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Door Rahkar Na Karo Baat – An Immortalized Affirmation

This article is written by Mr. Nagesh Sidhanti

Mohd Rafi

Mohd Rafi

A ghazal usually deals with the whole spectrum of human experience, with its central concern being love. The underdog’s bard , Sahir Ludhianvi, who refused to eulogise Khuda(God), Husn(Beauty) and Jaam(Wine), occasionally departed from his bitter but sensitive lyrics. The result of one such welcome exception is the song ‘Door Rahkar Na Karo Baat‘ from the movie Amaanat, Starring Manoj Kumar and Sadhana.

Sahir Ludhianvi, had this uncanny ability of giving his poetry an intellectual aura with socially relevant and fascinating questions posed, capturing the imagination of rebellious youth especially. The transference of his Faizian ideologies into intensely lyrical pitch, was the quintessence of this progressive writer.

Yet, Sahir seemed to have chosen a tender moment, while penning ‘Door Rahkar ‘ enhancing the significance of the lines. Here he renounces his often-stifled romantic outlook into a neatly conveyed affirmation to the beloved.

[audio:http://www.mohdrafi.com/audio/Amaanat_DoorRehekarNaKaro.mp3]

Here are the simple but well adorned lines.

Door Rahkar Na Karo Baat, Qareeb Aajao,
Yaad Rahejayegi Yeh Raat, Qareeb Aajao,

Sahir, with these opening lines, summerises the mood of the song, with a gentle compulsion. An assurance to the girl, hesitant in her first crush but bold enough to break confines of forbidden conventions, when bestowed with confidence.

Ek Muddat Se, Tamannah Thi, Tumhe Chooneki,
Aaj Bas Mein Nahin, Jazbaat, Kareeb Aajao,

After the protagonist achieves a comfort level, he then goes on to subtly express his yearning to consummate his love and his helplessness in dealing with his own emotions… a crushing urge to manifest his love at physical level.

Sard Jhonkon Se, Bhadakte Hein, Badan Mein Sholay,
Jaan Le Legi, Yeh Barsaat, Kareeb Aajao,

Sahir deliberately brings in a metaphorical suggestion of cold breeze igniting the bodily desires, brushing strokes of intensity and passion. That when love is unbridled, even rain serves as an aphrodisiacal agent and the man conveniently blames the rain-induced nostalgia for his excited state.

Is Qadar Humse Jhijakne Ki Zuroorat Kya Hai,
Zindagi Bhar Ka Hai, Ab Saath, Kareeb Aa Jaao

Here, Sahir makes a masterly closing statement of intimating the girl that her hesitation can be safely rested under the manly assurance of lifetime companionship, that their love is beyond the trappings of common infatuation.

Mohd Rafi

Mohd Rafi

Ravi Shankar Sharma, the composer epitomized the beauty of the women in his composition, Jaan-e-Bahaar Husn Tera Bemisaal Hai, an oh-so-romantic genre of song by Rafi Sahab.  On this occasion however, Ravi employs a minimal but intense tune to suit Rafi Sahab’s tonal quality. The collective understanding of  Ravi and Sahir of the woman’s hesitation in love, has been clearly acknowledged by the use of soft instrumentation.  Ravi adapts his favorite Raag Malkauns, which is a late evening raag, to this song. This pentatonic raag, usually brings out meditative and introverted andaaz to the rendition, as in case of ‘Door Rahkar’.

The prelude as well as interlude Baansuri, beautifully sets up a soothing ambience, complimenting the poet’s intent. Ravi, the tunesmith then orchestrates the song with  pleasing tonal variations, thus setting up stage for Mohammed Rafi sahab to do the honors.

When Rafi Sahab takes up alluring lyrics such as this one , its often an unfair deal to the poet. In ‘ Door Rahkar ‘ Rafi Sahab unwittingly relegates both ‘shabhd’ and ‘ raag’ into peripheral components, with amazing invocation of pure ‘ bhaav’.  This normally is the grudging admission of principal players of a song architecture, the lyricists and the composers, whenever Rafi Sahab undertakes the rendition.

Rafi Sahab sings Door Rahkar with a softly undulating texture in his voice, for the lines such as ‘ ek muddat se tamannah thi tumhe choone ki’ in the repeat line of antara. The voice modulation is in between a tremor and a quiver. His ability to control the throw in fractional values, makes the nearest competing singer fight for the sixth place.  He then packs the song ambience,  and reinforces the assurance in the phrase ‘ qareeb aa jaao’, in his own inimitable ways. Just observe his attention to detail, as in the way he pronounces the word ‘qareeb’. The high octave notes in the antara are handled like fish taken to water with sudden transition of repeat lines in introverted mode. All antaras are unique and are dealt with renewed style each time. Rafi Sahab finally leaves no ambiguity to the woman in question when he sings ‘ zindagi bhar ka hai ab saath’ with an everlasting and comforting emotional caress. Just similar to the way his rendition leaves his bhakts in helplessly transcendental state.

Yet another affirmation gets immortalized in the voice of the virtuoso.

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55 Blog Comments to “Door Rahkar Na Karo Baat – An Immortalized Affirmation”

  1. shahid says:

    IN ONE WORD SUU..PE …RB…. RAFI SAHAB YOU ARE ALWAYS IN MY HEART. shahid, dubai, mobil-9791553650279

  2. shamma-e-rafi ke parwano!
    aaj ek baar phir wohi maqaam aaya hai jisse guzarna hamaray dilon pe khanjar chalne se kam nahi, wohi manhoos 31 july,wohi din jis ne hum se hamare sooraj ko chheen liya aur music ki duniya mein taareeki phailadi. sach kahoon to ab mausiqui ki duniya mein sewa andheron ke aur kuchh bhi nahi aise mein kuchh hai to is andheron ke parde ko chheerti hui wohi noorani aawaz hai jo aaj bhi apne naghmon ke zaria hamare dilon ke andhere door kar rahi hai. kaash aisa ho paata ke allah hum jaise chund logon ki zindagi ke aiyyaam bhi rafi saheb ki zindagi mein jod deta,to aaj hum uss farishte uss aawaz ke khuda se mahroom to na hotay. naghmon ka safar to aaj bhi jaari hai, lekin woh raah-numa ab kahan??

    kahan se laaoon woh woh lazzat gayi baharon ki…
    tumharay saath gayi roshni chiraghon ki,

    aayen hum sab uss paak rooh ki taskeen ke liye milkar dua karen kyun ke ab hamare haathon mein sewa dua karne ke aur kuchh bhi nahi jo us shakhs ko nazar kar saken.

    tere geeton mein baaqi ab talak woh soz hai lekin

    woh pehle phool barsaate thay,ab daman bhigote hain

    mohd.rafi…..

    hum tujhe yuuun bhula na payengay
    jab kabhi bhi sunengay geet tere
    sang sang hum bhi gungunaengay

    jawaid naseem
    09836540639

  3. Mohsin says:

    This songs is beautifully written and composed and excellently sung. Very romantic song which is very useful for a newly married couple indirect hint of saying your feeling to your better half

  4. Nagesh Sidhanti says:

    Dear Easwaran sab,

    That was a very interesting piece of information, that it was
    Pt. Hariprasad Chowrasia who scored that soothing tune. Thanks
    for sharing.

    Adab Rafi

    Nagesh

  5. Easwaran says:

    This song had one more plus point. Smoothing and beautiful floute in the orchestra is rendered by none other than Pandit Hariprasad Chaurasiaq. A few months back, When Panditji celeberated his 75th birthday in J.W.Marriot hotel in Mumbai in the presence of stars and vip’s where his autobiography was released by Amitab Bachan, Playback singer Sonu Nigam performed this song live where Panditji played floute as a nostalja and mentioned off the rec ord that no body could do justice to the song other than baijan ( refering Rafi), I was fortunate to be pre

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