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Their beginnings, however, were humble, and - as some of the surviving band-members would like to believe - analogous to those of The Beatles, performing at local events to an audience largely unfamiliar with their sound and aspirations.
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Moheener Ghoraguli performing at a concert Now, in the 45th year since its formation (and 39th since its dissolution), Moheener Ghoraguli has far surpassed notions of transient acclaim to become an indelible part of the Bengali consciousness, for at least a class of urban and suburban Bengalis raised in the glitz and shadows of high-rises. Nevertheless, it remains undisputed that the group was not just India's first known rock band, but also its first musical group to function as a well-defined band. The 'ghoras' or the horses, however, never warmed up to the term 'band' while describing their musical endeavours, choosing to liken themselves to a sociocultural 'movement' that barely received widespread recognition back in the day. Led by the enigmatic singer-songwriter (late) Gautam Chattopadhyay - fondly referred to as Manik or Moni Da - 'Moheener Ghoraguli' (Moheen's Horses) was born in the backyard of his south Kolkata home, in the company of his brothers Pradip (Bula) and Biswanath (Bishu), his cousin (late) Ranjon Ghoshal, and friends Tapas Das (Bapi), Abraham Mazumder and Tapesh Bandopadhyay (Bhanu). It was when the Bangali bhodrolok was used to crooning to the comfortable tunes of Manna Dey's 'Jibone ki pabona, bhulechhi shey bhabona', that seven young men - some in their twenties, others just past their teens - were disrupting the status quo and breaking into Bangla rock, a genre alien to not just the city, but the country as well. It was a Calcutta that still dared to wish upon shooting stars, while simultaneously nurturing a musical revolution far ahead of its times in the narrow alleys of its settlers' colonies in the erstwhile South 24 Parganas - the city's back of beyond, which was still a few years away from being subsumed by the metropolis.
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It was a Calcutta in the throes of a raging Naxalite Movement that had seized the imaginations of its young and old, rich and poor it was a Calcutta grappling with its turbid past, an uncertain present but a hopeful future. It is perhaps these now-iconic - and often grossly abused - words by Charles Dickens in A Tale of Two Cities that rather accurately sum up the Calcutta of the 1960s and '70s. “It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of light, it was the season of darkness, it was the spring of hope, it was the winter of despair.”