It's kind of mixed where Madan Mohan ji starts singing in his voice along with some subtle instruments in the background probably in a informal session with very average recording quality. Then the Tere liye song transitions in, which is essentially the same tune. During the entire track this mixing & transitions keep happening. Same with other songs of the album.
Fursat ke raat din.....
- Thread starter Ashenden
- Start date
From Bandini (1963). The only song in that film by Gulzar, the rest having been penned by Shailendra.
Beautiful music by S.D. Burman.
Beautiful music by S.D. Burman.
Listen to Mora Gora Ang Laile Song by Lata Mangeshkar on Gaana.com
Play Mora Gora Ang Laile Song by Lata Mangeshkar from the album Bandini. Listen Mora Gora Ang Laile song online free on Gaana.com.
gaana.com
Thanks for the info. I found the video where I have heard this son.
Gulzar's collaboration with R D Burman has given us several remarkable albums.
Filmmaker Shekhar Kapur’s debut venture, Masoom(1983) came out at a time when the majority of the mainstream movies had quite predictable story lines and one-dimensional characters. In this adaptation of Erich Segal’s novel, “Man, Woman and Child”, Shekhar Kapur and Gulzar(screenplay, dialogues and lyrics) bucked the trend to give the moviegoer a protagonist, who was both flawed and confused (as a real man would be) and a plot devoid of villains
“Tujhse Naaraz Nahin Zindagi….. “ from the movie, written by Gulzar and sung by Anup Ghoshal captures the protagonist’s state of mind exceedingly well
Filmmaker Shekhar Kapur’s debut venture, Masoom(1983) came out at a time when the majority of the mainstream movies had quite predictable story lines and one-dimensional characters. In this adaptation of Erich Segal’s novel, “Man, Woman and Child”, Shekhar Kapur and Gulzar(screenplay, dialogues and lyrics) bucked the trend to give the moviegoer a protagonist, who was both flawed and confused (as a real man would be) and a plot devoid of villains
“Tujhse Naaraz Nahin Zindagi….. “ from the movie, written by Gulzar and sung by Anup Ghoshal captures the protagonist’s state of mind exceedingly well
Hope this post isn’t out of context. I enjoyed watching this Rajya Sabha TV interview with one of the greatest composers of Nepali film music. Ranjit Gazmer was a drummer with Darjeeling’s first rock band called The Hillians. He moved to Kathmandu in the early seventies and thereafter to Bombay where he spent a major part of his musical career with RD Burman. This interview makes one realise that Gazmer was the man behind some of Hindi cinema’s most melodic songs. His simplicity is disarming. The man seems as beautiful and uncomplicated as his tuneful melodies.
And who, of my generation and older, can forget this 
Gulzar, in a conversation with author Nasreen Kabir, said: “words should amaze or amuse”. He opines that what ultimately stays in the listeners mind is the tune to the song and when it starts galloping, you need reins to hold on to it. The words become useful there. They are the reins that allow you to ride the horse.
There were instances when he wrote the words beforehand to suit the storyline and the composer had to do his magic on them. Jagjit Singh, who had collaborated with Gulzar for the Ghazals he had written also agrees that there is always a “twist” in his unique poetry and composing can become difficult at times. Be it the innovation, like the 3-lined poetry, Triveni, which he uses in Ghazals or clever word play, there are many instances when the roles were reversed and his words started galloping; the composer had the uphill task of reining him in
I’ll include two curveballs of word play which he had thrown at the composer R D Burman ( which he deftly handled)
“Mera Kucch Saaman….” from Ijaazat(1987) sung by Asha Bhosle
“Do Naina……” from Masoom(1983) sung by Aarti Mukherji
There were instances when he wrote the words beforehand to suit the storyline and the composer had to do his magic on them. Jagjit Singh, who had collaborated with Gulzar for the Ghazals he had written also agrees that there is always a “twist” in his unique poetry and composing can become difficult at times. Be it the innovation, like the 3-lined poetry, Triveni, which he uses in Ghazals or clever word play, there are many instances when the roles were reversed and his words started galloping; the composer had the uphill task of reining him in
I’ll include two curveballs of word play which he had thrown at the composer R D Burman ( which he deftly handled
)“Mera Kucch Saaman….” from Ijaazat(1987) sung by Asha Bhosle
“Do Naina……” from Masoom(1983) sung by Aarti Mukherji
Another example of his word play that I love
Then there is the wonderful Maachis
Then there is the wonderful Maachis
Thanks for sharing this show, Moktan
It is indeed refreshing to see such simplicity in an age where achievement and arrogance go hand in hand. Quoting on simplicity from the Austrian mountaineer Heinrich Harrer’s book “Seven Years in Tibet” in which he terms simplicity as the very essence of being alive, “The absolute simplicity. That's what I love. When you're climbing your mind is clear and free from all confusions. You have focus. And suddenly the light becomes sharper, the sounds are richer and you're filled with the deep, powerful presence of life. I've only felt that one other time.” There is another dialogue in the same book with a lady friend of his during his stay in Tibet, on the dichotomy between achievement and greatness which I feel is also relevant in this context,
Harrer, who was used to bragging about his mountaineering exploits with his friends, Pema Lhaki(the lady friend) observes: “This is another great difference between our civilization and yours. You admire the man who pushes his way to the top in any walk of life, while we admire the man who abandons his ego”
From the same show on Rajya Sabha TV, I happened to watch the interview with Gulzar. He too displays the same refreshing humility as he recalls his childhood and nightmares the partition brought in, his beginnings as a motor mechanic and love for literature and poetry. It’s an hour long episode and a delightful watch to all his admirers as he speaks of his associates, Bengali friends, influence of Tagore, influence of Persian and Urdu poets, influence of literature in his movies and his penchant for imagery and showcasing the details in those images, social causes he is interested in, all in his deep and soothing voice
Bhaskar Jyoti Talapatra
Well-Known Member
Can't refrain myself from expressing my mind. Friends I have never seen you. Perhaps will never see you. But our choice is so common and our favourites too. This is for music only IMHO, keeping aside the rigs. Thanks to our lovely forum for which we though from different locations, languages can share our emotion.
Regards
Regards
Bhaskar Jyoti Talapatra
Well-Known Member
Gulzar and RD Burman duo
Rudaali and Lekin were two landmark albums from the early 90s. They share more than a few common attributes. Gulzar had penned the lyrics for both and screenplay for Rudaali and directed Lekin, both were based on short stories by Bengali writers; while Rudaali was based on a short story by Mahasweta Devi, Lekin was an adaptation of Tagore’s work. Both the albums had exceptional songs which are Hindustani classical derivatives which have stayed evergreen.
Gulzar through his lyrics, displays his penchant for painting images (and details in those images) with words, in both the soundtracks exceedingly well.
From Rudaali, composed by Bhupen Hazarika
From Lekin, composed by Hridaynath Mangeshkar
Gulzar through his lyrics, displays his penchant for painting images (and details in those images) with words, in both the soundtracks exceedingly well.
From Rudaali, composed by Bhupen Hazarika
From Lekin, composed by Hridaynath Mangeshkar
Filmmaker Bharatbala in association with the Azim Premji Foundation has produced a short film on the Padma Shri award winning poet, Haldhar Nag from Odisha. The film is 8 mins long and features a narration by Gulzar as he follows Haldhar's inspiring story and poetry.
Gulzar narrates,
"I am writing a letter to you Haldhar. Son of the soil of Sambalpur, this Adivasi poet. His language is Kosli,”
“When this poet steps on the earth of his village, it feels like he is walking across the globe and when he speaks to himself, it feels as if he were speaking to every individual living on this globe,”
“And he says to himself, flowing from the oceans, from the mother’s breasts, a drop of heavenly nectar has descended upon the poet’s pen,”
Gulzar narrates,
"I am writing a letter to you Haldhar. Son of the soil of Sambalpur, this Adivasi poet. His language is Kosli,”
“When this poet steps on the earth of his village, it feels like he is walking across the globe and when he speaks to himself, it feels as if he were speaking to every individual living on this globe,”
“And he says to himself, flowing from the oceans, from the mother’s breasts, a drop of heavenly nectar has descended upon the poet’s pen,”
Today is Lata ji's 90th birthday. An iconic song dwelling upon the abstract concept of identity, from Kinara composed by RD Burman, to commemorate her contribution to music
Naam gum jaayegaa, chehraa ye badal jayegaa
Meri awaz hi pehchaan hai, gar yaad rahe.......
Naam gum jaayegaa, chehraa ye badal jayegaa
Meri awaz hi pehchaan hai, gar yaad rahe.......
The Wire has published a 2 two-part series over the weekend, celebrating the life and work of Mirza Ghalib on his 150th death anniversary. Ghalib had brought Ghazal to the masses (of his time) and Gulzar (IMO) brought Ghalib’s poetry and life story more accessible to the modern man, through his TV series. For all admirers of Urdu poetry, this article is one to be read and bookmarked.
Part 1: https://thewire.in/books/150-years-of-mirza-ghalib-genius-ghazal
Part 2: https://thewire.in/books/150-years-of-mirza-ghalib-how-he-navigated-turbulent-times-inspired-future-rebels
Bonus: here is a Ghazal from the TV series, (for translation, see)
Part 1: https://thewire.in/books/150-years-of-mirza-ghalib-genius-ghazal
Part 2: https://thewire.in/books/150-years-of-mirza-ghalib-how-he-navigated-turbulent-times-inspired-future-rebels
Bonus: here is a Ghazal from the TV series, (for translation, see)
Bhaskar Jyoti Talapatra
Well-Known Member
Hi
Sandeepda
Kudos to u for sharing such a nice info. Both Ghalib and Gulzar saheb are my fave. Though I don't know Urdu , I like it as it sounds very sweet to my ears. Would try to read when time permits.
I am always by the side of our glorious legacy,be it Rabindrasangeet, movies of Ray, Ritwik Ghatak, Mrinal Sen,or poems of the renowned predecessors, I like to cherish all those gems in my mind Thanks again for scaffolding.
Regards
Bhaskar
Sandeepda
Kudos to u for sharing such a nice info. Both Ghalib and Gulzar saheb are my fave. Though I don't know Urdu , I like it as it sounds very sweet to my ears. Would try to read when time permits.
I am always by the side of our glorious legacy,be it Rabindrasangeet, movies of Ray, Ritwik Ghatak, Mrinal Sen,or poems of the renowned predecessors, I like to cherish all those gems in my mind Thanks again for scaffolding.
Regards
Bhaskar
Oh yes! The Ghazals sound absolutely sweet and divine. I too have an issue understanding Urdu (and Bengali). For watching movies in an unknown language, we can manage to get by in understanding the story/situation with translations (subtitles), but with poetry, we also need an interpretation of the verse plus the aphorisms used by the poet. Jagjit Singh and Gulzar too have chosen select verses which suited the context, in the Ghazals which were part of the TV serial, adding their own interpretation to it. In this regard, I found the posts on the blog linked below to be very good for understanding the difficult words and in appreciating the Ghazals better. You might find them useful too
https://rahulnegi.blogspot.com/search/label/ghalib
Bhaskar Jyoti Talapatra
Well-Known Member
Hi
Sandeepda
Rightly spoken about our unknown languages ( to comprehend) . In my master's I had comparative literature and I found it difficult to make out the dramas or poems written in languages other than English. For example I had to compare Sophocles's Oedipus Rex with Kalidasa's shakuntala and I groped in darkness while reading the Sanskrit version of that dramaHowever music and poem have something in common because both of them have universal language and both can never be translated. Translation kills the flavour of the original. That his why once W.B.YEATS forbade Tagore to translate his Bengali poems into English. But we have no option but to accept subtitles or translation to enjoy.
Regards
Bhaskar
Sandeepda
Rightly spoken about our unknown languages ( to comprehend) . In my master's I had comparative literature and I found it difficult to make out the dramas or poems written in languages other than English. For example I had to compare Sophocles's Oedipus Rex with Kalidasa's shakuntala and I groped in darkness while reading the Sanskrit version of that drama
However music and poem have something in common because both of them have universal language and both can never be translated. Translation kills the flavour of the original. That his why once W.B.YEATS forbade Tagore to translate his Bengali poems into English. But we have no option but to accept subtitles or translation to enjoy.Regards
Bhaskar
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