Jaikishan, an Indian music composer duo in the Hindi film
industry, were the premier composers of their time (1949-1971).
Shankar-Jaikishan, popularily known as SJ created everlasting
and immortal melodies in fifties and sixties, which is considered
to be the golden era of Hindi cinema.
are generally regarded as one of the greatest music composers
in the Hindi film industry. Their fan following includes
the likes of Lata Mangeshkar, Manna Dey, O.P. Nayyar, Laxmikant
Pyarelal, Anu Malik, Usha Khanna, Rahul Dev Burman, Nadeem-Shravan,
Ram-Laxman, Jatin-Lalit, the new singer from Mangeshkar
family: Radha Mangeshkar, to name a few.
Singh Raghuvanshi (25 October 1922 – 26 April 1987) was
a native of Hyderabad while Jaikishan Dayabhai Panchal (4 November
1929 – 12 September 1971) belonged to Bansda (Vansada),
his formative years, Shankar played the tabla and learned the
art formally from Baba Nasir Khansahib. For many years, Shankar
studied as a disciple of the legendary composer Khawaja Khurshid
Anwar, in whose orchestra he performed. Jaikishan was adept at
playing the harmonium. Subsequently, he obtained his musical lessons
from Sangeet Visharad Wadilalji and later from Prem Shankar Nayak.
After moving to Bombay, he became a disciple of Vinayak Tambe.
Shankar started his career with a theater group run by Satyanarayan
and Hemawati, before shifting to Prithvi Theatre where he played
tabla and performed some minor roles in plays. Shankar worked
as assistant to the leading composer duo of Husnlal Bhagatram.
from workig at Prithvi theaters, Shankar used to frequently visit
the office of a Gujrati director Chandravadan Bhatt who had promised
Shankar that he would give him a break as a Music Director as
and when he produced a film. It was outside the office of Mr Bhatt
that Shankar saw `ek dubla patla sunder `ladka' also sitting a
number of times. Although they never spoke to each other, one
fine day, Shankar took the initiative of starting the conversation
and then discovered that his name was Jaikishan and he too used
to visit the same producer in search of some work related to music
and that he was a Harmonium player. Shankar later recollected
that their vibes were right from the very beginning i.e. right
from their first meeting itself they develpoed liking for each
other (rather than any feelings of rivalry which could have been
natural since both were visiting Mr Bhatt for similar reason)
and it was he who then and there assured Jaikishan of the job
of a Harmonium player at Prithvi theaters (without asking Prithviraj
Kapoor, fondly referred to as `Papaji'). Of course, later, Papaji
honoured Shankar's selection and gladly accepted Jaikishan as
a Harmonium player at Prithvi. Soon, the two of them developed
very close friendship to the extent that the people started refererring
to them as `Ram-Lakshman' ki jodi and by several similar-meaning
nick names. It was during this phase that Shankar and Jaikishan
developed a very deep bond of friendship, mutual understanding
and regard for each other and made up their mind to work together
as a musical team. Apart from following their musical pursuits,
they also used to play significant roles in various plays including
the famous play “Pathan”.
working in Prithvi Theaters, Shankar and Jaikishan, apart from
working in the music department there, used to compose tunes and
were in touch with Raj Kapoor, who was working as an assistant
to the famous director Kidar Sharma and was aspiring to be an
actor/director. Thus, the three had met at Prithvi Theater, run
by Raj Kapoor’s father, Prithviraj Kapoor.
the First break
Kapoor made his debut as a director with the film “Aag”
in 1948. While the film received a mixed response at the box office,
its musical score (in which the music director Ram Ganguli was
assisted by Shankar and Jaikishan) proved to be quite popular.
However, during the recording of some song for his new venture
`Barsaat', Raj Kapoor had some serious differences with Ram Ganguly,
the music composer of the film and decided to assign its music
to Shankar who insisted on taking Jaikishan as his partner and
thus came into existence the new pair of music directors(MD) named
`Shankar-Jaikishan' who gave landmark, path-breaking and trend-setting
music for the RK production `Barsaat' in 1949.
being a trained singer (he and Mukesh learned vocal music from
the same Guru) and having an ear for good music, Raj Kapoor thus,
took on board, a completely new team of composers Shankar and
Jaikishan and lyricists Shailendra and Hasrat Jaipuri (a former
bus conductor). On the insistence of Shankar, he and SJ co-opted
the upcoming singing talent Lata Mangeshkar, and repeated Mukesh
as Raj Kapoor's ghost voice for the various songs of Barsaat.
In due course, this team was to prove to be one of the most successful
musical combinations of all times, perhaps second only to the
combination of Shankar, Jaikishan, Shailendra, Hasrat Jaipuri,
Lata Mangeshkar and Mohd. Rafi.
was a super hit, both commercially and more so musically. Among
other things, it established Lata Mangeshkar as the undisputed
queen of Hindi film music. It also had the distinction of giving
two firsts to Hindi cinema – a title song (Barsaat mein
hamse miley tum) and a cabaret (Patli kamar hai). The film propelled
Shankar-Jaikishan on the road to musical super-stardom and to
a stature that remains unmatched to this date.
successes of SJ
success of Barsaat opened many doors for Shankar Jaikishan, popularly
known by the acronym "S-J". Never the ones to rest on
their laurels, they continued to improve upon their ever lofty
standards and their association with any film generally was one
of the most important factors in its success.
their early hits, Awaara, Aah, Shree 420, Basant Bahar, Halaku,
Patita, Kathputli, Anari, Chori Chori, Daag, Baadshah, Boot Polish,
and Ujala are barely a few of the prominent ones.
the film Aawara, they successfully supported the first ever “dream
sequence” by two stunningly orchestrated (It may be noted
with interest that Sebastian De'souza had NOT joined them till
then!) songs, viz., Tere bina aag yeh chandni and Ghar aaya mera
pardesi, though the latter was inspired by a composition of Mohammed
Abdel Wahab (considered the “father of the modern Egyptian
songs Aawara hoon from the film Awaara and Mera joota hai Japani
from the film Shree 420 were big hits in the Soviet Union and
Eastern European countries as well and helped turn Raj Kapoor
(on whom the songs were picturized) into a cult figure in those
formed a core team with lyricists Shailendra (himself regarded
as perhaps the greatest of his ilk) and Hasrat Jaipuri and with
singers Mohd. Rafi and Lata Mangeshkar. SJ had two other life-long
companions who worked as their assistants: Dattaram Wadkar and
Sebastian De'souza, the former supervising their rhythm section
and the later writing musical notations for all SJ compositions
(during SJ's musical sittings as can be seen in a number of photographs
of such sessions) and then rehearsing all the musicians of the
grand SJ orchestra according to SJ's compositions and directions.
SJ also patronized the immensely talented singer Manna Dey, who
sang his best songs with them and used Mukesh’s silken voice
as playback for Raj Kapoor. Among the directors, they worked most
closely with Raj Kapoor and were considered the kingpins of his
legendary banner RK Films.
worked with almost all singers of their time. They had a good
working relationship with all of them and were masters in extracting
the very best from every one of them. After the demise of Shailendra,
they worked with a host of other lyricists such as Neeraj, Verma
Malik, Majrooh Sultanpuri, Vithhal Bhai Patel and Rajinder Krishan,
to name a few.
they composed music for all the top heroes of their time, they
enjoyed an excellent run with the films of Shammi Kapoor and Rajendra
Kumar, apart from those of Raj Kapoor.
were the “house composers” for RK Films and were on
their pay-roll till the end. Although it is said that SJ produced
some of their best work for the RK banner but the fact is that
they excelled outside the RK banner equally well. Raj Kapoor used
to maintain a music bank where he stored compositions of S-J.
This music bank was built over a period of time. Even after the
termination of the professional association between Shankar and
Raj Kapoor (Jaikishan had died by then), the latter had used a
number of S-J’s earlier compositions (which were in his
custody) for all his films though the credits were given officially
to other composers, e.g., Laxmikant Pyarelal (Bobby, Satyam Shivam
Sundaram, Prem Rog) and Ravindra Jain (Ram Teri Ganga Maili).
compositions broke new ground in Hindi film music. Apart from
relying upon their considerable knowledge of Indian classical
music, they also employed to great effect western beats and orchestration.
Shankar-Jaikishan were the pioneers in establishing the role of
the orchestra in song compositions as a medium to express and
enhance the meanings and feelings of songs rather than using it
just as a `filler' as per the prevalent practice before their
advent on the scene. They made perfect use of the orchestra and
musical instruments (in fact, quite often dozens and even hundreds
of them) to decorate their songs which consisted of the following
format: The song starts with a `prelude' (preparatory music to
create and introduce the right environment and mood for the beginning
of the song), then the mukhda starts and is followed by `interlude'
containg music pieces on the orchestra. With very few exceptions,
they always used different interludes before each stanza. `Multi-layered'
music studded with counter melodies' played by the orchestra accompanied
while the mukhda or the antara of a song was being sung and finally
came the `epilogue'- the music with which the song ended after
the singer(s) had finished their singing.
to popular belief, Shankar-Jaikishan made a very significant (perhaps
the best) contribution in promoting Indian classical music throughout
their career. It was their established practice to have at least
one song in a movie based on semi-classical style. The songs like
`Jhanak-jhanak tori baje payaliya' (Mere Huzoor), `Chham chham
baje re payaliya' (Jane-anjane), `Radhike tune bansari churayi'
(Beti Bete), `Manmohana bade jhoothe' (old `Seema'), `Koi matwala
aya mere dware' (Love in Tokyo), `Ajahu na ayae baalma, sawan
beeta jaye' (Sanjh aur Savera), `Lapak jhpak tu aa re badarwa'
(Boot polish), `Ye barkha bahar sautaniya ke dwar' (Mayur pankh),
`Re man sur mein ga' (Lal pathar), `Sooni sooni sans ke sitar
par' (Naina), `Kate na kate raina' (Mera naam joker) and numerous
other songs are testimony to this. Who can forget their outstanding
music in `Basant Bahar' and Amrapali both of which had each and
every song based upon Indian classical music ! While “raga
Bhairavi” remained their perennial favorite, SJ used a variety
of Raagas in their compositions.
Jaikishan also used the western classical-based waltz rhythm in
a number of songs to telling effect. Though they were inspired
by some popular western songs in some of their compositions, such
instances were few and far between and the end results, more often
than not, were distinctly better than the originals and quite
`Shankar-Jaikishan'-ish. Leaving aside such very few exceptions,
they were considered to be exceptionally original and full of
widest possible variety in their compositions throughout their
gave a new style and meaning to the genre of sad songs by composing
them on a fast tempo. Songs like `Main zindagi mein hurdum rota
hi raha hun' (Barsaat), `Tera jana dil ke armanon ka lut jana'
(Anari), `Haye tu hi gaya mohe bhool re' (Kathputli), `Aye mere
dil kahin aur chal' (Daag) and `Andhe jahan ke andhe raaste' (Patita)
amply demonstrated this. The last two songs, along with many others
(notably `Awaara hoon' from the film Awaara), also demonstrate
the composers’ outstanding use of musical instruments –
a harmonium is used to produce the effect of a piano accordion.
ruled the song world for more than two decades, kept on continuously
creating and re-defining new styles and formats of music (while
continuing to remain distinctly `SJ'-ish). All composers of their
time and those who came later, followed the formats of music created
by SJ and were inspired and influenced by them in some form or
the other. In their prime, Shankar-Jaikishan shaped the musical
tastes of listeners to their own innovative will.
Working styles: `SJ' were two composers in one
While working as a team, Shankar and Jaikishan used to compose
their songs separately. Generally, Shankar liked to work with
Shailendra and Jaikishan with Hasrat Jaipuri though there are
notable instances where Shankar worked with Hasrat and Jaikishan
with Shailendra. Between the two, Shankar was the senior partner
and hence, he would usually arrange the orchestra, even for Jaikishan’s
songs. There was a gentleman’s agreement between them for
not identifying the actual composer of the song. As a result,
it has been a popular pastime for S-J aficionados to try and tell
a Shankar song from a Jaikishan song. Dance numbers, title/theme
songs and soulful songs were Shankar’s forte while Jaikishan
was a master of composing background score, apart from romantic
songs (he is generally regarded as the best ever in this genre)
and simple, catchy compositions which became instant hits (`Ehsaan
mere dil pe' being a typical example of such songs). However,
Shankar was no less in this aspect of devising simple `straight
line' tunes: `Mera joota hai Japani' (Sri 420) being the best
example of this genre.
is said that Jaikishan would count some numbers on his fingers
before coming up with the background score for a particular scene
on the spot! Two of S-J’s films, viz., Sangam (1964) and
Mera Naam Joker (1971) are regarded even today as having some
of the best background musical scores of Hindi films till date.
Although Jaikishan alone used to work on background scores of
SJ movies, it may be an over-simplification to presume that whatever
went in background scores was solely Jaikishan's creation. Since
SJ had a common pool of tunes in their stock, made by either of
them or by both of them jointly during their numerous music sessions/sittings
(Riyaz), it would have been perfectly legitimate and natural for
Jaikishan to have used tunes created by either or both partners
wherever needed. It is understood that in RK films, Shankar and
Jaikishan both used to work on the background scores. On the other
hand, both Shankar and Jaikishan were equally proficient in scoring
western music based songs.
their distinct working styles and preferences, it is very difficult,
if not altogether impossible, to ascribe most of their songs to
only one of them. In most of the songs, they invariably contributed
to one another’s creation, either in the form of improvisation
of tune or of orchestration, thus, making their compositions truly
a joint effort. Furthermore, each of the two could compose in
other's style now and then thereby making the identification still
to the popular mis-conception that `it was Jaikishan who used
to handle the public relations and business/financial aspects
of the duo’s career', the fact is that it was Shankar who
had the final say on all financial/business aspects of the SJ-team.
SJ's 1968 Indo-Jazz album, Raaga- Jazz Style.Shankar Jaikishan
had the major contribution towards the development of Jazz music
in India and the new genre Indo Jazz. Their 1968 album Raaga-Jazz
style is the earliest Indo-Jazz recording in India. In this album,
considered to be one of the most innovative, SJ created 11 songs
based on Indian Ragas with saxophone, trumpet, sitar (by Rais
Khan), tabla, bass etc.
their career, S-J won Filmfare Best Music Director Awards for
a record nine times. The last three awards were won in three successive
years, thereby making S-J the first composers to score a hat trick
of these awards.
also came out tops in Binaca Geetmala, the legendary countdown
radio program on Hindi film music, where their compositions were
declared the most popular on six occasions (a record later equaled
by Laxmikant Pyarelal). These songs were Mera joota hai japani
in 1955 (Shree 420), Teri pyari pyari surat ko in 1961 (Sasural),
Ehsaan tera hoga mujh par in 1962 (Junglee), Bol radha bol in
1964 (Sangam), Baharon phool barsaao in 1966 (Suraj), and Zindagi
ek safar hai suhana in 1971 (Andaaz). In 1959, seven of the top
ten songs for the year were composed by S-J, a sort of record
that stands perhaps to this date, though the top honors for that
year went to SD Burman.
1968 - Shankar-Jaikishan was honoured with the Padmashri by the
Government of India.
- Filmfare Best Music Director Award for the film Chori Chori
1959 - Filmfare Best Music Director Award for the film Anari
1960 - Filmfare Best Music Director Award for the film Dil Apna
Aur Preet Parai
1962 - Filmfare Best Music Director Award for the film Professor
1966 - Filmfare Best Music Director Award for the film Suraj
1968 - Filmfare Best Music Director Award for the film Brahmachari
1970 - Filmfare Best Music Director Award for the film Pehchaan
1971 - Filmfare Best Music Director Award for the film Mera Naam
1972 - Filmfare Best Music Director Award for the film Be-Imaan
- for the film Yahudi
1959 - for the film Chhoti Bahen
1961 - for the film Jis Desh Mein Ganga Behti Hai
1963 - for the film Dil Ek Mandir
1964 - for the film Sangam (film)
1965 - for the film Arzoo (1965 film)
1968 - for the film Diwana (film)
1969 - for the film Chanda Aur Bijli
1971 - for the film Andaz (1971 film)
1974 - for the film Resham Ki Dori
1975 - for the film Sanyasi (1975 film)
Sur-Singar Awards Winner
- For the song Jhanak Jhanak Toree Baje Payaliya of the film Mere
1971 - For the song Re Man Sur Mein Ga of the film Lal Patthar
Film Journalists' Association Awards Winner
- Best Music Director for the film Brahmachari
1971 - Best Music Director for the film Andaz (1971 film)
`so-called' disputes/differences between Shankar and Jaikishan
a signed article in Filmfare, Jaikishan identified unwittingly
the song Yeh mera prem patra padh kar (Sangam) as `his' composition.
This led to a lot of bitterness between the two, as Shankar considered
it a violation of the unwritten agreement between them. At about
the same time, Shankar gave a break to singer Sharda and started
promoting her as the new singing sensation in preference over
Lata Mangeshkar. Jaikishan, however, stuck to Lata Mangeshkar
for his compositions. In this period, Shankar and Jaikishan started
taking individual contracts for films though every such film continued
to show them together as the composers. Mohd. Rafi intervened
and helped them settle their differences; however, it is conjectured
that their relationship was not same as earlier and this impacted
the quality of their compositions which had started exhibiting
a decline (which is clearly noticeable in the movies released
during the last phases of Jaikishan's life time and those released
just after his demise).
the other hand, Jaikishan, Hasrat and Shankar all had denied,
whenever quizzed on this topic, that there ever was any rift between
them. In fact, according to Hasrat, the division of work was by
mutual agreement to cope up with the heavy work load so that Shankar
and Shailendra looked after one part of the work while Jaikishan
and Hasrat on the other part but this division was not rigid;
there was a lot of give and take between them even during this
phase. Towards the end (just before Jaikishan's untimely demise),
in several of their last movies such as Jane Anjane (1971), Andaaz
(1971), Ankhon Ankhon Mein, Shankar and Jaikishan were known to
be working together. In retrospect, it appears that the so-called
rift between Shankar and Jaikishan was blown out of proportion
by the media and vested interests and was used later to downgrade
Shankar in his post-Jaikishan years.
Shankar continued to support Sharda (post Sangam era) and even
ghost-composed music for her film and non-film albums, it is said
that Lata Mangeshkar became angry with him and discontinued singing
for him. Whereas there may be some truth in this assertion, the
other fact is that Lata Mangeshkar had stopped working with him
after `Sangam' due to her anger against both Raj Kapoor and Shankar
in making her sing `Budhha mil gaya' from Sangam which she was
not keen as she did not feel comfortable with the lyrics of the
song. Nevertheless, she continued singing for Jaikishan even after
Sangam and till the end.
in the industry
S-J enjoyed an unrivaled 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. In one instance, they were paid more
than the highest earning actor of the day. To this date, no other
composer(s) has been able to equal, let alone surpass, this feat.
staged a show in Shanmukhanad Hall, Mumbai in 1970 under the aegis
of the Indian Navy. In terms of attendance and grandeur, it remains
unsurpassed to this day, thus providing a public seal of approval
to their leading status in the industry.
death and SJ's post-Jaikishan era
Jaikishan died in 1971 due to cirrhosis of liver, a disease caused
by excessive consumption of alcohol. At the time of his death,
the duo enjoyed an unparalleled popularity which was underlined
by a massive turnout at his funeral procession. Gaylord, a restaurant
at Churchgate (Mumbai) where Jaikishan used to be a regular visitor,
mourned the death of its illustrious patron by lighting a candle
on his favorite table for one month and keeping it out of bounds
for other guests with the sign “Reserved for Mr. Jaikishan”.
Jaikishan’s death, Shankar carried on with the banner of
Shankar-Jaikishan alone (as per their mutual understanding made
during their life time that in case of the demise of any one of
them, the surviving partner will continue to work with the same
team name). He was clearly hampered by numerous reasons such as
the departure of his soul-mate Jaikishan his favorite lyricist
Shailendra, betrayal of Raj Kapoor, continued Shankar-bashing
and false propaganda by his rivals and lack of motivation on his
own part due to which his music appeared to suffer in comparison
to S-J's own high standards. Also, in spite of his continued experimentation
on music, the projects themselves for which he worked did not
turn out to be commercial successes due to which even his good
scores went largely un-noticed.
to Lata Mangeshkar herself, it was the late Mohd. Rafi who brought
about a rapprochement between the two and she did started singing
again for Shankar starting from Sohan Lal Kanwar's `Sanyasi' and
several other films later. Although Shankar's creations during
this period for Lata as well as other singers like Rafi, Kishore,
Manna Dey were quite good, most of these went un-noticed due to
non-descript status of such films which bombed at the box office.
His most-successful musical hit was Sanyasi in 1975 for which
he scored all songs and the entire background score based upon
SJ's favorite Raag Bhairavi to prove the point that SJ' Bhairavi
was as much Shankar's as that of Jaikishan !
Sanyasi, although some of Shankar's later songs did exhibit flashes
of the old maestro’s brilliance, overall, these films (Aatmaram,
D-Jhooth, Garam Khoon, Papi Pet Ka Sawal Hai, Chorni, Eint ka
Jawab Pathar etc.) did not succeed in endearing him to leading
production houses, though there were some exceptions. For example,
actor Dharmendra had signed Shankar to compose the score for his
film Bichchhoo, however, since Shankar did not accept Sai's (who
was more keen in having Raj Kamal as MD) intereference in his
work, he opted out of the project. Eventually, the project itself
was abandoned by producer-to-be Dharmendra.
was in the running for Raj Kapoor’s film Satyam Shivam Sundaram
(1978), but was overlooked in favor of Laxmikant Pyarelal whose
candidature was supported vigorously by Mukesh. Ironically, Mukesh
owed his standing in the film industry primarily to S-J’s
was also considered for Raj Kapoor’s proposed film Param
Vir Chakra (his case was supported by Raj Kapoor’s sons),
but the project did not see the light of day and Shankar never
returned to the RK camp.
Shankar died in 1987. Sadly, his death received nominal media
coverage and his funeral was attended only by his family and some
friends. The film industry was hardly represented at his funeral
(even Raj Kapoor did not attend), thus reinforcing the stereotype
of its fickle-natured loyalties.
Kapoor later paid glowing tributes to the colleague of his salad
days in a televised interview. However, it was only after Raj
Kapoor’s own death in 1988 that the significance of his
association with S-J was brought out in great detail.
Descendents of Shankar and Jaikishan stayed away from the film
industry. Shankar’s family is based in Hyderabad and is
involved in the hotel business. Jaikishan’s family is based
in Mumbai and his wife (Pallavi Jaikishan) and one daughter (Bhairavi
Jaikishan) are dress designers of repute. Jaikishan’s other
children pursue different vocations.
played the role of a fisherman in the film Aag (1948).
appeared in a small role as the drunkard husband of Nadira in
the film Shree 420 (1955). Also, the song Aye pyaase dil bezubaan
was picturized on him in the film Begunaah (1957).
is featured in the film Main Sundar Hoon (1971) where he can be
seen sitting next to the recording engineer playing with some
levers on the sound board.
tune of the famous song Jaane kahan gaye who din (Mera Naam Joker,
1970) can be found in the background score of the film Aah (1953).
tune of the song Jhooth bole kaua kaate (Bobby, 1973) can be found
in the background score of the film Aawara (1951).
currently available songs Aawara hoon (Aawara) and Pyar hua ikrar
hua (Shree 420) are different from the originally recorded versions
in terms of rhythm and orchestration.
opening stanza of the song Mud mud ke naa dekh mud mud ke was
coined by Shailendra when he caught Jaikishan looking back repeatedly
at a lovely passerby from their car.
song Chahe koi mujhe junglee kahe (Junglee, 1962) used the terms
Yahoo! Yahoo! for the first time in the world. These words were
‘sung’ by Prayag Raj, who also wrote the dialogues
of the film.
lent his voice for making the catcalls Ayya ya suku suku in the
song Ayya ya karoon main kya suku suku (Junglee).
made Mohd. Rafi sing in a falsetto in the duet Dilruba dil pe
tu (Rajkumar) and he arguably did a better job than Asha Bhosle,
his female co-singer in the song.
the song Dost dost na raha (Sangam), the piano was played by Shankar.
the song `Dil ke Jharokhe mein', Shankar also played the Piano,
in addition to their regular Pianist.
synthesizer was used for the first time in Hindi films by S-J
in the song Main gaaun tum so jao from the film Brahmachari.
composed the music for India’s first 70 mm and stereophonic
sound film Around the World, starring Raj Kapoor.
composed the music for the film Seema made in the ’50s and
for the film Seema made in the ’70s.
of the interludes of S-J’s famous composition Jeena yahan
marna yahan (Mera Naam Joker) is loosely based on Raj Kapoor’s
favorite Donauwellen (The Waves of the Danube), a waltz composed
by Josef Ivanovici, the iconic Romanian composer. The same interlude
had also been used earlier by SJ in `Chhod gaye baalam mujhe haye
akela chhod gaye'.
used Mohd. Rafi as the playback for Raj Kapoor in Barsaat (Main
zindagi mein hardam rota hi raha hoon) and for Kishore Kumar in
Shararat (Ajab hai daastan teri yeh zindagi).
initially preferred to use Manna Dey’s voice for the songs
picturized on Raj Kapoor and Shammi Kapoor. They later settled
for Mukesh and Mohd. Rafi, respectively, though they continued
to use Manna Dey’s voice on an infrequent basis for Raj
Kapoor used to pick up more of Shankar’s songs than Jaikishan’s
songs as he felt they were more suitable for his films’
Mangeshkar, while listing her preferred songs by various composers,
said that 60% of all S-J’s compositions were her favorites.
This was the highest ‘rating’ she gave to any composer.
Dey, in a published interview with The Gulf News in 2006, rated
S-J as the best ever composers in the history of Hindi film music.
Nayyar, himself a giant in the world of music, considered Shankar
as the most complete music composer ever in the Hindi film industry.
magazine, in one of its anniversary issues, rated S-J as the numero
uno composers in the history of Hindi film music.
longtime assistant, Dattaram, is credited with inventing a new
rhythm/beat which is known as the “Dattaram theka”.
his marriage to Pallavi (who belongs to the business family of
the Mariwalas), Jaikishan moved to a flat in Gobind Mahal, located
on Marine Drive, Mumbai.
are honored by their adopted city of Mumbai in the form of a road
junction being named after them (Shankar Jaikishan Chowk) near
Churchgate station. They share this privilege with their dear
colleague Mohd. Rafi in whose honor a road junction in Bandra
(West) is named Padma Shri Mohd. Rafi Chowk.
bagged Filmfare award for nine times in their career which remains
the highest ever count for any music director till date. Out of
these nine, last three came as a hat trick.
and meant for information only.
Boot Polish (1954)
Mayur Pankh (1954)
Shri 420 (1955)
Basant Bahaar (1956)
Chori Chori (1956)
New Delhi (1956)
Main Nashe Me Hoon (1959)
Dil Apna Aur Preet Parayee (1960)
Jis Desh me Ganga Behti Hai (1960)
Roop Ki Rani Choron Ka Raja (1961)
Jab Pyar Kisise Hota Hai (1961)
Asli Naqli (1962)
Dil Tera Diwana (1962)
Hariyali Aur Rasta (1962)
Dil Ek Mandir (1963)
Aai Milan Ki Bela (1964)
April Fool (1964)
Love In Tokyo (1966)
Teesri Kasam (1966)
Gunahon Ka Devta (1967)
An Everning In Paris (1967)
Around The World (1967)
Raat Aur Din (1967)
Jhuk Gaya Aasman (1968)
Mere Huzoor (1968)
Pyar Hi Pyar (1969)
Bombay Talkie (1970)
Mera Naam Jokar (1970)
Pagla Kahin Ka (1970)
Jaane Anjaane (1971)
Kal Aaj Aur Kal (1971)
Laal Patthar (1971)
Main Sundar Hoon (1971)
Resham Ki Dori (1974)