A tribute to Rafi on his 36th death anniversary (24 December 1924 – 31 July 1980)
Rafi is arguably the best male playback singer of Hindi films, and Shankar-Jaikishan are, by any yardstick, among the greatest music directors. In any case they have been commercially the most successful and dominant figure over two decades (1950s-60s). Therefore, one would expect that any compilation of Rafi’s greatest songs would have a good number of SJ compositions. However, when I think of the best of Rafi, SJ do not pop up in my mind instantly. At the top in my reckoning are Naushad, Roshan, SD Burman and OP Nayyar, followed by a platter of Madan Mohan, Ravi, Chitragupta and Khayyam; thereafter, an assortment of Ghulam Mohammad, Hansraj Bahal, Husnlal-Bhagatram, and even ‘Forgotten Composers’ such as C Arjun, Lachchiram, Iqbal Qureshi etc. Surely, SJ cannot be dismissed in such a peremptory manner. To make sure that I was not missing something, I went through the entire list of Rafi songs closely.
A journey down the list of Raf-SJ songs makes me somewhat ambivalent. Rafi appears from the very first film of SJ – Barsaat (1949) with Main zindagi mein hardam rota hi hun, picturised on Raj Kapoor as a background song. But Barsaat became famous for long-lasting partnership between Raj Kapoor, Mukesh, Shankar-Jaikishan, Shailendra and Hasrat Jaipuri. While Mukesh became synonymous as the voice of Raj Kapoor, Rafi remained as ‘also there’. In the RK’s next magnum opus, Awara (1951), Rafi again gets to sing two songs – a boatman song Naiya teri majhdhar picturised on Prem Nath, and an atmospheric song Zulum sahe bhari Janakdulari, but the film is known for Awara hun, Hum tujhse mohabbat karke sanam etc. In the first five years of SJ, Rafi appeared regularly, but Mukesh got to sing songs which became iconic. SJ also created memorable songs for Talat Mahmood during this period in Daag (1952), Aas, Patita and Shikast (1953).
Starting 1955/1956, Rafi gets songs which show his true mettle in films like Seema, Basant Bahar, Halaku and Rajhath. Love Marriage (1959) can be seen as a turning point when SJ present Rafi as the voice of Dev Anand which was very different from SD Burman’s. SJ continue their success formula for some more Dev Anand films, such as Jab Pyar Ksis Se Hota Hai (1961) and Asli Naqli (1962). Around the same time, SJ-Rafi heat up the Box Office with Junglee (1961). Shammi Kapoor had been given an image makeover a few years earlier in Tumsa Nahi Dekha (1957) with Rafi songs by OP Nayyar. SJ deserve the credit for making him completely wild with a series of superhit songs by Rafi in Dil Tera Deewana, Professor (1962), Rajkumar (1964), Jaanwar (1965), Budtameez (1966), An Evening In Paris, Laat Saheb (1967), Brahmachari (1968) and Prince (1969). Thus, Shammi Kapoor’s screen persona owes a great deal to Rafi songs by SJ.
Another revolution was taking place in parallel. A most unlikely hero quietly went on to become the Jubilee Kumar with crazily popular songs in Sasural (1961), Hamrahi (1963), Ayi Milan Ki Bela, Zindagi (1964), Arzoo (1965) and Suraj (1966). Quite honestly, you cannot think of Rajendra Kumar without Rafi songs composed by SJ.
SJ used Rafi as the voice for several other heroes convincingly, such as Sunil Dutt, Bharat Bhushan, Manoj Kumar, Joy Mukherji, Biswajit etc, coming up with one hit song after another.
With this close look, what is my final assessment of Shankar-Jaikishan songs for Rafi? It is clear they had perfected a hit machine, creating songs which immediately caught people’s attention. Their tunes were easy, their orchestration pleasant and the films they did became superhits, their songs playing a big part in their success. One can also say they probably composed more ‘hit’ songs than any of their peers. With all that, my assessment about their relative position remains the same: The best of the Elite Four –Naushad, Roshan, SD Burman and OP Nayyar – is a notch above SJ’s, but a fair view would be to make room for one more at the top, making SJ the fifth member of the Elite Group.
There are a large number of SJ-Rafi songs I am greatly fond of. Continuing the Shankar-Jaikishan celebrations, here are some of my favourite songs as a tribute to Rafi on his 36th death anniversary.
1. Jo ek baar kah do from Pooja (1954), lyrics Shailendra
Among their early songs I am especially fond of Jo ek baar kah do. This song has two versions: happy and sad. This one starts deceptively with a slow recital prelude making you think that it is the sad version. But as the recital ends, fast instrumental prelude starts followed by this very peppy song.
2. Kahan ja raha tu ae janewale from Seema (1955), lyrics Shailendra
Having faced ill-treatment from her uncle and aunt, Nutan plays the role of a wild, unruly girl in an orphanage to perfection, which fetched her her first Filmfare Award among several to follow later. The in-charge Balraj Sahni’s attempts to reform her have been futile. When she leaves, Balraj Sahni’s plaintive pleading shows his sadness at his own failure. This makes Nutan pause and think. A recent book, which has created some controversy, has suggested that Rafi resorted to artificial tremolo in his voice to create sadness whereas Mukesh and Talat Mahmood had natural pathos in their voice. One can count several songs to disprove this view. Rafi has a natural sadness in this song.
3. Aye bahar ban ke lubha kar chale gaye from Rajhath (1956), lyrics Hasrat Jaipuri
This song shows SJ could also compose extremely soulful ghazals at par with the best of anyone. Sadly, they are known more for their songs churned out by their hit machine.
4. Jaane kahan gayi from Dil Apna Aur Preet Parayi (1960), lyrics Shailendra
Street dance songs on minor actors have been generally very successful, and often the most memorable song of a film. DAAPP has been famous for wrong reasons. This was the beginning of SJ’s surprise Filmfare wins over some landmark scores. There are many who, however, believe that there is nothing shocking in this film winning the Filmfare Award for the best music over Mughal-e-Azam. Leaving that controversy aside, I am a great fan of Jane kahan gayi picturised on Raj Kishor.
5. Jiya ho jiya ho jiya kuchh bol do..Jab pyar ksis se hota hai from Jab Pyar Kisi Se Hota Hai (1961), lyrics Hasrat Jaipuri
SJ create a blast for Dev Anand in Rafi’s voice. This was quite similar to Shammi Kapoor-style of their songs. Teri zulfon se judai to nahi maangi thi was another superb Rafi in the film.
6. Chheda mere dil ne tarana tere pyar ka from Asli Naqli (1962), lyrics Hasrat Jaipuri
SJ follow up their great success with Dev Anand in JPKSHH with another superhit in their next Dev Anand film. The dapper Dev Anand is in his elements with the bevy of beauties.
7. Humne zafa na seekhi unko wafa na aayi from Zindagi (1964), lyrics Shailendra
SJ’s contribution in the making of Rajendra Kumar as the Jubuilee Kumar started in 1961 with Aas Ka Pnachhi and Sasural, and they continued the great run with Humrahi, Dil Ek Mandir (1963), Ayi Milan Ki Bela and Zindagi (1964). From the large number of well-known Rafi songs from these films, I am especially fond of Humne zafa na seekhi and Pahle mile the sapnon mein from Zindagi. The former has a more complex tune which showcases the modulation in Rafi’s voice better.
8. Ae nargis-e-mastana from Arzoo (1965), lyrics Hasrat Jaipuri
SJ’s magic run with Rajedra Kumar continues further with Arzoo (1965) – Ae nargis-e-mastana, Ae phoolon ke Rani baharon ki malika, Chhalke teri ankhon se sharab aur zyada; Suraj (1966) – Bahaaro phool barsaao, Chehre pe giri zulfein; and some more very popular songs in Aman (1967) and Jhuk Gaya Aasman (1968). This group contains a controversial cult song Bahaaro phool barsaao – any dissent about this song has generated violent reactions on some sites. Since SoY is a more tolerant forum, I can safely say here that I am frankly puzzled by all the greatness bestowed on this song. There are other songs in this group I like more. SJ-Rajendra Kumar-Rafi deserve at least one more. Here is a song which could be only done by Rafi, and is my special favourite. That was the time when Kashmir was literally jannat where romance bloomed in many films.
9. Laal chhadi maidan khadi from Jaanwar (1965), lyrics Shailendra
If Rajendra Kumar was a good obedient boy, standing first in the class and going on to become a doctor, Shammi Kapoor was his exact opposite. When he burst forth on the screen screaming Yahoo…chaahe koi mujhe jungle kahe, it created a sensation. His elder brother’s Awara and Shree 420 was a soft romantic, who had strayed on the wrong path because of the circumstances. But no hero before had proudly been a Junglee, Jaanwar or Budtameez. Among this genre of songs I am very fond of Laal chhadi maidan khadi. Shammi Kapoor teases the hell out Rajshree, but in the end the girls always melted.
10. Tumne kisi ki jaan ko jaate huye dekha hai from Rajkumar (1964), lyrics Hasrat Jaipuri
Shammi Kapoor crawls and spreads his hands as his jaan leaves him. The wild and crazy man was also a romantic.
11. Radhike tune bansuri churayi from Beti Bete (1964), lyrics Shalendra
Shankar-Jaikishan had already displayed their prowess for heavy classical-based songs in Basant Bahar (1956). They have also used classical Ragas in several other songs. Chandrakanta.com identifies Radhike tune bansuri churayi as Adana which, as the readers are aware, is full of gusto and joy compared to its close cousin Darbari, which is grave and ponderous. Sunil Dutt lip-synchs Rafi perfectly to the dancing duo B Saroja Devi and Jamuna performing a Radha-Krishna dance. In my last post on Mukesh we have seen a few excellent songs in which the man sings and the woman dances. It seems SJ had special fascination for this type of dance songs too. These can now be seen as extension of my two posts on his dance songs, one for Lata Mangeshkar and the other for female duets.
12. Khayaalon mein jai hungama..Hum kaale hain to kya hua dilwaale hain (with Mehmood) from Gumnaam (1965), lyrics Shailendra
From the serious let us move to completely crazy and comic, and who can do it better than Mehmood? Except the initial words Khayalon mein and some interventions in-between by Mehmood, Hum kale hain to kya hua dilwale hain is out and out Rafi show. Gumnaam was based on Agatha Christie’s And Then There Were None. Hum kale hain became a craze consolidating the position of Mehmood as the top comedian of his era. The child artiste Naeem Sayyed who danced to this song in Brahmchari (1968) became forever known as Junior Mehmood.
13. Unke khayal aaye to aate chale gaye from Laal Pathar (1971), lyrics Hasrat Jaipuri
From Mehmood’s comic khayal, now you have the same word used very seriously. At a time when SJ aura was all but over they compose this great classical ghazal. The stern and misogynist zamindar Raj Kumar is surprisingly charmed by a woman and brings her home, more as one of his hunting trophies. Years later, he falls for another, much younger woman. The resulting complications unhinges him. Playing the tabla is his way of getting away from it all. In one of the great ironies of the film world, the minor actor on the tanpura, lip-synching Rafi, is GM Durrani, once Rafi’s idol and a leading singer to whom Rafi gave chorus support in some songs in the beginning of his career.
{ 137 comments… read them below or add one }
Thanks AKji for paying a memorable tribute to Rafi Saab on his 36th death anniversary. You have provided an interesting statistics about Rafi’s association with all known (elite) MDs and unsung/less known MDs and his big contribution in giving our heros of those days a personal recognition by providing a special style for each one.
I may want to add one name here and that is of Dharmendra. Can you give me some info on these trio, Rafi, SJ and Dharmendra as in how many films they have worked together? The only two famous movies I remember are Pyar Hi Pyar-69 and Shikar-68. SJ is way different in these movies that I would admit but just curious if there are other movies in their account.
Thank you sir for providing us with this wealth of info.
back to back 4 Aces..game and set Akji
another beauty…another unforgettable union. Nice selection of songs. Not heard the 1st one from Pooja..will listen later.
out of this main post , a sub-post Shammi-Rafi-SJ is due.
One more query….why LP is missing under the list of other MDs with whom Rafi Saab has worked. Few names to add here are Parasmani, Dosti, Aaye Din Bahar Ke, Jaal, Night In London, Patthar Ke Sanam, Shagird, Taqdeer, Wapas, Mere Humdam Mere Dost, Aaya Sawan Jhoom Ke, Jeene Ki Raah, Khilona, Mehboob Ki Mehndi, Loafer…..list goes on and on. LP’s first film Parasmani-63 has one solo, Rausan tumhi se duniya and one duet Woh jab yaad aaye with Lataji which are memorable songs till date. Can you please clarify?
Thanks and regards.
Beautifully written and nice collection of songs. All types of songs have been included but lullaby is missing and I add them here.
1. Aaaj kal mein dal gaye din huva tamam tamam …. from Beti Bete
2. Mein gavoo thum so javao from Brahmachari.
Excellentely rendered by Rafi sahib and the crooner virtually weeps
in the second song. A great composition to a well worded song.
Talking about SJ (I am a huge fan of the du0) it is difficult to say whether Shankar Jaikishan composed their best songs sung by Rafi
for Shammi Kapoor or Rajendra Kumar or Dev Anand (until SD/RD Burman began composing permanently for Dev films). Even for
second line heros like Biswajit, Joy Mukerjee they came out with
great numbers (April Fool, Hare Kanch ki chooriyan, Love in Tokyo,
etc)
khyatiji
more Dharam-SJ are
Boy friend 1961
Aayi milan ki bela 1964
Tum haseen main jawaan 1970
Resham ki dori 1974
International Crook 1974
Saazish 1975
and of course Mera naam joker 1970
i m not sure whether Rafi has sung in Dharamji’s all these movies… i think there is no Rafi in International Crook
AKji
your picks are all masterpieces
but i miss
the first one : main zindagi men hardam rota hi raha hun
and
maybe one from Aa gale lag ja mere sapne OR Aaja re aa zara lehra ke aa zara..
Thanks Jigneshji for the input. I do not have all the statistical data but Resham ki Dori has one song Sone ke gehne kyun toone pehne with Saira Banu’s voice.
more from my favs
Badi der bhai – Basant Bahaar
Naiyya teri majhdhaar – Aawaara
Jaane kis roop ki jaadubhari parchhai ho
log to log rahe apne se sharmasi ho- Archana
Sachcha hai gar pyar mera sanam- Jhuk G Aasman
Mere mehboob tere dam se hai duniya pe bahaar
varna is gham se bhari duniya men kya rakkha hai – Bhai Bhai
Haseen ho khuda nahi ho
tumhara sajda nahi karenge- Badtameez
Dil ko na mere tadpaao
Pyar ko mat thukraao – Badtameez
Jab muhabbat jawaan hoti hai – Jawaan Muhaabbat
O tere chehre men hai jo baat – Chhote Sarkaar
and my SHASHI-SJ favts
Jhoom ke gaa yun aaj mere dil – Patanga
Humko to jaan se pyari hai tumhari aankhen – Naina
Mere dil door bahot door kahin bhi le chal
zindagani se hun majboor kahin bhi le chal – Naina
“any dissent about this song has generated violent reactions on some sites. Since SoY is a more tolerant forum, I can safely say here that I am frankly puzzled by all the greatness bestowed on this song.”
SO true! I remember somebody really lambasting me on my blog for questioning this song’s popularity. They couldn’t understand why should I have thought the songs of Guide more deserving of praise.
That said, what a great post. Thank you so much for that – several of my very favourite songs featured on it. I also, especially, love O mere shah-e-khubaan and Aaja re aa zara aa from Love in Tokyo (the latter being that rare example of a male come-hither song), and Ae gulbadan from Professor.
Khyatiji,
Thanks a lot for your appreciation. Jignesh has answered your query about Dharmendra. Somehow, SJ’s songs for him are not in the same league as for the other actors I have mentioned. I think the reason was Dharmendra became a major phenomenon in the 70s when SJ were on decline.
LP figure very prominently after the big four. Not mentioning them was an inadvertent omission. One reason is that my focus is early 60s and before. But LP outdid SJ on most quantitative parameters. They also composed some superlative songs for Rafi. It would be nice to seek the readers’ views on the field after the big four – or even whether they agree with my High Table.
Jignesh,
Thanks a lot for your compliments. You are now in full form. Given their huge output, readers would have many favourites which would be missing. I have tried to give a representative sample.
Mr Vasudevan,
Thanks a lot for your appreciation. I am greatly fond of Aaj kal mein dhal gaya. It had been discussed earlier in multiple version songs. And the other song I have included was brilliant.
You have posed an interesting query for which actor they composed the best song. I would pick Rajendra Kumar because their contribution was most significant compared to other composers
Madhu,
I had the discussion on your site in mind.
Thanks a lot for your appreciation
Thanks AKji for the clarification. Out of 13 songs you have selected, 7 are penned by Shailendra and 6 by Hasrat Japipuri.
AK ji
Congrats on another masterly write up. I beg to differ on forming a ‘big four’ or ‘big five’club of MDs for Rafi.
a) Even if we are miserly, LP gave 25 high quality solos to Rafi, Ravi gave 20, Kalyanji Anandji gave 12, RD Burman gave 10 – We have not yet touched duets for these MDs sung by Rafi.
b) Take Ravi, SN Tripathi and Chitragupta and both solos and duets by them for Rafi. Their best Rafi songs actually are as good as composed by anyone else.
c) Madan Mohan created all types of songs(duets and solos included) for Rafi – romantic songs, ghazals, sad songs, qawwalis etc. Not even one song was a weak composition.
Thus in my view no need of big four categorisation.
Regards.
AK,
For me Rafi is unarguably the most talented singer but I agree with you that his best was not with SJ.
You have rightly described their combination as hit machine.
I think that in early 60s some mediocre songs were big hits and this combination went for popularity over quality.
They have some very good songs though the percentage is not as good. You have picked some of them.
In your favorite versatility has prevailed too.
I thought only a real fan like Jignesh would go for Laal Chhadi.
I was expecting a SJ Rafi combo on 31st thanks for not disappointing.
Tyagiji,
Thanks a lot for your appreciation.
The Big Four is my own way of slotting the MDs who gave far memorable songs for Rafi than other MDs. I appreciate your differeing viewpoint.
Mumbaikar8,
Thanks a lot for your appreciation. I am curious to know how many readers are with me on my BIG 4 or 5.
AK ji,
Thanks. The photo of LP appears to have been inserted by an oversight.
The big four or five of the elite club shoud not be restricted to 4 or 5.
During the Golden era (1950-1970) of Hindi film music there were 36
music directors and half of them were scoring music regularly and had
good number of assignments on hand. To be fair one fourth of these 30+
MDs we have to pick 8 top music directors instead of 4 or 5. This is my
view and my list is
Naushad 2 SD Burman 3 Roshan 4 Madan Mohan 5 Ravi
6 Shankar Jaikishan 7 OP Nayar and 8 Lakshmikanth Pyarelal.
I am unable to include Khayam or Salil Chowdhry or Chtragupta
though they are all equally great.
Tyagiji,
I did think them to be SJ – the stocky one in black shirt Shankar, and the handsome one in white Jaikishan. But you must be right. Thanks for pointing it out.
Mr Vasudevan,
Your list is interesting. Most of us would agree with your Big 8, though we may have differences on ranking. I might put Chitragupta very high in the list – purely my personal fascination with his music.
Let me begin by touching upon the controversy mentioned in your post and referred by Dustedoff – I am very, very glad that you didn’t include ‘Baharon phool barsaao!’
You have made a mention of Talat and Mukesh in the paragraph on ‘Kahan ja raha hai to ai jaane wale’. Yes, Rafi could bring pathos into his songs, but he did often indulge in vocal gymnastics to enhance it – take for example ‘Babul ki duaayen leti jaa’ or ‘Khilona jaan kar tum to’. Talat and Mukesh didn’t need to do this. One can always compare ‘Kahan ja raha hai’ with a Mukesh-SDB song is practically identical setting with the same acrtress ‘O jaane wale ho sake to laut ke ana’ and draw one’s own conclusions.
I had always assumed ‘Jab pyar kisi se hota hai’ had been filmed on Shammi Kapoor until I happened to see the Youtube video some years back. It was possibly an inspiration for ‘Mere sapnon ki raani kab aayegi tu’ a few years later.
‘Chheda mera dil ne tarana tere pyar ka’ is possibly the one song in this list which squarely falls in Rafi’s niche – ref. our email discussion which you were good enough to quote in one of your posts. I can’t imagine any other singer coming even close in rendering this song.
Congratulations on the sixth anniversary of SoY. Keep up the good work. Hopefully I will also be able to shake of my laziness and problems with my own and my internet connection’s health to be more active during the seventh year.
Khyatiji,
That is how concentrated they were with the two lyricists. It would be interesting for researchers to probe how many memorable songs they composed for other lyricists.
Subodh,
Thanks a lot for your good wishes and appreciation. You have been surely missed here.
I have also equally strong views on the song one dare not criticise before Rafi-fanatics.
I am aware of your views about the two songs with regard to pathos in Rafi’s voice. I would discard those songs. There are any number he sang where he didn’t resort to any artifical gymnastics to convey sadness – Suhani raat dhal chuki, Kabhi khud pe kabhi halat pe rona aya, Hum bekhudi mein tumko pukare, Raha gardishon mein hardam and songs of Pyasa, Kagaz Ke Phool etc.
Jab pyar kisi se hota hai is very much in Shammi Kaoor style. That is why if I have to choose SJ’s best songs for a hero, Dev Anand would not figure in my list.
Good to see a post on Rafi Sb songs on his 36th death anniversary. To the question of his playback for Dharmendra which has SJ’s music, a couple come to mind in addition to the ones mentioned above in Post 5.
1. “Yakeen karlo mujhe mohabbat hai tumse tumse” from the movie Yakeen. https://www.youtube.com/watch?v=xBBSGmu1CqQ
“Baharon ki baraat aa gayi” also from the same movie.https://www.youtube.com/watch?v=fRUGu6YRVEA
2. “Dekha hai teri ankhon mein pyar hi pyaar” from the move “Pyaar hi Pyaar”.https://www.youtube.com/watch?v=aW62BlF_lPw
Another very beautiful song from this movie is “Main kahin kavi na ban jaaon” https://www.youtube.com/watch?v=xhH-CojhKZ4
3. “Tumhare pyaar mein toh hum beqarar ho ke chale” from “Shikaar” https://www.youtube.com/watch?v=Vi_uN9BntoE
I think the post deals comprehensively the musical contribution of Rafi and SJ.
I feel that Shammi K’s some songs should have been quoted as SJ have contributed the the development of the career of Shammi K when he was going to be extinct.
Also the famous song “Ye Mera Prem Patra” from Sangam should have been included though it appeared in AK’s comical review of the film.
But Ishall not insist on above songs. Just expressing an opinion.
Shalan La
Subodh Agrawal,
AK considers me one of the fanatics.
I am a great admirer of Rafi’s talent. I agree about the indulgence you are talking about.
I have discussed it with AK. You have said that Rafi could bring pathos in the song, that means he need not indulge in those vocal gymnastics but the fact is he did.
Being a Rafi fan I am looking for the answers. I think it was his insecurities, because of the roller coaster type graph, up in 1949 down 50 up again in 52 down again until 56, 57, finally when he was up in 60s he was ready to do whatever it takes and few MDs helped him with that.
Did he indulge in mimics with SDB? How about?
Sathi na koi manzil from Bambai ka babu
Din dhal jaye hai raat an jaye from Guide.
Dear AK, you have come out with another most interesting offering yet again on a theme little anticipated but most welcome dor its wide appeal. Thoroughly enjoyed.
Naturally everyone’s choice is subjective and different. With due respect, if I were doing the listing, I would also plump for your choices at S.Nos. 3, 4, 5, 6, and 10, but for the rest I would have rather plumped for (not in any particular order): Teri zulfon se judai, Ab kahan jaye hum, Aye gulbadan, Khuli palak , Ye mera prempatra, Baharon phool, Dil ke jharokhen mein, Ehsan tera hoga, and Ye duniya haye. (Let me at least provoke some debate…)
After listening to many Rafi songs on Vividh Bharati on his death anniversary, I turned to SOY expecting a post on Rafi. I was not disappointed.
Although I feel many other MD’s have given more memorable songs of Rafi, keeping in view your continued celebration of SJ, it is apt.
‘Unke khayal aaye to’ is one of my favourites (sounds somewhat similar to ‘aaye bahaar banke luthakar’?), I did not know the actor singing on screen was Durrani, a singer himself!
You have covered only the solo numbers. SJ have given many hit duets with Rafi, which I hope will come out with all the experts joining the discussion
Congratulations on a wonderful post
Nasreen,
Thanks for adding those songs for Dharmendra. These are all past their best.
Shalan Lal,
SJ for Shammi Kapoor is quite a vast field. I could have mentioned more, but I wanted to keep the write-up tight and yet cover SJ-Rafi’s diversity.
Mumbaikar8,
I have to enter your chat with Subodh. You seem to be carrying some imaginary grudge against me. I didn’t have you in mind when I mentioned Rafi-fanatic. It is someone who would pick up a gun for Baharo phool barsaao.
Dinesh,
Thanks a lot for your appreciation. You are being provocative to include that iconic song which has led to so much bloodbath on another site. From your list I am very fond of Teri zulfon se. Ab kahan jayen hum is a great song, but perhaps it is sung by Manna Dey.
Giriji,
Thanks a lot for your appreciation. Unke khayal aye to does create similar mood to Aye bahar ban ke. In composition I think it has some similarity to Roshan’s style.
Duets as a class have a special appeal. I think I need to write a separate post on SJ’s duets.
Ah, you caught me there, in my moment of inadvertence!
AK ji,
There are plenty of good songs to choose from of the SJ-Rafi combo.
My most favourite is at No 3. I simply love this song and can hear it a hundred times at a stretch.
The title of the song needs a serious correction in the post. It’s
“aaye bahaar ban ke lubhaa kar chale gaye”.
I would have loved to add one of the two Basant Bahar songs in the list.
Many Thanks.
Mahesh,
Thanks a lot for the correction. I wonder how even after ten readings one misses such typos.
Basant Bahar indeed had a couple of good songs, but Manna Dey was the scene stealer.
AK and Mumbaikar8, agree entirely with you on Rafi’s songs with pathos. ‘Saathi na koi manzil’ is among my top favourites. Others mentioned by both of you also rank very high.
The fact that Soy does choose to pay tribute to Mohammad Rafi on an SJ songs vehicle itself speaks volumes – on the quality of the songs and impact it had on the discerning listeners vis-a-vis more ‘strongly’ known combinations.
Mohammad Rafi’s close association as playback voice of Dilip Kumar seems to have prompted him to create distinct harkats that would modulate his voice with any other actor. In the process he did succeed in voicing Rajendra Kumar and Shammi Kapoor, in particular. In fact it was probably his this USP that contributed to new generation music director like RD Burman to move away and create a new dimension of identity. Well, in the hindsight, one can have n-number of justifications for those events. The fact remains that Mohammad Rafi lorded over the HFM for almost two decades even while playing the game by all fair means.
SJ’s preference for Mohammad Rafi is also epitomised in ‘Shararat’ – Ajab Hai Dastan Teri Aye Zindagi…….
https://www.youtube.com/watch?v=8g1y0YBTXX4
On idle reflection, two curious thoughts occur to me. One, that despite Rafi possibly having sung maximum number of songs for SJ among all MDs, and SH were indubitably among the top bracket, Rafi’s many more superlative songs were composed by other MDs such as Naushad and SDB. In fact Rafi’s SJ songs hardly include any superlative songs. And secondly, that evn though most, not excluding yours truly, regardRafi as the best male singer among all, and without doubt he sang maximum number of songs among all male singers, the number of his superlative songs is not quite among the most, in absolute number, and surely not proportionately to the number of songs sung. Those experts among us who have all such statistics at their fingertips can perhaps explore this and confirm it or otherwise.
While making these observations, I am quite mindful that the definition of “superlative” may well be debatable – and selection of such songs subjective. But I reckon that my above observations might well pass even that muster.
Comments are invited and welcome.
AK,
I apologize for false presumption. I was mistaken because now a days “fanatic” is used so loosely.
“You seem to be carrying some imaginary grudge against me”, are you serious?
Ashokji,
Well said. Rafi singing for Kishore Kumar can be taken as a measure of his quality.
Dinesh,
About Rafi statistics, fortunately a fan has made his complete Excel sheet which is with me. I share it freely with anyone who asks for it. As per this list, the MDs who composed the most songs for Rafi are as under:
Lakshmikant Pyarelal – 389
Shankar-Jaikishan – 378
Chitragupta – 261
Ravi – 251
OP Nayyar – 216
The generally regarded three ‘Best’, Naushad, SD Burman and Roshan’s songs are far less than the above numbers. That answers your first part of the question. Quality and quantity may not be always co-related. As for Rafi’s number of superlative songs, the first part of your suggestion is open to serious challenge. Since his output is several times more than that of Mukesh and Talat Mohammad, Rafi’s superlative songs in absolute numbers would be far more than his two peers. I am not including the other singers in this equation. In proportionate terms, you are probably right.
Mumbaikar8,
No, I am not serious. You have been a dear friend in spite of the नोक झोंक.
Shanker-Jaikishan produced great songs with Rafi sahab in quantity and quality also. I don’t know actual meaning of superlatives, but SJ exploited Rafi’s range from Classical to pedestrian songs. Their tunes were so simple to hum, but very hard to express and thus only singer like Rafi would have sung and given required output in Teri Pyari Pyari Soorat Ko which sounds easy like anything.
However,
Yakeen is one of films by Dharmendra+SJ combo. One more film from this combo, ‘Bichchhoo’ was killed in its womb and another film which could have been a multi-starrer, ‘Waqt Ka Sikander’ could not be released, though songs were recorded and released (no Rafi song was there). ‘Doobte Huye dil ko tinke ka sahaaraa’ is another best song filmed on Dev Anand for film Aur Kaheen Chal. #ShankarJaikishan were about to have developed special and different style of their music for Dev Anand too (like Shammi and Rajendra Kumar style) and of course they did not used Kishore Kumar’s voice for him except in their last film with Dev and gave only one song to KK. Rest were given to Rafi Sahab.
Even in their bad days, when #Shanker started solo after Jai’s death, he preferred Rafi’s voice out of their long standing relations, respect & love they had for each other neglecting business interest.
Thanks for this beautiful write up dear AK
Sudarshan Pandeyji,
Welcome to SoY and thanks a lot for your compliments. You have added a good deal of information about SJ-Rafi.
Hats off to Mr Sudarshan Pandey for his comments. Let me go back to
earlier comments – of that of Mr Subodh Agarwal about Naharon Phool Barsavo from Suraj.
What is wrong with this song. It begins with the typical strings of violins that is characteristics of SJ’s style and the rendering begins – excellently sung. Then the sarangi takes over and joined by more number of violins – the interlude is in keeping with the tune, well composed. No big orchestration here. The song is a fine product of
SJ’s composition.
If a group of four people sit together and is asked to write down 10 best songs of any singer or any Music Director, the list will differ and bound
to get differed. One makes the choice of out of his preference.
Quality of lyrics, composition style and orchestration, rendering all goes into consideration. If there is one weak point in this particular song is – not well picturised in my view otherwise a fine number.
AK Ji,
Thanks for the excellent tribute to Md.Rafi on 36th death anniversary. Md.Rafi was certainly the best male playback singer of Hindi films and he had a pride of place in Shankar-Jaikishan’s music. Needless to say the selection of songs was good and enjoyable. My pick of the lot would be Aye bahar ban ke lubha kar chale gaye, Radhike tune bansuri churayi, Unke khayal aaye to aate chale gaye, Humne zafa na seekhi unko wafa na aayi.
I think among all the MDs, Md. Rafi rendered the highest number of solos for SJ followed by LP, Ravi and Chitragupt.
I endorse your choice of four top MDs who composed songs for Rafi,. Madanmohan, Ravi and other too have composed some very good numbers for Md Rafi. But after some careful pondering I cannot but accept your (fair) view to make room SJ as the fifth member of the Elite Group.
SJ did churn out some very good songs for Md.Rafi. At least as far as soft romantic songs are concerned their association is phenomenal, like the Mera prem patra padhkar. Another romantic song I would like mention is Aaja Re Aa Zara (Love In Tokyo, 1966, Hasrat Jaipuri). Rafi evokes sensuousness in the opening lines.
Ye zindagi ke mehfil, mehfil mein hum akele
Daman ko koi choome, zulfon se koi khele
Another song which belongs to similar category is Rukh Se Zara Naqab Utha Do Mere Huzoor
(Mere Huzoor, 1967, Hasrat Jaipuri ). This song too begins with a couplet,
Apne rukh par nigaah karne do
Khubsoorat Gunaah karne do
Rukh se parda hatao jaane haya
Aaj dil ko tabaah karne do
I would like to add a few more songs here.
Yaad na aaye (Dil ek mandir, 1963, Shailendra)
Duniya Naa Bhaye Mohe Abb Toh Bula Le (Basant Bahar, 1956, Shailendra)
Salaam Aap ki Meethi Nazar ko salaam (Boy Friend, 1961, Hasrat Jaipuri)
Teri Pyaari Pyaari Surat ko (Sasuraal, 1961, Hasrat Jaipuri)
Zamin Kaagaz Ki …Ab Chaar Dinon Ki Chhutti Hai ( Aas ki Panchi, 1961, Hasrat Jaipuri)
Najar Bachkar Chale Gaye Woh (Dil tera Deewana, 1962, Hasrat Jaipuri)
Zindagi Mujhko Dikha De Raasta (Sanjh Aur Savera, 1964, Hasrat Jaipuri )
Is Rang Badalti Duniya Mein (Rajkumar, 1964, Hasrat Jaipuri)
Pyar Aankhon Se Jataya to Bura Maan Gaye Aayee Milan Ki Bela (1964) Lyrics, Hasrat JaipuriMeri Mohabbat Paak Mohabbat (April Fool, 1964, Hasrat Jaipuri)
Thank once again for yet another good post.
AK ji
Fully agree with Shri Vasudevan. Some people look down upon ‘Baharon..’ only because in 1966, they wished Filmfare award for best music to go to SDB and best singer to Rafi for ‘Din dhal jaye’. Well, why not to Roshan (Mamta) or Ravi (Do badan)? And for singing, why not to Mukesh(Teesri kasam/Saheli/sant Gyaneshwar), Lata(do badan/Aarzoo/Mamta) or Asha(ye raat phir Na ayegi) – there were no separate male/female singer awards.
I mean to say just forget awards, listen to good songs and have a sound sleep.
Mr Vasudevan, Tyagiji
The reference to Bahaaro phool barsao came in the context of very strident reaction to any dissent about this song on Madhu’s blog Dustedoff. While many of us have a very poor view of this song, some are its great fans. It is fair to argue that the music of Guide and some other films you have mentioned is far superior to Suraj‘s. But, let us go by Tyagiji’s statement: Each has his or her own favourites. It is a large plate, let us relax and enjoy it.
Venkataramanji,
Thanks a lot for your comments. It is nice to know that you agree with my Elite 4/5. You are right that SJ have composed most songs for Rafi, followed closely by LP – 389 to 374. They are followed after a big gap by Chitragupta and OPN. The three ‘best’ Naushad, SDB and Roshan are far behind.
PS
Venkataramanji,
I was a little careless. After checking up again from the Excel Sheet, the top composers for Rafi are as follows:
LP – 389
SJ – 378
Chitragupta – 261
Ravi – 251
OPN – 206
The first quality of a film song is that it should touch chord with masses then, classes. Being a mass media, a film’s success depends upon its acceptability by large percent of its admirers. A film song is success only if it has repeat value and power to fetch audience into cinema Halls. And I feel proud to say that Shankar-Jaikishen were the first such musicians who had full confidence in their compositions that they did not shy to give whole album full of hit songs, otherwise till their debute making films, Big names were churning out one or two hit numbers in whole film and did business on those one and twos. That is why several times fingers have been raised whenever they got a Filmfare Award. People come forward to suggest that this or that song from that or this film deserved an award. This is our views, otherwise why Dost dost Na Raha like song from Sangam is defeated by its own Ye Mera Prem Patra Padh kar, though in my view, O Mehabooba was the best example of composition. But it kept happen because Rafi’s Jadoo when mixes with ShankarJaikishani music, its impact is spellbinding and that is why Baharon Phool barsaao even topped the rating done by BBC few years back when survey was conducted by them. Thanks to everyone
Dinesh K Jain post 4o…. Please tell me who sung more superlative songs than Rafi Saab please tell me who?
AKji excellent post MR-SJ Contribution… 😉
xFedal,
Thanks a lot for your appreciation.
AK,
A well compiled list. I would like to add to the bouquet of Rafi-SJ songs: 1) Kanyadan (1969), Neeraj – Likhe Jo Khat Tujhe
2) Mere Huzoor (1968), Hasrat, Gam Uthane ke Liye
3) Pagla Kahin Ka (1970), Hasrat, Tum Mujhe Yu
Thank you Mr Iyer for your appreciation. All the three songs are very good. Likhe jo khat tujhe has figured earlier in my post on Romance of Letters.
# 40, 42, 51
Seems that my points were not clear enough, possibly because of a couple of typos.
My point was entirely about the quality, and quantity only in that context.
If your own original choice of only 13 had to include numbers like Lal Chhadi and Nargis e Mastana as Rafi’s best, I do not know if I need say anymore. In the context of SJ alone, Mukesh could be the only competition for Rafi, and I dare say, without the benefit of statistics, that Mukesh’s top songs for SJ, thanks to Raaj Kapoor, could possibly be rather more than Rafi’s.
On the second point, “far more” seems a bit hyperbolic. Somewhat might be more like it. But then no need here to quibble.
Dinesh K Jain’s response made me to mention one conversation between music director Shankar and few of his critics friends. One of them referring to ” Yaahoo !!!! Chaahe Koi Mujhe Junglee Kahe” asked him, “Ye bhi koi Gaanaa hai ?”
Shanker responded, “where at any point of time did we claim that it is a song ?” He continued, “We also don’t think this is a song, but tell me one thing, characters of Shammi Kapoor and Saira Bano are stuck in snowfall for several days. They are confined to the room and becoming restless and tensed as to when they will be free from clutches of this storm of snowfall. In this circumstances on one morning they got to see rays of sunlight as a breather. Tell me in this situation what the character will do…..or suppose any person in their place would have done….started singing any ‘Classical bandish’ or burst in to joy and start demonstrating it ???? Thus we had to compose such song. You may say it a song or throw in dust bin. We did what the situation demanded.
Friends, wherever SJ+Rafi got slightest chance to show their class in composition and singing, they left no stone unturned to do justice.
Films demand situational songs and Rafi+SJ combo gave them without crossing the decency of music.
Thanks all
Sudarshan Pandey @ 56
I think your understanding of the song situation of the song “Yaahoo !!!! Chaahe Koi Mujhe Junglee Kahe” in defense of the creativity for the situation, though very warming it is really not a good defense. Because in between the lines one gets the feeling that the song is not good but a trash one and Shankar’s defense is also trying to get out of the heavy criticism by the traditionalists.
I would argue that it is a very good song. It was also popular at the time also very revolutionary for the character and also for the then Indian society.
My conviction is this that the song did the same kind of revolution as the songs of Elvis Presley.” Song “Blue Suede Shoes” 1956.
To me this song and along with another song not of SJ but of OP “Jawani Aay Mat Mat Bin Piye” created revolution among the stilted generation of male and female.
Both the songs have immense energy and well presented by Shammi K.
From the composition point both songs have extremely well organized tunes, and orchestrations. Both situations are dramatic and scenic.
Both songs still make me sing loudly in my bathroom.
Somehow Indians have this awful guilty feeling of the songs that move towards western type they would shirk or raise hell of criticism. They want the comfort of the cocoon of their so called Indian ragas and tabala rhythms and saris and dhotis and Gajar Halwa and Makkaki Roti” etc,
These two songs liberated the next generations of composers and lyric writers and film producers.
Without these songs one would not enjoy RD Burman, or even AK Raheman.
It will be nice if AK would explore just the songs of Shammi K post “Tumasa Nahin Dekha and Junglee etc. and that period.
Shalan Lal
Dinesh,
I would borrow from Shalan Lal and say that I don’t feel guilty about Lal chhadi and Ae nargis-e-mastana. I included these songs here as I like them.
SJ-Rafi outnumber SJ-Mukesh by a factor of about 3. Therefore, one part of your argument is accepted right away, that SJ-Mukesh memorable songs are proportionately far more than SJ-Rafi’s. In absolute numbers, we are entering a controversial territory – as for myself I would go with you.
Sudarshan Pandeyji,
Thanks a lot for this interesting trivia. I understand what you are saying. Since you are quoting Shankar’s statement, I don’t agree with Shalan Lal’s observations.
Shalan Lal,
SJ-Rafi-Shammi Kapoor is a very interesting topic for exploration as an independent post. However, I plan to end a series by the end of the calendar year, and I am not very enthused by too much micro-categorisations. SJ have potential for enormous number of themes/sub themes. I would essentially keep it focussed on singers.
Thanks Shalan Lal ji and AK ji for your comments.
Shalan Lal ji, Shanker was not defending his composition and those who know him or have read a slight about him that he was not that kind of person who will defend his kind of music. Let me tell you the convictions and faith both of S&J have in them that their pre condition to every producer was that they will have to accept their tunes whatever they give them. No changes either in tune or singer would be accepted except they felt any need. Only for RKfilms they were ready to have more than one tunes for any particular songs. Once again thanks to enhance my knowledge.
Dinesh, and Ak saab, The songs SJ-MR combo used on SK – RK combo should be enough to out number Mukesh memorable songs for SJ… You can create a thread on this if you wish, Mukesh best probably comes for SJ this is why a lot of people could be defensive about him, whereas Rafi Saabs best is usually the best of all MD’s..
ohh…how did i forget this masterpiece to mention ???
बाबुल कौन घडी ये आई
कल थी मैं तेरी लाडली बेटी
हो गयी आज पराई..
(Umang 1970) a dont miss bidaai song of Rafi.
The topic is a clar one SJ-Rafi Sahib songs combination and why there
should be a comparison with another singer I fail to understand. Mukesh
Kishore and Rafi are three different type of singers. In cricketing terms
first one is a specialist say a bowler or a batsman and the last two are
all rounders. Pathos suits more to Mukesh voice and his pathos has an
extra ounce of lilt but at the same time Rafi has also sung innumerable pathos so also Kishore. Let us close this comparison.
Although Mukesh sang far greater songs under the music direction of
SJ what about Kalynaji Anandji under whom he sany many fine songs. but SJ outscored KA in number. Quality matters and not quantity. Mukesh gave voice for a few songs for Roshan , Salil Chowdhry and they were great songs. Baharon ne mera chaman loot kar (Dewar) Wohara taal mile nadhi ke jal mein (Anokhi Raat) just to
give examples.
Jignesh Kotadia ji,
Thank you for posting one of my favourite Rafi -Neeraj – SJ songs: Babul Kaun Ghadi Ye Aai is among the great Bidai songs for sure.
Raj,
Welcome to SoY.
Ak @ 58 and Sudarshan Pandey @59
My suggestion of ShammiK songs is just a love for his Yahoo = Junglee image and songs. I get kick out of them Incidentally the word Yahoo was coined by Johnathan Swift the Irish satarical writer in his famous novel Gulliver’s Travels.
If you do not wish to do it there is no “Jor” as in Ishk Par Jor Nahi Ghalib”
Pandey Sahab
Shankar visited Britain many times. In his last visit on a Radio interview he defended his introduction of play back singer “Sharada” and many listeners immediately chestised and accosted him for that and he could not well defend his action.
However I am a fan of Sharada. I like her voice something unusal than the traditional voices of the Hindi Films. I even praise her as a music composer.
This information is just to say that Shankar did not defend himself well in public.
I recently read somehwere that LP did not accept tunes ideas from RK for his own films and presented their own. Further they boasted that many people brought tunes to them and they forced their own Tunes on the producers and directors and actors and singers etc.
Probably you are right there saying SJ became so powerful that they executed their own ideas on the artists of the films to which they gave music.
There is similar story about Naushad as well.
Well, in a short glamour life of Tinsel Town anything could have happened. Similar things always happen in the politcal world.
But we are in the zone of “Ishka Par Jor Nahin, Ghalib!”
Shalan Lal
Shalan Lal @ 65
Quoting Ghalib it has to be Zor and not Jor as LP made for folk in Milan arre baba shor nahin sor sor
@65
Thanks Shalan lal ji. I am fanatic fan of SJ, but I don’t deny some of faults by my idols. It is known that Shanker ji was a pehelwan also and was ziddi at some points. He was supporting Sharda to the best of his power at that time when SJ were in commanding position. We music lovers got some wonderful compositions made specially suited to Sharda’s voice. Even for her lyrics were written in keeping her limitation in mind.
I would like to share one interesting thing which was shared by Sharda ji herself to me during a conversation. When Shanker wanted to introduce Sharda in Suraj, he requested Shailendra to write lyric with small sentences so that she does not feel any trouble in pronouncing and singing fluently. And the great poet and lyricist produced
Titli Udi
Ud jo chali
Phool ne kahaa
Aajaa Mere Paas
Titli Kahe Main chali aakaash
5 complete sentences, but not useless or mere film song on situation, but it has some soulful meaning it.
Here Titli denotes ‘Aatma’ the soul, who tries to meet the almighty, And the phool- temptations of this immortal world are trying to win over the soul, but it is determined to meet its ‘Raajkumar’ the almighty.
We are benefited ………Thanks you all.
@ Raj ji
you’re welcome..thanks for backing this great song.
another masterstroke of this pair, for u and SJ fans…
तुम मेरे प्यारकी दुनियामें बसी हो जबसे
ज़र्रे ज़र्रेमें मुझे प्यार नज़र आता है
मेरी हर सांसमें आती है तुम्हारी ख़ुश्बू
सारा आलम मुझे गुलज़ार नज़र आता है।
(Bombay Talkie, 19??)
Sudarshan Pandye @ 67
Thank you very much for the way Shankar instructed Shailendra and he created that special construction to suit the South Indian singer for the North Indian music. Wonderful! That is why the SJ and Shalendra Hasarat Jaipuri combo worked together exactly like Naushad and Shakeel Badayuni.
There is a need for the creative artsits to have good raport in between them then great works are produced.
But if one is becomes too much bloated then the raport vanishes and relationship breaks.
In the Hollywood many “duo acts” have been broken. In music too as well.
I think Shankar got bloated very much causing early death of Jaikishan.
RK as well lost all his good team because he became the Shahen Shaha of Bollywood.
The political world is rich with similar stories as well.
“C’est La Vie !”
Thanks for understanding the point and not becoming too much passioante about our likes and dislikes.
Shalan La
Dear Shalan Lal ji @69
Well said
“But if one is becomes too much bloated then the raport vanishes and relationship breaks.”
After death of Shailendra………..
“Shanker lamented, I am almost dead”
AK ji,
The readers in the comments above are trying to make you take a mellow view of ‘SURAJ’. Sudarshan ji while discussing ‘titli’ has brought forth the metaphorical expressions so expertly used by good old lyricists.
People of my age try to read the hidden spiritual messages in film songs. For example the following:
a) Main kaun hun
Main kahan Hun
Mujhe ye hosh nahin
b) jayenge kahan soojhta nahin
Chal pade magar raasta nahin
Kya talaash hai kuchh pata nahin
AK ji sometimes you give full lyrics of a song and also translation. Could you dedicate a post to the literary content of film songs.
Regards
Tyagiji,
I have occasionally given full lyrics and their translation where the translation too sounded equally lyrical. The first songs I translated were Ye raatein ye mausam ye hansna hansaana and Chalo ek baar phir se. However, this was not as a sustained effort
Tyagiji,
I have occasionally given full lyrics and their translation where the translation too sounded equally lyrical. The first songs I translated were Ye raatein ye mausam ye hansna hansaana and Chalo ek baar phir se. However, this was not as a sustained effort. It happened whenever a song took my fancy. Another reader, Mumbaikar8, has also suggested that I have not given due importance to lyricists to which I have pleaded guilty.
There are many other high quality and light songs that need a mention. Eg:
Yadein na jaye (Dil Ek Mandir)
Aaj kal me dhal gaya (Beti bete)
Duniya na bhae(Basant bahar)
Badi der bhayi (Basant Bahar)
Ajab hai daastan teri (Shararat)
Aajaa ke intezar me (Halaku) /Raat ke humsafar (Evening in Paris (duets, though)
Taqdeer kahan le jayegi (Saanjh aue Savera)
Yeh aansoo mere dil ki (Humraahi)
Gham uthane ke liye/ Yeh Khushi (Mere huzoor)
Main kabhi kavi (Pyar hi pyar)
Dheere dheere chal(Love marriage)
Tum mere pyar ki duniya(Bombay Talkie)
Teri Zulfon (Jab pyar kisise)
Kahan ja rahe (Love marriage)
Humko to jaan se (Naina)
Yahan koi nahi (Dil ek Mandir)
Khuda bhi Aasman se(Dharti)
Tumhi ho Tumhi ho (Ek dil sau afsane)
Likhe jo khat (Kanyadaan)
Tyagi ji @71
We call it Nirguna type of song…
apni to aah ik toofaan hai..
Upar waalaa jaan kar anjaan hai….
2)
Laga chunari mein daag,
3)
Gori se tumhara Milan hogaa
4)
Gaaye ja geet Milan ke
These are songs which have inner meaning also
Regards
MK,
Thanks a lot for your appreciation and for adding some lovely sngs. From your list, I am especially fond of Teri zulfon se judaai to nahi maangi thi.
AK,
Not many Rafi SJ songs are being uploaded as our regular KSbhataiaji has disappeared.
Junglee song chahe mujhe koi junglee has been deservedly discussed (and defended) for its mediocrity.
Let me upload a better Junglee song.
Ehsan tera hoga mujh par
https://www.youtube.com/watch?v=-aJKSSxNb8g
Talking about lyricist and their great songs I am coming with 5 super songs of each of these fine song writers.
Sahir, Sakeel, Sailendra, Majrooh, Hasrat Jaipuri, Rajindra Krishan,
Anand Bakshi, Neeraj Kaifi Azmi, Raja M A Khan
These songs have great literary value and the selection is mine.
But I am afraid only list will come without videos.
Wait for few more days.
The idea of posting this topic is to see how our friends view the list
and add their own. It is just sharing our views on those great song writers.
Some more interesting facts about SJ are: Rafi sang for Raj Kapoor in Ek dil sau afsane under SJ. Initial films of DevAnand with SJ such as Patita and Roop ki rani… had Talat mahmood and Hemant Kumar to sing for him and SJ tried with Mukesh for Rajendra kumar and SunilDutt quite successfully in Aas ka panchhi and Sasural and Ek phool char kante. They used Mukesh voice for Manoj Kumar and so on. Excellant topic and pl discuss about duets also from SJ.
While ‘awara hoon’ is the most popular Bollywood song in the former Soviet republics etc, ‘jan pehchan ho (Gumnaam) seems to be the most popular in the Western world judging by the Youtube comments about its use as the title-track of the movie ‘Ghost World’ ((https://www.youtube.com/watch?v=FyEnG_DEB1I)) and ‘Heineken’ commecial. (https://www.youtube.com/watch?v=in9xr9n5utM)
Both these songs are obviously Shankar’s compositions.
Jan pehchan ho was excellent in orchestra and all songs of Gumnaam were outstanding and have contributed for its success. So also songs of Love in Tokyo, an evenining in paris, Jab pyar kisise hotahai & April fool.The list is never ending…
KB, in addition to using Rafi for Raj Kapoor in Ek Dil Sau Afsane, one more interesting use was when Rafi sang for Kishore Kumar in ‘ajab hai daastan teri ay Zindagi’ from Shararat. I consider this to be the best SJ-Rafi song ever (sorry, that’s my taste :-)).
https://www.youtube.com/watch?v=2svsXJxTVVQ
Mubaikar 8 @ 66
Thank you very much for correcting “Zor for Jor” and bringing the humour out from the film Milan Music by LP ” folk in “arre baba shor nahin sor sor”.
Indeed I am indeed I am indebted to you.
Shalan la
AK @ 76
With ref to “From your list, I am especially fond of “Teri zulfon se judaai to nahi maangi thi.”
What about when “Zulfe” become gray and thinning?
Here is a Beatles song:
When I’m sixty-four
When I get older, losing my hair, many years from now
Will you still be sending me a valentine, birthday greetings, bottle of wine?
If I’d been out ’til quarter to three, would you lock the door?
Will you still need me, will you still feed me, when I’m sixty-four?
You’ll be older too
Ah
And, if you say the word, I could stay with you
I could be handy, mending a fuse, when your lights have gone
You can knit a sweater by the fireside, Sunday mornings, go for a ride
Doing the garden, digging the weeds, who could ask for more?
Will you still need me, will you still feed me, when I’m sixty-four?
Every summer we can rent a cottage
In the Isle of Wight if it’s not too dear
We shall scrimp and save
Ah
Grandchildren on your knee
Vera, Chuck, and Dave
Songwriters
Paul McCartney; John Lennon
Shalan La
Shalan Lal,
This one is even more romantic.
Sudarshan Pandey Ji,
Being an expert on the topic of SJ, can you clarify the following:
They say each song was composed separately//fully by Shankar or Jaikishan and they were presented to the world as SJ product. Is it true and can one identify each of them?
It is also said that generally Shankar was associated with Shailendra and Jaikishan with Hasrat. Is it correct?
Hi Giri,
It is possible to identify the composer of a lot of SJ songs but not for all songs. Some songs are very easy to identify. Some can be identified after a bit of analysis and inference. This is a big topic. It is difficult to discuss in detail here.
Regarding your question about Shailendra working for Shankar and Hasrat working for Jaikishen, Shankar clearly denied that this was the case in his interview with Tabassum. Though he might have said it for propriety’s sake, I can say that a majority of Shailendra songs were composed by Shankar and a majority of Hasrat’s songs by Jaikishen. Shankar mentions in that interview that they used Hasrat for romantic songs and shailendra was ‘serious/sober’ songs :-). Dattaram, SJ’s assistant says that romantic songs were Jaikishen’s favorite from which you can make an inference. After Shailendra’s death SJ continued with only Hasrat for a couple of years before beginning to use a lot of other lyricists. Shankar worked for about 20 years after Shailendra’s death.
Interesting query from Pandey ji and I am waiting for Mr AK reply on this. But I would like to add here a few points.
Yes Shankar and Jaikishan did work or compose separately – whether
for all songs or chose to score music for certain type of songs difficult
to say.
Long time back in the good olden days of Filmfare when Raju Bharathan column on music was regularly appearing which I read he had mentioned in those articles that Shankar and Jaikishan composed tunes separately but again all songs or some. Mr Bharathan also came out songs that were composed by Shankar and Jaikishan. If we visit
archive section of Filmfare – I doubt whether we can – we will get more information on this interesting topic.
Shalan Lal 2 #83
You are most welcome.
The pleasure is all mine
#84
SJ and Shaily Shailendra had their own version of the Beatles song in Kal Aaj Aur Kal
Beatles
https://www.youtube.com/watch?v=vAzaOZfgf0M
SJ
https://www.youtube.com/watch?v=han4FdTe_9I
Raghavan Vasudevan #88
You can buy , (At Rs 100/issue buy e-versions of Filmfare magazine from 60 years ago) at this site
http://www.cuttingthechai.com/2013/11/6500/rs-100issue-buy-e-versions-filmfare-magazine-60-years-ago/
In Shankar’ s own words (in his Jaimala programme) he mentions that one day he found Jaikishen composing ‘aye mere dil kahin’ in his room and a few minutes later he was gone as he always wanted to leave early. All music-duos divide their work. I would be surprised if this is new info for some. For a long time Shankar was the dominant/senior partner and the de facto ‘project manager ‘. For a long time, Jaikishen was the younger/junior partner, composed some tunes but mainly did background. In Dattaram’s documentary he mentions about Shankar pushing Shailendra for the lyrics of ‘aye mere dil kahin’ ( I was surprised it was not Hasrat who wrote it) . After Sharada entered the scene a gulf started developing between them until each of them got their own business (second half of 60s). Lata refused to sing for Shankar for a decade until Sanyasi. A hyphen began appearing between S and J. In 1970, Raju Baharatan wrote “it is only the hyphen that is holding them together”. If S got the business(film), J used to contribute one or two songs and sometimes none and vice versa, just to justify the SJ banner. Shankar kept loosing his prowess and produced noisy stuff and reused the antaras. If this is all new info for some on this forum, I am sure they did not follow ‘S-J’ seriously when they both were alive. It is too big a topic to discuss whatever little info I have on this here.
Ak @ 85 and all the present commentators who are concerned about who wrote what and who composed what of the SJ team.
The Beatles most of the songs are under the Lennon Macartney copy write description but about twenty years Paul MacCartney wanted to reverse that as “Paul McCartney; John Lennon! description and many of the songs he could reverse under the heading of his own as well.
However the Beatles are very much loved by the pop lovers and they complained about Paul’s taking credit of John Lennon’s input.
So presently he is walking softly but occasionally he praised late Lennon and many times crticised him. People find it strange behaviour to take the credit of a very creative genius.
But John Lennon was accused by many and the members of the group for breaking a most succesful group and also creatively highest in the Music of world and Britain. Before Beatles there were some composers classical and pop as well but none got so much success as them.
At the Liverpool the Airport is named after John Lennon and all Liverpuldians are very grateful for their slum city is put by the Beatles on the world map as thousands of tourists go to Liverpool every year to see the Beatles basment Singing Shade and buy hundreds of souvenirs of Beatles vist theplace called Penny Lane and Strwaberry Fields etc.
Sadly India has got nothing like that except to see Prabhat Studio in Poona but not RK studio nor Sj’es room where they composed and reherse themusic who were in their orchetra etc, etc.
SJ did something like that for India. in Bombay near Brebourn Stadium there is a monument dedicated to SJ. Their tunes have been put in the world map.
So why not enjoy their music and say they are the part of our heritage and go forward instead of scratching the XXXXX and waste time over something for nothing.
As I could see SJ had been un paralelled till about the late sixties when the duos LP and KA as well as RD stormed the scene. In fact, especially till then although LP and KA prodcued good music they were easily owershadowed. As the same Raju Bharathan once mentioned others learnt the art of popular music only from SJ.In this process excellent composers like Chitragupta and Salil Choudhary could nor make it because they had to compete with giants. However, in the fifties and early sixties CR , Madan mohan and OP did succeed mainly due to their efforts.
Raju Bharatan did not leave any opportunity to criticize S-J at that time but later as he ‘gained maturity’ be began appreciating the musical prowess of S-J. Here is an article in which he says Shanear was ‘the total musician’: https://shankarjaikishan.wordpress.com/2009/01/28/shanker-he-was-the-total-musician-raju-bharatan/
AK ji
There is a view that Raju Bharatan often played the role of Manthra. In an article he wrote Ravi as ‘iktara Ravi’ and used the phrase ‘bandmaster duo of Kalyanji Anandji; Laxmi-Pyare’.
In cricket he tried to create rift between Vijay Merchant, Pataudi.Wadekar and Chandu Border.
Regards.
Brilliant compilation AK!
Will come back again to comment in detail.
Antara,
Thanks a lot. Would wait for your comments.
Dear all,
I have been following the chain of comments on the question of Shankar and Jaikishan composing songs separately even when there was no rift between them. This is all derived from popular writings, mainly by Raju Bharatan, who is capable of identifying each song and apportion it to S or J. I am afraid I do not have that capability, and even after reading all his writings a number of times, I doubt I would be able to develop that capability. However, for whatever it is worth there is one important aspect. Even if they did the ‘composing’ separately, there is no suggestion that they had divided Dattaram and Sebastian D’Souza. A great part of a film song, and more so for SJ, is the orchestral arrangement. Take out the musical prelude, the orchestra and the interludes of Awara hun or Mera joota hai Japani, the songs become naked. I think most of us get conditioned to accept a Shankar/Jaikishan song as an S-J composition. Very superficially, I think Shankar can be credited with most of the dance and classical-based songs and Jaikishan for romantic songs. I have another rough ready reckoner: S for S, and J for J, that is if the lyricist was Shailendra, it was Shankar’s composition, and Jaikishan did (Hasrat) Jaipuri.
Lest someone gets a wrong impression, I am a sucker for Raju Bhartatan’s writings. Of late, a number of new visitors have joined SoY. In case you have missed it, I had written a review of Raju Bharatan’s Naushadnama.
AK 98
Is Raju Bharatan an autority on the making of the Indian films?
I thought he could write entertainingly at the period of Hindi Cinema when writing or talking about the Indian films was not so socially accepted norm and it was for commoners who spend time at the corners of the streets and gossip.
The serious writing on the films started with RK’s Awara and Satyajit Rays “Apu” triology.
The Poslonson hit parade on the Goa Radio and later the Binaca “Geet Mala” on the Radio Ceylone” brought in the listenres with Amin Sayani’s commentry
Still then talking and analyzing the songs of Hindi Cinema was not done seriously.
Only now people are doing it and finding the colour and depth of the water that has flown away under the bridge.
But we still do not have a serious crticism on the Hindi films songs. production values, direction, photogrphy and many other parts of the film.
I hardly can say there is a real critic of the Indian films. It is still all hearsay and gossip and more gossip.
Shalan Lal
Shalan Lal,
To be fair, Raju Bharatan has never claimed to be an authority on ‘cinema’. He does have thousands of anecdotes which have become the basis of a good deal of our ‘knowledge’ relating to film music.
Tyagiji,
You have seen my views on Raju Bharatan. Since I like reading his writings, I suspend my disbelief, and I refrain from passing any judgments on him.
When both S&J were alive and I was a die-hard fan of theirs, I used to hate Raju Bharatan’s unsavoury comments about them. Now, when I am more mature and am a fan of good music and not of any specific MD, I realize that Raju Bharatan used to called a spade a spade and was the only music critic of those days that followed film music closely. In contrast, there are many current-day music critics or presenters who talk about MDs of yore without researching much.
The topic Mohamad Rafi-SJ cobination songs has brought a deluge of
comments and I wonder in SOY any other topic had so much hits/comments.
All comments were interesting/informative. Being a fan or fanatic of SJ right from my school days and till date he is my No One MD and he will
ever be. As AK pointed out SJ’s stamp of finess in their composition
is the interlude and orchestration.
A singer like Rafi will never be born and so also the music duo like
SHANKER JAIKISHAN (no hipen) will be born again.
kal khel mein hum ho na who from Mera Naam Joker is written
for Shankar Jaikishan as their songs will remain etched in our memory
and will linger in our ears till we breath last.
Dinesh, why is it so hard to digest that MR-SJ Combo scored more hits than Muksh-SJ? Now you have brought in Raj k Sir… Mukeshjii has sung many high percentage of hits but not more hits overall… Including RK into it weakens your case as Mukesh has sung many other hits outside RK as well.
AKji,
I am joining late, but thanks for this post.
For SJ, I would say – aaye bahaar ban ke lubha kar chal gaye.
Lot of singers and actors became popular because of them.
As we say in cricket, they were good in all formats of the game.
Siddharth,
You have come up with another nice one-liner, “They were good in all formats of the game”. I wish I had the same felicity with words!
“S for S” and “J for J” is a well-known rule of thumb but it was refuted by Shankar, Hasrat Jaipuri and Dattaram in interviews available on youtube. I still take their refutations with a bit of salt because it is said that they had an unwritten agreement during their lifetime that they should not make public the actual composer of any song. It is rumoured that one of the reasons for the simmering differences between them at that time was that Jaikishen revealed publicly that it was he who composed ‘yeh mera pre patr padhkar’. Probably this was gossip but if we apply the above rule of thumb and listen carefully to their songs till Shailendra’s death, we would be able to appreciate the different styles. This is only one step of the algorithm. There are a few others which when applied to a lot of SJ songs will tell us who the actual composer of an SJ song could be, with at least 60-100 percent accuracy.
AK ji
Yours truly is a cricket player and coach. Hence I tend to take a view from the team dynamics angle.
Film making is a team event. Song creation again is a team event – MD,musicians, lyricists and singers being the team members. MD has to be the captain.
SJ was not a duo. It was actually a foursome because Shailendra/H.J. were regular members of the team for over 17 years. Shankar being the senior most was the team leader. So he had a major say in the distribution of songs of a film among the two lyricists. Jaikishan and occasionally film director also must have taken active part in discussing this distribution.
Both Shailendra and HJ were all-rounders. They wrote very well for all types of situations in the film story. If a philosophical song, being used as a sort of background song, was required Shailendra would be the favoured one. Otherwise little to choose between the two.
Shankar and Jaikishan naturally had different strengths in playing of instruments. If there was strong presence of Sitar pieces in a song, the major contributor in creation of such song might have been Shankar. Similarly for Jaikishan if more use of mandolin/accordion. Examples: (a) Sur Na saje Manna Dey, Basant-bahar
(b) Aaja ayee bahar, Lata, Rajkumar
Yet in fairness, most of their songs need to be classified as team effort. If a song was given to Shailendra nothing stopped him from consulting HJ (or vice versa). Similarly for Shankar and Jaikishan. After all the team wanted the product to be very good. Because their team churned out excellent products for over 17 years, we can infer that the foursome was a well knit team. A few indifferent performances may be excused – even the greatest players have their off days.
Regards
Tyagiji,
That is a nice comparison. They also followed a good team code that what happens in the green room lives there. Outsiders see a joint performance.
AK’ji and all other folks of SoY family,
Well I am back as I was forcedfully out with a breakdown of my computer . It will take me a little time to go thru the post and will join in the lively discussions you all are having .
Shankar began as a percussionist but mastered accordion, sitar, piano and some other instruments too. A mention of his knowledge of various instruments was made in the Voice of America program about SJ, by Gopal Sharma, AIR and many others. He was cautioned about sustaining cuts while playing the sitar because he was a diabetic. He used to compose tunes on the piano once he gained mastery over it. He used to demand a heavy orchestra for his songs and is known for his “100 piece orchestra” for which Raju Bharatan used to criticize him. Most of the violin-heavy songs with counter melodies and noisy ones during the 60s were his compositions. He was a master of both harmony and melody while Jaikishen was a master of melody. Jaikishen used to like mandolin, sax, flute and wind instruments. Most of the LP-like songs were his. In fact Laxmikant was an ardent fan of his as mentioned by Anandji at the time of former’s death. I consider Shankar a musical genius who went crazy in the second of his career :-).
AK ji;
Its a great feeling going thru the various comments of the knowledgeable persons some of them new but very well informed of the richness of SJ’s melodies.
It is true that SJ had that extra qualities of extracting playback style from Rafi sahib for different heroes which one could easily guess wheather the song is for Dev, Shammi or Rajendra kumar . I think S D Burman was the only other MD who could do justice to use best of the voice of Rafi sahib for Dev Anand . My flashback goes to …..khoya khoya chand days to all the songs of Tere ghar ke saamne….like…..Dil ka bhanwar….Dekho rootha na karo…..Tu kahan yeh baataa….Sun le tu dil ki sazaa and extension of this quality perfectly brought forward by SJ in practically all the songs of Asli Naqli…..Tujhe jeevan ki dor se….Ek buut banoun ga….chheda mere dil ne…..kal ki daulat… .
There has never been mismatch of Rafi sahib songs for SJs right from the Humrahi, Sasural days , be it slow paced or a fast number . For example
…..Woh chhale jhatake daaman…..
https://www.youtube.com/watch?v=dFEM3Klmno0
…..Teri pyaari pyaari surat ko…..
https://www.youtube.com/watch?v=lG-2kRGGQ2o
Similarly , for Shammi kapoor even the slow paced songs were easily recognisable ; like
…..Haseen ho tum khuda nahi ho……
https://www.youtube.com/watch?v=SCGybh32xas
Apart from these playback qualities Rafi had his own style when he gave playback to non heroes like….pedestrians or street singers . And what a beautiful results it had like the one in the main topic by AK ji…..Jaane kahan gaayi . Every stanza every line is worth listening to again and again and over and above SJs simple street instruments used matching the situation of the song . There are many such more songs …..like the one from Shri 420…..Ramiya wastavaaiya…Mukesh singing for the hero and Rafi for ordinary pedestrian where his voice is his own and not matching any hero . There are two more classic examples from Seema and Boot Polish…….
Humhen bhi dedo sahara ……
https://www.youtube.com/watch?v=GwPscVP3YaE
Tumahre hain tum se duua mmangte hain…….[with Asha]
https://www.youtube.com/watch?v=tPTmsFITtT0
There is one more such song from Yahudi…..Yeh duniya hai hammai yeh duniya…..which carries the patho factor a stamping of the like of other such songs of Rafi sahib.
https://www.youtube.com/watch?v=XufR5l_W4Q8
Note the range of rafi sahib beautiful rendering and the simple matching orchestra . I pre assume that this was the Shankar’s special subject of treatment .
SJ had one more quality of giving extra treatment to their chosen best songs in the form of pre extension of preludes that matched the story and that gives the reasoning of the song to be there ; as also the post extension of postludes for the same reason. Badan pe sitaare lapaite huye….and ….Cheeda mere dil ne…..are such examples that exists in the movie version song and not on LPs . Similarly for ramiya wastaviya….the prelude of the song is fittest example of pre extension of the song.
https://www.youtube.com/watch?v=rW72kDrJvwA
There are many such situation in Awara songs also . I think this is Ms. Shalan Lal ‘s subject which she have mastered over each and every art that is there in the film . I am recalling background music and directional treatment of Raj Kapoor . The five or six minute scenes before the song…..ek bewahfa se pyar kiya…..is worth watching . See the beauty of the people gathered on the Nargis birthday. Every one dressed to perfection in Black suits and bows ; the persons looking as cream of high up society and why not – its Judge Sahib’s party . Prithviraj sahib looking handsome . Nargis and her friend eagerly waiting for Raj kapoors arrival …..and ….there is beautiful chosen background music that men humming over tap and clap sounds over piano accordeon….He is a jolly good fellow he is a jolly good fellow, hip hip hurray……no cutting of cakes no special announcements , only pure music followed by excellent song.
A like of such party scene was there in Sangam just before …..Har dil jo pyar karega..song. Again a judge’s party , a good song over piano and accordeon but slightly lacking in invitees presentation . In Awara every one was dressed like Jaikishan used to dress in Black suits . In Sangam there was nigar sultaana pitched against the anglo indian girl of Awara.
……to be contd……
KS Bhatiaji,
You are making a grand comeback. Thanks a lot for your excellent analysis. I have to add just one quibble – when you mention “the only MD who could” in the context of Rafi, Roshan figures very prominently in my mind.
Ak ji;
I have a great respect for Roshan . As a person and as a composer he was most non contraversial and had many hits up his sleeves . My observation related to SDB , Rafi, Dev anand and SJ equations on quality balance. How can one ignore Rafi’s gems for Roshan……Man re tu kahe na dheer dhare……Mause to hun wade pe tere …….Dil jo na kah sakaa….Kaarvan guzar gaya…..Zindgi bhar nahin bhulaegi…..etc. Roshan was very effective in using Rafi as playback for Bharat bhushan and Pradeep Kumar .
Pandey’ji , Ms. Shalan Lal @67….onwards;
I entirely agree with both of you. The lyrics for Sharda songs were surely made of slices that could spell some thing good to render at ease with the SJ’s compositions ; but one thing for sure sharda’s songs were made to decorate with beautiful instrumentations rhyhtm and balanced orchestra be it a a slow or fast number. Here are a few which I think stand as examples….
1. Ayega kaun yahaan…….Gumnaam
https://www.youtube.com/watch?v=BQ96kvKTpPc
2. Kisii ke dil ko sanam…….Kal Aaj Aur Kal
https://www.youtube.com/watch?v=6ezESfyNUng
3. Albele sanam tu laya hai kahan…..Naina
https://www.youtube.com/watch?v=jsa-ft-l_B0
4.Leh ja leh ja leh ja mera dil…..An Evening in Paris
https://www.youtube.com/watch?v=X5HvYEfdwZo
5 Jaane kya cheez tune mujhko pilaa di….[ with Kishore]….Naina
https://www.youtube.com/watch?v=K4P4CSwQUog
6. Jaane chaman shola badan…..[ with Rafi]……Gumnaam
https://www.youtube.com/watch?v=B2f0NzCohyY
The last composition reminds me of Nat king Cole’s….Autamn leaves falling thru the window…..must listen to this song also.
https://www.youtube.com/watch?v=L1JiYe543x0
AKji,
With the demise of Shailendra and Jaikishan in quick succession it was a double whammy for the SJ brand. Shankar could not sustain the popularity with other lyricists.
But, here is a beautiful and rare song of SJ with Gulzar –
https://www.youtube.com/watch?v=NL83GRm5bjQ
Seema (1971) – Jab Bhi Yeh Dil Udaas Hota Hai – Mohd.Rafi & Sharda
Decent collection
Read your blog on Rafi vs Kishore. Since discussions are closed, I’ll just say we share a few views. Both are fantastic singers but if I have to pick one, it is Rafi. One thing that beats me is that from the time I heard ‘koyi humdum na Raha’, I always thought Kishore was a great singer. However, it took many more years for our music directors to discover Kishore’s talent. How the hell did our musical geniuses miss out on such a prodigious resource? Imagine how many more gems we would have got if they had recognised Kishore’s ability earlier!
How about a blog on the only woman music director we had, Usha Khanna? And how about another on the best music director ever? That would be a real hot topic. Of course, I am only talking of the 60s to 90s, not the current music, which leaves me cold.
AK, after having gone through many of your blog’s, I am astounded that one great composition of Naushad did not get a mention anywhere. ‘Tere husn ki kya tareef karoon’ from Leader is my favourite Rafi-Lata song. It is a masterpiece. Figures on my top 10 songs ever. The situation, the lyrics, the music, the tune, the fantastic rendering by the singers, all make it a classic. Do you agree?
Raj
Raj,
I have done a post on Rafi’s songs by Naushad. In duets I would rate Tu Ganga ki mauj main Jamna ki dhara or Yaad mein teri jaag jaag ke hum far superior to Tere husn ki
Raj,
There were multiple reasons. Being involved as actor, KK was nt really serious about playback career. Besides, he was seen as unpredictable in his behaviour. Aradhana (1969) was a Black Swan event which put KK in a higher orbit.
Usha Khanna being virtually the lone woman MD does deserve a special write up. Noted for whenever.
AK ji;
Usha Khanna surely deserve to be one among the leading MDs of certain fanfare listeners . Her father’s contribution should also find place in the proposed article .
AK@119
Talking about duets, as discussed in Duet Balance Index Tu ganga ki maug mai jamuna ka dhara can hardly be called a duet. I would not rule out Shamshad Begum in chorus.
But agreeing with you about tere husn ki kya tariff karoon I would rate the other duet from Baiju Bawra Jhule me pawan ki aayi bahar as one of his best.
To the person who wanted info on Rafi’s connection with Dharmendra, there is one film in which at least two fabulous songs feature. I can’t remember the film’s name, but the songs are: Jhalkaye jaam and Hui shyam unka khayal aa gaya. LP was the MD.
Raj,
The film is Mere Hamdam Mere Dost. But Rafi-Dharmendra is a very common combination. Out of the many, one I especially like is Main nigaahein tere chehre se hataaun kaise from Aap Ki Parchhainya., MD Madan Mohan.
Watched a UTube programme recently on Rafi’s anniversary celebrations. SP Balasubramaniam paid tributes to the great man. He said when Sangam released, people were wondering why Vaijayantimala would fall in love with Rajendra Kumar when a handsome Raj Kapoor was courting her. SPB said V did not fall in love with Rajendra Kumar, but with his voice. To illustrate, he sang: Meharbaan likhoon, hasina likhoon, ya dilrubaa likhoon …… yeh mera prempatra padhkar. He said no girl, not even Vaijayantimala can resist Rafi’s voice. When such a great singer pays such tribute to Rafi, need we ask for more?
AK, as usual your knowledge is fantastic. My wife and I often listen to old songs together and she asks me who is the MD. I say, if you come across a fantastic ghazal, either in Rafi’s or Lata’s voice, the MD is usually Madan Mohan.
AK, ksbhatiaji,
Les Fanfoireux – Brass Band from Brussels enjoying SJ Rafi song. Surprisingly even the lyrics are perfect.
https://www.youtube.com/watch?v=p35SzPHCG5o
Ms. Mumbaikar 8 ;
Thanks for the Brass Band song a copy of SJ’s one from Gumnam . This song have many version copies in the euro and western music world . Even the tune is played as background music for many of their advt.s
Another song of the film……jaane chaman shola badan…..however is a copy of the west……Autumn leaves falling thru the window.
My two paise – That Mohd Rafi was a genius is no news. Even as a teenager, he could have regaled large crowds for hours, on his own.
Coming to the top four on your pedestal, I find it very likely that its exactly the songs from these greats, which also get Mohd Rafi labelled as “Rondhu (crybaby)” sort of singer (which of course greatly offends learned audience like you). On the other hand, you have SJ who introduced fast paced, sad songs.
I request you to kindly refrain from taking SJ so lightly. It takes a SJ to compose “Jaan Pehchan Ho”, which establishes Mohd Rafi as a potent force in US/Europe. Of course, you may snigger and choose to label that as inferiority complex. However, to me, SJ were about sound of music. That makes there music break the language barrier. That allows them to score high quality music in different styles.
In general, there are 3 groups wrt Mohd Rafi. Status-quoists like your top 4 (measure them on the variety parameter), experimenters (mainly SJ and OPN) and the followers (major one is LP, following the SJ lead).
If SJ is the fountainhead of variations, Mohd Rafi is the enabler. There is hardly anyone whose voice is so versatile as Mohd Rafi. And SJ tapped/explored that versatility to the maximum extent.
Now, coming to ksbhatia ji (128). Sir, please don’t use “copy”. The same trove of music has been available to everyone. If others can start “copy” like SJ, all of a sudden HFM music will reclaim a big part of its lost glory. But, that hasn’t happened almost for 5 decades now.
The Midas Touch, that SJ had in their heydays was always present. Many people tried unsuccessfully to find their secret sauce. Many people claimed to inspire SJ through their “inputs”.
However, for some reason, they could only inspire SJ. Apparently, their other collaborators were completely deaf to their inputs.
Be it Raj Kapoor, Shammi, Rajendra Kumar or Sebastian, their work with SJ is in a different league altogether. If this is not “Midas Touch” what else is?
Time to do the “Chasma utaaro, phir dekho yaaro…” exercise?
God bless! 🙂
-Kanishka
Knishka,
Thanks a lot for your detailed and very insightful comments. You seem to be piqued that I put SJ after my top four. I clearly get that you would like to place SJ-Rafi far above them. But isn’t it a matter of personal choice? I wouldn’t use the pejorative term ‘rondhu’ for his poignant, soulful songs. If ‘Sunhani raat dhal chuki’ comes at the top of recall for Naushad, ‘Hum bekhudi mein tumko pukaare chale gaye’ for SD Burman, and so on, there is nothing to mock at them, or at the people who like these songs. But it is interesting that on SJ my selection converges with your observation: more than half the songs in my selection are fast-paced joyous songs. Let us respect each other’s preferences.
There was another film Yaqeen with this combination of Dharmendra & SJ with two great chart busters 1. Gar Tum bhula na doge, 2 Yaqeen Karlo Mujhe Mohabbat hai Tumse Tumse, penned by Harsrat. Hope it helps. A true Rafian..
Syed Tanweer,
Welcome to Songs of Yore.
Shankar jai kishan is above these four composer because no one have so variety as SJ had .orchestration ,prelude ,interlude & use of rhythms were super than any composer .
Even they had used every singer voice rafi sahab ,mukesh ji ,mannadey ji ,lataji ,suman kalyanpur ,sharda ,kishore Kumar ji ….
Most hit songs in film industry they had
I heard very keenly the songs of mohd.rafi sahab with the music of SJ& LP.both .
But the songs of SJ have some edge in melody matter .
LP try in a fast manner to capture the soul of song but SJ have versatility in melody department.
I will add here a music composer Ravi very underrated here .
Clean & correct rhythmic song he composed.
I wish to introduce myself as a great admirer of the Golden Era songs (not only in Hindi but also my mother tongue Tamil). I have read many great articles in this very informative blog. So heartening to see many well researched articles from many knowledgeable persons in this forum. Thanks to the creator of the blog and the contributors.
Only now I have taken the initiative to write in this forum. And the best place to begin , in my opinion , was this particular article which is about two artists ( rather three !!) whom I admire the most. Rafi is part of my soul. Not a single day goes without listening to his songs . And the other is Shankar-Jaikishan.
Though the songs mentioned in this are some of the best this combination, and I also fully understand this is the perspective of the author, i would like to add few songs that SHOULD be mentioned whenever we think of Rafi & S-J. I will mention only few here and in case I am permitted to contribute to this august forum, i would write a detailed blog on the other songs. These are rarely mentioned / played anywhere but are real masterpieces.
#1. Aaj Kal Mein dhal gaya din hua tamam-Film: Beti Bete, Lyrics by Shailendra. There are very few lullabies by male singers and this is a classic Rafi song (though there is a Lata version also in this film). Shailendra’s words-Neend kehe rahi hai chal, meri bahen thaaam adds so much beauty.
#2 Jaan Penhchan ho, jeena aasan ho-Film Gumnaam, Lyrics by Shailendra. Till today I really can’t understand why this song remains so unknown in our country whereas in western countries this absolutley original JAZZ composition has been taken into some films, commercial advertisements, played by their own pop groups etc. Rafi really rocks in this.
# Sadque Heer Tujhpe-Film : Mera Naam Joker, Lyrics by Prem Dhawan. Unfortunately, this great heer song was cut out from the movie and hence remained in obscurity till I happened to hear this few years ago thanks to YouTube. The only song by Rafi in this movie and I dont know whether the words in the last line of this song ” Tere dar pe hain, aakhri baar aaye turned out to be prophetic in the sense that Rafi did not sing further in any of the RK films( to the best of my knowledge..pl correct me if I am wrong).
More later friends–wishing all the very best for the festive season!
Mr Sivanandan Palamadai,
Welcome to SOY and thanks a lot for your valuable comments. Among the three songs you have added ‘Aaj kal mein dhal gaya’ is my special favourite. It could have replaced one of the songs in my post.
In the film ‘Do Jasoos’ (1975) Rafi had some songs. I don’t know whether he sang for Raj Kapoor or Rajendra Kumar.
I am sure you have such a wide perspective that you don’t have to feel inhibited to comment on this forum. We hope to see your more active here. Wishing you too a very Happy Deepavali.
Thanks AK ji for posting my comments & also your response. In Do Jasoos, Rafi sang for Rajendra Kumar. I was talking about Rafi not singing in any of the RK film productions after Mera Naam Joker.
Anyhow , after SJ , music turned mediocre in RK banner except some one or two songs in films like title song of SSS & RTGM . Better not to discuss those here.
Removing Sadqe heer tujhpe from the film was a grave injustice.