Ten of my favourite Kaifi Azmi songs

Yes, this post is four months late: Kaifi Azmi’s birth centenary was on January 14th this year. I will not make excuses about why I missed that date. Let me just say that I didn’t know about it until the 14th itself, and by then, it was too late. I cursed myself for having forgotten that 2019 marked the birth centenary year of one of Hindi cinema’s finest lyricists. But today is the death anniversary of Azmi Sahib, and in any case, all of this year is his birth centenary, so I thought better late than never.

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Ten of my favourite ‘background songs’

I love it when readers comment on my blog posts. I love it when they add songs to lists, introduce me to new songs, remind me of songs I’d forgotten about. I love it even more when they write in and suggest themes for song lists.

Here, therefore, is a song list that arose out of a suggestion. Ashish—who has been reading my blog and commenting on it regularly—sent me a request: how about a post on ‘background songs’? Songs that are relevant to the storyline, but which nobody lip-synchs to? That was a thought that had come to my mind earlier as well, but Ashish’s mail spurred me on to actually compile that list. So here it is: ten songs that appear in films and are relevant to the story, but which nobody is shown actually singing. One important restriction that I placed on myself was that the song should not be a ‘credits song’—it should not play out during the credits. (That, because a credits song list could be a pretty good post in itself).

Waqt ne kiya kya haseen sitam, from Kaagaz ke Phool

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Lata in Ten Moods

When I did the Rafi in Ten Moods post a few months back, Stuartnz suggested I also do a Lata Mangeshkar post sometime. It’s taken a good deal of thought, since—like Rafi—Lata also has such a huge corpus of work, it’s impossible for me to pick my ten favourite songs. This, therefore, is the easy way out. It’s a list of ten songs in ten different moods. Not Lata’s ten best songs, but ten songs that showcase her voice, in every emotion from joy and playfulness to heartbreak and deep sorrow. These are all from pre-70’s films that I’ve seen (Pakeezah is the exception, but I never count that as a 70’s film—for me that’s very 60’s).

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