एक निर्देशक के रूप में यश चोपड़ा ने अपने बड़े भाई बीआर चोपड़ा की बी.आर. फिल्म्स के बैनर तले कई संगीतमय हिट फिल्में दी हैं। 1973 में यश चोपड़ा ने बी आर चोपड़ा के बैनर से बाहर आकर ”यश राज फिल्म्स” की स्थापना की. यश चोपड़ा एक निर्माता और निर्देशक के रूप में अपनी पहली फिल्म ‘दाग’’ के लिए मशहूर सितारे चाहिए थे.
((1983 में सुभाष घई की संगीतमय हिट “हीरो” के गोल्डन डिस्क समारोह के दौरान लक्ष्मीकांत-प्यारेलाल के साथ यश चोपड़ा।))
यश राज फिल्म्स के साथ शुरुआत करने के लिए, निर्माता और निर्देशक यश चोपड़ा उस समय उपलब्ध ‘सर्वश्रेष्ठ’ कलाकारों का उपयोग करना चाहते थे।
सत्तर के दशक की शुरुआत में राजेश खन्ना सर्वोच्च स्थान पर थे. मशहूर शर्मिला टैगोर के साथ राखी को भी फिल्म मैं लिया। उनदिनों ये दोनों अभिनेत्रियां शीर्ष स्थान पर थी
संगीतकार लक्ष्मीकांत-प्यारेलाल शीर्ष स्थान पर रहने के साथ शानदार फॉर्म में थे. ”यश राज फिल्म्स” के लिए पहले संगीत निर्देशक का सम्मान मिला लक्ष्मीकांत-प्यारेलाल को. यश जी ने गाने लिखने के लिए अपने पसंदीदा गीतकार साहिर लुधियानवी को चुना।
‘दाग’ का संगीत एक उत्कृष्ट / सदाबहार/ और हमेशा ताज़ा रहनेवाला संगीत है और अभी भी लोकप्रिय है।
आइए देखते हैं गानों की…
मेरे दिल मैं आज क्या है किशोर कुमार
लाजवाब, सुमधुर, कर्णप्रिय और रोमांटिक गाना है । जिसमे मंत्रमुग्ध कर देने वाली ऑर्केस्ट्रा, इरानी संतूर (पं शिवकुमार शर्मा ) और गिटार (गोरख शर्मा ) से सुशोभित किया है.
साहिर लुधियानवी के सुरुचिपूर्ण गीत और किशोर कुमार की कोमल और साथ ही रोमांटिक गायन और ऑर्केस्ट्रा की सुंदर सजावट के साथ लक्ष्मीकांत-प्यारेलाल की अद्भुत रचना ने इस गीत को सर्वकालिक क्लासिक बना दिया है।
आपको बस राजेश खन्ना के गाने के तरीके को देखना है, “मेरा प्यार कह रहा है मैं तुझे खुदा बना दूं” और आप गाना देखना चाहेंगे। राजेश खन्ना से बेहतर प्रेम गीत कोई और नहीं कर सकता था।
इस रोमांटिक गीत को गाने के लिए सर्वश्रेष्ठ पुरुष गायक, फिल्मफेयर पुरस्कारों द्वारा नामांकित किशोर कुमार को भी पूरा श्रेय दिया जाता है। लक्ष्मीकांत-प्यारेलाल के तहत किशोर कुमार के बेहतरीन गीतों में से एक।
हम और तुम तुम और हम किशोर कुमार – लता मंगेशकर
यह किशोर कुमार और लता मंगेशकर द्वारा गाया गया, रोमांटिक गीत पूरी तरह से Acoustic गिटार की ताल, rhythm पर आधारित है. इस गाने की एक और खूबी है ‘इंटरल्यूड्स’। दोनों ‘अंतराल’ की धुन अलग-अलग है। किशोर और लता द्वारा वायलिन की झलक के साथ आलाप ‘ से भरा पहला ‘अंतराल’। दूसरे ‘अंतराल’ में वायलिन को ‘वाल्ट्ज’ शैली’ (Waltz Rhythm) में सजाया गया है। सुंदर पॉसेस (रोक) गाने की मधुरता को बढ़ाते है.
नी मैं यार मना नि लता मंगेशकर और मीनू पुरषोत्तम
पंजाबी शैली में कंपोज़ किया गया ये गाना, शक्तिशाली लय में “ढोल”, “ढोलक”, “तबला” और “क्लैपिंग” (ताली) शामिल हैं, बस मन उड़ाने वाला है। सभी “अंतराल” को शहनाई और अन्य भारतीय पारंपरिक वाद्ययंत्रों के साथ सजाया है। “पोस्टलूड” सुनने लायक है।
अब चाहे माँ रूठे या बाबा किशोर कुमार – लता मंगेशकर
यह गीत “भंगड़ा” नृत्य शैली में बना है। कॉलेज के छात्रों की आवाज को सही ठहराने के लिए किशोर कुमार और लता मंगेशकर द्वारा स्टाइलिश रूप से प्रस्तुत किया गया। इसमें एक विशिष्ट एलपी शैली की लय (Rhythm) है। फिल्म का एक और हिट गाना। राजेश खन्ना और शर्मिला टैगोर दोनों ही अच्छे लगते हैं।
जब भी चाहे नई दुनिया लता मंगेशकर
साहिर लुधियानवी द्वारा जादुई गीत शब्दों के साथ दुखद गीत। इस “ग़ज़ल” अंदाज़ के गाने में ‘अंतराल’
सुंदर अतिव्यापी ध्वनि प्रभाव के साथ “सिम्फनी” शैली ऑर्केस्ट्रा में वायलिन द्वारा खूबसूरती से सजाया गया है।
हवा चले कैसे लता मंगेशकर
गीत शून्य प्रस्तावना से शुरू होता है, लता प्रतिपादन फिर वायलिन (बड़ा ‘ठहराव’) और संतूर।
इस गीत में बोंगो ड्रम का उपयोग करके विभिन्न प्रकार की “लय” Rhythm पर गायन।
लक्ष्मीकांत-प्यारेलाल को 1973 में राज कपूर की “बॉबी” के साथ “दाग” के लिए सर्वश्रेष्ठ संगीत निर्देशकों के लिए नामांकित किया गया था। अफसोस की बात है कि इन दोनों फिल्मों के लिए उत्कृष्ट संगीत के बावजूद, इनमें से किसी भी फिल्म को सर्वश्रेष्ठ संगीत निर्देशक का पुरस्कार नहीं मिला।
म्यूजिकल हिट फिल्म ‘दाग’ की शानदार सफलता के बाद, यश चोपड़ा चाहते थे कि लक्ष्मीकांत-प्यारेलाल अपनी अगली फिल्म ‘कभी कभी’ के लिए संगीत दें। लेकिन लक्ष्मीकांत-प्यारेलाल कुछ और प्रोजेक्ट्स में काफी बिजी थे।
यह दुर्भाग्यपूर्ण है कि यश चोपड़ा की पहली संगीतमय हिट फिल्म “दाग ” लक्ष्मीकांत-प्यारेलाल के लिए पहली और आखिरी फिल्म बन गई।
यदि आप सभी यशराज फिल्म्स के संगीत की तुलना करते हैं, तो “दाग” शीर्ष विक्रेता और सर्वश्रेष्ठ भी बना हुआ है।
Mera Gaon Mera Desh released in 1971, is a complete movie in itself. The film has a persuasive direction from Raj Khosla, honeyed music streaming with story, by
Laxmikant-Pyarelal, powerful dialogues, story, superb performances by all.
Dharmendra is excellent in his role and plays it superbly. Asha Parekh is good too, Jayant is good as Fauji, Laxmi Chhaya is excellent in her role and the career best performance by Vinod Khanna who those days started as a villain is superb as Jabbar Singh.
Sholey released in 1975 was inspired by Mera Gaon Mera Desh, 1971, in many ways.
— Coin Toss, before taking decision
— Strapped shoulders of Jayant and Sanjeev Kumar. (similar roles)
— Teaching of Gun Dharmendra – Asha Parekh / Hema Malini
Mera Gaon Mera Desh celebrated Golden Jubilee run (50 week) all over India
The songs were / are hit, even today. Once again the rocking combo of Lata Mangeshkar / Laxmikant-Pyarelal jiggles. Lata Mangeshkar has sung all five songs, including four solos.
1 Sona Layi Ja Re …. Lata
2 Mar Diya Jaaye Ke Chhod Diya Jaay …. Lata
3 Apni Prem Kahaniyan …. Lata
4 Aaya Aaya Atariya Pe Koi …. Lata
5 Kuchh Kehata Hai Ye Sawan …. Lata-Rafi.
Asha Parekh lends the glamour quotient but it is Laxmi Chhaya who gives a stellar performance as a nautch girl. A special word of praise for Laxmi Chhaya. She gets to lip-sync to three of the film’s most famous songs—Maar diya jaaye ya chhod diya jaaye, Aaya aaya atariya pe koi chor and Apni prem kahaaniyaan—and dances up a storm in each of them. This film has the best performance from her. She had a regrettably short film career and is not even remembered today. But see her here and you will never forget her. What a natural she was.
Maar Diya Jaaye Ke Chhod Diya Jaay …. Lata
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 !! तुम्हारे साथ क्या सुलूक किया जाए !! “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. Filmed on Laxmi ChhayaDharmendra-Asha Parekh.
Apni Prem Kahaniyan …. Lata
One of the best “”situational”” numbers you would get to see. It’s a gestural song situation. Raj Khosla has done the best to film this song. The police get no help either, when they arrive in the village “mela”/Fair.. . Nobody is willing to recognize “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 BAKSHI, has worded this song according to the situation demand. LAXMIKANT-PYARELAL have decorated this song with mellifluous orchestra arrangements.
Prelude of 75 seconds steals the show, it is orchestrated by using VIOLINS, RAVANHATTA (a violin from Rajasthan), RUBAB, GHUNGROO BELLS and wonderful display of MANDOLIN as well DHOLAK rhythm. Lataji’s take off हाय शरमाऊं किस किस को बताऊं , 4 seconds singing ‘pause’,(at 1.17), highlighting rhythm, followed by 7 seconds rhythmic ‘pause” (at 1.22). Interludes are justifying the village “mela”/fair . First interlude is orchestrated with RUBAB, NADASWARAM & VIOLINS. Second interlude starts with DHOLAK rhythm, NADASWARAM, VIOLINS & finally it ends with RUBAB. Third interlude starts with VIOLINS overlapping sounds of TEMPLE BELLS, CONCH-SHELL, RAVANHATTA and NADASWARAM. The RHYTHM of the song is mesmerizing. LATA MANGESHKAR is simply outstanding..filmed on Laxmi Chhaya. .
Aaya Aaya Atariya Pe Koi Chor Lata
आया-आया अटरिया पे कोई चोर. 49 seconds of ‘prelude’, orchestrated with VIOLINS, RAVANHATTA and NADASWARAM and finally with GHUNGROO BELLS, with many variations in DHOLAK rhythm, is a ‘killer’. In mukhada an awesome ‘take off’ by Lata ji आया – आया अटरिया पे कोई चोर… singing ‘pause’ of 3 seconds (1.00 – 1.03) & the synchronization Lataji’ rendering with the ‘stroke’ of DHOLAK , are ear-pleasing. NADASWARAM / SHEHNAI is awesomely orchestrated in the first interlude. Second interlude is orchestrated with BANJO & SHEHNAI. Third interlude is instrumented with NADASWARAM, FLUTE and SHEHNAI In all the ataras BANJO sound & NADASWARAM are melodiously used in surround sounds.
Anand Bakshi’s ‘class’ can be heard in this song. Question – Answer. Astonishing DHOLAK rhythm. SITAR, played by Ustad Rais Khan, mellifluously orchestrated in interludes & also as a filler. Singing ‘pause’ 1.29 to 1.31, highlighting DHOLAK rhythm and SITAR. Another singing ‘and rhythmicpauses’ at 2.32 to 2.39, mesmerises you for SITAR. The song is filmed on Dharmendra-Asha Parekh.
Sona Lai Ja Re Lata
Typical LP style composition. 10 seconds of prelude TANPURA is orchestrated. The beauty of the song is DHOLAK rhythm is synchronised with TANPURA, throughout the song. At the end singing ‘pause’ highlighting FLUTE. Very melodious composition. Filmed on Dharmendra-Asha Parekh.
ENTHRALLING Lata Mangeshkar and Laxmikant-Pyarelal. SATYAM SHIVAM SUNDARAM
Music geniuses Laxmikant-Pyarelal were famous for many of their musical hits in the past associated with diversified producers and directors. After the thumping musical success of Raj Kapoor’s ‘Bobby’, Laxmikant-Pyarelal was the obvious choice for the music of ‘Satyam Shivam Sundaram’, released on the day of Holi festival in the year 1978.
“Satyam Shivam Sundaram” Long Playing Record Cover Page
Originally, in 1950, the film was planned as a low budget “quickie” with the music by Hridaynath Mangeshkar and unknown actors. But after 25 years Raj Kapoor’s confidence strengthened by the astounding success of Bobby.
Anand Bakshi, Laxmikant, Lata Mangeshkar (breaking Coconut), Raj Kapoor and Pyarelal
Directed by Raj Kapoor and written by Jainendra Jain, ‘Satyam Shivam Sundaram‘ is a social drama about the differences between physical and spiritual love and clashing religious beliefs. The film starred Shashi Kapoor and Zeenat Aman. It was an iconic film set in a village that captured the brewing romance between the protagonists despite their differences. The film is also known for its amazing soundtrack and melodious songs. The soundtrack also displays the trio who have given record breaking 712 songs, music directors Laxmikant-Pyarelal and the legendary singer Lata Mangeshkar, at their zenith.
“Satyam Shivam Sundaram” Long Playing Record Cover Page
Manna Dey, Shashi Kapoor, Laxmikant, Guest, Randhir Kapoor, Raj Kapoor, Pt. Narendra Sharma, Pyarelal standing front Hrishikesh Laxmikant (son of Laxmikant)
Out of 9 melodious songs, Lata Mangeshkar has sung as many as 7 songs, including 3 solos. Coincidently, singer Mukesh sings his last song of his carrier (‘chanchal sheetal nirmal’) at the same time his son Nitin Mukesh sings his first song (‘mein kaise use pasand karu’)
National Poet Pandit Narendra Sharma has penned 5 songs, lyricists Anand Bakshi and Vithalbhai Patel have written 3 songs and 1 song, respectively.
During the Diwali of 1977, HMV released the Long Play record, in 4 page covered folder. One of the page containing the picture of Laxmikant-Pyarelal. (ref the pic on top).
Filmfare Best Music Award was unanimously chosen for this euphonious musical “SATYAM SHIVAM SUNDARAM” and thus Laxmikant-Pyarelal won their fifth and second successive award. Beating Kalyanji-Anandji “Don”, R D Burman’s “Shalimar”, Rajesh Roshan’s “Des Parades” and Ravindra Jain’s “Akhiyon Ke Jharokon Se”.
Let us discuss / review the songs.
The orchestra arrangements in “PRELUDES” and “INTERLUDES” used to be the assets of the songs composed by Laxmikant-Pyarelal. It would be more proper to listen to the songs, listed below, after reading the writeup, explaining peculiarities, for each of the songs you will enjoy it, more.
Hypnotized “prelude” of 50 seconds, outsetting through BAMBOO FLUTE , followed by VICHITRA VEENA then surround sound effect of SYMPHONY style VIOLINS . Beautiful ‘take off’ by Lata ji (Ishwar satya hai) ‘stroke’ of TEMPLE BELL, at 0.58 second, synchronised with CHORUS and awesome sounds of TWEETING BIRDS. It has beautiful TABLA rhythm. Overlapping sound effect of Lataji’s rendering and CHORUS crooning, in different tunes as well as the word. In the first ‘interlude’ SANTOOR, SITAR are mellifluously orchestrated with MANJIRA sounding at the end. Second ‘interludes’ starts with the resonant ‘aalaps’ by Lataji surrounding CELLOs and TEMPLE BELL followed by SITAR and VIOLINS. Once again the the overlapping sound effect can be heard at the end with Lataji’s ‘aalaps’ and CHORUS. One of the finest song sung by Lata Mangeshkar for Laxmikant-Pyarelal.
2 Bhor Bhaye Panghat Pe ….(Lata Mangeshkar) (Lyricist Anand Bakshi)
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.
3 Yashomati Maiya Se Bole …. (Singers Lata Mangeshkar – Manna Dey)(Lyricist Pandit Narendra Sharma )
Fascinating 34 seconds ‘prelude’ awesomely instrumented with TANPURA, FLUTE and HARMONIUM. It has captivative DHOLAK rhythm which will ‘swing’ your neck. FLUTE is sumptuously used in the ‘interlude’ which gives you an ear-pleasing effect.
This angelic western style composition is gorgeously orchestrated in SYMPHONY style orchestra arrangements by utilizing WALTZ rhythm. Throughout the song use of SYMPHONY style VIOLINS, in the “surrounds”, sounds delightful. Apart from that the instruments like IRANI SANTOOR, solo VIOLIN, VIOLAS and CELLOS are sweetly orchestrated in the “prelude’ as well as “interludes”.
5 Suni Jo Unke Aane Ki Aahat …. (Singer Lata Mangeshkar (Lyricist Pandit Narendra Sharma )
Laxmikant-Pyarelal known for the best use of CHORUS. The song is melodiously composed by using CHORUS and Lataji’s sweet rendering. This is the song which has no “interludes” tunes. But has tuneful ‘prelude’ of CHURCH-ORGAN, CHORUS and Lataji’s wonderful “aalaps”. The song too has tuneful DHOLAK rhythm.
6 Rangmahal Ke Dus Darwaze …. (Singer Lata – Bhupinder Singh) (Lyricist Vithalbhai Patel)
SHEHNAI is prominently, efficaciously and mellifluously orchestrated in “Prelude”, “Interlude” and “Postlude” and also as a ‘filler’ in ‘antara’. At some places SHEHNAI is wonderfully synchronized with male singer Bhupendra Singh rendering.
Full song is credited to brilliant and mellifluous use of CHORUS throughout the song, with few lines for Manna Dey to sing. Indian traditional musical instruments like TEMPLE BELL, SHELL, MANJIRA and MRIDANG are nicely orchestrated in the “prelude” .
9 Yashomati Maiya Se Bole (Singers Lata -Zeenat – Shashi Kapoor) (Lyricist Pandit Narendra Sharma )
Enchantingly rendered by Lata Mangeshkar on Laxmikant-Pyarelal mesmerizing DHOLAK / MATKI rhythm. “Postlude” of over 70 seconds full of LATA ji different “aalaaps” intermixed with mild use of SITAR in the surround sounds, hypnotizes.
JAAL 1967 :: Distinguished Musical From Laxmikant-Pyarelal.
In the year 1963 Laxmikant-Pyarelal made a big impact in hindi film music, through the songs of Parasmani. Followed by Sati Savitri, Sant Gyaneshwar, Dosti, Aaya Toofan, Naag Mandir, Mr. X In Bombay, Hum Sab Ustad Hain. All the songs of the film became immensely popular.
Pyarelal, Biswajeet & Pyarelal
The LP era has now started. Laxmikant-Pyarelal’s music ofDosti1964, kept the duo on top position in Hindi Film Music. Now this was the time that Laxmikant-Pyarelal’s music became an essential component of every successful film. This position of Laxmi-Pyare remained unaffected and continued till 35 more years.
The year 1967, Laxmikant-Pyarelal music was flooded with the hit films like,L V Prasad’s Milan, Subodh Mukharjee’s Shagird, A G Nadiadwala’s Patthar Ke Sanam, Raj Khosla’s Anita, Sundarlal Nahata’s Farz, Night In London, Milan Ki Raat etc. The music of JAAL came as a pleasant surprise.
JAAL, suspense-thriller film, produced by A R Khan and directed by Moni Bhattacharjee, featuring Biswajeet – Mala Sinha and Johnny Walker. The film has :-
Astonishing Compositions By Laxmikant-Pyarelal
Phenomenal Rendering By Lata Mangeshkar (4 songs) and Mohammad Rafi ( 2 songs)
Sensational Lyrics By Raja Mehdi Ali Khan (4 songs) and Anand Bakshi (2 songs).
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.
Rokna Hai Agar Rok Lijiye (Lyricist:- Raja Mehdi Ali Khan )
Enchanting Lata Mangeshkar & Laxmikant-Pyarelal.
रोकना है अगर, रोक ली जिये मगर, चाँद छुपने से पहले चली जाऊँगी
50 seconds of ‘prelude’ playing SAXOPHONE overlapping dialogue, beautiful take off ‘symphony’ VIOLINS at 37. A little ‘pause’ and a phenomenal start by Lataji 50 seconds, रोकना है अगर...Word चाँद is repeated many times in the entire song and every time how beautifully she has used different and distinct style of uttering the word “चाँद “.
All the three interludes have different tunes and different ‘rhythm’ and are orchestrated with the mellifluous use of super-imposing sounds of SAXOPHONE, symphony VIOLINS and GUITAR. Brilliant use of VIOLINS as a ‘filler’ in all the three “antara”.
Not to forget the “rhythmic” “pause” at the end of each ‘antara’.
The song has a sweet and melodious DHOLAK rhythm.
Akela Hoon Main Humsafar Dhoondta Hoon . (Lyricist:- Raja Mehdi Ali Khan )
!! अकेला हूं मैं हमसफ़र ढूंढता हूँ !! “JAAL” 1967.
Splendid Composition by Laxmikant-Pyarelal
Unparalleled Rendering by Mohammad Rafi
ROMANTIC song is my personal favorite. The song is very close to my heart in terms of romantic words, written by Raja Mehadi Ali Khan . Western style orchestra arrangements, wonderfully crafted, mellifluous compositions of sixties. The song has ACOUSTIC GUITAR as bass Rhythm. BASS GUITAR is awesomely orchestrated as a ‘filler’. Use of FRENCH HORN is worth listening to in ‘prelude’ and also in ‘interlude’ synchronized with Symphony style Violins and Cellos. Filmed Biswajeet and Mala Sinha.
Dhadaka Hai Dil Mein Pyar Tumhara (Lyricist:- Raja Mehdi Ali Khan )
!! धड़का है दिल मैं प्यार तुम्हारा अभी अभी, चमका है आरज़ू का सितारा अभी अभी !!
Chemistry of Lata Mangeshkar and Laxmikant-Pyarelal
For me “Jaal” 1967.. is one of the best Album from Laxmikant-Pyarelal. Just love all the songs. I request LP fans of younger generation just listen to this Album…
An outstanding composition in Western Style. “Prelude” of 46 seconds is full Lataji AALAPS as well as HUMMING, brilliantly synchronized with Symphony style VIOLINS. How softly Lataji has rendered the words ‘Abhi Abhi’ (अभी अभी), followed by BASS GUITAR, as filler. Lataji has sung entire song with lots of variations. The rhythm is full of ACOUSTIC GUITAR and the BONGO DRUMS….SAXOPHONE , VIOLINS, BASS GUITAR, ACCORDION and VIOLAs are brilliantly executed in all the “interludes”. Mesmerising Orchestra Arrangements. The song is filmed on Mala Sinha.
Meri Zindagi Ke Chirag Ko(Lyricist:- Raja Mehdi Ali Khan )
मेरी ज़िंदगी के चिराग को तेरी बख़ुदीने बुझा दिया
Lata Mangeshkar and Laxmikant-Pyarelal in GAZAL mood.
The song starts with overlapping sound effect of RUBAB and FLUTE for 12 seconds of ‘prelude’. Beautiful take off by Lata ji मेरी ज़िंदगी के चिराग को तेरी..synchronizing the rhythm orchestrated with ACOUSTIC GUITAR and BONGO Drums. Interludes are awesomely orchestrated with VIOLINS, FLUTE, RUBAB and ACOUSTIC GUITAR. Listen to the word रास्ते की मै खाक हूं ,, how smartly Lataji changes the stance, that is the beauty of this song,
Mizaj-E-Garami Dua Hai Aap Ki (Lyricist:- Anand Bakshi )
मिज़ाज ए गिरामी दुआ है आप की
Lata Mangeshkar – Mohammad Rafi and Laxmikant-Pyarelal, melodious duet.
A melodious duet starts with, ‘prelude’ of 26 seconds, HUMMING by Rafi Saab and AALAPs by Lataji, NADASWARAM overlapped with Symphony VIOLINS. It has a typical ‘LP’ style DHOLAK rhythm. The main attraction of this song is the orchestration of ‘interludes’, use of MANDOLIN synchronized with symphony style, GUITAR, VIOLINS and ACCORDION. ‘Prelude’ is nicely instrumented with MANDOLIN.
Asha Bhosle – Mohammad Rafi and Laxmikant-Pyarelal, naughty duet.
A naughty song filmed on Johnny Walker – Helen. Use of GUITAR and ACOUSTIC GUITAR in the orchestra is worth listening to.
For me Jaal 1967.. is one of the best Albums from Laxmikant-Pyarelal. Just love all the songs. Request to LP fans of the younger generation just listen to this Album…
:: MILAN :: 1967 :: A Musical Tribute to LAXMIKANT :: Laxmikant – Pyarelal
Dadasaheb Phalke Award winner. Filmmaker, L V Prasad from Southern part of India, had a film making unit named Prasad Production. Prasad Production has made many successful hindi films. ‘Sharda’ (music director C Ramchandra), in 1957, ‘Chhoti Behan’ (music director Shankar-Jaikishan), in 1959, ‘Sasural’ (music director Shankar-Jaikishan), 1961, ’Beti Bete’ (music director Shankar-Jaikishan), 1964 and ‘DadiMaa’(music director Roshan).
In the mid-sixties most of the filmmakers wanted to have music by Laxmikant-Pyarelal for their respective films. L V Prasad was not an exception. Milan was a huge musical hit in 1967. This is how Laxmikant-Pyarelal and Prasad Production association started. It lasted for 18 years and has given many memorable musical hits, ‘Jeene Ki Raah’ 1969, ‘Khilona’ 1971, ‘Ek Duje Ke Liye’ 1981+ many more.
Initially the Prasad Production team did not want singer Mukesh to sing the songs for Milan. But Laxmikant-Pyarelal did not want any other singer than Mukesh. Even the duo told the filmmaker that they would not do the film, if Mukesh is not singing the songs.
When the first song of Milan, ‘mubarak ho sab ko’was being rehearsed, most of the guests / visitors from the Prasad Production team left the recording room. But when the entire unit heard the “final”, approved recording, everybody was happy.
Laxmikant-Pyarelal really gave a new life to a film in which music plays an important part. Milan music was the second ‘milestone’ for Laxmikant-Pyarelal, the first was Dosti, 1964.
Milan, film was fruitful to many :-
ONE :- In the year 1967 Music Directors Laxmikant-Pyarelal brought back the glory of singer Mukesh through the super hit songs of “Milan” ( 5 Lata-Mukesh duets, including all the versions of Hum Tum Yug Yug Se + sawan ka mahina and bol gori bol tera). Two solos mubarak hosabko and beautiful lullaby (लोरी) ram kare aisa ho jaye.
In addition, songs from “Anita” (2 beautiful solos, gore gore chand ke mukh pe and tum bin jeevan kaise beeta ) “Farz” (1 Lata-Mukesh duet, hum to tere aashiq hai ) and “Patthar Ke Sanam” (1 Lata-Mukesh duet, mehboob mere mehboob mere).
TWO:- Laxmikant-Pyarelal consolidated their position in hindi film music and obtained Number 1 Status Or Number 1 Position, leaving Behind All Stalwarts, Including The Mighty Shankar-Jaikishan.
1967 belongs to Laxmikant-Pyarelal, a series of hits by one after another. Jeetendra’sFarz, Raj Khosla’s Anita, S. Mukharjee’s Shagird, Nadiadwala’s Patthar Ke Sanam, Night In London,Jaaland Rajshri’s Taqdeer.
Milan music was the second ‘milestone’ for Laxmikant-Pyarelal, the first was for the music of Dosti, 1964
THREE:– Anand Bakshi also consolidated his own position as a songwriter through the songs of Milan, in particular, the song ‘sawan ka mahina pawan kare sor’ .
FOUR:– Strong bonding crop up for Ternion of Laxmikant-Pyarelaland Anand Bakshi
Now this was the time that Laxmikant-Pyarelal’s music became an essential component of every successful film.
Binaca Geetmala:-
Milan songs storm the nation. Binaca Geetmala was not the exception. Almost all the songs, except, ‘aaj dil pe koi jor chalta nahin’, appeared in the weekly countdown programm. There were three songs in the ‘final’, annual countdown. Sawan Ka Mahina topped the chart.
Position 17Mubarak Ho Sabko …Mukesh
Position 06Hum Tum Yug Yug Se ...Mukesh-Lata
Position 01 Sawan Ka Mahina ….Mukesh-Lata
Filmfare Awards:- (Nine Nominations) :–
Nominated for Best :- Film, Director, Actor, Actress, Supporting Actress, Music, Lyrics, Playback singer male, Playback singer female, with three , following winners.
Best Actress:- Nutan
Best Supporting Actress:- Jamuna
Best Music :- Laxmikant-Pyarelal
MILAN Filmfare Award Function :- Nutan, Jamuna, A Subbarao, Laxmikant, Anand Bakshi & Pyarelal
Review Of The Songs:-
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.
I sincerely thank Mr. Srn Ramanujam, one of the greatest fans of Laxmikant-Pyarelal music, for analysing the song, Bol Gori Bol Tera Kaun Piya, an ORCHESTRA REVOLUTION.
All the songs are incomparably shot on very good locations, in particular the river locations are eye-catching.
Sawan Ka Mahina Pawan Kare Mukesh – Lata Mangeshkar
“Milan”, starring Sunil Dutt – Nutan, was a musical blockbuster movie of the year 1967. The song “ सावन का महीना पवन करे सोर “ stormed the nation. An inordinately popular song, till date. Exceptionally melodious duet. Beautiful DHOLAK rhythm. Beautifully orchestrated musical instruments, MANDOLIN, FLUTE, symphony VIOLINES overlapping the FLUTE. Second ‘interlude’ again symphony style VIOLINS, RUBAB with overlapping sound effects of FLUTE. In the third Interludes’ are orchestrated in ‘western’ style with no ‘rhythm’. First ‘interlude’ have ‘interlude’ again VIOLINS in symphony style. The song topped the 1967 Binaca Geetmala Finals. Filmed on Sunil Dutt and Nutan.
Bol Gori Bol Tera Kaun Piya Mukesh – Lata Mangeshkar
Laxmikant-Pyarelal magic,, what a ‘rhythm’..DHOLAK, PAKHAWAJ, MRIDANG, MANDOLIN, SHEHNAI in two different octave played severally & together, FLUTE, TABLA, VIOLINS, TEMPLE BELLS,,VIOLINS, VIOLA, RUBAI, DHUFFALI , what a composition…No music directors have used such massive instruments as far as rhythm is concerned.
——————-
Beautiful as it is, “Sawan ka Mahina” is not the only song that is notable for its picturisation.
ORCHESTRA REVOLUTION As Written By Srn Ramanujan
Orchestras were and are still the consciousness of most Indians. Most of us have never attended such concerts to know what they are. Nor did we have stereo systems or record players so much in the 60s.
In early years, top music directors used orchestras in the best songs like Aaj Mere Mein Saki in Aan. Naushad recorded this in London with the Royal Orchestra there.
Laxmi Pyare brought orchestra closer to all. I never understood why every song of LP seemed better, though other tunes and lyrics of others were also popular.
The power of LP Music is the Efficacy of their orchestra. Every song was made better by use of multiple sounds, instruments and artists.
Like choreography enhances the screen effect, orchestra does for the sound effect. Only a few fortunate thousand could witness orchestras when LP went on tours. For the rest of us we enjoyed the music dumbstruck not knowing why. LP used all Indian instruments to create a mela of music using the orchestra structure to create an Albert Hall in Shanmukhanand Hall. They went to Matunga Ram Mandir and got the Nadaswaram Band for the song below. Music after this changed forever.
When the beginning with Parasmani LP created the Orchestra Revolution. I never heard the full song Bol Gori Bol until 1979 when I heard the cassette for the first time. Until then I had never heard its prelude everon the radio.
See and Hear it once more for yourself, the choreography,orchestra, sailboats and all.
Ram Kare Aisa Ho Jaye Mukesh
Extremely melodious song,use of FLUTE (played by Pt. Hariprasad Chaurasia), at it’s best. Mellifluously sung by Mukesh in the form of Lullaby, “लोरी”. 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. filmed Sunil Dutt and Nutan.
Hum Tum Yug Yug Se Mukesh-Lata Mangeshkar.
Mellifluously composed song with two versions. Both the versions are excellent with different tunes and rhythm, as well. The best part of both the versions is various AALAPS rendered by Mukesh and Lata Mangeshkar.
First Version :-
‘Prelude’ of 45 seconds is orchestrated with ACOUSTIC GUITAR, VIOLINS, NADASWARAM,, synchronization of the ‘aalaps’ from Mukesh and Lata and and MANDOLIN/. Awesome take off by Mukesh हम तुम युग युग से ये गीत मिलन के. On tuneful BONGO DRUM rhythm. First ‘interlude’ full of ‘aalaps’ of Mukesh – Lata, beautifully orchestrated CAR’s WIPER sound. Second ‘interlude’ FLUTE & VIOLINS.
Second Version :–
It is a slow version. ‘Prelude’ of 22 seconds wonderfully overlapping sound effect of MANDOLIN, VIOLINS and CELLOS. Astounding DUFF rhythm. First ‘interlude’ FLUTE sound synchronized with GHUNGROO BELLS. Second ‘interlude’ MANDOLIN and CHORUS. ‘Postlude’ is CHORUS and FLUTE.
Both the versions are filmed Sunil Dutt and Nutan.
Mubarak Ho Sabko Mukesh
Singer Mukesh is simply the best choice for this song. Sad song starts with ‘zero’ prelude. Ravishing DHOLAK rhythm, intermixed with DUFF, at some places. FLUTE is awesomely used as filler in the mukhada. First ‘interlude’ MANDOLIN, beautifully orchestrated followed by superb display of symphony style VIOLINS. Second ‘interlude’ starts with VIOLINS, later tunefully intermixed with SHEHNAI. Third ‘interlude’ beautiful display of FLUTE. First and third ‘antaras’ are melodiously filled with FLUTE. The second is filled with SHEHNAI. ‘Postlude’ of 12 seconds is synchronization of FLUTE, MANDOLIN and SHEHNAI, sounds well. Filmed on Sunil Dutt and Nutan.
Tohe Sawaiya Lata Mangeshkar
This is a ‘folkish’ style, melodious song. The prelude of 38 seconds starts with Lataji’s delicate aalaps, MANDOLIN. Awesome take off तोहे सावरिया …..हम हो गए परदेसी ..starts of sifuying DHOLAK rhythm synchronised with GHUNGROO BELLS. First ‘interlude’ mesmerizes with the orchestration of symphony VIOLINS intermixed with FLUTE and MANDOLIN. Second ‘interlude’ starts with Lataji’s sweetly rendered AALAPS synchronized with female CHORUS, followed by MANDOLIN and VIOLINS. ‘Postlude’ once again full of Lataji’s aalaps and MANDOLIN. Filmed on Sunil Dutt and Jamuna.
Aaj Dil Pe Koi JorLata Mangeshkar
Unfortunately this song was deleted from the movie.
Beautifully rendered in ‘raag’ CHARUKESHI. Sad song starts with the ‘prelude’ of 18 seconds orchestrated in VIOLINS and FLUTE. First ‘interlude’, VIOLINS and SAROD.Second ‘interlude’ beautifully orchestrated by FLUTE and SAROD. Third ‘interlude’ with VIOLINS and
MANDOLIN. Melodious DHOLAK ‘rhythm’.
Ajay Poundarik, Atlanta (Georgia), USA. 2nd November, 2020.
The film was made under Rajshrii Films (produced by Tarachand Badjatya) and directed by Basu Chatterjee. It was it’s music that pulls the crowd into the cinema hall. It has also Jaya Bhaduri, fresh from the films like “Guide” & “Uphaar”, in lead roll with Anil Dhavan who was still struggling to establish himself.
“PIYA KA GHAR” have four excellently composed sweet and melodious songs. Three are filmed in the background. The “theme” song ‘yeh jeevan hai’ flows with the story of the film and it is the song of everybody’s choice. Still popular and one of the best of Kishore Kumar & Laxmikant-Pyarelal.
It is unfortunate that “PIYA KA GHAR” ends the musical association of Rajshri Films (Tarachand Badjatya) and Laxmikant-Pyarelal. It lasted for eight and half years and have given some of the best musical hits,,,”Dosti” (1964), “Taqdeer”(1967), “Jeevan Mrityu” (1970), “Uphaar” (1971) and “Piya Ka Ghar” (1972). All have fabulous music and STILL remains the best musical hits among all Rajashri Films.
1) YEH JEEVAN HAI…Kishore Kumar
The “theme” song of the films and flows in the background. The best use of ACOUSTIC GUITAR in entire song. Kishore Kumar have rendered special voice whenever he has sung for Laxmikant-Pyarelal. This song is ‘classic’ example and tells us what the combo of KK-LP means.
2) YEH JHULPH KAISI HAI…Lata Mangeshkar – Mohammad Rafi.
This song is also filmed in the background. SYMPHONY orchestra arrangements, in all the interludes
3) MERE PIYA KA GHAR HAI YE..Lata Mangeshkar
Powerful and touching words. Beautifully orchestrated with mellifluous “DHOLAK” rhythm. FLUTE, SAXOPHONE, VIOLINS are also wonderfully decorated in all the interludes.
4) BAMBAI SHAHAR KI TUZAKO ..Kishore Kumar
“Prelude” of 60 seconds is full of VIOLINS. The song portrays Mumbai more optimistically and romantically. This song is no less, it is hidden GEM of composition in presence of the other “hit” songs of the film. Lovely song nicely rendered by Kishore Kumar with excellent and typical LP “DHOLAK” rhythm.
In sixties Manmohan Desai has directed many hit films under the different banners. He was considered to be the successful director of the sixties / seventies / eighties.
Manmohan Desai was known for making family-centered, action, song and dance films which catered to the tastes of the Indian masses and through which he achieved great success. Manmohan Desai’s common plot was lost and found formula with a happy end.
Prior of ‘Amar Akbar Anthony’ Manmohan Desai have directed followings of the Films, with various music directors, mentioned in brackets.
1957 Janam Janam Ke Phere (S N Tripathi)
1960 Chhaliya (Kalyanji-Anandji)
1963 Bluffmaster (Kalyanji-Anandji)
1966 Badtameez (Shankar-Jaikishan)
1968 Kismat (O P Nayyar)
1970 Sachcha Jhutha (Kalyanji-Anandji)
1972 Rampur Ka Laxman ( R D Burman)
1972 Bhai Ho To Aisa (Sonik-Omi)
1973 Aa Gale Lag Ja (R D Burman)
1974 Roti (Laxmikant-Pyarelal).
When Manmohan Desai started his production house named MKD Films, he wanted to have top class, inform artists for his very first film as a Producer and Director. It was a star-studded film with Amitabh Bachchan, Rishi Kapoor, Vinod Khanna, Neetu Singh, Parveen Babi, Shabana Aazmi in lead roles. Pran and Jeevan in supporting roles.
Music directors duo Laxmikant-Pyarelal in supreme form, then and considered for the music. The association of Manmohan Desai with Laxmikant-Pyarelal started from “Roti.
Music was an asset for Amar Akbar Anthony. The songs became popular. Most of the songs are sung by Mohammad Rafi except one (My Name Is Anthony Gonsalves), by Kishore Kumar. There are two songs that remain special for Amar Akbar Anthony.
Amitabh Bachchan’s character name was Anthony Fernandies initially. Laxmikant-Pyarelal requested Manmohan Desai to change it to Anthony Gonsalves. Pyarelal wanted to pay tribute to Mr. Anthony Gonsalves, the violin guru of Pyarelal. Manmohan Desai agreed. The song was recorded. The song “My Name Is Anthony Gonsalves” is Pyarelal’s tribute to his violin teacher.
Pyarelal, Subhash Desai, Laxmikant, Mohammad Rafi, Mukesh, Lata Mangeshkar, Kishore Kumar and Manmohan Desai
The song .Hum Ko Tumse Ho Gaya Hai Pyar Kya Kare
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” .
Pyarelal, Kishore Kumar, Mohammad Rafi, Lata Mangeshkar, Mukesh and Laxmikant
Binaca Geetmala:-
Almost all the songs of “Amar Akbar Anthony ” appeared in the weekly countdown show. In the 1977 finals of Binaca Geetmala
41 Position :- Tayyab Ali Pyar Ka Dushman
11 Position :- Anhonee Ko Honee Kar De
02 Position :- Parda Hai Parda
Filmfare Awards for ”Amar Akbar Anthony”
Best Film:- “Amar Akbar Anthony” (Manmohan Desai)
Best Actor:- Amitabh Bachchan
Best Music:- Laxmikant-Pyarelal
Best Editing.
Amar Akbar Anthony was Musical Hit. The songs of AAA are still popular
All the songs of Amar Akbar Anthony are written by Anand Bakshi.
1 PARDA HAI PARDA …..Mohmmad Rafi
Qawwali style composition, brilliantly rendered. Rafi Saab sang this song at the age of 53 years old for 25 years old Rishi Kapoor in this film. The divine talent of Rafi Saab. The sweetness in the voice is beyond words. What a variation in the pitch !!! Only Rafi Saab can do this. Awesomely orchestrated by using MANDOLIN, SHEHNAI / NADASWARAM synchronised with amazing DHOLAK / TABLA rhythm.Rishi Kapoor rocks.
2 SHIRDIWALE SAI BABA…..Mohmmad Rafi
When it comes to devotional songs,, Rafi Saab is the best. It also has a Qawwali rhythm. Clapping (ताली ) nicely intermixed with the DHOLAK rhythm. Interludes are orchestrated with MANDOLIN, SHEHNAI / NADASWARAM . Rishi Kapoor performs best.
3 TAYYAB ALI PYAR KA…..Mohmmad Rafi and Mukari.
Once again a Qawwali rhythm. Rishi Kapoor dominates the song.
4 MY NAME IS ANTHONY…..Kishore Kumar and Amitabh Bachchan.
This song will always be remembered for the tribute to the ‘Violin” “GURU” of Mr. PYARELAL Mr Anthony Gonsalvis. The song has western beats. All the BRASS instruments are brilliantly used, synchronizing with BONGO drum rhythm. Amitabh Bachchan’s rendering in the “interludes” is just brilliant. As an actor Amitabh Bachchan is the best in this song.
5 HUMKO TUMSE HO GAYA…Lata Mangeshkar, M. Rafi, Kishore Kumar, Mukesh
All the three “mukhada” with different tunes, all the three “interludes” have different musical notes.
HISTORICAL SONG
6 ANHONEE KO HONEE KAR DE….Shailendra Sing, Kishore Kumar, Mahendra K.
Very popular peppy song.
Amar Akbar Anthony is one of the biggest musical blockbusters of all time. The partnership of Manmohan Desai with Laxmikant-Pyarelal gets a firm grip. Later this combo delivered a few more musical hits, five of them with Amitabh Bachchan.
Laxmikant-Pyarelal at their ‘melodious’ best. UPHAAR 1971
Laxmikant-Pyarelal in supreme form in early seventies and now most of the big/small producers & directors wanted to have music for their respective films, to be scored by none other than Laxmikant-Pyarelal.
It is also to be noted that looking back at the tremendous success of the earlier non-starcast, musical hit films, many of the BIG names also started making non-starcast films with the music by number one music director, Laxmikant-Pyarelal, then. “UPHAAR” is such a musical hit film.
“UPHAAR”, released in December, 1971, was produced by Rajshri Productions (Tarachand Badjatya), now BIG name, directed by Sudhendu Roy. It was based on a story by Ravindranath Taigore.
Uphaar is one wonderful film relating the story of a young village girl who is still a little kid by heart. It has many unknown actors and actresses. Jaya Bhaduri was not a star then, it was her second film after “Guddi” (October, 1971). Swaroop Dutt was a new /unknown hero. Laxmikant-Pyarelal music and the songs flow with the theme of the story of the film.
In the early seventies, during the peak wave of Kishore Kumar, Laxmikant-Pyarelal gave some of the best songs for Mohammad Rafi to sing. “UPHAAR” song ( main ek rajahoun) is one of them.
One can imagine the output of Laxmikant-Pyarelal with Mohammad Rafi when out of 379 songs sung by Mohmmad Rafi under the LP, 254 songs were recorded during the peak wave of Kishore Kumar (post “Aradhana”) that too without affecting the ‘giant’ popularity of Kishore Kumar.
It has extremely sweet and melodious FOUR songs. Special mention has to be made for the melodious background music of Laxmikant-Pyarelal in the film. The film was a musical HIT.
Anand Bakshi has written all the songs of ‘UPHAAR’.
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.
1) MAIN EK RAJA HOUN…Mohammad Rafi.
“Prelude” of 27 seconds comprises of VINA and SANTOOR and Mohammad Rafi’s beautiful take off (main ek raja houn) is just brilliant. Extremely Soft and Melodious ROMANTIC song composed in the “raag” ‘ BAIRAGI’. Use of the BONGO drum in “Toe Stepping Rhythm” intermixed with SANTOOR is ear-pleasing. Use of FLUTE , ACOUSTIC GUITAR, SANTOOR and SITAR and other string instruments are mellifluously executed in the song. In early seventies Mohammad Rafi was almost forgotten but it was only Laxmikant-Pyarelal gave some of the finest songs to Rafi. This is one of them. It was a “Binaca Geetmala Hit song”.
2) HATHON MEIN MEHNDI..Lata Mangeshkar.
The perfect wedding song, sweet and melodious, as well. Excellent “prelude”, starting from 0.41 to 1.14 This song is a ‘folk’ showing traditional Rajasthani “ KATHPUTLI”. HAND DRUMS and the “BOLI” / “SHRUTTI” (This is a musical instrument made of two thin and small bamboo strips which have a reed in between and produces a sharp sound by blowing air in and out on it) are beautifully decorated in the orchestra to give the traditional “FOLK” touch. Lata Mangeshkar has brilliantly synchronized her voice with Laxmikant-Pyarelal’s orchestra arrangements.
3) MAAZI NAIYYA DHUNDHE KINARA …Mukesh
Another extremely melodious composition. Excellent “prelude”, mesmerizing “Interludes” comprises SITAR, VIOLA, VINA, FLUTE with wonderful “DHOLAK” rhythm and soulful singing. Singer Mukesh is at his melodious best. Very Good Song for Aspiration.
4) SUNI RE NAGARIYA SUNI RE SAJARIYA …Lata Mangeshkar.
All the traditional Indian Classical Instruments, SITAR, VINA, SHEHANI, SARANGI, SAROD,etc are wonderfully used in this very sweet song. “DHOLAK” rhythm is awesome. Lata Mangeshkar always sounds extremely melodious under the Laxmikant-Pyarelal. This song proves that.
“UPHAAR” songs are extremely melodious, different types of composition and are still refreshing. A must Album for all Laxmikant-Pyarelal music lovers.
As a Director Yash Chopra has given many musical hits under the banner of B.R Films, owned by his brother B.R.Chopra. In 1973 Yash Chopra opted to come out of B R Chopra banner and form ”YASH RAJ FILMS”. Yash Chopra wanted to get the Top Stars and Top Names for his maiden film ”DAAG”, as a Producer and the Director.
1983. Laxmikant-Pyarelal with Yash Chopra. For Receiving GOLDEN DISC for the sell of the Music of Subhash Ghai’s HERO
To start with YASH RAJ Films first ever film, producer and director Yash Chopra wanted to utilize the ‘best’ artists available then.
Rajesh Khanna was in supreme form in early seventies, he along with Sharmila Taigore, Rakhi were the stars of the film.
LAXMIKANT-PYARELAL, in top gears, form 1967, got the honor of the first music director for ”YASH RAJ FILMS”. Yash choose his favorite lyricist Sahir Ludhiyanvi to penned the songs.
Lata Mangeshkar has sung five songs in the film.
Laxmikant-Pyarelal were nominated for the best music directors for “DAAG” along with Raj Kapoor’s “BOBBY” in 1973.. Sadly, none of these films got the best music director award, in spite of an outstanding music for both the films.
After the thumping success of musical hit film ”DAAG”,Yash Chopra wanted Laxmikant-Pyarelal to score the music for his next film ”KABHI KABHI”. But Laxmikant-Pyarelal were very busy with some other projects.
It is an UNFORTUNATE….that Yash Chopra’s First Musical Hit Film “DAAG” became the FIRST and LAST film for Laxmikant-Pyarelal.
If you compare all Yash Raj Films Musical score, DAAG remains top sellers and also the best.
An outstanding/evergreen/ever-fresh music of ”Daag” is still popular.
Mere Dil Main Aaj Kya Hai Kishore Kumar
लाजवाब, सुमधुर, कर्णप्रिय एवं बेहद रोमांटिक गाना। Mesmerizing Orchestra arrangements..IRANI SANTOOR (played by Pt Shivkumar Sharma) & GUITAR (played by Gorakh Sharma) are brilliantly executed in the entire orchestra of the song.
The song starts with “zero” ‘Prelude”…First ‘Interlude’ starts with IRANI SANTOOR at 0.42…with brilliant overlapping sound effect and ends at 1,00. The second ‘Interlude’ starts at 1.46 and listen how mellifluously IRANI SANTOOR have been played till 1.58…The third ‘Interlude’ starts at 2.45 and how effectively GUITAR is played to give the perfection to the romance and great “pick up” through IRANI SANTOOR from 2.53 to 3.02..The song has beautiful DHOLAK as “rhythm” excepting in “Interludes”…SAHIR LUDHIYANVI’s elegiac lyrics and KISHORE KUMAR’s tender as well as romantic rendition and LAXMIKANT-PYARELAL’s wonderful composition with beautiful decoration of the orchestra has made this song as all time classics.
You just have to look at the way Rajesh Khanna croons, “Mera pyaar keh raha hai main tujhe khuda bana doon” and you will want to watch the song. Nobody could act out a love song better than Rajesh Khanna.
Also full credit to Kishore Kumar who was nominated by filmfare awards, the best male singer, for singing this romantic GEM. One of the finest song of KK under Laxmikant-Pyarelal.
Hum Aur Tum Tum Aur Hum Kishore Kumar – Lata Mangeshkar
This Kishore Kumar & Lata Mangeshkar romantic song is completely woven around the rhythm based ACOUSTIC GUITAR. Another beauty of this song is it’s ‘interludes’. Both the ‘interludes’ have different tunes. First ‘interlude’ full of ‘aalaps’ by Kishore & Lata with glimpses of VIOLINS. In second ‘interlude’ the VIOLINS are decorated in ‘Waltz‘ style with beautiful “pauses”. Even Lataji and Kishorji have also rendered the ‘pauses’ in the songs.
Ni Main Yaar Mana Ni Lata Mangeshkar and Minoo Purushottam
Typically Punjabi flavored and very famous female duet excellently sung by Lata Mangeshkar – Minoo Purushottam. . Powerful rhythm of the song consists of “DHOL”, “DHOLAK”, “TABLA” and “CLAPPING” is just mind-blowing. All the “interludes” are orchestrated with SHEHNAI and other Indian traditional instruments. “Postlude” is worth to listen to.
Ab Chahe Maa Ruthe Ya Baba Lata Mangeshkar – Kishore Kumar
This song is composed in “BHANGADA” style of dance. Stylishly rendered by Kishore Kumar & Lata Mangeshkar to justify the voice of college students. It has a typical LP style rhythm. One more hit song from the film. Both Rajesh Khanna and Sharmila Taigore look good.
Jab Bhi Chahe Nayi Duniya Lata Mangeshkar
Sad song with magical lyrics words by Sahir Ludhiyanvi. In this “gazal” style song ‘interludes’ .are beautifully decorated by VIOLINS in “symphony” style orchestra with beautiful overlapping sound effect.
Hawa Chale Kaise Lata Mangeshkar
Song starts with zero prelude, Lata rendering then VIOLINS (big ‘pause’) and SANTOOR. Melodious Lata. singing on different type “rhythm” by using BONGO DRUMS in this song
Laxmikant-Pyarelal :: Phenomenal Music “Night In London”
In the year 1967, Music Directors Laxmikant-Pyarelal in supreme form. The duo officially confirmed their number one position. Laxmikant-Pyarelal’s Many musical hit films, released around 1967, like, “Patthar Ke Sanam”, “Anita”, “Jaal”, “Taqdeer”, “Farz”, “Shagird”, “Milan” as well as“Night In London”. It was like a “Tsunami” of songs from Laxmikant-Pyarelal.
NIGHT IN LONDON, thriller film was directed by famous director Brij Sadanah who was known for thriller films. Biswajeet, Mala Sinha, Johnny Walker, Helen in lead roles. The film has phenomenal music. Laxmikant-Pyarelal have composed most of the songs in Western Style to give a feel of London.
Mohammad Rafi has sung as many as five songs, including three solo + two duets with Lata Mangeshkar. ‘Night In London” also has one beautiful sweet duet sung by Lata Mangeshkar – Mahendra Kapoor.
Lata Mangeshkar has sung two Cabaret songs, solo + title song, duet with M. Rafi, synchronising the mind-boggling orchestra from Laxmikant-Pyarelal. In a solo cabaret song Lata Mangeshkar has awesomely uttered / rendered the word Jameela…aaaa. with almost NINE different versions, which enthralls the listeners.
Pyarelal, Biswajeet and Laxmikant
All the songs of the film Night In London are written by Anand Bakshi. It is from the year 1967, the ‘trio’ of Anand Bakshi and Laxmikant-Pyarelal gained the momentum and went to creat a history (304 films with 1680 songs)
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.
Nazar Na Lag Jaye Kisi Ki ….Mohammad Rafi
Mesmerizing Prelude of 66 seconds starts with GUITAR for 20 seconds.Awesome take off by Rafi saab ओ माय लव. At 0.28 BASS GUITAR starts. and synchronized with the rhythm of ACOUSTIC GUITAR. At 0.45 FRENCH HORN starts and overlaps other BRASS instruments. 1.02 to 1.06 glimpses of GUITAR. Rafi saab starts नज़र न लग जाए. The song has Toe-Stepping ‘rhythm’ synchronized with the ACOUSTIC GUITAR. Electric GUITAR is used as a filler after ओ माय लव, at 1.22, is a ‘killer’. It repeats after every lines ओ माय लव. First ‘interlude’ starts with FRENCH HORN and later harmonizes with other BRASS instruments. Second ‘interlude’ beautiful display of solo GUITAR which enthralls the listeners.Third ‘interlude’ melodiously played symphony VIOLINS. The song is filmed on Biswajeet – Mala Sinha.
Late Mr. Gorakh Sharma, Pyarelal’s younger brother, has played the GUITAR.
Bahosh-O-Hawas Main Deewana …..Mohammad Rafi
Wonderful Westernized Orchestra Arrangements In SYMPHONY Style. “PRELUDE” of 51 seconds is just mesmerizing. Use of VIOLINS and VIOLA for first 33 seconds and than again huge “pick” at 48 seconds as well as in the first “interlude” from 1.25 to 1.45 is just ear pleasing. Both the interludes have different tunes. There are some glimpses of ‘pauses’. The “symphony style violins” vow around MOHAMMAD RAFI’s voice that gives an additional mellifluousness and romantic feeling to this song. Each and every moment of this GEM of song makes you “thrill” and that is why it is one of my all time favorite song composed by Laxmikant-Pyarelal.
Mera Nam Jameela …..Lata Mangeshkar
JAMEELA ssssssss:: JAMEE sssssssLA::JAMEELA::
Superb CABARET song with Rich Orchestra Arrangements.
Almost NINE different versions of rendering the word “JAMEELA” by Lata Mangeshakar in this song.“Prelude” of 50 seconds is worth listening to with Heavy and Rich Orchestra with Lata’s lovely voice. All the three “Interludes” have different tunes.
Use of the BRASS instruments, in the entire song, is the asset of the orchestra arrangements. The entire song is brilliantly synchronized with the fast rhythm of BONGO DRUMS. Electric GUITAR is also used in-between the orchestra.
Another beauty of the song is Lata Mangeshkar’s beautiful voice is being surrounded by the MALE CHORUS. And top of it actress, HELEN has danced this cabaret numbers with the different style.
Lata Mangeshkar has sung many of western style, cabaret songs under Laxmikant-Pyarelal.
This song is a sheer variety from this combo.
Sun-E-Bahar Husn Muze Tum Se Pyar Hai ….Lata Mangeshkar – Mahendra Kapoor
Very melodious duet. 45 seconds of ‘prelude’, is orchestrated with MANDOLIN, followed by Aalaps & Humming by Mahendra Kapoor, finally SANTOOR.
First ‘interludes’ are orchestrated with MANDOLIN, FLUTE and VIOLINS. At the end of each ‘antara’ there is a ‘rhythmic’ pause.
The song has a melodic DHOLAK / TABLA rhythm.
–Bagh Main Phool Kisne Khilaye HaiLata Mangeshkar – Mohammad Raff
Anand Bakshi has penned this lovely duet on “question” – “answer” theory. Almost each and every line of this song has “Question” – “Answer”. ‘Prelude’ is instrumented with NADASWARAM / SHEHNAI. All the ‘interludes’ are designed with ‘symphony’ VIOLINS. It has a conventional TABLA / DHOLAK rhythm.
Night In London , Night in London, Lata Mangeshkar – Mohammad Raff
A club dance, Cabaret is beautifully instrumented with the use of BRASS instruments as well as symphony VIOLINS. It has a tuneful BONGO DRUM rhythm.
O Mere Yaar Tomy Mohammad Rafi.
A naughty song filmed on Johnny Walker. Barking of DOG is included in the song.
Ajay Poundarik, Atlanta (Georgia) USA. 23rd June, 2020.
Laxmikant-Pyarelal 