Multiple Versions Songs (7) – Both versions by female playback singers (2) – A Happy and A Sad Version

April 5, 2013

Guest article by Mr Ashok Vaishnav

(Ashokji continues his mega series which is the seventh article in the series, a couple of which have been contributed by other guest authors, namely Mr Arunkumar Deshmukh and Mr N Venkataraman.  His last piece was on both the versions by female playback singers.  He develops the same theme further in the second part which deals with the specific case of female versions in which one version is happy and the other sad.  This article too bears his characteristic depth of research and ear for detail.  –AK) 

Multiple version songsWe continue the second part of our journey of multiple version songs in Hindi films – all versions rendered by female playback singer(s), in the form of one of the most basic use of version songs – to present a happy and a sad situation in the same film.  The instances presented here have cases where both the versions are rendered by the same female playback singer. As it happens, all songs except the last one are rendered by Lata Mangeshkar

Dustedoff, N Venkataraman, Gaddeswarup and Mumbaikar – the co-readers of SoY have already augmented this collection of All Female Multiple Version Songs during the enlivening discussion on the first part of the article of this sub-category.  I had clearly missed to collect or was not aware of the different versions of these songs.  I thank them for their valued contribution.  Since the basic idea is to bring, possibly, all songs of this genre on one platform, I have not repeated them on this post.

Incidentally, I have come across far more instances of compositions by Shankar Jaikishan in this sub-category. Therefore, I have juggled in a song by another music director in between two of SJ songs, just for the sake of variety. We also see only C Ramachandra more than once in this sub-category.

I am not very competent to draw any inferences from both these coincidences. I only assure you that this is not by design, but whatever I could lay hands on are these.

1. Barsaat mein hum se mile tum by Lata Mangeshkar from Barsaat (1949), lyics Shailendra, music Shankar Jaikishan

A happy, faster paced, a chorus dance version, which ultimately is going to shape up as SJ’s signature style for such situations:


And a sad version that has distinctively different orchestration and Lata’ style of singing:


It is said that Shailendra took long time in being persuaded to write songs for films in spite of fairly consistent nudging by Raj Kapoor. Thus this song became his maiden song.

2. Yeh zindagi usi ki hai by Lata Mangeshkar from Anarkali (1953), lyrics Rajnedra Krishna, music C Ramachandra

The first one is happy version. Note the ebullient notes from the word go, even as the lyrics are essentially better suited for the sorrow, whereas the second version is a sad version, a poignant climax to one more story of love between a commoner and a high-society scion / royalty.

Happy version


Sad version


3. Jo main jaanti unke liye by Lata Mangeshkar from Aah (1953), lyrics Shailendra, music Shanakar Jaikishan

Happy version


Sad version

The sad version probably is used on the film track only. And, this one also has Shailendra adding his lyrical touch.


4. Apanaa pata bata de ya mere paas aa ja by Lata Mangeshkar from Shagoofa (1953), lyrics Rajendra Krishna, music C Ramachandra

Happy version


Sad version

The sad version begins with an alaap, deep in sincere pathos, and then rhythm of the song becomes a little more easy paced


5. Bol ri kathputli by Lata Mangeshkar from Kathputali (1957), lyrics Shailendra, music Shankar Jaikishan

Both versions are classic examples of orchestration composed by SJ team – enjoy the use of piano accordion and ensemble of violins.

Happy version


Sad version


6. Meethi meethi baaton se bachana zara by Lata Mangeshkar from Quaidi No. 911 (1959), lyrics Hasrat Jaipuri, music Dattaram

Daisy Irani chirps in the first version to support the mood of the song. Do note the excellent use of mouth organ in the composition of the first version and dholak as fast percussion instrument.  Also, the second version has very subtle deployment of ‘duff’ and flute along with a slow paced rhythm. The second version climaxes with a positive resonating response in the voice of Daisy Irani. Enjoy the composite version.


7. Bhaiya mere raakhi ke bandhan ko nibhana by Lata Mangeshkar from Chhoti Bahen (1959), lyrics Shailndra, music Shankar Jaikishan

The first version is a very happy celebration of the festival of Raksha Bandhan, whereas the second version is when all the circumstances are diametrically at the other end, and everything that could have gone wrong has gone wrong.  A classical SJ composition, where rhythm is provided by dholak and orchestration has an excellent blending of a range of music instruments. The link below is again a composite version.


8. Menhdi lagi mere haath by Lata Mangehskar from Menhndi Lagi Mere Haath (1962), lyrics Anand Baxi, music Kalyanji Anandji

A happy and a sad version. The second version is set to a Kanya Vidai tune, and has used shehnai to reinforce the mood and lyrics. Here is a composite version.


9. Duniya mein aisa kahan sabakaa naseeb hai by Lata Mangeshkar from Devar (1966), lyrics Anand Baxi, music Roshan

The first version is of the childhood of the lead protagonists whereas the second version presents the tumultuous emotions of the reminiscences when these young protagonists have grown up and have been destined to suffer the pains of growing up in different social milieu.

Happy version


Sad version


10. Aawara ae mere dil by Lata Mangeshkar from Raat Aur Din (1967), lyrics Shailendra, music Shankar Jaikishan

A fast and a slow version, which have been uploaded together in this clip


11. Ek thi ladki meri saheli by Asha Bhosle from Gumrah (1963), lyrics Sahir Ludhiyanvi, muisc Ravi

In the first version, mausi-turned-mother aims to win over the two children by an (autobiographical) story, whereas in the sad version, now having accepted the role of the mother, the woman inside her is not able to resolve her dilemma of her past and conflicts of the future, but does remorsefully hope that whatever shall happen will be for the good.

Happy version


Sad version


I am quite sure that the knowledgeable readers of SoY would be able to add  more variations of this sub-category, like songs by other female playback singers or songs by different female singers or songs by other music directors – All Versions by Female Singers.

The journey continues…


{ 73 comments… read them below or add one }

1 gaddeswarup April 5, 2013 at 12:08 pm

I am not sure about this, both versions seem very close but in one Nalini Jayawant is sad and in another happy

There is also a sad version of ‘rahi matwale’ by Suraiya but Talat comes in both versions.

2 dustedoff April 5, 2013 at 1:15 pm

Thank you, Ashokji – this is a great list, and you reminded me of some songs I’d forgotten about (the one from Gumraah, for example). You also list some of my favourite songs, especially Awara ae mere dil and Yeh zindagi usi ki hai.

I would have loved to share both versions of one of my favourite two-version female solos, but unfortunately I can’t find the sad version online. It’s ‘Saiyyan pyaara hai apna milan’, from Do Behnen. The happy romantic version is this one:

There’s an equally beautiful but sad version later in the film.

Coincidentally, another set of songs – Dil toh razamand hai phir bhi zubaan band hai – also picturised on Shyama. This is from the film Mai Baap. The happy version:

… and the sad one:

3 harjitbhai April 5, 2013 at 8:25 pm

best wishes to you and all

4 harjitbhai April 5, 2013 at 9:19 pm


5 n.venkataraman April 5, 2013 at 9:49 pm

Ashok Vaishanvji,
Thank you. All the 11 pairs of female version (happy and sad) songs made a good listening. I enjoyed all of them. I do not remember listening to ‘Apanaa pata bata de ya mere paas aa ja’ (#4) and ‘Ek thi ladki meri saheli’ (#11) before. The five songs (#1, #3, #5, #7 and #10) of Shankar-Jaikishan-Shailendra combination were superb. So was ‘Anarkali’ song (#2) and Roshan’s composition (#9) ‘Duniyan Mein aisa kahan sabakaa naseeb hain’.

My favourites out of these 11 songs were song #5 & song #6.
The song ‘Bol ri Kathputli’ is a beautiful composition. The popular dance form from Kerala, ‘Mohiniattam’ was used in the choreography of this dance sequence. In both the versions, the Orchestration, the percussion, the dance sequence by Vyjayanthimala and the background props in the sad version were excellent. This gives us an opportunity to pay our tributes to the Orchestra arranger Sebastian. Sebastian worked on the orchestration with Shanker Jaikishan for a long time . The likes of Sebastian wer the unsung players, who worked behind the scene.

Song #6 ‘Meethi meethi baaton se bachana zara’ is another beautiful composition from the man who had composed ‘YeAansoon Bhari hai’ in 1958, Dattaram another unsung musician. He started as a Tabla and Dholak player and later assisted Shankar Jaikishan in music composition. In fact in Hindi film music everybody including Lakshmikant Pyarelal, Roshan and others used to refer to a particular Dholak ‘Bol’ as ‘Dattaram ki Bol’. Even today the practice continues. Dattaram was with Shankar-Jaikishan for more than 35 years even after he started composing independently. Many of the beautiful Dholak accompaniments we hear in SJ’s composition were played by him. My tributes to Dattaram

Needless to say, the renditions of the songs by Lata Mangeshkar and Asha Bhosle were superb.

I would add a few happy and sad female version songs later. Now I would like to share a Tamil version song of ‘Bol ri Kathputli’ by Jamunarani, music K V Mahadevan, film ‘Maangalya Bhagyam’ (1958)
Thank you once again Ashokji.

6 ASHOK M VAISHNAV April 5, 2013 at 10:01 pm

@ gaddeswarup:

We will address Rahi Matwale under a little more specific sub-category in the posts to follow. Your addition of Ae Ri Main To Prem Diwani was new to me. I do not seem to have heard the second version, because this must have been recorded for the film only. However, close listening of the second version does bring out the deep pathos.
In fact with the advent of YT, and the great army of fans who search out such gems and load them up, only a collaborative effort can bring such scattered works on the same page.
Many thanks for invaluable addition.

7 ASHOK M VAISHNAV April 5, 2013 at 10:14 pm

@ Dusted Off:

I had also tried an extensive search for the second version of Saiyan Pyaara Hai Apna Milan. But it seems that otherwise quite effective and successful fans also have not been to source the clip. However, I did benefit from listening the clip each time thought I may get the other one, for the song is so melodious, as can be expected from the baton Vasant Desai. Of course, the Vasant Desai has certainly given it a fairly different treatment than his collaborations with Bharat Vyas.
The song from Mai Baap certainly does add a song from singer other than Lata and one more music director. OPN has retained his distinctive stamp on orchestration in both versions while varying the metre of the sad version.

8 ASHOK M VAISHNAV April 5, 2013 at 10:33 pm

@ N. Venkataraman:
Thanks for filling in the colors to my rather matter of fact narrative.
Madhulika Liddle (Dusted and Anuradha Warrier (Conversations Over Chai) have done some excellent articles on these (relatively) unsung instrumentalists and music arrangers on their respective blogs. When I read those articles, I did try to dig out some information about some other great arrangers, like Sebastian. I could lay some sketchy tit-bits here and there. But, even in those days, we were quite aware of the contribution by Sebastian in terms of enriching the orchestrations of SJ’s songs, their title musics and many of their background scores through the articles in leading magazines , like Filmfare or Illustrated Weekly, and of course very prominent positioning of these two persons as SJ’s assistants in the film titles.

Dattaram of course had had quite a distinctive career of his own. I am quite sure AKji will carve out a very befitting article on his songs.

And ‘Maanglya Bhaagyam’ song so vividly brings out the difference that these duo could in the finesse to SJ’s songs.

9 dustedoff April 6, 2013 at 10:24 am

Ashokji, the sad version of ‘Saiyyan pyaara hai apna milan’ is at approximately the 1:50 mark in the film:

I also remembered another song that is in two versions: Chanda hai tu mera suraj hai tu, from Aradhana. Here is the better-known happy version:

and here is the sad, short version:

10 Mahesh Mamadapur April 6, 2013 at 11:04 am

Good Collection. Lata’s “aayi aayi raat suhaani sun le Kushi ki kahaani” from POONAM is worth being included. One interesting thing about this movie was that it had ALL songs sung by Lata only. The music was again scored by SJ.

11 ASHOK M VAISHNAV April 6, 2013 at 1:32 pm

@ Mahesh Mamadapur :
Thanks for the songs-
Aayee Aayee Raat Suhani, Sunle Khushi Ki Kahani – Poonam (1952) – Shanker Jaikishan –
In the first version, Kamini Kaushal sings the song to put the child to sleep – ,

whereas in the second version, one hand Kamini Kaushal plays piano and sings the song seemingly expecting someone, whereas the child has just passed away in the lap of of Ashok Kumar and is being brought into the house.

Apparently, this was a surprise to Kamini Kaushal –

12 Anu Warrier April 6, 2013 at 10:49 pm

Mr Venkatraman and Ashokji, if you are interested in the background musicians in Hindi films, I highly recommend Behind the Curtain: Making Music in Mubai’s Studios by Gregroy Booth. It is a very well-researched book, and tells the history of film music through the eyes of the musicians and the arrangers.

As always, Ashokji, a very fine collection of songs. From your list, my favourites are Ye zindagi usi ki hai, Blo ri kathputli dori and Ek thi ladki.
May I add my contributions?

1. Saanwariya re apni Meera ko bhool na jaana from Aanchal

It’s sad version:

2. The two versions of Suno chhoti si gudiya ki lambi kahani from Seema


The interesting thing about this song is both versions are relatively happy.

3. Chanda re chanda re chhupe rehna from Lajwanti

It’s sad version:

4. Chanda hai tu from Aradhana. The happy version.

The much-slower sad version.

13 Anu Warrier April 6, 2013 at 10:50 pm

Aaargh! *Gregory Booth! (AK, please edit!)

14 mumbaikar8 April 7, 2013 at 5:17 am

We hijacked (due to our over indulgence) some of your selected songs,
But still you did a wonderful job! My favourite apna pata batade ya mere paas aaja

Anu beat me to sanwariya re apni meera ko bhool na jana

That song breaks the monoply of Manjeshkar sisters.

15 ASHOK M VAISHNAV April 7, 2013 at 9:55 am

@ Anuradha Warrier:
Saanwariya Re Apni Meera Ko Buul Na jana is a great addition on its own, as well in terms of adding to the variety of playback singers and music directors.
I, some how, have always remembered sad version of Chanda Re Chhupe Rahen (Lajawanti) . Thanks for refreshing the memory cells with the faster version. Lajwanti belongs to that period where Lata Mangeshkar had a tiff SDB. That has given us some great Asha Bhosle songs.

Had it not been hijackers (like you), the series would not have scaled the reach of the quantity and quality that it seems to be able to cover.

16 n.venkataraman April 7, 2013 at 3:57 pm

I would like to add a few happy and sad version songs (female).
‘Suno sunaaye aaj tumhe’ by Asha Bhosle, film ‘Agra Road’, lyrics Bharat Vyas, music Roshan.

‘Tim Tim Karte Taare’ by Lata Mangeshkar, film ‘Chirag Kahan Roshni Kahan’ [1959], lyrics Prem Dhawan, music Ravi

‘Mera Chhota Sa Dekho Yeh Sansar Hai’ by Lata Mangeshkar, Film ‘Bhai Bhai’ [1956], lyrics Rajinder Krishan, music Madanmohan
Both Versions

Thank you for your suggestion. I will get hold of the book soon.

17 Mahesh Mamadapur April 7, 2013 at 6:05 pm

“Sun sun sun sun jaalimaa” from AAR PAAR was sung by Rafi and Geeta. Also, a sad version in the form of “ja ja ja bewafa” was sung elegantly by Geeta Dutt. Hope the songs fit he bill.

18 ASHOK M VAISHNAV April 7, 2013 at 9:58 pm

@Mahesh Mamadapur:
We will soon take up a specific category of a solo and duet multiple versions.
Your excellent pointer would certainly fit the bill therein.

19 Hans April 8, 2013 at 12:31 am

As usual, a very commendable job by Ashok Vaishnav.

Monopoly of the sisters is natural because most of the female songs were sung by them. Other singers got tit-bits, so getting two different songs was quite impossible. But, still there are some. The first pair I give is from Suman Kalyanpur. This song will show how capable a singer she was. The lyrics of the song are basically sad, just like ‘pardesiyon se na ankhiyan milana’ sung so beautifully by Rafi, still she has brought out clear difference in the two versions. Music is by Dattaram.

1.’Itne bade jahaan men apna bhi koi hota’ from ‘Dark Street – 1961’


2.O jane wale rahi ek pal ruk jana from ‘Raahi – 1953′ again by Lata.
(composite version)

3.’Himalay Ki God Men’ had two songs by Lata – one happy and one sad – which were opposite of each other in the real sense because the lyrics of the mukhda were also opposites.

Ik tu jo mila sari duniya mili

Ek tu na mila sari duniya mile bhi to kya

The 4th song is a challenge for all the experts because, the singer’s name is neither given by the uploader nor is available in HFGK. My guess is Geeta, because most of the female songs in the film were sung by her. May be the singer is someone else.

4.Kaisi laagi karejwa kataar from ‘Ferry – 1954’


5.Chalo chalen ma, sapnon ke gaon men from ‘Jagriti -1954’. This is another song, the lyrics of which are basically sad, but their is slight variation in the tone as well as song situation and Asha has really done a commendable job.


20 ASHOK M VAISHNAV April 8, 2013 at 9:11 am

@ Hans:
Thanks a lot for the valued additions.
#1,2,3 and 5 are most welcome re-brushing the memory.
#4 is new, to me.
I remember having seen a Tamil version of Chalo Cale Maa on YT. Probably, Mr. N Venkataraman may like to address that in his continuing work on the subject.

21 AK April 8, 2013 at 3:44 pm

I have been able to listen to all the additions at leisure only now. The readers have enhanced Ashokji’s outstanding effort tremendously. Many of the songs were unheard, some were faint in memory, and some others, only one version I could recall. One interesting point I like to mention is that the sad version of Dil to razamand hai from Maai Baap starts with the antaraa, and not the mukhadaa as is normally the case, and also with the happy version of this song. Is this a way by which the composer tries to emphasise pathos?

A very rare addition is by Hans from Ferry, music Hemant Kumar. In the ‘happy’ version below, if you notice, while the mujra dancer is uninhibited in her performance, her children watching from behind are very sad and sullen – the elder one angry and resentful at the ‘uncaring’ mother, and the younger one tearful crying for the mother. The ambiguity in picturisation makes happy/sad categorisation difficult. (Who is the dancer? She has some resemblance with Minoo Mumtaz, but it is not her).

In the sad version below, the lead actress Geeta Bali herself is performing the mujra, reluctance writ large on her face. Her dress is also not of a typical mujra dancer, but of a middle class lady. Has she been forced by the circumstances into this situation? From the picturisation and the end comments of the customers, I guess she is the daughter of the earlier mujra dancer, now grown up.

And who is the singer of this rare mujra? The voice has faint resemblance to Geeta Dutt, but perhaps it is some unknown singer. She is not identified in the YT, nor in the Hindi Film Geet Kosh.

As Ashokji says, the journey continues. It is good that there is no final destination in sight, the joy is in travelling and discovering more and more on the way.

22 mumbaikar8 April 8, 2013 at 5:11 pm

@ Hans amd Ak
Myswar has the name of the singer as Rana Gupta

23 ASHOK M VAISHNAV April 8, 2013 at 5:32 pm

Thanks, “mumbaikar8”.
Ratana Gupta, other than songs appearing on that Myswar page, does become a subject of further study, in its own right, on SoY.

24 ASHOK M VAISHNAV April 8, 2013 at 5:35 pm

Thanks Madhuji, for finding out the sad version of ‘Saiyan Pyara Hai APana Milan’ on the film track.

25 Mahesh Mamadapur April 9, 2013 at 11:04 am

Shabnam ( 1949 ) was a great musical film with duets of Mukesh with Shamshad Begum and Geeta Dutt being quite a rage during those days.
“mera dil tadapakar kahaan chala” was sung by Geeta Dutt and Shamshad Begum. There is also a solo version of the same, sung by Geeta Dutt. I really doono where one would fit these songs sung by two very great singers during their heydays.

26 ASHOK M VAISHNAV April 9, 2013 at 1:40 pm

The songs fit into the category of a solo and a duet multiple version of songs. I have noted down and would suitably address it in the forthcoming part on this specific category.

27 World of Cinema April 9, 2013 at 8:45 pm

I was obviously missing a treasure of a blog. I am always so short of time that I usually just run in and out of blogs. Today after a long time I managed to find a little time and began reading Anu’s latest post. As I finished reading it, I just happened to notice this blog on her side bar. The subject of the latest update of the blog intrigued me and I clicked on it. When I landed here I was pleasantly surprised to see the you Mr Vaishnav are the contributor. I loved the subject and your song selection. I scrolled down and went through your earlier posts too.
Before I add my songs here, I would like to tell you that I also benefited from the information that I got about music arranger Sebastian from the comments. As you know my next post is about Madhumati, so I was going through the film all over again and I noticed this name Sebastian. You see there is one song in Madhumati Toote Hue Khaabon ne, which does not sound like a typical Salil Chowdhury tune. Now that I know from Ventaraman’s comment above that Sebastian worked closely with Shankar Jaikishan it is quite likely that he contributed to this song, for this song sounds like a typical SJ song.
OK here are my two songs. They are from CID, ‘leke pehla pehla pyaar’. The peppy version is a duet by Shamshad Begum and Rafi -yes I guess this does not fit into your list because of Rafi’s presence- and the sad version has Asha Bhonsle singing the sad portions
happy version

sad version

28 chitrapatsangeet April 9, 2013 at 9:31 pm

The song “Ja Ja Ja Re Ja” from Adalat has Lata and Asha sharing it, with Lata singing the sad part and Asha singing the lilting part of it, extremely constrasting within the same song.

29 ASHOK M VAISHNAV April 9, 2013 at 10:49 pm

“Ja Ja Re Balamawa’ is a very unique experiment- for all practical purposes, two songs seem to have been seamlessly synthesized into one song. I am too layman to say whether each one is a different tune or same tune with different metre.

30 Hans April 10, 2013 at 2:19 am

The mujra dancer in the first clip is Chand Burque who was Munni Bai in this film. She also did the famous character of cruel aunt of Ratan Kumar and Baby Naaz in ‘Boot Polish’, who forced them to beg. Only the younger one in the first clip is her daughter who grew up as Gita Bali and the other one is a grown up lady. In the second clip she is seen as taking money (towards the last part of the clip) from a customer for Gita Bali.

Though Mumbaikar8 has referred to myswar which says Ratna Gupta sang these songs, but, I have my doubts. These songs were sung by some accomplished singer. Another song ‘yehi hai mere sapnon ka sansar’ was sung by Ratna Gupta and in that neither the voice tone nor the level of singing matches ‘kaisi lagi karejwa katar’. It seems Ratna Gupta was some relative of Hemen Gupta, who was producer and director of both ‘Ferry’ and ‘Taksaal’, the only two films in which she sang as playback singer.

31 chitrapatsangeet April 10, 2013 at 2:53 pm

Ashoki, I meant “Ja Ja Re Ja Saajna”, hope you meant the same.

32 arvind April 10, 2013 at 10:18 pm

@ashok vaishnavji
please listen to this one. (sajan sang kahe neha lagaye-main nashe mein hoon(1959).
any simlarities !?

33 ASHOK M VAISHNAV April 10, 2013 at 10:46 pm

My mistake in picking up ‘baalamawa’ in place of ‘saajanawa’
@arvind – also seems to mention similarity of tune with this, but in different metre, and of course vastly different orchestration.

34 AK April 11, 2013 at 12:14 am

Ja ja re ja saajnaa is a very interesting song. The examples we have seen so far have similar tunes, only the tempo becomes faster or slower to show happy or sad moods. In this song, besides the difference in tempo, the tunes are completely different. Meter being identical does not matter – with the same meter, two songs may sound entirely different.

35 AK April 11, 2013 at 12:20 am

Thanks for the information on Chand Wirk (I guess this should be her surname). As for Ratna Gupta, there is some meeting point between the two songs, Kaisi lagi karejwa katar and Yehi hai mere sap no ka sansaar. These have some resemblance to Geeta Dutt.Therefore, myswarmight be correct.

36 Hans April 14, 2013 at 1:33 am

You are right about ‘ja ja re saajna’. Madan Mohan – the master that he was – gave different treatment to both tunes. In fact, (as per HFGK) these songs were released on separate records as solos and were picturised in a composite manner to show the contrast in the situation of the two persons on whom they were picturised.

The name of the actress in ‘kaisi laagi karejwa’ is not Chand Wirk. Her name was given as Chand Burke in some and Chand Burque in some films as per IMDB. The voice of Ratna Gupta resembles in ‘yehi hai mere sapnon ka’ but level of singing in that song is not comparable to the other two songs. That is only my guess and I cannot say with surity that she did not sing those songs.

37 AK April 14, 2013 at 10:11 am

Thanks for the clarification and your comments.

38 gaddeswarup April 24, 2013 at 4:26 pm

I do not think that this fits in here but may be useful for a future post. I noticed yesterday that ‘aeri maito perm diwani’ seems to have come on about five occasions in the movie. More discerning people may check the differences. One new to me is version in which Ashoka Kumar plays it on the flute for minute
The other four are on the right side of the page. There may be one more not in that list.

39 ASHOK M VAISHNAV April 24, 2013 at 5:19 pm

What A find!

40 AK April 25, 2013 at 11:10 am

Thanks for this gem. Roshan was great with the flute. We should also thank Mr GR Khokhar who has uploaded it.

41 n.venkataraman April 28, 2013 at 10:24 am

I failed notice your comment(#38) and the upload earlier. After it came to my notice, I ended up watching the movie yesterday. In fact the entire movie revolves around this song. You have correctly pointed out that there is one more version which is not there in the Daily Motion upload.

Thank you for bringing to notice this gem.

42 gaddeswarup April 28, 2013 at 2:29 pm

Venkatraman Ji,
I might have written about this another thread. A few songs that heard in childhood kept going round my head later on and when I started working in Bombay in 1964, I looked for them. But this eluded me. Not knowing the language and not seeing films did not help. Long after I left Bombay, I was back there in the nineties and Visited Rhythm House with a friend Murty, looking For Aan songs which I used to hum for my children, after finding the Aan songs, I casually mentioned about this song and he asked me to hum it. But my singing aspirations were killed around 1952. When I sang Aah songs for a cousin, he told me that they were nice but I should not sing in the presence of others. Anyway, I did my best and Murty who is very knowledgeable about Hindi songs immediately said that it was from Nau Nahar and we found it. Once the YouTube came, I listen to itwhenever I see it and usually listen to it at least once a week. It is probably my most favorite song and may be that is why I noticed that there were different version though I am not good with musical nuances. I often seem to have trouble distinguishing between Geeta Roy and Asha Bhosle and sometimes with other women singers too. This does not happen with men except perhaps, Hemantha Kumar, Subir Sen. Perhaps AKJi will have some explanation.

43 AK April 29, 2013 at 12:18 am

I doubt if there could be a general theory about similarity of voices. You might have seen earlier on this blog discussion about a famous case of misattribution of Tum jiyo hazaro saal from Sujata. For many years this was attributed to Geeta Dutt by HMV, and consequently by the All India Radio. The listeners also got conditioned to treat it as Geeta Dutt song. Much later, Asha BHosle was able to get the HMV correct the error.

If you have Geeta Dutt-Asha Bhosle confusion in females; in males, the similarity of Hemant Kumar with not only Subir Sen, but also Dwijen Mukherjee is much closer, and it would require a very sensitive year to differentiate. Later we had Rafi’s carbon copy in Anwar.

44 gaddeswarup April 29, 2013 at 3:15 am

AK ji,
The problem is particularly pronounced (for me) in all female songs. I read somewhere that Shamshad Begum sang a line or two in ‘Kali ghata…’ but I find it difficult to find the lines. I cannot remember off hand but there are some Geeta -Lata duels (for example one in Panchayat 1959) where I find it difficult to distinguish the voices. But this must be clear to experts. This happened a few times but I did not really keep a list of the songs.

45 A.N KALE AGED 63 September 27, 2013 at 2:44 pm

Pl provide me notesfor Old 1957 Movie song
Mera chota sa dekho yeh sansar hai

46 AK September 27, 2013 at 5:28 pm

A N Kale,
This is a song from Bhai Bhai (1956) sung by Lata Mangeshkar in two versions – happy and sad. Its lyricist was Rajendra Krishna and music director Madan Mohan. I like the happy version better as a song. But if you ask my comment about its picturisation, AVM’s notion of domestic bliss in which the wife is taking off the shoes of the husband back from work, makes me cringe. Did they ever show the husband taking off the slippers from of his wife? Here are the two versions.

Mera chhota sa dekho ye sansar hai (Happy)

Mera chhota sa dekho ye sansar hai (Sad)

47 mumbaikar8 September 27, 2013 at 6:23 pm

AVM’s notion?
Was that only AVM’s notion?
Whether we like it or not not, that was or may I say is the narrative of many housewives of our country.
To maintain peace and harmony in marital life they do it.

48 mumbaikar8 October 5, 2013 at 2:29 am
49 Jignesh Kotadia October 5, 2013 at 12:55 pm

”Lena abhi kashmir hai yeh baat na bhulo
Kashmir pe lehrayenge zanda uchhal ke”

Terrific jagrati is being given to new blood !

50 mumbaikar8 October 29, 2013 at 6:34 pm

In this song from Paisa hi Paisa Rafi starts it on a comedy note but soon Asha joins in on a very sad note followed by Kishore
and finally Lata comes in.
Initially it appears as multiple version song Rafi Asha Kishore and Asha Kishore and Lata but listening to it very
attentively I can feel all four of them singing together in the end
I cannot locate the video of this online and according to MySwar Rafi Asha and Kishore are the singers, I think that is not correct because I hear Lata loud and clear.

Any body with more information on this song?

51 AK October 29, 2013 at 7:24 pm

HFGK also lists Rafi, Kishore Kumar and Asha Bhosle as the singers. You are right 5.09 to 5.50 Lata Mangeshkar’s voice is very clearly audible. Sharp observation!

52 mumbaikar8 October 29, 2013 at 8:35 pm

And that makes it a rare song.
How many songs do we have where all four diggaj have sung?

53 AK October 29, 2013 at 9:50 pm

Mumbaikar8, If not the same four, there should be many songs with four or more well known voices. However, this is indeed an interesting category.

54 arvindersharma April 13, 2014 at 3:57 pm

A beautiful song from ‘Tasveer’, sung by Asha,
Main teri dil tera re mitwa’ sung in both happy and sad moods under the baton of C.Ramchandra seems to have skipped everyone’s attention.

55 arvindersharma October 11, 2014 at 5:02 pm

Continuing from where I left this post last time, here are both the versions of the song from Tasveer as mentioned above ;
main teri dil tera re mitva-Tasveer:

Main Teri Dil Tera Re Mitwa – Aasha G:

My favorite, famous Naushad/Lata song, ‘Jogan ban jaaungi’ and its variant, ‘Jogan ban aayi hoon’ accompanied by a beautiful she’r,’ Ishq me tere qafni odhi’, from Shabab, both the versions in this link ;
jogan ban jaungi sainya tore karan..Lata_Shakeel …:

And finally, two versions of a very melodious non film Geeta Dutt song, composed by Nikhil Ghosh, brother of the famous flutist Pannalal Ghosh.
Haule haule hawaayen dole ;

Haule Haule Hawayen Dole..Geeta Dutt (NFS1954) – …:

56 Ashok M Vaishnav October 11, 2014 at 7:57 pm

Thanks Shri Arvindji, for keeping the discussion live and rich.

57 Hans October 12, 2014 at 8:20 pm


The film Tasveer came and went unnoticed, but I remember happy version of this Asha song was played quite frequently on Radio even in early 70s and I remember I could never make out the lyrics after ‘arre re phir aur se….’. Thanks for the link to this song. I listened to it many times and deciphered the lyrics as ‘arre re phir aur se pritiya kyun’. What do you say on this. Others are also requested to listen and confirm whether I am correct or not.

I watched Shabaab again a few days ago. It was special for Lata in the sense that she perhaps sang the best in this film for Naushad. I say this despite her singing for him in Amar, Mughl-e-azam and Udan Khatola. All her solos in the film are gems.

The Geeta Dutt song is also very good but their does not appear to be any difference in the two versions except in the start.

58 arvindersharma October 12, 2014 at 8:44 pm

Hans Ji,
Thanks for your comments firstly.
I had the same dilemma as you had, and have the same conclusion.
Well, how many times I must have played my cassette for this particular word, and it was really frustrating not getting to know the right lyrics.
I share your views regarding Lata singing her best in Shabab. Another one, which people tend to forgot is Sohni Mahiwal, a great favorite of mine.
‘Mera bichada yaar’ and ‘Tumhare sang’ especially.
In the Geeta Dutt song, I found the second version sung at a faster pace, but I was not sure.
Still, I found the versions worth mentioning as I regard it a special song.
Thanks once again for your kind words.

59 AK October 13, 2014 at 12:06 am

Sharmaji, Hans
I would also like to thank Sharmaji for highlighting these songs – one generally forgets that they have more than one version.

Are re phir aur se/ki….kyun. It intrigued me too. I always took the word as fikira (in the sense of parwaah) – it did make some sense. HFGK mentions pratya (प्रत्या) – I doubt if a word like that exists. A site which gives lyrics of songs mentions fiki aakul. Very odd.

Hans, I entirely endorse you on Shabaab. Naushad’s one of the greatest scores. However, the plot’s development and end seems quite illogical after a very promising beginning.

60 Hans October 21, 2014 at 11:13 pm

Sharmaji, AK
Naushad gave great music in almost every film he composed for and Sohni Mahiwal was no exception. There are a number of gems in that film, but it failed at box office, therefore it was talked about less than others.

So far as Shabaab is concerned, I agree with AK that it had a wierd ending. Its story is based on a folk tale which was told by my uncle in my childhood and it was a happy ending. The development of the story also demanded a happy ending. But, in those days tragedy films had become a fashion after the series of successes like Mela, Dillagi, Andaz, Deedar, Baiju Bawra, Mahal, Babul. In most of these tragedies Naushad gave music, so people thought it to be some good omen for success. And the easiest of tragic ending was Heer-Ranjha type. Dillagi was almost a Heer-Ranjha type story with great music. The same type of ending was used in Shabaab also.

61 arvindersharma October 22, 2014 at 2:28 pm

Hans Ji, AK Ji,
I am a total audio buff and hence have very little knowledge of the film plots or storylines.
Its only when I made the mistake of attributing the situation of the nazm, ‘Main aahein bhar nahi sakta’ from Aasman Mahal to a mushaira setting from my childhood memory, I started viewing YouTube before making comments.
Hearing only first rate music and not having to go through the grinf of watching inferior quality films is definitely a saving grace (my personal view).
But Hans Ji, I really envy and enjoy your in depth knowledge in this regard.
I totally agree with you that Naushad gave great music in almost every film he gave music for, and I consider him to be the most successful MD, alongwith S D Burman, of HFM.
With this, I wish to extend my Dipawali greetings to all the SoY participants and wish them happiness and prosperity in life.

62 AK October 22, 2014 at 3:07 pm

I am also entirely in your club – quite content with the songs. Especially, after I found some of the films I watched with great excitement to be dated, if not completely illogical.

Thanks for reminding again about the song Main aahein bhar nahi sakta – a rare double atariya song.

Diwali greetings to you too and everyone. I have a post lined up for tomorrow.

63 ksbhatia October 22, 2014 at 11:59 pm

AK’ji and all other members of SOY family ….A very happy diwali to all of you and your families. Diwali reminds me of two songs from the movie …..Nazrana…. one by Lataji singing the happy version ” Mele hain chiragoan ke rangeen diwali hai ” and second by Mukesh singing the sad song ” Ek woh bhi diwali thi ” . For lovers of the vintage era listen to Amirbai Karnataki ‘s song ” Ghar ghar mein diwali hai ” from 1943 movie ” Kismat ” music by Anil Biswas.

64 N Venkataraman October 23, 2014 at 10:00 am

A Very Happy Diwali to all the members of the SoY family.

65 mumbaikar8 August 1, 2015 at 10:55 pm

Ashokji AK,
Absolute beauty! Happy Asha sadLlata versions from Samrat Yeh kahmoshiyan yeh sama.
Arvinder Sharmaji
Special note , I love Asha’s version..

66 arvindersharma August 1, 2015 at 11:14 pm

Well, a great find again and endorse your views entirely on the song, the Asha version is definitely much better.
One more member of Asha Bhonsle fan club is Arvind Ji, and I hope my comments here, bring him back to SoY.
(After a long period, I mean).

67 AK August 2, 2015 at 12:07 am

Great find. I abstain in the face of a strong Asha Bhosle Fan Club.

68 Ashok M Vaishnav August 2, 2015 at 9:23 am

Indeed a great find.
In the comment to the second (ostensibly Lata) clip, a reader (Sanatkuar Acharya) seems to credit the version to Asha. However, listening to the song does not seem to provide any conclusive hallmark traces for the either one, at least to me. I have not been able to cross check with HFGK.

69 mumbaikar8 August 2, 2015 at 10:23 pm

It seems that Mr. Sanatkumar Acharya is confused between (Happy) and (Sad) versions, the happy version is sung by Asha.
This particular version is (sad) I checked at several sites and according to all of them sad version is sung by Lata.
Listening to the song, I think it is Lata.
Avrinderji and AK do not doubt it either.
Thanks. Asha is outstanding, no doubt.
Thanks. Me a strong member of Asha Fan Club?
For female singers my stand is like Kabira.
“ना कोहू से दोस्ती ना कोहू से बैर” I give my opinion according to what I feel about a song.

70 arvind August 3, 2015 at 8:03 am

sharing asha singing kabeer (ankahee(1985)/jaidev)

71 arvind August 3, 2015 at 8:09 am

# 70
posting the link again :

72 Naresh P. Mankad August 3, 2015 at 8:26 pm

It would not seem proper to intervene in a discussion with such details and a wealth of information except to put in a few words of personal opininon.
Surprisingly, I too was more impressed by Asha’s fresh voice of 1950’s inspite of being a Lata fan. I am not sure but one more factor that may perhaps have influenced my liking is the slughtly higher note of singing.
Naubahaar’s Aeri main to prem-diwani has always remained for music lovers a typical example of Bhimpalasi. The serene flow of the song has a perennial appeal.
A rich post and enlightening discussion indeed.

73 Ashok M Vaishnav August 6, 2015 at 8:42 pm

#Naresh P Mankad
SoY discussions panel and channels have remained quite open to its readers. So it is never too late to join any thread, either to update some piece of information or share some experience or opinion in light of something new that may have come up.

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