“DHEERE CHAL DHEERE CHAL AI BHEEGI HAWA, KE MERE BULBUL KI HAI NEEND JAWAN, KE KAHIN LAAGE NA KISSI KI USE BAD-NAZAR, KE MEETHE SAPNON MEIN KHOI HAI WOH BEKHABAR…KE DHEERE “CHALL…….Mahdubal is ”bechain” to listen to Shammi’s imploring sentiments to the gushing wind to see his beloved in  comfort and away from ”buri nazar”…..find out the passionate ACCORDIAN and violins to match Shammi’s impatient state which S-J with fast tune took the atmosphere under their control…….

NOW after the success of Teesri Manzil, Shammi reverted to S-J for AN EVENING IN PARIS , the very next year in 1967…..Shammi’s links with SHANKAR JAIKISHAN go back to his prestardom days when S-J scored music for two SHAMMI starrers, College-girl and Singapore(in Singapore-all ACCORDIAN based tunes)in 1960.

The next year, the birth of the rebel star was announced with the YAHOO clarion call of Junglee….The entire concept of the don’t-give-a-damn desi James Dean styled by the S-J,Shammi, Rafi team…&.MUSIC NEVER SOUNDED SO WILD AND VIBRANT…..What is more, S-J WERE WILLING TO COMPLY WITH SHAMMI’S REQUIREMENT WITHOUT FEELING  CREATIVELY cramped by the same interventions which turned OP Nayyar off…When OPN had composed ‘’sar par topi lal” as an Asha Bhonsle solo for Nasir Hussain’s ”TUM SA NAHIN DEKHA”  in 1957, Shammi made OPN an offer, he couldn’t refuse: convert the female solo into a duet. And the composer’s ample ego went forth and multiplied.

ON THE PART OF S-J, they had no  creative or egoistic problems in incorporat

ing Shammi’s suggestions. and

Shammi’s contribution

extended to

sensible and skillful suggestions on the rhythm

An Evening in Paris

arrangements (on which his body danced)….

An Evening in Paris

is an exception to mention …….to continue…….