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). 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 2800 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.
Ajay Poundarik
Laxmikant-Pyarelal :: Professional Balancing Act Between Rafi and Kishore.
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.
Laxmikant-Pyarelal’s professional balancing equation, in seventies between 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.
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.
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
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)..Many musical hit films released in 1967. Films like, “Milan”, “Night In London“, “Patthar Ke Sanam”, “Anita” and “Jaal”. “Milan” song storm the nation. 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, We saw “Shagird” (my parents allowed me to watch it), and the duo’s first big hit movie, “Farz”. 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’…
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 to the younger generations, without degrading the contemporary music directors, through social media. Even I am sending the desired information on Laxmikant-Pyarelal to many of the TV channels, FM Radio, 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, Atlanta (Georgia), USA…24th June, 2017
List of Films for Laxmikant-Pyarelal:-
1963
1. Parasmani
2. Harischandra Taramati
1964
3. Aaya Toofan
4. Dosti
5. Mr X In Bombay
6. Sant Gyaneshwar
7. Sati Savitri
1965
8. Boxer
9. Hum Sub Ustaad Hai
10. Lootera
11. Shriman Funtoosh
1966
12. Aasra
13. Aaye Din Bahar Ke
14. Chhota Bhai
15. Daaku Mangal Singh
16. Dillagi
17. Laadla
18. Mere Lal
19. Naag Mandir
20. Pyar Kiye Jaa
21. Sau Saal Baad
1967
22. Anita
23. Chhaila Babu
24. Duniya Nachegi
25. Farz
26. Jaal
27. Milan
28. Milan Ki Raat
29. Night In London
30. Patthar Ke Sanam
31. Shagird
32. Taqdeer
1968
33. Baharon Ki Manzil
34. Izzat
35. Mere Hamdam Mere Dost
36. Raja Aur Rank
37. Sadhu Aur Shaitaan
38. Spy In Rome
1969
39. Aansoo Ban Gaye Phool
40. Anjana
41. Aaya Sawan Jhoom Ke
42. Dharti Kahe Pukar Ke
43. Do Bhai
44. Do Raaste
45. Inteqaam
46. Jeene Ki Raah
47. Jigri Dost
48. Madhavi
49. Mera Dost
50. Meri Bhabhi
51. Pyaasi Sham
52. Saajan
53. Satyakam
54. Shart
55. Wapas
1970
56. Aan Milo Sajna
57. Abhinetri
58. Bachpan
59. Darpan
60. Devi
61. Himmat
62. Humjoli
63. Jawab
64. Jeevan Mrityu
65. Khilona
66. Maa Aur Mamta
67. Man Ki Aankhen
68. Mastana
69. Pushpanjali
70. Sharafat
71. Suhana Safar
1971
72. Aap Aaye Bahaar Aayi
73. Banphool
74. Bikhre Moti
75. Chaahat
76. Dushman
77. Haathi Mere Saathi
78. Haseenon Ka Devta
79. Jal Bin Machhili Nritya Bin Bijli
80. Lagan
81. Man Mandir
82. Mehboob Ki Mehndi
83. Mera Gaon Mera Desh
84. Uphaar
85. Woh Din Yaad Karo
1972
86. Buniyaad
87. Dastaan
88. Ek Bechara
89. Ek Nazar
90. Gaon Hamara Shaher Tumhara
91. Gora Aur Kala
92. Haar Jeet
93. Jeet
94. Mom Ki Gudiya
95. Piya Ka Ghar
96. Raaste Ka Patthar
97. Raja Jani
98. Roop Tera Mastana
99. Shaadi Ke Baad
100. Shor
101. Subah-O-Sham
102. Wafa
1973
103. Anhonee
104. Anokhee Ada
105. Barkha Bahar
106. Bobby
107. Daag
108. Gaddar
109. Gai Aur Gori
110. Gehri Chaal
111. Insaaf
112. Jalte Badan
113. Jwar Bhata
114. Kachche Dhaage
115. Kahani Hum Sub Ki
116. Loafer
117. Manchali
118. Nirdosh
119. Qeemat
120. Suraj Aur Chanda
121. Sweekar
1974
122. Ameer Garib
123. Badla
124. Bidaai
125. Dost
126. Dulhan
127. Duniya Ka Mela
128. Free Love
129. Geeta Mera Naam
130. Imtihan
131. Jurm Aur Sazaa
132. Majboor
133. Naya Din Nayi Raat
134. Nirmaan
135. Pagli
136. Paise Ki Gudiya
137. Pocket Maar
138. Prem Shastra
139. Roti
140. Roti Kapda Aur Makaan
141. Sauda
142. Shandaar
143. The Cheat
144. Vaada Tera Vaada
1975
145. Aakhri Daku
146. Aakraman
147. Anari
148. Apne Rang Hazar
149. Chaitali
150. Dafa 302
151. Lafange
152. Mere Sajna
153. Naayak
154. Ponga Pandit
155. Pratigya
156. Prem Kahani
157. Sevak
158. Zinda Dil
159. Zindagi Aur Toofan
1976
160. Aaj Ka Mahatma
161. Aap Beati
162. Charas
163. Do Ladkiyan
164. Dus Numbri
165. Jaan-e-Man
166. Koi Jeeta Koi Hara
167. Maa
168. Naach Uthe Sansar
169. Nagin
170. Santaan
1977
171. Aadha Din Aadhi Raat
172. Aashiq Hoon Baharon Ka
173. Amar Akbar Anthony
174. Anurodh
175. Apnapan
176. Chacha Bhatija
177. Chhaila Babu
178. Chhota Baap
179. Chor Sipahi
180. Dharamveer
181. Dildaar
182. Dream Girl
183. Imaan Dharam
184. Jagriti
185. Kachcha Chor
186. Kali Raat
187. Mastaan Dada
188. Ooparwala Jane
189. Palkon Ki Chhaon Mein
190. Parvarish
191. Prayashchit
192. Thief Of Baghdad
193. Tinku
1978
194. Aahuti
195. Amar Shakti
196. Badalte Rishte
197. Chakravyuh
198. Daaku Aur Jawaan
199. Dil Aur Deewar
200. Kala Aadmi
201. Main Tulsi Tere Aangan Ki
202. Phansi
203. Phool Khile Hai Gulshan Gulshan
204. Prem Bandhan
205. Satyam Shivam Sundaram
206. Saawan Ke Geet
1979
207. Amar Deep
208. Chunauti
209. Dil Ka Heera
210. Gautam Govinda
211. Jaani Dushman
212. Kali Ghata
213. Kartavya
214. Lok Parlok
215. Maan Apmaan
216. Magroor
217. Muqabala
218. Prem Vivah
219. Sargam
220. Suhaag
221. Yuvraj
222. Zaalim
1980
223. Aas Paas
224. Aasha
225. Bandish
226. Berahem
227. Choron Ki Baraat
228. Do Premi
229. Dostana
230. Ganga Aur Suraj
231. Gehraai
232. Hum Paanch
233. Judaai
234. Jyoti Bane Jwala
235. Kala Pani
236. Karz
237. Maang Bharo Sajna
238. Nishana
239. Patthar Se Takkar
240. Ram Balram
241. Waqt Ki Deewar
242. Yaari Dushmani
1981
243. Ek Aur Ek Gyarah
244. Ek Duje Ke Liye
245. Ek Hi Bhool
246. Fifty Fifty
247. Khoon Aur Paani
248. Khuda Kasam
249. Kranti
250. Kroadhi
251. Ladies Tailor
252. Meri Awaaz Suno
253. Naseeb
254. Pyaasa Sawan
255. Raaste Pyar Ke
256. Sharda
257. Vakil Babu
1982
258. Apna Bana Lo
260. Badle Ki Aag
261. Daawedar
262. Deedar-E-Yaar
263. Desh Premi
264. Do Dishayen
265. Farz Aur Kanoon
266. Ghazab
267. Insaan
268. Jaanwar
269. Jeevan Dhaara
270. Jiyo Aur Jeene Do
271. Main Inteqam Loonga
272. Mehendi Rang Layegi
273. Prem Rog
274. Rajput
275. Samrat
276. Taaqat
277. Teesri Aankh
278. Teri Mang Sitaron Se Bhar Doon
1983
279. Andhaa Kanoon
280. Arpan
281. Avtaar
282. Beqaraar
283. Coolie
284. Hero
285. Mujhe Insaaf Chahiye
286. Pakhandee
287. Prem Tapasya
288. Woh Saat Din
289. Yeh Ishq Nahin Aasaan
290. Zara Si Zindagi
1984
291. Aasha Jyoti
292. Akalmand
293. All Rounder
294. Baazi
295. Bad Aur Badnam
296. Do Dilon Ki Dastaan
297. Ek Nai Pahehi
298. Ghar Ek Mandir
299. Inquilab
300. Jeene Nahin Doonga
301. John Jani Janardan
302. Khazana
303. Mera Dost Mera Dushman
304. Mera Faisla
305. Pyar Jhukta Nahin
306. Sharara
307. Utsav
308. Zakhmi Sher
1985
309. Dekha Pyar Tumhara
310. Ghulami
311. Janoo
312. Jawab
313. Kali Basti
314. Mera Ghar Mere Bachche
315. Mera Jawab
316. Meri Jung
317. Patthar Dil
318. Sanjog
319. Sarfarosh
320. Sur Sangam
321. Teri Meharbaniyan
322. Triveni
323. Yaadon Ki Kasam
1986
324. Aar Aur Shola
325. Aakhri Raasta
326. Aap Ke Saath
327. Aisa Pyar Kahaan
328. Amrit
329. Anjaam
330. Asli Naqli
331. Dosti Dushmani
332. Kala Dhanda Gore Log
333. Karma
334. Loha
335. Love86
336. Mazloom
337. Naache Mayuri
338. Naam
339. Nagina
340. Naseeb Apna Apna
341. Pyar Kiya Hai Pyar Karenge
342. Qatil
343. Sadaa Suhagan
344. Saugaat
345. Swati
346. Swarg Se Sundar
1987
347. Aulaad
348. Hukumat
349. Insaaf
350. Insaaf Kaun Karega
351. Insaaf Ki Pukaar
352. Jaan Hatheli Pe
353. Madadgaar
354. Mard Ki Zabaan
355. Mera Karam Mera Dharam
356. Mr. India
357. Nazarana
358. Parivaar
359. Kudarat Ka Kanoon
360. Sansaar
1988
361. Agni
362. Bees Saal Baad
363. Biwi Ho To Aisi
364. Charandada
365. Charnon Ki Saugandh
366. Dayawaan
367. Do Waqt Ki Roti
368. Eeshwar
369. Ganga Tere Desh Mein
370. Gharana
371. Hamara Khandaan
372. Inteqaam
373. Janam Janam
374. Jawab Hum Denge
375. Khataron Ke Khiladi
376. Mar Mitenge
377. Oonch Neech Beech
378. Pyar Ka Mandir
379. Pyar Muhabbat
380. Qatil
381. Raam Avtaar
382. Shoorveer
383. Tezaab
384. Yateem
1989
385. Bade Ghar Ki Beti
386. Batwara
387. Bhrastachar
388. Chalbaaz
389. Deshwasi
390. Do Qaidi
391. Dost Garibon Ka
392. Elaan-E-Jung
393. Hathiyaar
394. Main Tera Dushman
395. Naag Naagin
396. Nigahen
397. Paraya Ghar
398. Pati Parmeshwar
399. Qasam Suhaag Ki
400. Raam Lakhan
401. Sachchai Ki Taaqat
402. Santosh
403. Shahzade
404. Suryaa
1990
405. Aatishbaaz
406. Aazaad Desh Ke Ghulam
407. Agneepath
408. Amba
409. Amiri Garibi
410. Hatimtai
411. Hum Se Na Takrana
412. Izzatdar
413. Jamai Raja
414. Jeevan Ek Sangharsh
415. Khilaf
416. Krodh
417. Mohabbat Ki Aag
418. Pati Patni Aur Tawaif
419. Pratibandh
420. Pyar Ka Karz
421. Qanoon Ki Zanjeer
422. Qayamat Ki Raat
423. Sherdil
424. Sheshnaag
425. Veeru Dada
1991
426. Ajooba
427. Akeyla
428. Aur Ek Dharmatma
429. Banjaran
430. Benaam Baadshah
431 Do Matwale
432. Hum
433. Khoon Ka Karz
434. Lakshmanrekha
435. Mast Qalandar
436. Narsimha
437. Paap Ki Aandhi
438. Prahaar
439. Pyaar Hua Chori Chori
440. Pyar Ka Devta
441. Qurbani Rang Layegi
442. Ranbhoomi
443. Sapnon Ka Mandir
444. Saudagar
445. Shankara
1992
446. Angaar
447. Apradhi
448. Dil Hi To Hai
449. Heer Ranjha
450. Humlaa
451. Humshakal
452. Khuda Gawah
453. Kshatriya
454. Prem Deewane
455. Rishta Ho To Aisa
456. Sahebzade
457. Yugandhar
1993
458. Aashiq Aawara
459. Badi Bahen
460. Bedardi
461. Chahunga Main Tujhe
462. Dil Hai Betaab
463. Gumraah
464. Khalnayak
465. Roop Ki Rani Choron Ka Raja
466. Tiranga
1994
467. Chauraha
468. Insaaf Apne Lahoo Se
469. Mohabbat Ki Arzoo
470. Papi Devta
471. Swarg Se Pyara Ghar Hamara
472. Tejaswini
1995
473. Aag Ka Dariya
474. Bhairavi
475. Dilbar
476. Prem
477. Trimurti
1996
478. Dhun
479. Parakrami
480. Prem Granth
481. Rajkumar
482. Uddhar
1997
483. Deewana Mastana
484. Deewana Tere Dil Ka / Mohabbat Ki Aag
485. Kaun Rokega Mujhe
486. Mahaanta
1998
487. Barsaat Ki Raat
488. Jai Hind
489. Meri Bivi Ki Shaadi.
Regional language films, close to 14 numbers, not included
Ever since Laxmikant-Pyarelal entered into the Hindi Film Music in 1963 they were nominated for the Best Music Directors almost for each and every year. There are many years in which LP were nominated for 3 or more numbers of films in a particular year. At the same time LP narrowly missed the awards too. Films like Aaye Din Bahar Ke, Intquam, Do Raste, Mera Gaon Mera Desh, Shor, Daag, Bobby, Ek Duje Ke Liye, Prem Rog, Utsav, Sur Sangam, Mr. India, Saudagar and Khalnayak etc certainly deserves the Filmfare Awards for the best music director. All together LP got 7 Filmfare Trophies, including FOUR TIMES in ROW, (1977, 1978, 1979 & 1980), for the following films.
NOMINATION: Best Music Director (Excellent Music but NO Awards) The Highest Numbers Of Nominations For Best Music Director
1970: – Do Raaste
1972: – Shor
1973: – Bobby
1973: – Daag: A Poem of Love
1974: – Roti Kapda Aur Makaan
1975: – Dulhan
1979: – Jaani Dushman
1980: – Aasha
1981: – Ek Duuje Ke Liye
1982: – Prem Rog
1983: – Hero
1985: – Meri Jung
1985: – Pyaar Jhukta Nahin
1985: – Sur Sangam
1988: – Tezaab
1989: – Ram Lakhan
1991: – Saudagar
1993: – Khalnayak
Ajay Poundarik, Vadodara.
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:
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
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’…
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
