Roshan Lal Nagarath : Birth-14th July 1917 , Death-16th Nov 1967
Sahir Ludhianvi : Birth-8th Mar 1921 , Death-25th Oct 1980
You may wonder how a music director-lyricist duo that had worked for just around seven films together can be considered in this series of blogs on ‘ made for each other’ composer-lyricist combinations. But that is the speciality of Roshan & Sahir! They said so much with so little! Once you read about their songs, I am sure you will agree.
It was only in the 60’s , almost 11-12 years of beginning their respective careers in Hindi Film Music ( HFM) , these two giants, Roshan Lal Nagarath & Sahir Ludhianvi ( born as Abdul Hayee ) started working together. Among all the legendary music directors of the golden era , only Roshan had a successful next generation in the film industry. His son Rakesh Roshan-actor, producer, director & Rajesh Roshan -another successful music director followed by grandson Hrithik Roshan ( needs no introduction to current generation!) are all quite famous. But Roshan Lal Nagarath remained mostly unknown outside the serious music lovers group.
Roshan Lal Nagarath:
Born on 14th July, 1917 in Gujranwala, Punjab Province, British India, Roshan Lal Nagarath got trained in Sarod at a young age under the guidance of Allauddin Khan, the renowned sarod player from Maihar. In 1940, Khawaja Khurshid Anwar, programme producer/music, All India Radio Delhi, hired Roshan as staff artist for esraj, a string instrument he used to play. He gave up this job in 1948 to seek fame and fortune in Bombay. It was the famous producer-director-lyricist Kidar Sharma who gave Roshan his first break as an independent composer with the film Neki Aur Badi ( 1949). That film flopped , but Kidar Sharma didn’t lose heart and gave him one more chance with Banware Nain in 1950, which became a musical hit. The songs Sun bairi balam , sach bol re, Khayalon mein kisi ke isi tarah aaya from this film are popular to this day.
In a career spanning just around 18 years, till a heart attack snatched him away , he had composed music for around 55 films numbering approximately 450 songs. The initial eleven years , with around 35 films were by and large not very successful and it was only in the decade of 1960’s his music became well known . Big banners with big stars were still a rarity for him but the music he gave during this period was simply outstanding. May be a coincidence or should I say a cause & effect, it was during this period two other legends got associated with him : Lyricist -Sahir Ludhianvi and singer- Rafi. The years 1960-68 remains his most creative period , till his last film Anokhi Raat in 1968 that was released posthumously. The songs that I have selected in this blog are just 15 , but each one of them is a class apart. Of course his other successful collaboration with Kidar Sharma, Majrooh Sultanpuri , Anand Bakshi , Indeevar also gave us so many memorable songs. Both Anand Bakshi & Indeevar owe their initial success to Roshan’s compositions and later on went to become very prolific and successful lyricists.
His style of composition was a combination of Hindustani classical music and folk music. One greatest achievement for him was being known as the undisputed “ King of Qawwalis” in HFM. The qawwalis composed by him are truly masterpieces. No one could beat him in this genre . Brilliant change of tempo in the midst of a song, lilting flute interludes, the “pause & start” during the song are some of the signature styles of Roshan’s composition. Raag Yaman Kalyan was his most favourite and in spite of so many of his songs based on it, each one sounds different!. He was one of the few composers who could understand the lyrical depth of a song and hence composed the tune in such a way that the music never over-powered the lyrics , but instead enhanced the beauty of the song to the maximum. One more unique quality of Roshan was that he was by and large a “ singer-neutral” composer, i.e. unlike many of his contemporaries who had their own “ favourite” singers, he worked with many singers like Mukesh, Talat, Rafi, Manna Dey, Lata , Asha and even relatively lesser known singers like Suman Kalyanpur, Sudha Malhotra, Rajkumari etc. And gave them their career best songs. Roshan got his sole Filmfare award for best music direction in 1964 for the film Taj Mahal, although he deserved much more.
Sahir Ludhianvi:
Whenever we take names of the topmost lyricists of HFM , Sahir’s name will always be at the top, sort of a superstar among lyricists. He was the person who made All India Radio announce the lyricist of a song in their programs and also insisted that he may be paid Re 1 more than Lata Mangeshkar just to prove a point that a lyricist is more valuable for a good song. Of course his rebellious nature had been his drawback also like it happens with many such great artists. His serious differences with Sachin Dev Burman after the immense success of Pyasa broke their long & very fruitful partnership of more than a decade ( supposedly on who should take the credit for the success).
Born as Abdul Hayee in Ludhiana in a wealthy , landlord family , he had a troubled childhood with his father leaving his mother and marrying another woman. His mother had to fight for keeping the custody of the young Sahir with herself . Somehow she could manage that and Sahir completed his education at the Khalsa High School and Government College, Ludhiana. Later on, after settling down at Lahore he published his first work titled “ Talkhiyaan”( meaning: Bitterness), in the year 1945. After the partition of India he came to Mumbai and got to compose lyrics for a 1949 film called Azaadi Ki Raah Par which went without a whimper. His association with SD Burman started with the film Naujawan and Baazi, with the Guru Dutt film Baazi gaining the much desired and deserved popularity. Their association would then go on to give many successful films till Pyaasa which was their last one. Sahir also worked a lot with other composers like Ravi, Roshan, N Dutta , Khayyam and even with later day composers like Laxmikant -Pyarelal and R D Burman.
Sahir, like his other contemporaries Shailendra, Kaifi Azmi, Majrooh belonged to that group of poets who can be called as ‘revolutionary’ and always showed a mirror to the society about its ills and injustices. Romance was not that much of a priority for him but of course , whenever he wrote on romance it was again the best. Incidentally , Sahir also got his first film-fare award for best lyrics for “Taj Mahal” film and also later on for “Kabhie Kabhie” in 1977 ( music was by Khyyam).
Let us now look at some of the fabulous songs created by these two genius artists. As the 15 songs in the listing are from just 7 films, I have organised them film-wise. Singer/ singers are mentioned in brackets.
Film #1 -Babar-1960
- Tum Ek Baar Mohabbat Ka Imtihaan To Lo ( Rafi)
This was the first collaboration of Roshan and Sahir. Supposed to be a love letter from the Mughal emperor Babar to his lover, Sahir makes the hero plead to the heroine for testing his love. So melodiously tuned by Roshan and soulfully rendered by Rafi . Roshan was always known for using mostly Indian instruments only in his songs and in this song there is an excellent use of sarangi, sitar & jalatarang . Very rarely we see extensive western style orchestration in his songs. My very limited knowledge of Urdu always made me search for the meaning whenever I listen to Sahir’s songs. A glimpse of his exquisite mastery over that language:
Salaam-E-Shauq pe ranjish bhara payyam na do
Mere Khloos ko Hirs-o-hawas ka naam na do
Mere wafa ki haqeeqat ka imtihaan to lo
Tum Ek baar mohobbat ka imtihaan to lo
Don’t treat my salutation of desire as a grievance
Don’t call my sincere love as imitation and lust
At least test my loyalty and my sincerity
For once , at least test my love…
2. Salaam-E-Hasrat Qabool Kar Loo ( Sudha Malhotra)
One of Sudha Malhotra’s best songs, for whom it is said that Sahir had composed many beautiful songs . With Roshan as ever giving importance to the lyrics’ beauty and keeping the orchestration embellishment to the bare minimum, we can only hear the soulful voice of Sudha Malhotra and a faint sarangi and tabla to keep the rhythm. Sample of few lines from the pen of Sahir given here will give you a fair idea of the beauty of the song’s lyrics:
Udaas nazren tadap kar
tumhaare jalwon ko dhoondhti hain
jo khwaab ki tarah kho gaye
un haseen lamhon ko dhoondhti hain
agar na ho naa gawaar tumko
to ye shiqaayat qabool kar lo
salaam-e-hasrat qabool kar lo
Film #2 -Barsat Ki Raat-1960
3. Maine Shayad Tumhe Pehle Bhi (Rafi)
Barsat Ki Raat was the magnum-opus of Roshan-Sahir duo. Totally there are nine songs in this film and I have selected just four from them. Maine shayad tumhe is a sweet, romantic melody , and in this song also the orchestration , interludes are minimal. The sweetness of Sahir’s lines and Rafi’s magical singing are enough. It must have been with great magnanimity that Sahir says ” Mere sheron se bhi tum, mujhko haseen lagti ho”!!!
4. Na Toh Caarvan Ki Talash Hai/Yeh Ishq Ishq Hai -in 2 parts ( Manna Dey, SD Batish, Asha Bhosle and Sudha Malhotra & Rafi)
This is the “mother” or as some even call “grandmother” of all qawwalis. When Roshan returned home after a marathon session of around 24 hours at a stretch for recording this song, he said to his wife that he is returning after having composed a 12 minute qawwali. His wife’s reaction was apparently, ‘who is going to listen to such a long song?’. She was very much mistaken and even if we listen to it hundred times, one cannot have enough. In fact one can write a separate blog on this song alone. The film Barsat Ki Raat is about two lovers Shabnam ( played by Madhubala) and Amaan Hyderabadi ( played by Bharat Bhushan) with qawwali competitions centred around their story.
There are totally three qawwali based songs in this film, the other two being:
“Ji Chahta Hai Chum Loon Teri Nazar Ko Main”
“Nigah-e-Naaz Ke Maaron Ka Haal Kya Hoga”
It is with this marathon qawwali “ Na to caravan ki talash hai “ and Yeh Ishq hai ishq ish” that are picturized in sequence , the film culminates with the reunion of the hero and heroine after a long and painful separation.
Starting off as a usual qawwali that talks about human longing for love , Sahir then proceeds in a philosophical mode about love , deriving many tales from the ancient Indian epics and ends with a Sufi’s yearning for the Divine love . And at each milestone change in the mood and tone of the lyrics, Roshan’s exceptional music sense , the great singing by Manna Dey, S D Batish, Asha , Sudha Malhotra and the inimitable Rafi take us through an unforgettable journey.
At the beginning there is almost a 50 second prelude music with sarangi , sitar , dholak, harmonium , followed by a Manna da’s alaap setting the tone:
Na to kaarwan ki talaash hai
Na to humsafar ki talaash hai
Mere shauq-e-khaana kharaab ko
Teri rehguzar ki talaash hai
After a two and a half minute elaboration by Manna da, Asha starts off with “ Mere na-muraad junoon ka hai ilaaj koi to maut hai
Jo davaa ke naam pe zeher de ussi chaaragar ki talaash hai”
Well into three and a half minutes, there is a rejoinder by Manna Da & S D Batish that gradually changes the tempo of the song with a new mukhda or sthayee ( a line that keeps coming again and again in a song):
Tera ishq hai meri aarzoo, Tera Ishq hai meri aabroo
Dil Ishq hai, jism ishq hai, aur jaan ishq hai
Imaan ki jo pocho to imaan ishq hai
Tera Ishq hai meri aabroo
Tera ishq main kaise chod doon, meri umr bhar ki talaash hai
Tera ishq mein kaise….ishq ishq….ishq…
Now the tempo of the song increases , and the next part starts with the chorus continuing the ‘sthayee’ yeh ishq hai , ishq, yeh ishq..
And then Rafi makes his grand entry with his alaap in a mesmerizing way that it appears as if everyone else becomes silent. In fact, I remember having heard once in an interview Manna da himself saying that during the recording, after listening to Rafi’s voice , he forgot his own lines !
Vehshat-e-dil rasn-o-daar se roki na gayi
Kisi khanjar, kisi talvaar se roki na gayi
Ishq Majnu ki woh aawaz hai jiske aage
Koi Laila kisi deewaar se roki na gayi,
Now comes the special Sahir’s touch. At the beginning remember he wrote:
“Dil Ishq hai, jism ishq hai, aur jaan ishq hai , imaan ki jo pocho to imaan ishq hai”
whereas now he says:
Woh hans ke agar maangen to hum jaan bhi de
Yeh jaan to kya cheez hai, imaan bhi de
Kyonki yeh ishq hai…
Thus placing Ishq , i.e. love as even higher than faith.
Rafi keeps up the tempo with some superlative play of words by Sahir :
Naaz-o-andaaz se kehten hai ke jeena hoga
Zehar bhi deten hai to kehte hai ke peena hoga
Jab mein peeta hun to kehte hain ke marta bhi nahin
Jab mein marte hoon to kehte hain ke jeena hoga
Like how a painter or sculptor keeps adding touches of brush or chisels away, Sahir & Roshan keep improvising the words and also the tune with further description of Ishq:
Mazhab-E-Ishq ki har rasm kadi hoti hai
Har kadam par koi deewar kadi hoti hai
Ishq azad hai, Hindu Na Musalman hai ishq,
Aap hi dharm hai aur aap hi imaan hai ishq
Jis se aaga nahi shaikh-o-barhaman dono,
Us haqeeqat ka garajtaa hua ailaan hai ishq
Note the variations in the way Roshan had composed the above lines and Rafi giving that punch on “ garjataaaaa hua”…
Sahir now adds another dimension to the song…he switches to Punjabi with Sudha Malhotra singing these with so much of fervor:
Ishq n puchhe ,din dharam nu , ishq n puchhe jataan
Ishq da hathhon garam lahu wich dubayeen lakh baraatan
(Meaning: Love does not ask your religion or creed, love does not ask your social class or caste,
Love has drowned thousands of wedding revellers in its fiery blood)
From now the journey that the fabulous team of Roshan and Sahir take us through the “ bahut kathin dagar panghat ki”…how difficult the journey of life is..playing upon this theme with the words “dagar panghat ki ” and also later on “ laaj raakho more ghoonghat pat ki…”
And now is the final part of the song in which Sahir derives inspiration from the struggles of the women characters in Indian epics & folk tales – – from Laila-Majnu to Radha, King Janak’s daughter Sita and Meera, all strong women who stood up for their own rules and dharam . Before handing over the baton to Rafi, Manna Da does an intricate alaap here.
Each and every word in the final part of the song is a masterpiece that no one can ever match in the film history-Never in the past nor in future:
Jab jab Krishn ki bansi baaji,
Nikali Raadhaa saj ke
Jaan ajaan ka dhyaan bhulaa ke,
Lok laaj ko taj ke
Haaye ban ban Doli Janak dulaari,
Pehenke prem ki maalaa
Darshan jal ki pyaasi Meera
Pii gayii vishh ka pyaalaa aur phir araj kari
Ke laaj raakho raakho raakho, laaj raakho dekho dekho,
Yeh ishq ishq hai, ishq ishq, yeh ishq ishq hai, ishq ishq
Allah rasool ka farmaan ishq hai
Yaanii Hadith ishq hai, Quraan ishq hai
Gautam kaa aur Maseehaa kaa armaan ishq hai
Yeh kaayanaat jism hai aur jaan ishq hai
Ishq sarmad, ishq hii mansoor hai
Ishq Moosa, ishq Koh-e-Toor hai
Khaaq ko but, aur but ko devtaa karta hai ishq
Intahaa yeh hai ke bande ko khuda karta hai ishq
Haan yeh ishq ishq hai, ishq ishq, yeh ishq ishq hai, ishq ishq
Whenever Krishna played his flute, Radha emerged, dressed up
Forgetting all that she was taught, she left the honour of society
The darling child of King Janak , i.e. Sita travelled in the forest, wearing the garland of love( i.e. devotion to Rama)
Meera yearning for a glimpse of her Lord, drank a glass of poison and then pleaded
Protect my honour, protect my honour, protect my honour
This is love, this is love, this is love
The commands of God and Mohammed are love
The teachings of Mohammed are love, the Quraan is love
The wishes of Buddha and Christ are love
This material existence and this life are love
Love is everlasting, love alone is victorious
Love is Moses, love is Mt. Sinai
Love turns clay into idols, and idols into Gods
The ultimate is that love has the power to turn a man into a revered God
Yes, this is love, this is love, this is love
After listening to this song, one should ideally close the eyes and sit in trance for some time to soak in the beauty….
{I don’t know if I could do even a minuscule justice in writing about this song! }
5. Zindagi Bhar Nahin Bhoolegi Who Barsaat Ki Raat ( Rafi solo and also duet with Lata)
Continuing with the same film , this is one of the most romantic songs of the Roshan-Sahir-Rafi combination, composed in Roshan’s favourite Yaman Kalyan raag. There are two versions: one solo of Rafi that has four stanzas and a duet of Lata & Rafi that is with just three stanzas.
The solo version starts off with a very subtle humming by Rafi . As he starts singing , there is no other instrument except a faint sarangi ,tanpura, and tabla to accompany. In the interludes , Roshan uses a very pleasing sitar , sarangi , with a jaltarang that plays just after the line “ haye woh reshmi zulfun se barasata paani” that literally gives you a feeling of water dripping from the locks of Madhubala. As much as Sahir was well known for his very hard hitting , bitter, philosophical poetry, in this song we can see his romantic side as well. The water that dropped from the ‘zulf’ are thirsting to stop at the flower-like neck! ‘phool se gaaalon pe rukne ko tarsta paani ’.
The similes about that “raat “ at the end of each line are too good.
Dil mein toofan uthate huve jazbaat ki raat!
Kabhi dekhi na suni aisi tilismaat (magical) raat
Aag paani mein lagate hue halaat ki raat
And then finally
Aasmanon se utar ayee thee jo raat ki raat ( the night of nights!!)
The duet version starts off with a very beautiful saxophone that replaces the humming of Rafi and with a completely different lyrics , but all describing the ‘raat’ in the heroine’s perspective.
The first two stanzas are by Lata , which she renders in her divine voice with her typical pitch , not losing the melody even a bit.
haay jis raat mere dil ne dhadakna seekha
shokh jazbaat ne seene mein bhadakna seekha
meri taqdeer se nikli wahi ee
meri taqdeer se nikli wahi sadmaat ki raat
dil ne jab pyaar ke rangeen fasaane chhede
aankhon mein wafaaon ke taraane chhede
sog mein doob gayee aaj wo o
sog mein doob gayee aaj wo naghmaat ki raat
Rafi makes his usual grand entry with the third stanza and here after he says ‘ roothnewali’ , there is that ‘signature’ pause of Roshan. Finally concluding with an assurance to the agitated Madhubala that ‘khatm hogi na kabhi tere mere saat ki raat’.
roothne waali meri baat se maayoos na ho
behke se khayaalat se maayoos na ho
khatm hogi na kabhi tere mere ae
khatam hogi na kabhi tere mere saath ki raat.
Golden combination of singing, music and writing.
6. Garjat Barsat Sawan Aayo Re ( Suman Kalyanpur & Kamal Barot)
The fourth and last song from this movie for this blog. Title song that is based on Roshan’s own earlier composition “ Garjat Barsat Bheejat Aayilo” from the 1951 film Malhar which also , incidentally was a title song.
Composed in Gaud-Malhar raag , this title song sets the tone of the film , for the musical feast that Barsat Ki Raat was. One of Suman’s classic masterpieces , ably assisted by another under recognized singer -Kamal Barot. One interesting piece of information about this song is that the prelude from this , with superb sarod, sarangi & jaltarang was the signature tune of the popular Sangeet Sarita program that used to be aired earlier in Vividh Bharati channel of All India Radio till few years ago.
Film #3 -Dil Hi To Hai-1963
7. Laga Chunri Mein Daag Chupaoon Kaise ( Manna Dey)
The greatness of Manna Dey was, in spite of getting limited number of songs as compared to the more popular Rafi & Kishore, he used to render immortal songs of such high quality that those songs become a milestone. Even today, in any of the popular musical TV reality shows or even any musical performance on stage , this song is sung as a testimony to the skill of the artist who performs. What a classical mastery by Manna da, with an equally powerful lyrics and composition by the team of Sahir & Roshan who set it in the Raag Bhairavi.
Sahir took inspiration from Sant Kabir’s poem and composed this great song that has profound philosophical meaning:
Meri Chunri Mein Parrigayo Daag Piya
Paanch Tattv Ki Bani Chunariya
Comparing our birth as a journey from ‘Babul’-God’s creation to ‘ Sasuraal’-the world in which we are born, with a spotless soul ( kori chunariya , aatma mori) the song uses so many metaphors to convey how we do many wrong deeds ( mail hai mayajaal) and have to wonder how we can face our Creator when we go back to His world ( Babul se nazren milaoon kaise..ghar jaaon kaise).
The last part of the song has one of the best ever semi-classical alaap of Hindi film music , that is an absolute tongue twister, with Manna da singing it so effortlessly . Though many artists keep trying to sing this in various shows , the original by the legend remains immortal. Roshan had used only Indian classical instruments in the orchestration like Sitar , Sarangi , Jalatarang etc. The crescendo of at the end of the song is something that one can’t’ write about—you just have to listen and get drowned in the magical composition.
I don’t know how many would agree to this-my personal observation is that the picturization of the song is a big let-down. Like many of the Manna Dey’s classical masterpieces getting diluted in a comical picturization , this is one song that is better to listen than to watch.
8. Raaz Ki Baat Hai..Nigahen Milane Ko Jee Chahta Hai (Asha Bhonsale)
One of Asha’s best ever song in her career , the way she carried this qawwali through is something no one can match. If there was one genre that her more illustrious elder sister couldn’t match , that was qawwali. One more feather in the cap of Roshan-Sahir combo , and unlike the heavy Urdu-laden “ Na to caravan ki talash “ , this one is much easy to understand with Sahir going easy with words.
9. Tum Agar Mujhko Na Chaho To Koi Baat Nahin ( Mukesh)
Though Mukesh & Roshan had very great songs , the former having played a major role in bringing Roshan to the industry, most of those songs were written by other lyricists and hence unfortunately I cannot include in this list. If we see the career of Roshan, the first decade had mostly Mukesh and Talat singing for him. Rafi came very late , almost coinciding with the entry of Sahir into the Roshan camp. As Dil Hi To Hai was a Raj Kapoor starrer, obviously the singer had to be Mukesh , with the exception of Laga Chunri Mein Daag. This film had four Mukesh solos and two duets. Tuma agar mujhko na chaho to koi baat nahin is a pleasing melody with Mukesh’s typical style of singing for Raj Kapoor. Sahir brings out the character’s possessiveness so beautifully with lines like:
Mere Dil Ko Na Saraho To Koi Baat Nahi
Gair Ke Dil Ko Sarahogi To Mushkil Hogi
Mere Gam Mein Na Karaho To Koi Baat Nahin
Aur Ke Gam Mein Karaho To Mushkil Hogi
Tum Jo Mujhse Na Nibaho To Koi Baat Nahin
Kisi Dushman Se Nibahogi To Mushkil Hogi
Film #4 -Taj Mahal-1963
10..Jo Baat Tujh Mein Hai Teri Tasveer ( Rafi)
The film Taj Mahal, at last brought both Roshan & Sahir a filmfare award.
Normally Sarangi is an instrument that sounds morose , but to use it so beautifully in a romantic song is the work of a genius. The way Sarangi is played , one can sense that it is almost says in words an affirmation to Rafi’s Jo Baat Tujh mein hai , teri tasveer mein nahin. What an imaginative use of the instrument. Classic example of Roshan’s lilting melody , this song always comes among the top for any romantic number.
11. Jurm-E-Ulfat Pe Hume Log Saza ( Lata)
In my opinion, this is one among Lata’s topmost songs , and her Urdu diction is so flawless . With a bare minimum orchestration and few seconds of interlude , Roshan proves that for a great song hundreds of instruments are not needed. Sahir’s poetry talks about how being in love is punished and how naïve the society is as they are unwittingly only adding fuel to the fire.
Jurm-e-ulfat pe hamen log sazaa dete hain
kaise naadaan hain, sholon ko havaa dete hain
hamse diivaane kahiin tark-e-vafaa karte hain
jaan jaaye ke rahe, baat nibhaa dete hain
aap daulat ke taraazuu men dilon ko tolen
ham muhabbat se muhabbat ka silaa dete hain
takht kya chiiz hai aur laal-o-javaahar kya hai?
ishqvaale to khudaayii bhii luutaa dete hain
hamne dil de bhii diyaa, ahad-e-vafaa le bhii liyaa
aap ab shauq se de len jo sazaa dete hain
jurm-e-ulfat pe hamen log sazaa dete hain
Film #5 -Dooj Ka Chand-1964
12. Mehfil Se Uth Jaane Walon Tum Logon Par Kya Ilzam ( Rafi)
A jilted lover’s drunken lament—who else than Rafi to render it so soulfully that the actor on screen doesn’t need to emote at all. With that sarcastic laugh that Rafi had made it as his speciality , the lines of Sahir come to life:
Do din tum ne pyaar jataya
Do din tum se mel raha
Achha khasa waqt kata
Aur achha khasa khel raha
Ab us khel ka jikr hi kaisa
Wakt kata aur khel tamam
Mere sathi mere sathi
Mere sathi khali jaam
Film #6 -Chitralekha-1964
13. Man Re Tu Kahe Na Dheer Dhare ( Rafi)
In an opinion poll conducted by a magazine in 2006 among leading music directors, lyricists and singers , this song was rated #1. A classic masterpiece that was sadly ignored by the masses at the time of the film’s release, was at least recognized after some 42 years!
This one is a perfect match between music-poetry-singing. Sahir, as usual brings life’s philosophies in just few lines.
Mann Re Tu Kaahe Na Dheer Dhare
O Nirmohi Moh Na Jaane Jinka Moh Kare
Man Re Tu Kaahe Na Dheer Dhare
Have patience and control yourself
Do you really understand your desires that you are trying to seek?
Iss Jeevan Ki Chadhti Dhalti
Dhoop Ko Kiss Ne Baandha
Rang Pe Kiss Ne Pehre Daale
Roop Ko Kiss Ne Baandha
Kaahe Yeh Jatan Kare
Why do you put so much effort and waste your time & energy in understanding the ups and downs of worldly things? Who has been able to bind the Nature, Who has been able to control the beauty of His creations? Everything happens with Gods will, O my dear have control over yourself.
Utna Hi Upkaar Samajh Koi
Jitna Saath Nibhaa De
Janam Maran Ka Mel Hai Sapna
Yeh Sapna Bisraa De
Koi Na Sang Mare
Take this life as a favour since everything is temporary- our friends, relatives and near & dear ones.
The journey of life from birth to death is like a dream, where nothing is permanent.
We come alone and leave this world alone; no one comes along with us.
In other words the song indirectly gives a message “Only God is true, who is always there with us at every instant of life, even before our birth and after our death. We should detach ourselves from the worldly desires and praise the Almighty”.
It is really difficult to believe that Sahir was considered to be a non- believer, after listening to this song!!
In the divine voice of Rafi, who had sung this so soulfully and Roshan to have composed it with equal divinity , using just Sarod and his favourite flute , we can really call this a divine creation.
14. Sansaar Se Bhaage Phirte Ho ( Lata)
It is indeed amazing to observe the variety of ideas put forth in the songs of the yesteryears . From exploring the ephemeral nature of life in ‘Man re tu kahe na dheer dhare’ , the song “ Sansaar se bhaage phirte ho” song has a somewhat hedonistic ( seeking pleasure) tone. For a change in this film , Sahir didn’t use chaste Urdu and wrote mostly in pure Hindi :
Yeh paap hai kya, yeh punya hai kya
Sab reeton par dharm ki mohren hai
Har yug mein badalte dharmon ko
Kaise Aadarsh Banaaoge
Yeh bhog bhi ek tapasya hai
Tum tyaag ke maare kya jaano
Apmaan rachayita ka hoga
Rachna ko agar thukraaoge
( It would be an insult to the Creator if you forsake the act of creation )
Unfortunately two great songs of this film were wasted due to the poor execution of the film Chitralekha that would have been completely forgotten if not for the great music & poetry the duo of Roshan and Sahir brought together.
Film #7 -Bahu Begam-1967
15. Hum Intezaar Karenge Tera Qayamat Tak ( Rafi & Asha)
After all the heavy stuff about life’s philosophies , let me end this very long blog about a great pair with a light romantic number. There are two versions -a Rafi solo and duet with Asha . Lilting flute that so magically glides along with Rafi & Asha ‘s vocals , making this one more romantic evergreen song from this fabulous duo.
Hum bhi intezaar karenge..qayamat tak…for such a pair to be reborn again sometime in the future.
I sincerely thank the publishers of following blogsites & Internet sources for the information that I could gather for this article:
- http://www.mr&mrs55.com
- You Tube
- Wikipedia
Acknowledgements and Disclaimer:
The songs mentioned are from the popular, public domain and have been mentioned here only for the listening pleasure of the music lovers. This blog does not claim any copyright over them, which rests with the respective owners of the rights. I would also like to thank various blogs/articles published in the Internet from which I had obtained many information while writing this.
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