Sound of SHEHNAI :: Laxmikant-Pyarelal Enrich Orchestra

Sound of SHEHNAI :: Laxmikant-Pyarelal Enrich Orchestra 

SHEHNAI  Originated from India. Mostly used in North India. It is must in Indian Weddings,  It is especially played when the bride leaves his father’s place but this time it sounds sad. 

Shehnai player,  late Ustad Bismillah and SHEHNAI have become a synonym in India. In the Year 1958 Producer / Director Mr. Vijay Bhatt had made the movie “Goonj Uthi Shehnai”. The film’s story was based on Shehnai Player. Lots of scope for Shehnai. Late Ustad Bismillah Khan have played the Shehnai for the background music as well as for the songs composed by the music director Vasant Desai.

Actually SHEHNAI was not utilized as much as Sitar, Flute, Sarod and Santoor etc in the  Hindi Film Songs. However, many music directors orchestrated SHEHNAI in their songs.

Music Director Ramlal who composed the music for V Shantaram’s “Sehra” 1963, was a very good SHEHNAI player. He played the Shehnai for many hit songs including Raj Kapoor and Laxmikant-Pyarelal classic “Satyam Shivam Sundaram” 1978, ‘rang mahal ke dus darwaze’ rendered by Lata Mangeshkar – Bhupendra Singh. 

Use of SHEHNAI by various music directors. 

Ram Ganguli

Zinda Hoon Is Tarah   “Aag” 1948


Aaye Na Balam Vada Kar Ke    “Shabab” 1954

Pee Ke Ghar Aaj                      “Mother India”  1957

Salil Chaudhari

Jhoome Re Kali Bhanwara     “Naukari”     1954


Chal Ud Ja Re Panchhi          “Patang”   1957

Vasant Desai

Tere Sur Aur Mere Geet   “Goonj Uthi Shehnai”  1958.

N Dutta

Tu Mere Pyar Ka Phool   “Dhool Ka Phool” 1958

C Ramchandra  

Tu Chhupi Hai Kahan     “Navrang”  1959

S D Burman

Chal Ri Sajni    “Bambai Ka Babu”   1960


Aap Ne Yaad Dilaya          “Aarti”  1962


Taqdeer Ka Fasana       “Sehra”  1963


Babul Ki Dua Leti Ja         “Neel Kamal”  1968


Kabhi Kabhi Mere Dil Main   “Kabhi Kabhi”   1976’

Laxmikant-Pyarelal also composed some melodious songs, harmonizing Shehnai, in their enrich orchestra arrangements. Few of the songs are considered for the review. 

Songs Not Reviewed :

Koi Shahari Babu “Loafer” 1973

Ni Main Year Manani “Daag” 1973

Meri Kismat Main “Prem Rog” 1981

Likhanewale Ne Likh Dale “Arpan” 1983

SHEHNAI player late Ustad Bismillah Khan praised of Laxmikant-Pyarelal for the beautiful use of SHEHNAI in the songs ‘Main To Deewana’ and ‘Ram Kare Aisa Ho Jaye’ both from the super musical hit film “Milan”, 1967.

Chori Chori Jo Tum Se Mili      “Parasmani” 1963

(Lata Mangeshkar – Mukesh   /  Farooq Qaisar)

Use of SHEHNAI and MANDOLIN in “Prelude” and all the “interludes” are worth listening to.

Itni Jaldi Kya Hai Gori         “Sati Savitri” 1964

(Lata – Usha – Kamal Barot  / Pandit Bharat Vyas

A wedding and slightly naughty song, beautifully decorated with glimpses of FLUTE, SHEHNAI and DHOLAK. Don’t forget to listen to the MANDOLIN in “Prelude”.

Mubarak Ho Sabko Sama Ye Suhana      “Milan”  1967

(Mukesh / Anand Bakshi )

Singer Mukesh is simply the best choice for this song. Sad songs 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.

Khushi Ki Woh Raat Aa Gayi     “Dharti Kahe Pukar Ke”  1969 .                                          (Mukesh / Majrooh Sultanpuri)       

One of the excellent songs on SHEHNAI. “Prelude” of 57 seconds mesmerizes. It is awesomely orchestrated with SHEHNAI and FLUTE with astounding  DHOLAK rhythm. Second ‘interlude’ is superbly orchestrated with synchronization of SHEHNAI and SITAR.The postlude is full of SHEHNAI. Filmed on Jeetendra. 

 Jawani O Diwani Tu Zindabad     “Aan Milo Sajna” 1971 (Kishore Kumar  / Anand Baksh)i

Kishore Kumar-Rajesh Khanna at it’s best. Enchantingly orchestrated 39 seconds ‘prelude’ with MANDOLIN, SHEHNAI / NADASWARAM and VIOLINS. All these musical instruments are once again used, with different tune, in the interludes. DHOLAK rhythm is fantastic, in particular the “pick-up” at 0.56/0.57.

Hathon Mein Mehandi        “Uphaar” 1971

Lata Mangeshkar  /  Anand Bakshi

The perfect wedding song, sweet and melodious, as well. Excellent “prelude”, starting from 0.41 to 1.14 This song is a ‘folk’ showing traditional Rajasthani “ KATHPUTLI”. HAND DRUMS and the “BOLI” / “SHRUTTI” (This is a musical instrument made of two thin and small bamboo strips which have a reed in between and produces a sharp sound by blowing air in and out on it) are beautifully decorated in the orchestra to give the traditional “FOLK” touch. Lata Mangeshkar has brilliantly synchronized her voice with Laxmikant-Pyarelal’s orchestra arrangements.

Shehnai Baje Na Baje     “Shor”  1972

(Lata Mangeshkar / Verma Malik)

Lata Mangeshkar’s “humming” “aa oomm  oomm aa oomm oomm” and few string instruments in the “prelude” of the song are beautifully synchronized with “Jaya Bhaduri”s swinging action. The “Dholak” rhythm is absolutely “ear-pleasing”. Interludes are orchestrated with SHEHNAI and RUBAB.

Rang Mahal Ke Dus Darwaze   “Satyam Shivam Sundaram”  1978

(Lata Mangeshkar – Bhupendra Singh / Vitthalbhai 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.

Chalo Re Doli Uthao        “Jaani Dushman”  1979

(Mohammad Rafi  / Verma Malik)

One of the finest compositions on SHEHNAI. ‘Prelude’ CHORUS Humming. SHEHNAI used in interlude is wonderful. Filmed on Jeetendra, Neetu Singh, Shatrughn Sinha

Tere Haathon Mein Pehna Ke    “Jaani Dushman”  1979

(Mohammad Rafi – Asha Bhosle  / Verma Malik)

Mesmerizing composition. “Prelude” of 40 seconds. SHEHNAI and NADASWARAM are awesomely intermixed followed by VIOLINS in SYMPHONY style then “folkish” DHOLAK rhythm and then glimpses of HARMONIUM. All the “interludes” are also orchestrated with the above musical instruments in addition it has a “CLAPPING” in the “rhythm”. Filmed on Jeetendra – Neetu Singh.

Ladaka Tumhara Kunwara Rah Jata   “Krodhi”  1980

(Kishore Kumar – Lata Mangeshkar  /  Anand Bakshi)

Tere Mere Beech Main   “Ek Duje Ke Liye” 1981

(Lata Mangeshkar – S P Balasubramaniam  / Anand Bakshi)

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 SHEHNAI are mellifluously decorated in the orchestra. 

Ye Galiya Ye Chaubara      “Prem Rog”  1982

(Lata Mangeshkar  /  Santosh Anand)

Wonderful traditional wedding song. Awesome DHOLAK rhythm, SHAHNAI is wonderfully orchestrated in the second interlude. 

Ajay Poundarik, Vadodara (Gujarat).



Hindi Film Songs are of much importance for a film’s success and also for any actors/actresses  to get boost-ups his/her popularity. In the past many popular songs filmed on actor/actress  have made them stars.  

Music directors Laxmikant-Pyarelal have composed many of such popular songs which have benefited the films to become hits as well as the film actors/actresses popularity hiked.

Laxmikant-Pyarelal magical super hit  song, Bindiya Chamke Gi’  from “Do Raaste” in 1969 gave name and fame as well as ‘star’ status to Mumtaz.  Her popularity chart further got the boost through the songs ‘Sanam Tu Bewafa Ke’  from “Khilona”, 1970 and ‘Koi Shahari Babu’ from the film “Loafer” 1973.  

Likewise, Laxmikant-Pyarelal music did similar success for Sridevi ‘Hawa Hawai’ from “Mr India” in 1987 and also for Madhuri Dixit Ek Do Teen from “Tezaab” in 1988. Not only that, singers of these songs Kavitha Krishnmoorthy and Alka Yagnik, respectively,  got recognition as singers. 

Jeetendra became ‘star’ through the success of musical hit film “Farz”, 1967, in particular the song ‘Mast Baharon Ka Aashiq’. 

Laxmikant-Pyarelal has composed maximum enduring superhit songs for Amitabh Bachchan, Rajesh Khanna, Dhararmendra, Rishi Kapoor, Anil Kapoor, Jacky Shroff and many.

Lesser known actors like Chunky Pande, ( So Gaya Ye Jahan from “Tezaab” in 1988.), Vijay Arora (‘Ek Ritu Aaye’ from “Goutam Govinda” in 1977), Javed Jaafri (‘Bol Baby Bol Rock-N-Roll’ from “Meri Jung”, 1984) and Shekhar Suman (‘Sanz Dhale’ from “Utsav”, 1984) got the signature tunes composed by Laxmikant-Pyarelal.

Dancers cum lesser known actresses like Laxmi Chhaya is known for the songs like ‘Mar Diya Jaye Ke Chhod Diya Jaye’   ‘Hi Sharmau Kis Kis Ko Batau’  and ‘Aaya Aaya Atariaya Pe Koi Chor’ all from “Mera Gaon Mera Desh” 1971, Kumkum famous for ‘Mera Naam Hai Chameli’ from “Raja Aur Rank” 1968, Indrani Mukharjee ‘Payal Ki Jhankar Raste Raste’ from “Mere Lal” 1966, etc have got these superhit songs. 

SIX  Best Songs, covering two stars in each song, are considered for the review.

List of the SIGNATURE TUNES, songs, composed by Laxmikant-Pyarelal for various actors / actresses. These songs made the actors / actress more popular.


Aadmi Jo Kehta Hai ( MAJBOOR, 1974)

My Name is Anthony (AMAR AKBAR ANTHONY, 1977)

Bane Chahe Dushman  (DOSTANA, 1980)

John Jaani Janardan (NASEEB, 1981) 

Gori Ka Sajan Sajan Ki Gori (AAKHRI RAASTA, 1987)

Jumma Chumma De De (HUM, 1990)

Tu Muze Kubul (KHUDA GAWAH, 1991)


One Two Ka Four My Name Is Lakhan (RAAM LAKHAN, 1987).

Zindagi Ki Yahi Reet Hai (MR INDIA, 1987)


Ai Phasa (BOBBY, 1973)

Panditji Mere Marane Ke Baad (ROTI KAPADA AUR MAKAN, 1974)


Meharban Mehaboob (AANSOO BAN GAYE PHOOL, 1969)

Dard – E – Dil Badhata Jaye (BUNIYAD, 1972)

Hungama Ho Gaya.(ANHONEE, 1973)


Nazan Na Lag Jaye, O My Love (NIGHT IN LONDON, 1967)

Akela Hoon Main Humsafar (JAAL, 1967)


Suno Sajna Papihe Ne ( AAYE DIN BAHAR KE , 1966)

Tere Karan Mere Sajan (AAN MILO SAJNA, 1970)

Sona Layi Ja Re (MERA GAON MERA DESH, 1971) 

Main Tulsi Tere Aangan Ki (MAIN TULASI TERE ANGAN KI, 1979)


Hum to tere aashik (FARZ, 1967),

Bar Bar Din Ye Aaye..Happy Birthday To You (FARZ, 1967) 

Sheeshi bhari gulab ki (JEET, 1971)


O Dilwalo Saaz – E – Dil (LOOTERA, 1965)


So Gaya Yeh Jahan So Gaya (TEZAAB, 1987)


Mere Dushman Tu Meri (AAYE DIN BAHAR KE, 1966)

Chhalkaye Jaam (MERE HUMDUM MERE DOST, 1968)

Hui Sham Unka Khayal Aa Gaya (MERE HUMDUM MERE DOST, 1968)

Na Ja Kahin Ab Na Ja (MERE HUMDUM MERE DOST, 1968)

Saathiya Nahon Jaana Ke Jeena Lage (AAYA SAWAN ZUM KE, 1969)

Kuchh Kehata Hai Ye Sawan (MERA GAON MERA DESH, 1971) 

Jaani O Jaani (RAJA JANI, 1972)

Aaj Mausam Bada Beimaan Hai (LOAFER, 1973)

Gadi Bula Rahi Hai ( DOST, 1974) 

Main Jat Yamla Pagla (PRATIGYA, 1976)

Aaja Teri Yaad Aayee (CHARAS, 1976)

O Meri Mehabooba (DHARAM VEER, 1977) 


Ke Main Aaya Hoon (AMIR GARIB, 1974)..Excellent use of saxophone. 


Hum tum ek kamre/ 

Jhooth bole (BOBBY, 1973)


O Ghata Sawari (ABHINETRI, 1970)

Sharafat Chhod Di Maine (SHARAFAT, 1970)

ABCD Chhodo (RAJA JANI, 1972)

Aaja Teri Yaad Aayee (CHARAS, 1976)

Dream Girl Dream Girl, (DREAM GIRL,1977)

Zindagi Na Toote Ladi (KRANTI, 1981)

Mere naseeb Mein Tu Hai (NASEEB, 1982)


Aa Jan-E-Ja Aa Mera Ye Husn Jawan (INTQAAM, 1969)

Mujhe Dekhiye Koi Dastan Houn (LOOTERA, 1965)

Meara Naam Hai Jamila ( NIGHT IN LONDON, 1967)

Ooi Maa Ooi Ma Ye Kya Ho Gaya (PARASMANI, 1963)

Hum Pyar Kiye Janeyge (AAYA TOOFAN, 1964)

Meghawa Gagan Beech Jhanke (HARISCHANDRA TARAMATI 1963)


Payal Ki Jhankar Raste Raste (MERE LAL, 1966)  .The best song on HARMONIUM 


Tu Mera Jaanu Hai (HERO, 1983)


Patta Patta Buta Buta (EK NAZAR, 1972)

Pehle Sau Baar Idhar (EK NAZAR, 1972)

Hami Kare Koi Surat (EK NAZAR, 1972)

Shehnai Baje Na Baje (SHOR, 1972)


Bol Baby Bol Rock N Roll ( MERI JUNG, 1984) 


Mast baharon ka main aashiq (FARZ, 1967)

Bar Bar Din Ye Aaye (FARZ, 1967)

Je Hum Tum Chori Se (DHARTI KAHE PUKAR KE, 1968)

Badi Mastani Hai Meri Mehbooba (JEENE KI RAAH, 1969)

Hi Re Hi Nind Nahi Aaye (HUMJOLI, 1971)

Dil Ki Bate Dil Hi Jane (ROOP TERA MASTANA, 1972)


Dafli wale (SARGAM, 1977)


Jag Badan Main Jwala (IZZAT, 1969)..Mind-blowing Rhythm 


Bade Miyan Deewane Aise Na Bano (SHAGIRD, 1967)

Duniya Pagal Hai (SHAGIRD, 1967)


Tere mere beech mein (EK DUUJE KE LIYE, 1981)


Jumma chumma de de (HUM, 1991)

KISHORE KUMAR –(Songs filmed on Actor Kishore Kumar )

Mere Mehboob Quayamt Hogi (MR. X IN BOMBAY, 1964)

Ajanabi Tum Jane Pehachane Se (HUM SAB USTAD HAI, 1965)

Pyar Baantte Chalo ( HUM SAB USTAD HAI, 1965)

Suno Jana Suno Jana ( HUM SAB USTAD HAI, 1965)

Ye Dard Bhara Afasana (SHREEMAN FANTOOSH, 1965) 

Din Jawani Ke Bar Bar (PYAR KIYE JAA, 1966) 


Mera Naam Hai Chameli …(RAJA AUR RANK, 1968)


Maar Diya Jaye Ke Chhod Diya Jaye 

Hi Sharmau Kis Kis Ko Batau 

Aaya Aaya Atariaya Pe Koi Chor (all from MERA GAON MERA DESH, 1971)


Dhal Gaya Din Ho Gayi Sham (HUMJOLI, 1971)

Jane Kyon Log Muhobbat Kiya Karate Hai.( MEHABOOB KI MEHANDI 1971) 

Gum Ka Fasana (MANCHALI, 1973)


Tauba Ye Matwali Chal (PATTHAR KE SANAM, 1967)

Ek Pyar Ka Nagma Hai (SHOR 1972


Ek do teen char (TEZAAB, 1987),

Choli ke peeche (KHAL-NAYAK, 1993)


Neend Kabhi Rehti Thi Aankhon Main (AASRA, 1966) 

Meri Zindagi Ke Chirag Ko ( JAAL, 1967 )


Mehbooba Mehbooba (SADHU AUR SHAITAN, 1969)


Ilu Ilu (SAUDAGAR, 1992),


Hi Hi Ek Ladaka Muzako Khat (KACHCHE DHAAGE, 1973)

Megha Re Megha Re (PYASA SAWAN). 


Bindiya chamkegi (DO RAASTE, 1969)

Dil Ne Dil Ko Pukara (DO RAASTE, 1969)

Sanam Tu Bewafa Ke Naam Se (KHILONA, 1971) 

Koi Shahri Babu (LOAFER, 1974)


Ek pyar ka naghma hai (SHOR, 1971)

Jare Kare Badara  (DHARTI KAHE PUKAR KE, 1969)


Sawan Ka Mahina (MILAN, 1967) 


Yashomati Maiya Se (STYAM SHIVAM SUNDARM, 1977)

Yeh Galiyan yeh chaubara (PREM ROG)


Daroo Ki Botal Main (MAJBOOR, 1974)


Jeevan Chala Ne Ka Naam (SHOR, 1972)


Jhilmil sitaron ka aangan hoga (JEEVAN MRITYU, 1971)


Man Kyon Behka Re Aadhi Raat Ko (UTSAV, 1984)

Doori na rahe koi (KARTAVYA, 1978)


Mere Naseeb Main, (DO RAASTE, 1969)

Yeh Reshmi Jhulphe ( DO RAASTE, 1969

Dil Ne Dil Ko Pukara (DO RAASTE, 1969)

Achha To Hum Chalte Hai. (AAN MILO SAJANA, 1970)

Veda Tera Vaada (DUSHMAN, 1971)

Ye Jo Chilman Hai (MEHBOOB KI MENANDI, 1971)

Mere Deewanepan Ki (MEHBOOB KI MEHANDI, 1971)

Chal Chal Mere Saathi (HAATHI MERE SAATHI, 1971)

Mere Dil Mein Aaj Kya Hai (DAAG, 1973)

Ye Jo Public Hai (ROTI,1974)

Aap Ke Anurodh Pe (ANURODH, 1977)

Akela Gaya Han Main (RAJPUT, 1981)


Tere mere beech mein (EK DUUJE KE LIYE, 1981)


Tere sang pyar (NAGIN, 1976),

Meri Sanson Ko Jo (BADALTE RISHTE, 1978) 

Sheesha ho ya dil ho (AASHA, 1980)


Main Shayar to nahin (BOBBY,1973),

Parda Hai Parda Hai (AMAR AKBAR ANTHONY, 1977)

Dafli wale (SARGAM, 1979),

Om shanti Om (KARZ, 1980)

Dard – E – Dil (KARZ, 1980)


Main Dekhu Jis Aur Sakhi Re Samne Mere Sawariya (ANITA, 1967)

Na Baba Naba (ANITA, 1967)

Kaise Rahoon Chup ??? (INTQAAM, 1969)

Suniye Jara Baithiye Na Hum Aap Ke (GEETA MERA NAAM, 1975)


Bane Chahe Dushman  (DOSTANA  1980)

Chor Mach Gaya Shor (BADLA 1974)


Chalo Sajana Jahan Tak (MERE HUMDUM MERE DOST, 1969)

Do Din Ki Zindagi (SATYAKAM, 1970)

Ye Kaisa Ghum Sajana (MERE SAJANA, 1970)

Ek Chehare Pe Kayi (DAAG, 1973) 


Saanjh Dhale Gagan Tale (UTSAV, 1984)


Dil vil pyar vyar (SHAGIRD, 1967)

Woh Hai Zara Khafa Khafa (SHAGIRD, 1967)

Rootha Hai To Mana Lenge (JWAR BHATA, 1974)


O Phirki Wali Tu Kal Phir Aana ( RAJA AUR RANK, 1968)

Shadi Ke Liye Raja Mand Kar Li ( DEVI, 1968)

Khilona jaan kar (KHILONA, 1971)


Phool Ban Jaunga Shart Ye Hai (PYAR KIYE JAA, 1966) 

Sa Re Ga Ma Pa (ABHINETRI, 1971) 


Main Teri Dushman ( NAGINA 1986) 

Hawa Hawaii (MR INDIA, 1987)

Kisi Ke Haath Na Aayyegi (CHAALBAAZ, 1989)


Sawan Ka Mahina ( MILAN, 1967)

Mubarak Ho Sabko ( MILAN, 1967)

Ram Kare Aisa Ho Jaye ( MILAN, 1967)


Nayak Nahi Khalnayak Houn Main ( KHALNAYAK 1993) 


Aap Mujhe Achchhe Lagane Lage  ( JEENE KI RAAH, 1969) 

Roz Sham Aati Thi (IMTIHAN, 1974)


Ruk Jaana Nahin (IMTIHAN, 1974)


Ek Ritu Aaye Ek Ritu Jaye (GOUTAM GOVINDA, 1979)


Hi Hi Yeh Majboori (ROTI KAPDA AUR MAKAN, 1974)

Main Na Bhulunga (ROTI KAPDA AUR MAKAN, 1974)

Satyam Shivam Sundaram (STYAM SHIVAM SUNDARM, 1977)

The list has no end. 

1) Baar  Baar Din Ye  Aaye     (FARZ, 1967)

 (Anand Bakshi   Mohammad Rafi)     (JEETENDRA  BABITA)

Universally HIT as BIRTHDAY song. “Prelude” of 54 seconds set up the mood for this beautiful song. Wonderfully orchestrated with VIOLINS, ACOUSTIC GUITAR, PIANO and BONGO DRUMS in rhythm.Certainly orchestra arrangements have ‘SYMPHONY’ touch. 

Lyrics  overflowing with Love. A timeless masterpiece.

2) Sawan Ka Mahina        (MILAN, 1967)

(Anand Bakshi   Mukesh – Lata)         (NUTAN   SUNIL DUTTA)

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.

3) Dil Ne Dil Ko Pukara    “Do Raaste”  1969

(Anand Bakshi    Rafi – Lata)                         (RAJESH KHANNA   MUMTAZ)

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 patterns for ‘interludes’ (BONGO DRUMS) are different from that of ‘antara’/’mukhda’ (DHOLAK).

4)  Aaja Teri Yaad Aayee         “Charas”  1976

(Anand Bakshi       Rafi – Lata – Anand Bakshi)         (DHARMENDRA  HEMA MALINI)

Laxmikant Pyarelal delivers yet another masterpiece which proves again why they were the king of hindi film music for almost three and half decades. Orchestrated with symphony style VIOLINS and CELLOS. SARANGI, BANJO, FLUTE and SANTOOR are awesomely instrumented in the interludes. Mesmerizing DHOLAK rhythm. 

5) Dafli Wale Dafli Baja         “Sargam”  1979

(Anand Bakshi        Lata – Rafi)                          (RISHI KAPOOR   JAYA PRADA)

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. 

6) Salamat Rahe Dostana Hamara  “DOSTANA”  1980

(Anand Bakshi    Rafi – Kishore)          (AMITABH BACHCHAN   SHATRUGHN SINHA)

One of the most popular male duets, on ‘friendship’. Very simple tune and composition effortlessly rendered by legends Rafi – Kishore. Effectively acted by Amitabh Bachchan and Shatrughn Sinha. Mellifluously orchestrated in Symphony style VIOLINS. 

Ajay Poundarik Vadodara (Gujarat) India

ENTHRALLING Lata Mangeshkar & Laxmikant-Pyarelal SATYAM SHIVAM SUNDARAM

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.

“Satyam Shivam Sundaram” Long Playing Record Cover Page

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.

Anand Bakshi, Laxmikant, Lata Mangeshkar (breaking Coconut), Raj Kapoor and Pyarelal

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.

“Satyam Shivam Sundaram” Long Playing Record Cover Page

Manna Dey, Shashi Kapoor, Laxmikant, Guest, Randhir Kapoor, Raj Kapoor, Pt. Narendra Sharma, Pyarelal standing front Hrishikesh Laxmikant (son of Laxmikant) 

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.

Laxmikant-Pyarelal receiving Filmfare Trophy for “Satyam Shivam Sundaram” from Raj Kapoor. 

Satyam Shivam Sundaram is a soundtrack that shines more amidst Laxmikant-Pyarelal  many melody accomplishments.

Ajay Poundarik, Avon, Cleveland (OHIO). USA.

Nationalistic Canticle and Laxmikant-Pyarelal Music

Nationalistic Canticle and  Laxmikant-Pyarelal Music

India is celebrating #72Republicday today. Laxmikant-Pyarelal have composed some phenomenal nationalistic canticles. 

— Pyar Baantate Chalo Ky Hindy Kya     “Hum Sab Ustad Hai” (1965)

(Kishore Kumar        Asad Bhopali)

One of the rarest of rare Patriotic songs sung by Kishore Kumar. Laxmikant-Pyarelal have composed this song in western beats with  “Rock-N-R0ll” and “Twist” style. “Prelude” of 46 seconds is mesmerizing. Train Sound of Crank-Shaft/Flywheel is brilliantly generated as well as synchronized with the VIOLINS and ACOUSTIC  GUITAR.  One of the best songs filmed on the train. Kishore Kumar is simply awesome,  both in rendering and in acting, as well. The song has a harmonious BONGO DRUM ‘rhythm’. 

— Mere Desh Main Pawan Chale                “Jigri Dost” (1969)

(Mohammad Rafi           Anand Bakshi)

An extremely melodious ‘folkish’ type composition, elaborating Indian Village Culture. Mohammad Rafi simply outstanding. The song is filmed on Jeetendra. 

— Mere Geet Hai Anam,  Anam Shahido Ke Nam       “Jurm Aur Saza” (1974)

(Mohammad Rafi         Ram Bharadwaj)

On The Occasion Of Republic  Day !  Laxmikant-Pyarelal and Mohammad Rafi  A Rare GEM. “Jurm Aur Sazaa” 1974. This  Song Is Awesomely Orchestrated With IRANI SANTOOR and A Melodious Rhythm. The Song Is Written By Ram Bhardwaj (Father Today’s Music Director Vishal Bhardwaj) 

— Fauzi Gaya Jab Gaon Main                  “Aakraman” (1975)

(Kishore Kumar           Anand Bakshi)

Typical ‘Punjabi’ Bhangra composition. 45 seconds of prelude is  orchestrated with the rhythm orchestrated by using  EKTARA /  TANPURA, GHUNGROO BELLS, BANO, NADASWARAM, DHOL as well as awesome Humming from Kishore Kumar. Rajesh Khanna has danced swimmingly on single Leg. 

— Dekho Veer Jawano Aakraman (1975)

Kishore Kumar Anand Bakshi

— Kranti Kranti                                     “Kranti” (1981)

(Manna Dey, N Mukesh, M Kapoor, Lata, S Singh     Santosh Anand)

An extremely melodious song. DHOLAK rhythm,  singing and rhythmic ‘pauses’ in the song gives additional inflection. Lata Mangeshkar’s singing is wonderfully overlapped by CHORUS. Multi-Starrer song, Dilip Kumar, Manoj Kumar, Hema Malini, Shatrughn Sinha, Shashi Kapoor. 

— Mere Desh Premiyon                   “Desh Premi” (1982)

(Mohammad Rafi           Anand Bakshi)

This is patriotic song giving a philosophical touch by Anand Bakshi.

— Dil Diya Hai Jan Bhi Denge                “Karma” (1986)

(Kvitha Krishnamurthy – Mohammad Aziz      Anand Bakshi)

The most popular, widely acclaimed patriotic song composed on BANJO. Many of Laxmikant-Pyarelal compositions are orchestrated with BANJO. This is a very famous song, it can be heard today, 26th January, the republic day and on 15th August, an independent day. Entire song is woven around the glimpses of BANJO. BANJO sounds ear-pleasing in the entire song including the ‘interludes’. Famous BANJO player Mr. Rashid Khan, a regular musician in Laxmikant-Pyarelal orchestra has played the BANJO in this song. It is filmed on Nutan – Dilip Kumar

— Meri Jaan Tiranga Hai           “Tiranga” (1993)

(Mohammad Aziz         Santosh Anand)

Awesomely orchestrated by using Army / Military BIGUL. 

Ajay Poundarik

Vadodara (Gujarat)


SAXOPHONE :: Laxmikant-Pyarelal Enrich Orchestra.

 SAXOPHONE ::  Laxmikant-Pyarelal Enrich Orchestra.  

Bollywood film music is principally for transferring affection. The harmony, theme, rendering style and the variations in carols are all creative processes to convey affections. Apart from these creative processes, the musical instruments which are played in the orchestra also have a key role to play in conveying empathy. 

Music directors normally choose instruments based on the range of the instrument and how it can support and convey the primary emotion in the song. Many of the instruments serve a single purpose and primarily support a limited range of exciments. However, a Saxophone is a versatile instrument & many of the many composers have displayed it effectively to convey many moods through the songs by using Saxophone.

The sounds of Trumpet and Saxophone are confused. Trumpets are classified as ‘brass instruments’ and saxophones are classified as ‘woodwind instruments’.

Music directors from Bollywood have used SAXOPHONE in their respective orchestra. Quantity wise it is used by R D Burman, Laxmikant-Pyarelal, S D Burman, Kalyanji-Anandji. However, the best utilization of Saxophone is done by the music directors Shankar-Jaikishan and O P Nayyar, strictly my personal opinion

Saxophonists Ram Singh, Amar, Annappa ,Brave, Johney Gomes,  Sumaent Raj, Shyam Raj Manohari Singh, Raj Sodha, Suresh Yadav, Kadri Gopinath have contributed to  play Saxophone with the music directors. 

Most of the Laxmikant-Pyarelal compositions, till 1974,  Saxophone is played by Manohari Singh for the songs, Jane Kaisa Hai   and Meharban Mehboob Aansoo Ban Gaye Phool, 1969. Mere Dil Ne Tadap Ke Anurodh, 1977. Later Saxophonist Suresh Yadav contributed a lot for Laxmikant-Pyarelal.  Saxophonist Shyam Raj has played the Saxophone for Mr. India songs,  Hawaa Hawaai and Kate Nahin Katate.  

Listing out few songs on Saxophone, composed by various music directors.

S D Burman

— Ye Kisne Geet Chheda           Meri Surat Teri Aankhen 1963

—  Gata Rahe Mera Dil               Guide 1965

—  Roop Tera Mastana                Aradhana  1969  


— Mujhe Duniyawalo                    Sharabi  1964

— Mera Pyar Bhi Tu Hai               Saathi  1968

Salil Chaudhari                             

— Jare Jare Ud Jare Panchhi       Maya 1961

–Zindagi Kaisi Hai                       Anand  1971

— Gujar Jaye Din                          Annadata  1972 


— Dil Jo Na Keh Saka                 Bhigi Raat  1965

— Duniya Kare Sawal                  Bahu Begum 1967


— Bedardi Balama                       Aarzoo  1965

— Aaj Kal Tere Mere                    Bramhachari  1968

— Ai Sanam Jisne Tujhe               Diwana 1968

— Janam Janam Ka Saath           Tum Se Achchha Kaun Hai 1969

— Chhoti Si  Mulaqat                    Chhoti Si  Mulaqat  1967

O P Nayyar  

–Hai Duniya Usiki                          Kashmir Ki Kali  1964

— Ye Hai Reshmi Jhuphon            Mere Sanam 1965

–Huzure Wala                               Yeh Raat Phir Na Aayegi  1969

— Main Pyar Ka Raahi                   Ek Musafir Ek Hasina  1962

— Yahi Wo Jagah Hai                     Yeh Raat Phir Na Aayegi 1966

Madan Mohan

–Woh Bhuli Dastan                        Sanjog  1961

–Shokh Nazar Ki Bijliya                 Woh Kaun Thi  1964


-Aage Bhi Jane Na Tu                  Waqt  1965 

–Zindagi Ittefaq Hai                       Aadmi Aur Insaan  1969


— Jag Dil-E-Diwana                     Oonche Log 1965


— Tumhe Yaad Hoga                   Satta Bazar 1959        

— Humsafar Mere Ham Safar      Purnima 1965  

–Na Na Karte Pyar                      Jab Jab Phool Khile 1965

— Bekhudi Main Sanam               Haseena Maan Jayegi  1968

— Zuban Pe Dard Bhari               Maryada  1971

R D Burman 

— O Haseena Zulfonwali           Teesari Manzil  1966 

— Jis Gali Main Tera Ghar          Kati Patang  1970

— Kabhi Karti Hogi                      Phir Kab Milogi 1974

— Keh Du Tumhe                        Deewar  1975

–O Hansini Kahan Ud Chali       Zehreela Insaan 1975

Glimpses of saxophone can be heard in the Laxmikant-Pyarelal orchestra in many songs. 

Laxmikant-Pyarelal had a very good association with Saxophonist Manohari Singh since 1958. He had come to Mumbai in mid fifties. Since their younger days they were very good friends and worked a lot together, with Kalyanji Virji Shah, then, (Kalyanji-Anandji)

There are many songs in which Laxmikant-Pyarelal has incorporated saxophonist Manohari Singh in Jazz flute or saxophone, till early seventies. Later saxophonist Shri Suresh Yadav played the saxophone in Laxmikant-Pyarelal orchestra

Ke Main Aaya Hoon   and  Dev Anand 

The song Ladies and Gentlemen, Ke Main Aaya Hoon,,, sung by Kishore Kumar for the film Amir Garib, 1974, composed by Laxmikant-Pyarelal is one of the nonpareil songs composed on SAXOPHONE, played by Manohari Singh.

This song, Main Aaya Hoon, is one of the toughest and very complicated saxophone prelude and interlude pieces. Manohari Singh himself said in an interview that this piece composed and written by Pyarelalji is the hardest ever saxophone piece I have played in HFM.

Actor Dev Anand who was to act on this song as a saxophonist, had to carry out practice sessions for 15 days to look like an impeccable / perfect saxophonist on the screen. 

Laxmikant-Pyarelal’s songs on Saxophone are divided into Two Parts.  First part contains only a list with the exact act / display of SAXOPHONE.

Second Part is the detailed review of a few of the songs.

Part I

List of Laxmikant-Pyarelal’s songs on Saxophone. The line below  indicates the exact display of Saxophone. There are still many songs, the list is endless. However, if anyone wants add the song, it can be added in “BLOG” comments, below.                                                                              

— Chalo Sajna Jahan Tak Ghata Chale                       Mere Humdam Mere Dost  1968

(Prelude is full of VIOLINS and SAXOPHONE. Second interlude starts with  SAXOPHONE)

 — Chalkaye Jaam Aaiye Aap Ke Naam                        Mere Humdum Mere Dost  1968

(Use of ACCORDIONS, VIOLINS and SAXOPHONE ( in second interlude ) is mind-boggling)

— Jaane Kaisa Hai Mera Deewana     Aansoo Ban Gaye Phool   1969

(Beautifully orchestrated, take off , SAXOPHONE in the first interlude)

–Phool Hai Baharon Ka            Jigri Dost  1969

(Prelude and Interludes full of SAXOPHONE)

–Das Gayi Nagin Si      Himmat  1970

(SAXOPHONE is awesomely orchestrated in ‘prelude’ and ‘interludes’) 

–Achha To Hum Chalte Hai         Aan Milo Sajma  1971 

The orchestra arrangement is mesmerizing use of IRANI SANTOOR,  SAXOPHONE and VIOLINS is just brilliant and ear-pleasing, as well.

— Patta Patta Buta Buta Hal Hamara Jane            Ek Nazar 1972

(Second Interlude has incredible use of SAXOPHONE as well as SYMPHONY style VIOLINS. 

— Piya Ka Ghar Hai               Piya Ka Ghar 1972

(Third interlude awesome use of SAXOPHONE)

–Chabi Kho Jaye            Bobby  1973

(Massive orchestra. SAXOPHONE, synchronized with FRENCH HORN  in third interlude. Postlude interlude SAXOPHONE harmonised with ACCORDION)

–Kahan Hai Deewana        Loafer  1973

(First interlude SAXOPHONE)

–Nahin Nahin Jana Nahin       Zinda Dil  1975

(First Interlude starts at 0.47 stupefying orchestration of SAXOPHONE and ‘symphony’ VIOLINS overlapping the CHORUS)

— Yaar Dildar Tujhe Kaisa Chahiye       Chhaila Babu  1977

(Orchestrated on ‘pop’ composition, unique rhythm. SAXOPHONE, VIOLINS, GUITAR are mellifluously executed in ‘prelude’ as well as in ‘interludes’)

–Kate Nahin Katate, I Love  you.              Mr. India    1988 

(SAXOPHONE in first interlude)

Part II

Review of the songs.

Mere Dil Main Halki Si       Parasmani   1963

( Singer Lata Mangeshkar    Songwriter Asad Bhopali  )

“Interludes” are instrumented with FLUTE , SAXOPHONE and VIOLINS . Rhythm with BONGO Drums, leaves you speechless.

Khoobsurat Haseena Jaan-E-Jaa          Mr. X In Bombay      1964

( Singer Kishore Kumar – Lata Mangeshkar   Songwriter  Anand Bakshi)

Excellent composition, from Laxmikant-Pyarelal, in western style orchestra arrangements. “Prelude” is wonderfully decorated with the use of SAXOPHONE, VIOLINS and FLUTE is worth listening to.

Rokna Hai Agar      Jaal   1967                                                                                                               (Singer Lata Mangeshkar    Songwriter Raja Mehadi Ali Khan)

50 seconds of ‘prelude’ playing SAXOPHONE overlapping dialogue, beautiful take off ‘symphony’  VIOLINS at 37. A little ‘pause’ and a phenomenal start by Lataji 50 seconds, रोकना है अगर...Word चाँद is repeated many times in the entire song and every time how beautifully she has used different and distinct style of uttering the word “चाँद “. 

All the three interludes have different tunes and different ‘rhythm’ and are orchestrated with the mellifluous use of super-imposing sounds of SAXOPHONE, symphony VIOLINS and GUITAR. 

Brilliant use of VIOLINS as a ‘filler’ in all the three “antara”.

Not to forget the “rhythmic” “pause” at the end of each ‘antara’. 

The song has a sweet and melodious DHOLAK rhythm.

Dhadaka Hai Dil Main Pyar Tumhara      Jaal   1967                                                                                                               (Singer Lata Mangeshkar    Songwriter Raja Mehadi Ali Khan)

Brilliant take-off by SAXOPHONE in Second Interlude. Just Mesmerizing. 

An outstanding composition in Western Style. “Prelude” of 46 seconds is full Lataji AALAPS as well as HUMMING,  brilliantly synchronized with Symphony style VIOLINS. How softly Lataji has rendered the words ‘Abhi Abhi’ (अभी अभी), followed by BASS GUITAR, as filler. Lataji has sung entire song with lots of variations.  The rhythm is full of ACOUSTIC GUITAR and the BONGO DRUMS….SAXOPHONE , VIOLINS, BASS GUITAR, ACCORDION and VIOLAs are brilliantly executed in all the “interludes”. Mesmerising Orchestra Arrangements. The song is filmed on Mala Sinha. 

Gore Gore Chand Ke Mukh Par        Anita  1967                                                                                  ( Singer Mukesh  Songwriter Aarzoo Lucknavi )

Very Very Sweet Song. Mukeshji sounds simple and beautiful. Besides ‘romantic’ words this song has the “interludes” full of FLUTE, CLARINET and SAXOPHONE. (Third Interlude). 

Hui Sham Unka Khayal      Mere Hamdam Mere Dost   1968

( Singer Mohammad Rafi   Songwriter Majrooh Sultanpuri)

“Prelude” is full of SAXOPHONE and PIANO with other western instruments, sets the mood of the song. A mesmerizing composition and mellifluous orchestra arrangements. Entire song is woven around the glimpses of SAXOPHONE, ACOUSTIC GUITAR & CLARINET. In all the “interludes”. Overlapping sound effect of SAXOPHONE/CLARINET with PIANO is just brilliant. VIOLA , GUITAR, CELLOS & VIOLINS are also brilliantly executed in the entire song. Another beauty of the song is it’s “ rhythm” DHOLAK / TABLA are used only in “antara”…all the “interludes:” are without any rhythm but just ear-pleasing. An addict song for me. One of the finest compositions from Laxmikant-Pyarelal …MOHAMMAD RAFI is simply outstanding.

Mehrabaan  Mehaboob Dilbar Jaan-E-Man …. (Aansoo Ban Gaye Phool, 1969)

(Singer  Asha Bhonsle  Songwriter Taj Bhopali)

Intoxicated melody and ‘rhythm’. One of the best songs composed by Laxmikant-Pyarelal for Asha Bhonsle. The song is completely woven around the glimpses of SAXOPHONE synchronising with “aalap” and “humming” by Ashaji. Westernized orchestra with excellent use of SAXOPHONE, GUITAR and the SYMPHONY style VIOLINS. Beautiful and frolicsome Helen dancing effortlessly. 

Tik Tik Tik Mera Dil Dole …. Humjoli 1971

(Singers Lata Mangeshkar-Mohammad Rafi    Songwriter Anand Bakshi)

Distinguishable composed melodious Cabaret song in the duet form. “Prelude” 34 seconds is consists of Lataji’s aalap in western style. Fasttrack BONGO rhythm. All the “interludes” are awesomely orchestrated in JAZZ flavored,  with BRASS instruments, including SAXOPHONE, BASS GUITAR. 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.

Jadugar Tere Naina              Man Mandir   1972                                                                                                                      (Singer Lata Mangeshkar-Kishore Kumar  Songwriter Raendra Krishan)

An extremely Melodious duet. Ear-Pleasing BONGA DRUM rhythm. Use of IRANI SANTOOR and SAXOPHONE in the interludes is mind-blowing.

Aa Aa Aaja Kuchh Keh Ja            Raja Jani 1972

(Singer  Lata Mangeshkar   Songwriter  Anand Bakshi)

Extremely Sweet Song. Lata Mangeshkar / Laxmikant-Pyarelal at their melodious best.  30 seconds of ‘prelude’.  The song starts with glimpses of MANDOLIN, BANSURI, VIOLINS,  Lataji’s humming and absolutely stupefying, 4 seconds DHOLAK rhythm (0,26 to 0.30). First ‘interlude’ is full of RAVANHATTA and VIOLINS. Second ‘interlude’ starts with GUITAR but the second interlude is dominated by the wonderful display of SAXOPHONE, mind boggling. 

Ladies and Gentleman …Main Aaya Hoon        Amir Garib  1974

(Singer  Kishore Kumar    Songwriter Anand Bakshi)

One of the nonpareil songs composed on SAXOPHONE.

Prelude of 64 seconds is full of SAXOPHONE, BRASS instruments, ACOUSTIC GUITAR and CHORUS, awesomely synchronized with the SAXOPHONE.

Mukhada of the song is ‘filled’ simultaneously with CLARINET and VIOLINS. It has a wonderful westernized ‘rhythm’ of BONGO Drums intermixed with ACOUSTIC GUITAR.

Another beauty of the song, in each ‘antara’/stanza Kishore Kumar’s rendering is sweetly surrounded with symphony style VIOLINS as well as CHORUS (with low volume). .

First ‘interlude’ has GUITAR, VIOLINS.

Second ‘interlude’ instrumented with BRASS instruments SAXOPHONE.

Third ‘interlude’ has hypnotising SAXOPHONE overlapped with CHORUS and ACOUSTIC GUITAR.

Sham Bhigi Bhigi            Gehari Chal 1974 

(Singer Asha Bhosle   Songwriter Rajendra Krishnan) 

Awesomely rendered by Asha Bhosle. 

Soft Rhythm of BONGO Drums, use of SAXOPHONE, as a filler and in both the interlude is at it’s best. Birds-TWEET, JAZZ FLUTE and GUITAR, synchronized with the SAXOPHONE, sounds ear-pleasing throughout the song. Actress BINDU looks beautiful while dancing. ASHA BHONSLE sounds superb.

Main Na  Bhoolunga      Roti Kapda Aur Makaan    1974

(Singer Mukesh – Lata Mangeshkar Songwriter Santosh Anand)

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.

Aaja Aaja Mere Dil Ne Tadap Ke           Anurodh  1977

(Singer Kishore Kumar  Songwriter Anand Bakshi)

An extremely melodious composition.  SAXOPHONE has been orchestrated in the second interlude and it is significantly synchronised with VIOLINS. In addition to this, SAXOPHONE displayed the surround sounds of Kishore Kumar in ‘antaras’. 

Om Shanti Om                                  Karz  1980

(Singer Kishore Kumar  Songwriter Anand Bakshi)

Spellbind, Huge and Enrich  orchestra arrangements in western style,  throughout the song. Despite Kishore Kumar’s usual shouts and Laxmikant-Pyarelal’s boisterous orchestra, the melody part of the song is not lost. The song has become a youth anthem. Kishoreji sounds  like a ‘man’ of the age of 30. This composition from Laxmikant-Pyarelal  came up with a solid riposte to their critics. All the BRASS musical instruments like TUBA and FLUGELHORN, SAXOPHONE and CLARINET along with GUITAR are wonderfully orchestrated in enrich orchestra arrangements with the powerful western ‘beats’.

Ek Do Teen Char       Tezaab  1987

(Singer Alka Yagnik  Songwriter Javed Akhtar)

Massive orchestra with SAXOPHONE orchestrated in Second Interlude.

Hawa Hawai          Mr. India   1988

(Singer Kavitha Krishnmurthy   Songwriter Javed Akhtar)

Gargantuan Orchestra  with SAXOPHONE orchestrated in First Interlude.

Kehna Na Tum Ye Kisise    Pati Patni Aur Tawaif  1990

(Lyricist:-  Anand Bakshi   Singers Mohammad Aziz – Salma Agha)

An extremely melodious duet. ‘Prelude’ is full of GUITAR, VIOLINS and the SAXOPHONE. Enjoy mind-boggling solo PIANO in the first interlude. Second interlude is wonderfully orchestrated with SAXOPHONE, with surround songs of VIOLINS. Third interlude is decorated with MANDOLIN as well as SAXOPHONE. Another beauty of this song is the overlapping sound effect of the rendering from Mohammad Aziz and Salma Agha. filmed on Salma Agha – Mithoon Chakarawrthy  

DOSTI  Title Music…….Dosti  1964

SAXOPHONE played by Shree Manohari Singh. The MOUTHORGAN played by Mr. Milon Gupta who also played the Mouthorgan in Laxmikant-Pyarelal’s ‘Chabi Kho Jaye’ “BOBBY” 1973 and ‘Gadi bula rahi hai’ from “DOST” 1974.

Ajay Poundarik

Vadodara (Gujarat)


JAAL 1967 :: Distinguished Musical From Laxmikant-Pyarelal.

JAAL  1967 :: Distinguished Musical From Laxmikant-Pyarelal.

In the year 1963 Laxmikant-Pyarelal made a big impact in hindi film music, through the songs of Parasmani.  Followed by Sati Savitri, Sant Gyaneshwar,  Dosti, Aaya Toofan, Naag Mandir, Mr. X In Bombay, Hum Sab Ustad Hain. All the songs of the film became immensely popular. 

Pyarelal, Biswajeet & Pyarelal

The LP era has now started. Laxmikant-Pyarelal’s music of  Dosti  1964,  kept the duo on top position in Hindi Film Music. Now this was the time that Laxmikant-Pyarelal’s music became an essential component of every successful film.  This position of Laxmi-Pyare remained unaffected and continued till 35 more years.  

The year 1967, Laxmikant-Pyarelal music was flooded with the hit films like, L V Prasad’s Milan, Subodh Mukharjee’s Shagird, A G Nadiadwala’s Patthar Ke Sanam, Raj Khosla’s Anita, Sundarlal Nahata’s Farz, Night In London, Milan Ki Raat  etc. The music of JAAL came as a pleasant surprise. 

JAAL, suspense-thriller film, produced by A R Khan and directed by Moni Bhattacharjee, featuring Biswajeet – Mala Sinha and Johnny Walker. The film has :-   

Astonishing Compositions By  Laxmikant-Pyarelal

Phenomenal Rendering By Lata Mangeshkar (4 songs) and Mohammad Rafi ( 2 songs)

Sensational Lyrics By Raja Mehdi Ali Khan (4 songs) and Anand Bakshi (2 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.                                                                                                                                                   

Rokna Hai Agar Rok Lijiye    (Lyricist:- Raja Mehdi Ali Khan )

Enchanting Lata Mangeshkar & Laxmikant-Pyarelal.

रोकना है अगर, रोक ली जिये मगर, चाँद छुपने से पहले चली जाऊँगी 

50 seconds of ‘prelude’ playing SAXOPHONE overlapping dialogue, beautiful take off ‘symphony’ VIOLINS at 37. A little ‘pause’ and a phenomenal start by Lataji 50 seconds, रोकना है अगर...Word चाँद is repeated many times in the entire song and every time how beautifully she has used different and distinct style of uttering the word “चाँद “.

All the three interludes have different tunes and different ‘rhythm’ and are orchestrated with the mellifluous use of super-imposing sounds of SAXOPHONE, symphony VIOLINS and GUITAR. Brilliant use of VIOLINS as a ‘filler’ in all the three “antara”.

Not to forget the “rhythmic” “pause” at the end of each ‘antara’.

The song has a sweet and melodious DHOLAK rhythm.

Akela Hoon Main Humsafar Dhoondta Hoon .     (Lyricist:- Raja Mehdi Ali Khan )

!! अकेला हूं मैं हमसफ़र ढूंढता हूँ !! “JAAL” 1967.

Splendid Composition by Laxmikant-Pyarelal

Unparalleled Rendering by Mohammad Rafi

ROMANTIC song is my personal favorite. The song is very close to my heart in terms of romantic words, written by Raja Mehadi Ali Khan . Western style orchestra arrangements, wonderfully crafted, mellifluous compositions of sixties. The song has ACOUSTIC GUITAR as bass Rhythm. BASS GUITAR is awesomely orchestrated as a ‘filler’. Use of FRENCH HORN  is worth listening to in ‘prelude’ and also in ‘interlude’ synchronized with Symphony style Violins and Cellos. Filmed Biswajeet and Mala Sinha.

Dhadaka Hai Dil Mein Pyar Tumhara    (Lyricist:- Raja Mehdi Ali Khan )

!! धड़का है दिल मैं प्यार तुम्हारा अभी अभी, चमका है आरज़ू का सितारा अभी अभी !! 

Chemistry of Lata Mangeshkar and Laxmikant-Pyarelal 

For me “Jaal” 1967.. is one of the best Album from Laxmikant-Pyarelal. Just love all the songs. I request LP fans of younger generation just listen to this Album…

An outstanding composition in Western Style. “Prelude” of 46 seconds is full Lataji AALAPS as well as HUMMING,  brilliantly synchronized with Symphony style VIOLINS. How softly Lataji has rendered the words ‘Abhi Abhi’ (अभी अभी), followed by BASS GUITAR, as filler. Lataji has sung entire song with lots of variations.  The rhythm is full of ACOUSTIC GUITAR and the BONGO DRUMS….SAXOPHONE , VIOLINS, BASS GUITAR, ACCORDION and VIOLAs are brilliantly executed in all the “interludes”. Mesmerising Orchestra Arrangements. The song is filmed on Mala Sinha.

Meri Zindagi Ke Chirag Ko         (Lyricist:- Raja Mehdi Ali Khan )

मेरी ज़िंदगी के चिराग को तेरी बख़ुदीने बुझा दिया 

Lata Mangeshkar and Laxmikant-Pyarelal in GAZAL mood.

The song starts with overlapping sound effect of RUBAB and FLUTE for 12 seconds of ‘prelude’. Beautiful take off by Lata ji मेरी ज़िंदगी के चिराग को तेरी..synchronizing the rhythm orchestrated with ACOUSTIC GUITAR and BONGO Drums. Interludes are awesomely orchestrated with VIOLINS, FLUTE, RUBAB and ACOUSTIC GUITAR. Listen to the word रास्ते की मै खाक हूं ,, how smartly Lataji changes the stance, that is the beauty of this song,

Mizaj-E-Garami Dua Hai Aap Ki        (Lyricist:- Anand Bakshi ) 

मिज़ाज ए  गिरामी दुआ है आप की      

Lata Mangeshkar – Mohammad Rafi and Laxmikant-Pyarelal, melodious duet.

A melodious duet starts with, ‘prelude’ of 26 seconds,  HUMMING by Rafi Saab and AALAPs by Lataji, NADASWARAM overlapped with Symphony VIOLINS. It has a typical ‘LP’ style DHOLAK rhythm. The main attraction of this song is the orchestration of ‘interludes’,  use of MANDOLIN synchronized with symphony style, GUITAR, VIOLINS and ACCORDION. ‘Prelude’ is nicely instrumented with MANDOLIN.  

Dil De De Dil Le Le          (Lyricist:- Anand Bakshi )

दिल दे दे दिल ले ले   

Asha Bhosle – Mohammad Rafi and Laxmikant-Pyarelal, naughty duet.

A naughty song filmed on Johnny Walker – Helen. Use of GUITAR and ACOUSTIC GUITAR in the orchestra is worth listening to. 

For me Jaal 1967.. is one of the best Albums from Laxmikant-Pyarelal. Just love all the songs. Request to LP fans of the younger generation just listen to this Album…

Ajay Poundarik, Atlanta (Georgia), USA

10th December, 2020.  

Laxmikant-Pyarelal :: Songs Composed In Indian Classical Raga

Laxmikant-Pyarelal :: Songs Composed In Indian Classical Raga 

Laxmikant-Pyarelal has given a variety of music, in accordance with the change of time and the situation demanded. In the process, the duo has also composed some beautiful melodies in Indiana Classical Ragas.  Just for easy purpose only some of the selected songs are considered and are being reviewed. 

Right from Laxmikant-Pyarelal first film Parasmani, 1963, the duo has composed some accordant, sweet-sounding songs based on Indian Classical Ragas. Many films can be listed which have such songs. Harishchandra Taramati 1963, Sati Savitri, Sant Gyaneshwar, 1964, Aaye Din Bahar Ke, So Saal Baad 1966, Anita, Milan, 1967.

In the seventies films like B R Ishara’s Ek Nazar 1972, Ponga Pandit 1975,  Rajesh Khanna’s Anurodh 1977 and Raj Kapoor’s  musical Satyam Shivam Sundaram 1978

In the eighties, Laxmikant-Pyarelal produced some astounding Albums in which all the songs are based on Indian Classical Ragas, an unusual occasion. Shashi Kaapor’s Utsav 1984 and K Vishwanath’s Sur Sangam, 1985.  

Not to forget songwriters Amit Khanna’s melodic Bhairavi 1996.

Raga PAHADI was offtenly used by Laxmikant-Pyarelal. 

The duo utilized the singers like Lata Mangeshkar, Asha Bhosle, Mohammad Rafi, Kishore Kumar, Manna Dey, Mukesh, Rajan-Sajan Mishra, Suresh Wadkar, S. Janki, Anwar, Sudha Malhotra, Shobha Gurtu, Anup Jalota, Roop Kumar Rathod, Kavitha Krishnmurthy, Amit Kumar, Mahendra Kapoor, S P Balasubramanium, Bupendra

 Laxmikant-Pyarelal Songs,  Based on Hindustani Classical Ragas 


Woh Jab Yaad Aaye                              Lata-Rafi           Parasmani 1963

Tum Gagan Ke Chandrama Ho      Lata-Manna Dey      Sati-Savitri 1964

Jeevan Dor Tumhi Sang Bandhi..         Lata                   Sati-Savitri 1964

Tum Bin Jeevan Kaise Bita Puchho..    Mukesh              Anita 1967

Aap Ke Anurodh Pe                              Kishore              Anurodh 1977

O Ramji Bada Dukh Dina.…                 Lata                    Ram Lakhan 1987

Moh Maya Ko Tyag Do                 Roop Kumar Rathod  Bhairavi   1996

Tum Gagan Ke Chandrama Ho           Sati-Savitri 1964

(Songwriter Pandit Bharat Vyas,   Singers Lata Mangeshkar – Manna Dey )

तुम क्षमा मैं भूल हूँ…..तुम गगन के चंद्रमा ..मै धरा की धूल हूँ.. The extreme of gratitude in love expressed ever in words.A beautiful song composed in Hindustani Raag “Yaman Kalyan”. 53 years have been passed since Lata Mangeshkar and Manna Dey got to gather to sing this magical song, NOT A SINGLE CREASE HAS APPEARED ON THE SMOOTH SHINING SURFACE OF THIS SONG…..The classical based song is mellifluously composed in symphony style orchestra arrangements. Use of soft pieces of VIOLINS and SITAR in all the ‘interludes’ is just mesmerizing. 


Chhup Gaye Sare Nazare….                Lata-Rafi           Do Raaste 1970

Itana To Yaad Hai Mujhe....                  Lata-Rafi           Mehaboob Ki Mehandi  1972

Painjaniya Chhanake Ram              Mohammad Rafi    Wapas 1969

Painjaniya Chhanake Ram            Wapas 1969                                                                            (Songwriter Majrooh Sultanpuri,   Singer Mohammad Rafi)

AWE-INSPIRING Mohammad Rafi & Laxmikant-Pyarelal.                                                                    !! पैंजनीया छनके राम ! Pure Classical, RAAG “TILANG”. GEM of composition, outstanding rendering and wonderfully worded song.


Jyot Se Jyot Jagate Chalo …             Mukesh           Sant Gyaneshwar  1964

Chali Re Chali Re                               Kishore – Lata  Mr. X In Bombay  1964

Beshak Mandir Masjid …                   Chanchal         Bobby  1973

Bhor Bhaye Panaghat Pe ….              Lata                Satyam Shivam Sundaram  1978

Dhanya Bhag Sewa Ka…     R.S.Mishra/Kavita         Sur Sangam   1985

Patta Patta Buta Buta           Lata-Rafi                        Ek Nazar 1972

Bhor Bhaye Panaghat Pe.          Satyam Shivam Sundaram  1978

(Songwriter  Anand Bakshi       Singer Lata Mangeshkar)

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 song. 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.


Ye Biraha Ki Aag Aisi       Manna Dey         Ponga Pandit  1975

Ye Biraha Ki Aag Aisi       Manna Dey        Ponga Pandit  1975

(Songwriter Rajendra Krishan   Singer Manna Dey)

An extremely melodious song rendered by Manna Dey. HUMMING sound is awesomely intermixed with SANTOOR. TEMPLE BELL, SANTOOR, MANJIRA, FLUTE are beautifully orchestrated as a filler and in interludes. A hidden GEM. 


Salamat Raho Tum            …               Rafi               Parasmani 1963

Jane Walo Jara Mudke Dekho            Rafi                Dosti  1964

Gudiya Humse Roothi Rahogi…        Lata                 Dosti  1964

Chahunga Main Tujhe …                    Rafi                 Dosti  1964

Suno Sajana Papihe Ne…                  Lata                Aaye Din Bahar Ke  1966

Sawan Ka Mahina ….                        Lata-Mukes      Milan 1967

Ye Dil Tum Bin Kahin                        Lata-Raf            Izzat  1969

Agar Dilbar Ki Ruswayi                      Lata                 Khilona  1970

Aap Ke Anurodh Pe                         Kishore              Anurodh 1977

Main Tulsi Tere Aangan Ki               Lata                 Main Tulsi Tere Aangan Ki  1978

Suno Sajana Papihe Ne…           Aaye Din Bahar Ke  1966

(Songwriter Anand Bakshi      Singer Lata Mangeshkar)

Mesmerizing ‘prelude’ of 25 seconds starts with Birds TWEET and Lataji’s AALAPS. Beautiful take off rendering सुनो सजना पपीहे ने। First ‘interlude’ is awesomely orchestrated with SANTOOR (Played by Pandit Shivkumar Sharma), FLUTE (Played by Pandit Hariprasasd Chaurasiya) and VIOLINS.  Second  and third ‘interludes’ also orchestrated with  SITAR,  FLUTE and VIOLINS but in different notes. It has an excellent DHOLAK / TABLA ‘rhythm. Another beauty of the song is “PAUSE”..enjoy it at the end of each ‘antara’.


Ek Ritu Aaye Ek Ritu Jaye…             Lata-Mannde   Sau Sal Baad  1966

Ek Ritu Aaye Ek Ritu Jaye             Sau Sal Baad  1966

(Songwriter Anand Bakshi      Singer Lata Mangeshkar – Manna Dey)

An outstanding composition. Song with lots of variations. One of the best songs sung by Manna Dey – Lata Mangeshkar. SARANGI, SANTOOR, VIOLIN, FLUTE and Lataji’s AALAPS.


Sanjh Savere Adhron Pe Mere           Lata Mangeshkar   Madhavi  1968

Sanjh Savere Adhron Pe Mere          Madhavi  1968

(Songwriter Anand Bakshi      Singer Lata Mangeshkar)

A beautiful, melodious, sweet MEERA  BHAJAN  from the film “Madhavi” 1969. A classic song from the unique combo of Lata Mangeshkar & Laxmikant-Pyarelal. Orchestra is decorated with FLUTE and SITAR. 


Meghava Gagan Beech Zanke          Lata                  Harishchandra Taramati 1964

Kabhi To Miloge Jeevan Sathi…      Lata                     Sati-Savitri  1964

Sanam Tu Bewafa Ke Naam Se..       Lata                   Khilona 1971

O Ghata Sawari                                 Lata                    Abhinetri 1971

Maika Piya Bulaye Apne …              Lata-Suresh        Sur Sangam 1985

Meghawa Gagan Beench Jhanke …. (Harischandra Taramati, 1963)

(Singer :- Lata Mangeshkar  Lyricist:- Rashtrakavi Pradeep)

Sweet and melodious song in KALAWATI. The prelude of 90 seconds is just mesmerizing. Musical instruments  like FLUTE, JALTARANG, SITAR, GHUNGHROO, Lataji’s ‘aalap’,  the rhythm of MRIDANGAM and TABLA etc are wonderfully orchestrated in the “prelude”. Again all these musical instruments with Lata’s “aalaps” and “chorus”  are mellifluously executed in all the “interludes”. Helen is choreographing the act in front of leading actor Prithviraj Kapoor. A fabulous song in all respects. 


Aaj Dil Pe Koi Jor Chalta….    Lata                             Milan  1967

Megha Re Megha Re….        Lata-Suresh Wadkar    Pyasa Sawan 1982

Megha Re Megha Re….           Pyasa Sawan 1982

(Songwriter Santosh Anand     Singer Lata Mangeshkar – Suresh Wadkar)

In 22 seconds of ‘prelude’ SANTOOR is tunefully synchronized with VIOLINS. Another beauty of the song is awesome use of FLUTE, as filler. Symphony style VIOLINS are wonderfully played in the surround sounds. Composed on admirable DHOLAK rhythm. Overlapping sound effects of Suresh Wadkar and Lata Mangeshkar is ear-pleasing.. 


Khabar Mori Na Lini…               Lata                        Sant Gyaneshwar 1964

Rim Zim Ke Geet Sawan Gaye    Lata-Rafi              Anjana 1968

Tere Mere Beech Main               Lata-SP Bala         Ek Duje Ke Liye  1981

Na Jaiyo Pardes….         Kavita-Amit Kumar           Karma  1986

Saiyyan Nikas Gaye             Lata-Bhupendra         Satyam Shivam Sundaram  1978

Khabar Mori Na Lini…                                      Sant Gyaneshwar 1964

(Songwriter Pandit Bharat Vyas,   Singer  Lata Mangeshkar)

Extremely Melodious, based on Hindustani Classical Raag, ‘SHIVRANJANI’…One of the best of Lata-LP.. Start with Lataji’s awesome rendering ..भोर भये नित सूरज सांझ पड़े ढल जाये। ………..खबर मोरी ना लीनी। बहोत दिन बीते  and Beautiful TABLA rhythm starts. There is beautiful singing ‘pause’ of 3 seconds. The first ‘interlude’ orchestrated with SAROD, VIOLINS and the FLUTE. Second ‘interlude’ starts with SAROD, VIOLINS and XYLOPHONE. Both the “antras” have different tunes. FLUTE is tunefully used as a filler in second ‘antra’ . A masterpiece from Lata-LP combo.


Main Ek Raja Hoon                            Rafi                   Uphaar 1972 

Main Ek Raja Hoon                  Uphaar 1972 

(Songwriter Anand Bakshi      Singer Mohammad Rafi)

“Prelude” of 27 seconds comprises VINA and SANTOOR and Mohammad Rafi’s beautiful take off (main ek raja houn) is just brilliant. Extremely Soft and Melodious ROMANTIC song composed in the “raag” ‘ BAIRAGI’. Use of the BONGO drum in “Toe Stepping Rhythm” intermixed with SANTOOR is ear-pleasing. Use of FLUTE , ACOUSTIC GUITAR, SANTOOR and SITAR and other string instruments are mellifluously executed in the song. In the early seventies Mohammad Rafi was almost forgotten but it was only Laxmikant-Pyarelal who gave some of the finest songs to Rafi. This is one of them. It was a “Binaca Geetmala Hit song”.


Koi Nahi Hai Phir Bhi Hai         Lata Mangeshkar     Patthar Ke Sanam 1967

Bhagawan Ne Pehle Jaisa       Lata Mangeshkar     Chhota Bhai 1966

Koi Nahi Hai Phir Bhi Hai             Patthar Ke Sanam 1967

(Songwriter Majrooh Sultanpuri,   Singer  Lata Mangeshkar)

Beautiful Kashmir location, charming Waheeda Rehman, Unique DHOLAK /TABLA ‘rhythm, synchronized with Lata Mangeshkar sweet rendering. This song confirms that Lata Mangeshkar, sounds extremely melodious under Laxmikant-Pyarelal. 


Jaaun Tore Charan Kamal      Lata-Rajan/Sajan Mishra         Sur Sangam 1985

Om Namah Shivaya…                   Kavita Krishnmurthi           Bhairavi  1996

Nahin Nahini Jana Nahin            Lata Mangeshkar                  Zinda Dil  1975

Jaaun Tore Charan Kamal           Sur Sangam 1985

(Songwriter Vasant Dev    Singers Lata-Rajan/Sajan Mishra)  

Rhythm :- Use of DHOLAK, MRIDANGAM and TABLA, harmonized with GHUNGROO BELLS, sounds awesome in the ‘rhythm’, throughout the song.

जाऊं तोरे चरण कमल पर वारी  An offbeat and one of the finest compositions from the desk of Laxmikant-Pyarelal, on classical raag “BHUPALI”.

An amazing orchestra arrangement in Indian Classical style. “Santoor”, “Jal Tarang”, “Flute”, “Vichitra Vina”, and “Manjira” are mellifluously synchronized as well as overlapped in all the interludes, with different tunes. 

First Interlude:- SANTOOR, JAL TARANG and FLUTE. 

Second Interlude:- VICHITRA VEENA, FLUTE, SITAR, SANTOOR (excellent overlapped). 

Third Interlude:- VICHITRA VEENA, FLUTE, SITAR and MANJIRA. (at the end, wonderful overlapping).


Pad Pagam                P Sushila                                       Nache Mayuri  1986

Aaye Sur Ke Panchhi Aaye…  Rajan Mishra-Kavita          Sur Sangam 1985

Aaye Sur Ke Panchhi Aaye          Sur Sangam 1985

(Songwriter Vasant Dev    Singers Kavita -Rajan/Sajan Mishra) 

JUST listen to this GEM of a song. Hats off to Singer Rajan-Sajan Mishra, Kavitha Krishmurthy, songwriter Vasant Dev and Laxmikant-Pyarelal. 


Khat Likh De Sawariya Ke ….  Asha                       Aaye Din Bahar Ke   1966

Sham Dhale Jamna Kinare    Lata-Mannade       Pushpanjali 1972

Sham Dhale Jamna Kinare…          Pushpanjali 1972

(Songwriter Anand Bakshi      Singer Lata Mangeshkar – Manna Dey)

शाम ढले जमुना किनारे ! किनारे ! आजा राजे आजा तुझे शाम पुकारे !                                                                    AN AMAZING WORK ON “FLUTE  

In the INTERLUDES, overlapping of FLUTE and MANDOLIN, VIOLIN and RUBAB is worth to listen to. Great Composition. Wonderful execution of CHORUS also synchronized with Lataji’s HUMMING and ‘alaaps”. The FLUTE is played by Pandit Hariprasad Chaurasiya who was a regular musician in Laxmikant-Pyarelal Orchestra. 


Meri Sason Ko Jo Mehaka Rahi….Lata-Mahendr Kapur    Badalate Rishte  1977

Meri Sason Ko Jo Mehaka Rahi….       Badalte Rishte  1977

(Songwriter  Anjan      Singers  Lata Mangeshkar – Mahendra  Kapoor)

Once again this classical song is mellifluously orchestrated with SANTOOR, SITAR and the Symphony style VIOLINS. It has a tuneful DHOLAK rhythm.


Sanz Dhale Gagan Tale…..    Suresh Wadkar                 Utsav 1984

Nilam Pe Nabh Chhaye…..      Lata-Asha                        Utsav  1984

UTSAV  Music

After Completing Successful 21 years, In 1984, there was a myth that Laxmikant-Pyarelal needs a “Huge and Enrich Orchestra” arrangement to compose MELODIOUS and HIT Songs. Music of “Utsav” came as a pleasant surprise, with an excellent melody and minimal use of instruments in the orchestra. Laxmikant-Pyarelal used old traditional instruments to compose the songs. 

Nilam Pe Nabh Chhaye..            Utsav  1984

(Songwriter  Vasant Dev      Singer Lata Mangeshkar)

Minimum orchestra and “clapping”( ताली ) is used as Rhythm. Laxmikant-Pyarelal used old traditional musical instruments in “Utsav” music. This song is extremely melodious and wonderfully composed in ‘raag’ BIBHAS. Fascinated use of BANSURI, as a filler in ‘mukhada’. The “interludes” are spellbindingly decorated with the MRIDANGAM, VEENA and GHUNGROO BELLS. Once again very delicate and shrp use of CHORUS. The song is filmed on Rekha.

Sanz Dhale Gagan Tale              Utsav 1984

(Songwriter  Vasant Dev      Singer Suresh Wadkar)

Unmatched,  unparalleled….a song can be listened to again and again…just mesmerizing…Hat’s off Suresh Wadkar jee, Laxmikant  Pyarelal jee and Vasant Dev jee.. Use of VICHITRA VEENA and SANTOOR is ear-pleasing. In particular the VICHITRA VEENA is beautifully played in the surround sound of Suresh Wadkar.  


Eeshwar Satya Hai….           Lata             Satyam Shivam Sundaram 1978

Eeshwar Satya Hai…            Satyam Shivam Sundaram 1978

(Songwriter  Pandit Narendra Sharma       Singer Lata Mangeshkar)

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. 


Sola Baras Ke Bali Umar Ko …  Lata-Anup Jalota    Ek Duje Ke Liye  1981

Sola Baras Ke Bali Umar Ko …   Ek Duje Ke Liye  1981

(Songwriter  Anand Bakshi)

“Prelude” is marvelously rendered by Anup Jalota. Excellent Melody and Sweet DHOLAK Rhythm are the features of the song + Lataji’s voice variations are mind-blowing. 


Saiyyan Rooth Gaye      Shobha Gurtu     Main Tulsi Tere Aangan Ki 1978

Saiyyan Rooth Gaye        Main Tulsi Tere Aangan Ki 1978

(Songwriter Amir Khusro   Singer  Shobha Gurtu)

Wonderful “Thumari”…


Jago Prabhat Aaya     Manna Dey            Sant Gyaneshwar   1964

Jago Prabhat Aaya              Sant Gyaneshwar   1964

(Songwriter Pandit Bharat Vyas   Singer Manna Dey)

Beautiful melodious classical composition. Wonderful use of Chorus.


Ye Pyar Tha Kuchh     Sudha Malhotra – Anwar  Prem Rog  1982

Ye Pyar Tha Kuchh     Prem Rog  1982

(Songwriter  Santosh  Anand   Singer Sudha Malhotra – Anwar)

Beautiful MUJRA song. 


Doori Na Rahe Koi  …Lata Mangeshkar …Kartavya  1978

Doori Na Rahe Koi  .…Kartavya  1978

(Songwriter  Kafeel Azhar       Singer Lata Mangeshkar)

This is an Erotic Song.  An Implausible Composition. What A Melody ?? Intoxicated Song. Captivating Variations By Lata Mangeshkar. Amorous Orchestra Arrangements With Accordant Rhythm From Laxmikant-Pyarelal.

I am a music lover, I like to listen to the music, in particular Hindi Film Music, I have never learnt the music. I have gathered the data from my friends, internet etc. I thank Mr, Ravi Pawar, my facebook friend for providing useful information on classical songs by Laxmikant-Pyarelal. 

Ajay Poundarik Atlanta (Georgia) USA, 7th December, 2020.

Singers and Tuneful Orchestra of Laxmikant-Pyarelal

              Singers and Tuneful Orchestra of Laxmikant-Pyarelal

Hindi Film Music was at its peak in the early sixties. All the big names of music directors like Shankar-Jaikishan, Naushad, O P Nayyar, Madan Mohan, S D Burman, Ravi, Roshan, Chitragupt etc were in full form. In the presence of all these BIG names, Laxmikant-Pyarelal made a banging start through Parasmani 1963. It was a huge musical hit. 

Laxmikant-Pyarelal used as many as four singers in their very first film. Lata Mangeshkar, Mohammad Rafi, Mukesh and Kamal Barot. The duo always have an upper hand in singer’s selection, right from the day one. Without any interference from the third party, mainly filmmakers and actors. Laxmikant-Pyarelal have always chosen the singers of their choice. 

Long Lasting as well as Productive  Amalgamation / combo  

Total 160 numbers of singers (Both Male and Female) have rendered the songs under the music directors Laxmikant-Pyarelal, starting from 1963 to 1998.                                                                                                  

Lata – LP (712 songs), Rafi – LP (379 songs),  KK – LP (402 songs), Asha-LP (494 songs)

In the year 1963 /1964 itself, through the songs Parasmani, Sant Gyaneshwar, Sati Savitri, Hindi Film Music substantiated the inception of record breaking, longer, larger, closer and more rewarding association of Lata Mangeshkar and Laxmikant-Pyarelal. From 1963, to the next 35 years, Lata Mangeshkar and Laxmikant-Pyarelal were to chalk up an astounding 712 songs, of sheer variety and range. 

In mid-sixty when Mohammad Rafi was on top position, without damaging the giant popularity of Rafi Sahab,  Laxmikant-Pyarelal gave all time hits songs to Kishore Kumar who was then passing through the lean period of his musical career. The songs include:-.

Mr X In Bombay 1964     Mere Mehboob Qayamat Hogi

Shreeman Fantoosh 1965     Ye Dard Bhara Afasana

Hum Sab Ustad Hain 1965     Ajanabi Tum Jane Pehachane

Pyar Kiye Jaa    1966          Din Jawani Ke Bar Bar Pyar Kiye Jaa

In the year 1967, Laxmikant-Pyarelal brought back the glory of singer Mukesh,  through the songs of Milan, Anita, Patthar Ke Sanam and Farz.

Mohammad Rafi’s majesty was restored by Laxmikant-Pyarelal through the songs of Naach Uthe Sansar 1976, Amar Akbar Anthony, Parvarish, Suhag  and Dharm Veer  1977, Sargam1978, without damaging the giant popularity of Kishore Kumar.

Right from the year 1964,  Laxmikant-Pyarelal smartly maintained the balancing equation between two legendary singers Mohammad Rafi (379 songs) and Kishore Kumar (402 songs)

( The details can be read in a separate blog ).

Laxmikant-Pyarelal also made many actors/actresses sing. Few hit songs listed 

I S Johar   Bade Miyan Deewane  Shagird 1967

Johnny Walker   Dil De De    Jaal 1967

Mehmood   Mehbooba Mehbooba   Sadhu Aur Shaitan   1968

Shatrughna Sinha   Aa Bata De   Dost 1974 

Leena Chandavarkar  Gham Ka Fasana  Manchali 1973

Amitabh Bachchan, My Name Is Anthony Gonsalves   Amar Akbar Anthony  1977

Hema Malini   Hua Kya Agar  Dream Girl  1977

Shashi Kapoor    Yashomati Maiya Se   Satyam Shivam Sundaram 1978

Zeenat Aman      Yashomati Maiya Se   Satyam Shivam Sundaram 1978

Jeetendra   Kisi Din Uth Gaya    Jyoti Bane Jwala 1980

Rakhee Gulzar  Teri Nindiya Ko    Taquat  1982

Dilip Kumar     Ai Sanam Tere Liye   Karma 1986

Jackie Shroff   Chahat Ke Upar     Dil Hi To Hai 1993

Laxmikant-Pyarelal with  Singers:-


Lata Mangeshkar has sung the maximum number of songs, 712 numbers,  under the music directors Laxmikant-Pyarelal.  It can be seen from the following table, Lata Mangeshkar’s songs with the music directors.

Laxmikant Pyarelal    712     

Shankar Jaikishan     453     

R. D. Burman            327      

C. Ramchandra         298

Kalyanji Anandj          297

Chitragupta                240

Madan Mohan            210

S. D. Burman             182

Naushad                     155

Roshan                      146

Moreover Lata Mangeshkar sounds extremely melodious under Laxmikant-Pyarelal’s giant, rich and mellifluous  orchestra arrangements. 

Lata Mangeshkar and Laxmikant-Pyarelal were a longer, larger, closer and more rewarding association that than what ANY composer has had with ANY singer in Hindi cinema

From 1963, to the next 35 years, Lata Mangeshkar and and Laxmikant-Pyarelal were to chalk up an astounding 712 songs together, which accounted for one in every 10 Hindi film songs recorded by the Melody Queen, and one of every four songs composed by the duo. The unmatchable variety of songs. 

And what a mind boggling variety and range did we get in those 712 numbers which included chart-slammers and classics, and chaalu numbers as well as connoisseur choices. It is impossible to find that variety and that sustained excellence without monotony in the output of any other composer, with Lata or with any other singer. 

There are many films in which Mangeshkar has sung more than 5 songs in the film.. See below the list ..sheer variety. 

Parasmani 1963

Sati Savitri 1964

Sant Gyaneshwar 1964

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

Intequam 1968 (Two Brilliant Cabaret songs

Baharon ki Manzil 1968 

Sharafat 1970

Abhinetri 1971

Jai Bin Machhali Nritya Bin Bijalee 1971 (Another outstanding Album,) 

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

Raja Jani 1972

Daag 1973 (Yash Raj film’s FIRST film) 

Bobby 1973 (All time hit songs)

Satyam Shivam Sundaram 1978

Ek Duje Ke Liye 1981  

One will wonder from 1963 to 1973 Lata Mangeshkar have recorded 355 songs ONLY under Laxmikant-Pyarelal. All are Simply superb… 


It is a surprise figure even I was also stunned to know the numbers of songs sung by Asha Bhonsle under Laxmikant-Pyarelal….it is 494 ..There are many hidden GEMS of Asha Bhonsle under Laxmikant-Pyarelal, particularly in sixties and early seventies, including today’s sensational HIT “Hungama Ho Gaya”. “Loafer” (1973) has as many as three solo songs by Ashaji and all are great. Listing a few best solo songs of Ashaji with Laxmi-Pyare.

Asha Bhosle & Laxmikant-Pyarelal

Mere Sune Jeevan Ka Aaasra hai Tu.  Aasra  1966

Khat Likha De Sawarinaya…Aaye Din Bahar Ke 1966

Ai Dushman-e-JaanPatthar Ke Sanam..1967

Main Ek Haseena .. Aaya Sawan Jhoom Ke ..1968

Meharban Mehaboob Aansoo Ban Gaye Phool…1969.. ( The BEST )

Kahin Pyar Ho Na Jaye..Sweekar ..1973…( The BEST )

Koi Shahari BabuLoafer 1973

There are many fabulous duets of 

Asha Bhosle – Kishore Kumar (Ek Haseena Thi, Karz 1980).

Asha Bhosle – Mohammad Rafi (Dhal Gaya Din Humjoli 1970)

Asha Bhosle – Lata Mangeshkar (Man Kyon Behka Utsav 1984)

Interestingly, Lata – Asha has sung the  highest numbers of duets, 14 numbers, under the music directors, Laxmikant-Pyarelal. 


Once again …The highest numbers of the songs sung by Mohammad Rafi under any music directors.. Rafi has sung as many as 379 songs under Laxmikant-Pyarelal including 183 solo numbers. 

TOP five music directors in terms of numbers of the songs by Mohammad Rafi

Laxmikant-Pyarelal            379 songs

Shankar-Jaikishan             330 songs

Chitragupta                        225 songs

Ravi                                   210 songs

Kalyanji-Anandjj                 200 songs

O P Nayyar                        187 songs

Madan Mohan                    147 songs

Naushad                             114 songs

Usha  Khanna                     109 songs

R D Burman                        107 songs

In sixties combo of Mohammad Rafi and Laxmikant-Pyarelal have given some of the best songs in  Dosti 1964, Aaye Din Bahar Ke,1966, Night In LondonFarz, Taqdeer all in 1967. Wapas, Mere Hamdam Mere Dost, Aaya Sawan Jhoom Ke 1968, Jeene Ki Raah, Jigri Dost, Do Raaste and Sajan all in 1969 and many more.

During the peak wave of Kishore Kumar (Post “Aradhana” ) it was Laxmikant-Pyarelal who recorded maximum numbers of the songs for Mohammad Rafi (264 songs) without affecting the giant popularity of Kishore Kumar’s songs. Raf-LP was a mellifluous combination. Dosti (1964) , Mere Hamdam Mere Dost  (1968), Aaya Sawan Jhoom Ke (1968), Jeene Ki Raah (1969), Jigri Dost  (1969), …..”POST Aradhana…..>>> Khilona, Mehboob Ki Mehandi, Loafer , Suhana Safar, Sudhendu Roy’s Uphaar, Dastaan, Pratigya, Dharam Veer, Amar Akbar Athony, Sargam and many more..

Prior to that LP used Mohammad Rafi as and when they wished it.

main ek raja hoon  Uphaar 1971 

khilona jaan karkhush rahe tu sada  Khilona 1970 

patta patta buta buta Ek Nazar 1972

na tu zameen ke liye   Dastaan 1972 

ek na ek din  Gora Aur Kala 1972 

sari khushiya hai  Suhana Safar  1972

aaj mosam bada beiman hai Loafer 1973

main jat yamla pagla   Pratigya 1975 


There is a “historical song” which brought Three great legends together ..”Mere Mehaboob Quyamat Hogi” from “Mr X In Bombay” (1965)…It was the first song of Kishore Kumar with Laxmikant-Pyarelal and also the first song of Anand Baxi with both Laxmikant-Pyarelal and Kishore Kumar. Kishore Kumar has sung as many as 402 songs under Laxmikant-Pyarelal. What a variety and wide range we get in those 402 songs ( second highest songs after RD Burman, 499 songs). Kishore Kumar’s song with different music directors.

R D Burman              499 songs

Laxmikant-Pyarelal  402 songs

Bappi Lahiri              298 songs

Kalyanji-Anandji       266 songs

Rajesh Roshan        254 songs

In KK – LP combo you will find everything, Mujara, Lori, Qawwali, Classical, Western Style, Devotional, Patriotic songs. This variety you will not get in KK songs with any music directors. In the mid sixties when Kishore Kumar was passing through his lean period of his musical career, its LP gave KK the Best.  The best of KK-LP…Mr X In Bombay, Hum Sab Ustad Hain with five solo of KK, Shreeman Fantoosh, all in 1965…Pyar Kiye Jaa 1966…Not to forget the sensational hits of Kishore Kumar with Laxmikant-Pyarelal in seventies and eighties. To name few Aansoo Ban Gaye Phool, Do Raaste, Haathi Mere Saathi, Dushman,  Aan Milo Sajna, >>> Anurodh, Karz etc 

Pyare Batate Chalo  …Hum Sab Ustad Hai 1965

Mere Naseeb Mein Ae Dost…. Do Raaste 1969

Yeh Jeevan Hai ….Piya Ka Ghar 1971

Mere Dwanepan ki bhi dawa nahin…. Mehaboob Ki Mehandi 1972

Ruk Jana Nahin Tu Kahin Har Ke…. Imtihan  1974

Aap Ke Anurodh Pe…. Anurodh 1977

Ek Ritu Aaye Ek Ritu Jaye…. Goutam Govinda 1979 

Om Shanti Om…. Karz 1980

In the combo of Kishore Kumar and  Laxmikant-Pyarelal,  402 songs with diversification, one will always find everything, in the form of ….

Folk Main Jahan Chala Jaoun Banphool, 1970  

Mujra naach meri bulbul   Roti, 1974

Gazal pyar ko chahiye kya ek nazar Ek Nazar 1972  

Lori  soi ja tara Mastana 1970 

Qawwali haal kya hai dilon ka, Anokhi Ada, 1973  

Philosophical  aadmi jo kehta hai, Majboor, 1974

Classical  chali re chali re gori ( Kishore –  Lata), Mr X In Bombay 1964

Romantic mere dil mein aaj kya hai  Daag  1973

Western Classics jaani o jaani, Raja Jaani 1972  

Sad ye dard bhara afasana, Shreeman Fantoosh  1965

Devotional prem ka rog laga muze  Do Premee, 1980

Inspiration gaadi bula rahi hai   Dost, 1974

Patriotic dekho veer jawano  Aakraman 1975

Disco paisa yeh paisa Karz 1980


Mukesh has sung as many as 80 songs under Laxmikant-Pyarelal. This combo took off from Parasmani 1963, Sant Gyaneshwar 1964 (Jyot Se Jyot Jagate Chalo)

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

Shankar-Jaikishan ..136 songs

Kalyanji-Anandji…   107 songs

Laxmikant-Pyarelal   80 songs

Naushad 27 songs.

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..

When we talk of Mukesh with Laxmikant-Pyarelal…Patthar Ke Sanam, Milan & Anita released in 1967, Shor (1972), Roti Kapda Aur Makan (1974), stands out to be the best.

Few of the fabulous duets of Mukesh – Lata Mangeshkar with Laxmikant-Pyarelal. 

Chori Jo Tumse Mile To Log       Parasmani 1963

Hum To Tere Aashiq Hain Sadiyon Purane  Farz 1967

Kyon Zuki Zuki Hai Palake,      Chhaila Babu  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

Ek Pyar Ka Nagma Hai                   Shor 1972

Paani Re Paani                               Shor 1972

Few solo song of Mukesh with Laxmikant-Pyarelal

Tum Bin Jeevan Kaise    Anita 1967

Gore Gore Chand Ke     Anita  1967

Tauba Ye Matwali Chal   Patthar Ke Sanam 1967

Ram Kare Aisa Ho Jaye  Milan 1967

 Mubarak Ho Sabko  Milan 1967

Taron Ne Sajke  Jal Bin Machhli Nritya Bin Bijlee  1971

Chanchal Sheetal Nirmal   Satyam Shivam Sundaram 1978


71 numbers .There are many good duets of Manna Dey with Lata..”Sati-Savitri”, “Pushpanjali”, “Chaitali” ….some memorable hits “Shor”.

Few of the songs sung by Manna Dey for Laxmikant-Pyarelal

Tum Gagan Ke Chandrama Ho….(with Lata)….Sati Savitri 1964

Jago Prabhat Aaya….Sant Gyaneshwar 1964 (Pure Classical)

Ek Ritu Aaye Ek Ritu Jaye…….(Pure Classical with Lata) Sau Saal Baad 1966

O Meri Maina ..( with Usha Mangeshkar)…Pyar Kiye Jaa 1966

Keh Gay Father Ibrahim Izzat 1968

Sham Dhale Jamuna Kinare…(  melody with Lata  )  Pushpanjali 1970

Jeevan Chalane Ka Naam…( with Mahendra Kapoor, Hit song)..Shor 1972

Dharti Ambar Neend Se JaageChaitali 1973)

Yashomati Maiya Se ..(with Lata)…Satyam Shivam Sundaram 1978


Close to 71 songs of Mahendra Kapoor with LP, major hits, “Nagin”, “Shor”, “Badalte Rishte”..and many more. Fabulous duets with Lata Mangeshkar 

Phool Ban Jaunga  Lata – Mahendra K.   Pyar Kiye Jaa 1966

Ye Kali Jab Talak    Lata – Mahendra K.   Aaye Din Bahar Ke  1966

Sun-E-Bahar          Lata – Mahendra K.    Night  In London   1967

Tere Sang Pyar      Lata – Mahendra K.    Nagin  1976

Meri Saanson Ko   Lata – Mahendra K.    Badalte Rishte      1978

Narendra Chanchal, Bobby   1973

Shailendra Singh,   Bobby   1973 

S P Balasubramaniam (Ek Duje Ke Liye 1981), were introduced by Laxmikant-Pyarelal. Bhupendra and Famous music director 

HEMANT KUMAR (“Harishchandra Taramati” 1963 …’suraj re jalate rahana’ ). 

TALAT MEHMOOD:- “Woh Din Yaad Karo” (‘mohabbat ki kahaniya’) Only one song. 

ANAND BAKSHI:– Three songs (“Mom Ki Gudiya” and “Charas” )

SUMAN KALYANPUR:- Close to 30 songs ..

Usha Mangeshkar, 

Minoo Purushottam, 

Kamal Barot, 

Sulakshna Pandit, 

Vani Jairam, 


Shobhaa Gurtu, 

S Janki, 

Salma Agha, 

Vani Jairam, 

P Sushila, 

Shamsad Begum (Aaya Toofan, 1964)    etc have sung under Laxmikant-Pyarelal. 

Famous lady singer USHA UTHUP was introduced in Hindi Film Music by Laxmikant-Pyarelal (“Devi” 1970)

Famous Actors, Mehmood, Amitabh Bachchan, Ambarish Puri, Shashi Kapoor, Sachin, Leena Chandavarkar etc,  have sung under Laxmikant-Pyarelal. Actress Padmini Kolhapure and Shivangi Kolhapure (today’s actress Shraddha Kapoor’s mother) were regular singers in the Laxmikant-Pyarelal orchestra. 


Laxmikant-Pyarelal have privileged of introducing/limelighting  the singers like

ANURADHA PAUDWAL (close to 239 songs only with Laxmikant-Pyarelal, the highest) KAVITHA KRISHNMURTHY (278 songs  only with Laxmikant-Pyarelal, the highest) 

ALKA YAGNIK (close to 225 songs). (Mr India ek do teen chaar ).

ALISHA CHINOY (“Mr India” 1987 ‘kate nahin karate’ ), 

SADHANA SARAGAM (“Saudagar”), 





ILA ARUN etc. 

Suresh Wadkar, 

Amit Kumar, 

Shabbir Kumar, 

Jolly Mukarjee, (introduced by LP ) 

Nitin Mukesh , 



Mohammad Aziz, ( 272 songs, the highest numbers with any music directors)

Manhar Ulhas, Udit Narayan, Sudesh Bhonsle, Sonu Nigam, Anup Jalota, Pankaj Ulhas, Jani Babu Qawwal, Dr. Kamlesh Awash, Rajan-Sajan Mishra, Talat Aziz, Roop Kumar Rathod, Jagjit Singh, Hariharan, Vinod Rathod, Kumar Sanu, Abhijit, Aadesh Srivastava,  and many more singers have sung under Laxmikant-Pyarelal. 

Today’s sensational Singer SUKHVINDER SINGH was introduced by Laxmikant-Pyarelal in “Saudagar” 

Laxmikant-Pyarelal have privilege of bringing two sensational singers from Pakistan,, RESHMA ( “Hero”..lambi judai’ ) and MEHANDI  HASSAN (Mahesh Bhatt’s “Dhun” ..’main aatma tu parmatma’) and Bangladesh RUNA LAILA

Not to forget:- Many of the new generation singers got a name fame 

through Laxmikant-Pyarelal songs..

Anuradha Paudwal:::Tu Mera Janu Hai  Hero 1983

Alka Yagnik:: “Ek Do Teen”   “Tezaab” 1987

Sudesh Bhonsle:- “Jumma Chumma De De” “Hum” 

Manhar Udhas  “Hero” and “Dayawan”

Shabbir Kumar, 

Mohammad Aziz, one two four  and duniya main kitna gham

Pankaj Udhas ..:Chitthi Aayi Hai    Naam  1985

Kavita Krishnmurthy and many…Mr. India 

Even Laxmikantji himself have sung 3 to 4 songs under Laxmikant-Pyarelal, (Desh Premi)

Mohammad Rafi  >        chahunga main tujhe       Dosti  1964

Lata Mangeshkar >        aap mujhe achchhe        Jeene Ki Raah  1969

Narendra Chanchal >    beshaq mandir masjid     Bobby 1973

Mahendra Kapoor  >      aur nahin bas aur nahin  Roti Kapda Aur Makan  1974

Anuradha Paudwal >     mere man  baja manjira   Utsav  1985

Alka Yagnik >                 ek do teen                        Tezaab  1988

Alka Yagnik and Ila Arun  choli ke pichhe               Khalnayak   1993

Below is the comprehensive list of 160 singers sung for Laxmikant-Pyarelal. 

** Indicates The Highest Numbers Of The Songs Rendered, By The Singer,                                                Under Any Music Directors. 

SingerGenderNo. of Songs
Lata MangeshkarFemale712 **
Asha BhosleFemale496
Kishore KumarMale402
Mohd. RafiMale381 **
Kavita KrishnamurthyFemale278 **
Mohd. AzizMale271 **
Anuradha PaudwalFemale239 **
Alka YagnikFemale225
Suresh WadkarMale113
Shabbir KumarMale112
Amit KumarMale94
Mahendra KapoorMale71
Manna DeyMale70
Shailendra SinghMale56
Sudesh BhosleMale52
Manhar UdhasMale45
Udit NarayanMale43
Usha MangeshkarFemale42
S P BalasubramaniamMale36
Nitin MukeshMale35
Vinod RathodMale31
Suman KalyanpurFemale30
S. JanakiFemale18
Sadhana SargamFemale18
Arun BakshiMale14
Kumar SanuMale13
Sukhvinder SinghMale12
Anupama DeshpandeFemale11
Ila ArunFemale10
Sapna MukherjeeFemale10
Jolly MukherjeeMale10
Anup JalotaMale9
Pankaj UdhasMale9
Talat AzizMale9
Sulakshana PanditFemale8
Nalin DaveMale8
Rajan MishraMale8
Roop Kumar RathodMale8
Sajan MishraMale8
Alisha ChinaiFemale7
Dilraj KaurFemale7
Minoo PurushottamFemale7
Kamal BarotFemale6
Vani JairamFemale6
Sonali BajpaiFemale5
Bhupinder SinghMale5
Hemant KumarMale5
Jaspal SinghMale5
Narendra ChanchalMale5
Chandrani MukherjeeFemale4
Salma AghaFemale4
Shobha JoshiFemale4
Jayshree ShivramFemale3
Shobha GurtuFemale3
Shyama ChittarFemale3
Amitabh BachchanMale3
Anand BakshiMale3
Jani Babu QawwalMale3
Shashi KapoorMale3
Sonu NigamMale3
Vinay MandkeMale3
Aruna IraniFemale2
Hema MaliniFemale2
Padmini KolhapureFemale2
Runa LailaFemale2
S. P SailajaFemale2
Shamshad BegumFemale2
Shivangi KolhapureFemale2
Sudha MalhotraFemale2
Usha UthupFemale2
Zeenat AmanFemale2
Anand KumarMale2
Jagjit SinghMale2
Johnny LeverMale2
Johnny WhiskeyMale2
Kamal HaasanMale2
Mahesh KumarMale2
Mangal SinghMale2
Shatrughan SinhaMale2
Aarti MukherjeeFemale1
B. VasanthaFemale1
Baby TabassumFemale1
Ila DesaiFemale1
Kaumudi MunshiFemale1
Krishna MukherjeeFemale1
Lakshmi ShankarFemale1
Leena ChandavarkarFemale1
Meena PatkiFemale1
P. SusheelaFemale1
Parveen SultanaFemale1
Preeti UttamFemale1
Priya MayekarFemale1
Ranu MukherjeeFemale1
Reema DasFemale1
Sagarika MukherjeeFemale1
Sarika KapoorFemale1
Sunita RaoFemale1
Usha KhannaFemale1
Usha TimothyFemale1
Uttara KelkarFemale1
Vandana ShastriFemale1
Adesh ShrivastavaMale1
Afzal SabriMale1
Amrish PuriMale1
Anil KapoorMale1
Aziz NazanMale1
Bali BrahmbhattMale1
Dilip KumarMale1
Gurdas MannMale1
I.S JoharMale1
Iqbal SabriMale1
Jackie ShroffMale1
Javed JafriMale1
Kamlesh AwasthiMale1
Majid Irfan QawwalMale1
Mangal DhillonMale1
Mehboob ChawanMale1
Mehdi HasanMale1
Mukul AgarwalMale1
Pankaj MitraMale1
Prayag RajMale1
Raju ShreshthaMale1
Rishi KapoorMale1
Roopesh KumarMale1
Salim Prem RagiMale1
Subhash GhaiMale1
Syed SabriMale1
Talat MahmoodMale1
V. ShrivastavaMale1
Vijay BenedictMale1
Vinod MehraMale1
Vinod SharmaMale1
Vivek VarmaMale1
Wasi RazaMale1
Zahid NazanMale1
Ajay Poundarik, Atlanta (Georgia) USA . 1st December, 2020

PIANO :: Laxmikant-Pyarelal Symphonious & Enrich Orchestra Arrangements

PIANO :: Laxmikant-Pyarelal Symphonious & Enrich Orchestra Arrangements

The PIANO is an Acoustic, Stringed Musical Instrument Invented in Italy. Bollywood music has utilised PIANO in many of the songs composed by various music directors. 

Person who plays the PIANO is referred to as a Pianist. 


There were limited Pianists in the early fifties.  To name a few Pianist,  Mike Machado has worked for many music directors, mainly, C Ramchandra. Pianist Leno Rivera has mostly worked with Shankar-Jaikishan. 

Pianist Leno Rivera

Other Pianists who have contributed for Bollywood are Robert Levin, Tony Pinto, a lady Pianist and the Jazz Pioneer Mrs Lucila Pacheco.

Pianist Leno Rivera

Till 1978, Pianist Mr Mike Machado was very active and have played the Piano for Laxmikant-Pyarelal, R D Burman (‘pyar deewana hota hai’ ….”Kati Patang” 1971), Kalyanji-Anandji etc. 

From 1978 onwards Indian Jazz Icon and a Pianist Mr Tony Pinto have played for Laxmikant-Pyarelal orchestra. 

Pianist Mr Tony Pinto

Most of the Bollywood songs, PIANO is orchestrated with the support of other musical instruments like GUITAR, VIOLINS and SANTOOR. 

Listing out a few hit songs orchestrated with PIANO by various music directors. 

C Ramchandra

— Bholi Surat Dil Ke ….C. Ramchandra – Lata Mangeshkar “Albela” 1951 


– Jhoom Jhoom Ke Nacho Aaj …. Mukesh….”Andaz” 1949

— Tu Kahe Agar … Mukesh….”Andaz” 1949

— Milte Hi Aankhen …Shamshad Begum – Talat M. .”Babul”  1959   


— Dost Dost Na Raha ….Mukesh…”Sangam” 1964

— Dil Ke Jharoke Main ….M. Rafi…”Bramhachari” 1968

— Geet Gata Hoon Mein…..Kishore Kumar   “Lal Patthar” 1972


— Main Dil Hoon Ek Armaan Bhara….Talat Mehmood..”Anhonee” 1952

S D Burman

— Hum Aap Ki Aankhon Mein ….Rafi – Geeta Dutt   “Pyasa” 1957

— Khwab Ho Tum Ya ….Kishore Kumar …”Teen Deviyan”   1965 

Hemant Kumar 

— Dheere Dheere Machal …Lata Mangeshkar…”Anupama” 1966    

O P Nayyar    

— Aap Ke Haseen Rukh …M. Rafi…”Baharen Phir Bhi Aayegi”     


— Dil Ko Lakh Sambhala …Lata Mangeshkar …”Guest House” 1958


— Jeet Hi Lenge Baazi  …Lata – Rafi ….”Shola Aur Shabnam” 1960

— Tum Apna Ranjo Gham ….Jagjit Kaur….”Shagoon”  1964

Salil Chaudhari 

— Koi Sone Ke Dilwala…Mohammad Rafi…..”Maya”…1961


— Chalo Ek Baar Phir Se….Mahendra Kapoor ….”Gumrah” 1963

— Kaun Aaya Ke Nigahon ……Asha Bhosle….”Waqt” 1965

— Kisi Patthar Ki Murat Se …..Mahendra Kapoor ….”Humraz” 1967


— Waqt Karata Jo Wafa...Mukesh….”Dil Ne Pukara” 1967

— Chale The Saath Milkar….M. Rafi….”Haseena Maan Jayegi” 1968

R D Burman

— Pyar Deewana Hota Hai ….Kishore Kumar…..”Kati Patang” 1971

Laxmikant-Pyarelal have used PIANO in many of their compositions, sometimes restricted to 3 to 4 seconds. It is not possible to list out the songs with PIANO. I have tried to select a few famous songs with PIANO orchestrated. 

Jab Jab Bahar Aaye Aur Phool Muskuraye.  “Taqdeer”  1967

(Lyricist:-  Anand Bakshi   Singers:- M. Rafi, , Lata Mangeshkar, Usha Timuti, M. Kapoor)

One of the most lovable songs from the combo of Rafi-LP. Entire song is orchestrated by using PIANO and solo VIOLIN (played by PYARELALji himself) with mellifluous DHOLAK/TABLA ‘rhythm’. This song has many versions, sung by various singers but solo sung by Rafi Saab is the best.  (all of the three versions)

Bar Bar Din Aaye .   “Farz” 1967

(Lyricist:-  Anand Bakshi   Singer:- Mohammad Rafi)

Universally HIT as BIRTHDAY song. Use of PIANO at it’s best. “Prelude” of 54 seconds set up the mood for this beautiful song. Wonderfully orchestrated with VIOLINS, ACOUSTIC GUITAR, PIANO and BONGO  DRUMS in rhythm.Certainly orchestra arrangements have ‘SYMPHONY’ touch. Lyrics  overflowing with Love. A timeless masterpiece. 

Patthar Ke Sanam Tujhe     “Patthar Ke Sanam”  1967

(Lyricist:-  Majrooh Sultanpuri  Singers:- Mohammad Rafi )

35 seconds of “prelude’ starts with PIANO, followed by VIOLINS. Interludes are orchestrated with symphony VIOLINS. Interludes are decorated with the sound of PIANO overlapped by symphony style VIOLINS. In every ‘antara’ PIANO is awesomely used as a filler. 

Hui Sham Unka Khayal Aa Gaya      “Mere Hamdam Mere Dost”  1968

(Lyricist:-  Majrooh Sultanpuri  Singers:- Mohammad Rafi )

हुई शाम उनका खयाल आ गया  an intoxicated & addict song. 

Laxmikant-Pyarelal at their melodious best, with Majrooh Sultanpuri & Mohammad Rafi. 

“Prelude” is full of SAXOPHONE and PIANO with other western instruments, sets the mood of the song. A mesmerizing composition and mellifluous orchestra arrangements. Entire song is woven around the glimpses of SAXOPHONE, ACOUSTIC GUITAR & CLARINET. In all the “interludes”. Overlapping sound effect of SAXOPHONE/CLARINET with PIANO is just brilliant. VIOLA , GUITAR, CELLOS & VIOLINS are also brilliantly executed in the entire song. Another beauty of the song is it’s “ rhythm” DHOLAK / TABLA are used only in “antara”…all the “interludes:” are composed in western style, without any rhythm but ear-pleasing. An addict song for me. One of the finest composition from Laxmikant-Pyarelal …MOHAMMAD RAFI is simply outstanding.

Jo Unki Tamanna      “Intequam”  1969

(Lyricist Rajendra Krishnan  Singer Mohammad Rafi)

A classic song on PIANO. Just close your eyes and feel the fragrance & elegance of the eternal voice of Rafi Saab.  Beautifully orchestrated on PIANO with mesmerizing DHOLAK rhythm. The “interludes” have been designed by instrumenting solo VIOLIN, SYMPHONY style VIOLINS and PIANO. Sanjay Khan looks smart. Sadhana and Anju Mahendru look charming. 

Diye Jalaye Pyar Ke     “Dharti Kahe Pukar Ke”   1969                                                     

(Lyricist Majrooh Sultanpuri  Singer Lata Mangeshkar)

Diwali Special from Laxmikant-Pyarelal.

This awesome “WALTZ” rhythm with a melodious tune. The song is beautifully decorated with use of PIANO and mellifluous SYMPHONY style VIOLINS…Lata Mangeshkar is simply outstanding, giving justification for this GEM of composition. The perfect song for DIWALI occasion. The song is filmed on Nivedita (Libi Rana) and Sanjeev Kumar.

Bade Bewafa Hai Ye    “Roop Tera Mastana”  1972

(Lyricist:-  Asad Bhopali  Singer:- Mohammad Rafi)

A GEM from Mohammad Rafi & Laxmikant-Pyarelal.

VIOLINs & CELLOs are wonderfully intermixed with PIANO in mind-boggling SYMPHONY style, an enrich orchestra arrangements throughout the song and a fabulous rendering by RAFI saab in very ‘romantic’ way. 

Long ‘prelude” of 1 minute and 11 seconds (full of ‘SYMPHONY’) with Rafi Saab’s “aalap”and ‘humming’ + ‘pause’ mesmerizes.

“Interludes” are mellifluously crafted with PIANO, VIOLINS & CELLOs. Again the “mukhada” has TABLA/DHOLAK rhythm. All the “interludes” rhythm have BONGO DRUMS. Rafi Saab’s & Laxmikant-Pyarel’s various ‘pauses’ is an added feature of this song. 

Tere Ishq Ka Mujh Par        “Nagin” 1976.       

(Lyricist:-  Asad Bhopali  Singer:- Mohammad Rafi)

15 seconds of ‘prelude’ starts with ‘intoxicated’ AALAPS and HUMMING by Ashaji > ‘pause’ of 5 seconds > highlighting the sterling DHOLAK rhythm and finally ‘stroke’ of IRANI SANTOOR.

Brilliant take off by Rafi Saab,..तेरे इश्क का मुझ पे.

First ‘interlude’ with change of ‘rhythm’ pattern, orchestrated with PIANO intermixed with GHUNGROO BELL followed by VIOLINS and IRANI SANTOOR.

Second ‘interlude’ is awesomely instrumented with excellent, long extended time for solo GUITAR and finally, IRANI SANTOR.

At the end of each ‘antara’, IRANI SANTOOR synchronized with GUITAR, is wonderfully used as a ‘filler’.

The song is filmed on Sunil Dutt & Rekha.

 Aap Ke Anurodh Pe…. “Anurodh”  1977   

 (Lyricist:-  Anand Bakshi   Singer Kishore Kumar 

Hypnotizing orchestra from Laxmikant-Pyarelal  and stupefying rendering by Kishore Kumar. This mellifluous song is composed on Raag “Yaman Kalyan”. 13 seconds of ‘prelude’ enthrals with the sounds of VEENA and PIANO. Cool and calm rendering by Kishore Kumar with fascinate TABLA / KONGA Drum ‘rhythm’. First ‘interlude’ orchestrated with VEENA and SANTOOR. Second ‘interlude’ is decorated with PIANO and VEENA and also used as a ‘filler’ in  the second ‘antara’. Third ‘interlude’ is executed with SITAR and SAROD supported with soft surround VIOLINS. One of the best songs from the KK-LP combo. 

Bane Chahe Dushman Zamana        “Dostana”  1981      

 (Lyricist  Anand Bakshi   Singers Mohammad Rafi – Kishore Kumar)

This popular song has been orchestrated with PIANO, in particular for “Postlude”. 

Zindagi Har Kadam Ek Nayee Jung           “Meri Jung” 1985

(Lyricist  Anand Bakshi   Singers Lata Mangeshkar – Nitin Mukesh)

The song has two versions. Both the versions are woven around the glimpses of PIANO tune throughout the songs. This PIANO tune is a signature tune for the film.

The first version is considered for the review. “Prelude” of 56 seconds, beautifiully crafted  ‘tune’ on PIANO, Lataji’s AALAPS, HUMMING and HUMMING from Nitin Mukesh. The ‘beauty’ of the first interlude is PIANO sound synchronized with the natural sound of PARROT. Second as well as third interludes are tunefully overlapped with sounds of PIANO and symphony style VIOLINS and CELLOs. The song has melodious BONGO Drum ‘rhythm’. The song is filmed on Girish  Karnad and Nutan. 

Ai Mere Khawabon Ke           “Meri Jung” 1985

(Lyricist  Anand Bakshi   Singer Anuradha Paudwal)

Mere Liye Zindagi     “Mera Jawab”  1985 

(Lyricist  Santosh Anand   Singers Anuradha Paudwal – Manhar)

Awesomely orchestrated 55 seconds of ‘prelude’ with PIANO, ACOUSTIC GUITAR, VIOLINS and FLUTE. Second and third interludes, PIANO is awesomely instrumented with ACOUSTIC GUITAR, MANDOLIN, VIOLINS and solo VIOLIN. ‘Postlude’ sounds melodious with solo VIOLIN. Filmed by Jackey Shroff and Meenakshi Sheshadri.

Teri Bewafai Ka Shikawa Karoo To     “Ram Avtar” 1988

(Lyricist:-  Anand Bakshi   Singer Mohammad Aziz)

Melodious song with excellent as well as delicate use of PIANO, in ‘prelude’ as well as all the three interludes. In the second and third interlude PIANO is beautifully overlapped with the sound of SANTOR. Filmed on Anil Kapoor – Sridevi 

Kehna Na Tum Ye Kisise    “Pati Patni Aur Tawaif”  1990

(Lyricist:-  Anand Bakshi   Singers Mohammad Aziz – Salma Agha)

An extremely melodious duet. ‘Prelude’ is full of GUITAR, VIOLINS and the SAXOPHONE. Enjoy mind-boggling solo PIANO in the first interlude. Second interlude is wonderfully orchestrated with SAXOPHONE, with surround songs of VIOLINS. Third interlude is decorated with MANDOLIN as well as SAXOPHONE. Another beauty of this song is the overlapping sound effect of the rendering from Mohammad Aziz and Salma Agha. filmed on Salma Agha – Mithoon Chakarawrthy  

Dhadkan Jara Ruk Gayi Hai     “Prahar”  1991

(Lyricist Mangesh Kulkarni  Singer Suresh Wadkar)

A stupefying composition, cursive rendering and resonant orchestra arrangements in “prelude’, ‘interlude’ and ‘postlude’, as well. In first ‘interlude’ solo VIOLIN (played by late Aadesh Shrivastava) is awesomely synchronised with  surround sound of CELLOs. The second ‘interlude’ also have solo VIOLIN and intermixed with SYMPHONY style VIOLINS and PIANO. Those who like SYMPHONY orchestra will certainly enjoy third ‘interlude’. The ‘postlude’ is full of  PIANO. The “pauses” given in between the song giving additional flavor. The song  is filmed on Madhuri Dixit, Gautam Joglekar and Aadesh Shrivastava. 

Adnan Sami as Pianist playing Laxmikant-Pyarelal composition on Piano

Ajay Poundarik Atlanta (Georgia) USA. 20/11/2020

ON PUBLIC DEMAND Lata Mangeshkar / Laxmikant-Pyarelal / Anand Bakshi     “MANCHALI”  1973



Laxmikant-Pyarelal made the debut from the film Parasmani released in 1963. Songwriters like  Farooq Qaisar, Asad Bhopali, Indeevar penned the songs. The duo’s next films Harisihchandra Taramati, (1963), Sati Savitri, Sant Gyaneshwar, Dosti, Mr X In Bombay (1964) etc saw the big names of songwriters like National Poet Kavi Pradeep, Pandit Bharat Vyas, Majrooh Sultanpuri and Anand Bakshi, respectively. Since than Laxmikant-Pyarelal have worked with as many as 72 songwriters, till 1998.

Laxmikant-Pyarelal with Anand Bakshi (Top) and Majrooh Sultanpuri. 

Lyricists with Laxmikant-Pyarelal right from Parasmani 1963 to Deewana Mastana 1998.

Following of the five ‘unique‘ songs, considered for review. 

Kaifi Aazmi “Satyakam” 1969 zindagi hai kya’ (Kishore Kumar, Mukesh & Mahendra Kapoor)

Amit Khanna,  “Bhairavi” 1996 om namah shivay (Kavitha Krishnmurthy & Roopkumar Rathod)

RashtraKavee Pradeep, “Harishchandra Taramati” 1963suraj re’ (Hemant Kumar) 

Pandit Narendra Sharma “Satyam Shivam Sundaram” 1978  suni jo unke’ (Lata Mangeshkar)

Rajkavee Indrajetsingh Tulsi “Shor” 1972 ‘jeevan chalne ka naam (M Kapoor, Manna Dey, )

The major share is from none other than ANAND BAKSHI who have written songs for 302 films only for Laxmikant-Pyarelal with close to 1680 songs. 

Top SIX  Music Directors with Anand Bakshi, in terms of number of films.

Laxmikant-Pyarelal :: Anand Bakshi           302 films

R D Burman :: Anand Bakshi                             99 films

Kalyanji-Anandji :: Anand Bakshi                     32 films

Anu Malik :: Anand Bakshi                                 28 films

Rajesh Roshan :: Anand Bakshi                         17  films

S D Burman :: Anand Bakshi                              13  films

On those days, from 1964 to 1998, till date,  the most commonly and regularly aired sentence on the Radio Stations was  

गीतकार आनंद बक्षी और संगीतकार लक्ष्मीकांतप्यारेलाल …and the song starts…

A NUMBER ONE trio in Hindi Film Music. 

Laxmikant-Pyarelal have given the music for close to  500 films.  Anand Bakshi have written the songs for close to 600 films.  More than 60% of the total work of Laxmikant-Pyarelal is with Anand Bakshi.  More than 50% of the total work done by Bakshi Sahab is with Laxmikant-Pyarelal.

This “trio” of Laxmikant-Pyarelal & Anand Bakshi came for the first time in “Mr X In Bombay”…1964…(“mere mehaboob quyamat hogs” by Kishore Kumar)…all the songs of this film became immensely popular. This “trio” became into lime-light after Lata Mangeshkar’s songs of “Lootera”, 1966, Kishore Kumar’s “Shreeman Fantoosh”, 1966, J Omprakash’s “Aaye Din Bahar Ke”….BUT the “trio”  got the immense popularity through the songs of “Milan”, 1967 (sawan ka mahina’ ) …”Milan” songs storm the nation. In the same year musical hit “Night In London” (‘nazar na lag jaye’ and ‘bahosh-o-hawaas main deewana), Jeetendr’s musical super hit “Farz”..Rajashri’s “Taqdeer” … after that this “trio” never looked back…give series of hits after hits. It is not possible to give the entire list of 302 films of Anand Baxi and Laxmikant-Pyarelal. Later in sixties “trio’s songs from Sanjeev Kumar’s “Raja Aur Runk”, Dharmendra’s “Aaya Sawan Jhoom Ke”, Rajendra Kumar’s “Anjana”, Rajesh Khanna’s ”Do Raaste”, Jeetendra’s “Jeene Ki Raah” and “Jigar Dost”, Manoj Kumar’s “Sajan” became hit. Witnessed many hits in seventies, mainly, Rajesh Khanna’s musical hits “Aan Milo Sajana”, “Haathi Mere Saathi”, “Prem Kahani”, “Roti”,”Anurodh”, “Dushman” etc….

Laxmikant, Anand Bakshi and Pyarelal.

Raj Kapoor’s “Bobby” and “Satyam Shivam Sundaram”, Jeetendra’s “Humjoli”, “Khilona”, “Banphoo”, Dharmendr’s “Jeeven Mrityu”, “Loafer”, “Raja Jani”, “Pratigya”, “Mera Gaon Mera Desh”,,etc…The list is endless. To add few Rajashree pictures “Uphaar” , “Piya Ka Ghar” ,”Amar Akbar Anthony”, “Sangam” “Karz” eighties “Ek Duje Ke Liye”, “Asha”, “Rajput”, “Suhag” etc…in Nineties “Kalnayak”, “Saudagar”, “Hum” and “Khuda Gawah” Etc,.

There are many “hits” from this combo. It will be too long list. 

The second in the list is MAJAROOH SULTANPURI…Laxmikant-Pyarelal have worked with Majarooh in as many as 46 films their major musical hits includes Rajashree’s “Dosti”, “Mere Lal” (payal ki hanker taste taste’), Dharmendra’s “Mere Hamdam Mere Dost”, (1968), Saira Banu’s “Shagird” (1967)(dil bil pyar vyar) , Manoj Kumar’s “Patthar Ke Sanam”(1967), “Wapas” (‘ek tera saath’), “Dharati Kahe Pukar Ke” , V. shanaram’s Classic “Jal Bin Machhali Nitya Bin Bijali”.(1971), Amitabh-Jaya Starrer “Ek Nazar”, 1972, (‘patta patta buta buta’) “Abhinetri”, 1971, “Imtihan” (Kishore’s ruk jana nahin and Lata’s “roj sham aathi thi” ) and many more… 

Laxmikant, V Shantaram, Lata Mangeshkar, Majrooh Sultanpuri and Pyarelal.

RAJENDRA KRISHNA:- Laxmikant-Pyarelal have worked with Rajendra Krishna for, 20 films, includes many hit films “Pyar Kiye Jaa” (1966), “Ladla” (1966), Sadhana’s home production “Intequam” (Lata’s cabaret song ’Aa Jaan-E-Jaa’ ), 1968  and “Geeta Mera Naam” (1974), Dharmendra’s “Jwar-Bhata” and Sanjay Khan/Rakhi “Wafaa” in 1974. Sanjeev Kumar-Wahida Rahaman’s “Man Mandir” (1971), Sanjeev Kumar’s “Naya Din Nayi Raat” and “Shandar” in 1974, “Qatl” 1985. 

                                                   Pyarelal, Rajendra Kishan & Laxmikant

SAHIR LUDHIYANVI: Laxmikant-Pyarelal worked with Sahir for 7 films, the first time in 1968 for Dharmendra -Tanuja Starrer “Izzat” (‘ye din tum bin kahin), . Dharmendra – Waheeda starrer “Man Ki Aankhen” ( superb music) they also worked for B R Chopr’s “Dastaan”, 1972 and Yash Chopra’s “Daag” (mere dil mein aaj Kya hai ).”Deedar-E-Yaar” 1981. 

Extreme left Sahir Ludhianvi, Laxmikant and guest.

RAJA MEHDI ALI KHAN:- If I am to ask the best of Laxmikant-Pyarelal it is from these 3 films, Raj Khosla’s “Anita” and Bishwajeet-Mala Sinha’s “Jaal” both released in 1967. One of the outstanding compositions for both the films…Raj Khosla has decided to team up Laxmikant-Pyarelal with Raja Mehandi Ali Khan..But the sudden death of Raja Mehandi Ali Khan..has brought in Anand Baxi. 

PANDIT BHARAT VYAS..Associated with Laxmikant-Pyarelal for 5 films, two of the finest scores of the duo, “Sati-Savitri” and “Sant Gyaneshwar” both released in 1964. 

SANTOSH ANAND:- Manoj Kumar’s “Shor” (‘ek pyar ka nagame hai’), “Roti Kapada Aur Makan”, (main na bhulunga) “Kranti”. “Prem Rog”,”Pyasa Sawan” (Megha re Megah Re)  “Santosh”, “Tiranga”, “Surya” and many more. 16 films with the duo. 

VERMA MALIK:- 20  films together “Shor”, “Roti Kapada Aur Makan”,”Zinda Dil”,  “Kartavya”, Rajkumar Kohli’s “Nagin” & “Jani Dushman” and “Anhonee” (‘today’s sensational hit maine hothon pe lagayi to hungama ho gaya’) and many films. 

ASAD BHOPALI:- “Parasmani” (lata-rafi woh jab yaad aaye), 1963. “Roop Tera Mastana” (lata-kishore ‘dil ki baate dil hi jaane’), 1972, Kishore Kumar’s “Hum Sab Ustaad Hai” (Kishore classic ‘ajanabi tum jaane pehachane se), 1965. “Aaya Toofan” and “Boxer” both in 1964. 

JAVED AKHTAR:– In late eighties Laxmikant-Pyarelal worked with Javed Akhatar closed to 8 films, to produce mega hit songs for the films like “Mr India”, “Tezab” (‘ek do teen ..) and “Roop Ki Raani Choron Ka Raja”, “Jamai Raja” and “Narsinha” etc. 

Javed Akhtar, Laxmikant and Yash Chopra

FAROOQ QAISER:- Who wrote the first ever song of Laxmikant-Pyarelal Hasata Hua Nurani Chehara from “Parasmani”, 1963. He has also written two more songs for “Parasmani”. “Aaya Toofan” 1964, …after the gap of 22 years Farooq Qaiser worked for LP in “Hamara Khandan” 1986 and “Kudrat Ka Kanoon” 1988. 

GULZAR wrote the songs for Laxmikant-Pyarelal in Rajesh Khanna’s “Palkon Ki Chhaon Main” (lata classic, ‘koi mere mathe ki bindia saja de’ and Kishore’s ‘dakiya daak laya’ )and J P Dutta’s Dharmendra starrer “Ghulami” (lata-shabbir jihal-e-mushkil).

VASANT DEV: The famous Marathi poet wrote the songs for Laxmikant-Pyarelal for two films in Shashi Kapoor’s “Utsav” 1985(lata-asha classicman kyoun behaka and suresh wadkar’s ’sanz dhale’)  and Girish Karnad’s “Sur Sangam” 1986, an outstanding music for both the films. 

VITTHALBHAI PATEL:- “Bobby” (na mangu sona chandi”)

MANGESH  KULKARNI wrote for Nana Patekar’s “Prahar” 1991, (Suresh Wadkar classicdhadakan zara rook gayi hai’ and Mannade hamari hi mutthi main hai aasmaman

KAIFI AAZMI  wrote the songs for Hrishikesh Mukharjee’s Dharmendra – Sharmila starrer film “Satyakaam”, 1969, has some outstaning songs two solos by Lata (‘do din ki zindagi& ‘abhi kya sunoge) and one beautiful song sung by Mukesh, Kishore and Mahendra Kapoor (zindagi hai kya bolo)

SONG  – 1

Zindagi Hai Kya Bolo       “SATYAKAM”  1969

(Singers Kishore Kumar, Mukesh, Mahendra Kapoor / Songwriter Kaifi Aazmi)

“Satyakam” has powerful performances, well directed by Hrishikesh Mukharjee. Laxmikant-Pyarelal was working first time with Kaifi Aazmi and Hrishikesh Mukharjee. The song is well orchestrated with use of ACOUSTIC GUITAR with BONGA DRUM in rhythm.  MOUTH-ORGAN is well executed in the ‘interlude’. Filmed on Dharmendra – Sanjeev Kumar – Asrani.

RAM  BHARADWAJ ( Composer Vishal Bharadwaj’s father) also wrote for Laxmikant-Pyarelal in “Jurm Aur Saza” 1975 and “Zindagi Aur Toofan” 1978, with some superb songs.

ANJAN wrote some beatiful melodies for LP. “Badalate Rishte”, 1978, (Lata-Mahendra Kapoor ’s classicmeri sason ko jo mehaka rahi hai”.  “ Eeshwar”, “Sanjog” and many more..

AMIT  KHANNA: Penned the songs for Laxmikant-Pyarelal for his home production film “Bhairavi”, 1996..simply outstanding music. 

SONG  – 2

Om Namah Shivay   “BHAIRAVI”  1996

(Singer Kavitha Krishnmurthy – Roopkumar Rathod / Songwriter Amit Khanna)

Devotional song  awesomely rendered by Kavitha Krishnamurthy and Roopkumar Rathod.

HASARAT JAIPURI:– “Chhaila Babu” 1967 (rafi classic ’tere pyar ne muze ghum diya’ )  and Mukesh-Lata evergreen (kyon jhuki jhuki hai palaken) and “Aakhri Dao” 1976 and “Mohabbat Ki Aarzoo” 1994. 

TAJ  BHOPALI: Anup Kumar and Ashok Kumar’s “Aansoo Ban Gaye Phool” 1969..(Asha classic meharba mehaboob dilbar jan – e – man). and Kishore classic. ‘ab inko vote do’ 

GOVIND  MOONIS. “Aansoo Ban Gaye Phool” 1969, (Kishore-Asha all time hit jane kaisa hai mera deewana’).

S H BIHARI: “Pyar Jhukata Nahin” ( ’tumese mil kar na jane kyon’ ) and “Teri Meharbaniyan” 

MANOJ KUMAR in “Kranti” 

Shakeel Badayuni, Neeraj, Shahryar and Yogesh (One film each)

Laxmikant-Pyarelal have a privilege of working with National Poets like 

RASHTRAKAVI  PRADEEP  in “Harishchandra Taramati” (singer Hemant Kumar’ssuraj re jalte rehana’)

Pyarelal, Rashtrakavi Pradeep, Lata Mangeshkar and Laxmikant

SONG  – 3

Suraj Re Jalte Rehna   “HARISHCHANDRA  TARAMATI ” 1963.

 (Singer Hemant Kumar / Songwriter Rashtravee Pradeep)

All songs great, classical. It was second released film of Laxmikant-Pyarelal produced by B K Aadarsh (father of today’s famous film critics and film analyst Mr. Taran Aadarsh of Zee TV fame). It was a black & white mythological film with no star-cast, except Prithviraj Kapoor. BUT the song became extremely popular. It was a surprise package from Laxmikant-Pyarelal when their 1963 Diwali released “Parasmani” songs were still very much popular. 

PANDIT  NARENDRA  SHARMA  in “Satyam Shivam Sundaram” (title song) and 

“Prem Rog” (‘bhanware ne khilaya phool)

Manna Dey, Shashi Kapoor, Laxmikant-Pyarelal, Pandit Narendra Sharma & Raj Kapoor.

 SONG  – 4

Suni Jo Unke Aane Ki Aahat   “SATYAM SHIVAM SUNDARAM” 1978  

(Singer Lata Mangeshkar / Songwriter Pandit Narendra Sharma)

This  song is a local ‘folk’  song from ‘Awadh’ area in Uttar Pradesh. 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.

RASHTRAKAVI  INDRAJEETSINGH  TULSI in “Shor” (Mannade-Mahendra Kapoor “Jeevan Chalane Ka Naam”) and “Sauda” 

SONG  – 5

Jeevan Chalane Ka Naam        SHOR 1972

(Singer Mahendra Kapoor – Manna Dey – Shama Chitter  / Songwriter Indrajeetsingh Tulsi)

जीवन चलने का नाम चलते रहो सुबह ओ शाम   Beautiful melodious song. Very inspiring & motivating. Filmed on Manoj Kumar and Prem Nath. The song’s ‘prelude’ ‘interludes’ are excellently orchestrated with IRANI SANTOOR, ACOUSTIC GUITAR and symphony VIOLINS, synchronized with Bicycle BELL and RUBAB. Third ‘interlude’ awesomely instrumented with ACCORDION. Wonderful DHOLAK rhythm overlapping the CHORUS sound.

MAYA GOVIND in Ramamnd Sagar’s “Jalte Badan” 1972. 

SHIV KUMAR SAROJ “Naag Mandir” 1964  (khamosh zindagi ko aawaz de rehe ho)

Following lyricists also penned the songs for Laxmikant-Pyarelal. 

AZIZ QAISIS “Dayavan” 1988 ( today’s sensational hit song aaj phir tumse pyar aaya hai”)

RAJESH MALIK:– “Tejaswini”

INDIVER:- “Parasmani” (rafi classic ‘roshan tumni se duniya’) 

GULSHAN BAWARA in “Phansi” (jab aati hogi yaad meri’ sulakshna – rafi duet) 

AMIR QUAZALBASH “Prem Rog” (meri kismat main tu nahin shayad

AARZOO LAKHANAVI  “Anita” 1967, (mukesh classic gore gore chand  ke mukh pe)

HASSAN KAMAL in “Batawara” and “Yateem” 

RAM AVTAR TYAGI in “Zindagi Aur Toofan” 1978 ( ek hasarat thi ki Mukesh) 

SAMEER in “Kudrat Ka Kanoon” 

MUMTAZ RASHID in “Tejaswini” 

QAMAR JALALABADI in Ranadhir Kapoor and Rekha Starrer “Kachcha Chor” 1977

TAABISH ROMANI in “Mohabbat Ki Arzoo” 1994. 

KULWANT JAANI in “Mohabbat ki Aarzoo” 

KAFIL  AZAR in Dharmendra – Rekha starrer “Kartavya” 1978, (lata’s stunning song Doori Na Rahe Koi Aaj Itane”

HARI RAM ACHARYA in “Mehandi Rang Layegi” 

JAINENDRA JAIN in his home production “Janoo” 1985. 

SATYA PRAKASH “Jai Hind” 1999

RANI MALIK “Aatank” 1996

Famous Songwriter Shailendra was signed for “Dharti kahe Pukar ke”, being produced by a very good friend of Shahilendra, Pandit Deenanath Shastri  and was to work for first time with Laxmikant-Pyarelal. But due to sudden demise of Shailendra this did not happen and Majrooh was signed. It was a big loss to music lovers that Shailendra – Laxmikant-Pyarelal team did not happen. 

Compiled List
Anand Bakshi3021684
Majrooh Sultanpuri45229
Rajinder Krishan20113
Verma Malik2081
S. H Bihari1668
Santosh Anand1666
Hasan Kamaal1348
Javed Akhtar742
Asad Bhopali1641
Sahir Ludhiyanvi735
Farooq Qaiser827
Bharat Vyas526
Hasrat Jaipuri617
Vasant Deo214
Raja Mehdi Ali Khan311
Pt. Narendra Sharma29
Kavi Pradeep19
Ram Bhardwaj59
Gulshan Bawra39
Manoj Kumar39
Kaifi Azmi38
Rajkavi Inderjeet Singh Tulsi37
Rani Malik37
Amit Khanna17
Kulwant Jani, Shahenshah16
Sameer, Dev Kohli, Hasan Kamaal16
Jainendra Jain16
Indeevar, Brij Bihari15
Maya Govind25
Taj Bhopali25
Qamar Jalalabadi15
Aziz Qaisi24
Mangesh Kulkarni14
Sudarshan Faakir14
Hariram Acharya14
Kafil Azar24
Rajesh Malik24
Vitthalbhai Patel34
B. R Tripathi14
Salahuddin Parvez13
Majrooh Sultanpuri, Raja Mehdi Ali Khan13
Shri Mohan Pradeep13
Prayag Raj12
Shakeel Badayuni12
Ram Avtar Tyagi12
Kulwant Jani22
Dev Kohli12
Mumtaz Rashid12
Rahi Masoom Raza12
Naqsh Lyallpuri11
Tabish Romani11
K. K Singh11
Arzoo Lakhnavi11
Murshid Hallauri11
Prem Pandit11
Kaifi Azmi & Sahir Ludhiyanvi11
Amir Minai11
K. K Verma11
Amir Khusro11
Jigar Moradabadi11
Amir Khusro, Anand Bakshi11
Shiv Kumar Saroj11
Amir Qazalbash11
Govind Moonis11
Grand Total5032844

Ajay Poundarik

Atlanta (Georgia)