Unforgettable Musical :: Basu Chatterjee :: Laxmikant-Pyarelal :: PIYA KA GHAR

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.


“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.

Ajay Poundarik. Atlanta ( Georgia ) USA

Manmohan Desai Laxmikant-Pyarelal AMAR AKBAR ANTHONY, Musical Blockbuster.

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

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.  


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. 

TAYYAB ALI PYAR KA …..Mohmmad Rafi and Mukari. 

Once again a Qawwali rhythm. Rishi Kapoor dominates the song.

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. 

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.


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.

Dharam Veer 1977

Parvarish 1977

Chacha Bhatija 1977

Suhag  1979

Naseeb  1981

Desh Premi 1982

Coolie  1983

Deewana Mastana 1998. 

Ajay Poundarik. Atlanta (Georgia) USA

Laxmikant-Pyarelal at their ‘melodious’ best. UPHAAR 1971

 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 raja houn) 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.


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.


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. 

Ajay Poundarik

Yash Chopra’s “DAAG” 1973, FIRST Musical with Laxmikant-Pyarelal

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

Ajay Poundarik

Laxmikant-Pyarelal :: Phenomenal Music “Night In London”

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 Hai         Lata 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. 

PARASMANI, 1963. The Beginning Of An “LP” Era. Laxmikant-Pyarelal

PARASMANI” released in 1963. The film is a musical fantasy drama shot partly in Black and White and partly in colour. This was a movie that launched Laxmikant Shantaram Kudalkar and Pyarelal Ramprasad Sharma (LAXMIKANT-PYARELAL). 

Laxmikant-Pyarelal created some fascinating music which transformed an average film into a huge hit. The movie PARASMANI was more about the composers, Laxmikant-Pyarelal than Mahipal and Geetanjali, the key protagonists of this musical drama. Six songs embellished the movie. SIX songs that lifted the fortunes of the movie.

There may not have been much to rave about the story or performances; the film may have suffered on account of technical deficiencies but it had the desired qualities that make an entertainer. It may not appeal to the multiplex crowd of today but PARASMANI was a movie that stood out for its music and smooth performances by mostly now-forgotten actors.

PARASMANI songs rocks the Binaca Geetmala for two successive years.


In the very first movie Laxmikant-Pyarelal created some fascinating music which transformed an average film into a huge hit. PARASMANI was more about these composers than Mahipal and Geetanjali, the key protagonists of this musical drama. Six songs embellished the movie; SIX songs that lifted the fortunes of the movie.

Dance and music form the strength of this movie. Laxmikant Pyarelal made a glorious debut with PARASMANI and proved it was no fluke by giving unforgettable compositions coming next 35 years.

Laxmikant-Pyarelal also never forgot to show their gratitude to the star singers Lata Mangeshkar and Mohammad Rafi for lending their golden voice and setting a dream platform for the two young composers.

1) Hasata Huva Noorani Chehera – Lata & Kamal Barot. Songwriter Farooq Qaisar Officially, Laxmikant-Pyarelal’s first song composed. The ”prelude” with massive orchestra sets the mood of the song. It is melleflously decorated with rich orchestra arrangements which consists of ACCORDION, FLUTE, VIOLINS, VIOLA etc with the fast “DHOLAK” rhythm. This song is an immortal one and is still popular. This is a TOP HIT song.

2) Mere Dil Main Halkisi Wo Khalish – Lata Mangeshkar
Songwriter Asad Bhopali
Beautiful “prelude” of 45 seconds orchestrated with MRIDANG and SITAR. Lataji takes off with “mere dil mein” ( मेरे दिल मैं ) followed by “stroke” of ACOUSTIC GUITAR. Throughout the song BANSURI (Flute) is awesomely used as “filler”. “Interludes” are instrumented with FLUTE , SAXOPHONE and VIOLINS . Rhythm with BONGO Drums, leaves you speechless.

3) Ui Ma Ui Ma Ye Kya Ho Gaya – Lata & Chorus
Songwriter Farooq Qaisar
This song can still leave you in a trance. The captivating voice of Lata Mangeshkar and the artistic movements of HELEN make for a heady combination. Powerful Dholak Rhythm is another asset. Extremely melodious song with fascinating “prelude” of 58 seconds is decorated with VIOLINS, ACOUSTIC GUITAR, FLUTE and also the modulating sound of GHUNGHROO, overlapped with the chorus, sets the mood of this ‘folkish’ style composition. The rollick and natural dancing from Helen on Laxmikant-Pyarelal’s “DHOLAK” rhythm synchronized with GHUNGHROO, throughout the song. All the “interludes” are composed with VIOLINS, ACOUSTIC GUITAR and  FLUTE.

4) Wo Jab Yaad Aaye Buhot Yaad Aaye – Lata & Mohammad Rafi
Songwriter Asad Bhopali An immortal melody. “Prelude” starts with Lataji’s AALAPS. “Mukhada” is overlapped as a filler with SITAR. Both the ‘interludes’ are orchestrated with ‘symphony’ style VIOLINS. It has a sweet TABLA / DHOLAK rhythm.

5) Chori Chori Jo Tume Se Mile – Lata & Mukesh
Songwriter Farooq Qaisar
Use of SHAHNAI and MANDOLIN in “Prelude” and all the “interludes” are worth to listened to.

6) Roshan Tumhise Duniya Raunak – Mohammad Rafi
Songwriter Indeevar
Pure Clasical Song, based on Yaman Kalyan. “Prelude” of 28 seconds is brilliantly rendered as a AALAP by Rafi Sahab, synchronizing the GHUNGAROO BELLS, ACOUSTIC GUITAR, VIOLINS and SITAR. The most interesting aspect of the song is use of SITAR is awesomely used as a filler, in mukhada as well as in Antara, after every lines, rendered by Rafi saab. The first ‘Interlude’ is orchestrated with SITAR and VIOLINS. Second ‘interlude’ is wonderful AALAPS by Rafi Saab and VIOLINS and SITAR. The ‘rhythm’ is awesomely created by TABLA/DHOLAK with ‘intermixing’ of GHUNGAROO BELLS. Postlude” , over 120 seconds is brilliantly composed by using SARANGI and SITAR (played by ustad RAIS KHAN).

Asad Bhopali, Farooq Kaiser and Indeevar provide the lyrics for Laxmikant Pyarelal’s landmark work.

56 YEARS have been passed, as on January, 2020, since the release of ‘PARASMANI‘. The songs are still popular.

Extracted :: Courtesy “The Hindu”…


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

ज्योत से ज्योत जगाते चलो, प्रेम की गंगा बहाते चलो

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

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

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

Laxmikant, Lata Mangeshkar & Pyarelal

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

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

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

Beautiful melodious classical composition. Wonderful use of Chorus. 

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

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

3) Mere Laadlo Tum Phoolo Phalo..Lata Mangeshkar

A sad but sweet and melodious song beautifully sung. 

4) Jyot Se Jyot Jagate Chalo ..Lata Mamngeshkar

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

5) Bahut Din Beete…Lata Mangeshkar. 

Extremely Melodious, based on Hindustani Classical Raag, ‘SHIVRANJANI’…One of the best of Lata-LP.. Start with Lataji’s awesome rendering ..भोर भये नित सूरज सांझ पड़े ढल जाये। ………..खबर मोरी ना लीनी। बहोत दिन बीते  and Beautiful TABLA rhythm starts. There is beautiful singing ‘pause’ of 3 seconds. The first ‘interlude’ orchestrated with SAROD, VIOLINS and the FLUTE. Second ‘interlude’ starts with SAROD, VIOLINS and XYLOPHONE. Both the “antras” have different tunes. FLUTE is tunefully used as a filler in second ‘antra’ . A masterpiece from Lata-LP combo.

6) Main To Chhel Chhabili Naar …Lata Mangeshkar

A pure FOLK (Marathi) song or “Lawani”

7) Jyot Se Jyot Jagate Chalo..Mukesh. 

One of the Most Popular Song sung by Mukesh. 

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

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

Very Sweet “BHAJAN”..

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

A MUST musical Album for all LP lovers….

Ajay Poundarik.

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

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

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

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

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

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

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

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

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

1) TERE MERE BEECH MEIN ..Lata Mangeshkar

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

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

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

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

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

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

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

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

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

6) TERE MERE BEECH MEIN ..S P Balasubramaniam

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

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

Ajay Poundarik

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

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

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

Pyarelal, Jeetendra and Laxmikant

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

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

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

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

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

“FARZ” made actor JEETENDRA a “STAR”. “FARZ” songs storm the nation. All the songs of FARZ are popular even today. Sometime it is hard to believe that Laxmikant-Pyarelal also had “Milan”, in the same year. The two movies music (‘Milan” & “Farz”) are so poles apart !

‘FARZ’ have six songs and most of them have a melody and mass appealing. Not only that the westernized background music is also excellent. It was matching to any of the James Bond Movies.

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


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


Universally HIT as BIRTHDAY song. “Prelude” of 54 seconds set up the mood for this beautiful song. Wonderfully orchestrated with VIOLINS, ACOUSTIC GUITAR, PIANO and BONGO DRUMS in rhythm.Certainly orchestra arrangements have ‘SYMPHONY’ touch. Lyrics overflowing with Love, timeless masterpiece.

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

Evergreen and Ever-Fresh Popular. Melodious and Sweetly Composed Romantic Duet. “DHOLAK” rhythm” (theka) in the song has made an addict one.”Prelude” (34 seconds) and all the “Interludes” are wonderfully orchestrated.

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

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

5) DEKHO DEKHO JI SOCHO JI ..Lata Mangeshkar

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

6) AAJA AAJA MERE PASS..Asha Bhonsle.

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

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

Ajay Poundarik

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

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

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

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

Laxmikant, Anand Bakshi & Pyarelal

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

Laxmikant, Kishore Kumar & Pyarelal

A) Mere Mehaboob Quayamat Hogi…Kishore Kumar

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

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

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

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

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

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

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

E) Zulmi Hamare Sanwariyan O Ram..Lata Mangeshkar

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

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

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

Ajay Poundarik