Shankar later recollected that they developed a liking for each other and it was he who then and there assured Jaikishan of the job of a harmonium player at Prithvi Theatre (without asking Prithviraj Kapoor, fondly referred to as 'Papaji').

[6] The film proved to be an All Time Blockbuster at the box office and its soundtrack album a major success which not only established Shankar-Jaikishan, but also made Lata Mangeshkar the leading playback singer of Bollywood as songs sung by her, such as "Hawa Mein Udta Jaye, "Jiya Beqarar Hai", "Barsaat Mein Humse Mile" proved to be superhits.

[7][8] Shankar-Jaikishan began the new decade with another Raj Kapoor film Awaara (1951), which again proved to be a huge commercial success and its soundtrack the best-selling Hindi film album of the 1950s with a number of chartbuster songs, including "Hum Tujhse Mohabbat Kar Ke", "Ghar Aaya Mera Pardesi" and "Awaara Hoon", which made Mukesh the playback voice for Kapoor and one of the leading playback singers of his time along with Mohammed Rafi.

[9] From 1952 to 1954, they composed for films like Daag (1952), Patita (1953), Aah (1953) and Boot Polish (1954), all of which memorable numbers, such as "Ae Mere Dil Kahin Aur Chal" (Daag), “Yaad Kiya Dil Ne” (Patita), "Raja Ki Aayegi Baaraat" (Aah) and "Nanhe Munne Bachche Teri Mutthi Mein Kya Hai" (Boot Polish).

[11] Songs from both the films "Mera Joota Hai Japani", "Pyar Hua Iqrar Hua", "Ichak Dana Beechak Dana", "Mud Mud Ke Na Dekh" in the former and "Tu Pyar Ka Sagar Hai", "Kahaan Jaa Raha Hain", "Ye Duniya Gam Ka Mela Hai" in the latter proved to highly popular among the masses and played a major role in box office success of both the films.

[13] The film was received well by critics as well as audience and its success was attributed to melodious songs by the duo many of which topped the year-end annual list of Binaca Geetmala, such as "Panchhi Banoon, Udti Phiroon", a solo by Mangeshkar, "Aaja Sanam Madhur Chandni Mein Hum Tum Mile" and "Yeh Raat Bheegi Bheegi", both duets by Mangeshkar and Manna Dey.

[16] Shankar-Jaikishan began the 1960s with films, such as Dil Apna Aur Preet Parai and Jis Desh Mein Ganga Behti Hai, both of which had again maximum songs written by Shailendra.

[17] From 1961 to 1963, they delivered a string of superhit songs like "Teri Pyari Pyari Soorat Ko" and "Ek Sawal Main Karoon" (Sasural), "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" and "Tujhe Jeevan Ki Dor Se" (Asli-Naqli), "Main Chali Main Chali" and "Aawaz Deke Humein Tum Bulao" (Professor), "Allah Jaane Kya Hoga Aage" and "Dil Mera Chup Chap Jala" (Hariyali Aur Rasta), "Mujhe Kitna Pyar Hai Tumse" and "Dil Tera Deewana Hai Sanam" (Dil Tera Deewana), "Ruk Ja Raat" and "Yaad Na Jaye Beete Dinon Ki" (Dil Ek Mandir).

[18][8] The soundtrack of Junglee proved to be one of the best-selling Hindi film albums of the 1960s and for their work in the romantic comedy Professor, Shankar-Jaikishan received their fourth Filmfare Award for Best Music Director.

[19][20] Shankar-Jaikishan hit their peak in the mid-1960s with Ayee Milan Ki Bela (1964), Rajkumar (1964), April Fool (1964), Zindagi (1964), Sangam (1964), Arzoo (1965), Gumnaam (1965), Jaanwar (1965), Love In Tokyo (1966) and Suraj (1966).

Most of the songs from these films - "Mere Man Ki Ganga Aur Tere Man Ki Jamuna Ka", Yeh Mera Prem Patra Padhkar", Tumhe Aur Kya Du Mai Dil Ke Sivaye", "Tum Kamsin Ho Nadan Ho", "Hum Pyar Ka Sauda", "Pehle Mile The Sapnon Mein", "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 In Tokyo", "Baharon Phool Barsao" and "Titli Udi Ud Jo Chali", topped the year-end annual list of Binaca Geetmala and for Suraj, Shankar-Jaikishan won their fifth Filmfare Award for Best Music Director.

[23] Towards the end of the 1960s, many of the films they composed music for flopped at the box office, with the notable exceptions being An Evening in Paris (1967), Shikar (1968), Brahmachari (1968), Kanyadaan (1968) and Prince (1969), which had memorable songs, such as "Aasman Se Aaya Farishta" and "Raat Ke Humsafar Thakke Ghar Ko Chale" (An Evening in Paris), "Jabse Lagi Tose Najariya, Nas Nas Mein Daude Hai" and "Parde Mein Rahne Do" (Shikar), "Dil Ke Jharokhe Mein" and "Aajkal Tere Mere Pyar Ke Charche" (Brahmachari), "Likhe Jo Khat Tujhe" and "Meri Zindagi Mein Aate" (Kanyadaan), "Badan Pe Sitare Lapete" and "Madhosh Hawa Matwali Fiza" (Prince).

[24] Their other hits songs from this period, include "Dooriyan Nazdikiyan Ban Gayi" and "Falsafa Pyar Ka Tum Kya Jano" (Duniya), "Kaun Hai Jo Sapnon Mein Aaya" and "Unse Mili Nazar Ke Mere Hosh Ud Gaye" (Jhuk Gaya Aasman), "Dekha Hai Teri Aankhon Mein" and "Main Kahin Kavi Na Ban Jaoon" (Pyar Hi Pyar).

[17][26] In 1970, their notable compositions, included Mera Naam Joker, Dharti, Pagla Kahin Ka and Pehchan, none of which did well commercially, but their soundtracks received acclaim and for Pehchan and Mera Naam Joker, Shankar-Jaikishan received their seventh and eighth Filmfare Award for Best Music Director, respectively.

[17] In 1971, they composed music for Ramesh Sippy's romantic drama Andaz, which had Shammi Kapoor, Hema Malini, Rajesh Khanna and Simi Garewal in the lead roles.

[27] Upon release, Andaz emerged a superhit with its song, "Zindagi Ek Safar Hai Suhana", a solo by Kishore Kumar topping the year-end annual list of Binaca Geetmala.

[17] However, this success was short-lived as rest of the films he delivered music for in latter half of the 1970s and the 1980s, such as Dhoop Chhaon (1977), Duniyadari (1977), Atmaram (1979), Garam Khoon (1980) and Papi Pet Ka Sawal Hai (1984), all sank without a trace.

Songs like "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.

In this album, considered to be one of the most innovative, SJ created 11 songs based on Indian Ragas with saxophone, trumpet, sitar (by Rais Khan), tabla, bass etc.

At about the same time, Shankar gave a break to singer Sharda and started promoting her as the new singing sensation in preference over Lata Mangeshkar.

[1] Since Shankar continued to support Sharda (post Sangam era) and even ghost-composed music for her film and non-film albums, it is said that Lata Mangeshkar became angry with him and discontinued singing for him.

[41] Other examples are - "Ghar Aaya Mera Pardesi" from Awaara (1951) which was copied from Ala Baladi El Mahboub by Umm Kulthum, "Ajeeb Dastan Hai Yeh" from Dil Apna Aur Preet Parai (1960) is based on "My Lips Are Sealed" by Jim Reeves, "April Fool Banaya, To Unko Gussa Aaya" from April Fool (1964) had similarities to "Take Me Back To Cairo", sung by Karim Shukry and the song "Gumnaam Hai Koi" from Gumnaam (1965) is a copy of "Charade" by Henry Mancini.