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SONGWRITERS and LAXMIKANT-PYARELAL

SONGWRITERS & LAXMIKANT-PYARELAL

Laxmikant-Pyarelal made the debut from the film Parasmani released in 1963. Songwriters like Farooq Qaisar, Asad Bhopali, Indeevar penned the songs. The duo’s next films Harisihchandra Taramati, (1963), Sati Savitri, Sant Gyaneshwar, Dosti, Mr X In Bombay (1964) etc saw the big names of songwriters like National Poet Kavi Pradeep, Pandit Bharat Vyas, Majrooh Sultanpuri and Anand Bakshi, respectively. Since than Laxmikant-Pyarelal have worked with as many as 72 songwriters, till 1998.

Laxmikant-Pyarelal with Anand Bakshi (Top) and Majrooh Sultanpuri.

Lyricists with Laxmikant-Pyarelal right from Parasmani 1963 to Deewana Mastana 1998.

Following of the five ‘unique‘ songs, considered for review.

Kaifi Aazmi “Satyakam” 1969 ‘zindagi hai kya’ (Kishore Kumar, Mukesh & Mahendra Kapoor)

Amit Khanna, “Bhairavi” 1996 ‘om namah shivay‘ (Kavitha Krishnmurthy & Roopkumar Rathod)

RashtraKavee Pradeep, “Harishchandra Taramati” 1963 ‘suraj re’ (Hemant Kumar)

Pandit Narendra Sharma “Satyam Shivam Sundaram” 1978 ‘suni jo unke’ (Lata Mangeshkar)

Rajkavee Indrajetsingh Tulsi “Shor” 1972 ‘jeevan chalne ka naam‘ (M Kapoor, Manna Dey, )

The major share is from none other than ANAND BAKSHI who have written songs for 302 films only for Laxmikant-Pyarelal with close to 1680 songs.

Top SIX Music Directors with Anand Bakshi, in terms of number of films.

Laxmikant-Pyarelal :: Anand Bakshi 302 films

R D Burman :: Anand Bakshi 99 films

Kalyanji-Anandji :: Anand Bakshi 32 films

Anu Malik :: Anand Bakshi 28 films

Rajesh Roshan :: Anand Bakshi 17 films

S D Burman :: Anand Bakshi 13 films

On those days, from 1964 to 1998, till date, the most commonly and regularly aired sentence on the Radio Stations was

गीतकार आनंद बक्षी और संगीतकार लक्ष्मीकांत–प्यारेलाल …and the song starts…

A NUMBER ONE trio in Hindi Film Music.

Laxmikant-Pyarelal have given the music for close to 500 films. Anand Bakshi have written the songs for close to 600 films. More than 60% of the total work of Laxmikant-Pyarelal is with Anand Bakshi. More than 50% of the total work done by Bakshi Sahab is with Laxmikant-Pyarelal.

This “trio” of Laxmikant-Pyarelal & Anand Bakshi came for the first time in “Mr X In Bombay”…1964…(“mere mehaboob quyamat hogs” by Kishore Kumar)…all the songs of this film became immensely popular. This “trio” became into lime-light after Lata Mangeshkar’s songs of “Lootera”, 1966, Kishore Kumar’s “Shreeman Fantoosh”, 1966, J Omprakash’s “Aaye Din Bahar Ke”….BUT the “trio” got the immense popularity through the songs of “Milan”, 1967 (’sawan ka mahina’ ) …”Milan” songs storm the nation. In the same year musical hit “Night In London” (‘nazar na lag jaye’ and ‘bahosh-o-hawaas main deewana’), Jeetendr’s musical super hit “Farz”..Rajashri’s “Taqdeer” … after that this “trio” never looked back…give series of hits after hits. It is not possible to give the entire list of 302 films of Anand Baxi and Laxmikant-Pyarelal. Later in sixties “trio’s songs from Sanjeev Kumar’s “Raja Aur Runk”, Dharmendra’s “Aaya Sawan Jhoom Ke”, Rajendra Kumar’s “Anjana”, Rajesh Khanna’s ”Do Raaste”, Jeetendra’s “Jeene Ki Raah” and “Jigar Dost”, Manoj Kumar’s “Sajan” became hit. Witnessed many hits in seventies, mainly, Rajesh Khanna’s musical hits “Aan Milo Sajana”, “Haathi Mere Saathi”, “Prem Kahani”, “Roti”,”Anurodh”, “Dushman” etc….

Laxmikant, Anand Bakshi and Pyarelal.

Raj Kapoor’s “Bobby” and “Satyam Shivam Sundaram”, Jeetendra’s “Humjoli”, “Khilona”, “Banphoo”, Dharmendr’s “Jeeven Mrityu”, “Loafer”, “Raja Jani”, “Pratigya”, “Mera Gaon Mera Desh”,,etc…The list is endless. To add few Rajashree pictures “Uphaar” , “Piya Ka Ghar” ,”Amar Akbar Anthony”, “Sangam” “Karz” ..in eighties “Ek Duje Ke Liye”, “Asha”, “Rajput”, “Suhag” etc…in Nineties “Kalnayak”, “Saudagar”, “Hum” and “Khuda Gawah” Etc,.

There are many “hits” from this combo. It will be too long list.

The second in the list is MAJAROOH SULTANPURI…Laxmikant-Pyarelal have worked with Majarooh in as many as 46 films their major musical hits includes Rajashree’s “Dosti”, “Mere Lal” (‘payal ki hanker taste taste’), Dharmendra’s “Mere Hamdam Mere Dost”, (1968), Saira Banu’s “Shagird” (1967)(dil bil pyar vyar) , Manoj Kumar’s “Patthar Ke Sanam”(1967), “Wapas” (‘ek tera saath’), “Dharati Kahe Pukar Ke” , V. shanaram’s Classic “Jal Bin Machhali Nitya Bin Bijali”.(1971), Amitabh-Jaya Starrer “Ek Nazar”, 1972, (‘patta patta buta buta’) “Abhinetri”, 1971, “Imtihan” (Kishore’s “ruk jana nahin” and Lata’s “roj sham aathi thi” ) and many more…

Laxmikant, V Shantaram, Lata Mangeshkar, Majrooh Sultanpuri and Pyarelal.

RAJINDER KRISHAN:- Laxmikant-Pyarelal have worked with Rajendra Krishna for, 20 films, includes many hit films “Pyar Kiye Jaa” (1966), “Ladla” (1966), Sadhana’s home production “Intequam” (Lata’s cabaret song ’Aa Jaan-E-Jaa’ ), 1968 and “Geeta Mera Naam” (1974), Dharmendra’s “Jwar-Bhata” and Sanjay Khan/Rakhi “Wafaa” in 1974. Sanjeev Kumar-Wahida Rahaman’s “Man Mandir” (1971), Sanjeev Kumar’s “Naya Din Nayi Raat” and “Shandar” in 1974, “Qatl” 1985.

SAHIR LUDHIYANVI: Laxmikant-Pyarelal worked with Sahir for 7 films, the first time in 1968 for Dharmendra -Tanuja Starrer “Izzat” (‘ye din tum bin kahin), . Dharmendra – Waheeda starrer “Man Ki Aankhen” ( superb music) they also worked for B R Chopr’s “Dastaan”, 1972 and Yash Chopra’s “Daag” (mere dil mein aaj Kya hai ).”Deedar-E-Yaar” 1981.

Extreme left Sahir Ludhianvi, Laxmikant and guest.

RAJA MEHDI ALI KHAN:- If I am to ask the best of Laxmikant-Pyarelal it is from these 3 films, Raj Khosla’s “Anita” and Bishwajeet-Mala Sinha’s “Jaal” both released in 1967. One of the outstanding compositions for both the films…Raj Khosla has decided to team up Laxmikant-Pyarelal with Raja Mehandi Ali Khan..But the sudden death of Raja Mehandi Ali Khan..has brought in Anand Baxi.

PANDIT BHARAT VYAS..Associated with Laxmikant-Pyarelal for 5 films, two of the finest scores of the duo, “Sati-Savitri” and “Sant Gyaneshwar” both released in 1964.

SANTOSH ANAND:- Manoj Kumar’s “Shor” (‘ek pyar ka nagame hai’), “Roti Kapada Aur Makan”, (main na bhulunga) “Kranti”. “Prem Rog”,”Pyasa Sawan” (Megha re Megah Re) “Santosh”, “Tiranga”, “Surya” and many more. 16 films with the duo.

VERMA MALIK:- 20 films together “Shor”, “Roti Kapada Aur Makan”,”Zinda Dil”, “Kartavya”, Rajkumar Kohli’s “Nagin” & “Jani Dushman” and “Anhonee” (‘today’s sensational hit ‘maine hothon pe lagayi to hungama ho gaya’) and many films.

ASAD BHOPALI:- “Parasmani” (lata-rafi ‘woh jab yaad aaye’), 1963. “Roop Tera Mastana” (lata-kishore ‘dil ki baate dil hi jaane’), 1972, Kishore Kumar’s “Hum Sab Ustaad Hai” (Kishore classic ‘ajanabi tum jaane pehachane se’), 1965. “Aaya Toofan” and “Boxer” both in 1964.

JAVED AKHTAR:– In late eighties Laxmikant-Pyarelal worked with Javed Akhatar closed to 8 films, to produce mega hit songs for the films like “Mr India”, “Tezab” (‘ek do teen ..) and “Roop Ki Raani Choron Ka Raja”, “Jamai Raja” and “Narsinha” etc.

Javed Akhtar, Laxmikant and Yash Chopra

FAROOQ QAISER:- Who wrote the first ever song of Laxmikant-Pyarelal “Hasata Hua Nurani Chehara” from “Parasmani”, 1963. He has also written two more songs for “Parasmani”. “Aaya Toofan” 1964, …after the gap of 22 years Farooq Qaiser worked for LP in “Hamara Khandan” 1986 and “Kudrat Ka Kanoon” 1988.

GULZAR wrote the songs for Laxmikant-Pyarelal in Rajesh Khanna’s “Palkon Ki Chhaon Main” (lata classic, ‘koi mere mathe ki bindia saja de’ and Kishore’s ‘dakiya daak laya’ )and J P Dutta’s Dharmendra starrer “Ghulami” (lata-shabbir ‘jihal-e-mushkil).

VASANT DEV: The famous Marathi poet wrote the songs for Laxmikant-Pyarelal for two films in Shashi Kapoor’s “Utsav” 1985(lata-asha classic ‘man kyoun behaka’ and suresh wadkar’s ’sanz dhale’) and Girish Karnad’s “Sur Sangam” 1986, an outstanding music for both the films.

VITTHALBHAI PATEL:- “Bobby” (“na mangu sona chandi”)

MANGESH KULKARNI wrote for Nana Patekar’s “Prahar” 1991, (Suresh Wadkar classic ‘dhadakan zara rook gayi hai’ and Mannade ‘hamari hi mutthi main hai aasmaman’)

KAIFI AAZMI wrote the songs for Hrishikesh Mukharjee’s Dharmendra – Sharmila starrer film “Satyakaam”, 1969, has some outstaning songs two solos by Lata (‘do din ki zindagi’ & ‘abhi kya sunoge’) and one beautiful song sung by Mukesh, Kishore and Mahendra Kapoor (‘zindagi hai kya bolo’)

SONG – 1

Zindagi Hai Kya Bolo “SATYAKAM” 1969

(Singers Kishore Kumar, Mukesh, Mahendra Kapoor / Songwriter Kaifi Aazmi)

“Satyakam” has powerful performances, well directed by Hrishikesh Mukharjee. Laxmikant-Pyarelal was working first time with Kaifi Aazmi and Hrishikesh Mukharjee. The song is well orchestrated with use of ACOUSTIC GUITAR with BONGA DRUM in rhythm. MOUTH-ORGAN is well executed in the ‘interlude’. Filmed on Dharmendra – Sanjeev Kumar – Asrani.

https://www.youtube.com/watch?v=TLVJj7JGlFo

RAM BHARADWAJ ( Composer Vishal Bharadwaj’s father) also wrote for Laxmikant-Pyarelal in “Jurm Aur Saza” 1975 and “Zindagi Aur Toofan” 1978, with some superb songs.

ANJAN wrote some beatiful melodies for LP. “Badalate Rishte”, 1978, (Lata-Mahendra Kapoor ’s classic…’meri sason ko jo mehaka rahi hai”. “ Eeshwar”, “Sanjog” and many more..

AMIT KHANNA: Penned the songs for Laxmikant-Pyarelal for his home production film “Bhairavi”, 1996..simply outstanding music.

SONG – 2

Om Namah Shivay “BHAIRAVI” 1996

(Singer Kavitha Krishnmurthy – Roopkumar Rathod / Songwriter Amit Khanna)

Devotional song awesomely rendered by Kavitha Krishnamurthy and Roopkumar Rathod.

HASARAT JAIPURI:– “Chhaila Babu” 1967 (rafi classic ’tere pyar ne muze ghum diya’ ) and Mukesh-Lata evergreen (kyon jhuki jhuki hai palaken) and “Aakhri Dao” 1976 and “Mohabbat Ki Aarzoo” 1994.

TAJ BHOPALI: Anup Kumar and Ashok Kumar’s “Aansoo Ban Gaye Phool” 1969..(Asha classic ‘meharba mehaboob dilbar jan – e – man’). and Kishore classic. ‘ab inko vote do’

GOVIND MOONIS. “Aansoo Ban Gaye Phool” 1969, (Kishore-Asha all time hit “jane kaisa hai mera deewana’).

S H BIHARI: “Pyar Jhukata Nahin” ( ’tumese mil kar na jane kyon’ ) and “Teri Meharbaniyan”

MANOJ KUMAR in “Kranti”

Shakeel Badayuni, Neeraj, Shahryar and Yogesh (One film each)

Laxmikant-Pyarelal have a privilege of working with National Poets like

RASHTRAKAVI PRADEEP in “Harishchandra Taramati” (singer Hemant Kumar’s ‘suraj re jalte rehana’)

Pyarelal, Rashtrakavi Pradeep, Lata Mangeshkar and Laxmikant

SONG – 3

Suraj Re Jalte Rehna “HARISHCHANDRA TARAMATI ” 1963.

(Singer Hemant Kumar / Songwriter Rashtravee Pradeep)

All songs great, classical. It was second released film of Laxmikant-Pyarelal produced by B K Aadarsh (father of today’s famous film critics and film analyst Mr. Taran Aadarsh of Zee TV fame). It was a black & white mythological film with no star-cast, except Prithviraj Kapoor. BUT the song became extremely popular. It was a surprise package from Laxmikant-Pyarelal when their 1963 Diwali released “Parasmani” songs were still very much popular.

https://www.youtube.com/watch?v=KPd1UregTZku0026amp;t=225s

PANDIT NARENDRA SHARMA in “Satyam Shivam Sundaram” (title song) and

“Prem Rog” (‘bhanware ne khilaya phool)

Manna Dey, Shashi Kapoor, Laxmikant-Pyarelal, Pandit Narendra Sharma & Raj Kapoor.

SONG – 4

Suni Jo Unke Aane Ki Aahat “SATYAM SHIVAM SUNDARAM” 1978

(Singer Lata Mangeshkar / Songwriter Pandit Narendra Sharma)

This song is a local ‘folk’ song from ‘Awadh’ area in Uttar Pradesh. Laxmikant-Pyarelal known for the best use of CHORUS. The song is melodiously composed by using CHORUS and Lataji’s sweet rendering. This is the song which has no “interludes” tunes. But has tuneful ‘prelude’ of CHURCH ORGAN, CHORUS and Lataji’s wonderful “aalaps”. The song too has tuneful DHOLAK rhythm.

https://www.youtube.com/watch?v=5VN0UjgJgS8

RASHTRAKAVI INDRAJEETSINGH TULSI in “Shor” (Mannade-Mahendra Kapoor “Jeevan Chalane Ka Naam”) and “Sauda”

SONG – 5

Jeevan Chalane Ka Naam SHOR 1972

(Singer Mahendra Kapoor – Manna Dey – Shama Chitter / Songwriter Indrajeetsingh Tulsi)

जीवन चलने का नाम चलते रहो सुबह ओ शाम Beautiful melodious song. Very inspiring & motivating. Filmed on Manoj Kumar and Prem Nath. The song’s ‘prelude’ ‘interludes’ are excellently orchestrated with IRANI SANTOOR, ACOUSTIC GUITAR and symphony VIOLINS, synchronized with Bicycle BELL and RUBAB. Third ‘interlude’ awesomely instrumented with ACCORDION. Wonderful DHOLAK rhythm overlapping the CHORUS sound.

MAYA GOVIND in Ramamnd Sagar’s “Jalte Badan” 1972.

SHIV KUMAR SAROJ “Naag Mandir” 1964 (khamosh zindagi ko aawaz de rehe ho)

Following lyricists also penned the songs for Laxmikant-Pyarelal.

AZIZ QAISIS “Dayavan” 1988 ( today’s sensational hit song “aaj phir tumse pyar aaya hai”)

RAJESH MALIK:– “Tejaswini”

INDIVER:- “Parasmani” (rafi classic ‘roshan tumni se duniya’)

GULSHAN BAWARA in “Phansi” (‘jab aati hogi yaad meri’ sulakshna – rafi duet)

AMIR QUAZALBASH “Prem Rog” (‘meri kismat main tu nahin shayad’)

AARZOO LAKHANAVI “Anita” 1967, (mukesh classic “gore gore chand ke mukh pe” )

HASSAN KAMAL in “Batawara” and “Yateem”

RAM AVTAR TYAGI in “Zindagi Aur Toofan” 1978 ( ek hasarat thi ki ..by Mukesh)

SAMEER in “Kudrat Ka Kanoon”

MUMTAZ RASHID in “Tejaswini”

QAMAR JALALABADI in Ranadhir Kapoor and Rekha Starrer “Kachcha Chor” 1977

TAABISH ROMANI in “Mohabbat Ki Arzoo” 1994.

KULWANT JAANI in “Mohabbat ki Aarzoo”

KAFIL AZAR in Dharmendra – Rekha starrer “Kartavya” 1978, (lata’s stunning song ‘Doori Na Rahe Koi Aaj Itane” )

HARI RAM ACHARYA in “Mehandi Rang Layegi”

JAINENDRA JAIN in his home production “Janoo” 1985.

SATYA PRAKASH “Jai Hind” 1999

RANI MALIK “Aatank” 1996

Famous Songwriter Shailendra was signed for “Dharti kahe Pukar ke”, being produced by a very good friend of Shahilendra, Pandit Deenanath Shastri and was to work for first time with Laxmikant-Pyarelal. But due to sudden demise of Shailendra this did not happen and Majrooh was signed. It was a big loss to music lovers that Shailendra – Laxmikant-Pyarelal team did not happen.

Compiled List
NAME OF THE SONGWRITER	NUMBER OF FILMS DONE	NUMBER OF SONGS WORKED
Anand Bakshi	302	1684
Majrooh Sultanpuri	45	229
Rajinder Krishan	20	113
Verma Malik	20	81
Anjaan	19	80
S. H Bihari	16	68
Santosh Anand	16	66
Hasan Kamaal	13	48
Sameer	13	43
Javed Akhtar	7	42
Asad Bhopali	16	41
Sahir Ludhiyanvi	7	35
Farooq Qaiser	8	27
Bharat Vyas	5	26
Indeevar	10	23
Hasrat Jaipuri	6	17
Vasant Deo	2	14
Gulzar	3	11
Raja Mehdi Ali Khan	3	11
Pt. Narendra Sharma	2	9
Kavi Pradeep	1	9
Ram Bhardwaj	5	9
Gulshan Bawra	3	9
Manoj Kumar	3	9
Kaifi Azmi	3	8
Rajkavi Inderjeet Singh Tulsi	3	7
Rani Malik	3	7
Amit Khanna	1	7
Kulwant Jani, Shahenshah	1	6
Sameer, Dev Kohli, Hasan Kamaal	1	6
Jainendra Jain	1	6
Indeevar, Brij Bihari	1	5
(blank)	5	5
Maya Govind	2	5
Taj Bhopali	2	5
Qamar Jalalabadi	1	5
Aziz Qaisi	2	4
Mangesh Kulkarni	1	4
Sudarshan Faakir	1	4
Hariram Acharya	1	4
Kafil Azar	2	4
Rajesh Malik	2	4
Vitthalbhai Patel	3	4
B. R Tripathi	1	4
Salahuddin Parvez	1	3
Majrooh Sultanpuri, Raja Mehdi Ali Khan	1	3
Shri Mohan Pradeep	1	3
Prayag Raj	1	2
Traditional	2	2
Neeraj	1	2
Shakeel Badayuni	1	2
Ram Avtar Tyagi	1	2
Kulwant Jani	2	2
Dev Kohli	1	2
Mumtaz Rashid	1	2
Rahi Masoom Raza	1	2
Naqsh Lyallpuri	1	1
Tabish Romani	1	1
K. K Singh	1	1
Arzoo Lakhnavi	1	1
Murshid Hallauri	1	1
Prem Pandit	1	1
Kaifi Azmi & Sahir Ludhiyanvi	1	1
Amir Minai	1	1
Surdas	1	1
K. K Verma	1	1
Amir Khusro	1	1
Jigar Moradabadi	1	1
Traditional?	1	1
Yogesh	1	1
Amir Khusro, Anand Bakshi	1	1
Shiv Kumar Saroj	1	1
Amir Qazalbash	1	1
Meerabai	1	1
Govind Moonis	1	1
Grand Total	503	2844

Ajay Poundarik

Atlanta (Georgia)

USA

April 18, 2021

Laxmikant-Pyarelal : Ascendancy in BINACA GEETMALA

Laxmikant-Pyarelal : Ascendancy in BINACA GEETMALA

Weekly Countdown programme called “Binaca Geetmala”, the most popular and famous musical radio programme of it’s time. It’s first broadcast was in 1953 by Radio Ceylon and it’s host was the inimitable Ameen Sayani. The Binaca Geet Mala ranked the most popular Bollywood film songs according to sales in select shops in select cities.

The program played a plethora of popular songs, flooding the airwaves of our childhood and youth. We would be waiting eagerly to every Wednesday, to tune in to what would be a non stop one hour feast of music fiesta, commencing at 8 PM.

The songs that get promoted on the basis of Listeners’ Preferences became a hit, invariably.

Apart from the songs, it is the voice of Ameen Sayani with his unique style of announcing that scintillated the listeners.

At the end of of the every year lists were compiled based on points earned by songs through the year, by airing it on weekly countdown programmes. These songs were the top hits of the year and we used to call it as Binaca Geetmala Final Songs.

Binaca Geetmala used to broadcast annual (Varshik) programme giving the orders of the top ‘Final Songs” songs of the year, at the end of every year.

If we count the “Final Songs” of Binaca Geetmala, from 1953 to 1993 the “Final Songs” numbers comes to 1259, in 40 years.

Among the music directors it is Laxmikant-Pyarelal have ascendancy in Binaca Geetmala. The performance of Laxmikant-Pyarelal, in Binaca Geetmala is being reviewed.

Top Five, ( singers, songwriters and music directors ) who dominates the show in Binaca Geetmala Finals. Numbers of the songs out of 1259 songs. In the bracket mentioned how many number ONE songs of the year as well the years of stay.

SINGERS-

1 Lata Mangeshkar   ::    Gigantic 320 songs ( 18 songs appearing on TOP, 1953 to 1993)

2 Mohammad Rafi :: 220 songs ( 8 songs appearing on TOP, 1953 to 1981 )

3 Kishore Kumar :: 217 songs ( 6 songs appearing on TOP, 1953 to 1988 )

4 Asha Bhosle :: 154 songs ( 4 songs appearing on TOP, 1953 to 1998

5 Mukesh :: 59 songs ( 5 songs appearing on TOP, 1953 to 1976 )

SONGWRITERS

1 Anand Bakshi           :: Mammoth 209 songs ( 8 songs appearing on TOP, 1963 to 1993 )

2 Majrooh Sultanpuri :: 115 songs ( 7 songs appearing on TOP, 1953 to 1993 )

3 Hasrat Jaipuri :: 75   songs ( 5 songs appearing on TOP, 1953 to 1988 )

4 Indeevar :: 65   songs ( Only 1 song appearing on TOP, 1953 to 1989 )

5 Shailendra :: 57 songs ( 2 songs appearing on TOP, 1953 to 1966 )

MUSIC DIRECTORS:-

1 Laxmikant-Pyarelal :: Whopping 245 songs ( 11 songs appearing on TOP. 1963 to 1993 )

2 Shankar-Jaikishan :: 144   songs ( 6 songs appearing on TOP, 1953 to 1975 )

3 R D Burman :: 133    songs ( Only 1 song appearing on TOP, 1961 to 1993 )

4 Kalyanji-Anandji :: 74    songs ( 5 songs appearing on TOP, 1959 to 1990 )

5 S D Burman :: 55     songs ( 3 songs appearing on TOP, 1953 to 1974 )

Indian Bollywood composer Pyarelal Sharma (R) {Laxmikant-Pyarelal} poses with Indian radio announcer Ameen Sayani during the music launch of his new music album. ‘

Laxmikant-Pyarelal :: Ascendancy In Binaca Geetmala:-

1963 Hasta Hua Noorani Chehra “Parasmani”

TO

1993 Choli Ke Peeche Kya Hai “Khalnayak

https://www.youtube.com/watch?v=uFfvumYGkXU&t=2s

Let us review / study about the long, record breaking as well as sustaining tanure of Music Directors Laxmikant-Pyarelal in 30 years, in Binaca Geetmala. If we consider only “final songs” the number is figuring 245 songs. This is a the highest numbers of the songs among the music directors.

In the third quarter of 1963, Laxmikant-Pyarelal first ever songs Hasta Hua Noorani Chehra form “Parasmani” hit the “Binaca Geetmala”. It appeared on Number 06 position in the finals. Number 15 also acquired by Woh Jab Yaad Aaye, from the same film.

“Dosti”, “Mr X In Bombay”, “Sant Gyaneshwar”, “Harishchandra Taramati”, “Lootera”, “Hum Sab Ustad Hain” songs arose and bluster Binaca Geetmala in 1964 and 1965.

1964 Number 06 Mere Mehboob Qayamat Hogi.

In 1965 witnessed 6 final songs from Laxmikant-Pyarelal, including 2 songs under TOP 4

Number 04 Jyot Se Jyot Jagate .. Lata/Mukesh “Sant Gyaneshwar”

Number 02 Chahunga Main Tujhe …Rafi “Dosti”.

1966 saw Laxmikant-Pyarelal superhit scores from “Mere Lal” (Payal Ki Jhankar Raste Raste), “Dillagi”, “Pyar Kiye Jaa”.

After that Laxmikant-Pyarelal songs were regularly and prominently aired on “Binaca Geetmala”. There used to be sixteen songs in each of the weekly “Binaca Geetmala” programme, many times, more than half the numbers of the songs were of the duos. There are certain weekly Binaca Geetmala programmes in which more than 13 out of 16 songs of Laxmikant-Pyarelal were broadcast when the duo were on right on top of their carrier.

In annual (Varshik) Binaca Geetmala final songs, from mid-sixties onward, Laxmikant-Pyarelal were having an upper hand. Not only that, on an average, there used to be at least more than 8 to 10 songs from the desk of the duos, that too covering about 50 % of the songs in between top to first ten positions.

Laxmikant-Pyarelal TOP songs of the year. 11 times on TOP, including four times in a row in 1967, 1968, 1969 and 1970. Refer below:-

1967 — Sawan Ka Mahina .… Lata – Mukesh, “Milan”

1968 — Dil Vil Pyar Vyar …. Lata, “Shagird”

1969 — Kaise Rahoon Chup …. Lata, “Intequam”

1970 — Bindiya Chamkegi ….. Lata, “Do Raaste”

1975 — Mehangai Mar Gayi ..Lata Jani .”Roti Kapada Aur Makan”

1980 — Dafliwale Dafli Baja … Lata-Rafi, “Sargam”

1984 — Tu Mera Janu Hai … Anuradha-Manhar “Hero”

1986 — Yashoda Ka Nandlala …. Lata, “Sanjog”

1987 — Chitthi Aayi Hai ….Pankaj Udhas, “Naam”

1989 — My Name Is Lakhan …. M. Aziz, “Ram Lakhan”

1993 — Choli Ke Peeche ….Alka Yagnik-Ila Arun “Khalnayak”

In the year 1967, Laxmikant-Pyarelal musical hit “Milan” songs storms the nation. Weekly programmes 5 songs from “Milan” were aired and 3 songs found the place in yearly countdown ‘final songs’. Totally 9 songs appeared in “Binaca Geetmala” finals, including the TOP song of the year, from “Milan”. ‘Sawan Ka Mahina’

1968 Laxmikant-Pyarelal had 8 final songs with TOP song of the year from “Shagird” , ‘Dil Vil Pyar Vyar’.

In the years 1969 and 1970, witnessing 11 and 10 Final Songs, respectively and also acquiring number one TOP songs of the year, from “Intequam” ‘Kaise Rahoon Chup’ as well as ‘Bindiya Chamkegi’ from “Do Raaste”.

1967 onwards, Laxmikant-Pyarelal dominating trend for highest numbers of ‘final songs’ continued with consistent output, till late eighties.

Raj Kapoor’s “Bobby” songs continued to play in Binaca Geetmala for two successive years, 1973 – 1974.

1975 Laxmikant-Pyarelal have as many as 9 final songs with First 2 songs on TOP position. Both from “Roti Kapda Aur Makan”

Number 02 Hi Hi Yeh Majboori.. Lata.

Number 01   Mehangai Maar Gayi..Lata-Mukesh-Chanchal-Jani Babu.

In 1977 have 12 finals songs of Laxmikant-Pyarelal with 4 songs among the top 6.

Number 06 Satyam Shivam ..Lata..”Satyam Shivam Sundaram”

Number 05 Aap Ke Anurodh Pe...Kishore..”Anurodh”

Number 03 O Meri Mehabooba..Rafi..”Dharmveer”

Number 02 Parda Hai Parda ..Rafi..”Amar Akbar Anthony”

1978, 1979 also had highest numbers of final songs averaging 9 to 10 songs.

In 1980 12 final songs of Laxmikant-Pyarelal with first three top songs belongs to the duo.

Number 03   Sheesha Ho Ya Dil..Lata.”Asha”

Number 02   Om Shanti Om..Kishore..”Karz”

Number 01 Dafliwale Dafli Baja..Lata-Rafi..”Sargam”

1981 flooded with 13 ‘final songs’ from Laxmikant-Pyarelal with as many as 7 songs appearing in the top ten.

Number 10 John Johny Janardhan..Rafi,.”Naseeb”

Number 08 Mere Jeevan Sathi..SPB-Anuradha..”Ek Duje Ke Liye”

Number 07 Mar Gayi Mujhe ..Kishore-Asha..”Judai”

Number 06 Chana Jor Garam..Kishore, Rafi,, N Mukesh.”Kranti”

Number 05 Tere Mere Beech Mein ..Lata/SPB..”Ek Duje Ke Liye”

Number 03 Chal Chal Mere Bhai..Rafi, Amitabh..”Naseeb”

Number 02   Zindagi Ki Na Tute Ladi..Lata-N Mukesh..”Kranti”

The same trend, the highest numbers of ‘final songs’, continued for Laxmikant-Pyarelal in 1984, 1985. In 1986 as many as 16 final songs of the duo (covering almost 50% songs of the year) with 5 songs in top Ten . Once again the first three TOP songs were from the duo.

Number 03 Har Karam Apna Kare Kavitha-Mohammad Aziz..”Karma”

Number 02 Duniya Mein Kitna Gham Hai..Mohammad Aziz..”Amrit”

Number 01 Yashoda Ka Nandlala...Lata Mangeshkar…”Sanjog”

The year 1987 brings out as many as 11 final songs for Laxmikant-Pyarelal. 4 songs appearing in top 5 including the number 1 song,

Number 05 Tune Bechain Itna Kiya..Mohammad Aziz..”Nagina”

Number 04 Main Teri Dushman...Lata….”Nagina”

Number 03 Na Jaiyo Pardes..Kavitha..”Karma”

Number 01   Chitthi Aayi Hai ..Pankaj Udhas ..”Naam”

The year 1988 was flooded with as many as 10 songs from the duo.

In the year 1989 Laxmikant-Pyarelal as many as 8 final songs, 6 songs appearing in top 10, including the number 1 song.

Number 10 Muze Tumse Hai …Manhar Udhas-Anuradha “Ram Lakhan”

Number 08 So Gaya Ye Jahan..Nitin Mukesh, Alka, Shabbier “Tezaab”

Number 07 Tere Lakhan Ne Bada ..Lata Mangeshkar..”Ram Lakhan”

Number 06 Kehdo Ke Tum Ho ..Anuradha-Amit Kumar..”Tezaab”

Number 04 Hum Tumhe Itan Pyar .Anuradha- M. Aziz…”Bees Saal Baad”

Number 01 One Two Ka Four..Mohammad Aziz..”Ram Lakhan”

From 1990 to 1992 saw some marvelous as well as prominent songs from “Chaalbaaz” “Hum”, “Khuda Gawah”, “Saudagar”, “Narsinha”.

Once again 1993 rocked the nation through Laxmikant-Pyarelal one song that remained top in final songs.

Number 01 Choli Ke Peeche Kya Hai …Alka Yagnik-Ila Arun “Khalnayak”.

There are many songs after 1993 to 1998 but then Binaca Geetmala discontinued, to be aired from Radio Sri Lanka.

Would like to highlight FIVE BEST Songs of Laxmikant-Pyarelal. These songs gained the TOP, Number – 01 positions, storm the nation as well as still popular.

1967 TOP Song

— Sawan Ka Mahina …”Milan”

(Lyricist Anand Bakshi / Singers Lata Mangeshkar & Mukesh)
Beautiful DHOLAK rhythm with orchestrated with MANDOLIN, FLUTE, SYMPHONY style VIOLINS, in the “interludes”

1968 TOP Song

— Dil Vil Pyar Vyar

(Lyricist Majrooh Sultanpuri / Singer Lata Mangeshkar)
Fast DHOLAK rhythm. NADASWARAM is awesomely orchestrated.

https://www.youtube.com/watch?v=kjPD8olc26o

1970 TOP Song

— Bindiya Chamkegi

(Lyricist Anand Bakshi / Singers Lata Mangeshkar )
This “Punjabi” folkish style, sweet and melodious song, with euphonic DHOLAK ‘rhythm’ is completely decorated with the glimpses of SANTOOR and FLUTE.

https://www.youtube.com/watch?v=_Aj5HvxyNmw

1980 TOP Song

—Dafliwale Dafli Baja

(Lyricist Anand Bakshi / Singers Lata Mangeshkar – Mohammad Rafi )
Mind-Boggling orchestra arrangements. Mellifluous composition.

1987 TOP Song

— Chitthi Aayi Hai

(Lyricist Anand Bakshi / Singer Pankaj Udhas )

Ajay Poundarik

Atlanta (Georgia)

USA

April 16, 2021
Raj Khosla & Laxmikant-Pyarelal :: Musical Blockbuster “Mera Gaon Mera Desh”

Raj Khosla & Laxmikant-Pyarelal :: Musical Blockbuster “Mera Gaon Mera Desh”

Mera Gaon Mera Desh released in 1971, is a complete movie in itself. The film has a 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 career best performance by Vinod Khanna who those days started as a villain is superb as Jabbar Singh.

Sholey released in 1975 was inspired by Mera Gaon Mera Desh, 1971, in many ways.

— Coin Toss, before taking decision

— Strapped shoulders of Jayant and Sanjeev Kumar. (similar roles)

— Mausi / A K Hangal

— Jabbar Singh (Vinod Khanna) / Gabbar Singh (Amjad Khan)

— Teaching of Gun Dharmendra – Asha Parekh / Hema Malini

Mera Gaon Mera Desh celebrated Golden Jubilee run (50 week) all over India

The songs were / are hit, even today. Once again the rocking combo of Lata Mangeshkar / Laxmikant-Pyarelal jiggles. Lata Mangeshkar has sung all five songs, including four solos.

1 Sona Layi Ja Re …. Lata

2 Mar Diya Jaaye Ke Chhod Diya Jaay …. Lata

3 Apni Prem Kahaniyan …. Lata

4 Aaya Aaya Atariya Pe Koi …. Lata

5 Kuchh Kehata Hai Ye Sawan …. Lata-Rafi.

Asha Parekh lends the glamour quotient but it is Laxmi Chhaya who gives a stellar performance as a nautch girl. A special word of praise for Laxmi Chhaya. She gets to lip-sync to three of the film’s most famous songs—Maar diya jaaye ya chhod diya jaaye, Aaya aaya atariya pe koi chor and Apni prem kahaaniyaan—and dances up a storm in each of them. 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.

Maar 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 !! तुम्हारे साथ क्या सुलूक किया जाए !! “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. Filmed on Laxmi Chhaya Dharmendra-Asha Parekh.

Apni Prem Kahaniyan …. Lata

One of the best “”situational”” numbers you would get to see. It’s a gestural song situation. Raj Khosla has done the best to film this song. The police get no help either, when they arrive in the village “mela”/Fair.. . Nobody is willing to recognize “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 BAKSHI, has worded this song according to the situation demand. LAXMIKANT-PYARELAL have decorated this song with mellifluous orchestra arrangements.

Prelude of 75 seconds steals the show, it is orchestrated by using VIOLINS, RAVANHATTA (a violin from Rajasthan), RUBAB, GHUNGROO BELLS and wonderful display of MANDOLIN as well DHOLAK rhythm. Lataji’s take off हाय शरमाऊं किस किस को बताऊं , 4 seconds singing ‘pause’,(at 1.17), highlighting rhythm, followed by 7 seconds rhythmic ‘pause” (at 1.22). Interludes are justifying the village “mela”/fair . First interlude is orchestrated with RUBAB, NADASWARAM & VIOLINS. Second interlude starts with DHOLAK rhythm, NADASWARAM, VIOLINS & finally it ends with RUBAB. Third interlude starts with VIOLINS overlapping sounds of TEMPLE BELLS, CONCH-SHELL, RAVANHATTA and NADASWARAM. The RHYTHM of the song is mesmerizing. LATA MANGESHKAR is simply outstanding..filmed on Laxmi Chhaya. .

Aaya Aaya Atariya Pe Koi Chor       Lata

आया-आया अटरिया पे कोई चोर. 49 seconds of ‘prelude’, orchestrated with VIOLINS, RAVANHATTA and NADASWARAM and finally with GHUNGROO BELLS, with many variations in DHOLAK rhythm, is a ‘killer’. In mukhada an awesome ‘take off’ by Lata ji आया – आया अटरिया पे कोई चोर… singing ‘pause’ of 3 seconds (1.00 – 1.03) & the synchronization Lataji’ rendering with the ‘stroke’ of DHOLAK , are ear-pleasing. NADASWARAM / SHEHNAI is awesomely orchestrated in the first interlude. Second interlude is orchestrated with BANJO & SHEHNAI. Third interlude is instrumented with NADASWARAM, FLUTE and SHEHNAI In all the ataras BANJO sound & NADASWARAM are melodiously used in surround sounds.

https://www.youtube.com/watch?v=gu40BZGGavg

Kuchh Kehata Hai Ye Sawan         Lata – Rafi

Anand Bakshi’s ‘class’ can be heard in this song. Question – Answer. Astonishing DHOLAK rhythm. SITAR, played by Ustad Rais Khan, mellifluously orchestrated in interludes & also as a filler. Singing ‘pause’ 1.29 to 1.31, highlighting DHOLAK rhythm and SITAR. Another singing ‘and rhythmic pauses’ at 2.32 to 2.39, mesmerises you for SITAR. The song is filmed on Dharmendra-Asha Parekh.

Sona Lai Ja Re Lata

Typical LP style composition. 10 seconds of prelude TANPURA is orchestrated. The beauty of the song is DHOLAK rhythm is synchronised with TANPURA, throughout the song. At the end singing ‘pause’ highlighting FLUTE. Very melodious composition. Filmed on Dharmendra-Asha Parekh.

Ajay Poundarik, Vadodara.

April 12, 2021
CLASSICAL Manna Dey :: RHYTHMIC Laxmikant-Pyarelal

CLASSICAL Manna Dey :: RHYTHMIC Laxmikant-Pyarelal

Manna Dey has sung some beautiful songs of various under Laxmikant-Pyarelal. Manna Dey has sung close to 70 songs, of various types, under Laxmikant-Pyarelal.

Laxmikant-Pyarelal made the detonation start with the music of Parasmani, 1963. Next year, in 1964, the duo’s third and fourth films, Sati Savitri as well as Sant Gyaneshwar released.

Laxmikant-Pyarelal composed some of their best musical scores in these two films. Manna Dey has sung one song in each of the above mythological films. tum gagan ke chandrama ho a semi-classical duet with Lata Mangeshkar in Sati Savitri and a pure classical, solo, jago re prabhat aaya from Sant Gyaneshwar.

In the year 1966 Laxmikant-Pyarelal scored a beautiful ‘raag-mala’ involving Lata Mangeshkar – Manna Dey, ek ritu aaye ek ritu jaye from the film So Saal Baad 1966. In the same year the duo scored a rock-n-style duet with Usha Mangeshkar, o meri maina tu manle mera kehna from Pyar Kiye Jaa.

Laxmikant-Pyarelal also used Manna Dey to compose male duets, Manoj Kumar’s Shor 1972, an inspirational song sung with Mahendra Kapoor jeevan chalne ka naam. Raj Kapoor’s Bobby, 1973, na mangu sona chandi with Shailendra Singh.

There are few solo songs too. Darpan, 1970, darpan jhoot na bole

and Maa Aur Mamta, 1970, koi na jane bin tere naam

Manna Dey, Shashi Kapoor, Laxmikant, Randhir Kapoor, Raj Kapoor, Pandit Narendra Sharma and Pyarelal.

Manna Dey Quote:-

“Even though both of them (Laxmikant and Pyarelal ) are of my son’s age but would like to touch the feet of both Laxmikant and Pyarelal for their immense talent in music, dedication and complete devotion towards the music”….

Tum Gagan Ke Chandrama Ho            Sati Savitri 1964

(Lata Mangeshkar – Manna Dey / Pandit Bharat Vyas)

तुम क्षमा मैं भूल हूँ…..तुम गगन के चंद्रमा ..मै धरा की धूल हूँ.. The extreme of gratitude in love expressed ever in words.A beautiful song composed in Hindustani Raag “Yaman Kalyan”. 53 years have been passed since Lata Mangeshkar and Manna Dey got to gather to sing this magical song, NOT A SINGLE CREASE HAS APPEARED ON THE SMOOTH SHINING SURFACE OF THIS SONG…..The classical based song is mellifluously composed in symphony style orchestra arrangements. Use of soft pieces of VIOLINS and SITAR in all the ‘interludes’ is just mesmerizing.

Jago Prabhat Aaya                                 Sant Gyaneshwar 1964

(Manna Dey / Pandit Bharat Vyas)

Beautiful melodious classical composition. Wonderful use of Chorus. The song, based on raag Miyan Ki Todi. Solo VIOLIN, in the interlude sounds very nice. Melodious TABLA rhythm.

Ek Ritu Aaye Ek Ritu Jaye                        So Saal Baad 1966

(Lata Mangeshkar – Manna Dey / Anand Bakshi)

One of the best classical compositions of Laxmikant-Pyarelal superbly sung by Bharat Ratna Lataji and Manna dey, both masters of classical song. The song is called “raag-mala”. Solo VIOLIN, SANTOOR and FLUTE are superbly orchestrated synchronizing TABLA and MRIDANGAM rhythm.

O Meri Maina Tu Maan Le                   Pyar Kiye Jaa 1966

(Usha Mangeshkar – Manna Dey / Rajinder Krishan)

A naughty song, Manna Dey saab has superbly rendered this song, composed in Rock-N-Roll style rhythm. Renditions of the words अयी अयी यो, अयी अयी यो steals the show. Filmed on Mehmood – Mumtaz. Prelude of 22 seconds starts with ACOUSTIC GUITAR, DRUMS, in rock-n-roll rhythm. BRASS instruments, TRUMPET etc. Manna Dey’ awesome take off..ओ मेरी मैना तू मानले मेरा कहना। First interlude is full of GUITAR and BRASS instruments. Second interlude is also GUITAR and BRASS (TRUMPET), with different tunes. Also enjoy the overlapping sound effects from the singers.

Keh Gaye Father Ibrahim Izzat    1968

(Manna Dey / Sahir Ludhiyanvi)

It’s a motivational song. Zero prelude starts with wonderful AALAPs from Manna Dey. excellent take off इस तालिमसे बढ़कर जग में कोई नहीं तालीम। Beautiful folkish rhythm of DHOLAK synchronised melodiously with CHURCH BELL. This sounds good. Interludes are orchestrated with RAVANAHATHA, FLUTE and NADASWARAM. The strokes of CHURCHBELL in the rhythm gives ear-pleasing moments. The song is filmed on actor comedian Mehmood.

Sham Dhale Jamuna Kinare                         Pushpanjali 1970

(Lata Mangeshkar – Manna Dey / Anand Bakshi)

शाम ढले जमुना किनारे ! किनारे ! आजा राजे आजा तुझे शाम पुकारे !

An amazing work on FLUTE

In the interludes, overlapping sound effects of FLUTE and MANDOLIN, VIOLIN and RUBAB are worth listening to. Great Composition. Wonderful execution of CHORUS also synchronized with Lataji’s HUMMING and ‘alaaps”. The FLUTE is played by Pandit Hariprasad Chaurasiya who was a regular musician in Laxmikant-Pyarelal Orchestra.

https://www.youtube.com/watch?v=ZkIXEbjnVD4

Jeevan Chalane Ka Naam                        Shor    1971

(Manna Dey – M Kapoor – Shyama Chittar / Indrajeet Singh Tulsi)

Inspiration song. Beautifully composed and filmed while driving Bicycle, on Manoj Kumar, Jaya Bhaduri and Prem Nath. 22 seconds of ‘prelude’ orchestrated with IRANI SANTOOR and VIOLINS. ‘Interludes’ are instrumented with VIOLINS, ACOUSTIC GUITAR, IRANI SANTOOR, MANDOLIN, ACCORDION and BICYCLE BELL.

Na Mangoo Sona Chandi                               Bobby 1973

(Manna Dey – Shailendra Singh / 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.

https://www.youtube.com/watch?v=bmwWGrDoZhM

Dharti Ambar Nind Se Jage                           Chaitali 1974

(Lata Mangeshkar – Manna Dey / Anand Bakshi)

Hrisihekesh Mukharjee directed film, produced by Manobina Roy, (Bimal Roy’s wife).

Marvelously sung by Manna Dey & Lata Mangeshkar. Stupefying 19 seconds prelude starts with Lata ji’s mind-boggling HUMMING as well as AALAPS followed by SITAR. Mellifluous TABLA / DHOLAK rhythm. First interlude is orchestrated with SARANGI, FLUTE, TWEETING sound. Second interlude is full of SAROD.

https://www.youtube.com/watch?v=LX0KFZxkYVI

Ye Biraha Ki Aag Aisi                             Ponga Pandit 1975

(Manna Dey / Rajinder Kishan)

An extremely melodious song rendered by Manna Dey. HUMMING sound is awesomely intermixed with SANTOOR. TEMPLE BELL, SANTOOR, MANJIRA, FLUTE are beautifully orchestrated as a filler and in interludes. A hidden GEM.

Ajay Poundarik, Vadodara.

March 31, 2021
Sound of SHEHNAI :: Laxmikant-Pyarelal Enrich Orchestra

Sound of SHEHNAI :: Laxmikant-Pyarelal Enrich Orchestra

SHEHNAI Originated from India. Mostly used in North India. It is must in Indian Weddings,  It is especially played when the bride leaves his father’s place but this time it sounds sad.

Shehnai player, late Ustad Bismillah and SHEHNAI have become a synonym in India. In the Year 1958 Producer / Director Mr. Vijay Bhatt had made the movie “Goonj Uthi Shehnai”. The film’s story was based on Shehnai Player. Lots of scope for Shehnai. Late Ustad Bismillah Khan have played the Shehnai for the background music as well as for the songs composed by the music director Vasant Desai.

Actually SHEHNAI was not utilized as much as Sitar, Flute, Sarod and Santoor etc in the Hindi Film Songs. However, many music directors orchestrated SHEHNAI in their songs.

Music Director Ramlal who composed the music for V Shantaram’s “Sehra” 1963, was a very good SHEHNAI player. He played the Shehnai for many hit songs including Raj Kapoor and Laxmikant-Pyarelal classic “Satyam Shivam Sundaram” 1978, ‘rang mahal ke dus darwaze’ rendered by Lata Mangeshkar – Bhupendra Singh.

Use of SHEHNAI by various music directors.

Ram Ganguli

Zinda Hoon Is Tarah “Aag” 1948

Naushad

Aaye Na Balam Vada Kar Ke    “Shabab” 1954

Pee Ke Ghar Aaj                     “Mother India” 1957

Salil Chaudhari

Jhoome Re Kali Bhanwara     “Naukari” 1954

Chitragupt

Chal Ud Ja Re Panchhi          “Patang” 1957

Vasant Desai

Tere Sur Aur Mere Geet “Goonj Uthi Shehnai” 1958.

N Dutta

Tu Mere Pyar Ka Phool   “Dhool Ka Phool” 1958

C Ramchandra

Tu Chhupi Hai Kahan     “Navrang” 1959

S D Burman

Chal Ri Sajni   “Bambai Ka Babu” 1960

Roshan

Aap Ne Yaad Dilaya          “Aarti” 1962

Ramlal

Taqdeer Ka Fasana       “Sehra” 1963

Ravi

Babul Ki Dua Leti Ja        “Neel Kamal” 1968

Khaiyyam

Kabhi Kabhi Mere Dil Main “Kabhi Kabhi” 1976’

Laxmikant-Pyarelal also composed some melodious songs, harmonizing Shehnai, in their enrich orchestra arrangements. Few of the songs are considered for the review.

Songs Not Reviewed :–

Koi Shahari Babu “Loafer” 1973

Ni Main Year Manani “Daag” 1973

Meri Kismat Main “Prem Rog” 1981

Likhanewale Ne Likh Dale “Arpan” 1983

SHEHNAI player late Ustad Bismillah Khan praised of Laxmikant-Pyarelal for the beautiful use of SHEHNAI in the songs ‘Main To Deewana’ and ‘Ram Kare Aisa Ho Jaye’ both from the super musical hit film “Milan”, 1967.

Chori Chori Jo Tum Se Mili      “Parasmani” 1963

(Lata Mangeshkar – Mukesh / Farooq Qaisar)

Use of SHEHNAI and MANDOLIN in “Prelude” and all the “interludes” are worth listening to.

Itni Jaldi Kya Hai Gori    “Sati Savitri” 1964

(Lata – Usha – Kamal Barot / Pandit Bharat Vyas

A wedding and slightly naughty song, beautifully decorated with glimpses of FLUTE, SHEHNAI and DHOLAK. Don’t forget to listen to the MANDOLIN in “Prelude”.

Mubarak Ho Sabko Sama Ye Suhana      “Milan” 1967

(Mukesh / Anand Bakshi )

Singer Mukesh is simply the best choice for this song. Sad songs starts with ‘zero’ prelude. Ravishing DHOLAK rhythm, intermixed with DUFF, at some places. FLUTE is awesomely used as filler in the mukhada. First ‘interlude’ MANDOLIN, beautifully orchestrated followed by superb display of symphony style VIOLINS. Second ‘interlude’ starts with VIOLINS, later tunefully intermixed with SHEHNAI. Third ‘interlude’ beautiful display of FLUTE. First and third ‘antaras’ are melodiously filled with FLUTE. The second is filled with SHEHNAI. ‘Postlude’ of 12 seconds is synchronization of FLUTE, MANDOLIN and SHEHNAI, sounds well. Filmed on Sunil Dutt and Nutan.

Khushi Ki Woh Raat Aa Gayi “Dharti Kahe Pukar Ke” 1969 . (Mukesh / Majrooh Sultanpuri)

One of the excellent songs on SHEHNAI. “Prelude” of 57 seconds mesmerizes. It is awesomely orchestrated with SHEHNAI and FLUTE with astounding DHOLAK rhythm. Second ‘interlude’ is superbly orchestrated with synchronization of SHEHNAI and SITAR.The postlude is full of SHEHNAI. Filmed on Jeetendra.

Jawani O Diwani Tu Zindabad     “Aan Milo Sajna” 1971 (Kishore Kumar / Anand Baksh)i

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.

Hathon Mein Mehandi        “Uphaar” 1971

Lata Mangeshkar / Anand Bakshi

The perfect wedding song, sweet and melodious, as well. Excellent “prelude”, starting from 0.41 to 1.14 This song is a ‘folk’ showing traditional Rajasthani “ KATHPUTLI”. HAND DRUMS and the “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) are beautifully decorated in the orchestra to give the traditional “FOLK” touch. Lata Mangeshkar has brilliantly synchronized her voice with Laxmikant-Pyarelal’s orchestra arrangements.

Shehnai Baje Na Baje    “Shor” 1972

(Lata Mangeshkar / Verma Malik)

Lata Mangeshkar’s “humming” “aa oomm oomm aa oomm oomm” and few string instruments in the “prelude” of the song are beautifully synchronized with “Jaya Bhaduri”s swinging action. The “Dholak” rhythm is absolutely “ear-pleasing”. Interludes are orchestrated with SHEHNAI and RUBAB.

Rang Mahal Ke Dus Darwaze   “Satyam Shivam Sundaram” 1978

(Lata Mangeshkar – Bhupendra Singh / Vitthalbhai Patel)

SHEHNAI is prominently, efficaciously and mellifluously orchestrated in “Prelude”, “Interlude” and “Postlude” and also as a ‘filler’ in ‘antara’. At some places SHEHNAI is wonderfully synchronized with male singer Bhupendra Singh rendering.

https://www.youtube.com/watch?v=pjcbr-ewC2k

Chalo Re Doli Uthao        “Jaani Dushman” 1979

(Mohammad Rafi / Verma Malik)

One of the finest compositions on SHEHNAI. ‘Prelude’ CHORUS Humming. SHEHNAI used in interlude is wonderful. Filmed on Jeetendra, Neetu Singh, Shatrughn Sinha

Tere Haathon Mein Pehna Ke “Jaani Dushman” 1979

(Mohammad Rafi – Asha Bhosle / 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”. Filmed on Jeetendra – Neetu Singh.

Ladaka Tumhara Kunwara Rah Jata “Krodhi” 1980

(Kishore Kumar – Lata Mangeshkar / Anand Bakshi)

Tere Mere Beech Main   “Ek Duje Ke Liye” 1981

(Lata Mangeshkar – S P Balasubramaniam / Anand Bakshi)

Composed in Hindustani Classical Raag “SHIVRANJANI”. 16 seconds of ‘prelude’ orchestrated with glimpses of GUITAR, Symphony style CELLOs, and VIOLINS and awesome aalaps by Lataji. Excellent “DHOLAK” rhythm. SANTOOR, FLUTE, VIOLINS and SHEHNAI are mellifluously decorated in the orchestra.

Ye Galiya Ye Chaubara     “Prem Rog” 1982

(Lata Mangeshkar / Santosh Anand)

Wonderful traditional wedding song. Awesome DHOLAK rhythm, SHAHNAI is wonderfully orchestrated in the second interlude.

https://www.youtube.com/watch?v=hUde7UxFkAc

Ajay Poundarik, Vadodara (Gujarat).

February 10, 2021
ACTORS / ACTRESS SIGNATURE TUNES BY LAXMIKANT-PYARELAL

ACTORS / ACTRESS SIGNATURE TUNES BY LAXMIKANT-PYARELAL

Hindi Film Songs are of much importance for a film’s success and also for any actors/actresses to get boost-ups his/her popularity. In the past many popular songs filmed on actor/actress have made them stars.

Music directors Laxmikant-Pyarelal have composed many of such popular songs which have benefited the films to become hits as well as the film actors/actresses popularity hiked.

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. Her popularity chart further got the boost through the songs ‘Sanam Tu Bewafa Ke’ from “Khilona”, 1970 and ‘Koi Shahari Babu’ from the film “Loafer” 1973.

Likewise, Laxmikant-Pyarelal music did similar success for Sridevi ‘Hawa Hawai’ from “Mr India” in 1987 and also for Madhuri Dixit ‘Ek Do Teen’ from “Tezaab” in 1988. Not only that, singers of these songs Kavitha Krishnmoorthy and Alka Yagnik, respectively, got recognition as singers.

Jeetendra became ‘star’ through the success of musical hit film “Farz”, 1967, in particular the song ‘Mast Baharon Ka Aashiq’.

Laxmikant-Pyarelal has composed maximum enduring superhit songs for Amitabh Bachchan, Rajesh Khanna, Dhararmendra, Rishi Kapoor, Anil Kapoor, Jacky Shroff and many.

Lesser known actors like Chunky Pande, ( ‘So Gaya Ye Jahan’ from “Tezaab” in 1988.), Vijay Arora (‘Ek Ritu Aaye’ from “Goutam Govinda” in 1977), Javed Jaafri (‘Bol Baby Bol Rock-N-Roll’ from “Meri Jung”, 1984) and Shekhar Suman (‘Sanz Dhale’ from “Utsav”, 1984) got the signature tunes composed by Laxmikant-Pyarelal.

Dancers cum lesser known actresses like Laxmi Chhaya is known for the songs like ‘Mar Diya Jaye Ke Chhod Diya Jaye’ ‘Hi Sharmau Kis Kis Ko Batau’ and ‘Aaya Aaya Atariaya Pe Koi Chor’ all from “Mera Gaon Mera Desh” 1971, Kumkum famous for ‘Mera Naam Hai Chameli’ from “Raja Aur Rank” 1968, Indrani Mukharjee ‘Payal Ki Jhankar Raste Raste’ from “Mere Lal” 1966, etc have got these superhit songs.

SIX Best Songs, covering two stars in each song, are considered for the review.

List of the SIGNATURE TUNES, songs, composed by Laxmikant-Pyarelal for various actors / actresses. These songs made the actors / actress more popular.

AMITABH BACHCHAN–

Aadmi Jo Kehta Hai ( MAJBOOR, 1974)

My Name is Anthony (AMAR AKBAR ANTHONY, 1977)

Bane Chahe Dushman (DOSTANA, 1980)

John Jaani Janardan (NASEEB, 1981)

Gori Ka Sajan Sajan Ki Gori (AAKHRI RAASTA, 1987)

Jumma Chumma De De (HUM, 1990)

Tu Muze Kubul (KHUDA GAWAH, 1991)

ANIL KAPOOR–

One Two Ka Four My Name Is Lakhan (RAAM LAKHAN, 1987).

Zindagi Ki Yahi Reet Hai (MR INDIA, 1987)

AROONA IRANI –

Ai Phasa (BOBBY, 1973)

Panditji Mere Marane Ke Baad (ROTI KAPADA AUR MAKAN, 1974)

BINDOO –

Dard – E – Dil Badhata Jaye (BUNIYAD, 1972)

Hungama Ho Gaya.(ANHONEE, 1973)

BISWAJEET-

Nazan Na Lag Jaye, O My Love (NIGHT IN LONDON, 1967)

Akela Hoon Main Humsafar (JAAL, 1967)

ASHA PAREKH –

Suno Sajna Papihe Ne ( AAYE DIN BAHAR KE , 1966)

Tere Karan Mere Sajan (AAN MILO SAJNA, 1970)

Sona Layi Ja Re (MERA GAON MERA DESH, 1971)

Main Tulsi Tere Aangan Ki (MAIN TULASI TERE ANGAN KI, 1979)

BABITA –

Hum to tere aashik (FARZ, 1967),

Bar Bar Din Ye Aaye..Happy Birthday To You (FARZ, 1967)

Sheeshi bhari gulab ki (JEET, 1971)

BELA BOSE –

O Dilwalo Saaz – E – Dil (LOOTERA, 1965)

CHUNKY PANDEY –

So Gaya Yeh Jahan So Gaya (TEZAAB, 1987)

DHARMENDRA –

Mere Dushman Tu Meri (AAYE DIN BAHAR KE, 1966)

Chhalkaye Jaam (MERE HUMDUM MERE DOST, 1968)

Hui Sham Unka Khayal Aa Gaya (MERE HUMDUM MERE DOST, 1968)

Na Ja Kahin Ab Na Ja (MERE HUMDUM MERE DOST, 1968)

Saathiya Nahon Jaana Ke Jeena Lage (AAYA SAWAN ZUM KE, 1969)

Kuchh Kehata Hai Ye Sawan (MERA GAON MERA DESH, 1971)

Jaani O Jaani (RAJA JANI, 1972)

Aaj Mausam Bada Beimaan Hai (LOAFER, 1973)

Gadi Bula Rahi Hai ( DOST, 1974)

Main Jat Yamla Pagla (PRATIGYA, 1976)

Aaja Teri Yaad Aayee (CHARAS, 1976)

O Meri Mehabooba (DHARAM VEER, 1977)

DEV ANAND –

Ke Main Aaya Hoon (AMIR GARIB, 1974)..Excellent use of saxophone.

DIMPLE KAPADIA –

Hum tum ek kamre/

Jhooth bole (BOBBY, 1973)

HEMA MALINI–

O Ghata Sawari (ABHINETRI, 1970)

Sharafat Chhod Di Maine (SHARAFAT, 1970)

ABCD Chhodo (RAJA JANI, 1972)

Aaja Teri Yaad Aayee (CHARAS, 1976)

Dream Girl Dream Girl, (DREAM GIRL,1977)

Zindagi Na Toote Ladi (KRANTI, 1981)

Mere naseeb Mein Tu Hai (NASEEB, 1982)

HELEN –

Meharba Mehboob Jaan-E-Man (AANSOO BAN GAYE PHOOL, 1969)

Aa Jan-E-Ja Aa Mera Ye Husn Jawan (INTQAAM, 1969)

Mujhe Dekhiye Koi Dastan Houn (LOOTERA, 1965)

Meara Naam Hai Jamila ( NIGHT IN LONDON, 1967)

Ooi Maa Ooi Ma Ye Kya Ho Gaya (PARASMANI, 1963)

Hum Pyar Kiye Janeyge (AAYA TOOFAN, 1964)

Meghawa Gagan Beech Jhanke (HARISCHANDRA TARAMATI 1963)

INDRANI MUKHARJEE

Payal Ki Jhankar Raste Raste (MERE LAL, 1966) .The best song on HARMONIUM

JACKIE SHROFF –

Tu Mera Jaanu Hai (HERO, 1983)

JAYA BHADURI –

Patta Patta Buta Buta (EK NAZAR, 1972)

Pehle Sau Baar Idhar (EK NAZAR, 1972)

Hami Kare Koi Surat (EK NAZAR, 1972)

Shehnai Baje Na Baje (SHOR, 1972)

JAVED JAFARI

Bol Baby Bol Rock N Roll ( MERI JUNG, 1984)

JEETENDRA –

Mast baharon ka main aashiq (FARZ, 1967)

Bar Bar Din Ye Aaye (FARZ, 1967)

Je Hum Tum Chori Se (DHARTI KAHE PUKAR KE, 1968)

Badi Mastani Hai Meri Mehbooba (JEENE KI RAAH, 1969)

Hi Re Hi Nind Nahi Aaye (HUMJOLI, 1971)

Dil Ki Bate Dil Hi Jane (ROOP TERA MASTANA, 1972)

JAYA PRADHA –

Dafli wale (SARGAM, 1977)

JAYALALITHA ( EX Tamil Nadu CM) –

Jag Badan Main Jwala (IZZAT, 1969)..Mind-blowing Rhythm

JOY MUKHARJEE –

Bade Miyan Deewane Aise Na Bano (SHAGIRD, 1967)

Duniya Pagal Hai (SHAGIRD, 1967)

KAMAL HAASAN –

Tere mere beech mein (EK DUUJE KE LIYE, 1981)

KIMI KATKAR –

Jumma chumma de de (HUM, 1991)

KISHORE KUMAR –(Songs filmed on Actor Kishore Kumar )

Mere Mehboob Quayamt Hogi (MR. X IN BOMBAY, 1964)

Ajanabi Tum Jane Pehachane Se (HUM SAB USTAD HAI, 1965)

Pyar Baantte Chalo ( HUM SAB USTAD HAI, 1965)

Suno Jana Suno Jana ( HUM SAB USTAD HAI, 1965)

Ye Dard Bhara Afasana (SHREEMAN FANTOOSH, 1965)

Din Jawani Ke Bar Bar (PYAR KIYE JAA, 1966)

KUMKUM-

Mera Naam Hai Chameli …(RAJA AUR RANK, 1968)

LAXMI CHHAYA –

Maar Diya Jaye Ke Chhod Diya Jaye

Hi Sharmau Kis Kis Ko Batau

Aaya Aaya Atariaya Pe Koi Chor (all from MERA GAON MERA DESH, 1971)

LEENA CHANDAWARKAR-

Dhal Gaya Din Ho Gayi Sham (HUMJOLI, 1971)

Jane Kyon Log Muhobbat Kiya Karate Hai.( MEHABOOB KI MEHANDI 1971)

Gum Ka Fasana (MANCHALI, 1973)

MANOJ KUMAR

Tauba Ye Matwali Chal (PATTHAR KE SANAM, 1967)

Ek Pyar Ka Nagma Hai (SHOR 1972

MADHURI DIXIT –

Ek do teen char (TEZAAB, 1987),

Choli ke peeche (KHAL-NAYAK, 1993)

MALA SINHA –

Neend Kabhi Rehti Thi Aankhon Main (AASRA, 1966)

Meri Zindagi Ke Chirag Ko ( JAAL, 1967 )

MEHMOOD –

Mehbooba Mehbooba (SADHU AUR SHAITAN, 1969)

MANISHA KOIRALA –

Ilu Ilu (SAUDAGAR, 1992),

MOUSAMI CHATERJEE

Hi Hi Ek Ladaka Muzako Khat (KACHCHE DHAAGE, 1973)

Megha Re Megha Re (PYASA SAWAN).

MUMTAZ –

Bindiya chamkegi (DO RAASTE, 1969)

Dil Ne Dil Ko Pukara (DO RAASTE, 1969)

Sanam Tu Bewafa Ke Naam Se (KHILONA, 1971)

Koi Shahri Babu (LOAFER, 1974)

NANDA –

Ek pyar ka naghma hai (SHOR, 1971)

Jare Kare Badara (DHARTI KAHE PUKAR KE, 1969)

NUTAN

Sawan Ka Mahina (MILAN, 1967)

PADMINI KOLHAPURE –

Yashomati Maiya Se (STYAM SHIVAM SUNDARM, 1977)

Yeh Galiyan yeh chaubara (PREM ROG)

PRAN –

Daroo Ki Botal Main (MAJBOOR, 1974)

PREMNATH –

Jeevan Chala Ne Ka Naam (SHOR, 1972)

RAAKHEE –

Jhilmil sitaron ka aangan hoga (JEEVAN MRITYU, 1971)

REKHA-

Man Kyon Behka Re Aadhi Raat Ko (UTSAV, 1984)

Doori na rahe koi (KARTAVYA, 1978)

RAJESH KHANNA –

Mere Naseeb Main, (DO RAASTE, 1969)

Yeh Reshmi Jhulphe ( DO RAASTE, 1969

Dil Ne Dil Ko Pukara (DO RAASTE, 1969)

Achha To Hum Chalte Hai. (AAN MILO SAJANA, 1970)

Veda Tera Vaada (DUSHMAN, 1971)

Ye Jo Chilman Hai (MEHBOOB KI MENANDI, 1971)

Mere Deewanepan Ki (MEHBOOB KI MEHANDI, 1971)

Chal Chal Mere Saathi (HAATHI MERE SAATHI, 1971)

Mere Dil Mein Aaj Kya Hai (DAAG, 1973)

Ye Jo Public Hai (ROTI,1974)

Aap Ke Anurodh Pe (ANURODH, 1977)

Akela Gaya Han Main (RAJPUT, 1981)

RATI AGNIHOTRI –

Tere mere beech mein (EK DUUJE KE LIYE, 1981)

REENA ROY –

Tere sang pyar (NAGIN, 1976),

Meri Sanson Ko Jo (BADALTE RISHTE, 1978)

Sheesha ho ya dil ho (AASHA, 1980)

RISHI KAPOOR –

Main Shayar to nahin (BOBBY,1973),

Parda Hai Parda Hai (AMAR AKBAR ANTHONY, 1977)

Dafli wale (SARGAM, 1979),

Om shanti Om (KARZ, 1980)

Dard – E – Dil (KARZ, 1980)

SADHANA-

Main Dekhu Jis Aur Sakhi Re Samne Mere Sawariya (ANITA, 1967)

Na Baba Naba (ANITA, 1967)

Kaise Rahoon Chup ??? (INTQAAM, 1969)

Suniye Jara Baithiye Na Hum Aap Ke (GEETA MERA NAAM, 1975)

SHATRUGHN SINHA

Bane Chahe Dushman (DOSTANA 1980)

Chor Mach Gaya Shor (BADLA 1974)

SHARMILA TAGORE –

Chalo Sajana Jahan Tak (MERE HUMDUM MERE DOST, 1969)

Do Din Ki Zindagi (SATYAKAM, 1970)

Ye Kaisa Ghum Sajana (MERE SAJANA, 1970)

Ek Chehare Pe Kayi (DAAG, 1973)

SHEKHAR SUMAN –

Saanjh Dhale Gagan Tale (UTSAV, 1984)

SAIRA BANU –

Dil vil pyar vyar (SHAGIRD, 1967)

Woh Hai Zara Khafa Khafa (SHAGIRD, 1967)

Rootha Hai To Mana Lenge (JWAR BHATA, 1974)

SANJEEV KUMAR –

O Phirki Wali Tu Kal Phir Aana ( RAJA AUR RANK, 1968)

Shadi Ke Liye Raja Mand Kar Li ( DEVI, 1968)

Khilona jaan kar (KHILONA, 1971)

SHASHI KAPOOR

Phool Ban Jaunga Shart Ye Hai (PYAR KIYE JAA, 1966)

Sa Re Ga Ma Pa (ABHINETRI, 1971)

SRIDEVI –

Main Teri Dushman ( NAGINA 1986)

Hawa Hawaii (MR INDIA, 1987)

Kisi Ke Haath Na Aayyegi (CHAALBAAZ, 1989)

SUNIL DUTT –

Sawan Ka Mahina ( MILAN, 1967)

Mubarak Ho Sabko ( MILAN, 1967)

Ram Kare Aisa Ho Jaye ( MILAN, 1967)

SANJAY DUTT-

Nayak Nahi Khalnayak Houn Main ( KHALNAYAK 1993)

TANUJA –

Aap Mujhe Achchhe Lagane Lage ( JEENE KI RAAH, 1969)

Roz Sham Aati Thi (IMTIHAN, 1974)

VINOD KHANNA –

Ruk Jaana Nahin (IMTIHAN, 1974)

VIJAY ARORA –

Ek Ritu Aaye Ek Ritu Jaye (GOUTAM GOVINDA, 1979)

ZEENAT AMAN –

Hi Hi Yeh Majboori (ROTI KAPDA AUR MAKAN, 1974)

Main Na Bhulunga (ROTI KAPDA AUR MAKAN, 1974)

Satyam Shivam Sundaram (STYAM SHIVAM SUNDARM, 1977)

The list has no end.

1) Baar Baar Din Ye Aaye (FARZ, 1967)

(Anand Bakshi Mohammad Rafi) (JEETENDRA BABITA)

Universally HIT as BIRTHDAY song. “Prelude” of 54 seconds set up the mood for this beautiful song. Wonderfully orchestrated with VIOLINS, ACOUSTIC GUITAR, PIANO and BONGO DRUMS in rhythm.Certainly orchestra arrangements have ‘SYMPHONY’ touch.

Lyrics overflowing with Love. A timeless masterpiece.

2) Sawan Ka Mahina        (MILAN, 1967)

(Anand Bakshi Mukesh – Lata) (NUTAN SUNIL DUTTA)

“Milan”, starring Sunil Dutt – Nutan, was a musical blockbuster movie of the year 1967. The song “ सावन का महीना पवन करे सोर “ stormed the nation. An inordinately popular song, till date. Exceptionally melodious duet. Beautiful DHOLAK rhythm. Beautifully orchestrated musical instruments, MANDOLIN, FLUTE, symphony VIOLINES overlapping the FLUTE. Second ‘interlude’ again symphony style VIOLINS, RUBAB with overlapping sound effects of FLUTE. In the third Interludes’ are orchestrated in ‘western’ style with no ‘rhythm’. First ‘interlude’ have ‘interlude’ again VIOLINS in symphony style. The song topped the 1967 Binaca Geetmala Finals. Filmed on Sunil Dutt and Nutan.

3) Dil Ne Dil Ko Pukara “Do Raaste” 1969

(Anand Bakshi Rafi – Lata)   (RAJESH KHANNA MUMTAZ)

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. 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 arehttps://www.youtube.com/watch?v=Kjkg9NlUpeM 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 ‘antares’. (first at 2.44). The rhythm patterns for ‘interludes’ (BONGO DRUMS) are different from that of ‘antara’/’mukhda’ (DHOLAK).

4) Aaja Teri Yaad Aayee        “Charas” 1976

(Anand Bakshi Rafi – Lata – Anand Bakshi) (DHARMENDRA HEMA MALINI)

Laxmikant Pyarelal delivers yet another masterpiece which proves again why they were the king of hindi film music for almost three and half decades. Orchestrated with symphony style VIOLINS and CELLOS. SARANGI, BANJO, FLUTE and SANTOOR are awesomely instrumented in the interludes. Mesmerizing DHOLAK rhythm.

5) Dafli Wale Dafli Baja         “Sargam” 1979

(Anand Bakshi Lata – Rafi) (RISHI KAPOOR JAYA PRADA)

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.

https://www.youtube.com/watch?v=USCotVcUQNY

6) Salamat Rahe Dostana Hamara “DOSTANA” 1980

(Anand Bakshi Rafi – Kishore) (AMITABH BACHCHAN SHATRUGHN SINHA)

One of the most popular male duets, on ‘friendship’. Very simple tune and composition effortlessly rendered by legends Rafi – Kishore. Effectively acted by Amitabh Bachchan and Shatrughn Sinha. Mellifluously orchestrated in Symphony style VIOLINS.

https://www.youtube.com/watch?v=JHkh26BCQs4

Ajay Poundarik Vadodara (Gujarat) India

February 6, 2021
ENTHRALLING Lata Mangeshkar & Laxmikant-Pyarelal SATYAM SHIVAM SUNDARAM

ENTHRALLING Lata Mangeshkar and Laxmikant-Pyarelal. SATYAM SHIVAM SUNDARAM

Music geniuses Laxmikant-Pyarelal were famous for many of their musical hits in the past associated with diversified producers and directors. After the thumping musical success of Raj Kapoor’s ‘Bobby’, Laxmikant-Pyarelal was the obvious choice for the music of ‘Satyam Shivam Sundaram’, released on the day of Holi festival in the year 1978.

“Satyam Shivam Sundaram” Long Playing Record Cover Page

Originally, in 1950, the film was planned as a low budget “quickie” with the music by Hridaynath Mangeshkar and unknown actors. But after 25 years Raj Kapoor’s confidence strengthened by the astounding success of Bobby.

Anand Bakshi, Laxmikant, Lata Mangeshkar (breaking Coconut), Raj Kapoor and Pyarelal

Directed by Raj Kapoor and written by Jainendra Jain, ‘Satyam Shivam Sundaram‘ is a social drama about the differences between physical and spiritual love and clashing religious beliefs. The film starred Shashi Kapoor and Zeenat Aman. It was an iconic film set in a village that captured the brewing romance between the protagonists despite their differences. The film is also known for its amazing soundtrack and melodious songs. The soundtrack also displays the trio who have given record breaking 712 songs, music directors Laxmikant-Pyarelal and the legendary singer Lata Mangeshkar, at their zenith.

“Satyam Shivam Sundaram” Long Playing Record Cover Page

Manna Dey, Shashi Kapoor, Laxmikant, Guest, Randhir Kapoor, Raj Kapoor, Pt. Narendra Sharma, Pyarelal standing front Hrishikesh Laxmikant (son of Laxmikant)

Out of 9 melodious songs, Lata Mangeshkar has sung as many as 7 songs, including 3 solos. Coincidently, singer Mukesh sings his last song of his carrier (‘chanchal sheetal nirmal’) at the same time his son Nitin Mukesh sings his first song (‘mein kaise use pasand karu’)

National Poet Pandit Narendra Sharma has penned 5 songs, lyricists Anand Bakshi and Vithalbhai Patel have written 3 songs and 1 song, respectively.

During the Diwali of 1977, HMV released the Long Play record, in 4 page covered folder. One of the page containing the picture of Laxmikant-Pyarelal. (ref the pic on top).

Filmfare Best Music Award was unanimously chosen for this euphonious musical “SATYAM SHIVAM SUNDARAM” and thus Laxmikant-Pyarelal won their fifth and second successive award. Beating Kalyanji-Anandji “Don”, R D Burman’s “Shalimar”, Rajesh Roshan’s “Des Parades” and Ravindra Jain’s “Akhiyon Ke Jharokon Se”.

Let us discuss / review the songs.

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 writeup, explaining peculiarities, for each of the songs you will enjoy it, more.

1 Satyam Shivam Sundaram …. (Singer Lata Mangeshkar) (Lyricist Pandit Narendra Sharma )

Hypnotized “prelude” of 50 seconds, outsetting through BAMBOO FLUTE , followed by VICHITRA VEENA then surround sound effect of SYMPHONY style VIOLINS . Beautiful ‘take off’ by Lata ji (Ishwar satya hai) ‘stroke’ of TEMPLE BELL, at 0.58 second, synchronised with CHORUS and awesome sounds of TWEETING BIRDS. It has beautiful TABLA rhythm. Overlapping sound effect of Lataji’s rendering and CHORUS crooning, in different tunes as well as the word. In the first ‘interlude’ SANTOOR, SITAR are mellifluously orchestrated with MANJIRA sounding at the end. Second ‘interludes’ starts with the resonant ‘aalaps’ by Lataji surrounding CELLOs and TEMPLE BELL followed by SITAR and VIOLINS. Once again the the overlapping sound effect can be heard at the end with Lataji’s ‘aalaps’ and CHORUS. One of the finest song sung by Lata Mangeshkar for Laxmikant-Pyarelal.

https://www.youtube.com/watch?v=BdU3qP5EYoY

2 Bhor Bhaye Panghat Pe ….(Lata Mangeshkar) (Lyricist Anand Bakshi)

67 seconds of resonant ‘preludes’ starts with euphonic ‘aalaps’ by Lataji, TWEETING BIRDS sound, protruding as well as integrating surround sound effect of symphony style VIOLINS, GHUNGROO BELLS and finally hypnotising DHOLAK / TABLA rhythm which is the asset of this songs. GHUNGROO BELLS are beautifully synchronised with the DHOLAK / TABLA rhythm, throughout the song. Interludes are well orchestrated with GUITAR, SITAR, FLUTE, SYMPHONY style VIOLINS and CELLOS.

https://www.youtube.com/watch?v=QvfU-yAnYZ4

3 Yashomati Maiya Se Bole …. (Singers Lata Mangeshkar – Manna Dey)(Lyricist Pandit Narendra Sharma )

Fascinating 34 seconds ‘prelude’ awesomely instrumented with TANPURA, FLUTE and HARMONIUM. It has captivative DHOLAK rhythm which will ‘swing’ your neck. FLUTE is sumptuously used in the ‘interlude’ which gives you an ear-pleasing effect.

https://www.youtube.com/watch?v=5x0O-qR527U

4 Chanchal Sheetal Nirmal Komal …. (Singer Mukesh) (Lyricist Anand Bakshi)

This angelic western style composition is gorgeously orchestrated in SYMPHONY style orchestra arrangements by utilizing WALTZ rhythm. Throughout the song use of SYMPHONY style VIOLINS, in the “surrounds”, sounds delightful. Apart from that the instruments like IRANI SANTOOR, solo VIOLIN, VIOLAS and CELLOS are sweetly orchestrated in the “prelude’ as well as “interludes”.

https://www.youtube.com/watch?v=8D_D-ekmGQE

5 Suni Jo Unke Aane Ki Aahat …. (Singer Lata Mangeshkar (Lyricist Pandit Narendra Sharma )

Laxmikant-Pyarelal known for the best use of CHORUS. The song is melodiously composed by using CHORUS and Lataji’s sweet rendering. This is the song which has no “interludes” tunes. But has tuneful ‘prelude’ of CHURCH-ORGAN, CHORUS and Lataji’s wonderful “aalaps”. The song too has tuneful DHOLAK rhythm.

https://www.youtube.com/watch?v=5VN0UjgJgS8

6 Rangmahal Ke Dus Darwaze …. (Singer Lata – Bhupinder Singh) (Lyricist Vithalbhai Patel)

SHEHNAI is prominently, efficaciously and mellifluously orchestrated in “Prelude”, “Interlude” and “Postlude” and also as a ‘filler’ in ‘antara’. At some places SHEHNAI is wonderfully synchronized with male singer Bhupendra Singh rendering.

https://www.youtube.com/watch?v=pjcbr-ewC2k

7 Mein Kaise Use Pasand Karoon …. (Singers Lata – Nitin Mukesh)( Lyricist Anand Bakshi)

Magical composition with meaningful lyrics and melodious tune, as well. SYMPHONY style VIOLINS are excellently orchestrated in the “interlude”.

https://www.youtube.com/watch?v=KR6faKRTzwc

8 Shree Radha Mohan …. (Singer Manna Dey) (Lyricist Pandit Narendra Sharma )

Full song is credited to brilliant and mellifluous use of CHORUS throughout the song, with few lines for Manna Dey to sing. Indian traditional musical instruments like TEMPLE BELL, SHELL, MANJIRA and MRIDANG are nicely orchestrated in the “prelude” .

https://www.youtube.com/watch?v=4MUgzWW6MXM

9 Yashomati Maiya Se Bole (Singers Lata -Zeenat – Shashi Kapoor) (Lyricist Pandit Narendra Sharma )

Enchantingly rendered by Lata Mangeshkar on Laxmikant-Pyarelal mesmerizing DHOLAK / MATKI rhythm. “Postlude” of over 70 seconds full of LATA ji different “aalaaps” intermixed with mild use of SITAR in the surround sounds, hypnotizes.

https://www.youtube.com/watch?v=Vm6Ny_Hryh4

Laxmikant-Pyarelal receiving Filmfare Trophy for “Satyam Shivam Sundaram” from Raj Kapoor.

Satyam Shivam Sundaram is a soundtrack that shines more amidst Laxmikant-Pyarelal many melody accomplishments.

Ajay Poundarik, Avon, Cleveland (OHIO). USA.

January 29, 2021
Nationalistic Canticle and Laxmikant-Pyarelal Music

Nationalistic Canticle and Laxmikant-Pyarelal Music

India is celebrating #72Republicday today. Laxmikant-Pyarelal have composed some phenomenal nationalistic canticles.

— Pyar Baantate Chalo Ky Hindy Kya “Hum Sab Ustad Hai” (1965)

(Kishore Kumar Asad Bhopali)

One of the rarest of rare Patriotic songs sung by Kishore Kumar. Laxmikant-Pyarelal have composed this song in western beats with “Rock-N-R0ll” and “Twist” style. “Prelude” of 46 seconds is mesmerizing. Train Sound of Crank-Shaft/Flywheel is brilliantly generated as well as synchronized with the VIOLINS and ACOUSTIC GUITAR. One of the best songs filmed on the train. Kishore Kumar is simply awesome, both in rendering and in acting, as well. The song has a harmonious BONGO DRUM ‘rhythm’.

— Mere Desh Main Pawan Chale                “Jigri Dost” (1969)

(Mohammad Rafi Anand Bakshi)

An extremely melodious ‘folkish’ type composition, elaborating Indian Village Culture. Mohammad Rafi simply outstanding. The song is filmed on Jeetendra.

https://www.youtube.com/watch?v=b4SycZT-bRY

— Mere Geet Hai Anam, Anam Shahido Ke Nam   “Jurm Aur Saza” (1974)

(Mohammad Rafi Ram Bharadwaj)

On The Occasion Of Republic Day ! Laxmikant-Pyarelal and Mohammad Rafi A Rare GEM. “Jurm Aur Sazaa” 1974. This Song Is Awesomely Orchestrated With IRANI SANTOOR and A Melodious Rhythm. The Song Is Written By Ram Bhardwaj (Father Today’s Music Director Vishal Bhardwaj)

— Fauzi Gaya Jab Gaon Main                  “Aakraman” (1975)

(Kishore Kumar Anand Bakshi)

Typical ‘Punjabi’ Bhangra composition. 45 seconds of prelude is orchestrated with the rhythm orchestrated by using EKTARA / TANPURA, GHUNGROO BELLS, BANO, NADASWARAM, DHOL as well as awesome Humming from Kishore Kumar. Rajesh Khanna has danced swimmingly on single Leg.

— Dekho Veer Jawano Aakraman (1975)

Kishore Kumar Anand Bakshi

— Kranti Kranti                                     “Kranti” (1981)

(Manna Dey, N Mukesh, M Kapoor, Lata, S Singh Santosh Anand)

An extremely melodious song. DHOLAK rhythm, singing and rhythmic ‘pauses’ in the song gives additional inflection. Lata Mangeshkar’s singing is wonderfully overlapped by CHORUS. Multi-Starrer song, Dilip Kumar, Manoj Kumar, Hema Malini, Shatrughn Sinha, Shashi Kapoor.

— Mere Desh Premiyon                   “Desh Premi” (1982)

(Mohammad Rafi Anand Bakshi)

This is patriotic song giving a philosophical touch by Anand Bakshi.

https://www.youtube.com/watch?v=mWnrW71WwCA

— Dil Diya Hai Jan Bhi Denge               “Karma” (1986)

(Kvitha Krishnamurthy – Mohammad Aziz Anand Bakshi)

The most popular, widely acclaimed patriotic song composed on BANJO. Many of Laxmikant-Pyarelal compositions are orchestrated with BANJO. This is a very famous song, it can be heard today, 26th January, the republic day and on 15th August, an independent day. Entire song is woven around the glimpses of BANJO. BANJO sounds ear-pleasing in the entire song including the ‘interludes’. Famous BANJO player Mr. Rashid Khan, a regular musician in Laxmikant-Pyarelal orchestra has played the BANJO in this song. It is filmed on Nutan – Dilip Kumar

https://www.youtube.com/watch?v=vYBAi3IOttU

— Meri Jaan Tiranga Hai           “Tiranga” (1993)

(Mohammad Aziz Santosh Anand)

Awesomely orchestrated by using Army / Military BIGUL.

Ajay Poundarik

Vadodara (Gujarat)

INDIA

January 26, 2021
SAXOPHONE :: Laxmikant-Pyarelal Enrich Orchestra.

SAXOPHONE :: Laxmikant-Pyarelal Enrich Orchestra.

Bollywood film music is principally for transferring affection. The harmony, theme, rendering style and the variations in carols are all creative processes to convey affections. Apart from these creative processes, the musical instruments which are played in the orchestra also have a key role to play in conveying empathy.

Music directors normally choose instruments based on the range of the instrument and how it can support and convey the primary emotion in the song. Many of the instruments serve a single purpose and primarily support a limited range of exciments. However, a Saxophone is a versatile instrument & many of the many composers have displayed it effectively to convey many moods through the songs by using Saxophone.

The sounds of Trumpet and Saxophone are confused. Trumpets are classified as ‘brass instruments’ and saxophones are classified as ‘woodwind instruments’.

Music directors from Bollywood have used SAXOPHONE in their respective orchestra. Quantity wise it is used by R D Burman, Laxmikant-Pyarelal, S D Burman, Kalyanji-Anandji. However, the best utilization of Saxophone is done by the music directors Shankar-Jaikishan and O P Nayyar, strictly my personal opinion

Saxophonists Ram Singh, Amar, Annappa ,Brave, Johney Gomes, Sumaent Raj, Shyam Raj Manohari Singh, Raj Sodha, Suresh Yadav, Kadri Gopinath have contributed to play Saxophone with the music directors.

Most of the Laxmikant-Pyarelal compositions, till 1974, Saxophone is played by Manohari Singh for the songs, Jane Kaisa Hai and Meharban Mehboob Aansoo Ban Gaye Phool, 1969. Mere Dil Ne Tadap Ke Anurodh, 1977. Later Saxophonist Suresh Yadav contributed a lot for Laxmikant-Pyarelal. Saxophonist Shyam Raj has played the Saxophone for Mr. India songs, Hawaa Hawaai and Kate Nahin Katate.

Listing out few songs on Saxophone, composed by various music directors.

S D Burman

— Ye Kisne Geet Chheda Meri Surat Teri Aankhen 1963

— Gata Rahe Mera Dil               Guide 1965

— Roop Tera Mastana              Aradhana 1969

Naushad

— Mujhe Duniyawalo                    Sharabi 1964

— Mera Pyar Bhi Tu Hai               Saathi 1968

Salil Chaudhari

— Jare Jare Ud Jare Panchhi      Maya 1961

–Zindagi Kaisi Hai                     Anand 1971

— Gujar Jaye Din                          Annadata 1972

Roshan

— Dil Jo Na Keh Saka               Bhigi Raat 1965

— Duniya Kare Sawal                  Bahu Begum 1967

Shankar-Jaikishan

— Bedardi Balama                      Aarzoo 1965

— Aaj Kal Tere Mere                    Bramhachari 1968

— Ai Sanam Jisne Tujhe              Diwana 1968

— Janam Janam Ka Saath Tum Se Achchha Kaun Hai 1969

— Chhoti Si Mulaqat                   Chhoti Si Mulaqat 1967

O P Nayyar

–Hai Duniya Usiki                         Kashmir Ki Kali 1964

— Ye Hai Reshmi Jhuphon          Mere Sanam 1965

–Huzure Wala        Yeh Raat Phir Na Aayegi 1969

— Main Pyar Ka Raahi                  Ek Musafir Ek Hasina 1962

— Yahi Wo Jagah Hai                  Yeh Raat Phir Na Aayegi 1966

Madan Mohan

–Woh Bhuli Dastan                      Sanjog 1961

–Shokh Nazar Ki Bijliya                Woh Kaun Thi 1964

Ravi

–-Aage Bhi Jane Na Tu                 Waqt 1965

–Zindagi Ittefaq Hai                     Aadmi Aur Insaan 1969

Chitragupt

— Jag Dil-E-Diwana                     Oonche Log 1965

Kalyanji-Anandji

— Tumhe Yaad Hoga                  Satta Bazar 1959

— Humsafar Mere Ham Safar      Purnima 1965

–Na Na Karte Pyar                   Jab Jab Phool Khile 1965

— Bekhudi Main Sanam              Haseena Maan Jayegi 1968

— Zuban Pe Dard Bhari              Maryada 1971

R D Burman

— O Haseena Zulfonwali          Teesari Manzil 1966

— Jis Gali Main Tera Ghar          Kati Patang 1970

— Kabhi Karti Hogi                     Phir Kab Milogi 1974

— Keh Du Tumhe                        Deewar 1975

–O Hansini Kahan Ud Chali       Zehreela Insaan 1975

Glimpses of saxophone can be heard in the Laxmikant-Pyarelal orchestra in many songs.

Laxmikant-Pyarelal had a very good association with Saxophonist Manohari Singh since 1958. He had come to Mumbai in mid fifties. Since their younger days they were very good friends and worked a lot together, with Kalyanji Virji Shah, then, (Kalyanji-Anandji)

There are many songs in which Laxmikant-Pyarelal has incorporated saxophonist Manohari Singh in Jazz flute or saxophone, till early seventies. Later saxophonist Shri Suresh Yadav played the saxophone in Laxmikant-Pyarelal orchestra

Ke Main Aaya Hoon   and Dev Anand

The song Ladies and Gentlemen, Ke Main Aaya Hoon,,, sung by Kishore Kumar for the film Amir Garib, 1974, composed by Laxmikant-Pyarelal is one of the nonpareil songs composed on SAXOPHONE, played by Manohari Singh.

This song, Main Aaya Hoon, is one of the toughest and very complicated saxophone prelude and interlude pieces. Manohari Singh himself said in an interview that this piece composed and written by Pyarelalji is the hardest ever saxophone piece I have played in HFM.

Actor Dev Anand who was to act on this song as a saxophonist, had to carry out practice sessions for 15 days to look like an impeccable / perfect saxophonist on the screen.

Laxmikant-Pyarelal’s songs on Saxophone are divided into Two Parts. First part contains only a list with the exact act / display of SAXOPHONE.

Second Part is the detailed review of a few of the songs.

Part I

List of Laxmikant-Pyarelal’s songs on Saxophone. The line below indicates the exact display of Saxophone. There are still many songs, the list is endless. However, if anyone wants add the song, it can be added in “BLOG” comments, below.

— Chalo Sajna Jahan Tak Ghata Chale Mere Humdam Mere Dost 1968

(Prelude is full of VIOLINS and SAXOPHONE. Second interlude starts with SAXOPHONE)

— Chalkaye Jaam Aaiye Aap Ke Naam Mere Humdum Mere Dost 1968

(Use of ACCORDIONS, VIOLINS and SAXOPHONE ( in second interlude ) is mind-boggling)

— Jaane Kaisa Hai Mera Deewana     Aansoo Ban Gaye Phool 1969

(Beautifully orchestrated, take off , SAXOPHONE in the first interlude)

–Phool Hai Baharon Ka           Jigri Dost 1969

(Prelude and Interludes full of SAXOPHONE)

–Das Gayi Nagin Si     Himmat 1970

(SAXOPHONE is awesomely orchestrated in ‘prelude’ and ‘interludes’)

–Achha To Hum Chalte Hai       Aan Milo Sajma 1971

The orchestra arrangement is mesmerizing use of IRANI SANTOOR, SAXOPHONE and VIOLINS is just brilliant and ear-pleasing, as well.

— Patta Patta Buta Buta Hal Hamara Jane          Ek Nazar 1972

(Second Interlude has incredible use of SAXOPHONE as well as SYMPHONY style VIOLINS.

— Piya Ka Ghar Hai             Piya Ka Ghar 1972

(Third interlude awesome use of SAXOPHONE)

–Chabi Kho Jaye           Bobby 1973

(Massive orchestra. SAXOPHONE, synchronized with FRENCH HORN in third interlude. Postlude interlude SAXOPHONE harmonised with ACCORDION)

–Kahan Hai Deewana      Loafer 1973

(First interlude SAXOPHONE)

–Nahin Nahin Jana Nahin     Zinda Dil 1975

(First Interlude starts at 0.47 stupefying orchestration of SAXOPHONE and ‘symphony’ VIOLINS overlapping the CHORUS)

— Yaar Dildar Tujhe Kaisa Chahiye Chhaila Babu 1977

(Orchestrated on ‘pop’ composition, unique rhythm. SAXOPHONE, VIOLINS, GUITAR are mellifluously executed in ‘prelude’ as well as in ‘interludes’)

–Kate Nahin Katate, I Love you.              Mr. India 1988

(SAXOPHONE in first interlude)

Part II

Review of the songs.

Mere Dil Main Halki Si       Parasmani   1963

( Singer Lata Mangeshkar Songwriter Asad Bhopali )

“Interludes” are instrumented with FLUTE , SAXOPHONE and VIOLINS . Rhythm with BONGO Drums, leaves you speechless.

Khoobsurat Haseena Jaan-E-Jaa          Mr. X In Bombay 1964

( Singer Kishore Kumar – Lata Mangeshkar Songwriter Anand Bakshi)

Excellent composition, from Laxmikant-Pyarelal, in western style orchestra arrangements. “Prelude” is wonderfully decorated with the use of SAXOPHONE, VIOLINS and FLUTE is worth listening to.

Rokna Hai Agar      Jaal 1967 (Singer Lata Mangeshkar Songwriter Raja Mehadi Ali Khan)

50 seconds of ‘prelude’ playing SAXOPHONE overlapping dialogue, beautiful take off ‘symphony’ VIOLINS at 37. A little ‘pause’ and a phenomenal start by Lataji 50 seconds, रोकना है अगर...Word चाँद is repeated many times in the entire song and every time how beautifully she has used different and distinct style of uttering the word “चाँद “.

All the three interludes have different tunes and different ‘rhythm’ and are orchestrated with the mellifluous use of super-imposing sounds of SAXOPHONE, symphony VIOLINS and GUITAR.

Brilliant use of VIOLINS as a ‘filler’ in all the three “antara”.

Not to forget the “rhythmic” “pause” at the end of each ‘antara’.

The song has a sweet and melodious DHOLAK rhythm.

Dhadaka Hai Dil Main Pyar Tumhara      Jaal 1967 (Singer Lata Mangeshkar Songwriter Raja Mehadi Ali Khan)

Brilliant take-off by SAXOPHONE in Second Interlude. Just Mesmerizing.

An outstanding composition in Western Style. “Prelude” of 46 seconds is full Lataji AALAPS as well as HUMMING, brilliantly synchronized with Symphony style VIOLINS. How softly Lataji has rendered the words ‘Abhi Abhi’ (अभी अभी), followed by BASS GUITAR, as filler. Lataji has sung entire song with lots of variations. The rhythm is full of ACOUSTIC GUITAR and the BONGO DRUMS….SAXOPHONE , VIOLINS, BASS GUITAR, ACCORDION and VIOLAs are brilliantly executed in all the “interludes”. Mesmerising Orchestra Arrangements. The song is filmed on Mala Sinha.

https://www.youtube.com/watch?v=TFcuudmcVD0

Gore Gore Chand Ke Mukh Par        Anita 1967 ( Singer Mukesh Songwriter Aarzoo Lucknavi )

Very Very Sweet Song. Mukeshji sounds simple and beautiful. Besides ‘romantic’ words this song has the “interludes” full of FLUTE, CLARINET and SAXOPHONE. (Third Interlude).

https://www.youtube.com/watch?v=8xtb_KPNP4o

Hui Sham Unka Khayal Mere Hamdam Mere Dost 1968

( 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 & VIOLINS are also brilliantly executed in the entire song. Another beauty of the song is it’s “ rhythm” DHOLAK / TABLA are used only in “antara”…all the “interludes:” are without any rhythm but just ear-pleasing. An addict song for me. One of the finest compositions from Laxmikant-Pyarelal …MOHAMMAD RAFI is simply outstanding.

https://www.youtube.com/watch?v=IHPxU4TgnvE

Mehrabaan Mehaboob Dilbar Jaan-E-Man …. (Aansoo Ban Gaye Phool, 1969)

(Singer Asha Bhonsle Songwriter Taj Bhopali)

Intoxicated melody and ‘rhythm’. One of the best songs composed by Laxmikant-Pyarelal for Asha Bhonsle. The song is completely woven around the glimpses of SAXOPHONE synchronising with “aalap” and “humming” by Ashaji. Westernized orchestra with excellent use of SAXOPHONE, GUITAR and the SYMPHONY style VIOLINS. Beautiful and frolicsome Helen dancing effortlessly.

Tik Tik Tik Mera Dil Dole …. Humjoli 1971

(Singers Lata Mangeshkar-Mohammad Rafi Songwriter Anand Bakshi)

Distinguishable composed melodious Cabaret song in the duet form. “Prelude” 34 seconds is consists of Lataji’s aalap in western style. Fasttrack BONGO rhythm. All the “interludes” are awesomely orchestrated in JAZZ flavored, with BRASS instruments, including SAXOPHONE, BASS GUITAR. All the three ‘antaras’ are mellifluously ‘filled’ with Lataji’s rendering ‘aalaps’ (second antara) as well as Rafi sahab’s vocal ‘aalaps’ ( first and third antara) followed by “filling” with SAXOPHONE. The pair of Mumtaz-Jeetendra looks charming as cabaret dancers. A superhit song, still popular.

https://www.youtube.com/watch?v=Imsr4OrZ3B0

Jadugar Tere Naina            Man Mandir 1972 (Singer Lata Mangeshkar-Kishore Kumar Songwriter Raendra Krishan)

An extremely Melodious duet. Ear-Pleasing BONGA DRUM rhythm. Use of IRANI SANTOOR and SAXOPHONE in the interludes is mind-blowing.

https://www.youtube.com/watch?v=AxG_a8l0AJQ

Aa Aa Aaja Kuchh Keh Ja         Raja Jani 1972

(Singer Lata Mangeshkar Songwriter Anand Bakshi)

Extremely Sweet Song. Lata Mangeshkar / Laxmikant-Pyarelal at their melodious best. 30 seconds of ‘prelude’. The song starts with glimpses of MANDOLIN, BANSURI, VIOLINS, Lataji’s humming and absolutely stupefying, 4 seconds DHOLAK rhythm (0,26 to 0.30). First ‘interlude’ is full of RAVANHATTA and VIOLINS. Second ‘interlude’ starts with GUITAR but the second interlude is dominated by the wonderful display of SAXOPHONE, mind boggling.

Ladies and Gentleman …Main Aaya Hoon        Amir Garib 1974

(Singer Kishore Kumar Songwriter Anand Bakshi)

One of the nonpareil songs composed on SAXOPHONE.

Prelude of 64 seconds is full of SAXOPHONE, BRASS instruments, ACOUSTIC GUITAR and CHORUS, awesomely synchronized with the SAXOPHONE.

Mukhada of the song is ‘filled’ simultaneously with CLARINET and VIOLINS. It has a wonderful westernized ‘rhythm’ of BONGO Drums intermixed with ACOUSTIC GUITAR.

Another beauty of the song, in each ‘antara’/stanza Kishore Kumar’s rendering is sweetly surrounded with symphony style VIOLINS as well as CHORUS (with low volume). .

First ‘interlude’ has GUITAR, VIOLINS.

Second ‘interlude’ instrumented with BRASS instruments SAXOPHONE.

Third ‘interlude’ has hypnotising SAXOPHONE overlapped with CHORUS and ACOUSTIC GUITAR.

Sham Bhigi Bhigi          Gehari Chal 1974

(Singer Asha Bhosle Songwriter Rajendra Krishnan)

Awesomely rendered by Asha Bhosle.

Soft Rhythm of BONGO Drums, use of SAXOPHONE, as a filler and in both the interlude is at it’s best. Birds-TWEET, JAZZ FLUTE and GUITAR, synchronized with the SAXOPHONE, sounds ear-pleasing throughout the song. Actress BINDU looks beautiful while dancing. ASHA BHONSLE sounds superb.

Main Na Bhoolunga     Roti Kapda Aur Makaan   1974

(Singer Mukesh – Lata Mangeshkar Songwriter Santosh Anand)

Splendid composition, From Laxmikant-Pyarelal. Orchestrated melodiously. Wonderful DHOLAK rhythm. Rhythmic ‘PAUSEs’. Awesome take off by Mukesh-Lata मै ना भूलूंगा ssss मै ना भूलूंगी ssss, rhythmic pause, highlighting DHOLAK rhythm, mesmerizes the listeners. CHORUS sound is distinctively used in the song. First ‘interlude’ is harmonised by the synchronisation of SITIAR, VIOLINS, CELLOS, FLUTE and Lata ji AALAPS. Second ‘interlude’ has a mind-boggling display of SAXOPHONE and VIOLINS.Third interlude with FLUTE, VIOLINS and Lataji AALAP. Glimpses of VIOLINS are excellently used as a ‘filler’ in mukhada as well as in antara. Another beauty of the song is the third antra’s overlapping sound effect of Mukesh – Lata voices in synchronization with symphony style VIOLINS. Manoj Kumar – Zeenat Aman.

Aaja Aaja Mere Dil Ne Tadap Ke         Anurodh 1977

(Singer Kishore Kumar Songwriter Anand Bakshi)

An extremely melodious composition. SAXOPHONE has been orchestrated in the second interlude and it is significantly synchronised with VIOLINS. In addition to this, SAXOPHONE displayed the surround sounds of Kishore Kumar in ‘antaras’.

https://www.youtube.com/watch?v=rOXdAclWq8I

Om Shanti Om                                 Karz 1980

(Singer 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’.

Ek Do Teen Char      Tezaab 1987

(Singer Alka Yagnik Songwriter Javed Akhtar)

Massive orchestra with SAXOPHONE orchestrated in Second Interlude.

Hawa Hawai       Mr. India 1988

(Singer Kavitha Krishnmurthy Songwriter Javed Akhtar)

Gargantuan Orchestra with SAXOPHONE orchestrated in First Interlude.

Kehna Na Tum Ye Kisise    Pati Patni Aur Tawaif 1990

(Lyricist:- Anand Bakshi Singers Mohammad Aziz – Salma Agha)

An extremely melodious duet. ‘Prelude’ is full of GUITAR, VIOLINS and the SAXOPHONE. Enjoy mind-boggling solo PIANO in the first interlude. Second interlude is wonderfully orchestrated with SAXOPHONE, with surround songs of VIOLINS. Third interlude is decorated with MANDOLIN as well as SAXOPHONE. Another beauty of this song is the overlapping sound effect of the rendering from Mohammad Aziz and Salma Agha. filmed on Salma Agha – Mithoon Chakarawrthy

DOSTI Title Music…….Dosti 1964

SAXOPHONE played by Shree Manohari Singh. The MOUTHORGAN played by Mr. Milon Gupta who also played the Mouthorgan in Laxmikant-Pyarelal’s ‘Chabi Kho Jaye’ “BOBBY” 1973 and ‘Gadi bula rahi hai’ from “DOST” 1974.

Ajay Poundarik

Vadodara (Gujarat)

INDIA.

January 18, 2021
JAAL 1967 :: Distinguished Musical From Laxmikant-Pyarelal.

JAAL 1967 :: Distinguished Musical From Laxmikant-Pyarelal.

In the year 1963 Laxmikant-Pyarelal made a big impact in hindi film music, through the songs of Parasmani. Followed by Sati Savitri, Sant Gyaneshwar, Dosti, Aaya Toofan, Naag Mandir, Mr. X In Bombay, Hum Sab Ustad Hain. All the songs of the film became immensely popular.

Pyarelal, Biswajeet & Pyarelal

The LP era has now started. Laxmikant-Pyarelal’s music of Dosti 1964, kept the duo on top position in Hindi Film Music. Now this was the time that Laxmikant-Pyarelal’s music became an essential component of every successful film. This position of Laxmi-Pyare remained unaffected and continued till 35 more years.

The year 1967, Laxmikant-Pyarelal music was flooded with the hit films like, L V Prasad’s Milan, Subodh Mukharjee’s Shagird, A G Nadiadwala’s Patthar Ke Sanam, Raj Khosla’s Anita, Sundarlal Nahata’s Farz, Night In London, Milan Ki Raat etc. The music of JAAL came as a pleasant surprise.

JAAL, suspense-thriller film, produced by A R Khan and directed by Moni Bhattacharjee, featuring Biswajeet – Mala Sinha and Johnny Walker. The film has :-

Astonishing Compositions By Laxmikant-Pyarelal

Phenomenal Rendering By Lata Mangeshkar (4 songs) and Mohammad Rafi ( 2 songs)

Sensational Lyrics By Raja Mehdi Ali Khan (4 songs) and Anand Bakshi (2 songs).

The orchestra arrangements in “preludes” and “interludes” used to be the assets of the songs composed by Laxmikant-Pyarelal. It would be more proper to listen to the songs after reading the write up, explaining peculiarities, for each of the songs, you will enjoy it more.

Rokna Hai Agar Rok Lijiye   (Lyricist:- Raja Mehdi Ali Khan )

Enchanting Lata Mangeshkar & Laxmikant-Pyarelal.

रोकना है अगर, रोक ली जिये मगर, चाँद छुपने से पहले चली जाऊँगी

50 seconds of ‘prelude’ playing SAXOPHONE overlapping dialogue, beautiful take off ‘symphony’ VIOLINS at 37. A little ‘pause’ and a phenomenal start by Lataji 50 seconds, रोकना है अगर...Word चाँद is repeated many times in the entire song and every time how beautifully she has used different and distinct style of uttering the word “चाँद “.

All the three interludes have different tunes and different ‘rhythm’ and are orchestrated with the mellifluous use of super-imposing sounds of SAXOPHONE, symphony VIOLINS and GUITAR. Brilliant use of VIOLINS as a ‘filler’ in all the three “antara”.

Not to forget the “rhythmic” “pause” at the end of each ‘antara’.

The song has a sweet and melodious DHOLAK rhythm.

Akela Hoon Main Humsafar Dhoondta Hoon . (Lyricist:- Raja Mehdi Ali Khan )

!! अकेला हूं मैं हमसफ़र ढूंढता हूँ !! “JAAL” 1967.

Splendid Composition by Laxmikant-Pyarelal

Unparalleled Rendering by Mohammad Rafi

ROMANTIC song is my personal favorite. The song is very close to my heart in terms of romantic words, written by Raja Mehadi Ali Khan . Western style orchestra arrangements, wonderfully crafted, mellifluous compositions of sixties. The song has ACOUSTIC GUITAR as bass Rhythm. BASS GUITAR is awesomely orchestrated as a ‘filler’. Use of FRENCH HORN is worth listening to in ‘prelude’ and also in ‘interlude’ synchronized with Symphony style Violins and Cellos. Filmed Biswajeet and Mala Sinha.

Dhadaka Hai Dil Mein Pyar Tumhara    (Lyricist:- Raja Mehdi Ali Khan )

!! धड़का है दिल मैं प्यार तुम्हारा अभी अभी, चमका है आरज़ू का सितारा अभी अभी !!

Chemistry of Lata Mangeshkar and Laxmikant-Pyarelal

For me “Jaal” 1967.. is one of the best Album from Laxmikant-Pyarelal. Just love all the songs. I request LP fans of younger generation just listen to this Album…

An outstanding composition in Western Style. “Prelude” of 46 seconds is full Lataji AALAPS as well as HUMMING, brilliantly synchronized with Symphony style VIOLINS. How softly Lataji has rendered the words ‘Abhi Abhi’ (अभी अभी), followed by BASS GUITAR, as filler. Lataji has sung entire song with lots of variations. The rhythm is full of ACOUSTIC GUITAR and the BONGO DRUMS….SAXOPHONE , VIOLINS, BASS GUITAR, ACCORDION and VIOLAs are brilliantly executed in all the “interludes”. Mesmerising Orchestra Arrangements. The song is filmed on Mala Sinha.

https://www.youtube.com/watch?v=TFcuudmcVD0

Meri Zindagi Ke Chirag Ko (Lyricist:- Raja Mehdi Ali Khan )

मेरी ज़िंदगी के चिराग को तेरी बख़ुदीने बुझा दिया

Lata Mangeshkar and Laxmikant-Pyarelal in GAZAL mood.

The song starts with overlapping sound effect of RUBAB and FLUTE for 12 seconds of ‘prelude’. Beautiful take off by Lata ji मेरी ज़िंदगी के चिराग को तेरी..synchronizing the rhythm orchestrated with ACOUSTIC GUITAR and BONGO Drums. Interludes are awesomely orchestrated with VIOLINS, FLUTE, RUBAB and ACOUSTIC GUITAR. Listen to the word रास्ते की मै खाक हूं ,, how smartly Lataji changes the stance, that is the beauty of this song,

https://www.youtube.com/watch?v=EBrqAX07vbI

Mizaj-E-Garami Dua Hai Aap Ki       (Lyricist:- Anand Bakshi )

मिज़ाज ए गिरामी दुआ है आप की

Lata Mangeshkar – Mohammad Rafi and Laxmikant-Pyarelal, melodious duet.

A melodious duet starts with, ‘prelude’ of 26 seconds, HUMMING by Rafi Saab and AALAPs by Lataji, NADASWARAM overlapped with Symphony VIOLINS. It has a typical ‘LP’ style DHOLAK rhythm. The main attraction of this song is the orchestration of ‘interludes’, use of MANDOLIN synchronized with symphony style, GUITAR, VIOLINS and ACCORDION. ‘Prelude’ is nicely instrumented with MANDOLIN.

https://www.youtube.com/watch?v=IhPvNpIu0e4

Dil De De Dil Le Le          (Lyricist:- Anand Bakshi )

दिल दे दे दिल ले ले

Asha Bhosle – Mohammad Rafi and Laxmikant-Pyarelal, naughty duet.

A naughty song filmed on Johnny Walker – Helen. Use of GUITAR and ACOUSTIC GUITAR in the orchestra is worth listening to.

For me Jaal 1967.. is one of the best Albums from Laxmikant-Pyarelal. Just love all the songs. Request to LP fans of the younger generation just listen to this Album…

Ajay Poundarik, Atlanta (Georgia), USA

10th December, 2020.

December 11, 2020