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)
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.
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.
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:-
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)
Asha Bhosle – Mohammad Rafi nearing 50 duets. Listing out few hits of Asha-Rafi with Laxmikant-Pyarelal.
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.
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.
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.
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.
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.
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.
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.
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.
1969:- Jeene Ki Raah
1977:- Amar Akbar Anthony
1978:- Satyam Shivam Sundaram
NOMINATION: Best Music Director (Excellent Music but NO Awards) The Highest Numbers Of Nominations For Best Music Director
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.
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:
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
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.
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, without degrading contemporary music directors, 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, Vividh Bharti 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
It was in the late forties (around 1949) a child musician, aged 11 years, named Laxmikant Shantaram Kudalkar was playing a Mandolin at one of the musical concert in Colaba, Mumbai. Lata Mangeshkar, just got the star status after Shankar-Jaikishan’s debut film “Barsat”, was the chief guest of the function Lataji was so impressed by the polished display of Mandolin by Laxmikant she called him and enquired about him and recommended Laxmikant name to the noted music directors to utilise him as musician.
At the same time, around 1950, Lata Mangeshkar and her family members were running a music academy named “Sureela Bal Kala Kendra”. This “Sureela Bal Kala Kendra” was run by group of children, aging below 15. It was consists of child musicians Hridaynath Mangeshkar, Ushah Mangeshkar, Pyarelal Ramprasad Sharma (Pyarelalji) and all his younger brothers, Ganesh, Gorakh, Laxmikant Shantaram Kudalkar (Laxmikantji) his younger brother Shashikant and many more. The “Sureela children’s gang” hung around together at Lataji’s home, day and night absorbed in the notes of golden music, intoxicated by rhythm and melody.
Laxmikant and Pyarelal as a child musician in Lata Mangeshkar's "Sureela Bal Kala Kendra"
Both Laxmikant and Pyarelal have a strong bonding at “Sureela Bal Kala Kendra”. Their friendship started from Lata Mangeshkar’s house. Laxmikant-Pyarelal name emanates from the house of Lata Mangeshkar.
Lata Mangeshkar and Laxmikant-Pyarelal were a longer, larger, closer and more rewarding association that than what ANY composer has had with ANY singer in Hindi cinema
From 1963, to the next 35 years, Lata Mangeshkar and 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.
We get the unmatched variety of songs of Laxmikant-Pyarelal with Lata Mangeshkar. There many films in which Mangeshkar has sung more than 5 songs in the film.. See below the list ..sheer variety.
Sati Savitri 1964
Sant Gyaneshwar 1964
Lootera 1966 ( an outstanding Album with all SIX solo with variety from Lata )
Intequam 1968 (Two Brilliant Cabaret songs)
Baharon ki Manzil 1968
Jai Bin Machhali Nritya Bin Bijalee 1971 (Another outstanding Album, Sheer variety of Lata’s FIVE solo songs)
Mera Gaon Mera Desh 1972..(Folkish Album, all time hit )
Raja Jani 1972Daag 1973
Bobby 1973 (All time hit songs)
Satyam Shivam Sundaram 1978 (Eternal Classic)
Ek Duje Ke Liye 1981
One will wonder to note that from 1963 to 1973 Lata Mangeshkar have recorded 355 songs ONLY under Laxmikant-Pyarelal. All are Simply superb…
Today we are going to review some of the finest male duet songs sung by Lata Mangeshkar with different male singers, under Laxmikant-Pyarelal.
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.
Lata Mangeshkar – Mohammad Rafi with Laxmikant-Pyarelal
Lata-Rafi combo has sung as many as 78 numbers of the songs under Laxmikant-Pyarelal. This is the highest numbers of Lata-Rafi combo songs under any music directors. Few best songs from this melody makers are listed below. TWO best songs of my choice are reviewed, in detail with video clips.
The very first duet of Lata-Rafi with LP. The song is based on Indian Classical Raag. It has a melody of 60s. The song is penned by Farooq Qaiser and is picturised on Mahipal and Anita Guha.
2 Ye Dil Tum Bin Kahin Lagata Nahin “Izzat” (1968)
Based on Indian Classical Raag ‘pahadi’ is yet another sweet melody. All the ‘interludes’ are decorated with SYMPHONY style VIOLINS. The song is written by Sahir Ludhianvi. Picturization is done on Dharmendra and Tanuja.
3 Dil Ne Dil Ko Pukara “Do Raste”(1969)
This super hit song which has class and mass appeal. You can here the glimpses of Shiv Kumar Sharma’s SANTOOR in between the song. The song is written by Anand Bakshi. Picturised on Rajesh Khanna and Mumtaz.
4 Rim Zim Ke Geet Sawan Gaye “Anjana” (1969)
Based on Indian Classical Raag, has sweet melody. Anand Baxi. Rajendra Kumar-Babaita.
5 Chala Bhi Aa Aaja Rasiya “Man Ki Aankhe” (1971)
The song has ear pleasing melody. Penned by Sahir Ludhianvi. Filmed on Dharmendra and Waheeda Rehman.
6 Jhilmil Sitaron Ka“Jeevan Mrityu” (1971)
Immortal song. One of favorite of all music lovers. Anand Baxi. Dharmendra-Raakhi .
7 Patta Patta Buta Buta Hal Hamara Jane “Ek Nazar” (1970)
Typical Ghazal song. Use of IRANI SANTOOR , VIOLINS and SAXOPHONE is mellifluous. Penned by Majrooh Sultanpuri. This song is picturised on Amitabh Bachchan and Jaya Bhaduri.
9 Kuchh Kehta Hai Ye Sawan “Mera Gaon Mera Desh” (1971)
Yet another Punjabi Folk song. Excellent melody. Anand Baxi. Dharmendra-Asha Parekh.
This Cabaret Song has melody as well as western style composition. Beautiful use of SAXOPHONE. Anand Baxi. Jitendra-Mumtaz.
10 Tik Tik Mera Dil Dole “Humjoli” (1972) T
Yet another song of this film is equally good Hi Re Hi Neend Nahin Aaye . Use of SANTOOR is just brilliant. Jeetendra-Leena Chandawarkar.
11Itana To Yaad Hai Muze “Mehaboob Ki Mehandi” (1974)
The sweetest Melody. The DHOLAK rhythm mesmerizes.. SITAR played excellently. Anand Baxi. rajesh Khanna- Leena Chandawarkar.
12 Dafaliwale Dafali Baja “Sargam” (1979)
The most “popular” songs of this combo. This song rocked the nation.
Reviews of the two of the best songs of Lata-Rafi-LP.
a) Woh Hai Jara Khafa Khafa …”Shagird” 1967.
(Songwriter Majrooh Sultanpuri)
Lata Mangeshkar sounds extremely melodious in this song. Mellifluous Overlapping of Aalaaps with Words and also Aalaap with Aalaap, by Lata Mangeshkar & Mohammd Rafi. 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, silmultenelusly both by Lataji and Rafi sab. This beautiful, melodious and sweet song is composed, by Laxmikant-Pyarelal, in western style with ACOUSTIC GUITAR in rhythm. The song is filmed on Joy Mukherjee – Saira Banu
b) Ek Tera Saath Humko Do Jahan Se…”Wapas” 1969
(Songwriter Majrooh Sultanpuri)
MELODY with a SYMPHONY style orchestra arrangements. You can enjoy a FUSION style, in almost all the Laxmikant-Pyarelal composition. A fusion genre is music that combines two or more styles. FLUTE, VIOLA, SANTOOR with TABLA are brilliantly executed in this song. In the interludes, Flute & Viola give different tunes and along the side you enjoy Tabla rhythm with the ear-pleasing disply of SANTOOR. The song is based on Indian Semi-Classical raag and the orchestra has a western style touch. LP’s specialty a “PAUSE’ .. is another plus point of this song. This has been an extremely melodious song sung by Mohammad Rafi and Lata Mangeshkar. An addict one for me. Don’t forget to listen to the stat with Rafi’s voice “Ek Tera Saath” .. just brilliant take-off..
Lata Mangeshkar – Kishore Kumar with Laxmikant-Pyarelal
Lata-Kishore combo have been associated with Laxmikant-Pyarelal with close to 55 songs. There are many memorable and hit songs from this combo. Few best songs from this melody makers are listed below. TWO best songs of my choice are reviewed, in detail with video clips.
1 Chali Re Chali Re Gori Paniya Bharan Ko. “Mr. X In Bombay” 1964.
It is the first duet of KK-Lata under Laxmikant-Pyarelal. Beautifully composed in in “raag” BHAIRAVI. Mesmerizing 62 seconds “prelude” full of “MATAKI”, “GHUNGROO BELL”, “FLUTE” and DHOLAK. The song is written by Anand Bakshi and filmed on Kishore Kumar and Kumkum.
2 Sultana Sultana Tu Na Ghabarana,“Shreeman Fantoosh” 1965
Naughty duet with extreme melody and good orchestra arrangements. The song is written by Anand Bakshi and filmed on Kishore Kumar and Kumkum.
3 Man Mor Machave Shor Shor Shor . “Mastana” 1970.
Sweet and melodious song with an excellent DHOLAK rhythm. The song is written by Anand Bakshi and filmed on Mehmood and Bharati,
4 Sa Re Ga Ma Pa.“Abhinetri” 1970.
Melody and Rhythm at it’s best. The song is written by Majarooh Sultanpuri and filmed on Shashi Kapoor and Hema Malini.
5 Jadugar Tere Naina .”Man Mandir” 1971
Excellent orchestra arrangements with the use of SAXOPHONE and SYMPHONY style VIOLINS synchronised with BONGO/CONGA Drums rhythm. The song is written by Rajendra Krishna and it is filmed on Sanjeev Kumar and Waheeda Rehman.
7 Sun Ja Aa Thandi Hawa ..”Haathi Mere Saathi” 1971
Giant orchestra with westernised rhythm. Excellent use of SANTOOR and VIOLINS in Symphony style. Anand Bakshi. Rajesh Khanna – Tanuja
8 Hum Aur Tum, Tum Aur Hum. “Daag” 1973
Westernized orchestra arrangement, excellent use of ACOUSTIC GUITAR. Wonderful use of VIOLINS in all the interludes. The song is penned by Sahir Ludhianvi and it is filmed on Rajesh Khanna and Sharmila Tagore.
9 Gore Rang Pe Na Itna .”Roti” 1974
Most popular song, even today it can be heard very regularly. ‘Folkish’ style composition giving Punjabi flavour. Anand Bakshi. Rajesh Khanna-Mumtaz.
10 Yeh Mousam Aaya Hai ..”Aakraman” 1975
Both Kishoreji and Lataji have sung this extremely melodious song on high pitch. Excellent orchestra arrangements. Anand Bakshi. Rakesh Roshan – Rekha.
Reviews of the two of the best songs of Lata-Kishore-LP.
a) Khoobsurat Haseena Jaan-E-Jaa Jaan-E-Man “Mr X In Bombay” 1964
(Songwriter Anand Bakshi)
“Prelude” is mellifluously orchestrated of use of SAXOPHONE, VIOLINS, FLUTE. The rhythm is from BONGO DRUMS. All three “Interludes” have different tunes. Kishore Kumar is simply awesome as a comedian in this song, Kumkum fully supportive. A totally different type of composition. The first film in which lyricist Anand Bakshi and music director Laxmikant-Pyarelal came together …to create a world record partnership of 302 films, over 1300 song together,.. till 1998.
b) Achchha To Hum Chalte Hai “Aan Milo Sajana” 1970.
(Songwriter Anand Bakshi)
A unique type of song and composition, a mega hit, still popular song. Mellifluously rendered by Lata -KK. The orchestra arrangement is mesmerizing use of IRANI SANTOOR, SAXOPHONE and VIOLINS is just brilliant and ear-pleasing, as well. This lovely romantic song is filmed on Rajesh Khanna – Asha Parekh.
Lata Mangeshkar – Mukesh with Laxmikant-Pyarelal
The combo of Lata Mangeshkar – Mukesh have been associated with Laxmikant-Pyarelal for good 27 songs. All are very good songs. Listing few with review of one song.
1 Chori Chori Jo Tumse Mili…”Parasmani” 1963
Very first duet of this combo with LP. tenderly sung by Mukesh-Lata. Use of SHEHNAI is worth to listen to in the “interludes”. Penned by Farooq Qaisar. Filmed on Mahipal – Anita Guha.
2 Kyon Jhuki Jhuki Hai Palke “Chhaila Babu” 1967.
The beauty of this romantic duet is it’s rhythm in QAWWALI style. The song is written by Hasrat Jaipuri and it is filmed on Salim Khan (Salman Khan’s father) – Naaz.
3 Hum To Tere Aashiq Hai..”Farz” 1967.
One of the most popular song of this combo. Penned by Anand Bakshi. Jeetendra-Babita.
4 Mehboob Mere …”Patthar Ke Sanam” 1967
Extremely sweet duet. Majrooh Sultanpuri. Manoj Kumar – Waheeda Rehman. FLUTE by(Pandit Hariprasad Chaurasia) and SANTOOR by Pandit Shivkumar Sharma.
5 Ek Pyar Ka Nagma “Shor” 1972
The most memorable song, still popular. Excellent use of solo VIOLIN, IRANI SANTOOR and symphony style VIOLINS. Santosh Anand. Manoj Kumar – Nanda – Jaya Bhaduri.
6 Main Na Bhulunga “Roti Kapda Aur Makan” 1974
Excellent orchestra arrangements with the overlapping sound effect on SAXOPHONE, SYMPHONY VIOLINS and FLUTE, as well. Santosh Anand. Manoj Kumar – Zeenat Aman.
“MILAN” 1967. Lata-Mukesh (Three Duets + Two Versions). The songs of “MILAN” storm the nation. Laxmikant-Pyarelal brought back the glory of singer Mukesh.
–Bol Gori Bol Tera Kaun Piya
–Hum Tum Yug Yug Se
— Sawan Ka Mahina Pawan Kare Shor
(Anand Bakshi has written this immortal song).
The most popular song. Mellifluously composed song in SYMPHONY style VIOLINS. Overlapping sound effect of VIOLINS with MANDOLIN and FLUTE in “interludes” is just mesmerizing. The DHOLAK rhythm hypnotizes. It is filmed on Nutan – Sunil Dutt.
Lata Mangeshkar – Manna Dey with Laxmikant-Pyarelal.
Lata-Manna Dey / Laxmikant-Pyarelal have been associated with 12 songs. Notable hits are from “Sati Savitri”, “Pushpanjali”, “Raja Aur Rank”, “Chaitali”, “Satyam Shivam Sundaram” etc.
–Tum Gagan Ke Chandrama Ho…”Sati Savitri” 1964
(Pandit Bharat Vyas, the songwriter)
तुम क्षमा मैं भूल हूँ…..तुम गगन के चंद्रमा ..मै धरा की धूल हूँ..
The extreme of gratitude in love expressed ever in words.
53 years have been passed since Lata Mangeshkar and Manna Dey got to gather to sing this magical song, NOT A SINGLE CREASE HAS APPEARED ON THE SMOOTH SHINING SURFACE OF THIS SONG…..The classical based raag in “Yaman Kalyan”. This very melodious song is composed in mellifluous “SYMPHONY” style orchestra arrangements. Use of soft pieces of VIOLINS and SITAR in all the ‘interludes’ is just mesmerizing. The beautiful wording of this song is penned by Pandit Bharat Vyas.
Lata Mangeshkar – Mahendra Kapoor with Laxmikant-Pyarelal
This melodious combo have as many as 15 songs together. The major hits includes from
“Pyar Kiye Jaa” (Phool Ban Jaunga and Kisine Pukara Muze) 1966, “Aaye Din Bahar Ke” (Ye Kali Jab Talk) 1966, “Nag Mandir” (Manzil Ek Safar Hai) 1966, “Night In London” (Sun E Bahar) 1967, the most popular “Nagin” song (“Tere Sang Pyar Main), 1975, “Badalte Rishte” .
–Meri Sanson Ko Jo ..”Badaltey Rishte” 1978.
(Anjan the song writer)
Beautifully composed in Raag PURIYA DHANASHREE. Use of SANTOOR and SITAR is just mesmerizing. The song is filmed on Rishi Kapoor – Reena Roy.
Lata Mangeshkar – Suresh Wadkar with Laxmikant-Pyarelal.
This mellifluous combo has as many as 18 songs. Almost all are good. Starting from “Prem Rog”, “Pyaasa Sawan” (Megha Re Megha Re), “Sindoor” (Patjhad Sawan), “Nache Mayuri”, “Krodhi” (Chal Chameli Baugh Mein), “Sur Sangam” and many more.
–Bhanware Ne Khilaya Phool …”Prem Rog” 1983
(Pandit Narendra Sharma the songwriter)
My choice of song is from Raj Kapoor’s “PREM ROG” 1982. Complete song is filmed in this Tulip Garden. “Prelude” of 32 seconds and the “filler” (from 1.01 to 1.44) are full of VIOLINS and GUITAR and humming. It has wonderful “dholak” rhythm. Both the interludes are excellently decorated with glimpses of VIOLINS, FLUTE, “aalaps” (Lataji) and SITAR. This lovely creation is rendered on high notes, by by Lata Mangeshkar and Suresh Wadkar.
Lata Mangeshkar – Shabbir Kumar with Laxmikant-Pyarelal
This combination have worked for as many as 20 songs. A big surprise. There are many hit songs from the films “Woh 7 Din”, “Pyar Jhukta Nahin”, “Meri Jung”, “Jaan Hatheli Pe” & many more. Here I have chosen a song from “Ghulami”..
–Zihal E Maskin Makun Ba Ranjish..”Ghulami” 1985
The rhythm of this song mesmerizes you. Extremely melodious tune. Don’t forget to listen to rhythmic ‘pause’ at the end.
Lata Mangeshkar – Rajan Sajan Mishra with Laxmikant-Pyarelal
Just one OUTSTANDING song.
–Jaaun Tore Charan Kamal ...“Sur Sangam” 1985
(Song writer Vasant Dev)
An amazing orchestra arrangement in Indian Classical style. “SANTOOR”, “JAL TARANG”, “FLUTE”, ” VICHITRA VEENA”, “SITAR” and “MANJIRA” are mellifluously synchronized as well as overlapped in all the interludes, with different tunes. Wonderful DHOLAK rhythm.
Lata Mangeshkar have also sung many memorable duets under Laxmikant-Pyarelal with following singers.
Shailendra Singh (‘Bobby”)
S P Balasubramaniam (“Ek Duje Ke Liye)
Amit Kumar (“Hum Paanch”)
Anand Bakshi (“Mom Ki Gudiya”..Bagon Mein Bahar Aayee )
Anup Jalota (“Ek Duje Ke Liye”)
Roopkumar Rathod (“Angaar”)
Anwar (“Heer Ranjha”)
Mohammad Aziz (“Ram Avtar” and many).
Nitin Mukesh (“Kranti”)
Talat Aziz (“Aurat Aurat Aurat”)
Manhar Udhas (“Hero”)..
A 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