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

Kya maze ki baat hai ye baat bhi

Posted on: June 16, 2016

This article is written by Arunkumar Deshmukh, 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.

Readers from Gujarat must have heard the name of Shri Rajanikumar Pandya ji, a famous writer and winner of five awards from Sahitya Academy of Gujarat. One of the several books he has written on film people is “Aap ki Parchhaainyaan “.( He had gifted me this book). This book contains information derived from his personal interactions with several film greats like Nargis, Talat, Shamshad, Mubarak Begum, Jaikishen, Mukesh, Rafi, Composers Kalyan ji – Anand ji, Naushad, Anil Biswas, Hemant Kumar, Kavi Pradeep and a few more. In this book he has devoted 30 pages for his personal experiences with Jagmohan Sursagar ( Jaganmoy Mitra ). This is about the period close to two years when Jagmohan first stayed in his house and later elsewhere in Ahmmedabad. Jagmohan had already retired by that time and he was a devastated person due to the demise of his mother and wife in a span of a few months.

Born on September 6,1918,Jagmohan whose real name is Jaganmoy Mitra came from a conservative family of land-lords. His father had died of a stomach ailment before he was born, while his mother was still in her teens. Though Jagmohan had no problems in childhood, he was to grow up as an ardent devotee of his mother. When she died in 1981,and was followed by the singer’s wife, in a few months time, Jagmohan felt a terrible void in his life, something that he appears to have been unable to fill.

There was an atmosphere of music in his maternal grandfather’s house where they went to live after Jagmohan’s father died. He literally grew up listening to dhrupad, khayal,thumri and tappa,surreptitiously learning ragas and raginis as also the tabla from his uncle’s ustads. It all paid off when Jagmohan took part in all Bengal music competition after passing his matriculation examination. He topped the competition in in dhrupad, tappa, thumri, kirtan and baul, religious folk music of Bengal. The year was 1937. In the same year, his professional singing career began at All India Radio. The next year, he stood first in khayal singing in an all India competition at Allahabad.

A music recording company, HMV grabbed him for recording. Says Jagmohan: “I had a tune and had been trying to compose a song to suit it. But,an acquaintance, Hembabu asked me to see Kazi Nazrul Islam, the great poet. Hembabu took me to him and left me with the poet. The poet was a very kindly man and my diffidence vanished after a while. I sang the few lines that I had composed. He praised my tune and music but offered to write a song for me to fit them. I sang the tune several times as the Kazi sat writing stanza after stanza; his words, as if poured after, and there nary was a change or scratching out of a word here or there. That was the song Saaon Ratey Jadi…. on which my re-cording was made.” It was a great hit. Then,in 1940, came two songs of Rabindranath Tagore, both approved by the Nobel prize winning poet. Tagore permitted him to record two more of his songs.

In 1945, Jagmoohan was given the award of Sursagar (ocean of music) in Bengal. The award has not since been given to anyone else, and the singer was only the second recipient of the honour. In fact, most people have forgotten that Mitra is Jagmohan’s real surname; it has just become Jagmohan Sursagar, a name under which he also wrote an auto-biography in Bengali. It has recently been translated into Gujarati and brought out under the title of one his more famoous songs, Dil Dekar Dard Liya Hai Maine…

Gandhiji too had appreciated Jagmohan’s singing and the singer recorded Sapt Kand Ramayana in six minutes at the Mahatma’s suggestion. Another national leader fond of his singing was Jay Prakash Narayan.

Jagmohan toured abroad also extensively and he had been to places like East Africa, the U.K.,the U.S.A. and Canada,earning vast fan following everywhere. Speaking at the Ontario College of Art in Toronto, Jagmohan held his audience spell-bound, proving that there essentially was no barrier to music. He sang a Bengali composition in Bhairavi and followed up with an English song ,rendered in the same raga.

He came to Bombay in 1950 to become a Playback singer, but the Bombay film world atmosphere did not impress him and he did not sing in any film. In fact after 1958, he did not cut any record. The only exception is today’s song, which he sang under his own baton, for the only Hindi film for which he was the composer.

A dignified individual,Jagmohan never turned bitter. He became more of an introvert, paying heed to the calls of none but his inner voice. After the deaths of his mother and his wife in 1981,feeling lonely, he had moved residence thrice– from Bombay to Delhi for two years while he was a member of Censor Board,then to Calcutta and to Ahmedabad.

He did not seem to regard his moving from one city to another as something of great importance. He declared :”I crave for affection, respect and human warmth and go wherever my inner-self tells me to. I have followed the dictates of my inner-self only all my life.”

“I can go away from a city,but I cannot go away from music”,he said.

He had become so popular due to his NFS in Hindi and Bangla, that he had neither the time nor the desire to sing for films. However Jagmohan sang 33 songs in 19 films, The films were, Bhakta Kabeer-42, Bhaichara-43, Hospital-43, Arzoo-44, Subah Shaam-44, Takraar-4, Ameeri-45, Meghdoot-45, Arabian Nights-46, Krishnaleela-46, Pehchaan-46, Prem ki duniya-46, Zameen aur Aasmaan-46, Vijay yatra-48, Iran ki ek raat-49, Lottery-49, Shadi ke baad-49, Kashmir hamara hai-50 and Sardar-55.

Despite many attempts, it is not clear as to how many Non film songs or Geets he sang in Hindi and Bangla. Five of are fewhis NFS are covered in this Blog.The generation born in the 1940s grew up on the musical diet of Saigal,Jagmohan and Pankaj Mullick. There was a period when Non film Geets were extremely popular, even in the presence of film music. Those days are behind us now.

In his book, Pandyaji has described an incident when Jagmohan went all the way to a far off place, just so that a dying fan of his songs, could listen to him while on deathbed. The fan died when Jagmohan was still singing for him. The family members of the fan became eternally obliged to Jagmohan’s noble gesture.

Jagmohan returned to Bombay after almost 2 years in Ahmedabad. He died on 4-9-2003, in Bombay.

During Jagmohan’s period, there was another singer named Jagmohan ( Bakshi) and there was a same name confusion, though there was no comparison in quality and popularity of both singers. Jagmohan Bakshi was one of the two partners of Sapan-Jagmohan pair of composers.

Jagmohan Sursagar gave music to only One Hidi movie…Sardar-55. Today’s song is from this film and what is more, it is sung by himself. The film was produced by Gyan Mukherjee, under his own banner Gyan Mukherjee productions, Bombay. It was also directed by Gyan Mukherjee.

Gyan Mukherjee (30-9-1909 to 13-11-1956 ) began his career in Bombay Talkies- which was one studio that gave ample opportunities, on preference- to artistes coing from Bengal Initially he was a writer of stories, screenplays and dialogues in the story department of Bombay Talkies. He never got on well with his colleague, Amiya Chakrawarty. Both had aims to become Directors some day.

Though, for director Naqvi’s film Punarmilan-1940, Amiya and Gyan Mukherji wrote the screen play together, they were never comfortable with each other. After the split in Bombay talkies, when Gyan mukherjee went with the opposition group, their competition increased since now both were directors. When the other group started work on Kismet, with Anil Biswas as MD, Amiya also started Basant, with the same Heroine- Mumtaz Shanti- and Anil Biswas actually composed music for it, though Pannalal Ghosh was credited as the music director.

Their competition continued even after Bombay talkies closed down. When Amiya did Baadal-51, on the same story, Gyan mukherjeemade the film Shamsheer-53 ( originally this film was made by Sargam films, but Bombay Talkies purchased its rights and released it.) Further in 1957, both started a film each with the same Heroine-Vyjayantimala. Amiya did Kathputli-57, but he died before this film was completed and Nitin Bose completed the remaining film. Similarly Gyan mukherjee started the film Sitaron se aagey, but he too died before the film was completed. After some time Satyen Bose was commissioned to complete the film, thus delaying its release in 1958. Their competition ended only after their deaths !

Gyan Mukherjee directed only 9 films. Two films, namely, Madhu-59 and Sitaron se Agey-58 were completed by Directors S. Mukherjee and Satyen Bose respectively, after his sudden death during these films. Except film Madhu-59, Gyan directed only films having Ashok kumar as Hero.( His brother Shanker Mukherjee, likewise was known to be a Dev Anand Director except Jhumroo-61.)

Film Sardar-55 was a suspense film. The cast was Ashok Kumar, Bina Rai, Jagdish Sethi, Nigar Sultana, Tiwari, Mehmood etc etc. The story of the film was-

Sardar (gang leader, Jagdish Sethi essaying the role) has been terrorising villages around dense forested and hilly tracks in the outskirt of Bombay (Mumbai) for many years. The local police forces are helpless in tackling him. So the police headquarters depute a police officer (Ashok Kumar) to this hilly terrain on the pretext of hunting crocodiles. He meets Thakur, the timber merchant who has a daughter (Bina Rai). During his stay in the village, Ashok Kumar often meets Bina Rai who has a soft corner for him. But he ignores her as his first aim is to capture Sardar. But over a period of time, both fall in love.

In his quest for capturing Sardar, Ashok Kumar lays a trap luring him to rob some car passengers with police forces watching him from a distance. During the scuffle, Sardar manages to run away but he is injured in the process. He hides inside the deep forest but he has left a clue to the police – his mistress ( Nigar Sultana). To save herself from the clutches of the police, she discloses the whereabouts of Sardar. Now the police is on the look out for him who after knowing that his mistress had betrayed him gets her killed.. The police chase continues.
Based on the information given by Sardar’s mistress, Ashok kumar continues the search and ends with a surprise. The Sardar is none other than Thakur, Bina Rai’s father ! He decides that Duty is bigger than Love and arrests Sardar, but Sardar dies in his arms,giving Bina Rai’s hand in his hands…filmy style !!!

The film had 9 songs in it. This is the only song sung by Jagmohan. The tune of this song reminds me of “ajeeb dastaan hai yeh” from “Dil apna aur preet parayee”(1960). May be Shankar Jaikishan were inspired from this tune. The music of this song is based on Fox Trot western dance style. The song was quite popular in those days.


Song-Kya maze ki baat hai ye baat bhi (Sardaar)(1955) Singer-Jagmohan Sursagar, Lyrics-Kaif Irfani, MD-Jagmohan Sursagar


kya maze ki baat hai ye baat bhi ee
mujhko dekh kar hanse jahaan tera
main hansoon tera jahaan dekh kar
kya maze ki baat hai ye baat bhi ee
mujhko dekh kar hanse jahaan tera
main hansoon tera jahaan dekh kar
main hansoon tera jahaan dekh kar

lo mila ji husn pyaar se ae
bhar gayi nazar bahaar se ae
lo mila ji husn pyaar se ae
bhar gayi nazar bahaar se ae
hai khushi mein donon bekhabar
kya maze ki baat hai ye baat bhi ee
mujhko dekh kar hanse jahaan tera
main hansoon tera jahaan dekh kar
main hansoon tera jahaan dekh kar

husn se ye kya khata hui
ishq ki nazar badal gayi ee
husn se ye kya khata hui
ishq ki nazar badal gayi ee
berukhi badhi kyun is qadar
kya maze ki baat hai ye baat bhi ee
mujhko dekh kar hanse jahaan tera
main hansoon tera jahaan dekh kar
main hansoon tera jahaan dekh kar

hai khushi ke saath gham ki shaam
bas isi ka zindagi hai naam
hai khushi ke saath gham ki shaam
bas isi ka zindagi hai naam
ye samajh ke chal tu raah par
kya maze ki baat hai ye baat bhi
mujhko dekh kar hanse jahaan tera
main hansoon tera jahaan dekh kar
main hansoon tera jahaan dekh kar
main hansoon tera jahaan dekh kar

11 Responses to "Kya maze ki baat hai ye baat bhi"

What a voice!!
Jagmohan NFS
Dil Ko Hai Tumase Pyaar Kyun, Ye Na Bata Sakunga Main
Ek Baar Muskura Do
Maalum Hai Mujhko
Us Raag Ko Paayal Men Jo Soya Hai Jaga Do
Sundar Ho Kitni Sundar Ho
Niraas Men Aas Prabhu Mera
Bloggers may add more

O Varsha Ke Pehle Baadal Meghdoot (1945)
Prem Ki Naiya Ko Mila Hai Meghdoot (1945)
Ek Geet Suhana Hai Zameen Aasmaan(1946)
Parwane Ko Bujhe Diye Par Zameen Aasmaan(1946)
Mann Me Basa Le Krishna Leela(1946)
Jeevan Hai Janjal Yaaro Nakli Baap (1949)
Kismat Ke Khel Dekho Dekho Mere Babu Chham Chhama Chham (1952)
Kali Kali Ye Ghata Thandi Thandi Ye Hawa Zindagi (1956)
Danka Baja Bahadur Jaga Shamsher (1953)

Syed Waaris Shah(1980)>>>
Khoti Duniya Badi Rangeeli
Allah Kare
Chhup Chhup Kar
Chup Baithe Ho
Furkat Me
Jaana Hai Kaha Tujhko
Jo Pi Ko Bula Kar
Sarkar Nigaho Se
Ugta Hai Kahi Sabza
Bloggers may add more


Nitin ji,
what do you gain by giving incomplete and wrong information here, I always wonder !
Jagmohan did not sing in filmsChham chama chham,Zindagi or Syed waris shah. Actually he did not record any song after 1958, according to himself. Syed waris Shah was a 1980 film.
Only name Jagmohan does not indicate Jagmohan sursagar.
I dont think he sang in any other film than what was mentioned by him,in the article.
He sang 6 songs in Mehdoot, you mentioned only 2…..


He did not sing in Nakli Baap as well.


I have said clearly and explicitly “BLOGGERS CAN ADD”.If you know please add the lines.


The tune of this song reminds me of “ajeeb dastaan hai yeh” from “Dil apna aur preet parayee”(1960). May be Naushad was inspired from this tune.
Something is wrong. Sounds incongruous. Arunji may correct it,


Shyam ji,
I stand by what I feel still. Others are free not to agree with me. In music, perception plays a vital role, depending on one’s past memories.


contd…. I have not said that the tune is same or copied.I just said this tune reminds me….


As you have written the two sentences together I also do not understand how to connect Naushad with D A A P P. The MD of this movie is the pair SJ. What you want to say is not clear. About the similarity of tunes I agree with you.
D Samant


D Samant ji,

This was a blunder on my part. I regret the error. Instead of Naushad, it is S-J.


‘Chhota muh aur badi baat’ but Arunji, I was also going to write that MDs for DAAPP ware SJ, S where does poor Naushad came in the narrative?
Samant-ji preceded me in writing the same.


The other songs are not uploaded on UTube. However I stand by my statement.


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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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