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Consecutive Melodies

Posted on Trivia- The Spice of Life on 11/12/2022

In Indian films, songs appear at regular intervals sometimes to break the monotony or develop the plot and at other times for no rhyme or reason. Irrespective of this, a melodious song with meaningful and topical lyrics, picturised tastefully is always a pleasure to watch and listen to. A film on an average has five to six songs spaced well throughout the length of the movie. However, there are exceptions where one song is immediately followed by another. It is these exceptions that this post is all about.

In this post, I have listed 5 sets of songs – each set featuring in one movie, coming immediately one after another. There are also songs in the same movie where the gap between two songs is less than two minutes. I have considered them too. In most cases, the plot is such that there is a need for two songs consecutively. But there are movies where there is no reason for consecutive melodies (like Naya Daur). Probably the songs were too good to be done away with and thus were just inserted into the movie one after another. So here’s the list.

1) Naya Daur (1957) – The mood of these two songs is diametrically opposite. Further, the reason for featuring them consecutively in the movie also escapes me. Nevertheless, both are wonderful melodies.

a) Dil Leke Daga Denge – Sahir Ludhianvi – O.P.Nayyar – Md.Rafi.

This song, unlike those familiar with the plot of the film would believe, features not in the latter half but in the very beginning. Rafi sings for both Dilip Kumar and Ajit. Though it sounds like a song lamenting betrayal by a friend, it is actually one of reassurance. This short song has both friends singing with a smile on their faces.

b) Yeh Desh Hain Veer Jawanon Ka – Sahir Ludhianvi – O.P.Nayyar – Md.Rafi and Balbeer

This peppy song with joyous Punjabi folk music and dance is a delight to hear and watch. It begins soon after the earlier song ends, without any gap. Rafi sings the major chunk with Balbeer joining in, in the last stanza. The song perhaps is only to reinforce the idea that the two are very good friends who share the same outlook about life.

2) Dekh Kabira Roye (1957) – Rajinder Krishan – Madan Mohan – Asha & Lata

This song from a film, which is a comedy of errors, is unique because it is actually a series of songs. The first begins as Meri Veena Tum Bin Roye (sung by Lata for Ameeta) and the first line of this song becomes the refrain after the second and the third song ends. The second song is Ashkon Se Teri Humne Tasveer Banai Hain (sung by Asha Bhosle for Anita Guha) and the third is again sung by Lata and picturized on a distraught Shubha Khote. I like the way the second and the third song come back to the opening line. Weaving three songs into one without any disjoint is truly the brilliance of Madan Mohan. The raag he has composed in is Ahir Bhairav.

3) Guide (1965) Guide is known for its wonderfully choreographed dances and ethereal music. The songs of Guide are perhaps amongst some of the best that S.D.Burman ever created. There are two songs in Guide that feature in succession. The two songs are akin to an accusation and a repartee. While the first is a dance performed by Waheeda on stage as she sings, the one that follows is also set on (a fictitious) stage as Dev Anand, waiting in the wings to speak to Waheeda begins to imagine what is going to befall him as he has committed a crime and is sure to go to prison. Just before the two songs, Waheeda has discovered that Dev Anand is guilty of forgery. So the words Mose Chhal Kiye Jaaye are apt. Dev Anand for his part can only see handcuffs as the logical fallout of his act and he has his own set of grievances to nurse as he calls her disloyal (bewafa) in his song.

a) Mose Chhal Kiye Jaaye – Shailendra – S.D.Burman – Lata Mangeshkar

b) Kya Se Kya Ho Gaya – Shailendra – S.D.Burman – Md.Rafi

4) Piya Milan Ki Aas (1961) Centred round the love story of two simple souls who have many challenges to deal with, the movie begins with the the first song followed immediately by the second. Both songs are very short. The plot unfolds through flashback sequences.

a) Picnic Mein Tik Tik Karti – Bharat Vyas – S.N.Tripathi – Manna Dey & Geeta Dutt.

This song breaks many a stereotype that we link with certain names. If you read the names of those associated with the song and then see the song intently, focusing carefully on the voices simultaneously, you will at once appreciate its uniqueness. Who would have imagined that Bharat Vyas – who penned lyrics for songs of many a mythological/historical movie and S.N.Tripathi who also prolifically composed music for such movies could come up with a stunner like this? By the way, S.N.Tripathi was also the director of this movie. The lyrics are such that they have eternal appeal. Why would anyone think of Monday while frolicking on Sunday? The mukhda is sung thrice over in the song. There are no antaras.

b) Kaga Sab Tan Khaiyyo – Bharat Vyas – S.N.Tripathi – Lata Mangeshkar

Even as the first song is fading out, there is a distressed Ameeta singing this poignant song, remembering her beloved. Only the mukhda is sung here. The complete song features much later in the film. With this short song whose mood is completely different from the earlier, the tone is set for the flashback.

5) Anupama (1966) This movie had outstanding music to back a strong storyline. It was directed by the one and only Hrishikesh Mukherjee. There are two female characters who in the film share their birth date. However, they are like chalk and cheese as far as their personalities go. Shashikala is the ebullient, loud and garrulous type whereas Sharmila is quiet and reticent. Shashikala celebrates her birthday where the big gathering enjoys her spirited singing. Less than two minutes after her song ends is sung another song which is slow but extremely moving and meaningful. The two songs are poles apart, thereby very successfully highlighting the difference in the two characters (Sharmila and Shashikala).

a) Kyun Mujhe Itni Khushi De Di – Kaifi Azmi – Hemant Kumar – Asha Bhosle

This song sung by Shashikala sets you tapping your foot as you enjoy the fast pace. Shashikala is all smiles and is extremely happy with herself. Deven Verma plays the piano as she sings.

b) Ya Dil Ki Suno Duniyawalon – Kaifi Azmi – Hemant Kumar

This song sums up the theme of the movie – ek phool chaman mein aisa khila, maali ki nazar mein pyaar nahin. In this movie, the female lead’s (Sharmila Tagore) mother dies on the same day that she is born. Thus, her father (unnecessarily) holds her responsible for her mother’s death. She does not get the fatherly love that she is entitled to for no fault of hers. Dharmendra describes the unjust behaviour of the world towards Sharmila. Kaifi Azmi’s lyrics are spot on. The change in the mood from merry to sombre gets very well highlighted by these two songs coming in quick succession.

This brings me to the end of my post on film melodies featuring in quick succession. In most cases, the objective of having consecutive melodies is evident; however, there sometimes, these seem to be included just because they were too good to be done away with.

Disclaimer claims no credit for any image, screenshots or songs posted on this site. The images and screenshots are the copyright of their original owners. The song links are shared from YouTube and other platforms only to make the post audio visual. The copyright of these songs rests with the respective owners, producers and music companies.

14 thoughts on “Consecutive Melodies

  1. I had thought of working on this theme. But after collecting a couple of songs, I lost the track.
    The two sets of songs were,
    Tere bina aag yeh Chandni and Ghar aaya mera pardesi

    From the 90s,
    Satwan Aasman
    Socha tumhe khat likhoon & Where’s the time to hate

    I couldn’t get the video link for socha tumhe khat likhoon
    But here’s for the next one…



    1. Thanks a lot, Anupji! I hope with all the songs that have been added by you and the others, we will have at least 10 sets in all!! The video link of the Satwan Aasmaan song is not available. I searched as well. By the way, there is another pair from one of Sharmila’s super hit movies with perhaps a small gap of less than 2 minutes. Any guesses?

      Liked by 1 person

  2. Anitaji,

    One more interesting post! The songs from Naya Daur, Anupama, DKR and Guide are all-time favourites.

    Offhand, I can think of these two songs from Nagin 1954
    – Teri yaad mein jalkar dekh liya and Oonchi oonchi deewarein saiyan todke

    Will come back if I can recollect more.


  3. I have toyed with the idea of doing this type of post several times, but I’ve never managed to get past a couple of songs (and the two from Guide are what I always remember). I am very impressed with the way SD Burman uses one core tune and makes it into two songs just by changing the tempo!

    Anyway, here’s another duo for the list, from Bhoot Bangla. Tanuja’s character first sings O mere pyaar aaja, then there’s a brief (less than 2 minutes) interval in which Ameen Sayani speaks, before Aao twist karein comes on:


    1. Thanks a lot, Madhuji for adding the two songs from Bhoot Bangla. Since I have not seen the movie, I did not know the picturization or the sequence. Both the songs are so different and yet so melodious. With all of us pooling our resources I am sure we will reach 10 pairs.

      Liked by 1 person

  4. Anita,
    This is an interesting category and nice compilation of songs. Sometime back, I came across an excellent song which (almost) segues into another song. There is a nice prologue and epilogue to the first song, ‘Thandi thandi saawan ki phuhaar re, piya aaj khidki khuli mat chhodo’. At the end of this song, after less than a minute a contrasting song ‘Maine jo li angadayi’ by Sandhya Mukherjee and Haridhan from ‘Jaagte Raho’ (1956) starts.

    Thandi thandi saawna ki phuhaar re by Asha Bhosle from Jaagte Raho (1956), lyrics Shailendra, music Salil Chaowdhury

    Sumitra Devi desperately tries to hold on to her alcoholic husband Motilal, and sings this beautiful song. Motilal is listening half consciously and seemingly enjoying the beautiful melody in Raag Desh (KL Pandey adds Tilak Kamod and Khamaj too). But as soon as it ends, he erupts in anger, “Whenever I ask you to sing, you start singing bhajan and kirtan!”

    Maine jo li angadayi by Sandhya Mukherjee from Jaagte Raho (1956), lyrics Shailendra, music Salil Chowdhury

    Since her attempt to mollify her husband by singing a classical melody failed , she tries to obey his command, but she does not know any ‘that type of’ song. Motilal plays an LP from ‘thousands’ in his collection. Sumitra Devi starts singing a song of complete contrast. The ‘thief’ Raj Kapoor is pained at the mental torture faced by the lovely wife.

    #2: I think Tu pyar kare ya thukraaye by Lata Mangeshkar is one of the three songs.

    #3. Kaaga sab tan khaaiyo: This song has intrigued me for long, because it occurs at many places, in films, non-films, light classical, Sufi songs. I was sure it was a traditional bandish. Many film songs have taken the first two lines, with rest of the lyrics different. Now I discover that it was written by the 12-13th century Punjabi Sufi saint-poet Baba Sheikh Farid.



    1. AKji, thanks a lot for your appreciation and the wonderful songs from Jaagte Raho. I knew the first one Thandi thandi saawan ki phuhaar . In fact, I felt it was a good example of a canorous eyesore. Motilal plays the role of a drunkard perfectly. The Chunnibabu act continues. I was not aware of the ensuing song. The change in mood is so apparent and hard-hitting.

      At #2 from Dekh Kabira Roye, there are three songs – Meri Veena Tum Bin Roye by Lata, Ashkon Se Teri by Asha and Woh Pyaar Kare Ya by Lata again. Lata is the voice of two heroines – Ameeta and Shubha Khote whereas Asha sings for Anita Guha.

      Thanks a lot for that interesting piece of information about Baba Farid’s couplet. I did feel that the lyrics were a little off beat but it did not strike me that they were of a Sufi poet. It would be nice if the opening/closing credits would mention this source of inspiration.


  5. In New Delhi 1956, Nakhrewali and Zindagi bahaar hai – one songs leads to the other.

    I am bit surprised with myself for not remembering these two landmark movies with their iconic numbers yesterday:
    Hare Rama Hare Krishna 1972
    Dum maro dum leads to dekho o deewano tum ye kaam na karo

    Bobby 1973
    Na chahoon sona chandi and jhooth bole kauwa kaate

    Liked by 1 person

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