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Here the mood shifts from plaintive to dread in the first song - “ Mujhko yeh narak na chahiye mujhko phool, mujhko geet, mujhko preet chahiye mujhko chahiye bahaar”, segueing to peace and calm in the second song which at the end again turns to dread.
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The second follows the first with such seamlessness that one can be forgiven for thinking they are one single song. Then there is the well-known and finest dream sequence in the Hindi film world from Awara (1951) involving two back-to-back songs: ‘ Tere Bina Aag Yeh Chandni’ and ‘ Ghar Aaya Mera Pardesi’. No two songs in their theme and mood could be so diametrically opposite. The brother needed to make an entry immediately to show his disapproval and request his sister (who doesn’t yet know Dev is her brother) and her troupe to desist from escapism. The song, however, has two), Dev Anand starts ‘ Dekho O Deewano’. The song finishes (only one stanza was used in the film. In Hare Rama Hare Krishna (1971), ‘ Dum Maro Dum’ with its iconic opening guitar sequence sets the mood of the song – the chillum-smoking hippies swinging, raising the finger to society and singing “go-to-hell”! Zeenat Aman made a sensational entry in the film and the film industry with this song. But the genius of SD Burman still created two moods from the same raag and same theme. Lata’s is that of anguish at ‘ Saiyan Beimaan’ and Rafi’s also that of anguish at ‘ Kya Se Kya Ho Gaya’. The songs may sound dissimilar, but they are not.
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Listen carefully and you will realise that they are the same tune but on a different scale. Both the songs are composed in Raag Jhinjhoti. Lata Mangeshkar’s ‘ Mose Chhal Kiye Jaaye’ is immediately followed by Rafi’s ‘ Kya Se Kya Ho Gaya Bewafa’. The village square remains, the participants remain the same (the fisher-folk take over from the suited Goan Christians) - two songs in one setting! The first song with a Western beat, the second with a boisterous dholak. The moment the song gets over, ‘ Jhoot Bole Kauya Kaate’ begins, with Dimple joining in. Remember Bobby (1973)? How can one forget ‘ Na Chahoon Sona Chandi’? Rishi Kapoor - oily-haired, young and innocent - dancing to the Goan folk song with a bottle-swigging, portly, Hitlerian-moustached Premnath, with Dimple Kapadia in a fisherwoman’s dress demurely watching the proceedings. It just so happens that while you are still savouring the joy of the first ditty while watching the film, you get another one instantly. Each song is different and finds a separate place in the album/cassette/CD. And since most of the films are old, only people on the wrong side of their 50s may recognise this peculiar feature – the feature of back-to-back songs in Hindi films when the second song follows the first one without a pause. It only comes to light when you see the film. You cannot know it in the audio format and many times, you may not even get to see it on YouTube. However, there is one aspect which is not so obvious. Some have come to light with the advent of technology, such as songs with missing stanzas on vinyl records. Some are rather obvious like ‘club’ songs, ‘break-up’ songs, or ‘tandem’ songs. Under the overarching banner of Hindi film songs, we have categories, genres, and facets.