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Hindi Film Music Composers

The golden duo-Shankar-Jaikishan-Part 3

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Shankar Singh Raghuvanshi (15th October 1922 to 26th Apr 1987)

Jaikishan Dayabhai Panchal (4th Nov 1929 to 12th Sep 1971)

When I started this blog in Dec 2021, I started writing about artists in no particular order or any theme etc. As and when I started writing about many artists, and when I looked at their year of birth, I realized many of the legends were born around 100 years ago. For Mohammad Rafi, I could remember and posted some articles commemorating his birth centenary year in 2024.

However I have not been able to do the same for many other artists. For example , Shankar Singh Raghuvanshi of the Shankar-Jaikishan duo ( SJ)  had his birth centenary year in 2022 and it mostly went off without much publicity.

Most of the media , except very few of his ardent fans , must have forgotten this. Even I am guilty of this lapse. However in November 2024  I did  post my blogs in two parts on the great  Golden Duo music composers, and mentioned about Shankar’s centenary . In those two parts , I  had covered their immortal songs composed till the year 1967. The year 2029 shall be the birth centenary of Jaikishan and so now we are somewhere  in the middle of the birth centenaries of this great pair of music composers. I think it is apt to continue my series on the  magical duo SJ and their great compositions later than the year  1967 , till the year I had covered in  my Part 2.

In many books on the golden era of Hindi film music and in the Internet we find many articles, blogs in which SJ ‘s music in the later years , i.e mid 60’s , 70’s are described as relatively mediocre!.  I personally believe in enjoying the music of all the great artists of the golden era of film music ( either Hindi or Tamil)  and so do not like comparisons. But I would like to mention that most of these authors forget one very  important fact. For many legendary music composers, their debut and few subsequent films were not so impressive and they had a late start .  Those who keep harping about SJ’s so-called decline in music towards their end never talk about what a spectacular debut they had with  Barsaat in 1949 that totally changed the Hindi film  music template. Not only that , they could sustain that momentum for  two decades continuously  , with some of their films having all the songs as super hits. This is an achievement unparalleled , but most ignore  this when they talk only about the deterioration in their music !.  And it becomes more interesting to note that typically most of these films had 6-8 songs , or even more and rendering 100% hits in many films  is no mean achievement. As noted lyricist and writer Javed Akhtar once said in a program, SJ made Hindi film music into a novel that was till their arrival a short story!  

Most artists reach a creative peak and then there is a slump. But in the blogosphere and in books, SJ are singled out with remarks on their low point, some surprising and undeserving  Filmfare awards , promoting a mediocre singer etc.

 May be the extreme success of SJ triggered so much of envy and bitterness against them.  Further they completely dismiss the music of Shankar that he independently composed after the sudden demise of Jaikishan in 1971 . Although if one compares these songs of Shankar with the ones he  created along with Jaikishan  at their peak, they may be not be perceived to be good, but  one can find many good songs even during this period. In my selection , covered in Part 3 & 4 there  will be many  such songs and readers/listeners can make out for themselves what beautiful compositions Shankar composed independently also.

As such , Shankar was an introvert and after the death of Jaikishan, he had become even more reticent. Most of the producers, including Raj Kapoor,  who totally depended on SJ’s music for his films , ditched Shankar and as a result he composed very few films that were mostly  low budget and poorly made  films. Hence even if some of the songs in those films were good , the film being a flop, its music also flopped.  Fate had something even more cruel  for Shankar. When he passed away on the 26th April 1987, his family had not informed the film fraternity/media and so his funeral was attended by handful of close relatives, neighbors, and friends. The film world came to know about his death only on the next day! For a man who painted on a grand canvas , it was a sad , lonely final journey.

Normally I do not spend much time defending some artist or comparing one with another , but in case of SJ , after seeing so many adverse comments on them I had to deviate from my usual style.

Forget all these issues or controversies and let us immerse ourselves in their glorious music . For me they will always rank among the topmost music directors and somehow, like Rafi’s songs that have a great impact on me , I always felt SJ’s music has great passion, rhythm, energy, and a grandeur that is till now unmatched.

Statistically , SJ composed for approximately 180 films and of these two-thirds were before 1971, ie demise of Jaikishan. Rest one-third were composed between 1971 to 1987, mainly by Shankar. Not only post- 1971 , but even prior to that many songs were  composed by Shankar. It is well-known that they used to compose independently all along but had never revealed who composed which song . Generally it is said that Shankar preferred to work with Shailendra and Jaikishan with Hasrat Jaipuri. That could give some clue and also the fact that most of the songs that either had a strong classical base or were based primarily dance numbers were composed by Shankar. The title songs of RK films were also composed by Shankar.

I realized once I listed their songs after 1967, that I may have to cover this blog in part 3 & 4. So the introduction will remain in Part 3  and I will cover the songs from 1967 to 1970 in Part 3 and 1971 till 1991 in Part 4.

Songs are in chronological order, with song , film, year, singer(s) and lyricist mentioned in that order.

  1. Panchi Re O Panchi/ Hare Kanch Ki Choodiyan/1967/ Mohammad Rafi & Asha Bhosle/Shailendra

The prelude is trademark SJ , with those 50+ violins , the slightly fast paced waltz rhythm and that electronic organ/keyboard that features so prominently -all make this a delightful song. Rafi and Asha render this with their characteristic flair.

2. Aawara Ae Mere Dil/ Raat Aur Din /1967/ Lata Mangeshkar/ Shailendra

Raat Aur Din was a bonanza for SJ lovers-almost all the songs are superb. This was also the last film in which Nargis acted. I have selected three songs or rather I should say four as Aawara Ae Mere Dil has two versions-fast and a slower one. The reason why I consider SJ as great composers is apparent in this song. The basic tune is same in both the versions , but note the variation they have made in the orchestration . I have provided the links to both the versions( the uploaders have wrongly labelled the fast on as slow and vice versa!!)

The dance by Laxmi Chhaya in the fast version is simply out-of-the-world and in spite of the audio quality not being that good I have still posted the one that has her dance.

Once again the use of accordion, guitar, flute , trumpet , violins and not to forget the chorus in the slower version -all vintage SJ.

Fast version:

Slow version:

3. Dil Ki Girah Khol Do/ Raat Aur Din /1967/ Manna Dey & Lata Mangeshkar/ Shailendra

An eternal duet by Manna Dey and Lata-even after listening to this song a thousand times , one can never get bored of it. Like many SJ fans, I can identify an SJ song just by listening to few seconds of its prelude. They “ affix their signature” before their songs! Of course credit also goes to Sebastian D’Souza and Dattaram, SJ’s constant companions looking after the orchestration and percussion. And what to say about Shailendra-the great poet who was a rock solid support for SJ along with Hasrat.

4. Raat Aur Din/ Raat Aur Din /1967/Mukesh/ Hasrat Jaipuri

This is a tandem song, sung by both Mukesh and Lata. Both are excellent-I just selected Mukesh’s version at random. His voice always had a special touch whenever he sang for SJ! Contrary to one more myth , where people even used to credit Raj Kapoor for all the great songs , SJ composed excellent songs outside the RK banner proving the fact that all these myths somehow keep circulating!

5. Mein Gaaon Tum So Jao/ Brahmachari/1968/ Mohammad Rafi/ Shailendra

Remember songs like this one are from the late 60’s , whereas one more myth spread around was that SJ’s music lost its melody in later years! Sorry I keep emphasizing these points , but it is to highlight what sober songs they composed even in late 60’s. Note the subtle way in which SJ , keeping in mind this is a lullaby, create a soft-as-silk tone for the song but at the same time the orchestration still sounds so grand. This magic was created only by these golden duo.

6. Aajkal Tere Mere Pyaar Ke Charche/ Brahmachari/1968/ Mohammad Rafi & Suman Kalyanpur /Hasrat Jaipuri

Is there anything one has to write about this song?It is popular across the country even in those regions where Hindi is not the main language! Once again that absolutely mesmerizing prelude with guitar, violins and accordion  is worth a ton of gold. Adding even more charm is that saxophone in interludes.

7. Sacha Hai Gar Pyaar / Jhuk Gaya Aasmaan/1968/ Mohammad Rafi/ Shailendra

Although the song Kaun Hai Jo Sapnon Mein aaya ( no doubt inspired from Elvis Prisley-but SJ elevated the song to a higher level despite being an inspired song) is more popular, I have listed a rarer song that is  brilliant and sounds so melodious and grand; especially the interludes and antaras are simply superb. Rafi executes this in his inimitable style.

8.  Likhe Jo Khat Tujhe/ Kanyadaan/1968/Mohammad  Rafi/ Neeraj

I agree I might have repeated this song , now for the third time in my blogs but don’t you agree this is worth repeating even more? Popular among even today’s generation and I believe it will remain popular for  centuries.

9.  Janak Janak Tori Baaje Payaliya/ Mere Huzoor/ 1968/Manna Dey/Hasrat Jaipuri

When it comes to pure classical numbers , SJ relied mostly on Manna Dey and this remains one of the most memorable Darbari Kanada based song in Hindi films. Film music breaks away from the strict rules of classical music and that is why SJ knew the pulse of a common listener and could integrate superb orchestration in a classical based song. That , in my humble opinion , was one factor that made their music so popular.

10. Ruk Se Zara Naqaab/ Mere Huzoor/ 1968/Mohammad Rafi/ Hasrat Jaipuri

    Romantic songs , generally were Jaikishan’s forte and this is one more gem from the romantic trio: Jiakishan-Hasrat -Rafi who have given us some of the most romantic songs in Hindi films. Do we see any reduction in melody even in 1968??

    11. Parde Mein Rehne Do/ Shikar/1968/ Asha Bhosle/ Hasrat Jaipuri

      It is said the producer-director were little hesitant to have this song as it was considered a bit bold for those times. But SJ always knew the pulse and stood firm and this song went on to become a super hit so much that the film Shikar is forgotten , but this song remains popular till today. Fetched Asha and award also!

      12. Tumhe Mein Agar Apna Saathi/ Shatranj/1969/ Mohammad Rafi & Asha Bhosle /S.H. Bihari

        After the sad demise of Shailendra , Shankar relied on many other lyricists and he always experimented with other singers and lyricists. Whereas Jaikishan firmly went with Rafi and Lata for most of his songs. We see  S H Bihari ( normally paired with OP Nayyar for many fabulous songs) writing for SJ. Shankar’s theory was mostly to compose the tune first and then get the lyrics done , so that fresh tunes can come up as he felt if he has to compose to an already written lyric, that could restrict creativity. However there were many other composers who believed exactly the other way. Nothing is better or worse-it is because of this we get to hear so many great songs! Note how the piano follows through out the song. Vintage SJ!

        13. Badan Pe Sitare Lapete Hue/ Prince/1969/Mohammad  Rafi/ Hasrat Jaipuri

          The freshness and youthfulness in a SJ tune is eternal.  In today’s lingo this song  still rocks , whenever it is played. If we observe the preludes and interludes of a SJ composition is worth to write about as a separate blog! Wait—this song as a fabulous postlude also with that trademark SJ’s electronic organ/keyboard.

          14. Kal Ka Pahiya Ghoome Bhaiyya/ Chanda Aur Bijli/1970/ Mana Dey/Neeraj

            Few months back when I wrote about the great poet-lyricist Neeraj , I had included this song. I have no hesitation to repeat this here. This is so under-rated that many do include it even in the top songs of Manna Dey. Once again I wish to emphasize how even in 1970 , there was no loss of melody in SJ’s compositions.

            15. Aaya Na Humko Pyaar Jatana/Pehchan/1970/ Mukesh & Suman Kalyanpur /Indeevar

              Piano, violins and shehnai-what a strange combination ! Mukesh and Suman Kalyanpur were a rare combination  in duets and this song has one more rare association-Indeevar writing for SJ.

              16. Tum Mujhe Yoon / Pagla Kahin Ka/1970/ Mohammad Rafi/ Hasrat Jaipuri

                This song became sort of an anthem for Rafi , so prophetically written for him.  The interludes have a mix of saxophone , piano and sitar , with the flute answering to every line of Rafi in the antaras.

                17. Jane Kahan Gaye Who Din/Mera Naam Joker/1970/ Mukesh/Hasrat Jaipuri

                  The film flopped despite Raj Kapoor putting all his finance and energy into it. Irrationally people dismiss the music of Mera Naam Joker also just because the film flopped. For me , personally this was one the topmost album of SJ with many songs becoming immortal. Many songs were not included in the film and one of them by Rafi “ Sadque Heer Tujhpe” is one of the best “ heer” ever composed for films. However I have selected two Mukesh songs that can be said to be among his career best songs.

                  18. Jeena Yahan Marna Yahan/ Mera Naam Joker/1970/ Mukesh/Shailendra

                    Shailendra unfortunately passed away during the making of Mera Naam Joker in 1966 itself and his son Shaily Shailendra completed this song after Shailendra had written only the mukhda.

                    With this , I conclude Part 3, mainly for the sake of ease of reading  and will continue with further songs of SJ in Part 4. We will look at those songs predominantly composed by Shankar alone, after the demise of Jaikishan in Part 4. That will include glimpses from a non-film album “ Raag Jaaz Style ” that had fusion of Indian classical presented in Jazz style through instrumental music  and also a  superb title instrumental  music SJ composed for a Films Division of India ‘s documentary on mount Everest.

                    Acknowledgement & Disclaimer 

                    I sincerely thank the publishers of following  Internet sources for the information that I could gather for this article:

                    1. You Tube
                    2. Wikipedia

                    Acknowledgements and Disclaimer:
                    The songs mentioned are from the popular, public domain and have been mentioned and embedded here   only for the listening pleasure of the music lovers. This blog does not claim any copyright over them, which rests with the respective owners of the rights.

                    Hindi film songs

                    Hansraj Behl-A composer who strode along with the giants

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                    19 November 1916 – 20 May 1984

                    Whenever we take a closer look at the music composers who enriched the golden era of Hindi films, we find many such forgotten composers who, despite coming out with superb melodies, mostly remained in the shadows of the other famous legends. One main reason was that such music composers were mostly ignored by the big banners and stars of those times and hence , although their music was of high quality, the films for which they worked were not equally great and so their work, unfortunately, did not get the recognition they deserved.

                    Even those not very familiar with his name , will know the songs Jahan daal daal par sone ki chidiya, Mohabbat zinda rehti hai , Nain dwar se man mein who aake , Bheega bheega pyaar ka sama etc. This blog is a small tribute to the music composer Hanraj Behl, who had composed these and many more hidden gems like these.

                    As always I randomly pick up an artist for my blog and it so happens that when I check his birth date or anniversary , it is close to the time of my blog! By the time I finish this blog it would be close to the 109th birth anniversary of Hansraj Behl!

                    Born on 19 November 1916 in Sheikhupura, near Rawalpindi then in British Punjab , now in Punjab, Pakistan, Hansraj received his early education in music from Pandit Chunnilal and later from Pandit Acharay Chiranjivilal ‘Jigyasu’. His father, Nihal Chand Behl,  was a zamindar  in his area.

                    After composing some non-film songs and starting his own music school in Lahore , like many other artists , he landed in Bombay as Mumbai was known at that time in the year 1944. His brother Gulshan Behl and friend Varma Malik also joined him . He got a break with the film Pujari (1946) directed by Ardesher Irani .

                    For any music director in the late 40’s and 50’s  there was always a tough competition from stalwarts like Naushad, C Ramachandra, Shankar Jiakishan, O P Nayyar , S D Burman in the late 40’s and 50’s , continued by others like Madan Mohan, Roshan , Chitragupta, Ravi, Sajjad Hussain, Vasant Desai, S.N TRipathi etc who were all greatly talented. So , for Hansraj Behl, it was mostly lesser-known banners and within that constraint, he came out with some exceptional songs in films like Raat Ki Raani ( 1949-Jin Raaton Mein Neend Ud Jaati Hai by Rafi),  Chengez Khan (  1957-Mohabbat Zinda Rehti Hai by Rafi) , Milan ( 1958-Haye Jiya Roye by Lata) , Sikandar-E-Azam( 1965- Jahan Daal Daal Par Sone Ki by Rafi) just to name a few. He is credited with introducing Asha Bhonsle in Hindi films , with the song Sawan Aaaya Re that she sang alongwith Geeta Dutt & Zohrabai Ambalewali for the 1948 film Chunariya. He was also instrumental in giving the lyricists Varma Malik & Naqsh Lyallpuri their first film songs in the film Jaggu ( 1953).

                    Totally , Hansraj Behl might have composed around 500+ songs in around 65-70 films.  He had experimented with some unique concepts like  having no interludes in the song “ Us Chand Se Pyaare Chand ho tum” in the film Raat Ki Raani or take the song ” Nain Dwar Se Man mein woh aake” in which Mukesh sings at lower notes in a slow pace whereas Lata starts off at very high octaves and at a faster pace. He used the similar technique in the Talat & Lata duet Bhool Ja Sapne Suhane Bhool Ja in the 1956 film Rajdhani .

                    It is purely my own personal view that music directors like Hansraj Behl could not maintain a consistency in their music and if you take a single film , one or two  songs would have been outstanding but rest of them may not have been that good and that aspect differentiated the stalwarts who were more consistent in their quality and an entire film would be embellished with gems. However this , in no way , takes away their talent , and maybe if big banners had supported them and extracted their best talent, they also might have become quite successful.

                    Hansraj Behl ‘s best was for the film  Sikandar-E-Azam in 1965 with the song Jahan Daal Daal Par Sone ki becoming a sort of an anthem and played in all the Republic day and Independence day celebrations . Though he remained active till the end 60’s in Hindi films and even till 80’s in Punjabi films , his best was mostly in the 50’s and 60’s.

                    He passed away due to  liver cancer on 20 May 1984.

                    Since I am not very familiar with the music of 40’s , I am listing out few memorable songs of HB ( Hansraj Behl) mainly from the 50’s and 60’s. These are , as per my usual practice , sequenced in chronological order with the song, film , year , lyricist, and singer(s) mentioned in that order.

                    1. Jin raaton mein  neend ud jaati hai-Raat Ki Rani-1949-Arzoo Lucknowi-Mohammad Rafi

                    One of the early songs of HB and also for Rafi , that was quite popular those days and even  now among Rafi fans searching for his rare songs. This is well-remembered even now, almost 75 years later! With minimum orchestration , this ghazal is so simple but the tune by HB is captivating.

                    2. Us Chand Se Pyaare Chand ho tum-Raat Ki Raani-1949-Darbari Lal-Rafi & Lata

                    HB does an innovative technique in this song , with no properly defined interludes, and depends only on  very brief instrumental bits separating the lines sung so sweetly by young Rafi and Lata.

                    3. Haye Chanda Gaye Pardes Chakori Yahan-Chakori-1949-Mulkraj Bhakri-Lata

                    It seems Lata placed this song among her favourites , with HB coming out with an intricate tune . As was the norms in the 40’s the interludes and orchestration were minimal and the strength of the song was in its intricate tune.

                    4. Raste pe hum khade hain dil-e-beqaraar lekar -Rajput-1951-Kaif Irfani-Suraiya

                    Suraiya may not have sung many songs for HB ,but as usual she renders a melodious song with her sweet voice . This song is in no way lesser in its melody quotient and orchestration as compared to to those composed by stalwarts of those years like Naushad or Khemchand Prakash or Husanlal Bhagatram .

                    5. Aye zamane bata do dilon ki khata-Dost-1954-Asad Bhopali-Talat & Madhubala Jhaveri

                    I knew about the singer Madhubala Jhaveri only while working on my blogs-strangely the good old  Vividh Bharati had never played her songs much and so she remained an unknown entity for me. I was also pleasantly surprised to learn that it was HB who gave her maximum number of songs. This is a pleasing duet of Talat and Madhubala Jhaveri. Once again HB relies purely on the strength of his tune and uses minimal orchestration.

                    6. Bhool Jaa Sapne Suhane Bhool Jaa-Rajdhani-1956-Qamar Jalalabadi-Talat Mehmood and Lata Mangeshkar

                    One of the excellent compositions of HB , just observe how he comes out with an outstanding beginning in low notes by Talat , followed by higher notes by Lata. The interludes and orchestration are also exceptional, in league with any stalwart music director of the golden era. That is why I used the tag line “ A composer who strode along with the giants”!

                    7. Mohabbat zinda rehti hai-Changez Khan-1957- Qamar Jalalabadi-Mohammad Rafi

                    Now we come to that one song that almost every music lover would have definitely heard , but many might not have known this was composed by HB! A masterpiece that can be rendered only by Rafi!

                    Rafi had that magical power to give a great boost to the careers of many actors and even to many music composers by pouring his heart into the songs. The way he ends the song with the lines “ Chalee Aaa…Chalee Aaa…”  would send goosepimples! The link below provides the complete song that must have appeared in many situations in the film and is a bonus which we usually do not hear in the radio version.

                    8. Jab raat Nahin kat-ti-Chengez Khan–1957- Qamar Jalalabadi-Lata

                    This song must have been overshadowed by the more popular Rafi’s Mohabbat Zinda Rehti Hai, and I must have heard this Lata’s solo very rarely in the past. HB somehow seems to brought out the best from Lata and it is a surprise to note that his name is never taken when we think of best songs of Lata!

                    9. Zindagi bhar gam judai ka mujhe-Miss Bombay-1957-Asad Bhopali & Prem Dhawan-Rafi

                    Normally I avoid repeating the same song in multiple blogs -I had included this in my blog about “ Zindagi”. But I am making an exception as this is too good a song to miss out in a blog on HB. Rafi once again at  his best! I am not very familiar with classical raagas , but I think this could be based on Raag Malkauns and is this song in  anyway lesser than the more famous Malkauns based-Aadha Hai Chandrama Raat Aadhi?

                    10. Le chala jidhar ye dil nikal pade-Miss Bombay-1957-Prem Dhawan-Rafi

                      From the same film Miss Bombay, HB comes out with a lilting light-hearted song

                      11. Din ho ya raat, hum rahein tere saath- Miss Bombay-1957-  Prem Dhawan-Rafi & Suman Kalyanpur

                        This is one of the most popular songs of HB , that is played in radio even today. This film and many such films were produced by HB along with his brother under the N C Films banner. Miss Bombay was a musical film with many songs becoming famous.  Observe how HB has constructed this song at such high notes and a superb pace.

                        12. Haaye Jiya Roye-Milan -1957-Prem Dhawan-Lata

                          Now we come to one of HB’s masterpieces that can definitely be placed among the best songs of Lata! What a great song, full of pathos and rendered exceptionally well by the one and only Lata! I understand this is based on Raag Darbari, though may not be in strict classical norms( which is understood for film songs) and can be considered as good as  the top Darbari raag based songs composed by other maestros of the golden era . The string arrangements , sarangi , flute used by HB are top-notch!

                          ( The uploader in YouTube has wrongly put a banner of the 1967 Milan instead of the 1957 Milan!)

                          13. Nain dwar se man mein woh aake-Sawan-1959-Prem Dhawan-Mukesh and Lata

                            Personally I consider this as one of the best songs of  HB and also a very unique song. Mukesh starts off at the lowest notes and a slow pace ( in which he is a true master) and Lata bursts off at highest octaves with a frenetic pace! What an imaginative composition by Masterji HB( in Hindi film world only two composers were called Masterji-HB and Ghulam Haider!).

                            14. Bheega bheega pyar ka -Saawan-1959- Prem Dhawan-  Rafi and Shamshad Begum

                              It is my view that most songs that have a horse-hoof beat become great hits-maybe something to do with the rhythm of nature! And when we have Rafi & Shamshad to come out with full-throated singing , we get an evergreen duet. HB proves he is no less than the ‘ master of horse-hoof beat rhythm’ O P Nayyar!

                              15. Meri pasand hai ke mujhko-Ek Din Ek Badshah-1964-Prem Warbartani-Rafi

                                The films for which HB composed may have been mostly obscure ones , but he scored superb songs for them. This is a rare Rafi gem, with a tune & lyrics intricate , and an equally obscure lyricist!

                                16. Jahan daal daal par sone-Sikandar-E-Azam-1965-Rajendra Krishan-Mohammad Rafi

                                  I conclude this blog with a song that almost all Indians would have heard in their lifetime, with a majority not knowing who composed this! Just as the patriotic songs like Kar Chale Hum Fida, Apni Azaadi Ko Hum, Mere Desh Ki Dharti , Ae Mere Watan Ke Logon , this one is played on all Independence and Republic day celebrations .Personally I consider the top among the best patiotic songs ever composed in Hindi films, with Rafi starting with a chaste Sanskrit shlok and then puring out his heart into the song that he always does.

                                  A superb composition by the Master Ji and in all probability this was his last major hit song. Though he continued to compose for few years , the power of this song alone would etch his name in the annals of Hindi film music. Not to forget Rajendra Krishan for his immensely powerful lyrics.

                                  Acknowledgements and Disclaimer:

                                  I sincerely thank the publishers of following  Internet sources   for the information that I could gather for this article:

                                  1. You Tube
                                  2. Wikipedia

                                  The songs mentioned are from the popular, public domain and have been embedded here   only for the listening pleasure of the music lovers. This blog does not claim any copyright over them, which rests with the respective owners of the rights The photograph is taken from the internet, duly recognizing the full copyrights for the same to the  original creator or the site where they were originally displayed .This blog does not claim any copyright over them, which rests with the respective owners of the rights.