Nationalistic Canticle and Laxmikant-Pyarelal Music
India is celebrating #72Republicday today. Laxmikant-Pyarelal have composed some phenomenal nationalistic canticles.
— Pyar Baantate Chalo Ky Hindy Kya “Hum Sab Ustad Hai” (1965)
(Kishore Kumar Asad Bhopali)
One of the rarest of rare Patriotic songs sung by Kishore Kumar. Laxmikant-Pyarelal have composed this song in western beats with “Rock-N-R0ll” and “Twist” style. “Prelude” of 46 seconds is mesmerizing. Train Sound of Crank-Shaft/Flywheel is brilliantly generated as well as synchronized with the VIOLINS and ACOUSTIC GUITAR. One of the best songs filmed on the train. Kishore Kumar is simply awesome, both in rendering and in acting, as well. The song has a harmonious BONGO DRUM ‘rhythm’.
— Mere Desh Main Pawan Chale “Jigri Dost” (1969)
(Mohammad Rafi Anand Bakshi)
An extremely melodious ‘folkish’ type composition, elaborating Indian Village Culture. Mohammad Rafi simply outstanding. The song is filmed on Jeetendra.
— Mere Geet Hai Anam, Anam Shahido Ke Nam“Jurm Aur Saza” (1974)
(Mohammad Rafi Ram Bharadwaj)
On The Occasion Of Republic Day ! Laxmikant-Pyarelal and Mohammad Rafi A Rare GEM. “Jurm Aur Sazaa” 1974. This Song Is Awesomely Orchestrated With IRANI SANTOOR and A Melodious Rhythm. The Song Is Written By Ram Bhardwaj (Father Today’s Music Director Vishal Bhardwaj)
— Fauzi Gaya Jab Gaon Main“Aakraman” (1975)
(Kishore Kumar Anand Bakshi)
Typical ‘Punjabi’ Bhangra composition. 45 seconds of prelude is orchestrated with the rhythm orchestrated by using EKTARA / TANPURA, GHUNGROO BELLS, BANO, NADASWARAM, DHOL as well as awesome Humming from Kishore Kumar. Rajesh Khanna has danced swimmingly on single Leg.
— Dekho Veer Jawano Aakraman (1975)
Kishore Kumar Anand Bakshi
— Kranti Kranti “Kranti” (1981)
(Manna Dey, N Mukesh, M Kapoor, Lata, S Singh Santosh Anand)
An extremely melodious song. DHOLAK rhythm, singing and rhythmic ‘pauses’ in the song gives additional inflection. Lata Mangeshkar’s singing is wonderfully overlapped by CHORUS. Multi-Starrer song, Dilip Kumar, Manoj Kumar, Hema Malini, Shatrughn Sinha, Shashi Kapoor.
— Mere Desh Premiyon “Desh Premi” (1982)
(Mohammad Rafi Anand Bakshi)
This is patriotic song giving a philosophical touch by Anand Bakshi.
— Dil Diya Hai Jan Bhi Denge “Karma” (1986)
(Kvitha Krishnamurthy – Mohammad Aziz Anand Bakshi)
The most popular, widely acclaimed patriotic song composed on BANJO. Many of Laxmikant-Pyarelal compositions are orchestrated with BANJO. This is a very famous song, it can be heard today, 26th January, the republic day and on 15th August, an independent day. Entire song is woven around the glimpses of BANJO. BANJO sounds ear-pleasing in the entire song including the ‘interludes’. Famous BANJO player Mr. Rashid Khan, a regular musician in Laxmikant-Pyarelal orchestra has played the BANJO in this song. It is filmed on Nutan – Dilip Kumar
— Meri Jaan Tiranga Hai “Tiranga” (1993)
(Mohammad Aziz Santosh Anand)
Awesomely orchestrated by using Army / Military BIGUL.
Laxmikant-Pyarelal :: Songs Composed In Indian Classical Raga
Laxmikant-Pyarelal has given a variety of music, in accordance with the change of time and the situation demanded. In the process, the duo has also composed some beautiful melodies in Indiana Classical Ragas. Just for easy purpose only some of the selected songs are considered and are being reviewed.
Right from Laxmikant-Pyarelal first film Parasmani, 1963, the duo has composed some accordant, sweet-sounding songs based on Indian Classical Ragas. Many films can be listed which have such songs. Harishchandra Taramati 1963, Sati Savitri,Sant Gyaneshwar, 1964, Aaye Din Bahar Ke, So Saal Baad 1966, Anita, Milan, 1967.
In the seventies films like B R Ishara’s Ek Nazar 1972, Ponga Pandit 1975, Rajesh Khanna’s Anurodh 1977 and Raj Kapoor’s musical Satyam Shivam Sundaram 1978
In the eighties, Laxmikant-Pyarelal produced some astounding Albums in which all the songs are based on Indian Classical Ragas, an unusual occasion. Shashi Kaapor’s Utsav 1984 and K Vishwanath’s Sur Sangam, 1985.
Not to forget songwriters Amit Khanna’s melodic Bhairavi 1996.
Raga PAHADI was offtenly used by Laxmikant-Pyarelal.
The duo utilized the singers like Lata Mangeshkar, Asha Bhosle, Mohammad Rafi, Kishore Kumar, Manna Dey, Mukesh, Rajan-Sajan Mishra, Suresh Wadkar, S. Janki, Anwar, Sudha Malhotra, Shobha Gurtu, Anup Jalota, Roop Kumar Rathod, Kavitha Krishnmurthy, Amit Kumar, Mahendra Kapoor, S P Balasubramanium, Bupendra
Laxmikant-Pyarelal Songs, Based on Hindustani Classical Ragas
Woh Jab Yaad Aaye Lata-Rafi Parasmani 1963
Tum Gagan Ke Chandrama Ho Lata-Manna Dey Sati-Savitri 1964
Jeevan Dor Tumhi Sang Bandhi.. Lata Sati-Savitri 1964
Tum Bin Jeevan Kaise Bita Puchho.. Mukesh Anita 1967
Aap Ke Anurodh Pe Kishore Anurodh 1977
O Ramji Bada Dukh Dina.… Lata Ram Lakhan 1987
Moh Maya Ko Tyag Do Roop Kumar Rathod Bhairavi 1996
Tum Gagan Ke Chandrama Ho Sati-Savitri 1964
(Songwriter Pandit Bharat Vyas, Singers Lata Mangeshkar – Manna Dey )
तुम क्षमा मैं भूल हूँ…..तुम गगन के चंद्रमा ..मै धरा की धूल हूँ.. The extreme of gratitude in love expressed ever in words.A beautiful song composed in Hindustani Raag “Yaman Kalyan”. 53 years have been passed since Lata Mangeshkar and Manna Dey got to gather to sing this magical song, NOT A SINGLE CREASE HAS APPEARED ON THE SMOOTH SHINING SURFACE OF THIS SONG…..The classical based song is mellifluously composed in symphony style orchestra arrangements. Use of soft pieces of VIOLINS and SITAR in all the ‘interludes’ is just mesmerizing.
Chhup Gaye Sare Nazare…. Lata-Rafi Do Raaste 1970
Itana To Yaad Hai Mujhe.... Lata-Rafi Mehaboob Ki Mehandi 1972
AWE-INSPIRING Mohammad Rafi & Laxmikant-Pyarelal. !! पैंजनीया छनके राम ! Pure Classical, RAAG “TILANG”. GEM of composition, outstanding rendering and wonderfully worded song.
Jyot Se Jyot Jagate Chalo … Mukesh Sant Gyaneshwar 1964
Chali Re Chali Re Kishore – Lata Mr. X In Bombay 1964
Beshak Mandir Masjid … Chanchal Bobby 1973
Bhor Bhaye Panaghat Pe …. Lata Satyam Shivam Sundaram 1978
Dhanya Bhag Sewa Ka… R.S.Mishra/Kavita Sur Sangam 1985
Patta Patta Buta Buta Lata-Rafi Ek Nazar 1972
Bhor Bhaye Panaghat Pe …. Satyam Shivam Sundaram 1978
(Songwriter Anand Bakshi Singer Lata Mangeshkar)
67 seconds of resonant ‘preludes’ starts with euphonic ‘aalaps’ by Lataji, TWEETING BIRDS sound, protruding as well as integrating surround sound effect of symphony style VIOLINS, GHUNGROO BELLS and finally hypnotising DHOLAK / TABLA rhythm which is the asset of this song. GHUNGROO BELLS are beautifully synchronised with the DHOLAK / TABLA rhythm, throughout the song. Interludes are well orchestrated with GUITAR, SITAR, FLUTE, SYMPHONY style VIOLINS and CELLOS.
Ye Biraha Ki Aag Aisi Manna Dey Ponga Pandit 1975
Ye Biraha Ki Aag Aisi Manna Dey Ponga Pandit 1975
(Songwriter Rajendra Krishan Singer Manna Dey)
An extremely melodious song rendered by Manna Dey. HUMMING sound is awesomely intermixed with SANTOOR. TEMPLE BELL, SANTOOR, MANJIRA, FLUTE are beautifully orchestrated as a filler and in interludes. A hidden GEM.
Salamat Raho Tum … Rafi Parasmani 1963
Jane Walo Jara Mudke Dekho Rafi Dosti 1964
Gudiya Humse Roothi Rahogi… Lata Dosti 1964
Chahunga Main Tujhe … Rafi Dosti 1964
Suno Sajana Papihe Ne… Lata Aaye Din Bahar Ke 1966
Sawan Ka Mahina …. Lata-Mukes Milan 1967
Ye Dil Tum Bin Kahin Lata-Raf Izzat 1969
Agar Dilbar Ki Ruswayi Lata Khilona 1970
Aap Ke Anurodh Pe Kishore Anurodh 1977
Main Tulsi Tere Aangan Ki Lata Main Tulsi Tere Aangan Ki 1978
Suno Sajana Papihe Ne…Aaye Din Bahar Ke 1966
(Songwriter Anand Bakshi Singer Lata Mangeshkar)
Mesmerizing ‘prelude’ of 25 seconds starts with Birds TWEET and Lataji’s AALAPS. Beautiful take off rendering सुनो सजना पपीहे ने। First ‘interlude’is awesomely orchestrated with SANTOOR (Played by Pandit Shivkumar Sharma), FLUTE (Played by Pandit Hariprasasd Chaurasiya) and VIOLINS. Second and third ‘interludes’ also orchestrated with SITAR, FLUTE and VIOLINS but in different notes. It has an excellent DHOLAK / TABLA ‘rhythm. Another beauty of the song is “PAUSE”..enjoy it at the end of each ‘antara’.
Ek Ritu Aaye Ek Ritu Jaye… Lata-Mannde Sau Sal Baad 1966
Ek Ritu Aaye Ek Ritu Jaye…Sau Sal Baad 1966
(Songwriter Anand Bakshi Singer Lata Mangeshkar – Manna Dey)
An outstanding composition. Song with lots of variations. One of the best songs sung by Manna Dey – Lata Mangeshkar. SARANGI, SANTOOR, VIOLIN, FLUTE and Lataji’s AALAPS.
Sanjh Savere Adhron Pe Mere Lata Mangeshkar Madhavi 1968
Sanjh Savere Adhron Pe Mere Madhavi 1968
(Songwriter Anand Bakshi Singer Lata Mangeshkar)
A beautiful, melodious, sweet MEERA BHAJAN from the film “Madhavi” 1969. A classic song from the unique combo of Lata Mangeshkar & Laxmikant-Pyarelal. Orchestra is decorated with FLUTE and SITAR.
Meghava Gagan Beech Zanke Lata Harishchandra Taramati 1964
Kabhi To Miloge Jeevan Sathi… Lata Sati-Savitri 1964
Sanam Tu Bewafa Ke Naam Se.. Lata Khilona 1971
O Ghata Sawari Lata Abhinetri 1971
Maika Piya Bulaye Apne … Lata-Suresh Sur Sangam 1985
(Singer :- Lata Mangeshkar Lyricist:- Rashtrakavi Pradeep)
Sweet and melodious song in KALAWATI. The prelude of 90 seconds is just mesmerizing. Musical instruments like FLUTE, JALTARANG, SITAR, GHUNGHROO, Lataji’s ‘aalap’, the rhythm of MRIDANGAM and TABLA etc are wonderfully orchestrated in the “prelude”. Again all these musical instruments with Lata’s “aalaps” and “chorus” are mellifluously executed in all the “interludes”. Helen is choreographing the act in front of leading actor Prithviraj Kapoor. A fabulous song in all respects.
Aaj Dil Pe Koi Jor Chalta…. Lata Milan 1967
Megha Re Megha Re…. Lata-Suresh Wadkar Pyasa Sawan 1982
Megha Re Megha Re…. Pyasa Sawan 1982
(Songwriter Santosh Anand Singer Lata Mangeshkar – Suresh Wadkar)
In 22 seconds of ‘prelude’ SANTOOR is tunefully synchronized with VIOLINS. Another beauty of the song is awesome use of FLUTE, as filler. Symphony style VIOLINS are wonderfully played in the surround sounds. Composed on admirable DHOLAK rhythm. Overlapping sound effects of Suresh Wadkar and Lata Mangeshkar is ear-pleasing..
Khabar Mori Na Lini… Lata Sant Gyaneshwar 1964
Rim Zim Ke Geet Sawan Gaye Lata-Rafi Anjana 1968
Tere Mere Beech Main Lata-SP Bala Ek Duje Ke Liye 1981
(Songwriter Pandit Bharat Vyas, Singer Lata Mangeshkar)
Extremely Melodious, based on Hindustani Classical Raag, ‘SHIVRANJANI’…One of the best of Lata-LP.. Start with Lataji’s awesome rendering ..भोर भये नित सूरज सांझ पड़े ढल जाये। ………..खबर मोरी ना लीनी। बहोत दिन बीते and Beautiful TABLA rhythm starts. There is beautiful singing ‘pause’ of 3 seconds. The first ‘interlude’ orchestrated with SAROD, VIOLINS and the FLUTE. Second ‘interlude’ starts with SAROD, VIOLINS and XYLOPHONE. Both the “antras” have different tunes. FLUTE is tunefully used as a filler in second ‘antra’ . A masterpiece from Lata-LP combo.
Main Ek Raja Hoon Rafi Uphaar 1972
Main Ek Raja HoonUphaar 1972
(Songwriter Anand Bakshi Singer Mohammad Rafi)
“Prelude” of 27 seconds comprises VINA and SANTOOR and Mohammad Rafi’s beautiful take off (main ek raja houn) is just brilliant. Extremely Soft and Melodious ROMANTIC song composed in the “raag” ‘ BAIRAGI’. Use of the BONGO drum in “Toe Stepping Rhythm” intermixed with SANTOOR is ear-pleasing. Use of FLUTE , ACOUSTIC GUITAR, SANTOOR and SITAR and other string instruments are mellifluously executed in the song. In the early seventies Mohammad Rafi was almost forgotten but it was only Laxmikant-Pyarelal who gave some of the finest songs to Rafi. This is one of them. It was a “Binaca Geetmala Hit song”.
Koi Nahi Hai Phir Bhi Hai Lata Mangeshkar Patthar Ke Sanam 1967
Bhagawan Ne Pehle Jaisa Lata Mangeshkar Chhota Bhai 1966
Koi Nahi Hai Phir Bhi Hai Patthar Ke Sanam 1967
(Songwriter Majrooh Sultanpuri, Singer Lata Mangeshkar)
BeautifulKashmir location, charming Waheeda Rehman, Unique DHOLAK /TABLA ‘rhythm, synchronized with Lata Mangeshkar sweet rendering. This song confirms that Lata Mangeshkar, sounds extremely melodious under Laxmikant-Pyarelal.
Jaaun Tore Charan Kamal Lata-Rajan/Sajan Mishra Sur Sangam 1985
Om Namah Shivaya… Kavita Krishnmurthi Bhairavi 1996
Nahin Nahini Jana Nahin Lata Mangeshkar Zinda Dil 1975
Jaaun Tore Charan Kamal Sur Sangam 1985
(Songwriter Vasant Dev Singers Lata-Rajan/Sajan Mishra)
Rhythm :- Use of DHOLAK, MRIDANGAM and TABLA, harmonized with GHUNGROO BELLS, sounds awesome in the ‘rhythm’, throughout the song.
जाऊं तोरे चरण कमल पर वारी An offbeat and one of the finest compositions from the desk of Laxmikant-Pyarelal, on classical raag “BHUPALI”.
An amazing orchestra arrangement in Indian Classical style. “Santoor”, “Jal Tarang”, “Flute”, “Vichitra Vina”, and “Manjira” are mellifluously synchronized as well as overlapped in all the interludes, with different tunes.
First Interlude:- SANTOOR, JAL TARANG and FLUTE.
Second Interlude:- VICHITRA VEENA, FLUTE, SITAR, SANTOOR (excellent overlapped).
Third Interlude:- VICHITRA VEENA, FLUTE, SITAR and MANJIRA. (at the end, wonderful overlapping).
Pad Pagam P Sushila Nache Mayuri 1986
Aaye Sur Ke Panchhi Aaye… Rajan Mishra-Kavita Sur Sangam 1985
Aaye Sur Ke Panchhi Aaye… Sur Sangam 1985
(Songwriter Vasant Dev Singers Kavita -Rajan/Sajan Mishra)
JUST listen to this GEM of a song. Hats off to Singer Rajan-Sajan Mishra, Kavitha Krishmurthy, songwriter Vasant Dev and Laxmikant-Pyarelal.
Khat Likh De Sawariya Ke …. Asha Aaye Din Bahar Ke 1966
(Songwriter Anand Bakshi Singer Lata Mangeshkar – Manna Dey)
शाम ढले जमुना किनारे ! किनारे ! आजा राजे आजा तुझे शाम पुकारे ! AN AMAZING WORK ON “FLUTE
In the INTERLUDES, overlapping of FLUTE and MANDOLIN, VIOLIN and RUBAB is worth to listen to. Great Composition. Wonderful execution of CHORUS also synchronized with Lataji’s HUMMING and ‘alaaps”. The FLUTE is played by Pandit Hariprasad Chaurasiya who was a regular musician in Laxmikant-Pyarelal Orchestra.
Meri Sason Ko Jo Mehaka Rahi….Lata-Mahendr Kapur Badalate Rishte 1977
Meri Sason Ko Jo Mehaka Rahi….Badalte Rishte 1977
(Songwriter Anjan Singers Lata Mangeshkar – Mahendra Kapoor)
Once again this classical song is mellifluously orchestrated with SANTOOR, SITAR and the Symphony style VIOLINS. It has a tuneful DHOLAK rhythm.
Sanz Dhale Gagan Tale….. Suresh Wadkar Utsav 1984
Nilam Pe Nabh Chhaye….. Lata-Asha Utsav 1984
After Completing Successful 21 years, In 1984, there was a myth that Laxmikant-Pyarelal needs a “Huge and Enrich Orchestra” arrangement to compose MELODIOUS and HIT Songs. Music of “Utsav” came as a pleasant surprise, with an excellent melody and minimal use of instruments in the orchestra. Laxmikant-Pyarelal used old traditional instruments to compose the songs.
Nilam Pe Nabh Chhaye….. Utsav 1984
(Songwriter Vasant Dev Singer Lata Mangeshkar)
Minimum orchestra and “clapping”( ताली ) is used as Rhythm. Laxmikant-Pyarelal used old traditional musical instruments in “Utsav” music. This song is extremely melodious and wonderfully composed in ‘raag’ BIBHAS. Fascinated use of BANSURI, as a filler in ‘mukhada’. The “interludes” are spellbindingly decorated with the MRIDANGAM, VEENA and GHUNGROO BELLS. Once again very delicate and shrp use of CHORUS. The song is filmed on Rekha.
Sanz Dhale Gagan TaleUtsav 1984
(Songwriter Vasant Dev Singer Suresh Wadkar)
Unmatched, unparalleled….a song can be listened to again and again…just mesmerizing…Hat’s off Suresh Wadkar jee, Laxmikant Pyarelal jee and Vasant Dev jee.. Use of VICHITRA VEENA and SANTOOR is ear-pleasing. In particular the VICHITRA VEENA is beautifully played in the surround sound of Suresh Wadkar.
Eeshwar Satya Hai…. Lata Satyam Shivam Sundaram 1978
Eeshwar Satya Hai…Satyam Shivam Sundaram 1978
(Songwriter Pandit Narendra Sharma Singer Lata Mangeshkar)
Hypnotized “prelude” of 50 seconds, outsetting through BAMBOO FLUTE , followed by VICHITRA VEENA then surround sound effect of SYMPHONY style VIOLINS . Beautiful ‘take off’ by Lata ji (Ishwar satya hai) ‘stroke’ of TEMPLE BELL, at 0.58 second, synchronised with CHORUS and awesome sounds of TWEETING BIRDS. It has beautiful TABLA rhythm. Overlapping sound effect of Lataji’s rendering and CHORUS crooning, in different tunes as well as the word. In the first ‘interlude’ SANTOOR, SITAR are mellifluously orchestrated with MANJIRA sounding at the end. Second ‘interludes’ starts with the resonant ‘aalaps’ by Lataji surrounding CELLOs and TEMPLE BELL followed by SITAR and VIOLINS. Once again the the overlapping sound effect can be heard at the end with Lataji’s ‘aalaps’ and CHORUS. One of the finest song sung by Lata Mangeshkar for Laxmikant-Pyarelal.
Sola Baras Ke Bali Umar Ko … Lata-Anup Jalota Ek Duje Ke Liye 1981
Sola Baras Ke Bali Umar Ko… Ek Duje Ke Liye 1981
(Songwriter Anand Bakshi)
“Prelude” is marvelously rendered by Anup Jalota. Excellent Melody and Sweet DHOLAK Rhythm are the features of the song + Lataji’s voice variations are mind-blowing.
Saiyyan Rooth Gaye Shobha Gurtu Main Tulsi Tere Aangan Ki 1978
Saiyyan Rooth GayeMain Tulsi Tere Aangan Ki 1978
(Songwriter Amir Khusro Singer Shobha Gurtu)
Jago Prabhat Aaya Manna Dey Sant Gyaneshwar 1964
Jago Prabhat Aaya Sant Gyaneshwar 1964
(Songwriter Pandit Bharat Vyas Singer Manna Dey)
Beautiful melodious classical composition. Wonderful use of Chorus.
This is an Erotic Song. An Implausible Composition. What A Melody ?? Intoxicated Song. Captivating Variations By Lata Mangeshkar. Amorous Orchestra Arrangements With Accordant Rhythm From Laxmikant-Pyarelal.
I am a music lover, I like to listen to the music, in particular Hindi Film Music, I have never learnt the music. I have gathered the data from my friends, internet etc. I thank Mr, Ravi Pawar, my facebook friend for providing useful information on classical songs by Laxmikant-Pyarelal.
Ajay Poundarik Atlanta (Georgia) USA, 7th December, 2020.
PIANO :: Laxmikant-Pyarelal Symphonious & Enrich Orchestra Arrangements
The PIANO is an Acoustic, Stringed Musical Instrument Invented in Italy. Bollywood music has utilised PIANO in many of the songs composed by various music directors.
Person who plays the PIANO is referred to as a Pianist.
There were limited Pianists in the early fifties. To name a few Pianist, Mike Machado has worked for many music directors, mainly, C Ramchandra. Pianist Leno Rivera has mostly worked with Shankar-Jaikishan.
Other Pianists who have contributed for Bollywood are Robert Levin, Tony Pinto, a lady Pianist and the Jazz Pioneer Mrs Lucila Pacheco.
Till 1978,Pianist Mr Mike Machado was very active and have played the Piano for Laxmikant-Pyarelal, R D Burman (‘pyar deewana hota hai’ ….”Kati Patang” 1971), Kalyanji-Anandji etc.
From 1978 onwards Indian Jazz Icon and a Pianist Mr Tony Pinto have played for Laxmikant-Pyarelal orchestra.
Most of the Bollywood songs, PIANO is orchestrated with the support of other musical instruments like GUITAR, VIOLINS and SANTOOR.
Listing out a few hit songs orchestrated with PIANO by various music directors.
— Bholi Surat Dil Ke ….C. Ramchandra – Lata Mangeshkar “Albela” 1951
–– Jhoom Jhoom Ke Nacho Aaj …. Mukesh….”Andaz” 1949
— Tu Kahe Agar … Mukesh….”Andaz” 1949
— Milte Hi Aankhen …Shamshad Begum – Talat M. .”Babul” 1959
— Dost Dost Na Raha ….Mukesh…”Sangam” 1964
— Dil Ke Jharoke Main ….M. Rafi…”Bramhachari” 1968
— Geet Gata Hoon Mein…..Kishore Kumar “Lal Patthar” 1972
— Main Dil Hoon Ek Armaan Bhara….Talat Mehmood..”Anhonee” 1952
— Tum Apna Ranjo Gham ….Jagjit Kaur….”Shagoon” 1964
— Koi Sone Ke Dilwala…Mohammad Rafi…..”Maya”…1961
— Chalo Ek Baar Phir Se….Mahendra Kapoor ….”Gumrah” 1963
— Kaun Aaya Ke Nigahon ……Asha Bhosle….”Waqt” 1965
— Kisi Patthar Ki Murat Se …..Mahendra Kapoor ….”Humraz” 1967
— Waqt Karata Jo Wafa...Mukesh….”Dil Ne Pukara” 1967
— Chale The Saath Milkar….M. Rafi….”Haseena Maan Jayegi” 1968
R D Burman
— Pyar Deewana Hota Hai ….Kishore Kumar…..”Kati Patang” 1971
Laxmikant-Pyarelal have used PIANO in many of their compositions, sometimes restricted to 3 to 4 seconds. It is not possible to list out the songs with PIANO. I have tried to select a few famous songs with PIANO orchestrated.
(Lyricist:- Anand Bakshi Singers:- M. Rafi, , Lata Mangeshkar, Usha Timuti, M. Kapoor)
One of the most lovable songs from the combo of Rafi-LP. Entire song is orchestrated by using PIANO and solo VIOLIN (played by PYARELALji himself) with mellifluous DHOLAK/TABLA ‘rhythm’. This song has many versions, sung by various singers but solo sung by Rafi Saab is the best. (all of the three versions)
Bar Bar Din Aaye . “Farz” 1967
(Lyricist:- Anand Bakshi Singer:- Mohammad Rafi)
Universally HIT as BIRTHDAY song. Use of PIANO at it’s best. “Prelude” of 54 seconds set up the mood for this beautiful song. Wonderfully orchestrated with VIOLINS, ACOUSTIC GUITAR, PIANO and BONGO DRUMS in rhythm.Certainly orchestra arrangements have ‘SYMPHONY’ touch. Lyrics overflowing with Love. A timeless masterpiece.
Patthar Ke Sanam Tujhe “Patthar Ke Sanam”1967
(Lyricist:- Majrooh Sultanpuri Singers:- Mohammad Rafi )
35 seconds of “prelude’ starts with PIANO, followed by VIOLINS. Interludes are orchestrated with symphony VIOLINS. Interludes are decorated with the sound of PIANO overlapped by symphony style VIOLINS. In every ‘antara’ PIANO is awesomely used as a filler.
Hui Sham Unka Khayal Aa Gaya “Mere Hamdam Mere Dost” 1968
(Lyricist:- Majrooh Sultanpuri Singers:- Mohammad Rafi )
हुई शाम उनका खयाल आ गया an intoxicated & addict song.
Laxmikant-Pyarelal at their melodious best, with Majrooh Sultanpuri & Mohammad Rafi.
“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 & VIOLINS are also brilliantly executed in the entire song. Another beauty of the song is it’s “ rhythm” DHOLAK / TABLA are used only in “antara”…all the “interludes:” are composed in western style, without any rhythm but ear-pleasing. An addict song for me. One of the finest composition from Laxmikant-Pyarelal …MOHAMMAD RAFI is simply outstanding.
Jo Unki Tamanna “Intequam” 1969
(Lyricist Rajendra Krishnan Singer Mohammad Rafi)
A classic song on PIANO. Just close your eyes and feel the fragrance & elegance of the eternal voice of Rafi Saab. Beautifully orchestrated on PIANO with mesmerizing DHOLAK rhythm. The “interludes” have been designed by instrumenting solo VIOLIN, SYMPHONY style VIOLINS and PIANO.Sanjay Khan looks smart. Sadhana and Anju Mahendru look charming.
Diye Jalaye Pyar Ke “Dharti Kahe Pukar Ke” 1969
(Lyricist Majrooh Sultanpuri Singer Lata Mangeshkar)
Diwali Special from Laxmikant-Pyarelal.
This awesome “WALTZ” rhythm with a 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.
Bade Bewafa Hai Ye “Roop Tera Mastana” 1972
(Lyricist:- Asad Bhopali Singer:- Mohammad Rafi)
A GEM from Mohammad Rafi & Laxmikant-Pyarelal.
VIOLINs & CELLOs are wonderfully intermixed with PIANO in mind-boggling SYMPHONY style, an enrich orchestra arrangements throughout the song and a fabulous rendering by RAFI saab in very ‘romantic’ way.
Long ‘prelude” of 1 minute and 11 seconds (full of ‘SYMPHONY’) with Rafi Saab’s “aalap”and ‘humming’ + ‘pause’ mesmerizes.
“Interludes” are mellifluously crafted with PIANO, VIOLINS & CELLOs. Again the “mukhada” has TABLA/DHOLAK rhythm. All the “interludes” rhythm have BONGO DRUMS. Rafi Saab’s & Laxmikant-Pyarel’s various ‘pauses’ is an added feature of this song.
Tere Ishq Ka Mujh Par “Nagin” 1976.
(Lyricist:- Asad Bhopali Singer:- Mohammad Rafi)
15 seconds of ‘prelude’ starts with ‘intoxicated’ AALAPS and HUMMING by Ashaji > ‘pause’ of 5 seconds > highlighting the sterling DHOLAK rhythm and finally ‘stroke’ of IRANI SANTOOR.
Brilliant take off by Rafi Saab,..तेरे इश्क का मुझ पे.
First ‘interlude’ with change of ‘rhythm’ pattern, orchestrated with PIANO intermixed with GHUNGROO BELL followed by VIOLINS and IRANI SANTOOR.
Second ‘interlude’ is awesomely instrumented with excellent, long extended time for solo GUITAR and finally, IRANI SANTOR.
At the end of each ‘antara’, IRANI SANTOOR synchronized with GUITAR, is wonderfully used as a ‘filler’.
The song is filmed on Sunil Dutt & Rekha.
Aap Ke Anurodh Pe…. “Anurodh” 1977
(Lyricist:- Anand Bakshi Singer Kishore Kumar
Hypnotizing orchestra from Laxmikant-Pyarelal and stupefying rendering by Kishore Kumar. This mellifluous song is composed on Raag “Yaman Kalyan”. 13 seconds of ‘prelude’ enthrals with the sounds of VEENA and PIANO. Cool and calm rendering by Kishore Kumar with fascinate TABLA / KONGA Drum ‘rhythm’. First ‘interlude’ orchestrated with VEENA and SANTOOR. Second ‘interlude’ is decorated with PIANO and VEENA and also used as a ‘filler’ in the second ‘antara’. Third ‘interlude’ is executed with SITAR and SAROD supported with soft surround VIOLINS. One of the best songs from the KK-LP combo.
Bane Chahe Dushman Zamana “Dostana” 1981
(Lyricist Anand Bakshi Singers Mohammad Rafi – Kishore Kumar)
This popular song has been orchestrated with PIANO, in particular for “Postlude”.
Zindagi Har Kadam Ek Nayee Jung “Meri Jung” 1985
(Lyricist Anand Bakshi Singers Lata Mangeshkar – Nitin Mukesh)
The song has two versions. Both the versions are woven around the glimpses of PIANO tune throughout the songs. This PIANO tune is a signature tune for the film.
The first version is considered for the review. “Prelude” of 56 seconds, beautifiully crafted ‘tune’ on PIANO, Lataji’s AALAPS, HUMMING and HUMMING from Nitin Mukesh. The ‘beauty’ of the first interlude is PIANO sound synchronized with the natural sound of PARROT. Second as well as third interludes are tunefully overlapped with sounds of PIANO and symphony style VIOLINS and CELLOs. The song has melodious BONGO Drum ‘rhythm’. The song is filmed on Girish Karnad and Nutan.
Awesomely orchestrated 55 seconds of ‘prelude’ with PIANO, ACOUSTIC GUITAR, VIOLINS and FLUTE. Second and third interludes, PIANO is awesomely instrumented with ACOUSTIC GUITAR, MANDOLIN, VIOLINS and solo VIOLIN. ‘Postlude’ sounds melodious with solo VIOLIN. Filmed by Jackey Shroff and Meenakshi Sheshadri.
Teri Bewafai Ka Shikawa Karoo To“Ram Avtar” 1988
(Lyricist:- Anand Bakshi Singer Mohammad Aziz)
Melodious song with excellent as well as delicate use of PIANO, in ‘prelude’ as well as all the three interludes. In the second and third interlude PIANO is beautifully overlapped with the sound of SANTOR. Filmed on Anil Kapoor – Sridevi
Kehna Na Tum Ye Kisise “Pati Patni Aur Tawaif” 1990
(Lyricist:- Anand Bakshi Singers Mohammad Aziz – Salma Agha)
An extremely melodious duet. ‘Prelude’ is full of GUITAR, VIOLINS and the SAXOPHONE. Enjoy mind-boggling solo PIANO in the first interlude. Second interlude is wonderfully orchestrated with SAXOPHONE, with surround songs of VIOLINS. Third interlude is decorated with MANDOLIN as well as SAXOPHONE. Another beauty of this song is the overlapping sound effect of the rendering from Mohammad Aziz and Salma Agha. filmed on Salma Agha – Mithoon Chakarawrthy
Dhadkan Jara Ruk Gayi Hai “Prahar” 1991
(Lyricist Mangesh Kulkarni Singer Suresh Wadkar)
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.
Adnan Sami as Pianist playing Laxmikant-Pyarelal composition on Piano.
Ajay Poundarik Atlanta (Georgia) USA. 20/11/2020
ON PUBLIC DEMAND Lata Mangeshkar / Laxmikant-Pyarelal / Anand Bakshi “MANCHALI” 1973
When Laxmikant-Pyarelal’s Powerful Music Became the real “STAR” of The Film:-
There are many films in which the real “STAR” was only Laxmikant-Pyarelal’s music. The following selected, listed films have no Major Star Cast, even some of the films are B Grade and Low Budget but the entire success of the film was carried away by Laxmikant-Pyarelal’s “MAGICAL MUSIC”.
Review of such films and its “Powerful” music by Laxmikant-Pyarelal.
Rousing start by Laxmikant-Pyarelal. The film is a musical fantasy drama shot partly in Black and White and partly in colour. This was a movie that launched Laxmikant-Pyarelal. Being the First Film of LP, they make sure that all the songs are composed as per the standard of early Sixties. The outcome was outstanding. Though the Film “Parasmani” was a mystical film, the film is still remembered only because of its immortal songs. LP’s very first film Hit the Box Office despite being B grade, Black & White, Mystical Film and no major star cast to support. But the main cause of the super success of the film was LP’s SUPER HIT music. Who can forget ?
–Hasta Hua Nurani Chehara….. Lata-Kamal Barot
–Wo Jab Yaad Aaye Bahot Yaad Aaye Lata-Rafi
–Ooi Ma Ooi Ma Ye Kya Ho Gaya … Lata
–Chori Chori Jo Tumse Mili Lata-Mukesh
–Mere Dil Main Halki See.. Lata
–Roshan Tumhi Se Duniya.. Rafi
The very first duet of Lata-Rafi with Laxmikant-Pyarelal. The song is based on Indian Classical Raag Yaman Kalyan. The song starts with beautiful AALAPS by Lata ji, followed by VIOLINS. Wonderful take off by Rafi Saab>> वो जब याद आये बहोत याद आये, with delicately played SITAR synchronizing TABLA rhythm. Both the interludes are full of VIOLINS played in Symphony style. No rhythm in interlude. It has a melody of the 60s. The song is picturised on Mahipal and Anita Guha.
This film give name and fame to both Rajashree Films and Laxmikant-Pyarelal. It was Rajashree Films Second Film. Black & White movie. No media publicity. . No Star… No Major Star… No Hero ….No Heroin…, No Villain and …..No Big Name at all. Laxmikant-Pyarelal, the new name in Hindi Film Music. All the prominent music directors of that time refused to give the music to this film as there was no star cast (two teenage unknown actors) and also they feel there was nothing in the film to compose the songs for Blind and Physically disable Children. But LP took up the challenge and the film became History. It has won as many as 8 Filmfare Awards (including best music directors) + President Award. The film was a great success and the credit goes to Laxmikant-Pyarelal’s immortal music. How to use “classical ragas”; make it little simpler to create Mass Appealing and Popular Songs is a best example of “Dosti” songs. Mohammad Rafi was at its best. Laxmikant-Pyarelal’s outstanding music.
LP composed majority of the songs in “Pahadi Raag”.This film give name and fame to both Rajashree Films and Laxmikant-Pyarelal.
–Chahunga Mian Tuze Sanz Sawere.. Rafi
–Mera To Jo Bhi Kadam Hai.. Rafi
–Koyi Jab Raah Na Paye.. Rafi
–Janewalo Jara Mudake Dekho Muze.. Rafi
–Rahi Manawa Dukhati Chinta.. Rafi
–Gudiya Hamase Ruthi Rahogi.. Lata
–Gudiya Hamase Ruthi Rahogi.. Lata
Touching song with such message to all ……reminder for humanity & peace. Mind-Boggling take off by Rafi Saab, at end of ‘prelude’ (MOUTHORGAN), with ‘aalap’ synchronised with SYMPHONY VIOLINS. MOUTHORGAN ( played by late R D Burman) is brilliantly orchestrated in all the first ‘interlude’ with VIOLINS. Second and third “interludes” brilliantly decorated with SYMPHONY style VIOLINS and GUITAR. It has a wonderful DHOLAK rhythm.
“FARZ” made actor JEETENDRA a “STAR”. “FARZ” songs storm the nation. All the songs of FARZ are popular even today. Sometime it is hard to believe that Laxmikant-Pyarelal also had “Milan”, in the same year. The two movies music (‘Milan” & “Farz”) are so poles apart ! ‘FARZ’ have six songs and most of them have a melody and mass appealing. Not only that the westernized background music is also excellent. It was matching to any of the James Bond Movies.The film was smash hit. This was Laxmikant-Pyarelal’s first “Golden Jubilee” Hit film. It was yet another non-star cast film from south. This was the second film for Jeetendra and Babita, who were yet to established themselves in the hindi film stardom. This film has made Jeetendra a “STAR”. The “Super Hit” music of this film was solely responsible for the success.
— Mast Baharonka Main Aashiq…. Rafi
— Hum To Tere Aashiq Hai …. Lata-Mukesh
— Bar Bar Din Ye Aaye …. Rafi
— Tumse Ho Haseena Kabhi Rafi-Suman Kalyanpur
— Dekho Dekho Ji Socho Ji Lata
Universally HIT as BIRTHDAY song. “Prelude” of 54 seconds set up the mood for this beautiful song. Wonderfully orchestrated with VIOLINS, ACOUSTIC GUITAR, PIANO and BONGO DRUMS in rhythm.Certainly orchestra arrangements have ‘SYMPHONY’ touch. Lyrics overflowing with Love. A timeless masterpiece.
Yet another non-star cast film (Rishi Kapoor and Dimple Kapadia’s first film). Not only star cast was new but also the male singers were new. Shailendra Sing and Narendra Chanchal was introduce to the film music by LP. Chancal won the Filmfare Award. Raj Kapoor was looking for a “Supper Hit Film” after the disaster of “Mera Naam Joker” …and he got it. Yet again the success of the film was carried away by LP’s music. The music of the film created a History. In this film not only main leading actor/actress were new but also two new male singers were introduced.
“BOBBY’ is an example of a ’SOUNDTRACK’ better than the “BOBBY” Film itself. Laxmikant-Pyarelal’s music really came to rescue Raj Kapoor and RK Films.
— Main Shayar To Nahin.. Shailendra Singh
— Chabi Kho Jaye … Lata-Shailendra
— Muze Kuchh Kehana Hai.. Lata-Shailendra
— Main Maike Chali Jaungi Lata-Shailendra
— Pyar Main Souda Nahin. Mannade-Shailendra
— Beshaq Mandi Masjid … Narendra Chanchal
— Tut Ke Dil Ke Tukade… Lata
— Ai Fasa.. Lata
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 (Played by Pandit Shivkumar Sharma) + ACCORDION (Played by Sumit Mitra) + 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.
EK DUJE KE LIYE (1981)
This was the first hindi film for Kamal Hasan and Rati Agnihotri. Yet another non-star cast musical block blaster, smash hit film. The films success again was carried away by the melodious music by LP. S. P. Balasubramanium was introduced to hindi film music. He won Filmfare as well as the national award for this film. Who can forget the immortal melodies from this musical hit.
— Tere Mere Beech Main.. Lata/SPB
— Hum Bane Tum Bane.. Lata-SPB
— Hum Tum Dono Jab .. Lata-SPB
— Mere Jeevan Saathi SKB-Chitra
— Sola Baras Ki Bali Umar.. Lata-Anup Jalota
Composed in Hindustani Classical Raag “SHIVRANJANI”. 16 seconds of ‘prelude’ orchestrated with glimpses of GUITAR, Symphony style CELLOs, and VIOLINS and awesome aalaps by Lataji. Excellent “DHOLAK” rhythm. SANTOOR, FLUTE, VIOLINS and SHEHANAI are melleflously decorated in the orchestra.
Subhash Ghai had played the gamble by taking new hero and heroin (Jacky Shroff and Minakshee Sheshadri) for this film but at the same time firmly depend and believed on LP’s music. Yet another non-star cast film, which got success only because of the hit music. LP’s music was part of the film and once again the music became the “Real STAR” of the film. Excepting Lata’s one song, fairly new and un-popular singers sang all the songs. All the songs are still popular.
— Pyar Karane Wale Kabhi Anuradha-Manahar
— Ding Dong O Baby Sing Song Anuradha-Manahar
— Tu Mera Janu Hai .. Anuradha-Manahar
— Lambi Judai Reshma (From Pakistan)
— Nindiya Se Aayi Bahar Lata
The biggest hit song of the film, melodious romantic song. Mellifluous “Prelude” of 24 seconds with ‘intermixing’ the sounds of “DHOL” and “GHOONGHRU” with ACOUSTIC GUITAR, sets the mood of this song. “Interludes” are mesmerizing. Use of SANTOOR, VIOLINS and FLUTE and overlapping sound effect is just brilliant. Even the “postlude” is beautifully orchestrated with glimpses of MANDOLIN Excellent ‘DHOLAK’ rhythm. The song is very fresh, even today, with excellent orchestra arrangements and the fresh voices.
HAPPY BIRTHDAY TO LIVING LEGEND PYARELAL (Laxmikant-Pyarelal).
BIRTHDAY Celebration Is “ON”.3rd September. Happy Birthday Living Legend PYARELAL (Laxmikant-Pyarelal).
Yash Raj Film’s DAAG (1973)As a Director Yash Chopra has given many musical hits under the banner of B.R Films, owned by his brother B.R.Chopra. In 1973 Yash Chopra opted to come out of B R Chopra banner and form ”YASH RAJ FILMS”. Yash Chopra wanted to get the Top Stars and Top Names for his maiden film ”DAAG”, as a Producer and the Director.
To start with YASH RAJ Films first ever film, producer and director Yash Chopra wanted to utilize the ‘best’ artists available then.
Rajesh Khanna was in supreme form in early seventies, he along with Sharmila Taigor, Rakhi were the stars of the film.
LAXMIKANT-PYARELAL, in top gears, form 1967, got the honor of the first music director for ”YASH RAJ FILMS”. Yash choose his favorite lyricist Sahir Ludhiyanvi to penned the songs.
An outstanding/evergreen/ever-fresh music of ”Daag” is still popular.Let us review the Most Popular song.
लाजवाब, सुमधुर, कर्णप्रिय एवं बेहद रोमांटिक गाना।Mesmerizing Orchestra arrangements..IRANI SANTOOR (played by Pt Shivkumar Sharma) & GUITAR (played by Gorakh Sharma) are brilliantly executed in the entire orchestra of the song.
The song starts with “zero” ‘Prelude”…First ‘Interlude’ starts with IRANI SANTOOR at 0.42…with brilliant overlapping sound effect and ends at 1,00. The second ‘Interlude’ starts at 1.46 and listen how mellifluously IRANI SANTOOR have been played till 1.58…The third ‘Interlude’ starts at 2.45 and how effectively GUITAR is played to give the perfection to the romance and great “pick up” through IRANI SANTOOR from 2.53 to 3.02..The song has beautiful DHOLAK as “rhythm” excepting in “Interludes”…SAHIR LUDHIYANVI’s elegiac lyrics and KISHORE KUMAR’s tender as well as romantic rendition and LAXMIKANT-PYARELAL’s wonderful composition with beautiful decoration of the orchestra has made this song as all time classics.
You just have to look at the way Rajesh Khanna croons, “Mera pyaar keh raha hai main tujhe khuda bana doon” and you will want to watch the song. Nobody could act out a love song better than Rajesh Khanna.
Also full credit to Kishore Kumar who was nominated by filmfare awards, the best male singer, for singing this romantic GEM. One of the finest song of Kishore Kumar under Laxmikant-Pyarelal who were also nominated by filmfare awards, for the best music directors, along with Raj Kapoor’s ‘Bobby”.
If you compare all Yash Raj Films Musical score, DAAG remains top sellers and also the best.
BIRTHDAY Celebration Is “ON”. 3rd September. Happy Birthday PYARELAL (Laxmikant-Pyarelal)
It’s now 57 years. I was an 8-year-old studying in the Indian city of virtuoso TANSEN, Gwalior. Radio Ceylon, All India Radio, and Vividh Bharati were playing ‘Main Nanhasa Chhota Sa Bachha Houn’ (from the movie ‘Harishchandra Taramati, 1963′) , ‘Jyot Se Jyot Jagate Chalo’, and‘Ek Do Teen Chaar’(from the movie ‘Sant Gyaneshwar‘, 1964). Both the films have the music by the newly arrived, young, talented musicians, Laxmikant-Pyarelal.
Growing up in the same era as that of child artists from these films, the songs, listed above, made a huge impact on my musical ears. I distinctly remember one thing — a downpour of coins on the screen for ’Jyot Se Jyot Jagate Chalo’, which went on to become my very first all-time favorite without having an idea that it was Laxmikant-Pyarelal’s music.
From 1963 to 1998, without any discontinuity, constantly, my childhood days, my school days, my college days and few years of working (job) in India as well as abroad, have witnessed many memorable hit songs from Laxmikant-Pyarelal.
Simplicity, Commitment and the quality of Unconquered Versatility gave Laxmikant- Pyarelal a Supreme Staying Power of 35 years in Hindi Film Music.
Laxmikant-Pyarelal’s tunes used to be very simple but at the same time they used to be extremely sweet, catchy and melodious.
There are many interesting aspects of Laxmikant-Pyarelal music / songs.
1 The duo’s songs have Indian touch, raag based, with MELODY.
2 Thesongs with the simple tunes are decorated withcanorous ORCHESTRA arrangements, mostly in western style. Laxmikant-Pyarelal would add a few ingredients in the orchestra that would help the song become hit. Most of the “Interludes” ( musical glimpses between “mukhda” and “antara”) are blended with western style, by giving the ‘symphony’ touch. LP were masters in synchronising various instruments to illuminate the orchestra in ‘preludes’, ‘interludes’ and ‘postludes’. Most interestingly there is no repetition.
3 RHYTHM. Most of the tunes are Indian, Folkish but are decorated mellifluously with the mind-blowing RHYTHM using DHOLAK. In many songs the “Interludes” are blended with a different rhythm than that of the ‘mukhada’ of the song.
Laxmikant-Pyarelal music >>> “””of the common people, for the common people and inspired by the common people””””. It was a perfect music for any successful film to have.
Laxmikant-Pyarelal :: The Most Successful Music Directors Of Bollywood Music. 1963 to 1998, 503 films, 2850 songs, 72 songwriters and 157 singers.