• Shri Arun Bajaj

    S-J ke liye kuchh arz karna chaahta hoon….

    Shanker-Jaikishen with Chandulal Shah

    “Teri zindagi mohabbat, tera naam hai deewana

    Tere baad bhi karega, tera zikr ye zamaana

    Tu wo zindagi nahin hai jise maut khatm ker de

    Jise bhool jaaye duniya, tu nahin wo tarana.”

    We all are die-hard fans of Shankar-Jaikishan because we all know in our hearts that they were the best………there is no doubt it….. just listen to their melodies….only after their arrival, for the first time film industry realized that film-music can be a parallel industry. Purists like Raju Bhartan have always scoffed at their music, dismissing it off as too popular or pedestrian but for us S-J and film-music is synonymous. Not only Raju Bhartan but Lata and Aasha have also started campaigning against S—J and OP. Nayyar respectively to promote Madan Bhayya , Hridaynath and RDB as if no music-director existed on this earth. There is a huge racket operating in the film industry to discredit S-J and their achievements. But genuine listeners are not fools. It was Barsaat who took Lata to dizzy heights. Followed Awaara, Shree 420, Aah, Patita and many other S-J marvels. From `Jiya Beqarar hai to `O Bananti Pawan Pagal‘, Lata couldn’t have done better.

    Lata,in all her concerts, interviews, interfaces, she would never refer to Shankar-Jaikishan as if S-J would need the promotion from an ungrateful wench……she saw to it that no credit ever went to S-J. These are great artists with small hearts. But to be a complete artist, you have to be a good human being as well.

    I believe that from hindi film music melody went out with the the 60′s. What I have seen is a slow corrosion of `theka’, `taal’ and `sur’ which began in 70′s…now music is only jarring to the ears and nothing else.

    There could not be no other like S-J


    Shri Arun Bajaj ji






    (Shri Arun ji adds further to this article  on 12th October, 2012)

    Both Lata and Asha have displayed shameful ingratitude to their original mentors. Whea wet-behind-the-ears Lata crooned for “Mahal” and made her presence felt , it was ‘Barsaat’ which took her to dizzy heights. Followed ‘AWAARA’,’SHRI 420′,’Chori-Chori,’Patita’, and many other S-J marvels and soon enough Lata left everyone including Shamshad, Suraiya and Geeta. L

    ata was groomed by S-J and Rajkapoor and some of the most melliflous songs in the Lata reportiere are product of this association. From “Ab raat guzarne wali hai” to “O basanti pawan paagal” Lata couldn’t have done better.

    And at the other end OPN was grooming Asha. Teaching her to take those “murkis”, blend the mischievous with the coquettish and training her in breath
    control. The only records of Asha that were sold between 1956 to 1964 invariably had the compositions of OPN; otherwise no music director ever took her in the lead voice. But look at the post RD Asha of today; she pretends as if no one by the name of OP Nayyar ever existed.

    Same goes for her elder sister Latabai.In a bid to promote her brother Hridaynath and some of the lesser music directors she donned the mantle of a godmother and in all her concerts, interviews,interfaces she would never refer to Shankar-Jaikishan. As if S-J needed the promotion from an ungrateful wench. Her voice started cracking but she would not leave the mike till she ran hoarse ; and the uncritical crowds would give standing ovation,concert after concert and like the fool in King Lear she would perceive the sychophancy as appreciation. Eventually, the myth was broken; she realised much to her dismay that good times do not last for ever. But till she held sway, she saw to it that no credit ever went to S-J.

    These are great artistes with small hearts. But to be a complete artist, you have to be a good human being as well. Look at Rajkapoor, Ashok kumar, Dilip Kumar……all legends in their lifetime but they all were
    wonderful human beings. Raj Kapoor bowed before Kedar Sharma till the very end. Even when Nargis split up with him, not one word against her in print or otherwise.