25 years on, ‘Hridoypur’ remains close to listeners’ hearts
The year was 2000—a golden era for Bangla band music. It was during this time that the band Dalchhut released their album “Hridoypur”. Prior to this, their album “Ah!” had come out in 1997. However, it was after the release of “Hridoypur” that the band’s recognition and popularity increased manifold.
The album featured a total of 12 songs, each outstanding in terms of lyrical depth. Alongside this lyrical strength, the compositions introduced a distinct musical dimension. Sanjeeb Chowdhury and Bappa Mazumder did not follow the conventional path of rock music. Instead, they rooted their work firmly in the melody of Bangla songs, blending it with elements of pop and folk. At times, this fusion was further enriched with touches of soft or mellow rock.
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In Shah Abdul Karim’s song “Gari Chole Na”, an exquisite blend of pop and folk comes together seamlessly. At the time of its release, the song gained immense popularity and quickly became a household favourite—a status it continues to enjoy even today. Listeners still hum its lines, “Choriya manobgari / jaitasilam bondhur bari / moddhopothe theklo gari / upaybuddhi mile na”. Friends continue to sing it during their casual gatherings.
On the other hand, Bappa Mazumder’s “Bazi”, a soft rock number, struck a deep chord with young listeners and also became widely popular. Similarly, “Joler Dame”, sung by Bappa, still resonates deeply with lonely hearts. Lines such as “Ekhon emon keu nei je amar / andhar ele khule debe duar” reflect the emotional reality of urban life—where, in a profit-driven world, we often end our days carrying precisely this sense of isolation.
Songs like “Brishti” and “Gachh” are marked by profound emotional depth. Written by Sheikh Rana, these two songs soothe the mind and transport listeners into an intimate, contemplative world. The feeling they evoke is beyond easy explanation. In “Gachh”, the lyrics paint a vivid picture,
“Khola akash, ekti gachh / shobuj pata, ekti gachh / smritir brikkho, patara jane nijer chash-bash / koto je kotha, eituku gachh / koto je kanna, eituku gachh / ekta shomoyer kichhu chinho / dag kete jay, kothay jeno / ekti gachh.”
In “Chander Jonno Gaan”, when Sanjeeb sings, “Amake ondho kore diyechhilo chad / amake nishsho kore diyechhilo chad”, it creates an almost ethereal experience. Here, the moon is not merely literal—it could represent a beloved, the light of someone’s life, or even a distant figure whom we admire from afar throughout our lives but never truly reach.
The song “Shobuj Jokhon” offers a different kind of freshness, infused with a light jazz flavour. Both Bappa and Sanjeeb lent their voices to this track, creating a unique vibrancy.
“Nouka Bhromon” carries a festive spirit, filled with joyful memories and a yearning to escape mechanical, urban life in search of closeness with nature.
“Cholo Bubaijaan” speaks of the lives of labourers in this country. Sung in a pop-folk style, the song narrates the eternal struggles of workers and rural people. Yet it does so in a simple, accessible manner, making it easy for everyone to understand. Lines such as, “Radiote khobor dichhe, deshe kono obhab nai / Lailar ghore Kailar ghore anonder ar shima nai / Joishyar maa koy Kaisyar maare, amra kichhu bujhi na / o na na amra kichhu bujhi na / chairman shabe bogol bajan, amra kintu dekchhi na”
remain perpetually relevant.
“Antorjatik Bhikkha Shongit” presents a poignant portrayal of a beggar’s life, cloaked in humour and satire. Lines like, “Allahr wastey duida bhikkha den go maa / ami ondho fokir baba, chokhe dekhi na habagoba / bhanga ladi, fuda thala / hatey hariken, pithe jhola / Allahr wastey duida bhikkha den go maa” expose deep-rooted social and state-level inequalities, while simultaneously offering sharp irony in response to them.
“Amar Shontan”, written by Sanjeeb Chowdhury and sung by Bappa, opens a window to self-discovery. “Pahar theke pathor kurai, sagor theke hawa / amar shontan she to tomar kachhe pawa”—these lines stand as a powerful symbol of finding one’s inner self and the journey of self-construction. The use of blues notes in the composition further sets the song apart.
Special mention must be made of “Ami Tomakei Bole Debo”, written and sung by Sanjeeb Chowdhury. Even today, it is considered one of Dalchhut’s finest—and perhaps most popular—songs.
In this mellow rock track, lyrics, melody and vocal delivery come together in perfect harmony. Lines such as “Ami kauke bolini she nam / keu jane na, na jane aral” or “Tumi kannar rong, tumi jochhonar chhaya” showcase Sanjeeb’s remarkable imagery, firmly establishing him as a poet of exceptional calibre.
Released in 2000 under the Soundtek banner, “Hridoypur” has now completed 25 years. Yet, even after all these years, its songs remain vibrant and alive. These evergreen tracks continue to stay close to listeners’ souls—and will undoubtedly do so for many, many years to come.
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