Mere man kee kalee muskaayee jee
Posted on: December 16, 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 the last and final song from the film Tara-1949.
The cast of the film was Shyama, Amarnath, Jawahar Kaul, Premlata, Uma devi, Kuldeep Kaur, Rajkumari, Manju, Nayantara, Chand Burke and others. The film was produced and directed by R.D. Parinja, earlier with Bombay Talkies. The Music was by Vinod.
The film’s story is not available. So far the film’s 11 songs were covered by stalwarts of this Blog and also by me. So, almost every aspect of this film is covered expertly, leaving very few choices for this last song.
Few days back, as is my practice, I went through the sites and various Blogs on the internet who are into old film writings. Everytime I do this, I get something new which I could use in my writings, so I preserve it. This time also it did not disappoint me. I found an excellent new article on Music Director Vinod written by an expert H. Aujla ji. He goes into depth with his subject and provides new information every time. Here is that article, duly adapted and shortened for convenience of our readers.
Music Director Vinod’s real name was Eric Roberts, but for the film industry he chose a more familiar and shorter name “Vinod”. This was revealed by one of his sons-in-law Kelly Mistry, who is married to his daughter Veera Roberts. His other daughter’s name is Veena Roberts (after marrying Veena Solomon).
According to Vonod’s son-in-law Kelly Mistry, Vinod was born on May 28, 1922. Vinod hailed from a Christian family of Lahore, who were converted from Hindus. Vinod had his family tree connected to Gurdaspur and Amritsar. As a child Vinod was fascinated by the band music which was prominently played during Lahore ’s colorful Hindu weddings. Vinod also listened carefully for hours to the Rababi musicians performing “Shabad Kirtan” at Gurdwara Dera Sahib Lahore and other shrines. Vinod became a student of Lahore ’s famous music director Pandit Amar Nath and learnt the fundamentals of ragas and tune making with the help of a harmonium from the great maestro.
He started making tunes while being inLahore prior to 1947 and after the death of Pandit Amar Nath, he got the contract of composing the music for a number of films including Punjabi film “Chaman”. But the film could not be taken up due to the tense communal atmosphere in Lahore. It was made much later on in India after 1947. Pushpa Hans and Shamshad Begum lent their voices to the songs in this film. Lata Mangeshkar was a new find, looking for work and Vinod gave her three songs to sing. Incidentally Lata’s all three numbers became landmark songs not only for this film, but for other Punjabi films to follow. Those were the days of extreme communal tension on both sides of the Radcliffe line in Punjab , as a consequence after its release the film did not do well in Pakistani Punjab. But the selling of its music even in Pakistan did quite a decent business.
According to some historians Vinod’s mentor Pandit Amar Nath died in 1946. Some other historians say that Pandit Amar Nath died in February of 1947. But by 1944 most of the Lahore based music directors like Khurshid Anwar (in 1941), Shyam Sunder (in 1943), Hans Raj Behl(in 1944), Rashid Atre, Feroze Nizami, Ghulam Haider, Pandit Husna Lal Bhagat Ram shifted their base to Bombay. Pandit Amar Nath and Pandit Gobind Ram were the only ones left in Lahore. After Pandit Amar Nath’s health deteriorated in 1946, Vinod inherited some of his contracts. “Khamosh Nigahein”, “Paraye Bas Main” and “Kamini” were some of the movies which fell into Vinod’s kitty. None of these 1946 movies did well at the box office and Vinod did not get any mileage from them either.
Vinod got the best break in his career in 1949, when he got the contract to compose the music for Hindi film “Ek Thi Ladki”. The film became a hit and its Lata song “Lara lappa lara lappa layi rakhda, addi tappa addi tappa layi rakhda” became a nation-wide hit. The tune of this song was based on an old Pahadi Punjabi folk tune of Kangra district. While listening to his other songs for this film, a similarity with the tunes of film “Mirza Sahiban” composed by his mentor Pandit Amar Nath could be clearly established. This goes to prove that Vinod, in letter and spirit, learnt the art of tune making from his teacher. This earned him a contract for another Punjabi film “Bhaiya Ji” made in 1950. Lata sang several memorable songs for this movie. One of its sad songs “Ajj mera mahi naal tutt gaya pyar ve akhiyan na maar ve” was acclaimed to be a landmark song. Even Sardul Kwatra had great admiration for this song. This song later on inspired the tunes of several Hindi songs. In 1949 Vinod composed music for another Hindi film “Taara”, which did not create any waves.
Talat Mahmood and Mohammad Rafi were the favourite male singers of Vinod, who always did full justice to his tunes. According to Sardul Kwatra Vinod had no God-father like Shanker and Jaikishan had in producer actor Raj Kapoor and producer Amiya Chakravarty and Naushad had in a very popular producer Mehboob Khan. Roop K. Shori, who gave Vinod music composition contracts for his films, somehow did not belong to the big league of Bombay based film producers like Sohrab Modi, K.A. Abbas, V. Shantaram, Mehboob Khan, Raj Kapoor etc.
Roop K. Shori of course was a very famous film producer in Lahore, who while moving to Bombay , took his entire team with him. Music director Vinod and lyricist Aziz Kashmiri were members of his group. Vinod composed the music for most of Roop K. Shori films. In all Vinod composed music for 27 Hindi films, out of which he shared music with other music directors for at least six films. Some of his films were not completed and some were not released even after completion. Among some of Vinod’s best known creations were the musical compositions of films “Anmol Rattan” (1950), “Wafaa” (1950) “Sabaz Bagh” (1951) “Aag ka Dariya” (1953), “Laadla” (1954) and “Makhi Choos” (1956). For a while Roop K. Shori got Vinod a salaried job as a music director in “Filmistan Studios”. One characteristic of Vinod was that in Punjabi films he inserted Hindi songs and in Hindi film songs he inserted some Punjabi wording. This trend was discontinued later on, but since the nineties once again Punjabi songs are becoming a part of most Hindi films and these songs are proving big hits.
Vinod was doing one or two successful films on an average per year from 1948 to 1957, but one or two hit films in a year are not enough to ensure a decent standard of living in a city like Bombay. HusnLal Bhagat Ram gave the music for 19 films in 1949 and 1950 and Shanker Jaikishan were composing music in 3 to 4 hit films every year during the fifties and sixties. Such busy schedules made both duos financially quite well off. O.P. Nayyar was also doing 3 to 4 successful films a year during the fifties, but somehow he did not manage his finances well. On the other hand Naushad was professionally quite creative and he always managed his finances well and lived in comfort. Both Shyam Sunder and Vinod, in spite of being thoroughly professional in their field, were never financially well off. They both died during the fifties. After Vinod’s untimely death at a young age of thirty seven on December 25, 1959, his wife Sheela had great difficulty in bringing up his children. Vinod loved his childhood city of Lahore and did not want to leave that great cultural centre, but the unfortunate partition of Punjab and the resultant bloodshed and its trauma left him with no option of going back to Lahore. Vinod was every inch a Punjabi and he longed to compose music for the Punjabi films, but after 1951 mostly two music directors ended up getting all the music direction contracts. They were Master Hans Raj Behl and Sardul Kwatra. Vinod composed music for only five Punjabi movies. These are “Chaman” (1948), “Bhaiya Jee” (1950), “Mitiar” (1950), “Ashtalli” (1954) and “Nikki” (1958). Vinod died a frustrated man, who’s professional genius was always shortchanged.
Although Vinod composed music for thirty two films, most of these films were under small banners and the music of most of them let down by the film’s poor showing at the box office. Vinod died in Bombay on 25-12-1959. (Adapted from an article by H..Aujla.Thanks).
one name in the cast is Amarnath. It is one of the “Same Name Confusion” names where there was Actor/singer Amar, 2 Pt. Amarnath- M.D.s, 1 Amarnath as a director and Amarnath Bharadwaj-an actor. I have discussed all of them in my book.
Amarnath was born in Hafizabad, in Gujranwala district of Punjab (Now in Pakistan) on13-10-1923. After Matriculation, he joined a Bank. However after some time he left the bank job and joined the film industry. He started acting in 1939 with Kidar Sharma’s “Dil hi to hai”. From Calcutta, he came down to bombay and did a small role in the film Naghma E sehra-1945. Then he shifted to Lahore. Graduating from doing small roles he was made the Leading Man in Dalsukh Pancholi’s film “Patjhad”, started in 1947 opposite Meena (Shorey). Pancholi had to flee Lahore due to Partition riots, but he carried the negatives of Patjhad. Though the film was censored in India in 1948, it seems it was never released.
Amarnath starred as Hero/ side Hero in many other films,like Papiha re-48, Barsat ki ek raat-48, Swayam sidha-49, Nai Bhabhi-50, Kamal ke phool-50, Sheesh Mahal-50, Jalte Deep-50, Johri-51, Nai zindagi-51 , Lachak-51, Nirmohi-52, Nirmal-52, Izzat-52, Bahu Beti-53, Nav Durga-53, Toofan-54, Danka-54, Gun Fight-60 etc. Then he switched over to side roles. In all, he worked in 81 Hindi films. In addition he also acted in many Punjabi films, initially as a hero and later in other roles. His first Punjabi film was Kamli-1946. Some other Punjabi films were Murtiyan-50, Posti-51, Vanjara-54, Lara Lappa-53,Astalli-54,Jagga-64 etc. His last Hindi film was Kaun ho tum-70.
Here is the last and final song from the film Tara-1949. With this, all songs of Tara-1949 will be covered and the film gets YIPPEED ! This song was provided kindly by Syed Zafar Shah ji and was uploaded for me by our own Sadanand ji, very promptly. Thanks to both.
The song is sung by Hamida Bano. Enjoy….
Song-Mere man kee kalee muskaayee jee (Taara)(1949) Singer-Hamida Bano, Lyricist-Aziz Kashmiri, MD-Vinod
Lyrics
Mere man kee
haay mere man kee kalee muskaayee jee
haan muskaayee jee
mere man kee kalee muskaayee jee
haan muskaayee jee
main to saajan se mil ke hoon aayee jee
haan aan mil ke aayee jee
main to saajan se mil ke hoon aayee jee
haan aan mil ke aayee jee
naach uthhee hai man mein umang mere
naach uthhee hai man mein umang mere
chhaaya nas nas mein hai prem rang mere
chhaaya nas nas mein hai prem rang mere
dil ne lee baar baar angdaayee jee
dil ne lee baar baar angdaayee jee
ho angdaayee jee
main to saajan se mil ke hoon aayee jee
haan aan mil ke aayee jee
dil ko rakkhoongee palkon kee chhaaon mein
dil ko rakkhoongee palkon kee chhaaon mein
door duniya se nainon ke gaaon mein
door duniya se nainon ke gaaon mein
unkee har ik adaa mujh ko bhaayee jee
haan man ko bhaayee jee
main to saajan se mil ke hoon aayee jee
haan aan mil ke aayee jee
kal ke sapne huye aaj apne mere
kal ke sapne huye aaj apne mere
mit gaye zindagee ke mere andhere
mit gaye zindagee ke mere andhere
din mein baajegee ab shehnaai jee
din mein baajegee ab shehnaai jee
ho shehnaai jee
main to saajan se mil ke hoon aayee jee
haan aan mil ke aayee jee
main to saajan se mil ke hoon aayee jee
haan aan mil ke aayee jee
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
December 16, 2025 at 11:10 am
Good Morning,
This website serves as an encyclopedia for gaining knowledge about all the renowned singers and musicians from the illustrious era of film and music, both on and off the silver screen, who are less well-known to the public.
Present generation films have no such stalwarts.
We are all grateful to you for sharing this invaluable knowledge.
Regards and blessings
Uma🙏
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