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. 

Naushad

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

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

Shankar-Jaikishan

–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 

Kalyanji-Anandji

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

R D Burman

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

Ravi

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

Chitragupt 

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

Naushad 

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

Shankar-Jaikishan

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

Chalat Musafir Moh Liya     Manna Dey   “Teesari Kasam” 1966

Roshan

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

Kalyanji-Anandji

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

Sonik-Omi

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
Film:- MERE HUMDAM MERE DOST 1968

Majhi Chal O Majhi Chal
Singer:- Mohammad Rafi
&
Sathiya Nahin Jana Ke 
Singer:- Lata-Rafi
Film:-“AAYA SAWAN JHUM KE” 1968

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
“HAATHI MERE SAATHI” 1970

Je Hum Tum Chori Se
Singer:- Lata Mangeshkar and Mukesh
Film:- “DHARATI KAHE PUKAR KE” 1968

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 
Film:- “JAL BIN MACHHAI NRITYA BIN BIJALEE” 1970

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

Ek Pyar Ka Ngama Hai
Singer:-Lata-Mukesh
&
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
Film:- ”MEHBOOB KI MEHANDI” 1971

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 
Singer:-Mukesh 
Film:- “SATYAM SHIVAM SUNDARM” 1977

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

and many many MORE….

Ajay Poundarik