Archive for the ‘Ghazal’ Category
Ae prem teri balihaari ho
Posted on: October 21, 2013
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
“Roti” (1942), a Mehboob Khan production, was a landmark movie in the annals of Indian and Hindi cinema. Here are the details of this movie as provided by our inhouse experts in the past:
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Lut gaya din raat ka aaraam kyun
Posted on: October 5, 2013
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
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The Voice of Mukesh #35
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Today I am posting the next song by Mukesh, from the year 1949. The film is ‘Lekh’. Given that this film stars the famous pairing of that era – Motilal and Suraiyyaa, I am guessing that this film must have been one of the successes of its time. Maybe so, but today, the name sounds unfamiliar and obscure.
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This article is written by nahm, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
After the eid song with “E” with Lata Mangeshkar and Rafi Sahab, let us move on to ‘F’. Easier said than done as my troubles start here, there being very few song starting with this alphabet. And among those few a good percentage of songs are already posted, like ‘ fariyaad na karna haay kahin fariyaad na karna ‘, ‘falsafa pyaar ka tum kya jaano’, ‘falak bola zameen boli’ etc.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
I have been going through the biographies and profiles of some of the well known Urdu poets – Mirza Ghalib, Ibrahim Zauq, Mir Taqi Mir, Daagh Dehlvi, Majaz Lucknawi, Firaq Gorakhpuri, Josh Malihabadi, Jigar Moradabadi etc. Most of them had faced prolonged pains and sufferings due to certain events that had happened in their lives. It is said that shaayars’ personal pains and sufferings bring the best shaayaris as these are born out of their first hand experiences. The lovers of ghazals still remember the poignant and melancholic ghazals of Ghalib, Mir, Firaq, Jigar etc.
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Humne tumne kiyaa thha jo aabaad
Posted on: July 3, 2013
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
It is generally believed that scriptwriters (I use this word to include story, screenplay and dialogue writers) in Hindi films gained recognition and their status enhanced thanks to Salim-Javed duo who reigned over Hindi film industry with their fast paced screen plays and dialogues during 70s and early 80s. In fact, those days during our family discussions, if someone gives a hard hitting response, we used to say “here comes Salim-Javed” which would help in bringing normalcy to the ongoing heated disussions. The duo became so popular that they used to decide who would be the lead actor in the films for which they wrote scripts. It is also believed that in addition to their fixed component of fees, they would also get a share of profits from the films for which they wrote. I have seen their names being printed in bold letters in film posters and newspapers advertisements signifying that along with lead actors, music director etc, the name of Salim-Javed also played a role in attracting cinegoers to the movie halls.
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This article is written by nahm, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
I first heard this private song of Jagjit Singh and Chitra Singh, in the film ‘Hero’ (1983). In a scene in the film Meenakshi Sheshadri is seen moping around and listening to this song on a cassette player. Just a few lines are heard before the scene continues on, but later on we got to hear the whole song in a cassette of this duo’s ghazals. I do not remember the name of the collection. It may have been ‘classic collection’ .
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
During 1960-70, Lata Mangeshkar had sung some beautiful non-filmy ghazals. Two of these NFS, viz. dahar mein naqsh-e-wafaa and aankh se aankh milaata hai koi have already been covered in the blog. These ghazals were composed by Faiyyaz Shaukat and K Mahavir respectively. In 1969, a LP of her non-filmy ghazals of Mirza Ghalib composed by her brother Pandit Hridaynath Mangeshkar was released.
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Wo jo roothhen to manaana chaahiye
Posted on: April 25, 2013
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
Most of us are aware that a ghazal is a series of couplets (she’rs), each one being independent of others. In fact each she’r is a poem by itself. So theoretically, she’rs written by different poets (shaayars) can be woven to make it a ghazal. This is easier said than done as there are other parameters to make it a traditional ghazal. Normally, there are five essential aspects of a traditional ghazal. They are
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Aankh se aankh milaata hai koi
Posted on: April 20, 2013
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
It is a human nature that most top professionals would think that they are perfect in their professions, be it in the fields of sports or fine arts. Then why do we need coaches, guides, trainers etc ? A few years back, it looked odd to me to know that top seeded professional lawn tennis players have personal coaches. Some of the coaches may not have even played in any of the grand slam tournaments. Even in cricket, some of the teams’ coaches have not been top cricketers in their own national team. Now I know of two maxims in professional sportsman-coach relationship. First, all top players need not be perfect and coaches of these top players need not be top sportsmen in their fields. Second, the best coaches have the wherewithal to extract from the top professionals something more than the perfect which makes a vast difference in closely fought competition. This led me to think why not have a system of coaches (in Indian musical parlance, ‘guru’) for professional singers as well?
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
Traditionally, ghazals are supposed to be rendered in a soft voice and in a slow tempo to make the listeners understand the deep meaning behind each words. Ghazals rendered in an appropriate mood can awaken emotional feelings even in a stone-hearted person. Perhaps it was in these context that ghazals were sung in thumri style in the early 20th century, creating a melancholic mood and offering the opportunity for singers to emphasise on some specific words in the ghazals which were important in understanding the meaning in the ghazals. Singers like Begum Akhtar, Kamala Jharia, Master Madan, K C Dey, K L Saigal etc sang ghazals mostly in thumri style.
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