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

Teri nazron ne hamko chheda hai

Posted on: August 22, 2013

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

This is the second song in the series “Music Directors singing for other Music Directors”.

This is a song from film BARAATI-1954,sung by Chitalkar and Asha Bhonsale. The Music Director was Roshan.

Chitalkar was very fond of singing. Though the actual number of his songs-sung by him- is not available, according to one estimate ,he sang about 100 duets or trios with various singers and about 50 odd solo songs in his career. This number is as good as any second line singer in the industry. Of course Chitalkar sang essentially for his own films. However there were occasions when he was invited by other composers for singing songs.

In those days there was a friendly atmosphere and cordial relations among the musical fraternity. All composers, singers, their assistants, lyricists, musicians used to have a lot of fun, get-to-gethers and even outings. One can find many such photographs on the Internet. (Interested readers may see such Photographs on my FB page Timeline). Though there was keen competition, it was very healthy and not a Cut-Throat type-yet. This clean atmosphere started getting spoiled when some conniving composers (read Shankar Jaikishan, Laxmikant Pyarelal and others of their ilk) started unethical means to grab undeserving awards and films. Honest and True to music composers like S D Burman,C Ramchanda,Madan Mohan,Khayyam etc were thrown aside as they proved to be misfits in this new ” Dog Eat Dog ” culture that crept in stealthily !

Anyway, Chitalkar sang in films composed by other Music Directors very selectively and for the sake of specific reasons. He seems to have sung for Mir Sahib (his first Guru), Anil Biswas(his idol),S D Burman, Roshan(his close friend), P.Ramakant, Chic Chocolate(his assistant of many years), Hemant Kumar, Laxmikant Pyarelal,Usha Khanna and Kishore Kumar. He sang for the last three in his last few years.

His songs with other Music Directors may not exceed 15 at the most. Lata sang hardly 2-3 songs as duets with him for other music directors. Remaining of his duets for other music directors were with other singers.

I feel that he sang only ONE duet with Asha Bhonsle for other Music Directors and that song is today’s song under discussion.

By the time Asha came into her own in the late 50s, C Ramchandra was with Lata all the while and rarely gave opportunity to Asha in his films for duets with him. In Chitalkar sang only two duets with Asha till 1957 !

By 1957, his relations with Lata were souring and he tried to bank on Asha, by giving 3 songs to her in 1957 itself, but Asha was shrewd enough to see his game. Moreover she had opted for O P Nayyar after the runaway success of Naya Daur songs.

After the final separation of Lata and Chitalkar, O P Nayyar and Shankar Jaikishan were in full form and C Ramchandra’s career had started declining. From 1958 to 1966 he gave 14 songs to Asha.

Anyway, today’s song is from Baraati a film of 1954 and the Music Director was Roshan. At this juncture Roshan was fighting for survival. After Bawre nain and Malhar he had not given any Hit film. Few songs from his films had become popular. In 1954, he was summarily removed from the film MEHBOOBA and O P Nayyar took over . There was a hugh hue and cry and the matter was taken up by the Association too. A lot has already been written about it on this Blog many times. One good thing that happened was that during this period Lata stood behind Roshan like a Rock. Their relations were extremely sweet, so much so that when Lata decided to produce a Film ” Bhairavi”, she appointed Roshan as its Music Director, much to the amazement of the industry ! Though Roshan was never a Front row composer in the industry, Lata had recognised his Talent in the musical arena. The sweet relations between Lata and Roshan remained so for a long time-only to become bitter when Roshan gave opportunities to Hemlata in his films.

Chitalkar and Roshan were very good friends. After Chitalkar had retired from films, Roshan used to frequently go to his house on evenings for drinks. Though Roshan hardly drank anything, Chitalkar more than compensated the deficit!. They used to exchange their sorrows. Roshan’s family life was not happy one, which added to his nervous nature and took its toll finally.

Initially BARAATI-1954 was given to Chitalkar, who was already doing Yasmeen for Kardar Studios. Since Chitalkar knew that Roshan was without work, he persuaded A R Kardar to give the film to Roshan, thus Roshan became theMusic Director for this movie.

When this song of Baraati-54 was to be recorded, Roshan purposely opted for Asha, since he knew that in future Chitalkar would try to bank upon her as a replacement for Lata. However it was not to be, though Chitalkar tried his best in this direction. In the film Amardeep-58, out of 12 songs,Asha was given 7 songs while Lata sang only two. In this connection there is an interesting incident….

In January 1957,there was a singing competition called ” MURPHY-METRO SINGING CONTEST ” held on the open grounds of Mahalaxmi Racecourse, Bombay. The judges were Naushad, Anil Biswas, C Ramchandra, Vasat Desai and Madan Mohan (He was the youngest of them all, which was an honour for him). Aarti Mukherjee and Mahendra Kapoor were the winners in this contest.

At the end of the Contest,when the curtain opened after a break, C Ramchandra suddenly appeared at the Centre-stage, with his full orchestra. (This was NOT announced to the audience earlier, giving them a pleasant surprise.)

Within minutes Asha Bhonsle appeared on the stage and they started a live show under his baton, presenting the First ever ROCK N ROLL numbar in the annals of Indian film Music. Asha brought down the whole Mahalaxmi house that evening with her ultra spirited singing of ‘ Mr. John, ya Baba khan ya Lala Roshan daan ” from film BAARISH- to be released only next month viz. February 1957.

Such was C Ramchandra’s clout in his hey days that he was considered the heralder of the westernised music in Indian films. It is well known that once S D Burman told his son, Pancham “If you want to go western do it by all means, but first study the songs of C Ramchandra,study the vistas explored by him as a composer !!”

Film BARAATI-1954 was produced by A R Kardar under his banner of Kardar Studios. The director was J K Nanda. Now this J K Nanda (Jai Kishen Nanda-1904-1983 ) was a noted director of his times. He had directed 20 films by then, including the last film of K L Saigal and Suraiyya- PARWANA-1947. Baraati was an out and out comedy film and I feel Nanda was not able to handle it properly. The cast of the film was Agha, Peace Kanwal, Chand Usmani, Omprakash, Johnny Walker, Leela Mishra, Shyam Kumar, Rajan Haksar etc. The story was…

Lajo (Chand Usmani) is a homely girl. She has no father and stays with her widowed mother and brother Sunder (Agha). her mama-Bishen Das(Omprakash) and Mami (Leela Mishra) also stay in the village. Lajo’s mother depends upon Sunder and Mama Bishen for finding a groom for Lajo. Sunder starts visiting prospective grooms, but at one place, falls in love with a girl and marries her. When he and the new Bride Pilu (Peace Kanwal) come home, they are not allowed to enter unless Sunder finds a suitable match for Lajo. Sunder and Bishen start the mission again and finalise a boy, Atmaram, son of a rich Zamindar, Girdharilal(Shyam Kumar),who is very stingy and money minded. he puts many conditions which are all accepted. the marriage takes place, but Girdharilal makes additional demands and refuses to take the bride into his house. Lajo is devastated and attempts suicide, but Bishen Das saves her. He suggests that Lajo win back her husband by her love. She succeeds in doing this and Atmaram rebels against his father,takes Lajo into his home and the father relents.

Let us enjoy this fun song filmed on Agha and Peace Kanwal. It is sung by Chitalkar and Asha Bhosale.



Song-Teri nazron ne hamko chheda hai (Baaraati)(1954) Singers-C Ramchandra, Asha Bhonsle, Lyrics-Raja Mehdi Ali Khan, MD-Roshan


teri nazron ne hamko chheda hai
ham shor macha denge,
dekho ji ham shor macha denge
tum chhip chhip hamse milte ho
ham sabko bata denge,
suno ji ham sabko bata denge

dekhenge rani ham toh chhedenge tumko,
dil ne yeh thhaani hai
dekhenge rani ham toh chhedenge tumko,
dil ne yeh thhaani hai
haay apni nazar ko roko ji,
dekho yeh toh deevaani hai
aeji angna mein
aeji angna mein
sowe sasuji
ham unako jaga denge
suno ji ham unko jaga denge

teri nazron ne hamko chheda hai
ham shor macha denge,
suno ji ham sabko bata denge

yeh dillagi nahin hai, dil ki lagi hai, kaise bataun main
yeh dillagi nahin hai, dil ki lagi hai, kaise bataun main
haay jo karna hai so karo ji, kabhi haath naa aaun main
hamse naa
hamse naa
karo yeh shokhiyaan ham tumko saja denge
suno ji ham tumko sazaa denge

teri nazron ne
teri nazron ne hamko chheda hai
ham shor macha denge,
suno ji ham sabko bata denge

kya main karoon ui tauba jaane bhi do ji,
tum toh deewaane ho
kya main karoon ui tauba jaane bhi do ji,
tum toh diwaane ho

haay, dil nahi bas me kya karu, yeh meree ek naa maane ho
ik bat hai
ik baat hai
jo ham kaanon me chupke se bata denge
dekho ji chupke se bata denge
tum chhup chhup
tum chhup chhup
hamse milte ho,
ham sabko bata denge

dekho ji ham shor macha denge
sunoji ham sabko bata denge

11 Responses to "Teri nazron ne hamko chheda hai"

As far as I can recall, Hemlata never sang for Roshan, since he died in 1968, the year she started her career.

Very Informative article though otherwise.

Many Thanks.


bluefire ji,
Thanks for your comments.
The actual word should have been ‘programme’ instead of ‘films’ in the above article,thus reading ” when Roshan gave opportunity to hemlata in his programme.” I regret the slip.
I quote Raju Bharatan,from his Book ” A journey down memory Lane” page 119- ” At least,we have a rational explanantion for Lata’s suddenly switching allegiance from Roshan to Madan Mohan,after the Roshan Nite held in June 1967,when her favourite composer had got a total newcomer Hemlata to duet with Rafi on the Shanmukhanand Hall Stage via Roshan’s 1963 Raag Pahadi Taj Mahal hit-“jo wad kiya tha”. It was this Hemlata happening at a Roshan Nite-not exactly calculated to please Lata-that cleared the Roshan way for Madan Mohan “.


Now that makes sense. Thank you Arunji for the clarification. However, since Roshan died soon after this said incidence, it seems a moot point whether Lata switched allegiance. Seems to me this “historian” Bharatan is more like gossiping/sensationalizing.

But that brings me to something else. In today’s era, we have so many media sources to get information unlike when u were growing up half century ago. I’m guessing u can listen to music of upcoming movies on radio, and it would be a no-brainer to check out movies o big stars, like Dilip, Dev, Raj, Shammi, etc. But what about the other movies? How would u decide what u want to watch? People like Raju Bharatan and all, how credible would u find them back in the days? It would be great if u can cover these aspects of film journalism in ur writings – the things/people/marketing that would impact the viewer back in the days when people like me werent around.


bluefire ji,
I agree with you and know full well that people like Raju Bharatan ARE gossip mongers and they try to make their writings ‘masaledar’.
However,one thing is sure . They can not create incidents. At most their conclusions,commentaries and comments may be at times misleading or illogical on the actual incidents that had happened.

For example, it was a fact that Hemlata did sing a duet at that function. now, the conclusions drawn by Bharatan that because of this Lata was upset could be a wishful thinking on his part or a wild guess made by him. So while reading books by such people,one has to be on guard not to get swayed or influenced by his inferences,but one must surely understand the factual happenings or the incidents.

Writing on old films,old personalities and old incidents is a very tricky proposition. No person on this earth has ever been present everywhere at the same time,so one will have to take a recourse on writings or documentation of others.
In India,we are hugely deficient in recording History.On top of it,whatever material is available on Film History is obscure and inaccessible-like documents in FTII arcives. Unless one goes there one can not have access to it.
Therefore,it is best to write what you can prove by some documentation,instead of cooking up stories. Whatever I write on various fora,can always be supported by documents or by the original source. Despite all these precautions,sometimes I falter,not due to my comments but by the unreliable sources which I used.Thankfully such occasions are rare.
The second para in your above comment was not clear to me as to what exactly was your point. In my days,in addition to films of all Big stars,I used to see films having good songs or simply see my favourite genres like fantasy,Mythology,Costume,mystery etc.


Thanks Arunji. Let me elaborate further. What I meant to ask was how did media play the role in those days. For example, these days u have advanced screening of movies and people are paid to write glossy reviews to attract the viewers to cinema hall. With internet, sms and so on, info flows 24×7. So, in those days what kind of information would be available to a viewer before hand? I know at some point u could buy the booklet when u go to watch a movie which would provide information. Now there were fixed genres too. So if its named Ram Bhakt Hanuman, u kinda know what kinda movie it would be. But would anyone know in advance if its a good movie or not. So i was just wondering what kind of information would be available thru newspapers and magazines. These days they would build up the hype, this song is shot at this price in this country, etc. So even on a smaller scale, how would it work back then? For example, would u get stories to read on daily basis that lets say, today, Dev Anand was shooting at Marine Drive for so and so movie, etc. Or before Raj Kapoor’s Barsaat (1949) became top hit, would people be expecting the movie to be a big hit or talking about it or u just go to watch the movie and end up liking it and making it a big hit thru word of mouth? I know there were critics like Baburao Patel and all, but how much would they influence the viewers? Another source is movie trailer. At what point do u remember watching a trailer for a movie? One of the oldest theatrical trailer i have seen is for Manoj Kumar’s Gumnaam (1965). There are trailers available for much older movies, but those promos are created in recent times to sell the DVDs. I understand traditionally cricket and bollywood have been the only 2 sources of cheap entertainment. So no matter what, u would go to watch a movie every weekend. But in general, i was just curious what kind of information would be available in advance for a user to decide which movie to go and watch and how did it all evolve with time – critics, reviews, booklets, trailers, media manipulation and so on.


bluefire ji,
Thanks for clarifying your point.It is indeed a point of interest and I assure you,in one of my future articles I will deal with this point in details. So you may have to keep a track of my articles (is this a type of advertisement/lure for my articles ?Worth consideration !).


I have seen the movie several times gratis on B&W Channel(Hathway). Om Prakash had a major role with Agha.


CR have sung many Marathi songs; bambu che ghar.., Pappa sanga kunche etc



Both these songs are from the film Gharkul. MD is CR, but the first is sung by Manna De and the second by Arun Sarnaik. CR sang Mazya shetat sonach piktay with Lata in Ram Ram Pavna under music by Lata Mangeshkar.
D Samant


I got it all wrong. Thanks
He sang:
Na Mila Hai Na Milega Mujhe Aram Kahin>Dhananjay
Ram Ram Pahuna-1950 Marathi – Mazya Shetath Sonachi Peek Kata>l

Interview of CR




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