Inimitable Voice of MUKESH & Laxmikant-Pyarelal
Right from the very first film “Parasmani” (1963), Laxmikant-Pyarelal have utilized singer Mukesh’s voice as and when required.
It was not an easy task for any music directors to extract the “best” from singer Mukesh. That is why Mukeshji was a very special singer in his own way.
It is very surprise to note that MUKESHji was not used by many BIG Music Directors..
C Ramchandra (4 songs)
Madan Mohan (9 songs)
O P Nayyar (4 songs)
S D Burman ( 12 songs)
R D Burman ( 12 songs) and
Naushad ( 27 songs).
But very effectively used by following music directors
Shankar-Jaikishan ..136 songs (highest numbers)
Mukesh has sung as many as 80 songs under the music direction of Laxmikant-Pyarelal. More importantly music directors Laxmikant-Pyarelal brought back the glory of singer Mukesh through the “Milan” songs in addition to the songs of “Anita”, “Farz” and “Patthar Ke Sanam”. In return Mukeshji strongly recommended Laxmikant-Pyarelal’s name to Raj Kapoor for the music of “BOBBY”.
Laxmikant, Pyarelal & Mukesh
There are some different type of variety of songs sung by Mukeshji for the duo. I have selected the five such songs of Mukesh sung under Laxmikant-Pyarelal.
1) Naach Haseena Naach Ke Duniya Dekhe (“Ek Bechara” 1972). A ‘Western’ Style.
Mukesh sounds delicious in this “western style” composition. The “prelude” of 1.24 is full of ‘Arabic Tunes’ and VIOLINS. Beautiful ‘BONGO DRUMS’ rhythm starts at 1.22 , giving the ‘pause’ of 3 seconds, brilliant take off my Mukesh ji “naach haseen naach”…at 1.25. ACCORDION is effectively synchronized.
First “interlude” is once again on “Arabic Folk Tunes’ intermixed with glimpses of ACCORDION. Once again Mukeshji has given a “pause” at the end of the interlude. Second “interlude” is folkish type. The third interlude is the BEST part of this song. Rano Mukharjee ( daughter singer / music director Hemant Kumar) has rendered this interlude in typical “Arabic” vocal style. Anand Bakshi has written this song.
The song is filmed on Jeetendra and Rekha.
I consider this song is one of the best song from the combo of Mukesh & Laxmi-Pyare.
2) Tum Bin Jeevan Kaise Beeta (“Anita” 1967). A ‘Classical’ Style.
Song writer Raja Mehadi Ali Khan has written this elegant melodious song composed in Raag “Yaman Kalyan”………effectively sung by Mukesh ji ……deep touching lyrics.
Simple ‘TABLA’ rhythm for mukhada and antara. Another beauty of this songs is a mellifluous SYMPHONY style orchestra arrangements with soft VIOLINS (no rhythm) in all the “interludes”. The song is filmed on Manoj Kumar and Sadhna.
3) Ram Kare Aisa Ho Jaye (“Milan” 1967). A Beautiful “LORI”.
Mukesh has sung almost all the songs in 1967’s super duper hit film “Milan”. The song selected is filmed on Sunil Dutt and Nutan.
Extremely melodious song, melleflously sung by Mukesh in the form of “LORI”. Entire song is woven around the ear-pleasing glimpses of FLUTE as a ‘filler’ and also in all the interludes. MANDOLIN is also used in the ‘interludes’. DHOLAK/Tabla ‘rhythm’ is just simply mind-blowing and suits the theme of the song. Anand Bakshi has penned the song.
4) Tauba Ye Matawali Chal (“Patthar Ke Sanam” 1967). A Romantic song.
This lovely song is written by Majarooh Sultanpuri, filmed on Manoj Kumar, Mumtaz and Waheeda Rehman on the screen. Romantically sung by Mukesh. Song has beautiful DHOLAK rhythm. First part is very nicely orchestrated by VIOLINS. The second half of the song starts with ear-pleasing FLUTE and MANDOLIN.
The “postlude” is full of SITAR ( played by late Rais Khan).
5) Jyot Se Jyot Jagate Chalo (“Sant Gyaneshwar” 1964). A Devotional song.
One of the most popular song of Mukesh and of the film, as well. The entire song is woven around the glimpses of FLUTE and SITAR with mesmerizing rhythm of DHOLAK.
The film is still being remembered for one big HIT song..”Jyot Se Jyot Jagate Chalo””…It can be heard in many of the Temples at any part of the world. Devotionally penned by Pandit Bharat Vyas.