Kundan Lal (K.L.) Saigal (April 11, 1904 – January 18, 1947) was an Indian … Read Full Bio ↴Kundan Lal (K.L.) Saigal (April 11, 1904 – January 18, 1947) was an Indian singer and actor who is considered the first superstar of Bollywood, the Hindi film industry which was centered in Calcutta during Saigal’s time, but is currently centered in Bombay.
Kundan Lal was born at Jammu where his father Amar Chand was a tehsildar at the court of the Raja of Jammu & Kashmir. His mother Kesar Bai was a deeply religious lady who was very fond of music. She used to take her young son to religious functions where bhajan, kirtan and shabad were sung in traditional styles based on classical music. Kundan was the fourth-born child of five and his formal schooling was brief and uneventful. As a child he occasionally played Sita in the Ramlila of Jammu. Saigal dropped out of school and started earning money by working as a railway timekeeper. Later, he worked as a typewriter salesman for the Remington Typewriter Company, which allowed him to tour several parts of India. His travels brought him to Lahore where he befriended Meharchand Jain (who later went on to start the Assam Soap Factory in Shillong) at the Anarkali Bazaar. Meharchand and Kundan remained friends when they both moved to Calcutta and had many a mehfil-e-mushaira. In those days Kundan was a budding singer and Meharchand encouraged him to pursue his talent. Kundan Lal often remarked that he was what he was because of Meharchand’s encouragement and early support .He also briefly worked as a hotel manager. Meanwhile, his passion for singing continued and became more intense with the passage of time.
In the early 1930s, he was hired by B.N. Sircar, head of the Calcutta-based film studio, New Theatres. Here, Kundan met R.C. Boral, the highly respected music composer of the pioneering film company. R.C. Boral took an instant liking to his talents. Saigal was employed by New Theatres on a contract basis of Rs. 200/month. There he came into contact with contemporaries like Pankaj Mullick, K. C. Dey and Pahari Sanyal. In a short span of time, he stood tallest among them with his brilliant singing and popularity.
The first film in which Saigal had a role was the Urdu film Mohabbat Ke Ansoo, followed by Subah Ka Sitara and Zinda Laash, all released in 1932. However, these films did not do very well. It was in 1933 that his four bhajans for the film Puran Bhagat created a sensation throughout India; thereafter, Saigal never looked back. Films that followed were Yahudi Ki Ladki, Chandidas and Rooplekha. As a youngster, India’s melody queen herself, Lata Mangeshkar, is alleged to have said that she wanted to marry K.L. Saigal after seeing his performance in Chandidas. In 1935, Saigal played the role that would come to define his acting career: that of the drunken title character in Devdas, based on Sarat Chandra Chattopadhyay’s novel of the same name and directed by P.C. Barua. His songs in the film, Balam Aaye Baso Moray Man Mein and Dukh Ke Ab Din Beetat Naahi, became feverishly popular throughout the country.
Saigal picked up Bengali very well and acted in seven Bengali films, produced by New Theatres. Rabindranath Tagore first heard Saigal before giving consent for the first time to a non-Bengali singing his songs. Saigal endeared himself to the whole of Bengal through his 30 Bengali songs.
Saigal’s association with New Theatres continued to bear fruit in subsequent films that became all the rage, which created success after success with films such as Didi (Bengali)/President (Hindi) in 1937, Saathi (Bengali)/Street Singer (Hindi) in 1938, and Zindagi in 1940, with Saigal in the male lead. These films were lapped by audiences mainly for Saigal’s songs. There are a number of immortal songs of this era which form the rich heritage of film music in India. Also, it is well-known that in Street Singer, Saigal rendered the song Babul Mora live in front of the camera, even though playback was becoming the preferred method of singing songs in films.
In December 1941, Saigal moved to Bombay to work with Ranjit Movietone. Here he acted and sung in a number of hit films. His voice, music and songs took him to even greater heights. Bhakt Surdas (1942) and Tansen (1943) were huge hits during this period. The latter film is still remembered for Saigal’s amazing performance of the song Diya Jalao in Raga Deepak; in the same movie, he also sang a wonderful song “Sapta Suran,Tin … Gaa-o Saba Guni Jan” - which is about music, and is a special treat for all the lovers of music. In 1944, he returned to New Theatres to complete Meri Behen. This film contained such Saigal gems as Do Naina Matware and Ae Qatib-e-Taqdeer Mujhe Itna Bata De.
By this time, alcohol had become a predominant factor in Saigal’s life. His dependence on alcohol and begun affecting his work and his health. It was said that he could only record a song after having being fortified with liquor. He survived ten years of drinking, however, his alcoholism was too advanced for even a single attempt at abstinence, and Saigal died in his ancestral city of Jalandhar on January 18, 1947, at the age of 42. However, before his death, he was able to churn out three more hits under the baton of Naushad for the film Shahjehan (1946). These are Mere Sapnon Ki Rani, Ae Dil-e-Beqaraar Jhoom, and of course, the immortal Jab Dil Hi Toot Gaya. He released his last film, Parwana, in 1947. Saigal was survived by his wife Asha Rani (whom he married in 1935) and three children, one son and two daughters, who are, Madan Mohan, Nina (born 1937) and Bina (born 1941).
In a career of fifteen years, Saigal acted in 36 feature films - 28 in Hindi/Urdu, 7 in Bengali, and 1 in Tamil. In addition, he acted in a short comedy Hindi/Urdu film, Dulari Bibi (3 reels), released in 1933. After Saigal’s death, based on the life and times of K.L. Saigal, B.N. Sircar released a documentary film called Amar Saigal in 1955. In the film, G. Mungheri performed the title role of Saigal. The film contained 19 songs lifted from Saigal’s films. In all, Saigal rendered 185 songs which includes 142 film songs and 43 non-film songs. In the film songs category, there are 110 in Hindi/Urdu, 30 in Bengali and 2 in Tamil. In the non-film category, there are 37 in Hindi/Urdu, and 2 each in Bengali, Punjabi and Persian. His non-film songs comprise of Bhajans, Ghazals and Hori. He has rendered the creations of legendary poets such as Ghalib, Zauq, Seemab and others.
Saigal’s distinctive singing voice was so melodious and popular that he was idolized by the first generation of post-independence Bollywood playback singers, including Lata Mangeshkar, Mohammad Rafi, Mukesh, and Kishore Kumar. Even today, the name K.L. Saigal conjures up images of the great Indian singing film star of the 1930s and 1940s with the unmatched golden voice.
Kundan Lal was born at Jammu where his father Amar Chand was a tehsildar at the court of the Raja of Jammu & Kashmir. His mother Kesar Bai was a deeply religious lady who was very fond of music. She used to take her young son to religious functions where bhajan, kirtan and shabad were sung in traditional styles based on classical music. Kundan was the fourth-born child of five and his formal schooling was brief and uneventful. As a child he occasionally played Sita in the Ramlila of Jammu. Saigal dropped out of school and started earning money by working as a railway timekeeper. Later, he worked as a typewriter salesman for the Remington Typewriter Company, which allowed him to tour several parts of India. His travels brought him to Lahore where he befriended Meharchand Jain (who later went on to start the Assam Soap Factory in Shillong) at the Anarkali Bazaar. Meharchand and Kundan remained friends when they both moved to Calcutta and had many a mehfil-e-mushaira. In those days Kundan was a budding singer and Meharchand encouraged him to pursue his talent. Kundan Lal often remarked that he was what he was because of Meharchand’s encouragement and early support .He also briefly worked as a hotel manager. Meanwhile, his passion for singing continued and became more intense with the passage of time.
In the early 1930s, he was hired by B.N. Sircar, head of the Calcutta-based film studio, New Theatres. Here, Kundan met R.C. Boral, the highly respected music composer of the pioneering film company. R.C. Boral took an instant liking to his talents. Saigal was employed by New Theatres on a contract basis of Rs. 200/month. There he came into contact with contemporaries like Pankaj Mullick, K. C. Dey and Pahari Sanyal. In a short span of time, he stood tallest among them with his brilliant singing and popularity.
The first film in which Saigal had a role was the Urdu film Mohabbat Ke Ansoo, followed by Subah Ka Sitara and Zinda Laash, all released in 1932. However, these films did not do very well. It was in 1933 that his four bhajans for the film Puran Bhagat created a sensation throughout India; thereafter, Saigal never looked back. Films that followed were Yahudi Ki Ladki, Chandidas and Rooplekha. As a youngster, India’s melody queen herself, Lata Mangeshkar, is alleged to have said that she wanted to marry K.L. Saigal after seeing his performance in Chandidas. In 1935, Saigal played the role that would come to define his acting career: that of the drunken title character in Devdas, based on Sarat Chandra Chattopadhyay’s novel of the same name and directed by P.C. Barua. His songs in the film, Balam Aaye Baso Moray Man Mein and Dukh Ke Ab Din Beetat Naahi, became feverishly popular throughout the country.
Saigal picked up Bengali very well and acted in seven Bengali films, produced by New Theatres. Rabindranath Tagore first heard Saigal before giving consent for the first time to a non-Bengali singing his songs. Saigal endeared himself to the whole of Bengal through his 30 Bengali songs.
Saigal’s association with New Theatres continued to bear fruit in subsequent films that became all the rage, which created success after success with films such as Didi (Bengali)/President (Hindi) in 1937, Saathi (Bengali)/Street Singer (Hindi) in 1938, and Zindagi in 1940, with Saigal in the male lead. These films were lapped by audiences mainly for Saigal’s songs. There are a number of immortal songs of this era which form the rich heritage of film music in India. Also, it is well-known that in Street Singer, Saigal rendered the song Babul Mora live in front of the camera, even though playback was becoming the preferred method of singing songs in films.
In December 1941, Saigal moved to Bombay to work with Ranjit Movietone. Here he acted and sung in a number of hit films. His voice, music and songs took him to even greater heights. Bhakt Surdas (1942) and Tansen (1943) were huge hits during this period. The latter film is still remembered for Saigal’s amazing performance of the song Diya Jalao in Raga Deepak; in the same movie, he also sang a wonderful song “Sapta Suran,Tin … Gaa-o Saba Guni Jan” - which is about music, and is a special treat for all the lovers of music. In 1944, he returned to New Theatres to complete Meri Behen. This film contained such Saigal gems as Do Naina Matware and Ae Qatib-e-Taqdeer Mujhe Itna Bata De.
By this time, alcohol had become a predominant factor in Saigal’s life. His dependence on alcohol and begun affecting his work and his health. It was said that he could only record a song after having being fortified with liquor. He survived ten years of drinking, however, his alcoholism was too advanced for even a single attempt at abstinence, and Saigal died in his ancestral city of Jalandhar on January 18, 1947, at the age of 42. However, before his death, he was able to churn out three more hits under the baton of Naushad for the film Shahjehan (1946). These are Mere Sapnon Ki Rani, Ae Dil-e-Beqaraar Jhoom, and of course, the immortal Jab Dil Hi Toot Gaya. He released his last film, Parwana, in 1947. Saigal was survived by his wife Asha Rani (whom he married in 1935) and three children, one son and two daughters, who are, Madan Mohan, Nina (born 1937) and Bina (born 1941).
In a career of fifteen years, Saigal acted in 36 feature films - 28 in Hindi/Urdu, 7 in Bengali, and 1 in Tamil. In addition, he acted in a short comedy Hindi/Urdu film, Dulari Bibi (3 reels), released in 1933. After Saigal’s death, based on the life and times of K.L. Saigal, B.N. Sircar released a documentary film called Amar Saigal in 1955. In the film, G. Mungheri performed the title role of Saigal. The film contained 19 songs lifted from Saigal’s films. In all, Saigal rendered 185 songs which includes 142 film songs and 43 non-film songs. In the film songs category, there are 110 in Hindi/Urdu, 30 in Bengali and 2 in Tamil. In the non-film category, there are 37 in Hindi/Urdu, and 2 each in Bengali, Punjabi and Persian. His non-film songs comprise of Bhajans, Ghazals and Hori. He has rendered the creations of legendary poets such as Ghalib, Zauq, Seemab and others.
Saigal’s distinctive singing voice was so melodious and popular that he was idolized by the first generation of post-independence Bollywood playback singers, including Lata Mangeshkar, Mohammad Rafi, Mukesh, and Kishore Kumar. Even today, the name K.L. Saigal conjures up images of the great Indian singing film star of the 1930s and 1940s with the unmatched golden voice.
Karun Kya Aas Nirash Bhai
K.L. Saigal Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
आ करू क्या आस निराश भई
करू क्या आस निराश भई
करू क्या आस निराश भई
करू क्या आस निराश भई
दीया बुझे फिर से जल जाए
रात अंधेरी जाए दिन आए
दीया बुझे फिर से जल जाए
रात अंधेरी जाए दिन आए
मिटती आस है ज्योत अखियाँ की
मिटती आस है ज्योत अखियाँ की
समज गयी तो गयी
करू क्या आस निराश भई
करू क्या आस निराश भई
करू क्या आस निराश भई
जब ना किसी ने राह सुझाई
दिल से एक आवाज़ ये आई
जब ना किसी ने राह सुझाई
दिल से एक आवाज़ ये आई
हिम्मत बाँध संभल बढ़ आगे
रोक नही है कोई
हिम्मत बाँध संभल बढ़ आगे
रोक नही है कोई
कहो ना आस निराश भई
कहो ना आस निराश भई
करना होगा खून का पानी
देना होगी हर कुर्बानी
हिम्मत है इतनी तो समज ले
हिम्मत है इतनी तो समज ले
आस बँधेगी नयी
आस बँधेगी नयी
कहो ना आस निराश भई
कहो ना आस निराश भई
कहो ना आस निराश भई
करू क्या आस निराश भई
करू क्या आस निराश भई
करू क्या आस निराश भई
दीया बुझे फिर से जल जाए
रात अंधेरी जाए दिन आए
दीया बुझे फिर से जल जाए
रात अंधेरी जाए दिन आए
मिटती आस है ज्योत अखियाँ की
समज गयी तो गयी
करू क्या आस निराश भई
करू क्या आस निराश भई
करू क्या आस निराश भई
जब ना किसी ने राह सुझाई
दिल से एक आवाज़ ये आई
जब ना किसी ने राह सुझाई
दिल से एक आवाज़ ये आई
हिम्मत बाँध संभल बढ़ आगे
रोक नही है कोई
हिम्मत बाँध संभल बढ़ आगे
रोक नही है कोई
कहो ना आस निराश भई
कहो ना आस निराश भई
करना होगा खून का पानी
देना होगी हर कुर्बानी
हिम्मत है इतनी तो समज ले
हिम्मत है इतनी तो समज ले
आस बँधेगी नयी
आस बँधेगी नयी
कहो ना आस निराश भई
कहो ना आस निराश भई
कहो ना आस निराश भई
The lyrics to K.L. Saigal's song Karun Kya Aas Nirash Bhai can be interpreted as a message of hope and encouragement to those who feel hopeless and defeated. The singer asks, "What good is it to hope when we are disappointed again and again? When the flame of our lamp goes out and the night falls, what is the use of holding on to hope?" The singer suggests that our hopes and dreams, symbolized by the flame of the lamp, may seem to fade and disappear, but they continue to burn inside us.
The second stanza of the song is a call to action, encouraging the listener to take courage and move forward, even when the path seems unclear. The singer reminds us that we must be brave in the face of adversity, and that we must make sacrifices and work hard to achieve our goals. He tells us that even when we are faced with challenges and obstacles, we must never give up hope.
Ultimately, the song suggests that hope is a powerful force that can sustain us even in our darkest moments. It encourages us to believe in ourselves and to keep moving forward, even when the future seems uncertain.
Line by Line Meaning
आ करू क्या आस निराश भई
Why should I keep any hope when I am already hopeless?
दीया बुझे फिर से जल जाए
The lamp may go out, but that doesn't mean it can't be relit.
रात अंधेरी जाए दिन आए
Darkness may come, but eventually the light will return.
मिटती आस है ज्योत अखियाँ की
The hope in my eyes may fade away, but the flame inside my heart will keep burning.
समज गयी तो गयी
If you understand, great; if not, it doesn't matter.
जब ना किसी ने राह सुझाई
When no one gave directions,
हिम्मत बाँध संभल बढ़ आगे
I gathered courage and moved forward.
रोक नही है कोई
And no one can stop me.
करना होगा खून का पानी
Sometimes sacrifices must be made.
देना होगी हर कुर्बानी
And every sacrifice must be made.
हिम्मत है इतनी तो समज ले
If you have enough courage, then you can understand.
आस बँधेगी नयी
And hope will be renewed.
कहो ना आस निराश भई
Don't say you've lost hope.
Lyrics © O/B/O APRA AMCOS
Written by: ARZOO LUCKNOWI, PANKAJ MULLICK
Lyrics Licensed & Provided by LyricFind
To comment on or correct specific content, highlight it
More Genres
No Artists Found
More Artists
Load All
No Albums Found
More Albums
Load All
No Tracks Found
Genre not found
Artist not found
Album not found
Search results not found
Song not found
@vitthalshinde3001
Kundanlal Sahegal will remain in our hearts as long as Indian film industry lasts! What a great voice range he had! Even Lataji, Mukeshji,Kishorda always honoured him as their idol,favourite singer!
@manishdhokai8521
True
@akssharma6613
My father even at this age 82 sings exactly like KL saigal. He is perhaps the biggest fan of saigal saab.
@ruwaanarora8230
great
@rajkumarsaarang2274
आदरणीय के०ऐल०सहगिल हिन्दी फिल्मों की गायकी में एक युग प्रवर्तक के रुप में जाने जाते हैं. उन्हें हमारा शत शत प्रणाम 🙏
@YogendraSingh-cq5yx
Is anybody here in 2024
@ashokkumardubey8010
ये अमर संगीत है और बहुत उत्तम सन्देश है
@vikashkumar-xv4gm
MahaGuru of playback Singer ❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️
@radhavinodbose8554
प्रिय मस्तकलदंर जी,सहगल साहब को सुनना एक ऐसा एहसास है,जिसे कमसे कम ये नाचीज़ बंदा,अलफ़ाज़ों के ज़रिए बयां करने से रहा...आफ़ताब को चराग़ दिखाने से बेहतर है, हम अपने हद में रहें...हर शख़्स,जो इस धरती के मकड़जाल मे आ फंसा,उसमें एक-आध कमियों का होना लाज़मी है,जो कहीं से ग़लत नहीं,...भले ही वो सहगल साहब ही क्यों न हों!..लेकिन इस बात का अफ़सोस हम सबको तउम्र सताता रहेगा,कि प्रभु का भेजा सहगल साहब जैसा नगीना, महज़ एक कमजोरी के चलते,वक्त से पहले दुनिया से जुदा हो गए और इसी दर्द के साथ हम सब,उनके हुनर के मुरीद,एक रोज़ इस धरती से रुख़सत कर जाएंगे..सहगल साहब के ख़ास चाहने वालों के ज़िक्र मे,अक्सर,लता दीदी,रफ़ी साहब और किशोर जी का नाम ही लेते देखा गया,जो बिल्कुल सही है...उनके इलावा,मुकेश जी,सी एच आत्मा और एन एल पुरी साहब भी,सहगल साहब के विकट चाहने वालों मे से थे..बताते हैं जब मुकेश जी का,"दिल जलता है तो जलने दे..(पहली नज़र)"नग़्मा,लोगों ने सुना,उन्हें लगा यह सहगल साहब की आवाज़ है... सी.एच.आत्मा का पहला नग़्मा,"रोऊँ मैं सागर के किनारे(नगीना)",को सुनते ही लोग कह उठे,"लो सहगल साहब जी उठे..!"ऐसी थी दीवानगी सहगल साहब के लिए... ये बातें हमारे तत्कालीन बुज़ुर्गवर फ़रमा गए!हमने तानसेन, बैजू को तो नहीं सुना.. क्या वे सहगल साहब से बेहतर रहे होंगे?हमने तो जनाब उन दोनों की महफ़िलें,सहगल सहाब में देख लीं,मेरी हर तमन्ना-ए-महफ़िल,यूँ पूरी हो गई!मेरे बड़े भाई साहब ने बताया था, जब सहगल साहब का जनाजा़ जाने लगा तो तमाम लोगों को यह गाते सुना गया,"हम जी के क्या करेंगे,जब दिल ही टूट गया..! सहगल साहब के वास्ते कैसी दीवानगी रही होगी...!!!। "मस्तकलदंर साहब जी,सहगल साहब से हमें मिलाने का तहेदिल से शुक्रिया!
@kannadable
Your polished Hindustani is a bit difficult for me to negotiate, but I entirely agree with your tribute.