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

Archive for the ‘Duet’ Category

Posted by: Atul on: October 5, 2025

In: Duet | Guest posts | Ismail Azad Qawwaal song | Jaani Babu Qawwaal songs | Jaani Babu Qawwal-Ismail Azad Qawwal duet | Post by Avinash Scrapwala | qawwali | Songs of 1960s (1961 to 1970) | Songs of 1964 | Yearwise breakup of songs
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This article is written by Avinash Scrapwala, 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.

Blog Day :

6288

Post No. :

19464

#the Decade of Sixties – 1961 – 1970 #
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Today’s song is from the 1964 movie ‘Rustom-E-Rome’ which was passed by the Censor Board on 28.03.1964. It was directed by Radhakant for Sargam Chitra, Bombay. This stunt movies had Dara Singh, Azad, Vijaya Chaudhary, Rajan Kapoor, Sundar, Aruna, Madhumati, Rajrani, Arvind Pandya, S.K. Shyam, Ram Raseela, Anand, Jilani, Bihari, Haroon, Qamar, Tiger Joginder Singh, Al Rad Gova, Saudagar Singh, Pal Vachan, Ismail Azad, Jaani Babu, Shery, Indira and others.
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Tags: 1964, Ismail Azad Qawwal, Jaani Babu Qawwal, Naazaan Sholapuri, Rustam e Rome, Suresh Kumar

Lanka chaley Raamjee Ravan se yudhh karney

Posted by: Atul on: October 2, 2025

Blog Day :

6285

Post No. :

19456

#the Decade of Seventies – 1971 – 1980 #
———————————————————————
#Bhoole-Bisre Geet #
———————————

Today is the last day of the ten-day long ‘Durga Pooja Utsav’ or ‘Navraatree festival’ of this year 2025. The effigies of the demon Ravana are being burnt all over the country to celebrate the victory of Good over the evil. The ten day long staging of Ram Leela will also come to an end today.

Ram Leela is performed in many parts of our country. I was thinking of the past decades from the mid-eighties onwards and I realised that many changes have taken place in the presentation of Raamleelaa thanks to the advancement of technology with time. This can be noticed when the scene on the stage changes from one part to other, where the set up is required to be changed. In olden times the curtains were rolled down to change the backdrop of the characters performing on stage. My guess is that this would have undergone a sea change nowadays where we have technology to help us.

People born before nineties who would have attended Raamleelaa shows in their town or villages must have been witness to funny situations arising during the plays because of various reasons such as forgetting the dialogues, or disruptions due to sudden power-cut etc. These unplanned events during the show would have created situations of laughter and comedy for the audiences.
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Tags: 1980, Aanchal, Abhi Bhattacharya, Deven Verma, Kishore Kumar, Majrooh Sultanpuri, R D Burman, Rajesh Khanna, Sapan Chakravarti

Raanee kee na maanee toone baat jo sayaanee

Posted by: Atul on: October 2, 2025

In: "Aankh" song | "Rani" song | Asha Bhonsle songs | Asha Bhonsle-Dilraj Kaur duet | Dilraj Kaur Songs | Duet | Guest posts | lullaby | mother-child song | Mother-Daughter song | Post by Peevesie's mom | Songs of 1970s (1971 to 1980) | Songs of 1975 | Yearwise breakup of songs
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This article is written by Peevesie’s mom, 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.

Blog Day :

6285

Post No. :

19454

Hullo Atuldom

Wishing all the followers of the blog a Happy Dassehra. Happy Vijayadashmi. A day which is the culmination of the Sharada Navaratri. Navaratri means nine nights & Vijayadashmi is the 10^th day when all the festivities reach a finale.

Much of North India would have had Raam-Leela as part of the festivities & we will witness Ravan-Dahan on the 10th day.

In West India we have the Devi installed in the form of Ambemaa with Aarthis, Garba & Dandiya forming the part of celebrations. Recently, I learnt that the Dandiya-sticks are representative of the weapons that were used by Ambemaa (Durga Maa) in her battle against the Rakshasaa “Mahishasura”.
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Tags: 1975, Asha Bhonsle, Asha Parekh, Balkavi Bairagi, Dilraj Kaur, Rani aur Lalpari, Vasant Desai

Aao milan ka jashn manaayen tamaam raat

Posted by: Atul on: September 30, 2025

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.

Blog Day :

6283

Post No. :

19447

Movie Count :

5135

‘Dastoor’ (1991) was produced by Harish Munjal and Prem Chugh and was directed by Anil Mattoo. The cast included debutants Dolly Minhas, Pomy Dev in the lead roles supported by Sharmila Tagaore, Suresh Oberoi, Raza Murad, Alok Nath, Manohar Singh, Johny Lever, Kulbhushan Kharbanda, Dinesh Hingoo, Harish Munjal etc. Amita Nangia made her friendly appearance in the film. I have watched the film for the first time only few days back in one sitting. The film is a murder mystery drama with a fast-paced narratives to keep the audience engrossed while watching the film.

The opening scene of the film gives a feel of watching some of the suspense thriller films of the 1960s like ‘Wo Kaun Thhi’ (1964), ‘Poonam Ki Raat’ (1965) and ‘Mera Saaya’ (1966). A girl in white, without any expression, walks through the forest in a dark night with a background song, her destination being an architecturally impressive palatial mansion in which the owner lives alone. The caretkaer of the dmansion is seen smoking his chillum. After some time, he is seen switching off the lights of the first floor of the mansion. Simultaneously, a man in hat is also walking toward the mansion. An unidentified person has killed the watchman of the mansion by suffocating him. Inside the house is a pet eagle which makes a noise, probably giving a notice that someone has entered inside the mansion. Another man is slowly climbing the stairs with camera focussed only on his legs. Now, inside the mansion, there are four persons in addition to the owner of the house – the caretaker, the girl in white, the man with a hat and a person climbing the stairs in the mansion. All these scenes of movements give an indication to the audience that something is going to happen inside the mansion.
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Tags: 1991, Abhijeet Bhattacharya, Anand Milind, Dastoor, Dolly Minhas, Majrooh Sultanpuri, Pomy Dev, Sadhana Sargam

Chaai laaigo chaai laaigo…ye haseen chaand

Posted by: Atul on: September 28, 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.

Blog Day :

6281

Post No. :

19439

Today’s song is from a fantasy film Gul E Bakawali-1963.

Most Indians have two common traits. One, they are religious and two, they believe in magic. Therefore most of the children liked the stories in which there was fantasy and magic. Ofcourse, I am talking of older times. These days children’s likings have changed and they like to play with modern gadgets, rather than reading books.

When I was in school, there was great demand from students for books on Vedic stories, fantasy and fairy stories, especially the Arabian Night story books in our school library. Students had to put their names on a waiting list for such books, though the library had multiple copies of such books. Once the books were taken home, other members of the family also read them with great taste and nostalgia.
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Tags: 1963, Gul e Bakawali, Hansraj Bahl, Minu Purushottam, Naqsh Llayalpuri, Shamshad Begum

Mehfil yaaron kee mehfil

Posted by: Atul on: September 27, 2025

Blog Day :

6280

Post No. :

19438

‘Pakhandee’ (1983) was produced by Robert D’Souza and was directed by Samir Ganguly. The cast included Shashi Kapoor, Sanjeev Kumar, Zeenat Aman, Asha Parekh, Ranjeet, Helen, Jagdeep, Asit Sen, Leela Mishra, Anwar Hussain, Kader Khan, N A Ansari, Dinesh Thakur, Sudhir etc. This was Samir Ganguly’s last film as a director.

Samir Ganguly was born in Lucknow in 1936. His father was working in the railway while his mother was a housewife. He was the youngest of the seven children. After the retirement of his father in 1947, Samir was looked after by his brother-in-law (his sister’s husband) in Jaipur who was financially well-off. After his brother-in-law’s retirement, Samir came to Mumbai in 1953 in search of employment during which he stayed with another brother-in-law, Subodh Mukerji who was the younger brother of Filmistan’s boss, Shashadhar Mukerji.
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Tags: 1983, Asha Bhonsle, Helen, Laxmikant Pyarelal, Majrooh Sultanpuri, Paakhandi, Sanjeev Kumar, Shashi Kapoor, Suresh Wadkar, Zeenat Aman

Nigaahen churaao na daaman chhudaao

Posted by: Atul on: September 24, 2025

Blog Day :

6277

Post No. :

19428

‘Faaslaa’ (1974) was produced and directed by Khwaja Ahmed Abbas (K A Abbas) who also wrote the story, screenplay and dialogues. The cast included Shabana Azmi, Raman Khanna (debutant), Komilla Virk, David Abraham, Chand Usmani, Paintal, Yunus Parvez, Ravikant, Helen, Sadhana Khote, Shaukat Kaifi, Dinesh Thakur etc. Jairaj, Nadira, Nitin Sethi and Imtiaz made guest appearances in the film.

K A Abbas was an active member of the left-inspired Indian People’s Theatre Association (IPTA). All his earlier films, whether as a director or writer like ‘Dharti Ke Laal’ (1946), ‘Asawara’ (1951). ‘Shri 420’ (1955), ‘ Shahar Aur Sapna’ (1965), ‘Do Boond Paani’ (1971) and many more, dealt with social injustice and underprivilege classes of the society.
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Tags: 1974, Bhupinder Singh, Faasla, Jaidev, Kaifi Azmi, Meenu Purushottam

Meree dulhan Bareilly se aayee re

Posted by: Atul on: September 24, 2025

Blog Day :

6277

Post No. :

19427

Today’s song is from the film Mehndi-1958.

In the year 1899, a famous writer of those times-Mirza Hadi ‘Ruswa’ wrote a novel “Umrao Jaan Ada” on the life and times of a famous Tawaif and poet of Lucknow. There is a dispute whether it was a real or a fictitious character. There have been arguments on both sides giving questionable bits of evidence. Whatever it was, the novel attracted attention of the public and the critics over the next few decades.

The famous Alfred Drama Company of the early 20^th century, made it into a drama and it too became popular. During the silent era attempts were made to make it into a film on her, but it did not happen. However, after the advent of the Talkie films, many variations of this story came up and some films were made on it. But due to lack of information, we do not have the details.
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Tags: 1958, Asha Bhosle, Heera Sawant, Khumar Barabankvi, Meena Fernandes, Mehndi, Ravi, Usha Mangeshkar

Koi puraanee magar sansanee see saazish ho

Posted by: Atul on: September 22, 2025

Blog Day :

6275

Post No. :

19422

Movie Count :

5133

‘Jumbish’ (1986) was produced and directed by Salahuddin Pervez who also wrote the story, screenplay, dialogues and songs for the film. I heard his name for the first time. On checking about his filmography, I came to know that this was his first film in all these capacities. The cast included Padmini Kolhapure, Akbar Khan, Shafi Inamdar, Daya Dongre, Shehla Khan (debutant), Bharat Bhushan, Raza Murad, Raju Shreshta, Seema Deo, Prema Narayan, Javed Khan, Mushtaq Merchant etc with Yeshwant Dutt and Jagdeep making their special appearances in the film.

Jumbish is a Urdu word which means a movement or action. The story of the film is unusual compared with other Hindi mainstream films. Naturally, its cinematic presentation is also unusual. Each main character’s name in the film is indicative of their role in the film. Most of the dialogues are symbolic and philosophical in nature.

The main theme of the film is that everyone in the world want peace and properity. But there would be some devils whose main aim is to shatter the peace and prosperity by creating misunderstanding and rift between people on the basis of religion, class and caste which can lead to civil war, terror, violence etc. For centuries, there has been a constant tug of war between the divines and devils. The divines say that because of the devils, large number of human beings get killed all over the world. The devil’s response is that if there were no wars, terror, violence etc, people would have anyway died of natural calamities, diseases etc.

The story of the film is as under:

Manas (Akbar Khan) is a computer scientist who is at pain to see around the world, wars, terrorist acts, bomb blasts, ethnic and communal riots which kills thousands of persons every year. He does not see reasons as to why these destructive things are happening around him. He wants to invent a computer which will facilitate people to live together without war and hatred towards fellow human beings. Being a computer scientist, for the sake of peace and prosperity in the world, he wants to invent new types of computer machines. Whether he will succeed or not is another matter.

With this thought, he starts his computer and a somewhat weird man appears on the screen. He introduces himself as Shaitan (Shafi Inamdar) and tells him that he knows that being an intelligent man (Manas) he is inventing new computer machines to change the history of the world. Similarly, as Shaitan he also wants to change the history of the world in different direction and both of them can be partners. From today onwards, he outlines Manas’s life programme in which there is no place for love, emotion, romance, sex and finally no mother. He only wants disorder. Shaitan further cautions him that if he violets anything what he said, he will not live a life of peace and prosperity. With these words, Shaitan disappears from the computer screen. Manas ponders upon Shaitan’s threat.

After few days, Manas’s mother hears a radio news about the conference of eminent scientists of India in which Manas has made a presentation on his research by which his computer system can create the children outside man-woman relationship. She is shocked by his research and wants him stop the research forthwith which is against the nature. She reminds him that she has also given her assurance to Vidya’s father (Bharat Bhushan) that she would get Vidya (Padmini Kolhapure) married to Manas when she comes of age. Manas rejects the idea of marriage as for him the marriage is a waste of time on emotions, romance, love, sex etc. With his bizarre invention and his rejecting the concept of marriage, his mother gets an heart attack and is bedridden. Manas repents for hurting the feelings of his mother and agrees to marry Vidya.

One day, Vidya’s childhood friend, Prabhat (Raza Murad) visits her house to enquire about her well-being after marriage. Shaitan appears before Manas and manipulates his mind because of which he suspects that Vidya is having an affair with Prabhat. Earlier, the mother has wished to give employment to Mohommed Islam (Javed Khan) to whom she has given shelter after the death of his father. Once again, Shaitan visits him and warns Manas that if he tries to employ Mohommed, he will destroy his house (symbolic of creating the communal divide). The next day, Manas takes Mohommed in his car. While driving, he reveals to him that instead of employing him, he would obliterate the difference in their names through friendship and love for each other (symbolic of the communal harmony). This is not liked by Shaitan. He arranges goons and gets Mohammed killed in the mob frenzy. He abducts Manas and tortures him to obey his command before he is released.

Injured Manas returns home and finds Vidya with Prabhat who has come to take leave of her as he is leaving the city. He once again suspects Vidya of their affairs. Manas takes Vidya in his car and while driving he tells her that there path has become separate because of Prabhat. Vidya cautions him that his mind has become devilish. In his anger, Manas drives the car speedily resulting in the accident in which Vidya dies and Manas lies unconscious after hitting a rock. Shaitan has a last laugh.

A bullock cart man, Gaadiwaan (Yeshwant Dutt) picks the injured Manas who has lost his memory. Since he does not remember about himself and his house address, Gaadiwaan decides to give him shelter in his house. But because of his severe ill-health, he is not able to move his bullock cart. He tells Manas that now onwards, he is his sarathi as well as Arjun for him (symbolic of Arjun and his saarathi, Lord Krishna in Mahabharat). Manas’s mother is worried that she has not been able to find the whereabout of her son although many days have passed.

Gaadiwaan is also the victim of Shaitan as he had abducted his wife, Chandramukhi (Shehla Khan) many years back leaving the infant daughter with him. He has raised her as a single father. He has been searching Chandramukhi for years but without success. Having lost his hope, Gaadiwaan hands over a necklace to Manas with a request to deliver the same to his daughter, Dharti (Padmini Kolhapure, in dual role) who lives at another village. He also gives Manas a new name, Sagar. (symbolic names of the character as Sagar and Dharti mean that ocean touching the land gives a feeling of togetherness). Shortly thereafter, Gaadiwaan dies.

In the meanwhile, one day, Shaitan hears the lecture of Manas’s mother in a Women’s organisation on TV in which she exhorts the need to be vigil against the elements who disturb the peace and unity of the country by creating rift on the basis of religion, caste and class. This is not liked by Shaitan as it is against his wish to have the peace and prosperity. He visits her house and tells her to desist from such ‘rhetoric’ failing which it will not be good for her. But she dismisses him and asks him to leave the house. Soon she is in her car to go to her office when a burst of gun fire kills her.

Manas (now Sagar) is unaware of his mother’s killing. As instructed by Gaadiwaan, he goes to meet Dharti in a different village and gives her the necklace from which she comes to know that her father is no more. She welcomes him into his house and gives him shelter until he remembers his village. She calls him by name Sagar which she explains with a symbolic meaning. In the village, Sagar meets a boy, Kishan (Raju Shreshta) playing the flute and tells him the relevance of flute to Lord Krishna. He goes away by telling him that now nobody can separate Sagar from Dharti (metaphor for the country as well as the name of Gaadiwaan’s daughter).

One day, after taking bath in River Ganga which flows near her house, Dharti walks towards Sagar who admires her beauty in his imagination which brings in him the words, poet and the music to get a feel of her. He falls in love with her and marries Dharti in a temple. He works hard to make a barren land an prosperous agricultural field. A son is born to them who is named as Kishan (Raju Shreshta, in dual role).

Once again Shaitan comes in their way of success. He comes with goons and destroys the harvested crop claiming that the land belongs to him. He files a suit in the court for claiming the ownership of the land. On each hearings, the court adjourned for another date. The next scene goes fast forward by 20 years in which Sagar has become very old and Kishan now grown up has got a job in Mumbai to support the family as the land dispute is still in the court without any outcome. After some resistance from his father, Kishan gets a nod to depart for Mumbai not before Sagar gives him a small quantity of soil from his village (which is metaphorically called Bharat) bundled in a cloth to keep always with him in its entirety.

In the end, Kishan reaches Mumbai where Shaitan meets him and demands the bundle of soil to be given to him. He is prepared to pay him foreign currencies for exchange of the soil. But Kishan declines to sell him even at a higher price. Shaitan pleads for at least some part of the soil. Again Kishan refuses by saying that his father has instructed him not to divide the soil. [again the symbolic of attempt to divide the soil (country) by foreign funding]. At this stage the film ends with a narrator telling the audience that this is not the end of the tug of war between Shaitan (devil) and Manas/Sagar. This has happened in the past and it will happen in the future also. But the people will have to remain united to make sure that Shaitan is defeated at his every attempt.

In the film, Manas/Sagar and his mother represent the people who wants peace and unity. The story writer has created a cosmic character, Shaitan (devil) who manipulates Manas’s mind to achieve his objective. The story is interesting but becomes complex due to use of symbolism and metaphor. Shafi Inamdar in the role of Shaitan has performed wonderfully so also Daya Dongre as Manas’s mother in the film. I have not understood as to why the role of Daya Dongre is presented in Indira Gandhi’s hairstyle and mannerism. She also gets killed in the film in the same way as Indira Gandhi. I feel that the director fell short in putting his complex story cinematically understandable to general audience. The film’s each scene is like each she’r in a classical ghazal which can be interpreted differently by different persons.

Nonetheless, Salahuddin Pervez’s maiden attempt in the film-making on an important issue of peace and unity is to be applauded specially for his foresightedness. About four decades back, he had thought of the bizarre idea of Computer creating a programme for giving birth to the children outside man-woman relationship which is akin to AI in today’s world. Also, he had thought of the foreign funding (use of foreign currencies to lure Kishan to part the bundle containing the soil) in creating multiple ‘shaitans’ on their attempt to destabilse a country.

The film had seven songs (six songs on LP record) written by Salahuddin Pervez which were set to music by Jaidev. I am presenting the first song, ‘koi puraanee magar sansanee si saajish ho’ to appear on the Blog. The song is rendered by Penaz Masani and Bhupinder Singh who sing for Padmini Kolhapure and Akbar Khan, respectively. In this song, Padmini Kolhapure has changed her role from Vidya in the first half of the film to Dharti in the second half as part of her dual role. Akbar Khan, though in the same character, has also changed from Manas to Sagar because he has lost his memory after his head hit a rock when thrown by Shaitan.

The context of the song is that when Padmini Kolhapure returns after taking bath in River Ganga, Akbar Khan arrives and is mesmerised by her beauty. She tells him to imagine her as his words, poetry and the music. In the next visit, he imagines her that way and they both sing their feelings by singing a ghazal. The romantic ghazal is composed in the classical style. The audio clip contains one extra she’r.

By the way, the tune of the verses rendered by Bhupinder Singh reminds of the mukhda tune of the song, dekho roothha na karo from ‘Tere Ghar Ke Saamne’ (1963).

Audio Clip:

Video Clip:

Song-Koi puraanee magar sansanee see saazish ho (Jumbish)(1986) Singers-Penaz Masani, Bhupinder Singh, Salahuddin Parvez, MD-Jaidev
Both

Lyrics (Based on Audio Clip) :

koi puraanee magar
sansanee see saazish ho o
koi puraanee magar
sansanee see saazish ho o o
hamaare shahar mein
ho hamaare shahar mein
kaale paron kee baarish ho o
hamaare shahar mein
kaale paron kee baarish ho
hamaare shahar mein

hamaare honthh bhee shabnam hain koi sang naheen
hamaare honthh bhee shabnam hain koi sang naheen een
tumhaare lab ko zaraa
zaraa
zaraa
lab ko zaraa
ik sajal see koshish ho
tumhaare lab ko zaraa
ik sajal see koshish ho
tumhaaare lab ko zara

duaa ke haathh kabhee chhoo na paayen taaron ko o
duaa ke haathh kabhee chhoo na paayen taaron ko o
kuchh aisee aaj muraadon kee aazmaaish ho
kuchh aisee aaj muraadon kee aazmaaish ho

kuchh iss tarah se utarte ho mere dil mein tum
kuchh iss tarah se utarte ho mere dil mein tum
khizaan mein phool khilen
sardiyon mein baarish ho o
khizaan mein phool khilen
sardiyon mein baarish ho o
khizaan mein phool khilen

badan to jaag rahaa hai
magar tum hee chup ho o
badan to jaag rahaa hai
magar tum hee chup ho o
hayaa nazar se
nazar se ae
hayaa nazar se uthhaao
palak ko jumbish ho o
hayaa nazar se uthhaao
palak ko jumbish ho o
hmm hmm hmm hmm hmm hmm hmm
hmm hmm
hmm hmm hmm hmm
la la la la la la la
la la la la la la la
la la la la la la la
la la la la la la la

Tags: 1986, Akbar Khan, Bhupinder Singh, Jaidev, Jumbish, Padmini Kolhapure, Penaz Masani, Salahuddin Parvez

Hey Aadi Shakti Durga Maiyya

Posted by: Atul on: September 22, 2025

Blog Day :

6275

Post No. :

19421

#the Decade of Sixties – 1961 – 1970 #
————————————————————————
(Lyricist Kavi Pradeep-37)
——————————-

“Har Har Gange-1968”, a mythological movie was directed by Babubhai Mistry for Nitin Chitra, Bombay. It had Jayshree Gadkar, Abhi Bhattacharya, Mahesh Kumar, Sulochana, Jeevan, Bhartee, B.M. Vyas, Arvind Pandya, Uma Dutt, Vishwas, S.N. Tripathi, Sudarshan, Babu Raje, Tun Tun, Polsan, Dalda Hindustani, Mahesh Bhatt, Rajkumar, Shri Bhagwan, Saraswati Devi, Bhairavi, Uma Khosla, Meena Pankaj, Malti Shashi, Master Gopee, Prakash, Munna Bagla, Madhumati, Bela Bose, Helen and others.
Read more on this topic…

Tags: 1968, Har Har Gange, Jayshree Gadkar, Jeevan, Krishna Kalle, Mahendra Kapoor, S N Tripathi

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

Archive for the ‘Duet’ Category

Husnwaalon kee kya baat hai

Raanee kee na maanee toone baat jo sayaanee

Aao milan ka jashn manaayen tamaam raat

Chaai laaigo chaai laaigo…ye haseen chaand

Mehfil yaaron kee mehfil

Nigaahen churaao na daaman chhudaao

Meree dulhan Bareilly se aayee re

Koi puraanee magar sansanee see saazish ho

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