Few incomplete movies with some songs recorded by Shanker Jaikishen

Few incomplete movies with some songs recorded by Shanker Jaikishen

CHALAK; Madhubala, Raj Kapoor.

Songs - 1 Mukesh - Bataa de meri jaan tere dil mein kya hai

NAGINA - Sanjay Khan/Leena Chandavarkar

Songs - 1 Pehle ghungta utha/Lata

2 Ek tera sahara/Lata

3 Dil kis kisko doongi mai/Asha

4 Tere mere pyar ka andaz/Kishore/Asha

5 Ae Firoz, get the hell out of here (!) - Ranu Mukherjee, Preeti Saagar

NAIN MILE CHAIN KAHAN.. Dharmendra-Rajeshree

1 Naino mein sapne machalte hai - Sharda

2 Dil ki har cheez machal uthee - Rafi, Manna Dey, Preeti Sagar

NASEEB KI BAAT - Vinod Mehra/Reena Roy

1 Angdaaee li jo tan ne - Asha

2 Hona tha jo wohi hua (happy+ sad) - Amit Kumar

3 Holi Hai - Asha with Suresh Wadkar

4 Aap hile aur mohe hilaaye - Sharda, Alka Yagnik, Dilraj Kaur &

Chandrani Mukherjee...

PANEE - Meena Kumari/Biswajeet

1 Sharab-e-naabh ko do - Begum Akhtar

2 Too sone na denaa - Asha

WAQT KA SIKANDER : Dharmendra, Rajendra Kumar, Mala Sinha, Anita Raaj

1 Come on girls, let's start - Sudha Madera

2 Sitare bhool gaye - Shabbir Kumar

3 Dhak dhak dhadke dil - Anuradha Paudwal, Mohammed Aziz

*Shanker had recorded these three songs before his sudden death. Sharda completed the score of the film by recording remaining two songs of this film.


WATAN - Sunil Dutt/Rekha

Zamana hai agar - Rafi

Ai Bhai Jara Dekh Ke Chalo

Aye Bhai Zara Dekhke Chalo ...this is an ajeeb song in Shanker Jaikishan's annals. It is unusual in many ways ... let me state some I know.If you know more about this song please do add to the thread.First the background which I state based on a newspaper interview ofTejnath Zar- producer of many films including Vachan and Garam Khoon which were scored by SJ. Durig the making of Mera Naam Joker, Raj Kappor once visited Shanker and told him that he has one dhun in mind and hummed it out. Shanker said he will think about it and get back in two days. He then wentoff to Matheran telling Zar that if anyone calls including RK theyshould be told he is out of station. This continued even after Shanker returned four more days all calls were being blocked. The next afternoon, Shanker called Raj Kapoor over to the music room. Many musicians were around. Shanker hit the piano keys and played out the entire song - again using gaalis as dummy words. There was absolute silence till Shanker completed the song ... Raj Kapoor instantly got up and fell at Shanker's feet saying the words ... "Genda Maharaj, tera jawaab nahi, issipe to hum tum pe marte hain ! "The song went on to become a raging hit ...Now keep this incidence at the back of your mind and ponder overthis ...I do not recall where I read this part but I am quite sure it is itis true. Manna Dey had not sung for an RK production for many years. And Shanker called him over. Manna Dey was extremely excited and in fact did riyaaz for two days as preparation ...When he reached the studio he was taken aback by the song and refused to sing. After much persuasion by Shanker, Raj Kapoor and everyone he agreed and the song was recorded. The song went on to become a raging hit ...There is more ...At the Filmfare awards function that year ... this song went on to win the award for best male playback. And Manna Dey was flabbergasted. Despite a lot of applause by the audience he refused to go up to the stage and sing the song. His arguement was that so many of his clasical based gems never got the award then why of all the songs should he get for this one? Finally, Raj Kapoor took the mike and sang the song on stage !I may be incorrect on this one but that is the only Filmfare award that Manna Dey won.(Someone please confirm or refute.)The words Aye Bhai Zara Dekh Ke Chalo were by Neeraj. And they were good too.(But still I wonder how Shailendra would have handled this one... sadly it appears he was not around anymore !) Even today the song is to date hailed by many as a rap number which was way ahead of its time in the early 70s !There is also one more point about this ...Often in many discussions, Filmfare awards as taken as some kind of abenchmark. More often than not these awards are absurd and I feel that is theway they should be taken... but that is another point which I would soon bring up ...For now, if you have this song on your comp savour it and also pleaseADD anything you know aboutAye Bhai Zara Dekh Ke Chalo ...SK

TRIBUTE TO S-J(episode-30) read about the Great HUSNLAL-BHAGATRAM by Srigopal Shroti

TRIBUTE TO SHANKAR JAIKISHAN–30

HUSNLAL BHAGATRAM

SOMETHINGS HAPPEN IN LIFE DIFFERENTLY……FOR EXAMPLE, AS SHANKAR WAS A GOOD DANCER, HE DANCED WITH ‘DHOLAK’, IN ”PYAR KI JEET”, FOR WHICH , STORY, SCREENPLAY, DIALOGUES AND FEW SONGS WERE WRITTEN BY SONG WRITER, RAJENDRA KRISHAN, UNDER THE BANNER OF FAMOUS PICTURES….. AND THE MUSIC DIRECTORS WERE THE THEN FIRST PAIR OF HINDI FILM MUSIC, HUSNLAL BHAGATRAM, AND INCIDENTALLY BOTH WERE BROTHERS TO JOIN THE FILM INDUSTRY……HUSNLAL WAS A GOOD VIOLINIST AND BHAGATRAM WAS A HARMONIUM MASTER……WHEN THEY WERE ASSIGNED THE FILM ”PYAR KI JEET”, SHANKAR WAS THEIR ASSISTANT AND PLAYED ON DHOLAK AND TABLA AND BEING A DANCER HIMSELF. DANCED IN THE FILM AS STATED ABOVE……
…SHANKAR BESIDES DANCING HAD A GOOD KNOWLEDGE OF MUSIC AND WAS INTERESTED TO PLAY DIFFERENT INSTRUMENTS…….AND LATER AS A MUSIC DIRECTOR WITH JAIKISHAN, HE WAS THE ONLY PERSON, MAKING TUNES ON SITAR AND PIANO & SHAILENDRA WAS MASTER WRITING SONGS ON HEARING BOTH THE INSTRUMENTS…..THIS WAS A GOD GIFT TO SHAILENDRA……
….IT IS THE DESTINY, THAT SHANKAR MADE PAIR WITH JAIKISHAN AND BOTH WITH A BRILLIANT MIND, WENT ON TO BECOME THE MOST SUCCESSFUL OF MUSIC DIRECTORS, AND HUSNAL BHAGATRAM, WENT INTO OBLIVION WITH THE PASSAGE OF TIME….
…HUSNLAL’S FATHER-IN-LAW WAS A WELL ESTABLISHED PERSON AND SUPPORTED HIS SON-IN-LAW, AFTER BEING FAILURE AS MUSIC DIRECTOR, WITH BHAGATRAM…..AND THEN HUSNLAL TOOK TO PLAY VIOLIN….AND BHAGATRAM…..SORRY TO SAY….BEING ALONE , STARTED TO PLAY HARMONIUM UNDER THE DIRECTION OF HIS DISCIPLE, NONE OTHER THAN SHANKAR, WHO ONCE PLAYED DHOLAK AND TABLA UNDER HIS DIRECTION………WHAT WUD U CALL IT….DESTINY?…………to continue…….gshroti@in.com……………

29th Episode of Tribute to Shankar Jaikishan

Srigopal Shroti's

TRIBUTES TO SHANKAR JAIKISHAN

VITTHAL BHAI PATEL.•

TUM MUJHE YOUN BHULA NA PAOGE…………..IT was certainly a bad for all music lovers in general and S-J fans in particular……on the demise of Shankarji, all the ‘’swaras” of SAPTAK have gone out of ‘’sur”……they are also reluctant to come out of throat to create a new ”MUKHADA”……..”ONCE UPON A TIME DURING 50s, the then musicians were called ”BAJA PETI MASTER”…… SHANKER JAIKISHAN WELL TRIED TO GIVE THE HINDI FILM ITS DUE RESPECT……BUT ON THEIR TALENT, THEY GOT THE TOP OF THE POPS AND AQUIRED DUE CREDIT TO THEIR MUSIC BUT ALSO THEY BECAME THE HIGHEST PAID MUSIC DIRECTORS…….IT WERE ONLY THEY WHO STARTED THE TREND OF USING 100 PIECE ORCHASTRATION WITH RHYTHM AND MELODY HAVING GOT THEIR BEAUTIFUL SYNCHRONISATION WITH EACH INSTRUMENT INDEPENDENTLY, AND THE SONGS BECAME HITS…….THEIR CREDIT HAD THE ESSENTIALITY OF FILM’S SUCCESS….AND THE FILMS CELEBRATED SILVER JUBILEES ON THE BASIS OF THEIR SONGS.

STARTING FROM PRITHVI THEATRE THE S-J’S MUSIC FLAG FLEW ALL OVER THE WORLD……THEY CREATED A PAIR OF THEMSELVES WHICH WAS LATER FOLLOWED THE OTHER MUSIC DIRECTORS e.g. KALYANJI ANANDJI, SAPAN JAGMOHAN, LAXMI-PYARE…….IT WAS NOT COINCIDENCE THAT THE TUNES MADE BY S-J FOR THEIR FILMS AND WHAT THEY STARTED AS S-J MUSIC, THE LATER COMPOSERS WERE VERY MUCH AFFECTED BY THE ORCHASTRATION AND TUNINGS SIMILAR TO THE S-J’s WHICH WAS EVIDENT IN THEIR FIRST FEW SONGS……BUT THEIR WAS NO RIVALRY, AND OTHER COMPOSERS SOON MADE THEIR OWN WAY.

JAIKISHAN WAS A CHARMING AND VERY FRIENDLY WITH OTHERS WHOM HE MET, BUT SHANKAR KEPT HIMSELF RESERVED, AND EGOIST FOR FEW…..BUT THAT DOES NOT SEEM FROM THE MUSIC HE RENDERED…..IT MAY BE PEOPLE’S MISCONCEPTION.

PATELJI WRITES THAT HE WAS A LITTLE BIT SCARED THE WITH SO FAMOUS,AND HIS FAVOURITS MUSIC DIRECTOR, HOW HE WILL DEAL WITH AND WRITE SONGS FOR HIM. BUT WHEN HE MET SHANKAR, HIS FEAR WENT AWAY AND FOR ”SANYASI” HE WROTE ”BALI UMARIA BHAJAB KARUN KAISE”……SHANKER ALSO PROMOTED SUMAN KALYANPUR, NEERAJ, VERMA MALIK, PT.VISHWESHWAR SHARMA AND PATELJI HIMSELF…..THE DUO IN THE BEGINNING ITSEF PROVED THAT ANY FILM CAN CELEBRATE SILVER JUBILEE ONLY ON THE BASIS OF THEIR COMPOSITIONS….HE ALSO RECORDED ONE SONG OF PATELJI FOR ‘DO JHOOTH”……HIS HUMBLE HOMAGE:

”KAL HAM JAHAN MEIN RAHENGE NANIN,
YAADEN HAMARI RAHENGI YAHIN.”’
……to continue………gshroti@in.com

'Shankar Jaikishan & Premnath' - srigopal shroti

TRIBUTE TO SHANKAR JAIKISHAN (28th eisode)–PREMNATH•

Srigopal Shroti

PREMNATH, RAJ KAPOOR’S B-IN-LAW WAS ALSO A PART OF THE PRITHVI THEATRE…..AND WAS PLAYING THE ROLES AS ASSIGNED BY PRITHVIRAJ KAPOOR…..HE WAS ALSO IN LEAD ROLE ALONGWITH RAJKAPOOR IN ”BARSAAT”. …IN HIS WORDS: ”’WHILE DOING PLAYS WITH PRITHVI I GOT TO PRACTISE MUSIC WITH THEIR MUSICIANS….RAM GANGULI WAS THE MUSIC DIRECTOR….WE HAD SHANKAR ON THE TABLA AND JAIKISHAN ON HARMONIUM EARNING Rs40/- and Rs.60/- A MONTH….AFTER REHEARSALS WE WILL SIT LATE INTO THE NIGHT FOR OUR SESSIONS. ….SHANKAR JAIKISHAN USED TO COMPOSE TUNES AND MADE ME LISTEN TO A FEW…..AROUND THAT TIME RAJ KAPOOR WAS ON THE LOOK OUT FOR A MUSIC DIRECTOR FOR BARSAAT. …I ASKED HIM TO LISTEN TO THESE…RAJ HEARD TWO TUNES AND THE REST IS HISTORY……
SHANKAR NEVER FORGOT MY GESTURE. WHEN MY FRIEND MAJOR AHLUWALIA WAS MAKING A FILM ON HIS HIMALAYAN EXPEDITION AND COULDN’T AFFORD A BIG MUSIC DIRECTOR, I APPROACHED SHANKAR….HE READILY AGREED TO PROVIDE THE MUSIC FREE. AND IT GOT THE DUO PADMASHRI…..SHANKAR WAS A NICE CHAP. GOD BLESS HIM.””…..SO WERE THE EMOTIONS OF THE PRODUCERS AND DIRECTORS WITH WHOM S-J WORKED. AND WITH THEIR MUSICIANS TOO, WHO PLAYED ON THEIR TUNES WHILE RECORDING A SONG. AND THE MUSICIANS WERE DEPENDENT FOR LIVING ON THE WORK OR FILMS MUSIC DIRECTORS SIGNED.
AND IT WAS SHANKAR WHO WILL HILLARIOUSLY COME TO THE MUSIC ROOM AFTER SIGNING FILMS AND ADDRESS THE WORKING MUSICIANS THAT HE HAD SIGNED SO MANY FILMS AND DON’T WORRY FOR MONEY…..”KHOOB BAJAO”…

SHAILENDRA–TU PYAR KA SAGAR HAI (27th episode of Tribute to Shankar Jaikishan by Srigopal Shroti)

SHAILENDRA–TU PYAR KA SAGAR HAI

THE ”SWAR LAHARIYAN” OF 50s and 60s ARE PASSING THROUGH MY MIND AND ECHOING THE SCENTED ATMOSPHERE ALL OVER….BRINGING THE NEW FRESHNESS OF ROSES…SHAILENDRA SO MAINTAINS THE WORDS IN A DECENT WAY THAT WHEN U HEAR THEM, ALL UR EXISTENCE IS MERGED WITH THOSE SONGS, MELODY AND RHYTHM…..THIS QUALITY TAKES THEM HIM……………
AWAY FROM THE COMMONER……”SEEMA”, YES THIS WAS THE FILM AND S-J, SHAILENDRA AND HASRAT WERE BUSY IN GIVING LAST TOUCHES TO THEIR IMMORTAL COMPOSITIONS…..AND HERE COMES STILL AFRESH THE SONG..”TU PYAR KA SAGAR HAI, TERI EK BOOND KE PYASE HAM, LAUTA JO DIYA TU NE, CHALE JAYENGE JAHAN SE HAM..”……AND IF UR INTEREST GOES FURTHER IN THE MELODY WITH WORDS….HERE ARE THE WORDS UNDER THE ”SHRINGAR” OF THEIR SOFT ORCHESTRA……NEXT HEAR ON TAPE OR CD…….
”GHAYAL MAN KA PAAGAL PANCHI, UDNE KO BEQRAR, PANKH HAIN KOMAL, AANKH HAI DHUNDALI, JAANA HAI SAGAR PAAR,…..AB TU HI ESE SAMJHA , RAAH BHOOLE THE KAHAN SE HAM…..TU PYAR KA SAGAR HAI…TERI EK BOOND KE PYASE HAM…….”’
”EDHAR JHOOM KE GAYE ZINDGI, UDHAR HAI MAUT KHADI, KOI KYA JAANE KAHAN HAI SEEMA, ULJHAN AAN PADI, ….KANON MEIN ZARA KAH DE KE AAYE KAUN DISHA SE HAM……TU PYAR KA SAAGAR HAI, TERI EK BOOND KE PYASE HAM.”……..(MANNADE & CHORUS)…..
MANNADA HAS GIVEN LIFE TO THIS SONG AND REASISED THE ORIGINALITY OF THE PURE WORDS, HIDINDG GREAT PHILOSOPHY OF LIFE….HIS VOICE TAKES US FROM THE DEEP OCEAN TO THE WORLD OF KNOWN AND UNKNOWN, WHICH IS BEYOND THE SKY…..
PL GIVE EAR TO ”’PANKH HAIN KOMAL AANKH HAI DHUNDHALI, JAANA HAI SAGAR PAAR.”……THE DETERMINATION TAKES THE ”PANCHHI” TO THE OTHER PART OF THE OCEAN TO FIND OUT THE SOLACE, PERHAPS HE MAY HAVE ”DARSHAN” OF ALMIGHTY…….BUT BECAUSE OF HIS ”KOMAL PANKH AND ”AANKH HAI DHUNDHALI”, , HE PRAYS GOD AGAIN ”IDHAR JHOOM KE GAAYE ZINDAGI, UDHAR HAI MAUT KHADI, KOI KYA JAANE KAHAN HAI SEEMA , ULJHAN AAN PADI”…….HERE THE ”PANCHHI” IS THE HUMAN HEART…..AND FOLLOWS THE STANZA IN WHICH THE DISTANCE BETWEEN LIFE AND DEATH HAS BEEN FELT SEVERELY……….HERE IS THE FEAR OF DEATH, NOBODY KNOWS THE END AND HUMAN HEART IS IN DILEMMA, FEELING THE HEAT OF THE DEAD BODIES BEING BURNT IN THE ”ESHMASAN”…..DESPITE THIS HE FEELS THE DEVOTION TO THE GOD THROUGH THE DEEP OCEAN AND HIS ULTIMATE DESIRE TO SURRENDER TO THE ALMIGHY……… SHANKAR JAIKISHAN WERE THOSE MUSIC DIRECTORS WHOSE ‘RELIGION’ WAS ”MUSIC” AND THEY TOUCHED THAT POINT HERE WHERE THE ART AND THE ARTIST GOES BEYOND IMMORTABILITY THROUGH THE ”SAAZ AUR AAWAZ”—-MUSICAL INSTRUMENTS AND SINGERS BOTH BOW TO THEIR CREATORS TO GO DOWN THE MEMORY LANE………..to continue……gshroti@in.com………

26th Episode of Tribute to Shankar Jaikishan

TRIBUTE TO SHANKAR JAIKISHAN–26

MALE & FEMALE SINGERS

Srigopal Shroti

IF the Music Directors did not give birth to the tunes, where were the singers to sing and win the lead….MDs were the originators….They took the singers to Mandra, Madhya and Tar SAPTAK VIZ. SA,RE,GA,MA,PA,DHA,NI…..QUESTION IS WHO DID MORE HARD WORK? MDs or SINGERS….the ORIGINATORS OR THE FOLLOWERS?….Nevertheless, the QUESTION WILL REMAIN A QUESTION–BOTH HAVE THEIR OWN OPTIONS….HERE MANY OF THE MUSIC DIRECTORS WENT INTO OBLIVION, BUT REMEMBERED THE SINGERS WHO SANG ON THEIR IMMORTAL TUNES.

HERE, I WILL TALK ON THE MUSICAL FILM ”MAYUR PANKH” BY KISHORE SAHU IN 1954. THE MUSIC DIRECTORS WERE THE S-J DUO….IT IS TO BE MENTIONED THAT AFTER SHRI 420, THE MALE SINGERS LEAD UNDER THE BATON OF S-J BECAME MORE AND MORE PROMINENT….HOWEVER IN THE BEGINNING AND MIDDLE OF 50s THERE WERE THE FEMALE SINGERS DOMINANT AND IN CASE OF ”POONAM” AND ”AURAT”…ALL SONGS WERE SUNG BY LATAJI….BUT IN MAYUR PANKH, THERE WAS A SONG SUNG BY LATAJI AND ASHAJI, WHICH WAS….”YE BARKHA BAHAR, SAUTANIA KE DWAR…..’ AND WAS PICTURISED ON HELEN & KUKKOO……WITH THIS EXCEPTION ALL 5 SONGS WERE RENDERED BY LATAJI……HOW THE THINKING OF S-J WORKED…..UNBELIEVANLE….

THERE CAME MANY SONGS ON THE LOVE STORY OF MUMTAJMAHAL AND SHAHJEHAN….AND THE EVER MEMORABLE SONG SUNG BY LATAJI …….”MUHABBAT KI DASTAN AAJ SUNO RE, MUHABBAT KI DASTAN SUNO…..” AND WAS FILMED ON THE BACKDROP OF TAJ MAHAL… STILL GOES SOUND. …NEXT THERE WERE THESE SONGS OF ”MAYUR PANKH”, WHICH WERE FAMOUS ALL AROUNFD IN THOSE DAYS BY LATAJI TUNED BY S-J…….”MAIN TO CHALI PASCHIM, PURAB CHALE DUNIYA….”, ”TANDAN TANDANA, MUSHKIL HAI PYAR CHHUPANA”…”TOO KYON MUJHKO PUKARE….”, ”MUBARAKBAD DENE HAWA BAGON MEIN AAYI, HAAN KHUSHIYON KE CHAND MUSKURAYE RE…”….LATER S-J CHANGED THE TREND TO DIVERSIFY THEIR CREATIVITY, WHICH WAS EVIDENT IN THE FILMS FOLLOWED AFTER MIDDLE OF 50s………to continue……gshroti@in.com………..

SRIGOPAL SHROTI'S TRIBUTE TO SHANKAR JAIKISHAN–25-

FLOATING CHANCES FOR NEW SINGERS

(TRIBUTE TO SHANKAR JAIKISHAN–25-)

Srigopal Shroti

IT looks that the time has just gone and we are atuned with the Rhythms of SHANKAR and MELODIES OF JAIKISHAN AND THE SONG ARE BEING PLAYED ON EPs, LATER ON CASSETTES AND NOW ON CD/DVDs…..AND THE TIME IS AS FRESH AS ON THAT DAY WHEN THE DUOs WERE COMPOSING THEIR BEST AND THAT SUN, STILL REMAINS THE SAME SUN.

I AM TALKING ABOUT USING THE VOICE OF SHRI KRISHNA CHONKAR IN VERMA FILMS’ POOJA IN THE YEAR 1954…..CHONKERJI WAS ALSO A CLASSICAL SINGER LIKE USTAD AMIR KHAN. BESIDES HE WAS A THEATRE ARTIST AND LATER WORKED IN MANY MARATHI FILMS. HE ALSO PRODUCED A FILM ”NANDADEEP” IN MARATHI, BUT HE DID NOT SING ANY SONG IN IT. SO HIS SUN WAS SET BY THE TIME…..BUT SHANKAR JAIKISHAN GAVE A NEW DIMENSION TO HIS SINGING IN ”POOJA”….THE SONG”’ RUM JHUM BAJAO BANSURI MURARI”’…….HE SANG WITH MOHD RAFI.

HOWEVER AFTER ”AWARA”, S-J’S MUSIC STARTED GAINING RECOGNITION FROM ”BADAL”…..AND IN VERMA FILMS ONWARDS S-J CREATED A TRADITION TO COMPOSE MELODIOUS SONGS…..AND IN ”POOJA” THERE WERE 8 SONGS PENNED BY SHAILENDRA AND HASRAT. NEXT IN ”POOJA” MOHD RAFI SANG ALONGWITH LATA & CHORUS….”DOLI AAYI PYARI BHAR PICHKARI…”….THEN THERE WERE THREE SOLOS BY MOHD RAFI SUCH AS: ”CHAL CHAL RE MUSAFIR CHAL…”…”JAHAN KAHIN DEEPAK JALTA HAI JO EK BAR KAH DO..” AND ”SOCH NA MANVA TERA TAQDEER BANANE WALS SOCHEGA..” BHARAT BHUSAN WAS THE HERO AND ALL RAFI SONGS WERE PICTURISED ON HIM…..THEN 3 SONGS WERE SUNG BY LATA…WERE…”MORI VIPADA AAN HARO PRABHU KAHE DER KARO”.. ”BATA DE AI DIL, DIL LAGNA RAAS AAYE TO KYA KAROORN”…AND ..”MAIN MURLIDHAR MURLI LAAI MURLI DHARNE..”’….THESE WERE FILMED ON POORNIMA, THE THEN HEROIN OF THE FILM….

HEMANTDA’S VOIVE WAS HEARD IN MANY OF S-J FILMS, BUT WITH EITHER RAFI, MUKESH OR TALAT MEHMOOD…..NOT SOLO……BUT AMIYA CHAKRAVARTHY’S ”BADSHAH” WAS AN EXCEPTION (1954). HEMANTDA’S VOICE WAS FIT ON PRADEEP KUMAR, WHO WAS IN LEAD ROLE IN THIS FILM……THEN S-J LEAVING OTHERS ASIDE, USED HEMANTDA’S VOICE FOR PRADEEP KUMAR……THERE WERE TWO SONGS BY HEMANTDA IN ”BADSHAH”…..ONE SOLO…”’RULA KAR CHAL DIYE EK DIN, HANSI BANKAR JO AAYE THE” AND WITH LATA ””AAA NEEL GAGAN TALE PAR HAM KAREN, TUM SAMNE BAITHE RAHO SINGAR HAM KAREN…”’

THERE WAS ANOTHER VOICE BESIDES HEMANTDA IN THIS FILM AND HE WAS NONE OTHER THAN THE FATHER OF ”BHAPPI LAHARI”……SHRI AYRESH LAHIRI…AND THE SONG HE SANG UNDER S-J’S BATON WAS.”.JAGE MERA DIL SOYE ZAMANA, MEHFIL DOOR NAHIN….”..HIS VOICE WAS CLOSE TO HEMANTDA AND IT GOT GLORIOUS FAME….BUT BECAUSE OF BENGALI MIXTURE, HIS VOICE CUDNOT GO FURTHER…….LATA’S VOICE WAS RENDERED WELL AND SUFFICIENTLY UTISLSED ON THE TWO HEROINS==USHA KIRAN AND MALA SINHA…..AND IT WAS DEBUT FILM OF MALA SINHA. AND THE SONGS WERE ”JAB PAL BHAR CHAIN NA PAUN RE BALAM”,…”JEE GHABRAYE DIL JAL JAYE, BEDARDI AB TO AA JA.” …”JANAN MARAN KE SAATH KO TUM AAKHEN CHURAO TO KYA..”…”LE GAYA DIL LE GAYA” AND ”GUL MUSKURA UTHA, BULBUL YE GAA UTA..”.. 5 SONG OF THIS FILM WERE RENDERED BY LATA………..to continue……..gshroti.in.com……..