Tetrad Of Dulcet Music:: Anand Bakshi :: Lata Mangeshkar :: Laxmikant-Pyarelal.

Tetrad Of Dulcet Music:: Anand Bakshi :: Lata Mangeshkar :: Laxmikant-Pyarelal 

Tribute to popular songwriter Anand Bakshi on his 90th Birth anniversary, 21 July. 

Laxmikant-Pyarelal with Anand Bakshi, 1680 songs from 302 films, a massive contribution to Hindi Film Music. 

When we talk of Lata Mangeshkar and Laxmikant-Pyarelal songs, 712 in numbers of sheer variety.  What mind-boggling range did we get in those numbers. 

गायिका लता मंगेशकर, गीतकार आनंद बक्षी और संगीतकार लक्ष्मीकांत-प्यारेलाल

In this blog highlighting the Tetrad Of Dulcet Music, Anand Bakshi, Laxmikant-Pyarelal and Lata Mangeshkar. Lata Mangeshkar have rendered as many as  240 solo songs, involving Laxmikant-Pyarelal & Anand Bakshi. The Tetrad’s First Song was Julmi Hamare Sanwariya from the Film, Kishore Kumar – Kum Kum Starer “Mr. X In Bombay“, 1964 

240 solo songs of different types and sheer variety, rendered by Lata Mangeshkar in the quadripartite. Considering 16 songs for the review. There are many films, listed below from this Tetrad in which Lata Mangeshkar has sung  five or more songs.

Lootera 1966 ( an outstanding Album with all SIX solo with variety from Lata  )

Sharafat 1970

Mera Gaon Mera Desh 1972..(Folkish Album, all time hit )

Raja Jani 1972

Bobby 1973 ‘(All time hit songs)

Satyam Shivam Sundaram 1978 (Eternal Classic)

Ek Duje Ke Liye 1981  

Anand Bakshi and Laxmikant-Pyarelal were known to compose a ‘Situational Songs’. Two such songs from “Mera Gaon Mera Desh” are reviewed. 

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.

Julmi Hamare Sanwariya    “Mr In Bombay” 1964

An extremely melodious song. Prelude of 38 seconds with VIOLINS, GUITAR, FLUTE and beautiful aalap by Lata ji. Awesome take off जुल्मी हमारे सांवरिया हो राम।  Ear-Pleasing DHOLAK rhythm. First ‘interlude’ is orchestrated with NADASWARAM/SHEHNAI. Second ‘interlude’ is orchestrated with NAGIN  BIN, VIOLINS. Third ‘interlude’ again NAGIN BIN and  VIOLINS. Actress Kum Kum danced wonderfully through the song. 

O Dilwalo Saaz-E-Dil      “Lootera” 1965

Actress Bela Bose entertains sea dacoits with a fabulous song and a dance onboard. GEM of composition, beautifully sung by Lata Mangeshkar. Based on Arabian Folk Tune…’Prelude” of 37 seconds with VIOLINS, BRASS INSTRUMENTS,  ACOUSTIC GUITAR and western style ‘Aalaps’ from Lata j, mesmerizes the listers. The other speciality of the song is Lata’s Voice is surrounded by the MALE CHORUS and the FLUTE, both in ‘antara’ as well as in ‘mukhada’….The orchestra arrangements is just simply the best, specially use of FLUTE, solo VIOLIN,  ACOUSTIC GUITAR, CLAPPING  and the BONGO DRUM in rhythm. Dancer Bela Bose has danced this old fashion cabaret perfectly on tune masterly filmed on Balener Ship.

Suno Sajna Papeehe Ne  “Aaye Din Bahar Ke” 1966

My most liked Lata-LP song…..The chirping sound of birds and a mesmerizing aalap at the beginning sets the tone of the song……..fabulous Flute (played by Pt. Hariprasad Chaurasiya), Santoor (played by Shivkumar Sharma)  and Sitar pieces in the interludes.

Nind Kabhi Rehati Thi Aankhon Mein  “Aasra” 1966

The song with full of “pauses”

This is an extremely melodious romantic song starts with the ‘humming’ by Lataji for first 10 seconds, we get first beautiful “pause” at 0.10 – 0.13, second, after rendering ‘Neend Kabhi Rehti Thi Aankhon Mein’ at 0.20 – 0.23, third after rendering word ’sanwariya’ at 0.33 – 0.36, this pause gives you to listen to the beautiful ‘RHYTHM’ created for this lovely song. You will listen to all these “pauses” regularly till the end. Don’t forget to listen to the ‘pause’ at 3.58 to 4.01 to highlight the FLUTE.

The entire song, mainly “interludes”, are woven around the glimpses of FLUTE (by Pt. Hariprasad Chaurasiya) and SANTOOR (by Pt. Shivkumar Sharma) and SYMPHONY style VIOLINS (at the surround sound of Lataji, in ‘mukhda’ and ‘antara’). The rhythm of DHOLAK and TABLA is worth listening to as it is of different flavor. On the top of everything…the chemistry of Lataji & LP worked miracles. Filmed on Mala Sinha. 

Jab Jab Bahar Aayee  “Taqdeer”  1967

Entire song is woven around the glimpses of PIANO, VIOLINS as well as CHORUS. 

Sanz Savere Adharon Pe Mere   “Madhavi”  1969

A beautiful, melodious, sweet ‘MEERA’ “BHAJAN” from the film “Madhavi” 1969. A classic song from the unique Tetrad  of Lata Mangeshkar,  Laxmikant-Pyarelal and Anand Bakshi.

Bindiya Chamake Gi  “Do Raaste”  1969

This “Punjabi” folkish style,  DHOLAK rhythm, sweet and melodious  song, with euphonic DHOLAK ‘rhythm’  is completely decorated with the glimpses of SANTOOR and FLUTE. Lataji’s rendering of the word ‘chamake gi’ (चमके गी) is admirable. The song rock the nation and was a top hit, number 1 song, in Binaca Geetmala Finals of  the year 1970.  The song made Mumtaz a ‘star’, overnight. 

Mar Diya Jaaye Ke Chhod Diya Jaay  “Mera Gaon Mera Desh” 1971

Raj Khosla explained to Anand Bakshi a situation where the hero is tied to a pillar and the girl wants to rescue him. Anand Bakshi was at once reminded of the dialogue between Alexander the Great and King Porus where the former asked the latter “Tumhare saath kya sulook kiya jaye?” And the song Maar diya jaye, ke chhod diya jaye… was born. Laxmikant-Pyarelal have mind-blowingly orchestrated this fabulous song, with 43 seconds of “prelude”, “interludes” and mesmerizing DHOLAK rhythm. The song is beautifully filmed on Laxmi Chhaya. 

Apani Prem Kahaniyan   “Mera Gaon Mera Desh” 1971

One of the best “”situational”” numbers you would get to see. It’s gestural song situation. Raj Khosla have done the best to film this songThe police get no help either, when they arrive in village “mela”/Fair.. . Nobody is willing to recognizing “Dacoit” Jabbar Singh (VINOD KHANNA) and his gang. Ajit ( DHARMENDRA ) seeks the help of dancing girl Munnibai (LAXMI CHHAYA), to identify Jabbar Singh in a village “mela”. Through the dancing on song, Munnibai is giving many hints of Jabbar Singh’s physic, dress and the location where he is standing…This popular dancing song has a perfect set of village fare. Costumes, Cinematography is excellent.  ANAND BAXI, has worded this song according to the situation demand.  LAXMIKANT-PYARELAL have decorated this song with mellifluent orchestra arrangements. “Prelude” and all the “Interludes” are justifying the village “mela”/fair music. The RHYTHM of the song is mesmerizing. LATA MANGESHKAR simply outstanding…The song is beautifully filmed on Laxmi Chhaya. 

Bandhan Toote Na  “Mom Ki Gudiya”  1972

This song can be considered as a Very Very Special from Lata Mangeshkar / Laxmikant-Pyarelal/Anand Bakshi. Rendered on high pitch, without losing it’s Melody part. It is based on Indian Classical raaga. SAROD, RUBAB as well as VIOLINS are sweetly instrumented in the song.  Based on Indian Classical ‘Raag’. Filmed on Tanuja 

Dard – E – Dil Badhata  Jaye    “Buniyad” 1972

CABARET song with MELODY: Laxmikant-Pyarelal’s work is characterized by a notable openness to a wide variety of musical styles and instruments. Classical ragas mix with JAZZ horns, WAH-WAH GUITAR, FLUTE, funk and disco RHYTHMS, and the insistent beat of the DHOLAK.  How brilliantly the western instruments like BAMBOO FLUTE and GUITAR are synchronized with Lata’s sweet voice, in this mellifluous orchestra arrangements . All the three interludes have different tunes.

During the sixties & seventies Lata and Laxmikant-Pyarelal combination have delivered some of the most melodious songs to the Indian Film Industry and this is one them.

This is one of the sweetest cabaret song sung by Lata for LP. This song is written by none other than Anand Baxi. Filmed on actress Bindu. 

Bhor Bhaye Panghat Pe    “Satyam Shivam Sundaram”  1978

67 seconds of resonant ‘preludes’ starts with euphonic ‘aalaps’ by Lataji, TWEETING BIRDS sound, protruding as well as integrating surround sound effect of symphony style VIOLINS, GHUNGROO BELLS and finally hypnotising DHOLAK / TABLA rhythm which is the asset of this songs. GHUNGROO BELLS are beautifully synchronised  with the DHOLAK / TABLA rhythm, throughout the song.  Interludes are well orchestrated with GUITAR, SITAR, FLUTE, SYMPHONY style VIOLINS and CELLOS. Filmed on Zeenat Aman. 

Sheesha Ho Ya Dil Ho      “Aasha”  1979

20 seconds of ‘prelude’ is full of Latajis honeyed AALAPS. Brilliant take off…शीशा हो या दिल हो …She gives 3 seconds of singing ‘pause’  for symphonious DHOLAK rhythm. First and Second interludes are orchestrated with an ACCORDION. Third interlude has a solo display of VIOLIN. Another beauty of this song is ‘singing’ and ‘rhythmic’ pauses. This beautiful song is filmed on Reena Roy singing this song on stage. 

Tere Mere Beech Main    “Ek Duje Ke Liye”  1981

Composed in Hindustani Classical Raag “SHIVRANJANI”. 16 seconds of ‘prelude’ orchestrated with glimpses of GUITAR, Symphony style CELLOs, and VIOLINS and awesome aalaps by Lataji. Excellent “DHOLAK” rhythm. SANTOOR, FLUTE, VIOLINS and SHEHANAI are mellifluously decorated in the orchestra. Filmed on Rati Agnihotri 

Nindiya Se Aayee Bahar    Hero 1983

55 seconds of “Prelude” is in SYMPHONY style with excellent use of CELOs intermixed with the rendering of Lataji and BIRDs TWEETING sound. SHEHNAI is nicely played in the first “ interlude”. Second “interlude” is full of FLUTE. Once again an excellent DHOLAK rhythm. Lovely composition. glimpses of FLUTE (by Pt. Hariprasad Chaurasiya). Filmed on Meenakshi Sheshadri. 

Jind Le Gaya Wo Dil Ka Jaani  “Aap Ke Saath” 1986.

Good song with typical LP style melody filmed on Smita Patil. 

Ajay Poundarik Atlanta (Georgia) USA.