Lilting Confederation :: RAJSHRI Productions with LAXMIKANT-PYARELAL

Lilting Confederation :: RAJSHRI  Productions with LAXMIKANT-PYARELAL

By scoring a fascinating music for their very first film “Parasmani” (1963), Laxmikant-Pyarelal made a astounding debut in Hindi Film Music.

35 years of uninterrupted, shimmering, successful tenure in Hindi Film Music, Laxmikant-Pyarelal have witnessed many long-lasting as well as fruitful partnerships with many filmmakers. The duo’s first such partnership was with Tarachand Barjatya, the owner of Rajshri Productions.

The association of Laxmikant-Pyarelal and Rajshri Productions started in 1964 and lasted till 1972. Most of the film were made in low budget with no-starcast. BUT all of them have extremely melodious music.  

Dosti (1964)

Taqdeer (1967)

Jeevan Mrityu (1969)

Uphaar (1970)

Piya Ka Ghar (1972)

Laxmikant-Pyarelal  never disappointed Rajshri Films. The songs of the above films are still popular. It is to be noted that the music of Dosti gave a name and fame to both Rajshri Films and Laxmikant-Pyarelal.

DOSTI   (1964)

Laxmikant-Pyarelal Celebrating “Dosti” Success.

“DOSTI”, released around the Diwali of 1964.  It was Rajshri Films Second Film. During those time (early sixties) Rajshri Films were operating from Madras, now Chennai. Relatively new in the film production, Producer Tarachand Barjatya of Rajshri Films wanted to established in the film industry.

This non-starcast, black and white film was directed by well known Director Satyen Bose.

Most of the prominent music directors of that time refused to score the music for this film as there was no star cast (two teenage unknown actors) and also they feel there was nothing in the film to compose the songs for Blind and Physically Disabled Children. But Laxmikant-Pyarelal took up the challenge and the film music became a History.

Songs the film Dosti  became a rage throughout the nation and continue to be played till today. Laxmikant-Pyarelal also proved that the songs of their earlier films, “Parasmani”, “Harishchandra Taramati”, “Aaya Toofan”, “Sant Gyaneshwar” and “Sati Savitri” was not a fluke.

DOSTI music put Laxmikant-Pyarelal in top music directors rank and made them a household name in the Indian film industry.

DOSTI was nominated for 7 categories for filmfare award and went on to win 6 filmfare award trophies.

Best Picture – Tarachand Barjatya

Best Story – Ban Bhatt

Best Music – Laxmikant Pyarelal    (winning their First Filmfare Trophy)

Best Lyrics – Majrooh Sultanpuri    (winning his First Filmfare Trophy)

Best Playback Singer Male – Mohammed Rafi

Best Dialogue – Govind Moonis

— Chahunga Main Tujhe Saanjh Savere  .. Mohammad Rafi

— Mera To Jo Bhi Kadam Hai  .. Mohammad Rafi

— Koyi Jab Raah Na Paye  .. Mohammad Rafi

— Rahi Manwa Dukh Ki  Chinta .. Mohammad Rafi

— Gudiya Humse Roothi Rahogi  .. Lata Mangeshkar and

Janewalo Jara Mudke Dekho Mujhe.. Mohammad Rafi

Touching song with such message to all ……reminder for humanity & peace. Mind-Boggling take off by Rafi Saab, at end of ‘prelude’ (MOUTH ORGAN), with ‘aalap’ synchronised with SYMPHONY VIOLINS.  MOUTH ORGAN ( played by late R D Burman) is brilliantly orchestrated in all the first ‘interlude’ with VIOLINS. Second and third “interludes” brilliantly decorated with SYMPHONY style and GUITAR. It has a wonderful DHOLAK rhythm.

All the songs of “Dosti” are written by Majrooh Sultanpuri.

TAQDEER (1967)

“TAQDEER”, The story is about the music teacher so Music has to be the best. It was directed by A. Salam.  A clean film that highlights the bonding among the family members. This non-starcast, black and white film was supported with Bharat Bhushan, Shalini, Farida Jalal, Kamal Kapoor, Dilip Dutt and Subhash Ghai  (making debut, as an actor).

Glorious era of good acting, singing and music. Movie making then was an art and social responsibility and not just commerce. There was nothing like promotion or launch of a movie. It was done through the advance music on the Radio. The melodious songs became popular. Many songs of Taqdeer are still can be heard.

Laxmikant-Pyarelal utilized as many as eight singers, introducing Sulakshna Pandit, Ila Desai, Meena Patki and Usha Timothy. It adds value, when PYARELALji himself playing solo VIOLIN in all the versions of  the famous song ‘Jab Jab Jab Bahar Aayee’.

— O Dilwalo Matwalo  .. Mohammad Rafi

— Saat Samundar Paar Ke ..  Lata Mangeshkar-Sulakshana Pandit-Ila Desai-Meena Patki

— Mujhe Bhool Jaana ..  Mohammad Rafi

— Jab Jab Bahar Aayee  .. Usha Mangeshkar, Usha Timothy, Mahendra Kapoor

— Aaiye Bahar Ko Hum Baat Le ..  Lata Mangeshkar (Subhash Ghai dancing )

— Jab Jab Bahar Aayee  .. Lata Mangeshkar

— Kaise Koi Jane Bhala ..  Mohammad Rafi

— O Dilwalo Matwalo ..  Mohammad Rafi

Jab Jab Bahar Aayee  ..  Mohammad Rafi

An extremely melodious song, one of the most lovable song from the combo of Rafi-LP. Entire song is orchestrated by using PIANO and solo VIOLIN (played by Pyarelalji himself). It  has mellifluous DHOLAK/TABLA rhythm.

All the songs of ‘Taqdeer” are written by Anand Bakshi.

JEEVAN  MRITYU (1970)

“JEEVAN MRITYU” was made from famous English novel “ The Count of Monte Cristo”. The Whole movie relies on Dharmendra’s performance. The direction by Satyen Bose is excellent. However the central characters played by dharmendra is not the usual dharmendra playing action hero in other films.

Actress Rakhee made her debut in this film.  Jeevan Mrityu, a huge hit movie of it’s time, will always be remembered as one of the finest offerings from the house of Tarachand Barjatya, known to give quality films that could be viewed by the entire family.

The film has  three songs, including one ‘thumri’ and all are euphonious as well as memorable.

— Jhilmil Sitaron Ka Aangan Hoga  .. Lata Mangeshkar

— Zamane Mein Aji Aise Nadan Hote Hai  .. Lata Mangeshkar (Thumri)

Jhilmil Sitaron Ka Aangan Hoga  ..  Mohammad Rafi – Lata Mangeshkar

‘Prelude’ of 26 seconds is awesomely orchestrated with FLUTE and Rafi Sahab’s HUMMING, synchronised with Symphony style VIOLINS and than SANTOOR. All the ‘interludes’ are mellifluously instrumented, with different tunes, by using FLUTE, VIOLINS in Symphony style, SANTOOR as  well as Lataji;s AALAPS. An immortal Lata-Rafi duet. 

UPHAAR  (1971)

“UPHAAR” released in December, 1971, was produced by Rajshri Productions, Tarachand Barjatya, now BIG name, directed by Sudhendu Roy. It was based on a story by Rabindranath Tagore.

Uphaar is one wonderful film relating the story of a young village girl who is still a little kid by heart. It has too unknown actors and actress. Jaya Bhaduri was not star then, it was her second film after “Guddi” (October,, 1971).  Swaroop Dutt was new /unknown hero.

Music and the songs flows with the theme of the story of the film.

Laxmikant-Pyarelal were in transcendent form in early seventies. All of the Uphaar songs are written by Anand Bakshi and are extremely melodious, different type of compositions, still refreshing. A must Album for all  music lovers.

— Majhi Naiyya Dhoondhe Kinara  .. Mukesh

— Main Ek Raja Hoon  .. Mohammad Rafi

— Haathon Mein Mehndi ..  Lata Mangeshkar

Suni Re Nagariya Suni Re Sejariya  .. 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 LP..This  song proves that.

PIYA  KA GHAR   (1972)

“PIYA KA GHAR”, inspired from famous  Marathi film “Mumbaicha  Jawai”,  was directed by Basu Chatterjee who made his debut as a director through this film.. 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 Dhawan who was still struggling.

Piya Ka Ghar have four excellently composed sweet and melodious songs. Three of the songs are filmed in the background. The “theme” song ‘yeh jeevan hai, is jeevan ka’ flows with the story of the film and it is the song of everybody’s choice. One of the best from the combo, Kishore Kumar and Laxmikant-Pyarelal, which has 402 songs.

— Bambai Shahar Ki Tujhko .. Kishore Kumar

— Yeh Jeevan Hai, Is Jeevan Ka  .. Kishore Kumar (top hit songs)

— Yeh Zulf Kaisi Hai ..  Lata Mangeshkar – Mohammad Rafi

Mere Piya Ka Ghar Hai .. Lata Mangeshkar

Powerful and touching words. Beautifully orchestrated with mellifluous DHOLAK  rhythm. FLUTE, SAXOPHONE, VIOLINS are also wonderfully decorated in all the interludes. Lata sounds extremely sweet.

It is unfortunate that Piya Ka Ghar ends the musical association of Rajshri Films (Tarachand Barjatya) and Laxmikant-Pyarelal. It lasted for eight and half years and have given some of the outstanding musical hit films.

Ajay Poundarik

Champion Triumvirate Of Musical Hit Films J Omprakash & Laxmikant-Pyarelal

Champion Triumvirate Of Musical Hit Films   J Omprakash & Laxmikant-Pyarelal

Honestly speaking Laxmikant-Pyarelal’s music / songs used to become extremely popular prior to the release of the films. Any single HIT song would help the movie to become super hit. In other words, Laxmikant-Pyarelal’s music / songs used to be one of the “stars” of the film. That is why Laxmikant-Pyarelal became the first choice for any producer and directors..

Laxmikant-Pyarelal The First Choice for all:-

Music of Parasmani, Harishchandra Taramati in 1963, Sant Gyaneshwar, Dosti, Sati Savitri, Mr X In Bombay, Aaya Toofan, in 1964, Shreeman Fantoosh, Hum Sab Ustad Hai, Lootera, in 1965, Dillagi, Aasra, Mere Lal in 1966 etc became popular. Music of “Dosti” put Laxmikant-Pyarelal in the top music directors rank. 

In the second half of the sixties (after 1965), Laxmikant-Pyarelal became the household name in hindi film music. It was like a TSUNAMI of songs from Laxmikant-Pyarelal and were primarily responsible for eliminating the dominance of the older music directors. Many big names in film making started replacing their regular music directors and preferred Laxmikant-Pyarelal. 

Laxmikant Pyarelal with Dharmendra, Raj Kapoor & J Om Prakash, Mohan Saigal

Producer/Director C V Sridhar was the first to replace Shankar-Jaikishan (“Dil Ek Mandir”) and signed Laxmikant-Pyarelal for his next film “Pyar Kiye Jaa”, released in 1966. In the same year another big name in film making, J. Om Prakash, replaced Shankar-Jaikishan (“Aas Ka Panchhi”, 1961 and “Aayee Milan Ki Bela”, 1964) and signed Laxmikant-Pyarelal for “Aaye Din Bahar Ke”, starring Dharmendra – Asha Parekh, 1966. Musical Hit film “Aaye Din Bahar Ke” became the first film of Laxmikant-Pyarelal, with big ‘stars’. 

The long lasting association of J Om Prakash with Laxmikant-Pyarelal started in 1966 through the musical hit “Aaye Din Bahar Ke” and lasted, 22 years, till “Agnee” 1988.  

J Om Prakash has made a total of 23 films of which 12 films have the music by Laxmikant-Pyarelal. Most of the films involving the Triumvirate, are musical hits. 

J. Om Prakash’s Film’s Names Always Starts With Word  A, अ, आ 

J Omprakash & Laxmikant-Pyarelal Films:– 

Aaye Din Bahar Ke 1966

Aaya Sawan Jhoom Ke 1968

Aan Milo Sajana 1971 

Aakraman 1975

Aashiq Hoon Baharon Ka 1977

Apnapan 1977

Aasha 1979

Aas Paas 1981

Apna Bana Lo 1982

Arpan 1983 

Aap Ke Saath  1986

Agnee 1988

Binaca Geetmala:-

Many songs from almost all the films of this triumvirate did appear in the weekly countdown program. But in the final total 13 numbers of Binaca Geetmala final songs of J Om Prakash with music by Laxmikant-Pyarelal, appeared in Binaca Geetmala annual programm. 

1) Achchha To Hum Chalate Hai..Lata-Kishore.. ”Aan Milo Saja” Number – 2, 1971

2) Aadmi Musafir Hai..Lata-Rafi.. ”Apanapan” Number – 2 , 1978 .                                                                                           

3) Sheesha Ho Ya Dil..Lata. ”Asha” Number – 3, 1980

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.

All The Songs Are Written By ANAND BAKSHI. 

Aaye Din Bahar Ke     1966

This film was Laxmikant-Pyarelal’s first film with Big Stars. DharmendraAsha Parekh. The film was a musical hit. All the songs are melodiously composed. This film was the beginning of a long lasting association / partnership with JOP/LP.

-Ai Kash Kisi Deewane Ko…(Lata-Asha)

-Ye Kali Jab Talak…(Mahendra Kapoor – Lata)

-Phoolon Se  Mukhde Wali…(Rafi)

-Mera Mehaboob Hai Bemisal…(Lata)  

-Mere Dushman Tu Meri Dosti Ko Tarse  …(Rafi)

-Suno Sajna Papihe Ne    (Singer Lata Mangeshkar)

Mesmerizing ‘prelude’ of 25 seconds starts with Birds TWEET and Lataji’s AALAPS. Beautiful take off rendering सुनो सजना पपीहे ने। First ‘interlude’ is awesomely orchestrated with SANTOOR (Played by Pandit Shivkumar Sharma), FLUTE (Played by Pandit Hariprasasd Chaurasiya) and VIOLINS.  Second and third ‘interludes’ also orchestrated with  SITAR, FLUTE and VIOLINS but in different notes. It has an excellent DHOLAK / TABLA ‘rhythm. Another beauty of the song is “PAUSE”..enjoy it at the end of each ‘antara’.

Aaya Sawan Jhoom Ke   1968

Another musical hit, once again Dharmendra-Asha Parekh in the lead role. 

-Badra Chhaye, (title song)…(Lata-Rafi)

-Ye Shama To Jali…(Rafi)

-Bura Mat Suno…(Rafi)

-Majhi Chal O Majhi Chal (Rafi)

-Rama Duhai…(Lata)

-Main Ek Haseena…(Asha).

-Saathiya Nahi Jana        (Singer Lata Mangeshkar-Mohammad Rafi)

This melodious romantic duet starts with zero prelude. Beautiful ‘punjabi’ folkish style composition. Interludes are mellifluously orchestrated with FLUTE, VIOLINS, SANTOOR and SITAR with different tunes. Third interlude has additional instruments SHEHNAI / NADASWARAM. An accordant DHOLAK / TABLA rhythm  

Aan Milo Sajana     1971 

Third successive musical hit from the the triumvirate of J Om Prakash and Laxmikant-Pyarelal. It has Rajesh Khanna – Asha Parekh – Vinod Khanna in the lead role.

— Achha To Hum Chalte Hai …. Kishore-Lata    (The most popular song )

— Jawani O Deewani Tu Zindabad …. Kishore

— Tere Karan Mere Sajan …. Lata  

Falak Se Tod Ke Sitare Log Laye Hai …. Rafi        

– Palat Meri Jaan …. Asha Bhosle

Ab Aan Milo Sajna      (Singer Lata Mangeshkar- Mohammad Rafi).                                              Once again ‘punjabi’ folkish style composition. The Super En-Rich Orchestra. The song starts with an ensorcelling ‘prelude’ of MATAKI, mixed with GHUNGROO BELLS, Rafi’s TAAN and a stupefying display of SITAR (Played by Ustad Rais Khan). Interludes are orchestrated with FLUTE, VIOLINS and SHEHNAI / NADASWARAM. In addition to SANTOOR, FLUTE, the CHORUS sound is the second interlude beautifully instrumented. Third interlude will hypnotize the listeners with the CLAPPING ( ताली ) used with DHOLAK / TABLA  in the ‘rhythm’. Another beauty of this song is TAAN rendered by Rafi sab and Lata ji, in all “mukhadas” and the ACOUSTIC GUITAR and CHORUS used as a filler. Finally the postlude is awesomely instrumented. The song is excellently filmed in the village location. 

Aakraman      197

Rajesh Khanna-Sanjeev Kumar-

Fauji Gaya Jab Gaon Mein….(Kishore)

Dekho Veer Jawano …(Kishore)

Wo Ek Haseen Ladki …(Kishore)

-Yeh Mousam Aaya Hai     (Singer Lata Mangeshkar-Kishore Kumar)

Mellifluently orchestrated ‘SYMPHONY’. Mind-Boggling prelude of 48 seconds, full of SYMPHONY orchestra starts with FLUTE, enthralling take off of VIOLINS, at 06.  VIOLINS, CHURCH-BELL, CELLOs are awesomely overlapped with male CHORUS sound. And what a take off, through AALAP by Kishoreda, at 0.32, synchronizing with the sound of CHURCH-BELL. Beautiful start by Kishoreji ये मौसम आया है…at 0.48. At 1.24 Kishoreji’s rendering is wonderfully surrounded by symphony VIOLINS. Throughout the song, the surround sound of VIOLINS is mellifluously orchestrated. Interludes also have a SITAR display intermixed with VIOLINS. Lataji enters after two ‘mukhadas’. Third There is singing as well as ‘rhythmic’ ‘pause’ in all the ‘antaras’..Third interlude is Lataji’ AALAPS synchronized with VIOLINS.  Her singing is awesomely overlapped by chorus, at the end. 

Apnapan     1977

Jeetendra – Sulakshna Pandit

-Is Duniya Mein Jeena Hai    Lata Mangeshkar – Kishore Kumar

-Somwar Ko Hum Mile …     Sulakshana Pandit  – Kishore Kumar

Aadmi Musafir Hai ….(Singer Lata Mangeshkar- Mohammad Rafi)

One of the most popular song giving preaching. Beautifully penned by Anand Bakshi. 32 seconds of ‘prelude’ is composed by GHUNGROO BELLS, VIOLINS and HARMONIUM.The ‘rhythm’ has DHOLAK synchronized with GHUNGROO BELLS.Interludes are instrumented with SANTOOR, FLUTE, CLERANATE, VIOLINS and HARMONIUM. Song is filmed on Sudhir Dalvi and Nivedita Joshi. 

Aashiq Hoon Baharon Ka     1977

It was an average hit with some melodious songs. Rajesh Khanna Zeenat Aman

– Tera Dil Kya Kehta Hai ….Kishore

– Mashriq Mein Jo Aaye….Kishore

– Mere Gore Gaalon Ka….Lata

– Main Ashiq Houn Baharon  Ka….Kishore

– I am In Love You Are In Love       (Singer Lata Mangeshkar-Kishore Kumar)

Melodious duet.  38 seconds of ducet  “prelude” starts with GUITAR synchronised with MOUTHORGAN and Lataji’s AALAPS.  Lataji’s awesome take off at 1.37. आय ऍम इन लव ssss         यु आर इन लव sssss. 19 seconds (1.54 to 2.13) of singing ‘pause’ filled with resonant  “orchestra”, ACOUSTIC GUITAR, ‘finger pinch’, CLAPPING ( ताली ), mesmerizes the listeners. BRASS instruments withVIOLINS are orchestrated in the first interlude. Second interlude is full of ACCORDION, MOUTHORGAN, SANTOOR, MANDOLIN, BRASS instruments and VIOLINS. Third interlude is full of VIOLINS, ACCORDION,  Lataji’s AALAPS. The song has the tuneful “rhythm” of BONGO DRUM synchronised with DAF.  

Aasha         1979   

Musical hit. Jeetendra-Reena Roy-Rameshwari. 

Sheesha Ho Ya Dil Ho….Lata  (Top Hit Song)

Dhak Dhak Se Dhadakna ….Rafi

Tune Muze Bulaya….Rafi – Asha – Chanchal

Jane Hum Sadak Ke ….Rafi

Aashaon Ke Sawan Mein.  (Singer Lata Mangeshkar- Mohammad Rafi)

Mellifluous duet. Extremely melodious song. Tuneful ‘rhythm’. Awesomely orchestrated with VIOLINS, ACCORDION and CHORUS.  The best part of this song is the ‘OVERLAPPING’ singing / rendering of Lata Mangeshkar – Mohammad Rafi as well CHORUS. Filmed on Jeetendra and Reena Roy. 

Sheesha Ho Ya Dil Ho (Singer Lata Mangeshkar)

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

Aas Paas     1981

Dharmendra-Hema Malini starer yet another musical hit. 

Humko Bhi Gham Ne Mara…..Lata

Mein Phool Bechti Hoon...Lata

Shehar Mein Charcha Hai…Lata-Rafi

Tu Kahin Aas Paas Hai Dost…..Rafi (Rafi’s last song of his career)

Dariya Mein Phenk Du Chabi    (Singer Lata Mangeshkar-Kishore Kumar)

Typical Laxmikant-Pyarelal flavored sweet as well as melodious duet. 

Arpan     1983

Jeetendra-Parveen Babi-Reena Roy. 

Pardes Ja Ke Pardesiya …(Lata)

Tauba Kaise Hai Nadan ….(Lata)

Mohabbat Ab Tijarat …(Anwar)

Teri Meri Shadi Hogi ..(.Lata-Kishore)

Likhane Wale Ne Likh Dale   (Singer Lata Mangeshkar-Suresh Wadkar)

Wedding song, Punjabi’ flavored ‘folkish’ song.  An extremely melodious duet. ‘Punjabi’ flavored 60 seconds of euphonic ‘prelude’ of DHOLAK rhythm, MANDOLIN, SHEHNAI / NADASWARAM, CLAPPING, (ताली) CHORUS enthralls the listeners. Interludes are aslo decorated by using above mentioned musical instruments. Filmed on Sudhir Dalvi and Parveen Babi. 

Ajay Poundarik, Atlanta (Georgia) USA. 7th April, 2020.

Nationalistic Manoj Kumar & Canorous Laxmikant-Pyarelal

Nationalistic Manoj Kumar & Canorous Laxmikant-Pyarelal

Dada Saheb Phalke Award Winner Manoj Kumar started his film career in 1958 with a small role in “Fashion” released in 1957. In the year 1960 Manoj Kumar got the leading role in “Kaanch Ki Gudiya”.

Manoj Kumar’s image as the patriotic hero started with the film “Shaheed” released in 1965. The film story was based on Bhagat Singh, the independence revolutionary. Former Prime Minister Shri Lal Bahadur Shastri asked Manoj Kumar to make a film on his popular slogan  “Jai Jawan Jai Kisan” (hail the soldier, hail the farmer). Honoring the Prime Minister’s request, in 1967 Manoj Kumar made the film “Upkar”. He became Actor/Producer/Director/Editor.

Manoj Kumar’s association with music directors Laxmikant-Pyarelal started from the film, produced by A G Nadiadwala, directed by Raja Nawathe,  “Patthar Ke Sanam”, 1967. It was a musical blockbuster film, starring Manoj Kumar, Waheeda Rehman and Mumtaz. 

In 1967 yet another musical hit film, Manoj Kumar – Sadhana starrer, producer / director Raj Khosla’s maiden film,  “Anita” was released.  

Such was the “charm / craze” of Laxmikant-Pyarelal, in the mid 60s that Raj Khosla took the duo 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”). 

Manoj Kumar and Laxmikant-Pyarelal were associated with a total of 10 films, including 4 films as a Producer / Director, from 1967 to 1999. 

Naushad shaking hands with Manoj Kumar. Pyarelal and Laxmikant.

In 1972, Manoj Kumar took an unpalatable decision when he signed, in form music directors Laxmikant-Pyarelal for “Shor”, leaving behind music directors Kalyanji-Anandji who scored excellent music in Manoj Kumar’s earlier films like “Upkar” 1967 and  “Purab Aur Paschim”,1970. 

List of the films Writer/Editor/Producer/Director/Actor Manoj Kumar associated with the music director Laxmikant-Pyarelal. Almost all the films have excellent music, except “Jai Hind”. 

1    Patthar Ke Sanam  1967

2    Anita   1967

3    Sajan    1969

4    Shor   1972       

5    Roti Kapda Aur Makaan   1974

6    Dus Numbri    1976

7    Kranti      1981

8    Santosh    1989 

9    Deshwasi   1991

10 Jai Hind  1999 ( as a director)

Laxmikant-Pyarelal has utilized four singers for Manoj Kumar.                        Mukesh, Mohammad Rafi, Mahendra Kapoor and Nitin Mukesh.

BINACA GEETMALA:

Manoj Kumar’s total 13 numbers of final songs which have music by Laxmikant-Pyarelal, appeared in Binaca Geetmala Finals. “Anita” 1967, Main Dekhu Jis Aur Sakhi Ri at 23rd position and Na Baba Na Baba at 7th position. “Patthar Ke Sanam” 1968, Mehboob Mere Mehboob Mere at 20th position and Batadu Kya Lana at 11th position. “Sajan” 1969, Resham Ki Dori, at 23rd position. “Shor” 1972, Iconic song Ek Pyar Ka Nagma Hai at 29th position. “Shor” song again in 1973, Macha Diya Shor at 34 position. “Roti Kapda Aur Makan” 1975, Hi Hi Yeh Majaboori at 2nd position and Mehangai Mar Gayi Mar Gayee at 1st position. “Dus Numbri” 1976, Mujhe Dard Rehata Hai at 24th position, Duniya Ek Numbari at 10th position.”Kranti” 1981, Luii Shama Sha Lui  at 26th position and Zindagi Ki Na Toote Ladi, at 2nd position. 

Many songs from ‘Anita’, ‘Patthar Ke Sanam’, ‘Shor’, ‘Roti Kapada Aur Makan’ and ‘Kranti’ did appear in Binaca Geetmala weekly countdown but failed to reach the finals. 

Laxmikant-Pyarelal were nominated for the best music director’s filmfare award, for the music of “Shor” in 1972 as well as “Roti Kapda Aur Makan” in 1974. 

However “Roti Kapda Aur Makan” in 1974,  won three filmfare awards.   1) Best director Manoj Kumar 2) Best songwriter, Santosh Anand, for the song Main Na Bhulunga 3) Best male playback singer, Mahendra Kapoor, for the song Aur Nahi Bas Aur Nahi

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.

PATTHAR KE SANAM   1967

It was A G Nadiadwala production film directed by Raja Nawathe. Manoj Kumar, Waheeda Rehman Mumtaz starrer, a super hit movie. All the songs are hit. The songs became popular and still can be heard even today. 

Bata Du Kya Lana …Lata

Koi Nahi Hai Phir Bhi ….Lata

Aye Dushman – E- Ja…. Asha 

Mehboob Mere Mehboob Mere…Mukesh-Lata

Tauba Ye Matwali Chal…….Mukesh

(Mukesh :: Majrooh Sultanpuri)

A Romantic song. This lovely  song is filmed on Manoj Kumar, Mumtaz and Waheeda Rehman on the screen. Romantically sung by Mukesh. Song has a beautiful DHOLAK rhythm. First part is very nicely orchestrated by VIOLINS. The second half of the song starts with ear-pleasing FLUTE and MANDOLIN.  

Patthar Ke Sanam 

(Mohammad Rafi :: Majrooh Sultanpuri)  

35 seconds of ‘prelude’ is orchestrated in ‘symphony’ style with PIANO, VIOLINS and CELLOS. ‘Pause’ in the orchestra for 19 seconds for brilliant ‘take off’ by Rafi Saab. Interludes also have symphony style orchestra arrangement, PIANO, VIOLINS and NADASWARAM. Traditional DHOLAK / TABLA rhythm.

ANITA   1967

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 a star studded movie with Majoj Kumar and Sadhana in lead supported by I S Johar. Excellent lyrics by Raja Mehadi Ali Khan saab and 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 and  LP’s rising partnership. 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”) 

Na Baba Na Baba ...Lata

Kareeb Aaye Nazar...Lata

Gore Gore Chand Ke…Mukesh

— Hai Nazar Ka Ishara…Lata – Usha

Samne Mere Sawariya 

(Lata Mangeshkar :: Raja Mehadi Ali Khan)

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. Manoj Kumar looks handsome. 

Tum Bin Jeevan 

(Mukesh :: Raja Mehadi Ali Khan)

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 song is a mellifluous SYMPHONY style orchestra arrangements with soft VIOLINS (no rhythm) in all the “interludes”. Filmed on Manoj Kumar and Sadhna. 

SAJAN     1969

A suspense thriller, directed by Mohan Saigal, with good music.                                                  Manoj KumarAsha Parekh in the lead role. 

Sajan Sajan Pukaroon Galiyon Mein...Lata

Sajan Sajan Pukaroon Galiyon Mein…Rafi

Bansuri Tihari Nandlal...Asha

Ai Mere Meherban …Lata

Resham Ki Dori 

(Lata – Rafi :: Anand Bakshi)

Melodious duet, punjabi flavoured “folk” with mellifluous DHOLAK / TABLA rhythm. Interludes are wonderfully orchestrated with SANTOOR, FLUTE and VIOLINS. Enjoy the ‘rhythmic’ ‘pause’ in the middle of the ‘antara’. Awesome ‘ ‘HUMMING’’ by Lata ji and Rafi saab in ‘Postlude’. The song is filmed on Manoj Kumar – Asha Parekh.

SHOR    1972       

Manoj Kumar directed and starred in this film revolves around the relationship of a mute son and his father. The film story is written by Manoj Kumar. The film is full of emotions. The smash hit song Ek Pyaar Ka Naghma Hai, is the anthem of the film, written by Santosh Anand and sung in different versions by Lata Mangeshkar and Mukesh. The song which plays throughout the film, retains its chartbuster status till date. Film has Manoj Kumar, Nanda & Jaya Bhaduri. The music by Laxmikant-Pyarelal is one of the strongest points of “Shor”. 

Paani Re Paani Tera Rang Kaisa ….Lata-Mukesh

— Ek Pyar Ka Nagma Hai..Lata – Mukesh (Smash Hit Song)

Jara Sa Usne  Chhua To….Lata

Shehnai Baje Na Baje 

(Lata Mangeshkar :: Verma Malik)

28 seconds of “prelude” contains tweeting sound of BIRDS and Lataji’s unique style of HUMMING, synchronised with Jaya Bhaduri’s swinging action. Beautiful DHOLAK rhythm. Interludes are awesomely orchestrated with MANDOLIN, SHEHNAI / NADASWARAM and VIOLINS. Filmed on Jaya Bhaduri – Manoj Kumar.

— Jeevan Chalane Ka Naam

(Manna Dey – Mahendra Kapoor – Shyama Chittar :: Raj Kavi Indrajeet Singh Tulsi)

Inspiration song. Beautifully composed and filmed while driving Bicycle, on Manoj Kumar, Jaya Bhaduri and Prem Nath. 22 seconds of ‘prelude’ orchestrated with IRANI SANTOOR and VIOLINS. ‘Interludes’ are instrumented with VIOLINS, ACOUSTIC GUITAR, IRANI SANTOOR, MANDOLIN, ACCORDION and BICYCLE BELL. 

ROTI KAPDA AUR MAKAAN     1974

Roti Kapda Aur Makan remains one of the highlights from classic Indian Cinema, with a strong theme, affecting performances and the timeless music by Laxmikant-Pyarelal. Directed by Manoj Kumar. With Manoj Kumar, Shashi Kapoor, Amitabh Bachchan,Zeenat Aman, Moushumi Chatterjee and Prem Nath.

Panditji Mere Marne Ke Baad…Lata

Aur Nahin Bas Aur Nahin….Mahendra Kapoor.

Mehngai Mar Gayee..Lata, Mukesh, Chanchal, Jaani Babu Quwwal 

Maina Bhulunga 

(Lata-Mukesh :: Santosh Anand)

Splendid composition. Orchestrated melodiously. Wonderful DHOLAK rhythm. Rhythmic ‘PAUSEs’. Awesome take off by Mukesh-Lata मै ना भूलूंगा ssss मै ना भूलूंगी ssss, rhythmic pause, highlighting DHOLAK rhythm, mesmerizes the listeners. CHORUS sound is distinctively used in the song. First ‘interlude’ is harmonised by the synchronisation of SITIAR, VIOLINS, CELLOS, FLUTE and Lata ji AALAPS. Second ‘interlude’ has a mind-boggling display of SAXOPHONE and VIOLINS.Third interlude with FLUTE, VIOLINS and Lataji AALAP. Glimpses of VIOLINS are excellently used as a ‘filler’ in mukhada as well as in antara. Another beauty of the song is the third antra’s overlapping sound effect of Mukesh – Lata voices in synchronization with symphony style VIOLINS. Manoj Kumar – Zeenat Aman   

Hi Hi Yeh Majboori  

(Lata Mangeshkar :: Verma Malik)

This enthralling composition is completely woven around the glimpses of SPANISH GUITAR and JAZZ FLUTE. It has a unique rhythm. SPANISH GUITAR is played by Charanjit Singh. Filmed on Zeenat Aman and Manoj Kumar.  

DUS NUMBRI    1976

Produced and Directed by Madan Mohla. Manoj Kumar – Hema Malini

Dil Mein Dard Rehta Hai 

(Mukesh – Lata :: Majrooh Sultanpuri)

KRANTI      1981

An Indian epic historical drama produced and directed by Manoj Kumar. Manoj Kumar was supported by Hema Malini, Dilip Kumar, Shatrughn Sinha. Laxmikant-Pyarelal’s music is simply spectacular and a strong point of the movie. 

Abke Baras Tujhe Dharti Ki …Mahendra Kapoor

Dilwale Tera Naam ….N. Mukesh, Manna Dey, M Kapoor, Lata

Chana Jor Garam ….N. Mukesh, M Rafi, Kishore, Lata

Zindagi Ki Na Toote Ladi

(Lata Mangeshkar – Nitin Mukesh :: Santosh Anand)

“PRELUDE” of the song is just mesmerizing. Use of FRENCH HORN, FLUTE and Solo VIOLIN are brilliantly used in “PRELUDE”. Apart from this all the “INTERLUDES” have different tunes purely in western style orchestra with BONGO Drums in the Rhythm. 

Once again very simple tune mellifluously orchestrated and that is why LAXMIKANT-PYARELAL are considered to be Champions of all. 

— Looie Shama Sha Looie

(Lata Mangeshkar – Nitin Mukesh :: Santosh Anand)

Excellently composed melodious duet. Use of ‘clapping’ ( ताली ) in rhythm is the best part of the song. Once again the use of CHORUS is a ‘class’ act. GUITAR, VIOLINS and MANDOLIN are awesomely orchestrated in the song. 

Music of Manoj Kumar films with Laxmikant-Pyarelal :: “Shor”, “Roti Kapada Aur Makan” and “Kranti” are outstanding

Ajay Poundarik, Atlanta (Georgia), USA. 

EXQUISITE FUSION, Raj Khosla and Laxmikant-Pyarelal

EXQUISITE  FUSION, Raj Khosla and Laxmikant-Pyarelal

EXQUISITE  FUSION, Raj Khosla and Laxmikant-Pyarelal

The combo of Raj Khosla and Laxmikant-Pyarelal have given many memorable musical hit films….The combo of Raj Khosla and Laxmikant-Pyarelal was SUPER HIT combo in support with Anand Bakshi.

Before the kicking off this long-lasting, fruitful, cahoot with Laxmikant-Pyarelal, Raj Khosla had directed many memorable musical hit movies. Just to name few films with respective music directors :-

Milap, 1954  ( N Datta)

C I D, 1956  ( O P Nayyar)

Kala Pani, 1956 ( S D Burman)

Solva Saal, 1958 (S D Burman)

Bambai Ka Babu, 1960 (S D Burman)

Ek Musafir Ek Hasina, 1962 ( O P Nayyar)

Woh Kaun Thi, 1964 (Madanmohan)

Mera Saaya, 1966 (Madanmohan)

Do Badan, 1966 (Ravi)

Raj Khosla and Laxmikant-Pyarelal

It was in the 1967 Raj Khosla decided to launch his own Production Unit to be named as RAJ KHOSLA FILMS.

At the end of the year 1963, Laxmikant-Pyarelal had made a thumping outset in Hindi Film Music. By the end of the year 1966,  Laxmikant-Pyarelal became “top” favorite music directors for many of the film production units and big producers and directors. Famous producers/directors, J Omprakash (“Aaye Din Bahar Ke”), Shreedhar (“Pyar Kiye Jaa”), started signing Laxmikant-Pyarelal for their respective films followed by L V Prasad (“Milan”), A K Nadiadwala (“Patthar Ke Sanam”), Subodh Mukharjee (“Shagird”). Raj Khosla was not the exception.

Laxmikant-Pyarelal became the household name, by the  virtue of their super-duper musical hits from “Parasmani” (1963).

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”).

Thus the  long lasting partnership of Raj Khosla and Laxmikant-Pyarelal has now started and have entertained us in the films like:-

Anita, 1967

Do Raaste, 1969

Mera Gaon Mera Desh, 1971

Kuchche Dhaage, 1973

Prem Kahani, 1975

Main Tulsli Tere Aangan Ki 1979

Do Premee, 1980

Dostana, 1980 (produced by Yash Johar)

Teri Mang Sitaron Se Bhar Doon, 1982

Mera Dost Mera Dushman, 1984 (produced by Johny Bakshi).

Laxmikant, Lata Mangeshkar, Pyarelal, Sadhana and Raj Khosla

We are going to review few of the above listed movies and it’s music.

ANITA 1967.

Raj Khosla was a talented director. He made some excellent thriller films in past, such as “C I D”, “Mera Saaya” and “Woh Kaun Thi”. “Anita”  is one of them, and it is indeed a highly enjoyable movie filled with mystery and suspense with an extremely melodious  music. Actress Sadhana in lead opposite Manoj Kumar.

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

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.

1 Tum Bin Jeevan Kaise Beeta …. Mukesh

2 Samane Mere Sanwariya …. Lata

3 Na Baba Na Baba …. Lata

4 Gore Gore Chand Ke Mukh Par …. Mukesh (penned by Aarzoo Lucknawi)

5 Kareeb Aaye Nazar …. Lata

6 Hai Nazar Ka Ishara …. Lata-Usha (penned by Anand Bakshi)

Excellent lyrics by Raja Mehadi Ali Khan saab and Laxmikant-Pyarelal justify the selection of Raj Khosla as a replacement of Madan Mohan saab. Actually, Raj Khosla wanted to build up the partnership of  Laxmikant-Pyarelal with Raja Mehadi Ali Khan but Sudden death of Raja Mehadi Ali Khan gave the full stop to the RMAK and LP’s rising partnership and Anand Bakshi joins the group.  

Tum Bin Jeevan Kaise Beeta …. Mukesh 

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

Samane Mere Sanwariya …. Lata

Extremely melodious song starts with Lataji’s mind-boggling “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 Saawariya” beautifully shot with Sadhana walking the hills.

DO RAASTE 1969.

It was purely a family drama, showing aspiration and disappointments of a middle class family. The film revolves around Balaraj Sahani and his hopes & misfortunes. The romantic avocation of Rajesh Khanna and Mumtaz is worth to watch. Rajesh Khanna with his superlative emotional performance, steals the show. Brilliant script, powerful dialogues, meritorious direction by Raj Khosla  and phenomenal music by Laxmikant-Pyarelal are the features of this super duper hit film. It was a huge hit film. Celebrated golden jubilee (50 week runs) in almost all the major cities of India. Rajesh Khanna became the STAR after this movie. (“Do Raaste” released just two weeks after the release of “Aradhana”). “Do Raaste” gave the new hit pair of Rajesh Khanna-Mumtaz.

As said earlier, the music was one of the big assets of the film. After this musical success of “Do Raaste”, director Raj Khosla, for most of his coming films, always considered the record breaking ‘trio’ of Laxmikant-Pyarelal/Anand Bakshi. The fabulous songs from “Do Raaste”, includes

1 Bindiya Chamake Gi …. Lata

2 Chhup Gaye Sare Nazare …. Lata-Rafi

3 Yeh Reshmi Jhulphe …. Rafi

4 Do Rang Duniya Ke …. Mukesh

5 Mere Naseeb Main Ai Dost …. Kishore

6 Apani Apani Biwi Pe …. Lata

Bindiya Chamake Gi …. Lata

This “Punjabi” folkish style,  DHOLAK rhythm, sweet and melodious  song, with euphonic DHOLAK ‘rhythm’  is completely decorated with the glimpses of SANTOOR and FLUTE. Lataji’s rendering the word ‘chamake gi’ is admirable. The song rock the nation and was top hit, number 1 song, in Binacageetmala Finals of  the year 1970.  

Chhup Gaye Sare Nazare …. Lata-Rafi

Lovely romantic duet awesomely and overwhelmingly orchestrated with SANTOOR and FLUTE with sweet DHOLAK ‘rhythm’. 

Mere Naseeb Main Ai Dost …. Kishore

The song is based on raag “Yaman Kalyan”.  Kishore Kumar’s  soft rendering and Laxmikant-Pyarelal’s SYMPHONY style orchestra arrangements with overlapping sound effects of VIOLINS, VIOLA, FLUTE and SANTOOR are the significant aspects of this song. Another beauty of this song is that Kishore Kumar  has brilliantly ‘synchronized’ the “pause” in the LP orchestra. The rhythm of the song is completely on BONGO DRUMS.

MERA GAON MERA DESH 1971.

“Mera Gaon Mera Desh”  is a complete movie in itself including 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 carrier best performance by Vinod Khanna who those days started as a villain is superb as Jabbar Singh.  “Sholey” released in 1975 was inspired from “Mera Gaon Mera Desh”, in many ways. The songs were/are hit, even today. Once again the rocking combo of Lata Mangeshkar / Laxmikant-Pyarelal jiggles. Lata Mangeshkar have sung all five songs, including four solos.

1 Sona Layi Ja Re …. Lata

2 Mar Diya Jaaye Ke Chhod Diya Jaay …. Lata

3 Apani Prem Kahaniyan …. Lata

4 Aaya Aaya Atariya Pe Koi …. Lata

5 Kuchh Kehata Hai Ye Sawan …. Lata-Rafi.

Director Raj Khosla have analogously filmed the songs with the situation of the film story.

Mar 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 “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.


Apani Prem Kahaniyan …. Lata

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

Few words about LAXMI CHHAYA… 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.

PREM KAHANI 1975.

Great film. Prem Kahani is one of the best movies directed by Raj Khosla. Breathtaking direction, spelbound performances by Rajesh Khanna, Mumtaz, Shashi Kapoor and Vinod Khanna,  beautiful and melodious music by Laxmikant-Pyarelal as well as meaningful dialogue are the assets of the film. It has as many as six songs written by Anand Bakshi.

1 Phool Aahista Phenko …. Lata-Mukesh

2 Chal Dariya Main Doob Jaye …. Lata-Kishore

3 Prem Kahani Main …. Lata-Kishore

4 Kya Meri Prem Kahani …. Lata

5 Prem Hai Kya Ek Aansoo …. Rafi

6 Dosto Main Koi Baat …. Rafi

Phool Aahista Phenko …. Lata-Mukesh

Graceful romantic duet. “Interludes” are  mellifluously orchestrated with SITAR and SARANGI. It has a mesmerizing DHOLAK rhythm.

Chal Dariya Main Doob Jaye …. Lata-Kishore

Another  canorous romantic duet beautifully orchestrated with the instruments like SANTOOR and SAXOPHONE, CLARINET, VIOLINS and FLUTE with diversified DHOLAK ‘rhythm’.

MAIN TULSI TERE AANGAN  KI 1978.

Once again a wonderful film by Raj Khosla! It was a comeback film for Nutan and Asha Parekh No doubt Raj Khosla made Nutan and Asha Parekh perform so marvelously that both of them gave their best in the film. Nutan won the FilmFare Award for Best Actress and Asha Parekh was only nominated for Best Supporting Actress. Dr. Rahi Masoom Reza penned excellent dialogues. He also won Filmfare for Best Dialogue. Raj Khosla won Best Film Award too.  Raj Khosla and Vinod Khanna were very good friends right from “Mera Gaon Mera Desh” days. RK repeated VK for the fourth successive time but this time in leading role. Laxmikant-Pyarelal gave euphonious music. The song “Main Tulsi Tere Aangan Ki Koi Nahin Mein Tere Saajan Ki” is the soul of the entire story. Anand Bakshi penned the lyrics so carefully that each word and simile used compliment the story.

1 Main Tulsi Tere Aangan Ki …. Lata

2 Meri Dushman Hai Wo …. Rafi

3 Chhap Tilak Sab Chhine Re …. Lata-Asha

4 Nathaniya Jo Mari …. Hemlata-Anuradha

5 Saiyyan Ruth Gaye …. Shobha Gurtu

Chhap Tilak Sab Chhine Re …. Lata-Asha

Raj Khosla always used ‘folk’ songs in his films. This time he decides to use Ammer Khusroo’s song beautifully sung by Mangeshkar sisters. Simple orchestra arrangements by using SARANGI, FLUTE and SANTOOR with melodious tune and wonderful folkish ‘DHOLAK’ rhythm.

Saiyyan Ruth Gaye …. Shobha Gurtu

Prototypal, classic ‘THUMARI” orchestrated with SARANGI and SANTOOR.

Ajay Poundarik

Atlanta (Georgia)

USA

NONPAREIL, ELITE PEERLESS FILMMAKERS and Laxmikant-Pyarelal’s FETCHING Music.

NONPAREIL, ELITE PEERLESS  FILMMAKER’s & Laxmikant-Pyarelal’s FETCHING Music.  

Honestly speaking Laxmikant-Pyarelal’s music / songs used to become extremely popular prior to the release of the films. Any single HIT song would help the movie to become super hit. In other words, Laxmikant-Pyarelal’s  music / songs used to be  one of the “star” of the film. That is why Laxmikant-Pyarelal was the first choice for any producer and directors.. Laxmikant-Pyarelal have worked with almost all the BIG names in film industries, excepting Prakash Mehra and Nasir Hussain Films

Laxmikant-Pyarelal The First Choice for all:-

In the second half of sixties (after 1965), Laxmikant-Pyarelal become the household name in hindi film music. It was like a TSUNAMI of songs from Laxmikant-Pyarelal. Laxmikant-Pyarelal were primarily responsible for eliminating the dominance of the older music directors such as C. Ramchandra, Naushad, Shankar-Jaikishan, Madan Mohan, O.P.Nayyar, Ravi, Chitragupt, Hemant Kumar, Roshan etc.

Laxmikant-Pyarelal was always the first choice for any film producing company ever since they made their entry into Hindi Film Music in 1963. As such LP has worked with almost all the prominent film producers’ directors but here some very special and major film companies, producers and directors, who have used LP often. Many producers / directors as well as film producing company got “name” and “fame” through Laxmikant-Pyarelal’s SUPER HIT music…Rajshri  Films, Prasad Productions, Raj Khosla, Rajkumar Kohli, Yash Chopra, Subhash Ghai and Manmohan Desai etc…

RAJSHRI  PICTURES:- (Tarachand Barjatya)

Leaving behind music director Roshan, Rajashri gave first preference  to compose music for their very second film Dosti 1964).

Dosti (1964)

Taqdeer (1967)

Jeevan Mrityu (1969)

Uphaar (1970)

Piya Ka Ghar (1972)

Laxmikant-Pyarelal  never disappointed Rajshri Films. The songs of the above films are still popular. It is to be noted that the music of Dosti gave a name and fame to both Rajshri Films and Laxmikant-Pyarelal.

RAJ KHOSLA FILMS:-  (Raj Khosla)

Earlier, O.P. Nayyar, Ravi and Madan Mohan were the favorite music directors for the famous director Raj Khosla.  But when he started his maiden film production company he preferred Laxmikant-Pyarelal as the first choice for his very first film Anita (1967).

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”).   

Anita (1967)

Do Raaste  (1969)

Mera Gaon Mera Desh (1970)

Kachche Dhage (1973)

Prem Kahani (1975)

Main Tulsi Tere Aangan Ki (1979)

Do Premee (1980)

Dostana (1981) ..Only Director. It was produced by Yash Johar.  

Teri Mang Sitaron Se Bhar Doon 1982

Mera Dost Mera Dushman 1984

NISHI FILMS/SHANKAR MOVIES:–  (Raj Kumar Kohli)

Raj Kumar Kohli and Laxmikant-Pyarelal came together with Lootera  (1965). Lootera was a super musical hit ( Lata’s six solo songs rocks). This association has given many musical hits and  lasted till 1990.  Major musical hits includes.

Lootera (1965)

Shart (1969)

Gora Aur Kala (1972)

Nagin (1975)

Jaani Dushman (1978)

Badale Ki Aag (1983)

Pati Patni Aur Tawaif  (1990)

PRASAD PRODUCTIONS:– (L.V.Prasad)

Earlier in Prasad Productions Films,  Shankar-Jaikishan, C.Ramchandra, Roshan have scored the music but L.V.Prasad switch over to Laxmikant-Pyarelal for Milan (1967). Milan songs storm the nation. It was huge musical hit of 1967.  Laxmikant-Pyarelal and Prasad Production association lasted for 18 years and have given many memorable musical hits.  

Milan (1967)

Raja Aur Runk (1968

Jeene Ki Raah (1969)

Khilona (1970)

Shadi Ke Baad (1972)

Bidai (1974)

Ek Duje Ke Liye (1981)

Mera Ghar Mere Bachche (1984)

Swati  (1985)  

All have a melodious musical score.

FILMYUG / FILMCRAFT  (J. Om Prakash)

Earlier Shankar-Jaikishan have given hit music to all the  J.Om Prakash’s films till 1966 when J.Om Prakash signed Laxmikant-Pyarelal for Aaye Din Bahar Ke this association continued for 17 years, till Arpan (1983), Agnee (1988). Producer / Director J. Om Prakash and Music Directors Laxmikant-Pyarelal have given many musical super hits, from 1966 to 1983.

This “trio”, along with lyricist Anand Bakshi, was one of the most successful in delivering the maximum musical hits. J. Om Prakash was the first producer / director to offer the first ever ‘big’ starcast film, Aaye Din Bahar Ke (Dharmendra – Asha Parekh)  to Laxmikant-Pyarelal.  Most of the J. Om Prakash films starts with letter A.

Aaye Din Bahar Ke (1966)

Aaya Sawan Jhoom Ke (1968)

Aan Milo Sajana (1971)

Aakraman  (1975)

Aashiq Hoon Baharon Ka (1977)

Apanapan (1977)

Aasha (1979)

Aas Paas (1981)

Apna Bana Lo (1982)

Arpan (1983)

Agnee (1988)

All J. Om Prakash films have evergreen music.

V.SHANTARAM FILMS:- (V. Shantaram)

Pyarelal Lata Mangeshkar, Sandhya & V Shantaram Laxmikant

C. Ramchandra, Ramlal, Vasant Desai were the music directors for earlier films of V. Shantaram. 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 the chance to work with V. Shantaram.

It was in 1971 LAXMIKANT-PYARELAL got an opportunity to work for the first and last time for V Shantaram’s “classic” film  Dance-Musical  film Jal Bin Machhli Nritya Bin Bijlee. 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 a critically acclaimed director – and to show their prowess in hitherto new field – a Dance Musical. The outcome was outstanding. It was the first time in Hindi Film Music that all the songs were recorded in stereophonic sound effect.

RK FILMS:- (Raj Kapoor)

After the death of Jaikishan.  Raj Kapoor switch over to Laxmikant-Pyarelal for Bobby (1973). Bobby music stormed the nation. Association of Showman Raj Kapoor and Laxmikant-Pyarelal have given spellbound music.

Bobby (1973)

Satyam Shivam Sundaram (1977)

Prem Rog (1983)

Prem Granth (1996)

Evergreen musical hits.

YASH RAJ FILMS:- (Yash Chopra)

Yash Chopra have worked with music director Ravi earlier. But when Yash Chopra started his maiden Film Production Unit (Yash Raj Films) Laxmikant-Pyarelal were the first choice to score the music for Daag  (1973), a superb music.  If you compare all Yash Raj film’s music, the music of Daag still considered to be the best.  

MKD FILMS:- (Manmohan Desai)

When Manmohan Desai has started his own Film Production Unit, with Amar Akbar Anthony (1977) Laxmikant-Pyarelal was his first choice for this musical hit film. This association last till 1998 and has given some of the best musical hits.

Roti (1974)

Amar Akbar Anthony (1977)

Dharm Veer (1977)

Parvareesh (1977)

Chacha Bhatija (1977)

Suhag (1979)

Naseeb (1981)

Desh Premee (1982)

Coolie (1983)

Deewana Mastana (1998)

Manmohan Desai and Laxmikant-Pyarelal was super hit combo. This combo has as many as four films released in 1977, Amar Akbar Anthony, Dharm Veer, Parvareesh and Chacha Bhatija and all were musical hit.

M KEY FILMS (Mohan Kumar)

zMohan Kumar, Laxmikant, Anand Bakshi & Pyarelal. Recording of “Mom Ki Gunya” song.

Earlier music directors Shankar-Jaikishan and Madan Mohan have given the music for Mohan Kumar’s films. But in 1969 Mohan Kumar opted for  Laxmikant-Pyarelal  for his next film Anjana, 1969. Followed many hits till 1990. Mohan Kumar and Laxmikant-Pyarelal, a 22 years long lasting association with 9 films.

Anjana (1969)

Aap Aaye Bahaar Aayi( 1971)

Mom Ki Gudiya (1972)

Amir Garib (1974)

Aap Beati (1976)

Avtaar (1983)

All Rounder (1984)

Amrit (1986)

Amba (1990)

Likewise his “Guru” J Om Prakash, most of Mohan Kumar films too starts with letter A, excepting Mom Ki Gudiya.

MUKTA ARTS:- (Subhash Ghai)

In 1980 director Subhash Ghai launched his Film Company and started operating as Producer and Director and made Karz.  Laxmikant-Pyarelal was his first choice for this musical hit film. This association also lasted long till 1995, for 16 good years.  The combo of Subhash Ghai and Laxmikant-Pyarelal, along with songwriter Anand Bakshi, have delivered many memorable musical hits.

Gautam Govinda (1979)

Karz (1980)

Krodhi (1981)

Hero (1983)

Meri Jung (1985)

Karma (1986)

Ram Lakhan (1989)

Saudagar (1991)

Khalnayak (1993)

Trimurti (1995)

All have superhit music.

VIP FILMS:- (Manoj Kumar)

Leaving behind Kalyanji-Anandji, Manoj Kumar prefer Laxmikant-Pyarelal for the music of Shor (1972).  Laxmikant-Pyarelal and Manoj Kumar yet another musical trio, with difference.

Shor (1972)

Roti Kapda Aur Makan (1974)

Kranti (1981)

Jai Hind (1999)

TIRIUPATI  PICTURES ( Actor Jeetendra)

After getting a “star” status through Laxmikant-Pyarelal’s musical Hit FARZ in 1967, Actor ‘Star’ Jeetendra became producer in 1971 and launched his home production unit made Humjoli a super duper musical hit. This combo has also given many musical hits.

Humjoli (1971)

Jyoti Bane Jwala (1980)

Pyaasa Sawan (1981)

Deedar-E-Yaar (1982)

Sarfarosh (1985)

DHARMA FILMS:- (Yash Johar now owned by Karan Johar)

When Yash Johar, formally associated with big production units of Sunil Dutt, Dev Anand, Raj Khosla, started his film company named Dharma Films, a big banner today,  made a super duper musical hit film Dostana (1980), he opted Laxmikant-Pyarelal to score the music. This association continued till 1996.

Dostana (1980)

Agneepath (1990)

Gumrah (1993)

RAVI Tandon ( Actress Raveena Tandon’s  Father)

Ravi Tandon used Laxmikant-Pyarelal for his maiden film as a producer Anhonee (1973) ( today’s rocking song ‘hungama ho gaya’).

Anhonee (1973)

Apne Rang Hazaar (1975)

As a Director Ravi Tandon also utilized Laxmikant-Pyarelal for

Majboor (1974)

Waqt Ki Deewar (1981)

Jawab (1985)

Nazarana (1987)

BONEY KAPOOR (Actor Anil Kapoor’s Brother)

Boney Kapoor made his first production film Hum Paanch, 1980,  with music by Laxmikant-Pyarelal. Made many musical hits made by this combo.

Hum Paanch (1980)

Woh Saat Din (1983) Launching Anil Kapoor

Mr. India (1987)

Roop Ki Rani Choron Ka Raja (1993)

Prem (1995)

RAWAL FILM:– (H.S.Rawal)

Naushad were the most favorite music director for producer / director H.S. Rawal but when he started a film on Muslim Culture,  Mehaboob Ki Mehandi (1970),   Laxmikant-Pyarelal was the first choice. This combo also made Jeetendra’s home production Deedar-E-Yaar (1982), also on Muslim Culture.

R K NAYYAR (Actress SADHANA’s home production).

Director Raj Khosla, Pyarelal, Laxmikant, Lata Mangeshkar, Sadhna & R K Nayyar.

Actress Sadhna utilized Laxmikant-Pyarelal’s music for her home productions super duper musical hits like

Inteqam (1969),

Geeta Mera Naam (1974)

Qatl (1985)

Let us shorten the topic. Actor /Super star RJESH KHANNA preferred Laxmikant-Pyarelal for his maiden film, Roti (1974), as filmmaker.

When Actor DHARMENDRA started his own film production in 1975. He gave first preference to Laxmikant-Pyarelal for the music of  Pratigya (1975).

Actress HEMA MALINI took Laxmikant-Pyarelal for her maiden film, as a producer  Dream Girl (1977).

Actor / director JOY MUKHARJEE in Chhaila Babu (1977),  Rajendra Kumar  in Naam (1986),  actor / director/ producer NANA PATEKAR  for Prahaar (1991) and actor Producer FIROZ KHAN for Dayavan (1987) etc used Laxmikant-Pyarelal’s music.

There are many actor/actress who preferred Laxmikant-Pyarelal’s music, including PRAN.  When noted songwriter AMIT KHANNA Amit Khanna made his maiden movie as producer he too used Laxmikant-Pyarelal for Bhairavi (1996). Actor Sachin Pilgaonkar used Laxmikant-Pyarelal for his first directorial film Prem Deewane (1992).

Apart from these Laxmikant-Pyarelal have also worked with the following big film producers and directors.

B.R. Chopra                         “Dastaan”   (1973)

Hrishikesh Mukherjee    “Satyakam” (1971), “Chaitali” (1973)

Vijay Anand…                      “Ram Balram” (1978)

Ramanand Sagar…            “Jalte Badan” 1972 “Charas” (1976)

Vijay Bhatt..                         “Banphool” (1971)

K Sridhar “Pyar Kiye Jaa” (1966)

Dalal Guha                           “Dushman” (1971), “Dost” (1974) and more

Gulzar…                                 “Palkon Ki Chhaon Mein” (1978)

K.Vishwanath                      “Sargam” (1977), “Sur Sangam”(1985)

Basu Chatterjee                 “Piya Ka Ghar”(1971)

Shakti Samanta..                 “Anurodh”(1977)

J.P.Dutta…                             “Rajput”(1985) and more.

Girish Karnad                    “Utsav” (1985)

Kishore Sahu                            “Pushpanjali” 1970

Mahesh Bhatt                      “Dhun”(1992), “Gumrah” (1996)

Shekhar Kapoor                  “Mr. India” (1987)

Chetan Anand                       “Jaan-E-Man” (1976)

Raj Kanwar                           “Raj Kumar” (1996)

Nitin Mohan                         “Hum” (1990) and more.

David Dhavan                      “Deewana Mastana” (1998)

Ramesh Sippy                       “Bhrashtachar” (1990) and more.

Raja Nawathe                        “Manchali” (1973) and more.

B.R.Ishara                              “Ek Nazar” (1971)

Harmesh Malhotra              “Phaansi” (1978), “Nagina” (1986)

Mohan Sehgal                        “Raja Jani” (1972), “Kartavya” (1978)

Satish Kaushik                      “Roop Ki Rani Choron Ka Raja” (1990)

R.K. Nayar                                “Intaquam” (1969), “Qatl” (1986).

Mukul Anand                           “Agneepath”(1990), “Khuda Gawah” (1992)

This list has no end but it is doubtful that any other music director has worked with as many as prominent film producers/directors and companies in the manner Laxmikant-Pyarelal have worked.

The following film Units/Producer Directors have started their “maiden” films with Laxmikant-Pyarelal.

NISHI FILMS  Raj Kumar Kohli  ( Lootera ) 1966

RAJ KHOSLA FILM   Raj Khosla  (Anita ) 1967

M KEY FILMS Mohan Kumar (Anjana), 1969

TIRUPATI PICTURES  Jeetendra (Humjoli) 1971

YASHRAJ FILMS Yash Chopra (Daag) 1973

VIKRAMJIT FILMS Actor Dharmendra (Pratigya) 1975

MKD FILMS Manmohan Desai ( Amar Akbar Anthony) 1977

MUKTA ARTS Subhash Ghai (Karz) 1980

BONEY KAPOOR (Hum Paanch) 1980

DHARMA FILMS Yash Johar / Karan Johar   (Dostana) 1980

At the same time Laxmikant-Pyarelal have a long lasting relationship / association with major film producers and directors as well as film banners.

ASSOCIATIONS OF Laxmikant-Pyarelal with the Filmmakers, for OVER 10 YEARS

MANOJ KUMAR 1974-1999..  4 Films

MANMOHAN DESAI 1974-1983.. 9 Films -All Minimum Silver Jubilees

MOHAN KUMAR 1969-1990 ..8 Films

J. OMPRAKASH  1966 – 1988 ….12 Films

RAJ KUMAR KOHLI 1965 – 1990….10 Films

MOHAN SEGAL  1969 – 1989 …6 Films

RAJ KHOSLA  1967-1984   10 Films

SATYEN BOSE  1964 – 1982 .. 7 Films

L.V.PRASAD   1967 – 1986  ..10 Films

SUBHASH GHAI  1979 – 1995 …10 Films

SURINDER KAPOOR 1975 – 1995 …6 Films

K.BAPAIAH 1977 – 1991 …About 12 Films

MADAN MOHLA 1970 – 1992 …6 Films

R.K.NAYYAR (Actress SADHNA) 1969 – 1989 ..5 Films

K.PARVEZ/KALPATARU – 1969 – 1993  About 8 Films

DULAL GUHA  1969 – 1987  …7 Films

YASH JOHAR 1980 – 1993

BRIJ  1967 – 1979

RAVI TANDON  1973 – 1987 …7 Films

RAGHUNATH JHALANI 1966 – 1987 ..6 Films

P.MALLIKARJUNA RAO 1970 – 1989 …5 Films

HARMESH MALHOTRA  1973 – 1992 …12 Film

T RAMARAO 1979 – 1989 9 Films

It is always said that Laxmikant-Pyarelal have worked for BIG banners. BUT I would counter it saying…Laxmikant-Pyarelal’s popular music made many producer / director BIG….

Raj Khosla, Yash Chopra, Yash Johar (Karan Johar),  Manmohan Desai, Rajkumar Kohli, Mohan Kumar, Boney Kapoor and Subhash Ghai  all have  started their respective FIRST films, with super duper hit,  Music By Laxmikant-Pyarelal.

Laxmikant, Raj Kapoor, Pyarelal award ceremony for “Satyam  Shivam Sundaram”.
Yash Chopra, Laxmikant & Pyarelal, receiving golden discs for “HERO” Music.

If someone looks at the list of these filmmakers with whom Laxmikant-Pyarelal have delivered chartbusters, LP have satisfied almost every producer/directors by giving them the various types of music of their choices suiting to the film story and situation.

Ajay Poundarik

Vadodara (Gujarat).