Mil lo raaja sadakiya pe mil lo
Posted on: June 21, 2013
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
Here is the 8th song in the series of Lata singing with lesser known singers. This song is from the film Bikhare Moti-1951, where Lata sings with Raja Gul. This singer makes a Debut on this Blog. The Music Director is Ghulam Mohammed.
This singer Raja Gul seems to be a mystery singer. He has sung about 30 songs in about 20 films from 1948 to 1960. He has sung with almost all leading singers of that period, still NO information is available on this singer from any source at all. The special books on Singers of India do not mention his name. Actually the mystery starts with his name itself. His name has been spelt variously as Raja Gul, Gul Raja, Gul Raaz and Raaz Gul-all possible combinations. I have tried every source at my disposal, but could not get any information. Even my friends who have written books on old songs and well known collectors of Records also can not give any information on him.
From 1931 to 2012-13, almost 1500 singers must have sung songs in Hindi films, but for almost 1000 singers no information is available in any form. Same is the case with Actors. From 1931 to 2000, almost 7000 Actors and actresses have worked in Hindi films, but information is available on hardly 500-1000 actors. The rest are only known by their names on the Film Credits,, Film Booklets or HFGK or similar books. Even their Photographs are not available, forget about details on life, films etc.
This is a very sad state of affairs in India. We do not keep records. We are not serious about our own History. But that is how we are !
No one among the various film associations, bodies at different levels from Junior artists(extras) to Producers’ Guilds, maintains any history, nor do they have information/addresses of old, retired, living artistes.
Sahir Ludhiyanvi,in his characteristic cynical and pessimistic style had dubbed the Hindi Film Industry as ” ye Murdaparaston ki basti hai “. Here Politics plays a bigger role than the recognition of true talent. This Industry has seen several such examples, where talent was not recognised while they were alive, but after their death lots of praise was heaped on them hailing them as ‘Very Talented’.
One such example was GHULAM MOHAMMED-Music Director.
GHULAM MOHAMMED was born in village Naad in Bikaner district of Rajasthan. Father Nabi Baksh in this Shaikh family, gave all his expert knowledge of Tabla, Dholak and Pakhwaz playing to all his 3 sons- Ghulam Mohammed, Mohammed Ibrahim and Abdul Kareem. However it was only Ghulam Mohammed who developed his own style of playing Dholak, with a ring (Chhalla) on the Thumb or the small finger and playing with it on the round border of Dholak. This style became a norm in later years and today ALL Dholak players use this method only.
Ghulam Mohammed took lessons in Dhrupad and Dhamas from Ustad Ghulam Rasool Khan. By about 10th year of age, he joined first CIRCO and then J P Theatres, and toured North and Central India with them.
He came to Bombay in 1924 and joined Saroj Films as a Tabla player. After some time he became an assistant to composer ustad Zande Khan. In a short time he became his Arranger too. His brothers also worked with him here. Ghulam Mohammed was very kind. When one of his friends needed a job badly, he asked his own brother Ibrahim to go away to make room for the needy friend. This needy friend was NAUSHAD ALI, a great composer in later years.
In 1937, he gave music first time to Banke Sipahi-37, but the film flopped miserably and he continued in his job. He also composed for another flop Mera Khwab-1943. By this time Naushad had become a known composer and Ghulam Mohammed started working as his assistant from Sanjog-43. He continued upto Aan-1951. While working with Naushad also he was giving music independently too. He gave music to Mera Geet, Doli, Tiger queen, Kajal, Grihasthi, Parai aas, Dil ki basti, Rasheed Dulhan, Maang, Pagdi, Paras, Shayar, Pardes, Hanste aansoo.
After he left Naushad with mutual understanding, he gave music to Nazneen, Sheesha, Amber, Ajeeb Ladki, Laila Majnu, Dil e nadan, Rail ka dibba, Gauhar, Mirza Ghalib, Pak daman, Hoor e Arab, Kundan, Do Gunde, Sitara, Malik and Shama.
The work on the film Pakiza took too long to complete and Ghulam Mohammed did not live to see the tremendous success of Pakiza songs. He died of heart attack on 18-3-1968 and Pakiza was released in 1971.
There were 14 songs in Pakiza originally. After Ghulam Mohammed’s death,when the film was getting finishing touches,8 songs were removed and 3 songs from naushad were added for background. These 8 excluded songs were released in an LP titled ” Pakiza-Rang Birangi”-1971.
Even Ghulam Mohammed’s detractors agree that the music of Pakiza was simply great, but that year’s Filmfare award for Best Music went to Shankar Jaikishen for film Beimman. Everyone knew how it was managed and once again Politics won over talent !
Naushad and Ghulam Mohammed’s relationship was built on emotions. They respected each others very much. In the late 71 period Naushad wrote an article on Ghulam Mohammed ,in the film Magazine SHAMA. This article was in Urdu. It was translated in English and published recently by the famous Film and Song Historian and a great collector of old Hindi songs-Pasupuleti Kamalakar ji, on his Blog. With his kind permission, I am reproducing it here for our readers, which brings out many new facts. I sincerely thank Shri Kamalakar ji for his kind permission…
” The year was 1937. I started working for Ustad Jhande Khan Saheb as a pianist on a monthly salary of Rs 40/ . Ghulam Mohammad was working as a table player on a monthly salary of Rs 60 /. After that assignment Jhande Khan Saheb had no films on hand and so we got separated .
I found him to be an amazing table player. He belonged to Bikaneer and came from a family of reputed musicians Both his parents as well as his in-laws were attached to stage. Before and after moving to Bombay all of them acted on stage for a living. Later Ghulam Mohammad acquired great mastery over the table and earned a big name as a table player .
1938 – I was working with Music Director Mushtaq Hussain. Ezra Mir was producing a film Sitara starring Khursheed as heroine. He invited Mushtaq Hussain Saheb and finalised the deal for the music of film Sitara. Rafiq Ghaznavi was a very big name in those days. It is believed that he approached Ezra Mir later that day and things changed for us over night. Ezra Mir had replaced Rafiq Saheb in place of Mushtaq Hussain. As agreed Mushtaq Hussain along with me reached the studios only to be told that we have to go back. As we were getting down the stairs I saw Ghulam Mohammad following the team of musicians with Rafiq Ghaznavi . We both met halfway on the stairs to greet each other .
1942 – My music as an independent music director was appreciated for the films Premnagar , Mala & Darshan. AR Kardar had invited me to join Kardar Productions. I was hesitant in the beginning but at the insistence of my friend SU Sunny I joined Kardar Productions . GM Durrani was my assistant for the film Nai Duniya .
Ghulam Mohammed first joined me as a tabla player and later became my assistant. He was am amazing tabla and dholak maestro. I always felt that he should take independent assignments as a music director which he rightly deserved .
Ghulam Mohammad’s first film as an independent music director was Doli – 1947. It was me who assured PN Arora Saheb that Ghulam Mohammed was an efficient person capable of scoring music on his own. I always wanted to see him grow and take up independent assignments. I was present along with Ghulam Mohammad at the recording sessions of the film Doli. He composed and conducted the score, my presence was purely for a moral support. After this he scored music for some more movies produced by PN Arora. Here I make this point very clear that I always wished to see him as an independent composer, which he rightly deserved . I did not do any favor by recommending his name to PN Arora Ghulam Mohammad was senior to me both in age and profession. I always followed on his suggestions and was always successful .
Ghulam Mohammad’s younger brother Abdul Karim was an excellent tabla and dholak player. He worked for me after his brother took charge of composing his own films . I can tell with utmost confidence that there was hardly any tabla player in the film industry who could match these two brothers, every tabla and dholak player must have been inspired by these two brothers and learnt lots of techniques from them .
Mohammad Ibrahim was the second brother. He was an excellent harmonium player. He worked with me for a long time. He had excellent knowledge of music and his advise was always helpful in composing music. Mohammad Ibrahim is not with us today .
When Sohrab Modi approached me for the music of film Mirza Ghalib I recommended Ghulam Mohammed’s name and assured Modi Saheb that he would deliver a better music than me. I used to be present at the recordings of film Mirza Ghalib as a moral support. He used to carry on every thing by himself. My presence was some thing of a confidence to him .
When Kamal Amrohi commenced his movie Pakeezah he approached me for scoring the music. I told him that I am already busy with a movie and I do not accept any movie until I complete it. I recommeded Ghulam Mohammad and assured him that he would do a better job . If , however, you at any stage feel that some thing was lacking I shall be always there to help you. Kamal Amrohi honored my suggestion and engaged Ghulam Mohammad for the film Pakeezah .
Film Pakeezah was started as a black & white movie. Later it was decided to shoot it in color and at last it was both color and cinema scope From time to time many songs were recorded and many discarded Many of the songs were recorded in our ( SU Sunny Partners) Rang Mahal Studios. I was always present at these recording sessions. When Ghulam Mohammad suffered a heart attack I extended what ever support and help he needed during the completion of the songs and recordings .
A number of songs based on classical music were recorded for the film Pakeezah. It was in the voice of a classicalist from from Jaipur. None of them were included in the movie. Many filmi style songs including a large section of popular song ‘ chalo dildaar chalo chaand ke paar chalo ‘ was not included in the movie .
Ghulam Mohammad passed away before the movie could be completed. After the completion of the movie Kamal Amrohi approached me and said ‘ I have come to remind you the promise you had made years ago. The film is ready and you can score the background music ‘ – – – – – – – –
It took two and a half months for me to complete the background score. I told Kamal Saheb not to include my name in the titles of music but , he did not listen. He was very adamant .
Ghulam Mohammed was not only a good tabla and dholak player but he was also good at singing and dancing too. His association with me lasted for nearly 20 years , first as a tabla player and later as an assistant. It was his greatness that he not only accepted me as an Ustad but loved me with his deep heart. On the contrary it should have been the other way round. His knowledge was remarkable. I accept with my whole heart that he was more knowledgeable than me and played a significant role in mending my career .
Late Ghulam Mohammed was a devotee of an elderly Sufi Haji Wali Mohammad Saheb of Bombay. He was known to many as Barrister. Haji Saheb was an elderly Sufi absorbed in meditation. Ghulam Mohammed used to visit him on thursdays and play dholak during the qawwali session . After the qawwali, there used to be a session of discourse during which Haji Saheb used to say ‘ Ghulam Mohammad your dholak will go to heaven.” Haji Saheb’s tomb is located in in the Sonapur graveyard of Bombay. Ghulam Mohammad was given a holy bath at the premises of Haji Saheb’s Durgah and was buried close to Haji Saheb’s tomb .
Ghulam Mohammad used to live in the Play House area of Bombay. On my suggestion he purchased land in Pali Hill and constructed a four room house on the ground floor. Later he constructed the second floor and gave it on rent. After years of struggle he was able to get the premises vacated. The entire house was used for their living .
Ghulam Mohammad’s eldest son Mumtaz Mohammad leads a life of an ascetic. Mohammad Aziz is a good tabla player like his father. Iqbal Ahmed another son is in the field of music and currently composing music for Tajdar Amrohis film ‘ Ek number ka chor “.
Ghulam Mohammad was a deeply religious person. He was very regular in matters of prayer and fasting during the Ramzan. On fridays we both used to offer namaaz at the Bandra Jama Masjid .
He was a very sentimental person. While composing a song if he was inspired by a particular raag he used to cry and make me cry .
Ghulam Mohammad passed away before the release of film Pakeezah. His brother Abdul Karim met me at the premier of the movie. Tears were flowing uncontrollably from his eyes when he told me ‘ how happy my brother would have felt had he seen his success with his own eyes.’ Abdul Karim left playing tabla and dholak for movies and became an ascetic .
The passing away of Ghulam Mohammad left me in void. I feel very lonely. May God bless him with heavenly bliss . ”
Now, enjoy this Lata and Raja Gul song from ” Bikhare Moti”-1951.
Song-Mil lo raaja sadakiya pe mil lo (Bikhre Moti)(1951) Singers-Lata, Gul Raja, Lyrics-Akhtar ul Imaan, MD-Ghulam Mohammed
Lyrics
Mil lo raja
sadakiya pe mil lo
ho mil lo
mil lo raja
sadakiya pe mil lo
aao ji chhaila more
pardesawa mat jaiyo
ji chhaila more
pardesawa mat jaiyo
main roye mari
saajna tohre dam ko
main roye mari
saajna tohre dam ko
tanik bhala mil lo mil lo ho
mil lo raja sadakiya pe mil lo
tu mukhiya ki chhori gori
tu mukhiya ki
tu mukhiya ki chhori gori
main maalan ka chhora
tu mehlon ki rehnewali
main hoon dhan se kora
tu mehlon ki rehnewali
main hoon dhan se kora
kya naata tora mora
humaara man baaton mein na chheeno
hoy
humaara man baaton mein na chheeno
aao ji chhaila more
pardesawa mat jaiyo
ji chhaila more
pardesawa mat jaiyo
main roye mari
saajna tohre dam ko
main roye mari
saajna tohre dam ko
tanik bhala mil lo mil lo ho
mil lo raja sadakiya pe mil lo
ho o o o
prem ke bandhan toote naahin
dhan daulat ?? la
ho o o o
prem ke bandhan toote nahin
dhan daulat ?? la
tu ped main chhaya teri
mat kar mann ko maila
tu ped main chhaya teri
mat kar mann ko maila
tu Majnu main Laila
haay
tu majnu hai main Laila
chhod aaungi sab maal dhan ko
haay raam
chhod aaungi sab maal dhan ko
kyun rani
aao ji chhaila more
pardesawa mat jaiyo
ji chhaila more
pardesawa mat jaiyo
main roye mari
saajna tohare dam ko
main roye mari
saajna tohre dam ko
tanik bhala mil lo mil lo ho
mil lo raaja sadakiya pe mil lo
naacho bitiya ta ta thaiyya
baithe hain sab log
bhaiya dholakiye dheere dheere
bhaiya manjeere chun chun
chun chun
ha ha ha ha ha
12 Responses to "Mil lo raaja sadakiya pe mil lo"
June 21, 2013 at 10:33 am
He sang with other singers also:
a) Ek Chakkar Paav Me Hai with Mohammed Rafi; MD: Govind Ram; L> Surjit Sethi in Shadi Ki Raat (1950)
b) Wo To Chutki Me Dil with Mohammed Rafi; MD: Govind Ram; L> Sarshar Sailani in Shadi Ki Raat (1950)
c) Jhirmir Re Ki Ram Pyara with Sitara Kanpur; MD: Bharat Vyas/ B S Kalla/S K Pal; L> Bharat Vyas in Rangila Rajasthan (1949)
d) Sathida Ramu Re Mai Ro Ro Nain with Sitara Kanpur; MD: Bharat Vyas/B S Kalla/S K Pal L> Bharat Vyas in Rangila Rajasthan (1949)
e) Suraj Badli Me Chup Ja Re with Sitara Kanpur; MD:Bharat Vyas/B S Kalla/S K Pal L> Bharat Vyas in Rangila Rajasthan (1949)
f) Kal Raat Padosi Kehta Tha with Shamshad Begum; MD: Husnlal Bhagatram; L> Shewan Rizvi in Sartaj (1950)
g) Mithai Le Lo Babu with Lata Mangeshkar; MD; Govind Ram; L> Bharat Vyas in Raj Mukut (1950)
h) O Jane Wale Thahar Ja with Shamshad Begum, Hamida Banu, MD: Gulam Mohammad; L> Shewan Rizvi in Hanste Ansoo (1950)
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June 21, 2013 at 10:57 am
Nitin ji,
Thanks for these details. The 2nd para of above article does mention that he sang with many leading artists of his day.
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June 21, 2013 at 10:56 am
Ghulam M also gave music in Shair, Pardes, Hazaar Raate; Dil ki Basti; Paras; Maang; Guzara; Doli; Kajal; Naina;
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June 21, 2013 at 10:59 am
These names are already mentioned. please read the article.
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June 21, 2013 at 12:48 pm
Arunji,
Thanks for drawing my attention. I stand corrected. Correction: GM also gave music in Hazaar Raate; Guzara and Naina;
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June 21, 2013 at 6:37 pm
What a wonderful write-up, Arunji.
I thoroughly enjoyed reading every word of it. It is so informative – I didn’t know much about Ghulam Mohammed until now though I did have a vague feeling that he was not given his due. I most certainly did not know details like him starting the trend of using “chhalla” on the finger for playing the dholak.
It is nice to read about the warm relationship and respect that Naushad and Ghulam Mohammed had for each other. That Naushad article is very heartwarming to read.
This song was also lovely to listen to. Very pleasant. Thank you, Arunji.
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June 21, 2013 at 7:28 pm
Raja ji,
I am happy that you liked the write up.
Ghulam mohd. is just one of the many such unlucky artistes who,despite their talents,either did not get opportunity or simply were the victims of unfair competetion and politics.
All that we can do for them is,instead of shedding tears for them,spread the word around how good they were !
The kind of tunes Ghulam Mohd gave to Ghalib’s Ghazals in Mirza Ghalib,each is a melody for eternity !
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November 22, 2013 at 3:47 pm
Dosti ho to Naushad aur Ghulam Mohammed jaisi. Arun Deshmukh jeete raho. Tum is vaqt film ke sabse bare historian ho. Pata naheen tum khud jante ho ya naheen ke tum kitna bada kaam kar rahe ho. Jeete raho.
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November 22, 2013 at 7:35 pm
Sharma ji,
I am overwhelmed with your appreciative kind words. I do not know if I deserve them.
I have always tried to pass on to others what I know,lest it is lost in eternity with me. I am already in my 70s,so I hurry up doing this.
Thanks once again.
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
June 21, 2013 at 10:09 am
That is very informatice article on Ghulam Mohammed, one of the greatest MDs of the golden era. Pakeezah songs are out of the world. All words which can be used to describe something great can be applied to his music. Thank you very much for the article.
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June 21, 2013 at 10:21 am
Aparna ji,
GM is one of my favourite composers,who did not get what he deserved,in my opinion.His contribution in Naushad’s success as an MD is beyond words,whether Naushad recognised it openly or not.
Thanks for your appreciation.
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