Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Mehfil se uthh jaane waalon

Posted on: November 16, 2010

After posting four songs for the day, I suddenly realised that today is 16th november, Roshan’s death anniversary. My original plan was to discuss only Roshan songs and a total of five Roshan songs today. I can do that even now, but that would be an overkill. So I am going to discuss two Roshan songs today.

Here is the first of them. This song is from “Dooj Ka Chaand” (1964). It is sung by Rafi and it is picturised on Bharat Bhushan. Sahir Ludhianvi is the lyricist.

It is a wonderful song and quite an appropriate song to be listened to on this occasion.

song-Mehfil se uth jaane waalon tum logon par kyaa ilzaam (Dooj Ka Chaand) (1964) Singer-Rafi, Lyrics-Sahir Ludhianvi, MD-Roshan


hmm hmm hmm
mehfil se uth jaanewaalon,
tum logon par kyaa ilzaam
tum aabaad gharon ke baasi,
main aawaaraa aur badnaam
mere saathi, mere saathi,
mere saathi khaali jaam
mere saathi khaali jaam

do din tum ne pyaar jataayaa,
do din tum se mel rahaa
achchhaa khaasaa waqt kataa, aur
achchhaa khaasaa khel rahaa
ha ha ha
achchhaa khaasaa khel rahaa
ab us khel kaa jikr hi kaisaa,
waqt kataa aur khel tamaam
mere saathi, mere saathi,
mere saathi khaali jaam
mere saathi khaali jaam

tum ne dhoondhhi sukh ki daulat,
maine paalaa gham kaa rog
kaise bantaa kaise nibhaataa,
ye rishtaa aur ye sanjog
mai.n ne dil ko dil se tolaa,
tum ne maange pyaar ke daam
mere saathi, mere saathi,
mere saathi khaali jaam
mere saathi khaali jaam

tum duniyaa ko behtar samjhe,
main paagal khaarkhaar (?)
tum ko apanA nahin niklaa thaa,
khud se bhi bezaar rahaa
ha ha ha
khud se bhI bezaar rahaa
dekh liyaa ghar phoonk tamaasha tamaashaa,
jaan liyaa apnaa anjaam
mere saathi, mere saathi,
mere saathi khaali jaam
mere saathi khaali jaam
mere saathi khaali jaam


14 Responses to "Mehfil se uthh jaane waalon"


Thanks for posting my farmaish so fast…

tum duniyaa ko behtar samjhe,
main paagal “thha khwaar huaa”
tum ko “apnaane” niklaa thaa,
khud se bhi bezaar “huaa”
ha ha ha
khud se bhi bezaar “huaa”
dekh liyaa ghar phoonk tamaasha
jaan liyaa apnaa anjaam
mere saathi, mere saathi,
mere saathi khaali jaam

I love this song. There is a story behind it. Everyone knows that at one time Sahir and Amrita Pritam were deeply in love. Long after they broke up, one day Amrita visit Sahir. She was accompanied by her lover Imroz. They stayed a while, drank some whiskey,. and left. Sahir was very moved by their visit, and spent the night pouring whiskey into the three empty glasses and drinking it down. He wrote this song that night – Mere saathi khaali jaam- a testimony to the loneliness of the man who has decided to follow his own path.

Look at the lines that Nahm has quoted above: Tum duniya ko behtar samjhe, me pagal tha khwar hua.

There is something in this regard I want to know(just for my personal information), if anyone know whether Sahir was also in love with yesteryear famous playback singer Sudha Malhothra ji???? I read somewhere that Sahir Ludhianvi played God father`s role in the singing career of Sudha Malhothra ji.

He supposed to have dumped Pritam for Sudha Malhotra. Most of her songs were written by him. Tum Mujhe Bhool Bhi Jao, song for example, was the only song from Didi-1959, that was composed and sung by her.

Thank you bluefire ji for the information.
Thanks again.


You are welcome, Prakashji!

Here’s few more details for u:

Sahir’s insistence on writing the lyrics first and then having them set to music (unlike a Shailendra) was acceptable to his music directors, but his contention that he be paid Re 1 more than Lata for every song he wrote became an ego issue. S D Burman distanced himself from Sahir, so did Lata. Sahir tried promoting a new playback singer, Sudha Malhotra, whom he was also courting, but to no avail.

When Sahir Ludhianvi spotted his estranged lady love, Sudha Malhotra, at a party, emotion drove him to spontaneously vent his feelings into words: ‘Chalo ek baar phir se ajnabee ban jaaye hum dono’. The plaint was immortalized by B R Chopra in his film, Gumraah (’63).

That is some story! That is a lovely song, Chalo ek baar phir se. Thank you bluefire.

While it is a well known fact that after Pyaasa (1957), S D Burman never worked with Sahir Ludhinavi because of the ego problem relating to the success of Pyaasa songs. But there seems to be no such thing insofar as Lata Mangeshkar is concerned in relation to Sahir. I have observed from the Sahir’s filmography that post-1957, Lata Mangeshkar sang songs on Sahir’s lyrics. Examples – Sadhna (1958) Char Dil Char Raayen (1959), Barsat Ki Raat (1960), Hum Dono (1962), Taj Mahal (1963), Chitralekha (1964), Bahu Begum (1967), Izzat (1968), Nanha Farishta (1969) and so forth.

It is a different thing that Lata Mangeshkar did not sing any song for S D Burman some time in early 50s due to some misunderstanding with him. Apparently, at that time she did not sing songs penned by Sahir Ludhinavi for S D Burman who was one of his main lyricists until Pyaasa (1957).

But what I have heard about Sahir was that after the success of Pyass (1957), he was insisting on being paid one rupee more than the music director of the film. A few months back, I had seen a TV clipping of an interview of one of Sahir’s close friends (probably IPTA connection) with whom Sahir used to share his experiences in the film industry. In that interview, the friend revealed that Sahir was called in the producer’s office for finalisation of his contract for the film ‘Barsat Ki Raat (1960). At that time, Sahir heard the conversation between the producer and one of the top music directors of that time ( whose name was not mentioned) about remuneration. When Sahir came to know that the music director was being paid much more than him, he refused to be the part of the film until producer agreed to give him the same remuneration as being agreed for the music director. The producer was very keen to have Sahir as lyricist but could not convince him to agree to his remuneration. Then Sahir offered him a way out. He said that he could bring an equally proven music director who would work at the same remuneration as being given to him. At last, the producer agreed to meet the music director which Sahir had in his mind. That music director was Roshan. Rest is history.

In short, it was not the greed of money but an issue of principle as Sahir’s friend said in that interview.


The loss of the unknown MD whom Sahir ousted was Roshan’s gain, and going by the score of the film, our gain too. The songs of Barsaat ki Raat are among the best songs of hindi films.

Thank you Again blufire ji
For the valuable information you have given.
So sweet of you.


New video link :

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