Lata Mangeshkar Sings For Shankar Jaikishan - Black and White Films
For many days I have wanted to write on this unique music-director duo, but never got down to do it. The prime reason being that there is so much to say that it would never fit in any one post; secondly, my appreciation for their music is so strong that ‘logic’ and ’structure’ of a post gets lost. Hence, I begin with a disclaimer, that this post is an outpour, and might seem jumbled, but believe me, it will be very tough to edit this post.
Shankar Jaikishan 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 for me Shankar Jaikishan define what film music should be. But 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, Shankar-Jaikishan 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 , which I never tire of quoting, 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 Shankar-Jaikishan.
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’ (Andaz) has 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); talk of ‘masti’, there is the evergreen Mai rangeela pyaar ka raahi (Chhoti Bahen) or All line clear (Chori Chori ) ; Chitrahaar wouldn’t be complete on Raksha Bandhan without 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. And do I even have to mention how many times we would have quoted Budha mil gaya’(Sangam), Phir bhi dil hai hindustani (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.
Have you 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, one of my favorite songs of this style, Jhanak jhank tori baaji paayalia (Mere Huzoor) is an SJ composition sung by Manna De.
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 Shankar Jaikishan and Latadi started their careers nearly the same time. Though Lata Mangeshkar was singing for some time, both Shankar Jaikishan and Lata Mangeshkar 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 Latadi 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 ).
Here is a 2004 interview excerpt on what Lataji had to say on Shankar Jaikishan:
I remember Aji rooth kar ab kahan jayiyega in Arzoo. What a high pitch that was! My ears reddened when I sang it. But I stubbornly sang at that impossible scale, refusing to admit defeat to any range. I would get very angry, and sing at any range, without complaining.
I used to have arguments with Jaikishan. I would ask him, ‘Kya baat hai, aap meri pareeksha le rahe hain? Maine aap ka kya bigada hai jo aap mera kaan laal kar rahe hain? (What’s the matter? Why are you testing me? What have i done that you should trouble me so?)’
Actually, Ehsaan tera hoga was only meant to be sung by Rafi. But the film’s hero, Shammi Kapoor, suddenly decided that the heroine should sing it as well. It was picturised with Rafi’s voice on Saira Banu and later dubbed by me. So I had to sing it in the same sur as Rafi. The same was done with Jiya ho jiya kuch bol do (Jab Pyar Kissi Se Hota Hai).
I shared a great friendship with Shankar-Jaikishan
MY LIST OF LATA MANGESHKAR - SHANKAR JAIKISHAN SONGS
Creating a list for me is always tough - esp if the body of work is as vast as that of Lata Mangeshkar and SJ combo. So, here I am attempting a list of Lata Mangeshkar solos created by Shankar Jaikishan in the Black-and-White era: (this list is not in any order, I like all of them equally)
Bol ri kathputli dori kaun sang baandhi - Kathputli : The first time I heard it was on a Chitrahar, when I was still in my half-pants. I fell in love with the easy-on-lips tune. At that time I had no clue who or what music composer meant. Much later I collected it in my collection. Listen to the mindblowing accordion use in the beginning, and the wonderful interludes; of course, Latadi sounds sweeter than honey!
Kisi ne mujhko apna banakar muskurana seekha deeya - Patita : What simple thought and expression; and what a simple tune! And yet so evocative. Since this was from a ’small’ film, it goes to SJ credit for coming up with lovely music. The other hit song from the film was Yaad kiya dil ne kahan ho tum.
Tera Jaana - Anari : The music of Anari was spectacular; the entire album is irresistible. But this is a song that always shakes me up. Once again, at the cost of repetition, would request you to please listen to the first interlude, and the way it ends just before the stanza begins. HMV has a combo of Anari and Chori Chori - both the films had ALL the songs that can be heard. It is a must buy!
Ajeeb daastan hai yeh - Dil Apna Preet Parayi - A song that needs no introduction. It is one of Lataji’s personal favorites as well and she always sings it at her concerts. I have the song in four different versions by Lataji herself - one, the original from the film, two from her concerts in the seventies and late nineties and last, a small portion in the medley of the film Mujhse Dosti Karoge. In each of the era, Lataji has only excelled herself.
Raja ki aayegi baarat - Aah and Lo aayi milan ki raat suhani aaj - Aashiq - Two sumptous marriage songs. The first is a song that welds sorrow with happiness to merge the entities of the emotions in a seamless whole. Lata Mangeshkar’s rendition of ‘magan mai nachoongi’ is no less pure than a saint calling to his divine being!
In the second, my favorite couplet is the opening one - Nasheeli raat hai / saare chiraag gul kar do / Khushee kee raat mein kya kaam hai jalne waalon ka. There is a lovely use of ’sarangi’ in the song, an unlikely instrument in a marriage song, but then that was the genius of SJ
Raat aur din diya jale / Jeena humko raas na aaya / Na chhedo kal ke afsaane / Aawara ae dil bata - Raat Aur Din - Though the film was released in the ‘colored’ era, it was however shot in black and white, hence including it here. I racked my brain to include only one song from this film, but it was impossible to segregate the gems. Each of the songs is a nugget to be savored. If the push becomes a shove, probably I will go in for the ‘intoxicated’ Na chhedo kal ke afsaane, karo iss raat ki baaten - one of the first songs where Lataji sang as a ‘drunk’ lady. In Aawara ae dil bata, the riffs in the first and third stanza have me boogeying.
Aa aa bhi jaa , raat dhalne lagi, chaand chhupne chala - Teesri Kasam - what a song! what a composition! This film was produced by lyricist Shailendra, and he entrusted his best friends SJ with the music. They delved deep and came up with diamonds that can stand any assault of time - Sajan re jhoot mat bolo ( Mukesh ) , Paan khaaye sainya hamaaro ( Asha ) , Duniya banane waale kya tere mann mein samaayi ( Mukesh ) , Chalat musafir moh liya re ( Manna De ) are some of the evergreen songs of this film. Though Lataji got only two songs ( largely because the film was based on a nautanki waali’s life and hence the nautankis were all Asha’s - err, no pun intended), still, I think SJ were clever in giving this solo to the diva.
Jiya beqarar hai chhayi bahaar hai and Hawa mein uddta jaaye mora lal dupatta malmal ka - Barsaat - The songs and the film that started this wonderful association, it had to be a part of this list . Clubbed with Chori Chori’s Panchhi banu uddti phiroon, these are songs that make the heart fly!
Ruk ja raat theher ja re chanda - Dil Ek Mandir - Another film that had superlative score. Though Suman Kalyanpur got the title song, Lata Mangeshkar had some lovely numbers in the film including this one and Hum tere pyaar mein saara aalam kho baithe. There is a part at the end of each stanza where Lata Mangeshkar repeats the last line of the stanza without the backing of the music - her voice sounds as fragile and clear as crystal! Dil Ek Mandir is another complete album that one can enjoy anyday.
O Kanhaiya o Kanhaiya aaj aana khwaab mein - Kanhaiya - This film had a very popular music score. Ruk jaa o jaanewaali (Mukesh) , Mujhe mere haal pe chhod do (Mukesh) , Nee baliye rut hai bahaar kee (Lata - Mukesh ) were some of the bumper hit numbers from the film. But my absolute favorite is this solo by Lata Mangeshkar. I am not sure how many have heard the song, but HMV has released a very interesting combo of Kanhaiya and Mai Nashe Mein Hoon. At Rs 35, it is a steal. Grab it , and do let me know about it. Again, the music filled up is extraordinary.
Ek dil aur sau afsaane and Dil apna aur preet parayi - (Title songs) - Two songs with similar tunes and that can easily be confused with one another. In the former, a splendid use of santoor is made in the interludes. Incidentally, the film Ek Dil Aur Sau Afsaane has one of the most gracious love duets - Tum hi tum ho mere jeevan mein (Lata-Rafi). And the superhit song O jaadugar pyaar ke has to find a mention - superb sitar and guitar there!
OTHER FAVORITES - MUST LISTEN
But, this list would be awfully incomplete if I do not mention the following favorite songs, which might not be very popular, but they were part of my childhood - once again, thanks to my father who recorded them : -
Mann re tu hi bata kya gaaaon - Hamrahi ( not sure whether the film was in color or black/white since I have not seen the film)
Mai piya teri tu maane na maane - Basant Bahar - the flute riffs are too good as they follow Lata’s vocals like a devoted being!
Tera mera pyaar amar - Asli Naqli - a song that needs no introduction whatsoever! Though not a very defined combination , but SJ did give music in many of Dev Anand starrers also - Jab Pyar Kisi Se Hota and Love Marriage being the other big hits.
Humse na poochho koi pyaar kya pyaar kya poochho baahar se - Kaali Ghata
Aaja aaja nadiya kinare taaron ki chhaiyan tohe kab se pukaare - Raj Hath ( the song that I sang as a seven year old when my eldest sister’s in-laws came to do the ‘rishte kee baat pakki’)
Aaj kal mein dhal gaya din hua tamaam, tu bhi soja so gayi rang bhari shaam - Beti Beta - a soft as petals but pathos-laced lullaby. Again, not very confident whether the film was in black-and-white or not.
Jhoome jhoome dil mera - Poonam - In this SJ created a record of sorts by having ALL EIGHT SOLOS by Lata Mangeshkar - there was no male voice and no other female one also!
Ae mere dil kahiin aur chal - Daag - Although the male version is more remembered, I have a personal bias towards Lata’s version.
Chhoti si yeh duniya pehchaane raaste hai - Rangoli - Again, more recalled for the Kishore Kumar version. But Lata’s rendition was no less. Incidentally, the couplet was written by Shailendra when he had small tiff with SJ.
Khushiyon ke chaand muskuraye re, dekho mast zamaane aaye re, haaye re - Mayurpankh - The second of Kishore Sahu films (after Kaali Ghata) to have SJ music. Again, it had most of the solos by Lata; this one is personal favorite.
Tum toh dil ke taar chhed kar ho gaye bekhabar - Roop Ki Rani Choron Ka Raja - Yes, there was an old Dev Anand-Waheeda Rehman starrer also by the same name (the title song of the film is excellent). When I came to know of this (in college/around the time when the newer one was to release), I searched for the audio of the film in every possible shop of Delhi. Finally, I found it years later in an obscure shop in Ahmedabad (while on a business tour)!
Kahe jhoom jhoom raat yeh suhani - Love Marriage - Hmmm, the song that talks about ’suhaag raat’ in such a pure manner - piya haule se chhedo dobaara wohi kal ki rasili kahani. Love Marriage has all good songs, lead by the hit duet Dheere dheere chal chand gagan mein.
So, this is a tiny compilation of some of my favorite Lata Mangeshkar - Shankar Jaikishan Black and White film songs. There are many still that have not found mention as some of them are from the films mentioned above itself. If you notice, most of the films that I have mentioned above had not one/two good songs , but the entire album is worth collecting .
I will keep coming back to this talented combination again after some time. In the meantime, do try to get hold of the songs that you have not heard. My guarantee: you will have no regrets ever!
Lastly, no write-up on S-J can be complete without the mention and acknowledgement of their two loyal assistants cum arrangers - Dattarram Wadekar and Sebastian D’Souza.
Related Readings - Whither Shankar Jaikishan?
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May 9th, 2007 at 8:52 pm
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