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Fascinating Hema Malini and Symphonious Laxmikant-Pyarelal

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

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

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

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

Laxmikant-Pyarelal and Hema Malini

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

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

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

1970:- 1 Sharafat, 

1971:- 2 Abhinetri,  3 Raja Jani, 

1972:- 4 Gora Aur Kala,  

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

1975:- 9 Pratigya,  

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

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

1979 :- 19 Dil Ka Heera. 

1980:- 20 Bandish 

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

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

1983:- 31 Andha Kanoon, 

1984:- 32 Sharara, 

1989:- 33 Santosh. 

1991:- 34 Jamai Raja

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

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

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

Jeevan Data Jagat Pita Tum.…Lata

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

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

— Mera Rasta Rok Rahe Hai …Lata

— Ek Din Aapne Yaad Kiye.…Asha

and the melodious Mujra

— Duniya Ne Sunali Hai Chhupke

( Songwriter Anand Bakshi. Singer Lata Mangeshkar)     

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

Abhinetri  1971

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

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

Dhadkan Har Dil Ki …. Lata

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

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

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

Bane Bade Raja ….Asha Bhosle. 

and the most melodious 

Sajna More Sajna ….Lata

(Songwriter Majrooh Sultanpuri. Singer Lata Mangeshkar)

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

Raja Jaani  1972

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

Aa Aaja Aaja Kuchh  Kehja… Lata

Duniya Ka Mela Mele Mein Ladaki ….Lata

Mubarak Ho Tuze Ae Dil…Lata 

ABCD Chhodo …Lata

Jaani O Jaani….Kishore Kumar 

and very sweet song

Kitna Maja Aa Raha Hai….Lata

(Songwriter Anand Bakshi. Singer Lata Mangeshkar)

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

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

Gora Aur Kala   1972

(Songwriter Anand Bakshi. Singer Mohammad Rafi)

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

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

Tere Nain Nashele ….Mohammad Rafi

and Laxmikant-Pyarelal & Mohammad Rafi “classic”.

Ek Na Ek Din Ye Kahani….M. Rafi. 

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

Dulhan  1974

Hema Malini with Jeetendra. Excellent music,

Aayegi Jaroor Chitthi Mere Naam Ki ….Lata

— Main Dulhan Teri….Lata 

and a ‘classic’ song rendered by Kishore Kumar

— Jane Chaman Jane Bahar …. Kishore Kumar.

(Songwriter Anand Bakshi. Singer Kishore Kumar)

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

Pratigya  1976

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

-Morni Re Morni Main Jungle Ki Morni…Lata

-Pardesi Aaya Desh Me…Lata

-Uth Neend Se…(Lata-Rafi) 

AND Huge Hit, everfresh and evergreen  Song

Main Jat Yamla Pagla Deewana

(Songwriter Anand Bakshi. Singer Mohammad Rafi)

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

Charas  1976

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

It has two fabulous duets.

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

and ‘good night’ song.

KalKi Haseen Mulaqat Ki Liye…

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

Use of Brass Instruments at it’s best.

Dream Girl   1977

(Songwriter Anand Bakshi. Singer Kishore Kumar)

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

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

Dream Girl Dream Girl, Kisi Shayar Ki Gazal

(Singer Kishore Kumar. Songwriter Anand Bakshi)

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

Palkon Ki Chhaon Mein  1977

Gulzar is working first time with Laxmikant-Pyarelal.

— Dakiya Daak Laya …Kishore Kumar. 

and a GEM of a song.

Koi Mere Mathe Ki Bindiya

(Songwriter Gulzar   Singer Lata Mangeshkar

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

Kranti   1981

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

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

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

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

Abke Baras Tujhe …. Mahendra Kapoor

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

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

–Mara Thumka ….Lata Mangeshkar and 

–Zindagi Ki Na Toote Ladi ….

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

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

Naseeb  1981

Manmohan Desai’s super musical. 

Mere Naseeb Mein Tu Hai Ki Nahi ..

(Songwriter Anand Bakshi. Singer Lata Mangeshkar)

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

Desh Premi  1982

Manmohan Desai film. 

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

(Songwriter Anand Bakshi. Singer Laxmikant – Asha Bhosle)

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

Sharara   1984

(Songwriter Anand Bakshi. Singer Lata Mangeshkar)

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

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

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

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

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

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

PARASMANI songs rocks the Binaca Geetmala for two successive years.

LAXMIKANT-PYARELAL

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

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

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

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

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

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

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

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

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

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

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

Extracted :: Courtesy “The Hindu”…

AJAY POUNDARIK, Vadodara

ASTOUNDING FOURSOME Mohammad Rafi Anand Bakshi Laxmikant-Pyarelal

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Binaca Geetmala:

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

Laxmikant, Lata Mangeshkar, Anand Bakshi & Mohammad Rafi

Filmfare Awards / Nominations:-

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

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

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

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

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

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

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

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

Jeene Ki Raah” (1969)

Amar Akbar Anthony” (1977)

Sargam” (1979)

Karz” (1980)

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

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

Unfortunately, NONE for Rafisaab, involving “QUARTET”.  

Laxmikant, Pyarelal, Lata Mangeshkar & Mohammad Rafi

Period after 1970-

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

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

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

Listing few hit albums.  

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

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

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

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

1974:- Shatrughan Sinha’s “Dost

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

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

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

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

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

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

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

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

1  AAYE  DIN BAHAR  KE – 1966

Mere Dushman Tu Meri Dosti Ko Tarse

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

2  NIGHT  IN LONDON  – 1967

Bahosh-O-Hawas Mein Deewana

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

3  JEENE  KI RAAH  – 1969

Aane Se Uske Aaye Bahar

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

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

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

4  DO RAASTE  – 1969

Ye Reshmi Julfe

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

5  UPHAAR  – 1971

Mein Ek Raja Hoon Tu Ek Rani Hai

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

6  KHILONA  – 1971

Khilona  Jaankar Tum  To Mera Dil Tod Jaate Ho

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

7  MEHBOOB  KI MEHANDI  – 1971

Ye Jo Chilman Hai, Dushman Hai Hamari

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

Rajesh Khanna simply awesome.

8  LOAFER  – 1973

Aaj Mousam Bada Beimaman Hai

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

9  AMAR  AKBAR ANTHONY  – 1977

Parda Hai Parada

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

10  SARGAM  – 1979

Hum To Chale Pardes Hum Pardesi Ho Gaye

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

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

11  KARZ  – 1980

Dard- E-Dil, Dard-E-Jigar

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

Ajay Poundarik

Vadodara (Gujarat)

INDIA.

Gargantuan SAHIR LUDHIANVI : Harmonious Laxmikant-Pyarelal

Gargantuan SAHIR  LUDHIANVI : Harmonious Laxmikant-Pyarelal 

A giant  among film lyricists, Sahir Ludhianvi was slightly different from his contemporaries. A man unable to praise God, Beauty and wine.  his pen was at its best pouring out bitter but sensitive lyrics. 

Sahir made his debut in film lyrics with Naujawan (1951). His first major break came the same year when he wrote the lyrics for S.D. Burman’s music in Baazi (1951). The movie, directed by Guru Dutt, and its music was a success and together S.D. Burman and Sahir went on to create History. 

Sahir Ludhianvi and his work with the major Music Directors. Indicating number of films, one of the best films in the bracket. 

S D Burman 18 films (Pyasa)

N Dutta  19 films  (Dhool Ka Phool)

Ravi    19 films  (Humraaz)

Roshan  7 films (Taj Mahal)

Khaiyyam  7 films (Kabhi Kabhi)

Madan Mohan  2 films (Laila Majnu)

O P Nayyar 6 films (Naya Daur)

Jaidev 3 films (Hum Dono)

R D Burman 4 films (Aa Gale Lag Ja)

Chitragupt 2 films (Vasana)

Sahir Ludhiyahvi and Laxmikant-Pyarelal worked for 7 films, listed below.  Undoubtedly their best work was in IZZAT 1968 and Yash Raj Films first movie DAAG 1973.

Izzat 1968  

Man Ki Aankhen  1970

Dastaan   1972

Daag     1973

Jagruti   1977

Deedar -E- Yaar 1982

Jiyo Aur Jeene Do  1982

Tried to review a few best of the songs written by Sahir Ludhiyanvi and composed by Laxmikant-Pyarelal. 

IZZAT  1968

This is the only Hindi movie with Jayalalitha, former Chief Minister of Tamil Nadu as a lead actress.  Part of the story was inspiration for Trishul. Dharmendra used dark makeup for his double role. Sahir Ludhiyanvi worked for the first time with Laxmikant-Pyarelal. The music of the film was excellent. 

Kya Miliye Aise Logon Se         (Singer Mohammad Rafi)

Sahir Ludhiyanvi writes about politician ! खुद से ही जो खुद को छुपाये क्या उनसे पहचान करे। ..दिलदारी का ढोंग रचा कर जाल बिछाए बातों का ! जिनके जुल्मसे दुखी है जनता हर बस्ती हर गाओं में ! 

This song is filmed on Dharmendra.  Once again the ACCORDION is awesomely used throughout the song. 8 seconds of ‘prelude’ starts with ACCORDION intermixing with VIOLINS. Brilliant take off by rafi saab, क्या मिलिए sss ऐसे लोगोसे।, singing ‘pause’ of 4 seconds, highlighting ACCORDION. Again Rafi saab  नकली चेहरा सामने आये असली सूरत छुपी रहे   singing ‘pause’ of 4 seconds, highlighting ACCORDION, playing the tune of the song. This is repeated many times throughout the song. First and third ‘interludes’ are awesomely orchestrated with ACCORDION ending synchronizing with VIOLINS. Again at the end of each antara / stanza the ACCORDION is used as ‘filler’.

Jaagi Badan Mein Jwala        (Singer Lata Mangeshkar)

Sahir Ludhianvi writes about तेरे लिए रातको भटकू , आते जाते लोगों की नज़रों मैं खटकू  

IZZAT was a musical hit. This song’s RHYTHM,  Laxmikant-Pyarelal designed when they were in Beirut (Lebanon). It is 1-2-3-4-5-6, a Lebanese ‘folk’ rhythm. Laxmikant-Pyarelal were expert in utilizing CHORUS in their compositions. Just listen to how CHORUS sounds extremely melodious in this song.

Hypnotising ‘prelude’ of 26 seconds, excellently  intermixed with GLOCKENSPIEL or ‘GLOCKS’, GHUNGROO BELLs and Lataji AALAPS . Excellent take off ‘Jagi..sss’..Jagi Badan Mein Jwala’ (जागी sssss जागी बदन में ज्वाला).  All the three interludes have different style of orchestra arrangements. NADASWARAM, VIOLINS, ACOUSTIC GUITAR as well as GHUNGROO BELLs  are harmoniously synchronized in all the interludes with different tunes.  Lata Mangeshkar at her melodious best. The mind-boggling Rhythm of DRUM beats is totally different. This rhythm was never repeated by Laxmikant-Pyarelal. The GREAT song was filmed on late Jayalalitha, the ex Chief Minister of Tamil Nadu.  

Ye Dil Tum Bin Kahin Lagta Nahin         (Singers  Lata Mangeshkar – Mohammad Rafi)

This is an extremely melodious duet written by Sahir Ludhiyanvi, working for the first time with Laxmikant-Pyarelal. It has been composed in Raag Pahadi

The unique aspect of this song is the use of  VIOLINS / CELLOS. The entire song is woven around the orchestration of symphony VIOLINS and CELLOS. ‘Prelude’ as well as all the ‘interludes’ are composed in symphony style orchestra with different tunes. CELLOS / VIOLINS are also used as a ‘filler’ as well as in surround sounds of the song, especially in ‘Mukha’ and the ‘antara’. In the ‘prelude’ of 22 seconds VIOLINS / CELLOS are integrated  with string sounds of GUITAR. First interlude is awesomely orchestrated with VIOLINS and strings of GUITAR. Second interlude with the same instruments but different tunes of VIOLINS. Third interlude VIOLINS and FLUTE. 

TABLA is used in the rhythm in a conventional style The rarest of rare occasion when Laxmikant-Pyarelal have used only TABLA The song is filmed on Dharmendra-Tanuja. 

MAN KI AANKHEN  1970

Dharmendra – Waheeda Rehman starrer musical film has some very good songs.

 Dil Kahe Ruk Ja Re Ruk Ja      (Singer   Mohammad Rafi)

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

Chala Bhi Aa Aaja Rasiya    (Singers  Lata Mangeshkar – Mohammad Rafi)

Bahut Der Tumne Sataya Hai   (Singer Asha Bhosle)

DASTAAN     1972

Laxmikant-Pyarelal worked for the first time with actor Dilip Kumar and also with the Producer Director B R Chopra. The music was good, in particular two songs.

Ho Koi Aaya Lachak Uthi Kaya  …Asha Bhosle

Na Tu Zameen Ke Liye ….Mohammad Rafi 

DAAG   1973 

To start with YASH RAJ Films first ever film, producer and director Yash Chopra wanted to utilize the ‘best’ artists available then.   Rajesh Khanna was in supreme form in early seventies, he along with Sharmila Taigor, Rakhi were the stars of the films.  

LAXMIKANT-PYARELAL, in top gear, from 1967, got the honor of the first music director for ”YASH RAJ FILMS”. Yash chose his favorite lyricist Sahir Ludhiyanvi to penned the songs.An outstanding/evergreen/ever-fresh music of ”Daag” is still popular.Let us review the Most Popular song.

Mere Dil Main Aaj Kya Hai       (Singer Kishore Kumar)    

लाजवाब, सुमधुर, कर्णप्रिय एवं बेहद रोमांटिक गाना। Mesmerizing Orchestra arrangements..IRANI SANTOOR (played by Pt Shivkumar Sharma) & GUITAR (played by Gorakh Sharma) are brilliantly executed in the entire orchestra of the song.

The song starts with “zero” ‘Prelude”…First ‘Interlude’ starts with IRANI SANTOOR at 0.42…with brilliant overlapping sound effect and ends at 1,00. The second ‘Interlude’ starts at 1.46 and listen how mellifluously IRANI SANTOOR have been played till 1.58…The third ‘Interlude’ starts at 2.45 and how effectively GUITAR is played to give the perfection to the romance and great “pick up” through IRANI SANTOOR from 2.53 to 3.02..The song has beautiful DHOLAK as “rhythm” excepting in “Interludes”…

SAHIR LUDHIYANVI’s elegiac lyrics and KISHORE KUMAR’s tender as well as romantic rendition and LAXMIKANT-PYARELAL’s wonderful composition with beautiful decoration of the orchestra has made this song as all time classics. 

You just have to look at the way Rajesh Khanna croons, “Mera pyaar keh raha hai main tujhe khuda bana doon” and you will want to watch the song. Nobody could act out a love song better than Rajesh Khanna.

Also full credit to Kishore Kumar who was nominated by filmfare awards, the best male singer, for singing this romantic GEM. One of the finest songs of Kishore Kumar under Laxmikant-Pyarelal who were also nominated by filmfare awards, for the best music directors, along with Raj Kapoor’s ‘Bobby”.

Ni Main Yaar Mana NI         (Singers Lata Mangeshkar – Minoo Purushottam)

Typically Punjabi flavored and very famous female duet excellently sung by Lata Mangeshkar – Minoo Purushottam. . Powerful rhythm of the song consists of DHOL, DHOLAK, TABLA and CLAPPING  is just mind-blowing. Use of SHEHNAI / NADASWARAM in both the ‘interludes’.

Hum Aur Tum Tum Aur Hum    ((Singers  Lata Mangeshkar – Kishore Kumar)

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

If you compare all Yash Raj Films Musical scores, DAAG music is still popular and remains top sellers and also the best. 

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

JAGRITI 1977

The film, starring Reena Roy and Vinod Mehra, did not do much business at box-office. 

Meharban Kaise Kaise  … Asha Bhosle

DEEDAR -E- YAAR    1982

Super musical film produced by Jeetendra on a Muslim culture. The film has divergent music.

Chala Chal Latife ..Kishore

Eid Ka Din (M. Rafii & Asha Bhosle)

Tumko Dekha To (Lata)

AND A stroke of genius (Mohammad Rafi & Kishore Kumar)

Mere Dildar Ka Baankpan ..   (Singer Mohammad Rafi – Kishore Kumar)

No words are to describe the singing of the two sensational singers, 

Mohammad Rafi – Kishore Kumar. 

Ajay Poundarik, Atlanta (Georgia), USA. 25th October, 2020.

Concealed GEMS Laxmikant-Pyarelal and Lata Mangeshkar

Concealed GEMS ::  Laxmikant-Pyarelal and  Lata Mangeshkar

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

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

Precisely, Lata Mangeshkar has sung as many as 413 solo songs for Laxmikant-Pyarelal. There are many Concealed GEMS (Hidden GEMS) of songs. 

Songs from  Lata Mangeshkar dominated albums like Parasmani 1963, Sati Savitri 1964, Sant Gyaneshwar 1964, Lootera 1966, Baharon ki Manzil 1968, Abhinetri 1971,  Jai Bin Machhali Nritya Bin Bijalee 1971, Mera Gaon Mera Desh, 1971, Raja Jaani 1972,  Daag 1973 and  Bobby 1973,  etc are not considered.  

Films like, Naag Mandir 1966, Sau Saal Baad 1966, Daku Mangal Singh 1966,  Madhavi 1968, Aasra 1966 , Shaadi Ke Baad 1972, Free Love 1974,  have excellent music. One song from each of these films has been considered. 

The songs considered have a unique way of composition. ‘Kisi ki nazar ne ishara kiya hai’ from “Sau Saal Baad” 1966, ‘suraj utara bindiya’ from “Sauda” 1974, ‘dil hai dard-e-mohabbat ka mara’ from “Free Love” 1974 and ‘ye kaun hansa’ from “Mere Sajna” 1975 are simply best.  

Also, I would like to thank Dr. Rajiv Vijaykar (‘suraj utara bindiya’) Nikhil Ayer (‘Kisi ki nazar ne ishara kiya hai’ ) and Aditya Pant (ye kaun hansa’) for exploring these Hidden Gems.

Lata Mangeshkar with Laxmikant-Pyarelal. 60s and 70s.

Mere Sanam Sun Mera Ghum       “Naag Mandir” 1966

(Songwriter   Pandit Bharat Vyas)

Even though it is a mythological movie, it has some beautiful songs.

–Suno ji Suno Naya Ek Geet ….Lata

–Mere Sanam …Mahendra Kapor

–Khamosh Zindagi Ko Aawaz De Rahe Ho …M. Rafi

Lata’s version is an extremely melodious one. The song starts with ‘strokes’ of ACOUSTIC GUITAR and the VIOLINS. Awesome take off by Lata ji…मेरे सनम, मेरे सनम.. .VIOLINS, CELLOS in symphony style are melodiously surrounded with Lata ji’s rendering. ACOUSTIC GUITAR is tunefully used in the ‘rhythm’ of the song. 

Kisi Ki Nazar Ne Ishara Kiya Hai   “Sau Saal Baad”   1966

(Songwriter   Anand Bakshi)

Actually, ‘Sau Saal Baad’ is a very good musical album. 

–Ye Raat Bhi Jaa Rahi Hai….Lata

–Ek Ritu Aaye Ek Ritu Jaye…Lata-Manna Dey (Pure classical)

Lata Mangeshkar ‘s rare GEM with sweet melody.  The song starts with beautiful ‘humming’ by Lataji followed by VIOLINS. Wonderful take off by Lataji ..किसी की नज़र ने इशारा किया है. Soft VIOLINS, FLUTE and SITAR  are brilliantly played in the orchestra. Stroke of SITAR attracts the listeners in the start of the second ‘interlude’.  DHOLAK rhythm with ‘pause’ is worth listening to. 

Ek To Ye Bahar Uspe Tera Mera Pyar     “Daku Mangal Singh”  1966 

(Songwriter  Anand Bakshi )

A super musical starring Mumtaz – Dara Singh.

An extremely melodious and tender  song with 25 seconds of ‘prelude’,  full of VIOLINS and SITAR, sets the mood of the song. FLUTE is awesomely used as ‘filler’ in the song. Delicately sung by Lata Mangeshkar. Awesome DHOLAK rhythm. Mumtaz looks stunning.

Tum Kaun Ho Batao Tumhara Naam Hai Kya “Aasra” 1966

 (Songwriter   Anand Bakshi) 

 This film has many melodious songs.

–Mere Sune Jeevan Ka Aasra …Asha Bhosle

–Neend Kabhi Rehti Thi….Lata

–Daiya Re Daiyya ..Lata

An extremely canorous song, starts with Lataji’s ‘humming’.  Sensitively taken take off …तुम कौन हो बताओ तुम्हारा नाम है क्या ?? Delicately rendered by Lataji synchronizing her singing with the fabulous ‘rhythm’ created through ACOUSTIC GUITAR. Wonderful use of  FLUTE in the first ‘interlude’. Second ‘interlude’ ear-pleasing display of SITAR. Filmed on MALA SINHA

Aaj Dil Pe Koi Jor Chalta Nahin      “Milan” 1967

(Songwriter   Anand Bakshi) 

One of the finest musical albums of Laxmikant-Pyarelal. All songs stormed the nation in the year 1967. Starring Sunil Dutt – Nutan. Unfortunately this song was deleted from the movie. 

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

MANDOLIN. Melodious DHOLAK ‘rhythm’. 

Mehfil Soyee Aisa Koi       “Intaquam” 1968

(Songwriter  Rajendra Krishna)

Lata Mangeshkar has 4 solo songs. Including TWO CABARET. आ जान-ए -जान  is very famous song from this film. BUT there was one more cabaret song sung by Lataji.

Yet another melodious cabaret song from the combo of “Helen-Lata-LP”. Laxmikant-Pyarelal have orchestrated this westernized song with the excellent and maximum use of the JAZZ FLUTE, ACOUSTIC GUITAR  and VIOLINS with beautiful BONGO DRUM ‘rhythm’. Once again wonderful  cabaret by Helen, a lesson for modern dancers. This song, being the best,  has got less importance as the other cabaret (‘aa jaane jaan’) is more known and popular, from the same film, “Intaquam”. 

Sanjh Savere Adhron Pe Mere   “Madhavi”  1969

(Songwriter    Anand Bakshi).

Musical hit film. 

A beautiful, melodious, sweet ‘MEERA’ “BHAJAN” from the film “Madhavi” 1969. A classic song from the unique Tetrad  of Lata Mangeshkar,  Laxmikant-Pyarelal and Anand Bakshi. Filmed on Sanjay Khan – Deepa. 

Pehle Na Dekha Jaise         “Sharafat”  1970       

(Songwriter    Anand Bakshi) 

Dharmendra – Hema Malini’s first picture. Film with as many as 5 solo songs by Lataji.

This song is an extremely melodious composition. ‘Prelude’ of 23 seconds orchestrated with SITAR and awesome Lata ji’s AALAPS.  Wonderful take off by Lata ji  पहले न देखा जैसे किसीने sss . First ‘interlude’ is orchestrated with FLUTE, VIOLINS overlapping MANDOLIN.

Second ‘interlude’ is full of SITAR, (Played by Ustad Rais Khan). 

Baat Yeh Anokhi  “Maa Aur Mamta” 1970

(Songwriter  Anand Bakshi)
Very sweet melodious song.

So Ja Re So Ja       “Shaadi Ke Baad”  1972

(Songwriter  Anand Bakshi)

An extremely melodious song rendered by Lata Mangeshkar.  Lataji’s HUMMING in “prelude” and in first “interlude” mesmerizes. Wonderfully orchestrated with FLUTE,  ACOUSTIC GUITAR,  VIOLINS,  SITAR and BANSURI. Without affecting the sweetness of the song, sound of “air” (हवा ) is beautifully incorporated.  The song has soothing BONGO  DRUM rhythm. It is filmed on actor Jeetendra and Rakhee. 

Dil Hai Dard-E-Mohabbat Ka  Mara    “Free Love” 1974

(Songwriter    Asad Bhopali )

This movie has some offbeat compositions.

–Hum Kashmakash – E – Gham Se ..Lata

The song starts with the mesmerizing orchestra in ‘interlude’, SAXOPHONE, GUITAR as well as ACOUSTIC GUITAR played as ‘rhythm. Lata ji gives overwhelming take off दिल है दर्द -ऐ मुहोब्बत का मारा।  with modulating her rendering style. First ‘interlude’ orchestrated with SAXOPHONE, and symphony style VIOLINS hypnotizes the listeners. Second ‘interlude’ beautiful use of CLARINET .  

Suraj Utara Bindniya Main     “Sauda” 1974

(Songwriter    National Poet Indrajeet Singh Tulsi )

Stupefying Rendering and Sterling Orchestra arrangements.The song that enthralls the listeners. “Prelude” 12 seconds starts with SITAR followed by GUITAR and at 12th seconds how beautiful ‘take off’ by Lata’s rendering, synchronizing her voice with symphony VIOLINS. Exceptional singing particularly rendering the word सूsssरज and giving the “pauses” at 0.17/0.18 and at 0.22 to 0.25, FLUTE used as ‘filler’ in wonderful DHOLAK rhythm. First “Interlude” is awesomely instrumented with SITAR,VIOLINS, IRANI SANTOOR and FLUTE. At the end of each “antra” at 1.41 how mellifluously surround sound of ‘symphony’ VIOLINs synchronizes with Lata’s voice, that is one of the beauty of this melodious song. Second ‘interlude’ is orchestrated with GUITAR, SAROD and VIOLINS. 

The song is filmed on Yogita Bali.

Ye Kaun Hansa    “Mere Sajna”  1975

(Songwriter Majrooh Sultanpuri)

Again Lata Mangeshkar & Laxmikant-Pyarelal chemistry worked for this uncommon composition. The song is filmed on Rakhi Gulzar.

Ajay Poundarik, Atlanta (Georgia), USA.  20th October, 2020.

Sonorous ACCORDION and LAXMIKANT-PYARELAL Symphonic Orchestra

Sonorous ACCORDION  and  LAXMIKANT-PYARELAL Symphonic Orchestra

ACCORDION, a box-shaped musical instrument driven by the  bellows is widely used in Hindi Film Music. It sounds sonorous when orchestrated for film songs. Many music directors have used ACCORDION in their songs. 

This sonorous musical instrument is played by various accordionists, the musician playing Accordion.  Many accordionists can be named.  Vistasp Balsara who started playing for Raj Kapoor’s ‘Awaara’ and continued in many of the hit songs composed by Shankar-Jaikishan. 

Accordionist Goody Seervai started with music director Naushad for ‘Dastaan’ 1951. Later Goody Seervai also played for Shankar-Jaikishan and O P Nayyar. 

Enoch Danial was one of the finest accordionists played for music director Hemant Kumar in ‘Bees Saal Baad’.

In the sixties and  seventies Kersi Lord also played the accordion for many songs. Kersi Lord was a multi-instrumentalist.  Interestingly music director Anil Biswas was also a good accordionist.

Through the songs of ‘Sangam’ 1963, ‘har dil jo pyar karega another specialist accordionist Sumit Mitra who claimed to have played the accordion for 13,000 songs, started with Shankar-Jaikishan. After the death of Jaikishan Sumit Mitra permanently shifted to Laxmikant-Pyarelal orchestra and played for the duo for many years. 

Laxmikant-Pyarelal & accordionist Sumit Mitra

Undoubtedly Shankar-Jaikishan has utilized the accordion to the maximum. More than 50 %, estimated, of the songs composed by Shankar-Jaikishan have been orchestrated with Accordion. Listing out a few hit songs orchestrated with Accordion by various music directors. 

Naushad

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

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

Shankar-Jaikishan

–Awara Hoon  … Mukesh  ‘Awaara’ 1951

–Ek Bewafa Se  …Lata     ‘Awaara’   1951

–Sunte The Naam …Lata   ‘Aah’ 1953

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

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

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

Datta Ram

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

O P Nayyar 

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

Dekh Ke Teri Nazar ….Asha Bhosle    ‘Howrah Bridge’ 1958

Hemant Kumar

Bequrar Kar Ke  …Hemant Kumar ‘Bees Saal Baad’ 1962

S D Burman

Roop Tera Mastana …Kishore Kumar ‘Aradhana’  1969 

Kalyanji-Anandji

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

R D Burman

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

Ravi

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

Chitragupt 

Ye Parbaton Ke Dayare ….Lata-Rafi ‘Vaasana’ 1968

Rajesh Roshan

Na Bole Tum Na  …Asha Bhosle-Amit Kumar  ‘Baton Baton Mein’ 1979

There are many songs which are orchestrated with accordion, composed by Laxmikant-Pyarelal, right from the duo’s very first song from the first film ‘Parasmani’,1963.  

Parasmani’ and ‘Dosti’ also start the long lasting association of accordionists Sumit Mitra with the music directors Laxmikant-Pyarelal. 

Parasmani’, 1963. 

–hasta hua noorani chehra’.  Lata-Kamal Barot

–chori chori jo tumse mili  .‘   Lata – Mukesh

Dosti’ 1964, ‘

–gudiya hamse roothi rahogi’  Lata

koi jab raah na paye’.  Rafi

Following of the Laxmikant-Pyarelal compositions, on ACCORDION are not considered for the discussions, as these songs have been discussed in the other BLOGs and also in WEB.

Mere Hamdam Mere Dost 1968

–Na Ja Kahin Ab Na Jaa….Rafi

-Chalkaye Jaam ..Rafi

Inteqam 1969

–Kaise Rahoon Chup ….Lata 

Pyasi Shaam  1969

–Ye Kaisa Gham Sajna ….Lata

Humjoli   1970

Dhal Gaya Din Ho Gayi  …..Asha Bhosle – Mohammad Rafi

Shor   1972

–Jeevan Chalane Ka Naam …Mahendra, Manna Dey, Shyama C.

Bobby 1973

A sheer magic of Sumit Mitra with Laxmikant-Pyarelal.

–Main Shayar To Nahin …Shailendra Singh

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

–Chabi Kho Jaye … Lata-Shailendra  (The song is discussed in details, below)

–Background Music …Melodious glimpses of Accordion.

Badalte Rishte 1978  (I feel sorry for not considering this song)

Superbly played accordion by Sumit Mitra. 

–Na Jane Kaise Pal Mein …Mohammad Rafi – Kishore Kumar Suman Kalyanpur.

Apart from Sumit Mitra, Laxmikant-Pyarelal have also taken the services of accordionist Kersi Lord and Arun Paudwal for many songs. Famous accordionist Enoch Danial was used by Laxmikant-Pyarelal for composing the background music of the films. 

Let us review a few of the best songs composed by Laxmikant-Pyarelal on ACCORDION.       I have tried to brief, how beautifully the ACCORDION is executed in the song.  

It is worth mentioning that Laxmikant-Pyarelal did some experiments while orchestrating ACCORDION. ‘Bobby’ 1973 and ‘Ponga Pandit’ 1975.

(1)  ‘Bobbychabi kho jaye’ The ‘rhythm’, with IRANI SANTOOR, played by Pandit Shivkumar Sharma and ACCORDION played by accordionist  Sumit Mitra.  

(2) ‘Ponga Pandit’ tere milane se pehle. Prelude’, interludes and ‘postlude HARMONIUM played by Babu Singh and ACCORDION played by multi-instrumental Kersi Lord. 

Let us review as many as 16 songs. 

Hasta Hua Noorani Chehara  “PARASMANI” 1963

(Singers Lata Mangeshkar – Kamal Barot  Songwriter Farooq Quaisar)

Laxmikant-Pyarelal’s first song composed. The ”prelude” of 27 seconds with a massive orchestra sets the mood of the song. It is mellifluously decorated with rich orchestra arrangements, involving ACCORDION. The ACCORDION is awesomely orchestrated in ‘mukhada’ as filler. First ‘interlude’ starts with the ‘strokes’ of the  ACCORDION, played by Sumit Mitra.  ACCORDION is sweetly used in first interlude with FLUTE, VIOLINS, VIOLA etc with the fast “DHOLAK” rhythm.  ACCORDION is also used melodiously in ‘antara’ / stanzas, as a filler.  Enjoy as many as 7 strokes of the ACCORDION in the second ‘interlude’. Later it is very well synchronized with the VIOLINS, FLUTE and MANDOLIN. This song is an immortal one and is still popular. This is a TOP HIT song. 

Yeh Dard Bhara Afsana   “SHREENAN  FANTOOSH” 1965

(Singer Kishore Kumar  / Songwriter Anand Bakshi)

Laxmikant-Pyarelal was able to get the best output from Kersi Lord  when he played the ACCORDION for this beautiful song.

ये दर्द भरा अफसाना, सुनले अनजान ज़माना जमाना 

मैं हूँ एक पागल प्रेमी मेरा दर्द न कोई जाना                      

In the mid-sixties Kishore Kumar was passing through the lean period of his musical career. Laxmikant-Pyarelal composed some of the best songs for Kishore Kumar. This song is one of them. A beautiful GEM of a song from this combo. A song which shows Laxmikant-Pyarelal class and talent right in the beginning of their career. The entire song is woven around the glimpses of ACCORDION. ACOUSTIC GUITAR, symphony VIOLINS are beautifully orchestrated in ‘interlude’ ‘prelude’ and ‘postlude’. Western style, ROCK N ROLL, rhythm.

Mere Sune Jeevan Ka Aasra     “AASRA”   1966

(Singer Asha Bhosle / Songwriter Anand Bakshii)

ASHA BHONSLE & Laxmikant-Pyarelal at their melodious Best. “Prelude” of 28 seconds, full of SITAR, is mesmerizing. Entire song is woven around the glimpses of ACCORDION and VIOLINS in the “interludes”, with  DHOLAK rhythm. The words written by ANAND BAXI are very touching and meaningful expressing Mother’s Expectation from her Child. “AASRA” 1966. Filmed by Balraj Sahani and Nirupa Roy.

Kya Miliye Aise Logon Se        “IZZAT”   1968

(Singer Mohammad Rafi / Songwriter Sahir Ludhiyanvi)

This song is filmed on Dharmendra.  Once again the ACCORDION is awesomely used throughout the song. 8 seconds of ‘prelude’ starts with ACCORDION intermixing with VIOLINS. Brilliant take off by rafi saab, क्या मिलिए sss ऐसे लोगोसे।, singing ‘pause’ of 4 seconds, highlighting ACCORDION. Again Rafi saab  नकली चेहरा सामने आये असली सूरत छुपी रहे   singing ‘pause’ of 4 seconds, highlighting ACCORDION, playing the tune of the song. This is repeated many times throughout the song. First and third ‘interludes’ are awesomely orchestrated with ACCORDION ending synchronizing with VIOLINS. Again at the end of each antara / stanza the ACCORDION is used as ‘filler’. The best feast of ACCORDION from champion accordionist  Sumit Mitra.

Ek Banjara Gaye        “JEENE KI RAAH”  1969

(Singer Mohammad Rafi  / Songwriter Anand Bakshi)

Laxmikant-Pyarelal have composed this song with zero ‘prelude’ but a mind-boggling display of GUITAR (played by late Gorakh Sharma), ACOUSTIC GUITAR and ACCORDION, played by none other than accordionist  Sumit Mitra.  Interludes are awesomely instrumented with symphony style of VIOLINS synchronizing with ACCORDION. It has conventional DHOLAK rhythm. Filmed on Jeetendra – Tanuja. 

Dil Ki Baatein Dil Hi Jane   “ROOP TERA MASTANA” 1972

(Singer Kishore Kumar – Lata Mangeshkar  / Songwriter Asad Bhopali)

Proficient accordionist  Sumit Mitra played the ACCORDION for this lovely song.

The beauty of the song is excellently played ACCORDION in ‘mukhada’. Particularly  two awesomely generated, ear-pleasing ‘strokes’ of ACCORDION. These ‘strokes’ can be heard many times. Beautiful romantic song. 51  seconds of ‘prelude’ orchestrated with melodious tune by using GUITAR, VIOLINS, synchronised  with accordant BONGO DRUM. First ‘interlude’ is full of GUITAR, VIOLINS and very well executed  ACCORDION. Second interlude is full of VIOLINS and GUITARS.. This superhit duet is filmed on Jeetendra and Mumtaz. 

Chabi Kho Jaye             “BOBBY”   1973

(Singer Lata Mangeshkar – Shailendra Singh / Songwriter Anand Bakshi)

One of the best songs composed by Laxmikant-Pyarelal using Huge, Enriched and Melodious Orchestra arrangements. It has >>Three differently tuned “Antaras” + Three differently composed “Interludes”…MESMERISING ORCHESTRA arrangements. In this song the ACCORDION is played for the maximum time, it is the instrument which is tunefully played in every alternate line of ‘mukhada’, it is also played awesomely in the Toe Stepping RHYTHM Intermixing of IRANI SANTOOR”+ ACCORDION + BONGO Drums.  ACCORDION is also used to start the first ‘interlude. Beautifully orchestrated as a ‘feelar’, in every alternate line of the ‘antara’ and finally ACCORDION is played, jointly with SAXOPHONE, in ‘postlude’. Laxmikant -Pyarelal must have given tough time to accordionist Sumit Mitra.

Apart from ACCORDION, other instruments like IRANI SANTOOR, ACOUSTIC GUITAR, SAXOPHONE,, VIOLINS, MOUTHORGAN, FRENCH HORN and VIOLAS are wonderfully orchestrated in this song. The song is filmed on Rishi Kapoor and Dimple Kapadia.

Ye Jo Public Hai     “ROTI”  1974

(Singer Kishore Kumar  / Songwriter Anand Bakshi)

Catchy tune. ‘Prelude’ of 30 seconds with prominent use of ACCORDION. Both the interludes, In surround sounds and also as filler, in ‘mukhada’ as well as ‘antara’.  ACCORDION is mellifluously orchestrated. It is filmed on Rajesh Khanna. Once again it is Sumit Mitra in action on accordion. 

Aadmi Jo Kehta Ha      “MAJBOOR”    1974

(Singer Kishore Kumar  / Songwriter Anand Bakshi)

Laxmikant-Pyarelal have extracted some beautiful work on ACCORDION from Accordionist Sumit Mitra. Both the interludes with different tunes on ACCORDION. Synchronization of Kishore Kumar’s singing as well as the ‘strokes’ of ACCORDION, at the end of both the antaras. Don’t forget to listen to the superb display of ACCORDION in ’postlude’ of 33 seconds. Other features of the songs are:-

PRELUDE of 144 seconds. To decorate the song with the phenomenal “Long Prelude” was a normal practice for the Music Directors Laxmikant-Pyarelal. There are many songs, composed by the duo, with the long “prelude”. Today’s song has Mind-Boggling “Prelude” of 144 seconds. This prelude is mellifluously orchestrated in a SYMPHONY style with solo VIOLIN, CELLOs, FLUTE & VIOLINs. Brilliant take off by Kishore Kumar at 2.24. Apart from the long prelude in ‘symphony’ style, both the “interludes” are brilliantly composed, by using different tunes, with ACCORDION and VIOLINS. The song is filmed on Amitabh Bachchan.

Tere Milne Se Pehle     “PONGA PANDIT”  1975

(Singer Lata Mangeshkar  / Songwriter Rajendra Krishan)

An intoxicated melody, a sheer magic from Lata Mangeshkar and Laxmikant-Pyarelal. Beautifully orchestrated in western style. This song is special and unique in terms of orchestra arrangement. Both HARMONIUM as well as ACCORDION are used in the ‘prelude’ ‘interlude’ and ‘postlude’. HARMONIUM is played by Babu Singh, famous accordionist Kersi Lord has played the ACCORDION.  

‘Prelude’ of 36 seconds is marvelously orchestrated with SAXOPHONE, VIOLINS, GUITAR, ACCORDION and HARMONIUM. Almost the same instruments are played in both the ‘interludes’. ACCORDION and HARMONIUM “jugal bandi” in ‘postlude’. It is filmed on Ranadhir Kapoor – Neeta Mehta.

Anhoni Ko Honi Kar De      “AMAR AKBAR ANTHONY”  1977

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

Very popular peppy song. Filmed on Amitabh Bachchan, Vinod Khanna and Rishi Kapoor. Enjoy ‘prelude’, mesmerizing display of ACCORDION for 44 seconds,wonderfully orchestrated. ACCORDION is melodiously displayed in the ‘interludes’,‘mukhda’ and ‘antara’ as surround sounds. Sheer magic of ACCORDION. Once again it is Laxmikant-Pyarelal’s symphonic work on ACCORDION from Accordionist Sumit Mitra. 

Aate Jaate Khoobsurat     “ANURODH”    1977

(Singer Kishore Kumar  / Songwriter Anand Bakshi)

Excellently rendered by Kishore Kumar. Beautiful, Melodious ‘rhythm’. First ‘interlude’ full of ACCORDION. Filmed on Rajesh Khanna. Accordionist Sumit Mitra. 

Premi Prem Karana Jane    “PARAVARISH” 1977

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

This wonderful song is filmed on Amitabh Bachchan, Vinod Khanna and Shammi Kapoor. This song has very delicate use of ACCORDION, in ‘interludes’. Looks nice to see Shammi Kapoor playing ACCORDION. 

Sheesha Ho Ya Dil        “ASHA”   1980

(Singer Lata Mangeshkar  / Songwriter Anand Bakshi)

Filmed on Reena Roy. Typical Laxmikant-Pyarelal composition, a superhit song, completely woven around the glimpses of ACCORDION awesomely orchestrated on DHOLAK ‘rhythm’. 

This time the Accordionist is Arun Podwal.

Dillagi Ne Di Hawa     “DOSTANA” 1980

(Singers Asha Bhosle-Kishorekumar / Songwriter Anand Bakshi)

Once again it is versed Sumit Mitra on ACCORDION.  34 seconds of ‘prelude’ starts with ACOUSTIC GUITAR, VIOLINS and wonderfully orchestrated ACCORDION. Melodious DHOLAK rhythm. Awesome display of GUITAR and VIOLINS in the first interlude.Second ‘interlude’ is tunefully overlapping ACCORDION and symphony style VIOLINS. Awesome display of ACCORDION in ‘postlude’. It is filmed on Amitabh Bachchan – Zeenat Aman.  

John Johny Janardan    “NASEEB”   1981

(Singer Mohammad Rafi  / Songwriter Anand Bakshi)

Super Hit song filmed on AMITABH BACHCHAN. Orchestrated in BRASS instruments. BUT at the end of each antara ACCORDION ‘stroke’ synchronized with other BRASS is ear-pleasing. All the ‘interludes’ are composed wonderfully, in particular, third ‘interlude’ is worth watching/listening to,  Raj Kapoor playing ACCORDION. Once again it is Laxmikant-Pyarelal’s symphonic work on ACCORDION from Accordionist Sumit Mitra. 

Magnetizing display from Accordionist Sumit Mitra on ACCORDION for Laxmikant-Pyarelal composition. Just fabulous. Please watch and listen to. 

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

11th October, 2020

 

S P Balasubrahmanyam and Laxmikant-Pyarelal

It is Laxmikant-Pyarelal have introduced S P Balasubrahmanyam in Ek Duje Ke Liye, released in 1981. When Lata Mangeshkar and S P Balasubrahmanyam were recording “Hum Tum Donon Jab Mil Jayenge, Ek Naya Itihaas Banayenge” for K Balachander’s 1981 tragic romance Ek Duuje Ke Liye, under Laxmikant-Pyarelal’s baton, little did they know that they were on their way to creating box-office history.

S P Balasubrahmanyam have sung as many as 40 songs under Laxmikant-Pyarelal. This includes memorable duets with Lata Mangeshkar and Asha Bhosle.

EK DUJE KE LIYE (1981)

This was the first hindi film for Kamal Hasan and Rati Agnihotri.  Yet another non-star cast musical block blaster, smash hit film.  The films success again was carried away  by the  melodious music by Laxmikant-Pyarelal.  S. P. Balasubramanium was introduced to hindi film music.  He won Filmfare as well as  the national award for this film. Who can forget the immortal melodies from this musical hit. 

— Tere Mere Beech Main..                                  Lata/SPB

— Hum Bane Tum Bane..                                    Lata-SPB

— Hum Tum Dono Jab ..                                     Lata-SPB

— Mere Jeevan Saathi                                         SKB-Chitra

— Sola Baras Ki Bali Umar..                              Lata-Anup Jalota

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

S P Balasubrahmanyam was a great fan of Laxmikant-Pyarelal. Just few months back SPB has expressed his experience and feelings about Laxmikant-Pyarelal which are posted in three parts. MUST WATCH.

RIP S P B

Ajay Poundarik

SEVENTIES Tuneful Hindi Film Music and Preeminent Laxmikant-Pyarelal

Laxmikant-Pyarelal, SYMPHONIC ODYSSEY :-  (1970)

Very Good MUSIC from All The Music Directors.

LAXMIKANT-PYARELAL…1971

LP v/s Other Prominent Hits of the year 1970

Shankar-Jaikishan:- —Pehchan.– Jahan Pyar Mile, –Pagla Kahin Ka, — Dharti

Kalyanji-Anandji:– –Safar, –Sachcha Jhutha, –Geet, –Gopi, –Holi Aayee Re,–Kab Kyon Aur Kahan, — Mere Humsafar

R D Burman:– –The Train, — Saans Bhi Kabhi Bahu Thi, –Kati Patang, –Raton Ka Raja

S D Burman:- Prem Pujari, –Talash, –Ishq Par Zor Nahin

Ravi:- –Aadmi Aur Insaan

Sonik Omi:- –Sawan Bhadon

Madan Mohan:- Heer Ranjha

Laxmikant-Pyarelal:- –Khilona, –Aan Milo Sajana, –Sharafat, –Humjoli, –Jeevan Mrityu, –Man Ki Aankhe, –Pushpanjali, –Himmat, –Suhana Safar.

Binaca Geet Mala was getting more and more intereste. LP’s late releases of 1969 films still in demand,,…Once again the year 1970 was dominated by Laxmikant-Pyarelal.

Although it was the good year for the fabulous music from other music directors too.

Shankar-Jaikishan went on to win the Best Music Director for the film “Pehchan”. Beating Laxmikant-Pyarelal’s “DO RAASTE” and S D Burman’s “Talash”.

 BINACA Geetmala Standing in Annual Countdown.. ( 32 songs )

Laxmikant Pyarelal composition emerged as the top song of the year,  for the fourth year in a row,

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

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

No 16 Hai Shukar Ke Tu Hai Ladka..Rafi..”Himmat”

No 14 Woh Kaun Hai .Lata-Mukesh..”Anjana”

No 12 Chhup Gaye Sare..Lata-Rafi..”Do Raaste”

No 11 Shadi Ke Liye ..Rafi..”Devi”

No 09 Sharafat Chhod Di..Lata,,”Sharafat”

No 08 Sa Re Ga Ma Pa..Lata-Kishore..”Abhinetri”

No 05 Khilona Jaan Kar..Rafi..”Khilona

No 01 Bindiya Chamkegi..Lata..”Do Raaste

Kalyanji, Anandji, Shankar, Raj Kapoor, Jaikishan, Laxmikant, Pyarelal
————————————————————————————————–

Laxmikant-Pyarelal, SYMPHONIC ODYSSEY :- (1971)

Rajesh Khanna Right On Top. “Haathi Mere Saathi” Huge Hit. Made Rajesh Khanna a superstar. V. Shantaram’s Dance Musical “Jal Bin Machhli Nritya Bin Bijlee“, became the first film to record all the songs in Stereophonic Sound.

LAXMIKANT-PYARELAL…1971

LP v/s Other Music Directors in the year 1971

Shankar-Jaikishan:-Mera Naam Joker, Andaz, Main Sunder Hoon,

R D Burman:– Buddha Mil Gaya, Carvan, Amar Prem, Paraya Dhan, Lakhon Main Ek, Adhikar, Pyar Ki Kahani

S D Burman:- Sharmilee, Naya Zamana

Salil Chaudhari:- Anand

Kalyanji-Anandji:- Johny Mera Naam, Purab Aur Paschim, Maryada, Aansoo Aur Muskan

Madan Mohan:- Dastak

Sapan-Jagmohan:- Chetana..( Main To Har Mod Par )

Laxmikant-Pyarelal:- Abhinetri, Mera Gaon Mera Desh, Jal Bin Machhali Nrutya Bin Bijali, Haathi Mere Saathi, Aap Aaye Bahar Aayee, Mehaboob Ki Mehandi, Man Mandir, Banphool.

We saw the sixties ( from 1964 to 1970) have a clean sweep by Laxmikant-Pyarelal.

R D Burman and Kalyanji-Anandji gave some excellent music to compete strongly with Laxmikant-Pyarelal. However Laxmikant-Pyarelal had an upper hand in the year 1971 too.

We saw the death of Jaikishan ( at the age of 41 years).

The filmfare award for the best music was won by  Shankar-Jaikishan for “Mere Naam Joker”..beating, R D Burman’s “Caravan” and Shankar-Jaikishan’s “Andaz”.

Music Director Madan Mohan won the national award for the music for film Dastak

BINACA Geetmala Standing in Annual Countdown.. ( 32 songs )

No 32 Sona Lai Ja Re..Lata..”Mera Gaon Mera Desh”

No 31 Jawani O Diwani Tu ..Kishore..”Aan Milo Sajna”

No 26 Taron Ne Saj Ke..Mukesh..”Jal Bin Machhali Nritya Bin Bijlee”

No 22 O Mitwa O Mitwa …Lata..”Jal Bin Machhali Nritya Bin Bijlee”

No 14 Tumko Bhi To ..Lata-Kishore..”Aap Aaye Bahar Aayee”

No 06 Chal Chal Chal Mere Sathi..Kishore..”Haathi Mere Saathi”

No 02 Achchha To Hum Chalate Hai..Lata-Kishore..”Aan Milo Sajana”

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

Haathi Mere Saathi


Laxmikant-Pyarelal, SYMPHONIC ODYSSEY :- (1972)

R D Burman’s Dum Maro Dum, …Ghulam Mohommad’s Chalate Chalate …and Laxmikant-Pyarelal’s Vaada Tera Vaada (“Dushman) and Ek Pyar Ka Nagma (“Shor”) These songs were like a storm in the year 1972..

LAXMIKANT-PYARELAL…..1972

LP v/s Other Prominent Musical Hits of the year 1972

R D Burman’s Dum Maro Dum, …Ghulam Mohommad’s Chalate Chalate …and Laxmikant-Pyarelal’s Vaada Tera Vaada (“Dushman) and Ek Pyar Ka Nagma (“Shor”) These songs were like a storm in the year 1972..

R D Burman:- Hare Ram Hare Krishna, Bombay To Goa, Do Chor, Garam Masala, Jawani Diwani, Parichay, Apana Desh, Rampur Ka Laxman, Seeta Aur Geeta, Mere Jeevan Saathi, Samadhi.

Shankar-Jaikishan:- Beiman, Kal Aaj Aur Kal, Lal Patthar Aankhon Aaknon Main

Kalyanji-Anandji:- Apradh, Joru Ka Ghulam, Victoria no 203.

Jaidev:- Reshma Aur Shera

Sonik-Omi:- Bhai Ho To Aisa

Ravindra Jain:- Kaanch Aur Heera ( Nazar Aati Nahin Manzil)Sapan-Jagmohan:- Do Raaha

Ghulam Mohammad:- Pakeezah

Vasant Desai:- Guddi

Ravi:- Babul Ki Galiyan

Laxmikant-Pyarelal:- Uphaar, Piya Ka Ghar, Ek Nazar, Dushman, Raja Jani, Gora Aur Kala, Shor, Buniyad, Jeet, Roop Tera Mastana, Dastaan, Mom Ki Gudiya, Ek Bechara etc..

This year Laxmikant-Pyarelal got some tough challenges from R D Burman. To some extent it was the year RD v/s LP, Laxmikant-Pyarelal have an edge. 

Music Director Jaidev won the national award for “Reshma Aur Shera”…

Shankar-Jaikishan won the best music award for “Beiman”…In spite of some good score from other music directors. Beating Laxmikant-Pyarelal’s super musical “SHOR” and Ghulam Mohammad’s “Pakeezah”Mukesh won the best singer award for the song Jai Bolo BEIMAN KI..?????????????????

BINACA Geetmala Standing in Annual Countdown.. ( 32 songs )

No 33 Maine Dekha Tune Dekha..Lata..”Dushman”

No 34 Na Tu Zameen Ke Liye..Rafi..”Daastan”

No 29 Ek Pyar Ka Naghama Hai ,,Lata-Mukesh .”Shor”

No 28 Reshma Jawan Ho Gayi..Rafi..”Mom Ki Gudiya”

No 24 Rama O Rama..Mukesh..”Ek Bechara”

No 23 Dil Ki Baate Dil Hi Jaane..Kishore-Lata..”Roop Tera Mastana”

No 20 Shishi Bhari Ghulab Ki …Lata..”Jeet”

No 16 Main Ek Raja Houn..Rafi..”Uphaar”

No 08 Yeh Jeevan Hai..Kishore..”Piya Ka Ghar”

No 04 Vaada Tera Vaada..Kishore..”Dushman”

SHOR
PIYA KA GHARE
EK NAZAR
DUSHMAN
UPHAAR & PIYA KA GHAR

—————————————————————

Laxmikant-Pyarelal, SYMPHONIC ODYSSEY :-  (1973)

Year Belongs To Laxmikant-Pyarelal Amitabh Bachchan.

Laxmikant-Pyarelal  “BOBBY” songs massive and unimaginable popularity Amitabh Bachchan  Emergence of Amitabh Bachchan as a star “ZANJEER”.

LAXMIKANT-PYARELAL ….1973..

LP v/s Other Musical Hits of the year 1973

Undoubtedly it was the year to be remembered for two reasons. First being “BOBBY” songs massive and unimaginable popularity and second that of emergence of Amitabh Bachchan as a star, after the thumping success of Zanjeer. Both the films, “Bobby” and “Zanjeer” celebrated the “Golden Jubilee”..(One year run in cinema hall).

It was for the first time since the last 22 years, after “Barsat” that Shankar-Jaikishan’s name, which was consistently appearing almost every year, was missing in the chart list.

R D Burman:- Aa Gale Laga Ja, Anamika, Raja Rani, Heera Panna, Joshila, Sharif Badmash, Jaise Ko Taisa, Namak Haram, Yadon Ki Barat.

Kalyanji-Anandji:– Zanjeer, Samjhauta, Banarasi Babu, Kahani Kismat Ki, Heera.

S D Burman:– Abhiman, Jugnu, Chhupa Rustom.

Ravi:- Dhund

Madan Mohan:- Haste Zakhm, Parawana.

Usha Khanna:- Sabak ( Barkha Rani Jara Jam Ke Baraso)

Brij Bhushan:- Milap (Kai Sadiyon Se Kai Janmo Se)

Sonik-Omi:- Dharma (Raj Ko Raj Rahne Do)

Ganesh ( Pyarelal’s younger brother):- Ek Naari Do Roop ( Dil Ka Suna Saaz), Chalak (Dil Ka Nazarana Le), Dhamkee.

Laxmikant-Pyarelal:- Bobby, Daag, Loafer, Anokhi Ada, Jwar Bhata, Gehari Chal, Suraj Aur Chanda, Anhoni, Kachche Dhaage, Jalte Badan, Manchali. 

It was a good year for the good music. One can imagine the nomination for the best music award by Filmfare Kalyanji-Anandji “Zanjeer, ”Laxmikant-Pyarelal “Daag”, R D Burman “Yaadon Ki Baarat”, Laxmikant-Pyarelal “Bobby” and S D Burman “Abhiman”. However S D Burman won the award for the best music for “Abhiman”.

Song writer Vitthal Bhai Patel and male singer Narendra Chanchal won the filmfare awards for ”Bobby”.

BINACA Geetmala Standing in Annual Countdown.. ( 32 songs )

No 34 Jara Sa Usko Chhua To..Lata..”Shor”

No 32 Jhoot Bole Kauwa Kate..Lata-Shailendra Singh..”Bobby”

No 29 Aaj Mousam Bada ..Rafi..”Loafer”

No 20 Mere Dil Main Aaj Kya Hai..Kishore..”Daag”

No 16 Dheere Dheere Bol Koi ..Lata-Mukesh..”Gora Aur Kala”

No 12 ABCD Chhodo ..Lata..”Raja Jani”

No 07 Ab Chahe Ma Ruthe ..Lata-Kishore..”Daag”

No 02 Chabi Kho Jaye..Lata-Shailendra Singh, “Bobby”

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Laxmikant-Pyarelal, SYMPHONIC ODYSSEY :- (1974)

DAY OF DIWALI, 1974. Three HIT Films Released. “Roti“, “Bidaai” and “Roti Kapda Aur Makan”. All the three films have an excellent music by Laxmikant-Pyarelal.

LAXMIKANT-PYARELAL….1974

LP v/s Other Musical Hits of 1974

This year too, Laxmikant-Pyarelal gave music for as many as 15 films.


R D Burman:- Aap Ki Kasam, Benam, Ishq Ishq Iashq, Manoranjan, Zeel Ke Us Paar, Phir Kab Milogi, Zahareela Insan, Doosari Sita, Charitrahin.

Kalyanji-Anandji:– Bairag, Haath Ki Safai, Kora Kagaz. Patthar Aur Payal.

S D Burman:- Prem Nagar

Usha Khanna:- Hawas ( Teri Galiyon Main Na Rakkhenge Kadam )

Ravindra Jain:- Chor Machaye Shor

Jaidev:– Prem Parabat

Laxmikant-Pyarelal:– Roti Kapada Aur Makan, Roti, Dost, Bidaai, Amir Garib, Imtihan, Majboor, Paise Ki Gudiya, Naya Din Nayi Raat, Jurm Aur Saza..etc. and classic musical “FREE LOVE” .

Laxmikant-Pyarelal’s domination continued once again and remained on top position with maximum number of hits.

IN THIS YEAR, one of the Friday of the October, 1974 ( DAY OF DIWALI ) , ALL three of the LP’s films were released on the same day and all the three became hits. “ROTI KAPADA AUR MAKAN”, “ROTI” and “BIDAAI”…

Singer Mahendra Kapoor won the award for Roti Kapada Aur Makan.


Finally, Kalyanji-Anandji wins their only filmfare award for the film “Kora Kagaz”. Beating Laxmikant-Pyarelal’s ROTI KAPADA AUR MAKAN”, R D Burman’s “Aap Ki Kasam” , S D Burman’s “Prem Nagar” and Shankar-Jaikishan’s “Reshm Ki Dori”.

BINACA Geetmala Standing in Annual Countdown.. ( 32 songs )

No 32 Baith Ja Baith Gayi..Kishore-Lata..”Amir Garib”

No 26 Dal Roti Khao ..Kishore-Lata..”Jwar Bhata”

No 25 Gham Ka Fasana..Kishore..”Manchali”

No 24 O Manchali Kahan Chali…Kishore..”Manchali”

No 23 Tu Ru Tu Ru Tera Mera..Kishore..”Jwar Bhatia”

No 22 Shor Mach Gaya Shor..Kishore..”Badala”

No 12 Main Shayar To Nahin..Shailendra Singh..”Bobby”

No 04 Gadi Bula Rahi Hai..Kishore..”Dost”

No 03 Jhoot Bole Kauwa Kate..Lata-Shailendra Singh.,”Bobby”

Dalal Guha, Dharmendra, Laxmikant, Lata Mangeshkar, Pyarelal & Anand Bakshi

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Laxmikant-Pyarelal, SYMPHONIC ODYSSEY :-  (1975)

The “Sholay” Year (Released on 15th August, 1975)

LAXMIKANT-PYARELAL…..1975

LP v/s Other Prominent Musical Hits for the year 1975

R D Burman:- Aandhi, Deewar, Sholay, Khel Khel Main, Khushboo.

Shankar-Jaikishan:- Do Jhooth (Chhatri Na Khol Ud Jayegi)

Salil Chaudhari:- Rajnigandha

Shyamal Mitra:- Amanush

Kalyanji-Anandji:- Rafoo Chakkar, Dharmatma.

Aziz Nazan:– 5 Rifles ( Zoom Barabar Zoom Sharabi)1

1975 saw the emergence of two new young music directors

Rajesh Roshan :- Julie, Kunwara Baar.

Bappi Lahiri:– Zakhmi

With the songs of “Roti Kapada Aur Makan” and “Roti” very much in demand and popular, in the early part of the year 1975, as these films were released in the third quarter of the year 1974, LP also gave some good scores in 1975.

Laxmikant-Pyarelal:- Prem Kahani, Geeta Mera Naam, Dulhan, Aakraman, Apane Rang Hazar, , Mere Sajana, Anari, Ponga Pandit, Chaitali and “PRATIGYA”

Rajesh Roshan went on to win the best music award for his very first movie ”Julie”. Beating R D Burman’s “Sholay” and “Khel Khel Main”, Laxmikant-Pyarelal’s “DULHAN” and Shankar-Jaikishan’s “Sanyasi”

BINACA Geetmala Standing in Annual Countdown.. ( 32 songs )

No 26 Main Jat Yamala Pagla..Rafi..”Pratigya”

No 23 Fauzi Gaya Jab Gaon Main ..Kishore..”Aakraman”

No 21 Aayegi Jaroor Chitthi..Lata..”Dulhan”

No 20 Jijaji Jijaji..Asha-Kishore..”Ponga Pandit”

No 15 Ye Jo Public Hai ..Kishore..”Roti”

No 13 Kabhi Khole Na ..Kishore..”Bidai”

No 10 Chal Dariya Main Dub Jaye..Kishore-Lata..”Prem Kahani”

No 02 Hi Hi Yeh Majaboori..Lata..”Roti Kapada Aur Makan”

No 01 Mehangai Mar Gayi..Lata-Mukesh-Chanchal-Janibabu..”Roti Kapada Aur Makan”


Laxmikant-Pyarelal, SYMPHONIC ODYSSEY :- (1976)

Death of Singer MUKESH. Laxmikant-Pyarelal refusing TWO Big Movies. 1) Gulzar’s MEERA . 2) H S Rawal’s LAILA MAJNU

LAXMIKANT-PYARELAL…1976

LP v/s Other Prominent Musical Hits for the year 1976

R D Burman:– Dharam Karam, Warrant, Kala Sona, Mehabooba, Balika Badhu., Nehale Pe Dehla, Dhongi.

Salil Chaudhari:- Chhoti Si Baat

Ravindra Jain:- Chit Chor, Geet Gata Chal

Bappi Lahiri:- Chalte Chalte.

Khayyam:- Kabhi Kabhi, Sankalp

Madan Mohan:- Mausam

Basu Manohari:- Sabase Bada Rupaiyya

Shankar-Jaikishan:- Sanyasi

Kalyanji-Anandji:- Uljhan, Adalat, Kalicharan.

Laxmikant-Pyarelal :- Dus Numbari, Aapbiti, Charas, Nagin, Jaan-E-Man, Naach Uthe Sansar, Maa, Zindagi Aur Toofan, Suntan.

The biggest news in the Hindi Film Music for this year, were

1) Laxmikant-Pyarelal refusing to Producer Premji’s big budget and prestigious movie directed by Gulzar “MEERA” ( earlier LP had worked with Premji for the movies like “Mastana”, “Dushman”, “Dost” and “Majboor” all were musically hit). Firstly it was Lata Mangeshkar who refused to sing the songs for “Meera”, as she had sung enough songs/bhajans on Meera. Finally the music was scored by Sitar Maestro Pt. Ravi Shankar and all the songs were sung by Vani Jairam.

2) Laxmikant-Pyarelal also refused to score the music for H.S Rawal’s big budget movie “Laila Majanu”. Earlier LP/HS Rawal had worked for “Mehaboob Ki Mehandi”, a super musical hit with some immortal songs. LP said they are very busy for other big projects and convinced H S Rawal to go ahead with Madan Mohan with whom Pyarelal had worked as a musician for many years. Moreover Madan Mohan was less busy on those days. It is unfortunate that Madan Mohan died halfway through the film. Later it was Jaidev who completed the remaining job for the film.

This year too Laxmikant-Pyarelal and Madan Mohan continued to work with Mohammad Rafi, while other contemporary music directors have already forgotten him. Laxmikant-Pyarelal gave some good songs for Rafi, without damaging the giant popularity Kishore Kumar.

The best award for the music unanimously went to Khayyam, his first big award, for his excellent work in ”Kabhi Kabhi”. Beating R D Burman’s “Mehbooba”, Kalyanji-Anandji’s “Bairaag”, Ravindra Jain’s “Chit Chor” and Madan Mohan’s “Mousam”.

This year’s national award for the best singer went to Sulakshna Pandit for her song Tu Hi Sagar Hai Tu Hai Kirana Dhoondta Hai Tu Kiska Sahara..(also one of my favorite songs) for the film “Sankalp”. This film too has music by Khayyam.

This year witnessed the death of great singer Mukesh .

After failing miserably on the acting part Subhash Ghai emerged as a director. “Kalicharan” became the first film.

BINACA Geetmala Standing in Annual Countdown.. ( 32 songs )

For the first time since 1963, that the songs composed by Laxmikant-Pyarelal are not appearing in the last TEN of final Geetmala.

No 33 Kee Gal Hai Koi Nahi..Lata-Kishore..”Jane Man”

No 28 Jijaji Jijaji Meri Did ..Kishore-Asha..”Ponga Pandit”

No 26 Kal Ki Haseen Mulaqat ..Lata-Kishore..”Charas”

No 25 Aaja Teri Yaad Aayi..Lata-Anand Baxi-Rafi..”Charas”

No 24 Mujhe Dard Rehta Hai..Lata-Mukesh..”Dus Numbri”

No 22 Jane Man Jane Man..Kishore..”Jane Man”

No 10 Kahat Kabir Suno..Mukesh..”Dus Numbari”


Laxmikant-Pyarelal, SYMPHONIC ODYSSEY :- (1977)

The year belongs to Manmohan Desai, Laxmikant-Pyarelal and Mohammad Rafi..Manmohan Desai made as many as four films “Amar Akbar Anthony”, “Dharam Veer”, “Chacha Bhatija” and “Parvarish” all were super musical hit. Off course Laxmikant-Pyarelal have scored the music for all these four films.

LAXMIKANT-PYARELAL….1977

LP v/s Other Prominent Musical Hits for the year 1977

R D Burman:- Balik Badhu, Kinara, Hum Kisise Kum Nahin, Kitab, Mukti, Darling Darling, Chandi Sona, Chalata Purza.

Ravi:- Aadmi Sadak Ka (Aaj Mere Yaar Ki Shadi Hai)

Khaiyyam:– Shankar Hussain

Rajesh Roshan:- Doosara Aadmi, Yahi Hai Zindagi, Udhar Ka Sindoor, Zindagi

Kalyanji-Anandji:- Kasam Khoon Ki, Khoon Paseena, Farishta Ya Quatil, Ek Se Badhkar Ek.

Sapan Jagmohan:– Abhi To Jee Le

Ravindra Jain:– Fakira,

Bappi Lahiri:- Aap Ki Khatir

Madan Mohan:- Laila Majanu

Jaidev:- Aalap

Laxmikant-Pyarelal:– Amar Akbar Anthony, Dharm Veer, Anurodh, Parvarish, Drem Girl, Aashiq Houn Baharon Ka, Chhaila Babu, Palkon Ki Chhaon Main, Chacha Bhatija.

Actually this year belongs to Manmohan Desai, Laxmikant-Pyarelal and Mohammad Rafi..Manmohan Desai made as many as four films “Amar Akbar Anthony”, “Dharam Veer”, “Chacha Bhatija” and “Parvarish” all were super musical hit. Off course Laxmikant-Pyarelal have scored the music for all these four films.

Mohammad Rafi bounced back with the songs of “Amar Akbar Anthony”, “Dharm Veer”, “Chacha Bhatija” “Parvarish” (all have music by Laxmikant-Pyarelal). “Laila Majnu” (Madan Mohan) and “Hum Kisise Kam Nahin” (R D Burman). Music Director Ravi‘ s Aadmi Sadak Ka (Aaj Mere Yaar Ki Shadi Hai)

The association of Manmohan Desai (MKD films) and Laxmikant-Pyarelal lasted till the end of the century and their last film was released in 1998, “Deewana-Mastana”, Directed by David Dhavan, once an assistant to Manmohan Desai.

Mohammad Rafi wins the best singer award for Kya Hua Tera Vada..

Laxmikant-Pyarelal wins the best music award, the duo’s 4th award, for “AMAR AKBAR ANTHONY”..after the gap of 8 years. Beating R D Burman’s “Hum Kisise Kum Nahin” and “Kinara”, Jaidev’s “Aalap” and Rajesh Roshan’s “Swami”.

Earlier LP have won the award for the best music for ”Dosti”.1964, ”Milan”..1967 and ”Jeene Ki Raah”..1969…. They certainly deserved the awards for the best music earlier too, for the films like “Intqaam”, “Shor”, “Do Raaste”, “Bobby”, “Daag” and many more…Finally justice was done.Amitabh Bachchan also wins his first award as an actor for “Amar Akbar Anthony”…

Finally it was an “Amar Akbar Anthony” and Laxmikant-Pyarelal dominated year…

BINACA Geetmala Standing in Annual Countdown.. ( 32 songs )

Laxmikant-Pyarelal bounced back to their second phase of peak period.

No 41 Tayyab Ali Pyar Ka Dushman..Rafi-Mukari..”Amar Akbar Anthony”

No 34 Aate Jaate Khoobsurat..Kishore..”Anurodh”

No 29 Meri Dilruba ..Kishore..”Aas Pass”

No 24 Dream Girl Dream Girl..Kishore ..”Dream Girl”

No 21 Bure Kaam Ka Bura ..Rafi-Shailendra Singh,,”Chacha Bhatija”

No 18 Yaar Dildar Tujhe Kaisa..Asha-Kishore..”Chhaila Babu”

No 17 Teri Meri Shadi Pandit Na..Asha-Kishore..”Dildaar”

No 11 Anhoni Ko Honi Kara De..Mahendra-Kishore-Shailendra..”Amar Akbar Anthony”

No 06 Satyam Shivam Sundaram ..Lata..”Satyam Shivam Sundaram”

No 05 Aap Ke Anurodh Pe…Kishore..”Anurodh”

No 03 O Meri Mehabooba..Rafi..”Dharmveer”

No 02 Parda Hai Parda ..Rafi..”Amar Akbar Anthon

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

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

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Laxmikant-Pyarelal, SYMPHONIC ODYSSEY :- (1978)

Another Year With VERY GOOD Music.

LAXMIKANT-PYARELAL ….1978

LP v/s Other Prominent Musical Hits for the year 1978

R D Burman:- Shalimar, Kasme Vaade, Ghar, Devta

Kalyanji-Anandji:- Don, Ganga Ki Saugandh

Rajesh Roshan:- Inkaar, Des Pardes

Ravindra Jain:- Akhiyon Ke Jharokon Se

Bappi Lahiri:– Toote Khilone

Khayyam:- Trishul

Jaidev:- Gharonda

Laxmikant-Pyarelal:- Satyam Shivam Sundaram, Main Tulsi Tere Aangan Ki, Badalte Rishte, Apnapan, Aahutee, Prem Bandhan, Phool Khile Hai Gulshan Gulshan, Phansi.. etc

This year too, Laxmikant-Pyarelal had an edge over the other music directors and continued to be on number 1 position, with some quality music. Laxmikant-Pyarelal did composed some Semi-Classical songs this year. The songs of “BADALTEY RISHTEY”..The song “Meri Sanson Ko” was not much appreciated/FAMOUS then, but now it is one of the hot favorites today.

Best music filmfare award was unanimously chosen for SATYAM SHIVAM SUNDARAM Thus Laxmikant-Pyarelal won their 5th and second successive award. Beating Kalyanji-Anandji’s “Don”, R D Burman’s “Shalimar”, Rajesh Roshan’s “Des Parades” and Ravindra Jain’s “Akhiyon Ke Jharokon Se” .

Singers Asha Bhonsle..for Ye Mera Dil Pyar Ka Deewana…and Kishore Kuamar ..for Khai Ke Paan Banaras Wala..from the film “Don”, won the best award for the singers..

BINACA Geetmala Standing in Annual Countdown.. ( 32 songs )

No 33 Aji Thaharo Zara Socho..Asha Bhosle Amit Kumar Aarti Mukharjee Shailendra Singh “Paravarish”

No 28 Somwar Ko Hum Mile… Kishore , Sulakshna Pandit..”Apnapan”

No 26 Hum Premi Prem Karna Jane..Kishore, Rafi, Shailendra Singh “Paravarish”

No 25 Yeh Khidaki Jo Band Rahati Hai…Rafi..”Main Tulsi Tere Aangan Ki”

No 24 Chanchal Sheetal Nirmal Komal.. Mukesh..”Satyam Shivam Sundaram”

No 23 Main Tulsi Tere Aangan Ki..Lata..”Main Tulsi Tere Aangan Ki”

No 19 Jab Aati Hogi Yaad Meri..Rafi-Sulakshna Pandit..”Phansi”

No 07 Yashomati Maiyya Se..Lata, Mannade..”Satyam Shivam Sundaram”

No 02 Aadmi Musafir Hai..Lata-Rafi..”Apnapan”

Laxmikant-Pyarelal
Laxmikant, Raj Kapoor and

Laxmikant-Pyarelal SYMPHONIC ODYSSEY :- (1979)

Laxmikant-Pyarelal HAT-TRICK For Filmfare Awards, Best Music 1 Amar Akbar Anthony 2 Satyam Shivam Sundaram 3 Sargam.

Association of Subhash Ghai & Laxmikant-Pyarelal Starts.

LAXMIKANT-PYARELAL…1979

LP v/s Other Prominent Musical Hits for the year 1979

R D Burman:- Golmal, Jhootha Kahin Ka, Manzil, Nauker, The Great Gambler, Jurmana

Kalyanji-Anandji:- Muqqdar Ka Sikandar,

Usha Khanna:- Sajan Bina Suhagan..Madhuban Khushaboo.., Dada.Dil Ke Tukade Tukade..

Raghunath Sheth:- Ek Baar Phir (Ye Paudhe Ye Patte…Man Kahe Main Jhumun.Anuradha Paudwal – Bhupendra….(My all time favorite song)

Khayyam:- Noori, Khandan

Ravindra Jain:- Pati Patni Aur Woh, Sunayana.

Rajesh Roshan:- Swarag Narak, Kala Patthar, Mr. Natwarlal, Ek Baap Chhe Bete.

Sonik Omi:- Zulm Ki Pukar

Bappi Lahiri:– Suraksha.

Raj Kamal:- Sawan Ko Aane Do

Once again the Laxmikant-Pyarelal dominates the show with maximum numbers of hit songs…The songs of Sargam have a clean sweep over the other film’s songs…

Laxmikant-Pyarelal:- Goutam Govinda, Suhag, Sargam, Jaani Dushman, Kartavya, Dil Ka Heera, Amar Deep, Kali Ghata..Yuvraj, Prem Vivah, Chunoti, Zalim..etc

Undisputedly Laxmikant-Pyarelal were chosen for the best music award, unanimously for the film ”SARGAM”, winning it for the third consecutive time. Thus Laxmikant-Pyarelal performed the Hat-Trick for the award. Beating Khayyam’s “Noori”, Rajesh Roshan’s “Kala Patthar” and “Mr Natarwal” and Laxmikant-Pyarelal’s own “Jani Dushman”.

“Sargam”, “Suhag”, “Jani Dushman”, “Muquaddar Ka Sikandar” and “Mr.Natwarlal” were the super hit films of the year.

BINACA Geetmala Standing in Annual Countdown.. ( 32 songs )

No 36 Mannubhai Motor Chali ..Kishore..”Phool Khile Hai Gulshan Gulshan”

No 32 Dafaliwale..Lata-Rafi,” Sargam”

No 26 Chalo Re Doli Uthao ..Rafi..”Jaani Dushman”

No 20 Meri Dushman Hai Ye…Rafi..”Main Tulsi Tere Aangan Ki”

No 16 Main Tere Pyar Main Pagal..Kishore, Lata..”Prem Bandhan”

No 15 O Meri Jaan ..Kishore, Anuradha..”Jaani Dushman”

No 10 Tere Hathon Main Pehana Ke..Asha-Rafi..”Jaani Dushman”

No 06 Main Tulsi Tere Aangan Ki..Latta..”Main Tulsi Tere Aangan Ki”

No 04 Na Jane Kais ..Kishore, Rafi, Suman..”Badalte Rishte”

Ajay Poundarik, Atlanta (Georgia), USA. 19th September, 2020

Second Half Of Sixties, Hindi Film Music, Sovereignty Of Laxmikant-Pyarelal

It is remarkable achievement for the new comer music directors, Laxmikant-Pyarelal to achieve TOP spot in the span of over three years.

When the duo Laxmikant-Pyarelal started with “Parasmani” music in 1963, many big names like Naushad, Shankar-Jaikishan, Roshan, O P Nayyar, S D Burman, Madan Mohan, Ravi, Chitragupt, Hemant Kumar, etc were established music directors.

But Laxmikant-Pyarelal took on all the might of Naushad, Shankar-Jaikishan O P Nayyar, Roshan, Madan Mohan etc. The duo, Laxmikant-Pyarelal ruled the later half of 60s. Later maintained it, till the end of the century. It was the stunning ‘blow’ to all old, established music directors.

Listen to what Ameen Sayani / C. Ramchandra had predicted about the new, talented, proficient star music directors, Laxmikant-Pyarelal, in the following video clip.

In the second half of sixties (after 1965), Laxmikant-Pyarelal become the household name in hindi film music. It was like a TSUNAMI of songs from the duo. Honestly speaking Laxmikant-Pyarelal were primarily responsible for eliminating the dominance of the older music directors such as C. Ramchandra, Naushad, Shankar-Jaikishan, Madan Mohan, O.P.Nayyar, Ravi, Chitragupt, Roshan etc.

Second Half Of Sixties, Hindi Film Music, Sovereignty Of Laxmikant-Pyarelal

Have compared Laxmikant-Pyarelal, year wise, musical journey (musical hit films) with other contemporary music director’s prominent musical hit films from 1963 to 1969.  At the end of each year’s comparison statement I have also given the list of the songs, composed by  Laxmikant-Pyarelal, which appeared in Final Binaca Geetmala Standing. 

LAXMIKANT-PYARELAL 1963…

Dashing and Bouncy Start by Laxmikant-Pyarelal in their very first film “Parasmani

LP v/s “Other prominent musical” hits.. in 1963 

Shankar-Jaikishan:– –Profesor–Humrahi–Dil Ek Mandir

Roshan--Taj Mahal –Dil Hi To Hai

SD Burman--Bandini — Tere Ghar Ke Samane

Naushad--Mere MehaboobRamlal–Sehara

Ravi—Gumrah

Laxmikant-Pyarelal had just two films “Parasmani” and “Harishchandra Taramati”. These films were released in the third quarter of the year. 

Music director Roshan won the best music director award for “Taj Mahal” beating Naushad’s “Mere Mehboob” and Shankar-Jaikishan’s “Dil Ek Mandir”. 

BINACA Geetmala Standing in Annual Countdown.. ( 32 songs ) 

No 15 Woh Jab Yaad Aaye Lata – Rafi..“Parasmani”

No 06 Hasta Hua Nurani Chehara,,,Lata – Kamal Barot ”Parasmani”

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LAXMIKANT-PYARELAL …1964

Beginning of TWO Great & Big combos.

Mohammad Rafi & Laxmikant-Pyarelal “Dosti” Kishore Kumar & Laxmikant-Pyarelal “Mr X In Bombay

LP v/s Other prominent musical hits.. in 1964 

Shankar-Jaikishan:- –Aayi Milan Ki Bela—Raj Kumar—Sangam

Naushad:—Leader

Madan Mohan:- Woh Kaun Thi

OP Nayyar:—Kashmir Ki Kali

Ravi:- Door Ki Awaz

Roshan:- Chitralekha

Ramlal:- Geet Gaya Pattharone 

Laxmikant-Pyarelal:- Aaya Toofan, Mr. X In Bombay, Sati Savitri, Sant Gyaneshwar and Dosti.

Filmfare Awards:- Nominations Madan Mohan (“Woh Kaun Thi”), Shankar-Jaikishan (“Sangam”) and Laxmikant-Pyarelal (“Dosti”). Laxmikant-Pyarelal won their, well deserved,  first-ever filmfare award for “DOSTI” .

BINACA Geetmala Standing in Annual Countdown.. ( 32 songs ) 

Laxmikant-Pyarelal have some wonderful songs from “Harishchandra Taramati” which released in end of 1963.

No 30 Main Ek Nanha Sa .. Lata.. “Harishchandra Taramati”

No 26  Rahi Manwa ..Rafi..”Dosti”

No 21  Chahunga Main Tujhe..Rafi..”Dosti”

No 06  Mere Mehaboob Quyamat ..Kishore..”Mr X In Bombay”

Laxmikant-Pyarelal

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LAXMIKANT-PYARELAL….1965

Strong Bonding Of Two Combos Through “Lootera” Songs.

Laxmikant-Pyarelal & Lata Mangeshkar Laxmikant-Pyarelal & Anand Bakshi

LP v/s Other prominent musical hits in 1965

RD Burman:—Bhoot Bangala. 

Kalyanji-Anandji:— Himalay Ki God Main,– Jab Jab Phool Khile,–Saheli

Shankar-Jaikishan:— Professor, Aarzoo

Ravi:- —Khandan,—Waqt

SD Burman:– — Teen Deviyan, — 

Roshan:- Bhigi Raat

OP Nayyar:- Mere Sanam.

Laxmikant-Pyarelal:- —Lootera, —Shreeman Fantoosh, –Hum Sab Ustaad Hai, Boxer.

Music director Ravi won the best music filmfare award for “Khandan” beating Shankar-Jaikishan’s “Aarzoo” and Kalyanji-Anandji’s “Himalay Ki God Main”..

BINACA Geetmala Standing in Annual Countdown.. ( 32 songs ) 

As happened in earlier years, this year too saw one film song attaining cult status in India. This song was- “Jyot se jyot jagaate chalo” from Sant Gyaneshwar.

No 29  Khudaya Mohabbat Na Hoti..Rafi…”Boxer”

No 25  Koi Jab Raah Na Paye..Rafi..”Dosti”

No 24  Neend Nigahon Ki ..Lata..”Lootera”

No 18  Ajnabi Tum Jane …Kishore ..”Hum Sab Ustad Hain”

No 04  Jyot Se Jyot Jagate Chalo…Lata-Mukesh “Sant Gyaneshwar”

No 02  Chahunga Main Tujhe….Rafi “Dosti” 

Laxmikant, Lata Mangeshkar & Pyarelal
Laxmikant-Pyarelal & Anand Bakshi

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LAXMIKANT-PYARELAL…1966

Association of J Omprakash Laxmikant-Pyarelal, starts.

LP v/s Other prominent musical hits in 1966

Khayyam:– –Aakhri Khat

RD Burman:— Teesari Manzil, Pati Patni. 

Roshan:—Dadima,–Mamata

S D Burman:– Guide

Shankar-Jaikishan:- — Suarj,–Love In Tokyo

Madan Mohan:- –Mera Saya

OP Nayyar:-– Yeh Raat Phir Na Aayegi

Ravi:- —Dus Lakh, Do Badan 

Hemant Kumar:- –Anupama

Laxmikant-Pyarelal:- –Mere Lal,–Aaye Din Bahar Ke,–Pyar Kiye Ja,–Aasra,–Sau Saal Baad,–Laadla,–Dillagi,–Chhota Bhai..–Naag Mandir. (All have top music).

By this year Laxmikant-Pyarelal started gaining the TOP position..all the songs of the films, released so far, are still popular.

Shankar-Jaikishan won the best music award for “Suraj” beating, S D Burman’s “Guide” and Ravi’s “Do Badan”

BINACA Geetmala Standing in Annual Countdown.. ( 32 songs ) 1966

No 26 Din Jawani Ki Char Yaar ..Kishore..”Pyar Kiye Jaa”

No 24 Gore Hathon Par Na Zulm ..Rafi..Pyar Kiye Jaa”

No 20  Payal Ki Jhankar Raste Raste..Lata..”Mere Lal”

No 14  Ye Aaj Kal Ke Ladake..Usha ,”Dillagi”

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LAXMIKANT-PYARELAL…1967

TSUNAMI of Laxmikant-Pyarelal Music. 

Laxmikant-Pyarelal Right On TOP

LP v/s Other Prominent Musical Hits of 1967

Shankar-Jaikishan:- — Chhoti Si Mulaqat, –An Evening In Paris,– Around The World

R D Burman:- — Baharon Ke Sapane

S D Burman:– –Jewel Thief 

Ravi:– — Hamraaz

Kalyanji-Anandji:– –Upkar

Roshan:- –Bahu Begam, Noor-Jahan

Naushad:– –Ram Aur Shyam

Laxmikant-Pyarelal:- –Milan, –Shagird, –Farz, –Patthar Ke Sanam, –Anita, –Night In London, –Jaal,– Taqdeer ( Have not considered the films like, Chhaila Babu, Milan Ki Raat, in which too, LP has given some beautiful songs)

It was an LP “wave”. “Weekly Binaca Geet Mala” was 70% flooded with LP songs…It was a CLEAN SWEEP..

I don’t think any of the music directors have given so many hits and quality songs in a particular year. .

 “FARZ” was the most successful golden jubilee hit movie which made Jeetendra a STAR.

Truly speaking 1967 belongs to Laxmikant-Pyarelal, they not only confirmed the Number One position in Hindi Film Music, but also consolidated it with a series of hits by one after another with variety.

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

Laxmikant-Pyarelal won their second filmfare award for “MILAN”, beating Kalyanji-Anandji for “Upkar” and Ravi for “Humraz”.  

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

BINACA Geetmala Standing in Annual Countdown.. ( 33 songs ) 

Songs of Milan, under the music direction of Laxmikant Pyarelal, took the nation by storm in the year 1967, and Binaca geetmala 1967 was no exception. 

No 33 Yeh Kali Jab Talk..Lata – Mahendra “Aaye Din Bahar Ke”

No 24 Maa Mujhe Apane Aanchal ..Lata..”Chhota Bhai”

No 23 Main Dekhu Jis Aur..Lata..”Anita”

No 21 Mera Yaar Bada Sharmila ..Rafi..”Milan Ki Raat”

No 17 Mubarak Ho Sabko..Mukesh..”Milan”

No 13 Mere Dushman Tu ..Rafi..”Aaye Din Bahar Ke”

No 07 Na Baba Na Baba..Lata..”Anita”

No 06 Hum Tum Yug Yug..Lata-Mukesh..”Milan”

No 01  Sawan Ka Mahina ..Lata- Mukesh..”Milan”

MILAN :: Winners, Nutan, Jamuna, A Subbarao, Laxmikant, Anand Bakshi & Pyarelal
“ANITA’ . Song Recording :: Laxmikant, Lata Mangeshkar, Pyarelal, actress Sadhna & Producer/Director Raj Khosla

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LAXMIKANT-PYARELAL ….1968

LP v/s Other Prominent Musical Hits of 1968

Shankar-Jaikishan:– –Bramhachari,–Jhuk Gaya Aasman, –Mere Huzoor, –Shikar

Ravi:– –Neel Kamal,–Do Kaliyan, –Aankhe.

Kalyanji-Anandji:– –Saraswatichandra

OP Nayyar:– –Kahin Din Kahin Raat

RD Burman:- –Padosan

Usha Khanna:– Fareb

Sapan Jagmohan:- Teri Talash Main

Laxmikant-Pyarelal:- –Mere Humdam Mere Dost, –Izzat, –Raja Aur Rank, –Baharon Ki Manzil, Spy in Rome.

It was a good musical competition between Shankar-Jaikishan  and Laxmikant-Pyarelal songs. LP’s songs have an edge because of the freshness of the music.

Although Shankar-Jaikishan wins the filmfare award for “Bramhachari”..beating Ravi’s “Aankhen” and Shankar-Jaikishan’s “Deewana”. 

BINACA Geetmala Standing in Annual Countdown.. ( 32 songs ) 

No 32 Mast Baharon Ka Main ..Rafi.. ”Farz”

No 24 Chalkaye Jaam..Rafi.”Mere Humdum Mere Dost”

No 22 Bade Miyan Deewane..”Shagird”

No 20 Mehaboob Mere..Lata-Mukesh..”Patthar Ke Sanam”

No 16 Mera Naam Hai Chameli ..Lata..”Raja Aur Rank”No

14 Chalo Sajna ..Lata..”Mere Humdum Mere Dost”

No 11 Bata Du Kya Lana..Lata..”Patthar Ke Sanam”

No 01 Dil Vil Pyar Vyar..Lata..”Shagird”

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LAXMIKANT-PYARELAL…..1969

Beginning Of Kishore Kumar’s ERA

LP v/s Other Prominent Hits of the year 1969

Chitragupt:- –Vaasana, –Aulad

Shankar-Jaikishan:- –Kanyadan, –Prince

Kalyanji-Anandji:– — Suhag Raat,– Haseena Maan Jayegi, –Vishwas, –Mahal

R D Burman:- –Waris, –Abhilasha, –Pyar Ka Mousam.

Madan Mohan:– –Chirag

Naushad:– –Saathi, –Sangharsh.

O P Nayyar:- –Kismat, –Humsaya, –Sambandh

Ravi:– –Ek Phool Do Mali

S D Burman:- Aradhana

Roshan:– –Anokhi Raat


Laxmikant-Pyarelal..gave the music for as many as 17 films in the year 1969..and 90% of the songs composed were hit, memorable, melodious and are still popular…Even the “Aradhana” wave could not do much of the effect to LP’s songs…

Laxmikant-Pyarelal’s hits. — Aaya Sawan Jhum Ke, –Intequam, –Do Raaste, –Jeene Ki Raah, –Dharati Kahe Pukar Ke, –Satykam, –Sajan, –Pyasi Sham, –Jigari Dost, –Aansoo Ban Gaye Phool…

Laxmi-Pyare’s ‘CLEAN SWEEP’ continued for the third successive year. 

Laxmikant-Pyarelal’s songs and films kept hitting the charts with regularity for coming 20 years and they were the safest bets to the producers, directors and the distributors to finance their films. 

Laxmikant-Pyarelal wins their third filmfare award trophy for the super hit music for “JEENE  KI  RAAH”, beating, S D Burman’s “Aradhana” and Shankar-Jaikishan’s “Chanda Aur Bijli”. 

Kishore Kumar’s ERA has also now started. LP too gave a few good songs to KK this year. “Do Raaste”, (Khiza Ke Phool) “Aansoo Ban Gaye Phool”,(Jane Kaisa Hai Mera Deewana..with Asha),, “Satyakaam” (Zindagi Hai Kya,,with Mukesh, Mahendra Kapoor)….. good melodies of LP with KK.

BINACA Geetmala Standing in Annual Countdown.. ( 32 songs ) 

No 31 Woh Kaun Hai ..Lata-Mukesh…”Anjana”

No 25 Mehabooba Mehabooba..Rafi..”Sadhu Aur Shaitan”

No 23 Resham Ki Dori..Lata-Rafi ..”Sajan”

No 22 Ruk Ja Jara …Lata..”Izzat”

No 19 Aaya Sawan Jhoom Ke..Lata-Rafi..”Aaya Sawan Jhoom Ke”

No 18 Badi Mastani Hai..Rafi..”Jeene Ki Raah”

No 16 Dil Mein Kya Hai..Lata-Rafi..”Jigri Dost”

No 12 Ek Tera Saath .Lata-Rafi..”Wapas”

No 09 Je Hum Tum Chori Se..Lata-Mukesh..”Dharati Kahe Pukar Ke”

No 06 Aa Mere Humjoli Aa..Lata-Rafi..”Jeene Ki Raah”

No 01 Kaise Rahoon Chup ,..Lata..”Intequam”

Laxmikant-Pyarelal arrived in Hindi film music in 1963, when most of the big names of the music directors were in top gears. Laxmikant-Pyarelal have no God Father to support. But the duo achieved  towering success, right from the day one, and became the most successful music directors of Bollywood Music.

Ajay Poundarik, Atlanta (Georgia), USA. 10th September, 2020.

When Laxmikant-Pyarelal’s Powerful Music Became the real “STAR” of The Film:-

When Laxmikant-Pyarelal’s Powerful Music Became the real “STAR” of The Film:-

There are many films in which the real  “STAR” was only Laxmikant-Pyarelal’s music.  The following selected, listed films have no Major Star Cast, even some of the films are B Grade and Low Budget but the entire success of the film was carried away by Laxmikant-Pyarelal’s  “MAGICAL MUSIC”.  

Review of  such films and its “Powerful” music by Laxmikant-Pyarelal.

PARASMANI  (1963):-   

Rousing start by Laxmikant-Pyarelal. The film is a musical fantasy drama shot partly in Black and White and partly in colour. This was a movie that launched Laxmikant-Pyarelal.  Being the First Film of LP, they make sure that all the  songs are composed as per the standard of early Sixties.  The outcome was outstanding. Though the Film “Parasmani” was a mystical film, the film is still remembered only because of its immortal songs.   LP’s very first film Hit the Box Office despite being B grade, Black & White, Mystical Film and no major star cast to support.  But the main cause of the super success of the film was LP’s SUPER HIT music.  Who can forget ?

–Hasta Hua Nurani Chehara…..                       Lata-Kamal Barot

–Wo Jab Yaad Aaye Bahot Yaad Aaye             Lata-Rafi

–Ooi Ma Ooi Ma Ye Kya Ho Gaya …               Lata

–Chori Chori Jo Tumse Mili                              Lata-Mukesh

–Mere Dil Main Halki See..                               Lata

–Roshan Tumhi Se Duniya..                               Rafi

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

DOSTI (1964):- 

This film give name and fame to both Rajashree Films and Laxmikant-Pyarelal. It was Rajashree Films Second Film. Black & White movie. No media publicity. . No Star… No Major Star… No Hero ….No Heroin…, No Villain and …..No Big Name at all. Laxmikant-Pyarelal, the new name in Hindi Film Music. All the prominent music directors of that time refused to give the music to this film as there was no star cast (two teenage unknown actors) and also they feel there was nothing in the film to compose the songs for Blind and Physically disable  Children.  But LP took up the  challenge and the film became History.  It has won as many as 8 Filmfare Awards (including best music directors)  + President Award.  The film was a great success and the credit goes to Laxmikant-Pyarelal’s immortal music.   How to use “classical ragas”; make it little simpler to create Mass Appealing and Popular Songs is a best example of “Dosti” songs.  Mohammad Rafi was at its best.  Laxmikant-Pyarelal’s outstanding music.  

LP composed majority of the songs in “Pahadi Raag”.This film give name and fame to both Rajashree Films and Laxmikant-Pyarelal. 

 –Chahunga Mian Tuze Sanz Sawere..                Rafi

–Mera To Jo Bhi Kadam Hai..                           Rafi

–Koyi Jab Raah Na Paye..                                 Rafi

–Janewalo Jara Mudake Dekho Muze..             Rafi

–Rahi Manawa Dukhati Chinta..                       Rafi

–Gudiya Hamase Ruthi Rahogi..                       Lata

–Gudiya Hamase Ruthi Rahogi..                       Lata

Touching song with such message to all ……reminder for humanity & peace. Mind-Boggling take off by Rafi Saab, at end of ‘prelude’ (MOUTHORGAN), with ‘aalap’ synchronised with SYMPHONY VIOLINS.  MOUTHORGAN ( played by late R D Burman) is brilliantly orchestrated in all the first ‘interlude’ with VIOLINS. Second and third “interludes” brilliantly decorated with SYMPHONY style VIOLINS and GUITAR. It has a wonderful DHOLAK rhythm.

FARZ (1967)

“FARZ” made actor JEETENDRA a “STAR”. “FARZ” songs storm the nation. All the songs of FARZ are popular even today. Sometime it is hard to believe that Laxmikant-Pyarelal also had “Milan”, in the same year. The two movies music (‘Milan” & “Farz”) are so poles apart ! ‘FARZ’ have six songs and most of them have a melody and mass appealing. Not only that the westernized background music is also excellent. It was matching to any of the James Bond Movies.The film was smash hit. This was Laxmikant-Pyarelal’s first “Golden Jubilee” Hit film.  It was yet another non-star cast film from south.  This was the second film for Jeetendra and Babita, who were yet to established themselves in the hindi film stardom. This film has made Jeetendra a “STAR”.  The “Super Hit” music of this film was solely responsible for the success. 

— Mast Baharonka Main Aashiq….                  Rafi

— Hum To  Tere Aashiq Hai   ….                      Lata-Mukesh

— Bar Bar Din Ye Aaye ….                                Rafi

— Tumse Ho Haseena Kabhi                              Rafi-Suman Kalyanpur

— Dekho Dekho Ji Socho Ji                                Lata

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

BOBBY (1973).

Yet another non-star cast film (Rishi Kapoor and Dimple Kapadia’s first film).  Not only star cast was new but also the male singers were new. Shailendra Sing and Narendra Chanchal was introduce to the film music by LP.  Chancal won the Filmfare Award.  Raj Kapoor was looking for a “Supper Hit Film” after the disaster of “Mera Naam Joker” …and he got it.  Yet again the success of the film was carried away by LP’s music. The music of the film created a History.   In this film not only main leading actor/actress were new but also two new male singers were introduced. 

“BOBBY’ is an example of a ’SOUNDTRACK’ better than the “BOBBY” Film itself. Laxmikant-Pyarelal’s music really came to rescue Raj Kapoor and RK Films.

Main Shayar To Nahin..                                 Shailendra Singh

Chabi Kho Jaye          …                                Lata-Shailendra

Muze Kuchh Kehana Hai..                             Lata-Shailendra

Main Maike Chali Jaungi                               Lata-Shailendra

Pyar Main Souda Nahin.                                Mannade-Shailendra

Beshaq Mandi Masjid …                                Narendra Chanchal

Tut Ke Dil Ke Tukade…                                 Lata

Ai Fasa..                                                         Lata

One of the best songs composed by Laxmikant-Pyarelal using Huge, Enriched and Melodious Orchestra arrangements.
It has >>Three differently tuned “Antaras” + Three differently composed “Interludes”…MESMERISING ORCHESTRA arrangements. Toe Stepping RHYTHM :- Intermixing of IRANI SANTOOR (Played by Pandit Shivkumar Sharma) + ACCORDION (Played by Sumit Mitra) + BONGO Drums. Singing “Pauses”. There are many singing “Pauses” of 4 seconds, in the song. The First is at 0.27 seconds, immediately after singing..हम तुम s s s . Highlighting the wonderfully orchestrated ‘rhythm’.(हम तुम ढण ढण टण टण, ढण ढण टण टण, ढण ढण टण टण, एक कमरे मैं बंद हो ढण ढण टण टण, ढण ढण टण टण, ढण ढण टण टण First Interlude:- Beautiful display of ACCORDION, GUITAR and VIOLINS. Second Interlude:- VIOLA, IRANI SANTOOR Lata’s beautiful sound (आलाप) .. Third Interlude:- ACOUSTIC GUITAR, SAXOPHONE,, VIOLINS, MOUTHORGAN, FRENCH HORN and VIOLAS. Rhythmic “Pause”. at 6.32 for 2 seconds.
Postlude:- ACCORDION + SAXOPHONE. An uncomplicated tune with simple words is mellifluously orchestrated with TOE STEPPING RHYTHM. Another specialty of this song is the “OVERLAPPING” sound effects of various instruments in all the ‘interludes’. I would rate this song is one of the finest compositions from the desk of Laxmikant-Pyarelal, in terms or orchestra arrangements.

EK DUJE KE LIYE (1981)

This was the first hindi film for Kamal Hasan and Rati Agnihotri.  Yet another non-star cast musical block blaster, smash hit film.  The films success again was carried away  by the  melodious music by LP.  S. P. Balasubramanium was introduced to hindi film music.  He won Filmfare as well as  the national award for this film. Who can forget the immortal melodies from this musical hit. 

Tere Mere Beech Main..                                  Lata/SPB

Hum Bane Tum Bane..                                    Lata-SPB

Hum Tum Dono Jab ..                                     Lata-SPB

Mere Jeevan Saathi                                         SKB-Chitra

Sola Baras Ki Bali Umar..                              Lata-Anup Jalota

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

HERO (1983)

Subhash Ghai had played the gamble by taking new hero and heroin (Jacky Shroff and Minakshee Sheshadri) for this film but at the same time firmly depend and believed on LP’s music.  Yet another non-star cast film, which got success only because of the hit music. LP’s music was part of the film and once again the music became the “Real STAR” of the film. Excepting Lata’s one song, fairly new and un-popular singers sang all the songs.  All the songs are still popular.

 — Pyar Karane Wale Kabhi                               Anuradha-Manahar

Ding Dong O Baby Sing Song                        Anuradha-Manahar

Tu Mera Janu Hai ..                                       Anuradha-Manahar

Lambi Judai                                                    Reshma (From Pakistan)

Nindiya Se Aayi Bahar                                    Lata

The biggest hit song of the film, melodious romantic song. Mellifluous “Prelude” of 24 seconds with ‘intermixing’ the sounds of “DHOL” and “GHOONGHRU” with ACOUSTIC GUITAR, sets the mood of this song. “Interludes” are mesmerizing. Use of SANTOOR, VIOLINS and FLUTE and overlapping sound effect is just brilliant. Even the “postlude” is beautifully orchestrated with glimpses of MANDOLIN Excellent ‘DHOLAK’ rhythm. The song is very fresh, even today, with excellent orchestra arrangements and the fresh voices.

HAPPY BIRTHDAY TO LIVING LEGEND PYARELAL (Laxmikant-Pyarelal).

Ajay Poundarik, Atlanta (Georgia), USA.

BIRTHDAY Celebration Is “ON”. 3rd September. Birthday Wish To Living Legend PYARELAL (Laxmikant-Pyarelal).

BIRTHDAY Celebration Is “ON”.3rd September. Happy Birthday Living Legend PYARELAL (Laxmikant-Pyarelal).

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

To start with YASH RAJ Films first ever film, producer and director Yash Chopra wanted to utilize the ‘best’ artists available then.

Rajesh Khanna was in supreme form in early seventies, he along with Sharmila Taigor, Rakhi were the stars of the film.

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

An outstanding/evergreen/ever-fresh music of ”Daag” is still popular.Let us review the Most Popular song.

लाजवाब, सुमधुर, कर्णप्रिय एवं बेहद रोमांटिक गाना। Mesmerizing Orchestra arrangements..IRANI SANTOOR (played by Pt Shivkumar Sharma) & GUITAR (played by Gorakh Sharma) are brilliantly executed in the entire orchestra of the song.

The song starts with “zero” ‘Prelude”…First ‘Interlude’ starts with IRANI SANTOOR at 0.42…with brilliant overlapping sound effect and ends at 1,00. The second ‘Interlude’ starts at 1.46 and listen how mellifluously IRANI SANTOOR have been played till 1.58…The third ‘Interlude’ starts at 2.45 and how effectively GUITAR is played to give the perfection to the romance and great “pick up” through IRANI SANTOOR from 2.53 to 3.02..The song has beautiful DHOLAK as “rhythm” excepting in “Interludes”…SAHIR LUDHIYANVI’s elegiac lyrics and KISHORE KUMAR’s tender as well as romantic rendition and LAXMIKANT-PYARELAL’s wonderful composition with beautiful decoration of the orchestra has made this song as all time classics.

You just have to look at the way Rajesh Khanna croons, “Mera pyaar keh raha hai main tujhe khuda bana doon” and you will want to watch the song. Nobody could act out a love song better than Rajesh Khanna.

Also full credit to Kishore Kumar who was nominated by filmfare awards, the best male singer, for singing this romantic GEM. One of the finest song of Kishore Kumar under Laxmikant-Pyarelal who were also nominated by filmfare awards, for the best music directors, along with Raj Kapoor’s ‘Bobby”.

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

BIRTHDAY Celebration Is “ON”. 3rd September. Happy Birthday PYARELAL (Laxmikant-Pyarelal)

BIRTHDAY Celebration Is “ON”. 3rd September.                                                                                       Happy Birthday PYARELAL (Laxmikant-Pyarelal)

It’s now 57 years. I was an 8-year-old studying in the Indian city of virtuoso TANSEN, Gwalior. Radio Ceylon, All India Radio, and Vividh Bharati were playing ‘Main Nanhasa Chhota Sa Bachha Houn’  (from the movie ‘Harishchandra Taramati, 1963′) , ‘Jyot Se Jyot Jagate Chalo’, and   Ek Do Teen Chaar’ (from the movie ‘Sant Gyaneshwar‘, 1964). Both the films have the music by the newly arrived, young, talented musicians, Laxmikant-Pyarelal. 

Growing up in the same era as that of child artists from these films, the songs, listed above, made a huge impact on my musical ears.  I distinctly remember one thing — a downpour of coins on the screen for ’Jyot Se Jyot Jagate Chalo’, which went on to become my very first all-time favorite without having an idea that it was Laxmikant-Pyarelal’s music. 

From 1963 to 1998, without any discontinuity, constantly, my childhood days, my school days, my college days and few years of working (job) in India as well as abroad, have witnessed many memorable hit songs from Laxmikant-Pyarelal. 

Simplicity, Commitment and the quality of Unconquered Versatility gave Laxmikant- Pyarelal a Supreme Staying Power of 35 years in Hindi Film Music.

Laxmikant-Pyarelal’s tunes used to be very simple but at the same time they used to be extremely sweet, catchy and melodious.

There are many interesting aspects of Laxmikant-Pyarelal music / songs. 

1 The duo’s songs have Indian touch, raag based, with MELODY. 

2 The songs with the simple tunes are decorated with canorous ORCHESTRA arrangements, mostly in western style. Laxmikant-Pyarelal would add a few ingredients in the orchestra that would help the song become hit. Most of the “Interludes” ( musical glimpses between “mukhda” and “antara”) are blended with western style, by giving the ‘symphony’ touch. LP were masters in synchronising various instruments to illuminate the orchestra in ‘preludes’, ‘interludes’ and ‘postludes’. Most interestingly there is no repetition.

3  RHYTHM. Most of the tunes are Indian, Folkish but are decorated mellifluously with the mind-blowing RHYTHM using  DHOLAK.  In many songs the “Interludes” are blended with a different rhythm than that of the ‘mukhada’ of the song. 

Laxmikant-Pyarelal music >>> “””of the common people, for the common people and inspired by the common people””””. It was a perfect music for any successful film to have.

Laxmikant-Pyarelal :: The Most Successful Music Directors Of Bollywood Music. 1963 to 1998, 503 films, 2850 songs,  72 songwriters and 157 singers.

LONG LIVE  LP MUSIC. 

Ajay Poundarik Atlanta (Georgia) USA

Sweet-Sounding Mukesh – Lata Duets Symphonised By Laxmikant-Pyarelal

Sweet-Sounding Mukesh – Lata Duets  Symphonized By Laxmikant-Pyarelal 

Singer Mukesh was introduced to Hindi Film Music by music director Anil Biswas, wayback in 1945 in the film ‘Nirdosh’. Mukesh was a favorite singer for the music directors like Anil Biswas, Salil Chaudhari, Roshan and Kalyanji-Anandji. Music directors Shankar-Jaikishan and Laxmikant-Pyarelal very oftenly used Mukesh. 

Actually, it was not an easy task for any music directors to extract the “best” from singer Mukesh. That is why Mukeshji was a very special singer in his own way. It is very surprising to note that MUKESHji was not used by many BIG Music Directors..

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

C Ramchandra (4 songs)

Madan Mohan (9 songs)

O P Nayyar (4 songs)

S D Burman ( 12 songs)

R D Burman ( 15 songs) and 

Naushad ( 27 songs)

But very effectively used by following music directors 

Shankar-Jaikishan ..136 songs (highest numbers) 

Kalyanji-Anandji…107 songs..

Laxmikant-Pyarelal….80 songs

In the year 1967 Music Directors Laxmikant-Pyarelal brought back the glory of singer Mukesh through the super hit songs of “Milan” ( 5 Lata-Mukesh duets, including all the versions of Hum Tum Yug Yug Se + 2 wonderful solos). In addition,  songs from “Anita” (2 beautiful solos) “Farz” (1 Lata-Mukesh duet) and “Patthar Ke Sanam” (1 Lata-Mukesh duet). 

In return Mukeshji strongly recommended Laxmikant-Pyarelal’s name to Raj Kapoor for the music of  “BOBBY”.

Persuasive start made by Laxmikant-Pyarelal through the songs of “Parasmani” in 1963. The duo used Lata Mangeshkar, Mohammad Rafi, Mukesh and Kamal Barot. The film has as many as six songs with 3 duets, Lata-Rafi, Lata-Kamal Barot and Lata-Mukesh singing “Chori Jo Tumse Mile To Log Kya Kahenge”.   This duet became the first Mukesh-Lata duet for Laxmikant-Pyarelal. 

Total 31 numbers of duets rendered by Lata-Mukesh from 1963 to 1977.  Have included the multi-singers songs, Mehngai Mar Gayee** from Manoj Kumar’s “Roti Kapda Aur Makan” and  Humko Tumse Ho Gaya Hai from Manmohan Desai’s  “Amar Akbar Anthony” involving both Lata-Mukesh. 

Listing a few Lata-Mukesh songs excluding 2 to 3 versions of the songs from “Milan”, “Man Mandir’, “Shor” and “Roti Kapda aur Makan” etc. 

Chori Jo Tumse Mile To Log                          PARASMANI, 1963.

Tum Meri Meri Zindagi Ho.                             DILLAGI, 1966.

Dhagina Tinak Dhin Tha Thaiyya,                  MERE LAL, 1966.

Hum To Tere Aashiq Hain Sadiyon Purane   FARZ, 1967. 

Kyon Zuki Zuki Hai Palake,                           CHHAILA BABU, 1967.

Wo Kaun Hai Wo Kaun Ha                            ANJANA, 1967.

Sawan Ka Mahina Pawan Kare Shor            MILAN, 1967.

Hum Tum Yug Yug Se Yeh                            MILAN, 1967.

Bol Gori Bol Tera Kon Piya                            MILAN, 1967.

Mehaboob Mere Mehbob Mere                      PATTHAR KE SANAM, 1967.

Je Hum Tum Chori Se Bandhe Ek                 DHARATI KAHE PUKAR KE, 1969.

Dil Main Aji Dil Mein Koi Rehta Hai                MERI BHABHI, 1969.

Ai Meri Aankhon Ke Pehale Sapane              MAN MANDIR, 1971

Rubi O Rubi Jan-E-Mehboob                         CHAHAT, 1971.

Baat Hai Ek                                             JAL BIN MACHHALI NRUTYA BIN BIJALI, 1971.

Zum Ke Gaye                                            JAL BIN MACHHALI NRUTYA BIN BIJALI, 1971.

Dheere Dheere Bol Koi Sun Na L                  GORA AUR KALA, 1972.

Ho Tere Naina                                                EK BECHARA, 1972.

Ek Pyar Ka Nagma Hai.                          SHOR, 1972.

Paani Re Paani Tera Rang Kaisa.                 SHOR, 1972.

Maina Bhulunga                                    ROTI KAPADA AUR MAKAN, 1974.

Mehngai Mar Gayee**                           ROTI KAPADA AUR MAKAN, 1974.

Phool Aahista Phenko                         PREM KAHANI, 1975.

Mujhe Dard Rehta Hai                                   DUS NUMBRI, 1976

Humko Tumse Ho Gaya Hai ***                     AMAR AKBAR ANTHONY, 1977

BINACA  GEETMALA :- 

About 80% of Lata-Mukesh songs listed above appeared in the weekly Binaca Geetmala countdown program. 9 songs appeared in ‘finals’ with two of the songs getting top position in 1967 Sawan Ka Mahina from “Milan” and in 1975 Mehangai Maar Gayi. from “Roti Kapda Aur Makaan”. Ek Pyar Ka Nagma Hai,  from “Shor” 1972, has become an iconic song.

1967   No 06  Hum Tum Yug Yug..Lata-Mukesh..”Milan”  

1967   No 01 Sawan Ka Mahina ..Lata- Mukesh..”Milan”   

1968   No 20 Mehaboob Mere..Lata-Mukesh..”Patthar Ke Sanam” 

1969   No 09 Je Hum Tum Chori Se..Lata-Mukesh..”Dharati Kahe Pukar Ke”

1970   No 14 Woh Kaun Hai ..Lata-Mukesh…”Anjana”

1972   No 29 Ek Pyar Ka Nagma Hai ,,Lata-Mukesh .”Shor”

1973   No 16 Dheere Dheere Bol Koi ..Lata-Mukesh..”Gora Aur Kala”  

1975   No 01 Mehangai Mar Gayi..Lata-Mukesh-Chanchal-Janibabu..”R K Ar Makan

1976   No 24 Muze Dard Rehata Hai..Lata-Mukesh..”Dus Numbari”

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.

Chori Chori Jo Tumse Mile To Log           PARASMANI, 1963. (Songwriter  Farooq Qaisar)     

The 26 seconds of ‘prelude’ is orchestrated with the use of SHEHNAI with BONGA Drum rhythm intermixed with GHUNGROO BELLS and VIOLINES. Imposing take off by Lata Ji, चोरी चोरी जो तुमसे मिली तो लोग क्या कहेंगे।  The ‘intro’ is sweetly surrounded by VIOLINS as well as the glimpses of ACCORDION. Now the “mukhda” or “intro” have DHOLAK rhythm intermixed with GHUNGROO BELLS. First ‘interlude’ starts with MANDOLIN surrounded with VIOLINS. Again the ‘rhythm’ pattern changes with BONGO Drum. “Antara” has a DHOLAK rhythm. Second “interlude” is beautifully instrumented with ACCORDION, MANDOLIN as well as VIOLINS with change of rhythm pattern. The song is filmed on Mahipal and Geetanjali. “Postlude” is mellifluously displayed by SHEHNAI. 

Tum Meri Meri Zindagi Ho.                 DILLAGI, 1966. (Songwriter Majrooh Sultanpuri)

Once again a duet with melody. Composed in 60s style of song. Beautiful take off by Mukesh jj हम जी लेंगे बिन तुम्हारे। The unique rhythm of DHOLAK starts. Enjoy the ‘singing pauses’ as well as ‘rhythmic pauses’ given at various points. The first interlude have CELLOS, VIOLINS and the second ‘interlude’ has SARANGI with VIOLINS. The ‘rhythm’ pattern for ‘interludes’ changes (no  DHOLAK). It is filmed on Mala Sinha Sanjay Khan

Kyon Zuki Zuki Hai Palake,                  CHHAILA BABU, 1967. (Songwriter Hasrat Jaipuri))

The song is filmed on Salim Khan (today’s star actor Salman Khan’s father) and Zeb Rehman. This song is very melodious, tenderly rendered by Lata-Mukesh. This delicately composed song has an accordant DHOLAK rhythm. Interludes have BANJO as well as VIOLINS. 

Mehaboob Mere Mehbob Mere             PATTHAR KE SANAM, 1967. (Songwriter Majrooh Sultanpuri)

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. Till 1974, in most of the songs the SANTOOR is played by none other than Pandit Shivkumar Sharma.

Pandit Shivkumar Sharma has full respect for the duo of Laxmikant-Pyarelal. Both Shivji and Pyarelalji have done various experiments while orchestrating the SANTOOR in the song. 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 an astonishing DHOLAK rhythm. Filmed on Manoj Kumar – Waheeda Rehman. 

Hum To Tere Aashiq Hain Sadiyon Purane   FARZ, 1967 (Songwriter Anand Bakshi)

Evergreen and Ever-Fresh Popular. Melodious and Sweetly Composed Romantic Duet. “DHOLAK” rhythm” (theka) in the song has made an addict one.”Prelude” (34 seconds) has a wonderful display of VIOLINS, NADASWARAM. All the “interludes” are spectacularly orchestrated with overlapping sound effects of VIOLINS, ACCORDION, GUITAR and FLUTE. The song is filmed on Jeetendra – Babita. 

Sawan Ka Mahina Pawan Kare Shor            MILAN, 1967. (Songwriter Anand Bakshi)

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

Dil Main Aji Dil Mein Koi Rehta Hai                MERI BHABHI, 1969. (Songwriter  Majrooh Sultanpuri)

Once again an immensely melodious duet, orchestrated with Indian classical instruments.  34 seconds of ‘prelude’ starts with SITAR, SANTOOR. Later at 0.21 to 0.25 excellent synchronization of FLUTE and SANTOOR. The ‘prelude’ ends with the simultaneous ‘strokes’ of SANTOOR and VIOLINS.The ‘intro’ have take off from Mukeshji दिल में अजी दिल में  aligned with DHOLAK rhythm which has the ‘strokes’ of  SANTOOR at various places. First ‘interlude’ starts with overlapping sounds of SANTOOR and FLUTE followed by VIOLINS and again ‘strokes’ of SANTOOR.  Second ‘interlude’ starts with an ear-pleasing display of SITAR (played by Ustad Rais Khan) and lastly VIOLINS. There is a ‘rhythmic’ ‘pause’ at the end of each ‘stanza’/’antara’. Filmed on Sunil Dutt – Waheeda Rehman.

Je Hum Tum Chori Se Bandhe Ek                 DHARATI KAHE PUKAR KE, 1969.(Songwriter  Majrooh Sultanpuri)

This is a very famous song. An extremely melodious duet composed  in the “folkish” style of DHOLAK rhythm. Sounds of SHEHNAI and NADASWARAM are  brilliantly intermixed with FLUTE and GHUNGROO BELLS, in all the “interludes” to get the typical Indian Village feeling. It is filmed on handsome Jeetendra and beautiful Nanda. 

Ai Meri Aankhon Ke Pehale Sapane              MAN MANDIR, 1971 (Songwriter  Rajendra Krishnan)

It’s one of the finest lullaby (लोरी). Extraordinarily melodic, sad,  dulcet duet filmed on Waheeda Rehman – Sanjeev Kumar. ‘Prelude’ is full of SITAR and VIOLINS. First ‘interlude’ is orchestrated with SANTOOR, VIOLINS and FLUTE. Second ‘interlude’ with VIOLINS with the beautiful overlapping sound of SANTOOR. This song has 3 versions, considering the first for review,  

Baat Hai Ek Boond  Si               JAL BIN MACHHALI NRUTYA BIN BIJALI, 1971          (Songwriter  Majrooh Sultanpuri)

बात है एक बूंद सी दिल के प्याले में… आते-आते होंठों तक तूफ़ान ना बन जाए.

For the first time in Hindi Film Music, all the songs of this V Shantaram Classic, recorded in stereophonic sound effect. Yet another variety of song a simple but melodious tune. The beauty of the song is it’s “Interlude”. It is full of VICHITRA VEENA and GUITAR. Lataji’s take-off बात है एक बूंद सी दिल के प्याले में…with the “stroke” of VEENA is ear-pleasing.  First and third ‘interludes’ are orchestrated with the solo display of VICHITRA VEENA. Second ‘interlude’ is awesomely instrumented with GUITAR. The glimpses of GUITAR can also be heard in the surround sounds. Filmed on Abhijeet – Sandhya

Ek Pyar Ka Nagma Hai.                   SHOR ,1972. (Songwriter  Santosh Anand)

This song has three versions, The first version is analyzed. Captivating ‘prelude’ of 46 seconds starts  with solo VIOLINS, Lataji’s ear-pleasing HUMMING.  The “beauty” of the ‘prelude’ is ..Lataji’s HUMMING sound is mind-blowingly synchronised with solo VIOLIN, for 6 seconds (0.17 to 0.23). Again solo VIOLIN and ends with the “stroke” of SANTOOR. Awesome take off by Lata ji एक प्यार का नगमा है। the BONGO Drum ‘rhythm’ starts. Lata ji’s rendering is surrounded by symphony style VIOLINES, throughout the song. 

First interlude starts with solo VIOLIN followed by hypnotising AALAPS by Lataji. At the end of the first ‘interlude’, Lataji’s AALAPS are overlapped with symphony VIOLINS. Mukeshji enters at the end of stanza (अंतरा )

Second ‘interlude’ starts with SANTOOR; it ends with beautifully orchestrated VIOLINS in symphony style. 

Third interlude starts with solo VIOLIN, later symphony VIOLINS overtaking it. Wonderful synchronization of CHORUS and VIOLINS.  

 The solo VIOLIN in this song is played by Mr. Jerry Fernandes, a famous Violinist  

Paani Re Paani Tera Rang Kaisa.                 SHOR, 1972. (Songwriter   Indrajeet Singh Tulsi )

Another GEM of Mukesh-Lata duet, one of the best rainy songs.  59 seconds of ‘prelude’ wonderfully orchestrated with GUITAR, SANTOOR, SITAR and VIOLINS supported by CHORUS HUMMING. Awe-Inspiring DHOLAK rhythm intermixed with water sound. First ‘interlude’ starts with ACOUSTIC GUITAR, SHEHNAI / NADASWARAM and VIOLINS. Second ‘interlude’ is full of AALAPS and HUMMING sound of CHORUS. Third ‘interlude’ have VIOLINS, SITAR (played by Ustad Rais Khan),GLOCKENSPIEL or ‘GLOCKS’ and CHORUS. The entire song is shot in rain. Filmed on Manoj Kumar – Jaya Bhaduri.  

Main Na Bhoolunga         ROTI KAPDA AUR MAKAAN    1974.                                                              (Songwriter  Santosh Anand)

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

Ajay Poundarik, Atlanta (Georgia), USA                                                                                                                                                                                                                                                                                                                                                                                     

26th August, 2020.