

Excerpted with permission from Shailendra — A Love Lyric in Print: A Daughter Remembers by Amla Shailendra Mazumdar, published by Antara Infomedia Pvt Ltd in January 2024.
Hasrat Jaipuri, Jaikishan, Raj Kapoor, Shankar and Shailendra
Kaam naye nit geet banaana
geet bana ke jahaan ko sunaana
koi na mile to akale mein gaana
Kaviraj kahe, na ye taaj rahe.
Na ye raaj rahe, na ye raajgharaana
preet aur preet ka geet rahe,
kabhi loot saka na koi ye khazaana
Mera naam Raaju, gharana anaam
bahti hai ganga jahaan mera dhaam
काम नये नित गीत बनाना
गीत बना के जहां को सुनाना
कोई न मिले तो अकेले में गाना
कविराज कहे, न ये ताज रहे, न ये राज रहे, न ये राजघराना
प्रीत और प्रीत का गीत रहे, कभी लूट सका न कोई ये खजाना
मेरा नाम राजू घराना अनाम
बहती है गंगा जहाँ मेरा धाम
Ever since the era of Barsaat, Shankar-Jaikishan, Shailendra, and Hasrat formed an inseparable team, bound by an unwritten agreement and an unspoken dedication to collaborate harmoniously. Nevertheless, the four artists were under a monthly retainer agreement with Raj Kapoor, receiving a fixed sum of Rs 500 each, regardless of the number of songs they composed of penned. This was the agreed-upon monthly remuneration established when they initially joined the team in 1949, and remarkably, this contract remained unchanged until the very end. The silver lining in this setup was their liberty to engage in projects with other producers. Additionally, Shailendra and Hasrat had the freedom to collaborate with music directors of their choosing, even outside the RK banner. However, Shankar and Jaikishan consciously opted to collaborate with Shailendra and Hasrat for all their film projects, even though there were no contractual obligations binding them together.
There were two noteworthy exceptions to this pattern during Shailendra’s lifetime. The first occurred in 1960 when they worked on the film College Girl. It’s likely that the producer Mr. Rawal had an implicit understanding that Rajinder Krishen, as the creative force behind the story, screenplay, and dialogues, would naturally take on the role of the lyricist as well. There was no rift between Shankar-Jaikishan and Shailendra-Hasrat at the time, yet whatever the reason for this departure from the norm, the decision that Rajendra Krishen would write all lyrics had been made, leaving Baba deeply disheartened.
He then penned these lines and entrusted them to Shankar Jaikishan:
“छोटी सी ये दुनिया,
पहचाने रास्ते हैं,
कभी तो मिलोगे
तो पूछेंगे हाल”
Soon thereafter the four reconciled and made a solemn vow to never allow such an incident to repeat itself. In due course, Baba expanded the verse into a full-fledged song for the 1962 film Rangoli:
सीखा नहीं हमारे दिल ने प्यार में धीरज खोना
आग में जल के भी जो निखरे है वहीं सच्चा सोना
है वहीं सच्चा सोना
छोटी सी ये दुनिया पहवाने रास्ते है
तुम कहीं तो मिलोगे, कभी तो मिलोगे, तो पूछेंगे हाल
The only other film where Shankar and Jaikishan collaborated without Shailendra but alongside Hasrat Jaipuri was Arzoo. Shailendra had expressed his inability to contribute to Arzoo due to his pressing commitments — Teesri Kasam was in its final stage, and Baba immersed in that project, leaving no room for additional work. S-J understood and accepted the situation with no bitterness Baba rarely altered his lyrics to suit others’ lack of understanding. be it the producer, music director, or anyone involved in the creation or presentation of a song. Numerous such incidents have been recounted. the most iconic one being in the matter of these lyrics in Shree 420:
“राते दसों दिशाओं से,
कहेंगी अपनी कहानियाँ”
Nargis and Raj Kapoor in Shree 420
During the recording session, Baba faced questions about the accuracy of the ‘ten directions’ in his lyrics, even though conventionally there are only four. Recognizing the ignorance, he patiently clarified that his verses would remain unchanged and explained what these ten dishas (directions) were: North (Uttar), South (Dakshin), East (Purva), West (Paschim), North-east (Ishanya), South-east (Agneya), North-west (Wayavya), South-West (Nairutya). Zenith (just above the head while standing) of Swarga, and Nadir (just below the sole while standing) or Narak.
Jis Desh Mein Ganga Behti Hai was officially announced, and the music team swung into action. This film featured a total of 12 songs with Baba penning 11 of them, while Hasrat wrote just one. All the songs became massive hits, but three of them hold a unique tale.
Creating memorable music (From L to R) Sebastian, Shankar, Raj Kapoor and Shailendra
The recording of Mera naam Raaju was completed and as was customary the recorded audio was shared with the immediate family, Raj uncle’s mother, affectionately known as Chaya ji, too heard it. Raj uncle expected her to be delighted by the lyrics, but to his astonishment, she was infuriated. Baba was summoned to clarify why he had composed such offensive lines. The lines that had provoked her ire were
कविराज कहे, न ये ताज रहे
न ये राज रहे, न ये राजघराना
Chaya ji insisted on their removal and invited Baba to discuss it. Briefly he managed to clarify that the song’s target wasn’t Raj Kapoor or his Raj Gharana; instead, it alluded to the end of the monarchy in India. Chaya ji’s anger subsided, and the song remained intact, eventually becoming a massive hit.
मेरा नाम राजू घराना अनाम
बहती है गंगा जहाँ मेरा धाम
Mera naam Raaju gharana anaam (Jis Desh Mein Ganga Behti Hai, 1960) Shankar Jaikishan / Shailendra / Mukesh
The next song is one that Baba himself mentioned in one of his articles. He discusses a moment when he once had a sort of altercation with Raj Kapoor, and Baba told him:
हम भी है, तुम भी हो, दोनों है आमने सामने
Later on, Shailendra used these lines to compose the verbal confrontation between Raju, played by Raj Kapoor, and the dacoits in the film.
है आग हमारे सीने में
हम आग से खेलते आते हैं (डोस होएए)
टकराते है जो इस ताकत से
वो मिट्टी में मिल जाते हैं (होए होए)
(L-R) Pallavi Jaikishan, Shakuntala, Shailendra and Raj Kapoor
The words bring to mind my elder brother, Shailey, affectionately known as Buntoo at home. Baba consistently emphasized the importance of innate knowledge of rhythm and meter for one to excel as a poet or songwriter. Our dear Buntoo bhaiya, who was around ten or eleven years old at the time, demonstrated his exceptional understanding of meter.
One morning, during Shankar uncle’s visit, Baba requested Buntoo bhaiya to recite a poem. Buntoo, known for his playful nature, proposed singing the poem to the tune composed by Shankar uncle. With a smile, Baba approved, and Buntoo bhaiya began to sing
“जब बहुत सुबह चिड़ियाँ उठ कर
कुछ गीत खुशी के गाती है,
कलियाँ दरवाजे खोल खोल
जब दुनिया पर मुसकाती है
खुशबू की लहरें जब घर से
बाहर दौड़ लगती है
हे जग के सिरजनहार प्रभु
तब याद तुम्हारी आती है
to the tune of
होठों पे सच्चाई रहती है
जहां दिल में सफ़ाई रहती है
हम उस देश के वासी है
जिस देश में गंगा बहती है
Baba had personally witnessed the talent in his first-born child and was greatly content.
Jis Desh Mein Ganga Behti Hai poster
For those unfamiliar, Jis Desh Mein Ganga Behti Hai was a movie centred around the rehabilitation of infamous dacoits in the Chambal ghati region of Uttar Pradesh. The film achieved immense success nationwide. During those times, a film’s success was gauged by the number of weeks it played in cinema halls rather than the money it earned in the initial days, in contrast to the current trend. Movies that ran for 25 weeks marked a silver jubilee and were celebrated with a silver trophy and grand fanfare on awards’ night.
Jis Desh Mein Ganga Behti Hai celebrated its silver jubilee in various regions across India. The songs were tremendous hits, ruling the radio waves far and wide across the nation for weeks on end.
At the peak of the film’s popularity, our family headed to Jhansi as was customary during our winter vacation. One night at around 8 or 9 pm it was already so dark it felt like midnight. As we prepared for bed, a knock echoed at the back door. Since we weren’t expecting anyone, the elders, Baba included, grew cautious. Now, a spacious courtyard separated the back door from the main house. Typically, visitors didn’t use this entrance, so my uncle requested the unknown caller to come around to the front where a window would allow him to see the visitor before granting entry.
The visitor followed the instructions and proceeded to the front door, and what my uncle witnessed sent shivers down his spine. The man had covered his face and head with a black blanket, revealing only his eyes. This man was undoubtedly a daku (bandit). He communicated through the window that his sole desire was to meet his favourite writer, who he knew was visiting and present in the house. He had watched Jis Desh Mein Ganga Behti Hai and had an immense fondness for the songs, and he was determined not to leave without meeting the poet.
My uncle’s concern stemmed from the fear that if he didn’t grant entry, the Daku might resort to force and harm us all. Mummy was already teetering on the verge of hysteria but put on a brave face. Unfazed, a determined Baba insisted the loyal fan be admitted and welcomed into the Baithak, and asked mummy to prepare a hot cup of tea for the visitor.
Before long, Baba and the Daku struck up a conversation while we observed from the narrow gap in the door. Baba was impressed with the man. He was undoubtedly a Daku, alright, sporting a large, curled black moustache on both cheeks and a very fierce appearance.
Baba, however, saw the Daku’s heart of gold. It turned out that this Daku had a deep love for poetry and even dabbled in some writing. He recited a couple of his poems in front of Baba, who genuinely appreciated them. Their interaction lasted for over an hour.
When it was time for the Daku to leave, he knelt to touch Baba’s feet. Baba, with both his hands, gently lifted him, gave him a warm embrace, and bid him farewell.
Baba had the remarkable ability to see the goodness in all who entered his life. Regrettably, not everyone who came into Baba’s life shared the same level of goodness and honesty as this Daku.
(L to R) Pavan Jha, Swanand Kirkire, Puneet Sharma, Raj Shekhar, Prasoon Joshi, Amla Shailendra Mazumdar and Prithvi Haldea at the launch of Shailendra — A Love Lyric in Print, at India International Centre [pic : Amit Sharma / Pavan Jha on Facebook]
Shailendra — A Love Lyric in Print: A Daughter Remembers
Shailendra — A Love Lyric in Print: A Daughter Remembers
Author: Amla Shailendra Mazumdar
Publisher: Antara Infomedia Pvt Ltd
Pages: 296
Available on Amazon and Flipkart
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