THEY LEFT BEHIND THE LEGACY OF HUNDREDS OF EVERGREEN MELODIES—-TO HEAR IS TO SEE.

Chandra Gopal Shroti's Tribute to SJ (12th Episode)
(Courtesy : Shri Gopal Shroti's blog http://gopalshroti.wordpress.com

IN 50s,60s and 70s the only alternative was the radio to listen to the S-J Bumpers. when on cycles we passed thro’ a ”paan” shop or a hotel, the hit magic of S-J obstructed us and till the song was over, nobody will move. and the HMV records were there during functions playing S-J.
i still regret, why the music directors could not fight for the ”royalty” for the tunes originated from their hearts, like what Lataji did. what the singers sang was tunes of the heartblood of the S-J. so were the sufferers like Shailendra and Hasrat Jaipuri, who wrote from their brain’s salt…..where is the ”royalty” for them. very sad on this point?
12 sept,1971 and 26 april, 1986, the two great souls left this earth, leaving a great legacy of evergreen tunes, which no body cud match till yet. at that time each film had at least 8 songs…so if i calculate 125 film x 8= 940 and include others tunes, it went to 1000. and as on date, some 700 to 800 songs of S-J are still played,sung,hummed by the music lovers and on vividh bharti. IS THIS CONTRIBUTION TO FILM WORLD NOT A MAGIC?? AFTER ”BARSAAT” Shankar Jaikishan changed the trend of film music and there was a rain of musical hits enriching the then film sagar overflowing with different tunes and songs. the romanticism started with their first song ”hawa mein udta jaye mora lal dupatta malmal ka….ho jee” and established a record and made people to sing each song of ”Barsat”. the great analyst of hindi film songs, Feroz Rangoonwala expressed his opinion that the Barsat songs had a scented air’s freshness and of romance. S-J’s soil was different and they opened the treasure of masmeric tunes. during one year they composed the immotral music of NAGINA,AWARA,BADAL,KALIGHATA. then public felt, will they repeat their successes……but next came BASANT BAHAR, PATRANI, CHORI CHORI, HALAKU, NAI DILLI, RAJHATH AND THE WHOLE INDIA TUNED WITH THEM. from ‘kholi’ to ‘palace’, the credit goes to S-J to enter their places/homes simultaneously. it was a ”ganga” of music……..(to continue).

MAHENDRA KAPOOR -- A SINGER WITH GOLDEN HEART With fond remembrances---ssmurthy

Two songs of SJ spontaneously spring from the depth of your heart,
firstly "Khogaya hai mera pyar ....."
from Hariyali aur Raastha a very beautiful and soulfully, rendered number,

which Mahendra has done full justice as he scales those the high pitched antara, unruffled.

Secondly the "Har dil jo pyar karega...." from Sangam,
even though the stellar credits of singing were snatched away by Mukesh and Lata, it is actually Mahendra Kapoor's mellifluous singing so subtly enacted by Rajendra Kumar, that has the real impact, as he voices,

"khamoshi ka yeh afsana reh jayega baad mere....."

and the beauty is the voice so beautifully dove - tails harmoniously, that you never realise, it is Mahendra Kapoor singing, unless you are conscious of it.

Another such number is a Madan Mohan number
"Chod kar tere pyar ka daman..." from "Woh Kaun Thi"
a lovely dulcet duet with Lata.

Though his main forte was B R Films with MD Ravi who brought the best out of him in "Gumraah" "Dhool ka Phool" and later on in "Hamraaz".
O P Nayyar, however tried to build on him after he broke off with Rafi, with little success.

One would have wished, that Mahendra Kapoor should have had the good fortune of being patronised by some one like SJ, like Manna had, lest Manna, would have ended up labelled a Bhajan singer otherwise, a-la- MK who got ultimately labelled as the patriot singer of India with "Mera Desh Ka Dharti ..."

reigning supreme remembrance and his more soulfully rendered numbers relegated to a shade.

The only other, after Rafi and Manna, who could scale very high pitch without breaking, as we can hear him in"Na muh chupa ke jiyo...." in Hamraaz as we can also slide over in contrast to hear a sonorous "Tere pyar ka aasra...." from "Dhool ka Phool"

With fond remembrances, my humble tribute to a soul whose career was not a cakewalk but a struggle throughout.

May his soul rest in peace.
rgds

ssmurthy

Shri M.V. Rajagopal (mvraj13@yahoo.com) writes about Songs in J. Om Prakash's Ankhon-Ankhon Mein which was the last film of Jaikishan

"DO BAATEIN........" is definitely composed by Shankar. This is an irrefutable fact since I personally attended the recording of this song by Kishore & Asha and conducted by Shankar at Shree Sound Studio at Prabhadevi. Dattaram was handling the rhythm and percussions and Shankar handled the violins and other instruments. In fact Dattaram was in a lungi cheering all the musicians and the playback singers. The recording took place much after Jaikishan's death. In fact except a couple of songs, all the songs of Aankhon Aankhon Mein were composed by Shankar. Those were troubled times for Shankar since Jai's death and RK camp leaving him came as a double shock. But the recording of this song was wonderful and it took around 4 hours to complete the same. BTW, Ankhon-Ankhon Mein was released in 1972.

"M.V. Rajagopal" <mvraj13@yahoo.com>

SWEETEST SONGS ARE THOSE, THAT TELL OF SADDEST THOUGHTS -- Episode 11th of Shri Gopal Shroty's tilting homage to Shankar Jaikishan

Chandra Gopal Shroti's Tribute to SJ

(Courtesy : Shri Gopal Shroti's blog http://gopalshroti.wordpress.com
TRIBUTE TO SHANKAR JAIKISHAN–9•September 14,

”SWEETEST SONGS ARE THOSE, THAT TELL OF SADDEST THOUGHTS”

…..HOW Shankar Jaikishan interpreted these words by tuning sad songs in fast tunes. otherwise it was the notion that sad songs are sung in a sad mood and in slow tone…..S-J changed the trend successfully by tuning the sad songs in fast melody. and the society, the people gladly accepted those immortal songs as composed by the duos and still fresh in their memories. few examples pl.see…….”chhod gaye balam, mujhe hai akela chhod gaye”(awara), ”raja ki aayegi barat rangili hogi raat, magan main nachungi”(aah), ‘’sab kuchh seekha hamne, na seekhi hoshiari, sach hai duniyawalon ke ham hain AANARI”., ”tera jaana, dil ke armano ka lut jana, koi dekhe banke taqdeeron ka mit jana”(anari), ”o basanti pawan pagal, na ja re na ja, roko koiiiiiiiiiii(jis desh mein ganga behti hai). ”rasta wahi aur musafir wahi, ek tara na jaane kahan chhup gaya, duniya wahi duniyawale wahi koi kya jaane kisha jahan lut gaya, …meri aakhon me rahe kaun jo mujhse kahe, maine dil tujhko diya….ramaiya vasta vaiya”". ”o jaane wale mud ke zara dekhte jaana, dil tod kar to chal diye, mujhko na bhulana, zara dekhte jana” (Shri 420), ”dil apna aur preet parai kisne hai ye reet banai”(dil apna..) ”tumhari bhi jay jay hamari bhi jay jay(diwana) and many more. besides their clever use of ‘chorus’ as an instrument, makes them immortal—in ”ajeeb dastan hai ye, kahan shuru kahan khatam”(dil apna aur preet parai), ”dil ke jharokhe mein tujhko bithakar”(brahmachari), ”ban ke panchhi gayen pyar ka tarana” (anari). etc.
what others say of their music. tabla maestro, zakir hussain some 3 yrs ago narrating on one tv channel about the use of tabla, dholak synchronisation…….and he gave the example ”that Shankar Jaikishan well used this combination in their film, Ujala and the song was….”o mora nadan balma na jaane jee ki baat” and the whole song was played.
next some few yrs back, Mannada was presenting his songs on DD2, in the last he sang…”ai bhai zara dekh ke chalo” written by Neeraj. Neeraj was present there and he went to Mannada and told that Shankar phoned him that he wants a song for ‘MERA NAAM JOKER’, which can neither be true lyrics or true prose, because in Bombay, he does not want to use the lyric writer and this will not suit to his liking and the tune he made. then … Neeraj came to Bombay, and wrote the song on Shankar’s tune ”ai bhai zara dekh ke chalo, aage hi naheen, peechhe bhi, ooper hi nahin neeche bhi”. and that song got Mannada the Filmfare award, and S-J got for best music…..
and maestro Annu malik, analysing RK’s music after Raj Kapoor’s demise, asked Lataji also that how the music of ”aa ab laut chalen”(jis desh mein ganga behti hai) was composed after Raj sang the ‘mukhada’…..the combination of chorus, violins, and other instruments with Lataji starting ”aajaaaaaa re……. and going to highest pitch of ”TAR SAPTAK” that challenging interlude music how they have done it (to be analysed.)……….(gshroti@gmail.com)…………….

Shri Chandra Gopal Shroti pays his homage to Shankar Jaikishan (Series-10) Photo : Courtesy : Dr. Raj Senani

TRIBUTE TO SHANKAR JAIKISHAN - 10

BY : chandra gopal shroti

(gshroti@gmail.com)

FIRST, let me thank mr bhangdi(bhangdi@hotmail.com) for getting me remembered reg Mannada’s song ”bhai bhanjana vandana sun hamari, daras tere maange, ye tera pujari” from ‘Basant Bahar' which i forgot to mention (in tribute to S-J–6). SO I BEG PARDON FROM THE READERS, IF I MISS ANY SONG because there is a great treasure of immortal evergreen songs of S-J. Reg. my association with S-J’s songs starts from my love to the sound of piano accordian, which nobody cud played yet as they thru Goodie Seervai or any other accordianist and it was the accordian and mendolin of AWARA which tied me to their lilting, melodious tunes some five decades plus ago. It was a cooindence that i was a painter in my school days. and while coming back from school, i used to visit local cinema ‘Narayan talkies’, and see the then painters, painting the film hoardings on cloth panel with water colours. and one day, i was asked to take charge of the same…and i was painting big portraits of Bharat Bhushan, Meena Kumari, Pradeep Kumar, Dilip Kumar and others in big panels. …while there, the agent for films used to come from Indore with the current film box and the list of coming films for booking in advance, so the film will not go to another theatre. the agent will read out the name of films and the question from Manager and others will be, ”who is the music director”, and he says ‘Shankar Jaikishan’ and the reply will be ‘BOOK FIRST’….and it was in Bombay film world, that after hearing the name of S-J as music director of the film, the stars signed the film not much caring for story, screenplay etc. this was the magic of TWO WORDS which TIED the then FILM WORLD FOR MORE THAN 2 DECADES.

IT is said that the ”HEYDAYS OF THE S-J WAS THE GOLDEN ERA OF INDIAN FILM MUSIC”. IF THE INDIAN FILM MUSIC was popular, the credit will go to the music maestros of 50s and 60s and Shankar Jaikishan stood out amongst them with the single identity and their credit to Indian film music will always be remembered and hummed. ”tum mujhe yun bhula na paoge, jab kabhi bi sunoge geet mere, sang sang tum bhi gungunaoge”.’……chhoti si ye dunia pehchane raste hain, tum kahin to miloge, kabhi to miloge to poochhenge haal”……..(gshroti@gmail.com)

Gopal Shroti's Tribute to SJ (Courtesy : Shri Gopal Shroti's blog http://gopalshroti.wordpress.com

TRIBUTE TO SHANKAR JAIKISHAN–9•September 14, 2008 •

”WHAT the music going on today, Shailendra in the tune of S-J has forecast in ”LOVE MARRIAGE” in 1959, that ”teen kanister peet peet kar gala phad kar chillana, yaar mere mat bura maan yeh gana hai na bajana hai”….this is what is going on today….where are the classical Indian RAGs…..i think they are sounding in the atmosphere since decades, tuned by Shankar Jaikishan and their contemporaries….now only ”dabba music” remained following the fast tunes of Bhangra and no heroin and no hero……their are 50 heroes and 50 heroins…..such easy to become a hero and heroin? remember in ”NAI DILLI”(1956).LATA sings for Vyjayantimala ”tujh sang preet lagai rasiya, maine jan ke jan ganvai rasiya, hai main mar gai bedardi tere pyar mein”(a gidda) tuned by S-J, next in ‘Aai milan ki bela’….’nee baliye rut hai bahar ki, sun chanve rut hai bahar ki, kuchh mat puchho kaise beeti ghadiyan intezar ki’…
in between comes a person, a Bulgarian resident, Dimitar Trifonov, who plays on Accordian, in Venetian hotel in Las VEGAS, USA, all songs of Raj & Shankar Jaikishan’s immortal film SHRI 420 (God he may live long, i came to know this in 2001). he saw Shri 420 many a times at the age of 11and recalls that these songs were sung by every youth of Bulgaria at that time. he relates that these songs came from the hearts of the creators, not from the instruments. strange enough that almost after 50 yrs of their tuning, they are remembered somewhere in the world, and nobody knows there may be more places…..
IT is a less known fact tha Raj and Jai were having knowledge of western classical music while with Raj, Shankar tuned SONGS based on INDIAN classical music, but the orchestration was having the effect of western symphony…..a strange union of Indian classical Rags and the western symphony….the reason is clear for their popularity till now and will go on years to come……new generations too listen those songs, and the ”teen kanister” songs go into air after few months of survival.

TRIBUTE TO SHANKAR JAIKISHAN–8•September 11, 2008 •

IT WAS IN 1965, THE YEAR WHEN THE LATER HIT FILM ”ARZOO” was made…..the music was of Shankar Jaikishan…..the shooting of the film was almost complete and one imp song was to be recorded which was being postponed since last 2 months. here let me mention that Ramanand Sagar sent Hasrat Jaipuri to visit KASHMIR, where most of the shooting was done, to see the atmosphere and write the song according to that atmosphere.
it just happened in famous studio, that the recording of some other film’s song was postponed due to unavoidable reasons……it was to be recorded by Jaikishan. then it came to Jaikishan’s mind the ‘arzoo’ song to be recorded…..the song was ready written by Hasrat. Jaikishan immediately phoned Lataji and Ramanand Sagar for the recording of that song. Ramanand Sagar was surprised and asked…where is the tune. Jai told him that the tune is ready and u pl come. (it was a tradition in films that the song was recorded in the presence of producer/director/hero/heroine at the sitting of rehearsal and at the time of final take). THIS WAS THE FAMOUS 10 MINUTES TUNE, which Jai composed in 10 minutes on his harmonium. then LATAJI and Ramand Sagar also came and Jai got them to listen the tune…..and Lataji after 3-4 rehearsal was ready for recording of the song. and within 2 hours the song was recorded…..and later it made a history and u still listen it in orchestras….in the beginning a high pitch ‘aalap’ by Lataji and starts the song:
” BEDARDI BALMA TUJHKO MERA MAN YAAD KARTA HAI, BARASTA HAI JO AANKHON SE VO SAWAN YAAD KARTA HAY” AND THE SEXOPHONE, VIOLINS AND DHOLAK MADE IT IMMORTAL FOR POSTERITY…..AND IN INTERLUDE LINES DESCRIBED THE KASHMIR HASRAT VISITED.
TRIBUTE TO SHANKAR JAIKISHAN–7•August 25, 2008 •

It was in late 50s, mr. nassir hussain was making ”jab pyar kisi se hota hai”. he was sitting with S-J in their rehearsal room in famous studio. he wanted a ”dhansoo”, provoking type song when hero Dev anand returns in the beginning of film, from his studies abroad..and in a romantic mood sings a song for a girl of his dream. Shankar-Jaikishan, offered him the latest tune they composed….”teri pyari pyari surat ko kissi ki nazar na lage, chashme baddoor”. after listening to the song, nasir saheb refused and asked for a more enthusiastic and provocative song. they told him that ”nasir saheb u r missing an imp song, think again”, nasir hussain refused again.
there was sitting L.V. Prasad, the producer, who also wanted a song for his forthcoming film ‘’sasural”…….he asked S-J to let him listen the song….and after hearing he immediately booked it for ‘’sasural”…….and the history is that the film was super-duper hit due to that song ”teri pyari pyari surat ko” and was filmed on hero Rajendra Kumar (credit goes to S-J for his upliftment in coming films for which they composed music) and B.Saroja Devi from south.and the public saw the film again & again for this song, throwing coins on the cinema curtain……….story also goes that when Shammi Kapoor saw the song, he lamented that this song will fit on him, how it went to Rajendra Kumar. it was too late for him…………….later the song composed for nasir husain’s ”jab pyar kissi….” was…..”bin dekhe aur bin pehchane tum per hum qurban, mohabbat isko kahte hain” and was flimed on Dev anand….a super-hit too.

TRIBUTE TO SHANKAR-JAIKISHAN–6•July 29, 2008 •

THE best use of the voice of Manna Dey was made by the duo S-J. ………AND MANNDA ON HIS PART TERMS THE SHANKAR JAIKISHAN, THE BEST MUSIC DIRECTORS OF INDIAN HINDI FILM INDUSTRY………they extracted the best of Manna Dey, in AWARA, SHRI 420(dil ka haal sune dilwala, pyar hua iqrar hua hai, pyar se phir kyon darta hai dil, mud mud ke na dekh mud mud ke(with asha), CHORI CHORI (AAJA SANAM, MADHUR CHANDANI MEIN HAM, YEH RAAT BHEEGI BHEEGI, JAHAN MAIN JATI HUN)……….YOU listen YEH RAAT BHEEGI BHEEGI and it will give u a sound sleep……..so romantic, so soothing the violins and lata and manna dey(wonderful)………UJALA(jhumta mausam mast maheena, ab kahan jayen ham, ye bata ai zamin……….SEEMA(tu pyar ka sagar hai, teri ek bund ke pyase ham)………….BASANT BAHAR (KETKI, GULAB JUHI champak ban phulen—–with Pt BHIMSEN jOSHI (THE GREAT CLASSICAL SINGER), …sur na saje kya gaun main, sur ke bina jeevan soona, with LATA-nain mile chain kahan, dil hai vahin tu hai jehan), ANARI–1956,1957,1958,1959, duniya ka dhhanch badla, kismat ka saancha badla………IN THIS SHAILENDRA TOLD THE FUTURE IN HIS VOICE, kapde ghatenge, maalik hi jane kitane rahange, fashion ka ye khel….and it wan 1959 and now 2008, kitne kapade bache hain aurat ke sharir pe,(fashion ka ye khel)………..he sang 78 songs for S-J and all were hits, including last one perhaps in MERA NAAM JOKAR……..ai bhai zara dekh ke chalo, aage hee nahin peechhe bhi………………..AND yet to come several anecdotes, which made film history and yet to come MOHD RAFI, LATAJI, MUKESH, ASHA BHONSLE, SUMAN KALYANPUR AND KISHOREDA, WHO sang for S-J IN NAI DILLI in the year 1955 itself………(SONG……NAKHARE WALI, WOH TO KOI AUR THI JO AAKHON SE SAMA GAI DIL MEIN, ,,..yedli hooo) and followed immediately by lata and chorus the super romantic……….ZINDAGI BAHAR HAY, MUHABBAT KI BAHAR HAI……….FOLLOWED BY MELODIOUS PIANO ACCORDIAN, PERHAPS BY GOODY SIRVAI, who played ACCORDIAN for their tunes/songs……….

TRUBUTE TO SHANKAR JAIKISHAN—5•July 21, 2008 •

NOW i am remembering the immortal song of FILM ”DEEWANA”===Raj Kapoor, Saira Bano starrer made in 60s: TUMHARI BHI JAI JAI, HAMARI BHI JAI JAI, …..NA TUM HAARE NA HAM HAARE,……………..SAFAR SAATH ITNA TO HO HI CHUKA HAI, NA TUM HAARE, NA HAM HAARE………….now see the interlude wordings written by Shailendra…………….WAQT KAHAN RUKTA HAI, TO PHIR TUM KAISE RUK JAATE, (see wordings)…..AAKHIR KISNE CHAND CHHUA HAI, HAM KYUN HAATH BADHATE……………JO US PAAR HO TUM, TO HAM IS KINARE…………..NA TUM HAARE, NA HAM HAARE….the heroine is going in the train, and after seeing off, Raj, with a broken heart sing this song…….and the rushing train music is vibrant with wordings.
MANNA DEY : in comparison with Rafi, Mukesh, Kishore, was less popular………..but the songs composed by SHANKAR JAIKISHAN immortalised him……….and it started from AWARA in 1951 with the song(which is in two parts) which starts from Lata……………TERE BINA AAG YE CHANDNI, TU AA.A JA….TERE BINA BESURI BANSURI YE MERI ZINZAGI, DARD KI RAAGINI,TU AA.A HA…………..THEN THE BROKEN HEART RAJ SINGS IN MANNA DEY’S VOICE…………………MUJHKO YE NARAK NA CHHAHIYA, MUJHKO CHHAHIYA BAHAR, MUJHKO CHHAHIYA BAHAR………………and start the superlative song composed by Jaikishan:……..GHAR AAYA MERA PERDESI PYAAS BUJHI MERI ANKHIYAN KI (MENDOLIN AND CHORUS)……………then TU MERE MAN KA MOTI HAI, IN NAINAN KI JYOTI HAI…….YAAD HAI MERE BACHAPAN KI …….GHAR AAYA MERA PERDESSI…..AND FOLLOWS ONE MORE GREAT INTERLUDE SONG(ANTARA).( MANNA DEY TO CONTINUE……………)

TRIBUTE TO S-J–4•July 6, 2008 •

THE last word i wrote in previous blog is ‘Shailendra’………born 0n 30 Aug 1923. because of the economic condition, he joined in railway workshop. basically he was a poet. he used to sing his poems to the people and in ‘kavi sammelan’. on one occasion when a poetic symposium was organised under the guidance of Prithviraj kapoor, where Shailendra sang his poem on partition ”jalta hai punjab saathiyon”. raj kapoor happened to be present there and influenced by the young poet, he offered to write songs for his forthcoming film. Shailendra denied the offer, because as a general notion, to enter into films was not considered good . Raj told him that whenever he comes he will welcome him. after some time Shailendra was in urgent need of money (because his wife needed urgent treatment), he went to Raj kapoor. Ral was very happy and immediately he gave him the money(Rs.500/-). ……….by that time, Raj got the songs written by Hasrat Jaipuri (a footpathy ’shayar’), whom also Raj summoned when he heard that Hasrat sings his ’shayari’ to anybody on the foopath and after hearing his ’shayari/poems was impressed and on tunes composed by S-J, Hasrat wrote the ‘BARSAT’songs………when Shailendra met Raj he gave him the situation and Shailendra wrote ‘barsat mein hamse miley tum o sahjan tumse miley hum’. however he also wrote one more song ”patli kamar hai, tirchhi nazar hai, khile phool si teri jawani, koi bataye kidhar kasar hai’…………..and the film was unexpectly hit and the songs tuned every road in India.. and it is said that Raj also got S-J’s photos on publicity banners to know people who composed the music. ……..and there was a TEAM OF RAJ,MUKESH,SHANKAR-JAIKISHAN, SHAILENDRA AND HASRAT….was formed to change the trend of MUSIC of Indian hindi cinema. AND THERE WAS RAIN(BARSAT) OF hit songs from this team for continuously 2 decades.
once BR CHOPRA, the then famous producer and director,who made hit films like ‘dhool ka phool’ asked S-J to compose music for his forthcoming film, with one condition that the songs will be written by ‘SAHIR LUDHIANAVI’ of BR camp. S-J politely refused the offer saying that the song writers will be SHAILENDRA & HASRAT. such was the team spirit maintained…………IT was in 1951…..and came another HIT ‘AAWARA’ which changed the old trend of ORCHESTRATION in hindi film music/cinema.
FEW ‘BARSAT’ SONGS: ‘hawa mein udta jaaye’, ‘jiya beqrar hai’, ‘ab mera kaun sahara’ etc total 10 and 9 sung by Lata(mukesh), and one by Rafi’main zindgi mein hardam’…………………..
TRIBUTE TO S-J–3•June 28, 2008 •

SHANKAR JAIKISHAN…………YES THESE NAMES REFLECT the MELODIOUS era of hindi film songs in 50s and 60s because still daily 10 to 12 songs are in the air from VIVIDH BHARTI and people like me who were born even after 60s and who had touch with music loved raj kapoor, shammi kapoor, rajendra kumar, raj kumar, saira bano, meena kumari, vyjayantimala etc.etc. to sing those golden songs and the lyrics written by shailendra and hasrat jaipuri exclusively for S-J. …….Raj kapoor kept the recorded tunes composed by the duo for his future films. that is whY LAXMI-PYARE had to leave the raj-camp, because of the insistence of raj kapoor to compose music according to those recorded tunes by S-J…….THEN CAME RD Burman, ravindra jain.
in lyricist, SHAILENDRA was most talented and HASRAT WAS NO LESS.. HERE I MAY MENTION THAT SHANKAR got the songs written by Shailendra and Jaikishan by Hasrat jaipuri(A DIVISION OF WORK) because in nature, shankar loved Indian classical music and Jai loved semi-classical music affected by western instruments. however both used western and indian semi clasical and clasical music and ‘ragas’ with blend of folk tunes. that is why Jaikishan gave his daughter the name ‘BHAIRAVI’ A MELODIOUS RAGA FROM indian classical music. therefore, it was difficult at that time to recognise who tuned which song…..so similar were the minds. AND Shailendra wrote ‘poetry’ while Hasrat wrote ’shayari’. Jai was romantic in nature……..so he composed ‘ye mera prem patra padhkar, ke tum naraz na hona…..ai phoolon ki rani, baharon ki malika, tera muskurana gazab ho gaya,’ for example. next in film ‘BASANT BAHAR’ , A FILM BASED ON CLASSICAL MUSIC, shankar scored on pure classical tunes, ”ketki gulab juhi champak ban phoolen.” sung by Manna dey and Pt Bhimsen JOSHI, ”’DUNIYA NA BHAYE MOHE AB TO BULA LE CHARNON MEIN”(MOHD RAFI), ‘’sur na saje kya gaun mein”(manna dey)…………….and Jaikishan composed ”nain mile chain kahan”(lata-mannadey), ”badi der bhai, kab loge khabar more ram”(mohd rafi).
here i wud like to mention MANNA DEY’s confession in an interview some two year’s back on a tv channel, that when Shankar rang him to sing with Pt bhimsen joshi (ketki gulab), he was so nervous and hesitent that he told his wife to move to Pune”’how i am a small singer and where is Pt bhimsen joshi. na baba na main to nahin gaunga”’……….later he was summoned and rehearsed the song, then after recording he felt relieved. he also recalled that one fine day Shankar asked him to sing ”ye raat bheegi bheegi, ye mast fizayen” and mannada told that he liked the lyric or song’s ‘bol’ very much written by Shailendra.



TRIBUTE TO S-J - 2•June 25, 2008 •

HERE in this 2nd phase, i wud like to talk about the younger one of the duo-Jaikishan and how they met. ………Jaikishan was born in 1932(ref AIR) and lived upto 1971 and he alongwith his elder Shankar left the legacy of innumerable melodious film songs. was he not a prodigy…..who became a hit at the age of 18-19 years only in the hindi film music, where tough competition was to follow? so thousands of his fans still hum the songs he composed alongwith Shankar. Vividh Bharti daily tunes many of their songs to refresh the memory of older as well as younger ones. after his departure, the ‘Barsat’ stopped which started in 1949. ………..JAIKISHAN Dayabhai Panchal was born in Gujrat(Balsad). his father was a royal singer in the palace of ‘Raja of Dharampur’. so the music was in the blood of Jaikishan. he went to BOMBAY to try his luck in films as a hero. though it was not in his luck. however to satisfy his desire he appeared in 2 or 3 films(Shri 420, Begunah….which was banned, but the hit song was picturised on him–was….’ai pyase dil bejuban, dard hai teri dastan’). he did a time-keeper’s job also to do something to sustain. during this time he also tried to meet produced and directors for a chance in films. one day, he met Shankar in a director’s office (Shankarsingh Ramsingh Raghuvanshi -SHANKAR full name). Shankar told him that he plays ‘tabla’ in PRITHVI THEATRES(OWNED BY Rak kapoor’s father, PRITHVIRAJ KAPOOR) and that he learnt dance also by renowned Dancer Krishna Kutty. JAI told Shankar that he plays good harmonium and is interested to enter in films. Shankar introduced to Jai to Raj kapoor and his father. then they became the assistants of Ram Ganguli, music director of raj’s debut film AAG(though raj wanted to give them the break in AAG itself, but his father insisted to wait). RAJ saw their talent while assisting Ram Ganguli, and he gave full responsibility of BARSAT to SJ later on. however before giving this responsibility, he heard the tunes composed by the duo and was petted them to be OK……………….and Raj never failed in his search. At the time of his death in 1984 - Raj was asked by a journalist that could he repeat the DREAM SEQUENCE of AWARA—GHAR AAYA MERA PERDESI, now. Raj replied from the death bed ”YES, BUT BRING ME BACK MY SHANKAR JAIKISHAN AND SHAILENDRA, and i will do better than that. SO MUCH CONFIDENT AT THE AGE OF 64 IN his earliest choices, afret making many hits with other music directors……..so was the talent and genius of SJ.











WORLD MUSID DAY JUNE 21- A TRIBUTE TO SHANKAR JAIKISHAN•June 23, 2008 •

21st JUNE was the WORLD MUSIC DAY. IT STARTED IN FRANCE in 1982 to celebrate the 21st june with songs,dance,music etc whole night, because on this day the day and night are equal and from 22nd June onwards the days start becoming shorter and nights longer.. i pay my tribute to music duo SHANKAR-JAIKISHAN whose heydays in indian hindi film music were the ‘golden era’ of hindi film music in 50s and 60s. In the words of Laxmikant Pyarelal, their junior strong contemporary,who also worked in SJ’s orchestra.
”keep the remote control in hand. the story (of film -Kanhaiya)is unbelievably absurd. Nutan is in love with Kanhaiya, the God Krishna. but Kanhaiya (raj kapoor)a boozard mortal assumes she loves him, like the rest of the village…………….Fast-forward the scenes and stop just before the songs–each one is a musical treat. Romance,devotion,self-pity—the simple lyrics by Shailendra inspire Shankar Jaikishan to give their soothing best. S-J’s musical genius is evident in every song of the movie. The flavour of Punjabi folk music is excellently brought in the song ‘NI BALIYE’. Lataji and Mukesh surpass themselves. we are great fan of Shankar Jaikishan. in fact when Jaikishanji passed away we did not record for 10 days.” …..an unparellel genius.
few songs of KANHAIYA–rook ja o janewali ruk ja…./O kanhaiya aaj aana khwab mein/kahan hai kahan hai kanhaiya/yaad aayi aadhi raat ko kal raat ki tauba/ni baliye rut hai bahar ki……and more.

12 September 08 (Death Anniversary of) JAIKISHEN

JAIKISHEN JI!

YOU ARE IMMORTAL LIKE YOUR MUSIC

WE MISS YOU

+*+*+*+*+*+*+*+*+*+*+*+*+*+*+*+*+*+*+*+*+*+*+*+

They wrote the grammar, made the glamour

by : CHANDAN MITRA
COURTESY : www.dailypioneer.com/ columnist1.asp?main_variable=Columnist&file_name=mitra237.txt&writer=MITRA

Two years after the Union Jack was lowered for the last time on the land described as the jewel in the British crown and one year ahead of India maturing into the Commonwealth's first Republic, two talented young music-makers made a quiet entry into the fledgling Mumbai film industry. Both had migrated to the city from outside in the hope of making a living by playing at various orchestra bands, quite popular even after the British exited from the Gateway of India. Mumbai was fast turning into the film capital of the country, Kolkata yielding place to its more cosmopolitan west coast rival. The city benefitted further from the arrival of a large contingent of Punjabi theatre artistes and accompanying retinue from the sub-continent's cultural nerve centre, Lahore, which was awarded to Pakistan, forcing most Hindus of the city to flee to India. Not just Hindus, many cultured Muslims of Lahore realised soon enough that Jinnah's Promised Land would never respect artistic freedom and they too flocked to Mumbai to start an uncertain life from scratch.



The orchestra players became friends, managed to get odd jobs together and finally landed up at the studio Prithviraj Kapoor's eldest son had built in the city's suburbs. Being roughly the same age as the dashing young producer-director, they soon got along famously with him. Raj Kapoor had music running in his blood and he could immediately sense that the two young orchestra players had more to contribute than strains of the violin, mandolin or the melodious sound of the piano accordion. But young Raj didn't want to experiment wildly at the outset. He stuck to the tried and tested Ram Ganguly, established music director and his father's associate, for the first RK film, Aag. Considering his traditionalist worldview, Ganguly didn't do a bad job. Readers may recall the number Dekh chand ki ore musafir, dekh ghata ghanghor... which went on to be quite a hit.



In order to groom his friends for the succession, Raj Kapoor asked Ganguly to take them on as assistant music directors, putting them quite a few notches ahead of their contemporaries in Mumbai's nascent music industry. Raj did not wait too long before introducing them as music directors in their own right. Just two years later, he produced, directed and acted in Barsaat for which music was composed by the till then unheard-of duo. In any case, two musicians had never teamed up to compose melodies earlier and the hyphen between names in the credits was a novelty for filmdom. Thus the Shankar-Jaikishan jodi was born in 1949. And they blazed a trail like no other had done before and rarely thereafter. Till Jaikishan's premature death in 1971, the duo gave music for at least 250 films. Considering Bollywood was in its infancy till the late 1950s and adolescence till the 70s, this was a huge number. They were India's first masters of mass produced film music. They, more than any other composer, radically altered public taste, making film music the first choice of the post-Independence generation as it grew into adulthood in the 60s. Probably SJ's runaway success followed by the emergence of myriad clones dealt a body blow to the popularity of traditional music - pure classical (both Hindustani and Carnatic), and related forms such as dadra, thumri, dhrupad and bhajan - which held sway in the early decades of the gramophone record.





Shankar-Jaikishan introduced rampant Western instrumentation into Hindi film music compositions and brought in fresh voices to break away from the sway of the deep nasal intonation of classical-based singers like KL Saigal, Pankaj Mullick, CH Atma, Kanan Devi, Noor Jehan and others who dominated the 40s and early 50s. They broke with tradition by bringing in the guitar, bongo, trumpet and saxophone, blending these with the tabla, sitar and sarod. The audience was spellbound by their creativity, their effortless ability to merge folk with Indian classical, Western classical with waltz, foxtrot or rock-'n'-roll. With the same aplomb they could compose Rasik balma, dil kyon lagaya tose (Chori Chori) and Mud mud ke na dekh (Shree 420) or Ramaiya vasta-vaiya (Awara) and Jawaniyan yeh mast-mast bin piye (Tumsa Nahin Dekha), Tum bin sajan barse nayan (Gaban) and Is duniya mein jeena hai to maan lo meri baat (Gumnaam). For at least two decades, the Shankar-Jaikishan name spelt magic in the world of Indian music. They were also the first composers to take the charm of Indian music abroad. Even today, a hobo loitering the streets of Moscow greets an Indian passer-by with "Awara hoon" on his lips.



Admittedly, though, the Shankar-Jaikishan phenomenon was essentially a Raj Kapoor creation. They gave music almost uninterruptedly for all RK Films between Barsaat and Mera Naam Joker, barring two low-budget quickies (Ab Dilli Door Nahin, which had music by their assistant Dattaram of Saranga fame and Jaagte Raho for which Salil Choudhury was hired). It was only after the commercial failure of Raj Kapoor's grandiloquent autobiographical extravagance in 1970 that he chose to hand the RK baton to the then No 1 of the industry, Laxmikant-Pyarelal, in Bobby.



And what spectacular compositions Shankar-Jaikishan wove for Raj Kapoor! From Barsaat mein and Hawa mein udta jaye, SJ made sheer magic. But they really came into their own with Awara, breaking away from traditional moorings altogether. One of the lesser-known initial stanzas of a song in the film merits scrutiny to show how their mind was shaping. Few remember the introductory part of the popular number Ghar aaya mera pardesi. The song was picturised as an extravagant dream/nightmare sequence with fearsome demons in the backdrop amid clouds, demons that eventually transformed into popular Hindu gods. A traumatised Raj Kapoor is shown being torn apart by goodness and evil, while Manna Dey's voice pitches to almost shrill desperation, rendering "Yeh nahin hai, yeh nahin hai, yeh nahin hai zindagi, yeh nahin..." before dark clouds melt away to the soothing strains presaging Lata Mangeshkar's serene rendition of Ghar aaya. I have found this number to be illustrative of SJ's stupendous command over rhythm, for the beat changes with rapid frequency and the accompaniment lurches from the bongo to tabla with astonishing ease.





Shankar-Jaikishan baled the doleful voice of Mukesh out of his "poor man's Saigal" confines by branding him as Raj Kapoor's signature playback singer. It was Mukesh who gave Kapoor the stamp of authenticity, from Awara hoon, to Mera Joota hai Japani (Shree 420), Hoton mein sachai rehti hai and Mera naam Raju (Jis Desh Mein Ganga Behti Hai), O Mehbooba! O Mehbooba and Dost dost na raha (Sangam), Jeena yahan, marna yahan and Jaane kahan gaye wo din (Mera Naam Joker). In other films outside the RK banner such as Aashiq (Main aashiq hoon bahaaron ka) and Anari (Sab kuchh seekha humne, Kisiki muskurahaton pe hon nisaar and the lilting duet Dil ki nazar se), it was Mukesh who was Raj Kapoor's quintessential voice. This was such an established fact that producers wouldn't hear of anybody else if they got Raj Kapoor to act in their film. Thus, for Jaagte Raho, Mukesh rendered the drunken Zindagi khwab hai (Music: Salil Choudhury) on the lines of Mujhko yaaro maaf karna (Main Nashe Mein Hoon), Chhaliya mera naam and Dum dum diga diga (Chhaliya, Kalyanji Anandji), Ek din bik jayega (Dharam Karam, RD Burman) and even the quickie Do Jasoos with Ashok Kumar for which Ravindra Jain composed a highly forgettable score.



Raj Kapoor, Shankar-Jaikishan, Mukesh and lyricist-producer Shailendra along with director Basu Bhattacharya struck an extraordinarily creative note with the award-winning Teesri Kasam. Mukesh's numbers, especially Sajanwa bairi ho gayo hamaar and the more popular Sajan re jhooth mat bolo and Duniya bananewala, besides nautankis like Paan khaye saiyan hamaro, effortlessly rendered by Asha Bhonsle and Manna Dey's inimitable Bhojpuri number Chalat musafir, won huge acclaim. But sadly that came only after a heartbroken Shailendra, SJ's preferred lyric writer, committed suicide following its initial commercial failure. Mukesh was also their chosen singer for Manoj Kumar, who was slowly growing into a successful actor-director. In Haryali Aur Rasta, SJ composed some truly melodious numbers like Laakhon tarey aasmaan mein apart from the title song.



But SJ demonstrated rare courage to promote the highly underrated Manna Dey as Raj Kapoor's stand-in playback singer, entrusting him with some unforgettable melodies like Dil ka haal sune dilwala and the all-time romantic tune Pyar hua iqrar hua, besides Mud mud ke na dekh (with a then raw Asha Bhonsle) in just one film, Shree 420. They used Manna Dey for Joker's biggest commercial hit (Binaca Geetmala 1970s No 1) Ae bhai zara dekh ke chalo. In the non-RK Film's Raj Kapoor-Nargis starrer Chori Chori, they gave Mannada two magnificent melodies just up his street, Aaja sanam madhur chandni mein hum tum and Yeh raat bheegi-bheegi. They continued their association with Manna Dey even outside the Raj Kapoor matrix. From the balefully classical Sur na saje (Basant Bahar) to Balraj Sahni's Tu pyaar ka sagar hai (Seema), Raaj Kumar's Jhanak jhanak tore baje payaliya (Mere Huzoor) and Rehman's Raat Aur Din (Dil ki giroh khol do), SJ used the talented singer more effectively than any other Mumbai music director.



Shankar-Jaikishan's Kapoor khandaan connection flourished further with the arrival of Raj's flamboyant younger brother Shammi. This was announced to the world in style with the ear-shattering cry Yahoo! Chahe koyi mujhe junglee kahe. Such is its continuing impact on the Indian psyche that an e-mail service and search engine was named Yahoo! by way of tribute to the man who brought such cheer (and swagger) to Indian teenagers through the 60s and 70s. SJ made terrific music with Shammi, spanning the raucous (An Evening in Paris, Tumse Achchha Kaun Hai, Prince, to name a few), sensuous (Dilruba, dil pe tu from Rajkumar in particular, Aaj ki raat from Aman), and the mellifluous (Ehsan tera hoga from Junglee, Main gaaoon tum so jaao from Brahmachari, for example). For Shammi, SJ switched to Mohammad Rafi who could blend his voice to suit every requirement of the star's role. Between the three, they entertained an entire generation, which is why it's a bit sad that while today's middle-aged India remains passionate about Shammi and Rafi, few remember the makers of the melody that gave them that iconic stature. The same is true for Shammi's other favourite composer, OP Nayyar. Incidentally, when I interviewed him for our sister publication Darpan two years ago, Nayyar recalled bumping into Shankar at a dispensary where the latter told him that the only music director the duo was worried about was the solo composer!



Shammi Kapoor and Shankar-Jaikishan remained a team throughout the star's career as hero, producing timeless greats like Raat ke humsafar and Akele akele kahan ja rahe ho in An Evening in Paris, Tumne pukara aur hum chale aaye (Rajkumar), Laal chhadi maidan khadi (Janwaar), Saverewali gaadi se chale jayenge (Laat Saheb), Aaj kal tere mere pyar ke charchey and Dil ke jharokhe mein (Brahmachari), Ae gulbadan (Professor), Mere bhains ko danda kyon maara - a song which heralded the age of nonsensical lyrics - to name just a few. Unfortunately, Shammi, Rafi and SJ continued to make films long after all had passed their prime. So, Rafi and SJ both sounded tired in an unnecessarily lengthy song Matwali Hawa and even Badan pe sitare in Prince, in most numbers of Sachai and Pritam. In fact, it was Lata Mangeshkar who rendered the only breezy number for the eminently forgettable Pritam (Haye dil laga to aisa laga charcha gali gali) filmed on Leena Chandavarkar, badly mismatched, both by age and girth with the movie's male lead. Perhaps the last flicker of the association was Andaz, which had rather a melodious Rafi-Suman Kalyanpur waltz, Dil usey do jo jaan de de. But in the film it was reigning superstar Rajesh Khanna who, despite the brevity of his role, stole the show with Kishore Kumar's Zindagi ek safar hai suhana.





Interestingly, Shankar-Jaikishan did not really work with Kishore, at least never consistently, although whenever they teamed up, the results were quite memorable. In Kishore's first phase of fame, they gave two radically different hits Rangoli sajao re and Chhoti si yeh duniya (Rangoli) on the one hand and the racy Nakhrewali dil ki kaali (New Delhi). By the time Kishore returned with a bang after Aradhana in 1968, SJ were virtually on their way out. Barring Andaz, Aankhon Aankhon Mein, Jaane Anjane, and (if I remember right) Jangal Mein Mangal and Aaj Ki Taaza Khabar, there are few Kishore numbers that can find mention in the SJ repertoire. However, they used him for Raj Kapoor's son Randhir's launch vehicle, Kal Aaj Aur Kal in which Bhanwre ki gunjan hai mera dil was an outstanding composition although it was the commonplace number Hum jab honge saath saal ke that became a hit. For Shashi Kapoor, the youngest of the Raj clan, SJ rarely composed and even when they did it was Rafi whose voice was used, as in the Kanyadaan classic Likhey jo khat tujhe who teri yaad mein. For Merchant-Ivory's Bombay Talkies, SJ hired Kishore for its only hit number Typewriter tip-tip, but the film sank without trace anyway. But one Kishore-SJ number that remains forever etched in popularity charts is the 1971 classic Geet gaata hoon main from Lal Patthar.



Shankar-Jaikishan favoured Rafi to such an extent that they did not use Kishore even for Dev Anand except for a late 60s flop, Duniya (Dooriyan nazdeeqiyan ban gayee ajab ittefaq hai). But their early compositions for Dev saab, in Love Marriage for example (Dheere dheere chal chand gagan mein) as well as Jab Pyar Kisise Hota Hai (title song, Sau saal pahele and Teri zulfon se, to mention just three) went on to become big hits. Considering they did very few films for the leading hero of the time who belonged to a rival camp, it was not a bad record. Rafi was used to great effect though for Jubilee (Rajendra) Kumar in musicals like Arzoo and Jhuk Gaya Asmaan (Kaun hai jo sapnon mein aaya) and Aman (the sensuous Aaj ki raat yeh kaisi raat). Similarly the rare Joy Mukherjee film they gave music to, Love in Tokyo, had lilting Rafi numbers like Le gayee dil, Aaja re aa zara, Ae mere shahe-khooba.



SJ and Dharmendra never quite made a hit pair probably because Dharam was always garam, never naram enough those days for running around bushes. But in hit films like Shikar and Yakeen, and a succession of flops like Pyar Hi Pyar, Saazish, Resham Ki Dori and International Crook, SJ did try to revive both Dharmendra's and their own sagging career. But the music director duo would appear to have played Cupid by composing for the first hit of the successful combo of the He Man and Hema Malini, (Tum Haseen Main Jawan, 1971) using Kishore for Dharam (a rarity) in an utterly forgettable song, Munne ki amma.



In the mid-60s, Shankar-Jaikishan had a frightful row with the empress of the singing industry, Lata Mangeshkar. It was reportedly over her refusal to record the somewhat titillating Sangam number Main kya karoon Ram mujhe Buddha mil gaya, whose lyrics the characteristically prudish Lata thought crossed the boundaries of decency. She was further agitated when the proposed sequence, with a voluptuous Vyjayanthimala prancing on the bed trying to seduce an ageing Raj Kapoor, was explained to her. By then the duo was no longer composing songs together, they would divide the number of songs in a film between themselves and record them separately. The composer of the disputed song, Shankar, took serious exception to Lata's defiance and when she refused to yield, Raj Kapoor was dragged into the dispute. After hearing both sides, he decided Shankar was right, Lata had no business refusing to sing a number since she had a contract with RK Films and the lyrics, he thought, were not particularly prurient in any case. A fuming Lata recorded the song - to her credit with the appropriate mischief and seduction in her voice - but stormed out of the studio immediately, vowing never to sing for Shankar or Raj Kapoor ever again. She kept her word, occasionally singing only for Jaikishan, till she returned to the RK banner once LP were inducted with Bobby.



A belligerent Shankar decided he could do without her but unfortunately the replacement he promoted turned out to be an unmitigated disaster. The "besura" Sharda, whose only passable number was Titli udi, (Around The World, a haggard Raj Kapoor quickie), was panned by both critics and fans. Shankar selected the more competent "poor man's Lata" Suman Kalyanpur for some hit songs like Aaj kal tere mere pyar ke charchey, but by then his creativity too was in terminal decline. The Lata row marked a tragic end for a combination that made memorable melodies like O Basanti pawan pagal (Awara), Raja ki aayegi baraat and Yeh shaam ki tanhaiyaan (Aah), Ajeeb dastan hai yeh (Dil Apna Aur Preet Parai), Ja ja ja mere bachpan (Junglee), Unsey mili nazar toh mere hosh ud gaye (Jhuk Gaya Asmaan), Aawara ae mere dil (Raat aur Din) and Mujhe tum mil gaye humdum (Love In Tokyo, whose tune was later lifted by Nadeem-Shravan for Dhadkan's title song). SJ depended heavily on Lata as their dominant female voice, using Asha Bhonsle only sparingly for duets like Panchhi re o panchhi (Hare Kaanch Ki Chudiyan) or Waqt thoda sa abhi kuchchh aur guzar jaane de (new Seema). The Shikar number, Parde mein rahne do, went on to top the charts for months in 1968 because Asha intoned in a manner she usually kept in reserve for OP Nayyar. But one of their best compositions for Asha (a duet with Manna Dey) was Re man sur mein gaa (Lal Patthar).



Writing a complete musical biography of the two men who changed the history of Hindi film music with their sheer audacity and risk-taking ability, is impossible. But looking back, I wonder if we would have had a C Ramchandra, OP Nayyar, Kalyanji-Anandji (who started as their assistants) or even Laxmikant-Pyarelal (who began their career as KA's assistants in Chhaliya). Barring the self-assured Burman dada, there was no other music director who could dare as Shankar-Jaikishan could. They left a deep imprint on popular music in India and I regret that today's youngsters often think that Hindi music began only with RD Burman. Of course, he was a great composer, but let's not forget that one of Pancham's early films, Teesri Manzil, had music so heavily photocopied from SJ's style (perhaps because it starred Shammi Kapoor), that listening blind anybody could well think that O haseena zulfonwali, Aaja, aaja or Tumne mujhe dekha are Shankar-Jaikishan compositions. LP insisted throughout their career that their only ambition in life was to be bracketed with Shankar-Jaikishan as successful music-directors. If that's not high praise from contemporaries and competitors, what is?

Many happy returns of the anniversary day "Asha ji" - ssmurthy

I was just relistening to the song "Yehi hai woh Saanjh aur Savera" title song by Asha in combo with Rafi and couldn't help going into rapturesover the mellifluous contrast she gave to the high pitch of Rafi as she sings,"

tumhi chupe the mere, zindagi ke, darpan men,

tumhara pyar sameta hai, apne daman men,

jale hai pyar ke deepak, bana dhuan kaajal,

khile hain phool tamanna ke, dil ke aangan men,

mila mujhe saath sang tera,

chamak utha ab naseeb mera,

jis keliye tadpe hum saara jeevan bhar,"

yehi hai ............ ....

the effortless ease with which she voices

"mila mujhe saath sang tera,

chamak utha ab naseeb mera,"

is a sheer beauty, which only she can render.

Similarly in Zindagi she has again with Rafi the

"Ghungarva mora chum chum naache..."

watch my words and have another listening of this song, as she voices the word "mora"is simply out of the world again which only she can render and among a connossier's delightful nuances.

on the occassion of her birthday anniversay I compliment her for the joy she transported through the above two songs apart from so many others. Many happy returns of the anniversary day "Asha ji"

rgd

sssmurthy