Category: My LP Journey

SUBSTANTIATING LAXMIKANT-PYARELAL FOR DADASAHEB PHALKE AWARD.

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  

Laxmikant-Pyarelal


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 :: Mohammad Rafi and Kishore Kumar.

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.

Laxmikant, Mohammad Rafi & Pyarelal
Mohammad Rafi * 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.

How and When I Became The Fan of Laxmikant-Pyarelal.

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.

Laxmikant-Pyarelal (1963)

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’…

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 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

24th June, 2017

Atlanta (Georgia)

USA

Filmography 1963 – 1998

 List of Films for Laxmikant-Pyarelal:-

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 

Laxmikant-Pyarelal and Filmfare Awards

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.

  • 1964:- Dosti
  • 1967:- Milan
  • 1969:- Jeene Ki Raah
  • 1977:- Amar Akbar Anthony
  • 1978:- Satyam Shivam Sundaram
  • 1979:- Sargam
  • 1980:- Karz
Laxmikant-Pyarelal receiving Filmfare award from Producer/Director
Raj Kapoor for the best music, 1978, “Satyam Shivam Sundaram”

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.

How and When I Became The Fan of Laxmikant-Pyarelal.

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.

Laxmikant-Pyarelal (1963)

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’…

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 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

24th June, 2017

Atlanta (Georgia)

USA