SJ ruled the music industry for more than two decades with the irrepressible musical magic from their baton; in that age, films were sold purely on the strength of their name. Purists have always scoffed at their music, dismissing it off as too 'popular' or 'pedestrian' , but it can be said that Shankar Jaikishan define what film music should be. To rule for two decades with bumper hits after super-hits is no mean achievement, and I am pretty confident they would have rocked the seventies also had not Jaikishan expired (yes, this despite their personal differences because they were both individually complete musicians). Well, it might sound silly, but just speak out their name - even that is full of rhythm and jhankaar.They gave the form and grammar to film music that has been followed till date. A large bulk of their songs are three stanzas ones - and in them, they gave a wonderful symmetery : the first and the third interlude is always the same. Apart from making the form, S-J gave a lot of emphasis on the music that went between the songs - the interludes. They were always rich and varied and of course their orchestration is legendary. But the best part is that they knew how to use the orchestra - a case in point, is the hit song 'Kaun Hai Jo Sapnon Mein Aaya' ( Jhuk Gaya Aasman ); just listen to the lush of violins that begin the song - isn't that breathtaking! And they composed this in an era where their were no sophisticated gadgetry available to simulate sounds. Yet, none of the electronic timbres of today can match upto the quality achieved by S-J.The music between the 'antaras' was never forced; it flowed in a natural progression. Plus, they never left the antaras naked, meaning there was always some background musical support for the vocals. S-J not only worked hard on the interludes, they also gave the supporting music of the vocals (the beats) a heaviness. Listen to any of their songs, it always has a 'jhankaar' sound with it.Also, SJ have to their credit songs that sometimes define genres - think of a 'lori' and one cannot miss mentioning 'Mai gaaon tum so -jaao' (Brahmchari) ; speak of children's songs and 'Re mama re mama' 'Chakke pe Chakka' (Andaz & Brahmachari respectively) have to find a place ; mention Mehmood's antics, 'Hum kaale hain toh kya hua' (Gumnam) is on the forefront ; any listing of bhajans is incomplete without Tu pyaar ka saagar hai ( Seema) & Bhay Bhanjana (Basant Bahar); talk of 'masti', there is the evergreen Mai rangeela pyaar ka raahi (Chhoti Bahen) or All line clear (Chori Chori ) ; Chitrahaarwouldn't be complete on Raksha Bandhan without 'Bhaiyya Mere Rakhi ke Bandhan Ko Nibhana (Till the best Rakhi song), Behna ne bhai ki kalai se pyaar baandha hai (Resham Ki Dori) ; dream sequences found an expression with Ghar aaya mera pardesi (Aawara); a compilation of horror songs will remain Gumnaam without Gumnaam hai koi. 'Budha mil gaya'(Sangam) , Mera Joota Hai Japani (Shri 420), Aap yahan aaye kisliye/aapne bulaya issliye (Kal Aaj aur Kal) Chal sanyasi mandir mein (Sanyasi), Parde mein rahne do (Shikar), Mujhe meri biwi se bachao (Aaj Ki Taaza Khabar), Sayonara ( Love In Tokyo ) and Paan khaaye sainya hamaaro (Teesri Kasam). Till date, most 'dulhans' in weddings enter to the strains of Baharon phool barsaao mera mehboob aaya hai (Sooraj) playing in the background. Some other memorable songs are : Chorni Hun Main from Chorni, 'Naa Maih hun main naa tu hai tu' from Umang, (Asha Bhonsle excelled in this song, though it is not so popular, but one should listen to this song), 'O Zindagi' from Sapno ka Saudagar and many more.You must have noticed that SJ did most of the films that needed the 'international' touch when color came and filmmakers discovered foreign locations - An Evening In Paris , Sangam, Around the World, Love in Tokyo , Singapore are some names.SJ pioneered the concept of 'item' songs; they made 'cabarets' popular (before Pancham took this to dizzying heights); and, they gave 'seduction' a new meaning. They were the first and complete 'hindi film music composers'. Though they did not give many pure 'classical' songs but the songs of Basant Bahar and Amrapali prove that they could give a resounding slap on the face of their detractors. Incidentally, .two of my favorite songs of this style, Jhanak jhanak tori baaje paayalia (Mere Huzoor) and 'Chham-Chham baje payaliya' are SJ compositions sung by Manna De. Also we can not forget 'Re man sur mein gaa' (Lal Patthar)With Lata Mangeshkar, S J had one of the most comfortable professional relationship (though it did get a tad broken when Shankar opted for his lady-love Sharda in the latter part of the career; however, Shankar had to bridge the gap in the seventies and then Lata sang for him in Sanyasi, Do Jhoot and Paapi Pet Ka Sawaal Hai) - for those who don't know, the film Do Jhoot had a song that went Chhatri na khol udd jaayegi hawa tez hai / arre kholne de, bheeg jaayenge (it was quite a big hit at that time).Perhaps the comfort in their working relationship came from the fact that both SJ and Lata started their careers nearly the same time. Though Lata was singing for some time, both SJ and Lata tasted their first super success in 1949 (with Raj Kapoor's Barsaat). When you start your careers together, there always is a rapport that is impossible to replicate elsewhere. Likewise for Lata and SJ. In all her interviews Lata Mangeshkar always recalls S-J with fondness.S-J were the 'naughty' duo who always challenged Lata Mangeshkar with the impossibly high pitch songs - try singing Aji rooth kar kahan jaayiega (Aarzoo) and you will know what I mean. Also, SJ created the concept of having the same song in a female version. Invariably all the female songs went to Lata Mangeshkar. Any song created for the male vocal is tough for a female to emulate. But hats off to Lataji who took up the challenge and gave the female versions their own standing - a prime example in this category is (another personal favorite) Ehsaan tera hoga mujh par ( Junglee ).
