Multiple Version Songs (2): Both versions by male playback singers – Happy and A Sad Song

January 17, 2013

Guest article by Ashok M Vaishnav

(In his first article in the mega series on Multiple Version Songs, Mr Vaishnav gave an overview of the subject, several types of multiple version songs, ranging from simple vanilla twin songs – male/female versions – to same singer different moods, different male or female singers, solo/duets, film/non-film songs, Hindi/regional films etc. He also laid out a road map for taking each sub-category in a separate post. Carrying it further, in the second in the series, he takes up a type in which both the versions are sung by male singers – generally one happy and the other sad version. It takes the perseverance of an intrepid explorer like Mr Vaishnav to go into the subtle difference between these songs with multiple versions. AK)

Multiple version songsThe classic twin song – one by a male and the other by a female playback singer, normally, was used in Indian Films, with an intention to express similar-sounding sentiments under different circumstances. However, there are instances galore wherein only a male or only a female playback singer has rendered the different versions in the film.

Today we will take a journey through a specific sub-category of multiple version songs in Hindi Films: all versions rendered by male playback singer(s) – one song presenting a happy situation whereas the other depicting a sad situation. The instances presented here have cases mostly where both the versions are rendered by the same male playback singer. We see a variety of reasons for filming the same song with varying versions differently in the movie. And there are some reasons which have necessitated different singer(s) for different versions.

A. One version seems to have been recorded, but another version finally gets the nod in the film.

1. Zindagi khwab hai khwab mein jhooth kya; Jagte Raho (1956), lyrics Shailendra, music Salil Chaudhary

The first version is by Manna Dey.

For reasons best known to RK team, this Manna Dey version was not approved for the filming in the movie and was replaced with the so very well known, Mukesh’s version lip-synched by Motilal on the screen. We do notice a highly improved orchestration in the Mukesh version.

2. Kaisi haseen aaj ki raat hai; Aadmi (1968), lyrics Shakeel Badayuni, music Naushad

It is said that Naushad recorded the first – can we call this as the original one? – version with Moahammad Rafi & Talat Mahmood to sing for Dilip Kumar and Manoj Kumar respectively on the screen.

This must have been duly filmed as well, otherwise we would not have a full-fledged video clip available to see, off the screen.  However, later on Manoj Kumar seems to have insisted that he would lip synch his the-then- favourite-playback-singer Mahendra Kapoor, only.  Hence what we see in the film and get to listen on official records is this version:

B. A happy and a sad version

This is the most typical situation – one a happy set of circumstances and another one a sad one – where all types of version or twin songs have been put to use in the Hindi Films. In the classic twin songs, we have one version by a male and another one by a female playback singer. Here, both the roles are played by the same gender. The change in emotions is depicted by change in rhythm – usually a fast tempo for happy mood.

3. Chali Radhe rani; Parneeta (1953), lyrics Bharat Vyas, music Arun Kumar Mukherjee

Manna Dey

The happy version, has a very distinct fast rhythm which turns into a perceptible slow tempo in the sad version of the song, along with change in lyrics as well composition:


The song is also an excellent illustration of adaptation of folk tunes into film music, this being based on Baul tradition. We also have a classic “cover version” of this song, rendered by Geeta Dutt. The song must have been recorded for the film, but ultimately does not seem to have found place in the story line.

4. Sachcha hai agar pyar tera; Jhuk Gaya Aasman (1968), lyrics Shailendra, music Shankar Jaikishan

Mohammad Rafi

In a combined video clip, the first part is a fast (happy) version followed by a slow (pensive, sad) version.  The slower version has not only a slower tempo, even Mohammad Rafi also has resorted to very different हरकतें in both the versions.

5.  Sunle tu dil ki sadaa; Tere Ghar Ke Samne (1963), lyrics Hasrat Jaipuri, music S D Burman

Mohammad Rafi

And a different version, set in seemingly sad and unfortunate circumstances in the storyline of the film, also by Rafi

This song gives us a much needed clearer concept of how the two versions can have subtle – rather a trifle, too subtle, variations in the way the song is rendered, even when everything else appears similar. Whether only so much of the variation(s) in the two versions were intended by SDB or were cajoled by the resourceful director, Vijay Ananad, is indeed a matter of great debate!!

6. Jo ek baar kah do; Pooja (1954), lyrics Shailendra, music Shankar Jaikishan

Mohammad Rafi

A happy version:

And a sad version:

Use of dholak for faster pace and tabla for the slower pace of the second version and use of flute on a different scale in the interludes judiciously creates different moods.

Isn’t it a matter of coincidence, that Shailendra has a very high proportion of version or twin songs with SJ as well as with other music directors?

7. Aasman pe hai khuda; Phir Subah Hogi (1958), lyrics Sahir Ludhiyanvi, music  Khayyam


The first version which we hear on records normally is more pensive and truly reflects the dejection of the unemployed educated youth, as embodied in the lyrics.

The second version is set in a very different setting in the film, which is signified by its initial pieces of music and slightly higher scale and faster pace of the song itself, thus reflecting the satirical mood.

We have normally been listening to the first version on records, hence to many it may be slightly difficult to differentiate the two versions.

And, we have one more from SJ in this category:

8. Ajab hai dastaan teri ye zindagi; Shararat (1959), lyrics Shailendra, music Shankar Jaikishan

The first version is somewhat happy whereas the second version, from 2.55 in the combined video clip is sad one. The first version has a very deft use of piano to support the lyrics of the protagonist’s happy emotions, whereas the second version has not used piano in its composition. Rafi also goes few scales higher to express the anguish in the second version. The song has another rare distinction – Kishore Kumar lip synchs the songs on the screen to Mohammad Rafi’s emotionally silken playback voice.

9. Ae mere watan tu hi meri zindagi; Tu Hi Meri Zindagi (1965), lyric Neeraj, music Rono Dev Mukherjee

Mohammad Rafi sings a fast version, more as a desh prem song.

And a second version in quite a vilambit laya to reflect the sorrow.

We have many more instances of version songs in this specific subcategory in Hindi Films beyond the time horizon of our blog. I am quite sure; other vibrant regional films also will have many more of such songs.  And there are bound to be causes or effects other than those narrated herein.

We await the torrent of informed and considered comments to enrich the subject and the category.

{ 86 comments… read them below or add one }

1 dustedoff January 17, 2013 at 11:03 am

Great songs, Ashokji – and some versions that I hadn’t heard before, or hadn’t remembered. The Manna Dey version of Zindagi khwaab hai was new to me. Also, I’d completely forgotten about the slower (first) version of Aasmaan pe hai khuda – somehow the only one I associate the song with is on that dance floor.

Some more multiple-version male songs that I like:

Ae mere dil kahin aur chal, from Daag; the fast, more upbeat version:

And the drunken, more poignant version, aso by Talat:

And the classic Tum bin jaaoon kahaan, sung in similar moods by Rafi and Kishore:

2 Tadatmya Vaishnav January 17, 2013 at 9:47 pm

‘tum bin jaoon kahan’ is indeed a prominent example of the category outlined in this article. This is a very curious song for two reasons:
1. On screen, the Kishore version is picturised on Bharat Bhushan and the Rafi version on Shashi Kapoor!! Isn’t this a very strange choice, given the historical association of Bharat Bhushan with Rafi (notwithstanding the numerous songs Rafi has sung for Shashi K).
2. While you mention that the two versions are of similar mood, I have never been able to fathom what mood the Kishore version represents. It sounds a little sad to Rafi’s more romantic version, however I would imagine one would not yodel if one were sad :-). There is no sight more incongruous than Bharat Bhushan yodeling :-).

3 ASHOK M VAISHNAV January 17, 2013 at 10:06 pm


Even as I am equally game for Ae Mer Dil Kahin Aur Chal,from Daag, I had not included it here because it has been very well covered elsewhere, though under different categories.

Tum Bin Jaoon Kahan would feature in the subsequent posts in this series , since I have listed it under a different sub-category (songs under ‘more than two versions’).

In so far as Jaagte Raho or Phir Subah Hogi and several other songs to follow, have now become accessible because of pioneering work done by a vast number of You Tube users. Otherwise, the versions which are part of the film track would be a matter of only references which we may not be able to put up here with ready clips.

4 mumbaikar8 January 18, 2013 at 7:17 am

Good compilation Ashok, Jo ek baar kahdo was real bhula bisra song,
really enjoyed it.
I would like to add one more Rafi number.
Railway Platform, Basti basti parbat parbat

5 ASHOK M VAISHNAV January 18, 2013 at 9:48 am

@ mumbaikar8:
I recollect reading somewhere that “Basti Basti Parabat Parabat” also has one more version, possibly used only in the film track, over and above these two versions available on records.

In fact, use of different versions in these manners can also throw up two more subcategories:
– A song used in Titles and then used with a different version in the film . This also has a mirror-version where the Titles use a song from the film ( normally a Title Song) in the from instrumental composition. I have mentioned this category in the earlier, over view article.
– A song not lip-synched on the screen ( what was known as background song).

6 dustedoff January 18, 2013 at 10:12 am

@Tadatmya Vaishnav

I agree that the Rafi mood of Tum bin jaaoon kahaan is more romantic – it’s a softer, definitely more passionate song. Just the sort of song a young man in love would sing to his beloved. The Kishore rendition has a softness to it which (to my mind) is more self-assured, a song sung by a man to his wife of several years – a love he is certain of. Minor distinction, but that’s my opinion.

And yes, somehow the yodelling is just too incongruous with Bharat Bhushan!

7 dustedoff January 18, 2013 at 10:49 am

And I just remembered another song, Hai apna dil toh awaara. The fast, happy version is the more popular one:

But a lot of people forget that there’s a slow, sad version too.

8 Naresh P. Mankad January 18, 2013 at 11:00 am

Very interesting. With a little effort we may be able to unearth some more such songs. Right now the song that comes instantly to my mind is Dil dhoondhta hai, phir wohi ..sung bu Bhupinder for film Mausam. One is ebullient and the other version is sober and brooding.

Bharat Bhushan and Kishor Kumar?! And yodeling?! Yes, that is really incongruous. In fact, if we think of the Kishor Kumar version in relation to the film, the song does not fit well.

9 AK January 18, 2013 at 11:54 am

@Ashok M Vaishnav
I get to see your post much ahead of others :). Nevertheless, let me compliment you again on a very good post. I am specially thankful for Jo ek baar kah do. So joyous, yet so rarely heard.

Bharat Bhushan, Kishore Kumar and yodelling! I had never given a thought to it. Interesting observation, Tadatmay.

Madhu (Dustedoff) has mentioned the faster version being more popular. This seems to be the case in all the songs with two versions – one fast, the other slow. Is there a pattern, or some inherent reason why this should be so? We saw a similar general pattern in pure twin songs where the male version was almost always more popular than the female version. In many cases, the female version was extinct.

There are a large number of songs fitting the theme of this post. I would like to make a special mention of KL Saigal, whose death anniversary, incidentally, falls today. He happened to feature in several multiple version songs. One reason was the technology of the times, when the song had to be picturised and recorded live, and they used to cut the disc later. It appears from Hindi Film Geet Kosh that two well known songs of KL Saigal Jeevan ka sukh aaj prabho mohe and Andhe ki lathi tu hi hai from Dhoop Chhaon (1935) was actually picturised on KC Dey. Perhaps Saigal was not even there in the film. I have never heard KC Dey’s version, it has not yet surfaced on the YT. But quite interestingly, Pankaj Mullick’s version of KL Saigal’s songs from My Sister (1944) are available on YT. This has been discussed earlier in my post on Pankaj Mullick, where a reader AC Tuli mentioned that the film was started with Pankaj Mullick and three songs were recorded in his voice. Later, BN Sircar thought KL Saigal would be better as the hero, and requested Saigal to come back from Bombay to do the film. Thus the three songs were redone in his voice, which have now become more popular. So even at the cost of repetition, let us enjoy the two versions of the three songs from My Sister. (Incidentally Pankaj Mullick was the music director of the film. He played a major role in promoting Saigal selflessly).

Pankaj Mullick sings Ae qatibe taqdeer, Chhupo na chhupo na and Do naina matware tihare

KL Saigal sings Ae qatib-e-aqdeer

KL Saigal sings Chhupo na chhupo na chhupo na

KL Saigal sings Do naina matware tihare

10 ASHOK M VAISHNAV January 18, 2013 at 1:23 pm


I have planned to cover K L Saigal songs in the category ” 2. Classical Ghazals used in / as Hindi Film song and its versions by professional Ghazal singing artists” in far more details.
But the point that you have made – the recording technology – or producer or director’s shifting preference for a particular singer did result in many a songs being released on records, but filmed with a different singer.
One obvious parameter for such a change was the consideration of the songs’s potential in contributing to the popularity of the film at the box office, because songs used to play quite a decisive role on that count.
I am not competent to comment on why male version of Twin Songs have been more popular, in general, nor can I say much about fast versions. But I had received a very interesting message received by a close friend on the subject, which I repeat – “listen to Jhoom Jhoom of Coffee House by Geeta Dutt. Roshan was influenced by O P Nayyar! Great Madan Mohan was also impressed by O P Nayyar” The implication here is that fast , peppy style of O P Nayyar , was looked at some what disparagingly by the then ‘top’ music directors, as they would not seek to popularity the song at the cost of (what they sincerely considered) at the intrinsic quality of the song. And speed was – drut lay – is the least preferred way to build the character of a bandish in the Indian Classic Music.
That is why , probably, folk music was also given a somewhat disparaging status.

11 AK January 18, 2013 at 9:34 pm

Thankfully, what I have mentioned does not conflict with what you are planning to do.

12 mumbaikar8 January 19, 2013 at 5:46 am


Whenever you cover that category please try to include “Har ek baat pe kahte ho ke tu kya hain.
I have heard many versions of that ghazal but his is far superior.

13 Mahesh January 19, 2013 at 11:46 am

Mukesh numbers from “AASHIQ” Tum aaj mere sang hans lo… and “CHETNA” main tho har modh par……. are worth being included and discussed.

14 ASHOK M VAISHNAV January 19, 2013 at 1:16 pm

Thanks for recalling “Hai Apna Dil”. I have given my opinion about – more a question – on slow songs observed to be less popular than the fast ones. In the present case also, the popularity of the fast one of “Hai Apan Dil” certainly made most to forget the beauty that is the slower one! I personally like the slower one, but even then needed a nudging recall from you to really call the song back from the archives!
Now that you have mentioned, one certainly sees some similarity between the mukhdas of the two songs. I am quite sure our friends who have better grasp of the classical base, may be able to throw some light on the matter.

15 n.venkataraman January 19, 2013 at 7:33 pm

Ashok Vaishnavji,
After the introductory curtain raiser, we are onto the first episode of this mega series. I can understand the painstaking efforts required to put up this presentation. Kudos for this great effort and judicious selection of songs. I enjoyed listening to them.
I have heard the song ‘Zindagi khwab hai khwab mein jhooth kya’ sung by Mukesh, but was not aware of Manna Dey’s Version. Both the versions of the second song were new to me. I do not remember listening to the songs #4, #6, #8 & #9 earlier. Song #3, ‘Chalo Radhe Rani’, is a beautiful song and I have listened to it earlier. I am not very sure whether this song belongs to Baul Ang or Vaishnav Padabali Kirtan Ang. I leave to my more knowledgeable (Bengali) readers to answer this question.
The three songs of Pankaj Mullick and K L Saigal, posted by AKji, were delightful. The songs added by Dusted off, mumbaikar8 and the songs suggested by Maheshji made good listening. The song ‘Tum aaj mere sang hans lo’ was new to me and great.
The song from the film ‘Aan; ‘Mohabbat choome jinke haath’, sung by Md.Rafi has a, recorded, Hemant Kumar version. AKji had mentioned and included it in his write-up ‘Dilip Kumar’s many voices’. Also the Talat Mahmood’s recorded version of the song ‘Kisko khabar thi’ from the film ‘Devdas’ was rendered by Dilip Kumar in the film version.
Here is a classic example of a male singer singing the same song for two different films. The song ‘Bhajumana Narayana Narayana’, from the film ‘Prabhu ki Maya’ was also used in the film ‘Bhagawat Mahima’. Interstingly, both films were released in 1955, directed by Vithaldas Panchotia and both the versions were sung by Hemant Kumar. But the Music Director for ‘Prabhu ki Maya’ was Ravi and music for ‘Bhagawat Mahima ‘was scored by Hemant Kumar.
I am adding some of my favourite multiple-version male songs:
‘Kaun Aaya Mere Man Ke Dware ‘; ‘Dekh Kabira Roya’, (1957), Lyrics Rajinder Krishan, Music Madan Mohan, Singer Manna Dey Set to a beautiful Rageshree.
‘Husnwale Tera Jawab Nahin’; ‘Gharana’ (1961), Lyrics Shakeel Badayuni, Music Ravi, Singer Md.Rafi
The slow version
‘Mere Mehboob Qayamat Hogi ‘; ‘Mr X in Bombay’ (1964), Lyrics Anand Bakshi, Music Laxmikant Pyarelal, Singer Kishore Kumar

‘Aane Se Uske Aaye Bahar’; ‘Jeene Ki Raah’ (1969), Lyrics Anand Bakshi, Music Laxmikant Pyarelal, Singer Md.Rafi

I am transgressing the limits of Songs of yore. But this song is one of my favourites.
‘Chalte Chalte Mere Ye Geet Yaad Rakhna’ ; ‘Chalte Chalte’ (1976), Lyrics Amit Khanna, Music Bappi Lahiri, Singer Kishor kumar

The sad version

Thank you once again

16 AK January 20, 2013 at 12:59 am

You have added some fabulous songs, and a lot of interestng information which is new. Hemant Kumar’s song Bhajuman Narayan Narayan from two films is an interesting discovery. YT has the video of the version from Prabhu Ki Maya – in fact it seems there are several versions in this film, YT shows the song in four parts of different durations. It also has what seems to be the composite song. From Bhagawat Mahima only the audio is available. Here is this beautiful song from Prabhu Ki Maya.

Bhajman Narayan Narayan from Prabhu Ki Maya (1955), lyrics Pt Madhur, music Ravi

In these two films there are some obvious links – the producer is the same, so also the lyricist and the lead actors. Ravi, of course, was assistant to Hemant Kumar. In this situation, some song being repeated is possible. It could also be that one (or both the movies) did not get completed.

We have earlier seen on this blog some examples of the same song in two different films in more unusual ways. Talat Mahmood’s Tere dar pe aya hun fariyad lekar was made for Laila Majnu (1953), but it was removed from this film and included in Chor Bazar (1954). The common connection was the composer Sardar Malik. But the most unusual was the case of Nadiya kinare phirun pyasi, which is credited in Hindi Film Geet Kosh to Rajhath (1956), music Shankar Jaikishan, but it is picturised in Do Gunde (1959), music Ghulam Mohammad, in which the song is not credited. Amazing! It was explained by the experts that the copyright of the song was owned by the producer, in this case Minerva Movietone for both the films. Therefore, it might have got it done for Rajhath, but used for Do Gunde. Still not fully satisfactory – who is the composer – SJ or Ghulam Mohammad?

Now some observations on the songs you have mentioned. Kaun aya mere man ke dware – the slower version is clearly superior, and this was more popular. So we have one exception to our general statement.

Husnwale tera jawab nahi, Aane se uske aayi bahar, Mere mehboob qayamat hogi – the two versions do not seem to be clearly divided in ‘happy’ or ‘sad’ categories. Even the tempo is not very distinctly different. I think Ashokji has another superfine sub-category for such songs, where the versions are not clearly black or white, but different shades of gray.

17 Anu Warrier January 20, 2013 at 3:03 am

Ashokji, what a beautiful post, and some really, really wonderful numbers to listen to. You brought back to mind some songs that I had completely forgotten. Thank you.

Of the songs you listed, Sun le tu dil ki sada is probably my least favourite of the songs from Tere Ghar ke Saamne. 🙂

18 mumbaikar8 January 20, 2013 at 6:37 am

@ Anu,
I just finished the post on kinare song and the song I liked the most was posted by you, but here I do not agree with you at all for me “sun le tu dil ke da” is one of the better songs of Tere Ghar Ke Samne.
Yeh tanhai and title are the least favourite

19 AK January 20, 2013 at 7:55 am

Anu, mumbaikar8
Though I don’t agree with most of what Anu says :), on Tu sun le sada I am with her.

20 Anu Warrier January 20, 2013 at 7:58 am

I don’t like Ye tanhai myself, but both Dil ka bhanwar and Tu Kaha, ae bata would score over any of the others. In my opinion, of course. 🙂 For that matter, I prefer Dekho rootha na karo to Sun le tu dil ki sada – perhaps it’s because I do not like songs that preach at me? 🙂

21 Anu Warrier January 20, 2013 at 7:59 am

AK! I’m shocked!! 🙁

22 ASHOK M VAISHNAV January 20, 2013 at 9:39 am

@Any Warrier : Thanx. I also second your choice of not liking “sun Le Tu Dil Ki Sada’ , because how could Hasrat Jaipuri and SDB have produced such a run-of-the-mill song when they could come up “Dil Ka Bhanwar Kare Pukar and Tu Kahan Ye Bata, and Vijay Anand sitting in the third umpire chair! This song can certainly take top spot in 10 worst of SDB-Rafi combination!
@N Venkatraman:
Thanx. I will simply second Shri AKji’s response.
I had planned to cover Kauan Aaya Mere Man Ke Dware under a different category, and so too, Husnwale Tera Jawab Nahin and Aane Se Uske Aaye Bahar.

23 AK January 20, 2013 at 11:14 am

Even when I agree with you?

24 Mahesh January 20, 2013 at 11:55 am

Mukesh numbers again. AFSANA 1951 ..kismet bigadi duniya badali. JIS DESH MEIN GANGA BEHATI HAI 1960 title song. PYASE PANCHI 1961 title song. And DHARAM VEER 1977…. Saat ajube is duniya mein with Rafi saab.

The above don’t strictly comply with the requirements, but can’t be neglected either.

25 mumbaikar8 January 20, 2013 at 8:25 pm

@ Anu
I am not a big fan of hasrat .I think some of the worst Rafi songs are Rafi Shanker and Hasretcombination, but this song song I like for its composition and the way it is rendered.

@ AK
At least That made you agree with Anu!

26 AK January 20, 2013 at 11:06 pm

I would put it in a different way. When I think of the best of Rafi, I think of Naushad, Roshan, SD Burman, Chitragupta, Madan Mohan and Ravi. SJ come after them.

27 Anu Warrier January 20, 2013 at 11:28 pm

AK, I’m deeply hurt by the knowledge that you do not *usually* agree with me. So, this ‘agreement’ was just a sop. Hmph!

Ashokji, yes, that is exacty it: Sun le tu dil ki sada sounded like something Sj composed in their sleep. Musically, it doesn’t stand up to the rest of the score *at all*.

My problem with SJ was that even though they had some wonderful compositions, I felt that in their quest to be the most popular, they dumbed down their compositions. If you look at their career graph, you will see many songs, that are popular even today, that musically, do not compare with the best of their peers. ‘Hit’ songs and ‘good’ songs are not equal.

28 mumbaikar8 January 21, 2013 at 4:09 am

@ Anu

” in their quest to be the most popular, they dumbed down their compositions. If you look at their career graph, you will see many songs, that are popular even today, that musically, do not compare with the best of their peers. ‘Hit’ songs and ‘good’ songs are not equal.”

I agree 100% with that, but the tragedy is that those songs were more popular and got some popular awards too how can deserve awards for music of Suraj,Pehchaan and Beiman

29 jignesh kotadia January 21, 2013 at 2:52 pm

@Mumbaikarji…..i completely agree with u….SJ deserved atleast 10 filmfare awards but *NOT* for *faaltooest* films like ‘beimaan’ and ‘pehchan’…..and ‘Suraj’ was also not viable against ‘Amrapali’, ‘Teesri kasam’, ‘Love in tokyo’, ‘Anupama’,’Mera saaya’, ‘Do badan’, ‘Aaye din bahar ke’ etc…
Selection of ‘dil apna preet parayi’ over ‘mughal e azam’ is also a big blunder…
Naushad cudnt get any ff award after ‘baiju bawra’ despite of giving Biggies like Udan khatola, Mother india, Kohinoor, Mughal e azam, Ganga jamuna ..
‘Jeene ki raah’ chosen over ‘Aradhana’ !?! ‘J k r’ was just good, not too good for ‘Aradhana’
Every time ARrahman’s film releases, he gets ff award as if he is the only man who can compose good songs…!
So,there r series of injustices at ff jury department…So i request to Akji to announce SoY awards for each year of golden era inspite of just filling gaps of filmfare awards years. We want complete justice for every music director (Anilda, Vinod, Madan mohan, Chitragupt etc.)

30 jignesh kotadia January 21, 2013 at 2:57 pm

and yes , also CRamchandra

31 Mahesh January 21, 2013 at 3:14 pm

The songs of late 40’s and 50’s were so melodious and meticulously composed that later era songs proved no match for them. SJ, Naushad, Madan Mohan and others had many of their worst compositions mainly at the fag end of their careers. It was also probably to do with the diversion of film topics from music towards story, action, commercialisation etc. Let’s not single out SJ, argubly one of the most talented composers. Jaikishan was hardly 20 years old when BARSAAT was made. As far as awards are concerned, some disappointment is inevitable.

32 n.venkataraman January 21, 2013 at 8:06 pm

Ak ji,
Thanks for posting the song ‘Bahjumana Narayana Narayana’.We can have a separate post for songs ‘removed from one film and included in another film’.
Ashok Vaishnavji,
In the Mukesh version of the song ‘Zindagi khwab hai khwab mein jhooth kya’ not only there is highly improved orchestration but there is also an additional Antara.
I am sorry for the goof up. Next time I will be careful.

33 Subodh Agrawal January 21, 2013 at 8:12 pm

I have been travelling with limited internet access, so it is only today that I have been able to savour Mr. Vaishnav’s masterful post at leisure. Coming late to the post has given me the added advantage of the very learned comments. I have also noticed with interest the warming up of Anu and AK for another round of nok-jhonk!

The Manna Dey version of ‘Zindagi Khwab hai’ and the Geeta Dutt version of ‘Chali Radhe Rani’ are – for me – the real finds of this post. It is interesting to see that both Manna Dey and Mukesh have used very similar voice inflections and slurs to suit a drunken Motilal. So, the composers not only set the tune, they also guided the singer in these matters. I didn’t know that.

Thanks to Mr Vaishnav for this excellent post. We look forward eagerly to more.

34 Naresh P. Mankad January 21, 2013 at 9:42 pm

I do not know where this song from “Main suhagan hun” fits in the scheme of multiple version songs, but I cannot resist temptation to mention it; one is duet and the other version is solo.In solo, Rafi wins the listener just as soon as the song starts; to me it is superior in every respect – the typical winning style of Rafi, with his trade-mark romantic manners and the richer orchestra. You can hear it, along with the duet version on you tube:

35 ASHOK M VAISHNAV January 21, 2013 at 10:08 pm

@ N Venkataraman and Subodh Agrawal –
Thanks for pointing out the nuances of Zindagi Khab Hai. RK was said to have not only great knack of ‘music’ , he was also considered tough task master, in his own way, for very high standards. I forget whether it Ab Dilli Door Nahi or Boot Polish, which he had delegated for direction to his colleagues of RK team, which he is said to have re-shot since he was not satisfied and was not able to carry out changes while editing the film. Of course, he did not fiddle with the credits.
@ Naresh Mankad – Thanx for this excellent song, which would fit into a subcategory of a male and a duet version.
Shri AKji may also please think of doing a post on Lachchiram in the category of Forgotten Composers.

36 AK January 21, 2013 at 11:27 pm

@Ashok Vasihnav
You can bet Lachhiram is very much there in my list of Forgotten Composers Unforgettable Melodies.

It seems SoY Awards would get more credibility than Filmfare Awards! In the first instance let us do the missing and pre-Filmfare years. Then if the readers have patience for it, we can try to undo the obvious FF error years!

Subodh, the first thing you do on your return is to provoke Anu again!

Anu, I am sure you would not fall for it. I think I was misquoted by the media, or my words were taken out of context. I would paraphrase it and say that I agree with a lot of what you say.

37 jignesh kotadia January 22, 2013 at 12:25 am

.. ok .. we .. R .. waiting .. 4 .. that .. consequence .. Thank u ..
And yes.. SoY awards r bigger than FF,, bcz the judges panel here r not of that quality which can choose ”beimaan” over ”Pakeeza” .

38 Mahesh January 22, 2013 at 5:29 pm

If one solo song and another duet are to be included then Mukesh, Mukesh-Lata from Khabhi Kabhie will jump right among the top. Also Songs from Tower House and Phir Kab Milogi will be serious contenders.

39 ASHOK M VAISHNAV January 22, 2013 at 6:05 pm

There are many songs falling under different classifications that we have outlined in the Overview, in the period beyond the boundary of the period to which this blog focuses on. Hence, unless there is an exceptional reason, like similarity to a song that we cover in the specified period, we have refrained, include them in our respective categories.

Songs from Tower House have been covered appropriately in subsequent articles.

I was in two minds for the song from Phir Kab Milogi, since that relates to just outside the boundary of the period (1974). But now that you have mentioned it, when I was reviewing what I have been able to collect till date, I observe that there is no song from the stable of R D Burman, so we will cover it in the appropriate post to enrich the records, subject of course to AKji also agreeing. Else it may still can find its due recognition in the Comments of the appropriate post – a male/female solo and a duet version – category.

40 AK January 22, 2013 at 10:38 pm

Let me assure you I have nothing fundamentally against post-1969 songs. Please feel free to include any later song if you like it and it fits your theme. Now that this time line thing is occuring again and again, I should start sprinkling some post-70 songs myself, which are worthy of SoY :).

41 ASHOK M VAISHNAV January 23, 2013 at 9:59 am

Shri AKji,
I totally agree that we can not have anything against post -70s songs. But, having been raised with songs of 50s and 60s in our own formative years does make them touch our emotions easily.
However, word Retro always has a different meaning to different people, on the basis of context and the time horizon selected. e.g. one of the TV channel has a programs of Retro songs of 90s, too.
Be that as it may, I also do not think anything wrong in setting up an explicit boundary for the scope of SoY, since that lends a definitive focus to its content and intent.
And the last, if that goads you to come up with post-7os songs, “worthy” of SoY, the gain will be not only of post-70s songs, but to the cause of Hindi Film Music, too.

42 Arunkumar Deshmukh January 23, 2013 at 4:49 pm

AK Ji,
I have been reading almost daily,the comments made by experts here and I started feeling how little I know,compared to the knowledge of some of the participants.
Before I am affected with ‘inferiority complex’, let me quote my own favourite sentence-
‘ Not all that is after 70 is bad as much as not all that is before 70 is good.’

43 AK January 23, 2013 at 11:28 pm

We know you as a living encyclopaedia, so you don’t have to be so modest here. We at SoY are looking for you to come in full force. About 1969 being a dividing line, I do have a very clear division in my mind that it marked a watershed, when the sound changed. Rafi, Lata Mangeshkar, Shankar Jaikishan everything sounded different. The biggest transformation was in Kalyanji Anandji. Even for Kishore Kumar, who dominated post-69 era, my favourites are his pre-69 songs.

44 mumbaikar8 January 24, 2013 at 3:00 am

Do not blame media for everything, media projects what ever you imply.

I have always felt the MD’s influnce on singers very often, mohd rafi in particular.
It is a notion that rafi used to change his voice according to his singer, but i have noticed that it was not the actor but the MD.
He had distinct way of singing for each one of his favourite MD.
Even Asha had adifferent voice for OPN

45 AK January 24, 2013 at 9:55 am

‘Do not blame media for anything’. I am a little surprised by this comment – I do not think there is any reference to media in any of my comments. Even Mr Ashok Vasihnav’s reference is a simple observation, rather than any ‘blame’.

I entirely agree with you on MD’s influence on a singer’s style of singing. This is more pronounced in the case of Rafi. You have mentioned OPN for Asha Bhosle. OPN for Rafi also you recognise from miles as OPN creation. Same with Naushad for Rafi and Roshan for Rafi – each bearing the stamp of the composer.

46 mumbaikar8 January 25, 2013 at 7:28 am

@ AK,

Please do not take my comment about media seriously, I was just trying to add fuel to the fire in your Nok jhok with Anu.

I do feel that Rafi was the most influenced singer by his MDs, Asha she was distinct only with OPN while Rafi as mentioned, was different with each one of them. It has happened many times that my guess for MDs for some of his songs have been right.

47 n.venkataraman February 2, 2013 at 2:24 pm

Here is a combined video clip of a song in the voice of Md.Rafi and Habib Wali Mohammad. It seems the song ‘Tasveer Banata Houn teri Khoon e jigar Se’ was recorded in the voice of Habib Wali Mohammad for the film ‘Diwana’ (1952),but ultimately Naushad decided to have the Md.Rafi’s version in the film. The lyrics for this beautiful song was written by Shakeel Badayuni.

48 mumbaikar8 February 3, 2013 at 3:05 am

You have pulled out an ACE.
Thanks a lot for sharing this gem.

49 mumbaikar8 February 3, 2013 at 3:09 am


Very sorry for spelling you name wrong.

50 N Venkataraman February 4, 2013 at 2:38 pm

The credit for unearthing this gem should go to AKji. He had posted both the versions in his write up ‘ Naushad’s best songs for Md. Rafi’ (24th december 2011.
Thanks anyway.

51 AK February 4, 2013 at 4:22 pm

While at this let me also say that this song would have probably been better in the voice of Habib Wali Mohammad

52 mumbaikar8 February 4, 2013 at 6:09 pm

@ Venkatraman.
In that case I should thank Aki for this post.
@ Aki
Thanks for this post, but as said: pasand apni apni and khayal apna pana, I beg to differ and so did Naushad Sahab otherwise that version would have been in the movie and not Rafi’s

53 AK February 4, 2013 at 6:20 pm

No quarrel with your preference. Rafi version is my big favorite too. That is why about Habib Wali Mohammad I qualified with ‘probably’.

Real thanks are due to the nameless good samaritan who posted the two versions on YT.

54 Naresh P. Mankad February 4, 2013 at 6:37 pm

It was a pleasant surprise to see somebody giving impressive performance of singing a song that Mohammad Rafi had sung. Admirable job by Habib Wali Mohammad.

55 Naresh P. Mankad February 4, 2013 at 6:47 pm

I guess at least some of the old film music aficionados would agree with me that for a singer, the manner of throw of the first word “Tasveer..” will win half the battle while singing Tasveer banata hun teri khoon-e- jigar se. What a composition, and what a singer !

56 AK February 4, 2013 at 10:19 pm

So well said. You see this play on ‘tasweer’ in Tasweer banata hun tasweer nahi banti and Tasweer teri dil mera bahla na sakegi too.

57 Kuldeep Chauhan February 8, 2013 at 1:21 pm

Dear Ashokji,

My compliments on the compilation of the songs. My immediate reaction after reading the article was that the song – Ae Mere Dil Kahin aur chal from Daag should have found a place in the compilation, but when I read the comments, I found Madhuji as @Dustedoff, has already mentioned in his comments.
I find myself very lucky and fortunate that I have found a good company and club in this forum. Let me also confess that the information and the knowledge you people have is far more and greater than what I possessed from my interactions during my music learning sessions and meeting with veterans of the Music industry. My shat shat pranam to all in the forum for keeping this dharohar alive.
Kuldeep Chauhan

58 Kuldeep Chauhan February 8, 2013 at 1:58 pm

I refer to the comments given by Shri Jignesh Kotadia – comment 29, where he has rightly mentioned that some great artistes should have been awarded for their great work, but were not given their due, in terms of awards.
For the entire lifetime Madan Mohan gave excellent songs to the Hindi film industry. Madanji could create the Moghul era through his compositions, the use of sarangi, mridang, sitar and the pure form of classical raags. who could forget the Bhimpalasi song by Madanji in Mera Saya – Nainon Mein Badra Chaye. The songs of Jahanara. Use of Sitar and Mridang in the duet by Lata and Asha – Jab jab tumhen bhulaya. Ulimate songs for sheer pleasure of listening – Dekh Kabira Roya, Rafi sahab’s songs and Lataji’s song in film Ghazal. The point is that after such good work. Madanji never ever got any Filmfare award. Chetan Anand was one person who used Madanji for his films. Madanji was unfortunate that he could not get great film directors for his work. At one point Raj Kapoor decided to use Madan Mohan for his project, but before the project could take off, Madanji passed away.
After his death, Madanji’ss son Mr Sanjeev Kohli brought out his father’s collection of old compositions recorded in Madanji’s own voice. These were the compostions created by Madanji and recorded in his own voice but were not used in films (I have around 20 to 30 of his compositions recordings with me in Madanji’s won voice) . Sanjeev took all the collection and presented to Lataji and asked her to do something for the rare gems which were lying unused. Lataji took all the collection to Yash Chopra, who was so impressed by all the compositions that he made a entire film and used Madanji’s composition for all the songs in his new film Veer Zaara. The songs are super success and was in the top 5 selection of Music Directors for 50th Filmfare award in the year 2005. But unfortunately the jury of Filmfare chose Anu Malik for film Murder. I for one was taken aback for this incidence. I would have loved to see that at least on one occasion, the maestro – Madanji could have got his due at least posthumously, but even that did not happen, neither did Anu Malik mention while taking the award that this award he dedicates to Shri Madan Mohan.
Yes! I for one would love to see that we do justice for such great people and at least give due credit to the great masters of yesteryear.

Pranaam to you all.

Kuldeep Chauhan

59 Mahesh February 8, 2013 at 10:09 pm

Going back to the original subject, Mukesh and Rafi saab sang the same ” Saranga teri yaad mein ” in “Saranga” scored by Anu Mailk’s father SARDAR MALIK.

60 n.venkataraman February 12, 2013 at 10:52 pm

One more Happy and sad version song.
‘Dil ne use man liya’; Film Santan (1959), Lyrics Hasrat Jaipuri, Music Dattaram Wadkar, Singer Mukesh

61 ASHOK M VAISHNAV February 13, 2013 at 12:43 pm

@n. ventkatraman

You have really plugged a very very vital gap in the erstwhile selection.

62 mumbaikar8 February 13, 2013 at 6:38 pm

@ Venkatraman,

Your song selection is apt for ” Mukesh and his romance for dil” too.

63 n.venkataraman February 13, 2013 at 8:52 pm

Let me present a double version song from the film ‘Jhuk Gaya Aasman’ (1968), an average film starring Rajendra Kumar and Saira Banu.
The song “Sachcha Hai Agar Pyar Mera Sanam’ sung by Md.Rafi, Lyrics Shailendra, Music Shanker Jaikishan.
The happy version:
The Sad version:

Here is one more double version song from the film Aman (1967), another Rajendra Kumar and Saira Banu starer.
The song “Surahi Dar Garden Koyal Si Hai Awaz’ sung by Md.Rafi, Lyrics Hasrat Jaipuri, Music Shanker Jaikishan.
The happy version:
The 48 seconds sad version:
Let me add an interesting information I stumbled upon. The film ‘Aman’ was an anti-war film and was produced as a homage to the victims of Hiroshima and Nagasaki. Lord Bertrand Russell made a brief appearance playing himself in this film. It is claimed that this was Russell’s only appearance in any feature film. Here is a clipping of Sir Bertrand Russel from the fim.

64 ASHOK M VAISHNAV February 13, 2013 at 9:58 pm

We have addressed “Jhuk Gaya Asman” song @ # 4 in the main list of this post.
“Aman” song and Betrand Russel are indeed good addition to the collection. As an ant-war film, Dr. Kotnis KI Amar Kahani by V. Shantaram was a more sincere statement in so far as Hindi Films are concerned.

65 n.venkataraman February 13, 2013 at 11:07 pm

Yes Ashok Vaishnavji. My memory is failing. Thanks

66 n.venkataraman February 13, 2013 at 11:25 pm

Another double version song from the film Upkar (1967), Singer Mahendra Kapoor, Lyrics Gulshan Bawra, Music Kalyanji Anandji.
‘Mere Desh ki dharti’- (Happy version)
‘Mere Desh ki dharti’- (Sad version)
I hope this one is not a repetition.

67 ASHOK M VAISHNAV February 14, 2013 at 2:40 pm

@ n. venkatraman
When I chalked out a specific sub-category ” RK- SJ signature use of different versions of the title song” – can be seen part 3 of this series – I was of the impression that Raj Kapoor was unique in using a different, and a appropriately improvised version,of the theme song of the film in the climax.
It seems that he had had a good company ( or followership).

A good find here, and more of such songs can thorow more light on the prevalence of this highly innovative directorial style.

68 AK February 14, 2013 at 3:22 pm

Bertrand Russel with Rajendra Kumar. Interesting information. I did not know this. Thanks a lot Mr Venkataraman.

69 n.venkataraman February 14, 2013 at 11:36 pm

One more time I dived and came out with another bonus along with a double version song.
‘Yeh Duniya Patang’; Film Patang (1960), Singer Md.Rafi, Lyrics Rajinder Krishan, Music Chitragupt.

The uploader , Surinder SidhuOO, has attached an interesting scene from the film ‘Around the World’ (1967), at the beginning of this clip from Patang.
Veteran actor Omprakash and legendary cricketer Sir Frank Worrell in a comedy scene.

70 n.venkataraman February 17, 2013 at 1:05 pm

In the write-up ‘Multiple version songs (3) by , mubaikar8 had posted the double version song ‘Gori chori chori jana’ (Hemant Kumar & Mukesh). The Mukesh version seems to have been recorded, but the Hemant Kumar version finally got the nod in the film.
Similarly, another song (duet) by Mukesh and Geeta Dutt from this film Ek Jhalak (1957) was recorded, but ultimately the ‘Hemant Kumar and Geeta Dutt’s version of the song was included in the film. But this song can be considered as a male solo, because in the Mukesh’s version Geeta Dutt just reponds with a few expressions like ‘wah wah’, ‘ha han’, ‘accha’, ‘aji dar kiasa’, ‘Chaliye’, etc. During the 3:10 minutes duration of the song, she sings (aha aaan….) for 5 seconds from 1:58 to 2:03 , for 7 seconds, from 2:44 to 2:51, she hums and finally for last 17 seconds she sings. In the Hemant Kumar’s version even the last 17 seconds of the Geeta Dutt’s rendering is not there.
Let us listen to the beautiful song.
‘Ye hansta hua karvan’ , Lyrics S H Bihari, Music Hemant Kumar.
Mukesh’s Version:
Hemant Kumar’s version:

71 mumbaikar8 February 18, 2013 at 6:50 am

@ Venkataraman.
Good find! Mukesh’s version seems to be slower than Hemantda’s.
Female singer doesn’t sound like Geeta Dutt in Mukesh’s version.

72 AK February 18, 2013 at 3:38 pm

@N Venkataraman, Gaddeswarup
Ye hansta hua karwaan zindagi ka is a duet by Hemant Kumar and Asha Bhosle. It is not clear who is the female singer in the cover version, but does not look like Geeta Dutt. It does not look like Asha Bhosle either. Could it be Lata Mangeshkar, or some rooky female singer? But Venkataramanji, thanks a lot for bringing to our notice this great cover version.

73 arvind April 5, 2013 at 1:29 pm

(sad version )

rafi singing for devanand in… sharabi (1964)…

in the first clipping ,in the beginning,madan mohan (confirmation required !!) is narrating how the song got created.

74 n.venkataraman April 5, 2013 at 11:38 pm

One more addition to this Category. Thank you.
The voice in the first clipping does sound like that of Madanmohan.
You can compare it with the following clipping.

Let me share another Happy and Sad version song by this trio – Madanmohan, Rajinder Krishan and Md.Rafi. Film – ‘Ek Kali Muskayee’ (1968)

First happy version

The Sad version

75 arvindersharma June 22, 2014 at 2:01 pm

Ashok vaishnava Ji,
Your series of posts throw both opportunities and challenges to us readers, and the joy of fishing in unchartered waters is both exciting and rewarding.
Hearing many wonderful songs for the first time, one wonders how much we were missing and whether we can ever in our lifetime, get to know most, if not all.

I will begin my contribution with a lovely Hemant Kumar number, more intoxicating in the Happy version than the Sad part, from ‘Manzil’, music by S D Burman. And we get to see Devanand playing the piano, though awkwardly.


Though Rafi has sung commendably in Devanand/Madanmohan’s ‘Sharabi’, in my opinion Hemant wins hands down whenever ‘Nasha’ in a song is measured.

Another beautiful pair of songs is filmed on Shashi Kapoor from film ‘Jab Jab Phool Khile’, music by Kalyanji Anandji and sung by Mohammed Rafi.
Jab Jab Phool Khile –

Pardesiyon Se Na Ankhiyan


Pardesiyon se na akhiyan milana Mohd Rafi Film Ja…:

Here, now we see the elder brother Shammi Kapoor in both the moods from film ‘Brahmachari’, music by Shankar Jaikishan, and sung by Mohammed Rafi.
Mohd. Rafi “Main Gaaoon Tum So Jaao” (Happy):


Lastly, I was a bit hesitant to present a triplet of songs, but then the punch of the song,
‘Kise Pesh Karun’, solved my problem.

Here are the three songs, first two by Mohammed Rafi, and the third by lata, from film ‘Ghazal’, music by Madanmohan.

Ghazal – Ishq Ki Garmi-e-Jazbaat Kise Pesh Karun …:

the sad and the most popular song,
Rang Aur Noor Ki – Meena Kumari & Sunil Dutt – Ga…:

and Lata Mangeshkar sings,
Nagmao Shere Ki – Lata – GAZAL (1964):

76 sk March 22, 2015 at 9:22 am

Just want to know who played the tabla in Na toh karvan ki talaash hai

77 mumbaikar8 July 25, 2015 at 4:42 am

Ashokji, AK,
Beautiful double version song by Pandit Amarnath
S D Batish is simply superb!
Shaam Savera Meri mitti ki duniya nirali

78 Ashok M Vaishnav July 25, 2015 at 9:43 am

Indeed a very melodious songs. S D Batish getting to sing a full-fledged solo in Hindi Films is rare in itself.

79 AK July 26, 2015 at 5:48 pm

Beautiful song. You continue with your amazing discoveries. Thanks a lot.

80 arvind July 26, 2015 at 9:50 pm

mumbaikar8, is magical.

81 mumbaikar8 July 27, 2015 at 3:17 am

Ashokji, AK, arvind,
Thanks for the appreciation.

82 D P Rangan October 5, 2015 at 6:50 am

Long before I bumbled or rather tumbled into this site I had collected happy and sad versions of same song. The male usually sings the boisterous variety and the poor heroine bemoans through the sad version. Classic examples
Munimji – Jeevan ka safar
Daag : Haimeri dil kahin
AarPaar: Sun sun zalima – Happy version is a happy merry
go round and sad version by Geeta Dutt
Baarish: Kahtahai pyar kisiko.. Happy Cithalkar and Lata
Mangeshkar. Sad version a brief
clip by Cithalkar
It is dangerous to generalise. There is also an instance of happy version by female and sad version by male :

Babul: Chod babul ka ghar – Happy version – Shamshad
Begum & Chorus

83 D P Rangan October 5, 2015 at 7:27 am

Accidentally clicked. I am continuing as below:

Babul: Sad Version – Talat Mahmood & Rafi

Now I come to the magnum opus of Shantaram-
Do Ankhein Bara Haat (1957). It won many awards. A gripping picture tracing the gradual conversion of 6 hard core prisoners convicted of heinous crimes including murder into soft caring individuals by the Jailer (V Shantaram himself) accepting it as a challenge. Sandhya plays the role of a carefree girl bowing with ek tara. Vasant Desai scored a great hit. The song – Ae Malik Tere Vandeham had two versions. The convicts while doing about their daily chore sing the all male version as a chorus. The jailer meets his end while fighting a maddened bull. His body is laid on a bier surrounded by the convicts paying their homage. Sandhya in love with the jailer breaks her bangle and sings the sad version. There cannot be a better portrayal of grief. (chorus) (sad version)

Female singers are involved with both versions.
Kathputhli: Bol re kathputli dole – Lata Mangeshkar in both
Another good example of the song – one in sweet bliss with
the lover joining. Another the heroine bravely facing
the world while being buried alive.
Who else can produce such a masterpiece except C. Ramchandra
Anarkali : Yeh Zindagi Usi Kai – Film opens with the happy version
It also ends with the sad version.
Must be only one of its kind figuring the song at the very beginning and closing at the very end.

84 Shobhit June 17, 2017 at 9:54 am

Besides so many instances counted upon by all of you finest people here, I wish to bring your attention to: Ehsaan tera hoga mujh par (junglee), Tum mujhe yun(Pagla kahin ka), jab jab bahar aayi, and very beautiful Aaj kal mein dhal gaya…Saranga teri yaad mein…
Dil jo na keh saka
Zindagi bhar nahin bhoolegi woh barsaat ki raat…
There should be many more…coincidentally (rather delibrately) all of these feature Rafi in one of the versions.

85 Anup June 26, 2017 at 9:37 am

hi all,
can we include, Dil Ne Use Maan Liya From Santaan?
it has a happy and a sad version.
I havent gone through each and every comment, but its not there, i think!
its only that song, that came to my mind, when i started reading this post.
and i think,
Koi Mujhse Pucche ke tum Mere Kya Ho from Yeh raste hai pyar ke,
also has two versions………….
both by rafi.
But, i am not sure of it!

86 Ashok Kumar Tyagi June 28, 2017 at 3:10 pm

Anup @85
‘Dil ne use maan Lita’s is a nice song. In a cultural programme long back, as per faint memory, a singer sang a ‘doha’ before starting main song. Don’t know whether such recital was in the film song or it was an innovation.

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