Shankar Jaikishan’s duets (2)

May 16, 2017

Shankar JaikishanIn the first part of Shankar-Jaikishan’s duets, I covered the songs in which either Mukesh or Rafi sang with a female singer. They being the predominant singers, one would think that that post would cover most of the famous duets composed by them. But SJ were hugely talented and diversified, and played a key role in introducing or boosting the career of many singers. Subir Sen, who was among the top singers of Bengali songs, is mainly their gift to Hindi film music. Mukesh’s forays into acting and film production gave an opening for Manna Dey as the voice of Raj Kapoor, and SJ created some iconic duets like Pyar hua iqaraar hua, Aa ja sanam madhu chaandni mein hum, Ye raat bhigi bhigi etc. Even though SD Burman gave Manna Dey his first big hit Upar gagan vishal, and was his uncle KC Dey’s protégé, Manna Dey credited SJ more for giving him prominence. We have also seen that SJ used Talat Mahmood’s voice in at least nine films, more than most composers, though they may not be counted among the elite group who gave the best songs for him. They have used Hemant Kumar sparingly, but they managed to compose a couple of his greatest duets.

SJ were a genius at composing songs with three or more distinct singers. Some of these songs have acquired an iconic status. It was not merely a matter of adding more singers, but also of different orchestration and tune for each stanza to go on a different actor on the screen to show different emotions.

Thus, the simple vanilla duets, with Rafi or Mukesh as the male voice against a female singer, is only one aspect of SJ’s repertoire of duets. In this part two, I cover their remaining duets with male singers other than Rafi or Mukesh against a female singer, or male-male or songs with multiple singers. His best female-female duets have already been covered in my post on their female dance duets.

Hemant Kumar

Readers would be surprised by my choice to start with Hemant Kumar because he does not figure prominently in SJ’s music. The simple reason is that besides Yaad kiya dil ne kahan ho tum from Patita, this duet is out of this world.

1. Aa neel gagan taley pyar hum karein (with Lata Mangeshkar) from Badshah (1954), lyrics Hasrat Jaipuri

There never was a more romantic duet. The only song which can come close is Ye raat ye chaandni phir kahan, and that says a great deal about this immortal SJ duet for the sweetest Hemant Kumar and Lata Mangeshkar. My guess is that it could have been picturised on Pradeep Kumar and Mala Sinha, but the uploader has used his creativity to compile on the greatest romantic couple Dilip-Kumar and Madhubala.

Talat Mahmood

2. Chaahe nain churao chaahe daaman bachaao (with Lata Mangeshkar) from Aas (1953), lyrics Shailendra

There has long been a tradition of dance songs (solos or duets) picturised on minor actors who are being watched by the lead actors. Many such songs have acquired an iconic place, such as O janewale baalamwa laut ke aa laut ke aa; Le ke pehla pehla pyar etc. Here the coy couple, Shekhar and Kamini Kaushal, seem to be newlywed, not being able to overcome their inhibition. The exuberant dance duet reflects their internal desire to break out. SJ choose Talat Mahmood who is atypically breezy and naughty, and create one of my greatest favourites.

Kishore Kumar

In Kishore Kumar’s phase as actor-singer, SJ gave music only in a couple of films for him, but they managed to give some everlasting songs in Shararat and Rangoli. Here is a delightful breezy duet so typical of Kishore Kumar.

3. Ek nazar kisi ne dekha aur dil hua deewana (with Lata Mangeshkar) from Rungoli, lyrics Shailendra

Subir Sen

I have done an exclusive post on Subir Sen’s Hindi film songs which covered most of his well-known songs, many of which happened to be composed by Shankar-Jaikishan. Let us refresh our memory with Dheere chalaao zara.

4. Dheere chalaao zara, dheere chalaao zara, mohabbat ki gaadi mein hum do anaadi (with Lata Mangeshkar) from Aas Ka Panchhi (1961), lyrics Shailendra

Manna Dey

Manna Dey was the third most important male singer for SJ after Mukesh and Rafi. Many of their iconic duets have appeared on SoY. I present a small sample from a large number of songs.

5. Nain mile nain kahan (with Lata Mangeshkar) from Basant Bahar (1956), lyrics Shailendra

6. Ye raat bhigi bhigi ye mast fizaayein (with Lata Mageshkar) from Chori Chori (1956), lyrics Shailendra

Pyar hua iqaraar hua from Shri 420 has achieved a special niche as an iconic song of romance, but I like more the two duets from Chori Chori.

7. Aa ja sanam madhur chaandni mein hum (with Lata Mangeshkar) from Chori Chori (1956), lyrics Hasrat Jaipuri

8. Chham chham lo suno chham chham (with Lata Mangeshkar) from Ujala (1959), lyrics Shailendra

SJ had an amazing team. I don’t know how they divided the lyrics between Shailendra and Hasrat Jaipuri, but they established a nice balance between the two. This film had another great Manna Dey-Lata Mangeshkar duet, Jhoomta mausam mast maheena – this one written by Hasrat Jaipuri.

Hybrid songs

9. O Ramaiya vastavaiya by Rafi, Mukesh and Lata Mangeshkar from Shri 420 (9155), lyrics Shailendra

Shankar uses his Andhra background to weave the Telugu words ‘O Ramiya vasatavaiya’ beautifully in this group song. The innocent-hearted poor in the big, bad metropolis live out their lives on the streets, their entertainment being singing together songs which bring out the poignancy in their lives. Raj Kapoor had briefly strayed into the other world, making Nargis mourn the loss of her love: Yaad aati rahi dil dukhaati rahi, apne dil ko manana na aaya humein/ Tu na aaye to kya bhool jaaye to kya, pyar karke bhulana na aya humein. Raj Kapoor, however, always belonged here, and joins in with Rasta wohi aur musafir wohi ek tara na jaane kahan kho gaya/ Duniya wohi duniyawaale wohi koi kya jaane kiska jahan lut gaya in the pathos filled voice of Mukesh. Great lyrics, matched by perfect picturisation, three great singers with great music by SJ make this an immortal classic.

10. Hai aag hamaare seene mein by Manna Dey, Mahendra Kapoor, Mukesh, Lata Mangeshakar and Geeta Dutt from Jis Desh Mein Ganga Bahti Hai (1960), lyrics Shailendra

SJ were tasked with creating music in ravines inhabited by the toughened bandits. Raj Kapoor enters their world with his simple message of love, making the Sardar’s daughter, Padmini, fall for him. The Sardar’s acolyte, Pran, who had always eyed his mantle and coveted his daughter, would have none of it, so there is Manna Dey to convey Hai aag hamaare seene mein/ Takraate hain jo is taakat se wo mitti mein mil jaate hain. Raj Kapoor’s (in the voice of Mukesh) reply is deflating: Tumse to patanga achchha hai, jo hanste huye jal jata hai/ Wo pyar mein mit to jata hai, par naam amar kar jata hai. The girls Padmini (and Chanchal?) leave no doubt which side they are on, Oye hoy hoy, hum bhi hain tum bhi ho dono hain aamne saamne/ Dekh lo kya asar kar diya pyar ke naam ne. Again the singers, music directors and the director/cinematographer combine at the peak of their talents.

11. Har dil jo pyar karega wo gana gayega by Mukesh, Mahnedra Kapoor and Lata Mangeshkar from Sangam (1964), lyrics Shailendra

Brash Raj Kapoor not only declaring, but imposing his love – Har dil jo pyar karega wo gana gayega…/Jis mehfil mein shama ho parwana jaayega, the tongue-tied real lover Rajendra Kumar muttering meekly Apni apni sabne kah di, hum phir bhi chup chaap rahe, and Vyjayanthimala torn between the two, lamenting Ab kah dungi karte karte kitne saawan beet gaye/ Jaane kab in aankhon ka sharmana jaayega, is a perfect situation for a triad song.

12. Ketki gulab juhi champak ban phoole by Manna Dey and Bhimsen Joshi from Basant Bahar (1956), lyrics Shailendra

When Manna Dey was told that he had to sing this song in competition with Pt Bhimsen Joshi, he chickened out, but was encouraged by his wife that it was only a movie situation. A film playback singer pitted against a maestro of Hindustani classical music is different from two classical maestros – DV Paluskar and Amir Khan – dueling Aaj gaawat man mero in Baiju Baawra for Naushad, but SJ handle the challenge competently.

13. Room jhoom ke basaao baansuri by Rafi and Krishnarao Chonkar from Pooja (1954), lyrics Shailendra

SJ had used a playback singer with a classical singer earlier in this Rafi-Pt Krishnarao Chonkar. I could not get any information about Pt Chonkar on the net. My guess is he must be from Gwalior gharana. His only other film song I am aware of is also a duet with Rafi, the Bhairavi thumri Baat chalat nai chunri rang daari from Rani Roopmati (1959), composed by SN Tripathi.

{ 80 comments… read them below or add one }

1 D P Rangan May 16, 2017 at 6:23 am


Another pearl added to the SJ Duet necklace. Looks like the effort will be like a penelope’s web and continue ad infinitum. With Rafi and Mukesh already adorning the mala, choice is limited and this could dam sufficiently the Bhatiaji riverflow. Ars gratia artis seems to be your motto. I am puzzled to observe that not one song from the film Boot Polish is portrayed here. Let me add one :

Raat gayi oh raat gayi by Manna Dey & Asha Bhonsle, lyrics Saraswati Kumar Deepak. This is part I

Another by Manna Dey, Madhubala Javeri and Asha Bhonsle from the same movie Boot Polish(1954), lyrics Shailendra
Thahar Jara O Jhanewale
I have left out another duet which will fit in this post.

2 N Venkataraman May 16, 2017 at 8:29 am

Thanks for the promised second part of SJ’s duets. You have done a great favour to SJ’s fans, in bringing out another excellent post on their top duets.

Aa neel gagan taley pyar hum karein is a nice duet. In the song Dheere Chalao Zara Subir Sen sounds more like Mukesh rather than Hemant Kumar. BTW this song uploaded by you is blocked. All the four Manna-Lata duets are superb and the three songs by multiple singers are indeed special. And the two classical duet numbers are excellent. Both the songs could have been posted in the previous post of Ashwinji , Beena madhur madhur Kacchu bol.

I think SJ gave only two duets to Hemant Kumar. Talat Mahmood had 6 and Subir Sen 5.
It seems Kishore Kumar (around 50) had more duets than Manna Dey (around 40).
Kudos for a well-balanced selection and presentation of songs.

3 KB May 16, 2017 at 9:25 am

An excellent compilation. However,I felt that one more song each with Talat Mahmood ,Mahendra kapoor and Hemant Kumar from the films Roop ki rani choron ka raja and Patita. and one more duet of Subir sen could have been included.

4 N Venkataraman May 16, 2017 at 9:37 am

Yes. Not much information is available on Pt. Krishnarao Chonkar. I believe, in the song Madhuban mein Radhika nache re, the taans picturised on Mukri were sung by Pt. Krishnarao Chonkar. Jaidev had trained under Pt. Krishnarao Chonkar for few years.
There was one Krishna Rao Shankar Pandit who belonged to Gwalior Gharana. I do not think, Pt. Krishnarao Chonkar is the same person.
There was another singer, Pandit Krishna Rao Pulambrikar, also known as Master Krishna Rao. He was a disciple of Pandit Bhaskarbua Bakhle. Pandit Bakhle had undergone training in Gwalior, Agra and Jaipur-Atrauli Gharanas.
I hope Ashwin Bhandarkar can throw some light on Pt. Krishnarao Chonkar.

5 ksbhatia May 16, 2017 at 9:45 am

AK ji ;

You must have read my mind , because your this gift is what I wanted on my coming birth day , falling on 25th May ’17 .

You are perfectly right ; SJ truly carried emotions progressively thru their orchestra , changing interludes , preludes and even postludes for both happy , sad Solos as well as Duet songs . Tera jaana …….from Anari and Bechain nazar khoyi si dagar……..from Yahudi are random examples . Ajeeb dastan hai yeh….and …aajao tadap te hain arman….are the two classic examples where every interlude is different after each stanza of the song . One can trace the improvements in their orchestra over the years right from the early 50s ; progressively thru 60s . They striked the peak in mid 50s with shree 420 and maintained it thereafter ; attaining high benchmarks with Anari and Chori Chori music .

D P Rangan ji , Since monsoon is yet to strike , the spillway gates will be opened only when the upstream water attains alarming levels , taking care of the down stream habitants and fields . However I intend to use some irrigation sluices for gentle flood moderation ; and here are a few of SJ’s cross section of variety of songs which I hope every SJ ‘s fans would like to hear as they are different from the allredy listed popular songs.

1956,57,58,1959….duniya ka daancha badla…..Manna dey, Lata…Anari

Tu roop ki raani mein choroan…..Talat, Lata…..Roop ki raani ….

Chhu na lena mujhe …..Asha, Manna dey…..Baghi Sipahi….

Aaja re aaja aaja nain duware…..Asha, Subir Sen…..Roop ki rani …

Aaja re Aaja more sajaniya…..Lata, Manna Dey….Jwala

……to be contd.

6 Anu Warrier May 16, 2017 at 12:05 pm

Loved the post, and the songs. Like you, Ye raat bheegi bheegi is a huge favourite, much more so than the songs from Ujala. I grew up with an SJ-bhakt father, so this post took me back to my childhood. 🙂

The Jis Desh Mein… song has a typo: Raj Kapoor’s verse goes thus: Tumse toh patanga accha hai, jo hanste huye jal jaata hai/ Woh pyar mein mit toh jaata hai, par naam amar kar jata hai.

7 Arunkumar Deshmukh May 16, 2017 at 12:11 pm

Ref comment No 4

AK ji/ N. Venkataraman ji,

Master krishnarao Chonkar was born on 25-12-1908 in Bombay. He studied upto Matriculation. Then he started acting as Hero in Bal Gandharv’s Natak mandali. After the advent of Talkie films, he started acting in films.
He had got training from Govindrao Dhurandhar,Mohan Palekar,Shanker Rao etc. He used ihs classical usic on stage more than films. He had worked and sung songs in films Ameerzadi-34,Sauhagya laxmi-34, Payam e Ulfat-34. Then he turned to Gujarati stage.
He sang in Hindi films from 40 to 60. S-J used him in Pooja-54, also sang in Harihar Bhakti-56,Rani Roopmati-59 etc.
He had 2 daughters and 1 son. His daughter Nalini also became Heroine and a dancer in Hindi films.
He spent his entire life in Bombay.

8 AK May 16, 2017 at 1:22 pm

DP Rangan,
Thanks for your appreciation. One reason for missing Boot Polish was that I had used a Rafi-Asha duet from the film in my earlier post on SJ duets (Part 1). You are underestimating KS Bhatiaji’s resourcefulness.

Thanks for your appreciation. You have correctly observed that Subir Sen in Dheere chalao zara sounds more like Mukesh. For many years I thought this has been sung by Mukesh. A large proportion of KK’s duets for SJ must have been post-69. Thanks for the detailed statistics.

Arunji has given detailed information about Krishnarao Chonkar. All connections point to Gwalior. There was, of course, no confusion with the legendary Krishnarao Shankar Pandit.

Thanks a lot for your appreciation. I have done a separate post on Subir Sen which contained some SJ songs. It was possible to include more songs of Talat Mahmood and Hemant Kumar. But I don’t think there are many top of recall songs of Mahnedra Kapoor.

9 AK May 16, 2017 at 1:31 pm

KS Bhatiaji,
Wishing you a very happy birthday in advance. Had I known it, I would have timed it for that day. I am happy you enjoyed it. You have proved the doomsayers wrong. The songs from ‘Baghi Sipahi’and ‘Jwala’ were new for me. Excellent songs, you can recognise SJ from miles. Thanks.

Thanks for you appreciation. It is nice to know that this post took you to your childhood. Thanks for poting out the typo.

Thanks a lot for the detailed information on Krishnarao Chonkar.

10 R. Vasudevan May 16, 2017 at 1:48 pm

Being a SJ fan right from my school days, this new posting is a gift to me as my birthday incidentally falls today.

Will update.

11 AK May 16, 2017 at 4:29 pm

R Vasudevan,
What a delight to know that my post has hit your birthday. Congratulations.

12 RSR May 16, 2017 at 6:02 pm

1) chori chori .’.yeh raath’ is like ‘aaja sanam ‘, unsurpaassed gem.
2) anadi… dil ki nazar with lata() with mukesh
3) ujala .. duniyan walonse dhoor ..mukesh and lata
4) bhool jaye sare gam .. nauserwane dil —rafi and lata
5) yeh wadha .. mukesh and latha
6) tim tim tim …talat and latha

13 ksbhatia May 16, 2017 at 6:45 pm

Thanks for your kind words and birthday wishes in advance . My birthday wishes goes to Vasudevan too . Make your day with listening pleasure.

In continuation of songs @ 5 here are a few more….

Aap hue mere …..Manaa dey , Lata……Krorepati….

Kehdo ji kehdo…..Manna Dey, Lata…..Kismat Ka Khel

Sama yeh pyar ka……Manna Dey, Lata…..Baghi Sipahi

O kahan jaate hain log…….MK, Lata….Roop ki raani choroan ka raja

Din albele pyar ka mausam…..Manna Dey, Lata…..Begunah

……to be contd.

14 mumbaikar8 May 16, 2017 at 8:17 pm

Thanks for the extended Duets! It’s a treat.
Like the collection!
Aa neeli gagan tale is absolutely out of this world.
SJ has very good Manna Dey Lata duets.
Bhatiaji has added both Baghi Sipahi and Kismet ka khel songs I like.
Their favorite male singers Mukesh and Rafi from Ujala
Yaaron Surat Hamari Pe Mat Jaao

15 mumbaikar8 May 16, 2017 at 8:48 pm

One beautiful triad with Lata Geeta and Rafi
Kya bataoon mohabbat hai kya Parbat

16 AK May 17, 2017 at 12:02 am

You have listed the best of SJ duets.

17 AK May 17, 2017 at 12:18 am

KS Bhatiaji,
You have added some very nice duets. I notice these are all dance songs. SJ seemed to have special fondness for dance songs. Mahendra Kapoor for Dev Anand in RKRCKR is an interesting combination.

I am happy you enjoyed it. Thanks a lot for your appreciation. The Rafi-Mukesh duet from Ujala must be one of their best duets. Mukesh for Raj Kumar is an unusual combination. SJ have shown tremendous variety in this film.

The triad from Parbat is very nice. I hope I am not offending you if I say that Geeta Dutt seems to be subdued before Lata Mangeshkar in this song. Her voice is very distinct, but I had to strain my ears to notice her.

18 D P Rangan May 17, 2017 at 3:52 am


Song No. 4, music director C Ramchandra
Song No. 6, Film Mousi, music director Vasant Desai
One more duet from Parbhat (1952), Lata Mangeshkar and Talat Mahmood – Hothone pe tarane aa gaye

19 N Venkataraman May 17, 2017 at 4:12 am

“Shankar uses his Andhra background to weave the Telugu words ‘O Ramiya vasatavaiya’ beautifully in this group song. “
Here are few more songs where Shankar has used Telugu words. And all duets, thus qualifies for this post.

Chinchan Pappulu by Manna Dey and Asha Bhosle, film Baghi Sipahi (1958), lyrics Shailendra

Naach Re Man Badkamma, Thumak Thumak Badkamma by Lata Mangeshkar and Asha Bhosle, film Rajkumar (1964), lyrics Shailendra

Emi… emidhi raa
badkamma badkamma badkamma badkamma
ekkada potora ekkada potora ikkada ikkada ra
yenkanna yenkanna yenkanna yenkanna
ekkada potora ekkada potora ikkada ikkada ra
chinamma chinamma chinamma chinamma
ekkada potora ekkada potora ikkada ikkada ra

Singers: Mehmood, Md. Rafi & Sharda, film Shatranj (1969), lyrics Kiran Kalyani,

Oye Lappa Tosa Na Napa Kidhar Ko Jata Jogappa by Asha Bhosle & Kishore Kumar, film Ek naari ek brahmachari (1971), lyrics Hasrat Jaipuri

20 RSR May 17, 2017 at 4:27 am

AKji, Thank you for the approval.
aajaa sanam
chori chori gem.. lyrics, picturization, instrumental background..everything!absolutely top class. Actually based on some hindusthani classical raga adapted to italian accordion extravaganza
aajaa sanam ( in these 62 years since then, no one has come out with a creation like this!)
yeh raath bhigi
the humming by lata. the waltzing breeze. a masterpiece
and stunning Nargis.
Sad, that this was the farewell film for the lovely screen pair made for each other.
( dil ki nazar se) anari
ujala .
sonorous musical bells-like intro before the song!
What a great instrumental magic before the main song! just a few seconds but thrilling.
Bhool Jayen Sare Gham, Dub Jaaye Pyaar Me – FULL SONG – Nausherwan-E-Adil (1957)
but this classic ( Raag Maand?) was by C.Ramachandra.
could not resist the urge to include , nevertheless
Tim Tim Tim Taron ke deep jale-
talath and latha
Mousi (film)
but music ditrector was Vasanth Desai.
We will NEVER AGAIN get such masterpieces. Gone! Gone for ever! nostalgia is unbearable. If only we can have a time machine to take us back to the 1950-60 decade!

21 ksbhatia May 17, 2017 at 6:42 am

Ms. Mumbaikar 8 ;

Beautiful melody by SJ . Listened to Parbat duet song after a long time and enjoyed it . Now more of Geeta Dutt duets…..

Dekh aasman mein chand muskuraiye…….a copy of hollywood song but enjoyable desi version as well…..Kishore, Geeta….Shararat

Tune mera dil liya…..Kishore, Geeta….Shararat….[ again a very nice romantic melody]

Gagan ke chanda na poochh…..Lata, Subir sen….Apne huye paraye

Tum pyar se dekho…..Mukesh, Sharda…..Sapno ka saudagar

Kaate na kate raina…..Manna Dey, Asha…..Mera Naam Joker

to be contd…….

22 R Nanjappa May 17, 2017 at 9:25 am

I thought the Rafi-Mukesh number from Ujala: ” Yaaro surat hamari pe mat jaao” could be considered under the hybrid category. The lyrics by Shailendra are also nice.

23 AK May 17, 2017 at 10:16 am

This is a great list. KS Bhatiaji has metioned #1 earlier.

24 AK May 17, 2017 at 10:17 am

R Nanjappa,
You are right. It has already been mentioned by a reader.

25 N Venkataraman May 17, 2017 at 10:33 am

My birthday wishes in advance. And thanks for some nice additions. It is interesting to note that Manna Dey sings for Kishore Kumar in the duets, Aap Huye Mere Balam Mai Tumhari Huyi and Din albele pyar ka mausam (@13), posted by you.

Belated birthday wishes.

26 N Venkataraman May 17, 2017 at 10:34 am

Thank you for the detailed information on Master Krishnarao Chonkar.

27 N Venkataraman May 17, 2017 at 10:36 am

Akji @8
You are absolutely right. Almost 85% of KK’s duets for SJ are post-69. In fact roughly 50% of KK’s duets are after 71, after the demise of Jaikishan. The distribution for KK’s solos must be similar.

28 N Venkataraman May 17, 2017 at 10:44 am

I presume, your comment was in reference to RSR’s list.

29 AK May 17, 2017 at 1:04 pm

The reference was to your list (#19) of SJ songs containing Telugu words.

30 ksbhatia May 17, 2017 at 6:02 pm

Venkatraman ji;

Thank you in bringing in the Andhra factor vis a vis Shankar’s compositions . I do believe Shankar originally hailing from punjab and settled in Andhra . SJ have composed a number of songs based on punjabi folk music like ….wari wasi khat ke…..&….tum sang preet lagai rasiya…..from New Delhi , …Sadke heer tujh pe….from Mera Naam Joker ….and many more . So to say they gave best of the two worlds .

Tandana Tandana is another word I wish to know about . Is that they belong to Andhra too ? Well every one knows the famous ….hum kale hain to kya hua….. song from Gumnaam for these words , i am curious to know about meaning of the word Tandana as SJ used this word in a song of the mid 50s from Mayur Pankh….Tandana Tandana mushkil hai pyar….Lata.

31 ksbhatia May 17, 2017 at 6:16 pm

Venkatraman ji;

Continuing my efforts to bring out more duet songs…

Aankhon aankhon mein kisi se baat….Manna, Lata,Asha…..Janwar

Tere mere pyar ka andaz……Kishore, Asha….Nagina

O ladke badhte badhte……Kishore,Lata….Krorepati

Jane mujhe tune yeh kya…..Kishore, Sharda…..Naina

… be contd.

32 ksbhatia May 17, 2017 at 6:39 pm

…..continuing from #31….

Aaja raat beeti jaye…..Kishore, Usha…..Begunah

Mujhko apne gale laga lo…..Rafi, Mubarak Begam…..Humrahi

Main sunati hun ek…Mubarak Begam, Shankar Shambu…Teesri kasam

Now two songs as my pick of the day……

Chali kaun se desh….Talat, Asha…..Boot Polish

Mud mud ke na dekh…..Manna Dey, Asha…..Shree 420

… be contd.

33 mumbaikar8 May 17, 2017 at 10:46 pm

Agree, Ujala duet is one of their finest, unlike Rafi Manna Dey, they
did not sing many quality duets.
Why would I get offended it is a matter of choice.
It is a one ninety four seconds songs Lata has more than one and a half mins with preludes and interludes in the beginning, Geeta has about a min in the end. Rafi steals the show with his 40 seconds in between.

34 R Vasudevan May 18, 2017 at 5:42 am

Thanks to every one for wishing on my birthday.

I add just one more song to this growing list but not sure if it is already in
the list. Film Apne huve paraye sung by Lata and Subir sen – song
gagan ke chanda na pooch hamse.

SJ had used an European singer Vivian Lobo in sangam – an english song with some hindi words too. Ich liebe I love you …… A sweet song. Is there any Music Director who has used a foreign singer in our films. I doubt.

35 Shalan Lal May 18, 2017 at 8:50 am

The second post on the duets and hybrid or mixture of more than two singers’ song is as good as the number one post of SJ’s duets.
Shankar Jaikisan team was an exploded bombshell the effect of which was felt long time on the Bombay based Hindi films. Except Lxmikant Pyarelal the Hindi films did not have such sweet throatily creativity again. They were a phenomenon on their creativity RK built huge stage designs by Acharekar in films like Awara, Shri 420 and other films and provided masterful acting to match the songs.
One duet song and the film so far not mentioned is the O Shama Muze Phoonk De from the film Aashiq 1962, lyric by Shailendra and acted in by RK, Padmini, and Nanda, directed by Rhushikesh Mukharjee. Singing voices of Mukesh and Lata. The song has poignant emotions in the growth of the song well explored by both Mukesh and Lata and the Orchestration as well. I do not know what classical notes are there but song grows on me as |I listen to it and with a surprise I see hair on my back of the upper neck stand on its end.

मु : ओ शमा मुझे फूंक दे
मैं न मैं रहूँ तू न तू रहे
यही इश्क़ का है दस्तूर -२
ल : परवाने जा है अजब चलन
यहाँ जीते जी अपना मिलन
क़िस्मत को नहीं मंजूर -२
शाम से लेकर रोज़ सहर तक तेरे लिए मैं सारी रात जली
मैने तो हाय ये भी न जाना कब दिन डूबा कब रात ढली
फिर भी हैं मिलने से मजबूर -२
मु : ओ शमा मुझे …
पत्थर दिल हैं ये जगवाले जाने न कोई मेरे दिल की जलन -२
जब से है जनमी प्यार की दुनिया तुझको है मेरी मुझे तेरी लगन
तुम बिन ये दुनिया है बेनूर -२
ल : परवाने जा है …
मु : हाय री क़िस्मत अंधी क़िस्मत देख सकी ना तेरी-मेरी ख़ुशी
ल : हाय री उल्फ़त बेबस उल्फ़त रो के थकी जल-जल के मरी
दो : दिल जो मिले किसका था क़सूर -२
मु : ओ शमा मुझे …
ल : परवाने जा है …
Shalan Lal

36 R Vasudevan May 18, 2017 at 10:56 am

I am a pensioner and leading a retired life after a long services in Central Government. As one ages, interest in almost all fields/areas declines but Music continues to play a part in our life as it is a true, tusted and long standing companion.

We grew up seeing movies of golden era (1955-1975) which had great music melody and meaningful lyrics well made films with crafted by gifted directors and well supported by some fine actors. Most of them have left us for ever though some are still around. I would say that the golden era of Indian film songs (both Hindi & Tamil) co-incided with the golden times of our life too – atleast for me. I am sure most of
you would opine with me. To me apple of my eyes are pair of Shankar Jaikishan and Viswanathan-Ramamurthy – all in heaven now. Long live their fame and creations.

37 N Venkataraman May 18, 2017 at 12:08 pm

Bhatiaji@30 & AKji
“Tandana Tandana” can be explained simply as rhythmic word(s) used in South Indian dances like Bharathanatyam or Sadir. Variations in movements are created, which are performed to the recitation of specific rhythmic mnemonic syllables or sollukattu, like “Thai Yum tat tat thai yum taha” or “dhitithai”. “Tandana Tandana” is also one among many such mnemonic syllables or sollukattu mainly used in folk varieties or lighter versions. In fact, similar mnemonic syllables are also used in other forms of dances like Kathakali, Mohiniattam etc. The syllables are uttered in coordination with the stamping and striking of the sole of the feet. The root of this word, I presume, can be traced to the Proto-South Dravidian word “Tand” meaning stamping sound and in most of the South-Indian languages, the expression carries similar meaning like the sound used in humming a tune or sounds used in beating time in music.

38 ksbhatia May 18, 2017 at 5:37 pm

R Vasudeven ji ;

I stand by your observations. Like you I am also a retired person . Travel , Music and Art in any form is my passion . Thank God ! they are not affected by demonetisation and will remain with us for the rest of our life in its original form .

Venkatraman Ji ;

Thanks for your explaination on Tandana Tandana . I am looking for one more song with these word beats ; probably a comic number by Mehmood and Aruna Irani[?] .

Ms. Shalan Lal ;

The heavy managed orchestration was SJ’s trade mark/motto . Whenever I listen for fast rhythm dholak beats songs my mind gets itself oriented to Ujaala song…..cham cham lo suno chum chum , followed by …..yeh to kaho….from Aashiq ,…. Andaz mera mastana…..from Dil apna aur preet parai , Mud mud ke na dekh….from Shree 420 and club music prelude of …..Ramiya vastaviya ,again from Shree420 . The listing is endless , these are only the stareter . Listening to background score of Mera Naam Joker [ available on YT ] is really a treat for passionate followers of SJ ‘s music .

Meanwhile one triad song from Professor…..Yeh umar hai kya rangeeli…..Manna Dey, Lata, Asha .

39 SSW May 18, 2017 at 7:12 pm

Nice article AK, I don’t have much to say, SJ were very interesting and even when they seemed to be mired in mediocrity at some point in the 60s you could always rely on them to come up with a score that was lovely like in this film. This Yaman based duet of Asha and Manna Dey .

This one by the same pair has been mentioned by Mr.Bhatia before.. I’d like to draw attention to the orchestration. The initial entry by the deeper voiced cellos then the violins and the almost flamenco strumming on the guitars accompanied by castanets the string lines throughout the singing parts, the flourish of trumpets just before Manna Dey comes in , the abrupt change in the time signature from a 3/4 to a 2/4 … followed by a lovely trumpet solo in the middle and at the end where the trumpet soars ever higher and higher. Very nice.

40 AK May 19, 2017 at 12:17 am

Thanks a lot for your appreciation. Re man sur mein ga proves that even in 70s SJ could come up with nice scores. Lal Patthar had some other excellent songs, such as Rafi solo Unke khayal aye to aate chale gaye.

Your description makes Mud mud ke na dekh more enjoyable. Its picturisation and choreography is superb. Initially, Raj Kapoor is still and in shades, showing his dilemma. When the tempo becomes very fast, he comes out in the light, joining the dancing with abandon. He has now firmly decided to join the world of Maya, only to wreck it from inside.

41 Subodh Agrawal May 19, 2017 at 1:21 am

Doing a post on SJ requires a lot of effort, as they are very good at mixing the sublime with the ridiculously ordinary. AK has, as always, done an excellent job, and the comments have added to it. I am playing the songs I had forgotten or didn’t know in the first place and feeling great about being part of the SoY family. It is nice to see that with each post some more knowledgeable members are added to the list of commentators. There must be many more who enjoy the songs but don’t comment. May this family grow and prosper.

42 SSW May 19, 2017 at 1:29 am

AK if forced to choose I think my favourite solo in Lal Patthar would be this one, some of Asha’s murkis are quite sublime

43 Ashok Hebbar May 19, 2017 at 3:27 am

AK ji

Was travelling last week and got to read the post only yesterday. Needless to say, it is an excellent post, showcasing SJ’s lovely duets. Offhand I can recollect a few more duets.

Tere bina aag yeh chandni tu aaja ……. AAWARA … Manna …. Lata …. Hasrat

Jab jab phool khile tujhe yaad kiya humne …….. SHIKAST …… Talat ….. Lata ….. Shailendra

Main rangeela pyar ka rahi door nahin manzil …… CHHOTI BAHEN …. Subir Sen ……. Lata ….. Shailendra

O kali anar ki na itna satao pyar karne ki koi reet batao …… Manna …. Asha …… Shailendra

44 Ashok Hebbar May 19, 2017 at 3:30 am

AK ji

Continuing , the song ” kali anar ki na itna ” is from CHHOTI BAHEN.

45 R Vasudevan May 19, 2017 at 3:30 am

SJ is known for heavy orchestration in their interlude and that is a characterisitic of their composition but in the film JANWAR for the song meri mohabath jawan rahegi by Rafi Sahib only few instruments have been used. Santhoor, flute and tabla. The song is a golden oldie. This song is a rare one from their repertoire.

46 AK May 19, 2017 at 6:41 am

Thanks a lot for your appreciation. May the SoY tribe keep growing.

Mr Hebbar,
Thanks a lot for your appreciation.

47 ksbhatia May 19, 2017 at 8:16 am

You have added some beautiful classic songs from Lal Pathar . SJ in 70s were still in their element of holding on to classical based songs as evedent from their Saniyasi songs . I think this part was Shankar’s forte . For jaikishan he held the romantic reins till he bid bye . Sharda’s solo from Kal Aaj Aur Kal….is a beauty to listen for a very matured orchestration .

Kisi ke dil ko sanam….

48 ksbhatia May 19, 2017 at 9:07 am


My love for Sj’s orchestration continue with their waltz based songs and I consider manna dey, lata duet….dil ki gireh khol do….as my top of the chart song.

dil ki gireh…..Raat aur Din…..Lata, Manna Dey

My fav. SJ song….

Pyar hua iqrar hua hai……Lata, Manna Dey

My fav. part of the postlude is Denube Wave/ Denube Love played on at the end in ……Har dil jo pyar karega….Sangam song …which is RKs signature song tune of Barsaat….chhod gaye balam mera pyar bhara dil tod gaye , which is practically repeated in many of RKs movies.

49 Ashok Hebbar May 19, 2017 at 11:36 am

AK ji,

A few more duets of SJ:

Dil aye dil baharo se mil, sitaron se aankh …. EK PHOOL CHAR KAANTE …. Talat … Lata … Shailendra

Dooriyan nazdeekiyan ban gayi ajab ittefaq hain …. DUNIYA … Kishore … Asha … Hasrat

Dekho dekho madam suno jo kahe chale … PYAR MOHABBAT … Rafi … Manna De …. Shailendra

Aye dost mere maine duniya dekhi hain … SACHAAI …. Rafi …. Manna De … Rajendra Krishan

50 Hans May 19, 2017 at 1:03 pm

SJ were phenomenal composers. If a list of their hit songs is made it would easily cross 600. AK took them up last but they have been covered most extensively for which I thank him as well as congratulate all SoY readers and particularly SJ fans (in case there is anybody who is not a SJ fan). As Ranganji might have realised, there are a lot of non Rafi-Mukesh duets which were covered in the first part. The ratio between Rafi-Mukesh and others might be around 60-40. So it was not an easy task and Bhatiaji has proved that he is a true SJ fan. As we both have similar likes, it was but natural that many of his favourites are my favourites too. But, I am surprised at Hebbar ji’s list. Each one of the songs listed by him was in my list. The songs listed and posted by readers have crossed 40 and including AK’s list it has already crossed 50. There are lots and lots of other good duets.

Regarding AKs list, it was but natural that Manna Dey would have more songs. But, I am particularly happy at the inclusion of Kishore-Lata duet from Rangoli, because this was extremely popular song in its times, but has been almost forgotten in the later period, despite KK’s resurgence.

Now, I would post a few songs. First Manna Dey.
Chori Chori had four Manna Dey-Lata duets, but only two have been posted. Panchhi banun udti phirun is a duet with small but significant contribution from Manna Dey. When I first saw this film I reached the cinema hall late and entered the gate right in the middle of this song. This is a unique song. The other song is ‘jahan main jati hoon’ in which SJ use the orchestra to fit with the kathputli dance.
Jhoomta mausam mast mahina was another duet which was a rage and it is songs and films like this where SJ gave him prominent place as singer due to which Manna Dey puts puts SJ over every other composer. Other composers gave him occasional songs most of them in type-cast situations.
Initially SJ did not compose many male-male duets, but later on they put out many. The song ‘mehfil men shama chamki’ was a qawwali type comic song picturised on Asit Sen and Mehmood.

The last one I am posting not for its good quality, but for its bad quality. This is also a Rafi-Manna duet. They have sung so many great duets that this can be easily called a ‘taat ka paiband’. It appears that SJ and Shailendra were vying with each other to reduce quality. Picturisation adds to the woeful quality. ‘Aate kyun nahin’ from Around the World.

51 ASHOK M VAISHNAV May 19, 2017 at 5:26 pm

There is nothing else to be done but to savor the post.
And I am doing that most profitably.

52 Hans May 19, 2017 at 8:31 pm

Venkataramanji, #4
The taans in ‘madhuban men radhika nache re’ are by Aamir Khan and this is also given in HFGK. I have read a story about it that the song was initially visualised and recorded as a duet like the one in Baiju Bawra, ‘ketaki gulab juhi’ in Basant Bahar and ‘baat chalat’ in Rani Roopmati, but later it was turned into almost a solo at the behest of Dilip Kumar who by then had slipped into the habit of writing the script of the films and not only his co-actors, but the heroines were cross with him for tweaking their roles. The song is a dance song, but you can see that the camera can hardly leaves Dilip. Even when he stops singing, the camera instead of focussing on Kumkum is focussed on him to show his Sitar prowess. It is said that when Aamir Khan saw the end result, he sued the film bosses, because he had been given either a verbal or written promise that the song would be kept as a duet. And thus the song was kept as a duet even on the record for this purpose only, otherwise there was hardly any need to keep the 15 second taans. He is said to have lost the case because the courts recognised the right to prune the records, because technically it was kept as a duet. Aamir Khan argued that he has been insulted by picturising his taans on a comedian (he called him a joker) falling over in singing them. In my view he was right and it is a blot on Naushad, who always claimed he respected classical singing and even claiming that he was the sole torch bearer for it in films. Arunji might throw some more light on this.

Mumbaikar8, #33
I disagree with you that Mukesh-Rafi did not produce quality duets. It is true that they had very few duets as compared to Manna Dey/Rafi, but most of them are good quality duets. Their duets are in double figures. Some of them are listed below.
1. Jalen jalane walo humko jaise mombatti – chilman 1949
2. Baat to kuchh bhi nahin dil hai ke – thes 1950
3. Jis pyar men ye haal ho – phir subah hogi
4. Mat poochhiye dil hai kahan – hum matwale naujawan 1961
5. Saat ajoobe is duniya men (2versions) – dharam veer
6. Do jasoos karen mehsoos (this film has 3 duets) – do jasoos
7. Badi door se aaye hain (in the film it is a Rafi/Mukesh duet) – samjhauta

53 Gaddeswarup May 20, 2017 at 9:54 am

ksbhatiyaji at #30,There are conflicting accounts of Shakar’s origins. I have read in a few places that he was born in Tanuku, West Godavari District and grew up in Hyderabad. About his family different accounts says that they came from Rajasthan, M.P, Punjab… one blog located his sister’s family in Hyderabad some years ago. Here is a post from that blog, but it identifies his family as Telugu. His mother’s and sisters’ names sound Telugu. I do not know how reliable this information is. I searched since I vaguely associated Shankar with Godavari.

54 Shalan Lal May 22, 2017 at 9:56 am

Gaddeswarup @ 52

Magnificent Maestro Shankar

Shankar could be Telgu as he lived in Hyderabad. But was the city of Hyderabad Telgu when he was living there?
When Shakar was living there and Privraj took his plays Gaddar, Diwar, Pathan, and Shakuntala there, it was not a Telgu City. It was in the state of the last days of Nizamshahi and waiting for the Independent India to take the military action to integrate in India. The general appearance of it was more Muslim and less Telgu. Urdu language with Farsi influence was thick. There was a very large Marathi population was residing thre since the time of the Peshwas of Poona and it was second largely spoken language. Telgu and Tamil, Kannad were also spoken by the respective communities. Originally Bengali family like Chatopadya (Sarojini Naidu)
After the Andhra Pradesh was formed under duress by Nehru against his will, due to the death of Pottu Ramalu a congress leader insisting on the state of Aandhra Pradesh to be formed as Hyderabad was not the Indian state name. In ancient time there was Andhra Kingdom whose king Shudrak was famous who wrote the famous play “Mricch Katikam, in Sanskrit and many Prakrit languages.
Today “Char Minar and other Nizam buildings look outlandish in the Telgu and Andhra culture. Hyderabad, changed as Agra has changed and so has Delhi too. I have got a feeling Shankar was either Rajput or Punjabi whose family migrated some hundred years to Hyderabad.
The article by Lakshmi Kanta Tummala also present a valid point but in his name the words “Shankarsingh Ramsingh” suggest his Rajput or Punjabi origin. Our family knew many Rajput families in Hyderabad who had various businesses. Some were intermarried with Telgu and other cultural people as going back to Rajputana or Punjab was costly and long journey full of hazzards.

Shalan Lal

55 N Venkataraman May 23, 2017 at 6:23 am

Hansji @ 52
Although I too had read that the brief (Taan) portion was sung by Ustad Amir Khan, I would confess that I failed to remember this info, while mentioning Pt. Krishnarao Chonkar’s name (@4). There was lapse of memory on my part. I have read / heard this attributed to several other artists too, like Pt.D V Paluskar, Niaz Ahmed Khan, Dilshad Khan, Ram Marathe etc. But the litigation part was new to me. I am hearing it for the first time. I am sure you must be having a strong back up, and hence your assertion must be right. Thanks a lot Hansji.

Having said that, I would like to mention that, the voice never appeared to me as that of Ustad Amir Khan. It seems, like my memory, my hearing faculty too is failing me.

56 ksbhatia May 23, 2017 at 7:46 am

Venkatraman ji ;

The litigation part of the information is new to me too . But Hans ji seems to be correct in the sense that there are some vinyl records where the taan portion of the song sung by ustad Amir Khan is deleted/ edited .

It is not very difficult to distinguish between the voices of Ustad Amir Khan and Pt.D V Pulskar . Hearing their duet song…..Aaj gawat man jhoom ke….from Baiju Bawara makes me feel that the singer of taan part of Kohinoor song is by Ustad Amir Khan .

Repeatedly hearing to the title song of Baiju Bawra makes me more of this surety. Listen to the aalap and taans of the song …….Tori Jai Jai Kartar ….by Amir Khan ….and feel how closely it is sung to that of Kohinoor song.

Tori jai jai kartar…..

57 N Venkataraman May 23, 2017 at 8:25 am

After listening to the clip posted by you, the voice of the singer(s) in both the songs seems very close, yet an element of doubt still lingers. I am not challenging Han’s contention or for that matter your rejoinder. Might be, both of you are correct. Thanks a lot.

58 ksbhatia May 23, 2017 at 8:32 am

Venkatraman ji ;

Listening to the aalap @3.00 onwards of the above link seems a faint ” cut and paste ” to Kohinoor song .

59 Gaddeswarup May 23, 2017 at 9:11 am

Shalanlal at # 54. My comment was partly due to the lyrics posted by Raja Venkataraman at #19. His mother and sister’s names according the post I linked are Ellamma, Gowramma and Gangamma. So, I wondered whether his was mother was Telugu and the Telugu influence was partly due to that. His father definitely seems of North zindian origin who migrated to the then A.P. I think Shankar knew Chandrasekhar who was also from Hyderabad. According to one report Chandrasekhar first went to Bangalore to act in Telugu films. But his Telugu was not good and he was advised to go to zbombay. I studied in Hyderabad from 1960-62 and Urdu influence was strong; I had problems in some groceries. Even now there areas where people speak only Urdu. Four years ago, I lost my way and in to an area near Golconda. Nobody could speak either Telugu or English but they were friendly and pointed the way to Alkapuri.

60 N Venkataraman May 23, 2017 at 10:03 am

Wel,l I concede.
Now, let me post a duet.
Kaabul Ki Main Naar, Husn Ki Tu Gulanaar Kishore Kumar and Geeta Dutt, film Karorepati (1961), lyrics Hasrat Jaipuri

61 Shalan Lal May 23, 2017 at 10:14 am

Gaddeswarupji @ 59

Thanks for your information.

The truth about Shankar may come out if somebody could ask Kapoor family member or if there are members of Shakar’s family or Jaikishan’s family could throw light on the matter.

Shankar came to England and gave interviews on the Radio programs. His Hindi was perfect and with northern style, more a kind of RK’s Punjabi influence perhaps. But there was no Telgu traces.

But why we should go to the root of Shankar’s family when the sweetness of his music is long lasting if Telgu people will not mind as they might feel loss of their success in the Hindi Film world if Telgu is not mentioned.


62 Gaddeswarup May 23, 2017 at 10:23 am

Shalanlal at #61. It is not so much about Telugu but more about mother’s influence. Actually that site I linked to gives the names his nieces in Hyderabad. I can probably try to find out when I visit this November but I am planning to go on to Ongole to teach mathematics to kids from grades 6-8 which will be challenge since I taught mostly in universities.

63 N Venkataraman May 23, 2017 at 10:28 am

Hats off to you, Gaddeswarupji for your unputdownable spirit.

64 Hans May 23, 2017 at 7:46 pm

Venkataramanji, #55
Thanks to Bhatiaji, the matter regarding the voice of Aamir Khan has been clarified, because I being zero in classical matters would not have been able to answer you. At best I could have come up with the same arguments which Bhatiaji has forwarded. I would only add that these classical masters could by their persistent riyaz modulate their voices quite a lot, so if you find some slight variation in two voices you should discount that.

Regarding the litigation matter, I would like to tell that I read this in some English newspaper or journal during mid-70s when I was devouring any information which came by in connection with preparations for competitive exams. But, I did not believe it straightaway. I had already seen Kohinoor, but after I read the story, I again watched it and found that except for those 15 seconds neither the voice of Aamir Khan comes nor the actor Mukri is shown either in a long or close shot except for these 15 seconds. It would be unbelievable that a master like Aamir Khan would agree to lend his voice for taans for just 15 seconds. If we remove those 15 seconds, it hardly takes anything away from the song. So it can be safely said that this 15 second part was kept only to fulfil the conditions of the contract. So, on logical basis also the story of litigation seems to be believable. I also believe that Aamir Khan might have some prior experience of this kind and because of that he insisted on the contract.

65 Hans May 23, 2017 at 7:54 pm

It is a shame for us music lovers that we know so little about the most iconic music duo of hfm. I want to add only one thing. If we assume that Ram Singh was his father and he married a telugu lady with a telugu name, then how come he gave his son a north indian name and his daughters south indian names. It appears some faux pas might have been done by someone to prove him a total telugu person. I would go with Shalanji’s thoughts that we should enjoy his music instead of looking for his origins.

66 Gaddeswarup May 24, 2017 at 5:14 am

Hansji at #65:Apart from personal enjoyment, my main interest Hindi film music in spite of language problems, is that it made a huge variety of music and dance available to the common man though some forms were available before. But one does get sidetracked in to other questions of personal influences and backgrounds of the stalwarts who made such music available. By the way my given name is North Indian derived from that of a swamiji Anandswarup from Dayalbag, and so are many names in Andhra. I do not think many claimed Shankar was Telugu. He grew up in Hyderabad though it is not clear where he was born.

67 ksbhatia May 24, 2017 at 7:21 am

Reverting back to SJ’s duets , here are some more of Sharda songs with others.

Masti aur jawani hoi….Sharda, Asha, Kishore….Dil Daulat aur Duniya

Aap ki rai mere baare mein…..Sharda, Rafi……Elaan

Jaane chaman shola badan…..Rafi, Sharda…….Gumnaam

A few more duets……

Peeke hum tum jo chale aaye hain ….Asha, Usha…..Gumnaam

Hum dil ka kanwal denge jis ko [ film version]…Lata, Mannadey…zindgi

….to be contd….

68 N Venkataraman May 24, 2017 at 8:09 am

Thanks a lot Hansji.

69 SSW May 24, 2017 at 2:36 pm

AK, I just realized why you were so effusive about “Aa neel gagan ke tale “(Hemant/Lata) so much. It is based on your favourite raga, Bhimpalasi and Mr. Bhatia’s favourite dadra taal. Nice use of the harmonium.

70 AVADH LAL May 24, 2017 at 4:52 pm

An outstanding post. Perhaps (arguably) the best combination among the choicest duets by SJ.
My illustrious predecessors have also suggested some worthy additions to the list. This has encouraged me to also add my bit.
May I draw the attention to some of my favourites other than those which have already found a mention.
1. Aa ja ki intezar mein hone lagi hai raat bhi, tere bagair zindagi dard ban ke rah gayi. Rafi – Lata ; Film: Halaku (1956);
2. Aa ja raat beeti jaye, shama tadap ke bujh na jaye, chanda hum se rooth na jaye ho. Kishore- Usha Mangeshkar; Film Begunah (1957)
3. Bol meri taqdeer mein kya hai mere humsafar ab to bata, jeevan ke do pehlu hain hariyali aur rasta. Lata-Mukesh; Film Hariyali aur Rasta (1962)
4. Chhod gaye balam haye akela chhod gaye. Mukesh-Lata; Film: Barsaat (1949);
5. Daag na lag jaye. Mukesh-Asha; Film: Mera Naam Joker (1970);
6. Dhire dhire chal chand gagan mein; Rafi-Lata; Film: Love Marriage (1959);
7. Dil ae dil baharon se mil sitaron se ankhen mila; Talat-Lata; Film: Ek Phool Char Kante (1960);
8. Dil ki girah khol do chup na baitho koi geet gaao; Mukesh-Lata; Film: Raat aur Din (1967);
9. Dil ki nazar se nazron ki dil se; Mukesh – Lata; Film: Anadi (1959); and,
10. Ichak dana beechak dana dane oopar dana; Mukesh -Lata; Film: Shri 420 (1955)… (to be continued)
Avadh Lal

71 AK May 24, 2017 at 5:13 pm

That explains. Most songds I find exceptional turn out to be in Bhimpalasi.

72 AK May 24, 2017 at 5:17 pm

Avadh Lal,
Thanks a lot for your appreciation. I have written two separate posts on duets: (i) Rafi or Mukesh with another singer (ii) other duets or hybrid songs.

73 mumbaikar8 May 24, 2017 at 9:01 pm

Hans, @52
Phir Subah Hogi duet is their best.
I feel Rafi Manna Dey sang in sync, they had some sibling like (Lata Asha have it) harmony.
Can you get it in this song from Abhilasha?
Ek janib shamme mehfil

74 Shalan Lal May 25, 2017 at 10:15 am

Mumbaikar 8 @ 73

I believe the songs of the film “Phir Subah Hogi” are composed by
Mohammed Zahur Khayyam.


75 mumbaikar8 May 25, 2017 at 11:17 am

Shalan Lal, @ 74
You are right, MD of Phir Subah Hogi is Khayyam, the MD of the other Manna Dey Rafi song is SDB, if you refer to comment # 52 ( Hans has mentioned this song) Hans and I are discussing Rafi Mukesh/ Rafi Manna Dey duets .

76 Shalan Lal May 27, 2017 at 12:50 pm

Mubaikar 8 @ 75

When your comment @ 73 came as it is I thought the conversation was about SJ on the post of Shankar Jaikishan Duets,

Forgive my silly mistake of quick jumping without looking back

Shalan Lal

77 Peddadu May 30, 2017 at 8:53 am

Mumbaikar8 @75,
I would like to mention that MD of ‘Abhilasha’ ws RD Burman and not SDB.

78 Hans June 3, 2017 at 8:09 pm

Sorry for responding late. They were both great singers and believed in hard work and rehearsals and sang a lot of songs together, therefore it was easier for them to sing in harmony. The same was the case with Lata and Asha. It was easier for them to sing in harmony. But, that does not mean that other singers did not sing in sync. On the other hand many lesser known singers had great songs which were sung in sync. It all depended on what and how the MD wanted.

I will give a few examples. Look at the song ‘taqat watan ki humse hai’ from Prem Pujari. In this song besides Rafi and Manna Dey there were others who sang in perfect harmony, because this was a full chorus song in which the individual singers are hardly recognisable except for a few words here and there. This song has better harmony than Abhilasha song despite there being more voices, because it was picturised on a group of army men and MD wanted it that way.

Now look at the song ‘haye re tere chanchal nainwa’ from Oonche Log. On radio this song came in only Lata’s voice. I watched this film 4 or 5 years ago. In the film this song comes on radio and Feroz Khan sings along the mukhda after the first antara in Mahendra Kapoor’s voice. If you listen to this song carefully you will find that whenever they sing in harmony Lata starts just marginally ahead and Mahendra Kapoor starts a little late and ends just after Lata. MD Chitragupta perhaps wanted this slight gap to show the difference in singing along the radio and the singers performed admirably well. After listening to this song, whenever I listen to a duet in sync, I listen with a different ear and have found that MDs did a lot of experimentation in this area. Sometimes they kept the sync slightly distorted when the singers were far away from each other or riding on some unstable medium. Sometimes one singer’s voice was kept in front and they also alternated this between the singers. If you will listen to duets with this in mind you will have quite a different experience which I have. I am giving the link to this song, which has all the ingredients of Lata-Chitragupta magic.

You know the song ‘chup chup khade ho’ for which Lata got the SOY duet award without it being a duet in real terms of the word. In the song Prem Lata only gets to sing the short second line of the mukhda ‘pehli mulaqat hai’ in sync with Lata.
She did not sing a single word alone. In this song this little known singer has sung the song in so perfect harmony with Lata that if a person wants to know what type of voice Prem Lata has would have to search for another song in which she sang alone. Now look at the song ‘huzurewala jo ho izazat’ from Ye Raat Phir Na Aayegi. In this song little known Meenu Purushottam sang in sync with Asha upfront and made such an impact that the song became a rage for about two decades. A number of persons said they saw the film again and again only for this song. I will give link to this song and the Lata-Asha song from Bharosa ‘dhadka o dil dhadka’ in which they also sang in sync upfront. Can you say in which song the harmony is better. In my view the Asha-Meenu song makes a better impact. You can also enjoy two beautiful dances again.

79 mumbaikar8 June 11, 2017 at 10:52 am

Peddadu, @77
Thanks for correcting my error. Perhaps I was hasty too.

80 mumbaikar8 June 11, 2017 at 10:55 am

Hans, @ 78
Thanks for detailed explanation.

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