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This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in If this article appears in sites like and etc then it is piracy of the copyright content of and is a punishable offence under the existing laws.


Private life of a celebrity has always been a matter of curiosity for the common man and if the celebrity is from the show world like films ,then there is all attempts to dig out the ‘ behind the scene’ stories about the famous people.

In the early era, the female artistes were from the courtesan or the singing families. The males too were not much educated. Thus there were many cases of illicit relationships and children out of wed locks. For the rich producers, having an ‘extra facility’ was a matter of a few thousands. In those days the social medias and the film magazines were not common hence such matters hardly came into the open. The insiders, however, knew many stories. few personalities like actor Shyam, Rafiq Ghaznavi, Prem Adeeb,C.Ramchandra were some of the artistes who were claimed to be involved in ‘ extra-curricular activities ‘. So were some Producers and Directors.

When careers are on the rise,talents are bright and the work is extraordinary, it hardly matters what the artistes do in their private lives. People are happy with their work. Yesteryear Actor,Singer and Music Director RAFIQ GHAZANAVI was one such person.

Rafiq was a singer from his school days and he became famous by the time he completed his Matriculation. He had learn music from a blind expert. He was called by H.M.V. to Lucknow and several records were made of his songs. He completed his graduation. He was an expert in Hindi, Urdu, English, Punjabi, Pushtu and Afghan Persian languages fluently. he was a voracious reader of English books. He edited a magazine “Raavee”. His stage shows were always housefull. He was honoured by the American Art Society with a Gold Medal. He was famous in the art circles of Lahore.

His first film as a composer was ” Pavitra Ganga”-1932. Then came Prithviraj Sanyogita-33 and Deewaani-34 etc. He was a good friend of producer Director Mehboob Khan. The voice accompanying the Mehboob Productions Logo is that of Rafiq Ghazanavi, “Muddai lakh bura chaahe to kya hota hai, wohi hota hai jo manzoor-e-Khuda hota hai”. The famous Logo consisted of a Hammer and Sickle, indicating the socialistic inclination of Mehboob Khan, who was a great follower of Pandit Nehru’s idealogy. When 14 year old Nargis was offered the heroine’s role in Mehboob’s ” Taqdeer ” the music was entrusted to Rafiq Ghaznavi. Shamshad Begum was brought from Lahore specially to sing her first songs in Bombay for “Taqdeer” and Rafiq Ghaznavi was directing her songs.

Famous writer Saadat Hasan Manto, in his book “Stars from another sky “, had devoted a full chapter to Rafiq. Manto, in his inimitable style has described all his ‘extra ‘ activities in details,as he was an observer for most of them. Rafiq was tall and handsome and had the magical quality to attract women. Wine and women were his weaknesses. But there was much more to Rafiq than only running after lowly women. He was never a one woman man. He had married 3 sisters, one after another, but never remained faithful to any one of them. As far as his music was concerned, he was very strict and never mixed these two things. He always tried to give his best in every film. Here is a short Bio from a Pakistani source-

” Born to an enlightened family in 1907, in Rawalpindi, Rafiq Ghaznavi was full of life since his earliest days. He passed his childhood amidst scenic, natural beauty, surrounded by mountains, valleys and lakes.

After receiving his matriculation examination degree, Rafiq Ghaznavi moved to Lahore. In Lahore, he completed his intermediate examination from Islamia College, Lahore. Then he graduated from the Punjab University in 1933.

During those days if a handsome, enthusiastic young man was endowed with acting talents, he was more inclined towards the glamorous movie business. Rafiq Ghaznavi was no exception. Let us go seventy-five years back in time and see how movies were made in that time period.

Those were the days of silent movies. Though the vocal film ‘Alam Ara’ was released in 1931, still silent movies were in vogue for quite sometime, just like black and white movies continued to flood the market after the advent of color movies.

Visionary movie director, Mian A.R. Kardar, is considered the discoverer or ‘Columbus’ of the Lahore film industry. Moved by Rafiq Ghaznavi’s powerful voice and good looks, Kardar signed him as hero for his silent movie, ‘Brave heart’, while the latter was studying in college.

Thus, Rafiq Ghaznavi debuted in the film ‘Brave heart’ in 1931 at the age of twenty-four. Soon Rafiq Ghaznavi began to outlive his town and his time while his companions were thinking what to make of their lives.

Perhaps, Rafiq Ghaznavi was one of Indo-Pak sub-continent’s most admirable, attractive, capable, good-natured, handsome and happy-go-lucky artists to grace films. He attained enormous respect and renown because of his versatility.

Director A.R. Kardar, on the other hand, made his first talking film, ‘Hoor Punjab’ in 1932. Later, he changed its name to ‘Heer Ranjha’ and it was released under the banner of Play art photo tone.

Handsome, as Rafiq Ghaznavi was, Kardar picked him up for the romantic lead role of ‘Ranjha.’ While actress Anwari played the lead romantic role of ‘Heer Seyaal’. Additionally, Rafiq Ghaznavi composed music and lent his impressive voice to all the songs. Hence, he was the hero-composer-singer in the film ‘Heer Ranjha.’ Since all the songs were pictured on him he was also the singing star.

In private gatherings, Rafiq Ghaznavi often said that whether it is a beautiful face or a lilting voice, gorgeous dress or demeanor, wonderful environment or a great moment, tasty food or an interesting conversation, one should always live to the fullest and makes life easier for others. He himself was a great talker an optimist, and expected others to talk and think positively.

After working in ‘Heer Ranjha’, Rafiq Ghaznavi migrated to Bombay and worked diligently for the Bombay film industry. Meanwhile, a world of new ideas had taken shape in an all-new era, as Rafiq Ghaznavi appeared in ‘Bharat movies’ film ‘Roshan Ara’, directed by G.R. Sethi.

Rafiq Ghaznavi was acclaimed for his character and music in director Shanti Dev’s movie ‘Jawani deewani’, which was released under the banner of Junaid pictures.

He eventually attained stardom with his convincing part in movies like ‘Samaaj ki bhool’, directed by Somi Master, and released under the banner of Imperial Film Company.

Rafiq Ghaznavi was doubtlessly a high-energy, first-rank film star, though; through his acting he exudes an old world formality. He acted in the film ‘Behan ka prem’ and composed the songs as well. It was released under the banner of Prosperity Film Company.

Though Rafiq Ghaznavi was the actor-director-composer in the film ‘Prem pujari’ such was the versatility of the man and his artistry. His best subject was music, which he anatomized in movies. ‘Prem pujari’ was released under the banner of Junaid pictures in 1935.

Essentially, Rafiq Ghaznavi was a lovable man whose hatred of hypocrisy was legendary. He learned a lot from his colleagues. But he was his own man, always. He was such a smart actor.

Below are examples of his intelligent acting-
‘Ghulam daku’, ‘Lail o nahaar’, Mere laal,Prem bazaar,Do auraten,Us ne kya socha,Bhaedi trishool,Kis ke liye,Chalti duniya,Chal chal re naujawan,Shyam savere,Manjhadhar,Pavitra ganga,Sanyogita,kala Naag,kaun kisi ka,Sitara,bahu Rani,Apni nagariya,Sikandar e azam, Prithvi Vallabh etc.

Most definitely, Rafiq Ghaznavi’s career was magnified with the coming of sound and he thrived in the new talkie age. Basically, he was a party-hearty man and his scrumptious personality added flavor to the stew. Besides, his vast experience in the films also added credibility to his performance. Below are three more movies in which he acted and also composed music:
The Minerva Movie tones film ‘Aik din ka Sultan’, director, Sohrab Modi.
The Sarko productions film, Swami, director, A.R. Kardar.
The Hindustan pictures film ‘Kajack’, director, Nazeer.

A lover of laughter, Rafiq Ghaznavi was not witty or humorous in only single instances or small quantities. He was full of mirth and fun. His was a gallant soul. The two movies below proved both their breadth and depth:

The Hindustan pictures film ‘Society’, director, Nazeer.
The Hindustan pictures film ‘Laila Majnu’, director, Nazeer, assistant director, Shareef Nayyar.

Like the character he played in the film ‘Mazaaq’, Rafiq Ghaznavi was a genuine actor, triumphing over roles in movies like ‘Najma’ and adding zest to such great films like ‘Taqdeer’ and ‘Nadaan’ in 1943.

The film ‘Mazaaq’ was released by Zahoor Raja’s film production, Raja Modi tone.
The film ‘Najma’ was the first Muslim social film directed by Mehboob Khan and released by Mehboob Productions.
Mehboob Khan directed the film ‘Taqdeer’.

In some ways, Rafiq Ghaznavi’s character is just as deluded and committed to his art as possibly it could be. A quick example is director Shaukat Husain Rizvi’s film ‘Naukar.’ It was released by V.M. Viyas’s film production, ‘Sun Rise pictures.’

After partition, Rafiq Ghaznavi migrated to Lahore. Later, he moved to Karachi. In Pakistan, he composed music for director Ashfaq Malik’s film ‘Pervaaz’ and director Aziz Ahmed’s film ‘Mandi.’ Next, he joined Radio Pakistan and dedicated himself whole-heartedly to the cause of Radio programs.

Dwelling on his personal life, Rafiq Ghaznavi married film actress Zehra and had a daughter, Shahina, from her. Shahina grew up and made her mark as an actress in movies like ‘Beli’, ‘Nigar’, ‘Aankh ka nasha’, ‘Bharosa’, and ‘Intiqaam.’

Rafiq Ghaznavi also had a son, Murad, from his first wife, Zehra. In due course of time, Rafiq Ghaznavi divorced Zehra. She married director A.M. Mirza and was known as Zehra Mirza.

Actress Anwari was the second wife of Rafiq Ghaznavi with whom he had a daughter, Zarina Agha. Later, Zarina changed her name to Nasreen and worked in director A.R. Kardar’s movie, ‘Shah Jehan’ and Daud Chand’s movie, ‘Aik Roaz.’
After Rafiq left Anwaribai, she married Jugal Kishore Mehra ( Raj kapoor’s Mama), who converted to Islam and became Ahmed Salman. He was also the director of Radio Pakistan. He adopted Nasreen and got her married to Agha Liyaqat Gul Tajik. He settled in London doing Diamond business.

Further, Nasreen Agha’s daughter, Salma Agha, achieved great name and fame as a singing star.

Actress Anu Radha, whose real name was Khursheed Akhtar, was the third wife of Rafiq Ghaznavi, with whom he had a son, Ayaz Mehmood. Furthermore, one of Rafiq Ghaznavi’s daughter married popular writer-director, Zia Sarhadi. Zia Sarhadi’s two sons, Khayam Sarhadi and Bilal Sarhadi attained fame in show business.

Interestingly enough, all three wives of Rafiq Ghaznavi were real sisters and they hailed from Amritsar.

Rafiq Ghaznavi, who was such a charismatic figure, a talented composer of the highest grade and a visionary, passed in 1974, in Karachi, at the age of sixty-seven. “

Today’s song is sung by Rafiq Ghaznavi and Menakabai. Menakabai was born in 1915 at Lahore in a professional singer family. Those days,such girls could easily enter films. Her debut was with ‘Bhedi Raajkumar’-34, a film by Saraswati Cinetone, Poona and the MD was Annasaheb Mainkar. After singing in Pyara Dushman, Krishna Shishtai, Sunehra Sansar etc, she joined Minerva movietone and sang in films like Pukar, Bharosa Main Haari, Sikander, Phir Milenge, Prithvi Vallabh, Bhakta Raidas, Dr Kumar, Sapera, Paak Daaman, Ulti Ganga etc. Her last film was Gul Bakavali-47. In the wave of new female playback singers she was pushed out and forgotten.

This song is shot on Meena and actor Al Nasir. This Meena is same ” Lara lappa girl “, but she had not yet become Meena Shorey. This was only her second film in Minerva Movietone. Her name was Khursheed Jehaan which was changed to Meena by Sohrab Modi. Her “Riches to rags” story was given by me in the earlier song of Prithvi Vallabh ,so I am not repeating here.

Let us now enjoy this duet from a talented singer/composer Rafiq Ghaznavi and Menakabai, shot on Meena and Al Nasir on screen. Rafiq and Al Nasir migrated to Pakistan after Partition and Meena in the 50s.

Song-Panchhi ud chal apne desh (Prithhvi Vallabh)(1943) Singers-Rafiq Ghaznavi, Menaka Bai, Lyrics-Pt Sudarshan, MD-Rafiq Ghaznavi


ud chal apne desh
ud chal apne desh
ud chal apne desh
ud chal apne desh

apne desh ki tujhko dhun hai
tere desh mein kya kya gun hai
jiski khaatir tujhko panchhi ee ee
jiski khaatir tujhko panchhi ee ee
bura lage pardes
bura lage pardes
kaisa tera des
kaisa tera des

mere desh ki ajab adaayen
mere desh ki door balaaye
mera desh hai swarg ka tukda aa aa
mera desh hai sawarg ka tukda aa
phoole phale hamesh
phoole phale hamesh
ud chal apne desh
ud chal apne desh

raste mein sankat aayenge
pag pag par bhay dikhlaayenge
raste mein sankat aayenge
pag pag par bhay dikhlaayenge

hum panchhi parchaayin bankar
hum panchhi parchaayin bankar
oopar se ud jaayenge
oopar se ud jaayenge
madad karenge dev hamare ae ae
madad karenge dev hamare ae ae
Brahma Vishnu Mahesh
Brahma Vishnu Mahesh
ud chal apne desh
ud chal apne desh
ud chal apne desh
ud chal apne desh

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This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in If this article appears in sites like and etc then it is piracy of the copyright content of and is a punishable offence under the existing laws.


When I was planning this series about composers who opted for Pakistan,I was wondering,why must have people prepared to shift to unknown locations,when obviously there was so much opportunity here in India ?

If one considers the atmosphere during the Partition,it was natural that some people gave weightage to things other than their careers. The First and overpowering reason could be to go to a place which would be exclusively theirs, and where they would be in a majority. Secondly, few must have thought of greater opportunities in a New country where everything had to start from scratch. Thirdly, specially for the composers, they found very keen competition in India, having established composers around, like Khemchand Prakash, Naushad, C.Ramchandra, Pt.Amarnath, Husnlal Bhagatram, Shyamsunder, Bulo C Rani, Vinod etc etc. It was easier to shine and get established in a maiden field. Whatever the reasons, Partition did take away a sizable chunk off the film industry. India being a vast country, there was no dearth of talent here and the void was filled up without delay.

Today we will talk about Master Ghulam Haider, who had changed the face of HFM, with the history making music to Khazanchi-41. Till Khazanchi-41 happened, the Hindi films were under the influence of Marathi, Parsi and Gujarati Natya sangeet and classical singing. Hindi films from Calcutta were heavily influenced by Rabindra Sangeet. People listening to this brand of music for almost a decade were now fed up and they craved for something new. Khazanchi music brought the Punjabi theka and zest into hindi film music and then there was no looking back, because the audience immediately lapped it up.

Master Ghulam Haider was also known for discovring hidden talents, developing them and using them for HFM. Singers like Umrao Zia Begum, Shamshad Begum, Noorjehan, Lata Mangeshkar, Mohd.Rafi and Surinder Kaur are examples of talents discovered, nurtured and presented by him. Though these singers were already singing songs, Masterji gave them All India exposure and helped them establish their careers. Shri Harjaap Singh ji says in his article:

” Born, brought up and trained in Amritsar, Master Ghulam Haider became the first iconic music director of Punjab. Before him Rafiq Ghaznavi and Ustad Jhande Khan entered the field of music direction, but they quickly left Lahore to explore the greener pastures of Bombay. Ghulam Haider established himself as a popular film music director in Lahore between 1934 and 1944 and after attaining stardom he moved to Bombay. Ghulam Haider was considered a great discoverer of vocal musical talent. His first discovery was Umrao-Zia Begum, a singing actress, who later on became his better half. In 1939, Ghulam Haider discovered a child singing sensation Noor Jehan while composing the music of a Punjabi film ‘Gul Bakawli’. He had heard the versatile voice of a radio singer Shamshad Begum and featured her voice in the 1940 blockbuster Punjabi comedy ‘Yamla Jatt’. In 1943, Ghulam Haider spotted two more great voices of Muhammad Rafi and Surinder Kaur. His fame in Lahore took him to Bombay.

But, Ghulam Haider’s biggest discovery of singing sensations was in Lata Mangeshkar, whom he discovered not in Lahore, but in 1947 in Bombay. It was a chance meeting between a future singer and a brilliant talent hunter. Like everyone else high and low, while commuting between one recording studio and another in Bombay’s famous electric railway, Master Ghulam Haider saw a frail and anaemic looking female teenager mumbling something, perhaps in Marathi. The voice appeared to be very shrill and sweet. Ghulam Haider asked her to sing on his tune. He quickly improvised a tune and asked the girl to sing. The girl rendered the raw tune quite proficiently. An obviously elated Ghulam Haider introduced himself as a music director and asked the girl to show up on a given day for an audition in one of the recording studios. The excited girl reached the studio much before time and waited patiently for her turn. The audition went off smoothly and the girl was approved as a playback singer. The teenager was none other than the famous icon Lata Mangeshkar. This is how the honour of discovering India’s most brilliant and most prolific singer Lata Mangeshkar went to a music director from Lahore.

Ghulam Haider shared the news of his new discovery with two other great composers of film music Anil Biswas and Khem Chand Prakash. Soon the word of mouth spread in Tinsel Town and the first set of music directors who came forward to groom Lata as a playback singer included mostly Punjabis, who had migrated to Bombay from Lahore during the 1940s. “

It was Master ji who took Lata to S Mukherjee of Filmistan for songs of Shaheed, but Mukherjee rejected Lata. Master ji told Mukherjee,”one day you and all the industry will run after her,remember this.” From there, going with Lata to Goregaon station to board a train for Malad (to go to Bombay Talkies studios), Master ji used his 555 cigarette tin for tapping and Lata sang a tune on that music. This song was “Dil mera toda” from film Majboor-48.

Many write ups and articles are available on sites and internet about the Biography of Master Ghulam Haider, but I will not use them in this series, instead I will borrow from Pakistani articles and sites,so that we get a different perspective on the personality and also know how they fared in Pakistan, after leaving India.

Master Ghulam Haider was born in 1908 in Hyderabad, Sind, Pakistan. After passing his intermediate examination, Ghulam Haider took admission in the college of dentistry. However, he left his dentistry education incomplete because of his aptitude for music.

Ghulam Haider took music lessons from honorific ustaad, Babu Ganesh Lal. During those days, it was a matter of great honor and privilege for a musician to be hired by a gramophone company. Ghulam Haider landed a job of a harmonium player in the Alfred theatrical company in Calcutta, India.

After a while, Ghulam Haider was hired as a musician in the Alexandra theatrical company. Later, he worked for the Jeno phone recording company as a music composer.

A singing- star by the name of Umra-o-Zia Begum was the talk of the town in those exciting times. In fact, she was renowned for her melodious voice than as a film actress. Further, she earned the title of ‘Bulbul Hazaar Dastaan’ from the music buffs.

Ghulam Haider composed music for Umra-o-Zia Begum and recorded songs and ghazals in her voice. Her name appeared on the gramophone records as well. Perhaps, Umra-o-Zia Begum’s greatest achievement was the recitation of one of the most popular Naat, ‘Yathrib ko janay walay mera paigham lay ja’, composed by Ghulam Haider.

Ghulam Haider debuted as a music composer in a 1935 movie, ‘Swarg ki seedhi’, in which Umra-o-Zia Begum was also cast in a major role. ‘Swarg ki seedhi’ was released under the banner of National Modi Tone, Lahore and directed by Syed Imtiaz Ali Taj.

With the passage of time, Ghulam Haider and Umra-o-Zia Begum developed immense love and understanding for each other, which reached its peak during the movie shoot of ‘Swarg ki seedhi’. Ghulam Haider, who worked for Pancholi Art pictures at that time, soon married Umra-o-Zia Begum.

After marrying Ghulam Haider, Umra-o-Zia Begum said farewell to the show business. She was never seen again even in a public gathering. Reverting to Ghulam Haider’s music, he was more then just a music composer. He was the embodiment of soul and passion in music.

In the year 1935, Ghulam Haider also composed songs for director Roshan Lal Shori’s film ‘Majnu’, which was released under the banner of Kamla Modi Tone.
Ghulam Haider came out distinctly powerful in the song ‘Ray Aaj mein hoash ruba day saaqi khoon kar kay katora pila day’, composer, Ghulam Haider, film, ‘Majnu.’
He contributed wholesomely to each of his musical piece to what is now known as the best of Ghulam Haider.

Ghulam Haider raised the status of fellow music composers in those days. He insisted on huge sum of money for his compositions. The filmmakers agreed to his demand. Ghulam Haider’s big break came in 1939 when he composed songs for D.M.Pancholi’s Punjabi film, ‘Gul Bakawli’, which was released under the banner of Pancholi Art Pictures and directed by Barkat Mehra.

Seth Dilsikh M.Pancholi had invited Syed Shaukat Husain Rizvi from Maiden Theater, Calcutta, to Lahore for the inauguration of ‘Gul Bakawli.’

He also composed songs for Noor Jehan’s 1939 Punjabi film ‘Sassi Pannu.’

Ghulam Haider’s genius in succeeding was largely due to patience, self-discipline, rationality and inner resolve. Ghulam Haider composed songs for the 1940 Punjabi film ‘Yamla Jatt’, which was released under the banner of ‘Pancholi Art Pictures.

Ghulam Haider’s breathtaking command on tempo and rhythm made him the most sought-after composer in the 1940s and early 1950s. As time passed by, Ghulam Haider’s music played more forcefully and energetically.

One of his considerable achievements was the 1941 film ‘Khazanchi’. In reality, ‘Khazanchi’ was the first Indian film in which Ghulam Haider had introduced the sound of ‘Dholak’, which enhanced the quality of the song. ‘Khazanchi’ was also the singing debut of Shamshad Begum. Prior to that, Shamshad Begum had been rendering songs for the gramophone company.

Ghulam Haider was that one composer who excelled at all the attributes. Moreover, he devoted much of his time to invent tunes. Ghulam Haider’s compositions for the 1941 Punjabi film ‘Chaudhry’ was the melody of a grateful heart. With hope and belief in him, Ghulam Haider composed music for the film ‘Chaudhry.’
The first Muslim social film ‘Khandaan’ was released in 1942. Incidentally, ‘Khandaan’ was also the first film of Noor Jehan as lead actress and the directional debut of Syed Shaukat Husain Rizvi.

Ghulam Haider used his skill to invigorate every musician who shared the stage with him. Director Barkat Mehra’s film ‘Sehti Murad’ was released under the banner of ‘Nadiran India Pictures.’ Ghulam Haider composed its music.

The believability and humanity in Ghulam Haider’s music was powerfully manifested in the 1942 film ‘Zamindar’. It was a feeling Ghulam Haider had given to millions of music lovers. ‘Zamindar’ was directed by Moti B. Gadvani and released under the banner of ‘Pancholi Art Pictures.’

It seemed Ghulam Haider knew just how to create magnificent musical masterpieces. He composed songs for the film ‘Bhai’, which was released under the banner of ‘Karavan Pictures’ and directed by K.D.Mehra. For the first time in ‘Bhai,’ Ghulam Haider recorded songs in the voice of Naseem Akhtar. Naseem Akhtar’s two elder sisters, Sardar Akhtar and Bahar Akhtar happened to be the wives of renowned Indian film directors, Mehboob Khan and Kardaar respectively.

Ghulam Haider had the savvy to motivate the singers. Additionally, he reached the pinnacle by following his own instincts. He composed music for director Vishnu Pancholi’s 1943 film, ‘Poonji.’

As a music composer, Ghulam Haider took great interest in his profession. He composed songs for director K. Asif’s 1944 film, ‘Phool.’

The attraction and the lasting effect of Ghulam Haider’s songs are reflected in the sweetness of his music compositions. Included in the list of illustrious films are the four below:

Director Gayan Mukherjee’s 1944 film ‘Chal chal ray naujawan.’
The film ‘Bairam Khan.’
Director Sibtain Fazli’s film ‘Shama’ which was released under the banner of Minerva Modi Tone.
Director Sibtain Fazli’s film ‘Mehendi.’

His efforts took on a new intensity and Ghulam Haider proved his worth in the music scene. The ability of the man and his music really hit home. Ghulam Haider’s music in the three films below can evoke so many memories:

Director M. Sadiq’s film ‘Jag beeti.’
Director Sohrab Modi’s film ‘Manjdhaar’, which was released under the banner of ‘Minerva Modi Tone. Ghulam Haider and Gayan Dutt composed its songs.
Director Afzal Jahangir’s film ‘Buth Tarash.’

Ghulam Haider moved to Bombay in 1944. Later he composed songs for director Mehboob Khan’s 1945 film ‘Humayun’, which was released under the banner of ‘Filmistan limited.’ Ghulam Haider composed the song ‘Naina bhar Aaye naar’ for the film ‘Humayun.’

Lata Mangeshkar’s big break came in director Nazeer Ajmeri’s 1948 film ‘Majboor’, which was released under the banner of ‘Bombay Talkies.’ Ghulam Haider composed the song, ‘Mera dil tora’ in the voice of Lata Mangeshkar for the film ‘Majboor.’ Another popular song from ‘Majboor’ was ‘Angrezi chora chala gaya, wo gora, gora, chala gaya.’

Ghulam Haider also availed Lata Mangeshkar’s voice for the 1948 film ‘Padmini.’

The Listeners were spellbound as sure, poignant strains of Ghulam Haider’s melody emerged in director S. Mukherjee’s 1948 movie, ‘Shaheed.’ It was released under the banner of ‘Filmistan limited.’

Dedicated composer, Ghulam Haider, also composed music for director Krishin Kumar’s 1949 film ‘Kaneez.’

Afterwards, Ghulam Haider returned to Lahore and established ‘Film Saaz’ along with director S. Nazir Ajmeri and actor S. Gul. Also, in Lahore, Ghulam Haider worked with Roshan Lal Shorey and his son, Roop Kishore Shorey.

‘Shahida’ was the first Urdu film of Ghulam Haider in Pakistan, which was released in 1949.

Ghulam Haider also composed songs for the four Pakistani movies, ‘Bay Qarar’, ‘Akeli’, ‘Bheegi Palkain’ and ‘Ghulam.’

After the film ‘Khandaan’, Ghulam Haider and Noor Jehan once again worked together for the film ‘Gulnar.’ Moreover, Noor Jehan also starred in the film ‘Laila.’
Ghulam Haider passed away on November 9, 1953, in Lahore, soon after the release of the film ‘Gulnar.’ He was forty-five years of age.

Umrao Zia Begum was not only a great human but an affectionate mother who possessed enormous foresightedness as well.

Ghulam Haider’s demise happened to be a tremendous setback for his beloved wife, Umrao Zia Begum, who was much younger to her husband. However, she did not lose heart. Instead, she devoted herself wholeheartedly to the upbringing of her children.

She left no stone unturned to provide her children the best possible education available at the time. Consequently, all her children grew up and achieved name and fame in their respective fields.

Most importantly, Umrao Zia Begum thanked God to see her relentless efforts come to fruition.

Years later, Umrao Zia Begum breathed her last in the ‘Stork House,’ Bahawalpur, which was the official residence of her younger son, who was the General Officer Commanding in Bahawalpur in those days. She was laid to rest in the Military Graveyard, Cavalry Ground, Lahore. ” (Thanks to an article on Pakistaniyat).

From 1934 to 1944 master ji was in lahore. After Poonji, he came to Bombay, but met Lata very late. This actually prevented him from using her voice for more films, since he migrated in 1947. Lata sang only 8 songs in 3 films for him- Majboor, Mehandi and Padmini. When Master Ghulam Haider left india 3 of his films were incomplete. Kaneez-49 was completed by hansraj Behl,Putli-50 was completed by Aziz Hindi and Aabshar which was released in 1953-after his death- was completed by Mohd.Shafi and Bhola Shreshtha.

Today’s song, ” Bedard tere dard ko ” from Padmini-48, was actually recorded for ‘ Mehendi ‘- but used in Majboor. This was the last song he recorded for Lata before leaving for Pakistan. Noted writer Harish Bhimani,in his book ‘ In search of Lata Mangeshkar ‘ has written about this song recording, how Lata waited for 8 hours, without food or even a cup of Tea (due to an upset stomach), and how Master ji was shocked to find her there since he had forgotten that he had called her there for recording a song ! This is what Lata herself said about this song:

” In 1947, I received a message from Masterji, Ghulam Haider. “One song needs to be recorded, come as early as possible.”
As it was night, I was accompanied to the studio by my cousin. Masterji was in a hurry as he had to leave for Pakistan. The recording lasted through the night. I was awaiting my turn on a bench in a corner.

Finally, at the stroke of dawn, Masterji called me. He played the tune on the piano. He was a master piano player. Then I sang his song, Bedard tere dard ko. It was past 8:30 AM by that time. Those days one had to sing the entire song with the orchestra without committing a single mistake and hence was a strenuous exercise.

Masterji recommended me for the film Shaheed to Filmistan’s Mukherjee. He rejected me, reasoning that my voice was too thin. Masterji told him that day, “You are rejecting her now, but one day will arrive when the entire industry will spread a red carpet for this girl.”

The prophecy of Masterji turned out to be true. The songs of Andaaz, Barsaat, Badi Behan, Mahal were gaining popularity every passing day.

One day, I received a call from Masterji from Pakistan. He used to refer me as ‘Memsahib’. He said, “Memsahib, I had told you, people will never forget you, and you will not forget me either!”

Then one day, Noorjahan called me, Masterji was suffering from cancer.

The last song that Masterji recorded with me is the one closest to me. “

Let us enjoy this much touted song today,composed by Master Ghulam Haider and sung by an young Lata Mangeshkar. Lyrics are written by Wali Sahab.

Song-Bedard tere dard ko seene se lagaa ke (Padmini)(1948) Singer-Lata, Lyrics-Wali Sahab, MD-Ghulam Haider


Bedard tere dard ko seene se lagaa ke ae
ro lenge tasavvur mein tujhe paas bithhaa ke
bedard tere dard ko seene se lagaa ke ae
ro lenge tasavvur mein tujhe paas bithhaa ke

jab door thhi unse main bahut paas thhi unke
kyun door kiyaa thhaa yoon mujhe paas bulaa ke
bedard tere dard ko seene se lagaa ke ae
ro lenge tasavvur mein tujhe paas bithhaa ke

barbaad bhi hoke na karenge teraa shiqwaa
aa aa aa aa aa
barbaad bhi hoke na karenge teraa shiqwaa aa
hans lenge gaye waqt ko ham saamne laa ke
bedard tere dard ko seene se lagaa ke ae
ro lenge tasavvur mein tujhe paas bithhaa ke

thandak unhen milti hai agar meri jalan se
thandak unhen milti hai agar meri jalan se
dekhoongi tamaasha main bhare ghar ko jalaa ke
bedard tere dard ko seene se lagaa ke ae
ro lege tasavvur mein tujhe paas bithhaa ke

This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in If this article appears in sites like and etc then it is piracy of the copyright content of and is a punishable offence under the existing laws.

” GEMS FROM THE MIGRATORS “…….Song No. 1 (New Series).

Pakistan and India are two hostile neighbours in the South Asian Region, who vie with each other in a few fields. A great deal of excitement gets generated on either side of the border whenever the national teams to the two countries face off in cricket (these days) and Hockey (in the past).

But the one field in which India undoubtedly surpasses all other countries in the region, including Pakistan, is showbiz. In fact, India produces more films than even Hollywood while Pakistan’s film industry is yet to make even a mark in the region.

History provides some explanation for this contrast. In undivided India, Lahore (then in the Punjab) was important as a showbiz centre. It had an established film-making centre. The first film ever to be made in a Lahore studio was Delhi Express (1935) and thereafter many Urdu and Punjabi films were produced from Lahore every year. The partition of India into two independent states – India and Pakistan, caused irreparable damage to film production in Lahore. Most of Lahore’s film producers were Hindus and as the city fell on the side of the Islamic state of Pakistan, they migrated to India. This deprived Lollywood, as Lahore is referred to in film circles, of much needed investment and expertise in film production and distribution.

LAHORE an important city in the undivided Punjab in the pre-independence days was one of the major Film making Centres in India. Talented actors and musicians from all Punjab and Sindh area tried their luck in the Cine Industry at Lahore. Nevertheless, the biggest centre of film production was Bombay and it was every aspiring artiste’s dream to go to Bombay and shine there.

The film activity at Lahore increased considerably in the early 40s in terms of film production and Music. Those days Lahore was called ”a supply source” for Bombay, as many actors and musicians shifted their base to Bombay from there. The list of such people is very long, but it will suffice to mention some well known names-
Noorjehan Pran, Saigal, Prithwiraj Kapoor and his sons, Shyam, Dilip Kumar, Surinder, Karan Dewan, Dev Anand, Balraj Sahni, Singer Khursheed, Mumtaz Shanti, Veena, Begum Para, Meena Shorey, Suraiya, Manorama, Kamini Kaushal, Shyama(Khursheed Akhtar), A R Kardar, M Sadiq, Suresh(Nazim Ahmed), Amar, Chetan Anand, Zande Khan, Ghulam Hyder, Pt.Amarnath and his brothers Husnlal-Bhagatram, Hansraj Behl, S.Mohinder, Firoz Nizami, Khursheed Anwar, Khayyam, Vinod, Shyamsunder, Kidar Sharma, Krishna Chander, O P Dutta, Saadat Hasan Manto, Qamar Jalalabadi, D N Madhok, Tanvir Naqvi, Prem Dhawan etc etc.

Many of the actors and producers used to shuttle between Lahore and Bombay for their work.

And then the PARTITION took place in 1947.

In the communal frenzy, polarisation of artistes took place. Some Hindus shifted to Bombay and Some Muslims left for Lahore.

At the actual time of Partition some artists were in Lahore for film work. They were B R Chopra, Ramanand Sagar, I S Johar, Gulshan Rai, Omprakash, Jeevan, O P Nayyar, Rajinder Singh Bedi, Naqsh Lyallpuri, Surinder and Prakash Kaur Manorama and Pushpa Huns. They all left Lahore hurriedly and reached Bombay Safely.
However this journey was not so safe for one actor-Comedian Durga Prasad, known as Durga Mota. He was very fat. In the melee, he reached the Lahore station and somehow entered the Train to Bombay. Suddenly a group of mad rioters entered the Lahore station and started killing the travellers. Most people ran helter skelter, but due to his heavy body, Durga Mota could not run and was cut into pieces on the Lahore station platform itself !

Same way many artists from Bombay left for Lahore and ALL of them reached safely.

some of the Directors who migrated to Pakistan were-
Syed Shaukat Hussain Rizvi, S M Yousuf, Najam Naqvi, Munshi Dil, Nakshab Jarachavi, M Sadiq, Zia Sarhadi, Sibtain Fazli(of Fazli Brothers), S T Zaidi , Zahoor Raja, Wali saheb, A R Kardar,Nazir,W Z Ahmed,Masood Pervez,Shareef Nayyar,Luqmaan,Dawood Chaand,Rakhan,Nusrat Mansoori,M H Qasim,Roop K Shorey,Butt Kasher,Barkat Mehra and Manto.

Some of the Actors/actresses were- Nazeer, Sadiq Ali, Masood, Sudhir, Santosh, Ratan Kumar, Najmul Hussain, Suresh and Nasir khan(both came back to India later), Sh.Mukhtar, M.Ismail, Ajmal, Gulam Mohd, Kumar, Ghori, Majeed, Shahnawaz, Himalayawala, Shyam Kumar, Allauddin, Shah Shikarpuri, Charlie, Nazar Faizi Noorjehan, Meena Shorey, Khursheed, Zeenat Begum, Asha Posley, Najma, Kalawati, Rehana, Swarnalata, Ragini, Bibbo, Renuka Devi, Geeta Nizami, Maya Devi etc.
Some from the music field were- Khursheed Anwar, Inayat Hussain, Rafiq gaznavi, G A Chisti, Ghulam Hyder, Firoz Nizami, Nissar Bazmi, Nashaad, Tufail Faruqi, Tanvir Naqvi, Faiyaz Hasmi, Iqbal Bano, Premlata,Khursheed,Zeenat Begum,Shevan Rizvi,Rasheed Atre,Fateh Ali khan,Babul etc.

With so many people migrating to Pakistan at a time and given the condition of Pakistan Film Industry then, it is a moot question, whether all these migrants could get work there and shine ?

There were 2 types of people who migrated-

1. Those who had achieved their peaks already in India and
2. Those who had just started their careers.

Obviously the second group, at least some of them, could do well there eventually.

Some of the successful migrants there were- Noor jahan, Khursheed Anwar, G A Chisti, Nissar Bazmi, Firoz Nizami, Najam Naqvi, Nakshab Jarachavi, Sibtain Fazli, Wali Saheb,Manto, Rashid Atre, Sudhir, Santosh, Asha Posley, Shameem, Najma, Yasmeen, Ragini, Zahoor Shah, Shaikh Iqbal, Himalayawala, Nazar, Rafiq Gaznavi, Tanvir Naqvi, Iqbal Bano etc.

The unfortunate ones were-some of them- Meena Shorey, Ratan Kumar, M Sadiq, Charlie, Ghori, Kumar, Shaikh Mukhtar, Najmul Hussain, Neena, Kalavati, Maya devi, Gulam Hyder, Nashaad, Premlata etc.

Almost all the artists who shifted to Bombay prior to Partition did very well here.

(Notes- 1.All lists are only indicative and not exhaustive
2.Migrants means between 1947 to 1970 period.)

The rioting of 1947 set in motion irreversible, irrevocable migration. B R. Chopra and I S Johar were planning films in a big way in Lahore but had to run for their lives. Ramanand Sagar left in July, so did Gulshan Rai. Character actor Om Prakash (of Fateh Din fame, an all-time favourite skit relayed for years by Radio Lahore), comedian-bad man Jeevan and many others also left Lahore for Bombay. O P Nayyar recorded his immortal song Preetam Aan Milo/ Dukhia Jiya Bullai, Aan Milo at the His Master’s Voice studio in Lahore. He left Lahore only in 1948 when it became clear that people with the wrong religion were not going to return to their homes on either side of the Punjab. Writer Rajinder Singh Bedi escaped, sitting on top of a railway carriage carrying loads of Hindus and Sikhs out of Lahore. Song-writer Naqsh Lyallpuri began his literary career in Lahore as a journalist but had to leave in 1947. Punjabi singers, the sisters Surinder Kaur and Prakash Kaur, and Pushpa Hans also left Lahore.

Migration in the other direction also took place. Nazir and his wife Suranlata, Noorjahan and her husband Shaukat Husain Rizvi, character actor Alauddin and many others headed for Lahore. Manto came in January 1948, music directors Ghulam Haider and Khurshid Anwar followed some years later and director M. Sadiq probably in 1969 or 1970. Meena Shori, Khurshid and Mumtaz Shanti also immigrated to Lahore. Some Pakistani actors in Lahore continued to use Hindu filmic names. Santosh Kumar (Musa Raza) and Sudhir (Shah Zaman), the two most famous heroes of the 1950s and 60s followed such practice. On both sides, initially considerable goodwill existed between the two film communities.

Some families were divided. Thus for example, while Nazir shifted to Lahore, his nephew K. Asif stayed on in Bombay. Kardar stayed on but his brother Nusrat Kardar and son Rauf Kardar returned to Lahore. While Suraiya, her mother and grandmother settled in Bombay, many of her other relatives shifted to Lahore. Rafi stayed on to reign supreme in Bombay while his parents and siblings were in Lahore.

There were some cross-religion marriages that created peculiar challenges. Raj Kapoor’s maama (maternal uncle) Mr Mehra married a Muslim, converted to Islam and stayed in Lahore. A unique case of reverse migration took place as well: poet Sahir Ludhianvi (Abdul Hai) left Lahore for India.

Luckily,except for few like Noorjehan, Khursheed Anwar and some others, the well established Muslim artistes like Rafi, Talat, Shamshad, Naushad and hundreds of others chose to remain in India. They prospered here and became popular in Pakistan as well.

After partition,this turmoil subsided after a short period in India and it was business was as usual here, while in Lahore, Pakistan had to build up from scratch, but the Film Industry there too stabilised in a few years’ time. The base of Film industry in Pakistan was built by people who migrated from India. Migration from India to Pakistan continued till about 1970 for the pre-partition artistes. In fact till about 1965 there was an exchange of artistes from both sides to work in other country, but after the 65 war, this working stopped completely.

Music Directors who left India after Partition had done a very good work here. Composers like Nissar Bazmi and Feroz Nizami became exceptionally successful in Pakistan, but Nashad, Rafiq Ghaznavi and others were not successful to that extent. Khursheed Anwar, a very highly respected composer here remained a father figure even in Pakistan.

Partition did lot of damage to both countries and the film industry. With so many artistes leaving at a time surely affected the filmdom, but it also opened up new avenues for singers and new blood composers.

In our New Series,starting from today- ” GEMS FROM THE MIGRATORS “, we are going to discuss some songs composed by Music Directors who migrated to Pakistan. Some of them had done lot of work, some quite less. Nevertheless they all exhibited their talents. To succeed or not is a part of Destiny, but work is work.

The first in our series is Music Director FEROZ NIZAMI, famous in India for his last film here viz. Jugnu-1947.

Popular music composer, Feroze Nizami, was born in 1916, in Lahore, to an enlightened family, which was well versed in various aspects of music and musical instruments.

Feroze Nizami received in-depth music lessons from Ustaad Abdul Waheed Khan and soon mastered the music. Additionally, he graduated from Punjab University and began his working life from Lahore Radio station as a program producer. Due to some unavoidable reasons, he left Lahore and joined Delhi Radio station, where he stayed for fifteen months.Here,he had the company of Khwaja Khursheed Anwar,Krishnachader and Saadat Hasan Manto. They used to exchane musical notes. All of them resigned at a time,over the issue of unethical promotion of a collegue. After this all others separated.

Next, Feroze Nizami migrated to Bombay and worked for the Bombay film industry as a music composer. He got his start in the 1943 film ‘Vishwas’. It was released under the banner of Wadia Movie Tone. Another musician, by the name of ‘Chaila Lal’, also coordinated with Feroze Nizami to compose songs of ‘Vishwas.’ Director, Homi Wadia, songwriter, Safdar Ah, and Pandit Indira. Cast included Surendar and Himaliya Wala. With the passage of time, Feroze Nizami familiarized himself to classical, semi classical music and thumri. In 1944, Feroze Nizami composed songs for the film ‘Bari Baat’, directed by Mazhar Khan, who was also a famous actor and producer during those days.

Soon thereafter, Feroze Nizami made his mark in the film ‘Umang’, in 1944, which was directed by K.M. Multani and songs were written by, Ratan piya – Rasheed. As a result of his focused concentration, Feroze Nizami soon became a huge success in the entertaining world.

In the year 1944, Feroze Nizami also composed music for the film ‘Us Paar,’ director C.M. Lohar, songwriter, Pandit Madhur. His efforts took on new intensity and Feroze Nizami proved his worth in the music world.

In 1945, Feroze Nizami composed songs for the film ‘Piya Milan,’ directed by S.M. Yusuf and released under the banner of Wadia Movie Tone. Songwriters, Tanvir Naqui – S.K. Deepak – Mohammad Naseem – Munshi Shayam. Nirmala and Moti Lal played the lead roles.

Listeners feel as if a wave of emotion rises up from their core as they listen to Feroze Nizami’s music. One feels nostalgic as one encompass all those great memories about him. Feroze Nizami composed songs for the film ‘Sharbati Aankhein’, in 1945. It was released under the banner of Wadia Movie Tone, songwriter, Tanvir Naqui – Pandit Indira, directed by R.C. Thakur.

Feroze Nizami was a natural artist who applied himself earnestly to his work, because he considered it his professional duty. He composed songs in the 1946 film ‘Amar Raj.’ It was released under the banner of Wadia Movie Tone. Songwriter, Pandit Fani, director, Homi Wadia.

Feroze Nizami’s fellow musicians did seem to fall under the spell of his musical talents. In 1946, he enthusiastically accepted the offer to compose music for the film, ‘Nek Perveen.’ It was released under the banner of D.R.D. Productions. Songwriter, Waheed Qureshi, director, S.M.Yusuf. Raagni played the title role in the film.

Feroze Nizami also composed songs for the film ‘Ali Baba’ in 1946.

In 1947, Feroze Nizami composed songs in the film ‘Pati Saiwa’, directed by S.M. Yusuf and also ‘Rangeen Kahani’ which was directed by Anjum Husaini and whose lyricist was Waheed Qureshi.

The 1947 movie which earned him the most name and fame was “Jugnu”(1947). It was directed by Shaukat Husain Rizvi under the banner of Shaukat Art Productions. Lyricsa of this movie were Adeeb Saharanpuri,Nakhshab Jaarchavi,Faiz Ahmed Faiz and Hafeez. Dilip Kumar and Noor Jehan appeared together for the first and last time in ‘Jugnu’ in lead roles.

Feroze Nizami migrated to Pakistan after partition. His first film in Pakistan was ‘Hamari Basti’, in 1949. He composed songs for the 1951 Punjabi movie, ‘Chan way.’ It was released under the banner of Shah Noor productions and its lyricist was Ustaad Daman.

He composed songs for the 1952 mega hit film ‘Dopatta’. These three films ‘Jugnu’ ‘Chanway’ and ‘Dopatta’ were the three most successful films of Feroze Nizami in Pakistan. He also composed music in ‘Shararay’, ‘Sohni’, ‘Intikhab’, ‘Qismat’, ‘Gulshan’,‘Zanjeer.’

He won Pakistan’s Nigar award for ‘Raaz’(1959). He subsequently gave music in Manzil (1960), Mongol (1961) and Saukan (1964).

He used to sing on Radio Pakistan. He was appointed Chairman of the Music Department of Pakistan Arts Council also.

The 1974 Punjabi film ‘Zan, zer tay zameen’ proved to be the last film Feroze Nizami composed music for. Feroze Nizami passed away on November 15, 1975, in Lahore, at the age of 59.

Former Pakistani cricket teams opener, Nazar Mohammad, is the real brother of Feroze Nizami. By virtue of this blood relationship, Feroze Nizami happened to be the paternal uncle of Mudassar Nazar, the son of Nazar Mohammad.

(based on an article written by Anis Shukoor,Lahore-Thanks.)

Film Jugnu (name of the Heroine in the film)-1947 became a great hit in India. There were two reasons for this. One was that Dilip Kumar and Noorjehan worked together for the first and also last time. Secondly,the music of Jugnu became very popular. There were 8 songs in it. The most famous song was ‘ yahan badla wafaa ka” by Noorjehan and Rafi, who was yet to become a phenomena in the industry. This film helped Rafi tremendously. Incidentally, Rafi was seen in person,in one of the songs of this film ” Woh apni yaad dilane ko “.

One song by Shamshad begum “Loot jawaani phir nahi aani” had some vulgar lyrics. It was shot on actress Latika (who later married Gope). Shashikala had the role of Dilip Kumar’s sister and she had a song by Roshan Ara Begum ” Desh ki purkaif..”

The film was running full house in Bombay. One day its Director Shaukat Hussain Rizvi (husband of Noorjehan) met the editor of “Film India’ magazine, Baburao Patel. They had some arguments and a verbal fight ensued. Baburao Patel warned Rizvi not to take ‘Panga’ with him, lest he would ruin him. Rizvi laughed at him. Enraged Patel contacted the Chief Minister of Bombay Morarji Desai and complained that “these days a film ‘ Jugnu’ is running in Bombay in which there are immoral scenes which will spoil the students”.

Within hours Morarji saw the film and banned it in Bombay. The producers went to court and eventually,after few months,the ban was lifted.

This episode,coupled with rumours that after Partition Noorjehan will be murdered, shattered the couple and they hurriedly decided to migrate to Pakistan. With Noorjehan and Shaukat Husain Rizvi, Firoz Nizami, lyricist Asghar Sarhadi, actor Ghulam Mohammed, Agha Mirza and few more also migrated to Pakistan.

Today we will listen a very melodious song by Noorjehan from this film JUGNU-1947….Enjoy.

Song-Umangen dil ki machlin muskuraayi zindagi apni (Jugnu)(1947)Singer-Noorjahaan, Lyrics-Asghar Sarhadi, MD-Feroz Nizami


Umangen aen aen aen
aen aen aen aen
umangen dil ki machlin,
muskuraayi zindagi apni
umangen dil ki machlin,
muskuraayi zindagi apni
aaa aaa aaa

wo shaaaam aam
aa aa aa
aa aa aa
aa aa aa aa aa
kya shaam suhaani thhi
phoolon pe jawaani thhi
kya shaam suhaani thhi
phoolon pe jawaani thhi
un shokh nigaahon mein
ulfat ki kahaani thhi
ulfat ki kahaani thhi
ae ae ae ae ae
sunte hi jise pal mein
halchal si machi dil mein
halchal si machi dil mein
le ke angdaayi ee
jawaan hone lagi apni
umangen dil ki machlin,
muskuraayi zindagi apni

ham dil ko o laga baithhe ho
ham dil ko laga baithhe
kya duniya basa baithhe
kya duniya basa baithhe
ek prem ke devta ko
ham phool chadhha baithhe
jo chaand sa pyaara hai
is preet ki naiya ka
ab wo hi sahaara hai
ab wo hi sahaara hai
Lagaayen ye wohi ab paar naiyya prem ki apni
umangen dil ki machlin,
muskuraayi zindagi apni

aa aa
aa aa aa aa
aa aa aa aa aa aa aa aa
wohi manzar hai aankhon mein
wohi manzar hai aankhon mein
unhi ki yaad tadpaaye
unhi ki yaad tadpaaye
yahi aasha
Laa laa la la la
Yahi aasha hai ab man ki
wahin chaliye
wahin chaliye
wahin chaliye
wo mehfil
haaye jis mein
dil mein duniya lu gayi apni
umangen dil ki machlin,
muskuraayi zindagi apni

This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in If this article appears in sites like and etc then it is piracy of the copyright content of and is a punishable offence under the existing laws.

= = = = = = = = = = = = = = = = = =
Atul Song-A-Day 10K Song Milestone Celebrations –44 (Post number 9999)
- – – – – – – – – – – – – – – – – – – – – – – – – – – – – –


In a Man’s life, there are occasions of happiness like Graduation, Job, marriage, First child etc. These are the milestones in one’s life and are celebrated with joy shared by the near and dear ones.

Today I too feel like celebrating because ” OUR ” Blog has touched a milestone- THE 10,000th SONG !

My heartiest Congratulations to ATUL ji, who is doing a great job. I feel his must be the only Blog on the entire Internet, which can boast of 10,000 Hindi film and non film songs (from 1932 onwards), with proper Lyrics. This is a place for Nostalgia, for thousands of Music lovers from almost 200 countries of the World.
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This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in If this article appears in sites like and etc then it is piracy of the copyright content of and is a punishable offence under the existing laws.

THE JOY OF NFS (Song No. 10) Last song of the series

In the early 40s through the mid 60s, Radio was the only common entertainer for every household. Of course the choice of Gramophone was also there, but only few people could afford to own a gramophone. I remember, our morning used to open with melodious Bhajans from the Radio. Those days’ Mumbai Radio Station’ ( from the beginning, it was called Mumbai Radio station only-not Bombay anytime. For Hindi service it was Bambai) used to start early at 5.30 a.m. It first played Shehnai and then very sweet Bhajans, for an hour or so. That is how Juthika Roy and D.V.Paluskar’s names were etched on the memory card for ever. To listen to their bhajans was a divine experience.
Read more on this topic…

This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in If this article appears in sites like and etc then it is piracy of the copyright content of and is a punishable offence under the existing laws.

THE JOY OF NFS(Song No. 9)

Manna Dey never achieved the kind of popularity that some of his more commercially successful contemporaries (Rafi, Kishore Kumar, Mukesh etc) enjoyed, but that in no way is a reflection on Manna Dey’s calibre as a singer. As a singer he had perhaps the widest range of them all. He could sing songs ranging from philosophical to comical with equal felicity. In his case, passage of time has helped enhance his reputation.
Read more on this topic…

This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in If this article appears in sites like and etc then it is piracy of the copyright content of and is a punishable offence under the existing laws.

THE JOY OF NFS (Song No. 8)

Sachin Dev Burman was a titan amongst composers and singers of songs for Indian films and outside of them. Born on October 01 1906 in Comilla, about 100 kilometers from Dhaka Bangladesh, Sachin Dev Burman was a scion of the princely family of Tripura, now a state of India. His noble lineage is reflected in the grace of his musical creations spanning a period of 43 years until his death in Bombay in 1975.
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This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in If this article appears in sites like and etc then it is piracy of the copyright content of and is a punishable offence under the existing laws.

THE JOY OF NFS (Song No. 7)
The word Non Film Song brings few names to mind immediately, like Jagmohan, Saigal, Kamala Jharia, Juthika Roy, Pankaj Mullick etc. I could never understand the reason and logic behind most NFS singers hailing from the Eastern part of India. Even Talat Mehmood went to Calcutta and sang all his famous NFS.
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This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in If this article appears in sites like and etc then it is piracy of the copyright content of and is a punishable offence under the existing laws.


City- Bombay
Date- 20th July 1972
Place- Harkissondas Hospital,Bombay

Few people were standing in the corridor . Anxiety, sorrow, helplessness and a little hope was clearly writ large on their faces. They were all quiet. No one was talking to anyone. Their body language gave away their agony and restlessness.
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This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in If this article appears in sites like and etc then it is piracy of the copyright content of and is a punishable offence under the existing laws.

THE JOY OF NFS (song No. 5)

Somewhere in the late 2011, AK ji of Songsofyore, had written on this Blog about the importance of NFS. After reading his views, I too wrote a rather lengthy comment supporting the inclusion of NFS on this Blog. Our contention was that, prior to the Hindi Film Music becoming popular all over India, it was those gazals, Geets and Bhajans, privately sung and recorded by various artists which had ruled the tastes of music lovers. In fact many famous singers had recorded NFS in the beginning phase of their singing careers. Some names are Talat Mehmood, Saigal, Pankaj Mullik, Jagmohan and JUTHIKA ROY !
Read more on this topic…

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This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where "new" songs are added every day, and that has been the case for more than six years. This blog has over 10000 songs post by now.

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