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.
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.
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 – 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.
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)
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
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
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.
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.
1) “PARASMANI” 1963. Laxmikant-Pyarelal’s first song composed, itself is a female duet sung by Lata Mangeshkar – Kamal BarotHASATA 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’sTOHARA 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.
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.
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 LAGAIKE. 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 BhonsleSUNARI 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.
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.
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 AurTum 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’.
NaushadTara 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.
Kishore Kumar (as music director) Thandi Hawa Yeh Chandni / Kishore Kumar / “Jhumroo” 1961.
Madan MohanShokh Nazar Ki Bijaliya / Asha Bhosle / “Woh Kaun Thi ?” 1963.
ChitraguptYe Parbaton Ke Dayare / Lata Mangeshkar – Mohammad Rafi / “Aulad” 1968.
Kalyanji-AnandjiSama Hai Suhana Suhana / Kishore Kumar / “Ghar Ghar Ki Kahani” 1970.
R D BurmanTera Mujhse Hai Pehle Ka / Kishore Kumar – Sushma Shreshth / “Aa Gale Lag Jaa” 1973.
Rajesh RoshanYeRaatein 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)
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.
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
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.