Lata – Rafi::Symphonious Duets Composed By Laxmikant-Pyarelal

Hindi film songs are present in Hindi cinema right from the first sound film Alam Ara (1931). It did not take much time for the Duets Songs to be featured in Hindi Films. Almost all the music directors of the past have composed some memorable duets. In this topic we are reviewing some of the best duet songs rendered by Lata Mangeshkar – Mohammad Rafi under the music directors Laxmikant-Pyarelal. 

Since their very first film “Parasmani” in 1963, Laxmikant-Pyarelal have composed some spectacular duet songs with two legendary singers, Mohammad Rafi – Lata Mangeshkar. The types of the duets include cabaret, club songs, folk, western, semi-classical etc. There are many films in which Laxmikant-Pyareal has composed two or more duets of Lata-Rafi. 

The films and the songs with TWO Lata-Rafi Duets.

Night In London, 1967,  Night In London  and  Bagh Main Phool Kisne

Aaya Sawan Jhoom Ke , 1968,  Aaya Sawan Jhoom Ke and Sathiya Nahin Jana

Jigri Dost  1968 Phool Hai Baharonka and Dil Mein Kya Hai

Humjoli 1970 Hay Re Hay and Tik Tik Tik Mera Dil Dole

Aap Aaye Bahar Aayee  1971 Koyal Kyon Gaye and Mujhe Teri Mohobbat  Ka  

Sargam 1979, Lata-Rafi have THREE duets.  Dafliwale Dafli Baja (Top Song, Number 1 in Binaca Geetmala Finals, 1979), Koyal Boli and Parbat Ke Uspaar.

Mohammad Rafi has sung the highest numbers of the songs, 379 numbers, including 183 solo, under the music directors Laxmikant-Pyarelal. In the span of 17 years, 1963 to 1980.

Top Five Music Directors who have utilized Mohammad Rafi, the most. 

Laxmikant-Pyarelal   379 songs

Shankar-Jaikishan      330 songs

Chitragupta                  225 songs

Ravi                             210 songs

Kalyanji-Anandjj         200 songs

Lata Mangeshkar has sung the highest numbers of the songs, 712 numbers, under the music directors Laxmikant-Pyarelal. In the span of 33 years  from 1963 to 1996.

Top Five Music Directors who have utilized Lata Mangeshkar, the most. 

Laxmikant Pyarelal    712 songs      

Shankar Jaikishan   453 songs      

R. D. Burman               327 songs      

C. Ramchandra   298 songs

Kalyanji Anandji   297 songs

Lata Mangeshkar and Mohammad Rafi are involved in singing 444 songs, including Duets, Triplex, Quartet, quintet etc, in the span of 32 years, from 1947 to 1980. We are considering only the Duets for this topic. 

So the duets of Lata Mangeshkar – Mohammad Rafi mounts to 411 songs, after leaving behind 33 songs of Triplex, Quartet, Multi-singes songs. 

Mohammad Rafi and Lata Mangeshkar have sung the highest number of the songs / duets, 78 numbers, under the music directors Laxmikant-Pyarelal, in the span of 17 years starting from 1963 to 1980. 

Top Five Music Directors who have utilized Mohammad Rafi and Lata Mangeshkar, the most.

Laxmikant-Pyarelal      78 Duets. 

Shankar-Jaikishan         50 Duets.

Kalyanji-Anandji             38 Duets.

Naushad                        32 Duets. 

Chitragupta                  31 Duets. 

Out of 411 duets of Lata Mangeshkar – Mohammad Rafi, 78 numbers (almost 19 %)  are composed by Laxmikant-Pyarelal. 

There are many films in which Laxmikant-Pyareal has composed two or more duets of Lata-Rafi. 

The films and the songs with TWO Lata-Rafi Duets.

Night In London, 1967, 

Night In London  and  Bagh Main Phool Kisne

Aaya Sawan Jhoom Ke , 1968, 

Aaya Sawan Jhoom Ke and Sathiya Nahin Jana

Jigri Dost  1968

Phool Hai Baharonka and Dil Mein Kya Hai

Maa Aur Mamta 1970

Apne Naino Ko Samzade and Rut Beqarar Hai 

Humjoli 1970

Hay Re Hay and Tik Tik Tik Mera Dil Dole

Aap Aaye Bahar Aayee  1970

Koyal Kyon Gaye and Mujhe Teri Mohobbat  Ka  

Naach Uthe Sansar  1976

Tere Sang Jeena Tere Sang Marna and Joom Nakoom Jhoom 

Sargam 1979, Lata-Rafi have THREE duets. 

Dafliwale Dafli Baja (Top Song, Number 1 in Binaca Geetmala Finals, 1980),

Koyal Boli and Parbat Ke Uspaar.

Due to some issues of Royalty for singers, there was a difference of opinion between Rafi and  Lata an that has stopped the recording of the duets involving Rafi – Lata. Thus there were no duets of these legendary singers from 1964 to 1967.  

Binaca Geetmala:-

Many of the duets regularly appeared in the weekly countdown Binaca Geetmala as well as the annual countdown of finals songs. Listing out a few appeared in the ‘finals’.

1963   No 15 Woh Jab Yaad Aaye ..“Parasmani”  

1969   No 23 Resham Ki Dori.…”Sajan”     

1969   No 29 Aaya Sawan Jhum Ke.…”Aaya Sawan Jhum Ke”  

1969   No 12 Ek Tera Saath .”Wapas”    

1969   No 06 Aa Mere Humjoli Aa..”Jeene Ki Raah”    

1970   No  28 Hi Re Hi Nind Nahin ..Lata-Rafi..”Humjoli”  

1970   No 18  Jhilmil Sitaron Ka ..Lata-Rafi..”Jeevan Mrityu”  

1970   No 12 Chhup Gaye Sare.i..”Do Raaste”

1976   No 25 Aaja Teri Yaad Aayi  “Charas”

1978   No 02 Aadmi Musafir Hai   “Apnapan”  

1980   No 23 Parbat Ke Us Paar  .”Sargam”      

1980   No 07 Koyal Boli.  ”Sargam”            

1980   No 01 Dafliwale Dafli Baja  “Sargam”

Woh Jab Yaad Aaye Bahut Yaad Aaye   “Parasmani” 1963

(Songwriter Farooq Qaiser)

The very first duet of Lata-Rafi with Laxmikant-Pyarelal. The song is based on Indian Classical Raag Yaman Kalyan. The song starts with beautiful AALAPS by Lata ji, followed by VIOLINS. Wonderful take off by Rafi Saab>> वो जब याद आये बहोत याद आये, with delicately played SITAR synchronizing TABLA rhythm. Both the  interludes are full of VIOLINS played in Symphony style. No rhythm in interlude. It has a melody of the 60s. The song is picturised on Mahipal and Anita Guha.

Woh Hai Jara Khafa Khafa      ”Shagird” 1967

(Songwriter Majrooh Sultanpuri)

Lata Mangeshkar sounds extremely melodious in this song. The song is created on WALTZ rhythm. The best part of this song is the mellifluous overlapping of Aalaaps with Words and also Aalaap with Aalaap, by Lata Mangeshkar and Mohammd Rafi. i) “overlapped aalaps” at 5.22-5.28 and again at 5.48-5.54) ii) “overlapped aalaaps with words” at 5.28 to 5.48, simultaneously both by Lataji and Rafi sab. This beautiful, melodious and sweet song is composed in a western toe-stepping rhythm created through ACOUSTIC GUITAR. All the three interludes have different tunes. GUITAR and FLUTE are awesomely used in the interludes. The song is filmed on Joy Mukherjee – Saira Banu

Ye Dil Tum Bin Kahin Lagata Nahin “Izzat” 1968

(Songwriter Sahir Ludhiyanvi)

This is an extremely melodious duet written by Sahir Ludhiyanvi, working for the first time with Laxmikant-Pyarelal. It has been composed in Raag Pahadi

The unique aspect of this song is the use of  VIOLINS / CELLOS. 

The entire song is woven around the orchestration of symphony VIOLINS and CELLOS. ‘Prelude’ as well as all the ‘interludes’ are composed in symphony style orchestra with different tunes. CELLOS / VIOLINS are also used as a ‘filler’ as well as in surround sounds of the song, especially in ‘Mukha’ and the ‘antara’. In the ‘prelude’ of 22 seconds VIOLINS / CELLOS are integrated  with string sounds of GUITAR. First interlude is awesomely orchestrated with VIOLINS and strings of GUITAR. Second interlude with the same instruments but different tunes of VIOLINS. Third interlude VIOLINS and FLUTE. 

TABLA is used in the rhythm in a conventional style The rarest of rare occasion when Laxmikant-Pyarelal have used only TABLA The song is filmed on Dharmendra-Tanuja. 

Sathiya Nahin Jana Ke Jee Na Lage     “Aaya Sawan Jhoom Ke” (1968)

(Songwriter Anand Bakshi)

An extremely melodious duet, composed in ‘Pujabi” folkish style with an awesome DHOLAK rhythm, played throughout the song. First interlude is orchestrated with FLUTE, VIOLINS and ‘strokes’ of SANTOOR and SITAR. Second interlude is full of VIOLINS and the ‘strokes of SANTOOR. Third interlude starts with ‘’strokes’ of SANTOOR followed by SHEHNAI /  NADASWARAM, FLUTE. Filmed on Dharmendra Asha Parekh 

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 compositions. 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 display 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 start with Rafi’s voice “Ek Tera Saath” .. just a brilliant take-off..

Hum Tumhare Liye Tum Hamare Liye     “Intequam” 1969

(Songwriter Rajendra Krishnani)

Beautiful display of melody. ‘Prelude’ is 36 seconds full of VIOLINS, ACOUSTIC GUITAR and NADASWARAM. Wonderful ‘aalaps’ by Lataji. First interlude orchestrated with VIOLINS synchronised with RUBAB. “Pause” at the end of each antara. Second interlude is VIOLINS and NADASWARAM intermixed awesomely with Lataji’s aalaps.  

Phool Hai Baharon Ka     “Jigri Dost”  1969

(Songwriter Anand Bakshi)

Yet another melody. ‘Prelude’ of 46 seconds, full of CELLOS, VIOLINS, ACOUSTIC GUITAR, SAXOPHONE intermixed. In particular VIOLINS with SAXOPHONE. Awesome take off by Lataji फूल है बहारों का बाग है नज़ारो का  synchronizing with fast BONGA DRUM rhythm. First interlude is full of SAXOPHONE, VIOLINS, GUITAR. Mukhada has wonderful ‘shouts’ at the end.  Second interlude orchestrated with NADASWARAM and VIOLINS. In spite of shouts and rich orchestra, the song has not lost it’s melody. Beautiful display of SAXOPHONE at the end. The song is filmed on Jeetendra – Mumtaz. 

Dil Ne Dil Ko Pukara    “Do Raaste”  1969

(Songwriter Anand Bakshi)

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. Inordinately melodious, fascinatingly composed duet, filmed on Rajesh Khanna-Mumtaz. Beautifully orchestrated “interludes” with VIOLINS, FLUTE and SANTOOR, in particular the synchronism of VIOLINS with SANTOOR in first / third as well as FLUTE with SANTOOR in second interlude. Another beauties of this graceful duet are the ‘stroke’ of SANTOOR with DHOLAK, at the beginning of each of the ‘antara’’ as well as ‘pauses’ given by Lata Mangeshkar and Mohammad Rafi, for 4 seconds, to highlight Laxmikant-Pyarelal’s ‘rhythm’, intermixing of  DHOLAK – SANTOOR, in the middle of each of ‘antares’.  (first at 2.44). The rhythm pattern for ‘interludes’ (BONGO DRUMS) are different from that of ‘antara’/’mukhda’ (DHOLAK).

Das Gayi Das Gayi      “Himmat”  1970

(Songwriter Anand Bakshi)

Peppy song orchestrated with VIOLINS, GUITAR and SAXOPHONE. Fast BONGO DRUM rhythm. Jeetendra – Mumtaz. 

Rut Beqarar Hai      “Maa Aur Mamta”  1970

(Songwriter Anand Bakshi)

Breezing Melody:: One of the finest and extremely melodious Lata-Rafi  duet. Arrangements of orchestra is in SYMPHONY style VIOLINS in support with JAZZ FLUTE, WHISTLE, MANDOLIN and ACOUSTIC GUITAR. Jeetendra – Mumtaz

Mujhe Teri Muhobbat Ka   “Aap Aaye Bahar Aayee”   1970

(Songwriter Anand Bakshi)

One of the most popular duets of the 70s. It is a sad song awesomely rendered by both Lata and Rafi Saab. Rajendra Kumar – Sadhna 

Chala Bhi Aa Aaja Rasiya “Man Ki Aankhen”    1971

(Songwriter Sahir Ludhiyanvi)

The song has an ear pleasing melody. Filmed on Dharmendra – Waheeda Rehman.

Excellent DHOLAK rhythm. FLUTE, VIOLINS. In one of the interludes, Rafi Sahab’s AALAPS 

Is brilliantly synchronized with FLUTE as well as SANTOOR. 

Jhilmil Sitaron Ka            “Jeevan Mrityu”   1971

(Songwriter Anand Bakshi)

Immortal song. One of my favorites. Dharmendra-Raakhi. ‘Prelude’ of 26 seconds is awesomely orchestrated with FLUTE and Rafi Sahab’s HUMMING, synchronised with Symphony style VIOLINS and then 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.  .

Patta Patta Buta Buta Hal Hamara Jane        “Ek Nazar”  1970

(Songwriter Majrooh Sultanpuri)

Typical Ghazal song. Use of IRANI SANTOOR , VIOLINS and SAXOPHONE is mellifluous. 

“Prelude” as well as all the “interludes” have a mind-boggling  orchestra arrangement. 

First Interlude is orchestrated with IRANI SANTOOR and FLUTE synchronized with GUITAR. Second Interlude has incredible use of SAXOPHONE as well as SYMPHONY style VIOLINS. The Third Interlude is decorated with SAROD and VIOLINS. In fact the SYMPHONY style VIOLINS can be heard in surround sound effects in “Mukhda” and “Antara” as well with beautiful DHOLAK rhythm. The song is filmed on Amitabh Bachchan – Jaya Bhaduri. 

Typical Ghazal song. Use of IRANI SANTOOR , VIOLINS and SAXOPHONE is mellifluous. 

Tik Tik Mera Dil Dole        “Humjoli”   1972 

(Songwriter Anand Bakshi)

Distinguishable composed melodious Cabaret song in the duet form. This Cabaret Song has melody. ‘Prelude’ of 22 seconds is full of Lata ji’s AALAPS synchronised with the western style instruments. Fast BONGO rhythm. All the “interludes” are awesomely orchestrated in JAZZ flavored, with BRASS instruments, including SAXOPHONE,  BASS GUITAR.  The best part of the song is that all the three ‘antaras’ are mellifluously ‘filled’ with Lataji’s rendering ‘aalaps’ (second antara) as well as Rafi sahab’s vocal ‘aalaps’ ( first and third antara) followed by “filling” with SAXOPHONE. The pair of Mumtaz-Jeetendra  looks charming as cabaret dancers. A superhit song, still popular. Killer part of the song is the AALAPs rendered by (ल ल ल ल ल ल ल ल ला ) Lataji and Rafi Saab in Antara. 

Itana To Yaad Hai Muze            Mehaboob Ki Mehandi” 1974

(Songwriter Anand Bakshi)

Melodious duet sung by Mohammed Rafi and Lata Mangeshkar. The song has beautiful display of SITAR (by Ustad Rais Khan), FLUTE and hypnotized DHOLAK rhythm. The sweetest Melody. The DHOLAK rhythm mesmerizes.. SITAR played excellently. Anand Baxi. rajesh Khanna- Leena Chandawarkar.

Aadmi Musafir Hai          “Apnapan”   1977

(Songwriter Anand Bakshi)

Doctrine worded, each and every line. Anand Bakshi writes क्या साथ लाये क्या छोड़ लाये ! रस्ते मैं हम क्या छोड़ लाये ! मंज़िल पे जाके याद आते है !  

Laxmikant-Pyarelal’s composition is simply superb. 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. 

Dafaliwale Dafali Baja  “Sargam” 1979

(Songwriter Anand Bakshi)

The most “popular” songs of this combo. This song rocked the nation. The sounds of the DAFLI (Hand Drum) and the GHUNGAROO (Ankle Bells) are beautifully synchronised to create an appropriate “rhythm” for this extremely melodious song. VIOLINS are awesomely orchestrated in the ‘interludes’. Whenever Laxmikant-Pyarelal composed music, they always took careful consideration of the plot outline of the film. That may not seem like a big deal but it is when there are few music directors in Bollywood who don’t have even the faintest idea of what the film that they are producing music for is about. Mohammed Rafi and Lata Mangeshkar excel in the songs they sing. Song is shoot in Srinagar, Kashmir. 

Aashaon Ke Sawan Mein   “Asha”  1980

(Songwriter Anand Bakshi)

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. 

AJAY POUNDARIK,  Atlanta (Georgia), USA. 

INVINCIBLE Laxmikant-Pyarelal and EUPHONIC Mohammad Rafi

INVINCIBLE  Laxmikant-Pyarelal and EUPHONIC  Mohammad Rafi

(Few Black and White  “Romantic Songs”)

“Parasmani”  marked the beginning of a long association between Mohammad Rafi Saab and Laxmikant-Pyarelal.  When filmmaker Babubhai Mistry signed Laxmikant-Pyarelal to compose music for the low-budget costume drama Parasmani in 1963. Laxmikant-Pyarelal began thinking of which singers to choose. Laxmikant-Pyarelal’s natural choice was Mohommad Rafi.  Two songs of Mohammad Rafi “Woh Jab Yaad Aye, bahut yaad aye” and “Roushan tumhi se duniya” brought fame for the musical duo.

Laxmikant, Pyarelal and Rafi Saab, in 1969. 

Success was not easy for Laxmikant-Pyarelal, since they had no Godfathers to promote them. They both started with B grade films, which were never released. Their first breakthrough came via film Parasmani.  Dosti established them as full flagged music composers.

The most unique aspect of these two films was that they had unknown actors for whom Laxmikant-Pyarelal and Rafi Saab gave A grade performance.

1964 Filmfare Award Function. Mohammad Rafi, Majrooh Sultanpuri and Laxmikant-Pyarelal Winning The Awards For Rajshrhi Pictures DOSTI

The song ‘Chahunga mein tujhe‘ for which Rafi Saab and lyricist Majrooh Saab won Filmfare awards was to be scrapped from the soundtrack. It was Rafi Saab who insisted Laxmikant-Pyarelal to retain the song and what a momentous decision that was from Dosti where there was no looking back.

Rafi was so impressed with the compositions of Laxmikant Pyarelal that he had taken just one rupee for singing the song because it was the custom of a singer to take something in return for a professional song. The film became a huge success.

Laxmikant-Pyarelal were the staunch Rafi loyalist throughout their life. Their greatness lies in their simplicity, commitment and the quality of unconquered versatility gave Laxmikant-Pyarelal a supreme staying power of 35 years in the Hindi Film Music.

Laxmikant-Pyarelal’s s association with Rafi Saab continued till his last day, 31st July, 1980. During Rafi Saab’s lean years in the early 70s apart from Madan Mohan it was Laxmikant-Pyarelal who stood by him. Both were instrumental in bringing Rafi Saab comeback in the year 1977.

Pyarelal & Mohammad Rafi

Mohammad Rafi has sung as many as 379 numbers of the songs, including 183 solo, under Laxmikant-Pyarelal. This is the highest numbers of the songs sung by Mohammad Rafi under any music directors in Hindi Film Music.

It is very difficult to select the best of Mohammad Rafi with Laxmikant-Pyarelal. Here I have selected few “Black and White” era’s Romantic songs, from Rafi-LP combo. Most of these songs are of the period when Laxmikant-Pyarelal were relatively new. Just listen to it. They are just amazing in all respect.

1. Abhi Kamseen Ho Nadan Ho …”Aaya Toofan” 1964. 

This song is a “landmark” for Rafi-LP combo, just before “Dosti”. Extremely ‘tender’ song, delicately rendered by Rafi in his own style. The way Rafi Saab takes off and renders “ABHI KAMASEEN HO”… is just a mesmerizer. Apart from western style orchestra arrangements using VIOLINS and ACCORDION  in all the “interludes”, it has ear-pleasing “prelude” of MANDOLIN. Another beauty of this song is the “pauses” given in between.  It is an addict song for all RAFI FANS. Asad Bhopali have written this lovely romantic words.

2. Tauba Ye Nazare …”Dillagi” 1966

“Prelude” of 44 seconds is  very melodious, Rafi Saab’s humming, ACOUSTIC GUITAR and VIOLINS. Flawless ‘romantic’ rendering, beautiful BONGO DRUM fast rhythm. First and last ‘interludes’ are orchestrated with ACCORDION and GUITAR. Second “interlude” Rafi Saab have repeated the humming. The song is written by Majarooh Sultanpuri.

3. Mera Yaar Bada Sharmila ..”Milan Ki Raat” 1967

This song is effortlessly sung by Rafi saab on a “ROCK N ROLL” style, synchronizing his rendering with BONGO DRUMS  ‘rhythm’.  Another beauty of the song is that it is completely woven around the glimpses of GUITAR, in the ‘interludes’ and as ‘filler’ to create a romantic feel through the orchestra. This song is written by Anand Bakshi.

HIT song of 1967 at “right” moment…When late Mansoor Ali Khan Pataudi Playing Test Cricket at Leeds (UK), “proposed” Sharmila Tagore, by scoring brilliant Century (148 runs).

4. Jab Jab Bahar Aayee ..”Taqdeer” 1968

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) with mellifluous DHOLAK/TABLA ‘rhythm’. This song has many versions, sung by various singers but solo sung by Rafi Saab is the best. This songs beautiful words are written by Anand Bakshi. 

5. Aayee Baharon Ki Sham ..”Wapas” 1969

Western style composition with rhythm on ACOUSTIC GUITAR mesmerizes the musical ears. Beautiful song with sweet & soulful lyrics. Rafi sab is always at his best when he sings soft, soothing romantic songs.Here too he has succeeded to spread magic with his extremely melodious singing…..lovely composition. Majaroooh Sultanpuri has written the song.

Long Live Laxmikant-Pyarelal Music. 

Ajay Poundarik

ASTOUNDING FOURSOME Mohammad Rafi Anand Bakshi Laxmikant-Pyarelal

ASTOUNDING  FOURSOME Mohammad Rafi..Anand Bakshi.. Laxmikant-Pyarelal

Mohammad Rafi is considered no less than a genius when it comes to varied styles of music. This great singer had the perfect blend of melody, emotions and energy, which resulted into thousands of soulful songs.

Mohammad Rafi has recorded the maximum numbers of  songs under the music directors Laxmikant-Pyarelal, precisely 379 songs, including 183 solo.

Left Laxmikant-Pyarelal, /Top Right Laxmikant-Pyarelal with Mohammad Raf/Bottom  Right  Laxmikant-Pyarelal with Anand Bakshi 

ASTOUNDING  FOURSOME :: Mohammad Rafi,  Anand Bakshi, Laxmikant-Pyarelal. Out of gigantic 379 songs composed by Laxmikant-Pyarelal for Mohammad Rafi, monumental 270 songs are written by Anand Bakshi, ONLY.

We get incomparable variety of songs from these astounding FOURSOME  of Mohammad Rafi/Anand Bakshi and Laxmikant-Pyarelal. Gazal, Western, Semi-Classical, Lori (lullaby), Folk, Qawwali, Mujra, Patriotic etc. Sad Songs, Romantic Songs, Devotional Songs etc, many more varieties can be found in this QUARTET.

This “TETRAD” of  Mohammad Rafi, Anand Bakshi, Laxmikant-Pyarelal  came together for the first time for the song, ‘Shokhiyan Nazar Mein Hai’  from “Aasra” in 1966. Followed by super musical from J. Om Prakash’s “Aaye Din Bahar Ke”.  The association lasted till July, 1980 when Rafi Sahab recorded his last song ‘Tu Kahin Aas Paas Hai Dost’  for J. Om Prakash’s “Aas Paas”.

The ‘era’ has now begun with series of hits after hit  songs from these ‘FOURSOME”

1966:- Biswajit’s “Aasra”, Dharmendra’s “Aaye Din Bahar Ke

1967:- Bishwajeet’s “Night In London”, Jeetendra’s “Farz”, Rajshri Production’s “Taqdeer”, Sanjay Khan’s “Milan Ki Raat”.

1968:- Dharmendra’s  “Aaya Sawan Jhoom Ke” , Rajendra Kumar’s “Anjana” , Sanjeev Kumar’s “Raja Aur Runk” .

 1969:- Jeetendra’s “Jeene Ki Raah”, “Do Bhai” and  “Jigari Dost”, Rajesh Khanna’s  “Do Raaste” Manoj Kumar’s “Sajan” .

These “FOURSOME” are instrumental in ceding most of the “stars”  many ‘signature tunes’.

— Jeetendra ::  ‘Mast Baharon Ka Main Ashiq’ …”Farz” 1967

— Rajesh Khanna :: ‘Yeh Reshmi Zulfein’ “Do Raaste” 1969

— Sanjeev Kumar :: ‘O Phirki Wali Tu Kal Phir Raja Aur Runk” 1968

— Biswajeet :: ‘Nazar Na Lag Jaye’ … “Night In London” 1967

— Rajendra Kumar :: ‘Aap Aaye Bahar Aap Aaye Bahar Aaye” 1971

— Dharmendra :: ‘Main Jat Yamla Pagla Deewana’ … “Pratigya” 1975

— Rishi Kapoor :: ‘Ramji Ki Nikli Sawari’ … “Sargam” 1979

— Shashi Kapoor :: ‘Kali Ghata Chhayi’  … “Kali Ghata” 1980

— Amitabh Bachchan :: ‘John Jani Janardhan’ … “Naseeb” 1981

Binaca Geetmala:

Many songs of the “FOURSOME” have aired in weekly Binaca Geetmala Programme. Interestingly  48 songs involving “QUARTET”, Mohammad Rafi/Anand Bakshi/Laxmikant-Pyarelal appeared in Binaca Geetmala Finals, with one song as number one in 1979, ‘Dafliwale Dafli Baja’ ( Rafi-Lata) from “Sargam”.

Laxmikant, Lata Mangeshkar, Anand Bakshi & Mohammad Rafi

Filmfare Awards / Nominations:-

As many as SIX songs of the “TETRAD”, Mohammad Rafi/Anand Bakshi/Laxmikant-Pyarelal were nominated for filmfare awards. (Best Male Singer Category ).

1969 ‘Badi Mastani Hai Meri Mehbooba’ …  “Jeene Ki Raah”

1970 ‘Khilona Jaan Kar Tum Mera Dil’ … “Khilona”

1977 ‘Parda Hai Parda’ … “Amar Akbar Anthony”

1978 ‘Aadmi Musafir Hai’ … “Apnapan” (with Lata Mangeshkar)

1980 ‘Mere Dost Kissa Ye Kya Ho Gaya’ … “Dostana”

1980 ‘Dard-E-Dil Dard-E-Jigar’ … “Karz”

However Laxmikant-Pyarelal did win the awards, involving these “FOURSOME”  for

Jeene Ki Raah” (1969)

Amar Akbar Anthony” (1977)

Sargam” (1979)

Karz” (1980)

Anand Bakshi too win the filmfare award for the song, created by the “FOURSOME”

Aadmi Musafir Hai’ (Rafi-Lata), “Apnapan” in 1978.

Unfortunately, NONE for Rafisaab, involving “QUARTET”.  

Laxmikant, Pyarelal, Lata Mangeshkar & Mohammad Rafi

Period after 1970-

Till 1970, Mohammad. Rafi was undisputed and demanded singer in Bollywood music industry. But after 1970, Kishore Kumar came into limelight and his popularity increases after he sang super hit songs for the movie Aradhana (1969).

During this ‘lean’ period of Mohammad Rafi it was ONLY Laxmikant-Pyarelal gave many hit songs for Mohammad Rafi to sing. To be precise Laxmikant-Pyarelal have recorded 264 numbers of songs (Out of total of 379 songs from Rafi-LP combo) of Mohammad Rafi in post “Aradhana” period.

Laxmikant-Pyarelal along with Anand Bakshi are instrumental in bringing back the Glory of Mohammad Rafi, in post “Aradhana” (1969)  period. That too without damaging the giant popularity of  Kishore Kumar. This “FOURSOME”  have recorded as many as 192 songs (out of  total of 270 songs) which includes many hits as well as memorable songs.

Listing few hit albums.  

1970:- Rajesh Khanna’s ”Aan Milo Sajna”, Jeetendra’s “Humjoli”, Sanjeev Kumar’s ”Khilona”, Shashi Kapoor’s “Suhana Safar”, Dharmendra’s “Jeevan Mrityu”.

1971:- Rajendra Kumar’s “Aap Aaye Bahar Aayi”, Rajesh Khanna’s “Mehboob Ki Mehndi” and “Haathi Mere Saathi”, Jeetendra’s “Banphool”, Rajashi Production’s “Uphaar”.

1972:– Jeetendra’s  “Jeet” and “Roop Tera Mastana”,  Rajendra Kumar’s “Gora Aur Kala” and “Mom Ki Gudiya”.

1973 :-  Dharmendra’s “Loafer”, Sanjeev Kumar’s “Suraj Aur Chanda”.

1974:- Shatrughan Sinha’s “Dost

1975:- Dharmendra’s “Pratigya”, Rajesh Khanna’s “Prem Kahani”.

1976:- Shashi Kapoor’s  “Naach Uthe Sansaar”  and Dharmendra’s “Maa”.

1977:- Manmohan Desai’s FOUR hits . Amitabh / Rishi Kapoor’s “Amar Akbar Anthony”,  Dharmendr’s “Dharam Veer” and “Chacha Bhatija”, Amitabh / Shashi Kapoor’s “Parvarish”. Jeetendra’s “Apnapan”.

1978:- Shashi Kapoor’s “Amar Shakti”, Sunil Dutt’s “Daku Aur Jawan

1979:- Rishi Kapoor’s “Sargam” (LAXMIKANT-PYARELAL have given all the SEVEN songs for MOHAMMAD RAFI to sing. This was very unusual phenomena during seventies.), “Karz” , “Do Premee” and also Jeetndra’s “Aasha”  and Sanjeev Kumar’s “Ladies Tailor”.   Rajesh Khanna’s and Dharmendra’s “Rajput” ++ Many more.

The above analysis confirms that both Anand Bakshi and Laxmikant-Pyarelal have given more melodious as well as hit songs for Mohammad Rafi in seventies (Post “Aradhana” period)

Let us  review few of the BEST songs from these “FOURSOME”.

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

1  AAYE  DIN BAHAR  KE – 1966

Mere Dushman Tu Meri Dosti Ko Tarse

Song Writer ANAND BAKSHI’s painful wordings, showing vexation. MOHAMMAD RAFI’s soulful and heart touching rendering and LAXMIKANT-PYARELAL  ‘symphonic’ orchestra arrangements are justifying the frustration in this song. Also not to forget the expressions shown on screen by Dharmendra.

2  NIGHT  IN LONDON  – 1967

Bahosh-O-Hawas Mein Deewana

ANAND BAKSHI’s fanciful wordings. LAXMIKANT-PYARELAL’s Wonderful Westernized Orchestra Arrangements In SYMPHONY Style. “PRELUDE” of 51 seconds is just mesmerizing. Use of VIOLINS and VIOLA for first 33 seconds and than again huge “pick” at 48 seconds as well as in the first “interlude” from 1.25 to 1.45 is just ear pleasing. Both the interludes have different tunes. There are some glimpses ‘pauses’. The “symphony style violins” vowing around MOHAMMAD RAFI’s voice that gives an additional mellifluousness and romantic feeling to this song. Each and every moment of this GEM of song makes you “thrill” and that is why it is one of my all time favorite song.

3  JEENE  KI RAAH  – 1969

Aane Se Uske Aaye Bahar

ANAND BAKSHI comparing nature beauty and intermixing it in  romantic mood. Mesmerizing “Prelude” of 40 seconds, with overlapping sound effects of VIOLINS, Twitting of

BIRDs, Mohammad Rafi’s “aalap” as well as ACOUSTIC GUITAR, gives the feeling of village

background. Both the mellifluous “Interludes” have different orchestra arrangements, decorated with FLUTE, VIOLIN and ACCORDION. This sweet and melodious song have ear-pleasing ‘DHOLAK’ rhythm. Jeetendra  looks handsome.

4  DO RAASTE  – 1969

Ye Reshmi Julfe

Concordant romantic song, penned by ANAND  BAKSHI, seductively performed by Rajesh Khanna. Glamorous inception by Rafi saab after 19 seconds ‘prelude’ of 19 seconds, VIOLINS overlapped with MANDOLIN. It has a ear-pleasing, melodic DHOLAK rhythm, with few ‘pause’  of 8 seconds at the end of each mukhada. The “rhythm” keeps listeners enchanted, throughout. Mumtaz looks beautiful. MOHAMMAD RAFI in supreme form.

5  UPHAAR  – 1971

Mein Ek Raja Hoon Tu Ek Rani Hai

Soft Romantic words by ANAND BAKSHI. “Prelude” of 27 seconds comprises of VINA and SANTOOR and Mohammad Rafi’s beautiful take off (main ek raja hoon) is just brilliant. Extremely Soft and Melodious ROMANTIC song composed in the “raag” ‘ BAIRAGI’. Use of the BONGO drum in “Toe Stepping Rhythm” intermixed with SANTOOR is ear-pleasing. Use of FLUTE , ACOUSTIC GUITAR, SANTOOR and SITAR and other string instruments are mellifluously executed in the song. In early seventies Mohammad Rafi was almost forgotten but it was only Laxmikant-Pyarelal gave some of the finest songs to Rafi. This is one of them. It was a “Binaca Geetmala Hit song”

6  KHILONA  – 1971

Khilona  Jaankar Tum  To Mera Dil Tod Jaate Ho

I have chosen the famous song, title song, heartbroken wordings by ANAND BAKSHI, rendered by MOHAMMAD RAFI with pain. No words to describe the elegance of Mohd Rafi. The song starts with the ‘aalap’. It has wonderful “DHOLAK” rhythm. “Interludes” are beautifully decorated with MANDOLIN, VIOLINS and SAROD. In the second “interlude” SYMPHONY orchestra is mellifluously overlapped with SHEHNAI.  Sanjeev Kumar have acted wonderfully. In early 70s when most of the music directors had forgotten Mohammad Rafi, it was only Laxmikant-Pyarelal used to give some of the best songs to Rafi Sahab. This is one of them.

7  MEHBOOB  KI MEHANDI  – 1971

Ye Jo Chilman Hai, Dushman Hai Hamari

Flawless composition, with ‘zero’ ‘prelude’, by using bare minimum instruments along with the rhythm of DHOLAK / TABLA. Radiant take off by Rafi Saab. All the ‘interludes’ are glitteringly orchestrated with SARANGI, SITAR, VIOLIN, SANTOOR and SAROD.  The “pause” given at the end of each the ‘antara’ gives a soothing effect to this erotic song.

Rajesh Khanna simply awesome.

8  LOAFER  – 1973

Aaj Mousam Bada Beimaman Hai

Once again ANAND BAKSHI masters in writing romantic words, with difference. “Prelude” of  SYMPHONY style VIOLINS, brilliantly synchronized with Rafi Sahab’s HUMMING sets the mood of this sensational and romantic composition. The first “interlude” is remarkably decorated with SITAR (played by Ustad Rais Khan). Second and third “interludes” have mellifluous effect of  SYMPHONY style VIOLINS. Rafi Sahab’s rendering is simply outstanding. Dharmendra looks romantic.

9  AMAR  AKBAR ANTHONY  – 1977

Parda Hai Parada

Superbly composed “Qawwali” . “Prelude” 67 seconds, full of RUBAB, MANDOLIN, SHEHNAI / NADASWARAM, GUITAR, HARMONIUM, synchronised with DHOLAK rhythm,  mesmerizes you. Brilliant take off by Rafi Sahab.  SHEHNAI / NADASWARAM are mellifluously used as ‘filler’ in ‘mukhda’. Wonderfully performed by Rishi Kapoor.  

10  SARGAM  – 1979

Hum To Chale Pardes Hum Pardesi Ho Gaye

Mohammad Rafi sounds very different in all of the “Sargam” songs, perhaps at it’s best.

The song starts with   beautiful ‘aalap’ from Rafi Sahab”. The DHOLAK rhythm hypnotizes. The song has a village background the music is justifying it too. The “interludes” of the song is just worth to listen to. Sounds of BULLOCK  CART BELLS wonderfully synchronized with NADASWARAM and MANDOLIN as well as in second “interlude’ with FLUTE and SANTOOR.

11  KARZ  – 1980

Dard- E-Dil, Dard-E-Jigar

Enjoy fascinatingly instrumented solo VIOLIN in 52 seconds of “Prelude”. This is a western style GHAZAL composition orchestrated awesomely with GUITAR in the rhythm. All the “Interludes” are mellifluously synthesised with TRUMPETS, SYMPHONY style VIOLINS, GUITAR, percussion instruments.

Ajay Poundarik

Vadodara (Gujarat)

INDIA.