#Best of S D Burman and Lata Mangeshkar

[sixofstories]

Went to see the dev anand re-releases and my god.... Guide. waheeda rehman. Dev anand. Lata mangeshkar. Mohammed Rafi. Kishore kumar. S.D.Burman. Vijay Anand. I love all of you.

[indiejones]

LATA & RD & KISHORE - THE FINAL CHAPTER (NEE DHARAMYUDH)! . . . . . . . . -OF THE MYSTERIOUS HEART ATTACKS BOTH KISHORE & RD WERE AFRAID OF! -OF 1985: THE YEAR THAT CHANGED BOLLYWOOD FOREVER!

This strange (below) Aajtak video clip caught my attention, & got me googling & researching a while.

And what came of it was highly interesting to say the least!

As it turns out, Lata Mangeshkar on average sang only 2 songs per year for R.D. Burman all life/career, while he on average composed 36 songs/year for 36 years straight!

https://youtube.com/watch?v=wr-lDgD6V0U

A further cursory glance reveals even more startling facts- Lata Mangeshkar it seems stopped singing for R.D. Burman for the last ~9 yrs of his life/career, after 1985-early 1986 at most, till his death in 1994! All RD films releasing thereafter (’86-’94),bearing Lata’s voice, if pry a bit, either shot/recorded in '85 or early '86 at most!

.

P.S : Also- Seems this year 1985 has some strange significance in lives of all 3 best friends-Rajesh Khanna (as explained in blogs pertaining to him), R. D. Burman & Kishore Kumar. For Kishore Kumar, we learn, announced his retirement from Bollywood in May 1985, (at the peak of his demand having just recorded 300 songs in 1984), but his pending work lingered, till his death in Oct '87 from his 2nd heart attack (his first having been received in 1982)! https://indiatoday.in/india-today-insight/story/from-

No one till today for certain knows the exact reason for this most surprising & most illogical & obviously highly emotional retirement decision from Bollywood. But one of the public speculations that's been doing the social rounds since those times, & we don't know if this the real or sole reason, is that it could've been borne of his showdown with his brother-in-law & Leena Chandavarkar's brother Anil Chandavarkar, perhaps sometime in the beginning of 1985, on the sets of Kishore's last directorial venture 'Mamta Ki Chhaon Mein' which he'd begun directing in 1984, in which Anil, who'd also acted in films like 1977's Aafat & 1980's Khanjar earlier, was employed as a production assistant by then, the issue for which has not been posted anywhere online, but that was serious enough in Kishore’s eyes, for getting him publicly thrown out of the film, by his own brother-in-law! And that many people believe, certainly contributed to Anil committing suicide just a few days/months later in early 1985, & leading to Kishore's announcement of retirement from Bollywood, just few days/months later, leaving all work on his own film too, that was 90% complete by then, in the process (& perhaps as we see it, merely focusing on completing his pending assignments for others thereon), (a home production that incidentally did make it to screens in 1989 finally, with Rajesh Khanna making a very special appearance).

Anil Chandavarkar, apart from being Leena Chandavarkar's brother, was also the son-in-law of director Atmaram, as husband of his daughter Anjali.

👇

1. https://m.imdb.com/name/nm9507714/bio/ 2. https://www.imdb.com/title/tt0234183/trivia/

3. https://www.imdb.com/name/nm0151293/trivia/?ref_=nm_dyk_trv

Now another highly curious incident from the very day of Kishore da's heart attack has caught mass attention. Per his wife's statement to the media, Kishore before his death, was looking pale since morning, & post-lunch, lay on his bed, after moving some furniture, & upon inquiry by his wife said, "I am feeling weak". His wife immediately tried calling the doctor, to which Kishore got angry & shouted, "If you call the doctor, I will get a heart attack". His eyed were open & he was breathing out. And just a few moments later, died.

👇 https://en.wikipedia.org/wiki/Kishore_Kumar

People online have wondered what made Kishore da so wary of the doctors coming to his house then. Others dismiss it as another joke on his part given how he was a habitual jokester. But remember, this was a man clearly experiencing a fatal heart attack just then (as evidenced by the fact that he succumbed to it just few mins later), yet that even in such agony & strife, found the strength to shout out to his wife to not call the doctors, for fear that he may (actually, in his mind) get a heart attack if they came. Isn't this most perplexing & mysterious???! Why was Kishore Kumar so phobic of his home-visiting doctors??? What kind of experiences had he had with them over time, to make him so afraid of their mere name, during his last moments???!

Questions none of us can now with any certainty answer, yet safely & privately (& oh so obviously) guess. :/

And when Kishore Kumar finally did pass away just 2 yrs after his retirement decision, while completing his huge pile of pending work, on that fateful day of  Oct 13, 1987, his friend R.D. Burman reportedly told Kishore’s son Amit at his funeral, as recounted by Amit in his video interview to Rajeev Bajaj, that it was time for him, the great R.D. Burman, to retire as well, as he knew his innings was up too!

R. D. Burman would go on to have a heart attack in the very next year of 1988, & would have a heart by-pass surgery needed to be performed on him abroad the following year in 1989, having his work-rate reduced by half for the next 5 yrs.

Another interesting publicly available post--1989 interview excerpt has also come to light, drawing further attention to his state of unease & perhaps anger. RD had always been very careful to not make hyperbolic statements about (his brother) Rajesh, most likely as instructed by the latter himself. Yet on this one occasion in 1990, made an exception, & almost purposely, gave a provocative interview about his bro being the best & all, knowing full well as an insider, how this whole silly Rajesh-Amitabh battle was a mere artificial ‘establishment media’ creation:

“Amitabh would best be remembered by historians as a 'Bollywood Legend', but Rajesh Khanna would remain a 'Permanent Superstar' for generations because of his natural charisma on and off screen. Khanna has done vast genres of films, experimented and performed many roles and also has keen interest in story, music and lyrics of songs in his films. Khanna is more versatile.”

This was an obviously angry RD deliberately hitting out the only way he knew how to, & taking “panga” with the establishment, for reasons we can perhaps now well guess.

RD would land up having his 2nd & most fatal heart attack 3.5 yrs later, on Jan 4, 1994, to eventually pass away.

Followed by a years-long media drive on how RD was unhappy & alone & doing very poor work in his final few yrs, while reality is that music stds of Hindi Cinema as a whole had gone down a few notches by the mid 80s anyway. Also that he was leading essentially the same royal life (albeit in poorer physical health)(he came from a super wealthy North-Easthern royal family btw), as also a bachelor's life since his divorce in 1971, as claimed by the musicians who worked with him (incl guitarist Vineet Shrivastava on Yt), whatever the exact truth of his marriage to Asha Bhosle, that apparently was a secret btwn him & Asha till his death, that no one really knew of, till Asha ji herself made it explicitly known to the world after his death.

P.S.:

1. Some interesting emerging tidbits herein, even if people find outta context, being how twas RD Burman, more Lata's gen, being just 9.5 yrs younger, that ended the Lata-SD cold war on since mid 1950s, by going to her house & asking her to sing his 1st song as a independent composer in 'Chhote Nawab' in 1960. The 2 never parted for next quarter century!

2. Further, Chaitanya Padukone's book 'RD Burmaniya' carries a Lata intv, stating how RD asked her to give him a 'counselling letter' of "Do's & Dont's" when he did marry her sis Asha at a time in 1980's, as a gift.

👇👇👇👇👇

https://www.amarujala.com/photo-gallery/entertainment/bollywood/rd-burman-aka-pancham-da-death-anniversary-lata-mangeshkar-remember-him

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To then set into motion the final (as in Rajesh's case, we know for fact) project, by the unseen & unnamed & unknown powers-that-be, for total dismantling of the last & most famous of this legendary trio, Project Rajesh Khanna, as already amply blogged on before.

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[thebobby1432world]

Anuradha Paudwal Wiki, Biography, Age, Height, Weight, Family, Net Worth

Anuradha Paudwal Wiki: Anuradha Paudwal is an Indian playback singer. Her amazing voice and talent have been heard in Hindi, Marathi, Tamil, Odia, Nepali, Bengali, and Kannada movies since she made her debut with a Sanskrit verse in the 1973 Hindi film Abhiman, which was composed by S. D. Burman. Anuradha Paudwal Wiki Described in the media as one of the most prominent Bhajan singers and also one of the most successful playback singers of the 80s and 90s era of Bollywood, Anuradha is most famously known for her association with music composers Nadeem and Ravan. The two recorded 23 songs together, which were used in three films: Aashiqui, Dil Hai Ke Manta Nahin, and Sadak.

Anuradha Paudwal Wiki Born Alka Nadkarni in a Marathi-speaking family in Karwar, she was married to Arun Paudwal, a music composer, with whom she had a son, Aditya, and a daughter, Kavita, a singer by profession. Tragically, her son Aditya passed away in 2020 due to kidney failure. Anuradha has no plans to retire from her singing career, and her passion for music still thrives.

Anuradha Paudwal Wiki

NameAnuradha PaudwalReal NameAlka NadakarniNicknameT-Series QueenProfessionPlayback SingerAnuradha Paudwal Physical Stats Height (approx.)in centimeters- 165 cm in meters- 1.65 m in feet inches- 5’ 5”Eye ColourDark BrownHair ColourBlackAnuradha Paudwal's Personal LifeDate of Birth27 October 1952Age (as of 2023)70 YearsBirthplaceKarwar, Bombay State (now Karnataka), IndiaZodiac signScorpioNationalityIndianHometownMumbai, IndiaCollegeSt. Xavier's College, Mumbai, IndiaDebutBollywood: A Sanskrit 'Shloka' in the 1973 film Abhiman Marathi Film: Song "Yashoda" (music by Datta Davjekar) Private Album: "Bhav Geeten" (Marathi Album)ReligionHinduismAddressA duplex located in Khar, a posh western Mumbai suburbHobbiesReading, TravellingAwards/Honours1986: Won the Filmfare Award for Best Playback Singer (Female) for the song, 'Mere Man Bajo Mridang' (film, Utsav). 1991: Won two Filmfare Awards for Best Playback Singer (Female) for the songs, 'Nazar Ke Saamne' (film, Aashiqui) and 'Dil Hai Ki Manta Nahin' (film, Dil Hai Ki Manta Nahin). 1993: Won the Filmfare Award for Best Playback Singer (Female) for the song, 'Dhak Dhak Karne Laga' (film, Beta). 2004: Honoured with the 'Mahakaal Award' by the Madhya Pradesh govt. 2010: Honoured with the "Lata Mangeshkar Award." 2011: Honoured with the "Mother Teresa Award." 2013: Mohammed Rafi Award by the Maharashtra Government 2016: Honoured with the D lITT Award. 2017: Honoured with the Padma Shri by the Govt. Of India. 2018: Maharashtra Gaurav Puraskar by the Maharashtra Government 2018: Cultural Ambassador Of Devotional Music by UNOCategory CelebrityAnuradha paudwal's Favorite ThingsFavourite Singer(s)Lata Mangeshkar, Kishore KumarAnuradha Paudwal Husband, FamilyMarital StatusWidowHusband/SpouseLate Arun Paudwal (Music Composer)Marriage DateThe year 1969ChildrenSon- Aditya Paudwal (died on 12 September 2020 at the age of 35) Daughters- Kavita Paudwal & 1 more who died at the age of one month Disclaimer: The above information is for general informational purposes only. All information on the Site is provided in good faith, however, we make no representation or warranty of any kind, express or implied, regarding the accuracy, adequacy, validity, reliability, availability, or completeness of any information on the Site. Read the full article

[bollywoodproduct]

Lyrics Neend Churaaye Chain Churaaye

Lyrics Neend Churaaye Chain Churaaye

Lyrics in English | Neend Churaaye Chain Churaaye | Anuraag (1972) | Lata Mangeshkar Neend ChuraayeChain ChuraayeDaaka DaaleTeri BansiNeend ChuraayeChain ChuraayeDaaka DaaleTeri BansiAre Din Dahaade (2)Chori KareRaat Bhar JagaayeDaaka DaaleTeri BansiHo Neend ChuraayeChain ChuraayeDaaka DaaleTeri Bansi………. Antakshari Songs from “N” Man Me LageAise AganJaise ChamkeBijuriya Baadal MeMan Me…

[bollywoodirect]

46 Years of #Abhimaan. (27/07/1973)

Abhimaan is a 1973 musical drama film starring Amitabh Bachchan, Jaya Bachchan, #Asrani, and #Bindu. It was directed by Hrishikesh Mukherjee. The film is perhaps best remembered for its songs, composed and arranged by the late S. D. Burman, written by Majrooh Sultanpuri, and sung by playback singers Mohammed Rafi, Lata Mangeshkar, and Kishore Kumar. Jaya Bachchan won the Filmfare Best Actress Award for Abhimaan. According to Aalif Surti film is based on troublesome marriage between two sitar maestros Ravi Sankar and Annapurna Devi.

Also according to author Raju Bharatan, Hrishikesh Mukherjee based the film's story on the life of singer Kishore Kumar and his first wife, Ruma Ghosh. This film was remade in Tamil as Nejamellam Neeye with Mohan, Radha and Poornima Jeyaram.

[gapsapkhabre]

Top 10 Bollywood Song Featuring Sharmila Tagore

 The diva of Bollywood during the 1960s and 1970s is broadly viewed as one of the top entertainers record-breaking. From town beauty parts to super present-day social young lady, throughout the long term, Tagore set up herself as a sex image, the label which she generally adored. Sharmila played the female lead of Bollywood's unsurpassed favorite star like Rajesh Khanna, Dharmendra, and Shashi Kapoor, and stayed popular and effective with every one of them.

Sharmila has been a piece of numerous popular songs of brilliant previous days and it's unrealistic to list every one of them. However, it's my unassuming endeavor to honor one of the wonderful stars of the silver screen. Here I list my popular Shamila songs having a place in the 1960s and 1970s.

1. Mere Sapnon Ki Rani From Aradhana- I might want to begin with this film and song which changed the thickness of Bollywood and craftsman related to it. Music was formed by S. D. Burman, composed by Anand Bhashi, and sung by Kishore Kumar. The song included Rajesh Khanna, Sujit Kumar, and Sharmila Tagore. Even though Sharmila's character didn't express even a solitary line in the song, this list is fragmented without "Simple Sapnon Ki Rani".

2. Gunguna Rahi Hai Bawre from Aradhana-All the song of the film was incredibly popular and it's one of the two-part harmony songs by Rafi in this film. He sang this two-part harmony aside Asha Bhosle, and the main reasonable look running in this sentimental song.

3. Kora Kaagaz The from Aradhana-This two-part harmony was mentioned for Kishore Kumar and he sang it easily aside Lata Mangeshkar. However, the songs which changed the fate where the performances "Roop Tera Mastana" and "Mere Sapnon Ki Rani", initially implied for Mohammad Rafi "Kora Kaagaz" highlighting Rajesh Khanna and Sharmila Tagore also was very popular and played a critical part in setting up them as one of the main screen pair of Bollywood.

4. Roop Tera Mastana from Aradhana-Yet another show-stopper song from the film which, restored the profession of Kishore Kumar and made him the most praised artist of Bollywood. Like "Mere Sapnon Ki Rani" it's a performance track yet the list of Sharmila songs is inadequate without the sexy performance. instruments for its music were played by a portion of the extraordinary legend of Bollywood film Manohari Singh played the saxophone, Homi Mullan played the duggi and The unbelievable Kersi ruler played the accordion. the song grouping of more than 3½ minute including Khanna and Tagore was imagined in a solitary shot, which is extremely uncommon in Bollywood

5. Chanda Hai Tu from Aradhana-This specific performance track sung by Lata Mangeshkar is anything but a sentimental one, yet so uncommon to me. so I might want to add this paramount track to Sharmila Tagore's song music created by S.D. Burman and verses composed by Anand Bakshi are surely decent. the film likewise incorporate one popular title track sung by the arranger himself which gave him National honor for best playback artist Safal Hogi Teri Aradhana, highlighting Sharmila Tagore.

6. Deewana Hua Badal from Kashmir ki Kali- This film denoted the Bollywood introduction of Tagore, and from that point forward her matching with Shammi Kapoor has consistently been valued. the film's incredibly popular music was created by OP Nayyar, and the verses were written by SH Bihari. the film incorporates numerous chartbuster and evergreen tracks sung by Rafi and Asha especially this one the song was lovelily imagined in the lake and vessel of Kashmir

7. Isaaro Isaaro from Kashmir ki Kali-I might want to incorporate this popular two-part harmony additionally in this list. Kashmir ki Kali is constantly viewed as one of the best works of OP Nayyar and it will consistently remain so. the film is likewise known for a portion of the incredibly popular performance track of Rafi-"Kisi Na Kisi Se, Yah Chand Sa Roshan Chera, and Subhanallah Haseen Chehra". the film additionally incorporate one more popular two-part harmony of Rafi and Asha "Meri Jaan Balle"

8. Kuch Dil Ne Kaha from Anupama-Lata Ji has told in numerous meetings, this astonishing piece by Hemant Kumar is one of her best 10 top choices. the song was envisioned on Sharmila Tagore and Dharmendra in high contrast design. this song incorporates characteristic voice like flying creature peeping and is so near nature and its shooting impact unquestionably discovers a place in my list. it's one of the best Hindi song formed by Hemant Kumar this song depended on raga- Bhimplasi.

9. Mere Dil Mein Aaj kya Hai from Daag-Through it's a performance track sung by Kishore Kumar, I might want to incorporate this amazingly popular sentimental track in this list including Sharmila Tagore songs. Rajesh Khanna played the lead part in this film and there is numerous magnificent track in this film created by Laxmikant Pyarelal. Daag a sonnet of affection was delivered and coordinated by Yash Chopra and was seen for its novel peak. verses were written by Sahir Ludhianvi.

10.Ham Aur Tum Aur Ham from Daag-This song sung by Kishore Kumar and Lata Mangeshkar unquestionably merit a situation in this list. as told over its super hit music was created by Laxmikant Pyarelal and verses written by Sahir Ludhianvi the popular track of the film abdominal muscle "Chahe Ma Ruthe Ya Baba", "Ni Maine Yaar Manana Ni" additionally highlighted Sharmila Tagore. in short the most popular track of the film highlights Sharmila.

You might be interested to read some of the classic hit of Sharmila Tagore Songs

[shankerjaikishen-the-unbeatables]

Life and times of Jaidev.

by

Vikram Appasaeb Jadav

*“Dekh li teri khudai, bas mera dil bhar gaya* *Teri rehmat chup rahi, main rote rote mar gaya . .”*

One of the greatest but unsung and unwept composers of yore was Jaidev. In 1933, 15 year old Jaidev Verma ran away from Ludhiana to Bombay, to become a film star. He acted in eight films as a child artist in Wadia Film Company. But owing to his father's blindness, he had to return to Ludhiana. While he was acting in films in Bombay he took music lessons from Krishnarao Jaokar and Janardan Jaokar. After his father's death, it was his responsibility to look after his sister. After he got her married, he went to Lucknow and continued his music studies under Ustad Ali Akbar Khan.

Ali Akbar took Jaidev as his music assistant when he composed music for Navketan's “Aandhiyan” and “Hum Safar”. From “Taxi Driver” he became SD Burman’s assistant. SD had full trust in his genius assistant; each time he entrusted him with a composing or creative job, he would advise him not to complicate it with difficult ‘murkis’ and ‘harkats’. Jaidev’s contribution to the compositions of SD Burman can be gauged through these very intricate nuances, very typical of him, obvious in a number of gems like ‘Phaili hui hain sapnon ki baahen’ (House No. 44), ‘Hum bekhudi mein tumko pukare chale gaye’ (Kala Pani), ‘Hum hain raahi pyar ke’ (Nau Do Gyarah), ‘Dekho rootha na karo’ (Tere Ghar Ke Saamne), ‘Aise to na dekho’ (Teen Deviyan), and ‘Tere mere sapne ab ek rang hain’ (Guide) to name a few.

Jaidev got an independent assignment in “Joru Ka Bhai”, after which he composed music for ChetanAnand’s “Anjali”. Music of both of these films became very popular. But, with “Hum Dono”, Jaidev came into the limelight, and how? Who can forget the bhajan ‘Allah Tero Naam, Ishwar Tero Naam’ sung by Lata! And as long as there are lovers around, ‘Abhi Na Jao Chhodkar’ will be their favourite anthem as if it is a Valentine message. ‘Main zindagi ka saath nibhata chala gaya’ became the life philosophy of Dev Anand. Jaidev built a reputation as a sensitive composer who did not compromise on the quality of music for the sake of applause.

After Hum Dono’s success, a promise was made by Dev Anand that every alternate film of Navketan will have music by SD Burman and Jaidev. Accordingly, SD Burman was entrusted the baton of “Kala Bazaar” and Jaidev ‘signed’ for the music of “Guide” for which he is believed to have composed a couple of tunes too (‘Tere mere sapne ab ek rang hain’, and ‘Din dhal jaaye haye raat na jaaye); however, the film was made and released finally with music by S D Burman, his career best. Jaidev proposed, Dev Anand disposed! Probably, for the first time, Jaidev felt exploited and stifled at Navketan and “Guide” marked the end of his long and fruitful musical association with both Dev Anand and SD Burman. Navketan, too, never called him back, which was the unkindest cut of all. Though the hurt feeling lurked in his mind for long, his respect and reverence for SD Burman remained the same till his last. Besieged by a chain of misfortunes, Jaidev made “Jo kho gaya main usko bhulata chala gaya” the mantra of his life with his spiritual character to ‘guide’ him.

What happened to Jaidev after Hum Dono is the kind of heart-wrenching cruelty that film industry keeps inflicting on its best talents. After the mega success of Hum Dono songs Jaidev was the natural choice of Navketan for their next film Guide starring Dev Anand. Jaidev composed and recorded two brilliant songs and all persons in Navketan management were extremely happy with the songs. But all of a sudden, mysteriously enough Jaidev was thrown out of Guide!

It is said that Dev Anand pressurized Jaidev to work as S.D. Burman’s assistant in Guide. It was a cruel event where a sensitive creative genius like Jaidev was suppressed by the heartless mighty. Jaidev was never again invited by Navketan to compose songs. Dev Anand used both the Jaidev songs in his film Guide. It is said that those two songs were ‘Din Dhal Jaaye Haye Raat Na Jaye’ and ‘Tere Mere Sapne Ab Ek Rang Hai’ sung by Mohammad Rafi. Being cast out of Guide was a very big setback in Jaidev’s film music career. He never really recovered from the shock. Jaidev used to frequently narrate such incidents to his friends, wracked by inconsolable grief.

This was the time when Jaidev met and got introduced to young composers like Roshan and Madan Mohan. This is a great example of the saying ‘genius finds genius’. Roshan invited Jaidev to sing in his very first film. Once, when Roshan and Jaidev were going together to a film company, they saw Madan Mohan. Roshan was reported to have told Jaidev, “I am going to introduce you to a brilliant young composer”. On introduction, Madan Mohan and Jaidev needed no time at all to become best of friends.

Roshan, Madan Mohan and Jaidev had many similarities. They were rare music geniuses. They were unfailingly great human beings too. Their unquenchable thirst ran to music, languages, literature and wine. None of them were given the importance or prominence that they richly deserved. But they lived their entire lives as friends and supporters. Theirs was a rare friendship in the ‘man eats man’ world of cinema.

Film world has its own inviolable rules. It needs people who can achieve mass popularity by shortest possible route. Its impatience with geniuses is well known. Geniuses like Salil Chowdhury, Madan Mohan, Roshan, Vasant Desai and Jaidev failed in this race to huge popularity. They did not have the talent to market themselves. What complicated the matter was group politics that acted as a barrier to fresh music entering the industry. True geniuses who blazed their own path overcoming all barriers in our film industry are very few.

Jaidev also composed the musical score for “Maitee Ghar”, a Nepali film produced by King Mahendra. The King was so pleased with Jaidev that he offered him a blank cheque and asked him to fill in any amount as he wished. But Jaidev returned the cheque and asked for a tiger skin instead!

People who speak of the Golden Age of Hindi film music mostly speak of commercially successful names like Naushad, Shankar Jaikishen, S.D. Burman, R.D. Burman, Kalyanji Anandji and Laxmikant Pyarelal. But there are many composers who established their identities through the uniqueness of their compositions alone. They may not have composed music for a very large number of films. Many of their films might not have succeeded at the box office.

Jaidev had composed music for less than thirty films. The number of songs to his credit may not be more than hundred and fifty. But Jaidev is a name imprinted on the hearts of lovers of vintage Hindi film songs as the genius who gave such fabulous numbers as ‘Kabhi Khud Pe Kabhi Haalaat Pe’, ‘Allah Tero Naam’ and ‘Abhi Na Jao Chhod Kar’. ‘Kabhi Khud Pe Kabhi Haalaat Pe’ is among the best ghazal numbers sung by Mohammad Rafi. There are many who rate the number sung by Lata Mangeshkar for Jaidev ‘Allah Tero Naam’ as the best prayer song to have emerged from Indian films. In a recent televised event, Jaidev’s ‘Abhi Na Jao Chhod Kar’ was rated both as their favourites and the best Hindi film song ever by today’s stars Shankar Mahadevan and Farhan Akthar.

It is possible that an average listener may identify Jaidev as the only music composer from Hindi films to have won the National award thrice. But the lamentable fact is that this composer of incomparable songs, winner of many state awards and winner of ‘Sur Singar Samsad’ award for Lifetime Achievement in Music remains so unknown to common man that we keep hearing the question, “Jaidev? Who is he?” even from people who love his music!

It was Jaidev who introduced ghazal singer Hariharan to film music in the film Gaman (1979) with the song ‘Ajeeb Saaneha’. This is not merely one of Hariharan’s best songs it has become one of the finest ghazals in Hindi film music. It won the U.P. state award and a nomination for National award for Hariharan. In the film Kinare Kinare, Jaidev brought together four leading singers Mohammad Rafi, Talat Mehmood, Manna Dey and Mukesh to sing a song to be picturised on one character played by Dev Anand. It was an event nobody had tried till then.

Jaidev gave Yesudas some of his best Hindi songs that suited the unique pathos that Yesudas carried in his singing style. He even made him sing for Amitabh Bachhan in Aalaap released in 1977. ‘Zindagi Ko Sawarna Hoga’ and ‘Chand Akela’ with a light classical touch and the sad lullaby ‘Koi Gata Main So Jata’ in this film, were Yesudas’ very important Hindi film songs. Another fine ghazal singer Bhupinder shot to fame with a fabulous Jaidev song from his film Gharonda. Who can forget the depth of feeling that the song ‘Ek Akela Is Shahar Mein’ carried with such conviction? Jaidev’s Gaman also saw the introduction of another important singer, Suresh Wadkar to Hindi films with the classical based ‘Seene Mein Jalan’.

Jaidev was admired by producers as a good composer, but they considered him good enough for the small-budget films. Though most of his films failed at the box office, many of them, such as 'Kinare Kinare', 'Reshma Aur Shera', 'Alap', 'Prem Parbat', 'Gaman' and 'Ankahee', are remembered for his imaginative musical score. It is unfortunate that despite his expertise in classical and folk music and imaginative approach, Jaidev had only 'Hum Dono' and to a certain extent 'Mujhe Jeene Do' as the only commercially successful films to his credit.

Jaidev was a lonely man with no house of his own and no family to take care of him except a few friends who were mostly from the literary fields or judges, lawyers, painters, high rank officials and dignitaries. He needed a room to display his awards and trophies but sadly, most part of his life in Bombay, he lived alone as a tenant in a single room at Lily Court, near Ritz Hotel, Churchgate. His “Gharonda” song ‘Ek akela is shehar mein aab-o-dana dhoondhta hai, ashiyana dhoondhta hai…’ was almost biographical and depicted his plight.

A winner of four Sur Singar Samsad awards, the Lata Mangeshkar Award of the MP Government and three National Awards (‘Reshma Aur Shera’, ‘Gaman’, ‘Ankahee’), Jaidev did not get the recognition he deserved and that is a sad commentary on the musical culture of modern cinema. Looking back on Jaidev's career as a music director, his struggles, achievements and set-backs, his pensive melody 'Kabhi khud pe kabhi halat pe rona aya' from 'Hum Dono' suddenly comes to mind and the heart grieves for the talent that was wasted. By a strange quirk of fate, before his composing days, Jaidev also sang songs on All India Radio. Sahir’s “Tang aa chuke hain kashm-e-kash-e-zindagee se hum” was first sung on AIR by none other than Jaidev. He was the first composer who used the 'glockenspiel' for the cigarette lighter tune in “Hum Dono”. (It was Kersee Lord who brought this instrument to India, and also played it to good effect.)

As compared to his contemporaries, Jaidev was underpaid or not paid in time or not at all paid many a times. But, money considerations did not dilute his passion or affect the quality of work. He was a workaholic and had a method to his madness; he took note of the backdrop of the film, the situation, the character, the dialect, the lyrics and worked meticulously on the details of the song, its arrangement and orchestration till the final recording. No doubt he was exploited many a times of which he was well aware, but it was only when he felt so, he cut off his ties with the filmmakers (like with Dev Anand and S D Burman after “Guide”) and dissociated himself from the composing assignment. Not many know that the title track of Ramanand Sagar’s epoch making serial “Ramayan” was by Jaidev. He left the serial at the nascent stage itself as he was not even reimbursed the taxi fare (from Churchgate to Natraj Studios, Andheri East), leave aside the credit or remuneration for composing!!

In Jaidev’s own opinion he gave his best for Hrishikesh Mukherji’s “Aalap”, but when Mukherji and Amitabh Bachchan were ignored, what can be said about Jaidev’s plight? But Jaidev gave his all for the ultimate reward he got from “Aalap”. His association with Harivanshrai Bachchan got him the opportunity to compose the “Madhushala”, which had Manna Dey singing the “Madhushala” into the annals of posterity!

After three decades of continuous struggle as a music director, and with only thirty six films to his credit, Jaidev was a tired man. Age was catching up with him and his health was failing. He had no one except friends to care for him and no house to call his own. Earlier he used to spend his vacant hours over a glass of liquor. But later even that blessing was denied to him on medical grounds. On December 14, 1986, when Jaidev stepped on the stage to receive the fourth Sur Singar Samsad award for his classical music in 'Ankahee', he looked weak but healthy enough to last another decade. The glow on his tired face was probably the last flash of a falling star. On January 6, 1987, he died suddenly, at the age of 68, leaving the film industry to grieve for the loss of a talent it had consistently neglected. Life had been unreasonably cruel to him but death was more than gracious to liberate him from the misfortunes of life.

A Tribute to Jaidev ~ Vikram Appasaheb Jadhav Kolhapur 06/01/2019

जयदेव को देवानंद और s d burman ने दुःख पहुंचाया guide के 2 गाने तेरे मेरे सपने याब एक रंग हैं और दिन ढल जाए रात न जाये की धुने जयदेव नेबनाई थीं।

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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

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Lyrics Aaj Phir Jeene Ki Tamanna Hai

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Aaj Phir Jeene Ki Tamanna Hai – Song contents: Lyrics in EnglishHindi LyricsYouTube VideoSong TriviaMore Lyrics in English | Aaj Phir Jeene Ki Tamanna Hai | Guide-1965 | Waheeda Rehman, Dev Anand O…Kaanto Se Kheech KeYe AanchalTod Ke BandhanBaandhi PaayalO…. Koyi Na Roko Dil KiUdaan KoDil Wo ChalaAa… Aaj Phir Jeene KiTamanna HaiAaj Phir Marne KaIrada Hai Aaj Phir Jeene KiTamanna HaiAaj Phir…

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Lyrics in English | Sun Ri Pawan Pawan Purawaiyya | Anuraag (1972) | Lata Mangeshkar Sun Ri Pawan (2)Pawan PurawaiyyaMain HoonAkeli AlbeliTu Saheli MeriBan JaSaathiyaanSun Ri PawanPawan PurawaiyyaMain HoonAkeli AlbeliTu Saheli MeriBan JaSaathiyaanTuBan JaSaathiyaan……….. Best compositions of S.D. Burman Chal Tu Mera AanchalThaam KeAnjaane Raste IsGaanv KeChal Tu Mera AanchalThaam KeAnjaane…

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Lyrics in Hindi | Tere Naino Ke Main Deep Jalaunga | Anuraag (1972) | Moushumi Chatterjee, Vinod Mehra OTere Naino Ke Main DeepJalaungaTere Naino Ke Main DeepJalaungaApni Ankhon Se DuniyaDikhlaungaAchchhaWo Kya HaiIk Mandir HaiUs Mandir MeIk Moorat HaiYe MooratKaisiHoti HaiTeri Soorat JaisiHoti HaiWo Kya HaiIk Mandir Hai……….. Antakshari Songs from “T” Main Kya JaanoonChhanv Hai KyaAur Dhoop…

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Lyrics in English | Nadiya Kinaare Herai Aayi Kangana | Abhimaan (1973) | Jaya Bachchan, Amitabh Bachchan AaHey Nadiya KinaareHeraiAayi KanganaNadiya KinaareHeraiAayi KanganaAise Ulajh GayeAnaariSajnaAiseUlajh GayeAnaariSajnaNadiya KinaareHeraiAayi KanganaNadiya KinaareHeraiAayi Kangana…………. Antakshari Songs from “N” KaahePanghat UparGayi ThiChal Ke AkeliMaareHans HansTaanaSaariSakhiyaan…