fast learner, sang in many languages, liked folk sounds, and had a vast knowledge of music. During an event, he was asked how he felt about other artists creating new versions of his songs. He said he didn’t mind, as it helped his music to reach a wider audience, but said that listeners’ standards had declined.
Not many know about, but Dey also trained under wrestler Jatindra Charan Guha, known by his ring name Gobar Guha. The classical singer had, in fact, reached the finals of an all-India championship. Even after choosing music as his career, he remained dedicated to fitness, doing daily warm-ups in his nineties and along with three hours of riyaaz.
Dey had a passion for theatre too. Known among friends and family for his mimicry, he would impersonate stars like Raj Kapoor and Tuntun. Later in life, he recorded an album featuring his spot-on imitation of Bengali comedian Nabadwip Halder.
He spent his final years in Bengaluru with his daughters, continuing to give public performances well into his eighties.
Dey’s bond with Bengal never waned, even when he became one of Hindi cinema’s most admired voices. He built a parallel legacy in Bengali music, collaborating with legends like Salil Chowdhury and Hemanta Mukhopadhyay, and made well-liked melodies like Surer Jhumura to Cheragona.
In Bengal, his music blended classical raagas with Rabindra Sangeet and modern adhunik gaan. Songs like Coffee House-er Sei Adda Ta Aj Aar Nei became part of daily life, sung in cafés, colleges, and homes for generations. His albums stayed popular well into the 1990s, and his Kolkata concerts sold out within hours.
Honored with the Banga Bibhushan in 2011, Dey remained Bengal’s own. Over the years, he was also recognised nationally with the Padma Shri (1971), Padma Bhushan (2005), Dadasaheb Phalke Award (2009), and the Filmfare Lifetime Achievement Award (2011).
(Edited by Ratan Priya)