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

Mata tere charnon mein guzar jaaye umariya

Posted on: September 29, 2012

This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

Happy 83rd – the year of life.

And Happy 70th – the year of active career.

Lata Mangeshkar, born this day in 1929, started her singing career in 1942, the year she turned 13.

Lata ji – the most enduring icon of Hindi films and film music. In a century’s existence of the Indian Cinema, and in the 81st year of talking films, here is a continuing career that has spanned the last seven decades. A journey that started when the talking and singing film was barely 11 years old, and she herself was just 13. The passage of time is the entire saga of the history of the Indian talking cinema. A lasting legend that has no parallel anywhere in the world. A time has passed from the 1950s to 1980s, when no leading lady was acknowledged as having arrived on the scene, till she had performed a song sung by Lata ji. A single signing career that spans the acting careers of five generations of leading ladies, the umbrella is almost complete from Nargis and Nalini Jaiwant to Kajol and Priety Zinta.

Few weeks ago, on 22nd August, I had posted the song, “Paa Laagon Kar Jori Re” , as the 1900th song of Lata ji on this blog. And now, about six weeks later, we are at the 2000th song for this prolific singer.

In the post of 22nd August, I had made a statement, that evoked a fair share of debate and research, so much so that it was agreed upon by all involved in the discussion, that another article needs to be posted to clarify and correct the statement. The statement that I refer to is “. . . this is the very first recording by Lata ji for the Hindi films”. The comments, of course showed that I had made a statement that is incorrect. More detailed research and many email threads later, I feel I am much more educated on this issue. However, I am also more educated to now know that this specific statement can still not be made with certainty. And part of the issue is that there is no clear confirmation of facts by the very person whose record we discuss.

First off, I must thank AK ji, Arun ji, Atul ji with whom a very active email conversation has been ongoing, since the 22nd August post. Besides, I must also acknowledge and thank Harmandir ji, Nalin ji Shah, and my collector friend, for helping out with specific details and information. There was a time in between that we seemed to have come to an agreeable conclusion. And then, was aired the interview by Asha ji, on 8th September, wherein a claim made about a song recorded in 1945, once again put the entire discussion into more confusion.

But I get ahead of myself. Let me back track and start from the beginning.

The beginning of Lata ji’s career is a mixed bag of information items. All who were involved in the discussion over the past 5 to 6 weeks agree that there is no one single ‘first’ song by Lata ji. Reason being that she started singing in Marathi films, then moved to Hindi films. To add to the complexity of analysis, in between she sang a Hindi song in a Marathi film. Then, in the earlier films that she sang for, she also acted in those films. Most such songs are picturized on herself, and hence have a different status. In 1947, she gave up appearing on the screen, and started singing playback for other artists. But then, the controversy continued as to what constitutes a playback. Even in the case when the singer of the song is himself/herself performing the very song on the screen, yet the technique used is playback, because the audio of the song is recorded earlier, and its capture on film as part of a performance of the song, happens later.

‘Playback’ must be understood as two specific and distinct concepts.

a. Playback Technology – the technique of pre recording a song, and then filming it in a situation wherein the actors are synchronizing their lip movements and body language to the song. The actor’s voice is not being recorded while the song is being filmed. The sound of the earlier recorded song is superimposed and is being recorded instead.

b. Playback Singing – the situation in which the singing voice belongs to a different artist, and is used in filming a performance by another actor. (By this definition, the situation of an actor-singer lands in a grey area, because in such cases, the playback technology has been used, but the picturization is on the same person.)

All in all, you can see how involved and interesting this discussion had become. After sifting through multiple articles, old interviews, and other sources of information, I give below the complete list of milestones that make up the singing career of Lata ji, from 1942, when she started singing (and acting) to 1947, when she stopped acting and was only focused on singing.

1. In 1942, Lata recorded her first song for a film. It is a Marathi film by Vasant Joglekar titled ‘Kiti Hasaal’. The song which was recorded is “Naachu Yaa Gade, Khelu Saari Mani Haus Bhaari”, composed by Sadashivrao Nevrekar. The song was edited out of the final cut of the film.

By some accounts it is surmised that Lata ji was not acting in this film. Hence, by definition, if this song had survived the editor’s cuts, it would have been a playback song, picturized on someone else.


2. Again in 1942, Master Vinayak gave her a small role in Navyug Chitrapat’s Marathi film ‘Pahili Mangalaa-gaur’. In this film, she sang and performed the song “Natali Chaitraachi Navalaai”, composed by Dada Chandekar.


(NOTE: This song is available on YouTube.)

3. In 1944, she acted in another Marathi film, ‘Gajabhaau’. In this film, she sang a Hindi song, “Mata Ek Sapoot Ki, Duniya Badal De Tu”, which in all likelihood is also filmed on herself.


4. In 1945, Master Vinayak made his first Hindi film, ‘Badi Maa’. The music director is Datta Korgaonkar (or K Datta). This film had small roles for both Lata ji and Asha ji. In this film, she has sung two songs. One is a group song with another singer, Meenakshi, and chorus. The song is “Tum Maa Ho, Badi Maa. . .”. Lyrics are by Anjum Pilibhiti.
The second song is also a group song. The male singer is identified as Ishwarlal in some internet sources. The song is “Mata Tere Charnon Mein Guzar Jaaye Umariyaa”. Lyrics are by Zia Sarhadi. In this particular song, the primary singing is by the group as a chorus. There are a few lines sung by the male singer. In the entire song, one can barely make out one or two lines that are sung alone by Lata ji.


5. In 1946, Master Vinayak directed his second Hindi film, ‘Jeevan Yatra’. The music director is Vasant Desai. In this film, we have the first solo song recorded by Lata ji. The song is “Chidiyaan Bolen Choon Choon Choon, Mynaah Boley Hoo Hoo Hoo. . .”. Lata is also in the list of actors, and once again in all likelihood, she performed the song on the screen.


6. After ‘Jeevan Yatra’ follow 2 more films during 1946, in which Lata has recorded songs in her own voice. She has acted in the these films and in all likelihood, has performed these songs herself on the screen. The films are

– ‘Sona Chandi’, music director Tufail Faaruqi; Lata ji has one song in this film “Pyaare Baapu Ki. . .”.

– ‘Subhadra’, music director Vasant Desai. In this film, Lata ji has two solo songs and one duet with Shanta Apte.

7. Then starting 1947, Lata ji stops taking on acting assignments, and starts to focus on singing alone. In 1947, she has sung songs in three films, ‘Aap Ki Sewa Mein’, ‘Shaadi Ke Baad’, and ‘Shehnaai’.

– In ‘Aap Ki Sewa Mein’, she has sung three solo songs, under the music direction of Datta Dawjekar. Of these three, the song “Paa Laagun Kar Jori Re. . .” is generally acknowledged as the first Hindi song recorded by Lata ji, as a playback for another actor.


– In ‘Shaadi Ke Baad’, she has sung her first duet with Rafi Saab, under the baton of Paigankar and Karnad.

– In ‘Shehnaai’, she has sung one group song with Geeta Dutt and chorus, under the baton of C Ramchandra

And so, considering the available data as documented above, there are many ways to identify the first song by Lata ji. These are:

1. First song – Marathi in a Marathi film, recorded but then not used in the film (‘Kiti Hasaal’, 1942)

2. First song – Marathi in a Marathi film, recorded and performed by her on screen (‘Pahili Mangalaa-gaur’, 1942)

3. First song – Hindi in a Marathi film, presumably recorded and performed by her on screen (‘GajaaBaahu’, 1944)

4. First song – Hindi in a Hindi film, group song, recorded and performed by her on screen (‘Badi Maa’, 1945)

5. First song – Hindi in a Hindi film, solo song, recorded and performed by her on screen (‘Jeevan Yatra’, 1946)

5. First song – Hindi in a Hindi film, solo song, as a playback (‘Aap Ki Sewa Mein’, 1947)

Regarding the film ‘Badi Maa’ (1945), there is a shade of a controversy, as Asha ji has stated in an interview given on 8th September, 2012, on TV Channel Times Now. In this interview, Asha ji has claimed that she performed as part of the group in this song “Maata Tere Charnon Mein. . .”, and that Lata ji sang playback for her. Now this information is not fully verifiable. For one, as we listen to this song, there is just one or two lines that are sung solo by Lata ji, and the rest is part of the chorus. And secondly, despite some efforts, there is no confirmation of this from Lata ji. Rather, Lata ji has responded with a denial.

As per Lata ji herself, she continues to be active. But as is known about her, she is very selective about the lyrics and music of the songs that she agrees to sing. It is well known that she refused to sing for Shankar Jaikishan in the film ‘Mera Naam Joker’ (1970) solely on account of the lyrics of the song “Ang Lag Jaa Baalma. . .”. Raj Kapoor stood his ground, and Asha ji came in as the lead female voice in this film.

On 25th September, 2012, the online ‘Mumbai Mirror’ published an interview with Lata ji. In this interview, she did not touch upon the issue of the first playback song, but has shared some interesting information. Also included in this interview is a comment about her standoff with Rafi Saab in the 1960s. This comment has raised a major controversy in the media, with Rafi Saab’s family threatening to sue Lata ji, for her comments about a departed soul who cannot now defend or rebut. After the publication of this interview, I have had conversations with the friends who have been part of this analysis and discussion for the past 5 or 6 weeks. The general consensus is that the comment about Rafi Saab is in bad taste an totally unwarranted at this juncture.

In this song, I have missed some words in the lyrics at 2, 3 places. I would request other readers to please help with correcting / filling in the right words.
PS-Now Harmandir Ji has sent in the corrections and the lyrics are now correct.

(NOTE: In the above research I have used the following resources: a. Geet Kosh, b. Listener’s Bulletin, c. Online articles and information about Lata ji’s career contained in many web pages, especially Wikipedia, Cineplot, Upperstall etc., d. direct and indirect information through communications with AK ji, Arun ji Deshmukh, Harmandir ji, and Nalin ji Shah.)

Song-Maata tere charnon mein guzar jaaye umariya (Badi Maa)(1945) Singers-Lata, Ishwarlal, Lyrics-Zia Sarhadi, MD-K Datta


maataaa. . .
ae ae ae ae ae ae ae
charnon mein guzar jaaye
charnon mein guzar jaaye
guzar jaaye umariyaa
charnon mein guzar jaaye
guzar jaaye umariyaa
hum chhod ke jaate nahin
hum chhod ke jaate nahin
ab teri nagariyaa
teri nagariyaa
mata tere charnon mein
guzar jaaye umariyaa
guzar jaaye umariyaa
mata tere charnon mein
guzar jaaye umariyaa
guzar jaaye umariyaa

sabse badi
tu sab se badi
tujh se badaa koi nahin hai

tu sab se badi
tujh se badaa koi nahin hai

oonchi hai gagan se teri soney ki atariyaa
soney ki atariyaa
soney ki atariyaa
mata tere charnon mein
guzar jaaye umariyaa
guzar jaaye umariyaa
guzar jaaye umariyaa

paani ko tarasne lagi ummeed ki daali
paani ko tarasne lagi ummeed ki daali
barsi nahin jab se teri rehmat ki badariyaa
barsi nahin jab se teri rehmat ki badariyaa
rehmat ki badariyaa
hum chhod ke jaate nahin
ab teri nagariyaa
teri nagariyaa

manzil hai bahut door
padey paaon mein chhaale
paaon mein chhaale
manzil hai bahut door

bahut door
padey paaon mein chhaale
paaon mein chhaale

kaanton se katthin
kaanton se katthin ho gayee jeevan ki dagariyaa
jeevan ki dagariyaa
aayen tere gun gaate
hum gaaon ke vaasi
gaaon ke vaasi
ho jaaye gareebon pe mohabbat ki najariyaa
mohabbat ki najariyaa
hum chhod ke jaate nahin
ab teri nagariyaa
teri nagariyaa
mata tere charnon mein
guzar jaaye umariyaa
guzar jaaye umariyaa
guzar jaaye umariyaa
maataa. . .


16 Responses to "Mata tere charnon mein guzar jaaye umariya"

Very lovely song.
You can tell it’s Lata singing.
Lata had her 83rd birthday in the village name Pigdamber of Mhow tehsil, Indore, Madya Pradesh.
The resident of this village Suman Chorasiya, has more than 6000 songs of Lata from her earlier records.
So she is at his resident and enjoying her birthday with all her past recorded songs and she must be playing the oldest first 🙂
A nice way to go back in your childhood time 🙂
Hope she gets in mood to records few more songs this years for us 🙂


She is supposed to be from Thalner, Dist Dhule, MS which is near to my village. Our village folks visiting Lata’s residence Prabhu Kutir opp Mahalaxmi Mandir, Peddar Road, Mumbai would be stopped by the security. Once she is convinced that that the visitor can speak Ayrani(local dialect) he/she will be most welcome. I know the dialect but till date I have not ventured.
Thanks Sudhirji for the investigative blog(with a fine tooth comb and a magnifying glass) and furnishing a clear transparent picture of the rigmarole


Nitin ji,
The name of Lata ji,s building on Peddar Road is PRABHU KUNJ and not kutir.
Secondly,the dialect of Marathi from Khandesh is AHIRANI and not Ayrani.


Sudhir ji,
Thanks for posting ‘The’ song which is in intense discussion amongst the musical fraternity currently.
Your perseverence and hard work to dig the roots of any controversial item is highly laudable.We thank you for your efforts.Thanks also for putting all the points systematically for our readers to follow easily.


Arun ji, Nitin ji,

Thanks for your words of appreciation.

The back and forth discussion on this has been very intense in the past few weeks, and I had promised Arun ji and AK ji that I will post a more detailed note on this topic.

One thing I always wonder. The Geet Kosh is supposed to be the definitive reference for Hindi film songs. But then in the volumes 1 and 2 that cover the period from 1931 to 1950, there is still a lot of data missing, in terms of actual singer names. And so are missing the actual songs themselves.

I wonder, whether we will be able to locate more songs and related data to complete this information, and whether in this thus far undiscovered data, there lie more songs sung by singers which are as yet not attributed. All names that we admire so much – Rafi Saab, Lata ji, Asha ji, Geeta ji, Mukesh ji, Manna Da – all started their careers in the first half of 1940s. I wonder if we will be able to find more songs for these singers. Who knows, the statistics and known today may change.



Atul ji

Harmandir ji has sent me the lyrics corrections.

The line
hum to (??) jaate hain
Should read
hum chhod ke jaate nahin
This line is repeated in 4 places

Also, the line
paani ko tarastey rahey (??)
should read
paani ko tarasney lagi ummeed ki daali
This line appears twice.

Please update.



Updated now !


Thanks I stand corrected


You have done a great job! Some of the information ferreted by you is generally not mentioned in her biographies.

On her Rafi-remarks, I am sad at her fall as a person in our esteem. I dread Raju Bharatan’s interview to come later that she does not repeat it. She has become old. People should spare her so that she does not lower herself with such remarks. (I must also add that whether the statement is true or not is immaterial).


Your timeline chronology on her songs are very well done. I think you are 100% accurate. Job well done, sir.
On Lataji statement…It’s just slipped of the tongue by her. She might meant to say something like I should have a letter as Jaikishan promise me, or he was going to give me (in that nature) …Over all she had no malice intended her statement.
Over the years both of these artists has delight our ears with the songs/music.
this is not the time to take sides one over other or to say any negative remarks.


Atul ji,

Did someone managed to see the interview of Lata Manageshkar, on Headlines today ? . It so happened that i saw the e-mails from fellows atulites only this morning. I have spend a large part of the day trying to find the interview online and watched the channel intermittently, just in hope that it was re-telecasted. But even the website of the channel is not having the video.

For the time being if someone could just inform what happened in the interview, it will be great.


Are you refering her interview with mirchi radio?
It’s uploaded by my YT friend, sakibali786.
But to me, this interview must done couple days before her birthday.
And they never mention “Rafi” in it.
She is answering questions from the people of India and from the wolrd.
As always, she promote her brother music/cd/films etc…


I am talking about Lata Mangeshkar/Raju Bharatan interview on Headlines Today – Indian TV news channel, which was shown on 29/9/12. And there was no repeat telelcast, and typically i was caught napping and managed to missed it, inspite of Sudhir Sir’s timely information. It is not uploaded on the channel website too.


There was one interview by Amin Sayani in year 2007.
At that time she mention about getting a letter from him…


Atulbhai, I commend you for your collection. I am vivid fan of Latajee and Rafisahab, would appreciate you posting some of the rare old songs.


Thanks for the appreciation. Lots of rare old songs have already been posted and they continue to be posted.


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