Baaghon mein bahaar hai
Posted on: November 17, 2013
- In: Duet | expression of love | Feelings of heart | Guest posts | Lata song | Lyrics by Peevesie's mom | Lyrics contributed by readers | Post by Arunkumar Deshmukh | Question-Answer song | Rafi songs | Rafi-Lata duet | Rajesh Khanna songs | Rajesh Khanna songs by Rafi | Romantic song | Songs of 1960s (1961 to 1970) | Songs of 1969 | Yearwise breakup of songs
- 12 Comments
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
ARADHANA-1969 is a film which was a turning point for many people. For Rajesh Khanna, it heralded a begining as a Superstar and for Kishore Kumar, it proved to be the begining of ” Kishor Period” in the HFM from 1970 to 1985.
In a way it also launched R D Burman, as a very talented composer, for everyone knew his role in Aradhana Music composition. While some people gained, there was a loser too. Mohd. Rafi, the reigning Playback singer of the time, lost to Kisore, who led the pack of singers from the leading position, for the next 15 years or so.
Come to think of it, was it really so ? Did Rafi really lose to Kishore ? The statistics do not justify the claim that in the period after Aradhana, Rafi had been floored totally. There have been so many discussions on this on various fora, that it is futile to present any view, as no side(Kishore or Rafi) will ever agree to any logical conclusion (as happens normally with all controversies).
However,I would like to state few facts.
The main reason why Rafi’s number of songs suddenly plummeted is not the rise of Kishore, but because, Mohd. Rafi had been the singing voice of Dilip, Rajendra kumar, Sunil Dutt, Ashok Kumar, Shammi Kapoor, Pradeep Kumar,Bharat Bhooshan, Johnny Walker etc. With the meteoric rise of Rajesh and Amitabh, the films of those stars for whom Rafi was singing also dwindled. This resulted in reduced number of songs for Rafi surely, but not to that extent which is claimed. In the period 1971-1980 Rafi sang in 495 films and Kishore sang in 526 films-just 31 films more in 10 years. Not a great difference ! But then why was it felt that Rafi was far far behind ?
Reason is simple. In this period Kishore sang for Rajesh, Amitabh, Dharmendra, Jeetendra etc whose films became Hits, while Rafi’s films were not Hits. The Hit films’ music was heard everywhere, including ” Binaca Geetmala”. May be that is the reason why Kishore was heard more often than Rafi. Statistics also say that actually during the period 1978, 79 and 80, 3 years, Kishore sang in 143 films and Rafi sang in 154 films. Kishore had more Hit films than Rafi, due to the new Heros.
This type of ” Kishore Wave” had come even earlier too. In the period 1954 -1958, Kishore was the most popular singer. Just see the names of his films- Naukari, Pehli Jhalak, Pehli Tarikh, Taxi driver, Munimji, Baap re baap, Naya Andaj, Bhai bhai, Mem sahib, Fifty fifty, Pariwar, Funtoosh, Nai Dilli, Asha, Paying Guest, Musafir, Bandi, Nau do Gyaarah, Begunah, Miss Mary, Dilli ka thug, Shararat, Ragini, Chalti ka naam gaadi etc etc….
Even in those days, it had not eclipsed Mohd. Rafi. In most films those days, the composer was S D Burman, even at that time. So,it was not a great issue that from Aradhana, S D Burman spurned Rafi. According to an article by Raju Bharatan, it was RD Burman and not the senior Burman who supported Kishore in place of Rafi. Here is the related portion from his lengthy article, for your reading, with thanks to Rediff.movies…..
” Dada Burman had been in a coma for nearly a year before October 31, 1975 — the Friday on which he finally passed away. It was a coma that followed a stroke S D suffered while recording Kishore Kumar — set to go, unforgettably, on Amitabh Bachchan (opposite Jaya Bhaduri playing Mili)as “Badee soonee soonee hai zindagee yeh zindagee”.
That traumatic Dada breakdown accounts for why Kishore Kumar handpicked this 1975 “Badee soonee soonee hai” mood song to figure among his Ten All-Time Bests in The Illustrated Weekly Of India cover story (titled Genius), on him, done by Pritish Nandy.
1975 was also the year by which Dada Burman had virtually replaced the multi-faceted Mohammed Rafi with the multi-hued Kishore Kumar in his repertoire.
Having done that, Dada vainly tried to soften the blow for Rafi by getting this singer to duet with Kishore (in Hrishikesh Mukherjee’s Chupke Chupke: 1975) as “Sa re ga ma, aa ha, ma sa re ga”.
It was Rafi here going on Dharmendra (the superstar-that-almost-was) in a ribtickling role opposite the superstar-that-already-was: Amitabh Bachchan.
Here, at that Nite, was where I beheld S D Burman patting Mohammed Rafi on the back, as that tenor gave super expression to Dada’s 1958 Raag Chhayanat Majrooh-written classic on Dev Anand in Kala Pani “Hum bekhudee mein tum ko pukaare chale gaye”.
It was from the muezzin’s call to prayer that Dada Burman had picked up the tune-idea for “Hum bekhudee mein tum ko pukaare chale gaye” — a call running as “Ahl-e-rasool mein jo Musallama ho gaye”.
Any wonder Rafi gave such heart-stopping articulation to “Hum bekhudee mein”?
Ha, Mohammed Rafi! Did this stalwart performer deserve, finally, to be treated the way he was by Sachin Dev-Burman, even granting that Rafi’s easing out from Dada’s recording room came about following an Aradhana breakthrough by Kishore Kumar that sigalled the arrival of Rajesh Khanna as the superstar to upset all settled values in our films?
“Roop tera mastaana pyaar mera deewaana”; “Mere sapnon kee raanee kab aayegee tu”; even that Raag Pahadi duet of Kishore with Lata, “Kora kaagaz thha yeh man meraa”, weren’t these tunes initially envisioned, by Dada Burman, to go in the voice of Mohammed Rafi on a still-to-arrive Rajesh Khanna?
Since S D’s tunes here were to be picturised on a hero (Rajesh Khanna) yet ‘on the fringe’, Dada Burman had, anticipating the demand of the razzledazzle film trade, logically chosen, as his main male singer for Aradhana, the then voice of every other leading man in films: Mohammed Rafi.
Indeed, by getting the first two songs that were recorded for the film, “Baaghon mein bahaar hai” (with Lata Mangeshkar) and “Gunguna rahe hain bhanwre” (with Asha Bhosle), to be by Rafi, Dada Burman had already indicated his choice of voice for Aradhana.
But this was the point at which S D Burman fell critically ill.
And here is where we come to the gut point about certain readers holding me to my 1994 view that it was “R D Burman, and not S D Burman, who conceived and executed the music score of Aradhana.”
So it was — but only after those two duets came to be “conceived and executed” (that is, recorded) by S D Burman in the voice of Rafi!
That was the norm in our films then. That, first, two songs of a production had to be recorded — as the launching-pad. Plus the news of such a recording had to appear as a published item in an industry-respected paper like the weekly Screen.
Only after that would finance for a film flow. So it was as finance for Aradhana was set to flow that S D fell ill.
So ill that R D Burman, behind the scenes, took over the remaining music of Aradhana for Kishore Kumar really to happen. Happen after that peerless singer had been, for a full 23 years, ‘on the periphery’ — always a vibrant voice, but never quite there, in the topmost echelons of a field right then dominated by Mohammed Rafi, as a playback performer way ahead of the rest towards the end of the 1961-70 decade.
A performer no less ahead was Lata Mangeshkar among the lady performers. For Lata, Asha was some competition by the Aradhana-release stage of 1970.
But, in the case of Rafi, he was the singing monarch of all he surveyed, by early-1970, as the voice of every selling hero — from Rajendra Kumar to Shammi Kapoor, Sunil Dutt to Dharmendra, Joy Mukerji to Jeetendra.
It was the joint hold of this legion of heroes that Rajesh Khanna singly challenged — and how! This was something that transpired through Kishore Kumar emerging as the ‘youthful’ voice of Rajesh Khanna with Aradhana — via the baton of Sachin Dev Burman.
I say Sachin Dev Burman in the face of the fact that it was Rahul Dev Burman who handled the ‘core’ music of Aradhana, Dada Burman being too ill to attend any of the rehearsals after recording those first two duets featuring Rafi.
And, into these rehearsals, it was Pancham who subtly brought in Kishore, having never been a great Rafi votary!
So here we come to the crux of the matter.
In better health, Dada Burman might even have vetoed Pancham’s idea of it being Kishore in the already allotted Aradhana slot of Rafi. And Dada, do remember, would have had the distributors of Aradhana on his side in the matter — these financiers would, obviously, have wanted the then No 1 voice of Rafi going on a still-struggling hero like Rajesh Khanna.
Yet Dada obviously liked what he heard in the voice of Kishore — as fashioned by Pancham from the ‘rough-cut’ tunes he had given his son for Rafi to rehearse for Aradhana!
Dada was not forthcoming on this ticklish issue when I asked him pointedly about it, so shall we say that S D was not entirely surprised at Pancham having turned to Kishore, knowing how his son never really did care for Rafi?
The thrust of my reasoning is simple. I contend that it was the serious illness of Dada Burman — in the moment that mattered — that was the making of Kishore and the undoing of Rafi. For we tend to judge Aradhana, today, by the sum total of the terrific impression left by Kishore on a Rajesh Khanna hitting the screen like a tornado with that 1970 release.
But, honestly, did Rafi, in the same Aradhana, sound any less effective, on the same Rajesh Khanna, while vocalising “Baaghon mein bahaar hai” and “Gunguna rahe hain bhanwre”?
Only, these were duets, while Kishore’s “Roop teraa mastaana” and “Mere sapnon kee raanee” were solos on the neo-Rajesh Khanna! And a credit shared (with Lata and Asha) is a credit halved was the painful discovery that Rafi now made, as Aradhana turned out to be a musical pathfinder.
For all that, what if Dada Burman had come back, totally recovered, and torpedoed Pancham’s decision that it should be Kishore Kumar on Rajesh Khanna in Aradhana, when that film’s final box office fate was still totally unknown?
So it was the fact that Dada Burman, in the nick of time, fell so ill as to be bedridden that worked in overnight favour of Kishore.
Or shall we simply argue that Kishore’s time had at last come, seeing how superbly this performer, finally, sang the Aradhana theme? Argue that Kishore and Rajesh were vocally ‘made for each other’? Audio-visual rationalising is the easiest thing in the film world!
So Pancham it was who tellingly turned the Aradhana tables in favour of Kishore by recasting, in his pet singer’s idiom, those base-tunes set by Dada Burman (on his sickbed harmonium) in the Rafi mould!
The point still remains whether Rafi, left to himself on Rajesh Khanna, would have sung Aradhana as impactively as did Kishore. There is absolutely no reason, considering Rafi’s vocal splendour then, to doubt his ability to have been any less impressive than Kishore.
Kishore, for his playback part, knew that it was still ‘touch-and-go’, in the case of Aradhana, when Dada returned by the final recording stage. For Dada’s last memory here, as he fell ill, related to what he considered his lifetime-best score in Guide — to Rafi’s “Tere mere sapnen ab ek rang hai”; to “Din dhal jaaye haay raat na jaay”; and, transcendentally, to “Kya se kya ho gaya”.
By contrast, Dada’s Guide rewind to Kishore was marginal — confined to this singer’s Raag Pahadi duet with Lata: “Gaata rahe mera dil”.
No doubt, Dada here took note of how surpassingly Kishore had rendered “Gaata rahe mera dil” with Lata. Yet Rafi’s virtuosity under Dada in Guide — it had taken that singer and the composer in S D Burman to a new peak, hadn’t it?
But then, after Aradhana, Sachin Dev Burman had to reckon with the fact that son Rahul Dev Burman was the new trendsetter — that almost every hero had ‘fallen in Rajesh Khanna line’ by ditching Rafi for Kishore!
And Dada Burman, as a realist, never was one to play King Canute and try to roll back the waves!
His son, Pancham, had used a prestigious film of his, Aradhana, to tilt the scale, decisively, in favour of Kishore. And Dada Burman had nothing against Kishore, his own discovery — now that this singer, realising his full potential late in his performing life, had become regular in the matter of both rehearsing and recording.
The turning-point was Dada Burman’s deciding to stay with Kishore Kumar, as prescribed by Pancham, in Aradhana.
Indeed, by the time Aradhana unfolded as S D Burman’s ‘second coming’, Pancham was already on the verge of an individual breakthrough via Kati Patang — via Kishore’s “Yeh shaam mastaanee madhosh kiye jaaye”; “Yeh jo mohabbat hai yeh unka hai kaam”; and “Pyaar deewaana hota hai mastaana hota hai” — songs released well before that Asha Parekh-Rajesh Khanna starrer hit the screen.
Pancham now was clearly the coming Kishore force. The pupil had begun to excel the master — at least in the matter of public acceptance.
Dada and Meera Burman rejoiced at this trend of events in the case of their only child, about whose future they had been worried sick for years on end. Pancham now was clearly his own composing man, so Meera and Sachin Dev Burman were only too happy to let R D Burman set the Kishore pace.
Thus did time begin to run out for Rafi, after this genial giant had held untrammelled sway for a decade and more. For once Dada Burman broke with Rafi, he just broke.
Kishore, for all his voice quality, did restrict Dada Burman in his compositional ambit. But S D instinctively recognised that compositions, by 1970, had to be less complex to find a ready reception in the audience’s ear.
So Dada settled for Kishore (at the expense of Rafi) and the outcome was “Phoolon ke rang se dil kee kalam se” — on, aptly, Prem Pujari Dev Anand in the vivid wake of Aradhana.
Thus did Dev Anand — thanks to S D Burman having ‘fixed’ Kishore Kumar on him down the years (starting with “Mere labon pe dekho aaj bhee tarane hain” in Baazi: 1951) — remain the only hero to be untouched by the Kishore wave.
Both composing and singing now became more freewheeling, on the hero, in Hindustani cinema, so that, while Rafi remained the bastion of tradition, Kishore became the harbinger of change — as father and son, SD and RD, metamorphosed the sound of music at the turn of the Seventies.
During this fatal phase for Rafi, the only time Dada Burman could have turned to this singer, wholesale, was as SD scored, in 1974, for Sagina — played by Dilip Kumar.
But, by then, Rafi had resolved (don’t ask me here why!) that he would never again sing for Dilip Kumar.
So Kishore it was on the Thespian of Thespians, too — “Saala main to sahab ban gaya!” ”
Anyway for me, Kishore and Rafi,were both Great singers. By the way, here is some new information on the making of Aradhana, according to Ashim Samanta, son of Shakti Samanta,Director-
Shakti Samanta had a great ear for music. So it’s no wonder that songs from his films are still a rage on the radio.
As a young boy, Ashim Samanta saw how devoted his father was when it came to music.
There would be music sittings at Samanta household and his father would find himself lost in rhythms and melodies. For the same reason, R D Burman, O P Nayyar and Anand Bakshi became his close friends.
“In fact, he used to create scenes just to incorporate music. He felt films are nothing without music.”
An admirer of music director Pankaj Mullick and singer K L Saigal, Samanta’s first dream was to become a singer. “He sang quite well,” adds Ashim.
If it weren’t for Gulshan Nanda, Aradhana — among Samanta’s signature works — would have never been made,” says Ashim. “Just a day before Aradhana was to start, Surinder Kapoor (producer and Anil Kapoor’s father) invited dad to see his new film Ek Shriman Ek Shrimati starring Shashi Kapoor.
“Dad was shocked to see that the climax was the same as Aradhana’s. It was possible because both films were written by the same writer — Sachin Bhowmick. The next day, Samanta had made up his mind to scrap Aradhana.”
It so happened that writers Gulshan Nanda and Madhusudan Kalelkar dropped into his office that day and they noticed that he was tense.
“Originally, Aradhana was to have Rajesh Khanna die at the interval point and a new hero would come in. Instead, Gulshan Nanda suggested why not have a double role of father and son. Dad loved the idea and went on to make the film.”
“While dad was upset and had decided to move on from Aradhana, Gulshan Nanda told him not to fret and advised him to start another film. For that purpose, he narrated the story of Kati Patang.
“Dad jumped at it. First, they reworked the second half of Aradhana in the next few hours and then, they discussed Kati Patang at length. Two of his finest films were created in that evening, within a gap of few hours,” says Ashim.
Commercially, Aradhana and Kati Patang did exceptionally well, featuring Rajesh Khanna at his romantic best with a soundtrack that remains at the very core of why we love those two films.
I was surprised to find that such a famous song from Aradhana was not yet posted. So here it is-enjoy !
Lyrics of this song were sent by Peevesie’s mom. With this song, “Aradhana” (1969) finally joins the list of movies that have all their songs covered in the blog.
Song-Baaghon mein bahaar hai (Aradhana)(1969) Singer-Rafi, Lata, Lyrics-Anand Bakshi, MD-S D Burman
Lyrics(Provided by Peevesie’s mom)
Baagon mein bahaar hai
kya
maine poocha baaghon mein bahar hain
hai
aha
kaliyaon pe nikhaar hai
haan hai
toh
toh tumko mujse pyaar hain
na na na
na na na
na na na
na na na
ho
baagon main bahar hain
Hai
kaliyaon pe nikhaar hai
hai
ho ooo
tumko mujhse pyaar hain
na na na
na na na
na na na
na na na
haay
baaghon mein bahaar hai
chhodo hato jaao pakdo na bainyaan
aaoon na main teri baaton mein sainyaan
chhodo hato jaao pakdo na bainyaan
aaoon na main teri baton mein sainyaan
tumne kaha hai dekho
dekho mujhe sainyaan
bolo tumko ikraar hai
he he he
haan hai
phir bhi inkaar hain
haan hai
ho o
tumko mujse pyaar hai
na na na
na na na
na na na
na na na
haay
baaghon mein bahar hai
tumne kaha thha main sau dukh sahoongi
chhupke piya tere man mein rahoongi
tumne kaha thha main sau dukh sahoongi
chhupke piya tere man mein rahoongi
main sab kahoongi
lekin woh na kahoongi
tumko jiska intezaar hai
hai
ho o
phir bhi takraar hai
hai
ho o
tumko mujse pyaar hai
na na na
na na na
nahin nahin nahin
nahin nahin
O o o
baaghon mein bahar hai
achcha chalo chedo aage kahaani
hoti hai kya bolo pyaar ki nishaani
achcha chalo chhedo aage kahaani
hoti hai kya bolo pyaar ki nishaani
bechain rehti hai prem deewani bolo
kya dil bekraar hai
hai
mujhpe aitbaar hai
haan hai
jeena dushwaar hai
hai hai
aaj somwaar hai
arre baaba hai
tumko mujhse pyaar hai
hai
na na na na na na na na na
12 Responses to "Baaghon mein bahaar hai"
November 18, 2013 at 11:02 am
A big thank you to Arunkumarji for this wonderful write up.
actually i was bugging Atul since March (Anand Bakshi anniversary) to post this song. if he had been waiting for this wonderful post then i acquit him of charges of deliberately delaying this song as well as Marking “Aradhana” RED and ALL SONGS COVERED.
YYYYIIIIIPPPPPPEEEEEEE!!!!!!!!
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November 19, 2013 at 12:18 am
Sir,
Thanks for this informative post.
As you say, a lot of cyber space is filled with discussion on this issue of Kishore’s rise post Aradhana, and Rafi’s decline.
That is only possible to say, or the comparative analysis is arising due to Rafi’s gradual rise through the decade of 50 to complete domination of male playback scene by mid 60’s. Despite Lata not singing with him during mid 60’s, he was the mainstay of Shankar-Jiaikishan’s films. And 60’s belonged to S-J by and large as they were most prolific and most successful. Even the boycott by the all powerful Lata did not effect him at all.
About the two duets recorded by SDB including above song, they could have easily been re-recorded in Kishore’s voice if RDB-SDB were so
convinced. This was not unheard of in the industry.
Whatever be the success rate of RDB and SDB with both Rafi and Kishore, the qualitative compromise was involved, as Raju Bharatan has said in this para
” Kishore, for all his voice quality, did restrict Dada Burman in his compositional ambit. But S D instinctively recognised that compositions, by 1970, had to be less complex to find a ready reception in the audience’s ear. ”
He is saying this only about SDB, I would apply it to both father and son.
One thing I dont find acceptable that by 1972-73 Kishore kumar had become so big, that he refused to sing ‘Teri bindiya re…..’ for SDB in ‘ Abhimaan ‘ .
And how about this song in Navketan”s ‘ Gambler ‘
https://atulsongaday.wordpress.com/2009/04/23/mera-man-tera-pyaasaa/
I feel what ever SDB was composing with Rafi Sahab in mind, he had only him sing those songs. Be it ‘Abhiman’ ‘Anuraag’ or Gambler or ‘ Us paar’ .
Only song I really miss Rafi in SDB’s 70’s songs is in ‘Sharmilee”‘s
https://atulsongaday.wordpress.com/2010/09/02/khilte-hain-gul-yahaan-khil-ke-bikharne-ko/ . That is one of the few or only ocasions when SDB made two versions of the same song.
And lastly, Rajesh Khanna is the only star to have risen to superstar level riding on Kishore-RDB songs. And even he was not fixated that only Kishore should sing for him. Laxmikant-Pyarelal, Kalyanji Anandji, etc were having Rafi sing for Rajesh Khanna with equal success.
This comment become too long.
Thanks and regards.
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November 19, 2013 at 11:01 am
nahm ji,
I was almost certain that you will join the discussion,as a staunch Rafi fan. I too am a fan of Rafi,and Kishore and Mukesh and ..and…and.. etc.
The comments by Raju Bharatan have to be given a discount of atleast 60 to 70 %,if not more. He acts as if he was present at the time of every controversy in Film industry and all the artistes confided only in him. That is his style.
Ofcourse not all that he writes is trash. He is a real connoisseur of good music.
I dont agree with all that he writes,nor am I interested in Rafi-Kishore discussion. As I said,for me both were great. Rafi for his struggle and kishore for his ‘training less natural gift of singing’.
When the major players of the controversies are not alive,it becomes a game of one’s word against the other’s.
-AD
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November 19, 2013 at 11:16 am
Sir,
You are right as always. I just felt compelled to give some view points since this is finally curtains for ‘Aradhana’ in the blog.
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November 19, 2013 at 3:14 am
Arunji,
What an excellent way to reach the finish line!!! Thank you for the wonderful write up. Thanks to Raju Bharatananji and Peevesie’s Momji also.
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November 19, 2013 at 10:55 am
After 2 songs with Rafi SDB would have surely taken Rafi for the remaining songs if he was well. Imagine Rafi singing Roop tera mastana, etc. Would SDB change the tune to suit Rafi. Conjecturing and more conjecturing
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November 19, 2013 at 11:14 am
If SDB composed the song, be it any song for Rafi, than there is no question of changing the tune, for recording by Rafi. It is more likely, RDB changed the original SDB compositions to suit Kishore’s style.
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November 19, 2013 at 11:28 am
Let us not forget that changing the 2 songs of Rafi already recorded,was not possible,for the simple reason that these songs were recorded and published in Screen to get the financers. if these songs were changed,what would have happened to the financers ? their withdrawl would have created problems.
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August 7, 2014 at 7:03 pm
Wow! what a song! and having read Arun Ji’s write-up, and the subsequent comments by the bandwagon… aisa lag raha hai jaise koi jaani pehchaani dukaan pe aaya hoon, aur jise mere chaahithe dost chala rahe ho :). Loved reading the write-up and the comments. I agree with Arun Ji, I think between Kishore and Rafi, they had immense love and respect for each other. If that was not the case, Kishore da would have not requested Rafi sahab to sing songs for him, knowing Rafi sahab would do more justice to the song :). Both these legends having been born is just a boon for all of us who get to listen to such gems. nahm ji, par kehna padega… thoda leaning toh Rafi sahab ki taraf hee jaata hai.. :).
Also.. what a YIPPEEEE!! this is! Aradhana (1969), one of the most successful movie musically has joined the ranks of movies that have all their songs discussed on the blog. Thank you and Congratulations! Atul Ji!
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August 8, 2014 at 4:23 pm
P. R. ji,
kya kehne, Rafi Sahab ki taraf leanings ke. Some lean more and some lean less, some willingly and some unwillingly, but lean we all do. And those who are adamant(in being neutral), remain so with great difficulty, this is my observation. 🙂
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August 8, 2014 at 4:45 pm
Sahi observation nahm ji :).. sahi observation! :).
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
November 18, 2013 at 9:55 am
thanks to all involved in this post … !!!
Atul ji and Peevesie’s Mom ji Congratulations on covering all songs of this film ‘Aradhana-1969’ and its joining to the ‘List of Movies- All Songs Covered’…!!! 🙂
thanks for this detailed post Deshmukh Sir on Rafi-Kishore songs (i would not say it ‘debate’). i hv one similar post lying with Atul ji…. this will help me to add more to it… thanks
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