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Tribute to Shailendra after his demise by Jaikishen

by

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.

`FILMFARE’ – JANUARY 20, 1967

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

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What Pyarelal-ji has to say about Shankar-Jaikishan in one of his interviews

What Pyarelal-ji has to say about Shankar-Jaikishan in one of his interview..few excerpts..

by
Arun Bajaj

 

“I love Naushad Saheb’s music, though I don’t agree with his point that one need not look beyond Indian classical music for good music. A composer has to give what the story or the situation of the film demands.

Q. Which composer would you rate as the best in the 1950’s and 1960’s..?

Look, I don’t believe in comparisons. Having said that, I would say that Laxmi-ji and I liked Shankar-Jaikishan the most. We were so fond of them that both of us used to copy all their mannerisms.

LPSJ

Q. What was it that Shankar-Jaikishan had which other composer didn’t..?

You tell me what they didn’t have. Is there a single flaw you can see in them as composers..? Is there any other composer who consistently gave good music in so many films..? Is there a single kind of music they have not made..? If Naushad Saheb composed Baiju Bawra, Shankar-Jaikishan followed with Basant Bahar. What superb music they gave for Raj Kapoor films! In fact, I’ll be honest and say that while we won the best composer award for Dosti in 1964, I liked Shankar-Jaikishan’s score for Sangam better!

And he concluded by saying that very early in their career, they had started composing separately. But in spite of their composing separately, they were able to give their music a distinct identity, a brand. That was their greatness.”

More snaps relating to film Pyar Hi Pyar produced by Rajaram-Satish Wagle

At the launching of film Pyar Hi Pyar Photo courtesy : Satish Wagle, Jatin Wagle
At the launching of film Pyar Hi Pyar
Photo courtesy : Satish Wagle, Jatin Wagle

Music Director Jaikishan of Shankar-Jaikishan  giving clap to the Muhurat shot of film Pyar Hi Pyar Photo courtesy : Jatin Wagle-Satish Wagle
Music Director Jaikishan of Shankar-Jaikishan giving clap to the Muhurat shot of film YAAR MERA
Photo courtesy : Jatin Wagle-Satish Wagle

Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (ALL EPISODES)

CourtesyShrikant Deshpande

SHRIKANT DESHPANDE

 

1st Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri
1st Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri

2nd Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri
2nd Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri

3rd Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (2ND EPISODE)
3rd Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (2ND EPISODE)

4TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (2ND EPISODE)
4TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (2ND EPISODE)

5TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (3RD EPISODE)
5TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (3RD EPISODE)

6TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (3RD EPISODE)
6TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (3RD EPISODE)

7TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (4TH EPISODE)
7TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (4TH EPISODE)

8TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (4TH EPISODE)
8TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (4TH EPISODE)

9TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (5TH EPISODE)
9TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (5TH EPISODE)

10TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (5TH EPISODE)
10TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (5TH EPISODE)

11TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (6TH EPISODE)
11TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (6TH EPISODE)

12TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (6TH EPISODE)
12TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (6TH EPISODE)

13TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (7TH EPISODE)
13TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (7TH EPISODE)

14TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (7TH EPISODE)
14TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (7TH EPISODE)

15TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (8TH EPISODE)
15TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (8TH EPISODE)

16TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (8TH EPISODE)
16TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (8TH EPISODE)

17TH  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (9TH & LAST EPISODE)
17TH Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (9TH & LAST EPISODE)

18TH & FINAL  Page of  Feature  entitled 'Saat Suron Ka Saath' written by Harish Tiwary of Madhuri (FINAL  & LAST EPISODE)
18TH & FINAL Page of Feature entitled ‘Saat Suron Ka Saath’ written by Harish Tiwary of Madhuri (FINAL & LAST EPISODE)

Films which were announced with music by SJ, but could not make it

Here is an interesting article or trivia about SJ films, completely compiled by  Abhay V. Acharekar ji in our Yahoo group

Photo taken at Chandu Kale's residence in Pune on 9th December'2013 during get-together of SJ Fans. Shankerji used to visit this place. The music instrument is played by Shri Chandu Kale ji.
Photo taken at Chandu Kale’s residence in Pune on 9th December’2013 during get-together of SJ Fans. Shankerji used to visit this place. The music instrument is played by Shri Chandu Kale ji.

Here’s a list.

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) Wattan (Sunil Dutt, Sanjay Khan, Rekha, Premnath; Director Kanak Misra)
2) Azmaaish (Sanjay Khan, Director: Kanak Misra)
3) Baby Hindustan (Director: Basu Chaterji)
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.

Jaikishen ji directing singer Sharda at a stage programme. Ace accordionist Sumit Mitra is seen with accordion

Jaikishen ji directing singer Sharda at a stage programme

Photo Courtesy : Singer Sharda

“Shankar (of Shankar-Jaikishen duo) who knew me and appreciated my versatility. He came like a Dhruvtara into my life” — Manna Dey

Hi,

This is a post addressed to the members of shankarjaikishan group on Yahoo by Sanil ji which I am pasting here

—————————————————————————————————————————————

I was travelling by Shatabdi express and was going through the new in house magazine ‘RAILBANDHU’. There was an interview with Manna Dey by Chandan Mitra. It provided interesting reading. I am unable to get the soft copy from the site. I am reproducing some portion of the interview where Manna Dey refers to SJ.

Q: Many people say you are film world’s most under-rated and under-recognized singer despite being so phenomenally talented. Does this bother you?

It used to. I would be very hurt at being overlooked when it came to singing for the hero. Some music directors, such as Naushad sa’ab never used me, always relying on Rafi for the male voice. As a result, I never sang for Dilip Kumar. In my days of struggle, some producers were positively indecent. I will tell you two incidents to explain what I have undergone and how God has been on my side.

Bharat Bhushan was a big hero in the 1950s, especially after his Baiju Bawra became a major hit. His brother Shashi Bhushan decided to produce Basant Bahar and hired Shankar Jaikishan to score the music. Shankar was my mentor in the film world and always pushed my case, especially if the tunes were classical-based or very fast. They had composed ‘Sur na saje’, a really beautiful number. Rehearsals were complete and we were to record when Shashi Bhushan heard I was to sing it. He said,”Nothing doing, get Rafi”.Shankar argued but the producer would not listen. I was feeling very humiliated when Bharat Bhushan walked in. He heard the debate and finally said, “Let Manna sing now. We will see what to do later.”As you know, the song was a very big hit. At stage shows, I was always requested to sing it.

Another time, we were about to record ‘Yeh raat bheegi bheegi’ for the Raj Kapoor-Nargis starrer, Chori Chori. It was a south indian production by AVM, which was owned by some Chettiar. He had just flown into Mumbai that day and drove straight to the studio to see the recording. As he entered, he yelled, “I don’t see Mukesh. Where is Mukesh?” Shankar told him, “You don’t see Mukesh because Manna Dey is singing this number”. Chettiar was very angry. Cancel the recording,” he ordered, turning to me and said, “You go home”. At this point, Raj sa’ab intervened. He told Chettiar,”Manna and Manna alone will sing this number whether you like it or not.” Few people dared to talk to a big producer like that, but then, few producers had the guts to disobey Raj Kapoor. Reluctantly, Chettiar had to allow the recording to proceed. When I finished, the same Chettiar grabbed me and would not release me from his hug.

But you are right. I never got what I fully deserved. You see I was born into a very proud family.We had no ego but we were proud of our talent. So, I couldn’t do the rounds of producers and music director’s homes, get into Mumbai’s sharabi-kababi culture, or sit in the durbars of big heroes. Most struggling singers have to do that even now. I was a struggling singer in my early days in Mumbai and, thereafter, when I did gain acceptance,I got somewhat typecast. Only a few music directors would experiment with me as the hero’s voice. But I don’t grudge anybody, anything, I have sung my heart out, I have got people’s love in return, I love to sing even now: I have a contented life. what more can a person ask for?I am very happy the way I am.

Q: How did you get selected by Raj Kapoor as his alternate voice?

It was all thanks to Shankar who knew me and appreciated my versatality. He came like a Dhruvtara into my life and moulded my career. But I was surprised myself when he chose me to sing in Boot Polish …Raj Kapoor’s songs were in two categories – Mukesh and non- Mukesh. I was selected for most non-Mukesh numbers.

It is a lengthy interview. I have just taken portions where reference to SJ is there.

Manna Dey is the only one among the great male singers still alive. He has always acknowledged the role SJ played in his career whenever he spoke at length. I had earlier reproduced the relevant portions of his biography where he had referred to SJ. Our group had also visited him at B’lore.

Manna Dey is 92 and not keeping good health. Our group can do something more to show our love and affection.

Sanil

On Lataji’s shying away from mentioning/acknowledging SJ’s Contribution to her career

  • Shri Arun Bajaj

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

    Shanker-Jaikishen with Chandulal Shah

    “Teri zindagi mohabbat, tera naam hai deewana

    Tere baad bhi karega, tera zikr ye zamaana

    Tu wo zindagi nahin hai jise maut khatm ker de

    Jise bhool jaaye duniya, tu nahin wo tarana.”

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

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

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

    There could not be no other like S-J

    Thanks.

    Shri Arun Bajaj ji

    arunbajaj7@hotmail.com

     

     

     

     

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

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

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

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

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

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

List of actors for whom Shanker-Jaikishen Used Mukesh to give play back

Courtesy : Dinesh Patel ji
Shankerji’s birthday is 15th October

ShankarJaikishan used voice of singer Mukesh from BARSAAT to SANYASI for following actors as per my knowledge

*Mukund Marulkar

1)Rajkapoor-barsaat,awara,aah,shree420,aashiq,sangam,ek dil sau afsane,jis desh me ganga baheti hai,main nashe mein hoon,kanhaiya,anadi,teesari kasam,around the world,diwana,sapnon ka saudagar,mera naam joker,kal aaj aur kal and chalak(unreleased)
2)Premnath-badal
3)Shekhar-aas
4)Pradeepkumar-rajhath,raat aur din
5)Jaikishan-begunah
6)Agha-kathputli
7)Deelipkumar-Yahudi
8)Rehman-chhoti bahen
9)Maruti-main nashe mein hoon
10)Rajkumar-ujala
11)Shammikapoor-ujala,singapore
12)Sunildatt-ek phool char kante,bhai bahen,jwala
13)Rajendrakumar-aas ka panchhi,sasural
14)Anoopkumar-junglee
15)Mehmood-sasural
16)Manojkumar-hariyali aur rasta,apne huye paraye,pehchan,beimaan,sanyasi
17)Ulhas or krishenkumar-rungoli
18)Jitendra-gunahonka devata
19)Jankidas(?)-duniya
20)Chorus-main sundar hoon
21)Navin Nischal-nadaan
22)Sanjay khan-chori chori(1973)
23)Shashikapoor-chori chori(1973),insaaniyat(1974)
24)Anil dhavan-ganga aur geeta(1979)
25)Mukesh-aah

Contributed by Shri Mukund Marulkar ji.