Sound of SHEHNAI :: Laxmikant-Pyarelal Enrich Orchestra

Sound of SHEHNAI :: Laxmikant-Pyarelal Enrich Orchestra 

SHEHNAI  Originated from India. Mostly used in North India. It is must in Indian Weddings,  It is especially played when the bride leaves his father’s place but this time it sounds sad. 

Shehnai player,  late Ustad Bismillah and SHEHNAI have become a synonym in India. In the Year 1958 Producer / Director Mr. Vijay Bhatt had made the movie “Goonj Uthi Shehnai”. The film’s story was based on Shehnai Player. Lots of scope for Shehnai. Late Ustad Bismillah Khan have played the Shehnai for the background music as well as for the songs composed by the music director Vasant Desai.

Actually SHEHNAI was not utilized as much as Sitar, Flute, Sarod and Santoor etc in the  Hindi Film Songs. However, many music directors orchestrated SHEHNAI in their songs.

Music Director Ramlal who composed the music for V Shantaram’s “Sehra” 1963, was a very good SHEHNAI player. He played the Shehnai for many hit songs including Raj Kapoor and Laxmikant-Pyarelal classic “Satyam Shivam Sundaram” 1978, ‘rang mahal ke dus darwaze’ rendered by Lata Mangeshkar – Bhupendra Singh. 

Use of SHEHNAI by various music directors. 

Ram Ganguli

Zinda Hoon Is Tarah   “Aag” 1948


Aaye Na Balam Vada Kar Ke    “Shabab” 1954

Pee Ke Ghar Aaj                      “Mother India”  1957

Salil Chaudhari

Jhoome Re Kali Bhanwara     “Naukari”     1954


Chal Ud Ja Re Panchhi          “Patang”   1957

Vasant Desai

Tere Sur Aur Mere Geet   “Goonj Uthi Shehnai”  1958.

N Dutta

Tu Mere Pyar Ka Phool   “Dhool Ka Phool” 1958

C Ramchandra  

Tu Chhupi Hai Kahan     “Navrang”  1959

S D Burman

Chal Ri Sajni    “Bambai Ka Babu”   1960


Aap Ne Yaad Dilaya          “Aarti”  1962


Taqdeer Ka Fasana       “Sehra”  1963


Babul Ki Dua Leti Ja         “Neel Kamal”  1968


Kabhi Kabhi Mere Dil Main   “Kabhi Kabhi”   1976’

Laxmikant-Pyarelal also composed some melodious songs, harmonizing Shehnai, in their enrich orchestra arrangements. Few of the songs are considered for the review. 

Songs Not Reviewed :

Koi Shahari Babu “Loafer” 1973

Ni Main Year Manani “Daag” 1973

Meri Kismat Main “Prem Rog” 1981

Likhanewale Ne Likh Dale “Arpan” 1983

SHEHNAI player late Ustad Bismillah Khan praised of Laxmikant-Pyarelal for the beautiful use of SHEHNAI in the songs ‘Main To Deewana’ and ‘Ram Kare Aisa Ho Jaye’ both from the super musical hit film “Milan”, 1967.

Chori Chori Jo Tum Se Mili      “Parasmani” 1963

(Lata Mangeshkar – Mukesh   /  Farooq Qaisar)

Use of SHEHNAI and MANDOLIN in “Prelude” and all the “interludes” are worth listening to.

Itni Jaldi Kya Hai Gori         “Sati Savitri” 1964

(Lata – Usha – Kamal Barot  / Pandit Bharat Vyas

A wedding and slightly naughty song, beautifully decorated with glimpses of FLUTE, SHEHNAI and DHOLAK. Don’t forget to listen to the MANDOLIN in “Prelude”.

Mubarak Ho Sabko Sama Ye Suhana      “Milan”  1967

(Mukesh / Anand Bakshi )

Singer Mukesh is simply the best choice for this song. Sad songs starts with ‘zero’ prelude. Ravishing DHOLAK rhythm, intermixed with DUFF, at some places. FLUTE is awesomely used as filler in the mukhada. First ‘interlude’ MANDOLIN, beautifully orchestrated followed by superb display of symphony style VIOLINS. Second ‘interlude’ starts with VIOLINS, later tunefully  intermixed with SHEHNAI. Third ‘interlude’ beautiful display of FLUTE. First and third  ‘antaras’ are melodiously filled with FLUTE. The second  is filled with SHEHNAI. ‘Postlude’ of 12 seconds is synchronization of FLUTE, MANDOLIN and SHEHNAI, sounds well. Filmed on Sunil Dutt and Nutan.

Khushi Ki Woh Raat Aa Gayi     “Dharti Kahe Pukar Ke”  1969 .                                          (Mukesh / Majrooh Sultanpuri)       

One of the excellent songs on SHEHNAI. “Prelude” of 57 seconds mesmerizes. It is awesomely orchestrated with SHEHNAI and FLUTE with astounding  DHOLAK rhythm. Second ‘interlude’ is superbly orchestrated with synchronization of SHEHNAI and SITAR.The postlude is full of SHEHNAI. Filmed on Jeetendra. 

 Jawani O Diwani Tu Zindabad     “Aan Milo Sajna” 1971 (Kishore Kumar  / Anand Baksh)i

Kishore Kumar-Rajesh Khanna at it’s best. Enchantingly orchestrated 39 seconds ‘prelude’ with MANDOLIN, SHEHNAI / NADASWARAM and VIOLINS. All these musical instruments are once again used, with different tune, in the interludes. DHOLAK rhythm is fantastic, in particular the “pick-up” at 0.56/0.57.

Hathon Mein Mehandi        “Uphaar” 1971

Lata Mangeshkar  /  Anand Bakshi

The perfect wedding song, sweet and melodious, as well. Excellent “prelude”, starting from 0.41 to 1.14 This song is a ‘folk’ showing traditional Rajasthani “ KATHPUTLI”. HAND DRUMS and the “BOLI” / “SHRUTTI” (This is a musical instrument made of two thin and small bamboo strips which have a reed in between and produces a sharp sound by blowing air in and out on it) are beautifully decorated in the orchestra to give the traditional “FOLK” touch. Lata Mangeshkar has brilliantly synchronized her voice with Laxmikant-Pyarelal’s orchestra arrangements.

Shehnai Baje Na Baje     “Shor”  1972

(Lata Mangeshkar / Verma Malik)

Lata Mangeshkar’s “humming” “aa oomm  oomm aa oomm oomm” and few string instruments in the “prelude” of the song are beautifully synchronized with “Jaya Bhaduri”s swinging action. The “Dholak” rhythm is absolutely “ear-pleasing”. Interludes are orchestrated with SHEHNAI and RUBAB.

Rang Mahal Ke Dus Darwaze   “Satyam Shivam Sundaram”  1978

(Lata Mangeshkar – Bhupendra Singh / Vitthalbhai Patel)

SHEHNAI is prominently, efficaciously and mellifluously orchestrated in “Prelude”, “Interlude” and “Postlude” and also as a ‘filler’ in ‘antara’. At some places SHEHNAI is wonderfully synchronized with male singer Bhupendra Singh rendering.

Chalo Re Doli Uthao        “Jaani Dushman”  1979

(Mohammad Rafi  / Verma Malik)

One of the finest compositions on SHEHNAI. ‘Prelude’ CHORUS Humming. SHEHNAI used in interlude is wonderful. Filmed on Jeetendra, Neetu Singh, Shatrughn Sinha

Tere Haathon Mein Pehna Ke    “Jaani Dushman”  1979

(Mohammad Rafi – Asha Bhosle  / Verma Malik)

Mesmerizing composition. “Prelude” of 40 seconds. SHEHNAI and NADASWARAM are awesomely intermixed followed by VIOLINS in SYMPHONY style then “folkish” DHOLAK rhythm and then glimpses of HARMONIUM. All the “interludes” are also orchestrated with the above musical instruments in addition it has a “CLAPPING” in the “rhythm”. Filmed on Jeetendra – Neetu Singh.

Ladaka Tumhara Kunwara Rah Jata   “Krodhi”  1980

(Kishore Kumar – Lata Mangeshkar  /  Anand Bakshi)

Tere Mere Beech Main   “Ek Duje Ke Liye” 1981

(Lata Mangeshkar – S P Balasubramaniam  / Anand Bakshi)

Composed in Hindustani Classical Raag “SHIVRANJANI”. 16 seconds of ‘prelude’ orchestrated with glimpses of GUITAR, Symphony style CELLOs, and VIOLINS and awesome aalaps by Lataji. Excellent “DHOLAK” rhythm. SANTOOR, FLUTE, VIOLINS and SHEHNAI are mellifluously decorated in the orchestra. 

Ye Galiya Ye Chaubara      “Prem Rog”  1982

(Lata Mangeshkar  /  Santosh Anand)

Wonderful traditional wedding song. Awesome DHOLAK rhythm, SHAHNAI is wonderfully orchestrated in the second interlude. 

Ajay Poundarik, Vadodara (Gujarat).

SAXOPHONE :: Laxmikant-Pyarelal Enrich Orchestra.

 SAXOPHONE ::  Laxmikant-Pyarelal Enrich Orchestra.  

Bollywood film music is principally for transferring affection. The harmony, theme, rendering style and the variations in carols are all creative processes to convey affections. Apart from these creative processes, the musical instruments which are played in the orchestra also have a key role to play in conveying empathy. 

Music directors normally choose instruments based on the range of the instrument and how it can support and convey the primary emotion in the song. Many of the instruments serve a single purpose and primarily support a limited range of exciments. However, a Saxophone is a versatile instrument & many of the many composers have displayed it effectively to convey many moods through the songs by using Saxophone.

The sounds of Trumpet and Saxophone are confused. Trumpets are classified as ‘brass instruments’ and saxophones are classified as ‘woodwind instruments’.

Music directors from Bollywood have used SAXOPHONE in their respective orchestra. Quantity wise it is used by R D Burman, Laxmikant-Pyarelal, S D Burman, Kalyanji-Anandji. However, the best utilization of Saxophone is done by the music directors Shankar-Jaikishan and O P Nayyar, strictly my personal opinion

Saxophonists Ram Singh, Amar, Annappa ,Brave, Johney Gomes,  Sumaent Raj, Shyam Raj Manohari Singh, Raj Sodha, Suresh Yadav, Kadri Gopinath have contributed to  play Saxophone with the music directors. 

Most of the Laxmikant-Pyarelal compositions, till 1974,  Saxophone is played by Manohari Singh for the songs, Jane Kaisa Hai   and Meharban Mehboob Aansoo Ban Gaye Phool, 1969. Mere Dil Ne Tadap Ke Anurodh, 1977. Later Saxophonist Suresh Yadav contributed a lot for Laxmikant-Pyarelal.  Saxophonist Shyam Raj has played the Saxophone for Mr. India songs,  Hawaa Hawaai and Kate Nahin Katate.  

Listing out few songs on Saxophone, composed by various music directors.

S D Burman

— Ye Kisne Geet Chheda           Meri Surat Teri Aankhen 1963

—  Gata Rahe Mera Dil               Guide 1965

—  Roop Tera Mastana                Aradhana  1969  


— Mujhe Duniyawalo                    Sharabi  1964

— Mera Pyar Bhi Tu Hai               Saathi  1968

Salil Chaudhari                             

— Jare Jare Ud Jare Panchhi       Maya 1961

–Zindagi Kaisi Hai                       Anand  1971

— Gujar Jaye Din                          Annadata  1972 


— Dil Jo Na Keh Saka                 Bhigi Raat  1965

— Duniya Kare Sawal                  Bahu Begum 1967


— Bedardi Balama                       Aarzoo  1965

— Aaj Kal Tere Mere                    Bramhachari  1968

— Ai Sanam Jisne Tujhe               Diwana 1968

— Janam Janam Ka Saath           Tum Se Achchha Kaun Hai 1969

— Chhoti Si  Mulaqat                    Chhoti Si  Mulaqat  1967

O P Nayyar  

–Hai Duniya Usiki                          Kashmir Ki Kali  1964

— Ye Hai Reshmi Jhuphon            Mere Sanam 1965

–Huzure Wala                               Yeh Raat Phir Na Aayegi  1969

— Main Pyar Ka Raahi                   Ek Musafir Ek Hasina  1962

— Yahi Wo Jagah Hai                     Yeh Raat Phir Na Aayegi 1966

Madan Mohan

–Woh Bhuli Dastan                        Sanjog  1961

–Shokh Nazar Ki Bijliya                 Woh Kaun Thi  1964


-Aage Bhi Jane Na Tu                  Waqt  1965 

–Zindagi Ittefaq Hai                       Aadmi Aur Insaan  1969


— Jag Dil-E-Diwana                     Oonche Log 1965


— Tumhe Yaad Hoga                   Satta Bazar 1959        

— Humsafar Mere Ham Safar      Purnima 1965  

–Na Na Karte Pyar                      Jab Jab Phool Khile 1965

— Bekhudi Main Sanam               Haseena Maan Jayegi  1968

— Zuban Pe Dard Bhari               Maryada  1971

R D Burman 

— O Haseena Zulfonwali           Teesari Manzil  1966 

— Jis Gali Main Tera Ghar          Kati Patang  1970

— Kabhi Karti Hogi                      Phir Kab Milogi 1974

— Keh Du Tumhe                        Deewar  1975

–O Hansini Kahan Ud Chali       Zehreela Insaan 1975

Glimpses of saxophone can be heard in the Laxmikant-Pyarelal orchestra in many songs. 

Laxmikant-Pyarelal had a very good association with Saxophonist Manohari Singh since 1958. He had come to Mumbai in mid fifties. Since their younger days they were very good friends and worked a lot together, with Kalyanji Virji Shah, then, (Kalyanji-Anandji)

There are many songs in which Laxmikant-Pyarelal has incorporated saxophonist Manohari Singh in Jazz flute or saxophone, till early seventies. Later saxophonist Shri Suresh Yadav played the saxophone in Laxmikant-Pyarelal orchestra

Ke Main Aaya Hoon   and  Dev Anand 

The song Ladies and Gentlemen, Ke Main Aaya Hoon,,, sung by Kishore Kumar for the film Amir Garib, 1974, composed by Laxmikant-Pyarelal is one of the nonpareil songs composed on SAXOPHONE, played by Manohari Singh.

This song, Main Aaya Hoon, is one of the toughest and very complicated saxophone prelude and interlude pieces. Manohari Singh himself said in an interview that this piece composed and written by Pyarelalji is the hardest ever saxophone piece I have played in HFM.

Actor Dev Anand who was to act on this song as a saxophonist, had to carry out practice sessions for 15 days to look like an impeccable / perfect saxophonist on the screen. 

Laxmikant-Pyarelal’s songs on Saxophone are divided into Two Parts.  First part contains only a list with the exact act / display of SAXOPHONE.

Second Part is the detailed review of a few of the songs.

Part I

List of Laxmikant-Pyarelal’s songs on Saxophone. The line below  indicates the exact display of Saxophone. There are still many songs, the list is endless. However, if anyone wants add the song, it can be added in “BLOG” comments, below.                                                                              

— Chalo Sajna Jahan Tak Ghata Chale                       Mere Humdam Mere Dost  1968

(Prelude is full of VIOLINS and SAXOPHONE. Second interlude starts with  SAXOPHONE)

 — Chalkaye Jaam Aaiye Aap Ke Naam                        Mere Humdum Mere Dost  1968

(Use of ACCORDIONS, VIOLINS and SAXOPHONE ( in second interlude ) is mind-boggling)

— Jaane Kaisa Hai Mera Deewana     Aansoo Ban Gaye Phool   1969

(Beautifully orchestrated, take off , SAXOPHONE in the first interlude)

–Phool Hai Baharon Ka            Jigri Dost  1969

(Prelude and Interludes full of SAXOPHONE)

–Das Gayi Nagin Si      Himmat  1970

(SAXOPHONE is awesomely orchestrated in ‘prelude’ and ‘interludes’) 

–Achha To Hum Chalte Hai         Aan Milo Sajma  1971 

The orchestra arrangement is mesmerizing use of IRANI SANTOOR,  SAXOPHONE and VIOLINS is just brilliant and ear-pleasing, as well.

— Patta Patta Buta Buta Hal Hamara Jane            Ek Nazar 1972

(Second Interlude has incredible use of SAXOPHONE as well as SYMPHONY style VIOLINS. 

— Piya Ka Ghar Hai               Piya Ka Ghar 1972

(Third interlude awesome use of SAXOPHONE)

–Chabi Kho Jaye            Bobby  1973

(Massive orchestra. SAXOPHONE, synchronized with FRENCH HORN  in third interlude. Postlude interlude SAXOPHONE harmonised with ACCORDION)

–Kahan Hai Deewana        Loafer  1973

(First interlude SAXOPHONE)

–Nahin Nahin Jana Nahin       Zinda Dil  1975

(First Interlude starts at 0.47 stupefying orchestration of SAXOPHONE and ‘symphony’ VIOLINS overlapping the CHORUS)

— Yaar Dildar Tujhe Kaisa Chahiye       Chhaila Babu  1977

(Orchestrated on ‘pop’ composition, unique rhythm. SAXOPHONE, VIOLINS, GUITAR are mellifluously executed in ‘prelude’ as well as in ‘interludes’)

–Kate Nahin Katate, I Love  you.              Mr. India    1988 

(SAXOPHONE in first interlude)

Part II

Review of the songs.

Mere Dil Main Halki Si       Parasmani   1963

( Singer Lata Mangeshkar    Songwriter Asad Bhopali  )

“Interludes” are instrumented with FLUTE , SAXOPHONE and VIOLINS . Rhythm with BONGO Drums, leaves you speechless.

Khoobsurat Haseena Jaan-E-Jaa          Mr. X In Bombay      1964

( Singer Kishore Kumar – Lata Mangeshkar   Songwriter  Anand Bakshi)

Excellent composition, from Laxmikant-Pyarelal, in western style orchestra arrangements. “Prelude” is wonderfully decorated with the use of SAXOPHONE, VIOLINS and FLUTE is worth listening to.

Rokna Hai Agar      Jaal   1967                                                                                                               (Singer Lata Mangeshkar    Songwriter Raja Mehadi Ali Khan)

50 seconds of ‘prelude’ playing SAXOPHONE overlapping dialogue, beautiful take off ‘symphony’  VIOLINS at 37. A little ‘pause’ and a phenomenal start by Lataji 50 seconds, रोकना है अगर...Word चाँद is repeated many times in the entire song and every time how beautifully she has used different and distinct style of uttering the word “चाँद “. 

All the three interludes have different tunes and different ‘rhythm’ and are orchestrated with the mellifluous use of super-imposing sounds of SAXOPHONE, symphony VIOLINS and GUITAR. 

Brilliant use of VIOLINS as a ‘filler’ in all the three “antara”.

Not to forget the “rhythmic” “pause” at the end of each ‘antara’. 

The song has a sweet and melodious DHOLAK rhythm.

Dhadaka Hai Dil Main Pyar Tumhara      Jaal   1967                                                                                                               (Singer Lata Mangeshkar    Songwriter Raja Mehadi Ali Khan)

Brilliant take-off by SAXOPHONE in Second Interlude. Just Mesmerizing. 

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. 

Gore Gore Chand Ke Mukh Par        Anita  1967                                                                                  ( Singer Mukesh  Songwriter Aarzoo Lucknavi )

Very Very Sweet Song. Mukeshji sounds simple and beautiful. Besides ‘romantic’ words this song has the “interludes” full of FLUTE, CLARINET and SAXOPHONE. (Third Interlude). 

Hui Sham Unka Khayal      Mere Hamdam Mere Dost   1968

( Singer Mohammad Rafi   Songwriter Majrooh Sultanpuri)

“Prelude” is full of SAXOPHONE and PIANO with other western instruments, sets the mood of the song. A mesmerizing composition and mellifluous orchestra arrangements. Entire song is woven around the glimpses of SAXOPHONE, ACOUSTIC GUITAR & CLARINET. In all the “interludes”. Overlapping sound effect of SAXOPHONE/CLARINET with PIANO is just brilliant. VIOLA , GUITAR, CELLOS & VIOLINS are also brilliantly executed in the entire song. Another beauty of the song is it’s “ rhythm” DHOLAK / TABLA are used only in “antara”…all the “interludes:” are without any rhythm but just ear-pleasing. An addict song for me. One of the finest compositions from Laxmikant-Pyarelal …MOHAMMAD RAFI is simply outstanding.

Mehrabaan  Mehaboob Dilbar Jaan-E-Man …. (Aansoo Ban Gaye Phool, 1969)

(Singer  Asha Bhonsle  Songwriter Taj Bhopali)

Intoxicated melody and ‘rhythm’. One of the best songs composed by Laxmikant-Pyarelal for Asha Bhonsle. The song is completely woven around the glimpses of SAXOPHONE synchronising with “aalap” and “humming” by Ashaji. Westernized orchestra with excellent use of SAXOPHONE, GUITAR and the SYMPHONY style VIOLINS. Beautiful and frolicsome Helen dancing effortlessly. 

Tik Tik Tik Mera Dil Dole …. Humjoli 1971

(Singers Lata Mangeshkar-Mohammad Rafi    Songwriter Anand Bakshi)

Distinguishable composed melodious Cabaret song in the duet form. “Prelude” 34 seconds is consists of Lataji’s aalap in western style. Fasttrack BONGO rhythm. All the “interludes” are awesomely orchestrated in JAZZ flavored,  with BRASS instruments, including SAXOPHONE, BASS GUITAR. 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.

Jadugar Tere Naina              Man Mandir   1972                                                                                                                      (Singer Lata Mangeshkar-Kishore Kumar  Songwriter Raendra Krishan)

An extremely Melodious duet. Ear-Pleasing BONGA DRUM rhythm. Use of IRANI SANTOOR and SAXOPHONE in the interludes is mind-blowing.

Aa Aa Aaja Kuchh Keh Ja            Raja Jani 1972

(Singer  Lata Mangeshkar   Songwriter  Anand Bakshi)

Extremely Sweet Song. Lata Mangeshkar / Laxmikant-Pyarelal at their melodious best.  30 seconds of ‘prelude’.  The song starts with glimpses of MANDOLIN, BANSURI, VIOLINS,  Lataji’s humming and absolutely stupefying, 4 seconds DHOLAK rhythm (0,26 to 0.30). First ‘interlude’ is full of RAVANHATTA and VIOLINS. Second ‘interlude’ starts with GUITAR but the second interlude is dominated by the wonderful display of SAXOPHONE, mind boggling. 

Ladies and Gentleman …Main Aaya Hoon        Amir Garib  1974

(Singer  Kishore Kumar    Songwriter Anand Bakshi)

One of the nonpareil songs composed on SAXOPHONE.

Prelude of 64 seconds is full of SAXOPHONE, BRASS instruments, ACOUSTIC GUITAR and CHORUS, awesomely synchronized with the SAXOPHONE.

Mukhada of the song is ‘filled’ simultaneously with CLARINET and VIOLINS. It has a wonderful westernized ‘rhythm’ of BONGO Drums intermixed with ACOUSTIC GUITAR.

Another beauty of the song, in each ‘antara’/stanza Kishore Kumar’s rendering is sweetly surrounded with symphony style VIOLINS as well as CHORUS (with low volume). .

First ‘interlude’ has GUITAR, VIOLINS.

Second ‘interlude’ instrumented with BRASS instruments SAXOPHONE.

Third ‘interlude’ has hypnotising SAXOPHONE overlapped with CHORUS and ACOUSTIC GUITAR.

Sham Bhigi Bhigi            Gehari Chal 1974 

(Singer Asha Bhosle   Songwriter Rajendra Krishnan) 

Awesomely rendered by Asha Bhosle. 

Soft Rhythm of BONGO Drums, use of SAXOPHONE, as a filler and in both the interlude is at it’s best. Birds-TWEET, JAZZ FLUTE and GUITAR, synchronized with the SAXOPHONE, sounds ear-pleasing throughout the song. Actress BINDU looks beautiful while dancing. ASHA BHONSLE sounds superb.

Main Na  Bhoolunga      Roti Kapda Aur Makaan    1974

(Singer Mukesh – Lata Mangeshkar Songwriter Santosh Anand)

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

Aaja Aaja Mere Dil Ne Tadap Ke           Anurodh  1977

(Singer Kishore Kumar  Songwriter Anand Bakshi)

An extremely melodious composition.  SAXOPHONE has been orchestrated in the second interlude and it is significantly synchronised with VIOLINS. In addition to this, SAXOPHONE displayed the surround sounds of Kishore Kumar in ‘antaras’. 

Om Shanti Om                                  Karz  1980

(Singer Kishore Kumar  Songwriter Anand Bakshi)

Spellbind, Huge and Enrich  orchestra arrangements in western style,  throughout the song. Despite Kishore Kumar’s usual shouts and Laxmikant-Pyarelal’s boisterous orchestra, the melody part of the song is not lost. The song has become a youth anthem. Kishoreji sounds  like a ‘man’ of the age of 30. This composition from Laxmikant-Pyarelal  came up with a solid riposte to their critics. All the BRASS musical instruments like TUBA and FLUGELHORN, SAXOPHONE and CLARINET along with GUITAR are wonderfully orchestrated in enrich orchestra arrangements with the powerful western ‘beats’.

Ek Do Teen Char       Tezaab  1987

(Singer Alka Yagnik  Songwriter Javed Akhtar)

Massive orchestra with SAXOPHONE orchestrated in Second Interlude.

Hawa Hawai          Mr. India   1988

(Singer Kavitha Krishnmurthy   Songwriter Javed Akhtar)

Gargantuan Orchestra  with SAXOPHONE orchestrated in First Interlude.

Kehna Na Tum Ye Kisise    Pati Patni Aur Tawaif  1990

(Lyricist:-  Anand Bakshi   Singers Mohammad Aziz – Salma Agha)

An extremely melodious duet. ‘Prelude’ is full of GUITAR, VIOLINS and the SAXOPHONE. Enjoy mind-boggling solo PIANO in the first interlude. Second interlude is wonderfully orchestrated with SAXOPHONE, with surround songs of VIOLINS. Third interlude is decorated with MANDOLIN as well as SAXOPHONE. Another beauty of this song is the overlapping sound effect of the rendering from Mohammad Aziz and Salma Agha. filmed on Salma Agha – Mithoon Chakarawrthy  

DOSTI  Title Music…….Dosti  1964

SAXOPHONE played by Shree Manohari Singh. The MOUTHORGAN played by Mr. Milon Gupta who also played the Mouthorgan in Laxmikant-Pyarelal’s ‘Chabi Kho Jaye’ “BOBBY” 1973 and ‘Gadi bula rahi hai’ from “DOST” 1974.

Ajay Poundarik

Vadodara (Gujarat)


Sonorous ACCORDION and LAXMIKANT-PYARELAL Symphonic Orchestra

Sonorous ACCORDION  and  LAXMIKANT-PYARELAL Symphonic Orchestra

ACCORDION, a box-shaped musical instrument driven by the  bellows is widely used in Hindi Film Music. It sounds sonorous when orchestrated for film songs. Many music directors have used ACCORDION in their songs. 

This sonorous musical instrument is played by various accordionists, the musician playing Accordion.  Many accordionists can be named.  Vistasp Balsara who started playing for Raj Kapoor’s ‘Awaara’ and continued in many of the hit songs composed by Shankar-Jaikishan. 

Accordionist Goody Seervai started with music director Naushad for ‘Dastaan’ 1951. Later Goody Seervai also played for Shankar-Jaikishan and O P Nayyar. 

Enoch Danial was one of the finest accordionists played for music director Hemant Kumar in ‘Bees Saal Baad’.

In the sixties and  seventies Kersi Lord also played the accordion for many songs. Kersi Lord was a multi-instrumentalist.  Interestingly music director Anil Biswas was also a good accordionist.

Through the songs of ‘Sangam’ 1963, ‘har dil jo pyar karega another specialist accordionist Sumit Mitra who claimed to have played the accordion for 13,000 songs, started with Shankar-Jaikishan. After the death of Jaikishan Sumit Mitra permanently shifted to Laxmikant-Pyarelal orchestra and played for the duo for many years. 

Laxmikant-Pyarelal & accordionist Sumit Mitra

Undoubtedly Shankar-Jaikishan has utilized the accordion to the maximum. More than 50 %, estimated, of the songs composed by Shankar-Jaikishan have been orchestrated with Accordion. Listing out a few hit songs orchestrated with Accordion by various music directors. 


–Dil Dhadak Dhadak …M.Rafi-Suraiyya ‘Dastaan’ 1950

–Tara Ri Tara Ri ….    M.Rafi-Suraiyya ‘Dastaan’ 1950


–Awara Hoon  … Mukesh  ‘Awaara’ 1951

–Ek Bewafa Se  …Lata     ‘Awaara’   1951

–Sunte The Naam …Lata   ‘Aah’ 1953

–Pyar Hua Ekrar Hua ….Lata-Manna Dey   ‘Shree 420’

–Aaja Sanam Madhur ….Lata-Manna Dey  ‘Chori Chori’  1956

–Chhotisi Ye Duniya ….Kishore Kumar ‘Rangoli’ 1961

Datta Ram

–Mastibhara Hai Sama ….Lata-Manna Dey  ‘Parvarish’ 1958

O P Nayyar 

Babuji Dheere Chalana ….Geeta Dutt   ‘Aar Paar’  1954

Dekh Ke Teri Nazar ….Asha Bhosle    ‘Howrah Bridge’ 1958

Hemant Kumar

Bequrar Kar Ke  …Hemant Kumar ‘Bees Saal Baad’ 1962

S D Burman

Roop Tera Mastana …Kishore Kumar ‘Aradhana’  1969 


Chale The Saath Milkar  …Rafi  ‘Haseena Maan Jayegi’  1968

R D Burman

Ek Din Bik Jayega ...Mukesh ‘Dharam Karam’  1975


Ye Parda Hata Do ….Asha-Rafi  ‘Ek Phool Do Mali’ 1969


Ye Parbaton Ke Dayare ….Lata-Rafi ‘Vaasana’ 1968

Rajesh Roshan

Na Bole Tum Na  …Asha Bhosle-Amit Kumar  ‘Baton Baton Mein’ 1979

There are many songs which are orchestrated with accordion, composed by Laxmikant-Pyarelal, right from the duo’s very first song from the first film ‘Parasmani’,1963.  

Parasmani’ and ‘Dosti’ also start the long lasting association of accordionists Sumit Mitra with the music directors Laxmikant-Pyarelal. 

Parasmani’, 1963. 

–hasta hua noorani chehra’.  Lata-Kamal Barot

–chori chori jo tumse mili  .‘   Lata – Mukesh

Dosti’ 1964, ‘

–gudiya hamse roothi rahogi’  Lata

koi jab raah na paye’.  Rafi

Following of the Laxmikant-Pyarelal compositions, on ACCORDION are not considered for the discussions, as these songs have been discussed in the other BLOGs and also in WEB.

Mere Hamdam Mere Dost 1968

–Na Ja Kahin Ab Na Jaa….Rafi

-Chalkaye Jaam ..Rafi

Inteqam 1969

–Kaise Rahoon Chup ….Lata 

Pyasi Shaam  1969

–Ye Kaisa Gham Sajna ….Lata

Humjoli   1970

Dhal Gaya Din Ho Gayi  …..Asha Bhosle – Mohammad Rafi

Shor   1972

–Jeevan Chalane Ka Naam …Mahendra, Manna Dey, Shyama C.

Bobby 1973

A sheer magic of Sumit Mitra with Laxmikant-Pyarelal.

–Main Shayar To Nahin …Shailendra Singh

–Pyar Mein Sauda Nahin ..Manna Dey – Shailendra Singh

–Chabi Kho Jaye … Lata-Shailendra  (The song is discussed in details, below)

–Background Music …Melodious glimpses of Accordion.

Badalte Rishte 1978  (I feel sorry for not considering this song)

Superbly played accordion by Sumit Mitra. 

–Na Jane Kaise Pal Mein …Mohammad Rafi – Kishore Kumar Suman Kalyanpur.

Apart from Sumit Mitra, Laxmikant-Pyarelal have also taken the services of accordionist Kersi Lord and Arun Paudwal for many songs. Famous accordionist Enoch Danial was used by Laxmikant-Pyarelal for composing the background music of the films. 

Let us review a few of the best songs composed by Laxmikant-Pyarelal on ACCORDION.       I have tried to brief, how beautifully the ACCORDION is executed in the song.  

It is worth mentioning that Laxmikant-Pyarelal did some experiments while orchestrating ACCORDION. ‘Bobby’ 1973 and ‘Ponga Pandit’ 1975.

(1)  ‘Bobbychabi kho jaye’ The ‘rhythm’, with IRANI SANTOOR, played by Pandit Shivkumar Sharma and ACCORDION played by accordionist  Sumit Mitra.  

(2) ‘Ponga Pandit’ tere milane se pehle. Prelude’, interludes and ‘postlude HARMONIUM played by Babu Singh and ACCORDION played by multi-instrumental Kersi Lord. 

Let us review as many as 16 songs. 

Hasta Hua Noorani Chehara  “PARASMANI” 1963

(Singers Lata Mangeshkar – Kamal Barot  Songwriter Farooq Quaisar)

Laxmikant-Pyarelal’s first song composed. The ”prelude” of 27 seconds with a massive orchestra sets the mood of the song. It is mellifluously decorated with rich orchestra arrangements, involving ACCORDION. The ACCORDION is awesomely orchestrated in ‘mukhada’ as filler. First ‘interlude’ starts with the ‘strokes’ of the  ACCORDION, played by Sumit Mitra.  ACCORDION is sweetly used in first interlude with FLUTE, VIOLINS, VIOLA etc with the fast “DHOLAK” rhythm.  ACCORDION is also used melodiously in ‘antara’ / stanzas, as a filler.  Enjoy as many as 7 strokes of the ACCORDION in the second ‘interlude’. Later it is very well synchronized with the VIOLINS, FLUTE and MANDOLIN. This song is an immortal one and is still popular. This is a TOP HIT song. 

Yeh Dard Bhara Afsana   “SHREENAN  FANTOOSH” 1965

(Singer Kishore Kumar  / Songwriter Anand Bakshi)

Laxmikant-Pyarelal was able to get the best output from Kersi Lord  when he played the ACCORDION for this beautiful song.

ये दर्द भरा अफसाना, सुनले अनजान ज़माना जमाना 

मैं हूँ एक पागल प्रेमी मेरा दर्द न कोई जाना                      

In the mid-sixties Kishore Kumar was passing through the lean period of his musical career. Laxmikant-Pyarelal composed some of the best songs for Kishore Kumar. This song is one of them. A beautiful GEM of a song from this combo. A song which shows Laxmikant-Pyarelal class and talent right in the beginning of their career. The entire song is woven around the glimpses of ACCORDION. ACOUSTIC GUITAR, symphony VIOLINS are beautifully orchestrated in ‘interlude’ ‘prelude’ and ‘postlude’. Western style, ROCK N ROLL, rhythm.

Mere Sune Jeevan Ka Aasra     “AASRA”   1966

(Singer Asha Bhosle / Songwriter Anand Bakshii)

ASHA BHONSLE & Laxmikant-Pyarelal at their melodious Best. “Prelude” of 28 seconds, full of SITAR, is mesmerizing. Entire song is woven around the glimpses of ACCORDION and VIOLINS in the “interludes”, with  DHOLAK rhythm. The words written by ANAND BAXI are very touching and meaningful expressing Mother’s Expectation from her Child. “AASRA” 1966. Filmed by Balraj Sahani and Nirupa Roy.

Kya Miliye Aise Logon Se        “IZZAT”   1968

(Singer Mohammad Rafi / Songwriter Sahir Ludhiyanvi)

This song is filmed on Dharmendra.  Once again the ACCORDION is awesomely used throughout the song. 8 seconds of ‘prelude’ starts with ACCORDION intermixing with VIOLINS. Brilliant take off by rafi saab, क्या मिलिए sss ऐसे लोगोसे।, singing ‘pause’ of 4 seconds, highlighting ACCORDION. Again Rafi saab  नकली चेहरा सामने आये असली सूरत छुपी रहे   singing ‘pause’ of 4 seconds, highlighting ACCORDION, playing the tune of the song. This is repeated many times throughout the song. First and third ‘interludes’ are awesomely orchestrated with ACCORDION ending synchronizing with VIOLINS. Again at the end of each antara / stanza the ACCORDION is used as ‘filler’. The best feast of ACCORDION from champion accordionist  Sumit Mitra.

Ek Banjara Gaye        “JEENE KI RAAH”  1969

(Singer Mohammad Rafi  / Songwriter Anand Bakshi)

Laxmikant-Pyarelal have composed this song with zero ‘prelude’ but a mind-boggling display of GUITAR (played by late Gorakh Sharma), ACOUSTIC GUITAR and ACCORDION, played by none other than accordionist  Sumit Mitra.  Interludes are awesomely instrumented with symphony style of VIOLINS synchronizing with ACCORDION. It has conventional DHOLAK rhythm. Filmed on Jeetendra – Tanuja. 

Dil Ki Baatein Dil Hi Jane   “ROOP TERA MASTANA” 1972

(Singer Kishore Kumar – Lata Mangeshkar  / Songwriter Asad Bhopali)

Proficient accordionist  Sumit Mitra played the ACCORDION for this lovely song.

The beauty of the song is excellently played ACCORDION in ‘mukhada’. Particularly  two awesomely generated, ear-pleasing ‘strokes’ of ACCORDION. These ‘strokes’ can be heard many times. Beautiful romantic song. 51  seconds of ‘prelude’ orchestrated with melodious tune by using GUITAR, VIOLINS, synchronised  with accordant BONGO DRUM. First ‘interlude’ is full of GUITAR, VIOLINS and very well executed  ACCORDION. Second interlude is full of VIOLINS and GUITARS.. This superhit duet is filmed on Jeetendra and Mumtaz. 

Chabi Kho Jaye             “BOBBY”   1973

(Singer Lata Mangeshkar – Shailendra Singh / Songwriter Anand Bakshi)

One of the best songs composed by Laxmikant-Pyarelal using Huge, Enriched and Melodious Orchestra arrangements. It has >>Three differently tuned “Antaras” + Three differently composed “Interludes”…MESMERISING ORCHESTRA arrangements. In this song the ACCORDION is played for the maximum time, it is the instrument which is tunefully played in every alternate line of ‘mukhada’, it is also played awesomely in the Toe Stepping RHYTHM Intermixing of IRANI SANTOOR”+ ACCORDION + BONGO Drums.  ACCORDION is also used to start the first ‘interlude. Beautifully orchestrated as a ‘feelar’, in every alternate line of the ‘antara’ and finally ACCORDION is played, jointly with SAXOPHONE, in ‘postlude’. Laxmikant -Pyarelal must have given tough time to accordionist Sumit Mitra.

Apart from ACCORDION, other instruments like IRANI SANTOOR, ACOUSTIC GUITAR, SAXOPHONE,, VIOLINS, MOUTHORGAN, FRENCH HORN and VIOLAS are wonderfully orchestrated in this song. The song is filmed on Rishi Kapoor and Dimple Kapadia.

Ye Jo Public Hai     “ROTI”  1974

(Singer Kishore Kumar  / Songwriter Anand Bakshi)

Catchy tune. ‘Prelude’ of 30 seconds with prominent use of ACCORDION. Both the interludes, In surround sounds and also as filler, in ‘mukhada’ as well as ‘antara’.  ACCORDION is mellifluously orchestrated. It is filmed on Rajesh Khanna. Once again it is Sumit Mitra in action on accordion. 

Aadmi Jo Kehta Ha      “MAJBOOR”    1974

(Singer Kishore Kumar  / Songwriter Anand Bakshi)

Laxmikant-Pyarelal have extracted some beautiful work on ACCORDION from Accordionist Sumit Mitra. Both the interludes with different tunes on ACCORDION. Synchronization of Kishore Kumar’s singing as well as the ‘strokes’ of ACCORDION, at the end of both the antaras. Don’t forget to listen to the superb display of ACCORDION in ’postlude’ of 33 seconds. Other features of the songs are:-

PRELUDE of 144 seconds. To decorate the song with the phenomenal “Long Prelude” was a normal practice for the Music Directors Laxmikant-Pyarelal. There are many songs, composed by the duo, with the long “prelude”. Today’s song has Mind-Boggling “Prelude” of 144 seconds. This prelude is mellifluously orchestrated in a SYMPHONY style with solo VIOLIN, CELLOs, FLUTE & VIOLINs. Brilliant take off by Kishore Kumar at 2.24. Apart from the long prelude in ‘symphony’ style, both the “interludes” are brilliantly composed, by using different tunes, with ACCORDION and VIOLINS. The song is filmed on Amitabh Bachchan.

Tere Milne Se Pehle     “PONGA PANDIT”  1975

(Singer Lata Mangeshkar  / Songwriter Rajendra Krishan)

An intoxicated melody, a sheer magic from Lata Mangeshkar and Laxmikant-Pyarelal. Beautifully orchestrated in western style. This song is special and unique in terms of orchestra arrangement. Both HARMONIUM as well as ACCORDION are used in the ‘prelude’ ‘interlude’ and ‘postlude’. HARMONIUM is played by Babu Singh, famous accordionist Kersi Lord has played the ACCORDION.  

‘Prelude’ of 36 seconds is marvelously orchestrated with SAXOPHONE, VIOLINS, GUITAR, ACCORDION and HARMONIUM. Almost the same instruments are played in both the ‘interludes’. ACCORDION and HARMONIUM “jugal bandi” in ‘postlude’. It is filmed on Ranadhir Kapoor – Neeta Mehta.

Anhoni Ko Honi Kar De      “AMAR AKBAR ANTHONY”  1977

(Singers  Kishore Kumar, Mahendra Kapoor, Shailendra Singh  Songwriter Anand Bakshi)

Very popular peppy song. Filmed on Amitabh Bachchan, Vinod Khanna and Rishi Kapoor. Enjoy ‘prelude’, mesmerizing display of ACCORDION for 44 seconds,wonderfully orchestrated. ACCORDION is melodiously displayed in the ‘interludes’,‘mukhda’ and ‘antara’ as surround sounds. Sheer magic of ACCORDION. Once again it is Laxmikant-Pyarelal’s symphonic work on ACCORDION from Accordionist Sumit Mitra. 

Aate Jaate Khoobsurat     “ANURODH”    1977

(Singer Kishore Kumar  / Songwriter Anand Bakshi)

Excellently rendered by Kishore Kumar. Beautiful, Melodious ‘rhythm’. First ‘interlude’ full of ACCORDION. Filmed on Rajesh Khanna. Accordionist Sumit Mitra. 

Premi Prem Karana Jane    “PARAVARISH” 1977

(Singer Mohammad Rafi, Kishore Kumar & Shailendra  / Songwriter Majrooh Sultanpuri)

This wonderful song is filmed on Amitabh Bachchan, Vinod Khanna and Shammi Kapoor. This song has very delicate use of ACCORDION, in ‘interludes’. Looks nice to see Shammi Kapoor playing ACCORDION. 

Sheesha Ho Ya Dil        “ASHA”   1980

(Singer Lata Mangeshkar  / Songwriter Anand Bakshi)

Filmed on Reena Roy. Typical Laxmikant-Pyarelal composition, a superhit song, completely woven around the glimpses of ACCORDION awesomely orchestrated on DHOLAK ‘rhythm’. 

This time the Accordionist is Arun Podwal.

Dillagi Ne Di Hawa     “DOSTANA” 1980

(Singers Asha Bhosle-Kishorekumar / Songwriter Anand Bakshi)

Once again it is versed Sumit Mitra on ACCORDION.  34 seconds of ‘prelude’ starts with ACOUSTIC GUITAR, VIOLINS and wonderfully orchestrated ACCORDION. Melodious DHOLAK rhythm. Awesome display of GUITAR and VIOLINS in the first interlude.Second ‘interlude’ is tunefully overlapping ACCORDION and symphony style VIOLINS. Awesome display of ACCORDION in ‘postlude’. It is filmed on Amitabh Bachchan – Zeenat Aman.  

John Johny Janardan    “NASEEB”   1981

(Singer Mohammad Rafi  / Songwriter Anand Bakshi)

Super Hit song filmed on AMITABH BACHCHAN. Orchestrated in BRASS instruments. BUT at the end of each antara ACCORDION ‘stroke’ synchronized with other BRASS is ear-pleasing. All the ‘interludes’ are composed wonderfully, in particular, third ‘interlude’ is worth watching/listening to,  Raj Kapoor playing ACCORDION. Once again it is Laxmikant-Pyarelal’s symphonic work on ACCORDION from Accordionist Sumit Mitra. 

Magnetizing display from Accordionist Sumit Mitra on ACCORDION for Laxmikant-Pyarelal composition. Just fabulous. Please watch and listen to. 

Ajay Poundarik, Atlanta (Georgia), USA. 11th October, 2020.

11th October, 2020


Laxmikant-Pyarelal & Tuneful Use Of Harmonium

Laxmikant-Pyarelal  & Tuneful Use Of Harmonium

The use of HARMONIUM in Hindi Film Music is comprehensive right from the Music Directors composing the songs. Music Directors first, demonstrate the song to the singers with use of HARMONIUM. Many actors/actresses are seen playing HARMONIUM in the film. 

Many music directors have composed some beautiful melodies orchestrating the HARMONIUM.  Listing out a few ‘gems’ of the songs composed by various music directors. 

Anil Biswas

Shukriya Aye Pyar Tera  Talat Mehmood   “Aaram” 1951


Husn Walon Ko Na Dil Do   Talat Mehmood   “Babul” 1959

O P Nayyar

Leke Pehla Pehla Pyar    Rafi – Shamshad  “CID”  1956

Bahut Shukriya Badi Meharbani    Rafi – Asha  “Ek Musafir Ek Haseena” 1962

Kajra Mohabbat Wala   Asha – Shamshad  “Kismat”  1968


Jane Kahan Gayi   M. Rafi  “Dil Apna Aur Preet Parai”  1960

Chalat Musafir Moh Liya     Manna Dey   “Teesari Kasam” 1966


Na To Carvaan Ki Talash  Manna Dey-Asha-Rafi   “Barsat Ki Raat 1960

Bar Bar Tohe Kya          Lata  “Aarti”  1962

Nigahe Milane Ko Jee   Asha  “Dil Hi To Hai”  1963

Hemant Kumar

Sakiya Aaj Mohe Nind    Asha    “Sahib Bibi Aur Ghulam”  1962


Deewane Hai Deewanon Ko  Rafi-Lata   “Zanjeer”   1973

R D Burman

Chunari Sambhal Gori   Lata-Manna Dey  “Baharon Ke Sapne” 1967

Ek Chatur Naar Kar Ke  Kishore-Manna Dey-Mehmood.  “Padosan” 1968

Jeena To Hai Usika      Rafi  “Adhikar”  1971

Hai Agar Dushman   Rafi-Asha “Hum Kise Se Kam Nahin”  1977


Raz Ki Baat Keh Doo    Asha – Rafi “Dharma” 1973

Madan Mohan

Ye Mana Meri Jaan     Rafi   “Haste Jakham”  1973

Laxmikant-Pyarelal have also composed many songs with the prominent use of HARMONIUM. The song composed by the duo “payal ki jhankar raste raste” from the film “Mere Lal”, 1966, still considered to be the best song on HARMONIUM. 

Sonik Verma (On Harmonium) with Pyarelalji (on Piano)

Also included a very famous Marathi Song ::Bai Mee Vikat Ghetala Sham :: The song is composed and rendered by Sudhir Phadke with Asha Bhosle, for the film “Jagachya Pathivar” 1960. It is written by G D Madgulkar. 

In most of the songs the HARMONIUM is played by Shyamrao Kamble and Sonik Verma, blind musician, of the music director pair of Sonik-Omi

Payal KI Jhankar Raste Raste   “MERE LAL” 1966 Lata Mangeshkar / Majrooh Sultanpuri.

TILL DATE, The Best Song Composed On HARMONIUM. Super Hit Song of the year 1966. A Sheer Magic of DHOLAK and HARMONIUM. Mesmerizing “Prelude” of 42 seconds, full of HARMONIUM, BANJO (overlapped with 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). All the “Interludes” have different tunes. The Best Song In Terms Of Use Of HARMONIUM. It was the TOP hit song and rocked in Binaca Geetmala Weekly Countdown, also appearing in the finals. Actress INDRANI MUKHARJEE with Dev Kumar has beautifully danced making the song memorable and immortal, as well. In the picture above Sonik Verma can be seen sitting on Harmonium and Pyarelalji on Piano. 

Duniya Ne Sunli Hai     “SHARAFAT”  1970    Lata Mangeshkar / Anand Bakshi

An extremely melodious ‘mujra’, filmed on Hema Malini. The song is awesomely woven around the glimpses of HARMONIUM, as a filler, in surround sound and also in ‘interludes’. Interludes are orchestrated with HARMONIUM, VIOLINS, SAROD, SITAR and FLUTE. The rhythm of DHOLAK / TABLA is synchronised with GHUNGROO BELLS.  

Sanam Tu Bewafa Ke Naam Se    “KHILONA”  1970  Lata Mangeshkar / Anand Bakshi

Mellifluously orchestrated with prominent use of HARMONIUM, in ‘interludes’ as well as the ‘filler’, at the end of the “antara”.  One of the finest Mujra songs of Hindi Cinema. Wonderful ‘prelude’ of 32 seconds, full of DHOLAK rhythm synchronised with VIOLINS and SITAR. Spectacular take off by Lata ji, at the same time 20 seconds ‘pause’ in the orchestra gives additional flavor to this resonant composition. The rhythm of the song is from DHOLAK / TABLA,  intermixed with the CLAPPING and GHUNGROO BELLS.  All the ‘interlude’ are excellently orchestrated with traditional musical instruments NADASWARAM, SAROD, SARANGI, MANDOLIN, SITAR, VIOLINS and HARMONIUM. Filmed on Mumtaz.

Hamin Kare Koi Surat      “EK NAZAR” 1972.   Lata / Majrooh 

A typical MUJRA song, Orchestrated with SARANGI, SANTOOR, FLUTE, SAROD, VIOLINS and beautiful display of HARMONIUM. Filmed Jaya Bachchan – Amitabh Bachchan. 

Roothe Rab Ko Manana     “MAJBOOR” 1974   Asha-Rafi / Anand Bakshi

Street song nicely composed on Harmonium. It has a similar situation like ‘Zanjeer’ son. . Filmed Amitabh Bachchan – Parveen Babi

Yashomati Maiya Se    “SATYAM SHIVAM SUNDARAM”  1977                                                   Lata Mangeshkar-Manna Dey / Pandit Narendra Sharma

Fascinating 34 seconds ‘prelude’ awesomely instrumented with TANPURA, FLUTE and HARMONIUM. It has captivative DHOLAK rhythm which will ‘swing’ your neck. FLUTE is sumptuously used in the ‘interlude’ which gives you an ear-pleasing effect. Filmed on child artist, then, Padmini Kolhapure and Kanhaiyalal. 

Aadmi Musafir Hai       “APNAPAN “ 1977  Rafi-Lata / 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. 

Tere Haathon Mein Pehna Ke   “JAANI  DUSHMAN”  1979  Asha-Rafi / Verma Malik

Mesmerizing composition. “Prelude” of 40 seconds. SHEHNAI and NADASWARAM are awesomely intermixed followed by VIOLINS in SYMPHONY style then “folkish” DHOLAK rhythm and then glimpses of HARMONIUM. All the “interludes” are also orchestrated with the above musical instruments in addition it has a “CLAPPING” in the “rhythm”. Filmed on Jeetendra – Neetu Singh.

Jane Hum Sadak Ke Logon Se         “ASHA”  1980  M. Rafi / Anand Bakshi. 

HARMONIUM is wonderfully synchronised with the ‘rhythm’ of MATKI and DHOLAK. The song is filmed on Jeetendra – Reena Roy.

Chana Jor Garam Laya     “Kranti”    Rafi-Kishore-Lata-N. Mukesh / Santosh Anand.

Beautiful display of HARMONIUM in ‘prelude’, तुम तुम तररारा तुम तुम तरम how beautifully rendered by Lata – Kishore, synchronising with TANPURA. The HARMONIUM is also used as ‘filler’ in ‘mukhada’. First ‘interlude’ is full of HARMONIUM. The song is filmed on Hema Maliini Shatrughn Sinha, Manoj Kumar

Mere Dil Se Dillagi Na Kar       “WOH SAAT DIN”  1983  Sahabbir – Anuradha 

Beautiful Display of HARMONIUM in ‘prelude’ the song has an awesome DHOLAK rhythm intermixed with HARMONIUM. It is filmed Anil Kapoor-Padmini Kolhapure.

Mujhe Aaj Kuch Na Kehna        “AKAYLA”  1991 Sudesh – Alka Yagnik / Anand Bakshi. 

Once again a beautiful display of HARMONIUM in ‘prelude’. Sudesh Bhosle sounds fresh. Filmed on Amrita Singh – Amitabh Bachchan

Tu Naja Mere Badshah       “KHUDA  GAWAH”   1992  Alka Yagnik-Mohammad Aziz/ Anand Bakshi

Spectacularly rendered by M. Aziz and Alka Yagnik. Wonderful use of HARMONIUM with RUBAB (An instrument from Afghanistan). ‘Prelude’ of 55 seconds mesmerizes the listeners. CLAPPING, RUBAB and HARMONIUM orchestrated awesomely with unusual DHOLAK and THALI rhythm, Alkaji’s sweet AALAPS. HARMONIUM is remarkably utilized as a feeler in mukhada as well as in Antara. First ‘interlude’ instrumented with RUBAB, FLUTE and HARMONIUM. Second ‘interlude’/’postlude’>  solo VIOLIN, CLAPPING and RUBAB. Filmed on Amitabh Bachchan and Sridevi. 

Bai Me Vikat Ghetla Sham.  “JAGACHYA  PATHIVAR’  1960 Sudhir Phadake – Asha Bhosle. 

Ajay Poundarik , Atlanta (Georgia), USA.

SANTOOR :: Laxmikant-Pyarelal

LAXMIKANT-PYARELAL have extensively used the mellifluous instrument from “Kashmir” named SANTOOR…. Santoor used to be the prominently played in most of the songs in the orchestra arrangements. There are many TOP HIT songs are decorated with Santoor in Laxmikant-Pyarelal’s orchestra arrangements. Till 1974, in most of the songs the SANTOOR is played by none other than Pandit Shivkumar Sharma. 

Pyarelal & Pandit Shivkumar Sharma

Not only that both Pandit Shivkumar Sharma and Laxmikant-Pyarelal have also experimented the instrument called ‘IRANI SANTOOR’ ( A Santoor from IRAN) for Major HIT songs in “BOBBY”, “DAAG”, “SWEEKAR”, “SHOR”, “EK NAZAR” and “IMTIHAN” 

“Bindiya Chamakegi”..”DO RAASTE”..full of Santoor. 

In “BOBBY” ..“Main Shayar To Nahin” and “Muze Kuchh Kehana Hai”.. have wonderfully have been decorated with Irani Santoor. 

In “EK NAZAR” .. “Patta Patta Buta Buta”.. IRANI SANTOOR is brilliantly synchronized with SAXOPHONE in the interludes. 

One can enjoy IRANI SANTOOR’s sweet sound effect Kishore Kumar’s all time great song from DAAG, ‘Mere Dil Main Aaj Kya Hai”….

Kersi Lord, Pandit Shivkumar Sharma & Pyarelal.

It is not possible to list out all the songs of Santoor with Laxmikant-Pyarelal’s orchestra arrangements. I have tried to give as much as possible.. One can add the songs with Santoor in comments. 

My favorite song on SANTOOR from Laxmikant-Pyarelal, is from “BOBBY”…”Chabi Kho Jaye”>.. IRANI SANTOOR have been used extensively to be overlapped with ACCORDION and BONGO DRUMS…in beautifully created rhythm. It has been wonderfully used in the second interlude. Entire song has extraordinary orchestra arrangements in western style. 

Enjoy and comment the songs of your choice. 

Nind Kabhi Rehati Thi Aankho Main 
Singer:- Lata Mangeshkar 
Film:- “AASRA” 1966

Suno Sajana Papeehe Ne
Singer: Lata Mangeshkar
Film:- “AAYE DIN BAHAR KE” 1966

Chalo Sajana Jahan Tak Ghata Chale
Singer:- Lata Mangeshkar

Majhi Chal O Majhi Chal
Singer:- Mohammad Rafi
Sathiya Nahin Jana Ke 
Singer:- Lata-Rafi

Hi Re Hi Nind Nahin Aaye Dil Main Tu Samaye
Singers:- Lata – Rafi
Film:- “HUMJOLI” 1970

Aa Mere Humjoli Aa Khele Aankh Micholi Aa
Singers:- Lata – Rafi
Film:- “JEENE KI RAAH” 1969

Dil Ne Dil Ko Pukara Mulaquat Ho Gayi 
Singers:- Lata – Rafi
Bindiya Chamakegi
Singer:- Lata Mangeshkar
Film:- “DO RAASTE” 1970

Pyarelal, Pt. Hariprasad Chaurasia & Pt Shivkumar Sharma

Dil Kahe Ruk Jare Ruk Ja Yahin Par Kahin
Singer:- Mohammad Rafi
Film:- “MAN KI AANKHEN” 1970

Ye Jhulf Kaisi Hai Zanjeer Jaise Hai
Singers:- Lata – Rafi
Film:- “PIYA KA GHAR” 1971

Mehaboob Mere Mehaboob Mere
Singer:- Lata Mangeshkar and Mukesh
Film:- “PATTHAR KE SANAM” 1967

Dilbar Jaani Chali Hawa 
Singers:-Kishore Kumar-Lata Mangeshkar
Sun Ja Aa Thandi Hawa
Singer:- Kishore-Lata

Je Hum Tum Chori Se
Singer:- Lata Mangeshkar and Mukesh

Achcchha To Hum Chalalte Hai
Singer:- Lata Mangeshkar and Kishore Kumar
Tere Karan Mere Sajan
Singer:- Lata Mangeshkar
Film:- “AAN MILO SAJANA” 1970

Resham Ki Dori
Singer:- Lata-Rafi
Film:- “SAJAN” 1970

Patta Patta Buta Buta 
Singers:- Lata-Rafi
Pehale So Baar Idhar
Singer:- Lata
Hameen Kare Koi Surat
Singer:- Lata
Film:- “EK NAZAR” 1970

Man Ki Pyas Mere Man Se Na Nikali
Singer:- Lata 

Sajana More Sajana
Singer:- Lata
O Ghata Sawari
Singer:- Lata
Film:-“ABHINETRI” 1971

Ek Pyar Ka Ngama Hai
Jeevan Chalane Ka Naam
Singer:- Mahendra Kapoor, Mannade & Shayma Chittar
Pani Re Pani Tera Rang Kaisa
Singer:- Lata-Mukesh
Film:- “SHOR” 1972 

Main Ek Raaja Houn
Singer:- Rafi
Film:- “UPHAAR” 1971

Yeh Jo Chilman Hai
Singer:- Mohammad Rafi

Mere Dil Main Aaj Kya Hai
Singer:- Kishore Kumar
Film:- “DAAG” 1973

Main Shayar To Nahin
Singers:-Shailendra Singh 
Chabi Kho Jaye 
Singers:- Lata-Shailendra Singh’
Muze Kuchh Kehana Hai
Singers:- Lata-Shailendra Sigh
Film:- “BOBBY” 1973

Angadaiyiynan Le Le Kar
Singer:- Asha Bhonsle
Film:- “SWEEKAR” 1973

Roz Sham Aati 
Singer:- Lata Mangeshkar
Rook Jana Nahin 
Singer:- Kishore Kumar
“IMTIHAN” 1974…

Chanchal Sheetal Nirmal Komal 

Mai Ka Pa Piya Bulawe
Singer:- Suresh Wadkar & Lata Mangeshkar 
Film:- “SUR SANGAM” 1985s

and many many MORE….

Ajay Poundarik