Concealed GEMS Laxmikant-Pyarelal and Lata Mangeshkar

Concealed GEMS ::  Laxmikant-Pyarelal and  Lata Mangeshkar

From 1963, to the next 35 years, 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. 

Precisely, Lata Mangeshkar has sung as many as 413 solo songs for Laxmikant-Pyarelal. There are many Concealed GEMS (Hidden GEMS) of songs. 

Songs from  Lata Mangeshkar dominated albums like Parasmani 1963, Sati Savitri 1964, Sant Gyaneshwar 1964, Lootera 1966, Baharon ki Manzil 1968, Abhinetri 1971,  Jai Bin Machhali Nritya Bin Bijalee 1971, Mera Gaon Mera Desh, 1971, Raja Jaani 1972,  Daag 1973 and  Bobby 1973,  etc are not considered.  

Films like, Naag Mandir 1966, Sau Saal Baad 1966, Daku Mangal Singh 1966,  Madhavi 1968, Aasra 1966 , Shaadi Ke Baad 1972, Free Love 1974,  have excellent music. One song from each of these films has been considered. 

The songs considered have a unique way of composition. ‘Kisi ki nazar ne ishara kiya hai’ from “Sau Saal Baad” 1966, ‘suraj utara bindiya’ from “Sauda” 1974, ‘dil hai dard-e-mohabbat ka mara’ from “Free Love” 1974 and ‘ye kaun hansa’ from “Mere Sajna” 1975 are simply best.  

Also, I would like to thank Dr. Rajiv Vijaykar (‘suraj utara bindiya’) Nikhil Ayer (‘Kisi ki nazar ne ishara kiya hai’ ) and Aditya Pant (ye kaun hansa’) for exploring these Hidden Gems.

Lata Mangeshkar with Laxmikant-Pyarelal. 60s and 70s.

Mere Sanam Sun Mera Ghum       “Naag Mandir” 1966

(Songwriter   Pandit Bharat Vyas)

Even though it is a mythological movie, it has some beautiful songs.

–Suno ji Suno Naya Ek Geet ….Lata

–Mere Sanam …Mahendra Kapor

–Khamosh Zindagi Ko Aawaz De Rahe Ho …M. Rafi

Lata’s version is an extremely melodious one. The song starts with ‘strokes’ of ACOUSTIC GUITAR and the VIOLINS. Awesome take off by Lata ji…मेरे सनम, मेरे सनम.. .VIOLINS, CELLOS in symphony style are melodiously surrounded with Lata ji’s rendering. ACOUSTIC GUITAR is tunefully used in the ‘rhythm’ of the song. 

Kisi Ki Nazar Ne Ishara Kiya Hai   “Sau Saal Baad”   1966

(Songwriter   Anand Bakshi)

Actually, ‘Sau Saal Baad’ is a very good musical album. 

–Ye Raat Bhi Jaa Rahi Hai….Lata

–Ek Ritu Aaye Ek Ritu Jaye…Lata-Manna Dey (Pure classical)

Lata Mangeshkar ‘s rare GEM with sweet melody.  The song starts with beautiful ‘humming’ by Lataji followed by VIOLINS. Wonderful take off by Lataji ..किसी की नज़र ने इशारा किया है. Soft VIOLINS, FLUTE and SITAR  are brilliantly played in the orchestra. Stroke of SITAR attracts the listeners in the start of the second ‘interlude’.  DHOLAK rhythm with ‘pause’ is worth listening to. 

Ek To Ye Bahar Uspe Tera Mera Pyar     “Daku Mangal Singh”  1966 

(Songwriter  Anand Bakshi )

A super musical starring Mumtaz – Dara Singh.

An extremely melodious and tender  song with 25 seconds of ‘prelude’,  full of VIOLINS and SITAR, sets the mood of the song. FLUTE is awesomely used as ‘filler’ in the song. Delicately sung by Lata Mangeshkar. Awesome DHOLAK rhythm. Mumtaz looks stunning.

Tum Kaun Ho Batao Tumhara Naam Hai Kya “Aasra” 1966

 (Songwriter   Anand Bakshi) 

 This film has many melodious songs.

–Mere Sune Jeevan Ka Aasra …Asha Bhosle

–Neend Kabhi Rehti Thi….Lata

–Daiya Re Daiyya ..Lata

An extremely canorous song, starts with Lataji’s ‘humming’.  Sensitively taken take off …तुम कौन हो बताओ तुम्हारा नाम है क्या ?? Delicately rendered by Lataji synchronizing her singing with the fabulous ‘rhythm’ created through ACOUSTIC GUITAR. Wonderful use of  FLUTE in the first ‘interlude’. Second ‘interlude’ ear-pleasing display of SITAR. Filmed on MALA SINHA

Aaj Dil Pe Koi Jor Chalta Nahin      “Milan” 1967

(Songwriter   Anand Bakshi) 

One of the finest musical albums of Laxmikant-Pyarelal. All songs stormed the nation in the year 1967. Starring Sunil Dutt – Nutan. Unfortunately this song was deleted from the movie. 

Beautifully rendered in ‘raag’ CHARUKESHI. Sad song starts with the ‘prelude’ of 18 seconds orchestrated in VIOLINS and FLUTE. First ‘interlude’, VIOLINS and SAROD.Second ‘interlude’ beautifully orchestrated by FLUTE and SAROD. Third ‘interlude’ with VIOLINS and 

MANDOLIN. Melodious DHOLAK ‘rhythm’. 

Mehfil Soyee Aisa Koi       “Intaquam” 1968

(Songwriter  Rajendra Krishna)

Lata Mangeshkar has 4 solo songs. Including TWO CABARET. आ जान-ए -जान  is very famous song from this film. BUT there was one more cabaret song sung by Lataji.

Yet another melodious cabaret song from the combo of “Helen-Lata-LP”. Laxmikant-Pyarelal have orchestrated this westernized song with the excellent and maximum use of the JAZZ FLUTE, ACOUSTIC GUITAR  and VIOLINS with beautiful BONGO DRUM ‘rhythm’. Once again wonderful  cabaret by Helen, a lesson for modern dancers. This song, being the best,  has got less importance as the other cabaret (‘aa jaane jaan’) is more known and popular, from the same film, “Intaquam”. 

Sanjh Savere Adhron Pe Mere   “Madhavi”  1969

(Songwriter    Anand Bakshi).

Musical hit film. 

A beautiful, melodious, sweet ‘MEERA’ “BHAJAN” from the film “Madhavi” 1969. A classic song from the unique Tetrad  of Lata Mangeshkar,  Laxmikant-Pyarelal and Anand Bakshi. Filmed on Sanjay Khan – Deepa. 

Pehle Na Dekha Jaise         “Sharafat”  1970       

(Songwriter    Anand Bakshi) 

Dharmendra – Hema Malini’s first picture. Film with as many as 5 solo songs by Lataji.

This song is an extremely melodious composition. ‘Prelude’ of 23 seconds orchestrated with SITAR and awesome Lata ji’s AALAPS.  Wonderful take off by Lata ji  पहले न देखा जैसे किसीने sss . First ‘interlude’ is orchestrated with FLUTE, VIOLINS overlapping MANDOLIN.

Second ‘interlude’ is full of SITAR, (Played by Ustad Rais Khan). 

Baat Yeh Anokhi  “Maa Aur Mamta” 1970

(Songwriter  Anand Bakshi)
Very sweet melodious song.

So Ja Re So Ja       “Shaadi Ke Baad”  1972

(Songwriter  Anand Bakshi)

An extremely melodious song rendered by Lata Mangeshkar.  Lataji’s HUMMING in “prelude” and in first “interlude” mesmerizes. Wonderfully orchestrated with FLUTE,  ACOUSTIC GUITAR,  VIOLINS,  SITAR and BANSURI. Without affecting the sweetness of the song, sound of “air” (हवा ) is beautifully incorporated.  The song has soothing BONGO  DRUM rhythm. It is filmed on actor Jeetendra and Rakhee. 

Dil Hai Dard-E-Mohabbat Ka  Mara    “Free Love” 1974

(Songwriter    Asad Bhopali )

This movie has some offbeat compositions.

–Hum Kashmakash – E – Gham Se ..Lata

The song starts with the mesmerizing orchestra in ‘interlude’, SAXOPHONE, GUITAR as well as ACOUSTIC GUITAR played as ‘rhythm. Lata ji gives overwhelming take off दिल है दर्द -ऐ मुहोब्बत का मारा।  with modulating her rendering style. First ‘interlude’ orchestrated with SAXOPHONE, and symphony style VIOLINS hypnotizes the listeners. Second ‘interlude’ beautiful use of CLARINET .  

Suraj Utara Bindniya Main     “Sauda” 1974

(Songwriter    National Poet Indrajeet Singh Tulsi )

Stupefying Rendering and Sterling Orchestra arrangements.The song that enthralls the listeners. “Prelude” 12 seconds starts with SITAR followed by GUITAR and at 12th seconds how beautiful ‘take off’ by Lata’s rendering, synchronizing her voice with symphony VIOLINS. Exceptional singing particularly rendering the word सूsssरज and giving the “pauses” at 0.17/0.18 and at 0.22 to 0.25, FLUTE used as ‘filler’ in wonderful DHOLAK rhythm. First “Interlude” is awesomely instrumented with SITAR,VIOLINS, IRANI SANTOOR and FLUTE. At the end of each “antra” at 1.41 how mellifluously surround sound of ‘symphony’ VIOLINs synchronizes with Lata’s voice, that is one of the beauty of this melodious song. Second ‘interlude’ is orchestrated with GUITAR, SAROD and VIOLINS. 

The song is filmed on Yogita Bali.

Ye Kaun Hansa    “Mere Sajna”  1975

(Songwriter Majrooh Sultanpuri)

Again Lata Mangeshkar & Laxmikant-Pyarelal chemistry worked for this uncommon composition. The song is filmed on Rakhi Gulzar.

Ajay Poundarik, Atlanta (Georgia), USA.  20th October, 2020.

Unexampled, Unparalleled League LATA MANGESHKAR and LAXMIKANT-PYARELAL

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.

Laxmikant and Pyarelal as a child musician in Lata Mangeshkar's
 "Sureela Bal Kala Kendra"

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.

Lata Mangeshkar’s Numbers of songs with different music directors …

Laxmikant Pyarelal                  712      
Shankar Jaikishan453      
R. D. Burman327      
C. Ramchandra298
Kalyanji Anandji297
Madan Mohan210
S. D. Burman182
Hemant Kumar139
Anil Biswas123
Vasant Desai112
Rajesh Roshan112
Salil Chaudhary108
Husnlal Bhagatram107
Bhappi Lahiri97
Khayyam (Sharmaji)71
Ghulam Mohammad71
S. N. Tripathi71
Usha Khanna68
Hansraj Bahal43
Sudhir Phadke32

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. A 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.

Pyarelal, Laxmikant and Lata Mangeshkar

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.  

Pyarelal, Laxmikant, Lata Mangeshkar, Guest, Mohammad Rafi.

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.  

Guest, Laxmikant, Kishore Kumar, Lata Mangeshkar and Pyarelal

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

(Songwriter Gulzar)

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
Pyarelal, Ketan Desai, Laxmikant, Mohammad Rafi, Mukesh, Lata Mangeshkar, Kishore Kumar  and Manmohan Desai. 

Ajay Poundarik

Vadodara (Gujarat)

Lata Mangeshkar and Laxmikant-Pyarelal Black and White GEMs

Lata Mangeshkar and Laxmikant-Pyarelal :: Black and White GEMs

Laxmikant-Pyarelal the most prolific musical duos of Indian cinema. The duos musical  journey started when they were in their adolescence. In 1952 , it was Lata Mangeshkar who looked out the duo’s talent when Laxmi-Pyare were working for  Sureel Bal Kala Kendra, a music academy for children, run by Mangeshkar family. 

Laxmikant, Lata Mangeshkar & Pyarelal (Sometime in 1964)

Both Laxmikant and Pyarelal have a strong bonding at Sureel Bal Kala Kendra. It was named after a gang of Sureela boys including Laxmiji, Pyareji, Lataji’s younger brother, Hridaynath Mangeshkar, Laxmiji’s brother Shashikant, Pyareji’s brothers Ganesh and Gorakh as well as few friends, totaling 15 young boys. The sureela boy’s gang hung around together at Lataji’s home.

Lata Mangeshkar recommended Laxmikant-Pyarelal names to music directors like C Ramchandra, Shankar-Jaikishan, S D Burman. 

Laxmikantji has worked as a musician to play Mandolin,  with C. Ramchandra, Shankar-Jaikishan, O P Nayyar, Hemant Kumar, Ravi, Roshan and S D Burman.

Pyarelalji has worked as a musician to play  Violin, with Bulo C Rani, Naushad, Madan Mohan, C Ramchandra, Khayyam, Chitragupta and S D Burman.

Both Laxmikant-Pyarelal have worked together as an assistant with R D Burman (Chhote Nawab) and Kalyanji-Anandji (Chhaliya, Poornima, Satta Bazar, Mehandi Lagi Mere Haath, Bluffmaster, Himalay Ki God Main, Jab Jab Phool Khile, and many).

In 1963, noted filmmaker Mr. Babubhai Mistry gave a chance to Laxmikant and Pyarelal to score the music independently for the film “Parasmani” which was released in 1963. They started the music director’s name as Laxmikant-Pyarelal. . (LP in short). The LP era has now started. All the songs of “Parasmani” a B grade film,  became immensely popular.

Later this  exclusive conglomeration of Lata Mangeshkar and Laxmikant-Pyarelal went on to make history by recording 712 songs (from 1963 to 1998). The highest numbers of the songs sung by Lata Mangeshkar under any music director. 

Pyarelal, Rashtrakavi Pradeep, Lata Mangeshkar, Laxmikant

During initial stages, BLACK and WHITE era, this magical “threesome”  have given A grade music, even if the film was B or C grade. We are going to review a few gems of songs from  Lata Mangeshkar and Laxmikant-Pyarelal. 

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 Hal Ki Si     PARASMANI 1963

Lyricist: Asad Bhopali

Mellifluously orchestrated, beautiful “Prelude” consists of SITAR and TABLA. Awesome take off by Lataji.  “Interludes” with Symphony VIOLINS, FLUTE, GUITAR and SAXOPHONE with BONGO Drums Rhythm, leaves you speechless. Lata Mangeshkar sounds extremely melodious in both the ‘antaras’.  Worth to listen to 40 seconds ‘postlude’.

Main Ek Nanha Sa Chhota Sa     HARISHCHANDRA  TARAMATI 1963

Lyricist:  Rashtravi Kavi Pradeep

मैं एक छोटासा नन्हासा बच्चा हूँ , तुम हो बड़े बलवान, प्रभूजी मेरी लाज रखो        A huge hit song from Laxmikant-Pyarelal second released movie “HARISHCHANDRA TARAMATI”, 1963. All the songs of this film became extremely popular. It was a surprise package from Laxmikant-Pyarelal when their 1963 released “Parasmani” songs were still very much popular and in demand, as well. The above mentioned song is the most popular and “crowded puller” song of the film. Hit the Binaca Geetmala Chart List. Wonderfully orchestrated with FLUTE, Symphony VIOLINS and melodious DHOLAK rhythm. One of the best “devotional” songs filmed on Child Artist. The first song of Lata Mangeshkar and Laxmikant-Pyarelal, filmed on Child Artist. This song is awesomely worded by “Rashtra Kavi PRADEEP” (who also wrote ‘ai mere watan ke logo’). Coincidently, after many years actor Shakti Kapoor used this songs wording, as a comedy dialogue, in the film “Raja Babu”. Enjoy this beautiful melody.

Khabar Mori Na Li       SANT GYANESHWAR  1964

Lyricist: Pandit Bharat Vyas        

Extremely Melodious, based on Hindustani Classical Raag, ‘SHIVRANJANI’…Awesome TABLA rhythm. FLUTE is wonderfully used as ‘filler’ in Mukhada and in the “Interlude”. One of the best of Lata-LP 

Kabhi To Miloge Jeevan Saathi   SATI SAVITRI   1964

Lyricist: Pandit Bharat Vyas  

Mind-Blowing composition in Raag KALAWATI.  Beautiful use of FLUTE, SYMPHONY style orchestra arrangements, VIOLINS,  in- between the song. Both FLUTE and VIOLINS in ‘symphony’ style melodiously executed in ‘antara’ as filler. Beautiful composition on raag ‘KALAVATI’. The depth of emotions, soul and divine melody of this rendition in Rag kalavati is timeless and matchless.

Gudiya Humse Ruthi Rahogi   DOSTI  1964

Lyricist: Majrooh Sultanpuri

Very innocent song, pleasantly  sung and composed. It has been softly orchestrated with the excellent use of ACCORDION, FLUTE, GUITAR and MANDOLIN.

Allah Kare Tu Bhi Aajaye Mr. X In Bombay 1964

Lyricist: Asad Bhopali

A musical hit movie, starring great actor/dancer KUM KUM and evergreen Kishore Kumar. The film have some outstanding songs sung by Kishore Kumar-Lata Mangeshkar. BUT also some fabulous solos by Lata Mangeshkar. This song starts with wonderful “prelude” (33 seconds) PIANO and Symphony VIOLINS. A unique ‘QAWWALI” rhythm. An extremely melodious song. Awesome use of CLAPPING intermixed with rhythm. The perfect example of “Chemistry” between Lata Mangeshkar and Laxmikant-Pyarelal. The song is written by Asasd Bhopali.

Balama Kitna Nadan Hai Tu   SHREEMAN  FANTOOSH 1965

Lyricist: Anand Bakshi

Laxmikant Pyarelal crafts a brilliant song with utterly delectable SITAR in ‘prelude’. Wonderful use of DHOLAK. Everything seems to fit into the composition.

Tum Kaun Ho Tumhara Naam Hai Kya   AASRA  1966

Lyricist: Anand Bakshi

This melodious song starts with 10 seconds of ‘prelude’ in the form of  resonant ‘humming’ by Lataji . ACOUSTIC GUITAR awesomely orchestrated in soft ‘rhythm’. FLUTE is prominently used in first ‘interlude’. SITAR is mellifluently used in second ‘interlude’.

Nind Kabhi Rehati Thi AASRA 1966

Lyricist: Anand Bakshi

(नींद कभी रहती थी आँखों मैं ) , The song with full of “pauses”.

This is an extremely melodious romantic song starts with the ‘humming’ by Lataji for first 10 seconds, we get first beautiful “pause” at 0.10 – 0.13, second, after rendering ‘Neend Kabhi Rehti Thi Aankhon Mein’ at 0.20 – 0.23, third after rendering word ’sanwariya’ at 0.33 – 0.36, this pause gives you to listen to the beautiful ‘RHYTHM’ created for this lovely song. You will listen to all these “pauses” regularly till the end. Don’t forget to listen to the ‘pause’ at 3.58 to 4.01 to highlight the FLUTE.The entire song, mainly “interludes”, are woven around the glimpses of FLUTE (by Pt. Hariprasad Chaurasiya) and SANTOOR (by Pt. Shivkumar Sharma) and SYMPHONY style VIOLINS (at the surrounds sound of Lataji, in ‘mukhada’ and ‘antara’). The rhythm of DHOLAK and TABLA is worth to listen to as it is of different flavor. On the top of everything…the chemistry of Lataji & LP worked miracle.

Payal Ki Jhankar Raste     MERE LAL  1966

Lyricist: Majrooh Sultanpuri

Mesmerizing “Prelude” of 44 seconds, full of HARMONIUM, FLUTE and DHOLAK, sets the mood to listen to this gem of composition. Entire song is woven around glimpses of HARMONIUM (played by Sonik Verma, a Blind Musician, of Sonik-Omi music director pair). In all the “Interludes” and also as a “filler”, the HARMONIUM is used mellifluously giving ear-pleasing moments. Super Duper HIT song of the year 1966.

Maa Mujhe Apane Aanchal Main Chhupale  CHHOTA BHAI 1968

Lyricist: Anand Bakshi

One of the extremely melodious songs from the unique combo of Lata Mangeshkar & Laxmikant-Pyarelal. Anand Baxi has put touching wordings on mother and son relations. In terms of composition it is one of the finest compositions from the desk of LP. BAMBOO FLUTE with VIOLINS is wonderfully displayed in the entire orchestra. DHOLAK theka suits the tempo of the song.

Ajay Poundarik

Vadodara (Gujarat)

EUPHONIOUS THAUMATURGY = Lata Mangeshkar + Laxmikant-Pyarelal

EUPHONIOUS  THAUMATURGY = Lata Mangeshkar + Laxmikant-Pyarelal  

Laxmikant Pyarelal were trend setters and their talent was spotted by Lata Mangeshkar at the Sureela Kala Kendra, an academy run by Mangeshkar Family in early fifties.

Lata Mangeshkar and Laxmikant-Pyarelal have collaborated on ever 712 songs to form  The Most Prolific as well as Versatile Composers-Singer Team The World Would Ever Know.

If Laxmikant-Pyarelal were the BEGETTER , Lata Mangeshkar  was the HERALD who also hyperbolize their jewels on the way towards TRANSMISSION to the audience.

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, Lata Mangeshkar and and Laxmikant-Pyarelal were to chalk up an astounding 712 songs together.

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.

The duo was known to bring the best out of the orchestration, moreover Lata Mangeshkar sounds extremely melodious under Laxmikant-Pyarelal.

Pyarelal, Laxmikant & Lata Mangeshkar 1967

Lata Mangeshkar + Laxmikant-Pyarelal = Euphonious Thaumaturgy, a sheer magic.

Having a privilege of witnessing an LP (Laxmikant-Pyarelal) era right from 1963 onwards. The beauty of Laxmikant-Pyarelal composition was that for the ordinary words the duo will create a very simple and  melodious tune and will decorate it with wonderful rhythm and mellifluous orchestra arrangements. Laxmikant-Pyarelal would also understand the situation, location and the timing of the song being filmed and also on whom it would be filmed etc.

For example the Lata Mangeshkar and Laxmikant-Pyarelal miraculous song, filmed on beautiful actress Saira Bano,  from ‘Shagird’ 1967,  ‘ruk ja ai hawa’ !! रुक जा ए हवा, थम जा ए बहार !!,  we call the song as An Indian Sound Of Music..To frame the JUNGLE scene, the Flute, Accordion, Viola, Violins, Birds-Tweet, etc are brilliantly synchronised with lovely voice of Lata Mangeshkar. Even the running of DEER in the jungle is very well displayed through the use of VIOLINs.

Few best but different types of compositions from this exclusive amalgamation of Lata Mangeshkar with Laxmikant-Pyarelal are reviewed.  

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.

Dhadaka Hai Dil Mein Pyar Tumhara    JAAL   1967

(Lyricist:- Raja Mehdi Ali Khan )

In 1967, Laxmikant-Pyarelal music is flooded with the hit films like, ‘Milan’, ‘Shagird’, ‘Patthar Ke Sanam’, ‘Farz’, ‘Night In London’, ‘Anita’ etc. The music of “JAAL” came as a pleasant surprise. This song is  a ‘gem’ from Lata-LP combo. Altogether a different type.

An outstanding composition in Western Style. “Prelude” of 46 seconds is full Lataji AALAPS as well as HUMMING,  brilliantly synchronized with Symphony style VIOLINS. How softly Lataji has rendered the words ‘Abhi Abhi’ (अभी अभी), followed by BASS GUITAR, as filler. Lataji has sung entire song with lots of variations.  The rhythm is full of ACOUSTIC GUITAR and the BONGO DRUMS….SAXOPHONE , VIOLINS, BASS GUITAR, ACCORDION and VIOLAs are brilliantly executed in all the “interludes”. Mesmerising Orchestra Arrangements. The song is filmed on Mala Sinha.

Jaagi Badan Mein Jwala   IZZAT  1968

(Lyricist:- Sahir Ludhianvi)

IZZAT was a musical hit. This song’s RHYTHM,  Laxmikant-Pyarelal designed when they were in Beirut (Lebanon). It is 1-2-3-4-5-6, a Lebanese ‘folk’ rhythm. Laxmikant-Pyarelal were expert in utilizing CHORUS in their compositions. Just listen to how CHORUS sounds extremely melodious in this song.

Hypnotising ‘prelude’ of 26 seconds, excellently  intermixed with GLOCKENSPIEL or ‘GLOCKS’, GHUNGROO BELLs and Lataji AALAPS . Excellent take off ‘Jagi..sss’..Jagi Badan Mein Jwala’ (जागी sssss जागी बदन में ज्वाला).  All the three interludes have different style of orchestra arrangements. NADASWARAM, VIOLINS, ACOUSTIC GUITAR as well as GHUNGROO BELLs  are harmoniously synchronized in all the interludes with different tunes. Lata Mangeshkar at her melodious best. The mind-boggling Rhythm of DRUM beats is totally different style. This rhythm was never repeated by Laxmikant-Pyarelal. The GREAT song filmed on late Mrs Jayalalitha, the ex Chief Minister of Tamil Nadu.  

O Ghata Sawari Thodi Thodi Bawari    ABHINETRI  1971

(Lyricist:- Majrooh Sultanpuri)

ABHINETRI another musical hit film with as many as  six songs sung by Lata Mangeshkar. This one is will always remain the  best. A Yoga song.

Magnetizing “prelude” of 57 seconds, with symphony style VIOLINS , JAZZ FLUTE, SANTOOR, GLOCKENSPIEL and Lata’s Humming Sound.  How delicately and tunefully Laxmikant-Pyarelal have orchestrated the synchronization of Lata’s voice with beautiful glimpses of JAZZ FLUTE, is just enthralling as well as creating the rainy season effect and also sets the mood of the song.  All the “interludes” are with different tunes. In second ‘interlude’ creating WATER SOUND is killer. Glimpses of JAZZ FLUTE , as filler, in between the song + “pause” and the western style rhythm s has made this song a special. Filmed on the actress Hema Malini, performing YOGA.

Roz Sham Aati Thi   IMTIHAN 1974

(Lyricist:- Majrooh Sultanpuri)

The song is from IMTIHAN 1974 with all the four songs hit. It was a film between super hits of Laxmikant-Pyarelal  “Bobby” , “Daag” , “Manchali” and “Roti Kapda Makan”, “Loafer”.

The unique combo of Lata Mangeshkar and Laxmikant-Pyarelal have given many memorable songs in sixties ( closed to 179 songs). It was also expected to deliver the best in seventies too. The song is popular even today. On the top of everything…the chemistry of Lataji and  LP worked miracle.

67 seconds “prelude”::-  0.15 seconds, TWEETING of BIRDS, Than GUITAR glimpses starts, FRENCH HORN (0.34 to 0.44), IRANI SANTOOR ( till 0.55) and than Lataji’s AALAP till 1.06 and the “pause”…giving the feel of ‘sunset’.  Just brilliant. It sets the mood of the song.

Powerful RHYTHM of BONGO / CONGA DRUMS and it’s PAUSES. Lataji stops after singing ‘roj sham aati thi’ (रोज़ शाम आती थी ) (1.11…1.14) just listen to the “rhythm”, again at 1.16 ….1.19…This gives an “ear-pleasing” moment to listen to the rhythm only. You will again find such “pauses” in the song.

“Interludes”:- Both the interludes are beautifully decorated in western style orchestra arrangements with use of VIOLINS, CELLOS, IRANI SANTOOR and FRENCH HORN.

Not to forget to listen to the mind-boggling “Postlude”. The song is filmed on Tanuja.

Neelam Pe Nabh Chhaye  UTSAV  1984

(Lyricist:- Vasant Dev)

Laxmikant-Pyarelal music entering into its 21st year. UTSAV music still sounds ever-fresh.

This song is a very very special from Lata Mangeshkar and Laxmikant-Pyarelal.

After Completing Successful 21 years, In 1984, there was myth that Laxmikant-Pyarelal needs a “Huge & Enrich Orchestra” arrangements to compose MELODIOUS and HIT Songs. Music of “Utsav” came as a pleasant surprise.

Minimum orchestra and “clapping”( ताली ) is used as Rhythm. Laxmikant-Pyarelal used old traditional musical instruments in “Utsav” music. This song is an extremely melodious and wonderfully composed in ‘raag’ BIBHAS. Fascinated use of BANSURI, as a filler in ‘mukhada’. The “interludes” are spellbindingly decorated with the MRIDANGAM, VEENA  and GHUNGROO BELLS. Once again very delicate and shrp use of CHORUS. The song is filmed on Rekha.  Producer Shashi Kapoor and Director Girish Karnad used the ancient house in which the movie Utsav was shot is in Udupi, Karnataka. It is called Shettibettu.

Ajay Poundarik

Vadodara (Gujarat)