Pocket book on Shankar Jaikishan

Friends….I have wriiten about SJ before four days as i was listenning their music alone By Mukund Marulkar Shankar Jaikishan performing during a Filmfare awards nite and in next photo see first President of India Dr. #RajendraPrasad HINDI -FILM -MUSIC DIRECTORS “SHANKARJAIKISHAN” (1949-1971-1987) 1)1949=they composed their first picture-BARSAAT 2)1971=Jaikishanji passed…

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REMEMBERING MAESTROS.....

MAESTRO SHANKAR REMEMBERS……….

Here are some excerpts from Maestro Shankarji’s interesting interview:

“Ever since I can remember I have been singing and playing musical instruments. The gift of music is something deep in a man’s being – he lives with it, it lives with him. It runs through him like an electric current. Music – especially musical composition – is not for a dull man.

Early in life I joined a group of people in Hyderabad, my home town – actors, dancers, singers – who made their living going from town to town performing.

When I reached Bombay, I went to Prithviraj Kapoor. His Prithvi Theatres had just got going – they were performing “Shakuntla.” Prithviraj was then a towering majestic personality. I saw him first at the Deodhar music class in Bombay. I expressed a desire to work with him and he took me on after a “test” – a solo tabla recital.

Sometime later, in the course of my visits to film studios, I met a thin youth, not at all sure of himself, but as I saw at once, full of talent. I took him along to Prithvi Theatres and got him a job with me in in its orchestra. This was Jaikishan. His job was to play the harmonium. I myself used to play music and also play small roles on the stage. Something of the actor survives in me even today, for in the excitement of musical creation I find myself acting –gesticulating or even dancing – so as to feel for myself the exact circumstances in which an actor or actress will sing the song concerned on the screen.

Soon after Jaikishan joined us, Prithvi Theatres went on a tour to Jodhpur. Here Jaikishan promptly fell ill. I am amused today to recall the efforts I had to make just to keep Jaikishan in the job!

I am also frequently asked how exactly the Shankar-Jaikishan team works. Being a team, the main thing about us is team work. Both Jaikishan and I, like others in our profession, are continuously getting a mental change of ideas. We discuss these with each other. Good ideas of each immediately take shape as songs. If one of the partners suggests changes, these are promptly incorporated. It is thus share and share alike. We also share the money equally.

I spoke of the “change” of ideas. Tunes are continuously flitting through our heads –tantalising, challenging us. We fix the ‘tunes’ right there, in our heads. There is no need to record them – I never can forget a good tune. Then there is a session with the lyricist when we acquaint him with the beats of the proposed song. The lyricist may either fix the beats in his mind before going off to write the words, or he may note down dummy words representing the beats, to be replaced later with the genuine lyrics. Sometimes we may give the lyricist somr catchy words suiting our tune, for him to weave a lyric based on it. After the lyric is written, starts the whole complex process of rehearsals with orchestra and singers, ending ultimately in the final “taking” of the song.

The audience we have in our minds when we compose our songs consists of the young in age and the young at heart. This is a very important point and it colours our entire work.

For instance, the young set are the up-to-the-minute set. They are modern. They like catchy things. They like new things. They listen to the music of other countries and have cultivated an outlook as well as expectations going beyond national boundaries.

The implications of all these on our work are that we cannot be tradition-bound and we cannot ignore popular trends in music abroad.

I have no other interest in life except music. It is my comfort both success and in occasional failures. When I come home tired, I go straight to my piano. Its keys open for me a world in itself – with its own tempests, its own serenity.”

Courtesy Mukund Marulkar ji

Just as I had promised, this is really super cooled super chilled FM awaiting U all here today October 16 year 2020 AD, as we crossover to local time exactly now 02:19 Friday early morning hours. A very pleasant and good morning, to U all, the listeners, the viewers, the audience and anybody who is at least somewhat interested in these proceedings being live wired to U as and exactly as it is happening....

 First of all, our usual invocation (myself ARUNESH shall lead from the front and show U the way in case you happen to miss out somewhere; so, just don’t worry, relax N just be with me for the time we R together along here on Radio FM channel):

  GURURA BRAHMA GURURA VISHNU GURURA DEVO MAHESHWARA GURURA SAKSHAT PARBRAHMA TASMAI SHRI GURUVEH NAMAH|

TASMAI SHRI GURUVEH NAMAH||

  And, now for our usual fun & frolic part too:

TERAEI JAANAEI

DILLEI KEI ARMANONEI KAEI LUTEI JAANAEI

KOIEI DEKHEI TAKDEERONEI KAEI BANKEI

BIGADEI JAANAEI

TERAEI JAANAEI

 TERAEI GHAMEI TERIEI KHUSHIEI

MERAEI GHAMEI MERIEI KHUSHIEI

TUJHSEI HIEI THIEI ZNDGIEI

ABBEI TEREI BINAEI KYAEI ZNDGIEI

HUMNEI THAEI KAHAEI – “JEEVANEI BHAREI KAAEI SAATHEI HAIEI”!

                                               “YEI KALEI HIKIEI BAATEI HAIEI”!!

ABBEI TTOEI BASSEI BEBASEI HAIEI ZNDGIEI

ADHIEI ADOORIEI HAIEI ZNDGIEI

TEREI BINAEI BHLAEI KAISIEI ZNDGIEI

TERAEI JAANAEI

DILLEI KEI ARMANONEI KAEI LUTEI JAANAEI

KOIEI DEKHEI TAKDEERONEI KAEI BANKEI

BIGADEI JAANAEI

TERAEI JAANAEI

 JAB_JABEI CHANDAEI AYEGAEI

TERIEI YAADEI DILAYEGAEI!

MAINEI ROKAREI REHEI JAOONGIEI

DILEI JABEI ZIDEI PARREI AYEGAEI

DILEI KOEI KAUNEI MNAYEGAEI!!

 TERAEI JAANAEI

DILLEI KEI ARMANONEI KAEI LUTEI JAANAEI

KOIEI DEKHEI TAKDEERONEI KAEI BANKEI

BIGADEI JAANAEI

TERAEI JAANAEI

  Well, I mentioned fun & frolic. And, the situation here is absolutely the opposite NOT @ALL matching OR tailor-made for IT, whichever way you like to put It OR take It, that is N I’m not going to take chances with mine, i.e., my take! My only take away from IT is that I chose this rather dull & drab (from your viewpoint) but absolutely nostalgic sweet song full of  deep emotions, feelings N sentiments just per se and these sort of sad songs as they are referred to as, people just don’t like these days, rather they just devour funny, silly N cheap-in-every-way things like anything N have just NO time in the world for such lilting superb hit enchanting dear melodies as they just believe in the so ever true and the gospel like Truth that “Our sweetest songs are those which speak or portray the funniest N the silliest bizarre things”!, rather, than the time tested proverb that “Our sweetest songs R those which speak N portray the saddest things”!!

 Now, what does one do with such a silly prevailing tale or sorry state of affairs? Except perhaps murmur N hum the lovely brilliant song(s) in one’s own ears N let go off the whole world, as is all the destiny or fate, later or sooner, how does IT matter! So, let yourself be damned N I am left all at once, all alone with nobody in the whole world keeping singing rhythm with me N nobody keeping me good company for good (here, by company, of course, I imply selfish company; most of the world is out N out selfish a good 99.99% to boot at least; so, what do you do with the remaining or the rest – the really good company, the unselfish percentage of the world, merely 00.01% which is a miserly figure by any standards; I am left wondering aloud to myself!!)!!

 But, just wait a moment! Why be in such a hurry to arrive at such melodramatic hurried decisions, man? The rest 00.01% unselfish good world is in love with the really melodious actually sweet songs, to be truly truthful! GOT IT??

 YES! I truly N fully sensibly got it right at least this time around, just for once, I believe OR is my destiny OR fate going to change around for the better, for all time to come!! Who knows? Nobody! None @ALL!! Anyway, I’m NOT going to stick my neck out OR even make a prediction!!! It’s just always best to do your bit just as well as you can N always, remember always, leave the REST to God, who is a keen observer of ALL these proceedings, going on as they R unrelentingly N overwhelmingly odd or even, how do I care!!!!

 This particular song is unique in the sense that it is not only liltingly melodious but leaves a deep reflective effect on you long after you have given IT ear to listen to! Sung by the versatile evergreen super cool madam LATA MANGESHKAR, this song owes to its composer, the SHANKAR-JAIKISHAN evergreen duo, full credit for the lilt, rhythm, tone, tenor N rather sedate tune it is set to by the latter N of course, this song is taken from “ANARI”, the classical Raj KAPOOR movie of yester years, which people have very conveniently disposed of in the nearest trash bin AND forgotten ALL About It; they are out N out done away with IT for all purposes, I believe; after all, everybody wants to be extra smart these days N nobody cares to be noble, a trait which is looked down upon with lots of extra vehemence by virtually N almost each N every one as a sure signal of lacking in smartness!!

 As we march on to our very next, the third slide of the day here on Radio FM channel, local time now exactly 12 minutes past 3 O’ clock past midnight, remains Friday early morning October 16, 2020 AD.  

Asha Bhosle: ‘I told Helen that I would have eloped with her if I were a man’ - bollywood

https://www.liveindiatimes.com/asha-bhosle-i-told-helen-that-i-would-have-eloped-with-her-if-i-were-a-man-bollywood/

Playback icon Asha Bhosle doesn’t think twice when you ask her to pick her favourite among the numerous actresses she has sung for in her illustrious career. “Helen! She was so pretty that the moment she would enter the room, I would stop singing and look at her. In fact, I would request her not to come when I was recording! Do you know that famous story when I told Helen that I would have eloped with her if I were a man! That is true,” she laughed.

The legendary singer made her digital debut with her official YouTube channel on Wednesday. From recording in a studio with live rehearsal to sending an audio recording via Internet, the veteran has observed a huge transformation over an ongoing career since 1943. Now, at 86, she is gearing up to share many stories from her life, apart from her music, in the digital space.

  Talking about her new venture, the National Award-winning singer told IANS: “I have sung so many songs composed and written by veterans like OP Nayyar, Khayyam saab, Shankar-Jaikishan, and they are all celebrated. That is great. But I also want young and good lyricists, composers and music directors to come forward and grab the opportunity to create music. I would like to encourage them. So, on my channel I will talk of and share my experience on how we struggled to find space here. I am sure they will also feel inspired by knowing them. There are several unreleased songs that were composed by RD (Burman) and I have them all. I will slowly release them, sing them on my channel. I want to share them with our fans.”

She continued: “I am old now. I have seen a sea of transformation inside the recording studio. When I started singing in the studio, we had the culture of singers, composers, writers, film directors and even actors sitting together and sharing their inputs and feedback on the song being recorded. All of us used to feel that we are doing teamwork. Aaj kal sab badal gaya, but main apne yaadon ki pitara lekar ayungi (things have changed now, but I will arrive with my trove of memories).”

Bhosel launched her YouTube channel on May 13 and sung the song ‘Main hoon’. In the video, we can see how she recorded the song in the studio, dressed in a beautiful saree.

Sharing what her driving force is, Bhosle mentioned: “I have a different personality on stage when I dress up. I interact with fans, take their request — that is different. But there is a moment that happens when I stand in front of the mic and sing the song. That is pure – rather, the purest — moment that I live as a singer. That’s the time creation happens. In all these years, that is the only thing that has not changed. I cannot explain that moment but I know when I am singing, it happens. I live for that moment and will be living forever.”

Remembering those good old days, she said: “Kishore (Kumar) da and I used to do so much of madness. We were great friends. I will share the story of our friendship with my fans. I have worked with so many artistes like Geeta Dutt, (Mohammad) Rafi saab. Raj Kapoor saab used to visit our recording studio. Madhubala, Nargis ji would visit us to hear the song that we were singing for them. Chintu (late Rishi Kapoor) used to come with Raj saab. Woh bhi to chala gaya (he too left us). I will share my best memories with my fans.”

Also read: Carry Minati breaks silence on YouTube’s removal of his record-breaking video, says ‘biggest achievements become an easy target’

About the Covid-19 lockdown, and referring to her dance numbers like Piya Tu Ab To Aaja, ‘Rangeela Re, Sharara Sharara, she said: “Ghar par baithke dukhi nahin hona, mere gaane pe dance karo na (don’t be sad sitting at home, dance to my songs). Don’t be upset, sab theek ho jayega (all will be fine). Before the recording of a song, just to set my mood right, even I used to dance! Then I would come out of my room and sing the song with a very composed body language. How can you sing ‘Yeh mera dil pyaar ka diwaana’ without dancing!”

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Junglee (1961 film)

Junglee (English: "Wild" or "Ill-Mannered") is a 1961 Indian movie produced and directed by Subodh Mukherjee. The music is by Shankar Jaikishan and the lyrics by Shailendra and Hasrat Jaipuri. The film stars Shammi Kapoor, Lalita Pawar, Shashikala, Anoop Kumar and Asit Sen. Saira Banu, in her debut film, earned a Filmfare nomination as Best Actress.[1]

Chandrashekhar/Shekhar (Shammi Kapoor) belongs to an aristocratic family, run by Shekhar's domineering mother (Lalita Pawar). He completes his education in London and comes back to run his business. In his family, people shouldn't talk more than needed and laughter is completely prohibited. Shekhar follows all those rules strictly from the heart, but his younger sister Mala (Shashikala) is not like him. She laughs and roams freely and even falls in love with Jeevan (Anoop Kumar), who works in her brother's company.

When her mother finds out that Mala is in love with a common man, she asks her son to take her away to some distant place and make her forget this man. Shekhar agrees and takes Mala to Kashmir. There he meets the charming and lively Rajkumari (Saira Banu), daughter of a local doctor and gets attracted to her. But he remembers his mother's expectations that he should marry a girl from the aristocratic family and maintains a distance with Rajkumari.

But one day, they both get stuck in a snowstorm for two days, which gives him enough time to grow closer to her. In that time, he understands what is important in life and becomes a carefree man. Meanwhile, Mala, who was actually pregnant before they came to Kashmir, gives birth to a son. Rajkumari and her father maintain the secret from everyone and from her brother. They come back to their home and his mother gets shocked by seeing the carefree and changed Shekhar. He even tells her about his love, but she mistakes that name of Rajkumari for a real princess. When she comes to know that she is not the princess, she decides against the marriage. But after some drama, she too comes to know that the real value of people lies in their hearts, not in titles, and she accepts Rajkumari as her daughter-in-law. It gets revealed that Mala secretly married Jeevan a year ago and their son was legitimate. Everyone accepts Jeevan into their home and laughter comes back to their home.

About Famous Bollywood Female Singers

Introduction to Hindi film songs

The origin of Hindi film songs can be traced to 194Os when the playback singing was introduced. While earlier the singing artists acted and sang their songs on their own, it was only in this decade the playback singing came into the picture when artists who did not sing were introduced.

Interestingly, one of the earliest singers was Suraiya, who sang at the age of 13 years for Mehtaab in Sharda(1943). Other notable female singers in mumbai who emerged after this were Shamshad Begum, Lata Mangeshkar, Asha Bhosle, etc. These singers became legends in their lifetime due to their magical voice and immortal melodies. Here is a tribute to divas of the Hindi Cinema in yesteryear.

Shamshad Begum

Shamshad was born in Amritsar and made her debut at AIR Lahore in 1937. Her enchanting depth of voice always haunted the listeners. Ghulam Haider, the famous musician of Lahore used her voice artfully in his hits like Khandan(1942) and Khazanchi(1941). As she stepped into the Hindi film music, contemporary composers almost fell over each other to book her for their songs. It led to her extremely prolific career until the late 50s. Most of her songs such as ‘Mere Piya Gaye Rangoon (Patanga)’, Sayyan Dil Mein Aana Re’ (Bahar), ‘Boojh Mera Kya Naam Re’ (C.I.D.), ‘Kabhi Aar Kabhi Paar’ (Aar Paar), etc became instant hits.

Geeta Dutt

At the age of 12 years, Geeta Roy came to Mumbai from East Bengal with her parents. The famous music director offered her a solo in Do Bhai when she was only 15. It became an instant hit. Her collaboration with the composer SD Burman came out to be very fruitful for her. They gave hits after hits such as Bhai, Kagaz Ke Phool, Munimji, etc. The jazzy tracks of Baazi gave a new avenue to Geeta’s singing. Both OP Nayyar and Geeta Dutt scaled new heights with Aar Paar. The songs like ‘‘Babuji Dheere Chalna’ and ‘Yeh Lo Mein Hari Piya’ became immortal hits.

Lata Mangeshkar

Lata Mangeshkar, the most preferred name in the world of Hindi music is a combination of god-gifted high pitched voice and an inherent ability to pick up whatever was taught to her. The true colors of Lata’s voice emerged when she gave super hit songs back to back in three blockbusters namely, Naushad’s Andaaz, Khemchand Prakash’s Mahal and Shankar Jaikishan’s Barsaat. By 1950, the Lata wave had swept the industry and the heavy base nasal voice became obsolete. Though Lata sang under the guardianship of top composers, it was Madan Mohan who exploited her voice to come up with beautiful ghazals singer.

Asha Bhonsle

Asha Bhonsle can be called as the most versatile singer of the Hindi film industry. She has worked extensively with trendsetting composers of three generations. It can be from breezy songs of O.P Nayyar in the 1950s to foot-tapping tracks of RD Burman in the 1970s and finally to contemporary rhythms of A.R Rehman. The first rock and roll number ‘Eina Meena Deeka’ was sung by her in the 1950s. 1957 was her most significant year when O.P Nayyar used her voice for Naya Daur and Tumsa Nahi Dekha. The 1970s brought her close with music composer R.D Burman and she married him. They gave memorable hits in movies such as Hare Raam Hare Krishna, Teesri Manzil, Caravan and many more. In later years of her career, she has given many memorable live singing performances at various award functions and concerts.

The Path to Becoming a Legend

Nothing can replace hard work, sincerity, and dedication. Singers, who are giving playbacks in movies, have the popularity but not the same level of respect which professional singers from yesteryear enjoy.

The reasons are quite simple to understand. With the help of technology, it has become comparatively easier, even for out-of-tune singers, to render a song, which can be made popular with extensive marketing gimmicks and splashing it all over social media platforms.

But such songs often lack soul and they fade away rapidly with the passing time. Artists, who want to reach the same level of admiration, should try to make an honest start by learning the basics of singing skills, under the able guidance of an experienced teacher. With hard work, perseverance, and constant honing of skills, one can earn the respect of the audience.

Originally Published On: https://starclinch.com/blog/about-famous-bollywood-female-singers/

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For just $25.49 We Ship Worldwide Papi Pet Ka Sawal Hai Bollywood Vinyl Lp Record HMV Music Shankar Jaikishan by Record Condition VG, Jacket in good Condition #lr-1170 Please see images carefully for more details & Condition Of Item. Please read carefully: We Don't combine shipping on multiple purchases of bulk items as We have to pay shipping on weight to shipping company. However, If you want any combine shipping on multiple purchase, please ask before making purchase. Thank You DELIVERY TIME FRAME ITEMS ARE DISPATCHED WITHIN 3 TO 4 DAYS ON RECEIVING OR CONFIRMATION OF PAYUSNTS. DOUSSTIC DELIVERY TIUS MAY TAKE UP TO 10+ DAYS. INTERNATIONAL DELIVERY MAY TAKE TIUS UP TO 20+ DAYS. IN CASE YOU DO NOT RECEIVE YOUR ITEMS WITHIN THIS TIME FRAME PLEASE CONTACT US. Feedback and Detailed Seller Ratings: Positive feedback and DSR ratings are extremely important to me. We would appreciate positive feedback and 5 star ratings from all of my buyers. Our number one goal is customer satisfaction. If you have any problems, questions, or concerns about the merchandise that you purchased please contact me before leaving negative or neutral feedback THANK YOU FOR YOUR KIND COOPERATION

Raina Beeti Jaye - Sharmila Tagore & Rajesh Khanna - Amar Prem - Classic... Film: Amar Prem (1970) Producer and Director: Shakti Samanta,Lyricist: Anand Bakshi,Singer: Lata Mangeshkar If I’m threatened at gunpoint with a condition of listening to only one RDB song for the rest of my life, I will pull the trigger myself (claps…). On a more rational thought, I will say, give me “Raina beeti jaaye” and my ears can survive till I die, hopefully a natural death Circa 1972, Amar Prem… A drunken man is trying to walk to the horse cart. The dilruba and sarangi play the notes of Raag Todi… he continues to walk toward the cart…he is about to board…the alaap of Lata Mangeshkar in Todi…so mesmerizing…he cannot put a step forward.He is drawn to the voice…the santoor plays the beautiful notes and the guitar picks up and starts the rhythm. The man starts to walk toward the magical kotha.Put yourself in the situation (without drinking “as much”). Forget if you are an RDB fan or not, but after listening to the amazing opening bars of music and the alaap, if you have some musical sensibilities, you cannot get away from the song. Just cannot. Don’t laugh at that character in the film. You also get pulled to the song – “Main aaya nahi, inki aawaz ka jadoo mujhe kheench laaya.”After starting with the fragrance of Raag Todi, the prelude music and mukhda beautifully present Nishaad‘s magnetism.“Raina beeti jaaye shaam na aaye“… the first part of the mukhda hints at the magic in the offing. The second part of the mukhda (“Nindiya naa aaye“) gets connected with the first line by the tiniest, tantalizing filler of flute. However, the notes of that filler are completely different from the standard progression.One of my musically trained friends tried to explain: “First line uses the komal (flat) rishab, komal gandhar and komal dhaiwat but the second line has the notes from the same family (rishab and gandhar) in shuddh (normal) form. But this is done without any musical jerk.”I could marvel at it without fully understanding it. What can be perfectly understood is RDB had an extraordinary gift as a composer. Here he is experimenting, and experimenting for good. And how seamless! He knows no boundaries because he knows how to give a feel of breaking them. He is always in the “is mode,” that is the mode of refusing accepted norms and structures. My friend also explained: “This is a genius composer. He has composed the antara roughly in Mishra Khamaj, thumri style. And how! Komal (flat) notes based on Raag Todi and thumari-styled shuddh (normal) notes using Mishra Khamaj . It depicts separation and longing.I half understand, half-nod. I was never a bright student.And how can you not talk about orchestration? Panchamda and his associates knew the use of instruments in terms of what to use, how to use, and where to use. And like Kumar Gandharva, the creative genius in Hindustani vocal classical, even RDB gave a lot of emphasis on weightage, volume and length of beauty sequence in a musical expression.Understandably, being classical-based, the use of dilruba, sarangi, santoor, flute and tabla in “Raina beeti jaaye” is quite understandable. But Panchamda “arrives” with the use of the haunting guitar. It provides the rhythm in the intro music and the jhum of the chords on the sum (alongwith tabla), which provides a totally different flavor to the song.The flute played by Hariprasad Chaurasia underlines the magic of soulful recital, the latter treatment always more moving than the “in you ears” approach. Results: the flute remains with you all along the song.Same with the rhythm section. Extraordinary! You feel it is something different and it is different.I am told the rhythm for the song is composed in Taal Keherwa (eight beats). Though the antara clearly uses the well-rounded Keherwa, Marutirao Keer and RDB show their touches of brilliance by having a different rhythmic pattern for the mukhda. In the mukhda, between the third and fourth beat is a lovely little sound of the maadal and the guitar’s jhum accompanying the tabla to the sum! It’s no ordinary variation.Could RDB and Co have planned this? Instinctive seems more likely. For, geniuses work with a different flashbulb.“Raina beeti jaaye” is not just a brilliant composition or varied instruments and rhythmic patterns used with imagination. It’s more than that. The latter is in sync with the melody. It’s a case of experimentation draped in tradition. No wonder it is enjoyed for decades. It appeals to the less-educated listeners, like me, and also to the more knowledgeable. It amazes the trained musicians and has managed to draw high praise from the “hard to satisfy,” great composer of yesteryear, Sajjad Hussain, who was not known to sugarcoat his reactions.Gulzaar saab worked extensively with RDB. Which would be one additional film for which he would have liked to work with Pancham? Amar Prem, pat came the reply before we could barely finish our query. I am convinced “Raina beeti jaaye” must have contributed a lot toward this feeling of Gulzaarsaab.However, Amar Prem did not won awards back then. But for me, Amar Prem did not miss any awards. Awards missed Amar Prem‘s songs.My parents and my extended maternal family had an HMV Fiesta and as a 10-year-old child, I clearly remember listening to a lot of rich, diverse and almost round-the-clock music . I had my EPs of Marathi children songs but was exposed to the records played by my parents and mamaji (perhaps, my early introduction to DJs!). They had their favorites in Shankar Jaikishan, C. Ramchandra and Madan Mohan. And they also had Amar Prem, Parichay and Aandhi. My listening career started with such RDB gems − blessed I feel now and forever!It has been about four decades since “Raina beeti jaaye” put her baby steps into our ears. But the luring power of the song seizes to die.I never get tired of it. Every time it presents something new to my ear and soul.It’ fresh, ageless, timeless…Aha… and now some free advice!Don’t waste time reading this. Go listen to “Raina beeti jaaye.” Again, and again and again. For, even as it touches you deep down, still you yearn for more due to its beautiful, moving experience. They do not create anything like this anymore…

Remembering Raj Kapoor on his 29th death anniversary.

Raj Kapoor is appreciated both by film critics and movie fans. Film historians and movie buffs speak of him as the "Charlie Chaplin of Indian cinema," since he often portrayed a tramp-like figure, who, despite adversity, was still cheerful and honest. His fame spread worldwide. He was adored by audiences in large parts of Africa, the Middle East, the former Soviet Union, China, and Southeast Asia; his movies were global commercial successes. Raj had the knack of getting the best out of any one, since he had mastered all departments of film making and even marketing them. His films reflected the Era in which it was made.

Many of Raj Kapoor's movies had a patriotic theme. His films Aag, Shree 420 and Jis Desh Men Ganga Behti Hai (In the country where the Ganges flows) celebrated the newly independent India, and encouraged film-goers to be patriots. Raj Kapoor commissioned these famous lyrics for Mera Joota Hai Japani, a song from the movie Shree 420:

Mera joota hai Japani (My shoes are Japanese) Ye patloon Inglistani (These trousers are English) Sar pe lal topi Roosi (The red cap on my head is Russian) Phir bhi dil hai Hindustani (But still, however, my heart is Indian)

The song is still extremely popular and has been featured in a number of movies since Shree 420 was released. Indian author Mahasweta Devi stopped the show with her inaugural speech at the 2006 Frankfurt Book Fair when she used these lyrics to express her own heartfelt patriotism and debt to her country.

Raj Kapoor was a canny judge of filmi music and lyrics. Many of the songs he commissioned are evergreen hits. He introduced the music directors Shankar-Jaikishan and the lyricists Hasrat Jaipuri and Shailendra. He is also remembered for his strong sense of visual style. He used striking visual compositions, elaborate sets, and dramatic lighting to complete the mood set by the music. He introduced the actresses Nimmi, Dimple Kapadia, and Mandakini, as well as launching and reviving the careers of his sons Rishi, Randhir and Rajiv. Famous for making his actresses reveal the body, not very common then in Indian cinema, it was said his 'show-womanship' matched his showmanship.

The 1967 "Song about yogis" (Russian: Песенка про йогов) by Vladimir Vysotsky mentions Raj Kapoor as one of the three best-known symbols of Indian culture in the Soviet Union, along with Shiva and yoga.

A postage stamp, bearing his face, was released by India Post to honour him on 14 December 2001. To honour him, a brass statue of his was unveiled at Walk of the Stars at Bandra Bandstand in Mumbai in March 2012.

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Shankar Jaikishan and their music shows

Shankar Jaikishan and Their Music Shows By Dennis ShahOkinawa, Japan As Shankar Jaikishan Fans, we have all read and heard about the spectacular music shows and their stupendous success. The record breaking attendance and funds collected at their shows is a matter of wonder cos never before or after were such events held. Following is a write-up by one of our members, Dennis Shah, who was…

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A supergroup" is actually a band whose participants are actually actually rock superstars, either independently or with various other popular music groups. That not simply have a really tough English foreign language songs visibility however also have a good Chinese language songs presence especially in Taiwan, Hong Kong as well as a lot more just recently as well as in Landmass China itself. Coming from a Compact Disc this could play, melt as well as rip songs and also transfer photographes, activities, online videos and also schedules. She has a large brochure of productive movie as well as popular music job, and also she has actually been active recently on the TELEVISION collection White Collar. There's likewise a possibility under the popular music menu to make a vehicle play list, which picks monitors on the manner of specified standards. I intend if someone else if steering your car on a trip as well as you are actually oversleeping the backseat, you might fool all of them by constantly shifting the popular music. Vocal singing, clapping, playing the drums and eventually discovering how to read songs can easily give kids well they use throughout their lifestyles. That augers effectively for Pandora as the pre-eminent free popular music radio service in the United States. As these cost-free trials run out clients may return to free options, also ad-supported ones.

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Developing A Flash System Activity With Flixel As Well As Flex Audio And Also Songs.

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Fortunately, Matt Burk Music Center possesses simply the present for all the fussy adolescents in your lifestyle: music sessions! The Older post Hr: The Long, Long Path initially broadcast in 1961 and redoed on Broadcast 4 Add-on on Fifth January 2014 along with a comments through Roy Hudd. Songs in Religious prayer is, and also always has been, a lorry to convey religion. Decide on a popular music genre that's effortless to listen to as well as will definitely operate well for assorted settings. Market particular niche or even the requirement for what an artist is actually making are going to direct just how much attention folks offer to the music being made.

One more terrific evaluation internet site is they are an on the web testimonials web site for new popular music as well as reputable performers. If we explore the jobs of idols, Shankar Jaikishan comprised dazzling popular music in at http://Beauty-healthyportal.info/pomaga-grow-ultra-Gdzie-kupic-takze-w-pielegnacji least 3 largest hit movies from Meena Kumari such as, Dil Ek Mandir, Dil Apna Aur Preet Paraya, Halaku.

Il n' y avait toutefois pas que Selena Gomez pour faire feeling sur le tapis rouge des United States Songs Honors. Under this is the 1500 mAh Li-on electric battery that is actually expected to last approximately 450 hrs from stand-by, around 8 hours and also 30 minutes of talk-time and a continuous songs playback from up to 35 hours. When I secured the completed audio Compact Disc in my hands, as well as heard the original popular music I did and wrote, breathed life into along with the entertainers that supported me, I started to cry. Satisfy acquire a learning in popular music prior to you post a best 450 from production in which it was actually evident you were certainly not to life in. Shankar Jaikishan's music was fined Rafisahab's renowned track aye bahar banke lubhakar chale gaye". The 53-year-old music legend has actually formally created her yield coming from the songs planet in an excellent method - as the Queen of Pop charged the stage from the Super Dish 2012 at Lucas Oil Industry in Indianapolis on Sunday evening, February 5, 2012. Obviously, music affects various places of the mind, as you may view in the graphic below, so we're only damaging the surface area through this blog post, however allowed's pitch in. When he was actually in university studying for a degree in Psychological science at Southern Methodist University, Jack Ingram began his popular music profession.

Musically Yours, Lata

LATA MANGESHKAR, the ‘Melody Queen’ with a voice that since 1940s has ruled countless hearts as well as innumerable sound waves travelling over the globe, turns 90 on September 28. RAMNATH N PAI RAIKAR, who interviewed her two decades ago, remembers the unforgettable meeting

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“Hello, Lata Boltey. Aaplyala kon havay?” (Hello, Lata speaking. Whom do you want?). Twenty-one years down the line, I can still feel the freshness of the honey-laced voice of Lata Mangeshkar, which I heard on the telephone receiver. I was supposed to interview the ‘Melody Queen’ during her visit to Goa, in February 1998, when she was in the state to attend a programme of her felicitation on behalf of Goans as organised by the Gomantak Marathi Academy. The biggest hurdle however was seeking her appointment, as several individuals as well as organisations wanted to interview her. I tried various channels but all in vain.

Finally, the then president of the Gomantak Marathi Academy, Shashikant Narvekar suggested me the name of a person, who could facilitate the crucial appointment. “You ring up Lataji herself, at the hotel where she is staying. There cannot be any better person than herself, to fix an appointment with her,” he said impishly. And bang on target, she herself received my call and without any pretext or excuse asked me to conduct the interview, the very next day. That evening, when I went to attend her felicitation function at Azad Maidan, I was shocked to hear from Narvekar that the situation had turned grim as Varsha, daughter of Asha Bhosle and niece of Lataji had been hospitalised in Mumbai and Lataji’s brother, Hridaynath, who had accompanied her, had already left Goa.

“Lataji will be leaving for Mumbai tomorrow morning,” he added, sounding the death knell for my proposed interview. However, as luck would have it, the health of Varsha Bhosle improved by late night, and around midnight Narvekar called me to inform that not only would Lataji stay in Goa for some more days, but she would also like me to conduct her interview next morning as scheduled.

Speaking to a person, who has spent a lifetime of perfection in the field of music, was very difficult indeed! However, it became one of my easiest tasks as soon as she met me, as we started speaking as if we knew each other for a long time. No tantrums, no high-headedness, no fancy behaviour… Only mellifluous sound!

The simplicity of Lataji as well as the honesty in her thoughts clearly reflects in her songs, in turn making them appealing to one and all across caste, creed, and religion. This had perhaps made one of the tallest figures in Indian politics, C D Deshmukh aptly describe her as “A tuneful symbol of national integration”.

On one hand she spoke about how her live singing of ‘Ae mere watan ke logon’ brought tears to the eyes of Pt Jawaharlal Nehru, while on the other hand, she expressed her sadness over the way Veer Sawarkar had to face offensive treatment after the Independence of India. She also expressed her disappointment over the Hindi film, ‘Saaz’ that was based on the alleged conflict between her and her sister, Asha Bhosle.

One interesting aspect Lataji shared during the interview was her training in playback singing that happened in the recording studios as well as the music rooms of various legendary music directors. “Most of the music composers in those days came from various parts of the country to Mumbai. Salil Chowdhury came from Bengal, Sachin Dev Burman arrived from Tripura, Naushad from Uttar Pradesh, Shankar from Andhra Pradesh, Jaikishan from Gujarat, Madan Mohan from Lahore, Vasant Desai from Maharashtra, and so on. And they brought music of the region from where they came. This brought variety in their compositions and in turn to my songs,” she said, pointing out that long rehearsals of songs before their recording, made her singing perfect.

It is no less than a miracle, the miracle of Manguesh – Lataji’s family deity – that a young girl of 13, with a widowed mother, four young siblings and virtually no money in hand chose a fiercely competitive career dominated by several North Indian singers, and soon overtook as well as replaced all of them with her voice. It is more surprising that to begin with, she had no mandatory knowledge of Hindi and Urdu languages, required for singing Hindi film songs; that she acquired fluency over both languages in no time, is altogether another matter. Lataji is perhaps a rare example, wherein a person solely equipped with voice uninterruptedly rules the world of music for seven long decades, just as the successors desperately try to reach the position held by the person.

Lataji in the interview had stated: “My family went through strange circumstances. When I needed help, no one came forward. Why speak of others, even my own relatives avoided my family. After I gained name, fame and money, everyone started approaching me. At that time I understood not the importance, but the futility of money. When I read Dnyaneshwari or Bhagwad Geeta, this sensitivity becomes more intense. When I think about a queen like Meerabai, who left all her treasures and went away with her Ektari, in search of Krishna, I become more and more aware that all the prosperity we gather is in vain.”

The well-known poet and lyricist, Majrooh Sultanpuri had described Lataji as ‘The Voice of the Century’. However, her voice continues to enthral people even when the 20th century has long gone and we are nearly two decades into the 21st century. Really speaking, Lataji’s voice is the ‘Voice for All Seasons’. It’s immortal and universal. Thanks to sound recording technology, it will live forever and always stay at the top of the ladder.

The voice of Lata Mangeshkar is like a pole star, which shines brightest and is considered a pre-eminent star in celestial navigation. Likewise, her voice will navigate generations of singers to come in the near and distant future. The singer may have turned 90, but her voice is evergreen and everlasting!

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25 Moods Of Asha Bhosle

She sung a song for every mood, every situation. Sukanya Verma dives into Asha Bhosle's magnificent repertoire and pulls out gems on her 85th birthday.

The difference between a good singer and a great singer is that one sticks to the tune while the other brings it to life.

From the era of black-and-white to colour to 3D, the matchless Asha Bhosle has breathed life into thousands of magical songs for numerous decades and regaled us with her endless energy and mastery of sur and taal.

Her inimitable voice -- be it as the heroine, vamp or supporting actor -- is responsible for countless memorable moments on the big screen and off it. Truly, her rare gift has produced a song for every emotion, occasion and ambience.

One of India's most loved voices turns 85 on September 8. Rediff.com celebrates the legendary songstress and her astonishing versatility with a compilation of 25 songs that bring to life various moods and set-ups.

Aiye Meherbaan, Howrah Bridge (1958) Mood: Seductive Music: O P Nayyar

Asha Bhosle livens up the atmosphere with her sensual rendition of this timeless sizzler from Shakti Samanta's black-and-white mystery.

Bhanwra Bada Madaan, Sahib Bibi Aur Ghulam (1962) Mood: Playful Music: Hemant Kumar

Known to modulate her voice to match a song's feel, the singer is at her animated best when she conveys the liveliness of Shakeel Badayuni's lyrics.

Chura Liya Hai Tumne, Yaadon Ki Baarat (1973) Mood: Romantic Music: Rahul Dev Burman

Despite the overexposure, there's much affection and elegance in Asha's admission of love in this chartbusting number from Nasir Hussain's lost and found musical.

Justuju Jiski Thi, Umrao Jaan (1981) Mood: Heartbroken Music: Khayyam

While a misty-eyed Rekha expresses the pathos of the ill-fated courtesan on celluloid, Asha Bhosle exudes her heartfelt agony behind it.

Sabarmati Ke Sant Tune Kar Diya Kamaal, Jagriti (1954) Mood: Patriotic Music: Hemant Kumar

The celebrated singer pays a rich tribute to the Father of the Nation in this melodious creation of Satyen Bose's National Award-winning feature film.

Parde Mein Rehne Do, Shikar (1968) Mood: Mysterious Music: Shankar-Jaikishan

The Padma Vibhushan recipient gets all secretive and guarded while teasing her listeners with a guessing game of concealed identities that is picturised on her namesake, Asha Parekh.

O Mere Sona Re, Teesri Manzil (1966) Mood: Appeasing Music: R D Burman

The two Ashas come together yet again to kiss and make up with their sulking sona -- Shammi Kapoor -- in Vijay Anand's deft whodunit.

Chanda Re Chupe Rehna, Lajwanti (1958) Mood: Maternal Music: Sachin Dev Burman

Asha Bhosle is the sound of motherly love delivering a soothing lullaby, lip-synced by Nargis in this sentimental drama about an estranged maa-beti.

Jawani Jaaneman, Namak Halal (1982) Mood: Glamorous Music: Bappi Lahiri

Nobody blends sophistication and siren quite like Asha Bhosle. And that's exactly what the queen of flamboyance does with this snazzy Bappi beat.

Piya Tu Ab To Aaja, Caravan (1971) Mood: Anxious Music: R D Burman

At a time when women were portrayed as prudishly prim, Asha Bhosle not only acknowledges the aggressively sexy possibility of Monica but gives her a sensational twist, on par with Helen's on screen bravado in this no-holds barred cabaret treat.

Dum Maaro Dum, Hare Rama Hare Krishna (1971) Mood: Hippie Music: R D Burman

Nothing explains the wild aura of the 1970s better than Asha Bhosle's free-spirited rendition of the gypsy soul in RD's equally tantalising arrangement.

Khaali Haath Shaam Aayi, Ijaazat (1987) Mood: Melancholic Music: R D Burman

The pitch-perfect disappointment in Asha's rendering of the serene albeit sad notes of Khaali Haath communicate the loneliness in a hopeless situation perfectly.

Deva Ho Deva Ganpati Deva, Humse Badhkar Kaun (1998) Mood: Devotional Music: Raam-Laxman

Asha Bhosle collaborates with Mohammed Rafi, Shailendra and Bhupinder to celebrate the grand festival of Ganesh Chaturthi in this popular song from a long forgotten Mithun Chakraborty-Ranjeeta potboiler.

Tum Kitne Din Baad Mile, The Great Gambler (1979) Mood: Peeved Music: R D Burman

Do Lafzon may be the most popular on the soundtrack but Asha shows off her awe-inspiring range while letting off steam, anger and sarcasm in Tum Kitne dDin Baad Mile.

Jaane Jaan O Meri Jaane Jaan, Sanam Teri Kasam (1982) Mood: Party-hopper Music: R D Burman

RD's foot-tapping score was easily the USP of this typical poor boy-rich girl romance starring Kamal Haasan and Reena Roy.

And the husband-wife team burns the floor effortlessly with this East-West fusion leaving you a-ha, ha, ha-ing for more.

Nahi Nahi Abhi Nahi, Jawani Diwani (1972) Mood: Shy Music: R D Burman

Asha has this rare ability to act out the emotions of a scene within the song. And for this catchy number featuring Jaya Bachchan (then Bhaduri), the singer is delightfully demure as she resists the hero's eager advances.

Aao Huzoor Tumko, Kismat (1968) Mood: Drunk Music: O P Nayyar

Asha Bhosle humors Babita's intoxicated state and has fun with it to convey a lack of inhibition and control in this memorable ditty from Manmohan Desai's stable.

Yeh Saaye Hain, Yeh Duniya Hai, Sitara (1980) Mood: Reflective Music: R D Burman

Yahan Saare Chehre Hain Maange Hue Se... With grace and skill, a subdued Asha Bhosle brings life to Gulzar's insightful poetry about the emptiness that underlines the hustle bustle of show business.

saare Niyam Tod Do, Khubsoorat (1980) Mood: Rebellious Music: R D Burman

A clearly enthusiastic Asha Bhosle kickstarts a defiant non-cooperation movement, resonating the discipline vs carefree theme of Hrishikesh Mukherjee's feel-good flick.

Mere Mehboob Mein Kya Nahi, Mere Mehboob (1963) Mood: Proud Music: Naushad

Sisters and heavyweights of playback singing -- Lata Mangeshkar and Asha Bhosle -- get together to tussle over the best mehboob in this silvery Naushad composition, brimming with exaggeration and adjectives.

Khatouba, Ali Baba Aur Chalees Chor (1980) Mood: Exotic Music: R D Burman

For Umesh Mehra's Indo-Russian take on the classic Arabian fairy tale, RD employs Middle-Eastern influences while Asha lends it zing and zest with her merry inflections.

Aa Dekhen Zara, Rocky (1981) Mood: Competitive Music: R D Burman

Even as Kishore Kumar (for Sanjay Dutt) and RD (for Shakti Kapoor) spar over words; Asha Bhosle competes with herself -- providing the voice for both Tina Munim and Reena Roy in everyone's favourite song about trash talking.

Jhuka Ke Sarr Ko Puchho, Satte Pe Satta (1982) Mood: Makeover time Music: R D Burman

Asha Bhosle turns romance coach with her how-to-win-a-girl's-heart-in-five-courteous-steps guidebook for her six scruffy brothers-in-law.

Pyar Ke Mod, Parinda (1989) Mood: Persuasive Music: R D Burman

The singer is at her soulful best for Madhuri Dixit in trying to convince Anil Kapoor to commit to a life of love and harmony in this sublime beauty from Parinda.

Rangeela Re, Rangeela (1995) Mood: Happy-go-lucky Music: A R Rahman

The youthful, exuberant and starry-eyed vibe of Rangeela's title track is lovingly captured in Asha Bhosle's eternally vivacious spirit. No wonder it became an instant hit.

This feature was first published on September 7, 2012.

Source: http://www.rediff.com/movies/special/25-moods-of-asha-bhosle/20180908.htm