Lad gayee lad gayee lad gayee lad gayee nazar meree lad gayee
Posted on: April 2, 2025
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 atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Today’s song is from the comedy film Hangama-1952.
1952 was an year which was going through a lean period for Hindi films. Increased costs of Film production, escalating rates of stars and music Directors, establishment of Star System in place of earlier Studio System, increasing taxes, decreasing number of Cinema Halls etc caused a worry in the film industry. Financiers with Black money were making films – in 1952 the number of Hindi films made went up to 105 from 97 of 1951, but dropped again to 98 in 1953. Most films were of lower quality. Because of superior music there were some great films too, but the situation was grave nevertheless.
Some Hit films like Aan, Baiju Bawra, Daag, Anand Math, Yatrik, Chhoti Maa etc. became popular with their music. Other films like Jaal, Anhonee, Sangdil, Maa, Bewafa, Aandhiyan, Bidya sagar, ratnadeep, Nanhe-Munne, Mr. Sampat etc were good enough but not so good. Naushad and C.Ramchandra were competing acutely for the No. 1 rank and the audiences were gaining in the process, by their delightful music.
The Government suddenly became active, Censor Boards were closed from different regions and it was Centralised. The First ever Film Festival in India was held, in which 140 films from more than 20 countries were exhibited. Selected famous films were shown in all 4 Metro Cities. Bimal Roy shifted to Bombay and started his own film company.
Film Hangama-1952 was purely a Comedy film. It looked like C.Ramchandra had all the comedy films, while Naushad handled serious films. But both regaled India with their ‘ A’ grade music, upholding the title of ” Golden Era ” for the decade !
Hangama -1952 was made by Gope productions and the director was Ram Kamlani – the youngest brother of Gope. Music was by C.Ramchandra. His assistant for this film was Chick Chocolate – a leading arranger and instrumentalist. The cast of the film was Nutan, Nasir Khan, K.N.Singh, Davis, Gope, Yakub, Cuckoo etc with the Guest Artiste- Raj Mehra.
The comic pair of Gope and Yakub started from the film Patanga-1949. Then came Meherbani-1950 when the audience gave their acceptance to this pair. In the film Sagai-1951, it was clearly observed that they tried to copy the Hollywood comedians Laurel- Hardy. In the film hangama-1952 too they created a comic havoc, liked by the audience. C.Ramchandra enhanced their importance by their songs on the screen. In this film too, ‘ meri sakhi bataa’ and ‘kahan chale sarkar’ were songs filmed on this pair and these songs became Hits.
Like other films of this period CR gave more songs to Lata Mangeshkar even in this film. She got 4 solo songs and a duet as well as one Trio. Ofcourse, she was becoming the queen of singers during this period, no doubt.
Chic Chocolate (1916 – May 1967) born as Antonio Xavier Vaz, was a Goan Trumpeter who led a Jazz band at the Taj Mahal Hotel in Bombay and was one of Bombay’s best known jazz musicians. He was also a Hindi film music composer and played trumpet in various soundtracks.
Chic Chocolate learned music at his local parochial school and, despite the wishes of his mother who wanted him to earn a “respectable” living as a mechanic, he followed his dreams of a life playing music.
Influenced by Louis Armstrong, Chic styled himself after his great jazz hero—Chocolate’s trumpet playing and “Scatting” technique were a tribute to Armstrong. His stage presence has been recognized as dramatic, with accounts reporting that the musician would fall on one knee, while raising his instrument to the stars, during the band’s crescendo. Chocolate earned the sobriquet, the “Louis Armstrong of India”, as he not only played jazz like an African American, but also possessed a similarly dark complexion.
By the mid-40s, after having played in Rangoon and Mussoorie, Chic had established himself as a popular Bombay jazz musician. He started out with a group called the Spotlights and by 1945 had formed his own outfit, Chic and the Music Makers, beating out 12 other bands to win a contract at Green’s Hotel, which was owned by the Taj Mahal Hotel. A newspaper article from the time described Chic Chocolate’s band as “Bombay’s topflight band”. Chic Chocolate occasionally led a two-trumpet barrage at the Green’s Hotel with Chris Perry.
Like many Goan musicians of the time, Chic Chocolate played jazz live at night but his days were spent in the film studios, recording and arranging soundtracks for movies. He had a short career as a music composer in Bollywood movies. In 1951, he began his career as a music director with the movie Nadaan. Nadaan had a popular track list, including songs like Talat Mehmood’s Aa Teri Tasvir Bana Lu and Lata Mangeshkar’s Sari Duniya Ko Pichhe Chodkar.
Chic Chocolate was an integral part of composer C.Ramchandra’s team. Ramachandra is popularly credited with introducing swing into Bollywood with tunes such as Gore Gore O Banke Chore from Samadhi and Shola Jo Bhadke from Abela. However the credit for these songs is due to Chic Chocolate. Their collaboration in the 1952 film Rangili included the song Koi Dard Hamara Kya Samjhe, sung by Lata Mangeshkar. He is remembered for his work with Naasir in the 1956 film Kar Bhala, and he also collaborated with Madan Mohan. Chic was the assistant music director for the film Bhai Bhai.
Chic’s lives as jazz man and film musician sometimes merged. He had a Cameo Appearance in the film Albela, along with his band in a song sequence dressing them in frilly Latinesque costumes. Chic capitalised on the film’s success by dressing his band in those costumes in future live performances.
Chic died in May 1967 in Mumbai, aged 51. Shortly after, Chetan Anand’s Aakhri khat was released. The bluesy song Rut Jawan Jawan featured several close-ups of Chic Chocolate playing his trumpet solos from the bandstand. Chic had lived with his wife, Martha and his children in an apartment in Colaba.
Like Chic Chocolate, many instrument players from Goa joined the Hindi film music world. Many of them became assistants or arrangers for major Music Directors, in due course. Some well known names from among them were Anthony Gonsalves, Chick Chocolate, Cris Perry, Frank Fernando, Sebastian D’souza, Shridhar parsekar (all from Goa), Enoch Daniels, Shyamrao kamble, Anil Mohile, Bal Parte etc etc.
Being with leading composers for quite some time, some of these arrangers developed a desire to become Music Directors themselves. Few of them even tried their hand at composing music to some films independently. Most of them failed miserably and soon returned to their practised vocation again.
According to D.O.Bhansali,a leading sound Recordist of the 60s and the 70s, a group of arrangers, namely Dattaram, Enoch Daniels and Sebastian D’souza together gave music to film ‘Street Singer’-1966, under the name of “Sooraj”. After this one film, the group disintegrated. There are, however, some cases where the one time assistants or arrangers became famous and successful independent Music Directors. In fact, most MDs were assistants in the beginning of their careers to gain knowledge and experience.
The cast of the film Hangama-1952 had the young pair of Nutan and Nasir Khan in the lead. Nasir Khan was neither good looking nor a good actor. His only plus point was that he was Dilip Kumar’s brother.
Dilip Kumar’s younger brother Nasir Khan ( born on 1-10- 1924) will always be remembered as the leading man of Pakistan’s maiden production Teri Yaad (1948). Nasir Khan started his career in 1945 with Filmistan’s Mazdoor(1945). His next film Shehnai (1947) opposite Rehana was a hit and is still remembered for C. Ramchandra’s songs especially Mari katari mar jana (sung by Amirbai Karnataki) and Aana meri jaan meri jaan Sunday ke Sunday (sung by C. Ramchandra, Shamshad Begum and Meena Kapoor).
He shifted to Lahore at the time of partition and appeared in two Pakistani films i.e. Teri Yaad (1948) and Shahida (1949). Teri Yaad with Asha Posley was Pakistan’s first released film. It flopped because it was lacking in production quality and that along with Jinnah’s death soon after contributed to its failure.
Deewan Sardari Lal’s Shahida, Nasir Khan’s second Pakistani film in which he starred with Shamim, best remembered for her role in Kishore Sahu’s family drama Sindoor also failed to click. Disheartened, Nasir found it hard to support himself and sought help from his brother Yusuf Khan, alias Dilip Kumar, the emerging matinee idol of Indian cinema. Under the banner of Best Pictures, Nasir Khan distributed four films from Bombay to Pakistan, including Mela, a Nargis-Dilip blockbuster by filmmaker S.U. Sunny, featuring some of Naushad’s most enchanting musical compositions.
Overwhelmed by his sudden wealth Nasir then became involved in a love affair with a girl belonging to a feudal Punjabi family. As a result of this imbroglio, he had to run away from the country overnight ( in view of a threat to his life), that too stealthily only with whatever clothes he had on his body. He returned to Bombay, but not before having his name recorded in the history of Pakistani cinema as the hero of its maiden film.
After returning to India, Nasir resumed his career in 1951 and appeared in 6 Hindi films including Khazana, Nagina, Nakhare, Nazneen, Phoolon Ke Haar and Saudagar. Of these special mention must be made of Nagina, a mystery-thriller where he appeared opposite Nutan. Nagina was issued an ‘Adults only’ certificate and is still remembered for its haunting melodies sung by C.H. Atma and Lata Mangeshkar.
Later, Nasir Khan appeared with many top Indian heroines including Suraiya (Lal Kunwar), Nargis (Angarey), Meena Kumari (Daera) and made somewhat successful team with Nutan (Nagina, Aagosh and Shisham), but he never achieved the success his brother Dilip Kumar did because of his limited acting abilities and wooden expressions.
He married the sensual Indian beauty and his co-star in 3 films i.e. Begum Para. Nasir Khan’s most memorable film was perhaps the hugely successful Ganga Jamuna (1961) where he was cast opposite his own brother Dilip Kumar. The film was a story of two brothers on opposite sides of the law, Ganga (Dilip Kumar) and Jamuna (Nasir Khan). Nasir Khan acted in 30 films. His first film was Mazdoor-45 and the last film was Bairag-76
When films stopped coming to him, he shifted to Deolali, near Nashik and started farming and poultry also, but failed miserably.
According to his wife Begum Para, Nasir developed this physical condition, where he began to lose all his hair and eyebrows prematurely. He really lost out on his career because of that. During the making of Ganga Jamuna, he wore a wig and got away with it. So he concentrated all his efforts on making films.
He died on 3rd May, 1974. His last film Bairaag (1976) was released after his death.
Now let us enjoy today’s 73 year old comedy song sung by Shamshad Begum, Rafi and Chitalkar….
Song- Lad gayee lad gayee lad gayee lad gayee nazar meree lad gayee (Hangaama)(1952) Singers- Shamshad Begum, C Ramchandra, Rafi, Lyricist- Rajendra Krishna, MD- C.Ramchandra
Shamshad Begam + C Ramchandra
Lyrics
lad gayee lad gayee lad gayee lad gayee
lad gayee lad gayee lad gayee lad gayee
nazar meree
ho o o nazar meree lad gayee
hoye nazar meree lad gayee
arre ad gayee ad gayee ad gayee ad gayee
ad gayee ad gayee ad gayee ad gayee
dil kee gaadee
ho o o dil kee gaadee ad gayee
hoy dil kee gaadee ad gayee
na dekho
na dekho na dekho aise
jiya mera doley ae ae
jiya mera doley
na dekho na dekho aise
jiya mera doley ae ae
jiya mera doley
are main na samjhoon dil kee baaten
jaane kya kya boley
mere bhole baalam ko
ye kaisee mushqil pad gayee
ye kaisee mushqil pad gayee
pad gayee pad gayee pad gayee pad gayee
pad gayee pad gayee pad gayee pad gayee
kaisee mushqil
ho o o kaisee mushqil pad gayee
oye kaisee mushqil pad gayee
oye kaisi mushkil pad gayi
lad gayee lad gayee lad gayee lad gayee
lad gayee lad gayee lad gayee lad gayee
nazar meree
ho o o nazar meree lad gayee
hoye nazar meree lad gayee
ad gayee ad gayee ad gayee ad gayee
ad gayee ad gayee ad gayee ad gayee
dil ki gaadee
ho o o dil kee gaadee ad gayee
hoye dil kee gaadee ad gayee
pehle pehle tumko dekha ankhiyaan huyeen deewaanee
ankhiyaan huyeen deewaanee
waah re bundle banaata hai
pehle pehle tumko dekha ankhiyaan huyeen deewaanee
ankhiyaan huyeen deewaanee
are dil ne kaha dheere se
kya
arre dil ne kaha dheere se
soorat hai jaanee pehchaanee
nazar padee jo soorat pe
to soorat hee pe gad gayee
to soorat hee pe gad gayee
lad gayee lad gayee lad gayee lad gayee
lad gayee lad gayee lad gayee lad gayee
nazar meree
ho o nazar meree lad gayee
hoye nazar meree lad gayee
ad gayee ad gayee ad gayee ad gayee
ad gayee ad gayee ad gayee ad gayee
dil kee gaadee
ho o o dil kee gaadee ad gayee
hoye dil kee gaadee ad gayee
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
April 4, 2025 at 5:29 am
Thank you for the wonderful and informative post! I always believed that the MD of Street Singer (1966) was Shankar and that he adopted the alias of Suraj so as to not publicize his “creative differences” with Jaikishen and to keep up their promise of always appearing together in the film/LP credits. I’m so relieved to read from your post that I was wrong!
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April 4, 2025 at 7:02 am
Thanks.
Glad you added a new information to your kitty, because of this post.
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