Categories
Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: September 2020

(Shankar-) Jaikishan and Hasrat Jaipuri’s Songs Fading From the Memory 1960 – 1961

Hasrat Jaipuri (a.k.a. Iqbal Hussain) – B: 15-4-1922 | D: 17-9-1999- had his own distinctive   style, whether it was his Urdu or Hindi poetry of Hindi film lyrics. One of the basic corner stone of RK’s Shankar-Jaikishan- Shailendra Hasrat music team. Starting with Barsat (1949), the first break-up came when Shailendra passed away in 1966, Jaikishan’s death in 1971 is said to have so loosened the bond, that Shankar started to seeking collaboration with other lyricists as well.

Jaikishan (a.k.a. Jaikishan Dahyabhai Panchal) – B: 4 November 1929 | D: 12 September 1971] was considered to be more creative with  romantic tunes. Background scores were his forte. Jaikishan also had fair amount of training and exposure to music in his early years. His father was a musician to royalty in Gujarat.

SJ- Shailendra-HJ team is one of the most unique examples of four persons of very different temperaments working as a seamless team, complementing each other’s strengths and supplementing the weaknesses. The outcome was always an incredibly unique blending of four individual talents into most melodious, ever green, works of sheer brilliance.

Even as it is quite difficult to filter out Hasrat Jaipuri’s lyrics in Shankar Jaikishan composed songs that would not have been popular, I usually scan the titles of the songs and filter out the ones that does not immediately ring up in my memory. In this month of Jaikishan’s birth and Hasrat Jaipuri’s death, we have commenced remembering (Shankar-) Jaikishan and Hasrat Jaipuri’s Songs Fading From the Memory on this platform since 2017.Till now we have covered

1949 -1954 in 2017

1955 – 1957 in 2018

1958 – 1959 in 2019.

Presently, we will spread our net over the years 1960 and 1961. 1960 had 5 SJ films and 13 Hasrat Jaipuri songs, whereas 1961 has 6 films and 23 songs. Incidentally the songs that got filtered in this selection provides not only a very representative kaleidoscopic view of his style, but also present Shankar- Jaikishan’s knack of working out a popular song with due amount of experimentation. 1961 also is the year which had Junglee, which is considered to be game changer in Shankar Jaikishan’s approach to song compositions,

Itni Badi Mehfil Aur Ek Dil Kisko Du – Dil Apna Aur Preet Parayi (1960) – Asha Bhosle

The film had serious storyline, so in spite of having an ample sprinkle of some of the great songs, need to fit in an item song (which is how these songs are known today) must have been felt. SJ has come up with an innovative improvisation of Harry Belafonte’s  Banana Boat song

Bata De Meri Jaan ke Tere Dil Mein Kya AaiChalaak (UR) (1960s) – Mukesh

The film is an unreleased project that had Raj Kapoor and Madhubala in the lead roles. Madhubala is said to have gamely put in efforts to complete the film despite of her extremely aggravating health. The film ultimately had to shelved. The clip here is a version that Mukesh had rendered in a stage show at South Africa.

Tirchi Nazar Se Yun Na Dekh – Ek Phool Char Kaante (1960) – Mohammad Rafi

Here we have a mandatory Johnny Walker song. Rafi follows copybook mannerisms to suit Johnny Walker’s antics on the screen in the mukhada. SJ have cleverly weaved in a cat sound, too. Rafi is to render the first two lines of first stanzas is in a breathless singing to correspond with actors making a fast lap in the swimming pool. The camera has smartly moved away from Johnny Walker, who returns with his antics at the end of the stanza, with Rafi repeating the charm of mukhada with some more spices.

Ho Maine Pyaar Kiya, Haye Hay Kya Zulam Kiya – Jis Desh Mein Ganga Behti Hai (1960) – Lata Mangeshkar, chorus

It is said that when SJ-HJ-Shailendra team first heard the story idea, they could hardly see any room for Hindi film style songs in a dacoit-reform based story. However, Raj Kapoor’s showman instinct had more than enough scope for songs, which were accepted very well by the public. Raj Kapoor has very conveniently squeezed in a heroine- swimming scene vide this song, even her friends too joining in the bonus.

Dekho Ji Dekho Sun Lo Ye Baat, Jivan Mein Ek Baar Aana Singapore – Singapore (1960) – Lata Mangeshkar, chorus

Here we have title cum theme song from this film. The song is lip synced by Maria Menado, an Indonesia born actress (who played a Singaporean girl Maria in this movie) and some Singaporean extras.

Aside: The film had one more title song in Ye shahar badaa albelaa (Singer: Mukesh; Lyrics: Shailendra). However, since the titles were used as part of the song orchestration, the preceding song was also, perhaps, required!

Arre Tu Kahan Kho Gaya Balam Matwaraa Main Dhundhu Tujhe Kahan GaliyaN Aur Chaubara – Singapore (1960) – Lata Mangeshkar

The full scale participation of SJ and their orchestration team has made this mandatory Padmini dance song into a grand spectacle, with dholak as base rhythm instrument, A Dattu Theka slipped in very dexterously, with multi-instrument large scale orchestra in the interlude scores in the accompaniment.

The following three songs have been actually filmed as one sequence in the film!

Seeto Peeto Reeto…Jaan-e-Bahaar Assalaam – Jab Pyaar Kisi Se Hota Hai (1961) – Lata Mangeshkar

This dance song is thrown in the film as an item number. Hasrat Jaipuri chips in with Anokhe Bol in the first line to add spice to the songs.

This song was in fact a prequel to build the atmosphere for the song which was to follow.

Is Hirsoo Hawas Ki Duniya Mein – Jab Pyar Kisi Se Hota Hai (1961) – Lata Mangeshkar

A signature Sakhi – a two-line couplet, recited without any instrumentals support – from Hasrat Jaipuri has been given a very special dimension by the Lata Mangeshkar’s rendition to exactly rhyme with Asha Parekh’s expression, and even her diction.

Is Hirsoo Hawas Ki Duniya Mein
Armaan Badalte Dekhe Hai
Dhokha Hai Yaha Laalach Hai Yaha
Imaan Badalte Dekhe Hai

Daulat Ke Sunehre Jaadu Se
Ae Dil Tadapnaa Achhaa Hai
Chaandi Ke Khanakte Sikko Par
Insaan Badalte Dekhe Hai

The main song now takes the center stage.

Teri ZulfoN Se Judai To Nahi Mangi ThI, Qaid Mangi Thi Judai To Nahi Mangi Thi..- Jab Pyar Kisi Se Hota Hai (1961)  – Mohammad Rafi

The composition is noted in the annals of Hindi Film Music as one of the finest composition.

Anand Desai and Antara Nanda Mondal have presented the lyrical and musical nuances with meticulous details in  Love is… Claiming Rights: Teri Zulfon Se Judaai to Nahin Mangi Thi

Nain Tumhare Mazaedar O Janab-e-Ali – Junglee (1961) – Mukesh, Asha Bhosle

50s and 60s films ready-mix recipe always had a comedian song as a standard ingredient. Shankar Jaikishan have added color to the element by using Mukesh’s voice. Shashikala in a comedy role is sort of scoop.

Jana Tumhare Pyar Mein Shaitan Ban Gaya Hun – Sasural (1961) -Mukesh

The rustic innocence of Mukesh’s voice is matched by Mehmood’s credulity-mannerisms on the screen. Whether the whole experiment was conceived by the direction- music team by design or is enacted by Mehmood to synchronize with the way song is composed, is not known.

Aye Aasmaan Ke Rahi, Tu Hi Gavah Rahena…. Haye Sawan Ban Gaye Nain – Karorepati (1961) – Asha Bhosle

SJ again comes up with a very successful experiment of using Asha Bhosle’s voice for a poignant song. It should be interesting to know what factors will have moved SJ to this decision, since they are normally considered to be die-hard users of Lata Mangeshkar voice for such songs. Hasrat Jaipuri also shows his mantle as master of al types of moods.

Kabul Ki Mein Naar, Meri Aankhein Rasili Katar – Karorepati (1961) – Kishore Kumar, Geeta Dutt

SJ have used a very smart improvisation of Gujarati folk dance rhythm – evidenced in more clear way during the interlude pieces – in this Pathani mood song. Use of Geeta Dutt is also a rare occasion in SJ songs.

Suno Bhai Humne Peeli Hai – Roop Ki Rani Choron Ka Raja (1961) – Talat Mahmood

It is interesting to note that the version used in the film has the word “suno bhai hamne PAA li hai thhodi”, whereas the original sentence of the song was “suno bhai hamne PEE li hai thodi”, on the objection by the Censors. Talat Mahmood would probably have not sounded drunk ieven if he really was. We do not have any authentic information on how Mukesh sounded drunk when he was fully drunk in the company of Raj Kapoor, but his songs sounded as pious as his sheer romantic songs. K L Saigal would come heavy with a few pegs for his shootings, but his dialogue delivery of song diction never hinted even a trace of that heavy dose of Whisky!.

Aiga Aiga Ye Kya Ho Gaya – Boy Friend(1961) – Mohammad Rafi, Aarti Mukherjee

Hasrat Jaipuri has very deftly weaved in Marathi words from the scene preceding the song, wherein Dev Anand collides with a (Marathi) Bhajiwali (the vegetable vendor)

And of course, SJ are at their experimentative mood in using voice of Arti Mukherjee to partner Mohammad Rafi in this duet in these days of Lata – Rafi tiff over royalty issue. Incidentally, it was Jaikishan who played the role of mediator to solve the difference.

Aside trivia: Madhubala is her usual naughty jesting self. She ought have trade-marked her these mannerisms. She has already tested these mannerisms in Achhchhaa Ji Main Haari Chalo Maan Jaao (Kala Pani , 1958). And, yes Dev Ananad too seems to be veteran of facing these jests on the screen, having tested at the hands of Kalpana Kartik in Aa Ja Panchhi Akela Hai (Nau Do Gyarahaa, 1957)!

Ab Char Dinon Ki Chutti Hai – Aas Ka Panchi (1961) – Mohammad Rafi, chorus

Shankar Jaikishan have used Subir Sen and Mukesh also as Rajendra Kumar’s playback in Aas Ka Panchhi. This is the only song they have brought in Mohammad Rafi, and with what a telling effect….

We will continue our journey of Shankar Jaikishan’s songs in Hasarat Jaipuri’s lyrics in our future episodes.

We will continue remembering Unforgettable Songs that seem to Fading away from our Memories every second Sunday of the month……..

Disclaimer: All images are sourced from net. All copyrights of the respective image remain with the original owner of the image.