Death of a Legend-Shankar
Ket...@att.net
Death of a Legend--In the passing away of Shanker, the country has lost one of
its foremost musical craftsmen, laments NALIN SHAH.
http://www.studio-systems.com/Playback&Fastforward/PlayBack/1987/June/75June87.htm
Music director Shanker burst upon the musical firmament like a meteor with the
release of "Barasat" in 1949. When he suddenly died on April 26,1987 his failure
and frustrations of the last 15 years were forgotten. What remained was the fond
memories of 22 years of total domination over the music world by Shanker
together with his partner Jaikishan.
Shanker Singh Raghuvanshi in real life, Shanker was an expert ercussionist from
Hyderabad who learned the rudiments of film music from the first composer duo
Husnalal-Bhagatram.
When Raj Kapoor heard Shanker sing one of his compositions 'Ambuva ka ped hai,
wohi munder hai, Aaja mere balam, ab kahe ki der hai' he detected a spark of
genius in this young man of 26 and signed him for' Barsaat'. Shanker introduced
Jaikishan (from Gujarat) as his musical partner. Poet Hasrat Jaipuri who had
slogged for six years as a BEST bus conductor in Bombay joined hands to pen his
first lyrics' Jiya beqarar hai, Chhai bahar hai 'cast in the 'Ambuva ka Ped hai
'mould. Later poet Shailendra joined the team and with that started a new era in
film music.
Till death did them apart Hasrat and Shailendra became an indispensable part of
Shanker and Jaikishan. Once during the making of'College Girl'(1960) Shanker
Jaikishan submitted to the producer's demand that they have Rajendra Krishna as
a lyricist. Hasrat and Shailendra retaliated by refusing to work with S-J again.
The latter admitted their mistake and made amends by refusing producer B R
Chopra's film only because he insisted on having Sahir, and not Hasrat &
Shailendra, to pen the lyrics.
Shanker and Jaikishan composed independently and never interfered in each
other's work but divided their remuneration equally irrespective of the number
of songs composed by each of them. Hasrat wrote mostly for Jaikishan and
Shailendra for Shanker.
In the matter of orchestration the duo took the cue from Naushad who had
remained their model. As a result under the expert supervision of the Goan
musician Sebastian the duo's orchestral arrangements made their compositions
sound more breezy and melodious. Consequently even the creative score of
Naushad's 'Andaz' was relegated to second place, after the 'Barsaat' melodies in
terms of popular appeal.
By the early '50s, Shanker Jaikishan became undisputed masters of all they
surveyed with a chain of musical hits such as 'Nagina', 'Awara', 'Badal',
'Daagh', 'Aah' and' Patita'.
While background music was Jaikishan's forte, Shanker had an edge over him in
song compositions. Shanker stands out as versatile compose when we hear the
heartrending cry of a lover in 'Yaad aai hai' (Lata -'Nagina') and 'Tere bina
aag chandani' (Lata -'Awaara') or soulful melodies in 'Koi nahin mera is duniya
mein' (Talat -'Daagh') and' Yeh mera diwanapan hai' (Mukesh 'Yehudi') or light
and frivolous numbers such as 'Ek do teen aaja mausam hai rangeen' (Shamshad &
chorus -'Awaara') and 'Lal Chhadi maidan khadi' (Rafi 'Janwar').
Shanker's super ability as a composer is evident from the fact that he scored
the entire 'Kali Ghata '(except' Chhum chhananan chhum'-1953) and'Shri
420'(except 'Sham gai raat aai'-1955). 'Basant Bahar'(1956), which was
originally to be scored by Anil Biswas, came to Shanker instead. It was a god
sent opportunity. Shanker exhibited his expertise in classical music with his
compositions of the 'Basant Bahar 'songs (except 'Main piya teri' and 'Bhaya
bhajana'). 'Amrapali (1966), though a box- office failure, was remarkable for
Shanker's classical compositions (except 'Neel gagan chhaon men').
In sharp contrast to Shanker as a musical craftsman, he was crude and uncouth as
a man. His lack of education was pronounced by his foul temper and a bad
tongue. He took morbid pleasure in mocking chillana ... yeh gaana haina baajanaa
'in 'Love Marriage' (1959).
Nor did he hesitate to ridicule Naushad for accepting the Lata Mangeshkar award
(being senior to her in the profession).
Similarly Shanker sought to satisfy his inflated ego by 'winning' awards for
music. Shanker, by his own admission, tried every questionable means to prove
his superiority over Jaikishan and the other contemporary music directors.
Shanker is known to have cornered thousands of 'Filmfare'coupons to get awards
for the duo's mediocre score in 'Dil Apna Aur Preet Paraye' against Naushad's
acclaimed masterpiece in 'Mughal-e-Azam'.
Jaikishan, on the other hand was soft spoken, suave and polished in his
behaviour. Producers, including Raj Kapoor, preferred to deal with Jaikishan
rather than Shanker.
For the first time in many years Shanker Jaikishan felt their position
threatened with the rise of 0 P Nayyar and Laxmikant-Pyarelal. Their
togetherness was prompted more by business compulsion rather than a sense of
team spirit.
The rift between Shanker and Jaikishan widened with the entry of singer Sharda
in their camp. In spite of the popularity of Sharda's 'Titli udi ('Suraj'1966)
and Shanker's persuasion, Jaikishan refused to accept Sharda as a singer. As
Sharda drew closer to Shanker the duo drew farther apart. Their differences
could not be reconciled - this continued upto the death of Jaikishan in 1971.
In spite of his versatility and dexterity as a composer Shanker was never his
old self again.
With the death of Shailendra and Jaikishan something vital had gone one out of
his life. The edge of creativity had blunted. In the remaining 15 years
'Sanyasi'(1975) was the only significant film he scored. Producers found it
difficult to deal with him and so did Lata. The name "Shanker Jaikishan' had
lost. Most was the fact that even Raj Kapoor had deserted him. There was a
flicker of hope that after 'Bobby' Shanker would enter the Raj Kapoor camp again
to do 'Param Veer Chakra'. But the film was shelved. After turning to
Laxmikant-Pyarelal when Raj Kapoor turned to Ravindra jain, Shanker could not
hide his bitterness. After all, Raj Kapoor and Shanker-Jaikishan had grown
together. But even in frustration he remained defiant.
A month before his death when I met him in his empty recording room he reminded
me of a tiger who was caged but not vanquished. He moved his fingers expertly on
the piano keyboard and proudly recalled the days when Shanker-Jaikishan reigned
supreme. He talked enthusiastically about his excellent health and his athletic
background. He was looking forward to his forth coming musical tour of America.
He was still confident of recreating the old glory some day.
That 'some day' was a dream that did not come true. On the fateful night of
April 26, 1987, Shanker, who had enthralled millions by his music, suddenly
died. Early in the morning, the following day, when unsuspecting music lovers
were probably humming melodious tunes composed by him. Shanker's mortal remains
were being consigned to flame in the presence of a handful of neighbours and
relatives. Shanker's close friend announcer Kishan Sharma, who was scheduled to
meet Shanker in the evening checked his day's engagements. Raj Kapoor and Hasrat
Jaipuri were totally unaware of the shock that awaited them later in the day,
Shanker's close confidante Sharda impatiently waited for Shanker in the 'Famous'
recording room for the recording of a song. It turned out to be an endless wait.
http://www.studio-systems.com/Playback&Fastforward/PlayBack/1987/June/77june87.htm
http://www.studio-systems.com/Playback&Fastforward/PlayBack/1987/June/78june87.htm
Abhay Jain
<Ket...@att.net> wrote in message news:b807o...@drn.newsguy.com...
>
>
> Death of a Legend--In the passing away of Shanker, the country has lost
one of
> its foremost musical craftsmen, laments NALIN SHAH.
>
>
http://www.studio-systems.com/Playback&Fastforward/PlayBack/1987/June/75June
87.htm
>
> Similarly Shanker sought to satisfy his inflated ego by 'winning' awards
for
> music. Shanker, by his own admission, tried every questionable means to
prove
> his superiority over Jaikishan and the other contemporary music directors.
> Shanker is known to have cornered thousands of 'Filmfare'coupons to get
awards
> for the duo's mediocre score in 'Dil Apna Aur Preet Paraye' against
Naushad's
> acclaimed masterpiece in 'Mughal-e-Azam'.
[deleted].
>
This confirms what was widely rumoured in 60s that S-J were fixing the
filmfare awards.
Dilip Kumar was also rumoured to be engaging in such tactics.
Abhay Jain
Satish Kalra
news:G50pa.70663$MB4.28...@news4.srv.hcvlny.cv.net...
The reality may never beome known. To put the matters in perspective, let
me add that Nalin Shah was/is a strong supporter of Naushad, and what he
says must be taken with a pinch of salt.
Also to keep in mind is the fact that the allegation of Filmfare award
coupons being "cornered" by some music duo first surfaced in 1965, when L-P
won the award for Dosti against the "shoe-ins" S-J for Sangam. It is very
easy to twist it around twenty or so years later and allege the charge
against S-J for Dil Apna Preet Paraayii Vs Mughal-e-Azam. The music of Dil
Apna Preet Paraayii was more, much more, popular than that of Mughal-e-Azam.
The mass exoduses of the viewing public during the classical based songs of
Bade Ghulam Ali Khan and the Rafi chorus "zindabad zindaabaad...." used to
be the talk of the town (Delhi). In fact, after the first few weeks,thje
exhibitors completely removed the latter song from the projections. I am
talking about the general public's reaction, and it is in no way any
reflection on the quality of the singing or composing ionvloved.
At the same time, I would not deny that post-Dosti - Sangam period, tactics
alleged against L-P were perhaps adopted by the S-J duo. Awards for films
like Suraj or BeImaan would be apt examples.
--
Happy Listenings.
Satish Kalra
aanand
then it just shows that taste of music of our elder generation was
also equally bad.
It shows that it was just consequence that quality of lyrics, music
directors and singers was better around that time which has got
deterioted over the years but percentage of people appreciating good
music ( very small ) has remained same over the generations.
"Satish Kalra" <Satish...@verizon.net> wrote in message news:<Yq0pa.5463$vs2....@nwrdny01.gnilink.net>...
Satish Kalra
"aanand" <anandj...@rediffmail.com> wrote in message
news:830a62a.03042...@posting.google.com...
> if music of dil apna aur prit parai was more popular than Moghal azam
> then it just shows that taste of music of our elder generation was
> also equally bad.
Generalizations are misleading, very misleading. Even Anu Malik surprises
music lovers with some beautiful songs in Border, Refugee, Ham Aapke Dil
Mein Rehte Hain..., etc.
One very important piece of great significance that we all forget while
appreciating/criticizing music is that music is as dynamic as life itself.
Let us say we are in the beginning of the year 1959 (just for argument's
sake). We are just coming off the great highs of the songs from Kala Pani,
Solva Saal, Chalti Ka Naam Gaadii, Shararat, etc., but remember, all songs,
no matter however pleasing and popular, have a finite life in the early
months. [ No songs of the future have yet been heard. ] Now, in early
January comes the music of Anari, with the film itself clicking with the
masses big time. Almost overnight, Anari's songs are all over the airwaves,
jukeboxes, what have you. And yet, by the time the summer of 1959 arrives,
songs like "jhuumataa mausam mast mahiinaa.."; "mujhako yaaro maaf
karanaa..."; "ruk jaa o jaanewaalii ruk jaa..."; "tere sur aur mere
giit..."; have overtaken Anari's and Chhoti Bahen's songs, and are
competing against the music from Kavi Kalidas, Ghar Ghar Ki Baat, Bedard
Zamana Kya Jaane, Love Marriage, Insaan Jaag Utha, Kaali Topi Lal Rumaal,
etc., and against other songs from their own films. Contrary to general
belief (that films released early in the year generally do not win), Anari
scores wins in many Filmfare awards categories.
It does not mean that gems like "dhaanii chunar morii haaye re..." (Madhu);
"naach re dharatii ke pyaare..." (Heera Moti); "jalate hain jisake liye..."
(Sujata); and many others, were not liked by music lovers. Just the
contrary. But it is a fact of life that more of the general populace would
latch on to the "catchy" numbers; and the box office success or otherwise of
the respective films also affects the music. [ "catchy" is in quotation
marks because its definition or interpretation is so subjective! ]
It is in this overall perspective that we should view the music scene of a
film, a year, etc. By the time we are in 1965, we have heard all the music
released till then and we are able to compare 1965's music against all the
prior years - to 1936, let us assume. While we may have our own preferences
for a particular year/decade, it is unfair to compare 1965's music with all
the prior years, and similarly to music in the later years which is yet to
come, and some of it may be better and melodier than in the past.
Happy Listenings.
Satish Kalra
Asif
'50s through early '70s. He not only got Best Music Award for himself
and Jaikishan, but also got Best Singer and Best Lyricist Awards for
his songs and got other songs (in both categories) nominated. I was
shocked by these awards and nominations:
1. Best Music: SJ (Dil Apna Aur Preet Parayi, 1960) - Mughal-e-Azam
or Barsaat Ki Raat deserved it.
2. Best Music: SJ (Suraj, 1966) - Guide deserved it.
3. Special Award (Playback Singer): Sharada for 'Titli udi' (Suraj,
1966) - There was no need for it.
4. Best Playback Singer (Female): Sharada (Jahaan Pyar Mile, 1970) -
Asha Bhosle deserved it for 'Zindagi ittefaaq hai' (Aadmi Aur Insaan)
or Suman Kalyanpur for 'Chale ja chale ja' (Jahaan Pyar Mile)
5. Best Music: Pehchaan (1970) - S.D. Burman deserved it for Talaash
or KA for Safar.
6. Best Lyricist: Varma Malik for 'Sabse bada naadaan wohi hai'
(Pehchaan, 1970) - Indeevar deserved it for 'Jeevan se bhari' (Safar)
7. Best Music: SJ (Mera Naam Joker, 1971) - R.D. Burman deserved it
for Kati Patang or S.D. Burman for Sharmilee or Tere Mere Sapne
8. Best Playback Singer (Male): Manna Dey for 'Aye bhaai zara' (Mera
Naam Joker, 1971) - I wonder why Shankar did not fix it for Mukesh for
'Jaane kahaan gaye woh din' (Mera Naam Joker). Well, it was not his
song, it was Jaikishan's gem. KK also deserved it for 'Yeh jo
mohabbat hai' (Kati Patang)
9. Best Music: SJ (Beimaan, 1972) Ever heard of this film and ever
heard its songs? - Ghulam Mohammad deserved it for Pakeezah or R.D.
Burman for his highly innovative and scintillating score in Mere
Jeevan Saathi.
10. Best Lyricist: Varma Malik (Beimaan, 1972) - Anand Bakshi deserved
it for 'Chingaari koi bhadke' (Amar Prem) or Gulzar for 'Jab bhi yeh
dil udaas hota hai' (Seema)
11. Best Playback Singer (Male): Mukesh for 'Jai bolo beimaan ki'
(Beimaan, 1972) - Although I am Mukesh fan, I think it was one of his
inferior songs. KK deserved it for 'Chingaari koi bhadke' (Amar Prem)
or 'O mere dil ke chain' (Mere Jeevan Saathi)
12. Best Playback Singer (Female): Asha Bholse for 'Hone lagi hai raat
jawaan' (Naina, 1973) - Asha deserved it for 'Chura liya hai tumne'
(Yaadon Ki Baraat)
Besides these awards, Shankar also got many of his stuff nominated,
like, Sharada for 'Aapke peechhe pad gayi main' (Ek Naari Ek
Brahamachari, 1971), Asha Bhosle for 'Na woh soya na sone diya'
(Lalkar, 1972), Rafi for 'Humko to jaan se pyaari hain' (Naina, 1973),
himself and Jikishan for Resham Ki Dori (1974) and Sanyasi (1975), and
songs from these films for Singer and Lyricist cateogries.
Now, would you call it fair competition? I think it was a blatant
beimaani. By the way, I heard that Jikishan was a real sporting chap
and would never indulge in such manipulation. Satish Ji, do you know
anything personal about Jaikishan?
Asif
"Satish Kalra" <Satish...@verizon.net> wrote in message news:<5hjpa.11602$xR4....@nwrdny03.gnilink.net>...
Satish Kalra
news:922354d2.03042...@posting.google.com...
Nothing that could be disucssed on an open forum like RMIM, except that he
loved to drink. :) But that is a universally known fact about him.
IMO, Mid-60's is the time frame when all kinds of gimmicks/tricks began to
be played in the film industry for commercial and personal gains. It was
around the same time that the format of Binaca Geet Mala also changed when
top performing songs began to get retired as 'Sartaj' geet after a play of
18 (or was it 16?) times in the program, even if they were at the very top
of the geet mala!
Prior to the mid-60's, one may allege whatever one wants to according to
their likings and preferences. To each his own.
Much as I liked (and still do) Dilip Kumar, his Best Actor award for Leader
for 1964 was not merited either. Same time frame - 1964 - as the music
award!
Happy Listenings.
Satish Kalra
lktu...@gmail.com
As for the FF awards won, nothing can be farther from the truth about SJ influencing the outcome. For your information, the composer received a total of twenty two nominations in all. If they could manipulate, they would have won all the awards. It is a known fact that Sangam and Jis Desh Mein Ganga Behti Hai were ingnored in favor of Dosti and Gharana which came as a total surprise to all music lovers.
I would, therefore, request you to, please, get your facts straight and edit the article which shows Shankar in a bad light