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

Bachnaa Ae Haseeno, Lo Main Aa Gaya

Posted on: July 5, 2017

This article is written by Sudhir, 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.

Have you ever wondered. . .

how a song gets constructed?

and why a song is termed as a tip of the iceberg?

You must now be thinking – this is a peculiar but a very interesting intro to the 134th century post on the blog. So yes, before getting into the discussion on the proposed topic, congratulations are in order. Welcome all to the 13 thousand 4 hundredth post on our blog. The musical bandwagon rolls on – toiling, pleasing, emotionally invigorating – it continues to move tirelessly. Because. . . because music – must be there. The world, this nature – all are moving to a rhythm, and a melody. Music is instilled in everything every entity we know, we touch, we think of. But come to think of it, we do not often think of this world that way i.e. music in everything, everyday of our lives. We are so consumed with the process of existence and living day to day, that we forget to stop and smell the flowers (or smell the coffee, if you are in America). And the music of life gets hidden behind the other sundries. Often we forget to think about it.

And then, this blog and this bandwagon steps in. Reminding us of the music, each and every day of our lives. Arriving as a message in email, on the Facebook, unpredictably at any hour of the day. A constant reminder that was switched on just about nine years ago, and it has been ticking indefatigably since then. Every day, a reminder of music in our lives.

Goodness, just realized we are two weeks from the 9th birthday of this blog. 🙂

Aah, but this thought is oh so enlivening, so wonderful. Our daily reminder of music, our daily treat of new music, coming down the electronic pipelines. Oh. . . so. . . great.

I am very sure, all of us remember ABBA. Out of their endless hit songs, there is one song that I want to present here, for Atul ji. The die-hard fans would have already guessed the song I refer to. Here are a few lines from that song, that I present for Atul ji, and I request all of us to sing it out together. Just sing it out as your are reading it, as if you are singing with all the rest of the bandwagon, imagine them to be singing as they stand just behind you. 🙂

so i say
thank you for the music, the songs i’m singing
thanks for all the joy they’re bringing
who can live without it, i ask in all honesty
what would life be?
without a song or a dance what are we?
so i say thank you for the music
for giving it to me

i’m so grateful and proud
all i want is to sing it out loud
so i say thank you for the music
for giving it to me


Congratulations Atul ji, congratulations all bandwagon members – we are on 13,400 today. 🙂

Coming back to the question that started this post. I must admit that I was completely unaware about the details, till about two months back. On 30th April I was attending a seminar on film music – ‘Cine Music – Beyond Entertainment’. This is an annual two day seminar that is organized by our dear friend Kushal Gopalka (of Bombay). The seminar is focused on the music, the musicians, and their behind the screen activities that bring to us the finished product that we call the Hindi film song.

In this year’s seminar, there was one presentation session by Anand Sahasrabudhe, on the role of music arranger in constructing a song. Anand Sahasrabudhe is a musician himself, and is active in the Hindi film industry as a musician and a music arranger. He has learnt his trade from the famous musician and arranger, Anil Mohile. Regular film goers would be very familiar with the name Anil Mohile – it appears in credits of many films, in the list of assistants, as the assistant music director.

Yes, in most cases, the names of these arrangers show up as assistant music directors. Come to think of it, many of the famous music directors that we know, started their careers in the lower rungs as musicians and music arrangers. Their name(s) appear as assistant music directors in many films before they started appearing the credits as full music directors.

And so the presentation by Anand. He took the audience through the process of how a song is built. The basic words and flow of the tune is settled by the music director and the lyricist (note: even that work many a times involves the assistants, as they together brainstorm different options before settling down on one preferred tune). The flow of the mukhda and the antaraas are decided, and the basic structure of the tune of the song is stabilized. Then the music arranger steps in and starts building other components of the song, and starts to add to and embellish the basic structure.

First, the percussion rhythm is built for the song. It is laid out for the mukhda and the antaraas. Then a piece of initial music – the prelude is worked on. The prelude music introduces the song and should merge into the music of the mukhda and embellish it. Then the basic tune of the antaraas is revisited by adding supporting instruments, and adding small pieces of music and musical effects to enhance the presentation of the basic structure. Then, the interludes are created. As one antaraa comes to completion, it should flow into a repeat of the mukhda, or it should flow into the next antaraa. This piece of music that conjoins the segments of the basic structure, are called the interludes. Then, the closure of the song is built – how does the last of the song end and the music fades away, so that there is no abrupt silence as the vocal singing ends.

Another discussion that flows into this process is the actual situation of the song, and how it will be picturized. Umpteen factors will have to be taken into account – time of day, weather, characters, location – home, office, park, club, mountains, seashore, in a vehicle etc., age of characters in the scene, mood of the scene, the story lead in and story follow up etc. Each song and screenplay will have its own sets of factors that will play into a song. These factors will guide if any special effects are required, and how the music of the song should be presented to match the mood and the action in the scene.

One by one these components are built, and then are integrated and assimilated together to construct a seamless complete entity that will then be presented what we see and understand to be a song. The constructed entity is then reviewed, replayed again multiple times. The purpose is to iron out any kinks, any aberrations or any incompleteness in the sound. The different pieces are tweaked as required, anything to be added, is added. The final outcome should be pleasing, wholesome and pleasurable feed to the ears of the listeners.

What I have described above is a highly simplified version of what may actually happen in a real life situation of building a song. And mind you, each situation will be different, requiring different handling. It is a complex and unpredictable process. There are no fixed guidelines, other than the personal satisfaction of the music director and the team involved in the process.

As Anand was presenting this process on stage, he was also doing a demonstration of a real life construction of a song. He had a harmonium with him, and another person accompanied him with a percussion instrument. Starting from a set of lines which represent the lyrics of the song, he went through the entire process of building the song, step by step. In the process he showed us how the song looks and sounds, at each step of the process.

As the demonstration was progressing, the light was slowly coming alive in my mind, about the role of the arranger in the whole process. The debate will probably never end, on who is more important. But clearly, the amount of work and the amount of idea energy interleaved by the arranger definitely seems to be more than the music director. Conservatively, I would put it at a 60 – 40 ratio at least, in favor of the arranger, if not more.

With that thought settling down in the mind, it slowly started another thought process – an appreciation of the work done by the so called assistant music directors. Names of people who appear in small print in the list of assistants, one amongst the many on a single frame, now started to seem so much more eminent and important, with this input. And I would think, I have seen credits in which the hair stylist and the dress maker have separate frames to announce their roles, but the music arrangers and the instrumentalists who create the most beautiful part of the film, are either not shown, or are relegated to small print. And in majority of the cases, we don’t even know who did what in a song. All we know is the name on the top – a Shankar-Jaikishan, or a RD Burman, or an OP Nayyar, or an SD Burman, and we do not know the names of those who also toiled to bring to us the seamless song experience. Names like Suhrid Kar, Uttam Singh, Sebastian, Jawar Hussain, Homi Mullan, Cawas Lord, Rizbert, Franco Vaz, Kamal, Inderjeet, Gaur Ghosh, Naresh, Jeevan, Babu, Shams, Ranjit Gazmer, Jai Kumar Parte – the list is endless. Pick up the volumes 3, 4 and 5 of the Geet Kosh, and we will find the names of these true stalwarts that stand behind the screen, to give us the music we love so much.

We are familiar with many of these names, and one reason for that is some of these gentlemen graduated beyond being arrangers and came into their own as full fledged music directors. Yes, those names are very familiar – Chic Choclate, Dattaram, Ravi, Laxmikant Pyaarelal, Sapan Chakravarty, Basu, Manohari, Bipin Datta, Babul, N Datta, Dilip Dholakia, GS Kohli, C Arjun, Sanmukh Babu, Jaidev, Sapan Jagmohan, Sonik Omi, Uttam Singh. . . once again, the list is endless. For each such name, there are a score and more names that we have not even heard, but they have made some very important and crucial contributions to the construction of our beloved songs.

The tip of the iceberg phrase then became more clear in the mind. What we hear as the final product called song, came through a very lengthy process which consumed the participative effort of a very large number of musicians, all very well trained, and experts in their art. All that participation, all that team work, does not immediately register when we hear a lovely melody that strums the strings of the heart. All we know is one name that presents itself as the music director.

Now, some backfill about this post. As we were approaching this milestone, in the past week or so, Atul ji and I were in communication on what should be special about this post. So Atul ji expressed this idea that with so many thousand songs presented on this blog, we have never really touched upon the theme of the actual music makers behind the songs. What about the musicians and the instrumentalists and the arrangers who actually contribute both the mind and the sweat to embellish a song. From being just a set of lines of poetry, to a song that will become a super hit, what is the process that happens, and who all contribute. We went back and forth on this and then decided that we shall do a post focused and start the discussion on our blog, about the background work that goes on behind the screen and the people who make it happen.

Atul ji suggested to pick up this song from the 1977 film ‘Hum Kisi Se Kum Nahin’, and try to find the details of the instruments and the musicians who made this song happen. Now I have attended the seminar that I just described above, but I have no detailed insight into identifying the actual people who are the ones making this music. Our discussion went ahead towards getting help from knowledgeable sources. I decided to get help from two people who I know to carry in depth knowledge about this topic. One is Kushal Gopalka ji, whose name I mentioned above, and the second is our very own, dear Bakshish Singh ji.

As the next step, I got into some detailed discussion on email and phone with these two gentlemen, and I am able to get a lot of details, about the process and the people from them. Kushal ji, who is passionately into this research, helped me with the details of individual musicians who have contributed to this song.

The song starts with a very recognizable and signature piece of trumpet playing. In fact this trumpet sound will make the regulars recognize this song in a matter of a few seconds only. George Fernandes is the person who has played this trumpet piece in this song. George is a very well known musician, and an expert trumpet player. Regulars will recall the trumpet playing in the song from film ‘Anand’ (1970) – “Zindagi Kaisi Hai Paheli Hai. . .”. That, also is George Fernandes.

With the coming of the synthesizer keyboard, a number of traditional instruments had to make an exit from the recording studio. Good or bad of that can be a separate debate, but it is to be accepted that synthesizer has now become an all purpose fixture in the instruments portfolio of every musician and music director. With RD Burman, usually the person on synthesizer, as in this song, used to be Kersi Lord. Kersi Lord belongs to the Lord family of musicians, who are very well known in the industry. Cawas Lord, and his two sons, Kersi and Bujji have been a benchmark unto themselves in terms of innovation in music and special sound effects. Please click here to view an article about this family and a documentary that has been made on them. In this song, the synthesizer pieces are handled by Kersi Lord. With careful listening, one can decipher a pleasing combination of Indian and western music phrases, combined together to create an innovative melody.

The percussion instruments used in this song are the traditional drum set, the maadal and the congas. The person on the conga pieces is Franco Vaz. Franco Vaz is the son of Frankie Vaz, another well known musician in the industry. Here is another link you can click on to read an article about Franco Vaz, plus one more link where you can see a small percussion piece done by him.

The main drum set is being handled by Leslie Gudino, who is incidentally the father-in-law of Franco Vaz. If you wonder about his earlier very famous pieces, just rewind back to 1966 and revisit the drum playing of Rocky at the restaurant in the hotel. Yes, I am talking about ‘Teesri Manzil’. There is a solo drums piece that precedes the song “Tum Ne Mujhe Dekha Ho Kar Meharbaan. . .”. That excellent drum playing, and also the drums in other songs in the film, are by Leslie Gudino.

Besides the mainline percussion, there are secondary percussion sounds that we can hear, especially right after the mukhda line ends. This instrument is the ‘chanda’ (pronounced as चंडा) and the expert instrumentalist who is playing it in this song is Homi Mullan. Homi ji is (was) the renowned grand dad of instrumentalists in the industry. A very senior and respected musician in the industry, Kushal ji has produced a biopic on his life and works. Read about that documentary at this address online.

Another percussion instrument being played in this song is the ‘maadal’ (मादल). Maadal is the Nepali version of the traditional dholak, is extensively used in the folk music of that Himalayan kingdom. In this song, the maadal is being played by Ranjit Gazmer. Ranjit is the musician who is responsible to introduce this instrument in the Hindi film industry. Ranjit has worked extensively with RD Burman, and also with other music directors.

Regulars will recall the delightful ensemble of impromptu musical instruments played by the motley team of musicians comprising of Mukri, Keshto Mukherji and Raj Kishore. The choice of instruments made from everyday household items, is a real riot to watch. Yes, yes, I am talking about ‘Padosan’ (1969) and the song “Mere Saamne Waali Khidki Mein. . .“. The instrument that Keshto plays is scratching a comb on a broom (झाड़ू). In real life, this kisch-kisch sound is produced by an innovative instrument called Resso-Resso. This peculiar sound and the instrument is an invention by the musicians of our film industry. In this particular song, this instrument is being played by Anant Rao Katkar.

Coming to the guitars. The bass guitar is being played by Tony Vaz. We can also hear the acoustic guitar and the electric guitars, the sounds being visible throughout the song.

Then there is a lot of sound of cymbals also spread throughout the song.

Close to the end of the song, we can make out the music of vibraphone. The ‘ting’ sounding music of a few seconds close to the end of the song are the vibraphone phrases played by Bujji Lord.

The overall arrangement oversight in this song is by Basu Manohari. As regulars will be familiar, this duo has also done some films as independent music directors in the 1970s and 80s. The team is composed of Basu Deo Chakravarty and Manohari Singh. Both are excellent musicians with a mastery over a number of instruments. This dou has been responsible for the music arrangement oversight for RD Burman’s films.

This much is the information I could gather and compose from two conversations with the dear friends Bakshi ji and Kushal ji. Imagine, if we are to analyze each song in this manner, what a fantastic amount of information can be compiled. In reality, most of the music directors, and especially the music arrangers prepare a lot of detailed paperwork for constructing the complete music segment and phrases for each song. This paperwork is prepared for each individual instrument that is visualized to participate in the song. I am not aware whether such paperwork is compiled and conserved by the artists. Such a compilation can become a reference library for other artists.

Assuming familiarity, and in the interest of avoiding further escalation of words and consequent emotions from the readers, I will limit the demographics of the song. The lyrics are from the pen of Majrooh Sultanpuri, music is by RD Burman. Primary singer is Kishore Kumar, supported by chorus. In between there is an unidentified solo female voice that croons a few lines of “la la la”. Could that be Asha Bhosle? I request other knowledgeable readers and friends to help in identification. Yes indeed, it is the voice of Asha Bhosle.
[Ed Note: The confirmation of the singing voice of Asha Bhosle is provided by Sadanand ji.]

On screen, this is a stage performance by Rishi Kapoor, who plays the role of a popular singer in the film. This song is a stage show, and Rishi is accompanied by other dancers on stage. The dancers accompanying Rishi are Aparna Chaudhry, Leena Das, Aarti, Shefali, Rani and Chanda.
[Ed Note: The identification of dancers is based on information provided by Prakashchandra ji.]

In the midst of the song, we can see two bearded persons. They are Danny and One of them is clearly Amjad Khan. Also, while the song is in progress, a young couple, apparently newly married, steps into the box seats. The lady in this couple is the actress Rinku Jaiswal. The lady looks familiar, but I am not able to put a name to the face. Once again, request to others to help identify. There are some emotions involved here, because Rishi stops in his steps on seeing her arrival, and his eyes become moist.
[Ed Note: Once again, identification of Rinku Jaiswal is given by Prakashchandra ji.]

Bringing to close now, the 13400th station on this bandwagon’s travels. Once again, celebratory congratulations to all team members and readers.

And for dear Atul ji, once again,

thank you for the music
for giving it to me (us)


Song – Bachnaa Ae Haseeno, Lo Main Aa Gaya  (Hum Kisi Se Kum Nahin) (1977) Singer – Kishore Kumar, Lyrics – Majrooh Sultanpuri, MD – RD Burman
Humming in the voice of Asha Bhosle


bachna ae haseeno
lo main aa gaya
hey bachna ae haseeno
lo main aa gaya
husn ka aashiq
husn ka dushman
apni adaa hai yaaron se juda
hey ho
bachna ae haseeno
lo main aa gaya
hey bachna ae haseeno
lo main aa gaya

hey duniya mein nahin hai
aaj mera sa deewaana
pyaar waalon ki zubaan par
hai mera hi taraana
sab ki rang bhari aankhon mein aaj
chamak raha hai mera hi nasha
hey ho
hey bachna ae haseeno
lo main aa gaya

la la la
la la laa laaa

jaam milte hain adab se
shaam deti hai salaami
geet uthte hain labon pe
saaz karte hain ghulaami
ho koi parda ho ya baadshah
aaj to sabhi hain mujh pe fida
hey ho
hey bachna ae haseeno
lo main aa gaya

ek hungaama utha doon
main to jaaun jidhar se
jeet leta hoon dilon ko
ek halki se nazar se
mehboob ki mehfil mein
chhaai hai chhaai hai
meri hi adaa
hey ho
hey bachna ae haseeno
lo main aa gaya

Hindi script lyrics (Provided by Sudhir)

बचना आए हसीनों
लो मैं आ गया
हे बचना आए हसीनों
लो मैं आ गया
हुस्न का आशिक
हुस्न का दुश्मन
अपनी अदा है यारों से जुदा
हे हो
बचना आए हसीनों
लो मैं आ गया
हे बचना आए हसीनों
लो मैं आ गया

हे दुनिया में नहीं है
आज मेरा सा दीवाना
प्यार वालों की ज़ुबान पर
है मेरा ही तराना
सब की रंग भरी आँखों में आज
चमक रहा है मेरा ही नशा
हे हो
हे बचना आए हसीनों
लो मैं आ गया

ला ला ला
ला ला लाs लाss

जाम मिलते हैं अदब से
शाम देती है सलामी
गीत उठते हैं लबों पे
साज़ करते हैं ग़ुलामी
हो कोई पर्दा हो या बादशाह
आज तो सभी हैं मुझ पे फिदा
हे हो
हे बचना आए हसीनों
लो मैं आ गया

एक हँगामा उठा दूँ
मैं तो जाऊँ जिधर से
जीत लेता हूँ दिलों को
एक हल्की सी नज़र से
महबूब की महफिल में आज
छाई है छाई है
मेरी ही अदा
हे हो
हे बचना आए हसीनों
लो मैं आ गया


20 Responses to "Bachnaa Ae Haseeno, Lo Main Aa Gaya"

Great post Sudhir ji !!!
I could not explain in words how I am feeling after reading this post.
I am very happy to read this post on Musicians.
I Salute all the Musicians for all the joy and for all the ‘music’ they have given to us.
And thanks again for the post and the song 😊

Congratulations to Atul ji and all !!!

Avinash ji,

Thanks so much for your words of appreciation.


Congratulations, Atul ji, Sudhir ji and all others, on crossing the 13400th mark.
Special thanks to Sudhir ji on this thesis like write up on , ‘ making of a song ‘. I am amazed at the energy,patience,passion and dedication with which Sudhir ji writes his post.
His posts are always with a central theme and he takes efforts to collect information on his theme. Only Sudhir ji can do so.
Thanks again, Sudhir ji for a dedicated post.

Dear Arun ji,

These words of appreciation coming from you are most valuable to me. Thanks and thanks again.


Atul ji and Sudhir ji,

Congratulations for 13400th song on the Blog with a very special article devoted to the unsung heroes behind the music directors who contributes the song to click.

I remember an interview of Dattaram during which he had said that after the music director finalises the tune for the song, the rhythm and melodies makers take over. They decide the types of musical instruments to be used in the prelude and the interlude music as also in the background. I agree that it is the arrangers who contribute more than the music director in making the song rhythmic and melodious.

The humming voice is that of Asha Bhonsle as per the book ‘R D Burman, The Man, The Music’ (2011)

R D Burman had three Assistant Music Directors for this film – Basu Chakravarty, Manohari Singh and Maruti Rao Keer as per the credit title. All the three formed the core team of R D Burman. The authors of the book I referred earlier had dedicated the book to all these three beside R D Burman.

Chanda or Chenda is a type of percussion mainly used in Kerala and for the Yakshagaana ballets popular in the coastal districts in Karnataka. Those who had witnessed the Thrissur Pooram in Kerala may have seen a group of percussionists playing Chanda while standing in a row.

Sadanand ji

Thank you for more and more information about the song


Sadanand ji,

Thanks for the important updates, and other inputs. And for confirming the voice of Asha Bhosle in the song.


At 1:53 from I can identify the 3 dancers`names(from left)
1)Arpana Choudhary(Don 1978 fame)
2)Leena Das aka Leena D`souza
3)Arti aka Aarathi(the girl who played Jaya Bhaduri`s friend in Guddi)

Other dancers(I can not pinpoint their appearances in the video link, sorry)
4)another dancer is Rani(the mujrewali from Dil diya dard liya movie)
5)another dancer is Chanda(she worked as dance assistant and assistant chreographer)
6)Another dancer is Shefali mentions Aarti Gupta aka Arathi Kailash surendra nath as another dancer, But I cannot pinpoint where she features, as their faces appears for one or two seconds

I guess at 3:01 It is not Danny with white wig alongwith a disguised Amjad Khan, It is another actor,(I will find out his name, later)

I guess the bride`s name is Rinku or Rinku Jiswal(who played Jeetendra`s handicapped sister`s role in Aathish(1979)( mentions Rinku Jaiswal as daughter of actress Ramola !)

Dear Prakash ji,

Wow and thanks – your identification detective work is exemplary indeed. Kudos to you for that, and thanks for adding such important information to the song. I have updated the taglines and article with this important information.

Thanks again 🙂


Sudhir ji
with Amjadkhan(in disguise), the guy looking like Danny Denzongpa is not DANNY DENZONGPA, I will let you know the name of the guy afterwards, there are 3 or 4 guy`s name are there in the starcast of the movie, I am in confusion about the identification, But I am sure it is not Danny Denzongpa

Dear Prakash ji,

Ok, I will await your inputs and will make an update to the article, about the identity of the bearded person sitting next to Amjad Khan.


longer audio link ??

Atul ji and Sudhir ji

Congratulations on 13400the song and sucha a informative post


Thanks once again Prakash ji,


Atulji ko salaam; Sudhirji ko Pranaam
Congratulations for song number 13400..
and sudhirj,i you have chosen a nice song to bring up this number (13400, one where is a lot of team work, lot of instruments and whole lot of arrangers and assistants that make the post a very demonstrative/ explanatory/educative one. thank you for the bucket full of information
now on to the next milestone of 13500..
thank you Atulji for taking us along with you

“thank you for the music, the songs i’m singing
thanks for all the joy they’re bringing
who can live without it, i ask in all honesty
what would life be?
without a song or a dance what are we?
so i say thank you for the music
for giving it to me
i’m so grateful and proud
all i want is to sing it out loud
so i say thank you for the music
for giving it to me”

Peevesie’s Mom ji

Thanks for your comments.

Yes, as you so rightly say, thanks to Atul ji for taking us along with him.


Song making, it is clear, is not a solo art. Each song has a wealth of stories behind it. How we wish we were flies on the wall when music discussions were taking place. How dear music must have been to these people to contribute so much to it, tirelessly and with so much love, that even as casual listeners, we have not been able to forget these songs.

Thank you for bringing all this to our notice and working to hard to gather all this information together.

Congratulations to all on hitting this landmark.

Dear Ava ji,

Your observations are so correct. Sometime back (maybe a two or three years ago) there was a program on RD Burman and his music. I think the video may be available on YT. At this program, a presentation was made, similar to the one I witnessed in the seminar in Bombay. At the end of that presentation, the presenter asked the audience whether they had fun seeing a song being created. The loud cheer was ‘Yes’. Then he commented – ‘Imagine the amount of fun the actual creator of these songs would have had, when they were actually creating these songs.’

Also, there is more than one references and even personal conversations I have had, wherein the music arrangers and musicians were complimented for creating a wonderful tune, and then they were asked, “how did you make it happen”. In practically all the cases, the answer was something like – “कुछ नहीं, बस हो गया”. It is this humbleness of these maestros which strikes you the most when you interact with them.

Thanks for your comments 🙂


Undoubtedly, one of the most outstanding and informative article read so far at this site! Congrats,Sudhir Saheb!!

Dear Arif ji,

Thanks so much for your appreciation and your vote of confidence. It means a lot to me.

Thanks again,


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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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Blog Start date: 19 july 2008

Active for more than 4000 days.

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