Shanker jaikishen have many firsts in filmdom.The 1st Englsh film by an Indian music director was Tarzan goes to India( 1964) had music by the duo.They didn’t stop with that.In 1970 they scored the music for another English film Bombay Talkie by Merchant Ivory Productions. The film starred the star couple sashikapoor and Jennifer kendl.The film had only four songs.The title music itself was a novelty.Normally in SJ films the title Music will have the tune of title or theme song or the would-be -hit song of the film or a few songs of the film.Here Jaikishen making himself as a singer hums a tune throughout the title card show time interspersed with music and it is quite scintillating too. This was only film wherein he has crooned..Rafi’s song a romantic one ‘Tum mere pyar ki was full of modulations and variations and as usual he sings with gusto.A dùet by kishore and asha Typewriter tip tip karta hai was a popular song. One more novelty they tried here is that they engaged the then Usha Iyer (now Usha uthup) who then was only a stage singer singing Indian pop,jaaz etc in the stage alone.They brought her to the film world and gave her two pop songs “Hari om tatsat’ and Good times and Bad times’ which were sung by her in her own fervor and style.They became great hits because of which she was assigned by the music directors like RDB, Bappie lahiri etc who were trying their hands in western music very often.Such is the creativity of the duo who are always thinking about bringing new materials in their music.
In the photo we can see Hasrat sitting and verifying the lyrics and the young Usha Iyer (Usha uthup) and jaikishen and others.
Digged out a very rare stuff which was contribution by Dr. RAJ SENANI
COPIED AND PASTED FROM OLD YAHOO MAILS WHICH WAS ACCIDENTLY PRESERVED
SO ENJOY
From magazine MOVIELORE
SHANKAR OF MELODIES PAST……..
SHANKAR–the lone survivor. Today he faces the muscalone. Betrayals, accusations, broken promises he has seen them all, but refuses to crumble. His pride holds him in good shape, so does his confidence.
Surprisingly, it is very difficult to elicit iformation from him, or even evoke a feelig of nostalgia. Unlike most, he lives very much in the present and talks of the future. After some persistence, Shankar recapitulates. ….
Shankar Singh Raghuvanshi knew only three passions in life- tabla, gaana and kasrat. Harmless pleasures but Shankar singh Raghuvansi was of an age when books ought to have been more important for he was only a child. But unlike most children he never studied, only indusged in his passions. His mother often despaired “Yeh to gaanewali ke piche hi tabla bajaayegaa.” Prophetic words of sorts. The little fellow grew upto be a part of the duo whose music took the film industry by storm. The unbeatable combination of Shankar-Jaikishen. Their creations still ring in our ears….Jiya bekaraar hai, yeh mere diwanapan hai, Yeh aasoon mere dil ki zuban hain.
“It all began for me in Hyderabad. Those were the days of the Nizam and Maharajas. Their ifluence was strong and music pervaded every house; it was a part of our lives. With me too, music was all that mattered. And I was attracted to anything that was connected with it, be it acting or dancing. Though my parents wanted me to study and do well. I didn’t care about books. One day, while passing by the house of a nobleman, I heard the strains of the melodious voice of a singer, Saraswati Bai. But it was spoilt by some cacophonous sound which ostensibly was supposed to be that of a tabla. It was unbearable to me. I rushed into the mehfil, pushed aside the incompetent tabla player and took over. I know it all sounds very filmy, but after I finished, wah-wahs poured from everybody present and I was pleased.
Bombay was then the centre of theatre activity. So my cousin and I, decided to come down to try our luck. I wanted to join the theatre–perform, sing, dance, play instruments. I learnt kathakali from Krishnan Kutty, Kathak from the Jaipur Gharana and Manipuri and Bharat Natyam as well. Slowly I also learnt to play the piano, the accordion, the sitar and the harmonium quite well. Fate somewhere during this time introduced me to Papaji (Prithviraj Kapoor).
“Papaji looked like some Greek God; I have yet to see a more handsome person than him. At that time he had just started his Prithvi Theatres and one day he called me over to witness a play called Shakuntala that he was staging. He had enrolled many great musicians for this play and while I was watching it, he suddenly asked me to go on stage and accompany the Sarod player with the tabla. I did so. (I learnt that he was none other than Ali Akbar Khan). After the show, Papaji called me and embraced me even though I was a non-entity then. He even asked me to join Prithvi Theatres.
“Jaikishen was a frequent visitor to Prithvi, but it was at a friend’s place that I met him first. There were instant good vibes and we slowly became good friends. I introduced him to Papaji and he too began working at Prithvi. Raj Kapoor was also working with his father in those days. When he began Aag, we helped him with the music, though we were not the official music directors.
“Jai and I decided to be partners. Raj, at that time, ws working on Barsaat. We composed a tune for him, Jiya bekaraar hai. He liked it. That was our first major break. Although music was in my blood, I had never dreampt of becoming a music director for films. I met Shailendra, who was a close friend of Raj. And also Hasrat Jaipuri who was with Prithvi. We formed a group and our foursome clicked. Shailendra and Hasrat wrote the lyrics while Jai and I composed the tunes.”
Barsaat broke records. Then followed the deluge — Nagina, Mayur Pankh, Badal, Badshah. It was all so unexpected. A pair of eighteen year old youngsters causing existing edicts to tremble. Shankar-Jaikishen were creating afurore. They had descended upon the domain of Naushad, S.D. Burman, Husanlal Bhagatram, Ghulam Mohammed, O.P. Nayyar. Shankar recalls, “They were at first sceptical, Yeh ladke kitne din chal sakte hain? they said. Then they got worried. But I must say, C. Ramchandra was one man who always appreciated us. He’d tell the others, “Yeh ladke hum sabko hairan karke rekhenge. Hindustan mein dhoom machayenge.”
The Shankar-Jaikishen era had begun. The old order was displaced. Given their propensity to compose songs that appealed to both the box-office and people’s tastes, it wasn’t strange or surprising that almost every top hero insisted on Shankar-Jaikishen as part of his contract. With Raj Kapoor there was Awara, Aah, Shri 420, Boot Polish, Jis Desh Mein Ganga Behti Hai, Sangam, Mera Naam Joker. Shammi Kapoor pranced aound hills and dales and beautiful gardens teasing his pretty heroines, while Shankar-Jaikishen’ s music kept mercurial pace in Junglee, Janwar, Badtameez.
Rajendra Kumar, he rarely worked in a film that didn’t have Shankar-Jaikishen on the credits. Aas Ka Panchi, Zindagi, Sasural, they made the ‘jubilee’ hero, they also had one common factor — Shankar-Jaikishen.
As partners, Shankar talks of their perfect tuning, between each other. “My relationship with Jaikishen strengthened over time. We shared instant empathy, an inherent understanding and a deep bond of friendship. Whenever we both wanted to compose a particular song, we’d toss a coin to decide who would do it. Tensions between us were only over music but we would always sort them out. When I composed Nanhe munhe bachche teri muthi mein kya hai for Boot Polish, Jai didn’t like the tune. But I convinced him otherwise. In fact, Boot Polish as planned earlier, was to be a songless film. Afterwards, Raj decided to add songs. Jai, who was a hot-headed person, was very angry and said, “Nothing doing. we are not giving music for the songs, Why did they not say so earlier? Of course, he later relented.
But we have always trusted each other completely. We never listened to those who oisoned our ears about the other; no chamchas came between us. And it was like that till his death. It is absolutely untrue that we grew apart after Sangam. With a relationship as deep as ours that was quite impossible.
“Being basically a good Gujarati businessman, Jai also handled all the business matters. He was a financial juggler and did his job well. When he died, I was shattered. For 3-4 years after his death, I could not work…could not build up the mood. And people tried to provoke me by saying things like our work was mainly Jai’s doing. But what could I say to this? I know that it wasn’t the truth. If I had been the first to go, people would have said the same things about me to Jaikishen, too. So I refused to speak out in retaliation.
“After Barsaat, I bought an M.G. Racer Car. It was the first car between the four of us. Jai bought his own, later. Since it was a two-seater, we, that is, Jai and I, would draw back the hood, sit in front while Shailendra and Hasrat would huddle behind and we’d take chakkars all over the city. Later, Jai and I, both, bought Chevrolets. For the Filmfare Awards function we would drive in our Chevies and enter in style.
“But things have changed drastically now. Look at the heroines of those days. Has there been anyone like Madhubala? They may not have come from very good families, but they behaved and conducted themselves in a better manner than some of our heroines today, from so-called good families. When we composed music we would take their individual personality into consideration. We’d call them to our music room and accordingly compose music to suit them. Today, id does not matter which heroine you compose a song for and whether you compose a song for a hero or a comedian.
“On many ways we revolutionized the industry. We were amongst the first who thought of giving due respect to the Press, calling for Press Conferences, …hosting parties. We were never afraid of change. Barsaat was the first film where Lata sang all the songs. Before that, she would be signed for only one or two of them per film as she had a very thin voice as compared to other to singers of those days for example Noorjehan, Shamshad, Zohra and Suraiya. We took risks, and won. Those days Manna Dey sang mainly bhajans. We took him for light songs like Chori Chori, Aa ja sanam and Yeh raat bheegi bheegi, which changed things for him. Mukishe’s popularity also grew especially after he sang Yeh mera diwanapan hai for Yahudi.
“Rafi Miya was of course the best. There was some jaadoo in his voice that appealed to both the ganwar and the sophisticate. Some of his songs like Yeh aasoon mere dil ki zuban hai, touch people even today.
More important, he was a great person…a sharif man. If you told him you couldn’t pay him immediately, he’d refuse to take it even later when you offered him the money.
Sometimes, a sng would make him so happy, he would refuse to take the payment for singing it. The pleasure he got out of singing them was his reimbursement. He donated to charitable causes very generously and never spoke ill of anyone. No praise is enough for Rafimiya…there can never be a man like him.
However, with the start of the Kishore Kumar mania, he suffered a setback and became slightly nervous and depressed.”
Shanker had few setbacks too. Like Raj Kapoor’s betrayal. Dost Dost Na raha was one of Shankar’s contribution to Raj Kapoor’s Sangam. Perennially haunting, stirring, it exuded pathos. While at that stage no one would have dreamt that the Raj Kapoor-Shankar- Jaikishen team would one day not exist, years later the ‘dosti’ was not the same. They parted professional ways. Shankar insists he wasn’t upset when his ‘dost’ signed up Lasmikant-Pyarelal for Bobby. “Why should I have been hurt? I knew that R.K.’s musical best was with Shankar-Jaikishen. The world knows it. People still hum the tunes of Mera Naam Joker, even if the film was a flop.
“Our sogs for his films have been translated in Chinese. Russian, German and even Arabic. However, his sons wanted a change so I don’t really feel bad. I was to do Prem Rog, but it didn’t work out. Maybe I’ll get to do his Param Vir Chakra”
Another jolt came from Prasad Productions, whose films have been transofrmed from mediocre family dramas to musical hits….Teri pyari pyari surat to (Sasural), Jaoon Kahan bata ae dil (Chhoti Bahen)….all this courtesy, Shankar-Jaikishen. But Shankar doesn’t seem to be perturbed. “Even G.P. Sippy didn’t take after Brahmachari and Andaz. Before that he was making films at a loss whereas these two films were super hits. It doesn’t really bother me when people switch sides. What makes me happy is that I gave them big hits.”
Most of Shailendra’s lyrics wee Shankar’s compositions. They both complemented each other perfectly. “When we were discussing the music of Shri 420, Raj was describing a scene. I instantaneously blurted out Ramaiya vatavaiya, which in Telugu means ‘Ramaiya, will you come?” And Jai spontaneously gave his rejoinder, ‘Maine dil tujhko diya’. It was the beginning of our song. When we were driving past a bus-stop and Jai saw a pretty girl, he turned around instinctively to take a look. That’s how Mud mud ke na dekh (Shri 420) was born. Shailendra was great. He wrote beautifully. People would cry at the beauty of his lyrics.
“Yet today, how many music directors really undrstand or know anything about music? Everything is a fad — ghazal, discro….But what do they know of ragas or surs? Nobody pays attention to composing good lyrics. But then I guess, time have changed. The music of a film was importat then;now it is the actor’s image tht is central. In fact, fight composers are paid more than music-directors. But I think, we will slowly return to an age of melody, and of good films.
“I have made enough money. I have been awarded for my work”. It is not an idle boast. Eight Filmfare Award trophies stand testimony to the fact.
The Sur-Singar Award came twice for Mere Huzoor (Jhanak Jhanak Toree Baje Payaliya) and Lal Patthar (Re Man Sur Mein Ga). Throughout Shankar was instrumental in introducing classical music in films, interweaving the classical style with the popular form. Result:Man Mohana Bade Jhoote (Seema), Rasik balama (Chori Chori), Ja Ja re ja (Basant Bahar).
From small beginnings in a South Indian lodge at Parel to a well-appointed home at the ‘Beacan at Churchgate, his success story was truly established. He lives there still, with his maharashtrian wife. His rehearsal room at Famous Studio in mahalaxmi still remains. Many moons ago, hordes of producers thronged its long corridors, waiting patiently with wads of notes, hoping to entice the two gentlemen into signing a contract. An it wasn’t easy. Shankar’s present Man Friday whispers to me that his boss would turn off the producers and their fat wads of notes with disdain, contemptuous of those who try to buy him. Though of course, the hordes have now dweindled.
Time was whenn the Binaca Hit Parade invariably featured a Shankar-Jaikishen number Baharon Phool Barsaon made it 49 times to the top.
Today in a theatre screening Aah or Jis Desh Mein Ganga Behti Hain, when the music begins, the entire theatre sings along….Aa ja re ab mera dil pukare….reminisci ng bygone days.
They style of the man remains consistent. He employs personal musicians and refuses to take less money and get more contracts. “Why should I bother? I have made enough. I get a royalty on all my records. My lifestyle is the same. I’m not too friendly and outgoing a person. I don’t go out of my way to obtain films.”
Shankar takes his harmonium, shows us how he composes a new tune. His musicians are summoned. His fingers move on the harmonium. The musicians join in on the tabla etc. Shankar sings “Yaad na jaaye bite dinon ki’….softly telling the story of a legend that will live forever.
Sheila Vesuna
Contributed by Dr. Raj Senani to shankarjaikishan Group on Yahoo from his collection.
Friends….I have wriiten about SJ before four days as i was listenning their music alone
By Mukund Marulkar
Shankar Jaikishan performing during a Filmfare awards nite and in next photo see first President of India Dr. #RajendraPrasad
HINDI -FILM -MUSIC DIRECTORS “SHANKARJAIKISHAN”
(1949-1971-1987)
1)1949=they composed their first picture-BARSAAT 2)1971=Jaikishanji passed away
3)1987=Shankarji passed away A)SJ have scored music for total -185 pictures B)SJ composed total songs-1350 C)SJ established their own MUSIC ROOM in Famous Studio D)Shree Sebastian D’souza was their MELODY section incharge E)Shree Dattaram Wadkar was their Rhythm section inchargr F)In SJ orchestra there were 180 MUSICIANS and 10 Arrangers
G)They used 47 types of Instruments-1)Rhythm -14 instruments 2)String-16 instruments 3)Cord-06 instruments 4)Wind-11 instruments
H) They adapted 67 Lyricists and Male singers-46 and Female singers-45
I)Out of 1350 songs 980 were solo songs,243 were duets songs and 127 were other group songs
J)They were the pioneer of “TITLE SONGS” in 92 pictures having 103 songs
K)They introduced “DO PAILOO<DO GEET” in 26 pictures having 28 songs
L)SJ stands for SILVER JUBLEE in 35% of their total 185 pictures
M)SJ composed total songs from 1949 to 1971=1100 in which they shared 50% each,but after demise of Jaikishan, Shankarji composed 250 songs in 56 pictures.
N)IN 1968 they scored one new ALBUM titling “RAAG JAAZ STYLE” in ELEVEN Indian RAAGAS with the help of Eleven musicians=1)TODI 2)BHAIRAV 3)MALKAUNS 4)TILAK KAMOD 5)MIYAN MALHAR 6)BAIRAGI 7)KALAVATI 8)JAIJAIWANTI 9)MISHRA PILU 10) SHIVRANJANI and 11)BHAIRAVI.
O)They have used classical 60 RAAGAS in their songs and their popular BHAIRAVI RAAG was used in 75 songs which I know,may be more if studied in deep.
P)They worked under 116 – Producers and Directors for their music of 185 pictures.
Q)They were highly paid for each picture from one lakh to five lakhs
R) From 1949 to Jai’s demise in 1971,Jaikishanji provided “BACK GROUND MUSIC”to 95% pictures out of 130 pictures , where as Shankarji provided title songs,theme songs and totally dance songs.Mostly romantic and light songs were given by Jaikishanji.
S)Their almost songs were popular among the mass public and simply hummable to common public with their instrumental tunes also.
T)Their songs were first tunned in and then penned by Lyric keeping in mind on whom actor or actress picturisation is to be done and then singers are called for recording.
U)They were the first music composers who have given more importance to use of various types of instruments with heavy orchestration melodiusly but easy to be simple for listening and humming.
V)Their prelude music,interlude music,counter melody and end music was the major part ,secondly lyric and singer as per situation demand and theme of picture.
w)They have very high respect to other music directotrs of that time and healthy music friendship.
X)They were honoured by government for “PADMASHREE” in 1968.
Y)They have got “NINE” filmfare awards for their best music.
Z)They innovated special catchy music for 78 RPM records and original sound track separately.
AA)Contribution of Shankar-Shailendra and Jaikishan-Hasarat Jaipuri was outstanding for their eternal songs from 1949 to 1968.
BB)They were fond of reuse of their previous tune of back ground music as well as prelude and interlude music tunes for composing forth coming picture song
CC) In HFM history ,first time HMV company launched totally “BACK GROUND MUSIC” LP 33and 1/3 RPM record of MERA NAAM JOKER in 1970.
DD)SJ also stands for “SWARONKE JAADOOGAR”.
EE)They helped Government by performing social music programmes.
FF)Shree Shankarsingh Ramsingh Raghuwanshi. Date of birth-15th October 1922 in Madhya Pradesh Mother’s name-Tarabai Raghuwanshi Married in 1953 Wife-Kundan, NO issue.
Death-26-04-1987
Height-5 feet,No education
Skill in danceof katthak,mastery in Tabla,accordion,sitar,guitar,sarod,dholak,violin,orchestration and theme songs.
GG)Shree Jaikishan Dahyabhai Panchal. Date of birth-4th November 1929 in Bansda Gujrath State. Mother’s name-Ambaben Panchal Married on 31st august 1963 with Pallavi Sons-Chetan and Yogesh, daughter-Bhairavi Height-6 feet,Handsome,cheerful personality Skill in back ground music,mastery in harmonium,accordion,trumpet,title music,violin,melody and management in orchestration,fond of English films. Death-12th September 1971 at the age of 42.
Mera Naam Joker – A greatest musical work done for any Indian film..
A treasure, A masterpiece, A magnum opus, A landmark
Any similar words can be used for the magnificent work done by Shankar Jaikishan for Raj Kapoor’s “Mera Naam Joker”, in the form of its humongous (more than an hour) and evergreen soundtrack with 11 released songs, and the highly acclaimed classic background score (more than 45 minutes).
I think this is the only film in the whole Indian film history, where the music director has composed more than 2 hours of great original music, for a gigantic film. Yes, MNJ’s available soundtrack consisting 10 tracks is around 50+ minutes long, and, if we include the short English song “Wish me luck” and the two later released songs “Gaao Gaao” and “Mere Alibaba”, the soundtrack would extend upto 63- 65 minutes approximately. Even further, if we include two more unearthed and unknown songs recorded for the film “Dil ka diya jisko jalana aayega (Sharda)” and “Ya habibi marjeena marjeena (Mahendra Kapoor)”, then the duration would extend more than 70 minutes, which is a record in itself.
Coming to the mesmerising background score composed by the duo for the film, is also one of its kind in its length and eminence, lasting for more than 45 minutes. And, they say whole BGM of MNJ was composed by SJ within a span of just 3-4 days…! What a mastey and spontaneity they had in composing scores..! Many of SJ fans have heard about an elaborated dream sequence composed and recorded by Shankar (Jaikishan), for the film which was opted out because of increasing length of film. If we assume that fantastic piece to be atleast 6 to 7 minutes long, the BGM score would cross more than 50 minutes. Thus, the total original music composed by the maestros for MNJ must not be less than 2 hours. Now, who else, other than Shankar Jaikishan could have achieved this landmark?
I would always be waiting for a day when someone will release those two unreleased songs and the dream sequence, which would be nothing less than a treasure for all the SJ fans. I remember I read sometime somewhere, of Shankar ji playing the whole dream sequence on his piano, in front of some interviewer, during his later declining career and lonely life..! We can only imagine how much passion they might have poured into their compositions of background music..!
One article says that the classic “Jaane kahan gaye wo din” was planned to have 13 stanzas and they were written also, to be used through the planned six chapters of the film, but only few of them got recorded. Some unrecorded stanzas were like this (I am not sure how true is this):
Aandhiyan gam ki yun chali, sapne bhi mere bikhar gaye.. Aansu bhi mere kehne lage, saathi tere kidhar gaye.. Jaane kahan gaye wo din..
Is dil ke aashiyan me ab, un ke khayal reh gaye.. Chhod ke humko chal diye, hum hi akele reh gaye… Jaane kahan gaye wo din..
Hum ne to apna jaan kar, un ko gale lagaya tha.. Patthar ko hum ne pooj kar, un ko khuda banaya tha… Jaane kahan gaye wo din..
Very few may be knowing that RK conceived the idea of making “Joker” as early as in 1957, after winning the Grand Prix for “Jaagte Raho” in the International Film Festival in Czechoslovakia. In his words: This film is the story of a tear and a smile. It is the story of a character, the Joker, who says “I shall drink your tears and in return, make you smile.”
For the next 2 years, nothing much happened, but in 1960, RK declared a new title for the film “Mera Naam Joker”, after visiting a show of Czechoslovak State Circus. But, the film actually went into production only in 1965, after stupendous success of “Sangam”. It took six years in the film making while going through several changes in the script, casting, songs and editing. It resulted in a three part movie of a little more than 4 hours duration with two intervals (as in Sangam). But, according to Bunny Reuben, in its original version, it was a saga of six chapters with six different leading ladies, with more than 6 hours of duration.RK also had a plan to present it in two fuMear Naam Joker – A greatest musical work done for any Indian film..
A treasure, A masterpiece, A magnum opus, A landmark
Any similar words can be used for the magnificent work done by Shankar Jaikishan for Raj Kapoor’s “Mera Naam Joker”, in the form of its humongous (more than an hour) and evergreen soundtrack with 11 released songs, and the highly acclaimed classic background score (more than 45 minutes).
I think this is the only film in the whole Indian film history, where the music director has composed more than 2 hours of great original music, for a gigantic film. Yes, MNJ’s available soundtrack consisting 10 tracks is around 50+ minutes long, and, if we include the short English song “Wish me luck” and the two later released songs “Gaao Gaao” and “Mere Alibaba”, the soundtrack would extend upto 63- 65 minutes approximately. Even further, if we include two more unearthed and unknown songs recorded for the film “Dil ka diya jisko jalana aayega (Sharda)” and “Ya habibi marjeena marjeena (Mahendra Kapoor)”, then the duration would extend more than 70 minutes, which is a record in itself.
Coming to the mesmerising background score composed by the duo for the film, is also one of its kind in its length and eminence, lasting for more than 45 minutes. And, they say whole BGM of MNJ was composed by SJ within a span of just 3-4 days…! What a mastey and spontaneity they had in composing scores..! Many of SJ fans have heard about an elaborated dream sequence composed and recorded by Shankar (Jaikishan), for the film which was opted out because of increasing length of film. If we assume that fantastic piece to be atleast 6 to 7 minutes long, the BGM score would cross more than 50 minutes. Thus, the total original music composed by the maestros for MNJ must not be less than 2 hours. Now, who else, other than Shankar Jaikishan could have achieved this landmark?
I would always be waiting for a day when someone will release those two unreleased songs and the dream sequence, which would be nothing less than a treasure for all the SJ fans. I remember I read sometime somewhere, of Shankar ji playing the whole dream sequence on his piano, in front of some interviewer, during his later declining career and lonely life..! We can only imagine how much passion they might have poured into their compositions of background music..!
One article says that the classic “Jaane kahan gaye wo din” was planned to have 13 stanzas and they were written also, to be used through the planned six chapters of the film, but only few of them got recorded. Some unrecorded stanzas were like this (I am not sure how true is this):
Aandhiyan gam ki yun chali, sapne bhi mere bikhar gaye.. Aansu bhi mere kehne lage, saathi tere kidhar gaye.. Jaane kahan gaye wo din..
Is dil ke aashiyan me ab, un ke khayal reh gaye.. Chhod ke humko chal diye, hum hi akele reh gaye… Jaane kahan gaye wo din..
Hum ne to apna jaan kar, un ko gale lagaya tha.. Patthar ko hum ne pooj kar, un ko khuda banaya tha… Jaane kahan gaye wo din..
Very few may be knowing that RK conceived the idea of making “Joker” as early as in 1957, after winning the Grand Prix for “Jaagte Raho” in the International Film Festival in Czechoslovakia. In his words: This film is the story of a tear and a smile. It is the story of a character, the Joker, who says “I shall drink your tears and in return, make you smile.”
For the next 2 years, nothing much happened, but in 1960, RK declared a new title for the film “Mera Naam Joker”, after visiting a show of Czechoslovak State Circus. But, the film actually went into production only in 1965, after stupendous success of “Sangam”. It took six years in the film making while going through several changes in the script, casting, songs and editing. It resulted in a three part movie of a little more than 4 hours duration with two intervals (as in Sangam). But, according to Bunny Reuben, in its original version, it was a saga of six chapters with six different leading ladies, with more than 6 hours of duration.RK also had a plan to present it in two full length movies, each having 3 chapters. RK planned to take Sadhna and Sharmila Tagore with one more leading actress in the second part, although nothing worked out, because of the depleted budgets and changing cinema trends. Ultimately, he made a film of around 5 hours of duration, which finally got edited to 4 hours and 9 minutes.
Later, upon its release in 1970, this mega venture could not win over the viewers and was declared flop at the Box Office, with huge financial loss to RK. However, in later decades, the film became a cult classic and a top earner for the Kapoors through its re-runs (abbreviated version) and its digital rights. Even in Soviet Union, the film became a commercial blockbuster movie, when the film’s three chapters got released as three separate films, rather than a single movie.
Well, for us SJ fans, what matters the most from MNJ is, its magnificent musical score and background music, which I think, has still remained unparalleled in its grandeur and credibility. Almost all SJ fans have enjoyed the evergreen songs of MNJ and, luckily, it’s amazing background score, released on a seperate LP record before, is available in a very good audio quality on YouTube as a symphonic suite.
Just see how the EMI record label described the score on its LP cover:
**** On this record are presented marvelous musical themes composed by top-seeded maestros Shankar Jaikishan for Raj Kapoor’s ambitious magnum opus in Technicolor, “Mera Naam Joker”.
It is for the first time that we are presenting background musical score exclusively from a single film and what better choice can be than “Mera Naam Joker” to present a striking display of endlessly fascinating patterns of tonal colour. ****
As per the EMI description, these are just some slected themes from the whole background score. The complete score may be much more longer than this, as the film itself is more than 4 hours long.
What a great work SJ and their entire team including Duttaram and Sebastian, have done for the film…!
*Remembering Shri Chandravadan Bhatt – A Welknown Legend of Gujarati Theatre in Bombay on his Birth Anniversary today.
Both Shankar and Jaikishan first time met in his office and become a Legend of Film Music.* So, we consider office of Shri Chandravadan Bhatt as MILAN STHAL ( मिलन स्थल ) OF GREAT SJ.
About : Chandravadan Bhatt
Courtesy: BHAVANA BHATT ( DAUGHTER OF SHRI CHANDRAVADAN BHATT AND ACTRESS OF FILM : DO JASOOS)
My parents Late Mr. Chandravadan Bhatt and Mrs. Niharika Bhatt were connected to Gujarati Theatre. My father was the first person who had introduced Modern Gujarati theatre with sound and music. He has produced and directed so many famous and successful Gujarati films and Drama .
He is known as a legend of Gujarati theatre.” So, she proudly says that it was natural for her to opt for acting.
Remembering the legendary director T. Prakash Rao on his celestial birthday.
Shankar Jaikishan and T. Prakash Rao, Two Legends Together
Like Shankar, Tatineni Prakash Rao hailed from Andhra Pradesh, but went to work in the movie industry at Chennai. Both legends worked around the same time and together continuously for nearly four decades. Also, both remained in demand till their end. Extremely popular and successful director, T. Prakash Rao, started movie making in 1947 and continued till 1988 assisting and directing forty seven movies in Telugu, Tamil and Hindi, all with a great success rate.
The famed director came together with the legendary SJ in College Girl. He assisted L. V. Prasad in the latter’s Humrahi to direct a total of six movies with music by the composer duo.
College Girl (1960): Produced by B. L. Rawal, the movie starred Shammi Kapoor and Vyjayantimala in the lead. The album features six songs, all written by Rajinder Krishan who worked with SJ for the first time.
Sasural (1961): Prasad Production’s remake of a super hit Telugu movie, has Rajendra Kumar and B. Sarojini Devi in key roles. There are a total of eight songs in the album, all being super hits. Shailendra wrote five and Hasrat three. Rafi sang two solos and two duets with Lata while Mukesh sang two solos and one duet with Lata. The latter sang one solo. A solo and duet are filmed on Mehmood and Shobha Khote respectively. All were extremely popular. Rafi won the Filmfare Award for Best Singer for his rendition of, “Teri Pyari Pyari Surat Ko.”
Humrahi (1963): Also a remake of a Telugu blockbuster, produced by Prasad Productions, the movie cast Rajendra Kumar and Jamuna playing the lead roles. There are eight chartbusters in the album. Hasrat wrote five of them while Shailendra wrote three. Rafi sang four solos and three duets, two of them with Lata and one with Mubarak Begum. A duet with Lata was filmed on Mehmood and Shobha Khote. Lata sang a solo.
Suraj (1966): Venus Pictures produced the blockbuster which was the second highest grossing film of the year. It has Rajendra Kumar and Vyjayantimala in the lead. The movie won the Filmfare Award for Best Music Director, Best Lyricist for Hasrat and Best Playback Singer for Rafi. There are nine songs in the album. Hasrat wrote five songs, Shailendra two and the other two are instrumental. Rafi sang two solos, two duets with Asha and one with Suman Kalyanpur. Sharda sang two solos, receiving the highest number of FF nominations for Best Playback Singer, tying with Rafi.
Duniya: (1968): Amarjeet produced the movie with Dev Anand and Vyjayantimala in the lead. Another super hit album has a total of six songs. Three songs are by Hasrat, one each by Shailendra, Neeraj and S. H. Bihari. Rafi sang three solos, two of them filmed on Dev Anand and Vyjayantimala, one solo is filmed on Johnny Walker and Laxmi Chhaya. Asha sang a solo and a duet with Kishore Kumar while Mukesh sang a duet with Sharda.
Rivaaj (1972): The movie is produced by K. C. Bokadia. Sanjeev Kumar and Mala Sinha played key roles. Eight songs are featured in the album. Hasrat and Anjana wrote two songs each while Neeraj, S. H. Bihari, Indeevar and Kaifeng Ami wrote one. Rafi sang two duets, one with Manna Dey and the other with Asha. Suman Kalyanpur sang two solos. One solo each was sung by Rafi and Sharda. Kishore Kumar and Lata sang a tandem song.
T. Prakash Rao had a very remarkable association with SJ that had highly successful movies. The combination should have continued for movie makers to enjoy.
Friends…187)SHANKARJAIKISHAN KE GAIR-FILMY GEET-15 songs and One Background Music for documentary. 1)Baar baar mujhko aazmaaeeye,mere dil ko todiye jodiye-Aadil Bhesadiya-Sharda 2)Milaa thaa koee hamein yaad hai to bas itnaa..ham teraa intazaar karte hain,aa bhee jaa tujhse pyaar karte hain-Aarti Mukharjee-Kafeel Azar 3)Jaan-e-tamanna,jaan-e-bahaaraa,zaraa ruk jaanaa-Shailendra Singh-Shaily Shailendra 4)Yaad kartaa hoon,choom letaa hoon,,man hee man hanstaa hoon-Aarti,Shailendra Singh-Sharda 5)Hamse koee pyaar karo jee,kamse kam ek baar karo jee-chorus-Sharda 6)Naujawaan jaagaa hai lab pe ye taraanaa hai,saathee re chalet chalo,hausalaa hamaaraa ye,waqt kaa ishaaraa ye,naee raah chalet chalo-Aadil,Ravindra Bijoor,chorus-Amir Qajalbaksh 7)Ham naujawaan hai wvatan ke,chalnaa hai chalte raheinge,jo deep hamne jalaaye woh deep jalte raheinge-Aadil,Ravindra,chorus-Amir Qajalbaksh 8)Apne desh kaa sundar sapnaa,ye gulshan hai saaraa apnaa,pyaar ke bande ,pyaar ke raahee,pyaar muhobbat naaraa apnaa-Aadil,Ravindra,chorus-Amir Qaajalbaksh 9)Ae watan ham tere naujawaan hai,ae chaman ham tere paasabaan hai,manzeelein khud hamein dhoondatee hai ham to badhataa huaa kaarawaan hai-Aadil,Ravindra,chorus-Amir Qaajalbaksh 10)Sharaab chhod do ye bachche ho jaate hain barbaad-Aadil,Ravindra,chorus-Amir Qaajalbaksh 11)Dekho na aanch aaye tirange kee shaan ko-Mukesh,chorus-HJ 12)Watan ke naam ke liye-Rafi,chorus-Qazi Saleem 13)Hai raaj ko is samay ne rulaayaa,laadlee mere naazon kee paalee,teree dole chalee motiyonwaalee-Mukesh-HJ 14)Although we hail from different lands,we share one earth,remember friends,the world is one-Rafi-Harindranath Chattopadhyay 15)It’s lover’s duty,the she I love is a beautiful,dream come to,I love her-Rafi-HC. 16)EVEREST-1968-Documentary- This 80 minutes documentary depicts the third expedition of the conquest of the Mount Everest on February 24,1955.The people in the expedition were Lt. Commander M.S. Kohli,Major Kumar,Mulkraj,Ravat,Vora,B.P.Singh,Ahuluvalia,Bhaga,Joseph,Bahuguna,Seena,Navang Bangu,Dr. Telang,Dr. Chakraborty,Rana,and Balakrishnan.Zul Velani wrote the script for the documentary.SHANKARJAIKISHAN scored the background music.Sebastian was credited with the arrangement and the assistant music director was Dattaram. B.N.Sharma recorded the score for this documentary.Kanchanganga was the title of the documentary,when released in Hindi.
Friends…SJ had composed YEARWISE songs as stated below Yearwise composed songs
1)1949=11 nos 2)1951=34 nos 3)1952=25 nos 4)1953=67 nos + 19 nos=86 nos(Avan+Premalekhalu) 5)1954=18 nos 6)1955=20 nos 7)1956=66 nos 8)1957=14 nos 9)1958-15 nos
10)1959=59 nos 11)1960=45 nos 12)1961=60 nos 13)1962=47 nos 14)1963=23 nos 15)1964=69 nos 16)1965=23 nos 17)1966=66 nos 18)1967=70 nos 19)1968=54 nos 20)1969=67 nos 21)1970=65 nos +4 nos=69 nos(Tee Mee Navhech) 22)1971=108 nos +10 nos=118 nos(Bombay Talkie+Jeevitha Chakram) 23)1972=50 nos 24)1973=43 nos 25)1974=32 nos 25)1975=30 nos 26)1976=———- 27)1977=11 nos 28)1978=05 nos 29)1979=16 nos 30)1980=05 nos 31)1981=12 nos 32)1982=06 nos 33)1983=03 nos 34)1984=07 nos 35)1985=——— 36)1986=17 nos 37)1987=07 nos (1991 release of Gori) 38)Gair filmi songs=15 nos 39)Unreleased/Shelved films songs=19 nos TOTAL SONGS=1337 nos Instrumental Songs=11 nos (Raaga-Jazz Style-1968) Additional Songs=02 nos (MNJ=1 song+Basant Bahar=1 song) Grand Total Songs=1350 nos
Remembering Jai I was in Chennai on the day Jaikishan died and something in me also died. The SJ remained as duo by name but i stuck to the music of the duo before jai died. Jai did the PR work because he was more a socialite of the two and with his charming smile won over all as a person too. I had the occasion to meet him on a few occasions. He had great regard for other composers including those from South. I met him when he attended the KV Mahadevan night and recalled our meeting at Lekh Tandon’s home which was the apartment above ours in Chembur. Like all youngsters of the day i was star struck by his personality . My tribute is three selections that always stuck to me because i presume the ‘Jai touch’ was there. The song from Sangam is a poetry in music with a great intro and ending and Raj Kapoor added colour with flowers. The use of violas and cello added depth to the song in the counter point melody and piano played its role as Vyjayanthimala flew down the stairs. Jaane Kahan gaye in Raag Shivranjani a heavily orchestrated heart wrenching song. The last song from Andaz was the swan song for Jai his last, in raga Bairavi his favourite, in a joyful fast mode with a philosophy in lyrics. How present is a gift and who knows about the future? Ironically, Bairavi is mostly the final raga in a Hindustani Classical music concert. I am told this song was played in the funeral procession of Jai. Am not sure. Remembering him always through his music.🏵️ A tribute to the emperor of Hindi Cinema music world Jaikishan on his death anniversary – The best of Shankar Jaikishan in 10 songs 🏵️
Shankar Jaikishan were arguably the most commercially successful Hindi film music directors during the 1950s & 60s. Shankar Singh Raghuvanshi & Jaikishan Dayabhai Panchal were an unlikely pair brought together by circumstances. It was Raj Kapoor, who first spotted their talent during the making of the film Aag (1948). Shankar and Jaikishan were assisting music director Ram Ganguly in the film. A tiff with music director Ram Ganguly resulted in Raj Kapoor picking newcomers over him to compose music for his next film “Barsaat” (1949). The spectacular success of Barsaat and the chemistry and camaraderie they enjoyed with Raj Kapoor established them as RK Films’ in-house music directors over the next two decades or so.
Shankar Jaikishan’s musical talent was matched by their keen business sense & their music evolved with the changing taste of filmgoers. The duo went from composing folk-influenced melodies in the beginning of their career to raucous crowd-pleasers towards the end. An important facet of their music was the creative tension between Shankar and Jaikishan. Although they recorded their songs together, they composed music independently. They never took individual credit officially and a Shankar–Jaikishan film had a mix of songs composed by each. Another important aspect of their career was their steady partnership with lyricists Shailendra and Hasrat Jaipuri. If a producer engaged Shankar–Jaikishan, it was understood that Shailendra and Hasrat Jaipuri were part of the deal. Such was Shankar Jaikishan’s affinity to their partner lyricists that they turned down a film as prestigious as Waqt (1965) because BR Chopra insisted on engaging Sahir Ludhianvi for writing the film’s lyrics.
A series of tragic events virtually ended the Shankar Jaikishan’s career in 1971 – Shankar’s favourite lyricist Shailendra passed away in 1966, Raj Kapoor parted ways with them after Kal Aaj Aur Kal (1971) and finally, Jaikishan passed away in 1971. Even after Jaikishan’s death, Shankar continued composing for films as Shankar Jaikishan till he died in 1987.
Here is a list of 10 the best songs by the duo Shankar Jaikishan (someone may disagree with due to personal likings) –
🎧 01. Barsaat (1949) – Barsaat was the coming together of RK Films’ dream team for the first time— Raj Kapoor, Nargis, Shankar–Jaikishan, Mukesh, Lata Mangeshkar, Shailendra and Hasrat Jaipuri. The film’s preeminence in RK Film’s filmography is evident from the fact that its poster art went on to become the logo for RK Films. Remarkably, the entire team of music directors and lyricists in the film consisted of debutants. History tends to forget them but other than Shankar–Jaikishan, Shailendra and Hasrat Jaipuri, two other lyricists made their debut in the film— Ramesh Shastri and Jalal Malihabadi. This feat of a rookie team coming up with a score that’s counted amongst the best Hindi film scores of all time remains unmatched to this date. My pick from the film is ‘Hawa Mein Udta Jaye’, featuring the honey-voiced Lata Mangeshkar. Lyricist Ram Shastri wrote a few more songs in his short career but ‘Hawa Mein Udta Jaye’ remains his lasting legacy.
🎧 02. Awara (1951) – RK Films’ dream team returned with Awara and, with its success, proved that Barsaat wasn’t beginners’ luck. In the span of two years, Shankar–Jaikishan had grown as composers and in Awara they delivered a score that was more eclectic and sophisticated than Barsaat. Awara was a fantastic score overall with songs for every mood and a spread of musical genres. One song in the film was the essence of its score in this regard, the famous dream sequence medley of ‘Tere Bina Aag Yeh Chandni’ and ‘Ghar Aaya Mera Pardesi’. Talking about Shankar-Jaikishan’s growth as musicians, part of it was about them drawing inspiration from other artists. ‘Ghar Aaya Mera Pardesi’ was a fairly close adaptation of the 1935 song ‘Ala Baladi Elmahboub’ by the Egyptian diva Umm Kulthum. Also on display in this song was their craft at composing songs to fit the film’s narrative. The fact that the song represented a dream allowed Raj Kapoor to take artistic liberties. The result was a theatrical sequence with elaborate sets, smoke, special effects and extras. A sequence this elaborate needed music to match and Shankar–Jaikishan delivered exactly that. The song’s mood ebbed and flowed, the chorus was dramatic and the arrangement elaborate, but the song’s core – Lata’s singing and a mandolin – was simply exquisite.
🎧 03. Patita (1953) – Patita doesn’t get talked about enough in Shankar–Jaikishan’s discography perhaps because it doesn’t sound much like their typical film album. Perhaps because they had reserved Mukesh’s voice for Raj Kapoor, they chose Hemant Kumar and Talat Mahmood for Dev Anand. They chose a ghazal-based, mellower sound for Patita, instead of the simple, folk sounds that worked well with Raj Kapoor’s ‘Raju’ persona. ‘Yaad Kiya Dil Ne Kahan Ho Tum’ has already appeared in the post on Hasrat Jaipuri in this series. My other pick from the album is Talat Mahmood’s dulcet solo, ‘Hain Sabse Madhur Woh Geet Jinhen Hum Dard Ke Sur Mein Gaate Hain’. Shailendra’s mukhda for the song was inspired by a line from PB Shelley’s ‘To A Skylark— “Our sweetest songs are those that tell of saddest thought”.
🎧 04. Jis Desh Mein Gagna Behti Hai (1960) – Jis Desh Mein Ganga Behti Hai was a wholesome, typically Shankar Jaikishan score with a combination of Mukesh and Lata duets and solos. My pick from the film, ‘O Basanti Pavan Paagal…’, is an example of a strategy that worked very well for Shankar Jaikishan. Many of their songs originated as tunes they experimented with in the background score of past films. For example, they first formulated ‘O Basanti’ in the score for Awara. Lata Mangeshkar, although a tad dramatic in places, sings her heart out.
🎧 05. Seema (1955) – Naushad’s Baiju Bawra (1952) made classical music an important part of Hindi film music of that period & Shankar Jaikishan realised that it would have to be a part of their repertoire. They made concerted efforts in this direction in “Seema”. The result was a semi-classical Manna Dey solo, ‘Tu Pyar Ka Saagar Hai’— a Lata song with some fantastic sarod play by Ustad Ali Akbar Khan, ‘Suno Chhoti Si Gudiya Ki Lambi Kahani’ and my pick from the film, ‘Man Mohana Bade Jhoothe’, an excellent Raag Jaijaivanti composition rendered superbly by Lata Mangeshkar.
🎧 06. Shree 420 (1955) – Shree 420 was the most evolved product of a formula Raj Kapoor had worked on refining in Barsaat and Awara. The results at the box office validated Raj Kapoor’s vision and Shree 420 became the first film to break the Rs 2 crore barrier. Raj Kapoor and Shankar–Jaikishan faced a significant roadblock during the film’s making. After singing two songs for the film, Mukesh excused himself from it. Mukesh had aspirations of becoming an actor and for a lead role in Mashooqa, he had ill-advisedly signed a contract that forbade him to sing for other films till it was released. Left high and dry, Shankar–Jaikishan brought in Manna Dey. A quirk of fate resulted in Manna Dey singing what is one of the most romantic songs in Hindi films—‘Pyar Hua Ikrar Hua’—and gave his career the boost he deserved. My pick from the film is Shree 420 is ‘Ramaiya Vastavaiya’. The story is that ‘Ramaiya Vastavaiya’. The story is that Shankar, who grew up in Hyderabad, composed the song using Telugu lyrics. When he sang the tune for Hyderabad, composed the song using Telugu lyrics. When he sang the tune for Raj Kapoor’s approval, he asked Shankar to retain the Telugu lyrics. The song was a big hit. Telugu lyrics. The song was a big hit. Raj Kapoor’s inputs were an integral part of Shankar–Jaikishan’s music making process and resulted in many such hit songs.
🎧 07. Basant Bahar (1956) – Basant Bahar was Shankar–Jaikishan’s answer to Naushad’s Baiju Bawra. Unlike Baiju Bawra, which was a critically acclaimed film, the only redeeming feature in Basant Bahar was its outstanding music. If Naushad leaned on maestros Ustad Amir Khan and DV Paluskar for authenticity, Shankar Jaikishan sought Pandit Bhimsen Joshi’s expertise. It is said that Manna Dey initially resisted the idea of singing (and winning) the competition jugalbandi ‘Ketaki Gulab Juhi’ with the maestro. He even went into hiding after the film’s release to escape possible embarrassment. He need not have worried. The audiences overlooked the cinematic liberty and lapped up the film’s music. The song of the film, however, happens to be the Manna Dey solo ‘Sur Naa Saje Kya Gaoon Main’. He sang the song with so much soul, sensitivity and finesse that he probably outdid Mohammed Rafi’s Baiju Bawra with just this one song.
🎧 08. Chori Chori (1956) – Chori Chori was the last time Raj Kapoor and Nargis came together to play lead roles. Their chemistry was so palpable that despite very little physical intimacy, they sizzled on-screen, especially in the two Lata-Manna duets ‘Yeh Raat Bheegi Bheegi’ and ‘Aaaja Sanam Madhur Chandni Mein Hum’. My pick from the film is ‘Aaja Sanam’ because it showcases an instrument that featured prominently in ShankarJaikishan’s music and came to be identified as Raj Kapoor’s instrument of choice onscreen— the accordion. The nifty accordion play in ‘Aaja Sanam’ was by Goody Servai, the steady accordionist in Shankar-Jaikishan’s team. Chori Chori won the music director duo the first of their nine Filmfare Awards.
🎧 09. Anari (1959) – Anari saw an old friend returning to Shankar–Jaikishan’s team. Mukesh decided to resume focus on his singing after losing a precious few years in pursuit of an acting career. Shankar–Jaikishan welcomed back Mukesh as Raj Kapoor’s singing voice with open arms. Mukesh’s return resulted in a simpler, folksier score than the ones Shankar–Jaikishan has composed without him. My pick from the film is the waltzy Mukesh-Lata duet ‘Dil Ke Nazar Se’. Melodious and easy on the ear as the tune is, two elements in the song are nothing short of breathtaking— Lata Mangeshkar’s singing and the blistering accordion. Shankar–Jaikishan won their second Filmfare Award for Anari.
🎧 10. Ujala (1959) – Ujala is one of the coin-toss picks in this list. It was Shankar Jaikishan’s first film with Shammi Kapoor and the beginning of a collaboration that would be mutually beneficial to both but would come at the expense of Shankar Jaikishan’s music taking on a louder, noisier texture to suit Shammi Kapoor’s onscreen persona. ‘Jhoomta Mausam Mast Mahina’ was a milder version of what we would see a lot more of from Shankar Jaikishan in the 1960s. Interestingly, they chose Manna Dey and Mukesh for Shammi Kapoor’s voice in the film even though Rafi had done a fantastic job in the actor’s first hit Tumsa Nahin Dekha (1957). My pick from the film, ‘Duniyawalon Se Door’, is the rare Mukesh song on Shammi Kapoor.
👋 Thanks to Param Arunachalam : Source DNA. Compiled by Suresh Sarvaiya
संगीत राजकपूर की फिल्मो की जान होता था राज कपूर के बारे कहा जाता है की को संगीत के मामले में किसी से कोई समझौता नहीं करते थे…… एक ऐसा ही गाना है सन 1961 में बनी उनकी फ़िल्म “जिस देश मे गंगा बहती है” का, जिसके बोल हैं – ….
“आ अब लौट चलें, आ अब लौट चलें, नैन बिछाए बाहें पसारे, तुझको पुकारे देश तेरा…”
इस सदाबहार अमर गीत को अपनी आवाज़ से संजोया था मुकेश, लता मंगेशकर और अनेको साथियों ने ये गाना इस लिए खास है क्योंकि इस गाने में उस समय का अब तक का सबसे ‘बड़ा ऑर्केस्ट्रा’ इस्तेमाल हुआ जिसमें – 60 कोरस कलाकार, 60 वायलिन, 12 सेलोस वाद्य, 4 डबल बास, 2 मैंडोलिन, 12 रिदम-सेक्शन, 2 सितार, 10 ब्रास ट्रमफेट, 6 साइड रिदम और 2 मुख्य गायक ने भाग लिया था ….
इस मशहूर गीत की रिहर्सल सुबह 11 बजे बॉम्बे (अब मुम्बई) के प्रसिद्ध तारदेव रिकॉर्डिंग स्टूडियो में शुरू हुई अब इतने बड़े में भी स्टूडियो में जगह की कमी के कारण कोरस के बड़े हिस्से को हॉल के बाहर बैठाया गया था फ़ाइनल रिकॉर्डिंग सुबह 3 बजे की गई, क्योंकि उस समय ट्रैफ़िक न के बराबर होता था वैसे भी 1961 में मुंबई की रातें शांत होती थीं आज की तरह भागम भाग और बेहताशा ट्रेफिक का शोर नहीं थी उस समय वर्तमान समय की तरह मल्टीट्रैक या ऑडियो पंचिंग की सुविधा नहीं थी पूरा गाना संगीत सहित एक ही टेक में गाना पड़ता था निरंतर बिना ब्रेक के रिकॉर्डिंग के प्रदर्शन का श्रेय संगीतकारों और गायकों साजिंदों, टेक्निशियंस अरेंजर्स और प्रोड्यूसर्स को जाता है….इस गाने में कोरस में जो कलाकार है उनका काम तो लाज़वाब है ही लेकिन बीच बीच में लता जी का शानदार अलाप सोने पे सुहागा का काम करता है अभिनेत्री पद्मिनी और प्राण और सुरक्षाबलो के शॉट्स गाने के साथ साथ आते है …
इतने बड़े ऑर्केस्ट्रा के साथ इस गीत को रिकॉर्ड करने का श्रेय रिकॉर्डिस्ट “मीनू कात्रक” को जाता है उस समय अब स्व. श्री डी. ओ. भंसाली, प्रसिद्ध फिल्मकार संजय लीला भंसाली के पिता, असिस्टेंट बॉय थे इस गाने के स्वप्नदर्शा थे भारतीय सिनेमा के सबसे बड़े शोमैन राज कपूर, भारतीय सिनेमा संगीत की लाजवाब जोड़ी शंकर जयकिशन और स्वभाव से फक्कड़ लेकिन मन के तारों को झुंझुनाने वाले गीतकार शैलेंद्र (शंकरदास केसरीलाल). म्यूजिक अरेंजर्स थे द ग्रेट सबेस्टियन और भूले बिसरे संगीतकार दत्ताराम ……. आज तक भारत में किसी भी संगीत निर्देशक ने किसी एक गीत की रिकाडिंग के लिए ऑर्केस्ट्रा के इस स्तर को नहीं छुआ इस गीत से जुड़े सभी ज्ञात और अज्ञात लोग बधाई के पात्र है
यह गाना फिल्म के कलाइमेक्स में तब आता है जब ग्रामीणों और पुलिस की विशाल सेना और डकैतों के बीच चरम टकराव होने वाला होता है लेकिन राजू (राजकपूर) मध्यस्थ बनकर खूंखार डकैतों को आत्मसमर्पण के लिए मना लेता है निहत्थे डकैत अपने परिवारों के कारवां और अपने मुखिया राका (प्राण) के साथ चलते हुए,गाते हैं “अब आओ, चलो लौटें” (समाज में) और पुलिस के राइफलधारी सैनिक उन्हें घेर कर चलते है कम्मो (पद्मिनी ) जबलपुर के पास नर्मदा नदी की टेढ़ी-मेढ़ी गहरी घाटियों में भागते हुए राजू का पीछा करती है
एक बार राज कपूर मॉस्को यूथ फेस्टिवल में शामिल होने रूस गए थे वहां पद्मिनी को ‘बेस्ट क्लासिकल डांसर का अवॉर्ड’ अवॉर्ड प्राप्त हुआ था उनकी डांस परफॉर्मेंस देखकर राज कपूर हैरान रह गए उनको लगा यही तो वह लड़की है, जिसकी उन्हें तलाश थी राज कपूर ने तभी अपनी फिल्मों में पद्मिनी को मौका देने का मन बना लिया और इस तरह पद्मिनी की किस्मत पलट गई …लेकिन राजकपूर की मनपसंद दोनों अभिनेत्रियों वैजयन्ती माला और पद्मिनी में नृत्य को लेकर हमेशा प्रतिस्पर्धा बनी रही …
इस फिल्म की शूटिंग जबलपुर के भेड़ाघाट में हुई थी उस समय ये ऐसी पहली फिल्म थी जिसे भेड़ाघाट में फिल्माया गया ……भेड़ाघाट भारत के मध्य प्रदेश राज्य में जबलपुर जिले का एक शहर है दरअसल रीवा में राज कपूर की ससुराल थी शुरू से ही मध्य प्रदेश उनका आना-जाना रहा यहां भेड़ाघाट के प्रति उनका आकर्षण गजब था उन्होंने ‘जिस देश में गंगा बहती है’ के ‘ओ बसंती पवन पागल…’ गाने की शूटिंग भी यहीं की थी जिसे पद्मिनी पर फिल्माया गया इसके बाद तब से आज तक इस जगह पर तमाम फिल्मों की शूटिंग हो चुकी है और मध्य प्रदेश पर्यटन विभाग ने इस जगह को विकसित भी किया जहाँ पर्यटक इसे देखने आते है …..ये फिल्म राजकपूर की थी लेकिन इसे निर्देशित उनके मनपसंद सिने फोटोग्राफर ‘राधू करमाकर ‘ने किया था ये उनका हुनर ही था की धूल उड़ाती पहाड़ियाँ ,और बीहड़ भी हर फ्रेम में खूबसूरत लगे …. फ़िल्म को 1960 के फ़िल्मफ़ेयर पुरस्कारों में सर्वश्रेष्ठ फ़िल्म के अलावा तीन अन्य श्रेणियों में पुरस्कृत किया गया था
Remembering screenplay writer/ lyricist Vrajendra Gaur on his death anniversary.
Shankar Jaikishan and Vrajendra Gaur, a Very Good Association
The extremely successful Shankar Jaikishan and the prolific dialogue and screenplay writer, lyricist, Vrajendra Gaur came together in 1960 and worked for seven movies in fifteen years. Everyone of the movies had very good screenplay and dialogues with excellent music.
Singapore (1960): Produced by F. C. Mehra, the movie was directed by Shakti Samanta. Vrajendra Gaur wrote the dialogues. Shammi Kapoor and Padmini acted in the lead with the title song filmed on the Malay Beauty Queen, Maria Menado. There are eight songs in the album. Shailendra and Hasrat wrote four songs each. Lata sang three solos and three duets with Rafi, with Mukesh singing one solo. The movie had a successful run.
Pyar Mohabbat (1966): The movie was produced and directed by Shankar Mukherjee. Vrajendra Gaur wrote the dialogues. Dev Anand was cast opposite Saira Banu. There are nine songs in the album. Shailendra wrote five songs and Hasrat four. Rafi sang two solos and two duets, one with Asha and the other with Manna Dey. Sharda sang two solos with Lata and Asha singing a solo each. The latter also sang two duets, one with Rafi and the other with Usha Mangeshkar. Although the music was very good, sadly, the movie did not fare well at the box office.
Duniya (1968): The romantic thriller was produced by Amarjeet. Vrajendra Gaur and K. A. Narayan wrote the screenplay. It was directed by T. Prakasa Rao. Dev Anand and Vyjayantimala were cast in the lead. There are six songs in the album. Hasrat wrote three songs while ashailendra, Neeraj and S. H. Bihari wrote a song each. Rafi sang three solos, Asha sang a solo and a duet with Kishore Kumar. Mukesh and Sharda sang a duet. It had a good run at the box office.
Lal Patthar (1971): F. C. Mehra produced the movie, a remake of a Bengali movie by the same name. The dialogues are by Vrajendra Gaur. It was directed by Sushil Majumdar. Raj Kumar, Hema Malini, Vinod Mehra and Raakhee played the key roles. There are six songs in the album. Neeraj wrote three songs, Hasrat two and Dev Kohli wrote one. Asha sang three solos and a duet with Manna Dey, with Rafi and Kishore Kumar singing one solo each.
Jaane Anjane (1971): The movie was produced and directed by Shakti Samanta. Vrajendra Gaur wrote the dialogues. Shammi Kapoor and Leena Chandavarkar are cast in the lead. There are seven songs in the album. There are seven songs in the album. Hasrat wrote four songs, S. H. Bihari two and Gulshan Bawra wrote one. Lata sang a solo and a duet with Rafi. Asha, Kishore Kumar and Sharda sang a solo each, while Suman Kalyanpur sang a duet with Manna Dey. The movie did reasonably well at the box office.
Jangal Mein Mangal (1972): The movie was produced and directed by Rajendra Bhatia. Vrajendra Gaur wrote the dialogues. Kiran Kumar and Reena Roy played the lead roles. There are seven songs in the album. Hasrat and Neeraj wrote all the songs together. Asha sang three solos and a duet with Usha.Kishore Kumar sang two solos and a duet with Rafi.
Resham Ki Dori (1974): T. C. Dhawan produced the movie and Atmaram directed it. The dialogues were by Vrajendra Gaur. Dharmendra was cast opposite Saira Banu. There are six songs in the album. Indivar wrote three songs, Neeraj two and Hasrat wrote one. Asha sang two songs, a solo and another with a chorus. Rafi, Manna Dey, Suman Kalyanpur and Kishore Kumar sang one solo each. Indivar, Shankar Jaikishan and Suman Kalyanpur received Filmfare Award nominations for Best Lyricist, Best Music Director/s and Best Female Playback Singer. The movie ran well at the box.
Although their movies together did very well, Shankar Jaikishan and Vrajendra Gaur parted their ways.
Seen in the picture below are (L-R): Shankar, Shanker Mukherjee, Vrajendra Gaur and Shailendra at the recording of a song for Pyar Mohabbat.
“Awaara Hoon….” is a legendary Bollywood song from the film ‘Awaara’, released in 1951. The song is composed by Shankar Jaikishan, with lyrics penned by Shailendra. It features the iconic actor Raj Kapoor, who also directed the film, and is sung by the legendary playback singer Mukesh. “Awaara Hoon” remains one of the most enduring and beloved songs in Indian cinema.
Lyrically, “Awaara Hoon” captures the essence of a free-spirited wanderer, celebrating his carefree and nomadic lifestyle. The song explores the themes of love, longing, and societal alienation, resonating with audiences even to this day. Shailendra’s poetic lyrics beautifully convey the emotions of the protagonist, blending melancholy with a sense of liberation.
Musically, the song showcases the brilliance of Shankar Jaikishan, who were known for their innovative compositions. “Awaara Hoon” features a memorable melody with a distinct Indian classical influence. The opening strains of the accordion create a haunting and melancholic atmosphere, setting the tone for the song. The orchestration gradually builds up, incorporating various instruments like the sitar, harmonium, and tabla, adding depth and richness to the composition.
Mukesh’s soulful rendition brings the character to life, infusing the song with raw emotion. His deep and resonant voice perfectly captures the inner turmoil and vulnerability of the protagonist. The simplicity and sincerity in his delivery strike a chord with listeners, making “Awaara Hoon” an unforgettable musical experience.
The picturization of “Awaara Hoon” further enhances its impact. Raj Kapoor’s charismatic on-screen presence and expressive acting elevate the song to another level. The black and white cinematography, combined with the picturesque settings, create a timeless visual appeal. The song’s choreography, characterized by Raj Kapoor’s signature dance moves, adds charm and liveliness to the performance.
Apart from its musical and cinematic brilliance, “Awaara Hoon” holds significant cultural and social relevance. It captures the essence of the post-independence era in India, exploring themes of poverty, injustice, and the struggles of the working class. The song struck a chord with the masses, who found solace and identification with the portrayal of societal issues.
Even after several decades, “Awaara Hoon” continues to be celebrated and cherished. Its popularity has transcended generations, and the song remains an integral part of Bollywood’s musical legacy. It serves as a reminder of the power of music to convey complex emotions, evoke nostalgia, and resonate with audiences across time.
With its poignant lyrics, soulful rendition, and memorable composition, the song has left an indelible mark on Indian cinema. It encapsulates the spirit of the era while addressing timeless themes, making it a timeless classic that continues to captivate listeners even after decades of its release.
Today I am presenting singer MANNA DEY songs under ShankarJaikishan music from AWARA to Nain mile chain kahan (1951 to 1987). Total 72 songs are sung by Mannadeyji.
A)AWARA-1951=1)Tere binaa aag ye chandani too aa jaa-lata,chorus-shailendra.
B)BOOT POLISH-1953=2)Lapak jhapak too aa re badaravaa-chorus-HJ 3)Raat gayee phir din aataa hai-asha,chorus-Deepak. 4)Thahar zaraa ojaane waale baaboo-asha,madhubala jhaveri-shailendra 5)Tujhe rukanaa naheen tujhe jhukanaa naheen-Deepak.
C)SEEMA-1955=6)Too pyar kaa sagar hai teree ek boond ke pyaase ham-chorus-Shailendra.
D)Shree 420-1955- 7)dil kaa haal sune dil waalaa –chorus-shailendra 8)Pyaar huaa iqraar huaa hai pyaar se phir kyon darataa hai dil-lata-shailendra 9)Mud mud ken a dekh mud mud ke-asha,chorus-shailendra.
E)BASANT BAHAR-1956=10) Sur na saje kyaa gaaoon main-shailendra 11)Bhay bhanjanaa vandanaa sun hamaaaree-shailendra 12)Nain mile chai kahaan dil hai waheen too hai jahaan-lata-shailendra 13)Ketakee gulaab joohee champak ban phoole-bhimsen Joshi-shailendra.
I)BEGUNAH-1957=20)Din albele pyaar kaa mausam chanchal man mein toofaan-lata-HJ.
J)BAAGHI SIPAAHI-1958=21)Samaan ye pyaar kaa bahaar ke ye mele-asha-shailendra 22)Chinchan pappulu chhuee muee main chhoo na lena-asha,chorus-shailendra 23)Obaraham tere sitam hamper honge kab tak dekheinge ham-lata,chorus-shailendra.
L)CHHOTI BAHEN-1959=25)O kale anaar keen a itnaa sataao pyaar karneki koee reet bataao-asha-HJ.
M)UJALA-1959=26)Suraj zaraa aa paas aa aaj sapnon kee rote pakaayeinge ham-chorus-shailendra. 27)Ab kahaan jaayein ham ye bataa ae zameen-chorus-shailendra 28)Jhoomataa mausam mast maheenaa chaand see gore eek haseenaa-lata-HJ 29)Chham chham lo suno chham chham-lata,chorus-shailendra.
N)JIS DESH MEN GANGA BAHETI HAI-1960=30)Hai aag hamaare seeneme ..hambhee hai tum bhee ho dononhai aamne saamne-lata,geeta,mukesh,mahendra,chorus-shailendra.
O)KROREPATI-1961=31)Pahle murgee hue thee ki andaa zaraa soch ke bataanaa-shailendra 32)Aap huye mere balam main tumhaaree hyee-lata-shailendra.
P)PROFESSOR-1962=33)Ye umar hai kyaa rangeelee ye nazar hai kyaa nasheelee-asha,usha-HJ.
Q)RUNGOLI-1962=34)Chaau chaau bambeeaanaa ishq hai maraz puraanaa-chorus-HJ.
R)ZINDAGI-1964=35)Dil ko baandhaa zulf kee zanjeer se-HJ 36)Muskuraa ladle muskuraa koee bhee phool itnaa naheen khoobsoorat-shailendra 37)Ham dil ka kanwal deinge jisko hogaa koee ek hazaaron mein-lata,chorus-shailendra.
S)JANWAR-1965=38)Aankhon aankhon mein kisee se baat huee-lata,asha-shailendra
T)LOVE IN TOKYO-1966=39)Main tere pyaar kaa beemaar hoon kyaa araz karoon-HJ.
U)PYAR MOHABBAT-1966=40)Dekho dekho madam suno jo kah chale ham-rafi-shailendra.
V) TEESARI KASAM-1966=41)Chalat musaafir moh liyaa re pinjade waalee muniyaa-chorus-shailendra.
CC)SACHAAI-1969=48)AE dost mere maine duniyaa dekhee hai –rafi-Rajendrakrishna in PART-1and 2
DD)JWALA-1970=49)Aajaa re aajaa more saFriends…
Today I am presenting singer MANNA DEY songs under ShankarJaikishan music from AWARA to Nain mile chain kahan (1951 to 1987). Total 72 songs are sung by Mannadeyji.
A)AWARA-1951=1)Tere binaa aag ye chandani too aa jaa-lata,chorus-shailendra.
B)BOOT POLISH-1953=2)Lapak jhapak too aa re badaravaa-chorus-HJ 3)Raat gayee phir din aataa hai-asha,chorus-Deepak. 4)Thahar zaraa ojaane waale baaboo-asha,madhubala jhaveri-shailendra 5)Tujhe rukanaa naheen tujhe jhukanaa naheen-Deepak.
C)SEEMA-1955=6)Too pyar kaa sagar hai teree ek boond ke pyaase ham-chorus-Shailendra.
D)Shree 420-1955- 7)dil kaa haal sune dil waalaa –chorus-shailendra 8)Pyaar huaa iqraar huaa hai pyaar se phir kyon darataa hai dil-lata-shailendra 9)Mud mud ken a dekh mud mud ke-asha,chorus-shailendra.
E)BASANT BAHAR-1956=10) Sur na saje kyaa gaaoon main-shailendra 11)Bhay bhanjanaa vandanaa sun hamaaaree-shailendra 12)Nain mile chai kahaan dil hai waheen too hai jahaan-lata-shailendra 13)Ketakee gulaab joohee champak ban phoole-bhimsen Joshi-shailendra.
I)BEGUNAH-1957=20)Din albele pyaar kaa mausam chanchal man mein toofaan-lata-HJ.
J)BAAGHI SIPAAHI-1958=21)Samaan ye pyaar kaa bahaar ke ye mele-asha-shailendra 22)Chinchan pappulu chhuee muee main chhoo na lena-asha,chorus-shailendra 23)Obaraham tere sitam hamper honge kab tak dekheinge ham-lata,chorus-shailendra.
L)CHHOTI BAHEN-1959=25)O kale anaar keen a itnaa sataao pyaar karneki koee reet bataao-asha-HJ.
M)UJALA-1959=26)Suraj zaraa aa paas aa aaj sapnon kee rote pakaayeinge ham-chorus-shailendra. 27)Ab kahaan jaayein ham ye bataa ae zameen-chorus-shailendra 28)Jhoomataa mausam mast maheenaa chaand see gore eek haseenaa-lata-HJ 29)Chham chham lo suno chham chham-lata,chorus-shailendra.
N)JIS DESH MEN GANGA BAHETI HAI-1960=30)Hai aag hamaare seeneme ..hambhee hai tum bhee ho dononhai aamne saamne-lata,geeta,mukesh,mahendra,chorus-shailendra.
O)KROREPATI-1961=31)Pahle murgee hue thee ki andaa zaraa soch ke bataanaa-shailendra 32)Aap huye mere balam main tumhaaree hyee-lata-shailendra.
P)PROFESSOR-1962=33)Ye umar hai kyaa rangeelee ye nazar hai kyaa nasheelee-asha,usha-HJ.
Q)RUNGOLI-1962=34)Chaau chaau bambeeaanaa ishq hai maraz puraanaa-chorus-HJ.
R)ZINDAGI-1964=35)Dil ko baandhaa zulf kee zanjeer se-HJ 36)Muskuraa ladle muskuraa koee bhee phool itnaa naheen khoobsoorat-shailendra 37)Ham dil ka kanwal deinge jisko hogaa koee ek hazaaron mein-lata,chorus-shailendra.
S)JANWAR-1965=38)Aankhon aankhon mein kisee se baat huee-lata,asha-shailendra
T)LOVE IN TOKYO-1966=39)Main tere pyaar kaa beemaar hoon kyaa araz karoon-HJ.
U)PYAR MOHABBAT-1966=40)Dekho dekho madam suno jo kah chale ham-rafi-shailendra.
V) TEESARI KASAM-1966=41)Chalat musaafir moh liyaa re pinjade waalee muniyaa-chorus-shailendra.
CC)SACHAAI-1969=48)AE dost mere maine duniyaa dekhee hai –rafi-Rajendrakrishna in PART-1and 2
DD)JWALA-1970=49)Aajaa re aajaa more sajan aa sapnon kee paalkee mein dheere dheere aa-lata-RKrishna.
EE)MERA NAAM JOKER-1970=50)Ae bhaaee zaraa dekh ke chalo –Neeraj in Part-1,2 and 3. 51)Kaate naa kate rainaa more laage unase nainaa re-asha-shailendra.
FF)PAGLA KAHIN KA-1970=52)Kyoon maaraa meree bhains ko dandaa kyoon maaraa-chorus-HJ.
GG)EK NARI EK BRAHMACHARI-1971=53)Haar gaye are too hai buddhoo brahmachari too kyaa jaane kyaa hai naaree-asha,kishore,sharda,chorus-neeraj
HH)JAANE ANJAANE-1971=54) Aao hilmil ke nacho re aayaa apnee nagariyaa mein –suman,chorus-SH Bihari. 55)Chhamchham baaje re paayaliyaa raah chalet lachke panihaaree-SH Bihari.
II)KAL AAJ AUR KAL-1971=56)Dekhiye to kyaa ajeeb haal hai sochiye to kyaa ajeeb baat hai-Neeraj.
JJ)LAL PATTHAR-1971=57)Re man sur mein gaa koee taar besur na bole-asha-neeraj
KK)MAIN SUNDAR HOON-1971=58)Khaamosh ye aasmaan hai ye kaun hai jo besahaaraa hai-asha,mukesh,mehmood,aruna irani,shahu modak,chorus-anand bakshi.
LL)PREETAM-1971=59)Hamne ye soch kar pyaar kiyaa ki pyaar se achchaa koee kaam nahee-rajendrakrishna. 60)Ye insaaf huaa duniyaa se ae yaar safaachat-chorus-Rajendrakrishna.
MM)YAAR MERA-1971=61)Bhagwaan ke ghar mein sab kuchh hai-chorus-Neeraj.
NN)RIVAAJ-1972=62)jalaa do duniya yahee duniya hai to duniyaa ko jalaa do-rafi,chorus-kaifi azmi.
OO)ARCHANA-1973=63)Jiyaa mein laagaa more baan preet kaa ghaayal hai armaan preet kaa-HJ.
PP)DAAMAN AUR AAG-1973=64)Ek thaa raajaa ek thee raanee dil ke tukde sun le kahaanee-HJ. In PART-1and 2.
QQ)RESHAM KI DORI-1974=65)Bolo siyaavar raamchandra kee jai hai jag mein jiskaa naam amar-chorus-neeraj.
RR)DO JHOOT-1975=66)Raatein bhee guzaaree din bhee gaye mehboob se milanaa paaye ham, muhobbat ne ae dil kahaan laake maaraa-usha,mahendra,chorus-M G Hashmat.
SS)SANYASI-1975=67)Kyaa maar sakegee maut use auron ke liye jo jeetaa hai-chorus-Indeevar. In part-1 and 2.
TT)ATMARAM-1979=68)Are yaar mere kee mast haveli.jo raste mein aaye usko khatm karo-ameetkumar-M G Hashmat.
Friends….today (Birth-13 April 1925-Death-15 March 2009) being death anniversary of Lyricist Verma Malikji, I am giving his contribution to ShankarJaikishan from 1970 to 1979.
1)Total songs written=30 nos 2)Pehchan-1970=3 songs a)Sabse badaa naadaan wohee hai jo samjhe naadaan mujhe-mukesh b)Kar le dil kee baat aaj mauqaa hai-lata,mukesh c)Wo paree kahaan se laaun,teree dulhan jise banaaun-suman,mukesh,sharda,chorus.
3)Balidan-1971=6 songs a)O jhoothee muhobbat ke bhooke-lata b)Chale aao dil mein bachaake nazar-lata c)Pranaam karo is dhartee ko-mahendrakapoor d)manjeeraa baaj rahaa chhun chhun-mahendrakapoor e)Pranaam karo is dhartee ko-Krishna kale,chorus f)Haay ree daiyaa muee main to –asha,mahendra kapoor
4)Elaan-1971= 1 song a)Aath mein aath ko jamaa karo-sharda 5)Seema-1971= 3 songs a)Ladkee chale jab sadkon pea aye qayaamat-kishore b)Kispe hai teraa dil naam lenaa mushkil-asha,rafi c)Dil meraa kho gayaa,kho jaane do-asha,kishore 6)Aankhon aankhon mein-1972=5 songs a)Gaya bachpan jo aaee jawaanee to chunaree-lata b)Teree umar naadaan hai thahraa huaa toofaan hai-kishore c)Goraa rang meraa goree baahein golgol-asha,usha d)Do baatein pyaar bharee kar loon-asha,kishore e)Ho teraa meraa mel hai milaayaa raam ne-asha,kishore,chorus
7)Beimaan-1972=6 songs a)Dekho jee raat ko julam ho gayaa-asha b)Na izzat kee chintaa fikra koee apmaan kee-mukesh c)Ye raakhee bandhan hai aesaa-lata,mukesh d)Ham do mast malang pilaayen-kishore,mahendra e)Patlaa patlaa reshamee kurtaa-mahendra,asha,chorus f)Main chalee hoon wahaan meraa pyaar-asha,sharda,chorus
A tribute to ace movie maker, Amiya Chakravarthy, on his death anniversary.
Shankar Jaikishan and Amiya Chakravarty, An Awesome Association
When two extremely talented parties come together, the result will be stupendous. That’s what happened to Shankar Jaikishan’s association with ace producer/director, Amiya Chakravarty. SJ and Chakravarty came together in Badal. They continued to work for the next five consecutive years in Daag, followed by Patita, Badshah, Seema and ending with Kathputli. All movies had excellent albums with top actors in the lead. While SJ had a deep knowledge in music and could play several instruments, Amiya Chakravarty’s talent lay in writing producing and directing movies. Thus, the combo worked very well, creating great movies with outstanding music.
Badal (1951): The movie, directed by Amiya Chakravarty, came within two years of SJ’s debut in movies. It was based on Robin Hood of Sherwood Forest, starring Premnath and Madhubala in the lead. There are eight songs in the album with Lata singing seven of them, six of which are solos and a duet with Mukesh who also sang a solo. The movie was one of the top grossers of the year.
Daag (1952): The movie was produced and directed by Amiya Chakravarty. Dilip Kumar, Usha Kiran and Nimmi were cast in the lead. The super hit album has a total of nine solo songs. Lata sang five and Talat four. One is a tandem song sung by Lata in a slow version. Talat sang the other two in a fast and slow versions. The movie was a hit at the box office with Dilip Kumar winning his first Filmfare Award for Best Actor.
Patita (1953): Amiya Chakravarty produced and directed the movie. Dev Anand, Usha Kiran play the leading roles. There are a total of six songs in the beautiful album. Talat sang three solos, Lata sang two solos and a duet with Hemant Kumar. It fared very well at the box office.
Badshah (1954): Amiya Chakravarty directed the movie with Pradeep Kumar, Usha Kiran and Mala Sinha in the lead. There are eight songs in the album. Lata sang five solos and a duet with Hemant Kumar. Spare SJ Lahiri and Hemant Kumar sang a solo each. The movie had a successful run at the box office.
Seema (1955): The critically acclaimed movie is one of the highest grossing movies of the year. It is written and directed by Amiya Chakravarty. It has Balraj Sahni and Nutan in the lead. The album has seven tracks with every one of them a hit. Lata sang four songs, Rafi two and Manna Dey one. Chakravarty won a Filmfare Award for Best Story and Nutan for Best Actress.
Kathputli (1957): The movie is co-produced by Amiya Chakravarty. It is also written and partially directed by him. Due to his sudden death, it was completed by Nitin Bose. It stars Vyjayantimala and Balraj Sahni in the lead. The album is extremely popular. It has eight songs, Lata sang six solos, one duet with Mukesh and Subir Sen sang a solo.
The untimely death of Amiya Chakravarty brought an abrupt end to his very successful association with SJ that could have brought forth many more classics.
Seen in the picture below are (L-R): Shankar, Hasrat, distributer Kamat, Amiya Chakravarty with sarod exponent Ali Akbar Khan at the rehearsal of Suno Chhoti Si Gudiya Ki Lambi Kahani for Seema.
“TITLE SONGS” of Shankar-Jaikishan music directors who scored music for 185 films as below—-
1) Total songs scored——1350 nos 2)Total songs as TITLE SONGS—-114 nos 3)Total songs written by Shailendraji—34 nos 4)Total songs written by Hasarat Jaipuri—53 nos 5)Total songs written by Rajendra Krishna—06 nos 6) Total songs written by Vishweshwar Sharma—05 nos 7)Total songs written by Indeevar—03 nos 8)Total songs written by Neeraj—-03 nos 9)Total songs written by Verma Malik—-02 nos 10) Total songs written by Gulshan Bawara—02 nos 11)Total songs written by S.H.Bihari—1 no 12)Total songs written by Shaily Shailendra–1 no 13)Total songs written by Sudhakar Sharma—1 no 14)Total songs written by Upendra Jha—1 no 15)Total songs written by Majahrooh Sultanpuri—1 no 16)Total songs written by Ajij Kashmiri—1 no.
After Filmfare Award 1966 in photo session, actors David, Devanand, Waheeda Rahman and music director Jaikishan are seen
Friends….
from 4-5 days I was thinking about SJ-Lata combination in my mind. I realized that she sang for SJ continuously from 1949 to 1984(36 years) in 125 films counting total songs 469 Nos( solo-319 Nos Duets-133 Nos and other group songs 17 Nos). Shankar Jaikishan used her versatile voice keeping in mind for female song as per situation and composed the tune to suite her singing talents. She also niceheartly cooperated them, that’s why all her songs are emotional,attractive,appealed to heart and unforgettable.Her “aalaps”are mostly outstanding.Her pronouncations were so clear that listeners get hummed easily with correct lyric words. The yearwise her contribution is stated below- 1)1949—10 songs 0ne film 2)1951—24 songs Four films 3)1952—21 songs Three films 4)1953-46 songs Seven films 5)1954—11 songs Two films 6)1955—13 songs Two films 7)1956—51 songs Seven films 8)1957—10 songs Two films 9)1958—11 songs Two films 10)1959—31 songs Seven films 11)1960—27 songs Five films 12)1961—27 songs Seven films 13)1962—25 songs Six films 14)1963—09 songs Three films 15)1964—26 songs Eight films 16)1965—06 songs Three films 17)1966—17 songs Six films 18)1967—12 songs Five films 19)1968—13 songs Six films 20)1969—10 songs Five films 21)1970—15 songs Five films 22)1971—17 songs Ten films 23)1972—05 songs Five films 24)1973—04 songs Two films 25)1975—11 songs Two films 26)1977—05 songs Two films 27)1978—01 song One film 28)1979—02 songs Two films 29)1980—02 songs One film 30)1981—04 songs Two films 31)1984—01 song One film 32)Unreleased film—02 songs
🌷A Tribute to legendary Lata Mangeshkar on her 1st Death Anniversary🌷 ✍🏻 06 फ़रवरी 2022 के दिन लता मंगेशकर के महाप्रयाण के पश्चात् आज उनकी प्रथम पुण्य तिथि पर उनकी पुण्य स्मृति को प्रणाम🙏 92 वर्ष 04 माह और 08 दिन की अपनी जीवन अवधि की यात्रा पूर्ण करके लता मंगेशकर जिस अनन्त यात्रा पर निकल चुकी हैं वहाँ से लौट कर आने का कोई मार्ग नही है. तार सप्तक पर ध्वनित हुए लता के दीर्ध सुर के आलाप की टंकार इस सृष्टि में अभी भी गुंजायमान है। उनके देह की इह लीला पर विराम अवश्य लग चुका है परन्तु आत्मा से झंकृत होते सरगम की वृष्टि अभी भी ब्रह्माण्ड को भिगो रही है. प्रकाशन विभाग, सूचना एवं प्रसारण मन्त्रालय, भारत सरकार द्वारा वर्ष 1945 से निरन्तर प्रकाशित होने वाली ‘साहित्य और संस्कृति’ की मासिक पत्रिका ‘आजकल’ के मार्च 2022 अंक में प्रकाशित उन पर विशेष श्रद्धांजलि आलेख जो उनके निधन पर श्रद्धा सुमन के रूप में प्रकाशित किया गया था, आप सब के अवलोकनार्थ यहाँ संलग्न है। लता मंगेशकर की पुण्य तिथि पर उन्हें हार्दिक श्रद्धांजलि एवं आत्मिक नमन🙏 ॰ डॉ॰ राजीव श्रीवास्तव Dr Raajeev Shrivaastav
[‘AajKal आजकल’, an oldest prestigious monthly Hindi magazine of literature & culture being published since 1945 by the Publications Division, Ministry of Information and Broadcasting, Government of India.]
FRIENDS….….I am giving here list of Producers with their SHANKARJAIKISHAN MUSIC PICTURES for your references. 1) RAJKAPOOR=Barasat,Awara,Boot polish,Aah,Shree420,Jis desh mein ganga baheti hai,Sangam,Mera naam joker and Kal aaj aur kal,Avan( Tamil),Prem lekhalu ( Tamil). 2) BHAGWANDAS VERMA=Badal,Parabat,Pooja and Baaghi sipaahi. 3) KISHORE SAHU=Kalighata,Mayurpankh,Kism at ka khel and Hare kaanch ki choodiyaan. 4) DALSUKH M PANCHOLI=Nagina(old). 5) AMIYA CHAKRABORTY=Daag,Patita,Badsha h,Seema (old),Apne hue paraye and Pagla kanhi ka. 6) AJITKUMAR CHAKRABORTY=Kathputli. 7) P N ARORA=Poonam,Halaku (D D KASHYAP ) and Dil daulat duniya. 8) DEVENDRA GOEL=Aas. 9) MUNSHI RAM VERMA=Aurat. 10) D D KASHYAP=Nayaghar. 11) RAMESH SAIGAL=Shikast. 12) R CHANDRA=Basant bahar. 13) L B LACHHMAN=Chori chori,Anadi and Asli nakli. 14) MOHAN SAIGAL=New delhi. 15) SHANKARBHAI BHATT=Patrani and Hariyali aur rasta. 16) SOHRAB MODI=Rajhath. 17) MAHIPATRAY SHAH AND ANUPCHAND SHAH=Begunah. 18) SAVAK B VACHA=Yahudi. 19) L V PRASAD=Chhoti bahen,Sasural,Hamrahi and Beti bete. 20) SANT SINGH PACHHI=Kanhaiya. 21) SUBODH MUKHARJEE=Love marriage,Junglee and April phool. 22) NARESH SAIGAL=Main nashe mein hoon and Boy friend. 23) H S RAWAIl=Shararat and Roop ki rani choronka raja. 24) F C MEHRA=Ujala,Singapore,Professo r,Amprapali,Lal patthar,Prince and Elaan. 25) B L RAWAIL=College girl. 26) S A BAKAR=Dil apna aur preet parai. 27) HARDEEP CHATRATH and SHYAM DHAWAN=Ek phool char kante. 28) J OM PRAKASH=Aas ka panchhi,Aayee Milan ki bela and aankhon aankhon mein. 29) NASIR HUSSAIN=Jab pyar kisise hota hai. 30) OM PRAKASH SAIGAL=Krorepati. 31) BUNNY RUBEN and VIJAY KISHORE DUBEY=Aashiq. 32) B R PANTHALU=Dil tera diwana. 33) RAJINDER SINGH BEDI AND AMAR KUMAR=Rungoli. 34) SRIDHAR=Dil ek mandir,Dharti and Duniya kya jaane. 35) R C TALWAR=Ek dil sau afsane. 36) G N VELUMANI=Rajkumar. 37) SEVANTILAL SHAH=Sanjh aur savera. 38) RAMANAND SAGAR=Zindagi and Aarzoo. 39) N N SIPPY=Gumnaam. 40) BHAPPI SONIE=Janwar,Tum haseen main jawaan and Preetam. 41) JAGDISH VERMA=Budtameez. 42) B N SONTHALIA and R K SORAL=Gaban. 43) PRAMOD CHAKRABORTY=Love in Tokyo and Tumse achha kaun hai 44) SHANKAR MUKHERJEE=Pyar mohabbat. 45) CHANDRASHEKHAR=Street singer. 46) S KRISHNAMOORTHY=Suraj. 47) SHAILENDRA= Teesari kasam. 48) MOHAN KUMAR=Aman. 49) SHAKTI SAMANTA=An evening in paris and JAANE ANJAANE. 50) PACHHI=Around the world,International crook and Eet ka jawab patthar. 51) UTTAM KUMAR=Chhoti si mulaqat. 52) MAHESH KAUL=Diwana. 53) DEVI SHARMA=Gunahonka devta. 54) HARI VALIA=Latt sahib and Dur naheen manzil. 55) JAFFER HUSSAIN=Raat aur din and NEELIMA. 56) G P SIPPY=Brahmachari and Andaz. 57) AMARJEET=Duniya. 58) R D BANSAL and RAMESH LAMBA=Jhuk gaya aasman. 59) Producer is not known,but Director VIJAY ANAND=Kahin aur chal. 60) RAJENDRA BHATIA=Kanyadaan, Jangal mein mangal and Aaj ki taaza khabar. 61) MALIKCHAND KOCHAR and VINODKUMAR=Mere huzoor and Aanbaan. 62) B ANANTHASWAMI=Sapnon ka saudagar. 63) ATMA RAM=Shikar, Chanda aur bijli and Umang. 64) JAYMALA=Baalak. 65) B S RANGA=Bhai bahen 66) LEKH TANDON=Jahan pyar miley. 67) RAJA RAM and SATISH WAGLE=Pyar hi pyar and Yaar mera. 68) M C RAMAMURTHY=Sachaai, Parde ke peechhe and Bandagi. 69) S S VASAN=Shatranj. 70) DEVEN VERMA=Yakeen and NADAAN. 71) RATAN MOHAN=Bhaibhai. 72) M V RAMAN=Jwala. 73) SOHANLAL KANWAR=Pehchan,Seema(new),Be-imaan, Do zoot, Sanyasi,Duniyadari,Atmaram,Naa ri and Papi pet ka sawal hai. 74) SANAT KOTHARI=Albela. 75) ARUN VERMA=Balidan. 76) P GANGADHARA RAO=Ek nari ek brahmachari. 77) HARDEEP CHATRATH and KRISHAN KAPOOR=Jawan mohobbat. 78) M MURUGAN, M KUMARAN, M SARVANAM and M BALU=Main sundar hoon. 79) KEDAR KAPOOR and R S SHARMA=patanga. 80) E V RAJAN=Aankh micholi. 81) K C BOKADIA=Rivaaj. 82) J L MIRCHANDANI and K T GOPAL=Archana. 83) KEWAL P KASHYAP=Chori chori (NEW). 84) J P GUPTA and RAJHANS=Daaman aur aag. 85) BALUBHAI SHAH=Naina. 86) TONY WALKER=Pyar ka rishta. 87) BANY TALWAR=Chhote sarkaar. 88) JAGDISH VERMA and SATPAL VERMASJ-Producers,Directors By Mukund Marulkar on Friday, July 13, 2012 at 7:10am
FRIENDS….….I am giving here list of Producers with their SHANKARJAIKISHAN MUSIC PICTURES for your references.
1) RAJKAPOOR=Barasat,Awara,Boot polish,Aah,Shree420,Jis desh mein ganga baheti hai,Sangam,Mera naam joker and Kal aaj aur kal,Avan( Tamil),Prem lekhalu ( Tamil). 2) BHAGWANDAS VERMA=Badal,Parabat,Pooja and Baaghi sipaahi. 3) KISHORE SAHU=Kalighata,Mayurpankh,Kism at ka khel and Hare kaanch ki choodiyaan. 4) DALSUKH M PANCHOLI=Nagina(old). 5) AMIYA CHAKRABORTY=Daag,Patita,Badsha h,Seema (old),Apne hue paraye and Pagla kanhi ka. 6) AJITKUMAR CHAKRABORTY=Kathputli. 7) P N ARORA=Poonam,Halaku (D D KASHYAP ) and Dil daulat duniya. 8) DEVENDRA GOEL=Aas. 9) MUNSHI RAM VERMA=Aurat. 10) D D KASHYAP=Nayaghar. 11) RAMESH SAIGAL=Shikast. 12) R CHANDRA=Basant bahar. 13) L B LACHHMAN=Chori chori,Anadi and Asli nakli. 14) MOHAN SAIGAL=New delhi. 15) SHANKARBHAI BHATT=Patrani and Hariyali aur rasta. 16) SOHRAB MODI=Rajhath. 17) MAHIPATRAY SHAH AND ANUPCHAND SHAH=Begunah. 18) SAVAK B VACHA=Yahudi. 19) L V PRASAD=Chhoti bahen,Sasural,Hamrahi and Beti bete. 20) SANT SINGH PACHHI=Kanhaiya. 21) SUBODH MUKHARJEE=Love marriage,Junglee and April phool. 22) NARESH SAIGAL=Main nashe mein hoon and Boy friend. 23) H S RAWAIl=Shararat and Roop ki rani choronka raja. 24) F C MEHRA=Ujala,Singapore,Professo r,Amprapali,Lal patthar,Prince and Elaan. 25) B L RAWAIL=College girl. 26) S A BAKAR=Dil apna aur preet parai. 27) HARDEEP CHATRATH and SHYAM DHAWAN=Ek phool char kante. 28) J OM PRAKASH=Aas ka panchhi,Aayee Milan ki bela and aankhon aankhon mein. 29) NASIR HUSSAIN=Jab pyar kisise hota hai. 30) OM PRAKASH SAIGAL=Krorepati. 31) BUNNY RUBEN and VIJAY KISHORE DUBEY=Aashiq. 32) B R PANTHALU=Dil tera diwana. 33) RAJINDER SINGH BEDI AND AMAR KUMAR=Rungoli. 34) SRIDHAR=Dil ek mandir,Dharti and Duniya kya jaane. 35) R C TALWAR=Ek dil sau afsane. 36) G N VELUMANI=Rajkumar. 37) SEVANTILAL SHAH=Sanjh aur savera. 38) RAMANAND SAGAR=Zindagi and Aarzoo. 39) N N SIPPY=Gumnaam. 40) BHAPPI SONIE=Janwar,Tum haseen main jawaan and Preetam. 41) JAGDISH VERMA=Budtameez. 42) B N SONTHALIA and R K SORAL=Gaban. 43) PRAMOD CHAKRABORTY=Love in Tokyo and Tumse achha kaun hai 44) SHANKAR MUKHERJEE=Pyar mohabbat. 45) CHANDRASHEKHAR=Street singer. 46) S KRISHNAMOORTHY=Suraj. 47) SHAILENDRA= Teesari kasam. 48) MOHAN KUMAR=Aman. 49) SHAKTI SAMANTA=An evening in paris and JAANE ANJAANE. 50) PACHHI=Around the world,International crook and Eet ka jawab patthar. 51) UTTAM KUMAR=Chhoti si mulaqat. 52) MAHESH KAUL=Diwana. 53) DEVI SHARMA=Gunahonka devta. 54) HARI VALIA=Latt sahib and Dur naheen manzil. 55) JAFFER HUSSAIN=Raat aur din and NEELIMA. 56) G P SIPPY=Brahmachari and Andaz. 57) AMARJEET=Duniya. 58) R D BANSAL and RAMESH LAMBA=Jhuk gaya aasman. 59) Producer is not known,but Director VIJAY ANAND=Kahin aur chal. 60) RAJENDRA BHATIA=Kanyadaan, Jangal mein mangal and Aaj ki taaza khabar. 61) MALIKCHAND KOCHAR and VINODKUMAR=Mere huzoor and Aanbaan. 62) B ANANTHASWAMI=Sapnon ka saudagar. 63) ATMA RAM=Shikar, Chanda aur bijli and Umang. 64) JAYMALA=Baalak. 65) B S RANGA=Bhai bahen 66) LEKH TANDON=Jahan pyar miley. 67) RAJA RAM and SATISH WAGLE=Pyar hi pyar and Yaar mera. 68) M C RAMAMURTHY=Sachaai, Parde ke peechhe and Bandagi. 69) S S VASAN=Shatranj. 70) DEVEN VERMA=Yakeen and NADAAN. 71) RATAN MOHAN=Bhaibhai. 72) M V RAMAN=Jwala. 73) SOHANLAL KANWAR=Pehchan,Seema(new),Be-imaan, Do zoot, Sanyasi,Duniyadari,Atmaram,Naa ri and Papi pet ka sawal hai. 74) SANAT KOTHARI=Albela. 75) ARUN VERMA=Balidan. 76) P GANGADHARA RAO=Ek nari ek brahmachari. 77) HARDEEP CHATRATH and KRISHAN KAPOOR=Jawan mohobbat. 78) M MURUGAN, M KUMARAN, M SARVANAM and M BALU=Main sundar hoon. 79) KEDAR KAPOOR and R S SHARMA=patanga. 80) E V RAJAN=Aankh micholi. 81) K C BOKADIA=Rivaaj. 82) J L MIRCHANDANI and K T GOPAL=Archana. 83) KEWAL P KASHYAP=Chori chori (NEW). 84) J P GUPTA and RAJHANS=Daaman aur aag. 85) BALUBHAI SHAH=Naina. 86) TONY WALKER=Pyar ka rishta. 87) BANY TALWAR=Chhote sarkaar. 88) JAGDISH VERMA and SATPAL VERMA=insaaniyat. 89) VINOD KUMAR and A NARANG=Mera vachan geeta ki qasam. 90) T C DEWAN=Resham ki dori. 91) JEMINI DEWAN=Tarzan mera sathi. 92) TEJNATH ZAR=Vachan and Garam khoon. 93) SHUBIR MUKHERJI=Love in Bombay. 94) KALIDAS=Saazish. 95) S N JAIN=Dhoop chhaaon. 96) KRISHAN KUMAR=Mahfil 97) S V MUNGARE=Ganga aur geeta. 98) SHAM BEHL=The gold medal. 99) V K SOOD=Chorni. 100) SHAHAB AHMED=Film hi film. 101) SURJEET KUMAR NANDA=Inteqaam ki aag. 102) KAMAL CHOWDHURY and M N YASIN=Kaanch ki deewar. 103) UPENDRA JHA=Krishna Krishna. 104) VIJAY VEER SINGH TYAGI=Gori. 105) ISMAIL MERCHANT and JAMES IVORY=Bombay talkie. 106) V CHANDRAKANT=Tee mee navhech. 107) GANGADHAR RAO=Jeevitha chakram(TELUGU). 108) ARUN CHAUDHURI=Everest (kanchanganga) Documentary film. 109) J K NANDA=Chalak (Unreleased). 110) RAVINDRA DAVE=Nagina (new). (Unreleased). 111) BADRI PRASAD JOSHI=nain mile chan kahan (Unreleased) 112) JIA-UL-HAQ HASAN SIDDIQUI=Naseeb ki baat (Unreleased). 113) MANOHAR DEEPAK=Panee (Unreleased). 114) KAMAL CHOWDHURY=Waqt ka sakandar (Unreleased). 115) A A M NOORANI= Watan (Unreleased). 116) THE GRAMOPHONE COMPANY OF INDIA LTD= Raaga-jazz style(1968)…INSTRUMENTAL.
The composer duo and singer had a three decade long association. They worked together in fifteen movies with nineteen songs. All her songs were either duets or trios with the exception of one solo which stands as one of her best.
Shankar Jaikishan and Usha Mangeshkar
Raj Hath (1956): Produced and directed by Sohrab Modi, the movie has Pradeep Kumar and Madhubala in the lead. There are twelve songs in the album. Shailendra wrote seven songs and Hasrat, five. Rafi and Manna Dey sang one solo each. Lata sang eight solos and two duets, one with Mukesh and the other with Usha Mangeshkar.
Patrani (1956): Shankerbhai Bhatt produced the movie and Vijay Bhatt directed it. Vyjayantimala and Pradeep were cast in the lead roles. There are a total of seven songs in the popular album. Shailendra wrote six of them and Hasrat wrote one. Lata sang all the songs with five being solos, a duet and a trio with Usha Mangeshkar with sister, Meena, joining them.
Main Nashe Mein Hoon (1959): Mahipatray Shah produced the movie with direction by Naresh Saigal. Raj Kapoor was cast opposite Mala Sinha. The album features nine songs. Shailendra wrote five songs, Hasrat wrote four and Mirza Ghalib one. Mukesh sang two solos and one duet with Lata. The latter sang one solo and two duets, one with Mukesh and the other with Raj Kapoor. Rafi, Asha and Usha sang a solo each. Incidentally, this Usha sang for SJ went on to become extremely popular.
Professor (1962): Produced by F. C. Mehra, the movie is directed by Lekh Tandon. Shammi Kapoor played the lead opposite new comer, Kalpana. There are six songs in the album with Hasrat writing four and Shailendra two. Rafi sang two solos and two duets with Lata. Lata and Asha sang a duet and a trio was sung by Manna Dey, Asha and Usha.
Gumnaam (1965): N. N. Sippy produced the whodunit movie with direction by Raja Nawathe. Manoj Kumar and Nanda were cast in the lead. There are eight songs in the album. Shailendra and Hasrat wrote four songs each. Rafi sang two solos and two duets, one with Sharda and the other with Mehmood. Lata sang two solos and Sharda sang one. Asha and Usha sang a duet.
Pyar Mohabbat (1965): Produced and directed by Shankar Mukherjee it has Dev Anand and Saira Banu in the lead. Shailendra wrote five of the nine songs in the album while Hasrat wrote four. Rafi and Sharda sang two solos each, while Lata and Asha, each, sang one solo. Rafi sang two duets, one with Asha and another with Manna Dey. A third duet was sung by Asha and Usha.
Parde Ke Peechhey (1971): M. C. Ramamurthy produced the movie and K. Shankar directed it. Vinod Mehra and Yogita Bali are lead actors. Rajinder Krishan wrote the entire album. Kishore Kumar sang a solo. Lata and Asha sang two solos each. The latter sang a trio with Shamshad Begum and Usha.
Aankhon Aankhon Mein (1972): J. Om Prakash produced the movie and Raghunath Jhalani. Rakesh Roshan played the lead opposite Raakhee. There are six songs in the album. Lata sang a solo. Kishore Kumar sang one solo and three duets with Asha. The latter, also, sang a duet with Usha.
Jangal Mein Mangal (1972): Rajendra Bhatia produced and directed the movie with Kiran Kumar and Reena Roy in the lead. There are seven songs in the album. Hasrat and Neeraj wrote them. Kishore Kumar sang two solos and one duet with Rafi. Asha sang three solos and one duet with Usha.
Aaj Ki Taaza Khabar (1973): Produced and directed by Rajendra Bhatia, the movie has Radha Saluja play the lead opposite I. S. Johar. There are five songs in the album written entirely by Hasrat. Asha and Kishore Kumar sang two solos each with the latter singing a duet with Usha.
Do Jhoot (1975): Sohanlal Kanwar produced the movie and Jyu Thakar directed it. Vinod Mehra and Moushumi Chatterjee acted in the lead. M. G. Hashmat wrote three songs with Vitthalbhai Patel, Verma Malik and Vishweshwar Sharma writing a song each. Lata sang a solo and two duets, one with Kishore Kumar and another with Usha. She also sang a trio with Rafi and Nitin Mukesh. Usha, also, sang a duet with Kishore Kumar and a trio with Manna Dey and Mahendra Kapoor.
Dhoop Chhaon (1977): S. N. Jain produced the movie and directed by Nitin Bose. It has Sanjeev Kumar and Hema Malini in the lead. There are five songs in the album. Kaifi Azmi, Vitthalbhai Patel, Vishweshwar Sharma and Virendra Mishra wrote a song each. Lata and Rafi sang a solo each while Asha sang two. A duet was sung by Usha and Kalyani Mitra.
Duniyadari (1977): The movie was produced by Sohanlal Kanwar and directed by Ram Kelkar. It has Nutan, Parikshit Sahni, Vinod Mehra and Bindiya Goswami in key roles. There are six songs in the album. Vishweshwar Sharma and M. G. Hashmat wrote two songs each while Vitthalbhai Patel and Prabha Thakur, each, wrote a song. Lata sang a solo and duets with Rafi, Kishore Kumar and Usha. A multi singer song was done with Rafi, Anwar, Shobha Gurtu, Nasir Chopra and Khan Saheb.
Naari (1981): The movie is produced by Sohanlal Kanwar and directed by Saharan K. Chand. Rakesh Roshan, Sarika and Neeta Mehta played the key roles. M. G. Hashmat wrote the entire album with six songs. Usha, Lata, Sushma Shresta, Kishore Kumar and Amit Kumar sang one solo each. A duet was sung by Yesudas and Amit Kumar.
Inteqam Ki Aag (1986): Surjeet Kumar and Nanda produced the movie, while Shiv Kumar directed it. Vinod Mehra and Kaajal Kiran were cast in the lead. There are four songs in the lead. Indeevar and Mahendra Dehlavi wrote two songs each. Rafi and Asha sang a solo each and a duet together, while Sushma Shrestha and Preeti Sagar sang another duet.
Shankar’s untimely death brought the long association to an abrupt end.
Seen in the picture below are (L-R): Usha Mangeshkar, Shankar and Sulakshana Pandit at the rehearsal of Ek Tha Kanha Ek Thhi Radha for Aatmaram.
By Lakshmi K Tummala, President, Shankar Jaikishan Fans’ Association International, Hyderabad
Friends…187)SHANKARJAIKISHAN KE GAIR-FILMY GEET-15 songs and One Background Music for documentary. 1)Baar baar mujhko aazmaaeeye,mere dil ko todiye jodiye-Aadil Bhesadiya-Sharda 2)Milaa thaa koee hamein yaad hai to bas itnaa..ham teraa intazaar karte hain,aa bhee jaa tujhse pyaar karte hain-Aarti Mukharjee-Kafeel Azar 3)Jaan-e-tamanna,jaan-e-bahaaraa,zaraa ruk jaanaa-Shailendra Singh-Shaily Shailendra 4)Yaad kartaa hoon,choom letaa hoon,,man hee man hanstaa hoon-Aarti,Shailendra Singh-Sharda 5)Hamse koee pyaar karo jee,kamse kam ek baar karo jee-chorus-Sharda 6)Naujawaan jaagaa hai lab pe ye taraanaa hai,saathee re chalet chalo,hausalaa hamaaraa ye,waqt kaa ishaaraa ye,naee raah chalet chalo-Aadil,Ravindra Bijoor,chorus-Amir Qajalbaksh 7)Ham naujawaan hai wvatan ke,chalnaa hai chalte raheinge,jo deep hamne jalaaye woh deep jalte raheinge-Aadil,Ravindra,chorus-Amir Qajalbaksh 8)Apne desh kaa sundar sapnaa,ye gulshan hai saaraa apnaa,pyaar ke bande ,pyaar ke raahee,pyaar muhobbat naaraa apnaa-Aadil,Ravindra,chorus-Amir Qaajalbaksh 9)Ae watan ham tere naujawaan hai,ae chaman ham tere paasabaan hai,manzeelein khud hamein dhoondatee hai ham to badhataa huaa kaarawaan hai-Aadil,Ravindra,chorus-Amir Qaajalbaksh 10)Sharaab chhod do ye bachche ho jaate hain barbaad-Aadil,Ravindra,chorus-Amir Qaajalbaksh 11)Dekho na aanch aaye tirange kee shaan ko-Mukesh,chorus-HJ 12)Watan ke naam ke liye-Rafi,chorus-Qazi Saleem 13)Hai raaj ko is samay ne rulaayaa,laadlee mere naazon kee paalee,teree dole chalee motiyonwaalee-Mukesh-HJ 14)Although we hail from different lands,we share one earth,remember friends,the world is one-Rafi-Harindranath Chattopadhyay 15)It’s lover’s duty,the she I love is a beautiful,dream come to,I love her-Rafi-HC. 16)EVEREST-1968-Doc umentary- This 80 minutes documentary depicts the third expedition of the conquest of the Mount Everest on February 24,1955.The people in the expedition were Lt. Commander M.S. Kohli,Major Kumar,Mulkraj,Ravat,Vora,B.P.Singh,Ahuluvalia,Bhaga,Joseph,Bahuguna,Seena,Navang Bangu,Dr. Telang,Dr. Chakraborty,Rana,and Balakrishnan.Zul Velani wrote the script for the documentary.SHANKARJAIKISHAN scored the background music.Sebastian was credited with the arrangement and the assistant music director was Dattaram. B.N.Sharma recorded the score for this documentary.Kanchanganga was the title of the documentary,when released in Hindi.Friends…187)SHANKARJAIKISHAN KE GAIR-FILMY GEET-15 songs and One Background Music for documentary. 1)Baar baar mujhko aazmaaeeye,mere dil ko todiye jodiye-Aadil Bhesadiya-Sharda 2)Milaa thaa koee hamein yaad hai to bas itnaa..ham teraa intazaar karte hain,aa bhee jaa tujhse pyaar karte hain-Aarti Mukharjee-Kafeel Azar 3)Jaan-e-tamanna,jaan-e-bahaaraa,zaraa ruk jaanaa-Shailendra Singh-Shaily Shailendra 4)Yaad kartaa hoon,choom letaa hoon,,man hee man hanstaa hoon-Aarti,Shailendra Singh-Sharda 5)Hamse koee pyaar karo jee,kamse kam ek baar karo jee-chorus-Sharda 6)Naujawaan jaagaa hai lab pe ye taraanaa hai,saathee re chalet chalo,hausalaa hamaaraa ye,waqt kaa ishaaraa ye,naee raah chalet chalo-Aadil,Ravindra Bijoor,chorus-Amir Qajalbaksh 7)Ham naujawaan hai wvatan ke,chalnaa hai chalte raheinge,jo deep hamne jalaaye woh deep jalte raheinge-Aadil,Ravindra,chorus-Amir Qajalbaksh 8)Apne desh kaa sundar sapnaa,ye gulshan hai saaraa apnaa,pyaar ke bande ,pyaar ke raahee,pyaar muhobbat naaraa apnaa-Aadil,Ravindra,chorus-Amir Qaajalbaksh 9)Ae watan ham tere naujawaan hai,ae chaman ham tere paasabaan hai,manzeelein khud hamein dhoondatee hai ham to badhataa huaa kaarawaan hai-Aadil,Ravindra,chorus-Amir Qaajalbaksh 10)Sharaab chhod do ye bachche ho jaate hain barbaad-Aadil,Ravindra,chorus-Amir Qaajalbaksh 11)Dekho na aanch aaye tirange kee shaan ko-Mukesh,chorus-HJ 12)Watan ke naam ke liye-Rafi,chorus-Qazi Saleem 13)Hai raaj ko is samay ne rulaayaa,laadlee mere naazon kee paalee,teree dole chalee motiyonwaalee-Mukesh-HJ 14)Although we hail from different lands,we share one earth,remember friends,the world is one-Rafi-Harindranath Chattopadhyay 15)It’s lover’s duty,the she I love is a beautiful,dream come to,I love her-Rafi-HC. 16)EVEREST-1968-Documentary- This 80 minutes documentary depicts the third expedition of the conquest of the Mount Everest on February 24,1955.The people in the expedition were Lt. Commander M.S. Kohli,Major Kumar,Mulkraj,Ravat,Vora,B.P.Singh,Ahuluvalia,Bhaga,Joseph,Bahuguna,Seena,Navang Bangu,Dr. Telang,Dr. Chakraborty,Rana,and Balakrishnan.Zul Velani wrote the script for the documentary.SHANKARJAIKISHAN scored the background music.Sebastian was credited with the arrangement and the assistant music director was Dattaram. B.N.Sharma recorded the score for this documentary.Kanchanganga was the title of the documentary,when released in Hindi.
शंकर जी (जयकिशन जी) को उनके जन्मशताब्दी वर्ष पर इन शब्द सुमनों द्वारा विनम्र अभिवादन !
‘दो भटकते राही – ‘शंकर – जयकिशन’, बंबई में आ मिले मंज़िल पर – चंद्रवदन भट ऑफीस, मायानगरी बंबई, दो दिलों की कश्ती आ लगी साहिल पर – ‘पृथ्वी थिएटर्स’, मुस्कुराते जागे एक संग दो मुक़द्दर’ – राज साहब की फ़िल्म ‘बरसात’ में स्वतंत्र संगीत निर्देशन का मौका …
फिर …
‘२१ अप्रेल १९४९’ को बंबई के सिनेमा घरों की ओर जानेवाली सडकोंपर सिनेमा प्रेमियों की भीड उमडी थी, इसी दिन राज साहब की फिल्म ‘बरसात’ प्रदर्शित हुई थी, यह लोग बेताब थे, इस फ़िल्म के गीत पर्देपर देखने के लिए … एक युवा जोडीकी संगीत सफ़र की यह शुरुआत थी … फ़िल्म के शुरू होते ही श्रेय नामावली में (Titles) Music – Shankar – Jaikishan, Lyricist – Hasrat Jaipuri – Shailendra यह चार नाम पहली बार परदेपर दिखाई दिए, जो फ़िल्म का प्रमुख आकर्षण थे…’शंकर – जयकिशन’ इस नवोदित और युवा संगीतकार द्वयी का संगीत, और शैलेंद्र – हसरत इन नौजवां युवकों द्वारा लिखे गीत, उस दिन बहुचर्चित विषय बना था … इन चार युवकों नें हिंदी सिनेमा संगीत की दुनिया मे पहला कदम रखा था … ‘एस-जे’ ने इसी फिल्म से स्वतंत्र संगीत निर्देशन का ‘आगाज’ किया था … उस दिन शाम के ढलते ढलते ‘अंजाम’ यह था क़ि, युवा ‘एस-जे’ और उनकी धुनों से सजे गीत हर किसी के दिलमें जा बसे थे, साथ में ‘शैलेंद्र – हसरत जयपुरी’ जैसे युवा गीतलेखक, जो इन गीतों के रचनाकार थे … बंबई के साथ और बाद में जहां जहां बरसात प्रदर्शित हुई वहां उसे सफलता ही मिली…भारतवर्ष के तमाम संगीत शौकीन जो बदलाव चाहते थे, वोह ‘एस-जे’ लेकर आये थे हिंदी सिने संगीत में … नयी रचनाओं के साथ, नयी कर्णमधुर धुनों से सजे गीत लेकर …चार होनहार युवक, शंकर – हैदराबाद, जय – वंसदा (गुजरात), शैलेंद्र – मथुरा तो हसरत जयपुरी – ‘गुलाबी शहर’ जयपूर से बंबई आए थे … क़िस्मत आजमाने, आँखों में सप��शंकर जी (जयकिशन जी) को उनके जन्मशताब्दी वर्ष पर इन शब्द सुमनों द्वारा विनम्र अभिवादन !
सौ साल पहले हमें तुमपे नाज़ था … आज भी है और कल भी रहेगा !!!
‘दो भटकते राही – ‘शंकर – जयकिशन’, बंबई में आ मिले मंज़िल पर – चंद्रवदन भट ऑफीस, मायानगरी बंबई, दो दिलों की कश्ती आ लगी साहिल पर – ‘पृथ्वी थिएटर्स’, मुस्कुराते जागे एक संग दो मुक़द्दर’ – राज साहब की फ़िल्म ‘बरसात’ में स्वतंत्र संगीत निर्देशन का मौका …
फिर …
‘२१ अप्रेल १९४९’ को बंबई के सिनेमा घरों की ओर जानेवाली सडकोंपर सिनेमा प्रेमियों की भीड उमडी थी, इसी दिन राज साहब की फिल्म ‘बरसात’ प्रदर्शित हुई थी, यह लोग बेताब थे, इस फ़िल्म के गीत पर्देपर देखने के लिए … एक युवा जोडीकी संगीत सफ़र की यह शुरुआत थी … फ़िल्म के शुरू होते ही श्रेय नामावली में (Titles) Music – Shankar – Jaikishan, Lyricist – Hasrat Jaipuri – Shailendra यह चार नाम पहली बार परदेपर दिखाई दिए, जो फ़िल्म का प्रमुख आकर्षण थे…’शंकर – जयकिशन’ इस नवोदित और युवा संगीतकार द्वयी का संगीत, और शैलेंद्र – हसरत इन नौजवां युवकों द्वारा लिखे गीत, उस दिन बहुचर्चित विषय बना था … इन चार युवकों नें हिंदी सिनेमा संगीत की दुनिया मे पहला कदम रखा था … ‘एस-जे’ ने इसी फिल्म से स्वतंत्र संगीत निर्देशन का ‘आगाज’ किया था … उस दिन शाम के ढलते ढलते ‘अंजाम’ यह था क़ि, युवा ‘एस-जे’ और उनकी धुनों से सजे गीत हर किसी के दिलमें जा बसे थे, साथ में ‘शैलेंद्र – हसरत जयपुरी’ जैसे युवा गीतलेखक, जो इन गीतों के रचनाकार थे … बंबई के साथ और बाद में जहां जहां बरसात प्रदर्शित हुई वहां उसे सफलता ही मिली…भारतवर्ष के तमाम संगीत शौकीन जो बदलाव चाहते थे, वोह ‘एस-जे’ लेकर आये थे हिंदी सिने संगीत में … नयी रचनाओं के साथ, नयी कर्णमधुर धुनों से सजे गीत लेकर …चार होनहार युवक, शंकर – हैदराबाद, जय – वंसदा (गुजरात), शैलेंद्र – मथुरा तो हसरत जयपुरी – ‘गुलाबी शहर’ जयपूर से बंबई आए थे … क़िस्मत आजमाने, आँखों में सपने सजाये, इस भूलभुलैय्या वाली मायानगरी में … और अपने पहले ही प्रयास में वें चारों सफल हुए थे. ‘बरसात में हमसे मिले तुम सजन तुमसे मिले हम बरसात में’, ‘जिया बेकरार हैं’, ‘हवा में उडता जाये’, ‘मैं जिंदगी में हरदम रोता’, ‘मुझे किसी से प्यार हो गया’, ‘अब मेरा कौन सहारा’, ‘छोड़ गए बालम’, ‘पतली कमर’, ‘मेरी आँखों मे बस गया कोई रे, ‘बिछड़े हुए परदेसी’….. सब गीत बेहद लोकप्रिय हुए … अपनें धुवांधार संगीत से ‘एस-जे’ की जोडी ने संगीत के मैदान पर पहली बाज़ी जीत ली थी, हर किसीं का मन मोह लिया था … ‘बरसात’ की अपार सफलता से तीन बातें एक साथ हो गयी थी, एक तो राज साहब को इस जोड़ी की क़ाबिलीयत पर यक़ीन हो गया था, वोह अपनी शुरुआती फिल्मों की असफ़लता के ‘चक्रव्यूह’ से बाहर निकल गए थे, उनकी करिअर को दिशा मिल गयी थी, दूसरी बात उन्होंने RK स्टुडियो खरीद लिया था, …तीसरी और सबसे महत्वपूर्ण बात यह थी, ‘एस-जे’ के क़दम उस ‘संगीत सम्राट’ के सिंहासन की ओर बढ़ गए थे, जो उन्हें दूर से इशारा कर रहा था … और दूरी ज्यादह नहीं थी. १९५१ में आवारा प्रदर्शित हुई और भारत की सीमा लाँघकर ‘एस-जे’ ने दूसरा क़दम सीधा विदेश में रक्खा … रूस, चीन, बल्गेरिया, टर्की के युवक रास्तों पर ‘आवारा हूँ’ यह गीत गाकर झूमने लगे,नाचने लगे थे … सभी गीत झक्कास थे, एस-जे अपनी दूसरी ही फ़िल्मसे ‘जगन्मान्य’ हो गए थे … तरोताज़ा, मदमस्त धुनें बनाकर वें विश्व में अपनी पहचान बना चुके थे … फिर संगीत प्रेमियों ने तुरंत उन्हें ‘संगीत सम्राट’ के सिंहासन पर बिठा कर उनकी ताज़पोशी कर दी थी.
‘आवारा हूँ’, ‘तेरे बिना आग ये चाँदनी’ ‘घर आया मेरा परदेसी’, ‘दम भर उधर मुंह फेरे’, ‘हम तुझसे मोहब्बत करके सनम’ ‘एक बेवफ़ा से प्यार किया’, ‘जबसे बलम घर आएं’, ‘आ जाओ तड़पते हैं अरमाँ’ …. यह गीत लोकप्रियता की चरम सीमा लांघ गए थे …
‘बरसात’, ‘आवारा’ के बाद अगले १० साल में उनकी ‘आह’, ‘पतिता’, ‘शिकस्त’, ‘दाग’, ‘मयुरपंख’, ‘श्री ४२०’, ‘राजहठ’, ‘पटरानी’, ‘न्यू दिल्ली’, ‘बसंत बहार’, ‘चोरी चोरी’, ‘कठपुतली’, ‘छोटी बहन’, ‘हलाकू’, ‘यहूदी’ आदि फिल्में प्रदर्शित हुईं और वें इन फिल्मों में बेहतर से बेहतरीन गीत पेश करते गए … ‘बसंत बहार’ का ख़ास जिक़्र करना चाहूंगा … यह फ़िल्म ‘LITMUS TEST’ थी और ‘एस-जे’ इसमें आसानी से अव्वल नंबर्स लेकर उत्तीर्ण हुए थे … इस फिल्म के सब गीत रागदारी पर आधारित थे, विभिन्न रागों का प्रयोग किया गया था और उन्हें इस प्रयोग में जबरदस्त कामयाबी मिली थीं.
‘केतकी,गुलाब,जूही,चंपक बन फूले’ – राग – ‘बसंत बहार’, ‘सूर ना सजे’ – राग – ‘पिलू बसंत’, ‘जा जा रे जा बालमवा’ – राग ‘झिंझोटी’, ‘नैन मिले चैन कहाँ’ – राग – ‘रागेश्री’, ‘दुनिया ना भाये मुझे’ – राग ‘तोड़ी’, ‘कर गया रे मुझपे जादू’ – राग ‘रागेश्री’, ‘बड़ी देर भयी’ – राग ‘दरबारी’
एस-जे का यह मुँहतोड़ और क़रारा जवाब था, उन लोगों को जो, उन्हें सिर्फ पश्चिमी ढंग की रचनाओं का संगीतकार मानते थे, जो एस-जे की क़ाबिलियत पर प्रश्नचिन्ह लगाते थे … ‘बसंत बहार’ के बाद यह लोग हमेशा के लिए ख़ामोश हो गए … ‘पटरानी’ की रचनाएँ भी इसी स्तर की थी, तो ‘हलाकू’ और ‘यहुदी’ में अरेबिक ढंग का संगीत था, जो उन फिल्मों की ज़रूरत थी… बसंत बहार के बाद एस – जे और खुल कर, आत्मविश्वास के साथ अपनी रचनाएँ पेश करने लगे … उनकी संगीतशैली में अब और ख़ुमार आया था …पश्चिमी, अरेबिक, और शास्त्रीय संगीत तीनों ढंग में उन्होंने अपनी रचनाएँ पेश की थी और संगीत रसिकों के लिए यह बेशक़ीमती उपहार था … परिपूर्ण अभ्यास, कठोर संगीत साधना से उन्होंने संगीतकला को नया आयाम दिया था, नयी पहचान दी थी …
‘एस-जे’ की इन फिल्मों के कुछ यादगार गीत …
‘पतिता’ – ‘याद किया दिलने कहाँ हो तुम, ‘है सबसे मधुर गीत वो’, ‘किसी ने अपना बनाके मुझको’ … ‘आह’ – ‘आजा रे अब मेरा दिल पुकारा’, ‘रात अँधेरी दूर सवेरा’, ये शाम की तनहाइयाँ’ … ‘श्री ४२०’ – ‘रमैय्या वस्तावैया’, ‘मेरा जूता है जापानी’, ‘इचक दाना बिचक दाना’, ‘प्यार हुआ इकरार हुआ’, ‘दिल का हाल सुनें दिलवाला’ ‘दाग’ – ‘ए मेरे दिल कहीं और चल’, ‘शिकस्त’ – ‘जब जब फूल खिले’, ‘कारे बदरा तू ना जा’, ‘चमके बिजुरियां’ ‘पटरानी’ – ‘चंद्रमा मदभरा, ‘बसंत बहार’ – ‘केतकी, गुलाब, जूही, चंपक बन फूले, सूर ना सजे, ‘राजहठ’ – ‘ये वादा करो चाँद के सामने’, ‘कठपुतली’ – ‘बोल री कठपुतली’ ‘छोटी बहन’ – ‘जाऊँ कहा बता ए दिल’, ‘भैया मेरे राखी के बंधन को निभाना’, मैं रंगीला प्यार का राही’ … ‘यहूदी’ – ‘ये मेरा दीवानापन है’, ‘मेरी जां मेरी जां’, ‘ ‘हलाकू’ – ‘दिल का ना करना एतबार कोई’, ‘अजी चले आवो’, ‘आजा के इंतजार में’ ‘चोरी चोरी’ – ‘आजा सनम मधुर चाँदनी में’, ‘पंछी बनू उडती फिरुं’, ‘अनाडी’ – ‘वो चांद खिला’, ‘सब कुछ सीखा हमनें ना सीखीं होशियारी’, ‘कन्हैया’ – ‘मुझे तुमसे कुछ भी ना चाहिये’, ‘
‘चोरी चोरी’ (१९५६) के अफ़लातून संगीत के लिए उन्हें ‘फ़िल्म फेयर पुरस्कार’ से सन्मानित किया गया …यह उनका पहला पुरस्कार था …शास्त्रीय संगीत के साथ पाश्चिमात्य,अरेबिक ऐसे सब संगीत प्रयोग सफल हुए थे … अब एस-जें के सामने मुक़ाबले में कोई खड़ा नही था, मुकाबला ख़ुद से ही था … संगीत साम्राज्य के वोही चक्रवर्ती सम्राट है इस बात को लेकर, अब किसी के मनमें कोई आशंका नहीं थी. एस-जें का साज़गार तबला, हारमोनियम, सतार, बांसरी, ढोलक, डफली, मटका, सनई इन पारंपारिक वाद्यों के साथ पियानो, गिटार, अकॉर्डियन, व्हायलिन, मँडोलिन, इलेक्ट्रिक गिटार, सैक्सोफोन, इलेक्ट्रिक ऑर्गन, ट्रम्पेट, बोंगो, कोंगो ऐसी आधुनिक साजों से सजा था, इन अमोघ अस्त्रों का अपनी फिल्मों में चतुराई से प्रयोग करके एस-जें लगातार रसिकों के दिलों का वेध लेते रहे, उन्हें सम्मोहित करते रहे…५० – ६० साजिंदे चक्रवर्ती सम्राट एस-जे के दरबार में हाज़िर हमेशा हाज़िर रहते थे … ‘दत्तू ठेका’ तो घर घर में पहुँच चुका था…साथ कविराज – हसरत यह दरबारी राजकवियों की जोडीद्वारा निरंतर बेहतरीन गीत निर्मिती हो रही थी. १९६० से एस-जे पूरी सुरीली लय में थे, उनके द्वारा संगीतबद्ध की कई बेहतरीन फिल्में प्रदर्शित हुई. इनमें से कुछ प्रमुख थी, ‘जिस देश में गंगा बहती हैं’, ‘असली नकली’, ‘जब प्यार किसी से होता है’, ‘ससुराल’, ‘दिल अपना और प्रीत पराई’, ‘एक दिल सौ अफ़साने’, ‘आशिक़’, ‘कन्हैया’, ‘दिल एक मंदिर’, ‘जंगली’, ‘प्रोफेसर’, ‘दिल तेरा दीवाना’, ‘हमराही’, ‘जिंदगी’, ‘राजकुमार’, ‘संगम’, ‘लव्ह इन टोकियो’, ‘आरजू’, ‘जानवर’, ‘सूरज’, ‘तीसरी कसम’, ‘गबन’, ‘सांझ और सवेरा’, ‘आम्रपाली’, ‘अँन इव्हिनिंग इन पँरिस’, ‘दीवाना’, ‘दुनिया’, ‘मेरा नाम जोकर’, ‘प्रिंस’, ‘पहचान’, ‘ब्रह्मचारी’, ‘शिकार’, ‘रात और दिन’, ‘संन्यासी’, ‘अंदाज’ आदि इन फिल्मों में उनके अप्रतिम धुनों से सजे गीतों से उनका संगीत साम्राज्य और बढ़ता गया … अजरामर गीतों से समृद्ध होता गया.
‘एस-जे’ के ‘फ़िल्म फेअर पुरस्कार – १) १९५७ – चोरी चोरी, २) १९६० – अनाडी, ३) १९६१ – दिल अपना और प्रीत पराई, १ ४) १९६३ – प्रोफेसर, ५) १९६७ – सूरज, ६) १९६९ – ब्रम्हचारी, आख़री की ‘हॅट्रिक’ ७)१९७१ – पहचान, ८)१९७२ – मेरा नाम जोकर, ९) १९७३ – बेईमान.
शानदार उपलब्धी …. भारत सरकार द्वारा ‘पद्मश्री’ पुरस्कार से सन्मानित …
उनकी रागदारी पर आधारित कुछ रचनाएं …..
सदा सुहागिन राग – ‘भैरवी’
बरसात में हमसे मिले तुम सजन – बरसात रमैय्या वस्तावैय्या – श्री ४२० मेरा जूता हैं जापानी – श्री ४२० तेरा जाना दिल के अरमानों का लूट जाना – अनाडी दोस्त दोस्त ना रहा – संगम तुम्हें और क्या दूं मैं – आयी मिलन की बेला राजा की आयेगी बारात – आह कैसे समझाऊँ बडी नासमझ हो – सूरज जा जा रे जा बालमवा – बसंत बहार
राग – ‘शिवरंजनी’ आवाज़ दे के हमें – प्रोफेसर बहारों फूल बरसाओ – सूरज ओ मेंरे सनम दो जिस्म मगर – संगम दिलके झरोंखें में तुझको बिठाकर – ब्रम्हचारी चंद्रमा मदभरा – पटरानी
राग – ‘किरवाणी’ आई झुम झुम रात ये सुहानी – लव्ह मैरीज गीत गाता हूं मैं – लाल पत्थर याद ना जायें बीतें दिनों की – दिल एक मंदिर तुम्हें याद करते करते – आम्रपाली तुम जो हमारे मीत ना होते – आशिक जब भी ये दिल उदास होता हैं – सीमा मन रे तू ही बता क्या गाऊँ – हमराही
राग – ‘जयजयवंती’ मनमोहना बडें झूठें – सीमा सूनी सूनी सांस के सितार पर – लाल पत्थर
राग – ‘दरबारी कानडा’ हम तुझसे मोहब्बत करके सनम – आवारा तू प्यार का सागर है – सीमा कोई मतवाला आया मेरे द्वारे – लव्ह इन टोकियो छम छम बाजे रे पायलिंया – जाने अनजाने
राग – ‘झिंझोटी’ जा जा रे जा बालमवां – बसंत बहार जाऊँ कहाँ बता ए दिल – छोटी बहन तुम मुझे यूँ भूला ना पावोगे – पगला कहीं का
राग – ‘पहाडी’ मेरी अंखियों में बस गया कोई रे – बरसात प्रीत ये कैसी बोल – दाग मोरा नादान बालमा – उजाला
राग – ‘पिलू’ अजहूं ना आये बालमा – सांज और सवेरा दिन सारा गुजारा तोरे अंगना – जंगली मुरली बैरन भयी रे – न्यू दिल्ली
राग – ‘दरबारी’ राधिके तू ने बंसरी चुराई – बेटी बेटे झनक झनक तोरी बाजे पायलियां – मेरे हुजूर बड़ी देर भयी – बसंत बहार मुझे तुमसे कुछ भी न चाहिये – कन्हैया
राग – ‘भूपाली’ नील गगन की छांव में – आम्रपाली सायोनारा – लव्ह इन टोकियो
राग – ‘भीम पलासी’ देखो मेरा दिल मचल गया – सूरज तड़प ये दिन रात की – आम्रपाली
राग – ‘रागेश्री’ मेरे संग गा गुनगुना – जानवर कर गया रे मुझपे जादू – बसंत बहार नैन मिले चैन कहाँ – बसंत बहार
राग – ‘जोगिया’ दिल एक मंदिर है – दिल एक मंदिर
राग – ‘यमन कल्याण’ एहसान तेरा होगा मुझपर – जंगली
राग – ‘चारुकेशी’ बेदर्दी बालमा तुझको – आरजू
राग – ‘पिलू-बसंत’ सूर ना सजे – बसंत बहार
राग – ‘तोडी’ दुनिया ना भाये मोहे अब तो बुला ले – बसंत बहार
राग – ‘तिलक कामोद’ हम तेरे प्यार में सारा आलम – दिल एक मंदिर
राग – ‘गारा’ उनके खयाल आयें – लाल पत्थर
राग – ‘बसंत बहार’ केतकी,गुलाब,जूही चंपक बन फूले – बसंत बहार इनके अलावा ऐसे सेकड़ों बहारदार गीत रचे थे, एस-जे की जोडीने .. वाकई अचाट, अफाट, अफ़लातून, अगम्य, अतर्क्य काम था यह...रात रात जाग कर उन्होंने अपना साम्राज्य खड़ा किया था ... सालोंसाल संगीत की उपासना कर, इस साधकद्वयीने साक्षात 'माँ सरस्वती को प्रसन्न किया था, सर पर माँ का 'वरदहस्त' होने की वजह से, गीत को किस राग में बाँधना, किस गायक /गायिका से /किस नायक /नायिका के लिये गवाना, ५०-६० साजिंदे संभालना, उन्हें स्वरलिपी लिखकर देना यह सब बहुत जटिल था,लेकिन इन प्रतिभासंपन्न संगीत सम्राटोंनें उसे आसान बना दिया. 'एस-जें' का संगीत, उनके सभी गीत हमारे ह्रदय में सदा बसे रहेंगे ..उनके कुछ विविधता भरे गीत ... मेरे और आपके भी पसंदीदा.
‘केतकी,गुलाब, जूही,चंपक बन फूले’ – पं.भीमसेन जोशी – मन्ना दा की जुगलबंदी अविस्मरणीय.
‘याद किया दिल ने’ – हसरत-एस-जे-लता-हेमंत कुमार का बेहद खूबसूरत, मनमोहक गीत.
‘आ अब लौट चले’ – व्हायलिन की झंकार, लताजी के आलाप हृदयस्पर्शी.
‘ये मेरा प्रेमपत्र पढ़कर’ – इस गीत का लुत्फ़ उठाना है तो, यह गीत परदेपर शुरू होने से पांच मिनट पहले ध्यान से देखियेगा फिर आप एस-जे के क़माल की, उनके करिश्मे की खुल कर दाद ज़रूर दोगे.
‘दोस्त दोस्त ना रहा’, ‘दिलके झरोखें में तुझको बिठाकर’ – एस-जे के सर्वोत्तम पियानो गीत.
‘हर दिल जो प्यार करेगा’ – त्रिकोणीय सुंदर प्रेमाभिव्यक्ती … राधासे एकतरफ़ा प्रेम करनेवाले सुंदर का भरी महफिल में मुहब्बत का खुला इज़हार, ‘राधा’ संयम से वास्तव बयां करती है, तो ‘गोपाल’ सुंदर की दोस्ती के खातिर अपना और राधा का प्यार बख़ूबी छुपाता है, और जब वोह ‘अपना के हर किसीको बेगाना जायेगा’ कहता है, तब ‘संगम’ का अंत क्या होगा ? यह समझ में आता हैं.
‘आ गले लग जा’ – एप्रिल फूल के इस गीत की प्रस्तावना (Prelude) ८.३० मिनट की.
‘देखो अब तो किसको नहीं है खबर’ – गिटार वादन झक्कास, आशा – रफ़ी साहब ने इसे मस्ती में गाया है, पश्चिमी ढंग का, ‘बीटल्स’ के “I wanna hold your hand” पर आधारित, लेकीन ‘ओरिजिनल’से भी बेहतरीन.
‘आजा रे आ ज़रा आ लहराके आ ज़रा आ’ – गिटार, वादन और रफ़ीसाहब का ‘मिडास टच’.
‘ये मेरा दीवानापन हैं’ – प्यार में टूटें हुए दिल की पुकार … तब भी और आज भी.
‘ये शाम की तनहाइयाँ’, ‘रसिक बलमा’, ‘तेरा जाना दिलके अरमानों का लूट जाना’, ‘बेदर्दी बालमा तुझको मेरा मन याद करता हैं’ – प्रेमी के विरह में प्रेमिका अक्सर इन्ही गीतों कों गुनगुनाती है.
‘ए फूलों की रानी बहारों की मलिका’, ‘ऐ गुलबदन’ – प्रेमिका की तारीफ़ प्रेमी आज भी ऐसे ही करता है.
‘अजी रूठकर अब कहाँ जाईयेगा’ – प्रेमिका की मीठी और सुरीली तकरार
‘प्यार आँखों से जताया तो बुरा मान गये’ – और ये प्रेमी की तकरार.
‘दिन सारा गुजारा तोरे अंगना’ – घर लौटने की इजाजत मांगती प्रेमिका.
‘होठों पे सच्चाई रहती हैं’ – भारतीय संस्कृती की पहचान, हर भारतीय इसे अभिमान से गायेगा, अव्वल नंबर का ‘मातृभूमि वंदन गीत’… कविराज ख़ुद डफली बजानें में माहिर थे, … राजसाब ने इसी डफली का साथ लेकर, अपनी फ़िल्म ‘जिस देश में गंगा बहती है’ का ‘राजू’ साकार किया था.
‘बहारों फूल बरसाओ’ – बँडपथक का अत्यंत प्रिय गीत, विवाह समारंभ में इसे अवश्य बजाया जाता है, हसरत साहब का पहला ‘फ़िल्म फेयर पुरस्कार’ विजेता गीत.
‘तुम्हें याद करते करते’ – सितार – सरोद लाजवाब, लताजी का अत्युत्कृष्ट गीत, कविराज – एस-जे का शायद आखरी.
‘सजन रे झूठ मत बोलो’ – ‘त्रिकालाबाधित सत्य’, ‘कविराज’ शैलेंद्र जी की सरल शब्दावली और एस-जे की सुरीली धुन, सदाबहार,अविस्मरणीय गीत.
‘आजा सनम मधुर चाँदनी में’, ‘दिल की नज़र से’, ‘वो चाँद खिला’ – शीतल चाँदनी रातों में घूमते हुए प्रेमी – प्रेमिकाओं के होठों पर होते है यह प्रेमगीत.
‘सब कुछ सीखा हमने ना सीखी होशियारी’ – असामाजिक तत्वों पर कविराज जी का प्रहार … यहां होशियारी का अर्थ मक्कारी होता हैं … इस देश के करोड़ो ईमानदार लोगों का कालजयी गीत … अकॉर्डियन पीसेस जबरदस्त.
‘हम भी है तुम भी हो’ – ‘सत-असत’ दोनो पहलू दर्शानेवाला गीत, कविराज जी की ‘प्रगल्भता’ लफ्जों में, एस- जे की ‘प्रतिभा’ धुनों में दिखाई देती हैं …एक बेहतरीन गीत जो, आज भी हृदय में बसा हुआ हैं.
‘तेरे बिना आग ये चाँदनी’ और बादमें आनेवाला ‘घर आया मेरा परदेसी’ – आवारा का यह भव्य ‘स्वप्न दृश्य गीत’ सिर्फ़ ‘न भूतो न भविष्यती’ … फिर कविराज और एस-जे लाजवाब,
‘हम तुझसे मोहब्बत करके सनम’, ‘रात अँधेरी दूर सवेरा’ ‘आजा रे अब मेरा दिल पुकारा’ – हसरत साब सिर्फ़ रोमँटिक शायर नही बल्कि सिद्धहस्त कवि थे …ये दर्दभरे गीत उनकी क़ाबिलियत की पुष्टी करते है.
‘अजहूँ ना आएँ बालमा’ – यह हसरत साहब की शास्त्रीय रचना अभी भी उतनी ही ताजगीभरी.
‘चाहे कोई मुझे जंगली कहे’ – सिर्फ़ और सिर्फ़ शम्मी कपूर के लिए बनाया गया. ‘जानेवाले ज़रा होशियार’ – सॅक्सोफोन मस्त, ‘राजकुमार’ शम्मी कपूर’ छा गए थे. आसमान से आया फरिश्ता’ – मदमस्त संगीत एस-जे का, ऐसे स्टंटस् उस दौर में शम्मी कपूर की ख़ासियत. ‘बदन पे सितारें’ – ‘एस-जे’ का झक्कास ऑर्केस्ट्रा. ‘खुली पलक में झूठा गुस्सा’ – वाकई जीना भी मुश्क़िल मरना भी मुश्क़िल कर दिया था एस-जे ने. ‘मेरी मोहब्बत’, ‘एहसान तेरा होगा मुझपर’, ‘तुम मुझे यूँ भूला ना पाओगे’ – भावुक ‘शम्मी’ गीत.
कविराज १९६६ में तो जयभाई १९७१ में, शंकर जी, हसरत साहब से, अलविदा कहकर इस दुनिया से चल दिये … महफ़िल सुनी सुनी हो गई थी … शंकर जी तन्हा हो गए थे … पहली मुलाक़ात से १९७१ तक उन्होंने जयकिशन जी को अपने छोटे भाई की तरह संभाला था … जयसाहब – पल्लवी जी की शादी में ‘कन्यादान’ की रस्म शंकरजी ने ही पूरी की थी …जयभाई मिलनसार व्यक्ति थे, फुरसद में फ़िल्म जगत की पार्टियों में जाते थे … तो शंकरजी ज़्यादा उन व्यक्तियों से मिलते थे जो संगीत जगत से संबंधित थे … फुरसद में भी संगीत की बारीकियां सीखते रहते … दोनों १० – १२ वाद्य बजाना सीखें थे … शंकरजी कुश्ती के शौक़ीन थे और ‘भरत नाट्यम’ में महारत हासिल थी … दोनों दिलदार थे …सामाजिक कार्यों में हमेशा आगे रहते थे … जयभाई का साथ छूटने के बाद शंकरजी ‘एस-जे’ के नाम से ही संगीत देते रहे और उनके पारिश्रमिक का आधा हिस्सा पल्लवी जी को पहुंचाते रहे …आखरी दिनों में सब क़रीबी दोस्त दूर हो गए थे, लेकिन वोह एक बहादुर योद्धा थे … अपने नाम के अनुसार ज़हर के घूंट पीते रहे …और अपना ग़म छुपाते रहे … हसरत साहब ही थे उनके साथ आख़री समय तक … २६ अप्रेल १९८७ को शंकर जी भी चले गए दुनिया से विदा लेकर और उनके साथ संगीत का सुरीला सफ़र ख़त्म हुआ … दास्ताँ खत्म हुई पर उनका संगीत अमर हैं, और सदियों तक रहेगा !
शंकर जी की खासियत …
१) मितभाषी थे २) तबले के साथ दर्जन भर वाद्य बजाने में उस्ताद थे, खासकर अपने आखरी दिनों में पियानो से उन्हें ज्यादह लगाव था ३) ‘भरत नाट्यम’ नृत्य निपुण थे … फ़िल्म – पटरानी में नायिका वैजयंतीमाला को कुछ स्टेप्स शंकर जी ने ही बताएं थे ४) अपना काम खत्म होने के बाद फिर संगीत में खो जाते थे ५) जयकिशन जी और पल्लवी जी की शादी में ‘कन्यादान’ की रस्म शंकर जी ने पूरी की थी ६) सामाजिक कार्यों में हमेशा आगे रहते थे ७) कुश्ती के शौकीन थे खुद को तंदुरुस्त रखने के लिए जिम में जाते थे … इसी आदत की वजह से दत्ताराम से मुलाक़ात हुई थी, फिर पहचान और दत्ताराम आजीवन SJ टीम के अविभाज्य घटक बन गए थे ८) नए गायक / गायिकाओं मौका देकर उनका हौसला बढ़ाते थे … शारदा जी को हिंदी फिल्म जगत में प्रख्यात गायिका के रूप में स्थापित करने का श्रेय शंकर जी को ही जाता है सच कहूँ तो ... 'एस-जे', उनका अद्वितीय संगीत यह क़िताब का विषय है, उनके सभी गीतों का यहाँ ज़िक्र और मूल्यमापन करना असंभव बात है ... १९४९ में शंकर - जयकिशन - कविराज - हसरत यह चार असामान्य कलाकार दुनिया के सामने आएं, राज कपूर साहब की बरसात में ... बरसात से ही 'संगीत सुवर्ण युग' शुरू हुआ ... अगले २० - २२ साल सर्वोत्तम हिंदी सिने गीत संगीत निर्मिती करके इन 'FANTASTIC FOUR' ने उनके गीत -संगीत द्वारा अन्य संगीतकारों के मुक़ाबले, इस 'सुवर्ण युग' को सबसे ज्यादह चमक दी, ऐसा कहा जाएं, तो ज्यादती नही होगी ... 'कविराज' शैलेंद्र - 'राजकवि' हसरत जयपुरी और अन्य गीतकारों ने आशयपूर्ण, समर्पक गीत लिख कर उन्हें साथ दी ... एस-जे ने उनके संगीत निर्देशन में सभी गायिका/गायकों से बेहतरीन गंवाया था, उनकी आवाज़ का सही उपयोग किया था ... लता, आशा, मन्ना दा, मुकेश, रफ़ी साहब, सुमन कल्याणपुर, शारदा जी इनके गायें गीत सर्वाधिक लोकप्रिय हुए थे मूल संगीत का ढांचा, नींव कायम रख कर, पारंपरिक साजों के साथ आधुनिक साजों का मिलाफ़ कर, गीतों को नया रूप देने वाले एस-जें ही थे, उनकी ज़्यादातर रचनाएँ रागदारी पर आधारित थी, गीत की प्रस्तावना (Prelude), मुखड़े और अंतरे के बीच का संगीत (Interlude), तथा गीत का अंत इन तीनों में मास्टर्स रहें, ... हिंदी फिल्मों के 'सुवर्ण संगीत युग' के आधुनिक शिल्पकार, विविधतापूर्ण संगीत निर्मिती करनेवाले,
‘चक्रवर्ती संगीत सम्राट’ ‘एस-जें’ को, ‘कविराज शैलेंद्र’, हसरत साहब को सब संगीत प्रेमियों का सलाम …!
Story about #Kahin_Aur_Chal1968 Producer #JaalMistry Director #vijayanand Lyricists #Shailendra & #HasratJaipuri Music by #ShankarJaikishan #DevAnand #AshaParekh #shankarjaikishan #shankarjaikishanji #shankarjaikishanemperorsofHFM #shankarjaikishanmaestrosofthemillennium
Raj Kapoor’s movies and Shankar Jaikishan’s music went beyond the borders to enthrall movie goers and music lovers worldwide. Music of movies by SJ kept audiences eagerly awaiting their release. They were drawn to the theaters, mainly because of the outstanding music.
When Sangam’s music was sold in London, people scrambled to the record stores to get their hands on it. The stores had to re-order many more records to meet the great demand for them. Once the release of the movie in London was announced, the shows were all sold out. The theater had to extend the days. That’s the power SJ music had over the movie which was a huge grosser at box offices all over. RK took his crew to London for the premier. Since SJ were too busy at the time, Shankar followed later, leaving Jaikishan to handle the music of Arzoo in his absence. On his return, he helped compose the qawwali ‘Jab Ishk Kahin Kho Jaye’ which was a runaway super hit. Besides attending the premier, Shankar took the opportunity to attend a Beatles concert since he was a huge fan of the Fab Four. and sought permission to use their ‘I Want To Hold Your Hand’ in Janwar.
It is important to say that the background score of Sangam was prepared by Shanker, since Jaikishan was not well at the time.
Seen in the picture below is RK receiving Shankar on his arrival for the release of Sangam in London.
Who is a hero? A person with outstanding achievements. Shankar fits the image perfectly. In a shortest span of time, he, with his music partner Jaikishan, has achieved more than any in the music industry. The vast body of work, the innumerable genres and the huge variety in composition styles created are matchless. The highest number of awards won and the consecutive number of nominations for awards were records of their excellent performance.
Who is a hero? A person who is admired for his strength. He is strong enough to withstand any adversities at any time as well as one who can show courage when faced with a problem. Shankar matches all the traits mentioned here. When he lost his close friend and associate, Shailendra and his “brother” Jaikishan, one after another, he did not allow his grief to depress him. He showed his mettle by remaining strong and totally focused on the numerous assignments on hand and, single handedly, completed them on time.
Who is a hero? He is one who is there to help another in various ways and give them strength to go on through life’s difficulties. When Mukesh wanted to pursue a career in acting and couldn’t succeed in it and was struggling financially. Shankar wanted to help him out and had him sing, “Ye mera diwana pan hai” in Yahudi against Dilip Kumar’s objection. He composed music for his close friend, actor/producer Chandrashekhar, for a nominal rupee under the pseudonym Suraj to show his love for his pal. When write/producer/lyricist, Sudhakar Sharma approached him to compose music for his movie, Gori, Shankar immediately agreed to do so with a nominal fee of Re. 1. When others composers weren’t willing to compose the background music for the Films Division documentary “Everest,” he readily agreed to do so as a complimentary gesture to show his pride in the successful expedition for which the Government of India was going to honor him with a Padma Bhushan award. Shankar wanted the government to include Jaikishan in the honor. However, he was told that it cannot be done. So, the magnanimous Shankar settled for a Padma Shree along with his “Jai” which is an unheard of act. There are many more such instances when the composer went out of his way to be there for his near and dear.
Who is a hero? A person who feels a moral obligation to act regardless of how someone treats them. Again, Shankar wins. At a time when his close associates betrayed him, the man that he was, Shankar never let that deter him from his work. He was a man of great resilience and continued to move on with his head held high. Never did he utter a negative word against the people who backstabbed him for his sentiments towards them did not allow him to. He was contented with the few loyal producers and directors who believed in him for his abilities to deliver the product.
Shankar was a man among men. He stood tall and kept the SJ flag fluttering against harsh winds of time. BRAVO, Shankar! You are a true hero!!
उम्र थी सिर्फ़ १३ वर्ष की, तब से ही संगीत से लगाव था उसे … वांसदा की गलियों में घूमना फिरना … गाव में रहनेवाली गुजरिया के लोकगीत सुनना और फिर अपने दोस्तों को हुबहू सुनाना … पिताजी चल बसे तो बड़े भाई बलवंत को घर की जिम्मेदारी आ गई थी और उसकी भी … पढाई लिखाई में ज्यादह ध्यान नहीं था … ‘टेलरी’ भी की मगर दिल नहीं लगा उसका … ‘जयकिशन डायाभाई पांचाल’ फिर एक दिन चला आया सपनों की मायानगरी में …बंबई (मुंबई) हर किसी को सहारा देनेवाली नगरी …. संगीत विशारद वाडीलाल जी के शिष्य रहे जय की, ‘हारमोनियम’ पर उंगलिया बड़ी सहजता और कुशलता से चलती थी … ‘चंद्रवदन भट्ट’ साहब के ऑफिस में अक्सर चक्कर लगाता रहता की, कुछ चक्कर चल जाये … वहां एक युवक से मुलाक़ात हो गयी, और फिर गहरी दोस्ती भी … उस युवक का नाम ‘शंकर सिंह रघुवंशी’ था, वह युवक भी संगीत निर्देशक बनना चाहता था …तबला ग़जब का बजाता था …उसे भी भट्ट साहब ने काम दिलाने का वादा किया था … दोनों का सपना, मक़सद एक था … फिर एक दिन उस युवक ने जय को कहा, पृथ्वी थिएटर में हारमोनियम वादक की जगह खाली है, क्या वहां काम करोगे ? जय ने फ़ौरन हां कहा, फिर एक नयी जिंदगी, नयी कहानी शुरू हुई, तब उन्हें भी पता नहीं था, लेकिन दिल गा रहा था …
‘कहता है दिल रस्ता मुश्किल
मालूम नहीं है कहा मंजिल’ ?
लेकिन मंजिल अब ज्यादह दूर नहीं थी … पृथ्वी थिएटर में दिन बड़े ग़ज़ब के गुजरने लगे …शंकर और जय कुछ छोटी छोटी भूमिकाएं भी निभाते नाटक में … ‘पठान’ का किरदार भी निभाते, साथ में धुनें भी बनाते … किस्मत पलटने में देर नहीं लगी … राज साहब ने १९ वर्षीय जय और २६ वर्षीय शंकर को बरसात के संगीत निर्देशन की जिम्मेदारी दी … और इस युवा संगीतकार जोड़ी ने पहले ही फ़िल्म में कम्माल कर दी, संगीत का नया इतिहास लिख दिया … इन दोनों के साथ दो नौजवाँ गीतकार भी थे शैलेंद्र और हसरत जयपुरी
एक आया था हैदराबाद से, एक गुजरात से, एक ‘रेलवे’ में (‘शैलेंद्र) था तो एक ‘बेस्ट’ में (हसरत जयपुरी)… चारों चार दिशाओं से एक जगह आये और दसो दिशाओंमें इनका बोलबाला रहा, लगातार २० बरस तक संगीत साम्राज्य पर इन्हीं का अधिराज था …शंकर जी अपने काम पर दृढ़ विश्वास रखते थे, काम के बाद भी संगीत से जुड़े रहते तो जयभाई काम के बाद अपना समय लोगों से मिलने में गवाते …जैसे की गुजराती होते है, वैसे ही बड़े ही मिलनसार थे जय …पार्टियों में जाना …लोगों से परिचय बढ़ाना, उनकी खुशियाँ और गम में शरीक होना … जिंदगी को जिंदादिली और ख़ुश मिज़ाज नजरिये से देखते थे …अब शोहरत थी, इज्जत थी, इस जोड़ी का संगीत देश के कोने कोने के साथ रूस, मिडिल ईस्ट और चीन की धरती तक पहुँच गया था लेकिन शंकर जी के साथ जय के भी कदम जमीं पर थे, नए नए प्रयोग करते थे, पारंपारिक वाद्यों के साथ ‘गिटार’, ‘मेंडोलिन’, ‘अकॉर्डियन’ आदि नए वाद्यों का भी बदलते वक़्त को भांपकर इस्तेमाल करते रहे, अजरामर धुनें बनाते रहे ….
१९६४ के बिनाका गीतमाला के अंतिम सालाना प्रोग्राम में, हसरत साहब से अमिन सायानी साहब ने एक सवाल पूछा था …
‘ये कैसे पहचाने की, कौनसी धुन शंकर जी ने बनाई है और कौनसी जयकिशन साहब ने ?
हसरत साहब का जवाब यूँ था (ऑडियो क्लिप)
‘आशिक़ाना ढंग की धुनें बनाते थे ‘जयकिशन’ साब और फलसफ़ा ढंग की, क्लासिकल ढंग की धुनें बनाते थे हमारे शंकर जी’
सैकड़ों गीतों को अमर कर दिया था जय ने शंकर भाई के साथ दिन रात एक करके, कभी कभी पूरी रात बीत जाती थी गीतों की रिकॉर्डिंग में पर मुस्कुराहट कायम रहती …उन दिनों आज जैसी सुविधाएं भी नहीं थी रिकॉर्डिंग की, लेकिन संगीत की साधना करनेवाले सच्चे फनकारों को सृजन के लिए इन की जरुरत भी नहीं थी …पाश्चात्य धुनों के साथ ‘बसंत बहार’ (१९५६) में अस्सल रागदारी पर आधारित धुनें बनाकर उन्होंने ‘हम किसी से कम नहीं’ यह दिखा दिया था … सबको मुंहतोड़ जवाब दिया था …५० और ६० के दशक केवल उन्हीं के थे … SJ की इस लोकप्रियता की वजह थी, शंकर जी को जय की आजीवन समर्थ साथ … कभी कभी शंकर जी की गैरहाजिरी में जय ही संगीत की बागड़ोर संभालते और संगीत का दर्ज़ा किसी भी कीमत पर कायम रखते (फ़िल्म – आरज़ू)
‘दो जिस्म मगर एक जान है हम
एक दिल के दो अरमान है हम’
बस ऐसे ही जिये, साथ हँसे, रोयें जय साहब और शंकर जी …
राज साहब की होली भी धूमधाम से मनाते थे जय, शंकर जी के साथ तो ‘वॉर फंड’ के लिए स्टेज प्रोग्राम में भी क़दम से क़दम मिला कर खड़े रहते और अपना योगदान देते रहते …
फ़िल्म संगम में राज साहब का एक संवाद है …
‘रोयें तो यार के काँधे पर
जायें तो यार के काँधे पर’
१४ दिसंबर १९६६ को अपना जिगरी यार शैलेंद्र के बिछड़ने पर कंधा देते वक़्त, रोते हुए जय और शंकर जी के साथ राज साब को भी यही संवाद याद आया होगा और फिर अपनी सफलता की चरम सीमा पर पहुंच कर १२ सितंबर १९७१ को जय भी चले गये अपनी सुरीली जीवनयात्रा समाप्त करके सिर्फ ४१ साल की उम्र में …शंकर जी के दोनों बाहूँ टूट चुके थे, पहले कविराज अब जय …
लेकिन शानदार कीर्तिमान स्थापित किये थे उन्होंने, सब कुछ हासिल कर लिया था …
‘नौ बार सर्वश्रेष्ठ संगीतकार का ‘फ़िल्म फेयर पुरस्कार’,
‘बिनाका गीतमाला’ इस सर्वाधिक लोकप्रिय रेडियो प्रोग्राम में १३५ – १४० ‘सरताज’ गीत
१९६८ में ‘पदमश्री’ पुरस्कार
आज जय साहब के स्मृति दिन पर ग्रुप के सभी दोस्तों के साथ उन्हें विनम्र अभिवादन !!!
1966, one of the best years in Shankar Jaikishan’s musical career, popularity wise as well as standard wise. They delivered 8 muiscal albums with diverse gener, mood and styles: Amrapali, Teesri Kasam, Love in Tokyo, Suraj, Budtameez, Gaban, Pyar Mohabbat and Street Singer. There is a score of “Amrapali” with great classical compositions on one side, and “Teesri Kasam”, one of the finest folk based score on the other side with authentic rustic Indian colours, both of them having high standards of creativity, yet with wide mass appeal. The same year, they gave the majestic “Love In Tokyo” and the Filmfare Award winner “Suraj” with all time great and popular romantic albums, where all the songs are super-hit and chartbusters. Not only that, “Budtameez” had a typical Shammi style light romantic and naughty score, whereas “Gaban” had a subtle, sober and situational score. I couldn’t think of any other contemporary film composer with such a diversity in their work, taking care of classes and masses together in a single year…!Out of them, our today’s film of interest is a rural India based unconventional social drama “Teesri Kasam”. It is a critically acclaimed Black and white film produced by Shailendra himself and directed by Basu Bhattacharya, faithfully adapted from a short story “Maare gaye gulfaam” by Phanishwar Nath Renu, written in 1954. It’s a story of a bullock cart driver Hiraaman (Raj Kapoor), a naive village man with simple philosophy in life; a nautanki dancer Hirabai (Wahida Rehman), bound in the bars of her profession and the men dominant society; and their tender innocent relationship, where both call each other as “Meeta”.Shailendra started his work on this film in 1962, but took 4 years to complete the task. He wanted Meena Kumari and Mehmood to play the leads, but ultimately RK and Wahida ji came on board to do so. RK did his friend’s film only with a token of 1 rupee, and also suggested Shailendra to add some commercial elements in the film, to which the great lyricist remained indifferent and made the film the way he wanted.To compose the film score, Shailendra chose none other than Shankar Jaikishan, as expected, and they gave some of their best compositions to their dear friend. No one might have expected at that time that SJ could come up with such a fantastic yet simple and soulful folk based soundtrack. But, they did it and silenced the critics, as they did through “Basant Bahar” in 50s. They gave an outstanding score with simple melodies rooted in North Indian folk music with the use of rustic instruments like flute, traditional strings and percussions, cow bells etc. Rarely one does see a film where music is so well integrated with the film and Teesri Kasam is one of them.The soundtrack has total 10 songs with one repeat version, out of which 7 were mainstream songs and 3 were unique situational folk songs. Each song has its own purpose and speciality in the film, and it’s interesting to know some details about them.
1. Sajan re jhoot mat bolo..Mukesh Shailendra The first and introductory song of the protagonist Hiraaman, with some excellent philosophical lyrics by Shailendra and a top notch composition by the duo. It starts with a short prelude and continues on a fast dholak-tabla beats. Both the lovely interludes have beautiful and familiar themes on flute, mandolin and group violins. Shankar Jaikishan’s magic is the ideal foil of this immoral song. This is one of most popular songs from the film till date, and will always be enlisted in the best Mujesh-SJ combinations..!Shailendra showed his great mastery…Ladakpan khel mei khoya, jawani neend bhar soya..Budhhapa dekhkar roya, budhhapa dekhkar roya…Yehi kissa purana hai…Sajan re jhoot mat bolo…
2. Duniya bananewale kya tere man mein..Mukesh (Suman Kalyanpur)Hasrat Jaipuri Second of the three evergreen Mukesh solos, and one of the two song from the pen of Hasrat Jaipuri in this Shailendra album. The song comes when Heraman carries Hirabai in his bullock cart to the nautanki place where she is supposed to perform. He narrates the tragic folktale of ‘Mahua’ in parallel with the ongoing song, and we can clearly see some resemblance of the story with their own one, in the film. SJ’s composition and orchestration is supreme and immoral. They have brilliantly brought out the soul and spirit of the lyrics in their music. The song takes off on a heavenly prelude on group violins and flute and progresses on a nice dholak-tabla rhythm. The first interlude have a mesmerizing flute theme, that we love to hum while listening the song (as done by Suman Kalyanpur in her snippet version of the song). Similarly, the second interlude have a mind blowing melody with countermelody on upper and lower violins. The song’s third stanza repeats in Suman Kalyanpur’s sweet voice in a separate part. Hasrat ji also gave his best in the style of Shailendra:Tu bhi to tadpa hoga man ko bana karToofan ye pyar ka man mein chhula kar,Koi chhabi to hogi aankhon mein teri,Aansoo bhi chhalke honge aankhon se teri..Bol kya sujhi tujh ko, kahe ko preet jagaayi..kaahe ko duniya banaayi…
3. Chalat musaafir moh liya re..Manna Day, Chorus Shailendra An all time great and world famous original folk song from the film, picturized on a group of Heeraman’s friends and fellow cart drivers. Many people think this is a traditional “Folk song” composition, but actually it’s a unique and original creation by SJ and Shailendra as per the film’s situation. The composition is simple but extremely peppy, where hardly anyone can stay without shaking the hand and legs on it. SJ used very few local instruments like harmonium, dholak and manjira, for the arrangements to maintain it’s rustic charm. The lyrics tells a story about a small bird (muniya or maina) in a cage, who used to mesmerise the passing by passengers. Later, when set free from the cage, the bird visits different shops (halwai, bajaj or tailor, paanwala) and takes away all their charms…! It’s difficult to know the exact meaning of the tale but, according me, it’s an indirect illustration of Hirabai (muniya) who first enchants Heeraman (chalat musaafir) and then, to the village people, when she comes to perform the nautanki…! It is said that no marriage function can be complete without singing this song, in many north Indian villages. Such is the charm of this immoral creation. Udd udd baithhi halwaiya dokaniyaa…Udd udd baithhi halwaiya dokaniyaa…Barfi ke sab ras le liya re pinjare wali muniyaa..Chalat musaafir moh liya re…
4. Pan khaye saiyyan hamaro..Asha Bhosle Shailendra One more chart topper and memorable song from the film, the first of the two nautanki songs in Ashaji’s versatile voice. It’s the song where Hirabai is introduced to the village people and Heeraman for the first time as a nautanki dancer. The composition is extremely catchy, fast paced and foot tapping, with brisk tabla and dafli beats. SJ used multiple flutes, group violins and strong rhythm strokes to arrange the beautiful prelude and interludes. Although the whole composition is a masterpiece, a short vibrating alaap coming in the middle of each stanzas, adds a different dimension to the song, showcasing SJ’s extraordinary composing skills. Ashaji has sung the song like no one else in the world could have, better than her. She brought out the masti and sharaarat of the song brilliantly through her voice modulations and expressions. Shailendra wrote this song for SD Burman, after observing him always eating paan and having some stains on his “makhmali kurta”. But, ultimately he gave the song to SJ and this magic was created. Bagiyaa gun gun, paayal chhun chhunChup ke se aayi hai rut matwali Aa.. aa… aa.. aa..Khil gayi kaliyaan, duniya jaane, lekin na jaane bagiyaa ka maali..Paan khaaye saiyyan hamaro..
5. Aa aa bhi jaa raat dhhalne lagi..Lata Mangeshkar Shailendra One more masterwork, and one of the two beautiful Lata solos from the film. It’s a soulful and emotional nautanki song that comes last in the film before its climax, and indicates the impending severance between Heeraman and Hirabai. Although a nautanki dance song, it is in a sad mood where Hirabai expresses her pain and pathos upon not seeing Heeraman in the show, in spite of her personal invitation.Shankar Jaikishan have brilliantly balanced both the feelings in this evergreen creation, the ‘sadness’ by it’s mesmerising composition and the ‘nautanki feel’ by its vibrant rhythm and lively orchestration, using dholak and nagada. To highlight the contrast, hey cleverly kept the rhythm fast paced in the orchestral portions and moderately slow in the singing portions.The song starts with a beautiful prelude and a heavenly prologue by Lata Mangeshkar, which is enough to make you fall for the song. The whole composition of its mukhda and stanzas is amazing, with excellent interludes using flute, mandolin and group violins. After the song, Hirabai takes a drastic and difficult decision to leave the village and Heeraman forever with a heavy heart, knowing that, being a courtesan, she will never be able to fit in the ‘goddess’ image that Heeraman created in his mind for her..Rahega ishq tera khaakh mein milaa ke mujhe,Huye hai iftedaa mein ranj intehaa ke mujhe…Aa aa bhi jaa.. raat dhalne lagi.. chaand chhup ne chala…Ufaq (transition) par khadi hai saher..Andhera hai dil mein idhar..Ufaq par khadi hai saher..Andhera hai dil mein idhar..Wahi roz ka silsilaa…Aa aa bhi jaa..
6. Sajanwa bairi ho gaye hamar..Mukesh Shailendra Sixth great song and a third of the three timeless Mukesh solos from the album. The first two were more of philosophical and guiding songs, whereas this one is a sorrowful and poignant ballad sung by Heeraman in response to a sad dialogue rehearsed by Hirabai in his cart, related to her nautanki play. The lines were: “Kahin bhi koi bhi apna nahin is zamaane mein..Na ashiyaane ke baahar na aashiyaane mein….”The song has a great immortal composition rendered fantastically by Mukesh. SJ used gentle and tranquilizing orchestration with perfect use of sitar, sarod, flute and sublime violins, to express the feel of the song. The song starts without any prelude but has two beautiful soothing interludes. Sudden change to high notes of “chithhiya ho to..” after the lower notes of “sajanwa bairi ho gaye..” sounds impressive and gives a unique eloquence to the song. Kudos to the music team for this extraordinary work.Jaaye base pardes balamva, sautan ke bharmaaye..Na sandes na koi khabariya, rut aaye rut jaaye..Doob gaye hun beech bhanwar mein, kar ke solah paar..Sajanwa bairi ho gaye hamar..
7. Haye gajab kahin tara toota..Asha Bhosle Shailendra Yet another mesmerising nautanki song, the second of the two evergreen Asha solos from the film. Just like “Paan khaye saiyyan”, this too is a lovely dance song with authentic Indian colours, in its composition and orchestration. Although less popular than the former one, it is similar in its stature and quality. The prelude and two interludes have beautiful themes where SJ did brilliant jugalbandi between mandolin, flute and violins, with its energetic rhythm. The tunes particularly in stanzas are sweet and charming. Asha ji brought out the essence and beauty of the song brilliantly, as usual. Shailendra wrote nice folksy lyrics as per the imaginary nautanki situation, where the nautanki dancer describes being molested (in a comic sense), by her “Saawariya”, “Sipahiya” and “Daroga”..!Teesra tara phool bagiyaa mein toota,Teesra tara phool bagiyaa mein toota,Phoolon se puchhe koi hai kaun jhoota..Loota re loota daroga ne loota..Haaye gajab kahin tara toota..
8. Mare gaye gulfaam..Lata Mangeshkar Hasrat Jaipuri One more delightful nautanki song and the second of the two Lata solos from the album. Although “Teesri Kasam” doesn’t have any title song, but this one is an indirect title song of the story “Mare gaye gulfaam”. The song describes nautanki scene related to failure in love and, therefore, although a dance song, has a tone of sadness. SJ created simple and sweet composition with lively orchestration and fast paced rhythm alternating between drums and tabla beats. They predominantly used clarinets, flute and group violins in its charming prelude and both the interludes. The melody repeated on clarinets after each line in the stanzas, gives an instant appeal of SJ’s unique style. They cleverly used Lata’s sober voice for the two emotional nautanki songs and Asha’s jaunty voice for the two happy nautanki songs. Hasrat Jaipuri wrote beautiful lyrics in his second of the two songs.Is pyar ki mehfil mein, wo aaye muqaabil mein..Wo teer chale dil par, hulchul si huyi dil mein…Chahat ki saza paayi,aji haan maare gaye gulfaam..
9. Laali laali doliya mein laali re dulhaniya..Asha Bhosle, children chorusShailendra A unique sweet situational song by Asha Bhosle and children chorus. The song comes with a beautiful situation where Heeraman is talking Hirabai to a village temple in his cart and a group of innocent children gets amused to see them and assumes Hirabai as a newly wed bride being carried by her groom Heeraman. Although not true, but both of them enjoy this imagination with full hearts and satisfaction, unaware of the upcoming tragedy.The whole song is composed and written from those village children’s point of view and SJ perfectly gave a matching sweet composition with mild but lovely arrangements using flute, sitaar, bells, dholaks, and gentle background violins. Ashaji sang this echoic song for a teenager girl as perfectly as she did for the mature actress in the film. SJ and Shailendra showed sheer mastery in this short creation.Lautegi jo ‘godi-bhar’, hamein na bhulana..Laddu pede laana, apne hathon se khilana..Teri sab raatein ho diwali re dulhaniya..Laali laali doliya mein laali re dulhaniya…
10. A) Kissa hota hai shuru.. (Shankar Shambhu)Main sunati hun ke maajra e ajab.. (Mubarak Begum, Shankar Shambhu)Lyrics: Traditional The fifth nautanki song from the film and the most unique and unusual one, sung by a famous qauwal duo Shankar-Shambhu. It comes as a part of a “Laila Majnu” dance play, in the film and is in a pure rustic and authentic nautanki style composition. SJ beautiful adapted awadhi folk style to compose the song and arranged it with basic ensemble of clarinet, dholak, nagada and sarangi. The 6 min long song has two distinct parts each of 3 minutes duration. The first one has a narrative style composition in Shankar-Shambhu’s high pitched voice, whereas the second part is a duet between them as Majnu and Mubarak Begum as Laila. The whole piece sounds perfect in its most raw and naive form. ******”Teesri Kasam” is always remembered for it’s mesmerising soundtrack, content and amazing performances by Wahida ji and RK. Her natural beauty and flowless portrayal of Hirabai including the expressions, gestures, grace, dance moves and dialogue delivery, all are exemplary. RK gave one of his best performance after “Jagte Raho”, although he told in one interview that he didn’t like the film much..!Unfortunately, the movie goers were not mature enough to appreciate the quality cinema at that time and this outstanding movie failed at the Box Office, in spite of its supreme soundtrack. This shock took its toll on Shailendra and he died untimely at the age of 45 on 14th December 1966, a birthday of his friend Raj Kapoor. Later the film won National Award for best feature film, but alas, he could not see this golden day. In today’s times, “Teesri Kasam” is considered a classic and one of the best content based films of hindi cinema.
Shankar Jaikishan, the masters of composition, orchestration and arrangements, have done so much innovations, variations and transformations in their music, that a whole book can be written on that. There are ample examples where they have brilliantly used their own compositions from the background scores of films to create some super-hit film songs. Few of them are ‘O basanti pawan pagal’, ‘Dekho mera dil machal gaya’, ‘Jane kahan gaye wo din’ etc. Today I will be sharing a fine example of their restructuring mastery. This particular song is from 1961’s “Boyfriend”, a Shammi Kapoor & Madhubala film with an excellent score. “Dheere chal dheere chal ae bhigi hawa” is a westernized, fast-paced romantic melodious song, and as the description suggests, it has many elements showcasing SJ’s composing mastery and magic. The mukhda tune, although Composed on few notes only, is full of extraordinary charm, and so are the beautiful stanzas with their unique structure. After the first part of the stanza, a short phrase comes “Are ho….” with rhythm change, and suddenly a rhythmic tune gets converted into to a pure melody.. It’s fantastic..! The prelude and interludes have such an excellent blend of guitar, accordion and strings on a vibrant rhythm, that we wish it never ends..! For me, this is a masterpiece song.We can find the roots of this melody, as a piece of background score (composed by SJ) for 1959’s “Love Marriage”, for a scene where Dev Anand and Mala Sinha are traveling in a train. And they transformed the theme into a whole new excellent song in a typical Shammi Kapoor style..! Even, the stanza tune of “Mere qaatil uthha botal” from ‘The Gold Medal’ also seems inspired from this composition. Later, Laxmikant Pyarelal also got inspired by the tune and composed “Kaate nahin kat te” for ‘Mr India’. “Boyfriend” has one song “Aiga aiga”, where SJ got some inspiration from Connie Francis’s “Stupid Cupid”, and it has been highlighted as a ‘copied song’ on some of the websites, but this song from the same film which has such a masterful original western composition, didn’t get the deserving appreciation. Just imagine an english song by some western artist based on SJ’s this creation, it could have been a chartbuster..!The song is picturized on Shammi Kapoor where Madhubala is pretending to be asleep and enjoying Shammi Kapoor singing a romantic song for her. Her eternal beauty and his spontaneous dance moves make the song a visual treat.. This is the only film they could do together and it’s said that Shammi fell for Madhubala’s beauty at that time and even proposed her for marriage..!
1967’s “Raat Aur Din” is one of the most classy films made in 60s. It has been always praised and remembered for its novel and bold subject, wonderful performance by Nargis ji and marvelous score by the melody makers Shankar Jaikishan. The movie was directed by Satyen Bose, and produced by Nargisji’s brother Jaffer Hussain. It’s shooting started in 1961 and took 6 years for the completion and release (owing to Nargisji’s three pregnancies). She wanted SJ to score the film and what they have delivered is beyond comparison. The story is about a protagonist suffering from Dissociative Identity Disorder or “Split Personality”, where she is a typical house maker wife ‘Varuna’, by day and changes to a shady fun loving, outgoing party girl ‘Peggy’, resulting chaos in her life. Nargisji gave an all time memorable performance in this complicated and demanding role, winning a National award for best actress, the first of its kind. This turned out to be her last film.Musically speaking, SJ gave one of their all time best scores in 60s, where each and every song set their own standards. One unique feature of the album is it’s SJ-Lata collaboration, yielding 6 magnificent Lata songs (5 solos and a duet), along with a classic Rafi solo, a Mukesh solo and a short bhajan by Bhupinder Singh.
In the year 1967 SJ gave 9 musical albums all containing fantastic songs, but 3 albums (all with 9 beautiful songs) stood out with a unique specialty:1. Raat Aur Din, as “SJ-Lata album” with 6 Lata songs and this was the last of such albums in 60s, which was a common trend in many SJ films staring from “Barsat” (except Boot Polish) until mid 60s, after which that exclusiveness ended. Thereafter only ‘Sanyasi’ came in 1975 and had 4 duets and 2 solos by Lataji. ‘Dharti’ in 1970 had 2 solos and 2 duets hy her. Jwala came in 1971 with 6 Lata songs, but all were recorded during early 60s.
2. An Evening In Paris, as “SJ-Rafi album” with 6 classic Rafi solos and a duet
3. Diwana, as “SJ-Mukesh album” will 6 marvelous Mukesh solos Each of the albums have completely different sound and genre. Raat Aur Din had a mature superlative score depicting emotional imbalance and sorrows of the psychological subject, whereas An Evening In Paris had a light, romantic, easy going, “Shammi style” chartbuster score, with no sad songs. On the other hand, Diwana had a typical RK style, philosophical and tender score with pathos of love and separation. This variety with excellence is a mirror showcasing SJ’s versatility.All the ‘Raat Aur Din’ songs have some uniqueness & special elements to be mentioned:
1: Dil ki Girah khol do.. Shailendra One of the greatest Lata-Manna Day duets, with musical eminence and richness beyond words. An astounding prelude sets a mood for the song, which later takes us to the zenith of symphonic, melodic and rhythmic experience. It’s an introductory song of Peggy and filmed on her with Firoz Khan. The fantastic interludes with high octave violins fading gradually to announce the stanzas, sounds impressive. The overall melody in this SJ jewel including it full composition, orchestration and rendition is unmatchable, immortal and evergreen.Same is the brilliance in Shailendra’s lyrics:
“Kal hum se puchhe na koi,
Kya ho gaya tha tumhe kal
Mudkar nahin dekhte hum
Dil ne kaha hai chala chal
Jo door picche kahin reh gaye
Ab unhe mat bulaao…
Dil ki girah khol do..
2. Jeena hum ko raas na aaya..Shailendra Another masterpiece, a musical expression of a pain and agony of having split persona. It has one of the best preludes ever written in hindi songs, and upon listening it carefully, you will realize the song’s mood from the very first note and following symphony. Apart from the song composition, the tunes created by SJ in its prelude and interludes are simply magnificent. Hats off to their creativity..! Similar mastery came from Shailendra’s pen too:
Daur-e-junoon mein kya kya sujhi
Kya kya hum ne kar daala
Daur-e-junoon mein kya kya sujhi
Kya kya hum ne kar daala
Khud hi garibaan phaad liya hai
Khud hi garibaan seete hai…
Jeena hum ko raas na ayaa…
3. Awara ae mere dil… Shailendra One more masterpiece, describing the state of confusion and uncertainty in the protagonist’s heart, but in a positive and accepting way, not with a misery. The song is in twos versions, a fast jazz version and a slow tranquil version, both rendered fantastically by Lataji. This slow version is picturized on Nargisji and has beautiful orchestrations including chorus, along with its masterful main composition. Slow flowing melodious tune accompanied by a moderately fast rhythm sounds magical. One more unique feature of the song, a countermelody played by chorus during its mukhda, makes it more reach and heavenly. What a perfect elucidation Shailendraji made of Varuna’s feeling in the song: Raat aur din ke ye do chehre
Kab tak pehnu kuchh to thehre
Kaun hoon mai kya hoon
Sach hoon ke saaya hoon…
Aawara ae mere dil….
4. Raat aur din diya jale… Hasrat Jaipuri Yet another masterwork, an evergreen title song, in two solo versions, one by Lata and the other by Mukesh, both having similar lyrics, rhythm and interludes. The Lata version starts with a prelude and the tempo is little faster than the other version. As expected SJ pored in their best compositions, arrangements and interludes, making it an all time great title song. Hasrat wrote:
Gehra ye bhed koi mujhko bataay
Kis ne kiya hai mujh par anyaay
Jis ka ho deep wo sukh nahi paay
Jyot deeye ki duje ghar ko sajaay….
Raat aur din diya jale….
5. Na chhedo kal ke afsaane… Shailendra One more classy composition from the film, a song where Varuna truns into Peggy during a night party after heavy drinking and bursts into singing. As per the situation Lataji sang it with a tone of insobriety, where SJ’s composition portrayed Varuna’s feeling of frailty and desperation to forget the past, brilliantly, and garnished it with a heart touching orchestration and rhythm. Shailendra wrote:
Har ek din kal ka jhagda hai
Har ek din kal ka hai rona
Ye ghadiyaan raat ki tum bhi
Na auron ki tarha khona
Jo kal hoga khuda jaane
Karo is raat ki baatein….
Na chhedo kal ke afsaane…
6. Awara ae mere dil…(Jazz version) Shailendra Another beautiful Lata solo, which is in a fast version and jazzy style. It’s a party song filmed on Laxmi Chhaya. The lyrics are same as slow version but SJ gave a new happy and peppy sound to the song by different arrangements and rhythm. There are may songs in hindi fims having happy and sad version, but here, SJ created a song in two versions, both being happy, but in two different musical styles. This is something very unique..!Shailendra wrote:
Veeranon mein sehraaon mein..
Aate jaate in raahon mein..
Tere ishaaron par
naachi mein jeevan bhar…
Aawara ae mere dil…
7. Raat aur din diya jale… Hasrat Jaipuri The title song rendered beautifully by Mukesh, is considered one of his best songs. As mentioned, the arrangements and lyrics are same as the Lata version, but with a little slower tempo. The song is not there in the film I suppose.Hasratji wrote:
Khud nahin jaanu
dhundhe kis ko nazar
Kaun disha hai mere
man ki dagar
Kitna ajab ye dil ka safar
Nadiya mein aaye jaaye
jaise laher…
Raat aur din diya jale….
8. Phool sa chehra chaand si rangat... Hasrat A beautiful romantic Rafi solo, filmed on Pradeep Kumar. it’s an outdoor picnic song on a lighter mood, where Pradeep Kumaar praises Varuna. SJ created extremely sweet, lyrical and gazal-style composition, and ornamented it with traditional orchestration using tabla, flute, sitaar and violins. Rafi sahab has done fabulous singing especially in some special “harkats” or “murkis ” added by SJ in the composition. Hasrat Jaipuri wrote:
Apni ada se aap simatna
Saaye se apne aap jhijhakana
Apni ada se aap simatna
Saaye se apne aap jhijhakana
Haath lage to kumla jaao
Aisi nazaakat kya kahiye…
Phool sa chehra..
9. Jagat me koi na tera mera... Kamlesh Verma A short but sweet bhajan sung by Bhupinder Singh and chorus, probably his one and only song with SJ. As per the situation, SJ didn’t use any orchestra, and arranged the song with two or three instruments only, yet giving it a devotional feel.Such a brilliant, realistic and magical scores are created seldomly, and may of Shankar Jaikishan scores belong to this category, eg. Basant Bahar, Dil Ek Mandir, Sangam, Teesri Kasam, Kathhputli, Seema, MNJ to name a few.There is no point in sharing a single song from this musical bouquet. Please enjoy these 37 minutes of absolute SJ magic…!
Lata discussing with Shankar Jaikishan & Nargis in the recording studio during song recording of film Raat Aur Din
One day the God decided to deliver some revolutionary music with enchanting melodies, mind-blowing harmonies, wonderful varieties and universal appeal, in hindi film music genre, and then he selected two young men with completely different background, language, culture and nature, to fulfil this task.The elder of the two, was around 25-26 years old from Hyderabad, and an expert tabla player, whereas, the younger one was around 18-19 years old from Vansada of Gujarat, and an adept harmonium player. The only similarity between them was a sheer interest in music and a staunch passion to become a successful music composer (I used the word “a composer”, as they didn’t know that they will be “composers duo” at that time).What else other than a devine destiny can it be called, that these two young souls met each other, unintentionally, at the Mumbai office of Gujarati director Chandravadan Bhatt.
Although they came for their own different purposes, their similar musical interests and natural force made them talk to each other. And immediately, a unique, unbreakable and everlasting bond developed between the two and resulted in, not only a music director duo, but the emperors of hindi film music “Shankar Jaikishan”.Everyone knows how they got their first blockbuster break “Barsaat” in 1949, and how the magical team of Shankar, Jaikishan, Shailendra, Hasrat, Lata Mangeshkar and Mukesh was formed to create a history. Naushad’s “Andaz” also came in the same year and, even Mehboob Khan, the film’s director told Naushad sahab “Barsaat ne aap ke Andaaz ko dho daala..!”The success story with many milestones and achievements continued for next two decades, and even further in a different way. Many people and factors tried to break the name and separate “Shankar” from “Jaikishan”, but failed, Even, God couldn’t break the brand, after taking away Jaikishanji forever in 1971 and later, taking away Shankarji forever in 1987. The name remained same as “Shankar Jaikishan” as ever before, even after their demise, until now, and will remain same ever after….!I just had these thoughts in my mind when I saw this beautiful picture showing these musical stalwarts in their younger years. We can clearly see the enthusiasm, confidence and conviction in their eyes, as if they are foreseeing the upcoming triumph and victory in their lives..!
भारतीय फिल्म संगीत के बादशाह शंकर जयकिशन ने संगीत का जो महाभारत स्थापित किया है….वह अनुपमेय और बेजोड़ है। हिन्दी साहित्य में जो स्थान कथा-सम्राट मुंशी प्रेमचंद जी का है वही स्थान भारतीय फिल्म संगीत के शिरोमणि शंकर जयकिशन जी का है।उस समय के दिग्गज संगीतकारों के सामने सबसे बड़ी चुनौती यही रहती थी कि शंकर जयकिशन के सामने टिकने के लिए क्या नया किया जाए कि मार्केट में जगह रखी जा सके….! सन् साठ के दशक में एक फिल्म के लिए उनकी फीस एवं लाख रुपए थी याद रहे उस समय सोने का रेट ढाई सौ रुपए तोला हुआ करता था…! संगम फिल्म के संगीत की अपार लोकप्रियता के बाद शंकर जयकिशन ने अपना पारिश्रमिक पांच लाख रुपए कर दिया था।उस समय तक उनकी ख्याति देश-देशांतर को लांघ कर विदेश तक जा पहुंची थी…रूस, जापान, चीन, तुर्की. इत्यादि में लोग उनके दीवाने थे.. आकाश को चीर देने वाली ऐसी लोकप्रियता आज तक किसी को भी हासिल नहीं हो सकी है… बड़े बड़े सेलिब्रिटी क्रिकेटर, राजनेताओं की चमक उनके सामने फीकी थी..! स्वर साम्राज्ञी लता मंगेशकर जी ने एक इंटरव्यू में स्वीकार किया है कि शंकर जयकिशन जैसा कोई नहीं हुआ.. मैंने अपने जीवन के सर्वश्रेष्ठ गीत फिल्म आम्रपाली के लिए रिकार्ड किए..। गीतों के बादशाह मुहम्मद रफ़ी की पुत्र वधू ने रफ़ी साहब के लिए लिखी पुस्तक हमारे अब्बा मुहम्मद रफ़ी, में शंकर जयकिशन के आर्केस्ट्रा की जमकर तारीफ की है… शंकर जयकिशन की व्यस्तता का आलम यह था कि उन्होंने एक साल में छह से आठ फिल्मों में संगीत दिया। बड़े बड़े संगीतकारों को काम पाने के लिए मसक्कत करनी पड़ी। जयकिशन जी जब दिवंगत हुए उस समय उनके पास सत्ताईस फिल्में थीं।भारत सरकार ने उन्हें पद्मश्री पुरस्कार से नवाजा और उनकी स्मृति में डाक टिकट जारी किया। रहती दुनिया में जब तक संगीत है शंकर जयकिशन के तराने फजाओं में गूंजते रहेंगे.. मैं करोड़ों सैल्यूट करता हूं उन्हें।
Sound recordist #MinooKatrak #Jaikishan and #Shailendra with #VijayBhatt at the recording of a song for film Hariyali Aur Raasta [photo courtesy : Kaustubh Pingle]
Who is a hero? A person with outstanding achievements. Shankar fits the image perfectly. In a shortest span of time, he, with his music partner Jaikishan, has achieved more than any in the music industry. The vast body of work, the innumerable genres and the huge variety in composition styles created are matchless. The highest number of awards won and the consecutive number of nominations for awards were records of their excellent performance.Who is a hero? A person who is admired for his strength. He is strong enough to withstand any adversities at any time as well as one who can show courage when faced with a problem. Shankar matches all the traits mentioned here. When he lost his close friend and associate, Shailendra and his “brother” Jaikishan, one after another, he did not allow his grief to depress him. He showed his mettle by remaining strong and totally focused on the numerous assignments on hand and, single handedly, completed them on time. Who is a hero? He is one who is there to help another in various ways and give them strength to go on through life’s difficulties. When Mukesh wanted to pursue a career in acting and couldn’t succeed in it and was struggling financially. Shankar wanted to help him out and had him sing, “Ye mera diwana pan hai” in Yahudi against Dilip Kumar’s objection. He composed music for his close friend, actor/producer Chandrashekhar, for a nominal rupee under the pseudonym Suraj to show his love for his pal. When write/producer/lyricist, Sudhakar Sharma approached him to compose music for his movie, Gori, Shankar immediately agreed to do so with a nominal fee of Re. 1. When others composers weren’t willing to compose the background music for the Films Division documentary “Everest,” he readily agreed to do so as a complimentary gesture to show his pride in the successful expedition for which the Government of India was going to honor him with a Padma Bhushan award. Shankar wanted the government to include Jaikishan in the honor. However, he was told that it cannot be done. So, the magnanimous Shankar settled for a Padma Shree along with his “Jai” which is an unheard of act. There are many more such instances when the composer went out of his way to be there for his near and dear. Who is a hero? A person who feels a moral obligation to maintain his integrity regardless of how someone treats him. Again, Shankar wins. At a time when his close associates betrayed him, the man that he was, Shankar never let that deter him from his work. He was a man of great resilience and continued to move on with his head held high. Never did he utter a negative word against the people who backstabbed him for his sentiments towards them did not allow him to. He was contented with the few loyal producers and directors who believed in him for his abilities to deliver the product. Shankar was a man among men. He stood tall and kept the SJ flag fluttering against harsh winds of time. BRAVO, Shankar! You are a true hero!! Rest In Peace, Great One!!
मतलब सफा-साफ है, के श्रीमान रहीम,ये बात,सदियों पहले समझा गए थे के भैया बड़ों के चक्कर में छोटे को अनदेखा न करो,क्योंकि जंहा सुई काम आती है, वँहा तलवार क्या करेगी???ये विचारणीय,सोचनीय प्रश्न उतपन्न हो गया 1964 की ब्लॉक बस्टर फ़िल्म”राजकुमार” के दौरान।किस्सा कुछ यूं हुआ कि फ़िल्म के निर्माण के समय लता जी ने रफ़ी साहब के साथ कुछ मतभेदों के चलते डुएट गानों को गाने में असहजता प्रगट कर दी थी।सोलो गाने में उन्हें कोई दिक्कत नहीं थी।दो-एक गाने इसीलिए सुमन जी के हिस्से आये। पेंच फंस गया, शंकर जयकिशन जी के सामने,जब सिचुएशन मुताबिक एक सेडयूसिंग सॉन्ग याने कामुकता का गाना प्लान हुआ।अब इस टाइप के गाने न तो लता जी गातीं थीं,न ही सुमन जी और न ही दोनों की वॉइस में वो टिम्बर-टेक्ष्चर (timber texture) था जो उत्तेजकता,कामुकता को असली रंग में रंग दे।मरता क्या न करता।लगाया गया फोन आशाजी को।आशाजी ने कहा,हूँ, गा तो दूंगी मैं पर फीस दीदी से 5 गुना लूंगी।बेचारे मद्रास प्रोडक्शन वाले सर पीटने लगे।मामला जा पहुंचा शम्मी अंकल के पास।शम्मी जी ने आशा जी की बात का समर्थन किया और कहा कि वो हैं हीं इस काबिल जो, एकमात्र इस गाने के लायक हैं।यदि गाना रखना है तो बुलाओ उसे,भले मेरी फीस कुछ कम दे देना।शंकर जयकिशन जी ने इस सिचुएशन के लिए एक POLYNESIAN रिदम-तर्ज़ सोच रखी थी।अब ये पोलिनेशियन क्या बला है??तो सुरमित्रों, प्रशांत महासागर याने PECIFIC SEE में एक टापुओं का ग्रुप है,उसमें बसने वाले सब Iseland वाले ही POLYNESIAN कहलाते हैं।हवाईन द्वीप भी उसी ग्रुप में है।अब इस किस्म की ट्यून पर उसी किस्म की रिदम ही फबती।तो ऐसे में सिर्फ और सिर्फ एक ही नाम था इंडस्ट्री में जो इसे सरअंजाम दे सके।क़ावस काका उर्फ क़ावस लार्ड।बॉंगो ड्रम के अन्य प्लेयर उनके पाये के नीचे थे सब।सुविख्यात म्यूजिशियन करसि एवम बर्जर,क़ावस लार्ड के सुपुत्र हैं।क़ावस काका ने बॉंगो ड्रम्स से हिंदी फिल्म्स सिने संगीत में ऐसा समां बांधा,के हर संगीतकार उनकी प्रतीक्षा में रहता था।यंहा प्रसंगवश सूरत के सुरमित्र,श्री जॉय क्रिस्टी जी का जिक्र छेड़ूँगा,जिन्होंने मुझे गत दिनों उनके द्वारा बॉंगो पर बजाया गया एक छोटा रिदम ग्रूव भेजा।मैं उनके फिंगर्स रोल्स से जो बॉंगो के मैचो साइड यानी छोटे डाय फ्रेम वाला ड्रम,पर लिया जाता है,से खासा प्रभावित हुआ।उसी तारतम्य में अहमदाबाद के श्री अकुल रावल ने भी बॉंगों पे सिद्धहस्त करतब बजाये।बड़े डाय फ्रेम को हैम्ब्रा कहते हैं,जिससे बास टोन और मैचो से शार्प टोन साउंड करती है,और प्रस्तुत गीत में जम के मैचो पर करतब बजाये गए हैं।तो सुरमित्रों,ये पोलिनेशियन मेलोडी शुरू होती है,अजीब से हंटरों की आवाज़ से और सिसकियों से।इसका भी विचित्र किस्सा है।वो यूँ के फ़िल्म की स्टोरी-प्लाट में राजकुमार को एक क़बीले की राजकुमारी कैद कर लेती है व फिर कैद से रिहाई कर राजकुमार के संग गुफ़ा में जाती है।गुफ़ा के अंदर से हंटरों की व राजकुमारी की सिसकियों की आवाज़ आती है।यूँ ये अनोखा ही गाना है,जिसके प्रिल्यूड में कोड़े बरसाए गए हैं।सुनिए इन हंटरों का किस्सा।बकौल शम्मी अंकल,”I was so inspired of Roman Cupid love hunter paintings,so I suggested this frame with Roman Lyre strings instruments.S-J had a wonderful insipiration,of a Polyasian tune and rhythm,so the melody became symbol of passionate desire and erotic love”आशा जीDmदिलरुबा दिल पे तूGmये सितम Cकिये जाDmकिये जारफ़ी साहबDmहम भी तो आग में जलते रहेAप्यार के शोलों पे चलते रहेA7thओ हो हो होDmM1 में जो मैं बताना चाहता हूं वो आपको तो सुनना ही होगा।ड्रम्स और बॉंगों कि जबरदस्त पेयरिंग है।बॉंगो के मैचो ड्रम पर फिंगर्स रोल्स अद्भुद हैं।शॉट में राजकुमारी की सहेलियां कमर से ड्रम्स लटकाए हुए हैं और Roman Lyre Harp को छेड़ रहीं हैं।Dm क्या बताऊँ क्या दिल का हाल हैजिस घड़ी से मिले हमGmC जैसे सैकड़ों बिजलियाँ गिरींऔर जल उठे हमdd cc a/dd cc a/dd cc a abee d dc/ee dd ce e d c e dDmहाय, क्यूं मुझे खाक करने पे तुले हो जालिम!!!आखिर क्या बिगाड़ा है,मैंने तुम्हारा?????हहह!!!वाह,क्या लगभग बुदबुदाते हुए WHISPERING DIALOGUE हैं।और ये हर अन्तरेके आखिरी में रखे गए हैं।ऐसा व्हिस्पर+डायलॉग फॉर्म तो नायाब है हिंदी सिने संगीत इंडस्ट्री में।वैसे इसे हम फर्स्ट OPERA LIBRETTO कहें इंडस्ट्री का।Libretto में Prose फॉर्म याने गद्य को गाया जाता है।इस whisper से ही कटऑफ है,फिर वापस मुखड़ा आता हैदिलरुबा दिल पे तूM2 में वापस वही ड्रम्स-बोंगॉ की जुगलबंदी।दूसरे स्टेन्ज़ा को आशाजी ने बेहद सेक्सी अंदाज़ में गाया है।कॉर्ड्स प्रोग्रेशन तो पहले जैसे हैं तो सिर्फ बोलों में फर्क है पर इसके इंटरल्यूड में गिटार के Sonata के बाद जो रफ़ी साहब ने मद्धम स्वरों में बुदबुदाया है न!उसे सुन कर कृतार्थ हो जाएंगे आप,ये नाचीज़ का दावा है।हाय दिल की गहराइयों को चीरता हुआ ये दर्द,ये कसक,ये चुभनM3 में फिर वही ड्रम्स-बॉंगों की पेशकश ये साबित करती है कि मेलोडी खड़ी ही है,इस पोलिनेशियन बॉंगो रिदम स्ट्रक्चर पर।इस स्टेन्ज़ा में हिंदी सिने संगीत का पहला रोमांटिक कन्वर्सेशन रफ़ी साहब-आशाजी ने बखूबी फुसफुसाया है।कान लगा कर मस्त सुनिए।एक और नायाब हरकत ली रफ़ी साहब ने जब आखिर में अति उच्च तार सप्तक याने Falesetto pitchपर गाया है।हम भी तो आग पे जलते रहेप्यार के शोलों पे चलते रहेओ हो हो होDmCoda music में दिलीप नाइक सर ने मेलिडी को e guitar पर ले कर fade out किया।ये गाना मेरा भी फर्स्ट लेसन था रायपुरCG के लिजेंड्री गिटारिस्ट व रिदमिस्ट, स्व रोमियो जेकब सर से।
We always wonder why songs from the past stand out compared to recent songs . There is no doubt that there are music directors and lyricists who do great work even today. Then what is lacking???Screenplay writers and directors have, over the years, lost faith in lyricists.Some writers have delivered… But not consistently… I would not name anybody in particular but in the seventies eighties and nineties very few lyricists have been able to impressIt has been a two way traffic…there has been a dearth of good screenplay writers and directors…and stars have taken over the business of film-making.Raj Kapoor, the director, from the very beginning, believed that songs were an essential part of narrating a story on screen.
After making ‘Aag’, in ‘Barsaat’, he discovered the talent of Shanker Jaikishan and Hasrat Jaipuri….Towards the end of ‘Barsaat’, Shailendra joined them. RK knew, he had a team that would literally rewrite the history of Hindi film music.All his films depended on songs to take his story forward…His first colour film ‘Sangam’ was no exception.Effectively, Sangam had two theme songs….one at the beginning of the film and one towards the end. The first is a joyful party song where, the three main characters in the film…Raj Kapoor, Vyajantimala and Rajendra Kumar actually introduce themselves to the audience….They in fact reveal to the audience the part they will be playing as the story of the film unfolds.The second is a song that comes towards the end…after most of the story has unfolded (Dost dost na raha…)”Harr dil jo pyaar karega…”, taken at face value, is a party song full of fun….started by Raj Kapoor, true to his character of a fun loving, good for nothing person who is madly in love with Radha played by Vyjantimala. BUT the words Shailendra has written, take the song to a different level….Added to this, the little touches that the director has contributed, have the desired effect on the audience.In this song, like so many of his songs, Shailendra chooses his words like a highly talented screenplay writer. According to where the song comes in the film, his words reveal certain things to the audience, yet, he makes them curious about what will happen as the film progresses…..
Writing a good screenplay is tough….but to do it with lyrics??? JUST OUT OF THIS WORLD !!!The song starts with Raj Kapoor playing the accordion that makes up the introduction music….he sings the mukhda…” Harr dil jo pyar karegaa, woh gaana gaayega,diwana saikdon mein, pehchaana jaayega….”In the interlude, he moves towards Vyajantimala, who moves away towards Rajendra Kumar, who, in turn moves away to isolate himself…Raj Kapoor sings the verse…” Aap hamare, dil ko churaa kar, aankh churaaye jaatey hain,yeh ek tarfaa, rasme wafaa hum,phir bhi nibhaaye jaatey hain, chaahat ka dastoor hai lekin, aapko hi maaloom nahin…jiss mehfil mein shamaa ho, parwana jaayega…”Vyajantimala joins in… she sings the mukhda… Raj is ecstatic… he thinks she is addressing him…After the interlude, she sings…” Bhooli bisri, yaadein mere, hanstey gaatey bachpan ki, raat biraat, chali aati hain, neend churaaney nainan ki,ab keh doongi, kartey kartey, kitney saawan beet gaye… jaane kab in aankhon ka, sharmaana jaayega…”She is addressing Rajendra Kumar… he understands…. but his loyalty towards his friend makes him awkward….The next verse is sung by Rajendra Kumar….” Apni apni, sab ne keh li,lekin hum chup chaap rahey,dard paraaya, jisko pyara, woh kya apni baat kahey, khaamoshi ka, yeh afsaana, reh jaayega, baad mere….apnaake harr kisiko, begaana jaayega…..”
When one is watching this film for the first time, the words, the expressions of the actors and the movements, sound nice and look good…. But in turn, they churn up a kind of curiosity in the mind of the audience….Raj Kapoor’s lines are a blatant expression of love and a little complaint as to how, the love of his life is not really understanding how much he loves her…He will pursue relentlessly….. ” Jis mehfil mein shamaa ho, parwaana jaayega…. “Vyjantimala expresses that she feels the pangs of love …. the seeds of which were sown in her childhood itself…. ( Her love for Rajendra Kumar ) But, her shyness, ( the typical Indian upbringing ) has stopped her, many a time from expressing this love overtly to him…. She complains…. ” Jaaney kab inn aankhon ka, sharmaana jaayega…”Rajendra Kumar expresses anguish…. He loves Vyjantimala too…. But his friendship with Raj Kapoor, and the fact that he knows how crazy his friend is about the lady, is forcing him to remain silent….” Dard paraaya, jissko pyara, woh kya apni baat kahey….”The song ends… Raj Kapoor asks people to dance… he is still playing the accordion…Rajendra Kumar requests Vyajantimala to partner him … she eagerly joins him… Raj is happy to see his best friend dance with the woman he is madly in love with… In a compact shot…. there is a romantic exchange between Rajendra Kumar and Vyajantimala… she puts her head on his shoulder… Raj notices and he is a tad envious…He suddenly starts playing the ‘Anniversary Waltz’…. ( Used as the RK theme in all his films )… it borders on sadness… Raj, then picks himself up and goes back to playing the happy notes of the song…Shanker Jaikishen stand out among the crowd of music directors…. They use the piano, the accordion and violins to perfection… Note the subtle changes in these three instruments when required to go from gaiety to seriousness…. They understand exactly what their beloved ‘Rajsahab’ wants ….. They deliver…. AND HOW !!! Very few people, including many music directors understand the importance of balancing sound levels to perfection….. They should listen to any song composed by Shanker Jaikishen…. They were the undisputed champions !The subtle changes in expressions of the three main actors…. handled excellently by the director, make this great song greater… Raj Kapoor gives his co-actors proper screen space and manages to bring out the best performances…Shailendra’s words are great… But Raj Kapoor, the director, does not let his Kaviraj down !!!!!
For those who are reading this article for the first time, I would like to inform you that I am no movie buff, but a music lover and when it comes to Shankar Jaikishan music, you may call me a die hard fan. Most of the songs are heard on a repeat mode which really puzzles my husband Jawahar. He, being a movie buff, would like to watch a different movie each time. On the other hand, if it is a SJ movie, I watch the same movie over and over again. Nothing gives me as much pleasure as when I relax with a cup of tea and listen to a Shankar Jaikishan song, nibbling away on some dark chocolates truffles.
It was one afternoon during my school days that my family went to see a movie while I opted to stay home to read a book and listen to the radio, hoping to catch some SJ songs. As I got immersed in the book, suddenly I heard a song that caught my attention. It was so mesmerizing! The DJ announced that it was from Amrapali. Was I excited about it! I had read the story about the royal courtesan, many years ago and was happy to know that a movie on her life was being made. I decided that I would definitely see this movie since it was going to have all my favorite people. Director Lekh Tandon, lyricists Shailendra and Hasrat and in addition, my most favorite actress Vyjayanthimala in the lead with Sunil Dutt playing opposite her and, above all, Shankar Jaikishan for music.
Despite eagerly waiting for the release of Amrapali, I was constantly wondering if the movie can depict her story convincingly. My father always said that when a story is well known to the public, they would already have an impression of the characters, their looks, behavior, etc. as depicted in the narration and it becomes a big challenge for the movie maker. “Well, let me check it out and see how this movie will turn out to be,” I told myself.
The big day arrived. I had my servant go to the theater and get the tickets for us for fear of them being sold out. Unfortunately, the theater was at quite a distance from my home. I rushed my sisters to get ready fast as we can’t miss even one single moment of the film. Lunch was being served and we sat at the table. Although I am a foodie, I couldn’t enjoy the meal that day as I was too excited about the movie. Being a slow poke, I was only half done when the rest of them were about to leave for the theater. I quickly joined them, half hungry. For all my anxiety, we reached the theater well in advance. I grabbed the tickets from my servant and we all quickly entered the theater. My sister bought several packets of popcorn and potato chips to munch on while watching the movie. I refused them at first thinking they would be a distraction for me, but yielded later since we had at least twenty minutes to kill before the movie began. Soon the lights turned dim and the movie started. Although the story is known to me, it seemed afresh as the movie unfolded on the screen. It was Omkar Sahib’s screenplay with Arjun Dev Rashk and Balbir Singh’s dialogue that impressed me. Lekh Tandon did a fantastic job with picking the right cast and technicians. His long training and experience paid off in creating a masterpiece of a movie. The awesome sets, excellent photography and good editing helped make for a smooth screening.
In the lead role, Vyjayanthimala simply out shone everyone else. Her beauty, grace and poise helped her live the part with me thinking that that was how beautiful Amrapali would have been to have Ajatashatru fall head over heels in love with her. One could never imagine anyone else play the character. I had met her a few years prior and was captivated by her gorgeous looks. She now looked even more gorgeous in this movie. The period costumes, designed by Bhanu Athaiya, were just beautiful on her! Although the outfits were very revealing, they were so tastefully done that there wasn’t a trace of vulgarity in them. Vyju looked simply stunning in them! It made me wonder if one of the Ajanta statues had come alive to play the part of Amrapali coz no other actor had the personality to match like Vyju did. She had a few dances to perform and every one of them was done with the utmost pizzazz. They were an audio-visual treat for me. As for Sunil Dutt, he looked so regal and convincing in his role as King Ajatashatru.
Shailendra and Hasrat’s work was exceptional. And, what can I say about SJ? The composer duo were the perfect choice for music and they once again proved that they, and they alone, could create music for this movie in such an outstanding manner. The lovely lyrics came to life with their beautiful score. The album is one of the best of SJ’s career. They had already proven their ability to compose semi-classical music before. But they took this movie as a challenge since the story belonged to a particular period in time. Being sticklers to perfection, SJ did a lot of research to learn about the musical instruments used during the Magadha period. They composed a fantastic album with five songs in all, out of which, four solos were by Lata and one sung entirely by a chorus. Lata should be ever grateful to SJ for having been given such songs to sing coz they are some of the best of her career as well.
I thoroughly enjoyed Amrapali. The movie turned out to be more than what I expected. Together, Lekh Tandon, SJ and Vyju created art and poetry on celluloid, with support from Shailendra and Hasrat, that will be enjoyed for generations to come. Incidentally, the movie was the Indian entry for the Best Foreign Language Film at the thirty ninth Academy Awards, but was not a nominee. As for myself, I gave it a AAA rating for excellence in my book. Ever since Jawahar bought me the DVD of Amrapali, I have seen it countless number of times and will continue seeing it. For this alone, I feel that the producer and director owe me a special recognition as the biggest fan of their iconic movie.
110You, Taiyeb Shaikh, Mayank Shukla and 107 others47 Comments
This morning, I called Lekh Tandon to congratulate him one more time for this celluloid masterpiece as that was the least I could do to show my appreciation.
110You, Taiyeb Shaikh, Mayank Shukla and 107 others47 Comments
Begum Akhtar sang a song for film titled PAANI. Unfortunately due to death of Meena Kumari, who was in central role in the film, the film could not be completed.
Jaikishenji was the noblest, kind-hearted person I have ever seen. Very soft spoken, full of compassion & care for others, he would not dream of hurting anyone..As pure as his heart, he wanted his life peaceful & full of joy. He was very fun loving & liked to enjoy having chums,His favorite restaurants being Gaylord in Churchgate & Bombellis in warden roadLike a shining shooting star, he will be there among a group of people with a huge crowd standing outside, drinking the ecstasy of his darshan…I have seen him many times, sitting in Bombellis in warden road, surrounded by friends whenever I drove thru that area… Off & on I used to go & join him having breakfast & we would talk about my progress. Evenings he would be in Gaylord … I have not gone there as many times as I have gone to Bombellis because evenings I would go to S J hall … But whenever I have gone there it would be a joy ride having discussions about music & enjoying the makings of a new hit.He would check up with me about my training sessions with Guruji & in the hall.He would catch me if I had played hookey & bunked the visits to the hall …‘ I hear you are not going to the hall regularly ?……May I know why ?…. He will ask.Oh, dear …. what to say!.‘ No Jai sab, I had some work last week ….‘Don’t break the training …….Sharda,……This is not something to take lightly. Be regular …..Guruji’s training is not enough ..You need to get into the ins & outs of singing a new song in the recordings!.‘ Yes, Jai sab… I will be regular & not miss.. I better not bunk, now ..I will not be able to answer Jai sab again..‘ But you are not coming …Everyone misses you, Jai sab..‘Yes. Sharda, you know, I want to be with my friends, in the evenings.I do come sometimes, in the morning. But you are not there .‘Oh, I go in the evenings Jaisab. But I will come in the morning. Tell me when you will come .. I will come .‘ It is alright .. Haan .. tomorrow I am coming .. … in the evening. Make sure, you are there … .‘Yes, Jai sab, definitely.‘ Tomorrow ‘ was a joyous day ….‘ Jai sab, I am having this get together at my place … Please come & honor me ..I will be serving idlis!.‘ Sure .. I won’t miss the idlis for anything. .. The party was total fun, with Shankersab & Jai sab, Raj Sab & other big producers whom Shankerji had invited I was having a magic carpet ride on a ‘ Whole new world ‘He also gave me valuable lessons whenever I made a visit to the restaurants to have a training session with him ..Sitting in the seats , with tea & goodies , talk about this & that , coming to titbits & technics in singing .. Small small tips which are very valuable & very very rare treasures….. the throw of the voice , the controlling of breathing & so on He had guided me on how to bring out words in a song ….It was his Diksha that gave me the idea of how to say Titli & I applied the golden lesson at the start of the song & in all the repeats of the mukhdas..Each song has a soul spot in which you have to give emphasis…That soul word has to be brought out with a special thrust.In Titli udi the soul spot was in ” Titli “And the first punch only did the magic. Like if I had sung just plain. Titli udi .. the whole song would have been lifelessBut I applied Jai sab’s tip & sang …TT…itt li udi .. & this little punch lifted the song…And later on, I had used his technic in many songs, like in Badkamma & others. In each Enkanna I had applied the push. The punch & push if you put in the right place the song gets the life..You have to apply as much power in your voice as to how far you want to throw it, like if you want to throw a ball, so much power you apply exactly which would be needed as to how far you want to throw the ball…………. You don’t want to throw it farther than you intended!..How can I thank you, Jaisab for making my, sorry, your Titli fly high .What great updesh they both had given me….simply priceless.At that time I could not absorb all that, but during the passage of time, I had worked, researched & realized the technics & have formulated a workout program capsule .. which is easy, simple & very effective.During this period we have met very often & been together many times, at functions parties shows & on other occasions the Jaikishen lighting up the scene by his wonderful personality..Suddenly, a devilish sinister black shadow descended upon them attacking them brutally from all the sides forcing them to find a strategy……fastThey were a team & were together. In a team, everyone is involved as deeply as the other no matter what work is done by who… In a war you don’t bother who shoots the enemy, it is the force .. that force is one & anyone can shoot & the point is the war is won by the force..S J was a force & they were together in that force ….In a war, you have to place your army in such a manner as to face the enemy surrounding them & make attacks & counter-attacks..This arrangement of the army is called vyuha, which were used in Mahabharat yudh & other Indian wars. There are many different vyuhas &. the commander in chief selects the vyuha according to the reports brought by the spies as to what sort of attack enemy is planning & what vyuha they are arranging. This vyuha will cover the opposite army in a proper way piercing thro the enemy army from all the sides..Jaisab worked out a strategy, forming a half circle vyuha to face the attack, making two different routes for both of them to proceed & tackle the enemy. They made an arrangement that Shankerji will manage the side of ‘ like Sharda ‘ producers & Jaisab will manage ‘ hate Sharda ‘ producers ….. This will prevent the ‘ hate Sharda ‘ producers from going away ……..Jai sab did not want to antagonize the opposition & invite more wreaths..If no one bothered about S J making me sing if there were no angry retaliation from the opposition, why would they have to work separately? Wouldnt they have been continuing like the way they were doing, before? .Now as per the new arrangement, they both started to work separately, which created some misconceptions about their work.Jaikishenji’s heart was very komal, kind & soft. His love for Shankerji was pure & steadfast. He was not able to come to terms with this new development. His pain & hurt of standing apart from Shankerji was unbearable to him & it made him turn to drink doomsville ….He was not at all overdrinking during Shree 420. Jis desh days & others.Why would he suddenly fall prey to this habit?.Who wanted to put this noble soul in such a dilemma …who wanted him to separate from Shankerji. who wanted to break this Godly jodi?……………………..Whichever female force majboored him to stand apart from Shankerji, that force did not win, after all. He never let them win. The force had to accept defeat..He could have avoided this pain by bowing & giving in to the demand, which wanted him to break up with Shankerji & give music in his own name,…just Jaikishen .But he would never think of it ……He suffered & suffered inwardly but would not bend down..HE SHOWED THE WHOLE WORLD THAT HE WOULD RATHER DIE THAN BREAK UP WITH SHANKERJI. HE DROWNED HIMSELF IN A DISASTROUS PIT REFUSING TO BOW DOWN TO THE PRESSURES BROUGHT UPON HIM.And he went as the same Jaikishen he was in 1947 ..the darling of ShankerjiThe joy of Shanker Jaikishen … Not just Jaikishen..There are rules in war also .. You must not attack anyone in the not approved manner. But here this war was not a Dharam war .. This was an Adharam war, most devilish war. All sorts of dirty tactics were applied in this war …….Shankerji & Jaikishenji both high principled, golden-hearted persons, will not stoop so low as to fight an indecent war ..Facing all sorts of mean, dirty cunning strategies they both had a testing time…If only music directors were not given the treatment of a criminal if they made other singers sing in their movies… Shankerji would not have been made to face so many atrocities. Jaikishenji would not have been made to work separately in a suicidal plan.They would not have been made to tear their paths in order to face the tornado ………………………………….Was it so disastrous if some music director takes songs with some new singers that people should attack him with so much force & vengeance? Using all sorts of dirty lowly tactics? And people saying that Shankerji had to suffer because he made Sharda sing? As if he had committed an unspeakable crime by making Sharda sing!.If only people were not so mean & cruel but be human enough as to let others also live …have a small place in the film industry & sing a few songs …what they would have lost? Ultimately we all need nothing but 6 feet of land in the end!Instead of abetting the loving team to work separately & driving Jaikishenji into an untimely end…………Shankerji did not have an iota of an idea that how Jaikishenji is letting himself being sucked into this drink pit so precipitously. Being a teetotaller himself, his evenings were not spent in the company of double-faced chameleons & cunning scoundrelsHe was spending his time going to the hall religiously, drowning in his work, composing new new tunes & discovering new phrases in music..Only, if he had some knowledge about what was going on in Jai sab’s territory, he would have definitely discouraged Jai sab from falling in the pit & saved him…. .. won’t you prefer foes than having friends like this who push you to your doom, when you are passing thru a painful period?…….. Shankerji realized the severeness of the damage when it has taken too deep a root …..his own heartbreaking in pieces, beyond repair …..bringing tears in his never got wet eyes …Jaikishenji became the Abhimanyu in the vyuha he himself created.In the prime of his life, in the peak of his carrier, leaving the whole of India in uncontrollable unforgettable grief pulling himself away from lacs & lacs of loving hands, he goes ……………………….All the blows which Shanker sab was made to take so far did not shake him one bit … But this blow hit him hard. His iron heart cracked ……..And tears fell from his eyes for the first time ………..Don’t humans have human hearts in their chests?….Cheers …. become tears
56. SJ may have the highest mukhdas of their songs later converted to movie titles:”Lal Dupatta malmal ka””Raja ki aayegi baraat””Tumse achha kaun hai””Kashmir ki Kali””Aa gale lag jaa””Aan Milo Sajna””Tumko na bhool payenge””Kuch kuch hota hai””Nain mile chain kahan””Aaja Sanam””Aa ab laut chale””Phir bhi dil hai Hindustani””Main Ashiq hoon baharon ka””Mujhe meri biwisi bachao””Kaun hai jo sapnon mein aaya””Bol Radha Bol””Buddha Mil Gaya””Dil ke Jharonke mein””Gustakhi Maaf”
57. Lata Mangeshkar and Jaikishan were both born in 1929. Shankar was elder.
58. MadanMohan, Deven Verma, Satish Wagle were Jaikishan’s very close friends and they met regularly at Gaylord’s near Churchgate, Mumbai. MadanMohan can be seen in key roles in Satish Wagle’s “Pyar Hi Pyar” and “Yaar Mera.”
59. SJ utilized Rafi and Mukesh for all three Kapoor brothers: Raj Kapoor had a Rafi song in “Ek Dil Sau Afsane” & “Mera Naam Joker” Shammi Kapoor had a Mukesh song in “Ujala” and “Singapore” Mukesh sang one song for Shashi Kapoor in “Insaniyat”
60. SJ had Mahendra Kapoor playback for Dev Anand in “Roop Ki Rani CHoron Ka Raja” (Yes, I have the video of the movie. It’s a fact!)
61. Sushama Shreshta was introduced by SJ in “Andaz” and also sang in “Seema” She later sang as Poornima. Ramesh Sippy and Salim-Javed of “Sholay” fame also started with “Andaz.”
62. SJ were signed for the following movies originally: “Bobby,” “Seeta Aur Geeta” I remember clearly having seen ads to that effect in Screen. Unfortunately, I did not save those issues.
63. Guru Dutt had one only movie as a lead actor with SJ: “Sanjh aur Savera” But his younger brother had a close relationship with SJ: Shikar, Chanda aur Bijli, Umang, Yaar Mera and Resham Ki Dori.
64. Besides Dattaram and Sebastian, SJ also had other assistants like Sonny Castellino (Awara), Dheeraj (Sanyasi), Enoch Daniels (Kaanch Ki Deewar, Gori, Krishna Krishna
65. SJ composed background music for a documentary at the peak of their career in 1967. The docmentary was “Everest” and narrated the expedition by Nawang Gombu’s team. Incidentally, this team included Dr Telang as a team doctor.
66. Shatrughan Sinha sang “Mera Joota hai japani” at a function in 1972 under Shankar’s supervision.
67. Sudha Malhotra sang the “Chori Chori” duets with Manna Dey during the 1957 function for 1956 FF awards.
68. Shankar composed Indian classical tunes for AIR Delhi in the late seventies.
69. Shankar liked Hitchcock film music.
70. Shankar was a master at playing several instruments. He could play the piano, the harmonium, the sitar, and the pakhawaj with ease. Born in Punjab, he migrated to Andhra Pradesh at a very young age. He had been a dancer in Krishna Kutty’s troupe.
71. Jaikishan was a master harmonium-player.
72. Shankar-Jaikishan approached Raj Kapoor, who was on a lookout out for new composer for Barsaat. Kapoor had noticed them as musicians earlier.
73. Coming to their working style, the duo mostly composed the tune first, since they felt it prevented monotony, as poets tended to write songs most of the time to just two or three metres.
74. Lyricists Shailendra and Hasrat Jaipuri were masters at writing in-depth lyrics to S-J’s tunes, and the composers worked with them mostly. For a couple of films they worked with lyricist Rajinder Krishan. Most of the time Jaikishan tuned with Hasrat, and Shankar with Shailendra.
75. Shankar-Jaikishan were on the RK Films pay-roll even when another composer did an occasional film.
76. They were awarded the Padmashri in 1969.
77. As S-J, they did 121 films, and later Shankar did about 30 films more.
78. The duo released a non-film record, Raga Jazz Time in the 60s and composed Hindi songs and the background score for the English film Bombay Talkie (1971).
79. Their music boosted the careers of Raj Kapoor, Nargis and Rajendra Kumar, and gave the ‘Yahoo’ image to Shammi Kapoor.
80. Through their songs popularized instruments like the violin (‘Jaane kahan gaye who din…’ – Mera Naam Joker), the piano (‘Dost dost na raha…’ – Sangam, ‘Dil ke jharaonkhe mein…’ – Brahmachari) and the accordion (‘Awara hoon…’ -Awara).
81. Way back in 1965, S-J charged a record-breaking rupees five lakhs making them the highest-paid music directors ever.
1) Asrani can be seen in the first row of chorus in the song, “Ab kahan jayen hum..” in’Ujala.’ He also appears in the movie, “Hare Kaanch ki Chudiyan” but we always think of his debut as “Umang”2) Subhash Ghai lip-synched on several songs partially in ‘Umang’ but also “sang” the Rafi song completely in the same film, “Baabul kaun ghadi..”3) Jaya Bhaduri never had the opportunity to sing a song of SJ. However, Jaya acted on the Asli Naqli song “Tujhe jeevan ki dor se” in Guddi with Dharmendra.4) Amitabh never had the opportunity to sing a song of SJ. BUt Shankar’s favorite dummy words “Tandana Tandana..” became a mukhda of his (LP) song where he mimicked Mehmood.”Tandana Tandana..” words were first heard in “MayurPankh” and later in “Gumnaam”5) “Gumnaam” becomes the only film ever that had music influenced by a Hollywood film and that influenced a Hollywood film in return! The two films are “Charade” and “Ghost World” respectively.6) “Gumnaam” had Mehmood singing “Bhai Battoor..” which later became a song in Padosan.Mehmood also sang “Lal ghoda..” in “Shatranj” which became a full-fledged song in “Kunwaara Baap”7) “Ram Teri..” song “Sun Sayba..” is influenced by “I love you..” from “Sangam”8) The tune for “Jaane kahan gaye woh din…” was first heard in background music of “Jis Desh mein…”9) The Goan tune for “Na maagoo sona chandi..” was first heard in background music of “Awara.” It was played just before the song “Dum bhar jo udhar moonh phere”10) “Jaaon kahan bata ai dil” from “Chhoti Bahen” was influenced by the title music of “New Delhi”11) “Mora nadaan balma” from “Ujala” was influenced by the title music of “Mayurpankh”12) “Kisiki muskuraton pe” from “Anari” was influenced by the background music of “Shree 420″13) “Sambhal ke karna..” tune from “Ek Phool Char Kaante” was used in the background of “Golmaal” by RDB very often. SDB also used a tune from the same movie in “Chupke Chupke”14) Besides Rajendra Kishan who wrote lyrics for “College Girl,” SJ also utilized the service of lyricist Deepak in “Boot Polish” when Shailendra was alive.15) Though Shailendra was associated with Shanker, it was Hasrat Jaipuri who wrote the lyrics in Shanker’s solo venture, “Street Singer” produced by Chandrashekhar. Hasrat Jaipuri also appears in the movie. Shanker did so under the pseudonym, Suraj. The other movie he composed music for, under this name was the Marathi, “Tee Mee Navhech.”16) Jaikishan appears in “Main Sundar Hoon” with Anand Bakshi, his only film with SJ.17) Gulshan Bawra appears in two songs of SJ in “Beimaan” and “Jungle Mein Mangal.” He did not write lyrics for these movies but wrote lyrics for other SJ films like “Chori Chori,” (new) “Jaane Anjaane,” and “Aan Baan.”18) Neeraj acted on the song “Paise ki Pehchan..” in the film “Pehchan” and also wrote the lyrics for the same.19) Neeraj and Hasrat Jaipuri teamed together for SJ in the film “Dil Daulat Duniya” for a song. Later they also wrote all the lyrics for all songs of “Jungle mein Mangal.” The results weren’t great. I like the song “Tum Kitni khoobsoorat” They also wrote lyrics for Usha Khanna’s “Paani mein jale mera gora badan..” in “Munimji” (1973).20) “Kismat Ka Khel” had a Lata song with dummy words that sounded like “Echo Echo..” Years later, Shanker used similar words in a song in “Naari” which happened to be the only SJ song sung by Yesudas (with Amit Kumar), “Neeche zameen, upar gagan..”21) Director Prayaag Raaj yelled “Yahoo..” in the “Junglee” song whereas Shanker was responsible for “Ayaya Sukoo Sukoo..” Prayag Raaj later acted in “Bombay Talkie and also directed “Insaniyat” starring Shashi Kapoor and Madhu.22) Dattaram lip-synched for the song, “Tum mere pyar ki..” from “Bombay Talkie” acting as a playback singer.23) SJ were responsible for Usha Iyer’s first film songs in “Bombay Talkie” and this was about two years before her success in “Hare Rama Hare Krishna.”24) Ustad Ali Akbar Khan played the sarod in “Suno Chhotisi Gudiya ki..” Pannalal Ghosh played the flute in “Main piya teri..”Hazara Singh played the electric guitar in “Tera teer..”Manohari played the saxophone in “bedardi Balma..”25) Bappi Lahiri’s father Aparesh Lahiri sang an SJ song in “Badshah” (I have not heard this one.)26) Famous classical singer Bhimsen Joshi sang a jugalbandi in “Basant Bahar” with Manna Dey.27) Anuradha Paudwal, Alka Yagnik, Chandrani Mukerjee, Sharda, Dilraj Kaur all sang “Ari o sakhi..” for SJ together in “Kaanch ki Deewar.” Lead Stars Sanjeev Kumar, Smita Patil and Shanker all died within months after the release of the movie.28) “Gaya Bachpan..” from “Ankhon Ankhon Mein” was the last song recorded by Jaikishan.29) The movie “Preetam” has title music that is the same as that of “Mere Sanam” of OP Nayyar. The movie was released just a few months after Jaikishan died. Does anyone have an idea why? The producer of the movie was Bhappi Sonie.30) The first SJ movie without a Lata song was “Boot Polish.” It was also the only movie of SJ with RK without a Mukesh song!31) Aarti Mukerjee sang a song for SJ in “Boy Friend” in 1960 and the next SJ song that she sang was in 1974 for “Neelma.”32) Joy Mukerjee had SJ music only in two movies: “Love in Tokyo” & “Love in Bombay”33) The first RK Films movie to win a Filmfare Award was ‘Mera Naam Joker,” the last SJ movie of SJ with Raj Kapoor was the hero!34) Omprakash, the actor, directed the Raj Kapoor starrer “Kanhaiyya” produced by his brother, Pachhi. Pachhi also produced “Around the World” and “International Crook” in which Omprakash got to sing songs on screen!35) SJ had the privilege of composing music for the only complete original color film starring Madhubala, “Jwala.”36) The first color film for which SJ composed music was “MayurPankh” starring Kishore Sahu.37) SJ composed music for several films shot on foreign locations and provided music to suit the mood: Sangam, Pyar Mohabat, Naina, Dharti, An Evening in Paris, Love in Tokyo, International Crook, Singapore, Around the World, Saazish.. International Crook was shot in Alaska.38) SJ composed music for the first 70mm film in India: “Around the World.”39) “Dream Girl is coming” was what the posters said when “Sapnon Ka Saudagar” was about to release. SJ were amongst those who chose her for the role.40) The last SJ film to have multiple songs played on Binaca Geetmala was “Sanyasi.”41) “Krishna Krishna” is the only mythological film for which SJ composed music.42) Shammi Kapoor heads the list of SJ leading men. Rajendra Kumar comes a distant second. Vyjayanthimala heads the list of SJ leading women.43) The only Dev Anand song sung by Kishore Kumar for SJ was “Dooriyan Nazdikiyan” in “Duniya.”44) “Zindagi Ek Safar hai suhana..” from “Andaz” has three voice versions: Kishore Kumar, Asha Bhonsale and Mohd Rafi.45) Hemant Kumar’s daughter Rano Mukerjee sang a few songs for SJ in the mid seventies in “Saazish,” “Resham Ki Dori,” and “International Crook.” The song that she sang for”International Crook” was not used in that film but instead found its way in the film, “Eent ka Jawab Patthar.” The song was “Poochha jo pyar kya hai..” with Kishore Kumar.46) The film “Dur Nahin Manzil” was first assigned to Roshan who died. Later SJ were signed for the same and Jaikishan died during its making. Suman Kalyanpur had sung the title song for Roshan. She also sang for SJ in the film: “Bezuban dil shor na..” The heroine was originally Nutan. She had acted in producer Hari Valia’s earlier venture, “Laatsaab” but due to a misunderstanding with Sanjeev Kumar, she stepped out and was replaced by Bindu’s sister (and Laxmikant’s sister-in-law) Reshma.47) Mohd Rafi sang two non-film English songs for SJ. They were uploaded on the site earlier.48) SJ’s first HMV LP Album had a picture of them with their two 1959 White Impala cars with fins and also their Filmfare awards.49) HMV had released a Lata LP in which all songs were composed by SJ. The songs included: “Bol ri Kathputli..” “Mohabat ki Daastan..” “Jeevan ke do rahe pe khade..”50) Anuradha Paudwal did a cover version of Lata songs for SJ for T-Series. Later, HMV released a cassette with almost the same original songs.51) Almost all SJ films were from HMV. SJ’s first movie album to be released for Polydor (now Music India) was “Love in Bombay.” “Archana” was also on Polydor. “Chorni” was with INRECO.52) There is a chowk (street junction) called “Shanker Jaikishan Chowk” close to Eros Theatre in Mumbai.53) Some of the lead dual roles in SJ films:Shararat Kishore Kumar An Evening in Paris Sharmila TagoreBhai Bhai Sunil DuttChhote Sarkar Shammi KapoorMahfil SadhanaAtmaram Shatrughan SinhaYakeen DharmendraGaram Khoon Vinod Khanna54)Some non Hindi words in SJ songs:Kali Ghata: Il ya Belle…Shree 420: Rammaiyya vastavayya…Singapore: Rasa Sayang re…Junglee: Yahoo!…Sangam: I love you…Love in Tokyo: Sayonara…Pyar Mohabat: Hooray Hooray.. Aman: Puru sato Japan..Shatranj: Badkamma Ikkad po tora..Garam Khoon: Penelope…Eent Ka jawab Patthar:
6Jagadish Tc, Tamal Kanti Pal and 4 others1 Comment1 Share
Mehboob’s Andaaz (1949) made Raj a top star and in the same year it was the passionate romance Barsaat which really reckoned Raj Kapoor as a director of much merit. Barsaat, a runaway hit, also brought to the limelight new music directors Shankar-Jaikishen, lyricists Shailendra and Hasrat Jaipuri and the actress Nimmi. The raw passion between Raj Kapoor and Nargis in Barsaat shot with a beautiful almost poetic use of light and shade drove audiences wild. The music of the film was hummed across the nation and along with Andaaz and Mahal that year, the songs were instrumental in Lata Mangeshkar’s climb to the top as a playback singer. In fact Raj Kapoor’s musical sense and feel for rhythm and involvement in music sittings have ensured the highest quality of music in his films.
The fifties saw Raj Kapoor’s greatest work as a Producer‑Director besides establishing himself as one of India’s biggest ever film stars along with Dev Anand and Dilip Kumar-the Trimurthi! Awaara (1951), the tale of a vagabond was perhaps his greatest triumph and was released in Russia as Bradyaga to unprecedented success. It’s dream sequence with huge statues set amongst the clouds to the strains of Nargis dancing to Ghar Aaya Mera Pardesi is a cine-east’s delight even today! With Awaara, Raj Kapoor created the Chaplinisque tramp, an allegory for the innocent state of mind of the post Independent Indian. This image was used once again in Shree 420 (1955) tracing the corruption of an innocent soul who comes to the city to make his living. In fact. many of Raj’s other films look at the naove simple hero used by a cruel and corrupt society like Anadi (1959).
After his break up with Nargis (their last film together was AVM’s Chori Chori (1956) though she did do a in Jaagte Raho (1956). Chori Chori was directed by Anant Thakur and produced by AVM Film company from Madras. This could explain why the film was based in the South as the hero and heroine travel all over the countryside from Madras to Bangalore. Chori Chori was inspired by Frank Capra’s 1934 comedy-It Happened One Night starring Clark Gable and Claudette Colbert. This kind of comedy was a genre that was extremely popular in the 1930s till the grim realities of World War II made their presence felt. Comedies generally worked on the battle of the sexes as the hero and heroine gave it to each other before finally falling in love. Their bickering and fighting with each other as they exchanged barbs and double entendres is what constituted the fun element of the film.
The key character in this battle of the sexes would be the heiress. She was often dizzy, saucy, flighty who fled from homes, jilted bridegroom at the altar and generally carried on with total disregard for the existence of breadlines and unemployment. Thus she was used humorously in such films as an object of contempt and ridicule. Of course by the end of the film not only does the hero snag the heiress but through him she is also humanized to see normal life and normal people quite unlike herself. And when she has to escape with the hero when her father’s detectives land up there is by behaving normal, as the normal wife of the normal hero. And during the film the hero takes on the weight of becoming the very image of the people revealing them in the process of revealing himself to the haughty, upper class heroine.
Chori Chori is a typical example of what constitutes a road film. While a popular genre in Hollywood, India has never really embraced this format and the efforts have been few-Bombay to Goa (1972) or Dil Hai ki Maanta Nahin (1992) which incidentally was also a remake of It Happened One Night and Roman Holiday combined.
Perhaps this is so because the road is an enduring theme in American culture. The road movie I in this regard like the musical or the Western, a Hollywood genre that catches peculiarly American dreams, tensions and anxieties.
Nargis is a revelation in the film as the dizzy heiress. She proves she can play screwball comedy as effectively as she could her intense dramatic roles. It is a fine perfomance with her sense of comic timing spot on. See her as the puppet in the Jahaan Main Jaati Hoon song. It is Nargis’s sense of razor sharp timing that offsets her inability. She carries off the song sequence excellently by her expressions. Raj Kapoor of course had born comic talent. He is absolutely perfect in the role of the impoverished journalist Sagar. Chori Chori marks yet another land-mark in Raj Kapoor’s illustrious acting career. Pran does his familiar bad man turn with relative ease. They are more than strongly supported by the comic element of the film-Gope, Johnny Walker and Bhagwan.
Chori Chori represents some of the finest work of Shankar-Jaikishen in their entire career. The evergreen musical score with lyrics by Shailendra and Hasrat Jaipuri ensured Shankar-Jaikishen their first ever Filmfare Award for Best Music. The film has brilliant songs with each song better than the other. First and foremost are the two all time great Lata Mangeshkar-Manna Dey romantic duets Yeh Raat Bheegi Bheegi and Aaja Sanam Madhur Chandni Mein Hum. With Mukesh trying his hand to be an actor this was the phase when Manna Dey briefly sang as the voice of Raj Kapoor in films like Shree 420 and Chori Chori.
As one hears Manna Dey one cannot but think sadly that the film industry never really gave this great singer his due. He was always regarded a poor second to Rafi, Mukesh, Kishore, Talat or Hemant Kumar which is a pity because Manna Dey was such a fine singer with an extremely strong classical base himself. Lata Mangeshkar of course leaves her stamp on the film with perhaps her greatest sad song ever-Rasik Balma. It is perhaps technically the best composition of the film and the emotion and pathos with which Lata renders this song is unbelievable. Only such a gifted singer could give such expression to words like Lata could
While Raj Kapoor continued to explore social issues-Jis Desh Mein Ganga Behti Hai (with Padmini & Pran) (1960) or complex human relationships-Sangam (Raj-Rajendra Kumar-Vyjayantimala) (1964) there is a marked difference in his treatment of the heroine who became a sex object with a high accent on her physical attributes! Reverting back to the Chaplinisque image, Kapoor made his magnum opus Mera Naam Joker (Raj-Kapoor, Dharmendra, Rajednra Kumar, Dara Singh, Manoj Kumar, Padmini, Simmi, Sonia Sahni, Pran, Rishi Kapoor) (1970) about the circus-joker who laughs on the outside and cries within and though absolutely brilliant in parts (particularly the first chapter of the adolescent hero discovering love and sex) the film, a highly self indulgent exercise flopped miserably at the box office shattering him.
‘Wattan’ was a ambitious movie being produced in late 70s by a ambitious producer A.A.M.Noorani who originally was a business tycoon and native of Muscat, UAE, but was fascinated so much by Indian movies that he decided to take nationality of India and to settle down in Bollywood with the sole ambition of becoming a high profile producer. In mid 70s he came to Mumbai(Bombay then) and studied the film production business to understand the nuances of making dreams on celluloid after which he launched his maiden venture Wattan at a grand scale. He signed stars like Ashok Kumar, Sunil Dutt, Amjad Khan, Sanjiv Kumar, Sanjay Khan, Rekha, Reena Roy, Premnath, Ranjeet, Shakti Kapoor etc for Wattan. It was to be directed by Kanak Mishra and music was being composed by Shankar-Jaikishan. Around 7 reels were shot till mid of 1978 along with recording of 5 songs out of which two were picturized. The movie was based on mutiny of 1857 which was the first struggle for freedom. Ashok Kumar, the protagonist, was playing the last Mughal King Bahadur Shah Zafar, whereas Sunit Dutt was playing a poet who was compelled to leave his pen and hold a sword for the love for his motherland. Rekha was playing his love interest on whom Amjad Khan was having a eye.Sanjay Khan was playing the role of a messenger who use to deliver messages in return of a loaf of bread or blanket.Sanjiv Kumar was playing as Mirza Ghalib. The movie was being made on a grand scale before it got shelved down unceremoniously. The reason perhaps was the untimely demise of producer Abdul Abbas Mohammad Noorani.
Album of songs used in Prithvi TheatresCourtesy Abhay AcharekarShankar Jaikishan in a play PATHAN of PRITHVI THEATRES Prthvirajkapoor with Shankar Jaikishan and Hasrat Jaipuri during #Barsaat (1949)photo courtesy Lakshmi K. Tummala
FROM SHRI (now late )PRADEEP GUPTA A MEMBER OF shankarjaikishan group on Yahoo
photo courtesy Akhtar Jaipuri (son of lyricist Hasrat Jaipuri )
A new thread of our beloved SHANKAR-JAIKISHAN’S success is going to tell us altogether a different story. Just look at the the fabulous record of their grand success: 1. SJ left an impact on the fraternity of music directors that several music directors like LP, RDB, KA, Usha Khanna, Nadeem Shravan and Anu Malik proudly declared them as their idols; 2. Film’s having SJ music got total 27 Film Fare Awards and 2 National Awards; 3. Mohd. Rafi got six Film Fare Awards out of which 3 were for SJ songs; 4. Mukesh got 4 Film Fare Awards out of which 3 were for SJ songs; 5. Manna Dey got his only Film Fare Award for SJ songs; 6. Hasrat, Shailendra, Neeraj got all their Film Fare Awards for SJ songs; 7. Asha Bhosle got maximum Film Fare Awards under the baton of SHANKAR-JAIKISHAN (RDB); 8. Manna Dey won National Awards twice, both times for SJ songs. Non of the music composers mentioned hereabove and others as well could out perform them in terms of no. of awards they bagged. Just do the simple calculation. LP, KA, RDB gave music atleast twice the no. of movies done by the duo, but still they all are far behind of our beloved SJ. Even the younger generation, which claims ARR to have equalled SJ bagging nine FFA is in fact far behind of them in terms of their grandeur. HARI ANANT HARI KATHA ANANTA. With best regards. Sincerely yours Pradeep Kumar Gupta
Late Pradeep Kumar Gupta a die hard Shankar Jaikishan fan
As Shankar Jaikishan Fans, we have all read and heard about the spectacular music shows and their stupendous success. The record breaking attendance and funds collected at their shows is a matter of wonder cos never before or after were such events held.
Following is a write-up by one of our members, Dennis Shah, who was fortunate enough to have attended one of SJ shows and remembers it vividly to this day.
This is verbatim of an ardent Shankar Jaikishan fan, Mr. Dennis Shah, who was a witness to one of the most memorable events in the history of music. Read on…
I have been a member of this forum for a number of years now. I can’t say that I have read every post in this forum over the years nor have I contributed to this forum but as far as I can remember I have not come across news coverage or personal reminisces, eye witness accounts of the S-J performing live. Yes, I have seen the multipart clips on YouTube of SJ Night held in 1970 at the famous Shanmukhanand Hall in Mumbai. I am not sure if many SJ devotees know that there was another event similar to the one held in Mumbai in 1970. Subsequently another SJ Night was held in Ahmedabad. Matter of fact two nights were held back to back on consecutive evenings in Ahmedabad.
I am not entirely sure about the dates but going by my personal time line it would have taken place in 1970 or more likely 1971. I do distinctly remember the two venues where the SJ night took place. The first of the two events was held in a more exclusive and intimate setting at the Seth Mangaldas town hall and the other, the bigger of the two, star studded event was held the next day before an audience of thousands in an open air arena – the newly constructed Police Stadium in Shahibaug Ahmedabad. I had the good fortune of being present at the former event.
Unfortunately, I do not have the precise dates as well as the complete details of the circumstances surrounding the events. Nor was I in the habit of maintaining a dairy. Suffice to say that both the events were fund raisers. I vaguely recall that the first night was organized by the Rotary Club for the benefit of either the Red Cross society or the Soldiers Fund.
I have no specific firsthand knowledge details of much bigger event held at the Police Stadium. The event was covered by Times of India Ahmedabad edition as well as in the vernacular press. This was the star studded event with Raj Kapor , Rajesh Khanna along with other major stars and among the actresses I believe Mala Sinha was present as well.
A recent visit to Ahmedabad brought back many memories of this remarkable evening while I was going through the mementoes and memorabilia of my youth and found Shardaji’s autographed picture that I had managed to obtain on that day. That re-discovery led me to share with the members of this forum my recollections of that event for what it is worth. I hope my recollection will be of some interest to SJ fans and will add to the growing body of information and opinion on SJ that is accumulating on-line.
As I have mentioned before the first event was a more exclusive event held at the historic town hall. This venue has had an illustrious history in the cultural life of Ahmadabad. It has hosted luminaries of classical music, the giants of the Gujarati stage, the greats and near greats of the Bombay film and music world as well as countless local college talent shows. Ahmadabad town hall was also the venue of Begum Akhtar’s last concert before she passed away later that same evening.
My being there for the first ever SJ night in Ahmedabad happened in a most serendipitous manner. Since the local electric utility company my father worked for was a major sponsor of the event, the complimentary passes were given to the CEO of the company who offered my dad some of the passes who probably told the boss that I might be interested. All this happened in a matter of hours on the day of the concert and I was whisked away in the boss’s car and found myself sitting in the second or third row of the Shankar Jaikishan and Their Music Shows
As Shankar Jaikishan Fans, we have all read and heard about the spectacular music shows and their stupendous success. The record breaking attendance and funds collected at their shows is a matter of wonder cos never before or after were such events held.
Following is a write-up by one of our members, Dennis Shah, who was fortunate enough to have attended one of SJ shows and remembers it vividly to this day.
This is verbatim of an ardent Shankar Jaikishan fan, Mr. Dennis Shah, who was a witness to one of the most memorable events in the history of music. Read on…
I have been a member of this forum for a number of years now. I can’t say that I have read every post in this forum over the years nor have I contributed to this forum but as far as I can remember I have not come across news coverage or personal reminisces, eye witness accounts of the S-J performing live. Yes, I have seen the multipart clips on YouTube of SJ Night held in 1970 at the famous Shanmukhanand Hall in Mumbai. I am not sure if many SJ devotees know that there was another event similar to the one held in Mumbai in 1970. Subsequently another SJ Night was held in Ahmedabad. Matter of fact two nights were held back to back on consecutive evenings in Ahmedabad.
I am not entirely sure about the dates but going by my personal time line it would have taken place in 1970 or more likely 1971. I do distinctly remember the two venues where the SJ night took place. The first of the two events was held in a more exclusive and intimate setting at the Seth Mangaldas town hall and the other, the bigger of the two, star studded event was held the next day before an audience of thousands in an open air arena – the newly constructed Police Stadium in Shahibaug Ahmedabad. I had the good fortune of being present at the former event.
Unfortunately, I do not have the precise dates as well as the complete details of the circumstances surrounding the events. Nor was I in the habit of maintaining a dairy. Suffice to say that both the events were fund raisers. I vaguely recall that the first night was organized by the Rotary Club for the benefit of either the Red Cross society or the Soldiers Fund.
I have no specific firsthand knowledge details of much bigger event held at the Police Stadium. The event was covered by Times of India Ahmedabad edition as well as in the vernacular press. This was the star studded event with Raj Kapor , Rajesh Khanna along with other major stars and among the actresses I believe Mala Sinha was present as well.
A recent visit to Ahmedabad brought back many memories of this remarkable evening while I was going through the mementoes and memorabilia of my youth and found Shardaji’s autographed picture that I had managed to obtain on that day. That re-discovery led me to share with the members of this forum my recollections of that event for what it is worth. I hope my recollection will be of some interest to SJ fans and will add to the growing body of information and opinion on SJ that is accumulating on-line.
As I have mentioned before the first event was a more exclusive event held at the historic town hall. This venue has had an illustrious history in the cultural life of Ahmadabad. It has hosted luminaries of classical music, the giants of the Gujarati stage, the greats and near greats of the Bombay film and music world as well as countless local college talent shows. Ahmadabad town hall was also the venue of Begum Akhtar’s last concert before she passed away later that same evening.
My being there for the first ever SJ night in Ahmedabad happened in a most serendipitous manner. Since the local electric utility company my father worked for was a major sponsor of the event, the complimentary passes were given to the CEO of the company who offered my dad some of the passes who probably told the boss that I might be interested. All this happened in a matter of hours on the day of the concert and I was whisked away in the boss’s car and found myself sitting in the second or third row of the auditorium right in the middle section of the row. I am pretty sure we were given the play bill (brochure) up on our arrival and I had it saved for many years. However, it seems to have disappeared from amongst my collectibles.
It was a thrill of a lifetime to say the least. I was in my late teens and already a diehard SJ fan by then. I must say that it was the best of times for me to be a SJ fan. It has been many years since that day but I remember certain highlights as it were yesterday. I saw the cream of Ahmedabad society seated in the front rows along with government dignitaries and local celebrities like All India Radio announcers(among them Harry Lemuel RIP) and artists.
As I recall the event began without any official speech with Amin Sayani making the introductory announcement followed by Raj Kapoor’s appearance on the stage. This (show) was the first and only time I saw RK in person and at very close quarters. I was struck by the fact that he was a very fair and handsome man. RK then introduced SJ and the show began with the full orchestra. I saw Shankar for the first and only time at this event as for Jaikishan I had seen him once before about six or seven years prior to this event while I was still in grade school. But that is another story for some other time. To me he looked the same as he had when I had first seen him.
I will now attempt to chronicle my impressions of the event in no particular sequence as best as I can after a lapse of so many years. I know memory can play tricks and can make a person imagine things that did not actually happened as they now see in their mind’s eye. I hope you will bear with me and help fill in the gaps if possible by eliciting additional information about this event from members / fans who may have further details of the circumstances surrounding this event.
Seeing and listening to the glamorous Shardaji’s sing “Titli Udi” was one the major highlights of the show. This was one of Sharda’s very first song and one of my personal favorite as I particularly liked the string and flute based musical interludes. Sharda sang many songs including Jaane Bhi De and Sun Sun Sunre.
Shankar employed a vigorous mostly one hand gesture and moved about the stage I suppose to conduct the rhythm section. Jaikishan on the other hand employed a very stylish two outstretched arms and hands gesture and seemed to be concentrating on the singer.
During the course of the program word came down that the Mohammed Rafi would not be present for this version of the SJ night. That realization left me a little bit crest fallen as I was so very much looking forward to hearing the great Rafi Saab.
Another highlight was Mukesh’s “Sangam Hoga Ke Nahi” Towards the end of the song RK appeared on stage with the bagpipe prop and danced to the song. Musically the interesting thing for me was that the bag-pipe sound was created by a bunch of flute and reed instrument players who shared a microphone on the left side of the stage. Other Mukesh songs that I recall were Sajan Re Jhoot mat bolo and Jane Kahan Gaye Who Din. There was also “Chaale Jaana Jara …” duet with Sharda.
Manna Dey sang Ai Bhi Jara.. and number of other songs as well.
I am pretty certain that there was another female singer on the bill other than Shardaji but for the life of me I cannot recall who that was.
The standup comedy interludes were presented by a young and dynamic Deven Verma in top form. There are two routines I particularly remember to this day. One was a takeoff on James Bond – Indian version of 007. The other one was about how males of different linguistic groups romance their sweethearts. He used a pillow as a prop and carried on a two way conversation. Deven with his expertise in dialects and mannerism made it absolutely hilarious and saved the best for the last by demonstrating how an American would romance his beloved by removing the pillowcase from the pillow which brought the house down.
I do not recall S or J speaking a single word to the audience during the course of the program. I also do not recall the presence of any famous movie star other than RK that night. I know I am not giving due credit to Amin Sayanee as it is virtually impossible for me to recall exactly what he said but suffice to say he was a great MC.
As for the second SJ night that took place in the open air arena in front of thousands of people was widely covered in the press. Mohammed Rafi did appear along with other stars. I remember reading in the news accounts of the event that Rajesh Khanna along with Mala Sinha (?) and other stars were present for the show.
The only way to find out definitely the singers, musicians and film stars who were present would be to have access to the news papers of that time or to elicit information from those who happened to be in the audience or were involved with the big show.
Back to the photo. I do not mean to sound self important, but we were given to understand that the photo was made available to guests in the VIP section and that Shardaji had personally signed the photo for the occasion. For all I know this may have been a standard pre-autographed publicity shot that was widely circulated at the time.
Now looking back at it after a period of nearly forty years I can still vividly recall some of the sights and sounds of that memorable evening in Ahmedabad. I consider myself very fortunate to have seen my musical heroes at close quarters at that stage in my life in peak form. These are some of the memories that will stay with me for the rest of my life.
I know there are so many people including HFM music scholars, journalists, musicians, biographers and avid fans who may have some more light to shed on this and similar events in the musical history of SJ and I would love to hear from them.
The South Indian producers and directors have had a long love affair with Shankar Jaikishan music and so did the southern music lovers who enjoyed Hindi music as much as, or even more than, their counterparts from other parts of the country. Many a times, they re-produced super hits of the Telugu versions in Hindi with great success. AVM Productions made the ever popular Chori Chori (1956) that won SJ their first Filmfare Award for Best Music Director. Another was, Main Sunder Hoon (1971). Producer/director and Dada Saheb Phalke Award winner, L. V. Prasad worked with SJ in Chhoti Bahen (1959) under his home banner Prasad Productions. With the super success of Chhoti Bahen, Prasad also made Sasural (1961), Humrahi (1963) and Beti Bete (1964), which all were re-makes super hit Telugu movies and had silver jubilee runs. Sasural won SJ another Filmfare Award. Then came, College Girl (1960) by noted director, T. Prakasa Rao who had a very long association with SJ. He also directed Humrahi (Prasad Productions), Suraj (1966), Duniya (1968) and Rivaaj (1972). SJ won a Filmfare Award for their work in Suraj. The very famous producer/director C. Sridhar made Dil Ek Mandir (1963), a re-make of a Tamil blockbuster, with SJ music and followed it up with Dharti (1970) and Duniya Kya Jane (1971). B. Ananthaswami’s Screen Gems made Sapnon Ka Saudagar (1968) that launched Hema Malini. B. R. Panthulu made Dil Tera Diwana (1972) for Padmini Pictures. Gemini Pictures made Zindagi (1961) and followed it with Shatranj (1969) in partnership with N. N. Sippy. SJ worked in Vikram Productions movie Bhai Bahen (1969). K. Shankar made Sachhai (1969) for MCR Pictures’ Pardey Ke Peechhey (1971) and Bandagi (1972). Navashakti Productions has SJ compose music for their Telugu movie, Jeevitha Chakram (1971) with the legendary actor turned Chief Minister, N. T. Rama Rao which had a very successful run. Aankh Micholi (1972) was made by EVR Pictures in Chennai. Director K. Shankar made Rajkumar (1964), Sachhai (1969) Pardey Ke Peechhey (1971), Bandagi (1972), Chhote Sarkar (1974). Last but not the least is Chandrashekhar who made Street Singer (1966) with his dear friend, Shankar composing music under the pseudonym, Suraj. It should be noted that all the above movie makers had great confidence in the ability and talent of SJ and felt that every rupee paid to them in remuneration would be paid back a hundred fold in returns. Almost all of the above movies enjoyed great success with SJ music.
L. V. Prasad was impressed by SJ’s “jiya bekrar hai chhayi bahar hai..” from SJ’s first movie Barsaat (1949). He had the song as an inspiration for a number in his film Samsaram (1950) released the following year. ENJOY!
Seen in the picture taken at the premier of Suraj are (from left to right): Jaikishan, Krishnamurthy (Producer, Venus Pictures), Vyjayanthimala and Shankar. (Back row): Director T. Prakash Rao, Rajendra Kumar and others.
Shankar-Jaikishan, the prolific duo, reshaped Indian music with their innovative compositions. Their brilliance extended beyond melodies, creating timeless symphonies that resonate across generations. Their mastery over diverse musical genres, from classical to Western influences, showcased their versatility and ingenuity. ❤️
Their harmonious collaborations resulted in soul-stirring compositions, weaving intricate tunes that effortlessly captured emotions. The depth of their arrangements, adorned with intricate rhythms and enchanting melodies, reflected their meticulous craftsmanship.
Shankar-Jaikishan’s distinctive style not only entertained but also challenged the conventions of Indian film music. Their ability to infuse classical nuances with contemporary beats redefined the boundaries of musical expression. Their legacy endures through compositions that remain etched in the hearts of millions, a testament to their unparalleled contribution to the rich tapestry of Indian music. Their melodies continue to echo the beauty and magic of their musical genius, transcending time and enchanting listeners worldwide.
Main sunati hun ke maajra e ajab.. (Mubarak Begum, Shankar Shambhu)Lyrics: Traditional The fifth nautanki song from the film and the most unique and unusual one, sung by a famous qauwal duo Shankar-Shambhu. It comes as a part of a “Laila Majnu” dance play, in the film and is in a pure rustic and authentic nautanki style composition. SJ beautiful adapted awadhi folk style to compose the song and arranged it with basic ensemble of clarinet, dholak, nagada and sarangi. The 6 min long song has two distinct parts each of 3 minutes duration. The first one has a narrative style composition in Shankar-Shambhu’s high pitched voice, whereas the second part is a duet between them as Majnu and Mubarak Begum as Laila. The whole piece sounds perfect in its most raw and naive form. ******”Teesri Kasam” is always remembered for it’s mesmerising soundtrack, content and amazing performances by Wahida ji and RK. Her natural beauty and flowless portrayal of Hirabai including the expressions, gestures, grace, dance moves and dialogue delivery, all are exemplary. RK gave one of his best performance after “Jagte Raho”, although he told in one interview that he didn’t like the film much..!Unfortunately, the movie goers were not mature enough to appreciate the quality cinema at that time and this outstanding movie failed at the Box Office, in spite of its supreme soundtrack. This shock took its toll on Shailendra and he died untimely at the age of 45 on 14th December 1966, a birthday of his friend Raj Kapoor. Later the film won National Award for best feature film, but alas, he could not see this golden day. In today’s times, “Teesri Kasam” is considered a classic and one of the best content based films of hindi cinema.
Dm
दिलरुबा दिल पे तू
हाय, क्यूं मुझे खाक करने पे तुले हो जालिम!!!आखिर क्या बिगाड़ा है,मैंने तुम्हारा?????हहह!!!
I would not name anybody in particular but in the seventies eighties and nineties very few lyricists have been able to impressIt has been a two way traffic…there has been a dearth of good screenplay writers and directors…and stars have taken over the business of film-making.Raj Kapoor, the director, from the very beginning, believed that songs were an essential part of narrating a story on screen. 
SHANKAR-JAIKISHAN 