Category Archives: SJ Fan writes

Shankar Jaikishan, the Benevolent


Lakshmi K Tummala

As Shankar Jaikishan fans, we have all heard and read a lot about their knowledge and talent in music, their name and fame, their fundraising for great causes, from all sources available. But, very seldom do we hear about their inner character that defines the great human beings they were.

Many South Indian movie makers had the utmost admiration and respect for SJ who composed for their movies with huge success. Every one of them commended upon their professionalism and work ethics. Once SJ signed a contract, the producer could be rest assured that the work will get done on time and will meet with expectations beyond his imagination.

It is true that they commanded a very high remuneration for their work, but they never demanded it. It was the producer, who was desperate to have them sign for him, that hiked their fee. With SJ in his project, it was a breeze for the producer to have the lead actor and actress get on board. The high fee received for their work was shared generously with their musicians. There were times when a producer would sign SJ with a deposit and, later, meet with financial difficulties. Being very considerate of the situation, SJ would still complete their work and wait patiently to be paid whenever the producer was able to.

In a span of 38 years, from Barsaat to Gori, Shankar Jaikishan scored music for 185 movies. They worked with 67 lyricists, 46 male singers and 45 female singers. Throughout their career, SJ introduced several musicians, singers and lyricists to the music industry. It was through their encouragement that their assistant, Dattaram, turned into a full-fledged composer. With their hands full, they had also encouraged producers to sign Kalyanji-Anandji and R.D. Burman for their movies.

The composer duo maintained a great camaraderie with their peers and always had a good word for their work. Many a time, SJ would call up a fellow composer to congratulate on his/her work which you seldom see in the industry. Even after Jaikishan’s demise, when things were going against him, Shankar never uttered a word against the “defectors” and “backstabbers.”

The above mentioned virtues of Shankar Jaikishan are what made them superior to their peers, not only in their work but also in their character. Their policy was to, “Live and Let Live.” They will always be remembered for their benevolence.




Dharma Kirthi pays tribute to music director Shanker on his 32nd death anniversary on 26th April 2019

Shankar composed music for more than 170 movies in his career spanning 39 years , starting from Barsat in 1949 till Gori his last movie. His brand Shankar Jaikishan won 9 Filmfare Awards and how many movies celebrated jubilees is not available. I am sure, the number must be more than 60.

As composer , Shankar was very particular about having rich orchestra, perhaps an habit he picked up from his patron film maker Raj Kapoor, who visualized movies larger than life. To substantiate my point, I wish to cite the example of a few songs from Jis Desh Mein Ganga Behti Hai.

Here is a movie, Shankar felt had no scope for music at all, and later scored one of their finest albums for a movie shot mostly in a dacoits den. This movie has 9 songs, and each song is such a rich experience in audio experience. This movie was released in 1960, which means the recording was done before that.

With such primitive recording equipment and facilities, they created such priceless gems, that one fails to visualize what magic they could have created in modern times.

Let’s take a look at the songs :

1 . Mera naam raju gharaana anaam..Movie opens with this song, shot in the vast expanse of Ganga in Haridwar . Just listen to the orchestra, melody and the energy. What a way to open the movie.

2.Begani Shaadi Mein Abdulla Diwana: Here is a fun song which has almost become a popular idiom. Absolutely energetic music and fun filled flow of melody.

3. Hoton pe Sachaai rehti hai: Here is one of the finest songs which portrays the ethos of what India is all about. The prelude for this song begins with a rich play of dafli..and then begins the song on a quite note..picks up with use of Sitar which pull at your heart strings..

4. Kya hua ye mujhe kya pata jaane kyun…A super energetic dance number for Padmini and Chanchal..what can I say about this song. Accordion and rhythm with bongos and percussion of maracas,

5.Ho Maine pyar kiya hoye hoye kya zulm kiya: Here is another very high voltage sensuous number, picturised on Padmini.

6. O Basanti pavan pagal : This pathos number has exceptionally rich orchestra especially, in the end, when Raj Kapoor returns and Padmini dances in front of Goddess Bhavani..My God, simply unbelievable and beyond words .

7. Hai aag hamare seene mein: This is a song with perhaps the maximum number of leading playback singers in one song. Full of energy and a flow which goes up in scale as it progresses. The use of rhythm and mandolin notes is exceptional, to say the least.

8. Pyar Karle nai te phaansi chad jaayega: Here is a classic song which sums up the essence of the story which preaches surrender of arms, and leading a life of honour. Simple and very touching song.

9. Aa Ab Laut chale: This song is the mother of all large screen songs. So much has been written about its orchestra and chorus, that I need not add anything more.

This is music, which elevates a simple story to the skies and makes it a super duper hit.

If this is not larger than life, then what is! This is not the only movie, there are 10s of such great movies with simply out of the world music !!

Shankar The Great !!

Shankar Jaikishan: North meets South


The South Indian producers and directors have had a long love affair with Shankar Jaikishan music and so did the southern music lovers who enjoyed Hindi music as much as, or even more than, their counterparts from other parts of the country. Many a times, the producers re-produced super hits of the Telugu versions in Hindi with a great success.

AVM Productions made the ever popular Chori Chori (1956) that won SJ their first Filmfare Award for Best Music Director. Another was, Main Sunder Hoon (1971). Producer/director and Dada Saheb Phalke Award winner, L. V. Prasad worked with SJ in Chhoti Bahen (1959) under his home banner Prasad Productions. With the super success of Chhoti Bahen, Prasad also made Sasural (1961), Humrahi (1963) and Beti Bete (1964), which all had silver jubilee runs. Sasural won SJ another Filmfare Award. Then came, College Girl (1960) by noted director, T. Prakasa Rao who had a very long association with SJ. He also made Humrahi (Prasad Productions), Suraj (1966), Duniya (1968) and Rivaaj (1972). SJ won a Filmfare Award for their work in Suraj. The very famous producer/director C. Sridhar made Dil Ek Mandir (1963) with SJ music and followed it up with Dharti (1970) and Duniya Kya Jane (1971). B. Ananthaswami’s Screen Gems made Sapnon Ka Saudagar (1968) that launched Hema Malini. B. R. Panthulu made Dil Tera Diwana (1972) for Padmini Pictures. Gemini Pictures made Zindagi (1961) and followed it with Shatranj (1969) in partnership with N. N. Sippy.

SJ worked in Vikram Productions movie Bhai Bahen (1969). K. Shankar made Sachhai (1969) for MCR Pictures’ Pardey Ke Peechhey (1971) and Bandagi (1972) and Chhote Sarkar (1974). Navashakti Productions has SJ compose music for their Telugu movie, Jeevitha Chakram (1971) with the legendary actor turned Chief Minister, N. T. Rama Rao which had a stupendous run. Aankh Micholi 91972) was made by EVR Pictures in Chennai. Last but not the least is Chandrashekhar who made Street Singer (1966) with his dear friend, Shankar composing music under the pseudonym, Suraj.

It should be noted that all the above movie makers had great confidence in the ability and talent of SJ and felt that every rupee paid to them in remuneration would be paid back a hundred fold in returns. Almost all of the above movies enjoyed great success with SJ.

L. V. Prasad was impressed by SJ’s “jiya bekrar hai chhayi bahar hai..” from SJ’s first movie Barsaat (1949). He had the song as an inspiration for a number in his film Samsaram (1950) released the following year. ENJOY!

Seen in the picture below taken at the premier of Suraj are (from left to right): Jaikishan, Krishnamurthy (Producer, Venus Pictures), Vyjayanthimala and Shankar. (Back row): Director T. Prakash Rao, Rajendra Kumar and others.

Image may contain: 9 people, including Dileep J Champaneria, people standing, wedding and suit

Trivia about few shelved/incomplete films of Shankar Jaikishen


Abhay Acharekar

Films that were signed before Sep 1971 but were not released by then:
1. Seema (Simi-Kabir-Rakesh-Bharati)
2. Albela (Mehmood-Namrata)
3. Chori Chori (new) (Sanjay-Radha-Jeetendra)
4. Beimaan (Manoj-Raakhee)
5. Love in Bombay (Joy-Waheeda-Kishore. produced by Shubir Mukerji)
6. Yaar Mera (Jeetendra-Raakhee)
7. Lal Patthar (Raaj Kumar-Hema Malini-Raakhee-Vinod Mehra)
8. Ankhon Ankhon Mein (Rakesh-Raakhee)
9. Daman Aur Aag (Sanjay-Saira)
10. Ankh Michouli (Rakesh-Bharati)
11. Mera Vachan Geeta Ki Qasam (Sanjay-Saira)
12. Nagina (Sanjay-Leena)
13. Dhoop Chhaon (Sanjeev-Hema. Yogita added much later due to problems between Sanjeev and Hema)
14. Bandagi (Vinod Mehra-Sandhya Roy)
15. The Gold Medal (started with Rajendra Kumar-Saira and later changed to Jeetendra-Raakhee)
16. Mehfil (Jeetendra-Sadhana , later replaced by Anil Dhawan)
17. Naina (Shashi-Rajashree. Moushumi added later)
18. Aan Baan (Rajendra-Raakhee)
19. Resham Ki Dori (Rajesh Khanna-Saira. Rajesh Khanna was later replaced by Dharmendra who was closed to Atmaram)
20. International Crook (Dharmendra-Saira)
21. Archana (Directed by Satpal, Bhappi Sonie’s assistant. 
21. Pyar Ka Rishta (Sameer-Mumtaz-Shatrughan-Vinod Khanna)
23. Rivaaj (First production of KC Bokadia. Sanjeev-Mala)
24. Dur Nahin Manzil (Started with Roshan who composed the titled song that was retained. Also, initially this one had Sanjeev-Nutan but Nutan was replaced by Reshma, Bindu’s sister)
25. Insaniyat (Shashi-Madhu)
26. Dil daulat Duniya (Rajesh Khanna-Sadhana)

Films that never saw completion but were on hand in 1971:
1. Hero (launched by Sham Behl, of Gold Medal/Duniya with Sunil Dutt)
2. Kabhi Daman Kabhi Phool (Vinod Khanna-Anupama)
3. Kora Kagaz (Rajesh Khanna-Hema Malini; not the same one that was released later in 1973) 
4. Sindoor (Produced by Sant Singh; directed by Kishore Sahu. Jeetendra-Saira)
5. Sadiyonse Hai Pyar (Produced by RK’s cousin Vijay Kapoor. Shashi Kapoor- Saira Banu)
6. Tu Payal Main Geet (Directed by Kanak Mishra. Shashi Kapoor- Saira Banu)
7. Mahaan (Directed by Sultan Ahmad. Sanjeev Kumar-Mumtaz. Not the same as AB’s Mahaan)
8. Aar Paar (Tanuja-Romesh Sharma)
9. Untitled film (Directed by T. Prakash Rao. Dilip Kumar-Saira with one song recorded by Jaikishan in Asha’s voice)
10. Ganga Ki Kasam (Produced by Pachhi)
11. Karishma (Randhir Kapoor in the lead)
12. Nain Mile Chain Kahan
13. Paani
14. Sun re Balam
Announced before Sep 1971 but vanished from the radar after sep 1971
1. Seeta Aur Geeta 
2, Kailash/Prem Chopra’s untitled (later named Nafrat)

Announced after Jaikishan’s demise but never released or completed: 
1) Watan (Sunil Dutt, Sanjay Khan, Rekha, Premnath; Director Kanak Misra)
2) Azmaaish (Sanjay Khan, Director: Kanak Misra)
3) Baby Hindustan (Director: Basu Chatterji)
4) Gunahgaar (RaajKumar. Producer/Director: Govind Saraiyya. Had a Lata-Manna Duet)
5) Mere Desh ki Dharti (Producer: Kewal P. Kashyap)
6) Talaaq (Parikshit Sahni)
7) Apmaan (Navin Nischal, Rakesh Roshan)
8) Jugal Jodi (Asrani-Deven Verma)
9) Pehla Pehla Pyar (Mumtaz International. Saira-Shashi Kapoor)
10) Airport
11) Gulzar Singh’s untitled (Shashi Kapoor)

Note that Jungle Mein Mangal was a quickie that started after the producer Rajendra Bhatia released Paraya Dhan and was not signed before Sep 1971. 

At the recording of a song for Jugal Jodi

Tribute to Shailendra after his demise by Jaikishen


Jay subramanyam

That sad Wednesday afternoon, a little after he died, the radio sang :

Aye mere dil kahin aur chal 
gham ki duniya se dil bhar gaya 
dhoondle ab koi ghar naya

It was Shailendra’s own lyric from `Daag’. He, too, had just told his weary heart : “I am full of the world’s sorrows. Let me seek a new home!”.

At the nursing home where he lay, we, his close friends, tried vainly to hold back our tears. Twenty years is a long time to know anyone, particularly in the film industry where “friendships” are made and broken easily, too easily.

Twenty years ago, we – a small group of people – had started from nothing. We had dreams, and nothing else, to sustain us. We had stood together, to the surprise and possibly dismay of many, and together we had worked out a common destiny. And today, without warning, death has laid an icy hand on one of us.

Dhoond le ab koi ghar naya.”. He had done it.

For “Teesri Kasam” his own production, he had written :

Sajan re jhoot mat bolo, khuda ke paas jana hai, na haathi hai na ghoda hai, vahaan paidal his jaana hai.”

True enough. We all have to go on foot. There will be no elephants to carry us, no horses, no Impalas. Poets have to go there when the call comes and ordinary men too.

But do the poets of the world, true creative artistes, really die?

Born and brought up a man of the people, Shailendra remained that all his life. His lyrics, like he himself, were simple, and had depth. And what a variety! He could dash off a frothy love lyric, he could compose a deeply philosophical poem. He wrote of sadness, gaiety, resignation, despair, hope.

Ye poorab hai, poorab wale, har jaan ki keemat jaante hain“, he said, in the theme song of `Jis Desh Mein Ganga Behti Hai’. That was the pariot. “Awara hoon“, he sang, in a manner at once, light-hearted and serious. The song became world famous. And it was the same patriot who laughingly wrote “Mera joota hai Japani” in `Shri 420′.
When Shailendra joined our fold – at the time of Raj Kapoor was making “Barsaat” – it was with two lyrics he had ready – “Barsaat mein humse mile tum” and “Patli kamar hai“. He said goodbye to the R.K. Banner, again with two lyrics, for “Mera Naam Joker”. In between, from his work done not only for us – Shanker and myself – but for other composers, I can name scores of lovely lyrics, songs which have been on everyone’s lips.

By the way, Shailendra has written lyrics for all films for which my partner Shanker and I have composed the music with the exception of `College Girl’ and `Aarzoo’. In the latter film, he didn’t work with us because he was ill.

Shanker and I met Shailendra for the first time twenty years ago. Raj Kapoor introduced us at his office which was then at Famous Studios, Mahalaxmi. Shailendra had a job in the railway workshop at Parel. He wrote poetry in his spare time. One of his poems – “Jalta hai Punjab” – moved Raj Kapoor so much he wanted to put it in `Aag’. But Shailendra was then not keen on contributing lyrics to films. He later changed his mind and joined us for `Barsaat’.

The last time I ever saw him in good health was at Rajkamal studios about a month ago where I was doing some back-ground music recording. And you know what he was saying? Despite all the difficulties he had experienced in producing `Teesri Kasam’ he wanted to launch another film!

In the early days, Shailendra was living in a one room tenement at Parel. After `Barsaat’, my partner had been offered our first contract outside R.K. ( the film was Mr. Dalsukh Pancholi’s `Nagina’) and wanting to persuade Shailendra to write the lyrics, I visited him for the first time at his home. Like us, he was quite needy then, but his work caught on quickly and he became much sought after. His address had a few changes – from somewhere, Parel, to `Rim Jhim’, his own home at Khar, but all along the man himself never changed.

He was intelligent, very gentle, full of knowledge and very sensitive. His love of poetry and literature was paramount. Tagore was an early favourite as also Khalil Gibran. He was always nice company, whether you were discussing poetry or politics. He was very emotional and wept when something moved him. When he was composing a lyric, he would walk restlessly about the room. He loved writing on the beach. From the early days, he smoked incessantly – I wish he had been more careful.

He was young – only 43. Why did he have to go that early and with so much mental suffering?

In the music room of Shanker-Jaikishan at our homes where he was so welcome, there will be a void. There will be a bigger void in our hearts.

Dhoond le ab koi ghar naya…”.

 Goodbye, my friend.


This is courtesy : Jay Subramanyam who composed it on Jan 12, 2009 at 1:54 PM


Suresh Sarvaiya

💐 Shankar Jaikishan & Kishore Kumar 🎂
Shankar-Jaikishen (SJ): The music director duo who revolutionized the very definition of Hindi film music with their path-breaking music and tunes… Compiled by Suresh Sarvaiya

Kishore Kumar: The genius actor-singer who created his own path and carved a place in the Hindi film music scene which people cannot even dream of achieving…

The association of Shankar Jaikishan with Kishore Kumar has various interesting aspects. Shankar Jaikishan (S-J), who rarely used Kishore. Trivia has it that Kishore Kumar was not the original choice for lead & that some songs had already been recorded when he joined the cast of movie Shararat (1959). Though Kishore had already sung numbers like ‘Dukhi man mere
sun mera kahena….’ for sad occasions, the second antara of this song makes you feel that it needed Rafi’s high-pitch.

Surprisingly no song in the first 8 years of mutual co-existance in the music kingdom of SJ, 18 songs in the next 13 years of association and then, 87 songs in last 17 years. Another intriguing part is, for the first 13 years, SJ were the uncrowned king of Hindi film music and Kishore Kumar a non-considerate in playback singing and in the next 17 years, well, almost vice versa. “Almost” is because Jaikishen – the more prominent of the duo, died in 1971, and upto 1986, Shankar single handedly kept the S-J flag flying. As the musical parallelism goes, many still believe, it was Jaikishen with whom the camaraderie of Kishore would have blended better- and the proof was there with “Zindagi ek safar hai suhana”, the chartbuster Jaikishen had made with Kishore just months after the former passed away. But the fact is, out of 105 songs Kishore recorded under SJ baton, almost 70 songs came for Shankar only, owing to Jaikishen’s early demise.

After departure of Jsikishan, it started gradual decline of Shankar amongst mainstream cinema. After giving music to almost 350 movies, the exhaustion showed With no Jaikishen, Shankar tried to put his foothold intact with occasional hits in Resham Ki Dori (1974), Sanyasi (1975) and Do Jhoot (1975). Many of Shankar’s hits that time came with Kishore like “Chhatri na khol” (Do Jhoot), “Mere dil mein tu hi tu hai” (International Crook), “Chamka paseena” (Resham ki Dori) and “Tu jahan main wahan”(Garm khoon). Both Shankar and Kishore demised in 1987. While one was given a superstar farewell, the other went away quietly.

Interestingly they even made their debut around the same time – Shankar
Jaikishen’s debut film as independent music directors was R K Films’ Barsaat which released in 1949 & Kishore Kumar’s debut film as an actor and a playback singer (sang for Dev Anand) was Ziddi which released in 1948…

But, the fact remains that Shankar Jaikishen were amongst the greatest music directors in Indian Cinema and Kishore Kumar was one of the greatest playback singers. Although their peak periods don’t match, in spite of being contemporaries, they did give us some brilliant output together.

New Delhi, Krorepati, Begunaah, Rangoli and Shararat are the five films for which Shankar-Jaikishen worked with Kishore Kumar where he acted and sang his own songs and what beautiful music they created by this combination.

Here are some gems by SJ & Kishore Da (list may be vary with individual choice) –
* Nakhrewali….. – New Delhi (1956)
* Chhotisi yeh duniya – Rangoli (1962)
* Rangoli sajaao – Rangoli (1962)
* Munne ki amma yeh to bata…’ – Tum 
Haseen Main Jawaan (1968)
* Humlog hai aise deewane – Umang (1970)
* Geet gata hoon main – Lal Patthar (1971)
* Jaane anjaane log mile – Jaane Anjaane 
* Bhanwre ki gunjan – Kal aaj aur kal (1971)
* Zindagi ek safar hai – Andaaz (1971)
* Saath mein pyara saathi – Dil Daulat 
Duniya (1972)
* Kehta hai dil o mere – Chorni (1980)
Compiled by Suresh Sarvaiya

The VIPs that were Shankar Jaikishan


Image may contain: 4 people, people smiling, people standing and night

In the era when silver screen actors and actresses were considered celebrities, there was a composer duo who enjoyed an equal or higher status. Their stupendous success as the unrivaled composers in the Golden Era of the Indian Film Industry earned them a following that has yet to be matched. People in every walk of life enjoyed their music since it appealed to the class and masses alike.

Music was a way of life and movies were the only source of entertainment for all. But then, not everyone could afford to go often to the movies. Therefore, they were contented with the songs heard over the radio. It was primarily SJ songs that drew the public to their movies. During that time, movie stars were a craze with the public and they were followed everywhere. They were even considered as deities and worshiped by some star struck fans. At the same time, SJ shared a popular fan following too.

Not only did SJ fans follow them, the producers of the time also did. They lined-up outside the recording room at Famous Studios to have the master maestros autograph the contract to their upcoming movies. They even offered a staggering and unheard amount as remuneration to SJ, simply to get them to accept their assignment which would in turn earn them a hundred fold in revenue.

SJ’s demand was so great that even political figures were eager to rub shoulders with them. SJ were here, there, everywhere..! They were sought after to entertain dignitaries. President S. Radhakrishnan had them conduct a soiree at Raj Bhavan. Foreign diplomats wished to be introduced to their favorite composers from the sub continent. When the then President Gamal Abdel Nasser of the United Arab Republic was on a diplomatic visit to India, he requested a private introduction to the composers. Incidentally, he was guest of honor at the Filmfare Awards Function and presented the FF Award for Best Composer to SJ.

SJ were also the choice of fundraising efforts cos they drew huge crowds at their music events. The public lined up in throngs along their path to the concerts cheering them all the way. Record breaking amounts were collected that are matchless to this day. Never has anyone in the music industry enjoyed such popularity as SJ and there never ever will be another one!

Seen in the picture below are SJ with the then governor of Maharashtra, Smt. Vijayalakshmi Pandit, who presented them the Filmfare Award for Best Music Director for Professor.

मैंने दिल तुझको दिया 🌷 

🌷डॉ राजीव श्रीवास्तव

उत्सव का उल्लास और दर्द की व्यग्रता का व्यापक व्योम लिये कोई एक कालजयी सहगान यदि चित्रपट पर प्रथम और अभी तक का अन्तिम गान कहा जायेगा तो उस एक गीत विशेष के लिये समस्त संगीत प्रेमी समवेत स्वर में स्वतः ही कह उठेंगे – मैंने दिल तुझको दिया।

निर्माता-निर्देशक-नायक राजकपूर की फ़िल्म ‘श्री चार सौ बीस’ का सहगान सिने संगीत में सृजित हुआ अभी तक का सर्वथा अनूठा गान है। फ़िल्म के दृश्य के संग और उसके परे भी इस समूह गीत का श्रवण करते हुये गीत के शब्दों के समानान्तर दृश्य-परिदृश्य स्वतः ही आकार ग्रहण करने लगते हैं। ‘रमय्या, वत्ता वइय्या’ तेलगु भाषा में किसी को सम्बोधित कर उसे अपने निकट बुलाने का वाक्य है। रमैय्या, यहाँ आओ ! वास्तव में पूना जाते हुये राह में चाय-पानी के वास्ते जब राजकपूर अपने सखा मुकेश, हसरत, शैलेन्द्र, शंकर, जयकिशन के साथ रुके तो शंकर ने देखा कि वहाँ काम करने वाला एक बालक तेलगु भाषी है। सहज भाव से शंकर के मुख से निकला – ‘रमय्या, वत्ता वइय्या’। इसके पहले कि शंकर उस बच्चे से कुछ कहते निकट ही बैठे शैलेन्द्र ने बालक को देख कर कहा – ‘मैंने दिल तुझको दिया’। इस तरह जन्म हुआ उस अमर कालजयी गीत का जिसकी सृजन यात्रा पर आज मैं आप सभी को अपने संग लिये चल रहा हूँ।

इस विशेष समूह गान में शंकर-जयकिशन ने सर्व प्रथम अपने सरगम का एक बिछौना बिछाया है, उस पर शब्द-भाव को सजा कर उसे अपने सुर-विन्यास के ओढ़ना से ओढ़ाया है। जिस प्रकार प्रकृति सृजन के पूर्व अनुकूल वातावरण का सुयोग रचती है तत्पश्चात् अपने शृंगार से सृजित कृतित्व को ओज प्रदान करती है कुछ उसी प्रकार शंकर-जयकिशन इस गान में अपनी प्रकृति के सहज प्रवाह से वह सब कुछ रचते गये हैं जो किसी रचना को प्राणवान बनाने के उपक्रम में स्वाभाविक रूप से अनिवार्य होते हैं।

गीत की संगीत यात्रा पर आपको ले चलने के पूर्व मैं यह बता दूँ कि इस विशेष गान की कथा को गढ़ने में मेरे लिये जिस व्यक्तित्व ने समुचित ‘वातावरण’ का निर्माण किया है वो मेरे मित्र कोलकाता के भाई कमल बेरिवाला हैं। मैंने कई माह पूर्व ही उन्हें इस गीत को इसके मूल रूप में प्रस्तुत करने का आग्रह किया था और आज ‘धनतेरस’ के पावन दिवस पर उन्होंने मुझे संगीत का यह अनमोल धन अन्ततः प्रेषित कर ही दिया। आइये, सुरीली यात्रा का श्री गणेश करते हैं।

धनवान और निर्धन के पृथक-पृथक उत्सवों का तुलनात्मक परिदृश्य लिये यह समूह गान सम्पन्न लोगों द्वारा आयोजित किये गये भव्य नृत्य गीत-संगीत के दैहिक भाव-भंगिमा के आकर्षक अंग-प्रत्यंग के प्रदर्शन से प्रारम्भ होता है। जन सामान्य के साधारण पृष्ठभूमि को अपने भीतर छिपाये फ़िल्म का नायक आधुनिक वस्त्र धारण किये सम्पन्नता का उपक्रम रचने का असफल प्रयास करता हुआ अन्ततः पश्चिमी संगीत के तीव्र वेग से आहत अपने निज आवेग के प्रवाह में बहता इस असहनीय घेरे से स्वयं को मुक्त करने के प्रयास में उस महल के परिसर से बाहर निकल आता है। संगीत का तीव्र वेग पीछे छूटता है और हृदय का अंतर्द्वंद उत्कट आलाप से ध्वनित हो उठता है। गीत के पूर्व प्रारम्भिक संगीत की पृष्ठ भूमि में मन की व्यग्रता को दर्शाता यह दीर्ध आलाप मन्ना डे के स्वर में गूँजता है। महल की भव्यता से निकल कर जन साधारण के उत्सव गान की दिव्यता को अपने में समाया सहगान ‘रमय्या, वत्ता वइय्या’ के आत्मिक आमन्त्रण से नायक का स्वागत करता है। शैलेन्द्र के शब्द-भाव को उल्लास और उत्सव के सरगम पर वेगमयी गतिशीलता से जिस प्रकार शंकर-जयकिशन ने मध्य संगीत में संयोजित किया है वह लता मँगेशकर और मु रफ़ी के संयुक्त स्वर लहरियों पर सवार हो कर चित्त को प्रसन्न भाव से ‘सुर-लय-ताल’ की संगत में झूमने को विवश कर देता है। ‘नैनों में थी प्यार की रौशनी’ के इस प्रथम अन्तरे में प्रेम की उलाहना है तो दूसरे अन्तरे में सोने चाँदी के दिल के मध्य दर्द की छाँव का सहज भाव समाहित है। परस्पर नोक-झोंक, छेड़-छाड़ और प्रेम की आतुरता का चित्रण करता यह गीत अपने सामूहिक भाव प्रदर्शन में किस प्रकार राह चलते पथिक को भी अपने में बाँध लेता है उसका अद्भुत चित्रण इस गान के दृश्य में प्रस्तुत किया गया है। किसी भी नगर-महानगर के समान मुख्य पथ के समीप बसी बस्ती में निवास कर रहे विभिन्न परिवारों के सदस्यों द्वारा प्रस्तुत इस सामूहिक उत्सव गान में वहाँ से आ-जा रहे पथिकों को भी इसमें सहज रूप से सम्मिलित होते देखना मन को आश्चर्य मिश्रित आनन्द से भर देता है। आपने कभी यदि अपने ही जीवन में ध्यान दिया होगा तो सम्भवतः आपको स्मरण होगा कि राह चलते जब हम किसी को कोई गीत गाते हुये सुनते हैं अथवा यूँ ही चलते हुये रेडियो पर कोई अपना प्रिय गीत सुन लिया हो तो प्रायः हम उसे स्वयं भी गुनगुनाते हुये आगे बढ़ जाते हैं और आगे कोई और हमें सुन कर उस गीत को गाते हुये अपनी दिशा में आगे बढ़ जाता है। इस प्रकार एक ही गीत एक मुख से दूसरे और फिर तीसरे मुख से होता हुआ पृथक-पृथक दिशाओं में स्वाभाविक रूप से विस्तार पाता चला जाता है। व्यवहारिक जीवन का यही मनोविज्ञान इस सामूहिक गीत में भी सहज रूप से दर्शनीय है। गीत के तीसरे अन्तरे के पूर्व के मध्य संगीत के पार्श्व में ‘रमय्या, वत्ता वइय्या, मैंने दिल तुझको दिया’ को राह चलते पथिक भी गुनगुनाते हुये आगे बढ़ते जाते हैं। आप दृश्य में देखें तो एक ताँगे पर सवार व्यक्ति ‘मैंने दिल तुझको दिया’ गाते हुये आगे बढ़ता है जिसे रास्ते में सायकिल पर सवार दूध वाला सुनता है और वह भी उसे गुनगुनाते हुये अपनी राह पर आगे बढ़ जाता है। इसी दूधवाले के शब्द-सुर को थाम कर दूर निर्जन स्थान पर बिछोह की पीड़ा लिये बैठी नायिका का वियोग भाव अनायास ही इन शब्दों में छलक उठता है – ‘याद आती रही दिल दुखाती रही …. प्यार करके भुलाना न आया हमें’। परन्तु शब्द-भाव की यह यात्रा यहीं नहीं ठहरती। वियोगिन नायिका के इस दर्द की कम्पन से व्यथित नायक के हृदय की साँकल बज उठती है और अधीर मन की पीड़ा का सागर सहसा ही फूट पड़ता है।

इस समूह गान का चरम है इसका अन्तिम अन्तरा। आप ध्यान दें तो आपको अनुभूत होगा कि गीत के अभी तक के तीन अन्तरे में गीत-संगीत अपने उत्सव भाव के साथ त्वरित गति से वेगवान रहते हुये अन्तिम अन्तरे में भी वाद्य यन्त्रों की संगत में गति और वेग का वैसा ही तारतम्य बनाये हुये है पर जैसे ही गायक मुकेश का स्वर उभरता है सम्पूर्ण गीत का अभी तक का स्थायी उत्सव भाव अकस्मात् उदात्त भाव के संग बिछोह के अनन्त सरोवर में पूर्ण रूप से समाहित हो जाता है। यह अकस्मात् परिवर्तन इतने हौले से होता है कि गीत अपनी समाप्ति की ओर अग्रसर होते हुये जब रफ़ी के आलाप के संग पूर्णता को प्राप्त होता है तब तक भी आप उसी बिछोह के सरोवर में आकण्ठ डूबे रहते हैं। ‘लय-सुर-ताल’ के एक समान सानिध्य के बाद भी सिने गीत-संगीत के अभी तक के इतिहास में यह सहगान एक मात्र ऐसा उदाहरण है जिसमें उल्लास के उत्सव का रूप सहज ही पीर के पर्वत में समा कर विलीन हो जाता है। ‘रस्ता वोही और मुसाफ़िर वोही’ की व्यथा का मर्म परोसते हुये जब समक्ष यह प्रश्न आता है ‘मेरी आँखों में रहे कौन जो मुझसे कहे’ तब गीत श्रवण कर रहे प्रत्येक हृदय से समवेत स्वर में वाणी मुखर हो उठती है – ‘मैंने दिल तुझको दिया’।

अचरज की बात है कि यह एक उत्सव गान होने के बाद भी इसके प्रारम्भ के तीन अन्तरे भी अपने में दर्द की अभिव्यक्ति को ही समाये हुये हैं और लता तथा रफ़ी ने इसे अपने-अपने स्तर पर अत्यन्त ही सहज रूप में प्रस्तुत भी किया है परन्तु जिस प्रकार अन्तिम अन्तरे में गायक मुकेश की वाणी गीत के स्थापित भाव को अपने गहन उदात्त भाव में सहज ही समाहित कर लेती है वह इस बात का प्रमाण है कि एक वाणी विशेष से प्रक्षेपित विरह बाण किस प्रकार विशाल समूह के हृदय को बेध जाती है।

आलाप से प्रारम्भ हो कर आलाप पर ही समाप्त होने वाले इस समूह गान में प्रारम्भिक आलाप मन्ना डे का है और अन्तिम आलाप मु रफ़ी के स्वर में है। पर, गीत के मध्य में एक आलाप लता मँगेशकर के स्वर में भी है। ‘याद आती रही दिल दुखाती रही’ अन्तरे के पूर्व ताँगे और दूधवाले की गुनगुनाहट के पार्श्व में नायिका की व्यथा से उपजा लता का आलाप विरह की वेदना को सहज ही साकार कर गया है। इन आलापों की संगत में शंकर-जयकिशन का रचा संगीत संसार अभी तक जो अनमोल सुर लुटाता आया है वह काल के भाल पर सदा के लिये अजर-अमर है।
अपने आभार ज्ञापन के क्रम में मैं भाई कमल बेरिवाला के साथ ही कोलकाता के संगीत मर्मज्ञ भाई अनूप गड़ोदिया का भी धन्यवाद ज्ञापित करता हूँ जो पार्श्व में रह कर भी अपने बहुमूल्य सुझाव से गीत प्रस्तुति को जीवन्तता प्रदान करते रहते हैं। जी हाँ, मैं आप सभी संगीत रसिकों का विशेष आभारी हूँ जो आप सब इस गीत-संगीत की विशेष शृंखला को अपना आत्मिक समर्थन एवं हार्दिक स्नेह प्रदान करते हुये अपने बहुमूल्य प्रतिक्रियाओं से इस प्रस्तुति का मान बढ़ा रहे हैं।

आज के इस कालजयी गीत का आनन्द आप इस लिंक पर ले सकते हैं।
डॉ राजीव श्रीवास्तव
ओ ssss ओ ssss
रमय्या वत्ता वइय्या, रमय्या वत्ता वइय्या
रमय्या वत्ता वइय्या। रमय्या वत्ता वइय्या
मैंने दिल तुझको दिया, मैंने दिल तुझको दिया
रमय्या वत्ता वइय्या, रमय्या वत्ता वइय्या
रमय्या वत्ता वइय्या, रमय्या वत्ता वइय्या
मैंने दिल तुझको दिया, मैंने दिल तुझको दिया
रमय्या वत्ता वइय्या, रमय्या वत्ता वइय्या
नैनों में थी प्यार की रौशनी (तेरी आँखों में ये दुनियादारी न थी – २),
तू और था तेरा दिल और था (तेरे मन में ये मीठी कटारी न थी – २)
मैं जो दुःख पाऊँ तो क्या आज पछताऊँ तो क्या – २
मैंने दिल तुझको दिया, मैंने दिल तुझको दिया
रमय्या वत्ता वइय्या रमय्या वत्ता वइय्या
उस देस में तेरे परदेस में (सोने चाँदी के बदले में बिकते हैं दिल – २),
इस गाँव में दर्द की छाँव में (प्यार के नाम पर ही धड़कते हैं दिल – २)
चाँद तारों के तले रात ये गाती चले – २
मैंने दिल तुझको दिया, मैंने दिल तुझको दिया
रमय्या वत्ता वइय्या रमय्या वत्ता वइय्या
ओ ssss ओ ssss
मैंने दिल तुझको दिया, मैंने दिल तुझको दिया
रमय्या वत्ता वइय्या रमय्या वत्ता वइय्या
रमय्या वत्ता वइय्या रमय्या वत्ता वइय्या
मैंने दिल तुझको दिया, मैंने दिल तुझको दिया
रमय्या वत्ता वइय्या रमय्या वत्ता वइय्या
याद आती रही दिल दुखाती रही (अपने मन को मनाना न आया हमें – २),
तू न आये तो क्या भूल जाये तो क्या (प्यार करके भुलाना न आया हमें – २)
वहीं से दूर से ही तू भी ये कह दे कभी – २
मैंने दिल तुझको दिया, मैंने दिल तुझको दिया
रमय्या वत्ता वइय्या, रमय्या वत्ता वइय्या
मैंने दिल तुझको दिया, मैंने दिल तुझको दिया
रमय्या वत्ता वइय्या, रमय्या वत्ता वइय्या
रस्ता वोही और मुसाफ़िर वोही (एक तारा न जाने कहाँ छुप गया – २),
दुनिया वोही दुनिया वाले वोही (कोई क्या जाने किसका जहाँ लुट गया – २)
मेरी आँखों में रहे कौन जो मुझसे कहे – २
मैंने दिल तुझको दिया, मैंने दिल तुझको दिया
रमय्या वत्ता वइय्या, रमय्या वत्ता वइय्या
रमय्या वत्ता वइय्या, रमय्या वत्ता वइय्या
आ ssss आ ssss
मैंने दिल तुझको दिया, मैंने दिल तुझको दिया
रमय्या वत्ता वइय्या, रमय्या वत्ता वइय्या
आ ssss आ ssss
फ़िल्म: श्री 420 (1955), गीतकार: शैलेन्द्र, संगीतकार: शंकर-जयकिशन, गायक: मन्ना डे, मु रफ़ी, लता मँगेशकर, मुकेश

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उम्र थी सिर्फ़ १३ वर्ष की, तब से ही संगीत से लगाव था उसे … वंसदा की गलियों में घूमना फिरना, गाव में रहनेवाली गुजरिया के लोकगीत सुनना और फिर अपने दोस्तों को हुबहू सुनाना … पिताजी चल बसे तो बड़े भाई बलवंत को घर की जिम्मेदारी आ गई थी और उसकी भी … पढाई लिखाई में ज्यादह ध्यान नहीं था … ‘टेलरी’ भी की मगर दिल नहीं लगा उसका … ‘जयकिशन दयाभाई पांचाल’ फिर एक दिन चला आया सपनों की मायानगरी में …बंबई (मुंबई) हर किसी को सहारा देनेवाली नगरी …. संगीत विशारद वाडीलाल जी के शिष्य रहे जय की, ‘हारमोनियम’ पर कुशलता से उंगलिया चलती थी … ‘चंद्रवदन भट्ट’ साहब के ऑफिस में अक्सर चक्कर लगाता रहता की, कुछ ‘चक्कर’ चल जाये … वहां एक युवक से मुलाक़ात हो गयी, और फिर गहरी दोस्ती भी … उस युवक का नाम ‘शंकर सिंह रघुवंशी’ था, वह युवक भी संगीत निर्देशक बनना चाहता था …तबला ग़जब का बजाता था …उसे भी भट्ट साहब ने काम दिलाने का वादा किया था … दोनों का सपना, मक़सद एक था … फिर एक दिन उस युवक ने जय को कहा, पृथ्वी थिएटर में हारमोनियम वादक की जगह खाली है क्या वहां काम करोगे ? जय ने फ़ौरन हां कहा, फिर एक नयी जिंदगी, नयी कहानी शुरू हुई, तब उन्हें भी पता नहीं था, लेकिन दिल गा रहा था …

‘कहता है दिल रस्ता मुश्किल
मालूम नहीं है कहा मंजिल’ ?

लेकिन मंजिल अब ज्यादह दूर नहीं थी … पृथ्वी थिएटर में दिन बड़े ग़ज़ब के गुजरने लगे …शंकर और जय कुछ छोटी छोटी भूमिकाएं भी निभाते नाटक में … साथ में धुनें भी बनाते … किस्मत पलटने में देर नहीं लगी … राज साहब ने १९ वर्षीय जय और २६ वर्षीय शंकर को बरसात के संगीत निर्देशन की जिम्मेदारी दी … और इस युवा संगीतकार जोड़ी ने पहले ही फ़िल्म में कम्माल कर दी, संगीत का नया इतिहास लिख दिया … इन दोनों के साथ दो नौजवाँ गीतकार भी थे शैलेंद्र और हसरत जयपुरी
एक आया था हैदराबाद से, एक गुजरात से, एक रेलवे में था तो एक ‘बेस्ट’ में … चारों चार दिशाओं से एक जगह आये और दसो दिशाओंमें इनका बोलबाला रहा, लगातार २० बरस तक संगीत साम्राज्य पर इन्हीं का अधिराज था …शंकर जी अपने काम पर दृढ़ विश्वास रखते थे, काम के बाद भी संगीत से जुड़े रहते तो जयभाई काम के बाद अपना समय लोगों से मिलने में गवाते …जैसे की गुजराती होते है, वैसे ही बड़े ही मिलनसार थे जय …पार्टियों में जाना …लोगों से परिचय बढ़ाना, उनकी खुशियाँ और गम में शरीक होना … जिंदगी को जिंदादिली नजरिये से देखते थे …अब शोहरत थी, इज्जत थी, इस जोड़ी का संगीत देश के कोने कोने के साथ रूस, मिडिल ईस्ट और चीन की धरती तक पहुँच गया था लेकिन शंकर जी के साथ जय के भी कदम जमीं पर थे, नए नए प्रयोग करते थे, पारंपारिक वाद्यों के साथ ‘गिटार’, ‘मेंडोलिन’, ‘अकॉर्डियन’ आदि नए वाद्यों का भी बदलते वक़्त को भांपकर इस्तेमाल करते रहे, अजरामर धुनें बनाते रहे ….
१९६४ के बिनाका गीतमाला के अंतिम सालाना प्रोग्राम में, हसरत साहब से अमिन सायानी साहब ने एक सवाल पूछा था …

‘ये कैसे पहचाने की, कौनसी धुन शंकर जी ने बनाई है और कौनसी जयकिशन साहब ने ?

हसरत साहब का जवाब यूँ था (ऑडियो क्लिप)

‘आशिक़ाना ढंग की धुनें बनाते थे ‘जयकिशन’ साब और फलसफ़ा ढंग की, क्लासिकल ढंग की धुनें बनाते थे हमारे शंकर जी’

सैकड़ों गीतों को अमर कर दिया था जय ने शंकर भाई के साथ दिन रात एक करके, कभी कभी पूरी रात बीत जाती थी गीतों की रिकॉर्डिंग में पर मुस्कुराहट कायम रहती …उन दिनों आज जैसी सुविधाएं भी नहीं थी रिकॉर्डिंग की, लेकिन संगीत की साधना करनेवाले सच्चे फनकारों को सृजन के लिए इन की जरुरत भी नहीं थी …पाश्चात्य धुनों के साथ ‘बसंत बहार’ (१९५६) में अस्सल रागदारी पर आधारित धुनें बनाकर उन्होंने ‘हम किसी से कम नहीं’ यह दिखा दिया था … सबको मुंहतोड़ जवाब दिया था …५० और ६० के दशक केवल उन्हीं के थे … SJ की इस लोकप्रियता की वजह थी, शंकर जी को जय की आजीवन समर्थ साथ … कभी कभी शंकर जी की गैरहाजिरी में जय ही संगीत की बागड़ोर संभालते और संगीत का दर्ज़ा किसी भी कीमत पर कायम रखते (फ़िल्म – आरज़ू)
‘दो जिस्म मगर एक जान है हम
एक दिल के दो अरमान है हम’
बस ऐसे ही जिये, साथ हँसे, रोयें जय साहब और शंकर जी …

राज साहब की होली भी धूमधाम से मनाते थे जय, शंकर जी के साथ तो ‘वॉर फंड’ के लिए स्टेज प्रोग्राम में भी क़दम से क़दम मिला कर खड़े रहते और सामाजिक कार्यों में अपना योगदान देते रहते …
फ़िल्म संगम में राज साहब का एक संवाद है …

‘रोयें तो यार के काँधे पर
जायें तो यार के काँधे पर’

१४ दिसंबर १९६६ को अपना जिगरी यार शैलेंद्र के बिछड़ने पर कंधा देते वक़्त, रोते हुए जय और शंकर जी के साथ राज साब को भी यही संवाद याद आया होगा और फिर अपनी सफलता की चरम सीमा पर पहुंच कर १२ सितंबर १९७१ को जय भी चले गये अपनी सुरीली जीवनयात्रा समाप्त करके सिर्फ ४१ साल की उम्र में …शंकर जी के दोनों बाहूँ टूट चुके थे, पहले कविराज अब जय …
लेकिन शानदार कीर्तिमान स्थापित किये थे उन्होंने, सब कुछ हासिल कर लिया था …

‘नौ बार सर्वश्रेष्ठ संगीतकार का ‘फ़िल्म फेयर पुरस्कार’,

‘बिनाका गीतमाला’ इस सर्वाधिक लोकप्रिय रेडियो प्रोग्राम में १३५ ‘सरताज’ गीत

१९६८ में ‘पदमश्री’ पुरस्कार

आज #जय साहब के जन्मदिन पर सभी दोस्तों के साथ उन्हें विनम्र अभिवादन !!!

Sudhakar Shahane

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SJ work outside RK fold is much more, tremendous and of far higher quality. (up to 1971- Jai’s demise.)

This is an e-mail which I got from a visitor on my youtube channel.
I found it useful to share with all my fellow SJ fans.
Shri R.Nanjappa ji writes :
Dear Pandey Ji,
Thank you for your email of this morning.
I have since reread your comments on my response to the YT feature of 5 Jan 2015 closely.
I want to share two further thoughts with you.
There are two distinct worlds in SJ’s music: one for RK films, one out side the RK fold. People usually praise the association of RK and the SJ quartet of S-J, Shailendra and Hasrat, along with Mukesh and Lata. But I feel this is overdone. RK did launch SJ as MDs and supported them by making them his paid employees. But he also severely limited the scope of their genius by forcing them to conform to his own formula of music in his films. In RK films, SJ’s music was popular but lacked depth, except in flashes. They composed music for just 9 films for RK – two of which failed at box office, though for non-musical reasons, and one achieved just average success. Among them, Aah had perhaps the best ever music of SJ for RK- with soulful renderings by Mukesh and Lata. Boot Polish too had a very lively score, though it was a later addition, the film having been completed as a realistic film in the style of a Vittorio de Sica, without songs. The whole music was composed and recorded within 25 days!
But to an objective observer, it is too obvious that SJ work outside RK fold is much more, tremendous and of far higher quality. [ up to 1971- Jai’s demise.] This is primarily because they enjoyed total creative freedom outside RK shadow. I feel the RK-SJ association is hyper hyped.
Lata Mangeshkar once said that whoever might have been credited as MD for RK films, the real music director was RK himself- the others merely executed RK’s ideas. There is some truth here, but not whole truth. [Lata is usually not wholly reliable. She distorts matters.] SJ composed many tunes which RK had taped and stocked. It is these he used till Ram Teri Ganga Maili. RK was unfair that he did not acknowledge SJ’s contribution openly.
Lata also had a direct hand in denying Shankar re-entry to RK fold. Lata had fallen out with RK and Shanker over the song Main kya karun Ram for Sangam. But later RK reconciled with Lata, but when Bobby was to be made, Lata said she would not sing for Shanker and she insisted that Shanker should be sacked, and brought in LP. RK just yielded. But RK told LP that they were to be just arrangers, as the tunes were already ready- made by SJ. Thus, RK, Lata -all conspired against the great Shanker, when he was already down without Jai. Such is the wretched filmy world. Jahan Rishte na honge jhoot ke- runs one song in Patita– composed by SJ, written by Shailendra, and sung by Talat. What an irony in real life!
Lata had another grudge against Shanker – that he promoted Sharda. Some may dispute the quality of Sharda’s voice. But how and why? In comparison with whom? Whose voice is perfect, ever? Each singer has a distinct voice and it suits some actors and situations more than others- this is the MD’s choice, and people are the ultimate judge. Can Lata ever sing an ‘Aayiye Meherban’, Raat Akeli hai, Aye dil mujhe bata de, Poocho na hamen hum unke liye,Jaane kya tune kahi, Aage bhi jaane na tu, Kya ho phir jo din rangeela ho. etc?
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Lata had prevented the rise of many other female singers. I will give one telling example, not widely known. When some Hindi films were dubbed in Tamil, Tamil artistes used to sing the Tamil version songs. When Aah was dubbed as Avan in Tamil, A.M.Rajah and Jikki sang the songs of Mukesh and Lata. These became quite popular, which Lata did not like. When Uran Khatola was dubbed into Tamil, Bala Saraswati Devi, a gentle and cultured Telugu and Tamil knowing lady of some aristocratic background with a sweet voice was selected by Naushad to record the Tamil songs. She was called to Bombay, was rehearsed by Naushad and one song was even recorded. Lata came to know about it, she ran a furious tantrum; even Naushad was unnerved, and quietly replaced the poor Bala Saraswati Devi, and recorded the Tamil songs in Lata’s voice. Now, Lata cannot pronounce any south Indian language properly, and the Tamil songs she sang in the Tamil version of Uran Khatola ( named Vaana Ratham) sound so ridiculous. But such are her ways. It is Lata who prevented Shanker from entering RK fold again. I feel RK was wretched in thus deserting and destroying Shanker, who is acknowledged as a great composer by all knowledgeable insiders, after extracting so much work from him in advance. [Lata similarly destroyed C.R. SDB also yielded to her. Such were her tactics- I call it “Latagiri”.]
Is RK deserting Shanker important? Yes, however talented a composer, he needs steady support to maintain and nurse his creative talents, without worry. See how SDB was supported by Nav Ketan for long, Ravi was supported by some big producers, while Madan Mohan lacked consistent support from any big banner. Thus when Shanker was down on luck, support from RK would have helped his market. But then, it is a mystery why almost all his films failed after the death of Jai, though everyone concedes that Shanker was the more complete musician between the two?
There is another aspect about which I will write separately.
Yours sincerely,