Shirdiwale Saibaba -- Amar Akbar Anthony

Dama Dam Mast Qalandar Ustad Nusrat Fateh Ali Khan

One of the greatest songs of all time, this song will touch your soul for sure

Havar Havar by Kourosh Yaghmaei

Kourosh Yaghmaei (Persian: کورش يغمائي) is one of the first Iranian rock musicians.
Kourosh was 10 when his father gave him a gift that revealed his talent for music. It was a Santour (the Persian traditional string-percussive dulcimer). According to his mother, when he opened his present, after a few tries, he started to play a tune. Not to mention that he had never touched a Santour before. After 5 years of practice he gained precious knowledge of Iranian traditional music along with excellent skills in playing Santour.

At the age of 15 he chose to play the guitar, which he has always loved. He gathered his own Pop/Rock bands which he both composed for and played in. He mostly played the lead guitar. In fact Kourosh introduced Rock music to Iran with a Pop formation of songs. At that time he received several tempting offers from western musicians and bands’ managers to join them.

In his senior year as a Social Science student at the Iran National University (DANESHGHAH-e MELLI-e IRAN), Kourosh released his first single hit GOL-e YAKH. The poem was written by his classmate, now-famous poet Mahdi Akhavan Langeroudi. This memorable love song led him to worldwide fame. He orchestrated, composed, played and sang the song. The song received international attention. It was re-played and sang in several other languages by their local musicians. His voice was banned for 17 years after The islamic revolution in 1979. In these years he published children stories on books and cassettes. He released an instrumental album called DIYAAR (Homeland). It was an orchestration of endemic songs for Grand National Orchestra. He also took some guitar students. His first album SIB-e NOGHRE’EE (Silver Apple) was released after the ban was lifted. His picture was only allowed to be published in his albums after 24 years. It has to be noted that Kourosh has learnt all different aspects of music without having any music teacher or instructor.

Piya Haji Ali - Fiza

Fiza proves a key point I have been aching to state of late; in the long-run, it takes creative, unique and situational lyrics in tandem with pleasant music to make a Classic Soundtrack. Anu Malik, A.R. Rahman and "long-time no hear" Ranjit Barot are three of our best music directors. That fact is indisputable. But to make any of their individual scores immemorable, they also need the complement of great lyricists. (Can you ever forget Rangeela or Kareeb?) The vast disparity in song quality between Fiza's different tunes is ample proof of my assertion. 

A.R. Rahman and Shaukat Ali should share the gloriy that is "Piya Haji Ali" with all of Bollywood.  The Arabic tune meets Taal style music is fine.  

Arziyan- Delhi 6

The world’s singing laurels of Indian ace A R Rahman post Golden Globes. Back home we always realized and recognized his musical magic. Rahman again teams up with Rakeysh Mehra and Prasoon Joshi post their achievement in Rang De Basanti , for Delhi-6 . An interesting observation is how Rahman has cut down on established singers like Sonu Niigam, Sukhwinder Singh, Udit Narayan and Alka Yagnik and is employing more of new-age voices like Javed Ali, Benny Dayal and Mohit Chauhan to good effect.

The album makes a divergent shift to a Sufi qawalli . Rahman uses a calm and countryside combination of Javed Ali and Kailash Kher for this 9-minute long devotional number Arziyan . Javed Ali continues to sound like Sonu Niigam like he did in Jashn-e-Bahaara ( Jodhaa Akbar ) though one doesn’t complain. While Rahman effortlessly adapts to the new milieu, Prasoon Joshi shows equal versatility in his writing. 

This song was suggested by Vaibhav Naik aka BOBO of Tampa bay fame.

Khwaja Mere Khwajaa - Jodha Akbar

This brilliant song from Jodha Akbar is one of my lifetime favorites, A great composition by Rahman. Brilliance of the song not only lie in its lyrics, but also on the recording front. I don’t remember listening to a song which is layered as much as this one is. Layered? .. Remember Rahman is the only singer who has sung this and no chorus, just try to find out how many number of layers the vocal has, overlapping or being together in the qawali chorus. its just one single voice which has been multiplied to form a chorus! technical brilliance!! Probably only Rahman knows how to use Logic Pro so well! Also hear the bass guitar in beginning, OMG bass guitar (1:20 to 1:27) in a qawali ? Who else can do this other than Rahman!
This song was actually not composed for the movie, it was one of the templates which Rahman recorded for himself to listen to. Gowariker liked this so much that he wanted this to be in the movie, and he created a sequence for the song.
About this song… Sung for Moinuddin Chishti also known as Gharib Nawaz (Urdu: غریب نواز ), is the most famous Sufi saint of the Chishti Order of South Asia. He was born in 536 A.H./1141 CE, in Sajistan, Khorasan (other accounts say Isfahan) in Persia. He is also known as “Sultan-e-Hind”. He claimed his progeny to Muhammad through the sixth Shia Imam, Jaʿfar ibn Muhammad as-Sadiq.
He was one of the most outstanding figures in the annals of Islamic mysticism and founder of the Chistiyya order in India.


Here goes the lyrics of the song with the translation…
Khwajaji, khwaja
(O saint khwaja)
Khwajaji, khwaja, khwaja ji
(O saint khwaja) ; (O saint khwaja)
Ya gharib nawaz
(The one who cherishes/soothes the poor)
Ya moinuddin, ya khwaja ji
(O Moinuddin Chisti), (O khwaja saint)
Khwaja mere khwaja
(O saint khwaja)
Dil mein sama ja
(Reside in my heart)
Shaho ka shah tu
(You are the king of kings)
Ali ka dulara
(Ali’s beloved)
Khwaja mere khwaja dil mein sama ja
(O saint khwaja); (Reside in my heart)
Beqaso ki taqdeer, tune hai sawari
(The destiny of the ones in despair, you have changed for the better)
Khwaja mere khwaja
(O saint khwaja)
Tere darbar mein khwaja
(At your door, o khwaja)
Door toh hai dekha
(I’ve seen it from afar)
Sar jhuka te hai auliya
(Your confidents/protectors/confessors bow down to you)
Tu hai Hindalwali khwaja
(You are the hindalwali Khwaja)
Rutba hai pyara
(Your status is glorious/great)
Chahne se tujhko khwaja ji mustafa ko paya
(By wishing/worshipping you Khwaja, I have found Muhammad [the chosen one])
Khwaja mere khwaja
(O saint khwaja)
Dil mein sama ja
(Reside in my heart)
Shaho ka shah tu
(You are the king of kings)
Ali ka dulara
(Ali’s beloved)
Mere peer ka sadka
(The alms of my old age)
Hai mere peer ka sadka
(It is the charity of my old age)
Tera daaman hai thama
(That I have come in your refuge)
Khawajaji
Tali har bala humari
(All my problems/crisis have been averted)
Chaya hai khumar tera
(Your trance is all over me)
Jitna bhi rashk kare beshak
(No matter how much one may envy (rashk) be jealous)
Toh kam hai ae mere khwaja
(Its just too less, o khwaja)
Tere kadmo ko mere rehnuma nahi chodna gawara
(Its not acceptable(gawara) , o my guide(rehnuma), to leave your feet(kadmo)now.)
Khwaja mere khwaja
(O saint khwaja)
Dil mein sama ja
(Reside in my heart)
Shaho ka shah tu
(You are the king of kings)
Ali ka dulara
(Ali’s beloved)
Khwaja mere khwaja dil mein sama ja
(O saint khwaja); (Reside in my heart)
Beqaso ki taqdeer, tune hai sawari

O re piya - Rahat Fateh Ali Khan

 Rahat Fateh Ali Khan, the man from whom one tends to expect a lot whenever his name appears in credits, croons 'O Re Piya'. Jaideep Sahni is at the helm of writing for third song in a row which is not really a kind of romantic number which one expects from Rahat Fateh Ali Khan. A situational track with shades of a 'qawalli' setting, 'O Re Piya' takes some time to register itself in the mind of a listener.

Yet another number which is easy on ears, 'O Re Piya' would be enjoyed more with the narrative rather than being played out loud before one has witnessed the situation in the film where the song appears. A song that boasts of good quality but doesn't quite make for a popular track in the offering. 

Songs from Kailasa- Yatra

In a country with over a billion people, countless languages and multitude of musical influences, it takes special talent to stand out from the crowd as an entertainer. Luckily talent is what Kailash Kher has sacks full of.
One of the most popular singer/songwriters in India right now, Kher came to attention in 2002 with his breakout hit, Allah Ke Bande. Since then he has become a household name having performed on over 150 Hindi film soundtracks, recorded more than 400 radio and television jingles and presented Indian Idol and other TV shows.
object width="640" height="385">

Alongside this, Kher has somehow found time to team up with musician brothers Naresh and Paresh Kamath to form the band Kailasa, which has become one of the most popular groups on the sub-continent.
So it comes as little surprise (particularly after Slumdog Millionaire’s global success) that the trio would attempt to breakthrough with their first international release, Yatra (Nomadic Souls). A collection of brand new songs alongside studio and unplugged recordings of some of their most admired hits, Yatra is a superb introduction to contemporary Indian music and Kher’s exceptional vocal ability.
Featuring elements of spiritual Sufi chants, Rajasthani Gypsy rhythms, Punjabi dance and other regional styles, fused with electric guitar, modern beats and an array of traditional instruments, Yatra rises above the generic ‘world music’ tag it could so easily be given.

Kher’s raw, earthy tones have often seen him compared to the late qawwali maestro Ustad Nusrat Fateh Ali Khan, and rightly so. His vocal dexterity and lyrics evoking Sufi mysticism result in mesmerising songs like Dilruba, Kaise Main Kahoon and Jhoomo Re.
Other standout tracks include the Arabic-influenced Taubah Taubah and a stunning unplugged version of Teri Deewani, an ode to the delirium of love sung from the female perspective, and arguably one of the most soulful Hindi songs of the past decade.
Equally praiseworthy is the Kamath siblings’ use of modern rock and electronic influences which steer the album clear of the conventional Indi-pop sounds that often result when Asian artists adapt their music for a Western audience. Instead, their superior musical arrangements enhance Kher’s folk sensibilities and meaningfully penned lyrics to make Yatra a hypnotic exploration of the human condition and complexities of love.

Click on the Song

TAUBAH TAUBAH

Sajda - My name is Khan

The soundtrack of the latest offering of Karan Johar and Shah Rukh Khan, " My Name Is Khan ", boasts of Sufi flavour. Composed by Johar's favourite Shankar-Ehsaan-Loy, the album has six originals and most of the compositions are soul-stirring.

The album starts with " Sajda ". Sung by Rahat Fateh Ali Khan, Shankar Mahadevan and Richa Sharma, it's a Sufi number that tugs at one's heartstrings. The sounds of tablas and dholaks keep the listener hooked. With great voices behind the mike, "Sajda" is a must hear.

Kaise Mujhe Tum Mil Gayi - Gajini

A.R. Rahman’s music is top notch. At least three numbers have the unmistakable stamp of a genius — “Guzarish”, “Behka” and “Kaise Mujhe Tum”. The best track of the film is undoubtedly “Kaise Mujhe Tum” which has a soulful haunting but grand track… with an eloquently poetic melody by Rahman and some enchanting romantic lyrics penned by Prasoon Joshi. Infact after the movie ends, you would be taking this song home emotionally with you… it just grows on you. The sentiments are beautifully expressed.

Afreen Afreen By Nusrat Fateh ali khan

Afreen...This is the most famous song of Nusrat saab, The song that was turned into a vedio as well, with Famous Model Lisa Ray, looking her best EVER!!! With its beautiful and deeply discriptive lyrics, the song can make you feel the enchanting beauty of a devine virgin, untouched and pure, right inside u, or around you. I actually get up to look at the mirror by the time the song gets over, and yes it can make u ’’Feel beautiful’’ inside... I wonder if beauty was ever discribed in better words that these!!! ..... AFREEN..meaning ’’the purest, most beautiful and heavenly’’
Read here a couplet or two from the song...


Husn-e-jana ki tareef mumkin nahi, tu bhi dekhe agar to kahe hum-nasheen...
Afreen afreen afreen afreen...

Aisa Dekha nahi khoobsoorat koi,
Jism jaise ajanta ki moorat koi,
Jism jaise nigaho ka jaadoo koi,
Jism nagma koi, Jism khushboo koi,
jism jaise machalti hui raagini,
Jism jaise mehekti hui chandani,
jism jaise ki khilta hua ik kamal,
jism jaise ki sooraj ki pehli kiran,
jism tarsha hua dilkash-o-dil nasheen
sandali sandali, marmari marmari.

and....

Aankhe dekhi to main dekhta reh gaya,
Jaam do aur dono hi do aatisha,
Aankhe yaan maikade ke wo do baab hain,
Aankhein unko kahun yaan kahun khaab hain,
Aankhein neechi hui to haya ban gayi,
Aankhein oonchi hui to dua ban gayi,
Aankhein jhuk kar uthi to kaza,
Aankhein uth ker jhuki to ada,
Aankhein jin mein hai faila aasmaan-o- zameen,
nargisi nargisi, surmagi surmagi!!!

saiyyan by Kailash Kher

There are very few musicians or artistes who can perform 'live' the music they produce. And perhaps, Kailasa are the only band who time and again prove their virtuosity - be it in studio or on stage – a quality which separates real musicians from the lip syncing lot. The band now comes with their third studio album Kailasa Chaandan Mein which has an intelligent mix of ballads, energetic songs and Sufi music.

The opening track Chaandan Mein is a slow, mellow, sonorous track with simple lyrics to hum. However, the ‘saiyyan’ chorus in the song does remind you of their previous offering – I think it's time to send that word (saiyyan) on a sabbatical. The energetic Na Batati Tu (na dhin dhin na) starts with ‘bolish’ that furthers into a great groove. The intermittent sitar solos in the song give it an unexpected world music touch – a good experiment by the band. The next, Teri Yaad Mein, startswith a great hook, but too many variations with the arrangements pulls down the melody.