Category: My LP Journey

Very recently I came across with Mr. Mohinder Chugh, Music Lover. I interact with him and he has converted my talks in an”interview”. Mr Mohinder has recorded this conversation from New Delhi (India) whereas I am in Atlanta (USA). Due to which sometimes sound quality has affected. But I am sure Laxmikant-Pyarelal Fans would enjoy it. Please put your honest comments, in YouTube channel and also “Like” it. Thanks ! Long Live Laxmikant-Pyarelal Music.

Ajay Poundarik , Atlanta (USA). 8th May, 2020. 

SUBSTANTIATING  LAXMIKANT-PYARELAL  FOR  DADASAHEB PHALKE AWARD.

Laxmikant-Pyarelal is the name that needs no introduction in the field of Hindi Film Music or Hindustani Music.

The name represents an archive of hit film music that was churned out, non-stop, right from 1963 till the end of the century.  LP, Laxmikant-Pyarelal were amongst the few Hindi Film Music Directors of the good old yesteryears who were active right till the end.

Both Laxmikant and Pyarelal Coming from Very Poor Family Background have achieved the highest feat in Hindi Film Music.

When the discussion about the film comes one always feel that any movie is remembered because of its songs only. It is recognized by its music only. The film music is the heart of the any film.

It is known fact that Laxmikant-Pyarelal have dominated the Hindi Film Music from 1963 to 1998. Apart from that LP were consistent throughout.

There are very few personalities in the Hindi Films who were persistently active for more than 35 years and most of them have been awarded by prestigious “Dadasaheb Phalke Award”.. ..Raj Kapoor, V Shantaram, L V Prasad, K Vishwanath, Amitabh Bachchan, Yash Chopra, Gulzar, Pran, Manoj Kumar, Lata Mangeshkar, Asha Bhonsle, Manna Dey, Mohammad Rafi, Kishore Kumar …But in the Film Music Direction, it is ONLY Laxmikant-Pyarelal have worked for 35 non-stop years by giving various types of Mass Appealing music for the Indians.

Laxmikant-Pyarelal certainly deserves prestigious “DADASAHEB PHALKE AWARD”..

The duo has given some remarkable music in past and had maintained the consistency for about 35 years which itself is great feat. Since 1963 till date the name Laxmikant–Pyarelal is the house hold name. Laxmikant–Pyarelal has won as many as seven filmfare awards but they could have won even more than that. Apart from 7 Filmfare trophies, Laxmikant-Pyarelal were nominated for 18 films. The films like, Do Raaste, Shor, Bobby, Daag, Ek Duje Ke Liye, Utsav, Tejab, Sur Sangam, Khalnayak etc deserve to win the best music award, which they narrowly missed, for the respective years.

The duo has given all type of variety of music/songs whether it Classical, Folk, Westernized, Cabaret, Mujra, Devotional, Qawwali, Lori, Ghazal, Patriotic  or Disco. Most of the songs composed by them were catchy, melodious and was liked by all classes. The songs composed by Laxmikant–Pyarelal were used to become most popular in most of the villages of India. 

Most of the songs composed by them were catchy, melodious and was liked by all classes. Songs composed by Laxmikant-Pyarelal are so popular even today that they are rendered in marriages and functions by changing a few words here and there.

Laxmikant-Pyarelal songs are available for all the Indian festivals, including Eid, Easter and Christmas. Laxmikant-Pyarelal songs are for all generations. Laxmikant-Pyarelal songs are available for any situations. If any Radio station starts playing Laxmikant-Pyarelal songs 24 hours X 7 days, none of the songs will be repeated. Such an enormous quantity of popular songs with quality, variety and melody, as well.Unfortunately, there is no any media support for Laxmikant-Pyarelal songs.

Laxmikant-Pyarelal have a dominance in the most popular radio programme “Binaca Geetmala”, in sixties, seventies, eighties and nineties, the weekly countdown programme broadcast by radio Sri Lanka, then.

Moreover the Laxmikant–Pyarelal have worked with most of the “Dadasaheb Phalke Award” winner filmmakers. For instance V. Shantaram (Jal Bin Machhali Nritya Bin Bijlee…), Raj Kapoor (Bobby, SSS and Premrog), Manoj Kumar (Shor and many more), Yash Chopra (Daag), B. R. Chopra (Dastaan), L V Prasad (Milan, Jeene Ki Raah and many more), K Vishwanath (Sargam, Sur Sangam and more), K Balachander (Ek Duje Ke Liye), Shashi Kapoor (Utsav), Hrishikesh Mukharjee (Satyakam). Manoj Kumar (Shor), Amitabh Bachchan (Amar Akbar Anthony), Vinod Khanna (Imtihan). Moreover the Laxmikant–Pyarelal have also worked with all the topmost Producers and Directors of their time.

For instance Raj Khosla (Anita, Mera Gaon Mera Dehj, Do Raaste and many more), Manmohan Desai (Amar Akbar Anthony and many more), Rajshri Productions ( Dosti, Taqdeer, Uphar and Piya Ka Ghar and many). Ramanand Sagar (Charas and more), Subhash Ghai (Karz, Hero and many more), Shekhar Kapoor (Mr India), David Dhavan (Diwana Mastana). Just to add few more J. Omprakash, Mohan Kumar, Shakti Samanta, Satyen Bose, Dalal Guha, Raja Nawathe, Shreedhar, Raghoonath Zalani, Babubhai Mistry, Vijay Bhatt, Mahesh Bhatt, Rahul Rawail, Brij, Vijay Anand, Darasingh, Rajkumar Kohli, Rajkumar Santoshi, Nitin Mohan, Mehul Kumar, Raj Kanwar Satish Kaushik etc…The list includes the great Producers and Directors of yesterday’s and today’s.

This list has no end but it is doubtful that any other music director has worked with as many as prominent film producers/directors and companies in the manner Laxmikant-Pyarelal have worked. The songs of their respective films were super duper hit and are still popular even though some of them are more than 50 years old.

It is not easy to maintain the consistency in this field. But Laxmikant-Pyarelal were able to do it so, for more than 35 years since their emergence with the super hit music of “Parasmani” in 1963. No any other music director is able to do so.

Laxmikant-Pyarelal had maintained the popularity of their songs  

In SIXTIES (1963 to 1969) and gave tough challenges to old horses like Shankar-Jaikishan, O P Nayyar, Madan Mohan, Roshan, Ravi, Chitragupt, Hemant Kumar, S D Burman etc. and conquered Number ONE position in the year 1967.

In SEVENTIES (1970 to 1979) Laxmikant-Pyarelal’s position remain unaffected, maintained number ONE position but this time LP’s  competitors were, R D Burman, Kalyanji-Anandji,  Ravindra Jain, Rajesh Roshan, Khayyam etc.

In EIGHTIES (1980 to 1989) Laxmikant-Pyarelal’s position still remained the same, maintaining number ONE position but this time the challenges were  from Bappi Lahiri, Rajesh Roshan, Khayyam, Anand Milind and to some extent R D Burman (till 1985).

In NINETIES (1990 to 1998) Laxmikant-Pyarelal were right on top till 1994. But this time LP’s competition was with New generation music directors like, Anu Malik, Anand-Milind and Nadeem-Shravan.

Their music had a magic to the extent that even non-star cast films like Dosti, Sant Gyaneshwar, Lootera, Farz, Wapas, Bobby, Jal Bin Machli.., Ek Duje Ke Liye, Hero, Sur Sangam, Prem and many more became successful because of the good music.

Laxmikant-Pyarelal’s  film music was not limited to the song. But their background music used to be an asset for most of the film. LP’s songs orchestra arrangement is nothing short of celestial symphony, which a has classic extensions blending it to Indian music.

Laxmikant Shantaram Kudalkar died on 25th May, 1998. The Long Playing record breaking friendship / partnership came to an end. Pyarelal Ramprasad Sharma is still active in performing live shows all across the world. Very recently Pyarelalji have designed a SYMPHONY , named “Om Shivam” which was very well appreciated in GERMANY.  Please watch the standing ovation being given by Germans. (Last Two Minutes Standing Ovation) . Don’t forget to watch

TWO MINUTES Standing Ovation for Pyarelal Ramprasad Sharma in Germany

Just to highlight few of their achievements.

—Consistent throughout 35 years.

—Gave the music according to the change of time and situation demand (1963 to 1998) 

—Delivered maximum Popular and HIT songs for Hindi Film Music.

—Dominance in Binaca Geetmala

—7 Filmfare Trophies with maximum Nominations

—35 films with Golden Jubilee

—75 films with Silver Jubilee.

—Composed over 2850 songs, close to 500 films.

Outstanding contribution by Laxmikant-Pyarelal in Hindi Film Music. 

With this blog Laxmikant-Pyarelal fans  are   SUBSTANTIATING   LAXMIKANT-PYARELAL  FOR  DADASAHEB PHALKE AWARD.

Log On https://laxmikantpyarelal.com & https://laxmikant-pyarelal.blogspot.com

Ajay Poundarik

Laxmikant-Pyarelal :: Professional Balancing Act Between Rafi and Kishore.

Coincidentally, the association of Laxmikant-Pyarelal & Mohammad Rafi “DOSTI” 1964 as well as Laxmikant-Pyarelal & Kishore Kumar “MR X IN BOMBAY” 1964, started in the same year with BIG songs from super hit films. Since than Laxmikant-Pyarelal have worked unbiasedly as well as professionally and have always maintained the balancing act between the two singers. This has been well elaborated in this blog.

Laxmikant-Pyarelal with Mohammad Rafi 370 songs.
Laxmikant-Pyarelal with Kishore Kumar 402 songs

Laxmikant-Pyarelal were the staunch Rafi loyalists 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.

Mohammad Rafi has sung 379 songs under Laxmikant-Pyarelal. This figure is the highest number of the songs sung by Mohammad Rafi for any music directors, including 183 numbers of solo songs. 

Mohammad Rafi with the music directors

Laxmikant-Pyarelal            379 songs

Shankar-Jaikishan             330 songs

Chitragupta                        225 songs

Ravi                                   210 songs

Kalyanji-Anandjj               200 songs

O P Nayyar                        187 songs

Madan Mohan                   147 songs

Naushad                             114 songs

Usha  Khanna                     109 songs

R D Burman                        107 songs

S D Burman                          94 songs

N Dutta                                  94 songs

Roshan                                  87 songs

Rajesh Roshan                      33 songs

Lata Mangeshkar & Mohammad Rafi Duets: Out of 421 duets of Lata – Rafi, 78 numbers  these duets are sung under Laxmikant-Pyarelal. Once again the highest number of duet of Lata-Rafi under any music directors. 

In sixties combo of Mohammad Rafi and Laxmikant-Pyarelal have given some of the best songs in 

“Dosti” 1964, 

“Aaye Din Bahar Ke”,1966, 

“Night In London”, “Farz”, “Taqdeer” all in 1967. 

“Wapas”, “Mere Hamdam Mere Dost”, “Aaya Sawan Jhum Ke” 1968, 

“Jeene Ki Raah”, 

“Jigari Dost” and “Sajan” all in 1969 and many more.

Kishore Kumar and Laxmikant-Pyarelal before “Aradhana” 1969.

Laxmikant-Pyarelal have given all time hits songs to Kishore Kumar during the lean period of his musical carrier, in the mid sixties, when the duo was relatively new, without damaging the giant popularity of Mohammad Rafi.

“Mr X In Bombay “1964 (Mere Mehboob Quyamat Hogi)

“Shreeman Fantoosh” 1965 (Ye Dard Bhara Afasana)

“Hum Sab Ustaad Hai” 1965 (Ajanabi Tum Jane Pehachane)

“Pyar Kiye Jaa” 1966 (Din Jawani Ke Bar Bar Pyar Kiye Jaa)

Laxmikant-Pyarelal’s professional balancing equation, Mohammad Rafi (379 songs)  & Kishore Kumar (402 Songs). 

SEVENTIES:- When Kishore Kumar was on right on top it is only Laxmikant-Pyarelal and to some extent Madan Mohan gave some of the best of their songs for Mohammad Rafi to sing, in seventies…

Laxmikant-Pyarelal have recorded 264 numbers of the songs for Mohammad Rafi, in post ‘Aradhana” period, 1969 to 1980.

Laxmikant-Pyarelal  brought back the glory of Mohammad Rafi through the songs of ”Pratigya”,(1975) 

“Naach Uthe Sansar” (1976) 

“Amar Akbar Anthony” “Parvarish” & “Dharmaveer”  (1977), 

“Sargam” (1978) and  that too without damaging the giant popularity of Kishore Kumar. 

Prior to that LP used Rafi as and when they wish it. 

“Uphaar” 1971 (main ek raja houn), 

“Khilona” 1970 (khilona jaan kar & khush rahe tu sada), 

“Ek Nazar”, 1972 ( patta patta buta buta) 

“Dastaan” 1972 (na tu zamee ke liye), 

“Gora Aur Kala” 1972 (ek na ek din)

“Suhana Safar” 1972

“Loafer” 1973 (aaj mosam bada beiman hai). 

“Pratigya” 1975 (main jaat yamala pagala)

Laxmikant-Pyarelal have recorded 264 numbers of songs of Mohammad Rafi in post “Aradhana” period.

Laxmikant-Pyarelal were stanch loyalist to Rafi Sahab. But the duo maintained professional balancing equation between Rafi & Kishore. It can be seen from the song list of KK-LP, 402 songs and Rafi-LP 260 songs. After ‘Aradhana’, 1969..

YES ! It was true that Laxmikant-Pyarelal wanted to bring back the glory of Rafi, without damaging Kishore Kumar’s giant popularity.

Post ‘Aradhana’ 1969, Laxmikant-Pyarelal have given around 379 songs to Kishore Kumar, that includes songs from “Daag” 1973, “Manchali” 1973, “Amir Garib” 1974, “Roti” 1974, “Aakraman” 1975, “Ponga Pandit” 1976, “Aashiq Houn Baharon Ka” 1977 etc….

In these films, listed above, have no songs for Mohammad Rafi.. Rafi-LP after ‘Aradhana’ 1969, 264 songs. During that period “Suhana Safar” 1972, “Gora Aur Kala” 1972, “Nach Uthe Sansar”, 1976 “Dharm Veer” 1977 etc have no songs to Kishore Kumar.

BALANCING EQUATION:: 

Laxmikant-Pyarelal’s professional balancing act between Rafi and Kishore.. 

“Do Raaste”1970 

( all songs to Rafi but one GEM to Kishore Kumar….’khiza ke phool pe’).

“Aansoo Ban Gaye Phool” 1969 

( All songs to Kishore Kumar) in the same year…

“Aaya Sawan Jhoom Ke” 1969 

( All songs to Mohammad Rafi) 

“Aan Milo Sajna” 1970 

(50% Rafi 50 % Kishore)

“Haathi Mere Saathi” 1971 

( All songs to Kishore Kumar  GEM to Rafi ‘nafrat ki duniya ko’)

“Mehboob Ki Mehandi” 1971

 (All songs to  Rafi GEM to Kishore ‘mere diwane pan ki dawa’)

“Aap Aaye Bahar Aayee” 1971

( 50% Rafi & 50 % Kishore)

“Prem Kahani” 1975 

( 50% Rafi & 50 % Kishore) The list is too long…But let us not forget.

 “Sargam” 1979 

( all songs to Mohamamd Rafi) around the same time

“Anurodh” 1977 

( all songs to Kishore Kumar) 

“Amar Akbar Anthony” 1978 

( all songs to Mohammad Rafi one HIT song to Kishore ‘my name is anthony’)

“Karz” 1979 

(all songs to Kishore Kumar but one GEM to Rafi ‘dard-e-dil’)..

Laxmikant-Pyarelal’s association with Rafi Sahab continued till his last day, 31st July, 1980. During Rafi Sahab’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. MohammadRafi has sung his last song for “Aas Pass” under Laxmikant-Pyarelal. 

Few Best Rare Songs of Mohammad Rafi and Laxmikant-Pyarelal in post ‘                            Aradhana’ period, after 1969.

MAN  KI AANKHEN  1970      (Songwriter Sahir Ludhiyanvi) 

-Dil Kahe Ruk Ja Re Ruk Ja

Extremely melodious romantic song. ‘Prelude of 40 seconds, starts with TWEETING sound of BIRDS overlapped with SANTOOR, Symphony VIOLINS and Rafi Sahab’s AALAP,  mesmerizes the listeners. First ‘interlude’ CHORUS is beautifully surrounded and overlapped with GUITAR and FLUTE. Second ‘interlude’ is orchestrated with Symphony VIOLINS and FLUTE. The song is filmed on DHARMENDRA. 

AAP  AAYE BAHAR  AYEE  1971   (Songwriter  Anand Bakshi)

-Sare Jamane Se Mausam Suhane Se

Another sweetly composed romantic song. 40 seconds of ‘prelude’ starts with GUITAR followed by Symphony VIOLINS, BIRD TWEETING sounds synchronised with ACOUSTIC GUITAR,  Take off from Rafi Sahab’ rendering has a wonderful as well as delicate overlapping sound of ACOUSTIC GUITAR. First ‘interlude’ is orchestrated with VIOLINS and FLUTE. Second ‘interlude’ has mellifluous use of SAXOPHONE and VIOLINS. The song has tuneful BONGA DRUM rhythm . It is filmed on Rajendra Kumar and Sadhna. 

ROOP  TERA MASTANA  1972   (Songwriter Asad Bhopali) 

-Bade Bewfa Hai Ye Husnwale 

GEM of a song from Mohammad Rafi & Laxmikant-Pyarelal.

VIOLINs & CELLOs are wonderfully intermixed with PIANO in mind-boggling SYMPHONY style, an enrich orchestra arrangements throughout the song and a fabulous rendering by RAFI saab in very ‘romantic’ way. Long ‘prelude” of 1 minute and 11 seconds (full of ‘SYMPHONY’) with Rafi Saab’s “aalap”and ‘humming’ + ‘pause’ mesmerizes. “Interludes” are mellifluously crafted with PIANO, VIOLINS & CELLOs. Again the “mukhada” has TABLA/DHOLAK rhythm. All the “interludes” rhythm have BONGO DRUMS. Rafi Saab’s & LP’s various ‘pauses’ is an added feature of this song. The song is filmed on Jeetendra. 

GORA  AUR KALA  1972    (Songwriter Anand Bakshi)

-Ek Na Ek Din Ye Kahani    

Beautifully orchestrated in WALTZ candency. ACOUSTIC GUITAR, ACCORDION, VIOLINS, SAXOPHONE and IRANI SANTOOR. It has been composed on BONGO DRUM rhythm. The song is filmed on Rajendra Kumar and Hema Mallini. 

SURAJ AUR  CHANDA  1973 (Songwriter Anand Bakshi)

-Tere Naam Ka Deewana 

This is yet another Romantic song filmed on Sanjeev Kumar. ‘Mukhada’ awesome ‘pauses’ that pleases the ears. The ‘interludes’ are instrumented and overlapped with symphony VIOLINS with the use of GUITAR, SANTOOR, VIOLINS as well as SHEHNAI / NADASWARAM and SITAR. It has melodious DHOLAK / TABLA rhythm. 

GEETA  MERA NAAM  1974   (Songwriter Rajendra Krishnan)

-Mohabbat Hi Mohabbat Hai 

This romantic song, composed in western style rhythm,  is filmed on Firoz Khan. The song is orchestrated with GUITAR and VIOLINS with BONGA DRUM.

AAKHRI  DAO (1975)     (Songwriter Hasrat Jaipuri)

-Aisa Na Ho Ke      

A GEM in Western Style Orchestra arrangements.  The ‘prelude’ of 58 seconds is Symphony VIOLINS. Mohammad Rafi at it’s melodious best. ‘Interludes’ are orchestrated with SAXOPHONE overlapped with VIOLINS and GUITAR as well as surround sounds of CELLOs. Second ‘interlude’ is superb display of SARANGI synchronised with CELLOs and VIOLINS. The beauty of the song is it’s surround sound created and overlapped with Rafi Sahab’s rendering in ‘antara’ by using  SAXOPHONE and Symphony VIOLINS as well as CELLOs. The song is filmed on Jeetendra. A treat for Mohammad Rafi Sahab’s fans.

A rare combo of Hasrat Jaipuri /Laxmikant-Pyarelal 

Ajay Poundarik, Atlanta (Georgia). USA.

The year was 1963, I was an 8-year-old studying in the Indian heartland of Gwalior, growing up in a family that did not allow viewing movies except for the mythological ones; the same time period when ‘Harischandra Taramati’ and ‘Sant Gyaneshwar’ were running houseful every day and every show. On the other end, Radio Ceylon, All India Radio, and Vividh Bharati were playing ‘Main Nanhasa Chhota Sa Bachha Houn’ (from the movie ‘Harischandra Taramati’) , ‘Jyot Se Jyot Jagate Chalo’, and ‘Ek Do Teen Chaar’(from the movie ‘Sant Gyaneshwar’, after the musical hits of ‘Parasmani’), at least 10-to-12 times a day, which were sung by child artist in Lata Mangeshkar’s voice.

Actually, I got the interest in hindi film music because of my mother who is not only the singer but also a fan of Lata Mangeshkar / Talat Mehmood and music director Anil Biswas. She used to play radio all the day and listen to the songs.

‘Main Nanhasa Chhota Sa Bachha Houn’– ‘Harischandra Taramati’,1963

‘Jyot Se Jyot Jagate Chalo’ – ‘Sant Gyaneshwar’, 1964

‘Ek Don Teen Chaar, Bhaiyya Bano Hoshiyar’– ‘Sant Gyaneshwar’, 1964

Growing up in the same era as that of child artists from these films, the songs, listed above, made a huge impact on my musical ears and made me more keen to watch them, and I finally did, despite the full shows. I distinctly remember one thing — a downpour of coins on the screen for ’Jyot Se Jyot Jagate Chalo’, which went on to become my very first all-time favorite without having an idea that it was Laxmikant-Pyarelal’s music. Lata Mangeshkar’s voice that mesmerized me.

Apart from “Sant Gyaneshwar” and “Harischandra Taramati”,  between 1963-1964 Laxmikant-Pyarelal gave fabulous music for some of the following:

• Parasmani,
• Sati Savitri
• Dosti
• Aaya Toofan
• Naag Mandir
• Mr. X In Bombay
• Hum Sad Ustad Hai
  

Songs of these films became immensely popular and that is how I came to know the famous name, in Hindi film music “LAXMIKANT-PYARELAL” became the talk of the nation, and everybody started talking about Laxmikant-Pyarelal, and their immensely popular music.

During 1965-1966 I witnessed mind-blowing compositions for the films like 

• Lootera
• Shreeman Fantoosh
• Mere Lal
• Aasra
• Dillagi
• Laadla

I used to listen to Binaca Geetmala.every Wednesday, record it in my notebook, and kept a close eye on LP’s songs.

1967 and beyond…

I was completely hypnotized in the year 1967 — the very best year for the Number One music director LAXMIKANT-PYARELAL (until now I was under the impression that Laxmikant-Pyarelal is one person and not a duo)..when in every corner of Indian city it was only Laxmikant-Pyarelal’s songs, and I became a die-hard fan. In the same year, I saw “Shagird” (my parents allowed me to watch it), the duo’s first big hit movie. In 1967 I realized that there is magic in Laxmikant-Pyarelal’s music. Till this date, I have been an LP fan. Laxmikant-Pyarelal music is working like a tonic and has kept me physically and mentally healthy.

During 1963 to 1998, without any discontinuity, constantly, my childhood days, my school days, my college days and few years of working (job) in India as well as in abroad, have witnessed many memorable hit songs from Laxmikant-Pyarelal.

Biggest Surprise!!

In 1990, I along with my family left India on a work assignment, and missed witnessing the magic of Laxmikant-Pyarelal’s many hits. Unlike today it was a period when the media and technology  outreach was limited. After returning India in 1993, on a vacation, I was stunned and surprised to note that the duo of Laxmikant-Pyarelal was still at the pinnacle, with  “Khalnayak” song ‘choli ke pichhe kya hai’…

What Is Special In Laxmikant-Pyarelal Music

There are many interesting points in Laxmikant-Pyarelal songs. Their  songs have MELODY, ORCHESTRA and RHYTHM. Most of the tunes are Indian, folkish but are decorated mellifluously with the mind-blowing orchestra arrangements. Most of the “Interludes” (musical glimpses between “mukhada” and “antara”) are blended with a different rhythm than that of the ‘mukhada’ of the song. The “Preludes”(musical glimpses before the start of the songs), “Interludes” and “Postludes” have symphony style, western orchestra arrangements and more interestingly there is no repetition.

A “worst day” in my life!

It was my utmost desire to meet both Laxmikant and Pyarelal, since my childhood. While coming from Lagos, Nigeria on flight on 25th May, 1998, I had decided that I will meet both Laxmikant and Pyarelal on this trip of India. However, destiny had something else in place for me and when I landed in India, I got the news of the death of Laxmikantji and I was shocked. I will always be regretting not meeting Laxmikant. My dream of meeting Laxmikantji will never be fulfilled. However, I do meet Pyarelalji couple of time and is in touch with him on the telephone, even if I am not in India.

Let the glory of Laxmikant-Pyarelal be back….

Today, paid media, paid FM radio stations have forgotten the magic created by Laxmikant-Pyarelal, for 35 non-stop years. Many music directors are being hyped who are not even close to the contributions made by Laxmikant-Pyarelal in terms of quantity, quality, variety, popularity, and consistency. It has been always my honest efforts to know more about Laxmikant-Pyarelal, without degrading contemporary music directors, to the younger generations through social media. Even I am sending the desired information on Laxmikant-Pyarelal to many of the TV channels, FM Radio, Vividh Bharti which has become my regular and routine work. My only aim is to BRING BACK THE GLORY OF LAXMIKANT-PYARELAL and I will continue my efforts till the end.

Long Live Laxmikant-Pyarelal music.

Ajay Poundarik, 24th June, 2017 Atlanta (Georgia) USA