From "Begum Akhtar" to "Pankaj Udhas"

Once domain of 'Baijis' and 'mujra' ghazal is now the most popular form of light music in the 1980s. Till a few years ago, traditional forms of light music, like 'thumri', 'dadra', 'kajri', 'Jhoola' and 'ghazal' were associated with 'professional' women. Society looked down upon these forms of music. Nawabs, Rajas and Jagirdars, however, encouraged such music. Singing sessions were held on special occasions, where the audience comprised only men. Tracing ghazal Asha Bhosle singing back to the Thirties, one can find some distinct phases in the growth of the ghazal.
From the very beginning of the talkie era (1931), ghazals have been used in films. Kajjan, Jaddanbai, K. L. Saigal, Goharbai, Zohrabai Ambalewala and Ameerbai Karnataki, the singing stars of the Thirties, all sang a number of ghazals for films. But on the non-film front, there were few recordings. These were rendered by Akhtaribai Faizabadi (later known as Begum Akhtar), Kamla Jharia, Malika Pukhraj and Jankibai. During the Forties, Talat Mahmood emerged as a popular artiste of the light ghazal form, while Ustad Barkat Ali Khan (younger brother of Ustad Bade Ghulam Ali Khan) pioneered the semi-classical form of ghazal singing. While Talat came down to Bombay (from Calcutta) and, became a playback singer, .Barkat Ali Khan died a premature death.
Begum Akhtar acted in a few films, sang a few film songs and finally opted for a career in ghazal singing outsidefilms. Towards the late Fifties, ghazals had acquired a certain amount of respectability. Suraiya, who never cut a non-filmi record in her life, sang a number of extremely popular ghazals epitomised in the film 'Mirza Ghalib'. A number of films relied very heavily on ghazals to decorate their music score. 'Pukar', 'Mahal', 'Shahjehan'; 'Pyasa', 'Kaagaz Ke Phool', 'Chaudhvin Ka Chand', 'Barsaat Ki Raat', 'Mughal-eAzam', 'anpadh', 'Jahan Ara', 'Noor Jahan', 'Ghazal', 'Pakeezah', 'Nikaah', 'Baazaar' and 'Umrao Jaan' are some such examples.
Thanks to music directors like Khemchand Prakash, Ghulam Haider, Naushad, Ghulam Mohammed, Roshan, S.D. Burman, Madan Mohan and Khaiyyaam, poets like Shakeel Badayuni, Majrooh Sultanpuri, Raja Mehdi Ali Khan, Kaifi Azmi and Sahir Ludhianvi and singers like Mohammed Rafi, Lata Mangeshkar and Asha Bhosle, the ghazal has now become a popular singing form, a favourite with the masses at large. Hitherto savoured only by the aristocracy, the ghazal became a favourite of the man-in-the-street too.
Now settled in Pakistan, Mehdi Hassan launched a one man crusade to popularise ghazals. In the Sixties, he was joined by Ghulam Ali, Farida Khanum, Malika Pukhraj, Noor Jehan, Husain Baksh and Habib Vali Mohamed. These singers evolved a new style by the fusion of the light and the classical strains. Both, the layman and the connoisseur could now be catered to. Both began to identify with it. In the Seventies, Parvez Mehdi Laila went on a number of tours abroad and visited India too. 'Khan Saheb' (Mehdi Hassan) triggered-off a ghazal wave in India. His 1978 tour of India laid the foundation of the 'ghazal boom'. And then Ghulam Ali took the ghazal world by storm,
He blended 'khayaal' and 'thumri' styles with ghazals and the recipe was an instant hit. Ghazal singers of the new generation and a significant portion of the audience regard him as probably the most popular ghazal singer around. Ghulam AIVF impact on the ghazal world was forceful and undeniable. How the ghazal came to acquire its present form and popularity in India will require a separate study, however, one can rightaway identify two schools of ghazal singing in post independent India. Ahmedi Begum Chopra, Shanti Hiranand, Nirmala Devi, Shobha Gurtu, Mujaddid Niazi,Saadat-Bin-Ashraf form one school, a school that lost its charm with the advent of the Sixties and all but disappeared in the Seventies. The other, 'modern' generation of ghazal singers emerged in the mid-Sixties, took shape in the Seventies and is reaping rich rewards in the Eighties. Rajendra-Nina Mehta, Jagjit Chitra Singh, Rajkumar Rizvi, Pankaj Udhas, Anup Jalota, Talat Aziz, Ashok Khosla, Hariharan, Penaaz Masani and Ahmed-Mohammed Husain exemplify the other school, influenced by film culture.
Some mistaken souls suffer from the misconception that ghazals based on 'shastriya' (classical raags) music are less popular than those recorded in the light music style. To set their doubts at rest, here is a list of no less than fifteen ghazals. All fifteen are largely based on'raags'and all

fifteen are very popular, even after many years of their being recorded.

A hundred and fifty 'years ago, one of the greatest poets of Urdu, Mirza Asadullah Khan Ghalib' said,"a ghazal without music was like a cup without wine". Set to memorable tunes, hundreds of ghazals have since been immortalised.

http://o3.indiatimes.com/ghazals/archiv ... 92042.aspx

YW Anu! Asha ji has her own sub speciality in gazals.

Thanks Barnali di. Seems like Asha is the favorite so far. Will try to get some article on the duo. Always look forward to your contributions.

Talath Mahmood: King of gazals
April 1, 2007
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Hindi Movie Songs

One of my lecturers used to say that the soul of vintage music can only be felt when you close your eyes while listening to it; as melody doesn’t require any celluloid visuals to prove its worth. You will realise this when you listen to the songs of Talat Mahmood.
His songs can create a new world inside you. As you listen to his songs, the melodious voice takes you into a magical world, where you get to see different people with different emotions. You may see an emotionally wounded lover, a teenage fun loving guy, a depresed drunkard, a painter or a ramantic prince. As you go on listening to Talat’s voice, you start relating to their emotions as I did. This is when you will realise that music does not realy need a vedio to showcase itself; rather it will create virtual imges in the back of our minds when we listen to it.
The voice of Talat Mahmood is very unique for the fact that it gently grows inside you. You will be surrounded by the sheer moods of these songs. I think no other singer can sing light romantic songs, sad songs and gazals the way Talat saab did. His expressive style and emotional naunces are hardly found in any other singer.

‘bechain nazar betaab jigar, ye dil hai kisi ka diwana haye diwana’

This light romantic song says the feelings of a lover boy with utter simplicity and Talat conveys the lyrics in much more simple way yet touching our hearts. There are hundreds of such master peices sung by Talat.

‘mera qaraar le jaa mujhe beqaraar karjaa dam bhar tho pyaar kar jaa’

‘ye hawa ye raat ye chaandni’

‘ankhon me masthi sharaab ki kaali zulfo me aanhe shabaab ki’

and

‘mein dil hu ek armaan bharaa tu aake mujhe pehchaan zaraa’

Songs like these represent the same mood yet retaining its uniqueness. Talat has worked with many eminent music directors. Naushad, S D Burman, Anil Biswas, Madan Mohan, Shankar Jaikishan and O P Nayyar to name few of them.
I find a very strong relation between Talat saab’s songs and the beautiful evenings. His songs are enjoyed better in the evening. Perhaps, this is why he has sung many songs on the theme ’shaam’.

’shaam-e-gham ki kasam’

‘phir wohi shaam wohi gham wohi thanhaayi hai’

When it comes to Urdu lyrics, who else can sing the poetic lines of Ghalib - with that kind of passion - other than Talat Mahmood?

‘dil-e-naadaan tuje hua kya hai?’

I love the duets talat sang with Shamshad begam, Suraiyya, Lata Mangaeshkar, Asha Bhosale and Geeta Dutt. They are too melodious and will haunt you forever.

‘milte hi aankhe dil hua diwaana kisi ka’

‘mohabbath me eise zamaane bhi aaye’

’samaa ke dil me hamaare zara khayaal rahe’

‘chaahe naina churaao chaahe daaman bachaao pyaar hoke rahega’

‘pyaar par bas to nahi hai’

‘itna na mujhse tu pyaar badaa’

I can’t think of any songs by other singers which can match up to the calibre of these romantic songs. Romantic songs come out very beautifully in the velvet voice of Talat.



The one genre of songs which Talat Mahmood was famous for was the sad songs.

‘hai sab se madhur woh geet jinhe hum dard ke sur me gaathe hai’

‘andhe jahaan ke andhe raasthe jaaye tho jaaye kahaan?’

‘aansu samajh ke kyo na mujhe aankh se tune gira diya’

‘ei dil mujhe eisi jagah le chal jahaan koi na ho’

‘ei game dil kya karu Ai vahshate dil kya karu’

‘ei mere dil kahi aur chal gham ki duniya se dil bhar gaya’

‘chal diya karvan lut gaye hum yahaan’

‘dekh li teri khudaayi bas mera dil bhar gaya’

He has sung folk-based songs also. I wonder the way he balances the variety of light romantic, folk and gazals and manages to carry the ‘trade mark of talat’. In urdu songs he emphasises the royal richness of zaban-e-urdu and in folk songs he maintains the utter simplicity of rural life.

‘chali kaun si des gujariyaa tu sajh dhaj ke’

‘jaa jaa re sub na jaa re kahee de sajanwa se’

Talat was born in Lucknow in 1924. He began his music career at the age of 16. Initially he used to sing gazals of Galib, Mir and Jigar for AIR. HMV was the first recording company to recognise his singing talent. HMV did the honours of bringing out his first gazal album. This made him a star and he was soon welcomed in Bombay film industry. His first few songs made him the king of film romantic songs and rest is a history as we know today.

He passed away in 1998. But his songs and his memories will be always cherished by his fans all over the world.

When I am too depressed and want to get rid of my daily tensions I switch on to Talat’s songs. Talat’s voice is more of a meditation to me.


http://astroshiva.wordpress.com/2007/04 ... of-gazals/

ZIKAR UNKA ZABAN PER AYA- YEH KAHIN DASTAAN NA HOJAYE
Malika Pukhraj of Jammu By Muhammad Murtaza
Malika Pukhraj was born in village Mirpur16 miles from Jammu and 55 miles from Akhnoor - over looking Jammu River. She was Malika with the blessings of a "Majzoob" Baba Moti Ram and named Pukhraj by her Aunt. Her father neglected family affairs but mother insisted to get her educated. They shifted to Jammu Town where she learnt Urdu and Persian from a distant uncle Gulzar Hussain Shah. She also read Fasana-e-Azad and Ratan Nath Sarshar. She had melodious voice from childhood. She received music lessons in a Delhi sojourn from very strict Ustads. – arduous "Nirith Bhav". One of her teacher has been quoted as Ustad Mubarik Ali Khan. Father of Bare Ghulam Ali Khan Sahib also nurtured her. At the age of 9 appointed at the Darbar of Maharaja Hari Singh of Kashmir. She remained there for nine years - performed at the coronation ceremony of the Maharaja. Maharaja was also an amateur singer. Once she laughed in Maharaja’s Darbar on some funny happening – This being viewed as contempt and was warned by Janak Singh. Due to some intrigues she left the Kashmir State service. She had never performed publicly before that. Afterwards she was associated with Lahore Radio Station. She has a distinct and clear style of rendering Ghazals. Her tunes matched the theme. Folk singing by her is in most natural style. Her voice is most suitable for Pahari Songs. She also occasionally sings for TV.

At the time of independence there were in all four film studio in Pakistan (all at Lahore) including two studios of Dilsukh Pancholi. One of the Pancholi Studios was initially allotted to Afzal Himaliyawala but the allotment was cancelled in 1954 and the same was re-allotted to Malika Pukhraj.(renamed as Malika Studio).





"Ahed-e-Rangeen ki Yadgar hun Mein"

She lived in old Lahore City at that time. Shabbir Husain Shah a Government Officer very much liked her singing and actually they were in love. They were then married. She continued singing after marriage. She has six children. Malika is considered to be a very harsh teacher of music. Safiea - her eldest daughter with marvelous voice shunned singing under taunts of her schoolmates. One of her daughters (Tasleem) is an anesthesia expert (Wife of S.M Zafar- Advocate and Ex Minister). Daughter of S.M.Zafar used to occasionally sing on TV. Malika’s daughter Tahira (Law Graduate) under strict compulsion has learnt singing. .She re-sung many of her mother’s famous songs. Malika is considered to be too frank in expressing her critical observations about others –

Mr. G.N. Joshi pays tribute “Malika Pukhraj’s silvery rich voice and her superb expressive style were ideally suited for rendering romantic ghazals and dadras; she used to present them in such an arresting manner that listeners were at once held spellbound. She displayed rare virtuosity in diverse types of songs for the recordings for gramophone discs and during radio broadcasts. While the ghazals appealed most to the sensuous, her dadras had a unique charm..”

Her famous songs are listed below:

“Be zubani zaban na ho jae-Raz-e-ulfat aeyan na hojae” Ghazal
“ Zahid na keh buri ke yeh mastane Aadmi hein”
“Wo kehte heih rajish ki batein bhula daen” Ghazal
“Her ek lawa-e-rangeen ki yadgar hun mein”
“Mein jo madhosh hua hun”
“Nigah-e-yar jise ashna-e-yar kare”
“Ajab dastan afreen hae”
“Dil gham mein na behla”
“Hum bhi piyein thumein bhi pilain tamam raat-Jagein tamam raat jagaen tamam raat”
“Taskeen ko hum na roen jo zoq-e-nazar mile”
“Kesa jadoo dara balam matvare” Dadra
“Sooratia raang jui re” Dadra
“Ahein jo mein ne rokein”
“Hal dil wo pochne aane lage”
“Jag soz-e-isq jag”
“Lo phir basant aai” Seasonal Geet
“Aye koi tou beth bhi jae zara si der”
“Shab-e-gham ki sehar nahein hoti”
“Jis ko na taab-e-isq ho uski gali mein jae keun”
“Zulmat kade mein mere shab gham ka josh hae”
“Jalwa tera jis rang mein hae hosh ruba hae”
“Jhoom kar badl uthi aur cha gai”
“Nikat-e-zulf se neendon ko” Ghazal
“Meri sham-e-gham ko” Ghazal
“Abhi tou mein jawan hoon” Naghma
“Ae isq mujhe barbad na kar”
“Ae ishq kahein le chal”
“Hein labrez ahoon se”
“Aayo ke marg soz-e-mohabbat”
“Muhabbat ka soz-e-nihan”
“Ess andaz se kash wo shokh”
“Ahed rangein ki yadgar hun mein”
“ Kia keh gai kisi nazar kuch na poochiye”
“Arey mae gusaro savare savere”
"Woh batein teri who fasaney terey"
"Ne Ka Ne Nam Rakh Dia Kis Ne" Amin Hazeen, Master Inayat
"Lehra ke la Jhoom ke la" Abdul Hamid Adan, Master Inayat
Geet “Mora kaha maan ja”, “ O Ghare wali”
Naats “Ae isq -e-muhammed”
“Hue pehloe amna se haveda”
“Dil jis se zinda hae woh tamana thumi tou ho”
“Zamane mein chamka hae nam-e-mohammed”
“Kamli wale thujh pe”
“Mae ishq-e-nabi hae aur mein hoon”
“Pardesi sanwaria”
“Chali ja mori nayia”
Holi “Holi mein mose”
“Baat chalat chundri rang dali”
Punjabi “phondo majuria nahin lana”
“Chirye ranarahona”
“Nimmi nimmi pendi-e-phuwar”
“Akhian terian chor ni”
“Nimmi nimmi tarian”
“Piplan te pengha paiyan”
Pahari “Toun toun ghar aaja”
“Milne do mouj moya”
“Palpal bahi jana ho”
Films
Do-Kinare -"Dekh lenge duniya", "Chand ansoo chand"
Punjabi Film
Shammi - Urdu Song “Kia sunain majboor zindagi ka afsna”
Urdu/Punjabi Duet with Inayat Bhatti "Dermat dil ki batein kehle- Ek duni duni do duni charey"

Azadiye Watan
“Han O madi jindri” , “Watan Churaio”
Others
“Mein to chokre ko bharti kara ayi re”



After death of her husband she mostly devoted time to embroidery in moghal art style. Now she spends much of her spare time in a mini zoo and garden at her residence.

She is the most senior legendary singer of the whole sub-continent. Writer Ashfaq Ahmed wishes her to live beyond his lifetime. God may bless her with health and happiness.

Courtesy: Ali Sufian Afaqi Esqr.
http://members.tripod.com/oldies_club/m ... ukhraj.htm

Link to the songs
http://www.songsmastee.com/download.php ... an+Hoon.rm

Mehndi Hasan

Mehdi Hassan: The virtual virtuoso
By Anis Shakur

Aye duniya kya tujh say kahain ja cheir na hum deewano ko
Pighli hui is Aag may jal kar mar nay day perwano ko

Once in a lifetime, a man is born who will shake the consciousness and passion of the music industry. Such a man is Mehdi Hassan.

Khan Saheb Mehdi Hassan was born in Luna, which is 107 miles from Jaipur, Rajasthan, India. According to a news report he inherited music from his ancestors, who came from fifteen generations of musicians. In other words, Mehdi Hassan is the culmination of fifteen generations of musicians. Arguably, he is the sixteenth one in that lineage.

His teachers began teaching him music as soon as he could talk. Mehdi Hassan's father, Ustad Azim Khan, was a notable classical singer in his time.

Maharaja of Jaipur was convinced of his talents after listening to his renditions.

Mehdi Hassan started learning music at the age of six and his father was his first music teacher. At eight years of age, Mehdi Hassan gave his first public performance at Maharaja of Barodi's place.

Additionally, Mehdi Hassan was thoroughly trained in a wide variety of vocal music like 'Dhru pad', 'Khayal', 'Thumri' and 'Dadra'. He has really gone to the depths to master the gorgeous musical pieces as well.

Mehdi Hassan's uncle, Ismail Khan, also played a key role to groom him in different aspects of music. Thus, Mehdi Hassan grew up surrounded by music and musicians.

He migrated to Pakistan after partition and adopted the profession of an automobile mechanic in Sargodha, Khushab. Fortunately, for the world, after that respite, he resumed his music career.

In times due course, Mehdi Hassan moved to Karachi and started seeking work in his true love, music. He debuted in 1952 from Radio Pakistan Lahore, where he recorded the perennial ghazal, 'Guloan may rang bharay, baad-e-nau bahar chalay', composed by Ghulam Qadir, elder brother of Mehdi Hassan.

Mehdi Hassan got his start in the Pakistani film industry, Karachi, in 1962, with his debut film song 'Meray khayal-o-khawab ki duniya liye huay', film 'Shikar'.

Next, he recorded the ever- green song 'Jis nay meray dil ko dard diya', Riaz Shahid's directional debut film 'Susraal', 1962, composer, Hasan Lateef.

In 1962, he also rendered the renowned song 'Mujh ko Aawaz day tu kahan hai', film 'Ghunghat', director- composer- writer, Khursheed Anwar, pictured on Santosh Kumar. 'Ghunghat' was based on the grand theme of music.

Since then, Mehdi Hassan's thinking and his future had been transformed into his unparalleled voice. It was as though both his career and his life were charmed. Below is a song which launched him into a life of true success:

'Ik deewanay ka is dilnay kaha maan liya', Mehdi Hassan- Noor Jehan, film 'Qaidi', 1962. He reveled in a glorious new life style, as 'Guloan may rang bharay, was re- recorded in 1964 for the film 'Farangi', composer, Rasheed Attre, ghazal, Faiz Ahmed Faiz, pictured on Alauddin, script- writer, Riaz Shahid, director, Khalil Qaiser.

Talking of Mehdi Hassan's accomplishments, he is well known for his mastery over 'sur and 'lai'. Innumerable admirers of this great human have a singer in Mehdi Hassan, who rule their hearts and minds through his unrivalled songs like the six below:

'Aye roshnio kay sheher bata', film 'Chingari', 1964.

'Qissa-e- heer waris shah', film 'Heer Sial', 1965.

'Aa kay day ja wak haion ni', film, Heer Sial', 1965.

'Lagi ray, lagi lagan meray dil mein', film, 'Jalwa', 1966.

'Meray dil kay taar, bajay baar baar', 'film, 'Payal ki jhankar, 1966.

'Khuda wanda ye kaisi Aag see jalti hai seenay mein', film, 'Lori', 1966.

As time passed by, he picked one success after another. He had a specialty in both tragic and romantic numbers. Mehdi Hassan has been a virtuoso of music, carrying on what he called his life- long relentless excursion into practicality. He is famous for the six splendidly recorded songs below:

'Dil-e- weraan hai, teri yaad hai, tanhai hai', film, 'Aa'ena', 1966.

'Dil diya dard liya', film, 'Lakhoan mein aik', 1967.

'Ye kaghazi phool jaisay chehray', film, 'Dewar bhabhi', 1967.

'Mujhay tum nazar say gira to rahay ho', film, 'Doraha', 1967.

'Yoon zindigi ki raha mein', film, 'Aag', 1967.

'Ab to Aa ja kay tujhay yaad kiya hai mein nay', film 'Dil mera dharkan teri', 1968.
His past performances inscribes in listeners mind a sense of humanity that is exclusively its own. Therefore, he holds a singular place in our hearts. The song below had evoked tears even from strong men:

'Aye bay kasoan kay wali day day hamay sahara', Mehdi Hassan- Mala, film, 'Behan bhai', 1968.

It sounds incredible that Mehdi Hassan attained so much popularity in his short life span, but it is true. The audience always gave him an enthusiastic response, which was well deserved.

Moreover, his ingenuity and artistic virtuosity won every heart. Below are six quick examples:

'Ik sitam aur meri jaan, abhi jaan baqi hai', film, 'Saiqa', 1968.

'Aye dil teri Aahoan mein asar hai kay naheen hai', film, 'Taj Mahal, 1968.

'Raqs zanjeer pehan kar bhi kiya jata hai', film, 'Zarqa', 1969.

'Aap ko bhool jayain hum', film, 'Tum milay pyar mila', 1969.

'Apnay pehlu mein meray dil ko machal janay do', Mehdi Hassan- Noor Jehan, film 'Tum milay pyar mila', 1969.

'Zulf ko teri ghataon ka payam Aaya hai', film, 'Saalgira, 1969.

So great is Mehdi Hassan's involvement and dedication to music that those who know him adore him. His ultimate excellence was a product of total commitment and hard work over the long term. Mehdi Hassan, who was from the beginning mostly recognized for his artistic creativity did full justice to the six songs below:

'Teri mehfil say ye diwana chala jaye ga', film, 'Dard', 1969.

'Saamnay Aa kay tujh ko pukara naheen', film, 'Dard', 1969.

'Duniya ko ab kya samjha yein' film 'Baazi, 1970.

'Tu jahan kaheen bhi jaaye, mera pyar yaad rakhna', Mehdi Hassan- Noor Jehan, film, 'Insaan aur Aadmi', 1970.


'Unhe ko dhundh rahi hai nigah-e- shauq meri', film, 'Chand Suraj', 1970.

'Jo bazahir ajnabi hum say bay ganay bhi hain', film, 'Neend hamari khawab tumharay', 1971.

Mehdi Hassan's is the music you want to live with. His singing voice has no parallel in the annals of Pakistani music. Put another way, in the fifty-seven years of Pakistani music, Mehdi Hassan stands alone. Listening to his magical voice is like listening to a haunting melody, which flows and ripples from a flute. His wistful voice is all the more evident in the six songs below:

'Chal chaliye duniya dee us nukray jithay banda na banday dee zaad howay', Mehdi Hassan- Noor Jehan, film, 'Duniya paisay dee', 1971.

'Khuda karay kay mohabbat mein wo maqam Aaye', film, 'Afshan', 1971.

'Sau baras ki zindigi mein aik pal' film 'Insaaf aur Qanoon', 1971.

'Kyon hum say khafa ho gaye aye jan-e-tamanna', film, 'Salam-e-mohabbat', 1971.
.
'Jaan-e-jaan tu jo kahay gaoon may geet naye', film, 'Aansu', 1971.

'Zulm rahay aur Amman bhi ho', film 'Ye Amman', 1971.

Most definitely, he brings to the song the sobering sense of a true singer. His voice carries a serene sound. It is a sober voice. In reality, it has every thing to do with capturing ones feelings from the innermost recesses of ones heart. When it came to songs with emotional impact, composers usually turned to Mehdi Hassan. Six examples below:

'Laga hai husn ka bazaar deikho', film 'Tehzeeb', 1972.

'Dil mein to mohabbat hai laykin kehtay huay kyun sharmatay ho' film, 'Afsana zindigi ka', 1972.

'Mera Iman mohabbat hai, mohabbat ki qasam' film, 'Naag Munni', 1972.

'Ga meray deewanay dil, is duniya say kya hasil', 'Daulat aur duniya', 1972.

'Meri wafa ka taqaza hai mujh say pyar karo', Mehdi Hassan- Noor Jehan, film 'Daulat aur duniya',1972.

'Ranjish he sahi dil dukhanay kay liye Aa', film, 'Mohabbat', 1972.

When Mehdi Hassan sings, his voice itself is an instrument, the listeners feel the music glow within them. As the public heard his voice rise, every note was in place, warm and confident. He had been assiduously honing his craft over the decades. Looking back over his half- century of performance, one comes across such favorites as the six songs below:

'Ik baar chalay Aao, phir Aa kay chalay jana', film 'Ek Raat', 1972.

'Phir mujhay Aap ki bahoan ka nasha yaad Aaya', film, 'Ehsaas', 1972.

'Pyar duniya kay her gham ko mita dayta hai', film 'Anmol', 1973.

'Aaj tak yaad hai wo pyar ka manzar mujh ko', film, 'Sehray kay phool', 1973.

'Mera kuchh haq to naheen hai', film, 'Zindigi', 1973.

'Mujhay kar dayna deewana, teray andaz mastana', film, 'Naya Raasta', 1973.

It was reported in the press that during Mehdi Hassan's stay in Bombay, Lata Mangeshkar visited him bare footed, and touched his feet as a mark of respect. Mehdi Hassan lent his voice to the beautifully composed, solidly researched lyrics. Below are six examples:

'Tu husn ki devi hai, mein hoon tera pujari, film, 'Kubra Aashiq', 1973.

'Hamaray dil say mat khelo, khilona toot jaye ga', film, 'Daman aur chingari', 1973.

'Mein jo shayer kabhi hota, tera sehra kehta', film, 'Bahisht', 1974.

'Kyon puchhtay ho kya tum say kahoon', film, 'Bahisht', 1974.

'Chalo kaheen door ye samaaj chore dain', Mehdi Hassan- Mala, film, 'Samaaj', 1974.

'Hum chalay is jahan say, dil uth gaya yahan say', film, 'Dil lagi', 1974.

Mehdi Hassan had the magic touch and he used it well. All those songs, which were recorded in the voice of Mehdi Hassan have became the gold standard. Once the hand- written lyrics on the paper comes in contact with his hands, they are either transformed into a master- piece song or a cherished ghazal. Hence, Mehdi Hassan is the maestro with the Midas touch. Six examples below:

'Saath hamara chutay na, yaad rahay ye baat', Mehdi Hassan- Noor Jehan, film 'Dil lagi', 1974.

'Mohabbat zindigi hai aur tum meri mohabbat ho' film, 'Tum salamat raho', 1974.

'Pyar bharay do sharmilay nain', film, 'Chahat', 1974.

'Teray bheegey badan ki khushbu say' film, 'Sharafat', 1974.

'O meri sanwali, saloni mehbuba' film, 'Shama', 1974.

'Na ghar say nikalna, yoon zulfain bikheray' film, 'Shama', 1974.

Music prodigies start honing their gifts and devote the rest of their lives to a ferocious discipline, to the exclusion of almost every thing else. Mehdi Hassan is one of such prodigy. He is almost a perfectionist and he sang with the intensity of a mastersinger. His dedication was absolute while recording the six songs below:

'Rafta rafta wo meri hasti ka samaan ho gaye' film, 'Zeenat', 1975.

'Sub kuchh khuda say maang liya tujh ko maang kay' Mehdi Hassan- Nahid Akhtar, film, 'Teray meray sapnay', 1975.

'Hoon haan kartay kartay', film 'Anari', 1975.

'Mera pyar teray jeewan kay sung rahay ga' film, 'Pehchaan', 1975.

'Tujhay pyar kartay kartay meri umer beet jaye' film, 'Mera naam hai mohabbat', 1975.

'Bay Iman chahun tujhay sub -ho- shaam' film, 'Jab jab phool khilay', 1975.

The love and admiration, which his fans lavish on him, is astounding. Listening to his singing voice is to experience a wave of emotion rising from our core. Through his voice, Mehdi Hassan gave his nation the classic seventies songs. Below are six assorted songs of the 1970s:

'Apna jeewan sheeshay ka khilona he to hai' film, 'Naukar', 1975.

'Jo dard mila apno say mila' film, 'Shabana', 1976.

'Teray siwa duniya mein kuchh bhi naheen' film, 'Shabana', 1976.

'Naam Aaye na tera pyar ki ruswaye mein' film, 'Surraiya Bhopali', 1976.

'Kabhi mein sochhta hoon kuchh na kuchh kahoon' film, 'Aa'ena', 1977.

'Mujhay dil say na bhulana' film 'Aa'ena', 1977.

The high profile reputation he had created in the beginning of his career as a vocalist has only increased in the recent past. He is a shining example of one man making a big difference-in his case, through the power of his voice. The impact he created through the six songs below is worth mentioning:

'Ishq sachha hai to phir wada nibhana hoga' film 'Ishq ishq', 1977.

'Naina ray naina tum he buray, film 'Ishq ishq', 1977.

'Hamari sansoan may Aaj tak wo hina ki khushbu mehek rahi hai' film,Meray huzoor', 1977.

'Teray meray pyar ka aisa nata hai', film 'Sallakhain', 1977.

'Thehra hai sama hum tum hain jahan' film, 'Ambar', 1978.

'Jis din say deikha hai tum ko sanam' film, 'Ambar', 1978.

Mehdi Hassan was never outclassed. He always remained singer number one in the eyes of music listeners. This music celebrity had every reason to feel buoyant, as he continually strived to remain a world- class performer. The sheer brilliance of his voice, the way he lifted it up was uniquely his own. The six songs below have become a staple of Pakistani film scores:

'Baant raha tha jab khuda saray jahan ki naimatain', film, 'Nazrana', 1978.

'Tu meray pyar ka geet hai' film, 'Aawaz', 1978.

'Jhukay, jhukay naino walay chayn mera lay gaye' film, 'Bandhan', 1980.

'Tum bhi khafa ho, loag bhi barham hain dosto' film, Khan daan', 1980.

'Yaad -e-mazi azab hai ya Rab' film, 'Aahut', 1982.

'Aaj tu ghair sahi, pyar say bair sahi' film, 'Dehleez', 1983.

The linguistic distinction between a sad song and a very tragic song may seem tiny. However, Mehdi Hassan has definitely drawn distinction between the two of them. Six examples below:

'Tark-e-ulfat ka sila pa bhi liya hai mainay' film 'Dil mera dharkan teri.'

'Nazaroan nay bhari Aahain' film 'Naghma-e-sehra'.

'Raat ki bay sukoon' film 'Sawaal'.

'Dil bohut udaas hai' film, 'Paristan.'

'Zindigi ja chore day peecha mera' film, 'Jawab do.'

'Tum zid to kar rahay ho' film, 'Dard.'

Mehdi Hassan enjoys an exceptionally high international following. Though he retired from active singing, his myriad of fans could not get his songs off their minds. Every adorer who has an ear for music and a strong memory of the past may recall the enormous impact of the six songs below:

'Mehfil to ajnabi thee' film, 'Mera ghar meri jannat.'


'Bohut yaad Aayein gey ye din' film, 'Anila.'

'Jab bhi chahain ik nai surat bana lay tay hain loag' film 'Saza.'

'Hamay koi gham naheen tha gham-e-Aashiqi say pehlay' film, 'Shab Bakhair.'
'Zindigi mein to sabhi pyar kya kartay hain' film 'Asmat.'

'Ab kay hum bichhray to shayad kabhi khaboan mein milain' film, 'Angaray.'

Mehdi Hassan's most prominent fans include the former Indian Prime minister, Atal Behari Vajpaye, Lata Mangeshkar and Aasha Bhonslay. Mehdi Hassan performed at the residence of Vajpaye in 1978. 'Music and poetry know no boundaries.' Said Mehdi Hassan.

He further said 'Jo haq Pakistan ko meri ghazloan per hai, wohi Hindustan ko bhi hai, unho nay mujhay kam pyar naheen diya.' It is impossible to overlook the influence of his six songs below on the listeners:

'Tum hain deikhoon tumharay chahanay waloan ki mehfil may' film 'Piya Milan ki Aas.'

'Ik husn ki devi say mujhay pyar hua tha' film 'Meri zindigi hai naghma.'

'Baat karni mujhay mushkil kabhi aisee to na thee' film 'Shareek-e-Hayat.'

'Aye jaan-e-wafa dil mein teri yaad rahay gee' film 'Tasweer.'

'Dil mein to mohabbat hai laykin, kehtay huay kyun sharmatay ho.'

'Tanha thee aur hamaysha say tanha hai zindigi.'

Every adorer was moved by Mehdi Hassan's unmatched singing prowess, as they brushed tears of deeper emotion from their eyes. Three examples below:

'Ik baar chalay Aao, phir Aa kay chalay jana.'

'Hum say badal gaya wo nigahain to kya hua.'

'Aakhri baar mil rahay hain hum.'

The national songs in Mehdi Hassan's voice captured the essence of what life in Pakistan really is about. Two of them became the most radio- requested songs from 1965 onwards:

'Apni jaan nazar karoan, apni wafa paish karoan.'

'Allah kay waday pay mujahid ko yaqeen hai.'

Likewise, the national song below seems to catch the patriotic fervor of Pakistanis, and lifted their spirits:

'Ye watan tumhara hai, tum ho pass baan is kay.'

After receiving the 'Pride of performance' Award, Mehdi Hassan proved for the umpteenth time that he is unmatched. The authentic legend of Pakistani music, Mehdi Hassan and his music was brought to the lime light in July 2001, when Karachi television center presented Mehdi Hassan with a life time achievement Award.

Mehdi Hassan won the Nigar Award nine times in his career. He received six of them in a row which is a record:

Mehdi Hassan received the Nigar Award for best singer in 1964 for the film 'Farangi.'

Mehdi Hassan received the Nigar Award for best singer in 1968 for the film 'Saiqa.'

Mehdi Hassan received the Nigar Award for best singer in 1969 for the film 'Zarqa.'

Mehdi Hassan received the Nigar Award for best singer in 1972 for the film 'Meri zindigi hai naghma.'

Mehdi Hassan received the Nigar Award for best singer in1973 for the film 'Naya Raasta.'

Mehdi Hassan received the Nigar Award for best singer in 1974 for the film 'Sharafat.'

Mehdi Hassan received the Nigar Award for best singer in 1975 for the film 'Zeenat.'

Mehdi Hassan received the Nigar Award for best singer in 1976 for the film 'Shabana.'

Mehdi Hassan received the Nigar Award for best singer in 1977 for the film 'Aaena.'

His son operates a music academy in the U.S.A. Another son, Asif Mehdi, is a gifted singer as well. Mehdi Hasan has been one of the most dominant forces in Pakistani show business for five decades. Apparently, he is the greatest vocalist to exultant countrymen.

Though he has stopped singing, his past performances speaks volumes nonetheless. Unfortunately, he is not feeling well nowadays. The government of Pakistan has agreed to bear all his medical expenses.

Over and above, Mehdi Hassan's songs and ghazals will always remind us of the spirit of renewal and adventure that is the core of our national heritage.

Link to Mehndi Hasan songs
http://ww.smashits.com/music/ghazals/so ... hasan.html

I like the Jagjit Singh - Gulzar pair as well.. Gulzar is the best when it comes to lyrics for Ghazals..

Jagjit Singh

This Section contains the profile and bio of famous Bollywood movies singer Jagjit Singh. In this page you will find complete information about his personal life and singing career. We have also listed the awards and popular songs of Jagjit Singh.

Birth: Feb 8th, 1941
Birthplace: SriGanganagar, Rajasthan.
Profession: Playback Singer, Bollywood.
Family: Wife Chitra Singh

He is the numero-uno of the ghazal world. His poignant and meaningful lyrics and hauntingly mellow voice stimulates many a thinking mind.Jagjit Singh's articulation of tenderness and exclusive choice of lyrical poetry of renowned Urdu poets has helped him create a fond and firm niche in millions of hearts. The Ghazal maestro Jagjit Singh brings a welcome respite from the raucous Bhangra dhols and the inanity of Indipop.Jagjit Singh is known for imparting sensibility to the declining standards of Indian music. His latest album "Aaeena" is a delectable music treat replete with ghazals and songs of love, longing, pain and separation.



Jagjit Singh was born on 8th February 1941 at SriGanganagar in Rajasthan. His father Sardar AmarSingh Dhiman, a Government servant, originally hailed from Dalla village in Ropar district and his mother Sardarni Bachchan Kaur came from deeply religious Sokhi family of Ottallan village near Samralla. His siblings include four sisters and two brothers and he is fondly called Jeet by his family.Although his late father always wanted him to pursue IAS as a career, he took immense pride in his son's achievements in the world of music today. Schooling was done from Khalsa High School at SriGanganagar. He passed his Inter in Science stream from Government college, SriGanganagar. He graduated in the Arts stream from DAV College, Jalandhar. He also acquired a Post Graduate Degree in history from Kurukshetra University, Haryana.

His association with music goes back to his childhood days when he was twelve years old. He first learnt under Pandit Chaganlal Sharma for two years in SriGanganagar. After which for another six years he learnt under Ustad Jamaal Khan of Sainia Gharana, under whom he learnt all forms of Indian ClassicalMusic - Khayal, Thumri and Drupad and gained early recognition from his recordings at HMV and EMI India. He always had an open mind and was ready to learn from lesser known but talented musicians throughout his college days.

He first learnt under Pandit Chaganlal Sharma for two years in SriGanganagar. After which for another six years he learnt under Ustad Jamaal Khan of Sainia Gharana, under whom he learnt all forms of Indian ClassicalMusic - Khayal, Thumri and Drupad. He always had an open mind and was ready to learn from lesser known but talented musicians throughout his college days.

He reached Bombay in 1965 and his struggle from another wannabe to the pinnacle of Ghazal started. Like any other struggler, he too had his share of trials and tribulations. He never had a god-father and hence it was an uphill task to survive in Mumbai. He lived as a paying guest and accepted every singing assignment that came his way - be it jingles for ad films or performing at weddings and parties.



In 1967 Jagjit met Chitra who hails from a Bengali Shome family of Calcutta. Her mother, Krishna Roy, was a Classical vocalist. Chitra was the only child of her parents. She did her graduation in English Honours and also learnt Classical Music and Rabindra Sangeet in Calcutta. She had a diverse range of interests, ranging from painting to dance forms like Manipuri and Bharat Natyam. They got married in 1969. Jagjit Singh pioneered the ghazal wave in India in 1976, thus creating a new music genre with his debut album "The Unforgettables" with wife Chitra. Against the backdrop of a delectable amalgamation of western and Indian instruments he gave a new form to ghazal and nazm.The love affair that started with 'The Unforgettables' continued well into 'Ecstasies'. It flew high with 'A Sound Affair' and grew passionate with 'Passions'. Needless to say, that all of them disappeared from the shelves like magic. And magic it was, of the duo's voice, of the blissful romance and the utter blithesome quality of their Ghazals.

While the above-mentioned albums were breezy, 'Beyond Time' released in the opening years of nineties was an experimentation with sounds and conveyed a feeling that was beyond space and time. Around this time the duo was struck by grief as their only son Vivek Singh met a car accident, on July 28, 1990.Chitra stopped singing and retired completely from singing after the sudden death of their only son.Shocking, as it was to them, it was as much shocking for the innumerable fans across the world. The album is a tour to the soul, ethereal, conscientious and introspective. Fraught with pain, the album in one word is touching. 'Someone Somewhere' has become the last album by the duo together and subsequently Chitra Singh called it quits.

The towering persona of Jagjit Singh braved the tragedy and continued alone treating the listeners with gems like 'Hope', 'In Search', 'Insight', 'Mirage', 'Visions', 'Kahkashan', 'Love Is Blind', 'Chirag' and a few others. 'Sajda' in collaboration with Lata Mangeshkar was another brilliant release and made its mark as a classic Ghazal album. His evergreen ghazals like "Baat Niglegi To Phir" and "Sarakti Jai Hai Rukh Se" are still hummed for their sheer magic and charm. His musical genius was further exhibited through filmi ghazals for films like "Prem Geet", "Saath Saath" and "Arth". Of his latest release there is an album of his ghazals "Saher" and two compilation albums "Jazbaat" and "Dil Kahin Hosh Kahin" along with singers like Lata Mangeshkar and Asha Bhosle.

Like a true genius, Jagjit Singh did not restrict himself to Ghazals and has also cut a few albums of Bhajans. 'Maa', 'Hare Krishna', 'Hey Ram...Hey Ram', 'Ichhabal' and also 'Man Jeetai Jagjeet' in Punjabi, put him in the league of Bhajan singers Mukesh, Hari Om Sharan, Yesudas, Anup Jalota and Nitin Mukesh.

Of late, there has been a clear shift in the mood of his Ghazals; they have acquired a more soulful and poignant demeanour, as in 'Marasim', 'Face To Face' and the latest 'Aaeena' 'Cmy For Cry'. But all through this romance never took a backseat! The journey to the soul is punctuated by romantic pauses like 'Dil Kahin Hosh Kahin'. A testimony to his popularity is his Ghazals in recent Bollywood flicks like 'Dushman', 'Sarfarosh' and 'Tarkieb'. In addition to cultivating his own successful career, Jagjit Singh has been involved in guiding many new talents such as Talat Aziz and Vinod Sehgal. He is also active in several philanthropic endeavors such as the Library at St.Mary's, Bombay Hospital, CRY, and ALMA, an organization whose focus is to adopt students for further education and development.

Best Of :
Award Movie
Sahitya Akademi - 1998 'Mirza Ghalib' ( TV Series )
Madhya Pradesh Government's Lata Mangeshkar Samman - 1998
Best Of Jagjit Singh:
Song Movie
Hosh Valon Ko Khabar Kya Sarfarosh
Koyi Fariyaad Tere Dil main Tum Bin
Tum Itna Jo Muskura Rahe Ho Arth
Jhuki Jhuki si nazar bekarar Arth
Chithhi na koyi sandesh Dushman
Tum Itna Jo Muskura Rahe Ho Arth
Pyaar muz se jo kiyaa to kyaa paaogee Saath Saath
shaam se aankh mein Marasim
Tumko dekhaa to ye kayaal aayaa Saath Saath
Koyi Fariyaad Tere Dil main Tum Bin

http://www.hindilyrix.com/singers/singe ... singh.html