Shankar Singh Raghuvanshi (15^th October 1922 to 26^th Apr 1987)

Jaikishan Dayabhai Panchal (4^th Nov 1929 to 12^th Sep 1971)

When  I started writing   my blog on the golden duo, Shankar-Jaikishan , I initially thought I would be able to cover a representative list of their  songs in two parts. I published Part 1 on 1^st November 2024 that had 25 songs selected from the years  1949 to 1960 . When I started listing out the songs from year 1960 onwards, I found that I may not be able to do full justice to their work in just 2 parts and it has to go to part 3! That shows how prolific the golden duo S-J were. Added to the huge number of hits in the 60’s , some of the films in this decade had multiple super hits, leaving me in dilemma as to which one I should include in my blog. So, there will  soon be Part 3 also and to everyone’s surprise there would be many songs that Shankar composed after Jaikishan’s untimely death in 1971 ; most of the authors of books and blogs on HFM summarily dismiss the songs Shankar composed in 70’s as not worthy but I would completely disagree . We will come to that in Part 3!

As I had written about S-J ‘s journey and the highlights of their style in my first part , let me straight away start with the song list. This blog , i.e. Part 2 covers their songs from 1961 to 1966. It is a well-known fact that  the decade of 60’s was the peak of SJ’s career. Every film  had so many hit songs and at least 2-3 were super hits  and that is why I had to stop this part with year 1966 and continue the rest of the songs in next blog.

This decade saw a major change in the overall style of music and more so in S-J’s own style. The influence of western music became stronger, Rafi was also at his peak  and also the years 1963-67 were marred by the  infamous spat between Lata & Rafi during which they did not sing any duet together. This resulted in many new duet combinations with most of the music directors signing up mainly  Suman Kalyanpur &  Asha Bhonsle  along with many other female singers to sing with Rafi. Rafi was not at all the loser and it was more of an issue for  Lata, whose total number of songs got reduced , especially the duets. It is interesting to note that it was Jaikishan , who took lot of efforts to bring the two legends together -unfortunately the film for which Lata & Rafi started singing together once again was shelved and so the honour went to S.D Burman’s Jewel Thief with the song Dil Pukare Aaa Re Aaa Re . I will not go into the details of that rift as there are many versions going around and as per my own unwritten rules, I steer clear of controversies!

Let us focus and enjoy S-J ‘s immortal compositions in their super-golden era!

1. Ehsaan Tera Hoga Mujh Par-Junglee-1961-Rafi-Hasrat Jaipuri

I intentionally left out the most popular Yahoo! Chahe Koi Mujhe Junglee Kahe and instead selected this soulful romantic number mainly to emphasize that S-J were equally capable of composing very soft , melodious numbers as much as they were experts with a boisterous “ Yahoo!”  I could not find in YouTube the sole Rafi version; this link has both Rafi & Lata solo versions. You can understand Rafi’s superb singing with Lata failing a bit at the high octaves!

• Teri Pyaari Pyaari Surat Ko-Sasural-1961-Rafi- Hasrat Jaipuri

It is said that the first lines of this song were thought about by Hasrat when his son was born. Later he must have composed this into a song for the film .The last stanza in the link provided below  is a bonus, that appears only in the film version.  Usually  in radio we hear only the first two stanzas. One of Rafi’s most famous songs that is always remembered even till today.

• Dheere Chal Dheer Chal-Boy Friend-1961-Rafi- Hasrat Jaipuri

Now-a-days in the name of  rap we hear absolute cacophony! This song can be defined as a melodious rap! An oxymoron as how can rap be melodious?! Yes , if we have S-J & Rafi it can be! The frenzied pace in which S-J composed this , ably assisted by his trusted lieutenants Sebastian and Dattaram and of course Rafi, is something unbelievable. The percussion & guitar  use is mind boggling. Pity such songs are totally ignored in media.  There are two other absolutely fabulous songs in the same film: Mujhe Apna Yaar Bana Lo- a Rafi solo  and a very rare duet of Rafi with Aarti Mukherjee -Aiga Aiga Aiga Yeh Kya Hogaya. Check these two songs out in the Net and you will be bowled over!

• Mehtab Tera Chehra-Aashiq-1962-Mukesh & Lata-Shailendra

Sometimes S-J take a slight pause, sit back, and compose some masterpieces  with a leisurely pace. Such songs seem to have been tailor-made for Mukesh. Sitar, sarangi, and the favourite accordion  of S-J are prominent . Sebastian deserves all praise for being the sheet anchor for S-J with extraordinary orchestration. The song ends with a superb alaap by  Lata that  is simply out of the world.

• Tera Mera Pyaar Amar-Asli Naqli-1962-Lata-Shailendra

How can someone describe this song?! Grand -this one word is enough ! S-J ‘s typical orchestration with the 1st & 3rd interludes being the  same and  2nd one different. With the mandolin giving a counter melody, Lata’s scintillating singing and the ethereal beauty of Sadhana on screen , all these make this song a visual delight as well. I can keep listening to such songs of S-J a thousand times without ever getting bored!

• Dil Tera Deewana Hai Sanam- Dil Tera Deewana-1962-Rafi & Lata-Shailendra

Bijli Girake Aap Khud Bijli Se Dar Gaye

Hum Saadgi Pe Aapki Lillaah Mar Gaye

The way  Rafi sings that Lillaah sets the tone for what we are about to hear in the next  5 minutes. When Rafi & Lata roam around in the stratosphere of octaves, there are the ubiquitous 30-40 violins , guitars , saxophone all creating a harmony that is “ never-dull-a-moment”. In most of S-J ‘s songs we hear so much happening that one gets lost in the song totally. That was their secret of success and reigning at the top for more than twenty years!

• Mujhe Kitna Pyaar Tumse- Dil Tera Deewana-1962-Rafi & Lata-Shailendra

Classic  example of how  S-J could give multiple super hits in the same film. This is a slightly sober song version as compared to the earlier one . With violins, piano, mandolin and  guitar giving excellent company to  Rafi & Lata , this is truly another gem from S-J.

• Masoom Chehra Yeh Kaatil Adayen- Dil Tera Deewana-1962-Rafi & Lata-Hasrat Jaipuri

Hidden in between the above two super hit songs, this is a sweet romantic number, mostly forgotten now . Starts off with the mouth organ -rarely heard in a S-J song . Flute plays in between in short phrases.  Also notice the tabla takes a brief pause  in the antara . Must definitely be Dattaram’s touch!

• Bol Mere Taqdeer Mein Kya Hai-Hariyali Aur Raasta-Mukesh & Lata-Shailendra

Sometimes I feel the interludes of S-J alone deserve so many awards! The song deceptively starts off with a relatively slow pace with only the bongos accompanying the singers . Then comes the  first interlude ,  with flutes  imitating  the movement  of a train and then the  tempo builds up ,  with the accordion, reaches the height with mandolins , guitars and finally hands over the baton to the majestic violins of S-J that ends with a flourish.  Mukesh has his own charm in such duets.

1. Ae Gulbadan Ae Gulbadan-Professor-1962-Rafi-Hasrat Jaipuri

It is unimaginable that they could come out with super hits after super hits with so much of regularity. Really sad that they are not being celebrated the way they should have been. When Rafi starts off with the lines ‘kya haseen mod par aa gayee zindagani , that string arrangement takes the song to heavenly heights.

1. Mein Chali Mein Chali- Professor-1962-Rafi& Lata-Shailendra

Whenever  Rafi & Lata  sang together , the palpable romance in the song was sheer bliss to hear! One can take an analogy of how a great building is built starting with a strong foundation-the way S-J begin the song with the prelude is something similar! Apart from Rafi & Lata , the violins  and guitars are also in a conversation. Not only the prelude and interludes, just observe the postlude also  in this song. I simply cannot stop wondering at the amazing orchestration in S-J ‘s songs.

1. Chotisi Duniya Pehchane Raaste-Rangoli-1962-Kishore Kumar-Shailendra

In the 60’s Kishore had few songs with S-J that were mostly in the films in which he also acted as the hero. It is said that after Barsaat brought together S-J , Shailendra & Hasrat together, S-J had promised Shailendra that they would recommend him to few producers. But apparently S-J had forgotten this promise and Shailendra wrote a small note to them “ Chotisi Yeh Duniya Pehchane Raaste Hain , Tum Kahin Toh Miloge , Kabhi Toh Miloge Toh Poochenge Haal,’ which they later used in this song. I do not know how far this is true as I find a long and continuous association of S-J with these two lyricists. In fact , only in few films that were remade from Tamil,  Rajendra Krishan wrote for them as he used to write the dialogues also as he knew the language. Later on, after Shailendra’s untimely , tragic demise, other lyricists started writing for S-J like, Neeraj. Film world is full of such stories and we do not know the real facts!

1. Yaad Na Jaye Beete Dinon Ki-Dil Ek Mandir-1963-Rafi-Shailendra

S-J who could make a song full of pathos sound so soulful and at the same time have such  intricate orchestrations. Who should get the credit? S-J for such a soulful composition , Rafi for rendering it from his heart or Shailendra for the immortal lines? !  Talat Mehmood had natural vibrato in his voice , but Rafi brings that out effortlessly with his skill. When we listen  it may appear  to be effortless, but he must have sat in a corner and gone through those famous self-improvisations  for which he was well-known!

1. Tum Hi Tum Ho Mere Jeevan Mein -Ek Dil Aur Sau Afsane -1963-Rafi & Lata-Shailendra

A somewhat rare song that we used to listen quite a lot earlier, but now has faded away from memory. All other male songs were rendered by Mukesh except for this one. Due to some reason Mukesh was not available and since the filming was due , they recorded with Rafi and thought afterwards they can replace with Mukesh’s voice. But it is said that when Mukesh heard this , he said let it remain in Rafi’s voice! One more anecdote for you!

1. Kuch Sher Sunatha Hoon Mein -Ek Dil Aur Sau Afsane-1963-Mukesh-Hasrat Jaipuri

Mukesh goes all out in rendering this -what a tune and what superb poetry by Hasrat Jaipuri. Makhmal pe tum chalo to chile paaon gulbadan! S-J , apart from Kalyanji-Anandji and Roshan always brought out the best in Mukesh’s voice. Observe how beautifully S-J utilized the Sarangi in this song. The antara is structured like a wave we see in shores, slowly building up and then crashing on to the shore, taking a brief pause when the music completely stops and it is the sonorous voice of Mukesh that dominates! Wow!!

1. Mujhko Apne Gale Laga Lo-Humrahi-1963-Rafi & Mubarak Begum-Hasrat Jaipuri

One of the most memorable songs of Mubarak Begum. Unfortunately, her talents were not utilized properly due to HFM ‘s monopolistic issues. The complete cessation of background music towards the end of the antara takes this song to a different level. The film version of the song has three antaras but I found most of the uploads in YouTube with poor audio quality and hence this link that has only two but of good quality.

1.   Aaj Kal Mein Dhal Gaya-Beti Bete-1964-Rafi-Shailendra

Long before I started my own blogsite, I had written an article about this song. One of the best lullabies ever composed in HFM . Sadly, we do not hear this often and as usual most of the popular media channels never air this , reasons best known only to them!. An excellent composition, with superb lyrics, soulful singing by Rafi and an under-played but grand orchestration by the masters S-J.

1. Tumne Pukara Aur-Rajkumar-1964-Rafi & Suman Kalyanpur-Hasrat Jaipuri

During the Rafi-Lata rift years, many music directors could not afford not to have Rafi in their duets as he was at the peak of his singing career. It was Lata who missed the opportunities and so we had some of the fabulous duets of Rafi with Suman Kalyanpur & Asha. The interlude is a harmony between saxophone, guitar, and the ubiquitous violins of SJ. The slow pace of the antara that is almost like a recitation , contrasts so well with the mukhda.

1. Ajhoon Na Aaye Baalma-Sanjh Aur Savera-1964-Rafi & Suman-Hasrat Jaipuri

Though I am not an expert on raagas, I understand this is based on Raag Madhuvanti. I intentionally posted the audio only as the picturization spoils the sanctity of the song rendered so beautifully by Rafi & Suman. S-J did a yeoman service to HFM by having many songs based on classical raagas in a simple format that would appeal to the masses.

• Dost Dost Na Raha-Sangam-1964-Mukesh-Shailendra

Sangam and Mera Naam Joker were major works of SJ for Raj Kapoor , the former a super hit and the latter a flop ; but I would still say the music of Mera Naam Joker was equally good like  Sangam. This song can be described as quintessential S-J :  grand orchestration, piano simply out of the world, interludes that are still etched in our memory.

• Yeh Mera Prem Patra- Sangam-1964-Rafi-Hasrat Jaipuri

One of the best Rafi songs in a RK movie that over shadowed to some extent the equally good ones Mukesh sung in the same film. They say one of the reasons a rift happened between Shankar & Jaikishan was this song. They had an unwritten agreement that neither will reveal which song was composed by whom and Jaikishan apparently broke this by revealing it was his composition in some interview to a magazine. Shankar had however denied this story. Let us forget that and listen to this masterpiece and get ourselves lost in the beauty of the song.

• Bedardi Baalma Tujhko-Arzoo-1965-Lata-Hasrat Jaipuri

Saxophone and violins take centre stage with those typical high octaves of Lata & S-J! Apparently Lata once asked S-J why they set such high pitch and their response was to match those fabulous violins that were an integral part of their orchestration. One more example of a  song that an undercurrent of pathos  , but presented in a catchy style Only SJ could do it.

• Jaan Pehchaan Ho-Gumnaam-1965-Rafi-Shailendra

I had written about this song in my blogs earlier under different themes but would always like to repeat as this is the most shocking under-appreciated song in our country , whereas it has a cult-following in western countries! It was the opening song shown in the titles of a 2001 Hollywood film Ghost World title, in a German  beer brand  advertisement , and also many pop artists abroad recreated this. Something similar to the “  awara hoon”  craze. SJ & Rafi showed they were the real kings of jazz.  Unfortunately all the video versions of this song cannot be embedded as they do not play in other sites and so I had to upload only the audio version. Those interested please do check out the video in YouTube as the dance in the song is simply out of the world-Laxmi Chhaya , choreographed by Herman Benjamin who has also sung this on screen.

• Tumhe Yaad Karte Karte-Amrapali-1966-Lata-Shailendra

All the songs of Amrapali were sung by Lata except for one “ Nacho Gaao Nacho Dhoom Machao – a rare one that had only chorus singing the song. Apart from this the other songs , viz, Jao Re Jogi Tum , Neel Gagan Ke Chaaon Mein , Tadap Yeh Din Raat ki are all top class and  deserve to be included  but due to brevity , I am restricting to one. We can say “Tumhein yaad karte karte”  is one of Lata’s top songs with a restrained orchestration by SJ and a very soft singing by Lata.

• Aaja Re Aa Zaraa-Love In Tokyo-1966-Rafi- Hasrat Jaipuri

When we see the simple personality of Rafi and then hear him sing songs like Jaan Pehchan Ho and Aaja Re Aa Zaraa  , it is simply unbelievable how he sings such westernized tunes so authentically. They say when he starts singing in front of the mic , he transforms into a different person. Remember this was in 1966 , and observe that  stylish singing. He did not have any role model in HFM  for taking inspiration for such a style . It is truly amusing when we  hear the popular media taking only  one popular music director’s name to have brought western style music in HFM , ignoring the likes of  S-J, C Ramachandra, Salil Choudhury and many others. I do not have anything against  that music director, i.e. R D Burman but to ignore all others and talk only about him is so biased.  The main purpose of my blogsite is to cover all the artists , rather than getting fixated with one or two artists only. Coming to this song, the use of piano, violin and guitar is exemplary and so is Rafi’s singing with that vibrato that he does so effortlessly.

• Baharon Phool Barsao-Suraj-1966-Rafi-Hasrat Jaipuri

In addition to the song Teri Pyari Pyari Surat Ko , this one made Rafi a household name. Rafi used this tune to sing few songs composed in Dutch and English also , in his concerts abroad , as the tune was so popular.

• Titli Udi Udi Jo Chali- Suraj-1966-Sharada-Shailendra

Even I was surprised to include this song as Sharada is not a favourite singer for me , personally. Plus, it is a general talk , again no one knows how far true , that one of the reasons for S-J’s decline was Shankar’s promotion of Sharada as an alternative singer to Lata. As usual I will stay clear of the controversies! But this song made a great change in the Filmfare awards. Till then the award for best playback had only one category irrespective of whether male or female playback singer. Since this song was tied with Rafi’s Baharon Phool Barsao, a separate category for female playback singer was introduced from the next year. The tune , lyrics and orchestration in this song are good and could be said to be one of the few songs of Sharada that I like. She had serious accent issues and those days , it truly mattered. Today anything passes off as music!

If one can ignore the accent issues of Sharada , she did sing few  good songs . I was also shocked to know only now, when researching for this blog that she had passed away in June 2023 and I do not remember seeing that news prominent in any media!

• Duniya Bananewale-Teesri Kasam-1966-Mukesh-Hasrat Jaipuri

Whenever I write about the songs from this movie Teesri Kasam it is always with a feeling of sadness. Shailendra  venturing into film production with this film despite many of his well-wishers advising him not to do that mistake completely devastated him financially and ultimately the dejection took him  away from us at the early age of 43! It is even more tragic to note that the film that bombed at the box office on its release is now considered a cult classic. S-J had poured their heart into this film’s music. Each and every song is a masterpiece. Ideally I should be including all the songs from this film but restricting myself to just two.

• Aa Aaabhi Jaa Teesri Kasam-1966-Lata-Shailendra

Personally, I rate this song much better than the more popular Paan Khaye Saiyyan by Asha. SJ could have kept the rhythm simple but they added a slight variation in the beats , making this a great song.

• Raat Ke Humsafar-An Evening In Paris-1967-Rafi & Asha-Shailendra

One of the most famous duets of Rafi & Asha and no doubt a great song. That was a time when films getting shot in foreign locales were becoming popular and most of them  had music composed by S-J. Who else to give that grand orchestration that suited a European setting?!

• Taron Se Pyaare-Diwana-1967-Mukesh-Hasrat Jaipuri

A classic example of how a mediocre film can have such fabulous music. Apart from this song, few others like Deewana Mujhko Log Kahe , Ham To Jate Apne Gaon , Ae Sanam Jisne Tujhe , Tumhari Bhi Jai Jai  etc were all great hits. The Shehnai played in Taron Se Pyaare sounds like a bagpiper! S-J  knew exactly how to bring out the best from Mukesh.

We are still 3 years away from the end of the 60’s decade  and I have completed my Part 2! Shows how S-J had dominated the 60’s with the most memorable songs of HFM. I will continue this musical journey with S-J in part 3 , showcasing their songs from 1968 till 1979, with Shankar plodding along bravely  from the year 1971 , with his friend &  partner Jaikishan departing in 1971. Most of his associates ditched him , including his mentor Raj Kapoor! To re-phrase  the famous quote from Shakespeare’s Julius Caesar-That was the most unkindest cut of all…….

Acknowledgement & Disclaimer 

I sincerely thank the publishers of following  Internet sources for the information that I could gather for this article:

1. You Tube
2. Wikipedia

Acknowledgements and Disclaimer:
The songs mentioned are from the popular, public domain and have been mentioned and embedded here   only for the listening pleasure of the music lovers. This blog does not claim any copyright over them, which rests with the respective owners of the rights.