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In Hindi Film Music many of the music directors have orchestrated WALTZ ‘rhythm’ to compose some beautiful melodies. In this topic reviewing few best songs composed by Laxmikant-Pyarelal on “WALTZ” Cadency.

In “form” Laxmikant-Pyarelal in mid-sixties.

WALTZ  is type of musical ‘rhythm’ created for  a ballroom dance in 3/4 time with strong accent on the first beat and a basic pattern of step-step-close.

WALTZ is originated from the Germany in 16th century. WALTZ, from the old German word walzen to roll, turn, or to glide. In simple words to move or glide in a lively or conspicuous manner (to advance easily and successfully).

Technically speaking, a WALTZ  is a closed position dance to be performed in triple time. In layman’s terms, this means that the partners both hold and face each other while dancing to a rhythm of hard-soft-soft-hard-soft-soft.

Originally introduced as a ballroom dance, the catchy rhythm, combined with the fact that the partners were allowed to be so close to each other, made the waltz popular within other styles.

Anil Biswas the legendary music director was the first to introduce the WALTZ ‘rhythm’ in Bollywood music, In the year 1940, through the song Hum Aur Tum Aur Yeh Khushi from the film “Alibaba”.  

Later many legendary music directors have used WALTZ ‘rhythm’.  Listing out few memorable hit songs composed by various music directors to get an idea / feel about WALTZ ‘rhythm’.

Naushad Tara Ri Aara Ri Aara Ri /  Suraiya – Mohammad Rafi / “Dastan” 1950.  

Husnlal-Bhagatram   Abhi To Mein Jawan Hoon  /  Lata Mangeshkar / “Afsana” 1951.

S D Burman Hum Aap Ki Aankhon Mein / Mohammad Rafi – Geeta Dutt / “Pyaasa” 1955.

Shankar-Jaikishan (Many songs composed on Waltz rhythm) Aaja Ke Intezar Mein / Lata Mangeshkar – Mohammad Rafi / “Halaku”1956. Dil Ki Girah Khol Do / Lata Mangeshkar  – Manna Dey / “Raat Aur Din” 1967. Bhanware Ki Gunjan / Kishore Kumar / “Kal Aaj Aur Kal” 1971.

Khayyam Woh Subah Kabhi To  / Mukesh – Asha Bhosle / “Phir Subah Hogi” 1958.

O P Nayyar  (Many songs composed on Waltz rhythm) Tum Jo Hue Mere Hamsafar / Mohammad Rafi – Geeta Dutt / “12 O’Clock” 1958. Kaisa Jadoo Balam Tune / Geeta Dutt / “12 O’Clock” 1958.

Ravi Ye Raaten Ye Mausam / Kishore Kumar – Asha Bhosle / “Dilli Ka Thug” 1958.

Mukul Roy Mujhko Tum Jo Mil Gaye / Geeta Dutt – Hemant Kumar / “Detective” 1958.

Usha Khanna Hum Aur Tum Aur / Asha – Rafi / “Dil Deke Dekho” 1959.

Kishore Kumar (as music director) Thandi Hawa Yeh Chandni / Kishore Kumar / “Jhumroo” 1961.

Madan Mohan Shokh Nazar Ki Bijaliya / Asha Bhosle / “Woh Kaun Thi ?” 1963.

Chitragupt Ye Parbaton Ke Dayare / Lata Mangeshkar – Mohammad Rafi / “Aulad” 1968.

Kalyanji-Anandji Sama Hai Suhana Suhana / Kishore Kumar / “Ghar Ghar Ki Kahani” 1970.

R D Burman Tera Mujhse Hai Pehle Ka / Kishore Kumar – Sushma Shreshth / “Aa Gale Lag Jaa” 1973.

Rajesh Roshan Ye Raatein Nayi Purani / Lata Mangeshkar / “Julie” 1974.

Laxmikant-Pyarelal too,  have extensively used WALTZ “rhythm” in their compositions, including mesmerizing Main Shayar To Nahin (Raj Kapoor’s “Bobby”, 1973) and stupefying Dhadkan Zara Ruk Gayi Hai (Nana Patekar’s “Prahaar”, 1991).  Let us review few of the best.

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.

Wo Hai Zara     “SHAGIRD” (1967).

(Singers:- Lata Mangeshkar – Mohammad Rafi. Lyricist:- Majrooh Sultanpuri)

Enthralling  “toe stepping” WALTZ ‘rhythm’ generated through the intermixing sound effect of ACOUSTIC GUITAR and a SNARE DRUM, a percussion instrument. Entire song is woven around the glimpses of ACOUSTIC GUITAR.  Another beauty of the song is mellifluous overlapping of AALAAPS with words and also AALAAP with AALAAPS, by Lata Mangeshkar & Mohammad Rafi. This overlapped aalaps” can be heard at the end of the song.  i) “overlapped aalaps” at 3.22-3.28 and again at 3.48-3.54) ii) “overlapped aalaaps with words” at 3.28 to 3.48, simultaneously both by Lataji and Rafi sab. This beautiful, melodious and sweet song naughtily acted by Saira Banu and Joy Mukherjee

Diye Jalaye Pyar Ke    “DHARTI  KAHE PUKAR  KE” (1969)

(Singer:- Lata Mangeshkar. Lyricist:- Majrooh Sultanpuri)

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

Main Hardam Kisi Ko Dhundhata Hoon.   “RAASTE  KA PATTHAR”  (1972)

(Singers:- Mukesh – Asha Bhosle.  Lyricist:- Anand Bakshi)

A melodious duet beautifully orchestrated in WALTZ ‘rhythm’. The song has wonderful BONGO DRUM rhythm. The ‘interludes’ are mellifluently instrumented with SYMPHONY style VIOLINS, GUITAR.  The WHISTLE sound, synchronized with Mukesh rendering supported by Asha Bhosle, is simply ear-pleasing. Amitabh Bachchan dancing on Waltz ‘rhythm’ with Laxmi Chhaya.

Dilbar Jani    “HAATHI  MERE SAATHI”   (1971)

(Singers:- Lata Mangeshkar-Kishore Kumar.  Lyricist:- Anand Bakshi)

The “prelude” is full of WHISTLE, SANTOOR.  Rich Orchestra also has SAXOPHONE, FLUTE. The entire song has ACOUSTIC GUITAR as “base” for the rhythm.  The song is filmed on Rajesh Khanna – Tanuja.

Hum Aur Tum    “DAAG”  (1973)

(Singers:- Lata Mangeshkar-Kishore Kumar.  Lyricist:- Sahir Ludhianvi)

This romantic song is completely woven around the WALTZ rhythm based ACOUSTIC GUITAR as well BONGO DRUMS.  Another beauty of this song is it’s ‘interludes’. Both the ‘interludes’ have different tunes. First ‘interlude’ full of ‘aalaps’ by Kishore and  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. Rajesh Khanna-Sharmila Tagore look fanciful.

Main Shayar To Nahin   “BOBBY”  (1973)

(Singer:- Shailendra Singh.  Lyricist:- Anand Bakshi)

Truly a mesmerizer. Mellifluously decorated the WALTZ style orchestra for this lovely song. Use of VIOLINS,  IRANI SANTOOR, GUITAR, ACCORDION as well as VIOLA are brilliantly executed in the “prelude”, all the “interludes” and also in “postlude”…The ‘overlapping’ sound effect of IRANI SANTOOR and SYMPHONY style VIOLINS in the first ‘interlude’ is mind-boggling.  Rishi Kapoor and Aruna Irani can be seen dancing in waltz style, specially in the “interludes, in the song. Brilliantly filmed by Raj Kapoor as a director.

Chanchal Sheetal   “SATYAM  SHIVAM SUNDARAM”   (1978)

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

This angelic western style composition  is gorgeously orchestrated in SYMPHONY style orchestra arrangements by utilizing WALTZ rhythm. Throughout the song use of SYMPHONY style VIOLINS, in the “surrounds”, sounds delightful. Apart from that the instruments like IRANI SANTOOR, solo VIOLIN, VIOLAS and CELLOS are sweetly orchestrated in the “prelude’ as well as “interludes”. Shashi Kapoor – Zeenat Aman looks awesome.

Shabnam Ka Ye Qatra Hai “SHARARA” 1984

(Singer:- Lata Mangeshkar. Lyricist:- Anand Bakshi.

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.

Tumhe Apna Saathi Banane Se   “PYAR  JHUKTA NAHIN” (1985)

(Singers:- Lata Mangeshkar-Shabbir Kumar.  Lyricist:- Asad Bhopali)

This sweet duet has  melodiously WALTZ ‘rhythm’ in the “interludes”. It is  orchestrated in SYMPHONY style VIOLINS, CELLOs, ACCORDION and GUITAR. Filmed on Mithun Chakraborty – Padmini Kolhapure

Dhadkan Zara Ruk Gayi Hai   “PRAHAAR”  (1991)

(Singer:- Suresh Wadkar.  Lyricst:- Mangesh Kulkarni)

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

Ajay Poundarik. Vadodara (Gujarat)

SANT GYANESHWAR 1964 :: Canorous Laxmikant-Pyarelal & Lata Mangeshkar

ज्योत से ज्योत जगाते चलो, प्रेम की गंगा बहाते चलो

It was Laxmikant-Pyarelal’s 6th released film. The film is a mythsylogial film with A Grade Music. Once again extremely sweet, melodious and popular music pulled the crowed into cinema hall. All the songs of the film were super duper hit. The film was a huge hit. The meaningful wordings of all the songs are written by none other than PANDIT BHARAT VYAS.

The film was produced by Ranglok and directed by Manibhai Vyas. It has Shahu Modak in lead roll as well as Sudhir Kumar with Sulochana Latkar. The film is still being remembered for it’s songs and one big HIT song. ”Jyot Se Jyot Jagate Chalo””…It can be heard in many of the Temples at any part of the world.

While shooting for the film in Alandi a religious place in Maharashtra. Laxmikant-Pyarelal decided to visit the holy Temple. Laxmikant decided to visit it in a cue rather then in VIP line. While they were in the cue they heard an old lady murmuring a tune and noted down an composed the song Jyot Se Jyot Jagaate Chalo.

Laxmikant, Lata Mangeshkar & Pyarelal

Lata Mangeshkar and songwriter Pandit Bharat Vyas were nominated for the Filmfare’s best female singer and the best song writer, respectively, for the song ‘Jyot Se Jyot Jagate Chalo’…..

Sant Gyaneshwar” has as many as 8 songs out which 5 have been rendered by Lata Mangeshkar. 

1) Jago Re Prabhat Aaya ….Manna Dey and Chorus

Beautiful melodious classical composition. Wonderful use of Chorus. 

2) Ek Do Teen Char Bhaiya Bano Hoshiyar….Lata Mangeshkar 

Naughty song filmed on child artist. Very CUTE and SWEET Song.

3) Mere Laadlo Tum Phoolo Phalo..Lata Mangeshkar

A sad but sweet and melodious song beautifully sung. 

4) Jyot Se Jyot Jagate Chalo ..Lata Mamngeshkar

The MOST POPULAR song of the film. The entire song is woven around the glimpses of FLUTE and SITAR with mesmerizing rhythm of DHOLAK. 

5) Bahut Din Beete…Lata Mangeshkar. 

Extremely Melodious, based on Hindustani Classical Raag, ‘SHIVRANJANI’…One of the best of Lata-LP 

6) Main To Chhel Chhabili Naar …Lata Mangeshkar

A pure FOLK (Marathi) song or “Lawani”

7) Jyot Se Jyot Jagate Chalo..Mukesh. 

One of the Most Popular Song sung by Mukesh. 

One of the most popular song of Mukesh and of the film, as well.   The entire song is woven around the glimpses of FLUTE and SITAR with mesmerizing rhythm of DHOLAK. The film is still being remembered for one big HIT song..Jyot Se Jyot Jagate Chalo”…It can be heard in many of the Temples at any part of the world. Devotionally penned by Pandit Bharat Vyas. 

8) Jai Jai Ram Krishna Hare..Mukesh & Shyma Hemady. 

Very Sweet “BHAJAN”..

When you listen to the Laxmikant-Pyarelal’s music of eighties and nineties, “Sant Gyaneshwar” songs are totally of a different flavour and of melody. 

A MUST musical Album for all LP lovers….

Ajay Poundarik.

INVINCIBLE Laxmikant-Pyarelal and EUPHONIC Mohammad Rafi

INVINCIBLE  Laxmikant-Pyarelal and EUPHONIC  Mohammad Rafi

(Few Black and White  “Romantic Songs”)

“Parasmani”  marked the beginning of a long association between Mohammad Rafi Saab and Laxmikant-Pyarelal.  When filmmaker Babubhai Mistry signed Laxmikant-Pyarelal to compose music for the low-budget costume drama Parasmani in 1963. Laxmikant-Pyarelal began thinking of which singers to choose. Laxmikant-Pyarelal’s natural choice was Mohommad Rafi.  Two songs of Mohammad Rafi “Woh Jab Yaad Aye, bahut yaad aye” and “Roushan tumhi se duniya” brought fame for the musical duo.

Laxmikant, Pyarelal and Rafi Saab, in 1969. 

Success was not easy for Laxmikant-Pyarelal, since they had no Godfathers to promote them. They both started with B grade films, which were never released. Their first breakthrough came via film Parasmani.  Dosti established them as full flagged music composers.

The most unique aspect of these two films was that they had unknown actors for whom Laxmikant-Pyarelal and Rafi Saab gave A grade performance.

The song ‘Chahunga mein tujhe‘ for which Rafi Saab and lyricist Majrooh Saab won Filmfare awards was to be scrapped from the soundtrack. It was Rafi Saab who insisted Laxmikant-Pyarelal to retain the song and what a momentous decision that was from Dosti where there was no looking back.

Rafi was so impressed with the compositions of Laxmikant Pyarelal that he had taken just one rupee for singing the song because it was the custom of a singer to take something in return for a professional song. The film became a huge success.

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

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

Pyarelal & Mohammad Rafi

Mohammad Rafi has sung as many as 379 numbers of the songs, including 183 solo, under Laxmikant-Pyarelal. This is the highest numbers of the songs sung by Mohammad Rafi under any music directors in Hindi Film Music.

It is very difficult to select the best of Mohammad Rafi with Laxmikant-Pyarelal. Here I have selected few “Black and White” era’s Romantic songs, from Rafi-LP combo. Most of these songs are of the period when Laxmikant-Pyarelal were relatively new. Just listen to it. They are just amazing in all respect.

1. Abhi Kamseen Ho Nadan Ho …”Aaya Toofan” 1964. 

This song is a “landmark” for Rafi-LP combo, just before “Dosti”. Extremely ‘tender’ song, delicately rendered by Rafi in his own style. The way Rafi Saab takes off and renders “ABHI KAMASEEN HO”… is just a mesmerizer. Apart from western style orchestra arrangements using VIOLINS and ACCORDION  in all the “interludes”, it has ear-pleasing “prelude” of MANDOLIN. Another beauty of this song is the “pauses” given in between.  It is an addict song for all RAFI FANS. Asad Bhopali have written this lovely romantic words.

2. Tauba Ye Nazare …”Dillagi” 1966

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

3. Mera Yaar Bada Sharmila ..”Milan Ki Raat” 1967

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

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

4. Jab Jab Bahar Aayee ..”Taqdeer” 1968

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

5. Aayee Baharon Ki Sham ..”Wapas” 1969

Western style composition with rhythm on ACOUSTIC GUITAR mesmerizes the musical ears. Beautiful song with sweet & soulful lyrics. Rafi sab is always at his best when he sings soft, soothing romantic songs.Here too he has succeeded to spread magic with his extremely melodious singing…..lovely composition. Majaroooh Sultanpuri has written the song.

Long Live Laxmikant-Pyarelal Music. 

EK DUJE KE LIYE, 1981. Melodious and Dulcet, Laxmikant-Pyarelal

EK DUJE KE LIYE, Non-Starcast film and once again the entire success of the film was carried away by Laxmikant-Pyarelal’s “MAGICAL MUSIC”. Music of “EK DUJE KE LIYE”, released in June, 1981.

Earlier In 60s and 70s the combo of Dada Saheb Phalke Award winner L V Prasad and Laxmikant-Pyarelal have given many musical hit films mainly “Milan”, 1967, “Raja Aur Rank”, 1968, “Jeene Ki Raah”, 1969, “Khilona” 1971 etc..Most of the above list of the film have big star-cast in lead roll excepting “Raja Aur Rank”. 

This time L V Prasad wanted to make a different type of love story. The story of a youthful romance between a South Indian boy and a North Indian girl, troubled and thwarted by their own parents . Two unknown faces in lead roll. Two newcomers a rampaging youthful Kamal Haasan, a ravishingly beautiful Rati Agnihotri.

L V Prasad / Laxmikant-Pyarelal also introduced new fresh voice to Hindi Film Music. More Importantly melodious music of Laxmikant-Pyarelal sung with total freshness and apt emotion by S.P. Balasubramaniam, singing in Hindi film for the first time.  All these went into a heady cocktail to make this an iconic youth film of the period. Just listen to the songs and you will understand the magic behind the success of the film..

When the film ”EK DUJE KE LIYE” was completed, no distributor wanted to buy it. So producer L.V. Prasad released it with minimum prints, but after one week, the shows increased five-fold. It became a huge hit. It celebrated “Golden Jubilee” run ( 50 weeks) in all the major cities of India. 

The film was directed by yet another Dada Saheb Phalke Award winner K. Balachandar. 

While the movie is now part of Bollywood history, full credit goes to the Laxmikant-Pyarelal’s music for its giant success. 

The melodious music of the film by Laxmikant Pyarelal, lyrics created by Anand Bakshi, acts as the corollary to the inseparable love chemistry between the lovers and their unrequited love. It’s no wonder then, that the music still keeps haunting you whenever the topic of romantic songs in Hindi is broached.

1) TERE MERE BEECH MEIN ..Lata Mangeshkar

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. 

2) HUM BANE TUM BANE ..Lata Mangeshkar – S P Balasubramaniam

Classic Romantic Song, evergreen song. “Prelude” of 63 seconds with the glimpses of GUITAR (played by late Mr. Gorakh Sharma), SAXOPHONE and VIOLINS and Lataji’s beautiful “aalap” sets the mood of this song. Once again very different type of “rhythm”. Ever-Fresh / Ever-Green melody.

3) MERE JEEVAN SAATHI S. P. Balasubramaniam – Anuradha Paudwal.

A different style of song writing in which all the words contain films’s name. Credit goes to Anand Bakshi. Awesome ‘rhythm’. This song is excellently filmed in the lift. A song with difference. 

4) SOLA BARAS KI BALI UMAR Ko .Lata Mangeshkar – Anoop Jalota

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

5) HUM TUM DONO JAB MIL ..Lata Mangeshkar – S P Balasubramaniam

Emotional Romantic Melodious Duet. Excellent “prelude” with Symphony style VIOLINS. Wonderful rhythm. 

6) TERE MERE BEECH MEIN ..S P Balasubramaniam

Sad version. What a wonderful tune and song, well rendered by S P Balasubramaniam.

Since 1964 onwards Song Writer ANAND BAKSHI have given many memorable songs, without any loss of continuity break. BUT had never got an opportunity to win the Filmfare award. “Tere Mere Beech Main” song gave Anand Bakshi it’s first ever Filmfare trophy. As usual Laxmikant-Pyarelal were also nominated for the best music for “EK DUJE KE LIYE”..

Ajay Poundarik

FARZ, 1967. Laxmikant-Pyarelal & Jeetendra:: Musical Bonanza

FARZ the film in which the real “STAR” was only Laxmikant-Pyarelal’s music, when there were no BIG STARS acting in the film. Once again, the entire success of the film was carried away by Laxmikant-Pyarelal’s “MAGICAL MUSIC”. Music of “FARZ”, released in 1967, all the songs became extremely popular and proved to be the “crowd puller”.

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

Pyarelal, Jeetendra and Laxmikant

It is to be noted that 1967 was the year of Laxmikant-Pyarelal, the duo not only consolidated their position in hindi film music but also officially, became the “number one” music director of Bollywood music. In 1967 Laxmikant-Pyarelal gave series of MUSICAL HIT films like, “Anita”, “Night In London”, “Patthar Ke Sanam”, “Shagird”, “Jaal”, “Taqdeer” and “Milan”.

All these films, mentioned above, were successful and musical hits while BIG Names of Actor/Actress working in it. BUT in the same year, 1967, just around “Diwali” one NON-STARCAST, low budget film “FARZ” released.

“FARZ” was made in “James Bond” style and had no big names. It was actor Jeetendra and actress Babita’s second film. Both Jeetendra and Babita had not star value then. It was produced by Sunderlal Nahata & Doondy, the producers from South and directed by Ravikant Nagaich.

FARZ” has SIX ‘ huge hit’ songs. All the songs became immensely popular. This film broke all the records of Pervious Hits of Laxmikant-Pyarelal. “FARZ” became the FIRST BIGGEST HIT in Laxmikant-Pyarelal’s carrier. “FARZ” celebrated ’golden jubilee” ( 50 weeks run) in almost all major cities of India.

Jeetendra & Laxmikant-Pyarelal (BOX-OFFICE HIT Combination)

“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.

All the songs are written by Anand Bakshi. Let us review the songs …..


The “prelude” of 49 seconds is just mesmerizing. VIOLINS, GUITARs and BONG DRUMS are excellently executed in the entire orchestra.


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, timeless masterpiece.

3) HUM TO TERE AASHIQ HAI SADIYON .Mukesh-Lata Mangeshkar

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) and all the “Interludes” are wonderfully orchestrated.

4) TUMSE O HASEENA KABHI …Mohammad Rafi – Suman Kalyanpur

This song is mixture of Western and Indian ‘folk” tunes. Beautifully composed and awesomely filmed the dance performed by Babita and Jeetendra. “Prelude” of 32 seconds and all the “interludes” have mellifluous orchestra arrangements. The best part of the song is it’s “Postlude”, from 4.32 to 6.02…

5) DEKHO DEKHO JI SOCHO JI ..Lata Mangeshkar

One more ‘popular’ song with sweet melody. Typical Lata-LP flavor.

6) AAJA AAJA MERE PASS..Asha Bhonsle.

Beautifully sung cabaret song, SAXOPHONE, VIOLINS and GUITAR are worth to listen to in the song.

FARZ’ proved to be the biggest blockbuster film of the year 1967, even in the presence of Laxmikant-Pyarelal’s BIG Musical Hit films like L.V Prasad’s “Milan”, Raj Khosla’s “Anita”, Nadiadwalas’ “Patthar Ke Sanam”, S. Mukharjee’s “Shagird”, “Night In London” and “Jaal”.. “FARZ” also gave recognition to the pair of Jeetendra-Babita.

Ajay Poundarik

MR. X IN BOMBAY, 1964. ::Memorable Premier Meet:: Laxmikant-Pyarelal, Anand Bakshi, Kishore Kumar

B Grade and Low Budget film but once again, the entire success of the film was carried away by Laxmikant-Pyarelal’s “MAGICAL MUSIC”. Music of “MR X IN BOMBAY, released in 1964, falls into this category. The film was directed by Shantilal Soni, starring Kishore Kumar and Kumkum in lead role with Madan Puri, Mohan Choti and Leela Mishra. Just to remind you that on those days Kishore Kumar was not a BIG name and used to work on B Grade Films. The film was average hit.

After creating a Magical Hits with Lata Mangeshkar (“Sati-Savitri”) and Mohammad Rafi (“Dosti”) it was now time for Kishore Kumar to create a vintage musical hit songs with Laxmikant-Pyarelal

It was for the FIRST TIME Laxmikant-Pyarelal and Anand Bakshi worked to gather. Later this combination went to create a history and worked for as many as 304 films as record breaking ’trio’.

Laxmikant, Anand Bakshi & Pyarelal

It was for the FIRST TIME Laxmikant-Pyarelal and Kishore Kumar worked to gather. Later Kishore Kumar has sung as many as 402 songs under Laxmikant-Pyarelal.

Laxmikant, Kishore Kumar & Pyarelal

A) Mere Mehaboob Quayamat Hogi…Kishore Kumar

Very emotional song. Beautifully orchestrated in western style orchestra arrangements, using GUITAR. “prelude” of 18 seconds full of symphony VIOLINS, ACCORDION and GUITAR. One Of The Best Ever Sad Songs Of Hindi Cinema. The personal favorite of Kishore Kumar himself.
This song has as many as SIX…. “FIRST-TIMES”..
1) The First Ever Song, Anand Baxi with Laxmikant-Pyarelal.
2) The First Ever Song, Kishore Kumar with Laxmikant-Pyarelal.
3) The First Ever Song, Anand Baxi with Kishore Kumar.
4) The First Ever Song, Anand Baxi Kishore Kumar & Laxmikant-Pyarelal. 5) The First Ever Song Of Laxmikant-Pyarelal filmed on Kishore Kumar as an actor. 6). The First Ever Song Of Anand Baxi filmed on Kishore Kumar as an actor.

B) Khoobsurat Haseena Jaan-E-Jaa. ..Kishore Kumar – Lata Mangeshkar.

Melodious and Romantic Duet in western style. Use of SAXOPHONE is mesmerizing. One of the top hit song.

C) Chali Re Chali Re Gori ..Kishore Kumar – Lata Mangeshkar.

Classical Romantic Sweet and Melodious Duet. Composed in the in Indian Classical Raag “BHAIRAVI”. Excellent use of “MATAKI”, “PAYAL”, “FLUTE” and “prelude”. Kishore Kumar singing rare Classical..

D) Aallah Kare Tu Hi Aaja Ye..Lata Mangeshkar

Beautiful ‘prelude’ orchestrated with VIOLINS, PIANO and awesome take off by Lataji. Unique ‘QAWWALI” style rhythm intermixed with CLAPPING. ‘Interludes’ are orchestrated with VIOLINS, FLUTE and GUITAR. This song is written by Asasd Bhopali.

E) Zulmi Hamare Sanwariyan O Ram..Lata Mangeshkar

38 seconds of ‘prelude’ with soft VIOLINS, FLUTE and beautiful Lataji’s AALAP. ‘Interludes’ are orchestrated with NANDASWARAM, FLUTE and VIOLINS. Typical Lata-LP “theka” song. A hit song of its time.

F) Ruk Jaa Rokata Hai Ye Deewana ..Kishore Kumar

Beautiful “Rock-N-Roll” style rhythm. Only Kishore Kumar can do the justice to such beautiful naughty song.

Ajay Poundarik

HERO 1983. Laxmikant-Pyarelal & Subhash Ghai. A PERFECT BOLLYWOOD MUSICAL

“HERO“ 1983.
Laxmikant-Pyarelal & Subhash Ghai. A PERFECT BOLLYWOOD MUSICAL

HERO a Non-Starcast film but the entire success of the film was carried away by Laxmikant-Pyarelal’s “MAGICAL MUSIC”. Music of “HERO” released in December, 1983.

After thumping musical hits from Laxmikant-Pyarelal, with new-comers in lead roll, from Raj Kapoor’s “BOBBY” 1973 & L V Prasad’s “EK DUJE KE LIYE” 1981, it was now Subhash Ghai’s turn to create a musical magic with new comers and made “HERO” in 1983.

By this time Laxmikant-Pyarelal had already completed 20 years in film industry and were still, RIGHT ON TOP.

After making musical blockbuster “Karz”, Subhash Ghai had played the gamble by taking new hero and heroin (Jacky Shroff and Meenakshee Sheshadri) for this film but at the same time firmly depend and believed solely on Laxmikant-Pyarelal’s music.

Yet another non-star cast film which got success only because of the hit music. Laxmikant-Pyarelal’s music was the “heart” of the film and once again the music became the “Real Star” of the film. Like “DOSTI“, “BOBBY” and “EK DUJE KE LIYE”.

Laxmikant-Pyarelal (Black & White)

Laxmikant-Pyarelal once again took the challenge to consider upcoming new generation singers, excepting Lata songs. Male singer MANHAR UDHAS and female singer ANURADHA PAUDWAL got the “name” and the “fame” through the music of “HERO”. A famous female singer from Pakistan ‘RESHMA’ was introduced and the end result was every song of ‘Hero’ was a stupendous, popular and smash hit. Songs became the “crowd puller”.

“HERO” films melodious and rhythm based songs, with the new singers, rocked the Bianca Geetmala and stormed the nation.

FLUTE “tune” played in background music was the backbone of the film’s story. Pandit Hariprasad Chaurasiya, a regular musician in Laxmikant-Pyarelal orchestra, in sixties and seventies, has played the FLUTE in all the songs and background music, as well.

Laxmikant, Anand Bakshi, Subhash Ghai & Pyarelal

All the songs of “HERO” are written by Anand Bakshi.

1) TU MERA JANU HAI…Manhar Udhas & Anuradha Paudwal.

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.

2) DING DONG ….Manhar Udhas & Anuradha Paudwal

Western style orchestra arrangements and rhythm. “Prelude” of 40 seconds is mind-boggling in particular use of FLUTE and ACOUSTIC GUITAR. Anuradha Paudwal has brilliantly synchronized her voice with the “filler” of glimpses of the FLUTE. One will wonder how nicely the ’SITAR’ is used in the song, immediately after the words “ding dong” .”sing song”…BRASS instruments, SAXOPHONE are orchestrated in the “interludes”. It is also a “rock n roll” style orchestra.

3) LAMBI JUDAI . Reshma

What a composition in ‘punjabi folk’ style. Minimum orchestra to give excellent ’throw’ of voice of Reshma. FLUTE and GUITAR are excellently exhibited in entire orchestra. Mesmerizing ‘rhythm’. “Postlude” is also beautifully decorated with FLUTE, SANTOOR and GUITAR ( from 4.00 to 4.34).

4) PYAR KARANE WALE..Manhar Udhas & Lata Mangeshkar.

Once again an excellent “Prelude” of 44 seconds consists of beautiful sound of GHOONGHRU, VIOLINS and NAGIN BIN with ‘CLAPPING’..typical Laxmikant-Pyarelal “DHOLAK” style. “Interludes” are also decorated with beautiful Lata’s Aalap, FLUTE, MANDOLIN, VIOLINS and NAGIN BIN. Excellent Song.

5) NINDIYA SE JAAGI BAHAR ..Lata Mangeshkar.

55 seconds of “Prelude” is in SYMPHONY style with excellent use of CELOs intermixed with the rendering of Lataji and BIRDs TWITTING sound. SHEHNAI is nicely played in the first “ nterlude”. Second “interlude” is full of FLUTE. Once again an excellent DHOLAK rhythm. Lovely composition.

6) MOHABBAT YE MOHABBAT ..Suresh Wadkar & Asha Bhonsle

“Prelude” is full of an “Arabic” style. The “Rhythm” is different in “mukhada” in typical LP style. Again “interludes” have been decorated with Arabic Instruments. Good Song.

7) FLUTE THEME MUSIC…Pandit Hariprasad Chaurasiya…Excellently composed tune on FLUTE ….mellifluous efforts by Laxmikant-Pyarelal.

As usual Laxmikant-Pyarelal nominated for the best music award. If you look at the nominations of 1983 for the best music, “HERO” music stands out to be the best.

Yash Chopra, Laxmikant-Pyarelal. HERO Music Celebration from HMV.

Photo taken in the year 1983….HMV Distributed the Platinum discs on the stupendous sales of the music records of SUBHSH GHAI’s super musical hit film “HERO”….YASH CHOPRA was the chief Guest at the function and he presented the discs to legendary music directors Laxmikant-Pyarelal and the other artists associated with this film….

Ajay Poundarik, VADODARA (Gujarat)