For the purpose of summing up the duets, when I reviewed all the duets that I have listed up in our Micro View of Duets of 1947, picking up the ones that I had liked on the first hearing was relatively an easier task. On a further review, I would rather divide this select list into The Duets that I have Heard Often Enough Before and The Duets that I Heard for the first time.
Fairly large number of duets in this category is more a reflection of popularity that these songs have attained. I would give credit for the longevity of these songs for their inherent melody and also to the fact that these have been composed by music directors who had had a good presence during the subsequent two decades of the Golden period.
Salil Chaudhury and Shailendra’s Songs Fading From the Memory – 1
Salil Chaudhary (10 November, 1922 – 5 September, 1995)is considered to be belonging to the unorthodox style of music composition even he had manifested marked influence of folk tunes of his native Bengal, had been attracted by the western classical music through the works of Bach, Beethoven or Mozart and adapted Indian classical Ragas too very comfortably. He could play many Indian and Western instruments, and he was an acclaimed writer, playwright, choir conductor, composer and lyricist during his first innings during 40s- till early ‘50s, in Calcutta. His second innings in Mumbai, with his maiden Hindi Film, Do Bigha Zameen, brought him in contact with another genius- Shailendra.
Whether it was Shailendra’s knowledge of Bengali, his capability to write poetic lyrics, fully reflecting the situation in the film, even when presented with a tune or his own background of working as a proletariat, the simple fact remains that, after Shankar Jaikishan, Shailendra has written around 108 songs for around 19 Hindi Films under the baton of Salil Chaudhary, which works out to almost one fourth of the Hindi films for which Salil Chaudhary composed music. Salil Chaudhary used to prefer compose tune first and would expect his lyricist to write the lyrics in that spirit. Shailendra’s songs under his composition have retained Shailendra’s poetic touch even under these constraints.
In our series of annual articles, we will cover Shaildendra’s songs composed by Salil Chaudhary We will take a closer look at the songs that seem to receding from the memory while we take note of the songs that remain quite popular even now. For this purpose, we will traverse their films in chronological order.
Do Bigha Jamin (1953)
This is the film for which his script is based on his own short story. As per the original design he was being called in to write the script, and fate landed music composition too in his account. He also composed music for another Bimal Roy directed in the same year – Biraj Bahu. There is not much documentation available how was Shailendra was called in as a lyricist for the film. Nor does it matter, as we have all evergreen songs form this pair’s maiden joint venture:
We will listen to Aaja Ja Ri Aa Nindiya (Lata Mangeshkar) in details here.
Meena Kumari, who was the leading lady of a 1953 Ashok Kumar’s production, and Bimal Roy directed, Parineeta, appears in a cameo role for this lullaby. This remains the only occasion wherein Meena Kumari has perfumed such a cameo role in her entire career.
Ek Chhoti Si Naukri Ka Talabdar Hun – Kishore, Shankar Dasgupta, Shyamal Mitra
Shailendra has so wonderfully laid down expectations of an educated youth, which remains universally true at all the times. Salil Chaudhary establishes his prowess to compose light tunes in an unconventional style.
Arji Hamari Ye Marji Hamari, Jo Soche Bina Thukraoge Dekho Bade Pachhataoge – Kishore Kumar
The song opens with what appears to be a simple recital of the application for the job, but soon cleverly gets transformed in an application for a space in mind of the beloved.
Jhoome Re Kali Bhanwara Ulajh Kaanton Mein – Geeta Dutt
Salil Chaudhary has opted for Geeta Dutt’s voice to convey the bubbling pleasure of formal acceptance, with the self, of the budding love relation. Shailendra’s poetic imagination matches every note of the song that expresses the subdued pleasure of the very young girl in the conservative times of a traditional society.
O Man Re Na Gham Kar, Ye Aansoo Banege Sitare, Judai Mein Dil Ke Sahare – Lata Mangeshkar
Salil Chaudhary had so high respect for Lata Mangeshkar’s singing prowess that he would come up with difficult than normal composition for her songs. In the present song, he has used harmonica in the prelude and orchestration of violins with flute in the interludes to create the feeling of train motion. In the process, he has synchronized the director’s use of metaphor of the train movement to indicate the anticipation of much awaited momentum in hero’s life. Shailendra’s lyrics truthfully convey the pang of partition while Sheela Ramani ruefully bids him the farewell.
Ho Jab Se Mili Tose Ankiyan Jiyara Dole Re (Hemant Kumar, Geeta Dutt) and Meri Wafaye Tumhari Jafaye, Aansoo Likhenge Fasaana Pyar Ka (Asha Bhosle) qualify as more known than the other songs of the film. The former duet is an Assamese folk tune based song, which reelect the feelings of the lead pair. The later Asha Bhosle solo would be immediately recalled by the fans of Asha Bhosle, even if the song has receded from the memory after the onslaught of OPN – Asha deluge in the later years. The songs is a signature Salil Chaudhary composition.
Chet Re Moorkh Chet Re Awsar Beet Jaye Re – Manna Dey, Asha Bhosle
An old saintly beggar and his young keeper singing a song that contains the deep message for the principal protagonists was a popular genre of Hindi Films in that period, and Manna Dey required lot of luck and hard work to get of this cast..
Chhal Chhal Paani Hamari Zindagani Ye Chal Ke Rukana Jaane Na – Manna Dey, Asha Bhosle, chorus
The song depicts a cheering group of young children taking out water from the wheel with the help of a bucketed water-wheel. The water flowing into the trough spurs them to the song which the sings the beauty and power of flowing water. The village belle and the working artisans also flow into the mood of the song. Shailendra, too, fully utilizes the opportunity to present the idea of a utopian world!
Baanki Adayein Dekhna Ji Dekhna Dil Na Churaye Dekhanaji – Geeta Dutt
Salil Chaudhary once again uses mellifluous silken charm of Geeta Dutt’s soft voice to express the feelings of Chand Usmani, on the piano, through the lips of her friend, Asha Mathur, in this party.
Jab Tumne Mohabbat Cheen Li Kya Milega Bahroon Se – Asha Bhosle
Salil Chaudhary has, inexplicably, chosen Asha Bhosle for this pathos song. In what is now emerging as his individual style, he has gone onto compose quite complex tune. Asha Bhosle rises to the challenge and does full justice to the confidence invested in her. However, the song become so difficult for an ordinary listener to sing the song on her own, that song does not attain the popularity.
Baba Teri Sone Chiraiya, Jaaye Anajane Ki Nagariya – Lata Mangeshkar
The song is a marriage song wherein bride’s friend try to tone down the pall of gloom that is imminently felt because of the departure of the bride from her parental home. The interlude music has very cleverly interwoven the traditional band party music played during the bridegroom procession.
The other two songs have Mohammad Rafi. Therefore, that makes a very opportune placement to traditionally our post with relevant Mohammad Rafi song(s):
Aayi Baraat Baje Gaaje Se…… Aaj Mera Dulha Kam Nahi Kisi Raje Se – Mohammad Rafi, S.Balbir, chorus
This is the song that friends of the bridegroom sing when they take him on their shoulders to the marriage podium. If the previous genre songs have an undercurrent of pathos, these types of song have loud boisterous tone.
Lo Bhor Hui Panchi Nikle …. Talash Mein Dane Dane Ki, Insan Bhi Lo Ghar Se Nikla, Dhun Roti Kamane Ki – Mohammad Rafi
The song is typically the voice of the proletariat class, which is the basic theme of the film, as evidenced by the title. Shailendra has again taken the opportunity to place his own deep-felt ideals into the poetic mound the lyrics of the song. The song has been very innovatively been placed as the title-credit song, too. Rafi’s very soft delivery of the song also is quite noteworthy.
In these four films, we have been able to look at multiple facets of Salil Chaudhary’s music composing styles and the degree of Salil Chaudhary – Shailendra tuning. The wait till the next year may appear to be too long, but if you consider these songs as the gourmet wine, then that time is indeed required to allow the songs to mature into our minds.
We will continue remembering Unforgettable Songs that seem to Fading away from our Memories every second Sunday of the month……..
Disclaimer: All images are sourced from net. All copyrights of the respective image remain with the original owner of the image.
I have been able to locate only one male-male duet from HFGK for the year 1947.
G M Sajan, Mohammad Rafi, Chorus- Desh Mein Sankat AAya Hai Ab Kuchh Kar Ke Dikhalana Hai – Aap Ki Sewa Mein – Datta Dawjekar – Mahipal
The triad songs of 1947, though statistically limyed to 6 films and 5 music directors, present a wider range of singers and situations. We did find a couple of more songs in HFGK data, but could not find YT links to these additional songs.
Zohra, Noor Jehan, Shamshad Begu, Chorus – Haye Re Ud Ud Jaaye Mora Reshami Dupatta – Mirza Sahiban – Pt.Amarnath, Husnalal Bhagatram – Qamar Jalalabadi
“Loyal. … Someone who is loyal is reliable and always true, like your trusty dog.Loyal comes from the Old French word loial which means something like “legal,” but if someone is only loyal to you because the law requires him to be, that’s not true loyalty, which should come from the heart, not a contract.
In the article, Loyalty Is Very Important To A Relationship !!! , Wally Horton states that, “Being loyal is defined as “Being faithful to one’s oath, engagements or obligations. Being faithful to one’s allegiance to a government or state or to a person conceived as imposing obligation”. This definition seems formal and obligatory. I suggest that loyalty is not an obligation imposed by outside influences, but internal moral characteristics and decisions that are given freely.”
Even as we do understand that loyalty is more of one’s volition, our mind conjures of phrases like Customer Loyalty, Supplier Loyalty or Employee Loyalty in the field of management practice. One would find a wide ranging literature on the psychological and managerial aspects of these loyalties as well benefits of having the loyal interested parties. We would have come across enough experiences in our own professional life where these loyalties have created, from ripples to storms, both positively and negatively.
So one can possibly connection of Loyalty with Family Feuds. But what has that do with previous episode presented Self and Self-Image – what we are and why we are – appears to be hazy. Our crucial senses become eager enough to turn to Segment 3 of the episode 8 to see what Devdutt Pattanaik has to present on the subject of Loyalty and Dharma and how does Loyalty links up with s subject of the present segment from the point of view of Indian mythology.
I’m curious. All the three instances, the stories that you’ve told us are of brothers warring over property. We agree that may not completely strictly be applicable in case of Ram and Bharat, Well, they didn’t quite war, but the rift between them which caused Ram to leave was property. What is the idea of brotherhood then? These are issues that are always going to plague us. Is Ram and Lakshman the ideal Brotherhood?
I think the scriptures are not interested in how ideal brothers should behave. It is about who you are. If you are okay then your relationship with your brother will be okay, then your relationship with the organization will be okay. You will then know how to behave in different situations because you have figured yourself out. The whole narration therefore focuses on the person who has figured himself out. In fact, that is why there is a very interesting relationship between Rama and Lakshmana.
Why do you call it interesting? Lakshamana followed Rama every step of the way. Therefore, to some extent he was an ideal brother on comparison to Bharat. Bharat was willing to give up the kingdom or not rule and give up kingship and we wait for Ram to return. Lakshman went a step ahead and said I will follow you always and live the same hardships that you do.
The question is we celebrate Lakshmana, He is such a good brother, a loyal brother, a loving brother. But does Ramayana celebrate him as such?
Well, I have my doubts. How does Ram relate to Lakshmana? It is a very interesting narrative.
I thought that was as some as an older brother, who is very fond of his younger brother.
Fond, yes, but as an elder brother his job is to tell Lakshmana what is really important and loyalty is not really important. Where does loyalty come from? Does it come from an animal nature where brothers become territories? Or, is it coming from a human, or the potential divine, nature where we look beyond territoriality, where all human beings are my brothers; not just the one who is biologically connected to me.
So, was loyalty was a negative attribute of Lakshman?
Let us listen to a story and figure this out. It is never stated very explicitly. Mythology never states things explicitly but it implies things.
Let’s look at what happens to Lakshmana and Rams relationship after they return to Ayodhya. That reveals something very different. After Ram has become King and he IS the great king of Ayodhya. The story changes dramatically. The loyalty of Laxmana has been tested repeatedly based on conditions put by Ram. Why is Ram testing his loyalty? For instance, Rama takes one of the toughest decisions of his kingship when he decides to abandon Sita as his queen. It is a very complex narrative. But who does he tell to convey this message? Ram tells Lakshmana to convey this message to Sita, to take her to the forest and leave her there and then tell her not to come back, not to identify herself as my wife.
Why is he giving Laxmana this responsibility? Lakshmana always represented the average human being. He is a passionate man, he talks from his heart. Laxmana was obviously horrified with this decision. The elder brother still looks calm and composed. He tells Lakshamana just do this. Lakshman honors him, but nonetheless is angry with his brother. His loyalty is being tested. Is this the brother he respects?
Is this the brother he followed into the forest?
Is he really a great man he followed with in the forest? Why is he doing this?
Later we are told when Ram loses the only battle in his life to his children and Sita then after goes back under the earth and the children come back to live with Ram. At this stage, the gods come to Ram and tell him that it is time for you to die. Ram says I have one more task, just one task to complete. I will tell you about it shortly. He then looks at Lakshmana and says I want solitude, I want the room to be shut and I want to stay alone. Lakshmana like a loyal brother says, don’t worry if anybody dares enter your chambers I will guard your chambers. If anybody dares to enter I will kill them. The moment the doors are shut, Rishi Durvasa comes in and tells that I want to meet Ram, now. Lakshman very respectfully submits that you can meet him now, because Ram has chosen to be in the solitude. Rishi Durvasa is known to be an angry sage. He looks at Lakshmana and says if you don’t let me meet Ram I will destroy the city of Ayodhya. now Lakshman is in a Dharma Sankat – at a make or break decision stage. He has to decide whether he has to obey his brother or allow for the destruction in our city. He takes a decision, opens the door of his brother’s chamber and inform Ram that Rishi Durvasa has come to see you. Ram is visibly upset and tells Lakshamana that I did tell you that I want solitude. Lakshamana replies that Iknow that but it was the city of Ayodhya which was at the stake, so I had to disturb you. Then Ram smiles and they turn around. But, there is no Rishi Durvasa there. Lakshman realized it was just an apparition. He looks at his brother. Ram smilingly tells him that you finally realize what matters more. It is Ayodhya, the kingdom, our basic duty to it which matters more than me. Now that you have decided and broken your own now, keep your word that you will kill whoever disturbs my solitude. It is time for you to die. Lakshmana then goes into the forest to give up his life.
Why this punishment of death?
It is not the punishment. Who took that vow that I will kill whoever breaks Ram’s solitude?
Lakshman himself did so.
So he has to keep that word. It is the family tradition – Raghu Kul Rit – that the word has to be humored, even at the cost of one’s life. It was the word which made Ram leave the city of Ayodhya and go into exile, the same word which forced Ram to give up his wife. Lakshmana is now made aware of the value of the word which creates civilization, a commitment, a contract when you give your word.
Is this not a bit too harsh, considering the fact that it was created by Ram to teach his brother, about the need to prioritize your duty towards the kingdom more than your brother?
The story is not for Lakshman or Ram. The story is for us. It is a mythical narrative which is trying to tell people what matters more. This is the story where Lakshmi is told loyalty doesn’t matter, your word matters, Ayodhya matters more, your wife doesn’t matter, your kingdom doesn’t matter, but what matters more is the people whom you serve as king. They matter the most. In other words in the modern management, it’s not the leader that matters, it is the institution that he builds matters more.
Now that is very interesting. Till now Lakshman was always held up as the ideal brother and now you are telling me that Ram in fact teaches him a lesson that loyalty to your brother cannot be a priority.
What is important is Dhama, the principles. Why do we value loyalty? Because when I say I have loyal followers I am still thinking of what I have, not what I am.
So it is still territorial.
It is still the property, It is not the physical property, this is property of relationships. I have brothers, I have followers, I have vote banks. These are properties that tell more about what we have it does not tell us anything about who we are.
The episode thus affirmatively puts forth that loyalty is a desirable intangible asset if it is not person oriented, after a stage, not even institution-oriented for ‘what they are’ but for the basic principles for ‘why they are’. Only when the loyalty is for the principles, then the loyalty becomes sustainable and only the organization who continue to get such principle-based loyalties of its stakeholders sustain themselves in the long run.
In our continuing journey of Devdutt Pattanaik’s TV serial Business Sutra, we will move on to the first segment Gender of 9th Episode, the Discrimination, in our next episode.
Note: The images used in this post are the irrevocable property of their respective creator. They have been taken up courtesy the internet, so as to illustrate the point under discussion.
Like the ‘other’ male-female duets, the female-female duets for the year 1947 too present a wide variety in terms of singer combinations as well as the range of music directors. The numbers could have been far more in the present post if
All the female-female duets listed in HFGK were available on Yout Ube, and
If more films would have identifiable recorded songs on HFGK.
Barring two or three female-female duets, I got to listen all other duets for the first time during the present Micro View. It would not be a coincidence that the duets that I have heard, and heard them often enough, are the ones composed by the music directors who have had a fairly noticeable presence in the later Golden Era. It would be redundant to state that this is the limitation of my knowledge of the pre-1950 songs.
Welcome to October, 2018 edition of Carnival of Blogs on Golden Era of Hindi Film Music.
Just as the world had seemed to come around to the public announcement of planned demise of RK studios, that we too had focused in September, 2018, Krishna Kapoor, the most charming and respected ‘outsider’ ‘wife’ in the film world, and of course, the axis around which Raj Kapoor created his showman business, passed away on 1st October, 2018.
Krishna Raj Kapoor: the grand matriarch – Madhu Jain – Impeccably turned out in her white, embroidered organdy saris, pearl strings and well-coiffed hair, she was a picture of poise to the outside world, no matter how difficult things might have been at home….Raj Kapoor once famously said that he was happy with his Ambassador car; the Mercedes was for his wife. Just as he equally famously and not very generously said that his wife was the mother of his children and Nargis was the mother of his films.
And, now, we take up the tributes in October, 2018:
Annapurna Devi – The Pink Star Lost To The World –was born as Roshanara Khan, she was one of the daughters (the other 2 being – Jahanara and Sharija and brother Ustad Ali Akbar Khan) of Ustad Alauddin Khan. She was maestro of classical vocal music, Sitar, and Surbahar. She herself created musicians like Pandit Hariprasad Chaurasia, Nityanand Haldipur, Nikhil Banerjee, Amit Roy, Basant Kabra and many more who were her students. Her music remained hidden to the world.
Dina Pathak – The Multifaceted Doyenne Of Hindi Cinema – was arguably the Doyen of character roles in Indian Cinema, who has performed the most powerful and graceful character roles in Indian Cinema, starting from late 60s to early 2000s. Har Din To Bita Sham Hui (Kitaab, 1977; R D Burman; Gulzar) is probably the only solo song picturized on her, with a soothing voice of Raajkumari
In Tandem: SD Burman – Majrooh Sultanpuri are the ‘songs picturised on Dev Anand’ and their ‘songs for other actors’ because it so happened that many of the songs on this list were picturised on the actor.
‘Main Dhoondhta Hoon Jinko Raaton Ko Khayalon Mein’ – Shiv Kumar – Hindi cinema has had many actors like Sudesh Kumar, Shailesh Kumar, Rakesh Pandey and Vikram who gained good recognition among the audience in a short time but were lost to oblivion soon after. In the list of such actors, is the name of Shiv Kumar Pathak, known to cinema goers as Shiv Kumar. He made his debut with the movie ‘Poonam Ki Raat’ in 1965 and became a star with the release of the movie Mahua in 1969, and Thokar(1974).
Shammi Kapoor – The hero who never needed a choreographer – Vijay Anand who directed him in Teesri Manzil once told that Shammi did not regard himself as a dancer, nor had he ever learnt dancing. But you played a song to him and tell him: “Go wild!” He would because he had such a tremendous sense of rhythm.
Women in Proper Noun Roles – In a study conducted in 2017 that scanned roughly the last 50 years and found that in Bollywood, women-centric films have risen from just 7% during 1970-1975 to a still-small 12% today.. It’s easiest for the male ego if it’s a woman-centric film but the title itself is a neutral concept. Examples are Adalat (1958), Sadhana (1958), Inteqaam (1969), Aandhi (1975) and Bazaar (1982). One step more difficult is eponymous titles of the common noun kind, like Anpadh (1962), Ardhangini (1959), and Badi Bahu (1951). In such films, the titles are named after women, but that accent remains somewhat weak. It is at the really upper end, where the title of the film is a proper noun, named after the female protagonist, which makes it hardest for the male actor. Examples of these would be films like Anuradha (1960), Purnima (1965), and Razia Sultan (1982). The post goes on list the songs, all performed by actresses in ‘Proper Noun Country’, their names finding a mention after the movie titles:
The Male Advantage – Most weather-people are men, so till recently they named hurricanes after women! With an increasingly-just society, this unkind naming has had to be given up, so that now hurricanes are named alternately, in a man-woman-man-woman way. We turn our attention to the powerful world of our cinema, where too it’s the men who have always been in the driver’s seat. However, some actors like Ashok Kumar, Balraj Sahani , Dharmendra have manfully played roles in woman-centric films. The post is about films who bear the name of a male character and the songs that the male actor who sang on the screen is named in brackets.
Introducing Food and Food Movie Month on Dustedoff is a celebration of a different type, on the occasion of World Food Day on 16th October. As part of preparing herself for this celebration, Madhulika Liddle, the author of the blog, watched as many movies she could watch on food, wrote mini reviews of films she watched, made notes on the food she cooked based on these films. So we will have four post-length courses of this fare from her…. Part 1, Part 2 and Part 3 discuss the dishes or meals she cooked, and the films that triggered those meals. ‘Ten of my favourite food songs’ is the very interesting list of songs not only in praise of food (and drink), but which just mention food, in some context or the other. The songs are of pre’70s period and mention food (drink) in the first two lines and / or in refrain. And of course, the drink should not be liquor, because there has been posted a daaru songs list. I have listed these songs here once again:
The discussion on the post has added many more food songs.
The Audio Pole Star – The tanpura (tambura in Carnatic classical music) is a 4-string music instrument whose job it is to lend a continuous, low-humming sound to a vocalist, Modern technology is trying to dismiss it off the stage. The post lists songs that featured Taanpura on the screen.
My own taste got developed by listening to radio in 60s. However, later in the seventies, other media took over that space. So I relishRadio – My Constant Song Companionwith the fond memories.
Iss Nadi Ko Mera Aaina – Chashme Buddoor – Reflections Of Love – Simple food, simple clothes, simple words, simple ways of expressions, simple living and of course simple cinema never fade. Even in a romantic song (singers: Haimanti Shukla, Shailendra Singh / Music – Raj Kamal / Lyics: Indi Jain) like this, Sai Paranjpe has kept the comedy quotient alive.
In our tradition of ending our post with article on Mohammad Rafi or a topical song of his, I have picked up a few songs, each one of which basically has a link with the topics discussed in the present post.
Saathi Na Koi Manzil, Diya Hai Na Koi Mahefil – Bombai KA Babu (1960 ) – S D Burman – Majrooh Sultanpuri
Solah Singar Kar Ke Jo Aayi Suhag Raat .. Jalwe Tumhare Laayi Suhag Raat – Gaban (1967) – Shankar Jaikishan – Hasrat Japuri
Raahi Mil Gaye Raaho Mein, Baate Hui Nigaho Mein – Dil Deke Dekho (1959) – Usha Khanna – Majrooh Sultanpuri
Sadque Heer Tujhe Pe Hum Faqueer Sadqe – Mera Naam Joker (1970) – Shankar Jaikishan – Prem Dhawan
I earnestly seek your suggestions / inputs / criticisms so as to make our Film Blog Festival more interesting and live.
We have been micro viewing male-female duets of ‘other’ male singers for the year 1947 in the previous parts  and .. The present, concluding , part also carries forward the very distinct characteristic of having a broader range of variety of male-female combinations and the corresponding connection of the music director, even after considering a few singer combinations having more than one duet in a film or music director like C Ramchandra appearing in more than one film in this list.
Here, too, I have had occasion to listen to these song for the first time.
Karan Diwan, Meena Kumari – Nain Dor Se Bandh Liyo Chitchor – Piya Ghar Aaja – Bulo C Rani – Pt. Indra
Karan Diwan, Meena Kumari – Nain Base Ho Raja Dil Se Base Ho – Piya Ghar Aaja – Bulo C Rani – Pt. Indra
Feroze Nizami, Amirbai Karnataki – Aa Gayi Aa Gayi Mere Mani Rani Aa Gayi – Rangeen Kahani – Phiroze Nizami B A – Wahid Quraishi
Malik Sardar, Zohrabai – Dekh Jawani Khel Nahi Hai, O Dil Wale Jaag – Renuka – Sardar Malik- Qamar Jalalabadi
Chitalkar, Meena Kapoor – Aana Meri Jaan Sunday Ke Sunday – Shehnai – C Ramchandra – P L Santoshi
In the second version of the song, Shamshad Begum comes in 2.26 to playback for Rehana
Chitalkar, Amirbai – Aji Aao Muhabbat Ki Khale Qasam – Shehnai – C Ramchandra – P L Santoshi
Chitalkar, Shamshad Begum – Pahali Mulaqat Mein.. Bach Ke Rahena Ji – Shehnai – C Ramchandra – P L Santoshi
T A Moti, Shamshad Begum – Tum Hamse Hamse Muhabbat Karate Ho – Shikarpuri Muhammad Safi – A Shah ‘Aziz’
Sushil Shahoo, Naseem Akhtar- Kisi Ke Madhur Pyar Mein Man Mera Ho Gaya – Sindoor – C Ramchandra – Neelkanth Tiwari
Sushil Shahoo, Paro Devi – Silwa De Re Sajanwa Mohe Reshami Salwar – Sindoor – C Ramchandra –Ambikesh Kuntal