amay Dekona (Lucky Akhand)
Song & Lyrics:
[Chorus]
Amay Deko na ferano jabe na,
Ferari pakhi ra.. kulay fere na
[Verse 1]
Bibagi A mon Niye jonom Amar
Bibagi A mon Niye jonom Amar
Jay na Badha Amake kono
pichu Taner Mayaay
[Verse 2]
Shesh hok Ae Khela Eber er moto
Shesh hok Ae Khela Ebar er moto
Minoti kori Amake Hashi
Mukhe Biday janao
About the song & the singer:
Lucky Akhand (1948–2017) was a musical prodigy who began composing professionally at 14 for HMV Pakistan, and was enlisted as a musician for HMV India at 16. He was also an artist with Swadhin Bangla Betar Kendra, the underground radio station run by the Bangladesh government-in-exile during the 1971 Liberation War, and he later served as music director of Bangladesh's national radio network. He is remembered as a singer, lyricist, composer, and music director.
Amay Dekona" is from his self-titled debut solo album, Lucky Akhand (1984), released under Sargam, and is one of the album's most enduring tracks, alongside songs like "Agey Jodi Jantam" and "Mamonia." Akhand wrote, composed, and sang it himself.
The title translates to "Don't call me, [I] cannot be turned around." The song uses the image of a "runaway bird that doesn't return to its nest" to describe someone with a restless, wandering spirit ("bairaagi," a mind born detached or unattached) who was never meant to be tied down or pulled back by anyone. The singer asks not to be called back, insists no bond can hold them, and pleads — almost tenderly — to be let go with a smile rather than mourned, framing the parting as something that simply has to happen "this one last time," like the final round of a game that must end.
The Bengali song was built around a theme of restlessness, detachment, and voluntary departure — echoing older Baul and folk philosophical ideas about the soul's essential rootlessness (the "free bird" as a common Bengali literary and Baul metaphor for a spirit that cannot be domesticated or possessed). Rather than framing separation as tragedy imposed from outside (as in the two Monpura songs), this one frames it as the singer's own nature asserting itself — a farewell song delivered by the one leaving, not the one left behind. It's part of what made Akhand, alongside contemporaries like Ayub Bachchu and Hasan, central to shaping Bangladesh's modern pop-song vocabulary in the 1980s.
