Hindi movies are known for their song and dance sequences for all occasions and events: weddings, festivals, love, separation, rain, sunshine and even songs about having fun with alcohol. Inebriant / Intoxicated songs were popular even back in the day and some of Bollywood’s veteran actors have indulged in some tipsy music and dancing.

Music directors Laxmikant-Pyarelal have also composed some of the finest, popular such spirituous, Inebriant Intoxicated Songs which are still popular. 15 Best of the songs based on “INTOXICATED” theme are for the review.

The orchestra arrangements in “PRELUDES” and “INTERLUDES” used to be the assets of thesongs composed by Laxmikant-Pyarelal. It would be more proper to listen to the songs, listed below, after reading the write up, explaining peculiarities, for each of the songs, you will enjoy it, more.

1) “MERE HAMDAM MERE DOST” 1968 Singer Mohammad Rafi / Lyricist Majrooh Sultanpuri

– Hui Sham Unka Khayal Aa Gaya

It’s beautifully sung by the inimitable Rafi Saab, and picturised on a lonely Dharmendra as he wanders through his home, glass in hand, bemoaning the faithlessness of his beloved. “Prelude” is full of SAXOPHONE and PIANO with other western instruments, sets the mood of the song. A mesmerizing composition and mellifluous orchestra arrangements. Entire song is woven around the glimpses of SAXOPHONE, ACOUSTIC GUITAR & CLARINET. In all the “interludes”. Overlapping sound effect of SAXOPHONE/CLARINET with PIANO is just brilliant. VIOLA , GUITAR, CELLOS and VIOLINS are also brilliantly executed in entire song. Another beauty of the song is it’s “ rhythm” DHOLAK / TABLA are used only in “antara”…all the “interludes:” are without any rhythm but just ear-pleasing.

2) “MERE HAMDAM MERE DOST” 1968 Singer Mohammad Rafi / Lyricist Majrooh Sultanpuri

— Chhalkaye Jaam

Dashing, handsome Dharmendra looks inebriated in this song. “Prelude” of 20 seconds full of ACOUSTIC GUITAR and VIOLINS with sounds of ‘glass”, sets the mood of this intoxicated song sung by raft sab. It has BONGO Drums on “rhythm”. ACCORDION is wonderfully played “(stroked)’ as a ‘filler’ in between the song. All the interludes are nicely orchestrated with SYMPHONY style, use of ACCORDIONS, VIOLINS and SAXOPHONE ( in second interlude ) is mind-boggling.

3) “INTEQAM”  1969 Singer Mohammad Rafi / Lyricist Rajendra Krishna

“Inteqam” was Actress Sadhna’s home production movie directed by her husband R K Nayyar.

— Jo Unki Tamanna Hai Barbad Ho Ja

A classic song. Just close your eyes and feel the fragrance & elegance of eternal voice of Rafi Saab.  Beautifully orchestrated on PIANO with mesmerizing DHOLAK rhythm. The “interludes” have designed by instrumenting solo VIOLIN, SYMPHONY style VIOLINS and PIANO. Sanjay Khan looks smart. Sadhana and Anju Mahendru look charming.

4) “INTEQAM”  1969 Singer Lata Mangeshkar / Lyricist Rajendra Krishna

— Kaise Rahoon Chup

Another drunkard song from “Inteqam” with “HICCUPs” as well as “CHOO-CHOO” sound naughtily rendered by Lata Mangeshkar. Here we find Sadhana getting drunk and singing / dancing a song in a party, much to the embarrassment of Sanjay Khan and Rehman. This soundtrack is still memorable today.  The “prelude” of 34 seconds is starts with ACCORDION and SYMPHONY style VIOLINS. The “Interludes” are awesomely orchestrated with LATA ji’s ‘intoxicated’ “AALAPS”, synchronised with  FLUTE, HICCUPS as well as VIOLINS in SYMPHONY style, ACOUSTIC GUITAR and ACCORDION . How beautifully the GUITAR auriculares are overlapped with Lata ji’s “CHOO-CHOO” sound (2.06 to 2.09) and also at (3.24 to 3.28).  Glimpses of ACCORDION are mellifluously used as “filler”. Not to forget the different type of “rhythm” created on BONGO DRUMS. Not to forget the elegant Helen’s presence in the song.

It was a TOP hit song of the year 1969 in Binaca Geetmala Final.

5) “PYASI SHAAM”  1969 Singer Lata Mangeshkar / Lyricist Majrooh Sultanpuri

– Yeh Kaisa Gham Sajna

An extremely melodious song. Lata Mangeshkar sounds very sweet with an enthralling orchestra arrangements from Laxmikant-Pyarelal . In ‘prelude’ and all the three ‘interludes’ harmonised with different tunes,  by using ELECTRIC GUITAR sounds very appealing, SYMPHONY VIOLINS, ACOUSTIC GUITAR and ACCORDION, also used as a ‘filler’ in all the three ‘antaras’. Not to forget the “rhythm” amusingly arranged with the BONGO DRUMS. Sharmila Tagore look smoking hot.  Sunil Dutt totally intoxicated.

6) “NAYA DIN NAYI RAAT”  1974 Singer Mohammad Rafi / Lyricist Rajendra Krishna

— Main Wohi Wohi Baat

Lively involved voice, supported by the great Saneev Kumar’s restrained but natural performance for this tipsy song. Enraptured “prelude” of 26 seconds full of IRANI SANTOOR, SAXOPHONE, ELECTRIC GUITAR, ACOUSTIC GUITAR and ACCORDION with the “boozy” entry from Sanjeev Kumar at the same time brilliant take off by Rafi Saab. “Interludes” are euphonically orchestrated with ELECTRIC GUITAR, ACCORDION, SYMPHONY VIOLINS and IRANI SANTOOR. Just listen to the second “interlude”, delirious “aalap” by Rafi Saab, SYMPHONY VIOLINS and awesome overlapping sound effect of IRANI SANTOOR with ACCORDION. In-spite of the use of western instrument the DHOLAK ‘rhythm gives you an ear-pleasing moment, throughout the song.

Laxmikant-Pyarelal always gave some astonishing compositions for Rafi saab, in mid seventies,  when Mohammad Rafi saab was almost forgotten by all the music directors.

7) “AMIR GARIB”  1974 Singers Kishore Kumar – Manna Dey / Lyricist Anand Bakshi

— Tu Mere Pyale Mein

The song is filmed on Dev Anand and Prem Nath. Typical Laxmikant-Pyarelal flavored composition . DHOLAK rhythm has a qawwali style. Rendering of Manna Dey and Kishore Kumar worth to listened to. Helen danced superbly.  

8) “MAJBOOR’  1974 Singer Kishore Kumar / Lyricist Anand Bakshi

— Phir Na Kehna Michal Daroo Pee Ke

Kishore Kumar has always used some different style of crooning under Laxmikant-Pyarelal. The song is filmed on actor Pran who have performed excellently throughout the song along with Jayshree T.  Based on ‘folk’ song from Goa, the western style rhythmic song is elegantly orchestrated with TRUMPETs, solo VIOLIN in typical Goan style, ACOUSTIC GUITAR supported with awesome use of CHORUS as well as CLAPPING in the ‘rhythm’.

9) “ROTI KAPDA AUR MAKAAN”  1974 Singer Lata Mangeshkar / Lyricist Verma Malik

— Panditji Mere Marne Ke Baad

The song will always be remembered for the three reasons HICCUPs given by Lataji, mesmerizing and fast DHOLAK ‘rhythm’ created by Laxmikant-Pyarelal and awesomely gamboled by Aruna Irani.

10) “PONGA PANDIT”  1975 Singer Lata Mangeshkar / Lyricist Rajendra Krishna

— Tere Milne Se Pehle Bhi Jeete The Hum

An extremely melodious, intoxicated pop song composition. Excellent take off by Lataji in “prelude” by HICCUP with SAXOPHONE and SYMPHONY VIOLINS.  Ear-pleasing BONGO DRUM rhythm and classic orchestra with minimum musical instruments, ELECTRIC GUITAR , VIOLINS, ACCORDION. One of the finest song from the unique combo of Lata – LP.

11) “SUHAAG”  1979 Singer Asha Bhosle-Shashi Kapoor / Lyricist Anand Bakshi

–Main To Beghar Hoon

Inebriated performance by Parveen Babi. Beautiful ‘rhythm’. Just listen to the “take off” from Ashaji after the end of prelude (20 seconds). Also do not forget to listen to the ‘pause’ given by Ashaji after the (022 to 026) to highlight the “rhythm”. HAWAIIAN GUITAR, VIOLINS and BANJO awesomely orchestrated in all the “interludes”.

12) “NASEEB”  1981 Singers Mohammad Rafi-Amitabh Bachchan-Rishi Kapoor / Lyricist Anand Bakshi

— Chal Chal Mere Bhai

A super hit ‘peppy’ song excellently performed by Amitabh Bachchan and Rishi Kapoor. The song has a enjoyable “toe stepping” ‘rhythm’ created through BONGO DRUMS.

13) “EK HI BHOOL”  1981 Singer S P Balasubramaniam / Lyricist Anand Bakshi

— Bekhudi Ka Bada Sahara Hai

SYMPHONY style VIOLINS used in ‘prelude’, 35 seconds,  sets the mood of this intoxicated song, wonderfully rendered by SPB. “Interludes” are nicely orchestrated, in three different tunes,  with FLUTE, VIOLINS in SYMPHONY style, SPANISH GUITAR, ACOUSTIC GUITAR as well as ACCORDION. The ‘rhythm’ of TABLA is worth to listen to. Jeetendra acted in drunken mood. Rekha looks beautiful.  

14) “COOLIE”  1983 Singers Shabbir Kumar-Alka Yagnik / Lyricist Anand Bakshi

— Mujhe Peene Ka Shok Nahi

Mellifluously orchestrated “prelude” of 25 seconds.   The beauty of this song is use of SYMPHONY style VIOLINS and the CELLOS used in surrounds sounds of the singers as well as in all the “interludes” which are also further orchestrated with ELECTRIC GUITAR, BANJO and ACCORDION. KONGA DRUMS are used in the rhythm. This song is filmed on actor Rishi Kapoor and Shoma Anand.

15) “TIRANGA”  1993 Singers  Mohammad Aziz-Sudesh Bhosle / Lyricist Santosh Anand

— Peele Peele O Mere Raja  

A typical LP flavored song. Raj Kumar – Nana Patekar worth to watch.

Ajay Poundarik.



The association of Songwriter Anand Bakshi and Music Directors Laxmikant-Pyarelal started from the famous song ‘mere mehboob qayamat hogi’ from “Mr. X In Bombay”, 1964. This combo has worked for 304 films, composing 1680 songs of various types and varieties. 

Anand Bakshi has written some excellent songs giving philosophical touch, in a very simple way. . In this topic, named  Metaphysical ANAND BAKSHI & Rhythmic LAXMIKANT-PYARELAL we are going to review some of the best songs of this trio’s philosophical songs. 

Producer / Director Mohan Kumar, Laxmikant, Anand Bakshi and Pyarelal.

It is also found that Producer / Director J. Omprakash films have more thoughtful songs. “Aaya Sawan Jhoom Ke” has as many as three such songs, “Apnapan” two songs. 

Listing out a few songs which are not discussed / reviewed. 

Himmat Kare Insaan          Rafi   “Himmat”

Do Rang Duniya Ke           Mukesh   “Do Raaste” 

Aaj Dil Pe Koi Zor              Lata        “Milan”

Darpan Jhoot Na Bole       Manna Dey  “Darpan”

Mujhe Teri Mohabbat Ka    Lata-Rafi  “Aap Aaye Bahar Aayee”

Yaar Hamari Baat Suno      Kishore Kumar   “Roti”

Jaane Walon Ka Gham To  M. Rafi   “Kali Ghata”

Tum Besahara Ho To          Manna Dey   “Anurodh”

Koi Na Jab Tera Saathi Ho  Kishore Kumar “Insaan” 

Phool Ahista Phenko           Mukesh – Lata “Prem Kahani”

Is Duniya Mein O Duniya     Rafi  “Do Bhai”

Bhagwan Ne Apne Jaisa      Lata   “Chhota Bhai”

O Manzi Naiya Dhoondhe     Mukesh  “Uphaar”

Pyarelal, Laxmikant and Anand Bakshi

Many Of Anand Bakshi’s Situational Songs Have One Philosophical Stanza

Rajshri Pictures Musical  TAQDEER  1967 .                                                                                Anand Bakshi have written one abstract song  मिल के रोये मिल के मुस्कुराये हम ! अपनी जीत हार को हम बाँट ले .   It is a picnic song filmed on FARIDA JALAL, JALAL AGHA & Subhash Ghai (playing ACOUSTIC GUITAR). 

–Aaiye Bahar Ko Hum Baant Le …..Lata Mangeshkar. 

Mellifluous composition by Laxmikant-Pyarelal,  in western style. Instruments like Acoustic Guitar,Violins, Mouth Organ, Cycle Bells, Accordion etc.. are brilliantly executed in the orchestra arrangements. Lata Mangeshkar’s voice is simply sweet and melodious. Subhash Ghai can be seen in the video, playing acoustic guitar.

J. Omprakash’s Musical Hit  AAYA SAWAN JHOOM KE 1968.                                                       Anand Bakshi has written as many as three philosophical songs in this movie.

Bura Mat Suno Bura Mat Dekho   M. Rafi  

–Ye Shama To Jali Roshni Ki Liye  M. Rafi

–O Majhi Chal O Majhi Chal      Mohammad Rafi

A Sheer Magical from Anand Bakshi  आशाओं से नाता जोड़ दे, ये निराशा के बंधन तोड़ दे .  The song is filmed on Dharmendra. 

Laxmikant-Pyarelal have beautifully orchestrated. “Prelude” of 16 seconds with ACOUSTIC GUITAR. “Rhythm” on BONGO DRUMS, both the “interludes” are beautifully decorated with the VIOLINS, CELOs in SYMPHONY style orchestra arrangements, in support with the glimpses of FLUTE (first ‘interlude’) and MANDOLIN and  SANTOOR (second ‘interlude’). 

L.V. Prasad’s Musical Hit JEENE KI RAAH   1969                                                                    Anand Bakshi has written one meaningfully worded song, filmed on Jeetendra

Ek Banjara Gaye Jeevan Ke Geet Sunaye  Mohammad Rafi.

Each and  every line of this song written by Anand Bakshi  is consequential …. अगर जीना है तो ज़माने मैं तो हंसी का कोई बहाना ढूंढो !!  कागज के फूलों को भी जो महका कर दिखलाये 

Laxmikant-Pyarelal have composed this song with zero ‘prelude’ but a mind-boggling display of ELECTRIC GUITAR. Interludes are awesomely instrumented with symphony style of VIOLINS and ACCORDION. It has conventional DHOLAK rhythm. 

Rajshri Pictures Basu Chatterjee directed, super musical PIYA KA GHAR  1972.  Essence Of Life Captured Beautifully, In Simple Words By Anand Bakshi.

ये जीवन है इस जीवन का यही है, यही है, रंग-रूप  

–Yeh Jeevan Hai …Kishore Kumar

Anand Bakshi writes ये ना सोचो इसमें अपनी हार है की  जीत है ! उसे अपना लो जो भी जीवन की रीत है 

One of the finest songs from  Kishore Kumar with Laxmikant-Pyarelal. Kishore Kumar’s extremely soft and silky rendering in a totally different way and Laxmikant-Pyarelal’s westernized orchestra, very delicate rendering by CHORUS in surround sound  for the “interludes”, are the features of this lovely song. The song is completely woven around the glimpses of ACOUSTIC  GUITAR (played by late Gorakh Sharma, Pyarelalji’s younger brother). WHISTLE in surround sound gives the listeners Ear-Pleasing. Another beauty of this song is ‘finger pinch’ used in the ‘rhythm’, at the end of each ‘antara’.

Dalal Guha and Premji’s Musical Hit DOST  1974.                                                                 Anand Bakshi has written two philosophical songs in this song, filmed on Dharmendra

–Aa Bata De Tuze Kaise Jiya Jata Hai….Lata – Rafi.

Gaadi Bula Rahi Hai   Kishore Kumar. 

This Song Means Be Positive Every Time Do Not Think Negative Any Time In Life. Life Will Be Happy. Pretty Philosophical Words Penned By Anand Bakshi. गाडी को देख कैसी है नेक अच्छा बुरा न देखे ! सब है सवार दुश्मन के यार सबको चली ये लेके !

Smoothly Rendered By Kishore Kumar Wonderfully Composed By Laxmikant-Pyarelal.

38 seconds of ‘prelude’ is awesome. A unique ‘rhythm’ created to sound like an exhausting of steam from the ‘steam engine’, and also the typical steam engine horn. All of these sounds are synchronized with VIOLINS, ACOUSTIC GUITAR and BONGO DRUM, to make the ‘rhythm’ perfect to visualize the movement of the Train. Interludes are orchestrated with VIOLINS, SAXOPHONE, CHURCH BELL, ACOUSTIC GUITAR, MOUTHORGAN & other BRASS instruments.

Ravi Tondon’s Musical Hit  MAJBOOR  1974

Bakshi Sahab wrote a splendid as well as an immortal song, filmed on Amitabh Bachchan 

–Aadmi Jo Kehta Hai ….Kishore Kumar

Anand Bakshi penned   कोई भी हो हर ख्वाब तो अच्छा नहीं होता ! बहोत ज्यादा प्यार भी अच्छा नहीं होता 

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

J Omprakash super Musical Hit   APNAPAN  1977

Anand Bakshi’s  one of the most popular song giving preaching. Filmed on Sudhir Dalvi and Nivedita Joshi. 

-Is Duniya Main Jeena …Kishore – Lata 

–Aadmi Musafir Hai Aata Hai Jata Hai   ..M. Rafi – Lata Mangeshkar

Doctrine worded, each and every line. Anand Bakshi writes क्या साथ लाये क्या छोड़ लाये ! रस्ते मैं हम क्या छोड़ लाये ! मंज़िल पे जाके याद आते है !  

Laxmikant-Pyarelal’s composition is simply superb. 32 seconds of ‘prelude’ is composed by GHUNGROO BELLS, VIOLINS and HARMONIUM.The ‘rhythm’ has DHOLAK synchronized with GHUNGROO BELLS. Interludes are instrumented with SANTOOR, FLUTE, CLERANATE, VIOLINS and HARMONIUM. 

Another J Omprakash Super Musical Hit  AASHA 1979.                                                           One more Sheer Magical song, a top hit, from Anand Bakshi. 

–Sheesha Ho Ya Dil …Lata Mangeshkar.

Here Bakshi Sahab says काफी बस अरमान नहीं, कुछ मिलना आसान नहीं। दुनिया की मजबूरी है ! फिर तक़दीर जरूरी है !  Filmed on REENA ROY, Looks beautiful.. 

Laxmikant-Pyarelal’s splendid composition.  20 seconds of ‘prelude’ is full of Latajis honeyed AALAPS. Brilliant take off…शीशा हो या दिल हो …She gives 3 seconds of singing ‘pause’  for symphonious DHOLAK rhythm. First and Second interludes are orchestrated with an ACCORDION. Third interlude has a solo display of VIOLIN. Another beauty of this song is ‘singing’ and ‘rhythmic’ pauses.

Subhash Ghai’s Musical Blockbuster  MERI JUNG  1985.   One of the most popular songs of the mid-eighties. 

-Zindagi Har Kadam Ek Nayi Jung Hai    Shabbir  – Lata  – Nitin Mukesh  

Anand Bakshi writes हौसला ना छोड़ कर सामना जहाँ का ! बदल रहा है देख रंग आसमान का 

Laxmikant-Pyarelal have orchestrated this song by using PIANO as well as VIOLINS in symphony style. The song is filmed on Nutan, Girish Karnad, Anil Kapoor. 

Director T Ramarao’s   ANDHA KANOON  1983   Anand Bakshi writes  रोते रोते हँसना सीखो, हँसते हँसते रोना

–Rote Rote Hasna Sikho….Kishore Kumar. 

Meaningful philosophical words by Anand Bakshi बड़ी बड़ी खुशियां हैं छोटी छोटी बातों में  नन्हे मुन्हे तारे जैसे सोती रातों में ऐसा सुन्दर है ये जीवन, जैसे कोई सपना सलोना. Filmed on Amitabh Bachchan

Producer/Director Mohan Kumar’s AMRIT 1986.                                                                        Here Bakshi Sahab writes about ‘ghum’, sorrow.

Duniya Mein Kitna Ghum Hai    ,Mohammad Aziz. 

Very much philosophical wording by Anand Bakshi  दुनिया मैं कितना गम है ! मेरा गम कितना कम है ! लोगों का गम देखा तो मैं अपना गम भूल गया filmed on Rajesh Khanna. 

This is a typical Laxmikant-Pyarelal moulded song. 


Rajesh Khanna’s Biggest Musical Hit  HAATHI MERE SAATHI   1971

–Duniya Main Rehna Hai To Kaam Kar” Pyare  Kishore Kumar

पैसे बिना दुनियाँ में रोटी नहीं मिलती. रोटी नहीं मिलती लंगोटी नहीं मिलती

Laxmikant-Pyarelal with Anand Bakshi Record 304 Films with 1680 songs.

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

V Shantaram and Sandhya told Laxmikant-Pyarelal to compose the song in a ‘unique’ way.

“Jal Bin Machhli Nritya Bin Bijli” 1971

कजरा लगाके रे बिंदिया सजाके !! हो आई में तो आई रे आई लायी मोहे लायि मिलन धुन पिया की !

(The Unique Way Of Composing Song (as narrated by Living Legend PYARELAL ji)

When SANDHYA, actress and the wife of veteran filmmaker Dadasaheb Phalke award winner V. SHANTARAM told Majrooh Sultanpuri and Laxmikant-Pyarelal to write the words and compose the Song and the Rhythm by watching her Dancing Steps and the Facial Expressions.

To work with veteran Actor, Producer – Director V. SHANTARAM used to be a pride. He was a great connoisseur of the talent. He had an exceptional sensitivity for the music of his films. The quality of the songs and music for V. Shantaram film’s used to be unique and special. Music used to be the asset for his films.

It was not an easy job to enter into V. Shantaram Camp. He has his own choice of music directors which was limited to 2 to 3. Many BIG names of music directors of Forties, Fifties, Sixties and Seventies, could not get the an opportunity, baring C. Ramchandra and Vasant Desai, to work with V. Shantaram.

It was in 1971, music directors LAXMIKANT-PYARELAL got an opportunity to work for the first and the last time for V Shantaram’s “classic” film, a DANCE-MUSICAL, “JAL BIN MACHHLI NRITYA BIN BIJLI”.

In one of the songs !!कजरा लगाके रे बिंदिया सजाके !! हो आई में तो आई रे आई लायी मोहे लायि मिलन धुन पिया की !!..

A long musical sitting was held between V. Shantaram, Actress Sandhya, Laxmikant-Pyarelal and Majrooh Sultanpuri. Actress Sandhya first demonstrated the dance steps, performed the full dance and then told Laxmikant-Pyarelal to prepare the tune and rhythm by watching her steps. It was a different and unique style to compose the song. BUT Laxmikant-Pyarelal along with Lata Mangeshkar and Majrooh Sultanpuri came out with an outstanding composition.

Laxmikant- Pyarelal with Lata Mangeshkar, Sandhya & V Shantaram

A song on MAYUR-DANCE. One more gem of composition with different style. FLUTE is prominently used in western style. Perhaps the longest “prelude” 3 minutes and 27 seconds of beautiful dance sequence. FLUTE and SANTOOR, VIOLIN, VIOLA and GUITAR are prominently used and synchronized as well as overlapped, in western style orchestra arrangements with different style of rhythm of DHOLAK. Also don’t forget to listen to the “postlude” of the song and “Mayur Dance”.

LAXMIKANT-PYARELAL have brilliantly synchronized as well overlapped LATA MANGESHKAR’s voice in the highly rich orchestra arrangements.

FIRST TIME, FOR HINDI FILM MUSIC, all the songs of this films were recorded in “”Stereophonic Sound System””.

Ajay Poundarik, Atlanta (Georgia), USA. 3rd June, 2020.

Laxmikant-Pyarelal using Huge, Enriched and Melodious Orchestra. “BOBBY” 1973.

हम तुम एक कमरे मैं बंद हो !! और चाबी खो जाये !! ‘BOBBY’ 1973.

(Rishi Kapoor & Dimple Kapadia)

One of the best songs composed by Laxmikant-Pyarelal using Huge, Enriched and Melodious Orchestra arrangements. It has >>Three differently tuned “Antaras” + Three differently composed “Interludes”…MESMERISING ORCHESTRA arrangements.

Toe Stepping RHYTHM :- Intermixing of IRANI SANTOOR”+ ACCORDION + BONGO Drums.Singing “Pauses”. There are many singing “Pauses” of 4 seconds, in the song. The First is at 0.27 seconds, immediately after singing..हम तुम s s s . Highlighting the wonderfully orchestrated ‘rhythm’.(हम तुम ढण ढण टण टण, ढण ढण टण टण, ढण ढण टण टण, एक कमरे मैं बंद हो ढण ढण टण टण, ढण ढण टण टण, ढण ढण टण टण

First Interlude:- Beautiful display of ACCORDION, GUITAR and VIOLINS.

Second Interlude:- VIOLA, IRANI SANTOOR Lata’s beautiful sound (आलाप) ..

Third Interlude:- ACOUSTIC GUITAR, SAXOPHONE,, VIOLINS, MOUTHORGAN, FRENCH HORN and VIOLAS.Rhythmic “Pause”. at 6.32 for 2 seconds.

Postlude:- ACCORDION + SAXOPHONE.An uncomplicated tune with simple words is mellifluously orchestrated with TOE STEPPING RHYTHM.

Another specialty of this song is the “OVERLAPPING” sound effects of various instruments in all the ‘interludes’.

I would rate this song is one of the finest compositions from the desk of Laxmikant-Pyarelal, in terms or orchestra arrangements.

FINALLY>>>You cannot listen to this song without the Original Orchestra.
Music:- Laxmikant-Pyarelal, Lyrics:- Anand Bakshi
Singer:- Lata Mangeshkar & Shailendra Singh.

Ajay Poundarik, Atlanta (Georgia), USA.

Preeminent Composition, Stupefying Orchestra नहीं नहीं री जाना नहीं !! अभी नहीं री जाना नहीं ! “Zinda Dil” 1975

Preeminent Composition, Stupefying Orchestra

नहीं नहीं री जाना नहीं !! अभी नहीं री जाना नहीं ! “Zinda Dil” 1975

Lata Mangeshkar Always Sounds Extremely Melodious Under The Enrich, Conorous & Mesmerizing Orchestra Arrangements From Laxmikant-Pyarelal.

8 seconds of ‘prelude’ with the ‘pause’ of 3 seconds, immediately after the JAZZ FLUTE, gives the listeners enthralling moment > unique ‘rhythm’ of DHOLAK / TABLA. Lata ji takes off नहीं नहीं री ..जाना नहीं.,, synchronizing the ‘rhythm’.

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

Second Interlude fascinates with CELLOs, Lataji’s spellbinding AALAPs, JAZZ FLUTE, ‘symphony’ VIOLINS and protruding sound effect of ACCORDION.

Third Interlude instrumented with CLARINET, FLUTE, IRANI SANTOOR, ACCORDION, JAZZ FLUTE and VIOLINS.Postlude have a mellifluous display of JAZZ FLUTE.

This wonderful song is written by Verma Malik.

NOTE:- This song was totally forgotten, by media. Thanks to Mr Ranbir Kapoor who upload the song,on YouTube, few years back, stating that HE LOVES this song the most, among the duet songs, filmed on his parents, Rishi Kapoor and Nitu Singh.

Ajay Poundarik, Atlanta (Georgia), USA.

Canorous Male Duets & Laxmikant-Pyarelal Music

Canorous Male Duets & Laxmikant-Pyarelal Music

The ideology of male duets, in Hindi Films, started in late forties. It was initiated further  by music director S D Batish. Being a single hero concept the output of male duets was very limited. Still we got to listen to some remarkable male duets, till the end of the sixties.  

Laxmikant-Pyarelal have composed some illustrious male duets utilising various male singers combinations from Mohammad Rafi – Kishore Kumar to Udit Narayan – Vinod Rathod.

70s and onwards, Hindi Films witnessed double hero concept. Multi Starrer films becoming very popular. Two different but prominent voices were required for two heroes. Most of the mail duets are composed from seventies onwards. 

It took many years for legendary music director S. D. Burman to adopt this coherence, until Mohammad Rafi – Kishore Kumar sung Saa Re Gaa Maa for Chupke Chupke 1974. 

Music director R D Burman got Rafi – Kishore to render title track in Yadon Ki Barat 1973. Singing pair of Rafi-Kishore used by music director Rajesh Roshan to record 4 male duets  in Aap Ke Deewane 1980.

Mohammad Rafi and Kishore Kumar

Mohammad Rafi – Kishore Kumar Duets with Laxmikant-Pyarelal. 

Laxmikant-Pyarelal needs a special mention here. Here was a duo who had no clear cut preference of one over the other, unlike many other MDs in the 70s and equally distributed their creations to both of them throughout. 

Laxmikant-Pyarelal kept on bringing two Legends, Mohammad Rafi and Kishore Kumar  together throughout the seventies with memorable duets in Humjoli (1970), Parvarish (1977), Muqabla (1979), Ram Balram (1980), Dostana (1981), Waqt Ki Deewar (1981) Deedar-E-Yaar(1982).  The pair of Mohammad Rafi – Kishore Kumar sang the highest numbers of duets under music directors Laxmikant-Pyarelal. 

Rafi – Kishore / Laxmi-Pyare

Below, highlighting few famous male duets with various music directors. 

Naushad  : Aaj Gawat Man Mero / Ustad Amir Khan – Pandit D. V. Paluskar  (Baiju Bawara)

S D Burman : Saa Re Gaa Maa / Mohammad Rafi – Kishore Kumar (Chupke Chupke)

Shankar-Jaikishan : Keetaki Gulab Juhi / Pandit Bhimsen Joshi – Manna Dey (Basant Bahar) 

Roshan : Ai Maa Teri Surat Se Alag / Manna Dey – Mahendra Kapoor (Daadi Maa)

O P Nayyar : Tu Hai Mera Prem Devata / Mohammad Rafi – Manna Dey (Kalpana)

Kalyanji-Anandji : Do Bechare / Kishore Kumar – Mahendra Kapoor (Victoria 203)

R D Burman : Ek Janib Sham-E- Mehfil / Mohmmad Rafi – Manna Dey (Abhilasha)

Rajesh Roshan : Tera Jalwa Hai Tauba Mohammad Rafi – Kishore Kumar (Aap Ke Deewane)

Let us review, selected, few best male duets composed by Laxmikant-Pyarelal. 

The orchestra arrangements in “preludes” and “interludes” used to be the assets of the songs composed by Laxmikant-Pyarelal. It would be more proper to listen to the songs  after reading the write up, explaining peculiarities, for each of the songs, you will enjoy it more.

Bade Miya Deewane   “SHAGIRD” 1967

Singers:- Mohammad Rafi – Manna Dey.  Lyricist:- Majrooh Sultanpuri 

This song has the influence of Rock-N-Roll. The song is scintillating. Solo GUITAR is wonderfully orchestrated in “Prelude” and “Interludes” and as a “Fillers” as well.  Symphony style VIOLINS in “Interludes” are ear-pleasing. The Guitar is played by Gorakh Sharma, throughout. Excellent ending done by Manna Dey…! The song is filmed on Joy Mukherjee – I S Johar. 

Mehbooba Mehbooba  “SADHU AUR SHAITAN” 1969

Singers:- Mohammad Rafi – Mehmood.  Lyricist:- Rajendra Krishna 

The song is inspired from Hyderabad “folkish” style with admirably DHOLAK rhythm. 30 seconds of ‘prelude’ full of yelling by Mehmood and VIOLINS. Mehmood’s yelling, ACCORDION and VIOLINS are awesomely orchestrated in the ‘Interludes. ”Even though it is sung by two singers, it has been filmed on Mehmood and actress Bharti who have danced pretty well throughout the song. 

Chal Shuru Ho Ja  “HUMJOLI” 1971

Singers:- Mohammad Rafi – Kishore Kumar.  Lyricist:- Anand Bakshi  

This song is comicality filmed in a club on Jeetendra and Mehmood. Both of them have brawled, danced and acted perfectly, synchronising with the unique ‘rhythm’ of the song. SAXOPHONE is spectacularly used in the “interludes”. 

Na Mangoo Sona Chandi   “BOBBY” 1973

Singers:- Manna Dey — Shailendra Singh. Lyricist:- Vitthalbhai Patel

Entire song has surround sound of CHORUS, throughout. 44 seconds of “prelude” contains dulcet CHORUS synchronised with BRASS instruments, ACOUSTIC GUITAR and beautiful ‘Aalaps” rendered by CHORUS, in “Gowain Folkish” style. Sweet-Sounding, foot tapping ‘rhythm’. BRASS instruments, solo VIOLIN,  MANDOLIN are wonderfully used in both the ‘interludes’. Glimpses of ACCORDION sounds pleasing to the ear. Brilliant take off by Manna Dey. Everfresh song is filmed on Prem Nath and Rishi Kapoor. 

Mere Pyale Main  “AMIR GARIB”  1974

Singers:- Kishore Kumar – Manna Dey. Lyricist:- Anand Bakshi

Qawwali “rhythm” orchestrated in typical Laxmikant-Pyarelal style. The song is awesomely filmed on Helen, Hema Malini, Prem Nath and Dev Anand. 

Saat Ajube Is Duniya Main  “DHARAM VEER”  1977 

Singers:- Mohammad Rafi – Mukesh. Lyricist:- Anand Bakshi 

33 seconds of ‘prelude’ full Horseshoe Tapping style ‘rhythm’ overlapped with  ACOUSTIC GUITAR, SAXOPHONE, ACCORDION, symphony style VIOLINS. Symphonically display of DHOLAK “rhythm’ gives ear-pleasing moments.  In the ‘Interludes’ SAXOPHONE is predominantly orchestrated and intermixed with VIOLINS, CHORUS and ACOUSTIC GUITAR. The song was a huge hit when film released, still popular. 

Teen Batti Wala Govinda Aala  “MUQUABLA”  1979

Singers:- Mohammad Rafi – Kishore Kumar.  Lyricist:- Verma Malik

One of best Dahi Handi songs. A “folk” style composition in typical Laxmikant-Pyarelal style. The ‘prelude’ of 40 seconds is full of SHEHNAI / NADASWARAM and CHORUS in surrounds. The ‘rhythm’ full of DHOL / DHOLAK intermixed with GHUNGROO BELLS. The song is awesomely orchestrated with NADASWARAM and CHORUS. Filmed on Sunil Dutt (Rafi) and Shatrughan Sinha (Kishore). At the end it is RAFI + KISHORE = WOW

Ek Rasta Do Rahi  “RAM BALRAM”  1980

Singers:- Mohammad Rafi – Kishore Kumar.  Lyricist:- Anand Bakshi  

Enjoyable song of two legends Amitabh Bachchan – Dharmendra…two greatest singers 

Rafi – Kishore, sung this song on their different style of singing quality. Western style song. “Prelude” 50 seconds is full of symphony style VIOLINS, ACCORDION and ACOUSTIC GUITAR.  

Salamat Rahe Dostana Hamara  “DOSTANA”  1980

Singers:- Mohammad Rafi – Kishore Kumar.  Lyricist:- Anand Bakshi  

One of the most popular male duets, on ‘friendship’. Very simple tune and composition effortlessly rendered by legends Rafi – Kishore. Effectively acted by Amitabh Bachchan and Shatrughn Sinha. Mellifluously orchestrated in Symphony style VIOLINS. 

Mere Dildar Ka Baanqpan  “DEEDAR E YAAR”  1980

Singers:- Mohammad Rafi – Kishore Kumar.  Lyricist:- Sahir Ludhiyanvi

No words to describe the singing of the two sensational singers, 

Mohammad Rafi – Kishore Kumar. Filmed on Jeetendra – Rishi Kapoor

Ai Yaar Teri Yaari Teri Humen Jaan Se Bhi   “WAQT KI DEEWAR”  1981

Singers:- Mohammad Rafi – Kishore Kumar.  Lyricist:- Anjan  

One more song on ‘friendship’.’ Uncomplicated song. Cosily rendered. ‘Interludes’ are orchestrated with symphony VIOLINS and ACCORDION. It has smooth DHOLAK ‘rhythm’.

Tu Kal Chala Jayega “NAAM” 1985

Singers:- Mohammad Aziz – Manhar Udhas Lyricist:- Anand Bakshi  

Filmed on Sanjay Dutt and Kumar Gaurav. 44 seconds of “prelude” is orchestrated with SHEHNAI / NADASWARAM. Brilliant “Take Off” by Mohammad Aziz.  The  ‘interludes’ are symphonically orchestrated in western style with VIOLINS, BRASS instruments, ACCORDION. It is a melodious male duet with new generation singers, Mohammad Aziz – Manhar Udhas. 

Imli Ka Boota  “SAUDAGAR” 1991

Singers:- Mohammad Aziz – Sudesh Bhosle..  Lyricist:- Anand Bakshi  

Very high profile super-hit song in terms of filming on sensational actors of yesterday’s Raj Kumar and Dilip Kumar.  Melodious composition well orchestrated by using SHEHNAI / NADASWARAM, solo VIOLIN. Typical LP style ‘DHOLAK” rhythm.   

Main Aatma Tu Parmatma  “DHUN”  1991

Singers:- Mehdi Hasan – Talat Aziz.. Lyricist:- Anand Bakshi  

Mesmerizing GHAZAL rendered by world famous ghazal singer from Pakistan  Mehdi Hassan and Indian Ghazal singer Talat Aziz. Vichitra VEENA and Mehdi Hassan’s AALAP in 40 seconds of “Prelude” fascinate the listeners. Mind-boggling take off by Mehdi Hassan. FLUTE used as filler gives ear-pleasing moments, in ‘mukhada’. DHOLAK rhythm spellbinds. ‘Interludes’ are amazingly instrumented by JAZZ FLUTE. This is the first song rendered by Mehdi Hassan for hindi film. Special appreciation for songwriter Anand Bakshi for writing meaningful devotional words. This song is filmed on Anupam Kher – Talat Aziz acting as “guru” – “shishya”. Unfortunately the film directed by Mahesh Bhatt, never released. 

Duniya Re Duniya Very Good Very Good  “TRIMURTI” 1996

Singers:- Udit Narayan – Vinod Rathod  Lyricist:- Anand Bakshi  

The beauty of this song is ‘finger pinch’ used after VIOLINS  in the ‘rhythm’ in 36 seconds of ‘prelude’ . End of the ‘prelude’ sensational take off by Udit Narayan and a mellifluous ‘pause’ for 5 seconds to highlight the BONGO DRUM rhythm. Shahrukh Khan  has danced excellently synchronizing with Laxmikant-Pyarelal’s supar rhythm composed for the song. 

Laxmikant-Pyarelal have composed 66 Male Duets Starting With 

ना करुं बंद तेरे छंद (माधवी.१९६९) By Rafi Saheb-Manna Dey 


बील्लो की पीली पीली आंखोंका (बरसात की रात.१९९८)  By Mohd.Aziz-Abhijeet

Ajay Poundarik

Indian Sound Of Music. रुक जा ए हवा, थम जा ए बहार

Indian Sound Of Music. ! रुक जा ए हवा, थम जा ए बहार !
A miraculous song from Lata Mangeshkar and Laxmikant-Pyarelal, written by Majrooh Sultapuri, filmed on beautiful actress Saira Bano.


‘ruk ja ai hawa tham ja ae bahar’  !! रुक जा ए हवा, थम जा ए बहार !!.  We call the song as An Indian Sound Of Music.

“Prelude” of 59 seconds, has been wonderfully orchestrated to frame the JUNGLE scene.The FLUTE, ACCORDION, CELLOS, SITAR, TANPURA, symphony style VIOLINES and specially the  Birds-TWEET, are mellifluously integrated and ends with scintillating take off by Lataji’s AALAP.. Lataji starts singing at 1.00 रुक जा ss…रुक जा ss…रुक जा ss…each time giving the ‘pause’ for 3 seconds without the ‘rhythm’. Enjoy pleasant symphony style CELLOs till 1.34.

Entire song including ‘mukhda’ and ‘antara’ is melodiously synthesized with the surround sounds of “symphony” VIOLINS, around Lataji’s rendering. It has a unique DHOLAK / TABLA rhythm which gripes the listeners, throughout the song.

It is a CHEMISTRY OF Lata Mangeshkar + Laxmikant-Pyarelal = Musical Magic.

Ajay Poundarik, Atlanta (Georgia), USA


हसता हुआ नूरानी चेहरा PARASMANI, 1963

चोली के पीछे क्या है KHALNAYAK, 1993 


Laxmikant-Pyarelal have composed some of the best female duets/triplets ever-since their entry into Hindi Film Music in “PARASMANI” 1963. We will review some of the best female duets songs composed by Laxmikant-Pyarelal. It is not possible to list out all the songs, in this category. However one can ADD, if any song is found not listed in this post, in the comment box.

Laxmikant-Pyarelal have used various combinations like 
Lata Mangeshkar – Asha Bhonsle, (14 songs only under Laxmikant-Pyarelal, out of total of 78 songs by Lata-Asha.)
Lata Mangeshkar – Usha Mangaeshkar, 
Lata Mangeshkar – Kamal Barot
Lata Mangeshkar – Sulakshna Pandit
Lata Mangeshkar – Minoo Purushottam, 
Lata Mangeshkar – Kavitha Krishnmurthy
Lata Mangeshkar – Hemlata 
Lata Mangeshkar – Padmini Kolhapure 
Asha Bhonsle – Usha Mangeshkar 
Anuradha Paudwal – Hemlata
Kavitha Krishnmurthy – Alka Yagnik, 
Alka Yagnik – Ila Arun …..and many…

However the combination of Lata Mangeshkar – Asha Bhonsle dominates the list. Lata-Asha have sung total 14 duets/triplets (out of Total of 78 sung by the sisters), under Laxmikant-Pyarelal. The highest numbers of duets by Lata-Asha, under any music directors.

Top :: Laxmikant-Pyarelal Bottom :: Lata Mangeshkar and Asha Bhosle.

1) “PARASMANI” 1963. 
Laxmikant-Pyarelal’s first song composed, itself is a female duet sung by Lata MangeshkarKamal Barot HASATA HUA NOORANI CHEHARA.. The ”prelude” with massive orchestra sets the mood of the song. It is melleflously decorated with rich orchestra arrangements which consists of ACCORDION, FLUTE, VIOLINS, VIOLA etc with the fast “DHOLAK” rhythm. This song is an immortal one and is still popular. This TOP HIT song. is written by Farooq Qaisar

2) “SATI-SAVITRI” 1964
This was a mythological film which contains one beautiful Triplets wedding song, still popular. ITANI JALDI KYA HAI GORI SANAJ KE GHAR JANE KI. This song is beautifully decorated with the FLUTE and DHOLAK. Sung by Lata Mangeshkar – Usha Mangeshkar – Kamal Barot. The naughty words are penned by Pandit Bharat Vyas. 

3) “AAYA TOOFAN” 1964
Lata Mangeshkar – Usha Mangeshkar’s
TOHARA NAAM LEKE CHHODA HAI ZAMANA. A “Bhojpuri” style composition was instant hit when the film was released. It is written by Asad Bhopali. 

4)”AASRA” 1966
Once again it is Lata Mangeshkar – Usha Mangeshkar. SAJANA KE GHAR SAARI RATIYA a typical “Mujara” nicely composed in line with the songs of mid sixties. The song is written by Anand Bakshi. 

The First biggest hit of Lata Mangeshkar – Asha Bhonsle with their melodious best under Laxmikant-Pyarelal. AI KAASH KISI DEEWANE KO HUMSE BHI MUHOBBAT HO JAYE..a ‘folkish’ composition with beautiful “DHOLAK” theka. Asha Bhonsle has been given more priority in this song. The “pauses” given in-between the song is ear-pleasing. This song, written by Anand Bakshi, is still popular. This film was Laxmikant-Pyarelal’s first ever big-budget musical hit film, produced by J Omprakash, with major star cast.  

Pyarelal, Asha Bhosle, Lata Mangeshkar, Laxmikant & Guest.

6) “ANITA” 1967
It was Raj Khosla’s magical filming that brought this song into limelight when other songs are prominently HIT. Once again it is sung by Lata Mangeshkar – Usha Mangeshkar. HAI NAZAR KA ISHARA SAMBHAL JAIYE. Prelude of “Arabiain” folkish tune is worth to listen to. Anand Bakshi has written this song. 

7) “TAQDEER” 1967
One of the most sentimentally popular, sweet and melodious song sung by Lata Manageshkar – Sulakshna Pandit ( along with Ilal Desai and Meena Patki). PAPPA JALDI AA JANA (Saat Samandar Paar Ke). ACOUSTIC GUITAR and PIANO are brilliantly executed in the orchestra. Incidentally Sulakshna Pandit was introduced to hindi film music through this song. This touching song is written by Anand Bakshi, 

8) “RAJA AUR RANK” 1968.
It is a sad song sung by Asha Bhonsle – Usha Mangeshkar. MERE RAJA MERE LALA TUZAKO DHUNDHU…The song is penned by Anand Bakshi. 

9) “JEENE KI RAAH” 1969
It’s a triplet sung by Asha Bhonsle – Usha Mangeshkar – Hemlata….CHANDA KO DHUNDHANE SABHI TARE NIKAL PADE. Beautifully composed touching melody. This song was recently included in Hollywood’s Film LION (Dev Patel), 2016. Lyrics by Anand Bakshi.

12) “HAAR JEET” 1972.
Lata Mangeshkar – Asha Bhonsle. TU, TU BADI KISMATWALI HAI ..filmed on Rehana Sultana and Radha Saluja. Sweet and Melodious duet in typical Laxmikant-Pyarelal style. Anand Bakshi has written the song. 

13) “KUCHCHE DHAAGE” 1973.
Raj Khosla’s another musical hit film on Dacoit Story. This is a ‘mujara’ song sung by Lata Mangeshkar – Hemlata. JA RE JA O DEEWANE TU KYA JAANE..The song is written by Anand Bakshi. 

14) “DAAG” 1973.
Very famous female duet sung by Lata Mangeshkar – Minoo Purushottam. NI MAIN YAAR MANANA NI CHAHE LOG BOLIYA BOLE. Typical Punjabi Flavor. Powerful rhythm of the song consists of DHOL, DHOLAK and TABLA is just mind-blowing. Use of NADASWARAM, SHEHNAI is appealing. The song is still very much popular. It was Yashraj Films very first film. The song is penned by Sahir Ludhiyanvi. 

15) “DHARM VEER” 1977
Lata Mangeshkar – Asha Bhonsle. BAND HO MUTTHI TO LAAKH KI…filmed on Zeenat Aman & Neetu Singh. Lyrics Anand Bakshi.

16) “DREAM GIRL” 1977
Lata Mangeshkar – Padmini Kolhapure….CHHUPA CHHUPI KHELE AAO …Lyrics Anand Bakshi. 

17) “PARAVARiSH” 1977
Lata Mangeshkar – Usha Mangeshkar…YE OONCHE MAHAL SUHANE SAB JANATA KA..Lyrics Majarooh Sultanpuri. 

18) “MAIN TULSI TERE AANGAN KI” 1979 (Two fabulous female duets)
Lata Mangeshkar – Asha Bhonsle..Outstanding compassion, mesmerizing song and addict one. CHHAP TILAK SUB CHHINI RE MOSE NAINA LAGAI KE. Wonderfully sung by Asha Bhonsle, if compared. Extremely Melodious Tune. Excellently filmed by director Raj Khosla. Lyrics Amir Khusro. 

Anuradha Paudwal – Hemlata..Typical mujara song in Laxmikant-Pyarelal style, use of HARMONIUM is worth to listen to. NATHANIYA JO MAARI lyrics by Anand Bakshi. 

Lata Mangeshkar – Asha Bhonsle ..a HIT song ..DEEPAK MERE SUHAG KA JALATA RAHE,,,Lyrics Anand Bakshi.

20) “RASTE PYAR KE” 1982
Lata Mangeshkar – Asha Bhonsle ..GOKUL KI GALIYON KA GWALA…a “hit” song, filmed on Shabana Aazmi & Rekha. This song is written by Lyrics by Anand Bakshi. 

21) “UTSAV” 1985 (Two Outstanding Female Duets of Lata – Asha )
This film was directed by Girish Karnad and produced by Shashi Kapoor, with outstanding music. The immortal duet, ever-fresh and evergreen song. Laxmikant-Pyarelal used old few traditional musical instruments to compose the music. MAN KYON BEHAKA RE BEHAKA AADHI RAAT KO..Lata Mangeshkar – Asha Bhonsle..Lyrics Vasant Dev. 

Yet another beauty of the song, Lata Mangeshkar – Asha Bhonsle ..NEELAM PE NABH CHHAYE. The added features of the song is that entire song is having the “CLAPS” /“tali” as a rhythm. Lyrics Vasant Dev. 

22) “SWARG SE SUNDAR” 1986
Lata Mangeshkar – Asha Bhonsle SUNARI MERE BEHANA ..Lyrics Anand Bakshi. 

23) “DAYAVAN” 1988
Kavitiha Krishnmurthy – Alka Yagnik modern mujara song. KAHE SAINYYA TERI MERE BAAT…Lyrics Aziz.

24) “BATWARA” 1989 (Three female duets/triplets) 
Anuradha Paudwal – Kavita Krishnmurthy – Alka Yagnnik TERE VASTE RE SAJANA TU MHARO KON LAGE..The song is written by Hassan Kamal. Typical Rajasthani Musical Instruments are excellently played. 

25) “KSHATRIYA” 1993
Lata Mangeshkar – Kavitha Krishnmurthy., One of the top hit songs of early nineties DIL NA KISI KA JAYE. A typical Laxmikant-Pyarelal style moulded song. Written by Anand Bakshi 

26) “KHALNAYAK” 1993. 
Top hit song of the early nineties. CHOLI KE PICHHE KYA HAI. Wonderfully orchestrated with massive orchestra arrangements and powerful mind-blowing rhythm. Alka Yagnik – Ila Arun has sung the song. Penned by Anand Bakshi.

Ajay Poundarik. Vadodara.


In Hindi Film Music many of the music directors have orchestrated WALTZ ‘rhythm’ to compose some beautiful melodies. In this topic reviewing few best songs composed by Laxmikant-Pyarelal on “WALTZ” Cadency.

In “form” Laxmikant-Pyarelal in mid-sixties.

WALTZ  is type of musical ‘rhythm’ created for  a ballroom dance in 3/4 time with strong accent on the first beat and a basic pattern of step-step-close.

WALTZ is originated from the Germany in 16th century. WALTZ, from the old German word walzen to roll, turn, or to glide. In simple words to move or glide in a lively or conspicuous manner (to advance easily and successfully).

Technically speaking, a WALTZ  is a closed position dance to be performed in triple time. In layman’s terms, this means that the partners both hold and face each other while dancing to a rhythm of hard-soft-soft-hard-soft-soft.

Originally introduced as a ballroom dance, the catchy rhythm, combined with the fact that the partners were allowed to be so close to each other, made the waltz popular within other styles.

Anil Biswas the legendary music director was the first to introduce the WALTZ ‘rhythm’ in Bollywood music, In the year 1940, through the song Hum Aur Tum Aur Yeh Khushi from the film “Alibaba”.  

Later many legendary music directors have used WALTZ ‘rhythm’.  Listing out few memorable hit songs composed by various music directors to get an idea / feel about WALTZ ‘rhythm’.

Naushad Tara Ri Aara Ri Aara Ri /  Suraiya – Mohammad Rafi / “Dastan” 1950.  

Husnlal-Bhagatram   Abhi To Mein Jawan Hoon  /  Lata Mangeshkar / “Afsana” 1951.

S D Burman Hum Aap Ki Aankhon Mein / Mohammad Rafi – Geeta Dutt / “Pyaasa” 1955.

Shankar-Jaikishan (Many songs composed on Waltz rhythm) Aaja Ke Intezar Mein / Lata Mangeshkar – Mohammad Rafi / “Halaku”1956. Dil Ki Girah Khol Do / Lata Mangeshkar  – Manna Dey / “Raat Aur Din” 1967. Bhanware Ki Gunjan / Kishore Kumar / “Kal Aaj Aur Kal” 1971.

Khayyam Woh Subah Kabhi To  / Mukesh – Asha Bhosle / “Phir Subah Hogi” 1958.

O P Nayyar  (Many songs composed on Waltz rhythm) Tum Jo Hue Mere Hamsafar / Mohammad Rafi – Geeta Dutt / “12 O’Clock” 1958. Kaisa Jadoo Balam Tune / Geeta Dutt / “12 O’Clock” 1958.

Ravi Ye Raaten Ye Mausam / Kishore Kumar – Asha Bhosle / “Dilli Ka Thug” 1958.

Mukul Roy Mujhko Tum Jo Mil Gaye / Geeta Dutt – Hemant Kumar / “Detective” 1958.

Usha Khanna Hum Aur Tum Aur / Asha – Rafi / “Dil Deke Dekho” 1959.

Kishore Kumar (as music director) Thandi Hawa Yeh Chandni / Kishore Kumar / “Jhumroo” 1961.

Madan Mohan Shokh Nazar Ki Bijaliya / Asha Bhosle / “Woh Kaun Thi ?” 1963.

Chitragupt Ye Parbaton Ke Dayare / Lata Mangeshkar – Mohammad Rafi / “Aulad” 1968.

Kalyanji-Anandji Sama Hai Suhana Suhana / Kishore Kumar / “Ghar Ghar Ki Kahani” 1970.

R D Burman Tera Mujhse Hai Pehle Ka / Kishore Kumar – Sushma Shreshth / “Aa Gale Lag Jaa” 1973.

Rajesh Roshan Ye Raatein Nayi Purani / Lata Mangeshkar / “Julie” 1974.

Laxmikant-Pyarelal too,  have extensively used WALTZ “rhythm” in their compositions, including mesmerizing Main Shayar To Nahin (Raj Kapoor’s “Bobby”, 1973) and stupefying Dhadkan Zara Ruk Gayi Hai (Nana Patekar’s “Prahaar”, 1991).  Let us review few of the best.

The orchestra arrangements in “Preludes” and “Interludes” used to be the assets of the songs composed by Laxmikant-Pyarelal.  Listen to the songs, listed below, after reading the write up, explaining peculiarities, for each of the songs you will enjoy it, more.

Wo Hai Zara     “SHAGIRD” (1967).

(Singers:- Lata Mangeshkar – Mohammad Rafi. Lyricist:- Majrooh Sultanpuri)

Enthralling  “toe stepping” WALTZ ‘rhythm’ generated through the intermixing sound effect of ACOUSTIC GUITAR and a SNARE DRUM, a percussion instrument. Entire song is woven around the glimpses of ACOUSTIC GUITAR.  Another beauty of the song is mellifluous overlapping of AALAAPS with words and also AALAAP with AALAAPS, by Lata Mangeshkar & Mohammad Rafi. This overlapped aalaps” can be heard at the end of the song.  i) “overlapped aalaps” at 3.22-3.28 and again at 3.48-3.54) ii) “overlapped aalaaps with words” at 3.28 to 3.48, simultaneously both by Lataji and Rafi sab. This beautiful, melodious and sweet song naughtily acted by Saira Banu and Joy Mukherjee

Diye Jalaye Pyar Ke    “DHARTI  KAHE PUKAR  KE” (1969)

(Singer:- Lata Mangeshkar. Lyricist:- Majrooh Sultanpuri)

This awsome “WALTZ” rhythm with melodious tune.  The song is beautifully decorated with use of PIANO and mellifluous SYMPHONY style VIOLINS…Lata Mangeshkar is simply outstanding, giving justification for this GEM of composition. The perfect song for DIWALI occasion.  The song is filmed on Nivedita (Libi Rana) and Sanjeev Kumar.

Main Hardam Kisi Ko Dhundhata Hoon.   “RAASTE  KA PATTHAR”  (1972)

(Singers:- Mukesh – Asha Bhosle.  Lyricist:- Anand Bakshi)

A melodious duet beautifully orchestrated in WALTZ ‘rhythm’. The song has wonderful BONGO DRUM rhythm. The ‘interludes’ are mellifluently instrumented with SYMPHONY style VIOLINS, GUITAR.  The WHISTLE sound, synchronized with Mukesh rendering supported by Asha Bhosle, is simply ear-pleasing. Amitabh Bachchan dancing on Waltz ‘rhythm’ with Laxmi Chhaya.

Dilbar Jani    “HAATHI  MERE SAATHI”   (1971)

(Singers:- Lata Mangeshkar-Kishore Kumar.  Lyricist:- Anand Bakshi)

The “prelude” is full of WHISTLE, SANTOOR.  Rich Orchestra also has SAXOPHONE, FLUTE. The entire song has ACOUSTIC GUITAR as “base” for the rhythm.  The song is filmed on Rajesh Khanna – Tanuja.

Hum Aur Tum    “DAAG”  (1973)

(Singers:- Lata Mangeshkar-Kishore Kumar.  Lyricist:- Sahir Ludhianvi)

This romantic song is completely woven around the WALTZ rhythm based ACOUSTIC GUITAR as well BONGO DRUMS.  Another beauty of this song is it’s ‘interludes’. Both the ‘interludes’ have different tunes. First ‘interlude’ full of ‘aalaps’ by Kishore and  Lata with glimpses of VIOLINS. In second ‘interlude’ the VIOLINS are decorated in ‘Waltz’ style with beautiful “pauses”. Even Lataji and Kishorji have also rendered the ‘pauses’ in the songs. Rajesh Khanna-Sharmila Tagore look fanciful.

Main Shayar To Nahin   “BOBBY”  (1973)

(Singer:- Shailendra Singh.  Lyricist:- Anand Bakshi)

Truly a mesmerizer. Mellifluously decorated the WALTZ style orchestra for this lovely song. Use of VIOLINS,  IRANI SANTOOR, GUITAR, ACCORDION as well as VIOLA are brilliantly executed in the “prelude”, all the “interludes” and also in “postlude”…The ‘overlapping’ sound effect of IRANI SANTOOR and SYMPHONY style VIOLINS in the first ‘interlude’ is mind-boggling.  Rishi Kapoor and Aruna Irani can be seen dancing in waltz style, specially in the “interludes, in the song. Brilliantly filmed by Raj Kapoor as a director.

Chanchal Sheetal   “SATYAM  SHIVAM SUNDARAM”   (1978)

(Singer:- Mukesh.  Lyricist:- Anand Bakshi)

This angelic western style composition  is gorgeously orchestrated in SYMPHONY style orchestra arrangements by utilizing WALTZ rhythm. Throughout the song use of SYMPHONY style VIOLINS, in the “surrounds”, sounds delightful. Apart from that the instruments like IRANI SANTOOR, solo VIOLIN, VIOLAS and CELLOS are sweetly orchestrated in the “prelude’ as well as “interludes”. Shashi Kapoor – Zeenat Aman looks awesome.

Shabnam Ka Ye Qatra Hai “SHARARA” 1984

(Singer:- Lata Mangeshkar. Lyricist:- Anand Bakshi.

Beautiful WALTZ a sheer Magic from Lata Mangeshkar and Laxmikant-Pyarelal. ‘Prelude’ of 98 seconds, full of solo VIOLIN and awesome AALAP and HUMMING rendered by LATAji, hypnotizes. ‘Interludes’ are mellifluously orchestrated with Symphony VIOLINS, FLUTE and Lataji’s AALAP and Humming. In particular third ‘interlude’ is full of solo VIOLIN and Lataji’s AALAPs and CHORUS overlapped with Symphony VIOLINS. The song is filmed on Hema Malini and Raj Kumar.

Tumhe Apna Saathi Banane Se   “PYAR  JHUKTA NAHIN” (1985)

(Singers:- Lata Mangeshkar-Shabbir Kumar.  Lyricist:- Asad Bhopali)

This sweet duet has  melodiously WALTZ ‘rhythm’ in the “interludes”. It is  orchestrated in SYMPHONY style VIOLINS, CELLOs, ACCORDION and GUITAR. Filmed on Mithun Chakraborty – Padmini Kolhapure

Dhadkan Zara Ruk Gayi Hai   “PRAHAAR”  (1991)

(Singer:- Suresh Wadkar.  Lyricst:- Mangesh Kulkarni)

A stupefying composition, cursive rendering and resonant orchestra arrangements in “prelude’, ‘interlude’ and ‘postlude’, as well. In first ‘interlude’ solo VIOLIN (played by late Aadesh Shrivastava) is awesomely synchronised with  surround sound of CELLOs. The second ‘interlude’ also have solo VIOLIN and intermixed with SYMPHONY style VIOLINS and PIANO. Those who like SYMPHONY orchestra will certainly enjoy third ‘interlude’. The ‘postlude’ is full of PIANO. The “pauses” given in between the song giving additional flavor. The song  is filmed on Madhuri Dixit, Gautam Joglekar and Aadesh Shrivastava.

Ajay Poundarik. Vadodara (Gujarat)