Wishing Asha Bhosle a very Happy Birthday on her 83rd birth anniversary (b. 8 September 1933)
When I wrote on my favourite ‘special’ songs of Asha Bhosle about five years ago, I was somewhat dismissive of her songs by OP Nayyar. At that time I viewed SoY as a स्वान्तः सुखाय self-indulgence. Five years down the line, I cannot claim that SoY is my blog. The readers have become important stake-holders in the way the blog has developed. Now I have become more aware of different tastes. While I may not have been purged of my biases, I can accept that there could be a large number of persons who are as moved by an Asha Bhosle song as by a Lata Mangeshkar’s. My favourite Asha Bhosle’s songs are predominantly composed by SD Burman, but it is commonly accepted that the most important influence in her career has been OP Nayyar. I have written on OP Nayyar’s songs for Rafi, Mahendra Kapoor and Shamshad Begum. This list cannot be complete unless I write on his songs for Asha Bhosle as my tribute to her on her 83rd birth anniversary. I hope her great fans like Arvinder Sharmaji, Hans, and my friend Arvind who appears to have been off-SoY for a while, would take it as some reparation on my part. I have to also thank our OPN-expert Ravindra Kelkar whose comments have added a great deal of information. I must add here that in that post on Asha Bhosle I did include an OPN composition – Bekasi had se jab guzar jaye from Kalpana (1960).
While Asha Bholse sang 324 songs for him, the second highest, Geeta Dutt, accounts for about 62 songs, i.e. less than 20% of the former. She was more integral to OPN than Lata Mangeshkar to C Ramchandra. Another factor that accentuated her centrality was the complete black-out of Lata Mangehskar by OPN. This is a story which has a million versions, some not very flattering to the parties. Suffice it to say, that for a music director to dare to survive without the Empress of playback singing in the 1950s and 60s was an audacious act. His weapon was her younger sister who was trying to find her moorings. From singing in Lata-style in her early songs to following Geeta Dutt, she came out as a complete package of her own under OPN’s baton from mid-50s, striking gold in 1957 with Naya Daur and Tumsa Nahi Dekha. Then followed a long list of superb songs in 12 O’ Clock, Howrah Bridge, Phagun, Ragini, Sone Ki Chidiya (1958); Kalpana (1960); Ek Musafir Ek Haseena (1962); Phir Wohi Dil Laya Hun (1963); Kashmir Ki Kali (1964); Mere Sanam (1965); Baharein Phir Bhi Ayengi, Mohabbat Zindagi Hai, Sawan Ki Gata, Ye Raat Phir Na Ayegi (1966); CID 909 (1967); Dil Aur Mohabbat, Humsaya, Kahin Din Kahin Raat, Kismat (1968); Sambandh (1969) etc.
Along the way Asha Bhosle became more than a singer for OPN, and thus another parallel with C Ramchandra-Lata Mangeshkar relationship starts. Very few of such unconventional relationships have a happy ending. Asha Bhosle’s walking out from his life around 1972 was equally bitter and final as Lata Mangeshkar’s from C Ramchandra. She also blacked out OPN from her consciousness. This was sad and ironical, because she won the Filmfare Award for the Best Female Playback Singer for Chain se humko kabhi from Pran Jaye Par Vachan Na Jaye (1973), on which they had worked together before the break-up. But she couldn’t overcome the bitterness and refused to receive the award. The song had already become popular before the film was released, but it had been removed from the film, apparently at her behest. OPN’s music collapsed with the departure of his muse as C Ramchandra’s did with the exit of Lata Mangeshkar. Break up of any relationship is best left buried under wraps, but celebrities cannot often resist the temptation to tell all. The narrators add their own spice. The stories available in public domain do not make a pleasant reading
I have often said in the context of Lata Mangeshkar that whether she has been generous or miserly in giving credit to a music director in her career, music lovers are not swayed by that. Asha Bhosle might black out OP Nayyar from herself, but she cannot black him out from millions of music lovers who regard him as the single most important music director in making her a major lead singer in the face of her mighty elder sister.
Let us not be judgmental about the personal life of an artiste. Here is my tribute to OP Nayyar who lived life on his own terms, and birthday greetings to Asha Bhosle on her 83rd birth anniversary with her songs by him.
1. Raat rangili chamke taare from Baap Re Baap (1955), lyrics Jan Nisar Akhtar
OP Nayyar debuts in Aasman (1952) which had Geeta Dutt as the lead singer. But the same year he takes Asha Bhosle as the lead singer in Chham Chhama Chham giving her ten songs, including duets. She uses her in Mangu (1954), too. This confirms Ravindra Kelkar’s observation that OPN had used her from the very beginning. But the first time when her songs acquire popularity is in Baap Re Baap (1955), which had the extremely popular duet with Kishore Kumar – Piya piya mora jiya pukare. Raat rangili is a very nice dance song picturised on Chand Usmani, who bears an uncanny likeness to Meena Kumari in this song. This fits perfectly in the ‘star’ theme of DP Rangan.
2. Dil to razamand hai phir bhi zaban band hai from Maai Baap (1956), lyrics Anjan+Kapoor
In several films of 1955-56, OPN uses Asha Bhosle as the lead singer, but the singing honours went to Geeta Dutt and Shamshad Begum starting from Aar Paar (1954) to Mr & Mrs 55 (1955) and CID (1956). However, in the midst of the superhit songs from these films, we come across a superb dance song picturised on Shyama.
3. Ek deewana aate jate humse chhed kare from Naya Daur (1957), lyrics Sahir Ludhiyanavi
Now comes the big turning point for Asha Bhosle when OPN gets to compose music for BR Chopra’s Dilip Kumar-Vyjayanthimala starrer Naya Daur (1957) making Asha Bhosle the voice of the heroine. OPN was now clearly moving away from Geeta Dutt and Shamshad Begum – Asha Bhosle was to him what Lata Mangeshkar was to other music directors. The film with socialistic message of harmony between the man and machine had outstanding music. Most of her memorable songs happen to be duets. But here is a less-known solo which I have forgotten if it was there in the film, but bears OPN’s signature Punjabi beat.
4. Aiye meharbaan baithiye jaan-e-jaan from Howrah Bridge (1958), lyrics Qamar Jalalabadi
But the first song that gives Asha Bhosle a distinct image is this iconic night club dance song. Ashok Kumar’s investigations into his brother’s murder takes him to this shady joint, run by KN Singh, where Madhubala dances every night. The sensuous Madhubala’s dance, Ashok Kumar who had come with some purpose getting drawn towards her, and the picturisation make it an everlasting song.
5. Piya piya na laage mora jiya from Phagun (1958), lyrics Qamar Jalalabadi
This movie about the love between a landlord’s son and a gypsy girl had 11 songs, all having the voice of Asha Bholse, including some as duets. The songs of this film so much impressed Ustad Amir Khan that, it is said, he asked OPN it was amazing that he had composed all the songs of this film in Raga Piloo, to which OPN told the great classical singer that he hardly knew what a Raga was, as he was not trained in classical music. Bharat Bhushan cannot resist the inviting call of Madhubala, and he comes playing his flute, providing a beautiful combination of melody and rhythm. This flute tune would be recurring throughout the film.
6. Jaiye aap kahan jayenge ye nazar laut ke phir ayegi from Mere Sanam (1965), lyrics Majrooh Sultanpuri
Between 1958 and 1965, OPN had a large number of films, of which Ek Musafir Ek Haseena (1962), Phir Wohi Dil Laya Hun (1963) and Kashmir Ki Kali (1964) were roaring successes. These had naturally a large number of her songs, some as duets. I remember these films primarily for the quintessential Rafi-OPN songs. Let me fast forward to Mere Sanam, a typical Bollywood masala film of the 60s, which had a hero, a heroine, romance between them, a villain who uses a vamp to malign the hero, and some rough tactics, but everything gets sorted out in the end. The main attraction was the outstanding score of OP Nayyar. Here Asha Bhosle is singing a romantic song lip-synched by Asha Parekh in scenic surroundings with Biswajit.
7. Ye hai reshmi zulfon ka andhera na ghabraiye from Mere Sanam (1965), lyrics Majrooh Sultanpuri
While Lata Mangeshkar had qualms about singing for vamps, Asha Bhosle has no problems singing a song of seduction, lip-synched by the villain’s mole, Mumtaz. She changes her style slightly to make it meaner.
8. Koi kah de kah de kah de kah de zamaane sa ja ke from Bahaarein Phir Bhi Ayengi (1966), lyrics Aziz Kashmiri
In this movie about two sisters falling for the same man, Dharmendra, the younger sister Tanuja is more open in declaring her love to the whole world. The elder sister who also does not want to break the kid sister’s heart, suffers in silence – the agony becoming too acute for her to handle. OPN’s orchestration is too good.
9. Raaton ko chori chori bole mora kangana from Mohabat Zindagi Hai (1966), lyrics SH Bihari
From night club dance to romantic to seductive songs for the vamp, Asha Bhosle has sung all types. Here is a soft, slow and soothing melody.
10. Zara haule haule chalo more saajna from Saawan Ki Ghata (1966), lyrics SH Bihari
Swana Ki Ghata had a beautiful twin song Meri jaan tumpe sadke in Mahendra Kapoor and her voice. This has been mentioned in Twin songs. I may be challenged, but I find the male version better. Zara haule haule chalo more sajna is a perfect hoof-beat song for which OPN became famous, though many music directors from very early times, such as Pankaj Mullick and Naushad, have used this beat in their music.
11. Mohabbat cheez kya hai from Ye Raat Phir Na Ayegi (1966), lyrics Aziz Kashmiri
Mumtaz is again at seducing a reluctant Biswajit, the khanak in Asha Bhosle’s voice accompanied by OPN’s rhythm makes it a highly enjoyable song.
12. Yahi wo jagah yahi wo fiza hai from Ye Raat Phir Na Ayegi (1966), lyrics SH Bihari
And from seductive, OPN gets Asha Bhosle to sing a haunting song which has the hero perplexed.
13. Aao huzoor tumko sitaro mein le chalun from Kismat (1968), lyrics Noor Dewasi
Drunken songs are generally on males. Babita acts stone-drunk, with Asha Bhosle giving a perfect rendering with hiccups. I have seen this song being used prominently in a Beijing acrobatic show.
{ 82 comments… read them below or add one }
Happy bday to Ashaji
This was the most expected on such an occasion.
One of the sweetest pairs of our music.
All the songs are greats in your list and each that appears in upcoming comments would be a great one, no doubt.
Honnooooluluuu..
Honnoluluuuu…
Honolulu…Honolulu….Honnolulluuu
There is only one way to come out from an off mood state…start OPN-ASHA streak (excluding all Sambandh songs) and see the magic….
in just a few seconds the gloomy momentum does start to reverse and the inner feels cheerfulness.
Ho jo hukum to meherbaan
Haal e dil main karun bayaan
Tumne dekha meri jaan…lut gaya mera dil….
Jaan o dil dono hai haazir
jo bhi chahe lijiye
Mujhko bhi apni tarha
jazbaat se bhar dijiye….
Kabhi hamaari muhabbat ka imtehaan na lo
Hamaara dil to liya hai hamaari jaan na lo..
Great reading. Asha’s voice is silk, velvet and all those sorts of textures. We end up comparing her with her “mighty” sister, but their voices are essentially different. I think Asha has more similarity with Geeta Dutt, that “chanchal” element being a characteristic of both their voices. You have a wonderful list of songs there but with these prolific golden era artists, it must be so hard to choose! I would include at least one song from “Umraao Jaan” where she first ventured into a new realm with her singing style – and did such an amazing job. The pathos in “यह क्या जगे है दोस्तों”, the tragedy in “जुस्तजु जिसकी थी उसको तो न पाया हमने” and the heartfelt plea of “दिल चीज़ क्या है आप मेरी जान लीजिए, बस एक़बार मेरा कहा माँ लीजिय” – she did all this to such absolute perfection, one wonders if anyone else could have pulled it off in quite the same way. Well, MAYBE only that mighty older sister. But in my humble opinion when I try to imagine it, Asha’s voice just has that edge for songs like these.
Thank goodness she didn’t allow herself to get overshadowed, and thank goodness for OPN. Their musical output together gave us an outlet to express the fifty shades of our personalities. (“Our” here of course referring to women).
Oh no just noticed the title of your blog which is Asha’s songs with OP Nayyar. I take back my suggestion of Umraao Jaan songs, (a far cry from OPN).
Please allow to mention some of my OP-Asha favourites which have not made a cut in this excellent post – albeit some have been mentioned in the write up:
(1) Bekasi had se jab guzar jaaye (Kalpana- 1960) https://youtu.be/ITfCvVnoGHo
(2) Chhota sa baalma (Raagini – 1957) https://youtu.be/cUaLwSoCPJs
(3) Pyar par bas to nahiin mere lekin (Sone ki Chidiya – 1958) https://youtu.be/yueE6TJjJ-4
(4) Chain se humko kabhi aapne jeene na diya (Pran Jaye Par Vachan Na Jaye – 1973) https://youtu.be/tVO7x_MRGpI
(5) Mann More Ga Jhoom Ke (Mangu – 1954) https://youtu.be/J-r0i44KEQ4
(6) Poocho Na Humen Hum Unke Liye (Mitti Men Sona – 1960) https://youtu.be/p1asF6O45Bg
(7) Main Shaayad Tumhare Liye Aznabi Hoon (Yeh Raat Phir Na Aayegi – 1966) https://youtu.be/Kcn4X_SgkKM
AKji
you know very well my enthusiasm that i am feeling by this post. I am commenting here by stealing time from my busy work.
Chaand raaton ko nikle na nikle
Din men suraj na chamke to kya hai
Apne chhote se ghar men ujaala
ab sadaa ke liye ho gaya hai..
AK ji ;
Once again a very enjoyable post. I will ditto Jignesh’ji s observations. OPN’s songs were really mood setters …from happy, jolly to sad ones like…..Thandi thandi hawa pochhe uska patta [ with Geeta ] , Dekh ke teri nazar bekrar ho gaye , Sun jaa pukar bit na jaye yeh bahar…..and many more.
It surprise me that Lata ji has sung for Asstt MDs of OPN like G S Kohli and S D Batish and never ever for OPN.
Yes, the Naya Daur song….ek diwaana aate jaate… was not there in the movie right from the day one. Whether it was ever picturised or censored is also not known .
Wah, wah, kya baat hai, AK ji!
You did say it is your own tribute to Asha. Maybe one day, such as on one of her next birthdays, you will also venture to present the 10 best or most popular Asha-OPN songs, or just of Asha without limiting her to one MD.
@2&5
Jignesh ji, I much liked the couplets. Would you not like to share with us their provenance, please?
Sure, Dineshji
Ho jo hukum to meherbaan….(Hongkong, 1962)
Jaan o Dil dono hai haazir….(Love and Murder, 1966)
Kabhi Hamaari muhabbat ka….(Naseehat, 1967)
Chaand raaton ko nikle na nikle….(Aisa bhi hota hai, 1971)
Dineshji and Bhatiaji
fykinfo,
i have finished 39 years on last 30th july,
you can call me Jigneshji if you are younger than me, otherwise only Jignesh from you is good feel for me. Thanks.
one more
Churaate ho nazren aji kis liye
Ke zinda hai bas aap hi ke liye…(Killers, 1969)
Thank you so much, Jignesh.
AK ji
A lovely write up and excellent presentation of a large variety of Asha-OPN songs. As you said, some OPN compositions were having a classical get-up, though he never claimed that such and such song was based on a raga. Sometimes his beats were near to classical type of beats.
SSW last year commented that an endearing aspect of OPN’s music was changing of beat patterns in some songs.
In song No 7 above, the beats with the mukhda ‘ye hai reshmi’ get switched to Western beats as interlude music piece comes up only to return again and again. The teasing laugh and the sighs have been brilliantly interspersed. In modern day film songs these tricks are often tried, but the magic created by Asha-OPN remains unmatched.
Now about AK ji’s quality of writing. With the passage of time he has evolved into a very balanced comment-writer, something of type of Neville Cardus or Richie Benaud(two famous cricket writers of yesteryears.
Thanks
AK ji,
Enjoyed the post very much. Songs listed are the cream of the OPN-Asha duo. “Ankhon se jo utri hei dil mein” (Phir wohi dil laya hoon) is another gem. Though, can’t see which song of your list could be replace by it.
Good collection but Yaar badshah from CID 909 should have been there as also Aaja mere pyar ke sahare from Humsaya. In fact from Humsaya itself there were at least three songs which could have been included and also one song from Kahin din Kahin raat (1968).
AKji,
A wonderful post & a pleasant surprise as well.
It’s nice to see that you have included the Naya Daur song, “Sakhi Re Who Kya Maange”. The story I have heard about this song is that ,this song was picturised on Madhuhbala (many of you may know that originally Madhubala was to do the film, but later on she quit the film due her break-up with Dilip Kumar & was replaced by Vaijayantimala). She had enacted it so well, that later on BR Chopra felt that if he re-picturised it on Vaijayantimala it will suffer in comparison with Madhubala’s version & decided to drop it all together.
Also, one correction in your write-up. You have mentioned 12 O’clock as one of the picture in which Asha sang, which is incorrect. In 12 O’clock, the female songs were rendered by Geeta ( 5 songs) & Shamshad (1 song).
Very recently (on August 5th), Raju Bharatan published a book “Asha Bhosle – a musical biography’. This is a must read for all Asha fans. It gives lot of insights into Asha’s career. It is all about Asha’s evolution as a singer, with main focus on the contribution made by OP, SD & RD in her career.
Jignesh,
Thanks a lot for your appreciation. I didn’t know that you were such a big OPN-Asha Bhosle fan.
Nasreen,
Thanks a lot for your appreciation. No harm that you mentioned Umrao Jaan. But I hope you are not suggesting that she was better than her “mighty” sister.
Shekhar,
Thanks a lot for adding some of her lovely songs. Main shayad tumhare liye ajanabi hun, but I already included her two songs from YRPNA.
KS Bhatiaji,
Thanks a lot for your appreciation. Lata Mangeshkar not singing for OPN – probably we would never know the real reason. I prefer to go by the popular story.
I suspected that Ek diwana aate jaate was not in the film because I had no recollection of the song.
Dinesh
(“Ji” – a typo?) Thanks a lot for your appreciation.
Tyagiji,
Thanks a lot for your appreciation, and also for your comments about my quality of writing.
Shashi Dharan,
Thanks a lot for your appreciation. I too like Aankhon se jo utari hai a lot, but you have answered yourself – I can include only so many songs in a post.
KB,
I am very fond of both the songs you have mentioned – Yaar badshah and Aa ja mere pyar ke sahaare. As for Kahin Din Kahin Raat, Mahendra Kapoor songs stand out, such as – Tumhara chaahanewala khuda ki duniya mein, Yaaron ki tamanna hai and Kamar patli nazar bijli
Ravindra Kelkarji,
Thanks a lot for your appreciation, and thanks a lot for the correction. Thanks also for the interesting story about the removal of the song from Naya Daur.
Asha Bhosle’s biography by Raju Bharatan was also mentioned earlier on this blog. I am sure her fans would have already bought it by now.
AK@16
Thanks for your kind response.
I did notice two YRPNA numbers in your excellent post which obviously limited adding more from the same movie. I mentioned “Main Shaayad Tumhare Liye Ajnabi Hoon” merely as my favourite.
Even as AKji shares credit for a birthday greeting post on Asha Bhosle to SoY’s Asha – fan club, he will have to be fully ready to take home the credit for not maintaining so balanced a poise in the narrative and coming up indeed with a set of special songs from 304 and odd OPN-AB combination that is so very representative.
It’s time to enjoy this treat…. So till then…
Ashokji,
Thanks a lot for your appreciation.
Well, well, well! SJ and Mukesh, and now OPN and Asha. It took you six years to write about these iconic pairs. I don’t think there is any other left, unless you go back to RC Boral-KL Saigal. CR and Lata are not that well established in popular imagination.
You have included all the iconic songs from this pair, and some that are not that well known. My all time favourite, however, is ‘Aankhon se jo utri hai dil mein’ already mentioned by Shashi Dharan. Seeing the video spoiled it for me: I had always thought it would be a club song.
https://youtu.be/qitBaM3Ly8s
also the twin song of “Aankhon se jo utri hai dil men” is as sweet as “Ankhon se jo..”
that is from Saawan ki ghata.
Geeta ki khanak Asha ka nasha
Pehchaan Rafi bhi dilbar ki
Jab daali taraj dil moh liya
Kkyaa bbaat hai o p nayyar ki..
I request you to bring out the duets of Asha under OP with different male singers.
AK ji,
A musical treat of the highest kind indeed. Quite a few of my personal favourites in the list especially 6, 7 n 13. ( 6 I can listen multiple times )
Now waiting for 28th.
Many Thanks.
Subodh,
I am very happy to see so many readers excited by this pair. Everyone seems to be a member of OPN-AB club. I think for the SoY clientale CR-Lata is one of the most iconic pairings.
Jignesh,
The Poet Jignesh after the Judge Jignesh! I liked it.
KB,
Her duets would be predominantly with Rafi, followed by Mahendra Kapoor, and some Kishore Kumar. Some of the best duets appear more as a male solo. However, I make a mental note of your request.
Mahesh,
The whole world knows what comes on Sept 28. Yet I hope to give something which readers enjoy.
AK ji;
The whole world also knows of the great pair Asha ji and OPN for their songs of Howrah Bridge , each of which are gems . The same pair picked up the threads of that movie and took off to give some beautiful songs in Hong Kong . Unfortunately the movie bombed at the Box office and its beautiful songs with typical bongo, drums punctuated by dholaks and rock and roll went unnoticed . However , It is a treat to hear these songs for club/ lounge music at home after a long time.
1.Dekhti hun jidhar tu hi tu hai udhar……Hong Kong [1962]
https://www.youtube.com/watch?v=K-y7oC44560&index=3&list=PLuQuobluvk60VkSEZ17IbnEx1vHVBzRsU
2.Kenya uganda tanga nayika ……Hong Kong
https://www.youtube.com/watch?v=Xjgg8tLFnSU&list=PLuQuobluvk60VkSEZ17IbnEx1vHVBzRsU&index=2
3. Hong kong china meena singapore…..Hong Kong
https://www.youtube.com/watch?v=KLWG_FhMqT0&list=PLuQuobluvk60VkSEZ17IbnEx1vHVBzRsU
It is really fun to know so many countries in the above two songs. The lilting signature Asha ji’s redention is amazing.
oh thanks AKji
this is a better place for me to make some poetries if you dont mind.
the original lines are :
Hothon pe hasin, aankhon men nasha
Pehchaan hai mere dilbar ki
Jab daali nazar dil moh liya
Kya baat hai us jaadugar ki
i cud read your class narration of this post fully only at this time and as tyagiji said it is really a high quality write up.
some more classy of this pair from remainings.
Chhun chhun ghunghroo bole
Meri chaal nashili dole
Man gaane lagaa
Samjhaane lagaa
Tu aaj kisi ki ho le … Phagun 1958
Mere ghar sarkaar aaye kahiye kya khaatir karu
Main badi uljhan men hun ke baat kya aakhir karu
Aap hi se puchhti hun aap hi farmaaiye
Dil karu main pesh e khidmat ya ke jaan haazir karu
o ho ho
Ek tu hai piya jis pe dil aa gaya
Teri ek nazar ne raja beqaraar kar diya
Dekho raja dekho dilwale teri gali se marke hatenge
Dekho are dilbar
Tere pyar ne haaye kar daala dil tukde tukde
( above 3 from Pran jaye par vachan na jaye, 1973)
Kitna haseen hai yeh jahaan
Aankhon se barse mastiyaan
Barson ki pyaas bujhi hai
Ulfat bhi naach uthi hai
Dekha tumhen jo meri jaan..Humsaya 1968
Tum na aaye ghata gham ki chhane lagi
Roothkar chaandni raat jaane lagi.. Baap re baap, 1955
Nadi ka kinaara ho
Paani aawara ho
Saath koi pyara ho to phir beda paar hai.. CID 909, 1967
Jinhen ho pyar sanam bin bulaaye aate hai
Yahaan pe phool nahin dil bichhaye jaate hai
… Taxi driver, 1973
Akeli hoon main piyaa aaa
Roopnagar ki kunwari tarse
Raja preet nibhaa.. Sambandh, 1969
Tumko to karodo saal hue batla ae gagan gambheer
Is pyari pyari duniya men kyun alag alag takdeer
.. Sambandh, 1969.
AK,
After “winnowing the chaff” you still had energy and time for this?
Hats off to you
Asha OPN had to come sooner or later.
I too feel that she has better songs with SDB, but his contribution to her career cannot be repudiated.
As OPN did not work with Lata I was surprised to hear Lata sing his song ude jab jab zulfe ( @ 1.25)
https://www.youtube.com/watch?v=TZ_eLqQNE_w
AK Jigesh is poet by choice and judge by coercion
Nice selection AK. though songs 2 and 3 wouldn’t make my best list. Looking at Subodh’s comment , I was struck as to how closely related the mukhdas of “Aankhon se jo utri hai dil mein”, and “Poocho na hamen hum unke liye ” are.
“Yeh raat phir na aayegi” had some lovely Asha solos and you left out one of them. I like “Main shayad tumhare liye” quite a bit. The way Asha starts the song wordlessly, followed by the sarod playing the first three notes she starts with, not a hoof beat rhythm at all, set in dadra taal (6/8) . I particularly like certain portion of the interludes, the accordion notes, that Asha vocalizes, the first portion of strings where they climb up and then the flute, I keep getting the feeling that the strings and the santoor should never have resolved the tension that the song deserved. And Asha was great, especially when fter the long high notes she sings “Bhool jaao bhi tum to mujhe gham na hoga” with such a percussive definition it carries a lot of weight.
Similarly I wish the strings had not resolved the tension at the ending.
The film also has one of the best Asha Rafi duets ever “Phir miloge kabhi”.
Finally! 🙂 I must confess to a great liking for Asha, especially for her collaboration with OP and SD. Of your list, I wouldn’t consider either songs #2 or 3 as the ‘best of Asha-OP’. But then, that is a subjective opinion.
Apart from the songs you listed, I quite like :
1. Woh haseen dard de do from Humsaaya.
2Woh hanske mile humse from Bahaarein Phir Bhi Aayegi
3. Beimaan baalma from Hum Sab Chor Hain
4. Ye kyar kar daala tune from Howrah Bridge
KS Bhatiaji,
Hong Kong seems to have some very unique songs. It would be interesting to compile how many countries our songs have travelled to.
Jignesh,
Nice poetry. Teri ek nazar ne raja beqaraar kar diya is my great favourite. In fact I like it more than its more famous cousin from the same film. Thanks for refreshing my memory of the song.
Mumbaikar8,
Lata Mangeshkar singing Ude jab jab zulfein teri is a great discovery. You are consolidating your reputation as the Master Searcher.
If you recall Jignesh himself donned the mantle of the Judge.
Anu, SSW,
I agree on #3. As I am now informed, it was not included in the film. Since Naya Daur was a great turning point for Asha Bhosle under OPN, I included the song. #2 I do like.
Main shayad tumhare liye ajanabi hun is also my great favourite. This was also mentioned by Shekhar earlier, but I had already included two songs from YRPNA. This film must be one of OPN’s best scores.
Anu,
Of your list I like Wo hans ke mile hum se a lot. Beautiful poetry too to accompany great music.
I can’t help commenting that the whole world seems to be enamoured of Asha Bhosle, and particularly her combination with OPN. Now I have a trivia for OPN fans:
Name the film (and the song) in which Lata Mangeshkar sang an OPN composition.
AK@34
The answer is: Taxi Driver (1973) / Sari-Sari Raat Teri Yaad Sataaye (originally from Aji Bas Shukriya – 1958). The clip from Taxi Driver is at https://youtu.be/hH8DUgA_KYM.
AKji,
OPN-AB is a delightful combination and your write up made it even better.
Another important MD in AB’s career is Ravi who is not much talked about.
Regarding your trivia my wild guess is that it must be a parody song.
Shekhar,
My question was that Lata Mangeshkar should be singing an OPN composition. Saari saari raaton teri yaad sataye is a Roshan composition. However, the comments on that YT link also contain the answer to my trivia.
Siddharth,
You have hit the bull’s eye. It is a medley of songs. Now locating the film and the song is a child’s play from my comments above.
Ravi is, of course, very important for Asha Bhosle. Madan Mohan and Roshan, too, gave some great songs for her.
AK@34 & 37
Got it: So it is the medley song in ‘Mujhse Dosti Karoge (2002).
Shekhar,
Yes. And the song she is singing is Ude jab jab zulfein teri.
Nice one AK, “I can’t help commenting that the whole world seems to be enamoured of Asha Bhosle, and particularly her combination with OPN”
If this is news to you then you’ve been living in a cave in the forests of the Siberian Taiga for the last 80 years without even a radio. 🙂
@40
Poor AK. It was just a passing comment. Do not pillory him for that. He is much younger than 80 years. You have obviously included a few years from his previous janma. There is a belief in the South, if talents unfurl at a very young age, then it is a continuation of the previous birth. A notable example was Kittappa, a great singer in far off days with a commanding voice from his young days with a brief span of 28 years of life. AK’s fascination with songs from 30s to 60s is a result of a throwback to his earlier birth when he might have seen all those movies.
Dear Mr. Rangan, it wasn’t a passing comment. AK has often mentioned that he does not quite appreciate Asha Bhonsle or R D Burman as he does some others . One man’s meat is another man’s carrion.
When Asha got rid of her little girl simpering voice she was definitely “une dame formidable”, no need to hide in the elder sister’s shadow.
Are you sure AK is less than 80 years? In that case I see Songs of Yore stretching back interminably to the era when Bharata compiled the Natyashastra .:-)
SSW, DP Rangan
I checked up my date of birth. I am not 80. I also had a radio. But thanks to SoY friends now I have realised my condition. Probably I was born with a filter in my ears. Since it has not impaired my normal day to day life, and now I have friends to help me, I don’t want to get it treated. 🙂
Dear AKji, Jignesh and others,
The “Koi Kah De” song(song no 8) has two moods. In the first mood, the heroine is in a defiant/belligerent mood, where she is ready to advertise her love without caring for its consequences. This mood lasts till the first two stanzas. Here are the words of the first mood
Koi kahde kahde kahde jamane se jake
ke hum ghabrake mohabbat kar baithe
haye mohabbat kar baithe
1st stanza –
ab jalta hai jale zamana banaye fasana
nahi ghabrayenge hum
dil ka sauda kiya hai khusi se dare kyu kisi se
ke hum to abhi se tham ke jigar baithe
haye mohabbat kar baithe
2nd Stanza –
kyu na raho me kaliya bichade
jaha ko dikha de mohabbat ki jadu giri
aaj dil ko juba mil gayi hai kali khil gayi hai
ye dunia nayi hai jo karna tha kar baithe
haye mohabbat kar baithe
You get to see in the movie, the song only up to this stage.
The mood changes from the 3rd stanza. It now changes into being reflective, contemplative mode, where the heroine starts to have anxious doubts about how to break the news of her new found love. She is no longer sure about how it will be received by “Zamana”. She also starts to have qualms about whether she will be equal to facing the ensuing challenge. Note that the Mukhada of the song is also changed to “Hum Kaise Kahe Un Se Jaake” from “Koi Kah De”. The interlude music also is suitably modified by OP to reflect this change. Here are the last two stanzas –
3rd Stanza –
ab ye dar hai hase na zamana kare na fasana
nigaho ke ekarar ka
ye mohobbat kahi khul na jaye koi ye bataye
wo kaise chhupaye mohabbat jo kar baithe
haye mohabbat kar baithe
hum kaise kaise kaise kahe unse jake (modified Mukhda)
ke hum ghabrake mohabbat kar baithe
haye mohabbat kar baithe
hum kaise kaise kaise
4th Stanza –
dil ko rakhha tha humne bachake jahan se chchupaake
ke dil unpe aahi gaya
lakh chaha ke unko na chahe churale nigahe
na dekhe ye rahe lo ji hamto kar baithe
haye mohabbat kar baithe
hum kaise kaise kaise kahe unse jake
ke hum ghabrake mohabbat kar baithe
haye mohabbat kar baithe
hum kaise kaise kaise
This song was recorded when Guru Dutt was alive, so obviously, he had certain idea about how to picturise this subtle change in the mood of the song. However, since he died before completion of the movie, the 2nd part of the song was probably not picturised. If you notice, the song is abruptly cut in the movie after 1st two stanzas.
Here is the audio link to the full song – https://www.youtube.com/watch?v=-oOf0rasY9o
Ravindra Kelkarji,
It was delightful to hear the full song and the story behind it. Though on the YT link a reader comments that it was picturised in the film, the first part on Tanuja and the second part on Mala Sinha. He might be mixing up.
Ravindraji
thanks for the interesting info behind the song and the full song link, i will convert it into mp3.
Count me among those who love Asha Bhosle in general and with OPN in particular. I love the way OPN opened up her singing and imparted that extraordinarily comforting warmth to her voice.
So many wonderful songs have been mentioned, but fortunately there are many more, such as:
Balma khuli hawa mein – Kashmir Ki Kali
https://www.youtube.com/watch?v=38Syr-C1hnw
Udhar woh chaal chalte hain – Ek Musafir Ek Haseena
https://www.youtube.com/watch?v=LANym05oRC0
Balam bada jhoota – Farishta
https://www.youtube.com/watch?v=xdobHaVo1SQ
AKji,
The comment that the first two stanzas were picturised on Tanuja & the last two on Mala Sinha, makes a lot of sense. It could very well be the case, though when I had seen the movie in theatre, the second part was missing. The words of the last two stanzas fit to mindset of Mala Sinha as portrayed in the Movie. “Hum Kaise Kahe Unse Jaake” is being referred to the situation that the love is one sided from Mala Sinha towards Dharmendra. I think this solution seems to me to be very logical, though why it was cut from the movie, we will probably never know.
AK ji ;
OPN, Asha had a unique style of their own in the 60’s .Generally two sets of songs were there which could easily get recognised . The first set comprised of songs where signature instruments like flute , clarinet, Sarangi, violin ,etc.were used like….
Chanda chale jhoom ke ………..Mr. Cartoon M.A
https://www.youtube.com/watch?v=hCEVJqwFHdM
The second set of songs carried a unique combination of drums/ bongos , alternative with dholak / tabla beats like…..
Mere dil meri jaan……..Love and Murder
https://www.youtube.com/watch?v=KKP0nkyh4-4
This style was found fav. with MDs like Usha Khanna [ Dil Deke Dekho]. Of course OPN, Asha ‘s ….Aaye meharbaan…of Howrah Bridge is a Quality Datum of this type.
Shashi Dharan ji;
Aankhoan se jo utri hai dil mein …..is a beautiful song that carries the pathos/ sadness so well that you get completely involved , rather glued ,to its beautiful lyrics . Listen Asha ji at…….Un ke bina rooengi nahin…… Just want to listen this song again and again.
https://www.youtube.com/watch?v=2ULUyJadFxI
Sun ja pukar……from Phagun [1958] movie is another land mark of OPN, Asha ji’s sad song ; which I think should have been amongst the listed songs .
https://www.youtube.com/watch?v=nxydwxbOjYU
Very good tribute to Ashaji on her birthday. The OPN-Asha combination was successful over a period of almost two decades bringing immense pleasure to the HFM fans. Their parting started the slide of OPN..
Unlike her elder sister who stayed away from SDB ,Rafi etc for sometime, Ashaji didn’t hesitate to sing with any MD or singer.. Ironically the only MD with whom she didn’t work was OPN(post split). She has sung more songs and repertoire is much wider. I will wait for your post on her duets.
Ravindra Kelkar,
Thanks for highlighting the difference.
Listening attentively I can feel the difference in singing style Koi kehde kehde somewhat childish and hum kaise mature (hindsight is always 20-20)
Perhaps a duet with Asha and Geeta would have been a better choice.
I rather like this song , terrible choreography makes you cringe but Mumu is always a treat and great singing by Asha Bhonsle, especially the part where she goes “aaj koi pyaar se ” in the second repetition just before the mukhda ends each time.
https://www.youtube.com/watch?v=FYRL1zLCP0k
S
Giriji,
Thanks a lot for your appreciatio. Duets, Insha Allah!
Mumbaikar8,
I think the lyrics are fine, except “Ghabarake Mohabbat Kar Baithe”, why ghabarake? It’s just natural that you fall in love with somebody, there is nothing “ghabarake” about it.
But Mr.Kelkar
Falling in love can be scary
Especially for those unwary
You could be tempted to marry
and then you might be sorry.
🙂
SSW,
🙂
Cuckoo….the great dancer before the stepping in of Helen….swaying to the beautiful song of Asha ji , OPN melody…. View, Listen and Enjoy.
Shokh shokh ankhen tuj ko bula rahi hain…..
https://www.youtube.com/watch?v=3mlR5KzFrEw
SSW,
Wonderful short poem…..brings a chuckle or two for sure.
Ravindra Kelkar,
Ghabarahat is not limited to scare for fright. It is used for anxiety (in medical terms too) and anxiety is used for worry, concern, apprehension, apprehensiveness, uneasiness, unease, fearfulness, fear, disquiet, disquietude, inquietude, perturbation, agitation, angst, misgiving, nervousness, nerves, tension, tenseness.
Doesn’t it make more sense here? He has used one word for two different situations.
SSW, AK.
Apologizing for taking your humor so seriously:)
Mumbaikar8,
In a way, you are right…
SSW @56,
It appears that there is a poet hidden in you!
Many married people may agree with you 🙂
So mumbaikar8 to continue my pome
The disquieting idea
Of falling for a fella
Should engender caution
A young girl should pursue
other options!!
Akji,
Thanks for the bonanza. A wonderful post as usual and an apt tribute and a fine selection of mesmerizing songs. The magical combination of Asha Bhosle- O P Nayyar, is one of the enduring highlights in the history of Hind film music. Nayyar recognized her potential and gave patronage to her and shaped and styled her career. Our friends have added a lot by way of comments and songs. Having landed late I have not much to contribute further.
Thanks once again.
Venkataramanji,
Thanks a lot for your appreciation.
Even as a latecomer, it would not be impertinent so place my appreciation for the Asha-OPN post, though, as usual, one may not agree with all the numbers, because of individual tastes.
Re. KS Bhatiaji @58, I would like to point the wonderful similarity of the notes in the mukhada of “Shokh Shokh Aankhen Tujhko Bula Rahi Hai” (Phagun: http://www.youtube.com/watch?v=3K5cEuK0Dzc) and Woh haseen dard de do (Hum Saaya: http://www.youtube.com/watch?v=ZkyVel2zfLs), even though antaras differ widely.
“Brimful of Asha”
(An Album of the tributes to her in English songs by the English singers)
Sorry for coming so late, But I was on the Euro-Caravan trip to sense after Brexit the atmosphere which our members found very tense from Belgium to French Riviera and got besotted and absorbed in the new sense that pride in patriotism and Euro values are bitingly rising against which the foundation of the European Union is created now that has got quakes and quivers all over. A feeling of the song “Tomorrow belongs to me”sung by German patriots in the film Cabaret (1972)!
This post is very neatly written and shows many musical developmental points in the singing voice of Asha. All the 13 songs are suitable for the post even though some said that some are not that good. But then I think it is personal opinion unless readers present their criteria to decide a good bad or an ugly song. Often the word “Best” is used in the creative efforts rather than the actual quality of the song. In the popular culture Songs that strike for one or the other reason remain lingering. For example the song “Awara Hoon” became very popular that does not mean it is musically very creative though RK made it cinematically very interesting.
The comparison of Asha’s milestones with those of Lata’s are also well marked and planted as they are unavoidable whenever Asha is mentioned Lata’s handling of her prodigal sister was not elder sisterly at the beginning of her career, and this surfaces habitually and increasingly. Sadly her sister did not read the Bible and showed her baser quality unlike a Hindu Goddess to which she is always compared. “Karuna” is the quality associated with her.
Here I would like to highlight to wonder how these two first ladies of the Indian film music got identical treatment from the macho and physically cowboys male music composers directors and perhaps these two ladies might in certain way could have resolved their bitchy aspect in each other as they both have one way short journey to make to see their maker and may not chance to talk with each other and would in near future do some common good like create a”Musè de Mangeshkar” where all their music, photographic events, articles, books artefacts and other paraphernalia are kept for all the music fans and students to study. Furthermore a proper curator be employed in that “Musè” who would continuously create events that are connected to the music.
I see that Asha is still on the concert circuit. In England she is going to do a few gigs next few days. Asha is in the Guinness Book of record as mostly recorded artists with seven thousands six hundred songs, one thousand more than Lata sang. She has earned more monies that her sister had and has investments in the UK, America and United Arabia. She has won the Ben Hur Race. Anything Lata could and did Asha could and did. Asha sange some songs in higher notes than Lata’s perfect “A”.
As for O.P.Nayyar, he certainly rose up as a very creative song composer and became a dominant force to create different style which could be identified as O.P. style forever. Other music directors though they created very good songs- music but hardly could be said as a style (Gharana) separately.
But as a human being he had abundantly wild qualities that made him repulsive to his own relatives and many people around. His isolation towards the end of life made him suffer from the pinching thorns of loneliness. His last gaffe- faux de pas on a television musical game show saying that “he made Asha what she is now” made Mangeshkar family, Maharashtrian passionate patriotic and general film songs lovers very hostile to him.
When he died of heart attack in his friends flat Asha was on the tour of the concerts in the U.K. and refused to make any comment or pay tribute to her one time music mentor. Surprise was Lata in Bombay led a generous tribute to him and his music followed by others tributes. The last rites were performed by his friend and not his relatives.
Asha is now due to the Indian highest civil accolade “Bharat Ratn” and would be third in the line of film songs and singing first being M.S.Subbalaxmi.
I wonder why SoY has not done any post on M.S. Subbalaxmi? Her records were always played in my grandfather’s extended family house early in the morning for all to be in the good mood. I think she was and is the true Sarswati of holy songs though Juthika Roy. Geeta Roy and Lata made Mira popular. Shobhalaxmi as she had credited on the only Hindi Mira Film she made. Other films were in Tamil. She was the only singer who was “the ordained singer” of the famous Tirupati Temple. The other name of Tirupati Nath is Vyankatesh and the Temple is known as Vyankatesh Giri.
Shalan Lal
Shalanji,
You have raised the question at an appropriate moment.
‘I wonder why SoY has not done any post on M.S. Subbalaxmi? ‘
The idea of doing a post on M S Subbalakshmi and her film Meera was at the back of mind for sometime. If my memory serves me right, I had a discussion with Arunji on the topic in 2013. The idea crossed my mind again, sometime in the first week of September, when RSRji and Ranganji were on the topic. I had in my collection the links to both the Hindi and Tamil versions of many of the songs from the film Meera. After going through RSRji’s comments and the links provided by him, I started doing the homework on the topic. When I had promised Akji to do a couple of posts by end of this year, this write-up was not in my list. Then I suddenly realized that this is M S Subbalakshmi’s centenary year. But I had very little time to bring out a post by 16th September.
Today is M S Subbalakshmi’s birthday. She was born on Saturday, the 16th September 1916. Let me take this opportunity to convey my tributes to the legendary musician on her birth centenary.
And you have, knowingly or unknowingly, raised this question at the right moment. I think RSRji too had made a similar request to Akji. If Akji is agreeable, I would like to slot the post for 11th December 2016. That would give me enough time to do the post to the best of my ability, without compromising on the deadline given to me by AKji for the other post.
Shalan Lal ji,
Thanks for a very interesting and meaningful comment ( mini article). I have rarely read such thoughtful,impartial, realistic and factual comment on Lata, Asha and OPN. I am totally swept by what you wrote and totally agree with most points.
Thanks again for a beautifully written piece.
-AD
Venkataramanji
I have read several biographies on MSS written in Tamil by Vamanan and others. Strangely enough, they were available in libraries in Singapore, particularly in Ang-mo-kio branch. They were very informative. You will get lot of interesting details from her life. She was the first lady performer at the Mahamagam festival in Kumbakonam in 30s. at a tender age of 18 and did repeat performance. I can already expect a wonderful biography on her from her and will eagerly wait for it.
Peddadu,
Thanks a lot for your appreciation.
Shalan Lal,
Thanks a lot for your appreciation. I should also thank you for mentioning MS Subbaaxmi.
N Venkataramanji,
It is great to know that you are quite well up in writing on MSS. While so much was being talked about her on SoY, I came across an article in the Hindustan Times which mentioned that she sang some Urdu ghazals taught by Siddheshwari Devi and Begum Akhtar. I am sure you would have got some material on this. We will discuss its scheduling.
Peddadu ji @66 ;
The similarities….well not fully but partly. The song …shokh shokh ankhein…is a sort of indian version of spanish setup , the likes of spanish gypsies . It has a spanish guitar in its prelude and rhythm and beats follow the spanish style . Even the dresses wore by the dancers in the song are typical of spain gypsy dancers .
In contrast the song ….woh haseen dard dedo….is again an indian version of chinese/ japanese orchestra.
For ….shokh shokh song I find it quite close to Charlie chaplin song in his famous movie of the 30’s …Modern Times . The beats , the rhythm and the pause quite matches the hindi song . This again one can find in the various version of Titine song……famous spanish song available on Y . T .
Charlie chaplin song……
https://www.youtube.com/watch?v=8jhf0px7-MY
Dear Shri N Venkataraman
Thank you very much for your immediate response to doing the post on M.S. Shobhalaxmi. You are the most capable person to do the rever tributary to such an eminent artists as Shrimati Subbalaxmi was and is.
I saw her performance in the Albert Hall and later on at the Nehru Centre. She was magnificent.
I also saw ages ago a dance drama in the style of Rukmini Devi School based on her Bhajan song “Bhaj Govindam”. It was dazzling performance..
Somebody like Guddeswarup should do a post on Rukmini Devi and her contribution to both Hindi and South Indina films.
Now that Ak has approved your efforts and let us see the final product soon.
Thanks again.
Shalan lal
Arun Kumar Deshmukh @68
Thank you very much for your precious opinion about my contribution on Asha, lata, O.P. and other matters I raised.
I always see yu with great respect that you have clrifying understanding about many myths in Bollywood legends.
Thank yu sir.
Shalan La
AK @ 71
Thanks for your appreciation and I am very happy about it.
Shalan La
D.P. Rangan@70 (not your age I think you are far too younger than that)
Nice to see your comment about a Singapore Library keeping Indian biographical books. I wonder was your visit in Singapore was “Jivan Mein EK Baar Aanaa Singapore” or some official engagement.
Hope every thing you are doing in texas is enjoyable. Tell me why the “yellow roses of Texas” are so popular in popular cultures like songs and dances etc.?
Shalan La
Shalan Lal
Thanks for your views on Singapore. My son was in Singapore from 2000 to 2012. During that period I spent more time in Singapore than in India. In fact I was a NRI for two years as I had to shuttle between Singapore and Canada. To me Singapore is a paradise on earth and Indians would easily get assimilated there. I have no clue to the puzzle you posted about texas yellow roses. Would be grateful for enlightenment from you.
Shalan Lal @67,
I’d like to correct two mistakes:-
1. It is ‘Subbalaxmi’ – NOT ‘Sobhalaxmi.’
2. The name of the hill in Tirupati is ‘Venkatachala’ and the lord is known as ‘Venkateshwara’ and NOT ‘Vyankatesh’ (of course, I am aware that that is the name many in Maharashtra are familiar with).
Now, coming to the writeup, everyone knows that it was O.P.Nayyar, who moulded Asha the singer, in order to infuse a special expressive tone and the variety in her fabulous voice. It is unfortunate that because of RDB, who entered her life at a personal level, she distanced herself from OPN, without whose care she would have remained just another singer and probably faded away, like many before her, as many would not give her opportunity to sing for heroines as well as vamps (excepting, maybe, S.D.Burman after his rift with Lata).
peddadu@77
Thanks for your comment and efforts of corrections
1)M.S. Subbalxmi in the credit title roll of the Hindi Film “Mira” was written as mentioned by me”Shobhalxmi”. You have to see the Film Mira for the correction.
2) Both Vyankatesh and “‘Venkateshwara’ are Snaskrit words and mean the same thing as “Shri Nath” the third name of the Tirupati god.
Although Tirupati is known in the Andhra Pradesh, Tirupati is popular all over amongst the Hindus as Mathura, Kashi, and Hardwar. it is one of themost visited temple by all Hindus. ‘Venkatachala’ is same as Vyanketesh Giri” both again are Sanskrit words. “Vyankatesh Giri” I know many Kannad Brahmin use when it is Tirupati. In Gujarat and Maharashtra Vyankatesh or ‘Venkateshwara’ is known as “Shri Nath.
I hope this may satisfy you . Further talk will be argumentaive.
Shalaln Lal
D. P. Rangan @ 76
My dear Rangansaab I was just pulling your leg. But as you said “Singapore is a paradise on earth” with that meaning the song Shmmi Kapoor sings in that film is with the menaing of paradise.
About the Yellow Rose of Texas. there is plenty of information on the internet. This song was sung by Elvis Presley and you are in Texas so I thought you could have more information.
Contrarary to the understnding that there is no yellow rose of Txas. There is a variety of the Yellow Rose grown in many parts of England and also in the famous Kew the Botanical garden.
Nice to know that you spent in that paradise city good time.
Shalan La
Hum intizar karengy tera qayamat tak”
Asha ji’s best song from bahu begam 1965, is not added
Muhammad Bilal,
Welcome to SoY. This post was on Asha Bhosle’s best song by OP Nayyar. Bahu Bagum was composed by Roshan.
Also listen this beautiful lori by Asha Bhosle from mitti me sona
https://youtu.be/PukWFKLir8U