इन्हें घेरे हुए सब

The reverse of Young India MP 672, matrix NG 245, backing 'Kya Khoob Hai Jadoo'. Like six of the film's nine songs it carries no singer credit in any surviving list. The disc label prints the title in a slightly different form from the song lists — 'In Ghere Huve' — which is a normal amount of drift between a 1940s shellac label and the catalogues compiled from it decades later.

No recording of this side has surfaced, so its music cannot be described. Its place in the album can. Coupling on a 78-rpm disc was a commercial decision as much as an artistic one, and putting this title on the B side of the film's lead record means it was thought strong enough to sell alongside the A side without competing with it — the usual logic being contrast, a different tempo or a different voice from the one on the front.

This is the most opaque of Neelam's nine titles. As recorded it is a fragment — 'surrounded by all of them' — with neither the subject nor the object of the surrounding stated, and no fuller line preserved in any catalogue. It could open a crowd scene, a song of being hemmed in by watchers, or a garden image of a flower ringed by admirers, which is a stock figure in this poetic register; nothing in the sources settles it. Because guessing at the content would be inventing it, the lyric is left undescribed here.

Neelam (1945) was a social picture from A. H. Productions, Bombay, directed by Ahmed Essa, with all nine songs written by C. M. Hunar and composed by Khan Mastana. The cast was led by Harish and Meena, with Jagdish Sethi, Yashodhara Katju, Kanhaiyalal, Kalyani, Satyarani, Mehdi Raza, Sayani and Abdul Hussain in support. No plot summary of the film survives anywhere, and no print is known to circulate; the songs were issued on the indigenous Young India label rather than on HMV, and it is those shellac discs that carried the film's music into the present.

The song exists today because a physical disc exists: a copy of Young India MP 672 was preserved by a private collector, passed through the Indian record-collecting network, and catalogued with photographs of both labels. That is the only trace. No audio transfer has been published, the film is lost, and the title appears nowhere outside the Neelam song lists — a fair summary of what happened to the great majority of the shellac sides Young India pressed between 1934 and 1955.