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