Posts tagged ‘Shankar jaikishan’

When Indian and Israeli diplomats bonded over ‘Ichak Dana, Bichak Dana’

NEW DELHI: India and Israel have been long-time allies and a cultural exchange between the two nations is natural. But Indian diplomats were greatly surprised when members of the Israeli delegation accompanying Prime Minister Benjamin Netanyahu revealed their familiarity with the classic Hindi movie song ‘Ichak Dana, Bichak Dana’.

Ministry of External Affairs secretary Vikas Gokhale shared the anecdote during a press briefing earlier today. At a luncheon hosted by Prime Minister Narendra Modi to welcome Netanyahu on his maiden visit to India, the live music band played the oldie ‘Ichak Dana, Bichak Dana’. Several Israeli delegates immediately recognised the track, and the Indians present there marveled at this shared cultural experience.

“Interesting anecdote was that during lunch which PM hosted short while ago, one of the music items played by live band was ‘Ichak Dana Bichak Dana’. Number of Israelis who knew that was amazing,” Gokhale said.

‘Ichak Dana, Bichak Dana’ is an immensely hummable ditty from 1955 hit ‘Shri 420’, starring Raj Kapoor and Nargis. Sung by Lata Mangeshkar and Mukesh, the song plays as Nargis teaches the alphabet to a bunch of ragtag kids, with Raj Kapoor acting the part of comical hanger-on.

“Films are a good way to building people to people relationships,” Gokhale astutely observed.

Interesting anecdote was that during lunch which PM hosted short while ago, one of the music items played by live band was ‘Ichak Dana Bichak Dana’. Number of Israelis who knew that was amazing. Films a good way to building people to people relationships: Vijay Gokhale, MEA Secy

The news courtesy :

A film which was inspired by Jaiprakash Narayan’s continuation of the ‘Sarvodaya’ movement.


Dinesh Shankar Shailendra

I am re-posting this piece…

Whenever I listen to this song, it always makes me wonder…. Why on earth did Shailendra and Jaikishen have to go into self-destructive mode…
The world of Music and Poetry would have been richer for a longer period of time…

But on second thought, Will this magic ever die ???


Radhu Karmakar ( Jis desh mein Ganga behti hai )

Raj Kapoor had called Shanker, Jaikishen, Hasrat, Shailendra and Mukeshji to his ‘cottage’ in R K Studios…. He narrated a script to all of them….. As he finished, there was silence…. Suddenly, Shanker banged his cup of tea on the table, shouted out an expletive, ( referring to somebody’s sister ) and stormed out of the cold, smoke-filled room !

Everybody was stunned…. then Raj Kapoor asked Shailendra…. ” Pehelwaan ko kya ho gaya ? Story pasand nahin aayi “? Shailendra followed Shanker out of the cottage…. When he asked Shanker what the matter was, Shanker again let out a volley of ‘gaalis’…… He said….
” Daakuon ki film mein, music ka kya kaam hai ? Banaa lein binaa gaanon ki film…. Humein yahan kyon bulaaya hai…..” ?

Shailendra managed to pacify him and convinced him that there would be songs and music in the film….. Shanker returned and all of them discussed the appropriate situations for songs in the film…. The film, finally had nine songs…. Incidentally, eight were written by Shailendra….

Radhu Karmakar was to direct the film which was inspired by Jaiprakash Narayan’s continuation of the ‘Sarvodaya’ movement….. Getting the hardened dacoits of the ‘Chambal’ ravines to surrender…… join the mainstream and lead a normal life…..

The film was a stupendous success all over India…. Shanker-Jaikishen, Shailendra and Hasrat Jaipuri scored a perfect ” Nine”….. all the nine songs were hits….. Shailendra’s ” Hothon pe sachchai rehti hai ” was nominated for the Filmfare awards, but lost out to Shakeel Badayuni’s ” Husn waaley, teraa jawab nahin ”

The climax of the film is about the simple villager, Raju, finally convincing the gang of dacoits to surrender…. The director uses a song to end his story ….. On one side is Raju walking along with the dacoits, on the other side is Padmini, who has come with the whole Police force…. armed fully…. there is always a chance that they are being led into a trap…
The song itself is BIG….. and the director matches it with great shots….. Raj Kapoor, the producer, gives his director everything he wants to make this song as spectacular as possible….

Undoubtedly, one of the biggest songs recorded around that time, as far as music goes….. Probably a 100 violins…. a big chorus and two main singers…. There were so many musicians that some of them had to be seated on the pavement outside Famous Tardeo Recording Studio….. The studio where Shanker Jaikishen recorded almost all their songs….

The song starts with violins and the brass section creating suspense and drama…. The shots are perfectly in sync with the music….. truckloads of men in uniform….they alight and march…. The loud music suddenly makes way for the soft sound of ‘pizzicato’ ….. the musical term for plucking of strings of instruments like violin, cellos and double bass…… A guitar joins in and the song starts….

“Aa ab lau chalein,
nain bichhaye, baahein pasaarey,
tujhko pukaarey, desh tera….. ”

A beautiful violin run….
The ‘mukhdaa is repeated…. The gang of dacoits starts moving….
The director cuts to a shot of the marching troops…. as they separate, we hear Lata Mangeshkar’s piercing voice…

” Aa jaa re,
aa jaa re, aa jaa…..”

This by itself is one of the most amazing bits of singing in the history of Hindi Film Music…. I have yet to hear someone else do it so perfectly….
We see Padmini running towards the camera…. The men march past her…. another mind-blowing, earth shattering ‘aalaap’ from the great lady…. and she holds the notes perfectly !

Cut to Raj Kapoor…. he sings the verse…

” Sehej hai seedhi,raah pe chalnaa,
dekh ke uljhan, bach ke nikalnaa,
koyi yeh chaahey, maaney na maaney,
bahut hai mushkil, girr ke sambhalnaa…”

The ‘mukhdaa’ is repeated….

We see a frantic Padmini searching for him…. She sings

” Aa jaa re….
aa jaa re, aa jaa…”

The chorus joins in….mandolins end the interlude…
The next verse…

” Aankh hamari, manzil parr hai,
dil mein khushi ki, masst leher hai,
laakh lubhaayein, mahal paraaye,
apna ghar, phir, apna ghar hai…… ”

The ‘mukhdaa’ is repeated….

The director intercuts between Padmini and Raj Kapoor…. she finally spots him and the dacoits… The Police see that the dacoits are unarmed …. The song ends….

The music is just what only Shanker Jaikishen could have done….. The singing….. Mukesh is great and he keeps it simple…. Lata Mangeshkar does wonders….Shailendra writes simple words that bring home the message…. ” Sehej hai seedhi, raah pe chalnaa….. bahut hai mushkil, girr ke sambhalnaa….” He takes it right to your heart with ” Apna ghar, phir, apna ghar hai….”

Radhu Karmakar has the gang of dacoits on one side and the Police on the other…. The location….. the bare ravines….. But see the drama he creates with the deft camera placing and movements ( Cinematographer : Taru Dutt )
He does full justice to match the music, the words and the singing….

Raj Kapoor and Padmini play their parts to perfection…. But the others match up too ! Nana Palsikar smoking a ‘chillum’…. unaffected…. Pran…lagging behind…. he is unsure…. apprehensive….

I can only think of how Shanker would have reacted after seeing this song on the screen…. Probably banged a tea-cup on the table and uttered an expletive ( referring to somebody’s sister ) !!!!!!

Shankar Jaikishan – Interview (1957)

Courtesy :

A Decade of Hits

WHAT makes a song last? It is almost ten years since we began composing songs for films—all kinds of songs for all kinds of films. Even this year—the year in which we have won the “Filmfare” Award for the Best Music Direction—we have composed strikingly different types of scores, ranging from “Seema” and “Chori Chori” to “Shree 420” and “Basant Bahar”.

In this long period the overall impression we have gained of the taste of picturegoers is that only an Indian song can survive on Indian soil.

We do not propagate any antagonism against the integration of Indian and foreign music. What we are opposed to is the wholesale plagiarism of foreign musical compositions.

How long does it take to compose a song ? We, on our part, take anything from a week to a year. To illustrate the labor involved we would cite the example of the musical score of the now famous dream sequence of “Awaara”.

Nobody had thought of a dream sequence for this film. The situation required two songs, “Tere bina aag ye chandni” and “Ghar aaya mera pardesi”, each of which was composed independently of the other. One day we were sitting in Raj Kapoor’s office—we had no separate music-room in those days. It was a friendly gathering. Suddenly we began making “ghost sounds” for sheer fun—shrill screams, yells and weird cries! Now an idea struck Raj.

“Why not make it a part of the music ?” Raj Kapoor exclaimed. There and then we decided to have a dream sequence, and link the two songs by a third one.

“There will be three songs,” Raj said. “A girl calling her lover, the boy caught in the grip of evil, and the final song of reunion.”

That very evening Raj brought Nargis to listen to those weird sounds we had made, and we all decided to have one full reel of musical sequence—what eventually turned out to be the longest musical sequence in Indian films.

The recording began at 9 a.m. and went on to become the most memorable one of our lives. We were all working ourselves up into a state of frenzy. Raj flitted from one end of the music-theatre to the other, inspiring one and all with his zeal. Day turned into night but all of us went on—musicians, singers, sound recordists, and Raj himself. Midnight struck—we were still at it.

From “Barsaat” to “Chori Chori” our story has been linked with the story of Indian film making. It has been an exciting time for both of us.

Once, Shanker visited the H.M.V . Gramophone Company and heard a song sung by a little-known singer. He was so impressed that he asked Raj Kapoor to get her to sing just one song of “Barsaat” instead of any of the established singers. Afterwards she sang all the songs of “Barsaat”. Her name is Lata Mangeshkar.

When we began composing tunes for “Barsaat” we used to play them to Raj Kapoor. So impressed was he with them that he was determined to use them in the film. But he said, “I cannot promise to announce your names as music directors since I have already signed up someone else.”

Still, we continued because of our love for the work. We were surprised and elated when, towards the completion of the film, Raj told us that we would after all get official billing as the music directors of “Barsaat.”

He had confidence in our work and his confidence was vindicated by the sensational success the songs achieved.

The days when we were recording the song “Ay Mere Dil Kahin Aur Chal” for “Daag” also come to mind. The financier heard the song and was so disappointed that he told the distributor, “It is a most disappointing song. No one is going to like it. If I had known that the picture had such poor music, I would never have financed it!” Little did he know then that the song was going to become a best-seller.

We feel that while retaining the basic form of Indian music, one can always experiment with new instruments, Indian or foreign, to widen the scope of film music.

The use of the accordion in “Mera Juta Hai Japani” and of the trumpet in “Mur Mur Ke Na Dekh” (both from “Shree 420”) illustrate this point. However, what is essential is the basic Indian melody. Thus even in the puppet song of “Chori Chori,” there are “alaaps” and “taans.” For that matter, the entire music score of “Chori Chori” is based on familiar Indian “raags” and folk melodies.

On the day Amiya Chakrabarty died he discussed with us the songs of “Kath Putli”. The first line of a song we recorded for the film after Amiya’s death is “Manzil Wohi Hai Pyaar Ki, Rahi Badal Gaye” (“The path of love is the same, only the travelers have changed”.) Amiya Chakrabarty took a keen interest in our work.

Of the many scores composed by us, we would particularly like to refer to four songs: “Ay Mere Dil Kahin Aur Chal”, “Awaara Hun”, “Mera Juta Hai Japani”, and “Ichak dana Bichak dana”. While the first became widely popular in India, the other three also won recognition abroad. We are told that “Awaara Hun” has been translated into many languages and is today sung and played in almost every part of the world. Its success has confirmed our belief that Indian film music can be appreciated abroad if we refuse to imitate foreign tunes.

We are sure that symbols of encouragement, like the “Filmfare” Award, will continue to inspire music directors to bring to the screen original and popular compositions (This interview was conducted in 1957).

SJ’s remarkable talent in background music and their great professionalism.


some interesting facts about Gunahon ka devta……..

some interesting facts about Gunahon ka devta……..

Shri Pradeep Kr. Gupta writes :

“Let me share some interesting anecdote about this movie. Jitendra was a new comer and not salable. Rajshree had become a big name by that time and was working with lead actors including Raj Kapoor and his brother Shammi Kapoor. Devi Shamra, who produced the movie based on a novel written by Dharmveer Bharti, a famous Hindi novelist who also worked as the chief editor of a famous Hindi weekly Dharmyug published by the Time of India group, Mumbai. Devi Sharma had finalized SHANKAR-JAIKISHAN who were at the peak of their career as star composer leaving all their contemporaries and juniors way behind. Jitendra’s remuneration was cut to meet the expenses incurred on sound score and Rajshree’s fee. I read some where that Jitendra eventually worked free of cost as the producer- director were adamant to work with the duo despite their low budget. It was a well known fact that the music duo used to charge even higher remuneration than the lead actor of the film for their music score, but this was the unique case when the lead actor of the movie worked free of cost to meet the end. That was the impact of SHANKAR-JAIKISHAN those days and they commanded highest regard among the film fraternity for their sheer brilliance.

SHANKAR-JAIKISHAN at their zenith in this song! The song is an unusual one in the sense that interludes in all three antaras (stanzas) are different. Normally in a three stanza song, as this was in the vogue those days, first and third stanzas had mostly same interlude while second one had a different one barring a few exceptions with all leading composers. The song starts with prelude played on violin chorus to give a feel of western classical music of Johann Sebatian Bach, Wolfgang Amedeus Mozart, Ludwig Van Beethoven, Franz Schubert (all Austrian composers) and Chopin. With this brief prelude the song starts in the deep baritone voice of Mukesh. The rhythm is played on drum. then comes first stanza with violin chorus coupled with cello to create an ambiance. Second stanza has saxophone followed by solo violin beautifully played. Now comes the third and last stanza with violin chorus for counter melody followed by solo violin to evoke pathos. Electric organ is another salient feature which could be heard even between the lines leaving no vacant space throughout the song. It’s rightly said in the post by Lakshmi Didi that the song gives a symphonic feel. Salil Chowdhury, a doyen of Hindi and Bengali film music once commented on the duo that the way they used violin chorus no body else could have ever used and the duo proved this statement as true on occasions. This song is also not an exception to what was vouched by Salil Da.

 Continuing with the same thread I would like to quote Pyarelal Sharma the gentler half of Laxmikant-Pyarelal as saying “SHANKAR-JAKISHAN ke gaanon mein tune bhi gungunana padta hai. Bina tune gungunae gaane ka maza nahin ata.” Then he took the title song of Awara “Awara hoon ‘tararara’ played on harmonium by Vistap Ardeshir Balsara in the sthaayi (mukhda). Readers will be surprised to know that the piece they feel to have played on piano accordion was actually played on harmonium by the maestro.”


Shri Ajay Dagaonkar ji writes :

“This is majority correct but not what Jeetendra told in his TV interviewAs per him some other composer was to be signed and Jeetendra got frightedJeetendra despite Shantaram films was no starHe wanted big composer like SJ or Naushad and he approached Jaikishanji and to pay SJ fees Jeetendra fee was cutFor heroine he approached Rajashree who as rightly said has become big and her mom asked for a fee and to pay that Jeetendra fees was cut and he perhaps got in return A grade star status but no money but this sacrifice made his lifeA great business decision”

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

Raja ki aayegi baraat


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