The “Golden Era of Indian Music” is immortal.
Past, present as well as future generations will also love to listen to those oldies. Besides the playback singers and composers, the song writers also played a very important role in bringing out that unique and lasting magical effect. While there were quite a few song writers who could contend for the title of the best, I have no doubt that film pundits will grant that honour to Sahir Ludhianvi Saheb; the Wizard of Ludhiana.
He was at ease writing about any subject, be it sad, happy, comedy, romantic, philosophical or patriotic, be it in a Bhajan, Naat, Ghazal or Qawalli. His quotes expressed on social background and laws have touched the hearts of millions. That’s why he is known as The People’s Poet.
Here are few of his couplets from songs he wrote:
On Society:
1) “Tu Hindu banega na Musalman banega, Insan ki aulad hai Insan banega.”
2) “Yeh insan ke dushman, samajo ki Dunia. Yeh Dunia agar mil bhi jaye to kya hai”
3) “Jine naaz hai Hind per wo kahan hai,kahan hai, kahan hai”
4) “Chini Arab hamara, Hindustan hamara, rahene ko ghar nahin, sara jahan hamara”
On Sadness:
- “Dukhi man mere, soon mera kahena, Jahan nahi chaina, wahan nahi rehna”
- “Jis subha ki khatir hum yug yug se jeete hai, aur Zaher ke pyale pite hai woh subha kabhi to aayegi”
On Comedy:
1) “Sir jo tera chakraye, ya dil duba jaye, ajaa pyare paas hamare kahe ghabrai”
2) “Mey Bombay ka babu, naam mera anjana, english dhun mein ghavun hindustani gana”
Patriotic:
- “Yeh desh hey veer jawano ka, albelo ka mastano ka, Is desh ka kya kheyna, Yeh desh hai dunia ka ghehna.”
Romantic:
- “Tum agar mujko na chaho to koi baat nahi, tum kisi aur ko chahogi to Mushkil hogi”
- “Ae meri Zohra Jabeen, tuje malum nahi, tu abhi tak hai hassin”
- “Jo wada kiya wo nibhana padega, roke zamana chahe roke khudai, tumko aana padega”.
Send off (farewell to a bride)
- “Babul ki dua e leti ja, ja tujko sukhi sansar mile, maike ki kabhi na yaad aaye,sasural mai itna pyar mile.”
Ghazal:
“Ishq ki Garmia ye jasbat kise pesh karun, Rang aur Noor ki barat kise pesh karun”
Classical:
“Laga chunri mein daag, chupau kaise?”
Philosophical:
- “Jeewan ke safar may rahi milte hai beechad jane ko. Aur de jate hai yaadey tanhai mei tadpane ko.”
- “Neele gagan ke tal’e dharti ka pyar pal’e. Jaise hi jag mai aati hai sub hi waise hi sham dhale”
- “Parbato ke pedo pe sham ka basera hai, surmai ujala hai,champai andhera hai. Dono waqt milte hai do dilo ki surat se ,aasma ne khush hokar rang sa bikera hai” ( with deep meaning, this song from film “Shagun” is considered one of the best philosophical songs)
Intoxicating:
- “Ch’u lene do nazuk hoto ko kuch aur nahin jam hai yeh. Kudrat ne jo hamko baksha hai, wo sabse haseen inam hai yeh”
And who can ever forget those famous Qawallis from film ” Barsat ki Raat”
In short, he was an all-rounder. He was the highest paid song writer, always charging one rupee more than what the highest paid playback singer Lata Mangeshker’s terms were.
Some critics branded him as a rebel poet, as he used to work on his own terms and conditions. He was not in favour of working with composers who asked song writers to fit the words into their readymade tunes.
Below are few of his heart touching compositions which have remained evergreen classics:
” Dil jo bhi kahega manege hum,
dunia mey hamara Dil hi to hai
Har hal main jisne saath diya
Wo ek bichara dil hi to hai”
“Chalo ek baar phir se ajnabi ban jaye hum dono”
“Talluk rog ban jaye, to usko bhul na bahetar.
Talluk boj ban jaye to usko tod na accha. Jo afsana Jise anjam tak lana na ho munkin,
use ek khubsurat mod deke chod na accha”
“Kabhi khud pe, kabhi halat pe rona aaya. Baat nikli to har baat pe rona aaya.”
“Kaun kisiki khatar rota hai, hey dost…. sabko apni hi baat pe rona aaya”
“Mey zindgi ka saath nibhata chala gaya, har fikr ko dhoowe mey udata chala gaya”
“Tadbir se bigdi hui takdir banale, apane pe bharosa hay to ek dau lagale”
“Kabhi Kabhi mere dil mey khayal aata hai, ke jaise tujko banaya gaya hai mere liye”
“Abhi na jao chod ke, ke dil abhi bhara nahin”
“Dunia mein aisa kon hai ke jisko gham mila nahi,dukh aur sukh ke raste baney hai sabke waste”
Khushi mile ke gham, bat lenge hum.
“Mein pal do pal ka shair hoon. Pal do pal meri hasti hai”
“Mehfil se oth janewalo logo, tum par kya ilzam. Tum aabad gharo ke wasi, mein Awara aur Badnam”
“Jaye to Jaye kahan, samjega kaun yaha, dard bhare dil ki zuban”
“Aurat ne janam diya mardo ko,Mardone usey bazaar diya”.
“Mardo ke liye har zulm rawa
Aurat ke liye rona bhi khata
Mardo ke liye lakhon sejein
Aurat ke liye bus ek chita.
Mardo ke liye har aish ka haq
Aurat ke liye jeena bhi saza”
“Jab bhi jee chahe dunia basa lete hai log. Chehre pe chehra laga lete hai yeh log”
These are just a few song-intros (‘alap’) of his lyrics.
While he was writing songs for the film “Jaal” (1952), he received a request from Dev Anand to write a song for him in line with the classic and popular song from film “Dulari” (1949) written by Shakeel Badayuni and sung by Mohammed Rafi; “Suhani raat dhal chuki, na jane tum kab aawoge”
He wrote “Yeh raat yeh chandni phir kahan, sun ja dil ki dastaan”
Both the songs are terrific and have remained popular for over seven decades.
His association with Composer SD Burman continued for about 13 years giving unforgettable songs in about fifteen films. It gave a silent blow to film industry when they broke their association after “Pyassa”. However, he continued with noted composers such as Madan Mohan, Ravi, Roshan, Khayyam, O P Nayyar, Jaidev and N. Dutta.
He was the force behind the success of many movies. Examples are “Pyassa”, “Phir Subha Hogi”, “Kabhi Kabhi”, “Barsat ki Raat”, ” Hum Dono” and few others.
Directors held him in great esteem, and would follow his advice about the situations in the songs. “Pyassa” is a perfect such example of this. The picture was totally complete and the release date had also been announced, when something struck Sahir as he was thinking about the story of “Pyassa” and he wrote a song. He called Guru Dutt, the producer, director and actor of the movie and requested him to include in the movie.
To make changes to the film was running against time and also required further budget, but when Guru Dutt, his wife Geeta Dutt and composer SD Burman heard the composition, they all agreed it would be worth it.
Guru Dutt wanted Mohammed Rafi to sing the song, but he listened to the suggestion of Geeta Dutt and the song was recorded in Hemant Kumar’s voice. “Jaane wo kaise log they jinke pyar se pyar mila, hamne to jab kaliya magi katon ka haar mila”
Taj Mahal has always been an inspiration for many poets and countless poems have been written in the praise of the monument. He was probably the only poet to have criticised it.
His contemporary Shakeel Badayuni wrote “Ek shahensha ne banwake haseen Taj Mahal, sari dunia ko mahobat ki nishani di hai.”
Sahir wrote: “Ek shahensha ne banwake Taj Mahal gharibo ka udaya hai mazak”
His affection for the famous Amrita Preetam is well known, but as she was already married, their attachment could not result in wedlock, and Literacy remained their common interest.
His attachment for Amrita plus his stubbornness – “sirf tum” made him bachelor all his life.
An interesting incident was narrated by Composer Jaidev when he visited him at his house to discuss “Hum Dono” song. Jaidev noticed a dirty cup of tea on a coffee table. He was told not to touch it; “Amrita had drunk in that cup when she last visited”
His couplets below speak a lot about his relationship with Amrita Preetam and their unaccomplished love story:
Bujha diye hai khud apne haatho, mohabbato ke diye jala ke
meri vafa ne ujaad di hai, ummid ki bastiya basa ke
Tuje bhoola denge apne dil se
Yeh faisla to kiya hai, lekin,
Na dil ko malum hai na hum ko,
Jiyenge kaise tuje bhoola ke.
On 25th October 1980 he wasn’t feeling very well and went to his doctor for a check-up. The doctor asked him to lie down on his examining coach, and stepped away to give some instructions to his nurse. Upon returning to check him, the great lyricist, Abdul Hayee, alias Sahir Ludhianvi had already exited to his final abode.
His own book, “Kulliyat e Sahir Ludhianvi” has hundreds of his nazms (poems) written, including:
“Bhule se mohabat kar baitha, nadan tha bichara, dil hi to hai.
Har dil se khata ho jati hai, bigdo mat Khudaya, dil hi to hai”
“Is tarah nigahe mat fero, aisa na ho ke dhadkan ruk jaye, sine mey koi patthar nahi, ahesas ka mara dil hi to hai”
“Jazbat bhi Hindu hote hai, chahat bhi Musalman hoti hai.
Dunia ka ishara tha, lekin samja na ishara, nadan bichara, dil hi to hai”
Compiled by:
A K Bagha.
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On a personal note:
I believe by the year 1980, the passing away of artists like playback singers Mohammed Rafi and Mukesh, composers like Jaikishan, Madan Mohan, SD Burman, Gulam Mohammed, and Vasant Desai and lyricists such as Sahir Ludhianvi, Shakeel Badayuni, Raja Mehdi Ali Khan, Jaan Nisar Akhtar, coupled with the retirements of composers like Anil Biswas and playback singers like Talat Mahmood, made a nose dive on the chart of Indian Music.
Composer Naushad lost his “Midas touch” after the passing away of his lyricist Shakeel and singer Mohammed Rafi. Composer Shanker became lifeless in losing his partner Jaikishan. O P Nayyar disappeared from the scene when he lost his potion in Mohammed Rafi.
These stalwarts were the ones that were carrying the “Golden Years” on their shoulders. Their absence is like a piano without keys and a Sitar without strings, sadly brought the end of the Golden Era of Indian Music.
A K Bagha.
Mwanza
Tanzania.
