High Courtér Majaré (Azam Khan)

"High Court" landmark is Dhaka's colonial-era High Court building, and the "majar" (mazar/shrine) refers to a real Sufi shrine that sits on the old High Court premises — traditionally said to be the resting place of a 16th-century saint, Hazrat Shah Khwaza Sharfuddin Chisti, tied to the Mughal-era history of the area. It's a well-known, physically real Dhaka landmark, not a fictional or symbolic place invented for the song.

Azam Khan's broader body of work — songs about ordinary city life, street characters, and urban Dhaka moments — helped define a new genre in the 1970s that took Western rock instrumentation (electric guitars, drum kits) and fused it with Bengali language and local subject matter, at a time when this was a fairly radical departure from the classical and folk-based "adhunik gaan" that dominated Bengali popular music. His music carried a strong undercurrent of post-independence, working-class Dhaka identity — celebrating and documenting the city's street life, character, and characters, often with wit and affection, following on the heels of a musician who had literally fought for the country's independence just a few years earlier.

Lyrics & Phonetics:

[Chorus]
High courtér majaré, koto fokir ghoré
koyjona ba ashol Fokir ?
Premér o bajaré, koto premik ghoré
koyjona ba ashol premik?

At the High court Mazar (Sufi Shrine"), many devotees (fakir) wonder
How many of them are real devotees (True devotees of God)
At the market of love, many lovers wonder,
How many of them are real lovers?