I am a Mechanical Engineering Graduate. Boiler Proficiency Engineer. Deeply In Love With Hindi Film Music When I Was Eight Years Of Age, Since 1963. I Have A Liking For All Contemporary Music Directors Compositions. I Am A Fan Of Laxmikant-Pyarelal Music. I Have Grown-Up By Listening To Laxmikant-Pyarelal Music. I Like Test Cricket Only. Worked In The Capacity Of General Manager For The Fields Of Project Implementation, Facility Management, Construction Management and Plant Maintenance In INDIA, NIGERIA & AFGHANISTAN.
A giant among film lyricists, Sahir Ludhianvi was slightly different from his contemporaries. A man unable to praise God, Beauty and wine. his pen was at its best pouring out bitter but sensitive lyrics.
Sahir made his debut in film lyrics with Naujawan (1951). His first major break came the same year when he wrote the lyrics for S.D. Burman’s music in Baazi(1951). The movie, directed by Guru Dutt, and its music was a success and together S.D. Burman and Sahir went on to create History.
Sahir Ludhianvi and his work with the major Music Directors. Indicating number of films, one of the best films in the bracket.
S D Burman 18 films (Pyasa)
N Dutta 19 films (Dhool Ka Phool)
Ravi 19 films (Humraaz)
Roshan 7 films (Taj Mahal)
Khaiyyam 7 films (Kabhi Kabhi)
Madan Mohan 2 films (Laila Majnu)
O P Nayyar 6 films (Naya Daur)
Jaidev 3 films (Hum Dono)
R D Burman 4 films (Aa Gale Lag Ja)
Chitragupt 2 films (Vasana)
Sahir Ludhiyahvi and Laxmikant-Pyarelal worked for 7 films, listed below. Undoubtedly their best work was in IZZAT 1968 and Yash Raj Films first movie DAAG 1973.
Izzat 1968
Man Ki Aankhen 1970
Dastaan 1972
Daag 1973
Jagruti 1977
Deedar -E- Yaar 1982
Jiyo Aur Jeene Do 1982
Tried to review a few best of the songs written by Sahir Ludhiyanvi and composed by Laxmikant-Pyarelal.
IZZAT 1968
This is the only Hindi movie with Jayalalitha, former Chief Minister of Tamil Nadu as a lead actress. Part of the story was inspiration for Trishul. Dharmendra used dark makeup for his double role. Sahir Ludhiyanvi worked for the first time with Laxmikant-Pyarelal. The music of the film was excellent.
Kya Miliye Aise Logon Se (Singer Mohammad Rafi)
Sahir Ludhiyanvi writes about politician ! खुद से ही जो खुद को छुपाये क्या उनसे पहचान करे। ..दिलदारी का ढोंग रचा कर जाल बिछाए बातों का ! जिनके जुल्मसे दुखी है जनता हर बस्ती हर गाओं में !
This song is filmed on Dharmendra. Once again the ACCORDION is awesomely used throughout the song. 8 seconds of ‘prelude’ starts with ACCORDION intermixing with VIOLINS. Brilliant take off by rafi saab, क्या मिलिए sss ऐसे लोगोसे।, singing ‘pause’ of 4 seconds, highlighting ACCORDION. Again Rafi saab नकली चेहरा सामने आये असली सूरत छुपी रहे singing ‘pause’ of 4 seconds, highlighting ACCORDION, playing the tune of the song. This is repeated many times throughout the song. First and third ‘interludes’ are awesomely orchestrated with ACCORDION ending synchronizing with VIOLINS. Again at the end of each antara / stanza the ACCORDION is used as ‘filler’.
Jaagi Badan Mein Jwala (Singer Lata Mangeshkar)
Sahir Ludhianvi writes about तेरे लिए रातको भटकू , आते जाते लोगों की नज़रों मैं खटकू
IZZAT was a musical hit. This song’s RHYTHM, Laxmikant-Pyarelal designed when they were in Beirut (Lebanon). It is 1-2-3-4-5-6, a Lebanese ‘folk’ rhythm. Laxmikant-Pyarelal were expert in utilizing CHORUS in their compositions. Just listen to how CHORUS sounds extremely melodious in this song.
Hypnotising ‘prelude’ of 26 seconds, excellently intermixed with GLOCKENSPIEL or ‘GLOCKS’, GHUNGROO BELLs and Lataji AALAPS . Excellent take off ‘Jagi..sss’..Jagi Badan Mein Jwala’ (जागी sssss जागी बदन में ज्वाला). All the three interludes have different style of orchestra arrangements. NADASWARAM, VIOLINS, ACOUSTIC GUITAR as well as GHUNGROO BELLs are harmoniously synchronized in all the interludes with different tunes. Lata Mangeshkar at her melodious best. The mind-boggling Rhythm of DRUM beats is totally different. This rhythm was never repeated by Laxmikant-Pyarelal. The GREAT song was filmed on late Jayalalitha, the ex Chief Minister of Tamil Nadu.
Ye Dil Tum Bin Kahin Lagta Nahin (Singers Lata Mangeshkar – Mohammad Rafi)
This is an extremely melodious duet written by Sahir Ludhiyanvi, working for the first time with Laxmikant-Pyarelal. It has been composed in Raag Pahadi.
The unique aspect of this song is the use of VIOLINS / CELLOS. The entire song is woven around the orchestration of symphony VIOLINS and CELLOS. ‘Prelude’ as well as all the ‘interludes’ are composed in symphony style orchestra with different tunes. CELLOS / VIOLINS are also used as a ‘filler’ as well as in surround sounds of the song, especially in ‘Mukha’ and the ‘antara’. In the ‘prelude’ of 22 seconds VIOLINS / CELLOS are integrated with string sounds of GUITAR. First interlude is awesomely orchestrated with VIOLINS and strings of GUITAR. Second interlude with the same instruments but different tunes of VIOLINS. Third interlude VIOLINS and FLUTE.
TABLA is used in the rhythm in a conventional style The rarest of rare occasion when Laxmikant-Pyarelal have used only TABLA The song is filmed on Dharmendra-Tanuja.
MAN KI AANKHEN 1970
Dharmendra – Waheeda Rehman starrer musical film has some very good songs.
Dil Kahe Ruk Ja Re Ruk Ja (Singer Mohammad Rafi)
Extremely melodious romantic song. ‘Prelude of 40 seconds, starts with TWEETING sound of BIRDS overlapped with SANTOOR, Symphony VIOLINS and Rafi Sahab’s AALAP, mesmerizes the listeners. First ‘interlude’ CHORUS is beautifully surrounded and overlapped with GUITAR and FLUTE. Second ‘interlude’ is orchestrated with Symphony VIOLINS and FLUTE. The song is filmed on DHARMENDRA.
Chala Bhi Aa Aaja Rasiya (Singers Lata Mangeshkar – Mohammad Rafi)
Bahut Der Tumne Sataya Hai (Singer Asha Bhosle)
DASTAAN 1972
Laxmikant-Pyarelal worked for the first time with actor Dilip Kumar and also with the Producer Director B R Chopra. The music was good, in particular two songs.
Ho Koi Aaya Lachak Uthi Kaya …Asha Bhosle
Na Tu Zameen Ke Liye ….Mohammad Rafi
DAAG 1973
To start with YASH RAJ Films first ever film, producer and director Yash Chopra wanted to utilize the ‘best’ artists available then. Rajesh Khanna was in supreme form in early seventies, he along with Sharmila Taigor, Rakhi were the stars of the films.
LAXMIKANT-PYARELAL, in top gear, from 1967, got the honor of the first music director for ”YASH RAJ FILMS”. Yash chose his favorite lyricist Sahir Ludhiyanvi to penned the songs.An outstanding/evergreen/ever-fresh music of ”Daag” is still popular.Let us review the Most Popular song.
Mere Dil Main Aaj Kya Hai (Singer Kishore Kumar)
लाजवाब, सुमधुर, कर्णप्रिय एवं बेहद रोमांटिक गाना। Mesmerizing Orchestra arrangements..IRANI SANTOOR (played by Pt Shivkumar Sharma) & GUITAR (played by Gorakh Sharma) are brilliantly executed in the entire orchestra of the song.
The song starts with “zero” ‘Prelude”…First ‘Interlude’ starts with IRANI SANTOOR at 0.42…with brilliant overlapping sound effect and ends at 1,00. The second ‘Interlude’ starts at 1.46 and listen how mellifluously IRANI SANTOOR have been played till 1.58…The third ‘Interlude’ starts at 2.45 and how effectively GUITAR is played to give the perfection to the romance and great “pick up” through IRANI SANTOOR from 2.53 to 3.02..The song has beautiful DHOLAK as “rhythm” excepting in “Interludes”…
SAHIR LUDHIYANVI’s elegiac lyrics and KISHORE KUMAR’s tender as well as romantic rendition and LAXMIKANT-PYARELAL’s wonderful composition with beautiful decoration of the orchestra has made this song as all time classics.
You just have to look at the way Rajesh Khanna croons, “Mera pyaar keh raha hai main tujhe khuda bana doon” and you will want to watch the song. Nobody could act out a love song better than Rajesh Khanna.
Also full credit to Kishore Kumar who was nominated by filmfare awards, the best male singer, for singing this romantic GEM. One of the finest songs of Kishore Kumar under Laxmikant-Pyarelal who were also nominated by filmfare awards, for the best music directors, along with Raj Kapoor’s ‘Bobby”.
Ni Main Yaar Mana NI (Singers Lata Mangeshkar – Minoo Purushottam)
Typically Punjabi flavored and very famous female duet excellently sung by Lata Mangeshkar – Minoo Purushottam. . Powerful rhythm of the song consists of DHOL, DHOLAK, TABLA and CLAPPING is just mind-blowing. Use of SHEHNAI / NADASWARAM in both the ‘interludes’.
Hum Aur Tum Tum Aur Hum ((Singers Lata Mangeshkar – Kishore Kumar)
This Kishore Kumar & Lata Mangeshkar romantic song is completely woven around the rhythm based ACOUSTIC GUITAR. Another beauty of this song is it’s ‘interludes’. Both the ‘interludes’ have different tunes. First ‘interlude’ full of ‘aalaps’ by Kishore & Lata with glimpses of VIOLINS. In second ‘interlude’ the VIOLINS are decorated in ‘Waltz’ style with beautiful “pauses”. Even Lataji and Kishorji have also rendered the ‘pauses’ in the songs.
If you compare all Yash Raj Films Musical scores, DAAG music is still popular and remains top sellers and also the best.
If you compare all Yash Raj Films Musical scores, DAAG remains top sellers and also the best.
JAGRITI 1977
The film, starring Reena Roy and Vinod Mehra, did not do much business at box-office.
Meharban Kaise Kaise … Asha Bhosle
DEEDAR -E- YAAR 1982
Super musical film produced by Jeetendra on a Muslim culture. The film has divergent music.
Chala Chal Latife ..Kishore
Eid Ka Din (M. Rafii & Asha Bhosle)
Tumko Dekha To (Lata)
AND A stroke of genius (Mohammad Rafi & Kishore Kumar)
Mere Dildar Ka Baankpan .. (Singer Mohammad Rafi – Kishore Kumar)
No words are to describe the singing of the two sensational singers,
Mohammad Rafi – Kishore Kumar.
Ajay Poundarik, Atlanta (Georgia), USA. 25th October, 2020.
Concealed GEMS :: Laxmikant-Pyarelal and Lata Mangeshkar
From 1963, to the next 35 years, Lata Mangeshkar 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.
Precisely, Lata Mangeshkar has sung as many as 413 solo songs for Laxmikant-Pyarelal. There are many Concealed GEMS (Hidden GEMS) of songs.
Songs from Lata Mangeshkar dominated albums like Parasmani 1963, Sati Savitri 1964, Sant Gyaneshwar 1964, Lootera 1966, Baharon ki Manzil 1968, Abhinetri 1971, Jai Bin Machhali Nritya Bin Bijalee 1971, Mera Gaon Mera Desh, 1971, Raja Jaani 1972, Daag 1973 and Bobby 1973, etc are not considered.
Films like, Naag Mandir 1966, Sau Saal Baad 1966, Daku Mangal Singh 1966, Madhavi 1968, Aasra 1966 , Shaadi Ke Baad 1972, Free Love 1974, have excellent music. One song from each of these films has been considered.
The songs considered have a unique way of composition. ‘Kisi ki nazar ne ishara kiya hai’ from “Sau Saal Baad” 1966, ‘suraj utara bindiya’ from “Sauda” 1974, ‘dil hai dard-e-mohabbat ka mara’ from “Free Love” 1974 and ‘ye kaun hansa’ from “Mere Sajna” 1975 are simply best.
Also, I would like to thank Dr. Rajiv Vijaykar(‘suraj utara bindiya’)Nikhil Ayer(‘Kisi ki nazar ne ishara kiya hai’ ) and Aditya Pant(ye kaun hansa’) for exploring these Hidden Gems.
Lata Mangeshkar with Laxmikant-Pyarelal. 60s and 70s.
Mere Sanam Sun Mera Ghum “Naag Mandir” 1966
(Songwriter Pandit Bharat Vyas)
Even though it is a mythological movie, it has some beautiful songs.
–Suno ji Suno Naya Ek Geet ….Lata
–Mere Sanam …Mahendra Kapor
–Khamosh Zindagi Ko Aawaz De Rahe Ho …M. Rafi
Lata’s version is an extremely melodious one. The song starts with ‘strokes’ of ACOUSTIC GUITAR and the VIOLINS. Awesome take off by Lata ji…मेरे सनम, मेरे सनम.. .VIOLINS, CELLOS in symphony style are melodiously surrounded with Lata ji’s rendering. ACOUSTIC GUITAR is tunefully used in the ‘rhythm’ of the song.
Kisi Ki Nazar Ne Ishara Kiya Hai “Sau Saal Baad” 1966
(Songwriter Anand Bakshi)
Actually, ‘Sau Saal Baad’ is a very good musical album.
–Ye Raat Bhi Jaa Rahi Hai….Lata
–Ek Ritu Aaye Ek Ritu Jaye…Lata-Manna Dey (Pure classical)
Lata Mangeshkar ‘s rare GEM with sweet melody. The song starts with beautiful ‘humming’ by Lataji followed by VIOLINS. Wonderful take off by Lataji ..किसी की नज़र ने इशारा किया है. Soft VIOLINS, FLUTE and SITAR are brilliantly played in the orchestra. Stroke of SITAR attracts the listeners in the start of the second ‘interlude’. DHOLAK rhythm with ‘pause’ is worth listening to.
—Ek To Ye Bahar Uspe Tera Mera Pyar “Daku Mangal Singh” 1966
(Songwriter Anand Bakshi )
A super musical starring Mumtaz – Dara Singh.
An extremely melodious and tender song with 25 seconds of ‘prelude’, full of VIOLINS and SITAR, sets the mood of the song. FLUTE is awesomely used as ‘filler’ in the song. Delicately sung by Lata Mangeshkar. Awesome DHOLAK rhythm. Mumtaz looks stunning.
Tum Kaun Ho Batao Tumhara Naam Hai Kya “Aasra” 1966
(Songwriter Anand Bakshi)
This film has many melodious songs.
–Mere Sune Jeevan Ka Aasra …Asha Bhosle
–Neend Kabhi Rehti Thi….Lata
–Daiya Re Daiyya ..Lata
An extremely canorous song, starts with Lataji’s ‘humming’. Sensitively taken take off …तुम कौन हो बताओ तुम्हारा नाम है क्या ?? Delicately rendered by Lataji synchronizing her singing with the fabulous ‘rhythm’ created through ACOUSTIC GUITAR. Wonderful use of FLUTE in the first ‘interlude’. Second ‘interlude’ ear-pleasing display of SITAR. Filmed on MALA SINHA.
Aaj Dil Pe Koi Jor Chalta Nahin “Milan” 1967
(Songwriter Anand Bakshi)
One of the finest musical albums of Laxmikant-Pyarelal. All songs stormed the nation in the year 1967. Starring Sunil Dutt – Nutan. Unfortunately this song was deleted from the movie.
Beautifully rendered in ‘raag’ CHARUKESHI. Sad song starts with the ‘prelude’ of 18 seconds orchestrated in VIOLINS and FLUTE. First ‘interlude’, VIOLINS and SAROD.Second ‘interlude’ beautifully orchestrated by FLUTE and SAROD. Third ‘interlude’ with VIOLINS and
MANDOLIN. Melodious DHOLAK ‘rhythm’.
Mehfil Soyee Aisa Koi “Intaquam” 1968
(Songwriter Rajendra Krishna)
Lata Mangeshkar has 4 solo songs. Including TWO CABARET. आ जान-ए -जान is very famous song from this film. BUT there was one more cabaret song sung by Lataji.
Yet another melodious cabaret song from the combo of “Helen-Lata-LP”. Laxmikant-Pyarelal have orchestrated this westernized song with the excellent and maximum use of the JAZZ FLUTE, ACOUSTIC GUITAR and VIOLINS with beautiful BONGO DRUM ‘rhythm’. Once again wonderful cabaret by Helen, a lesson for modern dancers. This song, being the best, has got less importance as the other cabaret (‘aa jaane jaan’) is more known and popular, from the same film, “Intaquam”.
Sanjh Savere Adhron Pe Mere “Madhavi” 1969
(Songwriter Anand Bakshi).
Musical hit film.
A beautiful, melodious, sweet ‘MEERA’ “BHAJAN” from the film “Madhavi” 1969. A classic song from the unique Tetrad of Lata Mangeshkar, Laxmikant-Pyarelal and Anand Bakshi. Filmed on Sanjay Khan – Deepa.
Pehle Na Dekha Jaise “Sharafat” 1970
(Songwriter Anand Bakshi)
Dharmendra – Hema Malini’s first picture. Film with as many as 5 solo songs by Lataji.
This song is an extremely melodious composition. ‘Prelude’ of 23 seconds orchestrated with SITAR and awesome Lata ji’s AALAPS. Wonderful take off by Lata ji पहले न देखा जैसे किसीने sss . First ‘interlude’ is orchestrated with FLUTE, VIOLINS overlapping MANDOLIN.
Second ‘interlude’ is full of SITAR, (Played by Ustad Rais Khan).
Baat Yeh Anokhi “Maa Aur Mamta” 1970
(Songwriter Anand Bakshi) Very sweet melodious song.
So Ja Re So Ja “Shaadi Ke Baad” 1972
(Songwriter Anand Bakshi)
An extremely melodious song rendered by Lata Mangeshkar. Lataji’s HUMMING in “prelude” and in first “interlude” mesmerizes. Wonderfully orchestrated with FLUTE, ACOUSTIC GUITAR, VIOLINS, SITAR and BANSURI. Without affecting the sweetness of the song, sound of “air” (हवा ) is beautifully incorporated. The song has soothing BONGO DRUM rhythm. It is filmed on actor Jeetendra and Rakhee.
Dil Hai Dard-E-Mohabbat Ka Mara “Free Love” 1974
(Songwriter Asad Bhopali )
This movie has some offbeat compositions.
–Hum Kashmakash – E – Gham Se ..Lata
The song starts with the mesmerizing orchestra in ‘interlude’, SAXOPHONE, GUITAR as well as ACOUSTIC GUITAR played as ‘rhythm. Lata ji gives overwhelming take off दिल है दर्द -ऐ मुहोब्बत का मारा। with modulating her rendering style. First ‘interlude’ orchestrated with SAXOPHONE, and symphony style VIOLINS hypnotizes the listeners. Second ‘interlude’ beautiful use of CLARINET .
Suraj Utara Bindniya Main “Sauda” 1974
(Songwriter National Poet Indrajeet Singh Tulsi )
Stupefying Rendering and Sterling Orchestra arrangements.The song that enthralls the listeners. “Prelude” 12 seconds starts with SITAR followed by GUITAR and at 12th seconds how beautiful ‘take off’ by Lata’s rendering, synchronizing her voice with symphony VIOLINS. Exceptional singing particularly rendering the word सूsssरज and giving the “pauses” at 0.17/0.18 and at 0.22 to 0.25, FLUTE used as ‘filler’ in wonderful DHOLAK rhythm. First “Interlude” is awesomely instrumented with SITAR,VIOLINS, IRANI SANTOOR and FLUTE. At the end of each “antra” at 1.41 how mellifluously surround sound of ‘symphony’ VIOLINs synchronizes with Lata’s voice, that is one of the beauty of this melodious song. Second ‘interlude’ is orchestrated with GUITAR, SAROD and VIOLINS.
The song is filmed on Yogita Bali.
Ye Kaun Hansa “Mere Sajna” 1975
(Songwriter Majrooh Sultanpuri)
Again Lata Mangeshkar & Laxmikant-Pyarelal chemistry worked for this uncommon composition. The song is filmed on Rakhi Gulzar.
Ajay Poundarik, Atlanta (Georgia), USA. 20th October, 2020.
Sonorous ACCORDION and LAXMIKANT-PYARELAL Symphonic Orchestra
ACCORDION, a box-shaped musical instrument driven by the bellows is widely used in Hindi Film Music. It sounds sonorous when orchestrated for film songs. Many music directors have used ACCORDION in their songs.
This sonorous musical instrument is played by various accordionists, the musician playing Accordion. Many accordionists can be named. Vistasp Balsara who started playing for Raj Kapoor’s ‘Awaara’ and continued in many of the hit songs composed by Shankar-Jaikishan.
Accordionist Goody Seervaistarted with music director Naushad for ‘Dastaan’ 1951. Later Goody Seervai also played for Shankar-Jaikishan and O P Nayyar.
Enoch Danial was one of the finest accordionists played for music director Hemant Kumar in ‘Bees Saal Baad’.
In the sixties and seventies Kersi Lord also played the accordion for many songs. Kersi Lord was a multi-instrumentalist. Interestingly music director Anil Biswas was also a good accordionist.
Through the songs of ‘Sangam’ 1963, ‘har dil jo pyar karega’ another specialist accordionist Sumit Mitra who claimed to have played the accordion for 13,000 songs, started with Shankar-Jaikishan. After the death of Jaikishan Sumit Mitra permanently shifted to Laxmikant-Pyarelal orchestra and played for the duo for many years.
Laxmikant-Pyarelal & accordionist Sumit Mitra
Undoubtedly Shankar-Jaikishan has utilized the accordion to the maximum. More than 50 %, estimated, of the songs composed by Shankar-Jaikishan have been orchestrated with Accordion. Listing out a few hit songs orchestrated with Accordion by various music directors.
Dekh Ke Teri Nazar ….Asha Bhosle ‘Howrah Bridge’ 1958
Hemant Kumar
Bequrar Kar Ke …Hemant Kumar ‘Bees Saal Baad’ 1962
S D Burman
Roop Tera Mastana …Kishore Kumar ‘Aradhana’ 1969
Kalyanji-Anandji
Chale The Saath Milkar …Rafi ‘Haseena Maan Jayegi’ 1968
R D Burman
Ek Din Bik Jayega ...Mukesh ‘Dharam Karam’ 1975
Ravi
Ye Parda Hata Do ….Asha-Rafi ‘Ek Phool Do Mali’ 1969
Chitragupt
Ye Parbaton Ke Dayare ….Lata-Rafi ‘Vaasana’ 1968
Rajesh Roshan
Na Bole Tum Na …Asha Bhosle-Amit Kumar ‘Baton Baton Mein’ 1979
There are many songs which are orchestrated with accordion, composed by Laxmikant-Pyarelal, right from the duo’s very first song from the first film ‘Parasmani’,1963.
‘Parasmani’ and ‘Dosti’ also start the long lasting association of accordionists Sumit Mitra with the music directors Laxmikant-Pyarelal.
‘Parasmani’, 1963.
–hasta hua noorani chehra’. Lata-Kamal Barot
–chori chori jo tumse mili .‘ Lata – Mukesh
Dosti’ 1964, ‘
–gudiya hamse roothi rahogi’ Lata
—koi jab raah na paye’. Rafi
Following of the Laxmikant-Pyarelal compositions, on ACCORDION are not considered for the discussions, as these songs have been discussed in the other BLOGs and also in WEB.
Mere Hamdam Mere Dost 1968
–Na Ja Kahin Ab Na Jaa….Rafi
–-Chalkaye Jaam ..Rafi
Inteqam 1969
–Kaise Rahoon Chup ….Lata
Pyasi Shaam 1969
–Ye Kaisa Gham Sajna ….Lata
Humjoli 1970
Dhal Gaya Din Ho Gayi …..Asha Bhosle – Mohammad Rafi
Shor 1972
–Jeevan Chalane Ka Naam …Mahendra, Manna Dey, Shyama C.
Bobby 1973
A sheer magic of Sumit Mitra with Laxmikant-Pyarelal.
–Chabi Kho Jaye … Lata-Shailendra (The song is discussed in details, below)
–Background Music …Melodious glimpses of Accordion.
Badalte Rishte 1978 (I feel sorry for not considering this song)
Superbly played accordion by Sumit Mitra.
–Na Jane Kaise Pal Mein …Mohammad Rafi – Kishore Kumar Suman Kalyanpur.
Apart from Sumit Mitra, Laxmikant-Pyarelal have also taken the services of accordionist Kersi Lord and Arun Paudwal for many songs. Famous accordionist Enoch Danial was used by Laxmikant-Pyarelal for composing the background music of the films.
Let us review a few of the best songs composed by Laxmikant-Pyarelal on ACCORDION. I have tried to brief, how beautifully the ACCORDION is executed in the song.
It is worth mentioning that Laxmikant-Pyarelal did some experiments while orchestrating ACCORDION. ‘Bobby’ 1973 and ‘Ponga Pandit’ 1975.
(1) ‘Bobby’ chabi kho jaye’ The ‘rhythm’, with IRANI SANTOOR, played by Pandit Shivkumar Sharma and ACCORDION played by accordionist Sumit Mitra.
(2) ‘Ponga Pandit’ tere milane se pehle. Prelude’, interludes and ‘postlude HARMONIUM played by Babu Singh and ACCORDION played by multi-instrumental Kersi Lord.
Let us review as many as 16 songs.
Hasta Hua Noorani Chehara “PARASMANI” 1963
(Singers Lata Mangeshkar – Kamal Barot Songwriter Farooq Quaisar)
Laxmikant-Pyarelal’s first song composed. The ”prelude” of 27 seconds with a massive orchestra sets the mood of the song. It is mellifluously decorated with rich orchestra arrangements, involving ACCORDION. The ACCORDION is awesomely orchestrated in ‘mukhada’ as filler. First ‘interlude’ starts with the ‘strokes’ of the ACCORDION, played by Sumit Mitra. ACCORDION is sweetly used in first interlude with FLUTE, VIOLINS, VIOLA etc with the fast “DHOLAK” rhythm. ACCORDION is also used melodiously in ‘antara’ / stanzas, as a filler. Enjoy as many as 7 strokes of the ACCORDION in the second ‘interlude’. Later it is very well synchronized with the VIOLINS, FLUTE and MANDOLIN. This song is an immortal one and is still popular. This is a TOP HIT song.
Yeh Dard Bhara Afsana “SHREENAN FANTOOSH” 1965
(Singer Kishore Kumar / Songwriter Anand Bakshi)
Laxmikant-Pyarelal was able to get the best output from Kersi Lord when he played the ACCORDION for this beautiful song.
ये दर्द भरा अफसाना, सुनले अनजान ज़माना जमाना
मैं हूँ एक पागल प्रेमी मेरा दर्द न कोई जाना
In the mid-sixties Kishore Kumar was passing through the lean period of his musical career. Laxmikant-Pyarelal composed some of the best songs for Kishore Kumar. This song is one of them. A beautiful GEM of a song from this combo. A song which shows Laxmikant-Pyarelal class and talent right in the beginning of their career. The entire song is woven around the glimpses of ACCORDION. ACOUSTIC GUITAR, symphony VIOLINS are beautifully orchestrated in ‘interlude’ ‘prelude’ and ‘postlude’. Western style, ROCK N ROLL, rhythm.
Mere Sune Jeevan Ka Aasra “AASRA” 1966
(Singer Asha Bhosle / Songwriter Anand Bakshii)
ASHA BHONSLE & Laxmikant-Pyarelal at their melodious Best. “Prelude” of 28 seconds, full of SITAR, is mesmerizing. Entire song is woven around the glimpses of ACCORDION and VIOLINS in the “interludes”, with DHOLAK rhythm. The words written by ANAND BAXI are very touching and meaningful expressing Mother’s Expectation from her Child. “AASRA” 1966. Filmed by Balraj Sahani and Nirupa Roy.
Kya Miliye Aise Logon Se “IZZAT” 1968
(Singer Mohammad Rafi / Songwriter Sahir Ludhiyanvi)
This song is filmed on Dharmendra. Once again the ACCORDION is awesomely used throughout the song. 8 seconds of ‘prelude’ starts with ACCORDION intermixing with VIOLINS. Brilliant take off by rafi saab, क्या मिलिए sss ऐसे लोगोसे।, singing ‘pause’ of 4 seconds, highlighting ACCORDION. Again Rafi saab नकली चेहरा सामने आये असली सूरत छुपी रहे singing ‘pause’ of 4 seconds, highlighting ACCORDION, playing the tune of the song. This is repeated many times throughout the song. First and third ‘interludes’ are awesomely orchestrated with ACCORDION ending synchronizing with VIOLINS. Again at the end of each antara / stanza the ACCORDION is used as ‘filler’. The best feast of ACCORDION from champion accordionist Sumit Mitra.
Ek Banjara Gaye “JEENE KI RAAH” 1969
(Singer Mohammad Rafi / Songwriter Anand Bakshi)
Laxmikant-Pyarelal have composed this song with zero ‘prelude’ but a mind-boggling display of GUITAR (played by late Gorakh Sharma), ACOUSTIC GUITAR and ACCORDION, played by none other than accordionist Sumit Mitra. Interludes are awesomely instrumented with symphony style of VIOLINS synchronizing with ACCORDION. It has conventional DHOLAK rhythm. Filmed on Jeetendra – Tanuja.
Dil Ki Baatein Dil Hi Jane “ROOP TERA MASTANA” 1972
(Singer Kishore Kumar – Lata Mangeshkar / Songwriter Asad Bhopali)
Proficient accordionist Sumit Mitra played the ACCORDION for this lovely song.
The beauty of the song is excellently played ACCORDION in ‘mukhada’. Particularly two awesomely generated, ear-pleasing ‘strokes’ of ACCORDION. These ‘strokes’ can be heard many times. Beautiful romantic song. 51 seconds of ‘prelude’ orchestrated with melodious tune by using GUITAR, VIOLINS, synchronised with accordant BONGO DRUM. First ‘interlude’ is full of GUITAR, VIOLINS and very well executed ACCORDION. Second interlude is full of VIOLINS and GUITARS.. This superhit duet is filmed on Jeetendra and Mumtaz.
Chabi Kho Jaye “BOBBY” 1973
(Singer Lata Mangeshkar – Shailendra Singh / Songwriter Anand Bakshi)
One of the best songs composed by Laxmikant-Pyarelal using Huge, Enriched and Melodious Orchestra arrangements. It has >>Three differently tuned “Antaras” + Three differently composed “Interludes”…MESMERISING ORCHESTRA arrangements. In this song the ACCORDION is played for the maximum time, it is the instrument which is tunefully played in every alternate line of ‘mukhada’, it is also played awesomely in the Toe Stepping RHYTHM Intermixing of IRANI SANTOOR”+ ACCORDION + BONGO Drums. ACCORDION is also used to start the first ‘interlude. Beautifully orchestrated as a ‘feelar’, in every alternate line of the ‘antara’ and finally ACCORDION is played, jointly with SAXOPHONE, in ‘postlude’. Laxmikant -Pyarelal must have given tough time to accordionist Sumit Mitra.
Apart from ACCORDION, other instruments like IRANI SANTOOR, ACOUSTIC GUITAR, SAXOPHONE,, VIOLINS, MOUTHORGAN, FRENCH HORN and VIOLAS are wonderfully orchestrated in this song. The song is filmed on Rishi Kapoor and Dimple Kapadia.
Ye Jo Public Hai “ROTI” 1974
(Singer Kishore Kumar / Songwriter Anand Bakshi)
Catchy tune. ‘Prelude’ of 30 seconds with prominent use of ACCORDION. Both the interludes, In surround sounds and also as filler, in ‘mukhada’ as well as ‘antara’. ACCORDION is mellifluously orchestrated. It is filmed on Rajesh Khanna. Once again it is Sumit Mitra in action on accordion.
Aadmi Jo Kehta Hai “MAJBOOR” 1974
(Singer Kishore Kumar / Songwriter Anand Bakshi)
Laxmikant-Pyarelal have extracted some beautiful work on ACCORDION from Accordionist Sumit Mitra. Both the interludes with different tunes on ACCORDION. Synchronization of Kishore Kumar’s singing as well as the ‘strokes’ of ACCORDION, at the end of both the antaras. Don’t forget to listen to the superb display of ACCORDION in ’postlude’ of 33 seconds. Other features of the songs are:-
PRELUDE of 144 seconds. To decorate the song with the phenomenal “Long Prelude” was a normal practice for the Music Directors Laxmikant-Pyarelal. There are many songs, composed by the duo, with the long “prelude”. Today’s song has Mind-Boggling “Prelude” of 144 seconds. This prelude is mellifluously orchestrated in a SYMPHONY style with solo VIOLIN, CELLOs, FLUTE & VIOLINs. Brilliant take off by Kishore Kumar at 2.24. Apart from the long prelude in ‘symphony’ style, both the “interludes” are brilliantly composed, by using different tunes, with ACCORDION and VIOLINS. The song is filmed on Amitabh Bachchan.
Tere Milne Se Pehle “PONGA PANDIT” 1975
(Singer Lata Mangeshkar / Songwriter Rajendra Krishan)
An intoxicated melody, a sheer magic from Lata Mangeshkar and Laxmikant-Pyarelal. Beautifully orchestrated in western style. This song is special and unique in terms of orchestra arrangement. Both HARMONIUM as well as ACCORDION are used in the ‘prelude’ ‘interlude’ and ‘postlude’. HARMONIUM is played by Babu Singh, famous accordionist Kersi Lord has played the ACCORDION.
‘Prelude’ of 36 seconds is marvelously orchestrated with SAXOPHONE, VIOLINS, GUITAR, ACCORDION and HARMONIUM. Almost the same instruments are played in both the ‘interludes’. ACCORDION and HARMONIUM “jugal bandi” in ‘postlude’. It is filmed on Ranadhir Kapoor – Neeta Mehta.
Very popular peppy song. Filmed on Amitabh Bachchan, Vinod Khanna and Rishi Kapoor. Enjoy ‘prelude’, mesmerizing display of ACCORDION for 44 seconds,wonderfully orchestrated. ACCORDION is melodiously displayed in the ‘interludes’,‘mukhda’ and ‘antara’ as surround sounds. Sheer magic of ACCORDION. Once again it is Laxmikant-Pyarelal’s symphonic work on ACCORDION from Accordionist Sumit Mitra.
Aate Jaate Khoobsurat “ANURODH” 1977
(Singer Kishore Kumar / Songwriter Anand Bakshi)
Excellently rendered by Kishore Kumar. Beautiful, Melodious ‘rhythm’. First ‘interlude’ full of ACCORDION. Filmed on Rajesh Khanna. Accordionist Sumit Mitra.
This wonderful song is filmed on Amitabh Bachchan, Vinod Khanna and Shammi Kapoor. This song has very delicate use of ACCORDION, in ‘interludes’. Looks nice to see Shammi Kapoor playing ACCORDION.
Sheesha Ho Ya Dil “ASHA” 1980
(Singer Lata Mangeshkar / Songwriter Anand Bakshi)
Filmed on Reena Roy. Typical Laxmikant-Pyarelal composition, a superhit song, completely woven around the glimpses of ACCORDION awesomely orchestrated on DHOLAK ‘rhythm’.
Once again it is versed Sumit Mitra on ACCORDION. 34 seconds of ‘prelude’ starts with ACOUSTIC GUITAR, VIOLINS and wonderfully orchestrated ACCORDION. Melodious DHOLAK rhythm. Awesome display of GUITAR and VIOLINS in the first interlude.Second ‘interlude’ is tunefully overlapping ACCORDION and symphony style VIOLINS. Awesome display of ACCORDION in ‘postlude’. It is filmed on Amitabh Bachchan – Zeenat Aman.
John Johny Janardan “NASEEB” 1981
(Singer Mohammad Rafi / Songwriter Anand Bakshi)
Super Hit song filmed on AMITABH BACHCHAN. Orchestrated in BRASS instruments. BUT at the end of each antara ACCORDION ‘stroke’ synchronized with other BRASS is ear-pleasing. All the ‘interludes’ are composed wonderfully, in particular, third ‘interlude’ is worth watching/listening to, Raj Kapoor playing ACCORDION. Once again it is Laxmikant-Pyarelal’s symphonic work on ACCORDION from Accordionist Sumit Mitra.
Magnetizing display from Accordionist Sumit Mitra on ACCORDION for Laxmikant-Pyarelal composition. Just fabulous. Please watch and listen to.
Ajay Poundarik, Atlanta (Georgia), USA. 11th October, 2020.
It is Laxmikant-Pyarelal have introduced S P Balasubrahmanyam in Ek Duje Ke Liye, released in 1981. When Lata Mangeshkar and S P Balasubrahmanyam were recording “Hum Tum Donon Jab Mil Jayenge, Ek Naya Itihaas Banayenge” for K Balachander’s 1981 tragic romance Ek Duuje Ke Liye, under Laxmikant-Pyarelal’s baton, little did they know that they were on their way to creating box-office history.
S P Balasubrahmanyam have sung as many as 40 songs under Laxmikant-Pyarelal. This includes memorable duets with Lata Mangeshkar and Asha Bhosle.
EK DUJE KE LIYE (1981)
This was the first hindi film for Kamal Hasan and Rati Agnihotri. Yet another non-star cast musical block blaster, smash hit film. The films success again was carried away by the melodious music by Laxmikant-Pyarelal. S. P. Balasubramanium was introduced to hindi film music. He won Filmfare as well as the national award for this film. Who can forget the immortal melodies from this musical hit.
— Tere Mere Beech Main.. Lata/SPB
— Hum Bane Tum Bane.. Lata-SPB
— Hum Tum Dono Jab .. Lata-SPB
— Mere Jeevan Saathi SKB-Chitra
— Sola Baras Ki Bali Umar.. Lata-Anup Jalota
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 SHEHANAI are melleflously decorated in the orchestra.
S P Balasubrahmanyam was a great fan of Laxmikant-Pyarelal. Just few months back SPB has expressed his experience and feelings about Laxmikant-Pyarelal which are posted in three parts. MUST WATCH.
Binaca Geet Mala was getting more and more intereste. LP’s late releases of 1969 films still in demand,,…Once again the year 1970 was dominated by Laxmikant-Pyarelal.
Although it was the good year for the fabulous music from other music directors too.
Shankar-Jaikishan went on to win the Best Music Director for the film “Pehchan”. Beating Laxmikant-Pyarelal’s “DO RAASTE” and S D Burman’s “Talash”.
BINACA Geetmala Standing in Annual Countdown.. ( 32 songs )
Laxmikant Pyarelal composition emerged as the top song of the year, for the fourth year in a row,
No 28 Hi Re Hi Nind Nahin ..Lata-Rafi..”Humjoli”
No 18 Jhilmil Sitaron Ka ..Lata-Rafi..”Jeevan Mrityu”
Rajesh Khanna Right On Top. “Haathi Mere Saathi” Huge Hit. Made Rajesh Khanna a superstar. V. Shantaram’s Dance Musical “Jal Bin Machhli Nritya Bin Bijlee“, became the first film to record all the songs in Stereophonic Sound.
LAXMIKANT-PYARELAL…1971
LP v/s Other Music Directors in the year 1971
Shankar-Jaikishan:-Mera Naam Joker, Andaz, Main Sunder Hoon,
R D Burman:– Buddha Mil Gaya, Carvan, Amar Prem, Paraya Dhan, Lakhon Main Ek, Adhikar, Pyar Ki Kahani
Laxmikant-Pyarelal:- Abhinetri, Mera Gaon Mera Desh, Jal Bin Machhali Nrutya Bin Bijali, Haathi Mere Saathi, Aap Aaye Bahar Aayee, Mehaboob Ki Mehandi, Man Mandir, Banphool.
We saw the sixties ( from 1964 to 1970) have a clean sweep by Laxmikant-Pyarelal.
R D Burman and Kalyanji-Anandji gave some excellent music to compete strongly with Laxmikant-Pyarelal. However Laxmikant-Pyarelal had an upper hand in the year 1971 too.
We saw the death of Jaikishan ( at the age of 41 years).
The filmfare award for the best music was won by Shankar-Jaikishan for “Mere Naam Joker”..beating, R D Burman’s “Caravan” and Shankar-Jaikishan’s “Andaz”.
Music Director Madan Mohan won the national award for the music for film Dastak
BINACA Geetmala Standing in Annual Countdown.. ( 32 songs)
No 32 Sona Lai Ja Re..Lata..”Mera Gaon Mera Desh”
No 31 Jawani O Diwani Tu ..Kishore..”Aan Milo Sajna”
No 26 Taron Ne Saj Ke..Mukesh..”Jal Bin Machhali Nritya Bin Bijlee”
No 22 O Mitwa O Mitwa …Lata..”Jal Bin Machhali Nritya Bin Bijlee”
No 14 Tumko Bhi To ..Lata-Kishore..”Aap Aaye Bahar Aayee”
No 06 Chal Chal Chal Mere Sathi..Kishore..”Haathi Mere Saathi”
No 02 Achchha To Hum Chalate Hai..Lata-Kishore..”Aan Milo Sajana”
Laxmikant, V. Shantaram, Lata Mangeshkar, Majrooh Sultanpuri & Pyarelal.
Haathi Mere Saathi
Laxmikant-Pyarelal, SYMPHONIC ODYSSEY :- (1972)
R D Burman’s Dum Maro Dum,…Ghulam Mohommad’s Chalate Chalate …and Laxmikant-Pyarelal’s Vaada Tera Vaada(“Dushman) andEk Pyar Ka Nagma (“Shor”) These songs were like a storm in the year 1972..
LAXMIKANT-PYARELAL…..1972
LP v/s Other Prominent Musical Hits of the year 1972
R D Burman’s Dum Maro Dum,…Ghulam Mohommad’s Chalate Chalate …and Laxmikant-Pyarelal’s Vaada Tera Vaada(“Dushman) andEk Pyar Ka Nagma (“Shor”) These songs were like a storm in the year 1972..
R D Burman:- Hare Ram Hare Krishna, Bombay To Goa, Do Chor, Garam Masala, Jawani Diwani, Parichay, Apana Desh, Rampur Ka Laxman, Seeta Aur Geeta, Mere Jeevan Saathi, Samadhi.
Kalyanji-Anandji:- Apradh, Joru Ka Ghulam, Victoria no 203.
Jaidev:- Reshma Aur Shera
Sonik-Omi:- Bhai Ho To Aisa
Ravindra Jain:- Kaanch Aur Heera ( Nazar Aati Nahin Manzil)Sapan-Jagmohan:- Do Raaha
Ghulam Mohammad:- Pakeezah
Vasant Desai:- Guddi
Ravi:- Babul Ki Galiyan
Laxmikant-Pyarelal:- Uphaar, Piya Ka Ghar, Ek Nazar, Dushman, Raja Jani, Gora Aur Kala, Shor, Buniyad, Jeet, Roop Tera Mastana, Dastaan, Mom Ki Gudiya, Ek Bechara etc..
This year Laxmikant-Pyarelal got some tough challenges from R D Burman. To some extent it was the year RD v/s LP, Laxmikant-Pyarelal have an edge.
Music Director Jaidev won the national award for “Reshma Aur Shera”…
Shankar-Jaikishan won the best music award for “Beiman”…In spite of some good score from other music directors. Beating Laxmikant-Pyarelal’s super musical “SHOR” and Ghulam Mohammad’s “Pakeezah”Mukesh won the best singer award for the song Jai Bolo BEIMAN KI..?????????????????
BINACA Geetmala Standing in Annual Countdown.. ( 32 songs )
No 33 Maine Dekha Tune Dekha..Lata..”Dushman”
No 34 Na Tu Zameen Ke Liye..Rafi..”Daastan”
No 29 Ek Pyar Ka Naghama Hai ,,Lata-Mukesh .”Shor”
No 28 Reshma Jawan Ho Gayi..Rafi..”Mom Ki Gudiya”
No 24 Rama O Rama..Mukesh..”Ek Bechara”
No 23 Dil Ki Baate Dil Hi Jaane..Kishore-Lata..”Roop Tera Mastana”
No 20 Shishi Bhari Ghulab Ki …Lata..”Jeet”
No 16 Main Ek Raja Houn..Rafi..”Uphaar”
No 08 Yeh Jeevan Hai..Kishore..”Piya Ka Ghar”
No 04 Vaada Tera Vaada..Kishore..”Dushman”
SHOR
PIYA KA GHARE
EK NAZAR
DUSHMAN
UPHAAR & PIYA KA GHAR
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Laxmikant-Pyarelal, SYMPHONIC ODYSSEY :- (1973)
Year Belongs To Laxmikant-Pyarelal & Amitabh Bachchan.
Laxmikant-Pyarelal “BOBBY” songs massive and unimaginable popularity Amitabh Bachchan Emergence of Amitabh Bachchan as a star “ZANJEER”.
LAXMIKANT-PYARELAL ….1973..
LP v/s Other Musical Hits of the year 1973
Undoubtedly it was the year to be remembered for two reasons. First being “BOBBY” songs massive and unimaginable popularity and second that of emergence of Amitabh Bachchan as a star, after the thumping success of Zanjeer. Both the films, “Bobby” and “Zanjeer” celebrated the “Golden Jubilee”..(One year run in cinema hall).
It was for the first time since the last 22 years, after “Barsat” that Shankar-Jaikishan’s name, which was consistently appearing almost every year, was missing in the chart list.
R D Burman:- Aa Gale Laga Ja, Anamika, Raja Rani, Heera Panna, Joshila, Sharif Badmash, Jaise Ko Taisa, Namak Haram, Yadon Ki Barat.
Kalyanji-Anandji:– Zanjeer, Samjhauta, Banarasi Babu, Kahani Kismat Ki, Heera.
S D Burman:– Abhiman, Jugnu, Chhupa Rustom.
Ravi:- Dhund
Madan Mohan:- Haste Zakhm, Parawana.
Usha Khanna:- Sabak ( Barkha Rani Jara Jam Ke Baraso)
Brij Bhushan:- Milap (Kai Sadiyon Se Kai Janmo Se)
Sonik-Omi:- Dharma (Raj Ko Raj Rahne Do)
Ganesh ( Pyarelal’s younger brother):- Ek Naari Do Roop ( Dil Ka Suna Saaz), Chalak (Dil Ka Nazarana Le), Dhamkee.
It was a good year for the good music. One can imagine the nomination for the best music award by Filmfare Kalyanji-Anandji “Zanjeer, ”Laxmikant-Pyarelal “Daag”, R D Burman “Yaadon Ki Baarat”, Laxmikant-Pyarelal “Bobby” and S D Burman “Abhiman”. However S D Burman won the award for the best music for “Abhiman”.
Song writer Vitthal Bhai Patel and male singer Narendra Chanchal won the filmfare awards for ”Bobby”.
BINACA Geetmala Standing in Annual Countdown.. ( 32 songs )
No 34 Jara Sa Usko Chhua To..Lata..”Shor”
No 32 Jhoot Bole Kauwa Kate..Lata-Shailendra Singh..”Bobby”
No 29 Aaj Mousam Bada ..Rafi..”Loafer”
No 20 Mere Dil Main Aaj Kya Hai..Kishore..”Daag”
No 16 Dheere Dheere Bol Koi ..Lata-Mukesh..”Gora Aur Kala”
No 12 ABCD Chhodo ..Lata..”Raja Jani”
No 07 Ab Chahe Ma Ruthe ..Lata-Kishore..”Daag”
No 02 Chabi Kho Jaye..Lata-Shailendra Singh, “Bobby”
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Laxmikant-Pyarelal, SYMPHONIC ODYSSEY :- (1974)
DAY OF DIWALI, 1974. Three HIT Films Released. “Roti“, “Bidaai” and “Roti Kapda AurMakan”. All the three films have an excellent music by Laxmikant-Pyarelal.
LAXMIKANT-PYARELAL….1974
LP v/s Other Musical Hits of 1974
This year too, Laxmikant-Pyarelal gave music for as many as 15 films.
R D Burman:- Aap Ki Kasam, Benam, Ishq Ishq Iashq, Manoranjan, Zeel Ke Us Paar, Phir Kab Milogi, Zahareela Insan, Doosari Sita, Charitrahin.
Kalyanji-Anandji:– Bairag, Haath Ki Safai, Kora Kagaz. Patthar Aur Payal.
S D Burman:- Prem Nagar
Usha Khanna:- Hawas ( Teri Galiyon Main Na Rakkhenge Kadam )
Ravindra Jain:- Chor Machaye Shor
Jaidev:– Prem Parabat
Laxmikant-Pyarelal:– Roti Kapada Aur Makan, Roti, Dost, Bidaai, Amir Garib, Imtihan, Majboor, Paise Ki Gudiya, Naya Din Nayi Raat, Jurm Aur Saza..etc. and classic musical “FREE LOVE” .
Laxmikant-Pyarelal’s domination continued once again and remained on top position with maximum number of hits.
IN THIS YEAR, one of the Friday of the October, 1974 ( DAY OF DIWALI ) , ALL three of the LP’s films were released on the same day and all the three became hits. “ROTI KAPADA AUR MAKAN”, “ROTI” and “BIDAAI”…
Singer Mahendra Kapoor won the award for Roti Kapada Aur Makan.
Finally, Kalyanji-Anandji wins their only filmfare award for the film “Kora Kagaz”. Beating Laxmikant-Pyarelal’s ROTI KAPADA AUR MAKAN”, R D Burman’s “Aap Ki Kasam” , S D Burman’s “Prem Nagar” and Shankar-Jaikishan’s “Reshm Ki Dori”.
BINACA Geetmala Standing in Annual Countdown.. ( 32 songs )
No 32 Baith Ja Baith Gayi..Kishore-Lata..”Amir Garib”
No 26 Dal Roti Khao ..Kishore-Lata..”Jwar Bhata”
No 25 Gham Ka Fasana..Kishore..”Manchali”
No 24 O Manchali Kahan Chali…Kishore..”Manchali”
No 23 Tu Ru Tu Ru Tera Mera..Kishore..”Jwar Bhatia”
No 22 Shor Mach Gaya Shor..Kishore..”Badala”
No 12 Main Shayar To Nahin..Shailendra Singh..”Bobby”
No 04 Gadi Bula Rahi Hai..Kishore..”Dost”
No 03 Jhoot Bole Kauwa Kate..Lata-Shailendra Singh.,”Bobby”
Dalal Guha, Dharmendra, Laxmikant, Lata Mangeshkar, Pyarelal & Anand Bakshi
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Laxmikant-Pyarelal, SYMPHONIC ODYSSEY :- (1975)
The “Sholay” Year (Released on 15th August, 1975)
LAXMIKANT-PYARELAL…..1975
LP v/s Other Prominent Musical Hits for the year 1975
R D Burman:- Aandhi, Deewar, Sholay, Khel Khel Main, Khushboo.
Shankar-Jaikishan:- Do Jhooth (Chhatri Na Khol Ud Jayegi)
Salil Chaudhari:- Rajnigandha
Shyamal Mitra:- Amanush
Kalyanji-Anandji:- Rafoo Chakkar, Dharmatma.
Aziz Nazan:– 5 Rifles ( Zoom Barabar Zoom Sharabi)1
1975 saw the emergence of two new young music directors
Rajesh Roshan :- Julie, Kunwara Baar.
Bappi Lahiri:– Zakhmi
With the songs of “Roti Kapada Aur Makan” and “Roti” very much in demand and popular, in the early part of the year 1975, as these films were released in the third quarter of the year 1974, LP also gave some good scores in 1975.
Laxmikant-Pyarelal:- Prem Kahani, Geeta Mera Naam, Dulhan, Aakraman, Apane Rang Hazar, , Mere Sajana, Anari, Ponga Pandit, Chaitali and “PRATIGYA”
Rajesh Roshan went on to win the best music award for his very first movie ”Julie”. Beating R D Burman’s “Sholay” and “Khel Khel Main”, Laxmikant-Pyarelal’s “DULHAN” and Shankar-Jaikishan’s “Sanyasi”
BINACA Geetmala Standing in Annual Countdown.. ( 32 songs )
No 26 Main Jat Yamala Pagla..Rafi..”Pratigya”
No 23 Fauzi Gaya Jab Gaon Main ..Kishore..”Aakraman”
No 21 Aayegi Jaroor Chitthi..Lata..”Dulhan”
No 20 Jijaji Jijaji..Asha-Kishore..”Ponga Pandit”
No 15 Ye Jo Public Hai ..Kishore..”Roti”
No 13 Kabhi Khole Na ..Kishore..”Bidai”
No 10 Chal Dariya Main Dub Jaye..Kishore-Lata..”Prem Kahani”
No 02 Hi Hi Yeh Majaboori..Lata..”Roti Kapada Aur Makan”
No 01 Mehangai Mar Gayi..Lata-Mukesh-Chanchal-Janibabu..”Roti Kapada Aur Makan”
Laxmikant-Pyarelal, SYMPHONIC ODYSSEY :- (1976)
Death of Singer MUKESH. Laxmikant-Pyarelal refusing TWO Big Movies. 1) Gulzar’s MEERA . 2) H S Rawal’s LAILA MAJNU
LAXMIKANT-PYARELAL…1976
LP v/s Other Prominent Musical Hits for the year 1976
R D Burman:– Dharam Karam, Warrant, Kala Sona, Mehabooba, Balika Badhu., Nehale Pe Dehla, Dhongi.
The biggest news in the Hindi Film Music for this year, were
1) Laxmikant-Pyarelal refusing to Producer Premji’s big budget and prestigious movie directed by Gulzar “MEERA” ( earlier LP had worked with Premji for the movies like “Mastana”, “Dushman”, “Dost” and “Majboor” all were musically hit). Firstly it was Lata Mangeshkar who refused to sing the songs for “Meera”, as she had sung enough songs/bhajans on Meera. Finally the music was scored by Sitar Maestro Pt. Ravi Shankar and all the songs were sung by Vani Jairam.
2) Laxmikant-Pyarelal also refused to score the music for H.S Rawal’s big budget movie “Laila Majanu”. Earlier LP/HS Rawal had worked for “Mehaboob Ki Mehandi”, a super musical hit with some immortal songs. LP said they are very busy for other big projects and convinced H S Rawal to go ahead with Madan Mohan with whom Pyarelal had worked as a musician for many years. Moreover Madan Mohan was less busy on those days. It is unfortunate that Madan Mohan died halfway through the film. Later it was Jaidev who completed the remaining job for the film.
This year too Laxmikant-Pyarelal and Madan Mohan continued to work with Mohammad Rafi, while other contemporary music directors have already forgotten him. Laxmikant-Pyarelal gave some good songs for Rafi, without damaging the giant popularity Kishore Kumar.
The best award for the music unanimously went to Khayyam, his first big award, for his excellent work in ”Kabhi Kabhi”. Beating R D Burman’s “Mehbooba”, Kalyanji-Anandji’s “Bairaag”, Ravindra Jain’s “Chit Chor” and Madan Mohan’s “Mousam”.
This year’s national award for the best singer went to Sulakshna Pandit for her song Tu Hi Sagar Hai Tu Hai Kirana Dhoondta Hai Tu Kiska Sahara..(also one of my favorite songs) for the film “Sankalp”. This film too has music by Khayyam.
This year witnessed the death of great singer Mukesh .
After failing miserably on the acting part Subhash Ghai emerged as a director. “Kalicharan” became the first film.
BINACA Geetmala Standing in Annual Countdown.. ( 32 songs )
For the first time since 1963, that the songs composed by Laxmikant-Pyarelal are not appearing in the last TEN of final Geetmala.
No 33 Kee Gal Hai Koi Nahi..Lata-Kishore..”Jane Man”
No 28 Jijaji Jijaji Meri Did ..Kishore-Asha..”Ponga Pandit”
No 26 Kal Ki Haseen Mulaqat ..Lata-Kishore..”Charas”
No 25 Aaja Teri Yaad Aayi..Lata-Anand Baxi-Rafi..”Charas”
No 24 Mujhe Dard Rehta Hai..Lata-Mukesh..”Dus Numbri”
No 22 Jane Man Jane Man..Kishore..”Jane Man”
No 10 Kahat Kabir Suno..Mukesh..”Dus Numbari”
Laxmikant-Pyarelal, SYMPHONIC ODYSSEY :- (1977)
The year belongs to Manmohan Desai,Laxmikant-Pyarelal and Mohammad Rafi..Manmohan Desai made as many as four films “Amar Akbar Anthony”, “Dharam Veer”, “Chacha Bhatija” and “Parvarish” all were super musical hit. Off course Laxmikant-Pyarelal have scored the music for all these four films.
LAXMIKANT-PYARELAL….1977
LP v/s Other Prominent Musical Hits for the year 1977
R D Burman:- Balik Badhu, Kinara, Hum Kisise Kum Nahin, Kitab, Mukti, Darling Darling, Chandi Sona, Chalata Purza.
Ravi:- Aadmi Sadak Ka (Aaj Mere Yaar Ki Shadi Hai)
Khaiyyam:– Shankar Hussain
Rajesh Roshan:- Doosara Aadmi, Yahi Hai Zindagi, Udhar Ka Sindoor, Zindagi
Kalyanji-Anandji:- Kasam Khoon Ki, Khoon Paseena, Farishta Ya Quatil, Ek Se Badhkar Ek.
Sapan Jagmohan:– Abhi To Jee Le
Ravindra Jain:– Fakira,
Bappi Lahiri:- Aap Ki Khatir
Madan Mohan:- Laila Majanu
Jaidev:- Aalap
Laxmikant-Pyarelal:– Amar Akbar Anthony, Dharm Veer, Anurodh, Parvarish, Drem Girl, Aashiq Houn Baharon Ka, Chhaila Babu, Palkon Ki Chhaon Main, Chacha Bhatija.
Actually this year belongs to Manmohan Desai, Laxmikant-Pyarelal and Mohammad Rafi..Manmohan Desai made as many as four films “Amar Akbar Anthony”, “Dharam Veer”, “Chacha Bhatija” and “Parvarish” all were super musical hit. Off course Laxmikant-Pyarelal have scored the music for all these four films.
Mohammad Rafi bounced back with the songs of “Amar Akbar Anthony”, “Dharm Veer”, “Chacha Bhatija” “Parvarish” (all have music by Laxmikant-Pyarelal). “Laila Majnu” (Madan Mohan) and “Hum Kisise Kam Nahin” (R D Burman). Music Director Ravi‘ s Aadmi Sadak Ka (Aaj Mere Yaar Ki Shadi Hai)
The association of Manmohan Desai (MKD films) and Laxmikant-Pyarelal lasted till the end of the century and their last film was released in 1998, “Deewana-Mastana”, Directed by David Dhavan, once an assistant to Manmohan Desai.
Mohammad Rafi wins the best singer award for Kya Hua Tera Vada..
Laxmikant-Pyarelal wins the best music award, the duo’s 4th award, for “AMAR AKBAR ANTHONY”..after the gap of 8 years. Beating R D Burman’s “Hum Kisise Kum Nahin” and “Kinara”, Jaidev’s “Aalap” and Rajesh Roshan’s “Swami”.
Earlier LP have won the award for the best music for ”Dosti”.1964, ”Milan”..1967 and ”Jeene Ki Raah”..1969…. They certainly deserved the awards for the best music earlier too, for the films like “Intqaam”, “Shor”, “Do Raaste”, “Bobby”, “Daag” and many more…Finally justice was done.Amitabh Bachchan also wins his first award as an actor for “Amar Akbar Anthony”…
Finally it was an “Amar Akbar Anthony” and Laxmikant-Pyarelal dominated year…
BINACA Geetmala Standing in Annual Countdown.. ( 32 songs )
Laxmikant-Pyarelal bounced back to their second phase of peak period.
No 41 Tayyab Ali Pyar Ka Dushman..Rafi-Mukari..”Amar Akbar Anthony”
No 34 Aate Jaate Khoobsurat..Kishore..”Anurodh”
No 29 Meri Dilruba ..Kishore..”Aas Pass”
No 24 Dream Girl Dream Girl..Kishore ..”Dream Girl”
No 21 Bure Kaam Ka Bura ..Rafi-Shailendra Singh,,”Chacha Bhatija”
No 18 Yaar Dildar Tujhe Kaisa..Asha-Kishore..”Chhaila Babu”
No 17 Teri Meri Shadi Pandit Na..Asha-Kishore..”Dildaar”
No 11 Anhoni Ko Honi Kara De..Mahendra-Kishore-Shailendra..”Amar Akbar Anthony”
No 06 Satyam Shivam Sundaram ..Lata..”Satyam Shivam Sundaram”
No 05 Aap Ke Anurodh Pe…Kishore..”Anurodh”
No 03 O Meri Mehabooba..Rafi..”Dharmveer”
No 02 Parda Hai Parda ..Rafi..”Amar Akbar Anthon
HISTORIC MOMENT OF HINDI FILM MUSIC WHEN FOUR SENSATIONAL SINGERS..Lata Mangeshkar, Mohammad Rafi, Kishore Kumar and Mukesh at a one stage for the FIRST and LAST time for the recording of the song from Manmohan Desai’s “Amar Akbar Anthony” ..Hum Ko Tumse Ho Gaya Hai Pyar Kya Kare
Pyarelal, Subhash Desai, Laxmikant, Mohammad Rafi, Mukesh, Lata Mangeshkar, Kishore Kumar & Manmohan Desai.
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Laxmikant-Pyarelal, SYMPHONIC ODYSSEY :- (1978)
Another Year With VERY GOOD Music.
LAXMIKANT-PYARELAL ….1978
LP v/s Other Prominent Musical Hits for the year 1978
R D Burman:- Shalimar, Kasme Vaade, Ghar, Devta
Kalyanji-Anandji:- Don, Ganga Ki Saugandh
Rajesh Roshan:- Inkaar, Des Pardes
Ravindra Jain:- Akhiyon Ke Jharokon Se
Bappi Lahiri:– Toote Khilone
Khayyam:- Trishul
Jaidev:- Gharonda
Laxmikant-Pyarelal:- Satyam Shivam Sundaram, Main Tulsi Tere Aangan Ki, Badalte Rishte, Apnapan, Aahutee, Prem Bandhan, Phool Khile Hai Gulshan Gulshan, Phansi.. etc
This year too, Laxmikant-Pyarelal had an edge over the other music directors and continued to be on number 1 position, with some quality music. Laxmikant-Pyarelal did composed some Semi-Classical songs this year. The songs of “BADALTEY RISHTEY”..The song “Meri Sanson Ko” was not much appreciated/FAMOUS then, but now it is one of the hot favorites today.
Best music filmfare award was unanimously chosen for SATYAM SHIVAM SUNDARAM Thus Laxmikant-Pyarelal won their 5th and second successive award. Beating Kalyanji-Anandji’s “Don”, R D Burman’s “Shalimar”, Rajesh Roshan’s “Des Parades” and Ravindra Jain’s “Akhiyon Ke Jharokon Se” .
Singers Asha Bhonsle..for Ye Mera Dil Pyar Ka Deewana…and Kishore Kuamar ..for Khai Ke Paan Banaras Wala..from the film “Don”, won the best award for the singers..
BINACA Geetmala Standing in Annual Countdown.. ( 32 songs )
No 33 Aji Thaharo Zara Socho..Asha Bhosle Amit Kumar Aarti Mukharjee Shailendra Singh “Paravarish”
No 28 Somwar Ko Hum Mile… Kishore , Sulakshna Pandit..”Apnapan”
No 25 Yeh Khidaki Jo Band Rahati Hai…Rafi..”Main Tulsi Tere Aangan Ki”
No 24 Chanchal Sheetal Nirmal Komal.. Mukesh..”Satyam Shivam Sundaram”
No 23 Main Tulsi Tere Aangan Ki..Lata..”Main Tulsi Tere Aangan Ki”
No 19 Jab Aati Hogi Yaad Meri..Rafi-Sulakshna Pandit..”Phansi”
No 07 Yashomati Maiyya Se..Lata, Mannade..”Satyam Shivam Sundaram”
No 02 Aadmi Musafir Hai..Lata-Rafi..”Apnapan”
Laxmikant-Pyarelal
Laxmikant, Raj Kapoor and
Laxmikant-Pyarelal SYMPHONIC ODYSSEY :- (1979)
Laxmikant-Pyarelal HAT-TRICK For Filmfare Awards, Best Music 1 Amar Akbar Anthony 2 Satyam Shivam Sundaram 3 Sargam.
Association of Subhash Ghai & Laxmikant-Pyarelal Starts.
LAXMIKANT-PYARELAL…1979
LP v/s Other Prominent Musical Hits for the year 1979
R D Burman:- Golmal, Jhootha Kahin Ka, Manzil, Nauker, The Great Gambler, Jurmana
Kalyanji-Anandji:- Muqqdar Ka Sikandar,
Usha Khanna:- Sajan Bina Suhagan..Madhuban Khushaboo.., Dada.Dil Ke Tukade Tukade..
Raghunath Sheth:- Ek Baar Phir (Ye Paudhe Ye Patte…Man Kahe Main Jhumun.Anuradha Paudwal – Bhupendra….(My all time favorite song)
Khayyam:- Noori, Khandan
Ravindra Jain:- Pati Patni Aur Woh, Sunayana.
Rajesh Roshan:- Swarag Narak, Kala Patthar, Mr. Natwarlal, Ek Baap Chhe Bete.
Sonik Omi:- Zulm Ki Pukar
Bappi Lahiri:– Suraksha.
Raj Kamal:- Sawan Ko Aane Do
Once again the Laxmikant-Pyarelal dominates the show with maximum numbers of hit songs…The songs of Sargam have a clean sweep over the other film’s songs…
Laxmikant-Pyarelal:- Goutam Govinda, Suhag, Sargam, Jaani Dushman, Kartavya, Dil Ka Heera, Amar Deep, Kali Ghata..Yuvraj, Prem Vivah, Chunoti, Zalim..etc
Undisputedly Laxmikant-Pyarelal were chosen for the best music award, unanimously for the film ”SARGAM”, winning it for the third consecutive time. Thus Laxmikant-Pyarelal performed the Hat-Trick for the award. Beating Khayyam’s “Noori”, Rajesh Roshan’s “Kala Patthar” and “Mr Natarwal” and Laxmikant-Pyarelal’s own “Jani Dushman”.
“Sargam”, “Suhag”, “Jani Dushman”, “Muquaddar Ka Sikandar” and “Mr.Natwarlal” were the super hit films of the year.
BINACA Geetmala Standing in Annual Countdown.. ( 32 songs )
No 36 Mannubhai Motor Chali ..Kishore..”Phool Khile Hai Gulshan Gulshan”
No 32 Dafaliwale..Lata-Rafi,” Sargam”
No 26 Chalo Re Doli Uthao ..Rafi..”Jaani Dushman”
No 20 Meri Dushman Hai Ye…Rafi..”Main Tulsi Tere Aangan Ki”
No 16 Main Tere Pyar Main Pagal..Kishore, Lata..”Prem Bandhan”
No 15 O Meri Jaan ..Kishore, Anuradha..”Jaani Dushman”
No 10 Tere Hathon Main Pehana Ke..Asha-Rafi..”Jaani Dushman”
No 06 Main Tulsi Tere Aangan Ki..Latta..”Main Tulsi Tere Aangan Ki”
No 04 Na Jane Kais ..Kishore, Rafi, Suman..”Badalte Rishte”
Ajay Poundarik, Atlanta (Georgia), USA. 19th September, 2020
It is remarkable achievement for the new comer music directors, Laxmikant-Pyarelal to achieve TOP spot in the span of over three years.
When the duo Laxmikant-Pyarelal started with “Parasmani” music in 1963, many big names like Naushad, Shankar-Jaikishan, Roshan, O P Nayyar, S D Burman, Madan Mohan, Ravi, Chitragupt, Hemant Kumar, etc were established music directors.
But Laxmikant-Pyarelal took on all the might of Naushad, Shankar-Jaikishan O P Nayyar, Roshan, Madan Mohan etc. The duo, Laxmikant-Pyarelal ruled the later half of 60s. Later maintained it, till the end of the century. It was the stunning ‘blow’ to all old, established music directors.
Listen to what Ameen Sayani / C. Ramchandra had predicted about the new, talented, proficient star music directors, Laxmikant-Pyarelal, in the following video clip.
In the second half of sixties (after 1965), Laxmikant-Pyarelal become the household name in hindi film music. It was like a TSUNAMI of songs from the duo. Honestly speaking Laxmikant-Pyarelal were primarily responsible for eliminating the dominance of the older music directors such as C. Ramchandra, Naushad, Shankar-Jaikishan, Madan Mohan, O.P.Nayyar, Ravi, Chitragupt, Roshan etc.
Second Half Of Sixties, Hindi Film Music, Sovereignty Of Laxmikant-Pyarelal
Have compared Laxmikant-Pyarelal, year wise, musical journey (musical hit films) with other contemporary music director’s prominent musical hit films from 1963 to 1969. At the end of each year’s comparison statement I have also given the list of the songs, composed by Laxmikant-Pyarelal, which appeared in Final Binaca Geetmala Standing.
LAXMIKANT-PYARELAL 1963…
Dashing and Bouncy Start by Laxmikant-Pyarelal in their very first film “Parasmani“
LP v/s “Other prominent musical” hits.. in 1963
Shankar-Jaikishan:– –Profesor–Humrahi–Dil Ek Mandir
Roshan--Taj Mahal –Dil Hi To Hai
SD Burman--Bandini — Tere Ghar Ke Samane
Naushad--Mere MehaboobRamlal–Sehara
Ravi—Gumrah
Laxmikant-Pyarelal had just two films “Parasmani” and “Harishchandra Taramati”. These films were released in the third quarter of the year.
Music director Roshan won the best music director award for “Taj Mahal” beating Naushad’s “Mere Mehboob” and Shankar-Jaikishan’s “Dil Ek Mandir”.
BINACA Geetmala Standing in Annual Countdown.. ( 32 songs )
No 15 Woh Jab Yaad Aaye Lata – Rafi..“Parasmani”
No 06 Hasta Hua Nurani Chehara,,,Lata – Kamal Barot ”Parasmani”
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LAXMIKANT-PYARELAL …1964
Beginning of TWO Great & Big combos.
Mohammad Rafi & Laxmikant-Pyarelal “Dosti”Kishore Kumar & Laxmikant-Pyarelal “Mr X In Bombay
LP v/s Other prominent musical hits.. in 1964
Shankar-Jaikishan:- –Aayi Milan Ki Bela—Raj Kumar—Sangam
Naushad:—Leader
Madan Mohan:- Woh Kaun Thi
OP Nayyar:—Kashmir Ki Kali
Ravi:- Door Ki Awaz
Roshan:- Chitralekha
Ramlal:- Geet Gaya Pattharone
Laxmikant-Pyarelal:- Aaya Toofan, Mr. X In Bombay, Sati Savitri, Sant Gyaneshwar and Dosti.
Filmfare Awards:- Nominations Madan Mohan (“Woh Kaun Thi”), Shankar-Jaikishan (“Sangam”) and Laxmikant-Pyarelal (“Dosti”). Laxmikant-Pyarelal won their, well deserved, first-ever filmfare award for “DOSTI” .
BINACA Geetmala Standing in Annual Countdown.. ( 32 songs )
Laxmikant-Pyarelal have some wonderful songs from “Harishchandra Taramati” which released in end of 1963.
No 30 Main Ek Nanha Sa .. Lata.. “Harishchandra Taramati”
No 26 Rahi Manwa ..Rafi..”Dosti”
No 21 Chahunga Main Tujhe..Rafi..”Dosti”
No 06 Mere Mehaboob Quyamat ..Kishore..”Mr X In Bombay”
Laxmikant-Pyarelal
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LAXMIKANT-PYARELAL….1965
Strong Bonding Of Two Combos Through “Lootera” Songs.
Laxmikant-Pyarelal & Lata Mangeshkar Laxmikant-Pyarelal & Anand Bakshi
LP v/s Other prominent musical hits in 1965
RD Burman:—Bhoot Bangala.
Kalyanji-Anandji:— Himalay Ki God Main,– Jab Jab Phool Khile,–Saheli
Shankar-Jaikishan:— Professor, Aarzoo
Ravi:- —Khandan,—Waqt
SD Burman:– — Teen Deviyan, —
Roshan:- Bhigi Raat
OP Nayyar:- Mere Sanam.
Laxmikant-Pyarelal:- —Lootera, —Shreeman Fantoosh, –Hum Sab Ustaad Hai, Boxer.
Music director Ravi won the best music filmfare award for “Khandan” beating Shankar-Jaikishan’s “Aarzoo” and Kalyanji-Anandji’s “Himalay Ki God Main”..
BINACA Geetmala Standing in Annual Countdown.. ( 32 songs )
As happened in earlier years, this year too saw one film song attaining cult status in India. This song was- “Jyot se jyot jagaate chalo” from Sant Gyaneshwar.
No 29 Khudaya Mohabbat Na Hoti..Rafi…”Boxer”
No 25 Koi Jab Raah Na Paye..Rafi..”Dosti”
No 24 Neend Nigahon Ki ..Lata..”Lootera”
No 18 Ajnabi Tum Jane …Kishore ..”Hum Sab Ustad Hain”
No 04 Jyot Se Jyot Jagate Chalo…Lata-Mukesh “Sant Gyaneshwar”
No 02 Chahunga Main Tujhe….Rafi “Dosti”
Laxmikant, Lata Mangeshkar & Pyarelal
Laxmikant-Pyarelal & Anand Bakshi
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LAXMIKANT-PYARELAL…1966
Association of J Omprakash & Laxmikant-Pyarelal, starts.
LP v/s Other prominent musical hits in 1966
Khayyam:– –Aakhri Khat
RD Burman:— Teesari Manzil, Pati Patni.
Roshan:—Dadima,–Mamata
S D Burman:– Guide
Shankar-Jaikishan:- — Suarj,–Love In Tokyo
Madan Mohan:- –Mera Saya
OP Nayyar:-– Yeh Raat Phir Na Aayegi
Ravi:- —Dus Lakh, Do Badan
Hemant Kumar:- –Anupama
Laxmikant-Pyarelal:- –Mere Lal,–Aaye Din Bahar Ke,–Pyar Kiye Ja,–Aasra,–Sau Saal Baad,–Laadla,–Dillagi,–Chhota Bhai..–Naag Mandir. (All have top music).
By this year Laxmikant-Pyarelal started gaining the TOP position..all the songs of the films, released so far, are still popular.
Shankar-Jaikishan won the best music award for “Suraj” beating, S D Burman’s “Guide” and Ravi’s “Do Badan”
No 26 Din Jawani Ki Char Yaar ..Kishore..”Pyar Kiye Jaa”
No 24 Gore Hathon Par Na Zulm ..Rafi..Pyar Kiye Jaa”
No 20 Payal Ki Jhankar Raste Raste..Lata..”Mere Lal”
No 14 Ye Aaj Kal Ke Ladake..Usha ,”Dillagi”
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LAXMIKANT-PYARELAL…1967
TSUNAMI of Laxmikant-Pyarelal Music.
Laxmikant-Pyarelal Right On TOP
LP v/s Other Prominent Musical Hits of 1967
Shankar-Jaikishan:- — Chhoti Si Mulaqat, –An Evening In Paris,– Around The World
R D Burman:- — Baharon Ke Sapane
S D Burman:– –Jewel Thief
Ravi:– — Hamraaz
Kalyanji-Anandji:– –Upkar
Roshan:- –Bahu Begam, Noor-Jahan
Naushad:– –Ram Aur Shyam
Laxmikant-Pyarelal:- –Milan, –Shagird, –Farz, –Patthar Ke Sanam, –Anita, –Night In London, –Jaal,– Taqdeer ( Have not considered the films like, Chhaila Babu, Milan Ki Raat, in which too, LP has given some beautiful songs)
It was an LP “wave”. “Weekly Binaca Geet Mala” was 70% flooded with LP songs…It was a CLEAN SWEEP..
I don’t think any of the music directors have given so many hits and quality songs in a particular year. .
“FARZ” was the most successful golden jubilee hit movie which made Jeetendra a STAR.
Truly speaking 1967 belongs to Laxmikant-Pyarelal, they not only confirmed the Number One position in Hindi Film Music, but also consolidated it with a series of hits by one after another with variety.
After this victorious feat, Laxmikant-Pyarelal and success went together without a break or loss of continuity.
Laxmikant-Pyarelal won their second filmfare award for “MILAN”, beating Kalyanji-Anandji for “Upkar” and Ravi for “Humraz”.
Now this was the time that Laxmikant-Pyarelal’s music became an essential component of every successful film. Big banners, prominent producers and directors wanted LP to score them for their respective films.
BINACA Geetmala Standing in Annual Countdown.. ( 33 songs )
Songs of Milan, under the music direction of Laxmikant Pyarelal, took the nation by storm in the year 1967, and Binaca geetmala 1967 was no exception.
No 33 Yeh Kali Jab Talk..Lata – Mahendra “Aaye Din Bahar Ke”
No 24 Maa Mujhe Apane Aanchal ..Lata..”Chhota Bhai”
No 23 Main Dekhu Jis Aur..Lata..”Anita”
No 21 Mera Yaar Bada Sharmila ..Rafi..”Milan Ki Raat”
No 17 Mubarak Ho Sabko..Mukesh..”Milan”
No 13 Mere Dushman Tu ..Rafi..”Aaye Din Bahar Ke”
No 07 Na Baba Na Baba..Lata..”Anita”
No 06 Hum Tum Yug Yug..Lata-Mukesh..”Milan”
No 01 Sawan Ka Mahina ..Lata- Mukesh..”Milan”
MILAN :: Winners, Nutan, Jamuna, A Subbarao, Laxmikant, Anand Bakshi & Pyarelal
“ANITA’ . Song Recording :: Laxmikant, Lata Mangeshkar, Pyarelal, actress Sadhna & Producer/Director Raj Khosla
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LAXMIKANT-PYARELAL ….1968
LP v/s Other Prominent Musical Hits of 1968
Shankar-Jaikishan:– –Bramhachari,–Jhuk Gaya Aasman, –Mere Huzoor, –Shikar
Ravi:– –Neel Kamal,–Do Kaliyan, –Aankhe.
Kalyanji-Anandji:– –Saraswatichandra
OP Nayyar:– –Kahin Din Kahin Raat
RD Burman:- –Padosan
Usha Khanna:– Fareb
Sapan Jagmohan:- Teri Talash Main
Laxmikant-Pyarelal:- –Mere Humdam Mere Dost, –Izzat, –Raja Aur Rank, –Baharon Ki Manzil, Spy in Rome.
It was a good musical competition between Shankar-Jaikishan and Laxmikant-Pyarelal songs. LP’s songs have an edge because of the freshness of the music.
Although Shankar-Jaikishan wins the filmfare award for “Bramhachari”..beating Ravi’s “Aankhen” and Shankar-Jaikishan’s “Deewana”.
BINACA Geetmala Standing in Annual Countdown.. ( 32 songs )
No 32 Mast Baharon Ka Main ..Rafi.. ”Farz”
No 24 Chalkaye Jaam..Rafi.”Mere Humdum Mere Dost”
No 22 Bade Miyan Deewane..”Shagird”
No 20 Mehaboob Mere..Lata-Mukesh..”Patthar Ke Sanam”
No 16 Mera Naam Hai Chameli ..Lata..”Raja Aur Rank”No
14 Chalo Sajna ..Lata..”Mere Humdum Mere Dost”
No 11 Bata Du Kya Lana..Lata..”Patthar Ke Sanam”
No 01 Dil Vil Pyar Vyar..Lata..”Shagird”
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LAXMIKANT-PYARELAL…..1969
Beginning Of Kishore Kumar’s ERA
LP v/s Other Prominent Hits of the year 1969
Chitragupt:- –Vaasana, –Aulad
Shankar-Jaikishan:- –Kanyadan, –Prince
Kalyanji-Anandji:– — Suhag Raat,– Haseena Maan Jayegi, –Vishwas, –Mahal
R D Burman:- –Waris, –Abhilasha, –Pyar Ka Mousam.
Madan Mohan:– –Chirag
Naushad:– –Saathi, –Sangharsh.
O P Nayyar:- –Kismat, –Humsaya, –Sambandh
Ravi:– –Ek Phool Do Mali
S D Burman:- Aradhana
Roshan:– –Anokhi Raat
Laxmikant-Pyarelal..gave the music for as many as 17 films in the year 1969..and 90% of the songs composed were hit, memorable, melodious and are still popular…Even the “Aradhana” wave could not do much of the effect to LP’s songs…
Laxmikant-Pyarelal’s hits. — Aaya Sawan Jhum Ke, –Intequam, –Do Raaste, –Jeene Ki Raah, –Dharati Kahe Pukar Ke, –Satykam, –Sajan, –Pyasi Sham, –Jigari Dost, –Aansoo Ban Gaye Phool…
Laxmi-Pyare’s ‘CLEAN SWEEP’ continued for the third successive year.
Laxmikant-Pyarelal’s songs and films kept hitting the charts with regularity for coming 20 years and they were the safest bets to the producers, directors and the distributors to finance their films.
Laxmikant-Pyarelal wins their third filmfare award trophy for the super hit music for “JEENE KI RAAH”, beating, S D Burman’s “Aradhana” and Shankar-Jaikishan’s “Chanda Aur Bijli”.
Kishore Kumar’s ERA has also now started. LP too gave a few good songs to KK this year. “Do Raaste”, (Khiza Ke Phool) “Aansoo Ban Gaye Phool”,(Jane Kaisa Hai Mera Deewana..with Asha),, “Satyakaam” (Zindagi Hai Kya,,with Mukesh, Mahendra Kapoor)….. good melodies of LP with KK.
BINACA Geetmala Standing in Annual Countdown.. ( 32 songs )
No 31 Woh Kaun Hai ..Lata-Mukesh…”Anjana”
No 25 Mehabooba Mehabooba..Rafi..”Sadhu Aur Shaitan”
No 23 Resham Ki Dori..Lata-Rafi ..”Sajan”
No 22 Ruk Ja Jara …Lata..”Izzat”
No 19 Aaya Sawan Jhoom Ke..Lata-Rafi..”Aaya Sawan Jhoom Ke”
No 18 Badi Mastani Hai..Rafi..”Jeene Ki Raah”
No 16 Dil Mein Kya Hai..Lata-Rafi..”Jigri Dost”
No 12 Ek Tera Saath .Lata-Rafi..”Wapas”
No 09 Je Hum Tum Chori Se..Lata-Mukesh..”Dharati Kahe Pukar Ke”
No 06 Aa Mere Humjoli Aa..Lata-Rafi..”Jeene Ki Raah”
No 01 Kaise Rahoon Chup ,..Lata..”Intequam”
Laxmikant-Pyarelal arrived in Hindi film music in 1963, when most of the big names of the music directors were in top gears. Laxmikant-Pyarelal have no God Father to support. But the duo achieved towering success, right from the day one, and became the most successful music directors of Bollywood Music.
Ajay Poundarik, Atlanta (Georgia), USA. 10th September, 2020.
When Laxmikant-Pyarelal’s Powerful Music Became the real “STAR” of The Film:-
There are many films in which the real “STAR” was only Laxmikant-Pyarelal’s music. The following selected, listed films have no Major Star Cast, even some of the films are B Grade and Low Budget but the entire success of the film was carried away by Laxmikant-Pyarelal’s “MAGICAL MUSIC”.
Review of such films and its “Powerful” music by Laxmikant-Pyarelal.
PARASMANI (1963):-
Rousing start by Laxmikant-Pyarelal. The film is a musical fantasy drama shot partly in Black and White and partly in colour. This was a movie that launched Laxmikant-Pyarelal. Being the First Film of LP, they make sure that all the songs are composed as per the standard of early Sixties. The outcome was outstanding. Though the Film “Parasmani” was a mystical film, the film is still remembered only because of its immortal songs. LP’s very first film Hit the Box Office despite being B grade, Black & White, Mystical Film and no major star cast to support. But the main cause of the super success of the film was LP’s SUPER HIT music. Who can forget ?
–Hasta Hua Nurani Chehara….. Lata-Kamal Barot
–Wo Jab Yaad Aaye Bahot Yaad Aaye Lata-Rafi
–Ooi Ma Ooi Ma Ye Kya Ho Gaya … Lata
–Chori Chori Jo Tumse Mili Lata-Mukesh
–Mere Dil Main Halki See.. Lata
–Roshan Tumhi Se Duniya.. Rafi
The very first duet of Lata-Rafi with Laxmikant-Pyarelal. The song is based on Indian Classical Raag Yaman Kalyan. The song starts with beautiful AALAPS by Lata ji, followed by VIOLINS. Wonderful take off by Rafi Saab>> वो जब याद आये बहोत याद आये, with delicately played SITAR synchronizing TABLA rhythm. Both the interludes are full of VIOLINS played in Symphony style. No rhythm in interlude. It has a melody of the 60s. The song is picturised on Mahipal and Anita Guha.
DOSTI (1964):-
This film give name and fame to both Rajashree Films and Laxmikant-Pyarelal. It was Rajashree Films Second Film. Black & White movie. No media publicity. . No Star… No Major Star… No Hero ….No Heroin…, No Villain and …..No Big Name at all. Laxmikant-Pyarelal, the new name in Hindi Film Music. All the prominent music directors of that time refused to give the music to this film as there was no star cast (two teenage unknown actors) and also they feel there was nothing in the film to compose the songs for Blind and Physically disable Children. But LP took up the challenge and the film became History. It has won as many as 8 Filmfare Awards (including best music directors) + President Award. The film was a great success and the credit goes to Laxmikant-Pyarelal’s immortal music. How to use “classical ragas”; make it little simpler to create Mass Appealing and Popular Songs is a best example of “Dosti” songs. Mohammad Rafi was at its best. Laxmikant-Pyarelal’s outstanding music.
LP composed majority of the songs in “Pahadi Raag”.This film give name and fame to both Rajashree Films and Laxmikant-Pyarelal.
–Chahunga Mian Tuze Sanz Sawere.. Rafi
–Mera To Jo Bhi Kadam Hai.. Rafi
–Koyi Jab Raah Na Paye.. Rafi
–Janewalo Jara Mudake Dekho Muze.. Rafi
–Rahi Manawa Dukhati Chinta.. Rafi
–Gudiya Hamase Ruthi Rahogi.. Lata
–Gudiya Hamase Ruthi Rahogi.. Lata
Touching song with such message to all ……reminder for humanity & peace. Mind-Boggling take off by Rafi Saab, at end of ‘prelude’ (MOUTHORGAN), with ‘aalap’ synchronised with SYMPHONY VIOLINS. MOUTHORGAN ( played by late R D Burman) is brilliantly orchestrated in all the first ‘interlude’ with VIOLINS. Second and third “interludes” brilliantly decorated with SYMPHONY style VIOLINS and GUITAR. It has a wonderful DHOLAK rhythm.
FARZ (1967)
“FARZ” made actor JEETENDRA a “STAR”. “FARZ” songs storm the nation. All the songs of FARZ are popular even today. Sometime it is hard to believe that Laxmikant-Pyarelal also had “Milan”, in the same year. The two movies music (‘Milan” & “Farz”) are so poles apart ! ‘FARZ’ have six songs and most of them have a melody and mass appealing. Not only that the westernized background music is also excellent. It was matching to any of the James Bond Movies.The film was smash hit. This was Laxmikant-Pyarelal’s first “Golden Jubilee” Hit film. It was yet another non-star cast film from south. This was the second film for Jeetendra and Babita, who were yet to established themselves in the hindi film stardom. This film has made Jeetendra a “STAR”. The “Super Hit” music of this film was solely responsible for the success.
— Mast Baharonka Main Aashiq…. Rafi
— Hum To Tere Aashiq Hai …. Lata-Mukesh
— Bar Bar Din Ye Aaye …. Rafi
— Tumse Ho Haseena Kabhi Rafi-Suman Kalyanpur
— Dekho Dekho Ji Socho Ji Lata
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.
BOBBY (1973).
Yet another non-star cast film (Rishi Kapoor and Dimple Kapadia’s first film). Not only star cast was new but also the male singers were new. Shailendra Sing and Narendra Chanchal was introduce to the film music by LP. Chancal won the Filmfare Award. Raj Kapoor was looking for a “Supper Hit Film” after the disaster of “Mera Naam Joker” …and he got it. Yet again the success of the film was carried away by LP’s music. The music of the film created a History. In this film not only main leading actor/actress were new but also two new male singers were introduced.
“BOBBY’ is an example of a ’SOUNDTRACK’ better than the “BOBBY” Film itself. Laxmikant-Pyarelal’s music really came to rescue Raj Kapoor and RK Films.
— Main Shayar To Nahin.. Shailendra Singh
— Chabi Kho Jaye … Lata-Shailendra
— Muze Kuchh Kehana Hai.. Lata-Shailendra
— Main Maike Chali Jaungi Lata-Shailendra
— Pyar Main Souda Nahin. Mannade-Shailendra
— Beshaq Mandi Masjid … Narendra Chanchal
— Tut Ke Dil Ke Tukade… Lata
— Ai Fasa.. Lata
One of the best songs composed by Laxmikant-Pyarelal using Huge, Enriched and Melodious Orchestra arrangements. It has >>Three differently tuned “Antaras” + Three differently composed “Interludes”…MESMERISING ORCHESTRA arrangements. Toe Stepping RHYTHM :- Intermixing of IRANI SANTOOR (Played by Pandit Shivkumar Sharma) + ACCORDION (Played by Sumit Mitra) + BONGO Drums. Singing “Pauses”. There are many singing “Pauses” of 4 seconds, in the song. The First is at 0.27 seconds, immediately after singing..हम तुम s s s . Highlighting the wonderfully orchestrated ‘rhythm’.(हम तुम ढण ढण टण टण, ढण ढण टण टण, ढण ढण टण टण, एक कमरे मैं बंद हो ढण ढण टण टण, ढण ढण टण टण, ढण ढण टण टण First Interlude:- Beautiful display of ACCORDION, GUITAR and VIOLINS. Second Interlude:- VIOLA, IRANI SANTOOR Lata’s beautiful sound (आलाप) .. Third Interlude:- ACOUSTIC GUITAR, SAXOPHONE,, VIOLINS, MOUTHORGAN, FRENCH HORN and VIOLAS. Rhythmic “Pause”. at 6.32 for 2 seconds. Postlude:- ACCORDION + SAXOPHONE. An uncomplicated tune with simple words is mellifluously orchestrated with TOE STEPPING RHYTHM. Another specialty of this song is the “OVERLAPPING” sound effects of various instruments in all the ‘interludes’. I would rate this song is one of the finest compositions from the desk of Laxmikant-Pyarelal, in terms or orchestra arrangements.
EK DUJE KE LIYE (1981)
This was the first hindi film for Kamal Hasan and Rati Agnihotri. Yet another non-star cast musical block blaster, smash hit film. The films success again was carried away by the melodious music by LP. S. P. Balasubramanium was introduced to hindi film music. He won Filmfare as well as the national award for this film. Who can forget the immortal melodies from this musical hit.
— Tere Mere Beech Main.. Lata/SPB
— Hum Bane Tum Bane.. Lata-SPB
— Hum Tum Dono Jab .. Lata-SPB
— Mere Jeevan Saathi SKB-Chitra
— Sola Baras Ki Bali Umar.. Lata-Anup Jalota
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 SHEHANAI are melleflously decorated in the orchestra.
HERO (1983)
Subhash Ghai had played the gamble by taking new hero and heroin (Jacky Shroff and Minakshee Sheshadri) for this film but at the same time firmly depend and believed on LP’s music. Yet another non-star cast film, which got success only because of the hit music. LP’s music was part of the film and once again the music became the “Real STAR” of the film. Excepting Lata’s one song, fairly new and un-popular singers sang all the songs. All the songs are still popular.
— Pyar Karane Wale Kabhi Anuradha-Manahar
— Ding Dong O Baby Sing Song Anuradha-Manahar
— Tu Mera Janu Hai .. Anuradha-Manahar
— Lambi Judai Reshma (From Pakistan)
— Nindiya Se Aayi Bahar Lata
The biggest hit song of the film, melodious romantic song. Mellifluous “Prelude” of 24 seconds with ‘intermixing’ the sounds of “DHOL” and “GHOONGHRU” with ACOUSTIC GUITAR, sets the mood of this song. “Interludes” are mesmerizing. Use of SANTOOR, VIOLINS and FLUTE and overlapping sound effect is just brilliant. Even the “postlude” is beautifully orchestrated with glimpses of MANDOLIN Excellent ‘DHOLAK’ rhythm. The song is very fresh, even today, with excellent orchestra arrangements and the fresh voices.
HAPPY BIRTHDAY TO LIVING LEGEND PYARELAL (Laxmikant-Pyarelal).
BIRTHDAY Celebration Is “ON”.3rd September. Happy Birthday Living Legend PYARELAL (Laxmikant-Pyarelal).
Yash Raj Film’s DAAG (1973)As a Director Yash Chopra has given many musical hits under the banner of B.R Films, owned by his brother B.R.Chopra. In 1973 Yash Chopra opted to come out of B R Chopra banner and form ”YASH RAJ FILMS”. Yash Chopra wanted to get the Top Stars and Top Names for his maiden film ”DAAG”, as a Producer and the Director.
To start with YASH RAJ Films first ever film, producer and director Yash Chopra wanted to utilize the ‘best’ artists available then.
Rajesh Khanna was in supreme form in early seventies, he along with Sharmila Taigor, Rakhi were the stars of the film.
LAXMIKANT-PYARELAL, in top gears, form 1967, got the honor of the first music director for ”YASH RAJ FILMS”. Yash choose his favorite lyricist Sahir Ludhiyanvi to penned the songs.
An outstanding/evergreen/ever-fresh music of ”Daag” is still popular.Let us review the Most Popular song.
लाजवाब, सुमधुर, कर्णप्रिय एवं बेहद रोमांटिक गाना।Mesmerizing Orchestra arrangements..IRANI SANTOOR (played by Pt Shivkumar Sharma) & GUITAR (played by Gorakh Sharma) are brilliantly executed in the entire orchestra of the song.
The song starts with “zero” ‘Prelude”…First ‘Interlude’ starts with IRANI SANTOOR at 0.42…with brilliant overlapping sound effect and ends at 1,00. The second ‘Interlude’ starts at 1.46 and listen how mellifluously IRANI SANTOOR have been played till 1.58…The third ‘Interlude’ starts at 2.45 and how effectively GUITAR is played to give the perfection to the romance and great “pick up” through IRANI SANTOOR from 2.53 to 3.02..The song has beautiful DHOLAK as “rhythm” excepting in “Interludes”…SAHIR LUDHIYANVI’s elegiac lyrics and KISHORE KUMAR’s tender as well as romantic rendition and LAXMIKANT-PYARELAL’s wonderful composition with beautiful decoration of the orchestra has made this song as all time classics.
You just have to look at the way Rajesh Khanna croons, “Mera pyaar keh raha hai main tujhe khuda bana doon” and you will want to watch the song. Nobody could act out a love song better than Rajesh Khanna.
Also full credit to Kishore Kumar who was nominated by filmfare awards, the best male singer, for singing this romantic GEM. One of the finest song of Kishore Kumar under Laxmikant-Pyarelal who were also nominated by filmfare awards, for the best music directors, along with Raj Kapoor’s ‘Bobby”.
If you compare all Yash Raj Films Musical score, DAAG remains top sellers and also the best.
BIRTHDAY Celebration Is “ON”. 3rd September. Happy Birthday PYARELAL (Laxmikant-Pyarelal)
It’s now 57 years. I was an 8-year-old studying in the Indian city of virtuoso TANSEN, Gwalior. Radio Ceylon, All India Radio, and Vividh Bharati were playing ‘Main Nanhasa Chhota Sa Bachha Houn’ (from the movie ‘Harishchandra Taramati, 1963′) , ‘Jyot Se Jyot Jagate Chalo’, and‘Ek Do Teen Chaar’(from the movie ‘Sant Gyaneshwar‘, 1964). Both the films have the music by the newly arrived, young, talented musicians, Laxmikant-Pyarelal.
Growing up in the same era as that of child artists from these films, the songs, listed above, made a huge impact on my musical ears. I distinctly remember one thing — a downpour of coins on the screen for ’Jyot Se Jyot Jagate Chalo’, which went on to become my very first all-time favorite without having an idea that it was Laxmikant-Pyarelal’s music.
From 1963 to 1998, without any discontinuity, constantly, my childhood days, my school days, my college days and few years of working (job) in India as well as abroad, have witnessed many memorable hit songs from Laxmikant-Pyarelal.
Simplicity, Commitment and the quality of Unconquered Versatility gave Laxmikant- Pyarelal a Supreme Staying Power of 35 years in Hindi Film Music.
Laxmikant-Pyarelal’s tunes used to be very simple but at the same time they used to be extremely sweet, catchy and melodious.
There are many interesting aspects of Laxmikant-Pyarelal music / songs.
1 The duo’s songs have Indian touch, raag based, with MELODY.
2 Thesongs with the simple tunes are decorated withcanorous ORCHESTRA arrangements, mostly in western style. Laxmikant-Pyarelal would add a few ingredients in the orchestra that would help the song become hit. Most of the “Interludes” ( musical glimpses between “mukhda” and “antara”) are blended with western style, by giving the ‘symphony’ touch. LP were masters in synchronising various instruments to illuminate the orchestra in ‘preludes’, ‘interludes’ and ‘postludes’. Most interestingly there is no repetition.
3 RHYTHM. Most of the tunes are Indian, Folkish but are decorated mellifluously with the mind-blowing RHYTHM using DHOLAK. In many songs the “Interludes” are blended with a different rhythm than that of the ‘mukhada’ of the song.
Laxmikant-Pyarelal music >>> “””of the common people, for the common people and inspired by the common people””””. It was a perfect music for any successful film to have.
Laxmikant-Pyarelal :: The Most Successful Music Directors Of Bollywood Music. 1963 to 1998, 503 films, 2850 songs, 72 songwriters and 157 singers.
Sweet-Sounding Mukesh – Lata Duets Symphonized By Laxmikant-Pyarelal
Singer Mukesh was introduced to Hindi Film Music by music director Anil Biswas, wayback in 1945 in the film ‘Nirdosh’. Mukesh was a favorite singer for the music directors like Anil Biswas, Salil Chaudhari, Roshan and Kalyanji-Anandji. Music directors Shankar-Jaikishan and Laxmikant-Pyarelal very oftenly used Mukesh.
Actually, it was not an easy task for any music directors to extract the “best” from singer Mukesh. That is why Mukeshji was a very special singer in his own way. It is very surprising to note that MUKESHji was not used by many BIG Music Directors..
It is very surprising to note that MUKESHji was not used by many BIG Music Directors..
C Ramchandra (4 songs)
Madan Mohan (9 songs)
O P Nayyar (4 songs)
S D Burman ( 12 songs)
R D Burman ( 15 songs) and
Naushad ( 27 songs)
But very effectively used by following music directors
Shankar-Jaikishan ..136 songs (highest numbers)
Kalyanji-Anandji…107 songs..
Laxmikant-Pyarelal….80 songs
In the year 1967 Music Directors Laxmikant-Pyarelal brought back the glory of singer Mukesh through the super hit songs of “Milan” ( 5 Lata-Mukesh duets, including all the versions of Hum Tum Yug Yug Se + 2 wonderful solos). In addition, songs from “Anita” (2 beautiful solos) “Farz” (1 Lata-Mukesh duet) and “Patthar Ke Sanam” (1 Lata-Mukesh duet).
In return Mukeshji strongly recommended Laxmikant-Pyarelal’s name to Raj Kapoor for the music of “BOBBY”.
Persuasive start made by Laxmikant-Pyarelal through the songs of “Parasmani” in 1963. The duo used Lata Mangeshkar, Mohammad Rafi, Mukesh and Kamal Barot. The film has as many as six songs with 3 duets, Lata-Rafi, Lata-Kamal Barot and Lata-Mukesh singing “Chori Jo Tumse Mile To Log Kya Kahenge”. This duet became the first Mukesh-Lata duet for Laxmikant-Pyarelal.
Total 31 numbers of duets rendered by Lata-Mukesh from 1963 to 1977. Have included the multi-singers songs, Mehngai Mar Gayee** from Manoj Kumar’s “Roti Kapda Aur Makan” andHumko Tumse Ho Gaya Hai from Manmohan Desai’s “Amar Akbar Anthony” involving both Lata-Mukesh.
Listing a few Lata-Mukesh songs excluding 2 to 3 versions of the songs from “Milan”, “Man Mandir’, “Shor” and “Roti Kapda aur Makan” etc.
Chori Jo Tumse Mile To Log PARASMANI, 1963.
Tum Meri Meri Zindagi Ho. DILLAGI, 1966.
Dhagina Tinak Dhin Tha Thaiyya, MERE LAL, 1966.
Hum To Tere Aashiq Hain Sadiyon Purane FARZ, 1967.
Kyon Zuki Zuki Hai Palake, CHHAILA BABU, 1967.
Wo Kaun Hai Wo Kaun Ha ANJANA, 1967.
Sawan Ka Mahina Pawan Kare Shor MILAN, 1967.
Hum Tum Yug Yug Se Yeh MILAN, 1967.
Bol Gori Bol Tera Kon Piya MILAN, 1967.
Mehaboob Mere Mehbob Mere PATTHAR KE SANAM, 1967.
Je Hum Tum Chori Se Bandhe Ek DHARATI KAHE PUKAR KE, 1969.
Dil Main Aji Dil Mein Koi Rehta Hai MERI BHABHI, 1969.
Ai Meri Aankhon Ke Pehale Sapane MAN MANDIR, 1971
Rubi O Rubi Jan-E-Mehboob CHAHAT, 1971.
Baat Hai Ek JAL BIN MACHHALI NRUTYA BIN BIJALI, 1971.
Zum Ke Gaye JAL BIN MACHHALI NRUTYA BIN BIJALI, 1971.
Dheere Dheere Bol Koi Sun Na L GORA AUR KALA, 1972.
Ho Tere Naina EK BECHARA, 1972.
Ek Pyar Ka Nagma Hai. SHOR, 1972.
Paani Re Paani Tera Rang Kaisa. SHOR, 1972.
Maina Bhulunga ROTI KAPADA AUR MAKAN, 1974.
Mehngai Mar Gayee** ROTI KAPADA AUR MAKAN, 1974.
Phool Aahista Phenko PREM KAHANI, 1975.
Mujhe Dard Rehta Hai DUS NUMBRI, 1976
Humko Tumse Ho Gaya Hai *** AMAR AKBAR ANTHONY, 1977
BINACA GEETMALA :-
About 80% of Lata-Mukesh songs listed above appeared in the weekly Binaca Geetmala countdown program. 9 songs appeared in ‘finals’ with two of the songs getting top position in 1967 Sawan Ka Mahina from “Milan” and in 1975 Mehangai Maar Gayi. from “Roti Kapda Aur Makaan”. Ek Pyar Ka Nagma Hai, from “Shor” 1972, has become an iconic song.
1967 No 06 Hum Tum Yug Yug..Lata-Mukesh..”Milan”
1967No 01 Sawan Ka Mahina..Lata- Mukesh..”Milan”
1968 No 20 Mehaboob Mere..Lata-Mukesh..”Patthar Ke Sanam”
1969 No 09 Je Hum Tum Chori Se..Lata-Mukesh..”Dharati Kahe Pukar Ke”
1970 No 14 Woh Kaun Hai ..Lata-Mukesh…”Anjana”
1972 No 29Ek Pyar Ka Nagma Hai,,Lata-Mukesh .”Shor”
1973No 16 Dheere Dheere Bol Koi ..Lata-Mukesh..”Gora Aur Kala”
1975No 01 Mehangai Mar Gayi..Lata-Mukesh-Chanchal-Janibabu..”R K Ar Makan
1976 No 24 Muze Dard Rehata Hai..Lata-Mukesh..”Dus Numbari”
The orchestra arrangements in “preludes” and “interludes” used to be the assets of the songs composed by Laxmikant-Pyarelal. It would be more proper to listen to the songs after reading the write up, explaining peculiarities, for each of the songs, you will enjoy it more.
Chori Chori Jo Tumse Mile To Log PARASMANI, 1963. (Songwriter Farooq Qaisar)
The 26 seconds of ‘prelude’ is orchestrated with the use of SHEHNAI with BONGA Drum rhythm intermixed with GHUNGROO BELLS and VIOLINES. Imposing take off by Lata Ji, चोरी चोरी जो तुमसे मिली तो लोग क्या कहेंगे। The ‘intro’ is sweetly surrounded by VIOLINS as well as the glimpses of ACCORDION. Now the “mukhda” or “intro” have DHOLAK rhythm intermixed with GHUNGROO BELLS. First ‘interlude’ starts with MANDOLIN surrounded with VIOLINS. Again the ‘rhythm’ pattern changes with BONGO Drum. “Antara” has a DHOLAK rhythm. Second “interlude” is beautifully instrumented with ACCORDION, MANDOLIN as well as VIOLINS with change of rhythm pattern. The song is filmed on Mahipal and Geetanjali. “Postlude” is mellifluously displayed by SHEHNAI.
Tum Meri Meri Zindagi Ho. DILLAGI, 1966. (Songwriter Majrooh Sultanpuri)
Once again a duet with melody. Composed in 60s style of song. Beautiful take off by Mukesh jj हम जी लेंगे बिन तुम्हारे। The unique rhythm of DHOLAK starts. Enjoy the ‘singing pauses’ as well as ‘rhythmic pauses’ given at various points. The first interlude have CELLOS, VIOLINS and the second ‘interlude’ has SARANGI with VIOLINS. The ‘rhythm’ pattern for ‘interludes’ changes (no DHOLAK). It is filmed on Mala Sinha – Sanjay Khan.
The song is filmed on Salim Khan (today’s star actor Salman Khan’s father) and Zeb Rehman. This song is very melodious, tenderly rendered by Lata-Mukesh. This delicately composed song has an accordant DHOLAK rhythm. Interludes have BANJO as well as VIOLINS.
Mehaboob Mere Mehbob Mere PATTHAR KE SANAM, 1967. (Songwriter Majrooh Sultanpuri)
When#Pyarelal ji told Pandit Shivkumar Sharma to play #SANTOOR with his “nails” for this melodious song.
LAXMIKANT-PYARELAL have extensively used the mellifluous instrument from “Kashmir” named SANTOOR…. Santoor used to be prominently played instrument in most of the songs by Laxmikant-Pyarelal right from 1965. There are many TOP HIT songs which are decorated with Santoor in Laxmikant-Pyarelal’s orchestra arrangements. Till 1974, in most of the songs the SANTOOR is played by none other than Pandit Shivkumar Sharma.
Pandit Shivkumar Sharma has full respect for the duo of Laxmikant-Pyarelal. Both Shivji and Pyarelalji have done various experiments while orchestrating the SANTOOR in the song. This particular song from “Patthar Ke Sanam” (1967) is awesomely orchestrated, “prelude’ of 16 seconds and all the “interludes”, with SANTOOR (played by Pandit Shivkumar Sharma) and the FLUTE (played by Pandit Hariprasad Chaurasiya). To create a different sound of Santoor, in the song, Pyarelalji told Shivji to use his ‘nails’ instead of the ‘wooden sticks’. Even the ‘strokes’ of the Santoor in the song, at various places, are played through the nails. See how beautifully this immortal song has been created.
This song is Laxmikant-Pyarelal’s symphonic orchestra arrangements with an astonishing DHOLAK rhythm. Filmed on Manoj Kumar – Waheeda Rehman.
Hum To Tere Aashiq Hain Sadiyon Purane FARZ, 1967 (Songwriter Anand Bakshi)
Evergreen and Ever-Fresh Popular. Melodious and Sweetly Composed Romantic Duet. “DHOLAK” rhythm” (theka) in the song has made an addict one.”Prelude” (34 seconds) has a wonderful display of VIOLINS, NADASWARAM. All the “interludes” are spectacularly orchestrated with overlapping sound effects of VIOLINS, ACCORDION, GUITAR and FLUTE. The song is filmed on Jeetendra – Babita.
Sawan Ka Mahina Pawan Kare Shor MILAN, 1967. (Songwriter Anand Bakshi)
“Milan”, starring Sunil Dutt – Nutan, was a musical blockbuster movie of the year 1967. The song “ सावन का महीना पवन करे सोर “ stormed the nation. An inordinately popular song, till date. Exceptionally melodious duet. Beautiful DHOLAK rhythm. All the ‘interludes’ are orchestrated in ‘western’ style with no ‘rhythm’. First ‘interlude’ have MANDOLIN, FLUTE, symphony VIOLINES overlapping the FLUTE. Second ‘interlude’ again symphony style VIOLINS, RUBAB with overlapping sound effects of FLUTE. In the third ‘interlude’ again VIOLINS in symphony style. The song topped the 1967 Binaca Geetmala Finals. The song is filmed on beautiful location, in Tamil Nadu.
Dil Main Aji Dil Mein Koi Rehta Hai MERI BHABHI, 1969. (Songwriter Majrooh Sultanpuri)
Once again an immensely melodious duet, orchestrated with Indian classical instruments. 34 seconds of ‘prelude’ starts with SITAR, SANTOOR. Later at 0.21 to 0.25 excellent synchronization of FLUTE and SANTOOR. The ‘prelude’ ends with the simultaneous ‘strokes’ of SANTOOR and VIOLINS.The ‘intro’ have take off from Mukeshji दिल में अजी दिल में aligned with DHOLAK rhythm which has the ‘strokes’ of SANTOOR at various places. First ‘interlude’ starts with overlapping sounds of SANTOOR and FLUTE followed by VIOLINS and again ‘strokes’ of SANTOOR. Second ‘interlude’ starts with an ear-pleasing display of SITAR (played by Ustad Rais Khan) and lastly VIOLINS. There is a ‘rhythmic’ ‘pause’ at the end of each ‘stanza’/’antara’. Filmed on Sunil Dutt – Waheeda Rehman.
Je Hum Tum Chori Se Bandhe Ek DHARATI KAHE PUKAR KE, 1969.(Songwriter Majrooh Sultanpuri)
This is a very famous song. An extremely melodious duet composed in the “folkish” style of DHOLAK rhythm. Sounds of SHEHNAI and NADASWARAM are brilliantly intermixed with FLUTE and GHUNGROO BELLS, in all the “interludes” to get the typical Indian Village feeling. It is filmed on handsome Jeetendra and beautiful Nanda.
Ai Meri Aankhon Ke Pehale Sapane MAN MANDIR, 1971 (Songwriter Rajendra Krishnan)
It’s one of the finest lullaby (लोरी). Extraordinarily melodic, sad, dulcet duet filmed on Waheeda Rehman – Sanjeev Kumar. ‘Prelude’ is full of SITAR and VIOLINS. First ‘interlude’ is orchestrated with SANTOOR, VIOLINS and FLUTE. Second ‘interlude’ with VIOLINS with the beautiful overlapping sound of SANTOOR. This song has 3 versions, considering the first for review,
Baat Hai Ek Boond Si JAL BIN MACHHALI NRUTYA BIN BIJALI, 1971 (Songwriter Majrooh Sultanpuri)
बात है एक बूंद सी दिल के प्याले में… आते-आते होंठों तक तूफ़ान ना बन जाए.
For the first time in Hindi Film Music, all the songs of this V Shantaram Classic, recorded in stereophonic sound effect. Yet another variety of song a simple but melodious tune. The beauty of the song is it’s “Interlude”. It is full of VICHITRA VEENA and GUITAR. Lataji’s take-off बात है एक बूंद सी दिल के प्याले में…with the “stroke” of VEENA is ear-pleasing. First and third ‘interludes’ are orchestrated with the solo display of VICHITRA VEENA. Second ‘interlude’ is awesomely instrumented with GUITAR. The glimpses of GUITAR can also be heard in the surround sounds. Filmed on Abhijeet – Sandhya.
Ek Pyar Ka Nagma Hai. SHOR ,1972. (Songwriter Santosh Anand)
This song has three versions, The first version is analyzed. Captivating ‘prelude’ of 46 seconds starts with solo VIOLINS, Lataji’s ear-pleasing HUMMING. The “beauty” of the ‘prelude’ is ..Lataji’s HUMMING sound is mind-blowingly synchronised with solo VIOLIN, for 6 seconds (0.17 to 0.23). Again solo VIOLIN and ends with the “stroke” of SANTOOR. Awesome take off by Lata ji एक प्यार का नगमा है। the BONGO Drum ‘rhythm’ starts. Lata ji’s rendering is surrounded by symphony style VIOLINES, throughout the song.
First interlude starts with solo VIOLIN followed by hypnotising AALAPS by Lataji. At the end of the first ‘interlude’, Lataji’s AALAPS are overlapped with symphony VIOLINS. Mukeshji enters at the end of stanza (अंतरा )
Second ‘interlude’ starts with SANTOOR; it ends with beautifully orchestrated VIOLINS in symphony style.
Third interlude starts with solo VIOLIN, later symphony VIOLINS overtaking it. Wonderful synchronization of CHORUS and VIOLINS.
The solo VIOLIN in this song is played by Mr. Jerry Fernandes, a famous Violinist
Paani Re Paani Tera Rang Kaisa. SHOR, 1972. (Songwriter Indrajeet Singh Tulsi )
Another GEM of Mukesh-Lata duet, one of the best rainy songs. 59 seconds of ‘prelude’ wonderfully orchestrated with GUITAR, SANTOOR, SITAR and VIOLINS supported by CHORUS HUMMING. Awe-Inspiring DHOLAK rhythm intermixed with water sound. First ‘interlude’ starts with ACOUSTIC GUITAR, SHEHNAI / NADASWARAM and VIOLINS. Second ‘interlude’ is full of AALAPS and HUMMING sound of CHORUS. Third ‘interlude’ have VIOLINS, SITAR (played by Ustad Rais Khan),GLOCKENSPIEL or ‘GLOCKS’ and CHORUS. The entire song is shot in rain. Filmed onManoj Kumar – Jaya Bhaduri.
Main Na Bhoolunga ROTI KAPDA AUR MAKAAN 1974. (Songwriter Santosh Anand)
This song has two versions, the first version is considered. Splendid composition, from Laxmikant-Pyarelal. Orchestrated melodiously. Wonderful DHOLAK rhythm. Rhythmic ‘PAUSEs’. Awesome take off by Mukesh-Lataमै 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.
