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NONPAREIL, ELITE PEERLESS FILMMAKERS and Laxmikant-Pyarelal’s FETCHING Music.

NONPAREIL, ELITE PEERLESS  FILMMAKER’s and   Laxmikant-Pyarelal’s FETCHING Music.  

Honestly speaking Laxmikant-Pyarelal’s music / songs used to become extremely popular prior to the release of the films. Any single HIT song would help the movie to become super hit. In other words, Laxmikant-Pyarelal’s  music / songs used to be  one of the “star” of the film. That is why Laxmikant-Pyarelal was the first choice for any producer and directors.. Laxmikant-Pyarelal have worked with almost all the BIG names in film industries, excepting Prakash Mehra and Nasir Hussain Films

Laxmikant-Pyarelal The First Choice for all:-

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 Laxmikant-Pyarelal. 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, Hemant Kumar, Roshan etc.

Laxmikant-Pyarelal was always the first choice for any film producing company ever since they made their entry into Hindi Film Music in 1963. As such LP has worked with almost all the prominent film producers’ directors but here some very special and major film companies, producers and directors, who have used LP often. Many producers / directors as well as film producing company got “name” and “fame” through Laxmikant-Pyarelal’s SUPER HIT music…Rajshri  Films, Prasad Productions, Raj Khosla, Rajkumar Kohli, Yash Chopra, Subhash Ghai and Manmohan Desai etc…

RAJSHRI  PICTURES:- (Tarachand Barjatya)

Leaving behind music director Roshan, Rajashri gave first preference  to compose music for their very second film Dosti 1964).

Dosti (1964)

Taqdeer (1967)

Jeevan Mrityu (1969)

Uphaar (1970)

Piya Ka Ghar (1972)

Laxmikant-Pyarelal  never disappointed Rajshri Films. The songs of the above films are still popular. It is to be noted that the music of Dosti gave a name and fame to both Rajshri Films and Laxmikant-Pyarelal.

RAJ KHOSLA FILMS:-  (Raj Khosla)

Earlier, O.P. Nayyar, Ravi and Madan Mohan were the favorite music directors for the famous director Raj Khosla.  But when he started his maiden film production company he preferred Laxmikant-Pyarelal as the first choice for his very first film Anita (1967). Such was the “charm / craze” of Laxmikant-Pyarelal, in the mid 60s that Raj Khosla took them in ANITA,  despite the musical success of music director Madan Mohan with Raja Mehadi Aali Khan as the songwriter in his previous films (“Woh Kaun Thi” and “Mera Saya” ) and music director Ravi with the songwriter Shakeel Badayuni (“Do Badan”).   

Anita (1967)

Do Raaste  (1969)

Mera Gaon Mera Desh (1970)

Kachche Dhage (1973)

Prem Kahani (1975)

Main Tulsi Tere Aangan Ki (1979)

Do Premee (1980)

Dostana (1981) ..Only Director. It was produced by Yash Johar.  

Teri Mang Sitaron Se Bhar Doon 1982

Mera Dost Mera Dushman 1984

NISHI FILMS/SHANKAR MOVIES:–  (Raj Kumar Kohli)

Raj Kumar Kohli and Laxmikant-Pyarelal came together with Lootera  (1965). Lootera was a super musical hit ( Lata’s six solo songs rocks). This association has given many musical hits and  lasted till 1990.  Major musical hits includes.

Lootera (1965)

Shart (1969)

Gora Aur Kala (1972)

Nagin (1975)

Jaani Dushman (1978)

Badale Ki Aag (1983)

Pati Patni Aur Tawaif  (1990)

PRASAD PRODUCTIONS:– (L.V.Prasad)

Earlier in Prasad Productions Films,  Shankar-Jaikishan, C.Ramchandra, Roshan have scored the music but L.V.Prasad switch over to Laxmikant-Pyarelal for Milan (1967). Milan songs storm the nation. It was huge musical hit of 1967.  Laxmikant-Pyarelal and Prasad Production association lasted for 18 years and have given many memorable musical hits.  

Milan (1967)

Raja Aur Runk (1968

Jeene Ki Raah (1969)

Khilona (1970)

Shadi Ke Baad (1972)

Bidai (1974)

Ek Duje Ke Liye (1981)

Mera Ghar Mere Bachche (1984)

Swati  (1985)  

All have a melodious musical score.

FILMYUG / FILMCRAFT  (J. Om Prakash)

Earlier Shankar-Jaikishan have given hit music to all the  J.Om Prakash’s films till 1966 when J.Om Prakash signed Laxmikant-Pyarelal for Aaye Din Bahar Ke this association continued for 17 years, till Arpan (1983), Agnee (1988). Producer / Director J. Om Prakash and Music Directors Laxmikant-Pyarelal have given many musical super hits, from 1966 to 1983. This “trio”, along with lyricist Anand Bakshi, was one of the most successful in delivering the maximum musical hits. J. Om Prakash was the first producer / director to offer the first ever ‘big’ starcast film, Aaye Din Bahar Ke (Dharmendra – Asha Parekh)  to Laxmikant-Pyarelal.  Most of the J. Om Prakash films starts with letter A.

Aaye Din Bahar Ke (1966)

Aaya Sawan Jhoom Ke (1968)

Aan Milo Sajana (1971)

Aakraman  (1975)

Aashiq Hoon Baharon Ka (1977)

Apanapan (1977)

Aasha (1979)

Aas Paas (1981)

Apna Bana Lo (1982)

Arpan (1983)

Agnee (1988)

All J. Om Prakash films have evergreen music.

V.SHANTARAM FILMS:- (V. Shantaram)

Pyarelal Lata Mangeshkar, Sandhya & V Shantaram Laxmikant

C. Ramchandra, Ramlal, Vasant Desai were the music directors for earlier films of V. Shantaram. It was not an easy job to enter into V. Shantaram Camp. He has his own choice of music directors which was limited to 2 to 3. Many BIG names of Music Directors of Forties, Fifties, Sixties and Seventies, could not get the chance to work with V. Shantaram. It was in 1971 LAXMIKANT-PYARELAL got an opportunity to work for the first and last time for V Shantaram’s “classic” film  Dance-Musical  film Jal Bin Machhli Nritya Bin Bijlee. V Shantaram was having lean period after two flops Sehra and Boond Jo Ban Gayi Moti and for Laxmikant-Pyarelal it was an opportunity to work with a critically acclaimed director – and to show their prowess in hitherto new field – a Dance Musical. The outcome was outstanding. It was the first time in Hindi Film Music that all the songs were recorded in stereophonic sound effect.

RK FILMS:- (Raj Kapoor)

After the death of Jaikishan.  Raj Kapoor switch over to Laxmikant-Pyarelal for Bobby (1973). Bobby music stormed the nation. Association of Showman Raj Kapoor and Laxmikant-Pyarelal have given spellbound music.

Bobby (1973)

Satyam Shivam Sundaram (1977)

Prem Rog (1983)

Prem Granth (1996)

Evergreen musical hits.

YASH RAJ FILMS:- (Yash Chopra)

Yash Chopra have worked with music director Ravi earlier. But when Yash Chopra started his maiden Film Production Unit (Yash Raj Films) Laxmikant-Pyarelal were the first choice to score the music for Daag  (1973), a superb music.  If you compare all Yash Raj film’s music, the music of Daag still considered to be the best.  

MKD FILMS:- (Manmohan Desai)

When Manmohan Desai has started his own Film Production Unit, with Amar Akbar Anthony (1977) Laxmikant-Pyarelal was his first choice for this musical hit film. This association last till 1998 and has given some of the best musical hits.

Roti (1974)

Amar Akbar Anthony (1977)

Dharm Veer (1977)

Parvareesh (1977)

Chacha Bhatija (1977)

Suhag (1979)

Naseeb (1981)

Desh Premee (1982)

Coolie (1983)

Deewana Mastana (1998)

Manmohan Desai and Laxmikant-Pyarelal was super hit combo. This combo has as many as four films released in 1977, Amar Akbar Anthony, Dharm Veer, Parvareesh and Chacha Bhatija and all were musical hit.

M KEY FILMS (Mohan Kumar)

Producer and Director Mohan Kumar, Laxmikant, Anand Bakshi (singing the song), Pyarelal, “Mom Ki Gudiya” 

Earlier music directors Shankar-Jaikishan and Madan Mohan have given the music for Mohan Kumar’s films. But in 1969 Mohan Kumar opted for  Laxmikant-Pyarelal  for his next film Anjana, 1969. Followed many hits till 1990. Mohan Kumar and Laxmikant-Pyarelal, a 22 years long lasting association with 9 films.

Anjana (1969)

Aap Aaye Bahaar Aayi( 1971)

Mom Ki Gudiya (1972)

Amir Garib (1974)

Aap Beati (1976)

Avtaar (1983)

All Rounder (1984)

Amrit (1986)

Amba (1990)

Likewise his “Guru” J Om Prakash, most of Mohan Kumar films too starts with letter A, excepting Mom Ki Gudiya.

MUKTA ARTS:- (Subhash Ghai)

In 1980 director Subhash Ghai launched his Film Company and started operating as Producer and Director and made Karz.  Laxmikant-Pyarelal was his first choice for this musical hit film. This association also lasted long till 1995, for 16 good years.  The combo of Subhash Ghai and Laxmikant-Pyarelal, along with songwriter Anand Bakshi, have delivered many memorable musical hits.

Gautam Govinda (1979)

Karz (1980)

Krodhi (1981)

Hero (1983)

Meri Jung (1985)

Karma (1986)

Ram Lakhan (1989)

Saudagar (1991)

Khalnayak (1993)

Trimurti (1995)

All have superhit music.

VIP FILMS:- (Manoj Kumar)

Leaving behind Kalyanji-Anandji, Manoj Kumar prefer Laxmikant-Pyarelal for the music of Shor (1972).  Laxmikant-Pyarelal and Manoj Kumar yet another musical trio, with difference.

Shor (1972)

Roti Kapda Aur Makan (1974)

Kranti (1981)

Jai Hind (1999)

TIRIUPATI  PICTURES ( Actor Jeetendra)

After getting a “star” status through Laxmikant-Pyarelal’s musical Hit FARZ in 1967, Actor ‘Star’ Jeetendra became producer in 1971 and launched his home production unit made Humjoli a super duper musical hit. This combo has also given many musical hits.

Humjoli (1971)

Jyoti Bane Jwala (1980)

Pyaasa Sawan (1981)

Deedar-E-Yaar (1982)

Sarfarosh (1985)

DHARMA FILMS:- (Yash Johar now owned by Karan Johar)

When Yash Johar, formally associated with big production units of Sunil Dutt, Dev Anand, Raj Khosla, started his film company named Dharma Films, a big banner today,  made a super duper musical hit film Dostana (1980), he opted Laxmikant-Pyarelal to score the music. This association continued till 1996.

Dostana (1980)

Agneepath (1990)

Gumrah (1993)

RAVI Tandon ( Actress Raveena Tandon’s  Father)

Ravi Tandon used Laxmikant-Pyarelal for his maiden film as a producer Anhonee (1973) ( today’s rocking song ‘hungama ho gaya’).

Anhonee (1973)

Apne Rang Hazaar (1975)

As a Director Ravi Tandon also utilized Laxmikant-Pyarelal for

Majboor (1974)

Waqt Ki Deewar (1981)

Jawab (1985)

Nazarana (1987)

BONEY KAPOOR (Actor Anil Kapoor’s Brother)

Boney Kapoor made his first production film Hum Paanch, 1980,  with music by Laxmikant-Pyarelal. Made many musical hits made by this combo.

Hum Paanch (1980)

Woh Saat Din (1983) Launching Anil Kapoor

Mr. India (1987)

Roop Ki Rani Choron Ka Raja (1993)

Prem (1995)

RAWAL FILM:– (H.S.Rawal)

Naushad were the most favorite music director for producer / director H.S. Rawal but when he started a film on Muslim Culture,  Mehaboob Ki Mehandi (1970),   Laxmikant-Pyarelal was the first choice. This combo also made Jeetendra’s home production Deedar-E-Yaar (1982), also on Muslim Culture.

R K NAYYAR (Actress SADHANA’s home production).

Director Raj Khosla, Pyarelal, Laxmikant, Lata Mangeshkar, Sadhna & R K Nayyar.

Actress Sadhna utilized Laxmikant-Pyarelal’s music for her home productions super duper musical hits like

Inteqam (1969),

Geeta Mera Naam (1974)

Qatl (1985)

Let us shorten the topic. Actor /Super star RJESH KHANNA preferred Laxmikant-Pyarelal for his maiden film, Roti (1974), as filmmaker. When Actor DHARMENDRA started his own film production in 1975. He gave first preference to Laxmikant-Pyarelal for the music of  Pratigya (1975). Actress HEMA MALINI took Laxmikant-Pyarelal for her maiden film, as a producer  Dream Girl (1977). Actor / director JOY MUKHARJEE in Chhaila Babu (1977),  Rajendra Kumar  in Naam (1986),  actor / director/ producer NANA PATEKAR  for Prahaar (1991) and actor Producer FIROZ KHAN for Dayavan (1987) etc used Laxmikant-Pyarelal’s music. There are many actor/actress who preferred Laxmikant-Pyarelal’s music, including PRAN.  When noted songwriter AMIT KHANNA Amit Khanna made his maiden movie as producer he too used Laxmikant-Pyarelal for Bhairavi (1996). Actor Sachin Pilgaonkar used Laxmikant-Pyarelal for his first directorial film Prem Deewane (1992).

Apart from these Laxmikant-Pyarelal have also worked with the following big film producers and directors.

B.R. Chopra                         “Dastaan”   (1973)

Hrishikesh Mukherjee    “Satyakam” (1971), “Chaitali” (1973)

Vijay Anand…                      “Ram Balram” (1978)

Ramanand Sagar…            “Jalte Badan” 1972 “Charas” (1976)

Vijay Bhatt..                         “Banphool” (1971)

K Sridhar “Pyar Kiye Jaa” (1966)

Dalal Guha                           “Dushman” (1971), “Dost” (1974) and more

Gulzar…                                 “Palkon Ki Chhaon Mein” (1978)

K.Vishwanath                      “Sargam” (1977), “Sur Sangam”(1985)

Basu Chatterjee                 “Piya Ka Ghar”(1971)

Shakti Samanta..                 “Anurodh”(1977)

J.P.Dutta…                             “Rajput”(1985) and more.

Girish Karnad                    “Utsav” (1985)

Kishore Sahu                            “Pushpanjali” 1970

Mahesh Bhatt                      “Dhun”(1992), “Gumrah” (1996)

Shekhar Kapoor                  “Mr. India” (1987)

Chetan Anand                       “Jaan-E-Man” (1976)

Raj Kanwar                           “Raj Kumar” (1996)

Nitin Mohan                         “Hum” (1990) and more.

David Dhavan                      “Deewana Mastana” (1998)

Ramesh Sippy                       “Bhrashtachar” (1990) and more.

Raja Nawathe                        “Manchali” (1973) and more.

B.R.Ishara                              “Ek Nazar” (1971)

Harmesh Malhotra              “Phaansi” (1978), “Nagina” (1986)

Mohan Sehgal                        “Raja Jani” (1972), “Kartavya” (1978)

Satish Kaushik                      “Roop Ki Rani Choron Ka Raja” (1990)

R.K. Nayar                                “Intaquam” (1969), “Qatl” (1986).

Mukul Anand                           “Agneepath”(1990), “Khuda Gawah” (1992)

This list has no end but it is doubtful that any other music director has worked with as many as prominent film producers/directors and companies in the manner Laxmikant-Pyarelal have worked.

The following film Units/Producer Directors have started their “maiden” films with Laxmikant-Pyarelal.

NISHI FILMS  Raj Kumar Kohli  ( Lootera ) 1966

RAJ KHOSLA FILM   Raj Khosla  (Anita ) 1967

M KEY FILMS Mohan Kumar (Anjana), 1969

TIRUPATI PICTURES  Jeetendra (Humjoli) 1971

YASHRAJ FILMS Yash Chopra (Daag) 1973

VIKRAMJIT FILMS Actor Dharmendra (Pratigya) 1975

MKD FILMS Manmohan Desai ( Amar Akbar Anthony) 1977

MUKTA ARTS Subhash Ghai (Karz) 1980

BONEY KAPOOR (Hum Paanch) 1980

DHARMA FILMS Yash Johar / Karan Johar   (Dostana) 1980

At the same time Laxmikant-Pyarelal have a long lasting relationship / association with major film producers and directors as well as film banners.

ASSOCIATIONS OF Laxmikant-Pyarelal with the Filmmakers, for OVER 10 YEARS

MANOJ KUMAR 1974-1999..  4 Films

MANMOHAN DESAI 1974-1983.. 9 Films -All Minimum Silver Jubilees

MOHAN KUMAR 1969-1990 ..8 Films

J. OMPRAKASH  1966 – 1988 ….12 Films

RAJ KUMAR KOHLI 1965 – 1990….10 Films

MOHAN SEGAL  1969 – 1989 …6 Films

RAJ KHOSLA  1967-1984   10 Films

SATYEN BOSE  1964 – 1982 .. 7 Films

L.V.PRASAD   1967 – 1986  ..10 Films

SUBHASH GHAI  1979 – 1995 …10 Films

SURINDER KAPOOR 1975 – 1995 …6 Films

K.BAPAIAH 1977 – 1991 …About 12 Films

MADAN MOHLA 1970 – 1992 …6 Films

R.K.NAYYAR (Actress SADHNA) 1969 – 1989 ..5 Films

K.PARVEZ/KALPATARU – 1969 – 1993  About 8 Films

DULAL GUHA  1969 – 1987  …7 Films

YASH JOHAR 1980 – 1993

BRIJ  1967 – 1979

RAVI TANDON  1973 – 1987 …7 Films

RAGHUNATH JHALANI 1966 – 1987 ..6 Films

P.MALLIKARJUNA RAO 1970 – 1989 …5 Films

HARMESH MALHOTRA  1973 – 1992 …12 Films

It is always said that Laxmikant-Pyarelal have worked for BIG banners. BUT I would counter it saying…Laxmikant-Pyarelal’s popular music made many producer / director BIG….

Raj Khosla, Yash Chopra, Yash Johar (Karan Johar),  Manmohan Desai, Rajkumar Kohli, Mohan Kumar, Boney Kapoor and Subhash Ghai  all have  started their respective FIRST films, with super duper hit,  Music By Laxmikant-Pyarelal.

Laxmikant, Raj Kapoor, Pyarelal award ceremony for “Satyam  Shivam Sundaram”.
Yash Chopra, Laxmikant & Pyarelal, receiving golden discs for “HERO” Music.

If someone looks at the list of these filmmakers with whom Laxmikant-Pyarelal have delivered chartbusters, LP have satisfied almost every producer/directors by giving them the various types of music of their choices suiting to the film story and situation.

Ajay Poundarik

Vadodara (Gujarat).

Laxmikant-Pyarelal’s Music, Preeminent Part of Film “DOSTI”

Laxmikant-Pyarelal’s music, preeminent part of film “DOSTI”  

Diwali of 1963 witnessed the emergence of the new music directors Laxmikant-Pyarelal through the super hit music of “Parasmani”.  Laxmikant-Pyarelal fourth film “DOSTI”, released around the Diwali of 1964.  It was Rajshri Films Second Film. During those time (early sixties) RajshrI films were operating from Madrass, now Chennai. Relatively new in the film production Producer Tarachand Barjatya of Rajshri Films wanted to established in the film industry. The film was directed by well known Director Satyen Bose. 

Black and 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.


Laxmikant-Pyarelal music was the “STAR” of the film “DOSTI”.

Most of the prominent music directors of that time refused to score the music for this film as there was no star cast (two teenage unknown actors) and also they feel there was nothing in the film to compose the songs for Blind and Physically Disabled Children. But Laxmikant-Pyarelal took up the challenge and the film music became a History.

Starring Sudhir Kumar, Sushil Kumar, Nana Palsikar, Baby Farida and Sanjay Khan (who made his debut).

Songs the film DOSTI became a rage throughout the nation and continue to be played till today. Laxmikant-Pyarelal also proved that the songs of their earlier films, “Parasmani”, “Harischandra Taramati”, “Aaya Toofan”, “Sant Gyanewshwar” and “Sati Savitri” was not a “fluke”.

Rajashri Film’s “DOSTI” became super hit film of the year. It has a persuasive direction, potent acting by all the performers and the powerful music. The real “STAR” of the film was only Laxmikant-Pyarelal’s music. B Grade and Low Budget film but the entire success of the film was carried away by Laxmikant-Pyarelal’s “MAGICAL MUSIC”.

DOSTI music put Laxmikant-Pyarelal in top music directors rank and made them a “household name” in the Indian film industry.

DOSTI was nominated for 7 categories and went on to win 6 filmfare award trophies.

Best Picture – Tarachand Barjatya

Best Story – Ban Bhatt

Best Music – Laxmikant Pyarelal

Best Lyrics – Majrooh Sultanpuri

Best Playback Singer Male – Mohammed Rafi

Best Dialogue – Govind Moonis

Laxmikant, Majrooh Sultanpuri and Pyarelal

** This non-star film competed with the likes of Raj Kapoor’s ‘Sangam’ and won the Filmfare Award for the Best Film of the year.

** DOSTI music gave Laxmikant Pyarelal their first Filmfare Award, against the stiff competition from Raj Kapoor and Shankar-Jaikishan’s  “Sangam” Raj Khosla  and Madanmohan’s  “Woh Kaun Thi”

** Bengal Film Journalists Association Award for Best Hindi Film of the year.

** Dosti was recognized for its great humanism and its progressive theme at the 4th Moscow International Film Festival and other international film festivals.

“DOSTI” gave ‘name’ and ‘fame’ to both Laxmikant-Pyarelal and Rajshri Films (Tarachand Barjatya), as well.

The film was a great success and the credit goes to it’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. Majarooh Sultanpuri have penned all the songs of the film.  Mohammad Rafi who sung as many as FIVE solo songs, was at its best. Laxmikant-Pyarelal composed majority of the songs in “Pahadi Raag”.

It would be more proper to listen to the songs, listed below, after reading the write up, explaining peculiarities, for each song, you will enjoy the songs, more.

1   Chahunga Main Tuze …. (Mohammad Rafi)

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

2   Mera To Jo Bhi Kadam Hai..Mohammad Rafi

Phenomenal crooning by Rafi Saab in Laxmikant-Pyarelal’s SYMPHONY style orchestra arrangements, full of CELLOs, VIOLINS and GUITAR, in ‘prelude’ and all the ‘interludes’. Don’t forget to listen to the ‘pause’ given at the end of each ‘antara’.

3 Koyi Jab Raah Na Paye.. Mohammad Rafi

Honeyed and melodious  composition, Rafi Saab is  singing from heart. The best part of the song is use of FLUTE with DHOLAK. In ‘interludes’ & ‘preludes’  ACCORDION, GUITAR and  MANDOLIN (prelude) are harmonically used simple but sweet orchestra arrangements with an awesome DHOLAK rhythm .

4 Janewalo Jara Mudake Dekho Muze.. Mohammad Rafi

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 and GUITAR. It has a wonderful DHOLAK rhythm.

5 Rahi Manawa Dukhti chinta ….Mohammad Rafi

A Motivational Song. Once again High Quality composition. Astonishing use of SYMPHONY style orchestra arrangements in the song with MOUTHORGAN ( by R D Burman) and GUITAR.

6 Gudiya Hamse Ruthi Rahogi …. Lata Mangeshkar 

Very innocent song, pleasantly  sung and composed. It has been softly orchestrated with the excellent use of ACCORDION, FLUTE, GUITAR and MANDOLIN.


7 DOSTI Title track

 The MOUTHORGAN played by Mr. Milon Gupta who also played the Mouthorgan in Laxmikant-Pyarelal’s ‘Gandhi bula rahi hai’ from “DOST” 1974.

Ajay Poundarik

Atlanta (Georgia)

USA

Inimitable Voice of MUKESH and Laxmikant-Pyarelal

Inimitable Voice of MUKESH & Laxmikant-Pyarelal


Right from the very first film “Parasmani” (1963), Laxmikant-Pyarelal have utilized singer Mukesh’s voice as and when required. 


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 surprise 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 ( 12 songs) and 

Naushad ( 27 songs). 


But very effectively used by following music directors 
Shankar-Jaikishan ..136 songs (highest numbers) 

Kalyanji-Anandji…107 songs..


Mukesh has sung as many as 80 songs under the music direction of Laxmikant-Pyarelal. More importantly music directors Laxmikant-Pyarelal brought back the glory of singer Mukesh through the “Milan” songs in addition to the songs of “Anita”, “Farz” and “Patthar Ke Sanam”. In return Mukeshji strongly recommended Laxmikant-Pyarelal’s name to Raj Kapoor for the music of  “BOBBY”.

Laxmikant, Pyarelal & Mukesh

There are some different type of variety of songs sung by Mukeshji for the duo.  I have selected the five such songs of Mukesh sung under Laxmikant-Pyarelal.

1) Naach Haseena Naach Ke Duniya Dekhe (“Ek Bechara” 1972).  A ‘Western’ Style. 

Mukesh sounds delicious in this “western style” composition. The “prelude” of 1.24 is full of ‘Arabic Tunes’ and  VIOLINS. Beautiful ‘BONGO DRUMS’ rhythm starts at 1.22 , giving the ‘pause’ of 3 seconds, brilliant take off my Mukesh ji “naach haseen naach”…at 1.25. ACCORDION is effectively synchronized. 

First “interlude” is once again on “Arabic Folk Tunes’ intermixed with glimpses of ACCORDION. Once again Mukeshji has given a “pause” at the end of the interlude. Second “interlude” is folkish type. The third interlude is the BEST part of this song. Rano Mukharjee ( daughter singer / music director Hemant Kumar) has rendered this interlude in typical “Arabic” vocal style. Anand Bakshi has written this song. 

The song is filmed on Jeetendra and Rekha. 

I consider this song is one of the best song from the combo of Mukesh & Laxmi-Pyare. 


2) Tum Bin Jeevan Kaise Beeta (“Anita” 1967).  A ‘Classical’ Style. 


Song writer Raja Mehadi Ali Khan has written this elegant melodious song composed in Raag “Yaman Kalyan”………effectively sung by Mukesh ji ……deep touching lyrics. 

Simple ‘TABLA’ rhythm for mukhada and antara. Another beauty of this songs is a mellifluous SYMPHONY style orchestra arrangements with soft VIOLINS (no rhythm) in all the “interludes”.  The song is filmed on Manoj Kumar and Sadhna. 

3) Ram Kare Aisa Ho Jaye  (“Milan” 1967).  A Beautiful “LORI”. 

 Mukesh has sung almost all the songs in 1967’s super duper hit film “Milan”. The song selected is filmed on Sunil Dutt and Nutan. 

Extremely melodious song, melleflously sung by Mukesh  in the form of “LORI”. Entire song is woven around the ear-pleasing glimpses of FLUTE as a ‘filler’ and also in all the interludes. MANDOLIN is also used in the ‘interludes’. DHOLAK/Tabla ‘rhythm’ is just simply mind-blowing and suits the  theme of the song. Anand Bakshi has penned the song. 

4) Tauba Ye Matawali Chal (“Patthar Ke Sanam” 1967). A Romantic song. 


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

The “postlude” is full of SITAR ( played by late Rais Khan). 

5) Jyot Se Jyot Jagate Chalo (“Sant Gyaneshwar” 1964).  A Devotional song.


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. 


Ajay Poundarik

Atlanta (Georgia)

USA

COLOSSAL AMALGAM ASHA BHOSLE and LAXMIKANT-PYARELAL

COLOSSAL AMALGAM  ASHA BHOSLE and LAXMIKANT-PYARELAL

Asha Bhosle and Laxmikant-Pyarelal ..How this combo can be of less importance when they have churned out almost 494 songs from “Harischandra Taramati” (1963) to “Aurat Aurat Aurat” (1996). There are many GEMs composed by this combo.

Asha Bhosle, Laxmikant, Pyarelal.

When you look at the ‘huge’ volume of 494 songs from this ‘colossal amalgam’ of Asha Bhosle and Laxmikant-Pyarelal  it is very difficult to select just 10 songs. I have to omit few GEMs of songs like…

Main Ek Haseena   (“Aaya Sawan Jhum Ke” 1968)

Bansuri Tihari Nandlal   (“Sajan” 1969)

Chori Se Saiyaan Ne Mujhe Pukara  (“Shart” 1969)  

Ho Koi Aaya Lachak Uthi Kaya (“Dastan” 1972)

Kukoodo Koo Kukoodo Koo  (“Gehri Chaal” 1973),

Motiyon Ki Ladi Hoon & Kahan Hai Woh Deewana (“Loafer” 1973)

Main Ja Rahi Thi  (“Bidai, 1974)

Zindagi Ek Natak Hai  (“Natak” 1976)

Aisi Waisi Na Samaz Sajana  (“Jaani Dushman” 1979)  

Daroga Ji Chori Ho Gayi  (“Gautam Govinda”) and many more

Ashaji has sung many memorable duets under Laxmikant-Pyarelal.

Asha Bhosle – Kishore Kumar, close to 90 duets.  The highest numbers of duet songs composed by Laxmikant-Pyarelal for any singing pairs. KK-Asha with LP  have some fabulous songs. Major hits list is too long.  Listing few HITs below:-

Laxmikant, Asha Bhosle, Amit Kumar, Kishore Kumar, Pyarelal. 

Kya Teri Zulfen Hai   (“Hum Sab Ustad Hai”, 1965)

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

Jaipur Ki Choli Mangwa De Re  (“Gehri Chaal”, 1973)

Yaar Dildar Tujhe Kaisa Chahiye  (“Chhaila Babu”, 1977)

Dillagi Ne Di Hawa  (“Dostana”, 1980)

Mere Hosh Lelo Deewana Banado  (“Bandish”, 1980)

Mar Gayi Mujhe Teri Judaai   (“Judaai”, 1980)

Ek Haseena Thi Ek Deewana  (“Karz”, 1980)

Pyar Ka Wada Fifty Fifty  (“Fifty Fifty”, 1981)

Sara Din Satate Ho  (“Raaste Pyar Ke”, 1982)


Asha Bhosle – Mohammad Rafi nearing  50 duets. Listing out few hits of Asha-Rafi with Laxmikant-Pyarelal. 

Pyarelal, Asha Bhosle, Laxmikant and Mohammad Rafi (extreme right)

Ab Jeene Ka Mausam  (“Dillagi”, 1966)

Sar Par Lamba Top Le Ke Ayega (“Izzat”, 1969)

Maan Jaiye Maan Jaiye (“Himmat”, 1970)

Dhal Gaya Din Ho Gayi Sham  (“Humjoli” 1970)

Chudiya Bazar Se Mangwa De (“Suhana Safar”, 1970)

Tere Ishq Ka Mujhpe Hua  (“Nagin”, 1976)

Tera Sheeshe Ka Saman (“Chacha Bhatiija” 1977)

Tere Haathon Mein Pehna Ke Chudiyan  (“Jaani Dushman” 1979)

Mosam Suhane Aa Gaye (“Judaai”, 1980)

Saathiya Tu Mere Sapano Ka Meet Hai (“Insaan”, 1982)

Asha Bhosle – Lata Mangeshkar total 14 numbers of the duet with Laxmikant-Pyarelal. Once again the highest numbers of Lata-Asha duet under any music directors.

Few of the Major HITS of Lata-Asha under Laxmikant-Pyarelal.

Ai Kash Kisi Deewane Ko .. (”Aaye Din Bahar Ke”, 1966)

Tu Badi Kismatwali Hai..(”Haar-Jeet”, 1972)

Band Hai Muthi To Lakh Ki..(”Dharam-Veer”,  1977)

Chhap Tilak Sab Lini…(”Main Tulsi Tere Aangan Ki”, 1979)

Mehandi To Mehandi Hai Rang …(”Mehandi Rang Layegi”, 1979)

Deepak Mere Suhag Ka ..(“Maang Bharo Sajana”, 1980)

Man Kyun Behaka Ri Behaka ..(“Utsav”, 1985)

Apart from this listed above, Asha Bhosle have sung some fabulous and ‘hit’ duets, under Laxmikant-Pyarelal with Usha Mangeshkar, Mukesh, Mahendra Kapoor, Suresh Wadkar, Shabbir Kumar, Mohammad Aziz, Manhar Udhas  and S P Balasubramaniam

Few of  the finest solo songs, carrying variety,  composed by  Laxmikant-Pyarelal for Asha Bhonsle,  are discussed here.

It would be more proper to listen to the songs, listed below, after reading the write up, explaining peculiarities, for each song, you will enjoy the songs, more.

1 Mere Soone Jeevan Ka Aasara …. (Aasra 1966,  Lyricist Anand Bakshi )

This sweet and extremely melodious song is filmed on Nirupa Roy and Balaraj Sahani. The wordings of the song expresses the strong feeling and expectation by a mother from his son. The wordings are very meaningful. “Prelude” of 28 seconds is full of SITAR. Beautiful take off by Ashaji. All the “interludes” are excellently orchestrated with SITAR, ACCORDION, VIOLINS and MANDOLIN. It has a dulcet DHOLAK rhythm.

2 Khat Likh De Sanwariya (Aaye Din Bahar Ke 1966,  Lyricist Anand Bakshi)

Typical “folkish” type composition filmed on Asha Parekh. One of the biggest hit of Asha Bhosle. Long “Preludes” in the song is used to be the biggest assets of Laxmikant-Pyarelal’s orchestra. This song to is also mellifluent ‘prelude’ of 118 seconds, full of VIOLINS, DRUMS, DHOLAK, FLUTE and GHUNGROO BELLS. Brilliant take off by Ashaji with ‘zero’ orchestra and then “filler” of FLUTE. All the “interludes” have resonant orchestra. DHOLAK rhythm is just mind-boggling.

3 Ai Dushman-E-Jaan .… (Patthar Ke Sanam 1967,  Lyricist Majrooh Sultanpuri)

There’s a story to that. While on a trip to Lebanon Laxmikant and Pyarelal met Fairouz, the famous Arabic singer, and her husband and his brother who composed her songs. Laxmikant-Pyarelal thought her guttural style was appealing, and tried to get Ashaji to do it at the end of the word “Allah” – A-haaa. Superb rendering by Ashaji and only she can give justice to such songs. The song is composed on western beats.

4 Meharban Mehaboob …. (Aansoo Ban Gaye Phool 1969,  Lyricist Taj Bhopali)

Intoxicated melody and ‘rhythm’. One of the best song composed by Laxmikant-Pyarelal for Asha Bhonsle. The song is completely woven around the “aalap” and “humming” by Ashaji, supported by westernized orchestra with excellent use of SAXOPHONE, GUITAR and the SYMPHONY style VIOLINS. Beautiful and frolicsome Helen dancing effortlessly.

5 Bahut Der Tum Ne …..(Man Ki Aankhe 1970,  Lyricist Sahir Ludhianvi)

Extremely melodious composition filmed on Waheeda Rehman and Dharmendra. This romantic song is wonderfully rendered by Asha ji. Ashaji’s ‘humming’ during take off and ‘aalap’ in the ‘interludes’ is just mind-boggling. Awesome DHOLAK rhythm. One of the sweetest songs of Ashaji with Laxmikant-Pyarelal.

6 Angdaiyan Le Le kar ….(Sweekar 1973,  Lyricist Anand Bakshi)

Stunning Composition:: ASHA BHONSLE & Laxmikant-Pyarelal at their supreme best.

Use of GUITAR, as filler in the song and IRANI SANTOOR as well as SAXOPHONE and FLUTE in the entire orchestra, particularly in the “interludes”, is just mesmerizing. Laxmikant-Pyarelal’s western and ‘rich’ Orchestra with IRANI SANTOOR, GUITAR, SAXOPHONE, brilliantly synchronized with soft, delicate singing by Asha Bhosle.The song is gone to shelves as film did not do well at the box office.

7 Sham Bheegi Bheegi …….(Gehri Chaal 1973,  Lyricist Rajendra Krishna)

Melodious Cabaret Song: soft rhythm of BONGO Drums, use of SAXOPHONE, as a filler and in both the interlude is at it’s best. BAMBOO FLUTE and GUITAR, synchronized with the SAXOPHONE, sounds ear-pleasing in entire song. TWEETING of birds make you thrilled during the song. ASHA BHONSLE sounds superb. The song is filmed on actress Bindu and she makes you intoxicated.

8 Koi Shahari Babu…..(Loafer 1973,  Lyricist Anand Bakshi)

Perhaps the most popular song of Asha Bhosle with Laxmikant-Pyarelal. “Prelude” over 30 seconds is full of HARMONIUM, GHUNGHROO BELLS, VIOLINS and SHEHNAI with mesmerizing DHOLAK rhythm. The same instruments are used in the orchestra arrangemnts for all the “interludes”. It is “folkish” songs filmed on Mumtaz.

9 Hungama Ho Gaya…..(Anhonee 1974,  Lyricist Verma Malik)

Today’s sensational HIT song. This song tells us that both Laxmikant-Pyarelal and Asha Bhonsle were “way ahead” of their time. Beautiful Cabaret song completely orchestrated on HAWAII  GUITAR and ACOUSTIC GUITAR. The song was hit then also and even more popular after 40 years too. It is filmed on actress BINDU who gives full justice by gamboling on the very fast rhythm created for this song.

10 Mera Dil Le Ke Le Ke Chal Diye …(Kartavya 1979, Lyricist Kafil Azar).

Outstanding composition. No wonder if this song will of Ashaji and Laxmikant-Pyarelal will ‘recreated’. No words to describe the orchestra arrangements, rhythm, long “prelude” and all the “interludes” are just mind-boggling. 

Ajay Poundarik

Vadodara (Gujarat)

India.

STERLING but BELITTLED KISHORE KUMAR and LAXMIKANT-PYARELAL

STERLING  but  BELITTLED    KISHORE KUMAR  and  LAXMIKANT-PYARELAL

It was in 1964 director Shantilal Soni was making “Mr X In Bombay” starring Kishore Kumar and Kumkum in  lead roll. Obviously, Kishore Kumar as a singer was the choice for all the songs of “Mr. X In Bombay”.  Laxmikant-Pyarelal had already made a high impact, in hindi film music,  through the songs of their earlier hit, B grade, films from “Parasmani”, “Harishchandra Taramati”, “Sati Savitri”, “Sant Gyaneshwar” & “Dosti” etc. In these films Laxmikant-Pyarelal had an opportunity to work with great singers like Lata Mangeshkar, Mukesh, Mohammad Rafi and Manna Dey to compose “A Grade” music.

Now it was the time for Laxmikant-Pyarelal to work with Actor / Singer Kishore Kumar, in “Mr X In Bombay”. Kishore Kumar was passing through the lean period of his musical career, then. Both Laxmikant and Pyarelal went to Kishore Kumar’s house with the song “tune”. Kishore Kumar was so happy to listen to the tune that he started telling everyone present in the house, his gardener, stewards, security guard  that see these  two boys (Laxmikant and Pyarelal ) has bring very sweet and memorable tune for me. That song was “Mere Mehaboob Quyamat Hogi”

Thus this historical song  “Mere Mehaboob Quyamat Hogi” become the first song for the STERLING but BELITTLED combo of Kishore Kumar and  Laxmikant-Pyarelal. Later on this combo of KK-LP went on to score as many as 402 songs, from 1964 to 1987. This figure of 402 is the second highest songs sung by Kishore Kumar with any music directors, first being Kishore Kumar & R D Burman with 499 songs.  Coincidently, this  historical song, “Mere Mehaboob Quyamat Hogi”,  also happens to be the first song of legendary song writer Anand Bakshi with Laxmikant-Pyarelal & Kishore Kumar, as well.  Kishore Kumar’s very first reaction / judgment for this song was correct. The song is still popular, even today.

Laxmikant, Kishore Kumar and Pyarelal

In the combo of Kishore Kumar and  Laxmikant-Pyarelal,  402 songs with diversification, one will always find everything, in the form of ….

Folk (Main Jahan Chala Jaoun, “Banphool”, 1970),  

Mujra (naach meri bulbul, Roti, 1974),  

Gazal (Pyar Ko Chahiye Kya Ek Nazar, “Ek Nazar”, 1972),  

Lori (Soi Ja Tara “Mastana, 1970),

Qawwali (Haal Kya Hai Dilon Ka, “Anokhi Ada”, 1973),  

Philosophical (Aadmi Jo Kehata Hai, “Majboor”, 1974)

Classical (Chali Re Chali Re Gori (with Lata), “Mr X In Bombay”, 1964),

Romantic (Mere Dil Main Aaj Kya Hai, “Daag”, 1973),

Western Classics (Jaani O Jaani, “Raja Jaani”, 1972),  

Sad (Ye Dard Bhara Afasana, “Shreeman Fantoosh”, 1965),

Devotional (Prem Ka Rog Laga Muze “Do Premee”, 1980),

Inspiration (Gaadi Bula Rahi Hai, “Dost”, 1974),

Patriotic (Dekho Veer Jawano, “Aakraman”, 1975),

Disco (Paisa Ye Paisa, “Karz”, 1980) to ‘Chalu’  songs.

These varieties of songs will not be found in Kishore Kumar’s songs with any music directors. It is unfortunate that this ‘combo’ did not get the kind of recognition, acclamation which certainly deserves, unbiasedly.

YES ! Intrinsically  this ‘combo’ has given many memorable hits to Rajesh Khanna.

Moreover, Kishore Kumar have uniquely diversified his rendering style in many of the songs composed by Laxmikant-Pyarelal.

We will discuss more useful aspects of few selected songs elaborating the features of this Sterling but underestimated combo of Kishore Kumar and Laxmikant-Pyarelal.

It would be more proper to listen to the songs, listed below, after reading the write up, for each song, you will enjoy the songs, more.

1)  Mere Mehaboob Quyamat Hogi …(Mr X In Bombay, 1964)   Sad song.   

The song is based on raag “Bhairavi” and it starts with the beautiful “prelude” of 20 sec0nds with the glimpses of VIOLINS, ACCORDION, GUITAR and MANDOLIN. Wonderful take off by Kishore Kumar with the “beats” of BONGO DRUMS.  One can feel the “dard” (pain) in Kishore Kumar’s voice.  Kishore Kumar  has rendered this song with  some peculiar voice. Both the “interludes’ are orchestrated with the VIOLINS, ACCORDION, MANDOLIN and GUITAR. The song is written by Anand Bakshi.  

When we watch this movie and see that Kishore Kumar himself is singing this song gives healthy impression for this song.  What were the days when Kishore Kumar used act as well as sing. Kishore Kumar himself  has rated this song, as a favorite,  among the top ten songs.

2) Pyare Batate Chalo  …(Hum Sab Ustad Hai, 1965) Patriotic Song.

One of the rarest of rare Patriotic song sung by Kishore Kumar. Laxmikant-Pyarelal have composed this song in western beats with  “Rock-N-R0ll” and “Twist” style. “Prelude” of 46 seconds is mesmerizing. Train Sound is brilliantly synchronized with the VIOLINS and ACOUSTIC  GUITAR.  One of the best song filmed on train. Kishore Kumar is simply awesome,  both in rendering and in acting, as well. The song has harmonious BONGO DRUM ‘rhythm’. It is written by Asad Bhopali

3)  Mere Naseeb Main Ai Dost…. (Do Raaste, 1969) Emotional Song

The song is based on raag “Yaman Kalyan”.  Kishore Kumar’s  soft rendering and Laxmikant-Pyarelal’s SYMPHONY style orchestra arrangements with overlapping sound effects of VIOLINS, VIOLA, FLUTE and SANTOOR are the significant aspects of this song. Another beauty of this song is that Kishore Kumar  has brilliantly ‘synchronized’ the “pause” in the LP orchestra. The rhythm of the song is completely on BONGO DRUMS. The song is written by Anand Bakshi.

4) Vaada Tera Vaada …(Dushman, 1972 ) Mujra /Qawwali

First class rendering by Kishore Kumar. Kishore Kumar was reluctant to sing this song because he felt that Rafi Saab suited it more. As Laxmikant-Pyarelal had crafted the song with him in mind.  Rajesh Khanna and the composers duo hoodwinked him into singing it, by stating that they were scrapping the song because he was not ready to sing it.  This song is composed as Mujra in Qawwali style. Entire song has  “qawwali” style DHOLAK / MATAKI rhythm. SANTOOR and SARANGI are well executed in the ‘interludes”. SARANGI is also used as filler in the “mukhada” to give Mujra touch to the song. The song is written by Anand Bakshi.

Such was a craze for Rajesh Khanna and this song that a downpour of coins on the screen were seen. It was a super duper hit song in ‘Binaca Geeetmala’.

5) Yeh Jeevan Hai ….(Piya Ka Ghar, 1971)  Western

One of the finest songs from  Kishore Kumar with Laxmikant-Pyarelal. Kishore Kumar’s extremely soft and silky rendering in a totally different way and LP’s westernised orchestra used and notes for the “interludes”, are the features of this lovely song. The song is completely woven around the glimpses of ACOUSTIC  GUITAR. Another beauty of this song is ‘finger pinch’ used in the ‘rhythm’, at the end of each ‘antara’. Essence of life captured beautifully in simple words by Anand Bakshi.

6) Mere Dwanepan ki bhi …. (Mehaboob Ki Mehandi, 1972)  Romantic

This romantic song is based on Raag “Tilang” starts with the ‘humming’ sound by Kishore Kumar. “Mukhada” is wonderfully synchronized by ‘filling’ SARANGI and FLUTE around Kishoreji’s melodious and romantic  rendering. All the three ‘interludes’ have different type of tunes and orchestral  arrangements. First ‘interlude’ is orchestrated with the sounds of FLUTE, VIOLINS and SANTOOR. Second ‘interlude’ is decorated with SARANGI and SAXOPHONE with overlapping sound of the VIOLINS in ‘symphony’ style. Third ‘interlude’ starts with VIOLINS, VIOLINS and SANTOOR. The song has lovely ‘DHOLAK’ beats. It is written by Anand Bakshi.

7)  Krishna Krishna ….(Naya Din Nayee Raat, 1974) Devotional

One of the rarest of rare ‘devotional’ song sung by Kishore Kumar (with Lata Mangeshkar).

“Prelude” of 34 seconds is full of traditional religious instruments, sets the mood of this extremely melodious song. Kishorji’s beautiful take off, rendering, “Krishna Krishna” is a mesmerizer. Entire song is rendered in a ‘soft’ voice and on high pitch too. The song is orchestrated with SITAR and FLUTE with the ‘rhythm’ of MRIDANGAM. Another ‘beauty’ of this “Bhajan” is the overlapping sound effect of rendering of Kishoreji and Lataji, in different tunes and notes. This song is penned by Rajendra Krishna.  

8)  Ruk Jana Nahin Tu Kahin Har Ke…. (Imtihan, 1974)  Inspiration

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

9)  Aap Ke Anurodh Pe…. (Anurodh, 1977) Classical

Hypnotizing orchestra from Laxmikant-Pyarelal  and stupefying rendering by Kishore Kumar. This mellifluent song is composed on Raag “Yaman Kalyan”. 13 seconds of ‘prelude’ enthrals with the sounds of VEENA and PIANO. Cool and calm rendering by Kishore Kumar with fascinate TABLA/KONGA Drum ‘rhythm’. First ‘interlude’ orchestrated with VEENA and SANTOOR. Second ‘interlude’ is decorated with PIANO and VEENA and also used as a ‘filler’ in  the second ‘antara’. Third ‘interlude’ is executed with SITAR and SAROD supported with soft surround VIOLINS. One of the best song from  KK-LP combo. The song is written by Anand Bakshi.    

10)  Ek Ritu Aaye Ek Ritu Jaye…. (Goutam Govinda, 1979) Soft Rendering

Exceptionally soft  rendering by Kishoreji, many pathos. In the beginning of the song Laxmikant-Pyarelal have used BICYCLE BELL sound in the ‘rhythm’ in support with KONGA Drums. Later the ‘rhythm’ pattern converted to DHOLAK.  Fascinating “interludes” are orchestrated with the instruments like solo VIOLIN,  SAROD, CLARINET, IRANI SANTOOR  and VIOLINs. The song is written by Anand Bakshi.

11)  Om Shanti Om…. (Karz, 1980) Disco /Western

Spellbind, Huge and Enrich  orchestra arrangements in western style,  throughout the song. Despite Kishore Kumar’s usual shouts and Laxmikant-Pyarelal’s boisterous orchestra, the melody part of the song is not lost. The song has become a youth anthem. Kishoreji sounds  like a ‘man’ of the age of 30. This composition from Laxmikant-Pyarelal  came up with a solid riposte to their critics. All the BRASS musical instruments like TUBA and FLUGELHORN, SAXOPHONE and CLARINET along with GUITAR are wonderfully orchestrated in enrich orchestra arrangements with the powerful western ‘beats’. The song is written by Anand Bakshi.     

12) Kahan Ja Raha Tha….(Qatl, 1986)  Roaring Kishore Kumar

The ‘roaring’ like sound by Kishore Kumar.  Tune and orchestra creates a strong feeling just like a man hatching conspiracy to do some crime like killing a person. The background orchestra played in the second stanza and at the end shows tremendous  mind storming of a person, Sanjeev Kumar. The song has PIANO in ‘prelude’ & in all the ‘interludes’ with beautiful DHOLAK rhythm. This song is written by Rajendra Krishna.

Long Live Laxmikant-Pyarelal Music.

Ajay Poundarik

Atlanta (Georgia)

USA.

Laxmikant-Pyarelal and Filmfare Awards

Ever since Laxmikant-Pyarelal entered into the Hindi Film Music in 1963 they were nominated for the Best Music Directors almost for each and every year. There are many years in which LP were nominated for 3 or more numbers of films in a particular year. At the same time LP narrowly missed the awards too. Films like Aaye Din Bahar Ke, Intquam, Do Raste, Mera Gaon Mera Desh, Shor, Daag, Bobby, Ek Duje Ke Liye, Prem Rog, Utsav, Sur Sangam, Mr. India, Saudagar and Khalnayak etc certainly deserves the Filmfare Awards for the best music director. All together LP got 7 Filmfare Trophies, including FOUR TIMES in ROW, (1977, 1978, 1979 & 1980), for the following films.

  • 1964:- Dosti
  • 1967:- Milan
  • 1969:- Jeene Ki Raah
  • 1977:- Amar Akbar Anthony
  • 1978:- Satyam Shivam Sundaram
  • 1979:- Sargam
  • 1980:- Karz
Laxmikant-Pyarelal receiving Filmfare award from Producer/Director
Raj Kapoor for the best music, 1978, “Satyam Shivam Sundaram”

NOMINATION: Best Music Director  (Excellent Music but NO Awards) The Highest Numbers Of Nominations For Best Music Director

1970: – Do Raaste

1972: – Shor

1973: – Bobby

1973: – Daag: A Poem of Love

1974: – Roti Kapda Aur Makaan

1975: – Dulhan

1979: – Jaani Dushman

1980:  – Aasha

1981: – Ek Duuje Ke Liye

1982: – Prem Rog

1983: – Hero

1985:  – Meri Jung

1985: – Pyaar Jhukta Nahin

1985: – Sur Sangam

1988: – Tezaab

1989: – Ram Lakhan

1991: – Saudagar

1993: – Khalnayak

Ajay Poundarik, Vadodara.

How and When I Became The Fan of Laxmikant-Pyarelal.

The year was 1963, I was an 8-year-old studying in the Indian heartland of Gwalior, growing up in a family that did not allow viewing movies except for the mythological ones; the same time period when ‘Harischandra Taramati’ and ‘Sant Gyaneshwar’ were running houseful every day and every show. On the other end, Radio Ceylon, All India Radio, and Vividh Bharati were playing ‘Main Nanhasa Chhota Sa Bachha Houn’ (from the movie ‘Harischandra Taramati’) , ‘Jyot Se Jyot Jagate Chalo’, and ‘Ek Do Teen Chaar’(from the movie ‘Sant Gyaneshwar’, after the musical hits of ‘Parasmani’), at least 10-to-12 times a day, which were sung by child artist in Lata Mangeshkar’s voice.

Laxmikant-Pyarelal (1963)

Actually, I got the interest in hindi film music because of my mother who is not only the singer but also a fan of Lata Mangeshkar / Talat Mehmood and music director Anil Biswas. She used to play radio all the day and listen to the songs.


‘Main Nanhasa Chhota Sa Bachha Houn’‘Harischandra Taramati’,1963

‘Jyot Se Jyot Jagate Chalo’ – Sant Gyaneshwar’, 1964


‘Ek Don Teen Chaar, Bhaiyya Bano Hoshiyar’– ‘Sant Gyaneshwar’, 1964


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 and made me more keen to watch them, and I finally did, despite the full shows. 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. Lata Mangeshkar’s voice that mesmerized me.


Apart from “Sant Gyaneshwar” and “Harischandra Taramati”,  between 1963-1964 Laxmikant-Pyarelal gave fabulous music for some of the following:

  • Parasmani,
  • Sati Savitri
  • Dosti
  • Aaya Toofan
  • Naag Mandir
  • Mr. X In Bombay
  • Hum Sad Ustad Hai

Songs of these films became immensely popular and that is how I came to know the famous name, in Hindi film music “LAXMIKANT-PYARELAL” became the talk of the nation, and everybody started talking about Laxmikant-Pyarelal, and their immensely popular music.


During 1965-1966 I witnessed mind-blowing compositions for the films like 

  • Lootera
  • Shreeman Fantoosh
  • Mere Lal
  • Aasra
  • Dillagi
  • Laadla

I used to listen to Binaca Geetmala.every Wednesday, record it in my notebook, and kept a close eye on LP’s songs.

1967 and beyond…

I was completely hypnotized in the year 1967 — the very best year for the Number One music director LAXMIKANT-PYARELAL(until now I was under the impression that Laxmikant-Pyarelal is one person and not a duo)..when in every corner of Indian city it was only Laxmikant-Pyarelal’s songs, and I became a die-hard fan. In the same year, I saw “Shagird” (my parents allowed me to watch it), the duo’s first big hit movie. In 1967 I realized that there is magic in Laxmikant-Pyarelal’s music. Till this date, I have been an LP fan. Laxmikant-Pyarelal music is working like a tonic and has kept me physically and mentally healthy.

During 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 in abroad, have witnessed many memorable hit songs from Laxmikant-Pyarelal.

Biggest Surprise!!


In 1990, I along with my family left India on a work assignment, and missed witnessing the magic of Laxmikant-Pyarelal’s many hits. Unlike today it was a period when the media and technology  outreach was limited. After returning India in 1993, on a vacation, I was stunned and surprised to note that the duo of Laxmikant-Pyarelal was still at the pinnacle, with  “Khalnayak” song ‘choli ke pichhe kya hai’…

There are many interesting points in Laxmikant-Pyarelal songs. Their  songs have MELODY, ORCHESTRA and RHYTHM. Most of the tunes are Indian, folkish but are decorated mellifluously with the mind-blowing orchestra arrangements. Most of the “Interludes” (musical glimpses between “mukhada” and “antara”) are blended with a different rhythm than that of the ‘mukhada’ of the song. The “Preludes”(musical glimpses before the start of the songs), “Interludes” and “Postludes” have symphony style, western orchestra arrangements and more interestingly there is no repetition.

A “worst day” in my life!

It was my utmost desire to meet both Laxmikant and Pyarelal, since my childhood. While coming from Lagos, Nigeria on flight on 25th May, 1998, I had decided that I will meet both Laxmikant and Pyarelal on this trip of India. However, destiny had something else in place for me and when I landed in India, I got the news of the death of Laxmikantji and I was shocked. I will always be regretting not meeting Laxmikant. My dream of meeting Laxmikantji will never be fulfilled. However, I do meet Pyarelalji couple of time and is in touch with him on the telephone, even if I am not in India.

Let the glory of Laxmikant-Pyarelal be back….

Today, paid media, paid FM radio stations have forgotten the magic created by Laxmikant-Pyarelal, for 35 non-stop years. Many music directors are being hyped who are not even close to the contributions made by Laxmikant-Pyarelal in terms of quantity, quality, variety, popularity, and consistency. It has been always my honest efforts to know more about Laxmikant-Pyarelal to the younger generations through social media. Even I am sending the desired information on Laxmikant-Pyarelal to many of the TV channels, FM Radio, which has become my regular and routine work. My only aim is to BRING BACK THE GLORY OF LAXMIKANT-PYARELAL and I will continue my efforts till the end.

Long Live Laxmikant-Pyarelal music.


Ajay Poundarik

24th June, 2017

Atlanta (Georgia)

USA