Lata Mangeshkar is a ubiquitous presence on SoY. Shankar-Jaikishan, being one of the most dominant and successful music directors, have also figured very prominently on this blog. Therefore, it is difficult to believe, but it is true, that I have not done a post on the best songs of this combination as I have done for my other favourite music directors Chitragupta, C Ramchandra, Roshan, SD Burman, Anil Biswas and Naushad. To be sure, her songs by SJ, too, have figured very prominently in different contexts, such as in the reviews of the best songs of 1949 (currently underway), 1951, 1953 and 1955. In the SJ series, too, this year I have done a post on a special class of their songs – Lata Mangeshkar’s dance songs by SJ. Also, she figures in all but one song in the post on S-J’s female dance duets. But with this combination’s over 450 songs of which over 300 are solos, even if we exclude all that has been covered earlier, we would be still left with dozens of Lata Mangeshkar’s songs which would figure among her greatest.
The lyricists of their songs are mostly Shailendra and Hasrat Jaipuri. Thus it was a partnership of five geniuses, which is fascinating for the social and geographical spread they represent. Born in Indore (now Madhya Pradesh), to Maharashtrian parents who traced their family origin to Mangeshi town in Goa, Lata Mangeshkar learnt classical music from her father, Deenanath Mangeshkar, and started acting in Marathi musical plays from childhoo (Ashwin Bhandarkar has informed me that Lata Mangeshkar’s mother, Shevanti, was Gujarati. Thanks Ashwin). Her father’s death, when she was 13, put the burden of her large family’s upkeep on her slender shoulders. From Pune/Kolhapur, she shifted to Bombay to a life of struggle for several years until she started making waves in 1948, growing into a Tsunami in 1949, when she first joined with Shankar-Jaikishan as well as Hasrat Jaipuri and Shailendra in Raj Kapoor’s Barsaat. For the last four, it was their debut in films. She was 20 then.
Shankar (15 October 1922 – 26 April 1987), born to Ramsingh Raghuvanshi of MP origin who had settled in Hyderabad, was fond of wrestling. Shankar wasn’t much educated and was seen as unsophisticated in the industry in his social manners. Attracted by the tabla, played during the pooja at Shiv Mandir near his home, he developed into an expert percussionist trained by Ustad Nasir Khan. In order to polish his tabla playing, he joined a dance group managed by Satyanarayan and Hemavati, who later moved to Bombay to join Prithvi Theatres. Thus, Shankar, too, became a part of the Prithvi Theatres. Along the way, he also learnt tabla from Husnlal-Bhagatram.
Jaikishan (4 November 1929 – 12 Sept 1971), on the other hand, was handsome and suave. He came from a poor family engaged in wood business in Bansda village in Balsad district in Gujarat. He started as a harmonium player in a Bhajan mandali in which his elder brother Balwant used to earn some money by singing. Jaikishan had his early training under Wadilal and Prem Shankar Nayak. After his elder brother’s death, Jaikishan moved to some relative’s place in Bombay, where besides working in a textile mill, he continued playing the harmonium at Vinayakrao Tambe’s music school near Opera House. (Note: The above information is based on Pankaj Rag’s Dhunon Ki Yatra. Ashwin Bhandarkar had doubts whther it was Vinayakrao Tambe or Govindrao Tembe. Arunji has since informed me that Jaikishan learnt the intricacies of the harmonium from Govindrao Tembe, a legendary harmonium player, and an important name in Marathi Natya Sangeet and our early film music. It is possible Rag had mixed up names. AK)
Shankar and Jaikishan met at the place of the Gujarati film producer, Chandravadan Bhatt, where both had gone for seeking work in films. That chance meeting developed into instant friendship and, with Shankar’s recommendation, Jaikishan too joined the Prithvi Theatres to play the harmonium. There, Raj Kapoor took a liking for them. When he had some differences with Ram Ganguly, who was the music director of the first RK film Aag, in his next venture, Barsaat, he took the new team of Shankar-Jaikishan as its music director. The rest as they say is history.
Hasrat Jaipuri (15 April 1922 – 17 September 1999), born as Iqbal Husain in Jaipur, was tutored in Urdu and Persian by his grandfather, Fida Husain. He came to Bombay in 1940 and started working as a bus conductor. He also used to take part in mushairas, where he was noticed by Prithviraj Kapoor who recommended him to his son Raj Kapoor. Thus, he got his first break in Barsaat, his first song being Jiya beqaraar hai.
Born Shankardas Kesrilal in Rawalpindi, brought up in Mathura, Shailendra (30 August 1923 – 14 December 1966) had family roots in Ara district of Bihar. He moved to Bombay where he started working in the Matunga workshop in the Railways. He was also a left-oriented poet and a member of IPTA. Impressed by his poetry at a mushaira, Raj Kapoor offered to buy his poem Jalta hai Punjab. But being skeptical of popular cinema, Shailendra declined. However, when he was in the need of money, Shailendra approached Raj Kapoor. Thus, he got a break in Barsaat with the songs Barsaat mein humse mile tum and Tirchhi nazar hai patli qamar hai.
There could not be a more disparate group. They were all in their twenties. Add the ring master Raj Kapoor to this ensemble, who was himself 25 – he was born in a Punjabi Hindu family in Peshawar, now in Pakistan. But SJ composed great music outside RK banner, too, with Lata Mangeshkar being one of the main pillars of their success.
About mid-60s, fissures started in Shankar-Jaikishan relationship, the former’s obsession with a new singer, Sharda, said to be the main reason. Even earlier, they were known to be composing songs separately, but that was in the nature of a cordial division of work based on their strengths. The S-J team was regarded as one seamless entity. But now it was serious. Lata Mangeshkar was also caught in this vortex, and she started shifting her favours to the new kids on the block, Laxmikant-Pyarelal. Jaikishan’s early death left only Shankar of the SJ team, though he gallantly carried on giving music under the SJ name. Thus, the end of the Golden Era also signalled the decline of SJ, but they had done enough to etch their names on the sands of history, with Lata Mangeshkar being a prominent part of their glory.
Continuing my series on Shankar-Jaikishan, I pay my tribute to them with some of their great songs for Lata Mangeshkar, excluding the years and the categories already covered, as I have explained earlier.
1. Haaye mera dil le gaya koi aake isharon mein from Parbat (1952), lyrics Shailendra
From an unheralded film early in their career, we have this absolute gem. This song has long been my great favourite since I heard it first from our Pathakji. The song was a regular in his repertoire before he closed the evening with Tere sadke balam.
2. Kaahe ko der lagayi re aye na ab tak balma from Daag (1952), lyrics Hasrat Jaipuri
Nimmi, waiting for her lover, is her typical sad persona.
3. Rasik balma dil kyun lagaya tose from Chori Chori (1956), lyrics Hasrat Jaipuri
Here SJ show their mastery over classical ragas in in this melancholic song which has been an eternal favourite. SJ match the legendary Naushad’s capability to compose a score containing ten songs, all of which are musically excellent and enormously popular. This film fetched SJ their first Filmfare Award.
4. Tera jana dil ke armanon ka lut jana from Anaadi (1959), lyrics Shailendra
Another sad song which has become immortal. All the seven songs of this film were also superhits, fetching SJ their second Filmfare Award.
5. Bhaiya mere rakhi ke bandhan ko nibhana from Chhoti Behan (1959), lyrics Shailendra
This song has two parts – happy and sad. The more popular happy version has become a quintessential Rakhi song.
6. Ajeeb dastaan hai ye, kahan shuru kahan khatam from Dil Apna Aur Preet Parayi (1960), lyrics Shailendra
SJ’s Filmfare Award for this film had created some controversy, as this was the year of Naushad’s Mughal-e-Azam. Leaving aside the comparison, Ajeeb dastaan hai ye is layered with meanings. I have not come across any party in which this song is not sung, either as a solo or in group.
7. Banwari re jeene ka sahara tera naam re from Ek Phool Aur Kaante (1960), lyrics Hasrat Jaipuri
SJ are equally good at bhajans.
8. O basanti pawan pagal from Jis Desh Mein Ganga Bahti Hai (1960), lyrics Shailendra
SJ were tasked with filling the ravines and rocks with music in this dacoit movie, and what a great job they did! The sardar’s daughter has fallen in love with the simple-hearted Raju. Here is one of the best plaintive pukar for a lover.
9. Tera mera pyar amar, phir kyon mujhko lagta hai dar from Asli Naqli (1962), lyrics Shailendra
SJ earned notoriety for loudness in the later part of their career. So far we have seen them at their best in soulful, poignant and slow-paced songs. That is why I have observed that even if we remove all that is considered loud, what is left would put them in the league of the greatest music directors.
10. Ye hariyali aur ye rasta, in raahon par tera mera jeevan bhar ka raasta from Hariyali Aur Rasta (1962), lyrics Hasrat Jaipuri
For a large part of their career, there was no dichotomy between popular and good.
11. Hum tere pyar mein sara aalam kho baithe from Dil Ek Mandir (1963), lyrics Hasrat Jaipuri
I am faced with a difficult choice between this song and Ruk ja raat thathar ja wo chanda, written by Shailendra. But the latter song has already featured in DP Rangan’s post on Moon. Meena Kumari on the sitar, professing her love to a despairing husband, is heart-touching.
12. Manmohan Krishna Murari, tere charnon ki balihaari from Saanjh Aur Savera (1964), lyrics Shailendra
We get another excellent bhajan from SJ for Lata Mangeshkar.
13. Tumhein yaad karte karte jayegi rain saari from Amrapali (1966), lyrics Shailendra
This period film around the Nagarvadhu Amrapali required mastery over classical music and dance. Though the film was not a great commercial success, SJ created a superb score. Tumhein yaad karte karte again bridges classical with the popular.
{ 77 comments… read them below or add one }
Akji,
Thanks for the wonderful tribute to the quintet. Shankar-Jaikishan-Shailendra-Hasrat-Lata, has gifted us some of the finest songs in the golden era. I am glad that the lyricists Hasrat Jaipuri and Shailendra too found a deserving mention in the post. In fact I was expecting this post on Lata Mangeshkar’s birthday.
I believe, till Shailendra’s untimely death, both Shailendra and Hasrat Jaipuri had penned almost equal number of songs for Lata Mangeshkar (solo) under SJ’s baton. A few films for which Shailendra had penned the lyrics were released after his demise.
As you have rightly mentioned the selection of songs can be equated with best songs of any other great music director. Only one song was new to me. Haaye mera dil le gaya koi aake isharon mein. I do not remember listening to this song before.
BTW, Please correct the year of release of the film Anari should be 1959 not 1956.
Let me add a few songs, may not be great, nonetheless enjoyable
Mori Bipda Aan Haro Prabhu Kaahe Der Karo, film Pooja (1954), lyrics Shailendra
https://www.youtube.com/watch?v=HYCYDHRgVwA
Saawan Aawan Keh Gaye Dil Mein Sama Ke Milne Na Aaye, film Kanhaiya (1959), lyrics Shailendra
https://www.youtube.com/watch?v=4vnE6OC8hWc
Bata de aye dil dil lagana na ras aaye to kya karu, film Pooja (1954), lyrics Hasrat Jaipuri
https://www.youtube.com/watch?v=vNt5uda_sj0
Venkataramanji,
Thanks a lot for your appreciation and thanks for the correction. Haye mera dil le gaya is one of the best songs of the combo, though less heard. All the three songs you have added were new to me. They have the usual sweetness of Lata Mangeshkar in the early 50s.
AK ji ;
Thanks for the beautiful recall of lata ji’s songs of my fav.music directors . One can measure the arc of my smile and may find a new value of ‘ Pyi ‘ .
All the songs are worth listening again and again . You have rightly stated that sweetness of Lata ji’s reflected in the early 50s of their songs and that I think contd in times that followed . The Amrapali song is a testimony of the statement . Some of the sweet songs of Lata ji’s that I rate her best for Shankar Jaikishan that could not find place , may for the reason that they existed in other S J ‘s post are…..
1.Kisine apna bana ke mujhko…….Patita
https://www.youtube.com/watch?v=MA72LAYKZRg
2.Unse pyar ho gaya….Badal….
https://www.youtube.com/watch?v=VQ8CcUH266U
3.Ulfat ka saaj chhedo…..Aurat
https://www.youtube.com/watch?v=lLpC77POXi0
4.Sunte the naam hum ……Aah…
https://www.youtube.com/watch?v=QPujRbe8GwM
5.Hum se na poochho koi…..Kali Ghata….
https://www.youtube.com/watch?v=nyV5FME2lzQ
6.Bahar banke woh muskarayin hamare gulshan …Hariyali aur Raasta
https://www.youtube.com/watch?v=smVT-lv9l8k
AK ji , Beside the excellent support system that Shailendra and Hasrat provided with their beautiful lyrics ; I think equal backstage support came from their assistants Sebistian and Dattaram who provided excellent orchestration typical of SJ creation , supplementing the composition of the song and sticking to it , never altering or over riding the natural stream of the melody . In fact one of the reason that one could identify as SJ’s song was due to their inputs, hard work and style typical of SJ’s songs.
One more song/ bhajan that is an outstanding creation of the trio and may find fav. of others is…..Man mohana bade jhoothe….from Seema ., a land mark of SJ with least musicians …
7. https://www.youtube.com/watch?v=ewi3GN7RKNc
Venkatraman ji , You have added beautiful songs to AK’s listing . The other song I like of Kanhaiya is …..
8. O more sanwale salone piya……
https://www.youtube.com/watch?v=FAMLkYfxJEw
to be contd…..
AK
Another masterpiece from your gifted pen. Your ever fertile imagination conjures up bewildering variety of articles and this is one such. SJ and Lata Mangeshkar combination is a treasure trove. You keep on digging and something fresh would pop out. I can think of two songs from Kathputli (1957), a social drama featuring Balraj Sahni and Vijayantimala. These solos are still fresh in my memory. Very rarely heard and eagerly awaited in those Radio days.
Bolre katputhli dore (https://youtu.be/J2DNlNxcYH4)
Haaye tu hi gaya (https://youtu.be/10WCDASkXWw)
How could you miss another great solo from Raajhath (1956).
Mere Sapne me aana re (https://youtu.be/rO1L_yv1NfM)
I have heard all the songs you posted in yesteryears and you gave me an opportunity for hearing them again for which I offer my profuse thanks. Continue to enthrall all with such posts.
KS Bhatiaji,
Thanks for your appreciation. You have rightly added that one must acknowledge the contribution of SJ’s assistant Dattaram and their arranger Sebastian D’Souza’s contribution to their music.
All the songs are my great favourites. Except More saanwle salone piya from Kanhaiya, other songs you have added have already figured in yearwise reviews.
DP Rangan,
Thanks a lot for your appreciation. SJ had the knack of creating outstanding music which also became enormously popular. The songs you have added are my favourites too. I am especially fond of Mere sapne mein ana re sajna and it has figured in SJ’s dance songs for Lata Mangeshkar.
This is really an excellent topic. We find that the melodies created by SJ with movies of the 50s being at the top with creations like Aah,Patita,Shararat,Love Marriage, Ujala,Basant bahar,Daag,Kathputli and the list goes on and on. In fact,SJ created such melodies even with Rafi ad Mukesh during the period.I request you to bring out a blog on the same also. All of course with Hasrat and Shailendra. Best wishes.
KB,
Thanks alot for your appreciation. I have already writte on SJ’s best songs for Manna Dey, Mukesh and Rafi. With Lata Mngeshkar, their four great singers are covered.
AK,
Like SJ Lata dances, you could have done few more categories of SJ Lata but you have condensed it to Lata’s great song
Venkataramanji has cited the mention of the lyricist. I would like to add to that, Hasrat Jaipuri in my opinion does not belong to the same bracket as Shailendra
I consider him lucky for being discussed in same league as Shailendra.
It might sound odd but # 3 and # 10 I do not like as much.
SJ Lata have some beautiful songs in flopped unnoticed movies.
Few of them.
Two from Baghi Sipahi Ruk ja musafir palbhar ke
https://www.youtube.com/watch?v=UW9Q86Mp5tM
Dil Lagane wale mat sun meri kahani
https://www.youtube.com/watch?v=UW9Q86Mp5tM
Three from Naya Ghar.
Laga kar dil pareshan hai
https://www.youtube.com/watch?v=tAxKxWmlDqg
Lo aaye hai din pyaar karne ke
https://www.youtube.com/watch?v=jFTMbQrYeG8
Jawan hai jahan jhoom uthi
https://www.youtube.com/watch?v=4HxguNzBNUM
Ms. Mumbaikar 8 ;
I think , like you ,there could be many listeners who may not agree with some of the listed songs . Here comes the ‘ Era factor ‘ to which they belong . In the 50s the SJ music was to recon with. Each of their’s song was a delight for the listeners that brought large fan followers . It was immeterial wheather the film was flop or hit , SJ sticked to their guns giving giving hits after hits .
This trend of the 50s continued in early 60s , the style there after getting moulded to the demand of the modernisation that was fast catching up thru out the nation till the 70s and eloped with the waves after the sad demise of Jaikishan .
To me what AK ji have brought out are the popular numbers of Lata ji’s songs which are known to the masses . I will partly agree with you that there are songs which are better but because they belong to flop movies and therefore they got less noticed . Here I will agree to the statement made elsewhere by AK ji that radio was the measure of the popularity of the songs in 50s and 60s . The listeners were well aware of the Ear worthiness of the song and its repetitive listening qualities .
I am clubbing a few of my fav. songs with your’s songs from Naya Ghar and Baghi Sipahi that you posted @9 . A little correction here …the song…. Ruk ja musafir pal bhar ….got loaded twice . The song…Dil lagane wale…needs to be reposted .
1. O Saajna na puchh mujse pyar kya hai….Krorepati
https://www.youtube.com/watch?v=x4Y4hYQsLZk
2.Ankhon ankhon mein tum ko basa kar dekh liya……Aurat
https://www.youtube.com/watch?v=3KztELQLmLM
3.Do din ke liye mehman yahan……Badal
https://www.youtube.com/watch?v=9Ps2H8zzl74
4.Dard-e-jigar thehr jara……Aurat
https://www.youtube.com/watch?v=Pm41DXCTGSU
5.Do din ki zindgi mein…….Poonam
https://www.youtube.com/watch?v=dl1WIGbrdVA
6. Preet ye kaisi bol re duniya…..Daag
https://www.youtube.com/watch?v=g6GrBRIkrbk
All these are masterly crafted Lata ji’s Jewels and Gems by Shankar Jaikishan with excellent lyrics by Shailendra and Hasrat Jaipuri .
…..to be contd…..
Mumbaikar8,
Besides the dance songs, her songs have also appeared in various year-wise reviews. Yet, you are right SJ-Lata can have several more posts on different themes. I thought my selection gives afair represntation of their remaining songs. I am not surpised about your lukewarm view about #10, but #3 would figure in everyone’s best.
Songs of Baghi Sipahi were new to me. However, you have repeated the lnk of Ruk ja musafir pal bhar ke. Here is the link of the other song:
Dil laganewale mat sun meri kahani by Lata Mangeshkar from Baghi Sipahi
AK
This post gives detailed information of five young people who started revolution of music, lyrics and voice in the songs. All the songs mentioned are definitely pick of the best of the team SJ. The song number 11 “Hum Tere Pyar Mein” though fits the bill, I would say “Ruk Jaa Re Chanda” though mentioned by DP in his Moony songs Post as a Moon song, it is more than that in the melody, sharpness and delivery of Lata. So even with the repetition error the song should be as one of the all time best of Lata, SJ and also of Meena Kumari who did excellent performance of the song as well. But the post is very dexterously written and should be adored as it is.
Shalan La
Shalan,
Thanks a lot for your appreciation.The choice between Hum tere pyar mein and Ruk ja raat thahar ja re chanda was really very difficult. Had it not been included in DP Rangan’s post, I might have used. My selection is highly restricted as I have excluded all the songs that have earlier appeared otherwise. That just shows SJ’s huge body of work.
AK ji,
Many Thanks for this post.
I tried a lot to trace an unfamiliar song and all my attempts failed.
The association will always rank among the best.
I would have loved SJ composing more for Shamshad Begum and Geeta Dutt, but in hindsight, the popularity of the songs with Lata prove that the experiment may not have worked well.
Aurat (1953) and Poonam (1952) did not any other singer in the films except Lata. Both films have excellent songs.
Once again, a great topic and a great selection of songs (except for, IMO, ‘Tera pyaar amar’, which I have never liked). It is an acknowledged fact that SJ were the masters of Raga Bhairavi – I don’t think there was a movie of theirs in which they did not base at least one song on this raga.,,, and each song was so different! (It was certainly no coincidence that Jaikishan named his daughter after the raga). And of course, Lata lent her voice to many of these Bhairavi-based songs, right from Barsaat all the way to Sanyasi. I remember an episode from a series on Hindi film music done by santoor maestro, Shivkumar Sharma, for the Vividh Bharati program, Sangeet Sarita. He had pointed out how SJ had used Bhairavi to depict two completely different moods in these two Lata/Shailendra songs from Patita!
Kisi ne apna banaake mujhko – joyful & playful
https://www.youtube.com/watch?v=MA72LAYKZRg
and
Mitti se khelte ho baar baar kis liye – sad
https://www.youtube.com/watch?v=fblWyQP0iKs
What genius!
Have been busy and didn’t get a chance to go through the article except superficially. Of your list, Tumhe yaad karte karte, Ajeeb daastan hai yeh, O basanti pawan paagal and Rasik balma are perennial favourites of mine.
I also particularly like O mere sanam from Sangam though that being a duet, may not fit this post.
What about: Ye shaam ki tanhaaiyan from Aah?
https://www.youtube.com/watch?v=ecvYQUFkR7g
Awaara ae mera dil from Raat aur Din
https://www.youtube.com/watch?v=E92_TwZb-7I
Kaare badra tu na ja na jaa from Shikast
https://www.youtube.com/watch?v=YuWNzNTd8OE
Mahesh ji;
Here are two unfamiliar songs of the trio from an old movie Jwala , which I think was made in the early / mid 60s but could got released only in 1971 due to prolonged illness of Madhubala . lots of scenes were re shot using duplicates . In one of the scene one can find Asha Parekh acting along with Madhubala . This was her last and only color film released after her death in 1969 .
The two songs have the hallmark stamps of Shankar Jaikishan ; one a fast number and other a classical one . Intimate me if you find any resemblance of the second number with any of their look alike tunes .
1.Dekho ji ankhon mein dekho……
https://www.youtube.com/watch?v=3djqG6eVcRU
2. Jagi raat bhar teri yaad mein balam…..
https://www.youtube.com/watch?v=26tXq7VBZxM
AK,
Sorry for the goof up.
I am aware of Rasik balma being on everyone’s favourite list that’s why I said it might sound odd.
Ksbhatiaji,
AK has corrected my mistake.
SJ were at the top starting 1949 to around 1969 their slide began around 1966 with their split and the sad demise of Shailendra
The irony of life, Jaikishen was breathing his last in Breach Candy hospital and his song Zindagi ek safar hai suhana yahan kal kya ho kisne jana was being shot a few miles away at Marine Drive.
Two Lata SJ songs I like.
Ek dil Sau Afsane.
Door ke o chanda
https://www.youtube.com/watch?v=sUXKQzYNwyc
Apne Hue Paraye.
Maine bulaya aur tum aaye
https://www.youtube.com/watch?v=PxLEjxineEM
Mahesh,
While in male singers SJ showed a great deal of diversity, in female singers they probably did not venture to move out of their comfort zone. The other reason was that while all the main singers could be hero’s voice, the ‘other’ female voices had to go on other characters. Shamshad Begum and Geeta Dutt are virtually non-existent.
Ashwin,
Thanks a lot for your appreciation. Have I used ‘Tera pyar amar’. Do you mean ‘Hum tere pyar mein sara alam’? SJ became identified with Bhairavi.
Anu,
I am not very fond of ‘Awara ae mere dil’. But the other two I like a great deal. These have figured on SoY earlier.
AKji,
Back after a while…
SJ-Lata combo is one of the very best of HFM. Thanks a lot for this post.
Few things below I found on the net relevant to this post. They might be known but nevertheless pasting it here –
1) Lata on SJ
I believe no one can equal the music composed by Shankar Jaikishan. They composed classical songs, cabarets, dance numbers, love songs, sad and happy songs. Few composers have been able to match their range. Their music has extended the life of many films – films that would have otherwise been forgotten. So many of their films enjoyed a twenty-five week run. I would tease them and say their initials ‘SJ’ did not stand for Shankar Jaikishan but for Silver Jubilee.
2) This link w.r.t. Rasik Balma
http://creative.sulekha.com/flute-rasik-balma-film-chori-chori-and-information-about-the-song-composition_240659_blog
SJ compositions in the fifties were excellent. However the trend continued in the 60s also with films like Gaban,Love in Tokyo, Asli naqli, Aashiq, Ek dil sau afsane and Arzoo. But the magic of the 50s could not be sustained. Further it got affected with the sad demise of Jaikishan in the early 70s and also since LP and others took over form SJ.
Highly appreciable selection of songs fro a very difficult to handle but equally interesting subject.
I iwll add one such song:
Tune Haaye Mere Zakhmi Jigar Ko Choo Liya – Nagina 1952 – lyricists – Shailendra
https://youtu.be/Lgz_G4mw5as
AK,
Yes, you have listed ‘Tera mera pyaar amar’ as Song # 9.
AK,
Saw just now that I had missed ‘mera’ in my first comment …
Ashokji,
Thanks a lot for your appreciation.
Ashwin,
Sorry about that.
Siddharh,
Thanks alot for the link of a very informative article. Another Jaipur = Jaikishan equation?
AK and others
The Bahiravi attachment of SJ started with Barasaat because RK was fond of Bharavi. According to my information that all the songs in Barasaat had Bhairavi notes in them because originally RK did the basic composition of all the songs. SJ did the rest.
When success like that dominated for a year SJ had to stick with both Lata and Bhairavi.
They started experimenting in late fifties with Seema and other songs.
Still they became huge and rocked the throne of Naushad.
Shalan La
AK
The information about “Shailendra! is very good. His original name was “Shankar”. His father was called Kesarilal. He had three brothers. Some how the brothers got “Rao” as suffix to their names. For example his elder brother was called “Purshottamrao” and younger brother was called “Pralhadrao.”
Usually the “rao” suffix is used in Maharashtra, Karanatak and Andhrapradesh.
But later on in the lyricists’s list “Shailendra Singh” is credited. I am intrigued and feel that there must be two Shailendras. One is Shailendra (i.e. Shankar-rao” and the other is Shailendra Singh.)
Perhaps some expert could throw some light on the matters.
Shalan La
A fine write up and another well articulated piece of writing from AK with loads of information on the great five – no doubt they are genius
No comments on song selection but how the song “sayonara sayonara
waadha nibana sa…..” has not been mentioned by any one who have commented so far.
Based on raag Bhopali – a rarely used raaga by our composers – beautifuly composed by SJ and sung excellently by the one and only Lata. Just hear this song a great number. The usual accordian stripe, the characteristic flow of violins of SJs orchestra are not there very much but the instruments used are so apt that the interlude add beauty to this song.
Shalan Lal,
Thanks a lot for the additional information. Shailendra was credited and known only by the first name. If the music is by SJ, then it has to be him. If it is another MD, we should be careful if the name is written differently.
Thanks a lot Mr Vasudevan. The leading song in Bhopali is Jyoti kalash chhalke.
Bhatia ji @ 17.
Unfamilar, Yes I do agree as I don’t remember listening to the songs.
Regarding, similar tune as that of the second song, I failed to recollect.
Kindly write.
The film “Jwala” with an history associated with it has a Mukesh solo which again I was not very familiar with. Many Thanks for the info of this film.
Shalan,
Not all songs in Bhairavi are based on Bhairavi. for example, ‘Meri aankhon mein bas gaya koi re’ and ‘Hawa mein udta jaaye’ are based on Raga Pahadi, while ‘Patali kamar hai’ is in Kirwaani.
Vasudevan,
I think the choice of Bhoop for ‘Sayonara sayonara’ was deliberate on the part of SJ given that the setting of the song in the movie is Japan- the Bhoop scale is very common in the music of JApan and China. In fact, the instruments used in the interludes give a very Chinese/Japanese feel to the music.
Ashwin Bhandarkar ji ; #35.;
The Sayonara song in Love in Tokiyo was a passing affair of S J and was not the one that should be counted among their best. There was a feeling that the composition was typical hindi threaded with mismatched interludes thrown in intentionally to give japanese touch……sort of a overdone work .
In comparison to this movie song , S J earlier had done some better work in their movie of the 60s…….Singapore , which had some good songs . The two songs amongst them are pasted down . See Lata ji and Rafi sahebs modulation and range to match the indianised singaporean song.
1. Dekho ji dekho sun lo ek baat……Lata
https://www.youtube.com/watch?v=tVGuyC2vza8
2.Rasa sayang re …..Lata , Rafi
https://www.youtube.com/watch?v=XBE0DAJj448
There are two or three more songs which i am not able to recollect now. I think oe song was filmed on Saira Banu and other on Waheeda rehman. Will post when able.
AKji
thanks for the wonderful description of this post and salute to SJ, the emperors of our film music. The selection of songs is not a best one as i feel that u have skipped many of your favts between the first and the last song. As Shalanji felt Ruk jaa raat should have been in your list despite repetition.
Another must mention song is “JA JA RE JA BAALAMWA, sautan ke sang raat bitaai..kaahe karat ab jhuti batiyaan..
PATRANI’s KABHI TO AA KABHI TO AA is matchless melody…
Some more great melodies :
Do din ke liye mehmaan yahaan, maloom nahin manzil hai kahaan (Baadal),
Ab to aa jaao balam ulfat ke maare ro diye (Poonam),
Use mil gayi nayi zindagi, jise dard e dil ne mita diya
wo bahaar ban ke sanwar gaya, jise soz e gham ne jala diya (Halaaku’s masterpiece)
and from 60’s
Apne piya ki prem pujaaran, karke baithi singaar
Ho aaj aaye piya more dwaar (Aman).
Tadap yeh din raat ki, kasak yeh bin baat ki
is as superb as Tumhen yaad karte (Aamrapali)
many are still remaining but, let them go to other explorers.
You said “Thus, the end of the Golden Era also signalled the decline of SJ”
I say the decline of SJ signalled the end of golden era.
Jaikishan’s demise was ultimate blow to the golden era which was still there until 1971 as a visible tail after 1969. After breakage of SJ brand the 3rd generarion golden era MDs (KA, LP, RD, UKhanna) were now inspirationless and clueless. They were now free to generate their own kind of music which was distal from the melody and class and proximal to box office.
In 1972, the 3rd gen MDs gained a clear lead over the 1st and 2nd gen Golden era MDs in the number of films and the result was obvious.
my categorization of the Three generations of golden era MDs :
1st gen : who had intiated the golden era and were already active before 1944 : KP, Naushad, Anilda, CR..etc…original generators of melody and class.
2nd gen:
who entered in the span 1944-1955…starting with BCRani,Sajjad,HBhagatram in 1944 and ending with Jaidev, Ravi and N.Dutta in 1955.
They also strictly followed and rather enhanced the pace of melody and class…even after the visible end of golden era (1971) they tried their best to produce great music.
3rd gen:
who entered in the scene after 1955, initially followed the melody path of the previous gens and then made their own way.
Of the songs presented here in , Tera jana dil ke armanon ka lut jana – Anaadi (1959) – Shailendra and Tera mera pyar amar, phir kyon mujhko lagta hai dar – Asli Naqli (1962) – Shailendra are two songs which have relatively very special feature in so far as SJ’s Lata Mangeshkar songs are concerned.
The interlude music of these two things is far more high-orchestra rich than others, particularly in terms of presence of violins.
As such I expected these pieces to have been composed by Jaikishan, who was said to be more comfortable with high orchestration tunes. But, the songs are written by Shailendra. Would that mean the tune would originally have been composed by Shankar by orchestration was set by Jaikishan?
BTW, here is what I consider as signature Jaikishan composition:
Dil Ki Nazar Se
https://youtu.be/t8vDu-C7u1Q
So I look up for a few more of SJ_HJ_ LM sets of songs.
O Kanhaiya Aaj Aana Khwaab Mein – Kanhaiya (1959)
https://youtu.be/ryZU6434RYk
Seems to be signature Shankar tune, with fair degree of orchestration by Jaikshan!
(BTW, a comment to this YT video draws similarity with MERI JAAN MERI JAAN PYAAR KISI SE ho hi gya hai – considered to be a Shankar composition – dholak as rhythm instrument and dance song too. Probably a classic case of seamless composition by the duo!)
https://youtu.be/Cwianm8SOGk
Maare Gaye Gulfam – Teesari Kasam (1966) would fall under the category of a seamless composition when tested on rhythm and interlude composition test.
https://youtu.be/q9wl1IIIGXY
And so would Baat Baat Mein Rootho Na – Seema (1955), except that the song is predominantly a piano accordion song.
https://youtu.be/mAGZh2UrPk4
As my efforts of SJ-HJ-LM sets seem not to yield any clear inference, I now try with a few specific songs:
Dil Apana Aur Pree Parai – a signature Shailendra song with title of the song interwoven in the song.
https://youtu.be/TLYePbMGku4
Apne Hue Paraye
https://youtu.be/yF2ifk1Tpdk
Ek Dil Aur So Afsane
https://youtu.be/qOOKw3tVDV8
Well, my limited knowledge does not lead to any definitive inference, but listening to these songs a bit more minutely was quite an experience….
Jignesh,
Yes, my selection was very restrictive. But there is no way one can select the ‘best ten’ from the entire list of LM-SJ songs. But even this ten can’t be called second class songs.
Ashokji,
I have also seen some other differentiation between S and J. For example, Shankar specialised in classical-based serious songs, Jaikishan in romantic, lilting songs. But would we be ever sure? And is it worthwhile when they presented a unified face? Therefore, I take the easy mnemonic – if Shailendra, then Shankar, and if (Hasrat) Jaipuri, Jaikishan.
Ashwin Bhandarkar @ 35
Thanks for your information on the songs in Barasaat. In reality I do not understand much about the Raag sytem in Indian Classical Music of both sides of the divide.
My information came from an inteview RK gave ages ago which appeared in Dharmyug in eighties which I read at the School of Oriental and African Studies, Univeristy of London where I was doing some work.
In that interview RK said that he did the basic composition of Bharavi for all the songs in Barasaat.
Further on I heard LP on a TV programme that they composed some songs for RK in Bhairvi and presented them for his aproval as he liked Bhairavi more than any other Raag.
Similar thing said by Jain when he did his solo concert in Londo from his own songs and gratefully mentioned RK and his song was in Bhairvi because RK liked Bhairavi.
So my statment was based on that information. But you know more about the nature and sound of the various Raagas and I bow down to the agreement with you.
Shalan La
AK ji
Accept my gratitude on a well written article with compilation of sweet and evergreen songs. Thanks to Venkataraman ji,KS Bhatia, Anu, Ashok Vaishnav and others for linking very likable songs – may I request Bhatia sahib to link up Lata solos from films Junglee and Gumnaam if he likes them.
Jignesh has put up a brief note on three generations of MDs which requires a detailed examination but may be postponed this moment for the sake of brevity.
Thanks
Tyagiji,
Thanks for your kid words. Comparing he three generations of music directors in one post would be a very unviable exercise. In any case I do not focus much on the third generation. But the MDs of the first and second generation do figure on SoY extensively.
Ashok M Vaishnav ji @39 and A K ji @ 40 ;
I entirely agree to the observations made at these postings . When I listen to Anadi songs I do continue my pleasure listening to Chori Chori songs as well . When I listen to ….tera jaana…I do listen to …Rasik balma….as well . And after listening to ….Aaja sanam madhur chandni mein hum …..I continue my listening pleasure….Woh chand khila woh taare hasse….. .Both the films had tremendous treasure of beautiful happy and sad songs . So you have a choice of listening to Shankar or Jaikishan songs , or, listening to Shailendra or Hasrat jaipuri songs also.
There has been instances where entire songs in a film were composed by either Shankar or Jaikishan with the inputs of one or two songs by the other counterpart . For Teesri Kasam all the songs were penned by Shailendra except one by Hasrat Jaipuri . Shailendra’s songs were composed by Shankar and hasrat song ……Aa aa aa bhi ja ….was by Jaikishan . The sharp eared listeners can easily identify Jaikishan’s tune by the shear presence of flutes and violins or mandolin .
Another interesting fact is that most of the songs of chori chori were penned by Hasrat set to the excellent compositions by Jaikishan . Shankar at that moment of time was abroad and as per rule of law set by SJ themselve , producer had to wait for Shankar to come back and complete the filler songs . The Shankar’s songs written by Shailendra were …..All line clear….and ….saava lakh ki lottery.. .
Like wise , for similar reasons , entire songs of Arzoo , with the exception of…Jab ishq kabhi ho jaata hai….. , were composed by Jaikishan .
AK ji , It is true that Shailendra’s deep meaning classical songs were usually composed by Shankar , the fact Hasrat confirmed in one the interview who wrote lighter and romantic songs . There are ,however, some songs which were penned by Shailendra and composed by jaikishan like…..Pyar hua ikrar hua hai…and….badan pe sitare lipeete huye .
Ashok ji , I will go with your your observation on Kanhiya and Yahudi songs . The interlude of…. O Kanhiya…. matches the mukhda of ….Meri jaan meri jaan . To this I will add that the orchestra of seema song …..Baat baat mein rootho na…..matches that of Yahudi song…..Bechhain dil khoyi si nazar .
Having said above , I will add some of my fav. Lata’ ji s songs which are hidden and should find among Listener Choice .
1. Aansoo ki aag leke teri yaad aaye…….Yahudi
https://www.youtube.com/watch?v=Op1AR277XBw
2. Us paar saajan is paar dhaare…….Chori Chori
https://www.youtube.com/watch?v=0xWepby-ioY
3. O jaane wale mud mud ke dekhte jaao……Shri 420
https://www.youtube.com/watch?v=AAT8FtN_16A
4.Aaa Aa bhi jaa raat dhalne laggi……Teesri Kasam
https://www.youtube.com/watch?v=y_pNIhzE1kU
5.Jo mein jaanti unke liye…….Aah….[ happy and sad combo ]
https://www.youtube.com/watch?v=HbAE8xdywhA
6. Aji ruth kar ab kahan jaayiega…..Arzoo
https://www.youtube.com/watch?v=Gck052mPWaE
7. Bedardi balma tujh ko mera man yaad karta hai….Arzoo
https://www.youtube.com/watch?v=khABWep1Vzk
Above are some of the songs where writer , singer and MDs excelled themselves in their own field . Tyagi ji , I will come back with some of happy songs of Lata ji’s marvels for SJ .
As the author of this topic had made a mention of three generation of
Music Directors, I take off from that platform. To begin for a detailed
discussion on this supplentary topic I feel necessary to group the MDs
generation wise and then depen ding upon the response, we may further analyse their work.
1st generation – before 1950
Anil Biswas, Husnulal Bhagatram, Sajjad Hussain, Hansraj Behl, Ghulam Mohd, RC Boral, Sardar Malik, Naushad.c Ramachandra
2nd generation : 1950 to 1970
SD Burman, Chitragupta, Roshan, Shankar jaikishan, OP Nayar,Ravi,
Madan Mohan, N Dutta, Khayam, Jaidec, Hemanth kumar, Usha Khanna, Iqbal quereishi, Raam Lal
3rd generation
Lakshmikanth Pyarelal, Kalyanji Anandji, RD Burman, Rajesh Roshan,
2nd batch
Bappi Lahari, Anu Malik, Ravindra Jain, and others.
There may a few music directors who might have started composing
before the period mentioned against their name.
I now welcome comments on this categorisation. This is my list
Names is listed with no order of merit.
Mr. Vasudevan,
In the first generation the glaring omissions are Pankaj Mullick and Khemchand Prakash. If you delve deep, you have to include Shankarrao Vyas, Master Krisna Rao, Keshavrao Bhole, Ustad Jhande Khan, Gyan Dutt and Pt Govind Ram.
In the second generation, an obvious omission is Salil Chaudhary. In the third generation, if you mean to cover up to the present, AR Rahman has to be mentioned. In between Nadeem-Shravan created big waves.
I am sorry of the names of music directors I did not mention. Reason being especially in the first gen. list I have not heard about them (those I have not excluded)
In the 2nd gen. glaring omission is salil chowdhry. I admit my folly
it was unintentiional.
I may not post any further postings/comments henceforth.
Good bye to every one
Mr. R. Vasudevan
Categorization is done only for those MDs who have served into a certain timeframe of Golden era ( 1944–1971), so i called them Golden era MDs.
Bappida,Ravindra Jain, Rajesh Roshan and so forth were not the part of this era, hence, to mention them here is purposeless as per my view.
Salilda is not an omission here. It is said in comment 37 that whose entry fall in between 1944-1955 is counted into 2nd gen MDs regardless of his age..so obviously Salilda comes in 2nd gen.
SDB is elder than many 1st gen MDs but he came into field in 1946, so he is counted in 2nd gen.
Regards.
AKji @33,
While I appreciate your post and all the songs listed in this post and some of the songs (which I could hear at some or other) listed by others, I would like to point out that the song ‘Jyoti kalash chhalke’ from Bhabhi ki chudia is based on Deshkar of Bilawal thaat and not Bhupali of Kalyan thaaat. (http://creative.sulekha.com/flute-jyoti-kalash-chalake-lata-s-favorite-song-raga-deshkar-bhoopali_399753_blog)
AKji
sorry, Salilda’s point is yours and not of Mr. R.Vasudevan. I fumbled in reading the two comments.
Mr. Peddadu , I would argue that with its emphasis on the lower tetrachord that Jyoti Kalash Chalke is based on the raga Bhoop (the emphasis is on Sa, Re Ga Pa) and “Sayonara Sayonara” with its emphasis on the upper tetrachord especially the use of Pa, Dha and the higher Sa is based on Deshkar.
Ashok Kumar Tyagi Ji ;
Here are few of Shankar jaikishan’s hits from the colored era of extended golden period , when melody was still riding high waves over troubled waters .
1. Is duniya mein jeena ho to sunlo meri baat…..Gumnaam[1965]
https://www.youtube.com/watch?v=HdIEJ64qkhI
2.Kashmir ki kali hun mein……Junglee
https://www.youtube.com/watch?v=I_2DnMTbrrA
3.Unse mili nazar ke mere hoosh ud gaye….Jhuk Gaya Aasman
https://www.youtube.com/watch?v=5i160jmz6JI
4.Ja ja ja mere bachhpan…..Junglee
https://www.youtube.com/watch?v=uCPGymd15wQ
5.Mere tumhare beech mein ab to……Jhuk Gaya Aasman
https://www.youtube.com/watch?v=Wqxzlu3Yoj4
6.Ehsaan tera hoga mujh per……
https://www.youtube.com/watch?v=WAnY8EP9_II
7.Hai dil laga to aisa laga……..Preetam[1971]
https://www.youtube.com/watch?v=YrlxEmG1M0Y
The above superb songs by lata ji really matches the voices of Helen, Saira Banu and Leena Chandavarkar .
…….to be contd…..
The classification of composers by Sri RV is agreeable. Indeed, as it was rightly discussed there is overlapping as far as years of composing actively also matters. I would like mention one point here that composers like Ravi,Chitragupt and even OP had a second innings i.e. although they were prominently present in 50s and 60s they did come back in the 70s with new films and with new singers and some of them became hits also. In fact I remember Chitragupta composed for a film in 80s also and became a hit.
A K Tyagi ji ;
The trio’s melodies continuing with some classical songs of the color scope era….
8. Neel gagan ki chhaon mein…..Amrapali
https://www.youtube.com/watch?v=GU4KidY4v1Y
9.Kal nahi paye jiya more piya…..Chhoti Si Mulaqat
https://www.youtube.com/watch?v=ICcjI7Rt_nw
10.Tadap ye din raat ki…….Amrapali
https://www.youtube.com/watch?v=SeoAb9tw9mY
11.Mil gaye mil gaye aaj mere sanam….Kanyadaan
https://www.youtube.com/watch?v=ZeJtKrhHFN4
12.Jeeven ke do rahe pe khare soachhte hain hum…..Chhoti Si Mulaqat
[ Beautiful Lyrics]
https://www.youtube.com/watch?v=MsILKtw-Ex8
….the classic beauties will surely continue…..
AK ji;
Here is one of the melody which some how got hidden from myself for so many years . It is one amongst the rare songs of Lataji SJ trio’s. The song is from Kishore sahu’s partly colored movie of 1954…Mayur Pankh . SJ were fav. MDs of Kishore Sahu who carried on with many of their films like Kaali Ghatta , Dil apna aur preet parai and Hare kaanch ki Chhudiyan .
This Mayur Pankh song , when repeated listened to , reminds me of one of the beautiful Talat, Lata duet song of the 1951 movie Tarana….Nain mile nain huye baware . The rhythm , beats, the instruments , the interludes ; as also the composition is image / reflection of the Anil Biswas ‘s composition in the faded mirror .
Now, listen to the song…..
Tandana tandana mushkil hai pyar……Mayur Pankh[1954]
https://www.youtube.com/watch?v=ahikP8TYvVY
The referal song for the umpire is….
Nain mile nain huye baware……Tarana
https://www.youtube.com/watch?v=tw_eXsG9fVU
AK ji and Bhatia sir,
Wow.
This post, which already had a marvelous collection of songs, has now been further enriched.
The voice timbre of Saira Bano much resembles that of Lata ji. And luckily for Saira, SJ gave lovely music for her. When Suman Kalyanpur sang SJ compositions for Saira Bano, she also performed well.
Songs of films Junglee, Jhuk gaya Asman, April Fool etc contributed in their box office success.
Lata ji’s performance in films Junglee and Gumnaam again proved that she was also adept in singing peppy numbers which had quick tempo.
Thanks.
Tyagiji,
Thanks a lot for your appreciation.
This topic was long overdue and in my opinion should have come before Lata’s dance songs and dance duets, but ultimately AK is the best judge. I very much liked the write-up. When I came to the songs part I thought whether I would find my favourites or not because in some cases our likes are different. But, to my surprise I found most of my favourites. Rasik balma, bhaiya mere, o basanti and tera mera pyar amar were all there in the first ten. At 11 I found hum tere pyar men. I was thinking why there is no song from Amrapali – which to me has the best compact list of four gems of this combo – but at the fag end there was ‘tumhen yaad karte karte’. So I have no complaints.
SJ-Lata was a special combination. Barsaat was the single most important reason which gave instant fillip to Lata’s career. SJ did not stop here they continued with her. Though people talk more about CR and MM when talking about Lata, to me no MD used Lata more than SJ. To support this I would give here some stats, which though I have given earlier also, but they would be relevant here even if repeated.
In the first ten years from 1949 to 1958 SJ did 31 films. Barring Boot Polish – which she herself chose to bypass – she sang in every film. In this decade they composed 200 solos, of which 150 were female solos and 50 male. Of these 150, Lata had 145 and only 5 went to others. In the same period Lata sang 178 solos in 50 films for CR. It can be seen that for SJ the average per film is almost 5 and for CR it is just above 3.5. SJ gave just 5 solos to others while during the same period CR gave 57 solos to others. Even if we remove figures of 1949 from CRs tally, because she became his favourite midway through 1949, the figures are 168 for Lata and 35 for others (from 1950 to 1958).
Hans,
Thanks a lot for your appreciation and detailed comments.
A K Tyagi ji ; @56 ,
You are perfectly right , Lata ji truely gave her best songs for Saira banu . For Shankar Jaikishan songs her voice modulation perfectly matched that of Mala Sinha , Meena Kumari , Nutan , Nargis and of course Helen too .
Some of her songs for various heroins of golden era .
1.Jab se balam ghar aaye……Awara
https://www.youtube.com/watch?v=SV2tpIUz0_4
2.mera dil ab tera o saajna….Dil apna aur preet parai
https://www.youtube.com/watch?v=hg3SFk29Bao
3.Kahe jhoom jhoom raat yeh suhani……
https://www.youtube.com/watch?v=ZxnqYXOO9hk
4.Murli bairan bahi……..
https://www.youtube.com/watch?v=ufVvFl5Fc6k
5.Suno chhoti si gudiya ki lambi kahani [ happy version ]……
https://www.youtube.com/watch?v=4u_ox0eWMEo
KS Bhatia ji,
Aapne jo geet pesh kiye hain, sabhi ‘har-dil-azeez’ hain.
The song ‘mera dil ab tera (dil apna aur….)’ reminds me of summer vacations we spent in a village lying between Yamunanagar and Jagadhari. This song was broadcast every day on popular demand. The song starts with folk tune by chorus- dance form popular in Haryana(then known as Southern Punjab). But when Lata starts singing, folk format is dropped. The same films’ songs depicted varied formats in the following:-
a) Jane kahan gayi
b) Ajeeb dastan hai ye
c) Andaaz mera mastana – this song was very nicely described by SSW in the comments section of the post on SJ- Lata dance songs.
This shows the tremendous skill of SJ.
Thanks
Ashok Kumar Tyagi ji ;
Ajeeb dastan hai yeh…..is a unique creation of shanker jaikishan , that makes this melody stand apart as best for many reasons .
1. One among the song with longest preludes ,
2. the only song with five sets of prelude , three interludes and postlude ; all different and each interlude is having different leading instrument as the song proceeds ,
3. like different interludes the choral effect also varies in different pitch as it proceeds till the end of the song .
The only other song which has different interludes thru out the song is …aa jaao tadapte hain arman….from Awara. The general rule that S J followed was that first and third interludes retained as same and second one different.
I really enjoy reading S S W’ s comments , observations and analysis of various songs vis a vis the instrumental melody effects . Had a good interaction with him on Amanat songs…..Banki adayen dekhna ji dekhna….and….meri wafaiyen teri jafayen ….some time back in different post .
Bhatia ji,
Thanks for posting very erudite analysis of the song ‘Ajeeb dastan’.
The music of SJ was amazingly high quality. Just by the way, I feel that the titles of SJ films were very often picked from what the producer/director imagined to be potentially very popular song in the album of the film. Any comments?
Thanks
Ashok Kumar Tyagi ji;
Thanks for your appreciation . I am as passionate as you are about Shanker Jaikishan ‘s songs and background music . While watching movies i usually make it a point to listen to the title music and background music as well . Thanks to the internet that now we can enjoy some of the masterful creation at the click of the mouse . Yes ; some of the background music appeared later as full fledged song at a later date . There are many examples , to quote some…..
1. Jaane kahan gaye woh din…..was heard in Aah
2. Dost dost na raha……appeared in shree 420
3.Chhoti si yeh zindgani……was there in Barsaat
4. O basanti …..too appeared in awara and shree 420
5.kisi ki muskurathoan…..appeared in famous club scene of shree 420.
Likewise some of the background pieces in one movie were repeated in subsequent movies . RK/ SJ had a great vision to adopt a signature piece of music on most of her heroins . One such piece is on piano accordeon which was used on Nadira , Nargis in Shree 420 and was repeated on vegentimala in Sangam . I will try to load some time later on .
To keep the ball rolling , here are a few of Title music and dance numbers,of course SJ’s speciality .
1. Awara……
https://www.youtube.com/watch?v=bBOV1BCD05g
2. Anari……
https://www.youtube.com/watch?v=6w867e0Gymc
3.Yahudi…..
https://www.youtube.com/watch?v=4QaHKtsd6W0
4.Boot Polish….
https://www.youtube.com/watch?v=fQ83Cy0An6w
5. Dance music…..Halaku
https://www.youtube.com/watch?v=o3-wYw_sbS0
6.Dance music just before Ramiya vastawaiya…..a beautiful piece
https://www.youtube.com/watch?v=rW72kDrJvwA
….will come up with more….
Bhatiaji,
You are amazing. Thanks for giving so much details.
On “ajeeb dastan” song I have heard that it got banned for sometime on radio because of some confusion. The LP had ajeeb dastan on one side and sheesha-e-dil on the other. The song “sheesha-e-dil itna na uchhalo” was banned (for the reason best known to censor) and the operator marked ajeeb dastan song as banned by mistake. That could be one reason that it could not end up as the top song that year.
Siddharth ji ; Tyagi ji ;
Thanks for your kind words . Frankly I am not aware of any song of Dil apna …..banned over the radio . As far as …ajeeb dastaan hai yeh……
I read it some where as one among ten best of Lata’s own listed songs . It surely is listener’s choice as well.
Well continuing from #64 , here are a few additions….
7. Title music of old movie….New Delhi . The music is version of Chhoti Bahen song…..Jaoon kaha bataye dil .
https://www.youtube.com/watch?v=MzZUSFCuXlA
This film also has tune of Shararat song …..hum matwale naujawan….as back ground music in a scene where Kishore waits for vijayntimala at lal quila .
8. Dance music …….Aurat….a beautiful number !
https://www.youtube.com/watch?v=obCV-mYuRAA
9. Shree 420 , back ground music ….hear it from 1.05 to 4.30.
https://www.youtube.com/watch?v=zXX7rfRuD9Y&t=307s
This is one amongst my fav. The music carries every mood of each frame , majestically captured by camera man , beautifully acted and a work of a real genious of Jaikishan…if I am not wrong .
10.Mera Naam Joker , Back ground score of chapter 1 & 2 . The richness of SJ is reflected in this movie . There are about 36 pieces in the movie and each one is a gem . H M V brought out the disc some time back which found its way to many collectors decorating top of the pedestals of their fireplace . Only listeners have to have their ears….unplugged .
Chapter 1…..https://www.youtube.com/watch?v=wfaXrOTooh4
chapter 2…..https://www.youtube.com/watch?v=TBXLKjR7N4I
…….to be contd……
….in continuation….
11. Jaane kahan gaye wo din tune as background score in a scene from the movie….Aah
https://www.youtube.com/watch?v=JynRM0LGbbY
…..to be contd…..
Ms. Shalan lal , AK ji ;
A rare mini gem of a song by Lata ji in the R K movie Barsaat . …….preet hasaiye preet rulaiye ….the sweet melancholy song that is never heard and i think never listed too ! But how beautiful composition . The lyrics very well conveying the mood as well as brief content of the movie . Now who wrote the lyrics is a poser to the experts .
Listen and Enjoy …..
https://www.youtube.com/watch?v=CFKv91O7xZI
On death anniversary of one of the great composer Shankar Singh Raghuvanshi (entire world knows him as Shankar Jaikishan : S-J), I sincerely pay my heartleft tribute to Shankar ji.
In fact, S-J enjoyed an unrivaled position in the Hindi film industry. During their heyday and even toward the later part of their career, they were the highest paid music directors in the industry. Barring stray exceptions, they were paid more than the leading actors and the promo-tional material of their films would give them more prominence than anyone else.
Even today, their music is very popular all over India and all over the world. Barsaat has been rated the best soundtrack ever by Planet Bollywood on their “100 Greatest Bollywood Soundtracks”. Other soundtrack in the list include Awaara (3), Sangam (8),Shree 420 (15) Junglee (18), Chori Chori (19), Mera Naam Joker (48), Suraj (86), Jis Desh Mein Ganga Behti Hai (88), Anari (92).
I was surprised to know that his death received nominal media coverage and his funeral was attended only by his family and some friends. The film industry was hardly represented at his funeral , thus reinforcing the stereotype of its fickle-natures loyalties.
Where as the naked truth about our Bolly-wood that “it always salutes to the rising Sun”. We have ample example of such ill treatment to many great artist of Bollywood.
Once again we pay our homage and tribute to the Great Shankar ji on his death anniversary.
ksbhatia@ 68
Sorry that I am responding to your comment so late as I had forgotten to re-read the post.
Certainly for the intensity of the song credit goes to RK and his photographer for creating the right frame. RK for directing the scene and acting with Nargis as well. The song is related the present scene of the two lovers in love and as well the impending tragedy of the affair of Nimmi and Premnath, pluse it forecast the separation of Nargis and RK. All that in one scene has been compressed by RK that is why the film became so popular.
For your information I present the lyric and the writer of the lyric
प्रेम-नगर में बसने वालो
Lyricist: Hasrat Jaipuri
प्रेम-नगर में बसने वालो
अपनी जीत पे हँसने वालो
प्रीत हँसाये प्रीत रुलाये
प्रीत मिलाये प्रीत ही साथ छुड़ाये
हँस-मुख फूलो ये मत भूलो -२
ओ
Suresh Sarvaiya @ 69
I am touched by your comment. But then that is the way of the world. But people like you and the lovers of the “SoY” will not forget a good composer or forgotten composer. For them they are alive through their work.
Enjoy your love of SJ
Shalan Lal
Ms. Shalan Lal @ 70 ;
Meaningful lyrics and song situations ….visiting them again and again in RK movies , is always a great pleasure. Everytime a new art work crops up which is really amazing . This song from Barsaat is perhaps the shortest , as per RK standards, and least known ; but is really a symbolic one …..conveying the synopsis of the movie .
https://www.youtube.com/watch?v=2c2tinagVoo…..refer..second stanza
Hasrat Jaipuri ‘s lyrics are the shortest one and you will be surprised Rajendra Krishan …..sort of carried on these lyrics further [ four or five year later ] in one of the songs of Aaram [1951] . He used the lines…preet sataye preet rulaiye….in the song by Lata ji , Man Mein Kisi Ki Preet basale ; O Matwale O matwaale . Again a symbolism song summing the corrective measure/track .
Suresh Sarvaiya ;
When a person is passionately attached to certain dignified person….their lost is always your personal lost . And only corrective measure left is to enjoy what they have given all these years . It is not only the musicians ; one could be Abrahm Lincoln or Rabindranath Tagore or Pt. Ravi Shankar .
A life with Love is the life they have lived . Let’s live their Life they have loved.
Dear AK, enjoyed reading your article like always do. However, one correction about Shankar’s place of birth. He was a native of Begum Bazaar, Telangana. I had the privilege of meeting his niece’s family who confirmed it.
Lakshmi K. Thummala,
Welcome to SoY and thanks a lot for your comments. I went over Pankaj Rag’s ‘Dhuno Ki Yatra’ again. There does not seem to a contradiction. He says his father was of MP origin, who had settled in Hyderabad, which is now in Telangana. It is quite likely Shankar would have been born there.
I am a big fan of Shankar Jaikishan. I am looking for 3 albums which I can not find. They are:
(1) GANGA AUR GEETA 1979
(2) MAHFIL 1978
(3) TARZAN MERA SAATHI 1974
Can someone help me or direct me where I can find these albums or at least some songs?
Many thanks.
Akbar Alibhai,
Welcome to SoY. YouTube has the complete film Mahfil (1978) and some of its songs. Some of the songs of Ganga Aur Geeta (1979), too, are available on the YT.
Sorry to have reacted so late, but SJ and Lata is the best combination in the history of Hindi Film Industry, better than all others in the 50s they were totally dependent on Lataji and the combination have given some of the best songs ever. I can recollect at least 180 Lata solo which were very popular. Poonam all eight ssongs sung by Lata were very popular with two outstanding Zhoome Zhoome Dil Mera, and O Bhole Balma likewise you can mention lots of songs. Ultimately it is pasand apni apni. Nevertheless Thanks for the songs because I have seen many critics not mentioning SJ as great because they made Raagdari music easier and made it popular among the masses.
Avinash Bhalchandra Padhye,
Welcome to SoY. I am happy you liked the post. SJ’s early songs are as good as any MD’s.