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Fascinating Hema Malini and Symphonious Laxmikant-Pyarelal

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

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

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

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

Laxmikant-Pyarelal and Hema Malini

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

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


1970:- 1 Sharafat, 1971:- 2 Abhinetri,  3 Raja Jani, 1972:- 4 Gora Aur Kala,          1973: 5 Gehri Chaal, 6 Dost, 7 Amir Garib, 8   Dulhan, 1975:- 9 Pratigya,               1976:- 10 Naach Uthe Sansar, 11 Charas, 12 Maa, 13 Aap Beati, 14 Dus Numbari,  15 Jaaneman, 1977:- 16 Dream Girl, 17 Chacha Bhatija, 18 Palkon Ki Chhaon Mein.     1979 :- 19 Dil Ka Heera. 1980:- 20 Bandish 1981:- 21 Krodhi, 22 Kranti, 23 Naseeb,  24 Meri Aawaz Suno. 1982:- 25 Samrat, 26 Farz Aur Kanoon, 27 Do Dishayen,  28 Rajput, 29 Bagawat, 30 Desh Premee, 1983:- 31 Andha Kanoon, 1984:- 32 Sharara, 1989:- 33 Santosh. 1991:- 34 Jamai Raja

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

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

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

Jeevan Data Jagat Pita Tum.…Lata

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

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

— Mera Rasta Rok Rahe Hai …Lata

— Ek Din Aapne Yaad Kiye.…Asha

and the melodious Mujra

— Duniya Ne Sunali Hai Chhupke

( Songwriter Anand Bakshi. Singer Lata Mangeshkar)     

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

Abhinetri  1971

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

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

Dhadkan Har Dil Ki …. Lata

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

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

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

Bane Bade Raja ….Asha Bhosle. 

and the most melodious 

Sajna More Sajna ….Lata

(Songwriter Majrooh Sultanpuri. Singer Lata Mangeshkar)

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

Raja Jaani  1972

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

Aa Aaja Aaja Kuchh  Kehja… Lata

Duniya Ka Mela Mele Mein Ladaki ….Lata

Mubarak Ho Tuze Ae Dil…Lata 

ABCD Chhodo …Lata

Jaani O Jaani….Kishore Kumar 

and very sweet song

Kitna Maja Aa Raha Hai….Lata

(Songwriter Anand Bakshi. Singer Lata Mangeshkar)

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

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

Gora Aur Kala   1972

(Songwriter Anand Bakshi. Singer Mohammad Rafi)

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

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

Tere Nain Nashele ….Mohammad Rafi

and Laxmikant-Pyarelal & Mohammad Rafi “classic”.

Ek Na Ek Din Ye Kahani….M. Rafi. 

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

Dulhan  1974

Hema Malini with Jeetendra. Excellent music,

Aayegi Jaroor Chitthi Mere Naam Ki ….Lata

— Main Dulhan Teri….Lata 

and a ‘classic’ song rendered by Kishore Kumar

— Jane Chaman Jane Bahar …. Kishore Kumar.

(Songwriter Anand Bakshi. Singer Kishore Kumar)

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

Pratigya  1976

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

-Morni Re Morni Main Jungle Ki Morni…Lata

-Pardesi Aaya Desh Me…Lata

-Uth Neend Se…(Lata-Rafi) 

AND Huge Hit, everfresh and evergreen  Song

Main Jat Yamla Pagla Deewana

(Songwriter Anand Bakshi. Singer Mohammad Rafi)

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

Charas  1976

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

It has two fabulous duets.

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

and ‘good night’ song.

KalKi Haseen Mulaqat Ki Liye…

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

Use of Brass Instruments at it’s best.

Dream Girl   1977

(Songwriter Anand Bakshi. Singer Kishore Kumar)

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

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

Dream Girl Dream Girl, Kisi Shayar Ki Gazal

(Singer Kishore Kumar. Songwriter Anand Bakshi)

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

Palkon Ki Chhaon Mein  1977

Gulzar is working first time with Laxmikant-Pyarelal.

— Dakiya Daak Laya …Kishore Kumar. 

and a GEM of a song.

Koi Mere Mathe Ki Bindiya

(Songwriter Gulzar   Singer Lata Mangeshkar

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

Kranti   1981

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

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

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

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

Abke Baras Tujhe …. Mahendra Kapoor

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

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

–Mara Thumka ….Lata Mangeshkar and 

–Zindagi Ki Na Toote Ladi ….

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

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

Naseeb  1981

Manmohan Desai’s super musical. 

Mere Naseeb Mein Tu Hai Ki Nahi ..

(Songwriter Anand Bakshi. Singer Lata Mangeshkar)

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

Desh Premi  1982

Manmohan Desai film. 

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

(Songwriter Anand Bakshi. Singer Laxmikant – Asha Bhosle)

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

Sharara   1984

(Songwriter Anand Bakshi. Singer Lata Mangeshkar)

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

Ajay Poundarik.                                                                                                                Atlanta, Georgia USA

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

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

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

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

PARASMANI songs rocks the Binaca Geetmala for two successive years.


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

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

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

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

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

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

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

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

6) Roshan Tumhise Duniya Raunak – Mohammad Rafi
Songwriter Indeevar
Pure Clasical Song. “Prelude” is brilliantly rendered as a AALAP by Rafi Sahab and GHUNGAROO BELLS. ‘Interludes’ are orchestrated with SITAR. “Postlude” is brilliantly composed.

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

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

Extracted :: Courtesy “The Hindu”…


ASTOUNDING FOURSOME Mohammad Rafi Anand Bakshi Laxmikant-Pyarelal

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

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

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

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

ASTOUNDING  FOURSOME :: Mohammad Rafi,  Anand Bakshi, Laxmikant-Pyarelal. Out of gigantic 379 songs composed by Laxmikant-Pyarelal for Mohammad Rafi, monumental 270 songs are written by Anand Bakshi, ONLY.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Binaca Geetmala:

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

Laxmikant, Lata Mangeshkar, Anand Bakshi & Mohammad Rafi

Filmfare Awards / Nominations:-

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

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

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

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

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

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

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

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

Jeene Ki Raah” (1969)

Amar Akbar Anthony” (1977)

Sargam” (1979)

Karz” (1980)

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

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

Unfortunately, NONE for Rafisaab, involving “QUARTET”.  

Laxmikant, Pyarelal, Lata Mangeshkar & Mohammad Rafi

Period after 1970-

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

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

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

Listing few hit albums.  

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

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

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

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

1974:- Shatrughan Sinha’s “Dost

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

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

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

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

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

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

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

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

1  AAYE  DIN BAHAR  KE – 1966

Mere Dushman Tu Meri Dosti Ko Tarse

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

2  NIGHT  IN LONDON  – 1967

Bahosh-O-Hawas Mein Deewana

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

3  JEENE  KI RAAH  – 1969

Aane Se Uske Aaye Bahar

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

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

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

4  DO RAASTE  – 1969

Ye Reshmi Julfe

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

5  UPHAAR  – 1971

Mein Ek Raja Hoon Tu Ek Rani Hai

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

6  KHILONA  – 1971

Khilona  Jaankar Tum  To Mera Dil Tod Jaate Ho

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


Ye Jo Chilman Hai, Dushman Hai Hamari

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

Rajesh Khanna simply awesome.

8  LOAFER  – 1973

Aaj Mousam Bada Beimaman Hai

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


Parda Hai Parada

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

10  SARGAM  – 1979

Hum To Chale Pardes Hum Pardesi Ho Gaye

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

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

11  KARZ  – 1980

Dard- E-Dil, Dard-E-Jigar

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

Ajay Poundarik

Vadodara (Gujarat)


Conspicuous Ternion :: Majrooh Sultanpuri & Laxmikant-Pyarelal

Conspicuous Ternion :: Majrooh Sultanpuri & Laxmikant-Pyarelal

Majrooh Sultanpuri, as a songwriter, entered into film music in 1945. His contributions to the Indian film music is boundless. His lyrics effortlessly blend with the tunes, the words soothingly flowing over the notes that even after decades’ people would still murmur these numbers. 

Young Laxmikant-Pyarelal made a staggering and incredible entry into Hindi Film Music in 1963, through the music of the film Parasmani. Likewise Majrooh Sultanpuri, Laxmikant–Pyarelal too have immeasurable services in hindi film music, persistently, for nearly 500 films, in 35 years, starting from 1963 to 1998. 

In 1964, the partnership of Majrooh Sultanpuri and Laxmikant-Pyarelal started through the film Dosti. Laxmikant–Pyarelal got more out of the veteran Mahrooh in Dosti (1964). It was Majrooh’s award-winning lyrics. Majrooh won his only filmfare award. Laxmikant–Pyarelal too won their first Filmfare award for the music of  Dosti.  

Majrooh Sultanpuri and Laxmikant-Pyarelal worked for nearly 40 films. The Laxmi-Pyare and Majrooh team produced some spectacular, noteworthy albums like Dilllagi (1966), Pathar Ke Sanam (1967), Shagird (1967), Mere Hamdam Mere Dost (1968), Dharti Kahe Pukar Ke (1969), Abhinetri (1970), V. Shantaram’s classic, dance-musical, Jal Bin Machhli Nritya Bin Bijlee (1971), Ek Nazar (1972), Imtehan (1974) and many more but for most music lovers, Dosti (1964) towered above them because of its freshness and simplicity.

DOSTI film, directed by Satyen Bose, gave ‘name’ and ‘fame’ to both Laxmikant-Pyarelal and Rajshri Films (Tarachand Barjatya), as well.  DOSTI music put Laxmikant-Pyarelal in top music directors rank and made them a “household name”.      

After this victorious feat Laxmikant-Pyarelal and success went together without a break or loss of continuity.

Listing below Majrooh Sultanpuri and Laxmikant-Pyarelal Films:- 

Dosti  1964

Mere Lal 1966

Dillagi  1966

Patthar Ke Sanam 1967

Shagird  1967

Mere Hamdam Mere Dost   1968

Baharon Ki Manzil  1968

Pyasi Shaam 1969

Wapas  1969

Meri Bhabhi 1969

Dharti Kahe Pukar Ke   1969

Abhinetri  1970

Jal Bin Machhali Nritya Bin Bijlee   1971

Ek Nazar  1972

Barkha Bahar  1973

Anokhi  Ada 1973

Nirman  1974

Imtihan  1974

Anari  1975

Mere Sajana 1975

Dus Numbari  1976

Naach Uthe Sansar  1976

Parvarish  1977

Ladies Tailor  1981

Khoon Aur Paani  1981

Pakhandi 1984

Watan Ke Rakhwale  1987

Janam Janam 1988

Kanoon Ki Zanjeer 1991

Rishta Ho To Aisa 1992

Badi Bahan 1993


Majrooh Sultanpuri and Laxmikant-Pyarelal are involved in a total 22 numbers of Binaca Geetmala Finals. 1964 started with 2 songs from “Dosti ”.  Position / Number 2 in 1965, “Dosti ” Chahunga Mein Tuze Sanz Savere.  In 1966 the songs from ‘DillagiYe Aaj Kal Ke Ladake and “Mere LalPayal Ki Jhankar Raste Raste made a big impact in the finals.  

In 1968  total 8 songs of Laxmikant-Pyarelal found a place in the finals. Out of 8 songs  6 songs were from Majrooh-LP,  two each from “Shagird,” Bade Miyan Deewane and  Dil Wil Pyar Wyar,  “Mere Hamdam Mere Dost’ Chhalkaye Jaam and Chalo Sajana,Patthar Ke Sanam Mehboob Mere Mehboob Mere and Batadu Kya Lana, found the place in final songs with  Number 1 song, top of the chart from  “ShagirdDil Wil Pyar Wyar Main Kya Janu Re.

1969 Number 12,  Ek Tera Saath .”Wapas”, number 8 Je Hum Tum Chori Se Dharati Kahe Pukar Ke”. 1970 number 8 Sa Re Ga Ma PaAbhinetri”. In the year 1971, two  songs from “Jal Bin Machhli Nritya Bin Bijlee”  O Mitwa O Mitwa  and Taron Na Sajkę found the place in the finals. 

Laxmikant, Majrooh Sultanpuri & Pyarelal

Review of the songs:-

I have tried to get the best of Majrooh Sultanpuri ** Laxmikant-Pyarelal. BUT I cannot forget the FOUR GEMS. Two each from “Imtihan” (1974), ‘ruk jana nahin’ ** roz sham aati thi, and “Mere Sajna” (1975) ‘maine kuchh khoya hai’ ** ‘ye kaun hasa’ two each rendered by Kishore Kumar and two each sung by Lata Mangeshkar.  Unique styles in terms of songwriting, composition as well as rendering. I feel sorry for not posting  musical “Dillagi” (1964) 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.

DOSTI    1964    (Singer:-  Mohammad Rafi)

It was Rajashri Film’s second movie with No Stars, No Heroin, No Hero.  Most of the prominent music directors of that time refused to score the music for this film as there was no star cast (two teenage unknown actors) and also they felt there was nothing in the film to compose the songs for Blind and Physically Disabled Children. But Laxmikant-Pyarelal took up the challenge and the film music became a History. All the songs written by Majrooh Sultanpuri and melodiously composed by Laxmikant-Pyarelal became the “STAR” of the films.

Mera To Jo Bhi Kadam….M Rafi

Rahi Manwa Dhukh Ki Chinta….M Rafi

Janewalo Jara Mudke….M Rafi

Koi Jab Raah Na Paye….M Rafi

Gudiya Hamse Ruthi...Lata

Chahunga Main Tuze Sanz Savere…..(Singer:-  Mohammad Rafi )

The most famous song from the film. It starts with the sentimental “prelude”, full of FLUTE, in raag ‘pahadi’. BAMBOO FLUTE and VIOLINS are admirably executed in all the ‘interludes’. SYMPHONY style VIOLINS are mellifluously used, as ‘filler’ at the end of each of ‘anara’ that is the ‘beauty’ of the composition. The song has an excellent “DHOLAK” rhythm.  Mohammad Rafi is simply outstanding in rendering. Initially this song was to be scrapped from the soundtrack. It was Rafi Saab who insisted Laxmikant-Pyarelal to retain the song and what a momentous decision that was from Dosti where there was no looking back. Rafi was so impressed with the compositions of Laxmikant Pyarelal that he had taken just one rupee for singing the song.

MERE  LAL  1966  (Singer:-  Lata Mangeshkar)

Average hit film directed by Satyen Bose, starring Indrani Mukharjee and Dev Kumar. The song ‘Payal Ki Jhankar Raste Raste’, pulled the crowd into the cinema hall, the superhit song of the year 1966. Lata Mangeshkar has sung 5 solos. The songs were  good. 

— Lal Tera Jug Jug Jiye Mata …Lata

— Jabtak Ye Sansar ….Mukesh – Usha

— Meri Patli Kamar Lambe Bal Re ….Lata

— Badal Roye Naina Roye …Lata

Payal Ki Jhankar Raste Raste     (Singer:-  Lata Mangeshkar)

Mesmerizing “Prelude” of 40 seconds, full of HARMONIUM, MANDOLIN (overlapped with Harmonium), FLUTE and DHOLAK, sets the mood to listen to this gem of composition. Entire song is woven around glimpses of HARMONIUM (played by Sonik Verma, a Blind Musician, of Sonik-Omi music director pair). All the “Interludes” have different tunes. The Best Song In Terms Of Use Of Harmonium. MANDOLIN is brilliantly used as a “filler” in between Lata Mangeshkar’s voice, giving ear-pleasing moments. Super Duper HIT song of the year 1966, A sheer VARIETY from the unique combo of LATA MANGESHKAR & LAXMIKANT-PYARELAL.

The song is filmed on Indrani Mukharjee who gambol beautifully on DHOLAK rhythm. 

PATTHAR KE SANAM  1967   (Singer:-  Lata Mangeshkar)

It was A G Nadiadwala production film directed by Raja Nawathe. Manoj Kumar, Waheeda Rehman Mumtaz starrer, a super hit movie. All the songs are hit. The songs became popular and still can be heard even today. 

Bata Du Kya Lana …Lata

Koi Nahi Hai Phir Bhi ….Lata

Aye Dushman – E- Ja…. Asha 

Tauba Ye Matwali Chal…….Mukesh

Mehboob Mere Mehboob Mere… (Singer:- Mukesh – Lata Mangeshkar)

When #Pyarelal ji told Pandit Shivkumar Sharma to play #SANTOOR with his “nails” for this melodious song. LAXMIKANT-PYARELAL have extensively used the mellifluous instrument from “Kashmir” named SANTOOR…. Santoor used to be prominently played instrument in most of the songs by Laxmikant-Pyarelal right from 1965. There are many TOP HIT songs which are decorated with Santoor in Laxmikant-Pyarelal’s orchestra arrangements. This particular song from “Patthar Ke Sanam” (1967) is awesomely orchestrated, “prelude’ of 16 seconds and all the “interludes”, with SANTOOR (played by Pandit Shivkumar Sharma) and the FLUTE (played by Pandit Hariprasad Chaurasiya). To create a different sound of Santoor, in the song, Pyarelalji told Shivji to use his ‘nails’ instead of the ‘wooden sticks’. Even the ‘strokes’ of the Santoor in the song, at various places, are played through the nails. See how beautifully this immortal song has been created. This song is Laxmikant-Pyarelal’s symphonic orchestra arrangements with astonishing DHOLAK rhythm. 

SHAGIRD   1967  (Singer:-  Lata Mangeshkar)

A comedy movie. Story between Confirmed bachelor, professor and his student who consider him as a mentor. Produced by Subodh Mukharjee and Directed by Samir Ganguly. It was a super musical hit celebrating Golden Jubilee Run (50 weeks) in many towns of India. The film has Joy Mukharjee -Saira Banu in lead and comedian I S Johar. All Songs HIT.

Bade Miyan Deewane Aise Na Bano  …Manna Dey – M. Rafi

Kanha Kanha Aan Padi Mein…Lata

Dil Wil Pyar Wyar Main Kya ...Lata (Number -1, TOP song of Binaca Geetmala 1968)

Woh Hai Zara Khafa Khafa …Lata-Rafi (all time hit)

Udate Pawan Ke Sang ….Lata (India’s sound of music)

Duniya Pagal Hai Ya Phir Main Deewana (Singer:- Mohammad Rafi)

Rock N Roll style rhythm. GUITAR is excellently orchestrated.

MERE HAMDAM MERE DOST   1968  (Singer:-  Lata Mangeshkar)                                                      An outstanding musical album from the legends Laxmikant-Pyarelal and Majrooh Sultanpuri. As many as “ 7 SOLO”” songs….4 lovely, melodious solo songs by Lata Mangeshkar and 3 mellifluous solos sung by Mohammad Rafi. The film was directed by Amar Kumar, starring Dharmendra – Sharmila Taigore and Mumtaz. Laxmikant-Pyarelal were in supreme form in 1967/68. Whatever Laxmikant-Pyarelal composed used to become popular and hit.

The songs are popular even today. Almost all the songs are melodious and sweet and are beautifully decorated with wonderful orchestra arrangements. 

Chalkaye Jaam  …Rafi

Tum Jao Kahin ..Lata

— Hamen To Ho Gaya Hai….Lata

Allah Ye Ada Kaisi ….Lata

Hame To Ho Gaya Hai Pyar.…Lata

– Chalo Sajna Jahan Tak Ghata Chale ...Lata

Hui Sham Unka Khayal      

“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 &amp; 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. An addict song for me. One of the finest composition from Laxmikant-Pyarelal …MOHAMMAD RAFI is simply outstanding.

BAHARON KI MANZIL   1968    (Singer:-  Lata Mangeshkar)

One of the finest musical albums from Majrooh – LP. Dharmendra – Meena Kumari. This film too has as many as 4 solo from Lata Mangeshkar. All are classic.

— Aaja Re Piya ..Lata

— Janam Din Aaya…Lata

— Ye Daman Ab Na Chhutega

Nigahen Kyon Bhatakti Hai        (Singer:-  Lata Mangeshkar)

Haunting melody, an extremely melodious song. Enjoy the beautiful DHOLAK rhythm as well as Lataji;s AALAPS. Lataji steels the show while singing चले आओ, ss  चssले आओ

WAPAS  1969                                                                                                                                    The film is directed by Satyen Bose (who directed “Dosti”, “Mere Lal” earlier). Starring unknown actors and actresses, Shekhar Purohit, Azra, Alka, Satyajeet and Parikshit Sahani ( Ajay Sahani) who was making his debut. The film has some fabulous music. Out of the total five songs FOUR songs are rendered by Mohammad Rafi.

Paijaniya Chhanake Ram..Rafi (pure Indian classical)

— Aayi Baharon Ki Shaam…Rafi (western classical)

Gudiya Si Meri Ladali …Rafi

Door Hai Wo Aanchal …Rafi

Zun Zuna Zaaje …Usha Mangeshkar

Ek Tera Saath    (Singers:- Lata – Rafi) 

Magnificent magical praiseworthy poetic song of Majrooh Sultanpuri, romantic eternal feelings, a very amazing duet. 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 is 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 brilliant take-off..

DHARTI KAHE PUKAR KE    1969   (Singer:-  Lata Mangeshkar)

Musical Blockbuster Film with Captivated Songs. Deenanath Shastri, the producer of the film and a very good friend of songwriter SHAILENDRA, has signed Shailendra to write the songs for this film. But the sudden death of Shailendra put the full-stop to Laxmikant-Pyarelal with Shailendra.

— Jaa Re Kare Badra ..Lata

— Khushi Ki Raat Aa Gayi ..Mukesh

— Diye Jalaye Pyar Ke ..Lata (Beautiful song composed  in “WALTZ” style)

— Dharti Kahe Pukar Ke ..Rafi

Je Hum Tum Chori Se ..  (singers:- Lata Mangeshkar – Mukesh )                                                      An Extremely Melodious Duet Composed In “Folkish” Style.                                                                       27 second of ‘prelude’ full of BANSURI, SANTOOR & FLUTE. Traditional Musical Instruments SHEHNAI / NADASWARAM are predominantly used in the orchestra mainly in all the ‘interludes’ and ‘postlude’. Euphonious DHOLAK ‘rhythm’ synchronized with the GHUNGROO BELLS, enthralls the listeners.

ABHINETRI    1970    (Singer:-  Lata Mangeshkar)

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. 

Sajna O Sajna….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. 

O Ghata Sawari   (Singer:-  Lata Mangeshkar)

 A Yoga song. Magnetizing “prelude” of 57 seconds, with symphony style VIOLINS , JAZZ FLUTE, SANTOOR, GLOCKENSPIEL and Lata’s Humming Sound.  How delicately and tunefully Laxmikant-Pyarelal have orchestrated the synchronization of Lata’s voice with beautiful glimpses of JAZZ FLUTE, is just enthralling as well as creating the rainy season effect and also sets the mood of the song.  All the “interludes” are with different tunes. In the second ‘interlude’ creating WATER SOUND is killer. Glimpses of JAZZ FLUTE , as filler, in between the song + “pause” and the western style rhythm s has made this song a special. Filmed on the actress Hema Malini, performing YOGA.

JAL BIN MACHHALI NRITYA BIN BIJLEE   1971    (Singer:-  Lata Mangeshkar)

To work with veteran Actor, Producer – Director, Dadasaheb Phalke Award winner  

V Shantaram used to be a pride. He was a great connoisseur of talent.The quality of the songs and music for V. Shantaram film’s used to be unique and special. Music used to be the asset for his films. V. Shantaram used to have something new for his film. This time it was for the First Time For Hindi Film Music all the songs of this film were recorded in Stereophonic Sound System. Lata Mangeshkar has sung as many as FOUR solo songs in addition to TWO duets with Mukesh. Mukesh has sung one song which became immensely hit. If you look at this JBMNB Album, all the songs are composed in a different style. Each and every song have different compositions and ‘rhythm’ patterns, as well. The orchestra arrangements for all the songs is just mesmerizing.

Man Ki Pyas Mere Man Se …..Lata

Jo Main Chali…Lata

O Mitwa O Mitwa…..Lata

Baat Hai Ek Boond Si….Lata – Mukesh

— Jhum Ke Gaye Dil ...Lata – Mukesh

Taron Ne Sajke...Mukesh

Kajara Laga Ke Bindiya Saja Ke  (Singer:- Lata Mangeshkar)

The anecdote described  by Shree Pyarelalji, how the song was recorded. A long musical sitting was held between V. Shantaram, Actress Sandhya, Laxmikant-Pyarelal and Majrooh Sultanpuri. Actress Sandhya first demonstrated the dance steps, performed the full dance and then told Laxmikant-Pyarelal to prepare the tune and rhythm by watching her steps. It was a different and unique style to compose the song.  Laxmikant-Pyarelal along with Lata Mangeshkar and Majrooh Sultanpuri came out with an outstanding composition.

A song on #MAYURDANCE. One more gem of composition with different styles. FLUTE is prominently used in western style. Perhaps the longest “prelude” 3 minutes and 27 seconds of beautiful dance sequence. This song is a GEM. FLUTE and SANTOOR, VIOLIN, VIOLA and GUITAR are prominently used and synchronized as well as overlapped, in western style orchestra arrangements with different styles of rhythm with DHOLAK. Also don’t forget to listen to the “postlude” of the song and “Mayur Dance”.

EK NAZAR   1972      (Singer:- Lata Mangeshkar)

It was the first film of B R Ishara as a Producer / Director, starring, Husband – Wife pair of  Amitabh BachchanJaya Bhaduri, with lustrous music by Laxmikant-Pyarelal. Melodious songs, great music by Laxmikant-Pyarelal and heart touching lyrics by Majrooh Sultanpuri , all the songs were phenomenal but since the film flopped went under popularity.

— Patta Patta Buta Buta — Lata-Rafi  (the most popular song of the film)

— Pehle So Baar ..Lata (beautiful Mujra song)

— Hameen Karen Koi Soorat Unhe Bhulane Ki….Lata (beautiful Mujra song)

— Pyar Ko Chahiye Kya ..Kishore (rare Gazal song from Kishore Kumar)

Ai Gham-E-Yaar   (Singer:- Mahendra Kapoor)

Perhaps this is the only song sung by Mahendra Kapoor for Amitabh Bachchan. 30 seconds of ‘prelude’ full of FLUTE, SANTOOR, CELLOS and  VIOLINS. IRANI SANTOOR, VIOLINS, SARANGI, CELLOS are awesomely instrumented in the ‘interludes’. Tuneful DHOLAK rhythm. 


Musical hit film starring JeetendraRekha and Mehmood

Sundari Hi HI Sundari ….Kishore

Tere Dil Main …Lata-Rafi

Jawani Tera Bol Bala….Manna Dey – Asha 

Gum Gayi ..Asha

Haal Kya Hai Dilon Ka     (Singer:- Kishore Kumar)

IMTIHAN   1974    (Singer:-  Lata Mangeshkar)

It’s said in our ancient scriptures that the Guru (teacher) has to set and follow extremely high standards for his conduct because he is an idol for the Shishyas (students) which they adore and emulate. “Imtihaan” , by default, has this story . An inspiring movie to all the movie-buffs.

The songs from this film, all the four songs are hit. It was a film between super hits of Laxmikant-Pyarelal  “Bobby” , “Daag” , “Manchali” and “Roti Kapda Makan”, “Loafer”.

Roz Sham Aati Thi …..(Singer:- Lata Mangeshkar)

The unique combo of Lata Mangeshkar and Laxmikant-Pyarelal have given many memorable songs in the sixties ( close to 179 songs). It was also expected to deliver the best in the seventies too. The song is popular even today. On the top of everything…the chemistry of Lataji and  LP worked miracles.

67 seconds “prelude”::-  0.15 seconds, TWEETING of BIRDS, Than GUITAR glimpses starts, FRENCH HORN (0.34 to 0.44), IRANI SANTOOR ( till 0.55) and than Lataji’s AALAP till 1.06 and the “pause”…giving the feel of ‘sunset’.  Just brilliant. It sets the mood of the song. 

Powerful RHYTHM of BONGO / CONGA DRUMS and it’s PAUSES. Lataji stops after singing ‘roj shaam aati thi’ (रोज़ शाम आती थी ) (1.11…1.14) just listen to the “rhythm”, again at 1.16 ….1.19…This gives an “ear-pleasing” moment to listen to the rhythm only. You will again find such “pauses” in the song. 

“Interludes”:- Both the interludes are beautifully decorated in western style orchestra arrangements with use of VIOLINS, CELLOS, IRANI SANTOOR and FRENCH HORN.

Ruk Jana Nahin      (Singer:- Kishore Kumar)                                                                     Inspiration Song. Wonderful Singing by Kishore Kumar on “high notes” and perhaps one of his best songs in the mid-seventies, carrying  variety. Beautifully penned by Majrooh Sultanpuri, truly an inspiring word. Wonderful decoration of highly RICH orchestra consists of CHURCH BELL (overlapping with the ‘rhythm’), GUITAR, IRANI SANTOOR, ACOUSTIC GUITAR, VIOLINs, FLUTE  and TRUMPET (Military BIGUL). Western style “rhythm” with Bongo Drums. All the three “interludes” have three different tunes. Another ‘killer’ part of the song is the various “pauses” given by Kishore Kumar and Laxmikant-Pyarelal.

MERE SAJNA  (1975)

Naveen Nischal – Rakhee Gulzar starrer with good songs. 

— Mere Sajna …Lata

Maine Kuchh Khoya Hai     (Singer:-  Kishore Kumar)

Unique composition 

Ye Kaun Hasa  (Singer:-  Lata Mangeshkar)

Again Lata Mangeshkar & Laxmikant-Pyarelal chemistry worked for this uncommon composition. 

Ajay Poundarik, Atlanta (Georgia), USA.



Laxmikant-Pyarelal is the name that needs no introduction in the field of Hindi Film Music or Hindustani Music.

The name represents an archive of hit film music that was churned out, non-stop, right from 1963 till the end of the century.  LP, Laxmikant-Pyarelal were amongst the few Hindi Film Music Directors of the good old yesteryears who were active right till the end.

Both Laxmikant and Pyarelal Coming from Very Poor Family Background have achieved the highest feat in Hindi Film Music.

When the discussion about the film comes one always feel that any movie is remembered because of its songs only. It is recognized by its music only. The film music is the heart of the any film.

It is known fact that Laxmikant-Pyarelal have dominated the Hindi Film Music from 1963 to 1998. Apart from that LP were consistent throughout.

There are very few personalities in the Hindi Films who were persistently active for more than 35 years and most of them have been awarded by prestigious “Dadasaheb Phalke Award”.. ..Raj Kapoor, V Shantaram, L V Prasad, K Vishwanath, Amitabh Bachchan, Yash Chopra, Gulzar, Pran, Manoj Kumar, Lata Mangeshkar, Asha Bhonsle, Manna Dey, Mohammad Rafi, Kishore Kumar …But in the Film Music Direction, it is ONLY Laxmikant-Pyarelal have worked for 35 non-stop years by giving various types of Mass Appealing music for the Indians.

Laxmikant-Pyarelal certainly deserves prestigious “DADASAHEB PHALKE AWARD”..

The duo has given some remarkable music in past and had maintained the consistency for about 35 years which itself is great feat. Since 1963 till date the name Laxmikant–Pyarelal is the house hold name. Laxmikant–Pyarelal has won as many as seven filmfare awards but they could have won even more than that. Apart from 7 Filmfare trophies, Laxmikant-Pyarelal were nominated for 18 films. The films like, Do Raaste, Shor, Bobby, Daag, Ek Duje Ke Liye, Utsav, Tejab, Sur Sangam, Khalnayak etc deserve to win the best music award, which they narrowly missed, for the respective years.

The duo has given all type of variety of music/songs whether it Classical, Folk, Westernized, Cabaret, Mujra, Devotional, Qawwali, Lori, Ghazal, Patriotic  or Disco. Most of the songs composed by them were catchy, melodious and was liked by all classes. The songs composed by Laxmikant–Pyarelal were used to become most popular in most of the villages of India. Most of the songs composed by them were catchy, melodious and was liked by all classes. Songs composed by Laxmikant-Pyarelal are so popular even today that they are rendered in marriages and functions by changing a few words here and there. Laxmikant-Pyarelal songs are available for all the Indian festivals, including Eid, Easter and Christmas. Laxmikant-Pyarelal songs are for all generations. Laxmikant-Pyarelal songs are available for any situations. If any Radio station starts playing Laxmikant-Pyarelal songs 24 hours X 7 days, none of the songs will be repeated. Such an enormous quantity of popular songs with quality, variety and melody, as well.Unfortunately, there is no any media support for Laxmikant-Pyarelal songs.

Laxmikant-Pyarelal have a dominance in the most popular radio programme “Binaca Geetmala”, in sixties, seventies, eighties and nineties, the weekly countdown programme broadcast by radio Sri Lanka, then.

Moreover the Laxmikant–Pyarelal have worked with most of the “Dadasaheb Phalke Award” winner filmmakers. For instance V. Shantaram (Jal Bin Machhali Nritya Bin Bijlee…), Raj Kapoor (Bobby, SSS and Premrog), Manoj Kumar (Shor and many more), Yash Chopra (Daag), B. R. Chopra (Dastaan), L V Prasad (Milan, Jeene Ki Raah and many more), K Vishwanath (Sargam, Sur Sangam and more), K Balachander (Ek Duje Ke Liye), Shashi Kapoor (Utsav), Hrishikesh Mukharjee (Satyakam). Moreover the Laxmikant–Pyarelal have also worked with all the topmost Producers and Directors of their time. For instance Raj Khosla (Anita, Mera Gaon Mera Dehj, Do Raaste and many more), Manmohan Desai (Amar Akbar Anthony and many more), Rajshri Productions ( Dosti, Taqdeer, Uphar and Piya Ka Ghar and many). Ramanand Sagar (Charas and more), Subhash Ghai (Karz, Hero and many more), Shekhar Kapoor (Mr India), David Dhavan (Diwana Mastana). Just to add few more J. Omprakash, Mohan Kumar, Shakti Samanta, Satyen Bose, Dalal Guha, Raja Nawathe, Shreedhar, Raghoonath Zalani, Babubhai Mistry, Vijay Bhatt, Mahesh Bhatt, Rahul Rawail, Brij, Vijay Anand, Darasingh, Rajkumar Kohli, Rajkumar Santoshi, Nitin Mohan, Mehul Kumar, Raj Kanwar Satish Kaushik etc…The list includes the great Producers and Directors of yesterday’s and today’s. This list has no end but it is doubtful that any other music director has worked with as many as prominent film producers/directors and companies in the manner Laxmikant-Pyarelal have worked. The songs of their respective films were super duper hit and are still popular even though some of them are more than 50 years old.

It is not easy to maintain the consistency in this field. But Laxmikant-Pyarelal were able to do it so, for more than 35 years since their emergence with the super hit music of “Parasmani” in 1963. No any other music director is able to do so.

Laxmikant-Pyarelal had maintained the popularity of their songs  


In SIXTIES (1963 to 1969) and gave tough challenges to old horses like Shankar-Jaikishan, O P Nayyar, Madan Mohan, Roshan, Ravi, Chitragupt, Hemant Kumar, S D Burman etc. and conquered Number ONE position in the year 1967.

In SEVENTIES (1970 to 1979) Laxmikant-Pyarelal’s position remain unaffected, maintained number ONE position but this time LP’s  competitors were, R D Burman, Kalyanji-Anandji,  Ravindra Jain, Rajesh Roshan, Khayyam etc.

In EIGHTIES (1980 to 1989) Laxmikant-Pyarelal’s position still remained the same, maintaining number ONE position but this time the challenges were  from Bappi Lahiri, Rajesh Roshan, Khayyam, Anand Milind and to some extent R D Burman (till 1985).

In NINETIES (1990 to 1998) Laxmikant-Pyarelal were right on top till 1994. But this time LP’s competition was with New generation music directors like, Anu Malik, Anand-Milind and Nadeem-Shravan.

Their music had a magic to the extent that even non-star cast films like Dosti, Sant Gyaneshwar, Lootera, Farz, Wapas, Bobby, Jal Bin Machli.., Ek Duje Ke Liye, Hero, Sur Sangam, Prem and many more became successful because of the good music.

Laxmikant-Pyarelal’s  film music was not limited to the song. But their background music used to be an asset for most of the film. LP’s songs orchestra arrangement is nothing short of celestial symphony, which a has classic extensions blending it to Indian music.

Laxmikant Shantaram Kudalkar died on 25th May, 1998. The Long Playing record breaking friendship / partnership came to an end. Pyarelal Ramprasad Sharma is still active in performing live shows all across the world. Very recently Pyarelalji have designed a SYMPHONY , named “Om Shivam” which was very well appreciated in GERMANY.  Please watch the standing ovation being given by Germans. (Last Two Minutes Standing Ovation) . Don’t forget to watch

TWO MINUTES Standing Ovation for Pyarelal Ramprasad Sharma in Germany

Just to highlight few of their achievements.

—Consistent throughout 35 years.

—Gave the music according to the change of time and situation demand (1963 to 1998) 

—Delivered maximum Popular and HIT songs for Hindi Film Music.

—Dominance in Binaca Geetmala

—7 Filmfare Trophies with maximum Nominations

—35 films with Golden Jubilee

—75 films with Silver Jubilee.

—Composed over 2800 songs, close to 500 films.

Outstanding contribution by Laxmikant-Pyarelal in Hindi Film Music. 


Ajay Poundarik

Nationalistic Manoj Kumar & Canorous Laxmikant-Pyarelal

Nationalistic Manoj Kumar & Canorous Laxmikant-Pyarelal

Dada Saheb Phalke Award Winner Manoj Kumar started his film career in 1958 with a small role in “Fashion” released in 1957. In the year 1960 Manoj Kumar got the leading role in “Kaanch Ki Gudiya”.

Manoj Kumar’s image as the patriotic hero started with the film “Shaheed” released in 1965. The film story was based on Bhagat Singh, the independence revolutionary. Former Prime Minister Shri Lal Bahadur Shastri asked Manoj Kumar to make a film on his popular slogan  “Jai Jawan Jai Kisan” (hail the soldier, hail the farmer). Honoring the Prime Minister’s request, in 1967 Manoj Kumar made the film “Upkar”. He became Actor/Producer/Director/Editor.

Manoj Kumar’s association with music directors Laxmikant-Pyarelal started from the film, produced by A G Nadiadwala, directed by Raja Nawathe,  “Patthar Ke Sanam”, 1967. It was a musical blockbuster film, starring Manoj Kumar, Waheeda Rehman and Mumtaz. 

In 1967 yet another musical hit film, Manoj Kumar – Sadhana starrer, producer / director Raj Khosla’s maiden film,  “Anita” was released.  

Such was the “charm / craze” of Laxmikant-Pyarelal, in the mid 60s that Raj Khosla took the duo in “Anita”,  despite the musical success of music director Madan Mohan with Raja Mehadi Aali Khan as the songwriter in his previous films (“Woh Kaun Thi”  and “Mera Saya” ) and music director Ravi with the songwriter Shakeel Badayuni (“Do Badan”). 

Manoj Kumar and Laxmikant-Pyarelal were associated with a total of 10 films, including 4 films as a Producer / Director, from 1967 to 1999. 

Naushad shaking hands with Manoj Kumar. Pyarelal and Laxmikant.

In 1972, Manoj Kumar took an unpalatable decision when he signed, in form music directors Laxmikant-Pyarelal for “Shor”, leaving behind music directors Kalyanji-Anandji who scored excellent music in Manoj Kumar’s earlier films like “Upkar” 1967 and  “Purab Aur Paschim”,1970. 

List of the films Writer/Editor/Producer/Director/Actor Manoj Kumar associated with the music director Laxmikant-Pyarelal. Almost all the films have excellent music, except “Jai Hind”. 

1    Patthar Ke Sanam  1967

2    Anita   1967

3    Sajan    1969

4    Shor   1972       

5    Roti Kapda Aur Makaan   1974

6    Dus Numbri    1976

7    Kranti      1981

8    Santosh    1989 

9    Deshwasi   1991

10 Jai Hind  1999 ( as a director)

Laxmikant-Pyarelal has utilized four singers for Manoj Kumar.                        Mukesh, Mohammad Rafi, Mahendra Kapoor and Nitin Mukesh.


Manoj Kumar’s total 13 numbers of final songs which have music by Laxmikant-Pyarelal, appeared in Binaca Geetmala Finals. “Anita” 1967, Main Dekhu Jis Aur Sakhi Ri at 23rd position and Na Baba Na Baba at 7th position. “Patthar Ke Sanam” 1968, Mehboob Mere Mehboob Mere at 20th position and Batadu Kya Lana at 11th position. “Sajan” 1969, Resham Ki Dori, at 23rd position. “Shor” 1972, Iconic song Ek Pyar Ka Nagma Hai at 29th position. “Shor” song again in 1973, Macha Diya Shor at 34 position. “Roti Kapda Aur Makan” 1975, Hi Hi Yeh Majaboori at 2nd position and Mehangai Mar Gayi Mar Gayee at 1st position. “Dus Numbri” 1976, Mujhe Dard Rehata Hai at 24th position, Duniya Ek Numbari at 10th position.”Kranti” 1981, Luii Shama Sha Lui  at 26th position and Zindagi Ki Na Toote Ladi, at 2nd position. 

Many songs from ‘Anita’, ‘Patthar Ke Sanam’, ‘Shor’, ‘Roti Kapada Aur Makan’ and ‘Kranti’ did appear in Binaca Geetmala weekly countdown but failed to reach the finals. 

Laxmikant-Pyarelal were nominated for the best music director’s filmfare award, for the music of “Shor” in 1972 as well as “Roti Kapda Aur Makan” in 1974. 

However “Roti Kapda Aur Makan” in 1974,  won three filmfare awards.   1) Best director Manoj Kumar 2) Best songwriter, Santosh Anand, for the song Main Na Bhulunga 3) Best male playback singer, Mahendra Kapoor, for the song Aur Nahi Bas Aur Nahi

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.


It was A G Nadiadwala production film directed by Raja Nawathe. Manoj Kumar, Waheeda Rehman Mumtaz starrer, a super hit movie. All the songs are hit. The songs became popular and still can be heard even today. 

Bata Du Kya Lana …Lata

Koi Nahi Hai Phir Bhi ….Lata

Aye Dushman – E- Ja…. Asha 

Mehboob Mere Mehboob Mere…Mukesh-Lata

Tauba Ye Matwali Chal…….Mukesh

(Mukesh :: Majrooh Sultanpuri)

A Romantic song. This lovely  song is filmed on Manoj Kumar, Mumtaz and Waheeda Rehman on the screen. Romantically sung by Mukesh. Song has a beautiful DHOLAK rhythm. First part is very nicely orchestrated by VIOLINS. The second half of the song starts with ear-pleasing FLUTE and MANDOLIN.  

Patthar Ke Sanam 

(Mohammad Rafi :: Majrooh Sultanpuri)  

35 seconds of ‘prelude’ is orchestrated in ‘symphony’ style with PIANO, VIOLINS and CELLOS. ‘Pause’ in the orchestra for 19 seconds for brilliant ‘take off’ by Rafi Saab. Interludes also have symphony style orchestra arrangement, PIANO, VIOLINS and NADASWARAM. Traditional DHOLAK / TABLA rhythm.

ANITA   1967

Famous Director Raj Khosla started his own Production Unit naming Raj Khosla Films through ANITA. It was a suspense thriller with very good music. It was a star studded movie with Majoj Kumar and Sadhana in lead supported by I S Johar. Excellent lyrics by Raja Mehadi Ali Khan saab and Laxmikant-Pyarelal justify the selection of Raj Khosla as a replacement of Madan Mohan saab. Sudden death of Raja Mehadi Ali Khan gave the full stop to the RMAK and  LP’s rising partnership. ANITA has six songs. Four are sung by Lata Mangeshkar and  Two by Mukesh. Actress Sadhana looks very pretty in all the songs. “तुम बीन जीवन कैसे बीता” (“Yaman Kalyan”) and “सामने मेरे सांवरिया” (“Bhairavi”) 

Na Baba Na Baba ...Lata

Kareeb Aaye Nazar...Lata

Gore Gore Chand Ke…Mukesh

— Hai Nazar Ka Ishara…Lata – Usha

Samne Mere Sawariya 

(Lata Mangeshkar :: Raja Mehadi Ali Khan)

Extremely melodious song starts with Lataji’s mind-boggling AALAPS, HUMMING in ‘Bhairavi’ Ear-Pleasing DHOLAK rhythm. First “Interlude” is orchestrated in SYMPHONY style VIOLINS intermixed with BIRD’s TWEETING. Second ‘Interlude’ is awesomely decorated with FLUTE. Third “interlude” starts with MRIDANG and ends with VIOLINS in ’SYMPHONY style. The magic number “Samne Mere Sawariya” beautifully shot with Sadhana walking the hills. Manoj Kumar looks handsome. 

Tum Bin Jeevan 

(Mukesh :: Raja Mehadi Ali Khan)

Elegant melodious song composed in Raag “Yaman Kalyan”………effectively sung by Mukesh ji ……deep touching lyrics. Simple ‘TABLA’ rhythm for mukhda and antara. Another beauty of this song is a mellifluous SYMPHONY style orchestra arrangements with soft VIOLINS (no rhythm) in all the “interludes”. Filmed on Manoj Kumar and Sadhna. 

SAJAN     1969

A suspense thriller, directed by Mohan Saigal, with good music.                                                  Manoj KumarAsha Parekh in the lead role. 

Sajan Sajan Pukaroon Galiyon Mein...Lata

Sajan Sajan Pukaroon Galiyon Mein…Rafi

Bansuri Tihari Nandlal...Asha

Ai Mere Meherban …Lata

Resham Ki Dori 

(Lata – Rafi :: Anand Bakshi)

Melodious duet, punjabi flavoured “folk” with mellifluous DHOLAK / TABLA rhythm. Interludes are wonderfully orchestrated with SANTOOR, FLUTE and VIOLINS. Enjoy the ‘rhythmic’ ‘pause’ in the middle of the ‘antara’. Awesome ‘ ‘HUMMING’’ by Lata ji and Rafi saab in ‘Postlude’. The song is filmed on Manoj Kumar – Asha Parekh.

SHOR    1972       

Manoj Kumar directed and starred in this film revolves around the relationship of a mute son and his father. The film story is written by Manoj Kumar. The film is full of emotions. The smash hit song Ek Pyaar Ka Naghma Hai, is the anthem of the film, written by Santosh Anand and sung in different versions by Lata Mangeshkar and Mukesh. The song which plays throughout the film, retains its chartbuster status till date. Film has Manoj Kumar, Nanda & Jaya Bhaduri. The music by Laxmikant-Pyarelal is one of the strongest points of “Shor”. 

Paani Re Paani Tera Rang Kaisa ….Lata-Mukesh

— Ek Pyar Ka Nagma Hai..Lata – Mukesh (Smash Hit Song)

Jara Sa Usne  Chhua To….Lata

Shehnai Baje Na Baje 

(Lata Mangeshkar :: Verma Malik)

28 seconds of “prelude” contains tweeting sound of BIRDS and Lataji’s unique style of HUMMING, synchronised with Jaya Bhaduri’s swinging action. Beautiful DHOLAK rhythm. Interludes are awesomely orchestrated with MANDOLIN, SHEHNAI / NADASWARAM and VIOLINS. Filmed on Jaya Bhaduri – Manoj Kumar.

— Jeevan Chalane Ka Naam

(Manna Dey – Mahendra Kapoor – Shyama Chittar :: Raj Kavi Indrajeet Singh Tulsi)

Inspiration song. Beautifully composed and filmed while driving Bicycle, on Manoj Kumar, Jaya Bhaduri and Prem Nath. 22 seconds of ‘prelude’ orchestrated with IRANI SANTOOR and VIOLINS. ‘Interludes’ are instrumented with VIOLINS, ACOUSTIC GUITAR, IRANI SANTOOR, MANDOLIN, ACCORDION and BICYCLE BELL. 


Roti Kapda Aur Makan remains one of the highlights from classic Indian Cinema, with a strong theme, affecting performances and the timeless music by Laxmikant-Pyarelal. Directed by Manoj Kumar. With Manoj Kumar, Shashi Kapoor, Amitabh Bachchan,Zeenat Aman, Moushumi Chatterjee and Prem Nath.

Panditji Mere Marne Ke Baad…Lata

Aur Nahin Bas Aur Nahin….Mahendra Kapoor.

Mehngai Mar Gayee..Lata, Mukesh, Chanchal, Jaani Babu Quwwal 

Maina Bhulunga 

(Lata-Mukesh :: Santosh Anand)

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

Hi Hi Yeh Majboori  

(Lata Mangeshkar :: Verma Malik)

This enthralling composition is completely woven around the glimpses of SPANISH GUITAR and JAZZ FLUTE. It has a unique rhythm. SPANISH GUITAR is played by Charanjit Singh. Filmed on Zeenat Aman and Manoj Kumar.  

DUS NUMBRI    1976

Produced and Directed by Madan Mohla. Manoj Kumar – Hema Malini

Dil Mein Dard Rehta Hai 

(Mukesh – Lata :: Majrooh Sultanpuri)

KRANTI      1981

An Indian epic historical drama produced and directed by Manoj Kumar. Manoj Kumar was supported by Hema Malini, Dilip Kumar, Shatrughn Sinha. Laxmikant-Pyarelal’s music is simply spectacular and a strong point of the movie. 

Abke Baras Tujhe Dharti Ki …Mahendra Kapoor

Dilwale Tera Naam ….N. Mukesh, Manna Dey, M Kapoor, Lata

Chana Jor Garam ….N. Mukesh, M Rafi, Kishore, Lata

Zindagi Ki Na Toote Ladi

(Lata Mangeshkar – Nitin Mukesh :: Santosh Anand)

“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 and that is why LAXMIKANT-PYARELAL are considered to be Champions of all. 

— Looie Shama Sha Looie

(Lata Mangeshkar – Nitin Mukesh :: Santosh Anand)

Excellently composed melodious duet. Use of ‘clapping’ ( ताली ) in rhythm is the best part of the song. Once again the use of CHORUS is a ‘class’ act. GUITAR, VIOLINS and MANDOLIN are awesomely orchestrated in the song. 

Music of Manoj Kumar films with Laxmikant-Pyarelal :: “Shor”, “Roti Kapada Aur Makan” and “Kranti” are outstanding

Ajay Poundarik, Atlanta (Georgia), USA. 

Accordant Music, Laxmikant-Pyarelal & Gorgeous Sharmila Tagore

Accordant Music, Laxmikant-Pyarelal & Gorgeous Sharmila Tagore 

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

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

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

1  Milan Ki Raat     1967

2  Mere Hamdam Mere Dost    1968  

3  Satyakam    1969

4  Pyasi Shaam   1969

5  Suhana Safar   1970

6  Dastaan      1972

7  Daag     1973

8  Shandaar   1974

9 Anari 1975

10  Desh Premi    1982

11 Aashiq Awara   1993

Laxmikant-Pyarelal utilised only three singers for Sharmila Tagore.

Lata Mangeshkar 

Asha Bhosle

Suman Kalyanpur (“Suhana Safar” Title Track)


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

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

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

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

1  MILAN  KI RAAT   1967

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

— Gham Ki Badli chhayi….Mukesh

— Chinta Mat Kariyo Ji...Lata

— Babu Re Babu...Asha 

— Doom Tara Ek  Doom Tara 

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

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

–Aankh Milaye Na Muskuraye Na

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

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

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

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

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

Chhalkaye Jaam …Rafi

Tum Jao Kahin ..Lata

Allah Ye Ada Kaisi ….Lata

Hame To Ho Gaya Hai Pyar.…Lata

Hui Sham Unka Khayal.…Lata

Chalo Sajana Jahan Tak Ghata Chale                                                                               

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

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

— Na Ja Kahin Ab Na Ja                                                                    

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

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

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

3  SATYAKAM    1969

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

Abhi Kya Sunoge ..Lata 

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

Do Din Ki Zindagi….                                                                                                                

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

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

4  PYASI SHAM   1969

Starring Sharmila TagoreSunil Dutt.  Average hit. Good Songs.

Aawara Mazi...Rafi

Yaron Mera Saath ….Rafi

Duniya Mein Dilwale….Rafi-Lata

— Yeh Kaisa Gham Sajna

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

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

5  SUHANA  SAFAR   1970

Sharmila Tagore with Shashi Kapoor, very good songs. 

Paise Ka Kya Yakeen…Rafi

Tim Tim Chamke Re…Lata

— Aaha Aaha Aa Ye Suhana Safar…Rafi

— Sari Khushiya Hai

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

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

— Chudiyan Bazar Se 

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

— Aaha Aaha Aa Ye Suhana Safar

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

6  DASTAAN  1972

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

— O Mela ..Mahendra Kapoor

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

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

— Hi Mein Ki Kaara… Asha 

— Woh Koi Aaya

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

7  DAAG  1973

To start with YASH RAJ Films first ever film, producer and director Yash Chopra wanted to utilize the ‘best’ artists available then. Rajesh Khanna was in supreme form in the early seventies, he along with Sharmila Tagore, Rakhi were the stars of the film. LAXMIKANT-PYARELAL, in top gear, from 1967, got the honor of the first music director for ”YASH RAJ FILMS”. An outstanding/evergreen/ever-fresh music of ”Daag” is still popular.     

– Mere Dil Mein Aaj Kya Hai …Kishore Kumar

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

— Hawa Chale Kaise….Lata

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

– Ek Chehre Pe Kai Chehre

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

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

— Hum Aur Tum 

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

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

Ajay Poundarik, Atlanta (Georgia), USA

Laxmikant-Pyarelal :: Exquisite Music For SANJAY KHAN

Laxmikant-Pyarelal :: Exquisite Music For SANJAY  KHAN

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

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

Sanjay Khan & Laxmikant-Pyarelal

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

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

1    Dosti    1964.

2    Dillagi   1966.

3    Milan Ki Raat  1967

4    Shart    1968

5    Intequam   1968

6    Madhavi     1969

7    Pushpanjali 1970

8    Woh Din Yaad Karo  1970

9    Haseenon Ka Devata  1971

10  Wafaa     1971

12  Duniya Ka Mela  1974

13  Nagin    1976

14  Mastan Dada  1977

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

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


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

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

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

1  DILLAGI      1966

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

Ab Jeene Ka Mousam Aaya….Rafi-Asha 

— Mere Dil Main Chal Rahe…Lata 

— Puchho To Naam Bhi …..Rafi

— Dupatta Odhe Nikali Yaara ….Rafi

—-Ye Aaj Kal Ke Ladake  

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

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

–Tum Meri Zindagi Ho

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

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

Tauba Ye Nazare  

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

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

2   MILAN KI RAAT      1967

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

Babu Re Babu Is Zamane….Asha Bhosle

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

Gham Ki Badli Chhai Judai Leke Aayee …..Mukesh

Chinta Mat Kariyo….Lata

–Aankh Milaye Na Muskuraye Na

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

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

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

3  INTEQAM   1968

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

— Aa Jaan E Jaa…Lata

— Geet Tere Saaz Ka …..Lata

— Mehfil Soyee….Lata

– Hum Tumhare  Liye ….Lata-Rafi

Jo Unki Tamanna Hai Barbad Ho Ja

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

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

— Kaise Rahoon Chup

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

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

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

4  MADHAVI    1969    

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

— Sanz Savere ….a beauty from Lata

— Tum Mere Sapno Mein Aana Chhod Do

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

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

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

5 PUSHPANJALI     1970

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

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

— Chham Chham Baje Payal…Lata 

Door Koi Bansuri Bajaye …..Lata 

Vaade Ki Shaam Hai ……Asha – Manna Dey

– Duniya Se Jaanewale Jane ...Mukesh 

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

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


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

Yaar Jinhe Tum Bhool Gaye Ho…Lata

Yaar Jinhe Tum Bhool Gaye Ho…Rafi

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

Maine Chand Dekha Hai..Rafi

— Mohabbat Ki Kahaniyan …(Lata – Talat Mahmood) 

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

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

7 WAFAA    1971

The average hit, Sanjay Khan – Rakhee 

— Aankhon Se Yaar Pilaye…Kishore Kumar

— Aaloo Ki Bhaji Baingan Ka Bharta …Kishore-Lata

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

A naughty song. 

Ajay Poundarik, Atlanta (Georgia). USA.

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

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

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

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

Mohammad Rafi with the music directors

Laxmikant-Pyarelal            379 songs

Shankar-Jaikishan             330 songs

Chitragupta                        225 songs

Ravi                                   210 songs

Kalyanji-Anandjj               200 songs

O P Nayyar                        187 songs

Madan Mohan                   147 songs

Naushad                             114 songs

Usha  Khanna                     109 songs

R D Burman                        107 songs

S D Burman                          94 songs

N Dutta                                  94 songs

Roshan                                  87 songs

Rajesh Roshan                      33 songs

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

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

“Dosti” 1964, 

“Aaye Din Bahar Ke”,1966, 

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

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

“Jeene Ki Raah”, 

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

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

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

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

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

“Naach Uthe Sansar” (1976) 

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

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

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

“Uphaar” 1971 (main ek raja houn), 

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

“Ek Nazar”, 1972 ( patta patta buta buta

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

“Gora Aur Kala” 1972 (ek na ek din)

“Suhana Safar” 1972

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

“Pratigya” 1975 (main jaat yamala pagala)

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

Laxmikant, Mohammad Rafi & Pyarelal
Mohammad Rafi * Kishore Kumar


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

“Do Raaste”1970 

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

“Aansoo Ban Gaye Phool” 1969 

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

“Aaya Sawan Jhoom Ke” 1969 

( All songs to Mohammad Rafi) 

“Aan Milo Sajna” 1970 

(50% Rafi 50 % Kishore)

“Haathi Mere Saathi” 1971 

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

“Mehboob Ki Mehandi” 1971

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

“Aap Aaye Bahar Aayee” 1971

( 50% Rafi & 50 % Kishore)

“Prem Kahani” 1975 

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

 “Sargam” 1979 

( all songs to Mohamamd Rafi) around the same time

“Anurodh” 1977 

( all songs to Kishore Kumar) 

“Amar Akbar Anthony” 1978 

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

“Karz” 1979 

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

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

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

MAN  KI AANKHEN  1970      (Songwriter Sahir Ludhiyanvi) 

-Dil Kahe Ruk Ja Re Ruk Ja

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

AAP  AAYE BAHAR  AYEE  1971   (Songwriter  Anand Bakshi)

-Sare Jamane Se Mausam Suhane Se

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

ROOP  TERA MASTANA  1972   (Songwriter Asad Bhopali) 

-Bade Bewfa Hai Ye Husnwale 

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

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

GORA  AUR KALA  1972    (Songwriter Anand Bakshi)

-Ek Na Ek Din Ye Kahani    

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

SURAJ AUR  CHANDA  1973 (Songwriter Anand Bakshi)

-Tere Naam Ka Deewana 

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

GEETA  MERA NAAM  1974   (Songwriter Rajendra Krishnan)

-Mohabbat Hi Mohabbat Hai 

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

AAKHRI  DAO (1975)     (Songwriter Hasrat Jaipuri)

-Aisa Na Ho Ke      

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

A rare combo of Hasrat Jaipuri /Laxmikant-Pyarelal 

Ajay Poundarik, Atlanta (Georgia). USA.