“HERO“ 1983. Laxmikant-Pyarelal & Subhash Ghai. A PERFECT BOLLYWOOD MUSICAL
HERO a Non-Starcast film but the entire success of the film was carried away by Laxmikant-Pyarelal’s “MAGICAL MUSIC”. Music of “HERO” released in December, 1983.
After thumping musical hits from Laxmikant-Pyarelal, with new-comers in lead roll, from Raj Kapoor’s “BOBBY” 1973 & L V Prasad’s “EK DUJE KE LIYE” 1981, it was now Subhash Ghai’s turn to create a musical magic with new comers and made “HERO” in 1983.
By this time Laxmikant-Pyarelal had already completed 20 years in film industry and were still, RIGHT ON TOP.
After making musical blockbuster “Karz”, Subhash Ghai had played the gamble by taking new hero and heroin (Jacky Shroff and Meenakshee Sheshadri) for this film but at the same time firmly depend and believed solely on Laxmikant-Pyarelal’s music.
Yet another non-star cast film which got success only because of the hit music. Laxmikant-Pyarelal’s music was the “heart” of the film and once again the music became the “Real Star” of the film. Like “DOSTI“, “BOBBY” and “EK DUJE KE LIYE”.
Laxmikant-Pyarelal (Black & White)
Laxmikant-Pyarelal once again took the challenge to consider upcoming new generation singers, excepting Lata songs. Male singer MANHAR UDHAS and female singer ANURADHA PAUDWAL got the “name” and the “fame” through the music of “HERO”. A famous female singer from Pakistan ‘RESHMA’ was introduced and the end result was every song of ‘Hero’ was a stupendous, popular and smash hit. Songs became the “crowd puller”.
“HERO” films melodious and rhythm based songs, with the new singers, rocked the Bianca Geetmala and stormed the nation.
FLUTE “tune” played in background music was the backbone of the film’s story. Pandit Hariprasad Chaurasiya, a regular musician in Laxmikant-Pyarelal orchestra, in sixties and seventies, has played the FLUTE in all the songs and background music, as well.
Laxmikant, Anand Bakshi, Subhash Ghai & Pyarelal
All the songs of “HERO” are written by Anand Bakshi.
1) TU MERA JANU HAI…Manhar Udhas & Anuradha Paudwal.
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.
2) DING DONG ….Manhar Udhas & Anuradha Paudwal
Western style orchestra arrangements and rhythm. “Prelude” of 40 seconds is mind-boggling in particular use of FLUTE and ACOUSTIC GUITAR. Anuradha Paudwal has brilliantly synchronized her voice with the “filler” of glimpses of the FLUTE. One will wonder how nicely the ’SITAR’ is used in the song, immediately after the words “ding dong” .”sing song”…BRASS instruments, SAXOPHONE are orchestrated in the “interludes”. It is also a “rock n roll” style orchestra.
3) LAMBI JUDAI . Reshma
What a composition in ‘punjabi folk’ style. Minimum orchestra to give excellent ’throw’ of voice of Reshma. FLUTE and GUITAR are excellently exhibited in entire orchestra. Mesmerizing ‘rhythm’. “Postlude” is also beautifully decorated with FLUTE, SANTOOR and GUITAR ( from 4.00 to 4.34).
4) PYAR KARANE WALE..Manhar Udhas & Lata Mangeshkar.
Once again an excellent “Prelude” of 44 seconds consists of beautiful sound of GHOONGHRU, VIOLINS and NAGIN BIN with ‘CLAPPING’..typical Laxmikant-Pyarelal “DHOLAK” style. “Interludes” are also decorated with beautiful Lata’s Aalap, FLUTE, MANDOLIN, VIOLINS and NAGIN BIN. Excellent Song.
5) NINDIYA SE JAAGI BAHAR ..Lata Mangeshkar.
55 seconds of “Prelude” is in SYMPHONY style with excellent use of CELOs intermixed with the rendering of Lataji and BIRDs TWITTING sound. SHEHNAI is nicely played in the first “ nterlude”. Second “interlude” is full of FLUTE. Once again an excellent DHOLAK rhythm. Lovely composition.
6) MOHABBAT YE MOHABBAT ..Suresh Wadkar & Asha Bhonsle
“Prelude” is full of an “Arabic” style. The “Rhythm” is different in “mukhada” in typical LP style. Again “interludes” have been decorated with Arabic Instruments. Good Song.
7) FLUTE THEME MUSIC…Pandit Hariprasad Chaurasiya…Excellently composed tune on FLUTE ….mellifluous efforts by Laxmikant-Pyarelal.
As usual Laxmikant-Pyarelal nominated for the best music award. If you look at the nominations of 1983 for the best music, “HERO” music stands out to be the best.
Yash Chopra, Laxmikant-Pyarelal. HERO Music Celebration from HMV.
Photo taken in the year 1983….HMV Distributed the Platinum discs on the stupendous sales of the music records of SUBHSH GHAI’s super musical hit film “HERO”….YASH CHOPRA was the chief Guest at the function and he presented the discs to legendary music directors Laxmikant-Pyarelal and the other artists associated with this film….
SPELLBIND Laxmikant-Pyarelal and Lata Mangeshkar. LOOTERA, 1965
This was a B Grade, Low Budget, Non-Starcast film with an A Grade Music. Entire success of the film was carried away by Laxmikant-Pyarelal MAGICAL MUSIC.
“LOOTERA”, a ‘King-Queen” Drama, released around ‘Diwali’. The film was Produced by Rajkumar Kohli ( his maiden film), later he made many hit films with Laxmikant-Pyarelal, “Shart” 1969, “Gora Aur Kala” 1972, “Nagin” 1975, “Jaani Dushman” 1978 and many, but all these films have BIG names. “LOOTERA” have Dara Singh, Nishi, Helen, Prithviraj Kapoor and Jeevan. The film was average hit with fabulous music. It was directed by Harbans.
LOOTERA songs proved to be a CROWD PULLER into the cinema-hall.
Lata Mangeshkar have sung as many as SIX solo songs. All the songs of LOOTERA have melody with different flavors and compositions. Every song has different rhythm. We have Gazal, Chalu song, Western classical / Arabian Folk and Cabaret. Sheer variety of songs. Songs are written by Anand Bakshi.
1) O Dilwalo Saaz-E-Dil ….Lata Mangeshkar.
Actress Bela Bose entertains sea dacoits with a fabulous song and a dance onboard. GEM of composition, beautifully sung by Lata Mangeshkar. Based on Arabian Folk Tune…’Prelude” of 37 seconds with VIOLINS, BRASS INSTRUMENTS, ACOUSTIC GUITAR and western style ‘Aalaps’ from Lata j, mesmerizes the listers. The other speciality of the song is Lata’s Voice is surrounded by the MALE CHORUS and the FLUTE, both in ‘antara’ as well as in ‘mukhada’….The orchestra arrangements is just simply the best, specially use of FLUTE, solo VIOLIN, ACOUSTIC GUITAR, CLAPPING and the BONGO DRUM in rhythm. Dancer Bela Bose has danced this old fashion cabaret perfectly on tune masterly filmed on Balener Ship.
2) Kisi Ko Pata Na Chale Baat Ka….Lata Mangeshkar.
A perfect Lata – LP stamped song…Use of DHOLAK is worth to listen to. Lata is simply best. VIOLINS, CELLOs, MANDOLIN are awesomely orchestrated in the ‘interludes’.
It’s a Beautiful and melodious ‘ghazal’ style composition with western style orchestra in the “interludes” specially the use of VIOLINs in “symphony” style. Lata Mangeshkar has rendered it with amazing softness, grace and ease…her genius is on display…..Just listen to the words ‘यहाँ आते आते’, sung by Lata
4) Neend Nigahon Ki Kho Jaati Hai…Lata Mangeshkar
Simply the best melody. FLUTE, DHOLAK, ACOUSTIC GUITAR and VIOLINs areis nicely orchestrated. .MUHABBAT” word is 49 times in this song..and every MOHABBAT is different than others MUHABBAT.. it’s Lata mangeshkar magic ..and on whom advice this MUHABBAT word repeated..made this song so live and effective, made song so special.
5) Raat Se Kaho Ruke Jara …Lata Mangeshkar
47 seconds of ‘Prelude’ is wonderfully orchestrated. Use of VIOLINs in symphony style, GUITAR and ACOUSTIC GUITAR is mellifluous. Brilliant “take off” by Lataji, after the ‘pause’ of 3 seconds. Totally a different flavor and once again beautiful “Arabic Style” composition song which actress NISHI has danced in a heavily decorated set.
6) Mujhe Dekhiye Main Koi Dastaan Hoon …Lata Mangeshkar
Nicely orchestrated with rich and heavy orchestra arrangements. Perfectly danced by HELEN.
The music of LOOTERA is a slow poison. Songs are popular, even today.
For me the entire Album of Lata Mangeshkar ** Laxmikant-Pyarelal “LOOTERA” is mesmerizing and an addict one as well. I was just 10 yr old when I heard the “Lootera” film songs, still sounds fresh.
EXQUISITE FUSION, Raj Khosla and Laxmikant-Pyarelal
EXQUISITE FUSION, Raj Khosla and Laxmikant-Pyarelal
The combo of Raj Khosla and Laxmikant-Pyarelal have given many memorable musical hit films….The combo of Raj Khosla and Laxmikant-Pyarelal was SUPER HIT combo in support with Anand Bakshi.
Before the kicking off this long-lasting, fruitful, cahoot with Laxmikant-Pyarelal, Raj Khosla had directed many memorable musical hit movies. Just to name few films with respective music directors :-
Milap, 1954 ( N Datta)
C I D, 1956 ( O P Nayyar)
Kala Pani, 1956 ( S D Burman)
Solva Saal, 1958 (S D Burman)
Bambai Ka Babu, 1960 (S D Burman)
Ek Musafir Ek Hasina, 1962 ( O P Nayyar)
Woh Kaun Thi, 1964 (Madanmohan)
Mera Saaya, 1966 (Madanmohan)
Do Badan, 1966 (Ravi)
Raj Khosla and Laxmikant-Pyarelal
It was in the 1967 Raj Khosla decided to launch his own Production Unit to be named as RAJ KHOSLA FILMS.
At the end of the year 1963, Laxmikant-Pyarelal had made a thumping outset in Hindi Film Music. By the end of the year 1966, Laxmikant-Pyarelal became “top” favorite music directors for many of the film production units and big producers and directors. Famous producers/directors, J Omprakash (“Aaye Din Bahar Ke”), Shreedhar (“Pyar Kiye Jaa”), started signing Laxmikant-Pyarelal for their respective films followed by L V Prasad (“Milan”), A K Nadiadwala (“Patthar Ke Sanam”), Subodh Mukharjee (“Shagird”). Raj Khosla was not the exception.
Laxmikant-Pyarelal became the household name, by the virtue of their super-duper musical hits from “Parasmani” (1963).
Such was the “charm / craze” of Laxmikant-Pyarelal, in the mid 60s that Raj Khosla took them in “ANITA”, despite the musical success of music director Madan Mohan with Raja Mehadi Aali Khan as the songwriter in his previous films (“Woh Kaun Thi” and “Mera Saya” ) and music director Ravi with the songwriter Shakeel Badayuni (“DoBadan”).
Thus the long lasting partnership of Raj Khosla and Laxmikant-Pyarelal has now started and have entertained us in the films like:-
Anita, 1967
Do Raaste, 1969
Mera Gaon Mera Desh, 1971
Kuchche Dhaage, 1973
Prem Kahani, 1975
Main Tulsli Tere Aangan Ki 1979
Do Premee, 1980
Dostana, 1980 (produced by Yash Johar)
Teri Mang Sitaron Se Bhar Doon, 1982
Mera Dost Mera Dushman, 1984 (produced by Johny Bakshi).
Laxmikant, Lata Mangeshkar, Pyarelal, Sadhana and Raj Khosla
We are going to review few of the above listed movies and it’s music.
ANITA 1967.
Raj Khosla was a talented director. He made some excellent thriller films in past, such as “C I D”, “Mera Saaya” and “Woh Kaun Thi”. “Anita” is one of them, and it is indeed a highly enjoyable movie filled with mystery and suspense with an extremely melodious music. Actress Sadhana in lead opposite Manoj Kumar.
“तुम बीन जीवन कैसे बीता” (“Yaman Kalyan”) and “सामने मेरे सांवरिया” (“Bhairavi”)
1967, The Marathon Begins as Laxmikant-Pyarelal ascend the top. 10 films with all songs hit. In the wave of Laxmikant-Pyarelal’s 1967 musical hits like “Milan”, “Shagird”, “Pathar Ke Sanam”, “Farz”, “Night In London”, “Jaal” and “Taqdeer”, Raj Khosla’s “ANITA” was also found a special place, with decent songs which are still popular.
1 Tum Bin Jeevan Kaise Beeta …. Mukesh
2 Samane Mere Sanwariya …. Lata
3 Na Baba Na Baba …. Lata
4 Gore Gore Chand Ke Mukh Par …. Mukesh (penned by Aarzoo Lucknawi)
5 Kareeb Aaye Nazar …. Lata
6 Hai Nazar Ka Ishara …. Lata-Usha (penned by Anand Bakshi)
Excellent lyrics by Raja Mehadi Ali Khan saab and Laxmikant-Pyarelal justify the selection of Raj Khosla as a replacement of Madan Mohan saab. Actually, Raj Khosla wanted to build up the partnership of Laxmikant-Pyarelal with Raja Mehadi Ali Khan but Sudden death of Raja Mehadi Ali Khan gave the full stop to the RMAK and LP’s rising partnership and Anand Bakshi joins the group.
Tum Bin Jeevan Kaise Beeta …. Mukesh
Elegant melodious song composed in Raag “Yaman Kalyan”………effectively sung by Mukesh ji ……deep touching lyrics. Simple ‘TABLA’ rhythm for mukhada and antara. Another beauty of this songs is a mellifluous SYMPHONY style orchestra arrangements with soft VIOLINS (no rhythm) in all the “interludes”.
Samane Mere Sanwariya …. Lata
Extremely melodious song starts with Lataji’s mind-boggling “HUMMING” in ‘Bhairavi’ . Ear-Pleasing DHOLAK rhythm. First “Interlude” is orchestrated in SYMPHONY style VIOLINS intermixed with BIRD’s TWEETING. Second ‘Interlude’ is awesomely decorated with FLUTE. Third “interlude” starts with MRIDANG and ends with VIOLINS in ’SYMPHONY’ style. The magic number “Samne Mere Saawariya” beautifully shot with Sadhana walking the hills.
DO RAASTE 1969.
It was purely a family drama, showing aspiration and disappointments of a middle class family. The film revolves around Balaraj Sahani and his hopes & misfortunes. The romantic avocation of Rajesh Khanna and Mumtaz is worth to watch. Rajesh Khanna with his superlative emotional performance, steals the show. Brilliant script, powerful dialogues, meritorious direction by Raj Khosla and phenomenal music by Laxmikant-Pyarelal are the features of this super duper hit film. It was a huge hit film. Celebrated golden jubilee (50 week runs) in almost all the major cities of India. Rajesh Khanna became the STAR after this movie. (“Do Raaste” released just two weeks after the release of “Aradhana”). “Do Raaste” gave the new hit pair of Rajesh Khanna-Mumtaz.
As said earlier, the music was one of the big assets of the film. After this musical success of “Do Raaste”, director Raj Khosla, for most of his coming films, always considered the record breaking ‘trio’ of Laxmikant-Pyarelal/Anand Bakshi. The fabulous songs from “Do Raaste”, includes
1 Bindiya Chamake Gi …. Lata
2 Chhup Gaye Sare Nazare …. Lata-Rafi
3 Yeh Reshmi Jhulphe …. Rafi
4 Do Rang Duniya Ke …. Mukesh
5 Mere Naseeb Main Ai Dost …. Kishore
6 Apani Apani Biwi Pe …. Lata
Bindiya Chamake Gi …. Lata
This “Punjabi” folkish style, DHOLAK rhythm, sweet and melodious song, with euphonic DHOLAK ‘rhythm’ is completely decorated with the glimpses of SANTOOR and FLUTE. Lataji’s rendering the word ‘chamake gi’ is admirable. The song rock the nation and was top hit, number 1 song, in Binacageetmala Finals of the year 1970.
Chhup Gaye Sare Nazare …. Lata-Rafi
Lovely romantic duet awesomely and overwhelmingly orchestrated with SANTOOR and FLUTE with sweet DHOLAK ‘rhythm’.
Mere Naseeb Main Ai Dost …. Kishore
The song is based on raag “Yaman Kalyan”. Kishore Kumar’s soft rendering and Laxmikant-Pyarelal’s SYMPHONY style orchestra arrangements with overlapping sound effects of VIOLINS, VIOLA, FLUTE and SANTOOR are the significant aspects of this song. Another beauty of this song is that Kishore Kumar has brilliantly ‘synchronized’ the “pause” in the LP orchestra. The rhythm of the song is completely on BONGO DRUMS.
MERA GAON MERA DESH 1971.
“Mera Gaon Mera Desh” is a complete movie in itself including persuasive direction from Raj Khosla, honeyed music streaming with story, by Laxmikant-Pyarelal, powerful dialogues, story, superb performances by all. Dharmendra is excellent in his role and plays it superbly Asha Parekh is good too, Jayant is good as Fauji, Laxmi Chhaya is excellent in her role and the carrier best performance by Vinod Khanna who those days started as a villain is superb as Jabbar Singh. “Sholey” released in 1975 was inspired from “Mera Gaon Mera Desh”, in many ways. The songs were/are hit, even today. Once again the rocking combo of Lata Mangeshkar / Laxmikant-Pyarelal jiggles. Lata Mangeshkar have sung all five songs, including four solos.
1 Sona Layi Ja Re …. Lata
2 Mar Diya Jaaye Ke Chhod Diya Jaay …. Lata
3 Apani Prem Kahaniyan …. Lata
4 Aaya Aaya Atariya Pe Koi …. Lata
5 Kuchh Kehata Hai Ye Sawan …. Lata-Rafi.
Director Raj Khosla have analogously filmed the songs with the situation of the film story.
Mar Diya Jaaye Ke Chhod Diya Jaay …. Lata
Raj Khosla explained to Anand Bakshi a situation where the hero is tied to a pillar and the girl wants to rescue him. Anand Bakshi was at once reminded of the dialogue between Alexander the Great and King Porus where the former asked the latter “Tumhare saath kya sulook kiya jaye?” And the song Maar diya jaye, ke chhod diya jaye… was born. Laxmikant-Pyarelal have mind-blowingly orchestrated this fabulous song, with 43 seconds of “prelude”, “interludes” and mesmerizing DHOLAK rhythm.
Apani Prem Kahaniyan …. Lata
One of the best “”situational”” numbers you would get to see. It’s gestural song situation. Raj Khosla have done the best to film this songThe police get no help either, when they arrive in village “mela”/Fair.. . Nobody is willing to recognizing “Dacoit” Jabbar Singh (VINOD KHANNA) and his gang. Ajit ( DHARMENDRA ) seeks the help of dancing girl Munnibai (LAXMI CHHAYA), to identify Jabbar Singh in a village “mela”. Through the dancing on song, Munnibai is giving many hints of Jabbar Singh’s physic, dress and the location where he is standing…This popular dancing song has a perfect set of village fare. Costumes, Cinematography is excellent. ANAND BAXI, has worded this song according to the situation demand. LAXMIKANT-PYARELAL have decorated this song with mellifluent orchestra arrangements. “Prelude” and all the “Interludes” are justifying the village “mela”/fair music. The RHYTHM of the song is mesmerizing. LATA MANGESHKAR simply outstanding…
Few words about LAXMI CHHAYA… This film has the best performance from her. She had a regrettably short film career and is not even remembered today. But see her here and you will never forget her. What a natural she was.
PREM KAHANI 1975.
Great film. Prem Kahani is one of the best movies directed by Raj Khosla. Breathtaking direction, spelbound performances by Rajesh Khanna, Mumtaz, Shashi Kapoor and Vinod Khanna, beautiful and melodious music by Laxmikant-Pyarelal as well as meaningful dialogue are the assets of the film. It has as many as six songs written by Anand Bakshi.
1 Phool Aahista Phenko …. Lata-Mukesh
2 Chal Dariya Main Doob Jaye …. Lata-Kishore
3 Prem Kahani Main …. Lata-Kishore
4 Kya Meri Prem Kahani …. Lata
5 Prem Hai Kya Ek Aansoo …. Rafi
6 Dosto Main Koi Baat …. Rafi
Phool Aahista Phenko …. Lata-Mukesh
Graceful romantic duet. “Interludes” are mellifluously orchestrated with SITAR and SARANGI. It has a mesmerizing DHOLAK rhythm.
Chal Dariya Main Doob Jaye …. Lata-Kishore
Another canorous romantic duet beautifully orchestrated with the instruments like SANTOOR and SAXOPHONE, CLARINET, VIOLINS and FLUTE with diversified DHOLAK ‘rhythm’.
MAIN TULSI TERE AANGAN KI 1978.
Once again a wonderful film by Raj Khosla! It was a comeback film for Nutan and Asha Parekh No doubt Raj Khosla made Nutan and Asha Parekh perform so marvelously that both of them gave their best in the film. Nutan won the FilmFare Award for Best Actress and Asha Parekh was only nominated for Best Supporting Actress. Dr. Rahi Masoom Reza penned excellent dialogues. He also won Filmfare for Best Dialogue. Raj Khosla won Best Film Award too. Raj Khosla and Vinod Khanna were very good friends right from “Mera Gaon Mera Desh” days. RK repeated VK for the fourth successive time but this time in leading role. Laxmikant-Pyarelal gave euphonious music. The song “Main Tulsi Tere Aangan Ki Koi Nahin Mein Tere Saajan Ki” is the soul of the entire story. Anand Bakshi penned the lyrics so carefully that each word and simile used compliment the story.
1 Main Tulsi Tere Aangan Ki …. Lata
2 Meri Dushman Hai Wo …. Rafi
3 Chhap Tilak Sab Chhine Re …. Lata-Asha
4 Nathaniya Jo Mari …. Hemlata-Anuradha
5 Saiyyan Ruth Gaye …. Shobha Gurtu
Chhap Tilak Sab Chhine Re …. Lata-Asha
Raj Khosla always used ‘folk’ songs in his films. This time he decides to use Ammer Khusroo’s song beautifully sung by Mangeshkar sisters. Simple orchestra arrangements by using SARANGI, FLUTE and SANTOOR with melodious tune and wonderful folkish ‘DHOLAK’ rhythm.
Saiyyan Ruth Gaye …. Shobha Gurtu
Prototypal, classic ‘THUMARI” orchestrated with SARANGI and SANTOOR.
:: SATI SAVITRI, 1964 :: ENTRANCING Lata Mangeshkar and Laxmikant-Pyarelal.
In 1963, Diwali, through the music of “Parasmani”, newcomer Laxmikant-Pyarelal made big impact in Hindi Film Music. In the year 1964 many musical hit films from the desk of Laxmikant-Pyarelal were released like “Dosti”, “Mr. X In Bombay”, “Sant Gyaneshwar”, “Aaya Toofan” and totally different musical score from “Sati Savitri”. In the year 1964 the name Laxmikant-Pyarelal became the talk of the nation.
Lata Mangeshkar have sung as many as 712 songs, under the music directors Laxmikant-Pyarelal, a record. What mind boggling variety and range did we get in those 712 numbers which included chart-slammers and classics, and chaalu numbers as well as connoisseur choices. It is impossible to find that variety and that sustained excellence without monotony in the output of any other composer, with Lata or with any other singer.
Laxmikant, Lata Mangeshkar and Pyarelal
If we are to talk of LAXMIKANT-PYARELAL’s Classical or Semi-Classical Songs and that too with LATA MANGESHKAR ..songs of “Sati Savitri” stands out to be number 1….Lata has sung as many as Six songs ( four Solos) and all are based on classical ragas…The songs of this film can be heard even today. The meaningful wordings of these immortal songs are written by PANDIT BHARAT VYAS.
The orchestra arrangements in “Preludes” and “Interludes” used to be the assets of the songs composed by Laxmikant-Pyarelal. Listen to the songs, listed below, after reading the write up, explaining peculiarities, for each of the songs, you will enjoy it more.
1) Tum Gagan Ke Chandrama Ho….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”. 56 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.
2) Jeevan Dor Tumhi Sang Bandhi….Lata Mangeshkar
Once again mellifluous composition on “Yaman Kalyan”. This song is GEM of composition. Simply divine rendering soulful music soulful rendering and most delicate expression of love …takes you to different level. One of the top favorites of Lata Mangeshkar herself. The musical notes of both the “interludes” are worth to listen to.
3) Itani Jaldi Kya Hai Gori…Lata-Usha Mangeshkar-Kamal Barot.
A wedding and slightly naughty song, beautifully decorated with glimpses of FLUTE, SHEHANAI and DHOLAK. Don’t forget to listen to the MANDOLIN in “Prelude”.
4) Sakhiri Pee Ka Nam Na Puchho..Lata Mangeshkar
Extremely melodious tune and composition. Use of “BAMBOO FLUTE” , in the ‘interludes’ with DHOLAK is worth to listen to.
5) Kabhi To Miloge Jeevan Saathi. …Lata Mangeshkar.
Mind-Blowing in Raag KALAWATI. Beautiful use of SYMPHONY style orchestra arrangements (VIOLINS) in- between the song. It is difficult to choose which one is best song from “Sati Savitri”…But I have chosen beautiful composition on raag ‘KALAVATI’. The depth of emotions, soul and divine melody of this rendition in Rag kalavati is timeless and matchless.
6) Mujhe Loot Ke Na Jana..Lata Mangeshkar
Anguish type of song. Beautifully composed.
A Mesmerizing Melodious musical gift from the unique of combo of Lata Mangeshkar and Laxmikant-Pyarelal. It’s an addict album. Unfortunately, the actual videos of the songs are not available.
Rishi Kapoor with Laxmikant-Pyarelal Phenomenal Anthology Of Music
We welcome actor Rishi Kapoor who has been in New York, almost a year now, for his prolonged treatment, expected to be back in India, early September, 2019.
03rd September :: Wishing HAPPY BIRTHDAY :: To Living Legend PYARELAL
04th September ::Wishing HAPPY BIRTHDAY :: To Evergreen Actor RISHI KAPOOR.
Raj Kapoor wanted to make modern teen romance film, “BOBBY”, after the commercial failure of the film “Mera Naam Joker”, released in 1970. “Bobby” a film on love, a perpetual theme. Interestingly, Raj Kapoor made this film to launch his son Rishi Kapoor on the big screen.
Sudden death of Jaikishan (Shankar-Jaikishan) brought in form Laxmikant-Pyarelal into RK camp. Laxmikant-Pyarelal already maintaining number one music director position since 1967, initially, refused the offer. Later singer Mukesh took an initiative and convinced the duo to accept the offer.
Thus association of Rishi Kapoor and Laxmikant-Pyarelal started from the film “Bobby” in 1973 and lasted till “Prem Granth” 1996. Undoubtedly, it is Laxmikant-Pyarelal have given maximum hit songs to Rishi Kapoor.
Recording of “Bobby” Song. Raj Kapoor, Lata Mangeshkar, Laxmikant-Pyarelal and Rishi Kapoor and Shailendra Singh.
BINACA GEETMALA:-
Music of ‘Bobby’ 1973, ‘Amar Akbar Anthony’ 1977, ‘Sargam’ 1979, ‘Karz’ 1980, ‘Prem Rog’ 1982 and ‘Nagina’ 1986, storm the nation and dominated the “Binaca Geetmala” ranking, as well. Phenomenal Anthology Of Music.
It is Laxmikant-Pyarelal have given maximum hit songs to Rishi Kapoor. Rishi Kapoor and Laxmikant-Pyarelal combo have 38 numbers of the final songs appearing in Binaca Geetmala.
The song, Dafli Wale Dafli Baja from “Sargam” tops the chart in 1980. Spot Number two for Chabi Kho Jaye from “Bobby” in 1973. Spot Number two ‘Parda Hai Parda’ from “Amar akbar Anthony” in 1977. Again Spot Number twoOm Shanti Om from “Karz” in 1980. Spot number three Jhooth Bole Kauwa Kate from “Bobby” in 1974. Almost all the songs of “Bobby’ appeared in Binaca Geetmala for two successive years, 1973 & 1974
FILMFARE AWARDS:-
Rishi Kapoor was awarded for Best Actor in “Bobby”, 1973.
Laxmikant-Pyarelal awarded for the best music in:-
“Amar Akbar Anthony” 1977. “Sargam” 1979. “Karz” 1980.
List of films of Rishi Kapoor with Music by Laxmikant-Pyarelal
1 Bobby 1973
2 Zinda Dil 1975
3 Amar Akbar Anthony 1977
4 Phool Khile Hain Gulshan Gulshan 1978
5 Badalte Rishte 1978
6 Sargam 1979
7 Do Premee 1980
8 Karz 1980
9 Naseeb 1981
10 Deedar-E-Yaar 1982
11 Prem Rog 1982
12 Coolie 1983
13 Ye Ishq Nahiin Aasan 1984
14 Naseeb Apna Apna 1986
15 Dosti Dushmani 1986
16 Nagina 1986
17 Sindoor 1987
18 Khazana 1987
19 Hamara Khandan 1988
20 Janam Janam 1988
21 Gharana 1989
22 Bade Ghar Ki Beti 1989
23 Paraya Ghar 1989
24 Hathyar 1989
25 Sheshnaag 1990
26 Aazad Desh Ke Ghulam 1990
27 Sher Dil 1990
28 Amiri Garibi 1990
29 Ajooba 1991
30 Banjaran 1991
31 Ranbhoomi 1991
32 Mohabbat Ki Arzoo 1994
33 Prem Granth 1996
Laxmikant-Pyarelal rotationally used all the major singers for Rishi Kapoor.
Shailendra Sing (Bobby)
Mohammad Rafi (Amar Akbar Anthony, Sargam, Karz)
Kishore Kumar (Karz)
Suresh Wadkar (Prem Rog)
Mohammad Aziz (Nagina)
Anwar (Ye Ishq Nahin Aasan)
Udit Narayan (Mohabbat Ki Aarzoo)
Vinod Rathod (Prem Granth)
The orchestra arrangements in “Preludes” and “Interludes” used to be the assets of the songs composed by Laxmikant-Pyarelal. Listen to the songs, listed below, after reading the write up, explaining peculiarities, for each of the songs, you will enjoy it more.
BOBBY 1973
Romantic Revolution with Melodious Music. It was Rishi Kapoor’s first film. “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. Laxmikant-Pyarelal working first-time with Raj Kapoor. Laxmikant-Pyarelal already maintaining number 1 music director position since 1967, they outdid themselves, further with the “massive” popularity of the “BOBBY’ songs. The music of “BOBBY” was like a storm in the year 1973 and 1974. The film’s success was solely carried away by it’s melodious and massively popular music. All songs have been decorated with RICH, MELLIFLUOUS and POWERFUL orchestra arrangements.
— Mujhe Kuchh Kehna Hai Lata – Shailendra SIngh
— Chabi Kho Jaye Lata – Shailendra Singh
— Jhooth Bole Kauwa Kate Lata – Shailendra Singh
— Na Mangu Sona Chandi Manna Dey – Shailendra Singh
— Beshaq Mandir Masjid Narendra Chanchal
— Ai Phasa Lata Mangeshkar
— Akhiyon Ko Rehne De Lata Mangeshkar
Main Shayar To Nahin .. Shailendra Singh.. (Songwriter Anand Bakshi) Laxmikant-Pyarelal have mellifluously decorated the WALTZ style orchestra for this lovely song. Use of VIOLINS, IRANI SANTOOR, GUITAR, ACCORDION as well as VIOLA are brilliantly executed in the “prelude”, all the “interludes” and also in “postlude”…Rishi Kapoor and Aruna Irani can be seen dancing in waltz style, especially in the “interludes, in the song. Brilliantly filmed by Raj Kapoor as a director.
Nahi Nahi Re Jana Nahi …Lata Mangeshkar (Songwriter Verma Malik)
LATIN AMERICAN Style Of Music :: Wonderful Orchestra Arrangements and awesome rendering by Lata Mangeshkar. Brilliant ‘take off’ of SAXOPHONE in first “interlude”. Western style instruments like IRANI SANTOOR, SAXOPHONE, VIOLINS in Symphony style, VIOLA, FLUTE, ACCORDION, etc are brilliantly synchronized with Lata’s sweet voice with wonderful DHOLAK rhythm . A Real Treat for Musical Ears…
AMAR AKBAR ANTHONY 1977
Manmohan Desai’s first film as a producer – director and this film is a stellar example of the hindi masala movie. star-studded cast featuring three pairs of heroes and heroines. Musical blockbuster filled with many hit songs which are filmed on Akbar, actor Rishi Kapoor .
Shirdiwale Sai Baba …M. Rafi
Humko Tumse Ho Gaya … Lata, Kishore, Rafi, Mukesh.
Honi Ko Anhonee Kar De …. Kishore Kumar, Mahendra Kapoor, Shailendra Sing
Tayyab Ali Pyar Ka Dushman...M. Rafi. AND
Parda Hai Parda …Mohammad Rai -Amit Kumar. (Songwriter Anand Bakshi)
Qawwali style composition, brilliantly rendered. Rafi Saab sang this song at the age of 53 years old for 25 years old Rishi Kapoor in this film. The divine talent of Rafi Saab. The sweetness in the voice is beyond words. What a variation in the pitch !!! Only Rafi Saab can do this. Awesomely orchestrated by using MANDOLIN, SHEHNAI / NADASWARAM synchronised with amazing DHOLAK / TABLA rhythm.
BADALTE RISHTE 1978
A great film about love, marriage and fidelity. The movie is about how after marriage wife should be totally committed to her husband and all previous alliances, loves and relations should burn in the sacred fire at the time of marriage. Supported with extremely melodious music. Powerful acting by Reena Roy, Rishi Kapoor and Jeetendra.
Meri Sanson Ko Jo … Lata Mangeshkar – Mahendra Kapoor (“classic”)
Woh Woh Na Rahe Unke Liye … Mohammad Rafi
Gumsum Si Soyi Hui … Kishore Kumar – Anuradha Paudwal
Na Jane Kaise Pal Main. Kishore Kumar, Suman Kalyanpur – Rafi (Songwriter Anjan)
Melodious “WALTZ” style “rhythm, ‘symphony’ style VIOLINS duly supported by BONGO DRUMS. ‘Interludes’ are also orchestrated with glimpses of ACCORDION and ‘symphony’ VIOLINS. Mesmerising and touchy lyrics by Anjaan Saab.
SARGAM 1979
Beautiful and touching film about a deaf and dumb girl with a passion for Indian classical dance. SARGAM” released in 1979 was K. VISHWANATH’s first hindi film, as a director, produced by N N Sippy. It was a super duper musical hit. Powerful Direction and Super Hit Music were the biggest assets of “Sargam”. LAXMIKANT-PYARELAL have given all the SEVEN songs to MOHAMMAD RAFI to sing. This was very unusual phenomena during end of the seventies. Mohammad Rafi sounds very different in all of the “Sargam” songs, perhaps at it’s best.
Parbat Ke Us Paar….Lata-Rafi
Koyal Boli …Lata-Rafi
Ramji Ki Nikli Sawari ….Rafi
Mujhe Mat Roko ….Rafi
Kahan Tera Insaf …. Rafi
Hum To Chale Pardes …..Rafi AND top hit
Dafli Wale Dafli Baja Lata Mangeshkar – Mohammad Rafi (Songwriter Anand Bakshi)
The sounds of the DAFLI (Hand Drum) and the GHUNGAROO (Ankle Bells) are beautifully synchronised to create an appropriate “rhythm” for this extremely melodious song. VIOLINS are awesomely orchestrated in the ‘interludes’. Whenever Laxmikant-Pyarelal composed music, they always took careful consideration of the plot outline of the film. That may not seem like a big deal but it is when there are few music directors in Bollywood who don’t have even the faintest idea of what the film that they are producing music for is about. Mohammed Rafi and Lata Mangeshkar excel in the songs they sing. Song is shoot in Srinagar, Kashmir.
KARZ 1980 .
In 1980 director Subhash Ghai launched his Film Company and started operating as Producer and Director and made Karz. Laxmikant-Pyarelal was his first choice for this musical hit film
Paisa Ye Paisa …Kishore Kumar
Dard-E-Dil Dard-E-Jigar …Rafi
Ek Haseena Thi ….Kishore-Asha
Main Solah Baras Ki….Kishore – Asha and Mega Hit
Om Shanti Om …Kishore Kumar (Songwriter Anand Bakshi)
Spellbind, Huge and Enrich orchestra arrangements in western style, throughout the song. Despite Kishore Kumar’s usual shouts and Laxmikant-Pyarelal’s boisterous orchestra, the melody part of the song is not lost. The song has become a youth anthem. Kishoreji sounds like a ‘man’ of the age of 30. This composition from Laxmikant-Pyarelal came up with a solid riposte to their critics. All the BRASS musical instruments like TUBA and FLUGELHORN, SAXOPHONE and CLARINET along with GUITAR are wonderfully orchestrated in enrich orchestra arrangements with the powerful western ‘beats’.
DO PREMEE 1980
It was Raj Khosla movie with good music.
Payaliya Chhanki Ke Na …Mohammad Rafi – Anuradha Paudwal
Mousam Pe Jawani Hai ….Mohammad Rafi – Asha Bhosle
Pyar Kar Pyar Kar … Mohammad Rafi – Asha Bhosle
Mubarak Ho Mubarak Ho …Manna Dey – Kishore Kumar and the TOP Hit
Prem Ka Rog Laga Mujhe …. Kishore Kumar (Songwriter Anand Bakshi)
Typical Laxmikant-Pyarelal and Kishore Kumar flavoured song. It is one of the rare devotional songs sung by Kishore Kumar.
DEEDAR – E – YAAR 1982
Super musical film produced by Jeetendra on a Muslim culture. The film has divergent music.
Chala Chal Latife ..Kishore
Sarakti Jaaye Rukh Se ..Kishore-Lata
Aaye Woh Phoolon Ke Rath Par ..Lata
Jana Jana Jaldi Kya Hai ..Asha
Eid Ka Din Hai ..Rafi-Asha
Marne Ka Gham Nahin ..Asha
AND A stroke of genius (Mohammad Rafi and Kishore Kumar)
Mere Dildar Ka Baankpan(Songwriter Sahir Ludhiyanvi)
No words are to describe the two singing of the two sensational singers,
Mohammad Rafi – Kishore Kumar.
PREM ROG 1982
Producer / Director Raj Kapoor’s yet another musical hit.
Main Hoon Prem Rogi … Suresh Wadkar
Mohabbat Hai Kya Cheez ….Lata Mangeshkar – Suresh Wadkar
Ye Pyar Tha… Anwar – Sudha Malhotra
Ye Galiya Ye Chaubara …. Lata Mangeshkar
Meri Kismat Main Tu ….Lata Mangeshkar – Suresh Wadkar AND
Bhanware Ne Khilaya Phool.. Suresh Wadkar – Lata Mangeshkar (Songwriter Pandit Narendra Sharma)
Complete song is filmed in this Tulip Garden. “Prelude” of 32 seconds and the “filler” (from 1.01 to 1.44) are full of VIOLINS and GUITAR and humming. It has wonderful “dholak” rhythm. Both the interludes are excellently decorated with glimpses of VIOLINS, FLUTE, “aalaps” (Lataji) and SITAR. This lovely creation is rendered on high notes, by by Lata Mangeshkar and Suresh Wadkar. Song is shoot in Tulip Garden at Kukanhalf, Holland.
NAGINA 1986
Producer / Director Harmesh Malhotra’s musical hit.
Main Teri Dushman ….Lata Mangeshkar (Super Hit Song)
V. SHANTARAM’s Picturesquely and Rhythmically…Dance-Musical with LAXMIKANT-PYARELAL and LATA MANGESHKAR
“JAL BIN MACHHLI NRITYA BIN BIJLI“ 1971.
To work with veteran Actor, Producer – Director, Dadasaheb Phalke Award winner V. SHANTARAM used to be pride. He was a great connoisseur of the talent. He had an exceptional sensitivity for the music of his films. The quality of the songs and music for V. Shantaram film’s used to be unique and special. Music used to be the asset for his films.
It was not an easy job to enter into V. Shantaram Camp. He has his own choice of music directors which was limited to 2 to 3. Many BIG names of Music Directors of Forties, Fifties, Sixties and Seventies, could not get an opportunity, baring C Ramchandra and Vasant Desai, to work with V. Shantaram.
It was in 1970..LAXMIKANT-PYARELAL got an opportunity to work for the first and last time for V Shantaram’s “classic” film “JAL BIN MACHHLI NRITYA BIN BIJLI”. V Shantaram was having lean period after two flops “ Sehra” and “ Boond Jo Ban Gayi Moti” and for Laxmikant-Pyarelal it was an opportunity to work with an critically acclaimed director – and to show their prowess in hitherto new field – a Dance Musical. The outcome was fantastic.
Laxmikant, V. Shantaram, Lata Mangeshkar, Majrooh Sultanpuri and Pyarelal
Though “JAL BIN MACHHLI NRITYA BIN BIJLI” was made under the big banner of V. SHANTARAM, but it has unknown/unpopular actor/actress. Performed by actress, terpsichorean Sandhya, Abhijeet, Vatsala Deshmukh, Iftekhar and Raja Paranjape. It was a non-starcast film. V Shantaram have made many memorable musical hit movies, in the past with no stars in the film.
Lavishly made film featured several superbly choreographed dances.
V. Shantaram used to have something new for his film. This time it was for the FIRST TIME FOR HINDI FILM MUSIC all the songs of this films were recorded in “”Stereophonic Sound System””.
Lata Mangeshkar has snug as many as FOUR solo songs in addition to TWO duets with Mukesh. Mukesh has sung one solo song, “taron ne saj ke” which became immensely hit.
If you look at this JBMNB Album, all the songs are composed in a different style. Each and every song have different compositions and ‘rhythm’ pattern, as well. The orchestra arrangements for all the songs is just mesmerizing. LAXMIKANT-PYARELAL, have synchronized as well overlapped LATA MANGESHKAR’s voice in highly rich orchestra arrangements. In other words Laxmikant-Pyarelal opulently orchestrated Lata Mangeshkar‘s modulation. It is one of the finest musical album for the unique combo of Lata Mangeshkar and Laxmikant-Pyarelal.
V Shantaram’s wife SANDHYA, leading actress and coryphee, have given the full justice to all the songs through brilliant gambols in all the songs. SANDHYAji herself have chreographed all the songs and all of them are unique.
Pyarelal, Lata Mangeshkar, Actress Sandhya, V. Shantaram and Laxmikant
All the songs of JBMNB are written by Majrooh Sultanpuri.
The orchestra arrangements in “PRELUDES” and “INTERLUDES” used to be the assets of the songs composed by Laxmikant-Pyarelal. It would be more proper to listen to the songs, listed below, after reading the write up, explaining peculiarities, for each of the songs, you will enjoy it, more.
1) MAN KI PYAS MERE MAN SE …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.
2) KAJARA LAGA KE RE BINDIYA..Lata Mangeshkar
A song on “MAYUR DANCE”. One more gem of composition with different style.
HOW THIS SONG WAS COMPOSED >> A Story narrated by PYARELAL ji
कजरा लगाके रे बिंदिया सजाके !! हो आई में तो आई रे आई लायी मोहे लायि मिलन धुन पिया की !!. .A long musical sitting was held between V. Shantaram, Actress Sandhya, Laxmikant-Pyarelal and Majrooh Sultanpuri. Actress Sandhya first demonstrated the dance steps, performed the full dance and then told Laxmikant-Pyarelal to prepare the tune and rhythm by watching her steps. It was a different and unique style to compose the song. BUT Laxmikant-Pyarelal along with LATA MANGESHKAR and Majrooh came out with an outstanding composition.A song on MAYUR DANCE. One more gem of composition with different style. FLUTE is prominently used in western style. Perhaps the longest “prelude” 3 minutes and 27 seconds of beautiful dance sequence. This song is a GEM. FLUTE and SANTOOR, VIOLIN, VIOLA and GUITAR are prominently used and synchronized as well as overlapped, in western style orchestra arrangements with different style of rhythm with DHOLAK. Also don’t forget to listen to the “postlude” of the song and “Mayur Dance”.
3) O MITWA O MITWA ..Lata Mangeshkar
Superb orchestration. “”CHURCH BELL”is brilliantly synchronized with LATA MANGESHKAR’s voice. In the second second “interlude” overlapping sound effect of “Church Bell” with Violins is worth to listen to. Please do not forget actress SANDHYA has danced this beautiful DANCE number with one leg.
4) JO MAIN CHALI PHIR NA MILUNGI….Lata Mangeshkar.
What a composition and a melodious song. A completely different tune. What a voice control by Lata Mangeshkar and orchestra arrangements is just unparalleled!!!
5) BAAT HAI EK BOOND SI..Lata Mangeshkar & Mukes
Yet another variety of song a simple but melodious tune. The beauty of the song is it’s “Interlude”. It is full of SITAR, VEENA and GUITAR. Beautiful stereophonic effect.
6) TARONNE SAJA KE..Mukesh
Massive Orchestra. Once again brilliant orchestra arrangements, interlude, prelude and postlude is just mind-blowing. VIOLINS, VIOLA , GUITAR and FRENCH HORN are worth to listen to in the orchestra arrangements. BONGO DRUM “rhythm” is mesmerizes. Very very Melodious Song sung by Mukesh.An heavenly situation song echoed in universe. Song has beautiful filming and lovely dance by actress SANDHYA.
7) JHOOM KE GAYE AI DIL. Lata Mangeshkar & Mukesh
Folkish style composition with melody. “Prelude” / “Interludes” are full of sound of SITAR, GHOOGROO BELLS as well as CHORUS are Simply best.
On the top of everything…the chemistry of Lata – LP worked miracle.
“JAL BIN MACHHLI NRITYA BIN BIJLI”` is an immortal album, with some of the outstanding songs, perhaps one of the best of “unique” combo of Lata Mangeshkar and Laxmikant-Pyarelal. And it is a “must’ for all LP fans.
Laxmikant-Pyarelal / Raj Khosla Musical “ANITA” 1967. A “classic” Album.
1967 The Marathon Begins as Laxmikant-Pyarelal ascend the top. 10 films with all songs hit. In the wave of Laxmikant-Pyarelal’s 1967 musical hits like “Milan”, “Shagird”, “Pathar Ke Sanam”, “Farz”, “Night In London”, “Jaal” and “Taqdeer”, Raj Khosla’s “ANITA” was also found a special place, with decent songs which are still popular.
Famous Director Raj Khosla started his own Production Unit naming Raj Khosla Films through ANITA. It was a suspense thriller with very good music. It was star studded movie with Majoj Kumar and Sadhan in lead supported by I S Johar.
Such was the “charm / craze” of Laxmikant-Pyarelal, in the mid 60s that Raj Khosla took them in “ANITA”, despite the musical success of music director Madan Mohan with Raja Mehadi Aali Khan as the songwriter in his previous films (“Woh Kaun Thi” and “Mera Saya” ) and music director Ravi with the songwriter Shakeel Badayuni (“Do Badan”).
Excellent lyrics by Raja Mehadi Ali Khan. Newcomer Laxmikant-Pyarelal justify the selection of Raj Khosla as a replacement of Madan Mohan saab. Sudden death of Raja Mehadi Ali Khan gave the full stop to the RMAK & LP’s rising partnership.
BUT After this Raj Khosla utilised Laxmikant-Pyarelal for all his home productions and gave some memorable musical hits. ….”Do Raaste” 1969, “Mere Gaon Mere Desh” 1971, “Kuchche Dhaage” 1973, “Prem Kahani” 1975,”Main Tulsi Tere Aangan Ki”, 1979 and “Do Premee” 1980, “Dostana” 1980 etc.
ANITA has six songs. Four are sung by Lata Mangeshkar and Two by Mukesh. Actress Sadhana looks very pretty in all the songs.
“तुम बीन जीवन कैसे बीता” (“Yaman Kalyan”) and “सामने मेरे सांवरिया” (“Bhairavi”)
1) KAISE KAHOUN PREM KI MAIN BAAT ? ….Lata Mangeshkar.
Listen to the excellent start, “prelude” of 38 seconds, DRUMS .. CLARINETS, GHUNGHROO then MANDOLIN (has been played brilliantly, 0.17 to 0.34) and CLAPPING with ‘male chorus”. Beautiful DHOLAK rhythm. In all the “ interludes” the RAVANHATTA (Rajasthani Violin, 1.18 to 1.22), MENDOLIN and VIOLINS are beautifully decorated in the orchestra. Actress Sadhna have well justified this song, perfectly dancing on the rhythm. Lataji variations in rendering is awesome. It was “Binaca Geetmala Hit” song.
2) TUM BIN JEEVAN KAISE BEETA ..Mukesh
Elegant melodious song composed in Raag “Yaman Kalyan”………effectively sung by Mukesh ji ……deep touching lyrics. Simple ‘TABLA’ rhythm for mukhda and antara. Another beauty of this songs is a mellifluous SYMPHONY style orchestra arrangements with soft VIOLINS (no rhythm) in all the “interludes”.
3) SAMANE MERE SANWARIYA..Lata Mangeshkar
Extremely melodious song starts with Lataji’s mind-boggling AALAPS, HUMMING in ‘Bhairavi’ . Ear-Pleasing DHOLAK rhythm. First “Interlude” is orchestrated in SYMPHONY style VIOLINS intermixed with BIRD’s TWEETING. Second ‘Interlude’ is awesomely decorated with FLUTE. Third “interlude” starts with MRIDANG and ends with VIOLINS in ’SYMPHONY style. The magic number “Samne Mere Sawariya” beautifully shot with Sadhana walking the hills.
4) GORE GORE CHAND KE MUKH PAR..Mukesh.
Very Very Sweet Song. Mukeshji sounds simple and beautiful. Besides ‘romantic’ words this song has the “interludes” full of FLUTE, CLARINET and SAXOPHONE.
5) KAREEB AAYE NAZAR …Lata Mangeshkar
“Intoxicated” song. Wonderful composition in “Gazal” style, with melody, and DHOLAK rhythm. “Prelude” of 32 seconds and all the “interludes” are mellifluously orchestrated in SYMPHONY style, with soft VIOLINS and CELLOs. Lataji is simply superb. Actress Sadhanaji has acted very well in the song and she is looking “smoking hot”.
6) HAI NAZAR KA ISHARA SAMBHAL .Lata Mangeshkar – Usha Mangeshkar
It was Raj Khosla’s magical filming that brought this song into limelight when other songs are prominently HIT. Later Raj Khosla used the same style of filming in “Mere Gaon Mere Dash” (hi sharmau kis kis ko batau). Prelude of 52 seconds in “Arabian” folkish tune is worth to listen to. This is the only song in the film written by Anand Bakshi.
Laxmikant, Lata Mangeshkar, Pyarelal, Sadhana and Raj Khosla. The picture taken during song recording of “Samne Mere Sawariya”.
ANITA songs are addict songs, once you listen to, you would like to hear it again and again. It’s a slow poison.
It was in the late forties (around 1949) a child musician, aged 11 years, named Laxmikant Shantaram Kudalkar was playing a Mandolin at one of the musical concert in Colaba, Mumbai. Lata Mangeshkar, just got the star status after Shankar-Jaikishan’s debut film “Barsat”, was the chief guest of the function Lataji was so impressed by the polished display of Mandolin by Laxmikant she called him and enquired about him and recommended Laxmikant name to the noted music directors to utilise him as musician.
At the same time, around 1950, Lata Mangeshkar and her family members were running a music academy named “Sureela Bal Kala Kendra”. This “Sureela Bal Kala Kendra” was run by group of children, aging below 15. It was consists of child musicians Hridaynath Mangeshkar, Usha Mangeshkar, Pyarelal Ramprasad Sharma (Pyarelalji) and all his younger brothers, Ganesh, Gorakh, Laxmikant Shantaram Kudalkar (Laxmikantji) his younger brother Shashikant and many more. The “Sureela children’s gang” hung around together at Lataji’s home, day and night absorbed in the notes of golden music, intoxicated by rhythm and melody.
Laxmikant and Pyarelal as a child musician in Lata Mangeshkar's "Sureela Bal Kala Kendra"
Both Laxmikant and Pyarelal have a strong bonding at “Sureela Bal Kala Kendra”. Their friendship started from Lata Mangeshkar’s house. Laxmikant-Pyarelal name emanates from the house of Lata Mangeshkar.
Lata Mangeshkar and Laxmikant-Pyarelal were a longer, larger, closer and more rewarding association that than what ANY composer has had with ANY singer in Hindi cinema
From 1963, to the next 35 years, melody queen Lata Mangeshkar and Laxmikant-Pyarelal were to chalk up an astounding 712 songs together, which accounted for one in every 10 Hindi film songs recorded by the Melody Queen, and one of every four songs composed by the duo. The unmatchable variety of songs.
And what a mind boggling variety and range did we get in those 712 numbers which included chart-slammers and classics, and chaalu numbers as well as connoisseur choices. It is impossible to find that variety and that sustained excellence without monotony in the output of any other composer, with Lata or with any other singer.
Lata Mangeshkar’s Numbers of songs with different music directors …
Laxmikant Pyarelal
712
Shankar Jaikishan
453
R. D. Burman
327
C. Ramchandra
298
Kalyanji Anandji
297
Chitragupta
240
Madan Mohan
210
S. D. Burman
182
Naushad
155
Roshan
146
Hemant Kumar
139
Anil Biswas
123
Vasant Desai
112
Rajesh Roshan
112
Salil Chaudhary
108
Husnlal Bhagatram
107
Bhappi Lahiri
97
Ravi
75
Khayyam (Sharmaji)
71
Ghulam Mohammad
71
S. N. Tripathi
71
Usha Khanna
68
Hansraj Bahal
43
Sudhir Phadke
32
We get the unmatched variety of songs of Laxmikant-Pyarelal with Lata Mangeshkar. There many films in which Mangeshkar has sung more than 5 songs in the film.. See below the list. A sheer variety.
Parasmani 1963
Sati Savitri 1964
Sant Gyaneshwar 1964
Lootera 1966 ( an outstanding Album with all SIX solo with variety from Lata )
Intequam 1968 (Two Brilliant Cabaret songs)
Baharon ki Manzil 1968
Sharafat 1970
Abhinetri 1971
Jai Bin Machhali Nritya Bin Bijalee 1971 (Another outstanding Album, Sheer variety of Lata’s FIVE solo songs)
Mera Gaon Mera Desh 1972..(Folkish Album, all time hit )
Raja Jani 1972Daag 1973
Bobby 1973 (All time hit songs)
Satyam Shivam Sundaram 1978 (Eternal Classic)
Ek Duje Ke Liye 1981
One will wonder to note that from 1963 to 1973 Lata Mangeshkar have recorded 355 songs ONLY under Laxmikant-Pyarelal. All are Simply superb.
Pyarelal, Laxmikant and Lata Mangeshkar
Today we are going to review some of the finest male duet songs sung by Lata Mangeshkar with different male singers, under Laxmikant-Pyarelal.
It would be more proper to listen to the songs, listed below, after reading the write up, explaining peculiarities, for each song, you will enjoy the songs, more.
Lata Mangeshkar – Mohammad Rafi with Laxmikant-Pyarelal
Lata-Rafi combo has sung as many as 78 numbers of the songs under Laxmikant-Pyarelal. This is the highest numbers of Lata-Rafi combo songs under any music directors. Few best songs from this melody makers are listed below. TWO best songs of my choice are reviewed, in detail with video clips.
Pyarelal, Laxmikant, Lata Mangeshkar, Guest, Mohammad Rafi.
The very first duet of Lata-Rafi with LP. The song is based on Indian Classical Raag. It has a melody of 60s. The song is penned by Farooq Qaiser and is picturised on Mahipal and Anita Guha.
2 Ye Dil Tum Bin Kahin Lagata Nahin “Izzat” (1968)
Based on Indian Classical Raag ‘pahadi’ is yet another sweet melody. All the ‘interludes’ are decorated with SYMPHONY style VIOLINS. The song is written by Sahir Ludhianvi. Picturization is done on Dharmendra and Tanuja.
3 Dil Ne Dil Ko Pukara “Do Raste”(1969)
This super hit song which has class and mass appeal. You can here the glimpses of Shiv Kumar Sharma’s SANTOOR in between the song. The song is written by Anand Bakshi. Picturised on Rajesh Khanna and Mumtaz.
4 Rim Zim Ke Geet Sawan Gaye “Anjana” (1969)
Based on Indian Classical Raag, has sweet melody. Anand Baxi. Rajendra Kumar-Babaita.
5 Chala Bhi Aa Aaja Rasiya “Man Ki Aankhe” (1971)
The song has ear pleasing melody. Penned by Sahir Ludhianvi. Filmed on Dharmendra and Waheeda Rehman.
6 Jhilmil Sitaron Ka“Jeevan Mrityu” (1971)
Immortal song. One of favorite of all music lovers. Anand Baxi. Dharmendra-Raakhi .
7 Patta Patta Buta Buta Hal Hamara Jane “Ek Nazar” (1970)
Typical Ghazal song. Use of IRANI SANTOOR , VIOLINS and SAXOPHONE is mellifluous. Penned by Majrooh Sultanpuri. This song is picturised on Amitabh Bachchan and Jaya Bhaduri.
9 Kuchh Kehta Hai Ye Sawan “Mera Gaon Mera Desh” (1971)
Yet another Punjabi Folk song. Excellent melody. Anand Baxi. Dharmendra-Asha Parekh.
This Cabaret Song has melody as well as western style composition. Beautiful use of SAXOPHONE. Anand Baxi. Jitendra-Mumtaz.
10 Tik Tik Mera Dil Dole “Humjoli” (1972) T
Yet another song of this film is equally good Hi Re Hi Neend Nahin Aaye . Use of SANTOOR is just brilliant. Jeetendra-Leena Chandawarkar.
11Itana To Yaad Hai Muze “Mehaboob Ki Mehandi” (1974)
The sweetest Melody. The DHOLAK rhythm mesmerizes.. SITAR played excellently. Anand Baxi. rajesh Khanna- Leena Chandawarkar.
12 Dafaliwale Dafali Baja “Sargam” (1979)
The most “popular” songs of this combo. This song rocked the nation.
Reviews of the two of the best songs of Lata-Rafi-LP.
a) Woh Hai Jara Khafa Khafa …”Shagird” 1967.
(Songwriter Majrooh Sultanpuri)
Lata Mangeshkar sounds extremely melodious in this song. Mellifluous Overlapping of Aalaaps with Words and also Aalaap with Aalaap, by Lata Mangeshkar & Mohammd Rafi. i) “overlapped aalaps” at 3.22-3.28 and again at 3.48-3.54) ii) “overlapped aalaaps with words” at 3.28 to 3.48, silmultenelusly both by Lataji and Rafi sab. This beautiful, melodious and sweet song is composed, by Laxmikant-Pyarelal, in western style with ACOUSTIC GUITAR in rhythm. The song is filmed on Joy Mukherjee – Saira Banu
b) Ek Tera Saath Humko Do Jahan Se…”Wapas” 1969
(Songwriter Majrooh Sultanpuri)
MELODY with a SYMPHONY style orchestra arrangements. You can enjoy a FUSION style, in almost all the Laxmikant-Pyarelal composition. A fusion genre is music that combines two or more styles. FLUTE, VIOLA, SANTOOR with TABLA are brilliantly executed in this song. In the interludes, Flute & Viola give different tunes and along the side you enjoy Tabla rhythm with the ear-pleasing disply of SANTOOR. The song is based on Indian Semi-Classical raag and the orchestra has a western style touch. LP’s specialty a “PAUSE’ .. is another plus point of this song. This has been an extremely melodious song sung by Mohammad Rafi and Lata Mangeshkar. An addict one for me. Don’t forget to listen to the stat with Rafi’s voice “Ek Tera Saath” .. just brilliant take-off..
Lata Mangeshkar – Kishore Kumar with Laxmikant-Pyarelal
Lata-Kishore combo have been associated with Laxmikant-Pyarelal with close to 55 songs. There are many memorable and hit songs from this combo. Few best songs from this melody makers are listed below. TWO best songs of my choice are reviewed, in detail with video clips.
Guest, Laxmikant, Kishore Kumar, Lata Mangeshkar and Pyarelal
1 Chali Re Chali Re Gori Paniya Bharan Ko. “Mr. X In Bombay” 1964.
It is the first duet of KK-Lata under Laxmikant-Pyarelal. Beautifully composed in in “raag” BHAIRAVI. Mesmerizing 62 seconds “prelude” full of “MATAKI”, “GHUNGROO BELL”, “FLUTE” and DHOLAK. The song is written by Anand Bakshi and filmed on Kishore Kumar and Kumkum.
2 Sultana Sultana Tu Na Ghabarana,“Shreeman Fantoosh” 1965
Naughty duet with extreme melody and good orchestra arrangements. The song is written by Anand Bakshi and filmed on Kishore Kumar and Kumkum.
3 Man Mor Machave Shor Shor Shor . “Mastana” 1970.
Sweet and melodious song with an excellent DHOLAK rhythm. The song is written by Anand Bakshi and filmed on Mehmood and Bharati,
4 Sa Re Ga Ma Pa.“Abhinetri” 1970.
Melody and Rhythm at it’s best. The song is written by Majarooh Sultanpuri and filmed on Shashi Kapoor and Hema Malini.
5 Jadugar Tere Naina .”Man Mandir” 1971
Excellent orchestra arrangements with the use of SAXOPHONE and SYMPHONY style VIOLINS synchronised with BONGO/CONGA Drums rhythm. The song is written by Rajendra Krishna and it is filmed on Sanjeev Kumar and Waheeda Rehman.
7 Sun Ja Aa Thandi Hawa ..”Haathi Mere Saathi” 1971
Giant orchestra with westernised rhythm. Excellent use of SANTOOR and VIOLINS in Symphony style. Anand Bakshi. Rajesh Khanna – Tanuja
8 Hum Aur Tum, Tum Aur Hum. “Daag” 1973
Westernized orchestra arrangement, excellent use of ACOUSTIC GUITAR. Wonderful use of VIOLINS in all the interludes. The song is penned by Sahir Ludhianvi and it is filmed on Rajesh Khanna and Sharmila Tagore.
9 Gore Rang Pe Na Itna .”Roti” 1974
Most popular song, even today it can be heard very regularly. ‘Folkish’ style composition giving Punjabi flavour. Anand Bakshi. Rajesh Khanna-Mumtaz.
10 Yeh Mousam Aaya Hai ..”Aakraman” 1975
Both Kishoreji and Lataji have sung this extremely melodious song on high pitch. Excellent orchestra arrangements. Anand Bakshi. Rakesh Roshan – Rekha.
Reviews of the two of the best songs of Lata-Kishore-LP.
a) Khoobsurat Haseena Jaan-E-Jaa Jaan-E-Man “Mr X In Bombay” 1964
(Songwriter Anand Bakshi)
“Prelude” is mellifluously orchestrated of use of SAXOPHONE, VIOLINS, FLUTE. The rhythm is from BONGO DRUMS. All three “Interludes” have different tunes. Kishore Kumar is simply awesome as a comedian in this song, Kumkum fully supportive. A totally different type of composition. The first film in which lyricist Anand Bakshi and music director Laxmikant-Pyarelal came together …to create a world record partnership of 302 films, over 1300 song together,.. till 1998.
b) Achchha To Hum Chalte Hai “Aan Milo Sajana” 1970.
(Songwriter Anand Bakshi)
A unique type of song and composition, a mega hit, still popular song. Mellifluously rendered by Lata -KK. The orchestra arrangement is mesmerizing use of IRANI SANTOOR, SAXOPHONE and VIOLINS is just brilliant and ear-pleasing, as well. This lovely romantic song is filmed on Rajesh Khanna – Asha Parekh.
Lata Mangeshkar – Mukesh with Laxmikant-Pyarelal
The combo of Lata Mangeshkar – Mukesh have been associated with Laxmikant-Pyarelal for good 27 songs. All are very good songs. Listing few with review of one song.
1 Chori Chori Jo Tumse Mili…”Parasmani” 1963
Very first duet of this combo with LP. tenderly sung by Mukesh-Lata. Use of SHEHNAI is worth to listen to in the “interludes”. Penned by Farooq Qaisar. Filmed on Mahipal – Anita Guha.
2 Kyon Jhuki Jhuki Hai Palke “Chhaila Babu” 1967.
The beauty of this romantic duet is it’s rhythm in QAWWALI style. The song is written by Hasrat Jaipuri and it is filmed on Salim Khan (Salman Khan’s father) – Naaz.
3 Hum To Tere Aashiq Hai..”Farz” 1967.
One of the most popular song of this combo. Penned by Anand Bakshi. Jeetendra-Babita.
4 Mehboob Mere …”Patthar Ke Sanam” 1967
Extremely sweet duet. Majrooh Sultanpuri. Manoj Kumar – Waheeda Rehman. FLUTE by(Pandit Hariprasad Chaurasia) and SANTOOR by Pandit Shivkumar Sharma.
5 Ek Pyar Ka Nagma “Shor” 1972
The most memorable song, still popular. Excellent use of solo VIOLIN, IRANI SANTOOR and symphony style VIOLINS. Santosh Anand. Manoj Kumar – Nanda – Jaya Bhaduri.
6 Main Na Bhulunga “Roti Kapda Aur Makan” 1974
Excellent orchestra arrangements with the overlapping sound effect on SAXOPHONE, SYMPHONY VIOLINS and FLUTE, as well. Santosh Anand. Manoj Kumar – Zeenat Aman.
“MILAN” 1967. Lata-Mukesh (Three Duets + Two Versions). The songs of “MILAN” storm the nation. Laxmikant-Pyarelal brought back the glory of singer Mukesh.
–Bol Gori Bol Tera Kaun Piya
–Hum Tum Yug Yug Se
— Sawan Ka Mahina Pawan Kare Shor
(Anand Bakshi has written this immortal song).
The most popular song. Mellifluously composed song in SYMPHONY style VIOLINS. Overlapping sound effect of VIOLINS with MANDOLIN and FLUTE in “interludes” is just mesmerizing. The DHOLAK rhythm hypnotizes. It is filmed on Nutan – Sunil Dutt.
Lata Mangeshkar – Manna Dey with Laxmikant-Pyarelal.
Lata-Manna Dey / Laxmikant-Pyarelal have been associated with 12 songs. Notable hits are from “Sati Savitri”, “Pushpanjali”, “Raja Aur Rank”, “Chaitali”, “Satyam Shivam Sundaram” etc.
–Tum Gagan Ke Chandrama Ho…”Sati Savitri” 1964
(Pandit Bharat Vyas, the songwriter)
तुम क्षमा मैं भूल हूँ…..तुम गगन के चंद्रमा ..मै धरा की धूल हूँ..
The extreme of gratitude in love expressed ever in words.
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 raag in “Yaman Kalyan”. This very melodious song is composed in mellifluous “SYMPHONY” style orchestra arrangements. Use of soft pieces of VIOLINS and SITAR in all the ‘interludes’ is just mesmerizing. The beautiful wording of this song is penned by Pandit Bharat Vyas.
Lata Mangeshkar – Mahendra Kapoor with Laxmikant-Pyarelal
This melodious combo have as many as 15 songs together. The major hits includes from
“Pyar Kiye Jaa” (Phool Ban Jaunga and Kisine Pukara Muze) 1966, “Aaye Din Bahar Ke” (Ye Kali Jab Talk) 1966, “Nag Mandir” (Manzil Ek Safar Hai) 1966, “Night In London” (Sun E Bahar) 1967, the most popular “Nagin” song (“Tere Sang Pyar Main), 1975, “Badalte Rishte” .
–Meri Sanson Ko Jo ..”Badaltey Rishte” 1978.
(Anjan the song writer)
Beautifully composed in Raag PURIYA DHANASHREE. Use of SANTOOR and SITAR is just mesmerizing. The song is filmed on Rishi Kapoor – Reena Roy.
Lata Mangeshkar – Suresh Wadkar with Laxmikant-Pyarelal.
This mellifluous combo has as many as 18 songs. Almost all are good. Starting from “Prem Rog”, “Pyaasa Sawan” (Megha Re Megha Re), “Sindoor” (Patjhad Sawan), “Nache Mayuri”, “Krodhi” (Chal Chameli Baugh Mein), “Sur Sangam” and many more.
–Bhanware Ne Khilaya Phool …”Prem Rog” 1983
(Pandit Narendra Sharma the songwriter)
My choice of song is from Raj Kapoor’s “PREM ROG” 1982. Complete song is filmed in this Tulip Garden. “Prelude” of 32 seconds and the “filler” (from 1.01 to 1.44) are full of VIOLINS and GUITAR and humming. It has wonderful “dholak” rhythm. Both the interludes are excellently decorated with glimpses of VIOLINS, FLUTE, “aalaps” (Lataji) and SITAR. This lovely creation is rendered on high notes, by by Lata Mangeshkar and Suresh Wadkar.
Lata Mangeshkar – Shabbir Kumar with Laxmikant-Pyarelal
This combination have worked for as many as 20 songs. A big surprise. There are many hit songs from the films “Woh 7 Din”, “Pyar Jhukta Nahin”, “Meri Jung”, “Jaan Hatheli Pe” & many more. Here I have chosen a song from “Ghulami”..
–Zihal E Maskin Makun Ba Ranjish..”Ghulami” 1985
(Songwriter Gulzar)
The rhythm of this song mesmerizes you. Extremely melodious tune. Don’t forget to listen to rhythmic ‘pause’ at the end.
Lata Mangeshkar – Rajan Sajan Mishra with Laxmikant-Pyarelal
Just one OUTSTANDING song.
–Jaaun Tore Charan Kamal ...“Sur Sangam” 1985
(Song writer Vasant Dev)
An amazing orchestra arrangement in Indian Classical style. “SANTOOR”, “JAL TARANG”, “FLUTE”, ” VICHITRA VEENA”, “SITAR” and “MANJIRA” are mellifluously synchronized as well as overlapped in all the interludes, with different tunes. Wonderful DHOLAK rhythm.
Lata Mangeshkar have also sung many memorable duets under Laxmikant-Pyarelal with following singers.
Shailendra Singh (‘Bobby”)
S P Balasubramaniam (“Ek Duje Ke Liye)
Amit Kumar (“Hum Paanch”)
Anand Bakshi (“Mom Ki Gudiya”..Bagon Mein Bahar Aayee )
Anup Jalota (“Ek Duje Ke Liye”)
Roopkumar Rathod (“Angaar”)
Anwar (“Heer Ranjha”)
Mohammad Aziz (“Ram Avtar” and many).
Nitin Mukesh (“Kranti”)
Talat Aziz (“Aurat Aurat Aurat”)
Manhar Udhas (“Hero”)..
A HISTORIC MOMENT OF HINDI FILM MUSIC WHEN FOUR SENSATIONAL SINGERS..Lata Mangeshkar, Mohammad Rafi, Kishore Kumar and Mukesh at a one stage for the FIRST and LAST time for the recording of the song from Manmohan Desai’s “Amar Akbar Anthony” ..Hum Ko Tumse Ho Gaya Hai Pyar Kya Kare
Pyarelal, Ketan Desai, Laxmikant, Mohammad Rafi, Mukesh, Lata Mangeshkar, Kishore Kumar and Manmohan Desai.
Raj Kapoor is an undisputed legend in Bollywood cinema. An actor, producer, editor and director. He made a name for himself. After a disaster and failure of “Mera Naam Joker”..Raj Kapoor was looking to make a movie which would be blockbuster and will also bring back his “glory” as “SHOW-MAN”. He was desperate to make a “comeback”.
Cover Page of Long Playing Record of “Bobby” Background Music. Pyarelal and Laxmikant
Although “BOBBY” was made under the big banner of RK films, but it was a non-starcast movie. It was the start of Rishi Kapoor as a ‘hero’. Dimple Kapadia was also new and very fresh looked. Not only that, during the “peak” era of the male singers like “Kishore Kumar”, “Mohammad Rafi” and “Mukesh” two new male singers, Shailendra Singh and Narendra Chanchal were introduced.
Even new song writers Rajkavi Indrajitsingh Tulsi (‘beshaq mandir masjid todo’) and Shri Vitthalbhai Patel (‘na mangu sona chandi’ and jhooth bole kauwa kate‘) were introduced.
INDDED A CHALLENGE for Laxmikant-Pyarelal to show their very best output.
Laxmikant-Pyarelal working first-time with Raj Kapoor. Laxmikant-Pyarelal already maintaining number 1 music director position since 1967, they outdid themselves, further with the “massive” popularity of the “BOBBY’ songs.
The music of “BOBBY” was like a storm in the year 1973 and 1974. The film’s success was solely carried away by it’s melodious and massively popular music. All songs have been decorated with RICH, MELLIFLUOUS and POWERFUL orchestra arrangements.
Not only the songs but also it’s BACKGROUND MUSIC was extremely melodious and romantic. It flows with the theme of the film.
Raj Kapoor and HMV released the Long Play and EP records of the songs of “BOBBY” in July, 1973, five months before the release of the film. By the time of the films release in November, 1973 all the songs became immensely popular, wherever you go in India you hear only BOBBY songs. Thus all the songs became the “crowd puller” into a cinema hall.
It was an unimaginable popularity of the songs of “BOBBY”..
Let us review all the songs.
Lata Mangeshkar has sung as many as five songs.
Pyarelal (second from left), Shailendra Singh, Dimple Kapadia, Raj Kapoor, Lata Mangeshkar, Laxmikant and Rishi Kapoor at the recording of “Bobby” song.
“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.
The orchestra arrangements in “Preludes” and “Interludes” used to be the assets of the songs composed by Laxmikant-Pyarelal. Listen to the songs, listed below, after reading the write up, explaining peculiarities, for each of the songs you will enjoy it, more.
1) MAIN SHAYAR TO NAHIN ..Shailendra Singh.. (Songwriter Anand Bakshi)
“WALTZ” Style composition, The WALTZ style (rhythm) of composition is originated in 16th century. “WALTZ” is a ballroom folk dance from Vienna, AUSTRIA. Laxmikant-Pyarelal have mellifluously decorated the WALTZ style orchestra for this lovely song. Use of VIOLINS, IRANI SANTOOR, GUITAR, ACCORDION as well as VIOLA are brilliantly executed in the “prelude”, all the “interludes” and also in “postlude”…Rishi Kapoor and Aruna Irani can be seen dancing in waltz style, specially in the “interludes, in the song. Brilliantly filmed by Raj Kapoor as a director.
2) HUM TUM EK KAMARE MAIN..Lata Mangeshkar – Shailendra Singh.(Songwriter Anand Bakshi)
Mesmerizing Orchestra arrangements with Toe Stepping Rhythm (Synchronized and intermixed with IRANI SANTOOR, ACCORDION and BONGO DRUMS). Very Simple Words”””Hum Tum Ek Kamare Main” with an enrich orchestra arrangement. SAXOPHONE, FRENCH HORN, ACOUSTIC GUITAR, VIOLA, VIOLINS, MOUTH ORGAN etc are mellifluously executed in all the interludes. The song start with “zero” prelude. After …”Hum Tum”,,the “rhythm” starts….with Accordion, Irani Santoor and Bongo Drums…..all the three interludes have different tunes, all the three “mukhadas” are different from each other. You cannot enjoy this song without the “”ORIGINAL”” Orchestra. One of the finest composition, from Laxmikant-Pyarelal, in terms of orchestra arrangements.
A chirpy duet song. An off-beat composition, excellent singing and amazing orchestra conduction. Use of VIOLA, CELLO, IRANI SANTOOR and VIOLINS are beautifully executed in all the “interludes”. How romantically sang by Lataji by changing style of voice. A different type of ‘rhythm”, in western style.
A great “dance” number and also one of the most popular song, moulded in typical LP style ‘DHOLAK’ rhythm. Additional features of the song is “pauses” given in the song.
5) NA MANGU SONA CHANDI ..Manna Dey – Shailendra Singh. (Songwriter Vitthalbhai Patel)
Based on “Goa” folk tunes this song starts with an excellent “Prelude” of 54 seconds. All BRASS instruments, GUITAR, ACOUSTIC GUITAR, solo VIOLIN, are wonderfully played in the orchestra.
Amazing word lyrics and voice, A killer combination. Punjabi traditional rendering by Narendra Chanchal.
7) AI PHASA ..Lata Mangeshkar (Songwriter Anand Bakshi)
Heart Touching Song excellently snug by Lataji. Typical Punjabi style “DHOLAK” rhythm. Different type of rhythm is used in the “interludes”.
8) AKHIYON KO REHANE DO…..Lata Mangeshkar. (Songwriter Anand Bakshi)
Lata’s classic on “punjabi folk” tune. Wonderful rhythm.
Laxmikant-Pyarelal and Raj Kapoor’s “BOBBY” and it’s ‘Soul Of Bobby’, 1973.
It is rarest of rare occasion when the Long Playing Record has been released for any of the film’s background music. Likewise “Bobby” songs which took the nation like a ‘storm’, its background music was also extremely melodious and flows with the romantic sequences. Raj Kapoor insisted HMV to release the Long Playing record of the background music of “Bobby”.
PLEASE ! Don’t forget to listen to what Raj Kapoor says about This Long Playing record…(in the following link, at 01.39 onwards ).
SOUL OF BOBBY I
SOUL OF BOBBY II
I am deeply into Hindi Film Music since 1963, I have never-ever witnessed the GIANT popularity of all the songs of a particularly film which BOBBY music have obtained. Till date music of BOBBY remains on TOP of the chart in terms of popularity.
It rocked the Bianca Geetmala for two successive years.
It is unfortunate that “BOBBY” music did not get a award. Bobby won the filmfare awards for the actor Rishi Kapoor, actress Dimple Kapadia, Raj Kapoor for best direction, male singer, Narendra Chanchal and best sound.
Superlative Canticles for DHARMENDRA by Laxmikant-Pyarelal.
It was in the year 1966, Laxmikant-Pyarelal signed by J Om Prakash for “Aaye Din Bahar Ke”, starring Dharmendra and Asha Parekh. This was the first film of Laxmikant-Pyarelal with ‘big’ budget and ‘big’ names.
The combination of Mohammad Rafi, Laxmikant Pyarelal and Dharmendra stormed bollywood films of 1960s and 1970s. Laxmikant Pyarelal required an upcoming star with whom they could create partnership. Dharmender was one of those stars.
DHARMENDRA’s Success is Directly Proportional to Laxmikant-Pyarelal music.
Director Dalal Guha, Dharmendra, Laxmikant, Lata Mangeshkar, Pyarelal and Anand Bakshi
Laxmikant-Pyarelal have composed many Superlative Canticles for Dharmendra in as many as 66 films. Choristers like Mohammad Rafi (in most of the films), Kishore Kumar, Manna Dey (Hrishikesh Mukherjee “Chaitali”, 1975), Mukesh (Hrishikesh Mukherjee’s “Satyakam”, 1970), Mahendra Kapoor (J. Om Prakash’s “Aaye Din Bahar Ke” 1966), Shabbir Kumar, Suresh Wadkar Mohammad Aziz and Amit Kumar (superb song in “Gazab”, 1982).
It is Laxmikant-Pyarelal have given maximum hit songs to Dharmendra. The “Binaca Geetmala Final Song List” of Dharmendra Laxmikant-Pyarelal have 27 songs, (from 1966 to 1992) the highest numbers of the songs by any music directors.
Laxmikant Pyarelal with Dharmendra, Raj Kapoor & others shown to user
Maximum songs with maximum hits for Dharmendra is contributed to the music directors Laxmikant-Pyarelal. I have selected few musical films and one GEM of the song, from each films, composed by the duo for Dharmendra. Due to space constraints, many musical hits films of Dharmendra and Laxmikant-Pyarelal like “Baharon Ki Manzil”, “Sharafat”, “Satyakam”, “Man Ki Aankhen”, “Chaitali”, “Jwaar Bhata”, “Keemat”, “Charas”, “Chacha Bhatija”, “Kartavya”, “Aass Pass”..etc could not be accommodated in this write-up.
Binaca Geetmala :- Total 27 numbers of songs appeared in Binaca Geetmala Finals, for Dharmendra, composed by Laxmikant-Pyarelal. Listing out few songs which ranked higher, above 15 Numbers.
Number 13, 1967 —Mere Dushman Tu Meri Dosti “Aaye Din Bahar Ke”
Number 14 1968 – Chalo Sajna Jahan Tak “Mere Hamdam Mere Dost”
Number 09 – 1970 – Sharafat Chhod Di Maine “Sharafat”
Number 12 1972 – ABCD Chhodo “Raja Jani”
Number 04 1974 –Gaadi Bula Rahi Hai “Dost”
Number 03 1977 – O Meri Mehbooba “Dharm Veer”
Number 13 1981 – Ek Rasta Do Raahi “Ram Balram”
The orchestra arrangements in “PRELUDES” and “INTERLUDES” used to be the assets of the songs composed by Laxmikant-Pyarelal. It would be more proper to listen to the songs, listed below, after reading the write up, explaining peculiarities, for each of the songs, you will enjoy it.
Aaye Din Bahar Ke (1966).
A musical hit film from producer J Om Prakash. All the songs, listed below, are still popular.
-Ai Kash Kisi Deewane Ko…(Lata-Asha)
–Ye Kali Jab Talak…(Mahendra Kapoor – Lata)
–Suno Sajna Papihe Ne..(Lata)
–Phoolon Se Mukhde Wali…(Rafi)
–Mera Mehaboob Hai Bemisal…(Lata) AND
Mere Dushman Tu Meri Dosti Ko Tarse (Singer Mohammad Rafi. Songwriter Anand Bakshi)
Song Writer ANAND BAKSHI’s painful wordings, MOHAMMAD RAFI’s soulful rendering and LAXMIKANT-PYARELAL ‘symphonic’ orchestra arrangements are justifying the frustration in this song. It has simple but melodious BONGO drum rhythm. Also not to forget the expressions shown on screen by DHARMENDRA.
Mere Hamdam Mere Dost (1968).
A fabulous album and ultimate classic songs with melody and rhythm. It has 3 solos by Mohammad Rafi and 4 solos by Lata Mangeshkar and all the songs are still popular.
–Na Ja Kahin Ab Na Ja…(Rafi)
–Chalkaye Jaam Aaiye Aap Ke Hothon Pe Naam…(Rafi)
–Chalo Sajna Jahan Tak…(Lata)
–Allah Ye Ada Kaisi Hai In Haseeno Mein..(Lata)
–Hamen To Ho Gaya Hai Pyar…(Lata)
–Tum Jao Kahin…(Lata) AND the beauty >>
Hui Sham Unka Khayal Aa Gaya(Singer Mohammad Rafi. Songwriter Majrooh Sultanpuri )
“Prelude” is full of SAXOPHONE and PIANO with other western instruments, sets the mood of the song. A mesmerizing composition and mellifluous orchestra arrangements. Entire song is woven around the glimpses of SAXOPHONE, ACOUSTIC GUITAR & CLARINET. In all the “interludes”. Overlapping sound effect of SAXOPHONE/CLARINET with PIANO is just brilliant. VIOLA , GUITAR, CELLOS and VIOLINS are also brilliantly executed in entire song. Another beauty of the song is it’s “ rhythm” DHOLAK / TABLA are used only in “antara”…all the “interludes:” are without any rhythm but just ear-pleasing. An addict song for me. One of the finest composition from Laxmikant-Pyarelal …MOHAMMAD RAFI is simply outstanding.
Aaya Sawan Jhoom Ke (1969)
Another musical hit film from producer J Om Prakash. All songs are still popular.
–Badra Chhaye, (title song)…(Lata-Rafi)
–Ye Shama To Jali…(Rafi)
–Saathiya Nahi Jana…(Lata-Rafi)
–Bura Mat Suno…(Rafi)
–Rama Duhai…(Lata)
–Main Ek Haseena…(Asha)…. AND superb composition
Majhi Chal O Majhi Chal(Singer Mohammad Rafi. Songwriter Anand Bakshi)
“Prelude” of 16 seconds with ACOUSTIC GUITAR. “Rhythm” on BONGO DRUMS, both the “interludes” are beautifully decorated with the VIOLINS, CELLOs in SYMPHONY style orchestra arrangements, in support with the glimpses of FLUTE (first ‘interlude’) and MANDOLIN & SANTOOR (second ‘interlude’).
Izzat (1968)
Musical hit film. Dharmendra with Tanuja and Mrs. Jayalalitha. Urdu poet Sahir Ludhianvi working first time with Laxmikant-Pyarelal.
–Jagi Badan Mein Jwala…(Lata)..filmed on ex TN Chief Minister, late, Mrs Jayalalitha.
–Ruk Ja Jara…(Lata)..filmed on ex TN Chief Minister, late, Mrs Jayalalitha.
–Kya Miliye Aise Logon Se…(Rafi)
–Sar Par Lamba Top Leke…(Rafi-Asha) AND the BEST of the lot
Ye Dil Tum Bin Kahin Lagta Nahin(Singers Mohammad Rafi – Lata . Songwriter Sahir Ludhianvi)
Based on Indian Classical Raag ‘pahadi’ is yet another sweet melody. “Prelude” and all the ‘interludes’ are mellifluously orchestrated with SYMPHONY style VIOLINS with resonant TABLA rhythm. The song is written by Sahir Ludhianvi. Picturization is done on Dharmendra and Tanuja.
Jeevan Mrityu(1970)
Rajshri Picture’s super musical hit film. Actress Rakhi made a debut through this film.
–Zamane Mein Aji Aise Nadan Hote Hai…(Lata)
-Jhilmil Sitaron Ka Aangan Hoga(Singers Mohammad Rafi and Lata Mangeshkar. Songwriter Anand Bakshi)
Dulcet duet. The song is woven around the SYMPHONY style VIOLINS and FLUTE in the euphonic orchestra arrangements.
Mera Gaon Mera Desh (1971)
Is a complete movie in itself including persuasive direction from Raj Khosla and honeyed music with powerful acting by Vinod Khanna and Dharmendra.
–Maar Diya Jaye Ke Chhod Diya Jaye..(Lata)
–Sona Lai Ja Re, Chandi Lai Ja Re…(Lata)
–Apni Prem Kahaniyan, Hi Sharmau Kis Kis Ko Batau…(Lata) AND sweet duet
Kuchh Kehta Hai Ye Sawan(Singers Mohammad Rafi – Lata Mangeshkar. Songwriter Anand Bakshi)
An extremely melodious duet. SITAR,, played by late Ustad Rais Khan, is harmoniously orchestrated in “prelude”, “interlude” and “postlude” with sweet DHOLAK cadency.
Raja Jani (1972)
Superhit music, the blockbuster of the year, Dharmendra – Hema Malini endorsed as a crowd-pleasing pair. Most of the songs are sung by Lata Mangeshkar but all have been filmed on Dharmendra.
–Aa Aa Ja Aaja Kuchh Keheja…(Lata)
–Duniya Ka Mela…(Lata)
–A B C D Chhodo…(Lata)
–Kitna Maza Aa Raha Hai…(Lata) &
Jaani O Jaani Jaani O Jaani (Singer Kishore Kumar. Songwriter Anand Bakshi)
The title track song filmed in background. Distinctively intoning by Kishore Kumar on western notes. Entire song is orchestrated on ACOUSTIC GUITAR, BASS GUITAR, WHISTLING, FLUTE and CHORUS on western notes. One of the best from Kishore Kumar and Laxmikant-Pyarelal.
Loafer (1973)
Another musical blockbuster film. One of the rare film album in which maximums songs are sung by Asha Bhosle
-Koi Shahari Babu…(Asha)
-Motiyon Ki Ladi Hoon..(Asha)
-Kahan Hai Deewana…(Asha)
-Mein Tere Ishq Me…(Lata)
-Duniya Mein Tera…(Mahendra Kapoor) AND
Aaj Mausam Bada Beimaan Hai (Singer Mohammad Rafi. Songwriter Anand Bakshi)
“Prelude” of SYMPHONY style VIOLINS, brilliantly synchronized with Rafi Sahab’s HUMMING sets the mood of this sensational and romantic composition. The first “interlude” is remarkably decorated with SITAR (played by Ustad Rais Khan). Second and third “interludes” have mellifluous effect of SYMPHONY style VIOLINS. Rafi Sahab’s rendering is simply outstanding.
Dost (1974)
Superhit film with mega hit song
Gaadi Bula Rahi Hai City Baja Rahi Hai(Singer Kishore Kumar. Songwriter Anand Bakshi)
Inspirational song sweetly composed on BONGO DRUM rhythm synchronized with ‘STEAM ENGINE’ sound, Engine HORN and VIOLINS. Interludes are also beautifully orchestrated with the glimpses of MOUTH-ORGAN, VIOLINS and SAXOPHONE.
Pratigya (1975)
It was Dharmendra’s first home production film directed by Dalal Guha.
-Morni Re Morni Main Jungle Ki Morni…(Lata)
–Pardesi Aaya Desh Me…(Lata)
–Uth Neend Se…(Lata-Rafi) AND Huge Hit, everfresh and evergreen Song
Main Jat Yamla Pagla (Singer Mohammad Rafi. Songwriter Anand Bakshi)
“Prelude” of 45 seconds is full of intermixing of the VIOLINS, Indian WIND musical instruments and Rafi Sahab’s “shouts” in “folkish” flavor. Beautiful, fast-track, DHOLAK rhythm. “Interludes” are mellifluously orchestrated with VIOLINS, Rajasthani Violins (RAVANHATHTHA), Punjabi DHOLs and Rafi Sahab’s sweet “screaming”.
Dharm Veer (1977)
Manmohan Desai’s huge musical hit.
–Saat Ajube Is Duniya Mein…(Rafi-Mukesh)
–Band Ho Mutthi To Lakh Ki…(Lata-Asha)
–Hum Banjaron Ki Baat…(Lata-Kishore)
–Maine Tujhko Chaha…(Rafi) AND a sensational HIT
O Meri Mehbooba (Singer Mohammad Rafi. Songwriter Anand Bakshi)
Enjoy the mesmerizing “Prelude” of 38 seconds and the orchestra arrangements in all the “interludes”. Also enjoy the ‘Stroke’ of an ACOUSTIC GUITAR in the second line of the ‘mukhada” ( after, “o meri mehbooba, 1.01 seconds onward). VIOLINS and WIND instruments are awesomely used in the orchestra. Fasttrack DHOLAK drum is ear-pleasing.
Dream Girl (1977)
It was Hema Malini’s first home production film. It has very good music. Songwriter Anand Bakshi have penned a ‘special’ song for the ‘dream girl’.
The song is wonderfully composed on western style. Use of SAXOPHONE in all the interludes is mellifluous. The song is from Hema Malini’s home production “DREAM GIRL” 1977. Awesomely rendered by Kishore Kumar and specially penned by Anand Bakshi, for the natural dream girl Hema Malini.
Gazab (1982)
Good film with melodious songs
-Ai Hawa Ye Bata…(Lata)
-Aage Se Dekho…(Lata-Kishore)
-Ghar Se Chali Thi…(Kishore-Lata) AND
Jaan-E-Man Jaan-E-Jigar Jaan-E-Tamanna (Singer Amit Kumar Songwriter Anand Bakshi)
Full credit to singer Amit Kumar for delivering his best. The song is typical LP flavor song.
Laxmikant-Pyarelal 
