Qadah Ra Sar Kunaidقدح را سر کنید
Ghulam-e Qamar (Slave of the Moon) is widely regarded as one of the peak achievements of the mid-career run. The arrangements reached a new sophistication, weaving organ and electric guitar alongside traditional strings in ways that never felt jarring. Zahir's vocal delivery had by this point acquired a matured authority, and the album contains several tracks that later compilers consistently selected for best-of collections. The moon imagery in the title track became a defining symbol of his romantic vocabulary.
Songs on This Album
11 tracksSearch
Tanha Toye Tanha Toyeتنها توی تنها توی
Only You, Only You — the radical exclusivity of the ghazal's love, the beloved named as the singular fact of a life from which all other possibilities have been excluded.
Man Ghulam Qamaramمن غلام قمرم
I Am a Slave to the Moon — the beloved as moon, the speaker enslaved to her reflected light. Lunar devotion as the central metaphor of a recording from his most productive year.
Kash Bodam Lalaکاش بودم لاله
Shab Cho Dar Bastamشب چو در بستم
Negah Kon Negah Konنگاه کن نگاه کن
Ba Dele Man Shar Afrokhtبه دل من شر افروخت
Khal Ba Kunj Labخال به کنج لب
A Mole at the Corner of the Lip — the beloved's beauty mark as focal point, the small physical detail that concentrates all of love's attention. Precision as a form of devotion.
Soz Qalbam Jawadanestسوز قلبم جاودانیست
Man Masto Tu Deewanaمن مست و تو دیوانه
I Am Drunk and You Are Mad — the double state of intoxication, both speaker and beloved outside the boundaries of sober social life, both beyond the reach of ordinary judgment.
Faqat Soz Delam Raفقط سوز دلم را