Shankar Jaikishan : The Incessant Shower of Exuberant Melody


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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). 









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


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..

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.


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


North meets South


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!

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


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.


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.

Their music reached every nook and corner of the country. From a hut to a palace.


Shri Rajan Shah

For a young lad of 23, Shankar Singh Ram Singh Raghuvanshi, who migrated from Hyderabad in 1945 with a dance troupe, no one , even in their wildest of dreams would even have imagined that here was the youngster, who with his visionary genius, was all set to change the music trends. Not only did he change the trend of music, but gave music its rightful place. He was the person responsible to make music an industry in itself. Till then, it was only the Film industry that existed, but with the rise of the new Sun on the horizon, the Music industry started taking shape.
His musical prowess was such that he could play every musical instrument with ease, while he was a master of most which were introduced by him. His mastery over raagas made him comfortable with songs of any genre and any situation. His keen eye could search great musical gems like Jaikishan, Dattaram, Sabistian and many more. The musical fraternity would have been poorer without all these gems had it not been for this great genius.
His loyalty and dignity were his hallmarks, which he never compromised even in the late 60 s when there was so much of mud slinging on him about the alleged break with Jaikishan. The media kept barking, but Shankar never dipped low , as he kept his dignified silence , thus shutting the barking hounds.
What shocks me beyond belief is the attitude of the Government. Here was the duo, with 9 film fare awards, 13 nominations, number of other awards, being so biased with such a miserly attitude. Do they deserve only a Padmashri ? They defined music. They made it an industry. They gave melody. They produced harmony. They soothed a billion ears. Their music reached every nook and corner of the country. From a hut to a palace, there is not a single day that their songs don’t reach them. They gave joy. They gave sorrow. They gave pleasure. They made singers. They made artists. They and they themselves were responsible for what music is today. They unleashed the Golden era. They did every thing that was unthinkable. Then why this bias?
Let’s all come together and take a pledge that we will fight for a cause to give this legendary duo the deserving Bharat Ratna. Let the campaign begin.


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