Accordant Music, Laxmikant-Pyarelal & Gorgeous Sharmila Tagore
Sharmila Tagore is one of the iconic veteran actresses of the Indian Cinema. She was one of the few actresses who got many musical hit films. A Bengali actress who achieved success at a very young age. Sharmila Tagore appeared in numerous Bengali classics before making the jump to Hindi cinema, which first made her a romantic actress.
1967 was the busiest year for Laxmikant-Pyarelal. The duo was in full form then with a series of hits, “Farz”, “Anita”, “Night In London”, ”Jaal”, ”Shagird”, “Patthar Ke Sanam” and “Milan”. In the same year Laxmikant-Pyarelal got an opportunity to compose the music for R. Bhattacharya’s Black and White, Sharmila Tagore – Sanjay Khan starrer “Milan Ki Raat”.
Laxmikant-Pyarelal music was associated for as many as 10 films of Sharmila Tagore. Music of “Mere Hamdam Mere Dost” 1968, “Suhana Safar”, 1970 and Yash Chopra’s “Daag”, 1973, remains the best of the ten.
1 Milan Ki Raat 1967
2 Mere Hamdam Mere Dost 1968
3 Satyakam 1969
4 Pyasi Shaam 1969
5 Suhana Safar 1970
6 Dastaan 1972
7 Daag 1973
8 Shandaar 1974
9 Anari 1975
10 Desh Premi 1982
11 Aashiq Awara 1993
Laxmikant-Pyarelal utilised only three singers for Sharmila Tagore.
Suman Kalyanpur (“Suhana Safar” Title Track)
Sharmila Tagore’s total 6 numbers of final songs which has music by Laxmikant-Pyarelal, appeared in Binaca Geetmala Finals. “Milan Ki Raat”, 1967 Aankh Milaye Na Muskuraye Na at 21st position. Two songs from “Mere Hamdam Mere Dost”, 1968 Chhalkaye Jaam 24th position and Chalo Sajna Jahan Tak 14th position. One song from “Dastan”, 1972, Na Tu Zameen Ke Liye 34th position. Two songs from “Daag” 1973, Mere Dil Main Aaj Kya Hai, 20th position and Ab Chahe Ma Ruthe Ya Baba 7th position.
However, many songs from “Mere Hamdam Mere Dost”, “Daag” (in addition to the final songs), “Satyakam”, “Suhana Safar” and “Pyasi Sham” did appear in weekly countdown but failed to reach ‘finals’.
Review of some of the best songs composed by Laxmikant-Pyarelal for Sharmila Tagore.
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 after reading the write up, explaining peculiarities, for each of the songs, you will enjoy it more.
1 MILAN KI RAAT 1967
Sanjay Khan-Sharmila Taigore starer. This film was released in 1967 when Laxmikant-Pyarelal was right on TOP. The duo’s other musical hits like, ‘Farz’, ‘Shagird’, “Patthar Ke Sanam’, ‘Night In London’, ‘Anita’, ‘Jaal’ and ‘Milan’ were also released. “Milan Ki Raat” was an average hit with a couple of good songs.
— Gham Ki Badli chhayi….Mukesh
— Chinta Mat Kariyo Ji...Lata
— Babu Re Babu...Asha
— Doom Tara Ek Doom Tara
(Lyricist:- Anand Bakshi. Singer :- Asha Bhosle)
17 seconds of ‘prelude’, stroke of GUITAR followed by awesome trembling by Ashaji..दुम तारा एक दुम तारा दो दम तारा followed by female CHORUS singing. A unique composition by utilizing female CHORUS. At the end of each “Antara”, Ashaji has tunefully synchronised her rendering, after the rhythmic ‘pause’ with female CHORUS, that is the best part of this song. ‘Interludes’ are orchestrated with GUITAR, VIOLINS, CHORUS, BAGPIPER and superb “AALAPS” as well as “HUMMING” by Ashaji. Sharmilal Tagore has gamboled excellently by integrating the exclusive rhythm created for this song. One of the best songs of Asha Bhosle with Laxmikant-Pyarelal.
–Aankh Milaye Na Muskuraye Na
(Singer:- Mohammad Rafi Songwriter:- Anand Bakshi))
This song is effortlessly sung by Rafi saab in a “ROCK N ROLL” style, synchronizing his rendering with BONGO DRUMS ‘rhythm’. Another beauty of the song is that it is completely woven around the glimpses of GUITAR, in the ‘interludes’ and as ‘filler’ to create a romantic feel through the orchestra.
HIT song of 1967 at “right” moment…When late Mansoor Ali Khan Pataudi Playing Test Cricket at Leeds (UK), “proposed” Sharmila Tagore, by scoring brilliant Century (148 runs).
2 MERE HAMDAM MERE DOST 1968 An outstanding musical album from the legends Laxmikant-Pyarelal and Majrooh Sultanpuri. As many as “ 7 SOLO”” songs….4 lovely, melodious solo songs by Lata Mangeshkar and 3 mellifluous solo sung by Mohammad Rafi. The film was directed by Amar Kumar, starring Dharmendra – Sharmila Tagore and Mumtaz.
Laxmikant-Pyarelal were in supreme form in 1967/68. Whatever Laxmikant-Pyarelal composed used to become popular and hit. MERE HAMDAM MERE DOST is one of the best musical albums, ever-fresh, ever-green. The songs are popular even today. Almost all the songs are melodious and sweet and are beautifully decorated with wonderful orchestra arrangements.
— Chhalkaye Jaam …Rafi
— Tum Jao Kahin ..Lata
— Allah Ye Ada Kaisi ….Lata
— Hame To Ho Gaya Hai Pyar.…Lata
— Hui Sham Unka Khayal.…Lata
— Chalo Sajana Jahan Tak Ghata Chale
(Singer:- Lata Mangeshkar Songwriter:- Majrooh Sultanpuri)
“Prelude” is full of VIOLINS and SAXOPHONE, beautiful “pause” at the start…The way Lataji sings the words.. “Chalo oooo….” and ‘laga kar mujhe ‘’’gale ..eee”””………is the ‘beauty’ of romantic rendering. First “interlude” full of SANTOOR and later with VIOLINS just brilliant. Second “interlude” starts with SAXOPHONE. VIOLINS are overlapped with the sound of SANTOOR. Third “interlude” starts with VIOLINS and ends with FLUTE. Not to forget about different types of DHOLAK rhythm…and “pause” by Lataji at the end.
— Na Ja Kahin Ab Na Ja
(Singer:- Mohammad Rafi. Songwriter:- Majrooh Sultanpuri)
Romantically sung and composed an addict song. “Prelude” is full of Rafi sab’s ‘humming’ and VIOLINS. The entire song is composed of the western style rhythm created on ACOUSTIC GUITAR. In all the ‘interludes’ .ACCORDION, BASS GUITAR and VIOLINS are beautifully executed without changing the rhythm.
MERE HAMDAM MERE DOST is the rarest of rare musical film by Laxmikant-Pyarelal which could not do any magic at the box office. Even preLATA MANGESHKAR & Laxmikant-Pyarelal “classic”sense of BIG stars Dharmendra/Sharmila Tagore/Mumtaz could not do anything. But the songs “clicked”.
3 SATYAKAM 1969
Satyakam is directed, in a persuasive manner by Hrishekesh Mukharjee. Other assets are powerful performances by Dharmendra, Sharmila Tagore and Sanjeev Kumar , excellent dialogues by Rajendrasingh Bedi as well as melodious music by Laxmikant-Pyarelal who were working with Lyricist Kaifi Azmi for the first time.
— Abhi Kya Sunoge ..Lata
— Zindagi Hai Kya Bolo… Mukesh, Mahendra Kapoor, Kishore Kumar
— Do Din Ki Zindagi….
(Singer:- Lata Mangeshkar. Songwriter:- Kaifi Azmi.)
An extremely melodious song. SANTOOR in 14 seconds ‘prelude’. Beautiful DHOLAK/TABLA rhythm. First interlude is orchestrated with SANTOOR, SAROD, FLUTE and solo VIOLINS. Second ‘interlude’ is full of SITAR and SAROD. Third ‘interlude’ awesome AALAP by Lataji as well as solo VIOLINS. Also listen to the ‘rhythmic “pause”
4 PYASI SHAM 1969
Starring Sharmila Tagore – Sunil Dutt. Average hit. Good Songs.
— Aawara Mazi...Rafi
— Yaron Mera Saath ….Rafi
— Duniya Mein Dilwale….Rafi-Lata
— Yeh Kaisa Gham Sajna
(Singer:- Lata Mangeshkar. Songwriter:- Majrooh Sultanpri)
Inebriant, INTOXICATED Song. LATA MANGESHKAR and Laxmikant-Pyarelal “classic” An extremely melodious song. Lata Mangeshkar sounds very sweet with an enthralling orchestra arrangement from Laxmikant-Pyarelal . In ‘prelude’ and all the three ‘interludes’ harmonised with different tunes, by using ELECTRIC GUITAR (played by late Gorakh Sharma, the brother to Pyarelalji) sounds very appealing, symphony VIOLINS, ACOUSTIC GUITAR and ACCORDION, also used as a ‘filler’ in all the three ‘antaras’. Not to forget the “rhythm” amusingly arranged with the BONGO DRUMS. Sharmila Tagore looks smoking hot. Sunil Dutt totally intoxicated. GUITAR played in the song, mesmerizes the listeners.
5 SUHANA SAFAR 1970
Sharmila Tagore with Shashi Kapoor, very good songs.
— Paise Ka Kya Yakeen…Rafi
— Tim Tim Chamke Re…Lata
— Aaha Aaha Aa Ye Suhana Safar…Rafi
— Sari Khushiya Hai
(Singer:- Mohammad Rafi. Songwriter:- Anand Bakshi)
Mohammad Rafi, Laxmikant-Pyarelal & Anand Bakshi Simply Outstanding, The ‘Interludes’ are excellently, mellifluously & melodiously orchestrated with ‘symphony’ VIOLINS. and ACOUSTIC GUITAR.. Both the “antras” are surrounded with ‘symphony’ VIOLINS. Also enjoy tuneful BONGA DRUM ‘rhythm’.
— Chudiyan Bazar Se
(Singer:- Mohammad Rafi – Asha Bhosle. Songwriter:- Anand Bakshi)
— Aaha Aaha Aa Ye Suhana Safar
(Singer:- Suman Kalyanpur. Songwriter:- Anand Bakshi)
6 DASTAAN 1972
This film was produced by Director B. R. Chopra’s re-make of “Afsana”. This was the first and last time Laxmikant-Pyarelal worked with B R films. Film was ‘flop’, and the music was average except for two songs.
— O Mela ..Mahendra Kapoor
— Na Tu Jamee Ke Liye….Rafi (the most heard song of the film)
— Mariya My Sweet Heart ...Mahendra Kapoor- Asha Bhosle
— Hi Mein Ki Kaara… Asha
— Woh Koi Aaya
(Singer:- Asha Bhosle. Songwriter:- Sahir Ludhiyanvi)
7 DAAG 1973
To start with YASH RAJ Films first ever film, producer and director Yash Chopra wanted to utilize the ‘best’ artists available then. Rajesh Khanna was in supreme form in the early seventies, he along with Sharmila Tagore, Rakhi were the stars of the film. LAXMIKANT-PYARELAL, in top gear, from 1967, got the honor of the first music director for ”YASH RAJ FILMS”. An outstanding/evergreen/ever-fresh music of ”Daag” is still popular.
–– Mere Dil Mein Aaj Kya Hai …Kishore Kumar
–– Ni Main Yaar Mana Ni….Lata-Minoo Purushottam
— Hawa Chale Kaise….Lata
— Ab Chahe Ma Ruthe Ya Baba...Lata – Kishore
–– Ek Chehre Pe Kai Chehre
(Singer:-Lata Mangeshkar. Songwriter:- Sahir Ludhiyanvi)
Sad song with magical lyrics words by Sahir Ludhiyanvi. In this “gazal” style song ‘interludes’ are beautifully decorated by VIOLINS in “symphony” style orchestra with beautiful overlapping sound effects.
— Hum Aur Tum
(Singer:- Kishore – Lata. Songwriter:- Sahir Ludhiyanvi)
This Kishore Kumar and Lata Mangeshkar romantic song is completely woven around the rhythm based ACOUSTIC GUITAR. Another beauty of this song is ‘interludes’. Both the ‘interludes’ have different tunes. First ‘interlude’ full of ‘aalaps’ by Kishore & Lata with glimpses of VIOLINS. In the second ‘interlude’ the VIOLINS are decorated in ‘Waltz’ style with beautiful ‘pauses”.
Ajay Poundarik, Atlanta (Georgia), USA