Song: Aag Raag Se Aag Laga Do
Singer: Mohammad Rafi | Film: Sultan-e-Aalam (1956)
Lyricist: Tanveer Naqvi | Music Director: S. Mohinder
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“Aag Raag Se Aag Laga Do” is a powerful and evocative song from the 1956 film “Sultan-e-Alam”. It is a poignant critique of societal injustices and human suffering, wrapped in the metaphor of fire and destruction. The song calls for a cleansing of the world’s evils through the transformative power of music and fire, symbolizing both destruction and renewal.
The Lyricist:
Tanveer Naqvi, the lyricist, crafts a deeply philosophical and rebellious narrative. His words are a call to action, urging listeners to rise against oppression and hypocrisy. The lyrics are rich with metaphors, using “fire” and “music” as dual symbols of destruction and creation. Naqvi’s writing reflects a deep understanding of human suffering and a desire for radical change.
The Musical Composition:
S. Mohinder’s composition is a masterful blend of classical Indian ragas and dramatic orchestration. The use of traditional instruments like the sitar and tabla, combined with a haunting melody, creates an intense and emotional atmosphere. The music mirrors the lyrics’ urgency, with rising crescendos and rhythmic patterns that evoke the imagery of flames and rebellion.
The Singer:
Mohammed Rafi, one of the greatest playback singers in Indian cinema, delivers a performance that is both fiery and soulful. His voice carries the weight of the song’s message, shifting effortlessly between anger, despair, and hope. Rafi’s nuanced rendition brings out the emotional depth of the lyrics, making the song a timeless classic. Let’s break down the vocal emotions packed in each line of the song.
Initial Verse:
Aag Raag Se Aag Laga Do, Aag Laga Do (Set fire with melody, set fire, set fire): Rafi’s voice begins with a commanding tone, filled with urgency and determination. The repetition of “Aag Laga Do” (set it on fire) conveys a sense of desperation and a call for immediate action. The use of “Raag” (melody) suggests that music itself can be a weapon of change.
Saat Suron Se Sholay Lapke Aise Taar Hila Do (Let flames leap from the seven notes, make the strings tremble): Here, Rafi’s vocals take on a fiery intensity. The mention of “seven notes” (Saat Suron) and “flames” (Sholay) symbolizes the power of music to ignite revolution. His voice rises and falls like the flickering of flames, evoking a sense of chaos and passion.
Aag Laga Do, Aag Raag Se Aag Laga Do (Set fire, Set fire with melody, set fire, set fire): This line is delivered with a sharp, almost pleading tone. Rafi’s voice carries a mix of anger and hope, as if begging for the world to be purified through fire.
1st Verse:
Is Duniya Mein Insaano Ke Dushman Hain Insaan (In this world, humans are the enemies of humans): Rafi’s voice becomes somber and reflective here. The line speaks of humanity’s self-destructive nature, and his delivery is tinged with sadness and disillusionment. The weight of the words is palpable, as if mourning the loss of human compassion.
Gham Se Dam Par Toot Rahi Hai, Jahan Khushi Ki Taan (On the breath of sorrow, the melody of happiness is breaking): The vocals shift to a more melancholic tone, emphasizing the pain and suffering that overshadow joy. Rafi’s voice quivers slightly, conveying the fragility of happiness in a world dominated by sorrow.
Maalik Us Zalim Duniya Ka (O Lord, of that cruel world): Rafi’s voice takes on a pleading, almost prayer-like quality here. The repetition of “Maalik” (Master) suggests a cry for divine intervention against the cruelty of the world. His tone is both desperate and reverent.
Har Ek Naqsh Mita Do, Aag Laga Do (Erase every trace of it, set fire): The vocals return to a fiery intensity, demanding the erasure of every trace of oppression. Rafi’s voice is forceful, embodying the spirit of rebellion and the desire for a clean slate.
2nd Verse:
Jis Gulashan Mein Maali Bankar Rehte Hain Saiyad (In the garden where hunters live disguised as gardeners): Rafi’s voice becomes accusatory and bitter here. The metaphor of a garden (Gulshan) where the caretakers (Maali are actually hunters (Saiyad) is delivered with a sense of betrayal and anger.
Phoolon Par Baithe Hain Pehre, Kaante Hain Aazad (Flowers are under guard, while thorns roam free): The vocals take on a sarcastic edge, highlighting the irony of flowers being guarded while thorns roam free. Rafi’s tone is sharp, emphasizing the absurdity of a world where beauty is suppressed, and pain is unchecked.
Aisa Gulshan Veeran Kar Do (Ruin such a garden): Rafi’s voice becomes almost vengeful here, demanding the destruction of this corrupted garden. His delivery is intense, reflecting the desire to see the old order torn down.
Aisa Chaman Jalaa Do, Aag Laga Do (Burn such a garden, set fire): The final lines are delivered with a fiery resolve. Rafi’s voice rises in a crescendo, embodying the spirit of revolution and the hope for a new beginning. The repetition of “Aag Laga Do” is both a command and a prayer, urging listeners to take action.
Aag Raag Se Aag Laga Do, Aag Laga Do (Set fire with melody, set fire, set fire)
In conclusion, “Aag Raag Se Aag Laga Do” is a song that transcends its time, speaking to the eternal struggle against injustice and oppression. Tanveer Naqvi’s lyrics, S. Mohinder’s composition, and Mohammed Rafi’s soul-stirring vocals come together to create a masterpiece that is both a call to arms and a lament for humanity. The song’s emotional depth and powerful imagery make it a timeless anthem for change.