Lata – Rafi::Symphonious Duets Composed By Laxmikant-Pyarelal

Hindi film songs are present in Hindi cinema right from the first sound film Alam Ara (1931). It did not take much time for the Duets Songs to be featured in Hindi Films. Almost all the music directors of the past have composed some memorable duets. In this topic we are reviewing some of the best duet songs rendered by Lata Mangeshkar – Mohammad Rafi under the music directors Laxmikant-Pyarelal. 

Since their very first film “Parasmani” in 1963, Laxmikant-Pyarelal have composed some spectacular duet songs with two legendary singers, Mohammad Rafi – Lata Mangeshkar. The types of the duets include cabaret, club songs, folk, western, semi-classical etc. There are many films in which Laxmikant-Pyareal has composed two or more duets of Lata-Rafi. 

The films and the songs with TWO Lata-Rafi Duets.

Night In London, 1967,  Night In London  and  Bagh Main Phool Kisne

Aaya Sawan Jhoom Ke , 1968,  Aaya Sawan Jhoom Ke and Sathiya Nahin Jana

Jigri Dost  1968 Phool Hai Baharonka and Dil Mein Kya Hai

Humjoli 1970 Hay Re Hay and Tik Tik Tik Mera Dil Dole

Aap Aaye Bahar Aayee  1971 Koyal Kyon Gaye and Mujhe Teri Mohobbat  Ka  

Sargam 1979, Lata-Rafi have THREE duets.  Dafliwale Dafli Baja (Top Song, Number 1 in Binaca Geetmala Finals, 1979), Koyal Boli and Parbat Ke Uspaar.

Mohammad Rafi has sung the highest numbers of the songs, 379 numbers, including 183 solo, under the music directors Laxmikant-Pyarelal. In the span of 17 years, 1963 to 1980.

Top Five Music Directors who have utilized Mohammad Rafi, the most. 

Laxmikant-Pyarelal   379 songs

Shankar-Jaikishan      330 songs

Chitragupta                  225 songs

Ravi                             210 songs

Kalyanji-Anandjj         200 songs

Lata Mangeshkar has sung the highest numbers of the songs, 712 numbers, under the music directors Laxmikant-Pyarelal. In the span of 33 years  from 1963 to 1996.

Top Five Music Directors who have utilized Lata Mangeshkar, the most. 

Laxmikant Pyarelal    712 songs      

Shankar Jaikishan   453 songs      

R. D. Burman               327 songs      

C. Ramchandra   298 songs

Kalyanji Anandji   297 songs

Lata Mangeshkar and Mohammad Rafi are involved in singing 444 songs, including Duets, Triplex, Quartet, quintet etc, in the span of 32 years, from 1947 to 1980. We are considering only the Duets for this topic. 

So the duets of Lata Mangeshkar – Mohammad Rafi mounts to 411 songs, after leaving behind 33 songs of Triplex, Quartet, Multi-singes songs. 

Mohammad Rafi and Lata Mangeshkar have sung the highest number of the songs / duets, 78 numbers, under the music directors Laxmikant-Pyarelal, in the span of 17 years starting from 1963 to 1980. 

Top Five Music Directors who have utilized Mohammad Rafi and Lata Mangeshkar, the most.

Laxmikant-Pyarelal      78 Duets. 

Shankar-Jaikishan         50 Duets.

Kalyanji-Anandji             38 Duets.

Naushad                        32 Duets. 

Chitragupta                  31 Duets. 

Out of 411 duets of Lata Mangeshkar – Mohammad Rafi, 78 numbers (almost 19 %)  are composed by Laxmikant-Pyarelal. 

There are many films in which Laxmikant-Pyareal has composed two or more duets of Lata-Rafi. 

The films and the songs with TWO Lata-Rafi Duets.

Night In London, 1967, 

Night In London  and  Bagh Main Phool Kisne

Aaya Sawan Jhoom Ke , 1968, 

Aaya Sawan Jhoom Ke and Sathiya Nahin Jana

Jigri Dost  1968

Phool Hai Baharonka and Dil Mein Kya Hai

Maa Aur Mamta 1970

Apne Naino Ko Samzade and Rut Beqarar Hai 

Humjoli 1970

Hay Re Hay and Tik Tik Tik Mera Dil Dole

Aap Aaye Bahar Aayee  1970

Koyal Kyon Gaye and Mujhe Teri Mohobbat  Ka  

Naach Uthe Sansar  1976

Tere Sang Jeena Tere Sang Marna and Joom Nakoom Jhoom 

Sargam 1979, Lata-Rafi have THREE duets. 

Dafliwale Dafli Baja (Top Song, Number 1 in Binaca Geetmala Finals, 1980),

Koyal Boli and Parbat Ke Uspaar.

Due to some issues of Royalty for singers, there was a difference of opinion between Rafi and  Lata an that has stopped the recording of the duets involving Rafi – Lata. Thus there were no duets of these legendary singers from 1964 to 1967.  

Binaca Geetmala:-

Many of the duets regularly appeared in the weekly countdown Binaca Geetmala as well as the annual countdown of finals songs. Listing out a few appeared in the ‘finals’.

1963   No 15 Woh Jab Yaad Aaye ..“Parasmani”  

1969   No 23 Resham Ki Dori.…”Sajan”     

1969   No 29 Aaya Sawan Jhum Ke.…”Aaya Sawan Jhum Ke”  

1969   No 12 Ek Tera Saath .”Wapas”    

1969   No 06 Aa Mere Humjoli Aa..”Jeene Ki Raah”    

1970   No  28 Hi Re Hi Nind Nahin ..Lata-Rafi..”Humjoli”  

1970   No 18  Jhilmil Sitaron Ka ..Lata-Rafi..”Jeevan Mrityu”  

1970   No 12 Chhup Gaye Sare.i..”Do Raaste”

1976   No 25 Aaja Teri Yaad Aayi  “Charas”

1978   No 02 Aadmi Musafir Hai   “Apnapan”  

1980   No 23 Parbat Ke Us Paar  .”Sargam”      

1980   No 07 Koyal Boli.  ”Sargam”            

1980   No 01 Dafliwale Dafli Baja  “Sargam”

Woh Jab Yaad Aaye Bahut Yaad Aaye   “Parasmani” 1963

(Songwriter Farooq Qaiser)

The very first duet of Lata-Rafi with Laxmikant-Pyarelal. The song is based on Indian Classical Raag Yaman Kalyan. The song starts with beautiful AALAPS by Lata ji, followed by VIOLINS. Wonderful take off by Rafi Saab>> वो जब याद आये बहोत याद आये, with delicately played SITAR synchronizing TABLA rhythm. Both the  interludes are full of VIOLINS played in Symphony style. No rhythm in interlude. It has a melody of the 60s. The song is picturised on Mahipal and Anita Guha.

Woh Hai Jara Khafa Khafa      ”Shagird” 1967

(Songwriter Majrooh Sultanpuri)

Lata Mangeshkar sounds extremely melodious in this song. The song is created on WALTZ rhythm. The best part of this song is the mellifluous overlapping of Aalaaps with Words and also Aalaap with Aalaap, by Lata Mangeshkar and Mohammd Rafi. i) “overlapped aalaps” at 5.22-5.28 and again at 5.48-5.54) ii) “overlapped aalaaps with words” at 5.28 to 5.48, simultaneously both by Lataji and Rafi sab. This beautiful, melodious and sweet song is composed in a western toe-stepping rhythm created through ACOUSTIC GUITAR. All the three interludes have different tunes. GUITAR and FLUTE are awesomely used in the interludes. The song is filmed on Joy Mukherjee – Saira Banu

Ye Dil Tum Bin Kahin Lagata Nahin “Izzat” 1968

(Songwriter Sahir Ludhiyanvi)

This is an extremely melodious duet written by Sahir Ludhiyanvi, working for the first time with Laxmikant-Pyarelal. It has been composed in Raag Pahadi

The unique aspect of this song is the use of  VIOLINS / CELLOS. 

The entire song is woven around the orchestration of symphony VIOLINS and CELLOS. ‘Prelude’ as well as all the ‘interludes’ are composed in symphony style orchestra with different tunes. CELLOS / VIOLINS are also used as a ‘filler’ as well as in surround sounds of the song, especially in ‘Mukha’ and the ‘antara’. In the ‘prelude’ of 22 seconds VIOLINS / CELLOS are integrated  with string sounds of GUITAR. First interlude is awesomely orchestrated with VIOLINS and strings of GUITAR. Second interlude with the same instruments but different tunes of VIOLINS. Third interlude VIOLINS and FLUTE. 

TABLA is used in the rhythm in a conventional style The rarest of rare occasion when Laxmikant-Pyarelal have used only TABLA The song is filmed on Dharmendra-Tanuja. 

Sathiya Nahin Jana Ke Jee Na Lage     “Aaya Sawan Jhoom Ke” (1968)

(Songwriter Anand Bakshi)

An extremely melodious duet, composed in ‘Pujabi” folkish style with an awesome DHOLAK rhythm, played throughout the song. First interlude is orchestrated with FLUTE, VIOLINS and ‘strokes’ of SANTOOR and SITAR. Second interlude is full of VIOLINS and the ‘strokes of SANTOOR. Third interlude starts with ‘’strokes’ of SANTOOR followed by SHEHNAI /  NADASWARAM, FLUTE. Filmed on Dharmendra Asha Parekh 

Ek Tera Saath Humko Do Jahan Se …”Wapas” 1969

(Songwriter Majrooh Sultanpuri)

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, 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 a brilliant take-off..

Hum Tumhare Liye Tum Hamare Liye     “Intequam” 1969

(Songwriter Rajendra Krishnani)

Beautiful display of melody. ‘Prelude’ is 36 seconds full of VIOLINS, ACOUSTIC GUITAR and NADASWARAM. Wonderful ‘aalaps’ by Lataji. First interlude orchestrated with VIOLINS synchronised with RUBAB. “Pause” at the end of each antara. Second interlude is VIOLINS and NADASWARAM intermixed awesomely with Lataji’s aalaps.  

Phool Hai Baharon Ka     “Jigri Dost”  1969

(Songwriter Anand Bakshi)

Yet another melody. ‘Prelude’ of 46 seconds, full of CELLOS, VIOLINS, ACOUSTIC GUITAR, SAXOPHONE intermixed. In particular VIOLINS with SAXOPHONE. Awesome take off by Lataji फूल है बहारों का बाग है नज़ारो का  synchronizing with fast BONGA DRUM rhythm. First interlude is full of SAXOPHONE, VIOLINS, GUITAR. Mukhada has wonderful ‘shouts’ at the end.  Second interlude orchestrated with NADASWARAM and VIOLINS. In spite of shouts and rich orchestra, the song has not lost it’s melody. Beautiful display of SAXOPHONE at the end. The song is filmed on Jeetendra – Mumtaz. 

Dil Ne Dil Ko Pukara    “Do Raaste”  1969

(Songwriter Anand Bakshi)

This super hit song which has class and mass appeal. You can here the glimpses of Shiv Kumar Sharma’s SANTOOR in between the song. 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 ‘antares’.  (first at 2.44). The rhythm pattern for ‘interludes’ (BONGO DRUMS) are different from that of ‘antara’/’mukhda’ (DHOLAK).

Das Gayi Das Gayi      “Himmat”  1970

(Songwriter Anand Bakshi)

Peppy song orchestrated with VIOLINS, GUITAR and SAXOPHONE. Fast BONGO DRUM rhythm. Jeetendra – Mumtaz. 

Rut Beqarar Hai      “Maa Aur Mamta”  1970

(Songwriter Anand Bakshi)

Breezing Melody:: One of the finest and extremely melodious Lata-Rafi  duet. Arrangements of orchestra is in SYMPHONY style VIOLINS in support with JAZZ FLUTE, WHISTLE, MANDOLIN and ACOUSTIC GUITAR. Jeetendra – Mumtaz

Mujhe Teri Muhobbat Ka   “Aap Aaye Bahar Aayee”   1970

(Songwriter Anand Bakshi)

One of the most popular duets of the 70s. It is a sad song awesomely rendered by both Lata and Rafi Saab. Rajendra Kumar – Sadhna 

Chala Bhi Aa Aaja Rasiya “Man Ki Aankhen”    1971

(Songwriter Sahir Ludhiyanvi)

The song has an ear pleasing melody. Filmed on Dharmendra – Waheeda Rehman.

Excellent DHOLAK rhythm. FLUTE, VIOLINS. In one of the interludes, Rafi Sahab’s AALAPS 

Is brilliantly synchronized with FLUTE as well as SANTOOR. 

Jhilmil Sitaron Ka            “Jeevan Mrityu”   1971

(Songwriter Anand Bakshi)

Immortal song. One of my favorites. Dharmendra-Raakhi. ‘Prelude’ of 26 seconds is awesomely orchestrated with FLUTE and Rafi Sahab’s HUMMING, synchronised with Symphony style VIOLINS and then SANTOOR. All the ‘interludes’ are mellifluously instrumented, with different tunes, by using FLUTE, VIOLINS in Symphony style, SANTOOR as  well as Lataji;s AALAPS. An immortal Lata-Rafi duet.  .

Patta Patta Buta Buta Hal Hamara Jane        “Ek Nazar”  1970

(Songwriter Majrooh Sultanpuri)

Typical Ghazal song. Use of IRANI SANTOOR , VIOLINS and SAXOPHONE is mellifluous. 

“Prelude” as well as all the “interludes” have a mind-boggling  orchestra arrangement. 

First Interlude is orchestrated with IRANI SANTOOR and FLUTE synchronized with GUITAR. Second Interlude has incredible use of SAXOPHONE as well as SYMPHONY style VIOLINS. The Third Interlude is decorated with SAROD and VIOLINS. In fact the SYMPHONY style VIOLINS can be heard in surround sound effects in “Mukhda” and “Antara” as well with beautiful DHOLAK rhythm. The song is filmed on Amitabh Bachchan – Jaya Bhaduri. 

Typical Ghazal song. Use of IRANI SANTOOR , VIOLINS and SAXOPHONE is mellifluous. 

Tik Tik Mera Dil Dole        “Humjoli”   1972 

(Songwriter Anand Bakshi)

Distinguishable composed melodious Cabaret song in the duet form. This Cabaret Song has melody. ‘Prelude’ of 22 seconds is full of Lata ji’s AALAPS synchronised with the western style instruments. Fast BONGO rhythm. All the “interludes” are awesomely orchestrated in JAZZ flavored, with BRASS instruments, including SAXOPHONE,  BASS GUITAR.  The best part of the song is that all the three ‘antaras’ are mellifluously ‘filled’ with Lataji’s rendering ‘aalaps’ (second antara) as well as Rafi sahab’s vocal ‘aalaps’ ( first and third antara) followed by “filling” with SAXOPHONE. The pair of Mumtaz-Jeetendra  looks charming as cabaret dancers. A superhit song, still popular. Killer part of the song is the AALAPs rendered by (ल ल ल ल ल ल ल ल ला ) Lataji and Rafi Saab in Antara. 

Itana To Yaad Hai Muze            Mehaboob Ki Mehandi” 1974

(Songwriter 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. The sweetest Melody. The DHOLAK rhythm mesmerizes.. SITAR played excellently. Anand Baxi. rajesh Khanna- Leena Chandawarkar.

Aadmi Musafir Hai          “Apnapan”   1977

(Songwriter Anand Bakshi)

Doctrine worded, each and every line. Anand Bakshi writes क्या साथ लाये क्या छोड़ लाये ! रस्ते मैं हम क्या छोड़ लाये ! मंज़िल पे जाके याद आते है !  

Laxmikant-Pyarelal’s composition is simply superb. 32 seconds of ‘prelude’ is composed by GHUNGROO BELLS, VIOLINS and HARMONIUM.The ‘rhythm’ has DHOLAK synchronized with GHUNGROO BELLS. Interludes are instrumented with SANTOOR, FLUTE, CLERANATE, VIOLINS and HARMONIUM. 

Dafaliwale Dafali Baja  “Sargam” 1979

(Songwriter Anand Bakshi)

The most “popular” songs of this combo. This song rocked the nation. The sounds of the DAFLI (Hand Drum) and the GHUNGAROO (Ankle Bells) are beautifully synchronised to create an appropriate “rhythm” for this extremely melodious song. VIOLINS are awesomely orchestrated in the ‘interludes’. Whenever Laxmikant-Pyarelal composed music, they always took careful consideration of the plot outline of the film. That may not seem like a big deal but it is when there are few music directors in Bollywood who don’t have even the faintest idea of what the film that they are producing music for is about. Mohammed Rafi and Lata Mangeshkar excel in the songs they sing. Song is shoot in Srinagar, Kashmir. 

Aashaon Ke Sawan Mein   “Asha”  1980

(Songwriter Anand Bakshi)

Mellifluous duet. Extremely melodious song. Tuneful ‘rhythm’. Awesomely orchestrated with VIOLINS, ACCORDION and CHORUS.  The best part of this song is the ‘OVERLAPPING’ singing / rendering of Lata Mangeshkar – Mohammad Rafi as well CHORUS. Filmed on Jeetendra and Reena Roy. 

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.

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