Hori Hor Rahee Hai - Hazrat Zaheen Shah Taji

Vocalist: Abida Parveen



Vocalist: Kavita Seth



Lyrics: Baba Zaheen Shah Taji

Horih hoye rahi hai
Ahmad jiyo ke dwar
Hazrat Ali ka raang bano hai
Hasan Husain khilar
Aiyso hori ke dhum machi hai
chahun or pari hai pukaar
Aiyso anokho chatur khiladi
raang dinyon sansar
Niaz pyara bhar bhar chidke
ek hi raang sahas pichkar
Hazrat Shah Niaz


Ji chahe to sheesha ban ja, ji chahe paimana ban ja
Sheesha paimana kya banna, mai ban ja maikhana ban ja..


Mai bar kar, maikhana ban kar masti ka afsana ban ja
Masti ka afsana bankar hasti se begaana ban ja


Hasti se bagaana hona masti ka afsana banna
Is hone se is banne se achha hai deewana ban ja


Deewana ban jane se deewana hona achha hai
deewana hone se achha khak e dar e janana ban ja


Khak e dar e janana kya hai ahle dil ki annkh ka surma
Shama ke dil ki thandak ban ja noor e dil e parwana ban ja


Seekh Zaheen ke dil se jalna kahe ko har shamma par jalna
Apni aag mein khud jal jaye tu aisa parwana ban ja

Meaning:

Ji chahe to sheesha ban ja, ji chahe paimana ban ja
Sheesha paimana kya banna, mai ban ja maikhana ban ja..
If you wish, become the glass, or the chalice
But why choose, when you can become the wine and the tavern

Mai ban kar, maikhana ban kar masti ka afsana ban ja
Masti ka afsana bankar hasti se begaana ban ja
By becoming the wine and the tavern, become the tale of intoxication
By becoming the tale of intoxication, become a stranger to life
(interpretation: lose yourself in the lust of devotion)

Hasti se bagaana hona, masti ka afsana banna
Is hone se is banne se achha hai, deewana ban ja
Becoming a tale, becoming a stranger to being,
Better than these, however, is to become a madman.

Deewana ban jane se, deewana hona achha hai
deewana hone se achha, khak e dar e jaanana ban ja
Better than becoming a madman is to be a madman
Better than being a madman is to become dust at the door of a beloved

Khak e dar e jaanana kya hai, ahle dil ki annkh ka surma
Shama ke dil ki thandak ban ja, noor e dil e parwana ban ja
What is dust, but kohl in the eyes of the people of the heart
Become the coolness at the heart of a candle, become the moth illuminating the heart

Seekh Zaheen ke dil se jalna, kahe ko har shamma par jalna
Apni aag mein khud jal jaye, tu aisa parwana ban ja
Learn, Zaheen (Intelligent One), to burn from the heart
Why burn for every flame.
Become that moth that burns in its own fire

Abida Parveen (born 1954) (Sindhi: عابده پروين, Urdu: عابده پروین), is a singer of Sindhi descent and one of the foremost exponents of Sufi music (Sufiana kalaam). She sings mainly ghazals, Urdu love songs, and her forte, Kafis, a solo genre accompanied by percussion and harmonium, using a repertoire of songs by Sufi poets. Parveen sings in Urdu, Sindhi, Seraiki, Punjabi and Persian, and together with Nusrat Fateh Ali Khan is considered one of the finest Sufi vocalists of the modern era.A few years ago she has taken a Bay'ah, and formally entered into the tutelage of a spiritual master, Muhammad Najeeb Sultan. She has expressed Muhammad Najeeb Sultan as her spiritual master in many songs. In December 2009 she launched an album in his name.
Abida Parveen, a Sindhi, was born in mohalla Ali Goharabad in Larkana (Sindh province, Pakistan). She received her musical training initially from her father, Ustad Ghulam Haider, and later from Ustad Salamat Ali Khan of the Sham Chorasia gharana.


Taj-ul-Muhibbeen wal Mahboobeen Hazrat Baba Muhammad Tuaseen commonly renowned as Hazrat Zaheen Shah Taji Farooqui (Urdu: ذہین شاہ تاجی) (RA) (b. 1902 Jaipur, British India - d. 23 July 1978 Karachi, Pakistan) was one of the greatest sufi saints of sub-continent as well as an Urdu poet, philosopher and scholar of high repute.With his pen name Zaheen he wrote many Ghazals in Urdu language while he knew Persian, Arabic, English and Hindi languages as well. He was in direct lineage from Syedna Umer Farooq and was adapted in Chishtia order of sufism in which his ancestors earned Faiz from Hazrat Syed Muhammad Moinuddin Chishti Ajmeri (RA). His Murshid was Hazrat Yusuf Shah Taji who was disciple of Hazrat Tajuddin Baba of Nagpur (RA).

Chitta Kukkar

From www.shaadisongs.com

Chitta kukar banayray tey (x 2)
Kasni dupattay waliyey munda sadqey tere tey (x2)

Sari khed lakeeran di (x2)
Gaddi aaye station te akh pich gai weeran di

Pipli dian chawan ni (x2)
Aape hatti doli tor ke ma pay karan duawan ni (x2)

Kunda lag gaya thaali nu (x2)
Hattan utte mehndi lag gai ik qismat wal nu (x2)

Heera lakh sawa lakh da hai (x2)
Teen walian dian Rab iztan rak tha hai (x2)

Aasman ich panj tare (x2)
Asan munda o lena jera saerae wich akh mare (x2)

Baghe wich aya karo (x2)
Jado asi so jaeeye tusi makya udaya kari (x2)

Baghe wich aya karo (x2)
Kangi sheesha mae daen diya tusi tind lashkaya karo (x2)

Bicycle chalae janda hai (x2)
Nale naq wagda hai, nale kulfi khai janda hai (x2)

Bicycle chalae janda hai (x2)
Fitte mou shokeeni da piche nanan palai janda hai (x2)

Aalo matar pakaiu hoe ni
Sade nalo button changeh, jere sene nallaye hoe nae (x2)

Sarke utte rori hai (x2)
Nale mera challe lay leya nale ungal marore hai (x2)

Sarke utte rori hai (x2)
Kera mera chala lay leya ungal marore hai

Sarke utte rori hai (x2)
Khaba mera chala laleya, saji ungal marore hai (x2)

Sap char goya soti te (x2)
Khas ke chaper maran teree phooli hoi bothi te (x2)

Thali wich panch nakha (x2)
Maan deya gol gapya, teno logan wich ki aakha (x2)

Bagae wich pital paya (x2)
Mahey sano akh mari, sada hasa nikal giya (x2)

Bagae wich it chamke (x2)
Sas dian phul jareean, Sore di tinf chamke (x2)

Chitta kukar banayray tey (x 2)
Kasni dupattay waliyey munda sadqey tere tey (x2)

Madhanian

Surinder Kaur


Musarat Nazir

Lyrics:
Hai o Mereya Daadeya Rabba
Kinna Jammiyan Kinna Ne Le Jaaniya
Haiyo Mereya Daadeya Rabba
Kinna Jammiyan Kinna Ne Le Jaaniya

Chhole Chhole Chhole - Babul Tere Mehlan Vicho
Satrangiya Kabootar Bole-Hai
Babul Tere Mehlan Vicho
Satrangiya Kabootar Bole-Hai

Talliyaan O Talliyan – Maanvan Dheeyan Milan Lagiyaan
Chare Kandha Ne Chubaare Diyan Haliyaan Hai
Maanvan Dheeyan Milan Lagiyaan
Chare Kandha Ne Chubaare Diyan Haliyaan Hai

Pheeta Pheeta Pheeta Pheeta Pheeta – Aena Sakiyaan Veera Ne
Dhola Tor Ke Agaanu Keeta-Hai
Aena Sakiyaan Veera Ne
Dhola Tor Ke Agaanu Keeta-Hai
Aena Sakiyaan Veera Ne
Dhola Tor Ke Agaanu Keeta-Hai

Mehndi…. Mehndi Mehndi Mehndi – Lagdi Suhagana Nu
Nai Marde Dama Tak Laindi
Lagdi Suhagana Nu
Nai Marde Dama Tak Laindi

Jhumke Jhumke – Amrhi Da Dil Kambeyan
Amrhi Da Dil Kambeyan, Amrhi Da Dil Kambeyan
Aj Mu Lado Da Chum Ke
Amrhi Da Dil Kambeyan
Aj Mu Lado Da Chum Ke

Taare Taare - Jaan Jaaye Mukhde Te
Jaan Jaaye Mukhde Te, Jaan Jaaye Mukhde Te
Tera Tikka Lishkaare Maare
Jaan Jaaye Mukhde Te

Lachchiyaan - Ankhiyan De Hanju Das Ke
Ankhiyan De Hanju Das Ke, Ankhiyan De Hanju Das Ke
Aaj Doli Tenu Pauna Sakhiyaan
Ankhiyan De Hanju Das Ke

Choodiyan Choodiyan Choodiyan Choodiyan Choodiyan – Saure Ghar Jaan Waliye
Shaala Hon Muradaan Puriyan Hoi
Saure Ghar Jaan Waliye
Shaala Hon Muradaan Puriyan Hoi
Saure Ghar Jaan Waliye
Shaala Hon Muradaan Puriyan Hoi

Loyi – Babul Tere Mehlan Vicho
Teri Lado Pardesan Hoi Hai
Babul Tere Mehlan Vicho
Teri Lado Pardesan Hoi Hai

Maape Maape – Naazan Nal Palke Dheeyan
Ho Jaan Paraye Aape Hai
Naazan Nal Palke Dheeyan
Haan Naazan Nal Palke Dheeyan
Naazan Nal Palke Dheeyan
Ho Jaan Paraye Aape Hai
Naazan Nal Palke Dheeyan
Ho Jaan Paraye Aape Hai
Naazan Nal Palke Dheeyan
Ho Jaan Paraye Aape Hai
Ho o Naazan Nal Palke Dheeyan
Ho Jaan Paraye Aape Hai

Alif Allah Chambay Di Booti - Sultan Bahu - Tabassum Sohail

Coke Studio - Arif Lohar - Alif Allah - Meesha
Title: "Alif Allah chambay di booti"

Alif allah chambay di booti, tey meray murshid mann vich lai hoo
My master has planted the fragrant seed of love in my heart

Ho nafi uss baat da paani dey kay
Which flourished with modesty, piety and acceptance of his existence

Har ragaay harjai hoo
My God is present in every throbbing pulse

Ho joog joog jeevay mera murshid sohna
My spiritual guide is ever-present

Hatay jiss ay booti lai ho
The one who blew life into me

(chorus # 1)

Pir meraya jugni ji
I have the spirit of my guide

Ae way allah waliyan di jugni ji
The spirit of all the messengers who brought His message to this Earth

Ae way nabbi pak di jugni ji
The spirit of Holy Prophet

Ae way maula ali wali jugni ji
The spirit of Ali and his followers

Ae way meray pir di jugni ji
The spirit of my saint

Ae way saaray sabaz di jugni ji
The spirit of all his words

Dum gutkoon, dum gutkoon, dum gutkoon, dum gootkun... karay Saeein
Everytime I think of you God, my heart flutters

Parhay tay kalma nabi da Parhay saeein pir merya
So I recite the kalma whenever I think of God

(chrous #1 repeat)
Jugni taar khaeein vich thaal
O my creation, share whatever you have

Chad duniya dey janjaal
Remove yourself from worldly concerns

Kuch ni nibna bandiya naal
There is nothing that you can get from other human beings that you can take to the after-life

(repeat)

Rakhi saabat sidh amaal
Just keep you actions and intentions pure

(chorus # 1 repeat)

Jugni dig payee vich roi
So absorbed was the creation that she stumbled into a ditch

Othay ro ro kamli hoi
There she wailed relentlessly

Oddi vaath naye lainda koi
But there was no one who enquired about her

(repeat)

Tey kalmay binna nai mildi toi
Remember, there is no salvation for anyone without remembering your creator

(chorus #1 repeat)

Ho wanga charha lo kuriyon
Put on your bangles, girls

Meray daata dey darbaar dian
Those that you get at your Master's shrines

(repeat)

Ho naa kar teeya khair piyari
Daughter, don't be proud of your youth

Maan daindiya galaryaan
Your mother scoffs and scolds you

Din din talhi juwani jaandi
That with each passing day, your youth slips by

Joon sohna puthia lariyaan
Even gold when put in the furnance moulds itself, there is absolutely no permanence

Aurat marad, shehzaday sohney
Women, men are like so beautiful

O moti, O laa lariyaan
Like pearls, like the gems

Sir da sarfa kar naa jairey
Those who are not self-centered

Peen prem pya lariyan
They are the ones who truly love the humanity

O daatay day darbaan chaa akho
Whenever you visit the darbar of any saint

Pawan khair sawa lariyan
God fulfils all your wishes and showers you with his blessings

(arif plus meesha)

(chorus 2)

O wanga charha lo kuriyon meray daata tey darbar diyan
Put on your bangles, girls ... Those that you get at your Master's shrine

O wangha charha lo kuriyon meray daata tey darbar diyan
Put on your bangles, girls ... Those that you get at your Master's shrines

(chorus 2 repeat)

Dum gutkoon, dum gutkoon, dum gootkoon, gootkoon gootkon

(chorus 1 repeat)

Jugni ji
Jugni ji
Jugni ji...

Karavan
Yaadein

Koi naa kahay
Koi bhi na sunay
Dil ki baat yeh
Dil mein hee rahay
Yaadein naa rahain
Chaahoon aisa mein toh
Naa yaad ho mujh ko mera maazi

Na hee saamnay manzil raastay
Jo bhee saath thay, lootay waastay
Yaadein na rahain

Aisa bikhra mein bhee iss haal mein
Bojhal raatein meri
Yaadein naa rahain

Kaisi majboori hai

Kitna zaroori hai
Kay jivan ki taptee iss dhop mein ho
Jo saaya, saaya
Ho saaya, saaya

Kyun yeh dil kahay
Tooh phir aamplay
saanson mein rahay
Aakhon mein wasay
Aur na hon judaa


Jugni

Lyrics (Gurmukhi)
ਅਲਫ ਅੱਲਾ ਚੰਬੇ ਦੀ ਬੂਟੀ
ਮੇਰੇ ਮਨ ਵਿੱਚ ਮੁਰਸ਼ਦ ਲਾਈ.. ਹੂ…

ਨਫੀ ਅਸਬਾਤ ਦਾ ਪਾਣੀ ਮਿਲਿਆ
ਹਰ ਰਗੇ ਹਰ ਜਾਈ.. ਹੂ…

ਅੰਦਰ ਬੂਟੀ ਮੁਸ਼ਕ ਮਚਾਇਆ
ਜਾਂ ਫੁੱਲਾਂ ਤੇ ਆਈ.. ਹੂ…

ਜੀਵੇ ਮੁਰਸ਼ਿਦ ਕਾਮਿਲ ਬਾਹੂ
ਜੀਹ ਨੇ ਬੂਟੀ ਲਾਈ.. ਹੂ…

Contribution: Jasdeep Singh

Lyrics (in Shahmukhi)
الف اللہ چمبے دی بوٹی
ميرے من وچ مرشد لائی ہو

نفی اثبات دا پانی مليا
ہر رگے ہر جائی ہو

اندر بوٹی مشک مچايا
جاں پھلاں تے آئی ہو

جيوے مرشد کامل باھو
جيں اے بوٹی لائی ہو

Contribution: Sohail Abid

Sultan Bahu (Punjabi)(ca 1628 - 1691) was a Muslim Sufi and saint, who founded the Sarwari Qadiri Sufi order. Darbar Hazrat sultan Bahoo is located near Garh More city.

Sultan Bahu belonged to Awan tribe and was born in Anga, Soon Valley Sakesar (Vadi-e-Soon Sakesar). Like many other sufi saints of South Asia, Sultan Bahu was also a prolific writer, with more than forty books on Sufism attributed to him. Most of His books are in Persian language. However, as the majority of his books deal with specialised subjects related to Islam and Islamic mysticism, it is his Punjabi poetry that has generated popular appeal and made him a household name in the region. His poetic verses are sung in many genres of sufi music, including qawaalis and kaafis. Tradition has established a particular style of singing his couplets, which is not used in any other genre of sufi music.

The Mausoleum of Sultan Bahu is located in Garh Maharaja, Punjab, Pakistan. It is a popular and frequently-visited sufi shrine, and the annual festival is celebrated with the usual fervour, which is now a distinguishing feature of what is being called a 'shrine culture' of the South Asia. Annual festival is held during the holy month of Muharram. Every year on the 9th of Muharram (Islamic calendar month) a ghusal is also taken place under the supervision of Muhammad Najeeb Sultan (Sajjada Nasheen (Chair-holder) of Sultan Bahoo shrine), in which all decedents of Sultan Bahoo wash His shrine with tones of pure rose water.

Hazrat Sultan Bahu is from the progeny of Hazrat Ali and is a direct descended from Hazrat Ali. Sultan Bahu belonged to the Qadiri sufi order, and later initiated his own offshoot, Sarwari Qadiri. Sultan Bahu's education began at the feet of his mother, Mai Rasti, who was herself a saintly woman, and has her own Mausoleum in Shorkot, Punjab, Pakistan. She told him to seek spiritual guidance from a wali (friend of GOD). After some time, he moved to Delhi for further 'polishing' under the guidance of Sheikh Abdul Rehman al Qadari. Soon Sheikh Abdul Rehman al Qadari felt that he can not add anything to Sultan Bahoo's knowledge as Sultan Bahoo already knew more than Sheikh Abdul Rehman al Qadari. This did not take long, after which Sultan Bahu returned to his own, familiar surroundings.

Vo Ishq Jo Humsay Rooth Gaya - From Vineeta Sastry

Farida Khanum

http://www.youtube.com/watch?v=nSiJLl2GXTw
with Urdu lyrics

Farida Khanum has a distinctive style of singing. It is an attractive blend of ghazal gaayaki and tarannum (recitation), reflecting her training in classical music under the tutelage of such illuminaries as Ustad Bade Ghulam Ali Khan and Ustad Ashique Ali Khan.

Lyrics: Athar Nafeez

vo ishq jo ham se ruuTh gayaa ab us kaa haal bataaye.N kyaa

vo ishq jo ham se ruuTh gayaa ab us kaa haal bataaye.N kyaa
ko_ii mehar nahii.n koii qahar nahii.n phir sachchaa sher sunaaye.N kyaa

ik hijr jo ham ko laahak hai taa der use doharaaye.N kyaa
vo zahar jo dil me.n utaar liyaa phir us ke naaz uThaaye.N kyaa

ik aag Gam-e-tanhaa_ii kii jo saare badan me.n phail ga_ii
jab jism hii saaraa jalataa ho phir daaman-e-dil ko bachaaye.N kyaa

ham naGmaasaraa kuchh Gazalo.n ke ham surat gar kuchh Khvaabo.n ke
bejazbaa-e-shauq sunaaye.N kyaa koii Khvaab na ho to bataaye.N kyaa

Farida Khanum, who will be singing in Delhi tomorrow, recalls her early days in India and her wish to record for Rahman
Aaj jaane ki zid na karo, yu hi pehlu mein baithe raho.
When Farida Khanum sang this Fayazz Hashmi nazm in Pakistan in the early 1970s, ghazal lovers of India cocked their ears to their tape recorders as though it was a coded command from the legend herself, and played and replayed the tape until it whirred in agony. People in India and Pakistan enjoyed the song so much that the demand for the cassette soared on both sides of the border. “That ghazal is simple poetry set to the simplest of tunes and it is that effortlessness that touches hearts,” says Khanum, now 74, over a telephone conversation from Lahore. “I am glad people still like it a lot.” She will have Aaj jaane ki... as the showstopper at the ICCR’s Routes2Roots concert in Delhi on Tuesday.

Khanum was born in Calcutta and learnt classical music from the maestro Ustad Ashiq Ali Khan. She still remembers the clip-clop of the tonga in which her sister Mukhtar Begum would take her, a seven-year-old Farida, to Khan’s place for riyaaz.

An exponent of the Patiala gharana, she recalls, “All that I know today is because of my training in Amritsar. I learnt many Hindustani ragas in the style of the Patiala gharana, which is known for its graceful execution of thumris and khayals. I could have been a classical singer if I had not migrated.” Khanum had her first public performance in 1950 and then joined Radio Pakistan where she courted fame and fortune.

“I used to get 50 (Pakistani) rupees per show and that was quite a lot those days,” laughs Khanum. “In Pakistan, the classical singers were so good that I would not have been able to match those extremely talented ustads. I had always been interested in poetry and that is when I thought I should shift to a semi-classical genre, rather than struggle in a difficult field,” she says with disarming modesty.

She became a star when Pakistan’s president Ayub Khan invited her to a public recital in the ’60s. “Bahut pyar mila uske baad humein. I performed a lot in India as well and it became a second home to me,” says Khanum, who especially loves performing in “Ghalib ka shehar Dilli”.

Do the volatile relations between India and Pakistan affect her? “How can we artists turn our faces when India bleeds and just because some forces are busy funding war?” she asks. “We still can’t stop watching Shah Rukh Khan movies.”

This time Khanum plans to meet music director AR Rahman. “I had gone to Chennai the last time I came to India but couldn’t meet him because of our busy schedules. Rahman wanted to record me then. I wish it is possible this time,” says Khanum.

Neeyat-e-Shauq Bhar Na Jaaye Kaheen - From Vineeta Sastry

Noor Jahan


Asha Bhonsle

Lyrics: Nasir Kazmi

Neeyat-E Shauq bhar na jaye kahin
Tu b dil se uthar na jaye kahi

Aaj dekha hai tujh ko dher k baad
Aaj ka din guzar na jaye kahi

Na mila kar udhas laugo se!
Husan tera bikar na jaye kahi

Aarzo hai ke tu yahaan aaye
Aur phir umer bhar na jaye kahi

Jee jalata hoo aur sochta hoon
Raigaa ye hunar na jaye kahi

Aao kuch dher ro he lay Nasir
Pir ye darya uthar na jaye kahi...n

Nasir Kazmi
Nasir Raza Kazmi is one of the greatest poets of this era, especially in the use of "istha'aaray" (metaphors) and "chhoTii behr" (small meter). He was born On Dec. 8, 1925 at Ambala. He did some journalistic work with "Auraq-e-Nau" and became chief editor of the magazine "Humayun" in 1952-53. Later he was associated with Radio Pakistan, Lahore and other literary publications and organisations. Nasi Kazmi was a great admirer of Meer Taqi Meer and probably the melancholy and "Ehsaas-e-Mehroomi" in his poetry was a direct result of that. His tutor in poetry was Hafeez Hoshiarpuri, who himself used a lot of symbols from nature in his poems.

His rich body of work includes Barg-e-Nae (1952), Deewaan (1972), Pehli Baarish (1975), Nishat-e-Khwab (Collection of nazms, 1977), Sur Ki Chhaya (Drama, 1981), Khushk Chashme ke Kinare (Prose, 1982). The last four tragically were published after his death in Lahore on March 2, 1972 due to tuberculosis. Few people know that he did some great translations of English poets, especially his translation of Walt Whitman's "Crossing Brooklyn Ferry " as "Brooklyn Ghaat Ke Paar" is a real masterpiece and worth reading.

Compiled by Akber Zaidi for Aligarians.com

Ghazals & Nazms Of Nasir Kazmi:

be minnat-e-Khizr-e-raah rahnaa
dil meN ek lehar sii uThii hai abhii
dukh kii lehar ne chheRaa hogaa
fikr-e-taameer-e-aashiaN bhi hai
jab raat gaye tiri yaad aayii, sau tareh se jii ko behlaaya
jurm-e-inkaar kii sazaa hii de
karta use beqarar kuch der
kaun is raah se guzartaa hai
kise dekhein kahaaN dekha na jaye
ko'ii jiye yaa ko'ii mare
naaz-e-be-gaangii meN kyaa kuch thaa
O ! mere masruuf Khudaa
rang barsaat ne bhare kuch to
tanhaa ishq ke khwaab na bun
tere aane kaa dhokaa saa rahaa hai
terii zulfoN ke bikharne kaa sabab hai ko'ii
yaas meN jab kabhii aaNsuu niklaa

LITERARY NOTES: Remembering Nasir Kazmi
By Intizar Husain

Pakistan Academy of Letters’ latest publication is a volume on Nasir Kazmi compiled by his son, Basir Kazmi. We were introduced to this volume in an inaugural function organised by the Academy in its auditorium. The function was attended by the poet’s friends, admirers, and readers of poetry in general. Among those who spoke on the occasion were Basir Kazmi, Kishwar Naheed, Iftikhar Arif, and myself.

Basir Sultan Kazmi had himself achieved much in the field of writing. On the basis of his own achievements, both as a poet and a prose writer, he well deserved to be entrusted with the job of compiling a suitable volume about Nasir Kazmi.

Nasir Kazmi was among those few poets whose personalities are so involved with their poetry that it is hard to separate one from the other. His was a life creatively lived.

Nasir Kazmi was among those few poets whose personalities are so involved with their poetry that it is hard to separate one from the other. His was a life creatively lived. I am saying this with particular reference to his early period, which may be determined as beginning with the late years of the 1940s and ending with the decade of ’50s. I recall his nightlong wanderings when his creativity was at its height. In these years he did not simply write poetry. He lived it. His first collection is a faithful record of his life as he lived it at that time.

His next collection speaks of the next phase in his life. He was by then a married man and those close to him were trying hard to convince him that poetry is not enough in life, and that poets too, howsoever devoted to their creative experience, stand in need to make certain compromises with the realities of life in order to keep body and soul together.

He did make compromises to the extent that he cared to carry on with the jobs arranged for him by his well-wishers. In consequence we see a balance emerging between Nasir the family man and Nasir the poet.

This balance in turn led to a maturity of mind which helped him to discipline his poetic talent. Keeping away from ghazal for a time, he decided to write a play in verse. The play, Sur ki Chaya is an achievement apart from his poetry.

Soon after writing the play he made a bold experiment in the domain of ghazal. The ghazals collected under the title Pehli Barish bring before us a continuity hitherto unknown to the form of ghazal. These ghazals taken together may be seen as an attempt to recapture a whole experience. They take the form of a sad remembrance of a sweet relationship, which is now a thing of the past.

This was the last phase of Nasir’s creative journey, wherein he appears to have come far away from the stages we see in Berg-i-nai and Diwan. But unfortunately, most of his admirers and critics give the impression that they have stopped short at the ghazals of Diwan.

Lo Phir Basant Aayee - Malika Pukhraj/Tahira Syed - Mujtaba

लो फिर बसन्त आई
फूलों पे रंग लाई
चलो बे दरंग
लबे आबे गंग
बजे जलतरंग
मन पर उमंग छाई
लो फिर बसन्त आई
आफत गई खिज़ां की
किस्मत फिरी जहाँ की
चले मै गुसार
सूये लाला जार
मै पर्दादार
शीशे के दर से झाँकी
आफत गई खिज़ां की
खैतों हर चरिंदा
बागों क हर परिंदा
कोइ गर्म खेज़
कोइ नगमा रेज़
सुब को और तेज़
फिर हो गया है ज़िन्दा
बागों का हर परिंदा
खैतों का हर चरिंदा
धर्ति के बेल बूटे
अन्दाज़े नौ से फूटे
हुआ बख्त सब्ज़
हुआ रख्त सब्ज़
हैं दरख्त सब्ज़
बन बन के सब्ज़ निक्ले
धर्ति के बेल बूटे
अन्दाज़े नौ से फूटे
है इश्क भी जुनूं भी
मस्ती भी जोशे खूँ भी
कहीं दिल में दर्द
कहीं आह सर्द
कहीं रंग ज़र्द
है यूँ भी और यूँ भी
मस्ती भी जोशे खूँ भी
फूली हुई है सर्सों
भूली हुई है सर्सों
नहीं कुछ भी याद
यूँ ही बामुराद
यूँ ही शाद शाद
गोया रहे कि बरसों
फूली हुई है सर्सों
इक नाज़्नीं ने पहने
फूलों के ज़र्द गहने
है मगर उदास
नही पी के पास
घमो रंजो यास
दिल को पडे हैं सहने
इक नाज़्नीं ने पेहने ...
लो फिर बसन्त आई

Lo phir basant ayi,
phoolon pe rang layi
chalo be darang
lab-e-aab-e-gang
baje jal tarang
man par umang chayi

afat gayee khizan ki,
kismat phiri jahan ki
chal mai-guzaar
sooe Laalazar
mai-e-parda dar
sheeshe ke dar se jhanki
afat gayee khizaan ki
qismat khili jahan ki

kheton ka har charinda,
baghon ka har parinda
koi garm khez
koi naghma rez
subh ko aur tez
phir ho gaya hai zinda
baghon ka har parinda
khaiton ka har charinda

dharti ke bel boote,
andaze nau se phute
hua bakht sabz
mila rakht sabz
hai darakht sabz
ban ban ke sabz nikle
dharti ke bel bootay
andaze nau se phootay

hai ishq bhi junoon bhi,
masti bhi josh e khoon bhi
kahin dil main dard
kahin aah sard
kahin rang zard
hai yun bhi aur yun bhi
masti bhi josh-e-khoon bhi
hai ishq bhi junoon bhi

phooli huee hai sarson
bhooli huee hai sarson
nahin kuch bhi yaad
yunhe ba murad
yunhee shaad shaad g
oya rahe gee barson
phooli hue hai sarson

ek naznin ne pehne
phoolon ke zard gehne
hai magar udas
nahin pi ke paas
gham-o-ranj-o-yaas
dil ko pare hain sehne
ek naznin ne pehne
phoolon ke zard gehne
lo phir basant ayi, lo phir basant ayi



لو پھر بسنت آئی
پھولوں میں رنگ لائی
چلو بے درنگ
لب آب گنگ
بجے جل ترنگ
من پر امنگ چھائی
لو پھر بسنت آئی
آفت گئی خزاں کی
قسمت پھری جہاں کی
چلے مے گسار
سوے لالہ زار
معے پردہ دار
شیشے کے در سے جھانکی
آفت گئی خزاں کی
کھیتوں کا ہر چرندہ
باغوں کا ہر پرندہ
کوئی گرم خیز
کوئی نغمہ ریز
صب کو اور تیز
پھر ہوگیا ہے زندہ
باغوں کا ہر پرندہ
کھیتوں کا ہر چرندہ
دھرتی کے بیل بوٹے
انداز نو سے پھوٹے
ہوا بخت سبز
ملا رخت سبز
ہیں درخت سبز
بن بن کے سبز نکلے
دھرتی کے بیل بوٹے
ہے عشق بھی جنوں بھی
مستی بھی جوش خوں بھی
کہیں دل میں درد
کہیں آہ سرد
کہیں رنگ زرد
ہے یوں بھی اور یوں بھی
پھولی ہوئی ہے سرسوں
بھولی ہوئی ہے سرسوں
نہیں کچھ بھی یاد
یوں ہی با مراد
یوں ہی شاد شاد
گویا رہے کی برسوں
پھولی ہوئی ہے سرسوں
اک نازنیں نے پہنے
پھولوں کے زرد گھنے
ہے مگر اداس
نہیں پی کے پاس
غم و رنج و یاس
دل کو پڑے ہیں سہنے
اک نازنیں نے پہنے ...
لو پھر بسبت آئی


Malika Pukhraj (Urdu: ملكہ پکھراج ) (b1912 - 2004) was a highly popular singer of Pakistan. She was generally called as "Malika" meaning "The Queen." She is extremely popular for her rendition of Hafeez Jalandhri's song, Abhi to main jawan hoon ("I am still youthful"), which is enjoyed by millions not only in Pakistan, but also in India. Her popular numbers were,Lo phir basant aaya and Quli Qutub's Piya baaj piyale piya jaye na and Faiz Ahmed Faiz's Mere qatil mere dildar mere paas raho.

Malika Pukhraj, was born in village Mirpur, on the banks of the River Akhnoor, 16 miles from Jammu, and as she grew up her mother moved to Kanak Mandi area of Jammu, in present Jammu and Kashmir, where she spent early years of her life, she was given the name "Malika" at birth, by 'Majzoob', 'Baba Roti Ram, a spiritualist, in Akhnoor area and named Pukhraj by her Aunt.

Malika Pukhraj who was coached by Ustad Allah Buksh, father of Bade Ghulam Ali Khan. At age nine, At nine she visited Jammu and performed at coronation ceremony of Maharaja Hari Singh, who got so impressed by her voice that she appointed a court singer in his Durbar, and stayed there for another nine years.

Over the next 8 decades she captivated her audience with her command over the singing genres of Thumri, Ghazal, Bhajan and folk Pahari Geet, including Dogri folk songs. She was among the greatest singers of British India in the 1940s, and after Partition of India in 1947, she migrated to Lahore, Pakistan, where she received further fame, through her radio performances with composer, Kale Khan.

In 1980, she received the Presidential Pride of Performance Award, Pakistan. In 1977, when All India Radio, for which she sang until Partition, was celebrating its Golden Jubilee, she was invited to India, and awarded with the 'legend of Voice' award Malika Pukhraj also recorded her memoirs in the novel Song Sung True.

Malika Pukhraj, died in Lahore on February 4, 2004. Her funeral procession started from her residence West Canal bank, and she laid to rest at her ancestral 'Shah Jamal' graveyard in Lahore

Malika Pukhraj was married to Syed Shabbir Hussain Shah, a Government Officer and had 6 children, including Safiea, her eldest daughter; Tahira Syed, one of Malika Pukhraj’s two daughters, emerged as a well-known singer in her own right. Her other daughter, Tasneem, is married to famous lawyer and senator S.M. Zafar. Her eldest son Tauqeer lives in Model Town, Lahore, and his wife Shahnaaz, her other son is, Maj. (R) Syed Tanveer Hussain.

Ranjish Hi Sahi - Syed Ahmed Shah 'Faraz' - From Vineeta Sastry

Runa Laila
Music by Nasir Bazmi


Mehdi Hasan


Asha Bhonsle's modern version


From the Pakistani Film Mohabbat sung by Mehdi Hasan


Ranjish hi sahi dil hi dukhaane ke liye aa
(Let it be anguish, come still atleast to torment my heart)
aa phir se mujhe chhod ke jaane ke liye aa
(Come, even if to leave me again)

pehle se maraasim na sahi phir bhi kabhi to
(If not for our past association)
rasm-o-rahe duniya hi nibhaane ke liye aa
(Come to fulfill the rituals of the world)

kis kis ko bataayenge judaai kaa sabab ham
(To whom all must I explain the reason of separation)
tu mujh se khafaa hai to zamaanay kay liye aa
(Come, despite your displeasure, atleast for the sake of the world)

ab tak dil-e-khush-feham ko tujh se hain ummeedain
(Till now, my heart suffers from some expectations from you)
ye aakhari shammain bhi bujhaane ke liye aa
(Come to snuff even these last candles of hope)

kuchh to meri pindaar-e-mohabbat ka bharam rakh
(Respect a little the depth of my love for you)
tu bhi to kabhi mujh ko manaane ke liye aa
(Come someday to placate me as well)

ek umr se hun lazzat-e-giryaa se bhi mehruum
(Too long have I been deprived of the pathos of longing)
aye raahat-e-jaan mujh ko rulaane ke liye aa
(Come my love, if only to make me weep again)


रंजिश ही सही दिल ही दुखाने के लिए आ
आ फिर से मुझे छोड़ के जाने के लिए आ ।

रंजिश=enmity

पहले से मरासिम न सही फिर भी कभी तो
रस्म-ओ-रह-ए-दुनिया ही निभाने के लिए आ ।

मरासिम=agreements/relationships, रस्म-ओ-रह-ए-दुनिया=customs and traditions of the society

किस किस को बताएँगे जुदाई का सबब हम
तू मुझ से ख़फ़ा है तो ज़माने के लिए आ ।

सबब=reason, ख़फ़ा=angry

कुछ तो मेरे पिन्दार-ए-मुहब्बत का भरम रख
तू भी तो कभी मुझ को मनाने के लिए आ ।

पिन्दार=pride

एक उम्र से हूँ लज़्ज़त-ए-गिरिया से भी महरूम
ऐ राहत-ए-जाँ मुझ को रुलाने के लिए आ ।

लज़्ज़त-ए-गिरिया=taste of sadness/tears, महरूम=devoid of, राहत-ए-जाँ=peace of life

अब तक दिल-ए-ख़ुश’फ़हम को तुझ से हैं उम्मीदें
ये आख़िरी शम्में भी बुझाने के लिए आ ।

दिल-ए-ख़ुश’फ़हम=optimistic heart, शम्में=candles

Syed Ahmad Shahor Ahmed Faraz was considered one of the greatest modern Urdu poets of the last century. Faraz is his pseudonym 'takhallus', whereas his real name is Syed Ahmed Shah. Ahmed Faraz died at Shifa International Hospital in Islamabad on August 25, 2008

Faraz, who has been compared with Mohammad Iqbal and Faiz Ahmed Faiz, holds a unique position as one of the best poets of current times, with a fine but simplistic style of writing, even common people can easily understand and identify with. Ethnically a Pashto-speaking Pashtun, Ahmed Faraz learned and studied Persian and Urdu at the Peshawar University where he taught these subjects later.

Early Life: He was born on January 14, 1934 Nowshera, Pakistan and brother of Syed Masood Kausar. In an interview with Rediff he recalls how his father, a teacher, once bought clothes for him on Eid. He didn't like the clothes meant for him, but preferred the ones meant for his elder brother. This lead him to write his first couplet:

Layen hain sab ke liye kapre sale se (He brought clothes for everybody from the sale)
Layen hain hamare liye kambal jail se (For me he brought a blanket from jail)

He was told by his parents once to learn mathematics from a female class fellow during the summer vacation. "I was weak in mathematics and geography. I still don't remember maps and roads".

Instead of learning mathematics he played bait-bazi with her, a game in which one person recites a couplet and the other one recites another couplet starting from the last letter of the previous one. He always lost, even though he memorized hundreds of couplets for her, but when he started manufacturing his own couplets she couldn't catch him anymore. Coming from a respectable family of Syeds, descendents of ''Haji Bahadar" a famous saint of Kohat, he moved to Peshawar with entire family. Studied in famous Edwards College, Peshawar and then did his Masters in Urdu and Persian. Initially Syed Ahmad Shah Faraz thus became Ahmed Faraz.

During his college time, Faiz Ahmed Faiz and Ali Sardar Jafri were the best progressive poets, who impressed him and became his role models. Ahmed Faraz initially worked as a script writer at Radio Pakistan Peshawar and then moved on to teach Urdu at Peshawar University. In 1976 he became the founding Director General (Later Chairman) of Pakistan Academy of Letters.

Faraz Passed away at a local Islamabad Hospital on August 25, 2008

Political Life: Outspoken about politics, he went into self-imposed exile during the Zia-ul-Haq era after he was arrested for reciting certain poems at a mushaira criticizing the military rule. He stayed for three years in Britain, Canada and Europe before returning to Pakistan, where he was initially appointed Chairman Academy of Letters and later chairperson of the Islamabad-based National Book Foundation for several years. He has been awarded with numerous national and international awards.
He was inspired from Zulfiqar Ali Bhutto And Pakistan People's Party. When he was not well on July 2008. Pakistan People's Party Aranged program for pray to Ahmed Faraz on Karachi He was awarded the Hilal-e-Imtiaz in 2004, in recognition of his literary achievements. He returned the award in 2006 after becoming disenchanted with the government and its policies.

"My conscious will not forgive me if I remained a silent spectator of the sad happenings around us. The least I can do is to let the dictatorship know where it stands in the eyes of the concerned citizens whose fundamental rights have been usurped. I am doing this by returning the Hilal-e-Imtiaz (civil) forthwith and refuse to associate myself in any way with the regime..." a statement issued by the poet.

About his current writings he says: "I now only write when I am forced to from the inside."

Maintaining a tradition established by his mentor, the revolutionary Faiz Ahmed Faiz, he wrote some of his best poetry during those days in exile. Famous amongst poetry of resistance has been "Mahasara"

One amongst his great ghazals is the famous Ranjish Hi Sahi. He has so far written 13books and all put together comes as "Shehr e Sukhn aarasta hai" his latest publication so far

Mayray Hum-nafas Mayray Hum-nawaa - From Vineeta Sastry

Vineeta I met a decade ago. I was surprised to hear her sing with her sister, Hindustani Khayals, for a Telugu it was way out of territory! Not only is she one of the best singers I have ever heard but she is someone with a wide range of interests, awareness, people skills, all with a sense of sweetness and femininity that's usually missing in most other 'smart' women of her kind. I am very proud to have her as my 'maradalu', sister-in-law.


Begum Akhtar



Farida Khannum

Poet:Shakeel Badayuni
Singer:Begum Akhtar,Farida Khanum


Mere Humnafas, Mere Humnawa,
Mujhe Dost Ban Ke Daga Na De
Main Hoon Dard-e-Ishq Se Jaan-Valab,
Mujhe Zindagi Ki Dua Na De


Mere Daagh-e-Dil Se Hai Roshni,
Isi Roshni Se Hai Zindagi
Mujhe Darr Hai Ae Mere Chaaragar,
Yeh Chiraag Tu Hi Bujha Na De


Mujhe Ae Chhod De Mere Haal Par,
Tera Kya Bharosa Hai Chaaragar
Yeh Teri Nawazish-e-Mukhtasar,
Mera Dard Aur Badha Na De


Mera Azm Itna Buland Hai
Ke Paraaye Sholo-n Ka Darr Nahin
Mujhe Khauf Aatish-e-Gul Se Hai,
Yeh Kahin Chaman Ko Jala Na De


Woh Uthein Hain Leke Hom-o-Subu,
Arrey O 'Shakeel' Kahan Hain Tu
Tera Jaam Lene Ko Bazm Mein
Koi Aur Haath Badha Na De!

Shakeel Badayuni
(August 3, 1916 – April 20, 1970) was an accomplished Urdu poet, lyricist and songwriter.
Shakeel Badayuni was born in Badayun, Uttar Pradesh. His father, Mohammed Jamaal Ahmed Sokhta Qadiri wanted him to have a good career, thus he arranged Arabic, Urdu, Persian, and Hindi tuition for Shakeel at home. His inclination towards poetry was not hereditary like other shayars. One of his distant relatives, Zia-ul-Qadiri Badayuni was a religious shayar. Shakeel was influenced by him and the contemporary environment of Badayun led him to Sher-o-Shayari.

When he joined Aligarh Muslim University in 1936, he started participating in inter-college, inter-university mushairas and won frequently. In 1940, he married Salma, who was a distant relative of his and they had been living in a common house since childhood, however, the purdah system was vogue in their family and they were not close. After completing his B.A., he moved to Delhi as a supply officer, but continued participating in mushairas, earning fame nation-wide. Those were the days of shayars who wrote about the downtrodden sections of society, their upliftment, the betterment of society and all. But Shakeel had an altogether different taste - his poetry was more often not romantic and close to heart. Shakeel used to say:

Main Shakeel Dil Ka Hoon Tarjuma
Keh Mohabbaton Ka Hoon Raazdaan
Mujhe Fakhr Hai Meri Shayari

Shakeel moved to Bombay in 1944 to write songs for films. He met film producer, A.R. Kardar and music composer, Naushad who asked him to sum up his poetic skills in one line. Shakeel wrote, Hum dard Ka Afsana Duniya Ko Suna Denge, Har Dil Main Mohabbat Ki Ek aag Laga Daingay. Naushad immediately signed him for Kardar's film, Dard (1947). The songs of Dard proved to be very successful especially Uma Devi (Tun Tun)'s Afsana Likh Rahi Hoon. Only a few are so lucky that they attain success in their first film, but Shakeel deserved success which started with Dard and continued on over the years.

Together, he and Naushad became one of the most sought after composer/lyricist duos in the industry. Among the stupendous scores they churned out together, are those of Baiju Bawra (1952), Mother India (1957), and Mughal-e-Azam (1960), that stand out. Other films they scored together include Dulari (1949), Shabab (1954), Ganga Jamuna (1961), and Mere Mehboob (1963). Although Badayuni worked most extensively with Naushad, he also collaborated with Ravi and Hemant Kumar as well. His lyrics for the song Husnwale Tera Jawab Nahin and Ravi's music both won Filmfare Awards for the hit film Gharana. His other notable film with Ravi is Chaudhvin Ka Chand (1960), while Sahib Bibi Aur Ghulam (1962) is his biggest hit with Hemant Kumar. The title song from Chaudhvin Ka Chand, rendered by Mohammed Rafi, won Badayuni the Filmfare Award for Best Lyricist in 1961.

Shakeel penned numbers for around 89 films. In addition, he wrote many popular ghazals which are still sung by vocalists like Pankaj Udhas and others. Shakeel shared a close friendship with Naushad, Ravi and Ghulam Mohammed, with whom he enjoyed his life to the fullest. Unlike other shayaars, he wasn't an alcoholic.

Shakeel Badayuni succumbed to diabetes complications at the age of fifty-three on April 20, 1970, leaving behind his wife, a son and a daughter. His friends, Naushad, Ahmed Zakaria, and Rangoonwala formed a trust called Yaad-e-Shakeel after his death and this trust is now the source of some income to his bereaved family.


Begum Akhtar or Akhtari Bai Faizabadi (October 7, 1914 – 1974) was an Indian vocalist of Ghazal, Dadra and Thumri.

Her first public performance was at the age of fifteen. She also acted in several Bollywood films, including Mumtaz Beghum (1934), Jawaani Ka Nasha(1935), King for a Day (1933, director : Raaj Hans). She received the Sangeet Natak Akademi Award for vocal music, and was awarded Padma Shri and Padma Bhushan (posthumously) by Govt. of India Today her name is almost synonymous with the concept of ghazal gayaki, and her imitable style of singing which immortalized her, and gave her the title of Mallika-e-Ghazal (Queen of Ghazals)

Begum Akhtar was born in Bada Darwaza, Town Bhadarsa, Bharatkund, Faizabad District, Uttar Pradesh. Her father Asghar Hussain, a young lawyer who fell in love with her mother Mushtari and made her his second wife, subsequently disowned her and his twin daughters Zohra and Bibbi (Akhtar)

Akhtar was barely seven when she was captivated by the music of Chandra Bai, an artist attached to a touring theatre group. However, at her uncle's insistence, she was sent to train under Ustad Imdad Khan, the great sarangi exponent from Patna, and later under Ata Mohammed Khan of Patiala. Later, she travelled to Calcutta with her mother and learnt music from classical stalwarts like Mohammad Khan, Abdul Waheed Khan of Lahore, and finally she became the disciple of Ustad Jhande Khan.

Her first public performance was at the tender age of fifteen. She took the music world by storm. The famous poetess, Sarojini Naidu, appreciated her singing during a concert which was organised in the aid of victims of a Bihar earthquake of 1934. This encouraged her to continue singing ghazals with more enthusiasm. She cut her first disc for the Megaphone Record Company, at that time. A number of gramophone records were released carrying her ghazals, dadras,thumris, etc.

She was raped by one of her patrons and gave birth to a daughter. In her later life as a respectable married woman she had to pretend the daughter was her cousin.

Begum Akhtar's good looks and sensitive voice made her an ideal candidate for a film career in her early years. When she heard great musicians like Gauhar Jan and Malak Jan, however, she decided to forsake the glamour of the film world for a career in Indian classical music. Her supreme artistry in light classical music had its moorings in the tradition of pure classicism. She chose her repertoire in primarily classical modes: a variety of raags, ranging from simple to complex. After the advent of talkie era in India, Beghum Akhtar acted in a few Hindi movies in thirties. East India Film Company of Calcutta approached her to act in "King for a Day" (alias Ek Din Ka Badshah) and Nal Damayanti in 1933.

Like others of that era, she sang her songs herself in all her films. She continued acting in the following years. Subsequently Beghum Akhtar moved back to Lucknow where she was approached by the famous producer-director Mehboob Khan, as a result of which she acted in "Roti" which was released in 1942 and whose music was composed by maestro Anil Biswas. "Roti" contained six of her ghazals but unfortunately due to some trouble between producer and director, Mehboob Khan subsequently deleted 3-4 ghazals from the film. All the ghazals are available on Megaphone gramophone records. Beghum Akhtar, meanwhile, left Bombay and returned to Lucknow.

In 1945, Akhtaribai married a barrister, Ishtiaq Ahmed Abbasi, and became known as Begum Akhtar. However, after marriage, due to her husband's restrictions, she could not sing for almost five years and subsequently, she fell ill, that is when her return to music was prescribed as a befitting remedy, and in 1949 she returned to the recording studios.She sang three ghazals and a dadra at Lucknow Radio Station. She wept afterwards and returned to singing in concerts, a practice that lasted until her death.

Her voice matured with time, adding richness and depth. She sang ghazals and other light classical pieces, singing them in her inimitable style. She has nearly four hundred songs to her credit. She was a regular performer on All India Radio. She usually composed her own ghazals and most of her compositions were raag based.

During her last concert in Ahmedabad, she raised the pitch of her voice as she felt that her singing had not been as good as she had wanted it to be. She was not feeling well on the fateful day. The additional demand and stress that she put herself under resulted in her falling ill and was rushed to the hospital.

She died on October 30, 1974, in the arms of Nilam Gamadia, her friend, who invited her to Ahmedabad, which has become her final performance.

Dil Dhadaknay Ka Sabab Yaad Aaya - From Vineeta Sastry

Noor Jehan



Asha Bhonsle / Ghulam Ali


Poet:Nasir Kazmi
Singer:Noor Jehan, Asha Bhonsle, Ghulam Ali
Raag:Jog

Dil Dhadkane Ka Sabab Yaad Aaya
Woh Teri Yaad Thi Ab Yaad Aaya


Aaj Mushkil Tha Sambhalana Aye Dost
Tu Musibat Mein Ajab Yaad Aaya


Haal-e-Dil Hum Bhi Sunate Lekin
Jab Woh Rukhsat Huey Tab Yaad Aaya


Phir Kayee log Nazar Se Gujare
Phir Koi Sharab-e-Tarab Yaad Aaya


Din Gujara Tha Badi Mushkil Se
Phir Tera Wada-e-Shab Yaad Aaya


Tera Bhula Hua Paimane-e-Wafa
Mar Rahenge Agar Ab Yaad Aaya


Baith Kar Saaya-e-Gul Mein Nasir
Hum Bahot Roye Woh Jab Yaad Aaya

Nasir Kazmi
Born Syed Nasir Raza Kazmi
December 8, 1925(1925-12-08)
Muhalla 'Qazi Wara', the house of his Grandfather (nana) Nayaz Nabi Bin Bu Ali Bakhsh, Kaneez Manzil, Ambala, Punjab, India
Died March 2, 1972 (aged 46)
Lahore, Punjab, Pakistan
Education National High School Peshawar, D.B.Middle Schhol Dakshai, Muslim High School Ambala, Islamia College Lahore, Government College Lahore(after partition for sometime).
Genres Ghazal
Spouse(s) Shafiqa Bano (Shafiqa Taskeen) D\O Sayed Anwar-ul-Haq Bin Abdul Azeez
Children Two Sons; Basir Sultan Kazmi & Hassan Sultan Kazmi,Tas Three Grandchildren: Irtiza Hassan Kazmi, Amna Hassan Kazmi & Wajiha Basir.
Relative(s) Mother:Kaneeza Muhammadi, Father: Sayed Muhammad Sultan Bin Sharif-ul-Hassan. Younger brother: Ansar Raza Kazmi.

Influences[show]
Mir Taqi Mir

Influenced[show]
Urdu poetry


Syed Nasir Raza Kazmi
(1925-1972) (Urdu: سید ناصر رضا كاظمی ) was a renowned Urdu poet of Pakistan. He was one of the greatest poets of this era, especially in the use of "ista'aaray" and "chhotee beher".

Kazmi was born on December 8, 1925 at Ambala in British India. He was educated at Ambala, Simla and Lahore. He returned to Ambala in 1945 and started looking after his ancestral land. After the creation of Pakistan in 1947, he came to Lahore. He did some journalistic work with Auraq-e-Nau as an editor and became editor-in-chief of the magazine Humayun in 1952. Later he was associated with Radio Pakistan, Lahore and other literary publications and organizations.

Nasir Kazmi started his poetic life in 1940 by following the style of Akhtar Sherani and wrote romantic poems and sonnets. Later he began writing ghazals under the guidance of Hafeez Hoshyarpuri. He was a great admirer of Mir Taqi Mir and probably the melancholy and "Ehsaas-e-Mehroomi" in his poetry was a direct result of that. His tutor in poetry was Hafeez Hoshyarpuri, who himself used a lot of symbols from nature in his poems.

'Yaad ke benishan jazerun se
Teri awaz arahi hai abhi...'
Nasir, few days before his death, said in a TV interview by Intezaar Hussain, that 'horse riding, hunting, wandering in a village, walk along the river side, visiting mountains etc were my favourite pastimes and probably this was the time when my mind got nourishment for loving nature and getting close to the expression of poetry. All my hobbies are related with fine arts, like singing, poetry, hunting, chess, love of birds, love of trees etc... i started poetry because I used to reflect that all the beautiful things those I see, and those in nature are not in my hands, and they go away from me. Few moments, that time which dies, cannot be made alive. I think can be alive in poetry, that is why I(Nasir) started poetry!' Nowadays, very few people may remember that Nasir used to hum his poetic verses and that humming had much attraction in it.

'Phir kaga bola ghar ka suna angan mei
Rut ayi peeley phulun ki, Tum Yad Aye...'
He migrated from Ambala, India to Lahore Pakistan in August 1947. He also worked as a Staff Editor in Radio Pakistan. He used to sit at Tea House and wander at Mall Rd, Lahore with his friends. He was fond of eating, wandering and enjoying life. Normally people take him as a sad poet but most of his poetry is based on romantic happiness and the aspect of hope.

'Yaas mei jab kabhi aansu nikla
Ik nayi aas ka pehlu nikla'
His last four books tragically were published after his death. He died in Lahore on March 2, 1972 due to stomach cancer. Few people know that he did some great translations of English poets, especially his translation of Walt Whitman's "Crossing Brooklyn Ferry" by the title of "Brooklyn Ghaat Ke Paar" is a real masterpiece and worth reading


Noor Jehan
was the adopted stage name for Allah Wasai (September 21, 1926 – December 23, 2000) who was a singer and actress in British India and Pakistan. She is renowned as one of the greatest and most influential singers of her time in South Asia and was given the honorific title of Mallika-e-Tarranum (Urdu: ملکہ ترنم, English: the queen of melody).

Born in a family of musicians, Wasai was pushed by her parents to follow in their musical footsteps and become a singer but she was more interested in acting in films and graced the earliest Pakistani films with her performances. She holds a remarkable record of 10,000 songs to her singing credits in various languages of Pakistan including Urdu, Punjabi and Sindhi languages,[1] she is also considered to be the first female Pakistani film director.

In 1957, Jehan was awarded the President's Award for her acting and singing capabilities.

Born in Kasur, Punjab, British India[2] and was one of the eleven children of professional musicians Madad Ali and Fateh Bibi.

The family would often perform at theaters, although only Wasai's eldest sisters would go on to pursue a career in acting. Two of her sisters, Eidan Bai and Haider Bandi, were successful actors at the rural Taka Theatre in Lahore.

Wasai began to sing at the age of five or six years old and showed a keen interest in a range of styles, including traditional folk and popular theatre. Realising her potential for singing, her mother sent her to receive early training in classical singing under Ustad Bade Ghulam Ali Khan who was also a native of Kasur. He instructed her in the traditions of the Patiala Gharana of Hindustani classical music and the classical forms of thumri, dhrupad, and khyal. At the age of nine, Wasai drew the attention of Punjabi musician Ghulam Ahmed Chishti, who would later introduce her to stage in Lahore. He composed some ghazals, naats and folk songs for her to perform, although she was more keen in breaking into acting or playback singing. Once her vocational training finished, Wasai pursued a career in singing alongside her sisters in Lahore and would usually take part in the live song and dance performances prior to screenings of films in film theatres.

The family moved to Calcutta (now Kolkata) in hope of developing the movie careers of Wasai and her sisters. During their stay in Calcutta, the renowned singer Mukhtar Begum, encouraged Wasai and her two older sisters to join film companies and recommended them to various producers. She also recommended them to her husband, Agha Hashar Kashmiri, who owned a maidan theatre (a tented theatre to accommodate large audiences). It was here that Wasai received the stage name Baby Noor Jehan. Her older sisters were offered jobs with one of the Seth Sukh Karnani companies, Indira Movietone and they went on to be known as the Punjab Mail.[1] Wasai would later adopt Mukhtar Begum's way of performance and sari attire.

In 1935, K.D. Mehra directed Pind di Kudhi in which Jehan acted along with her sisters.She next acted in a film called Missar Ka Sitara (1936) by the same company and sang in it for music composer, Damodar Sharma.Baby Noor Jehan also played the child role of Heer in the film Heer-Sayyal (1937). After a few years in Calcutta, Noor Jehan returned to Lahore in 1938. In 1939, Ghulam Hairder composed songs for Jehan which led to her early popularity. She then recorded her first song Shala Jawaniyan Mane for Dalsukh M. Pancholi's movie Gul Bakavli.

Prior to Khandaan Jehan was cast as a child artist. It was in 1942 that she played the main lead opposite Pran. Khandaan's success saw her shifting to Bombay (now Mumbai), where she shared melodies with Shanta Apte in Duhai (1943). It was in this film that Noor Jehan lent her voice for the second time, to another actress named Husn Bano. In 1945 Jehan player the lead role, alongside Lata Mangeshkar and Asha Bhosle, in the movie Badi Maa.

In 1945, she achieved a milestone, when she sung a Qawwali with Zohrabai Ambalewali and Amirbai Karnataki which was "Aahen Na Bhareen Shikave Na Kiye". This was the first ever Qawwali recorded in female voices in South Asian films.

Noor Jehan's last film in India was Mirza Sahibaan (1947) which starred Prithviraj Kapoor's brother Trilok Kapoor. Noor Jehan sang 127 songs in Indian films and the number of talking films she made from 1932 to 1947 was 69. The number of silents was 12. Fifty-five of her films were made in Bombay, eight in Calcutta, five in Lahore and one in Rangoon (now Yangon), Burma.

After the creation of Pakistan in 1947, Jehan decided to move to Pakistan along with her husband Shaukat Hussain Rizvi. She left Bombay and settled in Karachi with her family.

Three years after settling in Pakistan, Noor Jehan starred in her first film in Pakistan, Chanwey (1951), opposite Santosh Kumar, which was also her first Punjabi film as a heroine. Shaukat and Noor Jehan directed this film together making Noor Jehan Pakistan's first female director. Noor Jehan's second film in Pakistan was Dopatta (1952) which turned out to be an even bigger success than Chanwey (1951).

Her penultimate film as an actress/singer was Mirza Ghalib (1961).This contributed to the strengthening of her iconic stature. She gained another audience for herself. Her rendition of Faiz Ahmed Faiz's Mujshe pehli si mohabbat mere mehboob na maang is a unique example of tarranum, reciting poetry as a song. Noor Jehan last starred in Baaji in 1963, though not in a leading role. Noor Jehan bade farewell to acting in 1963 after a career of 33 years (1930 to 1963). The pressure of being a mother of six children and the demanding wife of a hero (Ejaz Durrani) forced her to give up her career. Noor Jehan made 14 films in Pakistan, ten in Urdu, four in Punjabi.

After quitting acting she took up playback singing. She made her debut as a playback singer in 1960 with the film Salma. Her first initial playback for a Pakistani film was for Jan-e-Bahar (1958), in which she sung the song Kaisa Naseeb Layi Thi, picturised on Musarrat Nazir. She received many awards, including with the highest Pakistani honour in entertainment, Tamgha-e-Imtiaz (The Pride of Performance) in 1966, Pakistan's top civil award.

In the 1990s Jehan also sang for then débutante actresses Neeli and Reema. For this very reason, Sabiha Khanum affectionately called her Sadabahar (evergreen). Her popularity was further boosted with her patriotic songs during the 1965 war between Pakistan and India.

Jehan visited India in 1982 to celebrate the Golden Jubilee of the Indian talkie where she met Indian Prime Minister Indira Gandhi in New Delhi and was received by Dilip Kumar and Lata Mangeshkar in Mumbai.

In 1986, on a tour of North America, Jehan suffered from chest pains and was dignosed with angina after which she underwent a surgery to install a pacemaker. In 2000, Jehan was hospitalised in Karachi and suffered a heart attack. On Saturday afternoon, December 23, 2000, Noor Jehan died from heart failure. Her funeral took place at Jamia Masjid Sultan, Karachi and she was buried at the Gizri Graveyard near the Saudi Consulate in Karachi.

Ey Jazba - E - Dil Agar Main Chahoon...From Vineeta Sastry

Nayyara Noor

Poet:Behzad Lakhnavi
Singer:Nayyara Noor
Raag:Kafi
Taal:Dadral


ai jazbaa-e-dil gar mei.n chaahuu.n har chiiz muqaabil aa jaa'ye
manzil ke liye do gaam chaluu.n, aur saamne manzil aa jaa'ye


haa.n yaad mujhe tum kar lenaa, aawaaz mujhe tum de lenaa
is raah-e-muhabbat mei.n koii, darpaish jo mushkil aa jaa'ye


ai dil kii Khalish chal yuu.n hii sahii, chaltaa to huu.n unkii mehfil mei.n
us vaqt mujhe chau.nkaa denaa, jab ra.ng pe mehfil aa jaa'ye


ai rahbar-e-kaamil chalne ko, tayyaar to huu.n par yaad rahe
us vaqt mujhe bhaTkaa denaa, jab saamne ma.nzil aa jaa'ye


aataa hai jo tuufaa.n aane do, kashtii ka khudaa khood haafiz hai
mushkil to nahii.n in maojo.n mein, behtaa huu'aa saahil aa jaa'ye


From: www.anindianmuslim.com


Great Urdu poets: Behzad Lakhnavi
Behzad Lakhnavi is one of my favourite poets. I fell in love with his poetry after watching Merchant Ivory's film Muhafiz, when I was in my early teens. Apart from Faiz, the film had Bahzad's ghazals.

hameN kis tarah bhuul paayegii duniyaa
ki DhuunDhe se hamsaa na paayegii duniyaa

qayaamat kii duniyaa meN hai dil-farebii
qayaamat meN bhii yaad aayegii duniyaa

What is the purpose of life? It intrigues all of us. So much effort man makes on this earth but isn't it all futile in a way. The poets and writers leave behind their works and wonder what will happen to them? Will their writings help the future generations in understanding the world. The writer derives satisfaction in the fact that words written by them would guide and inspire the coming generations and immortalise the writer.

Click to read the ghazal in Urdu, Hindi and Roman scripts.

I especially like his ghazal, which I have earlier posted on this blog.

aye jazba-e-dil gar main chahuuN har chiiz muqaabil aa jaye
manzil ke liye do gaam chaluun aur saamne manzil aa jaye

Click to read

Another ghazal of Behzad Lucknawi is as follows:

diivaanaa banaanaa hai to diivaanaa banaa de
varnaa kahiiN taqdiir tamaashaa na banaa de


aye dekhne vaaloN mujhe haNs haNs ke na dekho
tum ko bhii mohabbat kahiiN mujh saa na banaa de


maiN DhuuNDh rahaa huuN merii vo shamaa kahaaN hai
jo bazm kii har chiiz ko parwaanaa banaa de

Essentially a poet of love, Bahzad is also remembered for his 'naats'. I have heard from elders that his naats were daily broadcast on radio in the morning in the decades of 60s and 70s.

Another ghazal has the following couplets:

mujhe kar ataa sirf baar-e-mohabbat
maiN bandaa huuN parvardigaar-e-mohabbat

maiN ek but* ko Khud hii Khudaa kah rahaa huuN
ajab chiiz hai aitbaar-e-muhabbat
(but=idol, बुत)

Ey Eshgh Humay Barbaad Na Kar...From Vineeta Sastry

Nayyara Noora


Akhtar Sheerani
singer: Nayyara Noor

Ae Ishq hamein barbad na kar, barbad kar

Aye Ishq Na Chairr Aa Aa Ke HaMein,
HuM Bhule Huwon Ko Yaad Na Kar,
Pehle Hi Bahut Nashaad Hai HuM,
Tu Aur HaMein Nashaad Na Kar,
QisMat Ka SitaM Hi KaM Nahi Kuch,
Ye Taaza SitaM Ijaad Na Kar,
Aye Ishq HaMein Barbaad Na Kar,
3
Raaton Ko Uth Uth Rote Hain,
Ro Ro Kar Duwayein Karte Hain,
Aankhon Mein Tasavvur Dil Mein Khalish,
Sar Dhunate Hai Aahein Bharte Hai,
Aye Ishq Ye Kaisa Rog Laga,
Jeete Hain Na ZaaliM Marte Hain,
Aye Ishq HaMein Barbaad Na Kar,
4
Aankhon Ko Ye Kya Aazaar Hua,
Har Jazb-E-Nihaan Par Ro Dena,
Aahang-E-Tarab Pe Jhuk Jaana,
Aawaz-E-Fugaan Par Ro Dena,
Parbat Ki Sada Par Ro Dena,
Mutrib Ke Bayan Par Ro Dena,
Ehsaas Ko GaM Buniyaad Na Kar,
Aye Ishq HaMein Barbaad Na Kar,
4
Wo Raaz Hai Ye GaM Aah Jise,
Paa Jaye Koi To Khair Nahi,
Aankhonse Jab Aansu Behte Hai,
Aa Jaye Koi To Khair Nahi,
ZaaliM Hai Ye Duniya Dilko
Yahan Bhaa Jaye Koi Khair Nahi,
Hai ZulM Magar Fariyaad Na Kar,
Aye Ishq HaMein Barbaad Na Kar,
5
Duniya Ka TaMasha Dekh Liya,
GaMgeen Si Hai Betaab Si Hai,
UMMid Yahan Ek WahaM Si Hai,
Taskeen Yahan Ek Khwaab Si Hai,
Duniya Mein Khushi Ka NaaM Nahi,
Duniya Mein Khushi Nayaab Si Hai,
Duniya Mein Khushi Ko Yaad Na Kar,
Aye Ishq HaMein Barbaad Na Kar...



from: www.anindianmuslim.com
Akhtar Shirani: Poet of Romance
Great Urdu poet Akhtar Shirani passed away this month nearly 60 years ago but his unrequited love affair, letters purportedly written by him and the mystery of 'Salma', still evoke tremendous interest among readers.

Shirani was the most popular poet of his generation. His famous romantic Nazms include 'Aye Ishq kahiiN le chal', 'Jahaan Rehana rahti thi' and Salma. Along with Majaz, he is also referred to as Keats of Urdu poetry.

tum afsaana-e-Qais kyaa puuchhte ho
idhar aao, ham tumko lailaa banaa deN
(Akhtar Shirani)

He is referred to as 'Shahzada-e-Ruman' (Prince of Romance) and Shaaer-e-Husn-o-Javaani (Poet of youth and beauty). After failing to get his lady love, Akhtar had drowned himself into liquor and died at an early age (43).

He was the son of the renowned scholar Mahmood Sheerani who taught at Oriental College but unlike his father, Akhtar lived a bohemian life. Even sixty years after his death, publishers in India and Pakistan continue to cash in on his 'colourful life'.

A periodical in India claims that in the special issue it would name the woman who was referred to as Salma. Another publication in Pakistan prints some 'hitherto hidden' letters of correspondence for the first time and a weekly boosts its sales with a special report claiming that he didn't die but had committed suicide.

The truth is that contrary to popular perception, Akhtar's life was not at all as colourful. One of his couplets:

baad az gham-e-judaai-e-Salmaa mere liye
yaad-e-zubuur-o-maatam-e-shaivan hai aajkal

The man who used to gift away a note of Rs 50 to a pan walla because of the latter's tehzib of giving paan, spent the latter part of his youth and the last years in utter distress. He may have initially turned to liquor to forget Salma.

But his son's (Javed Mahmood alias Zuboor) sudden demise, the suicide of close friend Mirza Shuja Khan Shaivan, the incident of his son-in-law Naziruddin Shirani getting drowned in the Yanas river and that his daughter became widow at a young age, broke him. His strained relations with his father also added to Akhtar's frustration.

Shorish Kashmiri wrote that it was better not to see Akhtar. In his poetry he looks like a Greek God and in real life he is merely an 'echo of apology'. If you come across him in real life and someone tells you that he is the great Akhtar Sheerani, you will feel cheated, said Shaukat Thanvi. Thanvi vouches for the fact that Shirani was never seen in 'Aalam-e-Hosh' (he was always intoxicated).

Akhtar was in Tonk (Rajasthan) at the time of partition and was seriously ill. Rumours spread that he was killed along with his entire family while crossing the border. Jang published an article titled "Where is Akhtar Shirani?". Another paper published a letter of Dr Ahmar.

But as news reached Shirani, he said:

laao to qatl-naama meraa maiN bhii dekhuuN
kis kis kii mohar hai sar-e-mahzar lagii huii

Akhtar passed away in September in 1948. He was brought to hospital in an unconscious state. The photographs of Akhtar on his hospital bed were published in papers. Mukhtar Tonki writes in Aiwan-e-Urdu that stories were fabricated even after his death. It was said that his body was found on the street and taken to mortuary with nobody identifying it, that he committed suicide et al.

In 2004, weekly magazine 'Lahore' published letters to 'unravel' the truth about his mystery love and death. And later Takhliq also printed similar story. Munshi Abdul Baseer wrote the Nazm in which each stanza's letters alternately added up to 1948 and the corresponding Hijri year.

aye ishq kahiiN le chal is paap kii bastii
nafrat-gah-e-aalam se laanat-gah-e-hastii se
nafs parastoN se, is nafs parastii se
duur aur kahiiN le chal
aye ishq kahiin le chal....

The Nazm 'Jahaan Rehana rahtii thii..' is quite long as well. It starts with the following lines:

voh is vaadii kii shahzaadii thii aur shaahaana rahtii thii
kaNval ka phuul thii, sansaar se be-gaana rahtii thii
nazar se duur, misl-e-nikhat-e-mastaana rahtii thii
yahii vaadii hai voh hamdam jahaaN Rehaana rahtii thii...

And the Nazm 'Salma'

bahaar-e-husn ka tuu Ghuncha-e-shaadaab hai Salma
tujhe fitrat ne apne dast-e-rangiiN se saNvaaraa hai
bihisht-e-rang-o-buu ka tuu saraapa ek nazaaraa hai
terii suurat saraasar paikar-e-maahtaab hai Salma
jism ek hujuum-e-resham-o-kamKhwaab hai Salma
shabistaan-e-javaanii ka tuu ek zinda sitaaraa hai tuu
is duniaa meN bahar-e-husn-o-fitrat ka kinaaraa hai tuu
is sansaar meN ek aasmaanii Khwaab hai Salma...

Daud Khan, who became famous as Akhtar Shirani, was born in 1905 in Tonk (Rajasthan) and just two years after his father's death, the poet of romance also passed away in Lahore on September 9, 1948.

aye vaae Akhtar huaa ham se judaa ab
lagaa haaye teer-e-qazaa kaa nishaana


13 September, 2007 08:43
Anonymous said...
During the time of HH Nawab Hafiz Mohammed Sa'dat Ali Khan Bahadur Jung of Tonk State,British India, Late Janab Allah Bakshe Akhter Shirani sahab attended Mushayara. He came late, so he put his right hand on the frame(Chaukhat) of Sheeshal Mahal, Nazar Bagh Palace, and stand keep quiet. HH Nawab Sahab called him" Gharib Khane mein tashrif laeeye". Akhter Sahab replied"Mein Amir Khanoh mein nahin jata to Gharib khane mein kya au". Nawab Sahab was so pleased with his reply and started laughing. Told to me by 80 years old Nisar Ahmed Khan Tonki, presently residing in Ahmedabad(Gujarat),India.Artist Mr.Maqbool Fida Hussain used to come to Tonk from Indore, to listen Akhter Sahab's Kalsm in early forties.

My father, Justice Mohammed Rafique, was the Chief Justice Of Tonk High Court, before partition, and Akhter Sahab was very good friend of my father. My father's uncle Khan Bahadur Mohammed Moula Buksh,M.A.(Oxford), F.L.Sc.(USA),was the development officer of Tonk State, later he was the chief conservator of forests in earstwhile Nizam State(Hyderabad Deccan).My eldest sister was the Mayor of Ahmedabad(2003-2005). You can contact me on my address:
Naved Rafique
B-1/1, Modern Flats
Behind N.I.D.
Paldi
Ahmedabad - 380 007.
India.
email:navedrafique@yahoo.co.in
tonkindia@yahoo.co.in

Mohabbat Karnay Walay Kum Na Hongay - From Vineeta Sastry

Farida Khannum



Iqbal Bano


Mehdi Hassn


Lyrics:HAFEEZ HOSHIARPURI

Mohabbat karne waale kam na honge
teri mehfil mein lekin hum na honge

zamaane bhar ke gham ya ek tera gham
ye gham hoga to kitne gham na honge

dilo'n ki uljhanein badhti rahengi
agar kuch mashvare baaham na honge

agar tu ittefaaqan mil bhi jaaye
teri furqat ke sadme kam na honge

'Hafeez' unn se main jitna badgumaa'n hoon
wo mujh se iss qadar barham na honge.

Chap Tilak Sab Cheeni - Amir Khusro

Naheed Akhtar



Ustad Meraj Ahmed Nizami


Nusrat Fateh Ali Khan part 1


NFAK part 2


Sabri Brothers


Abida Parveen



Main Tulsi Teray Angan Ki


छाप तिलक सब छीनी रे मोसे नैना मिलाइके
प्रेम भटी का मदवा पिलाइके
मतवारी कर लीन्ही रे मोसे नैना मिलाइके
गोरी गोरी बईयाँ, हरी हरी चूड़ियाँ
बईयाँ पकड़ धर लीन्ही रे मोसे नैना मिलाइके
बल बल जाऊं मैं तोरे रंग रजवा
अपनी सी रंग दीन्ही रे मोसे नैना मिलाइके
खुसरो निजाम के बल बल जाए
मोहे सुहागन कीन्ही रे मोसे नैना मिलाइके
छाप तिलक सब छीनी रे मोसे नैना मिलाइके

Chhap tilak sab cheeni ray mosay naina milaikay
Chhap tilak sab cheeni ray mosay naina milaikay

Prem bhatee ka madhva pilaikay
Matvali kar leeni ray mosay naina milaikay

Gori gori bayyan, hari hari churiyan
Bayyan pakar dhar leeni ray mosay naina milaikay

Bal bal jaaon mein toray rang rajwa
Apni see kar leeni ray mosay naina milaikay

Khusrau Nijaam kay bal bal jayyiye
Mohay Suhaagan keeni ray mosay naina milaikay

Chhap tilak sab cheeni ray mosay naina milaikay

Translation
You've taken away my looks, my identity, by just a glance.
By making me drink the wine of love-potion,
You've intoxicated me by just a glance;
My fair, delicate wrists with green bangles in them,
Have been held tightly by you with just a glance.
I give my life to you, Oh my cloth-dyer,
You've dyed me in yourself, by just a glance.
I give my whole life to you Oh, Nijam,
You've made me your bride, by just a glance.

ABOUT AMIR KHUSARO :-
Ab'ul Hasan Yamīn al-Dīn Khusrow (1253-1325 CE) (Persian: ابوالحسن یمین‌الدین خسرو; Hindi: अबुल हसन यमीनुद्दीन ख़ुसरो ) , better known as Amīr Khusrow Dehlawī (امیر خسرو دہلوی; अमीर ख़ुसरो दहलवी ), was an Indian musician, scholar and poet of Persian descent. He was an iconic figure in the cultural history of the Indian subcontinent. A Sufi mystic and a spiritual disciple of Nizamuddin Auliya of Delhi, Amīr Khusrow was not only a notable poet but also a prolific and seminal musician. He wrote poetry primarily in Persian, but also in Hindavi.

He is regarded as the "father of qawwali" (the devotional music of the Indian Sufis). He is also credited with enriching Hindustani classical music by introducing Persian and Arabic elements in it, and was the originator of the khayal and tarana styles of music.The invention of the tabla is also traditionally attributed to Amīr Khusrow.[4]. Amir Khusrau used only 11 metrical schemes with 35 distinct divisions. He has written Ghazal, Masnavi, Qata, Rubai, Do-Beti and Tarkibhand.

A musician and a scholar, Amīr Khusrow was as prolific in tender lyrics as in highly involved prose and could easily emulate all styles of Persian poetry which had developed in medieval Persia, from Khāqānī's forceful qasidas to Nezāmī's khamsa. His contribution to the development of the ghazal, hitherto little used in India, is particularly significant.

All is not sufiana in the sufi shrine of Hazrat Nizamuddin. Famed for its evening qawwalis, the dargah is visited by many wanting to listen to the love hymns of Amir Khusro and Bulleh Shah. William Dalrymple has written quite creatively about their magic in his book City of Djinns (Page 278, Penguin paperback, US edition). The Khusro Nizami Bandhus have an impressive pedigree. Its patriarch, Ustad Meraj Ahmed, is a direct descendant of Ustad Tanras Khan, who was a royal singer at the court of Mughal emperor Bahadur Shah Zafar. The family is known for singing qawwalis in its pure form. Even his rivals acknowledge Ustad Meraj's grip with the Persian langauge.For more information please contact at 283 Dildaar Nagar, Basti Hazrat Nizamuddin Auliya, New Delhi (INDIA)
Tel. +91-11-24354814, 9811816988, 9871862479, 9990336544
Website: www.MerajNizami.com
E-mail: contact@MerajNizami.com

Aaj Jaanay Ki Zidd Na Karo - From Vineeta Sastry

Farida Khannum


Habib Wali Mohammed


Written by Fayyaz Hashmi

Aaj jaane ki zid na karo
Aaj jaane ki zid na karo
Yunhi pehlu mein bethey raho
Yunhi pehlu mein bethey raho
Aaj jaane ki zid na karo

Haaye mar jaayein ge
Hum to lutt jaayein ge
Aisi baatein kiya na karo
Aaj jaane ki zid na karo
Aaj jaane ki zid na karo

Tumhi socho zara
kyu\'n na rokein tumhey
jaan jaati hai jab uth ke jaatey ho tum
jaan jaati hai jab uth ke jaatey ho tum
tum ko apni qasam jaan-e-jaa\'n
baat itni meri maan lo
Aaj jaane ki zid na karo
Aaj jaane ki zid na karo


Waqt ki qaed mein zindagi hai magar
Waqt ki qaed mein zindagi hai magar
chand gharriya\'n yahi hain jo aazaad hain
chand gharriya\'n yahi hain jo aazaad hain
inko khho kar kaheen jaan-e-jaa\'n
umr bhar na tarastey raho
Aaj jaane ki zid na karo
Aaj jaane ki zid na karo

Kitna masoom aur rangeen hai yeh sama
husn aur ishq ki aaj me\'raj hai
husn aur ishq ki aaj me\'raj hai
kal ki kis ko khabar jaan-e-jaa\'n
rok lo aaj ki raat ko
Aaj jaane ki zid na karo
Yunhi pehlu mein bethey raho
Yunhi pehlu mein bethey raho

Aaj jaane ki zid na karo

The Lyrics:
Aaj jaane ki zid na karo
Today/Tonight, don’t insist on leaving
Yunhi pehlu mein bethey raho
Sit here close to me
Haaye mar jaayein ge
I will die
Hum to lutt jaayein ge
I will be lost
Aisi baatein kiya na karo
Don’t say such things
Aaj jaane ki zid na karo
Tonight, don’t insist on leaving

Tumhi socho zara
Just ponder for a second
kyu’n na rokein tumhey
Why shouldn’t I stop you?
jaan jaati hai jab uth ke jaatey ho tum
When my life leaves every time you go
tum ko apni qasam jaan-e-jaa’n
I swear to you, my love
baat itni meri maan lo
Listen to my one request
Aaj jaane ki zid na karo
Tonight, don’t insist on leaving

Waqt ki qaed mein zindagi hai magar
Life is trapped in time’s prison but
chand gharriya’n yahi hain jo aazaad hain
These are the few moments that are free
inko khho kar kaheen jaan-e-jaa\’n
By losing them, my love
umr bhar na tarastey raho
Don’t start a life of regret
Aaj jaane ki zid na karo
Tonight, don’t insist on leaving

Kitna masoom aur rangeen hai yeh sama
How innocent and colorful is the weather
husn aur ishq ki aaj me\’raj hai
It is the reign of beauty and love
kal ki kis ko khabar jaan-e-jaa\’n
Who knows what tomorrow will bring
rok lo aaj ki raat ko
Let’s stop this night right here
Aaj jaane ki zid na karo
Tonight, don’t insist on leaving


Farida Khanum (born 1935) is a Pakistani Ghazal singer from Punjab. The Times of India has called her "Malika-e-Ghazal" (Queen of Ghazal)
In 2005, she was awarded the Hilal-e-Imtiaz, Pakistan's highest civilian honour by President Pervez Musharraf.

She was born in Calcutta and raised in Amritsar. She migrated to Pakistan after partition of India in 1947.She started learning Khayal from her sister Mukhtar Begum at age seven and later learnt classical music from Ustad Ashiq Ali Khan.
Farida Khanum gave her first public concert in 1950.

The ghazal she is most associated with is "Aaj Jaane Ki Zidd Naa Karo

Kala Sha Kala

Noor Jehan


Surinder Kaur


Chorus:
Kala Shah Kala
Kala Shah Kala mera kala hai dil dar
Gorean no dafa karo
Mein aap sone di taar
Gorean no dafa karo

--

Sas sarea tere panj puter
Do ilbi Do sharabi
Jera mere hana dua
Oh kilya phool gulabi

Chorus

Sas sarea tere panj puter
Do teen te do kanaster
jeera mere haan dia
Oh gaye hoya ai dafter

Chorus

Mera Laung Gawacha

Mussarat Nazir

Piche piche aaunda meri chal be na aaye
dil valiyan vekhda aaye ve mera laung gawacha
niga marda aaye ve mera laung gawacha

hoo...aaa...
Dil de pariyan aankh maar maar jande ve
milan main aayi tenu roti de bhavane ve
roti de bhavane ve

milan aayi te milan ne te rus jaande sada lein
mina karde manayi ve mera laung gawacha

niga mar da aaye ve mera laung gawacha Piche
niga marda aaye ve mera laung gawacha.....

hoo...aaa...

Kaali kaali aayi si main kaliyan nu vekhadi
chad aaysi main avaaz nu dekhdi
avaaz nu dekhdi
mainue shaq panda main nakh nu urake dig paiya hoon dung chaiyve mera laung gawacha
niga marda aaye ve mera alung gawacha....

Piche piche aaunda meri chal be na aaye...

hooo...aaa..

marda si jaado mera laung sa lashkara ve
pit pit takda si uno jag sara ve
uno jag sara ve
ik ute nahi maine sare te shaq ve
sab luka jaa ke paiye ve mera laung gawacha

Piche piche aaunda meri chal be na aaye
dil valiyan dekhda aaye ve mera laung gawacha...

Lathe Di Chader - Aao Saamne

Mussarat Nazir


Farida Khanum


Surinder Kaur

Lyrics for Surinder Kaur version:

laTthe di chadar uthe salehTi rang maiya
aao saamne paaveh de baa ganD maiya

oh saDeh kandha da mocha moreya oi
oh saDeh kandha
oh saDeh kandha da morcha moreya
nikki jay gal to, binj kar choreya

laTthe di chadar....

oh mehDe galleh deya taveetan
oh mehDe galleh deya taveetan
va dhola man da taan, kuch nayo kitha

laTthe di chadar.....

saDeh kandha toh suTiyan rasiyan
oi saDeh kandha toh suTiya
oh saDeh kandha toh suTiya rasiyan
naa tu puchiya naa meh dasiyan

laTthe di chadar....

saDeh kandha toh mareya akh veh
saDeh kandha toh mareya
oh saDeh kandha toh mareya akh veh
oh mere aaTeh de vich hath veh

laTthe di chadar....

oh meh ittheh te dhola parvat veh
oh meh itthe te dhola
oh meh itteh te dhola parvat veh
saDeh kooh, da paani sharbat

laTthe di chadar....

Jhoolay Lal : Dumadum Mast Qalandar!

Runa Laila

O laal meri pat rakhio bala jhoole laalan - 2
Sindri da sehvan da sakhi shabaaz kalandar
Dama dam mast kalandar, ali dam dam de andar
Dama dam mast kalandar, ali da pehla number
O laal meri, o laal meri

Chaar charaag tere baran hamesha - 3
Panjwa mein baaran aayi bala jhoole laalan
O panjwa mein baaran
O panjwa mein baaran aayi bala jhoole laalan

Sindri da sehvan da sakhi shabaaz kalandar
Dama dam mast kalandar, ali dam dam de andar
Dama dam mast kalandar, ali da pehla number
O laal meri, o laal meri

Hind sind peera teri naubat vaaje - 3
Naal vaje ghadiyaal bala jhoole laalan
O naal vaje
O naal vaje ghadiyaal bala jhoole laalan

Sindri da sehvan da shaki shabaaz kalandar
Dama dam mast kalandar, ali dam dam de andar
Dama dam mast kalandar, ali da pehla number
O laal meri, o laal meri

O ho, o ho ho, oh oh oh oh, oh oh oh oh
Ho oh oh, oh ho oh oh oh

Har dam peera teri khair hove - 3
Naam-e-ali beda paar laga jhoole laalan
O naam-e-ali
O naam-e-ali beda paar laga jhoole laalan

Sindri da sehvan da shaki shabaaz kalandar
Dama dam mast kalandar, ali dam dam de andar
Dama dam mast kalandar, ali da pehla number

O laal meri pat rakhio bala jhoole laalan
Sindri da sehvan da sakhi shabaaz kalandar
(Dama dam mast kalandar, ali dam dam de andar
Dama dam mast kalandar, ali da pehla number) - 3




Runa Laila




Nusrat Fateh Ali Khan



Abida Parveen


The holy figure is that of Jhoolay Lal, also known as Udero Lal, Amar Lal or Lal Sain. In the tenth century when Arabs were declining and the Soomras were coming up, Mirkh Shah, the fanatical ruler of Thatta, ordered the Hindus to embrace lslam. The bewildered people collected en masse on the banks of the Sindhu and prayed to Varuna Devata for a saviour. Legcnd has it that a handsome young man emerged from the river on a charger, showed many miracles and saved the people from cultural genocide. He is shown in Nasarpur --- where he is believed to have been born to Rattan Rao Luhana and his wife Devaki---as a baby in a silver swing(jhoola or peengho) --- just like Lord Krishna in his childhood. Elsewhere he is shown with a flowing white beard, like Guru Nanak, but seated on the river- fruit, fish. But he was obviously a great youth leader who saved the Sindhi Hindus a thousand years ago. To this day temples are built in his honour and panjaras (five-line verses) are sung to his greater glory. And in recent years Roona Laila has made Jhoolay Lal --- and Mast Qalandar --- household names in Hindustan and Pakistan alike, with her lilting ``O Lal, Meri Pat Rakhiyo Sada Jhoolay Lalan....'' Rendered in English, it reads:


OH LORD of Sindh, Jhoolay Lal, and Sire of Sehwan, the red- robed Cod-intoxicated Qalandar, glory unto you! May I always have your benign protection.

YOUR SHRINE is always lit with four lamps; and here I come to light a fifth lamp in your honour.

LET YOUR heroic name ring out in Hind and Sindh; let the gong ring loud for your glory.

OH LORD, may you prevail every time, everywhere. In the name of Ali, I pray to you to help my boat cross (the river of life) in safety.

http://www.freesindh.org/sindhstory/%22Jhoolay_Lal%22.html