Kaun kehta hai tujhe main ne bhoola rakha hai? Options

[kamalamohanty]

Dear Kamalamohanty Ji

If you have not already visited this link then please do so and advise if you have any of the mentioned songs.Will be very greatful.

http://www.ourhfm.com/index.php?s=&showtop...indpost&p=26786

Imran bhaiya,

I saw the website u referred to, but could not prick into the song list. I, being an ardent fan of Talat Mahmood, do not possess any of the songs contained in your list. What a tragedy!

I am extremely sorry for this. I, on the contrary request you to upload few of the rarest sons of Talat saab you have with you. I will be obliged.

kamalamohanty

[imransaheb]

Dear Milind Ji

Patiently waiting....part 4 ?... (IMG:style_emoticons/OurHFMEmot/sad.gif)

[Milind9]

Dear Milind Ji

Patiently waiting....part 4 ?... (IMG:style_emoticons/OurHFMEmot/sad.gif)

My sincere apologies, Imranbhai.I've been extremely busy at work recently and haven't had the time required to finish the translation as it should be done.I did not feel like doing a rushed third-rate job. However, I promise you that I'll finish and post it soon.

[bawlachintu]

My sincere apologies, Imranbhai.I've been extremely busy at work recently and haven't had the time required to finish the translation as it should be done.I did not feel like doing a rushed third-rate job. However, I promise you that I'll finish and post it soon.

Hum intezar karenge tera .............. tak, khuda kare...........
(IMG:style_emoticons/OurHFMEmot/closedeyes.gif)

[Milind9]

Kaun kehta hai tujhe main ne bhoola rakha hai? - 4

From 'Geet-yatree' by the late Shri Madhav Moholkar.
The responsibility for any mistakes in translation is entirely mine.



As compared to his contemporaries, Talat sang far fewer songs.Others sang thousands of songs, Talat must have sung barely six to seven hundred. 100-125 of those entered the hearts of ordinary listeners, and the rest have been lovingly cherished by many, many fans in their hearts and minds.Others sang thousands of trashy songs.It is doubtful if Talat’s trashy songs number even 20-25.Even those he’d sung at the fag end of his career as a compromise.Talat had come to playback singing via ghazals and so was well aware of the weightage of words and the importance of poetry. Unless a song had a minimum poetic standard Talat would not consent to sing it.
In order to convince him to sing a song, music directors would tell him, “It’s a very good song.I’ve reserved it especially for you.” As a consequence many wonderful songs by Shakeel, Shailendra, Majrooh, Jan Nisar Akhtar, Sahir came to him. Talat poured his heart into Sahir’s ghazals like ‘Pyar par bas to nahin hai’ from ‘Sone Ki Chidiya’ set to music by O.P.Nayyar, and ‘Ashqon mein jo paayaa hai wo geeton mein diya hai’ from ‘Chandi Ki Deewar’ composed by N.Dutta. While in college it used to give me great joy to hum Sahir’s ‘Mere nagmon mein un mastana aankhon ki kahani hai’ and ‘Khada hoon der se ummeedvar dekh to le’, both songs written in ghazal style, sung by Talat for Shyamsundar’s ‘Alif Laila’. Talat’s ‘Subah ka intezar kaun kare’ from Jaidev’s ‘Joru Ka Bhai’ was also penned by Sahir. Talat’s touching ‘Dekh li teri khudai, bas mera jee bhar gaya’ from Jaidev’s ‘Kinare Kinare’ was written by Nyay Sharma. And his heart-rending song from Roshan’s ‘Gunaah’ written by Kidar Sharma:
‘Mere khayalon mein aake gale laga jaa mujhe
Ki aaj phir mera jee chahta hai rone ko…’

8

I was extremely disturbed the day Mukesh suddenly passed away.Seeing Raj Kapoor pay homage to him on Doordarshan brought a lump to my throat. In a fit of emotion Raj remembered this song of Talat’’s and exclaimed:
‘Thaka hua hai musafir, sawaal hai daata
Kafan dila de mujhe mooh dhapne ko, sone ko…’
He’d cried when Shailendra had died, he’d been unable to hold back his tears when Jaikishen had passed beyond the veil.Now he felt like crying for Mukesh.Was it Talat singing in his mind? ‘Ki aaj phir mera jee chahta hair one ko…’
Talat sang many soulful songs of lesser-known lyricists for lesser known music directors. When I’d first heard Vinod’s ‘Jab kisi ke rukh pe zulfein aake lehraney lagi, hasratein uth-uthke armaanon se takraane lagi’ from ‘Anmol Ratan’ in Talat’s fresh, youthful voice, I was bowled over.Similarly with ‘Ho gaye barbad hum, unki khushi to ho gayee…’ – Talat’s song of unrequited love from ‘Kamini’.It is said that the luckless Vinod, despite recording Talat’s song for ‘Anmol Ratan’ earlier, was denied the credit for giving Talat his first film song as Anilda’s ‘Arzoo’ was released first.
I still remember the songs Talat sang for Khayyam like ‘Gar teri nawazish ho jaye’ from ‘Gulbahar’ and ‘Aana hi padega, sar ishq ke kadmon pe zukaana hi padega’ from ‘Lala Rukh’.The ears still resonate with his ‘Aaye bhi akela, jaaye bhi akela, do din ki zindagi hai, do din ka mela…’ from Hansraj Behl’s ‘Dost’.Sometimes I’m suddenly reminded of ‘Tera khayal dil ko sataye to kya karein..’from Pt.Govindram’s ‘Naqab’. Husnlal-Bhagatram, who had got Rafi to sing songs like ‘Ek dil ke tukde hazaar hue, koi yahan gira, koi wahan gira…’, and ‘Mohabbat ke dhoke mein koi na aaye, yeh ek din hasaye to sau din rulaye’, also got Talat to sing tragic songs. But Talat, while singing ‘ Ae meri zindagi tujhe dhoondoo kahan, na to milke gaye, nahi chhoda nishan…’ in Adl-e-Jahangir’, and ‘Mohabbat ki hum chot khaaye hue hain, kisi bewafa ke sataye hue hain…’ in ‘Farmaish’, did not sob like Rafi.He simply sang in his melancholy tone. I could never forget even while watching Allah Rakha’s fingers dance on the tabla as Ravi Shankar played the sitar, that this was my beloved music director A.R.Qureshi who’d got Durrani to sing ‘Ni sa ga ma pa haye Ramji, pa ma ga re sa’ in Sabak.Then how could I forget Talat’s ‘Tumko fursat ho meri jaan to idhar dekh to lo’, ‘Dil matwala, lakh sambhala, phir bhi kisi pe aa hi gaya’ and ‘Tu aaye na aaye teri khushi, hum aas lagaye baithe hain’, each better than the last, from ‘Bewafa’?
Ram Ganguly, who’d scored the music for Raj Kapoor’s ‘Aag’, could not resist using Talat’s voice for ‘Gavaiya’. All the songs from that film had cast a spell – ‘Aaj mera man been bajaye’, ‘Teri yaad ka deepak jalta hai din-raat mere veeraane mein’, and that anguished cry of a broken heart – ‘Aise toote taar ki mere geet adhoore reh gaye…aisa toota dil ke tukde aansoo banker reh gaye…’. ‘Teri yaad ka deepak jalta hai’ had been sung by Surendra as well. I’d imagined that Talat’s ‘Sundarta ke sabhi shikari, koi nahin hai poojari’ from Bulo C.Rani’s ‘Jogan’ would be picturised on Dilip Kumar.It wasn’t but as it was used at the right spot in the film, it was still appreciated.Was Talat’s ‘Ae jazb-e-ishq tera kab aitbaar aaye’ from Bulo C.Rani’s ‘Haseena’ ? K.Dutta’s ‘Khata kya thi hamari’ and ‘Wohi chandni hai’ from ‘Rishta’, and Robin Chatterjee’s ‘Agar dil ke taaron pe chhed sakta from ‘Ratnadeep’ are now but vague memories.Despite wanting to hear them again and again I’ve never been able to do so. The same is the case with Jamal Sen’s songs from ‘Daayra’. I can faintly remember Talat’s ‘Aansoo to nahin hain ankhon mein’. Hafiz Khan’s songs from ‘Mera Salaam’, sung by Talat, had mesmerised me – ‘Salaam tujhko ai duniya, ab aakhri hai salaam’, and ‘Har sham sham-e-gham hai, har raat hai andheri…’. I still feel like humming his song from ‘Meherbaan’ – ‘Mitne de meri zindagi, apna jahaan banaye ja…’
Though Lata had also sung ‘Sab kuch lutake hosh mein aaye to kya kiya’ in Ravi’s ‘Ek Saal’, that song has become synonymous with Talat. Though Talat was not really a singer of light songs, one’s mind does start to dance while listening to him sing ‘Ek do teen char paanch, naach mere man naach, khushi se naach’ from Shivram’s ‘Teen Batti Char Rasta’; sways to lines like ‘Mere ghar mein aaogi tum ek din banke pyari dulhaniya, tumhare charanon mein rakh doonga hanske apni saari duniya’. Many a Talat song has left its indelible impress on my mind. ‘Jab chhaye kabhi sawan ki ghata, ro-ro ke na karna yaad mujhe’, ‘Chand mera badalon mein kho gaya, meri duniya mein andhera ho gaya’ from Fakir Mohammad-Asar’s ‘Pathan’, ‘Jeeunga jab talak tere fasane yaad aayenge’ from ‘Manhar’s ‘Chingari’, ‘Aa teri tasveer bana loon main, apni taqdeer bana loon…’ from ChicChocolate’s ‘Naadan’. Naashad later went to Pakistan, but before going gave Talat the lustrous ‘Tasveer banata hoon, tasveer nahi banti…’ in ‘Baradari’. Nakshab, the lyricist who’d written Lata’s ‘Aayega aanewala’, had produced a film named ‘Nagma’.In that film Nashaad made Talat sing in his ghazal voice: ‘O teer chalanewale, zara aa samne aakar teer chala…’Nakshab,too, went to Pakistan, and later passed away.I can’t remember if Nashaad’s film ‘ Char Chand’ was released or not, but Talat’s ‘ Hai ye wohi aasman, aur hai wohi zameen, par meri taqdeer ka ab who zamana nahin…’ from that film was to resonate for many years in India.

9.
I’d never dreamt that a time would come when Talat would have to sing ‘‘ Hai ye wohi aasman, aur hai wohi zameen, par meri taqdeer ka ab who zamana nahin…’ for the rest of his life. What happened was like a nightmare. Those were the final days of our college life. It was reported that Talat would henceforth not do playback; he’d decided to act in films and sing only for himself. It was an inauspicious evening when we heard the news; everyone was distraught. Each person’s annoyance and displeasure at Talat was in direct proportion to the love he bore him. It did not need a soothsayer to predict that Talat would not last long as an actor, for we’d seen his films. God had gifted him a sweet voice and good looks but not histrionic skills.Once upon a time anyone with reasonable looks and a pleasant voice would do as an actor. Once the age of playback singing dawned, acting and singing separated. A good actor no longer needed to sing, and a good singer did not need to act. From then on, actors rarely insisted on singing their own songs.
Playback singers, though, could not bring themselves to give up the desire to become actors. Saigal was their ideal. In their hearts they wished to be actor-singers like him. Talat was no exception. He’d had a hearty laugh at himself once, while describing to me his travails when he’d acted for the first time in 1945 in the film “Rajlakshmi’ in Calcutta. He’d played the role of a sadhu, false beard and all, and sung ‘ Jaago musafir jaago, kholo man ka dwaar’. At around the same time, in Calcutta, he’d played the role of the hero in the film ‘ Samapti’ opposite Bharati Devi and had sung duets like ‘Mujhko apna banaya kisne’ with Suprabha Sarkar; but that film flopped. The failure of ‘Samapti’ did not dampen his enthusiasm to become a singing star.After gaining popularity in Mumbai as a playback singer he started appearing on screen again. We first saw him on screen in ‘Dil-e-Nadan’. To see him on screen was a novelty, an attraction in itself, and besides, the songs in that film so entranced us that no one paid any real attention to his acting. Later, I saw Talat in ‘Dak Babu’, ‘Waris’, etc. Suraiya was the heroine of Waris’ and Anilda’s songs were very nice. So long as Talat was singing plentifully for himself and others and satisfying, soothing our ears and minds, we did not bother overmuch about his acting. However, on reading that he would now only sing for himself, we were saddened. All of us felt that he was wilfully destroying himself.
C.H.Atma, who’d become famous after singing ‘Preetam aan milo’ and ‘Roun main sagar ke kinare’, tried to become a singer-actor like Saigal, and, to that end, acted in films like ‘Bhaisahab’, ‘Bilwamangal’, etc. The outcome was that he fell behind in the race as a playback singer and was finished.We hadn’t forgotten Mukesh’s condition as a playback singer at the time of ‘Mashooqua’ when he, like Talat, had tried to become an actor. If Raj Kapoor hadn’t saved him with ‘Mera joota hai japani’ he too would have been flung into the darkness. Not everyone has such good fortune.Talat certainly didn’t.
On the one hand the rumour that Talat wouldn’t sing for other actors spread like wildfire, on the other, he kept failing as an actor in ‘Diwali Ki Raat’, ‘Raftaar’, ‘Ek Gaon Ki Kahani’, ‘Maalik’, ‘Sone Ki Chidiya’, etc. People stopped approaching him for playback singing. He kept saying that he was prepared to sing for all actors, but no one was prepared to listen. He was as good as out of the film world – as an actor as well as a playback singer. He was lost, rudderless, he couldn’t understand what to do, where to go.’Andhe jahaan ke andhe raaste, jaaye to jaaye kahaan…’! As Talat’s new songs became rarer, we became more and more upset.We kept saying that Dilip Kumar should save Talat as Raj Kapoor had saved Mukesh, and started blaming Dilip Kumar for Talat’s travails.
But the times were changing, the world was changing.The music directors of Talat’s era were falling behind. Healthy competition had given way to dirty politics. Groupism was rampant. The golden age of Indian music in Hindi films had drawn to a close and its place had been taken by Western music. Soft, sweet notes had faded into oblivion, only to be replaced by fast-paced rhythms. Saxophones, banjos, accordions and guitars were the sounds of the moment. As basris and sitars fell by the wayside, so did Talat’s sweet voice. What was left for him was melancholy evensong…the despondency of ‘Phir wohi sham, wohi gham, wohi tanhai hai…’ from Madan Mohan’s ‘Jahanara’…After that, for a long time, Talat and Rafi were to sing Jan Nisar Akhtar’s duet from ‘Susheela’:
“Gam ki andheri raat mein dil ko na beqaraar kar
subah zaroor aayegi, subah ka intezaar kar…”
For Talat that longed-for morn never dawned, and soon Rafi, too, was lost in darkness…

10.
When Talat had started singing we’d gathered from far and wide to hear him. As his singing drew to a close, we started to disperse. By the time Talat left us for good, all of us had dispersed in all directions. We were of different faiths, different castes. Yet our religion, our caste was Talat. I can still remember Pandit Pawar singing Talat’s ‘Ae chand sitaron so jao, so jao, so jao…’ late one night as clearly as if it happened yesterday. Mehboob who used to sing ‘Gam-e-zindagi ka ya rab, na mila koi sahara’ – where is he today? One evening when Vijay Singh suddenly turned up on my doorstep, I could hardly recognise him. He had aged a lot, was white-haired. He was the Talat Mahmood of our school. To keep his Muslim friends company, this Rajput boy had given up Sanskrit and taken Persian instead. He brought up memories of ‘Usmania’, ‘Jikriya’ and of Talat-loving friends. “Do you remember Badshah? He’s an engine driver now. Uddhav used to drive a truck for a while. He used to sing ‘Tasveer teri dil mera behla na sakegi’ exactly like Talat, didn’t he?And Bakshu?”
…Memories made my mind emotional. A friend had written in a letter once: “ Have you forgotten Talat?Do you remember ‘Tera khayal dil se mitaya nahi abhi’? “ “Sing ‘Tera khayal dil se mitaya nahi abhi’”, I said to Vijay Singh. He laughed and said, “My voice is no longer what it used to be.Still, if you insist I’ll sing.” He shut his eyes and started singing. Twenty-four years ago his face had the same expression while singing Talat’s song, the same notes emanated from his throat:
“Gardan ko aaj bhi teri baahon ki yaad hai
chaukhat se teri sar ko uthaya nahi abhi…”

His throat still remembered Talat’s voice, Talat’s notes. ‘Badal jaaye duniya, na badlenge hum, tumhari kasam’ – Talat was not the only one to have sworn that. Who says we’ve forgotten Talat? How could we forget him? So much of life, said and unsaid, written and unwritten is bound up with Talat. Jan Nisar Akhtar may have left us but we haven’t forgotten his song which Talat sang :
“Kaun kehta hai tujhe maine bhula rakha hai
Teri yaadon ko kaleje se laga rakha hai…”


---------------------------------The End---------------------------------------------------

[kamalamohanty]

Hi Milind,

This part of the article on Badshah E Ghazal TALAT MAHMOOD gave a very interesting reading. Very very imformative.

Thanks a lot.

kamalamohanty

[musica]

thanks a lot Milind Ji

[imransaheb]

Thanks a lot Milind Ji - satisfaction at last!!!!

[shuklas]

Milind Jee :

Thanks....for your contribution. Thanks.

Shuklas

[mmuk2004]

Milind,

Just heard the song, "Tera Khayal Dil Se" for the first time really paying attention to it after reading the wonderfully evocative last part of your essay..."hosh aa gaaya...". The essay rightly points out the beautiful lyrics that often were part of Talat's songs, interesting that it views Talat's decline as a singer as related to his acting ambitions. Did not realise that Talat had decided at one point that he would only do playback for his films...what an unfortunate decision. And yes one does feel kind of betrayed that Dilip Kumar did not promote TM as RK did Mukesh, the DK-TM combination does seem the epitome of tragic-romantic melancholy that was so mesmerising in the fifties. But Dilip Kumar was also trying an image change at the time perhaps feeling he was getting stereotyped in his Devdas image...

Wonderful translation as usual Milind, one more request, please do continue with them, I am very eager to know what he thought about Sahir, especially because I have read his essay on Majaz.

Madhavi

[shuklas]

Source :

http://www.tribuneindia.com/2004/20040509/spectrum/main7.htm






Ode to the ghazal king
M.L. Dhawan


With Talat Mahmood (extreme right) ended the era of soul-stirring ghazals

GHAZAL maestro Ghulam Ali, on a recent visit to Patiala, lamented that of late the great tradition of ghazal singing had reached rock bottom. Ghazals were no longer as soulful as in the times of, say, K.L. Saigal, Begum Akhtar and Talat Mahmood. Ghulam Ali is not the only singer to express concern over the deterioration in film music in general and ghazal singing, in particular. On this day six years ago, when Talat Mahmood passed away, maestro Naushad Ali commented that the ghazal scene would never be the same again. Naushad had echoed the sentiments of millions of music lovers. Indeed, with Talat ended the era of soul-stirring ghazals.

Ghazal ke liye kuchh khas dil muksoos hote hain, yeh woh naghma hai jo har saaz pe gaya nahin jata. Whose voice could have been more appropriate for ghazal-singing than that of Talat, nurtured as he was in the lap of ghazal gayaki in Lucknow and the artistic atmosphere of Kolkata. Talat was gifted with a silken voice that was ideal for ghazals and love-lorn songs. He was hardly 20 when he recorded for HMV Faiyaz Hashmi’s famous ghazal Tasveer teri dil mera behla na sakegi. The whole world paused to listen to this melodious voice that carried a hypnotic freshness and Lucknawi delicacy. Talat underscored Dilip Kumar’s brooding intensity in ay dil mujhe aesi jagah le chal jahan koi na ho (Arzoo) by putting his rooh into this Majrooh ghazal.

Talat was the quintessential romantic. But somewhere deep within him, there was turmoil and pain that made him bring out the longing and hurt of a lover. Songs like zindagi dene wale sun, dekh lee teri khudayee and Aasmaan wale teri duniyan se jee ghabra gaya had all the elements of a pain-ridden prayer to the Almighty. He was mostly associated with ghazals and songs of unrequited love, heart-break or betrayal. He brought out pathos in songs like sham-e-gham ki kasam, ay gham-e-dil kya karoon, duniyan se ja raha hoon, zer-e-deewar khade hain tera kya lete hain, har sham-sham-e-gham hai, ek main hoon ek meri bekasi ki shaam hai and so on.

The velvety softness in numbers like mujhe dekho hasrat ki tasveer hoon main, mohabbat tarq ki main ne, raat ne kya kya khwab dikhaye, sapno ki suhani duniyan ko, etc proved that great music does not have to be loud.

Along with his film assignments, Talat recorded a good number of private ghazals for HMV. The technique for these was distinct from film songs/ghazals, whether it was zikar us pariwash ka, koi din gar zindani aur hai or honton se gul fishan nain woh. HMV thrived on the popularity of his ghazals and even re-recorded some of the vintage ones, the negatives of which had been damaged with time. In his re-recorded ghazals, titled Sharab-e-kohna, Talat conveyed the same profundity that he had three decades ago.

Music lovers still go misty-eyed when they recollect Talat regaling his fans at the Rose Festival in Chandigarh with his satin-soft renderings of aa teri tasveer bana loon, tim tim tim taron ke deep jale, yeh hawa yeh raat yeh chandani and other numbers.

Jahanara was the film in which Talat had his last burst of glory with ghazals like phir wohi shaam, teri aankh ke aansoon pee jaoon, main teri nazar ka saroor hoon. With mere sharek-e-safar ab tera khuda hafi (Wali Aazam), Talat bid goodbye to Bollywood.

Chain-smoking gradually took a toll of Talat’s silken-soft voice. At the fag end of his career, forget singing, Talat could not even speak properly.

It is not as if there were no other good ghazal singers during or after Talat’s time. There are Jagjit Singh-Chitra Singh, Anoop Jalota, Pankaj Udhas, Peenaz Masani, Talat Aziz, Ashok Khosla and others. But hardly anyone has been able to match Talat’s caressing style in gham-e-zindagi ka yaa rabb na mila koi kinara. It really hurt Talat to see the sudden change in tastes and tunes. The fusion of Indian music and the western synthesiser brought the age of ear-splitting rather than the soul-stirring ghazal. Talat died a depressed and dejected man seeing this downslide of music.

[Milind9]

Shukriya Shuklajee.
(IMG:style_emoticons/OurHFMEmot/happy.gif)

[Bhavita]

A link to Talat Mahmood's non film songs


http://www.4shared.com/dir/TWhX85LE/Talat_Mahmood_.html

[Milind9]

A link to Talat Mahmood's non film songs


http://www.4shared.com/dir/TWhX85LE/Talat_Mahmood_.html

Thanks, Bhavita.

[indydave]

Hi Milind,

I just came across these lovely translations of yours of Shri Madhav Moholkar's articles on Talat Mahmood.

I see that I am 4 years late in thanking you, but better late than never. :)
It made for very informative, and very tender reading.

If you have translated more articles on Talat (or for that matter, on other artistes from IFM), please do share here. I, for one, would be greatly interested in reading,

Thanks!
Indydave

[Milind9]

Hi Milind,

I just came across these lovely translations of yours of Shri Madhav Moholkar's articles on Talat Mahmood.

I see that I am 4 years late in thanking you, but better late than never. :)
It made for very informative, and very tender reading.

If you have translated more articles on Talat (or for that matter, on other artistes from IFM), please do share here. I, for one, would be greatly interested in reading,

Thanks!
Indydave

Thank you, Indy. If you're interested you can read my translation of Mr.Moholkar's article on Geeta Dutt here, and the one on Sahir here.

Regards,
Milind

[G. Kartikeya]

Thank you, Indy. If you're interested you can read my translation of Mr.Moholkar's article on Geeta Dutt here, and the one on Sahir here.

Regards,
Milind

Dear Milindji,

Glad that interest in Talat Mahmood got revived again in OurHFM with your coming back. I have read a book by Madhav Moholkar on various Hindi film artists a few years back. I like the book very much and also wrote to him immediately. However, there was no reply. The address given in the book itself was of Andheri (West), Mumbai.

Do you have his present whereabouts?

G. Kartikeya

[Milind9]

Dear Milindji,

Glad that interest in Talat Mahmood got revived again in OurHFM with your coming back. I have read a book by Madhav Moholkar on various Hindi film artists a few years back. I like the book very much and also wrote to him immediately. However, there was no reply. The address given in the book itself was of Andheri (West), Mumbai.

Do you have his present whereabouts?

G. Kartikeya

Kartikeyaji,

Regret to say that Shree Moholkar passed away a few years ago.

Regards,
Milind

[indydave]

Thank you, Indy. If you're interested you can read my translation of Mr.Moholkar's article on Geeta Dutt here, and the one on Sahir here.

Regards,
Milind

Oooh, thank you so much, Milind.
I am sure the articles on Geeta and Sahir will be just as informative and enjoyable as the piece on Talat.

I have felt that the best way to read these articles is to take these a paragraph or two at a time, and then listen to and think about the songs as Mr. Moholkar talks about them. Just makes the experience so much more enriching and fulfilling.

I have still not finished reading Talat's piece. Am just savoring it in small doses!

Thanks again for translating - otherwise, I would have been totally excluded from these thoughts and observations. :)

Indydave

[indydave]

PS: I just saw in one of your follow-up posts from a long time back, that Madhav Moholkar's book also had an article on Parul Ghosh.

Would you happen to have translated that already? :-D

Indydave