Multiple Versions Songs (23): A Male / Female solo / duet or a Chorus – More than two versions of a song

Guest article by Ashok M Vaishnav

(Ashokji is coming to the end of his current enquiry into the songs that have a specific type of multiple version songs.  He has covered songs that have a male solo and a duet or chorus in two parts – MVS (20) and MVS (21), and the ones having a female solo and such versions in MVS (22).  Here he is presenting songs that have at least three versions.  As the SoY regulars are aware, the Mega Series on Multiple Version Songs, has gone into many dimensions, including  songs that have versions across different languages.  You can be sure that with his indefatigable spirit and great capacity to look for details, ably supported by the knowledgeable readers, Ashokji would find many more variations in this umbrella category of songs. You can review the entire series here. – AK)

The journey to Male Solo and a Duet Or a Female Solo and a Duet or Chorus has one more fascinating side – the songs that have three versions.

The illustrations that I have been able to collect show that such a route has been used to vividly depict different moods or situations where the same song (or at least mukhda) serves to provide the common linkage.

1. Chhod babul ga ghar from Babul (1950), lyrics Shakeel Badayuni, music Naushad

The iconic Kanya Vidai song. The song is used as a theme song, hence has been used in the films with several versions. The song is used in the titles, the hero attempts to solace the grieving heroine, the heroine and her friends enjoy togetherness (in the form of a garba), Talat Mahmood singing a solo and Mohammad Rafi chipping in with background filler in a dream scene

2. Bachpan ke din bhula na dena from Deedar (1951), lyrics Shakeel Badayuni, music Naushad

The version with which we are so familiar is the duet by Shamshad Begum and Lata Mangeshkar- a jovial horse ride by two childhood friends, their childlike innocence not recognising the distance between their social classes.

The video clip presented herein has two more versions. @ 3.17. We listen to a piece by Shamshad and Mohammed Rafi which depicts the passage of time. The childhood passes on to adulthood. Then @ 4.44 we have now-grown-up hero extolling his love to his beloved child friend reminiscing the old times. And then suddenly, there is re-occurrence of an earlier traumatic situation and the anguish that flows out, @6.17, engulfing all the protagonists. We get a peek at Rafi at his high-notes best.

3. Ae mere dil kahin aur chal from Daag (1952), lyrics Shailendra, music Shankar Jaikishan

The two versions by Talat Mahmood – one a happy version and the second one a sad, drunken version is one of the most frequent uses of multiple versions.

The song has a third version by Lata Mangeshkar.

4. Rahi matwale from Waaris (1954), lyrics Qamar Jalalabadi, music Anil Biswas

First version is indeed a great Talat-Suraiya duet in a film in which both the singers,Talat Mahmood and Suraiya, are also acting together, and of course is a train song, which is also a genre by itself in the film songs .

Here is the equally famous second version of the song, wherein the rhythm is altered to create the mood of recollection of the past memories.

The third sad version is treated as a solo by Suriya, but has the first line rendered by a child artist on the screen, who must be a different playback singer.

Here is the original tune, form Rabindra Sangeet – Ore grihobashi  – from which the Anil Biswas seems to have been inspired.

5. Devta tum ho mera sahara from Dayera (1953), lyrics Kaif Bhopali, music Jamal Sen

SoY has an article dedicated to the Music Director Jamal Sen.

The first version is in the form of a prayer to God as well as prayer for each other’s love.

The second version runs in the background, possibly manifesting the pervasive effect of strength of the bond of the love .

The third version seems to dispel the pain of separation with the hope of meeting again ending with an emphatic affirmation to unity.

[All three versions in one clip – http://youtu.be/cHUYOqe-1Js]

We have a bonus from the internet era, in the form of a clip where we see Mubarak Begum performing after a concert in Jaipur (2009) http://youtu.be/PEBBrrKdPXo.

6. Wo subah kabhi to aayegi from Phir Subah Hogi (1958), lyrics Sahir Ludhiyanavi, music Khayyam

This is the theme song of the film, which has been played so effectively in the titles – not included in the clip here. The duet – Mukesh, supported so ably by melodious yet effective humming by Asha Bhosle – is the official version on records. In the film, there is also a pensive solo by Mukesh. This is followed by an Asha Bhosle solo piece in a reflective mood and in the end, comes on a positive and affirmative note of Wo subah hamin se aayegi.

Interestingly, there was a Pakistani film (1967) of the same title, here is the clip from that film.

7. Yaad aa gayi wo nasheeli nigahein from Manzil (1960), lyrics Majrooh Sultanpuri, music S D Burman

The first version is a happy, romantic Hemant Kumar solo.

Then is the second version wherein the hero (typically) drowns his sorrow in glass of whiskey.

The third version takes place on the public stage.

8. Jab jab bahaar aayi from Taqdeer (1967), lyrics Anand Baxi, music Laxmikant Pyarelal

This is also a very familiar use of three versions of the songs, each creating its own (emotional) settings in the different time periods of story of the film. Since each version is enacted by different characters on the screen, each has been rendered by different singers.

The first one is by Mohammad Rafi.

Second one is by Lata Mangeshkar.

And the third one is by Hemlata, Mahendra Kapoor and Krishna Kalle.

9. Zindagi ek safar hai suhana from Andaaz (1971), lyrics Hasrat Jaipuri, music Shanker Jaikishan

We have been listening to the then very popular happy-go-lucky Kishore Kumar version.

There was a sad, Mohammed Rafi version, which is probably finally taken out from the movie.

The third, again not (probably) available on records, but retained in the film track, is this version by Asha Bhosle.

10. Na ye chand hoga from Shart (1954), lyrics SH Bihari, music Hemant Kumar

Ideally, this song should have been covered in ‘A Female Solo and Duet version’ since our popular perception would take these very few words of the antara either as a solo by Geeta Dutt or a duet by Geeta Dutt and Hemant Kumar.

But the great fans of HFM on YT have also located a Kauser Parveen’s solo from Sassi, incidentally also a 1954 film, from Pakistan, for which G A Chisti has composed the music.

Here is a combined link of Hemant Kumar and Geeta Dutt versions.

And here is the version by Kauser Praveen.

Continuing this journey of Multiple Versions of Songs has not only been pleasurable explorations, but also an enriching experience.