Shailendra’s Songs Composed by Kishore Kumar
Shailendra’s – a.k.a. Shankardas Kesarilal (B: 30-8-1923/ D: 14-12-1966), though formally trained as a welding specialist during the course of his study of mechanical and electrical engineering diploma, was a natural poet. Many of his songs have been inspired by small, seemingly insignificant, real-life situations. His deep concern for the basic human values then transformed those sparks of inspiration of the songs that were so meaningful and delivered through the medium of so simple lyrics, that songs of Shailendra not only were liked by the masses but were also appreciated by the critics.
Out of the total songs that Shailendra penned for the Hindi films, obviously Shanker Jaikishan’s compositions have lion’s share. Then, Salil Chowdhury, S D Burman, and Roshan also have had substantial body of work with Shailendra. Equally interesting is Shailendra’s work with ‘other’ music directors with whom he did mostly one or at best two or three films. We started taking a look at Shailendra’s songs with “other” music directors form the year 2017. Till now we have covered Shailendra’s Songs with
Roshan in 2018,
Hemant Kumar, Ravi and Kalyanji-Anandji in 2019
S N Tripathi, Anil Biswas and C Ramchandra in 2020
Shardul Kwatra and Mukul Roy in 2021
Presently, we will take up Shailendra’s songs composed by Kishore Kumar.
The core inner artist in Kishore Kumar can be seen in many incarnations of singer, actor, producer, director, music composer, dialogue writer and even a lyricist in his 1.0 phase of pre-Aradhana (1969) career. Like himself, the films he made, and therefore the songs that he composed wavered around serious, philosophical subjects and moods at one extreme to ‘loony’ clownish light subjects. Kishore Kumar composed around 120 songs for 7 films, of which lyrics for 14 songs (3 films) have been penned by Shailendra.
The songs selected here attempts to present as many varieties of compositions and moods as it tries to include variety of the playback singers.
Door Gagan Ki Chaon Mein (1964): –
Door Gagan Ki Chhaon Mein remains Kishore’s most mature artistic venture- as a filmmaker, as an actor and as a composer. It is therefore no surprise that we find Shailendra also in so natural mood in the songs for the film. If Aa Le Ke Chale Tujhe Us Door Gagan Ke Tale has undercurrent of hope, Jin Raaton Ki Bhor NahiN Hai has forlorn sense of despair.
Albele Din Pyaare Mere …. …. Koi Lauta De Mere Beete Hue Din – Kishore Kumar
It is said that when Kishore Kumar explained the situation of the song to Shailendra it was with so much of pain and pathos that Shailendra simply walked off for a solitary stroll along the seaside. When he returned, he penned out this song. The sakhi of the song has that innate sense of nostalgia that brings up the main body of the song with an undercurrent of hope.
Kishore Kumar presents Asha Bhosle in three moods in the film – the melodious and soothing lullaby-genre Khoya Khoya Chanda Khoye Khoye Taare on one end and Path Bhoola Ek Aaya Musafir of deep pathos at the other end with an erotic mujra dance song at the center
Chhod Meri Baiyan Balam Beiman, Aate Jaate Dekh Lega Koi – Asha Bhosle
It seem that song was finally not included in the film.
O Jag Ke Rakhwale, Humein Tujh Bein Kaun Sambahle – Manna Dey, Kishore Kumar and chorus
Father and son find solace in the soothing words of the devotional song being sung at a nearby temple, and also place themselves at the mercy of that Almighty.
Kishore Kumar has so effectively used chorus in the composition of the song.
Rahi Tu Ruk Mat Jaana, Toofan Se Mat Ghabarana – Hemant Kumar
The song captures the essence of the story of the film, in that it enjoins the traveler that a human being must keep moving on under all types of circumstances.
Spread over three different situations in the film, Kishore Kumar has so rightly chosen Hemant Kumar for this bhatiyali-based composition.
Hum Do Daku (1967)
Hum Do Daku is a comedy film
Pag Gungroo Badh Guru Naache Re – Kishore Kumar,chorus)
We have a here a pure parody song, which probably was not released.
Allah Allah Bande Bandagi Mein Allah – Kishore Kumar-Anoop Kumar
It seems that Kishore Kumar and Anoop Kumar have adopted some make-over of two fakirs and then sing this song a s prank.
Ae Haseeno Nazneeno Nazar Chura-Chura – Kishore Kumar, Asha Bhosle, Usha Mangeshkar, chorus
The pranks of two masquerading comedians seems to have landed them in the club.
Door Ka Rahi (1971): –
Door Ka Rahi is in many senses what Kishore Kumar himself was, like an iceberg. Singing which was only its tip. That Kishore Kumar was far to ahead of his most popular face of a singer is evident in the titles of the film, wherein we see him as story and screenplay writer, music composer, producer, and director, and of course the actor over and above as a singer. Shailendra too moved on to his final sojourn into the world where the mortal life ends. That is why he has penned just two songs for the film, all other songs written by A Irshad. As if this was not enough, his second, Madhubbala, breathed her last while making of the film.
Chali Chali Jaaye Zindagi Ki Dagar… Kabhi Khatm Na Ho Ye Safar, Manzil Ki Use Kuchh Bhi Na Khabar, Phir Bhi Chala Jaye, Door Ka Raahi – Hemant Kumar-chorus
As we look at the video clip, we do realize the keen sense that, as a director, Kishore Kumar had to present the mood and message in the right frame. Moreover, what a composition he has been able carve out for those prophetic lyrics of Shailendra!
Ek Din Aur Gaya Haye Roke Na Ruka, Chaayaa Andhiyara Aaj Bhi Naav Na Aaai, Aaya Na Khevan Haaraa, Ek Din Aur Gaya – Manna Dey
Kishore Kumar has used Bengali folk tune to telling effect.
Aside Trivia: The Bengali version of the song was rendered by Kishor Kumar himself.
Wow! What a stunning effect Shailendra and Kishore Kumar have been able to create in seemingly so short association!
On that note, we await what our next episode of Shailendra’s songs composed by ‘other’ music directors has in store for us………….
We will continue remembering Unforgettable Songs that seem to Fading away from our Memories every second Sunday of the month too……..
Disclaimer: All images are sourced from net. All copyrights of the respective image remain with the original owner of the image.
Salil Chowdhury – 10 November 1922 – 5 September 1995 – had had natural attraction towards to folk music and studied inclination towards the Western Classical music. He could also play several musical instruments. In fact, it is said that any instrument that he could lay his hands on he would be able to play it very comfortably. It was the combination of the effect of these music influences that made his compositions always melodious, even when quite complex in the structure. His orchestration was always symphonic with blend of intricate use of the different instruments.
It was perhaps the unique skill of Shailendra (B: 30-8-1923/ D: 14-12-1966) to come up with lyrics that fitted the tune and the mood that so easily made Salil Chowdhury comfortable working with him. Coupled with this, it was Shailendra’s knowledge of Bengali language and the earthen-closeness and selection of easy and natural words that Shailendra required to express deep emotions that also would have weighed in building the strong bond between the two. In fact, from the films that Shailendra wrote songs beyond Shankar-Jaikishan quartet team, Salil Chowdhury- Shailendra combination share is almost one third.
Shri Arunkumar Deshmukh 
Shailendra’s – a.k.a. Shankardas Kesarilal (B: 30-8-1923/ D: 14-12-1966) body of work beyond Shankar-Jaikishan and the other two music directors S D Burman and Salil Chaudhuri remains quite varied and interesting. There have been films where he has just one or two songs too.
14-12-1966)’s association – and for that matter of that of Hasrat Jaipuri, too) with Shankar – Jaikishan is so strong that almost 30 to 40 % of his work with other music directors largely remains unnoticed, except for some of his exceptionally well-known films with S D Burman or Salil Chowdhury. Quantitatively, Shailendra’s songs with other music directors may have around 30-40% of Shailendra’s work, but qualitatively, be it in terms of the range of subjects, or moods, or song-genres, Shailendra’s songs with other music directors remains equally noteworthy.
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