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Fascinating Hema Malini and Symphonious Laxmikant-Pyarelal

The association of actress Hema Malini with Laxmikant-Pyarelal started in 1969/1970 through the film Sharafat . It was Hema Malini’s fifth Hindi Film. In-Form duo, music directors Laxmikant-Pyarelal, Sharafat was their 70th film. In the span of 22 years, the duo has scored the music for 34 films of Hema Malini.

The film was produced by Madan Mohla and directed by Asit Sen. The very first film of this Fascinating Hema Malini and Symphonious Laxmikant-Pyarelal went on to become a super hit.

It was also First film of Dharmendra – Hema Malini, the most successful and popular, pair of Hindi cinema. Dharmendra-Hema Malini pair was lucky to have as many as 17 numbers (out of total 26 films of Dharmendra and Hema Malini) of the films in which Laxmikant-Pyarelal have scored the music.

In 1977 Hema Malini produced the film “Dream Girl“, starring the popular pair of Dharmendra – Hema Malini, with music by Laxmikant-Pyarelal .

Laxmikant-Pyarelal and Hema Malini

The final Binaca Geetmala Songs:-  Hema Malini and  Laxmikant-Pyarelal have 28 numbers of the final songs, the  highest numbers of the songs by any music directors for Hema Malini. Zindagi Ki Na Tute Ladi from Kranti, second spot in 1981.  

Undoubtedly, Laxmikant-Pyarelal has utilized Lata Mangeshkar’s voice for most of  Hema Malini’s songs. This is to note that Hema Malini has also sung the songs under Laxmikant-Pyarelal in the films Dream Girl and Aap Beati (with Shashi Kapoor).


1970:- 1 Sharafat, 

1971:- 2 Abhinetri,  3 Raja Jani, 

1972:- 4 Gora Aur Kala,  

1973: 5 Gehri Chaal, 6 Dost, 7 Amir Garib, 8   Dulhan, 

1975:- 9 Pratigya,  

1976:- 10 Naach Uthe Sansar, 11 Charas, 12 Maa, 13 Aap Beati, 14 Dus Numbari,  15 Jaaneman, 

1977:- 16 Dream Girl, 17 Chacha Bhatija, 18 Palkon Ki Chhaon Mein.     

1979 :- 19 Dil Ka Heera. 

1980:- 20 Bandish 

1981:- 21 Krodhi, 22 Kranti, 23 Naseeb,  24 Meri Aawaz Suno. 

1982:- 25 Samrat, 26 Farz Aur Kanoon, 27 Do Dishayen,  28 Rajput, 29 Bagawat, 30 Desh Premee,  

1983:- 31 Andha Kanoon, 

1984:- 32 Sharara, 

1989:- 33 Santosh. 

1991:- 34 Jamai Raja

Few Songs Of Hema Malini Composed By Laxmikant-Pyarelal Are Being Reviewed.

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.

Sharafat  1970                                                                                                                                 The first film with the legendary jodi of Hema Malini-Dharmendra and the chemistry is visible from the get-go. If you’re a fan of Hema Malini and her graceful dancing in any movie, you’ll love the songs of Sharafat, which exploit her talent excellently. Lata Mangeshkar has sung as many as five solo songs and all are great.               

Jeevan Data Jagat Pita Tum.…Lata

Sharafat Chhod Di Maine ..Lata (The most popular song of the film)

— Pehale Na Dekha Aise Kisi Ne …..Lata (amazing work on Sitar)

— Mera Rasta Rok Rahe Hai …Lata

— Ek Din Aapne Yaad Kiye.…Asha

and the melodious Mujra

— Duniya Ne Sunali Hai Chhupke

( Songwriter Anand Bakshi. Singer Lata Mangeshkar)     

 An extremely melodious ‘mujra’. The song is awesomely woven around the glimpses of HARMONIUM, as a filler, in surround sound and also in ‘interludes’. Interludes are orchestrated with HARMONIUM, VIOLINS, SAROD, SITAR and FLUTE. The rhythm of DHOLAK / TABLA synchronised with GHUNGROO BELLS. 

Abhinetri  1971

It was Subodh Mukharjee’s musical hit movie. Once again Album is dominated by Lata Mangeshkar who has sung as many as 6 songs, including 4 solos. All songs are melodious and wonderfully composed. 

O Ghata Sawari ….Lata (Fabulous melody and composition)

Dhadkan Har Dil Ki …. Lata

— Khinche Humse Sanware ….Lata (Beautiful DHOLAK rhythm)

Sa Re Ga Ma Pa….Lata-Kishore (The most popular song of the film)

Milte Hi Rahenge Hum …. Lata-Mahendra – K.

Bane Bade Raja ….Asha Bhosle. 

and the most melodious 

Sajna More Sajna ….Lata

(Songwriter Majrooh Sultanpuri. Singer Lata Mangeshkar)

Entire song is woven around the glimpses of SANTOOR (by Pt. Shivkumar Sharma) and FLUTE (by Pt. Hariprasasd Chaurasia). The “prelude’ of 34 seconds is full of SANTOOR as well as Lataji’s HUMMING. It also has a beautiful “Paus” of 5 to 6 secoonds. One can listen to the “rhythm” DHOLAK / TABLA.  Awesome take off   >> सजना ओ सजना<< by Lataji and the wonderful ‘stroke’ of SANTOOR, before “antara” starts. The first “interlude” has a wonderful overlapping sound effect of SANTOOR & FLUTE. Mesmerizing second ‘interlude’ starts with VIOLINS, in ‘symphony’ style. Lataji’s HUMMING brilliantly synchronized with SANTOOR and FLUTE and this is the best melodious composition of the song. 

Raja Jaani  1972

Again it is Lata Mangeshkar dominated album. Musically, super-hit. All songs hit.

Aa Aaja Aaja Kuchh  Kehja… Lata

Duniya Ka Mela Mele Mein Ladaki ….Lata

Mubarak Ho Tuze Ae Dil…Lata 

ABCD Chhodo …Lata

Jaani O Jaani….Kishore Kumar 

and very sweet song

Kitna Maja Aa Raha Hai….Lata

(Songwriter Anand Bakshi. Singer Lata Mangeshkar)

16 seconds of ‘prelude’ contains VIOLINS as well as melodious HUMMING by Lataji.

Another beauty of this song is the mellifluous use of surround sound of VIOLINS in ‘symphony’ style, in ‘Mukhada’ as well as in “Antara”. SANTOOR is beautifully used in the ‘Interludes”.This song has different tunes in the first & second “antara”. An ‘ear-pleasing’ DHOLAK rhythm. Hema Malini looks beautiful and charming. It is the rarest of rare song, filmed on Prem Chopra.  

Gora Aur Kala   1972

(Songwriter Anand Bakshi. Singer Mohammad Rafi)

Rajendra Kumar in double role. Rajkumar Kohli’s musical block-blaster. (considering only those songs filmed on Hema Malini).

Dheere Dheerre Bol Koi …Lata – Mukesh (top hit song of the film)

Tere Nain Nashele ….Mohammad Rafi

and Laxmikant-Pyarelal & Mohammad Rafi “classic”.

Ek Na Ek Din Ye Kahani….M. Rafi. 

Wonderfully orchestrated in western style. WALTZ rhythm. Use of GUITAR and ACCORDION is worth listening to. 

Dulhan  1974

Hema Malini with Jeetendra. Excellent music,

Aayegi Jaroor Chitthi Mere Naam Ki ….Lata

— Main Dulhan Teri….Lata 

and a ‘classic’ song rendered by Kishore Kumar

— Jane Chaman Jane Bahar …. Kishore Kumar.

(Songwriter Anand Bakshi. Singer Kishore Kumar)

Mesmerizing, Breezing Melody. 41 seconds of ‘prelude’ with symphony style VIOLINS, Kishore Kumar’s HUMMING and AALAPS set the mood of this romantic song. Interludes are orchestrated with VIOLINS, FLUTE and SAXOPHONE. Song. 

Pratigya  1976

It was Dharmendra’s first home production film directed by Dalal Guha.

-Morni Re Morni Main Jungle Ki Morni…Lata

-Pardesi Aaya Desh Me…Lata

-Uth Neend Se…(Lata-Rafi) 

AND Huge Hit, everfresh and evergreen  Song

Main Jat Yamla Pagla Deewana

(Songwriter Anand Bakshi. Singer Mohammad Rafi)

“Prelude” of 45 seconds is full of intermixing of the VIOLINS, Indian WIND musical instruments and Rafi Sahab’s “shouts” in “folkish” flavor. Beautiful, fast-track, DHOLAK rhythm. “Interludes” are mellifluously orchestrated with VIOLINS, Rajasthani Violins (RAVANHATTA), Punjabi DHOLs and Rafi Sahab’s sweet “screaming”. 

Charas  1976

It was Ramanand Sagar’s musical film starring Dharmendra-Hema Malini. 

It has two fabulous duets.

— Aaja Teri Yaad Aayee….Lata-Rafi-Anand Bakshi 

and ‘good night’ song.

KalKi Haseen Mulaqat Ki Liye…

(Songwriter Anand Bakshi. Singer Kishore Kumar-Lata Mangeshkar)

Use of Brass Instruments at it’s best.

Dream Girl   1977

(Songwriter Anand Bakshi. Singer Kishore Kumar)

It was Hema Malini’s first home production film. It has very good music.

Songwriter Anand Bakshi have penned a ‘special’ song for the ‘dream girl’.

Dream Girl Dream Girl, Kisi Shayar Ki Gazal

(Singer Kishore Kumar. Songwriter Anand Bakshi)

The song is wonderfully composed on western style. Use of CLARINET in all the interludes is mellifluous. Awesomely rendered by Kishore Kumar and specially penned by Anand Bakshi, for the natural dream girl Hema Malini.

Palkon Ki Chhaon Mein  1977

Gulzar is working first time with Laxmikant-Pyarelal.

— Dakiya Daak Laya …Kishore Kumar. 

and a GEM of a song.

Koi Mere Mathe Ki Bindiya

(Songwriter Gulzar   Singer Lata Mangeshkar

Excellent example of an off beat song in hindi film music. “Prelude” of 40 seconds, tunefully orchestrated with SHEHNAI and “pause” with concordant DHOLAK rhythm.A superbly composed song with a unique DHOLAK / TABLA ‘rhythm’. The first interlude is short and instrumented with ACOUSTIC GUITAR.  Second interlude full of soft VIOLINS played in ‘symphony’ style. This song was recorded in just one take.

Kranti   1981

(Songwriter Santosh Anand. Singer Lata Mangeshkar-Nitin Mukesh)

This was Manoj Kumar’s patriotic, super-hit film with very good music.  

Chana Jor Garam ….Rafi-Kishore-Lata-Nitin Mukesh

— Looie Shama Sha Looie…. Lata – N. Mukesh

Abke Baras Tujhe …. Mahendra Kapoor

Kranti Kranti….M. Kapoor, Lata, Manna Dey, N. Mukesh, Shailendra Singh

Dilwale Tera Naam Kya Hai ….M. Kapoor – Minoo Puroshattam

–Mara Thumka ….Lata Mangeshkar and 

–Zindagi Ki Na Toote Ladi ….

(Songwriter Santosh Anand. Singer Lata Mangeshkar-Nitin Mukesh)

“PRELUDE” of the song is just mesmerizing. Use of FRENCH HORN, FLUTE and Solo VIOLIN are brilliantly used in  ́ ‘PRELUDE”. Apart from this all the “INTERLUDES ” have different tunes purely in western style orchestra with BONGO Drums in the Rhythm. Once again very simple tune mellifluously orchestrated to please the musical ears of True Music Lovers. That is why LAXMIKANT-PYARELAL are considered to be Champions of all. 

Naseeb  1981

Manmohan Desai’s super musical. 

Mere Naseeb Mein Tu Hai Ki Nahi ..

(Songwriter Anand Bakshi. Singer Lata Mangeshkar)

The song starts with Lataji “aalaps” clapping and then ACCORDION. Euphonic western “rhythm”, “interludes” orchestration with BASS GUITAR, ACCORDION and VIOLINS are worth listening to. Hema Malini rocks.

Desh Premi  1982

Manmohan Desai film. 

Gore Nahin Hum Kale Sahi...Laxmikant and Asha Bhosle

(Songwriter Anand Bakshi. Singer Laxmikant – Asha Bhosle)

Beautiful club dance song. BONGA DRUM rhythm sounds ‘African’ style.Filmed on Hema Malini – Amitabh Bachchan

Sharara   1984

(Songwriter Anand Bakshi. Singer Lata Mangeshkar)

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.

Ajay Poundarik, Atlanta (Georgia), USA. 11th February, 2020.

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.


In the very first movie Laxmikant-Pyarelal created some fascinating music which transformed an average film into a huge hit. PARASMANI was more about these composers 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.

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”…


ASTOUNDING FOURSOME Mohammad Rafi Anand Bakshi Laxmikant-Pyarelal

ASTOUNDING  FOURSOME Mohammad Rafi..Anand Bakshi.. Laxmikant-Pyarelal

Mohammad Rafi is considered no less than a genius when it comes to varied styles of music. This great singer had the perfect blend of melody, emotions and energy, which resulted into thousands of soulful songs.

Mohammad Rafi has recorded the maximum numbers of  songs under the music directors Laxmikant-Pyarelal, precisely 379 songs, including 183 solo.

Left Laxmikant-Pyarelal, /Top Right Laxmikant-Pyarelal with Mohammad Raf/Bottom  Right  Laxmikant-Pyarelal with Anand Bakshi 

ASTOUNDING  FOURSOME :: Mohammad Rafi,  Anand Bakshi, Laxmikant-Pyarelal. Out of gigantic 379 songs composed by Laxmikant-Pyarelal for Mohammad Rafi, monumental 254 songs, (Including 122 solo) are written by Anand Bakshi, ONLY.

We get incomparable variety of songs from these astounding FOURSOME  of Mohammad Rafi/Anand Bakshi and Laxmikant-Pyarelal. Gazal, Western, Semi-Classical, Lori (lullaby), Folk, Qawwali, Mujra, Patriotic etc. Sad Songs, Romantic Songs, Devotional Songs etc, many more varieties can be found in this QUARTET.

This “TETRAD” of  Mohammad Rafi, Anand Bakshi, Laxmikant-Pyarelal  came together for the first time for the song, ‘Shokhiyan Nazar Mein Hai’  from “Aasra” in 1966. Followed by super musical from J. Om Prakash’s “Aaye Din Bahar Ke”.  The association lasted till July, 1980 when Rafi Sahab recorded his last song ‘Tu Kahin Aas Paas Hai Dost’  for J. Om Prakash’s “Aas Paas”.

The ‘era’ has now begun with series of hits after hit  songs from these ‘FOURSOME”

1966:- Biswajit’s “Aasra”, Dharmendra’s “Aaye Din Bahar Ke

1967:- Bishwajeet’s “Night In London”, Jeetendra’s “Farz”, Rajshri Production’s “Taqdeer”, Sanjay Khan’s “Milan Ki Raat”.

1968:- Dharmendra’s  “Aaya Sawan Jhoom Ke” , Rajendra Kumar’s “Anjana” , Sanjeev Kumar’s “Raja Aur Runk” .

 1969:- Jeetendra’s “Jeene Ki Raah”, “Do Bhai” and  “Jigari Dost”, Rajesh Khanna’s  “Do Raaste” Manoj Kumar’s “Sajan” .

These “FOURSOME” are instrumental in ceding most of the “stars”  many ‘signature tunes’.

— Jeetendra ::  ‘Mast Baharon Ka Main Ashiq’ …”Farz” 1967

— Rajesh Khanna :: ‘Yeh Reshmi Zulfein’ “Do Raaste” 1969

— Sanjeev Kumar :: ‘O Phirki Wali Tu Kal Phir Raja Aur Runk” 1968

— Biswajeet :: ‘Nazar Na Lag Jaye’ … “Night In London” 1967

— Rajendra Kumar :: ‘Aap Aaye Bahar Aap Aaye Bahar Aaye” 1971

— Dharmendra :: ‘Main Jat Yamla Pagla Deewana’ … “Pratigya” 1975

— Rishi Kapoor :: ‘Ramji Ki Nikli Sawari’ … “Sargam” 1979

— Shashi Kapoor :: ‘Kali Ghata Chhayi’  … “Kali Ghata” 1980

— Amitabh Bachchan :: ‘John Jani Janardhan’ … “Naseeb” 1981

Binaca Geetmala:

Many songs of the “FOURSOME” have aired in weekly Binaca Geetmala Programme. Interestingly  48 songs involving “QUARTET”, Mohammad Rafi/Anand Bakshi/Laxmikant-Pyarelal appeared in Binaca Geetmala Finals, with one song as number one in 1979, ‘Dafliwale Dafli Baja’ ( Rafi-Lata) from “Sargam”.

Laxmikant, Lata Mangeshkar, Anand Bakshi & Mohammad Rafi

Filmfare Awards / Nominations:-

As many as SIX songs of the “TETRAD”, Mohammad Rafi/Anand Bakshi/Laxmikant-Pyarelal were nominated for filmfare awards. (Best Male Singer Category ).

1969 ‘Badi Mastani Hai Meri Mehbooba’ …  “Jeene Ki Raah”

1970 ‘Khilona Jaan Kar Tum Mera Dil’ … “Khilona”

1977 ‘Parda Hai Parda’ … “Amar Akbar Anthony”

1978 ‘Aadmi Musafir Hai’ … “Apnapan” (with Lata Mangeshkar)

1980 ‘Mere Dost Kissa Ye Kya Ho Gaya’ … “Dostana”

1980 ‘Dard-E-Dil Dard-E-Jigar’ … “Karz”

However Laxmikant-Pyarelal did win the awards, involving these “FOURSOME”  for

Jeene Ki Raah” (1969)

Amar Akbar Anthony” (1977)

Sargam” (1979)

Karz” (1980)

Anand Bakshi too win the filmfare award for the song, created by the “FOURSOME”

Aadmi Musafir Hai’ (Rafi-Lata), “Apnapan” in 1978.

Unfortunately, NONE for Rafisaab, involving “QUARTET”.  

Laxmikant, Pyarelal, Lata Mangeshkar & Mohammad Rafi

Period after 1970-

Till 1970, Mohammad. Rafi was undisputed and demanded singer in Bollywood music industry. But after 1970, Kishore Kumar came into limelight and his popularity increases after he sang super hit songs for the movie Aradhana (1969).

During this ‘lean’ period of Mohammad Rafi it was ONLY Laxmikant-Pyarelal gave many hit songs for Mohammad Rafi to sing. To be precise Laxmikant-Pyarelal have recorded 264 numbers of songs (Out of total of 379 songs from Rafi-LP combo) of Mohammad Rafi in post “Aradhana” period.

Laxmikant-Pyarelal along with Anand Bakshi are instrumental in bringing back the Glory of Mohammad Rafi, in post “Aradhana” (1969)  period. That too without damaging the giant popularity of  Kishore Kumar. This “FOURSOME”  have recorded as many as 192 songs (out of  total of 270 songs) which includes many hits as well as memorable songs.

Listing few hit albums.  

1970:- Rajesh Khanna’s ”Aan Milo Sajna”, Jeetendra’s “Humjoli”, Sanjeev Kumar’s ”Khilona”, Shashi Kapoor’s “Suhana Safar”, Dharmendra’s “Jeevan Mrityu”.

1971:- Rajendra Kumar’s “Aap Aaye Bahar Aayi”, Rajesh Khanna’s “Mehboob Ki Mehndi” and “Haathi Mere Saathi”, Jeetendra’s “Banphool”, Rajashi Production’s “Uphaar”.

1972:– Jeetendra’s  “Jeet” and “Roop Tera Mastana”,  Rajendra Kumar’s “Gora Aur Kala” and “Mom Ki Gudiya”.

1973 :-  Dharmendra’s “Loafer”, Sanjeev Kumar’s “Suraj Aur Chanda”.

1974:- Shatrughan Sinha’s “Dost

1975:- Dharmendra’s “Pratigya”, Rajesh Khanna’s “Prem Kahani”.

1976:- Shashi Kapoor’s  “Naach Uthe Sansaar”  and Dharmendra’s “Maa”.

1977:- Manmohan Desai’s FOUR hits . Amitabh / Rishi Kapoor’s “Amar Akbar Anthony”,  Dharmendr’s “Dharam Veer” and “Chacha Bhatija”, Amitabh / Shashi Kapoor’s “Parvarish”. Jeetendra’s “Apnapan”.

1978:- Shashi Kapoor’s “Amar Shakti”, Sunil Dutt’s “Daku Aur Jawan

1979:- Rishi Kapoor’s “Sargam” (LAXMIKANT-PYARELAL have given all the SEVEN songs for MOHAMMAD RAFI to sing. This was very unusual phenomena during seventies.), “Karz” , “Do Premee” and also Jeetndra’s “Aasha”  and Sanjeev Kumar’s “Ladies Tailor”.   Rajesh Khanna’s and Dharmendra’s “Rajput” ++ Many more.

The above analysis confirms that both Anand Bakshi and Laxmikant-Pyarelal have given more melodious as well as hit songs for Mohammad Rafi in seventies (Post “Aradhana” period)

Let us  review few of the BEST songs from these “FOURSOME”.

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.

1  AAYE  DIN BAHAR  KE – 1966

Mere Dushman Tu Meri Dosti Ko Tarse

Song Writer ANAND BAKSHI’s painful wordings, showing vexation. MOHAMMAD RAFI’s soulful and heart touching rendering and LAXMIKANT-PYARELAL  ‘symphonic’ orchestra arrangements are justifying the frustration in this song. Also not to forget the expressions shown on screen by Dharmendra.

2  NIGHT  IN LONDON  – 1967

Bahosh-O-Hawas Mein Deewana

ANAND BAKSHI’s fanciful wordings. LAXMIKANT-PYARELAL’s Wonderful Westernized Orchestra Arrangements In SYMPHONY Style. “PRELUDE” of 51 seconds is just mesmerizing. Use of VIOLINS and VIOLA for first 33 seconds and than again huge “pick” at 48 seconds as well as in the first “interlude” from 1.25 to 1.45 is just ear pleasing. Both the interludes have different tunes. There are some glimpses ‘pauses’. The “symphony style violins” vowing around MOHAMMAD RAFI’s voice that gives an additional mellifluousness and romantic feeling to this song. Each and every moment of this GEM of song makes you “thrill” and that is why it is one of my all time favorite song.

3  JEENE  KI RAAH  – 1969

Aane Se Uske Aaye Bahar

ANAND BAKSHI comparing nature beauty and intermixing it in  romantic mood. Mesmerizing “Prelude” of 40 seconds, with overlapping sound effects of VIOLINS, Twitting of

BIRDs, Mohammad Rafi’s “aalap” as well as ACOUSTIC GUITAR, gives the feeling of village

background. Both the mellifluous “Interludes” have different orchestra arrangements, decorated with FLUTE, VIOLIN and ACCORDION. This sweet and melodious song have ear-pleasing ‘DHOLAK’ rhythm. Jeetendra  looks handsome.

4  DO RAASTE  – 1969

Ye Reshmi Julfe

Concordant romantic song, penned by ANAND  BAKSHI, seductively performed by Rajesh Khanna. Glamorous inception by Rafi saab after 19 seconds ‘prelude’ of 19 seconds, VIOLINS overlapped with MANDOLIN. It has a ear-pleasing, melodic DHOLAK rhythm, with few ‘pause’  of 8 seconds at the end of each mukhada. The “rhythm” keeps listeners enchanted, throughout. Mumtaz looks beautiful. MOHAMMAD RAFI in supreme form.

5  UPHAAR  – 1971

Mein Ek Raja Hoon Tu Ek Rani Hai

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

6  KHILONA  – 1971

Khilona  Jaankar Tum  To Mera Dil Tod Jaate Ho

I have chosen the famous song, title song, heartbroken wordings by ANAND BAKSHI, rendered by MOHAMMAD RAFI with pain. No words to describe the elegance of Mohd Rafi. The song starts with the ‘aalap’. It has wonderful “DHOLAK” rhythm. “Interludes” are beautifully decorated with MANDOLIN, VIOLINS and SAROD. In the second “interlude” SYMPHONY orchestra is mellifluously overlapped with SHEHNAI.  Sanjeev Kumar have acted wonderfully. In early 70s when most of the music directors had forgotten Mohammad Rafi, it was only Laxmikant-Pyarelal used to give some of the best songs to Rafi Sahab. This is one of them.


Ye Jo Chilman Hai, Dushman Hai Hamari

Flawless composition, with ‘zero’ ‘prelude’, by using bare minimum instruments along with the rhythm of DHOLAK / TABLA. Radiant take off by Rafi Saab. All the ‘interludes’ are glitteringly orchestrated with SARANGI, SITAR, VIOLIN, SANTOOR and SAROD.  The “pause” given at the end of each the ‘antara’ gives a soothing effect to this erotic song.

Rajesh Khanna simply awesome.

8  LOAFER  – 1973

Aaj Mousam Bada Beimaman Hai

Once again ANAND BAKSHI masters in writing romantic words, with difference. “Prelude” of  SYMPHONY style VIOLINS, brilliantly synchronized with Rafi Sahab’s HUMMING sets the mood of this sensational and romantic composition. The first “interlude” is remarkably decorated with SITAR (played by Ustad Rais Khan). Second and third “interludes” have mellifluous effect of  SYMPHONY style VIOLINS. Rafi Sahab’s rendering is simply outstanding. Dharmendra looks romantic.


Parda Hai Parada

Superbly composed “Qawwali” . “Prelude” 67 seconds, full of RUBAB, MANDOLIN, SHEHNAI / NADASWARAM, GUITAR, HARMONIUM, synchronised with DHOLAK rhythm,  mesmerizes you. Brilliant take off by Rafi Sahab.  SHEHNAI / NADASWARAM are mellifluously used as ‘filler’ in ‘mukhda’. Wonderfully performed by Rishi Kapoor.  

10  SARGAM  – 1979

Hum To Chale Pardes Hum Pardesi Ho Gaye

Mohammad Rafi sounds very different in all of the “Sargam” songs, perhaps at it’s best.

The song starts with   beautiful ‘aalap’ from Rafi Sahab”. The DHOLAK rhythm hypnotizes. The song has a village background the music is justifying it too. The “interludes” of the song is just worth to listen to. Sounds of BULLOCK  CART BELLS wonderfully synchronized with NADASWARAM and MANDOLIN as well as in second “interlude’ with FLUTE and SANTOOR.

11  KARZ  – 1980

Dard- E-Dil, Dard-E-Jigar

Enjoy fascinatingly instrumented solo VIOLIN in 52 seconds of “Prelude”. This is a western style GHAZAL composition orchestrated awesomely with GUITAR in the rhythm. All the “Interludes” are mellifluously synthesised with TRUMPETS, SYMPHONY style VIOLINS, GUITAR, percussion instruments.

Ajay Poundarik

Vadodara (Gujarat)


SAXOPHONE :: Laxmikant-Pyarelal Enrich Orchestra.

 SAXOPHONE ::  Laxmikant-Pyarelal Enrich Orchestra.  

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

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

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

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

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

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

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

S D Burman

— Ye Kisne Geet Chheda           Meri Surat Teri Aankhen 1963

—  Gata Rahe Mera Dil               Guide 1965

—  Roop Tera Mastana                Aradhana  1969  


— Mujhe Duniyawalo                    Sharabi  1964

— Mera Pyar Bhi Tu Hai               Saathi  1968

Salil Chaudhari                             

— Jare Jare Ud Jare Panchhi       Maya 1961

–Zindagi Kaisi Hai                       Anand  1971

— Gujar Jaye Din                          Annadata  1972 


— Dil Jo Na Keh Saka                 Bhigi Raat  1965

— Duniya Kare Sawal                  Bahu Begum 1967


— Bedardi Balama                       Aarzoo  1965

— Aaj Kal Tere Mere                    Bramhachari  1968

— Ai Sanam Jisne Tujhe               Diwana 1968

— Janam Janam Ka Saath           Tum Se Achchha Kaun Hai 1969

— Chhoti Si  Mulaqat                    Chhoti Si  Mulaqat  1967

O P Nayyar  

–Hai Duniya Usiki                          Kashmir Ki Kali  1964

— Ye Hai Reshmi Jhuphon            Mere Sanam 1965

–Huzure Wala                               Yeh Raat Phir Na Aayegi  1969

— Main Pyar Ka Raahi                   Ek Musafir Ek Hasina  1962

— Yahi Wo Jagah Hai                     Yeh Raat Phir Na Aayegi 1966

Madan Mohan

–Woh Bhuli Dastan                        Sanjog  1961

–Shokh Nazar Ki Bijliya                 Woh Kaun Thi  1964


-Aage Bhi Jane Na Tu                  Waqt  1965 

–Zindagi Ittefaq Hai                       Aadmi Aur Insaan  1969


— Jag Dil-E-Diwana                     Oonche Log 1965


— Tumhe Yaad Hoga                   Satta Bazar 1959        

— Humsafar Mere Ham Safar      Purnima 1965  

–Na Na Karte Pyar                      Jab Jab Phool Khile 1965

— Bekhudi Main Sanam               Haseena Maan Jayegi  1968

— Zuban Pe Dard Bhari               Maryada  1971

R D Burman 

— O Haseena Zulfonwali           Teesari Manzil  1966 

— Jis Gali Main Tera Ghar          Kati Patang  1970

— Kabhi Karti Hogi                      Phir Kab Milogi 1974

— Keh Du Tumhe                        Deewar  1975

–O Hansini Kahan Ud Chali       Zehreela Insaan 1975

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

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

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

Ke Main Aaya Hoon   and  Dev Anand 

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

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

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

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

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

Part I

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

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

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

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

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

— Jaane Kaisa Hai Mera Deewana     Aansoo Ban Gaye Phool   1969

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

–Phool Hai Baharon Ka            Jigri Dost  1969

(Prelude and Interludes full of SAXOPHONE)

–Das Gayi Nagin Si      Himmat  1970

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

–Achha To Hum Chalte Hai         Aan Milo Sajma  1971 

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

— Patta Patta Buta Buta Hal Hamara Jane            Ek Nazar 1972

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

— Piya Ka Ghar Hai               Piya Ka Ghar 1972

(Third interlude awesome use of SAXOPHONE)

–Chabi Kho Jaye            Bobby  1973

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

–Kahan Hai Deewana        Loafer  1973

(First interlude SAXOPHONE)

–Nahin Nahin Jana Nahin       Zinda Dil  1975

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

— Yaar Dildar Tujhe Kaisa Chahiye       Chhaila Babu  1977

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

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

(SAXOPHONE in first interlude)

Part II

Review of the songs.

Mere Dil Main Halki Si       Parasmani   1963

( Singer Lata Mangeshkar    Songwriter Asad Bhopali  )

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

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

( Singer Kishore Kumar – Lata Mangeshkar   Songwriter  Anand Bakshi)

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

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

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

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

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

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

The song has a sweet and melodious DHOLAK rhythm.

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

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

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

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

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

Hui Sham Unka Khayal      Mere Hamdam Mere Dost   1968

( Singer Mohammad Rafi   Songwriter Majrooh Sultanpuri)

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

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

(Singer  Asha Bhonsle  Songwriter Taj Bhopali)

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

Tik Tik Tik Mera Dil Dole …. Humjoli 1971

(Singers Lata Mangeshkar-Mohammad Rafi    Songwriter Anand Bakshi)

Distinguishable composed melodious Cabaret song in the duet form. “Prelude” 34 seconds is consists of Lataji’s aalap in western style. Fasttrack BONGO rhythm. All the “interludes” are awesomely orchestrated in JAZZ flavored,  with BRASS instruments, including SAXOPHONE, BASS GUITAR. All the three ‘antaras’ are mellifluously ‘filled’ with Lataji’s rendering ‘aalaps’ (second antara) as well as Rafi sahab’s vocal ‘aalaps’ ( first and third antara) followed by “filling” with SAXOPHONE. The pair of Mumtaz-Jeetendra  looks charming as cabaret dancers. A superhit song, still popular.

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

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

Aa Aa Aaja Kuchh Keh Ja            Raja Jani 1972

(Singer  Lata Mangeshkar   Songwriter  Anand Bakshi)

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

Ladies and Gentleman …Main Aaya Hoon        Amir Garib  1974

(Singer  Kishore Kumar    Songwriter Anand Bakshi)

One of the nonpareil songs composed on SAXOPHONE.

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

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

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

First ‘interlude’ has GUITAR, VIOLINS.

Second ‘interlude’ instrumented with BRASS instruments SAXOPHONE.

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

Sham Bhigi Bhigi            Gehari Chal 1974 

(Singer Asha Bhosle   Songwriter Rajendra Krishnan) 

Awesomely rendered by Asha Bhosle. 

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

Main Na  Bhoolunga      Roti Kapda Aur Makaan    1974

(Singer Mukesh – Lata Mangeshkar Songwriter Santosh Anand)

Splendid composition, From Laxmikant-Pyarelal. Orchestrated melodiously. Wonderful DHOLAK rhythm. Rhythmic ‘PAUSEs’. Awesome take off by Mukesh-Lata मै ना भूलूंगा ssss मै ना भूलूंगी ssss, rhythmic pause, highlighting DHOLAK rhythm, mesmerizes the listeners. CHORUS sound is distinctively used in the song. First ‘interlude’ is harmonised by the synchronisation of SITIAR, VIOLINS, CELLOS, FLUTE and Lata ji AALAPS. Second ‘interlude’ has a mind-boggling display of SAXOPHONE and VIOLINS.Third interlude with FLUTE, VIOLINS and Lataji AALAP. Glimpses of VIOLINS are excellently used as a ‘filler’ in mukhada as well as in antara. Another beauty of the song is the third antra’s overlapping sound effect of Mukesh – Lata voices in synchronization with symphony style VIOLINS. Manoj Kumar – Zeenat Aman.

Aaja Aaja Mere Dil Ne Tadap Ke           Anurodh  1977

(Singer Kishore Kumar  Songwriter Anand Bakshi)

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

Om Shanti Om                                  Karz  1980

(Singer Kishore Kumar  Songwriter Anand Bakshi)

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

Ek Do Teen Char       Tezaab  1987

(Singer Alka Yagnik  Songwriter Javed Akhtar)

Massive orchestra with SAXOPHONE orchestrated in Second Interlude.

Hawa Hawai          Mr. India   1988

(Singer Kavitha Krishnmurthy   Songwriter Javed Akhtar)

Gargantuan Orchestra  with SAXOPHONE orchestrated in First Interlude.

Kehna Na Tum Ye Kisise    Pati Patni Aur Tawaif  1990

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

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

DOSTI  Title Music…….Dosti  1964

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

Ajay Poundarik

Vadodara (Gujarat)


JAAL 1967 :: Distinguished Musical From Laxmikant-Pyarelal.

JAAL  1967 :: Distinguished Musical From Laxmikant-Pyarelal.

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

Pyarelal, Biswajeet & Pyarelal

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

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

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

Astonishing Compositions By  Laxmikant-Pyarelal

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

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

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

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

Enchanting Lata Mangeshkar & Laxmikant-Pyarelal.

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

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

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

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

The song has a sweet and melodious DHOLAK rhythm.

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

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

Splendid Composition by Laxmikant-Pyarelal

Unparalleled Rendering by Mohammad Rafi

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

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

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

Chemistry of Lata Mangeshkar and Laxmikant-Pyarelal 

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

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

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

मेरी ज़िंदगी के चिराग को तेरी बख़ुदीने बुझा दिया 

Lata Mangeshkar and Laxmikant-Pyarelal in GAZAL mood.

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

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

मिज़ाज ए  गिरामी दुआ है आप की      

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

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

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

दिल दे दे दिल ले ले   

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

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

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

Ajay Poundarik, Atlanta (Georgia), USA

10th December, 2020.  

Laxmikant-Pyarelal :: Songs Composed In Indian Classical Raga

Laxmikant-Pyarelal :: Songs Composed In Indian Classical Raga 

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

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

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

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

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

Raga PAHADI was offtenly used by Laxmikant-Pyarelal. 

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

 Laxmikant-Pyarelal Songs,  Based on Hindustani Classical Ragas 


Woh Jab Yaad Aaye                              Lata-Rafi           Parasmani 1963

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

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

Tum Bin Jeevan Kaise Bita Puchho..    Mukesh              Anita 1967

Aap Ke Anurodh Pe                              Kishore              Anurodh 1977

O Ramji Bada Dukh Dina.…                 Lata                    Ram Lakhan 1987

Moh Maya Ko Tyag Do                 Roop Kumar Rathod  Bhairavi   1996

Tum Gagan Ke Chandrama Ho           Sati-Savitri 1964

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

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


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

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

Painjaniya Chhanake Ram              Mohammad Rafi    Wapas 1969

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

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


Jyot Se Jyot Jagate Chalo …             Mukesh           Sant Gyaneshwar  1964

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

Beshak Mandir Masjid …                   Chanchal         Bobby  1973

Bhor Bhaye Panaghat Pe ….              Lata                Satyam Shivam Sundaram  1978

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

Patta Patta Buta Buta           Lata-Rafi                        Ek Nazar 1972

Bhor Bhaye Panaghat Pe.          Satyam Shivam Sundaram  1978

(Songwriter  Anand Bakshi       Singer Lata Mangeshkar)

67 seconds of resonant ‘preludes’ starts with euphonic ‘aalaps’ by Lataji, TWEETING BIRDS sound, protruding as well as integrating surround sound effect of symphony style VIOLINS, GHUNGROO BELLS and finally hypnotising DHOLAK / TABLA rhythm which is the asset of this song. GHUNGROO BELLS are beautifully synchronised  with the DHOLAK / TABLA rhythm, throughout the song.  Interludes are well orchestrated with GUITAR, SITAR, FLUTE, SYMPHONY style VIOLINS and CELLOS.


Ye Biraha Ki Aag Aisi       Manna Dey         Ponga Pandit  1975

Ye Biraha Ki Aag Aisi       Manna Dey        Ponga Pandit  1975

(Songwriter Rajendra Krishan   Singer Manna Dey)

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


Salamat Raho Tum            …               Rafi               Parasmani 1963

Jane Walo Jara Mudke Dekho            Rafi                Dosti  1964

Gudiya Humse Roothi Rahogi…        Lata                 Dosti  1964

Chahunga Main Tujhe …                    Rafi                 Dosti  1964

Suno Sajana Papihe Ne…                  Lata                Aaye Din Bahar Ke  1966

Sawan Ka Mahina ….                        Lata-Mukes      Milan 1967

Ye Dil Tum Bin Kahin                        Lata-Raf            Izzat  1969

Agar Dilbar Ki Ruswayi                      Lata                 Khilona  1970

Aap Ke Anurodh Pe                         Kishore              Anurodh 1977

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

Suno Sajana Papihe Ne…           Aaye Din Bahar Ke  1966

(Songwriter Anand Bakshi      Singer Lata Mangeshkar)

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


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

Ek Ritu Aaye Ek Ritu Jaye             Sau Sal Baad  1966

(Songwriter Anand Bakshi      Singer Lata Mangeshkar – Manna Dey)

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


Sanjh Savere Adhron Pe Mere           Lata Mangeshkar   Madhavi  1968

Sanjh Savere Adhron Pe Mere          Madhavi  1968

(Songwriter Anand Bakshi      Singer Lata Mangeshkar)

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


Meghava Gagan Beech Zanke          Lata                  Harishchandra Taramati 1964

Kabhi To Miloge Jeevan Sathi…      Lata                     Sati-Savitri  1964

Sanam Tu Bewafa Ke Naam Se..       Lata                   Khilona 1971

O Ghata Sawari                                 Lata                    Abhinetri 1971

Maika Piya Bulaye Apne …              Lata-Suresh        Sur Sangam 1985

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

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

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


Aaj Dil Pe Koi Jor Chalta….    Lata                             Milan  1967

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

Megha Re Megha Re….           Pyasa Sawan 1982

(Songwriter Santosh Anand     Singer Lata Mangeshkar – Suresh Wadkar)

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


Khabar Mori Na Lini…               Lata                        Sant Gyaneshwar 1964

Rim Zim Ke Geet Sawan Gaye    Lata-Rafi              Anjana 1968

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

Na Jaiyo Pardes….         Kavita-Amit Kumar           Karma  1986

Saiyyan Nikas Gaye             Lata-Bhupendra         Satyam Shivam Sundaram  1978

Khabar Mori Na Lini…                                      Sant Gyaneshwar 1964

(Songwriter Pandit Bharat Vyas,   Singer  Lata Mangeshkar)

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


Main Ek Raja Hoon                            Rafi                   Uphaar 1972 

Main Ek Raja Hoon                  Uphaar 1972 

(Songwriter Anand Bakshi      Singer Mohammad Rafi)

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


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

Bhagawan Ne Pehle Jaisa       Lata Mangeshkar     Chhota Bhai 1966

Koi Nahi Hai Phir Bhi Hai             Patthar Ke Sanam 1967

(Songwriter Majrooh Sultanpuri,   Singer  Lata Mangeshkar)

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


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

Om Namah Shivaya…                   Kavita Krishnmurthi           Bhairavi  1996

Nahin Nahini Jana Nahin            Lata Mangeshkar                  Zinda Dil  1975

Jaaun Tore Charan Kamal           Sur Sangam 1985

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

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

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

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

First Interlude:- SANTOOR, JAL TARANG and FLUTE. 

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

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


Pad Pagam                P Sushila                                       Nache Mayuri  1986

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

Aaye Sur Ke Panchhi Aaye          Sur Sangam 1985

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

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


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

Sham Dhale Jamna Kinare    Lata-Mannade       Pushpanjali 1972

Sham Dhale Jamna Kinare…          Pushpanjali 1972

(Songwriter Anand Bakshi      Singer Lata Mangeshkar – Manna Dey)

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

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


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

Meri Sason Ko Jo Mehaka Rahi….       Badalte Rishte  1977

(Songwriter  Anjan      Singers  Lata Mangeshkar – Mahendra  Kapoor)

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


Sanz Dhale Gagan Tale…..    Suresh Wadkar                 Utsav 1984

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

UTSAV  Music

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

Nilam Pe Nabh Chhaye..            Utsav  1984

(Songwriter  Vasant Dev      Singer Lata Mangeshkar)

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

Sanz Dhale Gagan Tale              Utsav 1984

(Songwriter  Vasant Dev      Singer Suresh Wadkar)

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


Eeshwar Satya Hai….           Lata             Satyam Shivam Sundaram 1978

Eeshwar Satya Hai…            Satyam Shivam Sundaram 1978

(Songwriter  Pandit Narendra Sharma       Singer Lata Mangeshkar)

Hypnotized  “prelude” of 50 seconds, outsetting through BAMBOO FLUTE , followed by VICHITRA VEENA then surround sound effect of SYMPHONY style VIOLINS . Beautiful ‘take off’ by Lata ji (Ishwar satya hai) ‘stroke’ of TEMPLE BELL, at 0.58 second, synchronised with CHORUS and awesome sounds of TWEETING BIRDS. It has beautiful TABLA rhythm. Overlapping sound effect of Lataji’s rendering and CHORUS crooning, in different tunes as well as the word. In the first ‘interlude’ SANTOOR, SITAR are mellifluously orchestrated with MANJIRA sounding at the end. Second ‘interludes’ starts with the resonant ‘aalaps’ by Lataji surrounding CELLOs and TEMPLE BELL followed by SITAR and VIOLINS. Once again the the  overlapping sound effect can be heard at the end with Lataji’s ‘aalaps’ and CHORUS. One of the finest song sung by Lata Mangeshkar for Laxmikant-Pyarelal. 


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

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

(Songwriter  Anand Bakshi)

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


Saiyyan Rooth Gaye      Shobha Gurtu     Main Tulsi Tere Aangan Ki 1978

Saiyyan Rooth Gaye        Main Tulsi Tere Aangan Ki 1978

(Songwriter Amir Khusro   Singer  Shobha Gurtu)

Wonderful “Thumari”…


Jago Prabhat Aaya     Manna Dey            Sant Gyaneshwar   1964

Jago Prabhat Aaya              Sant Gyaneshwar   1964

(Songwriter Pandit Bharat Vyas   Singer Manna Dey)

Beautiful melodious classical composition. Wonderful use of Chorus.


Ye Pyar Tha Kuchh     Sudha Malhotra – Anwar  Prem Rog  1982

Ye Pyar Tha Kuchh     Prem Rog  1982

(Songwriter  Santosh  Anand   Singer Sudha Malhotra – Anwar)

Beautiful MUJRA song. 


Doori Na Rahe Koi  …Lata Mangeshkar …Kartavya  1978

Doori Na Rahe Koi  .…Kartavya  1978

(Songwriter  Kafeel Azhar       Singer Lata Mangeshkar)

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

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

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

Singers and Tuneful Orchestra of Laxmikant-Pyarelal

              Singers and Tuneful Orchestra of Laxmikant-Pyarelal

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

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

Long Lasting as well as Productive  Amalgamation / combo  

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

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

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

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

Mr X In Bombay 1964     Mere Mehboob Qayamat Hogi

Shreeman Fantoosh 1965     Ye Dard Bhara Afasana

Hum Sab Ustad Hain 1965     Ajanabi Tum Jane Pehachane

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

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

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

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

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

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

I S Johar   Bade Miyan Deewane  Shagird 1967

Johnny Walker   Dil De De    Jaal 1967

Mehmood   Mehbooba Mehbooba   Sadhu Aur Shaitan   1968

Shatrughna Sinha   Aa Bata De   Dost 1974 

Leena Chandavarkar  Gham Ka Fasana  Manchali 1973

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

Hema Malini   Hua Kya Agar  Dream Girl  1977

Shashi Kapoor    Yashomati Maiya Se   Satyam Shivam Sundaram 1978

Zeenat Aman      Yashomati Maiya Se   Satyam Shivam Sundaram 1978

Jeetendra   Kisi Din Uth Gaya    Jyoti Bane Jwala 1980

Rakhee Gulzar  Teri Nindiya Ko    Taquat  1982

Dilip Kumar     Ai Sanam Tere Liye   Karma 1986

Jackie Shroff   Chahat Ke Upar     Dil Hi To Hai 1993

Laxmikant-Pyarelal with  Singers:-


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

Laxmikant Pyarelal    712     

Shankar Jaikishan     453     

R. D. Burman            327      

C. Ramchandra         298

Kalyanji Anandj          297

Chitragupta                240

Madan Mohan            210

S. D. Burman             182

Naushad                     155

Roshan                      146

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

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

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

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

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

Parasmani 1963

Sati Savitri 1964

Sant Gyaneshwar 1964

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

Intequam 1968 (Two Brilliant Cabaret songs

Baharon ki Manzil 1968 

Sharafat 1970

Abhinetri 1971

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

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

Raja Jani 1972

Daag 1973 (Yash Raj film’s FIRST film) 

Bobby 1973 (All time hit songs)

Satyam Shivam Sundaram 1978

Ek Duje Ke Liye 1981  

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


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

Asha Bhosle & Laxmikant-Pyarelal

Mere Sune Jeevan Ka Aaasra hai Tu.  Aasra  1966

Khat Likha De Sawarinaya…Aaye Din Bahar Ke 1966

Ai Dushman-e-JaanPatthar Ke Sanam..1967

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

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

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

Koi Shahari BabuLoafer 1973

There are many fabulous duets of 

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

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

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

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


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

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

Laxmikant-Pyarelal            379 songs

Shankar-Jaikishan             330 songs

Chitragupta                        225 songs

Ravi                                   210 songs

Kalyanji-Anandjj                 200 songs

O P Nayyar                        187 songs

Madan Mohan                    147 songs

Naushad                             114 songs

Usha  Khanna                     109 songs

R D Burman                        107 songs

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

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

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

main ek raja hoon  Uphaar 1971 

khilona jaan karkhush rahe tu sada  Khilona 1970 

patta patta buta buta Ek Nazar 1972

na tu zameen ke liye   Dastaan 1972 

ek na ek din  Gora Aur Kala 1972 

sari khushiya hai  Suhana Safar  1972

aaj mosam bada beiman hai Loafer 1973

main jat yamla pagla   Pratigya 1975 


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

R D Burman              499 songs

Laxmikant-Pyarelal  402 songs

Bappi Lahiri              298 songs

Kalyanji-Anandji       266 songs

Rajesh Roshan        254 songs

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

Pyare Batate Chalo  …Hum Sab Ustad Hai 1965

Mere Naseeb Mein Ae Dost…. Do Raaste 1969

Yeh Jeevan Hai ….Piya Ka Ghar 1971

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

Ruk Jana Nahin Tu Kahin Har Ke…. Imtihan  1974

Aap Ke Anurodh Pe…. Anurodh 1977

Ek Ritu Aaye Ek Ritu Jaye…. Goutam Govinda 1979 

Om Shanti Om…. Karz 1980

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

Folk Main Jahan Chala Jaoun Banphool, 1970  

Mujra naach meri bulbul   Roti, 1974

Gazal pyar ko chahiye kya ek nazar Ek Nazar 1972  

Lori  soi ja tara Mastana 1970 

Qawwali haal kya hai dilon ka, Anokhi Ada, 1973  

Philosophical  aadmi jo kehta hai, Majboor, 1974

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

Romantic mere dil mein aaj kya hai  Daag  1973

Western Classics jaani o jaani, Raja Jaani 1972  

Sad ye dard bhara afasana, Shreeman Fantoosh  1965

Devotional prem ka rog laga muze  Do Premee, 1980

Inspiration gaadi bula rahi hai   Dost, 1974

Patriotic dekho veer jawano  Aakraman 1975

Disco paisa yeh paisa Karz 1980


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

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

Shankar-Jaikishan ..136 songs

Kalyanji-Anandji…   107 songs

Laxmikant-Pyarelal   80 songs

Naushad 27 songs.

C Ramchandra  4 songs

Madan Mohan 9 songs

O P Nayyar   4 songs

S D Burman  12 songs

R D Burman  15 songs and 

Naushad 27 songs..

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

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

Chori Jo Tumse Mile To Log       Parasmani 1963

Hum To Tere Aashiq Hain Sadiyon Purane  Farz 1967

Kyon Zuki Zuki Hai Palake,      Chhaila Babu  1967

Sawan Ka Mahina Pawan Kare Shor   Milan 1967

Hum Tum Yug Yug Se Yeh      Milan 1967

Bol Gori Bol Tera Kon Piya      Milan 1967

Mehaboob Mere Mehbob Mere       Patthar Ke Sanam, 1967

Je Hum Tum Chori Se Bandhe Ek   Dharati Kahe Pukar Ke  1969

Ek Pyar Ka Nagma Hai                   Shor 1972

Paani Re Paani                               Shor 1972

Few solo song of Mukesh with Laxmikant-Pyarelal

Tum Bin Jeevan Kaise    Anita 1967

Gore Gore Chand Ke     Anita  1967

Tauba Ye Matwali Chal   Patthar Ke Sanam 1967

Ram Kare Aisa Ho Jaye  Milan 1967

 Mubarak Ho Sabko  Milan 1967

Taron Ne Sajke  Jal Bin Machhli Nritya Bin Bijlee  1971

Chanchal Sheetal Nirmal   Satyam Shivam Sundaram 1978


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

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

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

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

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

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

Keh Gay Father Ibrahim Izzat 1968

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

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

Dharti Ambar Neend Se JaageChaitali 1973)

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


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

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

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

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

Tere Sang Pyar      Lata – Mahendra K.    Nagin  1976

Meri Saanson Ko   Lata – Mahendra K.    Badalte Rishte      1978

Narendra Chanchal, Bobby   1973

Shailendra Singh,   Bobby   1973 

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

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

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

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

SUMAN KALYANPUR:- Close to 30 songs ..

Usha Mangeshkar, 

Minoo Purushottam, 

Kamal Barot, 

Sulakshna Pandit, 

Vani Jairam, 


Shobhaa Gurtu, 

S Janki, 

Salma Agha, 

Vani Jairam, 

P Sushila, 

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

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

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


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

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

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

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

SADHANA SARAGAM (“Saudagar”), 





ILA ARUN etc. 

Suresh Wadkar, 

Amit Kumar, 

Shabbir Kumar, 

Jolly Mukarjee, (introduced by LP ) 

Nitin Mukesh , 



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

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

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

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

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

through Laxmikant-Pyarelal songs..

Anuradha Paudwal:::Tu Mera Janu Hai  Hero 1983

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

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

Manhar Udhas  “Hero” and “Dayawan”

Shabbir Kumar, 

Mohammad Aziz, one two four  and duniya main kitna gham

Pankaj Udhas ..:Chitthi Aayi Hai    Naam  1985

Kavita Krishnmurthy and many…Mr. India 

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

Mohammad Rafi  >        chahunga main tujhe       Dosti  1964

Lata Mangeshkar >        aap mujhe achchhe        Jeene Ki Raah  1969

Narendra Chanchal >    beshaq mandir masjid     Bobby 1973

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

Anuradha Paudwal >     mere man  baja manjira   Utsav  1985

Alka Yagnik >                 ek do teen                        Tezaab  1988

Alka Yagnik and Ila Arun  choli ke pichhe               Khalnayak   1993

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

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

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

PIANO :: Laxmikant-Pyarelal Symphonious & Enrich Orchestra Arrangements

PIANO :: Laxmikant-Pyarelal Symphonious & Enrich Orchestra Arrangements

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

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


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

Pianist Leno Rivera

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

Pianist Leno Rivera

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

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

Pianist Mr Tony Pinto

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

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

C Ramchandra

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


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

— Tu Kahe Agar … Mukesh….”Andaz” 1949

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


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

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

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


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

S D Burman

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

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

Hemant Kumar 

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

O P Nayyar    

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


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


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

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

Salil Chaudhari 

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


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

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

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


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

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

R D Burman

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

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

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

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

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

Bar Bar Din Aaye .   “Farz” 1967

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

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

Patthar Ke Sanam Tujhe     “Patthar Ke Sanam”  1967

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

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

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

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

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

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

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

Jo Unki Tamanna      “Intequam”  1969

(Lyricist Rajendra Krishnan  Singer Mohammad Rafi)

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

Diye Jalaye Pyar Ke     “Dharti Kahe Pukar Ke”   1969                                                     

(Lyricist Majrooh Sultanpuri  Singer Lata Mangeshkar)

Diwali Special from Laxmikant-Pyarelal.

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

Bade Bewafa Hai Ye    “Roop Tera Mastana”  1972

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

A GEM from Mohammad Rafi & Laxmikant-Pyarelal.

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

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

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

Tere Ishq Ka Mujh Par        “Nagin” 1976.       

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

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

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

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

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

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

The song is filmed on Sunil Dutt & Rekha.

 Aap Ke Anurodh Pe…. “Anurodh”  1977   

 (Lyricist:-  Anand Bakshi   Singer Kishore Kumar 

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

Bane Chahe Dushman Zamana        “Dostana”  1981      

 (Lyricist  Anand Bakshi   Singers Mohammad Rafi – Kishore Kumar)

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

Zindagi Har Kadam Ek Nayee Jung           “Meri Jung” 1985

(Lyricist  Anand Bakshi   Singers Lata Mangeshkar – Nitin Mukesh)

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

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

Ai Mere Khawabon Ke           “Meri Jung” 1985

(Lyricist  Anand Bakshi   Singer Anuradha Paudwal)

Mere Liye Zindagi     “Mera Jawab”  1985 

(Lyricist  Santosh Anand   Singers Anuradha Paudwal – Manhar)

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

Teri Bewafai Ka Shikawa Karoo To     “Ram Avtar” 1988

(Lyricist:-  Anand Bakshi   Singer Mohammad Aziz)

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

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

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

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

Dhadkan Jara Ruk Gayi Hai     “Prahar”  1991

(Lyricist Mangesh Kulkarni  Singer Suresh Wadkar)

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

Adnan Sami as Pianist playing Laxmikant-Pyarelal composition on Piano

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

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



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

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

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

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

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

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

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

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

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

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

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

Laxmikant-Pyarelal :: Anand Bakshi           302 films

R D Burman :: Anand Bakshi                             99 films

Kalyanji-Anandji :: Anand Bakshi                     32 films

Anu Malik :: Anand Bakshi                                 28 films

Rajesh Roshan :: Anand Bakshi                         17  films

S D Burman :: Anand Bakshi                              13  films

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

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

A NUMBER ONE trio in Hindi Film Music. 

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

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

Laxmikant, Anand Bakshi and Pyarelal.

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

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

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

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

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

                                                   Pyarelal, Rajendra Kishan & Laxmikant

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

Extreme left Sahir Ludhianvi, Laxmikant and guest.

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

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

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

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

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

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

Javed Akhtar, Laxmikant and Yash Chopra

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

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

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

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

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

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

SONG  – 1

Zindagi Hai Kya Bolo       “SATYAKAM”  1969

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

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

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

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

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

SONG  – 2

Om Namah Shivay   “BHAIRAVI”  1996

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

Devotional song  awesomely rendered by Kavitha Krishnamurthy and Roopkumar Rathod.

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

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

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

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

MANOJ KUMAR in “Kranti” 

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

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

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

Pyarelal, Rashtrakavi Pradeep, Lata Mangeshkar and Laxmikant

SONG  – 3

Suraj Re Jalte Rehna   “HARISHCHANDRA  TARAMATI ” 1963.

 (Singer Hemant Kumar / Songwriter Rashtravee Pradeep)

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

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

“Prem Rog” (‘bhanware ne khilaya phool)

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

 SONG  – 4

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

(Singer Lata Mangeshkar / Songwriter Pandit Narendra Sharma)

This  song is a local ‘folk’  song from ‘Awadh’ area in Uttar Pradesh. Laxmikant-Pyarelal known for the best use of CHORUS. The song is melodiously composed by using CHORUS and Lataji’s sweet rendering.  This is the song which has no “interludes” tunes. But has tuneful ‘prelude’ of CHURCH ORGAN, CHORUS and Lataji’s wonderful “aalaps”. The song too has tuneful DHOLAK rhythm.

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

SONG  – 5

Jeevan Chalane Ka Naam        SHOR 1972

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

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

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

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

Following lyricists also penned the songs for Laxmikant-Pyarelal. 

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

RAJESH MALIK:– “Tejaswini”

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

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

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

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

HASSAN KAMAL in “Batawara” and “Yateem” 

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

SAMEER in “Kudrat Ka Kanoon” 

MUMTAZ RASHID in “Tejaswini” 

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

TAABISH ROMANI in “Mohabbat Ki Arzoo” 1994. 

KULWANT JAANI in “Mohabbat ki Aarzoo” 

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

HARI RAM ACHARYA in “Mehandi Rang Layegi” 

JAINENDRA JAIN in his home production “Janoo” 1985. 

SATYA PRAKASH “Jai Hind” 1999

RANI MALIK “Aatank” 1996

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

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

Ajay Poundarik

Atlanta (Georgia)


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

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

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

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

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

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

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

Milan,  film was fruitful to many :-  

ONE :- In the year 1967 Music Directors Laxmikant-Pyarelal brought back the glory of singer Mukesh through the super hit songs of “Milan” ( 5 Lata-Mukesh duets, including all the versions of Hum Tum Yug Yug Se + sawan ka mahina and bol gori bol tera). Two solos mubarak ho sabko and beautiful lullaby (लोरी) ram kare aisa ho jaye

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

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

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

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

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

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

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

Binaca Geetmala:- 

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

Position 17  Mubarak Ho Sabko …Mukesh

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

Position 01  Sawan Ka Mahina  ….Mukesh-Lata

Filmfare Awards:-  (Nine Nominations) :

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

Best Actress:-   Nutan

Best Supporting Actress:-   Jamuna

Best Music :-  Laxmikant-Pyarelal 

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

Review Of The Songs:-

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

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

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

Sawan Ka Mahina Pawan Kare       Mukesh – Lata Mangeshkar

Milan”, starring Sunil Dutt – Nutan, was a musical blockbuster movie of the year 1967. The song “ सावन का महीना पवन करे सोर “ stormed the nation.  An inordinately popular song, till date. Exceptionally melodious duet. Beautiful DHOLAK rhythm.  Beautifully orchestrated musical instruments,  MANDOLIN, FLUTE, symphony VIOLINES overlapping the FLUTE.  Second ‘interlude’ again symphony style VIOLINS, RUBAB with overlapping sound effects of FLUTE. In the third Interludes’ are orchestrated in ‘western’ style with no ‘rhythm’. First ‘interlude’ have ‘interlude’ again VIOLINS in symphony style. The song topped the 1967 Binaca Geetmala Finals. Filmed on  Sunil Dutt and Nutan.

Bol Gori Bol Tera Kaun Piya      Mukesh – Lata Mangeshkar

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


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

ORCHESTRA  REVOLUTION  As Written By Srn Ramanujan 

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

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

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

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

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

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

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

Ram Kare Aisa Ho Jaye        Mukesh

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

Hum Tum Yug Yug Se       Mukesh-Lata Mangeshkar. 

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

First Version :-  

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

Second Version :– 

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

Both the versions are filmed Sunil Dutt and Nutan. 

Mubarak Ho Sabko         Mukesh

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

Tohe Sawaiya            Lata Mangeshkar

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

Aaj Dil Pe Koi Jor       Lata Mangeshkar

Unfortunately this song was deleted from the movie. 

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

MANDOLIN. Melodious DHOLAK ‘rhythm’. 

Ajay Poundarik, Atlanta (Georgia), USA. 2nd November, 2020. 

Gargantuan SAHIR LUDHIANVI : Harmonious Laxmikant-Pyarelal

Gargantuan SAHIR  LUDHIANVI : Harmonious Laxmikant-Pyarelal 

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. 


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.


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

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

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 Seervai started 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. 


–Dil Dhadak Dhadak …M.Rafi-Suraiyya ‘Dastaan’ 1950

–Tara Ri Tara Ri ….    M.Rafi-Suraiyya ‘Dastaan’ 1950


–Awara Hoon  … Mukesh  ‘Awaara’ 1951

–Ek Bewafa Se  …Lata     ‘Awaara’   1951

–Sunte The Naam …Lata   ‘Aah’ 1953

–Pyar Hua Ekrar Hua ….Lata-Manna Dey   ‘Shree 420’

–Aaja Sanam Madhur ….Lata-Manna Dey  ‘Chori Chori’  1956

–Chhotisi Ye Duniya ….Kishore Kumar ‘Rangoli’ 1961

Datta Ram

–Mastibhara Hai Sama ….Lata-Manna Dey  ‘Parvarish’ 1958

O P Nayyar 

Babuji Dheere Chalana ….Geeta Dutt   ‘Aar Paar’  1954

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 


Chale The Saath Milkar  …Rafi  ‘Haseena Maan Jayegi’  1968

R D Burman

Ek Din Bik Jayega ...Mukesh ‘Dharam Karam’  1975


Ye Parda Hata Do ….Asha-Rafi  ‘Ek Phool Do Mali’ 1969


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.

–Main Shayar To Nahin …Shailendra Singh

–Pyar Mein Sauda Nahin ..Manna Dey – Shailendra Singh

–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)  ‘Bobbychabi 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 Ha      “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.

Anhoni Ko Honi Kar De      “AMAR AKBAR ANTHONY”  1977

(Singers  Kishore Kumar, Mahendra Kapoor, Shailendra Singh  Songwriter Anand Bakshi)

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. 

Premi Prem Karana Jane    “PARAVARISH” 1977

(Singer Mohammad Rafi, Kishore Kumar & Shailendra  / Songwriter Majrooh Sultanpuri)

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’. 

This time the Accordionist is Arun Podwal.

Dillagi Ne Di Hawa     “DOSTANA” 1980

(Singers Asha Bhosle-Kishorekumar / Songwriter Anand Bakshi)

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.

11th October, 2020