“Jinke naghmon ne ghar kar liya avam ke dilon main…………..”

SJ+-+Stamp

Postage Stamp on Shankar-Jaikishen : Thanks to the Post & Telegraph Deptt. Govt. of India

Meet with other SJ fans on facebook on following address
https://www.facebook.com/groups/shankarjaikishenemperors/

”Unhe mausiqi ka badshah kyon na kahoon!”
”Unhe saazon ka shahenshah main kyoon na kahoon”
”Jinke naghmon ne ghar kar liya avam ke dilon main,
“Unhe is sadi ka chamatkar main kyon na kahoon”,,,,,,,,,,,,, Ajay Kanagat (A SJ fan)

GATEWAY OF STUFFS ON SHANKAR-JAIKISHAN

                           

               JODIs ARE MADE IN HEAVEN

One often wonders are meetings ‘By Chance’ or are they meant to happen….take Shanker-Jaikishan meeting…During his early years, Shankar worked at Prithvi Theaters, and used to frequently visit the office of a Gujrati director Chandravadan Bhatt who had promised Shankar that he would give him a break as a Music Director as and when he produced a film. (cast ur thoughts to how Dev Anand and Guru Dutt met and made a pact to work together – another By CHANCE meeting u think?????). Any way getting back to Shanker…. It was outside the office of Mr Bhatt that Shankar saw `ek dubla patla sunder `ladka’ also sitting there, at Mr Bhatt’s office on a number of occasions. Although they never spoke to each other, one fine day, Shankar took the initiative of starting the conversation and then discovered that his name was Jaikishan and he too used to visit the same producer in search of some work related to music and that he was a Harmonium player. Shankar later recollected that their vibes were right from the very beginning….they developed liking for each other (rather than any feelings of rivalry which could have been natural since both were visiting Mr Bhatt for similar reason) and it was he who then and there assured Jaikishan of the job of a Harmonium player at Prithvi Theaters (without asking Prithviraj Kapoor, fondly referred to as `Papaji’). Of course, later, Papaji honoured Shankar’s selection and gladly accepted Jaikishan as a Harmonium player at Prithvi. Soon, the two of them developed very close friendship. It was during this phase that Shankar and Jaikishan developed a very deep bond of friendship, mutual understanding and regard for each other and made up their mind to work together as a musical team. While working at Prithvi Theater, Shankar and Jaikishan, apart from working in the music department there, used to compose tunes and were in touch with Raj Kapoor, who was working as an assistant to the famous director Kidar Sharma and was aspiring to be an actor/director. Thus, the three had met at Prithvi Theater, run by Raj Kapoor’s father, Prithviraj Kapoor. Raj Kapoor made his debut as a director with the film “Aag” in 1948. While the film received a mixed response at the box office, its musical score by music director Ram Ganguli, assisted by Shankar and Jaikishan proved to be quite popular. However, during the recording of some song for his new venture `Barsaat’, Raj Kapoor had some serious differences with Ram Ganguly, the music composer of the film and decided to assign its music to Shankar who insisted on taking Jaikishan as his partner and thus came into existence the new pair of music directors named `Shankar-Jaikishan’ who gave landmark, path-breaking and trend-setting music for the RK production `Barsaat’ in 1949. So it seems jodies are preordained, by the Almighty….HE also ensures we meet ‘By Chance’.….. RAB NE BANA DEE JODI………< h3 style=”text-align:justify;”>contributed by

Umesh Hindocha ji

WELCOME!!! to the World of  Shanker-Jaikishen’s  memories. The duo who ruled the Music Scenario of Hindi Film Music with their debut film Barsaat for continuous 20 years like Emperors of Melody are still now most listened but less mentioned.  It is a humble effort to spread information about them, their films and music to their die hard fans. You will find rare articles, photos, stories, anecdotes about them here.

*************************************************************************************

Audio / Visual links of SJ Albums

http://shankarjaikishan.wordpress.com/current-status-of-visitors/download-listen-audiovideos-of-shankar-jaikishan-albums/

Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (ALL EPISODES)

CourtesyShrikant Deshpande

SHRIKANT DESHPANDE

 

1st Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri

1st Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri

2nd Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri

2nd Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri

3rd Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (2ND EPISODE)

3rd Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (2ND EPISODE)

4TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (2ND EPISODE)

4TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (2ND EPISODE)

5TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (3RD EPISODE)

5TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (3RD EPISODE)

6TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (3RD EPISODE)

6TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (3RD EPISODE)

7TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (4TH EPISODE)

7TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (4TH EPISODE)

8TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (4TH EPISODE)

8TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (4TH EPISODE)

9TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (5TH EPISODE)

9TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (5TH EPISODE)

10TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (5TH EPISODE)

10TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (5TH EPISODE)

11TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (6TH EPISODE)

11TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (6TH EPISODE)

12TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (6TH EPISODE)

12TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (6TH EPISODE)

13TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (7TH EPISODE)

13TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (7TH EPISODE)

14TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (7TH EPISODE)

14TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (7TH EPISODE)

15TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (8TH EPISODE)

15TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (8TH EPISODE)

16TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (8TH EPISODE)

16TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (8TH EPISODE)

17TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (9TH & LAST EPISODE)

17TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (9TH & LAST EPISODE)

18TH & FINAL  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (FINAL  & LAST EPISODE)

18TH & FINAL Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (FINAL & LAST EPISODE)

About ich liebe dich song from Sangam

By Shri Shishir Krishna Sharma

1964 में बनी आर.के. की पहली रंगीन फ़िल्म संगम के सात हिट गीतों – “बोल राधा बोल संगम होगा कि नहीं”, “ओ महबूबा, तेरे दिल के पास”, “दोस्त दोस्त न रहा”, “हर दिल जो प्यार करेगा”, “ओ मेरे सनम”, “मैं का करूँ राम मुझे बुढ्ढा मिल गया” और “ये मेरा प्रेम पत्र पढ़ कर” के बीच एक और गीत था, “आइ लव यू”… विविअन लोबो के गाए इस गीत को फ़िल्म में पार्श्व-संगीत की तरह इस्तेमाल किया गया था… सिचुएशन थी, राज कपूर और वैजयन्तीमाला का हनीमून के लिए यूरोप का टूर…

यूरोप में फ़िल्माये जाने वाले इन दृश्यों के लिए सिर्फ़ पार्श्व-संगीत की ज़रूरत थी…लेकिन राज कपूर ने सोचा पार्श्व-संगीत की जगह क्यों न एक पार्श्वगीत रखा जाये…उन्होंने ये बात शंकर- जयकिशन को बतायी…राजकपूर इस गीत को लता, मुकेश या रफ़ी के गाए किसी आम गीत से अलग रखना चाहते थे…शंकर और जयकिशन सोच में पड़ गये कि क्या किया जाये…

जयकिशन अपना ज़्यादातर समय दोस्तों के साथ चर्चगेट स्टेशन के पास गेलॉर्ड रेस्टोरेण्ट में गुज़ारते थे…रेस्टोरेण्ट के ऑर्केस्ट्रा में गोवा के एक गायक विविअन लोबो थे…एक रोज़ उन्हें गाता सुनकर जयकिशन को ख़याल आया, क्यों न ये पार्श्वगीत लोबो से गवाया जाये…लोबो की आवाज़ विदेशी जैसी लगती थी…अब सवाल गीत के बोलों का था…राज कपूर ने सुझाव दिया कि हनीमून के दृश्य के लिए सबसे सटीक और सबसे छोटा मुखड़ा है “आइ लव यू”, इसलिए इसी मुखड़े को अलग अलग यूरोपियन भाषाओं में दोहराया जाए… ये बात सभी को जमी और फिर पूरी टीम “आइ लव यू” के विभिन्न भाषाओं के संस्करण ढूंढने में जुट गई…

इस गीत में अंग्रेज़ी के अलावा जर्मन (“ich liebe dich”), फ़्रेन्च (“j’ vous t’aime”) और रूसी (“ya lyublyu vas”/ “Я люблю вас”) भाषाओं का प्रयोग हुआ है, और साथ ही हिंदी में “इश्क़ है इश्क़” को भी शामिल किया गया…इस तरह से गीत का मुखड़ा कुछ इस तरह बना… ich liebe dich, I love you. j’ vous t’aime, I love you. ya lyublyu vas (Я люблю вас), I love you. ishq hai ishq, I love you….

विवियन लोबो के गाए इस गीत ने राजकपूर और वैजयंतीमाला के उस हनीमून दृश्य को यादगार बना दिया…

by Shri Shishir Krishna Sharma

And the song is here

Song-Ich Liebe Dich (Sangam)(1964) Singer-Vivian Lobo, MD-Shankar Jaikishan
Vivian Lobo+ Chorus,
Chorus

Lyrics

ich liebe dich
I love you
j’ vous t’aime
I love you
ya lyublyu vas (Я люблю вас)
I love you
ishq hai ishq
I love you

ich liebe dich
I love you
j’ vous t’aime
I love you
ya lyublyu vas
I love you
ishq hai ishq
I love you

come shake my hand
and love each other
let’s bring happiness
in this world together
this is the only truth
remember my brother
this is the only truth
remember my brother

ich liebe dich
I love you
j’ vous t’aime
I love you
ya lyublyu vas
I love you
ishq hai ishq
I love you

aaaaa
aaaaa
aaaaa
aaaaa
aaaaa
aaaaa
aaaaa
aaaaa

अभी तक के इतिहास में सबसे लोकप्रिय संगीतकार हैं शंकर जयकिशन

अभी तक के इतिहास में सबसे लोकप्रिय संगीतकार हैं  शंकर जयकिशन

* अभ्युदय राजीव केलकर

shailendra+sjsjrajendranathदरअसल 1950 से 1970 के बीच का समय हिंदी फिल्म संगीत का स्वर्णयुग कहलाता है. ये वो ज़माना था जब यो-यो हनी सिंह जैसे फूहड़ संगीतकारों ने भी स्तरीय संगीत दिया. इसका मुख्य कारण था संगीतमय वातावरण और फिल्मों में मार-पीट, भाषणबाज़ी और अश्लीलता की जगह संगीत को प्राथमिकता. इस युग में बने कई गाने आज दशकों बाद भी अपनी मिठास के कारण बजाये, सुने और सराहे जाते हैं. चाहे वो रेडियो-मिर्ची हो या स्टेज शो या ऑडिशन हो, अधिकतर इन्हीं गानों को चुना जाता है.

इस संगीतमय वातावरण को बनाने में एक अत्यंत महत्वपूर्ण भूमिका निभायी शंकर जयकिशन ने. उस ज़माने के लोग ही जानते हैं कि जो लोकप्रियता और बुलन्दियाँ उन्होंने अपने अविस्मरणीय संगीत के बलबूते पर हासिल की वो ए.आर. रेहमान साहब ऑस्कर की टोकरी लाकर भी नहीं कर सके. अभी तक के इतिहास में शंकर जयकिशन शायद सबसे लोकप्रिय संगीतकार हैं, जिनका उस समय के बड़े बड़े नेताओं-अभिनेताओं से ज़्यादा रुतबा था.

उनका संगीत आज भी प्रासंगिक है. इसका प्रमाण है – आप कोई भी दस पुराने गाने याद कीजिये, उसमें 2-3 शंकर-जयकिशन के निकल ही आयेंगे. 2 – 3 दिन में एक न एक बार आपका उनके गानों से पाला पड़ ही जाता है. राज कपूर, राजेंद्र कुमार और शम्मी कपूर के अधिकांश हिट गाने इन्हीं के बनाये हुए हैं. उसके अलावा “सौ साल पहले मुझे तुमसे प्यार था” या “ज़िन्दगी एक सफर है सुहाना” या “तू प्यार का सागर है” या “याद किया दिल ने कहाँ हो तुम”, इनके सदाबहार गानों की फेहरिस्त (लिस्ट) लम्बी है और काफी लम्बे समय तक चलती रही. ये गाने सुनने में जितने मीठे होते थे , गाने-बजने में उतने ही सुगम और आनंददायक.

हमारा प्रयास यह है कि हमारे “सुरूर”-प्रेमी युवाओं को इससे अवगत कराया जाये और उन्हें ये समझाया जाये कि नाक से या गिटार पकड़कर गला दबाकर “तेरी ज़ुल्फ़ें …. तेरी बाहों में” रेंकने को ही संगीत नहीं कहते. डालडे का नकलीपन कभी खालिस घी के स्वाद को नहीं पछाड़ सकता. पंचम-दा और माफियार रेहमान जी के भक्तों द्वारा गुमराह युवाओं को ये समझाया जाये कि संगीत स्वर-वाद्यों से निकलता है, झाड़ियों को हिलाने से या पानी की आवाज़ से या लकड़ी को पीटने से नहीं.

कम से कम हमारे युवा साथियों को पता तो चले कि मीठे पानी की झील क्या है और दलदल क्या है. इसलिए हमारा मिशन है शंकर जयकिशन के संगीत को अभी के लिए और भावी पीढ़ियों के लिए संजो कर रखना और उसका प्रचार करना और फलस्वरूप संगीतमय वातावरण का निर्माण करना.

धन्यवाद

Interesting but important

sign

letter by SJ

Contributed by Shri Sudarshan Talwar ji.

The Midas composers – Shankar-Jaikishan

Please visit this page to express your gratitude to Filmfare

Courtesy : http://www.filmfare.com/features/golden-greats-7358-1.html#descArticle

Golden greats

Filmfare profiles the Midas composers Shankar-Jaikishan

Golden greats

If ever there was a magic baton, then Shankar-Jaikishan surely possessed it, as everything they touched during the heady ’50s and ’60s turned to gold. It’s said they charged more than the leading lights of their films. That distributors picked up projects because their name was associated with it. That films were publicised with them in mind. They won the Filmfare Best Music Award a record nine times, only maestro AR Rahman has beaten them in the modern era. They were giants whose shadows loom large even now, long after they are gone…

Diverse beginnings
Shankarsingh Ramsingh Raghuvanshi was born on October 25, 1922 in Punjab. His father later moved to Andhra Pradesh and young Shanker was exposed to classical dance and music. He was both a trained wrestler and a dancer. He also showed a command over musical instruments and started playing the tabla at temples there. The family later moved to Mumbai, where he formally started learning the tabla under Baba Nasir Khansahib and composer Khawaja Khurshid Anwar. He later joined pioneering composers Husnlal Bhagatram as an assistant. A passion for theatre led him to join Prithiviraj Kapoor’s Prithvi  theatre, where he befriended Raj Kapoor, leading to a lifetime of friendship and collaboration.
On the other hand, Jaikishan Dayabhai Panchal  was born on November 4, 1929, in Bansda, Gujarat. He started learning classical music from Sangeet Visharad Wadilalji and later from Prem Shankar Nayak. It’s said his father was a court musician of the ruler of Dharampur. The debonair musician actually wanted to be an actor, which was his prime motivation for moving to Mumbai. He started learning music under Vinayak Tambe and became a trained harmonium player.

Luck by chance
A chance conversation at the office of director Chandravadan Bhatt. acquainted them with each other’s love for music. Prithvi Theatre was searching for a harmonium player and Shankar took Jaikishan under his wings.Soon, both friends were providing music and even acting in plays produced by Prithvi. Raj Kapoor was launching his banner RK Films and made them assistants under Ram Ganguly in Aag (1948). Apparently, he caught Ram red-handed as he was about to sell one of his tunes for Raj’s next venture Barsaat (1949) to some other producer. Raj reportedly fired Ram and offered Shankar the music director’s baton. Shankar pleaded that he’d only join if his friend Jaikishan too was offered the same terms. Barsaat’s superhit music catapulted them as overnight sensations.

Raj Kapoor may have helped in establishing them but it’s wrong to credit him for all their success. They shone even in non RK films like Daag, Basant Bahar,  Amrapali, Asli Naqli, Arzoo, Dil Ek Mandir, Junglee, Love in Tokyo, An Evening in Paris. They enhanced the careers of Shammi Kapoor and Rajendra Kumar as well.

Innovative Composers

They took risk with their first film Barsaat itself, taking a new voice, Lata Mangeshkar as the lead singer and making her sing for both the heroines, Nimmi and Nargis. Songs such as Jiya beqarar hai, Hawa mein udta jaaye or Mujhe kisi se pyar ho gaya are still remembered today. With Barsaat mein, they also started the trend of title songs. They had an established pattern for song composition. First would be a long instrumental flourish, where their 60 plus orchestra showcased its virtuosity. Then came the first stanza, where the individual instruments were heard accompanying the singer, then the interlude, where the singer caught his breath and so on to another grand flourish. They introduced the concept of counter melody, which is a sequence of notes being played counter to the main melody of the song, with the help of their arranger Sebastian D’Souza. Dattaram, their dholak player and rhythm arranger, introduced the Dattaram theka (a special rhythm for dholak), which is still being used today. They didn’t just stick to established singers but made sure they found the right voice for the mood. For instance, they used an unknown Subir Sen for Dil mera ek aas ka panchi from Aas Ka Panchi (1960), Suman Kalyanpur for Dil ek mandir hai from Dil Ek Mandir (1963), Manna Dey for Yeh raat bheegi bheegi,  Chori Chori (1956), Asha Bhosle for Mud mudke na dekh from Shri 420 (1955), Mukesh (for Dilip Kumar) in Yeh mera diwanapan hai, Yahudi (1958) and made many more such off kilter choices.

Shankar-Jaikishan

(clockwise) With Prithviraj Kapoor, their mentor, With Pandit Jawaharlal Nehru, At a recording session and With Indira Gandhi

Different strokes
Jaikishan was the flamboyant, man-about-town who loved to dress in the best suits. He was the soul of the party and loved his scotch. Shankar was reticent, less boisterous and hence wasn’t the public face of the duo. He was said to have a liking for raag Bhairavi while Jaikishan liked to compose in raag Shivranjini. Shankar was said to prefer songs with dance moments while Jaikishan was said to prefer romantic numbers. The duo formed a team with different lyricists as well. Shankar composed Shailendra’s songs and Jaikishan Hasrat Jaipuri’s. Jaikishan was known for his mastery over the background score. From their first film itself, one heard snatches of future compositions in the background score. For instance, the strains of O basanti pawan pagal from Jis Des Mein Ganga Behti Hai (1960) were first heard in the background score of Awara (1951). So, for all their differences, one can’t be sure which song was totally Shankar’s or Jaikishan’s.

Rift and rivalry

Thanks to abundance of work as also widening creative differences, they started composing separately from 1960 onwards but didn’t publically break the team. The popular radio programme, Binaca Geet Mala, was the litmus test for a song’s popularity. When Yeh mera prem patra padhkar from Sangam, composed by Jaikishan-Hasrat team got the top spot over Dost dost na raha from the same film, composed by Shankar-Shailendra team, their fragile friendship further deteriorated. People in Shankar’s camp made allegations of sabotage. Shankar’s insistence of using Sharda’s voice instead of Lata’s too came in the way. Things came to such a head that Jaikishan used to have separate recording sessions with Lata, sometimes even with a different set of musicians. Shailendra and Hasrat Jaipuri, their two lyricists became their common link at this point.

Death and decline
On September 12, 1971, Jaikishan passed away due to cirrhosis of liver. Shankar was hurt emotionally but continued to work under the S-J banner. It’s said he even continued to give half of his earnings from each assignment to Jaikishan’s family. RK and other big banners stayed away from Shankar after his partner’s death. There was a steady decline in business, though he continued to do good work. One such example was Sanyasi (1975), where Lata reconciled with him and whose music seemingly heralded the return of S-J’s dominance. However, it didn’t last long. He got work but the films didn’t fare well at the box office. A broken Shankar passed away unsung on April 26, 1987. Only his family attended the funeral. The media, as well as the film industry, got to know about his death only after the cremation… A chapter in the annals of Indian film history was silenced forever…

Shankar-Jaikishan

(clockwise) Stills from Sangam, Boot Polish, Chori Chori and Junglee


Shankar-Jaikishan’s popular hits

Barsaat mein (Barsaat -1949)
Singer: Lata Mangeshkar

Awara hoon (Awara -1951)
Singer: Mukesh

Ae mere dil kahin aur chal (Daag -1952)

Singer: Talat Mehmood

Raja ki aayegi baraat
(Aah -1953)
Singer: Lata Mangeshkar

Yaad kiya dil ne kahan ho tum (Patita – 1953)

Singers: Hemant Kumar-Lata Mangeshkar

Pyar hua iqrar hua hai (Shri 420-1955)

Singers: Manna Dey-Lata Mangeshkar

Sur na saje (Basant Bahar-1956)

Singer: Manna Dey

Yeh mere deewanapan hai (Yahudi -1958)

Singer: Mukesh

Kisi ki muskurahaton pe ho nisar (Anari-1959)
Singer: Mukesh

Bhaiya mere, rakhi ke bandhan ko nibhana (Choti Bahen-1959)
Singer: Lata Mangeshkar

Ajeeb dastan hai yeh (Dil Apna Aur Preet Parayi -1960)
Singer: Lata Mangeshkar

Yaad na jaaye beete dinon ki (Dil Ek Mandir -1963)

Singer: Mohammed Rafi

Chahe koi mujhe junglee kahe (Junglee-1961)
Singer: Mohd Rafi

Paan khaye saiyyan hamaro (Teesri Kasam-1966)
Singer: Asha Bhosle

Ae bhai, zara dekh ke chalo (Mera Naam Joker -1970)

Singer: Manna Dey

Courtesy :

http://www.filmfare.com/features/golden-greats-7358-1.html#descArticle

A rare photo of Jaikishen ji with ace director Satyajit Ray

Satyajit Ray1

Nostalgia from Filmfare (courtesy Shashank Chickermane)

Nostalgianostalgia2

Follow

Get every new post delivered to your Inbox.

Join 1,659 other followers

%d bloggers like this: