(Shankar-) Jaikishan and Hasrat Jaipuri’s Songs Fading From the Memory 1958 – 1959
September is the month of death anniversaries of Jaikishan (Dahyabhai Panchal) [4 November, 1929 – 12 September 1971) and Hasrat Jaipuri, a.k.a. Iqbal Hussian, [15 April, 1922 – 17 September, 1999]. Hasrat Jaipuri- Shailendra and Shankar-Jaikishan formed a seamless, one the most enduring, creative and profusely productive teams in the history of Hindi Film industry. Usually, the whole team would be associated with story of the film and would choose the who would compose situation for the given situation on the basis of who felt more comfortable with situation of the song.
However, there was a school of the then critics / journalists / writers who strongly accepted a thumb rule to identify the composer of a Shankar–Jaikishan song is based on the song’s lyricist – Shailendra wrote lyrics for Shankar’s tunes and Hasrat Jaipuri penned Jaikishan’s compositions.
We have based our annual series of articles that bring the songs written by Hasrat Jaipuri and, in all possibilities, composed by (Shankar) Jaikishan. Like most of the SJ-composed songs, till, the passing away of Shailendra, most of the songs Hasrat Jaipuri wrote for (Shankar) Jaikishan were well-known then, but some may be receding from our memories as well. Till now we have covered such of (S)J-HJ songs from 1949 to 1954 and 1955 to 1957. Presently, we will take up songs from the films released in 1958 and 1959.
1958 has only two films wherein Shankar Jaikishan have composed the music. Here too, Hasrat Jaipuri’s share is even markedly smaller. And, it also so happens that these songs have been (only) Lata Mangeshkar. As such, within the scope of our article, we have picked up two of the total three songs from Baaghi Sipahi and, the only, one available from Yahudi.
Sharab-e-Ishq Ke Aage Maja Kya Kadwe Paani Ka….Muskurati Zindagi Ko Chhhod Ke Na Ja – Baaghi Sipahi (1958) – Lata Mangeshkar
Hasrat Jaipuri pens the song with his, by now known as unique style, of presenting a couplet in the prelude, to which Jaikishan supports with a very innovative orchestration piece. The song is set to quite a difficult tune, with varying rhythm.
Dil Laganewale Mat Sun Meri Kahani Baaghi Sipahi (1958) – Lata Mangeshkar
On the screen, the song is shown being rendered by a professional courtesan singer, but the emotions of the song seem to reflect the state of the Madhubala’s heart. Lata Mangeshkar very soulfully renders the pathos of the song.
Aansoo Ki Aad Leke Teri Yaad Aayi – Yahudi (1958) – Lata Mangeshkar
This is the only song that Hasrat Jaipuri has penned in this film. It can also be said to be one of the least remembered song of the film. The song plays on a dholak-based rhythm and has a very mid-east-oriented interlude orchestration. Again, not a very easy-to-sing song.
1959 has Shankar-Jaikishan’s the then normal average number of films – seven – in the year, and each one had almost all songs that are well remembered even today. The proportion of Hasrat Jaipuri’s songs is again a very balance one and we have a fairly wider base of choice of songs that have been rendered by singers other than other than Lata Mangeshkar. Our catch is so wide and big that we had to drop quite a few songs that were, and are, more remembered.
Ban Ke Panchhi Gaaye Pyar Ka Tarana… Mil Jaaye Agar Aaj Koi Saathi Mastana – Anadi (1959) – Lata Mangeshkar and chorus
Here we have very light and playful song, with matching vivacious tune, interlude orchestration, lyrics and Lata Mangeshkar’s lilting rendering to Nutan’s very near-to-perfection lip-synching on the screen.
Hasrat Jaipuri has also written a very romantic Mukesh – Lata Mangeshkar duet – Wo Chand Kila Wo Taare Hanse – in the film.
Jaoon Kahan Bata Aye Dil Duniya Badi Hai Sangdil – Chhoti Bahen(1959) – Mukesh
If one looks at the song from the perspective of singer-songwriter and music director (Respectively Mukesh, Hasrat Jaipuri and Shankar Jaikishan), then song fits into the very well-known, sweet, pattern of a pathos song. The unusual part is that Raheman sings the song, somewhat, in penance for his grey-shade character in the film.
O Kali Anaar Ki Na Itna Satao– Chhoti Bahen (1959) – Manna Dey, Asha Bhosle
Here we have a non-normal combination of Manna Dey and Asha Bhosle singing a duet for Shankar Jaikishan, made rarer by it being filmed on Raheman and Shyama on the screen, whose characters were to turn grayish later in the film.
Mein Rangeela Pyaar Ka Rahi Door Meri Manzil – Chhoti Bahen (1959) – Subir Sen, Lata Mangeshkar
Shankar Jaikishan boldly experiments using Subir Sen’s voice for a playfully romantic song, that too for Mahemood on the screen.
Kahan Hai Kahan Hai Kanhaiya – Kanhaiya (1959) – Lata Mangeshkar
Here too Hasrat Jaipuri gets two songs to write, both being played back by Lata Mangeshkar. The present song is a classic-Hindi-Film-pathos song whereas the other one – O Kanhaiya O Kanhaiya – is a very romantic dream-sequence song, with a Shankar Jaikishan’s signature extended prelude. Both the songs have used ensemble of flutes very creatively in the main orchestration as well as in the counter-melody orchestration.
Dekh Aasmaan Mein Chand Muskaye – Shararat (1959) -(Kishore, Geeta Dutt
The song has a rare Shankar Jaikishan- Geeta Dutt combination. Shankar Jaikishan has used their very fond waltz tune, as well as has creatively inserted innovation in the song composition – this time that of switching over to dholak rhythm in the beginning of the stanza before ending the with the original western rhythm instruments.
Tune Mera Dil Liya, Teri BaatoN Ne Jadu Kiya, Haye Na Jane Kya Kar Diya, Ye Tere Pyar Ki Jeet Hai – Shararat (1959) – Kishore Kumar, Geeta Dutt
Shankar Jaikishan has brought up the memory of vintage Geeta Dutt in this song.
Dekha Babu Chhed Ka Maza Mitha Mitha Dard De Gaya – Shararat (1959) – Lata Mangeshkar
The song is a the then popular genre – a street song wherein the performer echoes the feelings of the silent protagonist.
Tera Jalva Jisne Dekha Woh Tera Ho Gaya – Ujala (1959) – Lata Mangeshkar
We have to toss for the choice of selecting the songs – the present one or Ho Mora Nadaan Balma – for a detailed video view today. Both are a very romantic mischief-oriented dholak-rhythm based signature (Shankar)Jaikishan dance songs. Well, the coin has ruled in favor of the present song.
We now have natural choices for Mohammad Rafi songs, which also seamlessly syncs with our tradition of ending each episode with relevant Rafi song(s).
She Ne Khela He Se Aaj Cricket Match, Ek Nazar Mein Dil Bechara Ho Gaya LBW – Love Marriage (1959) – Mohammad Rafi, chorus
Here we have a song which is played on a cricket ground, uses a cricketing dress code for (only) Dev Anand and some well-known cricket terms – to in fact play the then popular genre of pre-courtship eve-teasing.
Lo KhuN Se KhuN Juda Hua – Main Nashe Mein Hoon (1959) – Mohammad Rafi
Hasrat Jaipuri – (Shankar)Jaikishan have several excellent Mohammad Rafi scores in their account. The present song – being a background song – adds to the wide range of such songs.
Our journey of Hasrat Jaipuri’s songs, composed by (Shankar)Jaikishan continues…..
We will continue remembering Unforgettable Songs that seem to Fading away from our Memories every second Sunday of the month……..
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