Borrowed from the Sufi shrines where it was perfected over centuries, qawwali became a Bollywood staple, a device to depict spiritual yearning, ecstatic celebration, or intense philosophical debate. However, beyond the few famous numbers that remain in circulation, exists a treasure trove of deeper, more experimental qawwalis pressed onto Long Play records that have, over time, become exceptionally rare. These LPs are not just collections of songs; they are profound artifacts capturing a unique moment of spiritual and musical fusion.
The journey of qawwali to the silver screen was a natural one. Its core elements—hypnotic rhythm (provided by the dholak and clapping), repetitive melodic phrases, and call-and-response structure—were inherently cinematic and dramatic. Music directors, recognizing its potent energy, began adapting it, often moving it from the dargah to the decadent court or the lively wedding ceremony. While films like "Barsaat Ki Raat" (1960) with its iconic "Na To Karvan Ki Talash Hai" by Madan Mohan are rightly celebrated, the original LPs for many such films are vanishingly scarce. The LP for "Barsaat Ki Raat" itself, featuring the full, unedited power of the qawwali, is a prized find for collectors, offering a sonic depth that later compilations often lack.
Yet, the true rarities are those albums that ventured beyond the conventional. These records showcase a time when composers used the film qawwali not just for spectacle, but for deep narrative and spiritual purpose. The work of composer Jaidev, a maestro of subtlety and soul, is a prime example. His score for "Gaman" (1978) includes the hauntingly minimalist "Aapki Yaad Aati Rahi Raat Bhar," a ghazal with a profound Sufi soul. While not a traditional qawwali, its spirit of longing and separation is deeply rooted in Sufi philosophy. The original LP of this film is a rare gem, capturing a somber, reflective side of Sufi-inspired music that stood in stark contrast to the more exuberant filmi qawwalis of the era.
Similarly, the soundtrack for "Chitralekha" (1964) by Roshan contains a philosophical qawwali, "Maar Dala Maar Dala," which is a world away from the typical celebration. It is a deep, brooding meditation on sin and redemption, using the qawwali format to stage a intense theological debate. The LP, already rare due to the film's initial commercial performance, is a stunning document of this ambitious fusion. The raw energy of the qawwali group, combined with the complex orchestration of Roshan, creates a powerful and unique listening experience that feels both ancient and avant-garde.
The rarity of these records is compounded by their nature. Qawwalis, by design, are often long-form performances. The 78 RPM records of the past could only hold a few minutes per side, forcing severe edits. The advent of the LP allowed these musical journeys to unfold more completely. Therefore, an original LP press of a film like "Mere Mehboob" (1963), which features the classic "Aaj Mere Man Mein Sakhi," by Naushad, is crucial. It preserves the track in its intended length and fidelity, allowing the listener to get lost in the gradual build-up, the rhythmic complexities, and the vocal improvisations that are the heart of the qawwali experience. These nuances are often the first casualty of later, compressed re-releases.
For the collector, the hunt for these LPs is a search for authenticity. It is the pursuit of the unadulterated energy of a live qawwali performance, captured in a studio with the full force of a Bollywood orchestra. Each crackle and pop on these vintage pressings speaks to a time when popular cinema was not afraid to engage with deep spiritual and musical traditions. These records are more than nostalgia; they are a testament to the fearless experimentation of composers who understood that the quest for the divine, expressed through the ecstasy of qawwali, could be one of the most compelling dramas ever put to film.
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