It was in the late forties (around 1949) a child musician, aged 11 years, named Laxmikant Shantaram Kudalkar was playing a Mandolin at one of the musical concert in Colaba, Mumbai. Lata Mangeshkar, just got the star status after Shankar-Jaikishan’s debut film “Barsat”, was the chief guest of the function Lataji was so impressed by the polished display of Mandolin by Laxmikant she called him and enquired about him and recommended Laxmikant name to the noted music directors to utilise him as musician.
At the same time, around 1950, Lata Mangeshkar and her family members were running a music academy named “Sureela Bal Kala Kendra”. This “Sureela Bal Kala Kendra” was run by group of children, aging below 15. It was consists of child musicians Hridaynath Mangeshkar, Usha Mangeshkar, Pyarelal Ramprasad Sharma (Pyarelalji) and all his younger brothers, Ganesh, Gorakh, Laxmikant Shantaram Kudalkar (Laxmikantji) his younger brother Shashikant and many more. The “Sureela children’s gang” hung around together at Lataji’s home, day and night absorbed in the notes of golden music, intoxicated by rhythm and melody.
Both Laxmikant and Pyarelal have a strong bonding at “Sureela Bal Kala Kendra”. Their friendship started from Lata Mangeshkar’s house. Laxmikant-Pyarelal name emanates from the house of Lata Mangeshkar.
Lata Mangeshkar and Laxmikant-Pyarelal were a longer, larger, closer and more rewarding association that than what ANY composer has had with ANY singer in Hindi cinema
From 1963, to the next 35 years, melody queen Lata Mangeshkar and Laxmikant-Pyarelal were to chalk up an astounding 712 songs together, which accounted for one in every 10 Hindi film songs recorded by the Melody Queen, and one of every four songs composed by the duo. The unmatchable variety of songs.
And what a 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.
We get the unmatched variety of songs of Laxmikant-Pyarelal with Lata Mangeshkar. There many films in which Mangeshkar has sung more than 5 songs in the film.. See below the list ..sheer variety.
- Parasmani 1963
- Sati Savitri 1964
- Sant Gyaneshwar 1964
- Lootera 1966 ( an outstanding Album with all SIX solo with variety from Lata )
- Intequam 1968 (Two Brilliant Cabaret songs)
- Baharon ki Manzil 1968
- Sharafat 1970
- Abhinetri 1971
- Jai Bin Machhali Nritya Bin Bijalee 1971 (Another outstanding Album, Sheer variety of Lata’s FIVE solo songs)
- Mera Gaon Mera Desh 1972..(Folkish Album, all time hit )
- Raja Jani 1972Daag 1973
- Bobby 1973 (All time hit songs)
- Satyam Shivam Sundaram 1978 (Eternal Classic)
- Ek Duje Ke Liye 1981
One will wonder to note that from 1963 to 1973 Lata Mangeshkar have recorded 355 songs ONLY under Laxmikant-Pyarelal. All are Simply superb.
Today we are going to review some of the finest male duet songs sung by Lata Mangeshkar with different male singers, under Laxmikant-Pyarelal.
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.
Lata Mangeshkar – Mohammad Rafi with Laxmikant-Pyarelal
Lata-Rafi combo has sung as many as 78 numbers of the songs under Laxmikant-Pyarelal. This is the highest numbers of Lata-Rafi combo songs under any music directors. Few best songs from this melody makers are listed below. TWO best songs of my choice are reviewed, in detail with video clips.
1 Woh Jab Yaad Aaye Bahot Yaad Aaye ” Parasmani” (1963)
The very first duet of Lata-Rafi with LP. The song is based on Indian Classical Raag. It has a melody of 60s. The song is penned by Farooq Qaiser and is picturised on Mahipal and Anita Guha.
2 Ye Dil Tum Bin Kahin Lagata Nahin “Izzat” (1968)
Based on Indian Classical Raag ‘pahadi’ is yet another sweet melody. All the ‘interludes’ are decorated with SYMPHONY style VIOLINS. The song is written by Sahir Ludhianvi. Picturization is done on Dharmendra and Tanuja.
3 Dil Ne Dil Ko Pukara “Do Raste”(1969)
This super hit song which has class and mass appeal. You can here the glimpses of Shiv Kumar Sharma’s SANTOOR in between the song. The song is written by Anand Bakshi. Picturised on Rajesh Khanna and Mumtaz.
4 Rim Zim Ke Geet Sawan Gaye “Anjana” (1969)
Based on Indian Classical Raag, has sweet melody. Anand Baxi. Rajendra Kumar-Babaita.
5 Chala Bhi Aa Aaja Rasiya “Man Ki Aankhe” (1971)
The song has ear pleasing melody. Penned by Sahir Ludhianvi. Filmed on Dharmendra and Waheeda Rehman.
6 Jhilmil Sitaron Ka“Jeevan Mrityu” (1971)
Immortal song. One of favorite of all music lovers. Anand Baxi. Dharmendra-Raakhi .
7 Patta Patta Buta Buta Hal Hamara Jane “Ek Nazar” (1970)
Typical Ghazal song. Use of IRANI SANTOOR , VIOLINS and SAXOPHONE is mellifluous. Penned by Majrooh Sultanpuri. This song is picturised on Amitabh Bachchan and Jaya Bhaduri.
8 Ye Zulf Kaisi Hai “Piya Ka Ghar” (1971)
Melodious song. Anand Baxi. Anil Dhavan-Jaya Bhaduri.
9 Kuchh Kehta Hai Ye Sawan “Mera Gaon Mera Desh” (1971)
Yet another Punjabi Folk song. Excellent melody. Anand Baxi. Dharmendra-Asha Parekh.
This Cabaret Song has melody as well as western style composition. Beautiful use of SAXOPHONE. Anand Baxi. Jitendra-Mumtaz.
10 Tik Tik Mera Dil Dole “Humjoli” (1972) T
Yet another song of this film is equally good Hi Re Hi Neend Nahin Aaye . Use of SANTOOR is just brilliant. Jeetendra-Leena Chandawarkar.
11 Itana To Yaad Hai Muze “Mehaboob Ki Mehandi” (1974)
The sweetest Melody. The DHOLAK rhythm mesmerizes.. SITAR played excellently. Anand Baxi. rajesh Khanna- Leena Chandawarkar.
12 Dafaliwale Dafali Baja “Sargam” (1979)
The most “popular” songs of this combo. This song rocked the nation.
Reviews of the two of the best songs of Lata-Rafi-LP.
a) Woh Hai Jara Khafa Khafa …”Shagird” 1967.
(Songwriter Majrooh Sultanpuri)
Lata Mangeshkar sounds extremely melodious in this song. Mellifluous Overlapping of Aalaaps with Words and also Aalaap with Aalaap, by Lata Mangeshkar & Mohammd Rafi. i) “overlapped aalaps” at 3.22-3.28 and again at 3.48-3.54) ii) “overlapped aalaaps with words” at 3.28 to 3.48, silmultenelusly both by Lataji and Rafi sab. This beautiful, melodious and sweet song is composed, by Laxmikant-Pyarelal, in western style with ACOUSTIC GUITAR in rhythm. The song is filmed on Joy Mukherjee – Saira Banu
b) Ek Tera Saath Humko Do Jahan Se …”Wapas” 1969
(Songwriter Majrooh Sultanpuri)
MELODY with a SYMPHONY style orchestra arrangements. You can enjoy a FUSION style, in almost all the Laxmikant-Pyarelal composition. A fusion genre is music that combines two or more styles. FLUTE, VIOLA, SANTOOR with TABLA are brilliantly executed in this song. In the interludes, Flute & Viola give different tunes and along the side you enjoy Tabla rhythm with the ear-pleasing disply of SANTOOR. The song is based on Indian Semi-Classical raag and the orchestra has a western style touch. LP’s specialty a “PAUSE’ .. is another plus point of this song. This has been an extremely melodious song sung by Mohammad Rafi and Lata Mangeshkar. An addict one for me. Don’t forget to listen to the stat with Rafi’s voice “Ek Tera Saath” .. just brilliant take-off..
Lata Mangeshkar – Kishore Kumar with Laxmikant-Pyarelal
Lata-Kishore combo have been associated with Laxmikant-Pyarelal with close to 55 songs. There are many memorable and hit songs from this combo. Few best songs from this melody makers are listed below. TWO best songs of my choice are reviewed, in detail with video clips.
1 Chali Re Chali Re Gori Paniya Bharan Ko. “Mr. X In Bombay” 1964.
It is the first duet of KK-Lata under Laxmikant-Pyarelal. Beautifully composed in in “raag” BHAIRAVI. Mesmerizing 62 seconds “prelude” full of “MATAKI”, “GHUNGROO BELL”, “FLUTE” and DHOLAK. The song is written by Anand Bakshi and filmed on Kishore Kumar and Kumkum.
2 Sultana Sultana Tu Na Ghabarana, “Shreeman Fantoosh” 1965
Naughty duet with extreme melody and good orchestra arrangements. The song is written by Anand Bakshi and filmed on Kishore Kumar and Kumkum.
3 Man Mor Machave Shor Shor Shor . “Mastana” 1970.
Sweet and melodious song with an excellent DHOLAK rhythm. The song is written by Anand Bakshi and filmed on Mehmood and Bharati,
4 Sa Re Ga Ma Pa. “Abhinetri” 1970.
Melody and Rhythm at it’s best. The song is written by Majarooh Sultanpuri and filmed on Shashi Kapoor and Hema Malini.
5 Jadugar Tere Naina .”Man Mandir” 1971
Excellent orchestra arrangements with the use of SAXOPHONE and SYMPHONY style VIOLINS synchronised with BONGO/CONGA Drums rhythm. The song is written by Rajendra Krishna and it is filmed on Sanjeev Kumar and Waheeda Rehman.
7 Sun Ja Aa Thandi Hawa ..”Haathi Mere Saathi” 1971
Giant orchestra with westernised rhythm. Excellent use of SANTOOR and VIOLINS in Symphony style. Anand Bakshi. Rajesh Khanna – Tanuja
8 Hum Aur Tum, Tum Aur Hum. “Daag” 1973
Westernized orchestra arrangement, excellent use of ACOUSTIC GUITAR. Wonderful use of VIOLINS in all the interludes. The song is penned by Sahir Ludhianvi and it is filmed on Rajesh Khanna and Sharmila Tagore.
9 Gore Rang Pe Na Itna .”Roti” 1974
Most popular song, even today it can be heard very regularly. ‘Folkish’ style composition giving Punjabi flavour. Anand Bakshi. Rajesh Khanna-Mumtaz.
10 Yeh Mousam Aaya Hai ..”Aakraman” 1975
Both Kishoreji and Lataji have sung this extremely melodious song on high pitch. Excellent orchestra arrangements. Anand Bakshi. Rakesh Roshan – Rekha.
Reviews of the two of the best songs of Lata-Kishore-LP.
a) Khoobsurat Haseena Jaan-E-Jaa Jaan-E-Man “Mr X In Bombay” 1964
(Songwriter Anand Bakshi)
“Prelude” is mellifluously orchestrated of use of SAXOPHONE, VIOLINS, FLUTE. The rhythm is from BONGO DRUMS. All three “Interludes” have different tunes. Kishore Kumar is simply awesome as a comedian in this song, Kumkum fully supportive. A totally different type of composition. The first film in which lyricist Anand Bakshi and music director Laxmikant-Pyarelal came together …to create a world record partnership of 302 films, over 1300 song together,.. till 1998.
b) Achchha To Hum Chalte Hai “Aan Milo Sajana” 1970.
(Songwriter Anand Bakshi)
A unique type of song and composition, a mega hit, still popular song. Mellifluously rendered by Lata -KK. The orchestra arrangement is mesmerizing use of IRANI SANTOOR, SAXOPHONE and VIOLINS is just brilliant and ear-pleasing, as well. This lovely romantic song is filmed on Rajesh Khanna – Asha Parekh.
Lata Mangeshkar – Mukesh with Laxmikant-Pyarelal
The combo of Lata Mangeshkar – Mukesh have been associated with Laxmikant-Pyarelal for good 27 songs. All are very good songs. Listing few with review of one song.
1 Chori Chori Jo Tumse Mili…”Parasmani” 1963
Very first duet of this combo with LP. tenderly sung by Mukesh-Lata. Use of SHEHNAI is worth to listen to in the “interludes”. Penned by Farooq Qaisar. Filmed on Mahipal – Anita Guha.
2 Kyon Jhuki Jhuki Hai Palke “Chhaila Babu” 1967.
The beauty of this romantic duet is it’s rhythm in QAWWALI style. The song is written by Hasrat Jaipuri and it is filmed on Salim Khan (Salman Khan’s father) – Naaz.
3 Hum To Tere Aashiq Hai..”Farz” 1967.
One of the most popular song of this combo. Penned by Anand Bakshi. Jeetendra-Babita.
4 Mehboob Mere …”Patthar Ke Sanam” 1967
Extremely sweet duet. Majrooh Sultanpuri. Manoj Kumar – Waheeda Rehman. FLUTE by(Pandit Hariprasad Chaurasia) and SANTOOR by Pandit Shivkumar Sharma.
5 Ek Pyar Ka Nagma “Shor” 1972
The most memorable song, still popular. Excellent use of solo VIOLIN, IRANI SANTOOR and symphony style VIOLINS. Santosh Anand. Manoj Kumar – Nanda – Jaya Bhaduri.
6 Main Na Bhulunga “Roti Kapda Aur Makan” 1974
Excellent orchestra arrangements with the overlapping sound effect on SAXOPHONE, SYMPHONY VIOLINS and FLUTE, as well. Santosh Anand. Manoj Kumar – Zeenat Aman.
“MILAN” 1967. Lata-Mukesh (Three Duets + Two Versions). The songs of “MILAN” storm the nation. Laxmikant-Pyarelal brought back the glory of singer Mukesh.
–Bol Gori Bol Tera Kaun Piya
–Hum Tum Yug Yug Se
— Sawan Ka Mahina Pawan Kare Shor
(Anand Bakshi has written this immortal song).
The most popular song. Mellifluously composed song in SYMPHONY style VIOLINS. Overlapping sound effect of VIOLINS with MANDOLIN and FLUTE in “interludes” is just mesmerizing. The DHOLAK rhythm hypnotizes. It is filmed on Nutan – Sunil Dutt.
Lata Mangeshkar – Manna Dey with Laxmikant-Pyarelal.
Lata-Manna Dey / Laxmikant-Pyarelal have been associated with 12 songs. Notable hits are from “Sati Savitri”, “Pushpanjali”, “Raja Aur Rank”, “Chaitali”, “Satyam Shivam Sundaram” etc.
–Tum Gagan Ke Chandrama Ho…”Sati Savitri” 1964
(Pandit Bharat Vyas, the songwriter)
तुम क्षमा मैं भूल हूँ…..तुम गगन के चंद्रमा ..मै धरा की धूल हूँ..
The extreme of gratitude in love expressed ever in words.
53 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 raag in “Yaman Kalyan”. This very melodious song is composed in mellifluous “SYMPHONY” style orchestra arrangements. Use of soft pieces of VIOLINS and SITAR in all the ‘interludes’ is just mesmerizing. The beautiful wording of this song is penned by Pandit Bharat Vyas.
Lata Mangeshkar – Mahendra Kapoor with Laxmikant-Pyarelal
This melodious combo have as many as 15 songs together. The major hits includes from
“Pyar Kiye Jaa” (Phool Ban Jaunga and Kisine Pukara Muze) 1966, “Aaye Din Bahar Ke” (Ye Kali Jab Talk) 1966, “Nag Mandir” (Manzil Ek Safar Hai) 1966, “Night In London” (Sun E Bahar) 1967, the most popular “Nagin” song (“Tere Sang Pyar Main), 1975, “Badalte Rishte” .
–Meri Sanson Ko Jo ..”Badaltey Rishte” 1978.
(Anjan the song writer)
Beautifully composed in Raag PURIYA DHANASHREE. Use of SANTOOR and SITAR is just mesmerizing. The song is filmed on Rishi Kapoor – Reena Roy.
Lata Mangeshkar – Suresh Wadkar with Laxmikant-Pyarelal.
This mellifluous combo has as many as 18 songs. Almost all are good. Starting from “Prem Rog”, “Pyaasa Sawan” (Megha Re Megha Re), “Sindoor” (Patjhad Sawan), “Nache Mayuri”, “Krodhi” (Chal Chameli Baugh Mein), “Sur Sangam” and many more.
–Bhanware Ne Khilaya Phool …”Prem Rog” 1983
(Pandit Narendra Sharma the songwriter)
My choice of song is from Raj Kapoor’s “PREM ROG” 1982. Complete song is filmed in this Tulip Garden. “Prelude” of 32 seconds and the “filler” (from 1.01 to 1.44) are full of VIOLINS and GUITAR and humming. It has wonderful “dholak” rhythm. Both the interludes are excellently decorated with glimpses of VIOLINS, FLUTE, “aalaps” (Lataji) and SITAR. This lovely creation is rendered on high notes, by by Lata Mangeshkar and Suresh Wadkar.
Lata Mangeshkar – Shabbir Kumar with Laxmikant-Pyarelal
This combination have worked for as many as 20 songs. A big surprise. There are many hit songs from the films “Woh 7 Din”, “Pyar Jhukta Nahin”, “Meri Jung”, “Jaan Hatheli Pe” & many more. Here I have chosen a song from “Ghulami”..
–Zihal E Maskin Makun Ba Ranjish..”Ghulami” 1985
The rhythm of this song mesmerizes you. Extremely melodious tune. Don’t forget to listen to rhythmic ‘pause’ at the end.
Lata Mangeshkar – Rajan Sajan Mishra with Laxmikant-Pyarelal
Just one OUTSTANDING song.
–Jaaun Tore Charan Kamal ...“Sur Sangam” 1985
(Song writer Vasant Dev)
An amazing orchestra arrangement in Indian Classical style. “SANTOOR”, “JAL TARANG”, “FLUTE”, ” VICHITRA VEENA”, “SITAR” and “MANJIRA” are mellifluously synchronized as well as overlapped in all the interludes, with different tunes. Wonderful DHOLAK rhythm.
Lata Mangeshkar have also sung many memorable duets under Laxmikant-Pyarelal with following singers.
- Shailendra Singh (‘Bobby”)
- S P Balasubramaniam (“Ek Duje Ke Liye)
- Amit Kumar (“Hum Paanch”)
- Anand Bakshi (“Mom Ki Gudiya”..Bagon Mein Bahar Aayee )
- Anup Jalota (“Ek Duje Ke Liye”)
- Roopkumar Rathod (“Angaar”)
- Anwar (“Heer Ranjha”)
- Mohammad Aziz (“Ram Avtar” and many).
- Nitin Mukesh (“Kranti”)
- Talat Aziz (“Aurat Aurat Aurat”)
- Manhar Udhas (“Hero”)..
A HISTORIC MOMENT OF HINDI FILM MUSIC WHEN FOUR SENSATIONAL SINGERS..Lata Mangeshkar, Mohammad Rafi, Kishore Kumar and Mukesh at a one stage for the FIRST and LAST time for the recording of the song from Manmohan Desai’s “Amar Akbar Anthony” ..Hum Ko Tumse Ho Gaya Hai Pyar Kya Kare