SATI SAVITRI, 1964 :: ENTRANCING Lata Mangeshkar and Laxmikant-Pyarelal.

:: SATI SAVITRI, 1964 :: ENTRANCING  Lata Mangeshkar and Laxmikant-Pyarelal.

In 1963, Diwali,  through the music of “Parasmani”, newcomer Laxmikant-Pyarelal made big impact in Hindi Film Music. In the year 1964  many musical hit films from the desk of Laxmikant-Pyarelal were released like “Dosti”, “Mr. X In Bombay”, “Sant Gyaneshwar”, “Aaya Toofan” and totally different musical score from “Sati Savitri”. In the year 1964 the name Laxmikant-Pyarelal became the talk of the nation.

Lata Mangeshkar have sung as many as 712 songs, under the music directors Laxmikant-Pyarelal, a record. What mind boggling variety and range did we get in those 712 numbers which included chart-slammers and classics, and chaalu numbers as well as connoisseur choices. It is impossible to find that variety and that sustained excellence without monotony in the output of any other composer, with Lata or with any other singer.

Laxmikant, Lata Mangeshkar and Pyarelal

If we are to talk of LAXMIKANT-PYARELAL’s Classical or Semi-Classical Songs and that too with LATA MANGESHKAR ..songs of “Sati Savitri” stands out to be number 1….Lata has sung as many as Six songs ( four Solos) and all are based on classical ragas…The songs of this film can be heard even today. The meaningful wordings of these immortal songs are written by PANDIT BHARAT VYAS.

The orchestra arrangements in “Preludes” and “Interludes” used to be the assets of the  songs composed by Laxmikant-Pyarelal. Listen to the songs, listed below, after reading the write up, explaining peculiarities, for each of the songs, you will enjoy it more.

1) Tum Gagan Ke Chandrama Ho….Lata Mangeshkar -Manna Dey

तुम क्षमा मैं भूल हूँ…..तुम गगन के चंद्रमा ..मै धरा की धूल हूँ.. The extreme of gratitude in love expressed ever in words.A beautiful song composed in Hindustani Raag “Yaman Kalyan”. 56 years have been passed since Lata Mangeshkar and Manna Dey got to gather to sing this magical song, NOT A SINGLE CREASE HAS APPEARED ON THE SMOOTH SHINING SURFACE OF THIS SONG…..The classical based song is mellifluously composed in symphony style orchestra arrangements. Use of soft pieces of VIOLINS and SITAR in all the ‘interludes’ is just mesmerizing.

2) Jeevan Dor Tumhi Sang Bandhi….Lata Mangeshkar

Once again mellifluous composition on “Yaman Kalyan”. This song is GEM of composition. Simply divine rendering soulful music soulful rendering and most delicate expression of love …takes you to different level. One of the top favorites of Lata Mangeshkar herself. The musical notes of both the “interludes” are worth to listen to.

3) Itani Jaldi Kya Hai Gori…Lata-Usha Mangeshkar-Kamal Barot.

A wedding and slightly naughty song, beautifully decorated with glimpses of FLUTE, SHEHANAI and DHOLAK. Don’t forget to listen to the MANDOLIN in “Prelude”.

4) Sakhiri Pee Ka Nam Na Puchho..Lata Mangeshkar

Extremely melodious tune and composition. Use of “BAMBOO FLUTE” , in the ‘interludes’ with DHOLAK is worth to listen to.

5) Kabhi To Miloge Jeevan Saathi. …Lata Mangeshkar.

Mind-Blowing in Raag KALAWATI. Beautiful use of SYMPHONY style orchestra arrangements (VIOLINS) in- between the song. It is difficult to choose which one is best song from “Sati Savitri”…But I have chosen beautiful composition on raag ‘KALAVATI’. The depth of emotions, soul and divine melody of this rendition in Rag kalavati is timeless and matchless.

6) Mujhe Loot Ke Na Jana ..Lata Mangeshkar

Anguish type of song. Beautifully composed.

A Mesmerizing Melodious musical gift from the unique of combo of Lata Mangeshkar and Laxmikant-Pyarelal. It’s an addict album. Unfortunately, the actual videos of the songs are not available.

Ajay Poundarik.


ENTHRALLING Lata Mangeshkar & Laxmikant-Pyarelal SATYAM SHIVAM SUNDARAM

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, Pyarelalstanding 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.

1 Satyam Shivam Sundaram …. (Singer Lata Mangeshkar) (Lyricist Pandit Narendra Sharma )

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.

4 Chanchal Sheetal Nirmal Komal …. (Singer Mukesh) (Lyricist Anand Bakshi)

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 HARMONIUM, 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.

7 Mein Kaise Use Pasand Karoon …. (Singers Lata – Nitin Mukesh)( Lyricist Anand Bakshi)

Magical composition with meaningful lyrics and melodious tune, as well. SYMPHONY style VIOLINS are excellently orchestrated in the  “interlude”.

8 Shree Radha Mohan …. (Singer Manna Dey) (Lyricist Pandit Narendra Sharma )

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.

Laxmikant-Pyarelal receiving Filmfare Trophy for “Satyam Shivam Sundaram” from Raj Kapoor. 

Satyam Shivam Sundaram is a soundtrack that shines more amidst Laxmikant-Pyarelal  many melody accomplishments.

Ajay Poundarik Avon, Cleveland (OHIO). USA.

V. SHANTARAM & Picturesquely and Rhythmically Dance-Musical with LAXMIKANT-PYARELAL and LATA MANGESHKAR

V. SHANTARAM’s Picturesquely and Rhythmically…Dance-Musical with LAXMIKANT-PYARELAL  and   LATA MANGESHKAR


To work with veteran Actor, Producer – Director, Dadasaheb Phalke Award winner  V. SHANTARAM used to be pride. He was a great connoisseur of the talent. He had an exceptional sensitivity for the music of his films. The quality of the songs and music for V. Shantaram film’s used to be unique and special. Music used to be the asset for his films.

It was not an easy job to enter into V. Shantaram Camp. He has his own choice of music directors which was limited to 2 to 3. Many BIG names of Music Directors of Forties, Fifties, Sixties and Seventies, could not get an opportunity, baring C Ramchandra and Vasant Desai,  to work with V. Shantaram.

It was in 1970..LAXMIKANT-PYARELAL got an opportunity to work for the first and last time for V Shantaram’s “classic” film “JAL BIN MACHHLI NRITYA BIN BIJLI”. V Shantaram was having lean period after two flops “ Sehra” and “ Boond Jo Ban Gayi Moti” and for  Laxmikant-Pyarelal  it was an opportunity to work with an critically acclaimed director – and to show their prowess in hitherto new field – a Dance Musical.  The outcome was fantastic.

Laxmikant, V. Shantaram, Lata Mangeshkar, Majrooh Sultanpuri and Pyarelal

Though  “JAL BIN MACHHLI NRITYA BIN BIJLI” was made under the big banner of V. SHANTARAM, but it has unknown/unpopular actor/actress. Performed by actress, terpsichorean Sandhya,  Abhijeet,  Vatsala Deshmukh, Iftekhar and Raja Paranjape. It was a non-starcast film. V Shantaram have made many memorable musical hit movies, in the past with no stars in the film.

Lavishly made film featured several superbly choreographed dances.

V. Shantaram used to have something new for his film. This time it was for the FIRST TIME FOR HINDI FILM MUSIC all the songs of this films were recorded in “”Stereophonic Sound System””.

Lata Mangeshkar has snug as many as FOUR solo songs in addition to TWO duets with Mukesh. Mukesh has sung one solo song, “taron ne saj ke” which became immensely hit.

If you look at this JBMNB Album, all the songs are composed in a different style. Each and every song have different compositions and ‘rhythm’ pattern, as well. The orchestra arrangements for all the songs is just mesmerizing. LAXMIKANT-PYARELAL, have synchronized as well overlapped  LATA MANGESHKAR’s voice in highly rich orchestra arrangements. In other words Laxmikant-Pyarelal opulently orchestrated Lata Mangeshkar‘s modulation. It is one of the finest musical album for the unique combo of Lata Mangeshkar and Laxmikant-Pyarelal.

V Shantaram’s wife SANDHYA, leading actress and coryphee,  have given the full justice to all the songs through brilliant gambols in all the songs. SANDHYAji herself have chreographed all the songs and all of them are unique.  

Pyarelal, Lata Mangeshkar, Actress Sandhya, V. Shantaram and Laxmikant

All the songs of JBMNB are written by Majrooh Sultanpuri.

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 write up, explaining peculiarities, for each of the songs, you will enjoy it, more.

1) MAN KI PYAS MERE MAN SE …Lata Mangeshkar

The “Prelude” of 28 seconds of santoor and flute is mind-blowing. Use of minimum musical instruments. Entire song is woven around the glimpses of FLUTE (played by Pt. Hariprasad Chaurasia) and SANTOOR (played by Pt. Shivkumar Sharma). Excellent “DHOLAK”/“tabla’ rhythm.


A song on “MAYUR DANCE”. One more gem of composition with different style.


When Actress SANDHYA ( wife of V SHANARAM )told Laxmikant-Pyarelal and MAJROOH to write the words, compose the song and the Rhythm by watching her dancing steps.

कजरा लगाके रे बिंदिया सजाके !! हो आई में तो आई रे आई लायी मोहे लायि मिलन धुन पिया की !!. .A long musical sitting was held between V. Shantaram, Actress Sandhya, Laxmikant-Pyarelal and Majrooh Sultanpuri. Actress Sandhya first demonstrated the dance steps, performed the full dance and then told Laxmikant-Pyarelal to prepare the tune and rhythm by watching her steps. It was a different and unique style to compose the song. BUT Laxmikant-Pyarelal along with LATA MANGESHKAR and Majrooh came out with an outstanding composition.A song on MAYUR DANCE. One more gem of composition with different style. FLUTE is prominently used in western style. Perhaps the longest “prelude” 3 minutes and 27 seconds of beautiful dance sequence. This song is a GEM. FLUTE and SANTOOR, VIOLIN, VIOLA and GUITAR are prominently used and synchronized as well as overlapped, in western style orchestra arrangements with different style of rhythm with DHOLAK. Also don’t forget to listen to the “postlude” of the song and “Mayur Dance”.

3) O MITWA O MITWA ..Lata Mangeshkar

Superb orchestration. “”CHURCH BELL”is brilliantly synchronized with LATA MANGESHKAR’s voice. In the second second “interlude” overlapping sound effect of “Church Bell” with Violins is worth to listen to. Please do not forget actress SANDHYA has danced this beautiful DANCE number with one leg.


What a composition and a melodious song. A completely different tune. What a voice control by Lata Mangeshkar and orchestra arrangements is just unparalleled!!!

5) BAAT HAI EK BOOND SI..Lata Mangeshkar & Mukes

Yet another variety of song a simple but melodious tune. The beauty of the song is it’s “Interlude”. It is full of SITAR, VEENA and GUITAR. Beautiful stereophonic effect.


Massive Orchestra. Once again brilliant orchestra arrangements, interlude, prelude and postlude is just mind-blowing. VIOLINS, VIOLA , GUITAR and FRENCH HORN are worth to listen to in the orchestra arrangements. BONGO DRUM “rhythm” is mesmerizes. Very very Melodious Song sung by Mukesh.An heavenly situation song echoed in universe. Song has beautiful filming and lovely dance by actress SANDHYA.

7) JHOOM KE GAYE AI DIL. Lata Mangeshkar & Mukesh

Folkish style composition with melody. “Prelude” / “Interludes” are full of sound of GHOOGROO BELLS as well as CHORUS are Simply best.

On the top of everything…the chemistry of Lata –  LP worked miracle.

“JAL BIN MACHHLI NRITYA BIN BIJLI”` is an immortal album, with some of the outstanding songs, perhaps one of the best of “unique” combo of Lata Mangeshkar and Laxmikant-Pyarelal. And it is a “must’ for all LP fans.

Ajay Poundarik Vadodara (Gujarat)

Laxmikant-Pyarelal / Raj Khosla Musical “ANITA” 1967. A “classic” Album.

Laxmikant-Pyarelal / Raj Khosla Musical “ANITA” 1967. A “classic” Album. 

1967 The Marathon Begins as Laxmikant-Pyarelal ascend the top. 10 films with all songs hit. In the wave of Laxmikant-Pyarelal’s 1967 musical hits like “Milan”, “Shagird”, “Pathar Ke Sanam”, “Farz”, “Night In London”, “Jaal” and “Taqdeer”, Raj Khosla’s “ANITA” was also found a special place, with decent songs which are still popular.

Famous Director Raj Khosla started his own Production Unit naming Raj Khosla Films through ANITA. It was a suspense thriller with very good music. It was star studded movie with Majoj Kumar and Sadhan in lead supported by I S Johar. 

Such was the “charm / craze” of Laxmikant-Pyarelal, in the mid 60s that Raj Khosla took them in “ANITA”,  despite the musical success of music director Madan Mohan with Raja Mehadi Aali Khan as the songwriter in his previous films (“Woh Kaun Thi” and “Mera Saya” ) and music director Ravi with the songwriter Shakeel Badayuni (“Do Badan”).   

Excellent lyrics by Raja Mehadi Ali Khan. Newcomer Laxmikant-Pyarelal justify the selection of Raj Khosla as a replacement of Madan Mohan saab. Sudden death of Raja Mehadi Ali Khan gave the full stop to the RMAK & LP’s rising partnership. 

BUT After this Raj Khosla utilised Laxmikant-Pyarelal for all his home productions and gave some memorable musical hits. ….”Do Raaste” 1969, “Mere Gaon Mere Desh” 1971, “Kuchche Dhaage” 1973, “Prem Kahani” 1975,”Main Tulsi Tere Aangan Ki”, 1979 and “Do Premee” 1980, “Dostana” 1980 etc. 

ANITA has six songs. Four are sung by Lata Mangeshkar and  Two by Mukesh. Actress Sadhana looks very pretty in all the songs.

 “तुम बीन जीवन कैसे बीता” (“Yaman Kalyan”) and “सामने मेरे सांवरिया” (“Bhairavi”) 

1) KAISE KAHOUN PREM KI MAIN BAAT ? ….Lata Mangeshkar. 

Listen to the excellent start, “prelude” of 38 seconds, DRUMS .. CLARINETS, GHUNGHROO then MANDOLIN (has been played brilliantly, 0.17 to 0.34) and CLAPPING with ‘male chorus”. Beautiful DHOLAK rhythm. In all the “ interludes” the RAVANHATTA (Rajasthani Violin, 1.18 to 1.22), MENDOLIN and VIOLINS are beautifully decorated in the orchestra. Actress Sadhna have well justified this song, perfectly dancing on the rhythm. Lataji variations in rendering is awesome. It was “Binaca Geetmala Hit” song. 


Elegant melodious song composed in Raag “Yaman Kalyan”………effectively sung by Mukesh ji ……deep touching lyrics. Simple ‘TABLA’ rhythm for mukhda and antara. Another beauty of this songs is a mellifluous SYMPHONY style orchestra arrangements with soft VIOLINS (no rhythm) in all the “interludes”. 


Extremely melodious song starts with Lataji’s mind-boggling AALAPS, HUMMING in ‘Bhairavi’ . Ear-Pleasing DHOLAK rhythm. First “Interlude” is orchestrated in SYMPHONY style VIOLINS intermixed with BIRD’s TWEETING. Second ‘Interlude’ is awesomely decorated with FLUTE. Third “interlude” starts with MRIDANG and ends with VIOLINS in ’SYMPHONY style. The magic number “Samne Mere Sawariya” beautifully shot with Sadhana walking the hills. 


Very Very Sweet Song. Mukeshji sounds simple and beautiful. Besides ‘romantic’ words this song has the “interludes” full of FLUTE, CLARINET and SAXOPHONE. 

5) KAREEB AAYE NAZAR …Lata Mangeshkar  

“Intoxicated” song. Wonderful composition in “Gazal” style, with melody, and DHOLAK rhythm. “Prelude” of 32 seconds and all the “interludes” are mellifluously orchestrated in SYMPHONY style, with soft VIOLINS and CELLOs. Lataji is simply superb. Actress Sadhanaji has acted very well in the song and she is looking “smoking hot”. 

6) HAI NAZAR KA ISHARA SAMBHAL .Lata Mangeshkar – Usha Mangeshkar

It was Raj Khosla’s magical filming that brought this song into limelight when other songs are prominently HIT. Later Raj Khosla used the same style of filming in “Mere Gaon Mere Dash” (hi sharmau kis kis ko batau). Prelude of 52 seconds in “Arabian” folkish tune is worth to listen to. This is the only song in the film written by Anand Bakshi. 

Laxmikant, Lata Mangeshkar, Pyarelal, Sadhana and Raj Khosla. 
The picture taken during song recording of “Samne Mere Sawariya”.

ANITA songs are addict songs, once you listen to, you would like to hear it again and again. It’s a slow poison. 

Ajay Poundarik, Vadodara (Gujarat)

Romantic Revolution with Melodious Music:: Raj Kapoor and Laxmikant-Pyarelal:: BOBBY

BOBBY 1973

Raj Kapoor is an undisputed legend in Bollywood cinema. An actor, producer, editor and director. He made a name for himself. After a disaster and failure of “Mera Naam Joker”..Raj Kapoor was looking to make a movie which would be blockbuster and will also bring back his “glory” as “SHOW-MAN”. He was desperate to make a “comeback”.

Cover Page of Long Playing Record of “Bobby” Background Music.
Pyarelal and Laxmikant

Although “BOBBY” was made under the big banner of RK films, but it was a non-starcast movie. It was the start of Rishi Kapoor as a ‘hero’. Dimple Kapadia was also new and very fresh looked. Not only that, during the “peak” era of the male singers like “Kishore Kumar”, “Mohammad Rafi” and “Mukesh” two new male singers, Shailendra Singh and Narendra Chanchal were introduced.

Even new song writers Rajkavi Indrajitsingh Tulsi (‘beshaq mandir masjid todo’) and  Shri Vitthalbhai Patel (‘na mangu sona chandi’ and jhooth bole kauwa kate‘) were introduced. 

INDDED A CHALLENGE for Laxmikant-Pyarelal to show their very best output. 

Laxmikant-Pyarelal working first-time with Raj Kapoor. Laxmikant-Pyarelal already maintaining number 1 music director position since 1967, they outdid themselves, further with the “massive” popularity of the “BOBBY’ songs. 

The music of “BOBBY” was like a storm in the year 1973 and 1974. The film’s success was solely carried away by it’s melodious and massively popular music.  All songs have been decorated with  RICH,  MELLIFLUOUS and POWERFUL orchestra arrangements.

Not only the songs but also it’s BACKGROUND MUSIC was extremely melodious and romantic. It flows with the theme of the film.

Raj Kapoor and HMV released the Long Play and EP records of the songs of “BOBBY” in July, 1973, five months before the release of the film. By the time of the films release in November, 1973 all the songs became immensely popular, wherever you go in India you hear only BOBBY songs. Thus all the songs became the “crowd puller” into a cinema hall. 

It was an unimaginable popularity of the songs of “BOBBY”..

Let us review all the songs.

Lata Mangeshkar has sung as many as five songs.

Pyarelal (second from left), Shailendra Singh, Dimple Kapadia, Raj  Kapoor, Lata Mangeshkar, Laxmikant and Rishi Kapoor at the recording of “Bobby” song. 

“BOBBY’ is an example of a ’SOUNDTRACK’ better than the “BOBBY” Film itself. Laxmikant-Pyarelal’s music really came to rescue Raj Kapoor and RK Films.

The orchestra arrangements in “Preludes” and “Interludes” used to be the assets of the songs composed by Laxmikant-Pyarelal.  Listen to the songs, listed below, after reading the write up, explaining peculiarities, for each of the songs you will enjoy it, more.

1) MAIN SHAYAR TO NAHIN ..Shailendra Singh.. (Songwriter Anand Bakshi)

“WALTZ” Style composition, The WALTZ style (rhythm) of composition is originated in 16th century. “WALTZ” is a ballroom folk dance from Vienna, AUSTRIA. Laxmikant-Pyarelal have mellifluously decorated the WALTZ style orchestra for this lovely song. Use of VIOLINS, IRANI SANTOOR, GUITAR, ACCORDION as well as VIOLA are brilliantly executed in the “prelude”, all the “interludes” and also in “postlude”…Rishi Kapoor and Aruna Irani can be seen dancing in waltz style, specially in the “interludes, in the song. Brilliantly filmed by Raj Kapoor as a director.

2) HUM TUM EK KAMARE MAIN..Lata Mangeshkar – Shailendra Singh.(Songwriter Anand Bakshi)

Mesmerizing Orchestra arrangements with Toe Stepping Rhythm (Synchronized and intermixed with IRANI SANTOOR, ACCORDION and BONGO DRUMS). Very Simple Words”””Hum Tum Ek Kamare Main” with an enrich orchestra arrangement. SAXOPHONE, FRENCH HORN, ACOUSTIC GUITAR, VIOLA, VIOLINS, MOUTH ORGAN etc are mellifluously executed in all the interludes. The song start with “zero” prelude.  After …”Hum Tum”,,the “rhythm” starts….with Accordion, Irani Santoor and Bongo Drums…..all the three interludes have different tunes, all the three “mukhadas” are different from each other. You cannot enjoy this song without the “”ORIGINAL”” Orchestra. One of the finest composition, from Laxmikant-Pyarelal, in terms of orchestra arrangements.

3) MUZE KUCHH KEHANA HAI ..Lata Mangeshkar – Shailendra Singh (Songwriter Anand Bakshi)

A chirpy duet song. An off-beat composition, excellent singing and amazing orchestra conduction. Use of VIOLA, CELLO, IRANI SANTOOR and VIOLINS are beautifully executed in all the “interludes”. How romantically sang by Lataji by changing style of voice. A different type of ‘rhythm”, in western style.

4) JHOOTH BOLE KAUWA KATE…Lata Mangeshkar – Shailendra Singh (Songwriter Vitthalbhai Patel)

A great “dance” number and also one of the most popular song, moulded in typical LP style ‘DHOLAK’ rhythm. Additional features of the song is “pauses” given in the song.

5) NA MANGU SONA CHANDI ..Manna Dey – Shailendra Singh. (Songwriter Vitthalbhai Patel)

Based on “Goa” folk tunes this song starts with an excellent “Prelude” of 54 seconds. All BRASS instruments, GUITAR, ACOUSTIC GUITAR, solo VIOLIN, are wonderfully played in the orchestra.

6) BESHAQ MANDIR ..Narendra Chancel. (Songwriter Rajkavi Indrajitsingh Tulsi)

Amazing word lyrics and voice, A killer combination. Punjabi traditional rendering by Narendra Chanchal.

7) AI PHASA ..Lata Mangeshkar (Songwriter Anand Bakshi)

Heart Touching Song excellently snug by Lataji. Typical Punjabi style “DHOLAK” rhythm. Different type of rhythm is used in the “interludes”.

8) AKHIYON KO REHANE DO…..Lata Mangeshkar. (Songwriter Anand Bakshi)

Lata’s classic on “punjabi folk” tune. Wonderful rhythm.

Laxmikant-Pyarelal and Raj Kapoor’s “BOBBY” and it’s ‘Soul Of Bobby’, 1973.

It is rarest of rare occasion when the Long Playing Record has been released for any of the film’s background music. Likewise “Bobby” songs which took the nation like a ‘storm’, its background music was also extremely melodious and flows with the romantic sequences. Raj Kapoor insisted HMV to release the Long Playing record of the background music of “Bobby”.

PLEASE ! Don’t forget to listen to what Raj Kapoor says about This Long Playing record…(in the following link, at 01.39 onwards ).



I am deeply into Hindi Film Music since 1963, I have never-ever witnessed the GIANT popularity of all the songs of a particularly film which BOBBY music have obtained.  Till date music of BOBBY remains on TOP of the chart in terms of popularity. 

It rocked the Bianca Geetmala for two successive years.

It is unfortunate that “BOBBY” music did not get a award. Bobby won the filmfare awards for the actor Rishi Kapoor, actress Dimple Kapadia, Raj Kapoor for best direction, male singer, Narendra Chanchal and best sound.

Ajay Poundarik Vadodara (Gujarat)

Yash Chopra’s “DAAG” 1973, FIRST Super Duper Musical Hit Film.

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. 

((Yash Chopra with Laxmikant-Pyarelal during the Golden Disc Ceremony of Subhash Ghai’s musical hit “HERO” in 1983.))

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 and 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.

An outstanding/evergreen/ever-fresh music of ”Daag” is still popular. 

Let us review the songs..

The orchestra arrangements in “Preludes” and “Interludes” used to be the assets of the songs composed by Laxmikant-Pyarelal.  Listen to the songs, listed below, after reading the write up, explaining peculiarities, for each of the songs you will enjoy it.

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 and 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 – Kishore Kumar

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 and 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 Kishore Kumar – 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 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 the BEST and top sellers. As on Today, 46 Years Old Songs are still popular.

Ajay Poundarik 

“Mere Hamdam Mere Dost” ELEGANCE of Laxmikant-Pyarelal

“MERE HAMDAM MERE DOST” …Laxmikant-Pyarelal’s “classic” albums::

!!! हुई शाम उनका ख़याल आ गया !!!..


An outstanding musical album from the legends Laxmikant-Pyarelal and Majarooh Sultanpuri. As many as “ 7 SOLO”” songs….4 lovely, melodious solo songs by Lata Mangeshkar and 3 mellifluous solo sung by Mohammad Rafi. 

The film was directed by Amar Kumar, starring Dharmendra – Sharmila Taigore and Mumtaz. 

Laxmikant-Pyarelal were in supreme form in 1967/68. Whatever Laxmikant-Pyarelal composed used to become popular and hit. MERE HAMDAM MERE DOST is one of the best musical album, ever-fresh, ever-green. The songs are popular even today. Almost all the songs are melodious and sweet and are beautifully decorated with wonderful orchestra arrangements. Let us review the songs. All the songs of this film are written by Majarooh Sultanpuri. 

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


“Prelude” is full of VIOLINS and SAXOPHONE, beautiful “pause” at the start…The way Lataji sings the words.. “Chalo oooo….” and ‘laga kar muze ‘’’gale ..eee”””………is the ‘beauty’ of romantic rendering. First “interlude” full of SANTOOR and later with VIOLINS just brilliant. Second “interlude” starts with SAXOPHONE. VIOLINS are overlapped with the sound of SANTOOR. Third “interlude” starts with VIOLINS and ends with FLUTE. Not to forget about different type of DHOLAK rhythm…and “pause” by Lataji at the end.

2) HUI SHAM UNKA KHAYAL ..Mohammad Rafi

“Prelude” is full of SAXOPHONE and PIANO with other western instruments, sets the mood of the song. A mesmerizing composition and mellifluous orchestra arrangements. Entire song is woven around the glimpses of SAXOPHONE, ACOUSTIC GUITAR & CLARINET. In all the “interludes”. Overlapping sound effect of SAXOPHONE/CLARINET with PIANO is just brilliant. VIOLA , GUITAR, CELLOS & VIOLINS are also brilliantly executed in entire song. Another beauty of the song is it’s “ rhythm” DHOLAK / TABLA are used only in “antara”…all the “interludes:” are without any rhythm but just ear-pleasing. An addict song for me. One of the finest composition from Laxmikant-Pyarelal …MOHAMMAD RAFI is simply outstanding.

3) ALLHA YE ADA KAISI HAI … Lata Mangeshkar

This is ‘’QAWWALI” sung by Lataji. Amazing work on “rhythm” .. “DHOLALK”, “TABLA” and the “CLAP”. The song is full of variation in all aspects, second stanza is on fast track..Mumtaz has justified the song by dancing on the rhythm. Wonderful song. 

4) CHHAKAYE JAAM .. Mohammad Rafi

“Prelude” of 20 seconds full of ACOUSTIC GUITAR and VIOLINS with sounds of ‘glass”, sets the mood of this intoxicated song sung by raft sab. It has BONGO Drums on “rhythm”. ACCORDION is wonderfully played “(stroked)’ as a ‘filler’ in between the song. All the interludes are nicely orchestrated with SYMPHONY style, use of ACCORDIONS, VIOLINS and SAXOPHONE ( in second interlude ) is mind-boggling. 

5) HUME TO HO GAYA HAI PYAR..Lata Mangeshkar

Cabaret style composition, peppy song. Beautifully composed and orchestrated with BONGO DRUM “rhythm”. Use of GUITAR in all the “interludes” and “filler” is ear-pleasing. Mumutaz daces perfectly. 

6) NA JA KAHIN AB NA JAA..Mohammad Rafi

Romantically sung and composed an addict song. “Prelude” is full of Rafi sab’s ‘humming’ and VIOLINS. The entire song is composed on the western style rhythm created on ACOUSTIC GUITAR. In all the ‘interludes’ .ACCORDION, BASS GUITAR and VIOLINS are beautifully executed without changing the rhythm. 

7) TUM JAO KAHIN, HAMANE TO KIYA …Lata Mangeshkar. 

Beautiful melody in typical LP style rhythm with wonderful orchestration on all the “interludes”. 

MERE HAMDAM MERE DOST is rarest of rare musical film by Laxmikant-Pyarelal which could not do any magic at the box office. Even presence of BIG stars Dharmendra/Sharmila Taigore/Mumtaz could not do anything. But the songs “clicked” and are still POPULAR.  

Ajay Poundarik
Atlanta (Georgia)