Posts from the ‘SJ’s association’ Category

The Glorious Shanker-Jaikishen

Sharda Rajan recounts the glorious past

God said . let there be a revolution in the music of India , let there be new abundant variety of melodies & tunes , let there be rich modern , magnificent orchestra of high grade……..and He created Shanker Jaikishen..

They were not siblings, cousins or relatives . They were not classmates , boyhood friends or any sort of associates….

How they could have met & joined in a most wonderful harmonious union which lasted a lifetime & beyond unless God had wished so .

Their association , their friendship & their style of work were so unique , pure & sincere & divine.

Shankerji used to arrive in the music hall every afternoon & sit there late till night , playing harmonium , making songs & pieces for orchestra.. Jai sab used to come off & on . When they were together sitting with their bajas ,playing & comparing notes it would seem that the Gods & Goddesses of music were present there alive in their melodious musical notes.

Most of the time the hall would be crowded with people. On some rare occasions Shankerji would be sitting there alone playing his harmonium , drowning himself in the flow of music pieces.

On one occasion a song is fixed for recording . And Shankerji goes on & on playing the song .

I ask him . ‘ why are you playing this song over & over again ? The composition is complete & the recording is fixed.

Says he, ‘ you have to go on playing it over & over , that is how you get new ideas & innovations.’

Sure , they brought countless new turns , variations & novelties in their compositions.
The bend in ‘Tera mera pyar amar,’ the hum in ‘Tu pyarka sagar hai,’
The voice over back up in ‘Jabbhi e dil udas hota hai’, the extended TUM in ‘ Tum..m…hi tum..m ,, ho mere jiwanme,’ & the zig zag swishes in the last part of ‘Asmanme tare hai beshuma..a…a…a..a…aaar …
And the up down up down swings in the antara of song ‘Jiya ho jiya kuch boldo ‘ and like these many more.

And the tunes , they would start the song from any new venues like in the notes above the highest note of the middle octave, which noone had ever done before….
Like in ‘Dil tera diwana ‘& ‘Rukja raat ‘
And the jumping in the tunes to unimaginable far away notes like
‘ Dheere dheere …..[sudden jumping]….chal…..
Any one would have thought that after ‘Dheere dheere , the next part would come in the next notes.
Not S J ..their notes would go anywhere to anywhere taking all of us in a melodious high jump ride..
In ‘Akele akele . the song is going softly & suddenly the high jump comes & we are all taken to dizzy heights.

And the various audiations like ‘uf umma ‘ ‘ayayaya’ ‘Yahoo ‘ ‘Takdhindhin, ‘vaivaivai” ‘ullalla ‘ and as such …..

And the mind blowing orchestra , the like of which no one have seen anywhere in the world…. The jerking rhythm pattern in song ‘Tera jana .. & the high energy emotional overtures in ‘Chahe koi mujhe junglee kahe’….the hummable evergreen pieces in ‘mere jhoota hai japani’. The heart pulling cuts & breaks in the music of song ‘Dost dost na raha’ And the sheer brilliance in the music of ‘Ajeeb dastaan ‘ which does not have any match to date in the whole world ..I can mention only few songs ..because I will not be able to analyse so many of them

And the background score of Joker ..an all time classic creation .

Shankerji worked day and night during the background recording holed up in the studio

He was nowhere to be seen , in his regular joints , music hall , nor in CCI club or anywhere for nearly over a month. He just disappeared from the scene.

Because in background music , you have to see the movie , take the timing of the scene & compose the music piece to fit in that time.It has to be composed on the spot , you cannot remember the timing of the scene , compose it at home & bring . So like this ,scene after scene has to be seen & the music has to be composed & recorded.

The recording studio was booked for a month or so & Shankerji stayed there day & night . I do not know how many days Jaikishenji was there.I am sure he must have been there most of the time. But I know Shankerji was there all the time. because I used to go to the studio for my regular sittings & Shankerji was nowhere to be seen there. like all the other time sitting in the music hall every evening.

When I entered film industry, it was their high ascent time & they were zooming & zooming higher & higher Their fans growing day by day & the awards & trophies pouring in .. I heard there were complains from their households that there is no more place in their huge flats to keep any more trophies.

Time for mischief mongers to make entry..Some sly foxes would come to Shankerji , & try to put a wee little poison in his mind , about Jaikishenji…. No need to say Shankerji would flare up & throw this guy out of the music hall in just one moment ,,
The same thing Jaikishenji would do ,, but in his own way

Shankerji told me , that when some such people went to them separately , he said with awe that Jaikisenji also had given the same reply as Shankerji had given to these people.

Thus was their inner tuning , they thought & worked in the same wave length whether they were near or far……………..

Many trophies many movies many jubilees many awards & many shows & then the time comes for government appreciation.

Information comes that Shankerji’s name has come on the Padmabhushan title list..

Cheers but no cheers.

Some thing wrong has happened …..As Shankerji had told me …….

Some dumbos in the government had entered the name Shanker Jaikishen as one name belonging to one person.So one award had been allotted..

Phone calls fly up & down from Delhi & Bombay Officials are contacted in Bombay.. They all understand the mistake & feel sorry.

But they cannot do anything now…. no time for rectifying the mistake .. If S J can take Padmashree , then two Padmashrees can be given . But no two Padmabhushans can be given now..

Shankerji opts for two Padmashrees instead of waiting one more year to get two Padmabhushans.

What is a Padmabhushan or Padmashree ? Can it match their work & their genius? Their value is much much higher than the value of a Padma bhushan or Padmashree..

Even calling them emperors is not giving them their worth . Because many emperors have come & gone with no naamo nishan .

Shanker Jaikishen’s greatness will live for ever like a lighthouse guiding all generations to come. Their music will be alive youthful & fresh matching to any new generation for all time to come.

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More snaps relating to film Pyar Hi Pyar produced by Rajaram-Satish Wagle

At the launching of film Pyar Hi Pyar Photo courtesy : Satish Wagle, Jatin Wagle

At the launching of film Pyar Hi Pyar
Photo courtesy : Satish Wagle, Jatin Wagle

Music Director Jaikishan of Shankar-Jaikishan  giving clap to the Muhurat shot of film Pyar Hi Pyar Photo courtesy : Jatin Wagle-Satish Wagle

Music Director Jaikishan of Shankar-Jaikishan giving clap to the Muhurat shot of film YAAR MERA
Photo courtesy : Jatin Wagle-Satish Wagle

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)

Films which were announced with music by SJ, but could not make it

Here is an interesting article or trivia about SJ films, completely compiled by  Abhay V. Acharekar ji in our Yahoo group

Photo taken at Chandu Kale's residence in Pune on 9th December'2013 during get-together of SJ Fans. Shankerji used to visit this place. The music instrument is played by Shri Chandu Kale ji.

Photo taken at Chandu Kale’s residence in Pune on 9th December’2013 during get-together of SJ Fans. Shankerji used to visit this place. The music instrument is played by Shri Chandu Kale ji.

Here’s a list.

Films that were signed before Sep 1971 but were not released by then:

1. Seema (Simi-Kabir-Rakesh-Bharati)
2. Albela (Mehmood-Namrata)
3. Chori Chori (new) (Sanjay-Radha-Jeetendra)
4. Beimaan (Manoj-Raakhee)
5. Love in Bombay (Joy-Waheeda-Kishore. produced by Shubir Mukerji)
6. Yaar Mera (Jeetendra-Raakhee)
7. Lal Patthar (Raaj Kumar-Hema Malini-Raakhee-Vinod Mehra)
8. Ankhon Ankhon Mein (Rakesh-Raakhee)
9. Daman Aur Aag (Sanjay-Saira)
10. Ankh Michouli (Rakesh-Bharati)
11. Mera Vachan Geeta Ki Qasam (Sanjay-Saira)
12. Nagina (Sanjay-Leena)
13. Dhoop Chhaon (Sanjeev-Hema. Yogita added much later due to problems between Sanjeev and Hema)
14. Bandagi (Vinod Mehra-Sandhya Roy)
15. The Gold Medal (started with Rajendra Kumar-Saira and later changed to Jeetendra-Raakhee)
16. Mehfil (Jeetendra-Sadhana , later replaced by Anil Dhawan)
17. Naina (Shashi-Rajashree. Moushumi added later)
18. Aan Baan (Rajendra-Raakhee)
19. Resham Ki Dori (Rajesh Khanna-Saira. Rajesh Khanna was later replaced by Dharmendra who was closed to Atmaram)
20. International Crook (Dharmendra-Saira)
21. Archana (Directed by Satpal, Bhappi Sonie’s assistant.
21. Pyar Ka Rishta (Sameer-Mumtaz-Shatrughan-Vinod Khanna)
23. Rivaaj (First production of KC Bokadia. Sanjeev-Mala)
24. Dur Nahin Manzil (Started with Roshan who composed the titled song that was retained. Also, initially this one had Sanjeev-Nutan but Nutan was replaced by Reshma, Bindu’s sister)
25. Insaniyat (Shashi-Madhu)
26. Dil daulat Duniya (Rajesh Khanna-Sadhana)

Films that never saw completion but were on hand in 1971:
1. Hero (launched by Sham Behl, of Gold Medal/Duniya with Sunil Dutt)
2. Kabhi Daman Kabhi Phool (Vinod Khanna-Anupama)
3. Kora Kagaz (Rajesh Khanna-Hema Malini; not the same one that was released later in 1973)
4. Sindoor (Produced by Sant Singh; directed by Kishore Sahu. Jeetendra-Saira)
5. Sadiyonse Hai Pyar (Produced by RK’s cousin Vijay Kapoor. Shashi Kapoor- Saira Banu)
6. Tu Payal Main Geet (Directed by Kanak Mishra. Shashi Kapoor- Saira Banu)
7. Mahaan (Directed by Sultan Ahmad. Sanjeev Kumar-Mumtaz. Not the same as AB’s Mahaan)
8. Aar Paar (Tanuja-Romesh Sharma)
9. Untitled film (Directed by T. Prakash Rao. Dilip Kumar-Saira with one song recorded by Jaikishan in Asha’s voice)
10. Ganga Ki Kasam (Produced by Pachhi)
11. Karishma (Randhir Kapoor in the lead)
12. Nain Mile Chain Kahan
13. Paani
14. Sun re Balam
—–
Announced before Sep 1971 but vanished from the radar after sep 1971
1. Seeta Aur Geeta
2, Kailash/Prem Chopra’s untitled (later named Nafrat)

Announced after Jaikishan’s demise but never released or completed:
1) Wattan (Sunil Dutt, Sanjay Khan, Rekha, Premnath; Director Kanak Misra)
2) Azmaaish (Sanjay Khan, Director: Kanak Misra)
3) Baby Hindustan (Director: Basu Chaterji)
4) Gunahgaar (RaajKumar. Producer/Director: Govind Saraiyya. Had a Lata-Manna Duet)
5) Mere Desh ki Dharti (Producer: Kewal P. Kashyap)
6) Talaaq (Parikshit Sahni)
7) Apmaan (Navin Nischal, Rakesh Roshan)
8) Jugal Jodi (Asrani-Deven Verma)
9) Pehla Pehla Pyar (Mumtaz International. Saira-Shashi Kapoor)
10) Airport
11) Gulzar Singh’s untitled (Shashi Kapoor)

Note that Jungle Mein Mangal was a quickie that started after the producer Rajendra Bhatia released Paraya Dhan and was not signed before Sep 1971.

Jaikishen ji directing singer Sharda at a stage programme. Ace accordionist Sumit Mitra is seen with accordion

Jaikishen ji directing singer Sharda at a stage programme

Photo Courtesy : Singer Sharda

……Making memorable music with the technology available today is understandable, but creating a timeless masterpiece with limited resources is what great music is all about! — Shashi Kapoor

“Shanker Jaikishen were the best thing to happen to film music”

 

 “Wouldn’t call myself a music buff, but I do enjoy listening to good music. As a young lad, I would walk into this music store       called Rhythm House    in   south   Mumbai to pick up records. Actually, I could not afford them, but I would quietly buy them on my brothers’  Raj Kapoor or Shammi Kapoor’s account!

 Shashi Kapoor on Shanker-Jaikishen

I’ve always loved listening to a variety of music, From the vocals of a Western classical singer like Frankie Lane to Indian classical singers like Bhimsen Joshi, Girija Devi and Begum Parveen Sultana, to Hindi film music. But, my favourite piece of music would be by the duo Shankar-Jaikishen, who I think were the best thing to have happened to Hindi film music. Even a maestro like Naushad once mentioned that the two were not musicians, but magicians!

          The duo who began their career with Prithvi Theatre by giving music to plays, started out on their own with Raj Kapoor’s second home production Barsaat. From Barsaat to Awara,  from Nagina to Andaz to Beimaan, they have given memorable music. But, my favourite track is the music of Jis Desh Mein Ganga Behti Hai I remember the songs were recorded in a small, ill-equipped studio in Taardeo. There were about 100 chorus singers, several violins and this orchestra all packed into the studio sans the hi-tech technology available now. Still, each song was recorded in three to four hours. Also, at that time there was only a one time mixing, compared to the dozen tracks which are mixed today. Yet, the result was mind-blowing! It was my favourite record then, but I enjoy it even more today. The title song ‘Jis Desh Mein….’still reverberates in my ears. I am mesmerised by “Aa Ab Laut Chale”, the duet sung by Lataji and Mukeshji. This song stirs my soul even today.         

          Playing with my grandchildren keeps me busy when I am at home. It’s only when I travel in my car that I put on a CD. And it’s invariably the track of Jis Desh……Making memorable music with the technology available today is understandable, but creating a timeless masterpiece with limited resources is what great music is all about!

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Photo & article by Courtesy : Dr. Raj Senani

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The promised kiss by Nargis to Shammi,denied ! a blessing in disguise! ;

nargis-jiBy – SSMURTHY (

 

Abbas sab approached Mehboob initially with his story of Awara with Raj and Prithviraj in mind, but Mehboob opted for his blue eyed boy Dilip Kumar in place of Raj which was not to Abbas sab’s concept,  since he believed and was convinced of the conviction that Awara was a theme, centred around, a father son equation with the neeli neeli ankhen syndrome looming in the script and therefore thought Raj and Prithviraj would fit the bill perfectly.

 

It was however much later that Abbas approached Raj with the same script,  who didn’t bat an eyelid as he took on the arduos task of getting Papaji’s consent.

Papaji version was that Prithviraj does not play the role of the hero’s father, cleverly it was interpreted by Abbas sab,  No Raj plays the role of the hero’s son ! Outwitted,  Prithviraj delightfully gave in as Raj searched for the silver coin  to crystallise the venture. 

 

The romance of Raj Nargis was crackling hot in the aftermath of Aag and Barsaat causing strife in both families as  Nargis was already facing the storm in her domestic citadel and diffident as she was of her getting cast opp Raj Kapoor in Awara, couldnt hide her desperation on this score to Shammi who happened to be the hero’s brother, was then still in his knickers was trying to regale Nargis, aas he observed  her heart was not in the conversation. She seemed awfully preoccupied 

 

and suddenly she burst out “Shammi if I get to do Awara  I’ll give you a kiss”.

 

The casting of Awara was finalised and Nargis was in and by that time Shammi had grown

another 4 inches with a straggly moustache  as one day Shammi went to Nargis to collect his dues.  Nargis was scandalised as she shrieked “Shammi you are a big boy now how can I kiss you ! 

Shammi was denied the promised kiss by Nargis as she adoringly requested him for an exchange of anything else in lieu.

 

Shammi thought of a gramaphone, fully convinced it was an exacting demand difficult to concede, but was amazed at Nargis consenting and bought for him not only the gramaphone but also a complete set of twenty records   and thus his tryst with the musical destiny began, as music entered   him  that day. It was the best bit of buisness trading, a kiss for music,as he got intoxicated with music to synchronise his bodily expressions,  eventually rendering him the most phenomenal leading musical  hero of his time, as any new heroine would fancy opposite him and  vouchsafe guaranteed success to its producer.

 

The only other prerequisite being an MD who knew the bodily acrobatic nuances of Shammi. 

 

Enter OPN with Tumsa nahin dekha and Usha Khanna with Dil Dekhe Dekho  and the public imagination swung with Shammi’s shaved off pencil moustache, swept back hair,

a couple of jackets and dived “Tum sa nahin dekha” head first to surface with a hit, followed by another hit “Dil Deke Dekho”  with a few others to follow

 

and then came “Junglee”one of the biggest musical hits of its time celebrating a Silver Jubilee even in Chennai where the language was hardly understood, so much for the musical prowess of SJ . The “Yahoo” shook not only the Kashmir valley but a few of Shammi’s contemporaries and more than anything else it was a cry of victory and redemption from the days of despair.

 

 

I have been obseving Shammi’s interviews at varous times and two music director’s names he generally mentions, one is SJ and the other invariably OPN, eventhough as far as I remember OP has scored only for two film’s for Shammi as against SJ’s appx 22 films unless I missed out on a few..

 

Maybe his gratitude for an  initial sucess after a row of 19 flops,

Tumsa nahin dekha was musically an OP Rafi delight, to be followed again

only in Kashmir Ki Kali which was among Shammi’s all time best remembered outside the SJ umbrella.

 

Shammi recalls that OP composed all the films tunes in about two hours time over a full bottle of whisky !.Incredulous and amazing.!!

 

Strangely It is RD who takes pride to have scored for Teesri Manzil much as he was privileged to convince Shammi, that he could give music a-la SJ who were the initial choice of Shammi as he replaced Dev, the original choice of Nasir Hussain.

 

 It was natural for RDB to bask in the glory of appreciation he received on fine morning on the telephone by Jaikishan for the score rendered and for all die heard listeners of film music know for certain that RD’s score in Teesri Manzil was but an echo of SJ.

 

When you look at the list  

 

Amazing it is that Ravi with his brilliant score’s of China Town, Pyar kiya tho Darna kya 

KA with Bluff Master and Preet na jaane reet, and Usha Khanna with Dil Deke Dekho’

are hardly remembered as these films are identified more with Shammi and less with the the MD’s eventhough they are among the one’s  who have also contributed towards the star’s career and success.

 

A comprehensive list of Shammi’s films by and large by SJ and others are given as under

which will give an idea of the stars impact with SJ and the celluloid world then

 

  

 

SJ                                            Non SJ 

 

COLLEGE GIRL

BOYFRIEND                           MUJRIM

                                                 CHAR DIL CHAR RAHEN

                                                 RAAT KE RAAHI

                                                 BASANT

                                                 TUMSA NAHIN DEKHA          OPN

UJALA,                               

PROFESSOR

                                                  DIL DE KE DEKHO               UK

JUNGLEE

JANWAR

                                                  BLUFF MASTER                      KA

BUDTAMEEZ

LATT SAHEB

PRINCE

RAAJKUMAR

PAGLA KAHIN KA

DIL TERA DIWANA

JAWAN MOHABBAT

                                                 PYAR KIYA THO DARNA KYA     RAVI

                                                 PREET NA JAANE REET                 KA

                                                 CHINA TOWN                                   RAVI

SACCHAI

AN EVENING IN PARIS

                                                 TEESRI MANZIL                    RDB

BRAHMACHARI

CHOTE SARKAR                  

TUMSE ACHHA KAUN HAI

JAAANE ANJANE

PREETAM

                                                 KASHMIR KI KALI                  OP

SINGAPORE

ANDAZ

                                                 MANORANJAN                      RDB

 

 

 

Though Jaikishan is assosciated with Shammi’s flamboyance it is in films like Ujala in black and white and Professor  in colour that have an articulate rendering of some very melodious songs where Shankar has come out dazzling with numbers like

 

“Ab kahan jaayen hum…….”    and  “Khuli palak me jhootha gussa……. “..

 

can you put your hands on your heart and earnestly tell,

 

“is there a more soulful number than the former

      and a more melodious romantic number than the later.” 

 

 

rgds

ssmurthy

 

 

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