Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Archive for the ‘Ghazal’ Category


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

If I send the lyrics of the song “wo ham se chup hain, ham unse chup hain”, for discussion, Atul may, probably send me a return e-mail saying that this song has already been discussed and here is the link – https://atulsongaday.me/2010/01/28/wo-hamse-chup-hain-ham-unse-chup-hain/ unless he reads the entire lyrics. This was exactly what had happened to me whenever I read the first line of the mukhda appearing as a caption of an audio clip on YT. Unfortunately, I did not proceed further than a cursory glance assuming that this was the song from “Sargam” (1950).
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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 thought that there should be at least one song of Jaidev from a film for which he got National Award for the best music direction, for discussion on the occasion of his death anniversary which is on January 6th. The ghazal is from film GAMAN (1978) – “Aapki yaad aati rahi raat bhar”. The ghazal was wriiten by Maqdoom Mohiuddin, the famous urdu poet and then a member of Communist Party of India. This has been sung by many ghazal singers but I like the way Chhaya Ganguli has sung this ghazal and also the tune and soft orchestra used by Jaidev to reflect the mood of the ghazal.
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“Dana Pani” (1953) is a sunrise pictures production. it was directed by V M Vyas and the movie had actors like Wasti,Meena Kumari, Shashi Kapoor (?), Weera, Chhagan, Romeo, Radha Krishnan, Chitra etc in it, according to what I have been able to gather.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

The mystery of Saigal Saab’s mastery over music and singing will probably never be fully understood. Without a formal training regime from a dedicated master, the fact that he has accomplished what we know, one has to, but acknowledge an inner illumination and a divine gift.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

Pankaj Mullick fondly remembers his time and interactions with Saigal Saab. In the year 1931, Pankaj Mullick was associated with India Broadcasting Company, as a vocalist and a music trainer. This company ran the Calcutta Radio Station, (prior to the advent of All India Radio). One evening, Pankaj Da found a young gentleman in the waiting room for visitors. When asked about why he was there, the young man introduced himself as Kundan Lal Saigal, from Jalandhar, and said that he aspired to sing for the Calcutta Radio Station. Impressed with the winsome manner and a voice that enchanted, even as he spoke, Pankaj Da took him to meet NN Majumdar, the director of programs. An audition was arranged immediately. Pankaj Da writes, “. . . For its charming melody and rhythm, distinct pronunciation and neat articulation, embellished with an exceedingly sweet and melodious nasal tone, the audition emerged as something really superb. Mr. Majumdar arranged to broadcast Saigal’s song from the Calcutta Station that very night, and asked the young man to join straight away as a regular artist of the company”.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

The more one reads about the life of Saigal Saab, and the memories recounted by those who have been associated with him, the more one is struck by the singular quality of simplicity and humility. And maybe that is what made his art so pure, and so fascinating. Whether it is the exuberance of the ‘Hatt Gayee Lo Kaari Ghataa. . .’ (Lagan, 1941), or the pathos of ‘Gham Diye Mustaqil. . .’ (Shahjehaan, 1946), or the heightened expectations of a lover in ‘Kaise Katey Ratiyaan . . .’ (Lagan, 1941) or the melancholy sound of ‘So Jaa Raajkumari. . .’ (Zindagi, 1940) as the theme of reunion with a dying beloved, the rendition of the song and expressions of the emotional content is simply flawless.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

The decades have passed since the departure of Saigal Saab from this world, and the time has shown that there is no peer to the Voice of Saigal. Many voices, especially in the 30s and 40s, made an appearance on the silver screen, making utmost efforts to emulate the un-imitable divinity in the voice of Saigal Saab. But none could make it to the depths that Saigal Saab would so effortlessly dive into, and reveal an emotion with so much grace.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this topic.

The actor in the persona of Saigal Saab, has mostly been overshadowed by the magical qualities of his voice and the music this voice has rendered. And yet, the directors who have worked with him, and directed his roles, acknowledge that Saigal Saab had this innate capability to create and to express any singular emotion, with an intensity and control of facial features and mannerism.
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“Zeenat” (1945) is a movie that is directed by Shaukat Hussain Rizvi. This movie had Noorjahaan, Zohrabai Ambalewaali, Cuckoo, Shashikala (then a child), Baby Khursheed (later known as Shyama) etc. In fact, this movie seems to be a movie with mainly female actors . : D All the eight songs of this movie have been sung only by female singers, and that includes an all female qawwaali (Aahen na bharin shiqwe na kiye ).
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