Rafisahab version songs with Sumanji Lataji Geetaji made the films super hit.

The Male and female version songs of Rafisahab with Lataji and other singers were masterpieces. By: Dr Souvik Chatterji During the 1950s and 1960s there were many landmark male and female version songs created by composers and poets. The version songs of Rafisahab were masterpieces. Shankar Jaikishanji used Rafisahab in the song “ehsan tera hoga mujhpar” for Shammi Kapoorji in film Junglee in 1961. The same song had Lataji effect for Saira Banuji in the film. Roshanji used Rafisahab in the version song in film Barsaat Ki Raat, where the title song composed by Bharat Bhushanji became blockbuster hit. Lataji sang the version song for Madhubalaji in the film. Naushadji used Rafisahb in Rajender Kumarji song “mere mehboob tujhe meri muhabbat ka kasam” in film Mere Mehboob in 1963. Lataji sang the version song for Sadhnaji in the film. Shankar Jaikishanji used Rafisahab for Dharmenderji version of song “gar tum bhula na doge” where Lataji sang the Sharmilaji version. Rafisahab sang Pradip Kumarji song “dil jo na keh saka” composed by Roshanji in film Bheegi Raat in 1965. Meena Kumariji version was sung by Lataji in the film. In film Mamta in 1966, Suchitra Senji song “rahe na rahe hum” was sung by Lataji. The same song in a different version for Ashok Kumarji was sung by Rafisahab and Suman Kalyanpurji. In Shammi Kapoorji film Pagla Kahin Ka, Rafisahab song “tum mujhe bhula na payoge” was very brilliant where Lataji sang the Asha Parekhji version. In Balraj Sahaniji film Bhabhi, Rafisahab song “chal ur ja re pachi” was created was theme song in film Bhabhi composed by Chitraguptji in 1958. Talatji also sang the same song recorded for Bhabhi. In Joy Mukherjeeji film Love in Tokyo, in 1966, Shankar Jaikishanji composed “o mere shahe khuba” sung by Rafisahab. Lataji sang the version song for Asha Parekhji. In Sunil Duttji film Chirag, Rafisahab sang the song “teri ankhon ke siwa” composed by Madanmohansahab. Lataji sang the version song for Asha Parekhji. In Guru Duttji film Aar Paar, in 1954, Rafisahab sang duet song “sun sun sun sun zalima” composed by OP Nayyarji. Geeta Duttji sang the version song for Shyamaji in the same film. The list goes on. The songs really matched the sequences in the films and the composers also utilized the brilliance of Rafisahab and other singers very well.

The version songs of Rafisahab with Geetaji Lataji Sumanji made the films superhit

The Male and female version songs of Rafisahab with Lataji and other singers were masterpieces. By: Dr Souvik Chatterji During the 1950s and 1960s there were many landmark male and female version songs created by composers and poets. The version songs of Rafisahab were masterpieces. Shankar Jaikishanji used Rafisahab in the song “ehsan tera hoga mujhpar” for Shammi Kapoorji in film Junglee in 1961. The same song had Lataji effect for Saira Banuji in the film. Roshanji used Rafisahab in the version song in film Barsaat Ki Raat, where the title song composed by Bharat Bhushanji became blockbuster hit. Lataji sang the version song for Madhubalaji in the film. Naushadji used Rafisahb in Rajender Kumarji song “mere mehboob tujhe meri muhabbat ka kasam” in film Mere Mehboob in 1963. Lataji sang the version song for Sadhnaji in the film. Shankar Jaikishanji used Rafisahab for Dharmenderji version of song “gar tum bhula na doge” where Lataji sang the Sharmilaji version. Rafisahab sang Pradip Kumarji song “dil jo na keh saka” composed by Roshanji in film Bheegi Raat in 1965. Meena Kumariji version was sung by Lataji in the film. In film Mamta in 1966, Suchitra Senji song “rahe na rahe hum” was sung by Lataji. The same song in a different version for Ashok Kumarji was sung by Rafisahab and Suman Kalyanpurji. In Shammi Kapoorji film Pagla Kahin Ka, Rafisahab song “tum mujhe bhula na payoge” was very brilliant where Lataji sang the Asha Parekhji version. In Balraj Sahaniji film Bhabhi, Rafisahab song “chal ur ja re pachi” was created was theme song in film Bhabhi composed by Chitraguptji in 1958. Talatji also sang the same song recorded for Bhabhi. In Joy Mukherjeeji film Love in Tokyo, in 1966, Shankar Jaikishanji composed “o mere shahe khuba” sung by Rafisahab. Lataji sang the version song for Asha Parekhji. In Sunil Duttji film Chirag, Rafisahab sang the song “teri ankhon ke siwa” composed by Madanmohansahab. Lataji sang the version song for Asha Parekhji. In Guru Duttji film Aar Paar, in 1954, Rafisahab sang duet song “sun sun sun sun zalima” composed by OP Nayyarji. Geeta Duttji sang the version song for Shyamaji in the same film. The list goes on. The songs really matched the sequences in the films and the composers also utilized the brilliance of Rafisahab and other singers very well.

The Rafisahab version songs were as masterpieces as the female versions of Geetaji, Lataji, Sumanji.

The Male and female version songs of Rafisahab with Lataji and other singers were masterpieces. By: Dr Souvik Chatterji During the 1950s and 1960s there were many landmark male and female version songs created by composers and poets. The version songs of Rafisahab were masterpieces. Shankar Jaikishanji used Rafisahab in the song “ehsan tera hoga mujhpar” for Shammi Kapoorji in film Junglee in 1961. The same song had Lataji effect for Saira Banuji in the film. Roshanji used Rafisahab in the version song in film Barsaat Ki Raat, where the title song composed by Bharat Bhushanji became blockbuster hit. Lataji sang the version song for Madhubalaji in the film. Naushadji used Rafisahb in Rajender Kumarji song “mere mehboob tujhe meri muhabbat ka kasam” in film Mere Mehboob in 1963. Lataji sang the version song for Sadhnaji in the film. Shankar Jaikishanji used Rafisahab for Dharmenderji version of song “gar tum bhula na doge” where Lataji sang the Sharmilaji version. Rafisahab sang Pradip Kumarji song “dil jo na keh saka” composed by Roshanji in film Bheegi Raat in 1965. Meena Kumariji version was sung by Lataji in the film. In film Mamta in 1966, Suchitra Senji song “rahe na rahe hum” was sung by Lataji. The same song in a different version for Ashok Kumarji was sung by Rafisahab and Suman Kalyanpurji. In Shammi Kapoorji film Pagla Kahin Ka, Rafisahab song “tum mujhe bhula na payoge” was very brilliant where Lataji sang the Asha Parekhji version. In Balraj Sahaniji film Bhabhi, Rafisahab song “chal ur ja re pachi” was created was theme song in film Bhabhi composed by Chitraguptji in 1958. Talatji also sang the same song recorded for Bhabhi. In Joy Mukherjeeji film Love in Tokyo, in 1966, Shankar Jaikishanji composed “o mere shahe khuba” sung by Rafisahab. Lataji sang the version song for Asha Parekhji. In Sunil Duttji film Chirag, Rafisahab sang the song “teri ankhon ke siwa” composed by Madanmohansahab. Lataji sang the version song for Asha Parekhji. In Guru Duttji film Aar Paar, in 1954, Rafisahab sang duet song “sun sun sun sun zalima” composed by OP Nayyarji. Geeta Duttji sang the version song for Shyamaji in the same film. The list goes on. The songs really matched the sequences in the films and the composers also utilized the brilliance of Rafisahab and other singers very well.

The Rafisahab version songs as male were brilliant with the female version songs sung by Lataji, Geetaji, Sumanji.

The Male and female version songs of Rafisahab with Lataji and other singers were masterpieces. By: Dr Souvik Chatterji During the 1950s and 1960s there were many landmark male and female version songs created by composers and poets. The version songs of Rafisahab were masterpieces. Shankar Jaikishanji used Rafisahab in the song “ehsan tera hoga mujhpar” for Shammi Kapoorji in film Junglee in 1961. The same song had Lataji effect for Saira Banuji in the film. Roshanji used Rafisahab in the version song in film Barsaat Ki Raat, where the title song composed by Bharat Bhushanji became blockbuster hit. Lataji sang the version song for Madhubalaji in the film. Naushadji used Rafisahb in Rajender Kumarji song “mere mehboob tujhe meri muhabbat ka kasam” in film Mere Mehboob in 1963. Lataji sang the version song for Sadhnaji in the film. Shankar Jaikishanji used Rafisahab for Dharmenderji version of song “gar tum bhula na doge” where Lataji sang the Sharmilaji version. Rafisahab sang Pradip Kumarji song “dil jo na keh saka” composed by Roshanji in film Bheegi Raat in 1965. Meena Kumariji version was sung by Lataji in the film. In film Mamta in 1966, Suchitra Senji song “rahe na rahe hum” was sung by Lataji. The same song in a different version for Ashok Kumarji was sung by Rafisahab and Suman Kalyanpurji. In Shammi Kapoorji film Pagla Kahin Ka, Rafisahab song “tum mujhe bhula na payoge” was very brilliant where Lataji sang the Asha Parekhji version. In Balraj Sahaniji film Bhabhi, Rafisahab song “chal ur ja re pachi” was created was theme song in film Bhabhi composed by Chitraguptji in 1958. Talatji also sang the same song recorded for Bhabhi. In Joy Mukherjeeji film Love in Tokyo, in 1966, Shankar Jaikishanji composed “o mere shahe khuba” sung by Rafisahab. Lataji sang the version song for Asha Parekhji. In Sunil Duttji film Chirag, Rafisahab sang the song “teri ankhon ke siwa” composed by Madanmohansahab. Lataji sang the version song for Asha Parekhji. In Guru Duttji film Aar Paar, in 1954, Rafisahab sang duet song “sun sun sun sun zalima” composed by OP Nayyarji. Geeta Duttji sang the version song for Shyamaji in the same film. The list goes on. The songs really matched the sequences in the films and the composers also utilized the brilliance of Rafisahab and other singers very well.

Remembering Salil Choudhury.

Salil Choudhury, Talat Mehmood. Salil Choudhury, noted scholar, poet, composer and literary giant was remembered on his death anniversary on 5th September, 2012. He was also remembered on his birthday on 19th November, 2010. As he was a versatile scholar, his scholarly attributes were reflected in his creations. He was both the lyricist and the composer and numerous songs sung by legendary singers over 50 years. His creation “ami parini bujhite parini” and “tumi jaante” for Manobendra Mukherjee were created with two different andaz, one having classical orientation while the other having westernized treatment. His creation “jhanana jhanana baje” and “antabihin oi andharater shesh” for Dhanonjoy Bhattacharya showed his class in handling classical singers. On the other hand his strength in folk songs were evident in his song “sunayoni sunayoni” sung by Nirmalendu Choudhury and Sabita Choudhury. Nirmalendu became famous all across the world with his folk numbers. Salil Choudhury hugely experimented with Shymal Mitra in songs like “jadi kichu amare shudhao”, “aha oi ankabanka poth jai shudure”, “dur nai beshi dur oi”, “ja jare ja ja pakhi”, to name a few. In “jadi kichu amare shudhao”, Salil Choudhury’s orchestration was unique, half of the song was blank verse while the other half had musical treatment. Salil Choudhury used the different playback singers in Bengal and explored their talents to the brim. Some of the great compositions include “eso kache boso” sung by Tarun Banerjee, “pallabini go sancharini” sung by Dwijen Mukherjee, “Jodi jante go tumi jante” sung by Manobendra Mukherjee, “jai jai din” sung by Biswajeet Chatterjee, to name a few. The list can go on. Salil Choudhury created a gem with the song “nil nil pakhi” for Sandhya Mukherjee. Besides, bengal’s literary community were astonished with Salil Choudhury conversion of famous poetry “ujjal ek jhak paira” sung by Sandhya Mukherjee into song. The poet’s feelings were translated into musical tune by sheer brilliance of Salil Choudhury. Other examples of converting legendary poems into songs include “runner” written by Shukanto Bhattacharya and “palki chole” written by Satyendranath Dutta which were sung by Hemanta Mukherjee which both became history. In “runner” the march of the postman on foot from remote corners of village was given adequate expression by Salil Choudhury. Salil Choudhury’s national fame allowed him to do numerous experiments with bollywood singers like Mukesh and Lata. Articles after articles can be devoted to Lata Salil Choudhury creations in Bengali. Mukesh also sung hit song “jhum jhum pakshi nachona” composed by Salil Choudhury. Salil Choudury created his masterpieces in Bengali films as well like Shyamal Mitra’s song “onek ghuriya sheshe” in Hrithik Ghatak’s film Bari Theke Paliye, Nirmalendu Choudhury’s song “sojoni o sojoni” and Manna Dey’s “uthali pathali amar buuk” in Rajen Tarafdar’s film Ganga. Besides his song “he bhai re bhai” and “baje go beena” sung by Manna Dey in the film Marjina Abdulla made the listeners speechless. Even Lata’s song “bujhbe na keu bujhbena” was equally popular. Bimal Roy’s film Do Bigha Zameen was based on Salil Choudhury’s literature. His music in the films Do Bigha Zameen, Madhumati, Musafir, Parakh, Jagte Raho, Anand, Maya, Rajnigandha, etc., stand out as landmarks in Indian film history. He received filmfare award for brilliant performance in the film Madhumati. All the songs in the film including Lata’s “aja re”, “ghari ghari”, Rafi’s “tute hue khwabonme”, “jangal me mor nacha”, Mukesh’s “dil tarap tarap ke”, “suhana safar aur mausam hasin” touched the souls of numerous Indians in the late 50s. Other notable songs of Salil Choudhury in bollywood films include “tasveer teri dil me” from Maya, “zindagi kaisi hai paheli hai”, “kahin dur jab din dhal jaye” from Anand, “rajnigandha” from Rajnigandha, “jago mohan pyare” from Jagte Raho, “dil tadpe tadpaye” from Poonam Ki Raat, to name a few. Bengal and India was as a whole was indebted to a maestro like Salil Choudhury and several researches can be undertaken for finding out the history behind his creations. One article is not enough to reiterate the immortal works of the giant creator. The creations should be preserved and restored.

Dilip Kumar and Raj Kapoor were excellent in the film Andaz.

Dilip Kumar, Raj Kapoor and Nargis in Andaz. Dilip Kumar and Raj Kapoor were excellent in the film Andaz. Andaz was a super hit film released in 1949. It was the second greatest hit bollywood film of 1949 after Barsaat. Mehboob Khan directed the film. The music of the film had been composed by Naushad Ali. In the film Nargis was the daughter of a rich businessman played by Murad. Dilip Kumar saved her from a horse when she was riding the horse. From that time Nargis and her friend Cuckoo became fan of Dilip Kumar. The relationship became closer. On the day when Dilip Kumar wanted to tell Nargis about his attachment, her father got a heart attack and died. Nargis made Dilip Kumar partner of the family business. At that time Raj Kapoor came from London. Dilip Kumar came to know that Nargis and Raj Kapoor’s marriage was previously fixed. Raj Kapoor married Nargis. Dilip Kumar presented a doll to Nargis and Raj Kapoor’s daughter on her birthday. In that doll Dilip Kumar mentioned that Nargis loved Raj Kapoor and not Dilip Kumar. One day when Nargis told that she did not love the partner, Raj Kapoor heard it thinking that she told about him. But she mentioned it about Dilip Kumar. Raj Kapoor suspected Nargis of having relationship with Dilip Kumar and in a confrontation hit Dilip Kumar and left with his daughter. Nargis brought a doctor and Dilip Kumar after recovery in rage wanted to molest Nargis. Nargis killed him with a gun and got imprisoned. At the end of the film Raj Kapoor read the letter written by Dilip Kumar and met with Nargis in the prison. Naushad Ali gave excellent music in the film. Mukesh’s song “tu kahe agar”, Rafi and Lata’s duet song “yuh to aapas me bigadte hai” became super hit. Majrooh Sultanpuri wrote the lyrics of the film. Nargis, Raj Kapoor and Dilip Kumar were excellent in the film. This was the only film where the titans Dilip Kumar and Raj Kapoor acted together. Very significantly Dilip Kumar and Raj Kapoor showed that they were going to rule bollywood industry for another 30 years. They remained the greatest stars India had ever produced and were the rulers of the 1940s, 1950s, 1960s. The film should be preserved and restored.

Manoj Kumar was excellent in the film Hariyali Aur Raasta.

Mala Sinha, Manoj Kumar, Hariyali Aur Raasta Actor Manoj Kumar and Mala Sinha were excellent in the film Hariyali Aur Raasta. The film was released in 1962. It was directed by Vijay Bhatt and Produced by Shankarbhai Bhatt. The film ended up being the 4th biggest hit film in the year 1962. In the film Manmohan Krishan was given the charge of maintaining the estate of his friend who died. He brought up his daughter Mala Sinha and his friend’s son Manoj Kumar. In the childhood itself the marriage of Manoj Kumar was fixed with Sashikala, the friend of Manoj Kumar’s father. When both Manoj Kumar and Mala Sinha grew they fell in love with each other. But due to the word given by Manmohan Krishan he got Manoj Kumar married to Shashikala. Their marriage failed. Shashikala was an upstart woman who was involved with only clubs, societies and never cared for her child. At the end of the film when the child ran towards a cliff, Shashikala fell down from a hill and died. Manoj Kumar accepted Mala Sinha as wife at the end of the film. Apart from powerful performances from the character artists like Manmohan Krishan, Om Prakash the greatest asset of the film was the excellent music composed by Shankar Jaikishan. All the songs in the film became smash hits like “ibteda-e-ishq me hum”, “ye hariyali aur ye raasta”, “laakh tare aasman me” sung by Mukesh aur Lata, “kho gaya hai mera pyar” sung by Mahendra Kapoor, to name a few. Half of the business of the films in the 60s was done due to the brilliance of Shankar Jaikishan who had always been unsung and unwept. They really did magic in the 50s and 60s. The film should be preserved for the good story, powerful acting and excellent and immortal music.

Manoj Kumar was sublime in horror thriller Gumnaam.

Manoj Kumar, Nanda in Gumnaam The film Gumnaam was the eighth biggest blockbuster of bollywood films of 1965. The film was directed by Raja Nawathe. The music of the film was composed by Shankar Jaikishan and the music created havoc. Manoj Kumar and Nanda were excellent in their roles. The film was based on the horror story of Agatha Christie titled “And then there were none”. In the film Tarun Bose was a criminal who called up seven persons to an unknown island in a chartered flight to take revenge on the act of the uncle of Nanda. He cheated Tarun Bose, send him in prison and did not give him his share of smuggled money. It was not possible for anyone of the them to swim across the sea to reach Mumbai back. Tarun Bose killed Madan Puri, Manmohan, Dhumaal, Helen, Pran one after the other. At the end of the film Manoj Kumar, the CID inspector arrested Tarun Bose after he disclosed the truth relating to each and every murder. Mehmood and his sister Chand Usmani came to the island by boat. Mehmood played the role of a butler and did a great job. All the artists Tarun Bose, Helen, Pran, Dhumaal did an excellent job. The music of Shankar Jaikishan made everyone mad. The first song of Mohammad Rafi “jaan pehchaan ho” was used by Hollywood film Ghost World. All the songs in the film created magic. Rafi’s solo “ek ladki hai jisne jeena mushkil kar diya”, “hum kale hai to kya hua dilwale hai” created magic. The duet song of Rafi and Sharda “jaane chaman shola badan” had intoxicating effect. Lata’s songs “gumnaam hai koi”, “is duniya me jeena hai to” became smash hit. Asha Bhosle and Usha Mangeshkar’s song “peeke hum tum” became big hit. Manoj Kumar excelled in crime thrillers like Wo Kaun Thi. Gumnaam was one of his greatest hits in his illustrious career. Shankar Jaikishan always had created magic. Gumnaam was no exception. Viewers should see the film.

Meena Kumari, Raj Kumar and Nadira were outstanding in Dil Apna Aur Preet Parayi.

Dil Apna Aur Preet Parayi. Meena Kumari, Raj Kumar and Nadira were outstanding in the film Dil Apna Aur Preet Parayi. The film was released in 1960. It was directed by Kishore Sahu. In the film Raj Kumar played the role of a notable doctor. Meena Kumari was a nurse in his hospital with whom Raj Kumar fell in love. But his mother asked him to marry Nadira against the wishes of Raj Kumar. The reason was that Nadira’s father had contributed a lot for higher education of Raj Kumar. Nadira suspected Raj Kumar to still have affair with Meena Kumari. Due to Nadira’s insistence Raj Kumar failed to go to hospital to treat Om Prakash, who died out of cancer. Meena Kumari left the hospital to avoid scandal. But Nadira came back and to take revenge boarded Meena Kumari and took her in long drive and the car met with an accident. Nadira fell in water and drowned. Raj Kumar saved Meena Kumar in the water. The fell ended up being one of the best 6 super hit films of 1960. The music of Shankar Jaikishan made everyone spellbound. Shankar Jaikishan received filmfare award for the best composer in 1960 for the composition of music in this film. Lata’s songs “sheeshe-e-dil itna na uchalo”, “dil apna aur preet parayi”, “mera dil ab tera ho sajna”, “ajeeb dastan hai yeh” and Rafi’s song “jane kahan gayi” became immortal hits. Excellent performance of Raj Kumar and Meena Kumari and Nadira made the film immoral. If Nadira’s villanish performance caught attention, Meena Kumari’s soft spoken aristocratic performance made the viewers mesmerized. The character artists in the film Om Prakash, Shammi, Baby Naaz, Tuntun and others require special mention. The film should be restored.

Biggest bollywood hit films of 1960.

Dilip Kumar, Madhubala Mughal-i-azam.

Biggest bollywood hit films of 1960.

Bollywood films had done business all over India over the last 60 years. In 1960 different types of films were released. In that year the biggest blockbuster was Mughal-i-Azam.

Dilip Kumar and Madhubala were the leading artists of the film Mughal-i-Azam. It was a historical film depicting the history of Akbar, Jehangir and Anarkali. Very significantly Dilip Kumar, popularly known as Tragedy King ruled the team of bollywood actors with his realistic acting. Naushad Ali’s excellent music and Rafi, Lata’s melodious songs in the film was a treat for the years of the audience.

The second biggest hit film of 1960 was Barsaat Ki Raat. Bharat Bhusan and Madhubala were the leading artists of the film. Excellent music composed by Roshanlal Nagrath was added attraction for the viewers. Rafi’s song “zindagi bhar nahi bhulegi wo barsaat ki raat” and Manna Deys song “na to karwanki talash hai” had become immortal over the years. Bharat Bhusan and Madhubala’s excellent performance require special mention. 1960 was a year of musical blockbusters like Kohinoor and Chaudavi Ka Chand.

Kohinoor was the third biggest grosser and Chaudavi Ka Chand was the fourth biggest grosser. Dilip Kumar and Meena Kumari were the main artists in Kohinoor, and Guru Dutt and Wahida Rehman were leading artists of Chaudavi Ka Chand. Again the excellent music composed by Naushad Ali in Kohinoor with Rafi’s excellent songs like “madhuban me radhika nachere” and “do sitaron ka zameen par hai milan aaj ki raat” stands out even today. In Chaudavi Ka Chand, the excellent ghazals sung by Rafi and composed by Ravi Shankar Sharma including “chaudavi ka chand ho” made the viewers spellbound.


In the same year, Raj Kapoor’s Jis Desh Me Ganga Behti Hai was the fifth largest grosser. The film had been directed by Radhu Karmakar and music composed by Shankar Jaikishan. Raj Kapoor, Padmini and Pran were the main artists in the film. Mukesh and Lata Mangeshar’s songs like “o maine pyar kiya”, “mera naam hai raju”, “aa aab laut chale” became everlasting musical masterpieces.

The other hit films in the list of bollywood grosser included Dil Apna Aur Preet Parayi, (6th), Love In Simla (7th), Ghunghat, (8th), Kanoon (9th) and Kala Bazaar (10th). The artists who were prominent in those films included Raj Kumar, Meena Kumari, Joy Mukherjee, Sadhna, Rajender Kumar, Dev Anand, Wahida Rehman and others.

The inference that can be made in respect of bollywood films included that Dilip Kumar dominated the bollywood scenario with his brilliant performance, at the same time the other actors who were very close competitors of him included Guru Dutt, Raj Kapoor, Bharat Bhushan, Raj Kumar, Rajender Kumar, and others. As far as actresses were concerned Madhubala, Wahida Rehman, Meena Kumari were the dominating figures in bollywood. Music played a very significant role during 1960.


The composers who dominated the world of music included Naushad Ali, Shankar Jaikishan, Roshanlal Nagrath, Ravi Shankar Sharma, and others. Mohammad Rafi, Lata Mangeshkar, Manna Dey, Mukesh and others gave their best in that year to make the films super hit.

Lastly the directors who dominated the scenario included K. Asif, P. L. Santoshi, Mohammad Sadiq, Raj Kapoor, Kishore Sahu, Guru Dutt and others. The high standard of performances of the actors and actresses created huge competition, and the directors utilized their potentiality to the maximum.

Salil Choudhury's Bengali and hindi version of songs.

Salil Choudhury’s Bengali and hindi version of songs.

Salil Choudhury was one of rare class of intellectual who embraced Bengali and films with his eternal treasure of music. His words and tunes matched one another in both the versions.In the 40s, 50s, 60s and 70s he experimented with many songs made both for Bengali modern version and gave the same song with a different version in bollywood films.

His song “jhir jhir jhir jhir jhir borosa” sung by Dhananjoy Bhattacharya composed by Salil Choudhury in the film Pasher Bari who remade in hindi with the title “jhir jhir jhirjhir” sung by Lata Mangeshkar with equal brilliance. Dhananjoy Bhattacharya’s classical touch was balanced by Lata Mangeshkar with her own unique style.

Shyamal Mitra’s brilliant modern song “Jodi kichu amare sudhao” was remade with the title “dil tarpe tarpaye” sung by Rafi in the film Poonam Ki Raat. In Shyamal Mitra’s version Salil Choudhury used music for half part of the song, the rest was blank version. In Rafi’s version chorus was used at the back of Rafi’s solo. If Shyamal Mitra’s pitch was unparallel, Rafi’s romantic rendition with slight classical alaap was outstanding. It was Salil Choudhury’s sheer brilliance that he used the immortal singers in style.

Salil Choudhury’s song “ganga gangar tarange prano paddo bhasailam” sung by Sabita Choudhury in the film Ganga was remade in hindi by Manna Dey. The film Ganga was directed by Rajen Tarafdar and won many awards for its excellence. The rhythm of fishermen sailing in boats was synchronized by Salil Choudhury’s own orchestration. Salil Choudhury’s outstanding music was one of the reasons for the success of the film Ganga. The hindi version sung with the title “ganga” sung by Manna Dey. Manna Dey brought the folk flavor in style. The other song in film Ganga sung by Manna Dey titled “uthali pathali amar book” was remade in the hindi by Hemant Kumar with the title “ganga aye kahan se”. Manna Dey’s version had folk title “bhatiyali” embedded in it.

Salil Choudhury’s song “aye brishti jhepe” sung by Sandhya Mukherjee was remade in hindi titled “bhaiya re bhaiya” sung by Shusma Shresth and others. Salil Choudhury’s song “ei duniyay bhai” sung by Manna Dey and picturised on Bengali actor Chabi Biswas in the film Ekdin Ratre was remade in hindi with the title “humko samajh baithe” sung by Mukesh.

Salil Choudhury’s song “guru guru meghero mondrobahare” sung by Sabita Choudhury was remade as “o sanyasi” sung by Asha Bhosle and Yesudas. Shyamal Mitra’s song “ja jare ja ja pakhi” was remade in hindi by Mukesh with the title “door bahut abadi”. Sabita Choudhury’s song “jhilmil jhiler jole jhikimiki” sung by Sabita Choudhury was remade in hindi with the title “naam mera nimmo” sung by Lata, Manna Dey and Dwijen Mukherjee. The list can go on.

The greatness of Salil Choudhury lies in utilizing all the singing talents in Bengal and India as a whole. Singing talents in Bengal like Manobendra Mukherjee, Manna Dey, Dhananjoy Bhattacharya, Hemant Kumar, Shyamal Mitra, Sandhya Mukherjee, Sabita Choudhury were used as against the giants in Bollywood industry like Mohammad Rafi, Mukesh, Lata Mangeshkar, Asha Bhosle, Talat Mehmood, Yesu Das and others.

Happy birthday to Bhupen Hazarika.

Happy birthday to Bhupen Hazarika.

The viewers wish happy birthday to music maestro Bhupen Hazarika on his 84th birthday on 8th September, 2010. He was born in Sadiya, in Assam in 1926.

He had done MA from Benaras Hindu University. He did his PhD from Columbia University, New York, USA in 1954. While studying in Columbia University, New York, USA he came in close contact with eminent singer Paul Robson, who taught him landmark songs. Bhupen Hazarika’s song “we are in the same boat brother” was the creation of Paul Robson.

He returned back and made a major contribution to Assamese film industry with his songs. He made the Bengali listeners flabbergasted with his brilliant songs. The songs were not only romantic, but more than that had provided social message.

Some of his brilliant compositions included “manush manusheri jonyo”, “ami ek jajabor”, “bistirnodi pare ashonkho manusher hahakar shune nistaba nirabe o ganga tumi o ganga boicho keno”, “ganga amar ma”, etc. He composed music in Uttam Kumar’s film Jibon Trishna, where his song “sagar sangame satar ketechi koto”, became extremely popular.

He composed songs for other landmark singers like Lata Mangeshkar titled “rangila bhashite ke bajae”, Hemant Kumar titled “e dola e dola”, Subir Sen titled “ogo shakuntala”, Ruma Guha Thakurta titled “ek phalli megh bheshe elo akashe”, to name a few.

He received national award for his music in the film Chameli Memsaab in 1977. He received Padmabhushan and also Dadasaheb Phalke award. His composition of music in the film Rudali, with Lata’s song “dil hum hum kare” had made the viewers spellbound.

One article is to small to bring forward the achievements of the great singer, composer and creator Dr. Bhupen Hazarika. It can be said that he was one of the greatest genius that Assam had produced during the golden age. There are statues of the legend made in Guwahati, the capital of Assam.

The musiclovers expect him to continue the great work that he start 60 years ago and pray for his long life. His works should be restored.

Contribution of C. Ramchandra in bollywood films.

Contribution of C. Ramchandran in bollywood films.

C. Ramchandran glorified bollywood films of the 50s and 60s with his innovative music. Born in 1918, in Puntumba town of Ahmadnagar District of Maharashtra, he studied music under Vinayakbua Patwardhan at Gandharva Mahavidyalaya.

He acted in bollywood films like Naganand, Saeed-e – Havas and Atma Tarang in the late 40s. He independently composed music in Tamil films like Jayakkodi and Vanamohini. As far as bollywood films were concerned he got break in Bhagwandada’s film Sukhi Jeevan. His biggest hit with Bhagwan came in the film Albela in 1951. All the songs in the film became super hit including “bholi surat dil ke khote”, “shola jo bharke”, “dheere se aja”, etc.

In the mid-50s, Anarkali was the greatest hit music composed by C. Ramchandran in his entire career. Lata’s song “yeh zindagi usi ki hai” stormed bollywood with Bina Roy and Pradeep Kumar becoming immortal in the roles of Anarkali and Salim respectively. In the mid-50s, C. Ramchandran’s music in Dilip Kumar Meena Kumari’s film Azad became super hit. The landmark songs included “aaplam chaplam” sung by Lata and Usha Mangeshkar, “dekhoji bahar ayi” sung by Lata, to name a few.

C. Ramchandran’s music in Dev Anand’s film Amardeep became super hit in 1958. Rafi and Asha’s duet song “dekh hume awaaz na dena” became super hit along with Lata’s song “mera manka bhawra panchi”. C. Ramchandran was probably at his best in the film Navrang released in 1959. Mahendra Kapoor and Asha Bhosle’s duet “adha hai chandrama raat aadhi”, “aare jaare natkhat na chu re mera ghoonghat”, became everlasting classic. Manna Dey’s duet song with Asha Bhosle titled “tu chupi hai kahan” became another super hit song from the same film.

The other hit films where C. Ramchandran composed landmark tunes included Raj Kapoor’s Sharda in 1957, and Dev Anand’s Baarish in 1957. His music in Kishore Kumar’s film Asha also stormed bollywood in late 50s.

C. Ramchandran was also known for the immortal tune for Lata’s song “aye mere watan ke logon” written by poet Pradeep. It had remained as one of the most landmark songs related to India’s freedom struggle movement which brought tears in the eyes of Jawahar Lal Nehru in 1963, when sung during Republic Day by Lata. In the 60s, C. Ramchandran’s music in Feroz Khan’s film Oonche Log stormed bollywood with Rafi’s hit song “jag dil-e diwana ruth jaage”. It is not possible to highlight the contribution of C. Ramchandran in a small article as he composed music in more than 100 films in a span of 40 years. With the dominance of Shankar Jaikishan and OP Nayyar in the 60s, C. Ramchandran gradually faded away from the industry. But his hit music in films like Anarkali, Amardeep, Asha, Albela, etc. had made him immortal. His music and the films should be preserved and restored.

Rafi and Roshan created history with melody in 60s.

Rafi and Roshan created history with melody in 60s.

Roshan Lal Nagrath, better known as Roshan was born in Gujranwala on 14th July, 1917. His lessons from Ustad Allauddin and Sarangi King Bundu Khan transformed himself into regular composer of All India Radio in the 40s.

He started his career as composer in bollywood films with the film Neki Aur Badi in 1949. In the early 50s Mukesh and Talat Mehmood featured in most of the films of Roshan. Some of the hit songs included “khayalon me”, “sun bairi balam” from Bawre Nain, “tare toote duniya dekhe” from Malhar. Although he had success in the films Shisham, Anhonee, Malhar, etc., his immense talent did not get recognition until he used the man with the golden voice Mohammad Rafi.

Roshan stormed bollywood music with brilliant composition in the film Barsaat Ki Raat. The romantic film of Bharat Bhushan and Madhubala did fantastic business. Roshan’s brilliant use of sarangi was evident in Rafi’s song “zindagi bhar nahi bhulenge woh barsaat ki raat”. The song was sung by Rafi and Lata at different time in the film. Barsaat Ki Raat was also known for the famous qawalli “na to karwaki talash hai” and “yeh ishq ishq hai isqh ihqh” where Rafi and Manna Dey were equally brilliant. Sahir Ludhiyanvi also made brilliant use of words in the songs of the film.

In 1962 Roshan amazed the listeners with the brilliant composition in the film Aarti. Pradeep Kumar, Ashok Kumar and Meena Kumari played the lead roles in the film. The film had every type of song including folk song and ghazals. The song “baar baar mohe kya samjhaye” sung by Rafi and Lata had complete balance of melody and rhythm. The slow numbers in the film like “ab kya misaal doon mai tumhare shabab ki” sung by Rafi and “aapne yaad dilaaya to mujhe yaad aya” sung by Rafi and Lata can be considered to be some of the best ghazals in the entire 60s. Lata’s song “baharon ki manzil rahi” was equally brilliant.

Roshan used Mukesh and Manna Dey in Raj Kapoor’s film Dil Hi to Hai. The song “laga chunari me daag chupayun kaise” was a fine example of classical excellence in the film where Manna Dey showed his class.

Roshan received filmfare award for the best composer for his landmark creation in Pradeep Kumar’s Taj Mahal. All the songs of the film displayed the royal andaz of songs sung during the mughal period. Pradeep Kumar played the role of Shahjehan and Bina Roy played the role of Mumtaz Mahal. Rafi’s duet with Lata “jo wada kiya hai nibhana parega”, was as outstanding as Rafi’s song “paon chulenedo phoolon ko inaayat hogi”. The use of sarangi require special mention in the song “jo baat tujhme hai teri tasveer me nahi”.

The Rafi Roshan magic continued in the film Chitralekha in 1964. Rafi’s song “man re tu kahe na dhir dhare” is still considered to be one the most landmark bhajans of all times. Roshan was at his best in the film Bheegi Raat. Rafi made the audience stand up on their feet with the song “dil jo na keh saka”. The same song was sung by Lata too in the film. Rafi presented the other ghazal in the film in style titled “jane woh kaun hai kya naam hai in ankhoka”.

The Rafi Roshan combination continued to produce evergreen gems in the films Noorjahan and Bahu Begum. All the songs of Bahu Begum were masterpieces including Rafi’s “hum intezar karenge”, Lata’s “duniya kare sawal to hum kya jawab de”, Asha’s “niklete kahan janeke liye”, to mention a few. Roshan Rafi combination was also evident in the film Mamta. Rafi’s song “in baharon me akela na phiro” was as brilliant as “rahe na rahe hum” sung by Lata.

It is not possible to highlight the significance of Rafi Roshan combination of the 60s in a small article. Separate articles can be written on the music of the films Surat Aur Seerat, Dooj Ka Chand, Bedaag, etc. It was very amazing that Roshan had just received only one filmfare award in his illustrious career. The music of Taj Mahal, Bheegi Raat, Barsaat Ki Raat could qualify for national awards in the respective years. Roshan died in 1969 and the royal combination of Rafi and Roshan also ended with it.

The films and the songs require re-examination, restoration and preservation.

Aarti was a musical blockbuster of early 60s.

Aarti was a musical blockbuster of early 60s.

Bollywood films reached its zenith during the 60s. Director Phani Majumdar directed a classic film Aarti in the early 60s with Pradeep Kumar, Ashok Kumar and Meena Kumari.

Meena Kumari and Ashok Kumar became doctors together. Ashok Kumar went abroad for further studies and after return opened a clinic in West Bengal. Pradip Kumar saved Meena Kumari when she fell in a river in West Bengal while going to a relief camp after a natural calamity. From that time Meena Kumari was impressed with Pradeep Kumar.

Meena Kumari married Pradeep Kumar even after knowing that she had to live in a joint family along with Pradeep Kumar’s father played by Jagirdar and brother played by Ramesh Deo. Ashok Kumar wanted to marry Meena Kumari but due to disinclination showed by Meena Kumari the relationship did not mature.

At the end of the film Pradip Kumar met with a serious accident and required operation. Ashok Kumar was the only competent surgeon in the region to do the operation. Meena Kumari inspite of her differences relied on Ashok Kumar. Ashok Kumar had the scope of showing negligence and killing Pradeep Kumar. Instead he fulfilled the liabilities and responsibilities of a responsible doctor. As part of consideration she asked Meena Kumari to live happily with Pradeep Kumar and his family.

The most striking feature of the film included its superlative music. Roshan composed the tunes and Majrooh Sultanpuri wrote the lyrics. Rafi’s songs “ab kya missal doon mai tumhari shabab ki”, Rafi Lata’s duets like “baar baar mohe kya samjhaye” and “aapne yaad dilaya to mujhe yaad aya” stormed bollywood in the early 60s. Rafi was at his best and the lyrics were written by Majrooh Sultanpuri.

Pradeep Kumar was known for acting in historic films like Taj Mahal, Anarkali, Anandmath, etc. When he was cast in a social drama, Pradeep Kumar depicted the character of a middleclass Indian very well. He later got a job and showed his submissiveness before Meena Kumari. Meena Kumari was probably the most powerful actress of the classic age, that is the 50s and 60s. She as usual reached the depth of the character. Ashok Kumar was sublime in his individual role. The character artists in the film like Shashi Kala, Rajender Nath, Mehmood played their role in style. The film did great business. The film should be restored for its superlative music and powerful performances of the artists in the film.

Dilip Kumar was matchless in Leader.

Dilip Kumar was matchless in Leader.

Tragedy King Dilip Kumar had been considered as one of the most dynamic actors that the country had ever produced in its history. In the last 70 years, no second actor in Indian celluloid had got the prestige or honour that Dilip Kumar had got. He had been the second Indian other than Ex-prime minister Morarji Desai, to receive the highest civilian award of Pakistan Nishan-e-imtiaz.

In the film Leader Dilip Kumar changed his image of a tragedy king and showed his comedy and romantic andaz. Initially he played the part of a young man who wanted to be a leader and followed the path of a guruji played by Motilal. But he met Vaijayantimala and fell in love with her.

The presentation of love in the film had the royal andaz with the brilliant music composed by Naushad and songs sung by Rafi creating magic in the film. Some of the everlasting hits included “teri husn ki kya taarif kaarun”, “abhi se muhobbat”, “ek shahehshah ne banwake haseen taajmahal”, “mujhe duniyawalon sharaabi na samjho”, etc. Vaijayantimala was at her best in the film. Her beauty and dancing skills mesmerized the viewers.

Besides, the character artists in the film including Naseer Hussain, Jayant and others played their own part to perfection. Dilip Kumar had such a magnetic personality, that he made the viewers sit in the chairs with his fantastic comedy andaz. His lips in the patriotic song “apni azaadi ko hum hargese mita sakte nahin” brought tears in the eyes of numerous Indians.

The court scene where Dilip Kumar pleaded innocence, was very hilarious. At the end of the film, Dilip Kumar also showed his action skills as he had to fight out against Jayant to prove the fact that he had not killed Motilal.

The film should be preserved for supreme performance of Dilip Kumar and Vaijayantimala, fantastic music of Naushad, outstanding songs sung by Rafi and Lata and brilliant team effort of the rest of contributors of the film.

Remembering Rajender Kumar on his birthday.

Remembering Rajender Kumar on his birthday.

The viewers remember Jubilee Kumar Rajender Kumar on his birthday on 20th July, 2009. He had died few years back and his viewers all over India and outside India had mourned the death of the legendary romantic actor.

From 1963 to 1966, all his films celebrated silver jubilees. From that time he became Jubilee Kumar. His films were designed in the same lines as that of Dilip Kumar, and he was successful in getting appreciation of the refined viewers of the country. Right from Goonj Uthi Shehnai, he acted in roles which were sacrificing nature and most of the roles touched the hearts of the viewers. He was sublime in Mere Mehboob and Aarzoo opposite Sadhna, Dil Ek Mandir, Chirag Kahan Roshni Kahan, opposite Meena Kumari. He acted in many films opposite Vaijayantimala and most of them ended up becoming superhit films, including Zindagi, Sangam, Aas Ka Panchi, Ganwar, Suraj, Saathi, to name a few.

Rajender Kumar acted in superhit films opposite Saira Banu as well including Ayee Milan Ki Bela, Jhuk Gaya Aasman, Aman, etc. Rajender Kumar’s films were also remembered by the audience for their everlasting music composed by Shankar Jaikishan and Naushad. SJ’s music in the film Ayee Milan Ki Bela, with Rafi’s songs like “mai pyar ka diwana”, “aha aye Milan ki bela”, “o sanam tere ho gaye hum”, “tum khamseen ho” became invaluable hits. SJ’s music in the film Suraj was equally impressive with Rafi’s songs like “chehere pe giri zulfein”, “kaise samjhayun”, “baharon phool barsao”, storming bollywood in the mid-60s.

Naushad gave his career’s best music in the film Mere Mehboob. All the songs sung by Rafi and Lata including “mere mehboob tujhe”, “ai husn zara jag tujhe”, “tumse izhaar – e – haal”, etc., astonishing listeners in India and abroad. Also the songs of Palki, like “dil –e –betaab ko seene se lagana hoga”, showed the high quality of ghazals which were given adequate expression by Rafi.

Rajender Kumar never received any filmfare award for his performance, but the viewers in India and abroad acknowledged his creditable performance in most of the films. His films should be revisited.

The nation remembers Pancham on his birthday.

The nation remembers Pancham on his birthday.

The nation remembers Pancham, better known as Rahul Dev Burman, on his birthday on 27th June, 2009. Almost 15 years passed after his death, yet his tunes had kept him alive among the young generations.

Being the son of legendary singer and composer SD Burman, he had a monumental task of proving his identity in the 60s. He came out with innovative tunes sung by Rafi in Mehmood’s film Chote Nawab. From that time onwards critics understood that RD Burman had come to create his unique identity. His biggest in the 60s came in Shammi Kapoor’s film Teesri Manzil in 1966. All the songs sung by Rafi and Asha became landmark hits including “o haseena zulfonwali”, “aaja aaja mai hoon pyar tera”, “janeman janejaa”, etc. Along with western composers like Shankar Jaikishan, OP Nayyar, Salil Choudhury, who were ruling the industry, RD Burman kept his feet on strong platform.

RD Burman and Rafi combination continued in films like Abhilasha with songs like “wadiyan tera daaman”, Jeetender’s Karwan with songs like “kitna pyara wada”, “are chadti jawani”, “are ho goriyan kahan tera des re”, Shashi Kapoor’s Pyar Ka Mausam, with songs like “tum bin jayun kahan”, “ni sultana re”, Rajesh Khanna’s The Train, with songs like “gulaabi aankhe”, “tujshe bhala yeh”, etc. In the 70s, RD took the bollywood industry by storm. With death of Jaikishan, Roshan, Ghulam Mohammad, Vasant Desai, etc., the industry depended on Pancham, Laxmikant Pyarellal and Kalyanji Anandji for best music. They provided stability to the industry for the next 15 years.

RD Burman had monumental contribution in Rajesh Khanna and Big B’s films and gave a new life to Kishore Kumar. All the songs of films like Amar Prem, Kati Patang, Aap Ki Kasam, Namak Haram, Mehbooba, Barsaat Ki Ek Raat, Shaan, Shakti, etc. Memorable songs included “tere naina”, “kuch to log kahenge”, “ai sham mastani”, “janu meri jaan”, etc.

RD Burman contributed a lot in Uttam Kumar’s Bengali film Raj Kumari in 1970. The song “ki holo kabe holo” , created history which was remade in hindi in the film Amar Prem. Critics argue that RD Burman reserved his best music in Gulzar’s films. His songs for Lata in Suchitra Sen’s Aandhi titled “is mor se jaate hai”, Uttam Kumar’s Kitaab, “aa ii masterjiki ho gayi chutti”, Jeetender’s Kinara where Bhupinder Singh and Lata did their best in “naam gum jayega”, “meethe bol bole”, “ek hi khwab”, etc., Sanjeev Kumar’s Parichay, with Bhupinder’s “biti na bitai rehna”, etc.

He won the filmfare award for the best composer three times. The young generations associate themselves with RD’s tunes even today, in that count he was one of the versatile composers after Shankar Jaikishan, Naushad, Madanmohan, Roshan, etc.

Remembering Hemant Kumar on his birthday.

Remembering Hemant Kumar on his birthday.

The viewers of bollywood and Bengali films pay their homage to evergreen singer Hemant Kumar on his birthday on 16th June, 2009. He had died more than 15 years back, but had left lot of memories which are cherished by the following generations.

He composed music in many bollywood films in the 50s and 60s and carried forward the legacy of Rabindra Sangeet beyond the Bengal border and made it popular all across India. He composed music in the film Nagin and got the filmfare award for the best composer in 1955. His tune “man dole” sung by Lata for Vaijayantimala became extremely popular in the mid -50s.

He sang a number of songs for Dev Anand including “yeh raat yeh chandni” in the film Jaal, “yeh apna dil” in Solwa Saal, songs in Patita, etc. He also sang the legendary song “jane yeh kaise” for Guru Dutt in the film Pyaasa. His composition in Biswajeet’s film Bees Saal Baad and Kohra became super hit. Successful songs included “yeh nayan dhali dhali”, “zara nazron se kahdo ji”, etc.

Hemant Kumar’s composition in the other films included Biswajeet’s Do Dil, Dilip Kumar’s Paigam, Dharmender’s Khamoshi, Guru Dutt’s Sahe Bibi Aur Ghulam. Some of the hit songs sung by Hemant Kumar in those films included “tum pukarke”, and others. Besides he had given many hit songs to Lata, Asha and Geeta Dutt in those films.

Hemant Kumar had sung majority of playback songs for Bengali superstar Uttam Kumar in the 50s. His songs included “surer akashe tumi je go shuktara” from the film Shapmochon, “tare bole diyo” from the film Dui Bhai, “nir choto khoti nei” from the film Indrani, “ei poth Jodi na shesh hoi” from the film Saptapadi, “jai chole jai” from the film Kal Tumi Aleya, “sapno jagano raat” from the film Shudhu Ekti Bachar, “mou bane aaj” from the film Bondhu, to name a few.

Besides most of the Rabindra Sangeet sung by Hemant Kumar in Bengali films became hits, including “tumi robe nirobe” in Biswajeet Kuheli, “ami pothbhola ek pathik” in Uttam Kumar’s Mon Niye, “jokhon porbe na mor” in Uttam Kumar’s film Bibhas, etc.

Hemant Kumar’s contribution in Bengali modern songs and film songs is so huge that articles after articles can be devoted for the melody king of Bengal. The viewers pay their respect for the departed soul of legendary singer Hemant Kumar on his birthday.

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Death anniversary of Shankar.

Death anniversary of Shankar.

The viewers of bollywood films mourn the death anniversary of Shankar, the legendary composer on 26th April, 2009, whose combination with Jaikishan had created musical masterpieces during the 40s, 50s and 60s. The combination started working together in Raj Kapoor’s film Barsaat in 1949, and after that they never looked back. They created trends, broke the conventional style of music, experimented in every level of music, gave music in the films of all the leading actors and actresses of 50s and 60s.

As the name of Shankar Jaikishan was always used together due to their dominance in bollywood music in the 50s and 60s, individually their individual capabilities were not discussed in details. Music historians had reiterated after the death of the magical duo that Shankar had contributed the most in the classical songs while Jaikishan was more instrumental in the westernized tunes and orchestrations. Further Shankar’s most of the compositions were associated with lyricist Shailendra and Jaikishan’s creations were mostly associated with Shankar.

Some of the unforgettable classical tunes of SJ include “sur na saje kya gayun mai” sung by Manna Dey in the film Basant Bahar picturised on Bharat Bhushan, “ajahu na aye balma” sung by Rafi in the film Saanjh Aur Sawera picturised on Mehmood, “aji ruth kar ab kahan jayiega” sung by Lata and Rafi in the film Aarzoo picturised on Sadhna and Rajender Kumar, “o mere shahe khuba” sung by Rafi and Lata in the film Love In Tokyo, picturised on Joy Mukherjee and Sadhna, etc.

Besides a huge number of compositions of SJ included folk songs involving the smell of the soil from where they had originated. Those songs included “ramaiya vasta maiya” in the film Shree 420, sung by Rafi, Lata and Mukesh picturised on Raj Kapoor and Nargis, “chalat musafir” in the film Teesri Kasam, sung by Manna Dey picturised on Raj Kapoor, “aa ab laut chale” sung by Mukesh, Lata and picturised on Raj Kapoor and Padmini, etc.

Music lovers lament the death of Shankar and the disintegration of the SJ team in the 60s, because they had contributed in the films of Raj Kapoor, Rajender Kumar, Shammi Kapoor, Joy Mukherjee, Biswajeet, Dharmender, Jeetender, Dev Anand, Dilip Kumar, Manoj Kumar, etc., which includes almost the entire industry. So viewers of different tastes enjoyed the composition of SJ in those films. It is very sad that during the last 15 years, the media had underrated SJ and tried to project RD Burman as the greatest phenomenon of the century. He was a definitely a brilliant composer but his contribution cannot be equated with the dynamic composition of SJ. Shankar’s contributions should be preserved and restored.