In my series on Shankar-Jaikishan, I have covered so far their best songs for his leading singers, Lata Mangeshkar, Mukesh, Rafi and Manna Dey. SJ would be easily reckoned among the top five music directors for these major singers. Besides, I have also presented his best dance songs for Lata Mangeshkar and female dance duets. One measure of a music director’s versatility is the number of diverse singers for whom he gives their career-best songs. Take the case of SD Burman – there is no prominent singer for whom he has not composed some songs which would count among his or her best. As I come towards the close of the series, it is useful to take a look how Shankar-Jaikishan fare with other singers. SJ’s oeuvre is so huge that some more posts would be needed to give a fair coverage to their music. But I have been generally closing a series on a music director in the calendar year, and I have some other mandatory posts scheduled in the remaining part of the year. Therefore, I am presenting my final tribute to SJ with their songs for ‘other’ singers which give a glimpse of their multi-faceted talent.
Talat Mahmood
For several years in the early 50s, Talat Mahmood created sensation with his velvet voice. I remember when we were discussing the most important MDs for him, the names mentioned were Ghulam Mohammad, C Ramchandra and Madan Mohan, besides, of course, Anil Biswas. Running down the list of Talat Mahmood’s songs, I find SJ have used his voice in at least 9 films: Daag, Parbat, Aas, Boot Polish, Naya Ghar, Patita, Shikast, Ek Phool Aur Char Kaante and Roop Ki Rani Choron Ka Raja – possibly more than any other music director. Yet they are not counted among the elite list. However, a close look reveals several great songs – some have become iconic, such as Ae mere dil kahin aur chal (Daag), Hain sabse madhur wo geet mere (Patita); there are several others which may not be as well known, but have all the tonal qualities of Talat Mahmood’s voice and singing style.
1. Bujh gaye gham ki hawa se… Hum dard ke maaron ka by Talat Mahmood from Daag (1952), lyrics Shailendra
Songs from Shikast and Patita have figured prominently in discussion on best songs of 1953. Ae mere dil kahin aur chal, an iconic song from Daag has figured recently in DP Rangan’s post on Bacchus in Bollywood. But SJ have substantial number of great songs for Talat Mahmood. He had become the voice of Dilip Kumar thanks to Anil Biswas’s Aaram and Naushad’s Babul in 1950. SJ consolidate the linkage with Daag and Shikast. Here is another classic song of pathos of a hero who takes to alcohol at loss of love.
2. Unhe tu bhool ja ae dil by Talat Mahmood from Naya Ghar (1953), lyrics Shailendra
Tucked away in a less-known movie, here is another Talat beauty. Another song from this movie Hum unke paas aate hain is also quite nice.
3. Tum to dil ke taar chhed kar by Talat Mahmood from Roop Ki Rani Choron Ka Raja (1961), lyrics Shailendra
From pathos-filled to softly joyous is this song picturised on the eternal romantic Dev Anand. SJ showed their talent for poignant Talat songs on Dev Anand in Patita, not to speak of fun-filled Rafi songs for the dapper hero in Love Marriage, Jab Pyar Kisi Se Hota Hai and Asli Naqli.
Kishore Kumar
Kishore Kumar 2.0 (post-Aradhana) was the dominant singer in the 70s. By then, SJ were on decline, and the field was dominated by the triad power of RD Burman, Laxmikant-Pyarelal and Kalyanji-Anandji. But SJ managed to give a chartbuster, Zindagi ek safar hai suhana, in Andaaz (1971). But my interest, as also of most members of SoY is on Kishore Kumar 1.0. Though no match to SD Burman, SJ gave some extremely popular and outstanding songs in films like New Delhi, Shararat and Rangoli.
4. Are bhai nikal ke aa ghar se by Kishore Kumar from New Delhi (1956), lyrics Shailendra
A Punjabi boy masquerading as a Tamilian in order to be accepted as a tenant gives enough scope to Kishore Kumar to showcase his wild and funny side. He does what he is best at: dancing, jumping, yodelling and mimicing. Another song from the movie which is eternally popular is Nakhrewali.
5. Hum matwaale naujawan by Kishore Kumar from Shararat (1959), lyrics Hasrat Jaipuri
Shararat is often mentioned for the Rafi song Ajab hai daastan teri ye zindagi picturised on Kishore Kumar. There are various theories floating around on the net, ranging from the song being too difficult for Kishore Kumar to do full justice to it, to his playing truant. But leaving the speculation aside, one of my greatest Kishore Kumar favourites is Hum matwale naujawan. The performer-singer is in his elements again with beautiful SJ orchestration.
6. Chhoti si ye duniya pahchaane raaste by Kishore Kumar from Rungoli (1962), lyrics Shailendra
No compilation of the best songs of Kishore Kumar is complete without this wooing-an-angry-girl song. Shailendra was a master of conveying profound message in simple words. It also has a twin version in Lata Mangehskar’s voice. And you know which version is better.
7. Rungoli sajaao re by Kishore Kumar from Rungoli (1962), lyrics Hasrat Jaipuri
The last title song from the movie presents the soft and serious side of Kishore Kumar. Vyjayanthimala was worried that Kishore Kumar had not yet arrived when it was already time for the show. But his arrival in the nick of time and singing adds zest to her dancing. We have seen some excellent SJ songs of ‘he sings, she dances’, such as Radhike tune bansuri bajai.
Hemant Kumar was endowed with the sweetest voice. His two duets with Lata Mangeshkar, Yaad kiya dil ne kahan ho tum and Aa neel gagan tale pyar hum karein among the greatest duets of Hemant-Lata. But Hemant Kumar is never anything short of melodious. Here is a nice solo in his voice – Rula kar chal diye ek din – in Badshah.
8. Rula kar chal diye ek din by Hemant Kumar from Badshah (1954), lyrics Shailendra
Mahendra Kapoor had his best songs under OP Nayyar and Ravi. SJ have not used his voice much. His Kho gaya hai mera pyar from Hariyali Aur Rasta is quite well known. But songs which have become iconic in which Mahendra Kapoor’s voice is used are by three or more singers, such as Hum bhi hain tum bhi ho (Jis Desh Mein Ganga Bahti Hai) and Har dil jo pyar karega (Sangam).
9. Kho gaya hai mera pyar by Mahendra Kapoor from Hariyali Aur Rasta (1962), lyrics Hasrat Jaipuri
There are times when the director/music director felt that a side actor singing a sad song would convey the inner turmoil of the lead actor better. Mala Sinha has sacrificed her love for the sake of honour of Manoj Kumar’s family. A desolate hero is ambling at the river bank aimlessly. The boatman breaks out in this poignant song. Mahendra Kapoor is renowned for hitting high notes effortlessly.
There is at least one singer, Subir Sen, for whom SJ can claim the sole credit for giving visibility in Hindi films. Among the greatest singers in Bengali, similarity of his voice with Hemat Kumar would have been a handicap, but SJ have created some everlasting songs in his voice, such as Manzil wohi hai, Main rangeela pyar ka rahi, Dil mera ek aas ka panchhi and Dheere chalaao zara. I wrote a post on Subir Sen more than five years back, in which his best songs were covered, which contained several SJ compositions.
SJ used several singers outside the mainstream. They composed one of the best songs for CH Atma, Dil beqaraar hai mera dil beqaraar hai. I have mentioned Aparesh Lahiri’s Jaage mera dil from Badshah. Bhimsen Joshi’s duel with Manna Dey, Ketaki gulab jui champa ban phoole (Basant Bahar), is quite well known. A close search reveals some more names such as Krishnarao Chonkar, Iqbal Singh and Bhupendra that have been used by SJ.
10. Dil beqaraar hai mera dil beqaraar hai by CH Atma from Nageena (1951), lyrics Shailendra
The song starts with a slow recital prelude, Tumko hum apni zindagi ka aasra samjhe the hum, bewafa nikle ho tum ab bewafa samjhe hain hum before the mukhada in tune starts with Dil beqaraar hai. Such songs create a mood, and a surprise element of the tune to follow. CH Atma could not shake off KL saigal-effect in his voice and singing style, which limited his recognition. SJ have the credit of composing CH Atma’s one of the best film songs.
Among female playback singers, Geeta Dutt was for quite some time seen as a serious competitor to Lata Mangeshkar. SJ have used her voice in about half-a-dozen films, but there is hardly a solo which can be called memorable. Obviously, she didn’t fit in their scheme of things. We are aware of her great dance duet with Lata Mangeshkar, Bechain dil khoi si nazar (Yahudi, 1958). Her voice also figures in the iconic group song, Hai aag hamaare seene mein (Jis Desh Mein Ganga Bahti Hai, 1960). But for Geeta Dutt fans, here is a song of seduction from Love Marriage.
11. Karib aao na tadpaao by Geeta Dutt from Love Marriage (1959), lyrics Shailendra
Asha Bhosle
Asha Bhosle emerged as the main challenger to her elder sister. SJ used her as the lead singer in Boot Polish (1953), giving her seven songs, including duets and group songs. Thereafter, they use her voice in about 50 films, i.e. in about 30% of the films for which they gave music. We have seen several of her duets in my post on SJ’s female dance duets. Though not mentioned in the same breath as SD Burman and OP Nayyar, SJ did compose several memorable songs for Asha Bhosle.
12. Chamke bijuria garje megh by Asha Bhosole from Shikast (1953), lyrics Hasrat Jaipuri
It would be trite if SoY only presented familiar songs. Here is a beautiful Asha Bhosle song I discovered for the first time. Its video is not available, but I guess it would be a group dance song featuring the leading lady Nalini Jaiwant with her sakhis.
13. Sawan ban gaye nain piya bin by Asha Bhosle from Krorepati (1961), lyrics Hasrat Jaipuri
A close look reveals several Asha Bhosle gems composed by SJ. Here is a song of virah when the piya is away in saawan.
14. Haye mujhe loot liya sainya tere pyar ne by Asha Bhosle from Apne Huye Paraye (1964), lyrics Hasrat Jaipuri
Here is a superb dance song at a party picturised on Padma Khanna, which must have been one of her earliest appearances.
15. Laali laali doliya mein laali re dulhaniya by Asha Bhosle from Teesri Kasam (1966), lyrics Shailendra
The more closely I look at SJ’s Asha Bhosle songs the more I realise they deserve greater recognition and some place at the high table. Teesri Kasam, produced by the lyricist Shailendra, was fulfilment of his life’s ambition. He was heavily invested in the film, hence its commercial failure broke him, leading to his untimely death. The film won the National Award for the Best Feature Film, but alas, it was too late. Today, it is regarded as one of the great classics. SJ seem to be hedging their Lata Mangeshkar equity with Asha Bhosle-card by giving her Paan khaye sainya hamaaro and Haye gazab kahin tara toota picturised on the travelling-theatre dancer Waheeda Rehman to two of the former – Maare gaye gulfam and Raat dhalne lagi. And, lest there was any doubt which side the balance tilted, they settle the matter with this beautiful song of village children running after what they think to be a doli carrying a dulhaniya. For the little girls, conditioned to think of becoming a dulhan as the ultimate aim in life, the excitement is apparent. But the dancer looks on wistfully as she knows such dreams are beyond her reach, and the beautiful moments she is sharing with the simpleton coachman Raj Kapoor would lead nowhere.
16. Dhani chunri pahan, saj ke ban ke dulhan..baj uthengi hare kaanch ki choodiyan by Asha Bhosle from Hare Kaanch Ki Choodiyan (1967), lyrics Shailendra
I must end Asha Bhosle selection with the title song of Hare Kaanch Ki Choodiyan which is one of my great favourites. Even though a repeat – I had included this song in my post on Asha Bhosle’s ‘special’ songs – my list of SJ-AB would not be complete without this song. The only jarring note in this beautiful song is the leading lady Naina Sahu, launched by her father Kishore Sahu with great fanfare. I have not heard of her since.
Suman Kalyanpur’s too close resemblance to Lata Mangeshkar became a handicap. However, Rafi-Lata tiff around mid-60s came as a godsend for her, with her landing several duets with Rafi which would have gone for Lata. SJ composed some of the greatest duets which are among the most popular songs of Suman Kalyanpur. Here is a nice solo in her voice in this title song from Jahan Pyar Miley.
17. Chale ja chale ja chale ja jahan pyar miley by Suman Kalyanpur from Jahan Pyar Miley (1967), lyrics Hasrat Jaipuri
It also has a twin version in Rafi’s voice. But in an exception to my rule of the male version being usually superior, Suman Kalyanpur version is more well-known. It would require a super-fine ear to distinguish it from Lata Mangeshkar.
Mubarak Begum got a lifetime opportunity to sing the title duet with Rafi in Humrahi, Mujhko apne gale laga le ae mere humrahi. She was expecting a sustained association with SJ, which was not to be. SJ have also used some other singers such as Arti Mukherjee and Usha Mangeshkar. The latter’s Ye na thi hamari kismet has been used earlier in Ashok Vaishnavji’s series on multiple version songs.
Sharda deserves a special mention in any discussion on female playback singers of SJ. Shankar was said to be infatuated with her, which was probably one of the reasons for causing strain with Lata Mangeshkar, as also chilled relations between the duo. They, or Shankar if you will, started using her regularly from mid-60s (Gumnam, 1965), unleashing her full force with Around the World and Diwana in 1967 in which she was the lead singer. Her voice figures in more than a dozen films, and if someone has appetite for it, one can write a post devoted to her songs. I have not seen any mention of her without her voice being subject of derision. But I remember KS Bhatiaji quoted one of her songs with approval. Our music expert SSW once emphasized a point by saying that even Sharda could sing Ae mere watan ke logo. I do not know if he was overstating the point by mentioning her name for effect. Being the blog host let me refrain from saying what I think of her, and leave it to her fans, if any, to add her songs to complete the list of SJ’s ‘other’ singers.
{ 62 comments… read them below or add one }
Another fine piece of writing from AK on his fav. MD so also mine, SJ.
I will return on this topic with some more comments later but first on Sharada.
She has a unique voice and it is strange no other MD gave her a chance.
It is debatable whether there is melody or lilitness in her voice.
Her first song from the film Suraj “thitli udi idi jo chalu” it was a fresh voice then like the first butterfly we see in a garden. In my view the song is a melody. Take another eg. ” Tharon se pyare dil ke aarman
avo mere pyare” from the film Diwana – what a song and how beautifully she has rendered. Mukesh has also sung it in the same film. And one more from the film Gunahon ke devata.
I end with a jolly good number Around the world title song She sang
with Mukesh as if she was on a holiday matching the expression to the words of the song effortlessly. I am not a big fan of Sharada but her
voice is unique sadly it was not utlised by other music directors except
SJ.
butterfly
Among the above , Subir Sen’s was a unique case since it was only SJ who gave him very good songs, however, in spite of several hits he could not make it to the frontline . May be at that time the competition was stiff and he could not sustain.Same thing happened in the case of Dwijen Mukherjee also.He was supported by Salil Choudury but other composers did not give him good breaks. But in any case they did well in other languages.
Mr R Vasudevan,
Thanks a lot for your appreciation. As I have said I shall refrain from expressing my opinion on Sharda. You seem to be her fan. Let us see if there are more on her bandwagon.
KB,
One difficulty perhaps was very close similarly of his voice with Hemant Kumar. But I understand he was a big name in Bengali music.
AKji,
A very appropriate final article in the series on Shankar-Jaikishan, covering their solo compositions with ‘other’ singers. Lata Mangeshkar, Mukesh, Md.Rafi and Manna Dey, must account for more than 70% of the solos composed by SJ. Solos of Asha Bhosle and Kishore Kumar should account for little less than 20%. Thus you have done well to include 9 songs of Asha Bhose (5) and Kishore Kumar (4). Excluding Sharadha , the rest of the singers should account for roughly 6% to 7% of SJ’s solos. I am happy that Talat Mehmood (3) got a fair coverage. I think Shamshad Begum too had sung a couple of songs including a solo for SJ. BTW, Aarati Mukherjee was also a big name in Bengali film music and she was very versatile.
I would like to add a lori song of Suman Kalyanpur
Chand Kanwal Mere Chand Kanwal, Chup chap So Ja , film Sanjh aur Savera (1964), lyrics Hasrat Jaipuri
https://www.youtube.com/watch?v=BUwH0IU3fOg
Thanks a lot for the post and nice selection of songs.
Venkataramanji,
Thanks a lot for your appreciation. With ‘other’ singers’ solos, SJ have now fairly covered, except that their duets also need separate treatment. I have also seen Arati Mukherji and Shamshad Begum figuring in a couple of songs with SJ, but hardly making any impact. Chaand kanwal is a very nice song. Thanks.
AKji,
A very nice review of the singers who are not very prominently associated with SJ. Kindly accept my compliments for a very enjoyable SJ series.
Nice round-up, AK. Some lovely songs here, some of which are new to me. Thank you for that.
As for Sharda, least said, soonest mended. 🙂
AK
Very well written summary of the other singers with appropriate songs.
Dhani chunri pahan is my favourite too but Rangoli sajova I cannot stand.
I like this KK song from Begunah.
Kishore at his best
https://www.youtube.com/watch?v=TVZAFu4GFAc
Final ? NO!
By public demand at least one more MF duets .
If you cannot make it this calendar year we can give you an extension till the fiscal year ends:)
I have a query about Shikast song nai zindagi se pyar kar ke dekh.
I think the Oooooooooo starting 00:00 to 00:18 is Asha and then Lata picks it up at 00:34
Would like to get diverse views.
https://www.youtube.com/watch?v=CpOk-tDCJkw
Ravindra Kelkar,
Thanks a lot for your appreciation.
Anu,
Thanks a lot for your appreciation. On Sharda, I too keep my lips sealed. But you may like to ask SSW, why did he once say, on SoY, that even Sharda could sing Ae mere watan ke logo?
Mumbaikar8,
Thanks a lot for your appreciation. KK’s song is too good. Thanks a lot. I was conscious that without their MF duets the series was incomplete. Your demand noted.
Great article & insight into immortal SJ and their magical music
AK ji ;
You very well know , I am hard hit fan of Shanker Jaikishan .Truly …. Yeh Dil Mange More . As suggested by Ms. Mumbaikar additional post on MF duets be considered . Secondly we were expecting a special one on SJ music for Raj Kapoor films as well .
A quick glance to your theme post covers most of the beautiful songs I like . As usual I will be adding a few more songs which are my fav.and to which others may also join the wegaband .
A great idea of covering all the singers in a single post . In fact all the singers , who were chosen and sang for Shanker Jaikishan [and other cream of highly respected MDs like Naushad, Salil , SDBurman, Madan Mohan etc ] , command a respect and recognition of having given their best . To me Sharda ‘s songs were not bad ; only SJ had to put some extra reinforcement in their orchestration to add to the melody . To quote , here are a few of her songs .
1. Jaane chaman shola badan…….Duet with Rafi…..Gumnaam….
https://www.youtube.com/watch?v=B2f0NzCohyY
2. Albele sanam tu laiya hai kahan….Naina….
https://www.youtube.com/watch?v=jsa-ft-l_B0&index=6&list=PLFA0A65877EBCE75F
3.Kisi ke dil ko sanam…… Kal Aaj aur Kal….
https://www.youtube.com/watch?v=6ezESfyNUng
4. Tumko sanam pukar ke……Deewana….
https://www.youtube.com/watch?v=fStFD1spYrI
…….will come again with some more songs….
AK I don’t recall when I said this but it was only to point out that “Ae mere watan ke logo” was a fairly pedestrian tune. I had heard Sharada sing fairly simple songs I chose her as an example. I don’t like her voice or at least the way it records but that is a personal observation. Maybe she sang songs for SJ when they had reached their creative nadir. I made an effort to find out if there were songs of hers that I could listen to and I think she has done a fairly decent job in this one and the next and I am sure there are others.
https://www.youtube.com/watch?v=jvtkldoMxrg
Even this song has been sung well and though it is “ho hum” melodically it has a nice big band sound.
https://www.youtube.com/watch?v=AN0hCeK_MHw.
Both these songs are IMO much better than “Titli udi”.
Peeyush Raj,
Thanks a lot for your appreciation.
KS Bhatiaji,
Thanks a lot for your appreciation. SJ are inexhaustible. I will try to fill up some uncovered gaps. It is interesting to see that Sharda has more fans than detractors.
SSW,
Yes, your statement was about Ae mere watan ke logo. You are the first person I know of who has such a harh view of the song. I don’t agree with you nor do I think many others would do. Its recital part at high pitch “Ae mere watan ke logo/ Tum khoob laga lo nara/ Ye shubh din hai hum sab ka lahra lo tiranga pyara/ Par mat bhoolo seema par veeron ne hai jaan ganwaai….” is deeply moving. I can imagine that in the context in which it was presented, it would have electrified the audience.
AK ,I did not say it , it isn’t the way I would express myself and I found your statement in Best songs of 1950 “SSW and Shalini question its musical merit, with the latter hammering her point by asserting that it would have sounded as good (or as bad?) in the voice of Sharda. ” So you probably want to ask Shalini about it.
My likes and dislikes are entirely mine and I don’t really care if anybody else agrees with them. Besides I never let words in a song bother me when it comes to expressing an opinion of the melody and the melody of “Ae mere …” is distinctly commonplace .
As for the lines you have quoted I must say I prefer Kaifi Azmi’s “Kar chale hum fida” where
Zinda rehene ke mausam, bahut hai magar
Jaan dene ki rut roz aati nahin
Husn aur ishq dono ko ruswa kare
Woh jawaani jo khoon mein naahati nahin
Aaj dharti bani hai dulhan saathiyon
Ab tumhare hawaale, watan saathiyon
Quite a fitting finale to SJ’s HFM journey.
I would agree with the emerging consensus that at least one more post on SJ’s duets “with other singers” would reveal many more gems.
And of course, Asha Bhosle, having done 53 films with SJ – would certainly make an interesting subject – her solos for lead actresses,, her song for others and her duets.
Well, with the quantum and quality of work done by SJ, one more year to their account indeed would be quite .befitting
SSW,
Point taken. Agree with Kar chale hum fida.
Ashokji,
Thanks a lot for your appreciation.
AK ji;
S J ‘s Talat’s songs that i could not hold myself posting links .
Rightly you brought out , Shailendra songs truly conveyed the maximum meanings in a short line or stanza using minimum words and that too in a very very simple way and easy to understand . There were always hidden lines conveying the scenerio of earthly and heavenly blessings in some of his songs. e.g ….wahan kaun hai tera…in Guide .
For Shanker jaikishan there are quite a number of songs on such hidden theme …..like….chali kaun se desh . Talat continued singing excellent tragic songs penned by Shailendra and the pathos continued under SJ ‘s master stroke . To quote some…..
1. Andhe jahan ke andhe raaste…….Patita
duniya to duniya tu bhi paraya , hum yahan na wahan
…..is paar ansoon us paar aheyen , dil mera bezubaan…
https://www.youtube.com/watch?v=FHQ5T9R2kU0
2.Koi nahin mera is duniya mein…….Daag
sookh chuke hain aankhon ke jharney , loot liya hamein daage jigar ne
phool nahin yeh zakhm khile hain….
https://www.youtube.com/watch?v=3ZdbCDSLHig
3. Tujhe apne paas bulati hai……Patita
Full songs carry the contrast of yeh duniya and us duniya……a master piece from Shailendra’s pen . …..wahan chhote bade sab ek hain
https://www.youtube.com/watch?v=JhN4ucpcOOA
…..will come back on other singers….
SSW @13 ;
Nice reminders you have posted on Sharda’s songs . The first one from Around the world is a good one that matches her other songs from Deewana . The second song from jahan pyar mile reminds me of two more songs [ again cabaret ] …….
1. Le ja dil hai tera le ja……Hare Kaanch ki churiyyan….
https://www.youtube.com/watch?v=0a7mJWGbWps
2. Leja leja leja mera dil….An evening in paris….
https://www.youtube.com/watch?v=X5HvYEfdwZo
Both the songs are quite similar in composition ; even the instrumentaion too .
Again these songs gives an hint of hearing the tunes earlier also as background music in the famous scene of Sangam where Raj insist on buying bagpiper and vegentimala demanding purse in paris shopping street .
AK, despite exercising restraint while discussing Sharda, your disdain for her singing did spill over when you refused to identify a single song of hers worthy of mention in the blog.
I hold no brief for her, but she did sing a few very popular songs, and some of those were actually nice, worth listening to once in a while. She even won Filmfare Award for the Best Female Playback Siger, in 1971, with her “Baat zara hai aapas ki” from the film cited by you for Suman K, Jahan Pyar Mile. I would say that Sharda’s song is more hummable than Suman’s. And to rub in the point, Sharda in winning it actually aced the other two short-listed songs, both of Lata, including the year’s unbeatable song “Bindia chamkegi”! But SJ are known to have pulled off such surprises else where too. Remember Dil Apna Aur Preet Parai in 1961 topping no less than Mughal-e-Azam – as well as Ravi’s Chaudavi ka Chand, and doing doing an encore with Beimaan versus Pakeezah in 1973 to compel Pran to decline his award, and also in 1971 with their Pehchan.
Both SJ’s latter scores were at best pedestrian, though DAAPP did have merit. I have remained curious for ever how SJ pulled off these blatant coups. Surely some kind of transactional considerations had a part. Would somebody here like to share info, even if conjectural or speculative?
To revert to Mughal-e-Azam, I stick my neck out and open myself to charges of blasphemy from many of you, but I have always thought its music just above average!!! It became so popular only riding the film’s super-popularity. No doubt there were some very good songs, but superlative, none – in my opinion. For such an ultimate classic film, the wordings of “Pyar kiya to darna kiya” were rather pedestrian and a misfit. Surely Shakil was a much better poet than that.
Here, now that I have unburdened myself, I await and welcome comments including brickbats.
Dinesh,
I thought I was diplomatic on Sharda, but it seems I get very poor marks from a career diplomat. I wouldn’t like to enter into any argument on her, except to acknowledge that I find many people like her.
I see that you too are sceptical of her winning the Filmfare, and of SJ’s coups. Might is right. Besides, the award was on the basis of mix of a jury’s finding and ‘popularity poll’. The Filmfare magazine was purchased in thousands which carried the forms for the poll. There is anecdotal evidence of such magazines torn of their forms thrown on Chowpatty. Some MDs didn’t care for such devices or didn’t have the means. LP paid SJ in the same coin. Besides having merit, they also out-SJed SJ in the game.
You are a very daring person to say all that about Mughal-e-Azam. We have discussed a good deal about lyrics versus tune of a film song. The music in Darbari of Jab pyar kiya to darna kya, besides its setting of a kaneez challenging the mighty emperor for love is superb, and deserves its status as a landmark. The qawwali duet Teri mehfil mein qismat azma kar hum bhi dekhenge, the Naat Bekas pe karam kijiye, and Khuda nigahbaan ho tumhare in Yaman are all landmark songs. You can’t be serious, but you can’t go so overboard in playing the Devil’s Advocate.
AK ji ;
I am saddened by the comments @ 21 over songs of Mughal E Azam , labeling it as just above average ! . I have a doubt whether Dinesh K Jain holds same view on the actors , Screen play , dialogue writers, cinematographer , art director or even the director . For me , any thing negative on this movie , is not digestible . For this is the movie , which in totality , is a subject for all of us to understand the finer parts of making movie on a large canvas . I think this was the movie where 100% of audience liked the movie , but today i found that only 99.99% liked and 0.01% exist which is a thumb down representation.
The subject of music of DAAPP, Beimaan , Pehchan and its controversy has cropped up so many times and have been discussed in various posts and therefore be left out for any further discussions .
I am still disturbed of the comments and try to divert my attention recalling some good songs on the excellent theme going on .
AK ji ;
After Talat and Sharda’s songs I would like to add some songs to the main listing just to enhance to the beautiful melodies already covered .
Asha ..
1.Haye re gazab kahin tara toota…….Teesri Kasam
https://www.youtube.com/watch?v=kKhlaZmaNSU
2. Hone laagi hai raat jawan jagte raho……Naina
https://www.youtube.com/watch?v=fuI1NNd0qfs
Asha ji bagged best film fare award for this song . This song got best classical song in some other platform also.
Kishore ; Kishore, Geeta duet
1. Another of kishore wooing angry girl ; beautiful mandolin, guitar and waltz beats in interludes as also lyrics…..dil ke kahne pe badte gaye yeh kadam , kya khabar thi dagar bhul jaayen ge hum..
milte hi nazar aap mere dil mein aagaye…..
https://www.youtube.com/watch?v=bqY4N-_x758
2.Tune mera dil liya…..a romantic duet of kishore, Geeta Dutt
https://www.youtube.com/watch?v=T_3ZaJ3HK9w
Shankar Shambu ; shanker Shambu and Mubarak Begam duet songs ; both from Teesri Kasam …
1. Kissa hota hai shuru……A fab. rustic nautanki song .
https://www.youtube.com/watch?v=eiQI8G-nusw
2.Hai mohabbat bahut…..Again nautanki song , one of its kind rarely find like of this in other films . It is surprising that the credit titles of the film does not carry the name of Mubarak Begam . Any Clue ?
https://www.youtube.com/watch?v=T5w3D9KTWa4
…..will come back for more on other singers…..
Let me chime in, AK, and say that the score of Mughal-e-Azam is definitely not one of Naushad’s best. The songs have been very popular, yes, but since when has popularity been a measure of quality? 🙂
I agree that in totality, Mughal-e-Azam is a classic. But Dinesh has a point. I don’t think he deserves brickbats.
KS Bhatiaji,
You don’t have to be disturbed so much. Dinesh couldn’t be serious. Even if he was, it is only a personal view.
Milte hi nazar is a fabulous song. Thanks for adding it. The link of Kissa hota hai shuru also includes Hai mohabbat bahut. HFGK does not list these as songs. But I am greatly fascinated by these songs which embody the spirit of nautanki more than the stage songs in the voice of Lata Mangeshkar and Asha Bhosle in the film. No one could bring out that effect better than Mubarak Begum. But SJ too, obviously didn’t consider it songly enough to credit her voice. These were used as promos for attracting the crowds to the theatre.
Anu,
I take it that Dinesh was being deliberately provocative. I can accept your general proposition that it is difficult to annoint any one song or a film score as ‘the best’. But I take issues with you if you say Mughal-e-Azam‘s music is not Naushad’s one of the best. Even if we include it in his ten best, it is superlative. Most of us would put it in his five best.
My last posting on this topic.
Sharada with whom I started and I end with her. Yes her voice may not
have the versatality of Lata, the range of Asha Bhonsale or the sweetness of Suman Kalyanpur but she had a different voice which was welcome one those days. She could not get assignments from other MD that is a different issue. Hemlatha is a good singer but she sang mostly for
Ravindra Jain.
SJ gave chance to many new or upcoming singers notably:
Pankaj (Thum haseen mein jawan), Shankar samboo (Teesri kasam)
Krishna Kalle (Shikar), Sushma shresta (Andaz new, Seema 1971,
Sudha Malhotra (Jwala) Usha Mangeskar ( Jangal mein mangal)
Subir sen (Apne huve paraye, katputli, Raat ki rani choren ka raja)
But SJ settled with Rafi Sahib, Lata, Mukesh, Mannadey, Asha Bhonsale, Suman for majority of their songs as done by almost all composers.
bye
AK ji ;
….in continuation of songs @24……
C H Aatma…….Nagina
Roun mein sagar ke kinare……another masterpiece from Shailendra ‘ s pen
https://www.youtube.com/watch?v=TrSKJdIAVLg
Suman Kalyanpur……Dil Ek Mandir
Juhi ki kali meri laadli…….beautiful rhythm , beautiful beats
https://www.youtube.com/watch?v=5F_hBjEbtMs
Asha……Boot Polish
Main baharoan ki nathkhat rani……beautiful rendering, Sj’s beautiful interludes balncing the charm and pathos [ la Rattan kumar ] . ….dil lagaana hai gum ki kahani….
https://www.youtube.com/watch?v=BBtKmCHaHE4
…..to be contd……
I think Naushad’s music in Mughal-e-Azam was really good though I personally do not have a preference for “Pyar kiya to darna…”. Other songs “Bekas bekaram”, “Mohe Panghat” , “Khuda nigahban” etc are more my cup of tea.
Similarly I really do like SJ’s score in DAPP. In my opinion there were other films by other MD’s in the same year that were as good or better perhaps than these two, these are subjective opinions coloured by one’s preferences. Awards are just awards one committees preference.
AKji,
Thanks for another article on SJ.
It would be great to have a post on SJ duets 🙂
On the awards controversy I would add that FF is more of a popular award, if the film does well, the chances of award increases.
Also, in most cases the singer gained more with their association with SJ.
AK has certainly done huge amount of work going through the ocean of the creation of the Hindi film songs of one and only one prolific musical duo in the world that will not be surpassed by others in such a great quality with such success. And here AK has shown us just a fraction of their exquisiteness.
Talalt M’s voice was velvety, delicate, graceful and has subtle tremulously vibrato and sweet hence very unique.
SJ using it with all the above qualities fully and gave a diamond studded song and made it a forever shining in the “Sur-Sagar of the Hindi films. And AK’s starting point of his oeuvre is well posed,
“Bujh gaye gham ki hawa se… Hum dard ke maaron ka” by Talat Mahmood from Daag (1952), lyric by Shailendra
One must take the note of the high quality of literature with lyricism of Shailendra.
In this collection 17 songs of AK there are ten lyrics of Shailendra. Hasrat Jaipuri’s seven lyrics are mentioned.
About the Kishore songs I would have preferred “Nakahrewali”. Shailendra wrote this song for a dance number in the style of the songs of dance numbers of Fred Astaire and Kishore presented it with very sophistication and elegance and SJ have composed it faultlessness of the jewellers’ quality.
About Rungoli song I would have preferred “Chhotisi Hai Duniya”. But then Shailndra songs would have been more than ten songs.
About Candru Atama I would not like the Saigalness in his voice mentioned to deprive him of his creative power. The song has such degree of harrowing howling that was not in Saigal and not the narrowness as mentioned by AK.
The song will stand as Atma song and stand the test of the time not in the shadow of Saigal and certainly it was a great credit that SJ have fully used their versatile quality of the creative composition.
AK has certainly done credit to himself and to us reminding the power of SJ and also the singers and actors who presentd these creations of SJ which may be bygone songs but ever green,
Shalan La
My $0.02 on Pyaar Kiya To Darna Kya from M-e-A is that it is a victim of its own popularity. The odds that one will hear/see it whenever one tunes into a TV/radio programme on old HFM, especially if it is a special program on Lata/Naushad/Madhubala, are extremely high. Quite frankly, I am fatigued by this song and my instinct it is to switch to another channel if it comes on. The following songs also fall in the same bracket as far as I am concerned.
1. Ae mere watan ke logon
2. Madhuban mein radhika naachi re
3. Man tadpat hari darshan ko aaj
4. Pyaar hua ikraar hua hai
5. Ye raat bheegi bheegi
I know this sounds like blasphemy/sacrilege but I am sure everyone would agree that over-exposure breeds allergy, though the allergens can be differ from person to person.
Please read ‘can differ’ in place of ‘can be differ’ in my comment above.
Siddharth,
Thanks a lot for your generous words. SJ’s duets I realise deserve mention. At this distance of time, I doubt if music lovers care whether a song won FF award or not. Many award winners fell by the wayside. Many without any awards became everlasting.
Shalan Lal,
Thanks a lot for your very kind words. Rungoli sajaao is my great favourite too, and I have mentioned it at #6. CH Atma did sing some songs which have acquired iconic status, including Preetam aan milo. But he was neither Pankaj Mullick/KC Dey nor Jagmohan. In that sense his independent identity remained constrained.
AK after spending some time listening to “Pyaar kiya to..” the main song doesn’t have a Darbari feel . The entire classical prelude with the voicing of the dance steps is definitely Darbari. But right from where Lata starts “Insaan kisi se..” assuming it is in the key of E (the word “jab” is set to note E) she starts at C sharp which is shuddh dha. Darbari has a komal dha. Also the move upwards seems to favour a Sarang type raga the notes commonly used are Sa Re Ma Pa komal ni while all notes are used while coming down. In fact “Ni” is the only komal note in the scale (and there are a couple of occasions when the shudh Ni is used like in “maut wohi jo duniya dekhe”) whereas Darbari has a komal ga too.
So I don’t know which raga it is doubtless Ashwin or Subodh who know far more than I, will know, but it doesn’t seem like Darbari to me.
Pyar Kiya To Darana Kya is based on Raga GHARA.
(As recollected from what I had read somewhere.)
SSW,
My recognition of raga is on the basis of some movement I am familiar with. The classical prelude was Darbari as you have confirmed. Let the experts take over other points you have mentioned.
Ashokji,
Gara issue was about Mohe panghat pe Nandlal chhed gayo re.
I already said that my comments on MEA music would seem blasphemous to many. In the event, the reaction appears rather limited.
But let me clarify further, especially for the benefit of our dear friend who felt much saddened to read my last message. Bhatiaji, please read my last message again. My comments were only about the film’s music, that too as my personal opinion (I too have some rights!) and I simultaneously acknowledged that these were in conflict with the much more popular view. For your comfort, I do believe that Mughal-e-Azam is the best and greatest film ever made in India. But not necessarily its music. If you separate its music from the film and listen to it shorn of the film’s popularity and contexts, maybe you too would see some merit in my comments.
AK, my comments on the film’s musical score was predicated on its popular and aesthetic appeal to my ears, and not on what songs were based on any classical ragas (about which, as you know, my knowledge is virtually nil). Anarkali may have been occasionally alluded to in the film as a kaneez, but she was not actually a handmaiden. It only showed that she did not belong to the then elite, and it was part of the prevailing culture for her to refer to herself as a kaneez or servant in juxtaposition with the royalty. Far from it, when she sings the song in the film, she was actually moving close to becoming Hindustan’s next Mallika! Pyar kiya to darna kya is any day pedestrian in a literal sense, and a misfit when viewed against most other songs of the film as also the high-flown and grandiose language used in the film .
My dear friend, I do not think I need to be particularly daring to freely express my preferences about something so trite – in an eventual sense – as film music.
And while on the point, I appreciate and welcome Anu’s expression of support. I am sure there would be many more out there, just as fans of Sharda!
Let me add before closing that I take it all as in good fun, and hope that is what SoY is all about. So Bhatiaji, please do not waste your emotions in this manner.
The present discussion about the quality of the songs is going too long.
I think all good songs give diminished pleasure after listening them too much.
If you listen other songs or songs from the other cultures for about one month and then come back to the Indian film songs and if you like the songs of yore period then you may enjoy them.
There are so many songs to discover, understand and enjoy. The only one song I did not like from the “Mughle-e Azam” is Zindabaad, Ae Muhabat Zindabad” and its presentation on the screen.
And one has to look at the state of the film. It took a decade and half to make this film, Heroes were changed heroines were changed, writers were changed and so on. Also Naushad was getting worn out.
I can understand that many dialogue-writers were used and so the script was made interesting. But I think DK as the actor and the hero of the film was very relctunt to do acting in this film like Bade Ghulam Ali Khan. Huge amount fees was given to DK and others.Madhubala was sick with a hole in her heart and so on.
Still at the end K Asif finished it into some watchable state.
That’s the history. As we are interested in the songs of yore it has some points to discuss and many readers a putting their views. Good.
But do not make boring by going on and on about it. The subject of this post is “SJ & other singers.” Some how the discussion should come back to it.
Shalan Lal
A lot of deviations … …let us revert back to the main theme and enjoy the inputs , observations and comments ; otherwise people will start comparing ….pyar kiya to darna kya ….to…..Anarkali’s song ….zamana yeh samjha ke hum pei ke aaye .
Dinesh ji , we will surely continue and enjoy the post .
Yes I agree and with Mr Shanlal this topic is meandering and taking
a different route and let us bring it track – SJ & the singers.
Taste differ from person to person so also the choice of songs.
Is Naushad’s Mugle Azam his best album? views like this let us avoid.
In my view no particular film of a particular MD can be rated as his
best. If I say SJ’s best album is Sangam many may disagree and may
say what about Barsaat or Chori Chori. So let us avoid such things.
Let us move ahead. This topic was one of the finest in this blog and
someone has said earlier why not a topic of SJ’s best duet. I am sure
many would welcome it. Mr AK take the lead as you have done in
the past.
AK ji,
In the field of performing arts, there are inputs like skill, effort, perseverance etc. But fate/luck is an important factor. Naushad signed in for Mughal-e-Azam. As it happened, film ‘Anarkali’ was produced in quick time, wherein CR provided great music. There was no one like K. Asif around to inhibit CR. The music of ‘Anarkali’ was beautiful yet the compositions were such that the ladies could easily sing those songs at home. Apart from superlative singing of Lata Mangeshkar, ‘Anarkali’ could boast of great performance by Hemant. People often started comparing with ‘Anarkali’ whenever music of Mughal-e-Azam was the topic of discussion.
Thanks
All the above discussions indicate that SJ were supreme at their time and could get the excellent performance from each of their singers. In fact, I remember among the Talat oriented songs in films like Shikast there was a gem with Rafi in Nayee zindagi se pyar karke dekh.Similarly, in a Kishore oriented Krorepathi there was a gem from Mannadey in the form of a duet.This kind of things only SJ could do and may be OP Nayyar. It was also the case in Jahan Pyar Mile with Lata and Suman Kalyanpur and they could bring in Rafi in a film like Shararat and Ek dil sau afsane.
Just to say I am back after all the ‘busy’ness of being a bride’s father. Enjoyed reading the post and the comments. Hope to make a more timely and meaningful contribution on the next post.
As for Mughal-e Azam, the movie is inseparable from its music and although I wouldn’t rate it among Naushad’s best, taken in totality it does stand out. Personally I prefer ‘Anarkali’ both as a film and for its music, but we live in a democracy.
Subodh ji
Our compliments on daughter’s marriage. May God bless the young pair.
Regards
SSW ji,
This is in response to your comment #36. Generally I look forward to comments from you, Subodhji and Ashwinji to enhance my limited understanding of music and I truly mean it. I agree that the initial prelude is Darbari, but the main song Pyaar Kiya to darnaa kya is not based on Darbari.
“But right from where Lata starts “Insaan kisi se..” assuming it is in the key of E (the word “jab” is set to note E) she starts at C sharp which is shuddh dha. Darbari has a komal dha. Also the move upwards seems to favour a Sarang type raga the notes commonly used are Sa Re Ma Pa komal ni while all notes are used while coming down. In fact “Ni” is the only komal note in the scale (and there are a couple of occasions when the shudh Ni is used like in “maut wohi jo duniya dekhe”) whereas Darbari has a komal ga too. But right from where Lata starts “Insaan kisi se..” assuming it is in the key of E (the word “jab” is set to note E) she starts at C sharp which is shuddh dha. Darbari has a komal dha.”
You have nicely delineated the note arrangements for our/my understanding. And thus understood, I tend to agree with most part of your explanation. But to my ears, it appears that the song is more inclined towards Kafi, rather than the Sarang type. If my listening is correct (I admit I do not have a good ear) the music before “Insaan kisi se” starts with Sa ga ma, ga ma Dha and from the here Lata takes over with Suddhs Dha (Insaan…). Are you sure the song does not have Komal ga?
I too was looking forward to comments from Subodhji and/or Ashwinji. Since both of them have not yet responded, I had to seek this clarification for furthering my understanding.
I am glad to note that Subodhji was busy with his daughter’s marriage. Subodhji please convey my best wishes to the newly-wed couple, let almighty shower them with everything best under the sky.
Congratulations Subodh, wishing the newly-weds a great future.
Mr.Venkatraman at the risk of dire consequences for drifting away once again from SJ, I mentioned the Sarang touch only in the upward movement (aaroha). You are probably right Sarang is part of the Kafi thaat so it could very well be some type of Mishra Kafi , remember I am a tyro, with no training in Indian music . In the move back to the tonic (I’m assuming that the tonic or the Sa is E) both the shudh Ga and Komal Ga are used. I will will use the lower case for the first letter of the komal notes and uppercase for the shudh notes.
So basically this is what I think the notes are …
For example in the line
Insaan kisise
Dha Dha Pa Dha Sa(upper octave) ni Dha Pa
duniya me
Ma ga Re ga Ma ga Re Sa Sa
And in this part
Pyaar kiya koi chori nahin
Re Ma Ma Ma Ga Ga Re Re Sa(upper octave)
ki pyaar kiya
Pa Ga Ga Ma Pa
So both notes are used. It could well be Mishra Kafi which permits both the gandhars. It seems they are used more in the downward movement.
Sorry the Sa in the “chori nahin” line is the tonic Sa not the upper octave. It moves to the higher Sa in the next line when “Pyaar kiya is repeated”.
Subodhji,
Congratulations on daughter’s marriage.
At SOY we communicate through songs.
I wish the young couple with my favorite Shadi song.
https://www.youtube.com/watch?v=GpGF3anYwYc
AK ji;
I am ,too, in a mood to deviate from the normal . I was thinking that the theme could be extended by including …..”and other music directors”….. .
As we all know Shankar Jaikishan and all other giants were at their very best in the 50s and were enjoying their popularity with the masses . There , however, were certain MDs who were lost in the crowd and their contribution went un noticed , though they gave very good melodies and some were uniform in their compositions so as to maintain their identity.
One such MD was Basant Prakash who was younger brother of Khemchand prakash . Listening to his songs does not indicate any followings of the songs or music of the likes of Khemchand Prakash , or Naushad . But , at the back of his mind , he seems to have the liking of the style of SJ . At least in three of his movies ….Saloni , Badnaam , Nishan Danka….released in 1952 shows the hidden follow fare . It is also surprising that in all of these movies songs, the lyricist were Shailendra and Hasrat Jaipuri [ besides others too ] .
At least I am a fan of this less heard MD and his songs and am posting some links to justify this talented MD which command a respect for the melodies created by him some how of the type of SJ of the 50s .
1. Sajan tum se pyar karun mein , kaise tumhe samjhaun……Lata…..Badnaam….Hasrat Jaipuri…
https://www.youtube.com/watch?v=2nS2hjx4CVo
2.Ab to hogayi preet parayi….Lata…..Badnaam….Shailendra
https://www.youtube.com/watch?v=Y7P21mlJGS4
3.Meri Veena sur Saat re…..Lata…..Saloni…..Arjun dev raksh
https://www.youtube.com/watch?v=2bIr9nvYAms
4.Roti hui
Ankhoan mein hai tasveer …..Asha…saloni…Raja mehndi ali khan
https://www.youtube.com/watch?v=8NfnQPB8L24
5.Yeh chheda hai kisne mere dil ka taar…..Geeta Dutt…. Nishan Danka…..Hasrat Jaipuri
https://www.youtube.com/watch?v=8JdahOBiS_c
Taking a cue from the last posting of Bhatiaji & other MDs I am giving a start to a new sub section of this top. MDs and their favorite or often used instruments or with which their compositions can be identified.
Here are they in my opinion. First naturally it is Shankar Jaikishan
1. SJ – accordian (it is inseperable from their creations), violins,
piano
2. Lakshmikanth Pyerelal – Flute, Tabla, violins
3 Ravi – jalatarang type of instrument, shenahi
4 Kalyanji Anandji – Bangos, congo drum, flute
5 Khayam – Piano,
6 OP Nayar – Sitar, Guitar, horse hoofing/galloping sound
7 Salil Chowdhry – Western instruments notably western flutes
8 Naushad – sitar,
9 Roshan – Flute, Saxophone,
10 SD Burman folk rhytham
11 RD Burman western rhytham
Thanks a lot SSWji. I will settle for your explanation.
#37 and 39
I think it is the fatigue of overexposure of songs that is catching up with me.
I am sorry to have goofed up Mohe Panghat with Pyar Kiya To.
Raghvan Vasudevan ji @ 53 ;
For Shanker Jaikishan I think you have to add Sitar , mandolin , saxophone , Flute and dholak . In Shanker’s classical composition sitar was extensively used . Likewise Jaikshan’s carried his compositions with Flute and Saxophone very well .
A song from Amrapali ……Neel gagan ki chhaon mein….is a stamp of Shanker’s creation where Sitar is extensively used in all the antaras .
In Arzoo Jaikishan used saxophone in a happy and in a sad song quite effectively ……Ajee rooth kar ab kahan jaiyega….and….bedardi balma tujh ko mera man yaad karta hai…. . Flute was beautiful in antaras of Shree 420 song….pyar hua iqrar hua hai…. .
…..continuing from # 29 …..
For Shanker Jaikishan, Hemant kumar also sang one more solo in Shikast . His duet songs however were more melodious and hence popular .
Hum to hain khel……Hemant….Shikast
https://www.youtube.com/watch?v=w5AigOYSaLs
KS Bhatiaji,
#52. Basant Prakash is indeed extremely melodious. However, in my view, there is no conspicuous influence of SJ in the songs you have added. Soft, soulful Lata Mangeshkar reminded one of C Ramchandra, e.g. Ab to ho gayi preet parayi. This style was followed by many, for example Madan Mohan in Ada and Ashiyana. Naushad did have his signature style. SJ’s dance songs to mandolin, piano accordion and tabla distinguished him from others.
Sir, not getting email updates after October2016.
Dr Pancholi,
Could you please register yourself again. In updating some configuration might have changed.
Hi Nicely Presented But Small mistake that song of Love Marriage song number 11 is sung by Geeta Dutt and not Asha Bhonsle for your kind information Thanks Kirit
Kirit Jadeja,
Welcome to SoY. Probably you didn’t see it carefully. I have mentioned Geeta Dutt as the singer of #11. Asha Bhosle starts after that under a different heading.