Shri Pradeep Kr. Gupta writes :
“Let me share some interesting anecdote about this movie. Jitendra was a new comer and not salable. Rajshree had become a big name by that time and was working with lead actors including Raj Kapoor and his brother Shammi Kapoor. Devi Shamra, who produced the movie based on a novel written by Dharmveer Bharti, a famous Hindi novelist who also worked as the chief editor of a famous Hindi weekly Dharmyug published by the Time of India group, Mumbai. Devi Sharma had finalized SHANKAR-JAIKISHAN who were at the peak of their career as star composer leaving all their contemporaries and juniors way behind. Jitendra’s remuneration was cut to meet the expenses incurred on sound score and Rajshree’s fee. I read some where that Jitendra eventually worked free of cost as the producer- director were adamant to work with the duo despite their low budget. It was a well known fact that the music duo used to charge even higher remuneration than the lead actor of the film for their music score, but this was the unique case when the lead actor of the movie worked free of cost to meet the end. That was the impact of SHANKAR-JAIKISHAN those days and they commanded highest regard among the film fraternity for their sheer brilliance.
SHANKAR-JAIKISHAN at their zenith in this song! The song is an unusual one in the sense that interludes in all three antaras (stanzas) are different. Normally in a three stanza song, as this was in the vogue those days, first and third stanzas had mostly same interlude while second one had a different one barring a few exceptions with all leading composers. The song starts with prelude played on violin chorus to give a feel of western classical music of Johann Sebatian Bach, Wolfgang Amedeus Mozart, Ludwig Van Beethoven, Franz Schubert (all Austrian composers) and Chopin. With this brief prelude the song starts in the deep baritone voice of Mukesh. The rhythm is played on drum. then comes first stanza with violin chorus coupled with cello to create an ambiance. Second stanza has saxophone followed by solo violin beautifully played. Now comes the third and last stanza with violin chorus for counter melody followed by solo violin to evoke pathos. Electric organ is another salient feature which could be heard even between the lines leaving no vacant space throughout the song. It’s rightly said in the post by Lakshmi Didi that the song gives a symphonic feel. Salil Chowdhury, a doyen of Hindi and Bengali film music once commented on the duo that the way they used violin chorus no body else could have ever used and the duo proved this statement as true on occasions. This song is also not an exception to what was vouched by Salil Da.
Continuing with the same thread I would like to quote Pyarelal Sharma the gentler half of Laxmikant-Pyarelal as saying “SHANKAR-JAKISHAN ke gaanon mein tune bhi gungunana padta hai. Bina tune gungunae gaane ka maza nahin ata.” Then he took the title song of Awara “Awara hoon ‘tararara’ played on harmonium by Vistap Ardeshir Balsara in the sthaayi (mukhda). Readers will be surprised to know that the piece they feel to have played on piano accordion was actually played on harmonium by the maestro.”
Shri Ajay Dagaonkar ji writes :
“This is majority correct but not what Jeetendra told in his TV interviewAs per him some other composer was to be signed and Jeetendra got frightedJeetendra despite Shantaram films was no starHe wanted big composer like SJ or Naushad and he approached Jaikishanji and to pay SJ fees Jeetendra fee was cutFor heroine he approached Rajashree who as rightly said has become big and her mom asked for a fee and to pay that Jeetendra fees was cut and he perhaps got in return A grade star status but no money but this sacrifice made his lifeA great business decision”