:: MILAN :: 1967 :: A Musical Tribute to LAXMIKANT :: Laxmikant – Pyarelal

:: MILAN ::  1967 :: A Musical Tribute to LAXMIKANT :: Laxmikant – Pyarelal 

Dadasaheb Phalke Award winner. Filmmaker, L V Prasad from Southern part of India, had a film making unit named Prasad Production. Prasad Production  has made many successful hindi films. ‘Sharda’ (music director C Ramchandra), in 1957, ‘Chhoti Behan’ (music director Shankar-Jaikishan), in 1959, ‘Sasural’ (music director  Shankar-Jaikishan), 1961, ’Beti Bete’ (music director Shankar-Jaikishan), 1964 and ‘Dadi Maa’(music director Roshan).

In the mid-sixties most of the filmmakers wanted to have music by Laxmikant-Pyarelal for their respective films. L V Prasad was not an exception. Milan was a huge musical hit in 1967.  This is how Laxmikant-Pyarelal and Prasad Production association started. It lasted for 18 years and has given many memorable musical hits, ‘Jeene Ki Raah1969,Khilona1971, ‘Ek Duje Ke Liye1981 + many more.  

Initially the Prasad Production team did not want singer Mukesh to sing the songs for Milan. But Laxmikant-Pyarelal did not want any other singer than Mukesh. Even the duo told the filmmaker that they would not do the film, if Mukesh is not singing the songs. 

When the first song of Milan, ‘mubarak ho sab ko’ was being rehearsed, most of the guests / visitors from the Prasad Production team left the recording room. But when the entire unit heard the “final”, approved  recording, everybody was happy. 

Laxmikant-Pyarelal really gave a new life to a film in which music plays an important part. Milan music was the second ‘milestone’ for Laxmikant-Pyarelal, the first was Dosti, 1964.

Milan,  film was fruitful to many :-  

ONE :- 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 + sawan ka mahina and bol gori bol tera). Two solos mubarak ho sabko and beautiful lullaby (लोरी) ram kare aisa ho jaye

In addition, songs from “Anita” (2 beautiful solos, gore gore chand ke mukh pe and tum bin jeevan kaise beeta ) “Farz” (1 Lata-Mukesh duet, hum to tere aashiq hai ) and “Patthar Ke Sanam” (1 Lata-Mukesh duet, mehboob mere mehboob mere)

TWO:- Laxmikant-Pyarelal consolidated their position in hindi film music and obtained Number 1 Status Or Number 1 Position, leaving Behind All Stalwarts, Including The Mighty Shankar-Jaikishan

1967 belongs to Laxmikant-Pyarelal, a series of hits by one after another. Jeetendra’s Farz, Raj Khosla’s AnitaS. Mukharjee’s Shagird, Nadiadwala’s Patthar Ke Sanam, Night In London,  Jaal and Rajshri’s Taqdeer.

Milan music was the second ‘milestone’ for Laxmikant-Pyarelal, the first was for the music of Dosti, 1964

THREE:Anand Bakshi also consolidated his own position as a songwriter through the songs of Milan, in particular, the song  ‘sawan ka mahina pawan kare sor’ .

FOUR:–  Strong bonding crop up for Ternion of Laxmikant-Pyarelal and Anand Bakshi

Now this was the time that Laxmikant-Pyarelal’s music became an essential component of every successful film.  

Binaca Geetmala:- 

Milan songs storm the nation. Binaca Geetmala was not the exception. Almost all the songs, except, ‘aaj dil pe koi jor chalta nahin’, appeared in the weekly countdown programm. There were three songs in the ‘final’, annual countdown. Sawan Ka Mahina topped the chart. 

Position 17  Mubarak Ho Sabko …Mukesh

Position 06  Hum Tum Yug Yug Se ...Mukesh-Lata

Position 01  Sawan Ka Mahina  ….Mukesh-Lata

Filmfare Awards:-  (Nine Nominations) :

Nominated for Best :- Film, Director, Actor,  Actress,  Supporting Actress,  Music,  Lyrics, Playback singer male, Playback singer female, with three , following winners.

Best Actress:-   Nutan

Best Supporting Actress:-   Jamuna

Best Music :-  Laxmikant-Pyarelal 

MILAN Filmfare Award Function :- Nutan, Jamuna, A Subbarao, Laxmikant, Anand Bakshi & Pyarelal

Review Of The 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. 

I sincerely thank  Mr. Srn Ramanujam, one of the greatest fans of Laxmikant-Pyarelal music,   for analysing the song, Bol Gori Bol Tera Kaun Piya, an  ORCHESTRA  REVOLUTION.

All the songs are incomparably shot on very good locations, in particular the river locations are eye-catching. 

Sawan Ka Mahina Pawan Kare       Mukesh – Lata Mangeshkar

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.  Beautifully orchestrated musical instruments,  MANDOLIN, FLUTE, symphony VIOLINES overlapping the FLUTE.  Second ‘interlude’ again symphony style VIOLINS, RUBAB with overlapping sound effects of FLUTE. In the third Interludes’ are orchestrated in ‘western’ style with no ‘rhythm’. First ‘interlude’ have ‘interlude’ again VIOLINS in symphony style. The song topped the 1967 Binaca Geetmala Finals. Filmed on  Sunil Dutt and Nutan.

Bol Gori Bol Tera Kaun Piya      Mukesh – Lata Mangeshkar

Laxmikant-Pyarelal magic,, what a ‘rhythm’..DHOLAK, PAKHAWAJ, MRIDANG, MANDOLIN, SHEHNAI in two different octave played severally & together, FLUTE, TABLA, VIOLINS, TEMPLE BELLS,,VIOLINS, VIOLA, RUBAI, DHUFFALI , what a composition…No music directors have used such massive instruments as far as rhythm is concerned.  

——————-

Beautiful as it is, “Sawan ka Mahina” is not the only song that is notable for its picturisation. 

ORCHESTRA  REVOLUTION  As Written By Srn Ramanujan 

Orchestras were and are still  the consciousness of most Indians. Most of us have never attended such concerts to know what they are. Nor did we have stereo systems or record players so much in the 60s. 

In early years, top music directors used orchestras in the best songs like Aaj Mere Mein Saki in Aan. Naushad recorded this in London with the Royal Orchestra there.

Laxmi Pyare brought orchestra closer to all. I never understood why every song of LP seemed better, though other tunes and lyrics of others were also popular.

The power of LP Music is the Efficacy of their orchestra. Every song was made better by use of multiple sounds, instruments and artists. 

Like choreography enhances the screen effect, orchestra does for the sound effect. Only a few fortunate thousand could witness orchestras when LP went on tours. For the rest of us we enjoyed the music dumbstruck not knowing why. LP used all Indian instruments to create a mela of music using the orchestra structure to create an Albert Hall in Shanmukhanand Hall. They went to Matunga Ram Mandir and got the Nadaswaram Band for the song below. Music after this changed forever.

When the beginning with Parasmani LP created the Orchestra Revolution. I never heard the full song Bol Gori Bol until 1979 when I heard the cassette for the first time. Until then I had never heard its prelude everon the radio. 

See and Hear it once more for yourself, the choreography,orchestra, sailboats and all.

Ram Kare Aisa Ho Jaye        Mukesh

Extremely melodious song,use of FLUTE (played by Pt. Hariprasad Chaurasia), at it’s best. Mellifluously sung by Mukesh  in the form of Lullaby, “लोरी”. Entire song is woven around the ear-pleasing glimpses of FLUTE as a ‘filler’ and also in all the interludes. MANDOLIN is also used in the ‘interludes’. DHOLAK/Tabla ‘rhythm’ is just simply mind-blowing and suits the  theme of the song.  filmed Sunil Dutt and Nutan.                     

Hum Tum Yug Yug Se       Mukesh-Lata Mangeshkar. 

Mellifluously composed song with two versions. Both the versions are excellent with different tunes and rhythm, as well. The best part of both the versions is various AALAPS rendered by Mukesh and Lata Mangeshkar. 

First Version :-  

‘Prelude’ of 45 seconds is orchestrated with ACOUSTIC GUITAR, VIOLINS, NADASWARAM,, synchronization of the ‘aalaps’ from Mukesh and Lata and and MANDOLIN/. Awesome take off by Mukesh  हम तुम युग युग से ये गीत मिलन के. On tuneful BONGO DRUM rhythm. First ‘interlude’ full of ‘aalaps’ of Mukesh – Lata, beautifully orchestrated CAR’s WIPER sound. Second ‘interlude’ FLUTE & VIOLINS. 

Second Version :– 

It is a slow version. ‘Prelude’ of 22 seconds wonderfully overlapping sound effect of MANDOLIN, VIOLINS and CELLOS. Astounding DUFF rhythm. First ‘interlude’ FLUTE sound synchronized with GHUNGROO BELLS. Second ‘interlude’ MANDOLIN and CHORUS. ‘Postlude’ is CHORUS and FLUTE. 

Both the versions are filmed Sunil Dutt and Nutan. 

Mubarak Ho Sabko         Mukesh

Singer Mukesh is simply the best choice for this song. Sad song starts with ‘zero’ prelude. Ravishing DHOLAK rhythm, intermixed with DUFF, at some places. FLUTE is awesomely used as filler in the mukhada. First ‘interlude’ MANDOLIN, beautifully orchestrated followed by superb display of symphony style VIOLINS. Second ‘interlude’ starts with VIOLINS, later tunefully  intermixed with SHEHNAI. Third ‘interlude’ beautiful display of FLUTE. First and third  ‘antaras’ are melodiously filled with FLUTE. The second  is filled with SHEHNAI. ‘Postlude’ of 12 seconds is synchronization of FLUTE, MANDOLIN and SHEHNAI, sounds well. Filmed on Sunil Dutt and Nutan.

Tohe Sawaiya            Lata Mangeshkar

This is a ‘folkish’ style, melodious song. The prelude of 38 seconds starts with Lataji’s delicate aalaps, MANDOLIN. Awesome take off तोहे सावरिया …..हम हो गए परदेसी ..starts of sifuying  DHOLAK rhythm synchronised with GHUNGROO BELLS. First ‘interlude’ mesmerizes with the orchestration of symphony VIOLINS intermixed with FLUTE and MANDOLIN. Second ‘interlude’ starts with Lataji’s sweetly rendered AALAPS synchronized with female CHORUS, followed by MANDOLIN and VIOLINS. ‘Postlude’ once again full of Lataji’s aalaps and MANDOLIN. Filmed on Sunil Dutt and Jamuna.  

Aaj Dil Pe Koi Jor       Lata Mangeshkar

Unfortunately this song was deleted from the movie. 

Beautifully rendered in ‘raag’ CHARUKESHI. Sad song starts with the ‘prelude’ of 18 seconds orchestrated in VIOLINS and FLUTE. First ‘interlude’, VIOLINS and SAROD.Second ‘interlude’ beautifully orchestrated by FLUTE and SAROD. Third ‘interlude’ with VIOLINS and 

MANDOLIN. Melodious DHOLAK ‘rhythm’. 

Ajay Poundarik, Atlanta (Georgia), USA. 2nd November, 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.

3 thoughts on “:: MILAN :: 1967 :: A Musical Tribute to LAXMIKANT :: Laxmikant – Pyarelal”

  1. I very much appreciate your Love and Respect for Laxmikantji and Pyarelalji. And congratulate you for your efforts and dedication in collecting and informing all the unknown details about them. Thank you so much.

    Like

  2. THE LAXMIKANT PYARELAL !!! 💐💖🙏🏻🙏🏻
    Without saying anything and without think anything just enjoy their’s creation.
    Soham Chakraborty(joy)
    Percussionist/Kolkata…love you all❤🙏🏻🙏🏻

    Like

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s