As mentioned in Half 1, if Shankar–Jaikishan’s music within the 1950s centred on Raj Kapoor, their music within the 1960s was outlined by their movie scores for his brother, Shammi Kapoor. The distinction between their music for the 20 years was stark. Whereas critics frowned upon the brand new course Shankar-Jaikishan’s music took, a brand new era of moviegoers couldn’t have sufficient of it.
Dil Apna Aur Preet Parai (1960)
Shankar–Jaikishan’s Filmfare Award for Dil Apna Aur Preet Parai however, the rating for the movie would have been unremarkable apart from one excellent music that is still simply as recent and modern right now because it was in 1960— ‘Ajeeb Dastan Hai Yeh’. The music stays the most effective Hindi movie songs to sing alongside to. Shankar–Jaikishan’s conjured up an infectious tune that was unattainable to withstand and Shailendra’s lyrics have been easy however significant. The tune’s simplicity meant that Lata Mangeshkar sang it with out breaking a sweat and the sense of peace she imparted within the music was palpable. The spotlight of the music for me was Shankar–Jaikishan’s luscious association that included an electrical guitar, an accordion, a saxophone and a haunting refrain.
Junglee was a watershed movie within the careers of each Shammi Kapoor and Shankar–Jaikishan. Shammi Kapoor’s rakish playboy picture from ‘Tumsa Nahin Dekha’ and ‘Dil Deke Dekho’ took on an edge that was just a little darker and extra human. Shankar–Jaikishan’s music tailored to this new persona and the outcome was a louder, extra boisterous sound. After all, they continued to make great songs, like ‘Ehsan Tera Hoga Mujh Par’ in Junglee, however songs like ‘Yahoo! Chahe Koi Mujhe Junglee Kahe’ grew to become an essential a part of their repertoire. Mohammed Rafi let himself unfastened on this music however the well-known ‘Yahoo’ name was by the multi-talented movie artist, Prayag Raj. With 4 vastly fashionable songs within the movie, Rafi established himself as Shammi Kapoor’s singing voice for the remainder of his profession.
Professor had Shammi Kapoor in a mellower position than standard, partly as a result of he performed an aged man for a big a part of the movie. He excelled within the movie and confirmed terrific vary in his performing. This shift mirrored in Shankar-Jaikishan’s music for the movie, which was as restrained as Shammi Kapoor’s performing was. Their songs within the movie had verve with out being excessive. Aside from every thing else that’s going for it, the spotlight of my decide from the movie, ‘Awaz Deke Humein Tum Bulao’, is its wistful saxophone interlude.
Asli Naqli (1962)
One wonders if Shankar–Jaikishan channelled their internal SD Burman whereas composing the music for Asli Naqli, or if Dev Anand in a black and white movie had the power to make any music sound like SD Burman’s. Presumably just a little little bit of each! Pretty much as good because the music is, Dev Anand’s allure and Sadhana’s radiance make this movie rating just a little extra fascinating to look at than it’s to hearken to. My decide from the movie, ‘Tujhe Jeevan Ki Dor Se Baand Liya Hai’, has Dev Anand sporting a hat and Sadhana sporting a coiffure that preceded her famed Sadhana minimize.
Dil Ek Mandir (1963)
Remakes of profitable movies can go both method. To director CV Sridhar’s credit score, Dil Ek Mandir turned out to be simply as profitable as the unique Tamil movie, Nenjil Or Aalayam. Even Shankar–Jaikishan’s music measured up admirably to the recognition and acclaim gained by the Tamil movie rating by MS Viswanathan–TK Ramamoorthy. The movie had two good solos by Lata Mangeshkar— ‘Ruk Ja Raat Thahar Ja Re Chanda’ and ‘Hum Tere Pyar Mein Saara Aalam’— that made selecting the Mohammed Rafi quantity ‘Yaad Na Jaye Beete Dinon Ki’ a troublesome name. What clinched the deal was Rafi’s masterfully restrained rendition and Shailendra’s lyrical brilliance.
Shankar–Jaikishan’s Janwar was replete with frothy, upbeat songs. Rafi’s three solos within the movie have been showcases for the swashbuckling Shammi Kapoor and fully overwhelmed a number of the mellower songs within the movie, together with Suman Kalyanpur’s solo ‘Mere Sang Ga Gunguna’. This isn’t Shankar–Jaikishan’s finest however the rating performed its half in constructing Shammi Kapoor’s legend. My decide from the movie is ‘Tumse Achha Kaun Hai’.
Teesri Kasam (1966)
Lyricist Shailendra turned producer with Teesri Kasam, which was based mostly on Phanishwarnath Renu’s story ‘Maare Gaye Gulfam’. It wasn’t stunning that Shailendra acquired Raj Kapoor to play the lead position within the movie and Shankar–Jaikishan to compose the movie’s music. With Mukesh singing for Raj Kapoor, the dream crew of the 1950s got here collectively once more. The outcome was Shankar–Jaikishan’s finest rating within the 1960s. Preserving consistent with the movie’s rural theme, they scored easy, people melodies that have been paying homage to their early years. My decide from the movie, ‘Sajanwa Bairi Ho Gaye Hamaar’ had Shailendra utilizing pithy, rustic lyrics and Shankar-Jaikishan weaving a beautiful, people tune round them. Sadly, this was the final time Shankar–Jaikishan labored with Shailendra. The movie’s failure on the box-office ruined him financially and broke his coronary heart. He died earlier than seeing his movie win a Nationwide Movie Award. Shailendra’s loss of life was the start of Shankar–Jaikishan’s finish.
An Night In Paris (1967)
An Night In Paris was an enormous hit powered by Shammi Kapoor’s antics, Sharmila Tagore’s magnificence (and bikini!) and a few implausible music by Shankar–Jaikishan. Rafi’s skill to emote like Shammi Kapoor in songs he sang for him is well-known. The story behind ‘Aasman Se Aaya Farishta’ does an ideal job of illustrating this skill. It was the norm for Shammi Kapoor to be current for the recordings of his songs. When ‘Aasman Se Aaya Farishta’ was recorded whereas he was out of city, he was furious since he couldn’t give his inputs to Rafi earlier than the recording. Nonetheless, when he listened to the music, he acknowledged that Rafi had sung the music precisely as he had wished him to. My decide from the movie is the soul-stirring duet by Rafi and Asha, ‘Raat Ke Humsafar’.
Raat Aur Din (1967)
Raat Aur Din is one other underrated Shankar–Jaikishan rating. The movie’s title music is heard extensively sufficient however not so the 2 different Lata Mangeshkar stunners that make this rating a superlative one, the waltz-based ‘Dil Ki Girah Khol Do’, and two variations of ‘Awara Ae Mere Dil’. Shankar–Jaikishan composed many noisy, rock n’ roll influenced songs of their profession however these two songs proved that they might additionally do an ideal job of manufacturing melodies with Western preparations. I notably like ‘Awara Ae Mere Dil’ due to the cleverness with which Shankar–Jaikishan produced the quick and gradual variations. With primarily a change in association and meter, they created a quick model that was a dance music and a gradual model that had the vibes of a hymn. It’s price noting how effectively Lata Mangeshkar modulated her voice to go well with these Western tunes.
Shankar–Jaikishan have been such prolific composers that along with scoring a number of movies a 12 months, they’d tunes left over to construct a music financial institution. It was this music financial institution that they tapped into to document songs written by Shailendra years after his demise. It’s stated that even Raj Kapoor maintained a repository of Shankar–Jaikishan tunes. Even after he stopped working with them in 1971, Raj Kapoor continued to ask different music administrators to repurpose these tunes for his movies. It was this prolificacy that gained Shailendra a Filmfare Award for Finest Lyrics posthumously. The movie additionally gained Shankar–Jaikishan their sixth Filmfare Award (of a complete of 9). My decide from the movie is the sooner model of ‘Essential Gaoon Tum So Jao’. Though, Shankar–Jaikishan used an unusually heavy association for a lullaby, Rafi’s delicate rendition and Shailendra’s award-winning lyrics greater than compensated for it.
Andaz (1971) was successfully Shankar–Jaikishan’s final movie, as Jaikishan handed away earlier than the movie’s launch. Shankar continued making movie music as Shankar–Jaikishan however the lack of his companion meant that he was by no means capable of recreate their previous magic. After all, there are a lot of extra Shankar – Jaikshan songs price listening to that two columns can’t even start to cowl.
It will be a travesty to speak about Shankar–Jaikishan and never point out their landmark non-film album Raga Jazz Fashion (1968). The album was the by-product of a strike by Indian Movie Musicians’ Affiliation. With spare time on their arms, Shankar–Jaikishan acquired along with a variety of session musicians— Manohari Singh on saxophone and sitar-player Ustad Rais Khan, distinguished amongst them—to document what was one of many earliest fusion albums. Contemplating that The Beatles have been nonetheless experimenting with raga rock and that it was very early days for Indian fusion music (Hariprasad Chaurasia, Shivkumar Sharma and Brij Bhushan Kabra recorded the long-lasting ‘Name Of The Valley’ in 1967), Shankar–Jaikishan have been forward of their occasions in conceptualising an album like Raga Jazz Fashion. Right here’s Raag Shivranjani from the album:
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