Few stuff on the Emperor of Hindi Film Music World

SJ wrote the Grammar, made the glamour

January 29, 2010
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Above all, with ‘ Barsaat’, debutantes Shanker Jaikishen ushered in a revolution in film music. The fresh, vibrant score was devoid of those monotonous thekas and droning cadences that characterized Hindi film music till then. It heralded the onslaught of cerebral orchestration or arrangements, as they are known today in Hindi film music. As a debut score, it was also compositionally fabulous- and the records sold phenomenally.

It was this music that opened up a new avenue of commerce for Hindi cinema- of a musical score that made big money independently of the film. Though ‘ Barsaat’ the film, was a rage on its own, its music got it both the initial value and its repeat audience. Legend has it that when Naushad was fishing for compliments from his producer- the late Mehboob Khan- for the success of songs of their collaboration ‘Andaaz’ (released in the same year), Khan looked at the rain outside and quipped, ‘ Lekin aapke gaano ko to ‘Barsaat’ ne dho dala’! (Your songs have been washed away by ‘Barsaat!’)

[Courtesy: Stardust Classics)]

Shankar-Jaikishan introduced rampant Western instrumentation into Hindi film music compositions and brought in fresh voices to break away from the sway of the deep nasal intonation of classical-based singers like KL Saigal, Pankaj Mullick, CH Atma, Kanan Devi, Noor Jehan and others who dominated the 40s and early 50s. They broke with tradition by bringing in the guitar, bongo, trumpet and saxophone, blending these with the tabla, sitar and sarod. The audience was spellbound by their creativity, their effortless ability to merge folk with Indian classical, Western classical with waltz, foxtrot or rock-‘n’-roll. With the same aplomb they could compose Rasik balma, dil kyon lagaya tose (Chori Chori) and Mud mud ke na dekh (Shree 420) or Ramaiya vasta-vaiya (Awara) and Jawaniyan yeh mast-mast bin piye (Tumsa Nahin Dekha), Tum bin sajan barse nayan (Gaban) and Is duniya mein jeena hai to maan lo meri baat (Gumnaam). For at least two decades, the Shankar-Jaikishan name spelt magic in the world of Indian music. They were also the first composers to take the charm of Indian music abroad. Even today, a hobo loitering the streets of Moscow greets an Indian passer-by with “Awara hoon” on his lips.

They wrote the grammar, made the glamour


COURTESY : http://www.dailypioneer.com/ columnist1.asp?main_variable=Columnist&file_name=mitra237.txt&writer=MITRA

Two years after the Union Jack was lowered for the last time on the land described as the jewel in the British crown and one year ahead of India maturing into the Commonwealth’s first Republic, two talented young music-makers made a quiet entry into the fledgling Mumbai film industry. Both had migrated to the city from outside in the hope of making a living by playing at various orchestra bands, quite popular even after the British exited from the Gateway of India. Mumbai was fast turning into the film capital of the country, Kolkata yielding place to its more cosmopolitan west coast rival. The city benefitted further from the arrival of a large contingent of Punjabi theatre artistes and accompanying retinue from the sub-continent’s cultural nerve centre, Lahore, which was awarded to Pakistan, forcing most Hindus of the city to flee to India. Not just Hindus, many cultured Muslims of Lahore realised soon enough that Jinnah’s Promised Land would never respect artistic freedom and they too flocked to Mumbai to start an uncertain life from scratch.

The orchestra players became friends, managed to get odd jobs together and finally landed up at the studio Prithviraj Kapoor’s eldest son had built in the city’s suburbs. Being roughly the same age as the dashing young producer-director, they soon got along famously with him. Raj Kapoor had music running in his blood and he could immediately sense that the two young orchestra players had more to contribute than strains of the violin, mandolin or the melodious sound of the piano accordion. But young Raj didn’t want to experiment wildly at the outset. He stuck to the tried and tested Ram Ganguly, established music director and his father’s associate, for the first RK film, Aag. Considering his traditionalist worldview, Ganguly didn’t do a bad job. Readers may recall the number Dekh chand ki ore musafir, dekh ghata ghanghor… which went on to be quite a hit.

In order to groom his friends for the succession, Raj Kapoor asked Ganguly to take them on as assistant music directors, putting them quite a few notches ahead of their contemporaries in Mumbai’s nascent music industry. Raj did not wait too long before introducing them as music directors in their own right. Just two years later, he produced, directed and acted in Barsaat for which music was composed by the till then unheard-of duo. In any case, two musicians had never teamed up to compose melodies earlier and the hyphen between names in the credits was a novelty for filmdom. Thus the Shankar-Jaikishan jodi was born in 1949. And they blazed a trail like no other had done before and rarely thereafter. Till Jaikishan’s premature death in 1971, the duo gave music for at least 250 films. Considering Bollywood was in its infancy till the late 1950s and adolescence till the 70s, this was a huge number. They were India’s first masters of mass produced film music. They, more than any other composer, radically altered public taste, making film music the first choice of the post-Independence generation as it grew into adulthood in the 60s. Probably SJ’s runaway success followed by the emergence of myriad clones dealt a body blow to the popularity of traditional music – pure classical (both Hindustani and Carnatic), and related forms such as dadra, thumri, dhrupad and bhajan – which held sway in the early decades of the gramophone record.

Shankar-Jaikishan introduced rampant Western instrumentation into Hindi film music compositions and brought in fresh voices to break away from the sway of the deep nasal intonation of classical-based singers like KL Saigal, Pankaj Mullick, CH Atma, Kanan Devi, Noor Jehan and others who dominated the 40s and early 50s. They broke with tradition by bringing in the guitar, bongo, trumpet and saxophone, blending these with the tabla, sitar and sarod. The audience was spellbound by their creativity, their effortless ability to merge folk with Indian classical, Western classical with waltz, foxtrot or rock-‘n’-roll. With the same aplomb they could compose Rasik balma, dil kyon lagaya tose (Chori Chori) and Mud mud ke na dekh (Shree 420) or Ramaiya vasta-vaiya (Awara) and Jawaniyan yeh mast-mast bin piye (Tumsa Nahin Dekha), Tum bin sajan barse nayan (Gaban) and Is duniya mein jeena hai to maan lo meri baat (Gumnaam). For at least two decades, the Shankar-Jaikishan name spelt magic in the world of Indian music. They were also the first composers to take the charm of Indian music abroad. Even today, a hobo loitering the streets of Moscow greets an Indian passer-by with “Awara hoon” on his lips.

Admittedly, though, the Shankar-Jaikishan phenomenon was essentially a Raj Kapoor creation. They gave music almost uninterruptedly for all RK Films between Barsaat and Mera Naam Joker, barring two low-budget quickies (Ab Dilli Door Nahin, which had music by their assistant Dattaram of Saranga fame and Jaagte Raho for which Salil Choudhury was hired). It was only after the commercial failure of Raj Kapoor’s grandiloquent autobiographical extravagance in 1970 that he chose to hand the RK baton to the then No 1 of the industry, Laxmikant-Pyarelal, in Bobby.

And what spectacular compositions Shankar-Jaikishan wove for Raj Kapoor! From Barsaat mein and Hawa mein udta jaye, SJ made sheer magic. But they really came into their own with Awara, breaking away from traditional moorings altogether. One of the lesser-known initial stanzas of a song in the film merits scrutiny to show how their mind was shaping. Few remember the introductory part of the popular number Ghar aaya mera pardesi. The song was picturised as an extravagant dream/nightmare sequence with fearsome demons in the backdrop amid clouds, demons that eventually transformed into popular Hindu gods. A traumatised Raj Kapoor is shown being torn apart by goodness and evil, while Manna Dey’s voice pitches to almost shrill desperation, rendering “Yeh nahin hai, yeh nahin hai, yeh nahin hai zindagi, yeh nahin…” before dark clouds melt away to the soothing strains presaging Lata Mangeshkar’s serene rendition of Ghar aaya. I have found this number to be illustrative of SJ’s stupendous command over rhythm, for the beat changes with rapid frequency and the accompaniment lurches from the bongo to tabla with astonishing ease.

Shankar-Jaikishan baled the doleful voice of Mukesh out of his “poor man’s Saigal” confines by branding him as Raj Kapoor’s signature playback singer. It was Mukesh who gave Kapoor the stamp of authenticity, from Awara hoon, to Mera Joota hai Japani (Shree 420), Hoton mein sachai rehti hai and Mera naam Raju (Jis Desh Mein Ganga Behti Hai), O Mehbooba! O Mehbooba and Dost dost na raha (Sangam), Jeena yahan, marna yahan and Jaane kahan gaye wo din (Mera Naam Joker). In other films outside the RK banner such as Aashiq (Main aashiq hoon bahaaron ka) and Anari (Sab kuchh seekha humne, Kisiki muskurahaton pe hon nisaar and the lilting duet Dil ki nazar se), it was Mukesh who was Raj Kapoor’s quintessential voice. This was such an established fact that producers wouldn’t hear of anybody else if they got Raj Kapoor to act in their film. Thus, for Jaagte Raho, Mukesh rendered the drunken Zindagi khwab hai (Music: Salil Choudhury) on the lines of Mujhko yaaro maaf karna (Main Nashe Mein Hoon), Chhaliya mera naam and Dum dum diga diga (Chhaliya, Kalyanji Anandji), Ek din bik jayega (Dharam Karam, RD Burman) and even the quickie Do Jasoos with Ashok Kumar for which Ravindra Jain composed a highly forgettable score.

Raj Kapoor, Shankar-Jaikishan, Mukesh and lyricist-producer Shailendra along with director Basu Bhattacharya struck an extraordinarily creative note with the award-winning Teesri Kasam. Mukesh’s numbers, especially Sajanwa bairi ho gayo hamaar and the more popular Sajan re jhooth mat bolo and Duniya bananewala, besides nautankis like Paan khaye saiyan hamaro, effortlessly rendered by Asha Bhonsle and Manna Dey’s inimitable Bhojpuri number Chalat musafir, won huge acclaim. But sadly that came only after a heartbroken Shailendra, SJ’s preferred lyric writer, committed suicide following its initial commercial failure. Mukesh was also their chosen singer for Manoj Kumar, who was slowly growing into a successful actor-director. In Haryali Aur Rasta, SJ composed some truly melodious numbers like Laakhon tarey aasmaan mein apart from the title song.

But SJ demonstrated rare courage to promote the highly underrated Manna Dey as Raj Kapoor’s stand-in playback singer, entrusting him with some unforgettable melodies like Dil ka haal sune dilwala and the all-time romantic tune Pyar hua iqrar hua, besides Mud mud ke na dekh (with a then raw Asha Bhonsle) in just one film, Shree 420. They used Manna Dey for Joker’s biggest commercial hit (Binaca Geetmala 1970s No 1) Ae bhai zara dekh ke chalo. In the non-RK Film’s Raj Kapoor-Nargis starrer Chori Chori, they gave Mannada two magnificent melodies just up his street, Aaja sanam madhur chandni mein hum tum and Yeh raat bheegi-bheegi. They continued their association with Manna Dey even outside the Raj Kapoor matrix. From the balefully classical Sur na saje (Basant Bahar) to Balraj Sahni’s Tu pyaar ka sagar hai (Seema), Raaj Kumar’s Jhanak jhanak tore baje payaliya (Mere Huzoor) and Rehman’s Raat Aur Din (Dil ki giroh khol do), SJ used the talented singer more effectively than any other Mumbai music director.

Shankar-Jaikishan’s Kapoor khandaan connection flourished further with the arrival of Raj’s flamboyant younger brother Shammi. This was announced to the world in style with the ear-shattering cry Yahoo! Chahe koyi mujhe junglee kahe. Such is its continuing impact on the Indian psyche that an e-mail service and search engine was named Yahoo! by way of tribute to the man who brought such cheer (and swagger) to Indian teenagers through the 60s and 70s. SJ made terrific music with Shammi, spanning the raucous (An Evening in Paris, Tumse Achchha Kaun Hai, Prince, to name a few), sensuous (Dilruba, dil pe tu from Rajkumar in particular, Aaj ki raat from Aman), and the mellifluous (Ehsan tera hoga from Junglee, Main gaaoon tum so jaao from Brahmachari, for example). For Shammi, SJ switched to Mohammad Rafi who could blend his voice to suit every requirement of the star’s role. Between the three, they entertained an entire generation, which is why it’s a bit sad that while today’s middle-aged India remains passionate about Shammi and Rafi, few remember the makers of the melody that gave them that iconic stature. The same is true for Shammi’s other favourite composer, OP Nayyar. Incidentally, when I interviewed him for our sister publication Darpan two years ago, Nayyar recalled bumping into Shankar at a dispensary where the latter told him that the only music director the duo was worried about was the solo composer!

Shammi Kapoor and Shankar-Jaikishan remained a team throughout the star’s career as hero, producing timeless greats like Raat ke humsafar and Akele akele kahan ja rahe ho in An Evening in Paris, Tumne pukara aur hum chale aaye (Rajkumar), Laal chhadi maidan khadi (Janwaar), Saverewali gaadi se chale jayenge (Laat Saheb), Aaj kal tere mere pyar ke charchey and Dil ke jharokhe mein (Brahmachari), Ae gulbadan (Professor), Mere bhains ko danda kyon maara – a song which heralded the age of nonsensical lyrics – to name just a few. Unfortunately, Shammi, Rafi and SJ continued to make films long after all had passed their prime. So, Rafi and SJ both sounded tired in an unnecessarily lengthy song Matwali Hawa and even Badan pe sitare in Prince, in most numbers of Sachai and Pritam. In fact, it was Lata Mangeshkar who rendered the only breezy number for the eminently forgettable Pritam (Haye dil laga to aisa laga charcha gali gali) filmed on Leena Chandavarkar, badly mismatched, both by age and girth with the movie’s male lead. Perhaps the last flicker of the association was Andaz, which had rather a melodious Rafi-Suman Kalyanpur waltz, Dil usey do jo jaan de de. But in the film it was reigning superstar Rajesh Khanna who, despite the brevity of his role, stole the show with Kishore Kumar’s Zindagi ek safar hai suhana.

Interestingly, Shankar-Jaikishan did not really work with Kishore, at least never consistently, although whenever they teamed up, the results were quite memorable. In Kishore’s first phase of fame, they gave two radically different hits Rangoli sajao re and Chhoti si yeh duniya (Rangoli) on the one hand and the racy Nakhrewali dil ki kaali (New Delhi). By the time Kishore returned with a bang after Aradhana in 1968, SJ were virtually on their way out. Barring Andaz, Aankhon Aankhon Mein, Jaane Anjane, and (if I remember right) Jangal Mein Mangal and Aaj Ki Taaza Khabar, there are few Kishore numbers that can find mention in the SJ repertoire. However, they used him for Raj Kapoor’s son Randhir’s launch vehicle, Kal Aaj Aur Kal in which Bhanwre ki gunjan hai mera dil was an outstanding composition although it was the commonplace number Hum jab honge saath saal ke that became a hit. For Shashi Kapoor, the youngest of the Raj clan, SJ rarely composed and even when they did it was Rafi whose voice was used, as in the Kanyadaan classic Likhey jo khat tujhe who teri yaad mein. For Merchant-Ivory’s Bombay Talkies, SJ hired Kishore for its only hit number Typewriter tip-tip, but the film sank without trace anyway. But one Kishore-SJ number that remains forever etched in popularity charts is the 1971 classic Geet gaata hoon main from Lal Patthar.

Shankar-Jaikishan favoured Rafi to such an extent that they did not use Kishore even for Dev Anand except for a late 60s flop, Duniya (Dooriyan nazdeeqiyan ban gayee ajab ittefaq hai). But their early compositions for Dev saab, in Love Marriage for example (Dheere dheere chal chand gagan mein) as well as Jab Pyar Kisise Hota Hai (title song, Sau saal pahele and Teri zulfon se, to mention just three) went on to become big hits. Considering they did very few films for the leading hero of the time who belonged to a rival camp, it was not a bad record. Rafi was used to great effect though for Jubilee (Rajendra) Kumar in musicals like Arzoo and Jhuk Gaya Asmaan (Kaun hai jo sapnon mein aaya) and Aman (the sensuous Aaj ki raat yeh kaisi raat). Similarly the rare Joy Mukherjee film they gave music to, Love in Tokyo, had lilting Rafi numbers like Le gayee dil, Aaja re aa zara, Ae mere shahe-khooba.

SJ and Dharmendra never quite made a hit pair probably because Dharam was always garam, never naram enough those days for running around bushes. But in hit films like Shikar and Yakeen, and a succession of flops like Pyar Hi Pyar, Saazish, Resham Ki Dori and International Crook, SJ did try to revive both Dharmendra’s and their own sagging career. But the music director duo would appear to have played Cupid by composing for the first hit of the successful combo of the He Man and Hema Malini, (Tum Haseen Main Jawan, 1971) using Kishore for Dharam (a rarity) in an utterly forgettable song, Munne ki amma.

In the mid-60s, Shankar-Jaikishan had a frightful row with the empress of the singing industry, Lata Mangeshkar. It was reportedly over her refusal to record the somewhat titillating Sangam number Main kya karoon Ram mujhe Buddha mil gaya, whose lyrics the characteristically prudish Lata thought crossed the boundaries of decency. She was further agitated when the proposed sequence, with a voluptuous Vyjayanthimala prancing on the bed trying to seduce an ageing Raj Kapoor, was explained to her. By then the duo was no longer composing songs together, they would divide the number of songs in a film between themselves and record them separately. The composer of the disputed song, Shankar, took serious exception to Lata’s defiance and when she refused to yield, Raj Kapoor was dragged into the dispute. After hearing both sides, he decided Shankar was right, Lata had no business refusing to sing a number since she had a contract with RK Films and the lyrics, he thought, were not particularly prurient in any case. A fuming Lata recorded the song – to her credit with the appropriate mischief and seduction in her voice – but stormed out of the studio immediately, vowing never to sing for Shankar or Raj Kapoor ever again. She kept her word, occasionally singing only for Jaikishan, till she returned to the RK banner once LP were inducted with Bobby.

A belligerent Shankar decided he could do without her but unfortunately the replacement he promoted turned out to be an unmitigated disaster. The “besura” Sharda, whose only passable number was Titli udi, (Around The World, a haggard Raj Kapoor quickie), was panned by both critics and fans. Shankar selected the more competent “poor man’s Lata” Suman Kalyanpur for some hit songs like Aaj kal tere mere pyar ke charchey, but by then his creativity too was in terminal decline. The Lata row marked a tragic end for a combination that made memorable melodies like O Basanti pawan pagal (Awara), Raja ki aayegi baraat and Yeh shaam ki tanhaiyaan (Aah), Ajeeb dastan hai yeh (Dil Apna Aur Preet Parai), Ja ja ja mere bachpan (Junglee), Unsey mili nazar toh mere hosh ud gaye (Jhuk Gaya Asmaan), Aawara ae mere dil (Raat aur Din) and Mujhe tum mil gaye humdum (Love In Tokyo, whose tune was later lifted by Nadeem-Shravan for Dhadkan’s title song). SJ depended heavily on Lata as their dominant female voice, using Asha Bhonsle only sparingly for duets like Panchhi re o panchhi (Hare Kaanch Ki Chudiyan) or Waqt thoda sa abhi kuchchh aur guzar jaane de (new Seema). The Shikar number, Parde mein rahne do, went on to top the charts for months in 1968 because Asha intoned in a manner she usually kept in reserve for OP Nayyar. But one of their best compositions for Asha (a duet with Manna Dey) was Re man sur mein gaa (Lal Patthar).

Writing a complete musical biography of the two men who changed the history of Hindi film music with their sheer audacity and risk-taking ability, is impossible. But looking back, I wonder if we would have had a C Ramchandra, OP Nayyar, Kalyanji-Anandji (who started as their assistants) or even Laxmikant-Pyarelal (who began their career as KA’s assistants in Chhaliya). Barring the self-assured Burman dada, there was no other music director who could dare as Shankar-Jaikishan could. They left a deep imprint on popular music in India and I regret that today’s youngsters often think that Hindi music began only with RD Burman. Of course, he was a great composer, but let’s not forget that one of Pancham’s early films, Teesri Manzil, had music so heavily photocopied from SJ’s style (perhaps because it starred Shammi Kapoor), that listening blind anybody could well think that O haseena zulfonwali, Aaja, aaja or Tumne mujhe dekha are Shankar-Jaikishan compositions. LP insisted throughout their career that their only ambition in life was to be bracketed with Shankar-Jaikishan as successful music-directors. If that’s not high praise from contemporaries and competitors, what is?

SJ,Raag Bhairavi and the music of Basant Bahar(ssmurthy)

It was the considered opinion of musical connosiers then, regarding Naushad, as the master of Bhairavi raga ,with that pathos evoking, all time great composition,

“Mohe bhool gaye sawariyan.. ” in Baiju Bawra.

Baiju Bawra goes down as a classic in the annals of Indian films with its music reaching dizzy classical heights, ,by him, who was at his zenith during the fifties and a benchmark for all promising MD’s . as this film lit the flame of honour and the syndrome struck, so much, that by the time Mughlai Azam got to the floors , the “Zindabad Zindabad ai Mohabbat Zindabad by Rafi soared into the mighty skies and the earthly filmdom ministrels were receiving the glory and acclaiming “Chalis croredo men ek hi Naushad ” The population of India then was 40 crores.

Raj Kapoor, worked with all sincerety, in shaping the Bhairavi lying dormant in SJ and patented it such that, the audiovisual effect, will have an everlasting impression on the listener and the gamble worked out, as it should.

And soon SJ were on the ascendant’ putting everyone who came in that line, including the so called stalwarts into the shade.

The SJ patent of Bhairavi has come to stay, and the deluge soon followed such that, the total number of compositions on Bhairavi raaga by SJ, put together summation wise, half of which would not have been composed by all the popular MD’s put together, a very logical and convincing eye opening statement.

Jaikishan was an ardent devotee of this Raaga and the success this brought SJ, has gone into Jai’s system so much that he named his last child, a daughter, by the name “Bhairavi” and when asked why, wistfully quipped, “the end”,

inferring Bhairavi denotes a desirable culmination of events mixed with a kind joy springing from the depth of the soul’s grandeur.

Bharath Bhooshan having seen the kind of success Baiju Bawra got, obviously set his eyes on another classical buster and would have wished Naushad repeat the same.

The ruling popular classical stalwarts those days were Anil Biswas, Naushad and Chitalkar Ramachandra,and SJ were no where in the orbit of this category, with the only glimpse of classical composition by them in the form of “Lapak jhapak…” in Boot Polish that too depicted in a comical and lighter vein.

SJ through consistent and innovative orchestrisation, potent compositions, by then have developed a firm grip over public pulse and above all captured the imagination and confidence of the Distributors and Financiers who mattered most, and Anil Biswas was replaced by SJ by sheer pressure of these people for music of this Basant Bahar.

Shankar recalls that this added to the pressure and also his penchant for proving their detractors wrong. Much was at stake and the composing beans of Shankar was put on a fiery ordeal the outcome of which stands testimony to this day with the Rafi’s solos,”Badi dher bhayi…..” “Duniya na bhaye….” a majestic comparision to the already accepted popular numbers like “Hari Om..” and ” Oh Duniya ke rakhwale…”.

That Mannadey would scale new heights with this film was a dream come true for him and all fans of SJ.

Let us not forget that till then Mannadey was more identified as a Bhajan singer, and it was SJ’s ingenuity that gave him those lilting numbers in Boot Polish, Shree 420 and Basant Bahar and later on crstallyzed with Chori Chori, Ujala and so on, establishing him as a romantic singer too.

SJ resented all the snide remarks that went into the air on handling such a complicated and complex theme like Basant Bahar, manifesting with a melodious “Nain mile chain kahan ..” score which even Anil Biswas could envy and wished he could compose a score like that.

Shankar later on after the success of their music recalls the insinuations faced by them before storming the formidable citadel held so strongly till then by Naushad, Husnlal Bhagatram, C.Ramachandra, Anil Biswas, S.D.Burman, and their likes,

but it was only C.Ramachandra, Shankar recalls has stated that “these lads SJ will make us all run and will cause a landslide in Hindusthani film music”

How prophetic, amazing and intuitive forethought.

Rhapsodies in Rhythm The inimitable Dholak rhythms of Shanker Jaikishan


‘Andaz Mera Mastana’ is what Shanker Jaikishan (SJ) seem to say in every beat of their songs! In this path breaking article, Anand D. Theke presents THE rhythm guide for the discerning Hindi Film Music (HFM) Fan. A fascinating exploration of the rhythms, which are the very heartbeat of hundreds of SJ songs with a special focus on the dholak. And this certainly is a delectable treat for the true music and HFM aficionado.

Some tips … Keep your SJ song CDs loaded as you read this. Often, you might get lost in the song and would need to take some effort to return to the point made here! One simple technical point in the terminology of dholak – theka is the central rhythm pattern and a laggi is an inspired improvisation.Over to Anand D. Theke, as he makes a grand beginning in the true, characteristic SJ style! …

It is 1960. SJ have firmly established themselves as the No.1 Music Directors in the Hindi Film Industry. As the 50s unrolled, SJ have matured as composers, and now find that their exploits are the talk of millions!They launch into the next decade with a showcase extravaganza – A. Andaz Mera Mastana – Dil Apna Aur Preet Parayee (1960)

. ‘Andaz Mera Mastana’ begins with the enthralling 100 second plus introduction … which uses the 100 plus SJ orchestra to its limit … trumpets, saxophone, cello, piano, guitar, violins … you name it … in fact, every instrument renders the atmosphere …with its own colour ..and then the ghungroos … and then the piano …and then the accordion flaunts itself … to introduce Lata with aplomb … and as Lata sings the opening lines … Andaaz Mera Mastana … accompanied by bongos … listen to the mukhda carefully …

Andaz Mera Mastana …

the bongos lend an ebullient rhythm …

Maange Dil Ka Nazrana …

the bongos continue …

Zara Soch Ke Aankh Milana …

the bongos continue …

Ho Jaaye Na Tu …

the bongos continue …

~*~*~*~*~*~*~*~*~Deewana …

the dholak makes a~*~*~*~*~*~*~*~*~spectacular, splash of an entry …to accompany Lata & the chorus throughout the song!

Now, watch out for the next line – ‘Mera Dil Kaha Hain’ … and listen to the laggi!Now this line gets repeated a total of four times in the song – once at the beginning and then after every antara. And everytime there is a diferent laggi under it … four different laggis are played on the same line every time it occurs!Of course, all fit snugly into the words and the melody of the line. And these laggis are repeated over the song, keeping Lata and the chorus in vibrant company!For most listeners, this complexity is not evident at all!In fact, check it for yourself – when you listened to Andaz Mera Mastana, did you find that your fingers had unconsciously caught up with the rhythm on the nearest playable surface? Millions have found that to be the case, and it is here that unknowingly SJ have caught you in their magical rhythm spell! It is almost as if one has given SJ that pat on the back … well almost!

All SJ have done is that a fairly inricate, complex rhythm pattern has reached your ears and sounded so friendly, so simple, that it straight makes a place in the heart! Simple, ain’t it? Well, ask any contemporary musician or music director to recreate even a little of this magic! And that was the secret of SJ! High quality, complex compositions became simple enough for the common person to appreciate! That is genius! It is because though SJ may have departed … their work remains as alive as ever!

Shanker Jaikishan – The Rajkumars of Hindi Film Music (HFM)For the uninitiated, here is a quick background to Shanker Jaikishan and their oeuvre.

Shanker Jaikishan (SJ) began their illustrious career in 1949 and for just over two decades, this duo stormed the world of Hindi films with a brand of music that has a few parallels in the history of Hindi Film Music.

SJ conjured their magic by harmoniously blending various musical elements. First of all – the melodies were sweet and simple. Legends like Lata, Rafi, Mukesh and Manna Dey rendered these melodies and the value they added is evident; Hindi Film Music may perhaps never outgrow that kind of impact.

SJ’s formidable orchestra enhanced and embroidered the melodies with complex contras and interludes and the result is for generations to behold – intricate, ornate tapestries of songs!

With SJ wielding the baton, many instruments earned a distinction – the accordion, mandolin, violin, flute & cello among others developed an unmistakable identity.

And finally there were the SJ rhythms! Ebullient, bold and delivered with exceptional panache, the rhythms lent SJ compositions a unique pace and a distinct cadence which added unprecedented value to the images on screen and created THE mood in the listeners mind and heart ! In fact, like their songs, the rhapsodies of rhythm that SJ conjured, have successfully outlived the images and are the focus of attention in this article.

SJ used dholak, dholaki, tabla, bongo and congo as their main percussion instruments. In addition, they used instruments such as taasha and ‘chandu’ as well. Cymbals, khanjiri and maracas provided ample side rhythm support to the lead instruments. And SJ were such masters in using ALL of these that one could dwell on each of these instruments in their own right at length!

This exploration focuses on the the dholak whilst trying to keep some of the others in focus too!

Even before SJ broke upon the scene, a few venerable music directors like Ghulam Haider, Ghulam Mohammed, Shyamsunder etc. had established the dholak as a main accompaniment instrument for Hindi film songs. One can almost seperate the transformation, before SJ, the instrument was used with a distinct and conventional Pujabi flavor, its main purpose being to provide just an adequate support to the melody. Variations of the core theka, if any, were far and few between. Even their contemporaries, notably ‘rhythm king’ O.P.Nayyar or even Naushad, confined themselves to this established framework of dholak playing. SJ changed all that!

Let us move to specific examples … Listen to the weighty theka which accentuates the feel behind these songs which are actually soft, slow paced numbers!

Ek Bewafaa Se Pyaar Kiyaa (Awara 1951)Use Mil Gayee Nayi Zindagi (Halaku 1956)Aansoo Ki Aag Leke Teri Yaad Aayee (Yahudi 1958)Mere Sapne Mein Aana Re, Sajana (Raajhath 1956)

The dholak not only provides a very weighty percussion support; in all these SJ melodies, the dholak actually lends a touch of sheer beauty through laggis and variations; after any pause the beginnings are different and distinctive, the joints between thekas and laggis are subtle & swift; little wonder, they sound seamless because incredible as it might seem – they actually are!

With every film, SJ were making significant contributions to the realm of dholak playing for HFM, even adding some of their own creations in original thekas and firmly establishing their own style of dholak playing.

And SJ continued to shower the Hindi Film Music space with such rhythm fireworks! A resplendent range of laggis, laggis which insidiously resided in the very heart of the main rhythm patterns. And almost every time when the dholak came into the song it did so with great style! Often, it would launch after a pause, or at the beginning of the every mukhada.Most dholak players would be content with a ‘Ta tirkit taktaa’ type of construct for such a place, but not SJ’s dholak players. They had their own innovative variations here too. Let us turn to another SJ classic as an indepth example in the soulful, heart-wrenching … B. Tera Jaana, Dil Ke Armaanonka Lut Jaana – Anari 1959 For best results, it is strongly recommended that you listen to the song, if you are not doing it already! (Apologies to repeat this … but it is important) In all probability, you would find yourself flitting between reading and listening! And that is exactly what happens all along this SJ beauty – the theka gracefully keeps giving way to the melody and creates the backdrop. When the melody recedes to create the melancholy mood, the theka only emerges again to take centrestage … that pattern repeats throughout the song! The core ‘weighty’ theka which is interspersed throughout the song and holds it all together is … “Dhig dha dhig taa Tik taa dhina”. The song begins with a brief prelude of violins and an emphatic iano playing in a combination and they quickly gain in intensity to create a sombre mood … Lata Mangeshkar comes in with … Tera Jaana …



The dholak theka begins on the na with a damp Dhig!

Listen carefully … as Lata sings Tera Jaana … the dholak joins in on the na with the Dhig which is itself dampened and stressed! That helps significantly to carry through the melody as well as creates the mood right from the word go! Now as Lata takes off on the words ‘Koi Dekhe …’, a laggi “Dhig, dha dhig taa, Dhig, taa tik taa” comes in line with the flow of the words!

Tera Jaana is also one song where the interludes have almost become legendary! Most SJ fans remember little nuances and often sing them out too! Tera Jaana also stands out as a rare example of violin interludes being remembered and hummed! Now another characteristic SJ style was to have interludes, which were of a completely western flavour! In the case of Tera Jaana, it is the violins at various pitches and the guitar which strums along, and do not miss the shehnai and flute coming in small tender ‘pieces’, but ever so sweetly, to create a touching pathos …As you listen to the song, carefully savour the interlude before the second stanza (Jab Jab Chanda Aayega …) the mandolin comes in here and as the violins and the guitars create the mood, dont miss the bells … and the grand orchestration seems to give way to Lata with that fleeting piece of the shahnai!

And we reach … Jab Jab Chanda Aayega …Come to the flute-interlude before the line “Main Rokar Rah Jaoongi” and that is when the laggi begins. It carries through this line and surprisingly, on the next line “Dil Jab Zid Par Aayega” switches back to the core theka on the cue of “Dil’!

Main Rokar Raha Jaoongi

Dhig, Dha Dhig Taa, Dhig, Taa Tik Taa

Dil Jab Zid Par Aayega

Dhig Dha Dhig Taa Tik Taa Dhina

Moreover, the changes between the theka and the laggi just do not always follow the traditional usage of a joining piece. With SJ rhythms, you have to expect the unexpected! And there is more!

After this stanza, listen to the theka accompanying the final ‘Tera Jaana, Dil Ke Armaano Ka Lut Jaana’.It unexpectedly falls silent around ‘Lut’, only to be taken over by the laggi on the ‘na’ of ‘Jaana’!

Literally, on the other hand, a subtle ‘takey titkit’ bit facilitates the change from the theka to a small swift play on the baaya at the end of ‘Ban Ke Taqdeeron Ka Mit Jaana’!

It is this unpredictability of what to expect and when, taken together with the very weighty playout of the theka and the laggis that make this song’s dholak accompaniment, a treat for the sensitive listener.

Yet another example of the dholak accompaniment to a sad, slow paced song is the title song of Dil Apna Aur Preet Parayee. There are surprisingly, no fireworks here, but the theka is so sweet and soul-stirring in itself, it does more than carry through the melancholy of Lata’s rendering. “Ye Hariyaali Aur Ye Raasta’ also fits into this category of sad songs with grave theka accompaniment.

OK! So this very weighty theka goes with the sad and melancholy, right? That is what most people would come to believe! SJ establish that beyond any doubt and then bounce back and throw all their weight to get you in a swinging mood in “Ye To Kaho, Kaun Ho Tum, Kaun Ho Tum” (Aashiq 1962) using this very weighty theka! Raj Kapoor actually dances to this theka on screen and many film buffs too had to do likewise in theatres!

SJ’s dholak really comes into its own on those numerous fast paced, swinging songs many of which Lata Mangeshkar rendered majestically. Most of these accompaniments, intricate as they were, were extempore and therefore it is rather difficult to discern a pattern amongst them.

However, the discerning ear can still find a certain framework can:

1. Begin with the core theka …2. Break off into a laggi, usually on the third line of the opening of the song3. Have a few more laggis into the song’s opening (mukhda). It gets repeated after each stanza and within the stanza, as it fits well into the flow of words.4. Swift transitions between the theka and a laggi, on many occasions introduce those ‘silences’ as in the Tera Jana example5. Fill in the gaps between lines with dholak chaati (daaya) interlude, 6. Finally, break off after a pause with a small piece that stands out in itself !

Also remember that characteristic trade mark dampening of the first beat (the one of sum) of their theka playing for dholak.

Let us now take up another classic example fromthe SJ repertoire which also highlights our framework above.

C. Main Piya Teri Tu Maane Ya Na Maane – Basant Bahar 1956 535 KB OST flute!Many Hindi Film Music Fans believe with Basant Bahar, SJ did a Naushad! Or actually matched or even surpassed him! And what better ‘jugalbandi’ for music buffs when such masters treated them to this quality of music!

The song itself is a classic bhajan kind of a composition in the preferred raag of SJ – Bhairavi! A musical ode to Krishna – the song has the flute of Pannalal Ghosh ‘singing’ a duet with Lata Mangeshkar. (Many believe it is the sound of God!) And the dholak is there all along, lending a cadence to every melodious overture of devotion! Somewhere along the way, a sense of the erotic comes in and one key cause of it is due to the dholaks blending both moods! Listen to this laggi ‘Tirkit taghenta naak” gushing all over this song!

On screen, this song too, has those patent one minute SJ preludes, but this time it is with the sublime long flute piece … the violins pick up the final notes from the flute to announce the entry of the dancing heroine … Lata comes in with Main Piya Teri … a soft almost tender and yet earnest note …And as she ‘states’ Main Piya Teri’ the dholak surges all over with the theka “Dhik dhatik ta Dhadhi”.and the flute wafts in … clearly in a mood to serenade! As we move to the third line … Lata implores the Lord with the line ‘Kaahe Ko Bajaaye Tu Mithi Mithi Taane’ … the dholak breaks off into a laggi “Dhadhag da Dha tin naak.”Look at the interludes … especially the flute pieces … which have ‘Tirkit taghenta naak” all over it!And the variations continue! The first line of the stanzas, ‘Murali Ki Lai Ne Dil Mera Chheena’ has the core theka, but on ‘Raag Uthaye Maine Raag Uthaye’ has the ‘Dhetta gadhaa, Dheta kataa’ laggi!When the mukhda line of Main Piya Tera repeats in the stanzas, ‘Dhin, dhagid Dhig tinaa ta” laggi takes over!

Throughout this SJ classic, when the mukhada repeats after every antara, it features a very subtle interplay of the daaya and baya. Do not miss that! A song that truly enchants and like the sangam of Radha & Krishna, the dholak rhythms simply dissolve in the meoldy!

D. Haaye Tu Hi Gayaa Mohe Bhool Re – Kathputli 1957Kathputli was a score which had SJ innovating at their best!The title song came in two versions. The fast version was sweet and yet the slower version of the song remains as some kind of landmark – most people just cannot make out what that composition is and yet it stands out as an extraordinary piece of work! You can catch some shades in common between these songs especially their rhythms.’Haaye Tu Hi Gayaa Mohe Bhool Re’ also has that one and a half minute preludes.And it has a very unusal beginning … a medley of various instruments … which create an energy of its own … listen to the song carefully because it is here that you can listen to the silences of the dholak!The key rhythm characteristic of this SJ gem is in the transitions! Watch out for the points when the dholak switches from a theka to a laggi and it is difficult to make out that the switch is made! And the switch is made through ‘poignant silences’ or rests!Catch that moment in the mukhda itself … when the dholak switches from “Mohe Bhool Re’ to ‘Main Hoon Tere Jeevan Ki Raagini’.

The stanzas of this song have a galaxy of variations!On the first line of the stanza, ‘Tere Naghme Taare Bankar, Chamke Sab Ke Pyaare Bankar, the core theka plays …… and over the flute interlude that follows the dholak DOUBLES the pace to continue in that mode through the rest of the stanza only to conclude on the sum after cutting the pace to HALF!And when the mukhda line comes in again – ‘Haaye Tu Hi Gaya’ the ‘Tikdha tirkit Takta tirkit’ construct gives it company!

In the second stanza the first line of the stanza ‘Phir Se Aisa Raag Suna De’ gets the core theka, only to be followed by a ‘Dhettaagadha Dhettaakataa” laggi on the first ‘Jhoom Uthey Yeh Hum Gham Ke Maare’. When you listen to this song do not miss the ‘kradhin tirkit taktaa tirkit’ which is splashed over all breaks!

Kathputli has rated as one of SJs finest scores for a film. And in all the big popular hit songs, Haaye Tu hi Gaya is often lost by many fans! However, this rather unusual gem of SJ too is a song which brings credit to Sj for the superlative composition and arrangement! Make it a point to listen to it! Highly recommended for the true blue SJ & HFM fan!

E. Aate Jaate Pehloo Mein Aaya Koi – Yahudi 1958Now this song begins with a crackling bongo and that crackling sound becomes a motif for the dholak to embroider this SJ tapestry! As the song unfolds …Aate Jaate Pehloo Mein Aaya KoiMere Dil Batla Na Chhupa …and we come to the third line …

The magic of the dholak in this song really takes off here!

Aaj Se,Main Tujhe,Dil Kahoo,Ya Dilruba …

Listen to the dholak …as it breaks off into a beautiful laggi here!

Teri Sunoo Aur Sunti RahooMain Apni Tadap Chhupa LooPhir Bhi Kaha Tak Sabr KarooMain Khud Ko Kitna Samhaloo?

The first two lines of the stanza are, both adorned with different laggis.On ‘Phir Bhi Kaha Tak Sabr Karu’, the fascinating ‘Dhigdhati Naakadhin’, comes in!And watch out this very laggi is played on the closing of ‘Mere Dil Batlaa Naa Chhupaa’.The second stanza Mast Nazar Tu Ne Yeh Kya Kiya … has the same fascinating pattern repeated.

And now let us expect what is unexpected what else can one do with SJ? As we go to the last stanza … Tera Tassavur Tera Hi Gham Labon Pe Tera Tarana … The core theka is playing here … but now …’Neend Se Bhi Ab Kehti Hoon Main’ has another beautiful rippling laggi giving saath!

And on the final line try and catch this silence …

Tu Unko Khwab Mein LanaThe dholak suddenly falls silent and gives way on na!

A subtle, racy ‘Dhig dhitta Tak dhitta’ joins in with the mukhada and repeats for the last time in the song. ‘Mere Dil Batla Naa Chhupa’! And did you notice that all the Aa Aa Aa Aa Aa Lata refrains have a cheerful bongo and of course the mandolin ‘playing’ along?

When the songs were fast paced, SJ actually came into their own! The core theka the variations, the silences makes one wonder and realize that ‘Tera Tassavvur, Tera Hi Gham, Labon Pe Tera Tarana’ was something that is really left with us and SJ meant every word of it! Here is a list of 25 SJ gems which are studded in enchanting rhythm patterns and each is an ornament in itself! Mind you the actual bnumber of songs is much longer, we have chosen 25! Listening to these masterpieces is not just entertainment of the highest order but also can be an education!

No. Song -Film-Year


1. Ramayya Vastavayya’ (Shri 420 1955)

2. Kar Gaya Re Kar Gaya Re Kar Gaya Mujhpe Jadoo’ (Basant Bahar 1956)

3. Manabhawan Ke Ghar’ (Chori Chori 1956)

4. Hai Tu Hi Gayaa Mohe Bhool Re’ (Kathputli 1957)

5. Bagad Bum Bum Bum’ (Kathputli 1957)

6. ‘Dil Mein Pyar Ka Toofan’ ( Yahudi 1958)

7. Meri Jaan Meri Jaan’ (Yahudi 1958)

8. Tera Jalwaa Jisne Dekha’ (Ujala 1959)

9. Ho Mora Naadan Baalama’ (Ujala 1959)

10. Andaaz Mera Mastaana’ (Dil Apna Aur Preet Parayee 1960)

11. Mera Dil Ab Tera O Saajana’ (Dil Apna Aur Preet Parayee 1960)

12. Tum Roothi Raho’ (Aas Ka Panchhi 1961)

13. Sau Saal Pehle’ (Jab Pyar Kisise Hota Hai 1961)

14. Kashmir Ki Kali Hoon Main’ (Junglee 1961)

15. Din Sara Gujara Tore Angna'( Junglee 1961)

16. Tujhe Jeevan Ki Dor Se’ (Asli Naqli 1962)

17. Wo Chale’ (Hamrahi 1963)

18. Wo Din Yaad Karo’ (Hamrahi 1963)

19. Bahar Banke Woh Musquaraye’ (Ek Dil So Afsaane 1963)

20. Tumko Hamari Umar’ (Aaye Milan Ki Bela 1964)

21. Aaye Re Din Sawaan Ke’ (Gaban 1966)

22. Maine Dekha Tha’ (Gaban 1966)

23. Paan Khaye Saiyya Hamaaro’ (Teesri Kasam 1966)

24. Chalat Musafir’ (Teesri Kasam 1966)

25. Hare Kaanch Ki Choodiyan’ (Hare Kaanch Ki Choodiyan 1967)

Once you savour music compositions and arrangements of this order, it is not a mystery why SJ were the foremost music directors of their times and left behind templates for others to follow. They innovated and their creations helped them stay at the top. Variations also came through consistently. Like in all other departments, SJ’s dholak players too invented new thekas and rendered them in novel ways too! Clearly, it was team effort of top class mucisians doing what they do best … make good music!Almost all of the dholak songs would be characterised by a variety of laggis spread around at appropriate points along the melody. Invariably, a laggi would be played on the third line of the mukhada. Examples of this are ‘Main Piya Teri’, ‘Aate Jaate Pehloo Mein Aaya Koi’, ‘Tera Jalwa’, ‘Tum Roothi Raho’, ‘Ek Dil Aur Sau Afsane’, ‘Ek Bewafaa Se Pyar Kiya’, ‘Aansoo Ki Aag Leke’. Within the antara, laggis would appear as demanded by the flow of the words and the melody.

A chef might give spicy ‘tadka’ to the daal. Almost in a similar vein, every SJ dholak song features at least one laggi within the antara. Of course, these inspired improvisations appear effortlessly and delectably blend into the song. Laggis would also be played over the interludes between lines of an antara. And more often than not, they would appear over the mukhada and would be repeated at the end of an antara. And this is one element that made songs with simple melodies so memorable and made a home in every heart!

Let us take a DOZEN DHOLAK SJ examples in brief …

We begin with two from Yahudi (1958). 1. ‘Dil Mein Pyar Ka Toofan’ has the theka ‘Dhita Dhindhinak’ resounding all over the song all over the place!And that theka created a tempest … a listener almost finds himself airborne!

2. ‘Meri Jaan Meri Jaan’ ‘Dhig Dhadha Tik Dhadha’ is the core theka.Go to the line ‘Koi kya kare haye, koi kya kare?’ and listen to the long dayaa-alone piece over it!Yet another innovation which made this song simply remarkable for the dholak accompaniment. 3. ‘Haye Tu Hi Gaya Mohe Bhool Re’ has ‘Tigdha tirkit Taktaa tirkit’ or ‘Kradhin tirkit Taktaa tirkit’ as the core theka and this song has many siblings … Main Piya Teri’, ‘Tera Jalwa Jisne Dekha’, ‘Manbhavan Ke Ghar Jaaye Gori’, ‘Dil Ka Na Aarna Aitbaar Koi’, ‘Nache Ang Ang Tere Aage’, ‘Aansoo Ki Aag Leke’, ‘Bhaiyya Mere Raakhi Ke Bandhan Ko Nibhaana’, ‘Begaani Shaadi Mein, Abdulla Deewana’.- all have the stamp of ‘Tigdha tirkit Taktaa tirkit’ or ‘Kradhin tirkit Taktaa tirkit’ as the rhythm refrain!

4. ‘Dil Apna Aur Preet Parayee’ both the mukhada and the antara begins with a restrained ‘Tak tirkit Tak tirkit’. Or in ‘Tum Roothi Raho’, we find the simple but effective ‘Taktaktak Taktaktak”!

5. Let us now consider one of the most exciting examples … Let us begin with the simpler version which we get in ‘Din Saara Guzaara Tore Angana’.Listen to the ‘Dhirdhirgat Dhirdhirgat’. When and where? You cannot miss it! Simply unmistakable!6. And now go to ‘Kashmir Ki Kali Hoon Main’ where you will meet the same old ‘Dhirdhirgat Dhirdhirgat’ in a truly pulsating form!And towards the end of the song … ‘Dhirdhirgat Dhirdhirgat’ changes its form to ‘Dhirdhirgat______ Dhirdhirgat Dhirdhirgat’ [a (1_+ 2) variation]to launch the mukhda … ‘Kashmir Ki Kali Hoon Main’ and takes the listener completely by surprise!Many SJ songs … ‘Bahar Banke Woh Musquaraye’, ‘Surat Hasin, Lagata Hai Diwaana’ and ‘Maine Dekha Tha Sapanon Mein Ik Chandrahar’ have the same ‘Dhirdhirgat Dhirdhirgat’ in a simple [1+1+1] format! Check it out!

7. Let us take yet another example from Gaban – just to listen to the dholak baya!’Ehsaan Mere Dil Pe Tumhara Doston’.Violins begin this song in characteristic SJ style and Rafi goes solo with the first line of the mukhda,and when he repeats the mukhda just watch the dholak baya come in playfully! And listen to that baay throughout this number! Little wonder that the SJ fan too reciprocates the gratitude that rafi exudes through the song!8. ‘Ghar Aaya Mera Pardesi’ from Awara is possibly one of the exemplary songs for having a wonderfully brilliant theka and a range of laggis all around. Although strictly not a dholak song (for it was a dholaki song), the recording of this song was stalled for hours because no one – Raj Kapoor, SJ and their entire team was happy with the rhythm accompaniment. Someone suggested the name of a dholaki player called and Lala Gangawane was ushered in called – a tall strappling man carrying a little dholaki walked into the studio well past midnight! As SJs assistant and the man in charge of their rhythm section Dattaram has mentioned “Lalabhau poured out his heart in the song, he played every possible variation, every possible nuance and the result was pure magic”. Do listen to this song once as it mingles with Lata, the mandolin and the chorus as well as the range of instruments!

9. When you listen to another SJ classic – ‘Baat Baat Pe Rootho Na’ which too has extraordinary dholak accompaniment, make it a point to catch the laggi “Dhin taak taa dhin Dhi taak taa dhettaa” played over the last line of every antraa for e.g.,”Jeevan Safar Mein Sukh Ho Ya Dukh Ho, Rona Padega Akele”. 10. Now ‘Manbhavan Ke Ghar Aaye Gori’, presents another fascinating imporvisation! After every antara when the line ‘Hame Na Bhoolaana’ the dholak effortlessly breaks into a double paced laggi!

11. ‘Dil Ka Na Karna Aitbaar Koi’ has ‘Dhitta ge tin, Titta ge dhin’ as the core theka construct. OK? Now years later over the ‘Tumhari qasam tum bahut yaad aaye’ & ‘Sau Saal Pehle’ has the same construct repeated!12. ‘O mora naadan baalma’ Come to the line ‘Na jaane ji ki baat, o hoi, na maane ji ki baat’ and catch the the dayaa-alone play over that line. It is simply astounding! Two LP songs immediately come to mind … Hasta Hua Noorani Chehra and Ooi Maa Ooi Maa Yeh Kya Ho Gaya … now is this what you call inspiration?Such variations were ‘routinely’ deployed by SJ so to speak … so much so that professional musicians working in the film ndustry today confes that it is simply impossible for the to even emulate such a feat!

The ‘Dhigtak Dhigi dhagi’ chapter!

Amongst all the SJ dholak theka innovations it is the zesty ‘Dhigtak Dhigi dhagi’ which has somehow defied boundaries of space and time! Commonly known as Dattaram theka, after the person who created it, SJ used it wonderfully in several of their songs. Actually, the theka can be seen to evolve over a period of time. The theka seems to have come into its own after SJ began using it abundantly over the years! And so did many other music directors! Check out the development over a decade and a half!


10 SJ songs based on Dattaram Theka

Film, Year

Nanhe Munne Bachche Boot Polish, 1953

Mera Joota Hain Japani Shree 420, 1955

Pyar Hua Iqraar Hua Shree 420, 1955

Woh Chaand Khilaa Anari 1959

Main Rikshawalla Chhoti Bahen 1959


Main Rangila Pyar Ka Raahi Chhoti Bahen 1959

Tune Mera Dil Le Liya Shararat 1959

Rikshe Pe Mere Tum Aa Baitho Dil Tera Diwana 1962

Jane Mera Dil Kise Dhoond Raha Laat Saheb 1967

Parde Mein Rahne Do Shikar 1968

This theka captivated the imagination of many composers till the disco theka came in the late 70s. However, even today, the Dattaram theka continues to provide support for melodies in films and even advertising jingles right in the 21st century. Let us quickly take a survey of the other rhythm instruments of SJ and of course the tabla deserves priority.

SJ’s used tabla together with the dholak in some slow paced songs. This combination seemed to be aimed at bringing to the fore the sharp chaati sound of the tabla, while the dholak provided the low pitched bayaa support. Listen to this fascinating combination in ‘Din Saara Guzara Tore Angana’ (Junglee 1961), ‘Tumko Hamari Umar Lag Jaaye’ (Aaye Milan Ki Bela, 1964) and ‘Tumhari Kasam Tum Bahut Yaad Aaye’ (Gaban, 1966).

Left to itself, the tabla would usually provide a fully filled-in theka to the song. Consider two songs to ring out this contrast. ‘Unke Sitam Ne Loot Liya’ (Kaali Ghata, 1951) has the rather insipid, simple waltz-like tabla theka. Come 1956 and ‘Aaja Ke Intezar Mein’ from Halaku gets a filled-in tabla. The same filled-in tabla is there in ‘So Ja Re So Ja Mere’ (Kathputli, 1957) as well. A different version of the filled-in accompaniment is seen in ‘Ja Ja Re Ja Balamawa’ (Basant Bahar 1956).

When the rhythms of SJ created the mood and ambience for a song it often happened so subtly that most listeners experienced the impact without realizing what was happening in the beats in the background and how. Take the example of ‘Na Chhedo Kal Ke Afsane’ (Raat Aur Din, 1967). The character on screen is inebriated and the tabla keeps to off- beat steps, underlining the stupor of the lady. The theka their tabla keeps in ‘Lakho Taare Aasman Mein’ (Hariyali Aur Rasta, 1962) is unique and an extension of the filled-in playout form it always followed. When SJ used the Jhaptaal too they have used it in a variety of contexts: ‘Tumhare Hain Tumse Dayaa Maangte Hain’ (Boot Polish, 1953), ‘ Kahan Jaa Raha Hain’ (Seema, 1955), ‘Bhay Bhanjana Vandana Sun Hamari ‘ (Basant Bahar, 1956), ‘Mujhe Tumse Kuchh Bhi Na Chahiye’ (Kanhaiyya, 1959) and ‘Masoom Chehara’ (Dil Tera Diwana, 1962).

It will be an understatement to say SJ gave bongo and congo their own places of pride in the context of Hindi film music. Most of their songs, including their Dholak songs would have an interlude on bongo or congo. Notable amongst these are ‘Baat Baat Mein Rootho Na’, ‘Aaja Sanam Madhur Chandni Mein Hum’, ‘Dil Mein Pyar Ka Toofan’, ‘Tera Jaana’, ‘Dil Apna Aur Preet Parayee’, ‘Mera Dil Ab Tera O Sajana’, ‘Kashmir Ki Kali Hoon Main’.

Take a song like ‘Sab Kuch Seekha Hum Ne’ (Anari). The bongo-congo combination is accompanying this remorseful number at a furious pace. However, the beats are dampenmed and they create the backdrop for Mukesh’s soulful rendition of the song. Many an amateur player in their enthusiasm, get stumped with this song, because their rhythm accompaniment gets ebullient rather than sombre!The bongo-combination would follow the changes in pitches of the music when played with a prelude or interlude. Apart from ‘Sab Kuchh Seekha Hum Ne’, a few examples where this stood out are ‘Dhadakne Lagta Hai Mera Dil’, ‘Tera Jalwa’, ‘Chheda Mere Dil Ne’ (Asli Naqli), ‘Kashmir Ki Kali’.

However, the verve of the SJ bongo-congo combination left their impact on milions of listeners … sample these songs to find out … Kahe Jhoom Jhoom Raat Yeh Suhani’ (Love Marriage, 1959), ‘ Dheere Dheere Chal’ (Love Marriage), ‘Hum Matwale Naujawan’ (Shararat, 1959), ‘Duniya Walon Se Door’ (Ujala), ‘Aankhon Mein Rang Kyon’ (Ek Phool Char Katen, 1960), ‘Jab Pyar Kisi Se Hota Hain’, ‘Chahe Koi Mujhe Junglee Kahe’ (Junglee), ‘Aiyaiya sukkoo sukkoo’ (Junglee), ‘Dil Tera Deewana’ (D.T.D.), ‘ Khuli Palak Mein’ (Professor 1962), ‘Yaha Koi Nahi Tere Mere Siva’ (Dil Ek Mandir 1963), ‘Hoshiyar Jaane Wale’ (Rajkumar, 1964), ‘Tere Dil Ke Paas Hi Hain Meri’ (Sangam, 1964), ‘Chehere Pe Giri Julphe’ (Suraj, 1966), ‘Unse Mili Nazar’ (Jhook Gaya Aasman, 1968).

As with the dholak, there were some very innovative styles of pickup after a pause, or at the very beginning. Who can forget the pickup in ‘Sub Kuch Seekha’ and ‘Chahe Koi Mujhe Junglee Kahe’, the unusual ones with slowly released dampings which is also called the bongo slide in ‘Kahe Jhoom Jhoom Raat’, ‘Dheere Dheere Chal’, ‘Khuli Palak Mein’.There were songs where SJ played the congo and dholak or tabla in tandem for an added effect. Examples are ‘Haye Meri Uljhi Najook Nazar'(Aas Ka Panchhi), ‘O Shama Mujhe Phook De’ (Hariyali Aur Raasta), ‘O Sanam Tere Ho Gaye Hum’ (Aashiq), ‘Har Dil Jo Pyar Karega’ (Sangam), ‘Mujhe Tum Mil Gaye Humdum’ (Love In Tokyo).

Almost every song had a significant component of side rhythm comprising of cymbals (jhanj), khanjiri and maracus. And each had its distinct place within the song. The khanjiri and maracus would alternate depending upon the lines within the song: one would play for the mukhada lines, another would come over the antara lines. And each of them played out the beat to the full, creating a kind of filled in pattern that would swiftly follow the changes in the beat of the main percussion instrument, including those switch pieces we heard earlier. Whenever the jhanj played, it would keep a lovely off beat pattern, in sharp contrast to the traditional and worn out style of ‘keeping the beat’.In today’s world of synthesized sounds, the rhythms created by SJ and their team continue to sound fresh and also remain as hallmarks of standards for any composer or musician. Many people ask the question: What is it about the music of the Goden Era that makes it attractive even to the teenager of today? The answer is never simple. One of the answers is in these complex rhythms which despite being complex, went in a package that touched the lay person, who probably never even touched a musical instrument in life but firmly believed that it was the song of his or her heart!

This article is meant to be a tribute to the entire SJ team – Shanker, Jaikishan, Dattaram, Sebastian and all those musician masters. It is a humble attempt to recognize these rhythm players and their body of work which remains with us as a treasure of unforgettable rhythms. Here are the men who made it happen with SJ:

Naal: Ambalal, Lala Gangavane. Vibrophone: Anil Mohile, Kersi Lord, Bujji Lord, Farooq, Dheeraj, Salim. Side Rhythm: Jayanti Panchal, Suresh Pardesi, Suraj, Bhosale, Bhagwan Rao, Manohar, Ramakant More. Tabla: Samta Prasad, Abdul Karim, Shankar, Lala Gangavane, Iqbal, Anna Joshi, Lala Ramsingh Pathare, Govind Sattar, Asar. Dholak: Dattaram, Anna Joshi, Ghulam Mohammad, Abdul Karim, Shankar, Sattar, Punyawan, Pankaj Dube. Bongo-Congo: Cawas Lord, Kersi Lord, Bujji Lord, Leslie, Ramchand, Prabhakar Mashelkar. Pathani Dholak: Miskin Khan. Matka: Raambabu, Sardar Balbir Singh. Duff: Dattaram, Ajit Singh. Khanjiri: Faiyyaz. Drums: Bujji Lord, Leslie Fernenades. Chonak: Ganpatrao Mohite, Haribhai.

Anand D. Theke is a Hindi Film Music devotee and a rhythm enthusiast who plays the tabla. For decades he has been enchanted with the rhythms of SJ and has written this article as a tribute. He would like to thank Pune Life Style for providing the web space and also thank you for having read this article. Do write in to Anand directly!

hursday, July 24, 2008

Music Review of ANARI by V N RAO (vnr19452000@yahoo.co.in)

ANARI, a silver jubilee hit, was one of the outstanding films produced by LB films Pvt. Ltd and directed by Hrishikesh Mukerjee. Incidentally the same producer L. B. Lachman produced another silver jubilee hit Asli Naqli starring Dev Anand and Sadhana under the baton of Shankar Jaikishan(SJ). Anari was acclaimed by critics as a clean film with good storyline with a social message that truth always triumphs over falsehood, good acting by of Raj Kapoor,Nutan and Lalita Pawar and above all memorable music by SJ where creativity and imagination of SJ was in full bloom whether it is melody like Dil ki najar se…. sad song like Tera jaana….or for that matter songs such as Kisi ki muskurahatonpe…..and 1956,1957, 1958 ……based on western music. In composing music for this film, SJ used accordion extensively to prove to the HFM lovers that accordion bajana to unke liye to bayen hath ka khel hai.

The first song of the film is banake panchhi gaye…..by Lata and chorus. Here SJ set a benchmark so to say for a ‘picnic song on bicycles. The prelude kick starts with fast notes of violins in a descending scale to rhythmic beats of Dholak/Tabla and there is a smooth transition to accordion in a true SJ style and it is back to notes of violins in ascending scale at the end of which Mukhda starts. The bubbling Nutan has done full justice to the song by her smiling face swinging her ‘pony’ tail riding a bicycle. The first interlude starts with violins followed by yodelling by female chorus with chirping of birds perched on tree branches which is beautifully replicated by SJ using flute and violins. The second interlude starts with accordion followed by ringing of bicycle bells and sound of rubber horn emanating from bicycle ridden by Raj Kapoor add authenticity to the scene.

The second song is Kisi ki muskurahatonpe…….by Mukesh where prelude is quite long and brilliant and starts with piano notes, ending with mandolin. In between there is brilliant interpolation of accordion, fast notes of mandolin and violins and there is a sudden beats of western drums ending with a hard strike on cymbals at the fag end of the prelude. This is in keeping with the scene where boy scouts are shown marching saluted by Raj Kaopor in appreciation. SJ has brilliantly introduced mandolin notes just before the ‘mukhda’ where Raj Kapoor rescues an insect crawling on the road with the help of a leaf. First interlude is all the way English flute and mandolin to the soft beats of drums, wire bristles and double bass. Since the song is composed on purely western style of music, no dholak or tabla has been used. Second interlude stands out with mandolin followed by accordion.

The third song is by Lata and Mukesh Woh Chand khila……the mukhda of which is based on western symphony violin orchestra. One of the jewels in the ‘crown ‘of preludes using accordion and violin shows the masterly command of SJ over accordion. It is a fast paced song to the brilliant rhythmic beats of dholak superbly played by the percussion artist. The first interlude is all accordion and violin whereas the second interlude is mandolin.

The fourth song is new year bash song 1956, 1957, 1958….by Manna Dey and chorus in a club where Raj Kapoor takes a reluctant Lalita Pawar to a club where New Year bash is being celebrated. . This is also a fast paced song with violins, trumpet and double bass all the way in a true western style.The brilliance of SJ can be experienced when there is a sudden flash of drums along 1959 which ends with a hard strike on cymbals. This is to raise the’ spirit’ of the joyous occasion like welcoming the new year.

The fifth song is a duet by Mukesh and Lata Dil ki najar se…..which is a piano based song. During antara there is beautiful rendition of piano in the background showing the class of SJ in music composition. It is a percussion less song where soft beats are provided by double bass.

The sixth song by Mukesh is Sub kuch seekha…..brings out all the innocence and honesty of Raj Kapoor in the role of a simpleton in the film.Conga drums have been used since there is no set rhythmic pattern for this song. Once again accordion and violins dominate both prelude and interlude of this song.

The seventh song is a sad song Tera jana dil ke…….by Lata where the rendition of flute after each antara line enhances the sad mood of the song. In this song violins have been used to telling effect. Another speciality of this song is the use of what is called Dattaram Theka which is a trade mark patent of Dattaram. It is basically deals with variations of dholak/tabla beats as the song progresses from mukhda-antara-mukhda. This enhances the listening pleasure as there is no such thing as’ monotonous’ beats of persuasion instrument throughout the song.

In a nutshell it can be concluded that SJ have shown what stuff they are made of in replicating the mood of the actors, scene and situation by selective and judicious use of various instruments thus providing out of this world listening pleasure to connoisseurs of HFM.

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Monday, July 14, 2008

SSMURTHY writes for this blog about CHORI-CHORI

A nostalgic recaptulation of the great musical film Chori-Chori.


A breezy romantic film Chori Chori had shades of “The Taming of The Shrew” by the legendary Holywood pair Richard Burton and Liz Taylor.

Ironically for Rajkapoor and Nargis it was their last movie together as the romantic pair and for SJ their maiden Filmfare award.

Inspite of having established themselves as the leading commercially viable musical giants in this field with a string of outstanding hits to their credit,

and becoming the cynosure of all eyes, that mattered in filmdom,with their uncanny blend of class and mass at their command, had to wait uptil 1956 for being bestowed on them, the coveted filmfare award, a very prestigeous extravaganza, since its inception in 1953.

And what a dream score they gave, each piece an orchestral marvel, sculpted from the nectar like mould and chiselled to perfection

Strangely SJ’s first filmfare award sucess was an RK starrer sans Mukesh.

The arrestingly electrifying accordion beats of “Aaaja sanam ..” with the deep sonorous elongation by Mannadey with Lata’s pristine voice captures the listener to an outer world of boundless joy highlighting the ecstasy a well orchestrated number can take you to.

The “Panchi banoo….” number truly depicts the spirit of gay abandon ,an unfettered freedom loving Nargis to perfection and reverberates into the vista of the open sky permeating the joy of this freedom which Hasrat has so rapturously captured.

The “Man bhavan ke ghar jaaye gori….is another gem of a beauty which went on to become a trendsetter for the bidai type of songs, excellently narrated by Shailendra,

the saga of womanhood in its critical phases, immaculately composed by SJ that just recall the tune and the lyrics will just follow, a real hallmarkof a great composition.

The pathos filled heart wrenching “Rasik Balma…” number for once tends to prove that Hasrat and Jai can tune as serious a melody as this, countering the Shailendra Shankar combo myth which had become synonymous with such pathos filled numbers. It’s well known by now that Mehboob while recuperating at a NewYork Hospital craved for this tune to be crooned by Lata on telephone as a soothing balm to his agonised soul.

The “Us paar saajan…..boat song has this “Timba timba timba….. from Telugu folklore incorporated so daintily by Shankar that it aptly fits into the scenic backdrop, producing a heavenly audio-visual impact on the audience and keeps the listener wondering at the novel improvisation.

The sawa lakh ki lottery….is a lovely rendering by Rafi and Lata with Shailendra venting his leftist leanings, portrayed through the impoverished aspirations of the common man in anticipation of the sawa lakh. Truly Shailendra stands out in such situations as these and thereis that spark of suffering he can so well convey to the listener.

All line clear is all fun and gaitey regaling the audience into alighter vein.

The “Jahan main jaati..hoon “.. kathputli number by all ways was a novel presentation and the lyrics and composition is extraordinaryand just brilliant symbolising the romance through the kathputli ballet.

Amiya Chakravarthy I’m told was so inspired by this number and its novel presentation that had promised to himself to make a movie with Kathputli as the base and called Shailendra and Shankar and hinted them the possibility. Was the film Kathputli the outcome of this ?

Then the Thillana number of M.L.Vasanthakumari fame fitted into the frame more because of the producers fascination to have an SJ’s thillana into his film.

“Woh chaand muskuraaya sitaren sharmaaye…was composed by MadanMohan, and when told how much this number resembles SJ’s “Yeh raat bheegi bheegi…”wistfully acknowledges, “It is my token of paying tribute to that great compositionof Shankar” And therefore last but not the least “Yeh raat bheegi bheegi…Like in the great epic of life, there is everything that one can wish for in this masterpiece, lyrics, melody, philosophy, deep sonorous male and femalevoices, the unision of fusion of the night’s scenario,the shadows of the> trees under the moon’s luminence, the bristle of its leaves, andthe romance of anxiety filled lovers…. ” Again Shailendra at his simple, lofty and profoundly thought provoking expression of lyrics as they are voiced “Aise me bhi kyoun bechain hai dil, jeewan me na jaane kya hai kamin…. Is raat ki jag mag me doobi, main dhoond rahi hun apne ko..” have ever baffled me from the time I became conscious of the depth of those words and the impact they had on me .

and in a continious search for its full meaning,

stand in desolate awe of the abyss, like a little boy before the bay

at a truth with an unfathomable depth

and a relentless search

only rendering it still unfathomable.


* * * * * * * * * * * * *

Raj Kapoor reportedly after his breakup with Nargis is said to have been Finished. Posterity has proved that it was not so, but the second beginning.

Coming soon in the aftermath of enacting the aesthetically portrayed, thirst quenching melody sequence “Jago mohan pyare ” in Jagte Raho, (ironically their swan song sequence together, created and interpolated into the script exclusively at the request of Nargis), RK was bitterly hurt, fortunately for him it served provocating the savage motivating force, the tremendous creative upsurge all over again and lifting his head high, out of the frustrated subjectivism of the past, his gaze turned southwards on buxom Padmini, a Bharat Natyam dancer, one of the three famous Travancore sisters whom he had met at the youth festival at Moscow 1957.

Oozing sensuously she was strikingly the contrast to the innocent looking yokel Raju who had the simpleton’s truth in thought and word and the act of goodness as an accompanying divine embodiment from the word go. Singing “mera naam raju “down the Ganges he wins the hearts of all passers by, he comes across, along with his beats on the dafli,

Could there be a simpler and loftier expression of thought, with words penned by Shailendra as he foreruns the “Sajan re jhoot mat bolo ” message with : Mehman tujhe, ek din tho hai jana, dafli utha awwaaz mila, gaa milke mere sang prem tarana.

Jai had composed this beautiful song and brought into it a certain mesmerism hard to excel and made the dafli rhythm conspicous by its arresting quality. you had an immediate corollary to this rhythm in “Tum aaj mere sang haslo…” from Aashiq.

Soon the yokel Raju enters blissfully, unknowingly into forbidden territory as he gradually finds his mentor in arms and chocholism through some explicitly shot locales of musical bliss, as kammo sensuously dances into the vagaries of growing love, bowled over by the pangs of the yokel’s virtuous and sagacious innocence.

Her’s was a sizzling presence, an antidote to the epitome of innocence of her counterpart in JDMGBH.

The dance composition song by Shankar “Kya hua mujhe kya hua ….picturized on her and Chanchal was simply marvellous, probably the fastest orchestrisation to match the twinkling toes of Padmini and chorus or was it vice versa ? blossoming with Jaikishan’s “Oh maine pyar kiya….with the strikingly rich guitar and drum beats a feast to the sizling sensuos ear, crystallizing with the bethali beats of “hai aag hamare seene meIn…. again with Raakha, Raju and Kammo turning out to be the triumvirate focal points poetically and musically. There could not have been a better picturisation as the audiovisual effect is so complete that the total imprinted scenario unreels along with the music spontaneously.

Hats off to SJ for their insight and the score they came out with, which, Shankar was so diffident about a dacoit theme initially, as Raj summoned him to brief him on the film’s music.

The floodgates of Shankar’s musical ingenuity got opened only by Shailendra’s keywords as he penned down “Hoton pe sachai rehti hai……which became an icon, symbolic of Indian culture.

As most of us can recall this arrestingly orchestrated tune, had been used in four different patterns.

Firstly, while the films casting title music is being unfolded, you hear this theme song instrumentally along with some of the most beautiful chorus ever heard, floating heavenly down the ghats of the holy Ganges.

The second which is the well known song version, with Shailendra at his oriental and cultural, poetic peak.

The third, the sadder pathos version as a background score depicting an anguished Raju, full of remorse, perturbed and puzzled, consequent upon the murder of the bride during one marriage loot, whose mangalsutra Raakha usurps and gives it to the Sardar who visualises it as a prospective bridal fitment for Kammo from Raaka.

The fourth as the film ends with the words “jis desh mein…… gangaaaaaaaa. ….. behti hai” what an ecstatic feeling and blissful joy it was and is, as one gets glued to his seat for a repeat seing of the film again and again. That is the hallmark effect of a genius on you.

The song ‘Begani shadi mein’ heightens the yokel’s vivacity of Raju and can be gauged for its popularity for its compelling inclusion in every Indian marriage band , while the simple and catchy “pyar karle nai tho phaansi chad jayega…” vibe’s so well with the theme

Also the theme called for a style of music to evoke the toughness inherent in the life of dacoits in the chambal. Also at the same time even among dacoits the pangs of a woman’s heart had to be felt by the viewer, as we find Kammo warning Raju that he would be getting lost in those dangerous ravines of Chambal, to which Raju replies, that getting lost is better than living the kind of life among them. While these dialogues are going on, what a beautiful and marvellous background score SJ gave with the sitar and violins combination to such amazing and awesome effect. It’s just par excellence and rarely could you come across such a score to match the theme again.

Heightening the effect Kammo reaches out to the unseen deity in sheer desperateness like an echo, climaxing in the form of “Oh basanti pavan pagal na jaa re na jaa……… ” , with such an arresting and mesmerisingly audio visual impact that even decades after having seen that film this scene is still fresh like yesterday.

As the crescendo reaches into the grand finale of surrender, Kammo’s movements with the dishevelled hair moving along with the wind is a highlight and calls for some wizard like imagination on the part of the director as SJ unwind the stillness to a spellbound audience to keep in tune with “Aa ab laut chale……. …aajaa re aaaaa …..aaaja.. ..re…aaaa” is remarkably poignant.

The orchestrisation of this number called for more than 100 violinists and more than 140 instrumentalist in all, a record of sorts in those times and what difference it has made is all too evident to the connoisseurs delightful ear.

The theme has been enriched by some doha’s predominantly Kabir’s, interwoven ito the fabric of the theme and rendered by Mukesh with such sanctity that you feel hauntingly incomplete without them.

ursday, June 12, 2008

SHANKER-JAIKISHEN — The Trend setters (Photo : Courtesy- Mohdrafi.com)

SJ ruled the music industry for more than two decades with the irrepressible musical magic from their baton; in that age, films were sold purely on the strength of their name. Purists have always scoffed at their music, dismissing it off as too ‘popular’ or ‘pedestrian’ , but it can be said that Shankar Jaikishan define what film music should be. To rule for two decades with bumper hits after super-hits is no mean achievement, and I am pretty confident they would have rocked the seventies also had not Jaikishan expired (yes, this despite their personal differences because they were both individually complete musicians). Well, it might sound silly, but just speak out their name – even that is full of rhythm and jhankaar.They gave the form and grammar to film music that has been followed till date. A large bulk of their songs are three stanzas ones – and in them, they gave a wonderful symmetery : the first and the third interlude is always the same. Apart from making the form, S-J gave a lot of emphasis on the music that went between the songs – the interludes. They were always rich and varied and of course their orchestration is legendary. But the best part is that they knew how to use the orchestra – a case in point, is the hit song ‘Kaun Hai Jo Sapnon Mein Aaya’ ( Jhuk Gaya Aasman ); just listen to the lush of violins that begin the song – isn’t that breathtaking! And they composed this in an era where their were no sophisticated gadgetry available to simulate sounds. Yet, none of the electronic timbres of today can match upto the quality achieved by S-J.The music between the ‘antaras’ was never forced; it flowed in a natural progression. Plus, they never left the antaras naked, meaning there was always some background musical support for the vocals. S-J not only worked hard on the interludes, they also gave the supporting music of the vocals (the beats) a heaviness. Listen to any of their songs, it always has a ‘jhankaar’ sound with it.Also, SJ have to their credit songs that sometimes define genres – think of a ‘lori’ and one cannot miss mentioning ‘Mai gaaon tum so -jaao’ (Brahmchari) ; speak of children’s songs and ‘Re mama re mama’ ‘Chakke pe Chakka’ (Andaz & Brahmachari respectively) have to find a place ; mention Mehmood’s antics, ‘Hum kaale hain toh kya hua’ (Gumnam) is on the forefront ; any listing of bhajans is incomplete without Tu pyaar ka saagar hai ( Seema) & Bhay Bhanjana (Basant Bahar); talk of ‘masti’, there is the evergreen Mai rangeela pyaar ka raahi (Chhoti Bahen) or All line clear (Chori Chori ) ; Chitrahaarwouldn’t be complete on Raksha Bandhan without ‘Bhaiyya Mere Rakhi ke Bandhan Ko Nibhana (Till the best Rakhi song), Behna ne bhai ki kalai se pyaar baandha hai (Resham Ki Dori) ; dream sequences found an expression with Ghar aaya mera pardesi (Aawara); a compilation of horror songs will remain Gumnaam without Gumnaam hai koi. ‘Budha mil gaya'(Sangam) , Mera Joota Hai Japani (Shri 420), Aap yahan aaye kisliye/aapne bulaya issliye (Kal Aaj aur Kal) Chal sanyasi mandir mein (Sanyasi), Parde mein rahne do (Shikar), Mujhe meri biwi se bachao (Aaj Ki Taaza Khabar), Sayonara ( Love In Tokyo ) and Paan khaaye sainya hamaaro (Teesri Kasam). Till date, most ‘dulhans’ in weddings enter to the strains of Baharon phool barsaao mera mehboob aaya hai (Sooraj) playing in the background. Some other memorable songs are : Chorni Hun Main from Chorni, ‘Naa Maih hun main naa tu hai tu’ from Umang, (Asha Bhonsle excelled in this song, though it is not so popular, but one should listen to this song), ‘O Zindagi’ from Sapno ka Saudagar and many more.You must have noticed that SJ did most of the films that needed the ‘international’ touch when color came and filmmakers discovered foreign locations – An Evening In Paris , Sangam, Around the World, Love in Tokyo , Singapore are some names.SJ pioneered the concept of ‘item’ songs; they made ‘cabarets’ popular (before Pancham took this to dizzying heights); and, they gave ‘seduction’ a new meaning. They were the first and complete ‘hindi film music composers’. Though they did not give many pure ‘classical’ songs but the songs of Basant Bahar and Amrapali prove that they could give a resounding slap on the face of their detractors. Incidentally, .two of my favorite songs of this style, Jhanak jhanak tori baaje paayalia (Mere Huzoor) and ‘Chham-Chham baje payaliya’ are SJ compositions sung by Manna De. Also we can not forget ‘Re man sur mein gaa’ (Lal Patthar)With Lata Mangeshkar, S J had one of the most comfortable professional relationship (though it did get a tad broken when Shankar opted for his lady-love Sharda in the latter part of the career; however, Shankar had to bridge the gap in the seventies and then Lata sang for him in Sanyasi, Do Jhoot and Paapi Pet Ka Sawaal Hai) – for those who don’t know, the film Do Jhoot had a song that went Chhatri na khol udd jaayegi hawa tez hai / arre kholne de, bheeg jaayenge (it was quite a big hit at that time).Perhaps the comfort in their working relationship came from the fact that both SJ and Lata started their careers nearly the same time. Though Lata was singing for some time, both SJ and Lata tasted their first super success in 1949 (with Raj Kapoor’s Barsaat). When you start your careers together, there always is a rapport that is impossible to replicate elsewhere. Likewise for Lata and SJ. In all her interviews Lata Mangeshkar always recalls S-J with fondness.S-J were the ‘naughty’ duo who always challenged Lata Mangeshkar with the impossibly high pitch songs – try singing Aji rooth kar kahan jaayiega (Aarzoo) and you will know what I mean. Also, SJ created the concept of having the same song in a female version. Invariably all the female songs went to Lata Mangeshkar. Any song created for the male vocal is tough for a female to emulate. But hats off to Lataji who took up the challenge and gave the female versions their own standing – a prime example in this category is (another personal favorite) Ehsaan tera hoga mujh par ( Junglee ).

Barsaat  R.K.Films Raj Kapoor Raj Kapoor 1949

02 Awara R.K.Films Raj Kapoor Raj Kapoor 1951

03 Badal Verma Films Bhagwandas Verma Amiya Chakravarty 1951

04 Kali Ghata Hindustan Chitra Kishore Sahu Kishore Sahu 1951

05 Nagina Pancholi Productions Dalsukh M. Pancholi Ravindra Dave 1951

06 Daag Mars And Movies Amiya Chakravarty Amiya Chakravarty 1952

07 Parbat Verma Films Bhagwandas Verma O.P.Dutta 1952

08 Poonam Kay Arts P.N.Arora M.Sadiq 1952

09 Aah R.K.Films Raj Kapoor Raja Nawathe 1953

10 Aas Goel Cine Corporation Devendra Goel Devendra Goel 1953

11 Aurat Verma Films Munshi Ram Verma Bhagwandas Verma 1953

12 Boot Polish R.K.Films Raj Kapoor Prakash Arora 1953

13 Mayur Pankh Sahu Films Ltd Kishore Sahu Kishore Sahu 1953

14 Naya Ghar Kashyap Productions D.D.Kashyap D.D.Kashyap 1953

15 Patita Mars And Movies Amiya Chakravarty Amiya Chakravarty 1953

16 Shikast Asha Deep Ramesh Saigal Ramesh Saigal 1953

17 Avan (Aah- Tamil) R.K.Films Raj Kapoor Raja Nawathe 1954

18 Premalekhalu (Aah-Telugu) R.K.Films Raj Kapoor Raja Nawathe 1954

19 Badshah Mars And Movies Amiya Chakravarty Amiya Chakravarty 1955

20 Pooja Verma Films Bhagwandas Verma 1955

21 Seema Mars And Movies Amiya Chakravarty Amiya Chakravarty 1956

22 Shree 420 R.K.Films Raj Kapoor Raj Kapoor 1956

23 Basant Bahar Shree Vishwa Bharati Films P.Ltd R.Chandra Raja Nawathe 1956

24 Chori Chori AVM Productions, Chennai L.B.Lachhman Anant Thakur 1956

25 Halaku All India Pictures P.N.Arora, D.D.Kashyap D.D.Kashyap 1956

26 Kismat Ka Khel Sahu Films Ltd Kishore Sahu Kishore Sahu 1956

27 New Delhi Delux Films Mohan Saigal Mohan Saigal 1956

28 Patrani Prakash Pictures Shankerbhai Bhatt Vijay Bhatt 1956

29 Rajhath Minerva Movietone Sohrab Modi Sohrab Modi 1956

30 Begunah Roop Kamal Chitra Mahipatray Shah, Anupchand Shah Narindra Suri 1957

31 Kathputli Shrirangam Productions Amiya Chakravarty, Ajit Kumar Chakravarty Amiya Chakravarty, Nitin Bose 1957

32 Baaghi Sipaahi V.P.Productions Bhagwandas Verma Bhagwandas Verma 1958

33 Yahudi Bombay Films Savak B. Vacha Bimal Roy 1958

34 Anari L.B.Films L.B.Lachhman Hrishikesh Mukherjee 1959

35 Chhoti Bahen Prasad Productions, Chennai L.V.Prasad L.V.Prasad 1959

36 Kanhaiya S.P.Pictures Sant Singh, Pachhi Om Prakash 1959

37 Love Marriage Subodh Mukherjee Productions Subodh Mukherjee Subodh Mukherjee 1959

38 Main Nashe Mein Hoon Verma Pictures Naresh Saigal 1959

39 Shararat Roshni Films H.S.Rawail H.S.Rawail 1959

40 Ujala Eagle Films F.C.Mehra Naresh Saigal 1959

41 College Girl Rawal Films B.L.Rawal T.Prakash Rao 1960

42 Dil Apna Aur Preet Parai Mahal Pictures S.A.Bakar Kishore Sahu 1960

43 Ek Phol Char Kaante Parbat Films Hardeep Chathrath, Shyam Dhawan Bhaapi Sonie 1960

44 Jis Desh Mein Ganga Behti Hai R.K.Films Raj Kapoor Radhu Karmakar 1960

45 Singapore Eagle Films F.C.Mehra Shakti Samanta 1961

46 Aas Ka Panchhi Filmyug J.Om.Prakash Mohan Kumar 1961

47 Boy Friend N.S.Films Naresh Saigal Naresh Saigal 1961

48 Jab Pyar Kisise Hota Hai Nasir Hussain Films Nasir Hussain Nasir Hussain 1961

49 Junglee Subodh Mukherjee Productions Subodh Mukherjee Subodh Mukherjee 1961

50 Krorepati Saigal Brothers Om Prakash Saigal Mohan Saigal 1961

51 Roop Ki Rani Choron Ka Raja Rahul Theatres H.S.Rawail H.S.Rawail 1961

52 Sasural Prasad Productions, Chennai L.V.Prasad L.V.Prasad 1961

53 Aashiq Rueben – Dube Productins Bunny Rueben, Vijay Kishore Dubey Hrishikesh Mukherjee 1962

54 Asli Naqli L.B.Films L.B.Lachhman Hrishikesh Mukherjee 1962

55 Dil Tera Diwana Padmini Pictures, Chennai B.R.Panthalu B.R.Panthalu 1962

56 Hariyali Aur Rasta Shri Prakash Pictures Shankerbhai Bhatt Vijay Bhatt 1962

57 Professor Eagle Films F.C.Mehra Lekh Tandon 1962

58 Rungoli R.S.B.Films Rajinder Singh Bedi, Amar Kumar Amar Kumar 1962

59 Dil Ek Mandir Chitralaya, Chennai Sridhar Sridhar 1963

60 Ek Dil Sau Afsane Talwar Films R.C.Talwar R.C.Talwar 1963

61 Hamrahi Prasad Productions, Chennai L.V.Prasad T.Prakash Rao 1963

62 Apne Huye Paraye Mars And Movies Ajit Kumar Chakravarty Ajit Kumar Chakravarty 1964

63 April Fool Subodh Mukherjee Productions Subodh Mukherjee Subodh Mukherjee 1964

64 Ayee Milan Ki Bela Filmyug J.Om.Prakash Mohan Kumar 1964

65 Beti Bete Prasad Productions, Chennai L.V.Prasad L.V.Prasad 1964

66 Rajkumar Sravana Films, Chennai G.N.Velumani K.Shankar 1964

67 Sanjh Aur Savera S.J.Films Sevantilal Shah Hrishikesh Mukherjee 1964

68 Sangam R.K.Films Raj Kapoor Raj Kapoor 1964

69 Zindagi Gemini Pictures, Chennai Ramanand Sagar Ramanand Sagar 1964

70 Arzoo Sagar Art Corporaton Ramanand Sagar Ramanand Sagar 1965

71 Gumnaam Prithvi Pictures N.N.Sippy Raja Nawathe 1965

72 Janwar Ruhi Films Bhappi Sonie Bhappi Sonie 1965

73 Amrapali Eagle Films F.C.Mehra Lekh Tandon 1966

74 Budtameez Verma Brothers Jagdish Verma Manmohan Desai 1966

75 Gaban B.J.Productions B.N.Sonthalia, R.K.Soral Krishan Chopra, Hrishikesh Mukherjee 1966

76 Love in Tokyo Pramod Films Pramod Chakravarty Pramod Chakravarty 1966

77 Pyar Mohabbat Alankar Chitra Shanker Mukherjee Shanker Mukherjee 1966

78 Street Singer Bhavdeep Films Chandrashekhar Chandrashekhar 1966

79 Suraj Venus Pictures S.Krishnamoorthy T.Prakash Rao 1966

80 Teesari Kasam Image Makers Shailendra Basu Bhattacharya 1967

81 Aman Emkay Productions Mohan Kumar Mohan Kumar 1967

82 An Evening in Paris Shakti Films Shakti Samanta Shakti Samanta 1967

83 Around The World P.S.Pictures Pachhi Pachhi 1967

84 Chhoti Si Mulaqat Our Movies, Calcutta Uttam Kumar Alo Sircar 1967

85 Diwana Anupam Chitra Mahesh Kaul Mahesh Kaul 1967

86 Gunahon Ka Devta Janta Chitra Devi Sharma Devi Sharma 1967

87 Hare Kaanch Ki Choodiyan Kishore Sahu Productions P.Ltd Kishore Sahu Kishore Sahu 1967

88 Laat Saheb International Enterprises Hari Valia Hari Valia 1967

89 Raat Aur Din A.A.N.Productions Jaffer Hussain Satyen Bose 1967

90 Brahmachari Sippy Films G.P.Sippy Bhappi Sonie 1968

91 Duniya Time Films Amarjeet T.Prakash Rao 1968

92 Jhuk Gaya Aasman R.D.Bansal Productions R.D.Bansal, Ramesh Lamba Lekh Tandon 1968

93 Kahin Aur Chal J.M.Films Rajendra Bhatia Vijay Anand 1968

94 Kanyadaan Kiron Productions Malikchand Kochar, Vinod Kumar Mohan Segal 1968

95 Mere Huzoor Movie Mughal Vinod Kumar 1968

96 Sapnon Ka Saudagar Screen Gems B.Ananthaswami Mahesh Kaul 1968

97 Shikar Guru Dutt Films Pvt. Ltd. Atma Ram Atma Ram 1968

98 Everest (Documentary) Films Division Arun Chaudhari N.S.Thapa 1968

99 Main Inteqaam Loonga

100 Bhai Bahen Vikram Productions, Chennai B.S.Ranga A.Bhimsingh 1969

101 Chanda Aur Bijli Guru Dutt Films Combine Atma Ram Atma Ram 1969

102 Jahan Pyar Miley L.R.T. Films Lekh Tandon Lekh Tandon 1969

103 Prince Eagle Films F.C.Mehra Lekh Tandon 1969

104 Pyar Hi Pyar R.S.Productions Raja Ram, Satish Wagle Bhappi Sonie 1969

105 Sachaai EM.CE.R. Films, Chennai M.C.Ramamurthy K.Shankar 1969

106 Shatranj Gemini Pictures and N.N.Sippy Productions, Chennai S.S.Vasan S.S.Vasan 1969

107 Tumse Achcha Kaun Hai Pramod Films Pramod Chakravarty Pramod Chakravarty 1969

108 Yakeen Navratna Films Deven Verma Brij Sadanah 1969

109 Bhai Bhai R.M.Art Productions Ratan Mohan Raja Nawathe 1970

110 Dharti Chitralaya, Chennai Sridhar Sridhar 1970

111 Jwala Raman Productions, Chennai M.V.Raman M.V.Raman 1970

112 Mera Naam Joker R.K.Productions Raj Kapoor Raj Kapoor 1970

113 Pagla Kahin Ka Mars And Movies Ajeet Chakravarty Ajeet Chakravarty 1970

114 Pehchan Filmnagar Sohanlal Kanwar Sohanlal Kanwar 1970

115 Tum Haseen Main Jawan Bhappi Sonie Productions Bhappi Sonie Bhappi Sonie 1970

116 Umang Guru Dutt Films Combine Atma Ram Atma Ram 1970

117 Tee Mee Navhech Jai Shankar Films V.Chandrakant Madhukar Bawdekar 1970

118 Albela Shreeji Films Sanat Kothari A.Shamsheer 1971

119 Andaz Sippy Films G.P.Sippy Ramesh Sippy 1971

120 Balidaan Verma Films Arun Verma Ravi Tandon 1971

121 Duniya Kya Jaane Chitralaya, Chennai Sridhar Sridhar 1971

122 Ek Nari Ek Brahmachari Jothee Navshakti Combines, Chennai P.Gangadhara Rao K.P.Atma 1971

123 Elaan Eagle Films F.C.Mehra K.Raman Lal 1971

124 Jaane Anjaane Shakti Films Shakti Samanta Shakti Samanta 1971

125 Jawan Mohabbat Roopanjali Hardeep Chathrath, Krishan Kapoor Bhappi Sonie 1971

126 Kal Aaj Aur Kal R.K.Films Raj Kapoor Randhir Kapoor 1971

127 Lal Patthar Eagle Films F.C.Mehra Sushil Majumdar 1971

128 Main Sundar Hoon A.V.M.Studios P. Ltd., Chennai M.Murugan, M.Kumaran, M.Sarvanam, M.Balu Krishnan- Panju 1971

129 Nadaan Navratna Films Deven Verma Deven Verma 1971

130 Parde Ke Peechey EM.CE.R. Films, Chennai M.C.Ramamurthy K.Shankar 1971

131 Patanga K.R. Films Kedar Kapoor, R.S.Sharma Kedar Kapoor 1971

132 Preetam Bhappi Sonie Productions Bhappi Sonie Bhappi Sonie 1971

133 Seema Filmnagar Sohanlal Kanwar Surendra Mohan 1971

134 Yaar Mera R.S.Productions Raja Ram, Satish Wagle Atma Ram 1971

135 Bombay Talkie Merchant Ivory Productions Ismail Merchant, James Ivory James Ivory 1971

136 Jeevitha Chakram (Telugu) Navashakthee Productions P.Gangadhara Rao 1971

137 Aan-Baan Movie Mughals Malikchand Kochar Prakash Mehra 1972

138 Aankh Micholi E.V.R.Pictures, Chennai E.V.Rajan Ramanna 1972

139 Aankhon Aankhon Mein Filmyug J.Om.Prakash Raghunath Jhalani 1972

140 Bandagi EM.CE.R. Films, Chennai M.C.Ramamurthy K.Shankar 1972

141 Beimaan Filmnagar Sohanlal Kanwar Sohanlal Kanwar 1972

142 Dil Daulat Duniya All India Pictures P.N.Arora P.N.Arora 1972

143 Jangal Mein Mangal Kiron Productions Rajendra Bhatia Rajendra Bhatia 1972

144 Rivaaj Sona Films, Chennai K.C.Bokadia T.Prakash Rao 1972

145 Aaj Ki Taaza Khabar Kiron Productions Rajendra Bhatia Rajendra Bhatia 1972

146 Archana Vikram Pictures, Mumbai J.L.Mirchandani, K.T.Gopal Satpal 1973

147 Chori Chori K.P.K Movies Kewal P. Kashyap Kewal P. Kashyap 1973

148 Daman Aur Aag Kalyug’s J.P.Gupta, Rajhans Vinod Kumar 1973

149 Dur Naheen Manzil International Enterprises Hari Valia Hari Valia 1973

150 Naina Shakti International Balubhai Shah Kanak Mishra 1973

151 Pyar Ka Rishta Golden Films Tony Walker Sultan Ahmed 1973

152 Chhote Sarkar Pinky Films Bany Talwar K.Shankar 1973

153 Insaaniyat J.V.Films Corporation Jagdish Verma, Satpal Verma Prayag Raj 1974

154 International Crook Pachhi’s Pachhi Pachhi 1974

155 Mera Vachan Geeta Ki Kasam M.M.R Films Vinod Kumar, A. Narang Vinod Kumar 1974

156 Resham Ki Dori Modern Pictures T.C.Dewan Atma Ram 1974

157 Tarzan Mera Saathi Jaimini Dewan Productions Jaimini Dewan John Gullermin & Anand 1974

158 Vachan Zar Films Organisation Tejnath Zar Suraj Prakash 1975

159 Do Jhoot Filmnagar Sohanlal Kanwar Jitu Thakur 1975

160 Love in Bombay Mukherji Enterprises Shubir Mukherji Joy Mukherji 1975

161 Neelma A.A.N.Productions Jaffar Hussain Pushparaj 1975

162 Saazish Maya Movietone Kalidas Kalidas 1975

163 Sanyasi Filmnagar Sohanlal Kanwar Sohanlal Kanwar 1975

164 Dhoop Chhaon Trishul S.N.Jain Prahlad Sharma 1977

165 Duniyadari Filmnagar Sohanlal Kanwar Ram Kelkar 1977

166 Mahfil Geeta Productions Krishan Kumar Amar Kumar 1978

167 Atmaram Filmnagar Sohanlal Kanwar Sohanlal Kanwar 1979

168 Ganga Aur Geeta Vikrant International S.V.Mungare Manmohan Behl 1979

169 The Gold Medal Time Films Sham Behl Ravee Nagaich 1979

170 Garam Khoon Zar International Tejnath Zar A.Salam 1980

171 Chorni Kesar Films V.K.Sood Jyoti Swarup 1981

172 Naari Filmnagar Sohanlal Kanwar Sharan K.Chand 1981

173 Eent Ka Jawab Patthar P.S.Pictures Pachhi Pachhi 1981

174 Film Hi Film Shadab International Production Associates Shahab Ahmed Hiren Nag 1982

175 Papi Pet Ka Sawal Hai Filmnagar Sohanlal Kanwar Sohanlal Kanwar 1984

176 Inteqaam Ki Aag Sushma Kala Mandir Surjeet Kumar Nanda Shiv Kumar 1986

177 Kaanch Ki Deewar Ace Movie Makers Kamal Chowdhury, M.N.Yasin M.N.Yasin 1986

178 Krishna Krishna Upendra Films Upendra Jha Chandrakant 1986

179 Gori V.M.K.Films Vijay Veer Singh Tyagi Sudhakar Sharma 1991



Shankar Jaikishan hailed the music of Bollywood during the Golden Age of Indian Cinema, the 40s, 50s and 60s. They had composed music in almost 200 films in a tenure of around 22 years. So great was the impact of their creative genius that it had a lasting impact on the music of the Hindi films. Shankar-Jaikishan understood the taste of the masses and were able to create music which made many Heroes the Stars. Even the molded tastes of the listeners of Bollywood songs. No wonder then that during their tenure as music directors, they were exceedingly popular and 75 per cent of the films for which their scores were everlasting hits – many have celebrated silver jubilees.

They were probably the only musical pair, who have given music to all the leading giants who had glorified the silver screen during the 1940, 1950s, and 1960s. Dilip Kumar Rajendra Kumar , Bharat Bhushan , Balraj Sahani Pradeep Kumar Anand Manoj Kumar, Shammi Kapoor, Shashi Kapoor, Biswajeet, Joy Mukherjee Jeetender in Mere Huzur, RajKumar, Sanjay Khan, Sanjeev Kumar etc besides their mentor Raj Kapoor

They were honored with the maximum number (nine) of Filmfare awards in the Indian film industry. In 1968, Shankar Jaikishan released an album, “Raga in Jazz Style : Shankar Jaikishan with Rais Khan.” Shankar Jaikishan made a great impact on film music from the start. Their tunes range from pure classical Indian themes to more westernized tunes. They had a distinct style, which was adaptable to different stars and films. In the West, they are best known for the song “Jaan Pechan Ho”, which originally appeared in the 1965 film Gumnaam. The musical number was replayed in the American film Ghost World and helped to catapult the popularity of Indian film music in America.

The other aspect of their creation include blending the Indian flavour with the foreign tunes wherever the films were picturised. Best examples can be the song “Sayonara Sayonara” in the film “Love in Tokyo”, 1965, had Japanese orchestration, the other being “Raat ke humsafar” in the film “An Evening Paris”,1967, had French flavour. Besides their use of few instruments showed the class of their own, Accordion in “Sub kuch sikha Humne na siki hoshiari” in the film Anari,1959, Saxophone in “Ai sanam jis ne tujhe chand sa surat di hai” in the film Diwana, 1967, Synthesized Harmonium played by V. Balsara in “Awara Hoon” in the film Awara, 1951.

One of the reasons why Shankar Jaikishan did not get the acknowledgement of providing immortal tunes in that era is because it could not be identified as which song is composed by Shankar and which song is composed by Jaikishan. Otherwise Naushad was awarded with Dada Saheb Phalke for his brilliant contribution to Indian music, Majrooh Sultanpuri also received the same award in the lyricist category, Shankar- Jaikishan was deprived of that honour. The other reason may be that they had worked with Raj Kapoor for the longest period and most of the credit of the unforgettable tunes were taken away by Raj Kapoor himself. An archive should be created for the rich and classical creations of Shankar Jaikishan where the works can be preserved for future generations to take inspiration from.

Shri Chatterjee further writes :-

My father Chitta Ranjan Chatterji, Ex chief Public Prosecutor, Bankshall Court, (CMM Court), Kolkata had solved a case relating to Music Rackett in HMV in the early 1980s. The Zonal manager of HMV, Mr. Sri Daure gave him a present of HMV discs of film “diwana-composed by Shankar Jaikishan” and Disc of “ Pakiza- composed by Ghulam mohammad”. Mr. Sri Daure was involved with numerous immortal recordings of HMV and he mentioned that there was a song in Diwana, titled “ tumhare bhi jai jai, humare bhi jai jai, na tum hare, na hum hare”. The song was picturised with Raj kapoor staying in the railway station and Saira Banu travelling in a train. The song beat that was composed by Shankar-Jaikishan synchronised the actual sound of the movement of the train. It was only possible from Shankar-Jaikishan. It was reported in AnandaBazar Patrika, the Bengali Newspaper under the column of Ashis Ghosh.

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January 29, 2010
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