Shankar-Jaikishan’s songs for Mukesh

July 22, 2016

A tribute on Mukesh’s 93rd birth anniversary (22 July 1923 – 27 August 1976)

Shankar-Jaikishan and MukeshMukesh debuted as (actor-)singer in 1941 with Nirdosh, i.e. 8 years before Shankar-Jaikishan’s debut in 1949 with RK Films’ Barsaat. After some initial struggle, Mukesh got a chance to work with the music titan of the era, Anil Biswas, courtesy his relation Motilal’s recommendation. Dil jalta hai to jalne de from Pehli Nazar (1945) created a sensation making Mukesh one of the leading singers of the time. Three big films with the successor stalwart, Naushad, in 1948-49 – Mela, Anokhi Ada and Andaaz – further boosted the popularity of Mukesh. Thus, when he first sang for SJ in their debut film, he had already achieved fame for his sweet, mellifluous voice. But this association proved to be the most important factor in the later career of Mukesh.

Barsaat cemented many long-lasting bonds – Mukesh as the voice of Raj Kapoor (though he had also sung for him in Aag (1948) under Ram Ganguly), the lyricists Shailendra and Hasrat Jaipuri who almost became a common feature in any film which had SJ’s music, and the path-breaking music directors Shankar-Jaikishan. Barsaat’s music was dominated by Lata Mangeshkar, Mukesh getting two duets with her. But their next venture, Awara (1951), had the title track which became a global sensation making Raj Kapoor-Nargis one of the most recognizable faces abroad, and India’s cultural ambassador. This film also had extremely soulful and melodious songs such Hum tujhse mohabbat kar ke sanam (solo) and Dum bhar jo udhar munh phere (with Lata Mangeshkar). In the same year, in a non-RK film Baadal, too, SJ created an outstanding solo, Main raahi bhatakane wala hun, and an equally good duet with Lata Mangeshkar, Ae dil na mujhse chhupa. RK-SJ’s next film Aah (1953) didn’t fire up the box-office, but what great songs Mukesh sang! The two solos, Raat andheri door kinara, Chhoti si ye zindagani, and the two duets with Lata Mangeshkar, Jaane na jigar pahchaane nazar, Aa ja re ab mera dil pukara are among the most loved songs for Mukesh fans.

Shri 420 in 1955 was a heady mix of romance, human goodness and socialism – the packaging was even more entertaining than Awara. And typical of RK banner, the film was also about music and dance, with Mukesh’s Mera joota hai Japani becoming one of the biggest chartbusters. During this period, Mukesh also forayed into ill-fated acting and film production. However, he came back with a bang with superhit songs in Anaadi (1959) fetching him his first Filmfare Award. SJ also used him as Dilip Kumar’s voice in Yahudi (1958) in the evergreen Ye mera deewanapan hai.

With Mukesh becoming identified as Raj Kapoor’s voice, in almost all the films of Raj Kapoor whether under RK banner or outside, if SJ were the music director Mukesh was almost invariably the voice for him. And every film had great songs remembered till today: Kanhaiya, Main Nashe Mein Hun (1959), Jis Desh Mein Ganga Bahti Hai (1960), Aashiq, Ek Dil Aur Sau Afsaane (1962), Sangam (1964), Teesri Kasam (1966), Around The World, Deewana (1967), Sapnon Ka Saudagar (1968) and Mera Naam Joker (1970).

SJ also used Mukesh as the voice for many heroes, such as Manoj Kumar (Hariyali Aur Rasta, 1962), Sunil Dutt (Ek Phool Aur Chaar Kaante, 1960) and Rajendra Kumar (Aas Ka Panchhi, Sasural, 1961).

If Anil Biswas was the mentor of Mukesh, SJ were his main propellers in the Golden Era of film music. As a new member in the SoY family, Kanishka, has stated “SJ were not just about songs but about music.” In one of the videos about SJ’s music, Pyarelal (of LP duo) narrates that when Raj Kapoor was discussing the story of Jis Desh Mein Ganga Bahti Hai with his team, Shankar (of SJ duo) asked him, what we have got to do in this film about rocks and ravines and dacoits. Raj Kapoor told him, you have to put music in these rocks. SJ did that precisely; from the first frame of JDMGBH music permeates through the wilds while not losing sight of the message of dacoit reformation.

SoY has completed six years. It is inevitable that a good part of SJ-Mukesh songs have already been covered under different posts, such as reviews of the best songs of 1949, 1951, 1953 and 1955 and also a number of Mukesh-specific posts. But a large number of outstanding songs are still to be mentioned. Continuing the series on Shankar-Jaikishan, I present my faourite songs composed by them for Mukesh as a tribute to the singer on his 93rd birth anniversary. If you find some eternal landmarks missing, the reason is I have tried to avoid repetition.

1. Sab kuchh seekha humne na seekhi hoshiyari from Anaadi (1959), lyrics Shailendra

SJ-Mukesh had lost none of the magic when Mukesh was away indulging in his dream of acting and production. This come-back song had simple lyrics by Shailendra, sweet voice of Mukesh and pleasant ‘music’ by Shankar-Jaikishan, enough to fetch Mukesh his first Filmfare Award. This film also had another outstanding song, Ksi ki muskuraahaton pe ho nisar, and two superb duets, Wo chaand khila and Dil ki nzar se. You can’t think of the song without SJ’s orchestration. While Raj Kapoor sings, and Nutan is pensive, another lady storms up a Western style dance.

2. Mujhe tumse kuchh bhi na chaahiye from Kanhaiya (1959), lyrics Shailendra

SJ show their prowess from a fast-paced fun song Ruk ja wo jaanewali ruk ja to this sad song which was Mukesh’s forte.

3. Zaahid sharab peene de…Mujhko yaaro maaf karna from Main Nashe Mein Hun (1959), lyrics Shalendra

Shailendra borrows a couplet from Ghalib as the recital prelude before the main song written by him starts. Again you see simplicity in words, no-frills singing by Mukesh and befitting music by SJ.

4. Matwaali naar thumak thumak chali jaaye from Ek Phool Aur Chaar Kaante (1960), lyrics Shailendra

We have seen SJ’s special talent in dance songs for Lata Mangeshkar and female dance duets. KS Bhatiaji has suggested to me another category in which the man sings and the woman dances. Here is a beautiful song in this category in Raga Maru Bihag (?) picturised as a stage dance song, Mukesh lip-synching for Sunil Dutt and Waheeda Rehman performing a superb dance.

5. Hothon pe sachai rahti hai from Jis Desh Mein Ganga Bahti Hai (1960), lyrics Shailendra

As the injured man he had tended turns out to be a dacoits’ sardar, Raju lands in their den. With the impish daughter of the sardar, Kammo (Padmini), falling for the simpleton Raju, there follows some absolutely outstanding dance and songs. But with Raka (Pran) being obsessed with Kammo, suspicion is created about Raju being a police informer. Called upon to explain who he is, Raju describes himself as the inhabitant of the country where truth prevails in everyone’s heart. Every song of this movie is a gem.

6. Tum jo hamaare meet na hote from Aashiq (1962), Shailendra

With four solos and two duets in the film, it is one of the important films in Mukesh’s career music-wise. Every song of the film is memorable. I had a difficult choice between this song and the title song, Main aashiq hun bahaaron ka, but if it is Mukesh, the sad song wins. I am linking here the audio of the song for its better quality.

7. Suno ji suno hamaari bhi suno from Ek dil Aur Sau Afsaane (1962), lyrics Hasrat Jaipuri

When I hear songs like these I often feel Mukesh was as good in happy songs as well. I have been so charmed by his peppy songs that I have already written posts on his happy solos and duets. Raj Kapoor was not particularly famous for his dancing, but that is what makes his jig so charming. Waheeda Rahman being a professionally trained dancer is always outstanding. Another nice ‘man sings, woman dances’ song.

8. Sajanawa bairi ho gaye hamaar from Teesri Kasam (1966), lyrics Shalendra

The simple tale of a coachman taking the theatre dancer in his bullock cart had a lyrical beauty. Their association has to last only till the travelling theatre company is in the village during the fair. The coachman tells the lady simple folk tales and sings songs to while away the time during journey. Here is one of the most poignant songs of Mukesh created by SJ. Mukesh had two more great songs in the film such as Sajan re jhooth mat bolo and Duniya bananewale kya tere man mein samayi.

9. Ae sanam jisne tujhe chaand si surat di hai from Deewana (1967), lyrics Hasrat Jaipuri

Flop film, but superb music is the case of Deewana. All the six solos of Mukesh were extremely popular.

10. Jaane kahan gaye wo din from Mera Naam Joker (1970), lyrics Hasrat Jaipuri

A superb movie (at least its first two parts) turning out to be dud at the box office is one of the mysteries of the public taste. Raj Kapoor had put everything in this ambitious film. Its failure shattered him. But this sad solo of Mukesh is one of his immortal songs.

{ 79 comments… read them below or add one }

1 Arunkumar Deshmukh July 22, 2016 at 9:39 am

AK ji,

Thanks for an yet excellent post, on my one time favourite singer Mukesh. You have described Mukesh’s journey through various stages of his career, very nicely.
I would say Anil Biswas was the Cart driver who took him to the Railway station and S-J were the Train drivers of the Musical wagon, who invited Mukesh and took him around places in their train.
Mukesh has sung some songs in his early career which are indelible from our/my memory till I live. But then this is the case with all singers that their early songs have the freshness, sweetness and their own special magnetic power to attach themselves to their fans’ hearts for ever.
Thanks once again for this nice post.

2 AK July 22, 2016 at 9:45 am

Thanks a lot for your appreciation. You have nicely described the roles of Anil Biswas and SJ in the growth of Mukesh. Another duo who gave him a very prominent place are Kalyanji-Anandji – I have covered them earlier. Roshan has also given some of the best songs of Mukesh’s career.

3 Dinesh K Jain July 22, 2016 at 11:23 am

Ak, another excellent blog from your pen, and some outstanding songs; thanks.
Subodh had once recently labelled SJ as a factory (?) of music, and many of us including me had tended to agree with the thought behind the categorization. But on continuing to listen to SJ’s music since, with the pejorative looming at the back of the mind, I now have to say that, quite to the contrary, it needed some extraordinary talent to produce such a huge body of music within a rather short duration without sacrificing quality of their music, film after film, song after song. SJ’s music during their heydays (1950 till about mid 60s) was consistently melodious, sweet, innovative, and captivating.
And of course no one else made such splendid use of Mukesh’s unique voice and singing as SJ.

4 mumbaikar8 July 22, 2016 at 12:33 pm

Once again, a great tribute to Mukesh.
He had some great songs with Salil Choudhary too.

5 N Venkataraman July 22, 2016 at 12:37 pm

AK Ji,
Thanks for a lovely selection of memorable songs. Shankar Jaikishan would figure very prominently in giving the best songs for Mukesh, and in good numbers. Mukesh has always been one of my favorite singers. I would like to know, how many songs Mukesh rendered under SJ’s baton. My guess is around 150-200. I will try to explore and come back.

Here is a Bidai song sung by Mukesh on the occasion of Raj Kapoor’s eldest daughter’s wedding.
Laadli meri naazon ki pali by Mukesh, lyrics Hasrat Jaipuri

Another song from an unreleased film. I wonder how this song would sound had Shankar-Jaikishen`s usual music/orchestration accompanied this song.
Bata de meri jaan tere dil mein kya hai ,film Chalak (Unreleased), lyrics Hasrat Jaipuri

Mukesh sings for Jaikishen!
Aye pyase dil bejuban by Mukesh, film Begunah(1957), lyrics Shailendra,

Will listen to your list at leisure. Thanks once again for the well written post, as always.

6 KB July 22, 2016 at 2:39 pm

Apart from Raj Kapoor he saw excellant songs which went on Sunil Dutt,Rajendra Kumar and Shammi Kapoor. One song Sata le ai jahan from Sasural and songs from Aas Ka Panchi all on Rajendra Kumar excel.So also his songs in Ujala and Singapore on Shammi Kapoor.Later he sang for Jeetendra and Manoj Kumar also.I feel some of these could be included in addition to Raj Kapoor songs .

7 AK July 22, 2016 at 2:40 pm

Thanks a lot for your appreciation. If an assembly line also produces some excellent product we should not mind. I have stated earlier that even if we obliterate everything that is considered loud, or pedestrian, what is left would make SJ among the greatest composers.

Thanks a lot for your appreciation. Salil Chaudhary also figures in this list. Talking of him, it just struck me, is it possible to identify a particular male singer who was his most favourite? Of course, Lata Mangeshkar was the female voice for him (nothing unusual in that) for whom he gave some great songs.

8 KB July 22, 2016 at 2:43 pm

I feel Salil Choudhary liked his songs sung by Mukesh and Mannadey and some extent Talat Mahmood.I hope I am not wrong.

9 AK July 22, 2016 at 2:53 pm

Thanks a lot for your appreciation and the first two songs which were new for me. From Mukesh’s voice, the ‘Bidai’ song seems to be of post-1970 period. He had sung one of the best bidaai songs – a slight adaptation of Amir Khusro’s classic song – Lakhi babul mere in Suhagraat (1948). The Begunah song has earlier been discussed on SoY in Mukesh-Dil post.

In Mukesh-KA post, a reader has given the number of Mukesh songs by various MDs. According to that statement, Mukesh had 133 songs for SJ and 99 for KA.

10 Mahesh July 22, 2016 at 2:53 pm

AK ji,
Many Thanks for this post.
Though all the songs are well known, its your compilation that makes it unique. I would add Sapnon ka Saudaghar, Pehchan, Beimaan and Sanyasi though the melody was vanishing.
I liked Arunkumar ji’s description of drivers and the journey.

Venkataraman ji,

You have rightly clubbed the unique songs.
May I please add…dekho na aanch tirange kho…..NFS composed by SJ for Mukesh.
And off course Aah number picturised on Mukesh.

As per Ashok Da Ranade’s book Mukesh has sang for 57 films for KA and 45 each for SJ and LP.
One article says its 64 films for KA and 44 for LP.

However, SJ I suppose have the highest number of songs for Mukesh amongst all composers.

11 AK July 22, 2016 at 5:15 pm

Thanks a lot for your appreciation. To my mind, the four films you have mentioned are of the period when SJ were past their peak.

12 Ashok M Vaishnav July 22, 2016 at 10:36 pm

Such an interesting subject, such an momentous occasion , ans so fitting a cause. Here is one area where one would immediately wander in remembering the songs that are not covered.. because, as much you try, there would still be one left which may take some time to get refreshed in the memory…
Except for the Apne Hue Paraye, here are some songs that immediately popped up, but had remained dormant till the memory jolted out by this post…..

Woh Zindagi – Sapno ka saudagar 1968

Gunahon Ka Devta – Title Song

Koyi Bulaye Aur Koyi Aaaye – Apne Hue Paraye 1964

Apni Bhi Kya Zindagi Hai – Aas Ka Panchhi (1961)

Gao Gao gaao. – Mukesh+Sharda+Simi Grewal – Mera Naam Joker – an uncovered song

Yeh Shehar Bada Albela – Singapore [1960]

13 Nasreen July 23, 2016 at 1:10 am

Thanks for this refreshing topic and the very apt and interesting descriptions accompanying each song. Beautiful songs of Mukesh covered. Loved reading about names like Raju (so common for the hero those days), Raka and Kammo. Took me back to that ‘era of innocence’ Jaane kahaan gaye woh din…….

14 AK July 23, 2016 at 5:20 am

Thanks a lot for refreshing our memory of songs which are somewhat less known.

Thanks a lot for your appreciation.

15 Ashok Kumar Tyagi July 23, 2016 at 11:37 am

AK ji
You have brought out another superlative post. The Mathurs of Delhi possessed a natural love for music. Mukesh the singer was a product of such environment at home. SJ made the best use of his unique voice timbre.
SJ, who had the brilliant talent of Dattaram by their side, were well known for tremendous variety they used in the taals(rhythm patterns) – both classical Indian and western. If the readers kindly listen to AK ji’s song No. 2(mujhe tum se kuchh bhi) above, they will notice how beautifully a variation of ‘roopak taal’ has been used. ‘Roopak taal’s theka is:
Ti ti Na dhi Na dhi Na (7 beats)
SJ had a theatre background and therefore handled tabla/dholak beats very well. In several songs based on classical ragas, they used ‘jhap’ taal(10 beats)/’roopak taal, examples are:
(a) O basanti Pawan Pagal(Lata)
(b) Awaaj de ke mujhe tum bulao(Lata-Rafi)


16 Praveen July 23, 2016 at 11:41 am

Yesterday I remembered that I indeed had a good collection of Mukesh songs in my mobile – had a good time listening to them. Many songs covered here. Thanks.

Even bigger thanks for listing even more. Being a fan of Golden era starting from 45 to late 50s,took me some time to acquire a taste for Kalyanji Anandji type songs – but somehow the magnetism of Mukesh’s singing got me loving those songs too.

Thanks again for this wonderful post on my idol

17 AK July 23, 2016 at 12:27 pm

Thanks a lot for your appreciation. The technical details are beyond me, but I am sure many readers would be able to engage with you. I believe Shankar also had dance background, which also helps in the kind of dance songs they composed.

Thanks a lot for your appreciation.

18 Shalan Lal July 23, 2016 at 2:26 pm

Ak’s exploration in SJ’s songs for Mukesh or rather for RK mainly in this post is one of his ongoing offers in the Shankar –Jaikishan Musical’s vast and breathtaking contribution to the Hindi Film music is an apt angle in the SoY.

RK often said that Mukesh was his voice. But at the same time he seemed to have forgotten that Shailendra was his heart and mind.

Over the years in his long career RK developed various facets in his filmy personality. He was an intense lover in Aag and Barsaat in search of true love and in Awara onwards he presented a role that a lover would not be all clean and ideal person but a criminal, cheater, comic and at the same time as innocent and ignorant person but still could be the centre of the various films he acted in.

And Shailendra with his creative force in poetry with musical cadence in his lyrics got the right words and lilt of RK’s heart.

But somewhere I feel in my heart that RK saw the power of Mukesh in the film Andaz bringing out superbly by Dilip Kumar and he decided that he would match DK and do more with Mukesh than what Dk could did.

Even though RK and DK many times said that they did not compete with each other still they did compete with each other. DK wanted to be as light as RK and humorously entertaining but the tragedy mask/masque became an iron mask for DK.

But DK did full justice to the voice of Mukesh in Madhumati 1958 and Yahudi 1958. In Madhumati only one song “Tute Hue Khaabone…lyric by Shailendra” sung by Rafi and that was in the style of Mukesh that many thought it was not Rafi but Mukesh. Only with the sharp sense of hearing could tell that was Rafi without the recorded information like gramophone records which often gave wrong information and the cheap one annaawala Burhanwalla publisher’s printed lyrics sold outside the films theatres.
Shalan Lal

19 KB July 23, 2016 at 2:45 pm

This is a topic enables endless discussion.One song like Raat aur din diya jale is enough to show the full caliber of Mukesh under SJ.He indeed did an excellant job under several composers such as Chitragupta,Ravi and even OP.Who can forget his songs Chal akela and Chehere se zara aanchal.
Congrats to Sri AK again.

20 AK July 23, 2016 at 3:32 pm

Thanks a lot for your appreciation.

21 Anu Warrier July 23, 2016 at 11:13 pm

Lovely set of songs, AK. Sajanwa bairi ho gayi hamaar is a particular favourite.

@Shalan Lal: With due respect, and with no offence meant to either singer, both of whom are lengends in their own right, there’s no way anyone can mistake Rafi for Mukesh in Toote hue khwaabon ne. The only reason that Rafi sang that one song in what was essentially a Mukesh vehicle was because Toote hue khwaabon ne was too complex a song, and it needed Rafi to do it justice.

22 N Venkataraman July 23, 2016 at 11:34 pm

AK Ji & Mahesh Ji,
Thanks for the response. I checked with Harish Ji’s (Raghuvanshi) figures. Mukesh had 124 songs from 45 films for SJ, 95 songs from 61 films for KA and 71 songs from 45 films for LP. From your reply, we can safely conclude that Mukesh had roughly 125-135 songs for SJ. My guess was far-fetched.

60% of the songs were solos for SJ and KA, where as for LP, only 35% of the songs were solos. Mahesh Ji, you are right, SJ had the highest number of songs for Mukesh amongst all composers. SJ would figure very significantly for giving many high-quality songs for Mukesh.
As Akji had mentioned, Roshan should figure prominently in this respect. He too has given some of the best songs in Mukesh’s career. Roshan had given the largest number of songs for Mukesh after the trio mentioned above. 37 songs in 17 films and 65% of the songs were solos. Chitragupt, one of the favourite MDs of AK (me too), comes next, 30 songs in 21 films. Both Naushad (6 films, 21 songs) and Khayyam (6 films, 16 songs) composed quite a good number of memorable songs for Mukesh. Not to forget Dattaram (8 films, 14 songs), who belonged to the SJ gharana.

Among the big names, C Ramchandra, O P Nayyar and Madan Mohan had fewer songs/films with Mukesh.

Enjoyed listening to the songs posted here. Let me add one more, not a sad number, hope this song was not posted earlier.

Jana Tumhare Pyar Mein, film Sasural (1961), lyrics Hasrat Jaipuri.

23 Ashish Merchant July 24, 2016 at 1:34 am

The Musical Output of SJ was indeed phenomenal in quantity as well as quality compared to their contemprories and RK being their mentor Mukesh did get the major share of songs but Rafi was their singer of choice outside RK.
Hope to read more posts on SJ my favorite golden era composers apart from SDB & Roshan who used Mukesh’s voice with outstanding results.

24 SSW July 24, 2016 at 1:46 am

I have always liked Mukesh when he sang in the lower registers. This song from Kanhaiya. I don’t like it for Mukesh he sounded strained and nasal and frequently off key but I really like two things in the song.The flutes playing off Mukesh’s voice throughout the song ,through the interludes, it is really lovely with trills and flourishes, and the mandolin at the end almost pensively playing the melody of the mukhda, nothing spectacular here but just right.
You’ll notice SJ or maybe Sebastian used a variation of of the Barber of Seville overture here too.

25 AK July 24, 2016 at 5:29 am

Thanks a lot. Do you agree that at times simple songs may be more appealing than complex ones.

26 AK July 24, 2016 at 5:36 am

Ashish Merchant,
Welcome to SoY. I hope you have been able to see more SJ-related posts already on this blog. On the right side in the list of categories you would find under the heading music directors. I have covered SDB very extensively. Roshan too is my great favourite.

27 AK July 24, 2016 at 5:45 am

Ruk ja may not be a very good example of Mukesh at higher notes. But there are many songs in which he sounds excellent, such as in Tu kahe agar or Dil ko tujhse bedili hai – the prelude of Ye mera deewanapan hai or in the Rajasthani-style duet Thane kajaliya bana lun.

28 SSW July 24, 2016 at 6:54 am

AK, if you see I’m not saying that Mukesh did not sing well in the higher register. My personal preference is for the ones he sang in lower pitches. When he sang in the higher register it was full throated singing, the high notes ring out well sometimes at other times not so much it becomes strident. My personal preference is that sometimes higher notes be sung softly.

29 AK July 24, 2016 at 7:46 am

You have a point. Thanks.

30 Siddharth July 24, 2016 at 2:00 pm

Thanks for this post on my absolute favourite SJ and Mukesh.
They were a superhit combination.
Here’s one of my fav. –
Jaoon Kahan Bata Aye Dil – Chhoti Bahen

31 Anu Warrier July 24, 2016 at 2:03 pm

AK, absolutely. And you know, from my posts on Mukesh, that I have a great regard for his undeniable talent to touch listeners’ hearts.

However, my point about Toote hue khwaabon ne was not that the other songs of Madhumati are not appealing; it is a tremendous score. It is that this particular song was not really Mukesh’s cup of tea. To say that Rafi sang it the ‘Mukesh way’ is beyond my comprehension.

32 Anu Warrier July 24, 2016 at 2:03 pm

AK, absolutely. And you know, from my posts on Mukesh, that I have a great regard for his undeniable talent to touch listeners’ hearts.

However, my point about Toote hue khwaabon ne was not that the other songs of Madhumati are not appealing; it is a tremendous score. It is that this particular song was not really Mukesh’s cup of tea. To say that Rafi sang it the ‘Mukesh way’ is beyond my comprehension.

33 KB July 24, 2016 at 3:25 pm

For Salil Choudhary also Mukesh has rendered about 20 songs in about 10 films.

34 Shalan Lal July 24, 2016 at 5:30 pm

Anu Warrier @ 21

You say,”The only reason that Rafi sang that one song in what was essentially a Mukesh vehicle was because Toote hue khwaabon ne was too complex a song, and it needed Rafi to do it justice.”

I think your statment is very judgemental. Elsewhere AK has pointed out that Mukesh could deal with all comlexities of the creations of the MD.

I do not want to chase the argument any further. But it is my personal experience that many listenres of the song “Tute Hue” wrongly believed that it was sung by Mukesh. Your expereince seems to be different. Let us leave it to that.

Shalan Lal

35 xFedal July 25, 2016 at 2:55 am

There is nothing wrong with saying Rafi Saab sung ‘Toote Hue’ in Mukeshji style…. Rafi sb was definitely most versatile and capable of that…

36 Nasreen July 25, 2016 at 7:39 am

With all due respect, and keeping in mind that you do not wish to chase this topic further, I still feell compelled to point out that those listeners you refer to who mistake Rafi for Mukesh in the song “Toote hue” do not sound like they are discerning listeners of music. There is almost no similarity in the voices of these two venerable singers. Also Rafi has a certain manner of singing where he adds little inflections in his voice to make it all more expressive. Such as, in this particular song, ” Hum dhoondte hain unko” the way he says “Hum” as if in a sigh is not the way Mukesh sings. As also the word ” mehmaan” in the line “mehmaan woh mere dil ke”. It is plain and simple Rafi style which made him such a versatile and wonderful artist. And it came to him naturally. Also, In those days no one copied from the other so Mukesh had his own tragic style. Mukeshji’s voice itself had a tragic element. Like Saigal’s. But Rafi’s voice could be almost anything he wanted to make it. It could be happy, sad, naughty, angry, filled with devotion etc. etc.
I am really surprised that many listeners think “Toote hue” was sung by Mukesh. It’s almost as strange as if someone had said they believed ” tere man ki ganga” was sung by Rafi.
No offence meant at all, but I had to express what I feel about this.

37 AK July 25, 2016 at 2:32 pm

I am with you on this. I go farther than this – no Rafi song can be confused for Mukesh, or vice versa, their voices are so apart. The close cases where there may be some confusion are for example, Suman Kalyanpur for Lata Mangeshkar, or Subir Sen for Hemant Kumar. That is different than saying that someone has sung a particular song in a different singer’s style – this is completely a matter of personal perception, and we can leave it at that.

If it is stretched to suggest that a Rafi’ s particular song would sound better in another voice – I have stated earlier that in my view such speculation is pointless. Not because any singer is more or less versatile than the other, but because we get conditioned to associate a famous song with that particular singer.

Having said that, I think it goes without saying that another person is entitled to have a different view.

38 Shalan La July 25, 2016 at 3:33 pm

Comments Numbers @ 35, 36 and 37

The discussion is very interesting. Nasreen says,” I still feel compelled to point out that those listeners you refer to who mistake Rafi for Mukesh in the song “Toote hue” do not sound like they are discerning listeners of music.”

Do listeners of any music need to be “discerning?” Is the art of music exclusive experience?

I thank “xFedal” has expressed well what I wanted to say. I also am obliged to AK for having the the generocity as an ideal quality in editing a blog like the SoY and accepting the first principle of the democracy that all voiced should be heard.
The question of of the versality of Rafi was explored by SJ, OP and many other MDs and Rafi went far ahead from the narrow closed room that many singers male and female found suffocating. Lata and Asha especially Asha could bring out many shades and colours in the meaning and musical cadences.

However just because one is versatile does not mean that one is better than other. Every one so far from the thirties to the end of seventies have their golden seat in the Darabar/ Indrasabha of the Hindi film music.

Shalan Lal

39 SSW July 25, 2016 at 4:18 pm

AK you are being nice but let’s stop pussy footing around. Some singers are more versatile than others, some are technically better than others, but you don’t like singers because of that. You like them because each one brings something different to the table and you simply like some dishes on the table more than others. Some like it sweet , some like it tart , some like it with heat, to some it’s the mixing of parts, it is a subjective taste and it would be horrible if tastes were decided entirely on chemical composition of the ingredients.
But of course that won’t stop the arguments. 🙂

40 mumbaikar8 July 25, 2016 at 8:46 pm

Listeners of any music need not be “discerning” any one and every one can listen.
In comment # 37 AK agrees with Nasreen “ no Rafi song can be confused for Mukesh”
Perhaps his understanding of the listeners of your personal experience is other than yours

41 Shalan La July 26, 2016 at 3:32 pm

Mumbaikar 8 @ 40

You say “In comment # 37 AK agrees with Nasreen “ no Rafi song can be confused for Mukesh”
Perhaps his understanding of the listeners of your personal experience is other than yours”

I do agree we two have different ways of looking at the song and also the expereince of the listeners understanding. And the need of respecting the view of others as their right to hold the opinion.

we can question the understanding of theothers but being self-righteous is closing the door.

Why go on carping over it and be pugnacious?

Let us leave it to that and see if we can find something which one like in other people’s statement. After all we all have experiences of differing nature in many walks of life.

Shalan La

42 Nasreen July 26, 2016 at 4:25 pm

Why did I have this slight premonition when I used the word “discerning” that it might give rise to further words from some members. And so it did 🙂 May I quicky clarify that I do not mean to show any disrespect to anyone or demean anyone’s experience as a listener. Music is different things to different people. That is why we have different tastes in the first place. Someone brought in the example of food in this context and I thought that was a clever analogy. It’s just all a matter of taste and what pleases our individual senses, it is our individual experience.
But I think if you are a music lover, and particularly someone who regularly reads and writes about it and participates in discussions about it all, then you kind of should know the difference between Mukesh and Rafi 🙂
Perhaps ” discerning” is the wrong word here as the difference between the sound of their voices is quite obvious. That word would more appropriately apply to the example cited by AK of Lata and Suman Kalyanpur whose voices are quite similar and might confuse listeners who are not that discerning.
I can also see from some reactions that there is misinterpretation of what I said (sigh…:) re for instance the versatility of Rafi.

However, I would rather not get into explaining etc. I am grateful to those who get what I mean and thank you also to those who had some reaction anyway. Enough said on a simple point.

Thank you 🙂


43 raghavan vasudevan July 26, 2016 at 4:33 pm

A fine article by Mr AK on SJ-Mukesh combination. Mukesh mostly sung
pathos for SJ. The selection of songs were also good but how come this
gem of a song went unnoticed

taron se pyare dil ke armaan avo mere pyare
from Diwana

SJ were great MDs undoubtedly but only problem with them was
heavy orchestration for some songs. But their style of composing was
followed by many other MDs.

44 AK July 26, 2016 at 4:44 pm

Mr Vasudevan,
Thanks a lot for your appreciation. All the songs of Deewana were quite popular. Taaron se pyare is a very soulful number.

45 xFedal July 27, 2016 at 4:53 am

Post 36,37, 38,39,40,41,42,
I think the way Mr Rafi Saab Modulated his voice, look at this line’ Humko Ye Sikaahai’, compared to this line here ‘ Yeh mera dewana pan hai’, this similar style and voice modulation might have been the requirement from the MD… Rafi Saabs modulation here might have tricked some into believing it was Mukesh singing due to the voice modulation…

46 Subodh Agrawal July 27, 2016 at 12:01 pm

Mukesh and SJ – should have been an obvious choice. I wonder why it took you so long to get around to it!

As for the song selection, you have left out many outstanding songs by mentioning them in the introduction. Of the ones included in the list my favourite is ‘Sajanwa bairi ho gaye hamar.’ Mukesh has generally done very well in folk based songs and this one is right up there with the best.
As for the lyrics of the song, I am not too sure of Shailendra’s contribution because most of the lines are already there in the story ‘Mare gaye gulfaam’ by Phnishwar Nath Renu.

I don’t care much for ‘Mujhe tum se kuchh bhi na chahiye’ and ‘Tum jo hamare meet na hote’. That’s very much in keeping with the overall standard of SJ, they mix sublime with the commonplace.

The debate on Mukesh’s merit and limitations as a singer will never end. Personally I am a big fan of his, but I do accept his limitations and even flaws. Still, I think his entry into the song ‘Ramaiya Vastavaiya’ is something special – after having heard the voices of Rafi and Lata.

47 Praveen July 27, 2016 at 4:44 pm

Subodh saab, well said. In spite of all his limitations and flaws his voice always touches deep inside you.

And I never thought Rafi sang Toothe hue khwab in Mukesh’s style!! Or did he? Maybe am not discerning enough, lol!!

48 Giri July 27, 2016 at 5:05 pm

A film song appeals to a listener due to a combination of its lyrics,the tune and orchestration,the voice of the singer,the way it is sung including the intonation pronunciation etc. If the song is accompanied with the video it adds to/alters the opinion. Over a period every listener develops his own likes and dislikes to various degrees according to his/her own tastes. So there need not be agreement among listeners on all these aspects. That is why the views expressed by every one in this blog makes it more interesting

49 AK July 27, 2016 at 6:18 pm

Welcome back. On SoY I have not followed any linear pattern. Therefore, you would find many more obvious omissions. I am getting around to it by and by. Some well-known songs I have left because I wanted to avoid repetition. As for relative merit of Mukesh and others, I don’t want to add to the heat.

50 Shalan Lal July 29, 2016 at 3:35 pm

xFedal @ 45

Your juxtaposing of the two songs and drawing some light about the mystry of the “Tute Hue” is very rational and interesting.

With this in mind if I say that the song was composed for Mukesh and somehow it went to Rafi and he added his complexisty and made it more look like a Rafi song will not be far fetchedness.

There were many MDs in the past composed the songs for one singer and the songs went toanother song.

The song “Hamri Yaad Aayegi” was composed for Lata M and her unavailability at the time gave chance to recently passed away Muabaraq Beghum and she put her stamp on it.

Lata to had her turn when Nurjehan was unavailable and the Andaz song “Uthaye Ja” went ot her and she made it her own.

Many people may not agree but from your keen understanding of the songs I drew this conclusion.

Shalan Lal

51 Ashok Kumar Tyagi July 29, 2016 at 5:26 pm

AK ji,
We have enjoyed songs composed by SJ- sung by Lata, Manna Dey and Mukesh. May we request posts on SJ – Kishore (pre- 1971) and Talat.


52 Ashok M Vaishnav July 29, 2016 at 6:28 pm

Let me now butt in the Toote Hue KhwaboN Ne debate.
Most of the time, a MD shapes the basic tune taking into consideration who is likely to sing the song.
For example, Saaranga Teri Yaad Mein was composed by Sardar Malik with Mohammad Rafi in mind.
However, it is said that after the recording the producer was of the opinion that Mukesh should be able to do better justice to the song. and we now have a version that has Mukesh all over the song.
One can find many more of such examples.
In most of the cases, music director would certainly take care of strengths and weaknesses of the singer and would address those in the way song ultimately shapes up.

53 Raghavan Vasudevan July 29, 2016 at 7:21 pm

I read in some blog some time back that few composers after tuning a song wanted it to by sund by a particular singer. In the case of Asli Naqli “tera mera pyar hain amar” it was song by Latha though the MD wanted it to sung by some one else. Similarly K C Dey uncle of Manna Dey composed a song and Manna thought his uncle would ask him to sing
but that song went to Rafi sahib. Manna’s uncle clarified to him that he
has composed the song with Rafi in mind.

54 AK July 29, 2016 at 9:41 pm

Your request noted. Shall try my best.

55 Mahesh July 29, 2016 at 9:51 pm

A tonga song
A chand-sitaare song
A Mukesh-SJ song

all clubbed into one.

56 AK July 29, 2016 at 9:55 pm

Mr Vsudevan,
Such stories are galore. The most well-known was just discussed – Mubarak Begum getting to sing Kabhi tanhaiyon mein hamaari yaad ayegi meant for Lata Mangeshkar. The song went on to become immortal. It is another matter that Mubarak Begum still had to struggle for survival.

Such misses are there in acting too. Zanjeer being refused by many. I think “And the rest was history” is made of such unforeseens.

57 Ashok Kumar Tyagi July 29, 2016 at 10:13 pm

Mahesh has posted a lovely group song. Shankar Jaikishan were always excellent in group songs.

58 Jignesh Kotadia July 31, 2016 at 12:22 am

Excellent post on the most melodious pair of our cinema. Any song u pick from this pair even blindly would be an outstanding one !! from Mai raahi bhataknewala hun to Wasta hi na jab raha tumse (chori chori 1973)…

posting one of my fav
Shailendra’s class poetry.

जो ये सपने सच हो जाते
तो ये सपने कयुं कहलाते
तो ये सपने कयुं कहलाते
और इस घडी नींद कयुं टुटती

आँखसे जो एक बुंद गिरी है
हर सपने का मोल यही है
हर सपने का मोल यही है
ए दिल तेरी कोइ कीमत नहीं

हम सैलानी घर ना घराना
काम हमारा चलते जाना
काम हमारा चलते जाना
अपनी कभी कोइ मंज़िल नहीं
अपना कोइ न था अपना कोइ नहीं
इस दुनियामें हाय…

59 Jignesh Kotadia July 31, 2016 at 12:37 am

as Ashok Kumar Tyagiji said
ek post to SJ-KISHOREDA ki bhi banti hai..
but i think it may be divided in two eras, pre-69 and post-69.
pre-69 has a few films with few well known songs of kk…but the post-69 kk-sj combo in the kk’s rule is just powerful !
Hum log hai deewane (umang), tum kitni khoobsurat ho (jungle mein mangal), zindagi ek safar (andaz), tujh jaisi laadli (rivaaj), chamka paseena (resham ki dori), mere dil mein tu hi tu hai (international crook), jaane anjaane title, bhanwre ki gunjan hai mera dil, Geet gata hun main..all are gems.

60 Jignesh Kotadia July 31, 2016 at 12:48 am

sorry but ek post Manoj Kumar- SJ par bhi banti hai. forget Hariyali aur rasta, Apne hue paraye and Gumnaam…thereafter the music of this pair (pehchaan, beimaan, balidaan, sanyasi) flourished to higher level and won ff awards !! 🙂

61 AK July 31, 2016 at 9:23 am

Thanks a lot for your appreciation.

You must be a real fan of SJ to like songs of Pehchan, Beimaan, Balidan and Sanyasi. 🙂 I have to choose whether to cover songs in MD-singer combination, or MD/Singer-Actor combination. These are overlapping categories. Since my musical experience is mostly aural, as I believe it must be for others from the radio era, I find it more convenient to do it MD-singerwise. I have covered major singers for SJ, but I realise they composed great songs for ‘other’ singers too, and that deserves recognition.

62 Jignesh Kotadia July 31, 2016 at 12:34 pm

yes i am a real fan of SJ and i firmly believe that Pehchaan, Beimaan, Balidaan and Sanyasi are Best ever work of their whole career. 🙂 😉 🙂
Sanyasi did also get nomination in 1975 and very near to get another ff trophy !!

63 Shalan La July 31, 2016 at 5:31 pm

With reference to the comments numbers 36,37, 38, 39, 40, 41, 42, 46, 50, 52, 53 56 etc,
So far we are talking about the songs of one sex to another of the same sex. The story told by Dilip Kumar in one of his interviews about the “Yahudi” song “Ye Mera Diwanapan” is stranger than truth/fiction.

I think this was on the one of the installments of the mammoth Movie Mahal of Nasareen Munni Kabir in !987 onward.

There DK said that the song was composed in Lata’s voice for Meena Kumari. But a conference was held and Bimal Roy decided that it should be acted out by DK and so it went to Mukesh.

Just think all the Lata’s complexities and his simplicity had to be handled by him very successfully! In this light I would not like to doubt about the ability of singing of Mukesh but praise him for sustaining for a long period in a un-certain world of Hindi film music.

Shalan Lal

64 xFedal August 2, 2016 at 1:36 am

Shalan Lal saab post 50, I am not sure if the song was composed with Mukesh in hand… due to the high notes it doesn’t look like it… with your other points with the female songs yh I agree… but the G4 Note doesn’t look to be in MukeshJi range… That would be near his maximum…

65 Jignesh Kotadia August 5, 2016 at 1:00 pm

first remember ‘Des chhudaye bhes chhudaye, kya kya na karti preet ho rama..’ of kk from Chacha Zindabad…and then listen this one of Mukesh from Bhai Bahen 1969

Jaane na jaane tu hi na jaane
Main hun pujaari tu meri devi
Maane na maane aaya manaane
Main hun bhikaari tu meri devi

wonderful song, reminding Jap Jap Jap Jap Jap Re

66 Anu August 6, 2016 at 4:27 pm

Nasreen, thanks for your comments. That’s what I meant, and I’m glad to see that I’m not the only one who thinks that way.

Mumbaikar, AK, thank you too.

67 ksbhatia August 11, 2016 at 6:20 pm

AK ji;
A beautiful fast track dance song from Aashiq that no one has mentioned…

Yeh to kaho kaun ho tum….

68 Ashok Kumar Tyagi August 11, 2016 at 7:00 pm

What a lovely song. Ye to kaho kaun ho tum. Sun kar Shankar Jaikishan ke aashiq aur bhi deewane ho gaye.

69 ksbhatia August 11, 2016 at 10:58 pm

Tyagi ji ; AK ji;
This was again one of the song which was in my mind where man sings and woman dance .

70 ksbhatia August 13, 2016 at 11:56 pm

Ashok Kumar Tyagi ji;
Followed the trail of songs of Mukesh and discussions there on . I think there are many sad / pathos songs which have been missed . I atleast would have included the alltime hits from Awara like….

Awara hun….for its beautiful lyrics, composition and international recognition ….and….Hum tujh se mohabbat karke sanam….for its beautiful picturisation and heart broken redention.

awara hun….

hum tujh se mohabbat kar ke sanam…..

71 ksbhatia August 14, 2016 at 12:12 am

Subodh Aggarwal ji @46 ;
The entry of Mukesh in Lata, Rafi song ….ramiya wastaviya… fantastic . I have another song , rather a club dance song by Lata ji wherein Mukesh entry is as good. Being a fast number set to tap rhythm it sways any one to their feet to dance along . The song is……

Nazar nazar se ho rahi hai baat pyar ki……..[ Main nashe mein hun]

72 Ashok Kumar Tyagi August 14, 2016 at 10:44 am

AK ji
Bhatia sahib and other esteemed readers add to songs you uplink for refreshing our memory. Thanks to you, copy to all. Frankly l heard some songs again after a gap of 45 years or so.
Talking of the song ‘hum tujhse Mohobbat ‘, allow me to reproduce a stanza:
Ye dil Jo jala ik aag lagi
Aansoo jo bahe barsaat huyi
Badal ki tarah awaara the hum……
The titles of RK Films first three films – aag, barsaat and awaara have been included. Overall a beautifully written song, sweetly composed and soulfully rendered by Mukesh.
We are blessed to have a magnificent unending treasure of old songs.
Thanks again.

73 AK August 14, 2016 at 11:44 am

This is a very interesting observation. I don’t know whether RK/lyricist meant it to include the first three films’s names.

74 Siddharth August 14, 2016 at 5:20 pm

Tyagiji,Bhatiaji and AKji,
@72, the song also mentions another SJ movie Badal which was released in the same year.

@69 Here’s one brilliant song where both man and woman dance –
Song : Chaahe naina churaao chaahe daaman bachaao
Film : Aas ,1953,
Singers: Talat Mehmood,,Lata Mangeshkar,
Lyricist: Shailendra,
Music Director:Shankar Jaikishan

@71 Talking of Mukesh stealing the show in Ramaiyya Vastavaiyya, I remember few years back there was a TV program on Mukesh where his die hard fan mentioned two songs where Mukesh made fantastic entry. One was Ramaiyya Vastavaiyya and other – Dil ne phir yaad kiya (Sonik Omi).

75 Shalan Lal August 14, 2016 at 6:16 pm

Comments 72, 73 and 74.

Bunny Reuben the writer of the book “Raj Kapoor the Fabulous Showman” has mentioned the part of the lyric quoted by Mr Tyagi as RK’s essence of the film making and deliberately put in the song. Hasrat Jaipuri did the lyric. Bunny mentioned as well that the lyric prophetically tells the RK’s life with Narigs. Here is the full lyric:

हम तुझ से मुहब्बत कर के सनम
रोते भी रहे, हँसते भी रहे

है दिल की लगी क्या तुझको खबर
इक दर्द उठा थर्रायी नज़र
खामोश थे हम इस ग़म की क़सम
रोते भी रहे, हँसते भी रहे …

ये दिल जो जला इक आग लगी
आँसू जो बहे बरसात हुई
बादल की तरह आवारा थे हम
रोते भी रहे, हँसते भी रहे …
The film “Baadal” has more influence on the acting of RK on Premnath which he could not get rid of it as a few of the films of Premnath show in that period.

Hence “Baadal” was hurriedly Concocted by Varma films to cash on RK’s success. So I would say that the film Baadal appeared very late in the same year 1951.

It was very odd to see Premnath singing Mukesh songs like “Mai Raahi Bhatkane wala Hun” and trying to ape RK.

Perhaps it was a revenge on RK as he did not give him much scope in his many films later on except “Bobby” when Premanth was a wreck despite the fabulous success of Barasaat inwhich he was second hero.

Shalan La

76 AK August 14, 2016 at 9:52 pm

@71 Does Mukesh really make a grand entry in Dil ne phir yaad kiya? This is an exxaggeration. –Ramaiya Vastavaiya is different.

@69 Male-female dance songs watched by the lead actors is an old tradition. Perhaps the most famous is O jaanewale balamwa from Rattan (1944). I have posted some earlier dance songs in my post on Mumtaz Ali. I am very fond of Chaahe nain churaao. I had mentioned it prominently in my post on Talat Mahmood’s duets breaking the image-trap.

77 Siddharth August 20, 2016 at 1:13 pm

I think you are right, it is an exaggeration but expected ..coming from a die hard fan.
Here’s one peppy song of Mukesh with Rafi –
Yaaron surat hamari pe mat jaa0- Ujaala(1959)

78 AK August 20, 2016 at 2:17 pm

A fabulous song this.

79 ksbhatia August 20, 2016 at 11:15 pm

Siddharth ji ;

Your Mukesh song reminds me of a song from old movie Singapore. The picturisation matches that of …..aisa mauka phir kahan milega….from An evening in paris .

Yeh shahar bada albela…..Mukesh…..SJ……Singapore

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