Laxmikant-Pyarelal :: Professional Balancing Act Between Rafi and Kishore.
Laxmikant-Pyarelal were the staunch Rafi loyalists throughout their life. Their greatness lies in their simplicity, commitment and the quality of unconquered versatility gave Laxmikant-Pyarelal a supreme staying power of 35 years in the Hindi Film Music.
Mohammad Rafi has sung 379 songs under Laxmikant-Pyarelal. This figure is the highest number of the songs sung by Mohammad Rafi for any music directors, including 183 numbers of solo songs.
Mohammad Rafi with the music directors
Laxmikant-Pyarelal 379 songs
Shankar-Jaikishan 330 songs
Chitragupta 225 songs
Ravi 210 songs
Kalyanji-Anandjj 200 songs
O P Nayyar 187 songs
Madan Mohan 147 songs
Naushad 114 songs
Usha Khanna 109 songs
R D Burman 107 songs
S D Burman 94 songs
N Dutta 94 songs
Roshan 87 songs
Rajesh Roshan 33 songs
Lata Mangeshkar & Mohammad Rafi Duets: Out of 421 duets of Lata – Rafi, 78 numbers these duets are sung under Laxmikant-Pyarelal. Once again the highest number of duet of Lata-Rafi under any music directors.
In sixties combo of Mohammad Rafi and Laxmikant-Pyarelal have given some of the best songs in
“Aaye Din Bahar Ke”,1966,
“Night In London”, “Farz”, “Taqdeer” all in 1967.
“Wapas”, “Mere Hamdam Mere Dost”, “Aaya Sawan Jhum Ke” 1968,
“Jeene Ki Raah”,
“Jigari Dost” and “Sajan” all in 1969 and many more.
Laxmikant-Pyarelal’s professional balancing equation, in seventies between Mohammad Rafi (379 songs) & Kishore Kumar (402 Songs).
SEVENTIES:- When Kishore Kumar was on right on top it is only Laxmikant-Pyarelal and to some extent Madan Mohan gave some of the best of their songs for Mohammad Rafi to sing, in seventies…
Laxmikant-Pyarelal have recorded 264 numbers of the songs for Mohammad Rafi, in post ‘Aradhana” period, 1969 to 1980.
Laxmikant-Pyarelal brought back the glory of Mohammad Rafi through the songs of ”Pratigya”,(1975)
“Naach Uthe Sansar” (1976)
“Amar Akbar Anthony” “Parvarish” & “Dharmaveer” (1977),
“Sargam” (1978) and that too without damaging the giant popularity of Kishore Kumar.
Prior to that LP used Rafi as and when they wish it.
“Uphaar” 1971 (main ek raja houn),
“Khilona” 1970 (khilona jaan kar & khush rahe tu sada),
“Ek Nazar”, 1972 ( patta patta buta buta)
“Dastaan” 1972 (na tu zamee ke liye),
“Gora Aur Kala” 1972 (ek na ek din)
“Suhana Safar” 1972
“Loafer” 1973 (aaj mosam bada beiman hai).
“Pratigya” 1975 (main jaat yamala pagala)
Laxmikant-Pyarelal have recorded 264 numbers of songs of Mohammad Rafi in post “Aradhana” period.
Laxmikant-Pyarelal’s professional balancing act between Rafi and Kishore..
( all songs to Rafi but one GEM to Kishore Kumar….’khiza ke phool pe’).
“Aansoo Ban Gaye Phool” 1969
( All songs to Kishore Kumar) in the same year…
“Aaya Sawan Jhoom Ke” 1969
( All songs to Mohammad Rafi)
“Aan Milo Sajna” 1970
(50% Rafi 50 % Kishore)
“Haathi Mere Saathi” 1971
( All songs to Kishore Kumar GEM to Rafi ‘nafrat ki duniya ko’)
“Mehboob Ki Mehandi” 1971
(All songs to Rafi GEM to Kishore ‘mere diwane pan ki dawa’)
“Aap Aaye Bahar Aayee” 1971
( 50% Rafi & 50 % Kishore)
“Prem Kahani” 1975
( 50% Rafi & 50 % Kishore) The list is too long…But let us not forget.
( all songs to Mohamamd Rafi) around the same time
( all songs to Kishore Kumar)
“Amar Akbar Anthony” 1978
( all songs to Mohammad Rafi one HIT song to Kishore ‘my name is anthony’)
(all songs to Kishore Kumar but one GEM to Rafi ‘dard-e-dil’)..
Laxmikant-Pyarelal’s association with Rafi Sahab continued till his last day, 31st July, 1980. During Rafi Sahab’s lean years in the early 70s apart from Madan Mohan it was Laxmikant-Pyarelal who stood by him. Both were instrumental in bringing Rafi Saab comeback in the year 1977. MohammadRafi has sung his last song for “Aas Pass” under Laxmikant-Pyarelal.
Few Best Rare Songs of Mohammad Rafi and Laxmikant-Pyarelal in post ‘ Aradhana’ period, after 1969.
MAN KI AANKHEN 1970 (Songwriter Sahir Ludhiyanvi)
-Dil Kahe Ruk Ja Re Ruk Ja
Extremely melodious romantic song. ‘Prelude of 40 seconds, starts with TWEETING sound of BIRDS overlapped with SANTOOR, Symphony VIOLINS and Rafi Sahab’s AALAP, mesmerizes the listeners. First ‘interlude’ CHORUS is beautifully surrounded and overlapped with GUITAR and FLUTE. Second ‘interlude’ is orchestrated with Symphony VIOLINS and FLUTE. The song is filmed on DHARMENDRA.
AAP AAYE BAHAR AYEE 1971 (Songwriter Anand Bakshi)
-Sare Jamane Se Mausam Suhane Se
Another sweetly composed romantic song. 40 seconds of ‘prelude’ starts with GUITAR followed by Symphony VIOLINS, BIRD TWEETING sounds synchronised with ACOUSTIC GUITAR, Take off from Rafi Sahab’ rendering has a wonderful as well as delicate overlapping sound of ACOUSTIC GUITAR. First ‘interlude’ is orchestrated with VIOLINS and FLUTE. Second ‘interlude’ has mellifluous use of SAXOPHONE and VIOLINS. The song has tuneful BONGA DRUM rhythm . It is filmed on Rajendra Kumar and Sadhna.
ROOP TERA MASTANA 1972 (Songwriter Asad Bhopali)
-Bade Bewfa Hai Ye Husnwale
GEM of a song from Mohammad Rafi & Laxmikant-Pyarelal.
VIOLINs & CELLOs are wonderfully intermixed with PIANO in mind-boggling SYMPHONY style, an enrich orchestra arrangements throughout the song and a fabulous rendering by RAFI saab in very ‘romantic’ way. Long ‘prelude” of 1 minute and 11 seconds (full of ‘SYMPHONY’) with Rafi Saab’s “aalap”and ‘humming’ + ‘pause’ mesmerizes. “Interludes” are mellifluously crafted with PIANO, VIOLINS & CELLOs. Again the “mukhada” has TABLA/DHOLAK rhythm. All the “interludes” rhythm have BONGO DRUMS. Rafi Saab’s & LP’s various ‘pauses’ is an added feature of this song. The song is filmed on Jeetendra.
GORA AUR KALA 1972 (Songwriter Anand Bakshi)
-Ek Na Ek Din Ye Kahani
Beautifully orchestrated in WALTZ candency. ACOUSTIC GUITAR, ACCORDION, VIOLINS, SAXOPHONE and IRANI SANTOOR. It has been composed on BONGO DRUM rhythm. The song is filmed on Rajendra Kumar and Hema Mallini.
SURAJ AUR CHANDA 1973 (Songwriter Anand Bakshi)
-Tere Naam Ka Deewana
This is yet another Romantic song filmed on Sanjeev Kumar. ‘Mukhada’ awesome ‘pauses’ that pleases the ears. The ‘interludes’ are instrumented and overlapped with symphony VIOLINS with the use of GUITAR, SANTOOR, VIOLINS as well as SHEHNAI / NADASWARAM and SITAR. It has melodious DHOLAK / TABLA rhythm.
GEETA MERA NAAM 1974 (Songwriter Rajendra Krishnan)
-Mohabbat Hi Mohabbat Hai
This romantic song, composed in western style rhythm, is filmed on Firoz Khan. The song is orchestrated with GUITAR and VIOLINS with BONGA DRUM.
AAKHRI DAO (1975) (Songwriter Hasrat Jaipuri)
-Aisa Na Ho Ke
A GEM in Western Style Orchestra arrangements. The ‘prelude’ of 58 seconds is Symphony VIOLINS. Mohammad Rafi at it’s melodious best. ‘Interludes’ are orchestrated with SAXOPHONE overlapped with VIOLINS and GUITAR as well as surround sounds of CELLOs. Second ‘interlude’ is superb display of SARANGI synchronised with CELLOs and VIOLINS. The beauty of the song is it’s surround sound created and overlapped with Rafi Sahab’s rendering in ‘antara’ by using SAXOPHONE and Symphony VIOLINS as well as CELLOs. The song is filmed on Jeetendra. A treat for Mohammad Rafi Sahab’s fans.
A rare combo of Hasrat Jaipuri /Laxmikant-Pyarelal
Ajay Poundarik, Atlanta (Georgia). USA.