मदमाते बालम मदमाते

myswar lists this Khursheed number with a parenthetical second title, 'Madmaate Baalam Madmaate (O Rasiya)', which suggests the record carried an alternative or continuing line — a common practice on 78-rpm labels of the period. hindigeetmala catalogues it as 'Madahmate Balam Madhmate'. The Hindi Film Geet Kosh and myswar both credit the music to Khemchand Prakash, with words by Pandit Indra. No recording circulates.

The vocabulary of the title — 'madmate', 'rasiya' — is thumri and dadra vocabulary, the language of the light-classical women's repertoire that Bombay film music borrowed from heavily in the 1940s. A song built on those words would ordinarily sit on a light cycle with room for the singer to bend and return to the refrain rather than move through verses. The Hindi Film Geet Kosh credits the tune to Khemchand Prakash; the arrangement itself is undocumented.

'Madmata' means intoxicated, heedless, carried away with oneself, and applied to the balam — the husband or lover — it is the standard affectionate accusation of the thumri repertoire: the woman naming the man's absorption in his own pleasure. 'Rasiya', the alternate title, is the same figure from the other side, the connoisseur of pleasure, and in Braj poetry it is one of Krishna's own names, which lets a domestic reproach and a devotional address occupy the same words. Given that this soundtrack runs four explicit Krishna songs, that doubling is likely to be deliberate, though the song's text beyond the titles is not documented.

Prabhu Ka Ghar (1945) was a Ranjit Movietone production directed by Wajahat Mirza, with Khursheed as the singing lead opposite Trilok Kapoor. Khursheed's five songs in the film divide between explicit Krishna bhakti and songs in a domestic or village register; this one belongs to the second group, and its 'rasiya' subtitle sits it on the boundary between the two. No print of the film survives and the situation this number was written for is not known.

No reissue, no upload and no commentary on this song has been traced; it survives as an entry in the song catalogues and the Saregama listing for the album. Its documentary interest is the double title, which preserves a small piece of evidence about how the record was labelled — the sort of detail that usually disappears when only a song index survives.