Twin songs: A front runner and a laggard

July 31, 2010

We all remember the following evergreen songs:

Song Singer Film Music director
Ae mere dil kahin aur chal Talat Mahmood Daag (1952) Shankar Jaikishan
Dil matwala lakh sambhala Talat Mahmood Bewafa (1952) AR Qureshi
Chali Radhe rani Manna Dey Parineeta (1953) Arun Kumar Mukherji
Mera qaraar le ja Talat Mahmood Ashiana (1952) Madan Mohan
Na ye chand hoga Hemant Kumar Shart (1954) Hemant Kumar
Jayen to jayen kahan Talat Mahmood Taxi Driver (1954) SD Burman
Kaise koi jiye Hemant Kumar Badbaan (1954) Timir Baran
SK Pal
Ae ghame dil kya karun Talat Mahmood Thokar (1954) Sardar Mallik

Jeevan ke safar mein rahi Kishore Kumar Munimji (1955) SD Burman
Dil chhed koi aisa nagma Hemant Kumar Inspector (1956) Hemant Kumar
Dil dil se milakar dekho Kishore Kumar Mem Sahib (1956) Madan Mohan
Aa laut ke aja mere meet Mukesh Rani Rupmati (1957) SN Tripathy
Ina Meena Dika Kishore Kumar Asha (1957) C Ramchandra
Sab kuchh luta ke hosh mein aye Talat Mahmood Ek Saal (1957) Ravi
Ye mard bade dil sard Rafi Miss Mary (1957) Hemant Kumar
Mujhko is raat ki tanhai mein Mukesh Dil Bhi Tera Hum Bhi Tere (1960) Kalyanji Anandji
Zindagi bhar nahi bhulegi wo barsaat ki raat Rafi Barsaat Ki Raat (1960) Roshan
Ae dil kahan meri manzil Dwijen Mukherji Maya (1961) Salil Choudhry
Chhoti si ye duniya Kishore Kumar Rangoli (1962) Shankar Jaikishan
Na tum hamen jano Hemant Kumar Baat Ek Raat Ki (1962) SD Burman
Ehsan tera hoga mujh par Rafi Junglee (1962) Shankar Jaikishan
Taqdeer ka fasana Rafi Sehra (1963) Ramlal
Mere mehboob tujhe Rafi Mere Mehboob (1963) Naushad
Aaj kal mein dhal gaya Rafi Beti Bete (1964) Shankar Jaikishan
Dil beqaraar sa hai Rafi Ishara (1964) Kalyanji Anandji
Dil laga kar hum ye samjhe Mahendra Kapur Zindagi aur Maut (1964) OP Nayyar
Humne tumko pyar kiya hai kitna Mukesh Dulha Dulhan (1964) Kalyanji Anandji
Jyot se jyot jagate chalo Mukesh Sant Gyaneshwar (1964) Laxmikant Pyarelal
Ajanbi tum jane pehchane se lagte ho Kishore Kumar Hum Sab Ustad Hain (1965) Laxmikant Pyarelal
Jis dil mein basa tha pyar tera Mukesh Saheli (1965) Kalyanji Anandji
Dil jo na kah sakaa Rafi Bhigi Raat (1965) Roshan
Pardesiyon se na ankhiyan milana Rafi Jab Jab Phool Khile (1965) Kalyanji Anandji
Bus ek chup si lagi hai Hemant Kumar Sannata (1966) Hemant Kumar
Meri jaan tum pe sadke Mahendra Kapur Sawan Ki Ghata (1966) OP Nayyar
O mere shahekhuban Rafi Love In Tokyo (1966) Shankar Jaikishan
Raat aur din diya jale Mukesh Raat Aur Din (1967) Shankar Jaikishan
Jab jab bahaar ayee Rafi Taqdeer (1967) Laxmikant Pyarelal
Chandan sa badan Mukesh Saraswatichandra (1968) Kalyanji Anandji
Chale ja chale ja chale ja jahan pyar mile Rafi Jahan Pyar Mile (1969) Shankar Jaikishan
Teri ankhon ke siwa duniya mein rakha kya hai Rafi Chirag (1969) Madan Mohan
Tum mujhe yun bhula na paoge Rafi Pagla Kahin Ka (1970) Shankar Jaikishan
Khilte hain gul yahan Rafi Sharmilee (1971) SD Burman
Humein tumse pyar kitna Kishore Kumar Kudrat (1981) RD Burman
Tujhse naraz nahi zindagi Anup Ghoshal Masoom (1983) RD Burman

 

If you strain your memory, you might recall all these songs had a twin version sung by a female singer:

Song Singer Film Female version
Ae mere dil kahin aur chal Talat Mahmood Daag (1952) Lata Mangeshkar
Dil matwala lakh sambhala Talat Mahmood Bewafa (1952) Lata Mangeshkar
Mera qaraar le ja Talat Mahmood Ashiana (1952) Lata Mangeshkar
Chali Radhe rani Manna Dey Parineeta (1953) Geeta Dutt
Na ye chand hoga Hemant Kumar Shart (1954) Geeta Dutt
Jayen to jayen kahan Talat Mahmood Taxi Driver (1954) Lata Mangeshkar
Kaise koi jiye Hemant Kumar Badbaan (1954) Geeta Dutt
Ae ghame dil kya karun Talat Mahmood Thokar (1954) Asha Bhosle
Jeevan ke safar mein rahi Kishore Kumar Munimji (1955) Lata Mangeshkar
Dil chhed koi aisa nagma Hemant Kumar Inspector (1956) Lata Mangeshkar
Dil dil se milakar dekho Kishore Kumar Mem Sahib (1956) Asha Bhosle
Aa laut ke aja mere meet Mukesh Rani Rupmati (1957) Lata Mangeshkar
Ina Meena Dika Kishore Kumar Asha (1957) Asha Bhosle
Sab kuchh luta ke hosh mein aye Talat Mahmood Ek Saal (1957) Lata Mangeshkar
Ye mard bade dil sard Rafi Miss Mary (1957) Lata Manngeshkar
Mujhko is raat ki tanhai mein Mukesh Dil Bhi Tera Hum Bhi Tere (1960) Lata Mangeshkar
Zindagi bhar nahi bhulegi wo barsaat ki raat Rafi Barsaat Ki Raat (1960) Lata Mangeshkar
Ae dil kahan meri manzil Dwijen Mukherji Maya (1961) Lata Mangeshkar
Chhoti si ye duniya Kishore Kumar Rangoli (1962) Lata Mangeshkar
Na tum hamen jano Hemant Kumar Baat Ek Raat Ki (1962) Suman Kalyanpur
Ehsan tera hoga mujh par Rafi Junglee (1962) Lata Mangeshkar
Taqdeer ka fasana Rafi Sehra (1963) Lata Mangeshkar
Mere mehboob tujhe Rafi Mere Mehboob (1963) Lata Mangeshkar
Aaj kal mein dhal gaya Rafi Beti Bete (1964) Lata Mangeshkar
Dil beqaraar sa hai Rafi Ishara (1964) Lata Mangeshkar
Dil laga kar hum ye samjhe Mahendra Kapur Zindagi aur maut (1964) Asha Bhosle
Humne tujhko pyar kiya hai jitna Mukesh Dulha Dulhan (1964) Lata Mangeshkar
Jyot se jyot jagate chalo Mukesh Sant Gyaneshwar (1964) Lata Mangeshkar
Ajanbi tum jane pehchane se lagte ho Kishore Kumar Hum Sab Ustad Hain (1965) Lata Mangeshkar
Jis dil mein basa tha pyar tera Mukesh Saheli (1965) Lata Mangeshkar
Dil jo na kah sakaa Rafi Bhigi Raat (1965) Lata Mangeshkar
Pardesiyon se na ankhiyan milana Rafi Jab Jab Phool Khile (1965) Lata Mangeshkar
Bus ek chup si lagi hai Hemant Kumar Sannata (1966) Lata Mangeshkar
Meri jaan tum pe sadke Mahendra Kapur Sawan Ki Ghata (1966) Asha Bhosle
O mere shahekhuban Rafi Love In Tokyo (1966) Lata Mangeshkar
Raat aur din diya jale Mukesh Raat Aur Din (1967) Lata Mangeshkar
Jab jab bahaar ayee Rafi Taqdeer (1967) Lata Mangeshkar
Chandan sa badan Mukesh Saraswatichandra (1968) Lata Mangeshkar
Chale ja chale ja chale ja jahan pyar mile Rafi Jahan Pyar Mile (1969) Suman Kalyanpur
Teri ankhon ke siwa duniya mein rakha kya hai Rafi Chirag (1969) Lata Mangeshkar
Tum mujhe yun bhula na paoge Rafi Pagla Kahin Ka (1970) Lata Mangeshkar
Khilte hain gul yahan Kishore Kumar Sharmilee (1971) Lata Mangeshkar
Humein tumse pyar kitna Kishore Kumar Kudrat (1981) Parveen Sultana
Tujhsr naraaz nahi zindagi Anup Ghoshal Masoom (1983) Lata Mangeshkar

In case you want to refresh your memory, you can hear the two versions by clicking on the singer’s name against each song in the above table.

Now if you observe carefully you notice a very strange phenomenon. In all these songs the male version caught the popular fancy. The female versions lagged so far behind that many of them became extinct from public memory and it would be difficult to believe that they existed. When you think of Aa laut ke aja mere meet you think of the plaintive cry of Mukesh; when you think of Jayen to jayen kahan or Ae mere dil kahin aur chal you think of pathos and despair brought so beautifully by Talat, Mere mehboob tujhe meri mohabbat ki kasam reminds you of Rajendra Kumar miming Rafi’s soulful melody and so on.

It is said that male voice is endowed by nature with much wider range. This and the full-throated metallic voice explains the preponderance of male stalwarts in classical singing – Bade Ghulam Ali Khan, Abdul Karim Khan, Faiyaz Khan, Amir Khan, Kumar Gandharva, Omkarnath Thakur, DV Plauskar, and in the present era Rashid Khan and so on. Very few female singers are mentioned in the same league.

However, this can not be a valid reason in case of Lata Mangeshkar, who was known to sing in perfect tune in all the four octaves. She got the ultimate compliment a singer can hope for when Bade Ghulam Ali Khan said about her after a concert, Kambakht kabhi besuri nahi hoti. No other singer has dominated Hindi film music for so long and in such a comprehensive manner.

If you somehow block the memory of the male versions and listen to the female versions of the above songs, they are technically sound and quite melodious. Then why even Lata versions pale in comparison to their male counterparts seems inexplicable. Perhaps it has to do with something abstract in the way our senses respond to when the same song is sung by a male and a female singer, and we always seem to be favouring the former.

(Note: The article has been updated to include some more famous twin songs, including some mentioned by readers).

{ 152 comments… read them below or add one }

1 Subodh Agrawal August 20, 2010 at 5:48 pm

First of all my felicitations for an excellent blog.

An interesting observation about the male and female versions of the same songs. I, however, think that for some songs in the list the female version is as popular as the male: Na yeh chand hoga; Kaise koi jiye; Na tum hame jano; Ehsan tera hoga mujh par; Mere mehboob tujhe; and Raat aur din diya jale. These exceptions, however, don’t take away from the general rule. For half the songs in the list I wasn’t even aware of a female version. Good point.

2 Shuchi August 20, 2010 at 8:41 pm

A very interesting article, it made me think of more recent songs too and yes, the trend continues.

Tujhse naraaz nahin zindagi from Masoom (1983). Male version: Anup Ghoshal, female version: Lata. Anup Ghoshal wasn’t a huge hit as Hindi playback singer nor is his version technically superior, but his version of the song is more popular.

Kuchh na kaho from 1942: A Love Story (1994). Male version: Kumar Sanu, female version: Lata. I am no fan of Kumar Sanu but I prefer his version of this song over Lata’s.

My theory is that the difference comes from
(1) how the songs are placed in the movie
(2) which version gets more publicity
(3) which version has the better variations in tune, lyrics, etc.

Most often the female version of the song does not have as significant a role as its male counterpart in the film. It doesn’t get equal attention during publicity or by the viewer watching the film.

The female version of the song is generally slower or its lyrics and other variations are not as interesting as the male version’s. This contrast is obvious in Kuchh na kaho, another one I can think of is Sun Sun Sun Zalima (male) vs Ja Ja Ja Bewafa (female) of Aar Paar.

In the rare cases when the female version has the more important function or placement in the movie, it becomes more popular. An example is Jadoo hai nasha hai from Jism (2003), in which Shreya Ghoshal’s solo is better known than the duet with Shaan.

Another example: Tu Jaane Na, a song from Ajab Prem Ki Ghazab Kahani (2009). The song has two versions by male singers: Atif Aslam and Kailash Kher. Kailesh Kher’s version is easily the superior of the two but very few know it exists, simply because it is only in the album and not in the film.

3 AK August 25, 2010 at 12:09 pm

@Subodh: Thanks a lot Subodh, for your comments. Even in the examples you mentioned, somehow I felt male version to be vastly superior and perhaps more popular as well. I am yet to come across a counter example in the old twin songs in which the female version was decidedly superior. (You too are only willing to concede equality in your examples).

4 AK August 25, 2010 at 12:25 pm

@Shuchi: Thanks a lot for your appreciation and for adding to my list and hypothesis with the Masoom song. Your theory for this difference is interesting. But the tilt is so pronounced in one direction that I doubt very much it could be explained by this construct. I must admit I am quite illiterate about the new songs you have mentioned. But you have indeed given me a new insight, and if I get some more counter examples I would seriously start looking into possible cinematic reasons.

5 AK September 14, 2010 at 8:42 am

I recently discovered another twin song , Mera qarar le ja (Ashiana) sung by both Talat and Lata composed by Madan Mohan. Talat version is of course very well known, and it is so very Talat-ish that I could never believe Lata version existed. Needless to say one finds Talat version vastly superior. But I did find a counter-example. It is a Pakistani song Hamari sanson mein aj tak wo hina ki khushboo mahak rahi hai. I had known it as a Noorjehan ghazal. Now I find that in the film Sawal her as well as Mehdi Hassan version has been used. Noorjehan version sounds far superior.

6 Subodh Agrawal September 19, 2010 at 12:39 pm

In two recent cases the female version seems to be more popular than the male one: “Iktara” from “Wake up Sid” and “Bahara” from “I Hate Luv Storys”. Could it be that there were similar songs earlier as well, but we can’t recall the male version at all!

7 AK September 20, 2010 at 12:10 pm

@Subodh: I have to admit I am tone deaf about current music. But about music of 1950s and 60s I am fairly certain. The two dozen songs I have listed cover practically all the known songs of the type. Whatever new songs I am discovering are adding to my hypothesis. What do you say to Khilte hain gul yahan from Sharmeelee (SD Burman) sung by both Kishore Kumar and Lata Mangeshkar and Ina Mina Dika from Aasha (C Ramchandra) sung by both Kishore Kumar and Asha Bhosale? I recently heard Mukesh version of Yaad rakhna chand taro is suhani raat ko from Anokha Pyar (Anil Biswas). I regard it as one of Lata’s greatest songs. I was conditioned to seeing it as Lata song. But now when I discover Mukesh also sang this song, I feel his version is no inferior to Lata’s. If I may extend this analogy I would mention Lata’s compilaton Shradhanjali, which is purportedly her tribute to the greats like Saigal, Pankaj Mallik etc by rendering their famous songs. I consider Lata as God’s gift to music, but with due respect to her and her sentiments, her versions are nowhere near the originals, and I wish she had spared these gems this embarrassment.
You have yourself stated we were not even aware female versions of several of these songs existed. Even after knowing they did, only the male versions remain in our consciousness – the prime example would be Ae gham-e-dil kya karun from Thokar(Sardar Mallik). Even after knowing Asha Bhosle also sang this ghazal can we visualise it as anything other than Talat’s song?

8 Sanjay Prakash September 21, 2010 at 12:40 am

An excellent and innovative approach to Hindi film songs. My congrats and appreciation!!! However, I tend to disagree with the theory that in twin songs, the female version always pales in comparison to the male version.

I would like to cite a few cases, though some may be recent ones as compared to the era that you have bracketed but I am sure you are not out of tune with them. The title song of Raat Aur Din (1967) has been heard on radio more in Lata’s voice than in Mukesh’s and has never lagged behind the male version. The year 1993 was blessed with the release of two offbeat films, one was Rudaali, directed by Kalpana Lajmi and the other was Maya Memsaab by Ketan Mehta. These films had two of the most enchanting musical scores of all time in offbeat cinema. In Rudaali, the song Samay O… Dheere Chalo is sung by 3 singers – Bhupen Hazarika, Asha Bhosle and Lata Mangeshkar. Jolly God, the song is so good that you find it hard to decide which version is the best, but after repeated listening, you end up ranking the Asha version as the most superior one (very narrowly beating the Lata version). Again, contrary to your hypothesis, in the other twin song from the same film, Dil Hoom Hoom Kare, the Lata version is vastly superior to and far more popular than the Bhupen Hazarika version. Now come to the score of Maya Memsaab in which Hridaynath Mangeshkar got the song Ek Haseen Nigah Ka Dil Pe Saya Hai rendered by his Lata Didi as well as Kumar Sanu. The Lata version sounds several notches better than the Sanu version (marred by his horrendous pronunciation of the word Haseen). Silsila (1981) had a gem of a song from Shiv-Hari, Neela Aasman So Gaya in which the Lata version was much better and even more popular than the Amitabh Bachchan version. In Dastak (1970), the song Mayee Ri Main Kaase Kahoon Peer Apne Jiya Ki sounds better in Lata’s voice than in composer Madan Mohan’s voice and also remains etched in memory for a long time after hearing. In Aap To Aise Na The (1980), Usha Khanna used the song Tu Is Tarah Se Meri Zindagi Mein Shaamil Hai in 3 different voices, with the Hemlata version out-scoring the male versions by Manhar Udhaas and even the great Mohd Rafi (yes, the third version was by him and it is not known to many).

Further, though I respect Shuchi’s opinion and endorse her views on the recent songs mentioned by her, still I disagree with her when she says that the Anup Ghoshal version of Tujhse Naaraz Nahin Zindagi in Masoom was better and more popular than the Lata version. I have very rarely heard the song in Anup Ghoshal’s voice on radio or TV. Though he is a trained singer and his rendering of the song is also very impressive, the Lata version was and still is more popular.

But I want to add one nugget in support of your theory – the Rafi version of Tum Jo Mil Gaye Ho from Hanste Zakhm (1972) was infinitely better and more popular than the Lata version.

Pertinent to mention here that all the songs mentioned above are my favourites.

9 AK September 21, 2010 at 6:33 pm

@Sanjay Prakash: Thanks a lot for your detailed comments and highlighting several more songs of the type. I thought there was overwhelming trend in one direction in the ones I had listed of the golden era. In some of the songs you or other readers have mentioned, there seems to be a great deal of difference of opinion. For example, in the Masoom song Tujhse naraz nahin zindagi I tend to agree with Shuchi.

In Rudali song Samay O dheere chalo if you find Asha Bhosale version beating Lata’s, I am not surprised. By 1990s we have to acknowledge the unpleasant fact that Lata’s voice had started breaking, whereas Asha’s bloomed and retained its timbre.

Comparing Lata and Madan Mohan is not fair. Most music directors often recorded their compositions in their own voice for the playback singers to come and rehearse at their convenience. They had no pretensions of being a singer, Madan Mohan was somewhat more competent than others in singing. HMV with which his eldest son Sanjeev Kohli was associated have brought out albums of Madan Mohan which contain several ‘trial’ versions of some well known songs in Madan Mohan’s voice .

Amitabh Bachchan is an interesting case. There is something in his voice which has made almost all his songs super hit. Yet I doubt if he would consider himself a singer worthy of comparison with Lata. There is a very interesting case of 1957 film Musafir (music Salil Chaudhry) which has a duet by Dilip Kumar and Lata Mangeshkar Lagi nahi chute Rama. This is the only song Dilip Kumar ever sang in films. Raju Bharatan makes a big thing about how Dilip was cut up because Lata had deliberately overshadowed him. And apparently that led to some cold vibes between the two till they came together after many years. I found the whole analysis pointless. Dilip Kumar would have never thought himself to be anywhere near Lata. Youtube has this song, I strongly urge you to hear it. I find Dilip Kumar’s singing wonderful, musically better than what Amitabh has done in his songs. Yet the question of any comparison with Lata should not arise.

10 Dharm October 14, 2010 at 7:02 pm

@ AK SIR
Dear Sir,
Once Again you have come up with an extra ordinary observation-
“Twin Songs”
Very Very Interesting!
Well, the songs that you, Subodh Sir and Shuchi Ma’am highlighted,
together make a good collection!
Yet there are some more songs that support this trend.

Song- “Wadiyan mera daaman”
Singers- Lata Mangeshkar Ma’am and Mohd Rafi Sahab.
This song one sidedly belongs to Mohd. Rafi Sahab.

Song-“Kyunki itna pyar tumko karte hain hum”
from movie “Kyunki”
In it too,It is apparent that the song
that Udit Narayan Sir sang was far superior to the female song.
(though male song had a few lines in voice of Alka Ma’am as well)

But opposing the trend, we have

Film- “Bahu Begum”
Song-“Hum Intezaar karenge”
Singers- Mohd. Rafi Sahab and Asha Bhonsle Ma’am.
Asha Ma’am’s song is more popular.
You may associate it with my fondness for Asha Ma’am.
But the truth is that I love Mohd. Rafi Sahab and Lata Mangeshkar Ma’am
very much

Film- “Aarzo”
Song-“Aji rooth kar ab kahaan jaayiyega”
Singers- Lata Mangeshkar Ma’am and Mohd. Rafi Sahab.
This song too belongs to Lata Ma’am more.

Song-“Ek do teen” from the movie Tezaab,
Alka Yagyanik ma’am had an edge over the male singer.

Movie- “Nagin”
Song- “Tere sang pyar main nahin”
Lata didi’s song became more popular than Mahendra Kapoor Sir’s.

In all these songs, it is apparent that the song that got more media coverage,
that kept on being circulated within the radios, TVs more often,
is more popular.
And we happen to love that particular song more.

Though the question that you raised is not that easy to answer,
but I think I have its answer in my own way.

In songs, we follow the rule-“First Impression is the last Impression”
And that explains our bias towards Male or Female Song.

If we happen to come across the female song first, then we associate
its tunes, beats and music to her voice
and
If we happen to come across the male song first, then we associate
its tunes, beats and music to the voice of male singer.

A similar congruence is that of Remixes.
The old songs have been introduced to new generations as Remixes,
So whenever the original song is played, however sweet it may be,
we anticipate racy, peppy, anglicised, loud and high beats that made the
first and perennial impressions on our brains.
The same phenomenon, I suppose, happens in case of twin songs.

Its my idea.
At the same time I understand,
that all the above mentioned songs are
so great,
so soulful and
legendary,
that a person, as ordinary as me,
can not gauge their Superiority.
In fact, these all songs are great!

The only difference in the popularity.
But even then, the soul of the twin songs remains the same.
After all, with their mother (Music Directors and Lyricists), being the same,
the greatness and equivalence of these twins is undebatable!!!

11 AK October 18, 2010 at 9:57 am

@Dharm:
I agree with you on Aji rooth kar ab kahan jaiyega. Thanks to all the comments, the list is growing and now we have a huge number of twin songs. My interest in this theme grew when I found in many twin songs the female version simply vanished, and even after knowing they existed, and listening to them carefully on Youtube or elsewhere the female version simply does not register. The few exceptions in which we find female version more popular are so few relatively that it does not change my general thesis.

I have another thesis to which many may not agree. This is regarding duets as different from twin songs. In any great duet, it is my very strong feeling that it is the male part which makes the stronger emotional impact and makes the song great – I can cite hundreds of Mukesh-Lata, Rafi-Lata, Hemant Kumar-Lata duets to support my point. In fact I am planning to write on Hemant-Lata duets which move me so much due to Hemant Kumar’s sonorous voice.

12 Dharm October 18, 2010 at 6:27 pm

Going by figures,
it is definitely so true.
But going by your quote, I dare ask you something.
Your comment reads out that
“In {ANY} of the great duets it is the male part which makes the stronger emotional impact and makes the song great”
But
Had your comment been like this-
“In {MOST} of the great duets it is the male part which makes the stronger emotional impact and makes the song great”,
then I would have appreciated you 100%.
You know Sir, I agree with you on your taste of music,
your deep observing attitude
and your incredible facts and figures.
But I find it rather strange,
that in terms of songs (in them, perspective
of an individual plays the pivotal role)
you so abruptly reach to a universal decision.
Though I understand that at your point, its true,
but sometimes. . . . .

13 AK October 20, 2010 at 12:37 am

@Dharm:
Thanks again for your comments. When I used the word “any” I was aware it was quite strong and would invite rebuttal, I myself mentioned many may not agree with me. You are 100% right, “most” is the correct usage, to which no one can take any exception. But I do hope you agree with my general sense. You can off hand think of any memorable duet of different pairs: Kishore Kumar-Lata Mangeshkar Gata rahe mera dil, Kishore Kumar-Asha Bhosle Chhod do anchal zamana kya kahega, Rafi-Lata Bheegi palkein utha meri jaan gham na kar, Rafi-Asha Bhosle Chand sa mukhda kyun sharmaya, Rafi-Suman Kalyanpur Tumhe pyar karte hain karte rahenge, Rafi-Geeta Dutt Hum apki ankhon mein, Mukesh-Lata Aja re ab mera dil pukara, Mukesh-Asha Bhosle Tumko hoti mohabbat humse, Talat-Lata Yaad anewale phir yaad aa rahe hain, Talat-Asha Bhosle Tujhko parda rukhe roshan se hatana hoga, Hemant Kumar-Lata Ek baar zara phir kah do mujhe sharma ke tum deewana, Hemant Kumar-Asha Bhosle Ye hansta hua karwaan zindagi ka, Hemant Kumar-Geeta Dutt Mujhko tum jo mile ye jahan mil gaya, Hemant Kumar-Suman Kalyanpur Tumhi mere meet ho tumhi mere preet ho, Manna Dey-Lata Chunri sambhaal gori and so on. If you go back to 1930s and 40s – Saigal-Khursheed More balapan ke saathi, Saigal-Uma Shashi Prem nagar mein banaungi ghar main, Ashok Kumar-Devika Rani Main ban ki chidiya ban ke ban ban dolun re, Arun Kumar-Amirbai Karnataki Dheere dheere aa re badal, Karan Dewan-Zohra Ambalewali Sawan ke baadalo unse ye ja kaho, Shyam Kumar-Amirbai Karnataki O janewale balamwa laut ke aa laut ke aa, Chitalkar-Meena Kapur Ana meri jaan meri jaan Sunday ke Sunday and so on. You can also look 1970s onwards such as Kishore Kumar-Lata Jai jai shiv shankar. Whose voice lingers in your memory? You can multiply the examples.

14 Gaby January 12, 2011 at 2:37 am

What a fascinating topic and what a fab discussion.

I am surprised nobody has brought up the granddaddy of all twin songs- Hamen tumse pyaar kitna from Kudrat- both the the Kishoreda and Parveen Sultana versions rock. The Parveen Sultana version tho’ in my humble opinion is a classic while the Kishoreda one is just a great song.

15 AK January 18, 2011 at 3:18 pm

@Gaby
Welcome to my blog, and thanks for your compliments. Indeed the discussion that followed enriched our knowledge of twin songs. Incidentally, I find Raju Bharatan in his recently published book Down the melody lane (which came out a few months after my article), uses the term ‘tandem’ for such songs, though I still prefer ‘twin’. If you believe his anecdotal evidence, he mentions Lata Mangeshkar used to be scared to sing such twin songs if the male version was by Talat Mahmood. Listening to Jayen to jayen kahan, Ae mere dil kahin aur chal and Mera qarar le ja I am not surprised at Lata Mangeshkar’s fright. It is perplexing but true that in almost all the twin sings she comes out poorly in comparison to the male counterpart, Rafi, Mukesh or Hemant Kumar. Why, even Anup Ghoshal in Tujhse naraaz nahin zindagi outshines her, as so aptly mentioned by Suchi in her comments. The only clear exception I could think of, as mentioned in one of the comments, is Ajee rooth kar ab kahan jaiyega, which is superior to Rafi’s Ajee humse bachkar kahan jaiyega from Arzoo.

The reason why Humein tumse pyar kitna did not figure in my article, is that my blog is devoted primarily to the vintage and golden era which has a very clear watershed year of Aradhana (1969), which marks the transition to a new era (I would invite you to read my article “Mohammad Rafi versus Kishore Kumar” on this site). But surely, this is one of the great twin songs. That Kishore Kumar’s version is also well known in face of Parveen Sultana’s version is perhaps testimony to my general theory of twin songs.

One distinct gain from the discussion on this article is what I started with about twenty songs has grown to close to forty, and there could be many more such hidden gems.

16 Gaby January 19, 2011 at 2:26 am

I agree with you that the word ‘tandem’ is not a good one for these songs. While I also agree with you that the male version leaves the greater impact , the magic of these songs is more sophisticated than simply that. The presence of the male actor and the situation of the song perhaps influence this- but this is only if you have seen the song and simply listened to it as most of us have.

I present some situations for your consideration:

Rafi and Lata versions of -‘jiya ho jiya ho jiya kuch bolo’ from Jab pyaar kisise hota hain; Tere ankhon ke siva from Chirag and O mere Shaahe Kubaa from Love in Tokyo. Diffrent composers and male actors with lata and Asha Parekh common factors to all 3 songs. Honestly all mediocre songs that dont really reflect the genius of the composers when you see the videos but OK songs when you just hear the audio .

Then take the duet and solo versions from Hum Dono. Rafi and Asha celebrating love in Abhi na jao chodkar and then Asha alone in a reflective mood in Jahan main aisa koun hain. Not classically twin songs, but how beautifully they compliment each other enhancing the magic of each other. That Sadhana lit up the screen is another story.

Am curious whether Geeta Dutt figured in any twin song. As great as lata and Asha are they could never have the pull the rug from under you feet effect that Geeta had with her male co singers.

17 AK January 19, 2011 at 2:07 pm

@Gaby
Let me give my response to your comments. My relationship with the songs of the golden and vintage era dates back to the radio days. Later when TV came, I consider we were blessed that we had only Doordarshan, first with a single channel, and later they added Metro channel or DD2, and what quality programme just the two channels could give! They have a huge repository of old films, and there were weekly programmes excusively devoted to the music of black & white era. Then I got to see the visuals of many songs for the first time, but essentially my sensibilities were derived from the audio of the songs.

I find it ironical that what just the two DD channels could provide in olden days, we can not get with 350 channels today. Even DD with its over two dozen channels have been reduced to catering to the lowest common denominator. But God bless internet and Youtube, we have access to all the old gems we thought were lost for ever. Youtube performs four important roles as far as this blog is concerned- (i) validation and confirmation of the credits, (ii) revisiting the songs which were either lost in my consciousness, (iii) exploring songs which I had never heard before, but brought to my notice by the readers in their comments or otherwise and (iv) helping the readers who may not be that deeply into the music of that era to experience first hand what I am trying to say.

Now the three twin songs you have mentioned Jiya ho jiya ho jiya kuchh bol do, Teri ankhon ke siwa and O meri shah-e-khuba O meri jaane janana, I strongly remeber these as Rafi songs. That they also had a female twin is just a piece of knowledge for me, I would have to really strain myself to recall the female versions. Is it my bias? I do not know. I would tend to think that it is just that the male version created a much bigger impact. Is it because I heard the male version first? Not really – in the long listening experience it does not really matter which song fell on your ears first, especially if it is a sustained pattern in one direction. Is it because we have heard the male version more often? Yes, of course. But is it not a function of which song got public acclaim?

As for Geeta Dutt twin songs, my article mentions two – Na ye chand hoga na tare rahenge and Kaise koi jiye, both pitted against Hemant Kumar. You are clearly a big fan of Geeta Dutt, I am leaving it to you to judge which creates more impact.

18 anck83 January 22, 2011 at 11:06 pm

Very interesting article. Wud tend to agree thy most of times male solo of same song r better than female solo. Another song to my mind is rim jhim gire sawan,where kishoreda version is far better than lata. The way to look at it male and female voices play complimentary roles rather than competing ones so duets wid hv equal contribution gem
Both. For me, humein tumse pyAr kitna, kishore da version is superior Proving that soulful and expressive singing touches a common man more than technical variations of thumri.

19 raja February 15, 2011 at 6:06 pm

Interesting subject for a blog post. I agree with a lot of what’s been said here, though IMO “Raat aut din” by Lata stands out more than the Mukesh version. And I do not agree with one of the comments that Hemlata’s “tu is tarah” stands out more than Manhar’s version. Anyway, to each his own.

Would like to add a couple more songs to your list (in support of your case 🙂 ):
– chhoti si ye duniya (Rangoli) – Kishore’s version rules!
– tum mujhe yunh (Pagla Kahin Ka) – Lata is good but Rafi is sublime.

20 AK February 16, 2011 at 4:07 pm

@raja
Chhoti si ye duniya is a perfect illustration of the point I am making. I should have mentioned this song in my article, but the reason I didn’t was that I had completely forgotten that a version by Lata also existed. Now that you mention it, I had to go back to Youtube to remind myself of it.

21 AK March 1, 2011 at 11:42 am

Just realised no one mentioned another famous twin song Humne tumko pyar kiya hai jitna, kaun karega itna by Mukesh and Lata Mangeshkar from the film Dulha Dulhan (1964) composed by Kalyanji Anandji. Again the Mukesh version was more popular.

22 Gaby March 2, 2011 at 11:55 pm

two othet Mukesh- Lata twin songs are Chandan sa badan from Saraswati Chandra and Jyot se jyot jagate Chalo from Sant Gyaneshwar. While in the former it is clearly the Mukesh version which sounds better, I wonder what your impressions are on the popularity of the Lata version in the latter.

Talking of twin songs I’ve always only heard the Lata version of mayi re from dastak. Recently I heard the madanmohan sung version and I was blown away. The raw passion in his voice is far superior to the silken tones of Lata in that song!!

23 AK March 3, 2011 at 12:52 am

With Jyot se jyot jagate chalo too I liked the Mukesh version better. I might have some bias in this case. As I have mentioned earlier in response to some comments, I find Lata’s Shradhanjali to the great singers like KL Saigal, Pankaj Mallik by rendering their songs no patch on the originals. Ditto for most of her twin songs against Talat, Mukesh, Rafi, Kishore Kumar and even Anoop Ghoshal (!).

24 musicparast November 11, 2011 at 3:46 pm

Dear AK,
I just came across your list of ‘twin songs’ ( apt moniker). A couple of days ago, I sent out an email to my friends with a listing of some such songs and their corresponding ‘youtube’ links. In response, I received several requests to expand the list. I added quite a few and then turned to the internet for more! …And that’s how I found you!
Great work!
Instead of going into which version is better sung, I’d just say, they are a joy to listen to!

May I add a few to your already bulging list?

~~ ‘babul mora, naihar chhooTo jaay’ (no record available of Kanan version)
KLSaigal/Kananbala/RCBoral/WajidAliShah/1938/Street Singer

~~ ‘kabhi dil dil se takrata to hoga’ (no record available of Shamshad version)
Mukesh/Shamshad/Naushad/Shakeel/1948/Anokhi Ada

~~ ‘kehta hai pyaar mera, o mere laaDle’ (no record available of Hemant version)
HemantKumar/LataMangeshkar/Dattaram/HasratJaipuri/1959/Santaan

~~ ‘nigaahen na phero, chale jaayenge hum’
MohammadRafi/SumanKalyanpur/DulalSen/Upendra/1960’s/Black Prince

~~ ‘ek wo bhi diwali thi’ (Lata’s starts with ‘mele hain chiragon ke’)
Mukesh/LataMangeshkar/Ravi/RajendraKrishna/1961/Nazrana

‘tum to dil ke taar chheD kar’
TalatMehmood/LataMangeshkar(w/Talat hummingat beginning)/ Shankar-Jaikishan/Shailendra/1961/Roop ki Raani Choron ka Raaja

~~ ‘zindgi kitni khoobsurat hai!’
HemantKumar/Latamangeshkar/Hemantkumar/Shakeel/1963/Bin Baadal Barsaat

~~ ‘rang aur nor ki baaraat kise pesh karoon?’
(actually, like ‘pardesiyon se na..’ – a triplet!)
MohammadRafi/Latamangeshkar/MadanMohan/SahirLudhianvi/1964/Gazal

~~ ‘haaye, tabassum tera!’
MohammadRafi/AshaBhosale/UshaKhanna/JavedAnvar/1965/Nishan
(incidently, this was Sanjiv Kumar’s first film)

~~ ‘aap se pyaar hua, aap KHafa ho baiTHe’
MohammadRafi/AshaBhosale/Sonic-Omi/G.L.Rawal/1967/Abroo

I am sure, there are a lot more of them hidden away….

Technically, ‘zindgi bhar nahi bhoolegi..’ cannot be considered among twin songs. Rafi does sing the last antara in lata version.
Same can be said about ‘na tum hame jaano..’ where Suman hums in HK version.

I appreciate your time and effort. Also, was pleased to see you responding to the comments.

If I can help you in any such way, please do let me know.

25 AK November 12, 2011 at 12:21 am

@musicparast
This is amazing research! Thanks a lot. I was aware of some of the above songs. For example Hae tabassum tera. I could not locate the female version on YouTube. Kabhi dil dil se takrata to hoga is an absolutely magical song. Both versions are available on YouTube. I was keeping it for some other blog. Babul mora naihar chhutal jaye – in the film Kanan Devi sings the song in a totally different tune – let us say a very chaalu tune, which Saigal totally disapproves and demonstrates how to sing it correctly. I would not count it as a twin song.

Zindagi bhar nahi bhulegi wo barsaat ki raat – you are right. But my recollection is that in the radio they used to play only two stanzas. So it remained in my memory as a twin song. Na tum humein jaano – I would not make such a fine distinction, I always regarded it as a twin song.

But others are a new discovery, and call for a relook. The pure twin songs I may embed in the comment section after some time to see if some more turn up. For others, let us call them ‘hybrid’ or ‘multiple version’ songs, I may post a separate article. You may also look at these:

1. Roop Ki Rani Choro Ka Raja had another multiple version song – Aa ja re mere nain dware aa ja by Subir Sen/ Asha Bhosle/ Subir Sen & Asha Bhosle. (I have mentioned this in my article on Subir Sen)

2. Kismat: Dheere dheere aa re badal by Amirbai Karnataki/ Arun Kumar (record version) & Amribai Karnataki/ Ashok Kumar (film version) & Amirbai Karnataki

3. Bahu Begum: Hum intezar karenge by Rafi/ Rafi & Asha Bhosle

4. Saranga: Saranga teri yaad mein by Mukesh/ Rafi

5. Bhabhi: Chal ud ja re panchhi by Rafi. Talat also has sung a version, I am not aware in what context, but it is available on YouTube.

6. Main Shadi Karne Chala: Jabse hum tum baharon mein by Mukesh & Kamal Barot/ Rafi & Suman Kalyanpur. Is this the only twin duet? (I have mentioned this in my artilce on Kamal Barot).

7. Pyar Ka Mausam: Tum bin jaaun kahan by Rafi/ Kihore Kumar

8. Andaaz (1971): Zindagi ek safar hai suhana by Rafi/ Kishore Kumar

(These two songs have been discussed in my article on Rafi versus Kishore Kumar).

9. My Sister: Several songs by KL Saigal also sung by Pankaj Mullick in record version. (This has been discussed in the comment section of my article on Pankaj Mullick).

It seems there is quite a huge number of such type of songs. Let us jointly discover. Once we have come to a belief that most of the well known songs are in, we may put them up in a more formal manner.

26 musicparast November 14, 2011 at 5:08 pm

Dear AK,

Allow me to mention one more beautiful number for the twin-list, dunno how we all forgot – ‘mere naina saawan bhaadon..’

Then there are songs like:
‘itna na mujh se too pyaar badha..’ (Chhaya)
‘dil ki tamanna thi masti men..’ (11000 Ladkiyan)
‘tum chal rahe ho, hum chal rahe hain../hum chal rahe the..’ (Dunia Na Maane)
‘nain dwaar se man me wo aa ke..’ (Saawan)
and so on.

Also, you can put together a list of songs that were either never included in the film or were taken out after a few weeks for various reasons. Some were added too, like in Mughal-e-Azam, Aarati, etc

Another interesting area to work on:
Censor problems with lyrics from songs that were already released (and popular!)
I can think of two right now:
‘too hai ‘harjaai’ (changed to ‘bharmaai’) to apna bhi yehi taur sahi..’ (Too Nahi Aur Sahi)
‘chhaliya mera naam, chaalna mera kaam (a couple of changes)’ (Chhaliya)
I am sure there are a lot more around!

Thanks for your prompt acknowledgement!

27 AK November 16, 2011 at 12:07 am

@musicparast
Itna na mujhse tu pyar badha, Nain dwar se man mein wo aa ke has multiple versions? I am not aware. If it has, I would be thouroughly impressed.

You have given me quite a good deal to work on. Songs not included in a film or included later seems to be interesting. There are outstanding songs in films that were never completed. Such songs have occurred off and on in this blog, such as Daan Singh’s songs. However, for me it is the song which is of paramount importance, and not so much other factors relating to the film.

After my last comment I remembered another multiple version song Yaad rakhna chand taron is suhani raat ko from Anokha Pyar by Lata Mangeshkar/Mukesh/Meena Kapur. I doubt if ever we can confidently say that all the known songs of this type have been covered.

While on this theme, let me present some more fascinating topics for research:

1. Songs having identical tune by same composer or different composers. For example:

Same composer:
Naushad’s Lagan more man ki balam nahin jaane, Ghunghat nahi kholun re saiyan tore aage, Jogan ban jaungin saiyan tore kaaran all by Lata Mangeshkar (Babul/Mother India/Shabaab). Naushad’s Aaye bhi wo gaye bhi wo ab to fasana ban gaya by Parul Ghosh (Namaste), Jabse chale gaye hain wo zindagi zindagi nahi by Suraiya (Natak). Rafi’s several songs in Aan and Deedar.

Roshan’s Garjat barsat sawan ayo re in Malhar and Barsaat Ki Raat.

Different composers:
Talat Mahmood’s Ye hawa ye raat ye chandniby Sajjad Husain in Sangdil; Rafi’s Tujhe kya sunaun main dilruba by Madan Mohan in Aakhri Dao

Manna Dey and Lata Mangeshkar duet Wo chand muskaya sitare sharmaye by Madan Mohan in Aakhri Dao; Rafi and Asha Bhosle duet Ye parda hata do zara muskura do by Ravi in Ek Phool Do Maali.

2. Same song in different tunes in different films several years apart:

See Shamshad Begum’s Jhumka gira re Bareli ke bazaar mein in Dekhojee(1947) and Inhi logon ne le leena dupatta mera in Himmat (1941) in Shamshad Begum.

3. A film’s title becoming mukhdaa of a song in a later film or vice versa:
Kora Kagaz
Jab Pyar Kisi Se Hota Hai
Baharein Phir Bhi Ayengi
Kahsmir Ki Kali
Tumse Achha Kaun Hai

4. A composer using a backgound music as a song in a later film:
SJ’s O basanti pwan pagal‘s tune as background in an earlier film and many such examples.

5. Another interesting feature by Salil Chaudhry in Madhumati is using the tune of a song as interlude of another sonng: Ghadi ghadi mera dil dhadke in Aa ja re pardesi.

I am sure this would excite you and get you going.

28 Ashok Vaishnav November 17, 2011 at 9:08 am

I have attached two links of a “BABALA” – SD Burman – Manna Dey and Lata songs.(courtesy my cousin Shri Naresh Mankad)
http://www.hindigeetmala.com/song/rat_ke_rahi_thak_mat_manna_de.htm
http://www.hindigeetmala.com/song/rat_ke_rahi_thak_mat.htm

29 Samar Raeesuzzaman February 22, 2012 at 7:28 pm

There is another Geeta Dutt song, which is also sung by Hemant Kumar. The movie is Sailaab (1956), with music by Mukul Roy. The song is ‘Hai ye duniya kaun si, ae dil mujhe kya ho gaya’. IMHO, here, Geeta’s version really sounds out of this world, even while Hemant’s version is good.

30 AK February 23, 2012 at 10:04 pm

@Samar Raeesuzzman
Thanks for introducing me to this beautiful song from Sailab. I have a weakness for Hemant Kumar, so naturally I like his version more. Here is the song.

Hai ye duniya kaun si ae dil mujhe kya ho gaya from Sailab by Hemant Kumar

31 K R Vaishampayan April 10, 2012 at 5:19 pm

Dear AK,
My sincere compliments for this post on Twing Songs…a great source of entertainment that is very close to the hearts of music lovers like us. However, probably for the first time – I am unable to agree with you that Male Versions are far superior and Female Versions are now almost extinct. They may be extinct, but no yardstick they are any inferior to Male Versions. Fact is majority of singing these twin songs fell on Lata. And beside felicity of singing in 4 octaves with ease and perfection, Lata in many case excels and is far superior in conveying the emotional contents of the lyrics.
Is it my bias? NO…and big one for that. But my honest opinion is: Both Male / Female versions are most of the time at par and judging them as Superior / Inferior is more of an academic exercise of over analysis. For example, ASAHA, who mostly sung Female versions for Mahendra Kapoor. But Mahendra Kapoor’s slightly Nasal, Quivering [way different from Talat’s] was no patch on ASHA’s versatile singing style or her pakka sur.
In case of Geeta Dutt, she was always far better in expressions and moulding her voice to match the contents of lyrics.
As for LATA, I cite my choice about few of the songs from above list where I feel she did a better job than the male singers. Here I go –
1] Ae mere dil kahin aur chal, Daag (1952) – I like Lata’s solow [almost halting] rendition. If not better than Talat, it is at least at par.
2] Aa laut ke aja mere meet, Rani Rupmati (1957)
3] Mujhko is raat ki, Dil Bhi Tera Hum Bhi Tere (1960) or
4] Taqdeer ka fasana Rafi Sehra (1963)
To my ears, LATA sounds far better than her Male counterparts. Of course, it is my personal choice and liking and I am fully aware that my choice can not be transformed into a Generalization!
However, the same thing can be said about the statement about Male versions. I honestly believe that irrespective of factual differences between Male & Female voices [pointed out rightly by you] the Female versions of Twin Songs were certainly NOT so Bad.
But YES! That’s my opinion again and I do accept and respect the fact that others have their right of opinion and liking too.
Thanks again for such a well researched, wonderful article. With warmest regards – KRV

32 AK April 10, 2012 at 8:24 pm

That I regard Lata Mangeshkar as divine I have mentioned at several places in my blog. But coming to twin songs, including the ones you have listed, I have a very different view from yours. In fact, I regard her Shrandhanjali as unbearable. So let us agree to disagree.

33 K R Vaishampayan April 11, 2012 at 2:56 pm

Dear AK,
YES! We must agree to disagree. However, beside the listed songs…I shall not venture to comment. As far as – Shraddhanjali…I won’t comment at all since in my opinion [we may differ] it is more of a commercial gimmick. And I am not interested in them. Rest, I agree with you. Regards – KRV

34 AK April 11, 2012 at 7:59 pm

I think you are agreeing with me on Shradhanjali!

35 sanjay h velingkaar-goa May 14, 2012 at 3:48 pm

dear ak first of all i must appriciate for the pain you took to collect songs on a very different theme. because i am also collecting songs on same topic here are few for your list (1)yaar jinhe tum bhool gaye ho film woh din yaad karo sung by rafi and lata.(2)ulfat mein zamane ki film call girl kishore and lata. (3)tum to dil ke taar film roop ki rani choron ka raja talat and lata

36 AK May 15, 2012 at 2:43 pm

Ulfat mein zamana ki was a new song for me. When I wrote this article I started with 20, then I remembered some more and readers’ comments refreshed my memory of some more, and I revised it to about 40. Still I keep on re-connecting and discovering more songs. But the interesting point is my premise of male version almost always more remembered.

37 arvind September 16, 2012 at 2:06 pm

sharing this ‘….meri tamannaon ki tasveer…..’ mukesh n lata twin song from 1970 flick ‘….holi aaayeee re…’

38 AK September 16, 2012 at 8:33 pm

Thanks for refreshing our memory. In this also my recollection is that Mukesh version was more well known.

39 n.venkataraman September 22, 2012 at 1:38 am

AK ji
After visiting two of your earlier sites, “Well done Abba….” and “Door Papiha Bola”, I have ventured into this post. There is a long list of twin versions (44×2) and 38 comments. I have listened to 18×2 songs (upto 1961) and read a few comments.
I tend agree with you that in majority of the songs posted by you, the male version sounds superior. There is some truth in the argument that the situation and the music, to an extent, influences our preference. It is also true that, there is an inherent bias in us towards male singers in the twin versions. It is not mere male chauvinism, because my wife also agrees with me. I am not going into the details, song by song. Most of the readers/listeners of this post have directly or indirectly reiterated your views.
I had listened to Talat Mehmood earlier. I have rediscovered him through your post. What a treat? Thanks a lot. Talat’s voice had more pathos than Lata’s voice. He could not reach higher notes, but he had a sonorous voice. Even Geeta Dutta expressed more feelings and emotions. This is in context to twin versions only and does not apply to most of Lata’s stand alone songs.

Besides the two versions of the song “Na yeh chand hoga” posted by you, I found a third version posted on the you tube by one “RBA1000”. In fact, he had posted all the 3 versions together. The 3rd one is from the film “Sassi (1954), and the song was sung by Kausar Parveen and Pukhraj Puppo. It seems it is a Pakistani movie.
I am hearing the Geeta Dutt’s version of “Chalo Radhe Rani” for the first time.
I also was not aware of the fact that the Music for the film “Bewafa (1952) was by Ustad Alla Raka Qureshi, the great tabla maestro of yore.
In both the versions of the song “yeh mard bade dil sard bade”, I could recognize Gemini Ganeshan, who was the father of Rekha.

40 n.venkataraman September 24, 2012 at 8:45 pm

AK ji
After listening to all the songs, my earlier opinion stands. Independently all the songs are good and I enjoyed listening to them.. Excellent collection of songs.
Two minor points:
1.The link you have provided for Kishore Kumar’s version of the song “Ajanbi tum jane pehchane se lagte ho” is actually a dubbed recording of the same song by Kumar Shanu. The uploader of the song “golaraj” has mentioned it in his comment. You will find the original version uploaded by “Dreammarchant” and others.
2.Instead of Lata’s version of the song “Pardesiyon se na ankhiyan milana”, you have provided the link for another (happy) version of the same song sung by Md. Rafi.
The song “Hamari sanson mein aj tak wo hina ki khushboo mahak rahi hai” sung by Noorjahan awed me into silence.
Dilip Kumar’s singing ability was not known to me. It was good.
Thank you for the treat.

41 AK September 25, 2012 at 3:22 pm

Mr Venkatraman,
Thanks a lot and thanks for the corrections (since done). Hamari sanson mein is really a gem. I was also surprised that Dilip Kumar, with such a mellifluous voice, sang only one song in his career.

42 musicparast October 5, 2012 at 1:20 am

Dear AK, Dear N V,

I understand Raj Kapoor has sung, too. Don’t know if Dev Anand ever did!
Nutan and Mala Simha’s singing is well known. So is Mehmood’s.
Sunder (the comedian) had a fairly good voice!

I am glad this project is still going strong!

Thank you for this space.

43 AK October 5, 2012 at 4:04 pm

About Dev Anand singing, I do not know whether this qualifies.

Dev Anand rapping in Gangster

Sometime back I had written on many plaback voices of Raj Kapoor and Dilip Kumar. You would find these interesting, if you have not seen them already. Another blogger has done on Dev Anand also, therefore, I have not written on him.

44 N Venkataraman October 5, 2012 at 4:39 pm

…..Where is the song ?

45 AK October 6, 2012 at 10:21 am

I agree with you. But in one of the blogs this was posted as Dev Anand singing for himself. But even this to my mind does not qualify:

46 n.venkataraman October 6, 2012 at 3:40 pm

Beyond my grasp. Devanand RIP.

47 arvind November 14, 2012 at 8:28 pm

http://youtu.be/e09E72uDKhQ (talat mehmud )
http://youtu.be/mV3IYek12Ug (lata mangeshkar )
sharing the twin song ” ..ae meri zindagi tujhe dhoondu kahan……..”
from “….. adal e jahangir….”

48 AK November 14, 2012 at 10:54 pm

Very good example of twin song. This keeps on tumbling out.

49 mumbaikar8 January 20, 2013 at 7:18 am

Good topic…… very good discussions ……..
but the three lata mukesh songs
jyot se jyot jalte chalo
raat aur din
meri tamnna ki taqdeer I find Lata very very good
adding one more tandem song
we always called it tandem i don,t understand how it became twin
http://www.youtube.com/watch?v=3s3jIMDhvhY
http://www.youtube.com/watch?v=TjHcT09Kj8E

50 AK January 20, 2013 at 7:51 am

Nice songs you have added. ‘Twin songs’ is my terminology. I found it more apt than tandem songs.

51 mumbaikar8 March 3, 2013 at 6:43 am

One more twin song from Shabab
http://www.youtube.com/watch?v=4tj70x5MpUE&feature=player_detailpage
http://www.youtube.com/watch?v=DRLNkmZ6Hno&feature=player_detailpage
Actually this is not an authentic twin song because this version is not there on the original LPR (Long Playing Record), I believe this song was recorded to use in the movie one more time on another character.
Now in this era of you tube all these small clippings have become version songs or twin songs.
I recall two more songs at this time,
Aji Ruth Kar Kahan Jaiye ga from Arzoo and
Rahe na rahe hum from Mamta

52 AK March 4, 2013 at 8:40 pm

I was aware of Rafi version of Aji humse bachkar kahaan jaiyega (notice ‘bachkar’ instead of ‘roothnaa’), and Rafi-Suman Kalyanpur version of Rahe na rahe hum. But Rafi version of Marnaa teri gali mein is mind blowing. I could never visualize this song in any voice other than Lata Mangeshkar. But Rafi is so good, I wish it was a full song, and then who knows we might have known it as a Rafi song, as in the case of so many other twin songs. Thanks for introducing this song.

53 mumbaikar8 March 27, 2013 at 6:12 am

This twin fron Balam is a rarest or rare, if not the only, twin of its kind.
It has a male and a female duet twin

http://www.youtube.com/watch?v=bBi6i6U71WQ&feature=player_embedded

http://www.youtube.com/watch?v=mLcd-lpCfoM&feature=player_embedded

54 AK March 27, 2013 at 7:46 am

Mumbaikar8,
What a marvel you have given us! I am hearing the song for the first time. The closest that comes to this song is Jab se hum tum baharon mein from Main Shadi Karne Chala, which is a double set duet – one by Mukesh-Kamal Barot, and the other by Rafi-Suman Kalyanpur. Earlier you have made another great discovery of a Lata Mangehskar-Suman Kalyanpur duet, which is probably the only one available in public domain. Thanks.

55 mumbaikar8 March 28, 2013 at 6:06 am

AK,
Its my pleasure, when ever I discover a gem I share it with you’ll,
kyoon ki johri hi jante hai asli heere ki keemat.

56 gaddeswarup April 9, 2013 at 2:37 am

I have not gone through the comments, I remember and listen to both versions of ‘preetam Aan milo’

57 gaddeswarup April 12, 2013 at 4:48 pm

I still have not read the comments but this theme started bothering me. Since many of the songs seem to be romantic songs, I started browsing about singing and sexulal selection from birds to humans and papers like this
ftp://ftp.repec.org/RePEc/els/esrcls/draftfin.pdf
I am no wiser.

58 AK April 12, 2013 at 8:00 pm

Gaddeswarupji,
I read the very interesting paper you have linked. Though it is about the role of music, per se, in sexual selection, we can perhaps combine it with the generally accepted theory of gender difference in sexuality. My proposition is that given that music’s main function is expressing love or courtship, natural selection/sexual selection ensures that, everything being equal, a song by male would sound better to compensate for the greater need of the female to be wooed and courted.

In my article I had mentioned about the greater range of a male voice, but that did not explain Lata Mangeshkar coming out poor second against some male singers, who decidely did not possess the same range. Then I speculated about something in our brains responding to the male and female voice differently. This paper gives a scientific basis to understand the phenomenon of the male bias in twin songs.

An interesting observation I noted in the paper was about the male birds sometimes dying of exhaustion while singing in the breeding season, and that this sacrifice had a useful genetic purpose. Does it say something about the metaphor of shama-parwana in Urdu poetry?

I have no background in life sciences and I am not an academic. Therefore, I would very much like to have your erudite views.

59 gaddeswarup April 13, 2013 at 2:57 am

AKji,
I stated reading stuff outside mathematics only recently and do not really know much about other things. I found your observation intriguing and seemed correct to me (at least in the context of romantic songs) and started browsing around and found that article which seemed readable overall introduction to the topic. But generally studies in evolutionary psychology are much disputed. If at all, there may be studies by advertising people which are more reliable. There is one Amar Bhide in MIT who studied adverting for a while, he may have some ideas. I think that you possibly started a a research topic which may be difficult to study and it is difficult to say any thing more concrete than what you said. I would guess that one way is to study different groups of songs like lullabies, children’s songs, songs of suffering, war songs, patriotic songs etc and see which are remembered more.
At a personal level, I unconsciously remembered Hindi songs from childhood. Sometimes I was not even sure whether there were such songs and found them again when I lived in Bombay (I lived in the north for twenty years without learning Hindi. Shows how oblivious I am to surroundings when immersed in mathematics). I did not know lullabies and tried tunes of ‘aaj mere manme sakhi’ and such songs on my children. They still remember them and not their mother;s songs. This isolated case does not prove any thing. i think that you opened a new up new topic worth investigating. If I come across any thing new, I will write yo you. Thanks for many interesting observations.
Anandaswarup

60 Dilip Degwekar May 26, 2013 at 3:26 pm

Two more song are missing from the list are as:
Sangam (huming) Ye mera prem patra padkar
Mehbooba Mere naina sawan bhado

61 Mohan Lal August 14, 2013 at 3:20 pm

New Delhi, 14th August 2013.

Sir,

In the lists provided above in this blog and various comments (if I have gone through them carefully) of the knowledgeable enthusiasts/music lovers, I do not find mention of the beautiful gem TWIN song sung by Talat Mehmood and also by Asha Bhoslé:

“Hai yé wohi aasmaa aur hai wohi zameen per méri takdeer ka ab wo zamaanaa nahin” in the film CHAAR CHAAND (1953), which is a song whose lyrics were written by A. Karim and music was composed by Shaukat Dehlvi Nashad.

I would request to kindly add this song to the list (if not added or taken note of) of twin songs.

Best regards,
Mohan Lal.

62 AK August 14, 2013 at 9:22 pm

This is a beautiful song. It has come up for mention in my post on the Best songs of 1953. Talat version is again to my mind is much superior. Here is this version:

63 Mohan Lal August 16, 2013 at 2:37 pm

New Delhi, 16th August, 2013.

Thank you very much AK Ji for your prompt response and appreciation. Perhaps, I have gone through its mention in your post on “Best songs of 1953”. Thanks once again.

There is a following song which I think (I am not sure) is a twin song sung by Shamshad Begum, which is available on YT but the same song sung by Mohammad Rafi Saheb is not available, I have searched a lot on internet. The song is:

(1) Song: Do din ki khushi raas na ai meré ji ko, Dil tor diyaa hai dil tor diyaa aag lagé aisi khushi ko.

(2) Film: Chandni Raat

(3) Year: 1949

(4) Music: Naushad.

Could you AK Ji or any enthusiast/music lover throw some light to dispel my doubts or belief that this is a twin song and also sung by Mohd. Rafi Saheb as I believe?

Best regards,

Mohan Lal.

64 Samir Ahmed October 19, 2013 at 8:55 am

My compliments on a wonderful topic AK! Evidently, a lot of research and analysis has gone into composing it, which is illustrated by the comprehensive list you’ve compiled.

I would like to add one more which may have escaped your gaze; O Dur Ke Musafir (Udan Khatola – 1955). Many will have heard Rafisaab’s chart-buster but very few are aware Lataji also sang this. Hers is an upbeat version and I dearly wish Naushad had recorded the complete song in her voice as it’s very short and leaves you pining for more. I was unable to find just the song on YT but if you check the movie link below at 8 minutes and 55 seconds, you’ll be in for a treat.

Lata Mangeshkar – O Dur Ke Musafir (8.55)
http://www.youtube.com/watch?v=FyPE76b6nTw

65 AK October 20, 2013 at 12:27 am

Mohan Lal,
I am sorry I am responding late to your comment. Hindi Film Geet Kosh and My Swar both mention only Shamshad Begum as the singer of Do din ki khsuhi raas na ay mere jee ko’. I do not think it has a twin Rafi version.

Samir,
Thanks for your compliments. We must also thank the readers who have added so much to what I had mentioned. Now I find that my list is not really comprehensive, and as I go along I keep discovering many such songs. For example in just one year in 1953 I came up with many such songs which are not in the present list. I have mentioned them in the survey article on the best songs of 1953. Lata Mangeshkar’s version in Udankhatola I had forgotten, I had seen the movie so many years ago. I do not know if Naushad had recorded the full version it would have made any difference to Rafi’s O door ke musafir. Very few female version of twin songs have made a mark over the male version.

This device of adding a short version by a female singer of the main male song has been used many times. Naushad had done it earlier in Anokhi Ada (1948) when he had Shamshad Begum sing a stanza of Mukesh’s Kabhi dil dil se takrata to hoga. In Teesri Kasam, Suman Kalyanpur has sung a stanza of Duniya bananewale kya tere man mein samayi. We can find these only in movies, the records did not contain these portions. It would be interesting to compile a list of such songs whether there are equal number of male short stanzas of female solos. If not, it would be an acknowledgement that the music directors realised that the moment you have a twin version, the female version would be lagging, not because it was musically deficient, but for reasons I have mentioned in the article, and the possible scientific reasons mentioned in the comments #57, 58, 59.

66 n.venkataraman October 22, 2013 at 12:01 am

Akji,
This is in reference to your comment #7, where you have mentioned that there is a Mukesh verison of the song Yaad rakhna chand taron. Again from comment #27, it appears that there exist three versions of this song, sung by Lata Mangeshkar, Mukesh and Meena Kapoor respectively. Actually the Mukesh version is a duet with Lata Mangeshkar. Mukesh sings first and after 0:30 Lata Mangeshkar joins him and both of them continue for a few seconds together. Then Mukesh stops and Lata Mangeshkr proceeds with the rest of the song.
This film had two more version-songs. The next one is duet song, Ab yaad na kar, one version sung by Mukesh and Meena Kapoor. It seems this is the film version. The other version sung by Mukesh and Lata Mangeshkar, Most probably this a recorded version.
The other song is genuinely a Male-female twin song, Jeevan sapna tut gaya. The male version was rendered by Mukesh and the female version by Lata Mangeshkar.
Jeevan sapna tut gaya by Lata Mangeshkar from Anokha Pyar, lyrics Zia Sarhadi, music Anil Biswas
http://www.youtube.com/watch?v=URbwdSgGmho
The mukesh version
http://www.youtube.com/watch?v=1os6eUvb-2w
Mukesh’s version was good, but Lata Mangeshkar’s version was superior!

67 AK October 22, 2013 at 12:27 am

Venkataramanji,
Thanks a lot for the clarification. With the two versions you have mentioned of Yaad rakhna chaand taaro, another one in Meena Kapoor’s voice was in the film. As a mater of fact five songs of Meena Kapoor in the film were recorded in the voice of Lata Mangeshkar for the records.

68 Mohan Lal November 8, 2013 at 5:13 pm

New Delhi, 8th November, 2013.

Never mind AK Ji even if you have responded late (on 20/10/2013) to my query of 16/08/2013.

I am sorry I mentioned, as Twin Sing ” the song “DO DIN KI KHUSHI RAAS NA AAI MERE JI KO DIL TOR DIYA HAI DIL TOR DIYA”

In fact it is a DUET sung both by Rafi Saheb and late SHAMSHAD JI and I have listened this duet a few times and in the website of Earthmusic it appears as a DUET also.

Could you please or any music enthusiast check again and upload this DUET here in SOY for the ecstasy of music lovers.

Mohan Lal.

69 AK November 8, 2013 at 10:41 pm

Mohan Lal,
As I mentioned, HFGK and myswar.com both mention it as Shamshad Begum solo song. Here is the song:

Do din ki khushi raas na aayi mere man ko by Shamshad Begum from Chandni Raat, lyrics Shakeel Badayuni, music Naushad

Earthmusic.net do mention it as Rafi and Shamshad Begum duet. How would they explain the above song? All sites from Google search lead to the above solo. Earthmusic could be wrong.

I must thank you for this beautiful song. Heard it for the first time.

70 Mohan Lal November 12, 2013 at 5:18 pm

New Delhi, 12.11.2013.

Thank you AK Ji. I may have been mistaken on the existence of this Duet. But I still feel positive about it and if I get it luckily, I shall definitely let you know.

Regards,
Mohan Lal.

71 Rajneesh January 14, 2014 at 10:40 pm

AK ji
One reason for male version more popular is that film industry has remained male dominated from the beginning. Since hero songs are promoted more or have better visibility their versions are more popular.

But in some cases female version are more popular or better (examples given by some readers). I would like to add two more songs.
1) Chanda O Chanda from Lakhon mein Ek – Lataji’s version is more popular than Kishoreji’s version.
2) Tum mujhe yun bhula na paaoge – I think Lataji has sung it better. H
2)

72 ksbhatia January 15, 2014 at 12:49 am

AKji, I would like to add here that some times the better of the twin song depends upon the situation in the film and the impact it leaves on the viewer vis a vis the story of the movie. A very rare example I can give is…….Sun le tu dil ki sajja …..from Tere ghar ke samne…….both the versions sung by Rafi. Some times the twin songs are either same or happy and sad ; their rating depends upon the person weather one is watching the movie or is listnnig and enjoying with eyes closed . One such song that is coming in my mind is……Dhire se aaja ree akhean mein nindiya aaja ri aaja……… from Albela .That superb song that every radio programme of AIR used to play at night before retiring to bed . C Ramchandra and lataji sang this song . Very difficult to say which is better .

73 AK January 15, 2014 at 9:54 am

Rajneesh,
Two thoughts. Personal tastes would vary with respect to specific songs, but by and large my point holds true. As for the way the song is picturised, I am not sure that gives a satisfactory answer. Most of the songs I have listed – about 40 pairs – I am only familiar with the sound, and I have not seen them in the movies. Most of us became familiar with the songs only through the radio. Therefore, there is something more fundamental to it.

KS Bhatia,
My article was limited to pure Twin songs which means a male solo and female solo version of the same song in the same tune. The series on Multiple Version Songs on this blog contains other hybrid multiple version songs on which I am not making a generalised point.

74 mumbaikar8 February 9, 2014 at 7:41 am

Ak,
In comment # 27 you were discussing “Songs having identical tune by same composer or different composers”
Here is an example of identical tune used in same movie “Tangewali”
Salilda and Rafi have done marvelous job of presenting same tune in different aura.
http://www.youtube.com/watch?v=VFHetCsS5QI&feature=player_embedded

http://www.youtube.com/watch?v=UZdXed5pDJU&feature=player_embedded

75 Canasya February 9, 2014 at 2:16 pm

AKji, a well-researched post indeed! I like Geeta Dutt’s version of ‘Kaise koi jiye’ more. And when I listened to Lata’s versions in the list again I was impressed by how well she sang them. Other commentators above have also said the same thing (for instance, # 66 by N Venkataramanji). But the evidence presented by you is irrefutable. So, here is my attempt at a resolution.

The phenomenon is nearly universal. Most rock groups have male lead singers, although some jazz bands in the US rely on a female vocalist – female jazz musicians usually prefer singing over playing typical jazz instruments such as trumpet, saxophone, drums, piano, guitar, and the like. Gaddeswarupji’s (# 57) idea of sexual selection would make the fairer sex prefer a deep male voice that connotes size and masculinity. But then men should prefer a higher frequency voice signifying a young female! Rajneeshji (#71) suggests that these songs were written for the hero and the add-on female version lacked impact. The male version often sounds ‘superior’ to me and my friends, however, even from movies that I we have not seen! KSBhatiaji (#72) argues that the female twins were promoted less – but nobody is going to believe that Lata would have allowed HMV (or anybody else) to get away with promoting Dwijen Mukherjee at her cost. AKji observes (# 58) that male voices have greater range. But spectrograms of male and female voices show the latter has more frequency components:

https://www.projectrhea.org/rhea/index.php/Male_vs._Female_Voice_characterestics

The link below is informative. It appears that male singers, although singing at a low fundamental frequency, exhibit spectral peak in the range 2-4 kHz through harmonics, a range where our ears are more sensitive and typical orchestral instruments have less power. This peak does not exist for female singers whose higher frequency voices have widely spaced harmonics. (No wonder wives complain that husbands never listen!) But their fundamental – usually the strongest harmonic – is within the audible range (and is more directional). Perhaps for this reason composers prefer tenors and sopranos (highest frequency male and female singers) for male and female leads.

http://www.phys.unsw.edu.au/jw/voice.html#singers

My take from this – and I may be wrong – is that in some twin songs the counter-melodies and accompaniments, instrumental or otherwise, are more likely to drown the female voice than the male one. Here are two links for ‘Ae dil kahan meri manzil’ from ‘Maya’ (MD: Salil Choudhury). First Dwijen Mukherjee’s version, and then Lata’s. The instrumental and choral counter (for the Antara) is louder in Dwijen Mukherjee’s version, but his voice stands out.

https://www.youtube.com/watch?v=JmMMwJgNOQE

https://www.youtube.com/watch?v=0-IM7GGLGm0

Several of the female version of twins have a faster tempo. I noted down the durations of different segments of ‘Jiya o jiya kuchh bol do’ from ‘Jab pyar kisi se hota hai’ (MD: SJ) from the links below — the first one is by Rafi and the second by Lata.

https://www.youtube.com/watch?v=mvd-QifXYqU

https://www.youtube.com/watch?v=E8fn2u6F7PM

These were loaded by Ajay Yuvraj and instrumental interludes in both versions have identical duration. But the mukhada (refrain) sung by Lata is 1 second shorter the first time and is 3 seconds shorter next time after the first Antara. Lata then repeats the mukhada twice after the second Antara (Rafi sings the mukhada only once after the second Antara). In the movie Lata’s version is the ‘sad’ one. Why then should it be faster? Was the song originally recorded by some other artiste and later dubbed by Lata? Perhaps Lata’s version was recorded first and SJ changed the tempo later while recording Rafi’s. (A female high frequency voice is more flexible. I would suspect that a female with high frequency voice may be able to pronounce tongue twisters faster than a male. A male singer may find it difficult to maintain the tempo of a complex song recorded by a female singer first and may need to slow down.) According to RDB, Kishore had insisted that Lata’s version of ‘Mere naina sawan bhadon’ from ‘Mehbooba’ be recorded first so that he could later ‘eat it’ (kha jaoonga)!

https://www.youtube.com/watch?v=_4O1v6AG3vU

76 AK February 9, 2014 at 6:22 pm

Canasya,
You have added some wonderful theoretical insight into the subject from the field of music and human voice. It is for the experts to carry forward the discussion on these lines. What I wrote was purely as a lay listener. This has been a theme which has always interested me for long. Except one reader who clearly disagrees with me, all the comments support my proposition, even correcting for any bias I might have for male voices.

I did think of the gender bias among the listeners, but I discounted that because the number of female listeners should be much more, as they listened to radio while doing their domestic chores. Therefore, HMV would have no incentive to promote male version of twin songs.

I seriously doubt if there could be a scientific explanation for this phenomena. Your last comment reminded me of a story I read somewhere that in Tasweer teri dil main his din se utaari hai, Rafi was finding it difficult to match Lata at one point causing some irritation to her. This might be a complete fiction for all we know. However, there is one live interview of Lata Mangeshkar in which she recalls in jest how in one duet with Rafi she added a murky, which was not part of the rehearsal, and Rafi became very annoyed why did she not inform him that she was going to do it so that he could come prepared.

77 Naresh P Mankad March 9, 2014 at 12:26 am

This has always been a riddle, the male version sounds better and becomes more popular even when the female singer’s rendering is better technically and better in voice quality. The song from Babla mentioned by Ashok Vaishnav is, to me at least, the only song among such twin songs in which the female voice registers its sterling quality, though I feel Manna Dey is more impressive.

78 AK March 9, 2014 at 11:21 am

Naresh P Mankad
After I wrote this article, I have noticed some more counter examples: Marna teri gali main jeena teri gali main and Bachpan ke din bhula na dena. In both, the female version is far more popular than Rafi’s version. One reason is very clear – it was the female version which was picturised as the main song, Rafi’s version comes as a reference, in a secondary manner. Probably, its record was also not made, and it was not broadcast on the radio. Another reader has earlier mentioned the importance of placement of a song in the film. These exceptions, and some other exceptions on account of personal preferences, do not take away from the puzzle of the asymmetric twin songs. My hypothesis was that there is something in our brain which responds in deferent ways to the voice of a male singer and a female singer. The greatest doyens in classical music are male singers.

An interesting theory in the comments has been given by Gaddeswarupji from evolutionary psychology. Canasya has also given some interesting insight from musical theory.

79 Gaby April 6, 2014 at 4:13 pm

Can I please bring into this fascinating discussion, melodies from a different language. A fabulous song by Sri Raghavendra , a revered Hindu saint has been depicted thrice on screen in Kannada cinema. Twice as part of a biopic based on the saint’s life. Once sung by a simple housewife in desperate circumstances. The male versions were sung by two greats of Indian music – P B Sreenivas and Mangalampalli Balamuralikrishna. The female version was by S Janaki.

The Youtube links to these versions are,
http://www.youtube.com/watch?v=1UdgYts1Sd8

http://www.youtube.com/watch?v=NUNLnjisiyE

http://www.youtube.com/watch?v=IXBAvj3mF8g

While musically all three were superior presentations, it was the S Janaki version that caught the popular imagination and became the definitive version. My submission is that this had to do with the depiction of the song, which itself is a humble supplication by a devotee for Divine Mercy.

Of the three versions it was the plea by a distressed woman that really seemed to have made the cut and emerged a classic.

80 AK April 6, 2014 at 4:47 pm

Gaby,
Thanks a lot for this beautiful song. I don’t know the language, but I agree S Janaki version sounds the best. There are bound to be some counter-examples of the general rule.

81 N Venkataraman April 6, 2014 at 10:08 pm

Gaby,
Thanks for these three wonderful versions.
It seems the three versions are from three different films. Indded S Janaki’s version sounds the best. S Jankai has rendered the songs with feeling. The Balamurali Krishna version is devoid of feelings. P B Srinivas version is also good. For those who would like to know the meaning of this devotional number here is a translation by Hunsur Sri Prasad.

Indu enage govinda lyrics by Guru Raghavendra and English translation by Hunsur SriPrasad
This is an attempt to provide a quick translation of a classic song by Sri Raghavendra Teertha. Incidentally, there are many variations in the lyrics and there is no one popular version followed by all song books. The one found in most books has been used.

Verse 1
Imdu enage shrI gOvimda ninna pAdAra
vimdava tOrO mukumda imdire ramaNa
Translation :
O Lord Govinda, Mukunda, Lord of Indira (Lakshmi), please show me your Lotus feet today.

Verse 2
sumdara vadanane namdagOpana kamda
mamdarOddhaara aanamda imdire ramaNa
Translation :
O one with a beautiful face, the son of the cowherd Nanda, one who is the personification of bliss, the one who lifted the mandhara mountain Lord of Indira (please show me your Lotus feet today)

Verse 3
nomdenayya naa bhavabamdhanadoLu siluki
mumde daari kaaNade kumdide jagadoLu
kamdanamtemdenna kumdugaLeNisade
tamde kaayO kRuShNa kamdarpa janakane
Translation :
I got entagled in wordly bondages and suffered a lot. I did not see the way ahead (out of the bondage) and despaired in the world. O father of kandarpa (manmatha or cupid), Krishna, the divine Father, please consider me your child and do not count my shortcomings and drawbacks.

Verse 4
mUDhatanadi balu hEDijIvananaagi
dRuDhabhakutiyanu maaDalillavO hariyE
nODalillavO ninna paaDalillavO mahime
gaaDikaara kRuShNa bEDikombeno ninna
Translation:
O Hari out of sheer ignorance, I led the life of a coward and did not show deep, strong devotion (in you). I did not see you. I did not sing your glory. O, charioteer Krishna, I beseech you.

Verse 5
dhaaruNiyoLu bhUbhaara jIvananaagi
daari tappi naDede sEride kujanara
aaru kaayuvavarilla sEride ninagayya
dhIra vENugOpAla paarugaaNiso enna
Translation:
During my lifetime, I was a mere burden on the world. I lost my way and reached wicked people.
there is nobody to protect me. It all depends on you. O, brave Venugopal, please help me cross ( the ocean of samsara)

82 AK April 7, 2014 at 7:17 am

Venkataramanji,
Thanks a lot for the translation. It is wonderful reading. Reminded me of some verses of Geetanjali.

83 arvindersharma April 16, 2014 at 10:24 pm

I am keen to add two twin songs which I was not able to see (or it was an oversight) in this article.
1. Dharti ko aakash pukare from ‘Mela’, sung by Shamshad Begum and Mukesh and
2. Bata do koi kaun gali gaye Shyam from ‘Madhu’, sung by Manna De and Lata.
I am also curious about knowing whether we stick to the majority opinion of male superiority or the tables have turned in these two songs.

84 arvindersharma April 17, 2014 at 11:31 am

I am tempted to add another song, a rare twin gem from ‘Kunwari’.
Pyar ke pal chhin, beete huye din, sung by Lata and Talat, music by SN Tripathi.
Once again, I am tempted to throw the musical dice,
who sung better ?

85 AK April 17, 2014 at 7:29 pm

Sharmaji,
Dharti ko akash pukare has a Shamshad Begum version and a Mukesh-Shamshad duet. (In the film it occurs several times in small snatches in different variations.) Therefore, it is not a pure Twin song for the purpose of this post. These type of songs have been discussed elsewhere under Multiple Version Songs.

Bata do koi kaun gali gaye Shyam I agree is more Lata Mangeshkar’s song. Same with Pyar ke pal chin, it is one of the rare occasions when in Twin song she seems to be better thahn Talat Mahmood. There are indeed some exceptions to the general rule.

86 arvindersharma April 17, 2014 at 9:40 pm

My mistake, as I have not seen the movie and always had the impression that the two versions were separate.
But I certainly feel shortchanged after listening to this one-liner song as a great song in the making went wasted.

87 Gaby April 18, 2014 at 6:03 pm

I am so sorry for dragging in Kannada into what is essentially a forum for discussing the magnificence of Hindi Film Music. I cant seem to help myself in this matter.

Please let me introduce this song from a Kannada Musical called Sandhya Raga ( The evening melody). The same song was sung on three occasions by S Janaki, Balamurali Krishna and Bhimsen Joshi in chronological order within the movie. The music composer was GK Venkatesh. It is in the Purvi Kalyani raga which is also a thread running through the entire narrative of the movie.

The song has become a classic in Kannada film music. While arguably Joshi’s version is the most impactful emotionally, the S Janaki version is the most popular one in lay imagination. The rather lifeless version by Balamurali Krishna has been mostly forgotten.

My point is that, complex theoretical constructs aside, a sense of emotional connection makes a song what it is for posterity.

https://www.youtube.com/watch?v=UkBca8f7q5Q

88 AK April 18, 2014 at 7:18 pm

Gaby,
You should not feel apologetic at all. Music transcends barriers of language. SoY followers have an eclectic taste. You have added a beautiful song.

89 Harishchandra Salian April 23, 2014 at 2:27 pm

AKji
While this write covers songs which have been recorded and picturised in different voices, I have been fascinated by another category of “TWIN” songs of late (one could also call them “combined songs” . I am sure you would find it worthwhile enough to come up with a series in your inimitable style, or help me locate some other site which contains material on the same.

What I am referring to as TWIN songs are Two “different” songs but picturised one after another almost making it into one song. It would be interesting to know whether these were recorded separately, picturised separately (and then joined to make it a continuous one. Some of these songs have stood out as individual hits too.

I would like to mention a few songs which come to my mind,

1 Film Awara: The dream sequence “Tere Bina Aag ye chandni… immediately followed up by ” Ghar Aaya mera Pardesi”

2. Film. “New Delhi” once again by SJ. In fact this film has two such songs. The first one being ” Nakhre Waali” by Kishore Kumar, immediately followed by Lata’s “Zindigi Bahaar hai..” .The second is Lata’s ” Tum sang preet laga..” followed by the Punjabi folk song “Baari barsi Khatan gaya si.

3. Film Mother India.. Naushad: Lata’s song “O jaanewale jao na ghar..” followed up by a mood changing “Dukh Bhare din bitere bhaiyya”

4. Film Guide.. (SDB) :Lata’s “Mohse Chhal kiye ja..” followed by Rafi’s “Kya se Kya Ho gaya..” The basic notations of both the songs sound almost the same

5. Film Bobby (LP) : Shailendra’s ” Na Mange Sona chandi” followed by Lata’s “Jhoot Bole…

In fact it would be interesting if someone could through light on the Director’s decision to combine two different songs into one single affair. The possibility of these happening on the Film Editor’s table cannot also be ruled out.

I am sure there would be many other such instances . It would also be fascinating to try and understand as to what prompted such combinations.I would be anxiously waiting for you or any other of your friends to come up with a write up.

Regards
Harishchandra M.Salian

90 AK April 24, 2014 at 12:40 am

Mr Salian,
You have given a very interesting idea. This would require watching the films very carefully. A large part of our discussion of songs is delinked from their picturisation.

Among the songs you have mentioned I clearly remember only Tere bina aag ye chaandni and Ghar aya mera pardesi as coming consecutively. In fact they follow so seamlessly that I always thought of them as one song. I have also read some detailed writing on this song in which the writer observed that it has three distinct parts, reflecting three complex and conflicting emotions of the hero through the dream. The Guide double song can also be similarly explained in the backdrop of the tension between the protagonists.

Let me see if some worthy person takes up your challenge to write on this.

91 Harishchandra Salian April 24, 2014 at 12:51 pm

AKji,

Just remembered another song which could fall under the category of “TWIN ” songs. The backdrop is almost similar to the one explained by you referring to the song in Guide.

I am referring to “Shree 420″ once again by SJ. ” Mud Mudke na dekh.. is followed by Lata’s solo ” O jaanewale mudke jara dehkte jaana” Though there is a small time gap between the two songs, the situation is related and the thoughts expressed, contrary to each other. I do not remember having heard the Lata solo on radio either as a separate song or as a continuation to its famous first part. The song is a beautiful one and soothes the soul. I doubt whether even a record of this song is available .

I certainly hope someone does take the initiative on writing on these unique category of songs.
Regards
Harishchandra M.Salian

92 mumbaikar8 April 24, 2014 at 5:55 pm

Harishchandraji,
This is a fascinating idea, I recall Sujata had a sequence of songs, two immortal songs, Sun mere bandhu re and jalte hai jiske ilye, totally different individual songs, pictured as beautifully back to back, not seamlessly but with few dialogues in between to make it more effective. (Does this fit the bill?)
I hope AK will pursue this concept.

93 AK April 24, 2014 at 11:55 pm

Mumbaikar8,
It is clear these back-to-back songs can be divided into two categories: One, in which these are two distinct songs, but they happen to follow one after the other; Two, the songs are part of one ‘sequence’ and in the film appear to be one long song – the clearest example of this is Tere bina – Ghar aya mera pardesi. It is the latter which are more interesting. I have noted the idea, and I am exploring how best to do it.

94 arvindersharma April 28, 2014 at 6:03 pm

AK Ji,
Kindly listen to a twin gem of the latter category, which you have referred to in the above post.
‘Aa bhi ja rasiya’
and
‘Manmohana piya tu jo mila’ from film ‘Phoolon Ki Sej’, music Adi Narain Rao, sung by Manna Dey/Lata.
I am unaware of the movie sequence but if this is the category you have in mind, this twin song seems a natural candidate to me.
I am a great fan of classical songs in films and can certainly say that had these songs been a part of any hit film, they would have remained etched in the memory of music lovers.
(I would also request Subodh Ji to listen to these songs and comment)

95 Harishchandra Salian April 28, 2014 at 9:22 pm

Dear Arvindersharmaji,

Thank you for referring the beautiful song from “phoolonki sej”

However, AKji would agree that this is not the type of song that we had in mind and referred to in our earlier comments.

The song referred by you is a “single” song, with each antara set in different ragas.
Similar multi-raga based songs have also been heard in” Suvarna Sundari……. kuhu kuhu bole” , “Parivar.. Ritu Aye ritu jaye..),,, “Alaap.. Nairi lagan” etc.
What we had in mind were two or more different songs, filmed in one continuous sequence (or may be with a small time gap/ few scenes.dialogues in between).

I the case of the “Mother India” song referred to in my comment the two songs are used as a montage to ‘flash-forward” the story. However in other cases, the two different songs are part of the same scene/situation.
I am sure there would be many many more such songs and am now eagerly waiting for AKji to come with a post on the same as I am confident it would be a well-researched one and enrich us with his fascinating insights.

Harishchandra M.Salian

96 arvindersharma April 28, 2014 at 9:47 pm

Harishchandra Ji,
Thanks for the clarification. I had excused myself in the beginning that I had not seen the movie but the only thing I am sure about is that there are two different records of these songs. But I could not deprive SoY the pleasure of adding these gems.
I had in my mind another such pair of songs, but to club them with ‘Phoolon Ki Sej’ would be to cheat yourself of your musical sensibilities.
Here is that pair.
‘Ye Kaali raat Ki har baat kaali’ by Mohd.Rafi.
‘Gulabi raat gulabi’ by Asha Bhonsle’
Film ‘Upkaar’ and music by Kalyanji Anandji.

97 AK April 28, 2014 at 11:36 pm

Sharmaji,
First of all, thanks a lot for mentioning this beautiful song from Phoolon Ki Sej. I agree with Harishchandra Salian that it is somewhat different than ‘Double’ or ‘Two-in-one’ songs we had in mind.

Harishchandra Salian,
Ritu aye ritu jaye – you mean the Raagmalika from Hamdard (1953), composed by Anil Biswas? All songs of Alaap are outstanding. Some very good Raagmalika can be found in Sangeet Samrat Tansen and Shabaab with Lakshan Geet. I hope this excites Subodh enough to take up as a separate article.

As for the ‘Double’ songs we were discussing, hopefully something satisfactory should come up on blogosphere.

98 Harishchandra Salian April 28, 2014 at 11:41 pm

AKji

Thanks for pointing out. “Ritu Ayi ” raag malika is indeed from “Hamdard”

Harishchandra M.Salian

99 arvindersharma April 28, 2014 at 11:49 pm

Harishchandra Ji and AK Ji,
thanks to both of you for responding. It was the sense of participating and enticing you all to keep pouring your knowledge for the benefit of us music lovers that compels novices like me to write.
Thanks once again.

100 Dr. Pande July 13, 2014 at 5:13 pm

I was surprised to see “Jab pyar kisi se hota hai” title song missing from the list. Of course, your theory stands true for this one as well. Rafi version was more popular. I think there is yet another reason for this phenomenon. Male singers, Rafi and Kishore especially, were gifted with the quality of modulating their voices to blend superbly with that of the actors to whom they lent their voices. I think the same can not be said about the female playback singers.

101 AK July 13, 2014 at 11:53 pm

Dr. Pande,
Welcome to SoY. So, this song had a Lata Mangeshkar version too! Proves the point that female versions of some songs went into oblivion.

102 SB August 31, 2014 at 1:29 am

I agree with the observation that generally the male versions of twin songs become more POPULAR, but aren’t necessarily the better of the two songs.

Rimjhim gire saawan.
Film – Manzil
Music – RDB
Kishore version is the more popular one, but Lata version is outstanding. Also because RDB has made a few subtle changes in the composition that has completely transformed its beauty. What a master he was.

And it’s the other way round with
MAE REE, MAI KAASE KAHU from DASTAK.
Lata version is more popular, but MADAN MOHAN has directly pricked the heart with a needle by his absolutely soulful rendition. Feels like u don’t even need a good voice to be a great singer. It’s all in the head.

103 AK August 31, 2014 at 3:04 pm

SB,
Surely there are some exceptions to the general rule. Nice examples you have given.

104 mumbaikar8 November 4, 2014 at 6:31 am

AK,
Just heard, for the first time, this absolutely fantastic Lata Rafi Yahudi Ki Beti twin song “Pyaar ki beqarar hai pyar ki pukar sun”

https://www.youtube.com/watch?v=8CNdeCxp5qk

https://www.youtube.com/results?search_query=pyar+bekarar+hai+pyar+ki+pukar+sun+rafi
.

105 AK November 4, 2014 at 11:11 am

Mumbaikar8,
Great songs. How do you make your discoveries? Why don’t you share your secret with SoY. The two tunes are somewhat different. The male version again registers more.

106 N Venkataraman November 4, 2014 at 11:31 pm

Nice find Mumbaikar ji

107 mumbaikar8 November 5, 2014 at 6:29 pm

AK,
Thanks for appreciation. Share my secret? I love my fifteen minutes adulation:)
This song is not identical twin, it differs both in tune, rhythm and mood.
Male version is dominating but if you hear the female version just on its own it is very impressive too.

Venkataraman ji
Thanks

108 arvind January 10, 2015 at 10:21 pm

came across http://youtu.be/oi2aXnFg9ko …na ye chand hoga ..as adapted for the pakistani movie ..sassi..

109 g chandra shekher April 3, 2015 at 2:50 pm

sir,
You missed one song…
Gar Tum Bhoola na Doge……Rafi and Lata from Yakeen

110 AK April 3, 2015 at 4:47 pm

G Chandra Shekhar
Welcome to Songs of Yore. The list here is nowhere meant to be complete. I only mentioned the most well-known songs. Later we have discovered many Twin songs, as well as different variety of Multiple Version Songs, which expanded the idea from Twin songs.

111 mumbaikar8 April 3, 2015 at 5:22 pm
112 ksbhatia April 4, 2015 at 11:55 am

Mumbaikar8; Here are three songs with almost same mukhda tunes……1. ‘Yeh afsana nahi zalim’…. shamshad in Dard [1947] …….2. ‘ Kisi ka dil chura lena badhi pyari shararat hai’…….. Mukesh in Khubsoorat dokha [1959] …….3. ‘ Mujhe tum se mohabat hai magar main kahe nahi sakta ‘ ….. Rafi in Bachpan [ 1963] . Mds are Naushad, S Mohinder, Sardar mallik respectively.

113 AK April 4, 2015 at 10:43 pm

Mumbaikar8,
Good pair. I also dare say this is an exception to my general rule. In this Suraiya’s version seems better than Rafi’s. What do you say?

114 mumbaikar8 April 5, 2015 at 5:08 am

AK,
I say NO.
Suraiya is no doubt very good but if you insist to compare I would say Rafi is undeniably the winner.
At times Rafi has gone overboard with HB, but in this song, he was challenged much more than Suraiya, he has come out with flying colours.
I would like to know your verdict on kaise koi jiye from Baadban.
I think that female version is far better than the male version.
I get goose pimples when I listen to Geeta but it is not the same with Hemant Kumar.
I would like to know the opinion of others too. Am I just biased?

115 AK April 5, 2015 at 6:19 am

Mumbaikar8,
You are supporting my general theory. Kaise koi jiye – I am very fond of Hemant Kumar, but I can see your point about Geeta Dutt.

116 Chinmay June 24, 2015 at 5:36 am

This is an excellent list! Might I add another, lesser heard twin song, by Rafi and Suman, from the film Black Prince (1959) : Nigahen na phero, chale jayenge hum.

https://www.youtube.com/watch?v=kHN3mBw8ZvE

117 AK June 24, 2015 at 7:56 am

Chinmay,
Welcome to SoY and thanks a lot. This is a beautiful twin song in Bhimpalasi. This seems to be an exception to my theory, Suman Kalyanpur’s version sounds better.

118 Ashok M Vaishnav June 24, 2015 at 10:16 pm

In so far as Kais Koi Jiye, I would totally agree that Geeta Dutt version is more appealing
So is the case of Nigahen Na Fero, in which Suman Kalyanpur version stands as tall as Rafi version.

119 arvindersharma June 24, 2015 at 11:52 pm

Chinmay Ji, AK Ji, and Ashok Vaishnav Ji,
How about this one from a Telegu film
https://youtu.be/xuBS7mhZiq8

120 AK June 25, 2015 at 6:10 am

Arvinder Sharmaji,
Nice song. Where is its twin?

121 arvindersharma June 25, 2015 at 11:33 am

AK Ji,
This cousin landed just to have his share at the time of glory.

122 probir mukherjea June 27, 2015 at 11:32 am

“baad baan” music direction was by TIMIR BARAN & S PAL & not hemant kumar

123 arvindersharma June 27, 2015 at 1:48 pm

Probir Mukherjea Ji,
The discussion going on is between the Geeta Dutt and Hemant Kumar twin song from Baadban, about which version is better. Perhaps you have mistaken them for referring to Hemant Kumar, who was also a great MD.
AK Ji, Mumbaikar8 and Ashok Vaishnav Ji,
My personal favorite is the Hemant Kumar version, simply because of the additional opening,
‘Aaya toofan’.

124 AK June 27, 2015 at 4:51 pm

Probir Mukherjea
Thanks a lot for the correction. This mistake has been sitting there for about five years!

125 probir mukherjea June 28, 2015 at 5:55 pm

dear sir,it seems your site speaks in the same (musical)language as me & this particular song “aaya toofan” had been a favorite (specially the HK version) since a very long time-& strangely enough-after a good hearing I discovered that there is something in GD version (perhaps the pathos )with which it has been sung= outruns HK,Another important point to this song-the last stanza” bol re papiha bol” The tune is Tagore’s antara of SUNILO SAGOREY DEKHECHI POTHE JETE

126 probir mukherjea June 28, 2015 at 6:17 pm

I WOULD LIKE TO KNOW IF THE SONG “TERE DARPE AYA HOON FARIYAD LEKAR TALAT/GULAM MOHD HAS BEEN USED IN TWO FILMS BUT SAME RECORDING-LAILA MAJNU & CHORBAZAR?

127 ASHOK M VAISHNAV June 29, 2015 at 10:24 am

The original post has been receiving updates at regular intervals, so I may have missed the track.
But I just came across the second (sad) version of Chhodo Choodo Meri Baiyan (Miya Bibi Razi – S D Burman – Suman Kalyanpur), so I bring them up here:
Popular version – https://www.youtube.com/watch?v=S8HrhzPrSS4
-sad version – https://www.youtube.com/watch?v=OwEGA2Mk4CQ

Whilst on the subject, here is one more Suman Kalyanpur song that has captured two of the most traditional happy and sad events :
Babul Ki Ladli Bhiya Ki Pyar- Suman Kalyanpur – Cobra Girl (1963) ) S N Tripatrhi –
Happy https://www.youtube.com/watch?v=aZUPydcKuMA

Sad – https://www.youtube.com/watch?v=P-XCWOlgmfs

128 AK June 29, 2015 at 2:25 pm

you are right.

129 Mohan Lal July 1, 2015 at 3:29 pm

New Delhi, 1st July, 2015.

How come there no mention of the famous song from the film Anokhi Ada (year 1948):

KABHI DIL DIL SE TAKRATA TO HOGA UNHEN MERA KHAYAL ATAA TO HOGA

sung separately both by Mukesh and Shamshad Begum.

But I vaguely remember read a discussion on this song in SOY in one of your blogs but could not find it .

Could you throw some light where and when this was publised.

Mohan Lal

130 AK July 1, 2015 at 4:32 pm

Mohan Lal,
The list is by no means exhaustive. From the several thousand comments, it would be difficult to locate when Kabhi dil dil se takrata to hoga was discussed. I think the film had a short piece by Shamshad Begum. My impression is that it was not a full song, and probably only the Mukesh solo was released on records.

131 Mohan Lal July 1, 2015 at 5:09 pm

New Delhi, 1.7.2015

Thank you AK sir for your prompt response in the matter.

The song by Shamshad Begum is available on YT. I have listened it but did not notice whether it was full song or part of the song. Anyway, thanks once again.

Mohan Lal.

132 arvindersharma July 1, 2015 at 5:31 pm

Mohan Lal Ji, AK Ji,
Kabhie dil dil se takraya to hoga song is mentioned by AK Ji in his post on Mukesh ‘His romance with Dil’ as song no 3.
A brief mention is also made about the Shamshad version.

133 mumbaikar8 July 2, 2015 at 6:19 am

probir mukherjea #126
Our encyclopedia Arun Kumarji has this to say about your query, you can see it in the response section of this blog
http://atulsongaday.me/2013/03/28/tere-dar-pe-aaya-hoon-fariyaad-lekar/

134 Mohan Lal July 13, 2015 at 5:01 pm

New Delhi, 13th July, 2015

Thank you Arvind sharma Ji for giving the clue as to where this song (Kabhi dil dil sé takrataa to holga) was discussed.

Thanks once again and regards,

Mohan Lal.

135 Ashok M Vaishnav August 23, 2015 at 9:09 pm

One more pair of songs to augment the list here:
Aa Aa Aa Aa Aaja Aaja Aa Gale Laga – Street Singer |
Mohammed Rafi
https://www.youtube.com/watch?v=uXsQg3zaryk
Sharda
https://www.youtube.com/watch?v=oNR_tZ4tDsA

136 Ashok M Vaishnav October 25, 2015 at 3:46 pm

Here is an excellent twin song:

Pyaar Ke Pal Chhin Beete Hue Din Ham To Na Bhoole Tum Bhool Gaye – Kunwari (1966)
Lata Mangeshkar – S N Tripathi – Shailendra

https://youtu.be/cxufg9L20xY

Twin version – Talat Mahmood
https://youtu.be/DwyCPMbwg6A

137 D P Rangan October 25, 2015 at 6:00 pm

@136

Two nice pieces. Talat Mahmood rendition does not look like original. He has resung many of his old songs for an album. One song – pehechene nazar from Yasmin was one of the collection. The orchestration was quite distinct and his voice was not that good as the original. Here his voice has lost a little of sheen. I am just guessing.

138 Gaby December 1, 2015 at 3:00 am

Twin songs is a bit of madness with me.
I am not sure if these two songs – actually the same song has been commented upon in these pages. If it has, I am sorry to bring up again. But had to mention the mad genius of Jaidev and his use of the same poem for two different singers in the 1970s.
I will be grateful if the learned visitors of this blog tell me more of these two variations of the same song.

First Asha Bhosle in Andolan. https://www.youtube.com/watch?v=8nmPbTa9RJo
And then Lata Mangeshkar in Chand Grahan. https://www.youtube.com/watch?v=mO1PDmO826M

Made my Monday evening such an enchantment.

139 AK December 1, 2015 at 1:17 pm

Gaby,
Long time. Welcome back to SoY. I hope you are not suggesting that these are twin songs, which is a very precise category denoting two identical versions of the same song in a film, sung by two singers, usually a male and a female.

Piya se milan kaise hoye ri min jaanu nahi has not been discussed earlier. Since it is a Meera bhajan, it is not surprising it has multiple versions. I am sure other singers too would have sung it, some as private bhajans.

140 Gaby December 1, 2015 at 1:55 pm

Hi AK,
Good to see you are keeping up your wonderful work.
Good heavens, no, I am not suggesting this is a twin song. But could not decide where it fit in and so sneaked it in here.
What I found amazing is that Jaidev made the two sisters sing the same song, for different films, in the same period ( ? Mid 1970s) and produced such different effects- both mesmerising. That is genius.
You should do a blog on the use of Meera Bai in Hindi cinema.

141 Kiran Panchal January 23, 2016 at 3:31 am

Hai apna dil to awara by Hemant Kumar from SOLVA SAAL, I love
the sad version (does this goes into Twin VERSIONS ?)

142 Mangalsingh Dhanawat March 6, 2016 at 6:48 pm

Thanks AK Sirji for this wonderful list.
I am already in love with twin songs. You have provided an excellent information. Thanks again Sirji.

143 AK March 6, 2016 at 10:14 pm

Mangalsingh Dhanwat,
Welcome to SoY. I am happy enjoyed it. You might have noticed, Twin Songs has grown into a Mega series called ‘Multiple Version Songs’. You can see its link under the Category ‘Themes’.

144 Rahul Muli May 17, 2016 at 6:24 pm

Leys add one more though it is odd man (twin!) out
song sung by 2 male singers!
Tum bin jaau kahan from pyar ka mausam. One almost forgets that it was sung by Rafissab for the hero.

145 Dr. K. Goel June 5, 2016 at 3:20 pm

Few more twin songs
Tum bin jaaun kahan
Bachhan ke din bhule na dena
Kahan le chale ho
Dil dhundla hai
Tang aa chuke hain
Dhatri ko Akash pukare
Chhod babul ka ghar

146 AK June 6, 2016 at 3:25 am

Dr K Goel,
Welcome to SoY. ‘Twin song’ was limited to the songs which had just two versions – pure male solo and female solo. We later noticed that there are a large number of songs which had different variants, such as male solo/female solo/duets etc. Therefore, this was expanded to cover these types in a larger series “Multiple Version Songs”. There are about two dozen articles in that series. You can find the link under “Themes” in the right side bar.

147 atina July 6, 2016 at 4:36 pm

posting …..zindagi kitni khoobsurat hai….bin badal barsaat (1963)/shakeel/hemanta kumar
https://www.youtube.com/watch?v=Hhgupqp_kE8(lata)
https://www.youtube.com/watch?v=eNw74JsvoUs(hemanta kumar)

148 AK July 6, 2016 at 5:30 pm

Atina,
Thanks for posting this Twin song. I didn’t know the Lata Mangeshkar version. Laggard again?

149 Dr Rajive Khare July 23, 2016 at 3:47 pm

I landed here while searching for a related thought. My search was – How many times a song has been sung by THREE singers or more in a Hindi Film.
I remember only 2 songs readily, First ‘Tu is tarah se meri zindagi mein shaamil hai, from Aap To Aise Na The and Samay O dheere chalo from Rudali.
Can we find more??

150 AK July 23, 2016 at 6:46 pm

Dr Rajiv Khare,
Welcome to SoY. If you are looking for a song which has three or more singers, these would be many. Obviously, you are looking for distinct songs, these wouldn’t be too many. Some you may find in the series on “Multiple Version Songs”. You can click its link under the category “Songs based on themes” on the right side of this blog.

151 Chitta Ranjan Mohapatra August 11, 2016 at 1:41 pm

Regarding twin songs your collection is excellent. But you have not add the super hit song “Tu is tarah se meri zindegi” from movie ” Aap To Aise Na The”

152 AK August 11, 2016 at 3:07 pm

Mr Mohapatra,
Welcome to SoY and thanks a lot for your appreciation. One reason I have missed Tu is tarah is that I focus mainly on pre-1969 songs.

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