Category Archives: Uncategorized

महान संगीत साधक युगल – शंकर जयकिशन

by

Dwarka Prasad Khambia 

उनका ऑर्केस्ट्रा यद्दपी काफी भारी भरकम हुआ करता था परन्तु एक दम सधा हुआ था उनके ऑर्केस्ट्रा की कुछ मौलिक खूबियां गौर तलब है जैसे गीत का प्रारंभ , मध्य,और अंत समूह वायलिन वादक गीत की दिलचस्प और दिलकश बनाने में सहायक सिद्ध होता था जैसे
1 आ अब लौट चलें(जिस देश में गंगा बहती है)
2 दिल के झरोखे में तुझ की( ब्रम्हचारी)
3 रात के हम सफर ,( एन इवनिंग इन पेरिस)
4 मै चली मै चली(प्रोफेसर)
5 दिल तेरा दीवाना है सनम(दिल तेरा दीवाना)
6 पंछी रे ओ पंछी (हरे कांच की चूड़ियां)
7 दिल की गिर ह खोल दो ( रात और दिन) आदि
ताल प्रवाह प्रधान गीत
1 है आग हमारे सीने में ( जिस देश में गंगा बहती है)
2 हो एक बार आता है दिन (आई मिलन की बेला)
3 कैसे समझाऊं बड़ी न समझ ( सूरज) आदि
शहनाई का पार्श्व में संगीत
1 सुन बलिए ऋत है बहार की
2 दूरियां नजदीकियां बन गई ,,(दुनियां) आदि
बांसुरी का बारीक स्वर प्रयोग
1 घान चुनरी पहन ( हरे कांच की चूड़ियां,)
2 हमरे गांव कोई आएगा(प्रोफेसर) आदि
जिस प्रकार विश्व की सर्व मान्य संस्था राष्ट्र संघ है और सुरक्षा परिषद उसका महत्वपूर्ण भाग है एवं रूस,अमेरिका,फ़्रांस,ब्रिटेन *बिग फोर* कहलाते है उसी प्रकार वालीवुड रूपी विश्व के राजकपूर महत्वपूर्ण स्तम थे और शंकर,जयकिशन,शैलेन्द्र,हसरत जयपुरी भी उनके बिग फॊर तुल्य ही थे…. इन सभी ने संयुक्त रूप से अपना लोहा सिद्ध किया।
शंकर जय किशन ऐसे पारखी जोहरी थे कि किस अभिनेता /अभिनेत्री पर किस गायक/गायिका की आवाज उचित रहेगी….बखूबी जानते थे।वे उस संबंध में बेखोप निर्णय लेते थे।इसीलिए परंपरा से हटकर दिलीप कुमार लिए मुकेश की आवाज को प्राथमिकता दी(यहूदी).राज कपूर के लिए मोहम्मद रफी (एक दिल सो अफसाने) व मन्ना डे (श्री 420,आवारा),राजेन्द्र कुमार के लिए सुबीर से (आस का पंछी),वैजयंती माला व राजश्री के लिए शारदा की आवाज ( सूरज, अराउंड द वर्ल्ड) का उपयोग किया।
जयकिशन एक सहृदय इंसान भी थे उन्होंने सुप्रसिद्ध ग़ज़ल गायक को अपनी कार में उस जमाने में कई बार लिफ्ट जी जब जगजीत सिंह को जानता भी नहीं था।
काल चक्र के प्रवाह में दू:खद मोड़ उस पड़ाव पर आया जब यह जोड़ी जयकिशन की आकस्मिक मृत्यु की वजह से टूट गई । जय किशन के जाते ही लोग भी शंकर जी से मुंह चुराने लगे यहां तक की जिनकी आंखो के वे कभी नूर थे (राजकपूर) व अन्य अवसरवादी निर्माता ,निर्देशकों ने भी उनसे दूरियां बना ली। शंकर ऐसी स्तिथि से व्यथित होकर ही कहा था –
* रहते थे कभी जिनके दिल में
हम जान से भी प्यारों की तरह,
बैठे है उन्हीं के कुछ में,
आज गुनहगारों की तरह*


इन विपरीत परिस्थिति यों के बावजूद भी शंकर जी ने मृत्यु पर्यन्त(26 दिसंबर 1987) तक शंकर जयकिशन बैनर के तहत ही कई फिल्मों में संगीत दिया उनमें कुछ उल्लेखनीय है दो झूठ,आत्मा राम,दुनियादारी,गोरी,गरम खून ,आज की ताजा खबर आदि।
स्वर साम्राज्ञी लता मंगेशकर ने अपने अमृतोत्सव के समय दैनिक समाचार पत्र नई दुनिया के संपादक अभय छजलानी से कहा था * शंकर जयकिशन के संगीत का फलक बहुत विशाल है।उन्होंने हर प्रकार के संगीत का सुंदर प्रयोग किया है। केवल राजकपूर ही नहीं बल्कि अन्य निर्माता,अभिनेता,अभिनेत्रियों केलिए भी उनकी मनपसंद का सुंदर संगीत दिया …उनका संगीत निश्चित ही ..चमत्कारी और अद्भुत है*
अंत में इतना ही कहा जा सकता है कि हिंदी सिनेमा जगत के संगीत के खजाने की अपनी बेमिसाल सांगीतिक रचनाओं के अनमोल रत्नों से समृद्ध करनेवाले महान संगीतज्ञ युगल शंकर जयकिशन के अप्रतिम योगदान की चर्चा के बगैर हिंदी फिल्मों का संगीत इतिहास अपूर्ण ही कहा जाएगा।
इस महान संगीत साधक युगल को आने वाली पीढ़ियां युगों युगों तक विस्मृत नहीं कर पाएगी।
उनका हृदय से स्मरण करते हुए कोटिशः नमन इन पंक्तियों के साथ –
* एक कृति जो फिर न बनेगी,
एक कमी जो हमेशा खलेगी,
एक गम जो कभी न छूटेगा,
एक शख्स जो कभी न भूलेगा
*

Image may contain: 4 people, including Rsmurthy Rallapalli, people standing


इन विपरीत परिस्थिति यों के बावजूद भी शंकर जी ने मृत्यु पर्यन्त(26 दिसंबर 1987) तक शंकर जयकिशन बैनर के तहत ही कई फिल्मों में संगीत दिया उनमें कुछ उल्लेखनीय है दो झूठ,आत्मा राम,दुनियादारी,गोरी,गरम खून ,आज की ताजा खबर आदि।
स्वर साम्राज्ञी लता मंगेशकर ने अपने अमृतोत्सव के समय दैनिक समाचार पत्र नई दुनिया के संपादक अभय छजलानी से कहा था * शंकर जयकिशन के संगीत का फलक बहुत विशाल है।उन्होंने हर प्रकार के संगीत का सुंदर प्रयोग किया है। केवल राजकपूर ही नहीं बल्कि अन्य निर्माता,अभिनेता,अभिनेत्रियों केलिए भी उनकी मनपसंद का सुंदर संगीत दिया …उनका संगीत निश्चित ही ..चमत्कारी और अद्भुत है*
अंत में इतना ही कहा जा सकता है कि हिंदी सिनेमा जगत के संगीत के खजाने की अपनी बेमिसाल सांगीतिक रचनाओं के अनमोल रत्नों से समृद्ध करनेवाले महान संगीतज्ञ युगल शंकर जयकिशन के अप्रतिम योगदान की चर्चा के बगैर हिंदी फिल्मों का संगीत इतिहास अपूर्ण ही कहा जाएगा।
इस महान संगीत साधक युगल को आने वाली पीढ़ियां युगों युगों तक विस्मृत नहीं कर पाएगी।
उनका हृदय से स्मरण करते हुए कोटिशः नमन इन पंक्तियों के साथ –
* एक कृति जो फिर न बनेगी,
एक कमी जो हमेशा खलेगी,
एक गम जो कभी न छूटेगा,
एक शख्स जो कभी न भूलेगा
*

Advertisements

Shankar Jaikishan: A Retrospective Tribute

By

Ss Murthy

Shankar being elder to Jaikishan by nearly half a score of years should have logically gone first. If it had happened that way Jai’s position would have been similar.The disadvantage of being Shankar Jaikishan is as true the advantage of being Shankar Jaikishan. Both had reaped unprecedented success as music directors while both of them were living.

Salient features on sharing of workload :

To meet the workload from the plethora of films coming as a bounty in the wake of their resounding commercial viabilty, inevitably lead to a standing arrangement between the two.

The title songs, theme tunes,classical music and,the dance compositions which forms the most difficult part of song composition would be done by Shankar being a one time dancer himself.,

Whereas the softer tunes, romantic numbers, the more modern ones and the arduous task of scoring background music was done by Jaikishan. Naushad sab is on record on how Jai had the rare ability of instant mental notation once the film was unreeled for the background score and what a dream score it would be with its telling audiovisual impact on the viewer.

While the contours of day to day functioning were so distinct it was inevitable that there should have been disharmony and disarray immediately consequent upon Jaikishan’s sudden demise and Shankar taking on those extra cudgels shared by Jaikishan.

<p> </p><p>It took some time naturally for Shankar to readjust and it is sadly this transit phase when Shanker was value judged as a solo composer and the commercial viability of Shankar at stake.</p><p>As a natural corrolary would it not have been Jai’s fate as well?</p>

In the aftermath of Jai’s exit:

the year that Jaikishan passed away (1971) SJ had between them no fewer than 17 releases and bulk of those have flopped by the time Jai passed away.

But the moment Jai died only his success over the 22 years was remembered while Shanker had to carry the full onus, all by himself not only the flops that had already come in the year 1971 but the failures immediately after Septembe12 1971, though most of those compositions pertained to Jaikishan.

The harsh truth is that SJ’s image broke when Jai so suddenly shuffled his mortal coil and Shanker had all by himself to pick up the pieces. A couple of immediate boxoffice hits (which were SJ’s forte till then ) would have helped and rejuvenated Shanker from the sinking morass of depression he found himself in. But he had no such luck. Shankar fought what was at best a gallant rearguard waterloo.

Lady luck and Glamour kid Jai :

That is called luck for Jaikishan. Could it not be said Jaikishan was born to Lady Luck. He was this lady’s glamour kid from word go.Jai patronised only the most modern restaurants at Churchgate in Bombay. His aura was built around his handsome semblance, endearing personality, his marriage to a socialite like Pallavi had added to his charisma. It was said that Jai would be the first person sent for no sooner Shammi Kapoor signed a film giving the composer a vantage position in the industry. Jaikishan had a tongue coated with honey. He only made friends and is amazing for one who was so enviably succesful all through his career. His death revealed that he was amiable with the entire industry . Shankar candidly spoke on these aspects of Jai which were his natural traits in an interview with Amin Sayani.

Shankar, Lata and Sharada :

Shankar never had the need for dealing with the commercial and PR aspects with film producers so long as Jai was alive and the need to curb his inbuilt outspoken trait of wearing his heart on his sleeve did not arise. In fact his rocklike stubbornness which had paid him dividends while the going was good was now a detrimental factor. Mind you when Shankar was asked why he chose Sharada as a singer who is a nonentity and a nobody, he nonchallantly replied that Lata also was the same when SJ chose her for the songs of Barsat.

<p>Lata’s word counted a lot in the industry at the time when Jaikishan died, and unfortunately, (for whatever reasons) Sharada did not turn out to be the Midastouch Shankar anticipated from her and Lata faced no threat ever from either Sharada or Shankar.</p><p>Shanker was a broken man by now, with the wind against him and with most of the bigwigs in the film industry havng deserted him, Shankar’s pride of self respect now was mocking indignant when he was denied the large orchestra he was used to tantamounting to one’s hands being tied to one’s back.</p><p> </p>

Inscrutable are the ways of Nature, the duo’s rehearsal room at Famous studios which many moons ago had hordes of producers throng its corridors waiting in anticipation with a thick wad of notes to sign the Silver Jubilee music directors has since dwindled. Yet holding his head high in the light of his bereavement from Jaikishan and his disillusion around not being recalled to RK, he still waged a relentless battle against all odds for the rest of his life and passed away on 26th April 1987.

RK’s Intense feelings at Shankar’s demise:

One person who could have resurrected Shankar at this stage was RK who was his maker and unfortunately his nemesis also and RajKapoor was seen to feel intensely for the man on his death as he made a personal appearance on Bombay TV’s Chaya Geet, to pay his salad day’s composer a tribute.

Nostalgia:

As I passed my boyhood, nourishing on SJ’s music and passed on to adolescence and into the formative years stealing a prosaic glance into the sands of time I recollect how the S-J wave had gathered momentum just when I was leaving the harbourage of boyhood and peaked just when I was all set to sail the turbulent sea of life. Now, I am immune to the sting that S & J are no more in flesh and blood but their melodies in the form of memories live on and giving us cause to remember them in a large canvass of assosciated artistes, singers, accompaniments, arrangers,instrumen talists and so on.

It is perhaps, the Almighty’s decree that Jaikishan ji be relieved at the top of the high tide and not be left forlorn by a receding wave,leaving the burden of the cross to be borne by his illustrious robust colleague Shanker for the next sixteen years. Even as the pain of their loss is dredged up along with the past, we continue to draw sustenance from the wellsprings of S-J’s timeless nuggets.

May their souls rest in peace.

A humble tribute to the legends who made our moods and for me and am sure for most of us it is SJ always irrespective of whose tunes they are S or J.

with humble

regardsssmurthy

Maestro Jaikishan’s interesting interview:

By


Dr. Padmanabh K Joshi

Today is Maestro Jaikishanji’s 48th Death Anniversary. We all the members of SJMF as well as all SJ music lovers around the globe all the time miss him. Paying our heartfelt tribute to the great Maestro Jaikishanji, I present his very interesting interview. MAESTRO JAIKISHAN REMEMBERS…………Here are some excerpts from Maestro Jaikishanji’s interesting interview:

“My first inspiration in music came from my own family. My father, who died when I was very young, was a singer of devotional songs. My two older brothers used to be good classical singers. From about the age of eight, I was fond of singing light songs. Balwant, one of my brothers, was giving music lessons to interested pupils but he warned me early that music was not an easy field, implying perhaps that I should try something else as a future career.But eventually, seeing my persistence as well as perhaps a glimmer of some real talent in me, he changed his mind and went so far as to accept me as a pupil. I used to sing to the accompaniment of a table or a harmonium. We formed a group of minstrels going from village to village in my native Gujarat singing at weddings and such functions and thus making a livelihood. The mainstay of our family was our poor mother who used to do all kinds of odd jobs that came her way in order to keep our family together.Ultimately, I arrived in Bombay seeking some substantial form of livelihood. I got a work in a wood factory at Sewri. My salary was Rs. 60 a month. The factory used to make bomb crates. Then the second world war came to an end – and so did the factory. Now I cast about for a film job.During my round of the studios, I came upon Shankar. He had joined Prithvi Theatres and was looking for an opportunity to compose film music. We took a liking to each other. This was the beginning of the long partnership between us. Shankar took me to Prithvi Theatres and got me a job as a harmonium player. My early showing at the Theatres was not good. I fell ill during my very first out-of-station assignment with the troupe. I have since been keeping very well – and so has our partnership.There was a blue-eyed, wonderfully friendly and lively young man at Prithvi Theatres who often talked enthusiastically about the films he wanted to make and so on. This was Raj Kapoor, the son of our proprietor. Once, when we were performing at Poona, Shankar and I played for Raj two tunes we had composed. “I am going to put them in my film,” Raj said. We thought he didn’t really mean it but he did. The tunes we played for him found place in his “Barsaat,” our first film assignment. The songs were: “Main Zindagi me hardam rota…” and “Jiya bekarar hai.”All that I want to add is that we have full faith in each other and that is the most important thing about us. We will continue together to the finish. About the sources of a composer’s inspiration all I can say is that it is really a passion inside a man, a dedication, a species of madness. Whenever good tunes occur to me, I fix them by writing the notations.We started the vogue of “heavy” orchestration, namely, using a large number of musicians. For the dream sequence song of “Awaara” – the sequence was the first of its kind – we used a 100-piece orchestra. Who doesn’t remember the song “Ghar aaya mera pardesi”? The sequence has three phases – life on earth, Hell and Heaven. The effect contributed by our large orchestra was the right, proper and best possible one to project the variations of mood within the same song and sequence. In the background music of “Awaara,” we used a western garb on Indian content – we presented the familiar Indian “ragas” in symphony form. There is, I feel, nothing wrong with these attempts – on the contrary the results have been novel and pleasing – but the main thing is that composers should understand the many instruments they are using, and keep in sight the effect they are really after and not lose themselves and their purpose in the welter and profusion of instruments used.The “western” influence on some of our compositions has led to some cries of “copy”. I don’t mind saying there have been one or two examples of similarity but nothing more than that. We have composed a large number of songs (roughly 700). After all, we can’t copy ourselves. We have to experiment, strike out for something new, and the process sometimes unfortunately brings about charges of “imitation” or “un-Indian”!Apart from music, I am very much interested in sports. I play a fair game of cricket, billiards or badminton myself.I thrill whenever I remember that our music lives not only in this country but abroad. A few days ago when I went to London on my first ever trip abroad (I used to be scared of aeroplanes but marriage, I must say, has cured me of this) for the release of “Arzoo,” I saw the popularity of our songs among the Indians there. At a Rome restaurant, the violinist from the orchestra came up to our table to play “Ye mera prem patra….” Was I thrilled, and was he thrilled when I told him I had composed the song! At a Beirut night-club, Shammi Kapoor and I had to get up and sing “Yahoo” and “Suku suku” – and the entire house was singing with us.

About Saajan Ki Galiyaan

Sajan Ki Galiyan, 1966.

If there is one director Sadhana worked with extensively, it was Raj Khosla. The two teamed up for four films – Ek Musafir Ek Hasina (1962) and Khosla’s unforgettable mystery trilogy with the actress – Woh Kaun Thi? (1964), Mera Saaya (1966) and Anita (1967). Few know that sometime in the 1960s, there was a fifth film the director-actress were working on, Sajan Ki Galiyan. Produced by cinematographer Fali Mistry (Guide, Hare Rama Hare Krishna), the film starred Sadhana with Dev Anand in what would have been their third film together – the first in color – following Hum Dono (1961) and Asli Naqli (1962).
Caption courtesy Karan Bali from Upperstall.
#sajankigaliyan #shelvedretrofilms #devanand #zaheeda #sadhana #sadhanashivdasani #rajkhosla #falimistry #shankarjaikishan #nargisdutt #classichindifilms #hindifilms #bollywood #retrobollywood #ekmusafirekhasina #wohkaunthi #merasaaya #humdono #aslinaqli

Sajan Ki Galiyan, 1966. If there is one director Sadhana worked with extensively, it was Raj Khosla. The two teamed up for four films – Ek Musafir Ek Hasina (1962) and Khosla’s unforgettable mystery trilogy with the actress – Woh Kaun Thi? (1964), Mera Saaya (1966) and Anita (1967). Few know that sometime in the 1960s, there was a fifth film the director-actress were working on, Sajan Ki Galiyan. Produced by cinematographer Fali Mistry (Guide, Hare Rama Hare Krishna), the film starred Sadhana with Dev Anand in what would have been their third film together – the first in color – following Hum Dono (1961) and Asli Naqli (1962).
Caption courtesy Karan Bali from Upperstall. #sajankigaliyan

*****







Sajan Ki Galiyan, 1966.
The film, besides Sadhana and Dev Saab, was to be the launchpad of Zaheeda, Nargis’ niece.  In an interview, Zaheeda recalls that her aunt was dead against her working in films but reluctantly agreed when Zaheeda herself requested her that she wanted to give acting a go to see what it was all about. And so, Zaheeda was cast in a key role of a princess in Sajan Ki Galiyan.  Though Zaheeda’s father was hesitant as to how much of an impact his daughter would make with Sadhana already in the film as its main heroine, Zaheeda assured him that if she were to make it as an actress, she would anyway.
Caption courtesy Karan Bali from Upperstall.
#sajankigaliyan #shelvedretrofilms #devanand #zaheeda #zaheedahussain #sadhana #sadhanashivdasani #rajkhosla #falimistry #shankarjaikishan #nargisdutt #classichindifilms #hindifilms #bollywood #retrobollywood

Sajan Ki Galiyan, 1966. The film, besides Sadhana and Dev Saab, was to be the launchpad of Zaheeda, Nargis’ niece. In an interview, Zaheeda recalls that her aunt was dead against her working in films but reluctantly agreed when Zaheeda herself requested her that she wanted to give acting a go to see what it was all about. And so, Zaheeda was cast in a key role of a princess in Sajan Ki Galiyan. Though Zaheeda’s father was hesitant as to how much of an impact his daughter would make with Sadhana already in the film as its main heroine, Zaheeda assured him that if she were to make it as an actress, she would anyway. Caption courtesy Karan Bali from Upperstall. #sajankigaliyan#shelvedretrofilms#devanand#zaheeda#zaheedahussain#sadhana#sadhanashivdasani#rajkhosla#falimistry#shankarjaikishan#nargisdutt #classichindifilms #hindifilms #bollywood #retrobollywood40331 year ago

Sajan Ki Galiyan, 1966.
The music of Sajan Ki Galiyan was being composed by Shankar-Jaikishan. Fortunately (or unfortunately as one rues what might have been), two songs from the film can now be viewed on YouTube. One is the deliciously romantic Mohammed Rafi solo, “Humne Jinke Khwab Sajaye” a signature S-J composition written by Hasrat Jaipuri.
The other clip is a short scene and a song featuring Dev Saab, Sadhana and Zaheeda – “Hum Khoob Jaante Hai”, sung by Mohammed Rafi, Suman Kalyanpur and Geeta Dutt. 
Caption courtesy Karan Bali from Upperstall.
.
.
Swipe to see the songs from the film! I love both of the songs, luckily for both of the songs the full version is on YouTube!
#sajankigaliyan #shelvedretrofilms #devanand #zaheeda #zaheedahussain #sadhana #sadhanashivdasani #rajkhosla #falimistry #shankarjaikishan #nargisdutt #classichindifilms #hindifilms #bollywood #retrobollywood #geetadutt #mohdrafi #mohammedrafi #sumankalyanpur

Sajan Ki Galiyan, 1966. The music of Sajan Ki Galiyan was being composed by Shankar-Jaikishan. Fortunately (or unfortunately as one rues what might have been), two songs from the film can now be viewed on YouTube. One is the deliciously romantic Mohammed Rafi solo, “Humne Jinke Khwab Sajaye” a signature S-J composition written by Hasrat Jaipuri. The other clip is a short scene and a song featuring Dev Saab, Sadhana and Zaheeda – “Hum Khoob Jaante Hai”, sung by Mohammed Rafi, Suman Kalyanpur and Geeta Dutt. Caption courtesy Karan Bali from Upperstall. . . Swipe to see the songs from the film! I love both of the songs, luckily for both of the songs the full version is on YouTube!
#sajankigaliyan #shelvedretrofilms #devanand#zaheeda #zaheedahussain #sadhana#sadhanashivdasani #rajkhosla #falimistry#shankarjaikishan #nargisdutt #classichindifilms #hindifilms #bollywood #retrobollywood #geetadutt #mohdrafi #mohammedrafi #sumankalyanpur


Courtesy :

https://www.instazu.com/tag/shelvedretrofilms

चले जाना ज़रा ठहरो किसी का दम निकलता है

By

महान मुकेश की पुण्य तिथि २७ अगस्त पर विशेष

गायक मुकेश के उपलब्ध गीतों को प्रायः हम जिस रूप में अब तक सुनते आए हैं उनमें से कुछ गीत ऐसे भी हैं जो मूल रूप से एकल स्वर में रेकार्ड किए गए थे पर फ़िल्म में उसे कथानक अथवा दृश्य के आवश्यकतानुसार किसी अन्य रूप में प्रस्तुत किया गया है। फ़िल्म संगीत पर किए जा रहे अपने अनवरत शोध प्रक्रिया के अन्तर्गत मुझे ऐसे ढेरों गीत भी मिले जो उपलब्ध तथा प्रचलित गीत में निहित सामग्री के विपरीत अपना पृथक और स्वतन्त्र रूप लिए हुए थे। ऐसे भिन्न प्रकृति के गीतों में किसी गीत में अतिरिक्त अन्तरा है तो कोई गीत एकल स्वर में है या किसी गीत में सह गायक-गायिका का स्वर उपलब्ध गीत से पृथक है।


चले जाना ज़रा ठहरो https://www.youtube.com/watch?v=N6SjKNKnmII इसी प्रकृति का एक विशेष गीत है।


शंकर-जयकिशन के संगीत में ढला फ़िल्म ‘अराउंड द वर्ल्ड’ (१९६७) का गीत ‘चले जाना ज़रा ठहरो किसी का दम निकलता है, ये मंज़र देख कर जाना, चले जाना’ भी इसी श्रेणी का एक गीत है। फ़िल्म तथा रेकार्ड पर यह गीत मुकेश और शारदा के युगल स्वरों में है जबकि पूर्व की परिकल्पना के अनुसार इस गीत को मुकेश के एकल स्वर में रेकार्ड किया गया था। फ़िल्म में जब आप इस गीत के फ़िल्माँकन पर ध्यान देंगे तो मेरी तरह ही सम्भवतः आपके मन-मस्तिष्क में भी यह विचार कौंधे कि फ़िल्म के दृश्य में जाने का हठ तो नायिका कर रही है परिणामस्वरूप नायक उसे रूक जाने का आग्रह करते हुए गा उठता है – ‘चले जाना ज़रा ठहरो किसी का दम निकलता है’। पर, इस दृश्य में जब नायिका के मुख से ‘चले जाना ज़रा ठहरो’ का बोल फूटता है तो कुछ अटपटा सा लगता है। नायक राज कपूर तो कहीं नहीं जा रहे थे, वो तो नायिका राजश्री थीं जो जाने को उतावली थी, ऐसे में उन्हें नायक राज को क्यों रूकने को कहना पड़ रहा था। फ़िल्म की कहानी में इसी कारण से ही मूल कहानी के दृश्य के अनुरूप यह गीत मुकेश के एकल स्वर में रेकार्ड किया गया था।


अब मैं अपने शोध तथा निजी सम्पर्क के सूत्रों से उपलब्ध सूचना के आधार पर इस गीत के पार्श्व की कथा से सम्बन्धित एकत्रित की गयी सामग्री के परिप्रेक्ष्य में इस गीत के एकल से युगल बनने की कहानी आपको बताता हूँ। शंकर-जयकिशन अपने संगीत से किसी भी कथानक या दृश्य का परिदृश्य बदलने में किस प्रकार सिद्ध हस्त थे उसका भी एक रूप इस गीत में आपको दिखेगा। गायिका के रूप में तब शारदा ने शंकर-जयकिशन के संगीत में आते ही लोकप्रियता के शीर्ष का वरण कर लिया था। शारदा राज कपूर के आमन्त्रण पर ही भारतीय सिने गीत-संगीत जगत में आयी थीं और उन्हें सिने गायकी में पारंगत करने का दायित्व राज ने शंकर-जयकिशन को सौंपा था। मुकेश के साथ इस गीत का अभ्यास (रिहर्सल) पूर्ण कर लेने के पश्चात् शंकर-जयकिशन के संगीत कक्ष में जब इसे रेकार्ड किया जा रहा था तब राज कपूर और इसके गीतकार हसरत जयपुरी भी वहाँ उपस्थित थे। गीत के रेकार्ड हो जाने के बाद राज ने यूँ ही बातों-बातों में कह दिया, इस पूरे गीत में मेरे साथ राजश्री कुछ नहीं बोलेंगी? जयकिशन तो चुप रहे पर शंकर बोल उठे, क्यों नहीं, हसरत मियाँ आप कुछ लिखिए तो हम देखते हैं। फिर क्या था, हसरत जयपुरी ने गीत के लिए कुछ और अन्तरे लिख दिए। शंकर ने शारदा को ध्यान में रख कर दो और अन्तरों को गीत में समायोजित किया और कुछ दिन बाद मुकेश का यह एकल गान शारदा के संग मिल कर युगल गीत बन गाया।


अब मेरे लिए मुकेश के गाए इस मूल एकल गीत को प्राप्त करने की चुनौती थी। अपने सम्पर्कों में मैंने कोलकाता के अपने पुरातन पारिवारिक मित्र भाई कमल बेरीवाला से कहा तो उन्होंने छूटते ही कहा कि मेरे पास वो मूल गीत है पर मुझे समय दीजिए ताकि मैं उसे अपने संग्रह से ढूँढ कर निकाल सकूँ। इस कार्य में कोलकाता के ही हमारे संगीत प्रेमी मित्र भाई अनूप गड़ोदिया का भी सहयोग मिला जिसके लिए मैं भाई कमल के साथ-साथ उनका भी विशेष आभार व्यक्त करता हूँ।


आप सभी संगीत प्रेमियों के समक्ष आज गायक मुकेश की पुण्य तिथि के अवसर पर यह गीत यहाँ उपलब्ध है जिसे आप यू ट्यूब के इस लिंक पर सुन कर अपनी सुरीली प्रतिक्रिया से हमें अवगत करा सकते हैं। मैं यहाँ यह स्पष्ट कर दूँ कि इस गीत पर किए गए शोध के लिए आप मेरा आभार व्यक्त करें या न करें पर इस दुर्लभ गीत को उपलब्ध कराने का सम्पूर्ण श्रेय भारत के वरिष्ठ रेकार्ड संग्रहकर्ता भाई कमल बेरीवाला Kamal Beriwala को ही जाता है जिस हेतु आप सीधे उनको ही अपना धन्यवाद ज्ञापित कर सकते हैं। पूर्व में भी समय-समय पर कमल भाई हमें दुर्लभ गीतों का उपहार देते आए हैं। उनका आभार एवं धन्यवाद !
डॉ राजीव श्रीवास्तव 
गीत का सूत्र (लिंक) https://www.youtube.com/watch?v=N6SjKNKnmII
[गीत: चले जाना ज़रा ठहरो, फ़िल्म: अराउंड द वर्ल्ड (१९६७), गीतकार: हसरत जयपुरी, संगीतकार: शंकर-जयकिशन, गायक: मुकेश, शारदा]

by Raajeev Shrivaastav

A gift to Shankar Jaikishan fans

Image may contain: 2 people, people smiling

महान संगीतकार शंकर-जयकिशन का यह व्यक्तिचित्र (पोर्ट्रेट) विश्व विख्यात वरिष्ठ चित्रकार प्रो. एस. प्रणाम सिंह Pranam Singh ने मेरी शीघ्र प्रकाशित होने वाली आगामी पुस्तक ‘सात सुरों का मेला’ हेतु विशेष रूप से अपनी तूलिका से गढ़ा है. उनका हार्दिक आभार एवं आत्मिक धन्यवाद !

BINACA GEET MALA ANNUAL BILLBOARD CHART OF SHANKAR JAIKISHAN SONGS Statistics

by

Pashambay Baloch

BINACA GEET MALA ANNUAL BILLBOARD CHART OF SHANKAR JAIKISHAN SONGS Statistics

FILMS

  • Total films of Shankar Jaikishan 171 ( out of which 79 films songs broadcast/played in Binaca)
  • Less: Films of pre Binaca(1949-52) 8
  • Films whose song played in Binaca 79 (48.50%)
  • SONGS Total Hindi songs composed by SJ 1276
  • Less: Songs of pre Binaca (1949-52) 69
  • Total songs played in Binaca 134 (10.52%)
  • Maximum songs of a film played 5(JDMGBH)
  • Number One songs (Binaca Rating) 6
  • Number 2 to 10 (Binaca Rating) 52
  • Number 11 to 20 (Binaca Rating) 37
  • Number 21 to 32 (Binaca Rating) 39
  • Maxmium songs played in a year 14 (1959)
  • Songs of decade 1950s 34
  • Songs of decade 1960s 82
  • Songs of decade 1970s 18
  • Songs of decade 1980s 0
  • No song played in Binaca in years 1954, 1973, 1974, 1976-87

SINGERS

  • Lata Mangeshkar 36 songs
  • Mohammed Rafi 34
  • Mukesh 19
  • Lata Mangeshkar & Mukesh 8
  • Lata Mangeshkar & Manna Dey 6
  • Kishore Kumar 5
  • Asha Bhosle & Kishore Kumar 4
  • Lata Mangeshkar & Mohammed Rafi 4
  • Suman Kalyanpur & Mohd Rafi 3
  • Asha Bhosle 2
  • Asha Bhosle & Mohammed Rafi 2
  • Manna Dey 2
  • Subir Sen 2
  • Lata Mangeshkar & Hemant Kumar 1
  • Lata Mangeshkar & Subir Sen 1
  • Mubarak Begum & Mohammed Rafi 1
  • Sharda 1
  • Sharda & Mukesh 1
  • Talat Mahmood 1
  • Asha, Kishore & Mukesh 1

LYRICIST

  • Hasrat Jaipuri 68 songs
  • Shailendra 52
  • Neeraj 4
  • Vineshavar Sharma 2
  • Verma Malik 3
  • Rajinder Krishan 2
  • Anand Bakshi 2
  • Dev Kohli 1

compiled by Pashambay Baloch Karachi – 01 January 2015 PB:

Rafisahab through the lens of a musician.

by

Ashok Jagtap (Musician in Bollywood)

I came to Mumbai to try my luck in the industry.One of my friend introduced me to Bal Parte.Actually his name was Jaikumar but he was popularly known as Bal Parte.
Parte was assistant to Kalyanji Anandji and Usha Khanna.One day, he called me to his music room at warli and gave me some notations to play.He liked my playing and promised me to call for K.A.Recording.He kept his word.
I had hardly played two three recordings when this incident happened.
It was K.A.’s recording at film centre.I thought as usual I will play with orchestra but Parteji called me aside and asked me if I can play song with artist, as regular song violinist Narvekarji was not coming due to health problem.Parteji knew that I learned Indian as well western notation.To play song violin one has to have knowledge of classical music.I said I can try.
I took my violin and went to singers cabin.
After some time Rafisahab came followed by Ashaji.It was for the first time i saw both the legends.I said ” Namaste ” to both but inwardly I was nervous.Kalyanjibhai explained them the tune.I checked my notations.Within half an hour both the artists were ready and all of us went to the centre of the hall for rehearsal with full orchestra.Parte and Frank farnand were counducting the orchestra.Babla was looking after rhythm section.When rehearsal was over, artists wore headphones and went in the cabin.They were given placing.I too wore headphone and full mike rehearsal started.So far it was going well.
After some time Anandjibhai came out of the recording room and said, he found the song dull.He told the singers”Let us make the key half note high if both of you are comfortable.”
Inwardly I become more nervous as I was not accustomed to such a sudden change.When reharsal started,I was fumbling with notes.What I was playing went directly in singers earphones.Ashaji stopped singing and told some one”Bal la bolv”(call Bal).Parteji came promptly.She said “where is Narvekarji?”He tu konala pakdun anle aahe ?”Where did you get this guy? Her words entered my ears like hot lead. I become totally numb.Rafisahab told her that he is new and we would manage.After some time when Ashaji went out of the cabin to talk to someone,Rafisahab came near me.He put his hand on my back and said”koi baat nahi.Iska dimag jaldi garam hota hai.”Some how the recording was over.
This is how I met Rafisahab for the time.This small incident tells a lot about Rafisahab’s nature.I will never forget this incident but it was blessings in disguise.
I started practicing more and more. Six hours a day.For years I continued practiceing.
Years went by.Slowly I established myself.
Started playing with almost all music directors.

Image may contain: 6 people, people smiling


My first love was to play with orchestra but when need arised ,I played songs too.On many occasions I have to play with Ashaji.There was no Trace of past incident.She was comfortable with me.She would chat with me freely.
I played many songs with Rafisahab too. Anil Mohile who later became arranger used to play song violin with me.Together we both played many songs with different singers. Rafisahab,Lataji,Ashaji,all of them had amazing memory. It would take hardly half an hour for them to pick up the song. Most of the songs would be recorded within four hours. As the recording techniques developed, it increased the time required for recording instead of reducing it.
Rafisahab was a perfect gentleman. I’ve never seen him getting angry or being rude to anybody. Ashaji was exactly the opposite. If not in mood, she would make life miserable for the music directors or whoever in the range. I had seen her leaving the sets and music directors running after her. She is very out spoken but her anger would not last long. On the contrary Rafisahab never got angry. No matter how many retake’s he had to give he would sing till the music director was fully satisfied.
Only once he lost his cool at the recording of
Khayyamsahab.Khayyamsahab has habit of taking many retakes.He is never satisfied easily but that particular day after many retakes he was still not getting satisfied.He made Rafisahab sing more than 32 times.Everybody was tired.Rafisahab’s face was turning red but see his decency.Another person at his place would have walked out but he sangtill Khayyamsahab was satisfied.When Khayyamsahab came out of the recording room,he told him not to call himAgain and he never sang with Khayyamsahab again.
I remember him coming in his green fiat. Later he used chevrolet models. His brother in law Zahir would always accompany him. He was kind of his secretary. He was very friendly with us.He told us many unknown facts of Rafisahab’s greatness in his personal life. Rafisahab financially helped many needy musicians, singers even music directors who were old and out of work. For some ‘Lifafa’ would be ready and reach that person every month so he does not have to come to collect it. He did it all of this very secretly.We came to know about is only because of zahir. For the poor he was a ‘Masiha.
Once a musician who used to play with him wanted to buy a property.He set his eyes on one particular property which he liked very much but he has hardly twenty-five percent of the saving with him.He told his difficulty to his friend who advised him to approach Rafisahab.He was hesitant as the amount was not small but his friend convinced him to try.He went to Rafisahab’s house.He told him the reason.Without asking a single question Rafisahab went inside and came back with bundle of notes.That musician cried.In due course of time he returned the amount but it takes golden heart to help others.
Memory is like a small child walking on a sea-shore. You never know which pebble he will pick and treasure for the rest of his life. I also have some pebbles that I have stored .Today is Rafisahab,s death anniversary so i want to share these incidents with you which happened long time ago.

Image may contain: 2 people, people standing, wedding and night


Actualy I am not an eye witness to the incidents but i got first hand information from my musician friends who always accompanied Rafisahab. Even in his famous world tour also he accompanied him. A regular player in film industry too. Before we go on with the incident, let me tell you about Narayan Naidu, a fine tabla player. I remember him for one more reason and cant resist the temptation to tell you about it.
He was staying at the distance of hardly five minutes from the place where I used to stay. Every Gokul Astami he used to call his musician friends to his house for Jagran. There would be a vocal as well as instrumental program till dawn. Many musicians from film industry used to attend every year.Kalyanjibhai’s assistant Bal Parte also used to come every year.
At four o clock or five o clock all would be served with rice and sambar. 
To come back to the point Rafisahab’s program was at Gandhi Nagar Gruh, Vadodara.
In those days record dance by female dancer was a must. A dancer named Sheela Ramani who acted or better to say danced in few films and was famous. Due to some reason she could not come for the program and the ticket holder created a ruckus when they got to know this. Even few chairs were broken. Police were called. Before the situation could go out of hand, the organizers agreed to return the money to those who want to return the tickets. He was so nervous that he asked Rafi sahab to announce the same.
The curtain opened and Rafi sahab appeared on the stage and announced that whoever wants thair money back can have them and program will continue without dancer. But nobody returned the tickets. as the program started,everybody forgot about dancer and the program passed on peacefully.
Buji lord is good friend of mine.He is a very good drumer and vibraphone player.Buji’s father was a great persecutionist.His late brother Kercy Lord was a accomplished arranger who worked with Naushad,Madanmohan and many other music directors.Rafisahab was so close to Lord’s family that he even attended Buji’s marriage.He told me about West Indies tour which was held in year 1966.
Rafisahab was accompanied by Enoc Danial, Narayan Naidu,guitarist Dilip Naik and Abdul Karim.Female singer was Minoo Purshottam.In those days she was famous stage artist.Later Dilip Naik got married to her.
People were crazy for Rafisahab.For hours they would wait out side the hotel to just see him.Buji said he was surprised to see public response. All shows were housefull.He said,
Once the organizer tried to accommodate musicians in different low budget hotel.When Rafisahab came to know,he told the organizer that his musicians should get the same treatment and if he has any problem,he would not mind shifting to the hotel where his musicians were accommodated.
There was some type of gossip with almost all top singers but not Rafisahab.In my long carrier in film industry I never heard any body speaking against him.He was ajatshatru (person without enemy).He was not in a rat race for money.
I will tell you another small incident.
Music director Srikant Telang was my close friend.Both of us were staying in same building. He gave music in five to six small budget films.It was his wish to record at least one song by Rafisahab.His budget was so small that it was impossible to call Rafisahab for singing.
Amar Haldipurkar was his arrenger.He said”let us aproch Rafisahab.No harm in trying”.When reached there ,his brother in law zahir opened the door.He was the one who looked after financial affair of Rafisahab.Srikant told him about limited budget.He said “look.Rafisahab charges fifteen thousands but since I know you all,I will settle for thirteen thousand”In those days this amount was not small.Srikant’s face fell. Luckily same time Rafisahab came in the hall.Zahir told him about thirteen thousands.Looking at Srikants face he said ok ! How much you can afford?With great difficulty Srikant said”Sir my total budget is seven thousands.That including studio..Musicians charges etc.I can afford only two thousand.Rafisahab immediately said OK.Dont worry about money.Asked Zahir to write down date in diary.This was nature of Rafisahab.
This was not new for Rafisahab.Years ago same thing happened with Lakshmikant Pyarelal.Only difference was he returned the money and asked to share them among themselve.
You will be surprised to know that in those dayes some top singers were getting very good payment but still they charged hundred rupees extra for petrol and driver.
When Lataji was fighting for royalty,she was expecting Rafisahab to tow in her line but rafisahab flatly refused.She stopped singing with him.
After the release of film Aradhana,it was lean period for him.Actualy Rafisahab was supposed to sing all song of Aradhana.He sang first two songs but then senior Burmanda fell ill and R.D.took over.He wanted fresh voice and rest is history.
During that period he sang many beautiful songs with other singers .
Nearly two year after Rafisahab’s death, there was a recording at Bombay lab in Dadar. Music director was Roshan. He was not the famous music director Roshan but a messenger who worked with music director Ravi. He was giving music for the first movie he got. The song was being recorded at Bombay labs – As we were waiting for the rehearsal to start,
And then Rafi sahab entered. All were shocked and there was pin drop silence. It was only after he came close that we realised that he must be Rafisahab’s brother and later it was confirmed. Until then we had no idea that Rafi sahab had a brother. Though they were not identical twins, he looked like Rafisahab. Later he sang few songs with some small time music directors but none of them released.
Today after so many years Rafisahab is still in the heart of people.He was a great artist and great human being.
Day after tomorrow on 31July all over the world his death aniversary will be observed but I am posting my tribut today on occasion of my birthday.
I am not a professional writer so there are bound to be some mistakes but I have tried to write it honestly. My heartfelt tribute to great singer.

The Myths Surrounding Shankar Jaikishan

When anyone reaches the dizzying heights in their career, gain unheard of national and international fame, and win stupendous fan following from the common man to stalwarts in the entertainment and political world like Shankar Jaikishan did, it is but natural for their peers to feel a twinge of jealousy. Their contemporaries and media spun all kinds of fictitious stories about SJ to gain attention. Some in the music industry wanted to dismantle SJ from the “pedestal” their fans put them on and the media wanted to sell their product. The public was so fascinated by the composer duo’s persona and would take anything and everything written about the duo and believe it. SJ were so busy in their work that they hardly ever gave any interviews which would have helped to set the record straight.

It was said that SJ were arrogant and did not spare time to give interviews to the press. This is far from the truth. The reason was that SJ were extremely busy and they hardly ever had the time. Thus, the little time that they had was spent on their personal interests. Shankar, the consummate musician that he was, spent all his spare time composing tunes, learning to play new instruments and meeting with classical musicians who were of great interest to him. Jaikishan, on the other hand, was a social butterfly. With his handsome looks and successful career, he was always surrounded by friends and fans. Being a “party animal,” he was always spotted at social events where he was the center of attraction.

Image may contain: 2 people, text

That Shankar was rude, crude and uncouth cannot be more false. He may not have been highly educated, but he was a man of honor. Being a thorough professional, he always delivered his assignments on time and, thus, could never tolerate tardiness and irresponsibility. He reprimanded those who were not, which left him in their bad books. as mentioned by Manoj Shailendra, son of Shailendra, Shankar always addressed young and old with the suffix “ji” which shows his respect for one and all.

Nothing is as far from truth as Shankar Jaikishan being dropped from movies because of their high remuneration. As their popularity grew, so did their number of assignments. At the top of their career, in 1971, SJ were the busiest in town with nineteen movies on hand and couldn’t take on any more assigments. This was true with producers like Sridhar, L. V. Prasad, P. Gangadhara Rao, S. S. Vasan, T. Prakasa Rao from the south who were actively making movies and very badly wanted SJ to compose music for their upcoming movies. But the composers were so swamped with work that they couldn’t oblige. Movie making is a high risk gambling. Films are financed at twenty five percent interest rate and, as it gets closer to release date, the interest rate sometimes jumped to thirty percent too. With this factor involved, the producers couldn’t afford to wait for SJ to be free to work for their movies. So, they opted for other music directors who were ready to work for them at a fraction of the remuneration and meager orchestra which reflected in their run of the mill work.

Another fallacy about SJ is that, after Jaikishan’s demise, Shankar was a spent force and couldn’t meet the expectations of their producers and fans. The fact is, not only did he complete all the nineteen movies signed for 1971, he even went on to compose music for forty two more movies, single handedly. This is proof that there were many producers who believed in his talent and that the maestro still had the mettle left in him. At the peak of their career, SJ were paid five lakhs for a movie. With Jai’s death, some producers felt that they should cut that amount to half since it was only one composer doing the job. This resulted in a lower budget and fewer musicians to work with in his orchestra which had a negative effect on the compositions. The main reason for the failure of some of SJ’s later movies lies in the mediocre actors, poor story line and screen play.

That Shankar had a fascination for Sharda and preferred her to Lata and, therefore, switched to the former for female songs was never the case. From their very first movie to the last, SJ chose their singers keeping in mind the lyrics and the actor for who the playback was done. There are many movies in which both Lata and Sharda sang as per requirement of the characters. However, Lata felt threatened by Sharda’s popularity and SJ’s support of her which lead to the former holding a grudge against him. She later returned to the SJ camp to sing many more songs. Yet, Shankar maintained the same regard for the singer till his end.

People may have said and done what they wanted to thwart SJ (Shankar)’s career, but they couldn’t erase their fame and name to this day. SJ reign supreme in the hearts of their fans!

By Lakshmi K. Tummala

By Lakshmi K. Tummala

Review of film Jhuk Gaya Aasman

On Thu, 12/31/09, ali_rashid83 <ali_rashid83@ yahoo.com> wrote:

From: ali_rashid83 <ali_rashid83@ yahoo.com>

Subject:

Shri Ali Rashid’s feature has been copied and pasted as it is. He is a staunch Shankar Jaikishan fan.

Film Review – Jhuk Gaya Aasman (1968)

To: shankarjaikishan@ yahoogroups. com

Date: Thursday, December 31, 2009, 7:02 AM

Jhuk Gaya Aasman (1968)

By: Ali Rashid

Producer: RD Bansal Productions

Director: Lekh Tandon

Brief Review of the Film:

Sanjay (Rajendra Kumar) is a tour guide in Darjeeling who shares a house with his best friend Hanuman Singh (Rajendranath) . A group of girl tourists have hired Sanjay to take them around Darjeeling. Their leader is Priya (Saira Banu), a wealthy girl from Calcutta, and Sanjay is has fallen head over heels for her at first sight. Sanjay and Priya fall in love while she is holidaying in Darjeeling, but a grim telegram hastens Priya back to Calcutta where she finds that her father has been jailed under false pretences by T. K’s brother Prem. They have framed him on charges of embezzlement. Sanjay takes Priya to the airport for her flight home. After Priya leaves Darjeeling, Sanjay, on his way back from leaving her at the airport, meets with a jeep accident. As he lies there bleeding, a dark figure appears over him. When Sanjay realizes that he has died, he protests loudly against the injustice. This draws the attention of a Bigwig Swami (David) who consults the Recordkeeper Swami. Sanjay is not supposed to be dead. Sanjay was meant only to be injured and not permanently killed. The Swami tells Sanjay that there’s another body he can have, which incidentally belongs to a man who looks just like him, and who was the person who should have died. This man is one of the brothers for whom Priya’s father worked. He is the elder brother, TK by name, and his younger brother Prem (Prem Chopra) wants to kill him and take over everything. Priya tells her jailed father that she will plead with TK, he doesn’t want her to have anything to do with them, and in fact has always kept her far away from them, but she’s insistent. She meets with Prem, who is struck by an idea. Sanjay’s soul breathes life in T.K.’s Body, but Priya hates him because T.K. was a hardened scoundrel who played ducks and drakes with women and ruthlessly crushed other men. Sanjay is trapped. Whatever he tries to do, Priya hates him. T.K. declares his unaccounted wealth, he distributes bonuses lavishly to his employees, makes peace with the grandmother he had cruelly thrown out of the house years before, slowly and steadily T.K’s notoriety is washed clean and the soul triumphs over the body. And thus it is that Priya and Sanjay are finally united. The soul has triumphed over the body, it has lifted the head of man righteously above the skies, and thus even the Gods marvel at Man. And so it came to pass that even the Heavens bowed in reverence.

.

Image result for poster of film Jhuk Gaya Aasman

.

Review of the Album:

.

.

S-J were in their prime years when they created this dazzling album, and they could absolutely do no wrong. At this point in time, circa 1967-68, S-J were firmly entrenched at the top, and continued to experiment with their compositions and orchestration. Everyone must have admired their unmatched abilities to come out with brilliant melodies and awesome music. Rajendra Kumar films by S-J always had awesome music right from his `Aas Ka Panchi’ days, and this album is no exception. I can only imagine the excitement this album must have created, as every song is an absolute delight, following the long-standing S-J tradition of albums having a multitude of memorable songs.

“Kahan chal diye idhar to aao” opens up this lovely album. Jaikishan was an expert at creating such hummable, catchy tunes. Strains of the electric guitar open up this song followed by Rafi’s spirited rendition. The electric guitar makes its presence felt through the various solo pieces, or playing bass lines throughout the song. S-J liked to decorate their compositions with a myriad of instruments that would play memorable pieces. In this case, what stays with the listener is not only the overall composition, but the electric guitar flourishes that are displayed. Rafi’s added spice and zest adds just the right punch to the song, and his voice is flirtatious and romantic at the same time. The way he plays around with words, adding emphasis when needed, was one of his specialties. The tabla is the prominent rhythm instrument here and what is interesting is the way it is used. If one dissects the main rhythm, one will see it is played in a pattern 1-1-2-1-1-2 which gives the song a certain edge. The side instruments support the tabla in the mukhda whereas in the antaras, the bongos take over and play a pacy rhythm until the end of the interludes. This is one of those songs where the hero is teasing the heroine, and Hasrat’s lyrics flow keeping in mind the theme and the intentions of the hero in mind:

Mere dil mein chale aao

Ke yeh ghar bhi tumhara hai

Tuhmara pyar hi ab mere

Jeene ke sahara hai

If the last composition was a typical Jaikishan gem, the next song is quintessential Shankar. “Sacha hai gar pyar mera sanam” is one of those many perfect romantic ballads composed by S-J for arguably the greatest male voice to have graced Indian Cinema. The song opens up with a lovely flute and guitar combo followed by a rush of violins signifying the romantic atmoshphere. S-J were masters at creating the perfect mood in their preludes, and keep us guessing as to what would follow. When Rafi takes over to Shailendra’s beautiful lyrics, one is transported to another world:

Yeh ajab sa raaz hai

Yeh ajeeb baat hai

Apna pyar tab se hai

Jab se qayinat hai

I am particularly fond of the way Rafi utters the words “priya priya” at the end of each antara. His voice glides through the ups and downs of the composition with utmost ease. The antara tune reminds of a similar melody in the antara of “Panchi re o panchi” (Hare Kanch Ki Chudiyan), a Rafi-Asha duet also composed by Shankar. It is amazing how the composer could fashion two songs with a similar antara melody, yet in the end, make them unique from eachother. The violin ensemble creates a magnificent aura of counter-melody throughout the composition and is supported by the nice drums that constitute the main rhythm. Love songs do not get better than this. There is a sad version of this gem sung by Rafi to a piano accompaniment, which is also excellent. Rafi yet again shows his mastery with an awesome heartbreaking rendition in this version.

Hindi films have had many memorable rain songs that have stood the test of time and remained in the public memory. The next composition fits that bill, an amazing gem sung by the Nightingale. Looking at it from a technical point of view, melody, voice and music all seem to gel so beautifully together to create a stunning piece de resistance. “Mere tumhare beech mein ab to” composed by Shankar is among the most glorious songs S-J composed for Lata. The song starts off on a soft note, but as soon as Lata’s magnificent throw hits “ab aan milo sajna”, one knows that the ride is going to be an enjoyable one. The saxophone combined with the violins in the first and last interludes is master arranging. Many composers such as Rajesh Roshan aped this facet of S-J’s orchestration, showing that S-J were always the leaders and never the followers. Credit to S-J, Sebastien and the whole team for thinking outside of the box. The melody is very serene and breezy and the rhythm on the tabla/dholak compliments the rest of the music, as well as the rendition nicely. The rhythm in the interludes are not on the tabla/dholak but in fact bongo’s accompanied by side rhythms which adds a different edge to the composition. The shehnai which accompanies Lata’s rendition in the anatara’s is a cooladdition to an already excellent song. The lyrics by Shailendra are great:

Aaya madmata saawan

Phir rimjhim ki rut aayi

Phir man mein basi shehnai

Phir preet li angarayi

The next song is an excellent Lata-Rafi duet from the house of Shankar Jaikishan. “Meri aankhon ki nindiya” is a nice romantic love ballad fashioned by Jaikishan along the lines of his past hit “Tujhe jeevan ki dor se” (Asli Naqli). The song has a nice melody with upbeat rhythm and wonderful renditions by the two maestros. This song unfortunately was not included in the DVD of this film which I happened to see. It’s a shame because it could have made for some nice viewing of Rajendra Kumar and Saira Banu singing this song on screen. For this composition, Jaikishan basicially used the “tried and tested” formula. I would have liked it if he had come up with a totally unique composition, however that does not take away from this song, even though it may remind us of the earlier wonderful Lata-Rafi duet from Asli Naqli. Hasrat’s lyrics here suit the situation nicely:

Aisa bandhan bandha hai kabhi na khule

Khatm hote nahin pyar ke silsile

Zindagi bhar ko apna bana le gaya

Tumhare siva kaun

.

.

“Unse mili nazar” by Lata is a nice trendy upbeat composition composed by Jaikishan. The melody is breezy and so is Lata’s effortless rendition. The pace and the way the instruments have been used is a fascinating feature about this composition. The rhythm compromises of a combination of the bongo’s/congo’ s supported by side rhythm instruments. The accordion, guitar, and violins have all been used sparingly but nicely to compliment the main rhythm. However the standout instrument in this song is none other than the harmonica (mouth organ) that has been showcased brilliantly in the first and third interludes. The harmonica is not a common instrument in HFM songs, and one has to find a situation where one can use it, and here S-J received the opportunity to showcase their flair wit yet another instrument. Hasrat’s lyrics are again apt for the situation where the heroine is thinking about the hero:

Jab woh mile mujhe pehli baar

Unse ho gayi aankhen chaar

Paap na bete pal bhar woh

Phir bhi ho gaya unse pyar

If the heroine is thinking about the hero in the previous song, the next song shows the reverse case. “Kaun hai jo sapnon mein aaya” is my favourite song from this wonderful album. Although the song was inspired by Margarita from Elvis, S-J created a totally new and fresh composition. Time and time again S-J kept on setting trends and this song was no exception. The beautiful rhythm is not only trendy, but also sophisticated, especially the use of the drums. The violins are magnificent and just add the right pinch of salt to this tasty S-J dish. Another great feature about this song are the excellent piano flourishes which accompany the rhythm and composition in the mukhda and interlude music, as well as the nice use of the stringed-guitar. The image of Rajendra Kumar singing this song in his car to Rafi’s magnificent voice is an image I will never forget. Rafi’s rendition of this western-based masterpiece by Jaikishan is nothing short of brilliant (as usual), and he conveys just the right amount of emotions required for such a song. When Rafi’s voice soars in “O Priya”, one is reminded yet again that such a singer, and such composers as S-J, are once in a lifetime miracles. Hasrat’s lyrics in this song are fantastic:

Zindagi ke har ik mod pe mein

Geet gaata chala jaa raha hoon

Bekhudi ka yeh aalam na poocho

Manzilon se badha jaa raha hoon

As with most films of those days, the final song belongs to the cabaret genre, and who better than Asha Bhosle, the specialist in this genre to sing another S-J winner, “Kisi ki jaan lete hain”. The composition has some nice orchestral flourishes by S-J, along the lines of one would expect in a cabaret number. The upbeat rhythm along with nice use of the brass section, violins, and guitar all create a fun atmosphere. Asha’s rendition is first-rate, and the situational lyrics by S.H. Bihari (a rare appearance) are also cool:

Kisi par jaan dete hain

Kisi ki jaan lete hain

Wahin karte hain dilwale

Jo dil mein kaan lete hain

Sambhalo jaan jaan jaan jaan

Jhuk Gaya Aasman was another winner in the already sparkling S-J resume. 1968 was another good year for S-J, where apart from this film, S-J showcased their versatility with albums as varied as Mere Huzoor, Brahmachari, Kanyadaan, Sapnon Ka Saudagar, Shikhar and Duniya.”