Directed by	Kamal Amrohi
Produced by	A.K. Misra
Written by	Kamal Amrohi
Starring	Hema Malini
	Dharmendra
	Parveen Babi
Music by	Khayyam
Cinematography	V.K. Murthy
Release date	Friday, 16 September 1983
Language	Urdu

Razia Sultan, in all its magnificence failed at the box office, there were many reasons for this, but one cannot falter the music of this film. Some of the reasons included:

• The plot was messy and disjointed
• The actors didn’t live up to the regal setting of the film and came out very wooden.
• The depiction of thirteenth-century India was not as immersive as K Asif’s Mughal-E-Azam (1960), on which Amrohi was one of the writers.
• Amrohi’s focus on the supposed romance between Razia (Hema Malini) and her Abyssinian slave general Yakut (Dharmendra) reduces the complex power play to a squabble between suitors.

As mentioned by IndiaToday in a web article, this is what happened around the release week of Razia Sultan in September of 1983:

Within days of its release, Kamal Amrohi’s epic Razia Sultan, said to be the most expensive movie to come out of the Bombay industry (estimates range from Rs 4 crore to Rs 10 crore), had torpedoed at the box-office sending shockwaves of despair through the national film producer-distributor network.

Seven years in the making, the film had seemed to be of the stuff of which cinematic legends and box-office blockbusters are made. Beside offering dream girl Hema Malini in the role of a lifetime – as the 13th century queen of the Slave dynasty – Razia Sultan, it seemed, had everything going for it.

Spectacular sets, fabulous battle scenes, glittering costumes and a smashing musical score – everything, in fact, associated with the highly-charged and eccentric Amrohi who created the legendary Pakeezah.Such being the background, little wonder that everyone got carried away. Distributors were said to have paid anywhere between Rs 92 lakh and Rs 1 crore per territory.

And publicists were working round the clock putting out tall tales about Amrohi’s mad quest for creating perfection. It was claimed, for example, that for a banquet scene 45 lambs, 251 fish, 455 chickens and one and a half tonnes of biryani were prepared so that the actors would be stimulated by the aroma of real food.

Fake props not being good enough, a sulphur-crested cochatoo had to be specially imported from Australia. Short of the king-size pearls flung by Razia for her handmaidens in the pool, stories about the making of the movie outstripped the legend of the queen herself.

Last week they were proving embarrassing even for the film maker. Amrohi, the 65-year-old director who was driven for a decade by the vision of Razia Sultan, was desperately trying to retrieve the situation. “There is so much exaggeration that audiences feel let down,” he said, ruefully admitting that the much-talked-of banquet scene, in fact, lasted under a minute and there was no question of producers footing the bill for mountains of food for less than a dozen people in the shot. In fact, says Amrohi, he compromised his search for perfection in Razia Sultan because A.K. Mishra, the film’s producer, “is a friend”.

[Source]

Khayyam, the music composer remained dedicated to Kamal Amrohi’s vision and provided a beauty of a soundtrack.

Fortunately for us music lovers, this soundtrack was released by HMV as a double LP volume which included all 12 tracks of this magnum soundtrack. For the purposes of this review i have used this double LP set to fully realise the impact of this soundtrack on Filmdom for years to come.

Unfortunately for music lovers later on, who had discovered Razia Sultan’s music at a later stage; the subsequent CD release was a mess of note. The CD was released as a two-in-one film compilation of Pakeezah and Razia Sultan. Every song in this album was botched and shortened, stanza’s missing and even to the extent of fading out the longer songs towards the end. This is what happened to me; when i initially heard the songs on the CD, i loved the tracks, but it was only until i realised that the film had many more songs that i started out my quest to procure the double LP set. I was lucky enough to get a mint unopened copy over the Internet about 9 years back. When i played this soundtrack i was astounded at what HMV had done with the CD release. Why would they release such a botched up compilation of this soundtrack? Why would they remove the essence of purity of the tracks by shortening the tracks? This soundtrack still deserves a stand-alone CD release that contains all these tracks in its original form. I hope the music companies out there are listening, and will provide future generations at-least with the integrity of the efforts of the Razia Sultan team.

My review will follow the track listing as they appear on the Double LP set, these are the tracks:

No.	Title	Artist	Length
1	Aye-Dil-E-Nadan	Lata Mangeshkar	00:08:02
2	Aayee Zanjeer Ki Jhankar	Kabban Mirza	00:05:46
3	Naghma-E-Mohabbat (Instrumental)	Khaiyyaam	00:02:33
4	Jalta Hai Badan	Lata Mangeshkar	00:04:35
5	Hariyala Banna Aaye Re	Asha Bhosle, Jagjit Kaur & Chorus	00:06:15
6	Aye Khuda Shukra Tera	Bhupinder Singh, Mahendra Kapoor & Chorus	00:05:13
7	Khwab Bankar Koi Aayega	Lata Mangeshkar	00:07:47
8	Tera Hijr Mera Naseeb Hai	Kabban Mirza	00:07:54
9	‘Tarana’ Jashn-E-Tajposhi	Ustad Fayyaz Ahmed Khan, Niyaz Ahmed Khan, Parween Sultana & Ustad Md. Dilshad Khan	00:02:32
10	Shubh Ghadi Aayee Re	Ustad Md. Dilshad Khan, Jagjit Kaur, Parween Sultana, Sulakshana Pandit, Ustad Fayyaz Ahmed Khan, Niyaz Ahmed Khan	00:07:24
11	Aye-Dil-E-Nadan	Lata Mangeshkar	00:08:02
12	Falak Se Aawaz Hai	Kamal Amrohi	00:02:38
Total Length			01:08:41

How does one begin to elaborate on a track like ‘Aye Dil-E-Nadaan’ that proved to be a track that scaled the heights of mellifluous creation by Khayyam, Jan Nisar Akhtar and sung by Lata Mangeshkar? First lets start with its history. This was the swansong of Lyricist Jan Nisar Akhtar, who had passed away in August of 1976. The article above mentions that it took almost a decade to completely film and release Razia Sultan, and further proclaimed by Khayyam in the below interview:

Actually the reason, I got Kabhie Kabhie was the song Aye Dil-e-nadaan. For Razia Sultan, I had recorded Lataji’s Aye Dil-e-nadaan and also Qabban Mirza’s Aayi Zanjeer Ki Jhankar as early as in 1974. Aye Dil- e-nadaan had then created such a stir that practically everyone in the film industry was talking about that song. That fame had reached to Yash Chopra and one evening, when I returned after a Razia Sultan– sitting at Kamaalistan, I found Yashji and Sahir- saahab waiting for me. They told me that they were making a film about a love- story of a poet and they wanted me as a composer. I immediately said, ‘Yes’.

[Source]

This track was recorded as early as 1974, and had the film industry in a delirious state.

Tell us more about Aye Dil-e-nadaan.

The caravan of Razia Sultan came to India from Turkey through a long and tortuous route traversing many countries. If you listen carefully, the tune and orchestration reflects the musical influences of all the regions she traveled across. The song is about the duel in her mind- the woman inside her is deeply in love with a black slave but the princess inside her is all too aware of her duty. The song depicts that dilemma in her mind.

I always get compliments on my use of silent pauses in between the stanzas of this song but that credit totally is Kamaal saahab’s. It was his idea and I just executed it. We had two rehearsals and then Lataji sang the whole song in just one take!

One more interesting thing comes to my mind about songs of Razia Sultan. Despite all our precautions, three songs somehow reached the pirated music market and made a huge business. Lataji once went to a departmental store in Mumbai and found to her chagrin that those songs were playing loudly on its music system, even when the cassette was not officially released. She called me that day and I tell you, I haven’t ever heard her sound so angry! So disturbed was she because of this piracy.

[Source]

The lyrics, music, singing and thoughts behind this track are anything but one-dimensional. It is layered to immerse its listener, to create colourful melodic patterns in your heart and make you wonder how such a track came into existence?

I hold Khayyam in high esteem, and not only because of this soundtrack, but because throughout his musical career, he concentrated on bringing out class and quality, rather then mundane quantity to boost his film count.

Aye Dil-E-Nadaan

Oh, My Naive Heart!

Arzoo Kya Hai? Justuju Kyaa Hai?

What Do You Desire? What Do You Seek?

Aye Dil-E-Nadaan

Oh, My Naive Heart!

‘Aye Dil-E-Nadaan’ begins in a haunting way; the santoor is introduced, and like in any classical recital, it begins with an alaap; the santoor provides us with the instrumental alaap. It reaches out to the far ends of the desert, then in a magical way, the Dhol, Tabla & Sarangi join in, enriching its melody. The alaap then introduces its main instrument; Lata Mangeshkar. She sings the title verse, and is restrained to silence, giving the santoor a chance to echo her thought. This Jugalbandi between Lataji and the santoor is carried out throughout the track, with magical delivery. The melody feels very Raga Pahadi’sh’ – but not entirely so; the key is in the octave scales. Hear how Lata begins this track, so soft and demure, almost deep in thought, while the santoor is playing out her unsaid words, telling Razia, its alright to feel the way you do, but the conflict in her mind continues, as she sings. The lyrics by Jan Nisar Akhtar paint a beautifully melancholic tapestry of sensitive judgements. Khayyam composed this Ghazal in Dadra taal, and the Dhol / Tabla duo further enhance its emotional evocation.  One of the biggest strengths in this track is the use of silence to encompass the lyrical structure and overall impact; Khayyam attributes this beautiful innovation to Kamal Amrohi. Lataji’s humming is a wonder, it adds a forlorn ambiance to Razia’s conflict.

Hum Bhatakte Hain, Kyun Bhatakte Hain Dasht-O-Sehraa Mein?

I Am Wandering, Why Do I Wander Alone In This Deserted Wilderness?

Aisa Lagta Hai, Mauj Pyaasi Hai Apne Dariyaa Mein

It Seems As If I Am A Wave Thirsty For Water In Its Own Ocean.

Kaisi Uljhan Hai? Kyun Yeh Uljhan Hai?

What Is This Turmoil? Why Is There This Turmoil?

Ek Saaya-Saa Ru-Ba-Ru Kya Hai?

What Is This Shadow That Stands Face-To-Face Before Me?

Aye Dil-E-Nadaan, Aye Dil-E-Nadaan

Oh, My Naive Heart!

Arzoo Kya Hai? Justuju Kyaa Hai?

What Do You Desire? What Do You Seek?

As the musical interludes plays out, the santoor allows the sarangi to take over and vice versa creating a visual of the desert-dunes-wave-like structure, which also essentially adds to its esotericism. Lata’s vocal intonations in the antaras are magnetic and addictive, advancing on a higher vocal scale in tandem with the smooth pace of the santoor, reaching a glorious crescendo, and almost whispers the lyrics towards the end.

Kya Qayamat Hai! Kya Museebat Hai!

What A Disaster! What Misfortune!

Keh Nahin Sakte Kiska Armaan Hai

I Am Unable To Say Whom It Is That I Desire.

Zindagi Jaise Khoyi-Khoyi Hai, Hairaan-Hairaan Hai

It Seems As If My Life Itself Is Lost And Confused.

Yeh Zameen Chhup Hai, Aasmaan Chhup Hai

The Earth Lies Quietly, While The Sky Remains In Silence.

Phir Yeh Dhadkan-Si Chaar-Su Kya Hai?

Yet, What Pulsates Around Me In Every Direction?

Aye Dil-E-Nadaan

Oh, My Naive Heart!

Another magical improvisation by Khayyam is that the antaras are not all composed in the same way, the second antara begins immediately with the crescendo, then advances from a lower scale to the higher scales. The reason for this is to convey the message in Jan Nisar’s poetry. The impact of Razia’s thoughts are felt immediately.  In this antara, there are far more musical pauses, the lyrics that follow the pauses will fully explain why. Razia is looking to the sky and earth for answers, but is answered with emphatic silence, Khayyam then creates a sort of heart-beat sound with the dayan of  the tabla, which proceeds to the next lyric line – indicating that while there may be no answers, her heart still pulsates.

Aye Dil-E-Nadaan, Aisi Raahon Mein, Kitne Kaante Hain

Oh, My Naive Heart! There Are Many Thorns Along The Path Of Love.

Aarzuon Ne, Aarzuon Ne Har Kisi Dil Ko Dard Baante Hain

The Pursuit Of Desires, The Pursuit Of Desires Has Given Pain To Every Heart.

Kitne Ghayal Hain, Kitne Bismil Hain

Many Hearts Are Wounded; Many Hearts Are Sacrificed.

Is Khudayi Mein, Ek Tu Kya Hai?

In The Face Of Divinity, What Are You? (What is your suffering compared to the suffering of the world?)

Ek Tu Kya Hai, Ek Tu Kya Hai?

What Are You? What Are You?

Aye Dil-E-Nadaan, Aye Dil-E-Nadaan

Oh, My Naive Heart!

The final stanza begins with an exasperated conundrum, this is also reflected in the structure Khayyam employs. He begins the antara with the Mukhda of the song, and also in the same format of the second antara, it in indeed a conundrum! But how better to explain the state of the character we see onscreen so puzzled by her emotions and her royal duty. The Track ends beautifully with all the instruments creating a great atmosphere of musical imagery, where Lataji ends, the santoor lingers in thought!

‘Aye Dil-E-Nadaan’ was the crowning glory of this soundtrack, it’s popularity boundless. Khayyam’s tranquil composition together with Jan Nisar Akhtar’s expressive poetry and Lata Mangeshkar’s heartfelt rendition are what legends are made of. It is then of no surprise that Lataji mentions this song as one of her absolute favourites and also had been frequently requested at her concerts.

Exuberance is meted out in large doses of melody in the exotic track, “Aayee Zanjeer Ki Jhankaar”, but why exotic? Because this is our first introduction to the melodious voice of Kabban Mirza. One expects a ghazal to contain a sweet-sounding allure, but not with the unconventional Kabbanji. His voice is unique in so many ways, the gruff-melodic combo makes his voice immediately identifiable. So much so that you wouldn’t mistake him for anyone else. Khayyam realised that he needed to present a voice for Dharmendra that would be unique, uncommon and melodious; this is what we find in the voice of Kabban Mirza. Kabbanji worked as a radio announcer with Vividh Bharti, All India Radio station, Mumbai, he presented a programme called ‘Chhaya Geet’ which showcased the older Hindi Film songs during that time. Kamal Amrohi chose Kabbanji out of many hopefuls and this track was also composed around 1974.

The Santoor begins its journey, the flute enhances its winds, and then the Baglama strikes it’s chords; the safar has begun; the wrangling of clanking chains in the background ignites passion. When the baglama begins, it infuses a veracity about the nature of the track. A slave has fallen in love with his master, and he begs the Almighty to relieve him of this love and grant him mercy from that which could potentially end his life.

Kabban Mirza begins, and immediately, his voice transports you to the unknown. You sit and hear, in awe, at this beautiful voice conveying this poetic dua written by Jan Nisar Akhtar. It is rendered in Raga Pahadi, and flows like impassioned, troubled water through a rough terrain. He serenades the listener and ignites the same impassioned fire in our hearts. There is so much to be thankful for here, the dadra taal almost continues the scenic flow; the beautiful baglama’s slight strums through the entire song, and Khayyam’s mesmerising composition.

The musical interludes also takes us through a journey, increasing in intensity instrumentally just before Kabban begins each antara; Khayyam has encapsulated Yakut’s intensity of love and fear of circumstance at the same time. Jan Nisar Akhtar portrays Yakut’s state of mind perfectly, with his rousing poetry. Khayyam relays his mastery through Pahadi in a very elegant style, In an effort to provide meaningful music, he is not wary to repeat cycles or tonal scales with this raga. In this song and compared to any of his songs that he composed in Pahadi; listen to ‘Kabhi Kabhie Mere Dil Mein’ (Kabhi Kabhie), ‘Parbaton Ke Pedon Par’ (Shagoon), ‘Baharon Mein Jeevan’ (Aakhri Khat) and even ‘Simti Hui Yeh Ghadiyan’ (Chambal Ki Kasam), there are slight similarities, but he also introduces subtle changes; that gives each song its own identity.

Khuda Khair Kare

God, Bestow Peace Upon Me

Aayee Zanjeer Ki Jhankaar Khuda Khair Kare

The Clanking Of Shackles Comes, God, Bestow Peace Upon Me

Dil Hua Kiska Giraftaar Khuda Khair Kare

My Heart Is Her Prisoner, God, Bestow Peace Upon Me

Aayee Zanjeer Ki Jhankaar Khuda Khair Kare

The Clanking Of Shackles Comes, God, Bestow Peace Upon Me

Jaane Yeh Kaun Meri Rooh Ko Chhukar Guzara

Who Was It That Passed, Touching My Soul

Jaane Yeh Kaun

Who Was It

Jaane Yeh Kaun Meri Rooh Ko Chhukar Guzara

Who Was It That Passed, Touching My Soul

Ek Qayaamat Hui Bedaar

A Disaster Has Been Thwarted

Ek Qayaamat Hui Bedaar

A Disaster Has Been Thwarted

Khuda Khair Kare

God, Bestow Peace Upon Me

Lamha Lamha Meri Aankhon Mein Kheenchi Jaati Hai

Each Second Weighs My Sight

Lamha Lamha Meri Aankhon Mein Kheenchi Jaati Hai

Each Second Weighs My Sight

Ek Chamakti Hui Talwaar Khuda Khair Kare

A Flashing Sword, God, Bestow Peace Upon Me

Ek Chamakti Hui Talwaar

A Flashing Sword,

Ek Chamakti Hui Talwaar

A Flashing Sword

Khoon Dil Ka, Na Chhalak Jaaye Kahi Meri Aankhon Se

The Blood Of My Heart, Let It Not Spurt From My Eyes

Khoon Dil Ka, Na Chhalak Jaaye Kahi Meri Aankhon Se

The Blood Of My Heart, Let It Not Spurt From My Eyes

Ho Na Jaaye Kahi Izhaar

[Her] Acceptance, O, Let It Not Happen,

 Ho Na Jaaye Kahi Izhaar

[Her] Acceptance, O, Let It Not Happen,

Ho Na Jaaye Kahi Izhaar

[Her] Acceptance, O, Let It Not Happen,

Khuda Khair Kare

God, Bestow Peace Upon Me

Khuda Khair Kare

God, Bestow Peace Upon Me

Khuda Khair Kare

God, Bestow Peace Upon Me

‘Naghma-E-Mohabbat’ plays next, and its a beautiful instrumental piece that has flavours of the Middle east. It is a soft relaxing piece, romanced by the Oud, Harp and Tarabuka; it serves as a background piece in the film.  Khayyam creates a picture of caravan travelling through the deserts, taking in all the sights and the tinkling is like the sun shining down on the caravan.

How does one ooze sensuality with being vulgar, without placing a heavy-handed thought on what the night may bring? The trio of Kaifi Azmi, Lata Mangeshkar and Khayyam bring melodious sensuality in ‘Jalta Hai Badan’. Kaifi’s lyric might be suggestive, but it’s never vulgar. Its suits the situation in the film, dancer Aarti Gupta aptly oozes this thought, fully clothed (Can Bollywood please take note!); the mind is more powerful than stark imagery. ‘Jalta Hai Badan’ is a mujhra that is sung in Ghazal format by Lata Mangeshkar. Semi Classcial in its structure, it has a touch of Arabian influence; this once again highlights the relationship to the Mughal Era.

Lata Mangeshkar starts off softly but ignites the song in a passionate storm as the verse continues; her vocal intonations in the antaras are superb, and the way Khayyam measures the verse, where to sing softly, where to reach the higher octaves and where to complete a full lyric sentence is a brilliant play on the situation. See the way Aarti emotes onscreen, teasing Tajdar Amrohi, being completely sensuous, going closer, then far away which is fantastically portrayed in the song.

As much as one can laud Lataji and Kaifi Azmi for this great song, Khayyam is the star. Hear the way the sitar signals the beginning, you can almost feel the rain upon you. The sarangi is a wonderful complement here too, hear its slight touches during the musical intervals and antaras; it teases the listener. Another great feat is that there are only three instruments in the song; Sitar, Tabla and Sarangi! Wah Khayyam Sahab! And what ultimately gets played to the listeners ears feels like we are listening to a 100 piece orchestra. This song was tailor made for Asha Bhosle, and while she might have provided a bit more sensuousness in the song, ultimately Lata helmed the song.

Jalta Hai Badan
This Body Burns
Jalta Hai Badan
This Body Burns
Jalta Hai Badan
This Body Burns
Jalta Hai Badan
This Body Burns
O O O O Haayye Jalta Hai Badan
This Body Burns
Pyaas Bhadki Hai
My Thirst Ignited
Pyaas Bhadki Hai Sar-E- Shaam Se Jalta Hai Badan
My Thirst Has Been Ignited Since Dusk, I Burn
Pyaas Bhadki Hai Sar-E- Shaam Se Jalta Hai Badan
My Thirst Has Been Ignited Since Dusk, I Burn
Ishq Se Keh Do Ke Le Aaye Kahin Se Saawan
Tell Love To Bring The Monsoon From Somewhere
Pyaas Bhadki Hai Sar-E- Shaam Se Jalta Hai Badan
My Thirst Has Been Ignited Since Dusk, I Burn
Jalta Hai Badan
This Body Burns

Jaane Kab Raat Dhale Ae
Who Know When The Night With End
Subaho Tak Kaun Jaley Ae
Who Can Burn Till Dawn
Daur Par Daur Chaley
Round Of Drinks After Round
Aao Lag Jaao Galey
Come, Hug Me
Aao Lag Jaao Galey Ae Kam Ho Seene Ki Jalan
Come, Hug Me, Extinguish The Burn In My Chest
Pyaas Bhadki Hai Sar-E- Shaam Se Jalta Hai Badan
My Thirst Has Been Ignited Since Dusk, I Burn
Jalta Hai Badan
This Body Burns
Jalta Hai Badan
This Body Burns
Jalta Hai Badan
This Body Burns
O O O O O Aahh Jalta Hai Badan
This Body Burns

Dekh Jal Jaayenge Hum
Observe I Will Burn In Flames
Iss Tabassum Ki Qasam
I Swear By This Smile
Ab Nikal Jaayegaa Dum, Teri Baahon Mein Sanam
Now I Will Breathe My Last Breath, In Your Arms My Sweetheart

Dil Pe Rakh Haath Ke Tham Jaaye Ye Dil Ki Dhadhkan
Put Your Hand On My Heart So That It Stops Beating
Pyaas Bhadki Hai Sar-E- Shaam Se Jalta Hai Badan
My Thirst Has Been Ignited Since Dusk, I Burn
Ishq Se Keh Do Ke Le Aaye Kahin Se Saawan
Tell Love To Bring The Monsoon From Somewhere
Pyaas Bhadki Hai Sar-E- Shaam Se Jalta Hai Badan
My Thirst Has Been Ignited Since Dusk, I Burn
Jalta Hai Badan
This Body Burns
Jaltaa Hai Badan
This Body Burns
Jaltaa Hai Badan
This Body Burns
Ho O O O Haayye Jalta Hai Badan
This Body Burns
Jalta Hai Badan
This Body Burns
Jalta Hai Badan
This Body Burns
Jalta Hai Badan
This Body Burns

Raga Bhoopali accompanies the bride as she awaits her groom, getting readied by her maidens, as they serenade her with the dulcet ‘Hariyala Banna Aaya Re’. A flourish of instruments begins this track, infusing it with excitement and joy. Asha Bhosle and Jagjit Kaur croon together with a chorus of maidens. Ashaji is a revelation in this track, and no doubt why Khayyam chose Ashaji for Umrao Jaan. She gives the track that bit of extra melody, this is especially noted in the way she extends the lyrics with her alaaps. She does so even after Jagjit Kaur’s and the chorus lines; It extends the rhythm of the track. Khayyam employed this method in Umrao Jaan’s ‘In Aankhon Ki Masti Mein’ which is also based on Raga Bhoopali. The lyrics are written by Nida Fazli, and set to Kaherva Taal. Jagjit Kaur’s rustic vocals lends authenticity to the track and she also shines in the song. The interplay between Ashaji and Jagjitji maintains a fresh perspective all through the song.

The song is simple lyrically and its message comes across emotionally charged, These lines by Nida are just too perfect, even to translate into English loses the crux of the message:

“Ya Khuda Yeh Khushi Ye Masarrat Rahe,
Dulha Dulhan Ki Jodi Salaamat Rahe”

Oh Lord, Let This Happiness, This Joy Stay,
Let The Pairing Of The Groom And Bride Stay Safe

But once again, I have to mention, that everything about this song, that makes it so irresistible is Khayyam’s sensibilities –  he doesn’t let the situation dictate the actual style of the song. It is infused with zest, energised Alaaps and musical interludes. There is an addictive Tabla – Ghungroo Jugalbandi that adds to the atmosphere. Khayyam captures the essence what it would have felt like to attend a royal wedding in the Mughal Era. The final antara takes the last line from each of the preceding antaras to culminate.

Hariyaala Banna Aaya Re,
The Groom (Adorned With A Green Turban) Has Arrived
Hariyaala Banna Aaya Re,
The Groom (Adorned With A Green Turban) Has Arrived
Hariyaala Banna Aaya
The Groom (Adorned With A Green Turban) Has Arrived
Hariyaala Banna Aaya Re,
The Groom (Adorned With A Green Turban) Has Arrived
Hariyaala Banna Aaya Re,
The Groom (Adorned With A Green Turban) Has Arrived
Hariyaala Banna Aaya
The Groom (Adorned With A Green Turban) Has Arrived

Chhoti Ghoondhe Ghata, Paanv Choome Heena
The Little One Kneads Clouds, Henna Kisses The Feet
Maang Moti Bhari Maathe Jhumar Saja
The Jhumar Adorns The Forehead, Hair-Parted Midway
(Alaap: Asha Bhosle)
Chhotee Ghoondhe Ghata, Paanv Choome Heena
The Little One Kneads Clouds, Henna Kisses The Feet
Maang Moti Bharee Maathe Jhumar Saja
The Jhumar Adorns The Forehead, Hair-Parted Midway
Banne Ke Jo Mann Bhaaya Re,
Whatever The Groom Wants
Hariyaala Banna Aaya Re,
The Groom (Adorned With A Green Turban) Has Arrived
Hariyaala Banna Aaya Re,
The Groom (Adorned With A Green Turban) Has Arrived
Hariyaala Banna Aaya
The Groom (Adorned With A Green Turban) Has Arrived

Mil Gayi Raahate, Jaag Uthi Kismate
Tranquility Was Attained, Fate Awoken
Chhod Kar Aasmaan Aa Gayi Jannate
Leaving The Skies Approaching Heaven
(Alaap: Asha Bhosle)
Mil Gayi Raahate, Jaag Uthi Kismate
Tranquility Was Attained, Fate Awoken
Chhod Kar Aasmaan Aa Gayi Jannate
Leaving The Skies Approaching Heaven
Hooron Ne Shagan Gaaya Re,
Hooron (Plural Of Hoor, Fair Maidens Of Heaven) Singing Of Portents
Hariyaala Banna Aaya Re,
The Groom (Adorned With A Green Turban) Has Arrived
Hariyaala Banna Aaya Re,
The Groom (Adorned With A Green Turban) Has Arrived
Hariyaala Banna Aaya
The Groom (Adorned With A Green Turban) Has Arrived

Devatao Ke Mann, Hain Khushi Se Magan
Happiness Is In The Hearts Of The Gods But

Pi Se Milne Chali Sajke Razia Dulhan
Razia (The Bride) Went To Meet Her Sweetheart
(Alaap: Asha Bhosle)
Devatao Ke Mann, Hain Khushi Se Magan
Happiness Is In The Hearts Of The Gods But

Pi Se Milne Chali Sajke Razia Dulhan
Razia (The Bride) Went To Meet Her Sweetheart
(Alaap: Asha Bhosle)
Khushiyon Ke Chaman Laaya Re
Bringing A Small Garden Of Happiness
Hariyaala Banna Aaya Re,
The Groom (Adorned With A Green Turban) Has Arrived
Hariyaala Banna Aaya Re,
The Groom (Adorned With A Green Turban) Has Arrived
Hariyaala Banna Aaya
The Groom (Adorned With A Green Turban) Has Arrived

Ya Khuda Yeh Khushi Yeh Masarrat Rahe
Oh Lord, Let This Happiness, This Joy Stay,
Dulha Dulhan Ki Jodi Salaamat Rahe
Let The Pairing Of The Groom And Bride Stay Safe
(Alaap: Asha Bhosle)
Rahti Duniya Talak Yeh Mohabbat Rahe
Let This Love Endure Till The End Of Time
Saare Aalam Me Malika Ki Azmat Rahe
So That The Whole World May Remember The Queen In Glory
Rahmat Ka Saman Chhaya Re,
Shaded By Bounds Of Mercy
Hariyaala Banna Aaya Re,
The Groom (Adorned With A Green Turban) Has Arrived
Hariyaala Banna Aaya Re,
The Groom (Adorned With A Green Turban) Has Arrived
Hariyaala Banna Aaya
The Groom (Adorned With A Green Turban) Has Arrived

Banne Ke Jo Mann Bhaaya Re,
Whatever The Groom Wants
Hariyaala Banna Aaya Re,
The Groom (Adorned With A Green Turban) Has Arrived
Hariyaala Banna Aaya Re,
The Groom (Adorned With A Green Turban) Has Arrived
Hariyaala Banna Aaya
The Groom (Adorned With A Green Turban) Has Arrived
Hooron Ne Shagan Gaaya Re,
Hooron (Plural Of Hoor, Fair Maidens Of Heaven) Singing Of Portents

Hariyaala Banna Aaya Re,
The Groom (Adorned With A Green Turban) Has Arrived
Hariyaala Banna Aaya Re,
The Groom (Adorned With A Green Turban) Has Arrived
Hariyaala Banna Aaya
The Groom (Adorned With A Green Turban) Has Arrived
Khushiyon Ke Chaman Laaya Re
Bringing A Small Garden Of Happiness
Hariyaala Banna Aaya Re,
The Groom (Adorned With A Green Turban) Has Arrived
Hariyaala Banna Aaya Re,
The Groom (Adorned With A Green Turban) Has Arrived
Hariyaala Banna Aaya
The Groom (Adorned With A Green Turban) Has Arrived
Rahmat Kaa Saamaan Chhaaya Re,
Shaded By Bounds Of Mercy
Hariyaala Banna Aaya Re,
The Groom (Adorned With A Green Turban) Has Arrived
Hariyaala Banna Aaya Re,
The Groom (Adorned With A Green Turban) Has Arrived
Hariyaala Banna Aaya
The Groom (Adorned With A Green Turban) Has Arrived

In the previous song, we had the maidens preparing Razia for her Royal wedding, the next song depicts the preparation and journey for the Groom Yakut, his fellow brothers are singing Glory to the Creator for this union. With ‘Aye Khuda Shukr Tera’ Khayyam uses a Persian Maqam to realise the full extent of this joy. Lyrics have been penned by Kaif Bhopali and he does a great job of describing the sentiment of this union.

Sung by Mahendra Kapoor, Bhupinder Singh and a chorus of male singers; it is mounted lavishly sung mostly in Chorus by all the singers. Mahendra and Bhupinder can be distinguished if you listen carefully. Without doubt, they sound amazing together. The song is also infused with an energetic pace and can still serve today for a wedding as the lyrics and tune remain timeless.

Aye Khuda Shukr Tera
Oh Lord, Thanks To You
Aye Khuda Shukr Tera, Shukr Tera, Shukr Tera
Oh Lord, Thanks To You, Thanks To You
Yeh Mera Yaar Chala Baandhkar Sar Par Sehra
My Friend Walks With The Sehra (Marital Headgear With Flowers) Atop His Head
Aye Khuda Shukr Tera
Oh Lord, Thanks To You
Aye Khuda Shukr Tera, Shukr Tera, Shukr Tera
Oh Lord, Thanks To You, Thanks To You
Yeh Mera Yaar Chala Baandhkar Sar Par Sehra
My Friend Walks With The Sehra (Marital Headgear With Flowers) Atop His Head

Aisa Sehra Gul-O-Gulzaar Na Dekha Na Suna
Such A Sehra With A Stunning Garden, We Have Never Seen Or Heard Of
Aisa Naushaah Mere Yaar Na Dekha Na Suna
Such Happiness In My Friend, We Have Never Seen Or Heard Of
Aisa Bemiz Haseen Pyar Na Dekha Na Suna
Such A Beautiful Atmosphere Of Love, We Have Never Seen Or Heard Of
Aisa Dildaar Taradaar Na Dekha Na Suna
Such Excitement To Meet His Beloved, We Have Never Seen Or Heard Of
Saari Duniya Ki
Let The Whole Wrld
Saari Duniya Ki Zubaanon Pe Hai Ghar Ghar Sehra
Let In Be On the Whole Worlds Tongues, About This Sehra
Ye Mera Yaar Chala Baandhkar Sar Par Sehra
My Friend Walks With The Sehra (Marital Headgear With Flowers) Atop His Head
Aye Khuda Shukr Tera
Oh Lord, Thanks To You
Aye Khuda Shukr Tera, Shukr Tera, Shukr Tera
Oh Lord, Thanks To You, Thanks To You
Ye Mera Yaar Chala Baandhkar Sar Par Sehra
My Friend Walks With The Sehra (Marital Headgear With Flowers) Atop His Head

Taan Kar Laaye Gaye Chand Sitaaren Ismein
They Have Brought In The Moon And The Stars
Aur Gunje Gaye Jannat Ke Nazaren Ismein
The Scents Of Heaven Can Be Seen
Chun Diye Phool Gulistaan Ke Saare Ismein
Chosen A Flower From All The Gardens Of The World
Phool Kya Dil Bhi Biroye Gaye Hai Hamare Ismein
And The Heart Of That Flower Has Been Brought For Us Too
Jaane Kin Haathon Se
We Wonder In Whose The Hands
Jaane Kin Haathon Se Aaya Hai Bankar Ye Sehra
We Wonder In Whose The Hands Has This Sehra Been Brought
Ye Mera Yaar Chala Baandhkar Sar Par Sehra
My Friend Walks With The Sehra (Marital Headgear With Flowers) Atop His Head
Aye Khuda Shukr Tera
Oh Lord, Thanks To You
Aye Khuda Shukr Tera, Shukr Tera, Shukr Tera
Oh Lord, Thanks To You, Thanks To You
Ye Mera Yaar Chala Baandhkar Sar Par Sehra
My Friend Walks With The Sehra (Marital Headgear With Flowers) Atop His Head

Gulkho Kis Nazara Si Aadaayenn Ismein
The Manner Of The Scenery
Hai Mehakti Huyi Zulfon Ki Ghataayen Ismein
The Scent Of Clouded Perfumed Hair
Hai Sabhi Dard Ki Maaron Ki Dawayen Ismein
Is Teh Medicine For The Pain In The Hearts
Saare Dilwalon Ki Shaamil Hai Duwaaen Ismein
All The Compassionate Are Present To Witness This Prayer
Baat To Ye Hai
The Talk Points To
Baat To Ye Hai Ke Dilbar Ka Hai Dilbar Sehra
The Talk Points To The ‘Lover Of Love’s’ Sehra
Ye Mera Yaar Chala Baandhkar Sar Par Sehra
My Friend Walks With The Sehra (Marital Headgear With Flowers) Atop His Head
Aye Khuda Shukr Tera
Oh Lord, Thanks To You
Aye Khuda Shukr Tera, Shukr Tera, Shukr Tera
Oh Lord, Thanks To You, Thanks To You
Ye Mera Yaar Chala Baandhkar Sar Par Sehra
My Friend Walks With The Sehra (Marital Headgear With Flowers) Atop His Head

Wah Kya Baat Hai Kya Shaan Hai Subhaan Allah
What A Scene!, Such Pride, Praise Be To God
Iske Har Phool Mein Ek Jaan Hai Subhaan Allah
The One Life In This Flower, Praise Be To God
Har Nazar Dekh Ke Hairaan Hai Subhaan Allah
All Eyes Watching This Wonder, Praise Be To God
Jisne Dekha Wahi Qurbaan Hai Subhaan Allah
Watching This Sacrifice, Praise Be To God
Wakaiya Ye Hai
This Incident
Wakaiya Ye Hai Ke Betar Hai Betar Sehra
The Incident Just Gets Better With The Sehra
Ye Mera Yaar Chala Baandhkar Sar Par Sehra
My Friend Walks With The Sehra (Marital Headgear With Flowers) Atop His Head
Aye Khuda Shukr Tera
Oh Lord, Thanks To You
Aye Khuda Shukr Tera, Shukr Tera, Shukr Tera
Oh Lord, Thanks To You, Thanks To You
Ye Mera Yaar Chala Baandhkar Sar Par Sehra
My Friend Walks With The Sehra (Marital Headgear With Flowers) Atop His Head

The Film presents these two songs in a shortened Intertwined version shown in the video below:

‘Khwab Bankar Koi Aayega’ in its entirety creates a soft memorable treat for its listeners, it is humbly melodious and seeped in suggestive lyrics. The song might have caused some controversy by hinting at Khakun’s feelings towards Razia, while ultimately singing about Yakut. I still think it was picturised rather beautifully on Parveen Bhabi and Hema Malini.

If Razia Sultan is remembered, it is for Bhanu Athaiya’s costumes and NB Kulkarni’s sets, Dharmendra’s blackface, Hema Malini’s regal beauty, Khayyam’s enduring soundtrack and a daring moment of lesbian passion between Razia and her confidante Khakun (Parveen Babi).

Khwab Ban Kar Koi Aayega is dropped on unsuspecting viewers minutes before the movie’s masterpiece, Ae Dil-E-Nadaan. Khakun is attentive to Razia’s every need, and when Razia sails about in a boat at her palace dreaming of Yakut, Khakun rides along.

Lata Mangeshkar’s sanitised voice cannot hide the erotic charge of Jan Nisar Akhtar’s suggestive lyrics. Khakun sings that Yakut’s deadly arrow has pierced Razia’s heart, and the stains of that wound are in danger of dripping all over her.

[Source]

The Oud is strummed, Lataji begins so dreamily with the opening lines. The Sitar, Harp and Tabla are introduced; what we get here is a marvellous confluence of artistry. The sarangi joins in to serenade us further. Presented in the Ghazal format based on Raga Pahadi in Rupak Taal, Khayyam music sensibilities takes over. Hear the flute and sarangi in the musical interludes, they project a great sense of emotion. Hints of Santoor appear and also add to the appeal. Razia is longing for Yakut and Khakun presents her with this Ghazal to ease her mind. Khayyam does just that for us listeners. Lataji sings with joy, you can hear her smile when she sings the line ‘Koi Har Raat Satayegi’. 

Whether or not the politics behind the song impacts your thoughts, the fact is that this song is incredibly haunting and powerful; and an ageless composition.

Choom Kar Raat Sulayegi
When The Night Kisses Me To Sleep
Choom Kar Raat Sulayegi, To Neend Aayegi
When The Night Kisses Me To Sleep Will Slumber Take Me
Khwab Bankar Koi Aayega
When Someone Comes To Me As A Dream
Khwab Bankar Koi Aayega, To Neend Aayegi
When Someone Comes To Me As A Dream Will Slumber Take Me
Ab Wohi Aa Ke Sulayega…
Only When He Will Come And Put Me To Sleep
Ab Wohi Aa Ke Sulayega, To Neend Aayegi
Only When He Will Come And Put Me To Sleep Will Slumber Take Me
Khwab Bankar Koi Aayega
When Someone Comes To Me As A Dream

Baat Jo Sirf Nigaahon Se Kahi Jaati Hai
Things That Are Only Spoken Through A Gaze
Baat Jo Sirf Nigaahon Se Kahi Jaati Hai
Things That Are Only Spoken Through A Gaze
Koi Hothon Se Sunayega
When Someone Recites To Me With His Lips
Koi Hothon Se Sunayega, Tau Neend Aayegi
When Someone Recites To Me With His Lips Will Slumber Take Me
Khwab Bankar Koi Aayega
When Someone Comes To Me As A Dream

Narm Zulfon Ki Mehak, Garm Badan Ki Khushboo
The Fragrance Of Soft Hair, The Smell Of Warm Skin
Narm Zulfon Ki Mehak, Garm Badan Ki Khushboo
The Fragrance Of Soft Hair, The Smell Of Warm Skin
Chupke Chupke
Slowly
Chupke Chupke Woh Churayega, To Neend Aayegi
Slowly Slowly When He Steals Will Slumber Take Me.
Khwab Bankar Koi Aayega
When Someone Comes To Me As A Dream

Jism Haathon Ki Hararat Se Pighal Jayega
Warmth From Your Hands Will (Make Me) Melt
Jism Haathon Ki Hararat Se Pighal Jayega
Warmth From Your Hands Will (Make Me) Melt
Aag Rag Rag Mein Lagayega
When You Ignite A Fire Within Each And Every Vein
Aag Rag Rag Mein Lagayega, Tau Neend Aayegi
When You Ignite A Fire Within Each And Every Vein Will Slumber Take Me
Khwab Bankar Koi Aayega
When Someone Comes To Me As A Dream

Koi Tadpayega Har Aan To Chain Aayega
If Someone Troubles Me Thus Every Moment, Only Then Will I Have Peace
Koi Tadpayega Har Aan To Chain Aayega
If Someone Troubles Me Thus Every Moment, Only Then Will I Have Peace
Koi Har Raat Satayega
If Someone Bothers Me Every Night
Koi Har Raat Satayega, To Neend Aayegi
If Someone Bothers Me Every Night, Only Then Will I Be Able To Fall Asleep
Khwab Bankar Koi Aayega, Tau Neend Aayegi
Someone Will Come To Me As A Dream
Ab Wohi Aa Ke Sulayega, Tau Neend Aayegi
Only When He Will Come And Put Me To Sleep Will Slumber Take Me
Khwab Bankar Koi Aayega
Someone Will Come To Me As A Dream

Koi Aayega…
Someone Will Come…
Koi Aayega…
Someone Will Come…
Koi Aayega…
Someone Will Come…

A second outing with Kabban Mirza, how lucky are we listeners?!? ‘Tera Hijr Mera Naseeb’ clocks in at 7:58 sec, and each split second is a treasure to behold.  The santoor initiates the song, the bansuri and tabla appear and creates an intimate feeling of hopeful despair. Khayyam presents Kabbanji with a Ghazal set to Dadra Taal. Nida Fazli helms the lyrics and aptly narrates Yakut’s thoughts. Nida uses authentic Urdu / Farsi and it creates a magical fantasy in our minds.

Tera Hijr Mera Naseeb Hai
Separation From You Is My Fate
Tera Hijr Mera Naseeb Hai
Separation From You Is My Fate
Tera Gham
Your Sorrow
Tera Gham Hi Meri Hayaat Hai
Your Sorrow Is My Life
Mujhe Teri Doori Ka Gham Ho Kyun
Why Should I Be Sad On Being Away From You
Mujhe Teri Doori Ka Gham Ho Kyun
Why Should I Be Sad On Being Away From You
Tu Kahin Bhi Ho Mere Saath Hai
Since You Are With Me Irrespective Of Your Whereabouts
Tu Kahin Bhi Ho Mere Saath Hai
Since You Are With Me Irrespective Of Your Whereabouts
Tera Hijr Mera Naseeb Hai
Separation From You Is My Fate

Mere Vaaste Tere Naam Par
I Don’t Want Any Blemish On Your Name On Account Of Me
Mere Vaaste Tere Naam Par
I Don’t Want Any Blemish On Your Name On Account Of Me
Koyi Harf Aaye Nahin Nahin
No Blame To Endure, No, No
Mujhe Khauf-E-Duniya Nahin
Not That I Am Scared Of The Society
Mujhe Khauf-E-Duniya Nahin
Not That I Am Scared Of The Society
Magar Mere Ru-Ba-Ruu Teri Zaat Hai
But My Whole Concern Is The Sanctity Of Your Persona
Mere Ru-Ba-Ruu Teri Zaat Hai
My Whole Concern Is The Sanctity Of Your Persona
Tera Hijr Mera Naseeb Hai
Separation From You Is My Fate

Tera Vasl Ae Meri Dilruba
I Am Not Destined To Have A Union With You, My Sweetheart
Tera Vasl Ae Meri Dilruba
I Am Not Destined To Have A Union With You, My Sweetheart
Nahin Meri Kismat To Kya Hua
It Is Just Not My Fate, So What To Do?

Meri Mahjabeen
Oh My Pretty Moon
Meri Mahjabeen
Oh My Pretty Moon
Meri Mahjabeen Yahi Kam Hai Kya
Oh My Pretty Moon, This Is My Weakness
Teri Hasraton Ka To Saath Hai
But My Desires About You Are With Me
Teri Hasraton Ka To Saath Hai
But My Desires About You Are With Me
Tera Hijr Mera Naseeb Hai
Separation From You Is My Fate

Tera Ishq Mujh Pe Hai Meharbaan
You Have Favoured Me With Your Love
Tera Ishq Mujh Pe Hai Meharbaan
You Have Favoured Me With Your Love
Mere Dil Ko Haasil Hai Do Jahaan
My Heart Is Worthless In Heaven And Earth
Meri Jaan-E-Jaan
Oh My Dearest Love
Meri Jaan-E-Jaan
Oh My Dearest Love
Meri Jaan-E-Jaan Isi Baat Par
Oh My Dearest Love, The Point Is
Meri Jaan Jaaye To Baat Hai
And This In Fact Is Worth My Life Itself
Meri Jaan Jaaye To Baat Hai
And This In Fact Is Worth My Life Itself
Tera Hijr Mera Naseeb Hai
Separation From You Is My Fate

Hooo Tera Hijr Mera Naseeb Hai
Separation From You Is My Fate
Ho Tera Hijr
Separation From You
Hooo Tera Hijr Mera Naseeb Hai
Separation From You Is My Fate
Ho Tera Hijr
Separation From You
Hooo Tera Hijr Mera Naseeb Hai
Separation From You Is My Fate
Ho Tera Hijr
Separation From You
Tera Gham Hi Meri Hayaat Hai
Your Sorrow Is My Life
Mujhe Teri Doori Ka Gham Ho Kyun
Why Should I Be Sad On Being Away From You
Mujhe Teri Doori Ka Gham Ho Kyun
Why Should I Be Sad On Being Away From You
Tu Kahin Bhi Ho Mere Saath Hai
Since You Are With Me Irrespective Of Your Whereabouts
Tu Kahin Bhi Ho Mere Saath Hai
Since You Are With Me Irrespective Of Your Whereabouts
Tu Kahin Bhi Ho Mere Saath Hai
Since You Are With Me Irrespective Of Your Whereabouts

One cannot analyse this fabulous song without keeping the context of its content in mind, Khayyam was particularly brilliant at conveying the musical mindset of his songs in mind whilst composing. This shows here as it does in many of his compositions. How Do i add what dexterity Kabbanji added with his fantastic voice, Yakut is immortalised because of him. He carries this Ghazal solely on his shoulders. Kamal Amrohi & Khayyam couldn’t have perfected this Ghazal further; they got it right the first time and i am grateful to both of them for taking Kabbanji for these songs, or else how would the world have know about him?

The Next two tracks will be reviewed together as they essentially for part of the same song. And what songs they are!! If ‘Aye Dil-E-Nadaan’ was Razia Sultan’s crowning glory, then this song is it’s Tour De Force. ‘Tarana Jashn-E-Tajposhi’ and ‘Shubh Ghadi Aayi Re’ are part and parcel together as the Tarana Piece is also included in the ‘Shubh Ghadi Aayi Re’.  Shastri Sangeet Comes to the fore, and while in the above songs the Raga’s were smoothed out to provide more popular listening for the masses, this one is there for the classes. Khayyam hold no bars here, he metes out a splendid Raga Baageshwari in full form. Rendered in the Patiala Gharana style, we are treated to a bevy of super talented artists. I will discuss the artists as we continue with the review.

Bageshri (Or Baageshwari) is a Hindustani classical raga. It is a popular late night raga, which is meant to depict the emotion of a woman waiting for reunion with her lover. In this case it is meant to represent the Janta’s love for their Queen Razia Sultan. What’s even more interesting to note is that the song was filmed during the late portion of the evening with a superb Kathak Dance by a range of Dancers, choreographed by Gopi Krishna, see the video after this portion.

‘Tarana Jashn-E-Tajposhi’ begins with strums of the Swarmandal, Tanpura entrancing the in the background, we hear Ustad Mohammed Dilshad Khan and Begum Parveen Sultana recite Alaaps; the Pakhawaj beats, a Tarana ensues ‘Dheem O Dhir Tana Dheem, Dere Na’ whilst the Pakhawaj adds efficient companionship. Husband and Wife duo sings a superb rendition of Raga Bageshri Tarana in Ektaal. It is a moment to behold; they allow the raga to initiate with precise movement between the swaras. Ustad Faiyyaz Ahmed Khan a& Ustad Niyaz Khan (Of the Kirana Gharana) are also accredited, and it seems they have assisted with the Alaaps. How much talent can one experience in one piece! I am including this audio piece as it is not available anywhere, sadly.

The Tarana Portion serves as an introduction to the next song ‘Shubh Ghadi Aayi Re’ and extends on it. Jagjit Kaur and Sulakshana Pandit are added on the vocals from the above list and they do a superb job of accompanying the classical superstars. Sulakshana Pandit and Jagit Kaur begin with the opening Verse by Lyricist Maya Govind. The sarangi provides musical accompaniment. The Pakhawaj, Ghungroo, Sitar and Tabla add in and they begin to sing in unison. The opening portions are laced with Tarana and Alaaps by the Husband and Wife Duo Ustad Mohammed Dilshad Khan and Begum Parveen Sultana and what a vision is created. This portion is done is Ektaal.

The moment the pakhawaj beats in the interludes begin, we immediately detect the taal change, Madhyalaya Taal encroaches the second anatara with tongue twisting lyrics sung by Sulakshanaji & Jagjitji, here they provide their own alaaps to exquisite lyrics by Maya Govind praising the Sultanate for their Razia Sultan.

The Third and final antara begins with a Teentaal rendition of the Tarana Jashn-E-Tajposhi that we heard earlier. Hear the husband and wife duo take charge and render an exquisite classical Bageshri, complete with Alaaps and Taans, hear the final two minutes and you will be astounded and what they achieve in that short time, Parveen Sultana particularly scales the swaras of Bageshri with gusto. It is goosebumps material. Khayyam should be lauded here, his musical sensibility goes through the roof, it shows exactly what he was capable of. and what could us listeneners ask more for? Kamal Amrohi also had great insight including this song as it would rightly show what the music was like around the 12th century Sub Continent. Take A bow Khayyam!

Aisee Banee Darabaar Chhabi
Mose Jae Nahin
Dekho Roop Bakhaana
Sooraj Chaand Sitaaran Ko
Bhay Hairat Aaj Jo Dekh Ke Baana
Aaj Singhaasan Dhan Bhayo
Aaj Singhaasan Dhan Bhayo
Sultaan Banee
Sultaan Banee
Sultaan Banee Raziya Sultana
Shubh Ghadee
Shubh Ghadee Aaee Re
Shubh Ghadee Aaee
Shubh Ghadee Aaee Re
Shubh Ghadee Aaee
Aao Sab Mil Jul Gaayen
Aao Sab Mil Jul Gaayen Badhaee
Aao Sab Mil Jul Gaayen
Shubh Ghadee
Shubh Ghadee Aaee Re
Shubh Ghadee Aaee

Tarana

Damakat Hai Sheesh Taaj
Chamakat Hai Mukh Chandra Aaj
Damakat Hai Sheesh Taaj
Chamakat Hai Mukh Chandra Aaj
Roop Aaj Malat Haath
Dekh Dekh Roop Saaj
Roop Aaj Malat Haath
Dekh Dekh Roop Saaj
Aisee Hai Raunak
Kee Raama Duhaee
Shubh Ghadee
Shubh Ghadee Aaee Re
Shubh Ghadee Aaee
Aao Sab Mil Jul Gaayen
Aao Sab Mil Jul Gaayen Badhaee
Aao Sab Mil Jul Gaayen
Shubh Ghadee
Shubh Ghadee Aaee Re
Shubh Ghadee Aaee

Giree Giree Ghoom Ghoom
Run Run Jhun Jhun
Gaalan Ko Jae Choom Motiyan Kee Ladiyaan
Kaaree Kaaree Pyaaree Pyaaree Matavaaree Ratanaree
Laagat Kataaree Nyaaree Kajaraaree Akhiyaan
Raaje Mahaaraaje Sab Gaaje Baaje Saaje Laaye
Khel Upahaar Talavaar Leke Dhaniya
Thir Thir Thir Thirak Thirak Thirka Tay
Ta Ta Thay Ta Thay Nache Saje Baliya
Cha Choom Cha Choom Choon Chanana Choom Choom
Chanana Choom Choom Chanana Choom Choom

Phool Kamal See Komal Kaaya
Kaliyon See Muskaan Hai
Durga,Kaalee,Ranachandee See
Isakee Aan Baan Hai
Durga,Kaalee,Ranachandee See
Isakee Aan Baan Hai

Sar Par Taaj Nahin Raziya Ke
Hindustaan Kee Shaan Hai
Hindustaan Kee Shaan Hai
Hindustaan Kee Shaan Hai
Chaaron Dishaon Mein Raziya Samaee Re
Shubh Ghadee
Shubh Ghadee Aaee Re
Shubh Ghadee Aaee
Aao Sab Mil Jul Gaayen
Aao Sab Mil Jul Gaayen Badhaee
Aao Sab Mil Jul Gaayen
Shubh Ghadee
Shubh Ghadee Aaee Re
Shubh Ghadee Aaee

Tarana and Alaap

The entire song is not in the video above, so i have also included here:

We come to the final piece of the soundtrack – ‘Falak Se Aawaz Hai’ is not a song but spoken word by the director himself, Kamal Amrohi, with music in the background. Used in the climax of the film, it a rousing piece of poetry by Kaif Bhopali. Kamal Amrohi recites with great emotion and his voice conveys the message with power. We may have not seen the man behind the camera, but his voice on the soundtrack at least preserves his mark in history. Khayyam creates a heavenly sounding piece, with a chorus of humming angels, as they welcome Razia & Yakut to the doors of heaven. Minimal musical instruments with the echoes chorusing the hums makes for the superb poetry recital.

Falak Se Awaaz Hai Ke Aao …
There Is A Call From The Skies To Come …
Tumhare Layak Na Thi Woh Duniya …
This World Is Unfit For You …
Tumhari Khatir Hum Aasman Par Ek Aur Duniya Saja Rahe Hai …
We Are Decorating Another New World For You In The Skies …
Khuda Ka Irshaad Ho Raha Hai …
It’s God’s Order …
Falak Nasheeno Salaam Bhejo …
That The Shining Stars In The Skies Send Your Message …
Lahu Mein Doobey Shaheed-E-Ulfat Meri Panahon Mein Aa Rahe Hai …
The Martyrs Of Love Drenched In Blood Are Coming Into My Protection …
Meri Panahon Mein Aa Rahe Hai …
Are Coming Into My Protection …
Meri Panahon Mein Aa Rahe Hai
Are Coming Into My Protection …

Razia Sultan was Khayyam’s masterpiece and while he had many other melodious soundtracks, this one stands the test of time, the fates of melody and the greats of them all. Its is then such a perplexing thought that Razia Sultan is excluded from any of the Top Lists people put out. There is also no music review on the entire soundtrack anywhere on the web or anywhere else; Khayyam’s music endures without any glory. That in itself speaks volumes. I partly blame the music company for this bias, as they have put out the worst CD possible of this magnum opus. It is also unfortunate that the tradition of dismissing everything about a film, especially if it was a failure at the box office, is still rife.

I never tire of listening to Razia Sultan, it always brings about such joy when i play the LP’s. I want this review to create a revival of sorts, and tell the world about Khayyam’s most melodious soundtrack. Go On… Share it with the world.

Khayyam’s effort deserves a full rounded 10!

Rating
★★★★★★★★★★