February 18, 2020
This album contain twelve (12) jhankar songs.
(AM Jhankar Enterprises)
01. Aap Yunhi Agar Ham Se
02. Bohat Shukria Bari
03. Chura Lia He Tum Ne
04. Ek Pardesi Mera Dil
05. Kya Javaan Raat He
06. Maang Ke Saath
07. Main Pyaar Ka Raahi
08. Sar Par Topi Laal Haath
09. Tere Haathon Main Pehna
10. Tumhain Mohabbat He
11. Urain Jab Jab Zulfain
12. Zabaan-e-Yaar Man
Mohammed Rafi Sahab has sung a lot of two part harmonies with numerous female Singers, however amount savvy, two part harmonies with Asha and Lata stick out. It is accumulated that Rafiji has sung around 903 two part harmonies with Asha and around 447 with Lata. The tremendous contrast was maybe due to Rafi-Lata™s break for around three years and thusly the higher number of two part harmonies of Rafi-Asha during that period. One more explanation was the inclination of MDs like OPN to have just Rafi and Asha.
Which two part harmonies were better, regardless of whether it was with Lata or Asha? A troublesome inquiry to reply and the most secure wager will be to state that both were similarly acceptable. Be that as it may, let us dissect.
Before any investigation is completed, it is smarter to drill down a portion of the two part harmonies of Rafiji with both Lata and Asha so we don't pass up a major opportunity any huge viewpoint or Khubi in their two part harmony tunes. I have recorded down a portion of the two part harmonies in the accompanying passages, in no specific request, however certainly more significance given to delicate and pleasant melodies and noisy tunes are overlooked.
Rafiji and Lataji two part harmonies promptly bring to our psyche melodies like, Yeh Dil Deewana Hai (ISHQ PE ZOR NAHIN), Tasveer Teri Dilme (MAYA), Dil Pukare (JEWEL THIEF), Tum To Pyaar Ho (SEHARA), Agar Main Poonchu (SHIKARI), Jeeta Hi Lenge Baazi Hum Tum (SHOLA AUR SHABNAM), Tere Husnaki and Ek Shahanshahne (LEADER), Yeh Parbaton Ke Dayare (VAASNA), Rim Zhim Ke (ANJAANA), Tuzhe Jeevan Ki Dor Se (ASLI NAQLI), Kuhu Kuhu Bole Koyaliya (SUVARNA SUNDARI), Woh Hai Zara Kafa Kafa (SHAGIRD), Rut Bekaraar Hai (MAA AUR MAMTA), Chaand Jaane Kahan Kho Gaya (MAI CHUP RAHUNGI), Humne Aajase Tumhe (RAJA BABU), Jo Vada Kiya Wo (TAJ MAHAL), Meri Duniya (HEER RANZHA), Sun More Sajana Re, Dekhoji Muzhko Bhool Na Zana, and so forth. Well the rundown is interminable.
In the event that the above tunes are firmly tuned in to and watched, it is uncovered that both Rafi and Lata being remarkably skilled coordinated each other particularly when the melodies were at lower pitch like that of IPZN, Leader, Heer Ranzha tunes, and so forth. Tune was kept up all through the tune. The main negative point was, as unmistakably uncovering in the tune of Maya (Naino Ka Kajra, Piya Tera Gum), Lataj™s voice got abrasive at higher pitches where as Rafi™s voice was rock consistent at all pitches. Be that as it may, both were supreme bosses when it came to old style, even Carnatic as in SS tune. Be that as it may, we have not heard numerous qawali two part harmonies by these two incredible vocalists aside from maybe Kya Kya Na Sahe from MERE HUZOOR, if this melody can be considered as a qawali.
Another observable reality was that at whatever point it came to stating or talking not many words in the middle of a tune, some how it generally seemed odd (not at all like on account of KK or Asha), maybe on the grounds that we were just arranged to tune in to their tunes at which them two were so acceptable and pleasant, yet not spoken words, which consistently looked bit fake and not as unconstrained as their singing. Obviously, it is my genuine belief. With the exception of OPN, this pair was utilized by all the MDs. Be that as it may, this pair was particularly utilized in numerous melodies by LP and KA.
With respect to as Rafi " Asha two part harmonies are concerned, one can without much of a stretch review Abhi Na Jao Chodakar (HUM DONO), Yeh Dekhake Dil Zhooma (KASHMIR KI KALI), Chura Liya Hai (YAADON KI BARAAT), Main Soya Ankhiyan Meeche (PHAGUN), Main Pyaar Ka Rahi Hun and Bahut Shukriya (EK MUSAFIR EK HASINA), Maangake Saath Tumhara (NAYA DAUR), Hoton Pe Hasin (SAWAN KI GHATA), Pucho Na Yaar Kya Hua (ZAMANE KO DOKHANA HAI), O Mere Sonare (TEESRI MANZIL), Tumhe Mai, Agar Apna Saathi Banalun (SHATRANJ), Raat Ke Humsafar (AN EVENING IN PARIS), Sawan Aaye (DIL DIYA DARD LIYA), Muzhe Pyaar Ki (PYAAR KA SAGAR), Phir Miloge Kabhi and Aapse Meri Jaan (YEH RAAT PHIR NA AAYEGI), Panchi Re O Panchi (HARE KAANCH KI CHOODIYAN), Humne To Dilko Aapake (MERE SANAM), Jis Dinse Maine Tumko Dekha Hai (PARWANA), Suno Suno Ms. Chatterjee (BAHAREN PHIR BHI AAYENGI), and so forth., the rundown is again long.
On the off chance that these tunes are watched cautiously, tune was constantly kept up, regardless of whether it was at lower pitch (Hum Dono, Phagun, YKB, PKS) or higher pitch, yet at the same time there is an inclination that Rafiji was all the more consistent at higher octave, as on account of KKK melody. Rafiji gs high in the first and third stanza (Dil Aaj Khushi Se Pagal Hai and Barson Se Phiza Ka Mausam Tha), yet Asha simultaneously in the subsequent stanza keeps up her soft tone (Tinake Ki Tarah Main Beh Nikli), maybe OPN liked it as such. Comparable is the situation in YRPNA melody. Be that as it may, Asha had all the earmarks of being in front of Lata while singing at higher zone. The pair was likewise acceptable while singing old style (DDDL) just as qawalis. Indeed in the vast majority of qawalis, the female artist was consistently Asha. The pair was likewise proficient at singing parody melodies. This pair was likewise utilized by all the MDs yet significant rate was by OPN, followed a ways off by RDB and Ravi.
As the majority of these two part harmonies were straightforward sentimental tunes, not quite a bit of emotions were included but rather having heard such a significant number of melodies of every one of these Singers, we can securely presume that Lata was in front of Asha right now communicating sentiments in the tunes. Lataji™s tunes constantly contacted the heart where as Asha™s tunes showed up increasingly sweet and cadenced maybe due to OPN.
Obviously, it ought to be conceded that we delighted in both their two part harmonies and were fortunate that their look concurred with our time. Consequently, my sincere belief is that both the two part harmonies were similarly acceptable. I for one would want to tune in to both Lata and Asha two part harmonies, each melody in turn, on the other hand. Truth be told, there was a period particularly in sixties when each film used to have two part harmonies of both Lata and Asha with Rafi.
Having sung such huge numbers of superb tunes with Rafiji, the supposed feeling or plotting of Lata and particularly Asha is mind boggling. I for one feel that individuals have either misjudged them or purposely spreading bogus news. Such extraordinary artistes can't have conspiring or filthy brain. A few false impressions between two people can generally be normal. In addition, in a similar site, I read an article posting the sympathy messages of various film characters when Rafiji lapsed. Asha, it appears to be destitute down in the middle of and couldn't finish her explanation where as Lataji™s words on Raf iji in the Shraddanjali tape unmistakably uncovers the regard she had for Rafiji. Maybe, the sisters could have been increasingly straightforward and turned out with replies at whatever point they were misquoted.
Which two part harmonies were better, regardless of whether it was with Lata or Asha? A troublesome inquiry to reply and the most secure wager will be to state that both were similarly acceptable. Be that as it may, let us dissect.
Before any investigation is completed, it is smarter to drill down a portion of the two part harmonies of Rafiji with both Lata and Asha so we don't pass up a major opportunity any huge viewpoint or Khubi in their two part harmony tunes. I have recorded down a portion of the two part harmonies in the accompanying passages, in no specific request, however certainly more significance given to delicate and pleasant melodies and noisy tunes are overlooked.
Rafiji and Lataji two part harmonies promptly bring to our psyche melodies like, Yeh Dil Deewana Hai (ISHQ PE ZOR NAHIN), Tasveer Teri Dilme (MAYA), Dil Pukare (JEWEL THIEF), Tum To Pyaar Ho (SEHARA), Agar Main Poonchu (SHIKARI), Jeeta Hi Lenge Baazi Hum Tum (SHOLA AUR SHABNAM), Tere Husnaki and Ek Shahanshahne (LEADER), Yeh Parbaton Ke Dayare (VAASNA), Rim Zhim Ke (ANJAANA), Tuzhe Jeevan Ki Dor Se (ASLI NAQLI), Kuhu Kuhu Bole Koyaliya (SUVARNA SUNDARI), Woh Hai Zara Kafa Kafa (SHAGIRD), Rut Bekaraar Hai (MAA AUR MAMTA), Chaand Jaane Kahan Kho Gaya (MAI CHUP RAHUNGI), Humne Aajase Tumhe (RAJA BABU), Jo Vada Kiya Wo (TAJ MAHAL), Meri Duniya (HEER RANZHA), Sun More Sajana Re, Dekhoji Muzhko Bhool Na Zana, and so forth. Well the rundown is interminable.
In the event that the above tunes are firmly tuned in to and watched, it is uncovered that both Rafi and Lata being remarkably skilled coordinated each other particularly when the melodies were at lower pitch like that of IPZN, Leader, Heer Ranzha tunes, and so forth. Tune was kept up all through the tune. The main negative point was, as unmistakably uncovering in the tune of Maya (Naino Ka Kajra, Piya Tera Gum), Lataj™s voice got abrasive at higher pitches where as Rafi™s voice was rock consistent at all pitches. Be that as it may, both were supreme bosses when it came to old style, even Carnatic as in SS tune. Be that as it may, we have not heard numerous qawali two part harmonies by these two incredible vocalists aside from maybe Kya Kya Na Sahe from MERE HUZOOR, if this melody can be considered as a qawali.
Another observable reality was that at whatever point it came to stating or talking not many words in the middle of a tune, some how it generally seemed odd (not at all like on account of KK or Asha), maybe on the grounds that we were just arranged to tune in to their tunes at which them two were so acceptable and pleasant, yet not spoken words, which consistently looked bit fake and not as unconstrained as their singing. Obviously, it is my genuine belief. With the exception of OPN, this pair was utilized by all the MDs. Be that as it may, this pair was particularly utilized in numerous melodies by LP and KA.
With respect to as Rafi " Asha two part harmonies are concerned, one can without much of a stretch review Abhi Na Jao Chodakar (HUM DONO), Yeh Dekhake Dil Zhooma (KASHMIR KI KALI), Chura Liya Hai (YAADON KI BARAAT), Main Soya Ankhiyan Meeche (PHAGUN), Main Pyaar Ka Rahi Hun and Bahut Shukriya (EK MUSAFIR EK HASINA), Maangake Saath Tumhara (NAYA DAUR), Hoton Pe Hasin (SAWAN KI GHATA), Pucho Na Yaar Kya Hua (ZAMANE KO DOKHANA HAI), O Mere Sonare (TEESRI MANZIL), Tumhe Mai, Agar Apna Saathi Banalun (SHATRANJ), Raat Ke Humsafar (AN EVENING IN PARIS), Sawan Aaye (DIL DIYA DARD LIYA), Muzhe Pyaar Ki (PYAAR KA SAGAR), Phir Miloge Kabhi and Aapse Meri Jaan (YEH RAAT PHIR NA AAYEGI), Panchi Re O Panchi (HARE KAANCH KI CHOODIYAN), Humne To Dilko Aapake (MERE SANAM), Jis Dinse Maine Tumko Dekha Hai (PARWANA), Suno Suno Ms. Chatterjee (BAHAREN PHIR BHI AAYENGI), and so forth., the rundown is again long.
On the off chance that these tunes are watched cautiously, tune was constantly kept up, regardless of whether it was at lower pitch (Hum Dono, Phagun, YKB, PKS) or higher pitch, yet at the same time there is an inclination that Rafiji was all the more consistent at higher octave, as on account of KKK melody. Rafiji gs high in the first and third stanza (Dil Aaj Khushi Se Pagal Hai and Barson Se Phiza Ka Mausam Tha), yet Asha simultaneously in the subsequent stanza keeps up her soft tone (Tinake Ki Tarah Main Beh Nikli), maybe OPN liked it as such. Comparable is the situation in YRPNA melody. Be that as it may, Asha had all the earmarks of being in front of Lata while singing at higher zone. The pair was likewise acceptable while singing old style (DDDL) just as qawalis. Indeed in the vast majority of qawalis, the female artist was consistently Asha. The pair was likewise proficient at singing parody melodies. This pair was likewise utilized by all the MDs yet significant rate was by OPN, followed a ways off by RDB and Ravi.
As the majority of these two part harmonies were straightforward sentimental tunes, not quite a bit of emotions were included but rather having heard such a significant number of melodies of every one of these Singers, we can securely presume that Lata was in front of Asha right now communicating sentiments in the tunes. Lataji™s tunes constantly contacted the heart where as Asha™s tunes showed up increasingly sweet and cadenced maybe due to OPN.
Obviously, it ought to be conceded that we delighted in both their two part harmonies and were fortunate that their look concurred with our time. Consequently, my sincere belief is that both the two part harmonies were similarly acceptable. I for one would want to tune in to both Lata and Asha two part harmonies, each melody in turn, on the other hand. Truth be told, there was a period particularly in sixties when each film used to have two part harmonies of both Lata and Asha with Rafi.
Having sung such huge numbers of superb tunes with Rafiji, the supposed feeling or plotting of Lata and particularly Asha is mind boggling. I for one feel that individuals have either misjudged them or purposely spreading bogus news. Such extraordinary artistes can't have conspiring or filthy brain. A few false impressions between two people can generally be normal. In addition, in a similar site, I read an article posting the sympathy messages of various film characters when Rafiji lapsed. Asha, it appears to be destitute down in the middle of and couldn't finish her explanation where as Lataji™s words on Raf iji in the Shraddanjali tape unmistakably uncovers the regard she had for Rafiji. Maybe, the sisters could have been increasingly straightforward and turned out with replies at whatever point they were misquoted.
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