Mujhe tum nazar se - live (Meh

ae rah e haq ke shaheedo at Faisalabad

Besides their message of love and harmony, Shah’s poetry and music compositions have always been popular among Sindh’s old and young.

The tradition of Faqirs singing at the shrine is 300-year old. They sing Shah’s verses to the accompaniment of Tambooro (a variation of an Arabic stringed instrument, invented by Shah Latif) almost round the clock.

There are 80 Faqirs who sing in 14 groups with each group assigned a day or a night.

A singing session usually starts with Sur Kalyan, opening chapter of Shah jo Risalo, the anthology of Shah Latif, flowed by other Surs, according to time of the day and season.

In monsoon, Sur Sarang (the rain raga) is sung and on the 14th night of a lunar month, Sur Khambhat is sung. Shah addresses moon in Sur Khambhat as he praises the beauty of his beloved and narrates the pain of separation.

In the middle of the session comes Sur Suhni with a particular prayer called Suhni ji Dua.

The popular Sur Rano is sung at late night and the session comes ends with Sur Marui early in the morning.

Sur Sasui Abri - Faqirs of Bhitshah

Collection of some Best tracks performed by The Ghazal King Jagjit Singh.

Apne Hothon Pe Sajana Chahta Hu

Poet; Sahir ludhianvi
Bansuri; Binod Katuwal

Chalo Ik Bar Phir Se چلو اک بار پھر سے

Dedicated to Rafayel from love and deepspace

the song is in the POV of Rafayel singing his love to MC.

Love and Depression

Tideglass Heart

https://open.spotify.com/track/05xAHGcHKylBTeMzxgaM8t?si=1eb407ed10b146b8

No Apologies

Farida khanam living legend mere hum nafas

Manzil-e-Sufi- SaNaM mARvI

Credit Goes To original up-loader.. it was the whole cassette but size was huge so i thought of sharing individual files...Here is the Description ....

"Qawwali has been blessed with many unique voices. Some of them, like Nusrat's, Munshi Raziuddin's or Ghulam Fareed Sabri's,  are justifiably well known. Others, like Murli Qawwal's, Mubarak Ali-Niaz Ali Qawwal's or Rasheed Ahmed Fareedi Qawwal's , are probably not as widely acclaimed as they ought to be. One of the most unique voices in Qawwali was that of Maulvi Ahmed Hassan Akhter Bheranwale Qawwal. Emotive, raspy, mellifluous, with the ability to elicit tons of feeling out of a few notes. He performed mainly in the '70s and 80's with his father - who I'm 90% sure was named Maulvi Akhtar Hassan Qawwal, feel free to correct me if I'm wrong - and his younger brother Maulvi Haider Hassan Qawwal, who currently performs with the remaining members of his elder brother's Qawwali party..
Maulvi Ahmed Hassan quit performing in the late 1980s, which is a real shame because he had a voice and a performance style that was second to none. Performing traditional sufi Kalam in Urdu and Farsi with the same verve and vigour as his Punjabi performances, Maulvi Ahmed Hassan was a true representative of the Punjabi school of Qawwali; imparting a distinctly earthy feel to whatever he sang. The studio recordings he made for OSA are brilliant, with my only gripe being the fact that the recordists didn't place a microphone in front of Maulvi Akhter Hassan, with the result that we can barely hear the senior Qawwal's voice in most of them." 


Manzil-e-Sufi- SaNaM mARvI

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