ENTHRALLING Lata Mangeshkar and Laxmikant-Pyarelal. SATYAM SHIVAM SUNDARAM
Music geniuses Laxmikant-Pyarelal were famous for many of their musical hits in the past associated with diversified producers and directors. After the thumping musical success of Raj Kapoor’s ‘Bobby’, Laxmikant-Pyarelal was the obvious choice for the music of ‘Satyam Shivam Sundaram’, released on the day of Holi festival in the year 1978.
Originally, in 1950, the film was planned as a low budget “quickie” with the music by Hridaynath Mangeshkar and unknown actors. But after 25 years Raj Kapoor’s confidence strengthened by the astounding success of Bobby.
Directed by Raj Kapoor and written by Jainendra Jain, ‘Satyam Shivam Sundaram‘ is a social drama about the differences between physical and spiritual love and clashing religious beliefs. The film starred Shashi Kapoor and Zeenat Aman. It was an iconic film set in a village that captured the brewing romance between the protagonists despite their differences. The film is also known for its amazing soundtrack and melodious songs. The soundtrack also displays the trio who have given record breaking 712 songs, music directors Laxmikant-Pyarelal and the legendary singer Lata Mangeshkar, at their zenith.
Out of 9 melodious songs, Lata Mangeshkar has sung as many as 7 songs, including 3 solos. Coincidently, singer Mukesh sings his last song of his carrier (‘chanchal sheetal nirmal’) at the same time his son Nitin Mukesh sings his first song (‘mein kaise use pasand karu’)
National Poet Pandit Narendra Sharma has penned 5 songs, lyricists Anand Bakshi and Vithalbhai Patel have written 3 songs and 1 song, respectively.
During the Diwali of 1977, HMV released the Long Play record, in 4 page covered folder. One of the page containing the picture of Laxmikant-Pyarelal. (ref the pic on top).
Filmfare Best Music Award was unanimously chosen for this euphonious musical “SATYAM SHIVAM SUNDARAM” and thus Laxmikant-Pyarelal won their fifth and second successive award. Beating Kalyanji-Anandji “Don”, R D Burman’s “Shalimar”, Rajesh Roshan’s “Des Parades” and Ravindra Jain’s “Akhiyon Ke Jharokon Se”.
Let us discuss / review 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, listed below, after reading the writeup, explaining peculiarities, for each of the songs you will enjoy it, more.
1 Satyam Shivam Sundaram …. (Singer Lata Mangeshkar) (Lyricist Pandit Narendra Sharma )
Hypnotized “prelude” of 50 seconds, outsetting through BAMBOO FLUTE , followed by VICHITRA VEENA then surround sound effect of SYMPHONY style VIOLINS . Beautiful ‘take off’ by Lata ji (Ishwar satya hai) ‘stroke’ of TEMPLE BELL, at 0.58 second, synchronised with CHORUS and awesome sounds of TWEETING BIRDS. It has beautiful TABLA rhythm. Overlapping sound effect of Lataji’s rendering and CHORUS crooning, in different tunes as well as the word. In the first ‘interlude’ SANTOOR, SITAR are mellifluously orchestrated with MANJIRA sounding at the end. Second ‘interludes’ starts with the resonant ‘aalaps’ by Lataji surrounding CELLOs and TEMPLE BELL followed by SITAR and VIOLINS. Once again the the overlapping sound effect can be heard at the end with Lataji’s ‘aalaps’ and CHORUS. One of the finest song sung by Lata Mangeshkar for Laxmikant-Pyarelal.
2 Bhor Bhaye Panghat Pe ….(Lata Mangeshkar) (Lyricist Anand Bakshi)
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.
3 Yashomati Maiya Se Bole …. (Singers Lata Mangeshkar – Manna Dey)(Lyricist Pandit Narendra Sharma )
Fascinating 34 seconds ‘prelude’ awesomely instrumented with TANPURA, FLUTE and HARMONIUM. It has captivative DHOLAK rhythm which will ‘swing’ your neck. FLUTE is sumptuously used in the ‘interlude’ which gives you an ear-pleasing effect.
4 Chanchal Sheetal Nirmal Komal …. (Singer Mukesh) (Lyricist Anand Bakshi)
This angelic western style composition is gorgeously orchestrated in SYMPHONY style orchestra arrangements by utilizing WALTZ rhythm. Throughout the song use of SYMPHONY style VIOLINS, in the “surrounds”, sounds delightful. Apart from that the instruments like IRANI SANTOOR, solo VIOLIN, VIOLAS and CELLOS are sweetly orchestrated in the “prelude’ as well as “interludes”.
5 Suni Jo Unke Aane Ki Aahat …. (Singer Lata Mangeshkar (Lyricist Pandit Narendra Sharma )
Laxmikant-Pyarelal known for the best use of CHORUS. The song is melodiously composed by using CHORUS and Lataji’s sweet rendering. This is the song which has no “interludes” tunes. But has tuneful ‘prelude’ of CHURCH-ORGAN, CHORUS and Lataji’s wonderful “aalaps”. The song too has tuneful DHOLAK rhythm.
6 Rangmahal Ke Dus Darwaze …. (Singer Lata – Bhupinder Singh) (Lyricist Vithalbhai Patel)
SHEHNAI is prominently, efficaciously and mellifluously orchestrated in “Prelude”, “Interlude” and “Postlude” and also as a ‘filler’ in ‘antara’. At some places SHEHNAI is wonderfully synchronized with male singer Bhupendra Singh rendering.
7 Mein Kaise Use Pasand Karoon …. (Singers Lata – Nitin Mukesh)( Lyricist Anand Bakshi)
Magical composition with meaningful lyrics and melodious tune, as well. SYMPHONY style VIOLINS are excellently orchestrated in the “interlude”.
8 Shree Radha Mohan …. (Singer Manna Dey) (Lyricist Pandit Narendra Sharma )
Full song is credited to brilliant and mellifluous use of CHORUS throughout the song, with few lines for Manna Dey to sing. Indian traditional musical instruments like TEMPLE BELL, SHELL, MANJIRA and MRIDANG are nicely orchestrated in the “prelude” .
9 Yashomati Maiya Se Bole (Singers Lata -Zeenat – Shashi Kapoor) (Lyricist Pandit Narendra Sharma )
Enchantingly rendered by Lata Mangeshkar on Laxmikant-Pyarelal mesmerizing DHOLAK / MATKI rhythm. “Postlude” of over 70 seconds full of LATA ji different “aalaaps” intermixed with mild use of SITAR in the surround sounds, hypnotizes.
Satyam Shivam Sundaram is a soundtrack that shines more amidst Laxmikant-Pyarelal many melody accomplishments.
Ajay Poundarik, Avon, Cleveland (OHIO). USA.