EUPHONIOUS THAUMATURGY = Lata Mangeshkar + Laxmikant-Pyarelal
Laxmikant Pyarelal were trend setters and their talent was spotted by Lata Mangeshkar at the Sureela Kala Kendra, an academy run by Mangeshkar Family in early fifties.
Lata Mangeshkar and Laxmikant-Pyarelal have collaborated on ever 712 songs to form The Most Prolific as well as Versatile Composers-Singer Team The World Would Ever Know.
If Laxmikant-Pyarelal were the BEGETTER , Lata Mangeshkar was the HERALD who also hyperbolize their jewels on the way towards TRANSMISSION to the audience.
Lata Mangeshkar and Laxmikant-Pyarelal were a longer, larger, closer and more rewarding association that than what ANY composer has had with ANY singer in Hindi cinema.
From 1963, to the next 35 years, Lata Mangeshkar and and Laxmikant-Pyarelal were to chalk up an astounding 712 songs together.
And what a mind boggling variety and range did we get in those 712 numbers which included chart-slammers and classics, and chaalu numbers as well as connoisseur choices. It is impossible to find that variety and that sustained excellence without monotony in the output of any other composer, with Lata or with any other singer.
The duo was known to bring the best out of the orchestration, moreover Lata Mangeshkar sounds extremely melodious under Laxmikant-Pyarelal.
Lata Mangeshkar + Laxmikant-Pyarelal = Euphonious Thaumaturgy, a sheer magic.
Having a privilege of witnessing an LP (Laxmikant-Pyarelal) era right from 1963 onwards. The beauty of Laxmikant-Pyarelal composition was that for the ordinary words the duo will create a very simple and melodious tune and will decorate it with wonderful rhythm and mellifluous orchestra arrangements. Laxmikant-Pyarelal would also understand the situation, location and the timing of the song being filmed and also on whom it would be filmed etc.
For example the Lata Mangeshkar and Laxmikant-Pyarelal miraculous song, filmed on beautiful actress Saira Bano, from ‘Shagird’ 1967, ‘ruk ja ai hawa’ !! रुक जा ए हवा, थम जा ए बहार !!, we call the song as An Indian Sound Of Music..To frame the JUNGLE scene, the Flute, Accordion, Viola, Violins, Birds-Tweet, etc are brilliantly synchronised with lovely voice of Lata Mangeshkar. Even the running of DEER in the jungle is very well displayed through the use of VIOLINs.
Few best but different types of compositions from this exclusive amalgamation of Lata Mangeshkar with Laxmikant-Pyarelal are reviewed.
The orchestra arrangements in “Preludes” and “Interludes” used to be the assets of the songs composed by Laxmikant-Pyarelal. Listen to the songs, listed below, after reading the write up, explaining peculiarities, for each of the songs you will enjoy it more.
Dhadaka Hai Dil Mein Pyar Tumhara JAAL 1967
(Lyricist:- Raja Mehdi Ali Khan )
In 1967, Laxmikant-Pyarelal music is flooded with the hit films like, ‘Milan’, ‘Shagird’, ‘Patthar Ke Sanam’, ‘Farz’, ‘Night In London’, ‘Anita’ etc. The music of “JAAL” came as a pleasant surprise. This song is a ‘gem’ from Lata-LP combo. Altogether a different type.
An outstanding composition in Western Style. “Prelude” of 46 seconds is full Lataji AALAPS as well as HUMMING, brilliantly synchronized with Symphony style VIOLINS. How softly Lataji has rendered the words ‘Abhi Abhi’ (अभी अभी), followed by BASS GUITAR, as filler. Lataji has sung entire song with lots of variations. The rhythm is full of ACOUSTIC GUITAR and the BONGO DRUMS….SAXOPHONE , VIOLINS, BASS GUITAR, ACCORDION and VIOLAs are brilliantly executed in all the “interludes”. Mesmerising Orchestra Arrangements. The song is filmed on Mala Sinha.
Jaagi Badan Mein Jwala IZZAT 1968
(Lyricist:- Sahir Ludhianvi)
IZZAT was a musical hit. This song’s RHYTHM, Laxmikant-Pyarelal designed when they were in Beirut (Lebanon). It is 1-2-3-4-5-6, a Lebanese ‘folk’ rhythm. Laxmikant-Pyarelal were expert in utilizing CHORUS in their compositions. Just listen to how CHORUS sounds extremely melodious in this song.
Hypnotising ‘prelude’ of 26 seconds, excellently intermixed with GLOCKENSPIEL or ‘GLOCKS’, GHUNGROO BELLs and Lataji AALAPS . Excellent take off ‘Jagi..sss’..Jagi Badan Mein Jwala’ (जागी sssss जागी बदन में ज्वाला). All the three interludes have different style of orchestra arrangements. NADASWARAM, VIOLINS, ACOUSTIC GUITAR as well as GHUNGROO BELLs are harmoniously synchronized in all the interludes with different tunes. Lata Mangeshkar at her melodious best. The mind-boggling Rhythm of DRUM beats is totally different style. This rhythm was never repeated by Laxmikant-Pyarelal. The GREAT song filmed on late Mrs Jayalalitha, the ex Chief Minister of Tamil Nadu.
O Ghata Sawari Thodi Thodi Bawari ABHINETRI 1971
(Lyricist:- Majrooh Sultanpuri)
ABHINETRI another musical hit film with as many as six songs sung by Lata Mangeshkar. This one is will always remain the best. A Yoga song.
Magnetizing “prelude” of 57 seconds, with symphony style VIOLINS , JAZZ FLUTE, SANTOOR, GLOCKENSPIEL and Lata’s Humming Sound. How delicately and tunefully Laxmikant-Pyarelal have orchestrated the synchronization of Lata’s voice with beautiful glimpses of JAZZ FLUTE, is just enthralling as well as creating the rainy season effect and also sets the mood of the song. All the “interludes” are with different tunes. In second ‘interlude’ creating WATER SOUND is killer. Glimpses of JAZZ FLUTE , as filler, in between the song + “pause” and the western style rhythm s has made this song a special. Filmed on the actress Hema Malini, performing YOGA.
Roz Sham Aati Thi IMTIHAN 1974
(Lyricist:- Majrooh Sultanpuri)
The song is from IMTIHAN 1974 with all the four songs hit. It was a film between super hits of Laxmikant-Pyarelal “Bobby” , “Daag” , “Manchali” and “Roti Kapda Makan”, “Loafer”.
The unique combo of Lata Mangeshkar and Laxmikant-Pyarelal have given many memorable songs in sixties ( closed to 179 songs). It was also expected to deliver the best in seventies too. The song is popular even today. On the top of everything…the chemistry of Lataji and LP worked miracle.
67 seconds “prelude”::- 0.15 seconds, TWEETING of BIRDS, Than GUITAR glimpses starts, FRENCH HORN (0.34 to 0.44), IRANI SANTOOR ( till 0.55) and than Lataji’s AALAP till 1.06 and the “pause”…giving the feel of ‘sunset’. Just brilliant. It sets the mood of the song.
Powerful RHYTHM of BONGO / CONGA DRUMS and it’s PAUSES. Lataji stops after singing ‘roj sham aati thi’ (रोज़ शाम आती थी ) (1.11…1.14) just listen to the “rhythm”, again at 1.16 ….1.19…This gives an “ear-pleasing” moment to listen to the rhythm only. You will again find such “pauses” in the song.
“Interludes”:- Both the interludes are beautifully decorated in western style orchestra arrangements with use of VIOLINS, CELLOS, IRANI SANTOOR and FRENCH HORN.
Not to forget to listen to the mind-boggling “Postlude”. The song is filmed on Tanuja.
Neelam Pe Nabh Chhaye UTSAV 1984
(Lyricist:- Vasant Dev)
Laxmikant-Pyarelal music entering into its 21st year. UTSAV music still sounds ever-fresh.
This song is a very very special from Lata Mangeshkar and Laxmikant-Pyarelal.
After Completing Successful 21 years, In 1984, there was myth that Laxmikant-Pyarelal needs a “Huge & Enrich Orchestra” arrangements to compose MELODIOUS and HIT Songs. Music of “Utsav” came as a pleasant surprise.
Minimum orchestra and “clapping”( ताली ) is used as Rhythm. Laxmikant-Pyarelal used old traditional musical instruments in “Utsav” music. This song is an extremely melodious and wonderfully composed in ‘raag’ BIBHAS. Fascinated use of BANSURI, as a filler in ‘mukhada’. The “interludes” are spellbindingly decorated with the MRIDANGAM, VEENA and GHUNGROO BELLS. Once again very delicate and shrp use of CHORUS. The song is filmed on Rekha. Producer Shashi Kapoor and Director Girish Karnad used the ancient house in which the movie Utsav was shot is in Udupi, Karnataka. It is called Shettibettu.