Jaane kahan gaye voh din!

I would like to correct an error. The article wrongly attributes lyrics of the film ``Chalti Ka Naam Gaadi`` to Sahir Ludhyanvi; the lyrics of the film were, in fact, provided by Majrooh Sultanpuri.

d-m sahib,

Enjoyed reading this. Some random thoughts:

1. S.C. Burman popularized the ``bhatiali`` from Bengal and other folk tunes from the North-East. Try listening to Abbasuddin (I think he migrated to East Pakistan) if possible.

2. It is said that Sahir Ludhyanvi was openly gay. Makes me chukle, for many like my father had no problem singing ``...mein aadmi hoon, aadmi se pyar karta hoon,....``.

3. Did IPWA metamorphize to IPTA? B. Sahni, Hangal and many other greats were once members.

May follow up later.

nice article..but music and song-writing in hindi movies is not dead yet.. have you listened to ``jawa pe laga lagare, namak isq ka``?

DM:

The era of Naushad Ali and OP Nayyar has gone for ever. However if the music, poetry, art or literature is rooted in the soil then it emerges time after time and never dies.

To give you an example of Junoon group of Pakistan. Their most popular numbers hark back to folk characters like Sanwal, Sohni and Mahiwal. Another example is Buleh Shah who died five hundred years ago. But his poetry still becomes a hit with

Buleha Kee Janaan Mein Kaun.

Naushad, Nayyar and many others have used folk and classical in their songs. That is the reason why people still continue to enjoy their music.

Folk and classical music emerges from the soil over thousands of years. It reflects the hopes, fear, aspirations of common people of certain area.

Since the human beings continue to have these human emotions these songs will never die.

Regarding modern music, I believe it is the influence of dominant western culture. The film songs of current era last for a few weeks and then fade away.

So I am very optimistic about the music of these stalwarts.

Hassan N

I bet old foggies in 1960s were also bemoaning the death of music in Indian films at that time.. ``Hamare zamane main Saigal kya gaata tha. Ye Barman warman kaun hai bhai?``

Dost-mittar,

Wonderful article. But no mention of Gulzar at all ? I mean the ``Humne Dekhi Hai
Un Aankhon Ki Mahekti Khushboo`` Gulzar, or the Gulzar of Aandhi, not the
bartan-chappal-baarish Gulzar of more recent times.

Dost-Mittar,

On TV Asia they have a great programme - ``Abhi to main jawaan hoon``, hosted by one Shiraz Sharif in New Jersey. Its a phenonmenal programme for 1 hr, three days a week, where he plays old movie songs. He plans out different themes and so forth. I just love it!!

Iam still admirer of Kishore Kumar and R.D. Burmans combination even fate 60s into seventys and eights when Kishore died..
Kishores song for Rajesh Khanna and Amitabh in earlier films like Abhiman and Aradhna showed the variation in Kishore kumar fom `Yudling` earlier singing to `tere bindya re`

DM-Sir,
Are you still in India?

I did not know that you were into researching Hindi-Films music.

My $.02; Hindi movies were original and authentic upto 1950ies. Elvis`s invasion and it`s captivation of Desi cinema made the Hindi movie music just an imagery of Rock N Roll.

Once I heard on AIR that in those days(pre 1950ies), directors used to make actors act based on how songs were sung.

Good article.
Regards

Urstruly#1:

Yes, music in films has truly become disposable. But I do not think that it is entirely due to technology. Yes, fewer people had ``bhompoos`` but radio was still there and very popular. People flocked to Radio Ceylone, Goa Radio and even Radio Pakistan because of the elitist attitude of All India Radio which mostly shied away from film music - that is until it was forced to start its own Vividh Bharti program to win back fans who had migrated to off-shore stations. Technology, in my opinion, can always be used to enhance the beauty of a good composition, just as sparingly used jewellery can enhance the natural beauty. Both S. D. Burman and O.P. Nayar made very effective use of western instruments, including electric guitar and drums. But no amount of technology can turn a bad song into a memorable one.

DM-jee,

Sad that all these folks keep falling by the wayside!

To tell you the truth sir, I have missed your write-ups – which appear to have dwindled to a trickle – very much, and I was a bit worried that you may have yourself joined those folks UP THERE! :)

Thank God, you are still alive and kicking – though the kicks appear to have lost some of their might and punch and eagerness – and they feel a bit weak! :( Khair.

People do sing a lot in India – at least in my part of India. One of my most pleasant memories as a college student is to have taken those long train trips in Second Class unreserved compartments and being woken up in the morning by the sound of somebody or other singing a bhajan – mostly a filmy bhajan!

I have concluded that all music is equally good (or bad)! What touches us is more a function of what is INSIDE us – and what is inside us is rather dynamic. Over time, we change and sometimes wistfully look back – and those tunes from the past stir those dormant connections – to what we used to be! Accordingly, every person has favorites from the past – and what is today shall be recalled fondly by the present lot some day.

However, nobody in their right mind ought to elevate the death-mourning conducted by some groups in a rather ritualistic manner to “singing”! :)

Regarding filimy songs, I quote the following from an interact I posted on my “Caravan” board (of which, incidentally, I am extremely proud – just like I am of all my write-ups and EVERY word I have written here on this website! (And those who take exception to my words can head straight for their usual jahannum!))

In many ways, people in the show biz are like janitors. They have to really work hard and they have to muster all their abilities, creative and mundane, to prove themselves on a regular basis to their employers – the vast masses who can boo them just as easily as they can raise them sky high. For every superstar out there – there are multitudes of little stars who never made it in spite of very hard work – because it gets crowded very quickly in that competitive environment.

That aside, Hindi film songs are an underappreciated commodity – as far as their impact in molding a common Indian identity is concerned. By and large the “high brow” community of writers, poets, and artists looks down on it while conveniently forgetting that the reasons such songs are commercially successful is because they can connect with the common man – where all the “high brow” stuff fails!

Hindi movie songs have helped develop a national bonding which would have been impossible to achieve otherwise. Thanks to the beautiful lyrics of many Hindi/Urdu writers, a vast number of Indians have been able to express their innermost thoughts in simple language. Even more, they have been able to identify with characters who sing (or lip-synch) those songs – and feel what such characters are supposed to have felt – a vicarious thrill which makes happy people of those who have otherwise little to feel happy about.

Hindi movie songs have brought an understanding of the Hindi language all over India in a way no regulation could ever match in success! It has helped bridge the North-South divide like nothing else could!

And sometimes, they do suggest to people new ideas which could make things better for everybody.

I think that if Pakistani men were to start treating their women with even one percent of the respect that the movie song subjects shower on their lady objects – Pakistan would become an instantaneously enlightened nation!

#10 Delhiwala

[My $.02;]

Sir, please do not overprice yourself!

GT#3:

Yes, Burman not only used Bhatiali songs, he often sang them himself, like the famous Bandini song ``meray saajan hain us paar, main is paar``.

I think that Sahir Ludhyanvi was bisexual rather than gay, like many other taraqi-pasand writers, like Firaq Gorakhpuri. Sahir`s affair with Sudha Malhotra [``tum mujhe bhool bhee jao tau yeh haq hai tum ko``] was well-known and he was also known to have relationship with Prakash Pandit, who was reputed to sometimes write pure Hindi songs for him, such as ``Shivji bihaane chale Palaki sajaai kay, bhabooti lagaye kay`` and ``Aaj sajan mohay ang laga lo, janam safal ho jaaye``.

I do not think that IPWA metamorphed into IPTA. Both organisations existed simultaneously though they had shared common inspiration.

#4 Jang:

Vishal Bhardwaj is a serious film maker and Music Director who does show a keen awareness of lending music appropriate to the theme, as in the case of the Omkaara song mentioned by you.

#14 DM-jee

Sir, you ARE on a roll!

[I think that Sahir Ludhyanvi was bisexual rather than gay, …. ``Aaj sajan mohay ang laga lo, janam safal ho jaaye``.]

I must admit I shall never think of that song the same way ever again!

How cruel of you, sir! The one thing a fan hates is his idol brought down to ground, crushed into fine powder, and dragged through cow-dung!

hassan #5:

My lament is only about film music. I agree that non-film music caters to a wider constituency. Jagjit Singh, Pankaj Udhas, Ghulam Ali, Saabri Brothers and Abida Parveen are providing good old-fashioned ghazals and qawwalis. And there are a few gems in a lot of ``kachra`` being produced in Punjabi music on both sides of the border.

deja_who?#6:

``I bet old foggies in 1960s were also bemoaning the death of music in Indian films at that time.. ``

Yes, but the difference is that even the younger folks are now complaining. When I see some of the popular Indian TV programs like Sa Re Ga Ma, they mostly sing songs from the old films and shun contemporary music.

plats8#7:

I am less familiar with Gulzaar`s work. His songs have a ``nasr`` (free verse) quality which is unique to him, such as his maiden song ``mora gora ang lai lai, mohe shyam rang dai dai``. Personally, I believe he shines today partly because there is hardly any competition.

ranjit#8:

We have a weekly program in Ottawa which also plays lot of old songs and has been quite popular for over 25 years.

Shah2#9:

Kishore Kumar owes a lot to the father-son music directors S.D. Burman and Rahul Burman. Kishore was perhaps less gifted than the other stalwarts of his time, like Rafi, Manna Dey, Hemant and Talat. But he made up for that by his versatility and sincerity. Besides, he was one heck of a showman if you had the chance to see him in a personal performance, which I did.

delhiwala#10:

No, I am back in Canada. I am interested in all types of good music, including film music. In fact, I developed my love for classical music via film music after listening to thumris, dadras and todas of khyals used by talented music directors like Vasant Desai, Naushad and Anil Biswas.

A very nice article Sir. Old Indian music is AMAZING. New Music, with loud bass provides more oppertunities to `expose`. I want to ask a common question. There is huge difference between styles of old and new music. Can it be said with surety that old music is qualitatively superior to new music? What is the real edge of old music which is totally missing in new music? Are new singers incompitent? Given the old instruments and old music directors, can they not sing better than old singers? On other side, what are the positive qualities of new style of music, which were missing in old? Still many big names are part of contemporary music industry. Have they not brought any real advancement in music technologies?

Regards!

#22

[Are new singers incompitent?]

No, but the same can rarely be said of the writing lot.

bjkumar#12,16:

Nice comments.

``One of my most pleasant memories as a college student is to have taken those long train trips in Second Class unreserved compartments and being woken up in the morning by the sound of somebody or other singing a bhajan – mostly a filmy bhajan!``

I too have similar memories - of a crowded train with a beggar and his family singing songs like ``Mehlon mein rehne wale hamein tere dar se kya?``

Regarding Sahir Ludhyanvi, let me try to restore your faith in your hero by the following:
1. He is my hero, too, and I have known about his personal life for a long time.
2. What I said is hearsay and there is no documentary proof for that. However, it is quite credible because Sahir was a Punjabi and, unlike UP which had a Hindi-Urdu composite culture, Punjab was dominated by Urdu-Persian influence. This was true equally of Sikhs and Hindus and not just Muslims; indeed they could be easily seen carrying their ``gutkas`` of Gurbani and Geeta in Urdu rather than Gurmukhi and Devnagri.
3. Sahir was a people`s poet not because he could write Hindi like a Shastri but because he could write songs in people`s language that went straight to the heart.
4. If your disappoint was with his being gay, this is true of several other remarkable artists. You are perhaps unaware that fascination with a boy is very much part of the Persian/Urdu poetry; indeed the term Saqi refers to a boy and not a girl.

khurram#22:

``Can it be said with surety that old music is qualitatively superior to new music? What is the real edge of old music which is totally missing in new music?``

This is a value judgement but my bias is clear from the article. I think that the real edge that is missing in the new music (in the context of film music only) is both meaningful lyrics and soulful melodies. Here, I would like to put in a word or two in defence of the new directors - they are simply responding to the changing tastes of their consumers. I have sometimes seen a really soulful song or two in recent films but they rarely become popular. Khayam is still alive but nobody seems to be interested in using his talents.

``Are new singers incompitent?``

No, they are amazing. The proliferation of music competition programs on TV show that there is no dearth of talent. More importantly, if you look at the classical music scene, you find new singers coming up all the time and not just from Pune. Once again, there is dearth of appreciation - Khayam introduced a wonderful new singer, Kabban Mirza in his film Razia Sultan (Aayee zanjeer ki jhankaar Khuda khai kare!) but hardly anyone took notice of him and he was never heard from again.

`` On other side, what are the positive qualities of new style of music, which were missing in old? ``

Maybe background music.

Re:khuram

[...Can it be said with surety that old music is qualitatively superior to new music? ...]

The legendary music director Anil Biswas once said about new songs vs. old songs - ``Naye gaanon se pao thiraktey hain, dil nahi dharaktey`` i.e. the new songs have the rhythm to make you dance but they do not have the melody to touch your hearts. That is the key difference. Even today if you listen to the golden oldies, your heart will skip a beat.

When I hear a Talat Mehmood`s - ``Jaye to jaye kahaan`` or Rafi`s - ``Hum bekhudi mein tum ko pukare chale gayen`` or Lata`s - ``Allah tero naam``. or Noor Jehan`s -``Mujhse Pehli si Mohabbat Mere Mehboob na Maang`` even now I get a weird sensation of pure joy although I must have heard these songs hundreds of times.

Re:dost-mittar

[..Here, I would like to put in a word or two in defence of the new directors - they are simply responding to the changing tastes of their consumers.....]

DM sahib, that is true. But I really really hope someone does a Bob Woolmer on that idiot Himesh Reshmaiyya. Himesh has single handedly destroyed film music with his obnoxious compositions starting with a nasal ``Ouuuuuuuuuuuuuu``!! Aaaarghhh!!

DM
A point, Indian film music is not necessarily limited to Hindi film music. So perhaps you should be talking more about the lack of quality of the music in Bollywood films. While Hindi music languished pretty much in the 70`s there were South Indian films that still carried on with good music through today. Music directors like Illyaraja and Raveendran etc composed excellent music through the 90`s. In fact Ravi Sharma (remember Chaudvin ka chand , Gumraah, Humraaz etc) who stopped composing for Hindi films around 1970 composed and won National awards for his music in Malayalam films.

Perhaps with the coming of Amitabh Bachan and his angry young man image there was less time for introspective music and lyrics in Hindi films . I mean there is some difference between , `` Badi Sooni Sooni hain`` in Mili and ``Khaike Paan banao Rasawala (funnily enough this one is based on Madhma sarang).
Hindi movies during that period did not often explore other avenues. It was usually boy meets girl in the college canteen or angry young man does things for his mother/country/girl/father/....... with the help of a hockey stick. Hardly the stuff to inspire great melodies or lyrics.

Still even in these dark periods we did have good music in decent movies, Gharaonda, Gaman, Ijaazat, Saath Saath.

Things are not so bad today. I`d say there is more decent music now than in the 80`s. We still have Vanraj Bhatia (Sardari Begum), Bhupen Hazarika , Shantanu Moitra (amongst the younger ones) and in my opinion Annu Malik can still compose good music if he were to try, instead of copying. It`s a shame that Border was passed over for the puerile rubbish in Dil to Paagal Hai .

I can go on about orchestration, Shankar Jaikishen used a large orchestra to good effect. It`s not so bad, you just need film makers who understand music and life.

@ Dost Mitter

This is a value judgement but my bias is clear from the article. I think that the real edge that is missing in the new music (in the context of film music only) is both meaningful lyrics and soulful melodies. Here, I would like to put in a word or two in defence of the new directors - they are simply responding to the changing tastes of their consumers. I have sometimes seen a really soulful song or two in recent films but they rarely become popular. Khayam is still alive but nobody seems to be interested in using his talents.


Jane Kahan Gaye Wo Din
Kehte Thay Chahe Jo Bhi Ho, Audiance Ki Shan Barrhayein Gay
Only Meaningful Lyrics aur Soulful Melodies K Geet Banayein Gay
Ab To Magar Commercial Hain Din
Jo Thirakna Chahte Hain On Ko Sirf Thirkayein Gay
Meaning Ya Soul Se Hum Ko Kia
Hum To Paisa He Bas Kamayein Gay

What I have understood out of the replies of Dost Mitter Sahib and Ranjit Sahib is that there has been no decline in talent or technology. In many respects, there has been improvement in both these things. But old music is still qualitatively superior. Secondly my understanding of why old music was more meaningful and soulful as compared to modern music is that in old days, there were only few channels of media. That was the age of Cinema and Radio. People used to see full feature film whenever they went to Cinema. They used to see the full story in one sitting. Music was more meaningful because in those days, songs had to be wriiten with the view to fit them in the story of film. Now it is the age of multi-channels. People have been accustomed to using remote control and they do not watch any single program or film in a single sitting. They usually ``stop`` switching channels when they see some exposure or action. The issue before music directors is not to fit the meaning of songs in the story of film because the real issue before them is how to get audiance stayed at the their channel for a while. People now really do not see full feature film in one sitting. Even HBO channel repeats English feature films many time so that audiance may see full film in different sittings. So in this way, age of meaning or soul has gone. Future music shall be more loudy, fast etc.

Regards!

ranjit#27:

Reshamiyya seems to be a one-trick pony. His popularity is enhanced by what Khurram (#29) has called the ability to keep fingers from pressing the remote button. His popularity is in no small measure due to the racy videos, generally with Emraan Hashmi in them. But I think that he has now peaked. I understand that he tried to change his style in the music of Benaras (I haven`t seen the film) but it flopped.

swarrier#29:

Guilty as charged. I am referring only to Hindi cinema. My familiarity with South Indian music is limited to a small collection of Carnatic music. Of the new music directors you have mentioned, I have not heard of Shantanu Moitra. I like Bhpen Hazarika a lot and Vanraj Bhatia is also okay.

You are right about Shankar Jaikishan using a large orchestra, as did Naushad also to some extent. But I think that their forte was melodious music and not orchestra. I am personally partial to music directors who are economical in their use of the orchestra, such as Khayam, O. P. Nayyar and S. D. Burman. I find Burman to be especially perfectionist in the use of orchestra.

One of the best of Pakistani music world passed away yesterday: May Allah rest his soul in peace.

Nisar Bazmi: Composer of the heart
By Anis Shakur




Nisar Bazmi: Composer of the heart
By Anis Shakur

He was born in 1924 in Khandesh, Naseerabad, Bombay, India, to a religious and God-fearing family.

He did not belonged to an artistic family. Hence he possessed no prior musical background.

Pride of Pakistan, Syed Nisar Ahmed, is the son of Syed Qudrat Ali.

The extraordinary talents of the young prodigy never ringed as true as they did in 1937.

Noted Indian musician of Bombay, Khan Saheb Aman Ali Khan, convinced of Nisar`s musical interest, taught him music.

Equipped with artistic know-how, young Nisar, who was just 13 at the time, quickly mastered the various ragas, the musical instruments and took all music lessons to heart.

The tremendous aptitude of this youth were there, just waiting to be used.

In 1939, the ``All India Radio`` hired him as an artist, which later proved to be a steppingstone for his future aspirations.

The magic moment came in the year 1944.

He composed some songs for a drama, ``Nadir Shah Durrani``, which was broadcast from the Bombay Radio Station.

All the songs of afore mentioned drama were super hits.

A new Indian film producer at that time was moved by Nisar`s composition.

Hence the afore mentioned producer asked Nisar to compose the songs for his film ``Jamana Paar``, which was released in 1946.

Nisar accepted the offer and changed his name to Nisar Bazmi. He dived into his new task with zeal.

Thus a legend was born, whose fabulous music were soon to be heard across the Subcontinent.

Nisar soon achieved maturity and professional recognition.

Before partition, he composed the music for forty films.

Twenty eight films were released during his stay in India. The rest of the movies were released in India after he immigrated to Pakistan.

Mentioned here below are the five films, whose songs were composed by Nisar during his stay in India. These films were released before partition:

``Jamana Paar``, ``Jabe Katra``, ``Dagha baaz dost``, ``Extra girl``, ``Khauf naak Aankhein``.

Nisar migrated to Pakistan on June 21, 1962.

Once permanently settled in Pakistan, he resumed his music career by simultaneously composing songs for two movies:

Director Nazeer Sufi`s film ``Head constable`` (released on September 25, 1964) and director Fazal Ahmed Karim Fazli`s movie ``Aisa bhi hota hai`` (released on February 5, 1965).


With that commenced a resplendent career in which he kept up his initial promise.

Altogether, he brilliantly composed songs for seventy movies during his illustrious movie career.

Nisar is a devout Muslim with a deep- rooted eastern culture. He is a true patriot.

He really is an amazingly humble person.

Furthermore, Nisar is also an accomplished poet. His poetic collection were to be brought to the limelight by his admirer, Shamim Bazil (against his wishes)

Director Raza Mir`s movie ``Lakhoan mein aik`s`` mega hit songs extols the virtues of Nisar`s top rated
Composition:

``Chalo accha hua tum bhool gaye.`` : Noor Jehan.

``Halaat badal naheen saktay``: Noor Jehan.

``Sunn saajna dukhi mun ki pukar``: Noor Jehan.

``Mun mundir kay dyota``.

``Pyar na ho jab dil mein,jeena hai udhura``.

Nisar had literally built a phenomenal career on being cordial. He had fulfilled himself artistically and personally.

His superfluous composition in director S.Sulaiman`s film ``Aag`` brought him to the fore- front of the Pakistani cinema.

``Yoon zindigi ki raha mein``: Mehdi Hasan.

``Mausum haseen hai laykin`` Ahmed Rushdi-Mala.

``Beetay dino ki yaadoan ko``: Noor Jehan.

Pakistan film industry`s visionary musician, Nisar Bazmi, received laurels from his country -men. They are part of his life`s journey.

Spinning magic with sound, he won the hearts of music lovers.

Listeners dare not break the spell that maestro Nisar had woven through his masterpieces in the film ``Anjuman``, directed by Hasan Tariq:

``Aap dil ki Anjuman mein``: Runa Laila.

``Dil dharkay mein tum say``: Runa Laila.

``Izhar bhi mushkil hai``: Noor Jehan.

``Bhabi meri bhabi`` Ahmed Rushdi.

``Lag rahi hai mujhay`` Ahmed Rushdi.

``Yaadash bakhair``: Ahmed Rushdi.

As for the relationship between the listeners and Nisar, there had been an immediate bonding of hearts.

Nisar`s music in director Fareed Ahmed`s film ``Andaleeb``, became the real flame driving his passionate listeners to exalt his prowess:

``Meray dil ki mehfil``: Noor Jehan-Ahmed Rushdi.

``Kuchh loag root kar bhi``: Noor Jehan-Ahmed Rushdi.

``Pyar kar kay hum``:Noor Jehan.

``Geysoowoan kay Aanchal mein``: Ahmed Rushdi.

``Teray jhootay wadoan pay``: Runa Laila.

Director Pervez Malik`s film ``Anmol`` is another instance, where composer Nisar again weaved a spell through his music:

``Pyar insaan ko insaan bana dayta hai``: Mehdi Hasan.

``Mujhay naachh nay do,keh shayad ye ghungru``: Runa Laila.

``Mila kaisa anari sajna``: Runa Laila.

To talk of Nisar is to think of music in a whole new light.

He added visionary revolution to the music for the willing listeners.

Director Pervez Malik`s ``Talaash``:

``Dekha jo mera jalwa``: Naheed Akhtar.

``Pyar ki Aag, nigahoan mein chupaye rakhna``: Naheed Akhtar.

Music buffs continue to enjoy his music until it become second nature to them.

Director Ali Sufyan Aafaqi`s film ``Aas``:

``Boal ri gurya boal zara``: Nayyara Noor.

``Meri marzi mein gaoon gi`` : Runa Laila.

``Humnay deikhay is duniya mein``: Noor Jehan.

Nisar had a magnetic personality.

His highly refined appearance, with a broad smile became one of his great personal strength.

He continued to mesmerize his fans through his compositions:

Director Pervez Malik`s film ``pehchaan``: ``Allah he Allah kya karo``: Naheed Akhtar.

``Mera pyar teray jiwan kay sung rahay ga``: Mehnaz-Mehdi Hasan.

Pakistani audiences were entranced through his compositions for director Hasan Tariq`s film ``Tehzeeb``:

``Laga hai misar ka bazaar deikho``: Mehdi Hasan.

``Aja hum kyon rahein akele``: Runa Laila.

``Tu nay kya shay mujhay pila thee hai``: Runa Laila.

The glowing story of Nisar`s music career was full of surprises.

The Pakistani cine-goers, who have an ear for music and a strong memory of Nisar remember the film ``Wagt ki pukar``(Director: Fazal Ahmed Karim Fazli):

``Jaan-e-mun Aaj tu jo paas nahi hai``: Mehdi Hasan.

``Millat kay jawano ko ye paigham suna do``: Noor Jehan.

``Tum ho haseen,iqraar karo``: Ahmed Rushdi.

Director Raza Mir`s ``Naag muni`` was a great movie in its day, whose songs were composed by Nisar.
``Tun to pay waroon``: Noor Jehan.

``Aaj bhi suraj doob gaya``.

``Saajna ray naina barsay, jeeya tarsay``.

``Mun mein uthi nai tarang``: Noor Jehan.

``Mera imaan mohabbat hai``: Mehdi Hasan.

``Ik albeli see naar`` :Ahmed Rushdi.

``Mein teri yaad ko kaisay dil say bhula doon.

His lilting music in the film ``Jaisay jaantay nahi`` is memorable:

``Aisay bhi hain meherbaan``: Ahmed Rushdi.

Nisar, with a life of dedication, composed songs for director Laeeq Akhtar`s movie: ``Naureen``.
``Haye mera izhar-e-mohabbat``.

``Kitni baar melay hain``: Ahmed Rushdi.

His music appeals to the masses and it is a treasure in real life. He composed every new song with a renewed effort.

Director S.Sulaiman`s film ``Mohabbat``:

``Ranjish he sahi``: Mehdi Hasan.

``ye mehfil jo Aaj saji hai``:Tahira Syed.

``Agar koi puchay baharoan ka mutlab``:Ahmed Rushdi-Runa Laila.

Nisar lend his music for the film ``Saiqa``(producer: Shamim Ara, director: Laeeq Akhtar):

``Ik sitam aur meri jaan``: Mehdi Hasan.

Unforgettable songs like ``Aye baharo gawah rehna``: Ahmed Rushdi-Mala.

``Teray tasawwar mein jo baat hai``

``Jo hum guzaartay hain wo zindigi to nahi`` are still popular today.

Highly revered Nisar confronted every new challenge and enjoyed the exhilaration of victory later.

His superb composition made all the difference in director Shaiwan Rizvi`s film ``Meri zindigi hai naghma``.

``Ik husn ki devi say mujhay pyar hua tha``: Mehdi Hasan.

His music was both convincing and charming in director Iqbal Kaashmiri`s film ``Hum aik hain``:

``Chore meray yaar, koi aur baat kar``

Let us have a glance at his Nigar awards:

Nisar Bazmi won the Nigar award for best composer for the film ``Saiqa`` in 1968.

Nisar Bazmi won the Nigar award for best composer for the film ``Anjuman`` in 1970.

Nisar Bazmi won the Nigar award for best composer for the film ``Meri zindigi hai naghma`` in 1972.

Nisar Bazmi won the Nigar award for best composer for the film ``Khaak aur khoon`` in 1979.

Nisar Bazmi won the Nigar award for best composer for the film ``Hum aik hain`` in 1986.

One of the most astonishing feat of Nisar Bazmi`s life is that in his twilight years, he dedicated himself to memorize the Holy Quran.

All these years later, we now know that he was vehemently desirous to be a Hafiz-e- Quran.

Composers with exceptional qualities like Nisar Bazmi are as scarce as hen`s teeth.

As for his music prowess, it cannot be measured with a yardstick.

A superhit by Nisar Bazmi

http://www.youtube.com/watch?v=adBGsnYiaZk

Re: # 27

Agree with you 100%, except on Bob-Woolmering him. Let BJ find a Gandhian way to deal with him.:)

Re: # 31
DM
You would agree an orchestra is nothing but a vehicle for the music. The real strength of an orchestra lies in providng chordal harmony, a theme that is not exploited by the music of the subcontinent. Our music is monadic and based almost completely on melody and rythm. That may explain the partiality most of us have to more melodic compositions. A large orchestra can negate some of the effect.
In my opinion Salil Chowdhury was the one music director who used an orchestra in a refreshing manner in Hindi films. Often his orchestra does not follow the voice or primary melody but skirts around the main theme This is closer to the western ideal where there are different melodies played by different groups of instruments. Few other music directors have achieved this.
There are other music directors who are out of the public eye like Bhaskar Chandavarkar and Hridayanath Mangeshkar who dabbled in Hindi film music. They are great too.
I am peeved that you did not mention another of my personal favourites, Sajjad Hussain.
Very few compare to him. Listen to the songs of Sangdil, Rustom Sohrab, Hulchul.....

Cheers

swarrier#34:

I liked the music of Sangdil but am not very familiar with his other work. As for orchestra, the point I was trying to make was that too much of orchestra can drown out the effect of the songs and the melody. Here is my idea of the economical use of orchestra: Jaane kya tu ne kahi (instruments are western, btw):

http://www.youtube.com/watch?v=adBGsnYiaZk

BTW songs can be both fun, playful and melodious. Here is an example: Madhubala in Mr. and Mrs. 55 with music of O.P. Nayar and voice of Geeta Dutt.

http://www.youtube.com/watch?v=H8Wc93YnAaI

Enjoy!

#24 DM-jee

[indeed the term Saqi refers to a boy and not a girl.]

NOW you tell me!

Re: # 36
DM
I think our views differ here. I don`t like the orchestra at all in the `Ranjish hi sahi`` video. The strings are too lush and the music has too much of schmaltz. But to each his own.

I like the one from Mr.and Mrs.55, and Dil par hua aisa jaadoo and Jaane kahan mera jigar gaya jee from the same film would emphasise your point.

My favourite line from the movie is when Lalita Pawar asks Guru Dutt `` Aap socialist hain?`` and he says , ``Nahin, cartoonist hoon``. -)

swarrier#38:

Sorry for the mistyping. That was the wrong video (Urstruly`s recommendation). The ``jaane ky tu ne kahi`` video is here:

http://www.youtube.com/watch?v=GHfGON2rnhQ

Re: # 39
DM
It`s a lovely song but the instruments are Indian, you can hear the sitar and bansuri in the background as the tabla etc. By the way the person who posted that on youtube says its from Kaagaz ke phool and if my memory serves me right it is from Pyaasa.
Anyway it does not matter if the instruments are Western or not. We have used the violin in Indian music for a long time and the harmonium was borrowed by us from the Portuguese and modified.
It is the manner of use that would distinguish a western tune from an Indian one. Got to go now. Will be back later.
Its a pleasure reading your article and all is not doom and gloom. Our music will survive.

swarrier:

Yes, it is from `Pyaasa`. Strange that I took Sitar for a Western instrument.

ghanerii zulfo.n ke saaye me.n chhup ke jii letaa........the original poetry of sahir and not filimi one of silsila....dont think he could be gay...admi stands for human in urdu and all humanity loving is gay them....

DM listen to these, you may have already hear them but they are lovely from Sardari Begum a film made in the 90`s

Ghar Nahin

Sanwariya

Huzoor

Raah mein

swarrier#43:

Yes, I have these in my collection. Good songs. But I think that Khayam would have done a better job; also I would have preferred to see somenone like Vani Jairam or Shubha Mudgal instead of Arti Angalikar as the main singer for Sardari.

Re: # 44
I cannot make such a statement regarding composers that differ so widely in styles. I do not think Khayyam has given a completely classical score of this genre.
I have heard a lot of Aarti Anklikar since she is a purely classical singer and very little of Shubha Mudgal to compare the two. Vani Jairam is not entirely my cup of tea.

Dost Mittar -

Hello! Hope you have been keeping well. As soon as I saw the title, I was reminded of the weird tune of this song. I am sorry I never liked the tune and the music behind this song. The lyrics are pretty, but it`s a very depressing tune. I understand that you have tried to compile the music of the bygone era and used the title to attract your audience. I never understood the reason behind our elders liking these melancholic tunes.

In any case, it was nice to see you back. Hope you had a nice break from Chowk.

Regards,
Z

Re: # 46
A good question why we long for melancolic tunes. I can not answer clearly but but tragic things touch our hearts much deeply and we remember distinctly than joyful things. The legend tells the Buddha was so much affected by sorrow he abandoned happy life.
If you think of all major plays we appreciate by shakespear ,Hamlet, Othollo,McBeth, Julious Ceasar and crowning all them is King Lear are all with Pathos . Classical Greek Drama is tragic only and destruction of men and women by orginal sin , which as basic character flaw. If you have listened to western music played at requium or Funerals is very touching. A very touching music is played in Dr. Zivago music when the child is at funeral of his mother and leaves flowers and starts going back with his uncle and the notes are haunting( there two more melancholic tunes for two more occasions in that movies) and they reverberate as they are melancholic. Or famous Turkish death march/ Vinnea is very great sorrowful majestic music. And you remember notes and they can be stunning. In old age we mature and past haunts and you can listen to meloncolic tunes natural to your mental disposition.
Good day.
Meloncoly is also part of sublimation of older mind and its bit with nostalgic ethos not so natural with young people.I feel as we grow old and our children move away on thier way we are left alone and we know we have to carry our cross its lonely path and on this path some thing, like young people bubbly couple gigling or old cat feebly walking you remember times gone and never to come one , or old cats gone charm just remainds you if you are sensetive.As we grow old one becomes , we note mistakes we made and there is pathos and so we old like meloncolic tunes.

swarrier#45:

I agree that Khayyam has not given completely classical music but, in my opinion, Sardari Begum`s music is also semi-classical and that is very much up Khayyam/s alley. As you would be aware, the inspiration for Sardari was Begum Akhtar and some of her best compositions are with Khayyam. I tried to search for her rendition of Ghalib`s ``Sab kahaan kuchh Lal-o-Gul mein numaaiyaan ho gaye`` with music by Khyaam but couldn`t find it. Try a listen if you can get hold of it.

ZahraJ#46:

This is not among my most favourite songs but it served as an appropriate title for this article as it conveyed its messge very well.

As to why we like melancholy music, ahmedmadani has given a good answer. For a musical answer, go to the following website and click on ``hain sab se madhur voh geet``:

http://www.dishant.com/album/Legend_-_Talat_Mahmood_-_The_Silken_Voice.html

Re: # 49
DM and ZahraJ
It`s actually a pretty decent tune. It`s based on the raaga Shivranjani and it conveys pathos pretty well. There is also a tonal variation where a different note is used at one point. Very nice.

As Charles Ives said `` beauty in music is too often confused with something that lets the ear lie back in an easy chair.``

DM, I have a great fondness for Vanraj Bhatia as I have for Khayyam.

Re:swarrier#50

Speaking of Raag Shivranjani, the Kishore song ``Mere Naina Sawan Bhado`` is also in Shivranjani. Awesome raag!!

DM,Warrier et all,

It is great to read this article for its nostalgia, above all else. Somewhere there was a mention of Gulzar, who I think was the last of the Mohicans in terms of the great migration of Urdu poets to Bollywood in the forties/fifties.

Also, while Sahir, Majrooh, Kaifi, Shakeel and Hasrat have got their due, I personally think Gulzar is often erroneously considered a lightweight. My personal take is that while the entire horde of Urdu poets who moved to Bollywood enriched Hindi lyrics at the cost of Urdu poetry, Gulzar alone has outlived them, literally and figuratively.

His being alive and kicking is perhaps out of tune with nostalgic eulogy. But, strictly from a poetic sensibility, I think Gulzar is the most modern, most “grown” lyricist in Hindi films straddling at least two distinct eras of Hindi music.

This is a personal take, but perhaps worth pondering over. Urdu poetry got stuck in romantic phase for so long that it got pickled in it. Its only organic growth after that was in the leftist/socialist/humanistic political poetry. I am here of course speaking of only popular culture.

Gulzar has singlehandedly scraped political paint off Urdu poetry and actually gone on and done things with the language that is still very unpalatable to the purists. The man who started out with mera gora ang laile has also penned hits that can never be connected to him. Think of Goli maar bheje mein in Satya, And yet, in Dil Se he came out with that most brilliant line….jis ki zubaan Urdu ki tarah.

He also used his poetry for unromantic/anti-romantic lyrics like dil vil pyaar vyaar mein kya janoon re…and…tujhe ho na ho mujh ko to itnaa yakeeN hai….mujhe pyaar tumse nahi hai nahi hai…. His romantic poetry is a rich vein of Hindi lyrics through out his career. But those haunting Yaara silli sili…an occasional Beedi Jalaai le jigar se piya…and then that sensuousness of …. Ek so solah chand ki rateiN aur tumhare kaanDhe ka til….and Raah pe rehteiN haiN, yaadoN mein basar kar teiN hai…it takes a lot of maturity to fill out the sheer emptiness of a truck driver….

As regards his lyrics beating the easy metric rhyming scheme…again I think it is what underlines the man’s changing…and growing as a lyricist/poet. I remember reading how R D Burman, a duh with Urdu…and perhaps not really a great Hindi scholar either…saying to Gulzar that he cut the articles of Times of India into some sort of lines…and asked him to put it to tune. That RD’s genius combined with Gulzar’s so well and is now lost….is something Hindi films will always miss. Vishal Bharadwaj is of course a promising talent with the same sensibility.

And let’s not even attempt to put Javed Akhtar in the same bracket as Gulzar…please. Not that anyone has done it so far…but this is just a preemptive statement to cease and desist.


HN

#52 HN

[…moved to Bollywood enriched Hindi lyrics at the cost of Urdu poetry]

The implication that poetry – when it gets adapted into a movie song becomes less of poetry is truly mind-boggling.

Write the stuff in Deonagri.

Write the same stuff in the wiggly script.

What’s the difference?! It sounds the same and it feels the same.

BTW, I was concerned that those ``Nagas`` got to you before you could get to ``complete`` their ``story``.

So, when are you going to start EARNING your “featured writer” status again?

Re: # 51
Ranjit
That is a lovely song. Shivranjani seemed to be a particular favourite of Shankar Jaikishen. Another one I like is from the film Professor, ``Awaaz de ke , humen tum bulao, mohabbat me itna.....
A couple of my favourites are by Lata , ``Khabar mori na leeni, bahut din beete`` LP and Bharat Vyas joining up in Sant Gyaneshwar, and ``Agar tum ho saagar , main pyaasi nadi hoon``, Jaidev and Naqsh Lyallpuri in Tumhare Liye.

Bahadur Shah Zafar`s ``Na kisi ki aankh , ka noor hoon`` in Lal Qila too.

Re: # 50

Swarrier - Poetry, Music, Movies, Art, Literature and other derivates are very taste specific. One person may worship anything sung by Tallat Mahmood, whereas another fellow may not be able to tolerate his voice. I am reminded of some elders who used to play this song at their leisure moment. I am sorry, but I truly dislike it :(

I have read Bahadur Shah Zafar growing up and the poem you have quoted is indeed pretty. I have not heard anyone sing or recite it besides my own self(who used to like reciting poetry once upon a time).

Having learned kathak, I am reminded of my instructor who used to make us practice on some classics. That`s my only memory of these classics. Poetry is definitely a pretty addition to one`s life. If it`s well sung or well recited (like Gulzar`s beautiful articulation), then it leaves you with a beautiful memory. If you do not like the tune of the song or the voice of the singer, then you develop a dislike for the poem or the ghazal or whatever.

``This is a personal take, but perhaps worth pondering over. Urdu poetry got stuck in romantic phase for so long that it got pickled in it. Its only organic growth after that was in the leftist/socialist/humanistic political poetry. I am here of course speaking of only popular culture.``
HN,
Urdu is a language that resists corruption; in this sense it is different from Hindi /English. It requires non trivial education to speak write it correctly;which is probably not different from any other language.But urduwallahs will resist any attempt of cockney Urdu to be included in the literary canon..more vehemently than say,Hindiwallahs.What this does is that it effectively precludes a social class from participating in the literary canon. Even the leftist poetry in Urdu has a romantic /elitist slant to it. Its not ``zameen kii kavita`` a la Nagarjun or Trilochan.

Re: # 55
HN
You can almost picture yearning in those lines
Mora gora ang laile
Mohe shyam rang dai de
Chup jaaoongi hee raat mein
Mohe pee ka sang dai de
Gulzar is wonderful. Another person who enriched Hindi films was Shailendra. It`s a pity that formulaic Hindi films never went beyond the man meets woman formula for lyrics in those films to explore ideas other than yearning, love and all that jazz. I think more lyrics on social consciousness, poetry on contemporary themes would have been wonderful. Given more a chance for lyricists to explore.

Jane Kahan Gaye Wo...

Re: # 57

swarrier, DM:

Since we are onto this - folk, classical music, urdu, hindi etc. Would it be too much to ask you to get into Amir Khusro (Khusrau). No not an article on him, there are many. But sharing some knowledge, here on ``interacts``, which is not commonly known.

What can be more mysterious, spiritual and tittilating as:

``Chap tilak sab cheen .....``

HN#52:

Gulzaar is indeed in a class by himself. Unfortunately, I am not as familiar with his work as of others but he does come across as a master of free-verse, such as ``mera kuchh samaan vapas kar do`` or Rudali`s hauntingly beautiful song, ``dil hoon hoon karay``.

But I would disagree that the Urdu poetry`s only growth ``was in the leftist/socialist/humanistic political poetry``. The only thing the Urdu poets sacrificed for films was their persian vocabulary. And romance oozes through many of their creations. Almost every ghazal sung by Talat Mehmood was rich in romance and/or philosophy. Listen for example, to Rajendar Krishan`s ``yeh hawa yeh raat yeh chaandni teri ik ada pe nisaar hai`` in Sangdil or his ``Yoon hasraton ke daagh mohabbat mein dho liye`` or Sahir`s ``kabhi kabhi meray dil mein khyal aata hai``. Even Hindi poets like Bharat Vyas and Shailander have produced wonderful romantic songs like:

sur aadha hi shyam ne saadha
raha radha ka pyaar bhi aadha
aadhe chhalke nayan, aadhe dhalke nayan
rahi man mein milan ki voh baat aadhi

Or this one from Shailendra:

chori chori aa kay piya baithna sirhane
jaan ke main chup rahungi neend ke bahaane
mujhe chhed ke jagaana re sajna
meray sapnon mein aana re sajna.

I could go on and on..

GT:

Khusrau was perhaps the first Hindi poet, though he was equally good at Persian poetry. His poetry is a classic combination which can be considered as both folk and mystic, for example, his classic ``babul mora neehar chhuto hi jaaye``. BTW I sometimes wonder if the beautiful song ``chhaap tilak sab chheeni re`` was meant to wean Hindus were from ``false religion``.

Re: # 55
Zahra
[Swarrier - Poetry, Music, Movies, Art, Literature and other derivates are very taste specific.]

I`m tempted to say that this is true of Physics , Maths et al. I liked calculus and Electrodynamics and Quantum mech, but was never really enthused with number theory or mechanics. -)

What you say is true to some extent? But you know it takes some time and effort to appreciate any form of art. You might hate a Picasso or a Wagner at the first sight or hearing and then you might go back to look at them in a different light later, and begin to appreciate their creations.

I`m sure some of the elders (they sound like they come out of Tolkien) must have lightened up sometime and romped to ``Aana meri jaan meri jaan , Sunday ke Sunday``... -)

The Bahadur Shah Zafar verse in the film Lal Qila was sung by Rafi and the music was by S N Tripathi. It`s been done by a whole lot of other folks too.

Re: # 62

Swarrier - While we are on the subject, for me it`s always the ``chemistry`` that has to go well :) I have been a calculus and chemistry person through and through. Physics was ok. Heat transfer and Design was where my passion lied once upon a time.

I suggest listening to Gulzar`s introduction to Abida Parveen singing Kabir. That`s the most magnificent work I have come across in ages. I do not ever share my CDs or music collection, but I gave that away to my father`s youngest sister (pophi jaan) who has the appreciation for the said verses and won`t have found them on her own in DC. That`s a huge step for me to part with something that meant a lot to me. I never missed that CD since I still have the cover and it gives me an impression that I still have it somewhere. I may not ever buy it again since I can get it on Rhapsody online. I felt like mentioning that CD since it brings artists from both side together to create magnificence.

People, like BJK, may come back to give me a sermon, ``ama zahra ji, how could you ever think of having kabir, india and pakistan in one sentence? We are all derivates of the same ancestors.`` And, he may have his own point in that :)

I like the cover and the message it conveys. Check it out if you haven`t already.

http://www.sonarupa.co.uk/itm00977.htm

Re: # 61

DM:

You may very well be right. The tradition of weaning people away from the `false religion` always existed and still does in India, even within the Indic religions. Think Mira Bai here for example. According to me, and I know nothing about this aspect, Khusro`s genious (he was supposed to be very arrogant you know) lay in a very intuitive undertanding of the spiritual desires of the common people. Through this, he also understood pathways for reform. At that time there was very little of today`s Hinduism or Islam.

Re: # 55
Zahra
[Swarrier - Poetry, Music, Movies, Art, Literature and other derivates are very taste specific.]

I`m tempted to say that this is true of Physics , Maths et al. I liked calculus and Electrodynamics and Quantum mech, but was never really enthused with number theory or mechanics. -)

What you say is true to some extent? But you know it takes some time and effort to appreciate any form of art. You might hate a Picasso or a Wagner at the first sight or hearing and then you might go back to look at them in a different light later, and begin to appreciate their creations.

I`m sure some of the elders (they sound like they come out of Tolkien) must have lightened up sometime and romped to ``Aana meri jaan meri jaan , Sunday ke Sunday``... -)

The Bahadur Shah Zafar verse in the film Lal Qila was sung by Rafi and the music was by S N Tripathi. It`s been done by a whole lot of other folks too.

Re: # 65

How on earth did this thing get posted twice. I`m begining to believe there are gremlins on the net. -)

Zahra
Thanks for the CD suggestion. I have not heard it and I shall definitely get a copy. I began to appreciate Hindi/Urdu later in life not being a native speaker.

Poetry in my first years in school was a dreadful subject. I always thought as a kid that a person called Anonymous wrote a lot of English poetry that he shouldn`t have.

Music was a different experience. I craved complexity in it. I suppose you could say music soothes the dumb beast. -)

RE: #59
GT
I know very little about Amir Khusro that is not common knowledge.

Re: # 66

swarrier - Interestingly I learned about Kabir by a learned Indian fellow on Chowk. He had just mentioned Kabir to me and I guess the same year I came across this CD and was pleasantly surprised. Besides all the fiascos on Chowk, that`s a good introduction to something very sweet.

GT

I think the Indic view has always been that while religions can be false, or take false steps, there can never be one perfectly true, and certainly not the sole true religion. Any `religion` that made such a claim is, by Indian definition, a patently false religion.

You would, therefore, be hard put to find anybody in long years of Indian traditions ever making such an exclusivist claim.

If DM Sahib disagrees, we could surely listen.

kaal#68:

I think that what GT meant was the tradition of speaking up against false rituals and superstitions which is a time-honoured tradition in India - from Buddha to Nanak and continues to the present day. Kabir was part of that tradition although I am not so sure about Mira Bai being in the same mould. She was more into devotion than religious reform.

DM

True, debate and criticism (shastrarth) of all traditions WAS the Indian tradition, in which every heretic pretty soon became a hero or heroine to some groups of people (until Europe-educated Gandhi and Nehru decided to freeze the Indian mind with their silly insistence that every idea must be respected no matter how illogical and unacceptable it may be).

DM and kaal,

1. Meera opposed rituals and emphasized love (you may call it devotion). Nizamuddin, Khusro etc. did something similar.... don`t you think?

2. kaal you make a very subtle point. Let me go ahead and make a very heroic statement - for the unwashed masses in the sub-continent, Islam was NOT PERFECTLY true by and of itself. Perfection is being imposed by a subsect which has gained new followers - the chattering class or what I call Pakistani aunties. Mr. Bin Laden`s chamchas from the West were amazed at the `rituals` followed by the Afghans and desis. What appaled them further was that these rituals were tolerated in the camps. Furthermore, Mr. BL did not discourage such rituals .... as long as the `ritual` of jehad reigned supreme.

I do not want to disrupt the romance and nostalgia in the air, but I have to express my dislike for Nur Jehan`s voice. I could never stand a single song sung by her. I do not even remember if I ever listened to one complete song by her. I would rather listen to the horrible voice of Mukesh...I am sorry that`s a bad example. Mukesh was even worse. ugh.
Lata was far more tolerable. Aasha B has some spark in her voice.

Re:ZahraJ#72

[...I do not want to disrupt the romance and nostalgia in the air, but I have to express my dislike for Nur Jehan`s voice. I could never stand a single song sung by her.....]

Lahoulwilaquat!! Madam, you are a philistine!! I am sorry to say but you have no appreciation for any of the finer things in life. How can you make such a crass statement? Have you listened to her sing - ``Mujh se Pehli si Mohabbat, Mere Mehboob na Maang``? I think you should just listen to Himesh Reshmaiyaa day in and day out. Sorry to be harsh, but this was just too much to stomach....

Re: # 67

I have a CD with Kishori Amonkar singing some of Kabir`s work. I have not listened to it in almost 10 years but I must dig it up. It was titled after Kabir`s ``Ghat Ghat mein panchi bolta``. There is one bhajan by Mirabai too. I did not think that it was as good as her other works. She is my favourite Hindustani classical vocalist. Her live performances are something to savour.

I used to have strong opinions on Mukesh too. However there is some magic in his voice and one must sometimes sacrifice perfectness for expression. Otherwise I would never be able to listen to any western singer except the classical ones. A large majority of pop , rock and even jazz musicians cannot hold a note to save their lives.

Lata was different. Most music directors kept her singing in the upper register because few people could sing accurately at that pitch and secondly I guess they wanted the heroine to be the good little virginal girl who never grew up. Lata`s voice seemed to have some fo that quality at that pitch. Some of her non film songs that explore the lower registers are superb.

I liked some of Nur Jahan`s earlier works but the later ones were rather limited.

Re: # 73

ranjit - You are more than welcome to appreciate the vocals that I would not even go near. That`s what happens when good poetry is sung by someone you are not very fond of. By the way, who is HR? I do not listen to indian singers or pre-partition singers. So, I guess I never developed the taste. But it seems that HR is a character from Lord of the Rings :) May I please suggest that you keep him in your back pocket...No need to let him out.

Re:ZahraJ

[..By the way, who is HR?....]

Just go to any Indian music channel and they are ALWAYS playing Himesh Reshmaiyya. Every song starts with a deep nasal twang with a ``OOOOUUUUuuuuuuuuuu!!!``, so you can imagine the impact on the ears. He is the modern day Cacofonix!!

#73 by ranjit,

She hasn`t heard her `Sunjey dil waley booey, ajey main nayu dhoey` either.

Philistine is right. And a hypocrite on top of that.

#74 by swarrier,

What you said about Mukesh is correct. He is said to have been `bey sura`, when compared with the likes of Rafi and Manna Dey. But there was indeed a magic in his voice. So it`s not always about the `sur` ... or is it? If it was only the `sur`, there wouldn`t be half the genres there are ...

Re: # 78
No there wouldn`t be. I mean would we listen to rock for example. It`s full of besur vocalists. Look at Eric Clapton singing ``Lay down Sally``, quite terrible vocally but still an odd quality to the voice. Or Mark Knopfler singing ``Romeo and Juliet``. In the begining I tried to listen only to the Dobro guitar and try to forget the vocals. But the song grows on you.
But as Zahra mentioned earlier a lot of it is personal taste. Some of it is the milieu you are born into. For example see the similarities here.

asmahan

and
awaara

The second tune adapted from the first is in the raaga Bhairavi. Most Indians/Pakistanis would like it. Most Arab listeners would love the other.

Dost-Mittar and other old timers,

Sorry to disturb the nostalgic stupor of all of you senior citizens! But I think it is senseless to sing the past for such a long time when there are modern singers of great talent easily available. Problem is that you just don`t want to listen to the latest film music. You are too biased to give an ear to it. Don`t think for a moment that all that is coming out of Bollywood is harsh noise or fake pop music. For a try would you be kind enough to listen to following songs readily available online with Musicindia.com. I assure you on its behalf that it will not desecrate the image and the idol firmly ingrained in your minds. Just you listen to them peacefully with clear heart and open mind.

1)Ya ali by Zubeen from Gangster
2)Kaho na kaho by Amir Jalal from Murder
3)Main yahan hoon by Udit narain from Veer-Zara
4)Chori chori jab nazrain milin by Kumar Sanu and Sanjivani from Kareeb

There are many more but I`ll not waste my time listing all of them. First have some feel of the things new. I am not too sure you will bother yourself even this much.

Samar

samar#80:

Some of the new songs are good but they do not have the durability of the old songs. Why, I even found myelf humming Reshmayya`s ``jhalak dikhla ja`` after I heard it wherever I went to in India during my last trip.

Re: # 80
Compositions by M M Kreem in Paheli, Shantanu Moitra in Parineeta , A R Rahman (Swades, Thakshak etc) when he is not being A R Rahman, are very good. Jatin-Lalit etc have given us pretty decent tunes.
Udit Narayan and Sonu Nigam, Kay Kay, Shreya Ghosal, Sunidhi Chauhan are good singers.

I don`t particularly care for the selections you have chosen.

this like sucks...i completely agree with warrier re k. amonkar, various new singers and composers (incl the great vanraj bhatiaa ...he also had a couple of asha bhosle number like chahe mar dalo raj, chahe kat dalo raja in sardari). i thankfully disagree with dm that todays songs wont last because they lack some inherent quality. i think even songs like ``aeri ri re aeri ri, kya hain yeh paheli`` from yadein (?) are great songs but get quickly forgotten because in todays world there is information deluge (warrier mentined takshak and those were very good songs too).

in ``good ol days`` we got to listen to some relatively simple songs like zillion times (e.g. lari lappa lari lappa etc) on vividh bharti and radio ceylon because there was no other entertainement medium available. repetition causes a song to become hit, this is a well-known thing in western pop-world where music publishers would blitz radio stations by paying-bribing DJs to repeat songs so that they become hits.

and mukesh is perfect for singing after a few drinks..

Re: # 79

Swarrier - I am not sure if anyone would care for Eric Clapton or Simon G or Frank S when Shakira`s ``hips don`t lie`` is playing. There has to be some spark or beat in the music.

The CD I had mentioned earlier has beautiful lyrics, but I do not care much for the music. It`s very slow. You have to be in a certain mood to listen to it. It can evoke nostalgia. Just wanted to give you heads up to avoid any disappointment.

#79 by swarrier ,

A very good example of how a totally off-key (bey-sur) note can build the entire theme is the accoustic prelude of Emerson Lake & Palmer`s `From the Beginning` from their album `Trilogy`. This was the first time I realized Sur is not everything. In fact, Sur is quite predictable while the strategic placement of a single shockingly off-key note sets the mood for the whole composition.

I concluded from it that Sur can be learnt, but bey-sur is the work of creative genius :)

#79 by swarrier ,

A very good example of how a totally off-key (bey-sur) note can build the entire theme is the accoustic prelude of Emerson Lake & Palmer`s `From the Beginning` from their album `Trilogy`. This was the first time I realized Sur is not everything. In fact, Sur is quite predictable while the strategic placement of a single shockingly off-key note sets the mood for the whole composition.

I concluded from it that Sur can be learnt, but bey-sur is the work of creative genius :)

Re: # 81, dost-mittar saheb,

Durability has to do with time and let 30, 40 or 50 years pass and then, if god permits, judge. I can give you some clues. Take the songs of Ek duje ke liye, Sajan, Aashiqui, Lekin. Twenty years have passed and the music still lingers. So, if you keep listening you will find almost equal percentage of great music all the time. Yes, I must say th