Twin songs: A front runner and a laggard

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.

@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?

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.

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.

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

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

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

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

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.

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….”

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

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

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

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.

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.

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

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.

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.

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)

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

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.

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.

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)

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.

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

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

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

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

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.

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

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

Ak,
Let us add one more from Shama Parwana.

https://www.youtube.com/watch?v=df48XnTvqpc

https://www.youtube.com/watch?v=uJf4f8dy4-Q

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

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

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’.

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

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

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

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.

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/

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

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.

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

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

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)

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??

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”

Thanks, AK, for starting such an interesting discussion. I don’t recall who mentioned that he prefers Asha’s version of a song more than Lata’s, but I am not surprised at all. If you listen to ghazals of Jagjit & Chitra and compare them with ghazals of Jagjit & Lata, it becomes very obvious. Lata is no doubt our greatest ever singer and has sung wonderful filmy ghazals, but in the non filmy genre, Chitra is any day superior. Your thoughts?

Thanks, AK. You can call me Raj in short. My apologies for side tracking the discussion away from ‘twin’ songs. Actually what happened was that I noticed that one participant in the blog (Sanjay) mentioned a twin song where he preferred Asha’s version to Lata’s. I thought this was quite an unusual comment to make as Lata is head and shoulders above other singers. Then I realised the same comment would hold good if one considered the non filmy ghazals genre, where despite her wealth of talent, Lata has not made such a great mark. I just thought of sharing this with you.

AK Ji, Mumbaikar8,
Would love to jump into your lovely discussion about Lata Asha twin songs.
Yes, I had an EP record with me of Adalat, in which both Lata and Asha had different versions of the song, Ja ja re ja saajna by Lata and Ja ja ja saajna by Asha. The film version is a combination of both
The Lata version

https://www.youtube.com/shared?ci=skzs0N7CziI

Unfortunately the Asha version is not available on YouTube, but I’ll try to send you the version on WhatsApp
Regards

AK Ji
The song link has been given to me by a trusted person, whom both myself and Sudhir Ji are very close to.
I’m hundred percent sure that I had an EP record, which had both Lata Asha versions separately.
And in musical opinion, there’s simply no question of minding a different opinion
But I am a great fan of the Asha version, in fact like it better than the Lata version.
Regards

AK ji,

I missed to mention in the previous comment that the companion dancer is Minoo Mumtaz, whose name does not appear in the list of actors in this film.

Rgds
Sudhir

Sudhir ji ;

Thanks for the clarification . I too believed the song as a runner song . I think there is one or two more songs like Adalat songs which though recorded separately but picturised as runner single songs. Will come back when traced.

AK ji ;

Ja Ja….. could be a good theme for golden songs…..an
article on the theme will be a welcome break.

Excellent discussion.
Throw in
Lalla Lalla Lori as an exception…agree that Mukesh sounds rusty.. but Lata brings on the mood.
At the end of Tere Bina Jiya jaaye na… Kishore barges in at the end surprisingly..causing an enhancement to Lata.
Listen to Asha’s soulful expression in Leke pehla pyaar..CID…does it not complement Rafi Shamshad.

YADON KI BARAAT

Majrooh Sultanpuri,RDB.

YADON ki baraat nikli hai aaj…

1. Lata Mangeshkar, Padmini and Shivangi Kolhapure.

2. Kishore Kumar, Rafi.
( I like Vijay Arora and Dharam Paji’s acting in this song.)

A great write up and great comments on an interesting point,….almost at the launch of SOY. Not a surprise that even almost after 11 years this discussion is live . So many songs have been listed but not easy to listen to all. Going by a rough estimate that each of the comments here comprises of around 200 words , this discussion adds up to over 40,000 words which is the length of a small novel . There is also a suggestion to go through the series of 13 article discussion under ‘ Multiple version songs ‘ in SOY which would make it a huge exercise.

In this discussion one gets the impression that in twin songs always the Male version is much more popular and the female version is almost forgotten . But I have my doubts about this thinking .

I personally always like the female version in such twin songs . If I listen to the Male version 2 times then I would listen to the female version 10 times and there would be so many like me . Do not know if there is any study on such preferences of individuals.

I support my view with the help of YouTube uploads … both 12 years old . Here we see that Rafi’s version had only 2.5 m views and 14k thumbs up whereas Lata version has a far greater 4.4m views and 20 k thumbs up. This supports my view . So we cannot conclude that the Female version of golden era twin songs were forgotten and much behind the Male version.

‘ Ehesan tera hoga…’ / 1961 / JUNGLEE / Hasrat Jaipuri / SJ / Rafi / Lata

(1) Rafi….

https://youtu.be/8RTJWS2SuYM

(2) Lata….

https://youtu.be/2ca43nTQUL0