Hemesha Jawaan Geet

Moving on to a lovely Mukesh solo from film Chehra (1946).
Duration 3.26 min @128 kbps......khawar

When the talkies came to India in the early 30s, film lyricists and music directors began to compose songs for films. Most of the lyricists who then wrote songs for films were reputed Urdu and Hindi poets. Quite a few of the songs they wrote for films were ghazals, to which music directors of those days gave memorable tunes. Thus, people who were not literary-minded enough to read what these great Urdu poets had written, now got the opportunity to listen to their creations beautifully set to music.
Hindi films provided Udru poets like Arzoo Lakhnavi, Shakeel Badayni, Majrooh Sultanpuri, Sahir Ludhianvi, Kaifi Azmi, Rajinder Krishan, Qamar Jalalabadi, Prem Dhawan, Hasrat Jaipuri and several others with the opportunity to have their creations immortalised in the voices of our eminent playback singers.
Here is one such song composed by Aarzoo Lukhnavi who worked as a lyricist for New Theatre's. Listen to this beautiful poetry.
pankhaj Mullick in Doctor, Duration = 3.28 min @128 kbps...khawar

Zia Sarhadi, the man who gave us memorable films such as Humlog (1951) and Footpath (1953), lived in virtual oblivion after his misfortune with the Pakistani film censors in the late ‘50s. He passed away in Madrid last month, having spent the last 15 years of his life in self-exile in London.

Born in Peshawar in 1914, Zia began his film career in Bombay when his friend Mehboob Khan asked him to write the screenplay, dialogue and songs for his Sagar Movietone venture, Deccan Queen. Quite contrary to the social realism Zia became known for in his later days, this debut film was an action thriller. However, it was Manmohan (1936) which actually brought him to fame. Besides acting in the film, he also wrote the lyrics, story, screenplay and dialogue. Over the next 15 years he received the writing credit for such films as Jagirdar, Kal Ki Baat (1937), Jeevan Saathi (1939),Sajan (1940), Behan (1941), Ghalib ((1942), Badi Maa (1945), Elan (1947), Anokha Pyar (1948), Dil Ki Duniya (1949), Khel (1950) and Baiju Bawra (1952 – dialogue only). Among the films he directed were Abhilasha (1938), Humlog (1951), Foot Path (1953) and Awaz (1956).

Humlog, one of the finest movies of the 1950s, was a great success. Unfortunately, his other films were not box office hits, but in terms of quality, all three left a lasting impact on the tradition of parallel cinema.

Zia was an “unaffiliated Marxist” and his films were known for their social themes. Moving to Pakistan, therefore, proved creatively stifling for his committed and restless soul. Rahguzar, his first movie in this country, turned out to be the last that he ever directed. By the time he could complete it, General Ayub Khan had imposed martial law in the country and the compromise with the censors shattered him. Those who have watched it are unanimous that it is still a very fine movie, but the hassles with the censors ensured that Zia never took up the megaphone again. However, he did write dialogue occasionally. Most noteably for the celebrated Lakhon Mein Eik (1966), directed by Raza Mir. His other credits include the ambitious commercial disaster, Aftab Manghi’s existentialist action movie, Shehar aur Saye and the outrageous cult classic, another film plagued by censor problems, Rangeela’s Aurat Raaj.

The third martial law, imposed by his namesake, was the final blow. The last straw came when he was picked up by the army and kept in solitary confinement in terrible conditions. The charges against him were sedition and an inclination towards Marxism. He left the country to settle in the UK, where he supported himself by working mainly on assignments for the BBC.

With a lifespan of 82 years, Zia was only truly productive for a mere 20 years. Others such as Manto, Faiz, Quratul Ain Hyder have been able to withstand the tyrannical oppression of social factors and still produce their best. A future biographer of this fascinating personality would, perhaps, be able to tell us why Zia Sarhadi was different. Taken from internet
Here is one of his songs as a poet from Meri kahani sung by geeta dutt. Duration 3.18 min @ 128 kbps.....Can anybody provide info about his 1942 film GHALIB songs and may be upload any songs from this movie. may be Prabharkar sahib might have few songs. khawar

khawarji ---wonderful uploads??
can you ----?? from my request list:---

dekho dekho kaise sajdhaj ke - Maldaar (1954)
De De Pet Ko roti - Maldaar (1954)
Sab Ko Mubarak Naya Saal - Samrat (1954)
Bade Bade Dhoonde Pahar - Jagadguru Shukracharya (1955)
Pathik Akela Badta Ja - Vivekananda (1955)
Sahil Ki Taraf Le Chal - Sahib Biwi Gulam - (??)
Yahi Hain Shan Ye Zindagi - Janam Janam ke Saathi - 1965
Hey Raam Kahan Tu jala - Jyoti Jale -??
3 danka baja,bahadur jaga,kayar bhaga-hemant,jagmohan,asha,

Debopriyoji, Shukriya for liking uploads. I would be delighted to u/l your farmaish, however my collection is all over the place and is not yet organized into a database. I myself do not know which songs I have and which are missing. Therefore its very difficult to find particular songs in my collection. When ever I come across these songs I will upload.
The people with geetkosh are requested to u/l info about the songs of film Glalib (1942)...khawar

The following song is sung by an obscure singer Binapaani but have a look at the music style which to me is uncharacteristic of CRam Chandra. This is more or less a Thumri from film Leela (1947). Duration is 2.51 min @128kbps.
Enjoy this amazing song....khawar

Here is another song penned by Zia sarhady and composed by another great MD, K Dutta for 1945 film Bari Maa. This is a historic song as it is the first urdu/hindi song by lata. Also the only film in which both Noor Jahan & Lata sang. The song was picturized on Asha. Duration = 3.46 min @128 kbps.......khawar

Lata has clarified in Nasreen Munni Kabeer's book that lines sung by Lata in this song was not picturised on Asha, but her only. Asha, though, was a part of the picturization of this song and possibly lip synced the chorus lines.

Aditya

This post has been edited by Aditya Pant: Aug 14 2010, 01:15 PM

Thanks for clarification Aditya sahib...I wonder what happened to other lata song in this movie" janani janam bhomi" and why the Movie Bari Maa is not available on DVD??? khawar

Vasant Desai [size=3]was the composer who could easily pivot the various situations of life around his simple and classy tunes. He was a man of great musical insight. He could easily grasp the situations and put them successfully in his songs. Who can forget his composition, 'Aei Maalik Tere Bande Ham..', in fact, Punjab govt. declared it as a part of morning prayers in their schools.

Vasant Desai was born in 1914. In his early days, he used to act in silent films. Prabhat's Khooni Khanjar (1930) was his first film as an actor. He also used to sing songs in films. He sang his first song, 'Jay Jay Rajadhiraaj..' in Ayodhaya Ka Raja (1932). In 1934, he sang a popular 'Kajri', 'Barsan Laagi..' in Amrit Manthan. He sang many songs in those times in various films. But that was not his destiny, his career took a turn with 1939's Aadmi. He could not managed to get the role of Hero in the film, so gave up acting and started his training in music, under Ustaad Aalam Khan and Ustaad Inaayat Khan.

He became an assistant of music director Govind Rao Tembe. He did Our India, Monsoon, Amar Bhoopali, Shobha Aankh Ki Sharam and Mauj with him as an assistant. He got his first opportunity in 1943 to work independently for Shantarm's Shakuntala. The film was a major hit of those times. It ran for 104 weeks. After Shakuntala's overwhelming success, Vansat Desai became a part of V. Shanatram's Rajkamal Studio. He gave unforgettable music for Shantaram's Do Aankhen Barah Haath and Jhanak Jhanak Paayal Baaje. He became very popular in his early career as a music director. He composed music for 14 films in the 1940's. Parvat Pe Apna Dera (1944), Subhadra (1946), Jivan Yatra (1946), Dr. Kotnis Ki Amar Kahani (1946), Matwala Shaayar Raam Joshi (1947), Uddhar (1949) were some of his popular films.

In 1955, 1956 and 1957, Rajkamal's Jhanak Jhanak Paayal Baaje, Toofan Aur Diya, Do Aankhen Baarah Haath, got released. Desai worked very hard for the music of these films. He gave all sort of music in these films, successfully. He used pure classical, folk and thematical music perfectly for these films. Jhanak Jhanak Payal Baaje was purely based on dance theme, so he composed classical dance tunes. He used the voice of great vocalist Ustaad Amir Khan for the title song of the film. In 1960's he did comparatively less number of films but he managed to maintain his style and melody of his tunes. Use of classical music was clearly visible in his music in this era. The decade saw the release of Pyar Ki Pyaas, Raahul, Yaadein, Ladki Sahayadri Ki, Bharat Milaap, Aashirwad and few more. Yaadein (1964), was a movie with only one artist and the story was portrayed with the help of background music and dialogues. It was a big task for Vasant to compose the music for 'Yaadein', yet he came out with perfect background score and a perfectly composed 'Dekha hai sapna koi..' sung by Lata Mangeshkar. Later, in 1974, when Gulzar made Achaanak, which again was a songless film, he called Vasant Desai for its music. The film has a great weightage for background music and Gulzar knew that Vasant was the perfect man for the job. Vasant did a great job as expected, for the film.

Vasant Desai used the voice of veteran Ashok Kumar for his film Aashirwaad (1968). He put his best effort for the music of Aashirwaad. 'Ek thaa bachpan..' sung by Lata Mangeshkar was composed in Raag Pooriya Ghanashri. He composed "Jeevan Se Lambe Hai Bandhu..' sung by Manna Dey in Raag Shiv Ranjini. Vasant introduced Vani Jayram in Guddi (1970) as a playback singer. 'Bole Re Papihara..' sung by Vani is one of a few remembered rain songs, till date. He introduced Dilraaj Kaur in Rani Aur Laalpari (1975), as a playback singer.

Vasant believed in quality and not quantity, therefore he composed music for only 46 films. He never felt at ease while composing qawallis or ghazals. He always gave his heart for classical music. His favourite poets were Majrooh Sultanpuri, Kavi Pradeep, Gulzar and Pt. Narendra Sharma. He left us in 1974, with his 'Yaadein'.
Source: Article By Dr. R C Misra, Kanpur

Shobha
Aankh Ki Sharam
Mauj
Shakuntala
Parbat Pe Apna Dera
Dr. Kotnis Ki Amar Kahani
Jivan Yatra
Subhadra
Andhon Ki Duniya
Matwala Shayar Ram Joshi
Mandir
Sona
Narsinh Awataar
Uddhar
Dahej
Hindustaan Hamara
Sheesh Mahal
Jivan Taara
Hyderabad Ki Naazneen
Anand Bhawan
Jhansi Ki Rani
Jhanak Jhanak Payal Baaje
Toofan Aur Diya
Do Aankhen Barah Haath
Do Phool
Mausi
Ardhangini
Do Bahan
Goonj Uthi Shehnai
Samraat Prithviraj Chauhan
School Master
Pyar Ki Pyaas
Sampoorn Ramayan
Rahul
Yaadein
Amar Jyoti
Bharat Milaap
Ladki Sahayadri Ki
Ram Rajya
Aashirwad
Guddi
Achaanak
Grahan
Jai Radha Krishna
Rani Aur Lal Pari
Shaque
Note above that his 1960 Unrealed movie Amar Samadhi is not mentioned which had at least 3 lata songs. Any lata solo/duet from Amar Samadhi is requested.
Here is one Vasant Desai composed song from Jevan Yatra 1946 which is also lata first solo....khawar

Here I post some very good songs which are either incomplete or are defective in some way. It is requested that if somebody has complete or good recordings of these songs, kindly upload...Khawar

The first one it seems is a New Theatre duet. Film unknown. Pradeep sahib may have some clue?!

The second duet from ghar is also incomplete...khawar

Lets resume the program with an Asha solo from Jawaab composed by Naashaad. Duration 3.07 min ....Khawar

Followed by a song by Geeta from tutte Khilone. A lovely composition by Chitragupt. Enjoy! Duration 3.22 min @128 kbps....Khawar

Sahir Ludhianvi [size=3]was born into the wealthy family of a Muslim Gujjar[3] as Abdul Hayee on 8 March 1921 in Ludhiana, Punjab in India [4]. His mother name was Sardar Begum. Sahir's parents had a very loose and estranged relationship. In 1934, when he was thirteen years old, his father married for the second time. At that time, his mother decided to take the bold step of leaving her husband, forfeiting all claims to the financial assets. Sahir's father then sued his mother for child custody but lost. He threatened to make sure Sahir did not live with his mother very long, even if that meant taking the child's life.[5] Sahir's mother then found friends who kept a close watch on him and didn't let him out of sight. Fear and financial deprivation surrounded the formative years of this young man. His parents' divorce brought him and his mother face to face with poverty and struggle in life.

The house where Sahir was born, a red sand-stone haveli, stands in Karimpura, a Muslim neighborhood of Ludhiana, with a small plaque announcing its importance upon the arched mughal darwaaza — the only effort by the city to remember him.

Sahir studied at and graduated from Khalsa High School in Ludhiana. Upon matriculation, he joined the Satish Chander Dhawan Government College For Boys, Ludhiana, from which he was famously expelled within the year 'for sitting in the Principal's lawn with a female class-mate'.[6][7]. He was quite popular for his ghazals and nazms in the college. About his expulsion from college, some accounts erroneously mention Amrita Pritam as that girl, but she never lived in Ludhiana. They met after the partition of India, when she arrived in Delhi from Lahore in 1947.

His most famous love affair, however, was with Amrita Pritam, who became his most ardent fan. She has openly acknowledged her love for Sahir in interviews and her books.[8]Apart from Amrita, several other women too came in his life but he could never decide on accepting any of those as his life partner. He remained a bachelor all his life.[9]

In 1943, after being expelled from college, Sahir settled in Lahore. Here, he completed the writing of his first Urdu work, Talkhiyaan ("Bitterness"). He then began searching for a publisher and, after two years, he found a one in 1945. After his work was published, he began editing four Urdu magazines, Adab-e-Lateef, Shahkaar, Prithlari, and Savera; these magazines became very successful.[citation needed] He then became a member of the Progressive Writer's Association. However, inflammatory writings (communist views and ideology) in Savera resulted in the issuing of a warrant for his arrest by the Government of Pakistan. So, during in 1949, Sahir fled from Lahore to Delhi. After a couple of months in Delhi, he moved to and settled in Bombay. A friend of his recalls Sahir telling him "Bombay needs me!"[citation needed]

[edit] Lyrics and Bollywood
Sahir lived on the first floor of the main building of an Andheri outhouse. His famous neighbours included the poet, Gulzar and Urdu litterateur, Krishan Chander. In the 1970s, he constructed "Parchaiyaan" ("Shadows"), a posh bungalow, and lived there till his death. Journalist Ali Peter John, who knew the poet personally, says real-estate sharks have been eyeing Sahir's abode after the death of his sister. His belongings and trophies are in a state of ruin, according to the journalist.[citation needed]

Sahir Ludhianvi made his debut in films writing lyrics for the film Aazadi Ki Raah Par (1949). The film had four songs written by him and his first song was "Badal Rahi Hai Zindagi..." Both the film and its songs went unnoticed. However, with Naujawaan (1951), he gained recognition. S.D. Burman composed the music for Naujawaan. Even today, the film's lilting song, "ठंडी हवाएँ लहराके आएँ...," remains popular. His first major success came the same year with Guru Dutt's directorial debut, Baazi (1951), again pairing him with Burman. Thus he became part of the Guru Dutt team, and after the success of Naujawaan and Baazi, the combination of Sahir Ludhianvi and S.D. Burman came out with many more everlasting songs.

Sahir worked with many music composers, including Ravi, S.D. Burman, Roshan and Khayyam, and has left behind many unforgettable songs for fans of the Indian film industry and its music. Pyaasa marked an end to his successful partnership with S.D. Burman over what is reported to be S.D. Burman's displeasure at Sahir receiving more admiration (and thus credit for the success) from audiences for the words of the lyrics than S.D. Burman did for his memorable tunes.[citation needed] Later, Sahir Ludhianvi teamed up with composer Datta Naik in several films. Datta, a Goan, was a great admirer of Sahir's revolutionary poetry. They had already worked together to produce the music for Milaap (1955). Sahir wrote many unforgettable gems for Datta.

In 1958, Sahir wrote the lyrics for Ramesh Saigal's film Phir Subah Hogi, which was based on Fyodor Dostoevsky's novel Crime and Punishment. The male lead was Raj Kapoor and it was presumed that Shankar-Jaikishan would be the music composers. However, Sahir insisted that only someone who had read the novel could provide the right score. Thus, Khayyam ended up as the music composer for the film, and the song "Woh Subah Kabhi Toh Aayegi" with minimal background music remains an all-time hit. Khayyam went on to work with Sahir in many films including Kabhie Kabhie and Trishul.

Admirers and critics rate Sahir's work in Guru Dutt's Pyaasa as his finest. Pyaasa, some say, bears resemblance to Sahir's early years as a poet. The onscreen poet, Vijay played by Guru Dutt, bears a strong likeness to the man whose poetry gave the film its soul.

Sahir Ludhianvi's work in the 1970s was restricted to films mainly directed by Yash Chopra. Though his output in terms of number of films had thinned out, the quality of his writing commanded immense respect. Kabhie Kabhie (1976) saw him return to sparkling form. These songs won him his second Filmfare Award for Best Lyricist, the first being for Taj Mahal (1963).

[edit] Last days
On 25 October 1980, at the age of fifty-nine, Sahir Ludhianvi suffered a massive heart attack and died in the arms of his friend Dr R.P. Kapoor. He was buried at the Juhu Muslim cemetery. His tomb was demolished in 2010 to make space for new bodies.[10]

Sahir's final works were released for the Hindi film Lakshmi (1982). He will always be remembered along with Kaifi Azmi as the poet who brought Urdu literature to Indian motion pictures. Over twenty-five years after Sahir Ludhianvi's death, his poetry and lyrics remain an inspiration for lyricists of the day. Composers and singers of Sahir's time swear by the depth, intensity and purity in his poetry. As singer, Mahendra Kapoor said in a Vividh Bharati interview, "I don't think a writer like Sahir Ludhianvi will be born again."

[edit] The person
[edit] Personality
It was ironically appropriate; while the poet's heart bled for others, he never paid enough attention to his own life.

His friend, Prakash Pandit once recalled how, after the Partition of India, Sahir was unhappy without the company of his Hindu and Sikh friends (they had all fled to India). A secular India was Sahir's preference to an Islamic Pakistan.[11]

Sahir Ludhianvi was known to be very egotistic[citation needed], perhaps as a result of his zamindar background; he fought for, and became the first lyricist or songwriter, to get royalties from music companies. Sahir insisted on writing the songs before the song was composed, against the Bollywood norm. However, some of his songs were written after the tunes were ready. For example, मांग के साथ तुम्हारा (Naya Daur 1957 - music by O.P. Nayyar). At the height of his popularity, Sahir is known to have demanded a rupee more than what was paid to Lata Mangeshkar for singing it. It was on Sahir's insistence that All India Radio started crediting lyricists along with singers and music composers for songs it aired.

[edit] Poetry
"मै पल दो पल का शायर हूँ, पल दो पल मेरी कहानी है

पल दो पल मेरी हस्ती है, पल दो पल मेरी जवानी है

मुझसे पहले कितने शायर आए और आकर चले गए,

कुछ आहें भरकर लौट गए, कुछ नग़मे गाकर चले गए

वो भी एक पल का किस्सा थे, मै भी एक पल का किस्सा हूँ

कल तुमसे जुदा हो जाऊँगा, जो आज तुम्हारा हिस्सा हूँ"

A colossus amongst film lyricists, Sahir Ludhianvi was slightly different from his contemporaries. A poet unable to praise Khuda (God), Husn (Beauty) or Jaam (Wine), his pen was, at its best, pouring out bitter but sensitive lyrics over the declining values of society, the senselessness of war and politics, and the domination of materialism over love. Whenever he wrote any love songs, they were tinged with sorrow, due to realisation that there were other, starker concepts more important than love. He could be called the underdog's bard; close to his heart were the farmer crushed by debt, the soldier gone to fight someone else's war, the woman forced to sell her body, the youth frustrated by unemployment, the family living on the street and other victims of society. His lyric from Payasa when lead actor Guru Dutt (Vijay) was passing through a red light area by singing this song, moved even Pt. Jawaharlal Nehru, Honourable Prime minister of India that time.

"yea kuche,(road) nilam ghar(auction house) dilkashi(pleasure) ke,
Yea lut te huye caravan zindegi ke,
kahan hai kahan hai muhafiz khudi(self satisfied) ke,
jinhe naaz(pride) hai Hind(India) par,wo kahan hai."
Sahir Ludhianvi's poetry had a "Faizian" quality. Like Faiz Ahmed Faiz, he too gave Urdu poetry an intellectual element that caught the imagination of the youth of the 1940s, 1950s and 1960s. He helped them discover their spine. Sahir asked questions and was not afraid of calling a spade, a spade; he roused people from an independence-induced smugness. He would pick on the self-appointed custodian of religion, the self-serving politician, the exploitative capitalist, and the war-mongering super-powers.

Sahir's poetry reflected the mood of the age. Whether it was the arrest of progressive writers in Pakistan, the launch of the satellite Sputnik or the discovery of Ghalib by a government lusting after minority votes, Sahir reacted with a verve not seen in many writers' work. Kahat-e-Bangal ("The Famine of Bengal"), written by a 25-year-old Sahir, bespeaks maturity that came early. His Subah-e-Navroz ("Dawn of a New Day"), mocks the concept of celebration when the poor exist in squalor.

Perhaps Sahir is the first renowned Urdu poet, who, could express his view towards The Tajmahal in a complete different way. He wrote

"Mere mahboob kahi aur mila kar mujhse, bazm- e- sahi me gharibo ka guzar kya mane. sabat jis raho par hai satbate sahi ka nishan uspe ulfat bhari ruho ka guzar kya mane."-

The poet asks his lover to meet him anywhere else but Tajmahal. A tomb which has been a symbol of luxurious monarchy for years, there is no need to make journey of love by two beautiful but not famous hearts there.

Sahir will always be remembered as a poet who made his creation a lesson for all ages of Urdu poetry to come. In this way he contradicts his own creation: "kal aur ayenge naghmo ki khilti kalian chunnewale, koi mujhse behtar kehnewale, koi tumse behtar sunne wale;kal koi mujhe keun yaad kare, keun koi mujhe yaad kare, masroof zamana mere lie keun waqt apna barbad kare?"

[edit] Relationships
Although Sahir Ludhianvi remained a bachelor all his life, he had two failed love affairs with journalist Amrita Pritam and singer/actress Sudha Malhotra.[12]. These relationships could not be cemented in marriage because these women's fathers refused to let them marry a Muslim.[citation needed] In fact, Sahir Ludhianvi was an atheist. These relationships had left Sahir Ludhianvi an embittered man. He took to drinking heavily and drank himself deep into alcoholism. The tragedies and pathos of his personal life most truly reflected in his poignant poetry.

His relationship with Amrita Pritam was so passionate that at one time, while attending a press conference, Amrita wrote his name hundreds of times on a sheet of paper. The two of them would meet without saying a word and Sahir would puff away with his cigarettes, and after he left, Amrita would smoke the cigarette butts left by him. After his death, she hoped the smoke from her cigarettes would meet him in the other world.[12]

It is said that when Sahir was courting Amrita Pritam, he built a taller house in front of Amrita Pritam's residence in Ludhiana to show her father that he could afford a house. This statement is a fallacy derived from the Hindi film Tere Ghar Ke Samne. Sahir's economic position at the time was pitiful, so 'building a house' would be out of the question; and secondly, Amrita Pritam does not belong to Ludhiana but to Amritsar; and the "love of her life" was another Urdu shayar, Imroz, as detailed extensively in her autobiography, written in Punjabi for which she got a Sahitya Academy Award.

[edit] Famous works
English translations of Sahir's poetry: LUDHIANVI, Sahir (1921–1980)
SHADOWS SPEAK tr. with intro. Khwaja Ahmad Abbas {Abbas, Khwaja Ahmad} pref. Sajjad Zaheer {Zaheer, Sajjad} English text only. P.P.H. Bookstall (Bombay) 129pp (intro. 7-12) 1958 paper only.
THE BITTER HARVEST tr. Rifat Hassan {Hassan, Rifat} Urdu & English texts. Aziz Publishers (Lahore) 169pp (pref. i-iii) 1977 cloth only.
SORCERY/ (Sahir) tr. with pref. Sain Sucha {Sucha, Sain} Urdu & English texts. Vudya Kitaban Forlag (Sollentuna, Sweden) 114pp (pref. 1-6, essay in Urdu 106-114) 1989 paper only.
Gaata jaye Banjara - A Collection of film lyrics
[edit] Bollywood songs
Sahir Ludhianvi penned some of the finest Bollywood songs.

आना है तो आ (Naya Daur 1957), composed by O.P. Nayyar
ये दुनिया अगर मिल भी जाए तो क्या है (Pyaasa 1957), composed by S.D. Burman
तू हिंदू बनेगा ना मुसलमान बनेगा (Dhool Ka Phool 1959), composed by Datta Naik
ये इश्क़ इश्क़ है (Barsaat Ki Raat 1960), music by Roshan
ना तो कारवाँ की तलाश है (Barsaat Ki Raat 1960), music by Roshan
अल्ला तेरो नाम ईश्वर तेरो नाम (Hum Dono 1961), composed by Jaidev
चलो इक बार फिर से अजनबी बन जाए हम दोनों (Gumrah 1963), composed by Ravi
मन रे तू काहे ना धीर धरे? (Chitralekha 1964), composed by Roshan
संसार से भागे फिरते हो, भगवान को तुम क्या पाओगे (Chitralekha 1964), composed by Roshan
ईश्वर अल्ला तेरे नाम (Naya Raasta 1970), composed by Datta Naik
मै पल दो पल का शायर हूँ (Kabhi Kabhi 1976), composed by Khayyam
कभी कभी (Kabhi Kabhi 1976), music by Khayyam
aye meri zoharjabin (waqt)
aagey bhi jane na tu (waqt)
[edit] Published collection of Urdu poetry
Talkhiyan ("Bitterness")
[edit] Awards
1964: Filmfare Best Lyricist Award: Jo Wada Kiya ( Taj Mahal)
1977: Filmfare Best Lyricist Award: Kabhi Kabhie Mere Dil Mein ( Kabhi Kabhie ) [13]
Courtesy: WIKIPEDIA
Here I u/L one of his finest poetry in pure Hindi sung by lata in film Chitralekha. Duration 3-58 min @128 kbps.

Here is another gem by Sahir. Sung by Rafi in film Payaasa. These 2 songs are the best example of Sahir-Rafi_SD Burman combination....khawar