Shankar Jaikishan : The Incessant Shower of Exuberant Melody

GATEWAY OF STUFFS ON SHANKAR-JAIKISHAN

 Follow us on twitter 

https://twitter.com/SJFansAssnHyd

WELCOME!!! to the World of  Shanker-Jaikishen’s  memories. The duo who ruled the Music Scenario of Hindi Film Music with their debut film Barsaat for continuous 20 years like Emperors of Melody are still now most listened but less mentioned.  It is a humble effort to spread information about them, their films and music to their die hard fans. You will find rare articles, photos, stories, anecdotes about them here.  Since Lyricists Shailendra and Hasrat Jaipuri were their inseparable parts, this blog is also a memorabilia of Fab Fours SJSH (Shankar-Jaikishan-Shailendra-Hasrat). 

fourwalls

FOLLOWING FEATURE IS WRITTEN BY Shri Trinetra Bajpai

SJArticleTrinetraBajpai1

SJArticleTrinetraBajpai2

SJArticleTrinetraBajpai3

SJArticleTrinetraBajpai4

 JOIN US ON FACEBOOK

https://www.facebook.com/groups/sjtheemperorsofhfm/

ALSO PLEASE VISIT INTERESTING BLOG here

https://cinemamagicdays.wordpress.com/

The Myths Surrounding Shankar Jaikishan

by

 

When anyone reaches the dizzying heights in their career, gain unheard of national and international fame, and win stupendous fan following from the common man to stalwarts in the entertainment and political world like Shankar Jaikishan did, it is but natural for their peers to feel a twinge of jealousy. Their contemporaries and media spun all kinds of fictitious stories about SJ to gain attention. Some in the music industry wanted to dismantle SJ from the “pedestal” their fans put them on and the media wanted to sell their product. The public was so fascinated by the composer duo’s persona and would take anything and everything written about the duo and believing it. SJ were so busy in their work that they hardly ever gave any interviews which would have helped to set the record straight.

It was said that SJ were arrogant and did not spare time to give interviews to the press. This is far from the truth. The reason was that SJ were extremely busy and they hardly ever had the time. Thus, the little time that they had was spent on their personal interests. Shankar, the consummate musician that he was, spent all his spare time composing tunes, learning to play new instruments and meeting with classical musicians who were of great interest to him. Jaikishan, on the other hand, was a social butterfly. With his handsome looks and successful career, he was always surrounded by friends and fans. Being a “party animal,” he was always spotted at social events where he was the center of attraction.

That Shankar was rude, crude and uncouth cannot be more false. He may not have been highly educated, but he was a man of honor. Being a thorough professional, he always delivered his assignments on time and, thus, could never tolerate tardiness and irresponsibility. He reprimanded those who were not, which left him in their bad books.

Nothing is as far from truth as Shankar Jaikishan being dropped from movies because of their high remuneration. As their popularity grew, so did their number of assignments. At the top of their career, in 1971, SJ were the busiest in town with nineteen movies on hand and couldn’t take on any more assigments. This was true with producers like Sridhar, L. V. Prasad, P. Gangadhara Rao, S. S. Vasan, T. Prakasa Rao from the south who were actively making movies and very bady wanted SJ to compose music for their upcoming movies. But the composers were swamped with work and couldn’t oblige. Movie making is a high risk gambling. Films are financed at twenty five percent interest rate and, as it gets closer to release date, the interest rate sometimes jumped to thirty percent too. With this factor involved, the producers couldn’t afford to wait for SJ to be free to work for their movies. So, they opted for other music directors who were ready to work for them at a fraction of the remuneration and meager orchestra which reflected in their run of the mill work.

Lata singing in Shankar Jaikishan concert alongwith Jaikishan

Another fallacy about SJ is that after the demise of Jaikishan, Shankar was a spent force and couldn’t meet the expectations of their fans. The fact is, not only did he complete all the nineteen movies signed for 1971, he even went on to compose music for forty two more movies, single handedly. This is proof that there were many producers who believed in his talent and that the maestro still had the mettle left in him. At the peak of their career, SJ were paid five lakhs for a movie. With Jai’s death, some producers felt that they should cut that amount to half since it was only one composer doing the job. This resulted in a lower budget and fewer musicians to work with in his orchestra which had a negative effect on the compositions. The main reason for the failure of some of SJ’s later movies lies in the mediocre actors, poor story line and screen play.

Lata Sanyasi

That Shankar had a fascination for Sharda and preferred her to Lata and, therefore, switched to the former for female songs was never the case. From their very first movie to the last, SJ chose their singers keeping in mind the lyrics and the actor for who the playback was done. There are many movies in which both Lata and Sharda sang as per requirement of the characters. However, Lata felt threatened by Sharda’s popularity and SJ’s support of her which lead to the former holding a grudge against him. She later returned to the SJ camp to sing many more songs. Yet, Shankar maintained the same regard for the singer till his end.

People may have said and done what they wanted to thwart SJ (Shankar)’s career, but they couldn’t erase their fame and name to this day. SJ reign supreme in the hearts of their fans!

LikeShow more reactions

Comment

Comments

Anand Thaker
Anand Thaker Very, very nicely expressed

Mithun Krishnan
Mithun Krishnan Beautifully put mam,people need to know the truth.

Dharma Kirthi
Dharma Kirthi Excellent write up, on a very important part of the legendary composers. They were popular and enigmatic. This was fodder for gossip mongers and their detractors.
Their popularity added value to anything written about them which made good business for media.
Thank you Lakshmi for this beautiful article.

Mohan Natarajan
Mohan Natarajan Excellent writeup!

Niranjan M Thakur
Niranjan M Thakur bikul sahi….SJ APRATIM HAIN… KOI UNKE JAISA NA THA NA HOGA…

Harish Joshi
Harish Joshi Suraj pe mitty dalo to bhi Suraj ki roshni cum nahi hoti. SJ R EVER SHINING SUN. blame of any degree can not get them down.

Avinash Parikh
Avinash Parikh Very truthful article. The clouds can not hide the moon for a long duration. The moon shines and shines. The pair of SJ WILL BE REMEMBERED TILL THE LAST DAY OF THIS EARTH.

Harjap Singh Aujla
Harjap Singh Aujla Most big music directors were jealous of SJ. I won’t name them.

Shrikrishna Lele
Shrikrishna Lele very very true .after 1971, departure of Jai Shankar took the realm of their kingdom and carried their flag very high with movies like – Sannyasi , Beiman and pehchan.its all credit goes to talented Shankar. Shankar was simple man who loved music music and music only. However others and media played politics with him.

Mohit Bhatnagar
Mohit Bhatnagar Shanker,being an honest person and true to his words,continued to remit half of the fees to the widow of Jaikishan

Lakshmi Kanta Tummala
Lakshmi Kanta Tummala With Shankar’s care and generosity, most musicians in his orchestra were loyal to him and worked till his end.

Nand Kumar
Nand Kumar Lakshmi Kanta Tummala..This is a lucid elaboration of what went on outside the music room. Still l would like to know how Shanker’s widow has been doing these last 29 years since 26th April 1987.

Shrikrishna Lele
Shrikrishna Lele Shankar married to a girl name Kunda in very simple manner and very few celebrity attended that marriage. they had no issue. However then nobody knows what happens to her.

Shrikrishna Lele
Shrikrishna Lele Perhaps Laxmi ji may throw some light on this private side of Shankar ji.

Nand Kumar
Nand Kumar l popped this small question because everyone knows about the handsome Jaikishan’s marriage, wife Pallavi, 2 sons and 1 daughter Bhairavi. So why it was always sought to put Shanker in the shade ?

Lakshmi Kanta Tummala
Lakshmi Kanta Tummala Nand Kumar and Shrikrishna Lele, unlike Jai, Shankar was a very private man and, thus, maintained a very low profile. He married a widow named Kunda with two sons. The two did not have any children of their own. Kunda also passed away a few years after Shankar. No one knows the whereabouts of the step sons.

Nand Kumar
Nand Kumar Lakshmi Kanta Tummala..l thank you very much for this information about my most favourite maestro Shanker. My respect for him has gone up even higher..if that is possible ! He was a genius and a magician in creating lovely tunes, and exhilerating preludes, interludes and epilogues.

Sudarshan Pandey
Write a reply…
Chandraksh Pandya
Chandraksh Pandya Very Nice Write Up

Mohit Bhatnagar
Mohit Bhatnagar Very logically explained in a convincing manner

Haribhai Darji
Haribhai Darji well written which is fact

Arun Bajaj
Arun Bajaj Most of the old time music-directors and singers have regularly displayed ‘collective amnesia’ when it comes to Shankar-Jaikishan and Shankar-Jaikishan alone.This is just plain blasphemy..!

Mohit Bhatnagar
Mohit Bhatnagar I have Naushad’s biography with me,written by Chaudhary Zia Imam” -Zarra Jo Aftab Bana”(published by Penguin) wherein Naushad while talking about his contemporaries,speaks of MD Chitragupt and even Lacchiram but not a word is uttered about SJ

Lakshmi Kanta Tummala
Lakshmi Kanta Tummala Mohit Bhatnagar, when questioned about it, Naushad said that he simply forgot.

Sudarshan Pandey
Write a reply…
 
Mohan Prasad Sinha
Mohan Prasad Sinha Laxmi Kanta ji. Another appreciable write up from you about the great duo SJ is very substantive. Thanks

Ravindra Shah
Ravindra Shah very nice write up

Vishesh Sharma
Vishesh Sharma SJ music was best delivered from 1949 to 1971…Raj Kapoor was like a goldsmith who had knowledge to sense talent (gold) as well as predict about immortal hit tunes after first hearing.

Dharma Kirthi
Dharma Kirthi Vishesh Sharma, Raj Kapoor produced Aag, before SJ’ joined him. But he got his name and fame from Barsat, which gave him his first hit.

It was SJ’ who gave RK’ his success. His international fame came from, Awara and it’s famous title song. RK’ s filSee More

Vishesh Sharma
Vishesh Sharma No credits to RK for SJ success..on the contrary, some of the grand preludes and interludes like kaun hai jo sapno mein aaya and many more were Non RK…..emphasis is SJ hits and quality delivery was between 1949 and 1971….However another emphasis isSee More

Vinayak Joshi
Vinayak Joshi Well said Dharma Kirthi.
RK films, post S-J phase, suffered badly musically speaking..See More

Vinayak Joshi
Vinayak Joshi Extremely well argued piece..
This should bust all the negative myths planted by the media & the rivals, once & for all..

Vishesh Sharma
Vishesh Sharma My statement doesnt give credit to RK….however it is much matured and broader emphasis.

Lakshmi Kanta Tummala
Lakshmi Kanta Tummala Point well taken, Vishesh. Members here are discouraged to separate SJ in their compositions by giving credit to one or the other since it was always a collaborative effort and SJ themselves never revealed their individual contribution to a song. However, one should feel free to comment on S and J’s personalities since it does not mention their music.

Sudarshan Pandey
Write a reply…
 
Dilip Maskeri
Dilip Maskeri Excellent written by Lakshmiji

Lakshmi Kanta Tummala
Lakshmi Kanta Tummala Thank you, Anand Thaker, Mithun, Mohan Natarajan, Niranjan M Thakur, Harish Joshi, Avinash, Harjap Singh, Shrikrishna Lele, Chandraksh Pandya, Mohit Bhatnagar, Haribhai Darji, Arun Bajaj, Mohan Prasad Sinha, Ravindra Shah, Vishesh Sharma, Mohan Prasad Sinha and Dilip Maskeri, for you input.

M.k. Rajkapoor
M.k. Rajkapoor Superb article on SJ carrier before & after 1971…Gr8 detailed info in this regard.Thanks Lakshmi Kanta Tummala.

Chandrashekhar Anant Kulkarni
Chandrashekhar Anant Kulkarni This is an excellent article. But the fact is even after their departure (1971 – Jaikishan & 1986 – Shanker ji ) the popularity of their eternal music is still alive ( Over other MDS, both contemporary and others till date, even A.R. Rehman is also noSee More

Lakshmi Kanta Tummala
Lakshmi Kanta Tummala You are absolutely right, Chandrashekhar Anant Kulkarni and thank you for your appreciation of the post.

CA Bharat Bhandari
CA Bharat Bhandari Legacy will continue forever…! Excellent article…Music lovers like me ….never seen SJ….but their legacy passed on by you all seniors…Thanks for sharing..

Rama Kant Singh
Rama Kant Singh Very nicely put up the facts about great shankar jaikishan..

J.k. Mehta
J.k. Mehta okk,granted Shankar carried SJ banner forward till his last breath,he also used Jai’s name with his to keep aglow SJ spirit but will any one explain following points_
1.Post Jai’s departure how many of films of Shanker were successful at box office other than Sanyasi or may be Do Jhooth though I have my own doubts over the latter?And compare this with number of SJ films which used to be SJ(Silver Jubilees)in earlier times .
Forget Silver Jubilee they were mostly financial disasters.
2.Shankar was no more in list of successful MDs..forget top MDs post 1971.
3.Shankar was reduced to second,third or even lower rung MD like Usha Khanna,Sapan Jagmohan,Madan Mohan,Naushad ,Ravi,etc who too were on slide down journey after attaining peak of their career.
4.If any one scan Binaca(Cibaca later) Geetmalas of post 1971 era,quite of count_on_your_finger songs of Shanker featured in its weekly slots while in their hey day they used to have more than 50% of progrmamme’s songs from their films.
5.Most of films done by Shanker belonged to B and C category producers.Top nd A Class prooducers avoided him.So did top class actors and actresses who always preferred top notch MDs like L.P.,K.A.R.D.B Bappi Lahiri,Rajesh Roshan etc.Shanker was never a consideration for selection.
The only grace mark to which Shankar qualifies is for_
1.He kept SJ banner afloat.
2.He was never without assignment for films unlike LP and KA who went filmless on departure of one of team partner
3.He did not beg for film like LP did in their near famine days.
4.He lived a dignified life till end without making compromises on money issues.
5.He was an egoist right from day one and remained so till last,did nor beg or borrow but lived the way he was accustomed to.

Nand Kumar
Nand Kumar The 5 ‘grace marks’, in my opinion, should be called ‘Character Highlights’ worthy of emulation and adulation ! When time and trends change ( for the worse) even sublime stuff gets overlooked. The quality of Binaca Geet Mala also declined post 1967.

Lakshmi Kanta Tummala
Lakshmi Kanta Tummala J.k. Mehta, at the formation of the SJ banner, they made a pact that if one died before the other, the survivor would continue to compose under the same banner. Therefore, Shankar was not “using Jai’s name with hist to keep aglow” as you say.
1. Since Jai was a savvy businessman, Shankar had him deal with the producers. So, it was Jai who signed the nineteen films in 1971 and died an untimely death which put the entire load on Shankar. Despite feeling his lowest after losing Jai and the producers drastically slashing the budget, Shankar fulfilled every assignment on time in a very professional manner. I gave the reasons why the films did not fare well in the later years.
2. It is a known fact that people with a vested interest did everything from keeping SJ songs played on the radio to removing them from record shops. The music is what drew moviegoers to the theaters. When the songs aren’t heard as enough, they will not be known.
3. If Shankar was reduced to second, third or lower rung, how come he was in continuous demand with the producers? I am surprised you compare Shankar with the others. We all know who played dirty politics to have him removed from big banners. But, his loyal producers stood by him through thick and thin.
4. The media was influenced by the bigwigs in the music industry in every which way. Thus, danced to the tune. Binaca Geetmala is no exception.
5. Number 3 answers this.

Glad to see you generously gave some ‘grace marks’ for this master maestro.

J.k. Mehta
J.k. Mehta reams nd reams can be written on BGM,a programme which ran on sole discretion of compere Amin Sayani who ;by virtue of the influence and impact that the programme had on fortunes of songs as also persons associated with composition of songs_the singer/See More

Like · Reply · 1 · 23 hrs
Lakshmi Kanta Tummala
Lakshmi Kanta Tummala Exactly! Shankar and SJ (his) music were deliberately kept from the public. Even today, most radio disc jockeys and TV video jockeys are ignorant and misinformed about SJ’s glory and legacy. Quite frequently I notice some of SJ songs are credited to other composers. When a person is influenced by a bid wig in the industry, he/she will lose his/her credibility since they no longer remain unbiased.

Like · Reply · 2 · 23 hrs
J.k. Mehta
J.k. Mehta lakshmi.mam,here I would like maximum discussion by our forum members as to why SJ are not as popularly known to today’s generation as OPN,RDB and Bappi Lahiri.SJ’s anonymity like fame is also shared by LP.MadanMohan,Naushad not to speak of lesser knowSee More

Lakshmi Kanta Tummala
Lakshmi Kanta Tummala Sir, you don’t seem to get my point. When the youth are not exposed to SJ’s music, there is no way they will pick them to perform at their shows.
I will take your suggestion and go ahead to start a conversation among our members to get their feedback.

Like · Reply · 1 · 22 hrs
Vinayak Joshi
Vinayak Joshi I disagree that the youth of today have penchant only for OP,RD.
Far from true.
My son , in his late twenties adores S-J, so do his friends..
It’s another matter that the younger generation loves their songs without sometimes realising that those are S-J creations..

A Radha Mangeshkar, daughter of Hridaynath, when doesn’t tire of saying upfront that S-J are her absolute favorite composers, only vindicates the fact..
Does it need to be stressed that she belongs to the current generation?

There is no way even younger generation can escape the magical spell of S-J brand of melody..!

Bappi Lahiri ?
Give us another..

Unlike · Reply · 1 · 22 hrs
J.k. Mehta
J.k. Mehta VJ,U just mentioned a couple of names but if u watch singing talent shows the younger generation keep choosing fast numbers of OPN,Bappi Lahiri and RDB from old school of MDs and very very rarely SJ ,LP and other MDs of yester years.Here also the singers might not be knowing the creators of these peppy songs but they choose the songs on their sheer merits.

Sudarshan Pandey
Sudarshan Pandey 🙂 You have seen very rare contestants to try a SJ song. Very true……..Their songs are more singer demanding songs, which you have seen that very few could justice to SJ songs. On previous occasions too whenever anyone tried their song, only 10% sucSee More

J.k. Mehta
J.k. Mehta sirji,I too like u am a talent hunt show buff and similar other tv shows.There was a time when particopants chose SJ and Mdan Mohan compositions which almost made up more than 50% of contestants’ selection but gradually the slide set in and as the newSee More

Unlike · Reply · 1 · 10 hrs
Sudarshan Pandey
Sudarshan Pandey N-S brought fresh breathe and established that hit songs can be made without going in shelter of fully westernized style

J.k. Mehta
J.k. Mehta right sir but in talent shows;their songs are not selected by the contestants,both senior and junior.One plausible reason ,to.me,may be that like Anu Malik,Anand Milind,Jatin Lalit,they could not leave a trove of naughtily romantic songs for future participants to pick but as I said.this is just a plausible cause and iis subject to discussions.

Unlike · Reply · 1 · 7 hrs
Sudarshan Pandey
Write a reply…
 
Lakshmi Kanta Tummala
Lakshmi Kanta Tummala J.k. Mehta, I would request you to take time and watch my concert in tribute to SJ on February 13, 2016 on YouTube with the link below. Each of the young singers appreciated for having given them the opportunity to sing SJ memorable songs.

Please type Sjfa 2016 on the search bar.

Like · Reply · 1 · 21 hrs
J.k. Mehta
J.k. Mehta Mam if I write some thing unsavoury about SJ,believe me my heart bleeds but mature as I have become over the years compels me to look at them objectively,without age bold biases and predilections.If I find an SJ admirer even today which sadly not very often these days,my heart fills with pride and joy.Ihave been their diehard fan for over two decades but yes started losing intensity of loyalty to them after Jai’s demise and Shanker’s inability to keep up standards he had set up with Jai for over two decades.So Mam,I need not watch any SJ related programme to augment my admiration for my idols as I am still hooked on to their 1949_1971 music,masti,dhamaal.Hopevu will understand my statement in right perspective.

Chandrashekhar Anant Kulkarni
Chandrashekhar Anant Kulkarni Looks there is a deviation from the main point of discussion. The observationsame recorded here by learned critics are from fact. With due respect to OPN & RDB, the popularity of SJ is unparallel even today. This is just because of their versatility. NSee More

J.k. Mehta
J.k. Mehta my observations on sj songs featuring in reality shows are based on actual watching,not on hearsays or my personal likings .

Chandrashekhar Anant Kulkarni
Chandrashekhar Anant Kulkarni Same can be said about my observations, but I respect your views and at the same time reserve my right to differ with you.

M.k. Rajkapoor
M.k. Rajkapoor Vividh bharti Radio channel pe purane songs ke programme mein & over all pure dinbhar jo gane bajte rehte hai us mein sab se jyada songs “SJ” ke hote hai..Mom.Rafi saab.ko total 6 film fare award mile hai us mein 3 films by SJ music.

Lakshmi Kanta Tummala
Lakshmi Kanta Tummala J.k. Mehta, it looks like there is some kind of prejudice against Shankar that is prompting you to such negative remarks about SJ.
Well, to each his own.
Let us stop this discussion here and enjoy SJ music that brought us all together.

Sudarshan Pandey
Sudarshan Pandey J.k. Mehta ji Except a Highly objectionable word ‘Used’ Jai’s name with his to keep aglow SJ spirit, rest of your observations are voice of some frustrated SJ fans, which are also in good number. It was unwritten pact between the two that the surviving partner will go with the banner and do everything to keep the banner alive till last. Shanker gave full honour to the pact honestly. So in no case you should say that Shanker ‘Used’ Sorry Sir.
Regarding your first 5 Negative points about him doing undergrade films, It can be said that he had to oblige his producers who were almost friends. Shankar’s immediate recordings after Jaikishan’s death was for film Door Nahin Manzil…………Please pick one song which you can label a Mediocre composition. Then came Jungle Mein Mangal, leave other songs, but can you find anything bad about, “Tum Kitni Khoobsoorat ho” ? Aaj Ki Taaza Khabar was a film of different genre. There is no wrong with his music………But these films did not click at box office. Not fault of Shanker, they were not publicised for financial weakness. In the meantime he got several assignments, like Naseeb Ki baat, Jugal Jodi, Baby India, Waqt Ka Sikander (a multi starrer of those days) and several other films. You might have lost faith in him, but there were producers which have faith in him and were signing. He got Dharmendra’s dream project ‘Bichchhoo’ and most probably you might have read how and in which situation he had to quit the project which Dharmendra himself dissolved.
The big thing was that he had nothing left to prove nor there was any to challenge his creativity which certainly went against him.
When one of his great admirer asked him why he was doing all these films, he had replied, ‘khaali baith ke kya karoonga’ Yes certainly he was doing several films half heartedly because he was deprived of his size orchestra which was his forte. Suppose a fighter has been given less arms and ammunition and expected to win the war.
BUT, But, wherever he got free hand he produced wonderful music…………Sanyasi, Chorni and Dil, Daulat Aur Duniya are burning examples to prove that the musician in him was as energetic as it was in his previous days. But the bad thing and bad time was after him, that is why except Sanyasi which has mediocre story, rest two films with great story and great acting by Nitu Singh (Chorni) and great pair Rajesh Khanna+Sadhna and fantastic acting by Ashok Kumar and Omprakash with very soulful story did not click on box office. If you can, please watch these films yourself and decide whethere there was anything wrong with any department in those films………………
It is very easy to find lacunae in someone’s work but if you see the factors behind it, as a true SJ fan, you cant criticise like that……..
But you have again given 5 Positive points to him and they cover up his 5 negative points sir ji. But as a helpless SJ fan who always takes pride for them, your feelings are right.

Nand Kumar
Nand Kumar The duets of KK and AB of the 1970s which Shanker composed were of a better quality than those of his peers. Who can forget ‘Do baatein pyar bharee’ or ‘Dil Mera Kho Gaya’ or ‘Mujhko Thand Lag Rahee Hai’ ? !!!

Samuel Jayaraj Tuluri
Samuel Jayaraj Tuluri I did it my way ___ Frank Sinatra;s song is true regarding Shankar.

J.k. Mehta
J.k. Mehta “mujhe thand lg rhi” what do I say on this vulgarish composition,which was more suggestive than melodious.

Nand Kumar
Nand Kumar JKM..What about ‘Aaja panchhi akela hai’ of the late 1950s, which was a big hit ? Vulgarity lies in the mind of the person who interprets..just like ‘beauty in the eyes of the beholder’ !

Mohan Natarajan
Mohan Natarajan Very nice observations Nand Kumarji!

Nand Kumar
Nand Kumar Thank you MN ! l had also wanted to add that the Censor Board found nothing wrong with the song.

Like · Reply · 1 · 9 hrs
Sudarshan Pandey
Write a reply…
 
J.k. Mehta
J.k. Mehta not a great comparison despite misplaced appreciative endorsent

Nand Kumar
Nand Kumar JKM..Your opinions, though at a tangent, are welcome ! We live in a democratic society. So there’s no need for all to agree on any point or song ! At least 2 of the 3 duets adumbrated by me cleared your filter test ! That’s 66.67 % pass !!

Unlike · Reply · 1 · 9 hrs
J.k. Mehta
J.k. Mehta liked yr chivalrous stance NK.Any other man would have got into a brawl with me but you so gallantly dealt the issue.Hats off to u buddy.

Nand Kumar
Nand Kumar JkM..l reciprocate, but l need to buy a few hats first !! Life is short, so let’s make it sweet too !!! No time for brawls or skirmishes.

J.k. Mehta
J.k. Mehta nice words .do appreciate.on this space academic exchanges need not be taken on personal level.so long this is followed.things will always be cordial.

Sudarshan Pandey
Write a reply…
 
Dharma Kirthi
Dharma Kirthi Dale Carnige…once said ” A man convinced against his will,is of the same opinion still”
There is a strong school of thought against Shankar, who believe it Jaikishan was the star.
These people forget that Jaikishan was 17 when Barsat was made.. Shankar built the brand..and mentored Jaikishan and together these two composers created magic for more than two decades.
Such prejudices have always existed with all the great artists.
Shankar was a supreme talented and composer who was complete in all respects. His compositions were like symphonic…he embellished his songs like a bride…
Well, freedom of thought expression are fundamental..and will always be respected..
Shankar Jaikishan were an inseparable composers, who has a divine connect, and never needed any certificates on their talent, creativity..
They will remain the best….. composers best friends who complemented each other…
As great Composers they remained on top and always attracted highest detractors….which is an evidence of their greatness….

Like · Reply · 4 · 8 hrs
Vinayak Joshi
Vinayak Joshi Availing the same freedom of expression,I would never accept the allusion that Shankar was the lesser of the two, that he wasn’t the same after Jai departed, or that brand S-J is withering vis a vis the youth audience of today or that OP,RD ( I abhor mentioning the rest), somehow connect with the audience more intimately..

Vinayak Joshi
Vinayak Joshi Having said it,I appreciate JKM for highlighting the fact that unlike other composer duos, Shankar didn’t beg for work nor fade away into anonymity..

Like · Reply · 1 · 8 hrs · Edited
Avinash Bhalchandra Padhye
Avinash Bhalchandra Padhye While supporting argument in favour of Shankarji’s choice for using singers as per the lyrics and actors is correct but than we criticise Lata ji for not singing for him and Raj Kapoor ji for not giving him films forgetting their rights to choose their MDs also if friendship is the issue nobody says a word about Shankarji not using Hasratji after 1971 as frequently as was using earlier and also I don’t agree with Laxmi Madams statement Lata felt threatened by Sharda but in the article she has managed to touch upon every debatable topic and explained Shankarji’s side very effectively.

J.k. Mehta
J.k. Mehta all said and done the fact remains that despite all his best efforts,neither Shankarji could regain his old midas touch,nor Sharda could forge ahead in her singing career.On the contrary Lataji went ahead up and up like before and RDB too maintained his career graph which left Shankerji as a fringe MD.

Like · Reply · 1 · 3 hrs
Dharma Kirthi
Dharma Kirthi RDB was jobless in his last few years of his life, and died a frustrated soul. Pyarelal works as arranger to new composers. Shankar had films on his hand till his last breath. Wonder who dies a fringe composer. Prejudices are fine, but fact should never be ignored.

Like · Reply · 2 · 3 hrs
Vinayak Joshi
Vinayak Joshi But then,it is facts which take the beating in face of prejudice..!

Vishesh Sharma
Vishesh Sharma SJ were Emperors…Quality was till 1971…We should respect all composers…All composers are God’s Gift….Pyarelalji is pitamah…He recently wrote a Symphony named Shivam, got accredited by US and performed by German musicians…RDB gave immortal music in 1942 love story…These are great people and deserve respect…we are just spectators/human being from some corners, SJ were emperors from 1949-1971…Show must go on…lets enjoy music of SJ…such discussions will not give any value add

Like · Reply · 1 · 2 hrs · Edited
Vishesh Sharma
Vishesh Sharma Check above link…pyarelalji ‘s symphony music played by german musicians….lets respect all…considering SJ were emperors

J.k. Mehta
J.k. Mehta fringe md does not mean out of work .It only denotes a man’s status of being far away from top and being on sidelines like many other less successful ones.

Lakshmi Kanta Tummala
Lakshmi Kanta Tummala Dear gentlemen,
We have all had a chance to express our views.
I now declare this discussion closed. No more comments are allowed.
Let us enjoy SJ music.
——–END———

Unlike · Reply · 3 · 2 hrs

SJ’s remarkable talent in background music and their great professionalism.

BGM1bgm2

What Pyarelal-ji has to say about Shankar-Jaikishan in one of his interviews

What Pyarelal-ji has to say about Shankar-Jaikishan in one of his interview..few excerpts..

by
Arun Bajaj

 

“I love Naushad Saheb’s music, though I don’t agree with his point that one need not look beyond Indian classical music for good music. A composer has to give what the story or the situation of the film demands.

Q. Which composer would you rate as the best in the 1950’s and 1960’s..?

Look, I don’t believe in comparisons. Having said that, I would say that Laxmi-ji and I liked Shankar-Jaikishan the most. We were so fond of them that both of us used to copy all their mannerisms.

LPSJ

Q. What was it that Shankar-Jaikishan had which other composer didn’t..?

You tell me what they didn’t have. Is there a single flaw you can see in them as composers..? Is there any other composer who consistently gave good music in so many films..? Is there a single kind of music they have not made..? If Naushad Saheb composed Baiju Bawra, Shankar-Jaikishan followed with Basant Bahar. What superb music they gave for Raj Kapoor films! In fact, I’ll be honest and say that while we won the best composer award for Dosti in 1964, I liked Shankar-Jaikishan’s score for Sangam better!

And he concluded by saying that very early in their career, they had started composing separately. But in spite of their composing separately, they were able to give their music a distinct identity, a brand. That was their greatness.”

Photo at the recording of a song for film Umang

419950_10151538458943745_1306349712_n

North meets South

by

Lakshmi Kanta Tummala's Profile Photo

 

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 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 made 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) 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 91972) 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.

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!

https://youtu.be/jT4Kr28vmMQ

Seen in the picture below 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.

 

बहार बनकर वो मुस्कुराए हमारे गुलशन में

Tribute to Dattaram on his death anniversary on 8th June 2016

by

Shashank Dubey

जब कभी हम रेडियो या टेप या सीडी या नेट पर कोई गीत सुनते हैं और सुनते-सुनते उसके भीतर तक उतरते हैं तब हमारा काम उद्घोषक द्वारा बताए या फ्लैप पर लिखे गायक-गायिका-गीतकार-संगीतकार के नामों से ही नहीं चलता. हम यह भी जानना चाहते हैं कि अमुक गीत में बाँसुरी किसने बजाई है या फलां गीत में जो इतनी अच्छी शहनाई बज रही है, वह आखिर किसका कमाल है? हम खोज के लिए फिल्म संगीत के पुराने रसिकों को पकड़ते हैं, पुरानी किताबें खंगालते हैं और फिर जब हमें यह पता चलता है कि “दैया रे दैया चढ़ गयो पापी बिछुवा” (फिल्म : मधुमति, संगीतकार : सलील चौधरी) गीत का निचोड़ रामलाल की शहनाई में छिपा है, “कजरा मोहब्बत वाला अँखियों में ऐसा डाला, कजरे ने ले ली मेरी जान, हाय रे मैं तेरे कुरबान” (फिल्म : किस्मत, संगीतकार : ओ.पी.नैयर) की लोकप्रियता का कारण बाबू सिंह की हारमोनियम है, “सुन री पवन पवन पुरवैया” (फिल्म : अनुराग, संगीतकार : एस.डी.बर्मन) गीत में “बंसी की धुन सुन के पिया मेरा जिया कहीं खो जाता है” पंक्तियों के एन बाद बजी बाँसुरी किसी और ने नहीं, बल्कि हमारे शिव-हरि वाले हरि प्रसाद चौरसिया ने बजाई है, “मन डोले मेरा तन डोले” (फिल्म : नागिन, संगीतकार : हेमंत कुमार) में नागिन की बीन कल्याणजी (आनंदजी वाले) ने बजाई है, “जिस दिल में बसा था प्यार तेरा, उस दिल को कभी का तोड़ दिया” (फिल्म : सहेली, संगीतकार : कल्याणजी-आनंदजी) गीत में वायलिन का संयोजन लक्ष्मी-प्यारे के प्यारेलाल ने किया है, “कोई जब राह न पाए मेरे संग आए के पग-पग दीप जलाए मेरी दोस्ती मेरा प्यार” (फिल्म : दोस्ती, संगीतकार : लक्ष्मीकांत प्यारेलाल) का सेंट्रिफ्युगल फोर्स आर.डी.बर्मन द्वारा बजाए माउथ ऑर्गन में निहित है और “वो चाँद खिला वो तारे हँसे ये रात अजब मतवारी है, समझने वाले समझ गए हैं, ना समझे, ना समझे वो अनाड़ी है” (फिल्म : अनाड़ी, संगीतकार : शंकर जयकिशन) गीत में ढोलक की थाप दत्ताराम ने दी है, तो उस वक्त मानना पड़ता है कि नाम चाहे नेतृत्वकर्ता का हो, है तो फिल्म संगीत एक टीमवर्क ही. हाँ, यह बात दीगर है कि फिल्म संगीत के सुरीले सफर के लीडरों को तो हर कोई जानता है लेकिन इन गीतों में असली रंग भरने वाले साजिंदे हाशिये पर बैठे-बैठे चुनचुनाती रौशनी की राह तकते रह जाते हैं. हालाँकि कुछ खुशनसीब भी होते हैं, जो आर्टिस्ट से लेकर असिस्टेंट और फिर असिस्टेंट से लेकर चीफ म्युज़िक डायरेक्टर का तमगा पा जाते हैं, तो दूसरी ओर कुछ साजिंदे “जो मिल गया उसी को मुकद्दर समझ लिया” फलसफे में यकीन रखते हुए उसी हाल में रहना चाहते हैं. दत्ताराम की कहानी में चमकने की चाह भी है और पाए हुए से संतुष्ट होने की भावना भी.

मूलतः गोवा के निवासी दत्ताराम वाडकर ने अपनी संघर्ष यात्रा चालीस के दशक में एक मज़दूर के हैसियत से मुंबई में शुरू की थी. पढ़े-लिखे थे नहीं, संगीत में रुचि थी, तो माँ की प्रेरणा से तबला सीखने लगे. तभी उन्हें पहलवानी का शौक लगा और जिम में जाकर कसरत करने लगे. वहीं उनकी पहचान पेशे से तबलावादक और शौक से पहलवान शंकर से हुई. उन दिनों शंकर पृथ्वी थियेटर में तबला आर्टिस्ट थे. बहुत जल्द ही वे शंकर की तबला टीम से जुड़ गए. शंकर के साथ उनका कार्यक्रमों में जाना जारी रहा. बाद में शंकर ने जैसे ही जयकिशन के साथ मिलकर जोड़ी बनाई दत्ताराम उनके सहायक के रूप में जुड़ गए. शंकर-जयकिशन के लिए उन्होंने तबला ही नहीं बजाया, ढोलक भी बजाई और ढोलक तो क्या खूब बजाई कि पूरे संगीत जगत में दत्ताराम ठेके का नाम चल पड़ा. यूँ ढोलक भारतीय फिल्म संगीत के ताल पक्ष का शुरु से ही अभिन्न अंग रहा है, लेकिन दत्ताराम के दृश्यपटल पर आने से पहले इस क्षेत्र में पहले नंबर की हैसियत तबले की थी और ढोलक को दूसरी पायदान से संतोष करना पड़ता था. लेकिन यह दत्ताराम की हथेलियों का जादू ही था कि बहुत जल्द ही यह अहम् ताल यंत्र बन गई. शंकर-जयकिशन द्वारा संगीतबद्ध कई गीत अपनी ताल के कारण उल्लेखनीय बने. मसलन “तेरा जाना दिल के अरमानों का लुट जाना” (अनाड़ी), “अंदाज़ मेरा मस्ताना माँगे दिल का नज़राना” (दिल अपना और प्रीत पराई), “मेरे सपने में आना रे सजना” (राजहठ), “मैं पिया तेरी, तू माने या ना माने” (बसंत बहार), “बागड़ बम बम बम” (कठपुतली, “मेरी जाँ मेरी जाँ” (यहूदी), “मेरा दिल अब तेरा ओ साजना” (दिल अपना और प्रीत पराई), “रमय्या वस्ता वैया” (श्री 420), “सौ साल पहले मुझे तुमसे प्यार था” (जब प्यार किसी से होता है), “तुझे जीवन की डोर से बाँध लिया है” (असली नकली), “बहार बनके वो मुस्कुराए हमारे गुलशन में” (अपने हुए पराए), “दिन सारा गुजारा तोरे अँगना” (जंगली), “वो दिन याद करो” (हमराही), “पान खाए सैंया हमारो” (तीसरी कसम), “तुम्हें और क्या दूँ मैं दिल के सिवाय तुमको हमारी उमर लगी जाए” (आई मिलन की बेला), “आज मैं जवान हो गई हूँ, गुल से गुलिस्तान हो गई हूँ ” (मैं सुंदर हूँ) और “सपेरा बीन बजा बीन बजा मैं तो नाचूँगी” (भाई भाई). इन गीतों को यदि सुस्वादु मिठाई कहा जाए, तो निश्चित ही दत्ताजी की ढोलक को चांदी का वर्क कहा जाएगा. .

जब राज कपूर ने उन्हें शंकर जयकिशन के साथ डूब कर काम में रमते हुए देखा, तो उन्हें अपने दोस्त महिपत राय की फिल्म `परवरिश’ में स्वतंत्र रूप से संगीतकार बनने का अवसर दिला दिया. हालांकि अपने साधारण प्रस्तुतीकरण के कारण फिल्म तो कुछ खास कमाल न कर सकी, लेकिन इसके गीतों ने लोगों का मन मोह लिया. खास कर “आँसू भरी हैं ये जीवन की राहें” गीत बहुत पसंद किया गया. यदि पचास के दशक के दौरान मुकेश के दो सबसे प्रभावी दर्द भरे गीत चुनने के लिए कहा जाए, तो आज भी उन दो में से एक “आँसू भरी है ये जीवन की राहें” ही होगा. और हाँ दूसरा गीत संभवतः ” ये मेरा दीवानापन है या मुहोबत का सुरूर” (यहूदी) हो. इसी फिल्म के लता-मन्ना डे द्वारा गाए युगल गीत “मस्ती भरा है समां” में भी ग़ज़ब की मस्ती थी. तो `परवरिश’ में दत्ताराम के काम से प्रभावित होकर राज कपूर ने उन्हें अपनी फिल्म “अब दिल्ली दूर नहीं” के संगीत का ज़िम्मा दे दिया. इस फिल्म के भी दो गीतों “चुन चुन करती आई चिड़िया” और “ये चमन हमारा अपना है” को खूब पॉपुलेरिटी मिली, लेकिन व्यावसायिकता के सींखचे में कैद हमारी फिल्म इंडस्ट्री के साथ सबसे बड़ी दिक्कत यही है कि गीत हिट होने से संगीतकार नहीं चलता. संगीतकार चलता है, फिल्म के हिट होने से. इसीलिए पचासों सुमधुर गीत देने के बावजूद अद्भुत प्रतिभा के धनी मदन मोहन को बड़ी फिल्में इसीलिए नहीं मिल पाई क्योंकि `वह कौन थी’, `हकीकत’ और `मेरा साया’ जैसे तीन अपवाद छोड़ दें, तो मदन मोहन का मतलब हिट म्युज़िक विथ फ्लॉप फिल्म माना जाने लगा था. इसलिए बावजूद अपने सदनिष्ठ प्रयासों के, दत्ताराम को वह मुकाम हासिल न हो सका, जिसके अन्यथा वो वाकई हकदार थे. चाहे `कैदी नंबर 911′ (“प्यार भरी ये घटाएं राग मिलन के सुनाए” / “मीठी-मीठी बातों से बचना ज़रा”) हो या मुकेश के रूमानी गीत “हाले दिल हमारा जाने ना बेवफा ये ज़माना” से सज्ज “श्रीमान सत्यवादी” हो या फिर सुमन कल्याणपुर की संजीदगी से लैस “इतने बड़े जहाँ में अपना भी कोई होता” गीत वाली फिल्म `डार्क स्ट्रीट’ ही क्यों ना हो, दत्ताराम ने अपने काम में कभी कोताही नहीं बरती. उनके संगीत को `काला आदमी’ (“दिल ढ़ूँढ़ता है सहारे सहारे”), `जिंदगी और ख्वाब’ (“न जाने कहाँ हम थे, न जाने कहाँ तुम थे” ) और `बालक’ (“सुन ले बापू ये पैगाम मेरी चिट्ठी तेरे नाम”) में भी काफी सराहना मिली. उन्होंने `प्रेमची सावली’ नामक मराठी फिल्म पर भी हाथ साफ किए, जिसके नायक सदाबहार क्रिकेटर सुनील गावस्कर थे. लेकिन अंततः उन्हें शंकर-जयकिशन के सहायक के रूप में ही लौटना पड़ा. 1971 में जयकिशन के निधन के बाद शंकर अकेले पड़ गए और अच्छा संगीत देने के बावजूद 1972 में उनकी अधिकांश फिल्में पिट गईं. राज कपूर ने भी `बॉबी’ फिल्म में शंकर जयकिशन का स्थान लक्ष्मीकांत-प्यारेलाल को दे दिया. हालाँकि उन्होंने दत्ताराम की प्रतिभा को वाजिब सम्मान देते हुए उन्हें संगीत सलाहकार की महती भूमिका सौंपी, लेकिन दत्ताराम समझ गए कि अब दिल्ली दूर नहीं, बल्कि बहुत दूर निकल चुकी है. उन्होंने अपना बोरिया-बिस्तर समेटा, ढोलक उठाई और गोवा के मौलिंगम कस्बे की गलियों में खो गए. हालाँकि शरीर तो उन्होंने 8 जून 2007 को त्यागा, लेकिन ढोलक तो चालीस साल पहले ही खूँटी पर टँग चुकी थी. दत्ताराम को हम एक महान संगीतकार के रूप में याद नहीं करेंगे, हम उन्हें याद करेंगे संगीत जगत के एक महान कलाकार के रूप में, एक ऐसे कलाकार के रूप में जो जब “वो चाँद खिला वो तारे हँसे ये रात अजब मतवारी है” गीत के संग-संग ढोलक पर थाप देता था, तो कला को समझने वाला ताल से ताल मिलाने लगता था और जो न समझ पाता था वह? अब छोड़िए भी, जो ना समझे वो अनाड़ी है.

शशांक दुबे

Shashank Dubey's photo.

Khwaahish-e-Parwaaz

Sunday, July 05, 2009

Lata Mangeshkar Sings For Shankar Jaikishan – Part 1

“I believe no one can equal the music composed by Shankar-Jaikishan. They composed classical songs, cabarets, dance numbers, love songs, sad and happy songs. Few composers have been able to match their range. Their music has extended the life of many films – films that would have otherwise been forgotten…”

Lata Mangeshkar (in Nasreen Munni Kabeer’s book, Lata Mangeshkar in Her Own Voice)

1949 was a significant year for Lata Mangeshkar in that it marked the beginning of her domination in the world of Hindi film playback singing – a domination that would last several decades. This year also saw the debut of one of the most successful composer duo in Hindi films – Shankar Jaikishan. Over the next 35 years, Lata and SJ collaborated on over 450 songs, many of which are firmly etched in the minds of Hindi film music lovers.

In the first part of this post, I will talk about the songs from the period 1949-59. This was the period when, in my opinion, SJ were at their creative best and Lata at the pinnacle in terms of voice quality. This was also the period when Lata was the main singer for SJ. She sang an unbelievable 65% of all songs composed by SJ during the period. And I really mean ALL songs, including those sung by male singers. During this period there were several SJ soundtracks (Mayurpankh, Kali Ghata, Parbat, Poonam, Aas, Aurat, Patrani, Halaku, etc.) where every track had Lata’s voice – solo, chorus backed, or with other co-singers. For this post I am focusing only on solos and chorus backed songs of Lata, although I believe that when it came to composing romantic duets for Lata there were very few composers who could come close.

Although people largely believe that Aayega Aanewala from Mahal that made Lata, I don’t think that’s entirely correct. True that the song is a masterpiece, but it was the simultaneous release of many outstanding soundtracks in a single year (1949) that established Lata Mangeshkar as a singer. And I also think in terms of popularity, the songs of Barsaat had a huge role to play in creating the legend of Lata Mangeshkar. With 10 songs by Lata, each a gem, SJ’s Barsaat is one of the most impactful debuts ever by a composer. I can never get tired of listening to the songs of this film.

Meri Aankhon Mein Bas Gaya Koi Re – Barsaat (1949) – Hasrat Jaipuri

Following the super-success of Barsaat, SJ got a number of assignments outside the RK banner where they came up with compositions that established the unique SJ stamp -simple, but extremely melodious tunes embellished with lush orchestration. Given below is a random sample of SJ compositions from the year 1951 sung by Lata. These songs demonstrate that the singer-composer duo was equally adept at sad songs and light, dance numbers.

Aa Jao Tadapte Hain Armaan – Awaara (1951) – Hasrat Jaipuri
Unse Pyaar Ho Gaya – Badal (1951)–Shailendra
DIl Mein Tu – Kali Ghata (1951) – Hasrat Jaipuri
Tune Haaye Mere Zakhm-e-Jigar Ko – Nagina (1951) – Shailendra

Each and every soundtrack SJ produced in the 50s had many lovely songs sung by Lata Mangeshkar. The only exception was RK Films’ Boot Polish in 1953. It was a big surprise because both Raj Kapoor and SJ had by now become staunch Lata loyalists. But this remained an aberration because Lata continue to be the main female singer for SJ till the mid 60s. Here are some more of my favourite Lata-SJ songs from the early fifties.

Aayi Aayi Raat Suhaani – Poonam (1952) – Hasrat Jaipuri
Ye Shaam Ki Tanhaiyan – Aah (1953) – Shailendra
Nainon Se Nain Hue Chaar – Aurat (1953) – Shailendra
Mitti Se Khelte Ho – Patita (1953) – Shailendra
Kaare Badra Tu Na Ja – Shikast (1953)–Shailendra

In the following song from Pooja, notice the prelude music, which formed the basis of a song fromSeema a year later (Tu Pyar Ka Sagar Hai). There are many instances where SJ developed a tune used in the background music or preludes/interludes in song into full fledged songs.

Main Murlidhar Ki Murli – Pooja (1955) – Shailendra

In 1955 came Seema. I think it is a fairly significant film in SJ’s oeuvre, primarily because of two songs, both sung by Lata. This was the first time SJ composed something that was semi-classical. The first was Manmohana Bade Jhoote, a composition in Raag Jaijaiwanti. This (in my opinion) is one of the best (if not the best) Lata-SJ song of all time. Starting off with a lovelyalaap, the songs highlights are the wonderful taans that Lata negotiates so effortlessly. The other noteworthy song from this film is Suno Chhoti Si Gudiya Ki, a composition in Raag Bhairavi. While the song is sung well by Lata, the real star of this song is Ustad Ali Akbar Khan who demonstrates one of the best use of Sarod in Hindi film music.

Manmohan Bade Khoote – Seema (1955) – Shailendra
Suno Chhoti Si Gudiya Ki – Seema (1955) – Hasrat Jaipuri

1956 was another big year for the Lata-SJ combo, who produced 50 songs this year. This meant that roughly one out of every 4 songs sung by Lata this year was composed by SJ. The 7 soundtracks SJ produced this year are in my opinion their very best. My personal choice includesRaj Hath, Patrani, Chori Chori , Halaku and the biggest of them all – Basant Bahar.

The producers of Basant Bahar had taken a big risk by taking on SJ as the composers instead of the favourites Naushad or Anil Biswas. While there was no questioning SJ’s ability to provide great, popular music, but they hadn’t demonstrated enough their mastery over songs based on classical music, which was so essential to this film. But see, what SJ produced – a soundtrack that made classical music so accessible to people! This was a soundtrack that can keep both the purists and laymen happy. Every song from this film is a masterpiece, but the Lata song I loveMain Piya Teri, which is based on SJ’s favorite raga – Bhairavi – and has some amazing flute interludes by Pannalal Ghosh.

This clip includes the lovely flute prelude which unfortunately is not included in most audio releases of this song.

Main Piya Teri – Basant Bahar (1956) – Shailendra
Chandrama Madbhara – Patrani (1956) – Shailendra
Mere Sapne Mein Aana Re – Raj Hath (1956) – Shailendra

In my book, the following song from Halaku ranks very high on the melody quotient. The fluidity of the tune is brought alive by Lata Mangeshkar’s dulcet voice.

Ye Chaand Ye Sitaare – Halaku (1956) – Shailendra

In order to round-off this write up on the first 10 years of the SJ-Lata collaboration, I select one song per year from 1957-59, each belonging to a different genre

First, a soothing lullaby …

So Ja Re So Ja Mere Raj Dulare – Kathputli (1957) – Hasrat Jaipuri

Next, a light, romantic number …

Aate Jaate Pehloo Mein – Yahudi (1958) – Shailendra

Finally, a sad song. For me the high point of this song is the way Lata renders the second line of the mukhdaKoi Dekhe…

Tera Jana – Anari (1959) – Shailendra

In the next part of this post, I will talk about Lata Mangeshkar and Shankar Jaikishan in the 60s and beyond.

%d bloggers like this: