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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 Aayegi Kisi Ko….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

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. “Prelude” is brilliantly rendered as a AALAP by Rafi Sahab and GHUNGAROO BELLS. ‘Interludes’ are orchestrated with SITAR. “Postlude” is brilliantly composed.

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 270 songs 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)


Accordant Music, Laxmikant-Pyarelal & Gorgeous Sharmila Tagore

Accordant Music, Laxmikant-Pyarelal & Gorgeous Sharmila Tagore 

Sharmila Tagore is one of the iconic veteran actresses of the Indian Cinema. She was one of the few actresses who got many musical hit films. A Bengali actress who achieved success at a very young age. Sharmila Tagore appeared in numerous Bengali classics before making the jump to Hindi cinema, which first made her a romantic actress. 

1967 was the busiest year for Laxmikant-Pyarelal. The duo was in full form then with a series of hits, “Farz”, “Anita”, “Night In London”,  ”Jaal”, ”Shagird”, “Patthar Ke Sanam” and “Milan”. In the same year Laxmikant-Pyarelal got an opportunity to compose the music for R. Bhattacharya’s  Black and White, Sharmila Tagore – Sanjay Khan starrer “Milan Ki Raat”. 

Laxmikant-Pyarelal music was associated for as many as 10 films of Sharmila Tagore. Music of “Mere Hamdam Mere Dost” 1968, “Suhana Safar”, 1970 and Yash Chopra’s “Daag”, 1973, remains the best of the ten.  

1  Milan Ki Raat     1967

2  Mere Hamdam Mere Dost    1968  

3  Satyakam    1969

4  Pyasi Shaam   1969

5  Suhana Safar   1970

6  Dastaan      1972

7  Daag     1973

8  Shandaar   1974

9  Desh Premi    1982

10  Aashiq Awara   1993

Laxmikant-Pyarelal utilised only three singers for Sharmila Tagore.

Lata Mangeshkar 

Asha Bhosle

Suman Kalyanpur (“Suhana Safar” Title Track)


Sharmila Tagore’s total 6 numbers of final songs which has music by Laxmikant-Pyarelal, appeared in Binaca Geetmala Finals. “Milan Ki Raat”, 1967 Aankh Milaye Na Muskuraye Na at 21st position. Two songs from “Mere Hamdam Mere Dost”, 1968 Chhalkaye Jaam 24th position and Chalo Sajna Jahan Tak 14th position. One song from “Dastan”, 1972, Na Tu Zameen Ke Liye 34th position. Two songs from “Daag” 1973, Mere Dil Main Aaj Kya Hai, 20th position and Ab Chahe Ma Ruthe Ya Baba 7th position.

However, many songs from “Mere Hamdam Mere Dost”, “Daag” (in addition to the final songs), “Satyakam”, “Suhana Safar” and “Pyasi Sham” did appear in weekly countdown but failed to reach ‘finals’.

Review of some of the best songs composed by Laxmikant-Pyarelal for Sharmila Tagore.

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.

1  MILAN  KI RAAT   1967

Sanjay Khan-Sharmila Taigore starer. This film was released in 1967 when Laxmikant-Pyarelal was right on TOP. The duo’s other musical hits like, ‘Farz’, ‘Shagird’, “Patthar Ke Sanam’, ‘Night In London’, ‘Anita’, ‘Jaal’ and ‘Milan’ were also released. “Milan Ki Raat” was an average hit with a couple of good songs.  

— Gham Ki Badli chhayi….Mukesh

— Chinta Mat Kariyo Ji...Lata

— Babu Re Babu...Asha 

— Doom Tara Ek  Doom Tara 

(Lyricist:-  Anand Bakshi.  Singer :- Asha Bhosle)

17 seconds of ‘prelude’, stroke of GUITAR followed by awesome trembling by Ashaji..दुम तारा एक दुम तारा दो दम तारा  followed by female CHORUS singing.  A unique composition by utilizing female CHORUS. At the end of each “Antara”, Ashaji has tunefully synchronised her rendering, after the rhythmic ‘pause’ with female CHORUS, that is the best part of this song. ‘Interludes’ are  orchestrated with GUITAR, VIOLINS, CHORUS and superb “AALAPS” as well as “HUMMING” by Ashaji. Sharmilal Tagore has gamboled excellently by    integrating the exclusive rhythm created for this song. One of the best songs of Asha Bhosle with Laxmikant-Pyarelal. 

–Aankh Milaye Na Muskuraye Na

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

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

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

2  MERE HAMDAM MERE DOST  1968                                                                                       An outstanding musical album from the legends Laxmikant-Pyarelal and Majrooh Sultanpuri. As many as “ 7 SOLO”” songs….4 lovely, melodious solo songs by Lata Mangeshkar and 3 mellifluous solo sung by Mohammad Rafi. The film was directed by Amar Kumar, starring Dharmendra – Sharmila Tagore and Mumtaz. 

Laxmikant-Pyarelal were in supreme form in 1967/68. Whatever Laxmikant-Pyarelal composed used to become popular and hit. MERE HAMDAM MERE DOST is one of the best musical albums, ever-fresh, ever-green. The songs are popular even today. Almost all the songs are melodious and sweet and are beautifully decorated with wonderful orchestra arrangements. 

Chhalkaye Jaam …Rafi

Tum Jao Kahin ..Lata

Allah Ye Ada Kaisi ….Lata

Hame To Ho Gaya Hai Pyar.…Lata

Hui Sham Unka Khayal.…Lata

Chalo Sajana Jahan Tak Ghata Chale                                                                               

(Singer:- Lata Mangeshkar  Songwriter:- Majrooh Sultanpuri)

“Prelude” is full of VIOLINS and SAXOPHONE, beautiful “pause” at the start…The way Lataji sings the words.. “Chalo oooo….” and ‘laga kar mujhe ‘’’gale ..eee”””………is the ‘beauty’ of romantic rendering. First “interlude” full of SANTOOR and later with VIOLINS just brilliant. Second “interlude” starts with SAXOPHONE. VIOLINS are overlapped with the sound of SANTOOR. Third “interlude” starts with VIOLINS and ends with FLUTE. Not to forget about different types of DHOLAK rhythm…and “pause” by Lataji at the end.

— Na Ja Kahin Ab Na Ja                                                                    

  (Singer:- Mohammad Rafi.   Songwriter:- Majrooh Sultanpuri) 

Romantically sung and composed an addict song. “Prelude” is full of Rafi sab’s ‘humming’ and VIOLINS. The entire song is composed of the western style rhythm created on ACOUSTIC GUITAR. In all the ‘interludes’ .ACCORDION, BASS GUITAR and VIOLINS are beautifully executed without changing the rhythm. 

MERE HAMDAM MERE DOST is the rarest of rare musical film by Laxmikant-Pyarelal which could not do any magic at the box office. Even preLATA MANGESHKAR & Laxmikant-Pyarelal “classic”sense of BIG stars Dharmendra/Sharmila Tagore/Mumtaz could not do anything. But the songs “clicked”. 

3  SATYAKAM    1969

Satyakam is directed, in a persuasive manner by Hrishekesh Mukharjee. Other assets are powerful performances by Dharmendra, Sharmila Tagore and Sanjeev Kumar , excellent dialogues by Rajendrasingh Bedi as well as melodious music by Laxmikant-Pyarelal who were working with Lyricist Kaifi Azmi for the first time.

Abhi Kya Sunoge ..Lata 

Zindagi Hai Kya Bolo…  Mukesh, Mahendra Kapoor, Kishore Kumar

Do Din Ki Zindagi….                                                                                                                

(Singer:- Lata Mangeshkar. Songwriter:-  Kaifi Azmi.)

An extremely melodious song. SANTOOR in 14 seconds ‘prelude’. Beautiful DHOLAK/TABLA  rhythm. First interlude is orchestrated with SANTOOR, SAROD, FLUTE and solo VIOLINS. Second ‘interlude’ is full of SITAR and SAROD. Third ‘interlude’ awesome AALAP by Lataji as well as solo VIOLINS. Also listen to the ‘rhythmic “pause”

4  PYASI SHAM   1969

Starring Sharmila TagoreSunil Dutt.  Average hit. Good Songs.

Aawara Mazi...Rafi

Yaron Mera Saath ….Rafi

Duniya Mein Dilwale….Rafi-Lata

— Yeh Kaisa Gham Sajna

(Singer:- Lata Mangeshkar. Songwriter:- Majrooh Sultanpri)

Inebriant, INTOXICATED Song. LATA MANGESHKAR and  Laxmikant-Pyarelal “classic” An extremely melodious song. Lata Mangeshkar sounds very sweet with an enthralling orchestra arrangement from Laxmikant-Pyarelal . In ‘prelude’ and all the three ‘interludes’ harmonised with different tunes, by using ELECTRIC GUITAR (played by late Gorakh Sharma, the brother to Pyarelalji) sounds very appealing, symphony VIOLINS, ACOUSTIC GUITAR and ACCORDION, also used as a ‘filler’ in all the three ‘antaras’. Not to forget the “rhythm” amusingly arranged with the BONGO DRUMS. Sharmila Tagore looks smoking hot. Sunil Dutt totally intoxicated. GUITAR played in the song, mesmerizes the listeners. 

5  SUHANA  SAFAR   1970

Sharmila Tagore with Shashi Kapoor, very good songs. 

Paise Ka Kya Yakeen…Rafi

Tim Tim Chamke Re…Lata

— Aaha Aaha Aa Ye Suhana Safar…Rafi

— Sari Khushiya Hai

(Singer:- Mohammad Rafi. Songwriter:- Anand Bakshi)

Mohammad Rafi, Laxmikant-Pyarelal & Anand Bakshi Simply Outstanding, The ‘Interludes’ are excellently, mellifluously & melodiously orchestrated with ‘symphony’ VIOLINS. and ACOUSTIC GUITAR.. Both the “antras” are surrounded with ‘symphony’ VIOLINS. Also enjoy tuneful BONGA DRUM ‘rhythm’.

— Chudiyan Bazar Se 

(Singer:- Mohammad Rafi – Asha Bhosle. Songwriter:- Anand Bakshi)

— Aaha Aaha Aa Ye Suhana Safar

(Singer:- Suman Kalyanpur. Songwriter:- Anand Bakshi)

6  DASTAAN  1972

This film was produced by Director B. R. Chopra’s re-make of “Afsana”. This was the first and last time Laxmikant-Pyarelal worked with B R films. Film was ‘flop’, and the music was average except for two songs.

— O Mela ..Mahendra Kapoor

— Na Tu Jamee Ke Liye….Rafi (the most heard song of the film)

— Mariya My Sweet Heart ...Mahendra Kapoor- Asha Bhosle

— Hi Mein Ki Kaara… Asha 

— Woh Koi Aaya

(Singer:- Asha Bhosle. Songwriter:- Sahir Ludhiyanvi)

7  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 the early seventies, he along with Sharmila Tagore, Rakhi were the stars of the film. LAXMIKANT-PYARELAL, in top gear, from 1967, got the honor of the first music director for ”YASH RAJ FILMS”. An outstanding/evergreen/ever-fresh music of ”Daag” is still popular.     

– Mere Dil Mein Aaj Kya Hai …Kishore Kumar

– Ni Main Yaar Mana Ni….Lata-Minoo Purushottam

— Hawa Chale Kaise….Lata

— Ab Chahe Ma Ruthe Ya Baba...Lata – Kishore

– Ek Chehre Pe Kai Chehre

(Singer:-Lata Mangeshkar. Songwriter:- Sahir Ludhiyanvi)

Sad song with magical lyrics words by Sahir Ludhiyanvi. In this “gazal” style song ‘interludes’ are beautifully decorated by VIOLINS in “symphony” style orchestra with beautiful overlapping sound effects. 

— Hum Aur Tum 

(Singer:- Kishore – Lata. Songwriter:- Sahir Ludhiyanvi)

This Kishore Kumar and  Lata Mangeshkar romantic song is completely woven around the rhythm based ACOUSTIC GUITAR. Another beauty of this song is ‘interludes’. Both the ‘interludes’ have different tunes. First ‘interlude’ full of ‘aalaps’ by Kishore &amp; Lata with glimpses of VIOLINS. In the second ‘interlude’  the VIOLINS are decorated in ‘Waltz’ style with beautiful ‘pauses”.

Ajay Poundarik, Atlanta (Georgia), USA

Laxmikant-Pyarelal :: Exquisite Music For SANJAY KHAN

Laxmikant-Pyarelal :: Exquisite Music For SANJAY  KHAN

Actor Producer Director Sanjay Khan and the Music Directors Laxmikant-Pyarelal   started their respective film careers around the same time. Laxmikant-Pyarelal’s        first film “Parasmani” was released in 1963 and Sanjay Khan made his debut, through a small roll, in the year 1964, through director Chetan Anand’s “Haqeeqat”. 

In 1964, Sanjay Khan got an opportunity to work in Rajshri Pictures “DOSTI”, which has music by Laxmikant-Pyarelal. From here the association of Sanjay Khan and Laxmikant-Pyarelal started. 

Sanjay Khan & Laxmikant-Pyarelal

In 1966 Sanjay Khan got an opportunity to work as a lead role, opposite vetern actress Mala Sinha in the musical hit film “DILLAGI”, which had  music by Laxmikant-Pyarelal. The film has some beautiful songs.Usha Mangeshkar’s  one song Ye Aaj Kal Ke Ladake rocks. She got name and fame through this song. 

Total 15 films in which Laxmikant-Pyarelal has given the music for Sanjay Khan’s film.  

1    Dosti    1964.

2    Dillagi   1966.

3    Milan Ki Raat  1967

4    Shart    1968

5    Intequam   1968

6    Madhavi     1969

7    Pushpanjali 1970

8    Woh Din Yaad Karo  1970

9    Haseenon Ka Devata  1971

10  Wafaa     1971

12  Duniya Ka Mela  1974

13  Nagin    1976

14  Mastan Dada  1977

15  Kala Dhanda Gore Log   1986 (Also as a Director)

Laxmikant-Pyarelal has utilized four singers for Sanjay Khan. Mohammad Rafi, Mukesh, Kishore Kumar and Talat Mehmood.  


Sanjay Khan’s eight songs, which has music by Laxmikant-Pyarelal, appeared in Binaca Geetmala Finals. Four songs from “Dosti” 1964 / 1965. One song each from “Dillagi” 1966, Ye Aaj Kal Ke Ladake at 14th position and that of “Milan Ki Raat”, 1967 Aankh Milaye Na Muskuraye Na at 21st position. 1st positions for the song from “Inteqam” 1969, Kaise Rahoo Chup ?. The positions for songs of “Dosti” and “Nagin” are not considered, as they were not filmed on Sanjay Khan. 

However, many songs from “Shart”, “Madhavi”, “Pushpanjali”, “Woh Din Yaad Karo”, “Wafaa” etc did appear in weekly countdown but failed to reach ‘finals’. 

Laxmikant-Pyarelal have given excellent music, according to change of time, throughout their stay of 35 years (1963 – 1998). The duo was in top form in the sixties, the initial stage. Whether it is B grade or C grade film, the music was excellent. Sanjay Khan was lucky to get some of the outstanding songs from Laxmi-Pyare. 

1  DILLAGI      1966

Sanjay Khan – Mala Sinha starrer. If I am to ask the best musical film of Sanjay Khan with Laxmikant-Pyarelal, I will vote for “DILLAGI”. A Black & White Musical. All the songs are superb. Have taken 3 songs of the film for review. 

Ab Jeene Ka Mousam Aaya….Rafi-Asha 

— Mere Dil Main Chal Rahe…Lata 

— Puchho To Naam Bhi …..Rafi

— Dupatta Odhe Nikali Yaara ….Rafi

—-Ye Aaj Kal Ke Ladake  

(Singer:- Usha Mangeshkar.  Songwriter:- Majrooh Sultanpuri)

Rock & Roll style rhythm. Excellent work on GUITAR (played by Gorakh Sharma), The super-hit song of the film. 

–Tum Meri Zindagi Ho

(Singer:- Lata Mangeshkar – Mukesh. Songwriter:- Majrooh Sultanpuri)

Sweet and Melodious duet with lots of ‘rhythmic’ ‘pauses’. The rhythm sounds like “Qawwali” style. Typical duet matching to the other duets of sixties. 

Tauba Ye Nazare  

(Singer:- Mohammad Rafi  Songwriter:- Majrooh Sultanpuri)

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

2   MILAN KI RAAT      1967

Sanjay Khan-Sharmila Taigore starer. This film was released in 1967 when Laxmikant-Pyarelal was right on TOP. The duo’s other musical hits like, ‘Farz’, ‘Shagird’, “Patthar Ke Sanam’, ‘Night In London’, ‘Anita’, ‘Jaal’ and ‘Milan’ were also released. “Milan Ki Raat” was an average hit with a couple of good songs.  

Babu Re Babu Is Zamane….Asha Bhosle

— Dum Tara Dum Tara ……Asha Bhosle (superb composition)

Gham Ki Badli Chhai Judai Leke Aayee …..Mukesh

Chinta Mat Kariyo….Lata

–Aankh Milaye Na Muskuraye Na

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

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

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

3  INTEQAM   1968

R K Nayyar and actress Sadhana home production. Excellent music, blockbuster. Sanjay Khan – Sadhna

— Aa Jaan E Jaa…Lata

— Geet Tere Saaz Ka …..Lata

— Mehfil Soyee….Lata

– Hum Tumhare  Liye ….Lata-Rafi

Jo Unki Tamanna Hai Barbad Ho Ja

(Singer:- Mohammad Rafi. Songwriter:- Rajendra Krishan)

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

— Kaise Rahoon Chup

(Singer:- Lata Mangeshkar. Songwriter:- Rajendra Krishnan)

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

It was a TOP hit song of the year 1969 in Binaca Geetmala Final.

4  MADHAVI    1969    

Sanjay Khan with new actress then, Deepa. Extremely melodious songs. 

— Sanz Savere ….a beauty from Lata

— Tum Mere Sapno Mein Aana Chhod Do

(Singers:- Asha Bhosle – Mohammad Rafi, Songwriter:- Anand Bakshi)

Mind-Boggling “prelude” of 65 seconds. First 28 seconds, SHEHNAI followed by wonderful AALAP by Ashaji, till 0.43, VIOLINS sounds mellifluous, Asha-Rafi rendering, with no orchestra, lastly strokes of VEENA for 5 seconds. Brilliant take off by Ashaji at 1.25. Ear-Pleasing DHOLAK ‘rhythm’. First interlude full of SITAR and VIOLINS. “Antara” has Rafi Saab’s AALAPS. Second ‘interlude’ VIOLINS and FLUTE 

also awesome AALAPS by Asha ji. Third ‘interlude’ same. Ashaji rendering “AAHa”, आssहाss, mesmerizes the listeners. 

5 PUSHPANJALI     1970

This film was Produced / Directed by Kishore Sahoo (Mr. Marco of Guide).         Naina Sahoo (daughter of Kishore Sahoo) was in the lead role,  opposite Sanjay Khan. The film has excellent music. 

— Sham Dhale Jamuna Kinare….Lata-Manna Dey (classical)

— Chham Chham Baje Payal…Lata 

Door Koi Bansuri Bajaye …..Lata 

Vaade Ki Shaam Hai ……Asha – Manna Dey

– Duniya Se Jaanewale Jane ...Mukesh 

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

Meaningful wording, excellent rendering, simple tune with lots of melody. A sad song. Interludes are melodiously orchestrated with FLUTE and ‘symphony’ VIOLINS. 


The film has excellent music. Sanjay Khan – Nanda starrer, movie. 

Yaar Jinhe Tum Bhool Gaye Ho…Lata

Yaar Jinhe Tum Bhool Gaye Ho…Rafi

Hoy Aasamaan Se Tod Ke Taare Zulf Men Teri …Kishore – Sulakshna Pandit

Maine Chand Dekha Hai..Rafi

— Mohabbat Ki Kahaniyan …(Lata – Talat Mahmood) 

(Singer:- Lata Mangeshkar – Talat Mahmood. Songwriter:- Anand Bakshi)

Very sweet song. Overlapping sound effect from Talat Mahmood * Lata Mangeshkar is ear-pleasing. Wonderfully orchestrated with ‘symphony’ VIOLINS, SANTOOR, GUITAR. Tuneful DHOLAK rhythm. This is for the first and  last time legendary singer sung for Laxmikant-Pyarelal

7 WAFAA    1971

The average hit, Sanjay Khan – Rakhee 

— Aankhon Se Yaar Pilaye…Kishore Kumar

— Aaloo Ki Bhaji Baingan Ka Bharta …Kishore-Lata

(Singers:- Lata Mangeshkar – Kishore Kumar. Songwriter:- Rajendra Krishnan)

A naughty song. 

Ajay Poundarik, Atlanta (Georgia). USA.

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

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

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

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

Mohammad Rafi with the music directors

Laxmikant-Pyarelal            379 songs

Shankar-Jaikishan             330 songs

Chitragupta                        225 songs

Ravi                                   210 songs

Kalyanji-Anandjj               200 songs

O P Nayyar                        187 songs

Madan Mohan                   147 songs

Naushad                             114 songs

Usha  Khanna                     109 songs

R D Burman                        107 songs

S D Burman                          94 songs

N Dutta                                  94 songs

Roshan                                  87 songs

Rajesh Roshan                      33 songs

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

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

“Dosti” 1964, 

“Aaye Din Bahar Ke”,1966, 

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

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

“Jeene Ki Raah”, 

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

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

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

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

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

“Naach Uthe Sansar” (1976) 

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

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

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

“Uphaar” 1971 (main ek raja houn), 

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

“Ek Nazar”, 1972 ( patta patta buta buta

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

“Gora Aur Kala” 1972 (ek na ek din)

“Suhana Safar” 1972

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

“Pratigya” 1975 (main jaat yamala pagala)

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

Laxmikant, Mohammad Rafi & Pyarelal
Mohammad Rafi * Kishore Kumar


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

“Do Raaste”1970 

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

“Aansoo Ban Gaye Phool” 1969 

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

“Aaya Sawan Jhoom Ke” 1969 

( All songs to Mohammad Rafi) 

“Aan Milo Sajna” 1970 

(50% Rafi 50 % Kishore)

“Haathi Mere Saathi” 1971 

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

“Mehboob Ki Mehandi” 1971

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

“Aap Aaye Bahar Aayee” 1971

( 50% Rafi & 50 % Kishore)

“Prem Kahani” 1975 

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

 “Sargam” 1979 

( all songs to Mohamamd Rafi) around the same time

“Anurodh” 1977 

( all songs to Kishore Kumar) 

“Amar Akbar Anthony” 1978 

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

“Karz” 1979 

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

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

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

MAN  KI AANKHEN  1970      (Songwriter Sahir Ludhiyanvi) 

-Dil Kahe Ruk Ja Re Ruk Ja

Extremely melodious romantic song. ‘Prelude of 40 seconds, starts with TWEETING sound of BIRDS overlapped with SANTOOR, Symphony VIOLINS and Rafi Sahab’s AALAP,  mesmerizes the listeners. First ‘interlude’ CHORUS is beautifully surrounded and overlapped with GUITAR and FLUTE. Second ‘interlude’ is orchestrated with Symphony VIOLINS and FLUTE. The song is filmed on DHARMENDRA

AAP  AAYE BAHAR  AYEE  1971   (Songwriter  Anand Bakshi)

-Sare Jamane Se Mausam Suhane Se

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

ROOP  TERA MASTANA  1972   (Songwriter Asad Bhopali) 

-Bade Bewfa Hai Ye Husnwale 

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

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

GORA  AUR KALA  1972    (Songwriter Anand Bakshi)

-Ek Na Ek Din Ye Kahani    

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

SURAJ AUR  CHANDA  1973 (Songwriter Anand Bakshi)

-Tere Naam Ka Deewana 

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

GEETA  MERA NAAM  1974   (Songwriter Rajendra Krishnan)

-Mohabbat Hi Mohabbat Hai 

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

AAKHRI  DAO (1975)     (Songwriter Hasrat Jaipuri)

-Aisa Na Ho Ke      

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

A rare combo of Hasrat Jaipuri /Laxmikant-Pyarelal 

Ajay Poundarik, Atlanta (Georgia). USA.


हसता हुआ नूरानी चेहरा PARASMANI, 1963

चोली के पीछे क्या है KHALNAYAK, 1993 


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Lata Mangeshkar – Asha Bhonsle ..a HIT song ..DEEPAK MERE SUHAG KA JALATA RAHE,,,Lyrics Anand Bakshi.

20) “RASTE PYAR KE” 1982
Lata Mangeshkar – Asha Bhonsle ..GOKUL KI GALIYON KA GWALA…a “hit” song, filmed on Shabana Aazmi & Rekha. This song is written by Lyrics by Anand Bakshi. 

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

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

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

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

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

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

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

Ajay Poundarik. Vadodara.

Astounding Conglomeration :: Lyricist Rajendra Krishan and Laxmikant-Pyarelal

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

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

Rajendra Krishnan & Laxmikant-Pyarelal

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

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

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

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

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

Pyarelal, Rajendra Krishna and Laxmikant, At the time of recording of INTAQUAM Music. 

Music Directors Laxmikant-Pyarelal have worked with Songwriter Rajendra Krishan for many hit films, close to 15 films.

Pyar Kiye Jaa (1966).

Ladla (1966).

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

Sadhu Aur Shaitan (1969)

Jawab (1970)

Man Mandir (1971)

Gaon Hamara Shahar Tumhara (1972)

Gehri Chaal (1973)

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

Jwar- Bhata (1974)  

Shandaar (1974)

Naya Din Nayi Raat (1974)

Wafaa (1974)

Ponga Pandit (1975)

Phool Khile Hain Gulshan Gulshan (1979)

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

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

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

PYAR  KIYE JAA  (1966)

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

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

— Phool Ban Jaunga             (Lata Mangeshkar-Mahendra Kapoor)

— Gore Haathon Pe Na Julm Karo          (Mohammad Rafi)

— Kisine Pukara Muze            (Lata Mangeshkar-Mahendra Kapoor)

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

and the most popular song

Din Jawani Ke Chaar      (Singer Kishore Kumar)

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

INTAQUAM  (1969 )

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

— Hum Tumhare Liye             (Lata-Rafi)

— Jo Unki Tamanna                 (Rafi)

— Geet Tere Saz Ka                     (Lata)

— Mehfil Soyee                             (Lata)

Aa Jaan-E-Jaan       (Singer Lata Mangeshkar)

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

Kaise Rahoon Chup     (Singer Lata Mangeshkar )

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

MAN  MANDIR   (1970)

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

-Aa Aaja Abhi Nahi                   (Kishore-Asha)

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

and the most popular song

Jadugar Tere Naina         (Singer Lata Mangeshkar-Kishore Kumar)

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

GEHRI  CHAAL  1973 )

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

–Jaipur Ki Choli            (Kishore-Asha)

–Kook du Koo                    (Asha)

and a superb cabaret filmed on actress Bindu.  

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

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


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

— Lahoo Ko Lahoo Pukarega         (Rafi)

— Mohabbat Hi Mohabbat Hai      (Rafi)

– O Meharban Dekho Zara             (Lata)

and Lata/LP classic

Suniye, Zara Baithiye Na            (Singer Lata Mangeshkar)

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


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

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

– Didi Teri Shaadi Dekhana                  (Lata)

— Ek  Paheli Main Tumse                        (Lata)

and GEM of song.

Main Wohi Wohi Baat       (Singer Mohammad Rafi)

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

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

JWAR BHATA  (1974)

Superhit songs for  Dharmendra – Saira Banu starrer.

–Tu Ru Ru Tera Mera Pyar Shuru              (Kishore)

–Rutha Hai To Mana Lenge                        (Lata)

–Hothon Pe Tera Naam                                 (Asha) Splendid composition.

and top hit song

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

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

WAFAA  (1974)

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

Enjoy Romance in Kitchen from Sanjay Khan – Rakhi

PONGA  PANDIT   (1975)

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

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

–Woh Mere Pichhe Padi Hui Hai   (Kishore Kumar)

–Ganga Ghat Ka Pani Piya Hai        (Kishore Kumar)

Main Jab Chhedunga Tarana          (Kishore Kumar)

and TWO beautiful songs of different flavour.

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

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

Ye Biraha Ki Raat Kaisi    (Singer Manna Dey)

Pure Classical gem.


Very popular song amongst the children.

Mannu Bhai Motor Chali Pum Pum         (Singer Kishore Kumar)

Ajay Poundarik. Vadodara.