Ham to tujh se nain milaa ke tere ho gaye re
Posted on: January 28, 2026
- In: "Aankh" song | "Street Singing" song | "roadside tamaasha" song | Dance song | Guest posts | Jaishree T Dance Songs | Post by Sadanand Kamath | Songs of 1970s (1971 to 1980) | Songs of 1971 | Street singing | Suman Kalyanpur solo | Suman Kalyanpur songs | Yearwise breakup of songs
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This article is written by Sadanand Kamath, 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, January 28, 2026, is the 89th birthday of playback singer, Suman Kalyanpur whose career growth got stunted because she remained under the shadow of a ‘banyan tree’ called Lata Mangeshkar. Sometime, having a voice quality too close to that of the top most playback singer of the film industry becomes a bane.
Suman Kalyanpur was born in Dhaka (now in Bangla Desh) as Suman Hemmadi when her father was working in Central Bank of India, Dhaka. The family belonged to Hemmadi village in Kundapura taluka, now in Udupi district of Karnataka. The family shifted from Dhaka to Mumbai in 1943 on her father’s transfer. Suman Kalyanpur was interested in singing and painting. After passing her Matriculation exam from St Columbia High School, she joined Sir J J School of Arts with Painting as the main subject. Simultaneously, she started her musical training under Keshavrao Bhole and later Ustad Khan Abdul Rehman Khan. She started singing on All India Radio in 1952. She got her first playback singing opportunity for a Marathi film, ‘Shukrachi Chaandni’ (1953).
Suman Kalyanpur started her playback singing career in Hindi films in 1954 with ‘Mangu’ (1954) and ‘Darwaaza’ (1954) when Lata Mangeshkar was a well-established playback singer. When the choice came for the music directors between the two, producers and/or distributors would pressurise the music directors to engage Lata Mangeshkar as her songs were more saleable than that of the new comers. The result was that Suman Kalyanpur became a ‘standby’ playback singer when Lata Mangeshkar was not available for song recording. For instance, Suman Kalyanpur sang nearly 150 duets with Mohammed Rafi when Lata Mangeshkar was not singing with him during some part of the 60s. Also, some producers, especially of B grade films, who worked on a tight budget seem to prefer Suman Kalyanpur and other female playback singers over Lata Mangeshkar on the monetary consideration.
In an interview with Filmfare, the excerpts of which was published in their Instagram Account on January 28, 2024, in which Suman Kalyanpur revealed that after her marriage in 1958, she became a balancing factor in her joint family of 17 members. This can be construed that she had to give priority to her household responsibilities. She also mentioned that she could continue her limited career in playback singing due to the support from her businessman husband, Ramanand Kalyanpur who was her encyclopedia of the details of the songs she had rendered in her career. He himself will drop her at the recording studio and pick up her later.
I had often heard in the discussions with my friends in early 1970s that Suman Kalyanpur was not as versatile a singer as Geeta Dutt and Asha Bhosle who could sing any genre of songs. At that time, I took their views at the face value. Having now known Suman Kalyanpur’s playback singing career in detail, I can say that she did not get enough opportunities to show her versatility as singer when she was perforce considered as an alternate to Lata Mangeshkar in most of her playback singing carrier. Whenever she got the opportunities to sing the different genre than her usual ones, she has done well. Some examples:
jaata kahaan hai parwaane from ‘Mr. Q’ (1958)
yaa rabba rabba ho from ‘Rocket Tarzan’ (1963)
saaqiyaa uff teri ye ada from ‘Panch Ratan’ (1965)
samaa ho nasheelaa ho aalam rangeelaa from ‘Rustam Kaun’ (1966)
sambhaalo zaraa dil ko o bandaa parwar from ‘Spy In Goa’ (1966)
tera mera mera tera mil gaya dil dil se from ‘Naagin’ (1976)
Despite her handicaps discussed above, the playback singing carrier of Suman Kalyanpur in Hindi films is not that unimpressive when we consider the playback singing career of one of her contemporaries, Sudha Malhotra (around 250 songs) who started her carrier about 4 years earlier than Suman Kalyanpur (800+ songs). In addition, Suman Kalyanpur was a playback singer for many songs in regional films. She has also rendered many non-film songs.
On the occasion of 89th birthday of Suman Kalyanpur, I have picked up one of the three songs rendered by Suman Kalyanpur in the film, ‘Ramu Ustaad’ (1971). The film was produced by Sanober Khan and was directed by Mohammed Hussain. The cast included Dara Singh, Anita, Jayshri T., Madan Puri, Roopali, Shah Agha, Husn Bano, Habib, Ghulam Sabir, Rirkoo, Dumasia Pahelwan, Trilok Singh Pahelwan, Irani Pahelwan, Junior Mehmood etc.
As of now, the film is not available on any of the video sharing platforms. The fact that the video clips of all four songs are available online indicates that the VCD of the film may be available privately. I have watched about 5-minute snippet of the film which indicate the usual storyline of most of Dara Singh’s films. In this film, Dara Singh is Ramu Ustaad whose father was murdered by the Jagirdar (Madan Puri) when he refused to sell his land to him. It is the fight between Ramu Ustaad and Jagirdar – a fight between good and evil. Of course, in the end, good wins over evil. The credit title of the film lists three wrestlers indicating a feast of wrestling bouts between Dara Singh and the three wrestlers.
The film had four songs written by Jaan Nisaar Akhtar which were set to music by Raj Ratan. One song has been covered on the Blog. I present the second song, ‘ham to tujhse nain milaakar tere ho gaye’ rendered by Suman Kalyanpur who sings for Jayshree T. Dara Singh and Anita among others are seen in the song picturisation.
The street songs/dances in Hindi films have emerged in the 1940s and 50s in which the lead pair is watching the song picturised on a dancer accompanied by the junior actors as musicians. The song depicts the romantic feelings which the lead pair is shy to express to each other. So, the street songs/dances have become a medium through which the romantic feelings are conveyed to lead pair through the song. In this film, Dara Singh and Anita have started liking each other and have come to a place to spent some time to themselves to convey their feelings. Probably, both are shy to express their romantic feelings to each other. So, Jayshree T with her accompanying musicians conveys their feelings through the dance song.
Video Clip:
Audio Clip:
Song-Ham to tujhse nain milaa ke tere ho gaye re (Ramu Ustaad)(1971) Singer-Suman Kalyanpur, Lyricist-Jaan Nisaar Akhtar, MD-Raj Ratan
Lyrics:
ham to tujhse nain milaa ke tere ho gaye re
o ham to tere ho gaye re
teree galee ke jaane kitne phere ho gaye re ae
teree galee ke jaane kitne phere ho gaye re
ham to tujhse nain milaa ke tere ho gaye re
o ham to tere ho gaye re
teree galee ke jaane kitne phere ho gaye re
ham to tujhse nain milaa ke ae
dil ko pehle to le le phir sharmaaye hai
aankh ladaa ke kaahe zulmee aankh churaaye hai
dil ko pehle to le le phir sharmaaye hai
aankh ladaa ke kaahe zulmee aankh churaaye hai
jaane kaise tere
ho jaane kaise tere nain lutere ho gaye re ae
teree galee ke jaane kitne phere ho gaye re ae
teree galee ke jaane kitne phere ho gaye re
ham to tujhse nain milaa ke ae
jagmag jaadoo saa pal pal mann pe chhaaye hai
roop suhaana hamree ankhiyaan deep jalaaye hai
jagmag jaadoo saa pal pal mann pe chhaaye hai
roop suhaana hamree ankhiyaan deep jalaayen hai
jab se dekhaa tujhko
haan jab se dekhaa tujhko door andhere ho gaye re ae
teree galee ke jaane kitne phere ho gaye re ae
teree galee ke jaane kitne phere ho gaye re
ham to tujhse nain milaake ae
hamse milne mein kyaa kyaa adchan daale hai
kaahe bairee waade karke hamko taale hai
hamse milne mein kyaa kyaa adchan daale hai
kaahe bairee waade karke hamko taale hai
haan haan sunte kitne
arre haan haan sunte kitne saanjh savere ho gaye re
teree galee ke jaane kitne phere ho gaye re ae
teree galee ke jaane kitne phere ho gaye re
ham to tujhse nain milaa ke tere ho gaye re
o ham to tere ho gaye re ae
teree galee ke jaane kitne phere ho gaye re
ham to tujhse nain milaa ke ae
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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