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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).

List of the Films:- HEMA MALINI & LAXMIKANT-PYARELAL 

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

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

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

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

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

PARASMANI songs rocks the Binaca Geetmala for two successive years.

LAXMIKANT-PYARELAL

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”…

AJAY POUNDARIK, Vadodara

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.

7  MEHBOOB  KI MEHANDI  – 1971

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.

9  AMAR  AKBAR ANTHONY  – 1977

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)

INDIA.

Kishore Kumar – Asha Bhosle / Laxmikant-Pyarelal Overlooked Quadruple

:: Kishore Kumar – Asha Bhosle / Laxmikant-Pyarelal :: 

Overlooked Quadruple 

It was a surprise when I saw the list of the songs rendered by Kishore Kumar and Asha Bhosle under music directors, Laxmikant-Pyarelal. The song list contains 94 songs. 

One should also not forget that Asha Bhosle herself has rendered 494 songs under the music directors Laxmikant-Pyarelal. 

Not to forget Kishore Kumar and Laxmikant-Pyarelal 402 songs

It is very unfortunate for the music lovers that the Quadruple of Kishore Kumar – Asha Bhosle and Laxmikant-Pyarelal is being overlooked. Few of the hit songs of this quadruple are being reviewed. The song from Karz ‘ek haseena thi’ remains top favourite, as on today. Very strange, it did not appear in the Binaca Geetmala Finals of 1980.

There are many films which contain two / three songs of Kishore Kumar – Asha Bhosle. 

1977  Chhaila Babu      Three Songs

1977  Dildaar        Four Songs

1979  Lok Parlok  Three Songs

1980  Bandish    Three Songs

1980  Judai         Two Songs.

1980  Nishana     Three Songs

1980  Ram Balram  Two Songs

1981  Waqt Ki Deewar  Two Songs

1981  Samrat   Two Songs

1983 Bequrar   Two Songs

1983 Prem Tapasya  Two Songs

1985 Baye Haath Ka Khel  Three Songs

1986 Swarg Se Sundar  Three Songs.

Not sure, these 94 numbers of the songs, are likely to be the highest numbers of Kishore Kumar – Asha Bhosle duets under any music directors. 

Binaca Geetmala :- 

Many of the songs from this Quadruple appeared in Weekly Countdown. Few could get the entry in the finals, an annual program.

1975  No 21 Jijaji Jijaji “Ponga Pandit”

1977  No 18 Yaar Dildar Tuze  “Chhaila Babu”

1977  No 17  Teri Meri Shadi  “Dildar”

1981  No 07  Mar Gayi Muze Teri Judai    “Judai”

1982  No 25  Sara Din Satate Ho  “Raste Pyar Ke” 

1982  No 09  Pyar Ka Vada “Fifty Fifty”

Kya Teri Jhulphe Hai    “Hum Sab Ustad Hain”  1965

(Songwriter  Asad Bhopali)

Sweet, Melodious Duet. The very first song of Kishore Kumar – Asha Bhosle with Laxmikant-Pyarelal. ‘Prelude’ of 15 seconds starts with ACOUSTIC GUITAR, followed by a few lines by Kishore Kumar with awesome take off क्या तेरी झुल्फे है ! ‘stroke’ of ACOUSTIC GUITAR. The song has BONGO DRUM rhythm. First and second interludes are full of CELLOS, GUITAR and VIOLINS. Second interlude decorated with the glimpses of MENDOLIN,  AALAPS by Asha Bhosle, GUITAR and VIOLINS. Filmed on Kishore Kumar and Ameeta. Kishore Kumar has 3 solo songs + 1 duet, a must Album for KK / LP fans. 

Jane Kaisa Hai Mera Deewana  “Aansoo Ban Gaye Phool”  1969

(Songwrite Govind Moonis)  

A Breezing Melodious Duet. This is an incredible, addict and sweet-sounding song. A canorous composition from Laxmikant-Pyarelal. The song has an assonant DHOLAK rhythm. In ‘mukhada’ it has a ‘rhythmic’ “pause”, followed by the awesomely sounded ‘stroke’ of DHOLAK, repeated many times. Filmed on Deb Mukharjee – Alka

First interlude is brilliantly orchestrated with SAXOPHONE and VIOLINS synchronizing at the end. Second interlude starts with the ‘aalaps’ and ‘humming’ from Asha Bhosle and Kishore Kumar, followed by SHEHNAI/ NADASWARAM overlapping VIOLINS. The third interlude has VIOLINS, GUITAR, FLUTE. VIOLINS, GUITAR and glimpses of MANDOLIN are beautifully used as a ‘filler’ at the end of each Mukhada.

Aa Aa Aaja Abhi Nahin     “Man Mandir”  1971

(Songwriter Rajendra Krishnan)

Naughty song,with melody,  filmed on Mehmood – Aruna Irani. Unique BONGO DRUM rhythm which is continuous throughout the song.  Interludes are orchestrated with symphony VIOLINS and GUITAR.

Itne Din Tum Kahan Rahe    “Har Jeet”  1972

(Songwriter  Anand Bakshi)

Romantic duet with melody. Sweet song, filmed on Anil Dhavan – Radha Saluja.. ‘Prelude’ of 20 seconds. Awesome takeoff by Kishore Kumar दिल बैचेन रहा तुम बिन. Simple BONGO DRUM rhythm. BANJO, VIOLINS, FLUTE, ACCORDION, ACOUSTIC GUITAR.  are nicely executed in the ‘interludes’. 

Teri Meri Teri Nazar Lad Gayi     “Subah – O – Shaam” 1972

(Songwriter  Anand Bakshi)

“Subah-O-Shaam” was made jointly with the IRAN Govt. This is yet another hidden gem of KK-Asha with Laxmikant-Pyarelal. Starts with SAXOPHONE, VIOLINS and ‘string’ instruments, GUITAR. Typical LP style DHOLAK rhythm. VIOLINS, SAXOPHONE and GUITAR instrumented well in the interludes. 

Jaipur Ki Choli Mangwa De Re     “Gehri Chaal”   1973 

(Songwriter Rajendra Krishnan)

One of the most popular duet of KK-Asha,based on Traditional Rajasthani Folk,  filmed on Jeetendra – Hema Malini. 44 seconds of ‘prelude’ starts with solo display, slow speed, of folkish DHOLAK rhythm, intermixed with the WHISTLE sound. The speed of the DHOLAK increases with VIOLINS start. Beautiful take off by Asha ji जयपुर की चोली मंगवा दे रे सैय्या  entering Kishore at 1.06, हे जयपुर की चोली तेरे इशारे पे the speed of the rhythm increases. This sounds ear-pleasing. The first interlude is full of astonishingly played SHEHNAI / NADASWARAM with fast DHOLAK rhythm, VIOLINS. Second interlude is wonderfully orchestrated with DHOLAK and WHISTLE, Kishore – Asha AALAPS, finally VIOLINS.  Enjoy the folk dance and DHOLAK in ‘postlude’ over 50 seconds. 

Jijaji Jijaji Meri Didi Hai     “Ponga Pandit” 1975 

(Songwriter Rajendra Krishnan)

Naughty song with impressive DHOLAK rhythm. First interlude is  orchestrated with the use of NADASWARAM is excellent in all the interludes and  also the  VIOLINS with DHOLAK rhythm. Second interlude have FLUTE, DHOLAK. It’s a typical “LP” stamped song. Filmed on Randhir Kapoor, Neeta Mehata and Prema Narayan. 

Chandni Chand Se Hoti Hai      “Aaj Ka Mahatma”  1976

(Songwriter  Majrooh Sultanpuri)

This a hidden GEM. Beautiful rendering by both Asha Bhosle-Kishore Kumar. 50 seconds of ‘prelude’ full of VIOLINS in symphony style. All the interludes are orchestrated with VIOLINS. The song is filmed on Rekha – Randhir Kapoor.

Yaar Dildar Tujhe Kaisa Chahiye “Chhaila Babu” 1977.  

(Songwriter  Anand Bakshi)

Orchestrated in ‘pop’ style composition, unique rhythm. SAXOPHONE, VIOLINS, GUITAR are mellifluously executed in ‘prelude’ as well as in ‘interludes’.  Beautiful ‘pauses’ in between the song. Awesome dancing steps from Rajesh Khanna – Zeenat Aman.

Ek Haseena Thi Ek Deewana  “Karz”  1980

(Songwriter  Anand Bakshi)

Today’s Hot Cake. This is the song which tells the ‘story’ of the entire film, KARZ.  Full credit to songwriter Anand Bakshi. Entire song is orchestrated in symphony VIOLINS, GUITAR,  BRASS instruments and the CHORUS, for all the ‘interludes’. Kishore Kumar’s singing, एक हसीना थी is awesomely surrounded by symphony VIOLINS. The song has Enrich, Mind-Blowing Orchestra arrangements.The GUITAR, for the entire song, including the theme piece,  is played by late Gorakh Sharma, the younger brother of Pyarelalji. 

Manchahi Ladaki       Waqt Ki Deewar   1980

(Songwriter Anjan)

Resonant ‘prelude’ of 66 seconds is full of folk dance music from Goa. SAXOPHONE, VIOLINS and CHORUS. Sanjeev Kumar – Sulakshana Pandit

Dillagi Ne Di Hawa      “Dostana”  1980

(Songwriter  Anand Bakshi)

One of the most popular songs. Once again it’s a melodious. ‘Prelude’ of 34 seconds is full of GUITAR, VIOLINS, ACCORDION. Composed in a typical LP mould. DHOLAK rhythm is stamped LP style. First interlude has a solo GUITAR display followed by ACCORDION. Second interlude is orchestrated with ACCORDION and VIOLINS. Third interlude is from string instrument  BANJO and ACCORDION. Listen to ‘postlude’ full of ACCORDION. Filmed on Amitabh Bachchan – Zeenat Aman

Pyar Ka Vaada Fifty-Fifty     “Fifty Fifty” 1981

(Songwriter  Anand Bakshi)

The song has  115 seconds of “prelude” consisting of stupefying African beats on African traditional DRUMS. Followed by a beautiful take off by Asha Bhosle “aalaps”. African DRUM beats are ear-pleasingly synchronised with the CHORUS and VIOLINS. Interestingly all the three “interludes” have different “rhythm” patterns. Rajesh Khanna – Tina Munim capers awesomely.

Mere Hosh Lelo     “Bandish” 1981

(Songwriter  Anand Bakshi)

Breezing Melody. ‘Prelude’ of 60 seconds with VIOLINS in symphony style overlapping with another set of VIOLINS with different tune + ACCORDION. Wonderful take off by Kishore Kumar मेरे होश ले लो . It has a resonant BONGO drum rhythm. GUITAR and VIOLINS are nicely executed in all the interludes, with different tunes. Rajesh Khanna  – Hema Malini. 

Rang Bhare Mausam Meain

(Songwriter  Anand Bakshi)

Breezing melody with amazing DHOLAK rhythm. Beautiful orchestra arrangement with overlapping sound effects of two different string instruments. Rajesh Khanna  – Hema Malini. 

Ladaka Tumhara Kuwari    “Krodhi”  1981

(Songwriter  Anand Bakshi)

A perfect wedding song, melodious one,  starts with CLAPPING intermixing with DHOLAK rhythm, CHORUS and  humming by Kishore Kumar. SHEHNAI is excellently used in the first interlude. Second interlude is full of VIOLINS. CLAPPING and CHORUS are the highlights of this song. Filmed on Shashi Kapoor – Zeenat Aman

Sara Din Satate Ho  “Raste Ke Pyar Ke”  1982

(Songwriter  Anand Bakshi)

An extremely melodious duet. Asha ji’s rendering in particular तुम याद याद याssss द, is a killer. Sweet DHOLAK rhythm. VIOLINS in symphony style are melodiously surrounded with Kishore Kumar’s rendering. Jeetendra – Rekha

TWO ‘peppy’ songs from   ‘Inquillab’ 1984.

Aaj Abhi Yahi Nahi

(Songwriter  Anand Bakshi)

 Amitabh Bachchan – Sridevi 

Bichchhu Lad Gaya

(Songwriter  Anand Bakshi)

 Amitabh Bachchan – Sridevi 

Ajay Poundarik,  Atlanta (Georgia) USA

Lata – Rafi::Symphonious Duets Composed By Laxmikant-Pyarelal

Hindi film songs are present in Hindi cinema right from the first sound film Alam Ara (1931). It did not take much time for the Duets Songs to be featured in Hindi Films. Almost all the music directors of the past have composed some memorable duets. In this topic we are reviewing some of the best duet songs rendered by Lata Mangeshkar – Mohammad Rafi under the music directors Laxmikant-Pyarelal. 

Since their very first film “Parasmani” in 1963, Laxmikant-Pyarelal have composed some spectacular duet songs with two legendary singers, Mohammad Rafi – Lata Mangeshkar. The types of the duets include cabaret, club songs, folk, western, semi-classical etc. There are many films in which Laxmikant-Pyareal has composed two or more duets of Lata-Rafi. 

The films and the songs with TWO Lata-Rafi Duets.

Night In London, 1967,  Night In London  and  Bagh Main Phool Kisne

Aaya Sawan Jhoom Ke , 1968,  Aaya Sawan Jhoom Ke and Sathiya Nahin Jana

Jigri Dost  1968 Phool Hai Baharonka and Dil Mein Kya Hai

Humjoli 1970 Hay Re Hay and Tik Tik Tik Mera Dil Dole

Aap Aaye Bahar Aayee  1971 Koyal Kyon Gaye and Mujhe Teri Mohobbat  Ka  

Sargam 1979, Lata-Rafi have THREE duets.  Dafliwale Dafli Baja (Top Song, Number 1 in Binaca Geetmala Finals, 1979), Koyal Boli and Parbat Ke Uspaar.

Mohammad Rafi has sung the highest numbers of the songs, 379 numbers, including 183 solo, under the music directors Laxmikant-Pyarelal. In the span of 17 years, 1963 to 1980.

Top Five Music Directors who have utilized Mohammad Rafi, the most. 

Laxmikant-Pyarelal   379 songs

Shankar-Jaikishan      330 songs

Chitragupta                  225 songs

Ravi                             210 songs

Kalyanji-Anandjj         200 songs

Lata Mangeshkar has sung the highest numbers of the songs, 712 numbers, under the music directors Laxmikant-Pyarelal. In the span of 33 years  from 1963 to 1996.

Top Five Music Directors who have utilized Lata Mangeshkar, the most. 

Laxmikant Pyarelal    712 songs      

Shankar Jaikishan   453 songs      

R. D. Burman               327 songs      

C. Ramchandra   298 songs

Kalyanji Anandji   297 songs

Lata Mangeshkar and Mohammad Rafi are involved in singing 444 songs, including Duets, Triplex, Quartet, quintet etc, in the span of 32 years, from 1947 to 1980. We are considering only the Duets for this topic. 

So the duets of Lata Mangeshkar – Mohammad Rafi mounts to 411 songs, after leaving behind 33 songs of Triplex, Quartet, Multi-singes songs. 

Mohammad Rafi and Lata Mangeshkar have sung the highest number of the songs / duets, 78 numbers, under the music directors Laxmikant-Pyarelal, in the span of 17 years starting from 1963 to 1980. 

Top Five Music Directors who have utilized Mohammad Rafi and Lata Mangeshkar, the most.

Laxmikant-Pyarelal      78 Duets. 

Shankar-Jaikishan         50 Duets.

Kalyanji-Anandji             38 Duets.

Naushad                        32 Duets. 

Chitragupta                  31 Duets. 

Out of 411 duets of Lata Mangeshkar – Mohammad Rafi, 78 numbers (almost 19 %)  are composed by Laxmikant-Pyarelal. 

There are many films in which Laxmikant-Pyareal has composed two or more duets of Lata-Rafi. 

The films and the songs with TWO Lata-Rafi Duets.

Night In London, 1967, 

Night In London  and  Bagh Main Phool Kisne

Aaya Sawan Jhoom Ke , 1968, 

Aaya Sawan Jhoom Ke and Sathiya Nahin Jana

Jigri Dost  1968

Phool Hai Baharonka and Dil Mein Kya Hai

Maa Aur Mamta 1970

Apne Naino Ko Samzade and Rut Beqarar Hai 

Humjoli 1970

Hay Re Hay and Tik Tik Tik Mera Dil Dole

Aap Aaye Bahar Aayee  1970

Koyal Kyon Gaye and Mujhe Teri Mohobbat  Ka  

Naach Uthe Sansar  1976

Tere Sang Jeena Tere Sang Marna and Joom Nakoom Jhoom 

Sargam 1979, Lata-Rafi have THREE duets. 

Dafliwale Dafli Baja (Top Song, Number 1 in Binaca Geetmala Finals, 1980),

Koyal Boli and Parbat Ke Uspaar.

Due to some issues of Royalty for singers, there was a difference of opinion between Rafi and  Lata an that has stopped the recording of the duets involving Rafi – Lata. Thus there were no duets of these legendary singers from 1964 to 1967.  

Binaca Geetmala:-

Many of the duets regularly appeared in the weekly countdown Binaca Geetmala as well as the annual countdown of finals songs. Listing out a few appeared in the ‘finals’.

1963   No 15 Woh Jab Yaad Aaye ..“Parasmani”  

1969   No 23 Resham Ki Dori.…”Sajan”     

1969   No 29 Aaya Sawan Jhum Ke.…”Aaya Sawan Jhum Ke”  

1969   No 12 Ek Tera Saath .”Wapas”    

1969   No 06 Aa Mere Humjoli Aa..”Jeene Ki Raah”    

1970   No  28 Hi Re Hi Nind Nahin ..Lata-Rafi..”Humjoli”  

1970   No 18  Jhilmil Sitaron Ka ..Lata-Rafi..”Jeevan Mrityu”  

1970   No 12 Chhup Gaye Sare.i..”Do Raaste”

1976   No 25 Aaja Teri Yaad Aayi  “Charas”

1978   No 02 Aadmi Musafir Hai   “Apnapan”  

1980   No 23 Parbat Ke Us Paar  .”Sargam”      

1980   No 07 Koyal Boli.  ”Sargam”            

1980   No 01 Dafliwale Dafli Baja  “Sargam”

Woh Jab Yaad Aaye Bahut Yaad Aaye   “Parasmani” 1963

(Songwriter Farooq Qaiser)

The very first duet of Lata-Rafi with Laxmikant-Pyarelal. The song is based on Indian Classical Raag Yaman Kalyan. The song starts with beautiful AALAPS by Lata ji, followed by VIOLINS. Wonderful take off by Rafi Saab>> वो जब याद आये बहोत याद आये, with delicately played SITAR synchronizing TABLA rhythm. Both the  interludes are full of VIOLINS played in Symphony style. No rhythm in interlude. It has a melody of the 60s. The song is picturised on Mahipal and Anita Guha.

Woh Hai Jara Khafa Khafa      ”Shagird” 1967

(Songwriter Majrooh Sultanpuri)

Lata Mangeshkar sounds extremely melodious in this song. The song is created on WALTZ rhythm. The best part of this song is the mellifluous overlapping of Aalaaps with Words and also Aalaap with Aalaap, by Lata Mangeshkar and Mohammd Rafi. i) “overlapped aalaps” at 5.22-5.28 and again at 5.48-5.54) ii) “overlapped aalaaps with words” at 5.28 to 5.48, simultaneously both by Lataji and Rafi sab. This beautiful, melodious and sweet song is composed in a western toe-stepping rhythm created through ACOUSTIC GUITAR. All the three interludes have different tunes. GUITAR and FLUTE are awesomely used in the interludes. The song is filmed on Joy Mukherjee – Saira Banu

Ye Dil Tum Bin Kahin Lagata Nahin “Izzat” 1968

(Songwriter Sahir Ludhiyanvi)

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. 

Sathiya Nahin Jana Ke Jee Na Lage     “Aaya Sawan Jhoom Ke” (1968)

(Songwriter Anand Bakshi)

An extremely melodious duet, composed in ‘Pujabi” folkish style with an awesome DHOLAK rhythm, played throughout the song. First interlude is orchestrated with FLUTE, VIOLINS and ‘strokes’ of SANTOOR and SITAR. Second interlude is full of VIOLINS and the ‘strokes of SANTOOR. Third interlude starts with ‘’strokes’ of SANTOOR followed by SHEHNAI /  NADASWARAM, FLUTE. Filmed on Dharmendra Asha Parekh 

Ek Tera Saath Humko Do Jahan Se …”Wapas” 1969

(Songwriter Majrooh Sultanpuri)

MELODY with a SYMPHONY style orchestra arrangements. You can enjoy a FUSION style, in almost all the Laxmikant-Pyarelal compositions. A fusion genre is music that combines two or more styles. FLUTE, VIOLA, SANTOOR with TABLA are brilliantly executed in this song. In the interludes, Flute &amp; Viola give different tunes and along the side you enjoy Tabla rhythm with the ear-pleasing display of SANTOOR. The song is based on Indian Semi-Classical raag and the orchestra has a western style touch. LP’s specialty, a “PAUSE’ .. is another plus point of this song. This has been an extremely melodious song sung by Mohammad Rafi and Lata Mangeshkar. An addict one for me. Don’t forget to listen to the start with Rafi’s voice “Ek Tera Saath” .. just a brilliant take-off..

Hum Tumhare Liye Tum Hamare Liye     “Intequam” 1969

(Songwriter Rajendra Krishnani)

Beautiful display of melody. ‘Prelude’ is 36 seconds full of VIOLINS, ACOUSTIC GUITAR and NADASWARAM. Wonderful ‘aalaps’ by Lataji. First interlude orchestrated with VIOLINS synchronised with RUBAB. “Pause” at the end of each antara. Second interlude is VIOLINS and NADASWARAM intermixed awesomely with Lataji’s aalaps.  

Phool Hai Baharon Ka     “Jigri Dost”  1969

(Songwriter Anand Bakshi)

Yet another melody. ‘Prelude’ of 46 seconds, full of CELLOS, VIOLINS, ACOUSTIC GUITAR, SAXOPHONE intermixed. In particular VIOLINS with SAXOPHONE. Awesome take off by Lataji फूल है बहारों का बाग है नज़ारो का  synchronizing with fast BONGA DRUM rhythm. First interlude is full of SAXOPHONE, VIOLINS, GUITAR. Mukhada has wonderful ‘shouts’ at the end.  Second interlude orchestrated with NADASWARAM and VIOLINS. In spite of shouts and rich orchestra, the song has not lost it’s melody. Beautiful display of SAXOPHONE at the end. The song is filmed on Jeetendra – Mumtaz. 

Dil Ne Dil Ko Pukara    “Do Raaste”  1969

(Songwriter Anand Bakshi)

This super hit song which has class and mass appeal. You can here the glimpses of Shiv Kumar Sharma’s SANTOOR in between the song. Inordinately melodious, fascinatingly composed duet, filmed on Rajesh Khanna-Mumtaz. Beautifully orchestrated “interludes” with VIOLINS, FLUTE and SANTOOR, in particular the synchronism of VIOLINS with SANTOOR in first / third as well as FLUTE with SANTOOR in second interlude. Another beauties of this graceful duet are the ‘stroke’ of SANTOOR with DHOLAK, at the beginning of each of the ‘antara’’ as well as ‘pauses’ given by Lata Mangeshkar and Mohammad Rafi, for 4 seconds, to highlight Laxmikant-Pyarelal’s ‘rhythm’, intermixing of  DHOLAK – SANTOOR, in the middle of each of ‘antares’.  (first at 2.44). The rhythm pattern for ‘interludes’ (BONGO DRUMS) are different from that of ‘antara’/’mukhda’ (DHOLAK).

Das Gayi Das Gayi      “Himmat”  1970

(Songwriter Anand Bakshi)

Peppy song orchestrated with VIOLINS, GUITAR and SAXOPHONE. Fast BONGO DRUM rhythm. Jeetendra – Mumtaz. 

Rut Beqarar Hai      “Maa Aur Mamta”  1970

(Songwriter Anand Bakshi)

Breezing Melody:: One of the finest and extremely melodious Lata-Rafi  duet. Arrangements of orchestra is in SYMPHONY style VIOLINS in support with JAZZ FLUTE, WHISTLE, MANDOLIN and ACOUSTIC GUITAR. Jeetendra – Mumtaz

Mujhe Teri Muhobbat Ka   “Aap Aaye Bahar Aayee”   1970

(Songwriter Anand Bakshi)

One of the most popular duets of the 70s. It is a sad song awesomely rendered by both Lata and Rafi Saab. Rajendra Kumar – Sadhna 

Chala Bhi Aa Aaja Rasiya “Man Ki Aankhen”    1971

(Songwriter Sahir Ludhiyanvi)

The song has an ear pleasing melody. Filmed on Dharmendra – Waheeda Rehman.

Excellent DHOLAK rhythm. FLUTE, VIOLINS. In one of the interludes, Rafi Sahab’s AALAPS 

Is brilliantly synchronized with FLUTE as well as SANTOOR. 

Jhilmil Sitaron Ka            “Jeevan Mrityu”   1971

(Songwriter Anand Bakshi)

Immortal song. One of my favorites. Dharmendra-Raakhi. ‘Prelude’ of 26 seconds is awesomely orchestrated with FLUTE and Rafi Sahab’s HUMMING, synchronised with Symphony style VIOLINS and then SANTOOR. All the ‘interludes’ are mellifluously instrumented, with different tunes, by using FLUTE, VIOLINS in Symphony style, SANTOOR as  well as Lataji;s AALAPS. An immortal Lata-Rafi duet.  .

Patta Patta Buta Buta Hal Hamara Jane        “Ek Nazar”  1970

(Songwriter Majrooh Sultanpuri)

Typical Ghazal song. Use of IRANI SANTOOR , VIOLINS and SAXOPHONE is mellifluous. 

“Prelude” as well as all the “interludes” have a mind-boggling  orchestra arrangement. 

First Interlude is orchestrated with IRANI SANTOOR and FLUTE synchronized with GUITAR. Second Interlude has incredible use of SAXOPHONE as well as SYMPHONY style VIOLINS. The Third Interlude is decorated with SAROD and VIOLINS. In fact the SYMPHONY style VIOLINS can be heard in surround sound effects in “Mukhda” and “Antara” as well with beautiful DHOLAK rhythm. The song is filmed on Amitabh Bachchan – Jaya Bhaduri. 

Typical Ghazal song. Use of IRANI SANTOOR , VIOLINS and SAXOPHONE is mellifluous. 

Tik Tik Mera Dil Dole        “Humjoli”   1972 

(Songwriter Anand Bakshi)

Distinguishable composed melodious Cabaret song in the duet form. This Cabaret Song has melody. ‘Prelude’ of 22 seconds is full of Lata ji’s AALAPS synchronised with the western style instruments. Fast BONGO rhythm. All the “interludes” are awesomely orchestrated in JAZZ flavored, with BRASS instruments, including SAXOPHONE,  BASS GUITAR.  The best part of the song is that 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. Killer part of the song is the AALAPs rendered by (ल ल ल ल ल ल ल ल ला ) Lataji and Rafi Saab in Antara. 

Itana To Yaad Hai Muze            Mehaboob Ki Mehandi” 1974

(Songwriter Anand Bakshi)

Melodious duet sung by Mohammed Rafi and Lata Mangeshkar. The song has beautiful display of SITAR (by Ustad Rais Khan), FLUTE and hypnotized DHOLAK rhythm. The sweetest Melody. The DHOLAK rhythm mesmerizes.. SITAR played excellently. Anand Baxi. rajesh Khanna- Leena Chandawarkar.

Aadmi Musafir Hai          “Apnapan”   1977

(Songwriter Anand Bakshi)

Doctrine worded, each and every line. Anand Bakshi writes क्या साथ लाये क्या छोड़ लाये ! रस्ते मैं हम क्या छोड़ लाये ! मंज़िल पे जाके याद आते है !  

Laxmikant-Pyarelal’s composition is simply superb. 32 seconds of ‘prelude’ is composed by GHUNGROO BELLS, VIOLINS and HARMONIUM.The ‘rhythm’ has DHOLAK synchronized with GHUNGROO BELLS. Interludes are instrumented with SANTOOR, FLUTE, CLERANATE, VIOLINS and HARMONIUM. 

Dafaliwale Dafali Baja  “Sargam” 1979

(Songwriter Anand Bakshi)

The most “popular” songs of this combo. This song rocked the nation. The sounds of the DAFLI (Hand Drum) and the GHUNGAROO (Ankle Bells) are beautifully synchronised to create an appropriate “rhythm” for this extremely melodious song. VIOLINS are awesomely orchestrated in the ‘interludes’. Whenever Laxmikant-Pyarelal composed music, they always took careful consideration of the plot outline of the film. That may not seem like a big deal but it is when there are few music directors in Bollywood who don’t have even the faintest idea of what the film that they are producing music for is about. Mohammed Rafi and Lata Mangeshkar excel in the songs they sing. Song is shoot in Srinagar, Kashmir. 

Aashaon Ke Sawan Mein   “Asha”  1980

(Songwriter Anand Bakshi)

Mellifluous duet. Extremely melodious song. Tuneful ‘rhythm’. Awesomely orchestrated with VIOLINS, ACCORDION and CHORUS.  The best part of this song is the ‘OVERLAPPING’ singing / rendering of Lata Mangeshkar – Mohammad Rafi as well CHORUS. Filmed on Jeetendra and Reena Roy. 

AJAY POUNDARIK,  Atlanta (Georgia), USA. 

Unforgettable Musical :: Basu Chatterjee :: Laxmikant-Pyarelal :: PIYA KA GHAR

The film was made under Rajshrii Films (produced by Tarachand Badjatya) and directed by Basu Chatterjee. It was it’s music that pulls the crowd into the cinema hall. It has also Jaya Bhaduri, fresh from the films like “Guide” & “Uphaar”, in lead roll with Anil Dhavan who was still struggling to establish himself.

“PIYA KA GHAR” have four excellently composed sweet and melodious songs. Three are filmed in the background. The “theme” song ‘yeh jeevan hai’ flows with the story of the film and it is the song of everybody’s choice. Still popular and one of the best of Kishore Kumar & Laxmikant-Pyarelal.

It is unfortunate that “PIYA KA GHAR” ends the musical association of Rajshri Films (Tarachand Badjatya) and Laxmikant-Pyarelal. It lasted for eight and half years and have given some of the best musical hits,,,”Dosti” (1964), “Taqdeer”(1967), “Jeevan Mrityu” (1970), “Uphaar” (1971) and “Piya Ka Ghar” (1972). All have fabulous music and STILL remains the best musical hits among all Rajashri Films.

1) YEH JEEVAN HAI…Kishore Kumar

The “theme” song of the films and flows in the background. The best use of ACOUSTIC GUITAR in entire song. Kishore Kumar have rendered special voice whenever he has sung for Laxmikant-Pyarelal. This song is ‘classic’ example and tells us what the combo of KK-LP means.

2) YEH JHULPH KAISI HAI…Lata Mangeshkar – Mohammad Rafi.

This song is also filmed in the background. SYMPHONY orchestra arrangements, in all the interludes

3) MERE PIYA KA GHAR HAI YE..Lata Mangeshkar

Powerful and touching words. Beautifully orchestrated with mellifluous “DHOLAK” rhythm. FLUTE, SAXOPHONE, VIOLINS are also wonderfully decorated in all the interludes.

4) BAMBAI SHAHAR KI TUZAKO ..Kishore Kumar

“Prelude” of 60 seconds is full of VIOLINS. The song portrays Mumbai more optimistically and romantically. This song is no less, it is hidden GEM of composition in presence of the other “hit” songs of the film. Lovely song nicely rendered by Kishore Kumar with excellent and typical LP “DHOLAK” rhythm.

Ajay Poundarik. Atlanta ( Georgia ) USA

Tetrad Of Dulcet Music:: Anand Bakshi :: Lata Mangeshkar :: Laxmikant-Pyarelal.

Tetrad Of Dulcet Music:: Anand Bakshi :: Lata Mangeshkar :: Laxmikant-Pyarelal 

Tribute to popular songwriter Anand Bakshi on his 90th Birth anniversary, 21 July. 

Laxmikant-Pyarelal with Anand Bakshi, 1680 songs from 302 films, a massive contribution to Hindi Film Music. 

When we talk of Lata Mangeshkar and Laxmikant-Pyarelal songs, 712 in numbers of sheer variety.  What mind-boggling range did we get in those numbers. 

गायिका लता मंगेशकर, गीतकार आनंद बक्षी और संगीतकार लक्ष्मीकांत-प्यारेलाल

Laxmikant, Anand Bakshi, Lata Mangeshkar & Pyarelal.

In this blog highlighting the Tetrad Of Dulcet Music, Anand Bakshi, Laxmikant-Pyarelal and Lata Mangeshkar. Lata Mangeshkar have rendered as many as  240 solo songs, involving Laxmikant-Pyarelal & Anand Bakshi. The Tetrad’s First Song was Julmi Hamare Sanwariya from the Film, Kishore Kumar – Kum Kum Starer “Mr. X In Bombay“, 1964 

240 solo songs of different types and sheer variety, rendered by Lata Mangeshkar in the quadripartite. Considering 16 songs for the review. There are many films, listed below from this Tetrad in which Lata Mangeshkar has sung  five or more songs.

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

Sharafat 1970

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

Raja Jani 1972

Bobby 1973 ‘(All time hit songs)

Satyam Shivam Sundaram 1978 (Eternal Classic)

Ek Duje Ke Liye 1981  

Anand Bakshi and Laxmikant-Pyarelal were known to compose a ‘Situational Songs’. Two such songs from “Mera Gaon Mera Desh” are reviewed. 

Anand Bakshi, Laxmikant & Lata Mangeshkar.

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.

Julmi Hamare Sanwariya    “Mr In Bombay” 1964

An extremely melodious song. Prelude of 38 seconds with VIOLINS, GUITAR, FLUTE and beautiful aalap by Lata ji. Awesome take off जुल्मी हमारे सांवरिया हो राम।  Ear-Pleasing DHOLAK rhythm. First ‘interlude’ is orchestrated with NADASWARAM/SHEHNAI. Second ‘interlude’ is orchestrated with NAGIN  BIN, VIOLINS. Third ‘interlude’ again NAGIN BIN and  VIOLINS. Actress Kum Kum danced wonderfully through the song. 

O Dilwalo Saaz-E-Dil      “Lootera” 1965

Actress Bela Bose entertains sea dacoits with a fabulous song and a dance onboard. GEM of composition, beautifully sung by Lata Mangeshkar. Based on Arabian Folk Tune…’Prelude” of 37 seconds with VIOLINS, BRASS INSTRUMENTS,  ACOUSTIC GUITAR and western style ‘Aalaps’ from Lata j, mesmerizes the listers. The other speciality of the song is Lata’s Voice is surrounded by the MALE CHORUS and the FLUTE, both in ‘antara’ as well as in ‘mukhada’….The orchestra arrangements is just simply the best, specially use of FLUTE, solo VIOLIN,  ACOUSTIC GUITAR, CLAPPING  and the BONGO DRUM in rhythm. Dancer Bela Bose has danced this old fashion cabaret perfectly on tune masterly filmed on Balener Ship.

Suno Sajna Papeehe Ne  “Aaye Din Bahar Ke” 1966

My most liked Lata-LP song…..The chirping sound of birds and a mesmerizing aalap at the beginning sets the tone of the song……..fabulous Flute (played by Pt. Hariprasad Chaurasiya), Santoor (played by Shivkumar Sharma)  and Sitar pieces in the interludes.

Nind Kabhi Rehati Thi Aankhon Mein  “Aasra” 1966

The song with full of “pauses”

This is an extremely melodious romantic song starts with the ‘humming’ by Lataji for first 10 seconds, we get first beautiful “pause” at 0.10 – 0.13, second, after rendering ‘Neend Kabhi Rehti Thi Aankhon Mein’ at 0.20 – 0.23, third after rendering word ’sanwariya’ at 0.33 – 0.36, this pause gives you to listen to the beautiful ‘RHYTHM’ created for this lovely song. You will listen to all these “pauses” regularly till the end. Don’t forget to listen to the ‘pause’ at 3.58 to 4.01 to highlight the FLUTE.

The entire song, mainly “interludes”, are woven around the glimpses of FLUTE (by Pt. Hariprasad Chaurasiya) and SANTOOR (by Pt. Shivkumar Sharma) and SYMPHONY style VIOLINS (at the surround sound of Lataji, in ‘mukhda’ and ‘antara’). The rhythm of DHOLAK and TABLA is worth listening to as it is of different flavor. On the top of everything…the chemistry of Lataji & LP worked miracles. Filmed on Mala Sinha. 

Jab Jab Bahar Aayee  “Taqdeer”  1967

Entire song is woven around the glimpses of PIANO, VIOLINS as well as CHORUS. 

Sanz Savere Adharon Pe Mere   “Madhavi”  1969

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.

Bindiya Chamake Gi  “Do Raaste”  1969

This “Punjabi” folkish style,  DHOLAK rhythm, sweet and melodious  song, with euphonic DHOLAK ‘rhythm’  is completely decorated with the glimpses of SANTOOR and FLUTE. Lataji’s rendering of the word ‘chamake gi’ (चमके गी) is admirable. The song rock the nation and was a top hit, number 1 song, in Binaca Geetmala Finals of  the year 1970.  The song made Mumtaz a ‘star’, overnight. 

Mar Diya Jaaye Ke Chhod Diya Jaay  “Mera Gaon Mera Desh” 1971

Raj Khosla explained to Anand Bakshi a situation where the hero is tied to a pillar and the girl wants to rescue him. Anand Bakshi was at once reminded of the dialogue between Alexander the Great and King Porus where the former asked the latter “Tumhare saath kya sulook kiya jaye?” And the song Maar diya jaye, ke chhod diya jaye… was born. Laxmikant-Pyarelal have mind-blowingly orchestrated this fabulous song, with 43 seconds of “prelude”, “interludes” and mesmerizing DHOLAK rhythm. The song is beautifully filmed on Laxmi Chhaya

Apani Prem Kahaniyan   “Mera Gaon Mera Desh” 1971

One of the best “”situational”” numbers you would get to see. It’s gestural song situation. Raj Khosla have done the best to film this songThe police get no help either, when they arrive in village “mela”/Fair.. . Nobody is willing to recognizing “Dacoit” Jabbar Singh (VINOD KHANNA) and his gang. Ajit ( DHARMENDRA ) seeks the help of dancing girl Munnibai (LAXMI CHHAYA), to identify Jabbar Singh in a village “mela”. Through the dancing on song, Munnibai is giving many hints of Jabbar Singh’s physic, dress and the location where he is standing…This popular dancing song has a perfect set of village fare. Costumes, Cinematography is excellent.  ANAND BAXI, has worded this song according to the situation demand.  LAXMIKANT-PYARELAL have decorated this song with mellifluent orchestra arrangements. “Prelude” and all the “Interludes” are justifying the village “mela”/fair music. The RHYTHM of the song is mesmerizing. LATA MANGESHKAR simply outstanding…The song is beautifully filmed on Laxmi Chhaya

Bandhan Toote Na  “Mom Ki Gudiya”  1972

This song can be considered as a Very Very Special from Lata Mangeshkar / Laxmikant-Pyarelal/Anand Bakshi. Rendered on high pitch, without losing it’s Melody part. It is based on Indian Classical raaga. SAROD, RUBAB as well as VIOLINS are sweetly instrumented in the song.  Based on Indian Classical ‘Raag’. Filmed on Tanuja 

Dard – E – Dil Badhata  Jaye    “Buniyad” 1972

CABARET song with MELODY: Laxmikant-Pyarelal’s work is characterized by a notable openness to a wide variety of musical styles and instruments. Classical ragas mix with JAZZ horns, WAH-WAH GUITAR, FLUTE, funk and disco RHYTHMS, and the insistent beat of the DHOLAK.  How brilliantly the western instruments like BAMBOO FLUTE and GUITAR are synchronized with Lata’s sweet voice, in this mellifluous orchestra arrangements . All the three interludes have different tunes.

During the sixties & seventies Lata and Laxmikant-Pyarelal combination have delivered some of the most melodious songs to the Indian Film Industry and this is one them.

This is one of the sweetest cabaret song sung by Lata for LP. This song is written by none other than Anand Baxi. Filmed on actress Bindu. 

Bhor Bhaye Panghat Pe    “Satyam Shivam Sundaram”  1978

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

Sheesha Ho Ya Dil Ho      “Aasha”  1979

20 seconds of ‘prelude’ is full of Latajis honeyed AALAPS. Brilliant take off…शीशा हो या दिल हो …She gives 3 seconds of singing ‘pause’  for symphonious DHOLAK rhythm. First and Second interludes are orchestrated with an ACCORDION. Third interlude has a solo display of VIOLIN. Another beauty of this song is ‘singing’ and ‘rhythmic’ pauses. This beautiful song is filmed on Reena Roy singing this song on stage. 

Tere Mere Beech Main    “Ek Duje Ke Liye”  1981

Composed in Hindustani Classical Raag “SHIVRANJANI”. 16 seconds of ‘prelude’ orchestrated with glimpses of GUITAR, Symphony style CELLOs, and VIOLINS and awesome aalaps by Lataji. Excellent “DHOLAK” rhythm. SANTOOR, FLUTE, VIOLINS and SHEHANAI are mellifluously decorated in the orchestra. Filmed on Rati Agnihotri 

Nindiya Se Aayee Bahar    Hero 1983

55 seconds of “Prelude” is in SYMPHONY style with excellent use of CELOs intermixed with the rendering of Lataji and BIRDs TWEETING sound. SHEHNAI is nicely played in the first “ interlude”. Second “interlude” is full of FLUTE. Once again an excellent DHOLAK rhythm. Lovely composition. glimpses of FLUTE (by Pt. Hariprasad Chaurasiya). Filmed on Meenakshi Sheshadri. 

Jind Le Gaya Wo Dil Ka Jaani  “Aap Ke Saath” 1986.

Good song with typical LP style melody filmed on Smita Patil. 

Ajay Poundarik Atlanta (Georgia) USA. 

Manmohan Desai Laxmikant-Pyarelal AMAR AKBAR ANTHONY, Musical Blockbuster.

In sixties Manmohan Desai has directed many hit films under the different banners. He was considered to be the successful director of the sixties / seventies / eighties. 

Manmohan Desai was known for making family-centered, action, song and dance films which catered to the tastes of the Indian masses and through which he achieved great success. Manmohan Desai’s common plot was lost and found formula with a happy end. 

Prior of ‘Amar Akbar Anthony’ Manmohan Desai have directed followings of the Films, with various music directors, mentioned in brackets.

1957 Janam Janam  Ke Phere   (S N Tripathi)

1960 Chhaliya  (Kalyanji-Anandji)

1963 Bluffmaster (Kalyanji-Anandji)

1966 Badtameez (Shankar-Jaikishan)

1968 Kismat (O P Nayyar)

1970 Sachcha Jhutha (Kalyanji-Anandji)

1972 Rampur Ka Laxman ( R D Burman)

1972 Bhai Ho To Aisa (Sonik-Omi)

1973 Aa Gale Lag Ja (R D Burman)

1974 Roti (Laxmikant-Pyarelal). 

When Manmohan Desai started his production house named MKD Films, he wanted to have top class, inform artists for his very first film as a Producer and Director. It was a star-studded film with Amitabh Bachchan, Rishi Kapoor, Vinod Khanna, Neetu Singh, Parveen Babi, Shabana Aazmi in lead roles. Pran and Jeevan in supporting roles.

Music directors duo Laxmikant-Pyarelal in supreme form, then and considered for the music. The association of Manmohan Desai with Laxmikant-Pyarelal started from “Roti.

Music was an asset for Amar Akbar Anthony. The songs became popular. Most of the songs are sung by Mohammad Rafi except one (My Name Is Anthony Gonsalves), by Kishore Kumar.  There are two songs that remain special for Amar Akbar Anthony. 

Amitabh Bachchan’s character name was Anthony Fernandies initially. Laxmikant-Pyarelal requested Manmohan Desai to change it to Anthony Gonsalves. Pyarelal wanted to pay tribute to Mr. Anthony Gonsalves, the violin guru of Pyarelal. Manmohan Desai agreed. The song was recorded. The song “My Name Is Anthony Gonsalves” is Pyarelal’s tribute to his violin teacher. 

Pyarelal, Subhash Desai, Laxmikant, Mohammad Rafi, Mukesh, 
Lata Mangeshkar, Kishore Kumar and Manmohan Desai

The song  .Hum Ko Tumse Ho Gaya Hai Pyar Kya Kare

HISTORIC  MOMENT  OF  HINDI  FILM  MUSIC  WHEN  FOUR  SENSATIONAL  SINGERS..Lata Mangeshkar, Mohammad Rafi, Kishore Kumar and Mukesh at a one stage for the FIRST and LAST time for the recording of the song from Manmohan Desai’s “Amar Akbar Anthony” .  

Pyarelal, Kishore Kumar, Mohammad Rafi, Lata Mangeshkar, Mukesh and  Laxmikant

Binaca Geetmala:-

Almost all the songs of “Amar Akbar Anthony ” appeared in the weekly countdown show. In the 1977 finals of Binaca Geetmala

41 Position :- Tayyab Ali Pyar Ka Dushman

11 Position :-  Anhonee Ko Honee Kar De

02 Position :- Parda Hai Parda 

Filmfare Awards for ”Amar Akbar Anthony”

Best Film:- “Amar Akbar Anthony” (Manmohan Desai)

Best Actor:- Amitabh Bachchan

Best Music:- Laxmikant-Pyarelal

Best Editing. 

Amar Akbar Anthony was Musical Hit. The songs of AAA are still popular 

All the songs of Amar Akbar Anthony are written by Anand Bakshi. 

1   PARDA HAI PARDA …..Mohmmad Rafi

 Qawwali style composition, brilliantly rendered. Rafi Saab sang this song at the age of 53 years old for 25 years old Rishi Kapoor in this film. The divine talent of Rafi Saab. The sweetness in the voice is beyond words. What a variation in the pitch !!! Only Rafi Saab can do this. Awesomely orchestrated by using MANDOLIN, SHEHNAI / NADASWARAM synchronised with amazing DHOLAK / TABLA rhythm. Rishi Kapoor rocks.  

SHIRDIWALE SAI BABA…..Mohmmad Rafi

When it comes to devotional songs,, Rafi Saab is the best. It also has a Qawwali rhythm. Clapping  (ताली ) nicely intermixed with the DHOLAK rhythm. Interludes are orchestrated with MANDOLIN, SHEHNAI / NADASWARAM . Rishi Kapoor performs best. 

TAYYAB ALI PYAR KA …..Mohmmad Rafi and Mukari. 

Once again a Qawwali rhythm. Rishi Kapoor dominates the song.

MY NAME IS ANTHONY..Kishore Kumar and  Amitabh Bachchan. 

This song will always be remembered for the tribute to the ‘Violin” “GURU” of Mr. PYARELAL Mr Anthony Gonsalvis. The song has western beats. All the BRASS instruments are brilliantly used, synchronizing with BONGO drum rhythm. Amitabh Bachchan’s rendering in the “interludes” is just brilliant. As an actor Amitabh Bachchan is the best in this song. 

HUMKO TUMSE HO GAYA…Lata Mangeshkar, M. Rafi, Kishore Kumar, Mukesh

All the three “mukhada” with different tunes, all the three “interludes” have different musical notes.

HISTORICAL SONG

6  ANHONEE KO HONEE KAR DE….Shailendra Sing, Kishore Kumar, Mahendra K. 

Very popular peppy song. 

Amar Akbar Anthony is one of the biggest musical blockbusters of all time. The partnership of Manmohan Desai with Laxmikant-Pyarelal gets a firm grip. Later this combo delivered a few more musical hits, five of them with Amitabh Bachchan.

Dharam Veer 1977

Parvarish 1977

Chacha Bhatija 1977

Suhag  1979

Naseeb  1981

Desh Premi 1982

Coolie  1983

Deewana Mastana 1998. 

Ajay Poundarik. Atlanta (Georgia) USA

Laxmikant-Pyarelal at their ‘melodious’ best. UPHAAR 1971

 Laxmikant-Pyarelal at their ‘melodious’ best. UPHAAR 1971

Laxmikant-Pyarelal in supreme form in early seventies and now most of the big/small producers & directors wanted to have music for their respective films, to be scored by none other than Laxmikant-Pyarelal.

It is also to be noted that looking back at the tremendous success of the earlier non-starcast, musical hit films, many of the BIG names also started making non-starcast films with the music by number one music director, Laxmikant-Pyarelal, then. “UPHAAR” is such a musical hit film. 

“UPHAAR”, released in December, 1971, was produced by Rajshri Productions (Tarachand Badjatya), now BIG name, directed by Sudhendu Roy. It was based on a story by Ravindranath Taigore

Uphaar is one wonderful film relating the story of a young village girl who is still a little kid by heart. It has many unknown actors and actresses. Jaya Bhaduri was not a star then, it was her second film after “Guddi” (October, 1971). Swaroop Dutt was a new /unknown hero. Laxmikant-Pyarelal music and the songs flow with the theme of the story of the film. 

In the early seventies, during the peak wave of Kishore Kumar, Laxmikant-Pyarelal gave some of the best songs for Mohammad Rafi to sing. “UPHAAR” song ( main ek raja houn) is one of them. 

One can imagine the output of Laxmikant-Pyarelal with Mohammad Rafi when out of 379 songs sung by Mohmmad Rafi under the LP, 254 songs were recorded during the peak wave of Kishore Kumar (post “Aradhana”) that too without affecting the ‘giant’ popularity of Kishore Kumar. 

It has extremely sweet and melodious FOUR songs. Special mention has to be made for the melodious background music of Laxmikant-Pyarelal in the film. The film was a musical HIT. 

Anand Bakshi has written all the songs of ‘UPHAAR’.

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) MAIN EK RAJA HOUN…Mohammad Rafi.

“Prelude” of 27 seconds comprises of 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 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”.

2) HATHON MEIN MEHNDI..Lata Mangeshkar.

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

3) MAAZI NAIYYA DHUNDHE KINARA …Mukesh

Another extremely melodious composition. Excellent “prelude”, mesmerizing “Interludes” comprises SITAR, VIOLA, VINA, FLUTE with wonderful “DHOLAK” rhythm and soulful singing. Singer Mukesh is at his melodious best. Very Good Song for Aspiration.

4) SUNI RE NAGARIYA SUNI RE SAJARIYA …Lata Mangeshkar. 

All the traditional Indian Classical Instruments, SITAR, VINA, SHEHANI, SARANGI, SAROD,etc are wonderfully used in this very sweet song. “DHOLAK” rhythm is awesome. Lata Mangeshkar always sounds extremely melodious under the Laxmikant-Pyarelal. This song proves that.

“UPHAAR” songs are extremely melodious, different types of composition and are still refreshing. A must Album for all Laxmikant-Pyarelal music lovers. 

Ajay Poundarik

Yash Chopra’s “DAAG” 1973, FIRST Musical with Laxmikant-Pyarelal

As a Director Yash Chopra has given many musical hits under the banner of B.R Films, owned by his brother B.R.Chopra. In 1973 Yash Chopra opted to come out of B R Chopra banner and form ”YASH RAJ FILMS”. Yash Chopra wanted to get the Top Stars and Top Names for his maiden film ”DAAG”, as a Producer and the Director. 

1983. Laxmikant-Pyarelal with Yash Chopra. For Receiving GOLDEN DISC for the sell of the Music of Subhash Ghai’s HERO

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 Taigore, Rakhi were the stars of the film. 

LAXMIKANT-PYARELAL, in top gears, form 1967,  got the honor of the first music director for ”YASH RAJ FILMS”. Yash choose his favorite lyricist Sahir Ludhiyanvi to penned the songs.

Lata Mangeshkar has sung five songs in the film.

Laxmikant-Pyarelal were nominated for the best music directors for “DAAG” along with Raj Kapoor’s “BOBBY” in 1973.. Sadly, none of these films got the best music director award, in spite of an outstanding music for both the films. 

After the thumping success of musical hit film ”DAAG”,Yash Chopra wanted Laxmikant-Pyarelal to score the music for his next film ”KABHI KABHI”.  But Laxmikant-Pyarelal were very busy with some other projects. 

It is an UNFORTUNATE….that Yash Chopra’s First Musical Hit Film “DAAG” became the FIRST and LAST film for Laxmikant-Pyarelal.

If you compare all Yash Raj Films Musical score, DAAG remains top sellers and also the best. 

An outstanding/evergreen/ever-fresh music of ”Daag” is still popular. 

Mere Dil Main Aaj Kya  Hai   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 song of KK under Laxmikant-Pyarelal.

Hum Aur Tum Tum Aur Hum  Kishore Kumar – Lata Mangeshkar

This Kishore Kumar &amp; 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 &amp; 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. 

Ni Main Yaar Mana Ni  Lata Mangeshkar and 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. All the “interludes” are orchestrated with SHEHNAI and other Indian traditional instruments. “Postlude” is worth to listen to. 

Ab Chahe Maa Ruthe Ya Baba Lata Mangeshkar – Kishore Kumar

This song is composed in “BHANGADA” style of dance. Stylishly rendered by Kishore Kumar &amp; Lata Mangeshkar to justify the voice of college students. It has a typical LP style rhythm. One more hit song from the film. Both Rajesh Khanna and Sharmila Taigore look good. 

Jab Bhi Chahe Nayi Duniya Lata Mangeshkar

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 effect. 

Hawa Chale Kaise  Lata Mangeshkar

Song starts with zero prelude, Lata rendering then VIOLINS (big ‘pause’) and SANTOOR. Melodious Lata. singing on different type “rhythm” by using BONGO DRUMS in this song

Ajay Poundarik

LAXMIKANT-PYARELAL :: Inebriant INTOXICATED Songs

Hindi movies are known for their song and dance sequences for all occasions and events: weddings, festivals, love, separation, rain, sunshine and even songs about having fun with alcohol. Inebriant / Intoxicated songs were popular even back in the day and some of Bollywood’s veteran actors have indulged in some tipsy music and dancing.

Music directors Laxmikant-Pyarelal have also composed some of the finest, popular such spirituous, Inebriant Intoxicated Songs which are still popular. 15 Best of the songs based on “INTOXICATED” theme are for the review.

The orchestra arrangements in “PRELUDES” and “INTERLUDES” used to be the assets of thesongs 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.
Laxmikant-Pyarelal

1) “MERE HAMDAM MERE DOST” 1968 Singer Mohammad Rafi / Lyricist Majrooh Sultanpuri

– Hui Sham Unka Khayal Aa Gaya

It’s beautifully sung by the inimitable Rafi Saab, and picturised on a lonely Dharmendra as he wanders through his home, glass in hand, bemoaning the faithlessness of his beloved. “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 &amp; CLARINET. In all the “interludes”. Overlapping sound effect of SAXOPHONE/CLARINET with PIANO is just brilliant. VIOLA , GUITAR, CELLOS and VIOLINS are also brilliantly executed in 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.

2) “MERE HAMDAM MERE DOST” 1968 Singer Mohammad Rafi / Lyricist Majrooh Sultanpuri

— Chhalkaye Jaam

Dashing, handsome Dharmendra looks inebriated in this song. “Prelude” of 20 seconds full of ACOUSTIC GUITAR and VIOLINS with sounds of ‘glass”, sets the mood of this intoxicated song sung by raft sab. It has BONGO Drums on “rhythm”. ACCORDION is wonderfully played “(stroked)’ as a ‘filler’ in between the song. All the interludes are nicely orchestrated with SYMPHONY style, use of ACCORDIONS, VIOLINS and SAXOPHONE ( in second interlude ) is mind-boggling.

3) “INTEQAM”  1969 Singer Mohammad Rafi / Lyricist Rajendra Krishna

“Inteqam” was Actress Sadhna’s home production movie directed by her husband R K Nayyar.

— Jo Unki Tamanna Hai Barbad Ho Ja

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

4) “INTEQAM”  1969 Singer Lata Mangeshkar / Lyricist Rajendra Krishna

— Kaise Rahoon Chup

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 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.

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

5) “PYASI SHAAM”  1969 Singer Lata Mangeshkar / Lyricist Majrooh Sultanpuri

– Yeh Kaisa Gham Sajna

An extremely melodious song. Lata Mangeshkar sounds very sweet with an enthralling orchestra arrangements from Laxmikant-Pyarelal . In ‘prelude’ and all the three ‘interludes’ harmonised with different tunes,  by using ELECTRIC GUITAR 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 look smoking hot.  Sunil Dutt totally intoxicated.

6) “NAYA DIN NAYI RAAT”  1974 Singer Mohammad Rafi / Lyricist Rajendra Krishna

— Main Wohi Wohi Baat

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 instrument 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.

7) “AMIR GARIB”  1974 Singers Kishore Kumar – Manna Dey / Lyricist Anand Bakshi

— Tu Mere Pyale Mein

The song is filmed on Dev Anand and Prem Nath. Typical Laxmikant-Pyarelal flavored composition . DHOLAK rhythm has a qawwali style. Rendering of Manna Dey and Kishore Kumar worth to listened to. Helen danced superbly.  

8) “MAJBOOR’  1974 Singer Kishore Kumar / Lyricist Anand Bakshi

— Phir Na Kehna Michal Daroo Pee Ke

Kishore Kumar has always used some different style of crooning under Laxmikant-Pyarelal. The song is filmed on actor Pran who have performed excellently throughout the song along with Jayshree T.  Based on ‘folk’ song from Goa, the western style rhythmic song is elegantly orchestrated with TRUMPETs, solo VIOLIN in typical Goan style, ACOUSTIC GUITAR supported with awesome use of CHORUS as well as CLAPPING in the ‘rhythm’.

9) “ROTI KAPDA AUR MAKAAN”  1974 Singer Lata Mangeshkar / Lyricist Verma Malik

— Panditji Mere Marne Ke Baad

The song will always be remembered for the three reasons HICCUPs given by Lataji, mesmerizing and fast DHOLAK ‘rhythm’ created by Laxmikant-Pyarelal and awesomely gamboled by Aruna Irani.

10) “PONGA PANDIT”  1975 Singer Lata Mangeshkar / Lyricist Rajendra Krishna

— Tere Milne Se Pehle Bhi Jeete The Hum

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 song from the unique combo of Lata – LP.

11) “SUHAAG”  1979 Singer Asha Bhosle-Shashi Kapoor / Lyricist Anand Bakshi

–Main To Beghar Hoon

Inebriated performance by Parveen Babi. Beautiful ‘rhythm’. Just listen to the “take off” from Ashaji after the end of prelude (20 seconds). Also do not forget to listen to the ‘pause’ given by Ashaji after the (022 to 026) to highlight the “rhythm”. HAWAIIAN GUITAR, VIOLINS and BANJO awesomely orchestrated in all the “interludes”.

12) “NASEEB”  1981 Singers Mohammad Rafi-Amitabh Bachchan-Rishi Kapoor / Lyricist Anand Bakshi

— Chal Chal Mere Bhai

A super hit ‘peppy’ song excellently performed by Amitabh Bachchan and Rishi Kapoor. The song has a enjoyable “toe stepping” ‘rhythm’ created through BONGO DRUMS.

13) “EK HI BHOOL”  1981 Singer S P Balasubramaniam / Lyricist Anand Bakshi

— Bekhudi Ka Bada Sahara Hai

SYMPHONY style VIOLINS used in ‘prelude’, 35 seconds,  sets the mood of this intoxicated song, wonderfully rendered by SPB. “Interludes” are nicely orchestrated, in three different tunes,  with FLUTE, VIOLINS in SYMPHONY style, SPANISH GUITAR, ACOUSTIC GUITAR as well as ACCORDION. The ‘rhythm’ of TABLA is worth to listen to. Jeetendra acted in drunken mood. Rekha looks beautiful.  

14) “COOLIE”  1983 Singers Shabbir Kumar-Alka Yagnik / Lyricist Anand Bakshi

— Mujhe Peene Ka Shok Nahi

Mellifluously orchestrated “prelude” of 25 seconds.   The beauty of this song is use of SYMPHONY style VIOLINS and the CELLOS used in surrounds sounds of the singers as well as in all the “interludes” which are also further orchestrated with ELECTRIC GUITAR, BANJO and ACCORDION. KONGA DRUMS are used in the rhythm. This song is filmed on actor Rishi Kapoor and Shoma Anand.

15) “TIRANGA”  1993 Singers  Mohammad Aziz-Sudesh Bhosle / Lyricist Santosh Anand

— Peele Peele O Mere Raja  

A typical LP flavored song. Raj Kumar – Nana Patekar worth to watch.

Ajay Poundarik.

Laxmikant-Pyarelal :: Phenomenal Music “Night In London”

Laxmikant-Pyarelal :: Phenomenal Music “Night In London”

In the year 1967, Music Directors Laxmikant-Pyarelal in supreme form. The duo officially confirmed their number one position. Laxmikant-Pyarelal’s Many musical hit films, released around 1967, like, “Patthar Ke Sanam”, “Anita”, “Jaal”, “Taqdeer”, “Farz”, “Shagird”, “Milan”  as well as “Night In London”. It was like a “Tsunami” of songs from Laxmikant-Pyarelal. 

NIGHT IN LONDON, thriller film was directed by famous director Brij Sadanah who was known for thriller films. Biswajeet, Mala Sinha, Johnny Walker, Helen in lead roles.  The film has phenomenal music. Laxmikant-Pyarelal have composed most of the songs in Western Style to give a feel of London.

Mohammad Rafi has sung as many as five songs, including three solo + two duets with Lata Mangeshkar. ‘Night In London” also has one beautiful sweet duet sung by Lata Mangeshkar – Mahendra Kapoor. 

Lata Mangeshkar has sung two Cabaret songs, solo +  title song, duet with M. Rafi,  synchronising the mind-boggling orchestra from Laxmikant-Pyarelal. In a solo cabaret song Lata Mangeshkar has awesomely uttered / rendered the word Jameela…aaaa. with almost NINE different versions, which enthralls the listeners. 

Pyarelal, Biswajeet and Laxmikant

All the songs of the film Night In London are written by Anand Bakshi. It is from the year 1967, the ‘trio’ of Anand Bakshi and Laxmikant-Pyarelal gained the momentum and went to creat a history (304 films with 1680 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.

Nazar Na Lag Jaye Kisi Ki ….Mohammad Rafi

Mesmerizing Prelude of 66 seconds starts with GUITAR for 20 seconds.Awesome take off by Rafi saab ओ माय लव. At 0.28 BASS GUITAR starts. and synchronized with the rhythm of ACOUSTIC GUITAR. At 0.45 FRENCH HORN starts and overlaps other BRASS instruments. 1.02 to 1.06 glimpses of GUITAR. Rafi saab starts नज़र न लग जाए. The song has Toe-Stepping ‘rhythm’ synchronized with the ACOUSTIC GUITAR. Electric GUITAR is used as a filler after ओ माय लव, at 1.22, is a ‘killer’. It repeats after every lines ओ माय लव. First ‘interlude’ starts with FRENCH HORN and later harmonizes with other BRASS instruments. Second ‘interlude’ beautiful display of solo GUITAR which enthralls the listeners.Third ‘interlude’ melodiously played symphony VIOLINS.  The song is filmed on Biswajeet – Mala Sinha.

  Late Mr. Gorakh Sharma, Pyarelal’s younger brother, has played the GUITAR.                                                                           

Bahosh-O-Hawas Main Deewana …..Mohammad Rafi

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 of ‘pauses’. The “symphony style violins” vow 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 composed by Laxmikant-Pyarelal. 

Mera Nam Jameela …..Lata Mangeshkar

JAMEELA ssssssss:: JAMEE sssssssLA::JAMEELA::

Superb CABARET song with Rich Orchestra Arrangements.

Almost NINE different versions of rendering the word “JAMEELA” by Lata Mangeshakar in this song.“Prelude” of 50 seconds is worth listening to with Heavy and Rich Orchestra with Lata’s lovely voice. All the three “Interludes” have different tunes. 

Use of the BRASS instruments, in the entire song, is the asset of the orchestra arrangements. The entire song is brilliantly synchronized with the fast rhythm of BONGO DRUMS. Electric GUITAR is also used in-between the orchestra. 

Another beauty of the song is Lata Mangeshkar’s beautiful voice is being surrounded by the MALE CHORUS. And top of it actress, HELEN has danced this cabaret numbers with the different style. 

Lata Mangeshkar has sung many of western style, cabaret songs under Laxmikant-Pyarelal.  

This song is a sheer variety from this combo.

Sun-E-Bahar Husn Muze Tum Se Pyar Hai ….Lata Mangeshkar – Mahendra Kapoor

Very melodious duet. 45 seconds of ‘prelude’, is orchestrated with MANDOLIN, followed by Aalaps & Humming by Mahendra  Kapoor, finally SANTOOR. 

First ‘interludes’ are orchestrated with MANDOLIN, FLUTE and VIOLINS. At the end of each ‘antara’ there is a ‘rhythmic’ pause. 

The song has a melodic DHOLAK / TABLA rhythm.

–Bagh Main Phool Kisne Khilaye Hai         Lata Mangeshkar – Mohammad Raff

Anand Bakshi has penned this lovely duet on “question” – “answer” theory. Almost each and every line of this song has “Question” – “Answer”. ‘Prelude’ is instrumented with NADASWARAM / SHEHNAI. All the ‘interludes’ are designed with ‘symphony’ VIOLINS. It has a conventional TABLA / DHOLAK rhythm.

Night In London , Night in London,    Lata Mangeshkar – Mohammad Raff

A club dance, Cabaret is beautifully instrumented with the use of BRASS instruments as well as symphony VIOLINS. It has a tuneful BONGO DRUM rhythm. 

O Mere Yaar Tomy      Mohammad Rafi.

A naughty song filmed on Johnny Walker. Barking of DOG is included in the song.

Ajay Poundarik, Atlanta (Georgia) USA. 23rd June, 2020. 

Metaphysical ANAND BAKSHI and Rhythmic LAXMIKANT-PYARELAL

Metaphysical ANAND BAKSHI & Rhythmic LAXMIKANT-PYARELAL 

The association of Songwriter Anand Bakshi and Music Directors Laxmikant-Pyarelal started from the famous song ‘mere mehboob qayamat hogi’ from “Mr. X In Bombay”, 1964. This combo has worked for 304 films, composing 1680 songs of various types and varieties. 

Anand Bakshi has written some excellent songs giving philosophical touch, in a very simple way. . In this topic, named  Metaphysical ANAND BAKSHI & Rhythmic LAXMIKANT-PYARELAL we are going to review some of the best songs of this trio’s philosophical songs. 

Producer / Director Mohan Kumar, Laxmikant, Anand Bakshi and Pyarelal.

It is also found that Producer / Director J. Omprakash films have more thoughtful songs. “Aaya Sawan Jhoom Ke” has as many as three such songs, “Apnapan” two songs. 

Listing out a few songs which are not discussed / reviewed. 

Himmat Kare Insaan          Rafi   “Himmat”

Do Rang Duniya Ke           Mukesh   “Do Raaste” 

Aaj Dil Pe Koi Zor              Lata        “Milan”

Darpan Jhoot Na Bole       Manna Dey  “Darpan”

Mujhe Teri Mohabbat Ka    Lata-Rafi  “Aap Aaye Bahar Aayee”

Yaar Hamari Baat Suno      Kishore Kumar   “Roti”

Jaane Walon Ka Gham To  M. Rafi   “Kali Ghata”

Tum Besahara Ho To          Manna Dey   “Anurodh”

Koi Na Jab Tera Saathi Ho  Kishore Kumar “Insaan” 

Phool Ahista Phenko           Mukesh – Lata “Prem Kahani”

Is Duniya Mein O Duniya     Rafi  “Do Bhai”

Bhagwan Ne Apne Jaisa      Lata   “Chhota Bhai”

O Manzi Naiya Dhoondhe     Mukesh  “Uphaar”

Pyarelal, Laxmikant and Anand Bakshi

Many Of Anand Bakshi’s Situational Songs Have One Philosophical Stanza

Rajshri Pictures Musical  TAQDEER  1967 .                                                                                Anand Bakshi have written one abstract song  मिल के रोये मिल के मुस्कुराये हम ! अपनी जीत हार को हम बाँट ले .   It is a picnic song filmed on FARIDA JALAL, JALAL AGHA & Subhash Ghai (playing ACOUSTIC GUITAR). 

–Aaiye Bahar Ko Hum Baant Le …..Lata Mangeshkar. 

Mellifluous composition by Laxmikant-Pyarelal,  in western style. Instruments like Acoustic Guitar,Violins, Mouth Organ, Cycle Bells, Accordion etc.. are brilliantly executed in the orchestra arrangements. Lata Mangeshkar’s voice is simply sweet and melodious. Subhash Ghai can be seen in the video, playing acoustic guitar.

J. Omprakash’s Musical Hit  AAYA SAWAN JHOOM KE 1968.                                                       Anand Bakshi has written as many as three philosophical songs in this movie.

Bura Mat Suno Bura Mat Dekho   M. Rafi  

–Ye Shama To Jali Roshni Ki Liye  M. Rafi

–O Majhi Chal O Majhi Chal      Mohammad Rafi

A Sheer Magical from Anand Bakshi  आशाओं से नाता जोड़ दे, ये निराशा के बंधन तोड़ दे .  The song is filmed on Dharmendra. 

Laxmikant-Pyarelal have beautifully orchestrated. “Prelude” of 16 seconds with ACOUSTIC GUITAR. “Rhythm” on BONGO DRUMS, both the “interludes” are beautifully decorated with the VIOLINS, CELOs in SYMPHONY style orchestra arrangements, in support with the glimpses of FLUTE (first ‘interlude’) and MANDOLIN and  SANTOOR (second ‘interlude’). 

L.V. Prasad’s Musical Hit JEENE KI RAAH   1969                                                                    Anand Bakshi has written one meaningfully worded song, filmed on Jeetendra

Ek Banjara Gaye Jeevan Ke Geet Sunaye  Mohammad Rafi.

Each and  every line of this song written by Anand Bakshi  is consequential …. अगर जीना है तो ज़माने मैं तो हंसी का कोई बहाना ढूंढो !!  कागज के फूलों को भी जो महका कर दिखलाये 

Laxmikant-Pyarelal have composed this song with zero ‘prelude’ but a mind-boggling display of ELECTRIC GUITAR. Interludes are awesomely instrumented with symphony style of VIOLINS and ACCORDION. It has conventional DHOLAK rhythm. 

Rajshri Pictures Basu Chatterjee directed, super musical PIYA KA GHAR  1972.  Essence Of Life Captured Beautifully, In Simple Words By Anand Bakshi.

ये जीवन है इस जीवन का यही है, यही है, रंग-रूप  

–Yeh Jeevan Hai …Kishore Kumar

Anand Bakshi writes ये ना सोचो इसमें अपनी हार है की  जीत है ! उसे अपना लो जो भी जीवन की रीत है 

One of the finest songs from  Kishore Kumar with Laxmikant-Pyarelal. Kishore Kumar’s extremely soft and silky rendering in a totally different way and Laxmikant-Pyarelal’s westernized orchestra, very delicate rendering by CHORUS in surround sound  for the “interludes”, are the features of this lovely song. The song is completely woven around the glimpses of ACOUSTIC  GUITAR (played by late Gorakh Sharma, Pyarelalji’s younger brother). WHISTLE in surround sound gives the listeners Ear-Pleasing. Another beauty of this song is ‘finger pinch’ used in the ‘rhythm’, at the end of each ‘antara’.

Dalal Guha and Premji’s Musical Hit DOST  1974.                                                                 Anand Bakshi has written two philosophical songs in this song, filmed on Dharmendra

–Aa Bata De Tuze Kaise Jiya Jata Hai….Lata – Rafi.

Gaadi Bula Rahi Hai   Kishore Kumar. 

This Song Means Be Positive Every Time Do Not Think Negative Any Time In Life. Life Will Be Happy. Pretty Philosophical Words Penned By Anand Bakshi. गाडी को देख कैसी है नेक अच्छा बुरा न देखे ! सब है सवार दुश्मन के यार सबको चली ये लेके !

Smoothly Rendered By Kishore Kumar Wonderfully Composed By Laxmikant-Pyarelal.

38 seconds of ‘prelude’ is awesome. A unique ‘rhythm’ created to sound like an exhausting of steam from the ‘steam engine’, and also the typical steam engine horn. All of these sounds are synchronized with VIOLINS, ACOUSTIC GUITAR and BONGO DRUM, to make the ‘rhythm’ perfect to visualize the movement of the Train. Interludes are orchestrated with VIOLINS, SAXOPHONE, CHURCH BELL, ACOUSTIC GUITAR, MOUTHORGAN & other BRASS instruments.

Ravi Tondon’s Musical Hit  MAJBOOR  1974

Bakshi Sahab wrote a splendid as well as an immortal song, filmed on Amitabh Bachchan 

–Aadmi Jo Kehta Hai ….Kishore Kumar

Anand Bakshi penned   कोई भी हो हर ख्वाब तो अच्छा नहीं होता ! बहोत ज्यादा प्यार भी अच्छा नहीं होता 

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”. This song has a Mind-Boggling “Prelude” of 144 seconds. This prelude is mellifluously orchestrated in a SYMPHONY style with solo VIOLIN, CELLOs, FLUTE and 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.

J Omprakash super Musical Hit   APNAPAN  1977

Anand Bakshi’s  one of the most popular song giving preaching. Filmed on Sudhir Dalvi and Nivedita Joshi. 

-Is Duniya Main Jeena …Kishore – Lata 

–Aadmi Musafir Hai Aata Hai Jata Hai   ..M. Rafi – Lata Mangeshkar

Doctrine worded, each and every line. Anand Bakshi writes क्या साथ लाये क्या छोड़ लाये ! रस्ते मैं हम क्या छोड़ लाये ! मंज़िल पे जाके याद आते है !  

Laxmikant-Pyarelal’s composition is simply superb. 32 seconds of ‘prelude’ is composed by GHUNGROO BELLS, VIOLINS and HARMONIUM.The ‘rhythm’ has DHOLAK synchronized with GHUNGROO BELLS. Interludes are instrumented with SANTOOR, FLUTE, CLERANATE, VIOLINS and HARMONIUM. 

Another J Omprakash Super Musical Hit  AASHA 1979.                                                           One more Sheer Magical song, a top hit, from Anand Bakshi. 

–Sheesha Ho Ya Dil …Lata Mangeshkar.

Here Bakshi Sahab says काफी बस अरमान नहीं, कुछ मिलना आसान नहीं। दुनिया की मजबूरी है ! फिर तक़दीर जरूरी है !  Filmed on REENA ROY, Looks beautiful.. 

Laxmikant-Pyarelal’s splendid composition.  20 seconds of ‘prelude’ is full of Latajis honeyed AALAPS. Brilliant take off…शीशा हो या दिल हो …She gives 3 seconds of singing ‘pause’  for symphonious DHOLAK rhythm. First and Second interludes are orchestrated with an ACCORDION. Third interlude has a solo display of VIOLIN. Another beauty of this song is ‘singing’ and ‘rhythmic’ pauses.

Subhash Ghai’s Musical Blockbuster  MERI JUNG  1985.   One of the most popular songs of the mid-eighties. 

-Zindagi Har Kadam Ek Nayi Jung Hai    Shabbir  – Lata  – Nitin Mukesh  

Anand Bakshi writes हौसला ना छोड़ कर सामना जहाँ का ! बदल रहा है देख रंग आसमान का 

Laxmikant-Pyarelal have orchestrated this song by using PIANO as well as VIOLINS in symphony style. The song is filmed on Nutan, Girish Karnad, Anil Kapoor. 

Director T Ramarao’s   ANDHA KANOON  1983   Anand Bakshi writes  रोते रोते हँसना सीखो, हँसते हँसते रोना

–Rote Rote Hasna Sikho….Kishore Kumar. 

Meaningful philosophical words by Anand Bakshi बड़ी बड़ी खुशियां हैं छोटी छोटी बातों में  नन्हे मुन्हे तारे जैसे सोती रातों में ऐसा सुन्दर है ये जीवन, जैसे कोई सपना सलोना. Filmed on Amitabh Bachchan

Producer/Director Mohan Kumar’s AMRIT 1986.                                                                        Here Bakshi Sahab writes about ‘ghum’, sorrow.

Duniya Mein Kitna Ghum Hai    ,Mohammad Aziz. 

Very much philosophical wording by Anand Bakshi  दुनिया मैं कितना गम है ! मेरा गम कितना कम है ! लोगों का गम देखा तो मैं अपना गम भूल गया filmed on Rajesh Khanna. 

This is a typical Laxmikant-Pyarelal moulded song. 

Added On PUBLIC DEMAND 

Rajesh Khanna’s Biggest Musical Hit  HAATHI MERE SAATHI   1971

–Duniya Main Rehna Hai To Kaam Kar” Pyare  Kishore Kumar

पैसे बिना दुनियाँ में रोटी नहीं मिलती. रोटी नहीं मिलती लंगोटी नहीं मिलती

Laxmikant-Pyarelal with Anand Bakshi Record 304 Films with 1680 songs.

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