Shanker: He was the total Musician – Raju Bharatan



Raju Bharatan met Shanker at a special piano demonstration for him in the composer’s room . Later Shanker took him to his Famous music room at Mahalakshmi, where this total composer, with the aid of certain musicians, recreated the whole art of SJ’s scoring. From the tape of that memorably live soiree emerges this per-sonalised piece on Shanker on the occasion of the master composer’s seventh death anniversary, falling on April 26. Articles Compiled By Hemant Parikh. From Screen, 29April,1994.[This piece has been taken from’.gx=1&.rand=1i7o6lcjs34jc  post no.44 date December 18, 2002 reproduced by Mr. Ali Rashid on Yahoo’s Shankarjaikishan Group]


He had invited me to his seaface home he was in his cosy music room there. He was at the piano, the man who composed Geet gaata hoon main gungunata hoan main for Kishore Kumar to put over On Vinod Mehra in “Lal Patthar”. Right now, he was evoking from the piano his “Sangam” notes of Dost dost na raha. He was, another seven-letter name for sangeet. He was the numero uno of the Shanker-Jaikishan duo.


Jaikishan’s ocean-view home was just a mile away on the Marine Drive front. There was Jaikishan’s left hand that naturally went to the piano. Here it was Shanker’s right hand that naturally went to the piano. Imagine Shanker’s right hand on the piano and Jaikishan’s left hand on the piano and have the entire format of our popular you music at your finger-tips!


Shanker had been dogmatic on one point that he would demonstrate the art and craft of composition to me only on the piano. “How much of the real composer in me can you possibly get to savour on the harmonium’” Shanker had asked. “Mind you, I myself played the harmonium in SJ’s Yeh na thi hamari kismat in “Main Nashe Mein Hoon”. Even so the harmonium re-mains a limited instrument where it comes to unfolding your art. On the piano, by con-trast , can zoom with my notes. Here, let me demonstrate how by playing one of my pet compositions. . .


And Shanker proceeded to play finesse and flair from “Yahudi”, Yeh mera diwana pan hai. When I sing it as Yeh mera diwana pan hai, what I mean is Sangeet mera deewana pan -hai! explained Shanker. “In fact, I was lolling in that cot there and gazing at the ceiling when the idea came to me in a flash. Swiftly getting up, I came to this piano here and those first notes as Yeh mera deewana pan hai. They were dummy

words, of course, but Shailendra said they were fine, they fitted the situation pat, when he later came to write-to-tune. I had completed the tune on the piano with my own Mukesh in mind, that’s why I was put out when it was suggested it should be Talat Mehmood for Dilip Kumar playing “Yahudi”.


“In vain did I press my point, for the consensus was in favour of Talat. Only I new how I had given the tune shape and substance with Mukesh’s vocals in mind. In the end, seeing I was not satisfied, it was decided the whole thing would be a toss-up. My joy new no bounds as the spin of the coin favoured Mukesh. But now Dilip Kumar playing “Yahudi” was unhappy he had set heart on Talat. I had nothing against Talat, it was just that I had composed the number for Mukesh. So I earnestly requested Dilip Kumar to come to the songs recording next afternoon, but only after one, when we would be ready from the take Dilip Kumar wanted to come earlier but, I was quietly insistent, for only I knew how besura Mukesh could sound at the rehearsal stage! By the time Dilip Kumar came at 1.30, we were set and raring to go.

And the resonance with which Mukesh came over in Yeh mera diwana pan  hai made Dilip Kumar come over and embrace me. It was One of the most fulfilling moments in my life.”


Now I had Shanker talking, but he had laid down this condition that I would not probe whose tune it was: Jaikishan’s or his. I tried a subtle approach to overcome this SJ barrier. “Fine, you have told me how you won over Dilip Kumar” I said, “but what about the time you had a job convincing Raj Kapoor about the theme-song of “Shree 420″‘


The very vigour which Shanker, at this point, descended on the piano was a give-away as to who had composed Mera joota hai Japani.


“Sounds wonderful now it’s proved a hit on Raj Kapoor in “Shree 420”, noted Shanker, “but what a struggle I had here, Mera joota hai Japani is in Bhairavi, here let me show you how. I make a point of its being  in Bhairavi because it’s the fashion to attribute this raag in SJ’s repertoire to Jai. Oh, Jai too composed some wonderful tunes in Bhairavi, I concede that, but in the end it remained a shared legacy. “But we were on how Mera joota hai Japani came to be composed. As was my practice, I had prepared five tunes for the theme-song situation. I had already struck an equation with Raj Kapoor in the matter of creating theme-songs. So I was quite confident my very first tune would be okayed.”


“It was the theme-song of “Shree 420”, so I had given it everything in my composing armour. I played my first tune, no response whatsoever from Raj Kapoor. I played my second tune, again no response. Third time lucky I had to be, I reasoned, as I played my next tune, again no reaction from Raj Kapoor! I was in a cold sweat now, this was the first time a theme-song tune was going to the fourth stage. And I well knew that two inferior tunes of the lot formed numbers four and five! Add to that the fact that I was a total mental blank that day after those five tunes, having put every bit I had into the selections. “It was with great hesitation, therefore, I played my fourth tune as..”


And here Shanker turned to the piano to add: “This is how I played that fourth tune to Raj Saab( Imagine listening Mera joota hai Japani): Dunder-dunder-dunder-dunder dunder-dunder-dunder-dunder dunder-dun-der-dunder-dunder dunder-dunder dunder-dunder dunder-dunder -dunder-dunder … And Raj Saab pounced on it, saying it was exactly what he wanted! That crooked smile of Raj Saab’s as I wiped my brow I will remember for life.”


“Why’ I asked. “If those fourth and fifth tunes, too, had failed, would Raj Kapoor have asked Jaikishan to play the theme-song’. “No, way” said Shanker, “the theme-song at RK, with SJ, was my responsibility, so the reason I wiped brow was for something totally different. The point is, not Jai, but I would have had to produce five fresh theme-tunes next day! Produce from where’ I had exhausted my stock that day itself, since I reserved nothing but the best for Raj Kapoor. Don’t’take me literally, of course. I would have come up with five more fresh tunes next day, I am merely trying to communicate to you perplexed state of mind when that third tune, too, stood rejected.”


“Maybe the first three tunes were rejected because they were not in Bhairavi”, I suggested. “They weren’t in Bhairavi, come to think of it. But the total musician never thinks of the raag while composing. He plays in Sur and raag just flows. So I can’t go along with you on the point that Mera joota hai Japani, as it finally emerged, because it was in Bhairavi. I maintain that my first three tunes were good, very good. But then I only looked at the tune Raaj Saab had an exact visual idea of what he wanted. And he just seized that fourth tune from my custody the moment I struck the right note, as he audio-visualised it”.


“What about Ramaiyya vastavaiyya’ I asked, nothing Shanker had momentarily forgotten all about not identifying a tune as his. “Oh, Ramaiyya vastavaiyya, that’s an interesting question. For, after the Mera joota hai Japani theme song, the most important situation in “Shree 420” was Ramaiyya vastavaiya. How graphically Raj Saab had told me that situation to me! The tune he told me, had to have a sweep and a cadence like nothing heard in an RK movie before. The tune, Raaj Saab had told me must bring the Bombay bustee to vibrant life. Only towards its end, he added, would Mukesh be joining in –we now know Raj Kapoor chipped in with Maine dil tujh ko diya, but, at that point, even the tune was not ready, leave alone the words.


Incidentally, I always prepared the tune first and then got words written by Shailendra. Letting the poet write the song first, I had discovered, led to his penning the song-lyrics in the same monotonous metre. No, I don’t agree this, my reverse style of tuning, placed a limitation on Shailendra’s poetry. The Ramaiyya vastavaiyya tune came first, yet did Shailendra’s poetry suffer in any way’ No! the words for me represented the portrait, the tune the frame. Once the framework was ready in the form of my tune, the portrait, the song- lyric, could always be fitted in, exactly to size.”


It is a job keeping Shanker on the sound track you want, the man knows so much he wanders most interestingly, mind you -from one musical crescendo to another. Gently bring him back to Ramaiyya vastavaiyya, asking which of his five tunes clicked here.


“Ha, you have me back where you want me, Raju,” laughed Shanker. Ramaiyya vastavaiyya came to be tuned immediately after Mera joota hai Japani. Let me be honest and admit that I, normally full of confidence, was nervous here. After all, Mera joota hai Japani came through the hard way, so who new what lay in store. Therefore”

revealed Shanker (turning instantly to the piano), “as a naturalised Andhra I put my own dummy words and played the first tune like this to Raj Saab: Ramaiyya vastavaiyya ramaiyya vasta-vaiyya. And, lo and behold, that very first tune, which I had played with my dummy Telugu words of Ramaiyya vastavaiyya was instantly picked up by Raj Saab!


“My faith in my composing ability stood restored. For Ramaiyya vastavaiyya was a far more difficult situation to compose for than Mera joota hai Japani. In Mera joota hai Japani, you could be freewheeling, Raj Saab or the screen would take care of the rest. In Ramaiyya vastavaiyya, the key turn in the story -line had to emerge from my tune.


Yet I got it right the first time, so I had reason to feel proud. ” I thought I knew Raj Saab’s mind well by the time I came to compose Mera joota hai Japani, it turned out I didn’t. I had doubts about my insights in to Raaj Saab’s mind in the case of Ramaiyya vastavaiyya, it turned out my doubts were misplaced. May I add that, like in the case of Yeh mera diwana pan hai, Shailendra preferred to retain my dum-my punchline of Ramaiyya vastavaiyya. “But it makes no sense,” I pointed out. “It will when you see it on the screen,” said Raj Saab seated by Shailendra’s side.


“How come Ramaivya vastavaiyya too, is in Bhairavi ‘” I asked. Shanker looked stumped. But recovered to note: “Yaar, take it as a sign that I know my Bhairavi as well as Jai did. But seriously, the tune comes first, the raag after.


“Even in the case of the tune you played as soon as I entered this room’” I asked, “The tune you were playing on this piano as I entered was Dost dost na raha, Isn’t that, too, in Bhairavi’ I give up”, said Shanker, “you are the first patrakar to pin me down on this raag matter. All I can say is SJ always looked upon Bhairavi as a sada-suhaagan raag.


Our idea was to create a style of Bhairavi totally different from the Bhairavi of Nauhad. Judge how we changed the entire pattern of Bhairaviin films with Mohabbat ki dastaan and Suno chhoti si gudiya ki lambi kahani. But aren’t those two tunes from “Mayurpankh” and “Seema” the Bhairavi of Jaikishan’ I queried mischievously.


“There’s no such thing as a Shanker Bhairavi or a Jaikishan Bhairavi”, retorted Shanker, retaining his cool, “there’s only an SJ Bhairavi. “I have put him on the defensive, which is the last thing I want, so I say, leadingly, “Shanker Saab, who but you could have orchestrated Pyar hua ikraar hua (in “Shree 420”) and Sub kuchch seekha hum ne (in “Anari”). Whether you care to admit or not it is easy for a musically trained ear to spot out your instrumentation, your orchestration as more ornate, as more rich, in style and content alike. To my ears, Shanker, and Shanker alone, could have orchestrated Jaao re jogi tum jaao re the way it came over in “Amrapali” on Vyjayanthimala.”


Jaao re jogi tum jaao re was some tune, wasn’t it’ “reminisced Shanker, “Dance music is the toughest to orchestrate, the integration has to be split-second here. Yes, I rejoice in the style of orchestration I brought to Pyaar hua ikraar hua, Sub kuchch seekha hum ne and Jaao re jogi tum jaao re. As for Vyjayanthimala in , “Amrapali” from the beginning the arrangement was that I would do the dance section of SJ’ s music. I took it on since I was a dancer myself.”


“In Krishna Kutty’s troupe, wasn’t it’” I said, If I remember right, There was a toda, Vyjayanthimala, as the heroine of “Patrani”, disputed. Whereupon you assumed perform-ing attire and danced it out on the sets to show her how it could be done. “True’” said Shanker, “But that’s not to say I taught an accomplished dancer like Vyjayanthimala something, I merely showed her how it had to be done for my music.”


“This business of showing performers how to do their jobs, weren’t you taking on too much, was it not resented’” I asked.


“But why should it be resented’” enquired Shanker, “Remember, something resented only when the person showing you how does not know the job. And I new music and dance inside out, so I could tell them exactly what to do. But for this knowledge and background, you just couldn’t have got what you call SJ’s distinctive orchestral integration. I myself play the Piano, the Dholak, the Tabla, the Accordion and of course, the Harmonium.”


“That’s why, whether the instrumentalist be Shivkumar Sharma, Hariprasad Chaurasia, Ramnarain or Rais Khan, he has to play exactly what I want for precisely the length I want. They are very good players in their chosen field, that’s why they are being paid extra well to play. But to play exactly what I want. Nobody dictates to me. If a composer knows his job, nobody can dictate to him.”


Did Shanker then not know his job after Jaikishan died’ Why was he not able to dictate like in his prime’


He was not able to dictate because the first thing filmmakers did, upon Jaikishan’s death, was to withdraw the 60-piece orchestra facility SJ had always commanded. And minus this big orchestra, Shanker was a musician with his hands tied behind his back.


There were 17 SJ releases in the year 1971, in which Jaikishan died. Out of this, 12 films were released by September 12, 1971, the day Jaikishan died. They were flops for the major part, so Jaikishan had to carry the can for their fate as much as Shanker. But then Jaikishan was no more, only Shanker lived on to see the remaining five films, too, fail in l971. This was the signal for producers to  withdraw the multipiece orchestra facility from Shanker. Sharp-speaking, Shanker had not made too many friends in the industry. So they hit him where and when it hurt most.


It was a pathetic sight to see Shanker reduced to using the musigan as a “surrogate” to give birth, in his 1972 “Seema” avatar to something like Jab bhi yeh dil udaas hota hai jaane kaun aas paas hota hai. The tune proved one point – that Shanker could capture the old SJ magic only if given the spot aid of the multipiece orchestra that was, by 1971, part of his compositional mindset.


In one and only one film was Shanker accorded this multipiece facility without reserve after Jaikishan’s passing – in Manoj Kumar’s “Sanyasi”. Sohanlal Kanwar, as an old faithful, reposed full faith in the man and Shanker lived up to his promise made to me that, one day, he would do a full theme in Bhairavi to expose the myth of who had mastery over this raag.


I was there as Lata Mangeshkar was brought back into Shanker’s “Sanyasi” recording room by Mukesh for Sun bal brahmachari main hoon kanya kunwari. It was a superbly crafted tune and Shanker, taking time off from the middle, came over to whisper to me, wait and watch how I do it again, this time all by myself!”


The “Sanyasi” theme-song, Chal sanyasi mandir mein, was a stunner, lending Hema Malini a new seductive allure altogether. And has there been a better parody of the bhajan than Baali umariya bhajan karun kaise. Recall, too, the catchy motif of Yeh hai Geeta ka gyan. The well-integrated score of “Sanyasi”, masterfully orchestrated, was

proof positive that Shanker still had it in him. All he needed was a comprehending filmmaker.


Raj Kapoor could have assumed that comprehending role afresh when he broke with Laxmikant-Pyarelal after, “Prem Rog”. The way for Raj Kapoor to hit LP at that 1982 “Prem Rog” point, was to bring SJ back into RK, in the persona of Shanker. Indeed, when Raj Kapoor first dropped Shanker in favour of Laxmikant-Pyarelal for “Bobby”, Shanker, naive as they come, had no idea he was out of RK. There was one more big RK film on the anvil and Shanker’s belief was he would be doing that film! Hence his spirited rejoinder: “Let LP come into RK, now Raj Saab will know on the spot whose work is better.”


Note here that Hasrat Jaipuri in 1994 Inteview clearly stated that: “Some tunes of RK’s late “Bobby” and “Prem Rog” were tuned by SJ at their private sittings. It was only Raj Kapoor to remember those SJ type tunes and LP used it” and became Hit thanks to SJ.


Even after losing out on “Bobby,” the man was the picture of confidence. His musical grip, Shanker knew, was intact, so he felt he needed to fear no one. He lost bounce only when told that R.D.Burman, not he, was to do “Dharam Karam”. To be told that this “Dharam Karam” theme of Randhir Kapoor needed a younger style of music associated with RD, was the crowning insult to Shanker. Any score by SJ and RK has

always been a joint endeavour with Raj Kapoor calling the shots. To be told now therefore that, in effect, SJ’s tunes for Randhir Kapoor’s “Kal Aaj Aur Kal” tunes, like Bhanwre ki gunjan hai mera dil, Aap yahaan aaye kis liye, Jab hum hange saat saal ke and Tik tik tik tik chaltei jaaye ghadi, were not trendy enough for the “Kal Aaj Aur Kal” youth theme of Randhir Kapoor was a wrench. After that, Shanker was never the same ebullient RK music man again, though he kept saying, “I still believe Raj Saab will send for me one day.”


That one day never came, but the day came (April 26, 1987) when Raj Kapoor materialised an Doordarshan to pay his Shraddhanjali tribute to Shanker. There were tears in Raj’s eyes. But those tears remained perched on the eyelids. Those tears refused to come down because they were tears of remorse. Remorse for the man who had helped Raj Kapoor set RK on its musical feet with the able aid of a protege called

Jaikishan Panchal. Shanker Singh had left his native Punjab to settle in Andhra so as to be able to create Ramaiyya yastayaiyya for Raj Kapoor. And Raj Kapoor has jettisoned Shanker when he needs RK’s psychological back-up most.


Maybe Raj Kapoor was not quite his own master after the gigantic losses piled up by, “Mera Naam Joker” and “Kal Aaj Aur Kal”. But that could not mitigate Raj’s sense of guilt in this tele-moment of traumatic thanks-giving to Shanker.


Those penitent tears finally dropped from Raj Kapoor’s eyelids. Those tears were for Raj Kapoor, perhaps, a pearly reminder, of the elaborate dream sequence Shanker had composed for “Mera Naam Joker”, a dream sequence to beat the “Awaara” dream sequ-ence. A dream sequence that had failed to became a screen reality because, by that “Mera Naam Joker” stage, Raj Kapoor had run out of the resources needed to picturise it.


Shanker’s one wish was that I should accompany him to his Famous music hall at Mahalakshmi for him to recreate for me the aura of that “Mera Naam Joker” dream sequence. That day, too, never came. I could get only an inkling of that dream- sequence number from the way Shanker played it on that peerless piano. And what he played was clinching evidence of the fact that here was the total musician in action. Here was a man who believed that only if he wore a kurta could he create something like Sapnon ki suhani duniyo ko for Dilip Kumar in “Shikast”, only if he wore a suit could he create something like Dost dost na raha for Raj Kapoor’s “Sangam”!


He was a peculiar man, tart of tongue, but soft at heart. Even while being very strict with his musicians, he had the knack of carrying them with him by obtaining for them very generous payment from producers. It was this straight rapport with his musicians that was denied to Shanker when the industry cut his orchestral strength. It was like severing his umbilical cord.


“Shanker-Jaikishani” sangeet died the day the industry tried to dictate to Shanker. Shanker was effective only so long as he was dictating the strength of his orchestra and thereby calling the tune. The total musician was thus a total misfit in the end. As Shanker shuffled off his mortal coil leaving all his nine Filmfare Best Music Director awards behind, Na haathi na ghoda hai wahaan paidal hi jaana hai became his self-composed epitaph .

58 thoughts on “Shanker: He was the total Musician – Raju Bharatan

  1. in the entire article no mention has been made of Shankar”s stupidity in pushing SHARDA-a singer who was evrything but a singer.Shankar fought with Jai and even Lata and went to the extent of splitting the team.Even Raju Bhartan had once remarked that only a hypen joins Shankar Jaikishan.And this very Raju Bhartan had once declared the music directors as the BAND MASTERS.I have closely followed SJ all my life and I can tell that any song which has simple and literary Hindi lyrics is a Shankar Sheilendra it mera joota hai japani or subkuch sikha humne or mera naaam raju or o basanti pawan pagal or bol radha bol or aawara hoon.Shankar’s melodies are simpler’down to earth.


  2. Dear JK Mehta ji

    I have got Shardaji’s reply: excerpts are here for you :

    “Sudarshanji , Yesterday I did a show in Njersy & I did a shradhanjali to Shankerji& offered flowers & the audiance stood in silence for one minute.It was heart wrenching to be reminded of the situation .

    Re my voice , it is not SJ who discovered me & okayed.It was Rajkapoor who liked my voice & who can deny that he was a great talent spotter. I did my voice test in RK studio & then Raj saab sent me to SJ . If Rajji did not approve of me he would not have sent me to SJ . First of all if Rajji did not like my voice he would not have invited me to RK studio for a voice test..After I got such a big break with SJ & singing in RK movie things got ugly in the industry & when I realised about the treatment I was getting some how it affected my singing , which also drew critisism , giving the oppositions better hand …………….. I continued , because , not that I had faith in myself , but I had faith in Rajji & SJ .I realised if they had seen something in me then there should be something in me . I worked & developed my talent in voice cultivating , singing & composing . Today, by many people I am being voted to be the best voice going …..This whole para can be put in your blog , if you think it will be good.

    By the way one more point to ponder. Rafi saab took no offence when he was supposed to be the voice of Dileepkumar,Naushad sab took Mukeshji to sing in Andaz. And Mukeshji did not take offence when SJ took Mannadey to sing for Rajkapoor….With female singers . it was so different.

    Regards , Sharda”


  3. I have my reservations on what Sharda has said.Since all the concerned person-S-J and Rajji are nomore nobody can say for sure how far Sharda is right.But the fact remains that apart from TITLI UDI and JAB BHI YE DIL UDAAS HOTA HAI no song of Sharda could leave any impression on listeners.I doubt if Jai ever used her voice[may be jaane chaman shol badan is an exception}I would ofcourse give credit to Shanker that even after Jai he continued to give music although his music had lost the old charm and he was reduced to the status of ‘ALSO RAN’.In contrast look at Anandji after Kalyanji’s demise and Pyarelal after Laxmikant’s death.My last words-S-J WERE /ARE GREATEST.


    1. Shankar not only ruined his career because of Sharda, but also drove Jacky, I believe to drinking.I agree with you Sharda was everything but a singer.I believe she also acted in films later on if I am not mistaken.


      1. Dear Rishi,

        You also, like many, have been carried away by the heinous campaign against SJ+Sharda…..This was not the case brother. Why Jaikishan should be driven to drinking for this reason and ruin his career and family’s fate ??? Think seriously please. And for your kind information, Jaikishen did not die of cirrhosis of lever but for Jaundice … I am approving your comments to be here brother. If you are on facebook, you can join



      2. I have seen the discussions, we all love shanker-jaikishan and their music to the extent that even if we suspect (visibly or by fantasy) even an iota of something which really affected them or their music adversely (of course toward the end of their bright career) we are unable to digest. I am not sure but my love for S-J music started at my childhood by listening to their accordian dominated numbers like in chori choti, love marriage, shararat and the like. The this instrument was used in the music of every music director including Naushad Ji but I have no hesitation in pointing out that this never sounded same as it sounded in their music. When in 1964 the two songs Titli Udi and Dekho Mera Dil Machal Gaya came. Oh God both these songs were a rage in the entire country and as a lad entering my teens at that time I could not stop myself (nor I wanted to) falling for these numbers. Sharda was a very beautiful person and to my teen years that created a special aura in my heart and then she was introduced by none other that S-J, I was crazy after their music and was taking lessons in music with a mind to join them in some measure one day.
        My mind has not been able to separate or segregate the two from S-J music neither the souond of Accordian nor the voice of Sharda. Contrary to one writer who mentioned of her very ordinary singing (just one song Titli) I think all the songs sang by her in each capacity as solos, or duets or in chorus were admirable numbers and her voice superb and surely not a common place voice. She has the quality of musical instruments in her voice. She mesmerises and keeps swaying and haunting long after the song has finished. My heartfelt tributes to the departed music duo and long live the great nightingale who gave us very few numbers thanks mostly to the politics of film industry that most of female singers had to suffer (even Asha did not get spared at the beginning of her career). One could be a great artistt yet one could still be a very ordinary human being. I think we should not be party to all the controversies and must give due credit to great artistes of yore who really just by the dint of talent, genius and hardwork achieved the heights of excellence at the times when the resoulces, market and technology was very scarce. Judging their work in the true context will really make us realise their magic and talent to some extent. Not for nothing it has been almost half a century when two of the noble partners of this famed quartet of Shanker-Jaikishan, Shilendra and Hasrat left the mortal world but their fans and their music not only survives but different dimensions are being searched with passing time.


  4. Dear Mehta ji,

    At first I would like to take your first point where you have rightly said that since all the concerned persons pertaining to her claim are no more, it is not sure how far Sharda ji is right. I agree with you, but here one may wonder as to why the subject is still live in minds of fans of SJ like you. There is no point in blaming her when she is not given scope to defend her. Most probably you are aware that Sharda had sung one song in Kal Aaj aur Kal, it was picturised too, but due to length of the film, only glimpses of that song was there in the film. Secondly for Mera Naam Joker, she had sung three songs, one solo and two songs with Mukesh ji. They were to be filmed in the latter part and the budget of MNJ was touching the sky then and it was decided that the songs will be used in any later project which was in habit of Raj Kapoor ji. There are so many SJ compositions still lying with RK films. However, one song, ‘Mere Ali Baba’ you can listen on and you can feel how much labour she has done to render the song. You will find a different Sharda.

    I was surprised to know that apart from Titli Udi and Jab Bhi Ye Dil…in non of her other songs she could leave any impression on you. (you have said ‘listeners’ which is not correct, you can surf the net to realise that there are so many fans of her who are fond of her voice….Shankerji really did not show any stupidity brother) What about ‘Dekho Mera Dil Machal gaya’ ina the same film SURAJ, have you heard “Man ke Panchhi Kaheen Door Chal…” from Naina? You might have not listened “Husn-e-Iran” from International Crook nor “Jigar ka dar…” from Street Singer and I believe, in effort to criticise her you did not listen, “Mere Ang Ka Rang Hai Angoor” from Suraj Aur Chanda.
    It was Shanker who might have not asked Jaikishanji to give Sharda a chance. Sharda could have got Jai’s song but the whole story on the situation will certainly not satisfy you since there is none to give stamp on that. For your kind information Jaane Chaman was Shanker’s composition.

    When admirer of SJ like you say that Shankerji had lost the old charm and was reduced to the status of Also Ran it gives some jolt. IT seems you failed to differentiate between his skill and his luck as well as the poisonous campaign against him to make your opinion. It was sheer bad luck and the vested interests which compelled him to clip size of his orchestra (which was strength of his compositions) which played a big role. Otherwise still there was good banners/producers/directors which had signed him for their films. Most of them could not be completed, some of them were completed but could not be released, few were released but were not success. CHORNI is a big example which had Nitu Kapoor and Jitendra like stars with lifetime acting by Nitu Kapoor and fantastic music by Shankerji, but it did not draw attention. A good film like Dil, Daulat Duniya with stars like Rajesh Khanna and Sadhna with heart-touching story failed on the box office. (in this film too Sharda’s song will enthrall you my brother) Vachan failed inspite of first disco ‘London se Aaya main..”

    My reply is going longer, therefore I would like to conclude by saying that Shanker bore the brunt of failure of those films too which had music by Jaikishan alone (Mera Vachan Gita ki kasam, Balidaan, Duniya kya jaane etc etc.

    However, I am not going to make you fan of Sharda, nor you can change your mindset because there are lot of people who nurse the same opinion. But none of this section thinks as to what was wrong in trying for new voice and give support when there was politics which prevented many talented female singers to blossom.




    1. years ago somebody had mentioned to me that jai betrayed shankar (i can’t remember how) and that is why shankar composed the song dost dost na raha.I am in awe of shanker-jai’s music but i beleive in the film industry all superstars have to come down from their peak.look at rajesh khanna.girls used to marry his it is like that.look life in the film industry like how sahirji wrote in kabhi kabhi,main pal do pal ka shair hun,mujhse pahle bhi shair the aur kal aur naye shair aayenge.sorry i muddled up the wordings.


      1. Rubbish total rubbish….Yes Jai broke the unwritten agreement between them that no one would reveal the original composer of their song and their music will always be a music of SJ and not either S or J……but Jai disclosed about tune of Yeh Mera Prem Patra padhkar as his…..Yes Shanker was upset but it was not behind composing of Dost dost Na Raha…..Shankerji was not a broken heart brother……Yes regarding your observation about escaling down…it is fact


    1. visit few of blogs by me and you will get to listen to most of SJ music as well as you may download one unpublished song from Mera Naam Joker as well in voice of Sharda

      visit :,,,, and for listening to sharda special please click




  5. Ihave minutely gone through the interesting article penned by Raju Bharatan on Shankar of SJ duo.I fully agree with him that Shankar was a complete musician who always wanted to do some novel tunes.The contoversy regarding his patronage of Sharda is unwarranted.In my view Sharda had a very unique voice in total variance with the established singers of her time.let us not forget the title song of Around the World she sang with Mukesh.Though she has sung very few songs(mostly all composed by Shankar) most of them were masterpiece.It is a matter of luck that she was not successful.Maybe ifother music directors including Jaikishan had given her an opportunity she would have proved her ability and in prove mentor right.Atleast Shankar had the courage to try a newcomer like Sharada ignoring the wrath of other establlised female singers having monoplistic attitude. .


    1. Dear Devesh ji,
      Thanks for your comment which is from a real music lover who understand Shankerji’s stand on supporting Sharda. As sharda has always said that it was RK who had asked her to come to Mumbai (Bombay, then) and her voice test was done at RK in presence of good number of people from industry and RK unit. When she was sent to SJ, Shanker being a true RK loyalist started to promote Sharda. There is general belief that Sharda was the factor behind Shanker-Lata rift. But the rift was actually between RK and Lata, which Shankerji carried forward and here too to show his loyalty to RK. Lata had sang so many songs under baton of Shanker(Jaikishen) even after Sharda was introduced in Suraj….What an irony! Same RK+Lata patched up their differences. Lata wanted Shanker ji out (because by this time it turned to Lata+shanker rift and Sharda was made escapegoat). The same Lata which was supported by SJ in her initial carrer when SJ overlooked all established names in the field of female singers and chose Lata as their permanent female singer. They even gave her solo film. But the same Lata did not leave any stone unturned to damage career of Shanker after death of Jaikishen. You seem to have indepth knowledge and have very interesting information on SJ. Will you join and share/discuss SJ?

      Sudarshan Pandey


  6. There is no meter to measure singing quality. I believe that Sharda and Anuradha Paudwal are the all time best female voice and singer. I strongly believe that both Shankar and Gulshan Kumar were music genius to understand this.


  7. we always remembers shankar jaikishan today 26th of april 2011 is the death anniversay of the legend music director shankar we always enjoys their soulful songs their variety of music is unmatched i have no word to describe their supermacy tu bemisal hai teri tariff kaya karoon


  8. shanker could have continued with good success if he had tuned with kishore the str singer of 70s. geet gata hu mein and zindagi ik sfar were great hiuts .a lso tum kitni khubsurat ho was hit aap yaha aaaye hit bhaware ki gunjan hit,

    there was a point as Sj gave a fast music .their successirs lp backed by lata gave monotonous khilona jankr ,nafart ki dunioyko chodeke etc amny were very dull!sj was never dull. shnaker should have caught on kishore wave. he did chatri na khol, meri kali kalloti ke. but not sufficiently. actually sj style suited kishore. like Ka. sj rafi was monotonous. sj did their best with sanyasi but agin sadly mukesh score. had they compoised with grat efforts one kishore based movie totally shankers would have bbemn a different story!


  9. believe me,all my life i have adored S-J like a fanatic and my only competition is mr.B.Pandeyji who scores over me for his love and devotion to S-J.I have seen the times from 1951 to 1969 when S-J were on top of everything they surveyed.It was only their rapid fall after 1969 that saddened and shattered their fans like me and in our efforts to find the cause for this fall we find just one person who could have caused this and that person happened to be Sharda.the rift between the two great composers perceived to be caused by ones obsession with her and aversion of the other Aone for her. Also Lataji encouraged L-P in her battle against Shanker.This all may have led to their downfall to which JAI’s death in 1971 gave a final blow.I read somewhere that in 1971 more than 18 or 20 of their films that were released had crashed at box office.That even after Jai’s demise Shankerji carried on for next 13-14 years speaks a lot of his strong will though barring Sanyasi no film was a musical treat.and Shankerji cnotinued to belong to ALSO RAN category though in telling this I feel a lot of pain. However when you look at Pyare lal or Anandji who went in instant oblivion the moment their partner died Shankerji’s struggle and fighting spirit after Jai’s departure is extremely laudable.I till today rever them as demigods and like their music like anything and as much as i like music of A.R.REHMAN,JATIN LALIT.M.KAREEM.HIMESH ,L=P,and a many others.only thing is that they have carried on from where S-J left..thepioneering work for them was made by S-J who laid the foundation of modern popular music.


    1. Thanks for your comment Mehta ji. But I think it would be injustice to Sharda if the said downfall of SJ is credited to her. Please try to understand the mentality of creative artistes who are by nature very much sensitive. Shankerji’s ego must have extinguished after he too got an educated and very beautiful lady who loved and respected him. Jai had already got the blend of education and beauty in Pallavi. So if someone says that Sharda was the reason to SJ’s downfall that is not true. There were many reasons – Jaikishen’s illness was the prime reason as well as Shailendra’s death. You might have got many flops out of which a lion’s share was by Jaikishenji….However, it was not so, that they could not have come out of the patch period, but destiny played its role and Jaikishenji left his business partner, life partner and his fans to lament. This was the second blow to Shankerji who has even not recovered from loss caused by Shailendra’s death.
      Though the films after Sanyasi were not successful, but no one can deny Shanker’s solo film’s music like in Do Jhooth, Gharam Khoon, Love in Bombay above all in Chorni etc etc………..Please listen to them and you will feel pride to say that Shanker’s musician was not dead. But it was heinous campaign against him even after patch up with Lata….(because this time the Kapoors were after him) that people did not pay attention to his music.

      If you are on facebook, then please let me know

      sudarshan Pandey/Kolkata


      1. Yes, Sudershanji I am very much on the facebook and love to read and watch all the stuff you putout on face book on the great S-J.I regret having referred you as B. Pandey in comments.


      2. Doesn’t matter JK ji…kisi bhi naam se bulaaiye……….mera pehla naam to SJfan hi hai..



  10. please don’t defame LP by making rumors of Bobby and prem rog tunes(composed by sj according to your article) as they are the only composers of indutry till date who can write and read all music notes western or indian .They are the “BEST” composers till date


    1. Dear Anurag Gupta ji, my job is just to provide the article here written by other writers. I give respect to all the contemporaries of Shanker-jaikishen. LP always gave respect to SJ. But the fact is fact and it is not RUMOUR as termed by you my friend. Here there is no question on LP’s talent nor their intention by mentioning the fact. It was Raj Kapoor who pressed them to do that….Do You Know that Yashomati Maiya se Bole Nandlalaa is based on a bhajan used much before in a film ? It was RK who wanted it. That is why LP quit RK films. We too adore LP.


    2. Dear Anurag Ji,
      Who has told you or from which reliable source you have come to know and now claim so confidently that LP could read and write staff notation. You are wrong dear friend. Laxmikant was the composer and Pyarelal was better known as an arranger. That’s why after the demise of Laxmikant he perished so fast from the film scenario. Yes the music of Bobby was taken from the tone bank of RK, contributed by SJ during their hey days. They merely conducted orchestra and recording. Had this not been true, they would have come up with great tunes in their later films like Prem Rog. But the reality is entirely different. Prem Rog is believed to have the poorest musical score of any RK film till date (including Henna). Second thing just listen to the background score of Mera Naam Joker, and then the songs of Bobby, you will be forced to change your opinion. It was intoto Shankar-Jaikishan.
      Pradeep Kumar Gupta


  11. This gentleman Anurag pleads all the way praises for LP, who were no match to SJ, how can you say LP were the best ever MDs. their best work like dosti,Milan or Hathi Mere Saathi, Do raste etc were utter monotonious and no match to SJ’s Dil Ek Mandir, Sangam, Aaarzu, Love In Peris, Brahmachari, Andaaz etc. even at the the latter phase of SJ. Do es you any body listen to lp’S stale score of Ram Lakha, Tezaab Mr India songs now a days?????


  12. I have followed Bharatan’s articles since Jai’s passing. Only in the latter years did he acknowledge Shanker as a total musician when he (Bharatan) admitted that when Jai was alive be was too busy with SJ bashing! Anyway its good that people realise before its too late and Bharatan’s admission presumably has been accepted by SJ fans! Now to the next topic…why all this Shankar/sharda bashing? I simply don’t understand! After the demise of Shailendra and Jaikishan coupled with the fact that the Great Showman Raj Kapoor dropping Shankar like a “hot potato” from RK’s movies reinforces my belief that when it comes to music and all the publicity given to Raj on his musical abilities and so on, if this makes any sense…it was Raj Kapoor who was “hooked on” to SJ’s music rather than the comments like “RK has a vast oasis of tunes created by SJ” to keep his banner going for decades! If any individual is a looser in this episode, so far as RK Films music is concerned, it is Raj Kapoor himself, not Shankar not Jaikishan…period! Oops I forgot…not Shailendra not Hasrat as well! With due respect to LP, sad to say, starting with Bobby till Prem Granth, SJ’s “presence” was there for all to see…including the pathetic score of Heena by Ravindra Jain! No pun intended for RJ! Given the above, I must admire the Great Showman for having enough “Yes Men” in his “oasis”, whatever that means, to keep the RK banner flying just so that he can have Lata Mageskar sing for his films! So where has music gone from the days of Barsaat to Mera Naam Joker…who was running RK’s music department, Lata, SJ, Shailendra, Hasrat or RK himself? My parting shot…looking at the predicament of Shankar after the demise of Shailendra and Jaikishan, I am lost for words to describe his determination to continue for 16 years as a composer when all his heyday collegues abandoned him one by one, starting with Raj Kapoor! Food for thought, my dear SJ friends including our great Sudarsan! Great work buddy, you are indeed a true blue SJ fan!!!!!!!!



    1. Thanks Das ji for valuable comments which echoed our concern and views too. When my work reaches fans and admirers of music like you, I feel I am blessed.
      I will be working for them till my last breathe since their music fills me with lot of Praan-Vayu’.
      sudarshan pandey/kolkata


      1. Thanks everybody on this thread for sharing so much info. about my favourite SJ. This is my first post and am overwhelmed by so many SJ fans. And I thought I was the only one. The interesting part of my realization of being a SJ fan was not listening to their songs knowing that it was SJ number but having a top 10 favourite songs of mine (mentally) and realizing that it was SJ. That is when I started adoring them and I was a 10 year old then. In fact I was and am a huge Rafi fan so I loved all Naushad, SDB, OPN and Ravi compositions automatically. But the thing that stood out about SJ was their amazing orchestration of the songs which meant that even the most ordinary tunes (there were not many) sounded superb. You never wanted to fast forward an SJ number. 3 songs I heard in late seventies made me an instant fan of SJ. Two of these are almost of same variety (Jhoom ke Gaa yoon from Patanga and Dil hai ke dhadakta from jahan pyar mile). The third one is my all time top 5 SJ duet Tum hi tum ho mere jeevan me from Ek dil sau Afsane.
        SJ were for me the most entertaining and revolutionary music directors in an era of unbelievable quality of composers who in my favourites after SJ, rank as follows: Naushad, SDB, OPN, Ravi, Roshan, Madan Mohan, Salil Chaudhary, C Ramachandra, KA, RDB and Chitragupta


  13. Dear SJ Fans ,
    Thanks for sharing so much valuable information about SJ . I must say that if Jaikishan would have been there , we would have been blessed with more melodies though the work that they have done is simply incomparable , enormous, great and vast . No other composers can do that much . Simply then at that time , no one could beat them . They would be on top always . Didn’t get, Why Jaikishan left us all so early .

    Sachin .


    1. Dear Sachin,
      Thanks for visiting the blog. I have several more blogs on them. But if you want t go through more material on them and discuss/share something about SJ. You are welcome on our facebook and yahoo groups.
      We want more SJ fans on one platform so that the apathy to them by few big names and media can be protested.

      Sudarshan Pandey/ Kolkata


  14. Dear all,
    I do not know hindi but i know SJ and have been listening to hindi film songs since 1962(now am 60) and a regular llistener of binaca geethmala and am sure there can never be another SJ and without me knowing there were tears for SJ after reading the article and also feel sad for the unkindest cuts the hindi film world delivered Shankar and whatever we do now we only hope that his athma feels happy for the recognition we give 25 years after his death although it is belated one. There music simply out of the world and i think mortals cannot comment on them.



    1. Thanks a lot Seshadri ji for visiting the blog. Please go through all the articles and you will find more. Whenever a single true SJ lovers visits my blog it feels I have touched the sky. There are more fans like me who are campaigning whole heartedly for our joy. If you are on facebook, please let me know.

      Sudarshan Pandey / Kolkata


  15. I really like your blog.. very nice colors & theme.
    Did you design this website yourself or did you hire someone to do it
    for you? Plz respond as I’m looking to construct my own blog and would like to know where u got this from. thanks a lot


  16. Hi All S-J fans,

    Though I listened S-J and others since my childhood but from 1999 Dec I entered the S-J den. A die-hard fan. So much so that I would name my SON if any as SANJAI(SHANKARJAIKISHAN short form). And if she daughter she would be Bhairavi.

    Coming on the topicof S-J……………….How much ever one praises S-J, it would be less. Around 1100 songs, 22 years of musical command in the industry, 9 filmfare awards…………what more.

    60S is referred as Golden Era and 50s Silver Era. why. can anybody answer that. Music in 40s, 70s and 90s were reasonably good. But what stands is the impact S-J had from 1949-1971.

    S-J were 2 musicians representing one and hence when 2 flames join hands they just burn competition with their Spellbounding tunes and BGM. Anybody who watches S-J movies will find BGM as specially integrated with the film and its songs.

    Even today S-J tunes are remembered more than any other MD from any era. Their music is still heard in far eastern and western countries as it was when they were performing during their hey days.

    As to come to some people whom I would criticise…………….

    1) lata m & Asha B- All knows how jealous women are……….these two were no exceptions. All said and done, I still dont think anything exceptional in their singing. They were ordinary as are all female singers. MD made them and not they who made MDs.
    2) L-P & K-A- Till 1975 they copied S-J style of music and competing films of S-J. If they had guts they should have had their own style like how S-J did. Not retorting to cheap versions of S-J to compete them and make money.
    3) Sharada-I am a die hard fan of her, but she sings in 1 dimension with some words spelled in wierd accent. But for sure better than the 2 sisters above.
    4) Jaikishan-Why did he kill himself so early that caused all of us to keep speculating on different dimensions of S-J career.
    5) Shankar-Like me he has a high EGO, which made him think he is bigger in MUSIC but producers wanted a human bieng who would GEL with them. Even mediocore music of L- or RDB was fine, till they had time to visit these producers or directors.
    6) R.K-Biggest Crook also can be called Universal Crook. If he had to drop Shankar, then he should have had the guts to go and spk to Shankar and tell him his pooint, rather than listen to Lata. Afterall when Lata was not ok to sing a song in Sangam, Shankar kept R.K faith by supporting him. Moreover on R.K request Shankar developed Sharada and Mukesh not to develop Manna Dey.
    7) To all the fans who speculate wrong thoughts about the downward trend of S-J.

    I am also the biggest culprit here to give all this in writing and make you think forthat time you could have used to do some productive work……….isnt it.

    Long-Live S-J………………AND ALL YOU KEEP LISTENING S-J songs day and night, i.e Raat aur Din. Bye.


    1. Dear Wagle ji,
      Very fortunate to have comment from an ardent SJ fan like you. See today I have written on a facebook group on SJ today 15th October 2013

      Dear Friends,
      Today is birthday of the great Shankerji of Shanker-Jaikishan duo. There are lot of fabricated stories by the zealous and people with vested interests about Shankerji. Many said him uncouth, rude, ziddi, illiterate etc, but only the nearer of SJ know/knew the truth about his nature. His big minus point was that he spoke his heart. He was very down to earth, but never could stand flattering and selfish people. His straightforwardness made many enemies who were dying to see him down by making tremendous effort to bring breach in between friendship and love of Shanker-Jaikishan. But except one instance, there is no example of any bitterness at least in relation with his counterpart and his soul Jaikishan ji. One of a musician who, though did not play for him, but was with him at many occasion told that Shankerji always used to have his torn shoes and one ‘Lota’ (small vessel) in his Car. One this musician asked him as to why he has kept those things in his car, the maestro had said, I don’t want to forget my initial days in Bombay. I see them everyday that is why I have kept them with me so that I can know what I was, so that my feet are on ground.
      That was Shankerji. I salute this man who fought like an iron man with the destiny till his last breathe and carried failure of his counterpart Jaikishan’s films on his shoulder.


  17. i am a die hard fan of sj.the first song i heard was jiya bekarar hai when i was just 5yrs old in 1950.after that i was just hooked for life with sj’s music.not a single day passes when i donot listen to their creations.after i retired from service as an engineer i have devoted my time to collect their creations on my computer,tablet and nokia n8. i have created some files like sj-lata songs which runs for more than eight hours.there are others like si- mukesh,sj-rafi, sj-asha, sj-duets,sj-mannadey & so on. before i go to sleep every night i play these files.their music is so soothing i fall asleepi after i have listened to four or five songs .after some time i wake up suddenly to find music being still played on my nokia.i listen to a few more songs and fall asleep morning i discover that 5 or 6 long hours of sj-lata songs have been played out & i have paused it at that the morning while i do my daily chores like cleaning the house preparing breakfast i play the songs from where i had paused it. this has become my daily routine ever since i purchased my computer & became a member of sj blog on facebook.while i was working i recorded sj’s songs on tape from radio ceylon & later slbc.i still have those tapes which gave me so much pleasure.even i though i put sj on top of everybody else i also like sd burman,op nayyar,madan mohan,c.ramachandra etc in that order,but.shankarjaikishen were the masters .


      1. there are thousands of other die hard fans like me,but i guess i am one of a kind.some how i have been kind of partial to shankarji’s music.when bbc conducted the opinion poll for selecting the best 100 songs of the century i voted for awara hoon not knowing shankarji had composed it.i was not happy it was voted the second from the top & not no,1. awara hoon is a song only a true genius could have created. i have listened to this song god knows how many times over the years.but i can never get t tired of listening to it a thousand times more.on the other hand my experience is not the same when i listen to the top song baharon phool barasaon


  18. SJ as a combination created magic combining with Shailendra & Hasrat. When two of the winning team suddenly pass away, it is extremely difficult for the remaining team to retain their motivation & inspiration . Further committing too many movies in the years 1970 & 71 was a tactical mistake. Quality will definetely suffer when SJ accepted too many movies out of compulsion. Shankar was waging a lone battle & RK’s betrayal and media bashing did not help him either. Lata might be a great singer, but a highly selfish and mean person. She did not permit any talented female singers to remain in Bombay. Vani Jayaram is one more example. Even after the passing of Jaikishan, Shankar gave several memorable musical hits, but since the movies bombed the big banners started deserting him one by one. The biggest attraction of Raj Kapoor movies was the music. Till Kal Aaj Aur Kal , SJ gave their life for Raj Kapoor.Raj Kapoor instead of standing firmly with Shankar chose to ditch him when he required his support. Lata became prominent only because of SJ.Raj Kapoor & Lata ironically scripted the downfall of SJ, but Shankar fought bravely till the end.


  19. Great souls Shankar/ SJ, I read it after being very sad on the way RK left, betrayed Shankar after MNJ failed with people.


  20. Everything good has to end someday . One who rules cannot be ruled upon. It applied to Kaka it applied to shankar , it applies to great geniuses everywhere .
    The moment he was made to bow he lost his touch.
    This one fact proves that he was a genius of greatest order.
    And to those who claim that Jai was better……..
    Well listen to the compositions during the first few years when shankar ruled SJ.
    Barsaat , Awara, mayur pankh,yahudi , anari shree 420……do I need to prove anything more.


  21. Thousands of music directors may come and go. But none can replace the quality and popularity of the magical melody created by the Greatest-ever Shankar -Jaikishan, ably assisted by such unsung heroes as Shailendra, Hasrat, Sebastian, Datagram, and their dedicated team of hundreds of musicians. Long live SJ.

    from Mysuru, Karnataka l


  22. By far well coined words on the talent, conference and complete composition of hindi films by Shankaji of S J fame by knowledge people. Equally Jaikishanji most powerful and melodious composer, expert in handling and scoring background music. Together, they have left behind huge legacy, the record that can never be broken. Melodious songs ever lasting and heard for many years to come.


  23. After demise of Jaikishan Shankar not only continued music but gave many melodious songs even better melody than younger generation music directors of that time. Like Sanyasi,Atmaram,Duniyadari and many others.


      1. After reading the numerous articles written about SJ (before and after Jai’s parting) in my opinion of the 2 Shanker was the better and more experienced Composer and I say this with due respect to Jai’s talent! One without the other was as Raju Barathan aptly put “Shanker’s right hand on the piano complemented by Jaikishan’s on the left”. There we have all the makings of our popular Hindi music right in front of us!
        Sadly after Jai’s passing even Raj Kapoor deserted him and as we have all witnessed how he (RK) carried their music right up to Heena!
        It has been written many times and Barathan too confirmed the existence of the recording of a Dream Sequence in Mera Naam Joker to beat that of Awara as composed by Shanker. Is it possible for our SJ fans and group to approach the RK estate to have them released for not only their benefit but also to music lovers all over. I believe this release will inspire future generations of music directors tremendously!
        Long live the music of Shanker and Jaikishan!



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