Laxmikant-Pyarelal

Author: Ajay Poundarik

  • Laxmikant-Pyarelal :: Professional Balancing Act :: Mohammad Rafi and Kishore Kumar.

    Laxmikant-Pyarelal :: Professional Balancing Act :: Mohammad Rafi and Kishore Kumar.

    Laxmikant-Pyarelal :: Professional Balancing Act Between Rafi and Kishore.

    Coincidentally, the association of Laxmikant-Pyarelal & Mohammad Rafi “DOSTI” 1964 as well as Laxmikant-Pyarelal & Kishore Kumar “MR X IN BOMBAY” 1964, started in the same year with BIG songs from super hit films. Since than Laxmikant-Pyarelal have worked unbiasedly as well as professionally and have always maintained the balancing act between the two singers. This has been well elaborated in this blog.

    Laxmikant-Pyarelal with Mohammad Rafi 370 songs.
    Laxmikant-Pyarelal with Kishore Kumar 402 songs

    Laxmikant-Pyarelal were the staunch Rafi loyalists throughout their life. Their greatness lies in their simplicity, commitment and the quality of unconquered versatility gave Laxmikant-Pyarelal a supreme staying power of 35 years in the Hindi Film Music.

    Mohammad Rafi has sung 379 songs under Laxmikant-Pyarelal. This figure is the highest number of the songs sung by Mohammad Rafi for any music directors, including 183 numbers of solo songs. 

    Mohammad Rafi with the music directors

    Laxmikant-Pyarelal            379 songs

    Shankar-Jaikishan             330 songs

    Chitragupta                        225 songs

    Ravi                                   210 songs

    Kalyanji-Anandjj               200 songs

    O P Nayyar                        187 songs

    Madan Mohan                   147 songs

    Naushad                             114 songs

    Usha  Khanna                     109 songs

    R D Burman                        107 songs

    S D Burman                          94 songs

    N Dutta                                  94 songs

    Roshan                                  87 songs

    Rajesh Roshan                      33 songs

    Lata Mangeshkar & Mohammad Rafi Duets: Out of 421 duets of Lata – Rafi, 78 numbers  these duets are sung under Laxmikant-Pyarelal. Once again the highest number of duet of Lata-Rafi under any music directors. 

    In sixties combo of Mohammad Rafi and Laxmikant-Pyarelal have given some of the best songs in 

    “Dosti” 1964, 

    “Aaye Din Bahar Ke”,1966, 

    “Night In London”, “Farz”, “Taqdeer” all in 1967. 

    “Wapas”, “Mere Hamdam Mere Dost”, “Aaya Sawan Jhum Ke” 1968, 

    “Jeene Ki Raah”, 

    “Jigari Dost” and “Sajan” all in 1969 and many more.

    Kishore Kumar and Laxmikant-Pyarelal before “Aradhana” 1969.

    Laxmikant-Pyarelal have given all time hits songs to Kishore Kumar during the lean period of his musical carrier, in the mid sixties, when the duo was relatively new, without damaging the giant popularity of Mohammad Rafi.

    “Mr X In Bombay “1964 (Mere Mehboob Quyamat Hogi)

    “Shreeman Fantoosh” 1965 (Ye Dard Bhara Afasana)

    “Hum Sab Ustaad Hai” 1965 (Ajanabi Tum Jane Pehachane)

    “Pyar Kiye Jaa” 1966 (Din Jawani Ke Bar Bar Pyar Kiye Jaa)

    Laxmikant-Pyarelal’s professional balancing equation, Mohammad Rafi (379 songs)  & Kishore Kumar (402 Songs). 

    SEVENTIES:- When Kishore Kumar was on right on top it is only Laxmikant-Pyarelal and to some extent Madan Mohan gave some of the best of their songs for Mohammad Rafi to sing, in seventies…

    Laxmikant-Pyarelal have recorded 264 numbers of the songs for Mohammad Rafi, in post ‘Aradhana” period, 1969 to 1980.

    Laxmikant-Pyarelal  brought back the glory of Mohammad Rafi through the songs of ”Pratigya”,(1975) 

    “Naach Uthe Sansar” (1976) 

    “Amar Akbar Anthony” “Parvarish” & “Dharmaveer”  (1977), 

    “Sargam” (1978) and  that too without damaging the giant popularity of Kishore Kumar. 

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

    “Uphaar” 1971 (main ek raja houn), 

    “Khilona” 1970 (khilona jaan kar & khush rahe tu sada), 

    “Ek Nazar”, 1972 ( patta patta buta buta) 

    “Dastaan” 1972 (na tu zamee ke liye), 

    “Gora Aur Kala” 1972 (ek na ek din)

    “Suhana Safar” 1972

    “Loafer” 1973 (aaj mosam bada beiman hai). 

    “Pratigya” 1975 (main jaat yamala pagala)

    Laxmikant-Pyarelal have recorded 264 numbers of songs of Mohammad Rafi in post “Aradhana” period.

    Laxmikant, Mohammad Rafi & Pyarelal
    Mohammad Rafi * Kishore Kumar

    Laxmikant-Pyarelal were stanch loyalist to Rafi Sahab. But the duo maintained professional balancing equation between Rafi & Kishore. It can be seen from the song list of KK-LP, 402 songs and Rafi-LP 260 songs. After ‘Aradhana’, 1969..

    YES ! It was true that Laxmikant-Pyarelal wanted to bring back the glory of Rafi, without damaging Kishore Kumar’s giant popularity.

    Post ‘Aradhana’ 1969, Laxmikant-Pyarelal have given around 379 songs to Kishore Kumar, that includes songs from “Daag” 1973, “Manchali” 1973, “Amir Garib” 1974, “Roti” 1974, “Aakraman” 1975, “Ponga Pandit” 1976, “Aashiq Houn Baharon Ka” 1977 etc….

    In these films, listed above, have no songs for Mohammad Rafi.. Rafi-LP after ‘Aradhana’ 1969, 264 songs. During that period “Suhana Safar” 1972, “Gora Aur Kala” 1972, “Nach Uthe Sansar”, 1976 “Dharm Veer” 1977 etc have no songs to Kishore Kumar.

    BALANCING EQUATION:: 

    Laxmikant-Pyarelal’s professional balancing act between Rafi and Kishore.. 

    “Do Raaste”1970 

    ( all songs to Rafi but one GEM to Kishore Kumar….’khiza ke phool pe’).

    “Aansoo Ban Gaye Phool” 1969 

    ( All songs to Kishore Kumar) in the same year…

    “Aaya Sawan Jhoom Ke” 1969 

    ( All songs to Mohammad Rafi) 

    “Aan Milo Sajna” 1970 

    (50% Rafi 50 % Kishore)

    “Haathi Mere Saathi” 1971 

    ( All songs to Kishore Kumar  GEM to Rafi ‘nafrat ki duniya ko’)

    “Mehboob Ki Mehandi” 1971

     (All songs to  Rafi GEM to Kishore ‘mere diwane pan ki dawa’)

    “Aap Aaye Bahar Aayee” 1971

    ( 50% Rafi & 50 % Kishore)

    “Prem Kahani” 1975 

    ( 50% Rafi & 50 % Kishore) The list is too long…But let us not forget.

     “Sargam” 1979 

    ( all songs to Mohamamd Rafi) around the same time

    “Anurodh” 1977 

    ( all songs to Kishore Kumar) 

    “Amar Akbar Anthony” 1978 

    ( all songs to Mohammad Rafi one HIT song to Kishore ‘my name is anthony’)

    “Karz” 1979 

    (all songs to Kishore Kumar but one GEM to Rafi ‘dard-e-dil’)..

    Laxmikant-Pyarelal’s association with Rafi Sahab continued till his last day, 31st July, 1980. During Rafi Sahab’s lean years in the early 70s apart from Madan Mohan it was Laxmikant-Pyarelal who stood by him. Both were instrumental in bringing Rafi Saab comeback in the year 1977. MohammadRafi has sung his last song for “Aas Pass” under Laxmikant-Pyarelal. 

    Few Best Rare Songs of Mohammad Rafi and Laxmikant-Pyarelal in post ‘                            Aradhana’ period, after 1969.

    MAN  KI AANKHEN  1970      (Songwriter Sahir Ludhiyanvi) 

    -Dil Kahe Ruk Ja Re Ruk Ja

    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. 

    AAP  AAYE BAHAR  AYEE  1971   (Songwriter  Anand Bakshi)

    -Sare Jamane Se Mausam Suhane Se

    Another sweetly composed romantic song. 40 seconds of ‘prelude’ starts with GUITAR followed by Symphony VIOLINS, BIRD TWEETING sounds synchronised with ACOUSTIC GUITAR,  Take off from Rafi Sahab’ rendering has a wonderful as well as delicate overlapping sound of ACOUSTIC GUITAR. First ‘interlude’ is orchestrated with VIOLINS and FLUTE. Second ‘interlude’ has mellifluous use of SAXOPHONE and VIOLINS. The song has tuneful BONGA DRUM rhythm . It is filmed on Rajendra Kumar and Sadhna. 

    ROOP  TERA MASTANA  1972   (Songwriter Asad Bhopali) 

    -Bade Bewfa Hai Ye Husnwale 

    GEM of a song from Mohammad Rafi & Laxmikant-Pyarelal.

    VIOLINs & CELLOs are wonderfully intermixed with PIANO in mind-boggling SYMPHONY style, an enrich orchestra arrangements throughout the song and a fabulous rendering by RAFI saab in very ‘romantic’ way. Long ‘prelude” of 1 minute and 11 seconds (full of ‘SYMPHONY’) with Rafi Saab’s “aalap”and ‘humming’ + ‘pause’ mesmerizes. “Interludes” are mellifluously crafted with PIANO, VIOLINS & CELLOs. Again the “mukhada” has TABLA/DHOLAK rhythm. All the “interludes” rhythm have BONGO DRUMS. Rafi Saab’s & LP’s various ‘pauses’ is an added feature of this song. The song is filmed on Jeetendra. 

    GORA  AUR KALA  1972    (Songwriter Anand Bakshi)

    -Ek Na Ek Din Ye Kahani    

    Beautifully orchestrated in WALTZ candency. ACOUSTIC GUITAR, ACCORDION, VIOLINS, SAXOPHONE and IRANI SANTOOR. It has been composed on BONGO DRUM rhythm. The song is filmed on Rajendra Kumar and Hema Mallini. 

    SURAJ AUR  CHANDA  1973 (Songwriter Anand Bakshi)

    -Tere Naam Ka Deewana 

    This is yet another Romantic song filmed on Sanjeev Kumar. ‘Mukhada’ awesome ‘pauses’ that pleases the ears. The ‘interludes’ are instrumented and overlapped with symphony VIOLINS with the use of GUITAR, SANTOOR, VIOLINS as well as SHEHNAI / NADASWARAM and SITAR. It has melodious DHOLAK / TABLA rhythm. 

    GEETA  MERA NAAM  1974   (Songwriter Rajendra Krishnan)

    -Mohabbat Hi Mohabbat Hai 

    This romantic song, composed in western style rhythm,  is filmed on Firoz Khan. The song is orchestrated with GUITAR and VIOLINS with BONGA DRUM.

    AAKHRI  DAO (1975)     (Songwriter Hasrat Jaipuri)

    -Aisa Na Ho Ke      

    A GEM in Western Style Orchestra arrangements.  The ‘prelude’ of 58 seconds is Symphony VIOLINS. Mohammad Rafi at it’s melodious best. ‘Interludes’ are orchestrated with SAXOPHONE overlapped with VIOLINS and GUITAR as well as surround sounds of CELLOs. Second ‘interlude’ is superb display of SARANGI synchronised with CELLOs and VIOLINS. The beauty of the song is it’s surround sound created and overlapped with Rafi Sahab’s rendering in ‘antara’ by using  SAXOPHONE and Symphony VIOLINS as well as CELLOs. The song is filmed on Jeetendra. A treat for Mohammad Rafi Sahab’s fans.

    A rare combo of Hasrat Jaipuri /Laxmikant-Pyarelal 

    Ajay Poundarik, Atlanta (Georgia). USA.

  • PARASMANI, 1963. The Beginning Of An “LP” Era. Laxmikant-Pyarelal

    PARASMANI, 1963. The Beginning Of An “LP” Era. Laxmikant-Pyarelal

    “PARASMANI” released in 1963. The film is a musical fantasy drama shot partly in Black and White and partly in colour. This was a movie that launched Laxmikant Shantaram Kudalkar and Pyarelal Ramprasad Sharma (LAXMIKANT-PYARELAL). 

    Laxmikant-Pyarelal created some fascinating music which transformed an average film into a huge hit. The movie PARASMANI was more about the composers, Laxmikant-Pyarelal than Mahipal and Geetanjali, the key protagonists of this musical drama. Six songs embellished the movie. SIX songs that lifted the fortunes of the movie.

    There may not have been much to rave about the story or performances; the film may have suffered on account of technical deficiencies but it had the desired qualities that make an entertainer. It may not appeal to the multiplex crowd of today but PARASMANI was a movie that stood out for its music and smooth performances by mostly now-forgotten actors.

    PARASMANI songs rocks the Binaca Geetmala for two successive years.

    LAXMIKANT-PYARELAL

    Dance and music form the strength of this movie. Laxmikant Pyarelal made a glorious debut with PARASMANI and proved it was no fluke by giving unforgettable compositions coming next 35 years.

    Laxmikant-Pyarelal also never forgot to show their gratitude to the star singers Lata Mangeshkar and Mohammad Rafi for lending their golden voice and setting a dream platform for the two young composers.

    1) Hasata Huva Noorani Chehera – Lata & Kamal Barot. Songwriter Farooq Qaisar Officially, Laxmikant-Pyarelal’s first song composed. The ”prelude” with massive orchestra sets the mood of the song. It is melleflously decorated with rich orchestra arrangements which consists of ACCORDION, FLUTE, VIOLINS, VIOLA etc with the fast “DHOLAK” rhythm. This song is an immortal one and is still popular. This is a TOP HIT song.

    2) Mere Dil Main Halkisi Wo Khalish – Lata Mangeshkar
    Songwriter Asad Bhopali
    Beautiful “prelude” of 45 seconds orchestrated with MRIDANG and SITAR. Lataji takes off with “mere dil mein” ( मेरे दिल मैं ) followed by “stroke” of ACOUSTIC GUITAR. Throughout the song BANSURI (Flute) is awesomely used as “filler”. “Interludes” are instrumented with FLUTE , SAXOPHONE and VIOLINS . Rhythm with BONGO Drums, leaves you speechless.

    3) Ui Ma Ui Ma Ye Kya Ho Gaya – Lata & Chorus
    Songwriter Farooq Qaisar
    This song can still leave you in a trance. The captivating voice of Lata Mangeshkar and the artistic movements of HELEN make for a heady combination. Powerful Dholak Rhythm is another asset. Extremely melodious song with fascinating “prelude” of 58 seconds is decorated with VIOLINS, ACOUSTIC GUITAR, FLUTE and also the modulating sound of GHUNGHROO, overlapped with the chorus, sets the mood of this ‘folkish’ style composition. The rollick and natural dancing from Helen on Laxmikant-Pyarelal’s “DHOLAK” rhythm synchronized with GHUNGHROO, throughout the song. All the “interludes” are composed with VIOLINS, ACOUSTIC GUITAR and  FLUTE.

    4) Wo Jab Yaad Aaye Buhot Yaad Aaye – Lata & Mohammad Rafi
    Songwriter Asad Bhopali An immortal melody. “Prelude” starts with Lataji’s AALAPS. “Mukhada” is overlapped as a filler with SITAR. Both the ‘interludes’ are orchestrated with ‘symphony’ style VIOLINS. It has a sweet TABLA / DHOLAK rhythm.

    5) Chori Chori Jo Tume Se Mile – Lata & Mukesh
    Songwriter Farooq Qaisar
    Use of SHAHNAI and MANDOLIN in “Prelude” and all the “interludes” are worth to listened to.

    6) Roshan Tumhise Duniya Raunak – Mohammad Rafi
    Songwriter Indeevar
    Pure Clasical Song, based on Yaman Kalyan. “Prelude” of 28 seconds is brilliantly rendered as a AALAP by Rafi Sahab, synchronizing the GHUNGAROO BELLS, ACOUSTIC GUITAR, VIOLINS and SITAR. The most interesting aspect of the song is use of SITAR is awesomely used as a filler, in mukhada as well as in Antara, after every lines, rendered by Rafi saab. The first ‘Interlude’ is orchestrated with SITAR and VIOLINS. Second ‘interlude’ is wonderful AALAPS by Rafi Saab and VIOLINS and SITAR. The ‘rhythm’ is awesomely created by TABLA/DHOLAK with ‘intermixing’ of GHUNGAROO BELLS. Postlude” , over 120 seconds is brilliantly composed by using SARANGI and SITAR (played by ustad RAIS KHAN).

    Asad Bhopali, Farooq Kaiser and Indeevar provide the lyrics for Laxmikant Pyarelal’s landmark work.

    56 YEARS have been passed, as on January, 2020, since the release of ‘PARASMANI‘. The songs are still popular.

    Extracted :: Courtesy “The Hindu”…

    AJAY POUNDARIK, Vadodara

  • SPELLBOUND COMPOSITIONS BY Laxmikant-Pyarelal FEMALE DUETS/TRIPLETS.

    SPELLBOUND COMPOSITIONS BY Laxmikant-Pyarelal FEMALE DUETS/TRIPLETS.

    हसता हुआ नूरानी चेहरा PARASMANI, 1963

    चोली के पीछे क्या है KHALNAYAK, 1993 

    SPELLBOUND COMPOSITIONS ON FEMALE DUETS/TRIPLETS.

    Laxmikant-Pyarelal have composed some of the best female duets/triplets ever-since their entry into Hindi Film Music in “PARASMANI” 1963. We will review some of the best female duets songs composed by Laxmikant-Pyarelal. It is not possible to list out all the songs, in this category. However one can ADD, if any song is found not listed in this post, in the comment box.

    Laxmikant-Pyarelal have used various combinations like 
    Lata Mangeshkar – Asha Bhonsle, (14 songs only under Laxmikant-Pyarelal, out of total of 78 songs by Lata-Asha.)
    Lata Mangeshkar – Usha Mangaeshkar, 
    Lata Mangeshkar – Kamal Barot
    Lata Mangeshkar – Sulakshna Pandit
    Lata Mangeshkar – Minoo Purushottam, 
    Lata Mangeshkar – Kavitha Krishnmurthy
    Lata Mangeshkar – Hemlata 
    Lata Mangeshkar – Padmini Kolhapure 
    Asha Bhonsle – Usha Mangeshkar 
    Anuradha Paudwal – Hemlata
    Kavitha Krishnmurthy – Alka Yagnik, 
    Alka Yagnik – Ila Arun …..and many…

    However the combination of Lata Mangeshkar – Asha Bhonsle dominates the list. Lata-Asha have sung total 14 duets/triplets (out of Total of 78 sung by the sisters), under Laxmikant-Pyarelal. The highest numbers of duets by Lata-Asha, under any music directors.

    Top :: Laxmikant-Pyarelal Bottom :: Lata Mangeshkar and Asha Bhosle.

    1) “PARASMANI” 1963. 
    Laxmikant-Pyarelal’s first song composed, itself is a female duet sung by Lata Mangeshkar – Kamal Barot HASATA HUA NOORANI CHEHARA.. The ”prelude” with massive orchestra sets the mood of the song. It is melleflously decorated with rich orchestra arrangements which consists of ACCORDION, FLUTE, VIOLINS, VIOLA etc with the fast “DHOLAK” rhythm. This song is an immortal one and is still popular. This TOP HIT song. is written by Farooq Qaisar

    2) “SATI-SAVITRI” 1964
    This was a mythological film which contains one beautiful Triplets wedding song, still popular. ITANI JALDI KYA HAI GORI SANAJ KE GHAR JANE KI. This song is beautifully decorated with the FLUTE and DHOLAK. Sung by Lata Mangeshkar – Usha Mangeshkar – Kamal Barot. The naughty words are penned by Pandit Bharat Vyas. 

    3) “AAYA TOOFAN” 1964
    Lata Mangeshkar – Usha Mangeshkar’s     TOHARA NAAM LEKE CHHODA HAI ZAMANA. A “Bhojpuri” style composition was instant hit when the film was released. It is written by Asad Bhopali. 

    4)”AASRA” 1966
    Once again it is Lata Mangeshkar – Usha Mangeshkar. SAJANA KE GHAR SAARI RATIYA a typical “Mujara” nicely composed in line with the songs of mid sixties. The song is written by Anand Bakshi. 

    5) “AAYE DIN BAHAR KE” 1966
    The First biggest hit of Lata Mangeshkar – Asha Bhonsle with their melodious best under Laxmikant-Pyarelal. AI KAASH KISI DEEWANE KO HUMSE BHI MUHOBBAT HO JAYE..a ‘folkish’ composition with beautiful “DHOLAK” theka. Asha Bhonsle has been given more priority in this song. The “pauses” given in-between the song is ear-pleasing. This song, written by Anand Bakshi, is still popular. This film was Laxmikant-Pyarelal’s first ever big-budget musical hit film, produced by J Omprakash, with major star cast.  

    Pyarelal, Asha Bhosle, Lata Mangeshkar, Laxmikant & Guest.

    6) “ANITA” 1967
    It was Raj Khosla’s magical filming that brought this song into limelight when other songs are prominently HIT. Once again it is sung by Lata Mangeshkar – Usha Mangeshkar. HAI NAZAR KA ISHARA SAMBHAL JAIYE. Prelude of “Arabiain” folkish tune is worth to listen to. Anand Bakshi has written this song. 

    7) “TAQDEER” 1967
    One of the most sentimentally popular, sweet and melodious song sung by Lata Manageshkar – Sulakshna Pandit ( along with Ilal Desai and Meena Patki). PAPPA JALDI AA JANA (Saat Samandar Paar Ke). ACOUSTIC GUITAR and PIANO are brilliantly executed in the orchestra. Incidentally Sulakshna Pandit was introduced to hindi film music through this song. This touching song is written by Anand Bakshi, 

    8) “RAJA AUR RANK” 1968.
    It is a sad song sung by Asha Bhonsle – Usha Mangeshkar. MERE RAJA MERE LALA TUZAKO DHUNDHU…The song is penned by Anand Bakshi. 

    9) “JEENE KI RAAH” 1969
    It’s a triplet sung by Asha Bhonsle – Usha Mangeshkar – Hemlata….CHANDA KO DHUNDHANE SABHI TARE NIKAL PADE. Beautifully composed touching melody. This song was recently included in Hollywood’s Film LION (Dev Patel), 2016. Lyrics by Anand Bakshi.

    12) “HAAR JEET” 1972.
    Lata Mangeshkar – Asha Bhonsle. TU, TU BADI KISMATWALI HAI ..filmed on Rehana Sultana and Radha Saluja. Sweet and Melodious duet in typical Laxmikant-Pyarelal style. Anand Bakshi has written the song. 

    13) “KUCHCHE DHAAGE” 1973.
    Raj Khosla’s another musical hit film on Dacoit Story. This is a ‘mujara’ song sung by Lata Mangeshkar – Hemlata. JA RE JA O DEEWANE TU KYA JAANE..The song is written by Anand Bakshi. 

    14) “DAAG” 1973.
    Very famous female duet sung by Lata Mangeshkar – Minoo Purushottam. NI MAIN YAAR MANANA NI CHAHE LOG BOLIYA BOLE. Typical Punjabi Flavor. Powerful rhythm of the song consists of DHOL, DHOLAK and TABLA is just mind-blowing. Use of NADASWARAM, SHEHNAI is appealing. The song is still very much popular. It was Yashraj Films very first film. The song is penned by Sahir Ludhiyanvi. 

    15) “DHARM VEER” 1977
    Lata Mangeshkar – Asha Bhonsle. BAND HO MUTTHI TO LAAKH KI…filmed on Zeenat Aman & Neetu Singh. Lyrics Anand Bakshi.

    16) “DREAM GIRL” 1977
    Lata Mangeshkar – Padmini Kolhapure….CHHUPA CHHUPI KHELE AAO …Lyrics Anand Bakshi. 

    17) “PARAVARiSH” 1977
    Lata Mangeshkar – Usha Mangeshkar…YE OONCHE MAHAL SUHANE SAB JANATA KA..Lyrics Majarooh Sultanpuri. 

    18) “MAIN TULSI TERE AANGAN KI” 1979 (Two fabulous female duets)
    Lata Mangeshkar – Asha Bhonsle..Outstanding compassion, mesmerizing song and addict one. CHHAP TILAK SUB CHHINI RE MOSE NAINA LAGAI KE. Wonderfully sung by Asha Bhonsle, if compared. Extremely Melodious Tune. Excellently filmed by director Raj Khosla. Lyrics Amir Khusro. 

    Anuradha Paudwal – Hemlata..Typical mujara song in Laxmikant-Pyarelal style, use of HARMONIUM is worth to listen to. NATHANIYA JO MAARI lyrics by Anand Bakshi. 

    19) “MAANG BHARO SAJANA” 1980
    Lata Mangeshkar – Asha Bhonsle ..a HIT song ..DEEPAK MERE SUHAG KA JALATA RAHE,,,Lyrics Anand Bakshi.

    20) “UTSAV” 1985 (Two Outstanding Female Duets of Lata – Asha )
    This film was directed by Girish Karnad and produced by Shashi Kapoor, with outstanding music. The immortal duet, ever-fresh and evergreen song. Laxmikant-Pyarelal used old few traditional musical instruments to compose the music. MAN KYON BEHAKA RE BEHAKA AADHI RAAT KO..Lata Mangeshkar – Asha Bhonsle..Lyrics Vasant Dev. 

    Yet another beauty of the song, Lata Mangeshkar – Asha Bhonsle ..NEELAM PE NABH CHHAYE. The added features of the song is that entire song is having the “CLAPS” /“tali” as a rhythm. Lyrics Vasant Dev. 

    22) “SWARG SE SUNDAR” 1986
    Lata Mangeshkar – Asha Bhonsle SUNARI MERE BEHANA ..Lyrics Anand Bakshi. 

    23) “DAYAVAN” 1988
    Kavitiha Krishnmurthy – Alka Yagnik modern mujara song. KAHE SAINYYA TERI MERE BAAT…Lyrics Aziz.

    24) “BATWARA” 1989 (Three female duets/triplets) 
    Anuradha Paudwal – Kavita Krishnmurthy – Alka Yagnnik …TERE VASTE RE SAJANA TU MHARO KON LAGE..The song is written by Hassan Kamal. Typical Rajasthani Musical Instruments are excellently played. 

    25) “BATWARA” 1989 (Kavitha & Anuradha)

    26) “KSHATRIYA” 1993
    Lata Mangeshkar – Kavitha Krishnmurthy., One of the top hit songs of early nineties DIL NA KISI KA JAYE. A typical Laxmikant-Pyarelal style moulded song. Written by Anand Bakshi 

    27) “KHALNAYAK” 1993. 
    Top hit song of the early nineties. CHOLI KE PICHHE KYA HAI. Wonderfully orchestrated with massive orchestra arrangements and powerful mind-blowing rhythm. Alka Yagnik – Ila Arun has sung the song. Penned by Anand Bakshi.

    Ajay Poundarik. Vadodara.

  • Astounding Conglomeration :: Lyricist Rajinder Krishan and Laxmikant-Pyarelal

    Astounding Conglomeration :: Lyricist Rajinder Krishan and Laxmikant-Pyarelal

    :: Astounding Conglomeration :: Lyricist Rajinder Krishan and Laxmikant-Pyarelal    

    We are celebrating the 100th Birth Anniversary, from 6th June,  of an eminent Songwriter of Hindi Film Music, Rajinder Krishan. Those who are in love with hindi film music should be aware of Rajinder Krishan. He made a special place in the heart of music lovers.  

    Rajinder Krishnan & Laxmikant-Pyarelal

    Rajinder Krishna, besides lyricists he was a good dialogue writer, was much active in the presence of great four lyricists of Hindi Film Music Sahir Ludhianvi, Shakeel Badayuni, Majrooh Sultanpuri and Shailendra. He was an equal amongst giants like them.

    He gave lyrics to a wide variety of songs, ranging from Ghazals to Bhajan, Geets to Nazms with great flair. His songs are simple, inventive and full of meaning.  He was also a successful dialogue writer.

    Rajinder Krishan had a fruitful and  long lasting partnership with the music director

    C Ramchandra  (Anarkali, Albela etc). He also worked with other music directors like Hemant Kumar (Nagin), S D Burman (Saza), Madan Mohan (Adalat), Chitragupat (Main Choop Rahungi), Ravi (Khandan), Kalyanji-Anandji (Blackmail) and R D Burman (Padosan),

    Astounding Conglomeration of Lyricist Rajinder Krishan and Laxmikant-Pyarelal started in the year 1966 when famous producer/director C V Sridhar signed them for a Romantic Comedy “Pyar Kiye Jaa”.  

    Music Directors Laxmikant-Pyarelal have worked with Songwriter Rajinder Krishan for many hit films, close to 20 films.

    Pyar Kiye Jaa (1966).

    Ladla (1966).

    Intequam (1968). Actress Sadhana’s home production Lata’s cabaret song ’Aa Jaan-E-Jaa’

    Sadhu Aur Shaitan (1969)

    Jawab (1970)

    Man Mandir (1971)

    Gaon Hamara Shahar Tumhara (1972)

    Gehri Chaal (1973)

    Geeta Mera Naam (1974). Actress Sadhana’s home production

    Jwar- Bhata (1974)  

    Shandaar (1974)

    Naya Din Nayi Raat (1974)

    Wafaa (1974)

    Ponga Pandit (1975)

    Phool Khile Hain Gulshan Gulshan (1979)

    Qatl (1985). Actress Sadhana’s home production.

    Let us review few musical hit movies and songs of songwriter Rajendra Krishna with Laxmikant-Pyarelal. Their song “Kaise Rahoon Chup” (Lata), from Intaquam became the top hit song of Binaca Geetmala for year 1969.

    The orchestra arrangements in “PRELUDES” and “INTERLUDES” used to be the assets of the songs composed by Laxmikant-Pyarelal. It would be more proper to listen to the songs, listed below, after reading the write up, explaining peculiarities, for each of the songs you will enjoy it more.

    PYAR  KIYE JAA  (1966)

    It was a Romantic Comedy starring Shashi Kapoor, Kishore Kumar, Kalpana, Rajasree, Mehmood and Mumtaz. It has very melodious songs, many of them are  still popular.

    — O Meri Maina Tu Maan Le      (Usha Mangeshkar-Manna Dey)

    — Phool Ban Jaunga             (Lata Mangeshkar-Mahendra Kapoor)

    — Gore Haathon Pe Na Julm Karo          (Mohammad Rafi)

    — Kisine Pukara Muze            (Lata Mangeshkar-Mahendra Kapoor)

    — Dil Hamane De Diya                 (Lata Mangeshkar-Kishore Kumar)

    and the most popular song

    Din Jawani Ke Chaar      (Singer Kishore Kumar)

    Naughtily acted and rendered by Kishore Kumar. Beautiful DHOLAK rhythm. Interludes are orchestrated by using SHEHNAI / NADASWARAM and VIOLINS.  

    INTAQUAM  (1969 )

    This is the film which was produced/directed  by R K Nayyar, a spouse of actress Sadhana. The film was a huge hit. All the songs are still popular. The best of RK/LP combo.

    — Hum Tumhare Liye             (Lata-Rafi)

    — Jo Unki Tamanna                 (Rafi)

    — Geet Tere Saz Ka                     (Lata)

    — Mehfil Soyee                             (Lata)

    Aa Jaan-E-Jaan       (Singer Lata Mangeshkar)

    One of the best Cabaret songs in Hindi Film Music.  Laxmikant-Pyarelal’s Heavy and Rich Orchestration, Lata Mangeshkar’s extremely soft rendering, Helen’s malleable gamboling and best choreographed by P. L. Raj.  “Prelude” of over 70 seconds is full of BRASS and TRUMPETS, musical instruments,  is mesmerizing. Brilliant take off by Lataji.. ‘aa jaane jaan’ than ‘ear-pleasing’ pause for 3 seconds,  forced the listeners to concentrate on ‘euphonic’ RHYTHM orchestrated for this gem of a song. Just listen how beautifully Lataji renders the ‘Aa lala lala lala lala’  is a ‘killer’. No other singer could have managed to bring such finesse into that expression. Laxmikant-Pyarelal have extraordinarily orchestrated this cabaret with maximum use of BRASS, TRUMPET, SAXOPHONE, CLARINET, GUITAR  and JAZZ FLUTE without disturbing the melody part of the song. Despite being a cabaret song the dance by Helen ji looks so graceful, totally devoid of vulgarity. The song became an instant hit on the charts and still popular, even today.

    Kaise Rahoon Chup     (Singer Lata Mangeshkar )

    A drunkard song from “Inteqam” with “HICCUPs” as well as “CHOO-CHOO” sound naughtily rendered by Lata Mangeshkar. Here we find Sadhana getting drunk and singing / dancing a song in a party, much to the embarrassment of Sanjay Khan and Rehman. This soundtrack is still memorable today.  The “prelude” of 34 seconds is starts with ACCORDION and SYMPHONY style VIOLINS. The “Interludes” are awesomely orchestrated with LATA ji’s ‘intoxicated’ “AALAPS”, synchronised with  FLUTE, HICCUPS as well as VIOLINS in SYMPHONY style, ACOUSTIC GUITAR and ACCORDION . How beautifully the GUITAR auriculares are overlapped with Lata ji’s “CHOO-CHOO” sound (2.06 to 2.09) and also at (3.24 to 3.28).  Glimpses of ACCORDION are mellifluously used as “filler”. Not to forget the different type of “rhythm” created on BONGO DRUMS. Not to forget the elegant Helen’s presence in the song.

    MAN  MANDIR   (1970)

    Sanjeev Kumar – Waheeda Rehman starrer film with good music, including extremely melodious “LORI” song, LULLABY.

    –-Aa Aaja Abhi Nahi                   (Kishore-Asha)

    –Ai Meri Ankhon Ke Sapne     (Mukesh-Lata) melodious “LORI”

    and the most popular song

    Jadugar Tere Naina         (Singer Lata Mangeshkar-Kishore Kumar)

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

    GEHRI  CHAAL  1973 )

    A musical thriller made by  Producer / Director C V Sreedhar starring Amitabh Bachchan, in negative role, Hema Malini and  Jeetendra.

    –Jaipur Ki Choli            (Kishore-Asha)

    –Kook du Koo                    (Asha)

    and a superb cabaret filmed on actress Bindu.  

    Sham Bheegi Bheegi Badan Jal Raha Hai     (Singer Asha Bhosle)

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

    GEETA  MERA NAAM   (1974)

    A home production from actress Sadhana who is also the director of this suspense thriller. It has Sunil Dutt in lead role. Firoz Khan in supporting role. It has a euphonic music.

    — Lahoo Ko Lahoo Pukarega         (Rafi)

    — Mohabbat Hi Mohabbat Hai      (Rafi)

    –– O Meharban Dekho Zara             (Lata)

    and Lata/LP classic

    Suniye, Zara Baithiye Na            (Singer Lata Mangeshkar)

    Awesome rendering by Lataji. Wonderful rhythm of DHOLAK.  BASS GUITAR is brilliantly synchronized with the DHOLAK. “Interludes” are mellifluously orchestrated with JAZZ FLUTE, SAXOPHONE and ACOUSTIC GUITAR. A unique song from Lata-LP.

    NAYA  DIN NAYI  RAAT   (1974)

    It  is a unique film. Sanjeev Kumar has played NINE different roles in the movie. Jaya Bhaduri supports Sanjeev Kumar  in all the NINE roles. It has too melodious music.

    — Krishna Krishna Bolo Krishna   (Lata-Kishore) devotional song.  

    –– Didi Teri Shaadi Dekhana                  (Lata)

    — Ek  Paheli Main Tumse                        (Lata)

    and GEM of song.

    Main Wohi Wohi Baat       (Singer Mohammad Rafi)

    Lively involved voice, supported by the great Saneev Kumar’s restrained but natural performance for this tipsy song. Enraptured “prelude” of 26 seconds full of IRANI SANTOOR, SAXOPHONE, ELECTRIC GUITAR, ACOUSTIC GUITAR and ACCORDION with the “boozy” entry from Sanjeev Kumar at the same time brilliant take off by Rafi Saab. “Interludes” are euphonically orchestrated with ELECTRIC GUITAR, ACCORDION, SYMPHONY VIOLINS and IRANI SANTOOR. Just listen to the second “interlude”delirious “aalap” by Rafi Saab, SYMPHONY VIOLINS and awesome overlapping sound effect of IRANI SANTOOR with ACCORDION. In-spite of the use of western instruments the DHOLAK ‘rhythm gives you an ear-pleasing moment, throughout the song.

    Laxmikant-Pyarelal always gave some astonishing compositions for Rafi saab, in mid seventies,  when Mohammad Rafi saab was almost forgotten by all the music directors.

    JWAR BHATA  (1974)

    Superhit songs for  Dharmendra – Saira Banu starrer.

    –Tu Ru Ru Tera Mera Pyar Shuru              (Kishore)

    –Rutha Hai To Mana Lenge                        (Lata)

    –Hothon Pe Tera Naam                                 (Asha) Splendid composition.

    and top hit song

    Dal Roti Khao Prabhu Ke Gun Gao    (Lata Mangeshkar – Kishore Kumar)

    This is not an ordinary song by any means.That is why it is still popular.  Rajendra Krishan has shown his writing power by giving the messages philosophically. The song is typical LP style favour.    

    WAFAA  (1974)

    Aaloo Ki Bhaji Baingan Ka Bhrata   (Lata Mangeshkar-Kishore Kumar)

    Enjoy Romance in Kitchen from Sanjay Khan – Rakhi

    PONGA  PANDIT   (1975)

    This musical hit movie is produced by Surinder Kapoor (father to Bonny Kapoor, Anil Kapoor and Sanjay Kapoor).

    –Jijaji Jijaji Meri Didi Hai Anari    (Kishore, Asha, Usha)

    –Woh Mere Pichhe Padi Hui Hai   (Kishore Kumar)

    –Ganga Ghat Ka Pani Piya Hai        (Kishore Kumar)

    —Main Jab Chhedunga Tarana          (Kishore Kumar)

    and TWO beautiful songs of different flavour.

    Tere Milne Se Pehle Bhi Jeete The Hum         (Singer :- Lata Mangeshkar)

    An extremely melodious, intoxicated pop song composition. Excellent take off by Lataji in “prelude” by HICCUP with SAXOPHONE and SYMPHONY VIOLINS.  Ear-pleasing BONGO DRUM rhythm and classic orchestra with minimum musical instruments, ELECTRIC GUITAR , VIOLINS, ACCORDION. One of the finest songs from the unique combo of Lata – LP.

    Ye Biraha Ki Aaa Aisi    (Singer Manna Dey)

    Pure Classical gem.

    PHOOL KHILE  HAIN GULSHAN  GULSHAN  (1979)

    Very popular song amongst the children.

    Mannu Bhai Motor Chali Pum Pum         (Singer Kishore Kumar)

    Ajay Poundarik. Vadodara.

  • “WALTZ” Cadency and LAXMIKANT-PYARELAL Music.

    “WALTZ” Cadency and LAXMIKANT-PYARELAL Music.

    In Hindi Film Music many of the music directors have orchestrated WALTZ ‘rhythm’ to compose some beautiful melodies. In this topic reviewing few best songs composed by Laxmikant-Pyarelal on “WALTZ” Cadency.

    In “form” Laxmikant-Pyarelal in mid-sixties.

    WALTZ  is type of musical ‘rhythm’ created for  a ballroom dance in 3/4 time with strong accent on the first beat and a basic pattern of step-step-close.

    WALTZ is originated from the Germany in 16th century. WALTZ, from the old German word walzen to roll, turn, or to glide. In simple words to move or glide in a lively or conspicuous manner (to advance easily and successfully).

    Technically speaking, a WALTZ  is a closed position dance to be performed in triple time. In layman’s terms, this means that the partners both hold and face each other while dancing to a rhythm of hard-soft-soft-hard-soft-soft.

    Originally introduced as a ballroom dance, the catchy rhythm, combined with the fact that the partners were allowed to be so close to each other, made the waltz popular within other styles.

    Anil Biswas the legendary music director was the first to introduce the WALTZ ‘rhythm’ in Bollywood music, In the year 1940, through the song Hum Aur Tum Aur Yeh Khushi from the film “Alibaba”.  

    Later many legendary music directors have used WALTZ ‘rhythm’.  Listing out few memorable hit songs composed by various music directors to get an idea / feel about WALTZ ‘rhythm’.

    Naushad Tara Ri Aara Ri Aara Ri /  Suraiya – Mohammad Rafi / “Dastan” 1950.  

    Husnlal-Bhagatram   Abhi To Mein Jawan Hoon  /  Lata Mangeshkar / “Afsana” 1951.

    S D Burman Hum Aap Ki Aankhon Mein / Mohammad Rafi – Geeta Dutt / “Pyaasa” 1955.

    Shankar-Jaikishan (Many songs composed on Waltz rhythm) Aaja Ke Intezar Mein / Lata Mangeshkar – Mohammad Rafi / “Halaku”1956. Dil Ki Girah Khol Do / Lata Mangeshkar  – Manna Dey / “Raat Aur Din” 1967. Bhanware Ki Gunjan / Kishore Kumar / “Kal Aaj Aur Kal” 1971.

    Khayyam Woh Subah Kabhi To  / Mukesh – Asha Bhosle / “Phir Subah Hogi” 1958.

    O P Nayyar  (Many songs composed on Waltz rhythm) Tum Jo Hue Mere Hamsafar / Mohammad Rafi – Geeta Dutt / “12 O’Clock” 1958. Kaisa Jadoo Balam Tune / Geeta Dutt / “12 O’Clock” 1958.

    Ravi Ye Raaten Ye Mausam / Kishore Kumar – Asha Bhosle / “Dilli Ka Thug” 1958.

    Mukul Roy Mujhko Tum Jo Mil Gaye / Geeta Dutt – Hemant Kumar / “Detective” 1958.

    Usha Khanna Hum Aur Tum Aur / Asha – Rafi / “Dil Deke Dekho” 1959.

    Kishore Kumar (as music director) Thandi Hawa Yeh Chandni / Kishore Kumar / “Jhumroo” 1961.

    Madan Mohan Shokh Nazar Ki Bijaliya / Asha Bhosle / “Woh Kaun Thi ?” 1963.

    Chitragupt Ye Parbaton Ke Dayare / Lata Mangeshkar – Mohammad Rafi / “Aulad” 1968.

    Kalyanji-Anandji Sama Hai Suhana Suhana / Kishore Kumar / “Ghar Ghar Ki Kahani” 1970.

    R D Burman Tera Mujhse Hai Pehle Ka / Kishore Kumar – Sushma Shreshth / “Aa Gale Lag Jaa” 1973.

    Rajesh Roshan Ye Raatein Nayi Purani / Lata Mangeshkar / “Julie” 1974.

    Laxmikant-Pyarelal too,  have extensively used WALTZ “rhythm” in their compositions, including mesmerizing Main Shayar To Nahin (Raj Kapoor’s “Bobby”, 1973) and stupefying Dhadkan Zara Ruk Gayi Hai (Nana Patekar’s “Prahaar”, 1991).  Let us review few of the best.

    The orchestra arrangements in “Preludes” and “Interludes” used to be the assets of the songs composed by Laxmikant-Pyarelal.  Listen to the songs, listed below, after reading the write up, explaining peculiarities, for each of the songs you will enjoy it, more.

    Wo Hai Zara     “SHAGIRD” (1967).

    (Singers:- Lata Mangeshkar – Mohammad Rafi. Lyricist:- Majrooh Sultanpuri)

    Enthralling  “toe stepping” WALTZ ‘rhythm’ generated through the intermixing sound effect of ACOUSTIC GUITAR and a SNARE DRUM, a percussion instrument. Entire song is woven around the glimpses of ACOUSTIC GUITAR.  Another beauty of the song is mellifluous overlapping of AALAAPS with words and also AALAAP with AALAAPS, by Lata Mangeshkar & Mohammad Rafi. This overlapped aalaps” can be heard at the end of the song.  i) “overlapped aalaps” at 3.22-3.28 and again at 3.48-3.54) ii) “overlapped aalaaps with words” at 3.28 to 3.48, simultaneously both by Lataji and Rafi sab. This beautiful, melodious and sweet song naughtily acted by Saira Banu and Joy Mukherjee

    Diye Jalaye Pyar Ke    “DHARTI  KAHE PUKAR  KE” (1969)

    (Singer:- Lata Mangeshkar. Lyricist:- Majrooh Sultanpuri)

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

    Main Hardam Kisi Ko Dhundhata Hoon.   “RAASTE  KA PATTHAR”  (1972)

    (Singers:- Mukesh – Asha Bhosle.  Lyricist:- Anand Bakshi)

    A melodious duet beautifully orchestrated in WALTZ ‘rhythm’. The song has wonderful BONGO DRUM rhythm. The ‘interludes’ are mellifluently instrumented with SYMPHONY style VIOLINS, GUITAR.  The WHISTLE sound, synchronized with Mukesh rendering supported by Asha Bhosle, is simply ear-pleasing. Amitabh Bachchan dancing on Waltz ‘rhythm’ with Laxmi Chhaya.

    Dilbar Jani    “HAATHI  MERE SAATHI”   (1971)

    (Singers:- Lata Mangeshkar-Kishore Kumar.  Lyricist:- Anand Bakshi)

    The “prelude” is full of WHISTLE, SANTOOR.  Rich Orchestra also has SAXOPHONE, FLUTE. The entire song has ACOUSTIC GUITAR as “base” for the rhythm.  The song is filmed on Rajesh Khanna – Tanuja.

    Hum Aur Tum    “DAAG”  (1973)

    (Singers:- Lata Mangeshkar-Kishore Kumar.  Lyricist:- Sahir Ludhianvi)

    This romantic song is completely woven around the WALTZ rhythm based ACOUSTIC GUITAR as well BONGO DRUMS.  Another beauty of this song is it’s ‘interludes’. Both the ‘interludes’ have different tunes. First ‘interlude’ full of ‘aalaps’ by Kishore and  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. Rajesh Khanna-Sharmila Tagore look fanciful.

    Main Shayar To Nahin   “BOBBY”  (1973)

    (Singer:- Shailendra Singh.  Lyricist:- Anand Bakshi)

    Truly a mesmerizer. Mellifluously decorated the WALTZ style orchestra for this lovely song. Use of VIOLINS,  IRANI SANTOOR, GUITAR, ACCORDION as well as VIOLA are brilliantly executed in the “prelude”, all the “interludes” and also in “postlude”…The ‘overlapping’ sound effect of IRANI SANTOOR and SYMPHONY style VIOLINS in the first ‘interlude’ is mind-boggling.  Rishi Kapoor and Aruna Irani can be seen dancing in waltz style, specially in the “interludes, in the song. Brilliantly filmed by Raj Kapoor as a director.

    Chanchal Sheetal   “SATYAM  SHIVAM SUNDARAM”   (1978)

    (Singer:- Mukesh.  Lyricist:- Anand Bakshi)

    This angelic western style composition  is gorgeously orchestrated in SYMPHONY style orchestra arrangements by utilizing WALTZ rhythm. Throughout the song use of SYMPHONY style VIOLINS, in the “surrounds”, sounds delightful. Apart from that the instruments like IRANI SANTOOR, solo VIOLIN, VIOLAS and CELLOS are sweetly orchestrated in the “prelude’ as well as “interludes”. Shashi Kapoor – Zeenat Aman looks awesome.

    Shabnam Ka Ye Qatra Hai “SHARARA” 1984

    (Singer:- Lata Mangeshkar. Lyricist:- Anand Bakshi.

    Beautiful WALTZ a sheer Magic from Lata Mangeshkar and Laxmikant-Pyarelal. ‘Prelude’ of 98 seconds, full of solo VIOLIN and awesome AALAP and HUMMING rendered by LATAji, hypnotizes. ‘Interludes’ are mellifluously orchestrated with Symphony VIOLINS, FLUTE and Lataji’s AALAP and Humming. In particular third ‘interlude’ is full of solo VIOLIN and Lataji’s AALAPs and CHORUS overlapped with Symphony VIOLINS. The song is filmed on Hema Malini and Raj Kumar.

    Tumhe Apna Saathi Banane Se   “PYAR  JHUKTA NAHIN” (1985)

    (Singers:- Lata Mangeshkar-Shabbir Kumar.  Lyricist:- Asad Bhopali)

    This sweet duet has  melodiously WALTZ ‘rhythm’ in the “interludes”. It is  orchestrated in SYMPHONY style VIOLINS, CELLOs, ACCORDION and GUITAR. Filmed on Mithun Chakraborty – Padmini Kolhapure

    Dhadkan Zara Ruk Gayi Hai   “PRAHAAR”  (1991)

    (Singer:- Suresh Wadkar.  Lyricst:- Mangesh Kulkarni)

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

    Ajay Poundarik. Vadodara (Gujarat)

  • SANT GYANESHWAR 1964 :: Canorous Laxmikant-Pyarelal & Lata Mangeshkar

    SANT GYANESHWAR 1964 :: Canorous Laxmikant-Pyarelal & Lata Mangeshkar

    ज्योत से ज्योत जगाते चलो, प्रेम की गंगा बहाते चलो

    It was Laxmikant-Pyarelal’s 6th released film. The film is a mythsylogial film with A Grade Music. Once again extremely sweet, melodious and popular music pulled the crowed into cinema hall. All the songs of the film were super duper hit. The film was a huge hit. The meaningful wordings of all the songs are written by none other than PANDIT BHARAT VYAS.

    The film was produced by Ranglok and directed by Manibhai Vyas. It has Shahu Modak in lead roll as well as Sudhir Kumar with Sulochana Latkar. The film is still being remembered for it’s songs and one big HIT song. ”Jyot Se Jyot Jagate Chalo””…It can be heard in many of the Temples at any part of the world.

    While shooting for the film in Alandi a religious place in Maharashtra. Laxmikant-Pyarelal decided to visit the holy Temple. Laxmikant decided to visit it in a cue rather then in VIP line. While they were in the cue they heard an old lady murmuring a tune and noted down an composed the song Jyot Se Jyot Jagaate Chalo.

    Laxmikant, Lata Mangeshkar & Pyarelal

    Lata Mangeshkar and songwriter Pandit Bharat Vyas were nominated for the Filmfare’s best female singer and the best song writer, respectively, for the song ‘Jyot Se Jyot Jagate Chalo’…..

    “Sant Gyaneshwar” has as many as 8 songs out which 5 have been rendered by Lata Mangeshkar. 

    1) Jago Re Prabhat Aaya ….Manna Dey and Chorus

    Beautiful melodious classical composition. Wonderful use of Chorus. 

    2) Ek Do Teen Char Bhaiya Bano Hoshiyar….Lata Mangeshkar 

    Naughty song filmed on child artist. Very CUTE and SWEET Song.

    3) Mere Laadlo Tum Phoolo Phalo..Lata Mangeshkar

    A sad but sweet and melodious song beautifully sung. 

    4) Jyot Se Jyot Jagate Chalo ..Lata Mamngeshkar

    The MOST POPULAR song of the film. The entire song is woven around the glimpses of FLUTE and SITAR with mesmerizing rhythm of DHOLAK. 

    5) Bahut Din Beete…Lata Mangeshkar. 

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

    6) Main To Chhel Chhabili Naar …Lata Mangeshkar

    A pure FOLK (Marathi) song or “Lawani”

    7) Jyot Se Jyot Jagate Chalo..Mukesh. 

    One of the Most Popular Song sung by Mukesh. 

    One of the most popular song of Mukesh and of the film, as well.   The entire song is woven around the glimpses of FLUTE and SITAR with mesmerizing rhythm of DHOLAK. The film is still being remembered for one big HIT song..”Jyot Se Jyot Jagate Chalo””…It can be heard in many of the Temples at any part of the world. Devotionally penned by Pandit Bharat Vyas. 

    8) Jai Jai Ram Krishna Hare..Mukesh & Shyma Hemady. 

    Very Sweet “BHAJAN”..

    When you listen to the Laxmikant-Pyarelal’s music of eighties and nineties, “Sant Gyaneshwar” songs are totally of a different flavour and of melody. 

    A MUST musical Album for all LP lovers….

    Ajay Poundarik.

  • INVINCIBLE Laxmikant-Pyarelal and EUPHONIC Mohammad Rafi

    INVINCIBLE Laxmikant-Pyarelal and EUPHONIC Mohammad Rafi

    INVINCIBLE  Laxmikant-Pyarelal and EUPHONIC  Mohammad Rafi

    (Few Black and White  “Romantic Songs”)

    “Parasmani”  marked the beginning of a long association between Mohammad Rafi Saab and Laxmikant-Pyarelal.  When filmmaker Babubhai Mistry signed Laxmikant-Pyarelal to compose music for the low-budget costume drama Parasmani in 1963. Laxmikant-Pyarelal began thinking of which singers to choose. Laxmikant-Pyarelal’s natural choice was Mohommad Rafi.  Two songs of Mohammad Rafi “Woh Jab Yaad Aye, bahut yaad aye” and “Roushan tumhi se duniya” brought fame for the musical duo.

    Laxmikant, Pyarelal and Rafi Saab, in 1969. 

    Success was not easy for Laxmikant-Pyarelal, since they had no Godfathers to promote them. They both started with B grade films, which were never released. Their first breakthrough came via film Parasmani.  Dosti established them as full flagged music composers.

    The most unique aspect of these two films was that they had unknown actors for whom Laxmikant-Pyarelal and Rafi Saab gave A grade performance.

    1964 Filmfare Award Function. Mohammad Rafi, Majrooh Sultanpuri and Laxmikant-Pyarelal Winning The Awards For Rajshrhi Pictures DOSTI

    The song ‘Chahunga mein tujhe‘ for which Rafi Saab and lyricist Majrooh Saab won Filmfare awards was to be scrapped from the soundtrack. It was Rafi Saab who insisted Laxmikant-Pyarelal to retain the song and what a momentous decision that was from Dosti where there was no looking back.

    Rafi was so impressed with the compositions of Laxmikant Pyarelal that he had taken just one rupee for singing the song because it was the custom of a singer to take something in return for a professional song. The film became a huge success.

    Laxmikant-Pyarelal were the staunch Rafi loyalist throughout their life. Their greatness lies in their simplicity, commitment and the quality of unconquered versatility gave Laxmikant-Pyarelal a supreme staying power of 35 years in the Hindi Film Music.

    Laxmikant-Pyarelal’s s association with Rafi Saab continued till his last day, 31st July, 1980. During Rafi Saab’s lean years in the early 70s apart from Madan Mohan it was Laxmikant-Pyarelal who stood by him. Both were instrumental in bringing Rafi Saab comeback in the year 1977.

    Pyarelal & Mohammad Rafi

    Mohammad Rafi has sung as many as 379 numbers of the songs, including 183 solo, under Laxmikant-Pyarelal. This is the highest numbers of the songs sung by Mohammad Rafi under any music directors in Hindi Film Music.

    It is very difficult to select the best of Mohammad Rafi with Laxmikant-Pyarelal. Here I have selected few “Black and White” era’s Romantic songs, from Rafi-LP combo. Most of these songs are of the period when Laxmikant-Pyarelal were relatively new. Just listen to it. They are just amazing in all respect.

    1. Abhi Kamseen Ho Nadan Ho …”Aaya Toofan” 1964. 

    This song is a “landmark” for Rafi-LP combo, just before “Dosti”. Extremely ‘tender’ song, delicately rendered by Rafi in his own style. The way Rafi Saab takes off and renders “ABHI KAMASEEN HO”… is just a mesmerizer. Apart from western style orchestra arrangements using VIOLINS and ACCORDION  in all the “interludes”, it has ear-pleasing “prelude” of MANDOLIN. Another beauty of this song is the “pauses” given in between.  It is an addict song for all RAFI FANS. Asad Bhopali have written this lovely romantic words.

    2. Tauba Ye Nazare …”Dillagi” 1966

    “Prelude” of 44 seconds is  very melodious, Rafi Saab’s humming, ACOUSTIC GUITAR and VIOLINS. Flawless ‘romantic’ rendering, beautiful BONGO DRUM fast rhythm. First and last ‘interludes’ are orchestrated with ACCORDION and GUITAR. Second “interlude” Rafi Saab have repeated the humming. The song is written by Majarooh Sultanpuri.

    3. Mera Yaar Bada Sharmila ..”Milan Ki Raat” 1967

    This song is effortlessly sung by Rafi saab on a “ROCK N ROLL” style, synchronizing his rendering with BONGO DRUMS  ‘rhythm’.  Another beauty of the song is that it is completely woven around the glimpses of GUITAR, in the ‘interludes’ and as ‘filler’ to create a romantic feel through the orchestra. This song is written by Anand Bakshi.

    HIT song of 1967 at “right” moment…When late Mansoor Ali Khan Pataudi Playing Test Cricket at Leeds (UK), “proposed” Sharmila Tagore, by scoring brilliant Century (148 runs).

    4. Jab Jab Bahar Aayee ..”Taqdeer” 1968

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

    5. Aayee Baharon Ki Sham ..”Wapas” 1969

    Western style composition with rhythm on ACOUSTIC GUITAR mesmerizes the musical ears. Beautiful song with sweet & soulful lyrics. Rafi sab is always at his best when he sings soft, soothing romantic songs.Here too he has succeeded to spread magic with his extremely melodious singing…..lovely composition. Majaroooh Sultanpuri has written the song.

    Long Live Laxmikant-Pyarelal Music. 

    Ajay Poundarik

  • EK DUJE KE LIYE, 1981. Melodious and Dulcet, Laxmikant-Pyarelal

    EK DUJE KE LIYE, 1981. Melodious and Dulcet, Laxmikant-Pyarelal

    EK DUJE KE LIYE, Non-Starcast film and once again the entire success of the film was carried away by Laxmikant-Pyarelal’s “MAGICAL MUSIC”. Music of “EK DUJE KE LIYE”, released in June, 1981.

    Earlier In 60s and 70s the combo of Dada Saheb Phalke Award winner L V Prasad and Laxmikant-Pyarelal have given many musical hit films mainly “Milan”, 1967, “Raja Aur Rank”, 1968, “Jeene Ki Raah”, 1969, “Khilona” 1971 etc..Most of the above list of the film have big star-cast in lead roll excepting “Raja Aur Rank”. 

    This time L V Prasad wanted to make a different type of love story. The story of a youthful romance between a South Indian boy and a North Indian girl, troubled and thwarted by their own parents . Two unknown faces in lead roll. Two newcomers a rampaging youthful Kamal Haasan, a ravishingly beautiful Rati Agnihotri.

    L V Prasad / Laxmikant-Pyarelal also introduced new fresh voice to Hindi Film Music. More Importantly melodious music of Laxmikant-Pyarelal sung with total freshness and apt emotion by S.P. Balasubramaniam, singing in Hindi film for the first time.  All these went into a heady cocktail to make this an iconic youth film of the period. Just listen to the songs and you will understand the magic behind the success of the film..

    When the film ”EK DUJE KE LIYE” was completed, no distributor wanted to buy it. So producer L.V. Prasad released it with minimum prints, but after one week, the shows increased five-fold. It became a huge hit. It celebrated “Golden Jubilee” run ( 50 weeks) in all the major cities of India. 

    The film was directed by yet another Dada Saheb Phalke Award winner K. Balachandar. 

    While the movie is now part of Bollywood history, full credit goes to the Laxmikant-Pyarelal’s music for its giant success. 

    The melodious music of the film by Laxmikant Pyarelal, lyrics created by Anand Bakshi, acts as the corollary to the inseparable love chemistry between the lovers and their unrequited love. It’s no wonder then, that the music still keeps haunting you whenever the topic of romantic songs in Hindi is broached.

    1) TERE MERE BEECH MEIN ..Lata Mangeshkar

    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. 

    2) HUM BANE TUM BANE ..Lata Mangeshkar – S P Balasubramaniam

    Classic Romantic Song, evergreen song. “Prelude” of 63 seconds with the glimpses of GUITAR (played by late Mr. Gorakh Sharma), SAXOPHONE and VIOLINS and Lataji’s beautiful “aalap” sets the mood of this song. Once again very different type of “rhythm”. Ever-Fresh / Ever-Green melody.

    3) MERE JEEVAN SAATHI S. P. Balasubramaniam – Anuradha Paudwal.

    A different style of song writing in which all the words contain films’s name. Credit goes to Anand Bakshi. Awesome ‘rhythm’. This song is excellently filmed in the lift. A song with difference. 

    4) SOLA BARAS KI BALI UMAR Ko .Lata Mangeshkar – Anoop Jalota

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

    5) HUM TUM DONO JAB MIL ..Lata Mangeshkar – S P Balasubramaniam

    Emotional Romantic Melodious Duet. Excellent “prelude” with Symphony style VIOLINS. Wonderful rhythm. 

    6) TERE MERE BEECH MEIN ..S P Balasubramaniam

    Sad version. What a wonderful tune and song, well rendered by S P Balasubramaniam.

    Since 1964 onwards Song Writer ANAND BAKSHI have given many memorable songs, without any loss of continuity break. Anand Bakshi win the Filmfare award for“Tere Mere Beech Main” song gave Anand Bakshi it’s second Filmfare trophy. As usual Laxmikant-Pyarelal were also nominated for the best music for “EK DUJE KE LIYE”..

    S P Balasubrahmanyam wins National award for the song “Tere Mere Beech Main”.

    Ajay Poundarik

  • FARZ, 1967. Laxmikant-Pyarelal & Jeetendra:: Musical Bonanza

    FARZ, 1967. Laxmikant-Pyarelal & Jeetendra:: Musical Bonanza

    FARZ the film in which the real “STAR” was only Laxmikant-Pyarelal’s music, when there were no BIG STARS acting in the film. Once again, the entire success of the film was carried away by Laxmikant-Pyarelal’s “MAGICAL MUSIC”. Music of “FARZ”, released in 1967, all the songs became extremely popular and proved to be the “crowd puller”.

    Now this was the time when Laxmikant-Pyarelal’s music became an essential component of the every successful film. Big banners, prominent producers and directors wanted LP to score them for their respective films.

    Pyarelal, Jeetendra and Laxmikant

    It is to be noted that 1967 was the year of Laxmikant-Pyarelal, the duo not only consolidated their position in hindi film music but also officially, became the “number one” music director of Bollywood music. In 1967 Laxmikant-Pyarelal gave series of MUSICAL HIT films like, “Anita”, “Night In London”, “Patthar Ke Sanam”, “Shagird”, “Jaal”, “Taqdeer” and “Milan”.

    All these films, mentioned above, were successful and musical hits while BIG Names of Actor/Actress working in it. BUT in the same year, 1967, just around “Diwali” one NON-STARCAST, low budget film “FARZ” released.

    “FARZ” was made in “James Bond” style and had no big names. It was actor Jeetendra and actress Babita’s second film. Both Jeetendra and Babita had not star value then. It was produced by Sunderlal Nahata & Doondy, the producers from South and directed by Ravikant Nagaich.

    “FARZ” has SIX ‘ huge hit’ songs. All the songs became immensely popular. This film broke all the records of Pervious Hits of Laxmikant-Pyarelal. “FARZ” became the FIRST BIGGEST HIT in Laxmikant-Pyarelal’s carrier. “FARZ” celebrated ’golden jubilee” ( 50 weeks run) in almost all major cities of India.

    Jeetendra & Laxmikant-Pyarelal (BOX-OFFICE HIT Combination)

    “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.

    All the songs are written by Anand Bakshi. Let us review the songs …..

    1) MAST BAHARON KA MAIN AASHIQ …Mohammad Rafi

    The “prelude” of 49 seconds is just mesmerizing. VIOLINS, GUITARs and BONG DRUMS are excellently executed in the entire orchestra.

    2) BAR BAR DIN YE AAYE, HAPPY BIRTHDAY TO YOU..Mohammad Rafi.

    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, timeless masterpiece.

    3) HUM TO TERE AASHIQ HAI SADIYON .Mukesh-Lata Mangeshkar

    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) and all the “Interludes” are wonderfully orchestrated.

    4) TUMSE O HASEENA KABHI …Mohammad Rafi – Suman Kalyanpur

    This song is mixture of Western and Indian ‘folk” tunes. Beautifully composed and awesomely filmed the dance performed by Babita and Jeetendra. “Prelude” of 32 seconds and all the “interludes” have mellifluous orchestra arrangements. The best part of the song is it’s “Postlude”, from 4.32 to 6.02…

    5) DEKHO DEKHO JI SOCHO JI ..Lata Mangeshkar

    One more ‘popular’ song with sweet melody. Typical Lata-LP flavor.

    6) AAJA AAJA MERE PASS..Asha Bhonsle.

    Beautifully sung cabaret song, SAXOPHONE, VIOLINS and GUITAR are worth to listen to in the song.

    ‘FARZ’ proved to be the biggest blockbuster film of the year 1967, even in the presence of Laxmikant-Pyarelal’s BIG Musical Hit films like L.V Prasad’s “Milan”, Raj Khosla’s “Anita”, Nadiadwalas’ “Patthar Ke Sanam”, S. Mukharjee’s “Shagird”, “Night In London” and “Jaal”.. “FARZ” also gave recognition to the pair of Jeetendra-Babita.

    Ajay Poundarik

  • MR. X IN BOMBAY, 1964. ::Memorable Premier Meet:: Laxmikant-Pyarelal, Anand Bakshi, Kishore Kumar

    MR. X IN BOMBAY, 1964. ::Memorable Premier Meet:: Laxmikant-Pyarelal, Anand Bakshi, Kishore Kumar

    B Grade and Low Budget film but once again, the entire success of the film was carried away by Laxmikant-Pyarelal’s “MAGICAL MUSIC”. Music of “MR X IN BOMBAY, released in 1964, falls into this category. The film was directed by Shantilal Soni, starring Kishore Kumar and Kumkum in lead role with Madan Puri, Mohan Choti and Leela Mishra. Just to remind you that on those days Kishore Kumar was not a BIG name and used to work on B Grade Films. The film was average hit.

    After creating a Magical Hits with Lata Mangeshkar (“Sati-Savitri”) and Mohammad Rafi (“Dosti”) it was now time for Kishore Kumar to create a vintage musical hit songs with Laxmikant-Pyarelal

    It was for the FIRST TIME Laxmikant-Pyarelal and Anand Bakshi worked to gather. Later this combination went to create a history and worked for as many as 304 films / 1860 songs as record breaking ’trio’.

    Laxmikant, Anand Bakshi & Pyarelal

    It was for the FIRST TIME Laxmikant-Pyarelal and Kishore Kumar worked to gather. Later Kishore Kumar has sung as many as 402 songs under Laxmikant-Pyarelal.

    Laxmikant, Kishore Kumar & Pyarelal

    A) Mere Mehaboob Quayamat Hogi…Kishore Kumar

    Very emotional song. Beautifully orchestrated in western style orchestra arrangements, using GUITAR. “prelude” of 18 seconds full of symphony VIOLINS, ACCORDION and GUITAR. One Of The Best Ever Sad Songs Of Hindi Cinema. The personal favorite of Kishore Kumar himself.
    This song has as many as SIX…. “FIRST-TIMES”..
    1) The First Ever Song, Anand Baxi with Laxmikant-Pyarelal.
    2) The First Ever Song, Kishore Kumar with Laxmikant-Pyarelal.
    3) The First Ever Song, Anand Baxi with Kishore Kumar.
    4) The First Ever Song, Anand Baxi Kishore Kumar & Laxmikant-Pyarelal. 5) The First Ever Song Of Laxmikant-Pyarelal filmed on Kishore Kumar as an actor. 6). The First Ever Song Of Anand Baxi filmed on Kishore Kumar as an actor.

    B) Khoobsurat Haseena Jaan-E-Jaa. ..Kishore Kumar – Lata Mangeshkar.

    Melodious and Romantic Duet in western style. Use of SAXOPHONE is mesmerizing. One of the top hit song.

    C) Chali Re Chali Re Gori ..Kishore Kumar – Lata Mangeshkar.

    Classical Romantic Sweet and Melodious Duet. Composed in the in Indian Classical Raag “BHAIRAVI”. Excellent use of “MATAKI”, “PAYAL”, “FLUTE” and DHOLAK..in “prelude”. Kishore Kumar singing rare Classical..

    D) Aallah Kare Tu Hi Aaja Ye..Lata Mangeshkar

    Beautiful ‘prelude’ orchestrated with VIOLINS, PIANO and awesome take off by Lataji. Unique ‘QAWWALI” style rhythm intermixed with CLAPPING. ‘Interludes’ are orchestrated with VIOLINS, FLUTE and GUITAR. This song is written by Asasd Bhopali.

    E) Zulmi Hamare Sanwariyan O Ram..Lata Mangeshkar

    38 seconds of ‘prelude’ with soft VIOLINS, FLUTE and beautiful Lataji’s AALAP. ‘Interludes’ are orchestrated with NANDASWARAM, FLUTE and VIOLINS. Typical Lata-LP “theka” song. A hit song of its time.

    F) Ruk Jaa Rokata Hai Ye Deewana ..Kishore Kumar

    Beautiful “Rock-N-Roll” style rhythm. Only Kishore Kumar can do the justice to such beautiful naughty song.

    Ajay Poundarik