Guest article by Ashok M Vaishnav
(In his last post Mr Ashok Vaishnav covered a sub-category of multiple version songs in which the two versions are sung, generally, by the same male playback singer, one version being happy, and the other sad. At times, the two versions are not so clearly differentiated – the variation in moods is more subtle than simple happy-sad division. You can trust Mr Vaishnav to peel the layers of meaning – in the third part of his mega series he makes a superfine analysis of this sub-sub category of multiple version songs. – AK)
The most frequent and popular use of hybrid songs in the same film is to depict a happy and a sad mood situation. We have covered a set of songs rendered by all male singers in our last episode. Today we will take a slightly different journey through a specific sub-category of multiple version songs in Hindi Films – all versions rendered by male playback singer(s) – Different Moods.
A. Two different shades of the same mood
This is a rather interesting use of different versions – to depict different shades of the same mood.
1. Aa teri tasveer bana lun by Talat Mahmood from Nadaan (1951), lyrics PL Santoshi, music Chic Chocolate
This song has another version, for which the credit of composition is given to C Ramchandra in this video clip. Here is an interesting background information provided by the uploader of the video clip – “This song was made by C. Ramchandra’s assistant, a man named ‘Chic Chocolate’ who was C. Ramchandra’s full time assistant till early 50s. Notice the C. Ramchandra style in it”. Dustedoff has written quite an interesting article on Chic Chocolate here.
2. Kaun aya mere man ke dware by Manna Dey from Dekh Kabira Roya (1957), lyrics Rajendra Krishna, music Madan Mohan
Here is a song which has been subject of a good deal of ‘trivia’ discussion at several forums. Madan Mohan is said to have ‘bribed’ Manna Dey through a self-cooked dinner for this song.
In the first version, the male protagonist (Anoop Kumar) literally waits for his ‘someone’ to re-arrive at the office, where he eagerly keeps on pacing the arrival. The second version is what is available on records, where the song is now rendered for another lady. The lyrics and subtle variations in the delivery of the lyrics match the nuances of the varying situations in the two settings. Enjoy the two versions in this composite video.
3. Mere mehboob qayamat hogi by Kishore Kumar from Mr. X In Bombay (1964), lyrics Anand Baxi, music Laxmikant Pyarelal
Both are pensive songs, but rhythms and lyrics are different, as different are the moods and contexts of the two versions. In the first version, only Kumkum is visible, the ‘invisible’ Kishore Kumar (one of the inspirations for Mr India, the other being Brahmchari?) sings to her. In the second version, only Kishore Kumar – now visible – is in the frame, ambling down the landmarks of Bombay, forlorn, singing this song.
4. Dil tham chale hum by Mohammad Rafi from Love In Simla (1960), lyrics Rajendra Krishna, music Iqbal Quershi
The video clip has titled this as 2nd version, but obviously, this is the way song comes first in the film, where the hero is happily trudging forward to realise the title of the film.
And we have a small clip with which the film happily ends with the same song, with a difference in the ‘dil’ that our hero holds with himself in the two situations.
5. Aane se uske aaye bahar by Mohammad Rafi from Jeene Ki Raah (1969), lyrics Anand Baxi, music Laxmiknat Pyarelal
This song is on the outer limit of the normal time line scope of this blog, but since the film is said to have Telugu version too, the song may also have a Telugu version. Therefore, I have included it here, hoping that some knowledgeable reader introduces us to that version. One can ‘listen’ to different moods – carefree enjoyment in the first version, whereas a pleading, counseling, with a touch of seriousness in the tone in the second. The two versions have different lyrics to suit the respective moods.
B. RK- SJ signature use of different versions of the title song
RK – SJ combination have developed this very unique style, wherein the title song is tweaked – sometimes by using a very small piece in a different style, sometimes a full song in a different style – for ending of the film. Here is an example of its all-male different version:
6. Jis desh mein Ganaga baheti hai by Mukesh from JDGBH (1960), lyrics Shailendra, music Shanker Jaikishan
The more popular version on records is Hothon pe sachchai raheti hai, jahan dil mein safai raheti hai….jis desh mein Ganga baheti hai.
Here is a different version, having different rhythm and scale of the song, filmed towards the climax sequence of the film:
C. More than two versions of the same song
7. Tum bin jaun kahan from Pyar Ka Mausam (1969), lyrics Majrooh Sultanpuri, music R D Burman
This is one melody, three versions for three different situations and moods. In the composite link below, the first version by Rafi is a soft romantic song lip-synched by Shashi Kapoor, strumming the mandolin in the garden, as Asha Parekh watches him from her window, and gingerly approaches towards him. The middle part is by Kishore Kumar, lip-synched by Bharat Bhushan. KK for Bharat Bhushan, especially the yodelling has come in for a good deal of discussion in the last post. The last version is again by Rafi – this one is now a party song by Shashi Kapoor on the piano. This is a clichéd setting for the hero to pour out his (misconceived) grievances against the lady, until the things are sorted out in the climax.
And, as is the wont of Bengali music directors, it has a Bengali version as well, by Kishore Kumar, Ek din pakhi ude:
D. A solo and a chorus version
I have one of my all-time emotion-stirring songs in the category here:
8. Watan ki raah mein watan ke naujawaan shaheed ho from Shaheed (1948), lyrics Raja Mehdi Ali Khan, music Ghulam Haider
The first, a happy version is a rousing patriotic chorus song led by Mohmmad Rafi and Khan Mastana.
And its extremely sad version, the second version is a solo by Mohammad Rafi where the whole nation wept over the death of a young, brave martyr along with the beloved one of that youth in a stream of silent tears. The same feeling of loss, but having different emotional reasons. As the film ends with this heart wrenching song, Ram Prasad ‘Bismil’s iconic couplet Shaheedon ki chitaaon par lagenge har baras mele, watan par marne walon ka yahi baqi nishan hoga comes in voice over.
E. A classic ‘cover version’
9. Chal ud ja re panchhi by Mohammad Rafi from Bhabhi (1957), lyrics Rajendra Krishna, music Chitragupta
This songs has a happy and a sad version, both by Rafi.
And here is this cover version rendered by Talat Mahamood, which remains a classic example of a version song as understood in the West. However, as commented by Subodh Agrawal earlier, the motivation for this particular song is not conclusively established.
We had quite a lively discussion in the previous category. Obviously, since the entire road map is not known, it is quite likely that some of the songs that I have planned to include in the subsequent posts would appear in the ‘comments’. However, I have generally retained/added them in my final presentation so as to maintain the records in order, on the same page.
Looking forward to some more exercise to the grey cells to enrich this series. Au Revoir, Shabba Khair .