Their vocaL ‘Rang’es were wide

Prior to the addition to the subject of this post to my collection, my collection contained just a couple of songs from Kohinoor, which released in 1960.

If this track were arranged in the alphabetical order, it would be the third – it was titled Tan Rang Lo Ji Aaj Man Rang Lo.

And if they were arranged in the ascending order of their durations, it would be the first – it was three minutes and 26 seconds long.

Lata Mangeshkar and Mohammed Rafi lent their voices to it.

Shakeel Badayuni wrote the song, which Naushad composed.

Lata’s solo contained a synonym

The last word in the title of the subject of the previous post was Deewana, which means crazy.

Pagal is a synonym of that word.

What were the odds of the last word in the title of the subject of this post being Pagal?

The track in question was O Basanti Pawan Pagal, and it was from Jis Desh Mein Ganga Behti Hai.

The Lata Mangeshkar solo was the third song from the film in my collection – it was three minutes and 52 seconds long.

Shailendra penned the song, which was composed by Shankar Jaikishan.

A popuLar idioM was referenced

My collection contains five songs from Jis Desh Mein Ganga Behti Hai (1960), including the subject of this post and the next one.

If they were arranged in the alphabetical order, Begaani Shaadi Mein Abdullah Deewana would be the first.

Shailendra referenced the Hindi proverb, which translated to, “A person who is more interested in poking his nose into others’ affairs than minding his own business”.

Lata Mangeshkar and Mukesh lent their voices to it.

Shankar Singh Ram Singh Raghuvanshi and Jaikishan Dayabhai Panchal composed the song, which was three minutes and 29 seconds long.

The Rafi Solos Trilogy concluded

Barring the title of the subject of this post, it had everything in common with the previous one.

In fact, those tracks had half-a-dozen similarities.

Let us look at those first.

Firstly, it was from Chaudhvin Ka Chand.

Secondly, the film released in 1960.

Thirdly, it was the third song in Mohammed Rafi’s Solos Trilogy.

Fourthly, it was penned by Shakeel Badayuni.

Fifthly, the track was composed by Ravi Shankar Sharma (who was mononymously credited as Ravi).

And lastly, the song began with the letter M.

The song in question was Mili Khaak Mein Mohabbat.

Rafi’s 1960 Solos Trilogy continued

Before I added the subject of this post to my playlist, my collection contained just one song from Chaudhvin Ka Chand (1960).

With the addition of this track, and the next one, to it, there were three.

It was one of the two songs from the film that began with M – it was titled Mera Yaar Bana Hai Dulha.

Wedding ceremonies in the Hindi belt were complete without it.

It was the second track in Mohammed Rafi’s 1960 Solos Trilogy in this playlist.

The song, which was written by Shakeel Badayuni, was composed by Ravi.

The ‘Rafi Solos Trilogy' began

The subject of this post, and those of the other two, had a couple of things in common.

Firstly, they happened to be from films that released in 1960.

And secondly, they were rendered by the legendary Mohammed Rafi.

The first song in his ‘Solos Trilogy' in this playlist was Saathi Na Koi Manzil.

It was from Bombai Ka Babu.

By the way, that track had a couple of things in common with the subject of the previous post.

Firstly, it was written by Majrooh Sultanpuri.

And secondly, it was an S D Burman composition.

 

Kishore (Bhos)lent it his voice

Kishore Kumar’s discography included a ‘Michael’ duology.

I have already written about Daaru Ki Botal Mein from Majboor (1974), and the subject of this post – Michael Hai Toh Cycle Hai – was from Bewaqoof (1960).

Unlike the former, the latter was a duet, for Asha Bhosle joined him behind the microphone.

Incidentally, Pran, who played Michael in Majboor, was Kishore’s arch-rival in Bewaqoof.

The song, which was penned by Majrooh Sultanpuri, was composed by S D Burman.

By the way, this blog does not promote drinking and using vehicles, even if one were riding a bicycle.

‘Ensemble queen’ Kamal S(um)ang it

Barsaat Ki Raat released in 1960.

My collection contained five tracks from the film, because I split the pair of qawwalis (Na Toh Caravan Ki Talash Hai and Yeh Ishq Ishq Hai).

If they were arranged in the alphabetical order, Garjat Barsat Saawan Aayo Re would be the first.

The two ladies who lent that track their voices were Kamal Barot and Suman Kalyanpur.

Ironically, the former seemed to come into her own when she teamed up with other singers, particularly female singers.

The song, which was penned by Sahir Ludhianvi, was composed by Roshan.

It was a reLatable lament

There is no two ways about the fact that most people who listened to the subject of this post were able to relate to its opening line, especially those who had seen better days in the past.

The song in question was Hai Re Woh Din Kyon Na Aaye.

And it happened to be the only song from the 1960 film Anuradha in my collection.

The lady who lent her voice to it was the one and only Lata Mangeshkar.

The track, which was written by Shailendra, was composed by sitar maestro Pandit Ravi Shankar.