Sweet-Sounding Mukesh – Lata Duets Symphonised By Laxmikant-Pyarelal

Sweet-Sounding Mukesh – Lata Duets  Symphonized By Laxmikant-Pyarelal 

Singer Mukesh was introduced to Hindi Film Music by music director Anil Biswas, wayback in 1945 in the film ‘Nirdosh’. Mukesh was a favorite singer for the music directors like Anil Biswas, Salil Chaudhari, Roshan and Kalyanji-Anandji. Music directors Shankar-Jaikishan and Laxmikant-Pyarelal very oftenly used Mukesh. 

Actually, it was not an easy task for any music directors to extract the “best” from singer Mukesh. That is why Mukeshji was a very special singer in his own way. It is very surprising to note that MUKESHji was not used by many BIG Music Directors..

It is very surprising to note that MUKESHji was not used by many BIG Music Directors..

C Ramchandra (4 songs)

Madan Mohan (9 songs)

O P Nayyar (4 songs)

S D Burman ( 12 songs)

R D Burman ( 15 songs) and 

Naushad ( 27 songs)

But very effectively used by following music directors 

Shankar-Jaikishan ..136 songs (highest numbers) 

Kalyanji-Anandji…107 songs..

Laxmikant-Pyarelal….80 songs

In the year 1967 Music Directors Laxmikant-Pyarelal brought back the glory of singer Mukesh through the super hit songs of “Milan” ( 5 Lata-Mukesh duets, including all the versions of Hum Tum Yug Yug Se + 2 wonderful solos). In addition,  songs from “Anita” (2 beautiful solos) “Farz” (1 Lata-Mukesh duet) and “Patthar Ke Sanam” (1 Lata-Mukesh duet). 

In return Mukeshji strongly recommended Laxmikant-Pyarelal’s name to Raj Kapoor for the music of  “BOBBY”.

Persuasive start made by Laxmikant-Pyarelal through the songs of “Parasmani” in 1963. The duo used Lata Mangeshkar, Mohammad Rafi, Mukesh and Kamal Barot. The film has as many as six songs with 3 duets, Lata-Rafi, Lata-Kamal Barot and Lata-Mukesh singing “Chori Jo Tumse Mile To Log Kya Kahenge”.   This duet became the first Mukesh-Lata duet for Laxmikant-Pyarelal. 

Total 31 numbers of duets rendered by Lata-Mukesh from 1963 to 1977.  Have included the multi-singers songs, Mehngai Mar Gayee** from Manoj Kumar’s “Roti Kapda Aur Makan” and  Humko Tumse Ho Gaya Hai from Manmohan Desai’s  “Amar Akbar Anthony” involving both Lata-Mukesh. 

Listing a few Lata-Mukesh songs excluding 2 to 3 versions of the songs from “Milan”, “Man Mandir’, “Shor” and “Roti Kapda aur Makan” etc. 

Chori Jo Tumse Mile To Log                          PARASMANI, 1963.

Tum Meri Meri Zindagi Ho.                             DILLAGI, 1966.

Dhagina Tinak Dhin Tha Thaiyya,                  MERE LAL, 1966.

Hum To Tere Aashiq Hain Sadiyon Purane   FARZ, 1967. 

Kyon Zuki Zuki Hai Palake,                           CHHAILA BABU, 1967.

Wo Kaun Hai Wo Kaun Ha                            ANJANA, 1967.

Sawan Ka Mahina Pawan Kare Shor            MILAN, 1967.

Hum Tum Yug Yug Se Yeh                            MILAN, 1967.

Bol Gori Bol Tera Kon Piya                            MILAN, 1967.

Mehaboob Mere Mehbob Mere                      PATTHAR KE SANAM, 1967.

Je Hum Tum Chori Se Bandhe Ek                 DHARATI KAHE PUKAR KE, 1969.

Dil Main Aji Dil Mein Koi Rehta Hai                MERI BHABHI, 1969.

Ai Meri Aankhon Ke Pehale Sapane              MAN MANDIR, 1971

Rubi O Rubi Jan-E-Mehboob                         CHAHAT, 1971.

Baat Hai Ek                                             JAL BIN MACHHALI NRUTYA BIN BIJALI, 1971.

Zum Ke Gaye                                            JAL BIN MACHHALI NRUTYA BIN BIJALI, 1971.

Dheere Dheere Bol Koi Sun Na L                  GORA AUR KALA, 1972.

Ho Tere Naina                                                EK BECHARA, 1972.

Ek Pyar Ka Nagma Hai.                          SHOR, 1972.

Paani Re Paani Tera Rang Kaisa.                 SHOR, 1972.

Maina Bhulunga                                    ROTI KAPADA AUR MAKAN, 1974.

Mehngai Mar Gayee**                           ROTI KAPADA AUR MAKAN, 1974.

Phool Aahista Phenko                         PREM KAHANI, 1975.

Mujhe Dard Rehta Hai                                   DUS NUMBRI, 1976

Humko Tumse Ho Gaya Hai ***                     AMAR AKBAR ANTHONY, 1977

BINACA  GEETMALA :- 

About 80% of Lata-Mukesh songs listed above appeared in the weekly Binaca Geetmala countdown program. 9 songs appeared in ‘finals’ with two of the songs getting top position in 1967 Sawan Ka Mahina from “Milan” and in 1975 Mehangai Maar Gayi. from “Roti Kapda Aur Makaan”. Ek Pyar Ka Nagma Hai,  from “Shor” 1972, has become an iconic song.

1967   No 06  Hum Tum Yug Yug..Lata-Mukesh..”Milan”  

1967   No 01 Sawan Ka Mahina ..Lata- Mukesh..”Milan”   

1968   No 20 Mehaboob Mere..Lata-Mukesh..”Patthar Ke Sanam” 

1969   No 09 Je Hum Tum Chori Se..Lata-Mukesh..”Dharati Kahe Pukar Ke”

1970   No 14 Woh Kaun Hai ..Lata-Mukesh…”Anjana”

1972   No 29 Ek Pyar Ka Nagma Hai ,,Lata-Mukesh .”Shor”

1973   No 16 Dheere Dheere Bol Koi ..Lata-Mukesh..”Gora Aur Kala”  

1975   No 01 Mehangai Mar Gayi..Lata-Mukesh-Chanchal-Janibabu..”R K Ar Makan

1976   No 24 Muze Dard Rehata Hai..Lata-Mukesh..”Dus Numbari”

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.

Chori Chori Jo Tumse Mile To Log           PARASMANI, 1963. (Songwriter  Farooq Qaisar)     

The 26 seconds of ‘prelude’ is orchestrated with the use of SHEHNAI with BONGA Drum rhythm intermixed with GHUNGROO BELLS and VIOLINES. Imposing take off by Lata Ji, चोरी चोरी जो तुमसे मिली तो लोग क्या कहेंगे।  The ‘intro’ is sweetly surrounded by VIOLINS as well as the glimpses of ACCORDION. Now the “mukhda” or “intro” have DHOLAK rhythm intermixed with GHUNGROO BELLS. First ‘interlude’ starts with MANDOLIN surrounded with VIOLINS. Again the ‘rhythm’ pattern changes with BONGO Drum. “Antara” has a DHOLAK rhythm. Second “interlude” is beautifully instrumented with ACCORDION, MANDOLIN as well as VIOLINS with change of rhythm pattern. The song is filmed on Mahipal and Geetanjali. “Postlude” is mellifluously displayed by SHEHNAI. 

Tum Meri Meri Zindagi Ho.                 DILLAGI, 1966. (Songwriter Majrooh Sultanpuri)

Once again a duet with melody. Composed in 60s style of song. Beautiful take off by Mukesh jj हम जी लेंगे बिन तुम्हारे। The unique rhythm of DHOLAK starts. Enjoy the ‘singing pauses’ as well as ‘rhythmic pauses’ given at various points. The first interlude have CELLOS, VIOLINS and the second ‘interlude’ has SARANGI with VIOLINS. The ‘rhythm’ pattern for ‘interludes’ changes (no  DHOLAK). It is filmed on Mala Sinha Sanjay Khan

Kyon Zuki Zuki Hai Palake,                  CHHAILA BABU, 1967. (Songwriter Hasrat Jaipuri))

The song is filmed on Salim Khan (today’s star actor Salman Khan’s father) and Zeb Rehman. This song is very melodious, tenderly rendered by Lata-Mukesh. This delicately composed song has an accordant DHOLAK rhythm. Interludes have BANJO as well as VIOLINS. 

Mehaboob Mere Mehbob Mere             PATTHAR KE SANAM, 1967. (Songwriter Majrooh Sultanpuri)

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. Till 1974, in most of the songs the SANTOOR is played by none other than Pandit Shivkumar Sharma.

Pandit Shivkumar Sharma has full respect for the duo of Laxmikant-Pyarelal. Both Shivji and Pyarelalji have done various experiments while orchestrating the SANTOOR in the song. 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 an astonishing DHOLAK rhythm. Filmed on Manoj Kumar – Waheeda Rehman. 

Hum To Tere Aashiq Hain Sadiyon Purane   FARZ, 1967 (Songwriter Anand Bakshi)

Evergreen and Ever-Fresh Popular. Melodious and Sweetly Composed Romantic Duet. “DHOLAK” rhythm” (theka) in the song has made an addict one.”Prelude” (34 seconds) has a wonderful display of VIOLINS, NADASWARAM. All the “interludes” are spectacularly orchestrated with overlapping sound effects of VIOLINS, ACCORDION, GUITAR and FLUTE. The song is filmed on Jeetendra – Babita. 

Sawan Ka Mahina Pawan Kare Shor            MILAN, 1967. (Songwriter Anand Bakshi)

Milan”, starring Sunil Dutt – Nutan, was a musical blockbuster movie of the year 1967. The song “ सावन का महीना पवन करे सोर “ stormed the nation.  An inordinately popular song, till date. Exceptionally melodious duet. Beautiful DHOLAK rhythm. All the ‘interludes’ are orchestrated in ‘western’ style with no ‘rhythm’. First ‘interlude’ have MANDOLIN, FLUTE, symphony VIOLINES overlapping the FLUTE.  Second ‘interlude’ again symphony style VIOLINS, RUBAB with overlapping sound effects of FLUTE. In the third ‘interlude’ again VIOLINS in symphony style. The song topped the 1967 Binaca Geetmala Finals.  The song is filmed on beautiful location, in Tamil Nadu.

Dil Main Aji Dil Mein Koi Rehta Hai                MERI BHABHI, 1969. (Songwriter  Majrooh Sultanpuri)

Once again an immensely melodious duet, orchestrated with Indian classical instruments.  34 seconds of ‘prelude’ starts with SITAR, SANTOOR. Later at 0.21 to 0.25 excellent synchronization of FLUTE and SANTOOR. The ‘prelude’ ends with the simultaneous ‘strokes’ of SANTOOR and VIOLINS.The ‘intro’ have take off from Mukeshji दिल में अजी दिल में  aligned with DHOLAK rhythm which has the ‘strokes’ of  SANTOOR at various places. First ‘interlude’ starts with overlapping sounds of SANTOOR and FLUTE followed by VIOLINS and again ‘strokes’ of SANTOOR.  Second ‘interlude’ starts with an ear-pleasing display of SITAR (played by Ustad Rais Khan) and lastly VIOLINS. There is a ‘rhythmic’ ‘pause’ at the end of each ‘stanza’/’antara’. Filmed on Sunil Dutt – Waheeda Rehman.

Je Hum Tum Chori Se Bandhe Ek                 DHARATI KAHE PUKAR KE, 1969.(Songwriter  Majrooh Sultanpuri)

This is a very famous song. An extremely melodious duet composed  in the “folkish” style of DHOLAK rhythm. Sounds of SHEHNAI and NADASWARAM are  brilliantly intermixed with FLUTE and GHUNGROO BELLS, in all the “interludes” to get the typical Indian Village feeling. It is filmed on handsome Jeetendra and beautiful Nanda. 

Ai Meri Aankhon Ke Pehale Sapane              MAN MANDIR, 1971 (Songwriter  Rajendra Krishnan)

It’s one of the finest lullaby (लोरी). Extraordinarily melodic, sad,  dulcet duet filmed on Waheeda Rehman – Sanjeev Kumar. ‘Prelude’ is full of SITAR and VIOLINS. First ‘interlude’ is orchestrated with SANTOOR, VIOLINS and FLUTE. Second ‘interlude’ with VIOLINS with the beautiful overlapping sound of SANTOOR. This song has 3 versions, considering the first for review,  

Baat Hai Ek Boond  Si               JAL BIN MACHHALI NRUTYA BIN BIJALI, 1971          (Songwriter  Majrooh Sultanpuri)

बात है एक बूंद सी दिल के प्याले में… आते-आते होंठों तक तूफ़ान ना बन जाए.

For the first time in Hindi Film Music, all the songs of this V Shantaram Classic, recorded in stereophonic sound effect. Yet another variety of song a simple but melodious tune. The beauty of the song is it’s “Interlude”. It is full of VICHITRA VEENA and GUITAR. Lataji’s take-off बात है एक बूंद सी दिल के प्याले में…with the “stroke” of VEENA is ear-pleasing.  First and third ‘interludes’ are orchestrated with the solo display of VICHITRA VEENA. Second ‘interlude’ is awesomely instrumented with GUITAR. The glimpses of GUITAR can also be heard in the surround sounds. Filmed on Abhijeet – Sandhya

Ek Pyar Ka Nagma Hai.                   SHOR ,1972. (Songwriter  Santosh Anand)

This song has three versions, The first version is analyzed. Captivating ‘prelude’ of 46 seconds starts  with solo VIOLINS, Lataji’s ear-pleasing HUMMING.  The “beauty” of the ‘prelude’ is ..Lataji’s HUMMING sound is mind-blowingly synchronised with solo VIOLIN, for 6 seconds (0.17 to 0.23). Again solo VIOLIN and ends with the “stroke” of SANTOOR. Awesome take off by Lata ji एक प्यार का नगमा है। the BONGO Drum ‘rhythm’ starts. Lata ji’s rendering is surrounded by symphony style VIOLINES, throughout the song. 

First interlude starts with solo VIOLIN followed by hypnotising AALAPS by Lataji. At the end of the first ‘interlude’, Lataji’s AALAPS are overlapped with symphony VIOLINS. Mukeshji enters at the end of stanza (अंतरा )

Second ‘interlude’ starts with SANTOOR; it ends with beautifully orchestrated VIOLINS in symphony style. 

Third interlude starts with solo VIOLIN, later symphony VIOLINS overtaking it. Wonderful synchronization of CHORUS and VIOLINS.  

 The solo VIOLIN in this song is played by Mr. Jerry Fernandes, a famous Violinist  

Paani Re Paani Tera Rang Kaisa.                 SHOR, 1972. (Songwriter   Indrajeet Singh Tulsi )

Another GEM of Mukesh-Lata duet, one of the best rainy songs.  59 seconds of ‘prelude’ wonderfully orchestrated with GUITAR, SANTOOR, SITAR and VIOLINS supported by CHORUS HUMMING. Awe-Inspiring DHOLAK rhythm intermixed with water sound. First ‘interlude’ starts with ACOUSTIC GUITAR, SHEHNAI / NADASWARAM and VIOLINS. Second ‘interlude’ is full of AALAPS and HUMMING sound of CHORUS. Third ‘interlude’ have VIOLINS, SITAR (played by Ustad Rais Khan),GLOCKENSPIEL or ‘GLOCKS’ and CHORUS. The entire song is shot in rain. Filmed on Manoj Kumar – Jaya Bhaduri.  

Main Na Bhoolunga         ROTI KAPDA AUR MAKAAN    1974.                                                              (Songwriter  Santosh Anand)

This song has two versions, the first version is considered. Splendid composition, from Laxmikant-Pyarelal. Orchestrated melodiously. Wonderful DHOLAK rhythm. Rhythmic ‘PAUSEs’. Awesome take off by Mukesh-Lata मै ना भूलूंगा ssss मै ना भूलूंगी ssss, rhythmic pause, highlighting DHOLAK rhythm, mesmerizes the listeners. CHORUS sound is distinctively used in the song. First ‘interlude’ is harmonised by the synchronisation of SITIAR, VIOLINS, CELLOS, FLUTE and Lata ji AALAPS. Second ‘interlude’ has a mind-boggling display of SAXOPHONE and VIOLINS.Third interlude with FLUTE, VIOLINS and Lataji AALAP. Glimpses of VIOLINS are excellently used as a ‘filler’ in mukhada as well as in antara. Another beauty of the song is the third antra’s overlapping sound effect of Mukesh – Lata voices in synchronization with symphony style VIOLINS. Manoj Kumar – Zeenat Aman.  

Ajay Poundarik, Atlanta (Georgia), USA                                                                                                                                                                                                                                                                                                                                                                                     

26th August, 2020.                                                                                                                                                 

Published by

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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