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Hindi movies are known for their song and dance sequences for all occasions and events: weddings, festivals, love, separation, rain, sunshine and even songs about having fun with alcohol. Inebriant / Intoxicated songs were popular even back in the day and some of Bollywood’s veteran actors have indulged in some tipsy music and dancing.

Music directors Laxmikant-Pyarelal have also composed some of the finest, popular such spirituous, Inebriant Intoxicated Songs which are still popular. 15 Best of the songs based on “INTOXICATED” theme are for the review.

1) “MERE HAMDAM MERE DOST” 1968 Singer Mohammad Rafi / Lyricist Majrooh Sultanpuri

–– Hui Sham Unka Khayal Aa Gaya

It’s beautifully sung by the inimitable Rafi Saab, and picturised on a lonely Dharmendra as he wanders through his home, glass in hand, bemoaning the faithlessness of his beloved. “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 https://www.youtube.com/watch?v=wEDEqiJfUPc&t=18seffect of SAXOPHONE/CLARINET with PIANO is just brilliant. VIOLA , GUITAR, CELLOS and VIOLINS are also brilliantly executed in entire song. Another beauty of the song is it’s “ rhythm” DHOLAK / TABLA are used only in “antara”…all the “interludes:” are without any rhythm but just ear-pleasing.

2) “MERE HAMDAM MERE DOST” 1968 Singer Mohammad Rafi / Lyricist Majrooh Sultanpuri

— Chhalkaye Jaam

Dashing, handsome Dharmendra looks inebriated in this song. “Prelude” of 20 seconds full of ACOUSTIC GUITAR and VIOLINS with sounds of ‘glass”, sets the mood of this intoxicated song sung by raft sab. It has BONGO Drums on “rhythm”. ACCORDION is wonderfully played “(stroked)’ as a ‘filler’ in between the song. All the interludes are nicely orchestrated with SYMPHONY style, use of ACCORDIONS, VIOLINS and SAXOPHONE ( in second interlude ) is mind-boggling.

3) “INTEQAM”  1969 Singer Mohammad Rafi / Lyricist Rajendra Krishna

“Inteqam” was Actress Sadhna’s home production movie directed by her husband R K Nayyar.

— Jo Unki Tamanna Hai Barbad Ho Ja

A classic song. Just close your eyes and feel the fragrance & elegance of eternal voice of Rafi Saab.  Beautifully orchestrated on PIANO with mesmerizing DHOLAK rhythm. The “interludes” have designed by instrumenting solo VIOLIN, SYMPHONY style VIOLINS and PIANO. Sanjay Khan looks smart. Sadhana and Anju Mahendru look charming.

4) “INTEQAM”  1969 Singer Lata Mangeshkar / Lyricist Rajendra Krishna

— Kaise Rahoon Chup

Another drunkard song from “Inteqam” with “HICCUPs” as well as “CHOO-CHOO” sound naughtily rendered by Lata Mangeshkar. Here we find Sadhana getting drunk and singing / dancing a song in a party, much to the embarrassment of Sanjay Khan and Rehman. This soundtrack is still memorable today.  The “prelude” of 34 seconds is starts with ACCORDION and SYMPHONY style VIOLINS. The “Interludes” are awesomely orchestrated with LATA ji’s ‘intoxicated’ “AALAPS”, synchronised with  FLUTE, HICCUPS as well as VIOLINS in SYMPHONY style, ACOUSTIC GUITAR and ACCORDION . How beautifully the GUITAR auriculares are overlapped with Lata ji’s “CHOO-CHOO” sound (2.06 to 2.09) and also at (3.24 to 3.28).  Glimpses of ACCORDION are mellifluously used as “filler”. Not to forget the different type of “rhythm” created on BONGO DRUMS. Not to forget the elegant Helen’s presence in the song.

It was a TOP hit song of the year 1969 in Binaca Geetmala Final.

5) “PYASI SHAAM”  1969 Singer Lata Mangeshkar / Lyricist Majrooh Sultanpuri

–– Yeh Kaisa Gham Sajna

An extremely melodious song. Lata Mangeshkar sounds very sweet with an enthralling orchestra arrangements from Laxmikant-Pyarelal . In ‘prelude’ and all the three ‘interludes’ harmonised with different tunes,  by using ELECTRIC GUITAR sounds very appealing, SYMPHONY VIOLINS, ACOUSTIC GUITAR and ACCORDION, also used as a ‘filler’ in all the three ‘antaras’. Not to forget the “rhythm” amusingly arranged with the BONGO DRUMS. Sharmila Tagore look smoking hot.  Sunil Dutt totally intoxicated.

6) “NAYA DIN NAYI RAAT”  1974 Singer Mohammad Rafi / Lyricist Rajendra Krishna

— Main Wohi Wohi Baat

Lively involved voice, supported by the great Saneev Kumar’s restrained but natural performance for this tipsy song. Enraptured “prelude” of 26 seconds full of IRANI SANTOOR, SAXOPHONE, ELECTRIC GUITAR, ACOUSTIC GUITAR and ACCORDION with the “boozy” entry from Sanjeev Kumar at the same time brilliant take off by Rafi Saab. “Interludes” are euphonically orchestrated with ELECTRIC GUITAR, ACCORDION, SYMPHONY VIOLINS and IRANI SANTOOR. Just listen to the second “interlude”, delirious “aalap” by Rafi Saab, SYMPHONY VIOLINS and awesome overlapping sound effect of IRANI SANTOOR with ACCORDION. In-spite of the use of western instrument the DHOLAK ‘rhythm gives you an ear-pleasing moment, throughout the song.

Laxmikant-Pyarelal always gave some astonishing compositions for Rafi saab, in mid seventies,  when Mohammad Rafi saab was almost forgotten by all the music directors.

7) “AMIR GARIB”  1974 Singers Kishore Kumar – Manna Dey / Lyricist Anand Bakshi

— Tu Mere Pyale Mein

The song is filmed on Dev Anand and Prem Nath. Typical Laxmikant-Pyarelal flavored composition . DHOLAK rhythm has a qawwali style. Rendering of Manna Dey and Kishore Kumar worth to listened to. Helen danced superbly.  

8) “MAJBOOR’  1974 Singer Kishore Kumar / Lyricist Anand Bakshi

— Phir Na Kehna Michal Daroo Pee Ke

Kishore Kumar has always used some different style of crooning under Laxmikant-Pyarelal. The song is filmed on actor Pran who have performed excellently throughout the song along with Jayshree T.  Based on ‘folk’ song from Goa, the western style rhythmic song is elegantly orchestrated with TRUMPETs, solo VIOLIN in typical Goan style, ACOUSTIC GUITAR supported with awesome use of CHORUS as well as CLAPPING in the ‘rhythm’.

9) “ROTI KAPDA AUR MAKAAN”  1974 Singer Lata Mangeshkar / Lyricist Verma Malik

— Panditji Mere Marne Ke Baad

The song will always be remembered for the three reasons HICCUPs given by Lataji, mesmerizing and fast DHOLAK ‘rhythm’ created by Laxmikant-Pyarelal and awesomely gamboled by Aruna Irani.

10) “PONGA PANDIT”  1975 Singer Lata Mangeshkar / Lyricist Rajendra Krishna

— Tere Milne Se Pehle Bhi Jeete The Hum

An extremely melodious, intoxicated pop song composition. Excellent take off by Lataji in “prelude” by HICCUP with SAXOPHONE and SYMPHONY VIOLINS.  Ear-pleasing BONGO DRUM rhythm and classic orchestra with minimum musical instruments, ELECTRIC GUITAR , VIOLINS, ACCORDION. One of the finest song from the unique combo of Lata – LP.

11) “SUHAAG”  1979 Singer Asha Bhosle-Shashi Kapoor / Lyricist Anand Bakshi

–Main To Beghar Hoon

Inebriated performance by Parveen Babi. Beautiful ‘rhythm’. Just listen to the “take off” from Ashaji after the end of prelude (20 seconds). Also do not forget to listen to the ‘pause’ given by Ashaji after the (022 to 026) to highlight the “rhythm”. HAWAIIAN GUITAR, VIOLINS and BANJO awesomely orchestrated in all the “interludes”.

12) “NASEEB”  1981 Singers Mohammad Rafi-Amitabh Bachchan-Rishi Kapoor / Lyricist Anand Bakshi

— Chal Chal Mere Bhai

A super hit ‘peppy’ song excellently performed by Amitabh Bachchan and Rishi Kapoor. The song has a enjoyable “toe stepping” ‘rhythm’ created through BONGO DRUMS.

13) “EK HI BHOOL”  1981 Singer S P Balasubramaniam / Lyricist Anand Bakshi

— Bekhudi Ka Bada Sahara Hai

SYMPHONY style VIOLINS used in ‘prelude’, 35 seconds,  sets the mood of this intoxicated song, wonderfully rendered by SPB. “Interludes” are nicely orchestrated, in three different tunes,  with FLUTE, VIOLINS in SYMPHONY style, SPANISH GUITAR, ACOUSTIC GUITAR as well as ACCORDION. The ‘rhythm’ of TABLA is worth to listen to. Jeetendra acted in drunken mood. Rekha looks beautiful.  

14) “COOLIE”  1983 Singers Shabbir Kumar-Alka Yagnik / Lyricist Anand Bakshi

— Mujhe Peene Ka Shok Nahi

Mellifluously orchestrated “prelude” of 25 seconds.   The beauty of this song is use of SYMPHONY style VIOLINS and the CELLOS used in surrounds sounds of the singers as well as in all the “interludes” which are also further orchestrated with ELECTRIC GUITAR, BANJO and ACCORDION. KONGA DRUMS are used in the rhythm. This song is filmed on actor Rishi Kapoor and Shoma Anand.

15) “TIRANGA”  1993 Singers  Mohammad Aziz-Sudesh Bhosle / Lyricist Santosh Anand

— Peele Peele O Mere Raja  

A typical LP flavored song. Raj Kumar – Nana Patekar worth to watch.

Ajay Poundarik.

Metaphysical ANAND BAKSHI & Rhythmic LAXMIKANT-PYARELAL 

The association of Songwriter Anand Bakshi and Music Directors Laxmikant-Pyarelal started from the famous song ‘mere mehboob qayamat hogi’ from “Mr. X In Bombay”, 1964. This combo has worked for 304 films, composing 1680 songs of various types and varieties. 

Anand Bakshi has written some excellent songs giving philosophical touch, in a very simple way. . In this topic, named  Metaphysical ANAND BAKSHI & Rhythmic LAXMIKANT-PYARELAL we are going to review some of the best songs of this trio’s philosophical songs. 

It is also found that Producer / Director J. Omprakash films have more thoughtful songs. “Aaya Sawan Jhoom Ke” has as many as three such songs, “Apnapan” two songs. 

Listing out a few songs which are not discussed / reviewed. 

Himmat Kare Insaan          Rafi   “Himmat”

Do Rang Duniya Ke           Mukesh   “Do Raaste” 

Aaj Dil Pe Koi Zor              Lata        “Milan”

Darpan Jhoot Na Bole       Manna Dey  “Darpan”

Mujhe Teri Mohabbat Ka    Lata-Rafi  “Aap Aaye Bahar Aayee”

Yaar Hamari Baat Suno      Kishore Kumar   “Roti”

Jaane Walon Ka Gham To  M. Rafi   “Kali Ghata”

Tum Besahara Ho To          Manna Dey   “Anurodh”

Koi Na Jab Tera Saathi Ho  Kishore Kumar “Insaan” 

Phool Ahista Phenko           Mukesh – Lata “Prem Kahani”

Is Duniya Mein O Duniya     Rafi  “Do Bhai”

Bhagwan Ne Apne Jaisa      Lata   “Chhota Bhai”

O Manzi Naiya Dhoondhe     Mukesh  “Uphaar”

Many Of Anand Bakshi’s Situational Songs Have One Philosophical Stanza

Rajshri Pictures Musical  TAQDEER  1967 .                                                                                Anand Bakshi have written one abstract song  मिल के रोये मिल के मुस्कुराये हम ! अपनी जीत हार को हम बाँट ले .   It is a picnic song filmed on FARIDA JALAL, JALAL AGHA & Subhash Ghai (playing ACOUSTIC GUITAR). 

–Aaiye Bahar Ko Hum Baant Le …..Lata Mangeshkar. 

Mellifluous composition by Laxmikant-Pyarelal,  in western style. Instruments like Acoustic Guitar,Violins, Mouth Organ, Cycle Bells, Accordion etc.. are brilliantly executed in the orchestra arrangements. Lata Mangeshkar’s voice is simply sweet and melodious. Subhash Ghai can be seen in the video, playing acoustic guitar.

J. Omprakash’s Musical Hit  AAYA SAWAN JHOOM KE 1968.                                                       Anand Bakshi has written as many as three philosophical songs in this movie.

—Bura Mat Suno Bura Mat Dekho   M. Rafi  

–Ye Shama To Jali Roshni Ki Liye  M. Rafi

–O Majhi Chal O Majhi Chal      Mohammad Rafi

A Sheer Magical from Anand Bakshi  आशाओं से नाता जोड़ दे, ये निराशा के बंधन तोड़ दे .  The song is filmed on Dharmendra. 

Laxmikant-Pyarelal have beautifully orchestrated. “Prelude” of 16 seconds with ACOUSTIC GUITAR. “Rhythm” on BONGO DRUMS, both the “interludes” are beautifully decorated with the VIOLINS, CELOs in SYMPHONY style orchestra arrangements, in support with the glimpses of FLUTE (first ‘interlude’) and MANDOLIN and  SANTOOR (second ‘interlude’). 

L.V. Prasad’s Musical Hit JEENE KI RAAH   1969                                                                    Anand Bakshi has written one meaningfully worded song, filmed on Jeetendra. 

—Ek Banjara Gaye Jeevan Ke Geet Sunaye  Mohammad Rafi.

Each and  every line of this song written by Anand Bakshi  is consequential …. अगर जीना है तो ज़माने मैं तो हंसी का कोई बहाना ढूंढो !!  कागज के फूलों को भी जो महका कर दिखलाये 

Laxmikant-Pyarelal have composed this song with zero ‘prelude’ but a mind-boggling display of ELECTRIC GUITAR. Interludes are awesomely instrumented with symphony style of VIOLINS and ACCORDION. It has conventional DHOLAK rhythm. 

Rajshri Pictures Basu Chatterjee directed, super musical PIYA KA GHAR  1972.  Essence Of Life Captured Beautifully, In Simple Words By Anand Bakshi.

ये जीवन है इस जीवन का यही है, यही है, रंग-रूप  

–Yeh Jeevan Hai …Kishore Kumar

Anand Bakshi writes ये ना सोचो इसमें अपनी हार है की  जीत है ! उसे अपना लो जो भी जीवन की रीत है 

One of the finest songs from  Kishore Kumar with Laxmikant-Pyarelal. Kishore Kumar’s extremely soft and silky rendering in a totally different way and Laxmikant-Pyarelal’s westernized orchestra, very delicate rendering by CHORUS in surround sound  for the “interludes”, are the features of this lovely song. The song is completely woven around the glimpses of ACOUSTIC  GUITAR (played by late Gorakh Sharma, Pyarelalji’s younger brother). WHISTLE in surround sound gives the listeners Ear-Pleasing. Another beauty of this song is ‘finger pinch’ used in the ‘rhythm’, at the end of each ‘antara’.

Dalal Guha and Premji’s Musical Hit DOST  1974.                                                                 Anand Bakshi has written two philosophical songs in this song, filmed on Dharmendra. 

–Aa Bata De Tuze Kaise Jiya Jata Hai….Lata – Rafi.

—Gaadi Bula Rahi Hai   Kishore Kumar. 

This Song Means Be Positive Every Time Do Not Think Negative Any Time In Life. Life Will Be Happy. Pretty Philosophical Words Penned By Anand Bakshi. गाडी को देख कैसी है नेक अच्छा बुरा न देखे ! सब है सवार दुश्मन के यार सबको चली ये लेके !

Smoothly Rendered By Kishore Kumar Wonderfully Composed By Laxmikant-Pyarelal.

38 seconds of ‘prelude’ is awesome. A unique ‘rhythm’ created to sound like an exhausting of steam from the ‘steam engine’, and also the typical steam engine horn. All of these sounds are synchronized with VIOLINS, ACOUSTIC GUITAR and BONGO DRUM, to make the ‘rhythm’ perfect to visualize the movement of the Train. Interludes are orchestrated with VIOLINS, SAXOPHONE, CHURCH BELL, ACOUSTIC GUITAR, MOUTHORGAN & other BRASS instruments.

Ravi Tondon’s Musical Hit  MAJBOOR  1974

Bakshi Sahab wrote a splendid as well as an immortal song, filmed on Amitabh Bachchan 

–Aadmi Jo Kehta Hai ….Kishore Kumar

Anand Bakshi penned   कोई भी हो हर ख्वाब तो अच्छा नहीं होता ! बहोत ज्यादा प्यार भी अच्छा नहीं होता 

To decorate the song with the phenomenal “Long Prelude” was a normal practice for the Music Directors Laxmikant-Pyarelal. There are many songs, composed by the duo, with the long “prelude”. This song has a Mind-Boggling “Prelude” of 144 seconds. This prelude is mellifluously orchestrated in a SYMPHONY style with solo VIOLIN, CELLOs, FLUTE and VIOLINs. Brilliant take off by Kishore Kumar at 2.24. Apart from the long prelude in ‘symphony’ style, both the “interludes” are brilliantly composed, by using different tunes, with ACCORDION and VIOLINS.

J Omprakash super Musical Hit   APNAPAN  1977

Anand Bakshi’s  one of the most popular song giving preaching. Filmed on Sudhir Dalvi and Nivedita Joshi. 

–-Is Duniya Main Jeena …Kishore – Lata 

–Aadmi Musafir Hai Aata Hai Jata Hai   ..M. Rafi – Lata Mangeshkar

Doctrine worded, each and every line. Anand Bakshi writes क्या साथ लाये क्या छोड़ लाये ! रस्ते मैं हम क्या छोड़ लाये ! मंज़िल पे जाके याद आते है !  

Laxmikant-Pyarelal’s composition is simply superb. 32 seconds of ‘prelude’ is composed by GHUNGROO BELLS, VIOLINS and HARMONIUM.The ‘rhythm’ has DHOLAK synchronized with GHUNGROO BELLS. Interludes are instrumented with SANTOOR, FLUTE, CLERANATE, VIOLINS and HARMONIUM. 

Another J Omprakash Super Musical Hit  AASHA 1979.                                                           One more Sheer Magical song, a top hit, from Anand Bakshi. 

–Sheesha Ho Ya Dil …Lata Mangeshkar.

Here Bakshi Sahab says काफी बस अरमान नहीं, कुछ मिलना आसान नहीं। दुनिया की मजबूरी है ! फिर तक़दीर जरूरी है !  Filmed on REENA ROY, Looks beautiful.. 

Laxmikant-Pyarelal’s splendid composition.  20 seconds of ‘prelude’ is full of Latajis honeyed AALAPS. Brilliant take off…शीशा हो या दिल हो …She gives 3 seconds of singing ‘pause’  for symphonious DHOLAK rhythm. First and Second interludes are orchestrated with an ACCORDION. Third interlude has a solo display of VIOLIN. Another beauty of this song is ‘singing’ and ‘rhythmic’ pauses.

Subhash Ghai’s Musical Blockbuster  MERI JUNG  1985.   One of the most popular songs of the mid-eighties. 

–-Zindagi Har Kadam Ek Nayi Jung Hai    Shabbir  – Lata  – Nitin Mukesh  

Anand Bakshi writes हौसला ना छोड़ कर सामना जहाँ का ! बदल रहा है देख रंग आसमान का 

Laxmikant-Pyarelal have orchestrated this song by using PIANO as well as VIOLINS in symphony style. The song is filmed on Nutan, Girish Karnad, Anil Kapoor. 

Director T Ramarao’s   ANDHA KANOON  1983   Anand Bakshi writes  रोते रोते हँसना सीखो, हँसते हँसते रोना

–Rote Rote Hasna Sikho….Kishore Kumar. 

Meaningful philosophical words by Anand Bakshi बड़ी बड़ी खुशियां हैं छोटी छोटी बातों में  नन्हे मुन्हे तारे जैसे सोती रातों में ऐसा सुन्दर है ये जीवन, जैसे कोई सपना सलोना. Filmed on Amitabh Bachchan

Producer/Director Mohan Kumar’s AMRIT 1986.                                                                        Here Bakshi Sahab writes about ‘ghum’, sorrow.

—Duniya Mein Kitna Ghum Hai    ,Mohammad Aziz. 

Very much philosophical wording by Anand Bakshi  दुनिया मैं कितना गम है ! मेरा गम कितना कम है ! लोगों का गम देखा तो मैं अपना गम भूल गया filmed on Rajesh Khanna. 

This is a typical Laxmikant-Pyarelal moulded song. 

Added On PUBLIC DEMAND 

Rajesh Khanna’s Biggest Musical Hit  HAATHI MERE SAATHI   1971

–Duniya Main Rehna Hai To Kaam Kar” Pyare”  Kishore Kumar

पैसे बिना दुनियाँ में रोटी नहीं मिलती. रोटी नहीं मिलती लंगोटी नहीं मिलती

Ajay Poundarik, Atlanta (Georgia), USA. 11th June, 2020. 

“Jal Bin Machhli Nritya Bin Bijli” 1971

कजरा लगाके रे बिंदिया सजाके !! हो आई में तो आई रे आई लायी मोहे लायि मिलन धुन पिया की !

(The Unique Way Of Composing Song (as narrated by Living Legend PYARELAL ji)

When SANDHYA, actress and the wife of veteran filmmaker Dadasaheb Phalke award winner V. SHANTARAM told Majrooh Sultanpuri and Laxmikant-Pyarelal to write the words and compose the Song and the Rhythm by watching her Dancing Steps and the Facial Expressions.

To work with veteran Actor, Producer – Director V. SHANTARAM used to be a pride. He was a great connoisseur of the talent. He had an exceptional sensitivity for the music of his films. The quality of the songs and music for V. Shantaram film’s used to be unique and special. Music used to be the asset for his films.

It was not an easy job to enter into V. Shantaram Camp. He has his own choice of music directors which was limited to 2 to 3. Many BIG names of music directors of Forties, Fifties, Sixties and Seventies, could not get the an opportunity, baring C. Ramchandra and Vasant Desai, to work with V. Shantaram.

It was in 1971, music directors LAXMIKANT-PYARELAL got an opportunity to work for the first and the last time for V Shantaram’s “classic” film, a DANCE-MUSICAL, “JAL BIN MACHHLI NRITYA BIN BIJLI”.

In one of the songs !!कजरा लगाके रे बिंदिया सजाके !! हो आई में तो आई रे आई लायी मोहे लायि मिलन धुन पिया की !!..

A long musical sitting was held between V. Shantaram, Actress Sandhya, Laxmikant-Pyarelal and Majrooh Sultanpuri. Actress Sandhya first demonstrated the dance steps, performed the full dance and then told Laxmikant-Pyarelal to prepare the tune and rhythm by watching her steps. It was a different and unique style to compose the song. BUT Laxmikant-Pyarelal along with Lata Mangeshkar and Majrooh Sultanpuri came out with an outstanding composition.

A song on MAYUR-DANCE. One more gem of composition with different style. FLUTE is prominently used in western style. Perhaps the longest “prelude” 3 minutes and 27 seconds of beautiful dance sequence. FLUTE and SANTOOR, VIOLIN, VIOLA and GUITAR are prominently used and synchronized as well as overlapped, in western style orchestra arrangements with different style of rhythm of DHOLAK. Also don’t forget to listen to the “postlude” of the song and “Mayur Dance”.

LAXMIKANT-PYARELAL have brilliantly synchronized as well overlapped LATA MANGESHKAR’s voice in the highly rich orchestra arrangements.

FIRST TIME, FOR HINDI FILM MUSIC, all the songs of this films were recorded in “”Stereophonic Sound System””.

Ajay Poundarik, Atlanta (Georgia), USA. 3rd June, 2020.