Every time Kishore Kumar and Asha Bhonsle were teamed together for duets, they created magic. Kishore’s irresistible magical vocals and Asha’s silky and passionate vocals together lent a special X-factor to their duets. This duo has lent their voices to dozens of actors who didn’t make it big in the industry. Frankly, listeners never bothered to know who the actors were, on the screen on whom these duets were picturized; it’s because people enjoyed the emotions and feelings conveyed by these blessed magical singers. Some of the songs are so lively that you get goose bumps even today just listening to those duets. I am of the opinion that these two great singers added life and character to the songs in their own inimitable way.

They both sang Romantic, Slow, Fast, Devotional, Comedy, Sad, happy, Rock, Classical Blues, Qawalli, Rap, Hip-Hop, Semi Classical, Folk songs.  Together they could express any shade of emotion naturally. Kishore initially became famous for yodeling, and he sang any mood effortlessly. So did Asha. She too sang all genres. It’s difficult to select the ‘best’ songs sung by this duo.

I consider 1950s till the seventies was a part of the Golden era where melody reigned supreme. Even if a film did not fare well at box office, the songs conquered hearts and attained popularity. Those were the days when radio was the most important source of keeping in touch with film songs. Film buffs either looked forward to the radio programs or waited for the weekly ‘Chaya Geet/Chitrahaar’ programs on Doordarshan channel to catch a glimpse of the songs. There were no mobiles, no Youtube for watching a song again and again. But, songs which topped the charts did so, on pure merits. Frankly speaking, great singers of that era  were not at all dependent on the charisma of the actors who lip-synced the songs. Many lesser known actors got some of the best songs to lip-sync on the screen.

Here are some of the magical songs by Kishor-Asha Jodi:

Song: Ye raten, yeh mausam, nadi ka kinara
Film: Dilli ka thug (1958)
Lyricist: Shailendra, Music Director: Ravi  

Song:Chod do anachal, zamana kya kahega
Film: Paying Guest (1957)
Lyricist: Majrooh Sultanpuri, Music Director: S.D.Burman 

Song: Arre yar mere tum bhi ho gazab
Film: Teen Deviyan (1965)
Lyricist:  Majrooh Sultanpuri, Music Director: S. D. Burman

Song: Dooriyan Nazadikiyan Ban Gayi
Film: Duniya (1968)
Lyricist: Hasrat Jaipuri, Music Director: Shankar- Jaikishan

Song: Jane kaisa hai mera diwana
Film: Aansoo Ban Gaye Phool (1969)
Lyricist:  Bhopali, Govind Moonis, Music Director: Laxmikant-Pyarelal

Song: Bhali Bhali si ek soorat
Film Buddha Mil Gaya (1971)
Lyricist: Majrooh Sultanpuri ,  Music Director: R.D.Burman

Song: Waqt Thoda sa abhi kuch aur gujar jane de
Film: Seema (1971)
Lyricist: Indeevar, Music Director: Shnkar – Jaikishan

Song: Mere Pyase Man ki bhar
Film: Honeymoon (1971)
Lyricist: Yogesh Gaud, Music Director: Usha Khanna

Natya Sangeet originates from Indian semi-classic and classical music style. Natya Sangeet is lyrics in form of poetries/songs/gazals/nazm which are sung by the actors in a natak (drama).  So, musical drams are called Sangeet Natak in Marathi. Natya Sangeet is a form of vocal arts. The other form is Bhavageet. The ragas such as Bhimpalas, Yaman, Jaijaiwanti, Mand, Malkaunsa and others have been used in the music hence the songs are fadeless till date. The Natya Sangeet uses all the classical styles of singing including Khayal Ang, Thumri Ang and light classical forms like Dadra, Tappa and Bhavgeet.

In the early 19th century in Maharashtra, music was solely the union of the rich, aristocratic and royalty of India. Singers were called from all over the country to eneteratin the gathering of rich and royal people. Common people were barred from enjoying classical music. Natya Sangeet emerged essentially so that the common man could also understand classical music and enjoy the classical base. The key difference between Natyageet and Bhavageet is that the latter stresses more on words while the former gives a lot of significance to Raga. Therefore, Natya Sangeet caught popularity with masses in Maharashtra, so much so that during the British Raj they compared it with Operas. Initially, the sangeet natyas were mainly based on mythological stories of Mahabharat and Ramayan which the audience could easily connect with. They did not cover the complete epics but were limited to only small stories in them.

With the rising fame and success of the sangeet natyas, producers started experimenting social issues themes by bringing them to audiences. The example is Sangeet Sharda; this drama was based on the cruel practice of marrying young girls to much elder men, sometimes even widowers in their seventies. The dram portrayed feelings and sentiments of a teenage girl to be married to a widower in his late seventies. The social message of the drama had a great impact on the society. Few dramas, like Kichak Vadh, disturbed the Britishers; they banned this drama because in the drama Kichak was subtly compared to Britishers. Kichak is an evil character from Mahabharata who disgraces Draupadi and the drama was then synonymous with the oppressed common Indian masses.

Similalrly the famous musical drama Ekach Pyala by Ram Ganesh Gadkari depicts the pathetic decline of the alcoholic and the devastating effects his addiction has on his family life. How his family gets devastated because of his addiction.

During the 1960s, yet another transition came in natya sangeet with the entry of Jitendra Abhisheki, who was credited with applying simplicity to the complex composition of Natya Sangeet. He developed a distinct style of rendering Khayal, which is a form of vocal music in which some elements of ṭappā are used. This style was first introduced by Gammu Khan of Banaras. Abhisjki who was originally a khayāl singer, he learnt ṭappā from Shori-miyā. His unique rendition style is known today as the Abhisheki Gharana. Jitendra Abhisjeki was well known for his renditions in  Marathi Natya Sangeet compositions like “Guntatá Hrdáya Hai”, “He Suránno Chandra Vhá” and other songs/Marathi ghazals such as “Májhe Jívana Gáne”, “Kaivalyáchya”, “Sarvátmaka sarveshvara”, “Kátá rute kunálá” etc

Natya Sangeet Genius: Narayana Shripad Rajhans, popularly called Bal Gandharva was one of the most iconic Marathi stage actors and singers. The name was bestowed to Narayan by Lokmanya Tilak after listening to his public performance in Pune while he was very young. Gandharva was renowned for his portrayal of female characters in various Marathi plays. He essayed the role of women characters since women were barred from participating in stage plays during that time. Bal Gandharva began his stage career under the mentorship of Annasaheb Kirloskar and first joined his theater company known as Kirloskar Natak Mandali in 1905. It will be unfairness to conclude this article without contribution made by Bal Gandharva to Natya Sangeet.

I list here below some famous Natya Sangeet items:

• Title: Deva Gharche Dnyat Kunala: Album: Matsyagandha Drama: Artist: Ramdas Kamat

2.Title: Ghei Chand Makarand (Raag Salagwarali): Album: Katyar Kaljat Ghusali: Artist: Pandit jitendra Abhisheki

3.Title: Sarwatmaka Sarveshwara: Album: Yayati Devyani: Artist: Pandit Jitendra Abhishki

4. Title: Shura Mi Vandile: Album: Manapman Drama: Artist: Asha Bhosale

5. Marma Bandhatali Thev hi: Album: Sanyasta Khadag: Artist Vasantrao Deshpande