Category: Uncategorized

लता मंगेशकर – मोहम्मद रफ़ी / लक्ष्मीकांत-प्यारेलाल, सम्मोहक तराने

1963 में अपनी पहली फिल्म “पारसमणि” से ही, लक्ष्मीकांत-प्यारेलाल ने दो महान गायकों, मोहम्मद रफ़ी – लता मंगेशकर के साथ कुछ शानदार युगल गीतों की रचना की है। 

मोहम्मद रफी ने संगीत निर्देशकों लक्ष्मीकांत-प्यारेलाल के तहत सबसे ज्यादा 379 गाने गाए हैं, जिनमें 183 एकल शामिल हैं। 17 साल, 1963 से 1980 की अवधि में।

शीर्ष पांच संगीत निर्देशक जिन्होंने मोहम्मद रफ़ी का सबसे अधिक उपयोग किया है।

लक्ष्मीकांत-प्यारेलाल    379 गाने

शंकर-जयकिशन          330 गाने

चित्रगुप्त                     225 गाने

रवि                          210 गाने

कल्याणजी-आनंद     200 गाने

लता मंगेशकर ने संगीत निर्देशक लक्ष्मीकांत-प्यारेलाल के तहत सबसे ज्यादा 712 गाने गाए हैं। 1963 से 1996 तक 33 वर्षों की अवधि में।

शीर्ष पांच संगीत निर्देशक जिन्होंने लता मंगेशकर का सबसे अधिक उपयोग किया है।

लक्ष्मीकांत प्यारेलाल     712 गाने

शंकर जयकिशन          453 गाने

आर डी बर्मन               327 गाने

सी. रामचंद्र                 298 गाने

कल्याणजी आनंदजी     297 गाने

लता मंगेशकर और मोहम्मद रफ़ी ने 1947 से 1980 तक 32 वर्षों के अंतराल में 444 गीत गाए, जिसमें युगल, ट्रिपलक्स, चौकड़ी, पंचक आदि शामिल हैं। हम इस विषय के लिए केवल युगल पर विचार कर रहे हैं।

लता मंगेशकर – मोहम्मद रफ़ी के युगल गीतों की संख्या 411, ट्रिपलेक्स, चौकड़ी, बहु-गायन गीतों के 33 गीतों को बाद करते  हुए।

मोहम्मद रफ़ी और लता मंगेशकर ने 1963 से 1980 तक 17 वर्षों की अवधि में, संगीत निर्देशक लक्ष्मीकांत-प्यारेलाल के साथ सबसे अधिक संख्या में 78 युगल गीत गाए हैं।

शीर्ष पांच संगीत निर्देशक जिन्होंने मोहम्मद रफ़ी और लता मंगेशकर के युगल गीतों की रचना की है। 

लक्ष्मीकांत-प्यारेलाल     78 युगल।

शंकर-जयकिशन          50 युगल।

कल्याणजी-आनंदजी     38 युगल।

नौशाद                       32 युगल।

चित्रगुप्त                     31 युगल।

लता-रफी के 411 युगल में से 78 अंक (लगभग 19%) लक्ष्मीकांत-प्यारेलाल द्वारा रचित हैं।

ऐसी कई फिल्में हैं जिनमें लक्ष्मीकांत-प्यारेलाल  ने लता-रफी के दो या दो से अधिक युगल गीतों की रचना की है।

दो, लता-रफ़ी युगल वाली फ़िल्में और गीत।

नाइट इन लंडन 1967 

नाइट इन लंडन और बाग मैं फूल किसने

आया सावन झूम के, 1968,

आया सावन झूम के और साथिया नहीं जाना

जिगरी दोस्त 1968

फूल है बहारोंका और दिल में क्या है

माँ और ममता 1970अपने नैनो को समज़ादे और रुत बेकरार हैं 

हमजोली 1970

हाय रे हाय निंद नहीं.. और टिक टिक टिक मेरा दिल डोले

आप आए बहार आई 1970

कोयल क्यों गए और मुझे तेरी मोहब्बत का

नाच उठे संसार 1976

तेरे संग जीना तेरे संग मरना और जूम नाकाम झूम

सरगम 1979, लता-रफी के तीन युगल हैं।

डफलीवाले डफली बजा  ( बिनाका गीतमाला फाइनल में नंबर 1, 1980),

कोयल बोली और परबत के उसपार।

गायकों के लिए रॉयल्टी के कुछ मुद्दों के कारण, रफ़ी और लता के बीच मतभेद था और इसने रफ़ी-लता से जुड़े युगल गीतों की रिकॉर्डिंग बंद कर दी थी। इस प्रकार 1964 से 1967 तक इन महान गायकों के युगल गीत नहीं थे।

बिनाका गीतमाला:–

लता -रफी / लक्ष्मीकांत-प्यारेलाल के और कई युगल नियमित रूप से साप्ताहिक बिनाका गीतमाला के साथ-साथ फाइनल गीतों की वार्षिक उलटी गिनती में दिखाई दिए। कुछ गाने >>

1963:- नंबर 15  वो जब याद आए.. “पारसमणि”

1969:- नंबर 23 रेशम की डोरी…”साजन”

            नंबर 29 आया सावन झूम के …. आया सावन झूम के”

            नंबर 12 एक तेरा साथ    “वापस”

           नंबर 06 आ मेरे हमजोली आ..” जीने की राह “

1970:- नंबर 28 हाय रे हाय निंद नहीं.. हमजोली”

           नंबर 18 झिलमिल सितारों का….’जीवन मृत्यु”

           नंबर 12 चुप गए सारे…”दो रास्ते”

1976: – नंबर 25 आजा तेरी याद आई “चरस”

1978: – नंबर 02 आदमी मुसाफिर है “अपनापन”

1980:- नंबर  23 पर्वत के उस पार। ”सरगम”

           नंबर  07 कोयल बोली। “सरगम”

           नंबर  01 डफलीवाले डफली बजा “सरगम”

अजय पौंडरिक, वड़ोदरा

२२/०४/२०२२  

लक्ष्मीकांत-प्यारेलाल और अभिनेता / अभिनेत्री की सिग्नेचर ट्यून्स (सांकेतिक धुने) 

संगीत निर्देशक लक्ष्मीकांत-प्यारेलाल ने ऐसे कई लोकप्रिय गीतों की रचना की है, जिससे फिल्मों को हिट होने के साथ-साथ फिल्म अभिनेताओं / अभिनेत्रियों की लोकप्रियता में वृद्धि हुई है।

1969 में “दो रास्ते” के लक्ष्मीकांत-प्यारेलाल जादुई सुपरहिट गीत, ‘बिंदिया चमके गी ‘ ने मुमताज को नाम और प्रसिद्धि के साथ-साथ ‘स्टार’ का दर्जा दिया। उनकी लोकप्रियता चार्ट को “खिलोना”, 1970 के गाने ‘सनम तू बेवफा के’ और फिल्म “लोफर” 1973 के ‘कोई शहरी बाबू‘ के माध्यम से और बढ़ावा मिला।

इसी तरह, लक्ष्मीकांत-प्यारेलाल संगीत ने 1987 में “मिस्टर इंडिया” से श्रीदेवी ‘हवा हवाई‘ और 1988 में “तेज़ाब” से माधुरी दीक्षित ‘एक दो तीन’ के लिए भी इसी तरह की सफलता हासिल की। ​​इतना ही नहीं, इन गीतों के गायिका  कविता कृष्णमूर्ति और अलका याग्निक  को क्रमशः गायकों के रूप में पहचान मिली।

जितेंद्र संगीतमय हिट फिल्म “फर्ज”, 1967 की सफलता के माध्यम से ‘स्टार’ बन गए, विशेष रूप से गीत ‘मस्त बहारों का में आशिक’।

लक्ष्मीकांत-प्यारेलाल ने अमिताभ बच्चन, राजेश खन्ना, धर्मेंद्र, ऋषि कपूर, जीतेन्द्र , अनिल कपूर, जैकी श्रॉफ और कई के लिए अधिकतम  सुपरहिट गाने कंपोज़ किये हैं। 

लक्ष्मीकांत-प्यारेलाल ने  मुमताज़, हेमा मालिनी, रेखा, शर्मीला टैगोर, राखी, जया बच्चन, हेलेन, तनूजा, आशा पारेख, श्रीदेवी, माधुरी दीक्षित, मौसमी चटर्जी,,इत्यादि के लिए अधिकतम  सुपरहिट गाने बनाये है. 

चंकी पांडे, (1988 में “तेज़ाब” से ‘सो गया ये जहान‘), विजय अरोड़ा (‘गौतम गोविंदा’ 1977 में  ‘एक रितु  आए‘), जावेद जाफरी (‘बोल बेबी बोल रॉक-एन‘) जैसे कम जाने-माने अभिनेता -रोल’ “मेरी जंग”, 1984) और शेखर सुमन (“उत्सव”, 1984 से ‘सांज ढले‘) को लक्ष्मीकांत-प्यारेलाल द्वारा रचित सिग्नेचर धुनें मिलीं।

लक्ष्मी छाया जैसी नर्तकी सह कम जानी-पहचानी अभिनेत्रियों को ‘मेरा गांव मेरा देश’ 1971 के ‘मार दिया जाए के छोड़ दिया जाय’, ‘हाय शर्माऊ किस किस को बताउ’ और ‘आया आया अटरिया  पे कोई चोर‘ जैसे गानों के लिए जाना जाता है। ‘राजा और रैंक’ 1968 से ‘मेरा नाम है चमेली‘ के लिए मशहूर कुमकुम, ‘मेरे लाल’ से इंद्राणी मुखर्जी ‘पायल की झंकार रस्ते रस्ते‘, 1966 आदि को ये सुपरहिट गाने मिल चुके हैं.

विभिन्न अभिनेताओं / अभिनेत्रियों के लिए लक्ष्मीकांत-प्यारेलाल द्वारा रचित सिग्नेचर ट्यून्स, गानों की सूची। इन गानों ने अभिनेता/अभिनेत्री को और अधिक लोकप्रिय बना दिया।

अमिताभ बच्चन-

आदमी जो कहता है (मजबूर, 1974)

माई नेम इज एंथनी (अमर अकबर एंथनी, 1977)

बने चाहे  दुश्मन (दोस्ताना, 1980)

जॉन जानी जनार्दन (नासीब, 1981)

गोरी का साजन की गोरी (आखिरी रास्ता, 1987)

जुम्मा चुम्मा दे दे (एचयूएम, 1990)

तू मुजे कुबुल (खुदा गवाह, 1991)

अनिल कपूर-

वन टू का फोर माई नेम इज लखन (राम लखन, 1987)।

जिंदगी की यही रीत है (एमआर इंडिया, 1987)

अरुणा ईरानी –

ऐ फासा (बॉबी, 1973)

पंडितजी मेरे मारने के बाद (रोटी कपड़ा और मकान, 1974)

बिंदु –

दर्द-ए-दिल बढ़ता जाए (बुनियाद, 1972)

हंगामा हो गया। (अनहोनी, 1973)

बिस्वजीत-

नाज़र  ना लग जाए, (नाइट इन लंदन, 1967)

अकेला हूं मैं हमसफर (जाल, 1967)

आशा पारेख –

सुनो सजना पपीहे  ने ( आए दिन बहार के, 1966)

तेरे कारन  मेरे साजन (आन मिलो सजना, 1970)

सोना लै  जा रे (मेरा गांव मेरा देश, 1971)

मैं तुलसी तेरे आंगन की (मैं तुलसी तेरे आंगन की, 1979)

बबीता –

हम तो तेरे आशिक (फ़र्ज़  1967),

बार बार दिन ये आए.. (फ़र्ज़, 1967)

शीशी भरी गुलाब की (जीत 1971)

बेला बोस –

ओ दिलवालो साज़ – ए – दिल (लुटेरा, 1965)

चंकी पांडे –

सो गया ये जहां सो गया (तेजाब, 1987)

धर्मेंद्र –

मेरे दुश्मन तू मेरी (आए दिन बहार के, 1966)

छलकाए जाम (मेरे हमदम मेरे दोस्त, 1968)

हुई शाम उनका खयाल आ गया (मेरे हमदम मेरे दोस्त, 1968)

ना जा कहीं अब ना जा (मेरे हमदम मेरे दोस्त, 1968)

साथिया नहीं जाना के जीना लगे (आया सावन जुम के, 1969)

कुछ कहता है ये सावन (मेरा गांव मेरा देश, 1971)

जानी ओ जानी (राजा जानी, 1972)

आज मौसम बड़ा बेइमान है (लोफर, 1973)

गाड़ी बुला रही है (दोस्त, 1974)

मैं जाट यमला पगला (प्रतिज्ञा, 1976)

आजा तेरी याद आए (चरस, 1976)

ओ मेरी महबूबा (धरम वीर, 1977)

देव आनंद –

के मैं आया हूं (अमीर गरीब, 1974).. सैक्सोफोन का उत्कृष्ट उपयोग।

डिंपल कपाड़िया –

हम तुम एक कमरे/

झूठ बोले (बॉबी, 1973)

हेमा मालिनी-

हे घट सवारी (अभिनेत्री, 1970)

शराफत छोड़ दी मैंने (शराफत, 1970)

एबीसीडी छोडो (राजा जानी, 1972)

आजा तेरी याद आई (चरस, 1976)

ड्रीम गर्ल ड्रीम गर्ल, (ड्रीम गर्ल, 1977)

जिंदगी ना टूटी लड़ी (क्रांति, 1981)

मेरे नसीब में तू है (नसीब, 1982)

हेलेन –

आ जान-ए-जा आ मेरा ये हुस्न जवान (INTQAAM, 1969)

मुझे देखे कोई दास्तान हौं (लुटेरा, 1965)

मीरा नाम है जमीला (लंदन में रात, 1967)

ऊई मां ऊई मा ये क्या हो गया (पारसमणी, 1963)

हम प्यार किए जाएंगे (आया तूफ़ान, 1964)

मेघवा गगन बीच झांके (हरिश्चंद्र तारामती 1963)

इंद्राणी मुखर्जी

पायल की झंकार रस्ते रस्ते (मेरे लाल, 1966)। हारमोनियम पर सबसे अच्छा गीत

जैकी श्रॉफ –

तू मेरा जानू है (हीरो, 1983)

जया भादुरी –

पत्ता पत्ता बूटा बूटा (एक नज़र, 1972)

पहले सौ बार इधर (एक नज़र, 1972)

हमी करे कोई सूरत (ईके नज़र, 1972)

शहनाई बाजे ना बजे (शोर, 1972)

जावेद जाफरी

बोल बेबी बोल रॉक-एन-रोल (मेरी जंग, 1984)

जीतेंद्र –

मस्त बहारों का मैं आशिक (फ़र्ज़  1967)

बार बार दिन ये आए (फ़र्ज़, 1967)

जे हम तुम चोरी से (धरती कहे पुकार के, 1968)

बड़ी मस्तानी है मेरी महबूबा (जीने की राह, 1969)

हाय रे ही निंद नहीं आया (हमजोली, 1971)

दिल की बात दिल ही जाने (रूप तेरा मस्ताना, 1972)

जयाप्रदा –

डफली वाले (सरगम, 1977)

जयललिता (पूर्व तमिलनाडु सीएम) –

जागी बदन मैं ज्वाला (ईज़्ज़त , 1969).. मन को झकझोर देने वाली लय

जॉय मुखर्जी –

बड़े मियां दीवाने ऐसे ना बनो (शागिर्द , 1967)

दुनिया पागल है (शागिर्द, 1967)

कमल हासन –

तेरे मेरे बीच में (एक दूजे के लिए, 1981)

किमी काटकर-

जुम्मा चुम्मा दे दे (हम  1991)

किशोर कुमार – (अभिनेता किशोर कुमार पर फिल्माए गए गीत)

मेरे महबूब क़यामत होगी (मिस्टर एक्स इन बॉम्बे , 1964)

अजनबी तुम जाने पहचाने से (हम सब उस्ताद है, 1965)

प्यार बनते चलो (हम सब उस्ताद है, 1965)

सुनो जाना सुनो जाना (हम सब उस्ताद है, 1965)

ये दर्द भरा अफसाना (श्रीमान फंटुश  1965)

दिन जवानी के बार बार (प्यार किया जा, 1966)

कुमकुम-

मेरा नाम है चमेली … (राजा और रैंक, 1968)

लक्ष्मी छाया –

मार दिया जाए के छोड़ दिया जाए

हायशरमऊ किस किस को बता

आया आया अतरिय्या पे कोई चोर (सभी मेरा गांव मेरा देश से, 1971)

लीना चन्दावरकर-

ढल गया दिन हो गई शाम (हमजोली, 1971)

जाने क्यों लोग मोहब्बत किया कराते  है। (मेहबूब की मेहंदी 1971)

गम का फसाना (मनचली, 1973)

मनोज कुमार

तौबा ये मतवाली चल (पत्थर के सनम, 1967)

एक प्यार का नगमा है (शोर, 1972)

माधुरी दिक्षित –

एक दो तीन चार (तेज़ाब, 1987),

चोली के पीछे (खल-नायक, 1993)

माला सिन्हा –

नींद कभी रहती थी आंखें मैं (आसरा, 1966)

मेरी जिंदगी के चिराग को (जाल, 1967)

महमूद –

महबूबा महबूबा (साधु और शैतान, 1969)

मनीषा कोइराला –

इलू इलू (सौदागर, 1992),

मौसमी चटर्जी

हाय हाय एक लडाका मुजाको खत (कच्चे धागे, 1973)

मेघा रे मेघा रे (प्यासा सावन)।

मुमताज –

बिंदिया चमकेगी (दो रास्ते, 1969)

दिल ने दिल को पुकारा (दो रास्ते, 1969)

सनम तू बेवफा के नाम से (खिलोना, 1971)

कोई शहरी बाबू (लोफर, 1974)

नंदा –

एक प्यार का नगमा है (शोर, 1971)

जारे कारे बदरा (धरती कहे पुकार के, 1969)

नूतन

सावन का माहा (मिलन, 1967)

पद्मिनी कोल्हापुरे –

यशोमती मैया से (सत्यम शिवम सुंदरम, 1977)

ये गलियां ये चौबारा (प्रेम रोग)

प्राण  –

दारू की बॉटल मैं (मजबूर, 1974)

प्रेमनाथ –

जीवन चला ने का नाम (शोर, 1972)

राखी –

झिलमिल सितारों का आंगन होगा (जीवन मृत्यु, 1971)

रेखा-

मन क्यों बहका रे आधी रात को (उत्सव, 1984)

दूर ना रहे कोई (कर्तव्य, 1978)

राजेश खन्ना –

मेरे नसीब मैं, (दो रास्ते, 1969)

ये रेशमी झूले (दो रास्ते, 1969)

दिल ने दिल को पुकारा (दो रास्ते, 1969)

अच्छा तो हम चलते हैं। (आन मिलो सजना, 1970)

वेद तेरा वादा (दुशमन, 1971)

ये जो चिलमन है (महबूब की मेहंदी, 1971)

मेरे दीवानेपन की (महबूब की मेहंदी, 1971)

चल चल मेरे साथी (हाथी मेरे साथी, 1971)

मेरे दिल में आज क्या है (दाग , 1973)

ये जो पब्लिक है (रोटी, 1974)

आपके अनुरोध पे (अनुरोध, 1977)

अकेला गया हान मैं (राजपूत, 1981)

रति अग्निहोत्री –

तेरे मेरे बीच में (एक दूजे के लिए, 1981)

रीना रॉय –

तेरे संग प्यार (नागिन, 1976),

मेरी सांसो  को जो (बदलते रिश्ते, 1978)

शीशा हो या दिल हो (आशा, 1980)

ऋषि कपूर –

मैं शायर तो नहीं (बॉबी, 1973),

पर्दा है परदा है (अमर अकबर एंथनी, 1977)

डफली वाले (सरगम, 1979),

ओम शांति ओम (कर्ज़, 1980)

दर्द – ए – दिल (कर्ज़, 1980)

साधना–

मैं देख जिस और सखी रे सामने मेरे सांवरिया (अनीता, 1967)

ना बाबा नबा (अनीता, 1967)

कैसे रहूं चुप ??? (इंतकाम, 1969)

सुनिए जरा बैठिए ना हम आप के (गीता मेरा नाम, 1975)

शत्रुघ्न सिन्हा

बने चाह दुश्मन (दोस्ताना 1980)

चोर मच गया शोर (बदला 1974)

शर्मिला टैगोर – 

चलो सजना जहान तक (मेरे हमदम मेरे दोस्त, 1969)

दो दिन की जिंदगी (सत्यकम, 1970)

ये कैसा घुम सजना (मेरे सजना, 1970)

एक चेहरे पे केई (डीएएजी, 1973)

शेखर सुमन –

सांझ ढाले गगन तले  (उत्सव, 1984)

सायरा बानो –

दिल विल प्यार व्यार (SHAGIRD, 1967)

वो है जरा खफा खफा (SHAGIRD, 1967)

रूठा है तो मन लेंगे (जवार भाटा, 1974)

संजीव कुमार –

ओ फिरकी वाली तू कल फिर आना ( राजा और रैंक, 1968)

शादी के लिए रजा मंद कर ली (देवी, 1968)

खिलोना जान कर (खिलोना, 1971)

शशि कपूर

फूल बन जाउंगा शार ये है (प्यार किया जा, 1966)

सा रे गा मा पा (अभिनेत्री, 1971)

श्रीदेवी –

मैं तेरी दुश्मन (नगीना 1986)

हवा हवाई (एमआर इंडिया, 1987)

किसी के हाथ ना आएगी (चालबाज, 1989)

सुनील दत्त –

सावन का महीना  (मिलन, 1967)

मुबारक हो सबको (मिलन, 1967)

राम करे ऐसा हो जाए (मिलन, 1967)

संजय दत्त-

नायक नहीं खलनायक हूं मैं (खलनायक 1993)

तनुजा –

आप मुझे अच्छे लगने लगे (जेन की राह, 1969)

रोज़ शाम आती थी (इम्तिहान, 1974)

विनोद खन्ना –

रुक जाना नहीं (इम्तिहान, 1974)

विजय अरोड़ा –

एक रितु आए एक रितु जाए (गौतम गोविंदा, 1979)

ज़ीनत अमान –

हाय हाय ये मजबूरी (रोटी कपड़ा और मकान, 1974)

मैं ना भुलुंगा (रोटी कपड़ा और मकान, 1974)

सत्यम शिवम सुंदरम (सत्यम शिवम सुंदरम, 1977)

सूची का कोई अंत नहीं है।

अजय पौंडरिक 

वड़ोदरा

किशोर कुमार और लक्ष्मीकांत-प्यारेलाल

1964 में निर्देशक शांतिलाल सोनी, किशोर कुमार और कुमकुम अभिनीत “मिस्टर एक्स इन बॉम्बे” बना रहे थे। जाहिर है, एक गायक के रूप में किशोर कुमार ही “मि. एक्स इन बॉम्बे” के गाने गाएंगे. लक्ष्मीकांत-प्यारेलाल ने इससे पहले  बी ग्रेड फिल्मे  “पारसमणि”, “हरिश्चंद्र तारामती”, “सती सावित्री”, “संत ज्ञानेश्वर” और “दोस्ती” की फिल्मों के गीतों के माध्यम से हिंदी फिल्म संगीत में एक उच्च प्रभाव डाला था. इन फिल्मों में लक्ष्मीकांत-प्यारेलाल को लता मंगेशकर, मुकेश, मोहम्मद रफी और मन्ना डे जैसे महान गायकों के साथ काम करने का अवसर मिला और उन्होंने “ए ग्रेड” संगीत तैयार किया।

अब लक्ष्मीकांत-प्यारेलाल के लिए अभिनेता / गायक किशोर कुमार के साथ “मिस्टर एक्स इन बॉम्बे” में काम करने का समय था। उस समय किशोर कुमार अपने संगीत करियर के बुरे दौर से गुजर रहे थे। २६ साल के लक्ष्मीकांत और २३ साल के प्यारेलाल, दोनों किशोर कुमार के घर गाने की “ट्यून” ले गए। किशोर कुमार धुन सुनकर इतने खुश हुए कि उन्होंने घर में मौजूद सभी लोगों को बताना शुरू कर दिया, उनके माली, प्रबंधक, सुरक्षा गार्ड कि देखो ये दोनों लड़के (लक्ष्मीकांत और प्यारेलाल) मेरे लिए बहुत प्यारी और यादगार धुन लाए हैं। वो गाना था “मेरे महबूब क़यामत होगी”

“मेरे महबूब क़यामत होगी”, किशोर कुमार और लक्ष्मीकांत-प्यारेलाल का “कॉम्बो” इसी गाने से १९६४ से शुरू हुआ.    आगे चलकर इस बेहतरीन “कॉम्बो” ने  १९६४ – १९८७ तक, 402 गानों का अनमोल तोहफा  संगीतप्रेमियों को दिया.  

इस प्रकार यह ऐतिहासिक गीत “मेरे महबूब क़यामत होगी”, किशोर कुमार और लक्ष्मीकांत-प्यारेलाल का पहला गीत बन गया।  402 का यह आंकड़ा किसी भी संगीत निर्देशक के साथ किशोर कुमार द्वारा गए गीतों की संख्या दूसरे नंबर पर है. पहले पहले स्थान पर किशोर कुमार और आरडी बर्मन 499 के साथ हैं। 

यहाँ ये बात बताना ज़रूरी है की किशोर कुमार और लक्ष्मीकांत-प्यारेलाल का “कॉम्बो”, किशोर कुमार और आरडी बर्मन के “कॉम्बो” से पहले बना है 

संयोगवश, यह ऐतिहासिक गीत, “मेरे महबूब क़यामत होगी”, लक्ष्मीकांत-प्यारेलाल और किशोर कुमार के साथ, महान  गीतकार आनंद बख्शी का भी पहला गीत  है। 

इस गाने के लिए किशोर कुमार की पहली ही प्रतिक्रिया/निर्णय सही था। यह गीत आज भी लोकप्रिय है.

किशोर कुमार और लक्ष्मीकांत-प्यारेलाल के कॉम्बिनेशन में बहुरूपता / विविधता है. जरा नज़र डाले।

लोक geet (मैं जहां चला जौन, “बनफूल”, 1970),

मुजरा (नाच मेरी बुलबुल, रोटी, 1974),

ग़ज़ल (प्यार को चाहिए क्या एक नज़र, “एक नज़र”, 1972),

लोरी (सोई जा तारा “मस्तान, 1970),

कव्वाली (हाल क्या है दिलों का, “अनोखी अदा”, 1973),

दार्शनिक (आदमी जो कहता है, “मजबूर”, 1974)

शास्त्रीय (चली रे चली रे गोरी (लता के साथ), “मिस्टर एक्स इन बॉम्बे”, 1964),

रोमांटिक (मेरे दिल में आज क्या है, “दाग”, 1973),

वेस्टर्न क्लासिक्स (जानी ओ जानी, “राजा जानी”, 1972),

उदास (ये दर्द भरा अफसाना, “श्रीमान फंटुश”, 1965),

भक्ति (प्रेम का रोग लगा मुजे “दो प्रेमी”, 1980),

प्रेरणा (गाड़ी बुला रही है, “दोस्त”, 1974),

देशभक्ति (देखो वीर जवानो, “आक्रमण”, 1975),

डिस्को (पैसा ये पैसा, “कर्ज़”, 1980) से लेकर ‘चालू’ गाने तक।

इस तरह के गाने किसी भी म्यूजिक डायरेक्टर के साथ किशोर कुमार के गानों में नहीं मिलेंगे। यह दुर्भाग्यपूर्ण है कि इस ‘कॉम्बो’ को उस तरह की मान्यता, प्रशंसा नहीं मिली, जो निश्चित रूप से, निष्पक्ष रूप से योग्य है।

हां ! पर इस किशोर कुमार और लक्ष्मीकांत-प्यारेलाल  ‘कॉम्बो’ ने राजेश खन्ना को कई यादगार हिट फिल्में दी हैं।

कुछ और बेहतरीन गाने किशोर कुमार और लक्ष्मीकांत-प्यारेलाल 

मेरे महबूब क़यामत होगी …(मिस्टर एक्स इन बॉम्बे, 1964) सैड सॉन्ग।

प्यारे बताते चलो…(हम सब उस्ताद है, 1965) देशभक्ति गीत।

मेरे नसीब मैं ऐ दोस्त…. (दो रास्ते, 1969) इमोशनल सॉन्ग

वादा तेरा वादा … (दुश्मन, 1972) मुजरा / कव्वाली

ये जीवन है….(पिया का घर, 1971) वेस्टर्न

मेरे दीवानेपन की भी दवा नहीं…. (महबूब की मेहंदी, 1972) रोमांटिक

कृष्णा कृष्णा  बोलो कृष्णा….(नया दिन नई रात, 1974) भक्ति

रुक जाना नहीं तू कहीं हर के…. (इम्तिहान, 1974) प्रेरणा

आपके अनुरोध पे…. (अनुरोध, 1977) शास्त्रीय

एक रितु आए एक रितु जाए…. (गौतम गोविंदा, 1979) सॉफ्ट रेंडरिंग

ॐ शांति ॐ …। (कर्ज़, 1980) डिस्को /वेस्टर्न

कहां जा रहा था….(कत्ल, 1986) दहाड़ते किशोर कुमार

लक्ष्मीकांत-प्यारेलाल ने किशोर कुमार को उनके संगीत कैरियर के कमजोर दौर के दौरान, साठ के दशक के मध्य में, जब यह जोड़ी अपेक्षाकृत नई थी, मोहम्मद रफी की विशाल लोकप्रियता को नुकसान पहुंचाए बिना सर्वकालिक हिट गाने दिए हैं।

“मिस्टर एक्स इन बॉम्बे” 1964 (मेरे मेहबूब कयामत होगी)

“श्रीमान फंटूश” 1965 (ये दर्द भरा अफसाना)

“हम सब उस्ताद हैं” 1965 (अजनबी तुम जाने पहचाने)

“प्यार किये जा” 1966 (दिन जवानी के बार-बार प्यार किये जा)

अजय पौण्डरिक 

वड़ोदरा 

Mellifluous Use of  FLUTE :  Laxmikant-Pyarelal Canorous Orchestra 

Hindi Film Music orchestra is full of various musical instruments. FLUTE is the most commonly used in most of the songs. Any devotional song featured the FLUTE. But there are also several songs in which the Flute is used in various ways. 

Flute is a natural fit in some situations like Lord Krishna songs. Almost all the music directors have a liking for the Flute and broadly used it. Many music directors have also created some different types of sound by synchronising the Flute with other instruments. 

Flutists like Sumant Raj, Pannalal Ghosh, Nityanand Haldipur, Hariprasad Chaurasia, Raghunath Seth and many, have contributed heavily in bollywood music. 

There are two musical hit movies woven around the glimpses of Flute. Raja Nawathe’s  Basant Bahar 1956 music by Shankar-Jaikishan, Flute played by Pannalal Ghosh. 

The other musical hit was Subhash Ghai’s Hero, 1983, music by Laxmikant-Pyarelal. Flute played by Pandit Hariprasad Chaurasia who was a regular musician in Laxmikant-Pyarelal orchestra, in sixties and seventies. 

Highlighting  few of the songs on Flute, composed by various music directors.   

Naushad 

Tu Mera Chand Main Teri Chandani      “Dillagi”  1949

S D Burman

Jaye To Jaye Kahan          “Taxi Driver”  1954

Shankar-Jaikishan       

Main Piya Teri Tu Mane      “Basant Bahar”  1956

Roshan

Bahot Diya Denewalene    “Surat Aur Sirat”      1962

Salil Chudhari  

Jaa Re Jaa Re Uda Jaa Re    “Maya”    1961

Kalyanji-Anandji        

Jis Dil Mein Basa Tha            “Saheli”   1965

Ravi

Neele Gagan Ke Tale                 “Humraaz”  1967

R D Burman

Aaja Piya Tohe                             “Baharon Ke Sapne”  1967 

Jaidev 

Ye Din Aur Unki Nigahon Ke         “Prem Parbat”   1973

Shiv-Hari

Tere Mere Hothon Pe            “Chandni”   1989

Flute was extensively utilised by Laxmikant-Pyarelal in their conorous as well as enrich orchestra arrangements right from the duo’s first film Parasmani, 1963. Flutist Pandit Hariprasad Chaurasia, maximum contribution for Laxmikant-Pyarelal. Flutists Sumant Raj, Nityanand Haldipur, Raghunath Seth etc have also contributed to the Laxmikant-Pyarelal orchestra. 

It must be noted that Laxmikant-Pyarelal have composed close to 30 songs on Lord Krishna and all these songs are orchestrated with Flute.

Listing out a few hits, 10 songs, below and considered 14 songs for review. 

1 Mere Dil Mein Halki Si       Lata Mangeshkar    ‘Parasmani’  1963.

   Beautiful use of Flute in ‘mukhada’ as a filler.

2 Chahunga Main Tujhe     Mohammad Rafi     ‘Dosti’  1964.

   Jazz Flute / Bamboo Flute in prelude and interludes

3 Julmi Hamare Sanwariyan   Lata Mangeshkar  ‘Mr X In Bombay’  1964. 

   34 seconds prelude Flute

4 Jyot Se Jyot Jagate Chalo   Mukesh     ‘Sant Gyaneshwar’   1964

   Awesome use of Flute in prelude, interludes and as a filler. 

5 Bada Natkhat Hai Tero Nandlal      Lata     “Aasra”   1966

Second interlude Flute is mellifluously orchestrated. 

6 Ram Kare Aisa Ho Jaye   Mukesh     “Milan”    1967

Entire song is woven around the ear-pleasing glimpses of Flute 

as a ‘filler’ and also in all the interludes.

7 Tauba Ye Matwali Chaal     Mukesh     “Patthar Ke Sanam”  1967

Prelude and interludes are orchestrated with Flute.

8 Hi Hi Yeh Majboori     Lata        “Roti Kapda Aur Makan”   1974

Prelude and interludes.

9 Yashomati Maiyya Se   Lata-Manna Dey    “Satyam Shivam Sundaram” 1978

Prelude and interludes.

10 Tere Mere Beech Main     Lata – SPB          “Ek Duje Ke Liye”     1981

Flute is orchestrated in the first interlude.

Meri Dosti Mera Pyar          DOSTI  1964

(Majrooh Sultanpuri / Mohammad Rafil)

Honeyed and melodious, Rafi Saab is  singing from the heart. Prelude of 11 seconds is orchestrated with VIOLINS and MANDOLIN. The best part of the song is the use of FLUTE with DHOLAK, in the first interlude as well as third interlude.  Second interlude has ACCORDION, GUITAR and  MANDOLIN. FLUTE is also orchestrated as filler, in ‘mukhada’ . Simple but sweet orchestral arrangements with an awesome DHOLAK rhythm . The FLUTE is played by Pandit Hariprasad Chaurasia. 

Sakhi Ri Pee Ka Naam        SATI SAVITRI   1964

(Pandit Bharat Vyas / Lata Mangeshkar)

Extremely melodious tune and composition. Awesome Take off by Lata ji सखी री सखी री पी का नाम, नाम न पूछो.  Delicate use of FLUTE  in both the Interludes. That second interlude FLUTE mesmerizes. FLUTE is also used as a filler in ‘antara’.  DHOLAK is worth listening to. The FLUTE is played by Pandit Hariprasad Chaurasia.

Nind Kabhi Rehati Thi      AASRA   1966

(Anand Bakshi / Lata Mangeshkar)

This is an extremely melodious romantic song starts with the ‘humming’ by Lataji for first 10 seconds, we get first beautiful “pause” at 0.10 – 0.13, second, after rendering ‘ नींद कभी रहती थी आँखों मैं’ at 0.20 – 0.23, third after rendering word ’sanwariya’ at 0.33 – 0.36, this pause gives you to listen to the beautiful ‘RHYTHM’ created for this lovely song. You will listen to all these “pauses” regularly till the end. Don’t forget to listen to the ‘pause’ at 3.58 to 4.01 to highlight the FLUTE. The entire song, mainly interludes, are woven around the glimpses of FLUTE (by Pt. Hariprasad Chaurasiya) and SANTOOR (by Pt. Shivkumar Sharma) and SYMPHONY style VIOLINS (at the surround sound of Lataji, in ‘mukhada’ and ‘antara’). The rhythm of DHOLAK and TABLA is worth listening to as it is of different flavor. On the top of everything…the chemistry of Lataji & LP worked miracles. Filmed on Mala Sinha.

Suno Sajna Papeehe Ne                    AAYE DIN BAHAR KE   1966

(Anand Bakshi / Lata Mangeshkar)

The most liked Lata-LP song .TWEETING sounds of BIRDS have been effectively used by music directors Laxmikant-Pyarelal in many of the songs. This song has a wonderful prelude of 10 seconds, full of TWEETING sounds of BIRDS. The song is awesomely orchestrated with SANTOOR, (by Pt. Shivkumar Sharma ) FLUTE (by Pt. Hariprasad Chaurasiya ) and SITAR with mellifluous TABLA rhythm. Lata Mangeshkar is simply outstanding in rendering this gem, filmed on Asha Parekh – Dharmendra.

Jare Kare Badara       DHARTI KAHE PUKAR KE      1968

(Majrooh Sultanpuri / Lata Mangeshkar)

This is also an extremely melodious gem. Orchestra covers 75% use of FLUTE. 24 seconds of prelude is FLUTE synchronised with GHUNGROO BELLS and a ‘pause’. The song has a beautiful DHOLAK rhythm. First and second interludes are melodiously orchestrated FLUTE. Second interlude is BANJO sound and GHUNGROO BELLS overlapping sound effects. The song is an addict one just one reason, FLUTE. The FLUTE is played by Pandit Hariprasad Chaurasia. Postlude of 20 seconds is full of SITAR, played by Ustad Rais Khan. Filmed on actress Nanda. 

Mehfil Soyee Aisa Koi       INTAQUAM    1969

(Rajinder Kishan / Lata Mangeshkar)

An astonishing cabaret song, wonderfully orchestrated with BONGA DRUM and  ACOUSTIC GUITAR  rhythm. Mind Boggling  display of JAZZ FLUTE intermixed with ACOUSTIC GUITAR. BRASS instruments are amazingly orchestrated throughout the song. It is filmed on Helen. 

Sajna O Sajna        ABHINETRI       1970

(Majrooh Sultanpuri / Lata Mangeshkar)

Pandit Hariprasad Chaurasia and Pandit Shivkumar Sharma have played the FLUTE and SANTOOR, respectively, under music directors Laxmikant-Pyarelal. 

Starts with astounding display of SANTOOR followed by melodious DHOLAK rhythm, synchronized with ACOUSTIC GUITAR. Awe-Inspiring take off by Lataji सजना ssss ओ सजना   6 seconds singing ‘pause’…..’stroke’ of SANTOOR, at 0.29. It is repeated again. First interlude starts with FLUTE. SANTOOR is played in the interlude. Second interlude starts with SANTOOR and it ends with FLUTE. Third interlude starts with Symphony VIOLINS, SANTOOR takes over and now listens to the best part of the Orchestra of  the song, overlapping sound effects of Lataji’s HUMMING, SANTOOR and FLUTE. It;s ear-pleasing. Filmed on Shashi Kapoor – Hema Malini.

Aaya Re Khilonewala Khel Khilone        BACHAPAN  1970

(Anand Bakshi / Mohammad Rafi)

An extremely melodious song. 25 seconds of prelude is full of FLUTE, ( played by Pandit Hariprasad Chaurasia ), supported with VIOLINS and CELLOS. Astonishing take off by Rafi आया रे खिलौनेवाला खेल खिलोने लेके आया रे, synchronising tuneful DHOLAK rhythm. First interlude is full of FLUTE. Awesome use of FLUTE as a filler, in antara. Second and third interludes are orchestrated with symphony VIOLINS as well as CELLOS. There  is wonderful rhythm as well as singing ‘pause’ to highlight SANTOOR. The stroke of SANTOOR (played by Pt. Shivkumar Sharma) at the end of each antra gives an ear-pleasing moment. Filmed on Sanjeev Kumar.

Sham Dhale Jamuna Kinare       PUSHPANJALI    1970

(Anand Bakshi / Manna Dey – Lata Mangeshkar)

Laxmikant-Pyarelal  AMAZING WORK ON FLUTE :  played by Pandit Hariprasad Chaurasia. In the interlude, the overlapping sound effects  of FLUTE  with  MANDOLIN  and VIOLA are worth listening to. Great Composition. Wonderful execution of CHORUS

Dard-E-Dil Badhata Jaye         BUNIYAD 1971

(Anand Bakshi / Lata Mangeshkar)

Cabaret song with Melody. Laxmikant-Pyarelal’s work is characterized by a notable openness to a wide variety of musical styles and instruments. Classical ragas mix with JAZZ horns, WAH-WAH GUITAR, FLUTE, funk and disco RHYTHMS, and the insistent beat of the DHOLAK.  How brilliantly the western instruments like BAMBOO FLUTE and GUITAR are synchronized with Lata’s sweet voice, in this mellifluous orchestra arrangement . All the three interludes have different tunes.During sixties & seventies Lata and Laxmikant-Pyarelal combination have delivered some of the most melodious songs to the Indian Film Industry and this is one them.This is one of the sweetest cabaret song sung by Lata for Laxmikant-Pyarelal. Filmed on Actress Bindu.

Man Ki Pyas Mere           JAL BIN MACHHLI NRITYA BIN BIJLI   1971

(Majrooh Sultanpuri / Lata Mangeshkar)

The prelude of 28 seconds of SANTOOR and FLUTE is mind-blowing. Use of minimum musical instruments. Entire song is woven around the glimpses of FLUTE (played by Pt. Hariprasad Chaurasia) and SANTOOR (played by Pt. Shivkumar Sharma). Excellent “DHOLAK”/“tabla’ rhythm. An addict song. Filmed on Sandhya.

Ding Dong O Baby Sing A Song,             HERO   1983

(Anand Bakshi /Manhar Udhas & Anuradha Paudwal)

Western style orchestra arrangements and rhythm. Prelude of 40 seconds is mind-boggling, in particular the use of BAMBOO-FLUTE and ACOUSTIC GUITAR. Anuradha Paudwal has brilliantly synchronized her voice with the “filler” of glimpses of the JAZZ FLUTE. One will wonder how nicely the ’SITAR’ is used in the song, immediately after the words “ding dong” .”sing song” stroke of SITAR…BRASS instruments, SAXOPHONE are orchestrated in the “interludes”. It is also a “rock n roll” style orchestra.

Lambi Judai             HERO   1983

(Anand Bakshi / Reshma ) 

What a composition in ‘punjabi folk’ style. Minimum orchestra to give excellent ’throw’ of voice of Reshma. FLUTE, RUBAB and GUITAR are excellently exhibited in the entire orchestra. Mesmerizing ‘rhythm’. Second interlude full of the theme tune of the film, FLUTE,  played by Pandit Hariprasad Chaurasia, mesmerizes.  “Postlude” is also beautifully decorated with FLUTE, BANJO and GUITAR ( from 4.00 to 4.34).

FLUTE THEME MUSIC…Pandit Hariprasad Chaurasiya…Excellently composed tune on FLUTE ….mellifluous efforts by Laxmikant-Pyarelal.

Ajay Poundarik

Vadodara 

30th April, 2021.

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. 

Ajay Poundarik

Vadodara (Gujarat)

INDIA

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. 

C Ramchandra

— Bholi Surat Dil Ke ….C. Ramchandra – Lata Mangeshkar “Albela” 1951 

Naushad

–– Jhoom Jhoom Ke Nacho Aaj …. Mukesh….”Andaz” 1949

— Tu Kahe Agar … Mukesh….”Andaz” 1949

— Milte Hi Aankhen …Shamshad Begum – Talat M. .”Babul”  1959   

Shankar-Jaikishan

— Dost Dost Na Raha ….Mukesh…”Sangam” 1964

— Dil Ke Jharoke Main ….M. Rafi…”Bramhachari” 1968

— Geet Gata Hoon Mein…..Kishore Kumar   “Lal Patthar” 1972

Roshan

— Main Dil Hoon Ek Armaan Bhara….Talat Mehmood..”Anhonee” 1952

S D Burman

— Hum Aap Ki Aankhon Mein ….Rafi – Geeta Dutt   “Pyasa” 1957

— Khwab Ho Tum Ya ….Kishore Kumar …”Teen Deviyan”   1965 

Hemant Kumar 

— Dheere Dheere Machal …Lata Mangeshkar…”Anupama” 1966    

O P Nayyar    

— Aap Ke Haseen Rukh …M. Rafi…”Baharen Phir Bhi Aayegi”     

Chitragupt 

— Dil Ko Lakh Sambhala …Lata Mangeshkar …”Guest House” 1958

Khaiyyam 

— Jeet Hi Lenge Baazi  …Lata – Rafi ….”Shola Aur Shabnam” 1960

— Tum Apna Ranjo Gham ….Jagjit Kaur….”Shagoon”  1964

Salil Chaudhari 

— Koi Sone Ke Dilwala…Mohammad Rafi…..”Maya”…1961

Ravi

— 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

Kalyanji-Anandji 

— 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. 

Jab Jab Bahar Aaye Aur Phool Muskuraye.  “Taqdeer”  1967

(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. 

Ai Mere Khawabon Ke           “Meri Jung” 1985

(Lyricist  Anand Bakshi   Singer Anuradha Paudwal)

Mere Liye Zindagi     “Mera Jawab”  1985 

(Lyricist  Santosh Anand   Singers Anuradha Paudwal – Manhar)

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.

PARASMANI  (1963):-   

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.

DOSTI (1964):- 

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 (1967)

“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.

BOBBY (1973).

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. 

HERO (1983)

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).

Ajay Poundarik, Atlanta (Georgia), USA.

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.