O jaane waale thheher jaa..dil de jaa ya dil le jaa raajaa
Posted on: November 24, 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 film Hanste Ansoo-1950.
Film Hanste Aansoo-1950 was produced and directed by K.B.Lall (born in 1911 at Meerut-U.P. Known for films like Lal Haveli-1944, Lal Dupatta-1948 and Hanste Aansoo-1950 etc. Died on 25-8-1975. He wrote the story as well as the screenplay. Lyricists were Shewan Rizvi and Majrooh Sultanpuri. Music was by Ghulam Mohammad. The cast of the film included Madhubala (17 years), Motilal (40 Years), Gope, Manorama, Jankidas, Mirza Musharraf etc.
The film, as such, though an ordinary one, was very successful. One of the main reasons for its success was that it was the FIRST Hindi film to be awarded an “A ” certifictae by the film Censor. The Censor also passed several (some of them were ridiculous) remarks on the film in general.
In my library, there is a hefty 650 page Hard cover fat book titled ‘Golden Era of Film Music 1931 to 1960‘ ( Marathi original title….” चित्रपट संगीताचा सुवर्ण काळ १९३१ ते १९६० ” ), written by the noted Film Historian, Editor of several Film Magazines and books/articles writer in Marathi/Hindi/English, (Late) Isak Mujawar.
The book confirms that this was the First film to get the ‘A’ Certificate, after the Indian Cinematograph Act of 1918 was amended in December 1949. The film was censored in that month itself. The reason for awarding A, as per the book, was “the film was too unrealistic and against Indian culture. It promoted mutiny against the Indian traditions.” It also objected to one song in the film (our today’s song here) for its obscene dancing and filming of a dance with chorus girls. The dance was by Cuckoo Moray. They also objected to the film’s double meaning title. It concluded that the film’s story was Bold and immoral.
Baburao Patel’s Magazine Film India said -“there is nothing objectionable in the film. This act of censors only describes the regressive mentality of the Censor Board members”. Due to all this hangama, the film became popular and the theatres overflowed with the audiences.
Reading all this I was disgusted at how the censor Board thought in those days. Fortunately, more films with such philosophy came and the scene changed completely for the Hindi films. Same year film “Sangram” also got an A certificate. That was of course understandable because it showed – for the first time -that a police officer father (Nawab Kashmiri) shoots his criminal son dead (Ashok Kumar). Later film Shakti-1982, a remake of this film camne but by then, shooting etc had already become common in Hindi films, so no question of an A certificate arose.
The Music Director of this film was Ghulam Mohammad. GHULAM MOHAMMED was born in village Naad in 1903, in the Bikaner district of Rajasthan. Father Nabi Baksh in this Shaikh family, gave all his expert knowledge of Tabla, Dholak and Pakhawaj to all his 3 sons- Ghulam Mohammed, Mohammed Ibrahim and Abdul Kareem. However it was only Ghulam Mohammed who developed his own style of playing Dholak, with a ring (Chhalla) on the Thumb or the small finger and playing with it on the round border of Dholak. This style became a norm in later years and today ALL Dholak players use this method only.
Ghulam Mohammed took lessons in Dhrupad and Dhamas from Ustad Ghulam Rasool Khan. By about the 10th year of age, he joined first CIRCO and then J P Theatres, and toured North and Central India with them.
He came to Bombay in 1924 and joined Saroj Films as a Tabla player. After some time he became an assistant to composer ustad Zande Khan. In a short time he became his Arranger too. His brothers also worked with him here. Ghulam Mohammed was very kind. When one of his friends needed a job badly, he asked his own brother Ibrahim to go away to make room for the needy friend. This needy friend was NAUSHAD ALI, a great composer in later years.
In 1937, he gave music for the first time to Banke Sipahi-37, but the film flopped miserably and he continued in his job. He also composed for another flop Mera Khwab-1943. By this time Naushad had become a known composer and Ghulam Mohammed started working as his assistant from Sanjog-43. He continued upto Aan-1951. While working with Naushad also he was giving music independently too. He gave music to Mera Geet, Doli, Tiger queen, Kajal, Grihasthi, Parai aag, Dil ki basti, Rasheed Dulhan, Maang, Pagdi, Paras, Shayar, Pardes, Hanste aansoo.
After he left Naushad with mutual understanding, he gave music to Nazneen, Sheesha, Amber, Ajeeb Ladki, Laila Majnu, Dil e nadan, Rail ka dibba, Gauhar, Mirza Ghalib, Pak daman, Hoor e Arab, Kundan, Do Gunde, Sitara, Malik, Shama, Bikhare Moti, Naina, Hazar Raaten and Paakiza. In all, he gave music to 36 films composing 324 songs.
The work on the film Pakiza took too long to complete and Ghulam Mohammed did not live to see the tremendous success of Pakeezah songs. He died of a heart attack on 17-3-1968 and Pakiza was released in 1971.
There were originally 14 songs in Pakiza. After Ghulam Mohammed’s death, when the film was getting finishing touches, 8 songs were removed and 3 songs from Naushad were added for background. These 8 excluded songs were released in an LP titled ”Pakeezah-Rang Birangi”-1971.
Even Ghulam Mohammed’s detractors agree that the music of Pakiza was simply great, but that year’s Filmfare award for Best Music went to Shankar Jaikishen for the film Beimman. Everyone knew how it was managed and once again Politics won over talent !
Naushad and Ghulam Mohammed’s relationship was built on emotions. They respected each other very much. In the late 71 period Naushad wrote an article on Ghulam Mohammed ,in the film Magazine SHAMA. This article was in Urdu. It was translated in English and published recently by the famous Film and Song Historian and a great collector of old Hindi songs-Pasupuleti Kamalakar ji, on his Blog (now defunct). With his kind permission, I am reproducing it here for our readers, which brings out many new facts. I sincerely thank Shri Kamalakar ji for his kind permission…
”The year was 1937. I started working for Ustad Jhande Khan Saheb as a pianist on a monthly salary of Rs 40/ . Ghulam Mohammad was working as a tabla player on a monthly salary of Rs 60 /. After that assignment Jhande Khan Saheb had no films on hand and so we got separated .
I found him to be an amazing tabla player. He belonged to Bikaneer and came from a family of reputed musicians Both his parents as well as his in-laws were attached to stage. Before and after moving to Bombay all of them acted on stage for a living. Later Ghulam Mohammad acquired great mastery over the table and earned a big name as a table player.
1938 – I was working with Music Director Mushtaq Hussain. Ezra Mir was producing a film Sitara starring Khursheed as heroine. He invited Mushtaq Hussain Saheb and finalised the deal for the music of film Sitara. Rafiq Ghaznavi was a very big name in those days. It is believed that he approached Ezra Mir later that day and things changed for us overnight. Ezra Mir had replaced Rafiq Saheb in place of Mushtaq Hussain. As agreed Mushtaq Hussain along with me reached the studios only to be told that we have to go back. As we were getting down the stairs I saw Ghulam Mohammad following the team of musicians with Rafiq Ghaznavi . We both met halfway on the stairs to greet each other .
1942 – My music as an independent music director was appreciated for the films Premnagar , Mala & Darshan. AR Kardar had invited me to join Kardar Productions. I was hesitant in the beginning but at the insistence of my friend SU Sunny I joined Kardar Productions . GM Durrani was my assistant for the film Nai Duniya .
Ghulam Mohammed first joined me as a tabla player and later became my assistant. He was an amazing tabla and dholak maestro. I always felt that he should take independent assignments as a music director which he rightly deserved .
Ghulam Mohammad’s first film as an independent music director was Doli – 1947. It was me who assured PN Arora Saheb that Ghulam Mohammed was an efficient person capable of scoring music on his own. I always wanted to see him grow and take up independent assignments. I was present along with Ghulam Mohammad at the recording sessions of the film Doli. He composed and conducted the score, my presence was purely for moral support. After this he scored music for some more movies produced by PN Arora. Here I make this point very clear that I always wished to see him as an independent composer, which he rightly deserved . I did not do any favor by recommending his name to PN Arora Ghulam Mohammad was senior to me both in age and profession. I always followed his suggestions and was always successful .
Ghulam Mohammad’s younger brother Abdul Karim was an excellent tabla and dholak player. He worked for me after his brother took charge of composing his own films . I can tell with utmost confidence that there was hardly any tabla player in the film industry who could match these two brothers, every tabla and dholak player must have been inspired by these two brothers and learnt lots of techniques from them .
Mohammad Ibrahim was the second brother. He was an excellent harmonium player. He worked with me for a long time. He had excellent knowledge of music and his advice was always helpful in composing music. Mohammad Ibrahim is not with us today .
When Sohrab Modi approached me for the music of the film Mirza Ghalib I recommended Ghulam Mohammed’s name and assured Modi Saheb that he would deliver better music than me. I used to be present at the recordings of the film Mirza Ghalib as a moral support. He used to carry on everything by himself. My presence was something of confidence to him
When Kamal Amrohi commenced his movie Pakeezah he approached me for scoring the music. I told him that I am already busy with a movie and I will not accept any movie until I complete it. I recommended Ghulam Mohammad and assured him that he would do a better job . If , however, you at any stage feel that something was lacking I shall be always there to help you. Kamal Amrohi honored my suggestion and engaged Ghulam Mohammad for the film Pakeezah .
Film Pakeezah was started as a black & white movie. Later it was decided to shoot it in color and at last it was both color and cinema scope. From time to time many songs were recorded and many discarded. Many of the songs were recorded in our ( SU Sunny Partners) Rang Mahal Studios. I was always present at these recording sessions. When Ghulam Mohammad suffered a heart attack I extended whatever support and help he needed during the completion of the songs and recordings .
A number of songs based on classical music were recorded for the film Pakeezah. It was in the voice of a classicalist from Jaipur. None of them were included in the movie. Many filmi style songs including a large section of popular song ‘ chalo dildar chalo chaand ke paar chalo ‘ were not included in the movie .
Ghulam Mohammad passed away before the movie could be completed. After the completion of the movie Kamal Amrohi approached me and said ‘ I have come to remind you of the promise you had made years ago. The film is ready and you can score the background music ‘ – – – – – – – –
It took two and a half months for me to complete the background score. I told Kamal Saheb not to include my name in the titles of music but he did not listen. He was very adamant .
Ghulam Mohammed was not only a good tabla and dholak player but he was also good at singing and dancing too. His association with me lasted for nearly 20 years , first as a tabla player and later as an assistant. It was his greatness that he not only accepted me as an Ustad but loved me with his deep heart. On the contrary it should have been the other way round. His knowledge was remarkable. I accept with my whole heart that he was more knowledgeable than me and played a significant role in mending my career .
Late Ghulam Mohammed was a devotee of an elderly Sufi Haji Wali Mohammad Saheb of Bombay. He was known to many as Barrister. Haji Saheb was an elderly Sufi absorbed in meditation. Ghulam Mohammed used to visit him on Thursdays and play dholak during the qawwali session . After the qawwali, there used to be a session of discourse during which Haji Saheb used to say ‘ Ghulam Mohammad your dholak will go to heaven.” Haji Saheb’s tomb is located in the Sonapur graveyard of Bombay. Ghulam Mohammad was given a holy bath at the premises of Haji Saheb’s Durgah and was buried close to Haji Sahib’s tomb .
Ghulam Mohammad used to live in the Play House area of Bombay. On my suggestion he purchased land in Pali Hill and constructed a four room house on the ground floor. Later he constructed the second floor and gave it on rent. After years of struggle he was able to get the premises vacated. The entire house was used for their living .
Ghulam Mohammad’s eldest son Mumtaz Mohammad leads a life of an ascetic. Mohammad Aziz is a good tabla player like his father. Iqbal Ahmed, another son is in the field of music and currently composing music for Tajdar Amrohi’s film ‘ Ek number ka chor “.
Ghulam Mohammad was a deeply religious person. He was very regular in matters of prayer and fasting during the Ramzan. On Fridays we both used to offer namaz at the Bandra Jama Masjid .He was a very sentimental person. While composing a song, if he was inspired by a particular raag he used to cry and make me cry .
Ghulam Mohammad passed away before the release of the film Pakeezah. His brother Abdul Karim met me at the premier of the movie. Tears were flowing uncontrollably from his eyes when he told me ‘ how happy my brother would have felt had he seen his success with his own eyes.’ Abdul Karim left playing tabla and dholak for movies and became an ascetic .
The passing away of Ghulam Mohammad left me in a void. I feel very lonely. May God bless him with heavenly bliss . ”
Today’s song is sung by Shamshad Begum, Hamida Bano and Raja Gul. Enjoy….
Song- O jaanewaale thhehar ja…dil de ja ya dil le jaa raaja (Hanste Aansoo)(1950) Singers- Shamshad Begam, Hamida Bano, Raja Gul, Lyricist- Shevan Rizvi, MD-Ghulam Mohammad
Shamshad Begam + Hamida Bano
Lyrics
O jaanewaale
thhehar jaa aa
O jaanewaale
thhehar jaa
dil de jaa ya dil le jaa raaja
dil de jaa ya dil le jaa raaja
ulfat ka baazaar hai
ye ulfat ka baazaar hai
dilwaalon kee duniya hai
ye sauda mazedaar hai
dil de jaa ya dil le jaa raaja
dilwaalon kee mehfil hai
ye matwaalon kee bastee
ho o o o o o o
dilwaalon kee mehfil hai
ye matwaalon kee bastee
do nainon kee ho ho
do nainon kee khulee dukaanen aen aen
lelo
lelo dil kee mastee
dil hee dukaandaar yahaan
dil hee khareedaar hai
dil hee khareedaar hai
dilwaalon kee duniya hai
ye sauda mazedaar hai
dil de jaa ya dil le jaa raaja
wo jo bechte thhe dawaa e dil
wo dukaan apnee badhhaa gaye
ho o o o o o o o
ab ilaaj karne ko aap ka
dawaaa le ke mirza jee aaa gaye
le lo le lo
o dilwaalon
le lo le lo
o dilwaalon
dekho phir na pachhtaanaa
dekho phir na pachhtaanaa
har dil kee keemat laakhon
hai taabeez kee keemat chhe aana
taabeez kee keemat chhe aana
taabeez kee keemat chhe aana
ho chhe aanaa
ho chhee aanaa
ho chhee aanaa
har maal kee keemat chhee aana
har cheez kee keemat chhe aana
chhee aanaa
chhee aanaa
chhee aana
o matwaalon
o o dilwaalon o o
nazar mila kar sauda kar lo o o o
ye nainon ka byopaar hai
ye nainon ka byopaar hai
chaar dinon ka mela hai
aur do din ka deedaar hai
aur do din ka deedaar hai
dilwaalon kee duniya hai
ye sauda mazedaar hai
dil de jaa ya dil le jaa raaja
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
December 1, 2025 at 3:55 pm
Good Evening,
Beautiful chorus.
Ord time music takes us back to our school days.
Wonderful days and wonderful movies and music.
Thanks for sharing these gems.
Blessings.
Uma🙏
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