There is a resemblance in the skyrocketing carrier of actress Mumtaz and music director Laxmikant-Pyarelal. Both of them started their film carrier in early sixties. Both the artists, initially worked in B grade films. Even in B grade films, around mid sixties, Mumtaz gave a splendid performances and gradually reach on top of the carrier. Alike, Laxmikant-Pyarelal also composed A grade music while working for B grade films in mid sixties.
Laxmikant-Pyarelal have composed some fabulous music / songs for Mumtaz’s films, even when she was working in B grade films and also as a side actress during her struggling days.
The association of Mumtaz with Music by Laxmikant-Pyarelal lasted for as many as 21 films. Exquisite Mumtaz has got the maximum numbers of hit songs composed by Canorous Laxmikant-Pyarelal, with as many as 13 songs, the highest numbers by any music director, in Binaca Geetmala Finals.
Laxmikant-Pyarelal magical super hit song, ‘Bindiya Chamke Gi’ from “Do Raaste” in 1969 gave name and fame as well as ‘star’ status to Mumtaz. Likewise, Laxmikant-Pyarelal music did similar success for Sridevi ‘HawaHawai’ from “Mr India” in 1987 and also for Madhuri Dixit ‘Ek Do Teen’ from “Tezab” in 1988.
Mumtaz, while acting as a supporting role, got some glittering songs from Laxmikant-Pyarelal in “Pyar Kiye Jaa” 1966, a rock-n-roll duet ‘O Meri Maina’, intonned by Manna Dey – Usha Mangeshkar, in “Patthar Ke Sanam” 1967, a provocative ‘Ai Dushman-E-Jaan’ , appealingly rendered by Asha Bhosle and an immortal qawali ‘Allah Ye Ada Kaisi Hai’ , melodiously rendered by Lata Mangeshkar for “Mere Hamdam Mere Dost” 1968.
Crowd-Pleasing as well as the popular pair of Mumtaz with Rajesh Khanna have maximum musical hit films with the music by Laxmikant-Pyarelal. “Do Raaste” (1969), “Dushman” (1972), “Roti” (1974) and “Prem Kahani” (1975).
Mumtaz and Jeetendra, one of the most popular pair of late sixties and early seventies have the super-hit films like “Jigri Dost” 1969, “Himmat” 1970, “Maa Aur Mamta” 1970, “Chahat” 1971 and “Roop Tera Mastana” 1972. All have prominent superhit music composed by Laxmikant-Pyarelal.
L V Prasad and Laxmikant-Pyarelal musical hit “Khilona” 1970, powerfully acted by Mumtaz, considered to be the best film of her carrier. She received the best female actress award from filmfare. This film too have some extremely melodious songs including one of the best Mujra songs of hindi film music, ‘Sanam Tu Bewafa Ke Naam Se’, filmed on Mumtaz.
Not to forget the sensational hit song from Mumtaz starrer film ‘Loafer” 1973, Asha Bhosle’s stunner with Laxmikant-Pyarelal, ‘Koi Shahari Babu’ as well as Lata Mangeshkar’s soft melody, ‘Mein Tere Ishq Mein’.
Laxmikant-Pyarelal have used only four singers for Mumtaz.
Lata Mangeshkar with maximum songs, followed by Asha Bhosle, Suman Kalyanpur and Usha Mangeshkar.
Mumtaz with Laxmikant-Pyarelal Film List:-
Boxer 1965
Daku Mangal Singh 1966
Pyar Kiye Jaa 1966
Patthar Ke Sanam 1967
Mere Hamdam Mere Dost 1968
Shart 1969
Do Raaste 1969
Jigri Dost 1969
Mera Dost 1969
Khilona 1970
Himmat 1970
Humjoli 1970
Maa Aur Mamta 1970
Chahat 1971
Dushman 1972
Roop Tera Mastana 1972
Loafer 1973
Roti 1974
Prem Kahani 1975
Lafange 1976
Nagin 1976
Let us review few of the best of songs composed by Laxmikant-Pyarelal, for MUMTAZ. The songs which are filmed on Mumtaz are listed, below each films.
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.
BOXER 1965
— Tune Jo Samaja Hai (Lyricist Anand Bakshi / Singer Asha Bhosle)
A Black and White, rare gem, in Rock-N-Roll style, from Asha Bhosle when Laxmikant-Pyarelal were relatively new. 39 seconds of “prelude” excellently orchestrated by ELECTRIC GUITAR intermixed with the rhythm of CLAPPING. The song has suitable BONGO DRUM rhythm suiting to rock-n-roll, twist song. “Interludes” are awesomely instrumented with BRASS instruments, mainly TRUMPET and GUITAR, VIOLINS and ACCORDION. Once again the CLAPPING is wonderfully used in the “interlude”.
DAKU MANGAL SINGH 1966
Musical film starring Dara Singh – Mumtaz.
—Ek To Ye Bahar Uspe (Lyricist Anand Bakshi / Singer Lata Mangeshkar)
An extremely melodious song with 25 seconds of ‘prelude’, full of VIOLINS and SITAR, sets the mood of the song. FLUTE is awesomely used as ‘filler’ in the song. Delicately sung by Lata Mangeshkar. Mumtaz looks stunning.
PYAR KIYE JAA 1966
— O Meri Maina (Lyricist Rajendra Krishan / Singer Manna Dey – Usha Mangeshkar – Mehmood)
One of the superhit song of Mumtaz from mix-sixties. Fast track, western style ‘Twist” and “Rock-N-Roll” rhythm. ELECTRIC GUITAR, ACOUSTIC GUITAR , BRASS INSTRUMENTS mainly TRUMPETS are distinctively used in the orchestra arrangements.
There’s a story to that. While on a trip to Lebanon Laxmikant and Pyarelal met Fairouz, the famous Arabic singer, and her husband and his brother who composed her songs. Laxmikant-Pyarelal thought her guttural style was appealing, and tried to get Ashaji to do it at the end of the word “Allah” – A-haaa. Superb take off by Ashaji and only she can give justice to such songs. The song is composed on western beats. In the “interludes”, GUITAR, VIOLINS, ACCORDION and CELLOs are awesomely orchestrated, overlapped with CLAPPING in the rhythm. Mumtaz looks provocative.
MERE HAMDAM MERE DOST 1968
—Allah Ye Ada Kaisi Hai (Lyricist Majrooh Sultanpuri / Singer Lata Mangeshkar)
This is ‘’QAWWALI” sung by Lataji. Amazing work on “rhythm” .. “DHOLAK”, “TABLA” and the “CLAP”. The song is full of variation in all aspects, second stanza is on fast track..Mumtaz has justified the song by dancing on the rhythm. Wonderful song.
JIGRI DOST 1969
Blockbuster with superhit songs
—Dil Mein Kya Hai ..Lata-Rafi
—Phool Hai Baharon Ka ..Lata-Rafi
and a ‘classic’ duet
—Raat Suhani Jaag Rahi Hai (Lyricist Anand Bakshi / Singer Suman Kalyanpur – Mohammad Rafi)
An extremely euphonious song. Mesmerizing orchestra arrangements in SYMPHONY style VIOLINS in support with ACOUSTIC GUITAR and wonderful BONGO DRUM rhythm.
DO RAASTE 1969
Who can forget the crowd-puller songs which made Rajesh Khanna-Mumtaz a illustrious pair. Who can forget very melodious super hit songs.
—Chhup Gaye Sare Nazare …. Lata-Rafi
—Yeh Reshmi Julfe …. Rafi
—Mere Naseeb Mein Ae Dost …. Kishore
and the Top HIT
—Bindiya Chamake Gi (Lyricist Anand Bakshi / Singer Lata Mangeshkar)
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 Binaca Geetmala Finals of the year 1970. The song made Mumtaz a ‘star’, overnight.
KHILONA 1970
Musical hit film, establishing Mumtaz as an A grade actress.
—Khilona Jaan Kar Tum To ….Rafi
—Mein Sharabi Nahin ….Asha-Rafi
—Ek Natak Kavi Likh Gaye …Lata-Manna Dey
and the classic “Mujra”
—Sanam Tu Bewafa Ke (Lyricist Anand Bakshi / Singer Lata Mangeshkar)
Mellifluously orchestrated with prominent use of HARMONIUM, in ‘interludes’ as well as the ‘filler’, at the end of the “antara”. One of the finest Mujra songs of Hindi Cinema. Wonderful ‘prelude’ of 32 seconds, full of DHOLAK rhythm synchronised with VIOLINS nd SITAR. Spectacular take off by Lata ji, at the same time 20 seconds ‘pause’ in the orchestra gives additional flavor to this resonant composition. The rhythm of the song is from DHOLAK / TABLA, intermixed with the CLAPPING and GHUNGROO BELLS. All the ‘interlude’ are excellently orchestrated with traditional musical instruments NADASWARAM, SAROD, SARANGI, MANDOLIN, SITAR, VIOLINS and HARMONIUM.
MAA AUR MAMTA 1970
—Rut Beqarar Hai Lyricist Anand Bakshi / Singer Lata Mangeshkar – Mohammad Rafi
Breezing Melody:: One of the finest and extremely melodious Lata-Rafi duet. Arrangements of orchestra is in SYMPHONY style VIOLINS in support with JAZZ FLUTE, WHISTLE, MANDOLIN and ACOUSTIC GUITAR.
ROOP TERA MASTANA 1972
With many hit songs this song stands out to be the best
—Bade Bewafa Hai Ye ..Mohammad Rafi
–Dekhlo Wo Ghata …Lata Mangeshkar
—Dil Ki Baatein Dil Hi Jaane (Lyricist Asad Bhopali / Singer Lata Mangeshkar – Kishore Kumar)
Western style composition with unique BONGO Drums rhythm. The orchestra arrangements hypnotises the music lovers. ACOUSTIC GUITAR, VIOLINS, ACCORDION are melodiously instrumented in all the interludes. Top hit song.
27 seconds of “prelude” orchestrated with folkish traditional musical instruments, DAMRU, “BOLI” / “SHRUTTI” (This is a musical instrument made of two thin and small bamboo strips which have a reed in between and produces a sharp sound by blowing air in and out on it) RAVANHATTA ( a home made Violin from Rajasthan) and the VIOLINS. Entier song is woven around the glimpses of RAVANHATTA and the DHOLAK rhythm. Mumtaz looks pretty in village traditional dress.
LOAFER 1973
A musical bonanza from Laxmikant-Pyarelal.
Asha Bhosle has sung as many as three solo songs, all filmed on Mumtaz.
Perhaps the most popular song of Asha Bhosle with Laxmikant-Pyarelal. Asha Bhosle has sung as many as three solo songs, all filmed on Mumtaz. It is “folkish” songs
with “prelude” over 30 seconds is full of HARMONIUM, GHUNGROO BELLS, VIOLINS and SHEHNAI with mesmerizing DHOLAK rhythm. The same instruments are used in the orchestra arrangements for all the “interludes”. Mumtaz looks beautiful.
PREM KAHANI 1975
Producer – Director Raj Khosla’s superhit musical blockbuster.
Mid sixty was the time when Laxmikant-Pyarelal music became an essential component of the every successful film. Big banners, prominent producers, low budget filmmakers and directors, all, wanted Laxmikant-Pyarelal to score them for their respective films.
It is to be noted that 1967 was the year of Laxmikant-Pyarelal, they not only consolidated their position in hindi film music but also officially, became the “number one” music director in hindi film industry. In 1967 Laxmikant-Pyarelal gave series of MUSICAL HIT films like, “Anita”, “Night In London”, “Patthar Ke Sanam”, “Shagird”, “Jaal”, “Taqdeer” and “Milan”.
All these films, mentioned above, were successful, musical hits with BIG Names of Actor/Actress. BUT in the same year, 1967, just around “Diwali” one NON-STARCAST, low budget film “FARZ” released. “FARZ” was made in “James Bond” style and had no big names.
It was actor JEETENDRA and actress Babita’s second film. Both Jeetendra and Babita had not star value then. It was produced by Sunderlal Nahata & Doondy, the producers from South and directed by Ravikant Nagaich. “FARZ” has SIX ‘ huge hit’ songs. All the songs became immensely popular. This film broke all the records of Previous Hits of Laxmikant-Pyarelal.
“FARZ” became the FIRST BIGGEST HIT in Laxmikant-Pyarelal carrier.
“FARZ” celebrated ’golden jubilee” ( 50 weeks run) in almost all the major cities of India.
“FARZ” made actor JEETENDRA a “STAR”. “FARZ” songs, still popular even today, storm the nation in the year 1967.
This is how the association of JEETENDRA and Laxmikant-Pyarelal started. Since then Jeetendra and Laxmikant-Pyarelal have been associated with as many as 76 films till 1998.
Laxmikant-Pyarelal have given Paramount Prominent Canticle Punch for JEETENDRA in many of the hit films.
Listing below few major super musical hit movies of this combo.
Farz (1967), Jeene Ki Raah (1969), Jigri Dost (1969), Dharti Kahe Pukarke (1969), Maa Aur Mamta (1970), Jawab (1970), Himmat (1970), Khilona (1970), Humjoli (1971), Chahat (1971), Ban Phool (1971), Shadi Ke Baad (1972), Roop Tera Mastana (1972), Ek Bechara (1972), Anokhi Ada (1973), Gehri Chaal (1973), Dulhan (1974), Bidaai (1974), Nagin (1976), Dharam Veer (1977), Apnapan (1977), Badaltey Rishtey (1978), Jaani Dushman (1979), Aasha (1980), Jyoti Bane Jwala (1980), Judaai (1980), Maang Bharo Sajana (1980), Pyaasa Sawan (1981), Ek Hi Bhool (1981), Raaste Pyar Ke (1982), Deedar-E-Yaar (1982), Arpan (1983), Sanjog (1985), Swarag Se Sunder (1986) and many more.
Pyarelal, Jeetendra & Laxmikant
Laxmikant-Pyarelal have utilized many singers to render the songs for Jeetendra.
1 Mohammad Rafi
2 Mukesh
3 Kishore Kumar
4 Mahendra Kapoor
5 Anwar
6 Shabbir Kumar
7 S P Balasubramaniam
8 Mohammad Aziz
9 Suresh Wadkar
10 Dr. Kamalesh Awasthi
After getting a “star” status through Laxmikant-Pyarelal musical hit films like “FARZ” in 1967, “JEENE KI RAAH”, “JIGRI DOST’ and “DHARTI KAHE PUKAR KE” in 1969, “JAWAB”, “MAA AUR MAMTA” and “HIMMAT” in 1970, actor ‘Star’ Jeetendra became producer in 1971 and launched his home production unit made Humjoli a super duper musical hit.
This combo of music director Laxmikant-Pyarelal and Producer/Actor Jeetendra have also given many musical hits.
‘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.
— Hum To Tere Aashiq Hai ..Lata-Mukesh
— Tumse O Haseena Kabhi ..Suman-Rafi
— Dekho Dekho Ji ..Lata
— Na Na Aaja Mere Pass ..Asha
TWO TOP HITs
— Mast Baharon Ka Main Aashiq …M. Rafi / Lyricist Anand Bakshi
The “prelude” of 49 seconds is just mesmerizing. VIOLINS, GUITARs and BONG DRUMS are excellently executed in the entire orchestra.
— Bar Bar Din Ye Aaye Happy Birthday Mohammad Rafi / Lyricist Anand Bakshi 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, timeless masterpiece.
2 JEENE KI RAAH 1969
It was Producer/Director L V Prasad’s super duper musical hit film with spellbound, award winning music by Laxmikant-Pyarelal
— Chanda Ko Dhoondhne Sabhi .. Rafi, Hemlata, Asha, Usha
Mesmerizing “Prelude” of 40 seconds, with overlapping sound effects of VIOLINS, Twitting of BIRDs, Mohammad Rafi’s “aalap” as well as ACOUSTIC GUITAR, gives the feeling of village background. Both the mellifluous “Interludes” have different orchestra arrangements, decorated with FLUTE, VIOLIN and ACCORDION. This sweet and melodious song have ear-pleasing ‘DHOLAK’ rhythm.
3 JIGRI DOST 1969
Super duper musical hit film with some fabulous songs
— Phool Hai Baharon Ka ..Lata-Rafi
— Raat Suhani Jaag Rahi Hai ..Suman-Rafi
— Mere Desh Mein Pawan Chale ..Rafi
— Chhedo Na Dekho Na ..Asha
— Tirchhi Topi Wale ..Lata
AND TOP HIT SONG
–– Dil Mein Kya Hai .. Lata Mangeshkar-Rafi /Lyricist Anand Bakshi
This is an extremely melodious duet designed and orchestrated in SYMPHONY style VIOLINS intermixed with FLUTE in the “interludes”. Wonderful rhythm in the form of BONGO DRUMS. Lata-Rafi sounds “ear-pleasing”.
4 DHARTI KAHE PUKAR KE 1969
Musical Blockbuster Film with Captivated Songs.
— Jaa Re Kare Badra ..Lata
— Khushi Ki Raat Aa Gayi ..Mukesh
— Diye Jalaye Pyar Ke ..Lata (Beautiful song composed in “WALTZ” style)
— Dharti Kahe Pukar Ke ..Rafi
AND TOP HIT SONG
— Je Hum Tum Chori Se .. Lata-Mukesh / Lyricist Majrooh Sultanpuri
Melodious duet in “folkish” style of DHOLAK rhythm. Sounds of SHEHNAI and NADASWARAM are brilliantly intermixed with FLUTE and GHUNGROO BELLS, in all the “interludes” to get the typical Indian Village feeling.
5 HUMJOLI 1970
It was actor Jeetendra’s first movie as a Producer. The film was BIG Musical Hit.
— Hi Re Hi Nind Nahi Aaye ..Lata-Rafi
— Tik Tik Tik Mera Dil Dole ..Lata-Rafi. Beautifully composed Cabaret / Jazz
— Chal Shuru Ho Ja ..Rafi-Kishore
— Yeh Kaisa Aaya Zamana ..Mukesh-Kishore-Mehmood
— Hu Tu Tu ..Asha-Kamal Barot
AND UNIVERSAL HIT
— Dhal Gaya Din Ho Gayi Shaam ..Rafi-Asha /Lyricist Anand Bakshi
Western style melodious duet orchestrated in SYMPHONY style VIOLINS and GUITAR. The “shuttlecock” sound in the song is generated with the help of “Soda Water Bottle” neck.
6 BANPHOOL 1972
It was Director Vijay Bhatt musical hit enthralled songs.
KISHORE KUMAR & Laxmikant-Pyarelal at their Melodious best. Fascinated ‘folkish style’ “prelude” of 62 seconds starts with ‘BELL’ aural and Kishoreji ‘humming’ / ‘aalap’ followed by MANDOLIN with overlapping sound effect of SANTOOR, FLUTE and VIOLINS. From 0.55 to 1.04 the ‘BELL’ aural (sound) is wonderfully overlapped with MANDOLIN and Kishorji ‘humming’ / ‘aalap’. Mind-Boggling take off by Kishore Kumar at 1.12 than “pause” for 3 seconds, just to concentrate on DHOLAK ‘rhythm, an ‘ear-pleasing’ moment. Kishorji ‘humming’ / ‘aalap” is mellifluously decorated in first ‘interlude’ with FLUTE, SANTOOR and VIOLINS. Kishore Kumar’s ‘humming’ and the DHOLAK rhythm are the biggest assets of this song and it is continued till end, ‘postlude’ of 35 seconds. A real treat for all KK fans.
7 ROOP TERA MASTANA 1972
Songs of this film will bemused any music lover.
— Dil Ki Baatein Dil Hi Jaane ..Lata-Kishore
— Aakash Pe Do Tare ..Lata-Mahendra
— Dekh Lo Wo Ghata ..Lata (Soul Stirring Romantic Composition )
— Haseen Dilruba ..Rafi
— Ban Than Ke ..Lata
AND A GEM of a song 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 Sahab’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 & LP’s various ‘pauses’ is an added feature of this song.
8 ANOKHI ADA 1973
Super musical
— Tere Dil Mein Zara Si Jagah ..Lata-Rafi
— Sundari Aay Haay Sundari ..Kishore
AND LOVELY “QAWWALI” by KISHORE KUMAR.
— Haal Kya Hai Dilon Ka Na Puchh0 ..Kishore Kumar / Lyricist Majrooh Sultanpuri
Rarest of rare ‘qawwali’ song sung by Kishore Kumar in his own style.
9 NAAGIN 1975
Super duper musical. The only song, filmed on Jeetendra, has been considered.
— Tere Sang Pyar Main ..Lata-Mahendra Kapoor / Lyricist Verma Malik
This is an accordant theme song of the film with enrich orchestra arrangements. Beautiful ‘take off’ through Lataji ‘aalap’, VIOLINS, GHUNGROO BELLS and DHOLAK rhythm. In the “interlude” NAGIN BIN, VIOLINS and FLUTE are miraculously orchestrated, in a different way with distinctive tunes.
10 BADALATE RISHTE 1978
Wonderful music with all songs hit.
— Na Jaane Kaise Pal Mein .. Kishore-Rafi-Suman
— Vo Vo Na Rahe ..Rafi
— Gumsum Si Khoyi Khoyi ..Anuradha-Kishore
AND A perennial ‘CLASSIC’
— Meri Sanson Ko Jo Meheka Rahi Hai ..Lata-Mahendra / Lyricist Anjan
An extremely melodious duet designed in Indian Classical Raag “PURIYA DHANASHREE”. Excellent use of SANTOOR and SITAR with mellifluous DHOLAK / TABLA “rhythm”.
11 JAANI DUSHMAN 1979
Rajkumar Kohli’s mega musical hit, multi starrer. Jeetendra was one of star.
— Chalo Re Doli Uthao ..Rafi
— O Meri Jaan ..Kishore-Anuradha
AND A DOMINANT HIT
— Tere Haathon Mein Pehna Ke ..Rafi-Asha / Lyricist Verma Malik
Mesmerizing composition. “Prelude” of 40 seconds. SHEHNAI and NADASWARAM are awesomely intermixed followed by VIOLINS in SYMPHONY style then “folkish” DHOLAK rhythm and then glimpses of HARMONIUM. All the “interludes” are also orchestrated with the above musical instruments in addition it has a “CLAPPING” in the “rhythm”.
12 PYAASA SAWAN 1981
This musical hit film was produced by Jeetendra. It has some melodious songs.
— Tera Saath Hai To ..Dr. Kamalesh Awasthi
— Tera Saath Hai To .. Lata
— In Haseen Wadiyon Mein ..Lata-Suresh
— O Meri Chhammak Chhallo ..Kishore-Asha
AND “ETERNAL CLASSIC”
— Megha Re Megha Re ..Lata-Suresh Wadkar
Euphonic composition in an Indian Classical Raag “CHARUKESHI”. FLUTE is prominently and effectively used in the entire song and is wonderfully synchronised with the voices of Suresh Wadkar and Lata Mangeshkar.
13 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
— Id Ka Din Hai ..Rafi-Asha
— Marne Ka Gham Nahin ..Asha
AND A stroke of genius (Mohammad Rafi & Kishore Kumar)
— Mere Dildar Ka Baankpan ..Rafi-Kishore / Lyricist Sahir Ludhianvi
Lata Mangeshkar and Laxmikant-Pyarelal :: Black and White GEMs
Laxmikant-Pyarelal the most prolific musical duos of Indian cinema. The duos musical journey started when they were in their adolescence. In 1952 , it was Lata Mangeshkar who looked out the duo’s talent when Laxmi-Pyare were working for Sureel Bal Kala Kendra, a music academy for children, run by Mangeshkar family.
Laxmikant, Lata Mangeshkar & Pyarelal (Sometime in 1964)
Both Laxmikant and Pyarelal have a strong bonding at Sureel Bal Kala Kendra. It was named after a gang of Sureela boys including Laxmiji, Pyareji, Lataji’s younger brother, Hridaynath Mangeshkar, Laxmiji’s brother Shashikant, Pyareji’s brothers Ganesh and Gorakh as well as few friends, totaling 15 young boys. The sureela boy’s gang hung around together at Lataji’s home.
Lata Mangeshkar recommended Laxmikant-Pyarelal names to music directors like C Ramchandra, Shankar-Jaikishan, S D Burman.
Laxmikantji has worked as a musician to play Mandolin, with C. Ramchandra, Shankar-Jaikishan, O P Nayyar, Hemant Kumar, Ravi, Roshan and S D Burman.
Pyarelalji has worked as a musician to play Violin, with Bulo C Rani, Naushad, Madan Mohan, C Ramchandra, Khayyam, Chitragupta and S D Burman.
Both Laxmikant-Pyarelal have worked together as an assistant with R D Burman (Chhote Nawab) and Kalyanji-Anandji (Chhaliya, Poornima, Satta Bazar, Mehandi Lagi Mere Haath, Bluffmaster, Himalay Ki God Main, Jab Jab Phool Khile, and many).
In 1963, noted filmmaker Mr. Babubhai Mistry gave a chance to Laxmikant and Pyarelal to score the music independently for the film “Parasmani” which was released in 1963. They started the music director’s name as Laxmikant-Pyarelal. . (LP in short). The LP era has now started. All the songs of “Parasmani” a B grade film, became immensely popular.
Later this exclusive conglomeration of Lata Mangeshkar and Laxmikant-Pyarelal went on to make history by recording 712 songs (from 1963 to 1998). The highest numbers of the songs sung by Lata Mangeshkar under any music director.
Pyarelal, Rashtrakavi Pradeep, Lata Mangeshkar, Laxmikant
During initial stages, BLACK and WHITE era, this magical “threesome” have given A grade music, even if the film was B or C grade. We are going to review a few gems of songs from Lata Mangeshkar and Laxmikant-Pyarelal.
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.
Mere Dil Main Hal Ki Si PARASMANI 1963
Lyricist: Asad Bhopali
Mellifluously orchestrated, beautiful “Prelude” consists of SITAR and TABLA. Awesome take off by Lataji. “Interludes” with Symphony VIOLINS, FLUTE, GUITAR and SAXOPHONE with BONGO Drums Rhythm, leaves you speechless. Lata Mangeshkar sounds extremely melodious in both the ‘antaras’. Worth to listen to 40 seconds ‘postlude’.
Main Ek Nanha Sa Chhota Sa HARISHCHANDRA TARAMATI 1963
Lyricist: Rashtravi Kavi Pradeep
मैं एक छोटासा नन्हासा बच्चा हूँ , तुम हो बड़े बलवान, प्रभूजी मेरी लाज रखो A huge hit song from Laxmikant-Pyarelal second released movie “HARISHCHANDRA TARAMATI”, 1963. All the songs of this film became extremely popular. It was a surprise package from Laxmikant-Pyarelal when their 1963 released “Parasmani” songs were still very much popular and in demand, as well. The above mentioned song is the most popular and “crowded puller” song of the film. Hit the Binaca Geetmala Chart List. Wonderfully orchestrated with FLUTE, Symphony VIOLINS and melodious DHOLAK rhythm. One of the best “devotional” songs filmed on Child Artist. The first song of Lata Mangeshkar and Laxmikant-Pyarelal, filmed on Child Artist. This song is awesomely worded by “Rashtra Kavi PRADEEP” (who also wrote ‘ai mere watan ke logo’). Coincidently, after many years actor Shakti Kapoor used this songs wording, as a comedy dialogue, in the film “Raja Babu”. Enjoy this beautiful melody.
Khabar Mori Na Li SANT GYANESHWAR 1964
Lyricist: Pandit Bharat Vyas
Extremely Melodious, based on Hindustani Classical Raag, ‘SHIVRANJANI’…Awesome TABLA rhythm. FLUTE is wonderfully used as ‘filler’ in Mukhada and in the “Interlude”. One of the best of Lata-LP
Kabhi To Miloge Jeevan Saathi SATI SAVITRI 1964
Lyricist: Pandit Bharat Vyas
Mind-Blowing composition in Raag KALAWATI. Beautiful use of FLUTE, SYMPHONY style orchestra arrangements, VIOLINS, in- between the song. Both FLUTE and VIOLINS in ‘symphony’ style melodiously executed in ‘antara’ as filler. Beautiful composition on raag ‘KALAVATI’. The depth of emotions, soul and divine melody of this rendition in Rag kalavati is timeless and matchless.
Gudiya Humse Ruthi Rahogi DOSTI 1964
Lyricist: Majrooh Sultanpuri
Very innocent song, pleasantly sung and composed. It has been softly orchestrated with the excellent use of ACCORDION, FLUTE, GUITAR and MANDOLIN.
Allah Kare Tu Bhi Aajaye Mr. X In Bombay 1964
Lyricist: Asad Bhopali
A musical hit movie, starring great actor/dancer KUM KUM and evergreen Kishore Kumar. The film have some outstanding songs sung by Kishore Kumar-Lata Mangeshkar. BUT also some fabulous solos by Lata Mangeshkar. This song starts with wonderful “prelude” (33 seconds) PIANO and Symphony VIOLINS. A unique ‘QAWWALI” rhythm. An extremely melodious song. Awesome use of CLAPPING intermixed with rhythm. The perfect example of “Chemistry” between Lata Mangeshkar and Laxmikant-Pyarelal. The song is written by Asasd Bhopali.
Balama Kitna Nadan Hai Tu SHREEMAN FANTOOSH 1965
Lyricist: Anand Bakshi
Laxmikant Pyarelal crafts a brilliant song with utterly delectable SITAR in ‘prelude’. Wonderful use of DHOLAK. Everything seems to fit into the composition.
Tum Kaun Ho Tumhara Naam Hai Kya AASRA 1966
Lyricist: Anand Bakshi
This melodious song starts with 10 seconds of ‘prelude’ in the form of resonant ‘humming’ by Lataji . ACOUSTIC GUITAR awesomely orchestrated in soft ‘rhythm’. FLUTE is prominently used in first ‘interlude’. SITAR is mellifluently used in second ‘interlude’.
Nind Kabhi Rehati Thi AASRA 1966
Lyricist: Anand Bakshi
(नींद कभी रहती थी आँखों मैं ) , The song with full of “pauses”.
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 ‘Neend Kabhi Rehti Thi Aankhon Mein’ 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 surrounds sound of Lataji, in ‘mukhada’ and ‘antara’). The rhythm of DHOLAK and TABLA is worth to listen to as it is of different flavor. On the top of everything…the chemistry of Lataji & LP worked miracle.
Payal Ki Jhankar Raste MERE LAL 1966
Lyricist: Majrooh Sultanpuri
Mesmerizing “Prelude” of 44 seconds, full of HARMONIUM, FLUTE and DHOLAK, sets the mood to listen to this gem of composition. Entire song is woven around glimpses of HARMONIUM (played by Sonik Verma, a Blind Musician, of Sonik-Omi music director pair). In all the “Interludes” and also as a “filler”, the HARMONIUM is used mellifluously giving ear-pleasing moments. Super Duper HIT song of the year 1966.
Maa Mujhe Apane Aanchal Main Chhupale CHHOTA BHAI 1968
Lyricist: Anand Bakshi
One of the extremely melodious songs from the unique combo of Lata Mangeshkar & Laxmikant-Pyarelal. Anand Baxi has put touching wordings on mother and son relations. In terms of composition it is one of the finest compositions from the desk of LP. BAMBOO FLUTE with VIOLINS is wonderfully displayed in the entire orchestra. DHOLAK theka suits the tempo of the song.
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.
((Yash Chopra with Laxmikant-Pyarelal during the Golden Disc Ceremony of Subhash Ghai’s musical hit “HERO” in 1983.))
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 Taigore and 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 songs..
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.
Mere Dil Main Aaj Kya Hai Kishore Kumar
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 KK under Laxmikant-Pyarelal.
Hum Aur Tum Tum Aur Hum Kishore Kumar – Lata Mangeshkar
This Kishore Kumar and Lata Mangeshkar romantic song is completely woven around the rhythm based ACOUSTIC GUITAR. Another beauty of this song is it’s ‘interludes’. Both the ‘interludes’ have different tunes. First ‘interlude’ full of ‘aalaps’ by Kishore & Lata with glimpses of VIOLINS. In second ‘interlude’ the VIOLINS are decorated in ‘Waltz’ style with beautiful “pauses”. Even Lataji and Kishorji have also rendered the ‘pauses’ in the songs.
Ni Main Yaar Mana Ni Lata Mangeshkar – Kishore Kumar
Typically Punjabi flavored and very famous female duet excellently sung by Lata Mangeshkar – Minoo Purushottam. . Powerful rhythm of the song consists of “DHOL”, “DHOLAK”, “TABLA” and “CLAPPING” is just mind-blowing. All the “interludes” are orchestrated with SHEHNAI and other Indian traditional instruments. “Postlude” is worth to listen to.
Ab Chahe Maa Ruthe Ya Baba Lata Mangeshkar – Kishore Kumar
This song is composed in “BHANGADA” style of dance. Stylishly rendered by Kishore Kumar and Lata Mangeshkar to justify the voice of college students. It has a typical LP style rhythm. One more hit song from the film. Both Rajesh Khanna and Sharmila Taigore look good.
Jab Bhi Chahe Nayi Duniya Kishore Kumar – Lata Mangeshkar
Sad song with magical lyrics words by Sahir Ludhiyanvi. In this “gazal” style song ‘interludes’ are beautifully decorated by VIOLINS in “symphony” style orchestra with beautiful overlapping sound effect.
Hawa Chale Kaise Lata Mangeshkar
Song starts with zero prelude, Lata rendering then VIOLINS (big ‘pause’) and SANTOOR. Melodious Lata singing on different type “rhythm” by using BONGO DRUMS in this song.
Laxmikant-Pyarelal were nominated for the best music directors for “DAAG” along with Raj Kapoor’s “BOBBY” In 1973.. Sadly, none of these films got the best music director award, in spite of an outstanding music for both the films.
After the thumping success of musical hit film ”DAAG”,Yash Chopra wanted Laxmikant-Pyarelal to score the music for his next film ”KABHI KABHI”. But Laxmikant-Pyarelal were very busy with some other projects.
It is an UNFORTUNATE….that Yash Chopra’s First Musical Hit Film “DAAG” became the FIRST and LAST film for Laxmikant-Pyarelal.
If you compare all Yash Raj Films Musical score, DAAG remains the BEST and top sellers. As on Today, 46 Years Old Songs are still popular.
UNSURPASSABLE Amitabh Bachchan and Laxmikant-Pyarelal
The association of Amitabh Bachchan and Laxmikant-Pyarelal started with the film “Raste Ka Patthar”, 1972 and lasted till the film “Khuda Gawah” , 1992. In these 20 years we have enjoyed many memorable hit songs composed by Laxmikant-Pyarelal for Amitabh Bachchan.
Unbiasedly, it is Laxmikant-Pyarelal have given maximum hit songs to Amitabh Bachchan. One can easily make out from the final “Binaca Geetmala Song List” of the songs of Amitabh Bachchan, 75 numbers, Laxmikant-Pyarelal have 26 songs, (from 1972 to 1992) the highest numbers of the songs by any music directors. (R D Burman 21 songs, Kalyanji-Anandji 13 songs). Not only that It is Music Directors Laxmikant-Pyarelal have scored for maximum numbers of the films for Amitabh Bachchan (nearing 30 films). Listing out Major Musical Hit Films:-
“Raaste Ka Patthar” 1972,
“Ek Nazar” 1972,
“Gehri Chaal” 1973,
“Roti Kapada Aur Makan” 1974,
“Majboor” 1974,
“Amar Akbar Anthony” 1977,
“Paravarish” 1977,
“Imaan Dharam” 1977,
“Suhaag” 1979,
“Dostana” 1980,
“Ram Balram” 1980,
“Naseeb” 1981,
“Desh Premi” 1982,
“Andha Kanoon” 1983,
“Coolie” 1983.
“Inqualab” 1984
“Aakhri Rasta” 1986,
“Agnipath” 1990,
“Krodh” 1990
“Hum” 1991,
“Khuda Gawah” 1992
“Ajooba” 1992
Laxmikant-Pyarelal did utilize many male singers for Amitabh Bachchan,
-Mukesh
-Mohammad Rafi
-Kishore Kumar
-Mahendra Kapoor
-Shabbir Kumar
-Mohammad Aziz
-Sudesh Bhosle
-Amitabh Bachchan, himself.
-Anwar
-Prayag Raj
-Amit Kumar
-Laxmikant (as a singer)
Discussing few of the best/hit/popular songs of Amitabh Bachchan with 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.
Mohammad Rafi, Manmohan Desai (standing) and Amitabh (Top Pic)Amitabh, Anand Bakshi, Laxmikant and M. Rafi (Bottom Pic)
1 Ek Nazar 1972
It was the first movie for Producer/Director B R Ishara, starring Amitabh Bachchan and Jaya Bhaduri. It have some melodious songs containing Mujra and Ghazal.
This sweet and melodious duet/ghazal is mellifluously composed. “Prelude” as well as all the “interludes’ have a mind-boggling orchestra arrangements. First Interlude is orchestrated with IRANI SANTOOR and FLUTE synchronized with GUITAR. Second Interlude have incredible use of SAXOPHONE as well as SYMPHONY style VIOLINS. Third Interlude is decorated with SAROD and VIOLINS. In fact the SYMPHONY style VIOLINS can be heard in surround sound effects in “Mukhada” and “Antara” as well with beautiful DHOLAK rhythm. The song is filmed on Amitabh Bachchan – Jaya Bhaduri.
2 Majboor 1974
It was a musical hit movie, directed by Ravi Tondon with popular music.
—Dekh Sakta Hoon Main …Lata Mangeshkar
—Nahin Main Nahi Dekh Sakata Tujhe Rote Hue...Kishore Kumar
—Roothe Rab Ko Manana Aasan Hai…Rafi-Asha
–-Daru Ki Botal Main (filmed on Pran)…Kishore Kumar and the top hit song
–Aadmi Jo Kehta Hai (Songwriter Anand Bakshi)
(Singer Kishore Kumar)
PRELUDE of 144 seconds. To decorate the song with the phenomenal “Long Prelude” was a normal practice for the Music Directors Laxmikant-Pyarelal. There are many songs, composed by the duo, with the long “prelude”. Today’s song have Mind-Boggling “Prelude” of 144 seconds. This prelude is mellifluously orchestrated in a SYMPHONY style with solo VIOLIN, CELLOs, FLUTE & VIOLINs. Brilliant take off by Kishore Kumar at 2.24. Apart from the long prelude in ‘symphony’ style, both the “interludes” are brilliantly composed, by using different tunes, with ACCORDION and VIOLINS. The song is filmed on Amitabh Bachchan.
3 Amar Akbar Anthony 1977
“Amar Akbar Anthony” is one of the biggest hit of Actor Amitabh Bachchan. All songs hit. This was the first movie of Manmohan Desai, as a Producer and Director.
—Humko Tumse Ho Gaya ..Lata, Rafi, Kishore, Mukesh
Pyarelal, Ketan Desai, Laxmikant, Mohammad Rafi, Mukesh, Lata Mangeshkar, Kishore Kumar and Manmohan Desai. 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” Humko Tumse Ho Gaya
—Parda Hai Parda ..Mohammad Rafi
—Shirdiwale Sai Baba.. Mohammad Rafi
—Tayyab Ali Pyar Ka Dushman..Mohammad Rafi and the top hit
—My Name Is Anthony Gonsalvis (Songwriter Anand Bakshi)
(Singers Kishore Kumar – Amitabh Bachchan).
There is a story behind this song. Earlier, Anthony Fernandez was name of Amitabh Bachchan in the film. Laxmikant-Pyarelal wanted to give the tribute to the ‘Violin” “GURU”, Mr Anthony Gonsalvis, (of Pyarelal). Laxmikant-Pyarelal requested director Manmohan Desai if the name of the character (Amitabh Bachchan), “Anthony Fernandez” can be changed to Anthony Gonsalvis. Manmohan Desai agreed and not to forget it also gave name and fame to Mr. Anthony Gonsalvis, Pyarelal’s Violin Guru from Goa. The song has western beats. All the BRASS instruments are brilliantly used synchronizing with BONGO drum rhythm. Amitabh Bachchan’s rendering in the “interludes” just brilliant.
4 Suhag 1979
Manmohan Desai’s yet another top hit musical blockbuster with all songs hit.
—Teri Rab Ne Bana Di Jodi …Rafi, Shailendra Singh, Asha Bhosle
—O Sherowali Bigade Bana De Kaam… Rafi-Asha
—Ai Yaar Sun Yaari Teri…Rafi-Shailendra Singh
—Aaj Imtihan Hai…Lata and the huge hit
Atharah Baras Ki Tu Hone Ko Aayi (Songwriter Anand Bakshi)
(Singers Lata Mangeshkar – Mohammad Rafi.)
“Prelude” of 34 seconds sets the mood of this “Mujra” / duet song. GHUNGROO BELLS are awesomely synchronized with the DHOLAK/TABLA rhythm. Musical Instruments like SUNDARI / SHEHNAI / SUONA and SANTOOR with VIOLINS are mellifluously used in the “Prelude” and both the “interludes”. Both the ‘antaras’ have different tunes.
Amitabh and Laxmikant
5 Dostana 1980
First picture of Yash Johar (rather of Karan Johar) directed by Raj Khosla was the super-duper musical hit film.
—Mere Dost Kissa Ye Kya Ho Gaya …Rafi
—Dillagi Ne Di Hawa ..Kishore-Asha
–Bahut Khoobsurat Jawan Ek Ladki ..Kishore
–Kitana Aasan Hai Bhool Jaana ..Lata and the very famous “friendship” song.
Bane Chahe Dushman Zamana (Songwriter Anand Bakshi)
(Singers Kishore Kumar -Mohammad Rafi)
Beautiful melodious song on ‘friendship’. “Interludes” are wonderfully orchestrated in a SYMPHONY style VIOLINS and CELLOs. It has a simple DHOLAK “rhythm”.
6 Ram Balram 1980
Once again all songs hit for this film directed by Vijay Anand
—Hamse Bhool Ho Gayi Humka Mafi Dai Do …Kishore-Asha
—Ladki Pasand Ki ...Lata-Rafi
—Yaar Ki Khabar Mil Gayi...Kishore-Asha and the top hit song
—Ek Rasta Aha Aha Do Raahi (Songwriter Anand Bakshi)
(Singers Kishore Kumar -Mohammad Rafi)
Rendering in a very unique style by both Kishore Kumar and Mohammad Rafi. Instruments like ACCORDION, PIANO, SAXOPHONE, SYNTHESISER are beautifully used with the BONGO Drum rhythm.
7 Naseeb 1981
“Naseeb” was director Manmohan Desai’s mega hit movie with popular songs like
—Mere Naseeb Mein Tu Hai Ke Nahin …Lata Mangeshkar
—Zindagi Imtihan Leti hai …Dr. Kamlesh Awasthi, Anwar, Suman Kalyanpur
—Rang Jamake Jayenge …Rafi-Kishore-Asha-Usha
—Pakado Pakado ..Kishore-Usha the most popular song
––John Jaani Janardan (Songwriter Anand Bakshi)
(Singer Mohammad Rafi)
Wonderfully sung by Mohammad Rafi. The entire song is woven around the glimpses of ACCORDION. Western style orchestra arrangements and rhythm is just superb.
8 Aakhree Raasta 1986
The most popular is
—Gori Ka Sajan Sajan Ki Gori (Songwriter Anand Bakshi)
(Singers S. Janaki – Mohammad Aziz)
A naughty song .
9 Hum 1991
“Hum” was a biggest musical blockbuster of early ninetites.
—Kagaz Kalam Dawat ..Mohammad Aziz – Shobha Joshi
—Ek Doosre Se Karte Hai ..Sudesh, Udit Narayan, M Aziz, Alka Yagnik, Sonali
Spellbind, Huge and Enrich orchestra arrangements in western style, throughout the song.
“Prelude” of 75 seconds, with beautiful glimpses of GUITAR sets the mood of the song. All the BRASS musical instruments like TUBA and FLUGELHORN, SAXOPHONE and CLARINET along with GUITAR are wonderfully orchestrated as a ‘filler’ (after rendering ‘jumma chumma de de’). Despite Sudesh Bhosle’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.
10 Khuda Gawah 1992
“Khuda Gawah” is the last musical hit of LP-Bachchan combo. It has a fabulous songs.
The beauty of all the song is it’s orchestral arrangements. Laxmikant-Pyarelal have used traditional musical instruments from AFGHANISTAN.
— Rub Ko Yaad Karoo ..Mohammad Aziz – Kavitiha Krishnmurthy
—Main Tuze Kubul ….Mohammad Aziz – Lata Mangeshkar
—Deewana Mujhe Kar Gaya .. Mohammad Aziz – Alka Yagnik
—Mere Watan Main.. Suresh Wadkar – Alka Yagnik and the TOP hit.
Tu Na Ja Mere Badashah (Songwriter Anand Bakshi)
(Singers Alka Yagnik – Mohammad Aziz)
Extremely melodious romantic duet. “THALI” (Huge Metal Dishes) are used to generate the mellifluous rhythm for this song. Afghan musical instruments like RUBAB and HARMONIUM are excellently executed in the orchestra.
Amitabh Bachchan was very much keen about his songs and used to be remain present during the song recording session.
Amitabh Bachchan greeting Pyarelalj on his birthday at Pyarelal’s residence. Extreme left Mrs Pyarelal.
ASTOUNDING FOURSOME Mohammad Rafi..Anand Bakshi.. Laxmikant-Pyarelal
Mohammad Rafi is considered no less than a genius when it comes to varied styles of music. This great singer had the perfect blend of melody, emotions and energy, which resulted into thousands of soulful songs.
Mohammad Rafi has recorded the maximum numbers of songs under the music directors Laxmikant-Pyarelal, precisely 379 songs, including 183 solo.
Left Laxmikant-Pyarelal, /Top Right Laxmikant-Pyarelal with Mohammad Raf/Bottom Right Laxmikant-Pyarelal with Anand Bakshi
ASTOUNDING FOURSOME :: Mohammad Rafi, Anand Bakshi, Laxmikant-Pyarelal. Out of gigantic 379 songs composed by Laxmikant-Pyarelal for Mohammad Rafi, monumental 254 songs, (Including 122 solo) are written by Anand Bakshi, ONLY.
We get incomparable variety of songs from these astounding FOURSOME of Mohammad Rafi/Anand Bakshi and Laxmikant-Pyarelal. Gazal, Western, Semi-Classical, Lori (lullaby), Folk, Qawwali, Mujra, Patriotic etc. Sad Songs, Romantic Songs, Devotional Songs etc, many more varieties can be found in this QUARTET.
This “TETRAD” of Mohammad Rafi, Anand Bakshi, Laxmikant-Pyarelal came together for the first time for the song, ‘Shokhiyan Nazar Mein Hai’ from “Aasra” in 1966. Followed by super musical from J. Om Prakash’s “Aaye Din Bahar Ke”. The association lasted till July, 1980 when Rafi Sahab recorded his last song ‘Tu Kahin Aas Paas Hai Dost’ for J. Om Prakash’s “Aas Paas”.
The ‘era’ has now begun with series of hits after hit songs from these ‘FOURSOME”
1966:- Biswajit’s “Aasra”, Dharmendra’s “Aaye Din Bahar Ke”
1967:- Bishwajeet’s “Night In London”, Jeetendra’s “Farz”, Rajshri Production’s “Taqdeer”, Sanjay Khan’s “Milan Ki Raat”.
— Amitabh Bachchan :: ‘John Jani Janardhan’ … “Naseeb” 1981
Binaca Geetmala:–
Many songs of the “FOURSOME” have aired in weekly Binaca Geetmala Programme. Interestingly 48 songs involving “QUARTET”, Mohammad Rafi/Anand Bakshi/Laxmikant-Pyarelal appeared in Binaca Geetmala Finals, with one song as number one in 1979, ‘Dafliwale Dafli Baja’ ( Rafi-Lata) from “Sargam”.
Laxmikant, Lata Mangeshkar, Anand Bakshi & Mohammad Rafi
Filmfare Awards / Nominations:-
As many as SIX songs of the “TETRAD”, Mohammad Rafi/Anand Bakshi/Laxmikant-Pyarelal were nominated for filmfare awards. (Best Male Singer Category ).
1969 ‘Badi Mastani Hai Meri Mehbooba’ … “Jeene Ki Raah”
1970 ‘Khilona Jaan Kar Tum Mera Dil’ … “Khilona”
1977 ‘Parda Hai Parda’ … “Amar Akbar Anthony”
1978 ‘Aadmi Musafir Hai’ … “Apnapan” (with Lata Mangeshkar)
1980 ‘Mere Dost Kissa Ye Kya Ho Gaya’ … “Dostana”
1980 ‘Dard-E-Dil Dard-E-Jigar’ … “Karz”
However Laxmikant-Pyarelal did win the awards, involving these “FOURSOME” for
“Jeene Ki Raah” (1969)
“Amar Akbar Anthony” (1977)
“Sargam” (1979)
“Karz” (1980)
Anand Bakshi too win the filmfare award for the song, created by the “FOURSOME”
‘Aadmi Musafir Hai’ (Rafi-Lata), “Apnapan” in 1978.
Unfortunately, NONE for Rafisaab, involving “QUARTET”.
Laxmikant, Pyarelal, Lata Mangeshkar & Mohammad Rafi
Period after 1970-
Till 1970, Mohammad. Rafi was undisputed and demanded singer in Bollywood music industry. But after 1970, Kishore Kumar came into limelight and his popularity increases after he sang super hit songs for the movie Aradhana (1969).
During this ‘lean’ period of Mohammad Rafi it was ONLY Laxmikant-Pyarelal gave many hit songs for Mohammad Rafi to sing. To be precise Laxmikant-Pyarelal have recorded 264 numbers of songs (Out of total of 379 songs from Rafi-LP combo) of Mohammad Rafi in post “Aradhana” period.
Laxmikant-Pyarelal along with Anand Bakshi are instrumental in bringing back the Glory of Mohammad Rafi, in post “Aradhana” (1969) period. That too without damaging the giant popularity of Kishore Kumar. This “FOURSOME” have recorded as many as 192 songs (out of total of 270 songs) which includes many hits as well as memorable songs.
1979:- Rishi Kapoor’s “Sargam” (LAXMIKANT-PYARELAL have given all the SEVEN songs for MOHAMMAD RAFI to sing. This was very unusual phenomena during seventies.), “Karz” , “Do Premee” and also Jeetndra’s “Aasha” and Sanjeev Kumar’s “Ladies Tailor”. Rajesh Khanna’s and Dharmendra’s “Rajput” ++ Many more.
The above analysis confirms that both Anand Bakshi and Laxmikant-Pyarelal have given more melodious as well as hit songs for Mohammad Rafi in seventies (Post “Aradhana” period)
Let us review few of the BEST songs from these “FOURSOME”.
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 AAYE DIN BAHAR KE – 1966
— Mere Dushman Tu Meri Dosti Ko Tarse
Song Writer ANAND BAKSHI’s painful wordings, showing vexation. MOHAMMAD RAFI’s soulful and heart touching rendering and LAXMIKANT-PYARELAL ‘symphonic’ orchestra arrangements are justifying the frustration in this song. Also not to forget the expressions shown on screen by Dharmendra.
2 NIGHT IN LONDON – 1967
— Bahosh-O-Hawas Mein Deewana
ANAND BAKSHI’s fanciful wordings. LAXMIKANT-PYARELAL’s Wonderful Westernized Orchestra Arrangements In SYMPHONY Style. “PRELUDE” of 51 seconds is just mesmerizing. Use of VIOLINS and VIOLA for first 33 seconds and than again huge “pick” at 48 seconds as well as in the first “interlude” from 1.25 to 1.45 is just ear pleasing. Both the interludes have different tunes. There are some glimpses ‘pauses’. The “symphony style violins” vowing around MOHAMMAD RAFI’s voice that gives an additional mellifluousness and romantic feeling to this song. Each and every moment of this GEM of song makes you “thrill” and that is why it is one of my all time favorite song.
3 JEENE KI RAAH – 1969
— Aane Se Uske Aaye Bahar
ANAND BAKSHI comparing nature beauty and intermixing it in romantic mood. Mesmerizing “Prelude” of 40 seconds, with overlapping sound effects of VIOLINS, Twitting of
BIRDs, Mohammad Rafi’s “aalap” as well as ACOUSTIC GUITAR, gives the feeling of village
background. Both the mellifluous “Interludes” have different orchestra arrangements, decorated with FLUTE, VIOLIN and ACCORDION. This sweet and melodious song have ear-pleasing ‘DHOLAK’ rhythm. Jeetendra looks handsome.
4 DO RAASTE – 1969
— Ye Reshmi Julfe
Concordant romantic song, penned by ANAND BAKSHI, seductively performed by Rajesh Khanna. Glamorous inception by Rafi saab after 19 seconds ‘prelude’ of 19 seconds, VIOLINS overlapped with MANDOLIN. It has a ear-pleasing, melodic DHOLAK rhythm, with few ‘pause’ of 8 seconds at the end of each mukhada. The “rhythm” keeps listeners enchanted, throughout. Mumtaz looks beautiful. MOHAMMAD RAFI in supreme form.
5 UPHAAR – 1971
— Mein Ek Raja Hoon Tu Ek Rani Hai
Soft Romantic words by ANAND BAKSHI. “Prelude” of 27 seconds comprises of VINA and SANTOOR and Mohammad Rafi’s beautiful take off (main ek raja hoon) is just brilliant. Extremely Soft and Melodious ROMANTIC song composed in the “raag” ‘ BAIRAGI’. Use of the BONGO drum in “Toe Stepping Rhythm” intermixed with SANTOOR is ear-pleasing. Use of FLUTE , ACOUSTIC GUITAR, SANTOOR and SITAR and other string instruments are mellifluously executed in the song. In early seventies Mohammad Rafi was almost forgotten but it was only Laxmikant-Pyarelal gave some of the finest songs to Rafi. This is one of them. It was a “Binaca Geetmala Hit song”
6 KHILONA – 1971
— Khilona Jaankar Tum To Mera Dil Tod Jaate Ho
I have chosen the famous song, title song, heartbroken wordings by ANAND BAKSHI, rendered by MOHAMMAD RAFI with pain. No words to describe the elegance of Mohd Rafi. The song starts with the ‘aalap’. It has wonderful “DHOLAK” rhythm. “Interludes” are beautifully decorated with MANDOLIN, VIOLINS and SAROD. In the second “interlude” SYMPHONY orchestra is mellifluously overlapped with SHEHNAI. Sanjeev Kumar have acted wonderfully. In early 70s when most of the music directors had forgotten Mohammad Rafi, it was only Laxmikant-Pyarelal used to give some of the best songs to Rafi Sahab. This is one of them.
7 MEHBOOB KI MEHANDI – 1971
— Ye Jo Chilman Hai, Dushman Hai Hamari
Flawless composition, with ‘zero’ ‘prelude’, by using bare minimum instruments along with the rhythm of DHOLAK / TABLA. Radiant take off by Rafi Saab. All the ‘interludes’ are glitteringly orchestrated with SARANGI, SITAR, VIOLIN, SANTOOR and SAROD. The “pause” given at the end of each the ‘antara’ gives a soothing effect to this erotic song.
Rajesh Khanna simply awesome.
8 LOAFER – 1973
— Aaj Mousam Bada Beimaman Hai
Once again ANAND BAKSHI masters in writing romantic words, with difference. “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. Dharmendra looks romantic.
9 AMAR AKBAR ANTHONY – 1977
— Parda Hai Parada
Superbly composed “Qawwali” . “Prelude” 67 seconds, full of RUBAB, MANDOLIN, SHEHNAI / NADASWARAM, GUITAR, HARMONIUM, synchronised with DHOLAK rhythm, mesmerizes you. Brilliant take off by Rafi Sahab. SHEHNAI / NADASWARAM are mellifluously used as ‘filler’ in ‘mukhda’. Wonderfully performed by Rishi Kapoor.
10 SARGAM – 1979
— Hum To Chale Pardes Hum Pardesi Ho Gaye
Mohammad Rafi sounds very different in all of the “Sargam” songs, perhaps at it’s best.
The song starts with beautiful ‘aalap’ from Rafi Sahab”. The DHOLAK rhythm hypnotizes. The song has a village background the music is justifying it too. The “interludes” of the song is just worth to listen to. Sounds of BULLOCK CART BELLS wonderfully synchronized with NADASWARAM and MANDOLIN as well as in second “interlude’ with FLUTE and SANTOOR.
11 KARZ – 1980
— Dard- E-Dil, Dard-E-Jigar
Enjoy fascinatingly instrumented solo VIOLIN in 52 seconds of “Prelude”. This is a western style GHAZAL composition orchestrated awesomely with GUITAR in the rhythm. All the “Interludes” are mellifluously synthesised with TRUMPETS, SYMPHONY style VIOLINS, GUITAR, percussion instruments.
Despite not having any formal training, Kishore Kumar dominated the Indian film music.
Kishore Kumar’s association with Laxmikant-Pyarelal started from an immortal song “mere mehboob qayamat hogi” from “Mr. X In Bombay” in 1964. Later, this combo of KK-LP went on to score as many as 402 songs, from the year 1964 to 1987. This 402 numbers as many as 151 solos. Kishore Kumar has sung maximum number of duets under Laxmikant-Pyarelal.
In the combo of Kishore Kumar and Laxmikant-Pyarelal, 402 songs with diversification,
one will always find everything, in the form of …. Folk, Mujra, Ghazal, Lori, Qawwali, Philosophical, Classical, Romantic, Western Classics, Sad, Devotional, Inspiration, Patriotic, Disco and many varieties. This variety of songs will not be found in Kishore Kumar’s songs with any music directors. On top it #KishoreKumar have solely diversified his rendering style in many of the songs composed by #LaxmikantPyarelal.
Prior to “Aradhana” (1969) success, the combo of Laxmikant-Pyarelal and Kishore Kumar have some fabulous, popular duets, with Lata Mangeshkar as well as Asha Bhosle. Moreover, Kishore Kumar has acted ludicrously, in his own style, in all the duets, listed below.
Laxmikant, Kishore Kumar, Lata Mangeshkar & Pyarelal
1 Khoobsurat Haseena Jaane-Jaa Jaan-E-Man (“Mr X In Bombay” 1964
2 Chali Re Chali Re Gori Paniya Bharan Ko. (“Mr. X In Bombay” 1964.)
3 Sultana Sultana Tu Na Ghabrana ( “Shreeman Funtoosh” 1965)
4 Kya Teri Zulfen Hai (“Hum Sab Ustad Hain”, 1965)
5 Dil Hamamane De Diya (“Pyar Kiye Jaa” 1966)
We are going to discuss the duets sung by Kishore Kumar with various female singers (listed below), under the music directors Laxmikant-Pyarelal. During the period of 80s, Laxmikant-Pyarelal unbiasedly used new generation female singers, to compose some outrageous duets with Kishore Kumar.
Lata Mangeshkar
Asha Bhosle
Hemlata
Leena Chandavarkar
Suman Kalyanpur
Sulakshana Pandit
Vandana Shastri
Hema Malini
Anuradha Paudwal
S Janaki
Kavita Krisihnmurthy
Alisha Chinoy
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.
Pyarelal, Kishore Kumar, Lata Mangeshkar and Laxmikant
KISHORE KUMAR with LATA MANGESHKAR / Laxmikant-Pyarelal
The combo of Kishore Kumar and Lata Mangeshkar have been associated with Laxmikant-Pyarelal with close to 55 songs. There are many memorable and hit songs amongst these 55 canticles. Few selected songs from this melody makers are listed below.
Man Mor Machaye Shor Shor Shor (“Mastana” 1970)
Sa Re Ga Ma Pa (“Abhinetri” 1970)
Achha To Hum Chalte Hain (“Aan Milo Sajna” 1970)
Jadugar Tere Naina (”Man Mandir” 1971)
Sun Ja Aa Thandi Hawa (“Haathi Mere Saathi” 1971)
Pukaro Mujhe Phir Pukaro (“Buniyaad” 1972)
Hum Aur Tum, Tum Aur Hum (“Daag” 1973)
Gore Rang Pe Na Itna (“Roti” 1974)
Yeh Mousam Aaya Hai (“Aakraman” 1975)
Din Mahine Saal Gujarte (“Avtaar” 1983)
AND a beautiful melody.
Chali Re Chali Gori “Mr. X In Bombay” 1964, Lyricist Anand Bakshi
Kishore Kumar had this ability to create drama through his singing. He was one of those very few singers who had a certain amount of acting involved in their singing. In this song he has acted as a “sangeet guru”. Kishore Kumar singing and acting in ‘classical’ mode is worth to view and listened to. Melodiously sung duet in “raag” BHAIRAVI, with Lata Mangeshkar. Mesmerizing 62 seconds “prelude” full of “MATAKI”, “PAYAL”, “FLUTE” and DHOLAK. Actress Kumkum looks beautiful. This is the first ever duet of Kishore Kumar sung under Laxmikant-Pyarelal.
KISHORE KUMAR with ASHA BHOSLE / Laxmikant-Pyarelal
Asha Bhosle – Kishore Kumar, close to 90 duets. The highest numbers of duet songs composed by Laxmikant-Pyarelal for any singing pairs. KK-Asha with LP have some fabulous songs. Major hits list is too long. Listing few HITs below:-
Laxmikant, Asha Bhosle, Amit Kumar, Kishore Kumar & Laxmikant
Aa Aaja Abhi Nahin (“Man Mandir”, 1971)
Jaipur Ki Choli Mangwa De Re (“Gehri Chaal”, 1973)
Jane Kaisa Hai Mera “Aansoo Ban Gaye Phool” 1969, Lyricist Govind Munis
The film was produced by Anoop Kumar, an elder brother Kishore Kumar. It has some fabulous songs. This duet is one of the finest duet of KK-Asha. Very refreshing and breezing melody. Excellent DHOLAK rhythm. All the “interludes” are mellifluously orchestrated with the use of SAXOPHONE, Symphony Style VIOLINS, CLARINET, ACOUSTIC GUITAR, FLUTE as well as awesome “aalaps” by KK-Ashaji. The song is filmed on Deb Mukharjee and Alka
KISHORE KUMAR with HEMLATA / Laxmikant-Pyarelal
Newcomer singer then, Hemlata also singing this mellifluous song with Kishore Kumar.
Soi Ja Tara “Mastana” 1970, Lyricist Anand Bakshi
This is the rarest of rare “LORI” song (lullaby) sung by Kishore Kumar. This is filmed on actor Mehmood and beautiful child artist Nain-Tara Dhanraj. Extremely melodious and emotional song with wonderful DHOLAK rhythm. The song is orchestrated with symphony VIOLINS, FLUTE and SANTOOR.
KISHORE KUMAR with LEENA CHANDAVARKAR / Laxmikant-Pyarelal
Kishore Kumar has sung one very melodious duet with his would be wife Leena Chandavarkar (She was not wife of Kishore Kumar, then.)
Leena Chandavarkar & Kishore Kumar
Gham Ka Fasana “Manchali” 1973, Lyricist Anand Bakshi
Glamorous as well as effortless rendering by Kishore Kumar. Amorously supported by LEENA ji. Absorbing as well as entertaining DHOLAK rhythm. “Interludes” are euphonically orchestrated with GUITAR, SANTOOR, FLUTE as well as VIOLINS. Interestingly DHOLAK rhythm disappears in “Interludes”. Both Sanjeev Kumar as well as Leena Chandavarkar look glamorous.
KISHORE KUMAR with SUMAN KALYANPUR / Laxmikant-Pyarelal
There is one very famous song, Na Jane Kaise Pal Mein Badal Jate Hai’ from “Badalte Rishte” 1978, involviing Kishore Kumar and Suman Kalyanpur. But is supported by Mohammad Rafi also.
Tera Mera Mera Tera Mil Gaya “Nagin” 1976, Lyricist Verma Malik
Completely woven around western style of orchestra arrangements. “Prelude” of 91 seconds keep you engaged with beautiful take off by Suman Kalyanpur as well as TRUMPET and GUITAR. “Interludes” are awesomely orchestrated with BRASS instruments, SAXOPHONE, GUITAR, VIOLINS and the BONGO DRUMS. Vinod Mehra looks handsome. Yogita Bali looks very pretty. A good song.
KISHORE KUMAR with SULAKSHNA PANDIT / Laxmikant-Pyarelal
Kishore Kumar have sung many duets with Sulakshana Pandit, this is the most popular.
Somwar Ko Hum Mile “Apnapan” 1977, Lyricist Anand Bakshi
The duet mellifluously orchestrated with ‘symphony’ style MANDOLIN, VIOLINS, GUITAR, FLUTE and GHUNGROO BELLS. The song is filmed on Jeetendra – Sulakshana Pandit.
KISHORE KUMAR with VANDANA SHASTRI / Laxmikant-Pyarelal
First time Laxmikant-Pyarelal working with Lyricist Gulzar.
Dakiya Daak Laya “Palkon Ki Chhaon Mein” 1977, Lyricist Gulzar
“Prelude” of 25 seconds starts with the sound of BICYCLE BELL, VIOLINS and GUITAR. “Interludes” are orchestrated with RAVANHATTA, FLUTE and SITAR. It has unique DHOLAK rhythm. The song is filmed on Rajesh Khanna, Hema Malini and Aruna Irani (Vandana Shastri sining Aruna Irani’s lines)
KISHORE KUMAR with HEMA MALINI / Laxmikant-Pyarelal
Musical hit film “Dream Girl” was Hema Malini’s home production. She took an opportunity to sing this beautiful song with Kishore Kumar
Hua Kya Agar Tu Zara Bewafa “Dream Girl” 1977, Lyricist Anand Bakshi
An extremely melodious song mellifluously orchestrated with the use of IRANI SANTOOR, SITAR and CELLOs. Very simple DHOLAK rhythm.
KISHORE KUMAR with ANURADHA PAUDWAL / Laxmikant-Pyarelal
There are many hits of Kishore Kumar with Anuradha Paudwal. This one is the biggest hit. It was a multi starrer musical hit film. Laxmikant-Pyarelal also using many singers.
O Meri Jaan “Jaani Dushman” 1978, Lyricist Verma Malik
Top Hit Song. Fast track DHOLAK rhythm, awesomely rendered by Kishore Kumar – Anuradha Paudwal. Filmed on Jeetendra – Neetu Singh
KISHORE KUMAR with S JANKI / Laxmikant-Pyarelal
A surprise package from Laxmikant-Pyarelal and Kishore Kumar. S. Janaki’s voice was successfully synchronised with new star Khushboo.
Bol Baby Rock N Roll “Meri Jung” 1985, Lyricist Anand Bakshi
A perfect ‘pop’ music song. Use of SAXOPHONE is cadenced, in the ‘interludes’.
Javed Jafri and Khushboo have gambouled appealingly.
KISHORE KUMAR with KAVITA KRISHNAMURTHY / Laxmikant-Pyarelal
Na Jaiyo Pardes “Karma” 1986, Lyricist Anand Bakshi
Breathtaking rendition from both Kishore Kumar – Kavita Krishnamurthy. The ‘beauty’ of the song is ‘overlapping’ sound effect of Kavita Krishnamurthy, singing different lines with different tune, assimilating Kishore Kumar’s singing who is singing different liens and tune. Just beautiful. Poonam Dhillon – Anil Kapoor performed excellently on this lovely, ‘FAST-TRACK’ composition.
KISHORE KUMAR with ALISHA CHINOY / Laxmikant-Pyarelal
It was Laxmikant-Pyarelal’s selection of Alisha Chinoy to sing this song with Kishore Kumar. The outcome was just superb.
Kate Nahi Katate “Mr. India” 1987, Lyricist Javed Akhtar
Incredible composition, in western style, from Laxmikant-Pyarelal. 32 seconds of “prelude” is tunefully instrumented with the use of PICCOLO (smaller version of the FLUTE), ‘Symphony’ style VIOLINS and the ‘strokes’ of SITAR. Awesome ‘take off’ by Kishore Kumar (I Love You).Orchestrated with stupefying ‘rhythm,….the first ‘interlude’ is decorated with ACCORDION, VIOLINS, SAXOPHONE, GUITAR and the ‘strokes’ of SITAR. Second ‘interlude’ beautifully structured by the use of “solo” VIOLIN. You can equally enjoy the ‘surround sounds’ of SYMPHONY VIOLINS. Alisha Chinoy singing marvelously. Gamboling of SRIDEVI is seductive moreover she looks ‘smoking hot’. Anil Kapoor looks simple.
LAXMIKANT-PYARELAL have extensively used the mellifluous instrument from “Kashmir” named SANTOOR…. Santoor used to be the prominently played in most of the songs in the orchestra arrangements. There are many TOP HIT songs are decorated with Santoor in Laxmikant-Pyarelal’s orchestra arrangements. Till 1974, in most of the songs the SANTOOR is played by none other than Pandit Shivkumar Sharma.
Pyarelal & Pandit Shivkumar Sharma
Not only that both Pandit Shivkumar Sharma and Laxmikant-Pyarelal have also experimented the instrument called ‘IRANI SANTOOR’ ( A Santoor from IRAN) for Major HIT songs in “BOBBY”, “DAAG”, “SWEEKAR”, “SHOR”, “EK NAZAR” and “IMTIHAN”
“Bindiya Chamakegi”..”DO RAASTE”..full of Santoor.
In “BOBBY” ..“Main Shayar To Nahin” and “Muze Kuchh Kehana Hai”.. have wonderfully have been decorated with Irani Santoor.
In “EK NAZAR” .. “Patta Patta Buta Buta”.. IRANI SANTOOR is brilliantly synchronized with SAXOPHONE in the interludes.
One can enjoy IRANI SANTOOR’s sweet sound effect Kishore Kumar’s all time great song from DAAG, ‘Mere Dil Main Aaj Kya Hai”….
Kersi Lord, Pandit Shivkumar Sharma & Pyarelal.
It is not possible to list out all the songs of Santoor with Laxmikant-Pyarelal’s orchestra arrangements. I have tried to give as much as possible.. One can add the songs with Santoor in comments.
My favorite song on SANTOOR from Laxmikant-Pyarelal, is from “BOBBY”…”Chabi Kho Jaye”>.. IRANI SANTOOR have been used extensively to be overlapped with ACCORDION and BONGO DRUMS…in beautifully created rhythm. It has been wonderfully used in the second interlude. Entire song has extraordinary orchestra arrangements in western style.
Enjoy and comment the songs of your choice. ——-
Nind Kabhi Rehati Thi Aankho Main Singer:- Lata Mangeshkar Film:- “AASRA” 1966
Suno Sajana Papeehe Ne Singer: Lata Mangeshkar Film:- “AAYE DIN BAHAR KE” 1966
Chalo Sajana Jahan Tak Ghata Chale Singer:- Lata Mangeshkar Film:- MERE HUMDAM MERE DOST 1968
Majhi Chal O Majhi Chal Singer:- Mohammad Rafi & Sathiya Nahin Jana Ke Singer:- Lata-Rafi Film:-“AAYA SAWAN JHUM KE” 1968
Hi Re Hi Nind Nahin Aaye Dil Main Tu Samaye Singers:- Lata – Rafi Film:- “HUMJOLI” 1970
Aa Mere Humjoli Aa Khele Aankh Micholi Aa Singers:- Lata – Rafi Film:- “JEENE KI RAAH” 1969
Dil Ne Dil Ko Pukara Mulaquat Ho Gayi Singers:- Lata – Rafi & Bindiya Chamakegi Singer:- Lata Mangeshkar Film:- “DO RAASTE” 1970
Pyarelal, Pt. Hariprasad Chaurasia & Pt Shivkumar Sharma
Dil Kahe Ruk Jare Ruk Ja Yahin Par Kahin Singer:- Mohammad Rafi Film:- “MAN KI AANKHEN” 1970
Ye Jhulf Kaisi Hai Zanjeer Jaise Hai Singers:- Lata – Rafi Film:- “PIYA KA GHAR” 1971
Mehaboob Mere Mehaboob Mere Singer:- Lata Mangeshkar and Mukesh Film:- “PATTHAR KE SANAM” 1967
Dilbar Jaani Chali Hawa Singers:-Kishore Kumar-Lata Mangeshkar & Sun Ja Aa Thandi Hawa Singer:- Kishore-Lata “HAATHI MERE SAATHI” 1970
Je Hum Tum Chori Se Singer:- Lata Mangeshkar and Mukesh Film:- “DHARATI KAHE PUKAR KE” 1968
Achcchha To Hum Chalalte Hai Singer:- Lata Mangeshkar and Kishore Kumar & Tere Karan Mere Sajan Singer:- Lata Mangeshkar Film:- “AAN MILO SAJANA” 1970
Resham Ki Dori Singer:- Lata-Rafi Film:- “SAJAN” 1970
Patta Patta Buta Buta Singers:- Lata-Rafi & Pehale So Baar Idhar Singer:- Lata & Hameen Kare Koi Surat Singer:- Lata Film:- “EK NAZAR” 1970
Man Ki Pyas Mere Man Se Na Nikali Singer:- Lata Film:- “JAL BIN MACHHAI NRITYA BIN BIJALEE” 1970
Sajana More Sajana Singer:- Lata & O Ghata Sawari Singer:- Lata Film:-“ABHINETRI” 1971
Ek Pyar Ka Ngama Hai Singer:-Lata-Mukesh & Jeevan Chalane Ka Naam Singer:- Mahendra Kapoor, Mannade & Shayma Chittar & Pani Re Pani Tera Rang Kaisa Singer:- Lata-Mukesh Film:- “SHOR” 1972
Main Ek Raaja Houn Singer:- Rafi Film:- “UPHAAR” 1971
Yeh Jo Chilman Hai Singer:- Mohammad Rafi Film:- ”MEHBOOB KI MEHANDI” 1971
Mere Dil Main Aaj Kya Hai Singer:- Kishore Kumar Film:- “DAAG” 1973
Main Shayar To Nahin Singers:-Shailendra Singh & Chabi Kho Jaye Singers:- Lata-Shailendra Singh’ & Muze Kuchh Kehana Hai Singers:- Lata-Shailendra Sigh Film:- “BOBBY” 1973
Angadaiyiynan Le Le Kar Singer:- Asha Bhonsle Film:- “SWEEKAR” 1973
Roz Sham Aati Singer:- Lata Mangeshkar & Rook Jana Nahin Singer:- Kishore Kumar “IMTIHAN” 1974…
The association of Rajesh Khanna with Laxmikant-Pyarelal started from Producer / Director Raj Khosla’s “Do Raaste”, a super-duper musical blockbuster film released in 1969. It hit the cinema hall, two weeks after “Aradhana”. Overnightly, Rajesh Khanna became a star and also the ‘craze’ of the nation, fleetingly. The association of Laxmikant-Pyarelal with Rajesh Khanna lasted till “Nazarana” in 1987.
In this 18 years gargantuan quantities of super hit songs were composed by Laxmikant-Pyarelal, in as many as 26 films only with Rajesh Khanna. Almost all the 26 films listed below have statuesque and widely accepted melodious songs.
It is Laxmikant-Pyarelal have given paramount prominent arias, maximum numbers of hit songs for Rajesh Khanna than any other music directors.
BINACA GEETMALA
The combo of Laxmikant-Pyarelal + Rajesh Khanna have 21 numbers of Binaca Geetmala final songs, most of the songs ranked within 10 top songs of the year. The highest numbers ( RD Burman – Rajesh Khanna 22 songs).
The songs of “Daag”, “Roti”, “Prem Kahani”, “Anurodh” “Mehboob Ki Mehandi” find good ranking in Binaca Geetmala Finals. Listed below few hits (till number to 6)
Number 1 :- 1970 Bindiya Chamake Gi “Do Raaste”
Number 2 :- 1971 Achchha To Hum Chalate “Aan Milo Sajna”
Number 2 :- 1986 Duniya Mein Kitna Ghum “Amrit”
Number 4 :- 1972 Vaada Tera Vaada “Dushman”
Number 5 :- 1978 Aap Ke Anurodh Pe “Anurodh”
Number 6:- 1971 Chal Chal Mere Saathi “Haathi Mere Saathi”
Rajesh Khanna’s inclination for Laxmikant-Pyarelal music can easily be intercepted by following argumentations.
Rajesh Khanna was the leading star of H S Rawal’s “Mehboob Ki Mehandi” (1971), Producer and Director H.S.Rawail originally signed music director Naushad for this film as he had previously done in “Mere Mehboob”. But, Rajesh Khanna who was a sort of financier of the film, selected Laxmikant-Pyarelal.
In 1974 Rajesh Khanna became Producer / Filmmaker through “Roti” (1974), directed by Manmohan Desai. Laxmikant-Pyarelal was the obvious choice for this musical hit. The association of Manmohan Desai with Laxmikant-Pyarelal started from “Roti”. Later combo of Manmohan Desai & Laxmikant-Pyarelal rockedBollywood.
In the year 1977 Rajesh Khanna insisted Producer/Director Shakti Samanta to consider Laxmikant-Pyarelal for “Anurodh”. R D Burman was regular music director for Shakti Samanta’s earlier films.
It is needless to say that Rajesh Khanna’s “Mehboob Ki Mehndi”, “Roti” and “Anurodh” were super-super musical blockbusters.
Crowd puller as well as one of the most popular pair of Rajesh Khanna-Mumtaz have maximum musical hit films with music by Laxmikant-Pyarelal. “Do Raaste” (1969), “Dushman” (1972), “Roti” (1974) and “Prem Kahani” (1975).
Laxmikant-Pyarelal maintained the equilibrium act between the singers Kishore Kumar and Mohammad Rafi for Rajesh Khanna, when the ‘superstar’ was in full form. While other music directors were solely depend on Kishore Kumar for Rajesh Khanna, it is only Laxmikant-Pyarelal dauntlessly use Mohammad Rafi for many of hits of Rajesh Khanna.
“Do Raaste” (all songs to Rafi + one gem, ‘mere naseeb mein’ for Kishore),“Aan Milo Sajna” for Kishore Kumar, one solo ‘Jawani o diwani tu zindabad’ and one duet, with Lata ‘achchha to hum chalte hai’ as well as for Mohammad Rafi, one solo ‘falak se tod ke sitare’ and one duet, title track, with Lata ‘ab aan milo sajna’), “Haathi Mere Saathi” (all songs Kishore Kumar + one gem, ‘nafrat ki duniya ko’ for Rafi), “Mehboob Ki Mehndi” (all songs for Mohammad Rafi + one masterpiece ‘mere deewanepan ki bhi dawa nahin’ to Kishore Kumar).
Statistically more numbers of the songs, for Rajesh Khanna, are composed by Laxmikant-Pyarelal and sung by Kishore Kumar and Mohammad Rafi. The duo have also utilised the services of Mukesh (phool aahista phenko “Prem Kahani” 1975) as well as Amit Kumar Mahendra Kapoor Manhar Udhas Mohammad Aziz mostly after the death of Mohammad Rafi.
List of the films of Rajesh Khanna with Laxmikant-Pyarelal :-
1 DO RAASTE 1969
2 AAN MILO SAJNA 1970
3 MEHBOOB KI MEHANDI 1971
4 HAATHI MERE SAATHI 1971
5 DUSHMAN 1972
6 DAAG 1973
7 ROTI 1974
8 PREM KAHANI 1975
9 AAKRAMAN 1975
10 TINKU 1977
11 AASHIQ HOON BAHARON KA 1977
12 ANURODH 1977
13 CHHAILA BABU 1977
14 PALKON KI CHHAON MEIN 1977
15 CHAKRAVYUHA 1978
16 AMARDEEP 1979
17 PREM BANDHAN 1979
18 BANDISH 1980
19 FIFTY FIFTY 1981
20 RAJPUT 1982
21 JAANWAR 1982
22 AVTAAR 1983
23 ASHA JYOTI 1984
24 BAYEN HAATH KA KHEL 1985
25 AMRIT 1986
26 NAZRANA 1987
Discussing few of the best/hit/popular songs of Rajesh Khanna with Laxmikant-Pyarelal.
The orchestra arrangements in “preludes” and “interludes” used to be the assets of the songs composed by Laxmikant-Pyarelal. It would be more proper to listen to the songs, listed below, after reading the write up, explaining peculiarities for each of the songs, you will enjoy it more.
DO RAASTE 1969 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. Who can forget the crowd-puller songs which made Rajesh Khanna-Mumtaz a illustrious pair.
— Bindiya Chamkegi …. Lata (Binaca Geetmala top hit song 1970)
— Chhup Gaye Sare Nazare …. Lata-Rafi
— Ye Reshmi Julfe …. Rafi
— Do Rang Duniya Ke …. Mukesh
— Mere Naseeb Mein Ae Dost …. Kishore
— Apni Apni Biwi Pe …. Lata
— Chhup Gaye Sare Nazare …. Lata-Rafi. Lyricist Anand Bakshi.
Inordinately melodious, fascinatingly composed duet, filmed on Rajesh Khanna-Mumtaz. Beautifully orchestrated “interludes” with VIOLINS, FLUTE and SANTOOR, in particular the synchronism of VIOLINS with SANTOOR in first / third as well as FLUTE with SANTOOR in second interlude. Another beauties of this graceful duet are the ‘stroke’ of SANTOOR with DHOLAK, at the beginning of each of the ‘antara’’ as well as ‘pauses’ given by Lata Mangeshkar and Mohammad Rafi, for 4 seconds, to highlight Laxmikant-Pyarelal’s ‘rhythm’, intermixing of DHOLAK – SANTOOR, in the middle of each of ‘antaras’. (first at 2.44). The rhythm pattern for ‘interludes’ (BONGO DRUMS) are different than that of ‘antara’/’mukhada’ (DHOLAK). — Yeh Reshmi Julfe …. Rafi. Lyricist Anand Bakshi. Concordant romantic song, seductively performed by Rajesh Khanna. Glamorous inception by Rafi saab after 19 seconds ‘prelude’ of 19 seconds, VIOLINS overlapped with MANDOLIN. It has a ear-pleasing, melodic DHOLAK rhythm, with few ‘pause’ of 8 seconds at the end of each mukhada. The “rhythm” keeps listeners enchanted, throughout. Mumtaz looks beautiful.
– Mere Naseeb Mein Ae Dost …. Kishore. Lyricist Anand Bakshi.
The song is based on raag “Yaman Kalyan”. Kishore Kumar’s soft rendering and Laxmikant-Pyarelal 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.
AAN MILO SAJNA 1970 It was Producer J.Om Prakash musical hit film. Rajesh Khanna’s gimmicks and style had taken him on the top of the world then. In most of the songs, from this film, he has presented all of his mannerisms which are heart-conquering even today. Laxmikant-Pyarelal magical music notes that retains their charm even today. Every song is a gem.
— Achha To Hum Chalte Hai …. Kishore-Lata
— Ab Aan Milo Sajna …. Lata-Rafi
— Tere Karan Mere Sajan …. Lata
— Falak Se Tod Ke Sitare Log Laye Hai …. Rafi
— Palat Meri Jaan …. Asha Bhosle
— Jawani O Deewani Tu Zindabad …. Kishore
Kishore Kumar-Rajesh Khanna at it’s best. Enchantingly orchestrated 39 seconds ‘prelude’ with MANDOLIN, SHEHNAI / NADASWARAM and VIOLINS. All these musical instruments are once again used, with different tune, in the interludes. DHOLAK rhythm is fantastic in particular the “pick-up” at 0.56/0.57.
–– Achha To Hum Chalte Hai …. Kishore-Lata. Lyricist 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.
MEHBOOB KI MEHANDI 1971 If you want to see a full fledged musical, then this is the film for you. The mesmerizing music by Laxmikant-Pyarelal. Rajesh Khanna is at his romantic best in the movie. He is present here with all the gimmick and mannerism he was famous for. Mohammad Rafi has sung almost all the songs for Rajesh Khanna, except one, which was unusual then. Producer and Director H.S.Rawail originally signed music director Naushad for this film as he had previously done in “Mere Mehboob”. But, Rajesh Khanna who was a sort of financier of the film selected Laxmikant Pyarelal.
— Pasand Aa Gayi Hai Ek …. Rafi
— Yeh Jo Chilman Hai …. Rafi
— Apna Hai Tu Begana Nahin …. Rafi
— Mere Deewanepan Ki Bhi Dawa Nahin …. Kishore
— Mehaboob Ki Mehandi Hathon Mein …. Lata-Hemlata
— Itna To Yaad Hai Mujhe …. Lata-Rafi
–– Yeh Jo Chilman Hai …. Rafi. Lyricist Anand Bakshi.
Flawless composition, with ‘zero’ ‘prelude’, by using bare minimum instruments along with the rhythm of DHOLAK / TABLA. Radiant take off by Rafi Saab. All the ‘interludes’ are glitteringly orchestrated with SARANGI, SITAR, VIOLIN, SANTOOR and SAROD. The “pause” given at the end of each the ‘antara’ gives a soothing effect to this erotic song.
— Mere Deewanepan Ki bhi …. Kishore. Lyricist Anand Bakshi.
This romantic song is based on Raag “Tilang” starts with the ‘humming’ sound by Kishore Kumar. “Mukhada” is wonderfully synchronized by ‘filling’ SARANGI and FLUTE around Kishoreji melodious and romantic rendering. All the three ‘interludes’ have different type of tunes and orchestral arrangements. First ‘interlude’ is orchestrated with the sounds of FLUTE, VIOLINS and SANTOOR. Second ‘interlude’ is decorated with SARANGI and SAXOPHONE with overlapping sound of the VIOLINS in ‘symphony’ style. Third ‘interlude’ starts with VIOLINS, VIOLINS and SANTOOR. The song has lovely ‘DHOLAK’ beats.
— Itna To Yaad Hai Mujhe …. Lata-Rafi. Lyricist Anand Bakshi.
Melodious duet sung by Mohammed Rafi and Lata Mangeshkar. The song has beautiful display of SITAR (by Ustad Rais Khan), FLUTE and hypnotized DHOLAK rhythm.
HAATHI MERE SAATHI 1971 It was the peak period, then, for film star RAJESH KHANNA, singer Kishore Kumar as well as the music director Laxmikant-Pyarelal. All the songs became very popular and are still can be heard. ranks high among the biggest ever hits of RAJESH KHANNA’s career. “Haathi Mere Saathi” is a movie which made Rajesh Khanna popular with kids who grew up seeing his future movies and that is why the film ranks as a classic because it is still unequalled as the complete family fare in its genre for kid. It was the biggest hit ever made by a South producer in Hindi. It was the very first film for writer SALIM-JAVED.. This pair took off from this film only. It Also Became The First Superhit Hindi Film Produced By Any South India Based Production House Till Then.Melodious, Sweet as well as very popular music pulled the crowd to the cinema hall.
— Chal Chal Chal Mere Saathi …. Kishore Kumar
— Sun Ja Aa Thandi Hawa ….. Kishore-Lata
— Dilbar Jani, Chali Hawa Mastani …. Kishore-Lata
— Dhak Dhak Dhak …. Kishore-Lata
— Duniya Mein Rehna Hai To Kaam Kar Pyare …. Kishore
— Nafrat Ki Duniya Ko …. Rafi
– Chal Chal Chal Mere Saathi …. Kishore Kumar
चल चल चल मेरे साथी ओ मेरे हाथी !!! The Song that rocked the nation. A Huge Hit Song. Kishore Kumar’s voice really refreshing enough and melodious unmatched. Wonderful Orchestra Arrangements in particular the SAXOPHONE is brilliantly executed to generate the Elephant Sound (roaring/trumpeting) with unique toe-stepping rhythm.
— Dilbar Jani, Chali Hawa …. Kishore-Lata. Lyricist Anand Bakshi.
The “prelude” of 40 seconds is full of WHISTLE, SANTOOR, VIOLINS followed by Kishore Kumar’s ;humming; …LP’s Rich orchestra arrangements also has SAXOPHONE, TRUMPETS, ACCORDION, FLUTE,..The entire song has ACOUSTIC GUITAR as “base” for the toe stepping rhythm decorated awesomely completely in western style. Wonderful melody. Rajesh Khanna – Tanuja looks fresh / charming.
DUSHMAN 1972 Another super-duper musical hit. Popular pair of Rajesh Khanna-Mumtaz rocks. Watching Rajesh Khanna dance to Vaada Tera Vaada song with Bindu is sheer magic
First class rendering by Kishore Kumar. Kishore Kumar was reluctant to sing this song because he felt that Rafi Saab suited it more. As Laxmikant-Pyarelal had crafted the song with him in mind. Rajesh Khanna and the composers duo hoodwinked him into singing it, by stating that they were scrapping the song because he was not ready to sing it. This song is composed as Mujra in Qawali style. Entire song has “qawwali” style DHOLAK / MATKI rhythm. SANTOOR and SARANGI are well executed in the ‘interludes”. SARANGI is also used as filler in the “mukhda” to give Mujra touch to the song. Such was a craze for Rajesh Khanna and this song that a downpour of coins on the screen were seen. It was a super duper hit song in ‘Binaca Geetmala’.
DAAG 1973 To start with YASH RAJ Films, the first ever film as a producer and director for Yash Chopra. Yash Chopra wanted to utilize the ‘best’ artists available then. RAJESH KHANNA and Laxmikant-Pyarelal were in supreme form then. An outstanding/evergreen/ever-fresh music of ”Daag” is still popular.
— Mere Dil Me Aaj Kya Hai …. Kishore Kumar
— Ni Main Yaar Manana Ni …. Lata-Minoo Purushottam
— Hum Aur Tum Tum Aur Hum …. Lata-Kishore
— Ab Chahe Maa Ruthe Ya Baba …. Lata-Kishore
— Jab Bhi Chahe Nayi Duniya …. Lata
— Hawa Chale Kaise …. Lata
— Mere Dil Me Aaj Kya Hai …. Kishore Kumar 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 LUDHIANVI’s elegiac lyrics and KISHORE KUMAR’s tender as well as romantic rendition and LAXMIKANT-PYARELAL 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.
— Hum Aur Tum Tum Aur …. Lata-Kishore. Lyricist Sahir Ludhianvi.
This Kishore Kumar & Lata Mangeshkar romantic song is completely woven around the rhythm based ACOUSTIC GUITAR. Another beauty of this song is it’s ‘interludes’. Both the ‘interludes’ have different tunes. First ‘interlude’ full of ‘aalaps’ by Kishore & Lata with glimpses of VIOLINS. In second ‘interlude’ the VIOLINS are decorated in ‘Waltz’ style with beautiful “pauses”. Even Lataji and Kishorji have also given many the ‘pauses’ in the songs.
ROTI 1974 Once again gleaming combination of Rajesh Khanna-Mumtaz. This film was produced by Rajesh Khanna himself. It was directed by Manmohan Desai. It is worth to mention that from “Roti”, the long lasting association of Director Manmohan Desai with Laxmikant-Pyarelal started. The film with melodious and popular songs.
— Yeh Jo Public Hai …. Kishore Kumar
— Gore Rang Pe Na Itna …. Lata-Kishore
— Naach Meri Bulbul …. Kishore Kumar
— Yaar Hamari Baat Suno …. Kishore Kumar
— Phoolon Ke Saath …. Lata Mangeshkar
– Yeh Jo Public Hai …. Kishore Kumar. Lyricist Anand Bakshi. Entier song is filmed in and around the beautiful location of Srinagar, Kashmir. Musically a peppy song completely woven around the glimpses of ACCORDION as a filler as well as in the interludes. EKTARA is also awesomely synchronised with toe-stepping ‘rhythm’. VIOLINS in the ‘interludes’ sounds beautiful.
— Gore Rang Pe Na Itna …. Lata-Kishore. Lyricist Anand Bakshi.
Typical LP flavoured folkish song with melody, orchestrated with VIOLINS, FLUTE, SHEHNAI / NADASWARAM, GUITAR etc off course not to forget sweet DHOLAK rhythm. Rajesh Khanna-Mumtaz rocks.
PREM KAHANI 1975
Raj Khosla’s musical hit film with Rajesh Khanna-Mumtaz .
— Phool Aahista Phenko …. Lata-Mukesh
— Prem Kahani Mein Ek Raja …. Lata-Kishore
— Chal Dariya Mein Doob Jaye …. Lata-Kishore
— Kya Hoti Hai Prem Kahani …. Lata Mangeshkar
— Doston Mein Koi Baat …. Mohammad Rafi
– Chal Dariya Mein Doob Jaye …. Lata-Kishore Sweet-Sounding, accordant duet, beautifully synthesized by SAXOPHONE, SANTOOR and VIOLINS with CONGA DRUMS and TABLA in the dulcet rhythm.
Gorgeously composed melodious duet. Tenderly rendered by Mukesh Ji – Lata Mangeshkar with the ‘pause’ at 0.32 to 0.35, to highlight the mellifluous rhythm of DHOLAK. SITAR – SANTOOR are awesomely executed in all the ‘interludes’
AAKRAMAN 1975
J Om Prakash musical hit
— Dekho Veer Jawano …. Kishore (Patriotic Song)
— Fauji Gaya Jab Gaon Mein …. Kishore (Patriotic Song)
— Yeh Mousam Aaya Hai …. Kishore-Lata
( splendid composition filmed on Rakesh Roshan-Rekha )
Incredible Punjabi ‘folkish’ song. 44 seconds of ‘prelude’, integrating traditional Indian musical instruments EKTARA, GHUNGROO BELLS, DHOL, SHEHNAI / NADASWARAM as well as Kishore Kumar ‘humming’. ‘Rhythm’ pattern is Punjabi BHANGRA style. Rajesh Khanna has danced swimmingly on single Leg.
ANURODH 1977
This was Shakti Samanta’s first film with Laxmikant-Pyarelal who were at their best, then. It is Rajesh Khanna who requested Shakti Samanta for “Anurodh”. This a musical that draws strength from the combination of Kishore Kumar-Anand Bakshi-Laxmikant Pyarelal and it’s repertoire.
— Aate Jaate Khubsurat …. Kishore
— Aa Ja O Aa Ja …. Kishore
— Aapke Anurodh Pe …. Kishore
— Jab Dard Nahin Tha …. Kishore
— Tum Besahara Ho To …. Manna Dey
— Aapke Anurodh Pe …. Kishore. Lyricist Anand Bakshi.
Hypnotizing orchestra from Laxmikant-Pyarelal and stupefying rendering by Kishore Kumar. This mellifluent 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/CONGA 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 song from KK-LP combo. The song is written by Anand Bakshi.
CHHAILA BABU 1977
Famous actor Joy Mukherjee becomes director, made musical blockbuster film starring Rajesh Khanna-Tina Munim.
Orchestrated on ‘pop’ composition, unique rhythm. SAXOPHONE, VIOLINS,Orchestrated on ‘pop’ composition, unique rhythm. SAXOPHONE, VIOLINS, GUITAR are mellifluously executed in ‘prelude’ as well as in ‘interludes’. Beautiful ‘pauses’ in between the song. Awesome dancing steps from Rajesh Khanna – Zeenat Aman.
PALKON KI CHHAON MEIN 1977 The first film of songwriter Gulzar with Laxmikant-Pyarelal. The songs with difference.
– Dakiya Daak Laya …. Kishore
— Ladkhadane Do Mujhe …. Kishore
— Allah Megh De …. Kishore – Asha
— Koi Mere Mathe Ki Bindiya …. Lata (classic)
— Dakiya Daak Laya …. Kishore. Lyricist Gulzar.
A unique type of songwriting and the melodious composition, as well. Rajesh Khanna (Postman) looks natural. Kishore Kumar rendering is magical.
FIFTY FIFTY 1981 Rajesh Khanna – Tina Munim, another musical hit.
— Jane Do Mujhe Yaaron …. Kishore
— Dilwala Aaya Hai …. Kishore
— Pyar Ka Vaada Fifty-Fifty …. Kishore-Asha
— Chhod Mera Haath Mujhe Peene …. Amit Kumar-Asha Bhosle
— Jogan Ban Gayi …. Asha
— Pardesi O Paradesi …. Asha
— Pyar Ka Vaada Fifty-Fifty …The song has 115 seconds “prelude” comprises of stupefying African beats on African traditional DRUMS. Followed by beautiful take off by Asha Bhosle “aalaps”. African DRUM beats are ear-pleasingly synchronised with the CHORUS and VIOLINS. Interestingly all the three “interludes” have different “rhythm” pattern. Rajesh Khanna – Tina Munim capers awesomely.
46 seconds “prelude’ consists of SYMPHONY style VIOLINS mesmerizes the listeners. Such a timeless melodious as well as rhythematic song. No one can render the song the way Kishore Kumar has rendered. Horse Steps Sound is excellently orchestrated in the rhythm.
“MERE HAMDAM MERE DOST” …Laxmikant-Pyarelal’s “classic” albums::
!!! हुई शाम उनका ख़याल आ गया !!!..
“MERE HAMDAM MERE DOST”, 1968…
An outstanding musical album from the legends Laxmikant-Pyarelal and Majarooh Sultanpuri. As many as “ 7 SOLO”” songs….4 lovely, melodious solo songs by Lata Mangeshkar and 3 mellifluous solo sung by Mohammad Rafi.
The film was directed by Amar Kumar, starring Dharmendra – Sharmila Taigore and Mumtaz.
Laxmikant-Pyarelal were in supreme form in 1967/68. Whatever Laxmikant-Pyarelal composed used to become popular and hit. MERE HAMDAM MERE DOST is one of the best musical album, ever-fresh, ever-green. The songs are popular even today. Almost all the songs are melodious and sweet and are beautifully decorated with wonderful orchestra arrangements. Let us review the songs. All the songs of this film are written by Majarooh Sultanpuri.
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.
1) CHALO SAJANA JAHAN TAK GHATA CHALE….Lata Mangeshkar
“Prelude” is full of VIOLINS and SAXOPHONE, beautiful “pause” at the start…The way Lataji sings the words.. “Chalo oooo….” and ‘laga kar muze ‘’’gale ..eee”””………is the ‘beauty’ of romantic rendering. First “interlude” full of SANTOOR and later with VIOLINS just brilliant. Second “interlude” starts with SAXOPHONE. VIOLINS are overlapped with the sound of SANTOOR. Third “interlude” starts with VIOLINS and ends with FLUTE. Not to forget about different type of DHOLAK rhythm…and “pause” by Lataji at the end.
2) HUI SHAM UNKA KHAYAL ..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 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.
3) ALLHA YE ADA KAISI HAI … Lata Mangeshkar
This is ‘’QAWWALI” sung by Lataji. Amazing work on “rhythm” .. “DHOLALK”, “TABLA” and the “CLAP”. The song is full of variation in all aspects, second stanza is on fast track..Mumtaz has justified the song by dancing on the rhythm. Wonderful song.
4) CHHAKAYE JAAM .. Mohammad Rafi
“Prelude” of 20 seconds full of ACOUSTIC GUITAR and VIOLINS with sounds of ‘glass”, sets the mood of this intoxicated song sung by raft sab. It has BONGO Drums on “rhythm”. ACCORDION is wonderfully played “(stroked)’ as a ‘filler’ in between the song. All the interludes are nicely orchestrated with SYMPHONY style, use of ACCORDIONS, VIOLINS and SAXOPHONE ( in second interlude ) is mind-boggling.
5) HUME TO HO GAYA HAI PYAR..Lata Mangeshkar
Cabaret style composition, peppy song. Beautifully composed and orchestrated with BONGO DRUM “rhythm”. Use of GUITAR in all the “interludes” and “filler” is ear-pleasing. Mumutaz daces perfectly.
6) NA JA KAHIN AB NA JAA..Mohammad Rafi
Romantically sung and composed an addict song. “Prelude” is full of Rafi sab’s ‘humming’ and VIOLINS. The entire song is composed on the western style rhythm created on ACOUSTIC GUITAR. In all the ‘interludes’ .ACCORDION, BASS GUITAR and VIOLINS are beautifully executed without changing the rhythm.
7) TUM JAO KAHIN, HAMANE TO KIYA …Lata Mangeshkar.
Beautiful melody in typical LP style rhythm with wonderful orchestration on all the “interludes”.
MERE HAMDAM MERE DOST is rarest of rare musical film by Laxmikant-Pyarelal which could not do any magic at the box office. Even presence of BIG stars Dharmendra/Sharmila Taigore/Mumtaz could not do anything. But the songs “clicked” and are still POPULAR.
Laxmikant-Pyarelal 
