Categories
Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: August 2021

Shailendra’s Songs with Sardul Kwatra and Mukul Roy

Shailendra’s – a.k.a. Shankardas Kesarilal (B: 30-8-1923/ D: 14-12-1966) body of work beyond Shankar-Jaikishan and the other two music directors S D Burman and Salil Chaudhuri remains quite varied and interesting. There have been films where he has just one or two songs too.

We started taking a look at Shailendra’s songs with “other” music directors form the year 2017. Till now we have covered

In 2018, songs with Roshan

In 2019, songs with Hemant Kumar, Ravi and KalyanjiAnandji

In 2020, songs with SN Tripathi, Anil BIswas and C Ramchandra

Presently we will take up Shailendra’s songs with Sardul Kwatra and Mukul Roy, with who he had two films each.

Shailendra – Sardul (Singh) Kwatra

Sardul (Singh) Kwatra – 1928|2005 – was a master of Punjabi folk songs. His maiden Hindi film Ek Teri Nishani-49. That film failed at the box office. However, Sardul Kwatra composed music for 22 Hindi and 15 Punjabi films during his active career. Sardul Kwatra’s music in Mirza  Sahiban (1957) had caught attention of the cinegoers.

Pipili Saheb (1954)

The film had 9 songs of which had three lyricists – Hasrat Jaipuri – 6, Verma Malik -1 and Shailendra 2

Sapnon Ki Duniya Mein Naye Rang Laya O Man Bhaya Fagun Aaya – Usha Mangeshkar, Meena Mangeshkar, Shaminder Pal

A folk tune-based dance song that is set to a very pleasing tune and simple orchestration.

Chand Sitaro Mein Kaun Bulaye Re …. Pahalu Se Dil Uda Jaaye Re – Lata Mangeshkar, Shaminder Pal

Shaminder hailed from a well-to-do agriculturist family of Punjab. After Sardul Kwatra gave him the break, he did get to sing with a few other music directors as well.

When he came to Bombay, it was Shaminder’s dream to sing a song with Lata Mangeshkar. This is Shaminder’s dream come true.

Tees Maar Khan (1955)

The film had 10 songs. Prem Dhawan penned all other songs.

Jinki Nigahon Ne Chheena Hai Dil Mera Dekhoji Unka Nishana KahiN Aur Hai – Lata Mangeshkar

The protagonist happily mulls her love. The song has verve that catches the mood of the lyrics so vividly.

I could not find the other song Dhoondhati Hai Tujhko Nigahein (Asha Bhosle) on YT.

Shailendra – Mukul Roy

Mukul Roy (B: 16-8-1926 to 8-11-2009) was the elder brother of Geeta Roy (Dutt). He composed music in only 3 Hindi films, 2 Bangla films (Grihpravesh and Kay hiner kahini). He also gave music to one Gujarati film.

Sailaab (1956)

Mukul Roy produced the film and Guru Dutt was the director. The other lyricists for the film were Majrooh Sultanpuri (4), Hasrat Jaipuri (2) and Madhukar Rajasthani (1).

Yeh Rut Yeh Raat Jawaan Bekal Dil Ke ArmaaN Aise Mein Tu Kaha Mere Dibar Aa – Geeta Dutt

The song appears to a club dance song, with Geeta Dutt at her usual mellifluous intoxicating mood.

Aa Gayi … Re Raat Rangbhari Aa Gayi…. Bachpan Ka Hath Chhoota – Geeta Dutt

Geeta Dutt comes up with a very different tonal variation.

Detective (1958)

Shailendra was the sole lyricist for this mystery thriller genre film. Shakti Samanta was the director.

Aankhon Pe Bharosa Mat Kar Duniya Jadu Ka Khel Hai – Mohammad Rafi, Sudha Malhotra

Protagonists play tricks to please the lady.

Mohammad Rafi sings for Pradeep Kumar whereas Sudha Malhotra sings for the child artist Daisy Irani.

Kal Talak Hum Thik Tha Aaj Hamien Kya Ho Gaya – Mohammad Rafi, Geeta Dutt

The song is filmed on Johnny Walker and Bimla Kumari (not to be confused with Hawa Mein Udata Jaye Bimala Kumari).

Shailendra has deftly weaved in the colloquial Anglo-Indian diction for the lyrics enacted by Bimla Kumari, befitting her role in the film.

Chhodiye Gussa Huzoor Aisi Narazagi Bhi Kya – Mohammad Rafi

Here is a the then popular roothana-manana genre song.

Aaja Kar Le Muqabla Ye Baji Pyar Ki – Mohammad Rafi, Geeta Dutt

Johnny Walker masquerades as a matador and Bimla Kumari as bull in the stage play as the mystery seems to deepen in the background.

Mujhko Tum Jo Mile, Ye Jahan Mil Gaya – Hemant Kumar, Geeta Dutt

The song comes up as a mandatory duet.

Hindi Geetmala mentions of solo in Geeta Dutt’s coice, too, which may be a small piece used in the film.

Raahi Chal Sambhal Sambhal Ke Bada Katheen Hai Rasta – Asha Bhosle

On the face of it, this is a street song, but the lyrics are laded with meaning for the ‘The Detective’ to remain guarded against the machination of the villains. Visuals of furtive movements by the villains makes it easier  for the lay public in the cinema hall to appreciate this ‘between the lines’ message.

Do Chamakti Ankhon Mein Kal Khwaab Suhana Tha Jinka – Geeta Dutt

The beloved is whittling out time in clubs and the poor heroine is shedding tears at home. The formula-drama of a Hindi cinema, irrespective of the theme of the screen play is ploy to create a space for a female song of pathos!

Geeta Dutt is her at most expressive best in this song, which is enshrined in the front-row of her top songs.

With curtain call for the present episode, please remember that our journey of the memory lanes of Shailendra’s song for “other” music directors continue…..

We will continue remembering Unforgettable Songs that seem to Fading away from our Memories every second Sunday of the month next year too……..

Disclaimer: All images are sourced from net. All copyrights of the respective image remain with the original owner of the image.

Categories
Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: August 2020

Shailendra with S N Tripathi, Anil Biswas and C Ramchandra

Shailendra – a.k.a. Shankardas Kesarilal (B: 30-8-1923/ D: 14-12-1966)’s association – and for that matter of that of Hasrat Jaipuri, too) with Shankar – Jaikishan is so strong that almost 30 to 40 % of his work with other music directors largely remains unnoticed, except for some of his exceptionally well-known films with S D Burman or Salil Chowdhury. Quantitatively, Shailendra’s songs with other music directors may have around 30-40% of Shailendra’s work, but qualitatively, be it in terms of the range of subjects, or moods, or song-genres, Shailendra’s songs with other music directors remains equally noteworthy.

We have taken up Shailendra’s songs with Other Music Directors on this platform every August , w.e.f. 2017, in the memory of Shailendra’s birthday. Till now we have covered

2017 – Shailendra and “Other” Music Directors

2018 – Shailendra and Roshan

2019 – Shailendra with Hemant Kumar, Ravi and Kalayanji (Anandji)

We have also undertaken a separate series of Salil Chowdhury and Shailendra’s Songs Fading From the Memory in our November episodes.

Presently, we will recall Shailendra’s songs with S N Tripathi, Anil Biswas and C Ramchandra.

With S N (Shri Nath) Tripathi

S N Tripathi and Shailendra have worked for together for five films spread over a decade. Dilli Darbar (1956) was history-period film in which Hasrat Jaipuri was in the company of Shailendra. Ram Hanuman Yudh (1957) is a mythological film, where too Shailendra shared lyricist-writer space with Ramesh Chander Pandey. Sangeet Samrat Tansen (1962) is again a period-biopic. Shailendra was the sole lyricist for the film to write as many as   songs. Incidentally, S N Tripathi has directed this film as well. Shiv Paravati (1952) is again a mythological film. Kunwari (1966) is a social drama, where again Shailendra had 7 songs and B D Mishra had 2 songs.

Mehfil Mein Kaisi Chaam Chaam….Kiska Hai Ye Tarana – Dilli Darbar (1956) – Lata Mangeshkar

Somehow the song sounds much closer to Shanker Jaikshan style. That may be because the song is based on Arabian dance song composition.

Balma O Balma Chanda Hamare … Taras Gayi Akhiyan Daras Ko Tihare – Ram Hanuman Yudh (1957) – Lata Mangeshkar

Shailendra pens feelings of pathos in the heart of the protagonist who is yearning to meet her beloved. S N Tripathi has used strains of shehnai in the interlude and short pieces of flute in countermelody to reflect the mood of the lyrics.

Suna Tu Man KI Bin Par… Ye Ansu Ki Ragini – Ram Hanuman Yudh (1957) – Lata Mangeshkar

We have here a fast beat song that is steeped in deep pathos. Shailendra has used very pure Hindi in his composition.

Toot Gayi Toot Gayi Mere Man Ki Beena  – Sangeet Samrat Tansen (1962) – Poorna Seth, Pandarinath Kolhapure

Shailendra and SN Tripathi has weaved n two contrasting moods in one song.

Kantadha Kantadha Kantdha – Sangeet Samrat Tansen (1962) – Manna Dey

S Ntripathi has conjured up a difficult dance tune. One simply wonders how Shailendra would have fitted in the lyrics in such a dance form –

e.g.

Tanan Tanan Tan Tang Naar Dil Ko,

or

Chit Pit Fit Fit Chhanan Chhanan Chhayi Ghata
Chit Pit Fit Fit Chhanan Chhanan Chhayi Ghata
Dhinak Dhinak Rumjhum Bundan Barsayi Ghata
Dhinak Dhinak Rumjhum Bundan Barsayi Ghata
Sagan Kunj Ali Gunj Sang Ali Kunj Manohar
Sagan Kunj Ali Gunj Sang Ali Kunj Manohar

The second line being repeated is by an unidentified female voice.

Dirna Ho Dirna Tana Dir Dirna…. More Laage Re Kisi Se Naina – Shiv Parvati (1962) – Geeta Dutt, Asha Bhosle

This is only song by Shailendra in the film. Sarasawti Kumar Dipak also had one song. All other 9 songs were written by Prem Dhawan

Kehta Hai Mera Dil Ki Sanam Ke Tum Bhi Kahoge – Kunwari (1966) – Mukesh, Asha Bhosle

We have here a duet wherein the lovebirds express their love for each other. Shailendra uses simple metaphors like – Indrani Mukherejee saying that one look at you told me who you will be in my life, to which Ravindra Kapoor acknowledges that even though this was new tune on their flute.

Dhaani Chunari Meri Dhani Dhani Ho Chundari Meri  – Kunwari (1966) – Mahendra Kapoor, Meenu Puroshattam, Chorus

The song, and the lyrics, basically are set to a rural folk song style. Of course, Indarni Mukherjee and Ravindra Kapoor easily seem to be able to relate their own feelings with the words of the song.

With Anil Biswas

Shailendra teamed up with Anil Biswas for the last two films in the latter’s career. Sautela Bhai (1962) was film based on Bengali locale of Saratchandra’s story, Baikunther Will (1920). Chhoti Chhoti Baatein (1965) – the first and the last directorial and production venture of Motilal – was based on an extremely sensitive subject of friendly relationship between two grown up people, form opposite sexes, outside their own families.

Maiya Maiya….. Bole Baal Kanhaiya, Chalat Chalt Pag Dukhan Aaye, Ab To Ghodi Utha Le Maiya – Sautela Bhai (1962) – Pankaj Mitra, Meena Kapoor

As the newly married bride steps in to her ‘new’ home, an infant form the earlier marriage of the bride-groom(!) awaits her. She takes him up in her care. The song is composed in Bengali folk Baul style and uses Krishna and Yashoda, who is the mother who brings him up as his own son.

Bhai Bhai Ka Nata Dekho Re Logo Bhai Bhai Ka Naata  – Sautela Bhai(1962) – Manna Dey, Anil Biswas, Pankaj Mitra

This is song played in a rural drama in the film. The song runs around the story of Ram and Bharat, the stepbrothers, in Ramayana. The main family of the story is there to watch the drama.  Shailendra has constructed the entire sequence in his poem.

Phul Ban Bagiya Khili Kali Kali Aai Dekho Ritu Albeli – Sautela Bhai (1962) – Manna Dey, Meena Kapoor

A precisely orchestrated, public dance song that is now an almost home play for Manna Dey. Meena Kapoor easily complements Manna Dey in the song. Anil Biswas has very creatively a folk tune from the Eastern States. Shailendra had had, perhaps, a difficult task to set lyrics to this predominantly rhythm-oriented song.

Zindagi Khwab Hai Tha Hamein Pata, Par Hamein Zindagi Se Bahut Pyar Tha – Chhoto Chhoti Batein (1965) – Mukesh

This is all the way a Shailendra song where he weaves in the philosophy of life., right from the word go. In the retrospect, we have generally observed that, in his last few years, Shailendra’s such philosophical songs have foreseen the future events. ‘Alvida’ (Farewell for ever) in this song did turn out to be the farewell by Motilal from this world, by the time the film was completed.

Andhi Hai Duniya Matlab Ki Duniya, Dil Ka Kare Na Koi Mol Pyare – Chhoti Chhoti Batein (1965) = Manna Dey

Anil Biswas, Shailendra and Manna Dey are at their individual and collective best in the song.

With C Ramchandra

Shailendra’s association with C Ramchandra in Chhatrapati Shivaji (1952) was on the exclusive basis whereas that for Anarkali was for only two songs.

Desh Ki Dharti Ne Pukara Gunja Azadi Ka Naara – Chhatrapati Shivaji (1952) – Chitalker, chorus

We have here a marching song. One would wonder how would a song like this would have remained sidetracked even in the periods of when the nation had seen the sea of patriotism at its full tide in the periods of 1962 or 1965 or 1971 wars !

Mujhpe Bhi Reham Mere Maherban Kijiye – – Chhatrapati Shivaji (1952) – Rangnath Jadhav, chorus

In a film on the subject of Chhatrapati Shivaji, a qawwali has also been squeezed in !

I have not been able to locate any information on Raghunath Yadav

Aaja Ab To Aaja Mere Kismat Ke Kharidar Ab To Aaja – Anarkali (1953) – Lata Mangeshkar

Shailendra has freely used Farsi words aa can be expected in those days.

Dua Kar Gam-E-Dil Dua Kar, Wafaon Majboor Daman Beechha Kar Khuda Se Dua Kar – Anarkali (1953) – Lata Mangeshkar

Shailendra is at his simple best in the song.

Examples:

jo bijli chamakti hai unke mahal par
wo kar le tasalli, meraa ghar jalaa kar

… …. …. ….

salaamat rahe tu, meri jaan jaaye
mujhe is bahaane se hi maut aaye
karoongi main kyaa chand saansen bachaa kar

… …. …. ….

main kyaa doon tujhe meraa sab lut chukaa hai
duaa ke siwaa mere paas aur kyaa hai

… …… ……… …  … 

magar meri tujhse yahi iltijaa hai
na dil todnaa dil ki duniyaa basaa kar

C Ramchaandra, of course, is at his melodious best in both songs, as he was will all other songs of Anarkali.

In order to traditionally end our post with Mohammad Rafi song, we will have to track back to Sangeet Samrat Tansen (1962) –

Sudh Beesar Gayi Aaj Apne Gunan Ki…Aa Hi Gayi Baat Beete Dinan Ki – Mohammad Rafi, Manna Dey

Manna Dey and Mohammad Rafi so seamlessly complement each other in the song.

Our journey of Shailendra’s songs for Other Music Director continues….

We will continue remembering Unforgettable Songs that seem to Fading away from our Memories every second Sunday of the month……..

Disclaimer: All images are sourced from net. All copyrights of the respective image remain with the original owner of the image.

Categories
Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs : August 2019

Shailendra with Hemant Kumar, Ravi and Kalyanji (Anandji)

Shailendra (a.k.a. Shankardas Kesarilal) – B: 30-8-1923 / D: 14-12-1966 – was as much a poet as he was a lyricist. His film songs were easy to sing, easier to understand and even easier to make sense. Most of us remember Shailendra as Shalendra-Hasrat twin and an important angle of Shankar-Jaikishan – Shailndra- Hasrat quadrilateral, Shailendra has very actively paired with several other music directors. Quantitatively, bulk of his 800 songs are composed by Shankar Jaikishan, followed by a fairly large numbers of songs composed by S D Burman and Salil Chaudhary. However, Shailendra’s work with ‘other music directors’ does form a very important ingredient of the whole. For example:

Sabhi Kuchh Lutakar Hue Hum Tumhare is the sole Hindi song in the Bengali film, Indrani (1958, Music: Nachiketa Ghosh)

We have undertaken a series on Shailendra’s songs with other music directors in our episode every August, from 2017. We commenced with ‘Shailendra and “Other” Music Directors’, as an overview and then took up Shailendra and Roshan, the fourth highest combination in terms of number of songs.

Today we will listen to the reprehensive songs from the basket of soulful Shailendra with melodious Hemant Kumar. We have also combined Shailendra’s songs composed by Ravi and the his one-only song with Kalyanji Anandji. We have stitched the warp of Shailendra’s songs by these three music directors with a common weft of one Song Man Dole Mera Tan Dole (Nagin, 1954), which was composed by Hemant Kumar, set to music by Ravi, as assistant of Hemant Kumar, for which the been (pungi) was played by Kalyanji (Anandji) Virji Shah on clavioline.[1]

Shailendra with Hemant Kumar

Hemant Kumar (a.k.a. Hemant Kumar Mukherjee) – B: 20-6-1920 – D: 26-9-1989 – commenced his career in Hindi Films, as a singer first, with Irada (1944) song Aaram Se Jo Raaten Kaate, (Lyrics: Aziz Kashmiri), under the baton of Pt. Amarnath and as a music director in Filmistan’s Anand Math (1952).

As sweet as any coincidence can be, Shailendra penned the majority of the songs for this film. Shailendra and Hemant Kumar teamed up for two more films (Chand and Hum Bhi Insaan Hai, both 1959) and one song for Masoom (1960) in the roles of lyricist and music director respectively.

Aside:

Shailendra also combines with Hemant Kumar as a playback singer –  Shankar Jaikishan’s compositions Yaad Kiya Dil Ne Kahan Ho Tum (Patita, 1953) and Rula Kar Chal Diye HasiN Ban Ke Jo Aaye  (Badshah, 1954), in addition to the songs discussed separately in the present post.

Naino Mein Saawan, Man Mere Phagun, Palchhin Jale Aur Jalaye Yaad Aye Bachpan, Yaad Aaye Re – Anand Math (1952) – Geeta Dutt

Geeta Bali reminisces the memory of her journey from her parent’s home to the present times in the Math.  The pathos of the lyrics are so well captured in Geeta Dutt’s soft tone. The composition of the song also reflects the different moods of the song at different stages.

Kaise Rokoge Aise Toofan Ko – Anand Math (1952) – Talat Mahmood, Geeta Dutt

On one hand, Geeta Bali successfully attempts to divert attention of the British soldier by carefully modulated initial recital of first set of lyrics, while also challenging her love, Pradipkumar, with the carefree rendition of her part of the song. However, palpable tension, on both counts, is evident in Pradeep Kumar’s response. Geeta Dutt and Talat Mahmmod have captured the mood the song in totality.

Aside:

Pradeep Kumar made a dbut with Anand Math.

Kabhi Aaj Kabhi Kal Kabhi Parso – Chand 1959– Lata Mangeshkar,Suman Kalyanpur

We have here a one of the few rare Lata- Suman duets. Hemant Kumar dexterously presents a fast-paced dance song.

Hai Re Kismat Ka Andher Hai Re Banate Der Lage Na Bigadate – Hum Bhi Insaan Hai (1959) – Hemant Kumar

The opening notes of flute is picked up by Hemant Kumar to express the despair of dark phase of the life.

Oonch Neech Ke Bhed Bhula Ke Gale Milo Saare Insaan – Hum Bhi Insaan Hai (1959) – Hemant Kumar

A bhajan composition that has appropriately Shailendra has used to weave in the socialistic thinking.

Phulva Band Mahake Dekho Laheke Daali Daali – Hum Bhi Insaan Hai (1959) – Geeta Dutt, Suman Kalyanpur

Hemant Kumar resurrects pure melody from Shailendra’s wonderful description of the nature, from the eyes of two young friends. Geeta Dutt and Suman Kalyanpur fully blend each other’s individual style into the melody of the duet.

Pyaar Jatake Lalchaaye Mora – Hum Bhi Insaan Hai (1959) – Shamshad Begum

Without any benefit of the video, one is left in no doubt about the gay mood the singer – on and off the screen.

Nani Teri Morni Ko Mor Le Gaye – Masoom  (1960) – Ranu Mukherjee

Shailendra comes up with gem of child song by using the first line of folk song. Hemant Kumar  also has done an out-of-box trick by using the voice of Ranu Mukherjee, who is his the then very young, daughter.

Shailendra With Ravi

In 1952, Ravi (a.k.a. Ravi Shankar Sharma) – B: 3 March 1926 – D: 7 March 2012 – was discovered by Hemant Kumar who hired him to sing backing vocals in Vande Mataram from the film Anand Math. Ravi assisted Hemant Kumar till Nagin 1954, before he ventured on to his own.

Shailendra and Ravi had four films together, all of them being pre-Chaudhvi Ka Chand (1960). Ravi then went onto work more with Shakeel Badayuni or Sahir Ludhyanavi or Rajendra Krishna, depending upon the film’s production house’s own preference.

Shailendra penned two songs in their first ever joint venture, Dilli Ka Thug (1958) – Chal Ri Ameeren Bhai Chal Re Fakire, A Kishore Kuamr solo and  Ye Raatein Yeh Mausam Nadi Ka Kinara, a Kishore – Asha duet we have covered in our overview article.

They then paired for 3 more films.

Ye Kaisi Rut Aayi – Devar Bhabhi (1958) – Asha Bhosle

As compared to a very distinctive style of O P Nayyar, Ravi lent the essential variety to Asha Bhosle’s style of singing, thereby enabling her to establish her position in the playback singing As compared to field.

Kal Ke Chand Aaj Ke Sapne – Nai Rahen (1959) – Hemant Kumar, Lata Mangeshkar

Ravi has so aptly chosen Hemant Kumar for a male playback voice for a song which so evocatively passionate, for expressing the emotions with a restraint when the the couple share each other’s views outside the public glare.

Kal Ke Chand Aaj Ke Sapne  – Nai Rahen  (1959) – Lata Mangeshkar

A classic twin version which recollects those happy moments when the circumstances have taken an unhappy turn.

Tose Laage Naina  Saiyaan Ho To Se Lage Naiana – Nai Rahen (1959) – Mohammad Rafi, Asha Bhosle

Romantic songs cast in semi-classical mode is also very oft-used genre in Hindi films. Ravi uses his simplicity wand to present the song.

Kaun Jaane Re Baba  Duniya Mein Preet Parayi – Jawani Ki Hawa (1959) – Mohammad Rafi, Asha Bhosle, Geeta Dutt

Ravi deftly does justice to the street-performance genre song here. Getta Dutt, very sparingly ever used by Ravi, sings for the younger of the girl members of the performance troupe.

Shailendra with Kalyanji (Anandji)

In a very rare occurrence, a lyricist writes songs for a senior music director as well as for two of his erstwhile juniors, in two different cases. Shailendra has done this in this case of Hemant Kumar, Ravi and Kalyanji(Anandji) as well as in case of S D Burman, Jaidev and R D burman. Shailendra himself has penned songs for two such pairs, more than once – Shankar Jaikishan and Dattaram, S N Tripathi and Chitragupt.

Ja Ja Na Chhed Maan Bhi Ja – Satta Bazar (1959) – Mohammad Rafi, Suman Kalyanpur

Shailendra, incidentally, has penned, only one song in this film.

As it happens, the last few songs in the post have Mohammad Rafi as the singer. So we will take up one more song, this time composed by Hemant Kumar, to traditionally our posts with Mohamad Rafi song

Pyaari Bole Bulbul Padosan Bole Kauwa – Hum Bhi Insaan Hai (1959) – i

An absolutely carefree mood song. You don’t get many such song from Hemant Kumar’s stable.

We will continue our quest of Shailendra with other music director in this series in our next episode, next year.

We will continue remembering Unforgettable Songs that seem to Fading away from our Memories every second Sunday of the month……..

Disclaimer: All images are sourced from net. All copyrights of the respective image remain with the original owner of the image.


[1]  A tickling trivia on the making of Man Dole, Mera Tan Dole –

There has been a lot of discussion on who created that piece. The cover of the record released by HMV gives credit to Ravi and Kalyanji, who were part of Hemant Kumar’s the then team. Shyamanuja provides some essential, and one very interesting, inputs in his article   Who created the classic been music in Man Dole, Mera Tan Dole?.

It was in the year 1954 that Kalyanjibhai’s son Dinesh Shah was born, who has shared Nagin 1954 – Been Music on Clavioline played by Kalyanji Virji Shah for its nostalgic and documentary value.