Posts tagged ‘jaikishen’

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)

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Nostalgia from Filmfare (courtesy Shashank Chickermane)

Nostalgianostalgia2

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

A rare photo — Down Memory Lane

Pallavi and Jaikishen with their child

Shankar-Jaikishan gave us the origin of film music as a distinct entity with Barsaat. To date, every singer and composer is following their base or patterns….RADHA HRIDAYNATH MANGESHKAR

Radha Mangeshkar

Radha Hridaynath Mangeshkar-the third generation of the first family of Indian music - the Mangeshkars
Radha Hridaynath Mangeshkar-the third generation of the first family of Indian music – the Mangeshkars

 

By Rajiv Vijayakar

 

 

She represents the third generation of the first family of Indian music – the Mangeshkars. Here is Radha Hridaynath Mangeshkar, whose maiden album Naav Maazha Shaami is making waves, in a candid chat despite a throat infection and an inborn reticence

Your album Naav Mazha Shaami stands out in every sense among the current crop of Marathi albums.

Yes, but that’s because Marathi music has changed so much, and is beginning to sound much more like Bollywood music rather than retaining the essence of our flavour and region. And Naav… does not sound like an album in which only the words are in Marathi and nothing else reflects our culture. I am not saying that this change in Marathi music is bad, but a traditional flavour will definitely stand out. It’s a folk-based album that revives the flavour of Maharashtrian and Goan folk, with some strong poetry and wonderful compositions by my father.

Debut albums tend to be more trend-oriented. Why was this concept decided as your launch vehicle?

Baba (Radha’s father Pt. Hridaynath Mangeshkar) had come up with a beautiful and top-selling album called Maazhi Aavadati Gaani in the late ‘80s. He was planning something along those lines and was looking at the works of several poets. For example, the lead track Maazhyaa Govyaachyaa bhumita is a poem written by B.B.Borkar over 80 years ago and is famous in Goa and Maharashtra, besides being 3 pages long, so Baba had to choose the stanzas. Baba’s friend N.D.Mahanor also sends him his poems regularly and there are poems by Sudhir Moghe as well.

It was Baba who thought that I should sing these songs and in that sense it was not a deliberate launch for me. Saregama came in and one more decision they took against the trend was not having a video made of any track.

Was any poem written specifically for the album?

Yes. Naav mazha Shaami and Bai gele firaayalaa were written by Sudhir Moghe.

Why were you not launched in a Hindi album?

I have been singing on shows since I was a kid, and Marathi music lovers know me. Besides, as I said, the concept was to have a folk album after a very long gap.

Your father is known to be a tough taskmaster and a perfectionist. What was your experience while recording this album?

Baba is a perfectionist, he just does not leave you till you are perfect! But he is very easy to work with – he will cajole more out of you. He will never scold, beat or insult you when you are faltering, he will not even be angry. For this album, I just listened carefully to what he sang and followed him. Besides, he had been working on the compositions for over a year before I came in.

Was any song particularly tough for you?

Every song was tough in a way, because the six songs are in six different moods. So if there is a Koligeet, I am also singing Raag Bhairavi, and if there is a bidaai song there is also Maazhyaa Govyachyaa bhumita. Technically, this last song was a bit tough for me.

How would you describe your relationship with Baba?

I have a three-fold relationship with him. As father and daughter, we have a normal and fun relationship. As my guru, he is the best in the world, and I have been with him for nine years and never needed anyone else. There are people who have different gurus for classical, light classical, folk and so on but I never even thought of having anyone else. I see the world in Baba and he’s my world! Finally, I have been singing on his shows since childhood, and when he is my composer or co-singer, we are perfect professionals. I think that we handle all three aspects well!

What has he to say about your singing? And how will you rate yourself on this album?

Baba would not have even recorded with me if I had not satisfied him. He is not very generous with compliments though! (Smiles) Of course it’s natural that I feel I could have done better, but I can confidently state that I haven’t spoilt any of the beautiful tunes that Baba has composed!

Is he your favourite composer as well?

Of course! Who matches his genius and track-record in Marathi music? His Hindi songs are also fabulous.

How ambitious are you? Is playback in Hindi on your agenda?
I am ambitious, but I am not obsessed with a specific goal. I just want to be known as a singer. I will not run after playback but if I am offered songs, I will do them. I have just recorded a song for an untitled film that Baba is doing in Marathi. I do not believe in planning because that does not work. It’s two in the afternoon now and neither you nor I can predict what will happen to us an hour later, so how can I plan months or years ahead?

 

 

You performed at Rahman’s concert recently.

I was to sing his Jiya jale and I rehearsed the song but I could not perform due to time constraints.

How was it working with him?

Among today’s composers, he is the only one who has shown consistency and I like his music. He was not actively involved with my rehearsals though he was present.

Who are your favourite composers among the seniors?
My all-time favourites are Shankar-Jaikishan, and it is sad that today’s generation isn’t aware of their work and are forgetting them. The media is promoting just one or two composers from among the legends, which is not right. Even today when I hear a Hai na bolo bolo from Andaz, I can sense their calibre in the individual violin and other pieces and the way they have been composed and integrated, even though the song is nowhere among their best. Their versatility is phenomenal. I also particularly love the works of Laxmikant-Pyarelal and Madan Mohan.

 

 

Do you regret coming in an era when you cannot sing for them or any other legends?
Well, if I could have sung for Shankar-Jaikishan, I wouldn’t have minded missing out on all the others!

 

 

And what about singers?

Who else but Lata Mangeshkar? Among male singers Rafisaab of course – and once again, it’s very sad that people are starting to forget him too. Among today’s singers, I think Sunidhi Chauhan sings whatever she sings very well and Kumar Sanu, though he is barely singing today, is a favourite because of his expression of emotions and because he is perfectly in sur. I like Sonu Niigaam, Shreya Ghoshal, Sukhwinder Singh and Kailash Kher too. Among the Western singers, I adore John Lennon and the Beatles.

What did Lataji have to say about your singing?

She liked my album a lot. She said that it was a well-sung album.

In the song Thakun basli maay ga, you sound remarkably like the Lata of the early ‘50s.

I don’t agree at all if you mean the voice quality, because I want to be Radha Mangeshkar and my voice is quite different. But what you probably found similar was the element of gaayaki. To me, the epitomes of classic singing are only Lata Mangeshkar and Noorjehan. There are only two singers to whom I look up too and follow for their sheer expression and vocal throw. In the world of playback singing, there was nothing distinctive till the early ‘40s. The utpatti (origin) happened with Noorjehanji and within a few years came Lata Mangeshkar. In 1949, similarly, Shankar-Jaikishan gave us the origin of film music as a distinct entity with Barsaat. To date, every singer and composer is following their base or patterns, and let’s face it, there is no choice but to follow them!

You seem to have made your own profound study of Hindi film music down the decades.

I have, because I am very much into music. Look at even the classical songs of S-J – they never sounded like the typical classical songs, and yet they were pure classical too and yet had that unique film flavour. Today, everyone feels that Sunidhi Chauhan is not following any school, but the trained music listener will realise that Sunidhi, even if unconsciously, is following the same Lata Mangeshkar school. As I said, there is no getting away from it!

COURTESY : http://www.screenindia.com/news/generationx/478279/

Please visit the site and post your comments

Enjoy her songs of the album, click here

http://www.in.com/music/track-thakun-basali-maay-ga-380013.html

LANDMARK BREAKING NEWS

[ To view Attachment(s) from Shahrukh Khan please click on http://launch.groups.yahoo.com/group/shankarjaikishan/%5D

Friends …This is LANDMARK BREAKING NEWS! Date: 21-05-2009 at 9:00AM

Venue: Jaikishan’s native village VANSADA near Valsad in South Gujarat.

Event: A grand statue of Jaikishan will be unveiled by Music Director Anandji (of Kalyanji-Anandji) .

The whole project of honouring Jaikishan was initiated and fully supported by Pujya Swami Sachhidanandji of Gujarat.

Swamiji is not only a fan of Shankar Jaikishan but was inspired to do all this after he read Dr.Padmanabh Joshi’s biography of SJ.

Attached are the photographs of the statue and title of the booklet on Jaikishanji authored by Dr. Padmanabh Joshi. These have also been hosted on our YAHOO group home page. All group members are hereby cordially invited for the unveiling ceremony and lunch after the function.

In SJ’s Diamond Jubilee year – nothing more fitting or grand could have been conceived and created!

All credit to Dr.Padmanabh Joshi and Swami Sachchidananda for making this great landmark event happen!

Look forward to ALL SJ fans attending it!

oshahrukhthegreat@gmail.com

2 of 2 Photo(s)

Musician of Musicians Shankerji (of Shanker-Jaikishen duo)

Musician of Musicians Shankerji (of Shanker-Jaikishen duo)

We pay our tribute to Shankar ji on his 22nd death anniversary (26th April, 2009)

Today is the saddest day for fans and lovers of Shanker-Jaikishen. Shankerji left this selfish world on 26th of April 1987.

After sad demise of his partner Jaikishan in 1971, suddenly Shankerji found himself isolated in this world. His close friend and lyricist Shailendra had already passed away much earlier, which gave Shanker the first shock. Since then Shanker was in search of lyricist like Shailendra and tried too many lyricist for him like Neeraj, Verma Malik, Kaifi Azmi, Majrooh Sultanpuri, Rajendra Krishna, Farooq Kaisar, etc etc. But Jaikishan’s death was big loss to their banner as well as to Shanker, who had lost his brother in Jaikishan.

Second big jolt came from Raj Kapoor who was mentor of SJ. He deserted Shanker when he choose LP for his film Bobby. The impact of this was great. People who were innocent about making of music started to believe that without Jaikishan, Shanker was nothing. And when Raj Kapoor has deserted Shanker, then there should be some truth behind the rumour that Jaikishan was the active partner in ‘Shanker-Jaikishen’ banner. Though the fact was totally different most of the songs in RK banner are contribution of Shanker. Even few RK films had one composition by Jaikishen. But it can also be said that there was nothing Shanker’s music or Jaikishan’s tune. These were Shanker-Jaikishen tunes. But fact is fact. And it is also a sad episode as to why Raj ji deserted Shanker and did not remember him even for the subject like Ram Teri Ganga… and Satyam Shivan Sundaram……the last one SSS was the musically weakest film by RK.

On the Second hand people with vested interests began to spill beans against Shanker and a planned campaign was there to establish him non professional and rude. It was also publicised that now Shanker would not be able to give music. They wanted to break his peresonality and the genius Shanker as well but he was always a fighter. He fought for right of musicians of his orchestra, which benefited them as enhanced rate for them. He fought for his ideology and prerogativity of a Music Director to choose befitting singer for his composition. He was not part of any ‘liquor club’. He fought for better fee for better work. And when after being deserted by RK and then Shammi Kapoor left him for RD in his directorial debute ‘Manoranjan’, Gradually other producers/banners switched their loyalties to other music directors, for the heroes/stars with which SJ were associated like Rajendra Kumar, Shammi Kapoor, Raj Kapoor were not in demand and new era of other actors had by then started. Shankerji was too strong to refuse to bow down. He continued to give music in films whichever came to him. He gave hit music in Sanyasi, Lal Patthar, Do Jhooth, Dil Daulat Duniya, Duniyadari etc. Even a non-starrer film ‘Jangal Mein Mangal’ had a nice tune, “Tum Kitni Khoobsoorat ho…” did any of his critics heart that song?

But here too he had to adjust with the producers’ demand to curtail the size of his orchestra which was the main power of his style of music. The effect reflected in his music. But in no case, his tunes were weak. He had started changing of style of his music in few films like ‘Love in Bombay’, ‘Chorni’, ‘Eeint Ka Jawab Patthar’, ‘Door Naheen Manzil’, “Dhoop-Chhaon” but the bad luck was after him. None of these films could either see light of silver screen or could get success inspite of having big stars. (I am giving one clip from his last recorded song for the film GORI, listen to the song and you will be stunned to feel the resembleness of this song with other song which was recorded much after Shankerji’s death in Amitabh starrer film, you may easily guess the song and the film)

He did not quit giving music like Anandji (of Kalyanji-Anandji) or Pyarelal (of Laxmikant-Pyarelal). But he could not gain his name and fame back, though he was planning to come with big bang, but God was in need of him because Shailendra and Jaikishen were with him but not Shankar. And he summoned him on this unfateful day.

His family members, in protest of selfishness of this industry, did not inform anybody from filmworld about his death. Shanker’s last journey could not be attended by even of his ardent fans. He went unsung. But he will remain in hearts of crores of SJ fans.

Long Live Shanker, Long live Jaikishen, Long live Shanker-Jaikishen

Members of shankarjaikishan group on Yahoo met with Living Legend Manna Dey on 10th of March 2009 in connection with a show on SJ+Manna Dey combo

Dear all

It gives me immense pleasure to inform you that members (stationed in Bangalore) of Shankarjaikishan Group on Yahoo met with Hon’ble Manna Dey at his residence in Bangalore in connection with seeking his help in organizing An Evening with Manna Dey in memory of Shankar Jaikishan. Shri Hitesh Mehta who lead this group of members gave a short brief (addressed to the members of the group) of the meeting which are as under :

Sr. membeer of the SJGroup Shri Rajprakash Ratnam ji with Manna Daa

Sr. membeer of the SJGroup Shri Rajprakash Ratnam ji with Manna Daa

Finally we met with Living Legend:


Manna Dey gave time of 5:30 pm to meet at his house and we four-myself, Vijay Kumar, Rajprakash Ratnam and Abhilasha- were there at sharp 5:30. We thought we would meet him for 15 minutes or maximum half an hour and would give introduction of our group and take his time for meeting with larger SJ group But we came out from his home at around 7:30 pm! Initially he was not keen to talk much but when we talked about our group and our efforts to keep memories alive of SJ, he became nostalgic and then flow of discussion continued for almost two hours.


Manna Dey touching 90 years, but still fit and still giving stage shows-though very selectively. He is in pink of his health and informed us that he would be happy to meet SJ fans anyday in next two month except 15 April (he is singing at program in Kolkata that day), 1 may-which is his Birthday and 10 may when he would be singing in a program at Bangalore. He is planning to go to London later in June for a program.


Please note that I am just narrating his wordings, these are not ours plan or thinking. We know that roping Lata for any program is almost impossible for us monetorily or otherwise but that was his opinion that 60th years celebration of SJ should involve Lata and Asha as they worked closely and for long with SJ.

Great Singer Manna Dey for Great  music maestros Shanker-Jaikishen and for us a Great fan of both Shri Rajprakash Ratnam ji with the living legend

Great Singer Manna Dey for Great music maestros Shanker-Jaikishen and for us a Great fan of both Shri Rajprakash Ratnam ji with the living legend

When we informed him that this is 60th year of SJ’s music and we want to do something, he got very happy and spoke one sentence which will make whole group very happy-his exact words were ” I will be indebted to Shankar till my last breath for break he gave to me”. He asked to do some big program instead of just making small meetings and discussion and suggested to meet Ameen Sayani to take his suggestion. He was having high praise for Ameen Sayani and even gave his mobile no. He even went to extent that he suggested us to meet Lata Mangeshkar as according to him SJ had big role in shaping Lata’s career and SJ made maximum songs for Lata so she should help in any such program in memory of SJ and even if she doesn’t sing, her presence itself would make program big.


He was impressed with our knowledge of hindi film music as he didn’t expect that we would know so much about old songs and his songs-and for that credit goes to Raj Prakash Ratnam and Vijay Kumar who remembered so many songs of him and theirs picturaisations etc.

One of our strength and die hard SJ fan Abhilasha ji with the living legend on that occasion

One of our strength and die hard SJ fan Abhilasha ji with the living legend on that occasion

There are many more things he talked which I would like to share in next email as I am getting sleepy. We took some pictures with him and his autographs too which also I try to scan and upload on group. Please wait for my next email.


It was memorable meeting, I never imagined that I would meet someday with any singer who was contemporary of Mukesh, Rafi, Lata and kishore and who worked with SJ and other greats.


Regards


Hitesh

————————————————————————–

Hi all,

ARE YOU READY TO COME WITH ME ? JUST SEE THE blogrolls AT RIGHT SIDE OF THIS BLOG AND YOU WILL GET SO MANY INTERESTING SITES DEDICATED TO THE KINGS OF MUSIC; YES! YOU ARE RIGHT TO GUESS – SHANKAR-JAIKISHAN, INDEED, AND WHOEVER ELSE DESERVE ?

THE SELFISH PEOPLE IN THE MUMBAI (BOLLYWOOD) FILM WORLD WILL FORGET THEM. THESE UNGRATEFUL PEOPLE WILL NOT EVEN MENTION SJ’s CONTRIBUTION TOWARDS THEIR OWN UPLIFTMENT. BUT S-J WILL REMAIN IMMORTAL IN THE HEARTS OF CRORES OF FANS…YOUR FANS WILL NOT FORGET YOU SHANKAR-JAIKISHAN NOR LET THE WORLD FORGET YOUR CONTRIBUTION TOWARDS ENRICHING THE MUSIC OF HINDI CINEMA,

Sudarshan Pandey

Combination of Shankar Jaikishan with Mehmood and Rafi

 Contributed by: Shri Souvik Chatterji

 

Shankar Jaikishan had always been known to set trends and not follow any existing system created by the other compositions. SJ used Lata to her limit in Barsaat in the late 40s, during a time when the other female singers like Noorjahan, Suraiya, Samshad Begum, Rajkumari were also prominent in singing playback songs in bollywood films. SJ never stuck one single team and that was one of their secrets of success in bollywood films. In respect of Mehmood, it was a tradition for most of the composers to use Manna Dey to sing for Mehmood, most of which were very very successful. SD Burman used Manna Dey to sing “duniya bananewale” in the film Ziddi for Mehmood, where he used Rafi to sing the songs for Joy Mukherjee like “bolo bolo, aye dildaar”, etc. RD Burman used Manna Dey to sing the songs “sawaariya” and “ek chaturnaar” in the film Padosan for Mehmood. LP used Manna Dey to sing “o mere maina” in the film Pyar Kiye Ja, for Mehmood. There are numerous other examples where Manna Dey was used by the composers to suit Mehmood. Shankar Jaikishan had something else in mind. He used Manna Dey in very serious classical songs like “sur na saje” in Basant Bahar, emotional songs like “tu pyar ka sagar hai” in Seema, or folk songs like “chalet musafir” in Teesri Kasam. When it came to Mehmood, SJ experimented with Rafi, and those songs probably are considered the most successful songs of Mehmood in his entire career. The song “ajahu na aye balma sawan bita jai” in the film Saanjh Aur Sawera, picturized on Mehmood, stands out as one of the most classically oriented compositions of SJ for Rafi. The song had both appeal for the mass and also the class. The song “hum kale hai to kya hua dilwale hai” in Gumnaam, became a trademark song of Mehmood. Rafi almost reproduced the style of dialogue throwing of Mehmood in the song and it appeared to the masses that the song was sung by Mehmood himself. SJ used Rafi to sing the song “mai rickshawala” in the black and white era in the film Choti Bahen, during a time when Mehmood’s image was not created. Mehmood almost made people cry in the film and the credit goes to Rafi’s emotions in the song. In the film Zindagi, Rafi’s song for Mehmood titled “ghungharwah mora cham cham baje”, became big hit. The other hit songs of Rafi for Mehmood composed by SJ include “o gori chalona hans ki chaal”, “zindagi mujhko dikhade raasta”, “mai hoon jaani tera”etc. Rafi’s presence was felt in the films Beti Bete, Bhai Bhai, etc. where Mehmood had prominent roles and SJ composed the music of those films. Even the song “bakhma bakhma” in the film Shatranj became successful. Even in the duets that were sung for Mehmood, SJ created a new trend in allowing Suman Kalyanpur to sing some of the songs with Rafi or Sharda to sing some of them, in addition to Lata who had sung around 440 duets with Rafi during the golden age. The songs and the films of the legendary combination of Shankar Jaikishan, Rafi and Mehmood should be restored for their filmic appeal and versatile creations.

** ** ** **

souvik1

I am grateful to Mr. Souvik Chatterji who has written this article specially for this blog. —-sudarshan pandey

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