ओ बाँके छैला अकेली घबराऊँ री

MySwar preserves the fuller form of the title — 'O Baanke Chhaila Akeli Ghabraoon Re' — where HindiGeetMala carries only its opening words. No singer is credited in any source consulted, so the singers array is left empty. The song belongs to the album's folk side, alongside the panghat washing number, and its title uses two of the most durable stock figures in North Indian village song: the banke chhaila, the swaggering young man, and the woman who announces her own fear as a way of summoning him.

No recording is in circulation, so nothing about the arrangement can be established. The credits place it in the joint Lachhiram Tamar and Anupam Ghatak score; MySwar names both composers on it, HindiGeetMala only Lachhiram Tamar, and that is the whole of what the record says about how it was made.

The title is a complete miniature: an address ('o banke chhaila'), a situation ('alone'), and an admission ('I am frightened'). In the folk register this is not a plea for rescue but an opening — the fear is stated so that the man has a reason to come, and everyone listening knows it. The 're' at the end is the familiar folk vocative that keeps the whole thing informal and rural rather than courtly. What the verses build on that opening is not recoverable; HindiGeetMala has no text for the song and no other source carries one.

Champa was made at Shorey Pictures in Lahore for the producer Roop K. Shorey and directed by Barkat Ram Mehra; it opened at the Crown cinema in Lahore in October 1945 with Manorama, Asha Posley, Hari Shivdasani, Majnu, Salma and Zahoor Shah in the cast. No plot summary of the film survives, and no print is known to circulate — the discs, issued on Columbia and now in the Saregama catalogue, are effectively the whole of what is left of it. With the washing song at the well and this one, at least two of the nine numbers were written in a village idiom — which is as close as the surviving evidence comes to telling us where the film was set.

The song has left no trace beyond the catalogues: no transfer, no digital reissue, no lyric text, no mention in writing about the film. Its longer title, preserved only by MySwar, is the single piece of information about it that has survived beyond the bare listing.