Fondly Remembering Kishore Kumar on his Birth Anniversary 2026

StickyAugust 4, 2026Photos, Tribute, featureAsha Bhosle, jaikishan, Kal Aaj Aur Kal, kishore kumar, lyricist Neeraj, Mukesh, Raj kapoor, Randhir Kapoorshankerjai

Jaikishan, lyricist Neeraj, Asha Bhosle, Mukesh, Raj Kapoor, Kishore Kumar and Randhir Kapoor gathered at song recording of film Kal Aaj Aur Kal

Date of Birth : 4 August 1929, Khandwa, Central Provinces, British India
Date of Death : 13 October 1987, Bombay, Maharashtra, India (heart attack)
Birth Name : Abhas Kumar Kunjilal Ganguly
Height : 5′ 8½” (1.74 m)

Abhas Kumar Ganguly was born in Khandwa, now in Madhya Pradesh. His dad’s name was Kunjilal, a lawyer by profession, and his mom’s name was Gouri Devi, who came from a wealthy family.

Kishore was the youngest in the Ganguly family, preceded by Ashok Kumar, Sati, & Anoop Kumar (I). Sati was married to Sashadhar Mukherjee, who was the brother of film-maker Subodh Mukherji, and Bollywood actors Joy Mukherjee & Deb Mukherjee. Sati’s son, Shomu Mukherjee, went on to marry Tanuja, and who subsequently gave birth to Kajol and Tanishaa Mukerji. Tanuja is the sister of Nutan, who, in turn, is the mother of actor Mohnish Bahl. Tanuja and Nutan are the daughters of the famed Shobhna Samarth. Sati was also aunt-by-marriage to Ram Mukherjee, who would subsequently marry and give birth to Raj Mukherjee and Bollywood actress, Rani Mukerji. Ashok’s daughter is noted Bollywood actress, Preeti Ganguli, who is married to comedian and character actor, Deven Verma. Ashok’s grand-daughter is actress, Anuradha Patel.

While Ashok went on to become a successful actor, Abhas, who was renamed Kishore, shunned acting, and preferred singing and mimicking K.L. Saigal. His brother, Anoop, while struggling to make a name himself, noticed this, and encouraged Kishore to sing in his own voice.

When Sachin Dev Burman happened to visit Ashok, he heard Kishore singing, and immediately signed him to sing for Bollywood movies. After Sachin’s passing away, his son, Rahul Dev Burman took over and openly favored Kishore over other male singers.

He always wanted to be a singer, but acting was thrust upon him, and he did his best to live up to it. A Leo, Kishore was also known for his mad-cap comedy movies, and for his eccentricity as he used to ‘talk’ to his trees in his home, and had even put up a sign ‘Mental Hospital’ right outside his residence in Khandwa. He was also parsimonious, so much so that he was in arrears to the Indian Income Tax authorities, yet never missed a chance to make fun of them (Aur Peechey Pad Gaya Income Taxum, Jai Govindam Jai Gopalam).

When he refused to endorse former Indian Prime Minister’s 20 point Program during the 1975-1977 Emergency, he was banned from the Government-controlled media namely All India Radio and Vividh Bharati. Even duets with his voice were censored. He was not the only one in Bollywood, as others like I.S. Johar, Dev Anand, Shatrughan Sinha openly condemned Mrs. Gandhi’s regime. After the emergency, her political party (Congress) was overwhelmingly ousted by the electorate in favor of the Janata Party.

Kishore made a record by being the only singer to have sung in more than 90 films for a single hero. Kishore sang in 91 films for Rajesh Khanna.His closest friends were Rajesh Khanna, R.D.Burman, S.D.Burman, Mohammad Rafi.He refused to lend his voice to Amitabh Bachchan in period 1982-1987 many times, when the latter refused to do a guest appearance in a Kishore-produced film and this affected Bachchan’s career as many of his films flopped post 1983.

His marriages to some of the most popular and attractive Bollywood actresses (Madhubala, Yogeeta Bali,Leena Chandavarkar) not only raised eyebrows, but added to his popularity.

He introduced his son, Amit Kumar, (sired from his first wife Ruma Ghosh aka Ruma Guha Thakurta) to sing, often along with him, and then amazed his fans by marrying widowed Leena Chandavarkar, who was just two years older than Amit.

In the comedy, Badhti Ka Naam Dadhi (1974) a song ‘Karne Chaley Thhey Shaadi Meri, Khud Ban Baithey Dulha’, sung by Amit, hilariously chastised his dad for getting married, instead of searching for a bride for his son.

Through Leena he sired another son, Sumeet Kumar. Their marriage was intact until his unexpected passing on October 13, 1987, due to heart failure.

Kishore has not only been immortalized by his songs, but also by his talents as an Actor, Producer, Director, Script-Writer, & Lyricist. His movies continue to be popular even now on TV, as do his songs on both TV and radio.
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Kishore Kumar with Shankar-Jaikishan Movie List

New Delhi – 1956
https://www.youtube.com/watch?v=FU6_PMD-tko

Begunah – 1957
https://www.youtube.com/watch?v=VPPSLvojO0k

Shararat – 1959
https://www.youtube.com/watch?v=4LMttdRWlzs

Karorepati – 1961
https://www.youtube.com/watch?v=3kgjVf5k71s

Rangoli – 1962
https://www.youtube.com/watch?v=DoN7BfML77o

Love in Bombay – 1975
https://www.youtube.com/watch?v=GIJ-D_q6RK8

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Kishore kumar with Shankar Jaikishan Movie Songs List

1 ….. Are Bhaee Nikal Ke Aa Ghar Se, Aa Ghar Se, Duniaa Kee Raunaq Dekh Phir Se… ….. Kishore ….. Shailendra ….. NEW DELHI – 1956
2 ….. Milte Hee Nazar aap Mere Dil Mein Aa Gaye, Afsos hai Ki Aap Bhee ….. Kishore ….. Shailendra ….. NEW DELHI – 1956
3 ….. Nakhrewaalee, Nakhrewaalee, Nakhrewaalee, Dekhane Mein Dekh Lo Hai Kaisee Bhoole ….. Kishore, Chorus ….. Shailendra ….. NEW DELHI – 1956
4 ….. Aaj Na Jaane paagal manvaa Kaahe Ko Ghabraaye, Hich Hich Hichkee Aaye Re. ….. Kishore ….. Hasrat Jaipuri ….. BEGUNAH – 1957
5 ….. Aaja Raat Bete jaye, Shama Tadap Kar Bujh Na Jaye ….. Usha, Kishore, Chorus, ….. Shailendra ….. BEGUNAH – 1957
6 ….. Ham matawaale Maujawaan, Manzilon Ke Ujaale, Log Karein Badnaamee ….. Kishore ….. Hasrat Jaipuri ….. SHARARAT – 1959
7 ….. Khol De Khol De Khidkee Chaahat Ke naam Pe, Seekh Hamaare Dil Se Tadapnaa ….. Kishore ….. Shailendra ….. SHARARAT – 1959
8 ….. Pakkaaa Aashiq Hoon Bahalaa Maut Se Dartaa.. Dekh Aasman Mein chaand Muskuraayein ….. Geeta, Kishore ….. Hasrat Jaipuri ….. SHARARAT – 1959
9 ….. Toone Meraa Dil Liyaa, Teree baaton Ne Jaado Kiyaa, haay Na jaane Kyaa kar Diyaa ….. Geeta, Kishore ….. Hasrat Jaipuri ….. SHARARAT – 1959
10 ….. Dekhne Walo Tham Lo Dil Ko Apna Tamasha Shuru Ho Gaya ….. Kishore, Chorus ….. Shailendra ….. KROREPATI – 1961
11 ….. O Ladke Badhte Badhte Tu To Yahaan Bhi Aa Gaya, O Ladki Marji Mere Dil Ki ….. Lata, Kishore ….. Shailendra ….. KROREPATI – 1961
12 ….. Kaabul Kee Main Naar Meri Aankhein Raseeli Kataar ….. Geeta, Kishore ….. Hasrat Jaipuri ….. KROREPATI – 1961
13 ….. O Meree Mainaa Arre Sun Mera Kehna, Haathon Mein Haath Chal Mere Saath ….. Rafi, Kishore ….. Shailendra….. KROREPATI – 1961
14 ….. Ham Bechare Pyar Ke Maare, Aur Tum To Tum Ho ….. Kishore ….. Hasrat Jaipuri ….. RUNGOLI – 1962
15 ….. Chotee See Ye Duniya Pehchane Raaste Hai ….. Kishore ….. Shailendra ….. RUNGOLI – 1962
16 ….. Rangolee Sajaao Re Rangoli Sajao,(2) Teri Paayal Mere Geet ….. Kishore ….. Hasrat Jaipuri ….. RUNGOLI – 1962
17 ….. Ek Nazar Kisee Ne Dekha Aur Dil Hua Deewana ….. Lata, Kishore ….. Shailendra ….. RUNGOLI – 1962
18 ….. Dooriyaan Nazdeekiyaan Ban Gaee Ajab Ittifaaq Hai, Kah Daalee Kitanee baatein Ankahee… ….. Asha, Kishore ….. Hasrat Jaipuri ….. DUNIYA – 1968
19 ….. Aa Zaraa Aaj To Muskuraa Lein, Ye Hansee Ye Khushee Do Ghadee Hai… ….. Kishore, Mannadey ….. S. H. Bihari….. BHAI BAHEN – 1969
20 ….. Are Kambakht Kidhar Se Aayaa Munne Kee Ammaa Ye To Bataa ….. Kishore, Pankaj, Chorus, ….. Rajendra Krishan ….. TUM HASEEN MAIN JAWAN – 1970
21 ….. Are Pyaar Pe Koee Bas To Neheen Hai Kahe Deewaanaa Dil ….. Kishore ….. Hasrat Jaipuri ….. UMANG – 1970
22 ….. Ham Log Hain Aese Deewaane Duniyaa Ko Jhukaakar Maaneinge ….. Kishore, Chorus ….. Hasrat Jaipuri ….. UMANG – 1970
23 ….. Sachcha Pyaar To Jhuk Neheen Saktaa Dil Kee Umang Kehtee Hai ….. Asha, Kishore, Chorus, ….. Hasrat Jaipuri ….. UMANG – 1970
24 ….. Aa Jaa Pyaare Aa Jaao Naachein Ham Jhoom. ….. Kishore, Mahendra, Chorus, ….. S. H. Bihari ….. UMANG – 1970
25 ….. Ae Mere Dil Mat Kar Kisee Pe Aetbaar,Har Qadam(Part1) ….. Kishore ….. Hasrat Jaipuri ….. ALBELA – 1971
26 ….. Ae Mere Dil Mat Kar Kisee Pe Aetbaar,Har Qadam(Part2) ….. Kishore ….. Hasrat Jaipuri ….. ALBELA – 1971
27 ….. Sultaanon Ke Sultaan..Main Hoon Albelaa, Main Hoon Albelaa ….. Kishore, Mehmmod ….. Hasrat Jaipuri….. ALBELA – 1971
28 ….. Zindagee Ik Safar Hai Suhaanaa ….. Kishore ….. Hasrat Jaipuri ….. ANDAZ – 1971
29 ….. Hansate Gaate Jahaan Jindagi Hai Safar Hai Suhana(Slow) ….. Rafi, Kishore ….. Hasrat Jaipuri….. ANDAZ – 1971
30 ….. Jhoom Jhoom Naach Rahi Barkha Bahar Hai ….. Kishore ….. Rajendra Krishan ….. DUNIYA KYA JAANE – 1971
31 ….. Saanjh Savere Naina Tere Mere, Milte Rahe Hai Milte Rahenge ….. Asha, Kishore ….. Rajendra Krishan ….. DUNIYA KYA JAANE – 1971
32 ….. Ye Pyar To Milan Hai, Yahan Mile Wahan Mile ….. Kishore ….. Hasrat Jaipuri ….. EK NARI EK BRAHMACHARI – 1971
33 ….. Oye Lappa Tosa Na Napa Kidhar Ko Jata Jogapa ….. Asha, Kishore ….. Hasrat Jaipuri ….. EK NARI EK BRAHMACHARI – 1971
34 ….. Haar gaye Haar gaye, Arre Tu Hai Budhu Brahamchaari ….. Asha, Mannadey, Sharda, Kishore, Chorus ….. Neeraj ….. EK NARI EK BRAHMACHARI – 1971
35 ….. Jaane Anjaane Log Mile Magar Koi Mila Na Apna ….. Kishore ….. Hasrat Jaipuri ….. JAANE ANJAANE – 1971
36 ….. Bhanwre Ki Gunjan Hai Mera Dil, Kab Se Sambhaale ….. Kishore, Chorus ….. Hasrat Jaipuri ….. KAL AAJ AUR KAL – 1971
37 ….. Hello Aap Yahaan Aaye Kiss Liye, Aapne Bulaaya Iss Liye ….. Asha, Kishore ….. Neeraj ….. KAL AAJ AUR KAL – 1971
38 ….. Hum Jab Honge Saathh Saal Ke, Aur Tum Hongi Pachpan Ki ….. Asha, Kishore ….. Shaily Shailendra ….. KAL AAJ AUR KAL – 1971
39 ….. Tik Tik Tik Tik Chalti Jaaye Ghadi, Kal Aaj Aur Kal Ki Pal Pal Judti ….. Asha, ,Kishore, ,Mukesh ….. Neeraj ….. KAL AAJ AUR KAL – 1971
40 ….. Geet Gaata Hoon Main, Gun Gunaata Hoon Main ….. Kishore ….. Dev Kohli ….. LAL PATTHAR – 1971
41 ….. Kurukoo, Kurukoo, Kurukoo, Kurukoo, Do Mastane Do Deewane, Ek Main Hoon Ek Tu Kuruku Kuruku ….. Asha, Kishore ….. Anand Bakshi ….. MAIN SUNDAR HOON – 1971
42 ….. Mujhko Thand Lag Rahi Hai, Mujhse Door Tu Na Ja ….. Asha, Kishore ….. Anand Bakshi ….. MAIN SUNDAR HOON – 1971
43 ….. Naach Meri Jaan Fataa Fat, Baat Meri Maan Fataafat ….. Asha, Kishore ….. Anand Bakshi ….. MAIN SUNDAR HOON – 1971
44 ….. Adi Adi Rook Ja Kudi, Arey Surat Se Kaya Pehchanoge ….. Kishore ….. Rajendra Krishan ….. PARDE KE PEECHHEY – 1971
45 ….. Tum Jab Jab Saamne Aate Ho, Mere Tan Me Kuch Kuch Hota Hai ….. Lata, Kishore ….. Rajendra Krishan ….. PARDE KE PEECHHEY – 1971
46 ….. Ladki Chale Jab Sadkon Par Aaye Qayamat ….. Kishore ….. Verma Malik ….. SEEMA – 1971
47 ….. Waqt Thoda Sa Abhi Kuch Aur Gujar Jaane De ….. Asha, Kishore ….. Indeevar ….. SEEMA – 1971
48 ….. Dil Mera Kho Gaya,Kho Jane Do ….. Asha, Kishore ….. Verma Malik ….. SEEMA – 1971
49 ….. Kahta Hai Dil Mastana, Ho Ja Kisi Ka Diwaana ….. Kishore ….. Rajendra Krishan ….. AANKH MICHOLI – 1972
50 ….. Tere Mere Pyar Ki Jo Bat Chali Chali Khul Aaya Raaz Ab To Gali Gali ….. Lata, Kishore ….. Rajendra Krishan ….. AANKH MICHOLI – 1972
51 ….. Aa Ja Re Aa Ja, Chup Chup Ke Pyar Ham Kare ….. Asha, Kishore ….. Rajendra Krishan ….. AANKH MICHOLI – 1972
52 ….. Ae He O Ho Teri Umar Nadaan Hai ….. Kishore ….. Verma Malik ….. AANKHON AANKHON MEIN – 1972
53 ….. Ankhon Ankhon Mein, Ankhon Ankhon Mein, Baat Hone Do ….. Asha, Kishore ….. Hasrat Jaipuri ….. AANKHON AANKHON MEIN – 1972
54 ….. Ae, Do Baatein Pyaar Bhari Kar Loon, Aji Kar Lo Ji ….. Asha, Kishore ….. Verma Malik ….. AANKHON AANKHON MEIN – 1972
55 ….. Ho Tera Mera Mel Hai Milaya Raam Ne ….. Asha, Kishore, Chorus, ….. Verma Malik ….. AANKHON AANKHON MEIN – 1972
56 ….. Hay O, Waah Waah, Kyaa Kehne Hain, Mera Yaar Mera Yaar ….. Kishore ….. Rajendra Krishan ….. BANDAGI – 1972
57 ….. Ye Tooti Bottle Ke Tukde, O Sanam, O Sanam Bewafa ….. Kishore ….. Rajendra Krishan ….. BANDAGI – 1972
58 ….. Allah Kasam Allah Kasam Ek Tum Ho Jis Pe Dil Aaya Hai ….. Kishore ….. Rajendra Krishan ….. BANDAGI – 1972
59 ….. Phoolon Ki Taazgi Ho Tum,Shaama Ki Naazki Ho Tum ….. Asha, Kishore ….. Rajendra Krishan ….. BANDAGI – 1972
60 ….. Bum Ragad Ragad Bum Bum Bum Hum Do Mast Malang Pilaayein ….. Kishore, Mahendra ….. Verma Malik….. BE – IMAAN – 1972
61 ….. Saath Mein Pyara Saathi Hai, Raat Bhi Ye Madhmaati Hai ….. Kishore ….. Shaily Shailendra ….. Dil Daulat Duniya- 1972
62 ….. Rook Rook Rook Meri Rani Na Kar Aana Kani ….. Kishore ….. Hasrat Jaipuri ….. Dil Daulat Duniya- 1972
63 ….. O Meri Laara Loo , Jee Chahe Choom Loon ….. Asha, Kishore, Chorus, ….. Hasrat Jaipuri ….. Dil Daulat Duniya- 1972
64 ….. Masti Aur Jawani Ho, Umar Badi Mastaani Ho ….. Asha, ,Kishore, ,Sharda ….. Verma Malik ….. Dil Daulat Duniya- 1972
65 ….. Tum Kitni Khoobsoorat Ho Ye Mere Dil Se Poocho ….. Kishore ….. Hasrat Jaipuri ….. Jangal Mein Mangal-1972
66 ….. Kal Ki Na Karo Baat, Are Baat Karo Aaj Ki ….. Kishore ….. Hasrat Jaipuri ….. Jangal Mein Mangal-1972
67 ….. Kur Kur Kur Ae Ae Ae Kahan Chali, Ae Baagh Ki Kaliyon Sharam Karo ….. Rafi, Kishore, Chorus, ….. Hasrat + Neeraj ….. Jangal Mein Mangal-1972
68 ….. Tujh Jaisi Laadli Laakhon Mein Ek ….. Kishore ….. Hasrat Jaipuri ….. RIVAAJ – 1972
69 ….. Mujhe Meri Bibi Se Bachaoo, Mujhe Meri Bibi Se Bachaoo, Akadti Hai Bigadti Hai, Hamesha ….. Kishore ….. Hasrat Jaipuri ….. AAJ KI TAAZA KHABAR – 1973
70 ….. Aeke Aeke Tora Tora, Nakuru, Raat Hai Baat Hai, Do Diloon ….. Kishore ….. Hasrat Jaipuri ….. AAJ KI TAAZA KHABAR – 1973
71 ….. Ayi Ayi Aayig, Aata Aaayig Kaaye Ye Mard Bade Bade Bedard Hain ….. Usha, Kishore ….. Hasrat Jaipuri ….. AAJ KI TAAZA KHABAR – 1973
72 ….. Jaane Mujhe Toone Ye Kya Cheez Pila Di ….. Sharda, Kishore ….. Indeevar ….. NAINA – 1973
73 ….. O Nakhre Waali O O Nakhre Waali , De De De De ….. Asha, Kishore ….. Shakeel Badayuni ….. PYAR KA RISHTA – 1973
74 ….. Mere Dil Mein Tu Hi Tu Mera Itbar Karle ….. Kishore ….. Aziz Kashmiri ….. International Crook – 1974
75 ….. Pyar Ki Mujpe Kya Nazar Daali ….. Asha, Kishore ….. Aziz Kashmiri ….. International Crook – 1974
76 ….. Haay Haay Haay Hato Na Pucha Jo Pyar Kya Hai, Sharma Ke Maar Dala ….. Ranu, Kishore ….. Aziz Kashmiri ….. International Crook – 1974
77 ….. Chamka Pasina Ban Ke Nagina, Kaali Raat Beeti Re ….. Kishore, Chorus ….. Indeevar ….. RESHAM KI DORI – 1974
78 ….. Haa Haa Haa Takhleena Aye Habiba Khushnasiba Yaar Ke Dil Ki ….. Kishore ….. Kiran Kalyani ….. VACHAN – 1974
79 ….. Dil Ka Guldasta Baahon Ka Pyar, Saath Me Uske Bahut Sara ….. Sharda, Kishore ….. Shaily Shailendra ….. VACHAN – 1974
80 ….. London Se Aya Hoon Albela,O Zulfon Se Main Khela ….. Kishore, Mahendra ….. Hasrat Jaipuri….. VACHAN – 1974
81 ….. Kaisi Padi Maar Aya Maja, Bhool Gaaye Pyar Aya Maja ….. Kishna, ,Kishore, ,Sharda, ,Rafi ….. Hasrat Jaipuri ….. VACHAN – 1974
82 ….. Chalo Bhool Jaye, Jahaan Ko Do Ghadi, Beete Hue Pal ….. Lata, Kishore ….. Vitthalbhai Patel ….. DO JHOOT – 1975
83 ….. Chhataree Na Khol, Kayon ?, Ud Jayegi, Tez Hawa Hai ….. Usha, Kishore ….. M. G. Hashmat ….. DO JHOOT – 1975
84 ….. Matak Matak Jhatak Matak Mere Cheeta, Phir Haar Ke Main ….. Kishore ….. Majrooh Sultanpuri ….. LOVE IN BOMBAY – 1975
85 ….. Ae Thamba Thamba Taaali Bajao, Taali Bajao, Maajha Naav Aahe Ganpatrao ….. Kishore, Chorus ….. Majrooh Sultanpuri ….. LOVE IN BOMBAY – 1975
86 ….. Jai Kaalee Calcuttewaalee.. Jai Jai Mahaakaalee Calcuttewaalee, Kar De Dayaa ….. Kishore, Chorus ….. Kishore + Anand ….. LOVE IN BOMBAY – 1975
87 ….. O Kahaan Chalee Zaraa Ruk Jaa.. Raanee Naacho, Ae Naacho, Raanee naacho.. ….. Kishore, Rafi ….. Majrooh Sultanpuri….. LOVE IN BOMBAY – 1975
88 ….. Pyar Karne Se Pehle Zaroori Hai Ye, Main Tujhe Jaan ….. Lata, Kishore ….. Prabha Thakur ….. DUNIYADARI – 1977
89 ….. Maine Kaha Meherbaan Pyar To Hai Yahan Hum Khade Hai Jahan, Humse Door ….. Kishore ….. Majrooh Sultanpuri ….. MAHFIL – 1978
90 ….. Chalte Chalte Inn Raahon Per Aaisa Bhi Kuch Ho Jaata Hai ….. Kishore ….. Prabha Thakur ….. ATMARAM – 1979
91 ….. Ek Tha Kaanha Ek Thi Radha Kaaya Sach Hai Kya Jhooot ….. Usha, Kishore, Sulakshana ….. Vishweshar Sharma ….. ATMARAM – 1979
92 ….. Too Aag Hai Mein Aag Hoon, Aag Ko Aag Mein Dhaal De ….. Kishore ….. Vitthalbhai Patel ….. GANGA AUR GEETA – 1979
93 ….. Tu Jahaan Main Wahan, Tere Pass Aa Gaya ….. Kishore ….. Hasrat Jaipuri ….. GARAM KHOON – 1980
94 ….. Haaye Dekha Hai Tumhe Kahin Na Kahin, Lekin Kahan ….. Kishore ….. Singhaar ….. CHORNI – 1981
95 ….. Kehta Hai Dil Kehta Hai Dil O Mere Sanam Leke Tujhe ….. Kishore, Chorus ….. Hasrat Jaipuri ….. CHORNI – 1981
96 ….. Mujhe Poochne Ka Ye Haq To Nehi Hai,Magar Jaane Kyon ….. Kishore ….. M. G. Hashmat ….. NAARI – 1981
97 ….. He Ahista Ahista Judne De Ye Rishta, Mein Hon Tujhpe Fida ….. Kishore ….. Naqsh Layalpuri ….. EENT KA JAWAB PATTHAR – 1982
98 ….. Haaye, Haaye, Haaye, Haato Na Poocha Jo Pyar Kaya Hai Sharma Ke ….. Ranu, Kishore ….. Aziz Kashmiri ….. EENT KA JAWAB PATTHAR – 1982
99 ….. Jab Dushman Ho Gaya Waqt, Waqt Se Ladna Hi Hoga ….. Kishore ….. Vishweshar Sharma ….. PAPI PET KA SAWAL HAI – 1984
100 ….. Ye Duniya Khel Madaari, Chaalaki Ka Hoshiyari Ka ….. Lata, Kishore ….. Vishweshar Sharma ….. PAPI PET KA SAWAL HAI – 1984
101 ….. Namaste Ya Salaam Kahne Mein Aaj Ki Duniya Mein Beta ….. Kishore, Suresh ….. M. G. Hashmat….. PAPI PET KA SAWAL HAI – 1984
102 ….. Suno Baba Suno Baba Ayoo Na Maaro Teer Ka Nishaana ….. Sharda, Kishore, Chorus, ….. Kafeel Azar ….. KAANCH KI DEEWAR – 1986
103 ….. Mehfil Mein Tu Iss Dil Mein Tu Tera Shabab Tauba Tauba ….. Kishore ….. Pramod Tyagi ….. GORI – 1991
104 ….. Type Writer Tip Tip Karta Hai,Zindagi Ki Har Kahaani Likhta Ha ….. Asha, Kishore ….. Hasrat Jaipuri ….. BOMBAY TALKIE (ENGLISH) – 1971
105 ….. Tere Mere Pyaar Kaa Andaaz Hai Niraalaa, jaanataa Hai To Bas Ek Ooparwaalaa ….. Asha, Kishore ….. Hasrat Jaipuri ….. NAGINA – Unreleased

Listen Dil Ki Girah Khol Do

StickyJune 28, 2026SJ Songs clip, Tributeदिल की गिरह, dil ki girah, lata mangeshkar, shailendra, shankarjaikishanshankerjai

Shanker & I pdf with Transcript

StickyApril 21, 2026feature, filmfare, Paper Cutting, Photos, SJ's association, Tributefilmfare, hasrat on shankar, Shanker and Ishankerjai

Pages: 1 2

Jaane bhi do dilruba….. An analysis

StickyApril 3, 2026Discussions, Guest's Column, SJ Fan writes, Song ReviewsAjay Dagaonkar, Badal, jaane bhi do dilruba, shankarjaikishanalbum, shankarjaikishancomposition, song analysis, song reviewshankerjai

By Ajay Dagaonkar, a SJ fan

“Jaane bhi do dilruba…” from Badal is a shining example of how early Shankar–Jaikishan had already begun redefining Hindi film music.
Composition & Orchestration

Coming soon after Barsaat and alongside the phase of Awaara, this composition reflects a remarkable leap in musical thinking.

The melody is fluid, romantic, and instantly engaging. The orchestration is strikingly advanced for its time. Use of strings, rhythm sections, and interludes shows a structured, almost symphonic approach

At a time when many composers were still rooted in simpler arrangements, Shankar–Jaikishan created a soundscape that felt modern, layered, and cinematic.
—the orchestration here feels far ahead of many contemporaries.

The lyrics were written by Hasrat Jaipuri.
His writing brings softness and emotional intimacy, using simple yet evocative words that perfectly complement the melody.

Screen Presence

The song gains immortality through the enchanting presence of Madhubala supported by Stylish and Handsome Premnath
Her effortless grace, expressions, and screen charisma elevate the composition into a visual and emotional delight.
She adds a layer of charm that makes the song unforgettable.

Overall Significance

Even at such an early stage in their career, Shankar–Jaikishan demonstrated:

A bold, forward-looking orchestral vision

Strong melodic identity

Perfect synergy between music, lyrics, and visuals

“Jaane bhi do dilruba…” is not just a beautiful song—it is proof that the duo had already moved miles ahead in orchestral imagination, setting standards that many would follow later.

(शंकर) जयकिशन की पुण्य तिथि 12 सितंबर 2025 पर विशेष श्रद्धांजलि

StickySeptember 12, 2025Uncategorized12th September 2025, 69th death anniversary of Jaikishan, Adarsh Sharma, death anniversary of Jaikishan, Jaikishan Dahyabhai Panchal, jaikishan ji, jaikishandahyabhaipanchal, jaikishanjishankerjai

आए बहार बन के लुभाकर चले गए
तुम मुझे यूं भुला न पाओगे
हसरत जयपुरी के गीतों के कन्हैया
संगीतकार जयकिशन
(शंकर)-जयकिशन की पुण्य तिथि 12 सितंबर 2025 पर विशेष श्रद्धांजलि
— आदर्श कुमार शर्मा

हिंदी फ़िल्म संगीत की सबसे लोकप्रिय और सफल संगीतकारों की जोड़ी शंकर-जयकिशन के जयकिशन का जन्म 4 नवम्बर 1929 को गुजरात के बनसदा जिले के वसन्दा में हुआ था। 'शंकर जयकिशन' का फिल्मी सफ़र सन् 1949 में राजकपूर की सुपरहिट फ़िल्म 'बरसात' से हुआ। शैलेन्द्र और हसरत जयपुरी ने भी गीतकार के रूप में इस फ़िल्म में पहली बार गीत लिखे थे। इस फ़िल्म के गीत-संगीत ने लोकप्रियता की नई बुलंदियों को छुआ। इसी साल महबूब खान की 'अंदाज़' फ़िल्म (संगीतकार नौशाद) भी रिलीज़ हुई थी। महबूब खान ने नौशाद से उलाहना देते हुए कहा था कि 'बरसात' फ़िल्म के गीत-संगीत ने सब फ़िल्मों के गीत-संगीत को धो दिया है। इसके पश्चात् 'शंकर-जयकिशन' की आई लगभग सभी फ़िल्मों का संगीत उच्च-कोटि का रहा और सोने पर सुहागा प्रायः सभी फ़िल्मों के सभी गाने लोकप्रिय हुए। उन्होंने हर रंग के गीत चाहे शास्त्रीय संगीत हो या पश्चिमी, लोकगीत हों या भजन या कव्वाली सभी तरह का उत्कृष्ट संगीत दिया। रोमांटिक गीत लिखने में माहिर हसरत जयपुरी और जयकिशन की जोड़ी ने तो लोकप्रियता के सभी रिकॉर्ड तोड़ दिए। लगभग डेढ़ सौ फ़िल्मों तक ये सिलसिला चल ही रहा था कि 12 सितम्बर 1971 को जयकिशन जी के आकस्मिक निधन के कारण 'शंकर-जयकिशन' के लाखों प्रशंसकों और संगीत प्रेमियों को नाकाबिले-बर्दाश्त सदमा लगा। जयकिशन जी के वियोग के बावजूद शंकर जी ने 'शंकर-जयकिशन' के बैनर को बड़ी हिम्मत के साथ अपने अंतिम सांस तक जीवित रखा। अंततः 26 अप्रैल 1987 को शंकर जी ने अपने जीवन की अंतिम सांस ली और अपने पीछे 'शंकर-जयकिशन' के अमर संगीत का बहुमूल्य ख़ज़ाना छोड़ गए।

शंकर-जयकिशन के सुपरहिट और मधुर संगीत के लिए उन्हें नौ बार फ़िल्मफेयर पुरस्कार मिला।
उनके अत्यंत लोकप्रिय फिल्मी गीतों में कुछ निम्नलिखित हैं :-

हवा में उड़ता जाए 2. जीया बेकरार है 3.आवारा हूं 4.मेरा जूता है जापानी 5.ऐ मेरे दिल कहीं और चल 6.तू प्यार का सागर है 7. सुनो छोटी सी गुड़िया की लम्बी कहानी 8. हम उस देश के वासी हैं 9.तेरा जाना दिल के अरमानों 10. अजीब दास्तां है ये 11. मैं पिया तेरी 12. तेरी प्यारी प्यारी सूरत को 13.बहारो फ़ूल बरसाओ 14.बोल राधा बोल संगम 15.चाहे कोई मुझे जंगली कहे 16. किसी की मुस्कुराहटों पे हो निसार 17. बदन पे सितारे लपेटे हुए 18. सजन रे झूठ मत बोलो 19. पान खाए सैयां हमार 20. पर्दे में रहने दो 21.आए बहार बनके 22.मेरे सपने में आना रे 23. जीना यहां मरना यहां 24. ये मेरा प्रेम पत्र पढ़ कर 25. याद किया दिल ने कहां 26.रसिक बलमा 27.मनमोहना बड़े झूठे 28.जा जा जा बालमवा 29. हाय तू ही गया मुझे भूल रे 30. आ जा सनम…… इत्यादि अनगिनत नगमे हैं।
महान् संगीतकार हृदयनाथ मंगेशकर जी ने पार्श्व संगीत के बारे में जयकिशन का जिक्र करते हुए कहा था कि “वे ऐसे प्रतिभावान पार्श्व संगीतकार थे जो एक दिन में 60-65 पीस कर लेते थे जबकि बाकी संगीतकार 15 से अधिक पीस नहीं कर पाते थे। ऐसा प्रतिभावान संगीतकार भी मैंने कोई देखा नहीं। हर संगीतकार कोई श्रम करता है कोई रागदारी के पीछे पड़ता है लेकिन ये ऐसे प्रतिभावान संगीतकार थे जो कब धुन बनाते थे, कब रिहर्सल करते थे और कब रिकार्डिंग करते थे ये उन्हें मालूम है या ईश्वर को।”
ऐसे ही संगीतकार लक्ष्मीकांत (लक्ष्मीकांत प्यारेलाल) का कहना है कि जयकिशन जैसा प्रतिभावान संगीतकार मैंने अपनी ज़िन्दगी में आज तक नहीं देखा।
शम्मी कपूर अपने दोस्त ‘जयकिशन’ को उनकी 36वीं पुण्यतिथि पर श्रद्धांजलि देते हुए राजीव विजयकर से संस्मरण सांझा करते हुए कहते हैं जिसका सारांश प्रस्तुत है:-
“जब मेरी फ़िल्म ‘तुमसा नही देखा’ रिलीज़ हुई उस समय तक ‘शंकर-जयकिशन’ एक बहुत बड़ा नाम हो चुके थे। ‘जय’ और मैं बहुत पहले से दोस्त थे। ‘शंकर जयकिशन’ के साथ मेरी पहली फिल्म ‘उजाला’ में ‘झूमता मौसम मस्त महीना’ जैसे बहुत अच्छे गाने थे लेकिन ‘जंगली’ फ़िल्म तो सोने की खान साबित हुई। मेरे कहने पर जयकिशन ने ‘याहू’ शब्द का ‘चाहे कोई मुझे जंगली कहे’ गाने में बेहतरीन इस्तेमाल किया।
जयकिशन एक अद्भुत और बेजोड़ संगीतकार थे। वह इनपुट के लिए खुले रहते थे और पश्चिमी संगीत को अपनी शास्त्रीय जड़ों से जोड़ना पसन्द करते थे। इसमें महारत के साथ-साथ वे समान रूप से ‘एहसान तेरा होगा मुझ पर’ जैसे भावपूर्ण गीतों को संगीतबद्ध करने में भी दक्ष थे। यहां पर मेरा यह कहना भी है कि शंकर जी भी किसी जीनियस से कम नहीं थे।
मुंबई के चर्चगेट स्थित बॉम्बेली रेस्तरां में शूटिंग के बाद जय मुझे फोन करते थे। वहाँ वह नई धुनों को प्रस्तुत करते थे, आमतौर पर संगीत या डमी गीतों के साथ, और मैं उन्हें ‘बुक’ करता था। वह वास्तव में मेरे लिए उन्हें गुनगुनाते या गाते थे, और उनमें से अधिकांश शानदार रचनाएँ होती थीं जो तुरंत और बेमिसाल हिट होती थीं।
“बेशक सभी प्रकार के पश्चिमी संगीत में दिलचस्पी के कारण मैं उसे इनपुट देता। लेकिन जो मैंने उसे दिया, उसने कभी उसकी नकल नहीं की – वह उस को ध्यान में रख कर एक नई ही मेलोडी तैयार करता।
“मुझे याद है कि जय को ‘सिंगापुर’ फिल्म की शूटिंग के लिए सिंगापुर ले गए थे -हमने एक साथ बहुत यात्रा की क्योंकि मैं उसे बेरूत, पेरिस और कई जगहों पर खींच ले जाता! हम गाने में मलेशियाई शब्दों के साथ कैबरे शो देख रहे थे। जय ने एक वेटर से एक नैपकिन और पेन मांगा और नोटेशन लिखना शुरू कर दिया, जिसके परिणामस्वरूप फिल्म में हिट गाना ‘रासा सायंग रे’ आया। जय बहुत तेज़ थे और एक बार फिर उन्होंने मूल गीत को बहुत सुधार कर पेश किया था।
एक बार जय ने मुझे अपनी गाड़ी में बुलाकर जो सुनाया वो बाद में ‘तुम मुझे यूं भूला न पाओगे’ (पगला कहीं का) और ‘जब मोहब्बत जवान होती है’ (जवान मोहब्बत) के रूप में गीत आये। मैं अक्सर ‘गोविंद महल’ में जाता था और जयकिशन, दत्ताराम और सेबेस्टियन के साथ बैठता था। “दोस्तों के रूप में, हम अक्सर बहस करते थे और लड़ते थे, लेकिन एक बार बात बढ़ गई जब एलवी प्रसाद की ‘ससुराल’ फ़िल्म की अपनी उत्कृष्ट कृति ‘तेरी प्यारी प्यारी सूरत’ को ‌उसने मुझे देने के मेरे अनुरोध को यह कह कर अस्वीकार कर दिया कि मैं इसे पहले ही राजेंद्र कुमार को दे चुका हूं। बेशक मुझे हार माननी पड़ी, लेकिन मैं दूसरी बार भाग्यशाली था। जय मेरे पास आए और चाहते थे कि मैं रिकॉर्डेड रफी-सुमन कल्याणपुर युगल गीत ‘आज कल तेरे मेरे प्यार के चर्चे’ सुनूं। गीत रिकॉर्ड किया गया था, मैंने इसे रमेश सिप्पी और भप्पी सोनी को सुनाया, जिनके साथ मैं ब्रह्मचारी बना रहा था और यह उस फिल्म का शीर्ष चार्टबस्टर्स बन गया।
“मैं अपने दोस्त के बारे में और क्या कह सकता हूं? वह पार्श्व संगीत में बहुत तेज थे, और उनके पार्श्व संगीत के पीस इतने अच्छे होते थे कि वे अक्सर उनसे महान गीत बनाते थे, जैसे जिस देश में गंगा बहती है से ‘ओ बसंती पवन पागल’ आवारा में पार्श्व-संगीत का पीस था।
उनके निधन पर मुझे याद है मेरे पिता (पृथ्वीराज कपूर) जो उन्हें बेटे की तरह मानते थे, मुंबई के मरीन ड्राइव के एक अस्पताल में भर्ती थे। वे कैंसर से बहुत बीमार थे। जय की अंतिम शवयात्रा उस बिल्डिंग के आगे से होकर गुजरी परिवार के लोगों ने किसी तरह मेरे पिता का ध्यान हटाकर मेरे पिता को खिड़की पर आने से रोका। बेशक उन्हें मरने से पहले जय की मौत के बारे में पता चला और मेरे पिता वास्तव में उनके लिए रोए।
“मैं 11 सितंबर को आखिरी बार जय से मिला था – वह हफ्तों तक अस्पताल में था। जब मैंने उससे छुट्टी ली, तो मैंने कहा, ‘ठीक है, जय, कल मिलते हैं।’ वह बस मुझे देखता रहा और आज तक मैं उस नज़र को कभी नहीं भूल पाया।
“एक बहुत ही मिलनसार और निवर्तमान व्यक्ति, जयकिशन ने कभी किसी के बारे में बुरा नहीं कहा। हमेशा संगीत में डूबे रहने से उन्होंने जीवन को हमेशा सेलिब्रेट किया।
कई अन्य संगीतकारों ने मुझे शानदार गाने दिए – लेकिन शंकर-जयकिशन वास्तव में अद्भुत थे, और मुझे जय की बहुत याद आती है!”
शंकर-जयकिशन के करोड़ों प्रशंसकों की तरफ़ से हमारी सरकार से प्रार्थना है कि फ़िल्मों में उत्कृष्ट संगीत देने के लिए ‘शंकर-जयकिशन’ को मरणोपरांत ‘दादा साहब फाल्के’ अवार्ड दिया जाए।

Dr. Ramesh Shastri the lyricist of Hawa mein udta jaye

StickyAugust 3, 2025Photos, TributeBarsaat, Barsaat 1949, birthday lyricist ramesh shastri, ramesh shastry, shankarjaikishanshankerjai

Krishna Kumar Sharma
हवा में उड़ता जाए, मेरा लाल दुपट्टा मल मल का ….
भूले बिसरे गीतकार डॉ . रमेश शास्त्री के जन्मदिवस पर विशेष

By Krishna Kumar Sharma

भला कौन हिंदी फिल्म संगीत प्रेमी न होगा जिसने फिल्म “बरसात” ( 1949 ) का ये गीत नहीं सुना और देखा होगा। बतौर फिल्मकार और अभिनेता राज कपूर को स्थापित करने वाली फिल्म थी बरसात । इस फिल्म ने अभिनय की दुनियां में प्रेमनाथ , निम्मी और नरगिस को नई पहचान दी । बतौर नए संगीतकार शंकर जयकिशन और गीतकार हसरत जयपुरी और शंकर जयकिशन की पूरी फिल्मी दुनियां में धूम मच गई । इस फिल्म का एक एक गाना लोगों की जुबान पर चढ़ गया । सच पूछिए तो साधारण प्रेम कहानी पर बनी इस फिल्म की सबसे बड़ी ताकत इसका गीत संगीत पक्ष ही था । फिल्म में कुल 11 गीत थे और इनमें से अधिकांश (7 गीत ) हसरत जयपुरी ने लिखे थे ! । बरसात का टाइटल सॉन्ग “बरसात में हमसे मिले हमसे मिले तुम सजन , तुमसे मिले हम , बरसात में ….” गीतकार शैलेन्द्र के हिस्से में आया । इसके अलावा उन्होंने “तिरछी नजर है पतली कमर है….” भी लिखा था । फिल्म का एक अन्य लोकप्रिय गीत “ओ मुझे किसी से प्यार हो गया….” हमारे लखनऊ के मशहूर शायर जलाल मलीहाबादी ने लिखा था ।

फिल्म की शुरुवात ही इस फिल्म के सबसे खूबसूरत गीत ” हवा में उड़ता जाए मेरा लाल दुपट्टा मल मल का …. ” से होती है जो फिल्म की दो मुख्य नायिकाओं नरगिस और निम्मी पर नहीं बल्कि सिनेमा के परदे पर पहली बार अवतरित एक ऐसी बेहद खूबसूरत नव योवना पर फिल्माया गया था, जिसे देखकर लोग हसरतों से भर गए । आज इस फिल्म को रिलीज हुए पूरे 76 साल का लंबा अरसा गुजर चुका है । लेकिन अगर किसी से ये पूछ लिया जाए कि इस खूबसूरत गीत को किसने लिखा और ये गीत जिस लड़की पर फिल्माया गया उसका क्या नाम है तो लोग बगले झांकने लगेगे ! कारण, गूगल और यू ट्यूब में कहीं भी इस लड़की के नाम का जिक्र नहीं ।

जैसा कि मैनें ऊपर लिखा कि बरसात की बेशुमार कामयाबी ने राजकपूर, नरगिस , निम्मी, प्रेमनाथ , शंकर – जय किशन , हसरत जयपुरी और शैलेंद्र के नामों को बुलंदियों तक पहुंचा दिया । लेकिन इस गीत के रचयिता और जिस पर इसे फिल्माया गया दोनों के हिस्से में गुमनामी ही हाथ आई । इस गीत के गीतकार रमेश शास्त्री और अभिनेत्री बिमला को भला आज कौन जानता है । “बिमला” की याद आज मुझे इसलिए भी आई क्योंकि फिल्म “अलबेला” में उस पर फिल्माए गई हिंदी सिनेमा की यादगार लोरी ” धीरे से आ जा री अंखियन में , निंदियां आ जा री आ जा ” को मैनें कल ही अभिनेता भगवान दादा की याद में फेसबुक पर शेयर किया था ।

राज कपूर जी ने शैलेंद्र की तरह “रमेश शास्त्री” को भी बंबई में ही स्थापित होने की सलाह दी थी । लेकिन उन्हें फिल्मी दुनियां कुछ खास रास नहीं आई । वो दौर भी ऐसा था जब फिल्मी दुनियां में गीत लेखन का काम ज्यादातर उर्दू शायर कर रहे थे । हिंदी के कवि और गीतकार को उनके मुकाबले सम्मान मिलेगा इस बात को लेकर उनके मन में संदेह था । उनकी रुचि हिंदी साहित्य में ही नहीं बल्कि संस्कृत भाषा में लिखे गए ग्रंथों में भी थी । शायद इसी कारण माया नगरी बंबई और वहां की चका चौंध से भरी फिल्मी दुनियां उन्हें लुभा पाने में समर्थ न हो सकी और उन्होंने बनारस आ कर संस्कृत में पीएचडी की और कॉलेज में अध्यापन कार्य में लग गए ।

1949 से 1951 के बीच उन्होंने अन्य चार धार्मिक फिल्मों : ऊषा हरण (1949 ), राम विवाह (1949 ), हर हर महा देव (1950 ) और जय महा काली (1951) में भी गीत लिखे थे। लेकिन “बरसात” के बाद उन्होंने उक्त चार फिल्मों में जो अन्य 12 गीत लिखे वो “राम शरण” के नाम से ही लिखे। इनमें से कुछेक गीत खासकर गीता दत्त जी और मुकेश जी के गाए भी लोकप्रिय हुए थे और मैनें रेडियो पर उन्हें सुना भी था । लेख के दूसरे भाग में उन गीतों के बारे में भी जिक्र करूंगा ताकि सनद रहे और फिल्म संगीत पर शोधकर्ताओं के काम आ सकें।

आज से कोई सौ साल पहले आज ही के दिन यानि ,
2 अगस्त 1925 को जन्मे डा.रमेश शास्त्री ने सरकारी कॉलेज में बतौर प्रोफेसर नौकरी की । शास्त्री जी 1990 में रिटायर हुए और 30 अप्रैल 2010 को 85 वर्ष की आयु में अहमदाबाद में हिंदी सिनेमा का यह सबसे ज्यादा पढ़ा लिखा गीतकार स्वर्ग सिधार गया । यहां उल्लेखनीय है कि गूगल और फिल्म संगीत से जुड़ी विभिन्न वेबसाइट में उनके जन्म की तारीख 2 अगस्त 1935 लिखी है, जो सर्वथा गलत है । उन्होंने नवंबर 1948 में राजकपूर जी के फिल्म “बरसात” से जुड़े एक विज्ञापन को देखकर वाकायदा गीतकार के रूप में आवेदन किया था और अपने साक्षात्कार में ये गीत लिखा था जो राजकपूर जी और शंकर जयकिशन की जोड़ी को भी पसंद आ गया था। लोगों को जानकर हैरानी होगी जब उन्होंने ये गीत लिखा था वो तब 24 वर्ष के भी नहीं थे।

कभी कभी ” बरसात ” का जब ये खूबसूरत गीत सुनता हूं तो मन में एक कसक जरूर उठती है कि काश रमेश शास्त्री जी ने शैलेंद्र की तरह राज कपूर जी की सलाह मान ली होती तो हिंदी सिनेमा को कवि प्रदीप जी , भरत व्यास जी , गोपाल सिंह नेपाली जी, पंडित नरेन्द्र शर्मा जी और कविराज शैलेंद्र जी की ही तरह हिंदी सिनेमा को विशुद्ध हिंदी में अपने खूबसूरत फिल्मी गीतों को समृद्ध करने वाला एक और उत्कृष्ट गीतकार मिल गया होता !!!!! खैर आज उनकी जन्मशताब्दी पर फिल्म “बरसात” में लिखा उनका कालजई गीत का आनंद लें…..

सौजन्य लेखक कृष्ण कुमार शर्मा :

हवा में उड़ता जाये
मेरा लाल दुपट्टा मलमल का जी
मेरा लाल दुपट्टा मलमल का हो जी, हो जी
इधर उधर लहराये
मेरा लाल दुपट्टा मलमल का जी
मेरा लाल दुपट्टा मलमल का हो जी, हो जी

फिल्म : बरसात ( 1949 )
संगीतकार : शंकर जयकिशन
गीतकार : रमेश शास्त्री
गायिका : लता मंगेशकर

Chitralekha : one of the shelved films of ShankarJaikishan

StickyJuly 25, 2025From Magazines and Journals with Courtesy, Photos, shelved films, SJ Fan writesChitralekha, shankarjaikishan, shelved filmshankerjai

This Ad published in January 21st 1955 issu of Filmfare
#Chitralekha (Unreleased). Music:- #shankarjaikishan and lyrics were as usual in those days by #shailendra & #hasratjaipuri
#shankarjaikishanduo
#shanker_jaikishen
#shankarjaikishanji
#shankarjaikishanalbum
#shankarjaikishancomposition

Awara – the film and its music : A journey to down memory lanes

StickyJuly 20, 2025Book Review on Shanker Jaikishen, Data, Guest's Column, SJ Fan writes, Song ReviewsAwara, down memory lanes., film review, music review, MVDevraj, reviewshankerjai

Dear fellow SJ fans… Suddenly I went through this marvellous piece written on film #Awara by Shri Late M V Devraj ji in the year 2008…..in our Yahoo Group on ShankarJaikishan. Those were the days when there were more enthusiastic fellow SJ fans who would write very interesting and informative posts and discussions happened to bring beauties and qualities of SJ compositions. Here is one of them which was stored by me in my yahoo Mail.

enjoy @everyone

— On Wed, 8/20/08, Devraj MV #Awaara

Actors : Raj Kapoor, Nargis, LeelaChitnis, Prithviraj Kapoor,K N Singh
Director : Raj Kapoor
Music Director : Shankar-Jaikishan
Lyricist : Hasrat Jaipuri,Shailendra
Producer : Raj Kapoor
Year : 1951

Awaara

was one of the first Bollywood movies, which became very popular abroad particularly in Russia where it was released as Bradyaga. Most of the films being screened in the Soviet Union in those days were full of propaganda stuff made entirely in support of the communist regime. Raj Kapoor’s films presented almost the same pro-poor, pro-working class themes – but in a very creatively imaginative and entertaining style and the Russians were mesmerized. After viewing Awaara, Raj and Nargis the lead actors of the film, became tremendously popular with the people on the streets in Russia. The Russian filmmakers had to gradually change their own style of making propaganda films and it would seem that Raj’s films directly influenced such latter Russian classics like Ballad of a Soldier.

Awaara seeks to depict the conflict between ‘nature and nurture’ and the ever-existing struggle between the ‘bad’ and the ‘good’. Judge Raghunath (Prithviraj Kapoor) considers himself a forward-thinking man, and bucks tradition and his family by marrying a widow and he is a firm believer of the theory ‘like father, like son’. He pronounces dacoit Jagga (K N Singh) as a culprit merely because his (KNSingh’s) father was a dacoit and Jagga swears revenge. Jagga kidnaps the wife of Raghunath, Leela (Leela Chitnis) and returns her after a few days. Raghunath is overwhelmed by the wagging tongues of his community and he concludes, like in Ramayana, that her honor is sullied, and throws her out of his household; she bears his son in squalor, Raj (Raj Kapoor).
Poverty and ill repute drives Raj’s childhood and eventually he comes under the influence of the same thug Jagga (K.N. Singh) who kidnapped his mother, and he grows up to be a crook and a bank robber. . While on a thieving caper, Raj meets up, after many years, with his childhood friend, the beautiful and wealthy budding lawyer Rita (Nargis). The two fall in love, but little do they both know that Rita’s guardian is none other than Raj’s estranged father himself. Raj is torn between his desire to be good enough for her and his belief, fostered by Jagga, that he is no good for anything other than crime.
Raghunath comes to know about Rita’s love affair and also comes to know of Raj’s criminal background. He shows the door to Raj and advices Rita to forget him and pursue her career.
During a bank robbery Jagga is chased by the police and he accidentally takes refuge in Raj’s house. When Raj returns to his house he sees Jagga forcing his mother to shield him from the police. In a fight and in self-defense Raj kills Jagga and is arrested. His case comes up before Judge Raghunath. Rita defends Raj’s case and learns the true story of Raj and his ancestry. She wants Raj’s mother to come to the court as witness to save Raj. Raj’s mother is run over by Raghunath’s car when she was on her way to the court. Raj learns about his real father and that his mother was badly treated by his father and escapes from prison to kill Raghunath. He was captured and the trial continues. Eventually Judge Raghunath realizes all the mistakes which he had made and accepts Raj as his son. Raj was handed over a short jail term because it was proved that he had killed Jagga only in his own and his mother’s defense.
Awaara explores a wide range of social themes. Dominated by ruminations on the question of nature versus nurture, it also addresses classism, injustice toward women, and other weighty issues. There are several positive and innovative attributes in Awaara and it is a true landmark in Hindi cinema. Though it is preceded by other important films such as 1949’s Andaz and Barsaat, it can still nonetheless be considered an unofficial starting point for Bollywood as we know it. Almost all the hallmarks are on display; from the romance hampered by a rich/poor divide, to the fantasy dream sequence (making its debut here), to the testosterone- appeasing fist fights, to the infamous ‘item’ number picturised on a fair-skinned female performer barely related to the story. But while subsequent filmmakers – including today’s -might make little attempt at connecting these components cohesively, Raj Kapoor showed them how it was done. Awaara combines its various plot points admirably, ensuring all play an important part in its subdued, critical tale of caste dogma and the inevitable grim outcomes. Raj Kapoor and Nargis turn in subtle and emotional performances like never before. And Nargis’s character Rita is a rare treat – at her most resplendent; sporting an infectious, gap-toothed grin and 1940s Hollywood good looks, her magnetic screen presence is undeniable. She is cautioned against allowing her emotions (presumably a feminine weakness) to interfere with her rationality, but her introduction of compassion into the cold system of criminal justice is presented by the film as an unambiguous asset and the key to both Raj’s and Raghunath’s redemption. This is possibly Awaara’s most radical idea, the notion that criminals should be treated as redeemable individuals with the potential to rehabilitate, rather than as the mathematical sum of their breeding and past bad actions.

Above everything else, the magically melodious musical score including the background music by the inimitable maestros Shankar & Jaikishan embellishes the picture as the jewel-in-the- crown.

Naiya Teri Manjhdhar By Shailendra
This song is picturised on some fishermen and boatmen just before the kidnapping of Leela. Mohammad Rafi and chorus present a classy folk based song in praise of the vastness and depth of the ocean. Kaanch ka tukda beh jaata hai, loha doobke reh jaata hai, gyani soch vichar, hoshiyar!

Awaara Hoon

This song penned by Shailendra and based on raag bhairavi is an immortal song. Music per se cannot be said to be extra-ordinary but the way it has been picturised on Raj Kapoor, the way Mukesh sings it, the way SJ introduces the prelude with mandolin and harmonium, the way SJ had used the harmonium extension piece after the words awaara hoon, the way the word ‘hoon’ is elongated at several places and the way simple common words are used in the lyrics make this cult song an all-time special.
In the sky of Bollywood history ‘Awaara hoon’ will forever remain an ‘aasman ka tara’.

Ek Do Teen By Shailendra

Raj along with Jagga, after their routine of crime, visits a dance bar.
Way back in 1951, perhaps for the first time in Hindi films, Raj Kapoor had introduced this dance item number in his film. But unlike in present day films neither the picturisation, nor the song looked out of context. Shamshad Begum was at her seductive best while crooning this song set in multiple violins and trumpet.

Jabse Balam Ghar Aaye by Hasrat Jaipuri

In one of his thieving errands, Raj accidentally comes to Rita’s house. They recognize each other as old school buddies and fall in love. Rita sings.
The lyrics of the song brilliantly depict the feelings of Nargis. Violins with a dash of piano and the creative use of the dholak make this, another classic from the SJ stable. The timing of the beats after two lines of each of the anatara has an enchanting effect.

Dham Bhar Jo Udhar Munh by Shailendra

Raj and Rita are in love with each other and on a full moon day they are on a boating expedition. Nargis is very cute, innocent, and elegant in the picturisation of the song and Raj is at his rustic best. They start a musical dialogue with that metaphor of love, the moon, and we have one of the most melodious romantic duets of Hindi Film Music. In the film before the song starts there is a prelude of fishermen’s sounds and this is very classy. Probably bits of this are used in Bobby. Lata starts the song on a slow tempo followed by a flute piece and the song ends with the same style and this is quite unique.
The magical melody of the mandolin, the fleeting flight with the flute, the lilting lyrics of Kavi Shailendra, the lusty voice of Lata, and the meandering musings of Mukesh create a romantic ambience worth going miles to listen and experience.

Tere Bina Aag Ye Chandni By Shailendra

Raj is torn between his love with Rita and his criminal career. In spite of all his efforts he cannot get any gainful employment and his mentor (Jagga) stalks him at every stage to convince him (Raj) that he is not good at anything other than crime. In this state of mind he experiences this dream.
The dream sequence in Awaara picturised with gigantic settings is the first of its kind and has been regularly used ever since. The fog signifies Raj’s situation of being trapped in the world of crime and lies. A spiral tower spilling over with mist trying to connect earth and sky again signifies Raj’s dilemma of crime versus his love. The dream starts with Rita dressed in a star-studded robe singing for him to come home-Tere bina..But Raj finds himself in the clutches of a grimacing devil and he is desperate to get out of this –Yeh nahin zindagi…. Then we see him emerge over the fog and Rita lifts him up –Ghar aaya mera pardesi….and leads him to a sort of paradise with Brahma, Vishnu and Shiva overlording the scene. The ethereal beauty of these scenes is magnified many times over by the music and dancing. The music reaches a crescendo and then the devil giant Jagga mocks Raj’s escapist endeavour and Raj screams back to earth from his dream.
The structure of this dream drama is so simple and so powerful, and yet it depicts the universal truth of man’s travail against evil for progressing towards goodness and truth. And this wholesome truism is brought to focus sharply by the brilliant musical treatment by SJ.
The first part of the musical score sees simple mandolin used with the haunting aalap by Lata. Multiple cowbells seems to have been used and that too seemingly from a distance to give a feeling of large space. Then Manna Dey enters with ‘ye nahin zindagi’ and the crescendo violins and the singer really recreate Raj’s anguish. After that Lata takes over in ‘Ghar aaya mera pardesi’ (raag Bharavi) . The magical mandolin along with the perfect percussion combination of the tabla with the jingling effects and the brilliant use of chorus in the backdrop has resulted in the making of a musical masterpiece.
This song has been “inspired” from a song by the Egyptian Diva Umm Khalthoum. The original title of the song by Umm Khalthoum is ‘Ala Balad El Mahboub’. The meaning of this title happens to be ‘My beloved came home’. But ‘ghar aaya’ is totally based on Indian classical music and is far removed and superior in its melody and rhythm.

Aa jao Tadapte By Hasrat Jaipuri

Judge Raghunath shuts the door on Raj meeting Rita and in utmost remorse she sings this hauntingly sad song. Simple music with violin and the percussion but SJ brings out utmost pathos in the song and the lyricist brilliantly verbalizes the feelings and mental state of the actress, who had been crying for the major part of the night, when he says ‘taqdeer ko bhi neend aane lagi’.

Ek Bewafase Pyar Kiya by Hasrat jaipuri

Nargis comes to know that on her birthday Raj has gifted her with a necklace stolen from her guardian, Judge Raghunath. And in that condition the birthday party goes on and the extra actress Honey O’Brien presents this song to the party.
Again a very simple musical score with accordion, flute, violin, tabla and conga drums. But the fast paced prelude fit for a party with wordings perfectly befitting the feelings of the heroine produces a catchy number.

Hum Tujhse Mohabbat by Hasrat Jaipuri

Raj goes away from the birthday party of Nargis after he realizes that his devious act of presenting her with a stolen necklace has been found out. He is sad that he cannot get out of his only expertise and that is robbery, and at the same time he is very happy being madly in love with Nargis. How beautifully the poet brings out these two opposite states of the mind!

Ye dil jo jala ek aag lagi,
Aasoon jo bahe barsaat huyi,
Badal ki tarah, awaara the hum,
Rote bhi rahe,haste bhi rahe.

The song is based on raag Darbari Kanada and set to music with mandolin, violins and brilliant percussion beats. The song sequence is very sentimental and will continue to be unforgettable.

Tahar Zara o Jaanewale
Though picturised, the full version of the song is used in a subsequent film Boot Polish.

SJ had created a timeless musical score with each and every song a stand out on its own. The background music, which is very subtle, catchy and classy, is of a very high standard. Just to give an idea : the first, when Raj and Rita go on a romantic sojourn. The musical background of the fishermen’s chorus is astounding and leads the viewer into the romantic mood. The second, when Judge Raghunath visits his dying wife in the hospital. The background plays the Basant Mukhari raag piece, which was later on used for the famous Oh Basanti Pawan Pagal song in Jish Desh Mein Ganga Behti Hai. Again when Nargis meets Raj in the prison a soft flute is played which is absolutely soothing to the mind. Simply, enchanting, enthralling and enlivening background music. There can be no doubt that the music directors have immensely contributed in making the movie an eminently likeable, enjoyable and adoptable one by one and all.
This magnum opus from Raj Kapoor has not aged even after a lapse of nearly six decades. Awaara can never fail to make for grand viewing and listening, no matter what the time period. Once seen, Awaara, the vagabond or tramp, and ‘awaara hoon, hoon hoon hoon’ will forever remain etched in one’s mind.

………… ……… ……… ……… ……… ……… ……… ……… ……… ……… ……… ……… ……… ……… ……… ……… ……… ……… ……… ……… …

Friends, this review may appear to be a very expansive one.But I firmly believe that only when the musical score is related with the storyline of the film it will be appreciated fully and hence the linkage with the various situations of the film.

Best wishes.

M V Devraj
e-mail: mvdevraj@gmail. com

—
M V Devraj,
14, Villa Del Mar,
Sarjapur Main Road,
Bellandur Gate,
Bangalore-560034.
Tel: 080-41169183
e-mail: mvdevraj@gmail. com

Ambaben mother of music director #Jaikishan

StickyJuly 16, 2025Data, Photosambaben mother of Jaikishan, Jaikishan’s mother, name of mother of Jaikishan is ambaben. Ambabenshankerjai

Music director #jaikishanwithmotherambaben and his wife #pallavijaikishan
#ambaben_motherofjaikishan would often sing very religious songs. One of them was this tune, #kanhaiyaterimurlibairan which #shankarjaikishanduo used in film #nayidelhi #newdelhi1956 . #hasratjaipuri wrote the lyrics on the tune of #shankarjaikishan
#shankarjaikishanji
#shanker_jaikishen
#shankarjaikishan
#shankerjaikishan
#shankar_jaikishan
#shankarjaikishancomposition
#shankarjaikishanalbum
#ambabenmotherofjaikishan

Brabourne Stadium Show by Shankar Jaikishan

StickyJune 15, 2025Data, From Magazines and Journals with Courtesy, News cutting, Paper Cutting, Photos, Report in clippings, SJ Fan writes, Statisticsbombay, Brabourne Stadium, mumbai, Shankar Jaikishan Nite, SJNite ShankarJaikishan shanker jaikishenshankerjai

By Subramanian Natesan

6th February 1966 the Brabourne stadium at Bombay reverberated with thunderous applause from more than 30000 spectators. No it is not the usual cricket match which makes the country crazy, it is something else. The ever supreme melody makers Shanker jaikishen conducted their orchestra in presence of record crowd towards collection of Defence savings fund sponsored by the Government of Maharashtra. The top notch singers Rafi saab, lataji, mukeshji and the then upcoming singer shardaji regaled the audience with their talent to the accompaniment of the duo’s orchestra.
The sponsors have rightly decided to focus upon the duo in view of the fact that duo and only the duo can deliver goods and the duo didn’t disappoint them. The stadium was filled to capacity and the collection was a whopping sum of Rs13.6 crores. A rare phenomenon that is mainly due to Shanker jaikishen alone
The programme started with the garlanding of the photo of the deceased PM Lal bahadur sastri. It was followed by the song Aman ka farishta written by Hasrat jaipuri specially for the occasion. It was rendered soulfully by rafi saab and chorus. The song was later included inthe film Aman. Rafi was widely cheered
The song was introduced by Rajendra kumar and Saira banu.
Lata who rarely made appearance in such shows was introduced by rajkapoor with great applause from the audience and when she started crooning the 1st word gumnam hai koi in her haunting melodious voice again there was a thundering applause from the audience. Later she sang two more songs – aji rootkar ab from Arzoo and sayonara sayonara from Love in Tokyo her last item bidding farewell.
Mukesh who was introduced by Dilipkumar had a great reception and sang two songs from film Sangam. Dost dost na raha and Mere man ki ganga. When the later was being sung Rajkapoor sprang a surprise. When the song was nearing completion Rajkapoor entered playing a bag pipe and dancing at the same time tothe enjoyment of the crowd.
Rafi who sang the 1st item sang many songs. He sang Phoolon ki rani from Arzoo, lalchadi from Janwar, baharon phool barsao from Suraj and lastly Hamen kaale hai tho from Gumnam. Mehmood who acted in the song joined Rafi saab and dancedinthe last song.
Sharda sang a duet fromGumnam with rafi saab jaane thaman and titli udi from Suraj.
There were some skits by comedians like Deven varma Johnnywalker and IS Johar but the most applauded items were songs by the duo only.
A mammoth show by the duo.
The photos below show the various items at the show.

ShankarJaikishan show at Brabourne Stadium, Mumbai Part-2

StickyJune 15, 2025From Magazines and Journals with Courtesy, News cutting, Paper Cutting, Photos, SJ Fan writes, Statisticsbombay, Brabourne Stadium, mumbai, Shankar Jaikishan Nite, SJnite, subramanian natesanshankerjai

Photos and intro by Subramanian Natesan

Remembering the legendary actress Nargis on her death anniversary

StickyMay 3, 2025feature, Photos, SJ Fan writes, TributeDeath Anniversary, death anniversary of nargis. tribute, nargisshankerjai

Remembering the legendary actress Nargis on her death anniversary.

by Lakshmi K Tummala

Shankar Jaikishan and Nargis

Very seldom, in the fickle entertainment industry, do you see lasting sentiments. Shankar Jaikishan shared a special bond with the legendary Nargis. They, fondly, called her “Baby.” The composer duo and the actor came together in Barsaat (1949) and worked in five more movies, Awara (1951), Aah (1953), Shree 420 (1955), Chori Chori (1956) and Raat Aur Din (1967). The first four movies were under the RK Films banner, one by AVM Pictures and the last one under AAN Productions. SJ created outstanding albums for their favorite actress’ movies, with every song being a chartbuster.

Nargis was a music lover and made it a point to be present at every rehearsal and recording of SJ songs in her movies. When Raj Kapoor planned to make Boot Polish, he decided that he will not have any songs in the film since it was a movie revolving around children which would not allow much scope for songs. But, Nargis convinced RK to include songs to make the movie more appealing to cine goers, and the rest is history! Although RK and SJ parted after Mera Naam Joker, Nargis remained loyal to her favorite composer duo and had them work for her home production movie, Raat Aur Din, and what an album SJ created for her!!

The Shankar Jaikishan and Nargis association remained a special one.

RIP Nargis!

Trivial facts about SJ

StickyApril 26, 2025Data, News cutting, Paper Cutting, Photos, Tribute#1968chevelle #shankarjaikishan #courtesy #bhaskarendraraoramineni #screen #prithvitheatres #padmashri #hyderabad #bulsar #bombay #barsaat #Shanker #Jaikishan #shankarjaikishanbanner #shankarjaikishan, #shankar of #shankarjaikishanduo #shankarjaikishan #ShankarJaikishanbanner #shankarjaikishanalbum #shankarjaikishancomposition #shankarjaikishanalbums #tumkitnikhoobsuratho #kishorekumar #rememberings, facts, interesting, music director, triviashankerjai

Few interesting trivia and facts about Music director #shankar of #shankarjaikishanduo
#shankarjaikishan
#ShankarJaikishanbanner
#shankarjaikishanalbum
#shankarjaikishancomposition
#shankarjaikishanalbums
#tumkitnikhoobsuratho
#kishorekumar
#rememberingshankarji
#shankarjaikishanji
#shankerjaikishan
#shankar_jaikishan

Courtesy : Shrish Kotibhaskar ji
#shrishkotibhaskar

Photo tribute to Music director Shankar ji on his death anniversary

StickyApril 26, 2025From Magazines and Journals with Courtesy, News cutting, Photos, Tribute#ShankarSinghRamSingh, #ShankarSinghRamSinghRaghuvanshi, 26th April 2025, 38th death anniversary of Shankar. Shankar-Jaikishan, cultural program, shankarjaikishanshankerjai

Sharing a very rare photo of Shankerji on his death anniversary today. In this photo taken at the dinner hosted by Youth Wefare and Cultural Congress are Mr. #Lohani #Mukri #David #MalaSinha Union Minister for Housing and supply, Mr. #JaganathRao Music director #Shanker of #shankarjaikishanduo #PradeepKumar #ManojKumar and Mr. #Saraf
Photo Courtesy #SJFAI_Hyderabad

76th Year of Barsaat release

StickyApril 21, 2025Data, feature, Photos, SJ Fan writes76th years of Barsaat, राज साहब, शंकर-जयकिशन, शंकरजयकिशन, शंकर_जयकिशन, संगीत के शिरोमणि शंकर जयकिशन, Barsaat, shankarjaikishanshankerjai

We, the members of the Shankar Jaikishan Foundation, Ahmedabad, are extremely happy to celebrate the 76th year of Raj Kapoor’s and Shankar- Jaikishan’s Film Barsaat’s released on 21st April 1949.

Film Barsaat meant a beginning of a New Team which started the Golden Era of the Hindi Films Industry. Raj Kapoor, Shankar, Jaikishan, Hasrat Jaipuri, Shailendra, Mukesh and Lata Mangeshkar. Later Dattaram and Sebastian joined. This team worked together for 25 golden years and showered melodies. It was a Great Miracle.

“Barsaat marked the beginning of a Golden Age in the history of commercial Hindi cinema. It celebrated passion uninhibitedly and bust the boxoffice despite outraging the prudes and purists. This film started a success story called Raj Kapoor and made a sensation of Lata Mangeshkar. It also turned Shankar-Jaikishan, Hasrat Jaipuri and Shailendra into household names…..”
Film Barsaat was the first film of actress Nimmi, Lyricist Hasrat Jaipuri, Shailendra and Music Director Shankar-Jaikishan. When Raj Kapoor Named Shankar-Jaikishan as the Music Director of Film Barsaat, many film personalities warned him not to take such a risk. But Raj Kapoor had observed the role of Shankar and Jaikishan as assistants of Ram Ganguli in Film Aag. And Film Barsaat in real term made a history. All the songs of the film became extremely famous and like shower became popular. Film Barsaat launched the careers of story writer Ramanand Sagar and Cameraman Jal Mistry .And, above all, Film Barsaat made Shankar-Jaikishan as the trend-setter composers of Hindi Film Industry. Film Barsaat also projected LataMangeshkar as a great singer as she sang all the songs of the film. Though it was the same year that films like Mahal, Andaz were also released but musically Shankar-Jaikishan won unbelievable acclaim from all over the country.
Raj Kapoor’s first film, Aag, didn’t do too well at the boxoffice it had won rave reviews for the cinematic prowess of the young Kapoor. He was acknowledged as a filmmaker to watch out for. At that time Ramanand Sagar was working as a Play Writer at the Prithvi Theatres. Raj Kapoor requested Sagar to write a romantic story for his next film. Barsaat was Shankar-Jaikishan’s first independent film as music director. Their songs had a ring of freshness to them. Their music was unlike what filmgoers had heard until then. They lacked the classical touch of an Anil Biswas or a Naushad, but they knew their beat, were masters of rhythm and introduced a whole new style of orchestration which had a lot of strings-violins and guitars-and was almost westernized in its approach.The two-hour-34-minute film had as many as11 exciting numbers not to speak of the numerous long musical interludes. Whether it was the opening number Hawa mein udata jaye or Jiya beqrar haiwhich reigned as the unconquered No. 1 or Barsaatmein hum se mile which was a steady second; the sorrowful Chhod gaye balam, the playful Patli kamarhai, or the somber finale Mein zindagi mein, each song was a treat. Raj Kapoor did not have to promote his film’s music, Radio Ceylon did it for him,remember Raj Kapoor’s friend and biographer Bunny Reuben.
Film Barsaat was the first film in which one singer sang for different characters. Lataji sang for both Nimmi and Nargis. To quote a film critic:
“ Barsaat is ideally one of Hindi cinema’s best soundtracks, a point of reference with the launching of the cinema’s best female vocalist ever and a golden gem of some of the industry’s priceless and popular tunes. Rain is often forgotten once it stops, and perhaps that is why the title, “Barsaat” has been so frequently used thereafter. But this monsoon shower has proven that golden droplets are always going to shine years, over fifty in fact, and counting and will probably always remain for the many ‘Barsaat’ titles that we may endure in the years to come. ”

Courtesy late Dr . Padmanabh Joshi

Shanker Jaikishan Popular Team of Music directors

StickyMarch 23, 2025News cutting, Paper Cutting, Persons in life of ShankarJaikishan, Photos, Screen#1968chevelle #shankarjaikishan #courtesy #bhaskarendraraoramineni #screen #prithvitheatres #padmashri #hyderabad #bulsar #bombay #barsaat #Shanker #Jaikishan #shankarjaikishanbanner #shankarjaikishanshankerjai

In the beginning of #1968 about #shankarjaikishan
#courtesy #bhaskarendraraoramineni
#screen
#prithvitheatres
#padmashri
#hyderabad
#bulsar
#bombay
#barsaat
#Shanker
#Jaikishan
#shankarjaikishanbanner
#shankarjaikishancomposition
#shankarjaikishanji
#shankerjaikishan
#shankarjaikishanduo
#shankar_jaikishan
#shankarjaikishanalbum
#shankarjaikishancompositions

#1945
#1949

Courtesy: #BhaskarendraRaoRamineni ji.

Violin and Shankar Jaikishan

StickyMarch 5, 2025feature, Guest's Column, Photosdube, govind, shankarjaikishan, Violin, violinist, violinsshankerjai

वायलिन और शंकर जयकिशन

By Ashutosh Dube

हर साज़ में किसी भाव का द्वार खुलता है। हर साज़ मन को ऐसे ही किसी द्वार से भीतर अपने भावलोक में ले जाता है।

वायलिन यूँ तो पाँच सदी पुराना वाद्य है और पश्चिमी संगीत में लोक से शास्त्रीय संगीत तक व्याप्त है, लेकिन हमारे फ़िल्म संगीत का तो उसे केंद्रीय वाद्य कहा जा सकता है। उसे इतनी पुख़्तगी से केन्द्र में लाने का श्रेय शंकर जयकिशन को है। उन्होंने जब अनेक वायलिन का भारी भरकम ऑर्केस्ट्रा अपने संगीत में जोड़ा तो एक नया अध्याय शुरू हो गया। आने वाले लगभग तीन दशक तक कमोबेश उसी पैटर्न पर फ़िल्म संगीत चलता रहा। लक्ष्मी प्यारे हों या राजेश रोशन, अपने अपने ढंग से सभी ने वायलिन का उपयोग किया है। लक्ष्मीप्यारे चूँकि शंकर जयकिशन के सहायक ही रह चुके थे वायलिन उनके यहाँ भी उतने ही रुआब से सुनाई दी। राजेश रोशन ने वायलिन के समवेत को कम करके उसे एक बार फिर मेलोडी और गायकस्वर के रेखांकन के काम में अधिक प्रयोग किया।

गीत के आरम्भ , मध्य , अन्त में ही नहीं वायलिन समूचे गीतों में ही बहती रही है। यह साज़ हिन्दी फ़िल्म संगीत को यूँ भी रास आया कि यह अलग अलग भावों के नाटकीय संघर्ष को बख़ूबी एक साथ निभाता है। बहुत अलग अलग मूड्स में आवाजाही, दो स्वरमानों के बीच का ट्रांज़िशन, मन को सहलाने वाली मेलोडी से लगा कर तनाव, गति, उद्विग्नता, उदासी, तन्हाई, करुण, रूमानी जैसी अलग अलग स्थितियों को वायलिन ने बहुत यादगार रूपाकार दिए हैं। शंकर जयकिशन के ऐसे अनेक स्मरणीय गीत हैं जिन्हें वायलिन का अनूठा स्पर्श मिला है। मैं यहाँ गीतों के उदाहरण नहीं दे रहा हूँ। जो उनके गीतों में प्रयुक्त वायलिन की याद फिर से ताज़ा करना चाहें वे यू ट्यूब पर सर्च कर सकते हैं जहाँ संगीतप्रेमियों ने ऐसे वीडियो डाले हुए हैं।

#शंकरजयकिशन के फ़िल्म संगीत में #वायलिन के ये टुकड़े मूल गीत में इस तरह गुँथे हुए हैं कि गीत याद आता है तो सिर्फ़ गायक स्वर ही याद नहीं आता, ये पीसेज़ भी ज़ेहन में गूंजने लगते हैं। यह भी है कि उनके संगीत के इस कदर सफल होने से हिन्दी फ़िल्म संगीत में वायलिन का अतिरेक भी हुआ, खास तौर पर प्रील्यूड और इंटरल्यूड इसी पर निर्भर होने लगे। शंकर द्वारा बनाए गए गीतों में तो वायलिन की अतिव्याप्ति है और यह उनकी सिग्नेचर स्टाइल की तरह है।

कैफ़ियत कुछ यह कि वायलिन का ज़िक्र चले और हिन्दी फ़िल्म संगीत की इस पहली इतनी सफल और अन्यतम जोड़ी- यानी शंकर_जयकिशन की याद न आए यह असम्भव है।

(यह पोस्ट प्रिय कथाकार और अद्भुत सिनेमा- संगीत प्रेमी योगेन्द्र आहूजा के एक मेल से प्रेरित है। योगेन्द्र जी सिनेमा और संगीत को लेकर मेरे लिखे पर ध्यान देते हैं, यह अच्छा लगता है।)

Courtesy आशुतोष दुबे जी

गोविंद गौतम को भी धन्यवाद

Happy birthday to Suman Kalyanpur

StickyJanuary 28, 2025Persons in life of ShankarJaikishan, Photos, SJ Fan writes, SJ's associationbirthday, Happy birthday, shankarjaikishan, Suman Kalyanpurshankerjai

By #lakshmiktummala

Remembering Suman Kalyanpur on her birthday

Shankar Jaikishan and Suman Kalyanpur

During their thirty year career, Shankar Jaikishan worked with numerous other female singers. Although Lata was their first preference, SJ chose other female singers as and when the situation demanded depending upon the actor and song in the movie. When Lata refused to sing with Rafi, due to royalty issues, SJ turned towards Asha and Suman as their main alternative singers for duets and those duets went on to become super hits. Even the solos sung by Suman Kalyanpur proved extremely popular.

SJ’s twenty year association with Suman Kalyanpur, from 1963 to 1983, produced excellent music in many a genre. They worked together in twenty six movies, Dil Ek Mandir (1963), Saanjh Aur Savera, Rajkumar, Beti Bete, April Fool, (all in 1964), Janwar (1965), Teesri Kasam, Suraj, Budtameez (all in 1966), Chhoti si Mulaqat (1967), Brahmachari (1968), Jahan Pyar Miley (1969), Pehchan & Tum Haseen Main Jawan (1970), Jane Anjane, Andaz, Duniya Kya Jane, Patanga, Seema, Yaar Mera (1971), Rivaaj (1972), Chori Chori & Door Nahin Manzil (1973), Resham Ki Dori & Insaaniyat (1974), Saazish & Sanyasi (1975) and Film Hi Film (1983).

The SJ and Suman Kalyanpur combination produced the following beautiful songs.

Dil Ek Mandir-Juhi kali meri laadli
Dil Ek Mandir-Palanhare Ram hai
Dil Ek Mandir-Jaane waale kabhi nahin aate-Suman & Rafi
April Fool-Kah do kah do jahaan se kah do-Suman & Rafi
April Fool-Tujhe pyar karte hain karte rahenge-Suman & Rafi
Beti Bete-Agar teree jalva numayi na hoti-Suman & Rafi
Rajkumar-Tumne pukara aur ham chale aaye-Suman & Rafi
Sanjh Aur Savera-Chand kanval mere chand kanval
Ajhoon na aaye balma-Suman & Rafi
Janwar-Mere sang ga gunguna
Budtameez-Ho pahla pahla pyar hai
Suraj-Itna hai tumse pyar mujhe mere raazdar-Suman & Rafi
Teesri Kasam-Duniya banane wale
Chhoti si Mulaqat-Tujhe dekha tujhe chaha-Suman & Rafi
Brahmachari-Aajkal tere mere pyar ke charche har zubaan par-Suman & Rafi
Jahan Pyar Miley-1969-Chale ja chale ja
Pehchan-Aaya na hamko pyar jatana- Suman & Mukesh
Woh pari kahan se lawoon-Suman, Mukesh, Sharda & chorus
Tum Haseen Main Jawan-Kamdev jaisi teri suratiya
Andaz-Hai naa bolo bolo-Suman, Rafi, Sushma & Pratibha
Duniya kya jaane-Meri pooja na thukrana- (edited from film)
Jaane Anjane-Aao hilmil ke nacho re-Suman, Rafi & chorus
Patanga-Tose najariya ladayi
Seema-Ek thi nindiya do the naina
Yaar Mera-Dil ki kitaab kori hai-Suman & Rafi
Rivaaj-Main teri prem diwani mera
Pyara ho pyara sabse nyara-Suman & chorus
Chori Chori-O chori chori jo hona tha woh ho gaya-Suman & Manhar
Dilbar aa ja laga loon tujhe main gale-Suman & Mukesh
Door Nahin Manzil-Bezuban dil shorn a macha-in two parts
Insaaniyat-Mere yaar ki yaari dekh ke- Suman & Rafi
Resham ki dori-Bahna ne bhayi ki kalayi se pyar bandha hai
Saazish-Woh bade khushnaseeb hote hain-Suman & Mahendra Kapoor
Sanyasi-Tu mera din hai, main teri raat aa ja-Suman, Mukesh & chorus
Film Hi Film-Hum khoob jante hain kya dil mein hai tumhare-Suman, Rafi & Geeta Dutt

The Shankar Jaikishan and Suman Kalyanpur combo shares a special place in their respective careers.

Remembering Dattaram (Wadkar) on his birth anniversary

StickyOctober 10, 2024feature, SJ Fan writes, TributeDattaram, Dattaram Wadekar, music director, percussion, percussionist, Shankar jaikishan, shankerjaikishan. Shankar Jaikishenshankerjai

Dattaram Wadkar
Also credited as: Dattaram – Music Director
Born: 8 October 1929
Death: Jun 08, 2007
Dattaram Wadkar was a prominent music director in Hindi films, credited with many hits. He was born and grew up in Goa and moved to Bombay in 1942. After moving to Bombay, he started taking tabla lessons from his first guru Pandit Pandharinath Nageshkar and later on from Pandit Yashvant Kelkar. In fact, it was Pandit Kelkar who introduced him to Hindi films as an assistant to music director Sajjad. However, it was a chance meeting with Shankar (of Shankar – Jaikishan) at a gym, that opened up a world of opportunities to him. He joined Shankar – Jaikishan’s team as an assistant in their debut film “Barsaat” (1949) and continued to assist them right upto “Mera Naam Joker” (1970).
When Raj Kapoor approached Shankar – Jaikishan for “Ab Dili Door Nahin” (1957), they recommended Dattaram Wadkar and assured Raj Kapoor that they would help Dattaram if required. This is how Dattaram Wadkar got his first film as a solo music director. His background as a tabla/dholak player, helped him compose an lively rhythm for “Chhun Chhun Karti Aayi Chidiya” which became famous as the “Dattaram theka” in film circles.
Dattaram’s most well-known work came the next year with “Parvarish” (1957), specifically the song “Aansoo Bhari Hai Yeh Jeevan Ki Raahen”. He went on to compose many other films like “Qaidi No. 911” (1959), “Shriman Satyawadi” (1960) and his last film as music director “Ek Din Aadhi Raat” (1971).
While assisting Shankar – Jaikishing and composing his own music, Dattaram Wadkar also assisted other music directors like Salil Chowdhury, Kalyanji – Anandji, Laxmikant – Pyarelal and Roshan and also played tabla and dholak for them.
In his later years, Dattaram Wadkar developed a few medical complications and passed away at the age of 78 on June 8, 2007.
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Masti Bhara Yeh Sama – Dattaram reminisces
Author: Dr. Mandar
Original article on PFC
Today, Dattaram Wadkar may not be a familiar name to many but this unassuming musician-cum-composer once played an important role in Hindi film music’s Golden Era. His own music in films like Ab Dilli Door Nahi, Parvarish, Kala Aadmi, Santaan and Qaidi No. 911 was quite popular in the 60s. As Shankar- Jaikishan’s long-time assistant and as an excellent dholak- player, Dattram participated in creation of many timeless melodies. On June 8, 2007 he breathed his last leaving behind a treasure of musical memories.
Writer-director Ashok Rane’s 1- hour documentary ‘Masti Bhara Hai Sama’ serves as a good primer to introduce Dattram’s impressive musical credentials to new generation. The only hitch being that it discusses more about his musicianship and his association with Shankar- Jaikishan, rather than focusing on his work as an independent composer. Whatever may be the technical and subject-material flaws of this documentary, it still manages to portray a neat sketch of a forgotten talent and that itself is its biggest achievement. The documentary’s main strength lies in Dattram’s crystal-clear recollections from the glorious past! Even in his dispassionate style, he manages to evoke nostalgia for that era when music-making was a labour of love!

Thanks to Pavan Jha, who so kindly presented the documentary’s DVD to me, I was able to note down some important excepts from the maestro’s recollections. I am sure that movie- music lovers would find them interesting!

So over to Dattaram.

The beginning:
“My family came from Goa to Sawantwadi and then in 1942 we moved to Mumbai’s Thakurdwar area. I was not too good in studies and my mother took me to Pandhari Nageshkar. On a Thursday, he tied ganda (black thread) to my wrist and started teaching me tabla. Latar Yashwant Kerkar also taught me tabla. It was he who first introduced me in film industry. He took me to music director Sajjad with whom I worked for a few months but then I lost the job.”

Meeting Shankar:
“I used to go to a gym where Shankar (of Shankar- Jaikishan- fame) also used to come. Once I was taking a bath after exercise, when I heard Shankar playing on the tabla that was lying unused in that gym. He was playing a ghazal- theka and I was really impressed. Immediately I came out of the bathroom and complimented him with ‘Wah! Kya baat hai’. Shankarji asked me if I was from a musical background. I said yes and then I played tabla for him. He was very pleased and told me to come and meet him at Opera House Theatre next day. Prithviraj Kapoor’s Prithvi Theatres used to perform there and I joined them as a musician.”

Prthivi Theatre Days:
“In those days, during the drama- intervals there used to be live instrumental performances. In them, Ram Ganguly used to play sitar and Ramlal used to play shehnai. I started accompanying them on tabla. Earlier Shankar used to do that but later he delegated that responsibility to me.”

First Recording:
When Rajsaab gave Barsaat to Shankar- Jiakishan, I also became part of their team. I used to conduct rehearsals with the musicians before the recording. I used to wonder when I would get a chance to play in the actual recording. That chance came accidentally in Awara. Punyawan, who used to play dholak and who was also my Guru in that instrument, did not come for a recording. The musicians were ready, Lataji was ready but the dholak player was missing. At 12 Noon, Shankarji suddenly said, “Arre Dattu also plays dholak. Let him play today!” I was so happy to get an opportunity. The recording was okay in the first take and Shankarji and Lataji both praised me for my dholak- playing. That song was ‘Ik Bewafa Se Pyaar Kiya’. Then I started playing dholak regularly in songs like ‘Raja Ki Aayegi Baraat’, ‘Ichak Daana Beechak Daana’ and ‘Pyaar Hua Iqraar Hua’.

Making of classics:
While working on the music of Awara, once Raj Kapoor decided to take all his team to Khandala. There he explained a dance situation and asked Shankar- Jaikishan if they had a suitable tune. Jaikishan said that he did not have one ready but Shankarji said that he had one tune in mind. He started singing ‘Ramailya Vastavaiya, Ramaiya Vastavaiya’ Immediately Rajsaab asked – “Is there anything in this song after this repetitive line?” and Shailendra came up with the next line – “Maine dil tujhko diya, maine dil tujhko diya”!

Once Jaikishan was driving a car and I was sitting on the front seat. We were going through Chembur area and lots of new buildings were coming up. Repeatedly I was looking behind at those new constructions. Shailendra was sitting behind in the car and he asked me: “Arre Dattu, yeh baar baar mud mud ke kya dekh rahe ho?” Then an idea struck him and he wrote the famous song ‘Mud Mud Ke Na Dekh Mud Mud Ke’.

‘Ghar Aaja Mera Pardesi’ was recorded in different parts. The recording went on from 9 a.m. to next day’s 6 a.m.! There were almost 150 musicians and 40-50 choir singers in that recording. The actual song’s recording started at midnight but Raj-saab was not happy with the rhythm. He wanted something different. Then our flute-player Suman suggested him the name of Lala Bhau. He said that Lala Bhau had come from Pune and plays excellent dholki. I told Rajsaab that dholki is very effectively used in Tamasha. Raj saab then sent Suman to bring Lala Bhau. When that large, dark, sweaty man walked in, I was taken aback. But as he played his first hand on dholki, I instantly said- ‘Wah! Lala Bhau, kya baat hai!” He smiled and everybody was happy. After a rehearsal, Lataji was called and the song was recorded at 2.30 a.m.!

Shankarji had composed a tune for ‘Aye Mere Dil Kahin Aur Chal’ but Shailendra was not ready with the words. Shailendraji asked Shankarji: “May I borrow Dattaram for a while? He can hum the tune and I can write.” Shankarji agreed.

Shailendra took me to Hanging Garden, where we sat in shade working on that song. Smoking one cigarette after another, Shailendra kept playing with the words. When he finally got his inspiration, his pen was empty! So he picked up the cigarette stubs and wrote the words with them!

My films as composer:
“Raj Kapoor once told Shankar- Jiakishan that he was making a film on a small child, where he won’t be acting. They suggested my name as a composer for that film Ab Dilli Door Nahi, which was my first film as composer. Lataji sang the first song- a birthday song- ‘Jiyo Laal Mere Tum Laakho Baras’ and Ashaji sang the next song – ‘Yeh Chaman Hamara Apna Hai’. Then I had to compose a tune for a situation where Yaqoob is taking the child to Delhi. When I was playing that tune on harmonium, Rajsaab made me stop and said, “It is a hit song!” That was ‘Chun Chun Karti Aayi Chidiya, which was sung by Rafi-saab.

As soon as producer Mahipat Shah finished narrating the story of Parvarish to me, I suggested him to take Raj saab as the hero. Luckily Rajsaab also liked the story and suggested to take Mala Sinha as the heroine. Every song in this film was written by Hasrat. It had songs like Masti Bhara Hai Sama, Mama O Mama and Beliya Beliya. Each song had to be first approved by Raj-saab. When I composed a sad song- Aansoo Bhari Hai, he first made me present another tune but finally approved the first tune! Then he asked, “Who will be singing it?” I replied- “Of course, Mukeshji!”

Years later when I was working for Laxmikant- Pyarelal, Lataji met me in the corridor. She told me- “Dattu, do you know that I have recently recorded your song?” I was surprised. Because I had not done a recording in years! Then she told me that she had sung ‘Aansoo bhari hai’ (for her album ‘Shraddhanjali’).

*(Pyarelal says: This song is based on jhaptaal. At that time, there was an ongoing musicians’ strike and the song was recorded with hardly 7- 8 musicians who played out of friendship. Despite that it turned out to be a masterpiece!)

Qaidi No. 911 was Aspi Irani’s film. Here Nanda is playing a teacher, who sings the song- ‘Meethi Meethi Baaton Se Bachna Zara’ for Shaikh Mukhtar’s daughter Honey Irani. The small girl always tells her to sing a song but the teacher always refuses. The child gets angry and just as she is walking away the Aalap begins, making her stop in her stride and smile!

Dattu Theka- the magic on dholak:
I created a special rhythm on dholak, which came to be known in the film-industry as Dattaram- theka (Dattu-theka). I had used it songs like ‘Chunchun Karti’, ‘Masti Bhara Yeh Sama’ and ‘Mera Joota Hai Japani’. Kalyanji-Anandji specially called me to play that rhythm in ‘Mere Dil Mein Hai Ik Baat.’

I played dholak in Salil Choudhary’s Madhumati- songs ‘Ghadi Ghadi Mera Dil Dhadke’, ‘Aaja Re Pardesi’ and ‘Suhana Safar Aur Yeh Mausam Haseen’. Salilda just said- “I don’t need to tell you anything. You listen to the tune and play what you feel right!”

Once Roshanji called me for a recording as his dholak-player did not turn up at the last moment. I was sitting with a wrier when someone came to call me. He said that even Lataji was waiting. I immediately went there in a taxi and played for that song- ‘Saari Saari Raat Teri Yaad Sataaye.’ That song also proved very popular. Once I was admitted in a hospital at Dhobi Talaav and I heard a marriage band playing that song, I was so happy that half my illness was over there and then!

In ‘Mera Naam Raju Gharana Anaam’ we (Lalabhau and I) played Dafli with fingers. Today, they play such rhythm with sticks! In ‘O Maine Pyaar Kiya’, I used a folk rhythm. Rajsaab was so happy with that experiment!

The Shankar- Jaiksihan equation:
Shankar and Jaikishan were equally good. There is no use of saying one was better than the other. They both understood the situation and mood and composed tunes accordingly. Shankar liked Bhairavai and Jaikishan liked Shivranjani. Shankar liked to compose for a dance-music oriented songs like ‘Jahan Main Jaati Hoon Wahin Chale Aate Ho’ and Jaikishan liked to compose romantic numbers like ‘Aaja Sanam Madhur Chandni Mein Hum’.

For Basant Bahar, director Raja Nawathe had suggested their names to Bhushan- brothers. Bharat Bhushan’s elder brother had first asked Shankar- Jaikishan whether they would be able to compose music for such classical music- oriented film. Shankarji said – ‘Why Not?’ They accepted that challenge and composed all semi-classical tunes, which became very popular, even before the film’s release!

I used to look after their rhythm-section and Sebastian used to conduct their orchestra or Melody-section.

Past Versus Present:
In yesteryear music, there was melody, that’s why old songs like ‘Baharo Phool Barsaao’ and ‘Aayega Aanewala’ are still popular. Today’s music is good for youngsters but it is too fast. You don’t even remember the song after ten minutes! .

Feature Courtesy SJMF Ahmedabad

दो भटकते राही शंकर जयकिशन और चंद्रवदन

StickyJuly 17, 2024feature, Photos, SJ Fan writes, Tributeदो भटकते राही. Shankar Jaikishan, सुधाकर शाहाणे sudhakar shahaneshankerjai

Dear SJ Buddies,

I am copy pasting an excellent write up by out dear member, #SudhakarShahane, which he posted on the SJFAI page.

I posted it here , as it can be enjoyed by one and all.

Read on..

Respected,
Lakshmi ji,
Sudarshan ji ….
Here is my detailed article on SJ for ‘SJFAI’ members. This is the translation in Hindi of my that article written in Marathi, already posted before with some slight changes. All members are requested,
‘PLEASE FEEL FREE, AND DO NOT HESITATE’ to correct me, if anything is wrongly mentioned in this article.

‘दो भटकते राही – ‘शंकर – जयकिशन’,
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 …

I am copy pasting an excellent write up by out dear member, Sudhakar Shahane, which he posted on the SJFAI page.

I posted it here , as it can be enjoyed by one and all.

Read on..

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 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 –
१९५७ – चोरी चोरी, १९६० – अनाडी, १९६१ – दिल अपना और प्रीत पराई, १९६३ – प्रोफेसर, १९६७ – सूरज, १९६९ – ब्रम्हचारी, आख़री की ‘हॅट्रिक’ १९७१ – पहचान, १९७२ – मेरा नाम जोकर, १९७३ – बेईमान.

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 – ‘शुद्ध कल्याण’
रसिक बलमा – चोरी चोरी
मेरी मुहब्बत जवां रहेगी – जानवर

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.

‘कैसे समझाऊँ बडी नासमझ हो’ – आशा – रफ़ी इन टॉप क्लासिकल फॉर्म.

‘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.

Sudhakar Shahane

‘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 !
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 समर्थ साथ दिली … 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 …!

सुधाकर शाहाणे

शंकर जयकिशन प्रशंसक

Shankar Jaikishan’s never opened ‘Pandora Box’…

StickyMay 8, 2024UncategorizedShankar jaikishan's never opened 'Pandora Box'…, shankarjaikishan, shelved films, unfushined films, unreleased filmsshankerjai

Courtesy Dr Jitendra Motavar jee

Shankar jaikishan’s never opened ‘Pandora Box’…

There were many of Shankar-Jaikishan films that were announced, but either didn’t get completed or shelved before starting or never got released or went on to other composers hands. I don’t know how many great compositions SJ might have planned, drafted or even recorded for them; but never reached SJ fans, who are ‘always hungry’ of their music.

I thought of sharing few available details of such films to the fans to have some glimpse of SJ’s Pandora box, which could never open for us, unfortunately. Please have a look:

Play Boy
Sindoor (Jitendra, Saira)
Yaroon Ka Yaar (Later Yaar Mera?)
Sukh Dukh
The Hindu
Jagruti (new one)
Rakshaa
Paani
Chalaak
Mastana Ehsaas
Main Aur Tum
Deedar
Paghdee
Nain Mile Chain Kahaan
Baabul Ka Ghar
Daaman Maang Aur Main (Later Daaman
Aur Aag?)
Chhoti Si Duniya
The Spy
Vaada
East & West
Palkon Ki Chhaon Mein
Reeta Aur Seeta (Later Seeta Aur Geeta?)
Tarzan Goes to India (English)
Satyam Shivam Sundaram (?? The same
one which RK was planning)
Hero (Sunil Dutt, Bindu, The clapper was
sounded by Shivsena Chief Balasaheb
Thackeray during first shoot)
Kabhi Daaman Kabhi Phool (Vinod
Khanna, Anupama)
Naseeb Ki Baat
Nagina (New) (few songs available)
Kora Kaagaz (Rajesh Khanna, Hema
Malini)
Sadiyon Se Pyaar (Shashi Kapoor, Saira)
Tu Paayal Mein Geet (Shashi Kapoor, Saira;
one Rafi solo got recorded written by
Virendra Sharma)
Mahaan (Sanjeev Kumar, Mumtaz; not the
Amitabh Bacchan one)
Aar Paar (Tanuja, Romesh Sharma)
Ganga Ki Kasam (Produced by Pachhi)
Karishma (Randhir Kapoor)
Sun Re Balam (Jitendra, Nutan)
Nafrat (Prem chopra, Kailash)
Watan (Sunil Dutt, Rekha; one Rafi solo
was recorded penned by Majrooh)
Aazmaaish (Sanjay Khan)
Gunahgaar (Rajkumar, one Lata-Manna
Day solo recorded)
Mere Desh Ki Dharti
Talaaq (Parikshit Saahni)
Jugal Jodi (Asrani, Deven Verma; Rafi-
Manna Day duet available)
Pehla Pehla Pyaar (Shashi, Saira, Mumtaz)
Airport
Ye Raat Phir Na Aayegi (Meena Kumari,
Dharmendra; direction Kishor Sahu)
Kis Ki Jeet (Manoj Kumar, Mala Sinha,
announced before 1966)
The Great Gambler (Shammi Kapoor,
direction Shakti Samanta)
Manzil Ek Musaafir Do (Rajendra Kumar,
Sadhna; direction Ramanand Sagar)
Vasantasena (Historic Drama with Sunil
Dutt as Vasantasena and Padmini as
Chaarudatta)
Apmaan (Navin Nishchal, Rakesh Roshan)
Bahurupiya (Raj Kapoor, shelved and later
developed as MNJ??)
Baby Hindustan (Director Basu Chatterji)
Untitled film to be directed by T Prakash
Rao (one Asha solo recorded by SJ)
Gulzar Singh’s untitled film with Shashi

Though it’s not possible to guess what sort of musical albums we might have got from SJ, had these films got completed and released, but, the music that would have been great and remarkable, as per my imagination, is from the films: Vasantsena, Ye Raat Phir Na Aayegi, Manzil Ek Musaafir Do, Kis Ki Jeet & a Shammi Kapoor musical The Great Gambler.

Well, this is just an imagination and as of now we will have to be satisfied with the invaluable SJ treasure that is available with us..!

Tribute to Shanker on his 37th death anniversary on 26th April 2024

StickyApril 30, 2024Guest's Column, Persons in life of ShankarJaikishan, Photos, Tribute#ShankarSinghRamSingh, #ShankarSinghRamSinghTantri, 37thDeathAnniversary, shankarjaikishan, ShankarJaikishanduoshankerjai

उन दिनों पृथ्वीराज कपूर शकुंतला नाम अपना एक नाटक शुरू करने की तैयारी कर रहे थे। एक दिन एक लड़का उनसे मिला। उस लड़के ने गुज़ारिश की कि आप मुझे भी कोई काम इस नाटक में दे दीजिए। पृथ्वीराज कपूर ने लड़के से पूछा कि तुम क्या करते हो। लड़के ने जवाब दिया कि मैं तबला बजा लेता हूं। हारमोनियम भी बजा लेता हूं। डांस भी कर लेता हूं। और कभी-कभार नाटकों में इक्के-दुक्के डायलॉग्स भी स्टेज पर बोल चुका हूं। उस लड़के के मुंह ये से बात सुनकर पृथ्वीराज कपूर कपूर बड़े प्रभावित हुए। उन्होंने लड़के से दादर आने के लिए कहा। दादर में एक जगह थी जहां अक्सर नाटकों रिहर्सलें चला करती थी।

पृथ्वीराज कपूर के बताए वक्त पर वो लड़का दादर पहुंच गया। लड़के ने देखा कि वहां तो बहुत बड़े-बड़े कलाकार बैठे हैं। लड़का थोड़ा झिझका। उसे लगा कि इतने बड़े कलाकारों के सामने मैं तो कुछ भी नहीं हूं। मैं क्या ही कर पाऊंगा यहां। लड़का इन्हीं ख्यालों में खोया था कि पृथ्वीराज कपूर ने आवाज़ देकर उसे अपने पास बुलाया। ये पूरा घटनाक्रम 1940 के आस-पास का है। पृथ्वीराज कपूर ने उस लड़के से कहा कि तबला बजाकर सुनाओ। लड़का तैयार हो गया। इत्तेफाक से वहां नामी सरोद वादक उस्ताद अली अकबर खान साहब भी मौजूद थे। पृथ्वीराज कपूर ने लड़के से कहा कि इनके साथ संगत करो।

लड़के ने पृथ्वीराज कपूर से कहा कि आप पहले मुझे दो मिनट सोलो तबला बजाने का मौका दे दीजिए। फिर मैं अली अकबर खान जी के साथ संगत कर लूंगा। पृथ्वीराज कपूर ने लड़के को सोलो बजाने की इजाज़त दे दी। और फिर जो लड़के ने तबला बजाया, कि जिसने भी सुना वो सुनता रह गया। खूब तालियां बजी। पृथ्वीराज कपूर भी बहुत खुश हुए। उन्होंने ऐलान कर दिया कि अब से ये लड़का पृथ्वी थिएटर का अहम सदस्य होगा। उस लड़के का नाम था शंकर सिंह रघुवंशी। वही शंकर सिंह रघुवंशी जो आगे चलकर शंकर-जयकिशन की ज़बरदस्त संगीतकार जोड़ी में से एक था।

आज शंकर सिंह रघुवंशी जी की पुण्यतिथि। है। साल 1987 की 26 अप्रैल को 65 साल की उम्र में शंकर सिंह रघुवंशी जी का निधन हो गया था। जबकी इनका जन्म हुआ था 15 अक्टूबर 1922 को। पृथ्वीराज कपूर जी के थिएटर ग्रुप पृथ्वी थिएटर से जुड़ने के बाद शंकर सिंह जी ने खूब टूर्स किए। और उनका काम था नाटकों के वक्त हुस्नलाल-भगतराम के असिस्टेंट की हैसियत से लाइव तबला बजाना। कभी-कभार वो छोटे-मोटे रोल भी पृथ्वी थिएटर के नाटकों में निभा लिया करते थे।

शंकर सिंह जी की बात हो रही है तो ये बात भी होनी चाहिए कि जयकिशन जी संग उनकी जोड़ी कैसे बनी थी। तो हुआ कुछ यूं था कि जयकिशन दयाभाई पांचाल गुजरात से मुंबई करियर बनाने के इरादे से आए थे। वो हारमोनियम के उस्ताद थे और संगीत उन्हें विरासत में मिला था। मुंबई आने के बाद जयकिशन जी ने एक फैक्ट्री में टाइमकीपर की नौकरी शुरू कर दी। नौकरी से मिलने वाले फुर्सत के वक्त में वो संगीत जगत में नाम बनाने के लिए संघर्ष कर रहे थे। एक दफा गुजराती फिल्मों के उस वक्त के नामी डायरेक्टर चंद्रवर्दन भट्ट के ऑफिस के बाहर जयकिशन जी शंकर जी से मिले।

बातों-बातों में जब शंकर जी को पता चला कि जयकिशन हारमोनियम बहुत अच्छा बजाते हैं तो शंकर जी ने इन्हें सलाह दी कि आप पृथ्वी थिएटर आ जाओ। वहां हारमोनियम बजाने वाले की ज़रूरत है। हो सकता है आपको वो नौकरी मिल जाए। शंकर जी के कहे मुताबिक जयकिशन जी पृथ्वी थिएटर गए और उन्हें वहां बतौर हारमोनियम नवाज़ रख लिया गया। अब आलम ये था कि पृथ्वी थिएटर के सभी नाटकों में शंकर जी तबला बजाते थे। और जयकिशन जी हारमोनियम बजाते थे। इन दोनों काम सबको अच्छा लगता था। एक दिन राज कपूर ने इन दोनों को नोटिस किया।

राज कपूर उन दिनों अपनी डायरेक्टोरियल डेब्यू आग पर काम शुरू करने जा रहे थे। उन्होंने शंकर जयकिशन को आग के म्यूज़िक डायरेक्टर राम गांगुली का सहयोगी बनने का ऑफर दिया। इन दोनों ने राम गांगुली की गाइडेंस में आग के म्यूज़िक पर काम किया। इस दौरान राज कपूर शंकर सिंह रघुवंशी जी से बड़े प्रभावित हुए। उन्हें शंकर जी का म्यूज़िक सेंस बहुत पसंद आता था। इसलिए जब राज कपूर ने अपनी नेक्स्ट फिल्म बरसात अनाउंस की तो उसमें म्यूज़िक कंपोज़ करने का काम उन्होंने शंकर सिंह रघुवंशी जी को दिया। और चूंकि शंकर सिंह रघुवंशी अब तक जयकिशन जी के बहुत अच्छे दोस्त बन चुके थे तो उन्होंने राज कपूर से गुज़ारिश की कि क्यों ना इस फिल्म से जयकिशन जी को भी जोड़ा जाए। क्योंकि उनकी ज़रूरत तो पड़नी ही है।

तो साथियों, इस तरह फॉर्म हुई बॉलीवुड की एक बहुत स्पेशल और शानदार संगीतकार जोड़ी, शंकर ज़यकिशन की जोड़ी। बरसात का म्यूज़िक ज़बरदस्त हिट हुआ। शंकर-जयकिशन के कहने पर ही लता मंगेशकर जी ने बरसात में आठ गीतों में अपनी आवाज़ दी। और लता जी को भी बरसात के गीतों से बहुत लोकप्रियता मिली। किस्सा टीवी शंकर-जयकिशन जी को नमन करता है। खासतौर पर शंकर सिंह रघुवंशी जी को। क्योंकि आज उनकी पुण्यतिथि है। #shankajaikishan #shankarsinghraghuvanshi

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Novelty thy name is Shankar Jaikishan

StickyApril 8, 2024feature, Guest's Column, Photos, SJ Fan writesbombay talkie, Bombay Talkie (1970), Hari om tatsat, hasrat jaipuri, merchant ivory production, shankarjaikishan, Usha Iyer, Usha Uthupshankerjai

By Subramanian Natesan

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.

Shankar Jaikishan & other winners of 14th Filmfare Awards

StickyMarch 9, 2024filmfare, From Magazines and Journals with Courtesy, News cutting, Statistics#14th annualfilmfareawards, 17वाँ फिल्म फेयर वार्षिक पुरस्कार, @filmfare फिल्मफेयर, फिल्मफेयर पुरस्कार, शंकर-जयकिशन, शंकरजयकिशन, शंकर_जयकिशन, filmfare, Filmfare awards winners, Filmfare trophy winners, filmfareawards, Shankar jaikishan, trophies, winnersshankerjai

Shankar of Melodies Past

StickyFebruary 13, 2024From Magazines and Journals with Courtesy, Photos, SJ Fan writes, SJ's association, Tribute#ShankarSinghRamSingh, #ShankarSinghRamSinghRaghuvanshi, about shankar jaikishan, शंकर-जयकिशन, black & white, musiclore, old is gold, Raj Senani, rajsenani, search Shankar-Jaikishen, shankarjaikishan, tributes, Yahoo Mailshankerjai

Contributed by Dr. Raj Senani

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.

Pocket book on Shankar Jaikishan

StickyFebruary 4, 2024Data, Photos, SJ Fan writes, Statisticsabout shankarjaikishan, all about Shankar Jaikishan, data. pocket book, mukund marulkar, shankarjaikishanshankerjai

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.

HH) Out of 980 solo songs—1)Lata-319 songs 2)M. Rafi---222songs 3)Asha---109 songs 4)Mukesh---81 songs 5)Kishore---50 songs 6)Sharda---42 songs 7)Mannade---33 songs 8)SumanK---18 songs 9)Talat---13 songs 10)Mahendrakapoor---12 songs 11) Female others--- 42 songs 12)Male others---39 songs

II)Out of 243 duets songs—1)Lata+Rafi—51 songs 2)Lata+Mukesh---35 songs 3)Lata+Mannade---17 songs 4)Lata+Asha---12 songs 5)Lata+Kishore---07 songs 6)Asha+Rafi---38 songs 7)Asha+Kishore---20 songs 8)Asha+Mannade---09 songs 9)Rafi+ SUman---11 songs 10)Rafi+sharda---07 songs 11)Lata+subirsen---03 songs 12)Sharda+kishore---03 songs 13)Sharda+mukesh---04 songs 14)Lata+Talat---05 songs 15)Mukesh+suman---03 songs 16)Geetadutta+kishore---03 songs 17)Lata+Hemantkumar---02 songs 18)Asha+mukesh---02 songs 19)Other duets---11songs

Mera Naam Joker – A greatest musical work done for any Indian film..

StickyDecember 16, 2023Discussions, Persons in life of ShankarJaikishan, SJ Fan writesमेरा नाम जोकर, शंकर-जयकिशन, शंकरजयकिशन, शंकर_जयकिशन, jitendra motavar, Mera Naam Joker, music review, Shankar jaikishanshankerjai

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

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..

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…!

Written by Jitendra Motavar

The place where Shanker and Jaikishan met for first time

StickyDecember 16, 2023Guest's Column, Persons in life of ShankarJaikishan, Photos, Tributeचंद्रवदन भट्ट, chandravadan bhatt, shankarjaikishan, the meeting pointshankerjai

शंकर जयकिशन जी का मिलन स्थल

*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.

Shankar Jaikishan and T. Prakash Rao

StickyNovember 24, 2023Guest's Column, Photos, SJ Fan writes, SJ's association, Tributecelestial birthday, Humrahi, Rivaaj, sasural, shankarjaikishan, Suraj, T Prakash Raoshankerjai

By Lakshmi K Tummala

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.

Non filmy songs of Shankar Jaikishan

StickyNovember 17, 2023Data, SJ Fan writes, Statisticsabout shankar jaikishan, non filmy songs, shankarjaikishanshankerjai

By Mukund Marulkar

Year-wise break up of number of songs scored by ShankarJaikishan

StickyOctober 7, 2023Data, Photos, SJ Fan writes, Statisticsabout shankarjaikishan, ANI, Asia, shankarjaikishanshankerjai

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

Compilation by Mukund Marulkar

Remembering Jaikishan on his death anniversary today on 12th September, 2023

StickySeptember 12, 2023Guest's Column, Photos, Tributeएस-जे, जयकिशन, पद्मश्री, बरसात, भैरवी, death anniversary of Jaikishan, remembrance, rememering, shankarjaikishanshankerjai

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

A milestone song in history of Indian Film Songs

StickyAugust 28, 2023Guest's Column, Photos, Song ReviewsAa ab laut chalen, jis desh mein ganga behti hai, pawan mehrashankerjai

Courtesy : Pawan Mehra

भारतीय सिनेमा का एक ऐतिहासिक गीत

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

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पवन मेहरा
‘सुहानी यादे बीते सुनहरे दौर की ‘✍️
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Shankar Jaikishan and Vrajendra Gaur

StickyAugust 12, 2023Photos, SJ Fan writes, Tributeshailendra, Shankar Mukherjee, shankarjaikishan, ShankarJaikishan with VrajendraGaur, Shanker Mukherjee, vrajendra gaurshankerjai

By Lakshmi K. Tummala

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.

Photo courtesy: Suneel Gaur

Awara Hoon – 73 years old Young creation

StickyJune 27, 2023Book Review on Shanker Jaikishen, Guest's Column, SJ Fan writes1951, 1951 film, 73 years, Awara hoon, d g deshpande, Dr. D G Deshpande, Shankar jaikishanshankerjai

“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.

Contributed by Dr. D. G. Deshpande

AwaaraHoon #BollywoodClassic #1954Melody #TimelessCharm #MusicalMasterpiece

List of Songs sung by Manna Dey under Shankar Jaikishan

StickyMay 7, 2023Data, SJ Fan writes, StatisticsManna Dey, Manna Dey and Shankar Jaikishan, Manna Dey songs list, shankarjaikishanshankerjai

Statistics by Mukund Marulkar

Friends…

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.

F)CHORI CHORI-1956=14)Ye raat bheegee bheegee ye mast fizaayein-lata-shailendra 15)Jahaan main jaatee hoon waheen chale aate ho-lata-shailendra 16)Aajaa sanam madhur chaandanee mein ham-lata-HJ 17)Panchhee banoon udtee phiroon mast gagan mein-lata,chorus.

G)KISMAT KA KHEL-1956=18)Kah do jee kah do chhupaao na pyaar-lata-HJ.

H)RAJHATH-1956=19)Chale sipaahee dhool udaate kahaan kidhar koee kyaa jaane-chorus-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.

K) ANARI-1959=24)Nineteen fiftysix nineteen fiftyseven-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.

W)AROUND THE WORLD-1967=42)Aao aao aate kyon naheen jaao jaao jaate kyon naheen-rafi,chorus-shailendra.

X)GUNAHON KA DEVTA-1967=43)Aaye hai badee door se mehfil mein shamaa chamkee-rafi-HJ.

Y)RAAT AUR DIN-1967=44)Dil kee girah khol do chup na baithokoee geet gaao-lata-shailendra

Z)MERE HUZOOR-1968=45)Jhanak jhanak toree baaje paayaliyaa preet ke geet sunaaye paayaliyaa-HJ

AA)BHAI BAHEN-1969=46)Aa zaraa aaj to muskuraa lein ye hansee ye khusheedo ghadee hai-kishore-SH Bihari.

BB)CHANDA AUR BIJLI-1969=47)Kaal kaa pahiyaa ghoomein bhaiyaa laakh tarah insaan chale-Neeraj.

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…