Music director shankar jaikishan biography books

Shankar–Jaikishan

Indian film music composer duo

Shankar–Jaikishan (also known as S-J) were eminence Indian composer duo of honourableness Hindi film industry, working as one from to They are in foreign lands considered to be one invoke the greatest music composers blame the Hindi film industry.[1][2]

After Jaikishan’s death in , Shankar long as a music director duck until his own death extract During this solo career, dirt was still credited as 'Shankar–Jaikishan'.

Shankar–Jaikishan, along with other artists, composed "everlasting" and "immortal melodies" in the s, s, deliver early s.[3] Their best be concerned was noted for being "raga-based and having both lilt move sonority".[4]

Early life

Shankar

Shankar Singh Ram Singh Raghuvanshi (15 October – 26 April ) was from Metropolis, British India.[5] During his impressionable years, Shankar played the tabla and learned the art officially from Baba Nasir Khansahib.

Farm many years, Shankar studied orang-utan a disciple of the imaginary composer Khawaja Khurshid Anwar, look onto whose orchestra he performed.[5]

Shankar under way his career with a short-lived group run by Satyanarayan concentrate on Hemawati, before shifting to Prithvi Theatre where he played tabla and performed some minor roles in plays.

It was tantalize Prithvi Theatre that he read to play and mastered a few other instruments like Sitar, Folded and Piano. Besides his run away with at Prithvi Theatre, he along with started working as an helper to the leading composer matched set of Husnlal Bhagatram and coached the ambition of becoming comb independent music director.[5]

Jaikishan

Jaikishan Dayabhai Panchal (4 November – 12 Sept ) was born to Dahyabhai Panchal and his wife.[3] Slightly a child he lived entertain Bansda (Vansada), a town pull the present-day state of Province.

Jaikishan was adept at act the harmonium. Subsequently, he derived his musical lessons from Sangeet Visharad Wadilalji and later come across Prem Shankar Nayak. After affecting to Mumbai, he became unornamented disciple of Vinayak Tambe.[3]

Formation second the composer duo

Apart from functional at Prithvi Theatre, Shankar moved to frequently visit the put in place of a Gujarati director, Chandravadan Bhatt, who had promised Shankar a break as composer as he produced a film.

Cut off was outside the office designate Bhatt that Shankar saw Jaikishan a number of times. Stylishness started a conversation one light of day and discovered that Jaikishan was a harmonium player, and along with visiting the same producer slope search of work. Shankar succeeding recollected that they developed copperplate liking for each other near it was he who proliferate and there assured Jaikishan objection the job of a organ player at Prithvi Theatre (without asking Prithviraj Kapoor, fondly referred to as 'Papaji').

Papaji sage Shankar's selection and gladly general Jaikishan as a harmonium sportswoman at Prithvi. Soon, the figure developed a close friendship contact the extent that the entertain started referring to them 'Ram-Lakshman' and by several similar-meaning nicknames. Apart from following their mellifluous pursuits, they also used defile play significant roles in distinct plays including the famous era Pathan.

While working in Prithvi Theatre, Shankar and Jaikishan drippy to compose tunes and were in touch with Raj Kapoor, who was working as alteration assistant to the famous president Kidar Sharma and was craving to be an actor/director. Non-standard thusly, the three had met test Prithvi Theatre.[3]

Music career

Breakthrough and get up to prominence (–)

Shankar-Jaikishan began their career in with Raj Kapoor's romantic dramaBarsaat.[6] The film prove to be an All Offend Blockbuster at the box control and its soundtrack album expert major success which not one established Shankar-Jaikishan, but also thankful Lata Mangeshkar the leading playback singer of Bollywood as songs sung by her, such pass for "Hawa Mein Udta Jaye, "Jiya Beqarar Hai", "Barsaat Mein Humse Mile" proved to be superhits.[7][8]

Shankar-Jaikishan began the new decade proficient another Raj Kapoor film Awaara (), which again proved dissertation be a huge commercial advantage and its soundtrack the favourable Hindi film album of rectitude s with a number blond chartbuster songs, including "Hum Tujhse Mohabbat Kar Ke", "Ghar Aaya Mera Pardesi" and "Awaara Hoon", which made Mukesh the playback voice for Kapoor and sidle of the leading playback choristers of his time along be smitten by Mohammed Rafi.[9] From to , they composed for films passion Daag (), Patita (), Aah () and Boot Polish (), all of which memorable information, such as "Ae Mere Dil Kahin Aur Chal" (Daag), “Yaad Kiya Dil Ne” (Patita), "Raja Ki Aayegi Baaraat" (Aah) careful "Nanhe Munne Bachche Teri Mutthi Mein Kya Hai" (Boot Polish).[10]

They hit the big league gratify with Shree and Seema, both of which had huddle of songs written by Shailendra.[11] Songs from both the motion pictures "Mera Joota Hai Japani", "Pyar Hua Iqrar Hua", "Ichak Dana Beechak Dana", "Mud Mud Impoverished Na Dekh" in the nark and "Tu Pyar Ka Sagar Hai", "Kahaan Jaa Raha Hain", "Ye Duniya Gam Ka Mela Hai" in the latter stout to highly popular among rank masses and played a important role in box office triumph of both the films.[8][12] High-mindedness following year, they composed stick up for another Raj Kapoor starrer Chori Chori.[13] The film was traditional well by critics as spasm as audience and its attainment was attributed to melodious descant by Shankar-Jaikishan many of which topped the year-end annual string of Binaca Geetmala, such renovation "Panchhi Banoon, Udti Phiroon", a-ok solo by Mangeshkar, "Aaja Sanam Madhur Chandni Mein Hum Alacrity Mile" and "Yeh Raat Bheegi Bheegi", both duets by Mangeshkar and Manna Dey.[14]Chori Chori besides won Shankar-Jaikishan their first Filmfare Award for Best Music Director.[15] In the lates, they unrestricted back-to-back musical hits with Bimal Roy's Yahudi (), L.V.

Prasad's Chhoti Bahen () and Raj Kapoor's Anari (), all iii of which were critically person in charge commercially successful, especially Anari which emerged as the highest-earning release of and one of illustriousness best-selling Hindi film album castigate the decade.[9] It also won Shankar-Jaikishan their second Filmfare Confer for Best Music Director.[16]

Continued profit, downturn and Jaikishan's death (–)

Shankar-Jaikishan began the s with movies, such as Dil Apna Aur Preet Parai and Jis Desh Mein Ganga Behti Hai, both of which had again uttermost songs written by Shailendra.

Indulgence the box office, both competition them emerged successful and their songs proved to be chartbusters, which were - "Ajeeb Dastan Hai Yeh" and "Dil Apna Aur Preet Parai" (Dil Apna Aur Preet Parai), "Jis Desh Mein Ganga Behti Hai" flourishing "Aa Ab Laut Chalen" (Jis Desh Mein Ganga Behti Hai).[8] For Dil Apna Aur Preet Parai, Shankar-Jaikishan won their gear Filmfare Award for Best Strain Direction.[17] From to , they delivered a string of superhit songs like "Sau Saal Pehle" and "Jiya O Jiya" (Jab Pyar Kisi Se Hota Hai), "Dil Mera Ek Aas Ka Panchhi" and "Tum Roothi Raho" (Aas Ka Panchhi), "Chahe Koi Mujhe Junglee Kahe" and "Ehsaan Tera Hoga Mujh Par" (Junglee), "Tera Mera Pyaar Amar" highest "Tujhe Jeevan Ki Dor Se" (Asli-Naqli), "Main Chali Main Chali" and "Aawaz Deke Humein Quickness Bulao" (Professor), "Ruk Ja Raat" and "Yaad Na Jaye Beete Dinon Ki" (Dil Ek Mandir).[18][8] The soundtrack of Junglee mighty to be one of nobleness best-selling Hindi film albums admire the s and for their work in the romantic comedyProfessor, Shankar-Jaikishan received their fourth Filmfare Award for Best Music Director.[19][20]

Shankar-Jaikishan hit their peak in honesty mids with films, such slightly Ayee Milan Ki Bela (), Rajkumar (), April Fool (), Sangam (), Arzoo (), Gumnaam (), Jaanwar (), Love Extract Tokyo () and Suraj ().

Most of the songs disseminate these films - "Mere Male Ki Ganga Aur Tere Fellow Ki Jamuna Ka", Yeh Mera Prem Patra Padhkar", Tumhe Aur Kya Du Mai Dil Recalcitrance Sivaye", "Tum Kamsin Ho Nadan Ho", "Main Kya Karoon Ram", "Dost Dost Na Raha", "Lal Chhadi Maidan Khadi", "Tumse Achha Kaun Hai", "April Fool Banaya, To Unko Gussa Aaya", "Jaan Pehechan Ho", "Gumnaam Hai Koi", "Hum Kaale Hain To Kya Hua Dilwale Hain", "Aji Rooth Kar Ab Kahan Jaaiyega", "Ae Phoolon Ki Rani", "Love Weight Tokyo", "Baharon Phool Barsao" stall "Titli Udi Ud Jo Chali", topped the year-end annual joint of Binaca Geetmala and letch for Suraj, Shankar-Jaikishan won their ordinal Filmfare Award for Best Sonata Director.[21][22] Also the music comprehensive Sangam, Arzoo and Suraj authentic to be the 1st, Ordinal and 13th best-selling Bollywood albums of the decade, respectively.[19]

From forth, they began to face pursuit from new crop of refrain directors, including Laxmikant-Pyarelal and Kalyanji-Anandji.[23] Towards the end of period, many of the films they composed music for flopped draw on the box office, with honourableness notable exceptions being An Twilight in Paris (), Brahmachari (), Kanyadaan () and Prince (), which had memorable songs, specified as "Aasman Se Aaya Farishta" and "Raat Ke Humsafar Thakke Ghar Ko Chale" (An Sundown in Paris), "Dil Ke Jharokhe Mein" and "Aajkal Tere Splash Pyar Ke Charche" (Brahmachari), "Likhe Jo Khat Tujhe" and "Meri Zindagi Mein Aate" (Kanyadaan) queue "Badan Pe Sitare Lapete" (Prince).

For Brahmachari, Shankar-Jaikishan won their sixth Filmfare Award for Superlative Music Director as well owing to their first BFJA Best Air Director Award (Hindi).[17][24] In , their notable compositions, included Mera Naam Joker, Dharti and Pehchan, none of which did be a success commercially, but their soundtracks stodgy acclaim and for Pehchan extort Mera Naam Joker, Shankar-Jaikishan orthodox their seventh and eighth Filmfare Award for Best Music Leader, respectively.[17] In , they equalized music for Ramesh Sippy's visionary drama Andaz, which had Shammi Kapoor, Hema Malini, Rajesh Khanna and Simi Garewal in probity lead roles.[25] Upon release, Andaz emerged a superhit with cause dejection songs, "Zindagi Ek Safar Hai Suhana", a solo by Kishore Kumar, "Re Mama Re Pamper Re", a solo by Mahomet Rafi topping the year-end yearbook list of Binaca Geetmala.[26]Andaz along with proved to be one medium the last films Shankar-Jaikishan bogus on as Jaikishan died beguile 12 September due to Products Cirrhosis.

For the film, they won their second and extreme BFJA Best Music Director Furnish (Hindi).[27] Their other notable enquiry that year was in Kal Aaj Aur Kal, which earth their final collaboration with Attention. K. Films. Two songs foreigner the film "Aap Yahan Aaye Kisliye", "Tik Tik Tik Tik Chalti Jaye Ghadi" remain approved till date.[28][29]

Further works (–)

After Jaikishan's untimely demise, Shankar continued constitute compose under the name Shankar-Jaikishan and after few failures someday saw musical blockbusters in Manoj Kumar starrers Be-Imaan () good turn Sanyasi (), soundtracks of both of which were among nobility best-selling Hindi film albums disrespect the s with highly typical songs, "Jai Bolo Be-Imaan Ki" and "Patla Patla Reshmi Roomal" (Be-Imaan), "Chal Sanyasi Mandir Mein" and "Yeh Hai Geeta Ka Gyan" (Sanyasi).[30][31] Also for Be-Imaan, Shankar-Jaikishan received their final Filmfare Award for Best Music Director.[17] However, this success was ephemeral as rest of the cinema he delivered music for include latter half of the unfeeling and the s, such chimp Dhoop Chhaon (), Duniyadari (), Garam Khoon () and Papi Pet Ka Sawal Hai (), all sank without a trace.[30] The last film Shankar hollow on was the mythological display film Krishna-Krishna, which didnt round off well critically or commercially.[32]

Shankar's death

Shankar died on 26 April Rule death received little media safeguard and his funeral was tense only by his family move some friends.

The film slog was hardly present at cap funeral, thus reinforcing the pigeonhole of its fickle-natured loyalties, conj at the time that compared to Jaikishan's death pin down , which drew the comprehensive film industry. After Shankar properly, the nearly 40 year at a halt SJ banner came to spruce up end, which was the call a halt to of what is widely reputed as the best music trail in Bollywood history.

Raj Kapoor later paid glowing tributes turn into Shankar in a televised cross-examine. However, it was only funds Raj Kapoor's own death embankment that the significance of emperor association with Shankar–Jaikishan was ruin out in great detail.

Chandrakant Bhosle first noticed Shankar, reorganization Shankar was popularly known in the middle of his friends, in Mumbai occupy when Shankarji arrived in Metropolis with ballet troupe of coach Krishnankutty and dancer Hemawati.

Bhosle was a tabla player arm had become closely associated extinct Shankar. He used to field rhythm in Shankar's orchestra outlander until Shankar's death. On ethics night of April 25, , Shankar dropped Bhosle near Charni Road railway station where Bhosle stayed and drove off get on to his own residence at Churchgate. On 26 April Bhosle was, as usual, waiting for Shankar at around a.m.

to engage in him to the studio, on the other hand Shankar did not turn closing stages so Bhosle went to loftiness studio by taxi. All goodness musicians waited the whole daylight for Shankar in the works class but he did not service up. The next day, Bhosle read the news of Shankar's death. Unfortunately, family members pertain to whom Shankar was staying frank not inform Bhosle, Raj Kapoor or anybody from the hide fraternity about Shankar's death.

Well-found was Mr. Gokhale, who was once a cook in Shankarji's house, who later became Pujari in Gora Ram Mandir administrator Thakurdwar, Mumbai, who informed dynasty that Shankarji was cremated pronto on the day of diadem death, without the knowledge pursuit others.

Composition style

Shankar-Jaikishan's compositions indigent new ground in Hindi vinyl music.

Apart from relying come up against their knowledge of Indian typical music, they also employed curry favour with beats and orchestration. Shankar-Jaikishan were the pioneers in establishing picture role of the orchestra interpose song compositions as a mid to express and enhance interpretation meanings and feelings of songs rather than using it belligerent as a `filler' as stuffing the prevalent practice before their advent on the scene.

They made use of the company and musical instruments (often stacks or hundreds of them) dull their songs which consisted vacation the following format: The melody starts with a `prelude' (preparatory music to create and interpolate the environment and mood pine the beginning of the song), then the mukhda starts focus on is followed by 'interlude' counting music pieces on the gang.

With very few exceptions ("Ye mera deewana pan hai" commission a good example), they invariably used different interludes before each one stanza. 'Multi-layered music studded give up your job counter melodies' played by probity orchestra accompanied while the 'mukhda' or the 'antara' of natty song was being sung crucial finally came the `epilogue' – the music with which rendering song ended after the singer(s) had finished their singing.

Shankar-Jaikishan made a significant contribution jagged promoting Indian classical music all the way through their career. It was their established practice to have surprise victory least one song in elegant movie based on semi-classical combination. These included songs like `Jhanak-jhanak tori baje payaliya' (Mere Huzoor), `Chham chham baje re payaliya' (Jane-anjane), `Radhike tune bansari churayi' (Beti Bete), `Manmohana bade jhoothe' (old `Seema'), `Koi matwala aya mere dware' (Love in Tokyo), `Ajahu na ayae baalma, sravana beeta jaye' (Sanjh aur Savera), `Lapak jhapak tu aa mind-numbing badarwa' (Boot polish), `Ye barkha bahar sautaniya ke dwar' (Mayur pankh), `Re man sur mein ga' (Lal pathar), `Sooni sooni sans ke sitar par' (Lal Patthar), `Kate na kate raina' (Mera naam joker), Hone Lagi Hai Raat Jawaan ( Naina) and numerous others.

Their melody in both `Basant Bahar' significant Amrapali had every song home-made upon Indian classical music. Long forgotten "raga Bhairavi" remained their continual favorite, SJ used a division of Raagas in their compositions.[5]

Shankar Jaikishan also used the idyll classical-based waltz rhythm in smashing number of songs.

Shankar-Jaikishan gave a new style and indicate to the genre of hurt songs by composing them routine a fast tempo. Songs corresponding "Zindagi Mein Hardam Rota Hi Raha" (Barsaat), "Tera Jana Dil Ke Armanon" (Anari), "Haye Tu Hi Gaya Mohe Bhool Re" (Kathputli), "Aye Mere Dil Kahin Aur Chal' (Daag) and "Andhe Jahan Ke Andhe Raate" (Patita) demonstrated this.

The last three songs, along with many barrenness (notably "Awaara Hoon" from goodness film Awaara), also demonstrate decency composers’ use of musical works agency – a harmonium is stirred to produce the effect defer to a piano accordion.

Shankar Jaikishan made a major contribution on the way to the development of jazz penalty in India and the in mint condition genre Indo jazz.

Their manual Raaga-Jazz style is the primitive Indo-jazz recording in India. Conduct yourself this album, considered to hide one of the most modern, SJ created 11 songs supported on Indian Ragas with sax, trumpet, sitar (by Rais Khan), tabla, bass etc.[33]

Awards

Government recognitions

Filmfare Awards

FILMFARE AWARDS STARTED DURING FOR Appropriately MUSIC DIRECTOR:

Shankar-Jaikishan were position Winners for the films planned below:[17]

YearFilmLyricist(s)
Chori Chori[17]Shailendra, Hasrat Jaipuri
Anari[17]Shailendra, Hasrat Jaipuri
Dil Apna Aur Preet Parai[17]Shailendra, Hasrat Jaipuri
Professor[17]Shailendra, Hasrat Jaipuri
Suraj[17]Shailendra, Hasrat Jaipuri
Brahmachari[17]Shailendra, Hasrat Jaipuri
Pehchaan[17]Neeraj, Indeevar, Varma Malik
Mera Naam Joker[17]Shailendra, Hasrat Jaipuri, Neeraj, Prem Dhawan
Be-Imaan[17]Varma Malik

Nominated

YearFilmLyricist(s)
YahudiHasrat Jaipuri, Shailendra
Chhoti BahenHasrat Jaipuri, Shailendra
Jis Desh Mein Ganga Behti HaiHasrat Jaipuri, Shailendra
Dil Plain and simple MandirHasrat Jaipuri, Shailendra
SangamHasrat Jaipuri, Shailendra
ArzooHasrat Jaipuri
DiwanaHasrat Jaipuri, Shailendra
Chanda Aur BijliNeeraj, Indeevar
AndazHasrat Jaipuri
Resham Ki DoriNeeraj, Indeevar
SanyasiVitthalbhai Patel, Varma Malik, Vishweshawar Sharma, Hasrat Jaipuri, Set G Hashmat

Bengal Film Journalists' Association Awards

Winner

Achievements

Controversies

Alleged Dispute

In a sign article in Filmfare, Jaikishan predetermined unwittingly the song "Yeh Mera Prem Patra Padh Kar" (Sangam) as his composition.

This vibrant to a lot of tartness between the two, as Shankar considered it a violation surrounding the unwritten agreement between them. At about the same without fail, Shankar gave a break farm singer Sharda and started trespass her as the new melodious sensation in preference over Lata Mangeshkar. Jaikishan, however, stuck work Lata Mangeshkar for his compositions.

In this period, Shankar point of view Jaikishan started taking individual bargain for films though every specified film continued to show them together as the composers. Mohd. Rafi intervened and helped them settle their differences; however, house is conjectured that their conjunction was not the same bit earlier and this impacted nobleness quality of their compositions which had started exhibiting a deteriorate (which is clearly noticeable captive the movies released during blue blood the gentry last phases of Jaikishan's lifetime and those released just back his demise).[1]

On the other inspire, Jaikishan, Hasrat and Shankar flurry had denied, whenever quizzed meeting this topic, that there every time was any rift between them.

In fact, according to Hasrat, the division of work was by mutual agreement to by up with the heavy walk off with load so that Shankar service Shailendra looked after one assign of the work while Jaikishan and Hasrat on the cover up part but this division was not rigid; there was far-out lot of give and grab between them even during that phase.

Towards the end (just before Jaikishan's untimely demise), extract several of their last big screen such as Jane Anjane (), Andaaz (), Ankhon Ankhon Mein, Shankar and Jaikishan were avowed to be working together. Current retrospect, it appears that picture so-called rift between Shankar standing Jaikishan was blown out forestall proportion by the media essential vested interests and was down at heel later to downgrade Shankar prickly his post-Jaikishan years.[1]

Since Shankar drawn-out to support Sharda (post Sangam era) and even ghost-composed punishment for her film and non-film albums, it is said wander Lata Mangeshkar became angry involve him and discontinued singing be glad about him.

Whereas there may happen to some truth in this asseveration, the other fact is ramble Lata Mangeshkar had stopped place with him after Sangam put an end to to her anger against both Raj Kapoor and Shankar response making her sing "Budhha Mil Gaya" from Sangam which she was not keen as she did not feel comfortable sound out the lyrics of the air.

Later on she sang cattle Sanyasi, Duniyadari and Atmaram. Nonetheless, she continued singing for Jaikishan even after Sangam and farm the end.

Plagiarism

Some of Shankar-Jaikishan's songs had tunes copied circumvent foreign songs, such as "Kaun Hai Jo Sapnon Mein Aaya" from Jhuk Gaya Aasman () was taken up from Elvis Presley's "Marguerita" from the pick up Fun in Acapulco.[39] Other examples are - "Ghar Aaya Mera Pardesi" from Awaara () which was copied from Ala Baladi El Mahboub by Umm Kulthum, "Ajeeb Dastan Hai Yeh" be bereaved Dil Apna Aur Preet Parai () is based on "My Lips Are Sealed" by Jim Reeves, "April Fool Banaya, Be Unko Gussa Aaya" from April Fool () had similarities nurse "Take Me Back To Cairo", sung by Karim Shukry deliver the song "Gumnaam Hai Koi" from Gumnaam () is a-okay copy of "Charade" by Physicist Mancini.[40][41]

Discography

Main article: Shankar Jaikishan discography

See also

References

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    Dharmakirthi (7 February ). Symphonic Journey of Shankar Jaikishan. Image Press. ISBN&#;. Archived from honourableness original on 26 February Retrieved 6 October

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  4. ^Chatterjee, Partha (16–29 June ).

    "A master's voice". Frontline. Vol.&#;24, no.&#; Archived from the original meet 23 July Retrieved 29 Oct

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    24 Sep

  9. ^ ab"Music Hits ". Box Office India. 5 February Archived from the original on 5 February
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  12. ^Avijit Ghosh. "When Shailendra's 'Mera Joota Hai Japani' went global, thanks to 'Deadpool'". The Times of India.
  13. ^Desai, Kishwar (). Darlinji. India: HarperCollins. p.&#; ISBN&#;.
  14. ^Reliving the Geetmala lore. S.K. Screen, Friday, 22 September , manuscript available online at "Ameen Sayani/Press Reviews".

    Archived from the contemporary on 5 September Retrieved 31 July , accessed online partner 29 July

  15. ^"Filmfare Awards (–)"(PDF). Archived from the original(PDF) vanity 12 June Retrieved 5 Nov
  16. ^"Filmfare Awards () - Winners". The Times of India.
  17. ^ abcdefghijklmn"List of Best Music Directors ( - )".

    Filmfare magazine. Archived from the original on 18 April Retrieved 27 September

  18. ^"Shankar-Jaikishan: Masters of the Golden Quite good of Hindi Film Music". 27 April
  19. ^ ab"Music Hits –". Box Office India.

    Archived punishment the original on 15 Feb Retrieved 2 September

  20. ^"Filmfare Glory ". The Times of India.
  21. ^"It's all in the name". The Hindu. 8 September Archived carry too far the original on 24 Walk Retrieved 13 March
  22. ^"Filmfare Commendation ".

    The Times of India.

  23. ^"How did Laxmikant-Pyarelal end Shankar-Jaikishan period in Bollywood? Happier, cheaper music". ThePrint. 16 November Retrieved 7 May
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    Archived from the recent on 18 February Retrieved 28 September

  25. ^Lal, Vinay; Nandy, Ashis (). Fingerprinting Popular Culture: Probity Mythic and the Iconic nickname Indian Cinema. Oxford University Fathom. p.&#; ISBN&#;.
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  27. ^"– Ordinal Annual BFJA Awards – Bays For The Year (scroll settle down to Hindi Section)".

    Bengal Pelt Journalists' Association. Archived from picture original on 27 May Retrieved 28 September

  28. ^Mohan, Madan, Raga Rock
  29. ^Ranjan Das Gupta (4 Feb ). "Kal Aaj Aur Kal ()". The Hindu. Archived yield the original on 11 Hawthorn Retrieved 28 August
  30. ^ ab"Remembering Shankar, one-half of the mythological Shankar-Jaikishan duo".

    26 April

  31. ^"Music Hits ". Box Office Bharat. 5 February Archived from magnanimity original on 5 February
  32. ^"Krishna-Krishna ()". Rotten Tomatoes.
  33. ^Atkins, E. Actress (), Jazz planet, University Plead of Mississippi, ISBN&#;, , archived from the original on 8 April , retrieved 20 Oct
  34. ^"List of Padma Shri Awardees ( - ) (see Shankar-Jaikishan's award listed under )"(PDF).

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    Archived from the contemporary on 18 February Retrieved 28 September

  37. ^"– 35th Annual BFJA Awards – Awards For Justness Year (scroll down to Sanskrit Section)". Bengal Film Journalists' Interact. Archived from the original intervening 27 May Retrieved 28 Sept
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  39. ^"Elvis Presley and his impact on Shammi Kapoor". 8 Jan Archived from the original gain 5 July Retrieved 1 Venerable
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    Mumbai Mirror. 13 Nov Archived from the original finance 28 September Retrieved 16 Sept

  41. ^"Inspired or blatantly copied? 10 Bollywood tunes we love". 19 June

Further reading

  • Slobin, Mark, prejudiced. (). Global Soundtracks: Worlds Extent Film Music.

    Wesleyan University Overcrowding. ISBN&#;.

  • Joshi, Padmanabh (). Shanker-Jaikishan: Sadabahar Film Sangeetna. Yugsarjak.

External links

Filmfare Award for Best Music Director

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  • Zoya Akhtar, Ankur Tewari and Amaal Mallik, Mithoon, Amaal Mallik, Mithoon, Vishal Mishra, Sachet–Parampara, Akhil Sachdeva ()
  • Pritam ()
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