(Shankar-) Jaikishan and Hasrat Jaipuri’s Songs Fading From the Memory: 1963
Hasrat Jaipuri (a.k.a. Iqbal Hussain) – B: 15-4-1922 | D: 17-9-1999 – 
is probably a lyricist who worked with maximum number of big and small composers ever since he joined RK team (and was allowed to do ‘outside’ work) till he passed away in 1999. And that never affected his bond with Shankar-Jaikishan-Shailendra team bond. It is said that his first ever song, Jiya Beqarar Hai, recorded for Barsaat (1949) was set to Music by Shankar whereas the second one Chhod Gaye Balam was composed by Jaikishan.
The success of Barsaat led to a deluge of work and division of work among each one was a necessity of the day. The inherent individual preferences lead Shankar to compose Shailendra’s songs and Jaikishan (a.k.a. Jaikishan Dahyabhai Panchal) – B: 4 November 1929 | D: 12 September 1971] to compose Hasrat Jaipuri’s songs.
During ‘50s too there are several films where Shankar(-Shailendra) songs outnumbered Jaikishan (-Hasrat Jaipuri) Songs. When such instances did happen, Jaikishan continued to lead his natural bent of orchestration. However, in minefield like film industry where every success would attract envy from outside competition, it cannot be expected to be unusual for strong friendship, or even professional, relationships to get infected by the natural human jealousy to weaken and fall apart.
By the 60s, extremely heavy workloads, coupled with such negative external pressures had gradually led Shankar and Jaikishan virtually work individually under the umbrella of Shankar Jaikishan brand. However, there is no denying that pair of Shankar and Jaikishan as composers, Shailendra and Hasrat Jaipuri as lyricists had almost perfect bonding as team, till first the death of Shailendra (1966) and then that of Jaikishan (1971) finally loosened up that never-to-be-loosening four-way bond. It should also be noted here that even after the death of Jaikishan Shankar continued work solo under the flag of Shankar Jaikishan brand only.
But, these inherent or otherwise internal preferences or differences is the not our subject. In the month of Jaikishan’s birth, and Hasrat Jaipuri’s death, we have undertaken to refresh our memories of (Shankar) Jaikishan and Hasrat Jaipuri’s Songs Fading From the Memory on this platform. After we launched the series in 2017, we have covered the years
1949 -1954 in 2017
1955 – 1957 in 2018
1958 – 1959 in 2019,
1960 -1961 in 2020, and
1962 in 2021.
Presently, we will take up (Shankar) Jaikishan and Hasrat Jaipuri’s Songs the Memory for the year 1963. Some of the songs certainly have not faded out from our memory but do need to be taken note of in the context of so-called widening rift between Shankar and Jaikishan.
1963
Shankar Jaikishan had three films – Dil Ek Mandir, Ek Dil Sau Afsane and Hamrahi – in 1963. Dil Ek Mandir and Ek Dil Sau Afsane each had 7 songs, for each of which Shailendra had 4 and Hasrat Jaipuri had 3 songs. Hamrahi had 8 songs of which Hasrat Jaipuri had 5 and Shailendra had 3.
Dil Ek Mandir was a remake of Tamil film Nenjil Ore Ayalam (1962). The whole picture was completed in just 27 days only., and probably the SJ-Shailendra-Hasrat team only could come up with such outstanding musical score in so short a time. Their one big asset was that they could deliver excellent quality despite the challenges of time or quantity. Incidentally, Rajendra Kumar and Raaj Kumar won Filmfare awards under different categories and Arjun Dev Rasq for the dialogues.
Hum Tere Pyar Mein Saara Aalam Kho Baithe Hain, Tum Kahate Ho Ke Aise Pyar Ko Bhul Jao – Lata Mangeshkar
Hasrat Jaipuri comes up lyrics that we normally would not associate with his light romantic songs. Let us look at them in details…..
panchhi se chhudakar uska ghar, tum apne ghar par le aaye
ye pyar ka pinjara man bhaaya, hum ji bhar bhar kar musakaye
jab pyar hua is pinjare se, tum kahne lage aazaad raho
hum kaise bhulaye pyar tera, tum apni jubaan se ye na kaho
ab tumsa jahaan me koi nahi hai, hum to tumhare ho baithe
is teri charan ki dhool se hum ne apni jiwan maang bhari
jab hi to suhaagan kahlaayi, duniya ki najar mein pyaar bani
tum pyar ki sundar moorat ho, aur pyar hamari puja hai
ab in charno mein dam nikle, bas itni aur tamanna hai
hum pyar ke gangaajal se balam ji tan man apna dho baithe
sapnoN ka darpan dekha tha, sapnoN kaa darpan tod diya
ye pyar ka aanchal humne to daaman se tumhare baandh liya
ye aisi gaanth hain ulfat ki, jisko naa koi bhi khol saka
tum aan base jab is dil mein, dil fir to kahi na dol saka
o pyar ke saagar hum teri laharo mein naaw dubo baithe
Here is the Tamil version of the song, Sonnathu neethaanaa.. sol sol, which incidentally too has a story of the lyricist coming up with the lyrics almost instantaneously.
Aside Trivia:
Even though such comparisons should never be done, one may still listen to Shankar-Shailendra composition, Ruk Ja Raat Thahar Jaa Re Chanda, to feel how seamlessly the quartet used to work.
Yahan Koi Nahi Tera Mere Siva Kaheti Hai Jhoomati Gaat Hawa Tum Sab Ko Chhod Ke Aa Jao – Mohammad Rafi
Decorated with rich prelude and Mohammad Rafi’s Rajendra Kumar-like histrionics the song is tailor-made to Rajendra Kuamr’s acting style
Dil Ek Mandir Hai. Pyar Ki Jis Mein Hoti Hai Puja Yeh Pritam Ka Ghar Hai – Mohammad Rafi, Suman Kalyanpur, chorus
The song opens with a high-pitched Sakhi, jane wale kabhi nahi aate jane wale ki yaad aati hai, in Rafi’s signature style. However, the rest of the song is another proof, if that is ever needed, for Hasrat Jaipuri’s depth of poetry:
har dhadkan hai aarti bandhan aankh jo michi ho gaye darshan
mout mita de chahe hasti yaad to amar hai
hum yadoN ke phul chdhayein aur aansuoN ke dip jalayein
sansoN ka har tar pukare ye prem nagar hai
Skillfully playing with ups and downs of one-an-half scale weave, the song also epitomizes Jaikishan creativity in the form of use of chorus as countermelody.
Aside Trivia:
The Tamil version of the song, Oruvar vaazhum aalayam, would also show how the SJ music team has creatively reconstructed the song in the Hindi version with their own trademark style.
Ek Dil Sau Afsane had Madhubala in the lead originally. The shooting had started in 1959, but Madhubala’s worsening heart condition left the progress of the film incomplete. Waheeda Rehman was then brought in the lead female role and all the relevant shots were re-filmed.
Ek Dil Aur Sau Afsane Haye Muhabbat Haye Zamane – Lata Mangeshkar
Hasrat Jaipuri and Shailendra easily switched to role of writing title songs as well.
Jaikishan provides the song with their trademark violin ensemble orchestration with melodious mixing with other instruments.
Urdu words mixed Hasrat Jaipuri’s lyrics do attract the attention.
dil jo na hota kuch bhi na hota, aankh na roti aur dard na uthta
apna ye daman bol bhi gata, kaun kisi ke pyar mein yuN khota
dil jo lagaya chain na paya, sare jahaN ka iljam uthaya
gake sunaye apna tarana, ye to janam janam se hota hi aaya
tu meri manjil pyar ka sahil, jauN kidhar main hai tu hi muqabil
o mere hamdam ek hai mushqil, kar ke rahenge hum tujhko hi hasil
Aside Trivia:
Shankar Jaikishan normally used to reserve one song in every film with extra-large orchestrion. In the present case, its Shankar who has composed such a song with his trademark ‘waltz’ dance rhythm , Dur Ke O Chanda Aa Meri BaahoN Mein Aa, on the lyrics by Shailendra. One more example was how seamlessly the quartet worked.
Kuchh Sher Sunata Hoon Main, Jo Tumse Mukhaatib Hain, Ek Husn Pari Dil Mein Hai, Ye Unse Mukhaatib Hai – Mukesh
In so far as the use of Urdu, the song can be easily identified with Hasrat Jaipuri. However, what is really noteworthy is its synchronization in creating the mood of a party song with an undertone of pathos – the trade mark Raj Kapoor’s depiction of Charlie Chaplin on the Hindi screen,
Aside Trivia:
Shankar- Shailendra take the role of creating a light-mood song in Suno Ji Suno Hamari Bhi Suno
O Jadoogar Pyar Ke Ye Bata Dil Mera KyuN Tera Ho Gaya – Lata Mangeshkar
Normally it is believed that a dance song is reserved for Shankar, but in the present case it is Jaikishan-Hasrat Jaipuri who step in the role, with all the trappings of Jaikishan’s orchestrations style.
Hamrahi (1963) may be seen as a signal in the trend of Jaikishan charting his independent course., after Jab Pyar Kis Sse Hota Hai (1961) where Shankar has composed just two songs. Of course, during 50s, there are many a film wherein Jaikishan would have a couple of songs in a film, But the rumor mill of industry had not sense anything wrong then.
Well. Well, to step into this quicksand of controversy is not our subject. So we would rather stick to our course and take up the songs for more attention.
It was perhaps Shankar Jaikishan who had provided the medium to Rajendra Kumar for rise to the level of Jubilee Kumar. These films were set to a very fixed template – Rajendra Kumar would be attracted by the charm of the heroine, sing a song in the garden while teasing her, to which she would scorn at the beginning of the song but would fully fall into the love with Rajendra Kumar, then would follow a duet of that manifested the agreement, some or other thing would go wrong, the dual would fall apart, Rajendra Kumar would now get to sing a sad song in some forlorn place, and then everything would end well in the end.
Hamrahi was the film that used that template faithfully, and did succeed too, of course.
Main Albela Jawaan Hoon Rangila, Aye Dil Manzil Hai Pyar Ki, Jhoom Jhoom GauN NazaroN Pe ChhauN, Sanam Mehfil Bahar Ki – Mohammad Rafi
The song is supposed to set the stage for presenting us with a young man who is just care-free, even in the case of his dealings with the girls. Just as most of dames Rajendra Kumar sings the song do not fall into the trap, the poor cinegoer has to coast along with story line.
Woh Chale Jatak Ke Daman, Meri Arzoo Mitake – Mohammad Rafi
This the song genre that Shankar Jaikishan had almost patented for Rajendra Kumar’s eve-teasing formula, with Mohammad Rafi joining in with his unique- Rajendra-Kuamr-like histrionic singing style.
Mujhko Apne Gale Lagalo Aye Mere Hamrahi – Mohammad Rafi, Mubarak Begum
There many stories circulating about (Shankar)Jaikishan’s choice of Mubarak Begum for the song. However nowhere do we get a clue how Jaikishan would have ever thought of Mubarak Begum only for the song. Be that as it may, Jaikishan has not only set up a high pedestal for Mubarak Begum but has also set a higher benchmark for duets as well.
Woh Din Yaad Karo, Woh Chhupke Milna, Woh Hasana Hasana, Woh Din Yaad Karo – Mohammd Rafi, Lata Mangeshkar
Mahmood and Shohha Khote were also a popular pir that would contribute to the box-office success of the film. They would generally be provided with a very decent song sequence too which they would enact so naturally as well.
Yeh Aansoo Mere Dil Ki Zabaan Hai, Main RouN To Ro Dein Aansoo, Main Has DuN To Has Dein Aansoo – Mohammad Rafi
The song on its own is a perfect outcome from the sad song mold that Shankar Jaikishan had designed for Rajendra Kumar.
Whether Hamrahi can be seen as early straw in the wind that portends the beginning of diminishing return for Shankar Jaikishan for their overdependence on “Shammi Kapoor” or Rajendra Kumar” image formula template?
We await for the next episodes to validate the hypothesis…..
We will continue remembering Unforgettable Songs that seem to Fading away from our Memories every second Sunday of the month next year too……..
Disclaimer: All images are sourced from net. All copyrights of the respective image remain with the original owner of the image.
1987 – was one of the genius composers of the famous duo Shankar Jaikishan. Shankar had a long stint of training in classical music. He was a tabla player at the core, but went onto learn several rhythm and string instruments successfully in the initial period of struggle He got the basic training in the nitty-gritty of film music composition as assistant to Ram Ganguli in Raj Kapoor’s maiden venture, Aag (1948)
December 1966) ‘s poetry and films songs reflected his temperamental proximity to the common man. In the famous quartet of Shankar Jaikishan Shailendra and Hasrat Jaipuri, Shankar and Shailendra worked as one part of the team with Hasrat Jaipuri, and Jaikishan made up the other half. Apart from the personal preferences and proximity related to friendship, this division of work was more in accordance with the inherent composition patterns of the two composers. Shankar always loved composing serious thematic songs with a lot of emotional content that only Shailendra could do justice to whereas Jaikishan was more into composing light- hearted romantic stuff that came so naturally to Hasrat.
was versatile poet and lyricist. He wrote a poetry that was accessible to the common man. Critics may not put him in the same roll of honor as Sahir Ludhianvi or Kaifi Azmi or even his long-time associate Shailendra. But his simple lyrics appealed the commos listener. His poetry was simple but the message it contained used to be quite deep. Many of his pure romantic songs carried most intimate and intense feelings. Hasrat Jaipuri also has written screenplay for ‘Hulchul (1951). His career spanned for the first film ‘Barsat’ in 1949 till his last, Hatya: The Murder (2004).
| D: 12 September 1971] is sometimes not equated with the music qualities of life-long partner Shankar. But his innate sense of melody lent a totally different dimension to the style of orchestration that made Shankar Jaikishan songs stand out quite distinctively. They led the trend of creating orchestrion style which as easily recognized as unique signature style of the music director.
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.
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