Saturday, 28 July 2012

Kishore Kumar and Shankar Jaikishen- Hysteria that did not coincide

No song in the first 8 years of mutual co-existance in the music kingdom ,18 songs in the next 13 years of association and then, 87 songs in last 17 years: the association of Shankar Jaikishen with Kishore Kumar has various interesting aspects. Another intriguing part is, for the first 13 years, SJ were the uncrowned king of Hindi film music and Kishore Kumar a non-considerate in playback singing and in the next 17 years, well, almost vice versa. “Almost” is because Jaikishen- the more prominent of the duo, died in 1971, and upto 1986, Shankar single handedly kept the S-J flag flying. As the musical parallelism goes, many still believe, it was Jaikishen with whom the camaraderie of Kishore would have blended better- and the proof was there with “Zindagi ek safar hai suhana”, the chartbuster Jaikishen had made with Kishore just months after the former passed away. But the fact is, out of 105 songs Kishore recorded under SJ baton, almost 70 songs came for Shankar only, owing to Jaikishen’s early demise.


Kishore Kumar with Asha Bhosle and Jaikishen

Alongwith Rafi-R D Burman and Asha Bhosle-Ravi, Kishore Kumar-Shankar Jaikishen combo has been highly neglected in Hindi film music history, perhaps owing to the reason that the fan groups of the MD and the singer never formed a common set.
With their clear cut preference to the trio of Rafi-Mukesh-Manna, Shankar Jaikishen ruled the film fraternity in the 1960s. They could be cult and traditional with equal ease, insisted on heavy orchestration, composed for the poster boys of Hindi cinema and maintained super Public Relations where their counterparts like Madan Mohan, O P Nayyar or S D Burman were not the experts at. They did not want to look beyond their comfort set of singers right from the very beginning in 1949. It is therefore, you will find hardly any association of them with Hemant, Talat, Geeta or Shamshad right from the 50s through the 60s, except for occasional masterpieces(Ae mere dil kahin aur chal or Yaad kiya dil ne kaha ho tum). So high was the S-J mania that time they managed to compose as many as 7 films for Dev Anand(Patita, Love Marriage, Jab pyar kisise hota hai, Roop ki rani choron ka raja, Asli Naqli, Duniya, Pyar Mohabbat)- a hero who never wanted any MD except S D Burman even outside his home production. So, for Kishore Kumar, his association with S-J was confined within the films where he was the hero himself. All the movies they worked together between 1956 and 1969 were mainly with Kishore Kumar as the protagonist- New Delhi, Begunaah, Shararat, Krorepati and Rangoli. So fascinated were the SJ with the trio of R-M-M, that except for in New Delhi, in all the other films they created space for each of the singers to playback for Kishore. Manna De played back only twice for Kishore- both the occasions came under SJ- Begunaah and Krorepati. Rafi played back for Kishore in Shararat- a movie where Kishore played a double role. There were two movies in that period where SJ did use Kishore for playback- one in Duniya(1968), a duet with Asha Bhosle on Dev Anand and one in Bhai Bahen(1969), again a duet with Manna De on a character artist.
With Aradhana released in 1969 and the equation changing a bit, S-J started using Kishore sporadically in movies like Umang and Tum haseen main jawan, still sticking mainly to their comfortable “trio” and making some space for the newly arrived sensation. By 1971, the producers started having their say on Kishore Kumar on the MDs. SJ, always known to abide by the industry trends, started suddenly using Kishore lot more. Kishore Kumar had by then, continued his popularity run with chartbusters in 1970 like Kati Patang, Johny Mera Naam, Sacha Jhutha, Safar, Pavitra Papi, Prem Pujari and Aan Milo Sajna. A force too huge to be ignored by now, Shankar turned on to Kishore for a piano solo in Laal Patthar. “Geet gata hoon main, gungunata hoon main” had Kishore responding to S-J just the way they would have wanted. Alongwith Rafi, Kishore had that elasticity to deliver just the way a MD wanted and not sticking to his own singing gambit. S-J used Kishore in the title track of a Shammi Kapoor starrer in the same year. “Jaane Anjaane”, an otherwise forgettable album, is best remembered today for Manna De’s “Chham chham baaje re payaliya” and Kishore’s “Jaane anjaane log mile”. In Andaaz, the unthinkable happened- with only one single solo in the whole film, Kishore’s “Zindagi ek safar hai suhana” overshadowed all the other songs in the album, including the versions of the same song by Asha and Rafi.
S-J, in a spree to check the continuous popularity of younger R D Burman and Laxmikant Pyarelal and older and rejuvenated S D Burman post-Aradhana, started signing movies one after the another in 1971. They had 17 releases in 1971, much more than what RD and SD had done, and almost as good as what LP had done. That was the good part, the bad part was except Andaaz, all the other movies bombed at the box office. Duniya kya jaane, Seema, Ek naari ek brahmachari, Albela, Jawan Mohabbat, Pagla kahin ka came and went. In spite of great songs, Lal Patthar and Mera Naam Joker failed at box office. Jaane Anjaane, Kal aaj aur kal received lukewarm response. Andaaz was the only day-saver, that too thanks to only one superhit. Interestingly, SJ used Kishore in almost all their movies in 1971, except for 2-3 Raj Kapoor and Shammi Kapoor movies. They had four releases of Shammi Kapoor that year, and none faring well, also gave a hint at the star’s declining product life cycle.
Kal aaj aur kal was a RK production launching Raj Kapoor’s son Randhir Kapoor. S-J decided to put Kishore Kumar as the voice of young Randhir and made him croon the evergreen beauty “Bhanwre ki gunjan”. Interesting to note that, although the media hypes a lot over Kishore’s association with Rajesh Khanna, Amitabh Bachchan and Dev Anand, it was Randhir Kapoor for whom, in terms of percentage, Kishore Kumar had played back the most. Except for Jeet(1972) and Humrahi(1974), Kishore played back for Randhir Kapoor in all the other movies of the hero- an outstanding achievement between an actor and a singer.
Jaikishen passed away in 1971 owing to liver cirrhosis. With Shailendra already gone in 1966, Shankar was left alone to carry forward the glorious torch of the past. With already a declining trend in popularity, SJ held intact only one thing- the Filmfare Awards. They received it in 1970 and 1971 winning over the albums of SD,RD,LP and KA with many eyebrows raised. In 1972, a year truly belonging to Rahul Dev Burman, with mesmerizing albums like Mere Jeevan Sathi, Amar Prem, Parichay, Jawani Deewani, Hare rama hare Krishna and Bombay to Goa, SJ managed to win the Filmfare Award again for Beimaan under lot of controversies. SJ used Kishore Kumar again in almost all their movies except Aan Baan(1972)- a Rajendra Kumar starrer, where they decided to stick to their old gun, Rafi. Kishore delivered his job, giving hits under any circumstances, with “Tum kitni khubsoorat ho”(Jungle mein mangal), “ Saath mein pyara saathi”(Dil Daulat Duniya) and “Aankhon aankhon mein baat hone do”(Aankhon aankhon mein).


Shankar and Kishore Kumar in rehearsal can be seen in the original records of Dil, Daulat Duniya-1972. Pic Courtesy: Rajnikanth Ranchod Pithia ji

The next decade saw gradual decline of Shankar amongst mainstream cinema. After giving music to almost 350 movies, the exhaustion showed. With no Jaikishen, Shankar tried to put his foothold intact with occasional hits in Resham Ki Dori(1974), Sanyasi(1975) and Do Jhoot(1975). Many of Shankar’s hits that time came with Kishore like “Chhatri na khol”(Do Jhoot), “Mere dil mein tu hi tu hai”(International Crook), “Chamka paseena”(Resham ki Dori) and “Tu jahan main wahan”(Garm khoon).
Both Shankar and Kishore demised in 1987. While one was given a superstar farewell, the other went away quietly. Quite contradicting to the fact that once, in the 60s, Shankar had actually told in an interview that some songs were not singer Kishore’s “cup of tea”. That time, he was the superstar in music and Kishore was obscure. Time changes fast.
But, the fact remains that Shankar Jaikishen were amongst the greatest music directors in Indian Cinema and Kishore Kumar was one of the greatest playback singers. Although their peak periods don’t match, in spite of being contemporaries, they did give us some brilliant output together. Here are my top 10:
  1. Nakhrewali- New Delhi(1956).
  2. Chhotisi yeh duniya- Rangoli(1962).
  3. Rangoli sajaao-Rangoli(1962).
  4. Humlog hai aese deewane- Umang(1970).
  5. Geet gata hoon main- Laal Patthar(1971).
  6. Jaane anjaane log mile- Jaane Anjaane(1971).
  7. Bhanwre ki gunjan-Kal aaj aur kal(1971).
  8. Zindagi ek safar hai suhana-Andaaz(1971).
  9. Saath mein pyara saathi-Dil Daulat Duniya(1972).
  10. Kehta hai dil o mere sanam-Chorni(1980).

42 comments:

  1. Excellent and informative write up Arghya. Keep it coming..

    ReplyDelete
  2. Fantastic write up - Sharing another trivia - Filmfare Best Supporting Actor Award was given to Pran, who refused to accept on the ground that the Filmfare award for Best Music should have gone to 'Paakeezah' and not 'Shankar Jaikishan' for Be-Imaan!

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    Replies
    1. Thanks Anurag ji for the info. Even in 1966, they won it over Guide- the actual deserving album. S D Burman was reportedly very heart broken. Anyways, SJ were greats and gave us innumerable melodies.

      Delete
    2. Dear Anurag, it is sad that even now Shanker-Jaikishen are villains in many's eyes, though they were not responsible for that. However, Pran Sahab too did commit injustice to SJ by making hues and cries about Pakeezah and Be-imaan without directly approaching the people of Filmfare. It is also a sad state that people are aware of the episode, but don't know that Filmfare had made it clear as to why Pakeezah was not even nominated for it was then their policy to not to confer any award posthumously. By then Ghulam Mohammed was no more. By the way Had Pran Sahab would mention other big films like Hare Rama Hare Krishna and others, we, the SJ fans would have been obliged. But at some place he (Pran sahab) was too not having fair sense of music...may I say ????

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    3. Pakeezah music was a yawn, Beimaan was more intime .

      Delete
  3. This comment has been removed by the author.

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    Replies
    1. Would have loved to read this comment.

      Delete
  4. Nice article. Thanks for sharing your thoughts.

    One song of this combination that is a perennial favourite of mine is 'milte hi nazar aap mere dil mein aa gaye' from New Delhi. The composing duo, in their typical brilliance, takes the classical-ness out of raag Pilu for this wonderfully spontaneous singer to render a masterpiece. Not a single note out of place in this lovely, peppy number.

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  5. Dear Arghya,

    The journey of FFA is full of such cases where this or that music director would have got or should not have got. Even SJ themselves were deprived and lost to lesser popular albums. Can anyone imagine that they at very last got FFA for only one RK films' music MNJ ???

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  6. IF SOME ONE HAS NOT YET HEARD SONG FROM EENT KA JAWAB PATTHAR, "AHISTA-AHISTA JUDNE DE, YE RISHTA....''
    PLEASE LISTEN

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  7. Very Nice Analysis Arghya, For me "Tum Kitni Khubsoorat Ho" would come in my top ten list of SJ-KK.

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  8. Lovely post!!It's a delight to read your articles Arghya :)

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  9. superb thesis.i am in fix,wheather yours is human brain or computer.great fiest. waitinhg for anather./

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    Replies
    1. I am overwhelmed Virendraji!!! Thanks so much...

      Delete
  10. It is a fact that Zindagi ik safar was a bigger hit than any Aradhana song those days and can be said as the real turning point of Kishore. Having said that , it was not the only popular song of this movie. Hain na bolo bolo , was equally popular.

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  11. Zindagi ek safar bigger hit than Aradhana solos of Kishore? Huh...

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  12. Yes it was. Though Aradhana was released an year or so earlier, its music not the most popular music those days. It never topped the charts, so to say. On the other hand 'Zindagi ke safar' was a topper all the way and played all over. Kishore had already 'arrived' on the scene but this one song gave him super- stardom . Those who have actually seen those days would agree with me.

    ReplyDelete
    Replies
    1. Dear friends, a small request to you all. Please please mention your name in the comments, when you are posting as Anonymous.

      It is really great to see such knowledgable people discussing and enlightning us here. i am grateful to you all!

      Delete
    2. Anonymous should have the courage to stand by their convictions for which they will be respected, if known.

      Delete
  13. Making comments like Zindagi ek safar was a bigger hit than Mere sapno ki Rani is both immature and non-value added. Both were brilliant songs, both were on the lips of the public, both the songs would be blasted over the mikes in the late 1960s and 1970s.

    In terms of record sales, Aradhana toppled Andaz by a wide margin. Though I would not use it as an indicator of success, the revenue generated by Aradhana was higher as compared to revenues made by other films during that time. Unfortunately, the film has not dated well - but the songs have. Ditto for Andaz. They carry the charisma of the Kishore - Rajesh combo, something which is like Halley's comet - it happens once in 76 years.

    Aradhana created the magical Rajesh Khanna charisma. Till then he had not tasted the success he was destined for. The two Kishore solos were like tidal waves , sweeping away anything and everything in their way. And full marks to S D Burman for unleashing the energy in the voice that was Kishore Kumar.

    Andaz and other films during that time (like Kati Patang , Anand and Haathi mere saathi) carried it forward.

    Btw, I very much belong to those times. I grew up with Rajesh Khanna and Kishore Kumar - and my days then and now are enmeshed in musical thoughts only

    Anirudha

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  14. As I see that we have digressed from SJ to Rajesh Khanna to SD, let me get back to the discussion on SJ citing that Aaj na jane pagal manwa (Bezubaan, SJ) was perhaps the most magical yodelling song Kishore sang in his lifetime. Closely followed by Chand raat tum ho saath (Half Ticket, Salil Chowdhury). Both the songs, IMHO, are impossible to sing, leave alone replicate.

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  15. A different look on career of Shankar Jaikishan. Nice post

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  16. I always liked Aradhana's music more though Andaz was not bad either. Andaz was indeed more popular of the two as far as time share on radio was concerned. I would presume that Andaz sold more also and would be not mind getting corrected if I read figures that speak contrary to my belief. Can someone direct me to some website that gives the music sales of those years?

    My comment was based upon my firsthand knowledge of those times and I refuse to be drawn into controversy. Personal nature of comments above were not warranted.

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  17. Another excellent topic rarely discussed. It is very obvious (numbers don't lie) that SJ simply refused to use Kishoreda as a playback singer till Aradhana happened. Afterwards they simply joined the crowd to cash on his popularity. Bringing my mind back to the same comment on another post (about SJ not using a wide range of singers)! Why blame SJ though, most of the major composers (except Burmanda of course) did not use singing talent of Kishoreda in the late 40s and 50s.

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    Replies
    1. You are right, Parag! Why blame SJ only? Even RD used Kishore for only 8 songs in the whole 60s, including 4 from Padosan, where KK himself was the actor!! Later, when people like Anil Biswas and C Ramchandra declared KK to be the best singer, they were not very clear on explaining their own sporadic use of this genius in the 50s and 60s! Perhaps, KK's own eccentric behaviour was a big factor why he was not taken seriously.

      Delete
  18. Rafi was number one choice of MDs in sixties but bear in mind that for most parts Kishor was not keen on singing for other actors in fifties and sixties.

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  19. Hello. I endorse your thoughts completely. Even I too am ruing over the fact that "Kishore-SJ" hysteria did not catch. K R Vaishampayan [alias-KRV]

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  20. Some infamous movies like Beiman might have got awards. But at the same time a lot of SJ movies like Dil Ek Mandir, Basant Bahar, Shri420, Hariyali Aur Rasta, Aarzoo, Junglee, Love In Tokyo, Asli Naqli and many more were not given this awards despite of comparatively weak competitors like Khandan, Gharana etc. Still the filmfare awards SJ got for ChoriChori, Anari, Professor, Dil Apna Preet Parayi, Mera Nam Joker, Brahmachari etc. are highest in number and nobody can doubt. There are such incidents every year till date that a some movies get filmfare surprisingly like Karwan, Hare Krishna Hare Ram, Rangeela (against DDLJ), Delhi-6, Rang De basanti etc.

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  21. Hello All,

    Being a die hard fan of S-J and spending a clean 15 yrs collecting their 1250 songs, I am proud of all combinations of singers with S-J. Its the erena that counted and 50s and 60s were more into music which were less robhust than the late 60s and 70s trend which incorporated different music style largely influenced by westernization of indian classical tunes.

    The important point to make is S-J were highly strict MD with promptness and punctuality being important. Vijay Anand once described S-J to be the best professional MD he ever worked with during the making of Kahin door chal. L-P on the other hand were stealers and took enything left by S-J and RDB took S D Burmans movies to complete where both MDs used Kishore Kumar well. Here low budget counted.

    During Aradhana, RDB experimented on a tune which is an english number of 1957 for the song Mere sapnon ki rani kab aayegi...........original number being the "tequila". Also another number that rose to fame was roop tera mastana from Aradhana and credit should be given to SDB for putting the tune forth to RDB.

    Kishore shone to the max then, but remember he had his laugh only then because he was always a singer regularly used who also acted. LP used him for mere mehboob qayamat hogi, pyar batate chalo, khoobsoorat haseena janeman janejaan, pyar kiye ja etc, Salil da used him from Naukri days 1955, then OP Nayyar used him from 1956 Naya Andaz.......meri neendon mein tum, piya piya piya mora jiya pukare, SDB exclusively used KK for Dev Anand songs since Dev insisted it be so. So KK had enough hits to keep him in race but Rafi and Mukesh always had upper hand and had more songs to sing and proportional hits. So KK was in back seat till then.

    Coming to S-J, FFA is a goofed up system of awarding awards where the award is given to most nominated MD basis calculations of FF Coupon recieved from the FF booklet.

    S-J, L-P and later MD knew how to break the system and they successfully did it always. By the way who cares FFA............ARR was given all FF awards every year of his nomination except 2004. It is almost evident that in case in coming years he does not get give music, still the awards will be reserved for him. Now that is what I call Bullshit on the part of FFA. Let them go to hell I dont bother.

    S-J music was more than a charisma.Their research on western orchestra that also when they themselves were of small age in 1949 is simply amazing. Barsaat is numero Uno in terms quality of songs and so were their all 184 movies. Every Rthym every Mukhda, Antra, Prelude, Interlude, close of the song is in perfect synchory. You get Halleys comet once in 76 years, but you will never get S-J forever.

    So what after 1971, Shankar didnt do well. All that counts was the 22 years both MD remodelled Hindi Cinema. Today listening to songs given by their next gen MD, I see that all MDs irrespective of which language they give music, have adopted SJ style of music in one way or other and ARR is no exception.

    The initial music of MERE SAPNON KI RANI from ARADHANA is on similar terms with what SJ gave in ASLI NAQLI, Song being TUJHE JEEVAN KI DOR SE BANDHA LIYA HAI.

    I have respect to all other MD and singers (except Lata and Asha) and for all the comments each person has posted here. I do not expect any topic from this to be pulled into any further discussion or controversy. Just read and move on. Thats it. I wrote what is my view and dont expect any further discussion on this.

    Many Thanks for all those who visited this post and to those who have given worthy comments here.

    Seeking Blessings from S-J and KK..................LOTS OF LOVE AND BYE.

    ReplyDelete
  22. Hello All,

    Being a die hard fan of S-J and spending a clean 15 yrs collecting their 1250 songs, I am proud of all combinations of singers with S-J. Its the erena that counted and 50s and 60s were more into music which were less robhust than the late 60s and 70s trend which incorporated different music style largely influenced by westernization of indian classical tunes.

    The important point to make is S-J were highly strict MD with promptness and punctuality being important. Vijay Anand once described S-J to be the best professional MD he ever worked with during the making of Kahin door chal. L-P on the other hand were stealers and took enything left by S-J and RDB took S D Burmans movies to complete where both MDs used Kishore Kumar well. Here low budget counted.

    During Aradhana, RDB experimented on a tune which is an english number of 1957 for the song Mere sapnon ki rani kab aayegi...........original number being the "tequila". Also another number that rose to fame was roop tera mastana from Aradhana and credit should be given to SDB for putting the tune forth to RDB.

    Kishore shone to the max then, but remember he had his laugh only then because he was always a singer regularly used who also acted. LP used him for mere mehboob qayamat hogi, pyar batate chalo, khoobsoorat haseena janeman janejaan, pyar kiye ja etc, Salil da used him from Naukri days 1955, then OP Nayyar used him from 1956 Naya Andaz.......meri neendon mein tum, piya piya piya mora jiya pukare, SDB exclusively used KK for Dev Anand songs since Dev insisted it be so. So KK had enough hits to keep him in race but Rafi and Mukesh always had upper hand and had more songs to sing and proportional hits. So KK was in back seat till then.

    Coming to S-J, FFA is a goofed up system of awarding awards where the award is given to most nominated MD basis calculations of FF Coupon recieved from the FF booklet.

    S-J, L-P and later MD knew how to break the system and they successfully did it always. By the way who cares FFA............ARR was given all FF awards every year of his nomination except 2004. It is almost evident that in case in coming years he does not get give music, still the awards will be reserved for him. Now that is what I call Bullshit on the part of FFA. Let them go to hell I dont bother.

    S-J music was more than a charisma.Their research on western orchestra that also when they themselves were of small age in 1949 is simply amazing. Barsaat is numero Uno in terms quality of songs and so were their all 184 movies. Every Rthym every Mukhda, Antra, Prelude, Interlude, close of the song is in perfect synchory. You get Halleys comet once in 76 years, but you will never get S-J forever.

    So what after 1971, Shankar didnt do well. All that counts was the 22 years both MD remodelled Hindi Cinema. Today listening to songs given by their next gen MD, I see that all MDs irrespective of which language they give music, have adopted SJ style of music in one way or other and ARR is no exception.

    The initial music of MERE SAPNON KI RANI from ARADHANA is on similar terms with what SJ gave in ASLI NAQLI, Song being TUJHE JEEVAN KI DOR SE BANDHA LIYA HAI.

    I have respect to all other MD and singers (except Lata and Asha) and for all the comments each person has posted here. I do not expect any topic from this to be pulled into any further discussion or controversy. Just read and move on. Thats it. I wrote what is my view and dont expect any further discussion on this.

    Many Thanks for all those who visited this post and to those who have given worthy comments here.

    Seeking Blessings from S-J and KK..................LOTS OF LOVE AND BYE.

    ReplyDelete
  23. It is a complete fallacy that in 1971 S-J were faced with a decline in popularity as this write-up claims. True they were not giving as many hits during this period as in the past, yet there was no question over their popularity or stature as composers and they were right up there at the top right until Jaikishan;s death. As for the hits, besides 'Andaz' S-J had 'Main Sundar Hoon' which did a silver jubilee in 1971 and had an all hit score with Kishore the dominant singer all through, something the writer completely ignores. S-J also had 'Elaan' and 'Pardey Ke Peeche' the same year which too were hits in their own right. 'Pagla Kahin Ka' and 'Jawan Mohabbat' weren't flops either.

    ReplyDelete
  24. Very interesting discussion in this forum!! Would just like to highlight a few aspects of SJ's success stories. Why do we criticize when SJ got the filmfare over Guide in 1966?? What about Jis Desh Men Ganga Behti Hai loosing out to Gharana in 1961 or Dil Ek Mandir in 1963 loosing out to Khandan?? It is also very important to understand that the leading heroes of 50's and 60's playback voices never matched with Kishore Kumar. It was Rafi, Talat Mahmood, Mukesh in the frontline and Manna Dey at times. When Kishore gave playback for Aradhana for Rajesh Khanna, within 2 years from then Jaikishan had left us and Shankar could not adopt to the changing musical trends in the industry and hence faded into oblivion. As far as receiving farewell after death, how many of us can really recollect any noteworthy farewell to Salil Choudhury, Anil Biswas, O.P.Nayyar. The entire industry flocked to the hospital when Jaikishan passed away in 1971. Sad but true....applies in all professions..To sum up, SJ remains the numero uno music composers of the Hindi Film Industry and still share a stature which remains unmatched till date!!!

    ReplyDelete
  25. in 1964 it should be WOH KAUN THI, in 1966 it should be teesri manzil, in 1969 it should be ARADHANA, IN 1970, it should be KATI PATANG, in 1971 it should be PAKEEZAH, IN 1972, IT shuold be AMAR PREM, in 1973 it should be BOBY

    ReplyDelete
  26. Shankar Jaikishan played very important part in Kishore Kumar Stardom.Basically Kishore wanted to be star and singer .This was necessary also for his creativity and income. Playback singer would get Rs 300 to 500 but a star at least Rs 50000 to Rs 100000 Hence he restricted playback to select songs of Dev
    Even for SDB his main popular songs came in Munimji 1955.(could be corrected)
    But 25/27 films he worked eluded box office success.Then came Block Buster New Delhi a golden jubilee hit musical first for Kishore bringing him on par with A grade stars
    This was followed by Asha.Dilli Ka Thug and Chalti Ka- Naam- Gadi
    They worked in _Shararat and Rungoli both superhit also great Musicals Actually after Rungoli his acting Carrier took a plunge and revived with Pyar Kiye Jaa and Padosan and then he
    retired practically
    He had special equations with SDB because OPN Madan Mohan Salil Chaudhary also worked with Dev but perhaps KK would not have given playback for them
    As regards Dev and SJ after Superhit musical Daag- by Amiya- Dev must have agreed to work fully knowing that SJ would be MD same for Love Marriage and Jab Pyar Kisise because perhaps SJ were signed first
    SJ suffered because of Jaikishan departure as they lost big banners perhaps Sholay also
    This in second phase of KK after 70 where he was the king SJ had less space.
    RDB- LP- KA had more films and definitely great greater credit
    Shankarji definitely could not revive the glory and was perhaps out of tune with new set ups
    But he died boots on .Not all get that .
    HIS work on Doordarshan training newcomers is definitely praiseworthy.
    All legends SJ SDB KK Rafi and others were Greatly outstanding.
    They worked in 5 to six films thus allowing comradery
    After 72 when MD signed 30/ 40 films issues started and got sorted out with times
    Jay

    ReplyDelete
  27. Shankar Jaikishan played very important part in Kishore Kumar Stardom.Basically Kishore wanted to be star and singer .This was necessary also for his creativity and income. Playback singer would get Rs 300 to 500 but a star at least Rs 50000 to Rs 100000 Hence he restricted playback to select songs of Dev
    Even for SDB his main popular songs came in Munimji 1955.(could be corrected)
    But 25/27 films he worked eluded box office success.Then came Block Buster New Delhi a golden jubilee hit musical first for Kishore bringing him on par with A grade stars
    This was followed by Asha.Dilli Ka Thug and Chalti Ka- Naam- Gadi
    They worked in _Shararat and Rungoli both superhit also great Musicals Actually after Rungoli his acting Carrier took a plunge and revived with Pyar Kiye Jaa and Padosan and then he
    retired practically
    He had special equations with SDB because OPN Madan Mohan Salil Chaudhary also worked with Dev but perhaps KK would not have given playback for them
    As regards Dev and SJ after Superhit musical Daag- by Amiya- Dev must have agreed to work fully knowing that SJ would be MD same for Love Marriage and Jab Pyar Kisise because perhaps SJ were signed first
    SJ suffered because of Jaikishan departure as they lost big banners perhaps Sholay also
    This in second phase of KK after 70 where he was the king SJ had less space.
    RDB- LP- KA had more films and definitely great greater credit
    Shankarji definitely could not revive the glory and was perhaps out of tune with new set ups
    But he died boots on .Not all get that .
    HIS work on Doordarshan training newcomers is definitely praiseworthy.
    All legends SJ SDB KK Rafi and others were Greatly outstanding.
    They worked in 5 to six films thus allowing comradery
    After 72 when MD signed 30/ 40 films issues started and got sorted out with times
    Jay

    ReplyDelete
  28. Shankar Jaikishan played very important part in Kishore Kumar Stardom.Basically Kishore wanted to be star and singer .This was necessary also for his creativity and income. Playback singer would get Rs 300 to 500 but a star at least Rs 50000 to Rs 100000 Hence he restricted playback to select songs of Dev
    Even for SDB his main popular songs came in Munimji 1955.(could be corrected)
    But 25/27 films he worked eluded box office success.Then came Block Buster New Delhi a golden jubilee hit musical first for Kishore bringing him on par with A grade stars
    This was followed by Asha.Dilli Ka Thug and Chalti Ka- Naam- Gadi
    They worked in _Shararat and Rungoli both superhit also great Musicals Actually after Rungoli his acting Carrier took a plunge and revived with Pyar Kiye Jaa and Padosan and then he
    retired practically
    He had special equations with SDB because OPN Madan Mohan Salil Chaudhary also worked with Dev but perhaps KK would not have given playback for them
    As regards Dev and SJ after Superhit musical Daag- by Amiya- Dev must have agreed to work fully knowing that SJ would be MD same for Love Marriage and Jab Pyar Kisise because perhaps SJ were signed first
    SJ suffered because of Jaikishan departure as they lost big banners perhaps Sholay also
    This in second phase of KK after 70 where he was the king SJ had less space.
    RDB- LP- KA had more films and definitely great greater credit
    Shankarji definitely could not revive the glory and was perhaps out of tune with new set ups
    But he died boots on .Not all get that .
    HIS work on Doordarshan training newcomers is definitely praiseworthy.
    All legends SJ SDB KK Rafi and others were Greatly outstanding.
    They worked in 5 to six films thus allowing comradery
    After 72 when MD signed 30/ 40 films issues started and got sorted out with times
    Jay

    ReplyDelete
  29. Shankar Jaikishan played very important part in Kishore Kumar Stardom.Basically Kishore wanted to be star and singer .This was necessary also for his creativity and income. Playback singer would get Rs 300 to 500 but a star at least Rs 50000 to Rs 100000 Hence he restricted playback to select songs of Dev
    Even for SDB his main popular songs came in Munimji 1955.(could be corrected)
    But 25/27 films he worked eluded box office success.Then came Block Buster New Delhi a golden jubilee hit musical first for Kishore bringing him on par with A grade stars
    This was followed by Asha.Dilli Ka Thug and Chalti Ka- Naam- Gadi
    They worked in _Shararat and Rungoli both superhit also great Musicals Actually after Rungoli his acting Carrier took a plunge and revived with Pyar Kiye Jaa and Padosan and then he
    retired practically
    He had special equations with SDB because OPN Madan Mohan Salil Chaudhary also worked with Dev but perhaps KK would not have given playback for them
    As regards Dev and SJ after Superhit musical Daag- by Amiya- Dev must have agreed to work fully knowing that SJ would be MD same for Love Marriage and Jab Pyar Kisise because perhaps SJ were signed first
    SJ suffered because of Jaikishan departure as they lost big banners perhaps Sholay also
    This in second phase of KK after 70 where he was the king SJ had less space.
    RDB- LP- KA had more films and definitely great greater credit
    Shankarji definitely could not revive the glory and was perhaps out of tune with new set ups
    But he died boots on .Not all get that .
    HIS work on Doordarshan training newcomers is definitely praiseworthy.
    All legends SJ SDB KK Rafi and others were Greatly outstanding.
    They worked in 5 to six films thus allowing comradery
    After 72 when MD signed 30/ 40 films issues started and got sorted out with times
    Jay

    ReplyDelete
  30. If Shankar had banners he could have fought back.His creativeness ability to build team was unparallel It is stated by some reports ( Dont know correctness)that Aaj Ka Arjun superhit number one Block Buster Gori Hai Kalayain had Shankarji links)
    Shanka built the team and loss of Shailendra hampered him) but his contribution to development of film music and it's success is phenomenal

    ReplyDelete
  31. If Shankar had banners he could have fought back.His creativeness ability to build team was unparallel It is stated by some reports ( Dont know correctness)that Aaj Ka Arjun superhit number one Block Buster Gori Hai Kalayain had Shankarji links)
    Shanka built the team and loss of Shailendra hampered him) but his contribution to development of film music and it's success is phenomenal

    ReplyDelete
  32. If Shankar had banners he could have fought back.His creativeness ability to build team was unparallel It is stated by some reports ( Dont know correctness)that Aaj Ka Arjun superhit number one Block Buster Gori Hai Kalayain had Shankarji links)
    Shanka built the team and loss of Shailendra hampered him) but his contribution to development of film music and it's success is phenomenal

    ReplyDelete
  33. When it comes to compare the calibre of Shanked & Jaikishan individually, both were unique in music composition in their own way as each & every song they composed is a testimony by itself & it is unfair to put one against the other.yet, it should be noted that Shankerji had a definte edge over Jaikishenji as he was little more innovative & made singers to sing from the deep depth of the heart(eg o mere sanam from Sangam, tera Jana of Anadi, ruk ja raat teher tare chanda of Dil ek mandir & a lot lot more). But because Jaikishenji was outgoing in nature he got more popularity.Shankerji was very disciplined & always punctual at work. One should not forget that it was he who was responsible for all the glory that Lataji cornered as a singer. Less said the better about Rajkapoor who ditched Shankerji after Jaikishenji death. It was very ungrateful of him & same can be said about Lataji(see her arrogance) who stopped singing for Shankerji for a trivial matter & later Shankerji had to prostrate before her to make her sing in Sanyasi. What a tragedy for the very man who brought her to limelight.Shankerji never bowed his head to any body & held S-J banner till his last breath. Shankerji Amar Rahe

    ReplyDelete