Gargantuan Prominency Arias :: RAJESH KHANNA :: LAXMIKANT-PYARELAL ::

:: Gargantuan Prominency Arias ::   :: RAJESH KHANNA :: LAXMIKANT-PYARELAL ::

Laxmikant, Rajesh Khanna & Pyarelal

The association of Rajesh Khanna with Laxmikant-Pyarelal started from Producer / Director Raj Khosla’s “Do Raaste”, a super-duper musical blockbuster film released in 1969.  It hit the cinema hall, two weeks after “Aradhana”. Overnightly, Rajesh Khanna became a star and  also the ‘craze’ of the nation, fleetingly. The association of Laxmikant-Pyarelal with Rajesh Khanna lasted till “Nazarana” in 1987.

In this 18 years gargantuan quantities of super hit songs were composed by Laxmikant-Pyarelal, in as many as 26 films only with Rajesh Khanna. Almost all the 26 films listed below have statuesque and widely accepted melodious songs.

It is Laxmikant-Pyarelal have given paramount prominent arias, maximum numbers of hit songs for Rajesh Khanna than any other music directors.


The combo of Laxmikant-Pyarelal + Rajesh Khanna have 21 numbers of Binaca Geetmala final songs, most of the songs ranked within 10 top songs of the year. The highest numbers ( RD Burman – Rajesh Khanna 22 songs).

The songs of “Daag”, “Roti”, “Prem Kahani”, “Anurodh” “Mehboob Ki Mehandi” find good ranking in Binaca Geetmala Finals. Listed below few hits (till number to 6)

Number 1 :- 1970 Bindiya Chamake Gi “Do Raaste”

Number 2 :- 1971 Achchha To Hum Chalate “Aan Milo Sajna”

Number 2 :- 1986 Duniya Mein Kitna Ghum “Amrit”

Number 4 :- 1972 Vaada Tera Vaada “Dushman”

Number 5 :- 1978 Aap Ke Anurodh Pe “Anurodh”

Number 6:- 1971 Chal Chal Mere Saathi “Haathi Mere Saathi”

Rajesh Khanna’s inclination for Laxmikant-Pyarelal music can easily be intercepted by following argumentations.

Rajesh Khanna was the leading star of H S Rawal’s  “Mehboob Ki Mehandi” (1971),    Producer and Director H.S.Rawail originally signed music director Naushad    for this film as he had previously done in “Mere Mehboob”.  But, Rajesh Khanna who was a sort of financier of the film, selected Laxmikant-Pyarelal.

In 1974 Rajesh Khanna became Producer / Filmmaker through “Roti” (1974), directed by  Manmohan Desai. Laxmikant-Pyarelal was the obvious choice for this musical hit.  The association of Manmohan Desai with Laxmikant-Pyarelal started from “Roti”. Later combo of Manmohan Desai & Laxmikant-Pyarelal rocked Bollywood.

In the year 1977 Rajesh Khanna insisted Producer/Director Shakti Samanta to consider  Laxmikant-Pyarelal for “Anurodh”. R D Burman was regular music director for  Shakti Samanta’s earlier films.

It is needless to say that Rajesh Khanna’s “Mehboob Ki Mehndi”, “Roti” and “Anurodh” were super-super musical blockbusters.

Crowd puller as well as one of the most popular pair of Rajesh Khanna-Mumtaz have maximum musical  hit films with music by Laxmikant-Pyarelal. “Do Raaste” (1969), “Dushman” (1972), “Roti” (1974) and “Prem Kahani” (1975).

Laxmikant-Pyarelal maintained the equilibrium act between the singers Kishore Kumar and Mohammad Rafi for Rajesh Khanna, when the ‘superstar’ was in full form. While other music directors were solely depend on Kishore Kumar for Rajesh Khanna, it is only Laxmikant-Pyarelal dauntlessly use Mohammad Rafi for many of hits of Rajesh Khanna.

Do Raaste” (all songs to Rafi + one gem, ‘mere naseeb mein’ for Kishore),“Aan Milo Sajna” for Kishore Kumar, one solo ‘Jawani o diwani tu zindabad’ and one duet, with Lata ‘achchha to hum chalte hai’ as well as for Mohammad Rafi, one solo ‘falak se tod ke sitare’ and one duet, title track,  with Lata ‘ab aan milo sajna’), “Haathi Mere Saathi” (all songs Kishore Kumar + one gem, ‘nafrat ki duniya ko’ for Rafi), “Mehboob Ki Mehndi” (all songs for Mohammad Rafi + one masterpiece ‘mere deewanepan ki bhi dawa nahin’ to Kishore Kumar).

Statistically more numbers of the songs, for Rajesh Khanna, are composed by Laxmikant-Pyarelal and sung by Kishore Kumar and Mohammad Rafi. The duo have also utilised the services of Mukesh (phool aahista phenkoPrem Kahani” 1975) as well as Amit Kumar Mahendra Kapoor Manhar Udhas Mohammad Aziz mostly after the death of Mohammad Rafi.

List of the films of Rajesh Khanna with Laxmikant-Pyarelal :-

1   DO RAASTE  1969




5  DUSHMAN  1972

6  DAAG  1973

7  ROTI  1974

8  PREM KAHANI  1975

9  AAKRAMAN  1975

10 TINKU  1977


12  ANURODH  1977

13  CHHAILA BABU  1977



16  AMARDEEP  1979

17  PREM BANDHAN  1979

18  BANDISH  1980

19  FIFTY FIFTY  1981

20 RAJPUT  1982

21  JAANWAR  1982

22  AVTAAR  1983

23  ASHA JYOTI  1984


25  AMRIT  1986

26  NAZRANA  1987 

Discussing few of the best/hit/popular songs of Rajesh Khanna  with Laxmikant-Pyarelal.

The orchestra arrangements in “preludes” and “interludes” used to be the assets of the songs composed by Laxmikant-Pyarelal. It would be more proper to listen to the songs, listed below, after reading the write up, explaining peculiarities for each of the songs, you will enjoy it more.

DO RAASTE  1969 Rajesh Khanna with his superlative emotional performance, steals the show. Brilliant script, powerful dialogues, meritorious direction by Raj Khosla  and phenomenal music by Laxmikant-Pyarelal are the features of this super duper hit film. Who can forget the crowd-puller songs which made Rajesh Khanna-Mumtaz a illustrious pair.

— Bindiya Chamkegi …. Lata  (Binaca Geetmala top hit song 1970)

— Chhup Gaye Sare Nazare …. Lata-Rafi

— Ye Reshmi Julfe …. Rafi 

— Do Rang Duniya Ke …. Mukesh

— Mere Naseeb Mein Ae Dost …. Kishore

— Apni Apni Biwi Pe …. Lata

Chhup Gaye Sare Nazare …. Lata-Rafi. Lyricist Anand Bakshi. 

Inordinately melodious, fascinatingly composed duet, filmed on Rajesh Khanna-Mumtaz. Beautifully orchestrated “interludes” with VIOLINS, FLUTE and SANTOOR, in particular the synchronism of VIOLINS with SANTOOR in first / third as well as FLUTE with SANTOOR in second interlude. Another beauties of this graceful duet are the ‘stroke’ of SANTOOR with DHOLAK, at the beginning of each of the ‘antara’’ as well as ‘pauses’ given by Lata Mangeshkar and Mohammad Rafi, for 4 seconds, to highlight Laxmikant-Pyarelal’s ‘rhythm’, intermixing of  DHOLAK – SANTOOR, in the middle of each of ‘antaras’. (first at 2.44). The rhythm pattern for ‘interludes’ (BONGO DRUMS) are different than that of ‘antara’/’mukhada’ (DHOLAK). — Yeh Reshmi Julfe …. Rafi. Lyricist Anand Bakshi. Concordant romantic song, seductively performed by Rajesh Khanna. Glamorous inception by Rafi saab after 19 seconds ‘prelude’ of 19 seconds, VIOLINS overlapped with MANDOLIN. It has a ear-pleasing, melodic DHOLAK rhythm, with few ‘pause’  of 8 seconds at the end of each mukhada. The “rhythm” keeps listeners enchanted, throughout. Mumtaz looks beautiful.

Mere Naseeb Mein Ae Dost …. Kishore. Lyricist Anand Bakshi.

The song is based on raag “Yaman Kalyan”.  Kishore Kumar’s  soft rendering and Laxmikant-Pyarelal SYMPHONY style orchestra arrangements with overlapping sound effects of VIOLINS, VIOLA, FLUTE and SANTOOR are the significant aspects of this song. Another beauty of this song is that Kishore Kumar  has brilliantly ‘synchronized’ the “pause” in the LP orchestra. The rhythm of the song is completely on BONGO DRUMS.

AAN MILO SAJNA  1970 It was Producer J.Om Prakash musical hit film. Rajesh Khanna’s gimmicks and style had taken him on the top of the world then. In most of the songs, from this film,  he has presented all of his mannerisms which are heart-conquering even today. Laxmikant-Pyarelal magical music notes that retains their charm even today. Every song is a gem.

— Achha To Hum Chalte Hai …. Kishore-Lata

— Ab Aan Milo Sajna …. Lata-Rafi

— Tere Karan Mere Sajan …. Lata

— Falak Se Tod Ke Sitare Log Laye Hai …. Rafi 

— Palat Meri Jaan …. Asha Bhosle

— Jawani O Deewani Tu Zindabad …. Kishore

Kishore Kumar-Rajesh Khanna at it’s best. Enchantingly orchestrated 39 seconds ‘prelude’ with MANDOLIN, SHEHNAI / NADASWARAM and VIOLINS. All these musical instruments are once again used, with different tune, in the interludes. DHOLAK rhythm is fantastic in particular the “pick-up” at 0.56/0.57.

– Achha To Hum Chalte Hai …. Kishore-Lata. Lyricist Anand Bakshi.

A unique type of song and composition, a mega hit, still popular song. Mellifluously rendered by  Lata -KK. The orchestra arrangement is mesmerizing use of IRANI SANTOOR, SAXOPHONE and VIOLINS is just brilliant and ear-pleasing, as well. This lovely romantic song is filmed on Rajesh Khanna – Asha Parekh.

MEHBOOB KI MEHANDI  1971 If you want to see a full fledged musical, then this is the film for you. The mesmerizing music by Laxmikant-Pyarelal. Rajesh Khanna is at his romantic best in the movie. He is present here with all the gimmick and mannerism he was famous for. Mohammad Rafi has sung almost all the songs for Rajesh Khanna, except one, which was unusual then.
Producer and Director H.S.Rawail originally signed music director Naushad for this film as he had previously done in “Mere Mehboob”. But, Rajesh Khanna who was a sort of financier of the film selected Laxmikant Pyarelal.

— Pasand Aa Gayi Hai Ek …. Rafi

— Yeh Jo Chilman Hai …. Rafi

— Apna Hai Tu Begana Nahin …. Rafi

— Mere Deewanepan Ki Bhi Dawa Nahin …. Kishore

— Mehaboob Ki Mehandi Hathon Mein …. Lata-Hemlata

— Itna To Yaad Hai Mujhe …. Lata-Rafi

– Yeh Jo Chilman Hai …. Rafi. Lyricist Anand Bakshi.

Flawless composition, with ‘zero’ ‘prelude’, by using bare minimum instruments along with the rhythm of DHOLAK / TABLA. Radiant take off by Rafi Saab. All the ‘interludes’ are glitteringly orchestrated with SARANGI, SITAR, VIOLIN, SANTOOR and SAROD.  The “pause” given at the end of each the ‘antara’ gives a soothing effect to this erotic song.

— Mere Deewanepan Ki bhi …. Kishore. Lyricist Anand Bakshi.

This romantic song is based on Raag “Tilang” starts with the ‘humming’ sound by Kishore Kumar. “Mukhada” is wonderfully synchronized by ‘filling’ SARANGI and FLUTE around Kishoreji melodious and romantic  rendering. All the three ‘interludes’ have different type of tunes and orchestral arrangements. First ‘interlude’ is orchestrated with the sounds of FLUTE, VIOLINS and SANTOOR. Second ‘interlude’ is decorated with SARANGI and SAXOPHONE with overlapping sound of the VIOLINS in ‘symphony’ style. Third ‘interlude’ starts with VIOLINS, VIOLINS and SANTOOR. The song has lovely ‘DHOLAK’ beats.

— Itna To Yaad Hai Mujhe …. Lata-Rafi. Lyricist Anand Bakshi.

Melodious duet sung by Mohammed Rafi and Lata Mangeshkar. The song has beautiful display of SITAR (by Ustad Rais Khan), FLUTE and hypnotized DHOLAK rhythm.

HAATHI MERE SAATHI  1971 It was the peak period, then,  for film star RAJESH KHANNA, singer Kishore Kumar as well as the music director Laxmikant-Pyarelal. All the songs became very popular and are still can be heard. ranks high among the biggest ever hits of RAJESH KHANNA’s career. “Haathi Mere Saathi” is a movie which made Rajesh Khanna popular with kids who grew up seeing his future movies and that is why the film ranks as a classic because it is still unequalled as the complete family fare in its genre for kid. It was the biggest hit ever made by a South producer in Hindi. It was the very first film for writer SALIM-JAVED.. This pair took off from this film only. It Also Became The First Superhit Hindi Film Produced By Any South India Based Production House Till Then.Melodious, Sweet as well as very popular music pulled the crowd to the cinema hall.

— Chal Chal Chal Mere Saathi …. Kishore Kumar

— Sun Ja Aa Thandi Hawa ….. Kishore-Lata

— Dilbar Jani, Chali Hawa Mastani …. Kishore-Lata

— Dhak Dhak Dhak …. Kishore-Lata

— Duniya Mein Rehna Hai To Kaam Kar Pyare …. Kishore

— Nafrat Ki Duniya Ko …. Rafi

Chal Chal Chal Mere Saathi …. Kishore Kumar

चल चल चल मेरे साथी ओ मेरे हाथी !!! The Song that rocked the nation. A Huge Hit Song. Kishore Kumar’s voice really refreshing enough and melodious unmatched. Wonderful Orchestra Arrangements in particular the SAXOPHONE is brilliantly executed to generate the Elephant Sound (roaring/trumpeting) with unique toe-stepping rhythm.

— Dilbar Jani, Chali Hawa …. Kishore-Lata. Lyricist Anand Bakshi.

The “prelude” of 40 seconds is full of WHISTLE, SANTOOR, VIOLINS followed by Kishore Kumar’s ;humming;  …LP’s Rich orchestra arrangements also has SAXOPHONE, TRUMPETS, ACCORDION, FLUTE,..The entire song has ACOUSTIC GUITAR as “base” for the toe stepping rhythm decorated awesomely completely in  western style. Wonderful melody. Rajesh Khanna – Tanuja looks fresh / charming.

DUSHMAN  1972 Another super-duper musical hit. Popular pair of Rajesh Khanna-Mumtaz rocks. Watching Rajesh Khanna dance to Vaada Tera Vaada song with Bindu is sheer magic

-Vaada Tera Vaada …. Kishore Kumar

— Maine Dekha Tune Dekha …. Lata – Kishore

— Dekho Dekho Dekho Biscope Dekho …. Lata

— Balma Sipahiya …. Lata

Vaada Tera Vaada …. Kishore Kumar. Lyricist Anand Bakshi.

First class rendering by Kishore Kumar. Kishore Kumar was reluctant to sing this song because he felt that Rafi Saab suited it more. As Laxmikant-Pyarelal had crafted the song with him in mind.  Rajesh Khanna and the composers duo hoodwinked him into singing it, by stating that they were scrapping the song because he was not ready to sing it. This song is composed as Mujra in Qawali style. Entire song has  “qawwali” style DHOLAK / MATKI rhythm. SANTOOR and SARANGI are well executed in the ‘interludes”. SARANGI is also used as filler in the “mukhda” to give Mujra touch to the song. Such was a craze for Rajesh Khanna and this song that a downpour of coins on the screen were seen. It was a super duper hit song in ‘Binaca Geetmala’.

DAAG 1973 To start with YASH RAJ Films, the first ever film as a producer and director for Yash Chopra. Yash Chopra wanted to utilize the ‘best’ artists available then. RAJESH KHANNA and Laxmikant-Pyarelal were in supreme form then. An outstanding/evergreen/ever-fresh music of ”Daag” is still popular.

— Mere Dil Me Aaj Kya Hai …. Kishore Kumar

— Ni Main Yaar Manana Ni …. Lata-Minoo Purushottam

— Hum Aur Tum Tum Aur  Hum …. Lata-Kishore

— Ab Chahe Maa Ruthe Ya Baba …. Lata-Kishore

— Jab Bhi Chahe Nayi Duniya …. Lata

— Hawa Chale Kaise …. Lata

— Mere Dil Me Aaj Kya Hai …. Kishore Kumar Mesmerizing Orchestra arrangements..IRANI SANTOOR (played by Pt Shivkumar Sharma) & GUITAR (played by Gorakh Sharma)  are brilliantly executed in the entire orchestra of the song. The song starts with “zero” ‘Prelude”…First ‘Interlude’ starts with IRANI SANTOOR at 0.42…with brilliant overlapping sound effect and ends at 1,00. The second ‘Interlude’ starts at 1.46 and listen how mellifluously IRANI SANTOOR have been played till 1.58…The third ‘Interlude’ starts at 2.45 and how effectively GUITAR is played to give the perfection to the romance and great “pick up” through IRANI SANTOOR from 2.53 to 3.02..The song has beautiful DHOLAK as “rhythm” excepting in “Interludes”…SAHIR LUDHIANVI’s elegiac lyrics and KISHORE KUMAR’s tender as well as romantic rendition and LAXMIKANT-PYARELAL wonderful composition with beautiful decoration of the orchestra has made this song as all time classics.  You just have to look at the way Rajesh Khanna croons, “Mera pyaar keh raha hai main tujhe khuda bana doon” and you will want to watch the song. Nobody could act out a love song better than Rajesh Khanna.Also full credit to Kishore Kumar who was nominated by filmfare awards, the best male singer, for singing this romantic GEM.

— Hum Aur Tum Tum Aur …. Lata-Kishore. Lyricist Sahir Ludhianvi.

This Kishore Kumar & Lata Mangeshkar romantic song is completely woven around the rhythm based ACOUSTIC GUITAR. Another beauty of this song is it’s ‘interludes’. Both the ‘interludes’ have different tunes. First ‘interlude’ full of ‘aalaps’ by Kishore & Lata with glimpses of VIOLINS. In second ‘interlude’  the VIOLINS are decorated in ‘Waltz’ style with beautiful “pauses”. Even Lataji and Kishorji have also given many  the ‘pauses’ in the songs.

ROTI 1974 Once again gleaming combination of Rajesh Khanna-Mumtaz. This film was produced by Rajesh Khanna himself. It was directed by Manmohan Desai. It is worth to mention that from “Roti”, the long lasting association of Director Manmohan Desai with Laxmikant-Pyarelal started.  The film with melodious and popular songs.

— Yeh Jo Public Hai …. Kishore Kumar

— Gore Rang Pe Na Itna …. Lata-Kishore

— Naach Meri Bulbul …. Kishore Kumar

— Yaar Hamari Baat Suno …. Kishore Kumar

— Phoolon Ke Saath …. Lata Mangeshkar

Yeh Jo Public Hai …. Kishore Kumar. Lyricist Anand Bakshi. Entier song is filmed in and around the beautiful location of Srinagar, Kashmir. Musically a peppy song completely woven around the glimpses of ACCORDION as a filler as well as in the interludes. EKTARA is also awesomely synchronised with toe-stepping ‘rhythm’. VIOLINS  in the ‘interludes’ sounds beautiful.

— Gore Rang Pe Na Itna …. Lata-Kishore. Lyricist Anand Bakshi.

Typical LP flavoured folkish song with melody, orchestrated with  VIOLINS, FLUTE, SHEHNAI / NADASWARAM, GUITAR etc off course not to forget sweet DHOLAK rhythm. Rajesh Khanna-Mumtaz rocks.  


Raj Khosla’s musical hit film with Rajesh Khanna-Mumtaz .

— Phool Aahista Phenko …. Lata-Mukesh

— Prem Kahani Mein Ek Raja …. Lata-Kishore

— Chal Dariya Mein Doob Jaye …. Lata-Kishore

— Kya Hoti Hai Prem  Kahani …. Lata Mangeshkar

— Doston Mein Koi Baat …. Mohammad Rafi

Chal Dariya Mein Doob Jaye …. Lata-Kishore Sweet-Sounding, accordant duet, beautifully synthesized by SAXOPHONE, SANTOOR and  VIOLINS with CONGA DRUMS and TABLA in the dulcet rhythm.

— Phool Aahista Phenko …. Lata-Mukesh. Lyricist Anand Bakshi.

Gorgeously composed melodious duet. Tenderly rendered by Mukesh Ji – Lata Mangeshkar with the ‘pause’ at 0.32 to 0.35, to highlight the mellifluous rhythm of DHOLAK. SITAR –  SANTOOR are awesomely executed in all the ‘interludes’


J Om Prakash musical hit

— Dekho Veer Jawano …. Kishore (Patriotic Song)

— Fauji Gaya Jab Gaon Mein …. Kishore (Patriotic Song)

— Yeh Mousam Aaya Hai …. Kishore-Lata 

( splendid composition filmed on Rakesh Roshan-Rekha )

Fauji Gaya Jab Gaon Mein …. Kishore Kumar. Lyricist Anand Bakshi. 

Incredible Punjabi ‘folkish’ song. 44 seconds of ‘prelude’, integrating traditional Indian musical instruments EKTARA, GHUNGROO BELLS, DHOL, SHEHNAI / NADASWARAM as well as Kishore Kumar ‘humming’. ‘Rhythm’ pattern is Punjabi BHANGRA style. Rajesh Khanna has danced swimmingly on single Leg. 


This was Shakti Samanta’s first film with Laxmikant-Pyarelal who were at their best, then. It is Rajesh Khanna who requested Shakti Samanta for “Anurodh”. This a musical that draws strength from the combination of Kishore Kumar-Anand Bakshi-Laxmikant Pyarelal and it’s repertoire.

— Aate Jaate Khubsurat …. Kishore

— Aa Ja O Aa Ja …. Kishore

— Aapke Anurodh Pe …. Kishore

— Jab Dard Nahin Tha …. Kishore 

— Tum Besahara Ho To …. Manna Dey

Aapke Anurodh Pe …. Kishore. Lyricist Anand Bakshi. 

Hypnotizing orchestra from Laxmikant-Pyarelal  and stupefying rendering by Kishore Kumar. This mellifluent song is composed on Raag “Yaman Kalyan”. 13 seconds of ‘prelude’ enthrals with the sounds of VEENA and PIANO. Cool and calm rendering by Kishore Kumar with fascinate TABLA/CONGA Drum ‘rhythm’. First ‘interlude’ orchestrated with VEENA and SANTOOR. Second ‘interlude’ is decorated with PIANO and VEENA and also used as a ‘filler’ in  the second ‘antara’. Third ‘interlude’ is executed with SITAR and SAROD supported with soft surround VIOLINS. One of the best song from KK-LP combo. The song is written by Anand Bakshi.


Famous actor Joy Mukherjee becomes director, made musical blockbuster film starring Rajesh Khanna-Tina Munim.

– Chhaila Tera Chhaila …. Kishore

— Chhaila Mera Chhaila …. Lata

— Kal Raat Sadak Ek Ladki …. Kishore-Asha

— Yaar Dildar Tujhe Kaisa Chahiye …. Kishore-Asha

— Humko Nikaloge Gharse …. Kishore-Asha

— O Ho Ho Mein Babu Chhaila …. Kishore

Yaar Dildar Tujhe Kaisa Chahiye …. Kishore-Asha. Lyricist Anand Bakshi. 

Orchestrated on ‘pop’ composition, unique rhythm. SAXOPHONE, VIOLINS,Orchestrated on ‘pop’ composition, unique rhythm. SAXOPHONE, VIOLINS, GUITAR are mellifluously executed in ‘prelude’ as well as in ‘interludes’.  Beautiful ‘pauses’ in between the song. Awesome dancing steps from Rajesh Khanna – Zeenat Aman.

PALKON KI CHHAON MEIN  1977 The first film of songwriter Gulzar with Laxmikant-Pyarelal.  The songs with difference.

– Dakiya Daak Laya …. Kishore

— Ladkhadane Do Mujhe …. Kishore

— Allah Megh De …. Kishore – Asha

— Koi Mere Mathe Ki Bindiya …. Lata (classic)

Dakiya Daak Laya …. Kishore. Lyricist Gulzar.

A unique type of songwriting and the melodious composition, as well. Rajesh Khanna (Postman) looks natural. Kishore Kumar rendering is magical.

Rajesh Khanna – Tina Munim, another musical hit.

— Jane Do Mujhe Yaaron …. Kishore 

— Dilwala Aaya Hai …. Kishore

— Pyar Ka Vaada Fifty-Fifty …. Kishore-Asha

— Chhod Mera Haath Mujhe Peene …. Amit Kumar-Asha Bhosle

— Jogan Ban Gayi …. Asha

— Pardesi O Paradesi …. Asha

— Pyar Ka Vaada Fifty-Fifty The song has  115 seconds “prelude” comprises of stupefying African beats on African traditional DRUMS. Followed by beautiful take off by Asha Bhosle “aalaps”. African DRUM beats are ear-pleasingly synchronised with the CHORUS and VIOLINS. Interestingly all the three “interludes” have different “rhythm” pattern. Rajesh Khanna – Tina Munim capers awesomely.

RAJPUT  1982
– Akela Gaya Thaa Mein …. Kishore Kumar. Lyricist Anand Bakshi.

46 seconds “prelude’ consists of SYMPHONY style VIOLINS mesmerizes the listeners. Such a timeless melodious as well as rhythematic song. No one can render the song the way Kishore Kumar has rendered. Horse Steps Sound is excellently orchestrated in the rhythm.

Ajay Poundarik

Avon, Cleveland (OHIO)


By Ajay Poundarik

I am a Mechanical Engineering Graduate. Boiler Proficiency Engineer. Deeply In Love With Hindi Film Music When I Was Eight Years Of Age, Since 1963. I Have A Liking For All Contemporary Music Directors Compositions. I Am A Fan Of Laxmikant-Pyarelal Music. I Have Grown-Up By Listening To Laxmikant-Pyarelal Music. I Like Test Cricket Only. Worked In The Capacity Of General Manager For The Fields Of Project Implementation, Facility Management, Construction Management and Plant Maintenance In INDIA, NIGERIA for Twenty Years & AFGHANISTAN One Year.


  1. What a awesome infn this is. Really like u I also became ceiling fan of LP frm 1963 onward being their first film parasmani. Till today every day I prefer to hear their songs n enjoy my retired life.


  2. Lots of data mining and analytics at work, Ajay ji. This is a data exercise for reference and clearing any doubts by people if they thought which one did most scores than others and scale of popularity. Is AVTAAR covered in this one? Din mahine saal….?


  3. Why LP didn’t use Rafi sahab for Rajesh Khanna after 1971 ?
    All the songs sung by Rafi sahab were as popular as Kishore da’s songs.
    On the other hand RDB used Rafi sahab for Rajesh Khanna on a few occasions.


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