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Blog Day : |
4439 | Post No. : | 15881 |
Remembrance day of Jaikishan :
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Today i.e. 12th September, 2020 is 49th death anniversary of Jaikishan, a half of Shankar-Jaikishan.
I have just now read the detailed Wikipedia Page of Shankar-Jaikishan, so will reproduce some para’s which are worthy of mention in terms of Jaikishan’s death anniversary.
“Shankar Jaikishan enjoyed an unrivalled position in the Hindi film industry. During their heyday and even toward the later part of their career, they were the highest paid music directors in the industry. Barring stray exceptions, they were paid more than the leading actors and the promotional material of their films would give them more prominence than anyone else.”
“What can I say… my musical partner in life has gone, what is left of me to say anything more, I had never thought that at such an early age he would leave us all and go; Anyway his good qualities of maintaining goodwill, giving love and receiving love were innate in him and I too don’t have them in me. He used to regularly remind me of my innate quality of being in a boisterous mood all the time and always abrasive with some one or the other and so on and so forthwith…….”
(Shankar on Jaikishan’s death in an interview with AmeenSayani.)
The page also has this to say about Shankar Jaikishan, vis-à-vis different singers :
“Shankar Jaikishan combo worked above all of with Mohd Rafi and secondly Mukesh, and produced numbers of hits and unmatchable gems. Mohd Rafi was their favourite singer despite having good reputation with other playback singers of its time.”
I read somewhere else, that the mukhda of the song “Ye mera prempatra padh kar” from ‘Sangam’ was actually taken from the letter written by Jaikishan to his than fiancée “Priya”. So this could be the instance where Jaikishan unwittingly revealed that he is the composer of the block-buster song. This caused a rift between the two as Jaikishan broke the unwritten agreement between them, of not revealing which of them is the creator of any particular song. Here, Rafi Sahab is said to have intervened and solved the issue between Shankar and Jaikishan, and also later on between Lata Mangeshkar and Shankar in the mid 70’s.
But there is no doubt of the truth here when it is said that “Shankar-Jaikishan, along with other artists, composed “everlasting” and “immortal melodies” in the 1950s, 1960s, and early 1970s.[2] Their best work was noted for being “raga-based and having both lilt and sonority”.
All hindi film music fans agree that they changed the face of hindi film music with “Barsaat” and the success of the film and its music played a big role in this change.
The music I think was versatile and inspiring to new music directors. Theirs was a first of its kind duo, as far as I know who combined their talents and acumen with two lyrcists and made a fearsome foursome. They can also be called fabulous and formidable. They had to be, to be on top of the game for two decades. Shankar-Jaikishan can also be credited for starting the trend of version songs, one male and one female version. Contemporaries and seniors like Naushad and S.D.Burman rarely did it. Naushad in “Mere Mehboob” and S. D. Burman in “Sharmilee” and “Tere Ghar Ke saamne”. But in the later instance, it was both male solos.
I am actually trying to wrap up the long running series on Mohammad Rafi songs, so trying not to look for a Rafi Sahab song for posting on this occasion. But as luck would have it, I found this popular song from ‘Pyaar hi Pyaar’(1969). Moreover this song has a stamp of Shankar-Jaikishan signature style in the orchestration of the music. This is an Asha-Rafi duet, with the fast pace and beat. This is the manifestation of Asha Bhonsle making inroads in the Shankar Jaikishan cap, which started with “Teesri Kasam”. Shankar-Jaikishan were known for Lata only music scores through 50’s and not just for R.K. films. I think the exceptions to this were very rare and few, where Asha, Geeta Dutt or Shamshad Begum got to sing Shankar Jaikishan compositions. Suman Kalyanpur was one such alternative which Shankar Jaikishan tried, in mid- 60’s for duets with Rafi sahab.
I have also tried to find if Shankar Jaikishan ever re-used their own tune to compose songs, but could not find any such songs. Their music was a huge commercial success, so no one else could try and copy their songs.
The song I am presenting in a party song, where Vijayanthi Mala is trying to make Dharmendra jealous, flaunting a dance partner. There are other popular Rafi solos in the film, but this would be the most popular, with the title song of the film ’dekha hai teri aankhon mein pyar hi pyar beshumaar’.
Song-Tu mera main teri duniya jaley to jaley (Pyaar Hi Pyaar)(1969) Singers-Asha Bhonsle, Rafi, Lyrics-Hasrat Jaipuri, MD-Shankar Jaiskishan
Lyrics
Tu mera
main teri
duniya jale to jalay
tu mera
o main teri
ha duniya jale to jalay
nananana
dil teraa
ho jaan teri
duniya jalay to jalay
dil teraa
jaan teri
duniya jalay to jalay
jhoom jhoom naache
mera pyaar bharaa dil
gun gun gaaye
iqraar bharaa dil
tujh se nigaahen milin
mil gayaa dil
phool ki tarah se meraa
khil gayaa dil
jhoom jhoom naache
mera pyaar bharaa dil
gun gun gaaye
iqraar bharaa dil
tujh se nigaahen milin
mil gayaa dil
phool ki tarah se meraa
khil gayaa dil
rut jawaan
pyaar bhari
ha duniyaa jalay to jalay
nananana
dil teraa
ho jaan teri
duniya jalay to jalay
aahaaaahaa
tu mera
o main teri
ha duniya jale to jalay
nananana
dil teraa
ho jaan teri
duniya jalay to jalay
waada nibhaane dekho
aaye hain sanam
lab pe duaayen laaye
tere liye ham
dil jo diya hai tujhe
phir kya hai gham
marta hoon tujhpe hi
apni qasam
arey waada nibhaane dekho
aaye hain sanam
lab pe duaayen laaye
tere liye ham
dil jo diya hai tujhe
phir kya hai gham
marta hoon tujhpe
apni qasam
tu meri
ha jal pari
duniya jalay to jalay
aahaaaahaa
tu mera
o main teri
ha duniya jale to jalay
nananana
dil teraa
ho jaan teri
duniya jalay to jalay
aahaaaahaa
tu mera
o main teri
ha duniya jale to jalay
roop ke sharaare hain
tere hi liye
saare yeh nazaare hain
tere hi liye
aankh ke ishaare hain
tere hi liye
baanhon ke sahaare hain
tere hi liye
roop ke sharaare hain
tere hi liye
saare yeh nazaare hain
tere hi liye
aankh ke ishaare hain
tere hi liye
baahon ke sahaare hain
tere hi liye
main tujhi par mari
ha duniya jalay to jalay
nananana
dil teraa
ho jaan teri
duniya jalay to jalay
aahaaaahaa
tu mera
o main teri
ho duniya jale to jalay
nananana
dil teraa
ho jaan teri
duniya jalay to jalay