While Roshan and Madan Mohan generally proceeded in tandem, one or the other created a special niche for himself in some genre. Roshan became known as the undisputed master of qawwalis, whereas Madan Mohan became a byword for ghazals. The essential difference in the two forms is not one of content, but of singing style. Therefore, it would have been surprising if Madan Mohan had not composed any qawwalis. And a search does lead to some nice qawwalis by him. Of course, Roshan’s several qawwalis have achieved everlasting fame.
What is the difference between a ghazal and a qawwali? Since “we all know it when we see it”, I would limit myself to some basics. Very simply, ghazal is now the most popular form of Urdu poetry. Its theme is generally love, yearning, and drinking wine at a tavern. This can be interpreted and enjoyed at the surface level. There has also been a Sufi tradition of viewing it as love and yearning for the Supreme Being, wine as a metaphor for divine knowledge, and tavern, the place where one gets enlightenment. The two views of love in ghazal are known as Ishq-e-haqiqi (Divine Love) and Ishq-e-majazi (Earthly Love).
Originated in the 7th century pre-Islamic Arabia, it spread through Persian and Turkish poets, reaching the Indian sub-continent where a new syncretic language Urdu evolved from local dialect mixed with Persian/Arabic influence. Amir Khusro (13-14th century) is regarded as the first Urdu poet. Urdu Ghazal reached its apogee in the 18th and 19th century, with Ghalib becoming globally known.
More than the genre, ghazal is known for its form, and rigid rules of meter and rhyme. Ghazal comprises a collection of about 5-6 (going up to a maximum of 15-16) two-line couplets, known as she’r. All the couplets in a ghazal have to be in the same meter (beher). The two lines (misra) of the first couplet (matla) have to end with the same set of words (radeef), for example Unko ye shikayat hai ki hum kuchh nahi kahte/ Apni to ye aadat hai ki hum kuchh nahi kahte. In the remaining couplets, only the second line of each couplet has to be humradeef, for example Kuchh kahne pe toofan utha leti hai duniya/ Ab ispe qayamat hai ki hum kuchh nahi kahte. Besides, the word preceding the radeef has to rhyme (kafiya), for example shikayat, inayat, qayamat in the above ghazal. Sometimes the poet mentions his name in the last couplet (maqta). Each couplet of a ghazal is supposed to have its independent existence, therefore, the couplets need not be on the same mauzoo.
Because of such emphasis on structure, it is possible to compose poetry in any language following these rules of beher, kafia and radeef, and, to be sure, ghazal has been written in many languages, such as Hindi, Telugu, Gujarati, Bengali, and even English.
The legendary singers of ghazal have given emphasis to the classical raga. Since the theme is love and longing, it is sung in a soft style with minimal orchestration.
Qawwali on the other hand is characterized by forceful, energetic singing, with rhythmic clapping by a chorus of singers in response to the lead singer. Derived from the Arabic word qaul (to speak), it was a form of devotional music of Sufis, originally performed at shrines (dargah) of Sufi saints. Amir Khusro (13-14th century) is regarded as the father of qawwali, who wrote several songs to express his spiritual love for his Guru Hazrat Nizamuddin Aulia, a Sufi saint of Chishti order. He also created its singing style which usually starts with an instrumental prelude, with the main melody played (now) on the harmonium, followed by the lead singer singing some prelude verses in recitation style, followed by the main song, joined by hand-clapping of chorus singers and percussion instruments. The song gradually reaches a crescendo creating a trance like atmosphere. Even now qawwali singers assemble at the shrine of Hazrat Nizamuddin in Delhi every Thursday for the honour of singing before Him in spiritual fervor.
Continuing the tandem series on Roshan-Madan Mohan, let me pay my tribute to them with the well-known qawwalis of Roshan and some hidden qawwalis of Madan Mohan.
1. Haseenon ke jalwe pareshan rahte by Rafi, Manna Dey, Asha Bhosle, Sudha Malhotra from Baabar (1960), lyrics Sahir Ludhiyanavi
Traditional qawwali was to be sung by men for male audience. But secular entertainment tradition of qawwali muqabala between male and singers has since evolved, in which each gender tries to show its superiority and put down the other. Sahir Ludhiyanavi writes perfect poetry of put-down: one group says, All your beauty would have been of no use if we were not there; the other retorts, You would have been oblivious of love had we not been there. Outstanding singers, perfect acting (even by B-Grade actors), superb picturisation, and geat composition by Roshan make it a treat.
2. Ada bijli badan shola..Nigaah-e-naaz ke maaron ka haal kya hoga by Shankar Shambhu Qawwal, Asha Bhosle and Sudha Malhotra from Barsaat Ki Raat (1960), lyrics Sahir Ludhiyanavi
Sahir-Roshan combination come up with another superb qawwali-muqabala, or nok-jhonk. Just see how it follows all the conventions, starting with with the main melody played on the harmonium, followed by slow recital by Shyama and her sister, which segues into the fast-tempo teasing, What will happen to the guys struck by our proud glances. Another requirement of the muqabala form is that the men have to act as if they are at a loss for reply; you can see the singers looking at each other for a proper response, and they come up with Humeen ne ishq ke qaabil bana diya hai tumhein, Humeen na hon to nazaaron ka haal kya hoga. This pattern continues for the entire song with Shyama and her group appearing to have the upper hand, the men led by the lead singer, the character Chaand Qawwal, appearing perplexed until they find an appropriate answer, and finally winning the duel. Again the combination of great picturisation, lyrics, singing and music creates a classic.
3. Na khanjar uthega..Pehchaanata hun khoob….Ji chaahta hai choom loon tasveer aap ki by Bande Hasan, Balbir, Asha Bhosle and Sudha Malhotra from Barsaat Ki Raat (1960), lyrics Sahir Ludhiyanavi
Now it is return muqabala and Shayama’s party has to win it for their survival. But now the roles are reversed. Men lead the charge, the ladies are at a loss for a reply. At that moment the poet Bharat Bhushan, and the object of Shyama’s one-sided love, enters the scene, bringing cheer to the ladies. He passes a chit containing the reply verse.
4-6. Na to karawan ki talaash hai na to humsafar ki talaash hai (Part 1) by Manna Dey, SD Batish, Asha Bhosle and Sudha Malhotra from Barsaat Ki Raat (1960), lyrics Sahir Ludhiyanavi
Ye hai ishq ishq ishq hai ishq ishq (Parat 2) by Rafi, Manna Dey, SD Batish, Sudha Malhotra from Barsaat Ki Raat
Ye hai ishq ishq hai ishq ishq (Part 3) by Rafi from Barsaat Ki Raat
The second half of Barsaat Ki Raat is a long qawwali fest as one of the leading ladies, Shyama, and her sister are the daughters of a famous qawwali singer Mubarak Ali, and the hero, Bharat Bhushan, a penurious but highly acclaimed poet, their paying guest. Poetry and music would have made a nice love story, but one rainy night Madhubala bumps into Bharat Bhushan, which sparks instant love between the two. Complications arise as the film becomes a love-triangle Muslim social, overlaying on the on-going qawwali rivalry between Mubarak Ali’s party and Chaand Qawwal. Having already vanquished Chaand Qawwal and co-opted him in his party as his son-in-law for his younger daughter, Mubarak Ali and the daughters are now pitted against the biggest of them all, Daulat Khan Qawwal (Balak Ram?). It is not important whether the triangle was resolved satisfactorily or with logical consistency. What makes the film memorable is the poetry of Sahir and the music of Roshan. After the two qawwali-muqabalas at the worldly level, Sahir takes ‘love’ to the divine level – Ishq aazad hai, Hindu na Musalmaan hai ishq/ Aap hi dharm hai imaan hai ishq/ Allah-o-Rasool ka farman ishq hai/ Yaane Hadees ishq hai, Quran ishq hai/ Gautam aur Masih ka aramaan ishq hai/ Ye ishq ishq hai ishq ishq. This Sufi philosophy of ‘love’ being identical to God, is somewhat similar to Vedaant whose core is identity and unity between the soul and the Supreme Being.
Roshan composes the Granddaddy of all qawwalis to match Sahir’s poetry, with all the singers performing superbly. This qawwali is listed in three separate parts in the HFGK, it was recorded on commercial records in two parts, but in the film these are picturised as one composite song. The full qawwali is over 12 minutes, yet you watch it mesmerised as it starts with a wonderful alaap by Manna Dey, and a deeply philosophical verse, I seek neither a caravan nor a co-traveller, but my ruined home (i.e. my broken heart) seeks the pathway you have taken/ The only cure for my doomed passion is now death, I seek a healer who can give me poison in place of medicine, and ends in a crescendo with Ye ishq ishq hai ishq ishq. In between, Sahir weaves in the imagery of Radha-Krishna, Meera and Sita as the symbols of supreme love. He also embeds Amir Khusro’s famous Bahut kathin hai dagar panghat ki seamlessly. This has been sung as a stand-alone qawwali by many singers, the most well-known being Habib Painter’s. Sahir does not hesitate to include a few lines in Punjabi, and Brijbhasha as well, as if he seeks to soar beyond any limitations of language and meter.
ना तो कारवां की तलाश है ना तो हमसफर की तलाश है
मेरे शौक़-ए-खाना खराब को किसी रहगुज़र की तलाश है
मेरे नामुराद-ए-जुनून का अब इलाज कोई तो मौत है
जो दवा के नाम पे ज़हर दे उस चारागर की तलाश है
तेरा इश्क़ है मेरी आरज़ू तेरा इश्क़ है मेरी आबरू
दिल इश्क़ जिस्म इश्क़ है और जान इश्क़ है
ईमान की पूछो तो ईमान इश्क़ है
तेरा इश्क़ मैं कैसे छोड दूं मेरी उम्र भर की तलाश है
ये इश्क़ इश्क़ है इश्क़ इश्क़….
जांसोज़ की हालत को जांसोज़ ही समझेगा
मैं शमा से कहता हूं महफिल से नहीं कहता
क्यूंकि ये इश्क़ इश्क़ है इश्क़ इश्क़….
सहर तक सबका है अंजाम जल कर ख़ाक़ हो जाना
भरी मह्फिल में कोई शम्मा या परवाना हो जाये
क्यूंकि ये इश्क़ इश्क़ है इश्क़ इश्क़…
वहशत-ए-दिल रस्म-ए-दार से रोकी ना गई
इश्क़ मजनूं की वो आवाज़ है जिसके आगे
कोई लैला किसी दीवार से रोकी ना गई
क्यूंकि ये इश्क़ इश्क़ है इश्क़ इश्क़…
वो हंस के अगर मांगे तो हम जान भी दे दें
हां ये जान भी क्या चीज़ है ईमान भी दे दें
क्यूंकि ये इश्क़ इश्क़ है इश्क़ इश्क़….
नाज़-ओ-अंदाज़ से कहते हैं कि जीना होगा
ज़हर भी देते हैं तो कहते हैं कि पीना होगा
जब मैं पीता हूं तो कहते हैं कि मरना भी नहीं
जब मैं मरता हूं तो कहते हैं कि जीना होगा
ये इश्क़ इश्क़ है इश्क़ इश्क़….
मजहब-ए-इश्क़ की हर रस्म कड़ी होती है
हर कदम पर कोई दीवार खड़ी होती है
इश्क़ आज़ाद है हिन्दू ना मुसलमान है इश्क़
आप ही धर्म है ईमान है इश्क़
जिससे आगाह नहीं शेख और बिरहमन दोनों
उस हक़ीक़त का गरजता हुआ ऐलान है इश्क़
इश्क़ ना पूछे है दीन धरम नू इश्क़ ना पूछे जातां नू
इश्क़ दे हाथो गरम लहू विच डूबियां लख बरातां दे इश्क़
ये इश्क़ इश्क़ है इश्क़ इश्क़….
राह उल्फ़त की कठिन है इसे आसां ना समझ
क्यूंकि ये इश्क़ इश्क़ है इश्क़ इश्क़….
बहुत कठिन है डगर पनघट की कैसे मैं भर लाऊं जमना से मटकी
मैं जो चली जल जमना भरन को नंदकिशोर मोहे रोके झाड़ों ते
अब लाज रखो मोरे घूंघट पट की
जब जब कृष्ण ने बंसी बजाई निकली राधा सज के
जान अजान का ध्यान भुला के लोक लाज को तज के
बन बन डोली जनकदुलारी पहन प्रेम की माला
दर्शन जल की प्यासी मीरा पी गई विष का प्याला
और फिर अरज कर के देखो लाज रखो लाज रखो
ये इश्क़ इश्क़ है इश्क़ इश्क़….
अल्लाह-ओ-रसूल का फरमान इश्क़ है
याने हदीस इश्क़ है क़ुरान इश्क़ है
गौतम और मसीह का अरमान इश्क़ है
ये कायनात, जिस्म और जान इश्क़ है
इश्क़ सरमद इश्क़ ही मंसूर है इश्क़ मूसा इश्क़ कोहिनूर है
खाक़ को बुत बुत को देवता करता है इश्क़
इंतहा ये है कि बन्दे को खुदा करता है इश्क़
ये इश्क़ इश्क़ है इश्क़ इश्क़…
7. Parda uthe salaam ho jaaye by Manna Dey and Asha Bhosle from Dil Hi To Hai (1963), lyrics Sahir Ludhiyanavi
It is not surprising that Nutan’s impending marriage with Pran takes her on the verge of consuming poison, but the entry of Raj Kapoor in disguise, reciting prelude verse of the qawwali, Tumhari mast nazar gar idhar nahi hoti/ Ye mast fiza nashe mein choor nahi hoti, brings joy and hope. The lovers exchange glances, the not-too-dumb Pran suspects there is something fishy, but we all know this is going to have a happy ending. Raj Kapoor is so excited that he sings this qawwali with his chorus while standing, he himself playing the duff and dancing with abandon. Quite an unconventional way of presenting a qawwali, but Roshan composes to the situation. In an interesting innovation, Roshan also composed a duet in the same film, in the voice of Mukesh-Lata Mangeshkar with the mukhada Tumhari mast nazar gar idhar nahi hoti, which is the first line of the recital prelude of this qawwali.
8. Raaz ki baat hai..Nigaahein milaane ko ji chaahta hai by Asha Bhsole from Dil Hi To Hai (1963), lyrics Sahir Ludhiyanavi
The film has a return qawwali by Nutan. This one is by a sole main singer, Asha Bhosle, for Nutan, backed by chorus. It starts with a typical slow recital, followed by rhythmic clapping and breaks into the energetic qawwali. Though Nutan expresses hesitation whether to tell her heart’s secret, she pours forth everything once she gets in the mood.
9. Chaandi ka badan sone ki nazar, us par ye nazakat kya kahiye by Rafi, Manna Dey, Mahendra Kapoor and Asha Bhosle from Taj Mahal (1963), lyrics Sahir Ludhiyanavi
It is not for nothing that Roshan is acknowledged as the Master of Filmy Qawwalis. If there is a Muslim social, he can produce a masterpiece. He infuses this qawwali with a unique classicism.
Madan Mohan and qawwali
This is one genre of songs in which Madan Mohan has to yield to Roshan. Here is one composed by him. Though almost unknown, it is quite enjoyable.
10. Ye bhool hui bhoole se kabhi hum teri tamanna kar baithe by Rafi from Fifty-Fifty (1956), lyrics Rajendra Krishna, music Madan Mohan
Though Rafi sings solo, this song is composed in a qawwali style. I could not find its video. Quite a nice song.
11. Jalwa jo tera dekha humne aankhon se shararat ho hi gayi by Asha Bhosle, Mubarak Begum, Usha Mangeshkar and Meena Mangeshkar from Gateway of India (1957), lyrics Rajendra Krishna
In this all-female qawwali, it seems the girls are rehearsing among themselves for some function. Therefore, there is a unique spontaneity in the qawwali. Madan Mohan showcases his talent for a different genre, as the film had superb soft and melodious songs, such as Na hanso humpe zamaane ke hain thukaraye huye; Sapne mein sajan se do baatein ek yaad rahi ek bhool gaye (Lata Mangeshkar); and a Rafi-Lata romantic duet Do ghadi wo jo paas aa baithe.
12. Jab talak jal rahe hain parwaane…Jis raat jale na parwaane by Rafi and Asha Bhosle from Sanjog (1961), lyrics Rajendra Krishna
Sanjog had many superhit songs, such as Mukesh’s Bhooli huyi yaadon, Mukesh-Lata Mangeshkar duet Ek manzil raahi do phir pyar na kaise ho, Lata Mangeshkar’s Badli se nikala hai chaand and Wo bhooli daastan lo phir yaad ayi. Rarely heard is this qawwali muqabala between Mehmood and lady Mehmood (?) in drag.
13. Kabhi ae haqeeqat-e-muntazar nazar aa libaas-e-majaz mein by Lata Mangeshkar from Dulhan Ek raat Ki (1966), lyrics Allama Iqbal
This classic ghazal of Iqbal has been composed as a qawwali by Madan Mohan. The meaning is quite abstract and philosophical. Here is a translation, even if the verses are not identical you get a sense of what the poet is trying to say.
If it is ghazal by a classical poet, you can be sure many renowned singers would have sung it. Here is the qawwali by the greatest of them all, Nusrat Fatel Ali Khan.
14. Ye mana meri jaan mohabbat saza hai, maza isme itana magar kis liye hai by Rafi and chorus from Hanste Zakhm (1973), lyrics Kaifi Azmi, music Madan Mohan
Party, drinks, bhangra are not the way qawwali is sung, but film songs improvise on the traditional style. As far as the composition is concerned, it is a perfect qawwali song as Navin Nischol recites how the pride of the lady was overpowered by the love of the hero, before he starts the fast-tempo song. Some interludes are given by chorus singers (party revellers) in qawwali style.
Tauba tauba ye jawani ka guroor
Ishq ke saamne sar jhukana hi pada
Kaisa kahte the na aayenge na ayenge magar
Dil ne is tarah pukara ki ana hi pada
Acknowledgements:
1. Here are some excellent articles on ghazal:
i. A short history of ghazal by David Jalajel
ii. Ghazal history Encyclopedia Iranica
iii. Qawwali and the art of devotional music by Hussein Rashid
2. Here is an excellent article by Monica Kar on the qawwalis of Barsaat Ki Raat.
Disclaimer: The song links have been embedded from the YouTube only for the listening pleasure of the music lovers. The copyright over these songs rests with the respective owners.
{ 48 comments… read them below or add one }
Thank you so much for citing my article on the qawwalis of Barsaat Ki Raat, published by Silhouette Magazine, for your lovely essay here.
I’m glad you found some worth in it.
You covered a lot of ground in your own essay. I have enjoyed reading it.
AK ji,
I am unable to find words to praise this post.
There was a view that AK doesn’t pay much attention to the lyrics part of the songs. I feel that is wrong.
In this post you have written brilliantly on a complex topic. The poetry described indicates that top literary level is possible in film music also.
Hoke maayus tere dar se sawali na gaya, LAILA MAJNU,1976,Sahir Ludhianvi; Rafi,Shankar Shambhu,Aziz Nazan,Ambar Kumar.
I have no idea whether the tune belongings to Jaidev. Experts should clarify.
Hidden Gazals of Roshan next in the offing?
Nice selection of songs,as usual. Enjoyed it.
Monica,
Thanks a lot. Your article was very focused and quite enjoyable.
Tyagiji,
Thanks a lot for your appreciation. I very much care for lyrics, especially Sahir’s. I have also translated lyrics from time to time. My hesitation has been for opening another category ‘lyricists’.
Dr Shetty,
Thanks a lot for your appreciation.
वाह ! वाह !
क्या कहनें !!!
बहोत अच्छें ।
शुक्रिया जनाब AK जी ।
डॉ. शेट्टी जी नें की हुई फर्माईश से मैं भी सहमत हूँ
” रोशन जी की गझलें । “
Pramodji,
Thanks a lot for your appreciation.
CHANDNI CHOWK,1954,B R Chopra’s only movie to have Roshan’s music had 12 songs,5 lyricists ( Majrooh Sultanpuri, Shailendra,Raja Mehdi Ali Khan,Kamil Rashid, Saifuddin Saif) and 9 singers ( The 4 Mangeshkar sisters,2 Begums_ Shamshad and Mubarak, Mukhesh,Rafi and Sundar(who!).
Now,to the point!!!
The movie has an all female Qawwali….Har baat poochiye, Ye haqeeqat na poochiye…. Lata, Asha and Shamshad Begum. I think the lyrics are by Majrooh.
Dr Shetty,
Nice discovery. Fits in here perfectly.
Har baat poochhiye ye haqeeqat na poochhiye by Lata Mangeshkar, Asha Bhosle and Shamshad Begum from Chaandni Chowk (1954), music Roshan
https://youtu.be/HGiUma53w58
What a lovely article! Thank you AK.
As you have mentioned, the quality of qawaali really lies in singing energetically. “Na to caravan” never fails to amaze me. I think it is the epitome of filmy qawaalis. Great lyrics set to a beautiful tune and rendered wonderfully by the greats. A song sequence running to 12 minutes keeps you gripping.
MM’s qawaalis are new to me and I enjoyed them.
AK,
Masterstroke once again.
Coming up with new idea for the duo Roshan and MM great. Thanks
Roshan was indeed the master of qawallis but MM had given qawwali his own style in Kabhi ay haqeeqate muntazar and Ye mana meri jaan. Talking about Ye mana meri jaan, I think, Balbir deserves more than Rafi and chorus in Ye mana meri jaan atleast at SOY if not by the uploader.
I will add another great qawwali (twin) by Roshan in Bahu Begum. (Only of its kind?)
Waqif hoon khoob ishq ke and ab ja balab hoon shiddate concept of the qawwalis is Sufi but coinciding perfectly with emotions of the lead characters.
The four masters Sahir, Roshan, Manna Dey and Rafi at their best and the best thing is the two unparalleled masters of playback singing in general and qawwali in particular, are not competing but contributing with the nemesis, great experience to watch.
Waqif hoon khhob
https://youtu.be/dW0jYaIhbAY
Ab jaan balab
https://youtu.be/cg_olS7baxA
Giriji,
Thanks a lot for your appreciation. A special class of qawwalis are those sung by professional qawwals, such as Humein to loot Libya mil ke husnwalon ne and Jhoom barabar jhoom sharabi. Other than that, Roshan is the undisputed master of qawwalis.
Mumbaikar8,
Thanks a lot for your appreciation and for posting the ‘twin’ qawwalis from Bahu Begum. This might be one of its kind.
Ye mana meri jaan mohabbat saza hai: I could hear only one main voice, i.e. Rafi.
AK ji ;
This article is a vintage walk thru bygone eras . Roshan truly ruled this aspect of the charm when lyrics , composition and singing were perfect equilateral triangle . Barsaat Ki Raat is indeed a referal measuring yard for other qawaalis . It is difficult to find such rich qawaalis in present day setup.
In Madan Mohan’s last movie ….Veer Zaara….there is a beautiful one……symbolically very well executed in story narration …
Aaya tere dar par…..Lyrics..Javed Akhtar….Singers….Ahmed Hussain, Mohd. Hussain, Mohd Vakil, Javed Hussain
https://www.youtube.com/watch?v=uARktUC_4fc
KS Bhatiaji,
Thanks a lot for your appreciation. Finally we are also discovering a number of qawwalis of Madan Mohan too.
Meena Mangeshkar must have sung not more than a dozen Hindi songs, the most popular being Duniya mein hum aaye hain toh jeena hi padega,MOTHER INDIA. It is interesting to find her as a part of two Qawwalis by our subjects, Roshan and Madan Mohan.
Just a stray observation, nothing earth shattering!
comment no.16
Meena Mangeshkar sang 12 songs in 10 films. She gave music to 1 film, Qanoon ka shikar-1978
AKji:
Wonderful post. Roshan’s mastery in crafting quwaalis is well known. And while I had heard most of the MM quawaalis posted above, seeing them together facilitates a new and better appreciation of the versatility of this great Maestro. Now we would wait for a Roshan-MM comparative post on ghazals!
Here is a 1958 performance of ‘Na to butkade ki talab mujhe’ by Ustads Fateh Ali Khan (Nusrat Fateh Ali Khan’s father) and Mubarak Ali Khan recorded in India that is believed to have inspired the ‘Barsat ki raat’ quwaali:
https://www.youtube.com/watch?v=GsKxoRPfgeM
Canasya,
Thanks a lot for your appreciation. This is a great discovery. The son even does better than father. Notice the long recital.
Nusrat Fateh Ali Khan sings Na to butkade ki talab mujhe.
https://m.youtube.com/watch?v=ywpLfNtAGfI
Comments no 18 and 19
As far as this qawali is concerned, it was not ” inspired” but was officially copied with singers’ permission, according to one source.
Mr. Rudradeep Bhattacharjee wrote on http://www.scroll.in on 15-7-2017 thus-
” The story goes that it was Khayyam who had originally been signed on to compose the music for Barsaat Ki Raat (1960). But when R Chandra, the film’s producer and elder brother of its leading man Bharat Bhushan, insisted that the composer use the tune of the qawwali Na Toh But-Kade Ki Talab Mujhe, sung by the famed Pakistani duo of Mubarak Ali Khan and Fateh Ali Khan, Khayyam put his foot down.
He was promptly shown the door, and Roshan was brought in. As the producer had the singers’ permission, Roshan had no qualms about using the tune. The resulting song Na Toh Carvaan Ki Talaash Hai, an epic 12-min qawwali that took almost 24 hours to record, became a rage and is perhaps the first song that comes to mind when we think of great film qawwalis. The other songs of the film, especially the romantic title track Zindagi Bhar Nahin Bhoolegi, too hit their mark. ”
-AD
AK ji,
Since 14th of July, we have been served with the heady elixir by SoY and I marvel at the beauty of the articles, songs and comments flowing continuously. Yeh saawan ajab khumaar le kar aaya hai.
Thanks all of you.
Arunji,
This is a great information. I didn’t know about its origin. When talking of Roshan I often wonder his ‘famous’ sons/grandson value his legacy.
Thanks for adding a so interesting dimension to the parallel between these two contemporaries.
Most of MM’s quawallis presented here are new to me, and the ones that I had heard now basks in a very different life.
It is time now to look at their ghazals with a similar gaze!
Ashokji,
Thanks a lot for your appreciation. Many readers have requested for a tandem post on their ghazals. But the only dilemma I have is because their ghazals are sung by their mainstream singers, who are going to be covered in the singer-MD combination. Hardly any noteworthy ghazal would be left out.
AKJi
As all round praise is showered on AK! Let me join as one of them as well and applaud AK.
The introductory oeuvre of the two forms-Ghazal and Qwaali has been well written and also nicely explained for the filmy songs lovers.
So the admiration goes to AK without further eulogizing the present post.
As the label Tandem is mentioned: the discussion on the Ghazal and Qwaali may have to limit to the two composers only. At one hand the Tandem idea is good but at the other hand the restrictions may cause suffocation.
Moreover, the Tandem suggests that it is a bicycle made for the two. This typical cycle is more popular in the UK than any other countries for looking at the natural beauty around the country for the two friends or a man and a girl friend during the later period of Victorian era.
It is still popular in the UK. The basic aim of a tandem is to let grow togetherness between the two riders. The front rider has a pilot power and the rear one supplies more pedal power. Both the riders think on equal terms but they are not. There are other inventions of the cycles which have two or four riders who can sit side by side but then they are not the two wheeled vehicles or tandems.
So here at the SoY, the Tandem idea may create a doubt that the two composers may not on the equal stand. Who is in the front and who is on the rear seat?
Now back to present topic: the Ghazal and Qawali in the Hindi films came along as the talking and singing films flourished in the thirties and forties to create a base format for the Hindi films for later decades.
So Saigal sang Ghazals and gave the film-makers reason to include this format in the films. Here the emphasis was more on the singing voice of Saigal than the skills of the composers.
Then “Zeenat” 1945 Qwaali sung by all women “Ahe Na Bhare Shikwe Na Kare” and presented by women only on the occasion more Zanana like, than for men, but the song became so popular that men sang in the private Mehfils as well. The composers Mir Saheb and Hafiz Khan were not important as Nur Jehan was dominant in the film and in the decade.
The above Qwaali is really an historic affair that it ignored the religious base of Qwaali and turned it into a secular affair.
In one of the installments of the longest series called Movie Mahal, Naushad protested against the non-religious nature of the filmy Quwaalis. So I think Naushad has not used it in his any musical creativity.
In literature Ghazal is still very alive and flourishing and so is the religious Quwaali as well independent of the film as the only medium.
Shalan Lal
comment no. 25
Naushad himself composed a non religious filmi qawali in film Mughal E Azam-1960
Shalan,
Thanks a lot for your generous words. As I had mentioned in the introduction to DP Rangan’s post, Roshan and Madan Mohan had many commonalities in their music and career pattern. Therefore, discussing them in tandem makes sense.
Naushad himself composed a qawwali, Teri mehfil mein kismat aazma kar hum bhi dekhenge, which was far from being religious. This was a duel between two views of love. Why was he complaining?
Tyagiji, Godboleji and Mumbaikar8 have used all the words of praise which I could have used so I would only second them. AK you have in the description of the song ‘ye mana meri jaan’ raised a very important point when you said party, bhangra and dance are not the part of a qawwali. But Indian films are always like that. They have always experimented and they have not only changed qawwalis, they have changed ghazals also and made there use in weird ways. You posted ‘rang aur noor ki’ recently. Ghazals have been modified to include such ghazals. ‘Tadbeer se bigdi hui’ was also a ghazal. ‘Mareeje ishq hoon’ from Bin Badal Barsaat https://www.youtube.com/watch?v=aLEEMM16vAo was also a ghazal used with a comic touch. They have used both of these formats in so many ways that purists always raise questions.
Here are two more examples of qawwalis being used differently. In Pyar Ka Bandhan a qawwali was used in a situation in which Dhoomal is going after a woman with a few of his chamchas and Johny Walker with his chamchas asks Dhoomal where he is going to which he replies ‘ishq farmane’. At this point the qawwali ‘sambhal kar ishq farmana’ starts. Rafi sings for JW and Balbir gives playback for Dhoomal’s answer. Here you will have a good feel for Balbir’s voice and then look for it in ‘Ye mana meri jaan’ where Balbir’s phrases are short. You can look for his voice whenever any person other than Navin Nishchal is lip-synching.
https://www.youtube.com/watch?v=C2DAAVwxck8
Another qawwali was picturised on Om Prakash in Hong Kong (1962 – OPN) where he plays roadside romeo to Helen. If one listens to only audio of this song one can never imagine the situation.
https://www.youtube.com/watch?v=gz_Gla-Zjoo
Purists may not like this but the sole purpose of films is to provide entertainment and fill their coffers from it. And modification is also another name for creation.
The main question coming out of this article is how with so little sample – just about a dozen qawwallies – Roshan became almost undisputed master or king whatever you may like to say. In this I would second Mumbaikar8. The main reason was, in addition to his mastery at qawwali composition, the selection of best singers suited to the job. The lyrics of Sahir contributed a lot and for this his examples of writing lyrics for others has also to be kept in mind. ‘Aaj kyun humse parda hai’ from Sadhana and ‘ye masjid hai ye butkhana’ and ‘mere dilbar mujh par khafa na ho’ from Dharmaputra come immediately to mind. Roshan got qawwalis specially written, while others tweaked either ghazals or other songs into the qawwali format. That made a lot of difference.
On the ghazal front, though MM specialised yet a number of beautiful ghazals have been composed by other MDs too. MM’s case was promoted by Lata herself because by that manoeuvre she automatically gained high pedestal on this front. It must be remembered that the original ghazal king propagated by the media was Talat and in his repertoire of ghazals MM had very little contribution, having given him only 14 solos some of which are not ghazals.
AKji, Hans ji:
On the topic of experimental quwaalis, here are a few by Sajjad and SJ:
Phir tumhari yaad aayi ae sanam (Rafi, Manna Dey, Saadat Khan in Rustam Sohrab; MD: Sajjad)
https://www.youtube.com/watch?v=hRP_9MH65SE
Ab chaar dinon ki chhutti hai (Rafi and chorus in Aas ka panchhi; MD: SJ):
https://www.youtube.com/watch?v=KjTqX8toJ-8
Jab ishq kahin ho jata hai (Asha, Shamshad and chorus in Arzoo; MD: SJ):
https://www.youtube.com/watch?v=q7zqkje7U90
AK@27 & Arunkumar Deshmukh@26
Thank you very much for your prompt comment and mention that Naushad indulged in the secular Qawwali “Teri Mehfil Mein” in Mughal-e-Azam.
I looked into the 12 songs of the Great Film and I found that there were three more songs categorized as Qawwali songs by a blog on the internet.
They are as following:
1) Yeh Dil Ki Lagi Kya Kum Hogi….. Lata Mangeshkar
2) Prem Jogan Ban Ke…… Ustad Bade Ghulam Ali Khan
3) Subah Din Ayo Raj Dulare…….. Ustad Bade Ghulam Ali Khan
If the above three songs are Qawwali Songs then I can guess that the last two from the above might have composed by Naushad.
In his diary pages occasionally published in some Indian magazine in eighties I remember that there was a reference published in the scatter on his memoir of the “Mughal-e-Azam” that the work was exhaustive and his assistant for the film, Muhammad “Shafi” did some composing and the Qawwali “Teri Mehfil Mein” could have been composed along with the number one from the above list by “Shafi” who was very competent composer as well.
This is my conjecture only considering that there were twenty or more songs composed for the film and they all could not be included in the film as the length of the film was becoming five hours or more. And surely Naushad was not a superman to compose all those songs on his own.
Shalan Lal
P.C.
Hans @ 28
I like your exploration and logic in your statement. It is a growth in the point how the Qawaalis, Ghazals have been used by the film makers.
This view could be also true with the Arati and other devotional songs and also the classical genre as well.
After all the film medium makes the rigid frame framework of arts change to recreate and in the process regenerate the old dusted forms and make them interesting because it has to reach most of the people so it has to stay as “Popular Art.
The conformists always moan and grumble but the Juggernaut of the Hindi films goes on its own progress.
Shalan Lal
Shalan Lal ji,
Assistants of ALL MDs compose songs, but it is credited to the MD and he is held responsible for the good or bad results. It never comes to the fore, who composed which song, despite various claims.
Assuming that Mohd. Shafi did compose that qawali, why and how did Naushad allow it , if he was against such qawalis which are not religious ?
Naushad who was very particular about his own image, would never accept anything that has not got his permission and acceptance.
It is most unlikely that Naushad did not know about a Non religious qawali being added to the songs of Mughal E Azam !
Hans,
You have again expanded the scope of the discussion by your comments. You have very rightly observed, filmi qawwalis would take liberties with the traditions. Not all qawwalis would be sit-down with a singer on the harmonium playing the prelude music, followed by a slow recital by the lead singer etc. We have to accept that if the beat is of a qawwali, it has to be accepted as a qawwali. I enjoyed Mareej-e-ishq hun and the ‘qawwali’ from Hongkong.
No doubt Sahir’s poetry was no less important than Roshan’s or N Datta’s music in the charm of those qawwalis.
Balbir’s voice was quite distinct and eminently suited for such songs. I think his best use has been in the Bhangra in Jaagte Raho – Ain vain duniya deve duhaai…. ki main jhooth bolyan. He deserved more space in Ye mana meri jaan.
Canasya,
Nice additions. An observation on the last qawwali: Rajendra Kumar’s opening recital (Hasrat Jaipuri’s lyrics) that if the earth becomes paper, and sea, ink, it would not be enough to tell the tale of parting, is a very obvious ‘inspiration’ from a famous Kabir’s doha eulogising the Guru.
सब धरती कागद करूँ लेखनी सब बनराय
सात समुद्र की मसि करूँ गुरु गुण लिखा न जाय
Shalan Lal,
In addition to what Arunji has said, only Ye dil ki lagi kam kya hogi can be described as a qawwali. The two pure Hindustani classical pieces by Ustad Bade Ghulam Ali Khan by no stretch of imagination can be called qawwalis.
AK ji, Hans Ji ;
I always like expansion of comments for inputs that are deviation from the normal . Yes , if you really chuck out harmonium and claps from the true tradition many songs will emerge awaiting their approval . For Naushad …..Yun hi aapas mein jhagad te hain ….from Andaz …..as also …Mere mehboob mein kya nahin ….and ….Jaane man ek nazar dekh le tere sadke idhar dekh le…..from Mere Mehboob.
For Shankar Jaikishan…..Hum bhi hain tum bhi ho…..from Jis desh Mein Ganga Behti hai….and…Din sara guzara tore angana…from Junglee .
There are quite a few songs from C. Ramchander as well ; mostly featuring Gope, Yakub and Bhagwan of the movies of golden era.
Canasya,
For me qawwali should be gripping, with all three parts composition, lyrics and singing having equal impact. SJ were perhaps not much interested in qawwali. Chhar Dinon Ki Chhutti despite Rafi does not impress me, the Arzoo qawwali tunewise is good but the continuity is broken in interludes which look odd. Phir Tumhari is a great qawwali just giving the right nasha, but I could not understand why Sajjad gave short antaras to Manna Dey and Sadat Khan. Did he not have faith in them, which is strange because Manna Dey has put life into many qawwalis and his style was well suited to this genre.
Shalanji,
Thanks for the kind words. I think most of us film song lovers know about the experiments in films, but sometimes they slip out of mind. I just reminded and there is nothing special there. I am more piqued about the purists or conformists, that though they never have a consensus on their own art which they call classical and are always fighting on ragas and all and they can create new ragas, but when it comes to films they all go into immediate unanimity and condemn all creativity there. In fact use of semi-classical songs in the golden era has popularised the classical music which had no takers in public and they should be thankful to films for that.
Now about Naushad. Arunji and AK have replied you. I would add that Naushad composed another qawwali in Palki ‘main idhar jaun ya udhar jaun’. If Naushad has actually opposed the filmi qawwali then it is certainly hypocritical stuff, because whatever he was doing for whole of his life was also not acceptable in his religion. He has admitted in his interviews that his father was so ashamed of his profession that at the time of Naushad’s marriage his inlaws were informed that he was a tailor. But it may be true also. Because, in film Elan (1947) he composed a song with almost hardcore religious lyrics, especially in the mukhada. The mukhda is
Insaan ki tahjeeb pe ehsan hamara
garja hai harik mulk men quran hamara.
Now regarding your statement that Naushad was not superman to compose so many songs. I think you have never taken into account the number of songs or films Naushad was doing. From 1951 onwards he averaged a shade more than one film a year. He did exactly 12 films from 1951 to 60 and the same number in the next decade. Most of the quality composers were giving 3 to 4 films a year easily. And the music of Mughale Azam was not composed in a day or a month, this film took a long time in making. As far as I know the tune composition part he kept to himself, though he took suggestions from even the singers. But the final decision was always his. The structural part of the song whether it would be ghazal or qawwali or solo or duet was always settled by MD in consultation with Producer and Director of the film. Mohammad Shafi could not have any chance of having a say in the structural part.
AK, Bhatiaji & Hans,
Correct me if I have misunderstood.
I think this duet by Naushad from Leader ( with chorus and some changes in prelude and interlude) would qualify as qawwali.
AAJKAL SHAUQ E DEEDAR singer Md Rafi Sahab and Asha Movie Leader
https://youtu.be/OddmL5iZWVU
Mumbaikar8,
My vote is ‘Aye’. Very sharp observation.
Thanks for linking up the composition ‘ aaj Kal shauke-deedar’. Lovely lyrics, masterly music and top class rendition. Never heard this composition before.
AK ji the beauty of SoY commentators is that from the broad road of the subject post they freely move into bylanes making the discussion very interesting.
Tyagiji,
Precisely, that is the strength of SoY. A reader once expressed some reservation on such free-wheeling discussion. I explained to him that confining it to the topic of the post would make the blog trivial, with just a compilation of songs.
AK ji ;
Very interesting observations / comments coming up and enjoying the sharp focus of Hans ji …..very true to the point .
Well traditional qawalis do have large audience enjoying with wah ! wah! and what not ….and some ending with brick bats . But here are two songs , one having only one and other having no audience at all
Jis pyar mein ye haal ho……Rafi, Mukesh….Phir Subha Hogi
…….Raj Kapoor and Rehman with Mala Sinha enjoying the song.
Hamaara naam bhi likhlo mohabbat karne waloan mein…..Shamshad , Durrani……Deedar
…..Ashok Kumar and Nargis singing and no one watching
But ….this one from Albela beat them all . A qawali set up in modern trendy glamour atmosphere with audience full to its capacity and serving as chorus singers.
Bholi surat dil ke khote naam baade aur darshan …..excellent work of C. Ramchander….and rendered by him with Lata ji . On screen acting by super jodi of that time …Geeta Bali and Bhagwan . Can’t resist posting the link though it belongs to MM, Roshan.
https://www.youtube.com/watch?v=Cb2ef3cUrKU
I am sure Ms. Mumbaikar and Ms. Shalan are going to like the above classic golden period song.
AK ji,
Thanks a lot for a great post.
What a pleasure it is to be, as a reader/listener, a part of SOY. Not only was the original post outstanding and illuminating but the subsequent comments from such knowledgeable music connoisseurs have enriched and embellished it further.
Just my humble opinion: I have always thought that the top 2 qawwalis in the HFM are – 1. Aahen na bhari shikwe na kiye (Zeenat – perhaps one of the films which pioneered this genre), and 2. Na to karvaan ki talash hai.
I suppose Roshan could be indisputably considered as the King of Qawwalis in the HFM universe.
Once again I thank you very much and am grateful to all the notable Rasiks for their insights and inputs.
Sincerely yours,
Avadh Lal
Avadh Lalji,
Welcome to SoY and thanks a lot for your generous words. SoY’s strength lies in its knowledgeable readers who have enhanced the blog by their active participation. Roshan’s fame as the King of Qawwalis is on account of about a dozen outstanding qawwalis he composed. Even if some music director had composed anywhere near this number, I doubt if we can recall as many. Looking forward to your active engagement.
About Naushad and Qawwali Discussion
I am glad many are entering into the fray. Many are finding Naushad’s Qawwalis in other films that are secular as well.
Question is still there, why Naushad protested on a very popular programme called “Movie Mahal” long after the film Mogul-e-Azam was not the main talking point? In fact Indian films still at that point were not a respected area to discuss in the public.
Movie Mahal gave the middleclass Indians a green signal that it is O.K. to talk about the films. Also in India some professor and the Principal of Sofia College in Bombay wrote a book about the film songs and also invited filmy celebrities to talk in his college when he was the professor. So now we can have all kinds of discussion now.
The point about Naushad had to take the over all responsibility of the department of the music is certainly very interesting.
And Naushad himself had written the story about how Mehboob Khan interfering in his department so to make him to come to realization the sovereignty of Naushad once the work is given to him; he went around the shooting of a film of Mehboob and started giving advice to the cameramen and actors how to act etc. Mehboob got the message.
But the problem of Mogul-e Azam was so huge that Karim Asif was carrying a bagful of money to throw at any one who would try to refuse his offer. Bade Ghulam Ali Khan was one of the many examples. Naushad himself was under the pressure of huge money was given to him for making the music very popular.
When the working atmosphere was like that the laws about the strictness in the art had to be slackened.
The story is good but is it realistic?
I think the Director of the film is overall responsible for everything but he to has to come to terms with some great actors , singers, and whims of the musicians etc.
A public visual art needs a lot of good feeling to let the creative process flow among the artists however some artists think they have the final words.
Naushad is dead and gone and it is very difficult to find the truth in his statement and practice of it.
But for us we can discuss as much as possible the religious element in the Qawwali and the secular element in the Qawwali.
Similar about the strict rules in the form of Ghazal.
As mentioned by me in my support to Mr Hans’s observation that film art has changed the strictness of the form in Ghazal and Qawwali and now we believe that filmy forms are the true forms because there is no other thing as popular as Hindi films in the subcontinent and the filmy popularity has been extremely hated by those countries in which religion has been a dominant factor.
Shalan Lal
Thanks for this article….and bringing forth the
qawalli’s of Roshan and Madan Mohan…..Most of the Roshan qawallis are so very popular that they come to one’s mind right away…Madan Mohan qawallis are not very well known apart from a few….in fact one of them I heard for the first time through your article.
Kabhi aye haqeeqat-e-muntazir is one of my favourties, and thank you for sharing Nusrat Fateh Ali’s version here….heard it for the first time too.
To put on record the query by by Pradeep Kumar Shettyji, Hoke mayus tere dar se from Laila Majnu, which was sung by Mohd. Rafi, Aziz Nazan, Shankar-Shambhu, Ambar Kumar and chorus is a Madan Mohan composition. Jaidevji composed 3 of the 9 songs of the film which were 1. Kehna ik deewana 2. Laila Majnu do badan ik jaan and 3. Yeh deewane ki zid hai
My personal observation on a comment made by Hansji which I have not really understood in parts ….It is very correct that Gazals have been composed by a lot of other composers…..and no doubt they have been excellent and one better than the other…It is wrong to compartmentalize composers ….the films in those days were situational where it came to songs…each composer got to compose a romantic song, a duet, a sad female song, a sad male song, a comedy and so on….each have given wonderful songs in all genres.
Sangeetaji,
You are welcome and thanks a lot for your detailed comments.
Thanks, Sangeeta Gupta ji, for the clarification. It sets the record straight.