PIYA PIYA PIYA MORA JIYA PUKARE- How a Mistake in the middle of the song recording covered during picturizing of the Song

 

This song appears in the 1955 hit musical comic Baap Re Baap directed and produced by A R Kardar. The movie starred Kishore Kumar, Chand Usmani. This song is a duet of Kishore Kumar and Asha Bhonsle, written by Jan Nisar Akhtar, and the music was composed by O P Nayyar.

During those times, there were no digital recording facilities like today, where if there is a mistake it can be rectified by computers. Those days there used to be only one microphone for the singers, and another for musicians. If the singers want to record a duet, one would sing his/her line, get away noiselessly for other singers to sing, and come again for their own part. And, if a musician makes a mistake, the whole track would be recorded again from the top. There was also no technique to alter the intensity of sound, if the sound was supposed to come from a distance, the singer had to stand away from the mic, slowly advancing towards it, to get the desired effect.

This song is significant in that Asha Bhonsle made a mistake in the middle of the song and late Kishore Kumar went ahead with the mistake in the song, without going for a retake. When the song was being recorded, Asha Bhonsle gave an alaap a second time, when it was not required. Kishore Kumar signaled her to go on and complete the song as it was. After the recording was over, he told everybody that he, being the hero of the movie, would place a hand on his heroine’s mouth, when that particular shot in the song would come. That was how the problem was resolved.

This song was picturized on Kishore Kumar and Chand Usmani on a Ghoda Gadi (a horse carriage). Watch this song video at 2:09 minute of this video, how brilliantly Kishore Kumar covers up the mistake made by Asha Bhonsle  She started singing the part which was to be done by Kishore Kumar. But then she stopped abruptly. The music director wanted a second recording. But Kishore Kumar denied of recording the second time and as he was the hero of the film he did a cover up of that part by closing her mouth. What a genius! Kishore Kumar the legend.

Song of Baap Re Baap 1955

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Seene Mein Sulagte Hain Armaan - An Immortal Song

The writer of this immortal song was Prem Dhawan. It was composed by Anil Biswas and sung by Talat Mehmood and Lata Mangeshkar. Anil Biswas composed the tune of this song in just 15 minutes while riding in a car.
There was a rumor that the lyrics had been bought from Sahir Ludhianvi for Rs 5/-, as Sahir was in need of money, and Prem Dhawan had helped him. It is very sad that Prem Dhawan was always underrated. He was multitalented, he was a composer beside lyricist and as well as a Choreographer.and also acted in a few films.
He wrote songs like Mera Rag De Basanti Chola, Ae Watan Ai Watan from Shaheed, and many more songs. He won the National Film Award for Best Lyrics in 1971 for the film, Nanak Dukhiya Sub Sansar

This song was picturized on Dilip Kumar and Madhubala for the film Tarana released in 1951. This was the first film of Dilip Kumar and Madhubala together. Regarding this song, Shikha Biswas Vohra, daughter of music director Anil Biswas said in an interview that how her father composed this song. Prem Dhawan and her father were good friends, they were booked for two films Tarana and Arman in 1950. One day Prem Dhawan gave him few lines of this song and asked him to make the tune while going to meet the famous Punjabi singer Surinder Kaur On reaching.the destination Anil Biswas asked Prem Dhawan to go to meet the singer and he sat on the parapet and started humming the tune. By the time Prem Dhawan returned, the tune was ready.
Interestingly the song was a sad song but Anil Biswas used the major scale and another point to highlight that he used three different tunes for the three Antaras. A very rare occurrence and only a genius like Anil Biswas could do that. Madan Mohan also did the same in many songs later.in the 60s.If we look technically the use of Teevra 'Ma'gives it the feeling of Raga Yaman Kalyan.
This is probably one of the greatest duets of Bollywood. Everything is perfect, lyrics, music, singing, and picturization on two of the greatest actors Dilip Kumar and Madhubala.

Song of Tarana 1951

When Dilip Kumar Sang his own Song

Not many of us know that Dilip Kumar was a very good singer. Many die-hard fans of the maestro still might not have the information about the one instance wherein he actually rendered a classical song in an unbelievable manner in the late 50s. It was a duet with Lata Mangeshkar that too in semi-classical.
It was Hrishikesh Mukherjee’s first film( Musafir 1957) as a director after working with Bimal Roy as an editor and also the first Hindi film for the comedian Keshto Mukherjee. Besides it had a fabulously talented team working together, with Salil Choudhary as the music director, Ritwik Ghatak as a scriptwriter (along with Hrishi Da), dialogues by Rajendra Singh Bedi and lyrics by Shailendra. Written (story), produced and directed by Hrishi Da the film had Suchitra Sen, Durga Khote, Nirupa Roy, Kishore Kumar, Nazir Hussain, David and more playing the key roles.

Since 50s Mohammad Rafi had become the screen voice of Dilip Kumar but Salil Chaudhary wanted someone else to sing this particular song  “Laagi Naahin Chhootey, Chahey Jiya Jaaye” .One day Salil Chaudhary heard Dilip Kumar humming something in his own mood, Salil Da liked it and decided that this song be recorded in Dilip's own voice. It was a Raga based song and a duet with none other than Lata Mangeshkar, Dilip Kumar was reluctant to give his voice but agreed because of the respect felt for the maestro Salil Da.

It is said that Lata Mangeshkar was initially not agreeable, she wanted some professional singer to sing with her but Salil Da insisted that Dilip Kumar would sing this song.

Dilip Kumar performed the song confidently and the rendition really came out to be a truly touching one with great depth and feel, as if it had been sung by a trained classical exponent with perfection.

It is quite astonishing that Dilip Kumar never sang for himself for subsequent films. His singing voice is so soft and mellifluous – somewhere between Talat Mehmood & K.L. Saigal Saab, In fact, you would feel that Mohammad Rafi is singing. Later in 80s, he sang a few lines in Sagina with Kishore Kumar and In Karma.

Song of Musafir 1957

Tale of Two Melody Queens

With the many ups and downs, the Mangeshkar sisters have been together in their professional and personal lives. There have been many stories about their rivalries. Lata is the eldest of the three sisters who entered the film industry first. She began singing at mere 14 years of age to support her family after her father died. Being the eldest one, she expected the same seriousness from her younger sister Asha.

Asha as she is, the rule breaker, had craved a different path for herself. 16-year-old Asha eloped with a man named Mr. Ganpatrao Bhosle, who was 31 years old then. In one of her interviews Asha accepted that Lata did not approve of her marriage, “At one time, the relationship was very adversarial and there have been periods of non-communication.”
The professional differences started trickling in when Asha started pursuing a career in playback.Asha Bhosle  made her Hindi film debut when she sang the song "Saawan Aaya" for Hansraj Behl's Chunariya (1948).Her first solo Hindi film song was for the movie Raat Ki Raani (1949).That time Lata esteblished herself with the other great female playback singers like  Geeta Dutt, and Shamshad Begum. Asha used to get the assignments these three singers  refused to sing. Her earliest songs were composed by A R Qureshi, Sajjad Hussain, and Ghulam Mohammed, and most of these songs failed to do well.In 1952 Singing in Sangdil (1952), composed by Sajjad Hussain, she got reasonable recognition. Raj Kapoor signed her to sing "Nanhe Munne Bachche" with Mohammed Rafi  in Boot Polish (1954), which gained popularity. O. P. Nayyar gave Asha a break in CID (1956).but she first achieved success in B. R. Chopra's Naya Daur (1957), composed by him. Her duets with Rafi like "Maang Ke Saath Tumhara", "Saathi Haath Badhana" and "Uden Jab Jab Zulfein Teri", penned by Sahir Ludhianvi, earned her recognition. It was the first time she sang all the songs for a film's leading actress.

From 1957 to 1962  Sachin Dev Burman and his favorite singer, Lata Mangeshkar, were not on good terms. During this period, S D Burman used Asha as his lead female voice. She and Burman gave many hit songs in movies such as Kaala Pani, Kaala Bazaar, Insaan Jaag Utha, Lajwanti, Sujata and Teen Deviyaan (1965). They recorded many songs together after 1962 as well. Most famous of these songs were Asha's duets with Mohammed Rafi and Kishore Kumar. The song "Ab Ke Baras" in Bimal Roy's Bandini (1963) consolidated her position as a lead singer. The seductive song "Raat Akeli Hai" from Jewel Thief (1967), picturised on Tanuja, became very popular.

Lata and Asha Duets-Their first duet was for the film Daaman 1951.

Song from Daaman 1951

Song from Chori Chori 1956

Song from Miss Merry 1957

Song from Jis Desh Mei Ganga Behti Hai (1960)

Song from Professor (1962)

Song from Mere Mehboob (1963)

Song from Jahan Ara 1964

Song from Padosan (1968)

Song from Aaye Din Bahar ke' 1966

Happy Birthday ASHA BHONSLE

Asha Bhosle (born 8 September 1933) is famous Playback Singer.Probably the second most well known female playback singer in India today.  She is second only to her sister, Lata Mangeshkar.  She has been singing professionally for more than 60 years, having sung for more than 950 Bollywood films.

Child Asha Bhosle and family

Asha Bhosle was born in the small hamlet of Goa in Sangli, then in the salute princely state of Sangli. (now in Maharashtra), into the musical family of Master Deenanath Mangeshkar, who belongs to Marathi-speaking Gomantak Maratha Samaj. Her father was a theater actor and classical singer. When she was nine years old, her father died. The family moved from Pune to Kolhapur and then to Mumbai. She and her elder sister Lata Mangeshkar began singing and acting in films to support their family. She sang her first film song '"Chala Chala Nav Bala" for the Marathi film Majha Bal (1943)
   She made her Hindi film debut when she sang the song "Saawan Aaya" for Hansraj Behl's Chunariya (1948).^[14] Her first solo Hindi film song was for the movie Raat Ki Raani (1949).
   Asha was one of several children.  She had a brother named Hridayanath Mangeshkar, as well as three sisters named Lata, Usha, and Meena.  Of these Lata Mangeshkar would grow up to be a legendary figure in the world of film music, and Asha's professional rival.

song from sangdil

 When she was only 16 years old, she fell in love with 31 year old Ganpatrao Bhosle; he was Lata's personal secretary.  Asha was resolute in her desire to marry him, and much against the wishes of her family, she eloped with him.  However her married life to Mr. Bhosle was short lived; after a few years with him, she returned to her mother's house with her two children and pregnant with her third She got separated in 1960,her singing career couldn't be established till then because In the early 1960s, prominent playback singers like Geeta Dutt, Shamshad Begum, and Lata Mangeshkar dominated the singing for the female lead and the big films. Asha used to get the assignments they refused: singing for the bad girls and vamps, or songs in the second-grade movies. In the 1950s, she sang more songs than most playback singers in Bollywood (not counting Lata). Most of these were in low budget B or C-grade films. Her earliest songs were composed by A R Qureshi, Sajjad Hussain, and Ghulam Mohammed, and most of these songs failed to do well. Singing in Sangdil (1952), composed by Sajjad Hussain, she got reasonable recognition. 

Consequently, film director Bimal Roy gave her a chance to sing in Parineeta (1953). Raj Kapoor signed her to sing "Nanhe Munne Bachche" with Mohammed Rafi in Boot Polish (1954), which gained popularity.

O P Nayyar was the music director who gave Asha many songs O. P. Nayyar gave Asha a break in C.I.D. (1956). She first achieved success in B. R. Chopra's Naya Daur (1957), composed by him. Her duets with Rafi like "Maang Ke Saath Tumhara", "Saathi Haath Badhana" and "Uden Jab Jab Zulfein Teri", penned by Sahir Ludhianvi, earned her recognition. It was the first time she sang all the songs for a film's leading actress. B R Chopra was so delighted by her voice that he gave her songs in several of his later productions, including Gumrah (1963), Waqt (1965), Hamraaz (1965), Aadmi Aur Insaan (1966) and Dhund(1973).

 Nayyar's future collaboration with Bhosle also resulted in success. Gradually, she established her status and received the patronage of such composers as Sachin Dev Burman and Ravi. Bhosle and Nayyar had a professional and personal parting of ways in the 1970s.

Her career took a new heights when she was taken by R D Burman for singing Aaja Aaja for Teesri Manzil.Later on Asha's collaboration with Burman resulted in numerous hits and a marriage.They were married1980; the remained married un till his death in 1994.

In the 1970s, Asha and Pancham's youthful Western songs took Bollywood music by storm – the raunchy cabaret "Piya Tu Ab To Aaja" (Caravan, picturized on Helen), the rebellious "Dum Maro Dum" (Hare Rama Hare Krishna, 1971), the sexy "Duniya Mein" (Apna Desh, 1972) and the romantic "Chura Liyaa Hai Tumne" (Yaadon Ki Baaraat, 1973). Pancham also recorded many hit duets with Asha and Kishore Kumar such as "Jaane Jaan" (Jawani Diwani) and "Bhali Bhali Si Ek Soorat" (Buddha Mil Gaya).She was singing many songs for Helen ,her combination may have been commercially very successful, but it was not to last forever.  There were probably several reason why this came to an end.  Helen's cabaret numbers started to decline in the in the 80's.  Furthermore Asha seems to have been uncomfortable being typecast for a single type of song; she wanted to expand her repertoire to show her versatility. 

This was demonstrated by her embracing the gazal style in films such as "Umrao Jaan" (1981) and "Ijazat" (1987).  and "Katra Katra".The ghazals won her the first National Film Award of her career. A few years later, she won another National Award for the song "Mera Kuchh Saamaan" fromIjaazat (1987).

Dil Cheej Hai Kya from Umrao Jaan

Mera Kuchh Samaan

First duet of Asha with Lata from Daman 1951

 Mere Mehboob Mein Kya Nahi from Mere Mehboob

Asha and Lata have also sung together. Their first duet was for the film Daman (1951).Some of their songs include Man Bhawan Ke Ghar aye (Chori Chori, 1956), Sakhi ri sun bole papihaa us paar (Miss Mary, 1957), O chaand jahaan woh jaaye (Sharada, 1957), Mere Mehboob Mein Kya Nahi (Mere Mehboob, 1963), Ai kash kisi deewane ko(Aaye Din Bahar Ke, 1966), Jabse Laagi Toose Najariya (Shikar, 1968), Main Haseena Nazneena Koi Mujhsa Nahi (Baazi, 1968), Main Chali Main Chali (Padosan, 1968),Chhap tilak sab (Main Tulsi Tere Aangan Ki, 1978), and Man kyun behka (Utsav, 1984)

Man kyun behka from Utsav

By the late 80s and early 90s with the emergence of new singers like Alka Yagnik ,Sadhna Sargam she was not getting sufficient no of songs but suddenly the songs from Rangeela (1995) made the young generation by surprised.Songs like "Tanha Tanha" and "Rangeela Re" were chartbusters.Later on she along with A R Rehman went on to record more hits like "Mujhe Rang De" (Thakshak), "Radha Kaise Na Jale" (Lagaan, duet with Udit Narayan), "Kahin Aag Lage" (Taal), "O Bhanware" (Daud, duet with K. J. Yesudas), "Venilla Venilla" (Iruvar,1999) and "Dhuan Dhuan" (Meenaxi,2004).

                                             Danny and Asha Bhosle Very old Nepali song 

 Apart from Hindi, she has sung in over 20 Indian and foreign languages.In 2006, Asha Bhosle stated that she had sung over 12,000 songs, a figure repeated by several other sources.In 2011, she was officially acknowledged by the Guinness Book of World Records as the most recorded artist in music history.The Government of India honoured her with the Dadasaheb Phalke Award in 2000 and the Padma Vibhushan in 2008. In 2013, she made her debut as an actress in the film Mai, and received critical acclaim for her performance.

Song from the Album Rahul And I

In 1990s, Asha experimented with remixed R.D. Burman songs. She was criticized by many, including Khayyam for tampering with old melodies. Nevertheless, albums like Rahul And I became quite popular. In 1997, Asha did a private Indipop album Janam Samjha Karo with Lesle Lewis. The album was hugely popular and won her many awards including the 1997 MTV Award.

Asha sings with Boy George 

In the mid-1980s, Asha sang with Boy George ("Bow down mister") and Stephen Lauscombe. In 1997, she sang a love song with the boy band Code Red, at the age of 64. She also recorded the song "The Way you Dream" (One Giant Leap) with Michael Stipe that was used in the English movie, Bulletproof Monk. The song was also released on the album 1 Giant Leap for 2002.British alternative rock band Cornershop released "Brimful of Asha" in 1997. The song dedicated to Asha Bhosle became an international hit single for the band and topping the UK Singles Chart in February 1998. A number of remixes have been released as well notably by Norman Cook also known as Fatboy Slim.

Asha Bhosle has won seven Filmfare Best Female Playback Awards of 18 nominations.She won her first two awards in 1967 and 1968. 
Some of Asha Bhonsle's RARE & UNRELEASED Songs

A rare song from Halchal 1971

Unreleased song of Asha

A rare song Bengali version of a Marathi song music was given by Lata

Unreleased Song of Asha with Yesudas

Rare song from AURAT

Unreleased song music of Madan Mohan

A rare ghazal by Asha composed by Hariharan

A rare song

Geet Kitne Ga Chuki a Rare song

Unreleased song of Asha and Rafi

KYA AJAB SI ZINDAGI UNRELEASED SONG

A Rare song with Kumar Sanu