Tag Archives: anil biswas

shades of ‘Intizaar’

BY :Arun Mudgal

कहाँ हो तुम मेरी तन्हाईयाँ आवाज़ देती हैं

lata mangeshkar

lata mangeshkar

सुलगती रात की परछाइयाँ आवाज़ देती हैं
रख पाये तो रख ले आ कर लाज मेरी रुस्वाई की
मेरी उम्र से लम्बी हो गयी बैरन रात जुदाई की….

इंतिज़ारी में तेरी सारा सितम्बर बीता
ओ रोते रोते तेरी फुरकत में नवम्बर बीता
आहें भर भर के ये कहता है कैलेन्डर मूिहसे
हिचकियाँ लेते हुए सारा डिसेम्बर बीता ……
दिल तेरे हिज़्र में दीवाना बना जाता है
ठंडी आहों में बरफ खाना जाता है
दो ही अश्क़ों से हुआ उनकी गली में कीचड
मेरी अफसानी भी अफ़साना बना जाता है
अरे आ आ आ आ ,आ दिल का रोग मिटा जा रे
आठ रोज़ की छूटी ले कर आ जा रे.……

And then to
बाट तकूँ मैं तेरी कोठे चढ़ के
आजा मेरे बलमा बहन कर ………
The beauty of HFM is that it explores a concept , word or a state of mind in its various forms. And the concept of fruitless waiting is no exception to it. Though there are many ways in which this concept has been explored by the lyricists in HFM as is evident from the wonderful spread of the songs here today.
Therefore instead of going into much detail I have just chosen three shades of Intizaar , the sentimental, the funny and the normal ….
The first two songs are coincidentally rendered by Lata Bai , and I usually say that Lata Bai has some kind of an absolutely ‘Accurate Emotion Injecting Mechanism’ installed in her throat by the God Almighty which always releases the accurate amount of emotion in any and every expression in the song neither a micro gram more nor a micro gram less then required. And that is what makes these songs a delight to listen to. Feel this feature of Lata Bai’s voice in the first two songs expressing two diametrically opposite moods of Fun and absolutely sentimental respectively.
The basis for choosing the lead song is just going for a little ‘Funtertainment ‘ as the sentimental aspect of the waiting is spread all over here …. Read the rest of this entry »

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Posted by on October 15, 2014 in Articles


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Sahir Sahab with Anil da (Biswas) and Lata ji

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Posted by on April 7, 2013 in pictures


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Holi Hey Bey !

Holiहोली है बे… 🙂
हे कद्दू काट मृदंग बनाया निम्बू काट मंजीरा
चहार ( चार) सुरैय्या मंगल गावे नाचे बालम मेरा 🙂 🙂
भर भर मारे पिचकारी मोहे बालमा होली आयी रे ……

Holi is a festival which not only celebrated with color and love but also sung equally colorfully. And various shades and colors of Holi or Faag singing outnumber the numbers of colors used in celebrating Holi.

The Radha -Krishna lore is a central motife of Holi and Faag singing and Hfm and Non Film arena specially the non film , classical and light singing arena of Hloi singing is a separate universe altogether where Holi singing encompasses the realm of Romance and Spirituality with great musical beauty.

But Holi and Faag singing has a ‘Hudadangi’ motif also and this Hudadangi motif runs equally deep in Indian Holi singing.

In HFM though many or if I may say almost every MD has explored these genres of Holi singing and many of the songs are already here to enjoy. But the way Anil Biswas explored the Holi and Faag genre in HFM has its own special place. Though I wanted to share and explore some beauties from non film arena today but then decided to share and explore one of Anil Da’s masterpiece compositions of Holi singing from Mahatma Kabeer a 1954 film. And it is not without reason that I chose this song from his many compositions on Holi songs.

This song is kind of a case study in Holi or Faag singing on the occasion of Hloi in small towns and kasba-s of India. This is typical Holi song where the Hudangi Toli of man’s way of Holi singing and the gentle and romantic Holi singing and celebration by Women folk not only come together in a single song but in a seamless and most realistic manner too.

Listen the song and see the picture taking shape in your mind through music and lyrics where at the start of the song the listener can not only feel but can become the part of a Hudadangi Toli of Holi Rasiyas who are having fnu and teasing whosoever comes across, Not the collective call of ‘Siyavar Ramchandra Ki Jay …’ this motif is used to silence the opposition and the kind of angry response by the teased person. And Just after this call a Holi Hudadangi saying to the teased person ‘ Holi hai Be….’ i.e why mind freind it is Holi and thereby making the teased person also a part of the Gang so the next moment this teased soul becomes the teaser for other victims.

And Then after having this Hudadangi Fun in the streets of the village this Toli reaches the residential Mohallla where the womenfolk of the village are singing on the Thaap of Dholak and dancing by taking gentle circles with the Rang And Gullal saying ‘ Bhar Bhar Maare Pichkaarii mora Baalmaa Holi Aayee Re..’ and the gentle and romantic Play of Combined Holi is on with rang and Gulaal and Pichkaariis. And the intensity of the Rang from the pichkaari is so that one feels as if Saawan has come in the Faagun and it is raining the rang.

And the way Anil Da himselfe renders the funny and teasing part of the song is the proof oh his great command and knowledge of Indian Folk Music !

There are very few songs in HFM which so completely gives such a vivid picture of the celebration of the festival of Holi in its fine gentle romantic flavor and at the same time in its truly rustic manner. It is one of finest combination of Romance and Rusticity of the Holi singing ..

written by Arun mudgal

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Posted by on March 25, 2013 in Articles, pictures


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