SPELLBOUND COMPOSITIONS BY Laxmikant-Pyarelal FEMALE DUETS/TRIPLETS.

हसता हुआ नूरानी चेहरा PARASMANI, 1963

चोली के पीछे क्या है KHALNAYAK, 1993 

SPELLBOUND COMPOSITIONS ON FEMALE DUETS/TRIPLETS.

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. 

5) “AAYE DIN BAHAR KE” 1966
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. 

19) “MAANG BHARO SAJANA” 1980
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.

"WALTZ" Cadency and LAXMIKANT-PYARELAL Music.

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)