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

Mohe panghat par Nandlal gher liyo re

Posted on: April 25, 2016

This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in If this article appears in sites like and etc then it is piracy of the copyright content of and is a punishable offence under the existing laws.

Mohe panghat pe nandlaal chhed gayo re was one of the 12 listed songs from ‘Mughal-e-Azam’ (1960) which became very popular. Shakeel Badayuni was credited for this song though the song was inspired from a traditional dance (kathak) thumri written, probably sometime in the 19th century.

After the film ‘Mughal-e-Azam’ (1960) was released, Raghunath Brahmbhatt (1892-1983) who is known as ‘Raskavi’ in Gujarat, lodged a complained with Film Writers’ Association against K Asif for wrongly giving credit to Shakeel Badayuni for the song. He claimed that he had written the lyrics as far back as in 1920 for a Gujarati play ‘Chhatra Vijay’. It was reported that K Asif paid royalty to Raghunath Brahmbhatt at that time with an assurance that suitable acknowledgement would be given in the credit title.

When the film was once again released in its colour version in 2004, it was noticed that no credit for the song was given to Raghunath Brahmbhatt. His grandson, Dr. Raj Brahmbhatt initiated a legal proceeding against the producer of the colour version of the film, M/s Shapoorji Pallonji’s Sterling Investment Corporation. After that, an agreement was reached under which the producer would give credit to Raskavi Raghunath Brahmbhatt for the song on the VCD/DVD cover of the film. [Source: DNA India, November 18, 2005]. However, in all published material and also on discs, even now, the credit is still being given to Shakeel Badayuni for the song.

In Projesh Bannerji’s book ‘Dance on Thumri’, it was mentioned that there were hundreds of thumris written especially for kathak dances by kathak dancers like Bindadin Maharaj and others and I find that ‘mohe panghat per nandalal chhhed gayo re’ is listed as one of the dance thumris. It was, therefore, no surprise that in the film, the song was choreographed by Kathak exponent Lachchu Maharaj as a kathak dance which was performed by Madhubala on the screen. So, in my view, even Raghunath Brahmbhatt may have been inspired by this traditional thumri while writing the lyrics for this song used in the Gujarati play ‘Chhatra Vijay (1920).

The earliest singer who had rendered and recorded this thumri in raag Pilu appears to be Indubala, the record of which was released in September 1930 (78 rpm record No. P.10237). Later, Ustad Azmat Hussain Khan of Agra-Atrauli gharana also rendered the thumri ‘Panghatwa pe Nandlaal chhed layi re’ with somewhat different wordings.

Today, I am presenting the Indubala version of the traditional thumri ‘mohe panghat par Nandlaal chhed liyo re’ (1930) which, in my view, is the inspiration for Naushad to compose the song with the same mukhda. A traditional thumri generally have mukhda with only one antara. Words are simple and colloquial but they are musically interpreted. Just note how Indubala gives emphasis on the words ‘naajuk kalaiyya’ and the way she pronounce ‘maror’ to give the listeners the feel of a twisted wrist.


song-Mohe panghat par nandlal gher liyo re (Indubala NFS)(1930) Singer-Indubala


aa aa aa aa
aa aa aa
aa re haan
mohe panghat par Nandlaal gher liyo re ae
mohe panghat par Nandlaal gher liyo re ae
mori naajuk kalaiyaa aa maror diyo re ae
mori naajuk kalaiyaa maror diyo re ae
mohe panghat par Nandlaal gher liyo re ae
mohe panghat par

ae ae ae
pan…ghat par
aare ghat par
ae ae ae ae e
aa aa aa aa
panghat par
ae ae
pan……..ghat par
panghat par
mori naajuk kalaiyaa aa
ae kalaiyaa
ae ae ae ae ae
ae haan
naajuk kalaiyaa
maror diyo re
mohe panghat par Nandlaal gher liyo re…e
mohe panghat par

ae ae ae
nipat jhapat mori
sir ki gagaariya phodi
nipat jhapat mori
aa aa aaa
aa aa aaa
aaaaaaaaa aa aaa
aaaaaaaaa aaa
aaaaaaaaa aaa
nipat jhapat mori
nipat jhapat mori
sir ki gagariya phodi
aur chudiyaan pasaai(?) diyo re…e
aur chudiyaan pasaai(?) diyo re…e
mohe panghat par Nandlaal chhed liyo re…e
mohe panghat par
naajuk kallaiyaa re
naajuk kalaiyaa maror diyo re
mohe panghat par Nandlaal gher liyo re…e
mohe panghat par Nandlaal

11 Responses to "Mohe panghat par Nandlal gher liyo re"

Bollywood is a hollow hood. Copying from scores of regional languages and Hollywood


Yep it is just wood and hollow at that.


No wonder we have movies like Hum Sab Ustad Hain, Hum Sab Chor Hain


SJ Fans Intl-Mumbai is organizing a audio-visual show on SJ on 29th April at 6pm at Raghuvanshi Hall(Amchi Shala Premises, Near Sahakar Plaza, Cinema), Tilak Nagar, Chembur, Mumbai to commemorate Shankar’s 29th death anniv which actually falls on 26th. A book on SJ will also be launched. All are invited. Thanks


A different treatment which is very refreshing. Thank you Sudhir-ji.


psseshadri ji,

This post is written by Sadanand Kamath ji.



Atul ji,

Please change the tag and elsewhere to ‘Indubala’ instead of ‘Induraani’.


My father Ustad Azmat Hussain Khan Dilrang recorded this Thumri Panghat waape…” well before Indubalaa during the same period. Ustad Azmat Hussain came to Mumbai in 1927.
In the beginning of his professional concerts career only, he sang and recorded not less 12, 78RPM records. He was only 18 years old then.This thumri was one of them. It was so famous that he became a Star performer in most of the major music conferences which were held at that time. Maharaja of Baroda, Mysore, Tonk, Gowaliar used to invited him frequently . He was specially invited for concerts by The king of Nepal and King Zahir Shah of Afghanistan. Most memorable was that when he was very specially invited by Our firstPM Pandit Jawaharlal Nehru to give a a concert in the function to celebrate the first independence anniversary of India (1948)
A great vocalist Ustad Azmat Hussain was a man of varied interests and was very simple man with a vibrant personality. He was least interested in commercialisation of his creative talent and often refuse to take part in film music. It was mainly due to the restriction put on him by his patternal uncle and Guru SS Ustad Allahdiya Khansahab. It is indeed very unfortunate that record of his peak performance is not available. Most of it was erased or spoiled carelessly by some ill minded miscreants. Only Allah the Almighty the Lord creater of the world will survive and nobody except HIM.


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Ustad Vajahat Hussain Khan Saab,

Thanks a lot for providing additional information about the thumri under discussion and the role of Ustad Azmat Hussain Khan Saab in popularising this thumri.


I just came across your this song on your blog. Amazing. Thank you for this beautiful archive of Hindi Film music


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