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"Legend of a Mind" is one of the Moody Blues' longer songs, lasting about six and a half minutes, with a two-minute flute solo by Ray Thomas, in the middle.. During the 1980s, Thomas and keyboardist Patrick Moraz (who joined the band in 1978, replacing Mike Pinder) modified the live performance of the song by composing a flute and keyboard duet as part of the flute solo.
Sindhi folklore (Sindhi: لوڪ ادب) is composed of folk traditions which have developed in Sindh over many centuries.Sindh thus possesses a wealth of folklore, including such well-known components as the traditional Watayo Faqir tales, the legend of Moriro, the epic tale of Dodo Chanesar and material relating to the hero Marui, imbuing it with its own distinctive local colour or flavour in ...
Book cover of Tales of the Punjab by Flora Annie Steel. Academic folkloristic research into and the collecting of the large corpus of Punjabi folktales began during the colonial-era by Britishers, such as Flora Annie Steel's three papers on her studies of local Punjabi folktales (1880), with a translation of three fables into English, [2] Richard Carnac Temple's The Legends of the Punjab (1884 ...
"Legend of a Mind" Ray Thomas: In Search of the Lost Chord: 6:38: 5. "Voices in the Sky" In Search of the Lost Chord: 3:31: 6. "Lovely to See You" On the Threshold of a Dream, 1969: 2:36: 7. "Never Comes the Day" On the Threshold of a Dream: 4:42: 8. "Gypsy (Of a Strange and Distant Time)" To Our Children's Children's Children, 1969: 3:34: 9 ...
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It was again used (with altered lines) as the lyrics for songs two films: in the title song of the 1999 film Sarfarosh (Zindagi Maut Na Ban Jaye), and in the 2002 Hindi film, The Legend of Bhagat Singh. The poem has also been used in the 2000 film, Dhadkan and the 2006 film, Rang De Basanti, being featured heavily for the track Lalkaar in the ...
The band's performance was a popular and critical success at the time. In his newspaper review of the event, music critic Jack Scott called the concert a "knockout victory for progressive pop," having a "rich, full sound that combined sensitivity with sheer popular punch."
The Urdu ghazal makes use of a store of common characters, settings, images, and metaphors that inform both readers and poets of how to navigate the aforementioned ghazal universe. [33] These tropes have been cultivated for hundreds of years and are meant to deeply resonate with listeners of the ghazal, invoking their expectations of meaning. [33]