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

Ho raat milan ki dil hai pyaasa

Posted on: January 30, 2013


This article is wtitten by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

Curiosity is a natural emotion every man has. One is always curious to know about his friends, environment, neighbours, even enemies. This curiosity becomes an urge when the subject of curiosity is a celebrity. Celebrities always show only one side of their life, usually the positive one. People are anxious to know more about them, their private lives etc. That is why autobiographies of celebrities are lapped up by the public.

Successful people in show business are darlings of the people, so when an actor like Dev Anand brings out his autobiography, it sells like hot cakes. It is expected that unknown facts and hidden stories will be revealed through these books to quench the curiosity of the common people. If the book does this it becomes a bestseller, or else it is a failure.

When I got hold of theautobiography of my favourite composer C. Ramchandra( Majhya jeevanachi sargam-Marathi-Copyright by Yeshwant Ramchandra Chitalkar), my emotions were also like the above only. I was keen to find out the answers to many questions in my mind about him. On top of it was of course the urge to know exactly who was to sing ‘Aye mere watan ke logon’ first, what really happened, what was the sequence of events from penning the song to presentation at Delhi in the presence of Nehru, etc.

Many other questions like who was C Ramchandra’s Guru in Hindi Film Music, how did he compose his hits, what is the truth behind Lata connection etc were also there.

I hoped to get answers to these questions in this book. I did get some answers. I already had with me Kavi Pradeep’s, Raju Bharatan’s, Lata’s and Asha’s versions. Here I got C Ramchandra’s version also.

The picture is clearer now. Armed with that information, drawing of conclusions is possible now.

I am starting a series of Lata- C Ramchandra duets, from today. With every song, whenever posted, I will give information based on this autobiography, in installments along with other possible information on the song, film etc as usual.

Lata Mangeshkar is a great singer. I believe she gave her best when she sang for C Ramchandra, during the period of their association from 1949 to 1958. Of course she also sang wonderful and iconic songs with some other composers during this period, but somehow her heart seemed to be in the songs composed by C Ramchandra only.

Lata’s solos are great, but her duets are greater. She sang with many singers, but if main singers like Rafi, Talat, Manna Dey, Mukesh, Hemant Kumar and Kishore Kumar are considered , in my opinion, her melodious and interesting songs are when she sang with CR. Ofcourse this is a subjective matter and others can differ with me. To each his own ! To me, I would rate Lata-C Ramchandra, Lata-Hemant, Lata-Talat, Lata-Rafi, Lata-Manna Dey, Lata-Mukesh and Lata-Kishore Kumar in that order of preference.

Lata-C Ramchandra sang many duets which were my favourites, but almost all are already posted on this Blog. Being at this disadvantage I had to go through all C Ramchandra movies from 1949 to 1958, to get atleast 10 songs, which were not yet posted and whose videoss were available. It was an obstacle race which I won and got songs conforming to the conditions listed above.

Ramchandra Narhar Chitalkar was born in Puntambe in Ahmednagar district of Maharashtra on 12-6-1915. As his family was originally from Chitali, a village nearby, their surname was Chitalkar.

His father was a Station master in Railways.(GIP Railway or Great Indian Peninsular Railway). He had 2 mothers. One, who gave him birth but did not love him because she wanted a girl baby, and the other who did not give him birth but loved him much till she died. CR and his real mother never had the bondage or good relations till her death.

C Ramchandra tells us hat when he was an infant, he would cry loudly if someone sang near him. This, he says, continued till he was about 5-6 years old. God knows how he became a Music Director and a singer in later life !

He was a favourite of his father who showed him Tamasha and also a circus. He was very weak in school studies. Father’s job being tranferrable, his education was in fits and starts. Looking at his dismal grades, his father put him to a music school when they were in Nagpur, where Sapre master taught him music. He picked it up so fast that soon he was called to sing on stage shows. He did dramas and even did a Girl’s role.

For further studies he was sent to Poona to his brother, but he continued to be poor in studies there too. He was keen to join films. His kind brother sent his photos to some studios in Kolhapur and he was invited for an interview with train fare to Kolhapur. He joined Lalit pictures there and got a role in “Pratima” film, which did not progress beyond rehearsals. He left Lalit and joined Shalini studios, but here also he did not see much scope.

One day a man came searching for him. He took him to Samrat Cinetone, where he was selected as a Hero for film NAGANAND, due to his singing skills. He was just 17 years then. Wamanrao Sadolikar was the MD, who gave him singing practice. This company was run by some businessmen of Kolhapur, who dealt in steel utensils. They had brought a South Indian, one Mr.Y.V.Rao, as a Director.

They were shooting in a garden while Master Vinayak was also shooting in an adjacent garden. Vinayak was handsome and string built. Compared to him C Ramchandra was nothing.

His director once told him, “Arey kya health hai yaar tumhara. Vinayak ko dekha ? Vaisa Hero mangta”. C Ramchandra asked him what could he do to become like Vinayak. The Directed told him,” Anda, Murghi khao, beer piyo”

One day C Ramchandra went to a bar and ordered beer. This was his first drink which continued till he died.

The film was completed and released. It created a record which no one wants. On the first show itself all the audience left the theatre in the interval ! There was no second show!!!

C Ramchandra was jobless again and in remained in this condition while his youth took him to all bad habits. Anyway, luckily, his brother in Bombay called him. C Ramchandra started for Bombay…………..

Let us now listen to a song from SARGAM-1950 (see film synopsis was posted on 20-3-2012 on this Blog).

After a ship wreck, the singing party is captured by a tribe, but they manage the show and escape safely during and after this song. The Lyrics are by P L Santoshi, who was also its Director. Sargam was the last of the Trilogy from P L Santoshi-Shehnai,Khidki and Sargam with CR and Lata. The singers are Lata and C Ramchandra alongwith chorus.

Audio

Video

Song-Ho raat milan ki dil hai pyaasa (Sargam)(1950) Singers-C Ramchandra, Lata, Lyrics-P L Santoshi, MD-C Ramchandra
Chorus

Lyrics(Provided by Nitin Shah)

yaa bibi sikaiyaa bi bi bi bi
yaa bibi sikaiyaa bi bi bi bi
laa saa

mombaasaa mombaasaa
mombaasaa mombaasaa

saringiti gurungu ru
saranga nisa
saringiti gurungu ru
saringiti gurungu ru

mombaasaa mombaasaa
mombaasaa mombaasaa

ho raat milan ki dil hai pyaasaa
mombaasaa
mombaasaa

ho raat milan ki dil hai pyaasaa
mombaasaa
mombaasaa
mombaasaa
mombaasaa

jhilmil jhilmil taaron se taare mil
jhilmil jhilmil taaron se taare mil
dekh hanse bedil
dil kaa tamaashaa
mombaasaa
mombaasaa
mombaasaa
mombaasaa

ho raat milan ki
dil hai pyaasaa
mombaasaa
mombaasaa
mombaasaa
mombaasaa

ho teri ye ankhiyaan
sachchi hain sakhiyaan
badi man rakhiyaan
teri ye ankhiyaan
sachchi hain sakhiyaan
badi man rakhiyaan
dewen dilaasa
mombaasaa
mombaasaa
mombaasaa
mombaasaa

ho raat milan ki
dil hai pyaasaa
mombaasaa
mombaasaa
mombaasaa
mombaasaa

o mere sajnaa
jaane kab milnaa
ho jaane kab milnaa
o mere sajnaa
jaane kab milnaa
ho jaane kab milnaa
doob rahi aashaa
mombaasaa
mombaasaa
mombaasaa
mombaasaa

ho raat milan ki
dil hai pyaasaa
mombaasaa
mombaasaa
mombaasaa
mombaasaa

wella wella weela mubola
wella wella wetambu
yaake yaake pipi
yaake yaake chiki
yaake yaake
phiki chiki
coko kolaa
simba

simba
simba
simba

hoha hoha hoha
mombaasaa
hoha hoha hoha
mombaasaa

meri paayaliyaa ke toot rahe band re
toot rahe band re
ho ho ha ha ho ha
ho ho ha ha ho ha
ho ho ha ha ho ha
ho ho ha ha ho ha

preet ke git ke bikhar rahe chhad re
bikhar rahe chhad re
ho ho ha ho ha ho
ho ho ha ho ha ho
ho ho ha ho ha ho
ho ho ha ho ha ho

tan to hai taal pe man hai betaal re
jeewan ke saath saath naach rahaa
naach rahaa naach rahaa naach rahaa kaal re
naach rahaa naach rahaa naach rahaa kaal re

ho haa ho haa ho haa mombaasaa
ho haa ho haa ho haa mombaasaa

haar nahin mat chhod naa aashaa
mombaasaa mombaasaa
haar nahin mat chhod naa aashaa
mombaasaa mombaasaa
haar nahin mat chhod naa aashaa
mombaasaa mombaasaa
haar nahin mat chhod naa aashaa
mombaasaa mombaasaa

chiki chiki
mombaasaa
phiki phiki
mombaasaa
chalo raajaa
mombaasaa
chalo raani
mombaasaa
ha ha ha ha
mombaasaa

chhod de bachchaa
mombaasaa
khaaun kachchaa
mombaasaa
ye hai baat
mombaasaa
maarun laat
mombaasaa
daant tod doon
mombaasaa
aankh phod doon
mombaasaa

chaachaa mere
mombaasaa
beti meri
mombaasaa
didi meri
mombaasaa
behnaa meri
mombaasaa
betaa meraa
mombaasaa
baapu mere
mombaasaa
betaa teraa
mombaasaa
daal me kaalaa
mombaasaa
gadbad jhaalaa
mombaasaa
baabu baabu
mombaasaa
laal laal
mombaasaa
mom mom
mombaasaa
idhar dekho
mombaasaa
udhar dekho
mombaasaa
jidhar dekho
mombaasaa
mombaasaa
mombaasaa
chaachaa mere, didi meri, bhaiyaa mere, behnaa meri
tu hai meraa main hoon teri
mombaasaa
chaachaa mere, jiji meri, saale mere, saale meri
main hoon teraa tu hai meri
mombaasaa
aasaa aasaa vari vari meri meri
baage baage shiri shiri meri meri

mombaasaa
dulhaa teraa dulhan teri betaa teraa bahu teri
sab kuch teraa sab kuchh teri
rupayo mhaaro paiso mhaaro

mombaasaa
daal me kaalaa
gadbad jhaalaa
kaala kaala
mombaasaa
jo koi dekho
mombaasaa
duniyaa saari
mombaasaa
duniyaa hai
mombaasaa
main hun teri
mombaasaa
tu hai meraa
mombaasaa
main hoon teraa
mombaasaa
tu hai meri
mombaasaa
mombaasaa
mombaasaa
mombaasaa
mombaasaa
mombaasaa
mombaasaa
mombaasaa

9 Responses to "Ho raat milan ki dil hai pyaasa"

I completely agree with you that that Lata sang her best songs with CR.There are many of their songs from the late forties and fifties that are so melodious that it brings tears to my eyes..Unfortunately,history has not been too kind to such a versatile genuis and many only remember him for the 3 A (Albela,Anarkali and Azaad) and a few iconic songs.I keenly await your ten songs

Like

Its indeed true that Lata had a comparatively different and strong sense of emotional feelings in her playback for CR songs. Her solos in Sipahiya (1949), Sangeeta (1950) , Shin Shina ki Bubla bu etc will prove this point easily. However the duets with CR cannot and should not be compared with other male singers. And to rank them in the first, with Mukesh and KK at the bottom will set the cat among the pigeons. Lets leave the comparision and ranking however individual it might be, and enjoy this great compostions of CR for Lata.

Like

Mahesh ji,
Thanks for your comments.
I have already clarified that it is NOT a comparison,it is how I like the duets.Everyone has opinions and expressing it does not mean it is a
negative comment on other singers.Please remember that it is only my choice.
-AD

Like

Sir,

The word is ‘chhand’ in this line:

preet ke geet ke bikhar rahe ‘ chhand ‘ re
bikhar rahe ‘ chhand ‘ re

It will be interesting to see why someone should rate Lata-C. Ramchandra Duets so highly, in fact the best. I havent heard that many duets of them, so am looking forward to them. I expect some of them will be from composers other than C. R.

Regards.

Like

nahm ji,
I want to clear once again.
I never said Lata-CR Duets are the best.I only said if I have to rate them based on MY LIKING,they are the No.1 in my preference list.
Secondly.I also said that most of the popular duets of them are already posted here and I had to search for the remaining ones.Obviously they may not be of the standard of the ones already posted.
Finally,pasand apni apni,khayal apna apna.
-AD

Like

I am only an occasional listener of Lata’s songs. I feel that her voice seems more lively in these early songs with Ramachandra than many others I heard which have better tunes and are generally rated better.

Like

I find that the songs of Ustaad Pedro (1951) absent on this site.I hope they will be uploaded soon

Like

Note Lata splits “milan” to “meelan” to suit the metre. I heard this song in a programme on chorus songs and was simply floored. A reference to the Hindi Film Geet Kosh revealed that the song was from “Sargam” and an LP was released. No chance of getting a cassette, so I asked a record collector for a CD of this song. On a chance visit to a video shop I located a DVD of this film and I had the song!! Crazy wording!!

Like

Arun ji, you made my day rather many days! This was my father’s favorite…..it was only day before yesterday one year was completed he passed to his heavenly abode….makes me realise again & again how he has instilled so many fine tastes without being preachy!
I tend to agree with your preference of duets…….Lata sounded at her sweetest in duets with C Ramchandra!

Like

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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.

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