A lyrical drive with Sayeed Quadri

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Kavita Gupta

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Posted: 18 years ago

A lyrical drive with Sayeed Quadri

By IndiaFM News Bureau, September 28, 2006 - 04:30 IST

Bheenge Hont Tere – who comes to your mind when the song is played? Kunal Ganjawala, Mallika Sherawat or at the most Anu Malik. But how many know the man who actually wrote these sensual words. Sayeed Quadri has been writing some beautiful undiluted lyrics since the past few years. His filmography includes names like Jism, Rog, Murder, Kalyug, Gangster, Fareb and the recent Bas Ek Pal.

An LIC agent by profession, he has an inbuilt flair for poetry. Despite ample use of Urdu, his songs are still comprehensible unlike other lyricists. IndiaFM talks to the lyricist from Jodhpur who is quite aware of the flavor of contemporary cinema.

When and how did you start writing songs for films?
I am from Jodhpur in Rajasthan. Few years back when I had come to Mumbai for work, I failed to make it. I was disheartened and returned to my hometown with disappointment. I left the industry. I met Bhatt Saab when I was struggling for work but that time he was no more an independent filmmaker. He wanted to give me work but he couldn't help me that time. I was disappointed but never stopped writing. Once when Maheshji was shooting for Jism, he asked me to write some songs for his movie. That's how I began with his film Jism. So you can say I started myself with Jism.

How did you manage to write such wonderful romantic songs?
Duniya se jo bhi jindagi ke shakl main tajurbe mile hai, wohi lauta raha hu main. (Whatever experiences I have got in my life, I am giving back everything thorough writing) There is no other secret behind my songs. I think one needs to have certain vision to see life. There are lots of things around you and it's up to you how you see it. Zindagi is tarha se lagne lagi, rang ud gaye jaise deewaron se. Ab chupane ko apna kuch na raha, zakhm dikhne lage dararo se. I use lots of Urdu words in my lyrics and people love it immensely.

Do you think the poetry scene in Bollywood has changed in these years?
I think our film industry is growing on big terms. There are some good writers like Prasoon Joshi and others. I am also trying to write some good lyrics. I think the whole scenario is changing slowly and people not only understand good poetry but also appreciate good lyrics.

Don't you think lyricists do not get their recognition in Bollywood as much as they deserve?
Yes it happens but not in Vishesh films. If you see, even in promos they give credits to their lyricist. A lyricist contributes a lot in the success of the music of a film. He is equally important. While in my case, I was lucky enough to get the support of a very talented and successful director Mahesh Bhatt, I was also lucky that my lyrics got fine tuning by good music composers of the industry. Bhatt saab has never misused me or never restricts my work I am writing for others too.

Bhatt saab has never misused me or never restricts my work. I am writing for others too.

Since you are not based in Mumbai, isn't it difficult to manage your work from there?
Yes it's true that I don't stay in Mumbai, I stay in Jodhpur. I was not lyricist by profession. I am a LIC agent. But writing is my hobby, which has become my profession now. I write from Jodhpur and also come here for the sittings.

Finally your songs are so popular but you have not received the recognition you deserve, don't you feel bad about it?
I don't regret or feel bad for not being so famous. I think everyone gets whatever they deserve. All my songs have been extremely popular everywhere. I have been appreciated for my work so I am happy. Bhatt Saab's contribution means a lot to me and basically it's teamwork. I feel I am lucky that I have got good music composers and singers to make my poetries popular.

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shamil

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Posted: 18 years ago

Thanx for the post uknaik99. I never knew who had written those beautiful lines. U r rea....lly good Sayeed Quadri ji. 👏 👏 👍🏼

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Bob Chowdhury

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Posted: 18 years ago

Song spun true

Bollywood is witnessing a renaissance in song writing, thanks to a band of hot new lyricists. Aparna Harish tunes in

WRITE CHOICE: (From top) Prasoon Joshi, Sayeed Quadri and Neelesh Misra

One is a successful creative director of an advertising agency, while the other is an insurance agent. The third is a product of the National School of Drama (NSD) and the fourth is a journalist and the writer of the book 173 Hours in Captivity. Not exactly the sort of foursome you would associate with chart-busting Bollywood lyrics. Yet today, adman Prasoon Joshi of McCann-Erickson, LIC agent Sayeed Quadri, actor Piyush Mishra and scribe Neelesh Misra are among the hottest song writers in the Hindi film industry.

Prasoon Joshi has penned such songs as Chand sifarish (Fanaa) or Ru ba ru (Rang de Basanti ) and they have gone all the way to the top of the pops this year. Says Rakyesh Mehra, director of Rang De Basanti, "Joshi's lyrics have contributed to the popularity of my film songs. The songs are not standalone, but they interpret the film and also take the story forward."

Of course, though they wear other hats, all these lyricists have always had an inclination for poetry and literature. Joshi, who hails from Almora, Uttaranchal, and has had a long and distinguished career in advertising, has published three books of poetry. In the mid-1990s, he wrote lyrics for the band Silk Route. Then he began to write for singers like Shubha Mudgal. Lyrics for films were a natural progression from there. Joshi takes his songwriting seriously. "I am writing songs for a reason. Songs are immortal. They have a life beyond films."

As a journalist with Associated Press, Neelesh Mishra has covered big stories like the tsunami disaster of 2004 and has also written two books ? The End of Line and 173 Hours in Captivity. Simultaneously, he had also been writing and composing songs. A chance meeting with Mahesh Bhatt while he was researching a story landed him his very first assignment in a Tanuja Chandra film. Later, he tasted success with Jism, a film for which he wrote the hit song Jaadu hai nasha hai. Says Mishra, "Writing songs is akin to telling a story. My journalistic experiences are reflected in the songs I write."

As for NSD alumnus Piyush Mishra, he had been adapting Western plays to suit Indian sensibilities and began writing songs for them too. Then he got a break in Anurag Kashyap's Black Friday, and is now writing the songs and also composing the music for Kashyap's Gulal.

Sayeed Quadri, on the other hand, is no newcomer to Bollywood. In the early 1990s, he had come to Mumbai looking for work in the film industry. After many rejections, he decided to return to his home town, Jodhpur. In 2001, the Bhatts asked him to write for their film Jism and the rest is history. Now he shuttles between Jodhpur and Mumbai and has written songs for films like Murder, Zeher and Kalyug.

Film makers are delighted with this new crop of lyricists who are delivering hit songs. Industry analysts point out that although there are many people available in the industry for other departments of film making, there are very few quality song writers. Lyricist Javed Akhtar laments that the golden years of song writing were the 1950s and the 1960s and that the quality of lyrics in Hindi films nose-dived from the 1980s to the mid-1990s. "But I must say that there is a desire on the part of these new song writers to bring some freshness to their lyrics," he says. "But we still have a long way to go."

But music director Pritam feels that even today, the industry misses a lyricist of the calibre of the late Anand Bakshi who could express complex emotions in simple language. Others are happy with what they have got. Anurag Basu, who has directed films like Murder and Gangster, feels that today's songs need to be contemporary without compromising on the quality of poetry. And he feels that the new generation of lyricists manages to do just that.

As Joshi remarks: "Writing songs for the young does not mean using phrases like "cool dude" or "yeah man"; it is more about expressing their emotions." So when Joshi writes Talli hoke girne se samjhi hamne gravity in Rang de Basanti, he feels he is expressing the cocky attitude of today's youth without misplacing the poetry. Similarly, you have all the directness of youth in Quadri's lines from the song Bheegey honth in the film Murder ? Kabhi mere saath koi raat guzaar, tujhe subah tak mein karoon pyaar. Says Piyush Mishra, "We have to accept that the MTV generation has arrived in India. Our task should be to write in a manner that connects with them effectively."

But Akhtar feels that somewhere, the new crop of song writers lack the scholarship of lyricists of yore. "They had the ability to write songs across genres because they had a strong grounding in classical poetry," he says. Still, Akhtar is happy that the situation is not as bad as it was in the 1990s.

The new lyricists, riding the wave of success, now have their hands full. While Mishra is working on Gulal , Misra is now writing the lyrics for Sanjay Gupta's film Alibaug. Joshi is also about to start work on a film which will be produced by Aamir Khan. Quadri, on the other hand, is also writing songs for music companies like HMV, apart from writing lyrics for forthcoming films such as Woh Lamhe and Anwar.

However, despite their growing acclaim, none of these new lyricists wants to give up his basic profession. Misra wants to continue being a journalist and a writer and Joshi dismisses the thought of ever giving up advertising.

Chuckles Quadri, "It is easier to sell my policies now, because people back home think I am someone famous in the Hindi film industry."

Edited by Qwest - 18 years ago

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the coolest one

@the coolest one

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Posted: 18 years ago

yep he is a very good lyricist i particularily like his woh lamhe song(kya mujhe pyaar hai)

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Bob Chowdhury

@Qwest

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Posted: 18 years ago

Originally posted by: shamil
Thanx qwest 😃

shamil, You are quite welcome Sayeed Quadri ji is very interesting man.

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Bob Chowdhury

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Posted: 18 years ago

Jism

Come January and you can get ready for another hot performance from Miss hot hot Basu. She is all set to scorch the screen with her Jism. And that is exactly what the talented and versatile M.M. Kreem produces here - in a complete 180 degree turn from his last "Sur". The catch and arguable stars of this album, though, are Neelesh Misra and Sayeed Quadri, two new lyricists - who write "Gulzar-ish" lyrics that "out-Gulzar" the man himself.

"Jaadu Hai Naasha Hai"... the first strains seductively jump from this album and instantly conjure images of a sexily-clad, leggy Bipasha Basu. But who is this mysterious voice? Shreya Ghoshal re-asserts, through the ease with which she sings the "Jism" tunes as exquisitely as her "Devdas" numbers, that she is much more than a fly-by-night singer. The Enigma-ish music recalls M.M. Kreems earlier "Criminal" work and Neelesh Misras lyrics are great. Shaan lends Shreya Ghoshal apt support in the duet version of this song, adding careful melodious emphasis to every word he sings here. Shaan has now proved that he is not just another pop crossover.

The other lyrical highlight of the album is the brooding "Awaraapan Banjaraapan". What a treat it is to hear K.K. not screaming or vocal-grinding! When given an appropriate tune, he proves that he can do wonders with it. And Sayeed Quadris lyrics are nothing short of exquisite. M.M. Kreem appears in two reprises of the number (including the slow version) and does equal justice to his own creation.

There are two ghazals on this album. The first is "Mere Khwabon Ka" where Udit Narayan demonstrates a surprising and welcome restraint. Mr. Narayan has never been as comfortable in his lower range as when he is belting in higher octaves, but he still does a commendable job here. Sayeed Quadris depressingly dark lyrics are beautiful. The other ghazal is the more romantic "Shikayat Hai" with Roop Kumar Rathod breezing through home ground. Shreya Ghoshal is once again at her seductive and playful best in "Chalo Tum Ko Lekar" - a more upbeat tune. She impresses with both her vocal and emotional range.

Overall - this is a great album in keeping tune with what appears to be the milieu of the film. M.M. Kreem demonstrates that he is a versatile composer, and unlike his southern counterparts, he is about much more than catchy arrangements and synthesizers. And one hopes that Neelesh Misra and Sayeed Quadri, who do great work here, will continue to pen more such poignant thoughts. The album is a must for music lovers.

Edited by Qwest - 18 years ago

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Bob Chowdhury

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Posted: 18 years ago

Subhanallah, Urdu is back! ZIYA US SALAM

Suddenly, Urdu seems to be the flavour of the season as many films and songs laced with Urdu dialogues and poetry are raking in the moolah at the box office.

Before one could realise it, Urdu was back. Not just here. Even across the border in Pakistan. Taxi drivers are playing Indian film songs, rich in Urdu words, hummable to good music.

GUIDING LIGHTS? Akbar Khan In the land of Bajrang Bali, the masses are singing, "Ya Ali, madad Ali". Surprised? But these words come from filmmaker Mahesh Bhatt who has a penchant for making the obvious sound ironical. Can't blame him though. Just a little before Bhatt waxed eloquent about the success of the song from his film, "Gangster", the youngsters across India had all swayed to "Subhanallah Subhanallah". Young men and women not conversant with the praise of the Almighty swayed to the beat of Jatin-Lalit and hummed along with Prasoon Joshi's lyrics. "Fanaa" scored at the box office. As did "Gangster" riding on the magic of the "Ya Ali" song. And before one could realise it, Urdu was back as the flavour of the season. Not just here. Even across the border in Pakistan. Taxi drivers are playing Indian film songs, rich in Urdu words, hummable to good music. Such has been this sudden sun-rise for Urdu that not just "Fanaa" director Kunal Kohli and Mahesh Bhatt but even the likes of Neeraj Vora, Rohit Shetty, Hasnain Hyderabadwala and Anubhav Sinha have taken recourse to some Urdu classics or Sufiana kalam to promote their films, namely "Phir Hera Pheri", "Golmaal", "The Killer" and "Tathastu". The first one has the inimitable Paresh Rawal singing "Ae meri Zohra Jabeen...furqat-e-gham mitaja", and Shetty's "Golmaal" too has Rawal's song as a highlight romancing Sushmita Mukherji in a black-and-white classic. Sinha's "Tathastu" has been different. Initially a film without a song, the director decided to use a qawwali based on Sufiana kalam to promote the film, confident that just as people had swayed to "Dus Bahane Karke le Gaye Dil" in "Dus" last year, they will come in droves after listening to "Allah-o-Ali", sung with zest by Delhi-based Hamsar Hayat. Smattering of Urdu The song clicked to a limited extent, the film - a dark take on the troubles of a man with no money to pay for his child's operation - less so. But that was more an exception than the norm in a season when almost every song with a smattering of Urdu has had a free run in the popularity charts. For instance, Bhatt's "Gangster" had besides the "Ya Ali" track, another song woven around Urdu tapestry, the lyrics "Tu Hi Meri Shab Hai Subah Hai" were penned by Sayeed Quadri. Incidentally, Quadri is the man responsible for this comeback of Urdu to some extent. It all started with the songs of "Jurm" with "Aawarapan Banjarapan", continued with "Murder" where critics scoffed at the temerity of lyrics like "Bheege Honth Tere" but the masses, who often did not know the meaning of words like "abr", obviously did not mind. The song clicked with them, won various awards for the singer Kunal Ganjawala, and sent Mallika Sherawat's career into another orbit. Quadri is almost self-effacing in accepting credit. "I just did what Mahesh Saab asked me," he offers.

Mahesh Bhatt. Says Kohli, whose "Fanaa" also had dialogues rich in Urdu, "We had a choice of not using Urdu poetry but I opted for it as I love Urdu poetry. It was my love for the language that led me to use Urdu phrases in the film and also retain them in the songs. But, yes, it was a risk considering nobody speaks chaste Hindi or Urdu anymore. People are into Hinglish these days." The point is reiterated by Bhatt. "I won't go to the extent of calling it a fresh dawn for the language or an overpowering, all-encompassing trend. Initially, some people did it in personal capacity. However, it is trend which is imitative. Because it has triggered box office success, it might just last." How did it all start? "There is an emotional connection with the language. The sound of the language is beautiful. Now the language has to be given the modern-day lingo to succeed with the new generation," says Bhatt, endorsing Kohli's view that the songs of "Fanaa" with a dash of Urdu worked because they had a modern-lingo, and had good sound. "As young filmmakers we were often accused of not knowing our culture. With such a move we have proved that we too know our culture. And we have only taken care to use words with a good sound quality, words which roll off the tongue easily," states Kohli, whose film marks the last partnership between Jatin-Lalit, the music director duo. Goes with mood Meanwhile, Quadri continues in his modest manner, quietly tucking in a "Jurm", Zeher", "Kalyug" and others in his kitty. "My style has been appreciated by filmgoers. The reason for people liking my songs could be the fact that I don't use pure language. The language is more Hindustani than chaste Urdu. I take a risk with some words here and there. For instance, the words 'abr' or 'aanch' in 'Murder', 'shab' in 'Gangster' or 'lamhe' in 'Zeher'." Incidentally, a little more than a year ago, Dino Morea-Emraan Hashmi-starrer "Zeher" had worked at the box office, largely because of its songs, notably, "Woh Lamhe, Woh Baatein" and "Agar Tum Mil Jao". And "Kalyug", which also boasted lyrics by Rohail Hyat and Faisal, had the masses coming in for the first-day, first-show for its song, "Tujhe Dekh Dekh". Incidentally, Himesh Reshammiya's career got a kick-start as a singer with "Aashiq Banaya Aapne" where "Aapki Kashish Madhosh Hai" scored besides the title song. It was irrelevant that the young men and women who hummed along did not quite know the meaning of words like 'kashish' and 'sarfarosh'. They went with the mood.

Kunal Kohli. Naushad's contribution Last year was only a little short of a watershed for the lovers of Urdu in Bollywood with the late Naushad's last music score being released in Akbar Khan's "Taj Mahal: An Eternal Love Story". Says Khan, "A lot of people have a soft corner for the language. In 'Taj Mahal' there was greater usage of Urdu than the average film because the subject needed it. The fact that it clicked with the masses was very heart-warming. Urdu has a nostalgia element, so more filmmakers are inclined to try it. I feel humbled by the success of our songs soaked in the unique joy of Urdu." "Taj Mahal" had lyrics by Naqsh Lyallpuri and Syed Gulrez besides being remembered for Naushad's final compositions. Having just tried it with some success is Hasnain whose "The Killer" from the Bhatt camp had Malika Pukhraj's timeless "Abhi To Main Jawan Hun" for which the director actually bought rights, confident that the song will work again. Reason enough for J.P. Dutta with a "Ghulami" and its "Sunai Deti hai Jiski Dhadkan" in the attic, to make "Umrao Jaan" all over again. Now whether his team can reproduce the lingering charm of Khayyam and Asha Bhonsle is another matter. Never mind. In this season of love and longing, where "The Killer" and "Gangster" have all struck rich at the box office, chances are the lovers of Urdu shaiyari won't let them down.

Anubhav Sinha.

The new generation may not have the diction right but it has the spirit. Play on.

Edited by Qwest - 18 years ago

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Bob Chowdhury

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Posted: 18 years ago

T-Series Rs.145 The Bhatt banner continues to belt out hit albums. After Gangster, whose songs are still on the music charts, here comes Woh Lamhe, which is also going to be cherished in moments of solitude and revelry. Talking of revelry, "Kya Mujhe Pyar Hai" is the number to enjoy in the days to come. Kay Kay has done his bit, but the lyrics by Neelesh Mishra make it outstanding in times when mediocrity is served up in the name of free verse. Free verse finds new meaning in the hands of Sayeed Quadri who has penned the next number "Chal Chale". The song gels love and longing so well that one doesn't realise when one gives way to the other. That's life, that's music. James, the Bangladeshi singer who sang "Bheegi Bheegi" in Gangster has again proved his mettle as a singer with a difference. Music composer Pritam, who is on a success curve post Dhoom and Gangster shows his range by composing two completely different numbers with equal lan. "So Jaoon Main" is a slow song composed by Roop Kumar Rathod and rendered by Shreya Ghoshal and Kunal Ganjawala. Then starts the compilation job Pritam is known for. "Tu Jo Nahin" by Glenn John is reminiscent of the old Bollywood number "Mohabbat Ki Kahani". "Bin Tere" by Jawad Ahmad is again a reworked track of the original sung by the Pakistani singer himself. In fact, "Kya Mujhe Pyar Hai" is also said to be inspired by a hit number of an Indonesian band. For the moment forget the source, just enjoy the result. (Compiled by A.K.)

Edited by Qwest - 18 years ago

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Arun

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Posted: 18 years ago

Thxx Guys..This guy has written some really good songs in Rog and Jism 😊

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Bob Chowdhury

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Posted: 18 years ago

#10

Bollywood superstars Shahrukh Khan and Rani Mukherjee, walked away with the Best Actor and Actress trophies as Yashraj Film's 'Veer-Zaara' bagged six awards at the International Indian Film Academy (IIFA) Awards ceremony here.
'Veer-Zaara', directed by veteran director Yash Chopra, bagged awards for Best Picture, Direction, Actor, Supporting Actress, Music Direction and Story with only the Best Actress and supporting Actor awards not going its way.

The movie, a superhit in India, portrays a love-story between an Indian army officer and a Pakistani girl, set in Pakistan. At home it has won nearly all the major awards, including the Filmfare.

While Rani Mukherjee won the Best Actress award for 'Hum Tum', Abhishek pipped dad Amitabh Bachchan, to the post by bagging the Best Supporting Actor trophy for his performance in 'Yuva'.

Rani also picked up the Best Supporting Actress award for -- again -- 'Veer Zaara'.

The extravaganza at the Amsterdam Arena, which began yesterday evening, stretched upto early hours today.

But the highlight of the evening was Abhishek Bachchan's debut performance on the international stage which saw him shaking a leg to chartbusters from his recent film 'Bunty aur Babli' and the to be released 'Dus'. The Big B and Aishwarya Rai joined him on stage for one of the numbers.

Performances by Aishwarya, Salman Khan, Isha Sharwani, Kareena, Shahid Kapoor and others, complemented by Shiamak Davar's choreography and Vikram Phadnis' costumes, ensured that the four-and-half-hour long event remained a memorable one.

Earlier, Shahrukh Khan, also the main host of the ceremony, made a dramatic entry on a horse-drawn carriage. Not to be outdone, Amitabh Bachchan cycled his way to the stage.

The Big B then dedicated the ceremony to the memory of Yash Johar and actor Sunil Dutt, who passed away recently.

Cinematographer V K Murthy was awarded the lifetime achievement award at the ceremony along with actress Shabana Azmi.

The entire cast of the movie 'Chocolate' - Anil Kapoor, Emraan Hashmi, Arshad Warsi, Tanushree Dutta and Sushma Reddy performed to hits from their forthcoming flick while singers Daler Mehndi and Hariharan danced to numbers from their new album 'Destiny'.

Others performing at the ceremony included popgroup 'Bombay Rockers'and the all-girl band 'Rouge'.

The irrepressible Shahrukh Khan, in his umpteenth avatar as award-ceremony host, could not resist having a dig at the who's who of the film fraternity - be it John Abraham, Anil Kapoor, Rani Mukherjee or Dino Morea.

Collaborating with Khan as hosts for specific segments were actor Fardeen Khan and filmmaker Karan Johar.

Two days after the Netherlands named a special variety of tulip after her, Aishwarya Rai bagged a special 'Global Indian Media Personality' award, while Hrithik Roshan and Preity Zinta were honoured as the Style Icon and Style Diva of the Year.

Akshay Kumar was adjudged the Best Actor in a comic role for his performance in 'Mujhse Shaadi Karogi' while hot favourite John Abraham, won the Best performance in a negative role award for 'Dhoom'.

Ayesha Takia, who starred in 'Taarzan' and 'Socha na tha' bagged the Best Debut award for 2004.

In an irony of sorts, the late Madan Mohan won the Best Music Director award for Veer-Zaara. The music composer's son Sanjeev Kohli made an emotional speech on the occasion, recalling how his father who had never won any popular award during his lifetime, won this award 30 years after his death.

Javed Akhtar (Pal Pal - Swades) had to share the Best trophy award with Sayeed Quadri who penned the chartbuster 'Bheegay Hont Tere' in the film 'Murder'.

The song also garnered Kunal Ganjawala the Best Male Playback Singer award while Sunidhi Chauhan was adjudged the Best Female Playback Singer for her rendition of the title track of the movie 'Dhoom.'

Filmaker Farah Khan, picked up the Best Debut Director award for her blockbuster hit 'Main Hoon Na', while Aditya Chopra bagged the Best Story award for 'Veer Zaara'.

Among the technical awards, 'Maqbool' won for Best Dialogue and Screenplay, while 'Mujhse Shaadi Karoge' picked up four awards for Best Choreography (Farah Khan), Art Direction, Background Score and Costume.

'Chameli' won for Best Cinematography while Veer Zaara picked up another award for best Make-up. 'Dhoom' won for Best Action while 'Aitraaz' was adjudged winner in the Best Editing and Sound Recording categories.

The Best Song-Recording honour went to 'Murder' while 'Main Hoon Na' won for Best special effects.

Union Minister for Civil Aviation Praful Patel, and actress Rekha, presented the award for Best Picture to Yash Chopra.

Edited by Qwest - 18 years ago

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Sayeed Quadri

A lyrical drive with Sayeed Quadri

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