Monthly Archives: January 2019


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Jaikishenji was the noblest, kind-hearted person I have ever seen. Very soft spoken, full of compassion & care for others, he would not dream of hurting anyone.
.As pure as his heart, he wanted his life peaceful & full of joy. He was very fun loving & liked to enjoy having chums,
His favorite restaurants being Gaylord in Churchgate & Bombellis in warden road
Like a shining shooting star, he will be there among a group of people with a huge crowd standing outside, drinking the ecstasy of his darshan.
I have seen him many times, sitting in Bombellis in warden road, surrounded by friends whenever I drove thru that area… Off & on I used to go & join him having breakfast & we would talk about my progress. Evenings he would be in Gaylord … I have not gone there as many times as I have gone to Bombellis because evenings I would go to S J hall … But whenever I have gone there it would be a joy ride having discussions about music & enjoying the makings of a new hit.

He would check up with me about my training sessions with Guruji & in the hall.
He would catch me if I had played hookey & bunked the visits to the hall …

‘ I hear you are not going to the hall regularly ?……May I know why ?…. He will ask.

Oh, dear …. what to say!
‘ No Jai sab, I had some work last week …
‘Don’t break the training …….Sharda,……This is not something to take lightly. Be regular …..Guruji’s training is not enough ..You need to get into the ins & outs of singing a new song in the recordings!
‘ Yes, Jai sab… I will be regular & not miss.

. I better not bunk, now ..I will not be able to answer Jai sab again.

‘ But you are not coming …Everyone misses you, Jai sab.
‘Yes. Sharda, you know, I want to be with my friends, in the evenings.
I do come sometimes, in the morning. But you are not there 
‘Oh, I go in the evenings Jaisab. But I will come in the morning. Tell me when you will come .. I will come 
‘ It is alright .. Haan .. tomorrow I am coming .. … in the evening. Make sure, you are there … 
‘Yes, Jai sab, definitely
‘ Tomorrow ‘ was a joyous day …
‘ Jai sab, I am having this get together at my place … Please come & honor me ..I will be serving idlis!
‘ Sure .. I won’t miss the idlis for anything. 
. The party was total fun, with Shankersab & Jai sab, Raj Sab & other big producers whom Shankerji had invited 
I was having a magic carpet ride on a ‘ Whole new world ‘

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He also gave me valuable lessons whenever I made a visit to the restaurants to have a training session with him ..Sitting in the seats , with tea & goodies , talk about this & that , coming to titbits & technics in singing .. Small small tips which are very valuable & very very rare treasures….. the throw of the voice , the controlling of breathing & so on 
He had guided me on how to bring out words in a song …
It was his Diksha that gave me the idea of how to say Titli & I applied the golden lesson at the start of the song & in all the repeats of the mukhdas.
Each song has a soul spot in which you have to give emphasis…That soul word has to be brought out with a special thrust.
In Titli udi the soul spot was in ” Titli “
And the first punch only did the magic. 
Like if I had sung just plain. Titli udi .. the whole song would have been lifeless
But I applied Jai sab’s tip & sang …TT…itt li udi .. & this little punch lifted the song…
And later on, I had used his technic in many songs, like in Badkamma & others. In each Enkanna I had applied the push. The punch & push if you put in the right place the song gets the life.
.You have to apply as much power in your voice as to how far you want to throw it, like if you want to throw a ball, so much power you apply exactly which would be needed as to how far you want to throw the ball…………. You don’t want to throw it farther than you intended!
.How can I thank you, Jaisab for making my, sorry, your Titli fly high 
What great updesh they both had given me….simply priceless.
At that time I could not absorb all that, but during the passage of time, I had worked, researched & realized the technics & have formulated a workout program capsule .. which is easy, simple & very effective
During this period we have met very often & been together many times, at functions parties shows & on other occasions the Jaikishen lighting up the scene by his wonderful personality.
Suddenly, a devilish sinister black shadow descended upon them attacking them brutally from all the sides forcing them to find a strategy……fast

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They were a team & were together. In a team, everyone is involved as deeply as the other no matter what work is done by who… In a war you don’t bother who shoots the enemy, it is the force .. that force is one & anyone can shoot & the point is the war is won by the force.
S J was a force & they were together in that force …


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In a war, you have to place your army in such a manner as to face the enemy surrounding them & make attacks & counter-attacks.
This arrangement of the army is called vyuha, which were used in Mahabharat yudh & other Indian wars. There are many different vyuhas &. the commander in chief selects the vyuha according to the reports brought by the spies as to what sort of attack enemy is planning & what vyuha they are arranging. This vyuha will cover the opposite army in a proper way piercing thro the enemy army from all the sides.
Jaisab worked out a strategy, forming a half circle vyuha to face the attack, making two different routes for both of them to proceed & tackle the enemy. They made an arrangement that Shankerji will manage the side of 
‘ like Sharda ‘ producers & Jaisab will manage ‘ hate Sharda ‘ producers ….. This will prevent the ‘ hate Sharda ‘ producers from going away ……..
Jai sab did not want to antagonize the opposition & invite more wreaths.
If no one bothered about S J making me sing if there were no angry retaliation from the opposition, why would they have to work separately? Wouldnt they have been continuing like the way they were doing, before? 
Now as per the new arrangement, they both started to work separately, which created some misconceptions about their work.
Jaikishenji’s heart was very komal, kind & soft. His love for Shankerji was pure & steadfast. 
He was not able to come to terms with this new development. His pain & hurt of standing apart from Shankerji was unbearable to him & it made him turn to drink doomsville …

He was not at all overdrinking during Shree 420. Jis desh days & others.
Why would he suddenly fall prey to this habit?

Who wanted to put this noble soul in such a dilemma …who wanted him to separate from Shankerji. who wanted to break this Godly jodi?…………………….

Whichever female force majboored him to stand apart from Shankerji, that force did not win, after all. He never let them win. The force had to accept defeat.
He could have avoided this pain by bowing & giving in to the demand, which wanted him to break up with Shankerji & give music in his own name,…just Jaikishen .
But he would never think of it ……
He suffered & suffered inwardly but would not bend down.

And he went as the same Jaikishen he was in 1947 ..the darling of Shankerji
The joy of Shanker Jaikishen … Not just Jaikishen.

There are rules in war also .. You must not attack anyone in the not approved manner. But here this war was not a Dharam war .. This was an Adharam war, most devilish war. 
All sorts of dirty tactics were applied in this war …….
Shankerji & Jaikishenji both high principled, golden-hearted persons, will not stoop so low as to fight an indecent war ..Facing all sorts of mean, dirty cunning strategies they both had a testing time.
If only music directors were not given the treatment of a criminal if they made other singers sing in their movies… 
Shankerji would not have been made to face so many atrocities. Jaikishenji would not have been made to work separately in a suicidal plan.
They would not have been made to tear their paths in order to face the tornado …………………………………

Was it so disastrous if some music director takes songs with some new singers that people should attack him with so much force & vengeance? Using all sorts of dirty lowly tactics? And people saying that Shankerji had to suffer because he made Sharda sing? As if he had committed an unspeakable crime by making Sharda sing!
If only people were not so mean & cruel but be human enough as to let others also live …have a small place in the film industry & sing a few songs …what they would have lost? Ultimately we all need nothing but 6 feet of land in the end!
Instead of abetting the loving team to work separately & driving Jaikishenji into an untimely end………..
Shankerji did not have an iota of an idea that how Jaikishenji is letting himself being sucked into this drink pit so precipitously. Being a teetotaller himself, his evenings were not spent in the company of double-faced chameleons & cunning scoundrels
He was spending his time going to the hall religiously, drowning in his work, composing new new tunes & discovering new phrases in music.
Only, if he had some knowledge about what was going on in Jai sab’s territory, he would have definitely discouraged Jai sab from falling in the pit & saved him…. .. won’t you prefer foes than having friends like this who push you to your doom, when you are passing thru a painful period?…….. Shankerji realized the severeness of the damage when it has taken too deep a root …..his own heartbreaking in pieces, beyond repair …..bringing tears in his never got wet eyes …

Jaikishenji became the Abhimanyu in the vyuha he himself created.
In the prime of his life, in the peak of his carrier, leaving the whole of India in uncontrollable unforgettable grief pulling himself away from lacs & lacs of loving hands, he goes ……………………….

All the blows which Shanker sab was made to take so far did not shake him one bit … But this blow hit him hard. His iron heart cracked ……..And tears fell from his eyes for the first time ……….
Don’t humans have human hearts in their chests?
Cheers …. become tears ……………………………………………………………………….

“वफ़ा पर मरने वाले कम न होंगे” फ़िल्म ‘वतन’


Shyam Shankar Sharma

जब वक़्त साथ नही देता तो अच्छे अच्छे प्रयास भी विफल हो जाते है,इसके अनेख उदाहरण जीवन के हर क्षेत्र में मिल जाते है।सर्वाधिक चर्चित संगीतकार शंकरजयकिशन के साथ भी कुछ ऐसा ही हुआ।किन्तु वक़्त उन प्रयासो को स्थापित भी करता है और वर्तमान को समझाता है कि भूतकाल भूलो का इतिहास भी है।शंकरजयकिशन के साथ तो भूलो का इतिहास जुड़ा है जो तथाकथित उनके उन अपनो ने की जिन्होंने उनका इस्तेमाल सिर्फ सीढ़ी के रूप में किया!उनके यह तथाकथित अपने उस उपग्रह की भांति थे जो शंकरजयकिशन रूपी रॉकेटों के सहारे अपनी कक्षा में स्थापित होने के लिए इन रॉकेटों को मदद से उड़ते थे तथा लक्ष आता देख उन रॉकेटों से पृथक हो स्वयं स्थापित हो जाते थे।इसमे अनेक नाम है जिन्होंने कदम कदम पर शंकरजयकिशन का शोषण किया!किन्तु समय विचित्र खेल खेलता है?उस समय के सूरमाओं ने जिन्होंने शंकरजयकिशन को विस्मृत कर दिया था जिसमे कपूर परिवार का नाम सर्वोपरि है,आज यह कहने में गर्व कर रहा है कि मेरा नाम जोकर से उन्होंने जितना कमाया उतना किसी अन्य फ़िल्म से नही कमाया।आज कपूर खानदान का नाम शंकरजयकिशन ही जीवित रखे हुए है।जोकर के बाद राजकपूर को कोई याद तक नही करते?चाबी कही खो सी गई है।आज TV युग है,सोशल मीडिया का युग है अतः उनका सहारा लेकर कई नामचीन संगीतकार स्टेज कार्यक्रमो के सहारे अपने नाम को बचाये रखने की कोशिशें कर रहे है व दाम भी कमा रहे है,पर कैसे शंकरजयकिशन के संगीत को महान बताकर,उनके संगीत को ग्रेट,ग्रेट,ग्रेट कहते वह थक नही है जबकी अन्य मेलोडी मेकर संगीतकारो का नाम वह भूले से भी नही लेते!क्योकि वह जान गए है कि शंकरजयकिशन को चाहने वालो का वर्ग विश्वव्यापी है अतः उनकी सहानुभूति भी मिलेगी साथ मे नाम व दाम भी मिलेगा!यह उनका प्रायश्चित कहलो अथवा कूटनीति कह लो,पर इससे उनके स्वार्थ की सिद्धि तो हो ही रही है!अतः शंकरजयकिशन प्रेमियों को इन सबसे सावधान रहने की जरूरत है।हम ईसा मसीह नही हो सकते?यह सब बस अपने आपको मुख्यधारा में स्थापित करने के लिए शंकरजयकिशन रूपी नोका का इस्तेमाल कर रहे है।विज्ञापन कंपनियां भी धड़ल्ले से शंकरजयकिशन के गीतों का लाभ उठा रही है।भारतरत्न लता मंगेश्कर शंकरजयकिशन को सर्वश्रेष्ठ संगीतकार स्वीकारने लगी है विशेषकर शंकर जी को वो हिंदी फिल्म संगीत का सर्वश्रेष्ठ संगीतकार मानती है और कहती भी है कि उन जैसा कंपोजर दूसरा कोई नही।अच्छा रहा शंकरजयकिशन को विवादों के केंद्र में रखा गया जिससे वह पहले भी चर्चा में रहे और आज भी चर्चा में रहते है।इसका कारण जो वफ़ा निभाते है वह मिट कर भी अमिट रहते है। शंकरजयकिशन भी वफ़ा का दूसरा नाम है।
हाल ही में शंकरजयकिशन के संगीत के प्रचार में जुटे शंकरजयकिशन के प्रेमी श्री सुदर्शन पांडेय जी ने नूरानी की अप्रदर्शित फ़िल्म ” वतन ” का एक गीत खोज निकाला,जिसमे अमीन सयानी व शंकर जी की आवाजें है,इसमे शंकर जी मजरूह सुल्तानपुरी व रफी की तारीफ कर रहे है,उनके लिए भावनात्मक बाते कह रहे है।फ़िल्म वतन का यह गीत मोहम्मद रफी व शंकरजयकिशन का रिकार्ड हुआ आखिरी गीत है जो पूरा तो उपलब्ध् नही है पर जितना है वही शंकरजयकिशन प्रेमियों के लिए पर्याप्त है,इसमे शंकर जी कह रहे है यदि इसे सुनना चाहे तो सुने..यह शंकर जी की खुद्दारी का प्रमाण है वह किसी को बाध्य नहीं करते थे!शंकरजयकिशन प्रेमियों के लिए यह मोहम्मद रफी व शंकरजयकिशन की आखिरी निशानी है।किंतना अदभूद संजोग है कि फ़िल्म बरसात में रफी ने शंकरजयकिशन के लिए प्रथम गीत गमगीन भरा गाया था तथा आखिरी गीत भी गमगीन ही गाया।शंकरजयकिशन व मोहम्मद रफी के संबंध सदैव प्रगाढ़ रहे तथा रफी की आवाज पर जितने प्रयोग शंकरजयकिशन ने किए वह किसी ने नहीं किये।फ़िल्म वतन का गीत कुछ इस प्रकार है….
जमाना है अगर इक हम न होंगे
वफ़ा पर मरने वाले कम न होंगे…..
हमी तक है ये दर्दों गम की बाते
हमारे बाद फिर ये गम न होंगे
वफ़ा पर मरने वाले कम न होंगे…..
मोहम्मद रफी ने मजरुह सुल्तानपुरी लिखित इस गीत को शंकरजयकिशन के संगीत में बहुत डूब कर गाया था।भव्य स्तर पर बन रही इस फ़िल्म का निर्माण क्यो रुक गया इस पर गुणीजन पाठक ही प्रकाश डाल सकते है।

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दुनियाँ बनती व बिगड़ती रहती है!किसी के जाने से संसार पर कोई फर्क नही पड़ता,वफ़ा पर मरने वालों का उदय व अस्त होता रहता है किंतु संख्या बल में सांसो के संसार से प्रायः समाप्त हो गई है।
शंकर जी पर तो यह गीत पूरा फिट बैठता है?
हमी तक है ये दर्दों गम की बातें, हमारे बाद फिर ये गम न होंगे!जब तक शंकर जी रहे शंकरजयकिशन प्रेमियों को उनके गमो की बाते ही पड़ने में आती रही,एक एक कर सभी उनका साथ छोड़ते चले गए,फिर भी वह तनहा सफर मजबूती से तय करते चले गए यह साबित करते हुए..
शाख से टूटकर बिखर जाय वो पत्ते नहीं हम
आंधियो से कह दो ओकात में रहे..
शंकर जी रहस्यमयी परिस्थितियों में संसार को विदा कह गए और छोड़ गए ढेर सारे प्रश्न?
क्यो आपने बरसात अकेले साइन नही की?
क्यो आपने बरसात में लतमंगेशकर को गवाने की जिद की?
क्यो आपने अकेले पद्मश्री लेने से इंकार किया?
क्यो आपने दत्ताराम को अपना चेला बनाया?
क्यो आपने शारदा को स्थापित करने के लिए इतना संघर्ष किया?
अकेले ही संगीत दिया होता तो कम से कम आपकां सृजन तो आपके नाम ही होता?1971 से पहले तो आपने जैसे संगीत ही नही दिया सब कुछ जयकिशन जी ने ही किया।अच्छा है कम से कम 1971 के बाद का संगीत जो करीब 50 फिल्मो में है,अच्छा है बुरा है किंतु निर्विवाद तो है।ओर मेरा दावा है यह संगीत 1971 से पहले की फिल्मो से ज्यादा बेहतर है,इसमे आपकां ही पार्श्व संगीत है,सब कुछ अच्छा बुरा आपकां है।हमारे बुद्धिजीवी लेखक लिखते भी है कि शंकर जी कोपार्श्व संगीत देना ही।नही आता था? समस्त सफलताएं जयकिशन जी के नाम असफ़लताए शंकर जी के नाम!
जयकिशन जी की मूर्ति अकेले जा बनाई?विवेकानंद ने तो कभी भी रामकृष्ण परमहंस को स्वयं से जुदा ही नही किया,कभी अपने नाम को महत्व न देकर सदा अपनी श्रद्धा गुरु के नाम अर्पित की किन्तु मस्त बुद्धिजीवी शंकरजयकिशन प्रेमियों ने स्वयं शंकरजयकिशन को बांट दिया?वह तो आलोचकों से बदतर कार्य कर गए?अभी भी मौका है कि शंकरजयकिशन की संयुक्त मूर्तियां गुजरात और आंध्रप्रदेश को छोड़कर कही भी लगवा दो,महानगरों के पास के छोटे से गाँव मे लगवा दो,इसके लिए शंकरजयकिशन कोष की स्थापना करो जिसमे सभी शंकरजयकिशन प्रेमी अपनी अपनी सामर्थ्य से चंदा दे।गर यह भी न हो तो कृपया शंकर जी को अब तो बक्शो,बहुत आलोचना कर ली।1971 से 1987 तक ही शंकर जी ने संगीत दिया इतना ही मान लो किन्तु यह निंदनीय कार्य बंद करो,इस 1971 से 1987 के मध्य न राजकपूर है,न शम्मीकपूर है,न राजेन्द्र कुमार है,न जयकिशन है?सिर्फ तन्हा शंकर जी है।हमे जीवन मे केवल वर्तमान दिखता है।अतीत अदृश्य होता है।लेकिन यह अतीत समुंदर में डूबे हुए उस असीम हिमखंड के समान होता है,जो अदृश्य तों होता है लेकिन किसी भी जहाज़ के टकराने पर उसे चूर चूर भी कर सकता है।इतना मजबूत व कठोर होता है जिसे आसानी से तोड़ा नहीं जा सकता।शंकर जी को तोड़ने की कोशिशें जिन्होंने भी की वह स्वयं मिट गए!

फ़िल्म वतन के गीत का एकमात्र उपलब्ध् अंतरा शंकर जी को पूरी तरह परिभाषित करता है!
हमी तक है,दर्दों गम की बाते 
हमारे बाद फिर ये गम न होंगे!
Shyam Shanker Sharma.

ShankarJaikishan and Malayalam Cinema


Venkata Raman G

Not many are aware of the fact that ShankarJaikishan had a brief stint with Malayalam Cinema. They gave Music for the 1952 Malayalam movie “Desabhakthan”, which appears to be a remake of Amiya Chakravorthy’s 1951 Hindi Movie “Baadal”. Two songs, “Sahayamare Bale” and “Oh Chinthayil En” were sung by P A Periyanayaki. Radha Jayalakshmi was given the song “Oh Athimodamarnna”. Lyrics were by Abhaya Dev.

ShankarJaikishan’s famous song, “Man mohana Bade Jhoote” from their Hindi film “Seema” was resung by P Madhuri in the Malayalam Movie “Chaaram” (1983). Chaaram is a 1983 Indian Malayalam film, directed by PA Bakker and produced by CH Khalid. The film stars Prem Nazir, Meena Menon, Urmila and Hari in lead roles. Because of this one song, SJ are credited as Music Directors.

Also another gem of theirs in Aawara(1951),sung by Mukesh was resung by Mohanlal in “Vishnulokam “(1991), YouTube Link :

Here is the link to the song”Sahayamare Bale” (Rotha Hai Mera Dil”in Hindi (Badal -1951) BaaleMovie: Desabhakthan,Year: 1952, Song: Sahaayamaare Baale Music: Shankar Jaikishan, Lyrics: Abhayadev, Singer: PA Periyanaayaki http://…

हिंदी फिल्मों की फ़ेहरिस्त जिन्हें शंकर जयकिशन ने संगीतबद्ध किया था

By Sudhakar Shahane

शुभ प्रभात दोस्तों …

आप सभी सदस्यों के लिए पेश हैं, उन हिंदी फिल्मों की फ़ेहरिस्त जिन्हें शंकर जयकिशनजी ने अपने मधुर संगीत से संगीतबद्ध किया था … १९४९ से १९७१ तक जयकिशनजी के साथ, और बाद में अकेले शंकरजी ने १९८७ तक कुल १७५ फिल्मों में जयकिशनजी का नाम अपने साथ बरक़रार रखते हुए, संगीतक्षेत्र में अपनी बादशाहत क़ायम रखी…हालांकी १९७३ से ही मारधाड़ वाली फिल्में आने लगी थी, जिनमें दर्ज़ेदार गीत और संगीत का महत्व कम हो गया था, फ़िर भी शंकरजी ने अपनी प्रतिभा, रुतबा, ख़ासियत क़ायम रख कर उन फिल्मों में भी दर्ज़ेदार संगीत दिया था … 
इस फ़ेहरिस्त में ‘एस जे’ की कोई फ़िल्म छूट गई हो तो, जरूर बताइएगा दोस्तों !

००१) बरसात (१९४९) … राज कपूर – नर्गिस – निम्मी – प्रेमनाथ

००२) आवारा (१९५१) …राज कपूर – नर्गिस – पृथ्वीराज कपूर – शशी कपूर (बाल कलाकार)
००३) बादल (१९५१) … प्रेमनाथ – मधुबाला 
००४) काली घटा (१९५१) … किशोर साहू – बीना रॉय – आशा माथुर 
००५) नगीना (१९५१) … नूतन – नसीर खान – गोप

००६) दाग (१९५२) … दिलीप कुमार – निम्मी – उषा किरण 
००७) परबत (१९५२) … प्रेमनाथ – नूतन
००८) पूनम (१९५२) … अशोक कुमार – कामिनी कौशल – ओम प्रकाश

००९) आह (१९५३) … राज कपूर – नर्गिस 
०१०) औरत (१९५३) … प्रेमनाथ – बीना रॉय 
०११) शिकस्त (१९५३) … दिलीप कुमार – नलिनी जयवंत – ओम प्रकाश
०१२) पतिता (१९५३) … देव आनंद – उषा किरण 
०१३) नया घर (१९५३) … शेखर – गीता बाली 
०१४) मयूर पंख (१९५३) … किशोर साहू – सुमित्रा देवी
०१५) बूट पॉलीश (१९५३) … डेव्हिड – कुमारी नाज़ – रतन कुमार – कविराज शैलेंद्र
०१६) आस (१९५३) … एस. के. प्रेम – कामिनी कौशल – ओम प्रकाश 
०१७) अवान (१९५३) … तामिल भाषा …
०१८) प्रेम लेखलू (१९५३) तेलुगु भाषा …

०१९) पूजा (१९५४) … पूर्णिमा – भारत भूषण
०२०) बादशहा (१९५४) … प्रदीप कुमार – माला सिन्हा – उषा किरण

०२१) सीमा (१९५५) … नूतन – बलराज साहनी 
०२२) श्री ४२० (१९५५) … राज कपूर – नर्गिस – नादिरा

०२३) बसंत बहार (१९५६) … भारत भूषण – निम्मी – कुमकुम 
०२४) चोरी चोरी (१९५६) … राज कपूर – नर्गिस … फ़िल्म फेयर पुरस्कार १
०२५) हलाकू (१९५६) … अजीत – मीना कुमारी
०२६) किस्मत का खेल (१९५६) … सुनील दत्त – वैजयंतीमाला 
०२७) न्यू दिल्ली (१९५६) … किशोर कुमार – वैजयंतीमाला
०२८) पटरानी (१९५६) … प्रदीप कुमार – वैजयंतीमाला 
०२९) राजहठ (१९५६) … प्रदीप कुमार – मधुबाला

०३०) बेगुनाह (१९५७) … किशोर कुमार – शकीला – हेलन – जयकिशन डाहयाभाई पांचाल 
०३१) कठपुतली (१९५७) … वैजयंतीमाला – बलराज साहनी

०३२) बागी सिपाही (१९५८) … मधुबाला – चंद्रशेखर – सप्रू 
०३३) यहूदी (१९५८) … दिलीप कुमार – मीना कुमारी – सोहराब मोदी – निगार सुलताना – हेलन

०३४) अनाडी (१९५९) … राज कपूर – नूतन … फ़िल्म फेयर पुरस्कार २
०३५) छोटी बहन (१९५९) … नंदा – बलराज साहनी – श्यामा – रेहमान 
०३६) कन्हैय्या (१९५९) … राज कपूर – नूतन 
०३७) लव्ह मॅरेज (१९५९) … देव आनंद – माला सिन्हा 
०३८) मैं नशे में हूँ (१९५९) … राज कपूर – माला सिन्हा 
०३९) शरारत (१९५९) … किशोर कुमार – मीना कुमारी – राज कुमार
०४०) उजाला (१९५९) … शम्मी कपूर – माला सिन्हा – राज कुमार

०४१) कॉलेज गर्ल (१९६०) … शम्मी कपूर – वैजयंतीमाला 
०४२) दिल अपना और प्रीत पराई (१९६०) … राज कुमार – मीना कुमारी … फ़िल्म फेयर पुरस्कार ३
०४३) एक फूल चार काँटे (१९६०) … सुनील दत्त – वहिदा रेहमान
०४४) जिस देश में गंगा बहती हैं (१९६०) … राज कपूर – पद्मिनी – प्राण 
०४५) सिंगापुर (१९६०) शम्मी कपूर – पद्मिनी

०४६) आस का पंछी (१९६१) … राजेंद्र कुमार – वैजयंतीमाला 
०४७) बॉय फ्रेंड (१९६१) … शम्मी कपूर – मधुबाला
०४८) जब प्यार किसी से होता हैं (१९६१) … देव आनंद – आशा पारेख 
०४९) जंगली (१९६१) … शम्मी कपूर – सायरा बानू 
०५०) करोडपती (१९६१) … किशोर कुमार – शशिकला – कुमकुम 
०५१) रूप की रानी चोरों का राजा (१९६१) … देव आनंद – वहिदा रेहमान
०५२) ससुराल (१९६१) … राजेंद्र कुमार – बी. सरोजा देवी
०५३) आशिक (१९६१) … राज कपूर – पद्मिनी

०५४) असली नकली (१९६२) … देव आनंद – साधना 
०५५) दिल तेरा दीवाना (१९६२) … शम्मी कपूर – माला सिन्हा 
०५६) हरियाली और रास्ता (१९६२) … मनोज कुमार – माला सिन्हा – शशिकला 
०५७) प्रोफेसर ((१९६२) … शम्मी कपूर – कल्पना … फ़िल्म फेयर पुरस्कार ४
०५८) रंगोली (१९६२) … किशोर कुमार – वैजयंतीमाला

०५९) दिल एक मंदिर (१९६३) … राजेंद्र कुमार – मीना कुमारी – राज कुमार 
०६०) एक दिल सौ अफ़साने (१९६३) … राज कपूर – वहिदा रेहमान
०६१) हमराही (१९६३) … राजेंद्र कुमार – जमुना – महमूद

०६२) आई मिलन की बेला (१९६४) … राजेंद्र कुमार – सायरा बानू – धर्मेंद्र 
०६३) अपने हुए पराये (१९६४) … मनोज कुमार – माला सिन्हा – शशिकला 
०६४) एप्रिल फूल (१९६४) … विश्वजीत – सायरा बानू 
०६५) बेटी बेटे (१९६४) … सुनील दत्त – पद्मिनी 
०६६) राज कुमार (१९६४) … शम्मी कपूर – साधना – प्राण 
०६७) सांज और सवेरा (१९६४) … गुरुदत्त – मीना कुमारी 
०६८) संगम (१९६४) … राज कपूर – वैजयंतीमाला – राजेंद्र कुमार 
०६९) जिंदगी (१९६४) … राजेंद्र कुमार – वैजयंतीमाला – राज कुमार

०७०) आरजू १९६५) … राजेंद्र कुमार – साधना – फिरोज खान 
०७१) गुमनाम (१९६५) … मनोज कुमार – नंदा – प्राण – हेलन 
०७२) जानवर (१९६५) … शम्मी कपूर – राजश्री – पृथ्वीराज कपूर – रेहमान

०७३) आम्रपाली (१९६६) … सुनील दत्त – वैजयंतीमाला – प्रेमनाथ 
०७४) बदतमीज (१९६६) … शम्मी कपूर – साधना 
०७५) गबन (१९६६) … सुनील दत्त – साधना 
०७६) लव्ह इन टोकियो (१९६६) … जॉय मुखर्जी – आशा पारेख
०७७) प्यार मोहब्बत (१९६६) … देव आनंद – सायरा बानू 
०७८) सूरज (१९९६६) … राजेंद्र कुमार – वैजयंतीमाला – अजित – मुमताज … फ़िल्म फेयर पुरस्कार ५
०७९) तीसरी कसम (१९६६) … राज कपूर – वहिदा रेहमान

०८०) अमन (१९६७) … राजेंद्र कुमार – सायरा बानू 
०८१) अँन इव्हिनिंग इन पैरिस (१९६७) … शम्मी कपूर – शर्मिला टागोर – प्राण 
०८२) अराउंड दी वर्ल्ड (१९६७) … राजकपूर – राजश्री 
०८३) छोटी सी मुलाकात (१९६७) … उत्तम कुमार – वैजयंतीमाला 
०८४) दीवाना (१९६७) … राज कपूर – सायरा बानू 
०८५) गुनाहों का देवता (१९६७) … जितेंद्र – राजश्री 
०८६) हरे कांच की चूड़ियां (१९६७) … विश्वजीत – नैना साहू 
०८७) लाट साहब (१९६७) … शम्मी कपूर – नूतन 
०८८) रात और दिन (१९६७) … नर्गिस – फ़िरोज़ खान

०८९) ब्रम्हचारी (१९६८) … शम्मी कपूर – राजश्री … फ़िल्म फेयर पुरस्कार ६ 
०९०) दुनिया (१९६८) … देव आनंद – वैजयंतीमाला 
०९१) झुक गया आसमान (१९६८) … राजेंद्र कुमार – सायरा बानू
०९२) कहीं और चल (१९६८) … देव आनंद – आशा पारेख 
०९३) कन्यादान (१९६८) … शशी कपूर – आशा पारेख 
०९४) मेरे हुजूर (१९६८) … जितेंद्र – माला सिन्हा – राज कुमार
०९५) सपनों का सौदागर (१९६८) … राज कपूर – हेमा मालिनी 
०९६) शिकार (१९६८) … धर्मेंद्र – आशा पारेख – संजीव कुमार

०९७) भाई बहन (१९६९) … सुनील दत्त – नूतन – पद्मिनी – अशोक कुमार
०९८) चंदा और बिजली (१९६९) … संजीव कुमार – पद्मिनी 
०९९) जहां प्यार मिले (१९६९) … शशी कपूर – हेमा मालिनी
१००) प्रिंस (१९६८) … शम्मी कपूर – वैजयंतीमाला 
१०१) प्यार ही प्यार (१९६९) … धर्मेंद्र – वैजयंतीमाला 
१०२) सच्चाई (१९६९) … शम्मी कपूर – साधना – संजीव कुमार
१०३) शतरंज (१९६९) … राजेंद्र कुमार – वहिदा रेहमान – मेहमूद – हेलन 
१०४) तुमसे अच्छा कौन हैं … शम्मी कपूर – बबिता 
१०५) यकीन (१९६९) … धर्मेंद्र – शर्मिला टागोर

१०६) भाई भाई (१९७०) … सुनील दत्त – आशा पारेख
१०७) पहचान (१९७०) … मनोज कुमार – बबिता … फ़िल्म फेयर पुरस्कार ७ 
१०८) धरती (१९७०) … राजेंद्र कुमार – वहिदा रेहमान – अजीत
१०९) मेरा नाम जोकर (१९७०)राजकपूर,राजेंद्र कुमार,मनोज कुमार,धर्मेंद्र,पद्मिनी..फ़िल्म फेयर पुरस्कार ८ 
११०) पगला कहीं का (१९७०) … शम्मी कपूर – आशा पारेख 
१११) ज्वाला (१९७०) … मधुबाला – सुनील दत्त
११२) तुम हसीं मैं जवां (१९७०) … धर्मेंद्र – हेमा मालिनी 
११३) उमंग (१९७०) … अर्चना – सतीश कुमार – सुभाष घई

११४) अलबेला (१९७१) … मेहमूद – अरुणा इराणी
११५) अंदाज (१९७१) … शम्मी कपूर – हेमा मालिनी – राजेश खन्ना
११६) बलिदान (१९७१) … मनोज कुमार – सायरा बानू 
११७) दुनिया क्या जानें (१९७१) … भारती – प्रेमेंद्र 
११८) एक नारी एक ब्रम्हचारी (१९७१) … जितेंद्र – मुमताज – शत्रुघ्न सिन्हा 
११९) ऐलान (१९७१) … विनोद मेहरा – रेखा 
१२०) जाने अनजाने (१९७१) … शम्मी कपूर – लीना चंदावरकर
१२१) जवां मोहब्बत (१९७१) शम्मी कपूर – आशा पारेख
१२२) कल आज और कल (१९७१) … पृथ्वीराज कपूर – राज कपूर – रणधीर कपूर – बबिता
१२३) लाल पत्थर (१९७१) … राजकुमार – हेमा मालिनी – विनोद मेहरा
१२४) मैं सुंदर हूँ (१९७१) … मेहमूद – विश्वजीत – लीना चंदावरकर 
१२५) नादान (१९७१) … आशा पारेख – नवीन निश्चल 
१२६) पर्दे के पीछे (१९७१) विनोद मेहरा – योगिता बाली 
१२७) पतंगा (१९७१) … शशी कपूर – विमी
१२८) प्रीतम (१९७१) … शम्मी कपूर – लीना चंदावरकर – मेहमूद 
१२९) सीमा (१९७१) … कबीर बेदी – सिमी ग्रेवाल 
१३०) आन बान (१९७१) … राजेंद्र कुमार – राखी 
१३१) यार मेरा (१९७१) … जितेंद्र – राखी
१३२) बॉम्बे टॉकीज (१९७१) … शशी कपूर – जेनिफ़र केंडल – उत्पल दत्त – अपर्णा सेन 
१३३) जीविथा चक्रम (१९७१) … तेलुगु … एन. टी. रामाराव – शारदा – वणीश्री

१३४) आंख मिचौली (१९७२) … राकेश रोशन – भारती
१३५) आंखों आंखों में (१९७२) … राकेश रोशन – राखी 
१३६) बेईमान (१९७२) … मनोज कुमार – राखी गुलजार … फ़िल्म फेयर पुरस्कार ९
१३७) दिल दौलत दुनिया (१९७२) … राजेश खन्ना – साधना 
१३८) जंगल मे मंगल (१९७२) … किरण कुमार – रीना रॉय 
१३९) रिवाज (१९७२) … संजीव कुमार – माला सिन्हा 
१४०) बंदगी (१९७२) … विनोद मेहरा – संध्या रॉय

१४१) आज की ताजा खबर (१९७३) … किरण कुमार – राधा सलूजा
१४२) चोरी चोरी (१९७३) … संजय खान – राधा सलूजा 
१४३) दामन और आग (१९७३) … संजय खान – सायरा बानू 
१४४) दूर नहीं मंजिल (१९७३) … संजीव कुमार – रेशमा
१४५) नैना (१९७३) … शशी कपूर – मौसुमी चटर्जी
१४६) प्यार का रिश्ता (१९७३) … विनोद खन्ना – मुमताज – शत्रुघ्न सिन्हा 
१४७) अर्चना (१९७३) … संजीव कुमार – माला सिन्हा

१४८) छोटे सरकार (१९७४) … शम्मी कपूर – साधना 
१४९) इंसानियत (१९७४) … शशी कपूर – मधु 
१५०) इंटरनेशनल क्रूक (१९७४) … धर्मेंद्र – सायरा बानू 
१५१) रेशम की डोरी (१९७४) … धर्मेंद्र – सायरा बानू 
१५२) टारझन मेरा साथी (१९७४) … फ़िरोज़ खान – सिमी 
१५३) वचन (१९७४) … शशी कपूर – विमी

१५४) दो झूठ (१९७५) … विनोद मेहरा – मौसुमी चटर्जी
१५५) लव्ह इन बॉम्बे (१९७५) … जॉय मुखर्जी – वहिदा रेहमान 
१५६) नीलीमा (१९७५) … विनोद मेहरा – अंजली कदम 
१५७) साजिश (१९७५) … धर्मेंद्र – सायरा बानू 
१५८) सन्यासी (१९७५) … मनोज कुमार – हेमा मालिनी

१५९) धूप छांव (१९७७) … संजीव कुमार – हेमा मालिनी 
१६०) दुनियादारी (१९७७) … नूतन – विनोद मेहरा – बिंदिया गोस्वामी 
१६१) मेरा वचन गीता की कसम (१९७७) … संजय खान – सायरा बानू – अजीत

१६२) महफ़िल (१९७८) … साधना – अनिल धवन

१६३) आत्माराम (१९७९) … शत्रुघ्न सिन्हा – विद्या सिन्हा – बिंदिया गोस्वामी 
१६४) दी गोल्ड मेडल (१९७९) … जितेंद्र – राखी – धर्मेंद्र
१६५) गंगा और गीता (१९७९) … अनिल धवन –

१६६) गरम खून (१९८०) … विनोद खन्ना – सुलक्षणा पंडित

१६७) नारी (१९८१) … राकेश रोशन – नीता मेहता 
१६८) चोरनी (१९८१) … नीतू सिंग – जितेंद्र

१६९) ईंट का जवाब पत्थर (१९८२) … आदिल अमान – नीता मेहता
170) पापी पेट का सवाल हैं (१९८४) … राजेश खन्ना – जया प्रदा – शत्रुघ्न सिन्हा

171) इंतकाम की आग (१९८६) … विनोद मेहरा – मधु मालिनी 
172) कांच की दीवार (१९८६) … संजीव कुमार – स्मिता पाटील
173) कृष्णा कृष्णा (१९८६) … विश्वजीत – विद्या सिन्हा

174) गोरी (१९९१) … राहुल – माधुरी

इन हिंदी फिल्मों के अलावा मराठी फिल्म ‘ती मी नव्हेच’ और दक्षिण की कुछ फिल्मों में भी ‘एसजे’ ने संगीत दिया था …

उनके संगीत निर्देशन वाली कुछ फिल्में प्रदर्शित नहीं हुई और हम संगीतप्रेमी कई बेमिसाल, मधुर गीत सुनने से वंचित रह गए … 
संगीत के चक्रवर्ती सम्राट ‘शंकर जयकिशन’ जी को शत शत नमन !!!

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By romesh dalal <>

I am a die-hard fan of Shankar-Jaikishan Music and their huge contribution to Bollywood Film Industry. NASHAUD-SAHEB enjoyed Shankar-Jaikishan’s music so much for that he said “SHANKAR-JAIKISHEN WERE NOT MUSICIAN BUT THEY WERE SIMPLY JUST MAGNIFICIENCE MAGICIAN”. How true it is when we listened to their music and songs. Raj Kapoor had an unerring eye for talent across all fields of cinema. He had spotted Shankar and Jaikishan who were musicians with Prithvi Theatres and later they were assistants to Ram Ganguly. As assistants to Ram Ganguly, they had given a huge musical contribution to the first RK film production AAG. After that SJ as music director team came on the scene in 1948 for the RK banner film BARSAAT. BARSAAT created a huge musical miracle on the Hindi film screen. As a matter fact, Raj Kapoor was very knowledgeable about various musical instruments and music. We had witnessed this talent in Raj Kapoor’s films were we enjoyed seeing him playing different musical instruments. Barsaat – a phenomenon A classic film by Raj Kapoor’s “BARSAAT” started that trend of filmy revolution. In this revolution the major contribution was made by Shanker – Jaikishan in Hindi film industry. Their fresh tunes and orchestration lead the paradigm shift from the then prevailing monotonous thekas and droning cadences. The music of “BARSAAT” opened up yet another channel for making money – the ‘records’ broke the ‘records’ of earning money independent of the film. Legend has it that the composer of “ANDAZ” (released in the same year) – Naushad went to its producer – Mehboob Khan for celebrating the huge success of his film “ANDAZ” songs. It was raining then and Mehboob Khan, looking out of the window said to Naushad, ‘Aapke Gaanon ko to ‘Barsaat’ ne dho dala’! This was the comment made by Mehboob Khan after a huge success of BARSAAT. So this was the power of SJ music in India right after our independence in 1947. Barsaat made NIMMI a Super Heroin It was Raj Kapoor, who named Nimmi when he introduced her in Barsaat. How she got selected for Barsaat is an interesting story. Nimmi came from Lahore with her aunt and was staying with Sardar Akhtar and Mehboob Khan. Mehboob Khan’s Andaaz was almost complete and Raj Kapoor who was acting in the film, had launched Barsaat. Raj Kapoor was in search of a new face for the role. Being a fastidious man, he had already rejected many girls. Nimmi had gone with Sardar Akhtar on the sets of Andaaz and was sitting besides Nargis’ mother Jaddanbai. Raj Kapoor came up to Jaddanbai, wished her and then looked at Nimmi. Nimmi felt so shy that she could barely acknowledge him. Raj Kapoor returned to the floor and asked Mehboobsaab about Nimmi. Raj Kapoor told Mehboobsaab, ‘I want this girl for my film.’ Nimmi didn’t know what to do. She wanted to accept the offer but was worried about her grandmother’s reaction. So Sardar Akhtar called her grandmother. Surprisingly her grandmother agreed. So Nimmi was called for a screen test. She was given some dialogues, which she mouthed in an absolute trance. A round of applause brought her out of her stupor. The next thing Nimmi knew was that she had been chosen for Barsaat. Nimmi was deliriously happy and was cast opposite Premnath. Infact, Nimmi had the most extra ordinary relationship with Raj Kapoor. During the filming of Barsaat, a rakhi scene was being shot and Raj called out to Nimmi. ‘Nimmi do you know the meaning of rakhi? ` She nodded. ‘Okay, tie it on my wrist. From then on Nimmi became his rakhi sister all his life. As a matter fact, Nimmi was always given due respect by the entire Kapoor household. Surprisingly Jaikishan was only the 16 years old when he started this musical journey at the time of giving music for the first time as a music director with Shankar, in the Hindi film “Barsaat”. Shankar & Jaikishan explored & learned the right way to please the cinema mass right after this huge success. Before them, until that time, we had many famous, well known and good music directors of Hindi cinema, like Anil Biswas,Husnlal-Bhagatram, Khemchand Prakash, Roshan, Naushad, Ghulam Muhammad and so on. The old Hindi film music was good but it was not that appealing to mass audience. Very soon SJ realized that the film industry needed a boost to change the way music was played in those days. SJ immediately started executing their ideas, where they were the first one to introduce orchestra and duets songs in the Hindi films. That change made them instant hit. That journey started with BARSAAT where they followed the original Indian classical music. Shankar and Jaikishan had the vast knowledge about the use of different musical instruments. We have over the time, experienced that being played in their songs. It was also noticeable that every Hindi movie produced with SJ-MUSIC, provided a classical dance item with classical music. Between them, they had tremendous understanding about their musical work distribution that Shankar would do “the theme-song at RK” while Jaikishan would handle the background score. Shankar’s passion was the tabla and the classical dance compositions. He learnt the tabla fundamentals from Baba Nasir Khansahib. As we know, SHANKARJI was very knowledgeable on classical dances. Not only that but Shankar and Jaikishan loved the RAAGA Bhairavi. A touch of Bhairavi we experienced with the songs from Shree 420, “Mera joota hai Japani” and Ramaivya vastavaiyya”. Jaikishan loved Bhairavi so much that made him to name “Bhairavi” to his daughter. They made classical music and Ragas a backbone of their music. Soon they also proved to be outstanding in giving background music in their films. As we know, Jaikishan, in those days, was considered the expert in providing the background music for the films. Until present time, nobody has beaten Jaikishanji in providing that most soothing BACKGROUND MUSIC in the Hindi films. Shankar Jaikishan contributed a lot to the world of music in India right from the day they began working as music directors. Music composed by them was extensive. It was based on classical Indian music (‘Dil ek mandir hai’, ‘O basanti pawan pagal’) and even on western music (‘Sukoo sukoo’, ‘Raat ke hamsafar’). Their music was characterized by a special style. For the record, Shankar Jaikishan produced an album “ Raga Jazz Style” where they experimented: Raga Todi Raga Bhairav Raga Malkauns Raga Kalavati Raga Tilak Kamod Raga Mian Ki Malhar Raga Bairagi Raga Jaijaiwanti Raga Mishra Pilu Raga Shivranjani What else you expect from a music director! I rate SHANKAR-JAIKISHAN as the number-1 music director in the Hindi Film world. This composer duo was the most versatile through the 50s and 60s. From the Barasat hit “Hawa Main Udadta Jaye”, Aawara hit ’Ghar Aaya Mera Pardesi’ to classical songs in Basant Bahar and Seema, and I still bet no one can give the classical music like Aamrapli. In fact Shankar-Jaikishan used Indian Classical Ragas to compose most of their songs to mixed with the westernized tunes as experimented in “An Evening In Paris, Zuk Gaya Aasman, ’Aaj Kal Tere Mere Pyar Ki Charche Har Zabaan Par’ (Bramhachari)” songs. SJ could create a melody to suit any mood or emotion. They were masters in conducting orchestra. Accordion, Sitar, Mandolin, Sarod, Vina, Guitar, piano etc. were the special instruments used frequently in their music. SJ in their life span won as many as 9-Filmfare Awards out of a total of 150 Hindi movies (compared 6-Filmfare Awards out of 600 movies by LP). That is the highest number of awards ever won by any Bollywood music directors till present day. SJ won these Filmfare Awards for: Chori Chori (1956), Anari (1959), Dil Apana Aur Preet Parayi (1960), Professor (1962), Suraj(1966), Bramhachari (1968), Pehchan(1970), Mera Naam Joker (1971), and Beiman (1972). SJ used to give around 4 to 5, some time all, hit songs in each of their films. Particularly, SJ under RK-banner gave the most memorable and un-forgetful musical hits for the films like Barasat, Aah, Aawara, Boot Polish, Shree 420, Jis Desh Main Ganga Behati Hai, Sangam, Mera Naam Joker. The other hit songs of SJ music includes films like Halaku, Daag, Badshah, ZINDAGI, Aarzoo, Dil Ek Mandir, Hamrahi, Aai Milan Ki Bela, Suraj, Teesari Kasam, Love In Tokyo and many more. Noted Music Director Anu Malik (and Hasrat Jaipuri’s Nephew) says that Raj Kapoor had dug a well full of everlasting music and Shankar Jaikishan drew water out of it. Though SJ never approved their separation, the fact is that the two did started working separately in the mid-60s. The reason is attributed to the fact that Shankar introduced a new singer Sharda (famous for her song Titli Udi… in the movie SURAJ) much against the disagreement of Jaikishan. Further Shankar’s fondness for Sharda & Jaikishan’s inclination towards Lata Mangeshkar created differences between the two and in the mid-60s the split. How can we forget these famous Duo of composers who gave songs all the way from Jaan Pehchan ho (a melody still very famous in the west), Badan Pe Sitare (a tune that has been used in many songs in current Bollywood), Baharon Phool Barsao (a very nostalgic tune that is the only happy song ever to be created in the raga shivrangini), all the way to classical movies such as BASANT BAHAR. RASIK BALMA – IMPACT Rasik Balma song is from the old Hindi film Chori Chori (1956), which was based on Raga Shudh Kalyan. There is another song Chand Phir Nikla (Film: Paying Guest of 1957), which was composed by Maestro S.D.Burman. In fact, both of these two songs “ Rasik-Balama and Chand Nikala” sound so similar. These two songs were composed by two of the greatest Hindi film music directors of all time Shankar-Jaikishan and S.D. Burman respectively around the year 1956. It is surprising to note that both these music directors never composed any Hindi song based on Raga Hamsadhwani, a melodious South Indian classical raga. Both songs were composed independently by the above two music directors. Since both songs were composed on Raga Shudh Kalyan, both have the same bandishi or pakkad. And this is the reason why both songs sound so similar. In the background, a light rhythm of ghungaoos was played so as to enhance the beauty of both songs. There was no question of one being a copy of the other. In those golden years of 1950s, one could not even think of plagiarism, which unfortunately is rampant in some of the present day Hindi film-music. Both songs were brilliantly sung by the great Lata Mangeshkar. The immortal Lata Mangeshkar has stated that these two songs are two of the best songs of her career among her other favorite songs such as Aaja re pardesi (Film: Madhumati), Ayega aanewala (Film: Mahal) and Ye zindagi usiki hai (Film: Anarkali). Actually, when this song Rasik Balma was being picturized on actress Nargis, Nargis declared that she would not require any Glycerin on her eyes to emote for this song. After hearing the song, Nargis knew that there was no need to use Glycerin during the picturization of the song, since the great Lata Mangeshkar had already used her deep emotions while singing the song, and that was enough to create natural tears. Glycerin is normally used in the film industry to create tears artificially in the eyes of the actor or actress for sad scenes. From reliable sources, it is known that the above song Rasik Balma was composed by Jaikishan. Generally, the opening (sthaayi) of the song is set within a medium octave, but this song opens on a very high note. During recording, Lata Ji had pointed this out to Jaikishan Ji saying that people are going to blame her for singing this song at such a high pitch and people might say that they cannot even hum it! But the brilliant Jaikishan told Lata Mangeshkar that the beauty of this song lied entirely on singing it at a high pitch, and finally the song was sung at a high pitch and the rest is history. In 1956, from India, Lataji called Mehboob Khan, the famous Producer and Director of Oscar nominated Film: MOTHER INDIA who was undergoing a medical treatment in a hospital in Los Angeles in USA. At that time, Mehboob Khan told Lataji that he was very impatient to hear the melodious soulful song RASIK BALMA from Lataji herself over the phone, since the record of this song was not available in USA at that time. “Oh, Rasik Balma from Chori Chori…?” asked Lataji and she sang the entire song over the phone for Mehboob Khan. She sang this song over the telephone every single day while Mehboob Khan was recuperating in the Los Angeles hospital. Later, Mehboob Khan admitted how much this song had helped him recover faster from his illness. This proves the power of the song “Rasik Balma”, which could heal an ill person. There were many other great composers such as RD & SD Burman, O.P Nayyar, Laxmikant-Pyarelal, Naushad, Roshan, Khayyam etc. When we analyzed these music directors’ musical contribution on the scale of versatility, they perhaps would be nowhere close to Shankar Jaikishan. If RD Burman gave music to movies like Yadon Ki Baraat, Kati Patang and Hum Kisi Se Kum Nahin, there isn’t a single movie in which he gave classical numbers. Same goes for SD Burman who made some very good semi-classical and classical numbers but had a better success in making more western numbers such as “Rangeela-re” after RD Burman started to assist him. Naushad and Khayyam definitely had very good classical numbers but not a lot of western mixed numbers. As far as I remember most Semi Classical Songs Of Shankar Jaikishan are among the Best in the Hindi film industry. If you were knowledgeable in the Indian Classical music, you would be able to tell the difference between music that is made today compared to the music that was made in 50s and 60s. 50s and 60s definitely had better music that 70s and later because Shankar Jaikishan used massive orchestra’s that gave you songs that were truly special such as Likhe Jo Khat Tujhe, Dil Ke Jharokhe Mein, Kaun Hai Jo Sapno Mein Aaya (a song that had a tune from Elvis Presley’ song but sounded much better with the type of composition SJ converted it into). The song Awara Hoon was very famous in countries like Russia, England and France because European type of music. If anyone ever heard Scottish music you would be surprised to hear how much it resembles the song Dil Ki Nazar Se from the movie Anari. As far as I know AR Rehman is below every music director from the old Bollywood. The problem is that no MUSIC composer today including Rehman knows how to make a raga-based mixed composition. We are pretty much forgetting our own heritage and going after music played in the west. SJ proved that what a fusion between classical and western can do in songs like Baharon Phool Barsao (Raga Shivrangini) and Yaad Na Jaye Beete Dino Ki (Raga Kirwani). A person who is trained in western music would definitely be able to identify the jazz, and rock and roll style in Shankar Jaikishan compositions. A classical musician or singer will be able to identify the Raga on which any of SJ compositions would be based but not from Rehman’s music because there is no Raga in his music just Rhythms and so called “western melody” that he hasn’t even mastered properly. CULTURAL IMPACT I have done detailed research on how the Hindi-Film Music influenced the World. Indian cinema, with its characteristic film music, has not only spread all over Indian society, but also been on the forefront of the spread of India’s culture around the world. In Britain, Hindi film songs are heard in restaurants, on radio, and TV-channels, dedicated to Asian music. In Greece the genre of indoprepi sprang from Hindi film music while in Indonesia dangdut singers like Ellya Khadam, Rhoma Irama and Mansyur S., have reworked Hindi songs for Indonesian audiences. In France, the band Les Rita Mitsouko used Bollywood influences in their music video for “Le petit train” and French singer Pascal of Bollywood popularized filmy music by covering songs such as “Zindagi Ek Safar Hai Suhana“. In Nigeria Bandiri music—a combination of Sufi lyrics and Bollywood-style music—has become popular among Hausa youth. Hindi film music has also been combined with local styles in the Caribbeanto form “chutney music“. Recently I was touring in Marrakesh, a big city in MOROCCO, where I found local people were talking to me in Hindi and inquiring about SHAHRUKH KHAN. They were also asking me about the film “KABHI KHUSHI KABHI GAM”. Then I noticed that there is a big Cinema Theater showing only HINDI FILMS in a regular show. I was just stunned to learn that Moroccans also enjoy the Hindi Films & Music just like Indians. Now I can say with confidence that Hindi films have conquered the great part of the world. Bollywood leads the world in viewer numbers as well as film-production volumes. Soviet Russia was a key part of that story. Russians have been enjoying popular Indian melodrama and musicals since the first festival of Indian films in Moscow in 1954. This delegation was conducted by Raj Kapoor. This was the occasion for Russians and the world to listen to Shankar-Jaikishan’s music for the first time out side of India. In fact, Russian box office statistics suggest that Indian movies were more popular than any other foreign films shown in the Soviet Union. In the period between 1954 and 1989, for example, while 41-American and 38-French movies attained “blockbuster” status (“blockbuster” defined as selling more than 20-million tickets) in the Soviet Union, 50-Indian movies did the same. Fascination with Hindi Songs The number of songs that were adapted by the foreign countries from Hindi movies is considerable. From the 111 movies known to have come, as well as from others whose importation is uncertain, 105 Greek renditions were identified. Many came from the best-known Hindi movies that are from Awaara, Shree 420, Mother India, Ghar Sansaar, Laajwanti, and Aan. Many Hindi songs engendered duplicates, triplicates, and quadruplicates. For example, “Pyar Hua Ikrar Hua” (Shree 420) and “Gao Tarane Man Ke” (Aan) have four renditions, “Unchhi, Unchhi Dunia Ki Diware…” (Naagin) and “Aa Jao TaRapte Hai Arman” (Awaara) has three. At least 10 others have duplicates. Of all songs, 57 (55%) have a great similarity with pre-existing songs; 25 (24%) deviate significantly from the originals, 16 (16%) are partial renditions, where other melodies are mixed with Hindi, and 5 (5%) use only some musical bars. In overseas countries most Hindi songs copies were temporary hits or remained obscure. However, 11 were still known among the general public in 1998, about 35 years later. The best remembered in the 1990s were: “Aa Jao TaRapte Hai Arman” from Awaara, one of three renditions of this song by Stellios Kazantzidis; “kardia mou kaimeni” (my poor heart –“Dunia Me Ham Aaye” from Mother India), “auti i nyxta menei” (this night remains — Ulfat Ka Saaz Chhedo from the 1953 MehboobKhan’s Aurat), “oso axizeis esy” (as much as you are worth — “Dunia Walon Se Duur” from Ujaala”). In foreign countries mainly in Middle East and Greece, Mother India, Awaara, and other movies established Nargis as the great priestess of the family dramas, with Madhubala a close second. The ability of these heroines to express pain made the beautiful and haunting songs that they sang instant hits. It was only natural that the emotions of the poor Greeks would be expressed through those very same melodies. Thus, starting in 1959, Greek-language renditions of many songs appeared. As the above article implies, the transformed songs had a big problem: Plagiarism. With few exceptions, the songs appeared as creations of at least 26 Greek musicians. The copying was systematic. Some Greek-musicians copied some Hindi songs on reel tape recorders directly from movie theaters, and in other cases, music companies ordered records from India and distributed them to willing people for copying. The names of Naushad Ali, Shankar-Jaikishan, and Chitalkar Ramachandra were never heard in Greece. When India conquered Greece Here’s a superbly researched article from World Bank economist Helen Abadzi on Greek songs that were inspired from Hindi film songs. Ms. Abadzi writes: The most Hindi movies were considered working-class fare. They had much less appeal for the middle-class, which looked westward for entertainment, wanted more humor, and was not plagued by the social dilemmas of the poor and the limited solutions available to the heroines. Nevertheless, many saw the Hindi masterpiece movies. In February 1960, Mother India premiered without much advertisement in Kotopouli, a downtown theater in Greece, on a snowy day. The first few curious spectators were so moved by watching this movie in the theater that they stopped strangers on the way out and told them not to miss that “social gospel”. Four hours later, a waiting moviegoers line two city blocks long had formed, and the movie played in some Greek town or other at least for the next 10 years. I can’t pay enough tribute to Shankar-Jaikishan, as their creation can never be reviewed within any human domain – except that it can only be felt; and we, as human being, can always take advantage to listen to their divine tunes. I always refer to them as two angels who visited this world, and left their divine impression with mankind forever. Shankar Jaikishan remains an enigma for all basically because two different people with completely different backgrounds, different natures, different attitudes, and different temperament but together they created the most harmonious, highly original and unparalleled creative music in the annals of Bollywood Film history. This is the most astounding and intriguing aspect of their creation. Hydrogen and oxygen are two different elements. They have their own properties and their own original existence. But when they come together they have created something entirely different from both their original character…Water! Water is something so unique that nothing equals it in the entire creations of any chemical element. Water is life giving, without water there would be no life. Similarly, Shankar Jaikishan were the two different entities; together they created water like magic. Without each other, they are like hydrogen and oxygen, however much they wanted to, they individually could never create the magic called water. They needed each other to do it. This is the story of Shankar Jaikishan. But, as human beings what they are, they would like to know what created this magic? Who is more creative? Who is more talented? Whose contribution is more in creating the magic? That is why we have to touch upon the most painful and least understood, least known aspect of their creations, who created what? At the end, I just would like to add my comment on the current status of Bollywood: However, with the death of stalwart composers like S.D. Burman, C. Ramchandra, Naushad, Madan Mohan, Salil Chaudhary, O.P. Nayyar, Roshan, Ghulam Mohammad, Jaidev and Shankar-Jaikishan, the quality of the Hindi music declined. The standard of lyrics nosedived with the death of Sahir, Shakeel, Rajender Krishan, Shailendera, Hasrat Jaipuri, Raja Mehndi Ali Khan etc. The untimely death of Rafi, Mukesh, Manna Dey, Mahendra Kapoor, Kishore and Talat created a huge void, which the successor singers could not fill up. Indian film music is progressing ahead but without any meaningful tunes or lyrics or music. What we experience now a days, is loud instrumental noise, western rhythm, and meaningless wordings in film songs. Rarely we hear some good music with lyrics.