Shalimar 1978 Songs Pk

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From personal collection of photos taken with a personal camera, a candid backstage photo of Howard Hewett, Jody Watley and Jeffrey Daniel in 1983.
Background information
OriginLos Angeles, California, United States
Years active1977–1991
LabelsSoul Train
MembersHoward Hewett
Jeffrey Daniel
Carolyn Griffey
Past membersJody Watley
Gary Mumford
Gerald Brown
Delisa Davis
Micki Free
Sydney Justin

Shalamar (/ˈʃæləmɑːr/) is a Grammy winning American R&B and soul music vocal group active since the late 1970s and throughout the 1980s. Shalamar's classic line-up on the SOLAR label-consisted of Howard Hewett, Jody Watley, and Jeffrey Daniel. It was originally a disco-driven vehicle created by Soul Train booking agent Dick Griffey and show creator and producerDon Cornelius.[1][2] They went on to be an influential dancetrio, masterminded by Cornelius.[3] As noted in the British Hit Singles & Albums, they were regarded as fashion icons and trendsetters, and helped to introduce 'body-popping' to the United Kingdom.[3] Their collective name, 'Shalamar', was picked by Griffey.[4]


The first hit credited to Shalamar was 'Uptown Festival' (1977), which was recorded at Ike & Tina Turner's studio Bolic Sound in 1976.[5] It was released on Soul Train Records. Its success inspired Griffey and Don Cornelius to replace session singers with popular Soul Train dancers Jody Watley and Jeffrey Daniel, to join original Shalamar lead singer Gary Mumford. Gerald Brown took over the spot vacated by Mumford for the group's second album, Disco Gardens (1978), which featured the hit 'Take That to the Bank'. After conflicts over lack of payment from Griffey and SOLAR (short for Sound of Los Angeles Records), Brown left the group.[6]Howard Hewett replaced Brown in 1979.[2] The group was joined up with producerLeon Sylvers III in 1979, signed with SOLAR, and scored a US million seller with 'The Second Time Around' (1979). The classic line up of Hewett, Watley and Daniel would be the most successful.

In the UK, the group had a string of hits with songs such as 'Take That to the Bank' (1978), 'I Owe You One' (1980), and songs from the Friends (1982) album: 'I Can Make You Feel Good' (1982), 'A Night to Remember', 'There It Is', and the title track 'Friends'.[1] The album, which crossed the genres of pop, disco, and soul, was also a big seller in the UK in 1982.[7] The band's record sales in the UK increased when Daniel demonstrated his body-poppingdancing skills on BBC Television's music programme, Top of the Pops, which had premiered the Moonwalk on television for the first time. Michael Jackson was a fan of Shalamar, in particular, Daniel and his dance moves, after watching him on Soul Train.[citation needed] Jackson and Daniel met afterward, and Jackson took his then 12-year-old sister Janet to see Shalamar perform at Disneyland. Daniel and Jackson co-choreographed Jackson's 'Bad' and 'Smooth Criminal' videos from the album Bad (1987).[8]

The 'classic' lineup of Shalamar (Hewett, Watley, and Daniel) scored a total of five Gold albums in the US with Big Fun (1979), Three for Love (1980) - which eventually went Platinum - Friends (1982) which also went Platinum, The Look (1983), and Heartbreak (1984).[1] The group took a knock when Watley and Daniel separately left the band over conflicts within the group, and other issues with Dick Griffey and SOLAR.[9] Adding to Watley's impetus to depart was her increasing frustration with Griffey and SOLAR, shortly after the release of their next album, The Look (1983).[1][2] Nonetheless, the album yielded a number of UK hit singles, including 'Disappearing Act', the Grammy nominated 'Dead Giveaway', and 'Over and Over'. The album itself moved Shalamar into a more new wave/synthpop direction, with rock guitars to the fore. But The Look generally was not the success that Friends had been the previous year.

With a mid 1980s line-up change, adding Micki Free and Delisa Davis, Shalamar returned to the US Top 20 in 1984 with 'Dancing in the Sheets' (1984) from the Footloosesoundtrack. The song peaked at #17, and the group won a Grammy for Don't Get Stopped In Beverly Hills from Beverly Hills Copsoundtrack (1984) in 1984.[1][2]

In 1985, Kool & the Gang, Midnight Star, Shalamar and Klymaxx performed at the Marriott Convention Center in Oklahoma City.[10] That year Hewett departed to begin his successful solo career, and was replaced by Sydney Justin. Following Hewett's departure, the band began to lose popularity;[1][2]Circumstantial Evidence (1987) did not sell well, and the band broke up shortly after Wake Up (1990) was released.[2]


In 1996, Watley rejoined with Hewett and Daniel, plus LL Cool J, on Babyface's million-selling single 'This Is for the Lover in You'; a cover of a hit single from Shalamar's platinum album Three for Love (1980).[1][11] A music video was shot in which the three former members of Shalamar were digitally reunited on screen.[12] Hewett, Watley, and Daniel subsequently joined Babyface and LL Cool J to perform the song on the UK's Top of the Pops in 1996. They are credited on this single release under their individual names; however, it marked the classic trio's first and only live performance together since 1983.[13]

In 1999, Howard Hewett and Jeffrey Daniel reformed Shalamar and played in Japan. This was followed by UK tours in 2000, 2001, and 2003. From 2003, Shalamar continued touring with the line up of Howard Hewett, Jeffrey Daniel, and Carolyn Griffey. In 2005, this lineup appeared on the UK television series, Hit Me, Baby, One More Time, with original members Daniel and Hewett, and with Carolyn Griffey (a long-time friend and fan of the original band's, and daughter of Dick Griffey). Carolyn's mother is Carrie Lucas, for whom Watley sang backing vocals. Shalamar reached the grand finale of Hit Me, Baby, One More Time in May 2005, ultimately losing out to Shakin' Stevens. This was followed by annual concert tours in the UK, Cannes, USA, Nigeria, and Japan.


Shalamar was featured in an episode of TV One's series Unsung, in which Watley, Daniel, and Hewett shared their stories about the group's creation, the lack of payments and royalties from SOLAR, success, egos, and the breakup of the classic lineup. Dick Griffey, Micki Free, Delisa Davis, and Sydney Justin were also interviewed for the episode. In October 2009, the reconstituted Shalamar of Hewett, Daniel, and Griffey, performed as a part of 'The Ultimate Boogie Nights Disco Concert Series', at IndigO2, within O2 Arena Entertainment Avenue in London.[14][15] This prompted their return to the UK in April 2010 for a tour. Shalamar returned to IndigO2 in October 2011, December 2012, December 2013 and December 2014.[16] Shalamar performed a series of eight UK tour dates in April 2015 and another tour of four UK dates in July 2015.[17][18]

As of July 2018 the European Intellectual Property Office certified ownership of the Shalamar Trade mark back to the ownership of the Griffey family. Carrie Lucas and Carolyn Griffey, wife and daughter of Shalamar creator Dick Griffey, officially own all licensing across the 28 countries of Europe.[citation needed]


  • Jeffrey Daniel - vocals, guitar (1977-1983, 1996-1997, 1999–current)
  • Jody Watley - vocals (1977-1983, 1996-1997)
  • Gary Mumford - vocals (1977-1978)
  • Gerald Brown - vocals (1978-1979)
  • Howard Hewett - vocals, piano, guitar (1979-1985, 1996-1997, 1999-current)
  • Delisa Davis - vocals, keyboards (1983-1991)
  • Micki Free - vocals, guitar (1983-1991)
  • Sydney Justin - vocals, keyboards (1985-1991)
  • Carolyn Griffey - vocals (2001-current)


Studio albums
  • Uptown Festival (1977)
  • Disco Gardens (1978)
  • Big Fun (1979)
  • Three for Love (1980)
  • Go for It (1981)
  • Friends (1982)
  • The Look (1983)
  • Heartbreak (1984)
  • Circumstantial Evidence (1987)
  • Wake Up (1990)

See also[edit]


  1. ^ abcdefgRoberts, David (1998). Guinness Rockopedia (1st ed.). London: Guinness Publishing Ltd. p. 385. ISBN0-85112-072-5.
  2. ^ abcdef'Biography by Ron Wynn'. Retrieved 20 Oct 2011.
  3. ^ abRoberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. p. 493. ISBN1-904994-10-5.
  4. ^Warner, Jay (2006). American Singing Groups: From 1940 to Today - Jay Warner - Google Boeken. ISBN9780634099786. Retrieved 2012-12-11.
  5. ^'Ian Dewhirst'. Red Bull Music Academy. Retrieved 2020-07-12.
  6. ^'Unsung Shalamar Unfiltered Part 8 Gerald Brown 'Take That To The Bank' Conclusion'. YouTube. 2010-12-30. Retrieved 2012-12-11.
  7. ^'SHALAMAR full Official Chart History Official Charts Company'. Retrieved 2020-04-12.
  8. ^'Jeffrey Daniel'. IMDb. Retrieved 2020-04-12.
  9. ^''. 2014-03-07. Retrieved 2014-07-03.[dead link]
  10. ^Box Score Top Grossing Concerts. Billboard. Nielsen Business Media, Inc. 1 June 1985. pp. 48–. ISSN0006-2510.
  11. ^Roberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. p. 37. ISBN1-904994-10-5.
  12. ^'Babyface - This Is For The Lover In You'. YouTube. 2009-11-24. Retrieved 2012-12-11.
  13. ^'Unsung Shalamar Part 7 'Reunions And More' Jody Watley Unfiltered'. YouTube. 2010-11-17. Retrieved 2012-12-11.
  14. ^'Shalamar – A shadow of their former selves?'. Archived from the original on 2009-11-22.
  15. ^'Upcoming Events'. Archived from the original on 2011-07-06.
  16. ^'Zoeken - Getty Images NL: GBR: Shalamar Perform At Indigo2 At The O2 Arena In London'. 2011-10-29. Retrieved 2012-12-11.
  17. ^'Shalamar'. 2020-02-19. Retrieved 2020-03-14.
  18. ^[1]

External links[edit]

Retrieved from ''

Sometime in the midst of the swinging sixties, the great Naushad Ali realised the urgent need to re-invent himself. The astute music director, famed for his classical scores, knew what he needed to do: hire a new arranger, someone who could give a more contemporary feel to his melodies. Luckily for him, he didn’t have to look too far.

The young man Naushad turned to was a Parsi named Kersi Lord. Naushad had first noticed Kersi when, as a child, the latter would accompany his father Cawas Lord – an ex-jazz drummer who became one of the most respected percussionists in the film line – to the recording studios. After recordings, Naushad would often send the boy in his car to the nearest railway station so that he could reach school on time. Even 50 years later, Kersi would recall this gesture with fondness – as also the name of the driver, the car’s make and number!

Kersi literally grew up in the studios. Among his mentors was the legendary arranger Anthony Gonsalves, a tough taskmaster. “I have often cried on his sets. He would write difficult parts and if you could not play, he would sarcastically say, ‘Can’t play, huh? Don’t practice, go and watch movies!’ That forced me to practice, na.”

All those hours of practice stood him in good stead. Kersi started off as a percussionist, playing a whole range of smaller Latin percussion instruments (many of them introduced by his father). Gradually, he started playing bongos and congas in recordings, and later a series of mallet instruments – the vibraphone, the xylophone and the glockenspiel. (The glock is used to great effect in the famous lighter tune that occurs as an aural leitmotif in Hum Dono). And if it wasn’t enough that he played a series of percussion instruments with a certain level of dexterity, he was an ace accordionist to boot.

But it was one thing to be a first-rate instrumentalist. Could he also be a capable arranger to the formidable Naushad Ali? In an attempt to first assess the competence of the untested young man, he surprised Kersi by casually asking him to do the background score for a scene in Ram Aur Shyam (1967). The result seems to have pleased Naushad because Kersi was promptly hired to do his next film. Saathi (1968) stands out musically as a radical departure from Naushad’s earlier (substantial) oeuvre. In the film’s most famous song (see playlist below), Kersi channels his fondness for Carnatic percussion, especially the work of the great mridangam player Palghat Mani Iyer, to elevate what is essentially a very simple central melody.

Kersi’s career as an arranger, however, was short-lived. He had always asked for a separate credit line, something not always forthcoming. (Arrangers were conventionally credited as Music Assistants and their names clubbed with assistants from other departments). And when he did not get credited for arranging the background score for Kamal Amrohi’s epic Pakeezah (1972), he decided to work only as an instrumentalist. But not before giving us at least two more great tracks. The bluesy Tum Jo Mil Gaye Ho is a classic and no case needs to be made for it. Not as well known is the scorching instrumental theme from Feroz Khan’s Dharmatma (1974). The track, which has been sampled a few times, is credited to composers Kalyanji-Anandji, but it was in fact composed, arranged and conducted by Kersi Lord.

While Kersi worked with almost every composer of any significance from the late ‘40s to the ‘90s, it was his work as an instrumentalist with RD Burman that has been often highlighted. Kersi was a critical cog in the Burman hit machine, someone who could be always called upon to go the extra mile to get the right sound. It was also Burman who got Kersi to make a comeback as an arranger for the background score of Shalimar (1978). Krishna Shah, the producer-director of the film, which boasted of international stars like Rex Harrison and John Saxon, was delighted with the eventual result and considered it at par with any international score.

In March 1968, Columbia Masterworks Records released an album titled Switched-On Bach by Walter Carlos (who later underwent a gender reassignment surgery to become Wendy Carlos). The album became a bestseller and played a massive role around the world in popularising “electronically rendered music in general, and the Moog synthesizer in particular.” Kersi Lord was one of those who was bowled over by the sounds of the Moog synthesizer. And when a more portable version of the instrument came out a few years later, he got himself one. While electronic keyboards of some sort had been in sporadic use since the early fifties in Hindi film music, the late seventies saw a quantum shift in their use. And Kersi was at the vanguard of this.

Shalimar 1978 Songs Pk Subban

By the 1990s, the synthesizers had begun to replace the orchestra. He was often asked if he held himself responsible for what happened. His answer: “When I started using programming, it was only to improve the sound, to augment it. I never thought it could replace real instruments.”

Kersi Lord retired in 2000, still very much at the top of his game. In 2005, he was approached by filmmaker Chris Smith and composers Didier Laplae and Joe Wong to arrange the background music for an independent American production. The Pool – shot in Goa and featuring a brilliant performance by Nana Patekar – went on to win an Audience Award at the Sundance film festival. Its beautiful but understated music was recorded with live musicians playing under Kersi’s baton one last time at Mumbai’s last analogue studio.


Fifty two years. Upward of 5,000 songs. A staggering number of background scores. Unsurprisingly, Kersi would find himself inundated with queries about the making of some song or the other. Sometimes, in exasperation, he would claim to have “a delete button” in his head. “I would play something and then forget it. Otherwise you cannot do anything new. You cannot progress.”

The “delete button” was a survival tool in more ways than one. For someone who tasted heady professional success, he had also withstood a series of crushing personal blows. His first wife died only months into their marriage, after a seemingly harmless appendectomy went terribly wrong. A few years later, he lost his mother in a horrible road accident. And then, in 1990, his second wife Rose passed away, leaving Kersi in charge of three young daughters.

But that part of him always remained well hidden. What the world saw was an argumentative but genial old Parsi, sharing bawdy SMS jokes and guffawing at every opportunity. The only time he came close to breaking down was when he received a Lifetime Achievement Award at a major music award function in 2009. As he walked on to the stage, everyone in the audience stood up to clap. For someone who had spent his entire life in the background, this was probably the ultimate validation of his work.

Talking about delete buttons, one should not forget that with the passing away of Kersi Lord we have, in one fall swoop, lost a remarkable and substantial chunk of our film history. Having started his career in the ’40s, he was our last link to that chain, the keeper of the flame. We couldn’t get in all our questions in time. In the end, that is what will always rankle. That it all came to an end so suddenly. That we couldn’t even say our goodbyes.

The essential Kersi Lord playlist:

Shalimar 1978 Songs Pk Mp3

Rudradeep Bhattacharjee is the director of the documentary The Human Factor, about orchestras in the Hindi film industry.

Correction and clarifications: This article has been re-edited to correct the number of songs Kersi Lord was involved in himself. While the Lord family recorded an estimated 15,000 tunes between them, Kersi Lord was probably associated with the creation of 5,000 songs.

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Shalimar 1978 Songs Pk Songs