Conspicuous Ternion :: Majrooh Sultanpuri & Laxmikant-Pyarelal

Conspicuous Ternion :: Majrooh Sultanpuri & Laxmikant-Pyarelal

Majrooh Sultanpuri, as a songwriter, entered into film music in 1945. His contributions to the Indian film music is boundless. His lyrics effortlessly blend with the tunes, the words soothingly flowing over the notes that even after decades’ people would still murmur these numbers. 

Young Laxmikant-Pyarelal made a staggering and incredible entry into Hindi Film Music in 1963, through the music of the film Parasmani. Likewise Majrooh Sultanpuri, Laxmikant–Pyarelal too have immeasurable services in hindi film music, persistently, for nearly 500 films, in 35 years, starting from 1963 to 1998. 

In 1964, the partnership of Majrooh Sultanpuri and Laxmikant-Pyarelal started through the film Dosti. Laxmikant–Pyarelal got more out of the veteran Mahrooh in Dosti (1964). It was Majrooh’s award-winning lyrics. Majrooh won his only filmfare award. Laxmikant–Pyarelal too won their first Filmfare award for the music of  Dosti.  

Majrooh Sultanpuri and Laxmikant-Pyarelal worked for nearly 40 films. The Laxmi-Pyare and Majrooh team produced some spectacular, noteworthy albums like Dilllagi (1966), Pathar Ke Sanam (1967), Shagird (1967), Mere Hamdam Mere Dost (1968), Dharti Kahe Pukar Ke (1969), Abhinetri (1970), V. Shantaram’s classic, dance-musical, Jal Bin Machhli Nritya Bin Bijlee (1971), Ek Nazar (1972), Imtehan (1974) and many more but for most music lovers, Dosti (1964) towered above them because of its freshness and simplicity.

DOSTI film, directed by Satyen Bose, gave ‘name’ and ‘fame’ to both Laxmikant-Pyarelal and Rajshri Films (Tarachand Barjatya), as well.  DOSTI music put Laxmikant-Pyarelal in top music directors rank and made them a “household name”.      

After this victorious feat Laxmikant-Pyarelal and success went together without a break or loss of continuity.

Listing below Majrooh Sultanpuri and Laxmikant-Pyarelal Films:- 

Dosti  1964

Mere Lal 1966

Dillagi  1966

Patthar Ke Sanam 1967

Shagird  1967

Mere Hamdam Mere Dost   1968

Baharon Ki Manzil  1968

Pyasi Shaam 1969

Wapas  1969

Meri Bhabhi 1969

Dharti Kahe Pukar Ke   1969

Abhinetri  1970

Jal Bin Machhali Nritya Bin Bijlee   1971

Ek Nazar  1972

Barkha Bahar  1973

Anokhi  Ada 1973

Nirman  1974

Imtihan  1974

Anari  1975

Mere Sajana 1975

Dus Numbari  1976

Naach Uthe Sansar  1976

Parvarish  1977

Ladies Tailor  1981

Khoon Aur Paani  1981

Pakhandi 1984

Watan Ke Rakhwale  1987

Janam Janam 1988

Kanoon Ki Zanjeer 1991

Rishta Ho To Aisa 1992

Badi Bahan 1993

BINACA GEETMALA 

Majrooh Sultanpuri and Laxmikant-Pyarelal are involved in a total 22 numbers of Binaca Geetmala Finals. 1964 started with 2 songs from “Dosti ”.  Position / Number 2 in 1965, “Dosti ” Chahunga Mein Tuze Sanz Savere.  In 1966 the songs from ‘DillagiYe Aaj Kal Ke Ladake and “Mere LalPayal Ki Jhankar Raste Raste made a big impact in the finals.  

In 1968  total 8 songs of Laxmikant-Pyarelal found a place in the finals. Out of 8 songs  6 songs were from Majrooh-LP,  two each from “Shagird,” Bade Miyan Deewane and  Dil Wil Pyar Wyar,  “Mere Hamdam Mere Dost’ Chhalkaye Jaam and Chalo Sajana,Patthar Ke Sanam Mehboob Mere Mehboob Mere and Batadu Kya Lana, found the place in final songs with  Number 1 song, top of the chart from  “ShagirdDil Wil Pyar Wyar Main Kya Janu Re.

1969 Number 12,  Ek Tera Saath .”Wapas”, number 8 Je Hum Tum Chori Se Dharati Kahe Pukar Ke”. 1970 number 8 Sa Re Ga Ma PaAbhinetri”. In the year 1971, two  songs from “Jal Bin Machhli Nritya Bin Bijlee”  O Mitwa O Mitwa  and Taron Na Sajkę found the place in the finals. 

Laxmikant, Majrooh Sultanpuri & Pyarelal

Review of the songs:-

I have tried to get the best of Majrooh Sultanpuri ** Laxmikant-Pyarelal. BUT I cannot forget the FOUR GEMS. Two each from “Imtihan” (1974), ‘ruk jana nahin’ ** roz sham aati thi, and “Mere Sajna” (1975) ‘maine kuchh khoya hai’ ** ‘ye kaun hasa’ two each rendered by Kishore Kumar and two each sung by Lata Mangeshkar.  Unique styles in terms of songwriting, composition as well as rendering. I feel sorry for not posting  musical “Dillagi” (1964) songs.

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.

DOSTI    1964    (Singer:-  Mohammad Rafi)

It was Rajashri Film’s second movie with No Stars, No Heroin, No Hero.  Most of the prominent music directors of that time refused to score the music for this film as there was no star cast (two teenage unknown actors) and also they felt there was nothing in the film to compose the songs for Blind and Physically Disabled Children. But Laxmikant-Pyarelal took up the challenge and the film music became a History. All the songs written by Majrooh Sultanpuri and melodiously composed by Laxmikant-Pyarelal became the “STAR” of the films.

Mera To Jo Bhi Kadam….M Rafi

Rahi Manwa Dhukh Ki Chinta….M Rafi

Janewalo Jara Mudke….M Rafi

Koi Jab Raah Na Paye….M Rafi

Gudiya Hamse Ruthi...Lata

Chahunga Main Tuze Sanz Savere…..(Singer:-  Mohammad Rafi )

The most famous song from the film. It starts with the sentimental “prelude”, full of FLUTE, in raag ‘pahadi’. BAMBOO FLUTE and VIOLINS are admirably executed in all the ‘interludes’. SYMPHONY style VIOLINS are mellifluously used, as ‘filler’ at the end of each of ‘anara’ that is the ‘beauty’ of the composition. The song has an excellent “DHOLAK” rhythm.  Mohammad Rafi is simply outstanding in rendering. Initially this song was to be scrapped from the soundtrack. It was Rafi Saab who insisted Laxmikant-Pyarelal to retain the song and what a momentous decision that was from Dosti where there was no looking back. Rafi was so impressed with the compositions of Laxmikant Pyarelal that he had taken just one rupee for singing the song.

MERE  LAL  1966  (Singer:-  Lata Mangeshkar)

Average hit film directed by Satyen Bose, starring Indrani Mukharjee and Dev Kumar. The song ‘Payal Ki Jhankar Raste Raste’, pulled the crowd into the cinema hall, the superhit song of the year 1966. Lata Mangeshkar has sung 5 solos. The songs were  good. 

— Lal Tera Jug Jug Jiye Mata …Lata

— Jabtak Ye Sansar ….Mukesh – Usha

— Meri Patli Kamar Lambe Bal Re ….Lata

— Badal Roye Naina Roye …Lata

Payal Ki Jhankar Raste Raste     (Singer:-  Lata Mangeshkar)

Mesmerizing “Prelude” of 40 seconds, full of HARMONIUM, MANDOLIN (overlapped with Harmonium), FLUTE and DHOLAK, sets the mood to listen to this gem of composition. Entire song is woven around glimpses of HARMONIUM (played by Sonik Verma, a Blind Musician, of Sonik-Omi music director pair). All the “Interludes” have different tunes. The Best Song In Terms Of Use Of Harmonium. MANDOLIN is brilliantly used as a “filler” in between Lata Mangeshkar’s voice, giving ear-pleasing moments. Super Duper HIT song of the year 1966, A sheer VARIETY from the unique combo of LATA MANGESHKAR & LAXMIKANT-PYARELAL.

The song is filmed on Indrani Mukharjee who gambol beautifully on DHOLAK rhythm. 

PATTHAR KE SANAM  1967   (Singer:-  Lata Mangeshkar)

It was A G Nadiadwala production film directed by Raja Nawathe. Manoj Kumar, Waheeda Rehman Mumtaz starrer, a super hit movie. All the songs are hit. The songs became popular and still can be heard even today. 

Bata Du Kya Lana …Lata

Koi Nahi Hai Phir Bhi ….Lata

Aye Dushman – E- Ja…. Asha 

Tauba Ye Matwali Chal…….Mukesh

Mehboob Mere Mehboob Mere… (Singer:- Mukesh – Lata Mangeshkar)

When #Pyarelal ji told Pandit Shivkumar Sharma to play #SANTOOR with his “nails” for this melodious song. LAXMIKANT-PYARELAL have extensively used the mellifluous instrument from “Kashmir” named SANTOOR…. Santoor used to be prominently played instrument in most of the songs by Laxmikant-Pyarelal right from 1965. There are many TOP HIT songs which are decorated with Santoor in Laxmikant-Pyarelal’s orchestra arrangements. This particular song from “Patthar Ke Sanam” (1967) is awesomely orchestrated, “prelude’ of 16 seconds and all the “interludes”, with SANTOOR (played by Pandit Shivkumar Sharma) and the FLUTE (played by Pandit Hariprasad Chaurasiya). To create a different sound of Santoor, in the song, Pyarelalji told Shivji to use his ‘nails’ instead of the ‘wooden sticks’. Even the ‘strokes’ of the Santoor in the song, at various places, are played through the nails. See how beautifully this immortal song has been created. This song is Laxmikant-Pyarelal’s symphonic orchestra arrangements with astonishing DHOLAK rhythm. 

SHAGIRD   1967  (Singer:-  Lata Mangeshkar)

A comedy movie. Story between Confirmed bachelor, professor and his student who consider him as a mentor. Produced by Subodh Mukharjee and Directed by Samir Ganguly. It was a super musical hit celebrating Golden Jubilee Run (50 weeks) in many towns of India. The film has Joy Mukharjee -Saira Banu in lead and comedian I S Johar. All Songs HIT.

Bade Miyan Deewane Aise Na Bano  …Manna Dey – M. Rafi

Kanha Kanha Aan Padi Mein…Lata

Dil Wil Pyar Wyar Main Kya ...Lata (Number -1, TOP song of Binaca Geetmala 1968)

Woh Hai Zara Khafa Khafa …Lata-Rafi (all time hit)

Udate Pawan Ke Sang ….Lata (India’s sound of music)

Duniya Pagal Hai Ya Phir Main Deewana (Singer:- Mohammad Rafi)

Rock N Roll style rhythm. GUITAR is excellently orchestrated.

MERE HAMDAM MERE DOST   1968  (Singer:-  Lata Mangeshkar)                                                      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 solos sung by Mohammad Rafi. The film was directed by Amar Kumar, starring Dharmendra – Sharmila Taigore and Mumtaz. Laxmikant-Pyarelal were in supreme form in 1967/68. Whatever Laxmikant-Pyarelal composed used to become popular and hit.

The songs are popular even today. Almost all the songs are melodious and sweet and are beautifully decorated with wonderful orchestra arrangements. 

Chalkaye Jaam  …Rafi

Tum Jao Kahin ..Lata

— Hamen To Ho Gaya Hai….Lata

Allah Ye Ada Kaisi ….Lata

Hame To Ho Gaya Hai Pyar.…Lata

– Chalo Sajna Jahan Tak Ghata Chale ...Lata

Hui Sham Unka Khayal      

“Prelude” is full of SAXOPHONE and PIANO with other western instruments, sets the mood of the song. A mesmerizing composition and mellifluous orchestra arrangements. Entire song is woven around the glimpses of SAXOPHONE, ACOUSTIC GUITAR & CLARINET. In all the “interludes”. Overlapping sound effect of SAXOPHONE/CLARINET with PIANO is just brilliant. VIOLA , GUITAR, CELLOS & VIOLINS are also brilliantly executed in entire song. Another beauty of the song is it’s “ rhythm” DHOLAK / TABLA are used only in “antara”…all the “interludes:” are without any rhythm but just ear-pleasing. An addict song for me. One of the finest composition from Laxmikant-Pyarelal …MOHAMMAD RAFI is simply outstanding.

BAHARON KI MANZIL   1968    (Singer:-  Lata Mangeshkar)

One of the finest musical albums from Majrooh – LP. Dharmendra – Meena Kumari. This film too has as many as 4 solo from Lata Mangeshkar. All are classic.

— Aaja Re Piya ..Lata

— Janam Din Aaya…Lata

— Ye Daman Ab Na Chhutega

Nigahen Kyon Bhatakti Hai        (Singer:-  Lata Mangeshkar)

Haunting melody, an extremely melodious song. Enjoy the beautiful DHOLAK rhythm as well as Lataji;s AALAPS. Lataji steels the show while singing चले आओ, ss  चssले आओ

WAPAS  1969                                                                                                                                    The film is directed by Satyen Bose (who directed “Dosti”, “Mere Lal” earlier). Starring unknown actors and actresses, Shekhar Purohit, Azra, Alka, Satyajeet and Parikshit Sahani ( Ajay Sahani) who was making his debut. The film has some fabulous music. Out of the total five songs FOUR songs are rendered by Mohammad Rafi.

Paijaniya Chhanake Ram..Rafi (pure Indian classical)

— Aayi Baharon Ki Shaam…Rafi (western classical)

Gudiya Si Meri Ladali …Rafi

Door Hai Wo Aanchal …Rafi

Zun Zuna Zaaje …Usha Mangeshkar

Ek Tera Saath    (Singers:- Lata – Rafi) 

Magnificent magical praiseworthy poetic song of Majrooh Sultanpuri, romantic eternal feelings, a very amazing duet. MELODY with a SYMPHONY style orchestra arrangements. You can enjoy a FUSION style, in almost all the Laxmikant-Pyarelal compositions. A fusion genre is music that combines two or more styles. FLUTE, VIOLA, SANTOOR with TABLA are brilliantly executed in this song. In the interludes, Flute & Viola give different tunes and along the side you enjoy Tabla rhythm with the ear-pleasing display of SANTOOR. The song is based on Indian Semi-Classical raag and the orchestra has a western style touch. LP’s specialty is a “PAUSE’ .. is another plus point of this song. This has been an extremely melodious song sung by Mohammad Rafi and Lata Mangeshkar. An addict one for me. Don’t forget to listen to the start with Rafi’s voice “Ek Tera Saath” .. just brilliant take-off..

DHARTI KAHE PUKAR KE    1969   (Singer:-  Lata Mangeshkar)

Musical Blockbuster Film with Captivated Songs. Deenanath Shastri, the producer of the film and a very good friend of songwriter SHAILENDRA, has signed Shailendra to write the songs for this film. But the sudden death of Shailendra put the full-stop to Laxmikant-Pyarelal with Shailendra.

— Jaa Re Kare Badra ..Lata

— Khushi Ki Raat Aa Gayi ..Mukesh

— Diye Jalaye Pyar Ke ..Lata (Beautiful song composed  in “WALTZ” style)

— Dharti Kahe Pukar Ke ..Rafi

Je Hum Tum Chori Se ..  (singers:- Lata Mangeshkar – Mukesh )                                                      An Extremely Melodious Duet Composed In “Folkish” Style.                                                                       27 second of ‘prelude’ full of BANSURI, SANTOOR & FLUTE. Traditional Musical Instruments SHEHNAI / NADASWARAM are predominantly used in the orchestra mainly in all the ‘interludes’ and ‘postlude’. Euphonious DHOLAK ‘rhythm’ synchronized with the GHUNGROO BELLS, enthralls the listeners.

ABHINETRI    1970    (Singer:-  Lata Mangeshkar)

It was Subodh Mukharjee’s musical hit movie. Once again Album is dominated by Lata Mangeshkar who has sung as many as 6 songs, including 4 solos. All songs are melodious and wonderfully composed. 

Sajna O Sajna….Lata (Fabulous melody and composition)

Dhadkan Har Dil Ki …. Lata

— Khinche Humse Sanware ….Lata (Beautiful DHOLAK rhythm)

Sa Re Ga Ma Pa….Lata-Kishore (The most popular song of the film)

Milte Hi Rahenge Hum …. Lata-Mahendra – K.

Bane Bade Raja ….Asha Bhosle. 

O Ghata Sawari   (Singer:-  Lata Mangeshkar)

 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 the 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.

JAL BIN MACHHALI NRITYA BIN BIJLEE   1971    (Singer:-  Lata Mangeshkar)

To work with veteran Actor, Producer – Director, Dadasaheb Phalke Award winner  

V Shantaram used to be a pride. He was a great connoisseur of talent.The quality of the songs and music for V. Shantaram film’s used to be unique and special. Music used to be the asset for his films. V. Shantaram used to have something new for his film. This time it was for the First Time For Hindi Film Music all the songs of this film were recorded in Stereophonic Sound System. Lata Mangeshkar has sung as many as FOUR solo songs in addition to TWO duets with Mukesh. Mukesh has sung one song which became immensely hit. If you look at this JBMNB Album, all the songs are composed in a different style. Each and every song have different compositions and ‘rhythm’ patterns, as well. The orchestra arrangements for all the songs is just mesmerizing.

Man Ki Pyas Mere Man Se …..Lata

Jo Main Chali…Lata

O Mitwa O Mitwa…..Lata

Baat Hai Ek Boond Si….Lata – Mukesh

— Jhum Ke Gaye Dil ...Lata – Mukesh

Taron Ne Sajke...Mukesh

Kajara Laga Ke Bindiya Saja Ke  (Singer:- Lata Mangeshkar)

The anecdote described  by Shree Pyarelalji, how the song was recorded. A long musical sitting was held between V. Shantaram, Actress Sandhya, Laxmikant-Pyarelal and Majrooh Sultanpuri. Actress Sandhya first demonstrated the dance steps, performed the full dance and then told Laxmikant-Pyarelal to prepare the tune and rhythm by watching her steps. It was a different and unique style to compose the song.  Laxmikant-Pyarelal along with Lata Mangeshkar and Majrooh Sultanpuri came out with an outstanding composition.

A song on #MAYURDANCE. One more gem of composition with different styles. FLUTE is prominently used in western style. Perhaps the longest “prelude” 3 minutes and 27 seconds of beautiful dance sequence. This song is a GEM. FLUTE and SANTOOR, VIOLIN, VIOLA and GUITAR are prominently used and synchronized as well as overlapped, in western style orchestra arrangements with different styles of rhythm with DHOLAK. Also don’t forget to listen to the “postlude” of the song and “Mayur Dance”.

EK NAZAR   1972      (Singer:- Lata Mangeshkar)

It was the first film of B R Ishara as a Producer / Director, starring, Husband – Wife pair of  Amitabh BachchanJaya Bhaduri, with lustrous music by Laxmikant-Pyarelal. Melodious songs, great music by Laxmikant-Pyarelal and heart touching lyrics by Majrooh Sultanpuri , all the songs were phenomenal but since the film flopped went under popularity.

— Patta Patta Buta Buta — Lata-Rafi  (the most popular song of the film)

— Pehle So Baar ..Lata (beautiful Mujra song)

— Hameen Karen Koi Soorat Unhe Bhulane Ki….Lata (beautiful Mujra song)

— Pyar Ko Chahiye Kya ..Kishore (rare Gazal song from Kishore Kumar)

Ai Gham-E-Yaar   (Singer:- Mahendra Kapoor)

Perhaps this is the only song sung by Mahendra Kapoor for Amitabh Bachchan. 30 seconds of ‘prelude’ full of FLUTE, SANTOOR, CELLOS and  VIOLINS. IRANI SANTOOR, VIOLINS, SARANGI, CELLOS are awesomely instrumented in the ‘interludes’. Tuneful DHOLAK rhythm. 

ANOKHI ADA  1973

Musical hit film starring JeetendraRekha and Mehmood

Sundari Hi HI Sundari ….Kishore

Tere Dil Main …Lata-Rafi

Jawani Tera Bol Bala….Manna Dey – Asha 

Gum Gayi ..Asha

Haal Kya Hai Dilon Ka     (Singer:- Kishore Kumar)

IMTIHAN   1974    (Singer:-  Lata Mangeshkar)

It’s said in our ancient scriptures that the Guru (teacher) has to set and follow extremely high standards for his conduct because he is an idol for the Shishyas (students) which they adore and emulate. “Imtihaan” , by default, has this story . An inspiring movie to all the movie-buffs.

The songs from this film, all the four songs are hit. It was a film between super hits of Laxmikant-Pyarelal  “Bobby” , “Daag” , “Manchali” and “Roti Kapda Makan”, “Loafer”.

Roz Sham Aati Thi …..(Singer:- Lata Mangeshkar)

The unique combo of Lata Mangeshkar and Laxmikant-Pyarelal have given many memorable songs in the sixties ( close to 179 songs). It was also expected to deliver the best in the seventies too. The song is popular even today. On the top of everything…the chemistry of Lataji and  LP worked miracles.

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 shaam 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.

Ruk Jana Nahin      (Singer:- Kishore Kumar)                                                                     Inspiration Song. Wonderful Singing by Kishore Kumar on “high notes” and perhaps one of his best songs in the mid-seventies, carrying  variety. Beautifully penned by Majrooh Sultanpuri, truly an inspiring word. Wonderful decoration of highly RICH orchestra consists of CHURCH BELL (overlapping with the ‘rhythm’), GUITAR, IRANI SANTOOR, ACOUSTIC GUITAR, VIOLINs, FLUTE  and TRUMPET (Military BIGUL). Western style “rhythm” with Bongo Drums. All the three “interludes” have three different tunes. Another ‘killer’ part of the song is the various “pauses” given by Kishore Kumar and Laxmikant-Pyarelal.

MERE SAJNA  (1975)

Naveen Nischal – Rakhee Gulzar starrer with good songs. 

— Mere Sajna …Lata

Maine Kuchh Khoya Hai     (Singer:-  Kishore Kumar)

Unique composition 

Ye Kaun Hasa  (Singer:-  Lata Mangeshkar)

Again Lata Mangeshkar & Laxmikant-Pyarelal chemistry worked for this uncommon composition. 

Ajay Poundarik, Atlanta (Georgia), USA.

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ajaypoundarik

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 & AFGHANISTAN.

6 thoughts on “Conspicuous Ternion :: Majrooh Sultanpuri & Laxmikant-Pyarelal”

  1. Excellent analysis. Taron Me Sajke (Mukesh & Chorus, not Lata) of JBMNBB is heavily influenced by Good Bad and Ugly music. This is quite strange for a film by V. Shataram.

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    1. There are no words to describe of the trios.
      Great Lyricist Majroohsaheb & Great duos Laxmikantji & Pyarelalji.
      Hates off.

      Like

  2. The Story Narrated By Mr. NAYAN SHAH, An Oldest LP Fan.
    ————————————————————————————
    ॐ श्री गुरुवे नमः
    ये बात 1963 की है। मुंबई का सिद्धि विनायक मंदिर और उस मंदिर के सामने वाली बिल्डिंग मे राजश्री फिल्म्स की ऑफिस। राजश्री की पहेली फिल्म थी आरती, प्रदीप कुमार और मीना कुमारी, गीतकार थे जनाब मजरूह सुल्तानपुरी और संगीतकार थे रोशन साब।
    अब राजश्री की दूसरी पिक्चर की तैयारी शुरू हो गयी थी, नाम था दोस्ती, और राजश्री की ऑफिस मे कोई मीटिंग चल रही थी जिसमे श्री तारचंद बड़जात्या (बाबूजी), डाइरेक्टर सत्येन बोस, स्टोरी रायटर बान भट्ट, गीतकार मजरूह सुल्तानपुरी और आरती फिल्म के संगीतकार रोशन साब, बातचीत का दौर शुरू हुआ, रोशन साहब ने बाम भट्ट जी से कहानी क बारे मे पूछा और भट्ट जी ने कहा की ये एक अंधे लड़के और एक लँगड़े लड़के की दोस्ती की कहानी है और उन्होने संक्षिप्त मे कहानी का सार बयान किया
    और ये कहानी सुनते ही रोशन साब का दिमाग सातवे आसमान पर आसमान पर पहुँच गया और वो बोले की जिस कहानी मे कोई रोमांस नहीं है, कोई हीरो और हीरोइन नहीं है, कोई आउटडोर लोकेशन नहीं है और है तो सिर्फ एक अंधे और एक लँगड़े लड़कों की दोस्ती तो ऐसी स्टोरी मे कुछ भी म्यूजिक कोंपोज करने की कोई जगह ही नहीं बनती और मै ऐसी पिक्चर के लिए म्यूजिक कोंपोज नहीं करूंगा, ये कहेकर वो चले गये।
    एक सन्नाटा सा चा गया, कोई कुछ भी बोल नहीं पा रहा था, इतने मे बाबूजी की ऑफिस का कोई बंदा बाबूजी क पास आया और उसने बाबूजी से कहा की वो अभी किसी रिकॉर्डिंग स्टुडियोसे वापस आया है और वहाँ पर कोई नए संगीतकार की जोड़ी का रिकॉर्डिंग चल रहा है और उसने कहा की जितना भी उसने सुना वो उसको अच्छा लगा।
    उए सुनके बाबूजी ने उस रिकॉर्डिंग स्टुडियो पर फोन करके पता किया की वहाँ किसकी रिकॉर्डिंग चल रही है?
    रिकॉर्डिंग स्टुडियो वाले ने बताया की अभी एक नयी संगीतकार जोड़ी लक्ष्मीकनत प्यारेलल की शिफ्ट चल रही है तो बाबूजी ने उनसे बात करने की ख्वाइश ज़ाहिर की, स्टूडिओवाले ने बताया की अभी टेक चल रहा है और पूरा होने पर वो फोन पे बात करा देंगे। फिर चाय पानी का दौर शुरू हुआ। थोड़ी देर बाद स्टुडियो से फोन आता है और फोन पर लक्ष्मी जी बात केआर रहे होते हैं, बाबूजी ने कहा की वो उनसे मिलना चाहते हैं तो लक्ष्मी जी ने कहा की आपको आने की ज़रूरत नहीं है एचएम काम खत्म करके आपसे मैने आते हैं।
    अब बाबूजी ने कहा की जेब ये दोनों संगीतकार आये तब वो वही बोलेंगे जो रोशन साब बोलके चले गये थे।
    तकरीबन 2 घंटे बाद दो नौजवान राजश्री की ऑफिस मे दाखिल हुए और सलाम दुआ क बाद बात चित दौर शुरू हुआ।
    फिर वही कहानी का सार सुनाया गया तो बाबूजी न कहा की जिस कहानी मे कोई रोमांस नहीं है, कोई हीरो और हीरोइन नहीं है, कोई आउटडोर लोकेशन नहीं है और है तो सिर्फ एक अंधे और एक लँगड़े लड़कों की दोस्ती तो ऐसी स्टोरी मे कुछ भी म्यूजिक कोंपोज करने की कोई जगह ही नहीं बनती, कोई क्या म्यूजिक कोंपोज करेगा।
    तब लक्ष्मी जी ने मजरूह साब की तरफ देख केआर पूछा की आपने कितने गाने तैयार किए हैं? मजरूह सहहब ने बताया की अब टीके मैंने 4 गाने कहानी की सिचुएशन को मद्धेनजर केआर क लिखे हैं। दोनों गुरुवर ने बड़ी शालीनता से बाबूजी को कहा की वो इस फिल्म मे संगीत देंगे और ये बीड़ा उठा लिया और मज्र्रोह साहब से गाने ले लिए, स्टोरी को समाज लिया और 7 दिन क बाद फिर मिलने का तय करके चले गये। सात दीनो बाद, चारों गीत को तैयार करके बाबूजी, सत्येन बोसे जो फिल्म के डाइरेक्टर थे और मज्र्रोह साब को सुनाये, और आज 56 साल बाद भी वो गीत और संगीत लोगों के दिलोंदिमाग पर छाया हुआ है, और दोस्ती फिल्म की सफलता का श्रेय इन गीतों को और संगीत को जाता है।
    मैं ये एसब इसलिए जनता हूँ क्यूँ की उस दिन मै भी बाबूजी क साथ उनकी ऑफिस मे था। असल मे मेरी बहन उसी बिल्डिंग मे रहेती थी और बाबूजी और उनके परिवार क साथ दीदी का घरेलू रिश्ता था और एक कड़ी जो बाबूजी और दीदी क बीच थी की हम सब का धरम भी एक ही था हमसब जैन धर्म क अनुयाई थे। दोस्ती रिलीज़ हुई और एक इतिहास रच गया।

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  3. I have only one word for this write up.
    MASTERPIECE……
    LOVERS OF L P MUSIC WILL BE READING THIS BLOG IN YEAR 2500 AND MAY SAY ONLY ONE WORD. THANK YOU.
    HEARTIEST REGARDS..
    SUNIL AMIN.

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