It was year 1975. The great maestro of music had then been left alone with his soul mate and junior moving to divine abode. Critics said Shankar music was not getting the means of Sailendra for a justifiable expression. The politics of music business had taken toll of his business viability and scope in the silver screen. There was no other popular medium to unleash his magic at that time. Disciples had distanced themselves with so called coterie establishing around Shankar. Orchestra man Sebastian was planning for a retirement and rhyme in-charge Dattaram was looking for new assignments outside to cope with his own financial needs.
The greatest music composer roared with his awe-inspiring score. The music album of Sanyasi was created. The history of film music was rewritten and direct rope between serene sexuality and whole-hearted devotion got re-established. A great confluence of glamour and spirituality took place.
The old disciple Lata returned to render SJ-magic with her pious voice. Hema Malini set to establish herself as the symbol of Indian sensuality for generations to come. Devotion had found a personalization in handsome Manoj Kumar. Maestro had chosen six lyricists to reduce the impact of Sailendra’s absence, oh, of course Hasrat was there though only for one. Shankar had chosen their favourite raga, Vairavi, to push the big orchestra to climax reaching divine altitude.
“Chal Sanyasi Mandir Mein” resolves the conundrum of many centuries if the musical effort of Menaka before Vishwamitra could be true. After all, the meditating sage can only listen to the seducing musical jhankar to shed brahmacharya. The quickly undulating musical octave helped Hema Malini to venture for the woman’s most sensuous arrogance in the song. The best in the chart! Please don’t refer to remix-version at http://www.youtube.com/watch?v=Or411l_j6tA however 
“Sun Baal Brahmachari” will be remembered as two best songs in the album along with the first one above. The female expression in musical score is vibrant and reverberates atmosphere with romantic and sensuous hue.
“Bali Umariya Bhajan Karoo Kaise” does not require any review as many songs in 90’s have earned big applause by copying its different portions. I like interludes – a true romantic satire expressed with musical notes.
“Jaisa Mera Roop Rangila” is the highly galvanizing song with a western effect. Very close to my ears — listen to this song once, it will be to yours too.
“Shaam E Furqat” is a good and usual Shankar treat but cast in the fresh musical domain of this album.
“Kya Maar Sakegi Maut Use” is a lovely song where Indeevar’s two-parts poem has got a high musical elevation. “Shankar” has been addressed in a different context in the song.
“Karm Kiye Ja” – Lyrics is very good and very well musically cast
“Choron Ka Maal” – Good song and context-driven. Nice to listen.
Shankar asserted his supremacy over music, melody, trend, and mass taste. This musical edifice will be a torchbearer for all music composers for times to come and a prize catch for all music lovers.
Recommendations:
1. Go to a hilltop on a mild sunny day early in the morning and play the record. You will surely feel the divine touch around your ears.
2. Keep Sanyasi music on your mobile: http://mobilesearch.rediff.com/ringtones/mobilesearch.php?query=Sanyasi+(1975)&searchtype=movie
April 21st, 2009 at 6:20 am
Great!!! Ashwiniji. Once again I relived Sanyasi music. Really a nice article. Kudos for your efforts.
June 8th, 2009 at 10:41 am
Superlative music from Shankar ji
October 25th, 2009 at 8:51 am
i still remember thedays of 1975 when the music of sanyasi released and the sensation it created.Three of its songs featured in top hits of the year
November 24th, 2009 at 12:48 am
Indeed the music was path breaking even for S-J. After a long gap, Shankarjee could get his famed orchestra and recreated the lost magic with the help of Dattaramjee and Sebastianjee. However it did not create the desired impact in terms of many new assignments. One observation is the voice of LATA was quite different being more melodious despite the usual S-J high pitch, compared to her other contemporary songs of other music directors. The THEKA was certainly foot tapping with the brilliant use of both Tabla and Dholak. I have noticed how the musicians enjoy themselves when they play Tabla and Dholak for any song of SANYASI at the stage shows. All the S-J fans were strongly desiring such wonderful musical score from SHANKARjee and he did not disappoint them. They were truly thrilled and delighted. regards, Sanjay Tikotekar, Andheri W, Mumbai.