Shankar-Jaikishan’s dance songs for Lata Mangeshkar

February 12, 2016

(DP Rangan recently asked me who would be the music director of 2016. Obviously, he presumed there would be one, because I celebrated 2015 as the Year of Naushad (with C Ramchandra in tandem), and the year before that as the Year of Anil Biswas. Concurrently, I also covered SD Burman extensively, but that happened organically. Next in line, no one deserves this honour more than Shankar-Jaikishan, who were arguably the most successful music director(s) ever, and among the most dominant figures on the music scene for about two decades. I start my tribute to SJ with a special niche of their songs for Lata Mangeshkar which has been my great favourite, and which would make your heart dance. Thank you Mr. Rangan, for the timely reminder. – AK)

Shankar-Jaikishan with Lata MangeshkarShankar-Jaikishan have come in for some unkind comments on Songs of Yore, not so much for the decline in their music in the later years – everyone has a sunset – but for some of their astonishing Filmfare Awards. When they composed Jai bolo beimaan ki, no one would have realized they meant it literally, and would pull it over Pakeezah. They had achieved a similar feat with Pehchaan. This was no less brazen than their Dil Apna Aur Preet Paraayee victory over Mughal-e-Azam, or Suraj over Guide. Yet, even if we delete all of this, and all that is considered loud and unmusical, what is left is still enormous in scale, and of outstanding quality. Shankar-Jaikishan are by any yardstick among the greatest music directors, and arguably the most successful ever. When I think of them, I remember a very nice line from a story of Nirmal Verma – कुछ झूठ अनावश्यक होते हैं. Siddharth put it very aptly that Beimaan is not their only Pehchaan. One very important part of their identity is their songs for Lata Mangeshkar, and I start my tribute to them with a very special sub-set of their songs for her, which is very dear to me.

Quite a while ago, Ashok Vaishnavji sent me a link of an article which suggested that Lata Mangeshkar has not been generous in giving due credit to Shankar-Jaikishan in her career. I usually confine myself to music and avoid making any judgments about the artiste as a person. Ignoring the personal part, this article set me thinking as to what SJ and Lata Mangeshkar mean to each other, musically.

SJ stormed the Hindi film music scene with RK Films’ Barsaat (1949). Music was a very special part of RK films. SJ reached the top with their very first film, which had Lata Mangeshkar almost all the way, figuring in 10 out of 11 songs. Later, there were many films in which all or almost all songs had Lata Mangeshkar’s voice, such as Kaali Ghata (1951), Poonam (1952), Aurat (1953), Patrani (1956) etc. Out of 171 films for which Shankar-Jaikishan composed music, Lata Mangeshkar sang for them in 124 films, singing over 450 songs for them of which over 300 were solos. C Ramchnadra’s Lata Mangeshkar obsession or Madan Mohan-Lata hyphenation is more talked about. But her central position in SJ’s music is no less conspicuous.

Lata Mangeshkar, too, who had debuted a couple of years earlier (an excellent write up on her early career is here), single-handedly transformed the film music world in 1949, dethroning the great playback singers of the earlier era such as Suraiya, Amirbai Karnataki and Shamshad Begum from the top. Apart from Ayega anewala (Khemchand Prakash) and Uthaye ja unke sitam (Naushad), Barsaat songs have an important place in creating the Lata-phenomenon.

Lata Mangeshkar soon became synonymous with female playback singing. SJ, on their part, became the most prolific and, commercially, the most successful composer, and a large part of their work is also musically outstanding. Naturally, SJ-Lata became a strong combination for about 20 years, creating songs for all the big banners and all heroines. Regardless of the reported tiff between them later, or whether they were fair in recognizing each other’s contribution or not, some of the Lata Mangehskar’s best and everlasting songs are composed by Shankar-Jaikishan.

Not much older than Lata Mangehskar, SJ could not claim any special role in grooming her, as other stalwarts did. But they did not have to, because they spoke with their songs for her.

Best of SJ-Lata would normally include RK’s Meri ankhon me bas gaya koi re, Raja ki ayegi baraat and O basanti pawan pagal. Talking of RK films, it was often said that Raj Kapoor created all the music himself for RK Films, and SJ or other composers simply gave the orchestration. Over the years, both SJ and Lata worked for other banners also, creating a different kind of music. In my active radio listening years, a special kind of songs, one after another, held me spellbound. These were all dance numbers; the dance rhythm was either folk or classical based. Some had Arabic or West Asian origin, but had universality of folk. But the most important part was that those songs were uniquely SJ-Lata’s. Their stamp was unmistakable – you could not imagine those songs in any other voice, nor composed by anyone else. And, lest part of SJ’s credit is given to RK, I have taken care not to include any song from that banner or from any film from outside the banner which had Raj Kapoor in the lead role.  It goes without saying that SJ would not have dared to use RK’s ‘tunes’ outside his banner.

Let me share some of the ‘special’ SJ-Lata gems which have been my great favourites for over three decades.

1. Unse pyar ho gaya from Baadal (1951), lyrics Shailendra

This was the year of RK’s most celebrated film Aawara. SJ were not awed by the big banner, because in the same year, they gave great music in small-banner films like Baadal, Kaali Ghata and Nageena. These films established SJ style of orchestration, which was very different from that by anyone else. They presented Lata Mangeshkar in many colours – one of which was joyous dance songs, which may not be a formal dance on the dance floor; the heroine could be dancing just by herself because she has just fallen in love with her man. The song is picturised on Venus-Madhubala.

2. Kaisi khushi ki hai raat balam mere saath from Nageena (1951), lyrics Hasrat Jaipuri

Again a delicate dance by the leading lady, Nutan, because her lover is with her.

3. Chanda ki chaandani me jhoome jhoome mera dil mera from Poonam (1952), lyrics Hasrat Jaipuri

All the nine songs of Poonam are in Lata Mangeshkar’s voice, almost all of which are still remembered by music lovers. I had a tough choice between three dance songs: Din suhaane mausam bahaar ka, O bhole baalama O more saajana and Jhoome jhoome dil mera. Since we are talking of the songs making your heart sway, let us dance with Kamini Kaushal in the moonlit night. The song has both Sajjan and Ashok Kumar entranced.

4. Ulfat ka saaz chhedo shama suhana hai from Aurat (1952), lyrics Hasrat Jaipuri

Aurat is another film which had all the nine songs in Lata Mangeshkar’s voice. You again have tough choice between several outstanding songs – some picturised on Bina Rai and some on Purnima. Bina Rai is any day more charming than the latter. Dressed in white, she looks like a celestial beauty, dancing in the court of Prem Nath Ulhas.

5. Khushiyon ke chaand muskuraye re from Mayur Pankh (1953), lyrics Hasrat Jaipuri

Do I need to say more?

6. Kisi ne apna bana ke mujhko muskurana sikha diya from Patita (1953), lyrics Shailendra

Usha Kiran is not one you associate with uninhibited dancing. But if someone has made her special, and she has to ‘sing’ Shankar-Jaikishan’s music for Lata Mangeshkar, she can’t suppress her joy and would break into dance if she is by herself. Patita had only six songs, but it was an SJ landmark for its variety: Talat Mahmood’s three solos including Hain sabse madhur wo geet mere, and a Hemant Kumar/Lata Mangeshkar all-time great twin song Yaad kiya dil ne kahan ho tum. And this, their signature dance song.

7. Kaare badra tu na ja na ja from Shikast (1953), lyrics Shailendra

The song starts on a joyous note, but half-way it acquires poignant, philosophical tones – they had to make some concession for the Tragedy King Dilip Kumar. But the song has delightful beat all through and I imagine it as a dance song. Nalini Jaywant does seem to be swaying in the beginning. This is among my great favourites.

8. Main piya teri tu maane ya na maane from Basant Bahaar (1956), lyrics Hasrat Jaipuri

SJ meant Basant Bahaar to be their answer to Naushad’s Baiju Baawra. The result was not quite what they expected, in spite of Bharat Bhushan. The movie flopped, but they gave great music. And they had a line up of stalwarts of classical music to match DV Paluskar and Ustad Amir Khan (in Baiju Baawra). They managed to pit Pt Bhimsen Joshi against Manna Dey in a duet Ketaki gulab juhi champak ban phoole. Main piya teri is embellished by Pt. Panna Lal Ghosh’s flute. A beautiful song in their favourite Raga Bhairavi makes Nimmi dance.

9. Tum sang preet lagaai rasiya from New Delhi (1956), lyrics Shailendra

Now we have a trained dancer Vyjayanthimala dancing to this beautiful song, which is based primarily on Punjabi folk, but avoids the OP Nayyar’s masculinity and maintains SJ stamp of sweetness.

10. Mere sapne mein aana re sajna from Raajhath (1956), lyrics Shailendra

SJ’s dance song does not always mean you have to hit the floor. At times your heart sways, like Madhubala’s delicate dance in this beautiful song.

11. Meri jaan meri jaan pyar kisi se ho hi gaya hai from Yahudi (1958), lyrics Shailendra

Seven songs of Yahudi showcase enormous talent of SJ. It has Mukesh’s iconic Ye mera deewanapan hai, and at least four absolutely outstanding dance songs which have Lata Mangeshkar’s voice: Bechain dil khoi si nazar (duet with Geeta Dutt), Meri jaan meri jaan, Aate jaate pahlu mein aaya koi and Dil mein pyar ka toofan na samjhe koi naadan – each surpassing the other. I am presenting Meri jaan, picturised on the leading lady Meena Kumari for her delicate movements, and SJ’s outstanding use of chorus.

12. Baagon mein bahaaron mein ithalata gata aaya koi from Chhoti Behan (1959), lyrics Shailendra

Raju Bharatan makes the story of Chhoti Behan slipping from C Ramchandra, and Shankar-Jaikishan grabbing the opportunity sound as a suspense thriller. This film marked SJ’s knocking at the big guns in terms of the fee commanded. Nice story, but as far as I am concerned, from their very first film SJ were composing great music consistently. This film had the cult Rakhi song, Bhaiya mere Rakhi ke bandhan ko nibhana, and this great dance song with beautiful picturisation on the sister Nanda.

13. Tera jalwa jisne dekha wo tera ho gaya (1959), lyrics Hasrat Jaipuri

I end this post with the mother of all dance songs, and what a storm Kumkum dances up, leaving the two leading heroes, Shammi Kapoor and Raj Kumar, guessing, and the whole crowd in raptures. Notice Kumum’s floor-act in sync with the violin – absolutely beautiful.

I have ended at 1959 on purpose, because Shankar-Jaikishan came to be regarded as the monarch of the 60s. Nay, even before that, when they were not officially anointed as the No.1, they gave great music.

{ 143 comments… read them below or add one }

1 Ravindra Kelkar February 12, 2016 at 12:37 am

Wonderful article & songs. As usual, you have come with a unique theme like Dance numbers from LATA-SJ combo. SJ were undisputed rulers of successful films in the period 1960 to 1970. They had the talent, they had very good PR caretaker in Jaikishan & they had Lata. That’s the reason why they reigned as number one for so many years.

2 Anu Warrier February 12, 2016 at 3:48 am

AK, a lovely way to begin the SJ era at SOY. I grew up with Shankar-Jaikishan. With a father who was a diehard Raj Kapoor fan, this was not surprising. Regardless of their misdemeanours (mostly Shankar’s, if we’re to believe what’s reported), they were extremely talented and gave us some beautiful melodies.

I think the whole point of Lata not giving ‘adequate’ credit to SJ is hogwash. Firstly, as you pointed out, SJ were more her peers than her mentors. Though Lata had debuted earlier, not to mention a clutch of other songs, it was Barsaat that catapulted everyone concerned to the top – SJ, Lata, Shailendra… Aayega aanewala cemented that position. (Or vice versa – both Mahal and Barsaat released in the same year.

Besides, in her Conversations with Nasreen Munni Kabit, she is extremely lavish in her praise for both Shankar and Jaikishan.

My favourites from among your picks are: Tum sang preet lagaayi rasiya, Meri jaan meri jaan, and Tera jalwa jisne dekha – the last, as much for Kumkum’s dancing as for Lata’s singing.

3 chitrapatsangeet February 12, 2016 at 6:31 am

Well done AK! Very nice article. I personally like such focused themes as it allows to expand and look closely at such songs and get a feel for the versatility of the composers. Here is my favourite-

4 AK February 12, 2016 at 6:44 am

Ravindra Kelkar,
Thanks a lot for your appreciation.

5 AK February 12, 2016 at 6:53 am

Thanks a lot for your appreciation, and the additional perspective you have given. About Lata giving credit to SJ or other MDs, I think she would be quite diplomatic in some contexts, and equally dismissive on some othe occasion. In 1967 HMV brought out a special album on her silver jubilee of singing (counting from her debut with Marathi songs in 1942) in which she selected her ten ‘best’ songs. This had two of Madan Mohan, and Laxmikant Pyarelal too found a place. Another was a non-film song composed by her brother. That left room for only six. If my memory serves me right, Anil Biswas, C Ramchandra and SJ were missing from this list.

I was shying away from mentioning this unpleasant story. But since the point has come, and since you are a Raj Kapoor expert, you can throw some light on this. It is said that when RK was in dumps after Mera Naam Joker bombed, one reason perceived was Lata Mangeshkar’s absence in it. She made him grovel before her to sing for Bobby, but only on the condition that SJ were thrown out, and her then favourite boys, LP, brought in.

6 N.S.Rajan February 12, 2016 at 10:21 am

A very interesting and well done perspective on the SJ- Lata era of glorious compositions and mellifluous renderings. I do not want to strike a discordant note, nor to take away anything written in praise or admiration of the SJ team, particularly in the context of this article, which devotes itself to some of their superb compositions for Lata. I am 80 now and have always enjoyed listening to all these and many other such compositions from them. For instance, if 1959 is the cut off, how could we forget ‘Rasik Balma’ from Chori Chori or, ‘Tera Jana’ from Anadi, to mention ‘only’ two? Having said that, I feel SJ were humongous in their output but the proportion of really great or memorable compositions in them suffers in comparison with, say, Khayyam or Madan Mohan, whose output stood out for the high proportion of great compositions. Even Chitalkar has an advantage on SJ viewed in this light. These are merely some personal observations and I greatly appreciate the article. Thank you.

7 gaddeswarup February 12, 2016 at 12:13 pm

Very nice write up and selection.I also like many more, in particular, from Kathputli and from Seema

8 Ashok M Vaishnav February 12, 2016 at 2:01 pm

SJ getting their deserved space on SoY was certainly quite due.
The present article also has also very judiciously put a stopper at 1959.
I would very happily presume that AKji has laid the foundation for concentrating on the first decade of SJ’s voluminous, artistic, meritorious, popular and distinctive work spanning well into 70s (of course Shanker was alone after Jaikishan’s demise.)
If such is the case, the SJ journey here will be a far more interesting retrospective. That should also put them in very correct perspective with other greats of the 50s era. There would not be a better tribute than this.

9 AK February 12, 2016 at 2:31 pm

NS Rajan,
Welcome to Songs of Yore and your generous words. You would be among the very senior brigade of seniors at SoY. I have mentioned in my post that I kept out RK banner and Raj Kapoor-acted films on purpose which I have explained. Further, it was specifically on dance songs. But you are right, in any best list of SJ-Lata Mangeshkar, Rasik balma and Tera jana would figure. I agree entirely with you on Madan Mohan, Khayyam and C Ramchandra’s higher ratio of memorable songs. This is even more true of Naushad.

10 AK February 12, 2016 at 2:37 pm

Thanks a lot for your appreciation. SJ-Lata songs are so many that one can’t do a meaningful list without breaking into convenient groups.

Jaao jaao Nand ke lala is a beautiful dance song. But I was focussing on dance songs which are not purely classical, but more filmi, if I may use the term.

11 AK February 12, 2016 at 2:39 pm

Thanks a lot for your appreciation. Both the songs you have mentioned are very nice and fit with the theme.

12 AK February 12, 2016 at 2:45 pm

The catalyst for this post was the article you had sent me, which you might have forgotten but I always keep interesting things stored at the back of my memory.

I do hope to cover SJ in a series as I have done in case of other MDs. But my time line would be up to 60s. I ended this one at 1959 just to show that even before they became ‘No1’, they gave great music, or probably greater music.

13 Gaddeswarup February 12, 2016 at 3:16 pm

AKji at #12. We usually associate ‘versatile composer’ with C.Ramachandra. From your write up and comments, it seems that SJ were perhaps equally versatile. I wonder whether their association with Raj Kapoor has made many associate certain songs with them and overlook their overall output.

14 Dinesh K Jain February 12, 2016 at 3:21 pm


An interesting niche theme, a good selection of songs, and music closer to ‘my time!’. Thank you, I enjoyed the article and all about it.

If you allow me one little, tiny, inconsequential factual quibble. In the last Kumkum song, from Ujala, Kumkum is singing only for Rajkumar, and not for Shammi who was there only because he was the hero. Rajkumar played the local good-hearted toughie, who also had a soft corner for Kumkum’s character, but had not so much time for her, being the macho that he was!

15 Siddharth February 12, 2016 at 3:57 pm

Thanks for the wonderful article on SJ-Lata dance songs.
There are also equally wonderful female dance duets composed by SJ.

Is there any basis for RK claiming credit for songs in his films? I have read that for RK, they use to compose many tunes for every situation.

I entirely agree that SJ were better in 50s just like Kishore Kumar’s songs before 1969 are better.
Thanks for mentioning my name in the artilce. Feels great 🙂

16 ksbhatia February 12, 2016 at 4:15 pm

AK ji ;
Thanks for this wonderful post. Shanker Jaikishan has been my long time fav. along with Naushad sahib . SJ music is written over my heart and Naushad ‘s music is etched in chip of my memory .
All the songs are well chosen and are of SJ brand value . SJ were masters in composing melodies supported by beautiful rhythm and orchestration which were typical of their own style ; for which even their background music was also equally enjoyble . This year will be a great one for me to listen to SJ’s jewel box collection .

Ak ji ,I will keep 0n adding SJ /Lata ji’s dance numbers as time goes by . For the present here are two songs :
1. Murli bairan bhai kanhaiya tori……….New Delhi
This song is beautifully composed and really recall back Brindaban / natkhat Kanhaiya feeling . Nice dance by Vyaijantimala as also the camerawork .
2. O mere sanwale salone piya…………….Kanhaiya
The dance version is not traceable on YT .

17 ksbhatia February 12, 2016 at 4:32 pm

Gaddeswarup’ji @7;
Both the songs posted by you are my fav. too . Orchestra is superb in both the songs . The fast number Seema song , I generally compare with the fast duet song of Yahudi by Lata and Geeta dutt……Bechain nazar khoyi si dagar . Truely SJ had exceptional grip over dance numbers .

18 AK February 12, 2016 at 4:49 pm

Without doubt. Their work for RK banner is a very small part of their output, musically too.

19 AK February 12, 2016 at 5:01 pm

Thanks a lot for your appreciation, and the information on the Ujala song. I was guessing from the picturisation.

20 AK February 12, 2016 at 5:08 pm

There are wonderful dance duets too, in good numbers for a sequel.

Raj Kapoor was formally trained in music and he could play many instruments competently. There are references in public domain about his ‘music bank’ and his diect role in the creative part.

You gave a nice one-liner which I have used. Therefore, I should be thanking you. 😄

21 AK February 12, 2016 at 5:14 pm

KS Bhatiaji,
I know of your fascination for SJ as you have been posting their songs on Open House.

Nice songs you have added. Thanks a lot. SJ-Lata had nice dance numbers in Amrapali too.

22 Arunkumar Deshmukh February 12, 2016 at 6:04 pm

AK ji,

What a treat !
‘Mogambo Khush Hua’ !!
Believe me, I had somehow anticipated that you will take up S-J in a month or two.
These songs are a heaven. Except for no. 4 and no. 12, according to me, all the other songs are simply heavenly.
Thank you very much.
I would say, without S-J, probably, Lata would not have achieved the stature she did secure in her early career and also a dominant position in the industry.
Thanks again heartily for the wonderful bouquet.

23 P. S. Seshadri February 12, 2016 at 6:19 pm


Greta pick> I was hoping and praying that my fav number would be featured. And it is there! It is”Jhoome Jhoome Dil Mera” from Poonam. I never get tired of listening to it. Long long ago, in the 50s, there was a Tamil film song “Aalai Aalai Parkiraan Aattathaii Parthidaamal Aalai Aalai Paarkiraan” which was copy of this tune and that song is embedded in my mind. So the original version as well. Great choice considering that you can choose several by SJ in this genre.

24 Anu Warrier February 12, 2016 at 6:21 pm

AK, SJ were never in the running for Bobby. Jaikishan passed away in 1971. (Bobby was released in 1973.) But. According to Lata, RK was supposed to have given her brother Hridaynath a break with his next film. She was abroad, on a concert tour, and when she came back, she heard that LP were in. She was furious, and refused to sing. It was LP, who pleaded with her to sing for them.

I can’t blame her for the selection of songs for the special edition. When you’re given only ten songs to choose, one or the other composer would be have to be dropped. Also, you have to take into consideration market economics – the chap collating the selection also has a huge role to play in the matter.

When HMV brought out her 4 CD collection with her choices, everyone from Ghulam Mohammed to Hansraj Behl, from Naushad to LP and Ravindra Jain were represented.

25 AK February 12, 2016 at 6:26 pm

I am gratified with such generous praise. Thanks a lot. But I think you prefer CR above all.

26 AK February 12, 2016 at 6:40 pm

PS Sheshadri,
Thanks a lot for your appreciation. I am happy that you found your favourite songs.

27 AK February 12, 2016 at 6:45 pm

This gives a completely different twist to the story. Who knows the truth?

28 KB February 12, 2016 at 7:11 pm

Songs from Ujala and Sunle meri payalon ki geet sajana from Sasural are worthy additions. An excellent topic for discussion.

29 SSW February 12, 2016 at 10:40 pm

Nice article AK. Nice to see something on SJ, they were really good innovators and really wonderful musicians. Now to quibble a bit on your mention of Dil Apna Aur Preet Parai getting the award for SJ instead of Mughal-e-Azam for Naushad. I think the music of Dil Apna aur Preet Parayi was wonderful. I don’t care much for awards and I cannot say which one deserved more. However I will say that the music in Dil Apna aur Preet Parayi is no way less than the one for Mughal-e-Azam. Let us take this dance song by Lata.

It starts with rhythmic beats on the drums and a low note from the cellos.. This is followed by questions from cellos and violas and the violins answer at higher pitches till the instruments join in unison the violins playing the main melodies the cellos supporting them with a different line in the lower notes. This is followed by the piano and strings. Then sound of silence is such an integral part of music. 🙂 You hear the low notes of an accordion and then the percussion comes in along with Lata. But wait four measures, the tablas come in, the rhythm changes and notice the tabla lines, there are two sets of beats, it changes when Lata sings “mera dil kahan hai”, back again to the congas and then again into tablas. The first interlude, listen to the strings one a staccato beat followed by a more melodic line and then the interlude dies away to the notes of the accordion. At the verses see how rhythm changes when Lata sings “main hoon jawani ka” to bridge back again back to the refrain and the congas..
The second interlude is different from the first, a vibraphone(?) then the mandolin and then the accordion and back to the antara’s melody.

The rhythmic changes in the song, the instrumental arrangement and of course Lata’s singing are wonderful. I don’t know how much credit should be given to Dattaram and Sebastian for this but the music is lovely. They may not be based on Indian classical mores but they are excellent creative examples of good innovative popular music.
The other songs in this film are excellent too. SJ took the mukhda of Jim Reeves fairly pedantic ho-hum song “My lips are sealed” and came up with something infinitely better.

No no the award was not a brazen give away.

30 SSW February 12, 2016 at 11:26 pm

That should have read , “then the sound of silence , such an integral part of music.”

31 ksbhatia February 12, 2016 at 11:35 pm

SSW ji;
A beautiful analysis of a beautiful song …..andaz mera mastana…..All the songs of Dil apna aur preet parai carried excellent support system using right type of instruments creating right type of melody– as per demand of the story and situation . In fact each song fitted very well ; be it a street song , be it a club dance number . Rightly said the arranger and assistants really had a tough job in moulding such melodies .
Ak ji;
I will add two more songs here which may find fav.with others as well.
1. Lage jab se nain lage…….Daag
2.Do din ki zindgi aur dhukhre hain hazar………Poonam
Both the songs are melodious and have repetitive quality .

32 Naresh P. Mankad February 13, 2016 at 12:38 am

Interesting but unverifiable statement made by Raju Bharatan is that Shankar was well versed in classical dance and he composed most of the dance numbers.

33 AK February 13, 2016 at 6:13 am


34 AK February 13, 2016 at 9:51 am

Thanks a lot for your appreciation and detailed comments on Andaaz mera mastana. Your comments help me in understanding the music better. DAAPP did have very good songs. A great favourite of mine is Ajeeb daastan hai ye. But as a lay listener DAAPP music appears far behind Mughal-e-Azam to me.

35 AK February 13, 2016 at 9:54 am

Naresh P Mankad,
There was some kind of division between Shankar and Jaikishan. One thumb rule I have made is if the lyricist was Shailendra, it was composed by Shankar, (Hasrat) Jaipuri by Jaikishan. This is subject to what experts have to say.

36 Arunkumar Deshmukh February 13, 2016 at 10:25 am

AK ji,

Apropos comment no.25 of yours…

It is true that I like CR among all MDs,but there is no denying the fact that Lata’s songs benefitted CR whereas Lata herself benefitted from S-J’s songs to reach the Top quicker. Not only the number counted,but also the quality of music-especially for Lata songs by S-J. It was as if they put extra efforts for her songs. To some extent,later L-P did this.
The numbers will speak for them-
MD Films Total songs solos
1.CR 63 298 196
2.S-J 124 453 313
Another point in favour of S-J was that in the 50s and 60s films and songs (in Records or Tapes) were more easily available than they were in the 40s ( from 48 onwards for Lata).
So, decisively Lata got benefit from S-J songs more than songs from CR

37 Dinesh K Jain February 13, 2016 at 1:11 pm

Can someone, from among our great experts, identify, for my benefit as well as I suppose for general readership, among, let us say, about top 50 SJ songs as to which were Shankar’s compositions and which Jaikishen’s? I have been long extremely curious about it, for, among others, my sense has been that Jaikishen was more musical than his duo.

38 Ashok M Vaishnav February 13, 2016 at 2:06 pm

I would also agree with SSW @#29.
Apart from who got award for what reasons, DAPPP music was quite melodious, lyrics very meaningful and orchestration had that SJ’s signature verve.
In fact that typical nuance, a small incursion of accordion or a flute, a large ensemble of violins, smooth blending of piano notes, very pleasing rhythmic instruments made SJ songs stand out by miles even among some of the year-to-year individual songs by other competing ‘greats’.
More importantly, almost all songs of a film would have almost equal effort behind the song. As a result a very large number of their albums were hot cakes.
#AKji, I have also stored that article in my records, just for the sake of its archival value.

39 KB February 13, 2016 at 2:35 pm

With the exception of OP and to some extent Ravi ,SDB and N Dutta and in later years CR all other composers were heavily dependent on Lata. So also SJ. They did try with other female singers but without much success. It was in fact only OP who was on his own all along.

40 D P Rangan February 13, 2016 at 2:39 pm

Very much appreciate my name being mentioned as one of the factor in starting the first of many top class posts of SJ by you. I expect very many articles from you in coming months. If I come across some songs accidentally, I will mention them here though such chances are bleak as old timers of the blog would unfurl all such songs. I can think of a dance number from Basant Bahar (1956). Solo by Lata – Ja Ja re Ja Balamwa

41 mumbaikar8 February 13, 2016 at 6:46 pm

2016 Shankar Jaikishan year.
We are in for some very interesting combinations.
Beginning with Lata’s Dance songs! Exciting
Baker’s dozen is not enough for this category.
I will like to add a few.
Kabhi to aa o sapnon me aake film Patrani this was my mother’s favorite

Use mil gayi nai zindagi from Halaku my favourite

Mithi mithi baaton se dil mera loot liya filn Parbat

Muskurati zindagi ko – Baaghi Sipahi (1958)

Main Hoon Tere Sapnon AAS Is picturisation of this song precursor to Jahan mai jati hoon?

and last but not the least
Tera teer o be peer from Shararat where Kishore matches graceful Kumkum step by step

42 SSW February 13, 2016 at 6:54 pm

AK “Ajeeb dastaan hai yeh” is the song I was talking about when I mentioned Jim Reeves in my post. If you listen to the original and then SJ you see what has been done. I would still grant Sebastian a lot of credit. I’m not getting into which is better DAPP or Mughal-e-Azam, opinions are subjective and what tickles my fancy may not even register aurally to somebody else. If you like it, it is good for you.

To touch on another point I don’t think any MD was dependent on Lata. It is just that at time she was capable of singing complex melodies with relative ease so she pushed an MD’s creativity a bit more, when a lesser singer would need simpler adjustments. Very often delicate nuances, sudden movements in the scale etc are composed with the idea of a singer in mind. The same song would become a hit even if it was more simple as long as the main melody was catchy. The best song in a movie has not always been the most popular one.

Coming back to Mughal-e-azam , I really like three Lata solos. I intensely dislike “pyaar kiya to darna kya” and am indifferent to other numbers.
However even a simple song like “Jaane kahaan gayi” from DAPP moves me and the begining with the harmonium and guitar and then the quick essay by the strings moving into that typical Dattaram’s tekha on the dholak is gorgeous. Not Lata but still SJ

43 Mahesh February 13, 2016 at 8:25 pm

AK ji,

Am on a vacation hence I am “neticaped”.
I was surprised that Nargis dance in Awara did not find a place in the theme.

I will have to come back again n again for SJ.


44 ksbhatia February 13, 2016 at 11:26 pm

Ak , Mahesh ji[s] ;
Remembering SJs melodies from Barsaat and Awara :
1.Barsaat mein hum se mele tum…….
2. Jab se balam ghar aye…….
3. Ek bewafa se pyar kiya……

45 ksbhatia February 14, 2016 at 12:11 am

Ms Mumbaikar8 ;
Nice oldie songs from SJ collector items . Here are three magical melodies from the SJs dance numbers :
1. Dard e ulfat choopaoan kahan…………Aurat
2.Ane laga jeene ka maza………..Singapore
3.Dekho ji ankhoan me dekho………..Jwala { Madhubala’s last movie}

46 AK February 14, 2016 at 12:13 am

DP Rangan,
Welcome back and thanks for your appreciation. Your reminder was a trigger. Ja ja re ja baalamawa is a delightful dance song. Thanks.

47 AK February 14, 2016 at 12:22 am

Beautiful songs! Tera teer O bepeer was in my list. It is almost in the class of Tera jalwa jisne dekha. Thanks for mentioning this song.

48 AK February 14, 2016 at 12:24 am

I hope you are able to read the full post. I have mentioned I have deliberately excluded RK films and Raj Kapoor-acted films.

49 Shalan Lal February 14, 2016 at 6:21 pm

This post is breathtaking and I was going to say, “Do I need to say more?” borrowing the phrase from the following:
“5. Khushiyon ke chaand muskuraye re from Mayur Pankh (1953), lyrics Hasrat Jaipuri: Do I need to say more?”
Then I saw the year of Mayur Pankh as 1953 and thought it was a mistake. It should have been 1954 as it was on the front cover of a very famous Glossy Filmy Magazine of 1954.
Ignoring the obvious slip-up, certainly the remark “Do I need to say more?” cannot be challenged. It is very competent and all the writing up is done with intelligence with heart and mind in the argument. So I have nothing but praise and nice to see the stalwarts of the readers and lovers of SJ coming forward and expressing themselves.
About “Mayur Pankh” the film was well advertised and built around the love story in the shadow of the Taj Mahal. All the six songs were very good by SJ-Lata-Shailendra-Sasrat J as if it was the RK team.
Kishore Shahu was very old and hairpiece-toupee wearing like Motilal in “Paheli Nazar” (1945) for that kind of hero but he did well as the director. Odette Ferguson’s introduction, as an European falling for the Indian when KS already exploited the theme in the “Kali Ghata”(1951) Music by Shankar Jai Kishan in which new found Bina Roy playing the character of a French Girl in love of an Indian who else but Kishore Shahu, singing in affected French “ La Illa Bella…” and dancing, prancing around in Lata’s voice..
The song “Tu Kyuun Muz Ko Pukare…” in the “Mayur Pankah” was heart tearing howling and showed how Lata could use her razor sharp rising note to drill in the heart reminded me Lata’s song in Stree (1961) music by C.Ramchandra “O Nirdayi Preetam…”.
“Tanadana, Tanadana, Tanadana Mushkil Hai Pyar Chhupana” a dance number with chorus is also superb. But all the songs are high quality compositions and AK’s statement is apt, “Do I need to say more?”
I hope more posts would appear to explore many aspects of the miracle called SJ.
On the other level as today is St. Valentine’s Day and local Indian Radio running Shayari on love poems by the local Indians(?) and most of them are on the Taj Mahal.
The Mayur Pankh started, I assume, the songs on the Taj Mahal with “Muhobat Ki Dastan Aaj Suno….” in Lata’s voice, lyric by Hasarat Jaipuri”. The song says that Badshahi died away but the love of Mumtaj lingers on. Then we have got Sahir expressing his feeling of humiliation in the song “ताज तेरे लिये इक मज़हर-ए-उल्फ़त ही सही तुम को इस वादी-ए-रंगीं से अक़ीदत ही सही मेरे महबूब कहीं और मिला कर मुझ से” in the film Ghazal in 1964 in the voice of Rafi and to answer that Shakeel Badayuni reinstated the greatness of the Mogul Emperor in the film “Leader” 1964 film Music by Naushad in the voices of Rafi and Lata “एक शहन्शाह ने बनवा के हसीं ताजमहल सारी दुनिया को मुहब्बत की निशानी दी है…”
And the debate goes on among the new generation.
Shalan Lal

50 SSW February 14, 2016 at 6:40 pm

Mr. Bhatia,
“More sanwale salone piya” is a great song and has a lovely ending.

Mumbaikar8 I had never heard “Muskurati hui zindagi ko” before. Lovely song, the starting recital by Lata is quite interesting the rhythm suddenly changes with the introduction of the trumpet solo and the blues chords after that is a startling change . The rhythm changes again and again through the song.

51 AK February 14, 2016 at 7:40 pm

Shalan Lal,
Thanks a lot for your appreciation. The year of Mayur Pankh might be wrong. But, since I am travelling, the correction has to wait for a couple of days

52 N Venkataraman February 14, 2016 at 9:04 pm

Only the other day I was wondering what will be SoY’s theme for this year. Thanks to Mr Rangan for setting the ball rolling. Thanks for starting the series on SJ with this lovely post on the dance songs of Lata-SJ, and unique theme no doubt. The introductory analysis was excellent and enjoyed the selection of songs. In my opinion one of the features of SJ’s music is their penchant for fast tempo/rhythm and hence we find many of the songs favourable for dance numbers. The pick of the lot was Chanda ki chaandani me jhoome jhoome mera dil mera. Mere sapne mein aana re sajna, Ulfat ka saaz chhedo shama suhana hai and Main piya teri tu maane ya na mane deserves special mention. You have restricted your selection to pre 1960 songs, excluding songs from RK films and films from outside the banner which had Raj Kapoor in the lead role. Of the 300 + solos she sang for SJ, around 50% of them were rendered during this period, (if I am not wrong around 160) exclude the songs from RK films then it will be around 130 solos from 29 films.
Talking about SJ, two interesting points come to our notice. The initial phase of SJ’s ascendency (1951-1959) corresponds to the period of HB’s gradual eclipse. I am not suggesting that SJ factor was directly responsible and the only reason for their sunset. Another noteworthy point is SJ were privileged to have a very highly talented group of Jazz musicians from Goa, who were seeking fresh pasture in the Indian film industry after independence. Sebestian D’souza on the orchestration and Dattaram Wadkar in charge of the rhythm section are two of the notable names among many others. I will not go into details here, but both the points can be taken up for discussion in some of the subsequent posts on SJ.
Let me get back to subject in hand. Kabhi to Aa O Sapnon Main Aake chalejanewale is one of my favourites. But I find Mumbaikarji has already posted it. Let me add few more.
Here are two songs, two different genres, picturised on Vaijaynthimala.
Kismet Ka Khel Hai Janebe Aali, film Kismet ka Khel (1956), lyrics Shailendra
Itne Bade Jahan Mein, film Kathputli (1957), lyrics Shailendra
Although I could not find a video version of this song, I feel this should be a dance number.
Ja Ja Ja Re Ja Re Ja, Naya Ghar (1953), lyrics Shailendra
Here is another song picturised on Kumkum and Kishore Kumar and a nice one too.
Dekha Babu Chhed Ka Maza, film Shararat (1959), lyrics Hasrat Jaipuri

53 N Venkataraman February 14, 2016 at 9:07 pm

And the final one, Mala Sinha swaying to the lilting tune by Lata-SJ.
Hum Jaan Gaye Sarkar Tum Lakh Karo Inkaar, film Love Marriage (1959), lyrics Hasrat Jaipuri

54 AK February 14, 2016 at 10:28 pm

Thanks a lot for your detailed comments. HB’s decline can be directly corelated to SJ, being the proteges and successors of the former’s legacy. SJ were themselves done in by their successors Laxmikant-Pyarelal, though they had slow decline over a longer period.

The beauty of SJ-Lata dance songs is that even with fast rythm, the melody is not compromised. The songs sound so sweet. Half the songs you have added were new to me. Ja ja ja re ja ja re ja has to be a dance number of the type I have listed. There is no doubt the musicians and arrangers deserve a great part of the credit.

55 ksbhatia February 15, 2016 at 12:29 am

Mr SSW ;
Thanks for liking the Kanhaiya song …..O more sawale salone piya . Its an example of perfect blend of beautiful lyrics and composition .
My apology for posting songs from RK’s movies @44 … as the theme refers to non RKs movie songs .
Venkataraman ji ;
The songs posted are beautiful . Ja ja ja re….and the teaser Dekha babu chhed ka maza [ again Kum Kum !] are my fav. too .

Here are two Dance numbers from Zindgi and Apne huye paraye .
Hum dil ka kawal deinge usko….
Bahar banke who muskuraiyen…..

Oop’s Y T not working ; will post the songs later .

56 arvindersharma February 15, 2016 at 12:40 am

AK Ji,
Fantastic post of SJ, though late on SoY, but it is the compilation of my most favorite songs of SJ, and some other favorites have been added by the knowledgeable contributors, especially the song of Patrani added by mumbaikar8, and mentioned by Venkatraman Ji. (Kabhi to aa).
You have not touched the RK songs, and I feel that the sheer popularity of the songs is the basic reason for this omission. I fully concur with your decision, and I feel that this post has become special because of the non inclusion of their sheer popularity.
I would like to add a few, hopefully they have not been listed before.
Aaj maane na jiya Mora from Baadal

Na jaane tum kaun meri aankhon me sama gaye from Patrani

Balma tum bedardi, again from Patrani

Apart from these fabulous dance songs, there is one more favorite,
Hum se na poocho koi Pyar kya hai from Kaali Ghata, though it’s not a dance song, but the composition is very much like one.

57 arvindersharma February 15, 2016 at 9:10 am

Forgot to post the link of Hum se na poocho from Kaali Ghata

58 Siddharth February 15, 2016 at 9:40 am

Here’ one more lovely song from halaku ( a mandolin treat)
Yeh chand yeh sitare Lata Mangeshkar Film Halaku (1956) Music Shankar Jaikishan / Shailndera.

This is a big favourite of my seven year old daughter.

59 AK February 15, 2016 at 10:32 am

Arvinder Sharmaji,
Thanks a lot for your appreciation. Leaving out RK was not only for their humongous popularity, but the dance songs that fascinated me or the type that the readers have mentioned, such yours Na
jane tum kaun
, or Mumbaikar8’s Tera teer O bepeer or Venkataramanji’s Ja ja ja re were all outside RK films. I think SJ developed a different orchestration and rythm for outsidde RK films.

60 AK February 15, 2016 at 11:50 am

What a great song, and I am hearing it for the first time! Your daughter has great taste. We can now be sure, Songs of Yore would have no dearth of followers. 😄

61 Shalan Lal February 15, 2016 at 7:19 pm


I should not bother to correct the year.
What is a year in the SoY?

Enjoy the comments and growth in understanding of SJ by all of us!


62 Subodh Agrawal February 15, 2016 at 9:04 pm

As usual I am coming late to the post, when everything worth saying has already been said. Let me therefore restrict myself to complimenting you on a wonderful theme for the post and and the great collection of songs. SJ have given enough great songs to match any other music directors, but at the same time many of their songs have a ‘factory made’ feel about them. One could contrast that with someone like Madan Mohan or Roshan whose songs always had a ‘hand-crafted’ feel. Looking forward to more gems from their collection.

63 AK February 15, 2016 at 10:07 pm

Thanks a lot for your appreciation. I like your distinction between SJ and Roshan and Madan Mohan. But SJ did have a very high consistent quality in their factory-made products for many years.

64 ksbhatia February 15, 2016 at 11:25 pm

In continuation from #55 .
You tube now working and here are three dance numbers :
1. Bahar banke woh muskuraiyen………Apne huye paraye
2. Hum dil ka kanwal denge …….Zindgi
3. Hum pyar ka sauda karte hain………Zindgi

65 D P Rangan February 16, 2016 at 4:40 pm

Subhodji you had made a pertinent observation “factory made”. That is true of other music directors – O P Nayyar, C Ramchandra, Chitragupta , Ravi to name a few. The minute gramaphone starts playing you will be able to place music director with near certainty. SJ tend to use piano accordion prominently while it is clarinet for O P Nayyar. C Ramchandra has his violin ensemble and mandolin.

66 Ravindra Kelkar February 16, 2016 at 4:59 pm

AK, I have a few observations –
1) You mention that Bina Rai is dancing in the court of Prem Nath in song no 4 from film Aurat. I don’t think it’s Prem Nath.
2) It’s quite amusing to see Ashok Kumar playing Sitar in the song no 3, Jhoome Jhoome Dil Mera from Poonam. I could not find any trace of Sitar in the orchestration of the song.
3) As you mention, there is a general perception that RK created all the music in his films. I somehow find it hard to believe. Of course, RK had a great musical ear & knew exactly what type of song he wanted for the particular situation in the film. Raju Bharatan claims that SJ always created minimum five tunes for every song situation & then RK selected one of them which suited him. To my mind, it seems more logical. It’s also claimed that RK stored all the rejected tunes for future use. So at least till, RK-SJ association was intact, I think the credit for the songs in RK films should deservedly go to SJ. It’s possible that after parting ways with SJ, RK insisted on using some of the rejected tunes, in his post-SJ films like Bobby, Satyam Shivam Sundaram, Premrog, Ram Teri Ganga Maili, etc & of course in such situation the MD had to just suitably do the orchestration.
4) Your title “dance songs of Lata” is quite interesting. Possibly, of the thirteen songs, song nos, 3,4,5,9,11,12,13 could be classified as dance songs. What I mean is that the director must have explained beforehand that it’s a dance number to SJ & then SJ composed them. The remaining songs are all basically happy songs & may be, it’s left to the heroine to enact it as per her imagination or as per director’s guidance (or choreographer?). You will generally find that most of such female happy songs fall into this category for all the music directors. This is in stark contrast to happy male songs, since majority of our heroes of that era were not dancers as such, with some notable exceptions like Shammi Kapoor.
5)Dineshji has not asked us so far to pick the best song of the lot. I will stick my neck out & pick song no 10 from Raajhath as my choice. What is so special about it for me? The first Lata Aalap, then the Violin interludes, then the part “Woh Baat Jara Mere Kanoon Mein Phir Se Keh Jaana Re” & finally the Violin postlude. Madhubala looks divine & Lata’s voice is heavenly. It’s fantastic. Also, to my liking, the orchestration is not heavy (which I sometimes find in SJ songs), it basically consists of mandolin, violins & rhythm instruments. Unfortunately the part “Woh Baat Jara…” appears only once in the video, in the 78 rpm record you get to listen to it twice.

67 Shalan Lal February 16, 2016 at 5:03 pm

Comments @62,63, 65 etc.

It is true the the music and filmaking in India from fifties onwards became factory. The demands for Indian films rose high in fifties due to the oversize publicity and popularity of RK Film Awara. This became more popular in the Middle East so much so that the University of Tehran, Iran bestowed RK an Honorary Doctorate- the first Doctorate of the Indian Film Industry.

India produced 900 or so films per year in the fifties

When there is such a kind of demand then demand and supply produced factory conditions in the Art. This process is still going on.

The silver lining is that even osmetimes the bad C grade movies have good tunes and good songs. I do not think the film Halaqu is an A grade film. But it had very daring and good songs. The film was more for the market in the East Soviet Countries.


68 N Venkataraman February 16, 2016 at 10:54 pm

SSW ji,
Thank for the impressive analysis (#29) of the song Andaz mera mastana and its instrumental arrangements.

“then the sound of silence , such an fundamental part of music”.

Waw ! “An isolated note cannot be perceived as music. If it is held for very long it may not be perceived at all”. In order to perceive music the sound of silence is fundamental. So well said!

“what tickles my fancy may not even register aurally to somebody else. If you like it, it is good for you.”

True. I may have a liking for song x over Y. or for that matter, songs from one film over another. But after an impressive analysis, like the one presented by you, I may not change my preference, (aural registration and preferences develop over years of listening), I may start appreciating and enjoy songs of later type better. Thank you SSW ji for the pearls of wisdom, which helped me to get out of the self created “know all” image.

69 N Venkataraman February 16, 2016 at 10:55 pm

Mumbaikatji thanks for uploading the song Meethi Meethi Baaton Se from Parbat. I wish the video was available.
Thanks to #Chitrapatsangeet for uploading the wonderful Bageshree dance number picturised on Vaijayanthimala.
Thanks to Mr. D P Rangan, Mumbaikarji, Bhatiaji and Arvinderji for the additions.
If we leave out the 9 films in which Raj Kapoor was involved, SJ composed music for 29 films from 1949 to 1959. Songs from 26 films from this period has been posted till now. Videos for the three films Badshah (1954), Pooja and Begunah (1957) are not available. I had to rely on my mind’s eye. I feel the songs Gul Muskara Utha Bulbul Ye Ga Utha and Le Gaya Le Gaya Dil Le Gaya from the film Baadshah (1954) must be dance songs. I am not sure about the other songs. Here is song from the last mentioned film.

Babaanu Babaanu Gori Gori Gori Main Pariyon Ki Chhori from film Begunah (1957), lyrics Hasrat Jaipuri

70 ksbhatia February 16, 2016 at 11:34 pm

Ravindra Kelkar ji @66 ;
In the song ….Ulfat ka saaz …., Bina Rai is dancing in the court of Ulhas , the vetran actor of vintage and golden era .

I am also not happy with the upload of ….mere sapne mein ana re……song on YT . The song is really a pleasure to hear in its totality [on Mp3 , cassette or 78 rpm record ] for its sheer magical composition ,supplemented by beautiful orchestra and very sweet violin interlude and postlude . I am reminded of another beautiful Lata ji’s duet song with Rafi …..Dil ka na karna aitbar koi……from Halaku wherein mandolin / guitar blend beautifully with the orchestra in creating the melody .

To my mind RK sort of had created music bank of SJ tunes which , as you correctly said , were to be used in his future movies/ productions . Sun baba sun pyar ki dhun…[ from ram teri ganga maele] is such song whose tune was originally composed by Jaikishan which stands confirmed by Hasrat jaipuri in one of his interview .

The tune of Bobby’s song … mangu sona chandi ….was heard decades before as background score in the famous Raj, Nargis beach scene in Awara . The song and the tune possibly have a common link which is
1] Goa’s folk music / song
2] both songs filmed on beach
3] Sebestian , the arranger and asstt MD to SJ ,who belonged to Goa.

71 Ravindra Kelkar February 16, 2016 at 11:43 pm

I whole-heartedly agree with you.

72 SSW February 17, 2016 at 12:36 am

Mr. Venkatraman, I hope you aren’t pulling my leg.:-)

John Cage had a composition 4’33 and the standing joke used to be to ask people if they had heard it. It is composed for any number of instruments.

Yes, silence is very important in music possibly almost as important is rhythm which is the most important part of music. From rhythm follows melody and from melody, harmony.

73 SSW February 17, 2016 at 12:37 am

That again should read “almost as important as rhythm”. I make too many typos.

74 AK February 17, 2016 at 10:50 am

I am catching up with all the comments with some lag as I was travelling and somewhat ‘neticapped’. Therefore, I may not be able to reply adequately to all the comments. My first thought is the awesome output of high quality dance songs by SJ for Lata Mangeshkar. There may be something of ‘factory-made’ feel as Subodh has said. But the songs are absolutely delightful nevertheless. I can easily compile a list of another dozen songs of equal merit to what I have posted. Tera teer O beeper (Mumbaikar8 #41), Ja ja ja re ja re ja (N Venkataraman #52), Na jaane tum kaun meri aankhon mein sama gaye, Humse na poochhe koi (Arvinder Sharma #56), Ye chaand ye sitaare (Siddharth #58), Bahar ban ke O muskuraye (KS Bhatia #64) can easily replace any of the songs in my list. Thanks a lot to all the readers who have posted such wonderful songs, some of which I didn’t know or had lost sight of. I have to come back again for some specific responses.

75 AK February 17, 2016 at 2:54 pm

Mumbaikar8 (#41),
It seems SJ had some fascination for puppet songs. Richard had written a post on that, which I was not able to locate now.

Ravindra Kelkar (#66) KS Bhatiaji (#70),
Thanks for your detailed comments and the correction. The creative ownership of SJ’s songs in RK films would technically, of course, belong to SJ. But we can hardly say anything about the anecdotal evidence about Raj Kapoor, in reality, having a major hand in it. Outside RK films, SJ did manage to cerate a very different type of music, which was one of the points in this post. RK using background music as full-fledged songs many years later, in films by different composers, might be one indication that he was the creator. But it is equally possible that since the producer had the commercial rights to music (they started to pass on half of the royalty to the music director as informal arrangement), he had the legal right to do it.

Many songs which sound as dance songs, are not really picturised as a regular dance number in films. I was entirely going by aural impression. Therefore, your observation is entirely correct, though in my heart these songs register as dance songs.

Mere sapne mein ana re sajana is a fabulous song, and is a worthy contender for the sartaj song in the list. You have made an excellent analysis. However, I have too many equal favourites to choose one.

Shalan Lal (#49, 67),
I cross-checked Mayur Pankh again. The year 1953 seems to be correct.

76 AK February 17, 2016 at 3:08 pm

Siddharth (#58),
I am coming back to Ye chaand ye sitaare from Halaaku (1956). I am sure you must have listened to the song many times. Note the words O dilruba.

O dilruba immediately struck a chord in me, because I had heard this exact phrase, in almost the same style, in a seductive Sitara Devi dance number. See and listen to this song carefully from Husnlal-Bhagatram’s debut film Chaand (1944). Not to take away any credit from SJ, but they are known to be HB’s protégés. Interesting, isn’t it?

77 Shalan Lal February 18, 2016 at 3:27 pm


I like the comments you have made to defend RK’s creativity in Music.

The various readers so far have jolly good time in expressing themsleves.

However your double checking of the year of the Mayurpankh seems to be doubtful. Check once more the third vlume of GeetKosh which has Mayurpankh dated as 1954.

besides on the internet there are tow lists of Hindi Films. I quote for your interest:
1) MAYUR PANKH (1954)
Produced By: SAHU FILMS

1. Main to chalu pachhim purab chale duniya (Lata)
2. Tu kyon mujh ko pukare (Lata)
3. Mohabbat ki dastan aaj suno (Lata)

2) Lists of Bollywood films
List of Bollywood films of 1954

H. S. Rawail
Motilal, Nigar Sultana, Chandrashekhar, Kuldip Kaur, Yashodhara Katju, Sunder, Gope, Chaman Puri, Master Romi, Tiwari
Social Music: Madan Mohan Lyrics: Rajendra Krishan

Kishore Sahu
Bina Rai, Kishore Sahu, Reginald Jackson, Odette Ferguson, Sumitra Devi, Asha Mathur, Ramesh Gupta, Jankidas, Seema, Cuckoo, Moni Chatterji, Helen
Romantic Drama Music: Shankar Jaikishan Lyrics: Hasrat Jaipuri, Shailendra

Hemen Gupta Bina Rai, Bharat Bhushan, Sheila Ramani, Chandrashekhar, Pran, S. Nazir, Pratima Devi Social Music: C. Ramchandra Lyrics: Rajendra Krishan

Shalan Lal

78 N Venkataraman February 18, 2016 at 7:45 pm

Far from it, I was serious.
That was an interesting composition, 4’33”. I am “hearing” it for the first time. Thank you. Now I am curious to know more about John Cage and his works. Will do a bit of digging at leisure.

79 SSW February 18, 2016 at 8:24 pm

This is an excellent dance song. Both the fast and slow versions….I am afraid I could not find the video of a decent quick version so I put this still.
There is a lovely flute piece that comes between the mandolin runs in the interlude that I really like.

80 AK February 18, 2016 at 10:21 pm

Shalan Lal,
This is really trivial. But HFGK Vol 3 I have mentions Mayur Pankh in 1953 at serial no. 268 (page 134). It also gives its certification details as:
10,658 ft/12r/118m/9945(B)/1.12.1953. MySwar also mentions 1953, besides several other sites related to SJ filmography.

81 Arunkumar Deshmukh February 19, 2016 at 1:52 pm

Ak ji,

I think the confusion about Mayurpankh is because HFGK lists films as per the date of Censor certificate.
Mayurpankh was issued Censor certificate on 1-12-1953, but the film was released in Naaz Theatre of Bombay 0n the 21st May 1954, where it ran for 11 weeks.
Those people who go by the HFGK will obviously say it is a film of 53,and those who go by release date will say it is a film of 54.


82 AK February 19, 2016 at 2:14 pm

Thanks a lot. The confusion arose because Shalan Lal also mentioned HFGK.

83 ashok kumar tyagi February 19, 2016 at 3:45 pm

My compliments on an article which says so much in 9 or 10 paragraphs and that too in a very dignified and literary language. All the songs are excellent. I anticipated that there will be tremendous response through comments. Within a week, over 80 comments have come in. We are seeing the batting of a Viv Richards or Sehwag and a century will come in quick time. And what great standard of comments. SoY seems to gathered together people who are well versed with various facets of music and its adaptation in films. My special thanks to sharvashree KS Bhatia (Comments No 16,43,64,70), N. Venkataraman 52,53,68; Siddharth 58; and Arvindersharma 56 for further enhancing my knowledge which is very meagre. I was awe-struck by the music details provided by SSW in his fabulous article on Salil Choudhury. Now he has again given noteworthy description of songs in his comments @ 29, 42,50.

84 ksbhatia February 19, 2016 at 4:41 pm

AK ji, SSWji ;
As long as SJ gave their best tunes it is immeterial if they are termed as factory made . Mandolin , flute , accordeon , sitar , piano supplemented by richness of violins , were the signature instruments that were extensively used by SJ in the making of their ever lasting melodies . With 60 to 80+ orchestra no doubt the overall instrumental effects were listeners pleasure . At no point of time their music was ever termed as jarring .

I am posting a few of their melodies which shows the richness of preludes , interludes and chorus effects . It will be a pleasure to note as to how beautifully the main instrument is played till the end of the song [ as is in the case of ….mere sapne mein ana re…..where the violin’s melody continue till the end of the song ].

1. Neel gagan ki chhaon ……….Amrapali……..Sitar as highlighter .
2. O sajna na poochh mujse pyar kya hai……Krorepati …..Flute , mandolin , guitar etc
3. Suno chhoti si gudiya ki lambi kahani……..Seema…..Mandolin , Jal tarang , flute etc .
This is a two part song ; happy dance version comes near the end of the movie .
4. Zindgi bahar hai mohabbat ki bahar se …….New Delhi [1956]…..acordeone , guitar , trumpet , bongo [ -congo ] , dholak and chorus effect till the end .
5. Na chhedo kal ke afsaane……Raat aur Din…..Piano , Acordeone , guitar etc .
[ This tune reminds me of another song by Mukesh, Sharda ….Chale jaana jara thaero kisi ka dam nikalta hai…..from Around the world . ]

85 AK February 19, 2016 at 5:45 pm

Ashok Kumar Tyagi,
Thanks a lot for your very generous words. The knowledgeable readers desrve every word of what you have said.

86 Subodh Agrawal February 19, 2016 at 9:12 pm

I see many comments above about the value of silence in music. Here is silence taken to extreme:

87 SSW February 19, 2016 at 9:55 pm

Ha ha Subodh. Hence my statement that the most important component of music is the time signature or the rhythm. Without that a note can continue endlessly into the void and will meld with the echoes of the big bang. On another note (I like the pun) no doubt you will have read this.
The song of the universe or Nada Brahma

88 ksbhatia February 19, 2016 at 11:05 pm

AK ji, SSW ji;
In continuation of my observation/ comments @ 84 , here are three more songs which I think should find fav. of all others.
6. Aa abhi ja raat dhalne lagi…..Teesri kasam…..rustic song with flutes , clarinet , dholak etc.
7. Mera dil ab tera o sajna…..Dil apna aur preet parai….Accordion as highletter with magical violins.
8. Maare gaye gulfam…….Teesri kasam…..flutes, clarinet , magical violins making this song a beautiful desi folk sad dance number .

……..more to follow…..

89 ksbhatia February 19, 2016 at 11:14 pm

Ashok kumar Tyagi ji ;
Thanks for your kind words . Thanks also goes to my colleagues who are contributing the real gems into the SJ booty enhancing its worth and value .
As you said we are sure to make century [ may be double ] before the onset of World Cup .

90 N Venkataraman February 20, 2016 at 12:40 am

Bhatia ji,
Thanks for the nice additions (#84)
I believe, Ustad Ali Akbar Khan played the Sarod prelude and interlude in the first version of the song Suno chhoti si gudiya ki lambi kahani.
Please listen to this song Main muralidhar ki murali from Pooja (1954) sung by Lata Mangeshkar. I believe Pannalal Ghosh played the flute in this song. Needs confirmation. The prelude too seems familiar!

Let me too thank Ashok Kumar Tyagi ji for encouraging words.

91 N Venkataraman February 20, 2016 at 12:35 pm

SSW ji & Subodhji,
John Page, fascinated by both sound and silence found that “……absolute silence does not exist. ……what Cage found is that humans – other than the deaf – cannot hear total silence.”

SSWji, your comment on silence has ushered me into an interesting area.

Total silence, in the sense we refer to the term, cannot be experienced in the urban/urbane society, where we live. When we are deep in nature/ with nature, we experience calmness. Can we call it silence? Even when we are within ourselves, initially we can hear our heart beat. But when we are relaxed do we hear our heart-beat? Can we really listen to the blood circulating, the sound of the lungs, the nervous system in operation etc.? When in nature, we can feel/hear the wind blowing, the rustle of the leaves etc. When everything is still, what do we hear? The deafening sound of silence? Or do we hear the rhythm of nature, within and outside. Here is a short report on anechoic chamber.

Silence, rhythm, melody, harmony……..

An interesting dialogue ineed. Subodhji thanks for the subtle “sound” information (advice). SSWji your discourse on silence, rhythm, melody and harmony are perpetual source of joy. We, in SoY, are blessed.
Well, what has SJ’s music got to do with? Well, their rhythm and melody might have triggered this discussion?

92 Dinesh K Jain February 20, 2016 at 4:27 pm


The fact is, as I understand, that almost all big names of our classical music world did have forays in the film music arena, at one time or the other, in one manner or the other, and not infrequently either.

93 SSW February 20, 2016 at 6:16 pm

Ah Mr.Venkatraman one more connection with SJ. Yesterday I had the good fortune to see these two gentlemen perform in Boston in a very intimate sitting held under the aegis of the Boston Classical Guitar Society. They did not play this piece of course but if you listen to the overture here ( it is from the Barber of Seville by Rossini) you will hear a melodic phrase that SJ used in one of their songs. The song was sung by Lata , it can be nominally called a dance song. You will recognize the phrase. Of course the original overture was written for strings, here it has been transcribed for two classical guitars.

94 N Venkataraman February 20, 2016 at 8:39 pm

Dinesh ji,
True. In fact we can do a few posts on this subject, of course if AKji agrees!

95 KB February 20, 2016 at 8:55 pm

As I see there was a period from late fifties to mid sixties the SJ music was literally at its peak with Lata,Rafi and Mukesh rendering many of the songs irrespective of whoever being the hero or heroine. However ,I wish they could use more of vocals of singers like Talat Mahmood whom they used to very limited extend only upto say late fifties. In fact we can see whenever they used Talat the results were extremely good with films like Daag,Boot Polish,Patita , Roop ki rani choron ka raja and Aas. same was the case with Hemant also.With limited singers their music become sort of stereotyped causing the downfall.

96 N Venkataraman February 20, 2016 at 10:31 pm

That was a lovely piece. Yes, I could identify the portion in the prelude of the the song Aaja aayee bahar from the film Raajkumar, of course with help from my son. Again it is repeated after the second antara.
I feel I have heard this phrase somewhere else too. I am unable to recollect.

97 ksbhatia February 20, 2016 at 11:00 pm

N Venkatraman ji ;
You are right on the target . The SJ used this part and played it as orchestra interludes .
Mr SSW ;
I some time wonder how they get hold of such piece of interludes in the absence of Internet in their times . Was radio as effective those days or records / recordings were easily available ? I can understand SJ had a good number of anglo indian players from goa [ including Sabestian , SJ’s main assistant MD and arranger ] in their orchestra which could be one factor . Another factor could be Jaikishan who was a regular visitor to a restaurant in colaba [?] in Mumbai for live lounge music and coffee . We know in some cases , with a pick of a note they could do wonder in composing a song refreshed .

98 ksbhatia February 20, 2016 at 11:24 pm

Venkatraman ji. SSw ji.
…in continuation of # 97 . …..
This reminds me of a melody ….Danube Waves….which was composed by Romanian composer losif Ivanovici in 1880 . The melody later became …

This beautiful composition was extensively used in practically all the movies produced under RK films ; right from their first movie as a song and latter on as interludes or stage performance .

99 SSW February 20, 2016 at 11:40 pm

Mr.Bhatia ,all composers in the 30s, 40s , 50s would have been exposed to Western music because of their interests and of their arrangers and musicians who would have been exposed to Western music both art and popular and jazz etc. Remember the Bombay Symphony Orchestra was very active early on, Mehli Mehta (Zubin Mehta’s father) founded it and the British Council always had a marvellous collection of records and as you say there was always live band music in hotels etc.

100 SSW February 21, 2016 at 12:17 am

Yes Mr. Venkatraman the chord progression and melody of “The Waves of the Danube” can be heard in “Aah” all the way to Mera Naam Joker. But I could not find the trace of that melody in either Aag or Barsaat which were the first two RK films.

101 gaddeswarup February 21, 2016 at 3:27 am

SSW at #93. Your comments rings a bell. I am not really well versed in any form of music, but I remember thinking some time in the 60s that there was some influence of Italinans like Rossini on SJ music. I wonder whether there is some study. May be they were just bursting with creativity and incorporated from various sources.

102 SSW February 21, 2016 at 5:04 am

Sorry I should have addressed that last post to you Mr.Bhatia.

103 N Venkataraman February 21, 2016 at 9:47 am

Frank Fernand must be the earliest Goan musicians, who had played in Jazz bands and Hindi films. According to Frank, traveling African-American musicians who had come to Bomaby in 1930s mentored India’s first jazz musicians. Around Independence, Bombay had more than 60 bands. Bombay Symphony Orchestra was led by the veteran Pianist Joseph D’lima at that time. He had played with Mehli Mehta earlier. Zubin Mehta was taught to play the piano by Joseph D’lima. Frank Fernand had his own band and he was also trying to reinvent Goa’s Konkani folk music. Among others, Chic Chocolate and his Music Makers, Lucila Pacheco and her band, Sebastian D’Souza and his Midnight Merry Makers were some of the familiar names in 1947-48.

104 Siddharth February 21, 2016 at 11:29 am

AKji (@76),
The most prominent influence of HB can be seen in SJ’s first song…Jiya beqarar hai. Being their assistant, there’s bound to be influence somewhere. But they had too many aces up their sleeves that made them stay on top. They gave something new/different in every movie whether in terms of instrumentation, songs (indian or western) etc. that provided so much variety.

Any information on how long did they assisted HB? Did Jaikishan also assisted them?

Here’s the link from Richard’s blog on puppet songs by SJ-

Another aspect that amazes me was their partnership. Two unrelated creative people forming such a successful partnership is remarkable.
Also, their partnership with Shailendra and Hasrat. SJ always worked with them whereas they were allowed to work with other MDs.
As per Hasrat Jaipuri, they declined many movies including big banner movies because they had to work with other lyricists.

105 Dinesh K Jain February 21, 2016 at 12:13 pm


Talking of singers used by SJ, I find it a tad curious that SJ used Manna Dey for top songs more than most other MDs, even those more rooted in classical music. I would welcome comments on this aspect.

106 Mahesh February 21, 2016 at 1:48 pm

Lata Mangeshkar virtually sang for every composer. ( none for OPN, one each for Gyan Dutt and Saraswati Devi and hardly 2-4 for Kishore Kumar in 13 films)

She has had great musical collaborations with Naushad, CR, Madan Mohan, SDB, Roshan, LP et al.

However I would single out 4 for the pioneering effect they had on her initial phase.

Ghulam Haider: For his unrelenting confidence that he was dealing with a legend in the making.
Khemchand Prakash: His one song for Lata made her a phenomena all over the country.
Anil Biswas: For guiding Lata through her initial songs in terms of breath control etc.

Lastly SJ, in their very first film engaged Lata for playback for 3-4 actors in an era where having different singers for different actors was the norm. By this act and by repeating it for over two decades they ensured her dominance in the industry.

Though there were several contemporary female singers in late 40’s and 50’s, their numbers with SJ is nil to very very few.

Coming back to the post, I do not know what songs to add though there are several dozen more. I am not sure if anyone has added these.

107 Siddharth February 21, 2016 at 1:56 pm

AKji, SSWji,
Here’s more on “Andaz mera mastana” song –

108 N Venkataraman February 21, 2016 at 2:02 pm

Dinesh ji,
Manna Dey has clearly stated that Shankar –Jaikishan duo were primarily responsible for promoting his career. He declares in unequivocal language his gratitude for Shankar in particular. AK-ji may be planning do a post on Manna Dey’s association with SJ. If so, it will be appropriate to discuss this facet there. Thank you for bringing up this aspect.

109 SSW February 21, 2016 at 5:16 pm

Mr.Gaddeswarup, as I said earlier most of the composers of yesteryear as of today were influenced by western music, not just Rossini etc, you will find traces of western folk tunes, arabic scales, Iranian dastagah in our popular music. Along with Indian melodic concepts it created a real fusion and a sound of its own.
By the way apart from the Goan musicians there were a whole lot of other folks from Calcutta and Madras (though mostly in the South Indian films) who could read western staff notation and could arrange in the western way. Ram Singh who played the saxophone in a band was the primary arranger for Anil Biswas I think.
There is little influence of Western art music from the late Romantic era of Wagner and Mahler possibly because the emphasis there was less on melody which is of primary importance for a tune but then came jazz. I don’t know , this is just a surmise.

110 ksbhatia February 22, 2016 at 12:20 am

SSW ji ;
Entry of Eastman color movies in the 60s carried a fresh flavour to the SJs music as their composition inclined more towards western style . Tue tunes became high fidility notes which had to catch the high resolution sharp craftsmanship of the movie making . Junglee . Aye milan ki bela , April fool, Prince , Preetam , Choote sarcar , Pagla kahin ka and many more were such movies where a cabaret or a western dance number was a must .
A few of such assorted songs which carried SJ stamping :

1. Is duniya mein jeena ho to………Gumnaam
2. Hai dil laga to aisa laga………..Preetam
3. Thandi thandi hawa mein dil…….Prince
4. Aaja ayi bahar dil hai bekarar……..Raj kumar
5. Kashmir ki kali hoon mein………Junglee
6. Unki pehli nazar kya asar kargayi……..April fool
7. Mil gaye mil gaye aaj mere sanam……..Kanyadan
8. Dekho ji ankhoan mein dekho……..Jwala
9.Ja ja ja mere bachhpan……..Junglee.
10. Panchhi banu udti phirun……..Chori Chori [color]

I am closing the color era with my fav. oldie song from chori chori and will come back with more such songs. Sayonara.

111 AK February 22, 2016 at 12:32 am

So true. No two persons could be more different, but Shankar and Jaikishan jelled so perfectly. This was too good to go on forever, and they inevitably started drifting apart, maintaining the combo in namesake in the later years.

Pankaj Raag says Shankar played the tabla for Husnlal-Bhagatram. Their association would not have lasted more than a couple of years.

112 AK February 22, 2016 at 12:36 am

You are the first to add the two beautiful songs Unki pahli nazar kya asar kar gayi and Aa ja aayi bahaar. I stopped at 1959, therefore, a very large number of dance songs could not figure in my post. but readers have added a lot many songs.

113 ksbhatia February 22, 2016 at 11:25 pm

Mr. SSW @100 , 102 ;
The melody …waves of danube…. was not there in Aag as it was not SJ movie . It was there in their first movie Barsaat and thereafter followed in some of subsequent RK movies [ not all movies ] e.g. Barsaat, Sangam, Mera naam Joker , Bobby , Dharam Karam etc .

I am posting some which are available on YT :
1.Chhod gaye baalam…….Barsaat
2. Har dil jo pyar karega……..Sangam……@5.10 onwards
3. Jeena yahan marna yahan…….Mera Naam Joker…..@0.40 onwards
4. [ Background score ]………Bobby……@ 1:48:30 onwards

I am unable to locate this melody in Dharam Karam on YT. A little more effort is required . Will come back again…

114 ksbhatia February 23, 2016 at 12:02 am

AK ji;
Reverting back to B&W era has shown some encouraging results .
1. Aja aja aaja nadiya kinare……Rajhath
2.Us par sajan is par aheyen…….Chori chori

It will not be difficult to draw a line as to how gradually SJ changed and merged over from Golden classic to Modern western style . Of course their music in fading mode in the 70s was the saddest period of their career .

115 ksbhatia February 23, 2016 at 12:15 am

AK ji ;
Pressed a wrong button !
continuing from 114……
2.Us par saajan is par aheyen….Chori chori
3.Aa gayi lo agayi mein jhoom ke……Rajhath
4.Aaj maane na mora jiya…….Badal
5. Naache ang ang tere aage…….Rajhath

Some songs may have appeared earlier also .

116 SSW February 23, 2016 at 12:20 am

You are correct Mr.Bhatia, I missed “chhod gaye balam” completely in the Barsaat songs, the tune has been adroitly used. Very nice.

117 ksbhatia February 24, 2016 at 12:15 am

A K ji;
In continuation of songs @115 , here are a few more …..
6. Kaisi khushi ki hai raat…….Nagina
7.Muskurati zindagi ko na………Baghi Sipahi
8.Ae Dilbar dilwale………………..Baghi Sipahi

This song is of 1958 movie and has all the trade mark instruments played in SJ orchestra ; hence a melody.

118 ksbhatia February 26, 2016 at 12:18 am

AK ji;
In continuation of songs @117 ….
9. Sun le mere payaloan ke geet sajna………….Sasural

10. Lo aye milan ki raat suhani raat…………….Aashiq

11. Jhanan jhana ke apni payal…………..Aashiq

After listening to Gudiya and Puppet songs from Kathputli , Seema and Chori Chori ; one must also listen to two of such songs as well.

[A]…..Ek tha raja ek thi rani…….Apne huye paraye…..
[B]…..Juhi ki kali meri laadli……SJ for Suman kalyanpur…..Dil ek Mandir .

119 ksbhatia May 1, 2016 at 12:28 am

AK ji
… continuation of songs @118 ;……

12. Dekho ji dekho…..Lata, chorus….Singapore

13. Lakh chhupao chhup na sakega……Lata….Asli naqli

14. Mohe jaal mein phansaiye liyo…..Lata,chorus….Jaane anjaane…

15. Seeto peeto reeto……Lata, chorus….Jab Pyar Kisi se hota hai…

This short song in the film was sort of prelude song to the rafi’s song…..teri zulfoan se zudaai to nahin maangi thi…..

AK ji….. I was thinking there are many more beautiful SJ’s dance duet numbers of Lata ‘ji with various other male and female singers . Those could be fit in as appendix to this theme unless you have plans to cover in a separate write up . Secondly Is there any plan to post for R K’s film songs separately in the near future ?

120 AK May 1, 2016 at 7:47 am

KS Bhatiaji,
Laakh chhupao chhup na sakega is a terrific song, and it fits exactly in my theme. Other songs were new for me. Dekho ji dekho‘s singing style and picturisation is very unique. It is difficult to instantly recognise Lata Mangeshkar’s voice. She seems to have made special efforts to create South East Asian effect. Thanks a lot.

The kind of female dance I had in mind which made SJ’s compositions exceptional fits equally well for female duets. Therefore, thanks for reminding me. I would try to do a post on female dance duets. I don’t have similar feelings about their Lata duets with male singers. There have been male-female dance duets like O jaanewale balamwa, Sainya se bichhad gayi O more Ram, Gori mose Ganga ke paar milna, Main to Dilli se dulhan laya re etc, which are a class apart for having exceptionally delightful and fluid dances. But I will keep myself open. I would be grateful if you could send me a mail of your favourite MF duets which have something going for them for dance.

On RK I have no fixed ideas. My first thought was it is too well known, and many others must have done a better job than me to write on it. But I am open.

121 ksbhatia May 2, 2016 at 12:39 am

AK’ ji ;
I think there would be many female duets in comparison to male female duets or even male only songs in SJ booty . The instant songs coming in my mind are :
1. Kar gayo re mujh per jadoo…..Lata/ Asha….Basant Bahar
2. Choone na doongi …..Lata/ Asha…..Zindagi
3. Dil ka na karna aitbar koi….Lata/Rafi……Halaku
4. yeh to kaho kaun ho tum…..Mukesh , chorus…Aashiqe
5. Bechain nazar khoyi se dagar….Lata, Geeta……Yahudi
6. Nain mile chain kahan…..Manna dey, Lata….Basant bahar

I think, SJ for RK , will be a kind of smaller article but needs to be dealt separately . But as you said article on female duets will be a good extension of the present theme .

122 Siddharth May 2, 2016 at 2:55 pm

AKji, Bhatiaji,
Another lovely dance number from Kathputli –
Haye Tu Hi Gaya Mohe Bhool Re

123 ksbhatia May 4, 2016 at 12:29 am

Siddharth ji ;
Thanks for reminding this superb song . Sweet voice of Lata ji well supported by chorus and beautiful orchestration of Shankar Jaikishan . The song reminds me of another great song by Lata ji from the same film………….Itne bade jahan me aye dil…….which shows the consistency of the theater oriented dance numbers of that era ; which were specialisation of Shankar Jaikishan unique style . This goes with the depiction of their western dance theater numbers also . In this film such a song exists in the form of a duet of Lata ji with Mukesh filmed on Agha and Vyjantimala ……Is duniya mein chand suraj hain kitne hassen….. .

……..Itne bade jahan mein…..

……is duniya mein chand suraj…..

Kathputli ‘s music and songs were complement to those of Halaku, Rajhath and sort of Yahudi as well . Lata ji and all other singers were exceptional in all these movies . I am posting my personal of Lata ji from Yahudi . Though not a dance number but a fast paced sad song with every thing beautiful….wordings , interludes , rhythm, beats, dholak , mandolin , orchestration , emotional tune and what not .

……….Aansoo ki aag leke teri yaad ayi……..

124 Kanishka June 2, 2016 at 2:16 am

Really an interesting topic. Somehow, I haven’t known about this forum so far. Great to be amongst fans of my idol SJ. My two cents on few points. Regarding RK creating music, you must watch one of the programs on SJ available on youtube. Just listen to Randhir and Rishi kapoor. I find it ironic that SJ were unscrupulous in getting Filmfare while it’s ok to attribute their success to RK, Shammi, Lata and their own team. As they say, “success has many fathers”. I feel may be couple of more of their RK movies deserved FF.
Coming to DAPP, I find is more enjoyable and repeatedly listenable. My gut feeling is, even in years to come, “ajeeb dastaan” will have more universal appeal. I do feel that the multilayered orchestra and the micro patterns/effects add to the freshness of SJ music. It’s simply not possible to focus on all the little things in their songs at a time. So, it always sound different and fresh.

125 AK June 2, 2016 at 8:24 am

Welcome to SoY and thanks a lot for your comments. Can you please give the link of the SJ video you have referred. “I find it ironic…team” is not clear. Are you suggesting calling them ‘unscrupulous’ (not my word) is unfair/wrong? DAPP has very good music – Ajeeb daastan hai ye is a timeless song. Another excellent song is Jaane kahan gayi. The only issue is the relative merit of DAPP versus Mughal-e-Azam. Beimaan versus Pakeezah is equally glaring. The point I am making is that regardless they are amongst the greatest MDs.

126 Kanishka June 2, 2016 at 9:10 pm

Hi AK,

Here is the link –

Just listen to Rishi Kapoor. I don’t think he would speak so highly about SJ when RK was actually creating the tunes and donating them (to SJ). I feel the musical acumen of RK (to create that magic) is pure BS. The reason he appears so tall (musically) because he was standing on the shoulders of two giants called SJ. We should be fair in crediting people for their achievements. I believe, the RK SJ relationship was that of chicken and egg. RK gave them the platform and they paid back in Gold! They both made each other bigger!

The “unscrupulous” part! What I find unjustified is –
Awesome songs in RK movies => RK was the composer.
Awesome songs in Shammi movies => Shammi used to give imputs.
And then they have greats like Lata, Rafi, Mukesh, Manna Dey as singers. And greats like Shailendra and Hasrat as lyricists. Finally, greats like Dattaram and Sebastian! And the list can go on an on.
Now when they get FF for Beinmaan and Pehchaan, all the hell breaks loose. I think FFs are immaterial for SJ and their fans. The business of music has its limitations with respect to fairness. And I don’t care about SJ for the FFs! May be any fan should not care about it as well.

The relation between SJ and a music lover is simply one to one. Shankar used to exhort his orchestra – “Imaandaari se bajao” or “Play honestly”. That’s what they lived for. Creating music (and not just songs) which touches the listener. Always delivering something new. I kind of relived their magic thanks to my dad and HMV. It was the time in late 80s that HMV started releasing SJ’s album one after other. And my dad will be waiting for the releases. Eventually, I’ll get to listen the album for the first time. And I was pleasantly perplexed. The music was surprisingly good. Very soon I realized that SJ understood my musical taste far better than any one else (including myself) and they always managed to surprise me. I used to feel that magic. No RK/Shammi or anyone else. Net to net, SJ music is solely theirs and no one else. Personally, I can recall more of the music than the lyrics of their songs. Guess, I blabbered quite a bit. Apologies in advance! 🙂

SJ music will keep on coming back (Sounds apocryphal?). I’m not sure SJ music has got the due attention (I think Sangeet takes a beating due to the focus on geet). SJ were not just about songs but also about music. And it will keep on surfacing to the newer generations.

I feel the best testament to SJ music are the folks in other countries (not the NRIs), who found the music appealing, even though they couldn’t understand the lyrics or appreciate the singers more.
Some examples: (I stumbled on this today only). (Likely you would seen it. Its great to the way jaan pehchaan picked up, thanks to The Ghost World and the heineken commercial )

You may like this as well –

As a layman, I do feel that SJ understood the “sound of music”. Beyond the styles (ghazals etc)/lyrics/singers/ etc. And its going to stand the test of time. I simply love this one – and (used in the Darjeeling limited –

God bless!

127 AK June 3, 2016 at 12:08 am

Thanks for the link and such beautiful versions of his famous songs. Since RK’s music ‘bank’ is the popular myth, for my post I not only excluded RK films, but also non-RK films in which he appeared. SJ were talented in their own right. Remove everything which appears remotely shaded, what is left makes them one of the greatest music directors of Hindi films.

128 ksbhatia June 4, 2016 at 2:19 pm

AK ji;
In Kanishka we have found a new SoY member who is passionate about Shankar Jaikishan music as well . It is a great feeling that SJ’s fanfare followers are increasing .

Thanks for the various links . I was not aware of the heineken commercial where they have used jaan pehchan ho song . On the side line bar I noticed that there are more stage shows where this SJ song is played as background song or music .

Incidently , the prelude of the jaan pehchan ho song first appeared as prelude of the club song…….Tin kanastar peet peet kar….from Love Marriage [ 1959] . Here is the link…..

129 SSW June 4, 2016 at 3:50 pm

Mr.Bhatia , @127 it is not the same prelude , there are some similar brass lines but that is about it.

130 AK June 4, 2016 at 6:12 pm

KS Bhatiaji,
A passionate follower like Kanishka is a welcome addition. Now you have good company.

131 RSR September 26, 2016 at 1:45 pm

Hi!…Soulmate!… I want to share my list with fans of SoY.
I am not focusing on dance numbers nor giving video however( the dancer or the actress will have to be angelic themselves to fit with the voice of early Latahji and the genius SJ..This site is for music. The page will load much faster if embedded videos are avoided. ( for those who are intersted, we can give link). Comments are more informative and intersting .

132 RSR September 26, 2016 at 2:16 pm
New Delhi…Vyjayanthi . two parts. First classical Baratha Ntyam. followed by song in Piloo . ‘Murali Bairan Bayi’.
And dont miss the fleeting exchange by eyes and dazzling smile for a moment between the dancer and Kishore!

133 ksbhatia September 26, 2016 at 11:18 pm


The New Delhi song is really treat for the rich class of viewers and listeners. Every movement of dance is well presented by Dance Director and Cinematographer which is worth watching again and again . The big black round eyes of vyjaintimala are very expressive ; matching the lyrics of the song.

Full marks to Shankar Jaikishan for this classic composition . All the instruments are appropriate and use of Harmonium in the interlude is typical of Mathura Gopi krishan songs which again is excellent. Laxmikant Pyarelal followed this typical harmonium piece in Satyam Shivam Sunderam in the song…..yashomati miya se ….sung by Manna Dey and picturised on Kanahialal ; but the effect was not that great as New Delhi song.

134 Mohan October 12, 2016 at 7:47 pm

As I know,the main instrument played in the song 3; Suno chotisi gudiyaki lambi kahani is not mandolin but is sarod and is played by father of metro Amjad Ali Khan.

135 ksbhatia December 13, 2016 at 6:59 pm

AK ji ,

14th , December is again a day to remember ; being birthday of the great master craftsman of all time…..Raj Kapoor . The craftsman that looked for perfection in all the dept.of R K productions . It is really difficult to pin point a single one as there are many classic scenes/ songs which were shot to perfection to the minuteast details , adhering to the screen play and narration of the story. His team of experts were very supportive to his commands and they gave their best to the commanding leader.

This article being SJ, Lata theme I am posting a song which I think fits the bill what is said above . The song depicts the celebration of birthday of Nargis in Awara and the song is……ek bewafa se pyar hua….. .I have loaded this song as it shows the masterly directed preamble of events that carries the beautiful photography , background music , the joyful mood , dress sense of the supporting actors… matching that of Prithvi raj status , the perfect hair style and the fashion of that time and much more . one thing for sure…..that Raj Kapoor always showed his heroins stepping down the stairs with beautiful background music .I will leave this for SoY members to look for such scenes in other RK productions .

Here is the complete episode……

136 AK December 14, 2016 at 4:01 am

Remembering Raj Kaoor with great respect. Zee Classic showing his movies. Plan to see Shree 420 in the night.

137 Jignesh Kotadia December 15, 2016 at 3:58 pm

AKji and Bhatiaji
14th dec is not only RK’s Bday but also Shailendra’s Dday.
Really Shree 420 is a great movie to watch again and again..Sheth Sonachand Dharmanand is one of the all time best villainous characters of our film history and also Maya’s role by Nadira as one of the best vamps. Very interesting story with a happy ending, A1 music, Nemo and Nadira’s classic acts..all make this movie an alltime great.

Johnny Jaikishan’s few scenes in this movie are thrilling moments.

I want to know about Nemo. Why did this man vanish in 40’s and again seen only in 2 RK movies after a long spell… From where did RK bring back him to act in his movies ?? what happened with him after Shree 420 and Jagte raho ??

138 ksbhatia December 16, 2016 at 2:43 pm

Jignesh ji ;

We do remember the personalities gone by . I have posted the remembrence of Shailendra on ‘open house’ .

I am also clueless about Seth Sona Chand Dharmanand of Shree 420 . An actor par excellence in villainous role. Can’t forget his famous lines…..kya pilpli nagar mein kapde hi kapde dhulte hain…..maya ne aapse theek nahi kiya ….aap ke paas hunar hai , aap chhaiyen to chand roz mein lakhpati ban sakte hain …..pesh hai naye dhande ka advance….maine kaha tha na aapse mulakat hui , is mein faiyada hi fahida hai .

Simply superb !!

139 Jignesh Kotadia December 16, 2016 at 3:38 pm

sahi baat hai Bhatiaji..his dialogues in this movie are all classics..i dont remember proper lines but in the last half an hour when some remaining Ghareebs come to deposit money in his 100 rupee/home scheme when scheme is closed..he says: Thehro…paisa laaye hai ? bhej do andar..Sheth Sonachand Dharmanand rupayo ko kabhi wapas nahi jane deta (the lines are something like that)…awesome
majestic acting with his typical facial gestures !!

140 Jignesh Kotadia December 16, 2016 at 3:56 pm

Rajkumar of peeplinagar…
ab tumhe Vidya ki nahin…Maya ki zaroorat hai.. Maya ki..

141 ksbhatia December 16, 2016 at 4:37 pm

Jignesh ji;

Watch his chin dancing when he is in trouble . ….yeh shor kaisa…..kabhi kabhi mujhe inko dekh kar ghabrahat hoti hai…

So you too are bowled by his dialogue delivery .

142 Jignesh Kotadia December 16, 2016 at 6:03 pm

Of course, i am definitely a big fan of Sheth Sonachand…less speaking by tongue and more with his ultracool face…not so sober and not so fatal yet seems cruel…a charactered perfectly rendered by Nemo !! I should compile his all dialogues.
I had seen Shree 420 first time in 1988 when RK died. Many of his films came in a cinema of my town for few days..after that i have seen this movie about 6 to 7 times..each time i see it each time i find a new depth in it..this is a sign of a classic.

143 ksbhatia December 17, 2016 at 5:53 pm

Jignesh ji ;

You are hundred percent correct . R.K’s Awara , Shree 420 , Boot Polish etc are all time classic movies that you want to watch them again and again . A conceptual art that made a finishing master piece . I was lucky to have watched all of R K ‘s movies during first week of their release . My father’s cousin was working with the distribution company ….All India Film Distributers…., so were enjoying the complement. passes for the shows as well .

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