Tetrad Of Dulcet Music:: Anand Bakshi :: Lata Mangeshkar :: Laxmikant-Pyarelal.

Tetrad Of Dulcet Music:: Anand Bakshi :: Lata Mangeshkar :: Laxmikant-Pyarelal 

Tribute to popular songwriter Anand Bakshi on his 90th Birth anniversary, 21 July. 

Laxmikant-Pyarelal with Anand Bakshi, 1680 songs from 302 films, a massive contribution to Hindi Film Music. 

When we talk of Lata Mangeshkar and Laxmikant-Pyarelal songs, 712 in numbers of sheer variety.  What mind-boggling range did we get in those numbers. 

गायिका लता मंगेशकर, गीतकार आनंद बक्षी और संगीतकार लक्ष्मीकांत-प्यारेलाल

Laxmikant, Anand Bakshi, Lata Mangeshkar & Pyarelal.

In this blog highlighting the Tetrad Of Dulcet Music, Anand Bakshi, Laxmikant-Pyarelal and Lata Mangeshkar. Lata Mangeshkar have rendered as many as  240 solo songs, involving Laxmikant-Pyarelal & Anand Bakshi. The Tetrad’s First Song was Julmi Hamare Sanwariya from the Film, Kishore Kumar – Kum Kum Starer “Mr. X In Bombay“, 1964 

240 solo songs of different types and sheer variety, rendered by Lata Mangeshkar in the quadripartite. Considering 16 songs for the review. There are many films, listed below from this Tetrad in which Lata Mangeshkar has sung  five or more songs.

Lootera 1966 ( an outstanding Album with all SIX solo with variety from Lata  )

Sharafat 1970

Mera Gaon Mera Desh 1972..(Folkish Album, all time hit )

Raja Jani 1972

Bobby 1973 ‘(All time hit songs)

Satyam Shivam Sundaram 1978 (Eternal Classic)

Ek Duje Ke Liye 1981  

Anand Bakshi and Laxmikant-Pyarelal were known to compose a ‘Situational Songs’. Two such songs from “Mera Gaon Mera Desh” are reviewed. 

Anand Bakshi, Laxmikant & Lata Mangeshkar.

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

Julmi Hamare Sanwariya    “Mr In Bombay” 1964

An extremely melodious song. Prelude of 38 seconds with VIOLINS, GUITAR, FLUTE and beautiful aalap by Lata ji. Awesome take off जुल्मी हमारे सांवरिया हो राम।  Ear-Pleasing DHOLAK rhythm. First ‘interlude’ is orchestrated with NADASWARAM/SHEHNAI. Second ‘interlude’ is orchestrated with NAGIN  BIN, VIOLINS. Third ‘interlude’ again NAGIN BIN and  VIOLINS. Actress Kum Kum danced wonderfully through the song. 

O Dilwalo Saaz-E-Dil      “Lootera” 1965

Actress Bela Bose entertains sea dacoits with a fabulous song and a dance onboard. GEM of composition, beautifully sung by Lata Mangeshkar. Based on Arabian Folk Tune…’Prelude” of 37 seconds with VIOLINS, BRASS INSTRUMENTS,  ACOUSTIC GUITAR and western style ‘Aalaps’ from Lata j, mesmerizes the listers. The other speciality of the song is Lata’s Voice is surrounded by the MALE CHORUS and the FLUTE, both in ‘antara’ as well as in ‘mukhada’….The orchestra arrangements is just simply the best, specially use of FLUTE, solo VIOLIN,  ACOUSTIC GUITAR, CLAPPING  and the BONGO DRUM in rhythm. Dancer Bela Bose has danced this old fashion cabaret perfectly on tune masterly filmed on Balener Ship.

Suno Sajna Papeehe Ne  “Aaye Din Bahar Ke” 1966

My most liked Lata-LP song…..The chirping sound of birds and a mesmerizing aalap at the beginning sets the tone of the song……..fabulous Flute (played by Pt. Hariprasad Chaurasiya), Santoor (played by Shivkumar Sharma)  and Sitar pieces in the interludes.

Nind Kabhi Rehati Thi Aankhon Mein  “Aasra” 1966

The song with full of “pauses”

This is an extremely melodious romantic song starts with the ‘humming’ by Lataji for first 10 seconds, we get first beautiful “pause” at 0.10 – 0.13, second, after rendering ‘Neend Kabhi Rehti Thi Aankhon Mein’ at 0.20 – 0.23, third after rendering word ’sanwariya’ at 0.33 – 0.36, this pause gives you to listen to the beautiful ‘RHYTHM’ created for this lovely song. You will listen to all these “pauses” regularly till the end. Don’t forget to listen to the ‘pause’ at 3.58 to 4.01 to highlight the FLUTE.

The entire song, mainly “interludes”, are woven around the glimpses of FLUTE (by Pt. Hariprasad Chaurasiya) and SANTOOR (by Pt. Shivkumar Sharma) and SYMPHONY style VIOLINS (at the surround sound of Lataji, in ‘mukhda’ and ‘antara’). The rhythm of DHOLAK and TABLA is worth listening to as it is of different flavor. On the top of everything…the chemistry of Lataji & LP worked miracles. Filmed on Mala Sinha. 

Jab Jab Bahar Aayee  “Taqdeer”  1967

Entire song is woven around the glimpses of PIANO, VIOLINS as well as CHORUS. 

Sanz Savere Adharon Pe Mere   “Madhavi”  1969

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

Bindiya Chamake Gi  “Do Raaste”  1969

This “Punjabi” folkish style,  DHOLAK rhythm, sweet and melodious  song, with euphonic DHOLAK ‘rhythm’  is completely decorated with the glimpses of SANTOOR and FLUTE. Lataji’s rendering of the word ‘chamake gi’ (चमके गी) is admirable. The song rock the nation and was a top hit, number 1 song, in Binaca Geetmala Finals of  the year 1970.  The song made Mumtaz a ‘star’, overnight. 

Mar Diya Jaaye Ke Chhod Diya Jaay  “Mera Gaon Mera Desh” 1971

Raj Khosla explained to Anand Bakshi a situation where the hero is tied to a pillar and the girl wants to rescue him. Anand Bakshi was at once reminded of the dialogue between Alexander the Great and King Porus where the former asked the latter “Tumhare saath kya sulook kiya jaye?” And the song Maar diya jaye, ke chhod diya jaye… was born. Laxmikant-Pyarelal have mind-blowingly orchestrated this fabulous song, with 43 seconds of “prelude”, “interludes” and mesmerizing DHOLAK rhythm. The song is beautifully filmed on Laxmi Chhaya

Apani Prem Kahaniyan   “Mera Gaon Mera Desh” 1971

One of the best “”situational”” numbers you would get to see. It’s gestural song situation. Raj Khosla have done the best to film this songThe police get no help either, when they arrive in village “mela”/Fair.. . Nobody is willing to recognizing “Dacoit” Jabbar Singh (VINOD KHANNA) and his gang. Ajit ( DHARMENDRA ) seeks the help of dancing girl Munnibai (LAXMI CHHAYA), to identify Jabbar Singh in a village “mela”. Through the dancing on song, Munnibai is giving many hints of Jabbar Singh’s physic, dress and the location where he is standing…This popular dancing song has a perfect set of village fare. Costumes, Cinematography is excellent.  ANAND BAXI, has worded this song according to the situation demand.  LAXMIKANT-PYARELAL have decorated this song with mellifluent orchestra arrangements. “Prelude” and all the “Interludes” are justifying the village “mela”/fair music. The RHYTHM of the song is mesmerizing. LATA MANGESHKAR simply outstanding…The song is beautifully filmed on Laxmi Chhaya

Bandhan Toote Na  “Mom Ki Gudiya”  1972

This song can be considered as a Very Very Special from Lata Mangeshkar / Laxmikant-Pyarelal/Anand Bakshi. Rendered on high pitch, without losing it’s Melody part. It is based on Indian Classical raaga. SAROD, RUBAB as well as VIOLINS are sweetly instrumented in the song.  Based on Indian Classical ‘Raag’. Filmed on Tanuja 

Dard – E – Dil Badhata  Jaye    “Buniyad” 1972

CABARET song with MELODY: Laxmikant-Pyarelal’s work is characterized by a notable openness to a wide variety of musical styles and instruments. Classical ragas mix with JAZZ horns, WAH-WAH GUITAR, FLUTE, funk and disco RHYTHMS, and the insistent beat of the DHOLAK.  How brilliantly the western instruments like BAMBOO FLUTE and GUITAR are synchronized with Lata’s sweet voice, in this mellifluous orchestra arrangements . All the three interludes have different tunes.

During the sixties & seventies Lata and Laxmikant-Pyarelal combination have delivered some of the most melodious songs to the Indian Film Industry and this is one them.

This is one of the sweetest cabaret song sung by Lata for LP. This song is written by none other than Anand Baxi. Filmed on actress Bindu. 

Bhor Bhaye Panghat Pe    “Satyam Shivam Sundaram”  1978

67 seconds of resonant ‘preludes’ starts with euphonic ‘aalaps’ by Lataji, TWEETING BIRDS sound, protruding as well as integrating surround sound effect of symphony style VIOLINS, GHUNGROO BELLS and finally hypnotising DHOLAK / TABLA rhythm which is the asset of this songs. GHUNGROO BELLS are beautifully synchronised  with the DHOLAK / TABLA rhythm, throughout the song.  Interludes are well orchestrated with GUITAR, SITAR, FLUTE, SYMPHONY style VIOLINS and CELLOS. Filmed on Zeenat Aman. 

Sheesha Ho Ya Dil Ho      “Aasha”  1979

20 seconds of ‘prelude’ is full of Latajis honeyed AALAPS. Brilliant take off…शीशा हो या दिल हो …She gives 3 seconds of singing ‘pause’  for symphonious DHOLAK rhythm. First and Second interludes are orchestrated with an ACCORDION. Third interlude has a solo display of VIOLIN. Another beauty of this song is ‘singing’ and ‘rhythmic’ pauses. This beautiful song is filmed on Reena Roy singing this song on stage. 

Tere Mere Beech Main    “Ek Duje Ke Liye”  1981

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

Nindiya Se Aayee Bahar    Hero 1983

55 seconds of “Prelude” is in SYMPHONY style with excellent use of CELOs intermixed with the rendering of Lataji and BIRDs TWEETING sound. SHEHNAI is nicely played in the first “ interlude”. Second “interlude” is full of FLUTE. Once again an excellent DHOLAK rhythm. Lovely composition. glimpses of FLUTE (by Pt. Hariprasad Chaurasiya). Filmed on Meenakshi Sheshadri. 

Jind Le Gaya Wo Dil Ka Jaani  “Aap Ke Saath” 1986.

Good song with typical LP style melody filmed on Smita Patil. 

Ajay Poundarik Atlanta (Georgia) USA. 

Miraculous TRILOGY : Laxmikant-Pyarelal and Anand Bakshi

Miraculous TRILOGY : Laxmikant-Pyarelal and Anand Bakshi

The most commonly and very regularly aired sentence on the Radio Stations playing Hindi Film Songs, is >>>>>

गीतकार  आनंद बक्षी  और  संगीतकार  लक्ष्मीकांत-प्यारेलाल

( The songwriter Anand Bakshi and the music director Laxmikant-Pyarelal ) and the song starts. A NUMBER ONE trio of Hindi Film Music.

When we talk of Lyricists who have worked with Laxmikant-Pyarelal the number comes out to be 57 (songwriters). The major share is from none other than ANAND BAKSHI who have written songs for 302 films only for Laxmikant-Pyarelal with closed to 1500 songs.

Pyarelal, Laxmikant & Anand Bakshi Laxmikant, Anand Bakshi & Pyarelal

Top SIX  Music Directors with Anand Bakshi, in terms of number of films.

Laxmikant-Pyarelal :: Anand Bakshi      304 films

R D Burman :: Anand Bakshi                      99 films

Kalyanji-Anandji :: Anand Bakshi              32 films

Anu Malik :: Anand Bakshi                          28 films

Rajesh Roshan :: Anand Bakshi                  17 films

S D Burman :: Anand Bakshi                       13 films

Laxmikant-Pyarelal have given the music for close to  500 films. Anand Bakshi have written the songs for close to 600 films.  More than 60% of the total work of Laxmikant-Pyarelal is with Anand Bakshi.  More than 50% of the total work done by Bakshi Sahab is with Laxmikant-Pyarelal.

Gargantuan contribution to the Hindi Film Music from the TRIO of  Anand Bakshi and Laxmikant-Pyarelal . It is doubtful, if any combo of Songwriter – Music Director have given such a gigantic entertaining songs to our film music.

The record-breaking partnership of Laxmikant-Pyarelal with Anand Bakshi started with the everlasting as well as  immortal song ‘Mere Mehboob Qayamat Hogi’ sung by Kishore Kumar from the film “Mr X In Bombay” 1964. This cult classic song also happened to be the first song of Kishore Kumar with Laxmikant-Pyarelal and Anand Bakshi, as well.  

All the songs of the mystical film “Mr X In Bombay” became immensely popular.

Chali Re Chali Re Gori Paniya                         Kishor-Lata ( a classical )

Khoobsurat Haseena Jan-E-Jan-E-Man      Kishor-Lata   ( all time hit romantic duet)

Zulmi Hamare Sawariya Ho Ram..               Lata

–Allah Kare Tu Hi Ajaye                                   Lata

Another mystical musical from the ‘trio’ “Shreeman Funtoosh” 1965    

-Yeh Dard Bhara Afsana                                    Kishore Kumar

Sultana Sultana Tu Na Ghabrana                  Kishore-Lata

Another musical hit “Lootera” 1965. Lata Mangeshkar singing six solo.

All the songs of  this film have different flavor and compositions.  Every song has different rhythm. Gazal, Chalu song, Western classical / Arabian Folk and Cabaret.  Sheer variety of songs. All The songs are written by Anand Bakshi. This B Grade, non star cast “King Queen” film, was Rajkumar Kohli’s first film.  The film was super hit.

Kisi Ko Pata Na Chale Baat Ka                    Lata

Raat Se Kaho Ruke Jara                                Lata      

Sanam Raah Bhule Yahan                             Lata

Nind Nigahon Se Kho Jaati Hai                    Lata

O Dilwalo Saje Dil Pe Zumo                           Lata

Muze Dekhiye Main Koi Dastaan Hoon.      Lata

The partnership of Anand Bakshi * Laxmikant-Pyarelal started getting momentum with many hit songs from  “Aasra”(Lata’s classic ‘Nind Kabhi Rehati Thi Aankhon Main’  and ‘Daiyya Re Daiyya  Yashoda Maiyya’ + Asha’s cult classic ‘Mere Sune Jeevan Ka Aasra Hai Tu’ ), “Chhota Bhai”, (Lata’s sentimental ‘Maa Muze Apane Aachal Mein Chhupale’),  “Boxer” and J Omprakash’s musical “Aaye Din Bahar Ke” (all songs hit). (Lata’s classic ‘Suno Sajna Papihe Ne’, Asha’s folk ‘Khat Likhade Sawariya’ , Rafi’s sentimental ‘Mere Dushman Tu Meri Dosti Ko’)

BUT the “trio”  got the immense popularity through the songs of “Milan”, 1967 (‘Sawan Ka Mahina Pawan Kare Sor)  by Mukesh-Lata was a smash-hit. ”Milan” songs storm the nation.

Bol Gori Bol Tera Kaun Piya   Lata-Mukesh

Hum Tum Yug Yug Se               Lata-Mukesh

Mubaraq Ho Sabko Sama Ye  Mukesh

Ram Kare Aisa Ho Jaye           Mukesh

Aaj Dil Pe Koi Jor                       Lata

To He Sawariya                         Lata

In the same year, 1967, many  musical hits “Night In London” (‘nazar na lag jaye’ and ‘bahosh-o-hawas main deewana’). “Farz”  which made Jeetendra a ‘star’ (Rafi’s top hit ‘Mast Baharon Ka Main Aashiq’, Lata-Mukesh romantic ‘Hum To Tere Aashiq Hai’, Birthday Special Song by Rafi ‘Bar Bar Din Ye Aaye Bar Bar Dil Ye Gaye’). Rajashree Production’s “Taqdeer”  (‘Rafi’s ‘Jab Jab Bahar Aayee’, Lata’s ‘Pappa Jaldi Aa Jana’ and ‘Aaiye Bahar Ko Hum Batle’).

Lata Mangeshkar, Minoo Kartik (song recordist), Laxmikant,  Anand Bakshi & Pyarelal

Anand Bakshi was like an instant poet (शीघ्र कवी ).  On a situation given he can write the song within minutes and Laxmikant-Pyarelal can tuned it to the  public taste. In many songs Bakshi Sab have converted the ‘dialogues’ / ‘conversation’ into the songs and Laxmikant-Pyarelal have decorated it with mellifluous orchestra arrangements. There are songs in which the trio of Anand Bakshi and Laxmikant-Pyarelal have narrated the complete story of the film. The TRIO was knowing the ‘pulses’ of the masse.

Producer/Director Mohan  Kumar, Laxmikant, Anand Bakshi  and Pyarelal

These Miraculous TRILOGY of Laxmikant-Pyarelal and Anand Bakshi were ‘best’ known to create the songs that would be charbuster to help the film to become superhit. That is why the TRILOGY was favorite for many famous Filmmakers with whom they have long lasting relations  like

L V Prasad (9 films),  J Omprakash (11 films), Raj Khosla (10 films), Mohan Kumar (9 films), Manmohan Desai (10 films) and Subhash Ghai (10 films).  

This triumvirate have full domination in Binaca Geetmala with 164 songs appearing in Finals of Binaca Geetmala. On individual records Laxmikant-Pyarelal 245 final songs, the  highest by any music directors as well as Anand Bakshi 209 final songs, the highest by any songwriters.  

Binaca Geetmala:-

8 following songs of the trio topping  respective year.

1967  Milan:-          Sawan Ka Mahina        Mukesh – Lata Mangeshkar   

1970  Do Raste:-          Bindiya Chamake Gi   Lata Mangeshkar

1980  Sargam:-            Dafali Wale                    Mohammad Rafi & Lata

1984  Hero:-         Tu Mera Hero Hai        Anuradha Paudwal – Manhar

1986  Sanjog:-              Yashoda Ka Nandlala  Lata Mangeshkar

1987  Naam:-                Chitthi Aayi Hai            Pankaj Udhas

1989  Ram Lakhan:-    My Name Is Lakhan    Mohammed Aziz

1993  Khalnayak:-        Choli Ke Peeche            Alka Yagnik – Ila Arun

Many BIG stars and  actors have been lucky to get the famous songs composed by this TRILOGY. We cannot list out all such songs but many of the superhit songs have been listed

Vikram Gokhle, Anand Bakshi, Amitabh Bachchan, Laxmikant & Guest

AMITABH BACHCHAN-

Filmed on big stars.  These songs are the “signature” tunes for the respective actors/actress.

Aadmi Jo Kehta Hai  .. Kishore Kumar  ( MAJBOOR, 1974)

My Name is Anthony  .. Kishore Kumar  (AMAR AKBAR ANTHONY, 1977)

Bane Chahe Dushman .. M Rafi – Kishore Kumar  (DOSTANA, 1980)

John Jani Janardhan .. Mohammad Rafi   (NASEEB, 1981)

Gori Ka Sajan Sajan Ki Gori .. M. Aziz – S. Janki   (AAKHRI RAASTA, 1987)

Jumma Chumma De De  .. Sudesh Bhosle   (HUM, 1990)

Tu Muze Kubul   M. Aziz – Kavita Krishnamurthy  (KHUDA GAWAH, 1991)

Anand Bakshi, Laxmikant and Rajesh Khanna

RAJESH KHANNA –

Mere Naseeb Mein .. Kishore Kumar  (DO RAASTE, 1969)

Yeh Reshmi Julfe .. Mohammad Rafi  ( DO RAASTE, 1969

Achha To Hum Chalte Hai .. Lata – Kishore  (AAN MILO SAJNA, 1970)

Vada Tera Vaada .. Kishore Kumar (DUSHMAN, 1971)

Ye Jo Chilman Hai .. Mohammad Rafi (MEHBOOB KI MEHNDI, 1971)

Mere Deewanepan Ki .. Kishore Kumar (MEHBOOB KI MEHANDI, 1971)

Chal Chal Mere Saathi .. Kishore Kumar (HAATHI MERE SAATHI, 1971)

Ye Jo Public Hai .. Kishore Kumar  (ROTI,1974)

Aap Ke Anurodh Pe .. Kishore Kumar (ANURODH, 1977)

Akela Gaya Han Main .. Kishore Kumar  (RAJPUT, 1981)

Producer, Dharmendra, Laxmikant, Lata Mangeshkar, Pyarelal and Anand Bakshi,

DHARMENDRA –

Mere Dushman Tu Meri .. Mohammad Rafi  (AAYE DIN BAHAR KE, 1966)

Saathiya Nahi Jaana Ke Jeena .. Lata-Rafi  (AAYA SAWAN ZUM KE, 1969)

Kuchh Kehata Hai Ye Sawan .. Lata-Rafi  (MERA GAON MERA DESH, 1971)

Jaani O Jaani .. Kishore (RAJA JANI, 1972)

Aaj Mausam Bada Beimaan .. Mohammad Rafi  Hai (LOAFER, 1973)

Gadi Bula Rahi Hai .. Kishore Kumar (DOST, 1974)

Main Jat Yamla Pagla .. Mohammad Rafi  (PRATIGYA, 1976)

O Meri Mehabooba .. Mohammad Rafi  (DHARM VEER, 1977)

JEETENDRA

Mast Baharon Ka main Aashiq .. Rafi  (FARZ, 1967)

Badi Mastani Hai Meri Mehbooba .. Rafi (JEENE KI RAAH, 1969)

Hi Re Hi Nind Nahin Aaye .. Lata-Rafi (HUMJOLI, 1971)

Dhal Gaya Din Ho Gayi Sham .. Asha-Rafi (HUMJOLI, 1971)

RISHI KAPOOR

Main Shayar To Nahin .. Shailendra Singh (BOBBY,1973),

Parda Hai Parda Hai  .. M. Rafi (AMAR AKBAR ANTHONY, 1977)

Dafli Wale .. Lata-Rafi  (SARGAM, 1979),

Om Shanti Om .. Kishore (KARZ, 1980)

Dard – E – Dil .. Kishore (KARZ, 1980)

Paisa Yeh Paisa .. Kishore (KARZ, 1980)

HEMA MALINI

Sharafat Chhod Di Maine .. Lata  (SHARAFAT, 1970)

ABCD Chhodo .. Lata  (RAJA JANI, 1972)

Aaja Teri Yaad Aayee .. Anand Bakshi, Lata-Rafi  (CHARAS, 1976)

Dream Girl Dream Girl .. Kishore  (DREAM GIRL,1977)

Mere naseeb Main Tu Hai .. Lata  (NASEEB, 1982)

ZEENAT AMAN –

Bhor Bhaye Panghat Par .. Lata (SATYAM SHIVAM SUNDARAM)

ASHA PAREKH –

Suno Sajna Papihe Ne .. Lata ( AAYE DIN BAHAR KE , 1966)

Tere Karan Mere Sajan .. Lata (AAN MILO SAJNA, 1970)

Sona Layi Ja Re .. Lata  (MERA GAON MERA DESH, 1971)

Main Tulasi Tere Aangan Ki  .. Lata (MAIN TULASI TERE ANGAN KI, 1979)

MUMTAZ –

Bindiya Chamke Gi .. Lata  (DO RAASTE, 1970)

Koi Shahri Babu  .. Asha (LOAFER

Sanam Tu Bewafa Ke Naam Se .. Lata (KHILONA, 1971) , 1974)

REENA ROY –

Sheesha Ho Ya Dil Ho  .. Lata (AASHA, 1980)

SRIDEVI –

Main Teri Dushman .. Lata ( NAGINA 1986)

Kisi Ke Haath Na Aayyegi .. Kavitha (CHAALBAZ, 1989)

MADHURI  DIXIT-

O Ramji Bada Dukh Dina .. Lata (RAM LAKHAN, 1989)

Choli Ke Pichhe .. Alka Yagnik – Ila Arun (KHALNAYAK, 1993)

The list has no end. BUT here I am Highlighting the songs which became top hit and even popular today, not sung by ‘stars’ or big names. There are many, reviewing few.

Pappa Jaldi Aa Jana .. (Taqdeer, 1967)

(Lata Mangeshkar, Sulakshna Pandit, Ila Desai, Meena Patki)

The song is popular even though it is filmed on unknown child artists. One of the most sentimentally popular, sweet and melodious song written by Anand Bakshi. ACOUSTIC GUITAR  and PIANO are brilliantly executed in the orchestra. Incidentally Sulakshna Pandit was introduced to hindi film music through this song.

Tu Kitni Achhi Hai O Maa O Maa .. (Raja Aur Rank, 1968)

(Lata Mangeshkar)

The most popular song on ‘Maa’ (Mother).  Bakshi Saab has emotionally expressed child’s feeling for Mother. Tenderly rendered, SYMPHONICALLY Orchestrated, mesmerizing DHOLAK rhythm, Sweet and Melodious Song. The overlapping sound effect of the musical instruments in all the “interludes” is just mesmerizing. One of the best of Lata-LP.   

Chanda Ko Dhoondhne Sabhi .. (Jeene Ki Raah, 1969)

(Asha Bhosle, Usha Mangeshkar, Hemlata)

Maudlin song penned by Bakshi saab.  Three children are looking for their father.

Mellifluous DHOLAK / TABLA rhythm. The song was recently included in Hollywood Movie Garth Davis “LION” in 2017. All time hit melody.

Mar Diya Jaye Ke Chhod Diya Jaay .. (Mera Gaon Mera Desh, 1971)

(Lata Mangeshkar)

The song is filmed on Laxmi Chhaya. Raj Khosla explained to Anand Bakshi a situation where the hero is tied to a pillar and the girl wants to rescue him. Anand Bakshi was at once reminded of the dialogue between Alexander the Great and King Porus where the former asked the latter “Tumhare saath kya sulook kiya jaye?” And the song Maar diya jaye, ke chhod diya jaye… was born. Laxmikant-Pyarelal have mind-blowingly orchestrated this fabulous song, with 43 seconds of “prelude”, “interludes” and mesmerizing DHOLAK rhythm.

Bago Mein Bahar Aayee .. (Mom Ki Gudiya, 1974)

(Anand Bakshi – Lata Mangeshkar)

It is an extremely melodious duet filmed on Ratan Chopra, an unknown actor -Tanuja. Beautifully orchestrated with an enthralling use of Indian FLUTE (BANSURI), SITAR and VIOLINS in ‘symphony’ style supported with dulcet DHOLAK rhythm.  

Aadmi Musafir Hai ..  (Apnapan, 1977)

(Mohammad Rafi – Lata Mangeshkar)

One of the most popular song giving preaching. It is filmed on Sudhir Dalvi and a child artist.

Excellent use of HARMONIUM with different type of DHOLAK rhyth.

Ek Ritu Aaye Ek Ritu Jaye .. (Gautam Govinda, 1979)

(Kishore Kumar)

Filmed on Vijay Arora. 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 enormous contribution done by Laxmikant-Pyarelal as well as Anand Bakshi cannot be covered in one BLOG.  Will update in coming blogs.

Laxmikant, Anand Bakshi & Pyarelal
Pyarelal, Anand Bakshi & Subhash Ghai

Ajay Poundarik

Vadodara (Gujarat)

INDIA