Tuesday, April 16, 2013


Hello SJ fans, please vote for them in large number, even if it has no significance, but why to loose the opportunity, Please click on the link and do accordingly, you can invite/inform/request your friends, family members etc to make it grand
नीचे दिए गए लिंक पर जा कर आप बेस्ट गीतकार के लिए शैलेन्द्र जी के लिए अपना वोट दे सकते हैं. इसी प्रकार बेस्ट गीतकार, गायक, नायक, निर्देशक… पर भी अपना वोट दिया जा सकता है.मैंने तो अपना वोट शंकर-जयकिशन, शैलेन्द्र और मुकेश जी के लिए दे दिया है अब आप की बारी है… इस लिंक को अपने वाल और सभी ग्रुप में देकर सबसे अपना मत देने का आग्रह करें. सम्बंधित कलाकार के चित्र पर जब आप अपने माउस का पॉइंट रखेंगे तब उसमे आपको दो आप्शन दिखेंगे… एक मोबाइल नंबर होगा जिस पर मिस्ड कॉल कर के आप अपना वोट दे सकते हैं या फिर फेस बुक के ऑप्शन पर क्लिक करके या दोनों ही तरीके से अपना मत रजिस्टर कराया जा सकता है.शुभ कामनाएं !!!

Monday, January 16, 2012

songs of Love in Bombay

Listen to songs of Love In Bombay

1. Jai Kali Kalkattewali.....


Rest of songs are also there on youtube.

Sunday, July 10, 2011

Shanker Jaikishen - who Redefined Music

The Indian Hindi Film Music can be divided in to 4 parts The 1st before the demise of K L Sehgal, the 2nd Brief phase of 3-4 years from 1945 to 1950, the 3rd, a Distinct "Shanker Jaikishen Era" upto 1975 and the 4th from then onwards.

The Music during Sehgal Era was having a a typical theatrical style and a Single Scale of composition. This continued till Naushad entered the scenre when Sehgal was to make his exit. Naushad composed for Sehgal denoting the Juncture and a Bridge between these 2 parts.

Naushad alongwith a few of his like continued to rule the scene with their Classical compositions bound within the Indian traditional music, where songs started directly with the Voice of the singer mostly without any Prelude, or with a couplet to emphasise the mood of the song situation. The main song used to follow. The Interludes too were not prominent but a passing support as a breather to the Singer.

Then came the Trend Setter Pair of Music Magicians, "Shanker Jaikishen, who Redefined Music. Each song started with a definite Prelude. The 2 Interludes were having a marked length and both Interludes were not similar. Some songs had 3 Stanzas so the 3rd Interlude was a repetition of the 1st Interlude. More and More newer Instruments got in the song, size of Orchestra grew and most of the other Music Directors followed suit. the SJ Era added MD's Pairs like KA, LP, although Solo MD's like SD, Roshan, Madan Mohan, OP, were also doing well, but it was OP Nayyar only who had his Distinct Identity after SJ. If we remember Roshan, it is for his Quawwalis, SD for his "Pahadee Tones", Madan Mohan for his Gazal compositions, but Shanker Jaikishen signify everything that Means Music, may it be Indian Classical, Western Jazz, Light music, Percussion fetes, you name it, they had it.

The last Part can be attributed to RD Burman till his demise, who like SJ, had his own Style and who stuck to it. He too had the variety of composition like SJ. One can tella song of RD, merely hearing a few notes only. That's where lies the Greatness of these composers.
Yesterday at 12:05am · · ·

Sunday, October 31, 2010

Shankar-Jaikishan Musical "Live" on 13th November 2010

Shankar-Jaikishan Musical "Live"
You Might Attend · Share · Public Event
Saturday, November 13 · 8:30pm - 11:30pm

LocationDinanath Mangeshkar Hall, Ville Parle East, Mumbai..
Opp V.Parle Station..
Mumbai, India

Created By

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Mukesh styled versatile singer SRIKANT KULKARNI - a veteran in his own right has sung along with Lata Mangeshkar on STAGE. He has undertaken 'many' world tours with leading music composers. Very HUMBLE in his approach towards his singing trade. A PLAY-BACK SINGER Too.

Hamid Khan, the 22 year lad from Bangalore has been creating musical waves and attracting fans all over by his competent rendering of MOHD RAFI SONGS. Most of his dates get booked - as INVITATIONS TO SING MOHD RAFI SONGS pour from all corners of India. A very humble person, known for his time discipline and soulful rendition of RAFI SONGS.

MONA KAMATH : THE ELECTRICAL ENGINEER AND SINGER - all rolled in to one. Was the semi-finalist in the ZEE SA RE GA MA show.
Currently attracting hordes of fans for songs of LATA AND ASHA which she essays - perfectly on stage. A very talented SINGER who is bound to make waves. Sang for Marathi films too.

MUKESH BHANUSHALI : IS a compulsive quality singer who does RIYAAZ for few hours daily. A very GREAT MOHD RAFI FAN, Mukesh is always looking for RARE and GREAT SONGS - to be presented from the GOLDEN ERA.

SHANKAR-JAIKISHAN were the greatest musical duo to have graced the world of Hindi Cinema.
The awesome body of work Shankar Jaikishan musical team produced have become IMMORTAL and LIVES on in the hearts, minds and lips of music fans all over the globe
SHANKAR JAIKISHAN team revolutionised the use of ORCHESTRA and INTERLUDE music in songs and made these as integral and inseperable parts of their compositions rather that using these as mere fillers, as was the case until their arrival on the musical horizons.
That's why prelude, interlude and background music of many of their songs are as popular and notable and hummable as the tune of the main song.
Due to their vast knowledge and comand over various forms of music, the SHANKAR - JAIKISHAN team came out winners in any type of diverse films irrespective of its theme and subject.

Presented by : The Rafi Foundation

Cell : 9833 250 701 ( Mumbai)
Binu Mair

Sunday, January 24, 2010

Review of the song, "O saajna na pooch mujhse pyar kya hai..." from the film Krodepati (*ing Kishore Kumar)

by : vnr19452000@yahoo.co.in

It is a unique song in the sense that Lata's vocals is not the usual one. If anyone listen to the song carefully especially the mukhda it gives an impression that she is singing the song from a distance. It may be due to a deliberate recording tactics to create this effect.

It is predominantly a mandolin dominated song with violins in full support. There is a beautiful flute extension at the end of antara echoing the sentiments expressed in the antara. It is all the way SJ style where pause between end of antara and mukhda has been filled up by three notes of mandolin. The most enjoyable part is antara - Sapne mein har ghadi .....Mandolin responds .....Aye jab ajnabi.... again Mandoin responds with different notes ( that is the hallmark of SJ music) followed by long vocals ...maan lo ke apni neend bhi ke apni raat bhi parayee ho gayi....followed by a beautiful, short but sweet flute extension. The prelude of this song is somewhat different and thoroughly enjoyable. It begins with ascending notes of violins followed by variations of violins and mandolin takes over with crisp and distinctive notes supported by matching dholak beats till the end when mukhda starts. It can also be observed that SJ have kept the percussion tabla/dholak beats 'soft' during mukhda vocals.

What about interlude ? It is also fantastic. When Lata hums along with violins in the background followed by forceful and crisp notes of mandolin ably supported by resounding dholak beats..it is a crescendo !

As the song ends the music does not stop. It continues with mandolin beats along with piano notes which end smoothly. SJ were masters of a perfect orchestration. The prelude also begins with ascending notes of mandolin ably supported by meandering violins in the background. In the first interlude violins meander and sway to the intermittent beats of bongos and when mandolin takes over forcefully dholak takes over from bongos with beats perfectly matching the mandolin notes. Everything is perfect, not a single extra note. Lastly, why the song is so vibrant point to the fact that throughout the song mandolin along with violins have been used in the background carefully to enhance the listening pleasure of the song.


Saturday, January 23, 2010

Wednesday, October 21, 2009


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Hello Friends:

On Shammi Kapoor’s birthday I want to felicitate him with a small write up on one of the most memorable songs picturised on him. Take the name of Shammi Kapoor and we see before us the debonaire, flamboyant and volatile star. In most of the films in which he has acted he will come across as the romantic and carefree character and one will not readily associate Shammiji with sentimental and emotional roles. But that is precisely what role he had played in Brahmachari (1968).He is an orphan and he cares for other orphaned children and takes them under his charge. The story is about how he manages these children and saves the life of the actress (Rajshree) who tried to commit suicide due to a broken marriage alliance. The film was a box office hit and won several Film Fare awards. It was the Best Film, it won the best Music Director Award for Shankar Jaikishan, the Best Male Play Back Singer Award for Rafisaab (for Dil Ke Jarokhein Mein), the Best Lyricist Award for Shailendra for ‘Main Gaaoon Tum So Ja’ and the Best Actor Award for Shammi Kapoor. I wish to discuss about Shailendra’s award winning song ‘Main Gaaoon’. This song comes twice in the picture. First time when Shammiji wants to put all the children to sleep on a happy occasion. The typical orphanage with multi-layered beds and children with different habits and styles make the viewer one with the crowd. Rafisaab starts ‘larallala larallara laralla…’and the listener is automatically transported to a dreamy world.Mai gaaoon tum sojaao, sukh sapnon mein kho jaao says the first line. What a beautiful thing to say to small children about to forget this world! The interlude music is very simple and yet enchanting with the whistling effects adding to the sleepy environment. The day has been very hard and heavy for the children and the night looks to be long too but the world will change for the better, and children, dream for that changed world, so sings Shammiji. When you wake up tomorrow you will see bright light and the morning will bring you all happiness and do not put out those rays of hope so sings Rafisaab. Listen to the way Rafisaab sings ‘so jaaona’…and the way Shammiji acts that part. It is a classic ‘made for each other’scene. I love to go on singing during my entire life, I feel like taking care of all your tired hands so that all you children will one day sing my song, so say Rafisaab and Shammiji. The second time this song happens in the film is a sad occasion. All the children have tears in their eyes and the morrow is expected to usher in sorrowful tidings in their lives.Shammiji sings the same song to tell the kids that they all should go to sleep and dream of a better tomorrow. The song is slow paced, Rafisaab is pathos personified, and Shammiji enacts one of his most sentimentally charged roles. It is impossible to say whether Rafisaab has acted during the song or whether Shammiji has acted for Rafisaab. The song is so brilliantly synchronized and it is not possible to distinguish the singer from the actor and vice versa. Rafisaab and Shammiji do make us all cry without any inhibition while watching or listening to this song. It is very difficult for anyone to conceive that an out and out entertainer like Shammiji who had ruled film fans with his yahoos and aiyyayya suku sukus can make the viewers cry. But cry we will, when we see Shammiji’s acting during this song. It’s a masterpiece! Shammiji is the only living member of the team which created this everlasting diamond for all of us and I pray to the Almighty to give him several more healthy and peaceful years. Long live Shammiji! You can view both the versions of the song at:



The beauty of Shailendra’s lyrics, Shankar Jaikishan’s music, Rafisaab’s rendition and Shammiji’s emoting is that the song has become an ode to all destitute children of the world that they all should have dreams full of hopes and that a brighter future awaits them.

We all live on hope….

Jee karta hai jeete jee, Main yunhi gaata jaaoon…..

M V Devraj mvdevraj@gmail.com

photos of MUSICOLOR's latest event Mohammed Rafi - The Legend hits of Dev Anand & Shammi Kapoor hel on 9th Oct

Photos Courtesy : Rajesh Subramanian (subramanianrajesh@yahoo.co.uk)