Video of "jaan pehchaan ho" from Gumnaam film. Song is a SJ creation !!

This song was used in hollywood movie " the ghost World "

This is among the v few hindi film songs ,which were used in Hollywood movies !!

Shankar jaikishan and Satyam Shivam Sundram

by Sh Chandra Shekhar

I am not sure how far the thought of Madan Mohan for Sathyam Shivam Sundaram had crossed in the mind of Raj Kapoor. Many of you might know that this movie was conceived long before it was actually made. The film was inspired from a story told by Lata to Raj. At some point RK even had thought of making the film with Lata as the actress to portray the main role, believe it or not, but that was long before it was made. I am sure RK was well aware of quality music that came out of this combination of Lata and MM..



Now I want to make a general comment regarding what possibly ruled with RK regarding selection of music directors post MNJ.

Jaisinh pictures, they were the distributors for RK films from Barsat to MNJ. It was almost like RK's own distribution company--only it was not. This was a loose association, because all RK films completed during this period were never sold to the distributor. If the film was a success, the margin of profit was huge for RK films, in the same token, if it failed it incurred a huge loss.

After the failure of MNJ, there was a radical change with RK films. The association with Jaisinh pictures was gone. For the first time, the next film, Bobby, was sold to distributors. For example, Bobby was sold to Delhi and UP circuit for a sum of 45 lakhs to a distributing company part owner, of which was, in fact, Shashi Kapoor. It was sold to different areas at different prices. This being the customary practice of most producers to sell in this fashion. This was so much of a change for RK, but he realized the safety involved here. Very much so, after the commercial loss of MNJ. He could just not survive one more loss, it would probably have been the end of his filmmaking.

However, this change had a major STRING attached, distributors had a price tag on several factors like the stars and music directors in the film. In essence, they had a formula, the so-called "formula films". They bought the films based on this formula. Film with superstars with top billing got the highest amount of money and also current top MD's got the highest amount. Consequently, the majority of producers were at the mercy of the distributors who could easily dictate terms, because they were buying the films and, in doing so, were inheriting the risks that came with them. The producer was relieved of the risks as a result.

Post MNJ, RK was, to a large extent, dictated by these financiers and film distributors. He had understood the safety involved financially at that point. So his decision was strongly influenced from this point-of-view.

Going a little further back, there has been several comments about what a staggering amount SJ charged from Arzoo onwards. I have some comments on this:

The Hindi film industry went through a major transformation in the mid 60's and onwards. People involved, realized that they could make mega bucks with a successful film. Just to illustrate, with no intent to hurt anyone's feelings, a film like Leader with top star Dilip Kumar and Dil Diya Dard Liya both with music by Naushad made average money; whereas, several Rajendra Kumar films or other stars in films which had music by SJ brought in lot of money. The difference was huge in selling a film with SJ music to a non-SJ music. Producers were making so much money it was easy for SJ to realize this and ask for 5 lakhs, which truly was probably not much. The byproduct of this was it also weaned off quality, but non-selling MD's such as Naushad, Madan Mohan etc. from the mainstream
Then again this system that evolved out of SJ music had a backlash, the victim being S. Once J passed away, no matter how good S was, he lost the top billing. Here, in this context, even a small drop is a major or humongous drop. I would like to think that this translated to so many other top producers in switching from S to other MDs.

I think It was, as they say, purely a MATTER OF BUSINESS.

Welcome any criticism or comments. Apologize if needs correction, I have gathered this information at different times and different sources. Just tried to understand the mechanics of commercial aspects. Have tried to express in the interest of the forum, so it is subject to correction. What I think is authentic, most of which could be verified.

"We signed SJ for our film!"
Exploring the Producer-SJ-Competitor Relationship!
by Shahrukh

That is the subject and although a discussion is on
with a focus on the RK-SJ relationship, let us explore other
facets of this queer triangle of Indian popular cinema!
Fascinating, complex discussions are likely because this subject is such!
Let me initiate this discussion and we can touch on many an example as we go!

"We signed SJ for our film!"
was a HUGE statement in the 50s and 60s

To producers, it meant that their film was SOLD
& distributors would queue to buy it!
To audiences, a film with music by SJ meant ecstasy!
To heroes, it meant that their image and identity would be showcased
in inimitable style and with an unmatched elegance ... also the song
they would 'sing' on screen, would be on the nation's lips!

Take a case in point, Boot Polish!
A film which can almost be called non-commercial!

And the scene where Bhola shouts ...
"Arre Belu, woh dekho Raj Kapoor!"
Raj Kapoor is asleep by the window
with a cigarette on his lips, true Hollywood-Bogart style!
And the background music comes in ...
A harmonium plays out the 'Awara' Hoon tune with a pacy panache!

That was the SJ magic!

And Belu remarks ... "Arre aaj kal to sabhi Raj Kapoor ban ke ghoomte hain!"

This was a film sans Lata and was a RK production!
And was a huge commercial success too!
But what catapults that film into an all time great category?
The SJ magic!

Few other MDs or their creations had such a prowess or fate!

Most of Raj Kapoor's films & career!
Most of Shammi Kapoor's films & career!
Most of Rajendra 'Jubilee' Kumar's films & career!

All owe their success and image to SJ!
And these stars would insist on SJ!

Or the distributors would as Bharat Bhushan realized with
that other exception in the SJ ouvre - Basant Bahar!
These were also times when the stars would ASK for SJ to MAKE their career!

Manoj Kumar & Jeetendra owe their early career breakthroughs to SJ!
Later LP became their song smiths but could not catapult these stars
to the same dizzy heights!

And when this beautiful SJ story ran into turbulent waves a lot of things changed!
"We did not sign SJ for our film ... we signed so & so!"
became the line!

A Sanyasi Manoj Kumar preferred other MDs.
Jeetendra thought his Farz was to go with LP!
Even Shammi Kapoor found it Manoranjan to go with RDB!

Producers? They are in it for business alone!
And it is their business to take commercial decision!

Many dumped SJ without a thought or feeling ...
Some had pangs ...
Some did it after telling SJ ...
Some stuck on to SJ with a lot of hopes ...

Reminds me of that sublime SJ song which explores this sentiment ...

Preet Yeh Kaisi Bol Ri Duniya ...
Preet Yeh Kaisi Bol ... Ri Duniya ...
Bol Ri Duniya ...Bol!

Shahrukh

SEBASTIAN D’SOUZA

A MUSICAL LEGEND

Paying Tribute to a Music Genius on his Birth Centenary

by Dr Padmanabh K. Joshi

If you listen to a film song composed by maestros Shanker-Jaikishan, O. P. Nayyar or Salil Chowdhury, you also hear a tune being played along with the song in the background. This parallel tune is created with violin, cello, piano, Spanish guitar or an organ. This “parallel tune for a song” technique, known as a Counter-Melody, was introduced in SJ music a musician – a violinist from Goa – Mr. Sebastian D’Souza. Sebastian D’Souza was a pioneer in creating counter-melody in film songs. This technique became popular and from 1950 onwards Sebastian became a well-known and most wanted Music Arranger of many music directors of Hindi Film industry.

Sebastian was born on 29 January 1906 in Reis-Megos, Goa. He learnt to play the violin and piano in a local church school. While learning these instruments, he also learnt to write music notation. It was during this time that he listened to the famous symphonies of well-known composers of the western world, namely, Beethoven, Mozart, Schubert, Tchaikovsky, Haydon and Richard Wagner. Deeply interested in violin and piano, Sebastian continued his learning and went place to place like Allahabad, Mussorie and Delhi. At Delhi, in Hotel Astoria, he started his own band and people appreciated it. In 1942, he went to Lahore, and in Hotel Stiffels, he started his own band. This continued until 1947. After partition, he went to Bombay and started his career as a violinist in the film industry. He played for well-known music directors like Anil Biswas, Naushad, Vinod, Ghulam Haider, Husnalal-Bhagatram, S. D. Burman, Sajjad Hussain and Shanker-Jaikishan.

He started his career as a Music Arranger in 1948-49 with O. P. Nayyar when Nayyar recorded his first song “Preetam aan milo.....” sung by C. H. Atma and written by Mrs. Saroj Mohini Nayyar (O. P. Nayyar’s wife) . After three years, Nayyar signed his first film, Dalsukh Pancholi’s “Aasman”, as an independent music director. At that time he called Sebastian to work as his Arranger. Sebastian, thus, started his career as an arranger with O. P. Nayyar in 1952 which he continued till 1973. The last film for which he worked with O. P. Nayyar was ‘Pran Jaye Par Vachan Na Jaye’. Incidentally this was also the last film of singer Asha Bhosale with Nayyar. In 1952, Sebastian’s friend Sunny Castellino, who worked as an arranger for Shanker-Jaikishan, introduced Sebastian to the duo. So Sebastian started as Shanker-Jaikishan’s arranger from 1952 with Amiya Chakravarty’s Daag, and continued until 1975. Film Sanyasi was Sebastian’s last film with them. In film Daag as an arranger, Sebastian’s most successful innovative work was the creation of a memorable counter-melody for a song sung by both Talat Mehmood and Lata Mangeshker –‘Ai mere dil kahin aur chal.....’ According to Sebastian, in this song he used the accordion for creating counter-melody along with violin and mandolin. And the result was excellent. Sebastian used accordion for interlude music in a number of songs but its use as the main instrument for counter-melody was rare.

Using cellos and piano to support his counter-melodies of violin obbligato, he arranged a number of memorable songs. A few examples: Kya huva O muze kya huva (Jis Deshmen Ganga Bahti hai), Raat ke hum safar (An Evening in Paris), Aaja re aa jara aa (Love in Tokyo), Soja re soja & Bol re Kath Putli (Kathputli), Aaj kal men dhal gai (Beti Bete), Aaja aai bahar & Janevale Jara (Raj Kumar). These are a few examples of the songs in which one can experience the beauty of counter-melodies that Sebastian created with a unique combination of violins and cellos. Another of his specialties was using chorus with violin, cello & piano combinations. A few examples: Bol re Kath Putli (Kathputli), Aa ab Laut Chale (Jis Deshmen Ganga Bahti Hai), Dil ke Jharukhemen (Brahmachari) and the musical fountain sequence in film Around the World etc.


While working with Shanker-Jaikishan, the first challenge that he faced was that both Shanker and Jaikishan preferred Indian Classical Raag based tunes. And to create counter-melodies, interlude music as well as background music, he had to learn the basics of Indian classical music during his busiest recording schedules. Sebastian found this very interesting and it helped him very much during his career as an arranger. If you listen to songs of SJ like Koi Matvala aaya...(Love in Tokyo), all the songs of film Basant Bahar, all the songs from film Amrapali and many classical raag based songs in which he created counter-melodies and interlude music, his mastery over both classical music as well as western music is well experienced. Combination of sitar & violin, cellos almost became an expertise of Sebastian’s counter-melody and interlude music. The last film that Sebastian worked on for Shanker-Jaikishan was Sanyasi, it was a challenge to Sebastian as all the songs as well as the background music of the film was based on Raag Bhairavi. And he succeeded remarkably. It was a record that an Arranger like Sebastian worked continuously for Shanker-Jaikishan for 23 years without break. Sebastian enjoyed very much working with SJ as he recalled it was a great teamwork – Shanker, Jaikishan, Shailendra, Hasrat, Sebastian & Dattaram. He remembered that as Shanker was a great song composer, Jaikishan was a rare background music composer. Sebastian, along with Jaikishan, Dattaram and Raj Kapoor completed the background music of Mera Naam Joker in 5 days......

Shanker-Jaikishan being lovers of Indian Classical Music, composed a LP record titled Raga Jazz Style in which they presented 11 Raga in Jazz style. Sebastian arranged the music and wrote the notations.

Sebastian also worked for great music directors like Salil Chowdhury, Vasant Desai, S. D. Burman, Madan Mohan, Roshan, Dattaram and N. Datta.
Sebastian expressed his gratitude to well-known music maestros like Robert Correa, Mike Machado - the Pianists, Albuquerque, Verga, Simplicio D’Souza, John Gonsalves - the Cellists, V. Balsara, Goody Seervai – the Accordionists, Duorado, Narvekar, Karnard – the solo Violinists and David – the Mandolin player.

He also recalled few music arrangers of his time like Johny Gomes, Castellino, Chic Chocolate, Ram Singh, Rizbert and Franky. I asked Sebastian, how individual music directors could maintain their originality as well as identity even when he worked for them as their Arranger? He answered that he never interfered with their original tune.

Sebastian’s remarkable contribution was his ability to combine Western orchestra with the Indian. His are the songs which we remember even today due to the richness of his musical arrangements and the variations in his melodies.
Sebastian was a complete musician. His music lovers will remember his music for years to come.
---------------------------

SHANKAR JAIKISHAN TRIVIA FACTS

By A. Acharker

(member of SJ grp :http://groups.yahoo.com/group/shankarjaikishan)

Last weekend in San Jose (SJ), there was a Grand Prix car race in which celebrity Paul Newman (now 80!) participated. The intersting trivia was that the SJ Grand Prix was won by a person named Sebastian!!!
As I had mentioned before, I live in the city of "SJ" (San Jose) in California USA. My high school was SJ (St Joseph's) in Mumbai. SJ graced the Golden Jubilee of my school in 1967 and Sebastian was instrumental in the same.

This prompted me to think about some of the trivia facts about SJ. Each one of these facts could spawn a thread!

1) Asrani can be seen in the first row of chorus in the song, "Ab kahan jayen hum.." in'Ujala.' He also appears in the movie, "Hare Kaanch ki Chudiyan" but we always think of his debut as "Umang"

2) Subhash Ghai lip-synched on several songs partially in 'Umang' but also "sang" the Rafi song completely in the same film, "Baabul kaun ghadi.."

3) Jaya Bhaduri never had the opportunity to sing a song of SJ. However, Jaya acted on the Asli Naqli song "Tujhe jeevan ki dor se" in Guddi with Dharmendra.

4) Amitabh never had the opportunity to sing a song of SJ. BUt Shankar's favorite dummy words "Tandana Tandana.." became a mukhda of his (LP) song where he mimicked Mehmood."Tandana Tandana.." words were first heard in "MayurPankh" and later in "Gumnaam"

5) "Gumnaam" becomes the only film ever that had music influenced by a Hollywood film and that influenced a Hollywood film in return! The two films are "Charade" and "Ghost World" respectively.

6) "Gumnaam" had Mehmood singing "Bhai Battoor.." which later became a song in Padosan.Mehmood also sang "Lal ghoda.." in "Shatranj" which became a full-fledged song in "Kunwaara Baap"

7) "Ram Teri.." song "Sun Sayba.." is influenced by "I love you.." from "Sangam"

8) The tune for "Jaane kahan gaye woh din..." was first heard in background music of "Jis Desh mein..."

9) The Goan tune for "Na maagoo sona chandi.." was first heard in background music of "Awara." It was played just before the song "Dum bhar jo udhar moonh phere"

10) "Jaaon kahan bata ai dil" from "Chhoti Bahen" was influenced by the title music of "New Delhi"

11) "Mora nadaan balma" from "Ujala" was influenced by the title music of "Mayurpankh"

12) "Kisiki muskuraton pe" from "Anari" was influenced by the background music of "Shree 420"

13) "Sambhal ke karna.." tune from "Ek Phool Char Kaante" was used in the background of "Golmaal" by RDB very often. SDB also used a tune from the same movie in "Chupke Chupke"

14) Besides Rajendra Kishan who wrote lyrics for "College Girl," SJ also utilized the service of lyricist Deepak in "Boot Polish" when Shailendra was alive.

15) Though Shailendra was associated with Shanker, it was Hasrat Jaipuri who wrote the lyrics in Shanker's solo venture, "Street Singer" produced by Chandrashekhar. Hasrat Jaipuri also appears in the movie. Shanker did so under the pseudonym, Suraj. The other movie he composed music for, under this name was the Marathi, "Tee Mee Navhech."

16) Jaikishan appears in "Main Sundar Hoon" with Anand Bakshi, his only film with SJ.

17) Gulshan Bawra appears in two songs of SJ in "Beimaan" and "Jungle Mein Mangal." He did not write lyrics for these movies but wrote lyrics for other SJ films like "Chori Chori," (new) "Jaane Anjaane," and "Aan Baan."

18) Neeraj acted on the song "Paise ki Pehchan.." in the film "Pehchan" and also wrote the lyrics for the same.

19) Neeraj and Hasrat Jaipuri teamed together for SJ in the film "Dil Daulat Duniya" for a song. Later they also wrote all the lyrics for all songs of "Jungle mein Mangal." The results weren't great. I like the song "Tum Kitni khoobsoorat" They also wrote lyrics for Usha Khanna's "Paani mein jale mera gora badan.." in "Munimji" (1973).

20) "Kismat Ka Khel" had a Lata song with dummy words that sounded like "Echo Echo.." Years later, Shanker used similar words in a song in "Naari" which happened to be the only SJ song sung by Yesudas (with Amit Kumar), "Neeche zameen, upar gagan.."

21) Director Prayaag Raaj yelled "Yahoo.." in the "Junglee" song whereas Shanker was responsible for "Ayaya Sukoo Sukoo.." Prayag Raaj later acted in "Bombay Talkie and also directed "Insaniyat" starring Shashi Kapoor and Madhu.

22) Dattaram lip-synched for the song, "Tum mere pyar ki.." from "Bombay Talkie" acting as a playback singer.

23) SJ were responsible for Usha Iyer's first film songs in "Bombay Talkie" and this was about two years before her success in "Hare Rama Hare Krishna."

24) Ustad Ali Akbar Khan played the sarod in "Suno Chhotisi Gudiya ki.." Pannalal Ghosh played the flute in "Main piya teri.."Hazara Singh played the electric guitar in "Tera teer.."Manohari played the saxophone in "bedardi Balma.."

25) Bappi Lahiri's father Aparesh Lahiri sang an SJ song in "Badshah" (I have not heard this one.)

26) Famous classical singer Bhimsen Joshi sang a jugalbandi in "Basant Bahar" with Manna Dey.

27) Anuradha Paudwal, Alka Yagnik, Chandrani Mukerjee, Sharda, Dilraj Kaur all sang "Ari o sakhi.." for SJ together in "Kaanch ki Deewar." Lead Stars Sanjeev Kumar, Smita Patil and Shanker all died within months after the release of the movie.

28) "Gaya Bachpan.." from "Ankhon Ankhon Mein" was the last song recorded by Jaikishan.

29) The movie "Preetam" has title music that is the same as that of "Mere Sanam" of OP Nayyar. The movie was released just a few months after Jaikishan died. Does anyone have an idea why? The producer of the movie was Bhappi Sonie.

30) The first SJ movie without a Lata song was "Boot Polish." It was also the only movie of SJ with RK without a Mukesh song!

31) Aarti Mukerjee sang a song for SJ in "Boy Friend" in 1960 and the next SJ song that she sang was in 1974 for "Neelma."

32) Joy Mukerjee had SJ music only in two movies: "Love in Tokyo" & "Love in Bombay"

33) The first RK Films movie to win a Filmfare Award was 'Mera Naam Joker," the last SJ movie of SJ with Raj Kapoor was the hero!

34) Omprakash, the actor, directed the Raj Kapoor starrer "Kanhaiyya" produced by his brother, Pachhi. Pachhi also produced "Around the World" and "International Crook" in which Omprakash got to sing songs on screen!

35) SJ had the privilege of composing music for the only complete original color film starring Madhubala, "Jwala."

36) The first color film for which SJ composed music was "MayurPankh" starring Kishore Sahu.

37) SJ composed music for several films shot on foreign locations and provided music to suit the mood: Sangam, Pyar Mohabat, Naina, Dharti, An Evening in Paris, Love in Tokyo, International Crook, Singapore, Around the World, Saazish.. International Crook was shot in Alaska.

38) SJ composed music for the first 70mm film in India: "Around the World."

39) "Dream Girl is coming" was what the posters said when "Sapnon Ka Saudagar" was about to release. SJ were amongst those who chose her for the role.

40) The last SJ film to have multiple songs played on Binaca Geetmala was "Sanyasi."

41) "Krishna Krishna" is the only mythological film for which SJ composed music.

42) Shammi Kapoor heads the list of SJ leading men. Rajendra Kumar comes a distant second. Vyjayanthimala heads the list of SJ leading women.

43) The only Dev Anand song sung by Kishore Kumar for SJ was "Dooriyan Nazdikiyan" in "Duniya."

44) "Zindagi Ek Safar hai suhana.." from "Andaz" has three voice versions: Kishore Kumar, Asha Bhonsale and Mohd Rafi.

45) Hemant Kumar's daughter Rano Mukerjee sang a few songs for SJ in the mid seventies in "Saazish," "Resham Ki Dori," and "International Crook." The song that she sang for
"International Crook" was not used in that film but instead found its way in the film, "Eent ka Jawab Patthar." The song was "Poochha jo pyar kya hai.." with Kishore Kumar.

46) The film "Dur Nahin Manzil" was first assigned to Roshan who died. Later SJ were signed for the same and Jaikishan died during its making. Suman Kalyanpur had sung the title song for Roshan. She also sang for SJ in the film: "Bezuban dil shor na.." The heroine was originally Nutan. She had acted in producer Hari Valia's earlier venture, "Laatsaab" but due to a misunderstanding with Sanjeev Kumar, she stepped out and was replaced by Bindu's sister (and Laxmikant's sister-in-law) Reshma.

47) Mohd Rafi sang two non-film English songs for SJ. They were uploaded on the site earlier.

48) SJ's first HMV LP Album had a picture of them with their two 1959 White Impala cars with fins and also their Filmfare awards.

49) HMV had released a Lata LP in which all songs were composed by SJ. The songs included: "Bol ri Kathputli.." "Mohabat ki Daastan.." "Jeevan ke do rahe pe khade.."

50) Anuradha Paudwal did a cover version of Lata songs for SJ for T-Series. Later, HMV released a cassette with almost the same original songs.

51) Almost all SJ films were from HMV. SJ's first movie album to be released for Polydor (now Music India) was "Love in Bombay." "Archana" was also on Polydor. "Chorni" was with INRECO.

52) There is a chowk (street junction) called "Shanker Jaikishan Chowk" close to Eros Theatre in Mumbai.

53) Some of the lead dual roles in SJ films:Shararat Kishore Kumar An Evening in Paris Sharmila TagoreBhai Bhai Sunil DuttChhote Sarkar Shammi KapoorMahfil SadhanaAtmaram Shatrughan SinhaYakeen DharmendraGaram Khoon Vinod Khanna

54)Some non Hindi words in SJ songs:Kali Ghata: Il ya Belle...Shree 420: Rammaiyya vastavayya...Singapore: Rasa Sayang re...Junglee: Yahoo!...Sangam: I love you...Love in Tokyo: Sayonara...Pyar Mohabat: Hooray Hooray.. Aman: Puru sato Japan..Shatranj: Badkamma Ikkad po tora..Garam Khoon: Penelope...Eent Ka jawab Patthar: Comment allez vous...

55) SJ may have the highest mukhdas of their songs later converted to movie titles:"Lal Dupatta malmal ka""Raja ki aayegi baraat""Tumse achha kaun hai""Kashmir ki Kali""Aa gale lag jaa""Aan Milo Sajna""Tumko na bhool payenge""Kuch kuch hota hai""Nain mile chain kahan""Aaja Sanam""Aa ab laut chale""Phir bhi dil hai Hindustani""Main Ashiq hoon baharon ka""Mujhe meri biwisi bachao""Kaun hai jo sapnon mein aaya""Bol Radha Bol""Buddha Mil Gaya""Dil ke Jharonke mein""Gustakhi Maaf"

56) Lata Mangeshkar and Jaikishan were both born in 1929. Shanker was elder.

57) Manmohan, Deven Verma, Satish Wagle were Jaikishan's very close friends and they met regularly at Gaylord's near Churchgate, Mumbai. Manmohan can be seen in key roles in Satish Wagle's "Pyar Hi Pyar" and "Yaar Mera."

58) SJ utilized Rafi and Mukesh for all three Kapoor brothers:Raj Kapoor had a Rafi song in "Ek Dil Sau Afsane" & "Mera Naam Joker" Shammi Kapoor had a Mukesh song in "Ujala" and "Singapore" Mukesh sang one song for Shashi Kapoor in "Insaniyat"

59) SJ had Mahendra Kapoor playback for Dev Anand in "Roop Ki Rani CHoron Ka Raja" (Yes, I have the video of the movie. It's a fact!)

60) Sushama Shreshta was introduced by SJ in "Andaz" and also sang in "Seema" She later sang as Poornima. Ramesh Sippy and Salim-Javed of "Sholay" fame also started with "Andaz."

61) SJ were signed for the following movies originally: "Bobby," "Seeta Aur Geeta"I remember clearly having seen ads to that effect in Screen. Unfortunately, I did not save those issues.

62) Guru Dutt had one only movie as a lead actor with SJ: "Sanjh aur Savera" But his younger brother had a close relationship with SJ: Shikar, Chanda aur Bijli, Umang, Yaar Mera and Resham Ki Dori.

63) Besides Dattaram and Sebastian, SJ also had other assistants like Sonny Castellino (Awara), Dheeraj (Sanyasi), Enoch Daniels (Kaanch Ki Deewar, Gori, Krishna Krishna)

64) SJ composed background music for a documentary at the peak of their career in 1967. The docmentary was "Everest" and narrated the expedition by Nawang Gombu's team. Incidentally, this team included my cousin's husband, Dr Telang as a team doctor.

65) Shatrughan Sinha sang "Mera Joota hai japani" at a function in 1972 under Shanker'ssupervision.

67) Sudha Malhotra sang the "Chori Chori" duets with Manna Dey during the 1957 function for 1956 FF awards.

68) Shanker composed Indian classical tunes for AIR Delhi in the late seventies.

69) Shanker liked Hitchcock film music. I will post an article on that.