Shri Srigopal Shroti's tribute on Jaikishen's Birthday today (4/11) WHAT WAS THE SPECIAL ”SOMETHING” THAT DISTINGUISHED THE S-J BRAND OF FILM MUSIC.

[Chori Chori back cover of LP jacket(inset Shri Srigopal Shrotiji)]

Jaikishan ji,

No word, no sentence can reflect your fans' emotion to pay you tribute on your Birth Anniversary today.
Jai ji, May I remind you one of your soulful tune with Hasrat's word.."BEDARDI BAALMA TUJHKO MERA MAN YAAD KARTA HAI......."

Jahaan Rahein, Aabad Rahein !!

(Your fans across the world)

TRIBUTE TO SHANKAR JAIKISHAN

Gopal Shroti

…..I wud like to point out that it was their ability to innovate and improvise within the TRADITIONAL mould of INDIAN MUSIC, which enabled them to strike at the innermost chords of a listener, and at the same time managing to sound fresh and DIFFERENT. THIS THEY ACHIEVED IN MANY WAYS.

….S-J changed all the old trends/formalities both in MELODY and INTERLUDE MUSIC. while their TUNES remained essentially INDIAN, the musical themes came to acquire their rightful place. S-J not only worked on lyrics and tunes, but did equally HARD WORK ON SONG’S INTRO AND INTERLUDES. because of their hard efforts and magical brain, it was hard to hum the lyrics and tunes but it became a part of people habit to hum the musical instruments INTROS and INTERLUDES.

….THEY DECORATED EVERY SONG OF THEIRS AS TO MAKE A ‘BRIDE’ BEAUTIFUL IN FULL COSTUMES AND MAKE-UP, AND THE ENDING OF THE SONG WAS EQUALLY HILLARIOUS WITH THE USE OF MUSICAL INSTRUMENTS AND CHORUS. LISTEN ”ANDHE JAHAN KE ANDHE RAASTE, JANYE TO JANYE KAHAN, DUNIYA TO DUNIYA TU BHI PARAYA, HAM YEHAN NA WAHAN” (listen to the swittest use of Accordian), (next again comes accordian, THOUGH THE VIOLINS WERE THEIR ARTERIES), in ”AI MERE DIL KAHIN AUR CHAL” (Daag), ”SAB KUCHH SEEKHA HAMNE NA SEEKHI HOSHIARI, SACH HAI DUNIA WALON KE HAM HAIN ANARI”…..GREAT ACCORDIAN, VIOLINS AND MENDOLIN…..”AA AB LAUT CHALEN” (JIS DESH MEIN…..)……ITS INTRO AND INTERLUDE IS IMMORTAL(AND THIS WAS THE BLOODSTREAM OF SHANKAR JAIKISHAN), WITH MENDOLIN, UNMATCHABLE CHORUS, VIOLINS, TRUMPETS AND A LINE OF INSTRUMENTS, WHICH MADE THIS SONG TO BE ANALYSED IN CLASSICAL AND INDIAN BASED MUSICAL CHANNEL…….BESIDES MUSICAL INSTRUMENTS, CHORUS AND ‘AALAP’ WERE THEIR FORTE. ……..AS THOUGH IT SEEMS IN MANY SONGS THAT WITHOUT LATAJI’S ‘AALAP’. (AND SOMETIMES MANNDA’S & MOHD RAFI”S), THEIR SONG WILL NOT BE COMPLETE…….SO MANY ARE EXAMPLES AS WE FEEL THAT THE SWEETNESS OF ROSES IS MIXED IN HER VOICE UNDER THEIR BATON, FROM, ‘BARSAAT, AWARA, AAH, SHRI 420, CHORI CHORI, ANARI, JIS DESH MEIN…..SANGAM, AARJU AND MANY MORE TO COUNT. AND THIS WAS THEIR UNIQUENESS, WHICH NOBODY CUD MATCH.

ALMOST DAILY before going to bed, i listen from CHORI CHORI, ”YE RAAT BHEEGI BHEEGI, YE MAST FIZAYEN, UTHA DHEERE DHEERE WO CHAND PYARA PYARA, KYUN AAG SEE LAGA KE GUMSUM HAI CHANDNI, SONE BHI NAHIN DETA MAUSAM KA YE ISHARA”……HERE i ponder over, when immediately at the starting after GUITAR, with BANGO, KANGO, LATAJI’S SLOW VOICE ”AALAP” GOES FOR FEW SECONDS. AND IT WAS ALWAYS REMAINED A QUESTION FOR ME THAT LATAJI WAS STANDING AT HOW MUCH DISTANCE FROM THE MIKE TO ACHIEVE THAT EERIE EFFECT. (PERHAPS MANNADA MAY REMEMBER). AND THEN AGAIN WITH MANNADA’S VOICE ”YE RAAT BHEEGI BHEEGI……..AND LATAJI’S SUGERCOATED ‘AALAP”. AND U STANDSTILL……..TO CONTINUE……GSHROTI@IN.COM……….