नहीं नहीं री जाना नहीं !! अभी नहीं री जाना नहीं ! “Zinda Dil” 1975
Lata Mangeshkar Always Sounds Extremely Melodious Under The Enrich, Conorous & Mesmerizing Orchestra Arrangements From Laxmikant-Pyarelal.
8 seconds of ‘prelude’ with the ‘pause’ of 3 seconds, immediately after the JAZZ FLUTE, gives the listeners enthralling moment > unique ‘rhythm’ of DHOLAK / TABLA. Lata ji takes off नहीं नहीं री ..जाना नहीं.,, synchronizing the ‘rhythm’.
First Interlude starts at 0.47 stupefying orchestration of SAXOPHONE and ‘symphony’ VIOLINS overlapping the CHORUS.
Second Interlude fascinates with CELLOs, Lataji’s spellbinding AALAPs, JAZZ FLUTE, ‘symphony’ VIOLINS and protruding sound effect of ACCORDION.
Third Interlude instrumented with CLARINET, FLUTE, IRANI SANTOOR, ACCORDION, JAZZ FLUTE and VIOLINS.Postlude have a mellifluous display of JAZZ FLUTE.
This wonderful song is written by Verma Malik.
NOTE:- This song was totally forgotten, by media. Thanks to Mr Ranbir Kapoor who upload the song,on YouTube, few years back, stating that HE LOVES this song the most, among the duet songs, filmed on his parents, Rishi Kapoor and Nitu Singh.
The ideology of male duets, in Hindi Films, started in late forties. It was initiated further by music director S D Batish. Being a single hero concept the output of male duets was very limited. Still we got to listen to some remarkable male duets, till the end of the sixties.
Laxmikant-Pyarelal have composed some illustrious male duets utilising various male singers combinations from Mohammad Rafi – Kishore Kumar to Udit Narayan – Vinod Rathod.
70s and onwards, Hindi Films witnessed double hero concept. Multi Starrer films becoming very popular. Two different but prominent voices were required for two heroes. Most of the mail duets are composed from seventies onwards.
It took many years for legendary music director S. D. Burman to adopt this coherence, until Mohammad Rafi – Kishore Kumar sung Saa Re Gaa Maa for Chupke Chupke 1974.
Music director R D Burman got Rafi – Kishore to render title track in Yadon Ki Barat 1973. Singing pair of Rafi-Kishore used by music director Rajesh Roshan to record 4 male duets in Aap Ke Deewane 1980.
Mohammad Rafi and Kishore Kumar
Mohammad Rafi – Kishore Kumar Duets with Laxmikant-Pyarelal.
Laxmikant-Pyarelal needs a special mention here. Here was a duo who had no clear cut preference of one over the other, unlike many other MDs in the 70s and equally distributed their creations to both of them throughout.
Laxmikant-Pyarelal kept on bringing two Legends, Mohammad Rafi and Kishore Kumar together throughout the seventies with memorable duets in Humjoli (1970), Parvarish (1977), Muqabla (1979), Ram Balram (1980), Dostana (1981), Waqt Ki Deewar (1981) Deedar-E-Yaar(1982). The pair of Mohammad Rafi – Kishore Kumar sang the highest numbers of duets under music directors Laxmikant-Pyarelal.
Rafi – Kishore / Laxmi-Pyare
Below, highlighting few famous male duets with various music directors.
Naushad : Aaj Gawat Man Mero / Ustad Amir Khan – Pandit D. V. Paluskar (Baiju Bawara)
S D Burman : Saa Re Gaa Maa / Mohammad Rafi – Kishore Kumar (Chupke Chupke)
Shankar-Jaikishan : Keetaki Gulab Juhi / Pandit Bhimsen Joshi – Manna Dey (Basant Bahar)
Roshan : Ai Maa Teri Surat Se Alag / Manna Dey – Mahendra Kapoor (Daadi Maa)
O P Nayyar : Tu Hai Mera Prem Devata / Mohammad Rafi – Manna Dey (Kalpana)
R D Burman : Ek Janib Sham-E- Mehfil / Mohmmad Rafi – Manna Dey (Abhilasha)
Rajesh Roshan : Tera Jalwa Hai Tauba Mohammad Rafi – Kishore Kumar (Aap Ke Deewane)
Let us review, selected, few best male duets composed by Laxmikant-Pyarelal.
The orchestra arrangements in “preludes” and “interludes” used to be the assets of the songs composed by Laxmikant-Pyarelal. It would be more proper to listen to the songs after reading the write up, explaining peculiarities, for each of the songs, you will enjoy it more.
Bade Miya Deewane “SHAGIRD” 1967
Singers:- Mohammad Rafi – Manna Dey. Lyricist:- Majrooh Sultanpuri
This song has the influence of Rock-N-Roll. The song is scintillating. Solo GUITAR is wonderfully orchestrated in “Prelude” and “Interludes” and as a “Fillers” as well. Symphony style VIOLINS in “Interludes” are ear-pleasing. The Guitar is played by Gorakh Sharma, throughout. Excellent ending done by Manna Dey…! The song is filmed on Joy Mukherjee – I S Johar.
Mehbooba Mehbooba “SADHU AUR SHAITAN” 1969
Singers:- Mohammad Rafi – Mehmood. Lyricist:- Rajendra Krishna
The song is inspired from Hyderabad “folkish” style with admirably DHOLAK rhythm. 30 seconds of ‘prelude’ full of yelling by Mehmood and VIOLINS. Mehmood’s yelling, ACCORDION and VIOLINS are awesomely orchestrated in the ‘Interludes. ”Even though it is sung by two singers, it has been filmed on Mehmood and actress Bharti who have danced pretty well throughout the song.
Chal Shuru Ho Ja “HUMJOLI” 1971
Singers:- Mohammad Rafi – Kishore Kumar. Lyricist:- Anand Bakshi
This song is comicality filmed in a club on Jeetendra and Mehmood. Both of them have brawled, danced and acted perfectly, synchronising with the unique ‘rhythm’ of the song. SAXOPHONE is spectacularly used in the “interludes”.
Na Mangoo Sona Chandi “BOBBY” 1973
Singers:- Manna Dey — Shailendra Singh. Lyricist:- Vitthalbhai Patel
Entire song has surround sound of CHORUS, throughout. 44 seconds of “prelude” contains dulcet CHORUS synchronised with BRASS instruments, ACOUSTIC GUITAR and beautiful ‘Aalaps” rendered by CHORUS, in “Gowain Folkish” style. Sweet-Sounding, foot tapping ‘rhythm’. BRASS instruments, solo VIOLIN, MANDOLIN are wonderfully used in both the ‘interludes’. Glimpses of ACCORDION sounds pleasing to the ear. Brilliant take off by Manna Dey. Everfresh song is filmed on Prem Nath and Rishi Kapoor.
Mere Pyale Main “AMIR GARIB” 1974
Singers:- Kishore Kumar – Manna Dey. Lyricist:- Anand Bakshi
Qawwali “rhythm” orchestrated in typical Laxmikant-Pyarelal style. The song is awesomely filmed on Helen, Hema Malini, Prem Nath and Dev Anand.
Saat Ajube Is Duniya Main “DHARAM VEER” 1977
Singers:- Mohammad Rafi – Mukesh. Lyricist:- Anand Bakshi
33 seconds of ‘prelude’ full Horseshoe Tapping style ‘rhythm’ overlapped with ACOUSTIC GUITAR, SAXOPHONE, ACCORDION, symphony style VIOLINS. Symphonically display of DHOLAK “rhythm’ gives ear-pleasing moments. In the ‘Interludes’ SAXOPHONE is predominantly orchestrated and intermixed with VIOLINS, CHORUS and ACOUSTIC GUITAR. The song was a huge hit when film released, still popular.
Teen Batti Wala Govinda Aala “MUQUABLA” 1979
Singers:- Mohammad Rafi – Kishore Kumar. Lyricist:- Verma Malik
One of best Dahi Handi songs. A “folk” style composition in typical Laxmikant-Pyarelal style. The ‘prelude’ of 40 seconds is full of SHEHNAI / NADASWARAM and CHORUS in surrounds. The ‘rhythm’ full of DHOL / DHOLAK intermixed with GHUNGROO BELLS. The song is awesomely orchestrated with NADASWARAM and CHORUS. Filmed on Sunil Dutt (Rafi) and Shatrughan Sinha (Kishore). At the end it is RAFI + KISHORE = WOW
Ek Rasta Do Rahi “RAM BALRAM” 1980
Singers:- Mohammad Rafi – Kishore Kumar. Lyricist:- Anand Bakshi
Enjoyable song of two legends Amitabh Bachchan – Dharmendra…two greatest singers
Rafi – Kishore, sung this song on their different style of singing quality. Western style song. “Prelude” 50 seconds is full of symphony style VIOLINS, ACCORDION and ACOUSTIC GUITAR.
Salamat Rahe Dostana Hamara “DOSTANA” 1980
Singers:- Mohammad Rafi – Kishore Kumar. Lyricist:- Anand Bakshi
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.
Mere Dildar Ka Baanqpan “DEEDAR E YAAR” 1980
Singers:- Mohammad Rafi – Kishore Kumar. Lyricist:- Sahir Ludhiyanvi
No words to describe the singing of the two sensational singers,
Mohammad Rafi – Kishore Kumar. Filmed on Jeetendra – Rishi Kapoor
Ai Yaar Teri Yaari Teri Humen Jaan Se Bhi “WAQT KI DEEWAR” 1981
Singers:- Mohammad Rafi – Kishore Kumar. Lyricist:- Anjan
One more song on ‘friendship’.’ Uncomplicated song. Cosily rendered. ‘Interludes’ are orchestrated with symphony VIOLINS and ACCORDION. It has smooth DHOLAK ‘rhythm’.
Tu Kal Chala Jayega “NAAM” 1985
Singers:- Mohammad Aziz – Manhar Udhas Lyricist:- Anand Bakshi
Filmed on Sanjay Dutt and Kumar Gaurav. 44 seconds of “prelude” is orchestrated with SHEHNAI / NADASWARAM. Brilliant “Take Off” by Mohammad Aziz. The ‘interludes’ are symphonically orchestrated in western style with VIOLINS, BRASS instruments, ACCORDION. It is a melodious male duet with new generation singers, Mohammad Aziz – Manhar Udhas.
Imli Ka Boota “SAUDAGAR” 1991
Singers:- Mohammad Aziz – Sudesh Bhosle.. Lyricist:- Anand Bakshi
Very high profile super-hit song in terms of filming on sensational actors of yesterday’s Raj Kumar and Dilip Kumar. Melodious composition well orchestrated by using SHEHNAI / NADASWARAM, solo VIOLIN. Typical LP style ‘DHOLAK” rhythm.
Main Aatma Tu Parmatma “DHUN” 1991
Singers:- Mehdi Hasan – Talat Aziz.. Lyricist:- Anand Bakshi
Mesmerizing GHAZAL rendered by world famous ghazal singer from Pakistan Mehdi Hassan and Indian Ghazal singer Talat Aziz. Vichitra VEENA and Mehdi Hassan’s AALAP in 40 seconds of “Prelude” fascinate the listeners. Mind-boggling take off by Mehdi Hassan. FLUTE used as filler gives ear-pleasing moments, in ‘mukhada’. DHOLAK rhythm spellbinds. ‘Interludes’ are amazingly instrumented by JAZZ FLUTE. This is the first song rendered by Mehdi Hassan for hindi film. Special appreciation for songwriter Anand Bakshi for writing meaningful devotional words. This song is filmed on Anupam Kher – Talat Aziz acting as “guru” – “shishya”. Unfortunately the film directed by Mahesh Bhatt, never released.
Duniya Re Duniya Very Good Very Good “TRIMURTI” 1996
The beauty of this song is ‘finger pinch’ used after VIOLINS in the ‘rhythm’ in 36 seconds of ‘prelude’ . End of the ‘prelude’ sensational take off by Udit Narayan and a mellifluous ‘pause’ for 5 seconds to highlight the BONGO DRUM rhythm. Shahrukh Khan has danced excellently synchronizing with Laxmikant-Pyarelal’s supar rhythm composed for the song.
Laxmikant-Pyarelal have composed 66 Male Duets Starting With
ना करुं बंद तेरे छंद (माधवी.१९६९) By Rafi Saheb-Manna Dey
To
बील्लो की पीली पीली आंखोंका (बरसात की रात.१९९८) By Mohd.Aziz-Abhijeet
Lilting Confederation :: RAJSHRI Productions with LAXMIKANT-PYARELAL
By scoring a fascinating music for their very first film “Parasmani” (1963), Laxmikant-Pyarelal made a astounding debut in Hindi Film Music.
35 years of uninterrupted, shimmering, successful tenure in Hindi Film Music, Laxmikant-Pyarelal have witnessed many long-lasting as well as fruitful partnerships with many filmmakers. The duo’s first such partnership was with Tarachand Barjatya, the owner of Rajshri Productions.
The association of Laxmikant-Pyarelal and Rajshri Productions started in 1964 and lasted till 1972. Most of the film were made in low budget with no-starcast. BUT all of them have extremely melodious music.
Dosti (1964)
Taqdeer (1967)
Jeevan Mrityu (1969)
Uphaar (1970)
Piya Ka Ghar (1972)
Laxmikant-Pyarelal never disappointed Rajshri Films. The songs of the above films are still popular. It is to be noted that the music of Dosti gave a name and fame to both Rajshri Films and Laxmikant-Pyarelal.
DOSTI (1964)
Laxmikant-Pyarelal Celebrating “Dosti” Success.
“DOSTI”, released around the Diwali of 1964. It was Rajshri Films Second Film. During those time (early sixties) Rajshri Films were operating from Madras, now Chennai. Relatively new in the film production, Producer Tarachand Barjatya of Rajshri Films wanted to established in the film industry.
This non-starcast, black and white film was directed by well known Director Satyen Bose.
Most of the prominent music directors of that time refused to score the music for this film as there was no star cast (two teenage unknown actors) and also they feel there was nothing in the film to compose the songs for Blind and Physically Disabled Children. But Laxmikant-Pyarelal took up the challenge and the film music became a History.
Songs the film Dosti became a rage throughout the nation and continue to be played till today. Laxmikant-Pyarelal also proved that the songs of their earlier films, “Parasmani”, “Harishchandra Taramati”, “Aaya Toofan”, “Sant Gyaneshwar” and “Sati Savitri” was not a fluke.
DOSTI music put Laxmikant-Pyarelal in top music directors rank and made them a household name in the Indian film industry.
DOSTI was nominated for 7 categories for filmfare award and went on to win 6 filmfare award trophies.
Best Picture – Tarachand Barjatya
Best Story – Ban Bhatt
Best Music – Laxmikant Pyarelal (winning their First Filmfare Trophy)
Best Lyrics – Majrooh Sultanpuri (winning his First Filmfare Trophy)
Best Playback Singer Male – Mohammed Rafi
Best Dialogue – Govind Moonis
— Chahunga Main Tujhe Saanjh Savere .. Mohammad Rafi
— Mera To Jo Bhi Kadam Hai .. Mohammad Rafi
— Koyi Jab Raah Na Paye .. Mohammad Rafi
— Rahi Manwa Dukh Ki Chinta .. Mohammad Rafi
— Gudiya Humse Roothi Rahogi .. Lata Mangeshkar and
— Janewalo Jara Mudke Dekho Mujhe.. Mohammad Rafi
Touching song with such message to all ……reminder for humanity & peace. Mind-Boggling take off by Rafi Saab, at end of ‘prelude’ (MOUTH ORGAN), with ‘aalap’ synchronised with SYMPHONY VIOLINS. MOUTH ORGAN ( played by late R D Burman) is brilliantly orchestrated in all the first ‘interlude’ with VIOLINS. Second and third “interludes” brilliantly decorated with SYMPHONY style and GUITAR. It has a wonderful DHOLAK rhythm.
All the songs of “Dosti” are written by Majrooh Sultanpuri.
TAQDEER (1967)
“TAQDEER”, The story is about the music teacher so Music has to be the best. It was directed by A. Salam. A clean film that highlights the bonding among the family members. This non-starcast, black and white film was supported with Bharat Bhushan, Shalini, Farida Jalal, Kamal Kapoor, Dilip Dutt and Subhash Ghai (making debut, as an actor).
Glorious era of good acting, singing and music. Movie making then was an art and social responsibility and not just commerce. There was nothing like promotion or launch of a movie. It was done through the advance music on the Radio. The melodious songs became popular. Many songs of Taqdeer are still can be heard.
Laxmikant-Pyarelal utilized as many as eight singers, introducing Sulakshna Pandit, Ila Desai, Meena Patki and Usha Timothy. It adds value, when PYARELALji himself playing solo VIOLIN in all the versions of the famous song ‘Jab Jab Jab Bahar Aayee’.
— O Dilwalo Matwalo .. Mohammad Rafi
— Saat Samundar Paar Ke .. Lata Mangeshkar-Sulakshana Pandit-Ila Desai-Meena Patki
— Aaiye Bahar Ko Hum Baat Le .. Lata Mangeshkar (Subhash Ghai dancing )
— Jab Jab Bahar Aayee .. Lata Mangeshkar
— Kaise Koi Jane Bhala .. Mohammad Rafi
— O Dilwalo Matwalo .. Mohammad Rafi
— Jab Jab Bahar Aayee .. Mohammad Rafi
An extremely melodious song, one of the most lovable song from the combo of Rafi-LP. Entire song is orchestrated by using PIANO and solo VIOLIN (played by Pyarelalji himself). It has mellifluous DHOLAK/TABLA rhythm.
All the songs of ‘Taqdeer” are written by Anand Bakshi.
JEEVAN MRITYU (1970)
“JEEVAN MRITYU” was made from famous English novel “ The Count of Monte Cristo”. The Whole movie relies on Dharmendra’s performance. The direction by Satyen Bose is excellent. However the central characters played by dharmendra is not the usual dharmendra playing action hero in other films.
Actress Rakhee made her debut in this film. Jeevan Mrityu, a huge hit movie of it’s time, will always be remembered as one of the finest offerings from the house of Tarachand Barjatya, known to give quality films that could be viewed by the entire family.
The film has three songs, including one ‘thumri’ and all are euphonious as well as memorable.
— Jhilmil Sitaron Ka Aangan Hoga .. Lata Mangeshkar
— Zamane Mein Aji Aise Nadan Hote Hai .. Lata Mangeshkar (Thumri)
— Jhilmil Sitaron Ka Aangan Hoga .. Mohammad Rafi – Lata Mangeshkar
‘Prelude’ of 26 seconds is awesomely orchestrated with FLUTE and Rafi Sahab’s HUMMING, synchronised with Symphony style VIOLINS and than SANTOOR. All the ‘interludes’ are mellifluously instrumented, with different tunes, by using FLUTE, VIOLINS in Symphony style, SANTOOR as well as Lataji;s AALAPS. An immortal Lata-Rafi duet.
UPHAAR (1971)
“UPHAAR” released in December, 1971, was produced by Rajshri Productions, Tarachand Barjatya, now BIG name, directed by Sudhendu Roy. It was based on a story by Rabindranath Tagore.
Uphaar is one wonderful film relating the story of a young village girl who is still a little kid by heart. It has too unknown actors and actress. Jaya Bhaduri was not star then, it was her second film after “Guddi” (October,, 1971). Swaroop Dutt was new /unknown hero.
Music and the songs flows with the theme of the story of the film.
Laxmikant-Pyarelal were in transcendent form in early seventies. All of the Uphaar songs are written by Anand Bakshi and are extremely melodious, different type of compositions, still refreshing. A must Album for all music lovers.
— Majhi Naiyya Dhoondhe Kinara .. Mukesh
— Main Ek Raja Hoon .. Mohammad Rafi
— Haathon Mein Mehndi .. Lata Mangeshkar
— Suni Re Nagariya Suni Re Sejariya .. Lata Mangeshkar
All the traditional Indian Classical Instruments, SITAR, VINA, SHEHANI, SARANGI, SAROD,etc are wonderfully used in this very sweet song. “DHOLAK” rhythm is awesome. Lata Mangeshkar always sounds extremely melodious under the LP..This song proves that.
PIYA KA GHAR (1972)
“PIYA KA GHAR”, inspired from famous Marathi film “Mumbaicha Jawai”, was directed by Basu Chatterjee who made his debut as a director through this film.. It was it’s music that pulls the crowd into the cinema hall. It has also Jaya Bhaduri, fresh from the films like “Guide” & “Uphaar”, in lead roll with Anil Dhawan who was still struggling.
Piya Ka Ghar have four excellently composed sweet and melodious songs. Three of the songs are filmed in the background. The “theme” song ‘yeh jeevan hai, is jeevan ka’ flows with the story of the film and it is the song of everybody’s choice. One of the best from the combo, Kishore Kumar and Laxmikant-Pyarelal, which has 402 songs.
— Bambai Shahar Ki Tujhko .. Kishore Kumar
— Yeh Jeevan Hai, Is Jeevan Ka .. Kishore Kumar (top hit songs)
— Yeh Zulf Kaisi Hai .. Lata Mangeshkar – Mohammad Rafi
— Mere Piya Ka Ghar Hai .. Lata Mangeshkar
Powerful and touching words. Beautifully orchestrated with mellifluous DHOLAK rhythm. FLUTE, SAXOPHONE, VIOLINS are also wonderfully decorated in all the interludes. Lata sounds extremely sweet.
It is unfortunate that Piya Ka Ghar ends the musical association of Rajshri Films (Tarachand Barjatya) and Laxmikant-Pyarelal. It lasted for eight and half years and have given some of the outstanding musical hit films.
Champion Triumvirate Of Musical Hit Films J Omprakash & Laxmikant-Pyarelal
Honestly speaking Laxmikant-Pyarelal’s music / songs used to become extremely popular prior to the release of the films. Any single HIT song would help the movie to become super hit. In other words, Laxmikant-Pyarelal’s music / songs used to be one of the “stars” of the film. That is why Laxmikant-Pyarelal became the first choice for any producer and directors..
Laxmikant-Pyarelal The First Choice for all:-
Music of Parasmani, Harishchandra Taramati in 1963, Sant Gyaneshwar, Dosti, Sati Savitri, Mr X In Bombay, Aaya Toofan, in 1964, Shreeman Fantoosh, Hum Sab Ustad Hai, Lootera, in 1965, Dillagi, Aasra, Mere Lal in 1966 etc became popular. Music of “Dosti” put Laxmikant-Pyarelal in the top music directors rank.
In the second half of the sixties (after 1965), Laxmikant-Pyarelal became the household name in hindi film music. It was like a TSUNAMI of songs from Laxmikant-Pyarelal and were primarily responsible for eliminating the dominance of the older music directors. Many big names in film making started replacing their regular music directors and preferred Laxmikant-Pyarelal.
Laxmikant Pyarelal with Dharmendra, Raj Kapoor & J Om Prakash, Mohan Saigal
Producer/Director C V Sridhar was the first to replace Shankar-Jaikishan (“Dil Ek Mandir”) and signed Laxmikant-Pyarelal for his next film “Pyar Kiye Jaa”, released in 1966. In the same year another big name in film making, J. Om Prakash, replaced Shankar-Jaikishan (“Aas Ka Panchhi”, 1961 and “Aayee Milan Ki Bela”, 1964) and signed Laxmikant-Pyarelal for “Aaye Din Bahar Ke”, starring Dharmendra – Asha Parekh, 1966. Musical Hit film “Aaye Din Bahar Ke” became the first film of Laxmikant-Pyarelal, with big ‘stars’.
The long lasting association of J Om Prakash with Laxmikant-Pyarelal started in 1966 through the musical hit “Aaye Din Bahar Ke” and lasted, 22 years, till “Agnee” 1988.
J Om Prakash has made a total of 23 films of which 12 films have the music by Laxmikant-Pyarelal. Most of the films involving the Triumvirate, are musical hits.
J. Om Prakash’s Film’s Names Always Starts With Word A, अ, आ
J Omprakash & Laxmikant-Pyarelal Films:–
Aaye Din Bahar Ke 1966
Aaya Sawan Jhoom Ke 1968
Aan Milo Sajana 1971
Aakraman 1975
Aashiq Hoon Baharon Ka 1977
Apnapan 1977
Aasha 1979
Aas Paas 1981
Apna Bana Lo 1982
Arpan 1983
Aap Ke Saath 1986
Agnee 1988
Binaca Geetmala:-
Many songs from almost all the films of this triumvirate did appear in the weekly countdown program. But in the final total 13 numbers of Binaca Geetmala final songs of J Om Prakash with music by Laxmikant-Pyarelal, appeared in Binaca Geetmala annual programm.
1) Achchha To Hum Chalate Hai..Lata-Kishore.. ”Aan Milo Saja” Number – 2, 1971
3) Sheesha Ho Ya Dil..Lata. ”Asha” Number – 3, 1980
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.
All The Songs Are Written By ANAND BAKSHI.
Aaye Din Bahar Ke 1966
This film was Laxmikant-Pyarelal’s first film with Big Stars. Dharmendra–Asha Parekh. The film was a musical hit. All the songs are melodiously composed. This film was the beginning of a long lasting association / partnership with JOP/LP.
-Ai Kash Kisi Deewane Ko…(Lata-Asha)
-Ye Kali Jab Talak…(Mahendra Kapoor – Lata)
-Phoolon Se Mukhde Wali…(Rafi)
-Mera Mehaboob Hai Bemisal…(Lata)
-Mere Dushman Tu Meri Dosti Ko Tarse …(Rafi)
-Suno Sajna Papihe Ne (Singer Lata Mangeshkar)
Mesmerizing ‘prelude’ of 25 seconds starts with Birds TWEET and Lataji’s AALAPS. Beautiful take off rendering सुनो सजना पपीहे ने। First ‘interlude’is awesomely orchestrated with SANTOOR (Played by Pandit Shivkumar Sharma), FLUTE (Played by Pandit Hariprasasd Chaurasiya) and VIOLINS. Second and third ‘interludes’ also orchestrated with SITAR, FLUTE and VIOLINS but in different notes. It has an excellent DHOLAK / TABLA ‘rhythm. Another beauty of the song is “PAUSE”..enjoy it at the end of each ‘antara’.
Aaya Sawan Jhoom Ke 1968
Another musical hit, once again Dharmendra-Asha Parekh in the lead role.
-Badra Chhaye, (title song)…(Lata-Rafi)
-Ye Shama To Jali…(Rafi)
-Bura Mat Suno…(Rafi)
-Majhi Chal O Majhi Chal (Rafi)
-Rama Duhai…(Lata)
-Main Ek Haseena…(Asha).
-Saathiya Nahi Jana (Singer Lata Mangeshkar-Mohammad Rafi)
This melodious romantic duet starts with zero prelude. Beautiful ‘punjabi’ folkish style composition. Interludes are mellifluously orchestrated with FLUTE, VIOLINS, SANTOOR and SITAR with different tunes. Third interlude has additional instruments SHEHNAI / NADASWARAM. An accordant DHOLAK / TABLA rhythm
Aan Milo Sajana1971
Third successive musical hit from the the triumvirate of J Om Prakash and Laxmikant-Pyarelal. It has Rajesh Khanna – Asha Parekh – Vinod Khanna in the lead role. —
— Achha To Hum Chalte Hai …. Kishore-Lata (The most popular song )
— Jawani O Deewani Tu Zindabad …. Kishore
— Tere Karan Mere Sajan …. Lata
—Falak Se Tod Ke Sitare Log Laye Hai …. Rafi
– Palat Meri Jaan …. Asha Bhosle
—Ab Aan Milo Sajna (Singer Lata Mangeshkar- Mohammad Rafi). Once again ‘punjabi’ folkish style composition. The Super En-Rich Orchestra. The song starts with an ensorcelling ‘prelude’ of MATAKI, mixed with GHUNGROO BELLS, Rafi’s TAAN and a stupefying display of SITAR (Played by Ustad Rais Khan). Interludes are orchestrated with FLUTE, VIOLINS and SHEHNAI / NADASWARAM. In addition to SANTOOR, FLUTE, the CHORUS sound is the second interlude beautifully instrumented. Third interlude will hypnotize the listeners with the CLAPPING ( ताली ) used with DHOLAK / TABLA in the ‘rhythm’. Another beauty of this song is TAAN rendered by Rafi sab and Lata ji, in all “mukhadas” and the ACOUSTIC GUITAR and CHORUS used as a filler. Finally the postlude is awesomely instrumented. The song is excellently filmed in the village location.
Aakraman 197
Rajesh Khanna-Sanjeev Kumar-
–Fauji Gaya Jab Gaon Mein….(Kishore)
–Dekho Veer Jawano …(Kishore)
–Wo Ek Haseen Ladki …(Kishore)
-Yeh Mousam Aaya Hai (Singer Lata Mangeshkar-Kishore Kumar)
Mellifluently orchestrated ‘SYMPHONY’. Mind-Boggling prelude of 48 seconds, full of SYMPHONY orchestra starts with FLUTE, enthralling take off of VIOLINS, at 06. VIOLINS, CHURCH-BELL, CELLOs are awesomely overlapped with male CHORUS sound. And what a take off, through AALAP by Kishoreda, at 0.32, synchronizing with the sound of CHURCH-BELL. Beautiful start by Kishoreji ये मौसम आया है…at 0.48. At 1.24 Kishoreji’s rendering is wonderfully surrounded by symphony VIOLINS. Throughout the song, the surround sound of VIOLINS is mellifluously orchestrated. Interludes also have a SITAR display intermixed with VIOLINS. Lataji enters after two ‘mukhadas’. Third There is singing as well as ‘rhythmic’ ‘pause’ in all the ‘antaras’..Third interlude is Lataji’ AALAPS synchronized with VIOLINS. Her singing is awesomely overlapped by chorus, at the end.
Apnapan 1977
Jeetendra – Sulakshna Pandit
-Is Duniya Mein Jeena Hai Lata Mangeshkar – Kishore Kumar
-Somwar Ko Hum Mile … Sulakshana Pandit – Kishore Kumar
– Aadmi Musafir Hai ….(Singer Lata Mangeshkar- Mohammad Rafi)
One of the most popular song giving preaching. Beautifully penned by Anand Bakshi. 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. Song is filmed on Sudhir Dalvi and Nivedita Joshi.
Aashiq Hoon Baharon Ka 1977
It was an average hit with some melodious songs. Rajesh Khanna – Zeenat Aman.
– Tera Dil Kya Kehta Hai ….Kishore
– Mashriq Mein Jo Aaye….Kishore
– Mere Gore Gaalon Ka….Lata
– Main Ashiq Houn Baharon Ka….Kishore
– I am In Love You Are In Love (Singer Lata Mangeshkar-Kishore Kumar)
Melodious duet. 38 seconds of ducet “prelude” starts with GUITAR synchronised with MOUTHORGAN and Lataji’s AALAPS. Lataji’s awesome take off at 1.37. आय ऍम इन लव ssss यु आर इन लव sssss. 19 seconds (1.54 to 2.13) of singing ‘pause’ filled with resonant “orchestra”, ACOUSTIC GUITAR, ‘finger pinch’, CLAPPING ( ताली ), mesmerizes the listeners. BRASS instruments withVIOLINS are orchestrated in the first interlude. Second interlude is full of ACCORDION, MOUTHORGAN, SANTOOR, MANDOLIN, BRASS instruments and VIOLINS. Third interlude is full of VIOLINS, ACCORDION, Lataji’s AALAPS. The song has the tuneful “rhythm” of BONGO DRUM synchronised with DAF.
Aasha 1979
Musical hit. Jeetendra-Reena Roy-Rameshwari.
– Sheesha Ho Ya Dil Ho….Lata (Top Hit Song)
– Dhak Dhak Se Dhadakna ….Rafi
– Tune Muze Bulaya….Rafi – Asha – Chanchal
– Jane Hum Sadak Ke ….Rafi
– Aashaon Ke Sawan Mein. (Singer Lata Mangeshkar- Mohammad Rafi)
Mellifluous duet. Extremely melodious song. Tuneful ‘rhythm’. Awesomely orchestrated with VIOLINS, ACCORDION and CHORUS. The best part of this song is the ‘OVERLAPPING’ singing / rendering of Lata Mangeshkar – Mohammad Rafi as well CHORUS. Filmed on Jeetendra and Reena Roy.
—Sheesha Ho Ya Dil Ho (Singer Lata Mangeshkar)
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. This beautiful song is filmed on Reena Roy singing this song on stage.
Aas Paas 1981
Dharmendra-Hema Malini starer yet another musical hit.
– Humko Bhi Gham Ne Mara…..Lata
– Mein Phool Bechti Hoon...Lata
– Shehar Mein Charcha Hai…Lata-Rafi
– Tu Kahin Aas Paas Hai Dost…..Rafi (Rafi’s last song of his career)
– Dariya Mein Phenk Du Chabi(Singer Lata Mangeshkar-Kishore Kumar)
Typical Laxmikant-Pyarelal flavored sweet as well as melodious duet.
Arpan 1983
Jeetendra-Parveen Babi-Reena Roy.
– Pardes Ja Ke Pardesiya …(Lata)
– Tauba Kaise Hai Nadan ….(Lata)
– Mohabbat Ab Tijarat …(Anwar)
– Teri Meri Shadi Hogi ..(.Lata-Kishore)
– Likhane Wale Ne Likh Dale (Singer Lata Mangeshkar-Suresh Wadkar)
Wedding song, Punjabi’ flavored ‘folkish’ song. An extremely melodious duet. ‘Punjabi’ flavored 60 seconds of euphonic ‘prelude’ of DHOLAK rhythm, MANDOLIN, SHEHNAI / NADASWARAM, CLAPPING, (ताली) CHORUS enthralls the listeners. Interludes are aslo decorated by using above mentioned musical instruments. Filmed on Sudhir Dalvi and Parveen Babi.
Ajay Poundarik, Atlanta (Georgia) USA. 7th April, 2020.
Indian Sound Of Music. ! रुक जा ए हवा, थम जा ए बहार ! A miraculous song from Lata Mangeshkar and Laxmikant-Pyarelal, written by Majrooh Sultapuri, filmed on beautiful actress Saira Bano.
SHAGIRD 1967.
‘ruk ja ai hawa tham ja ae bahar’ !! रुक जा ए हवा, थम जा ए बहार !!. We call the song as An Indian Sound Of Music.
“Prelude” of 59 seconds, has been wonderfully orchestrated to frame the JUNGLE scene.The FLUTE, ACCORDION, CELLOS, SITAR, TANPURA, symphony style VIOLINES and specially the Birds-TWEET, are mellifluously integrated and ends with scintillating take off by Lataji’s AALAP.. Lataji starts singing at 1.00 रुक जा ss…रुक जा ss…रुक जा ss…each time giving the ‘pause’ for 3 seconds without the ‘rhythm’. Enjoy pleasant symphony style CELLOs till 1.34.
Entire song including ‘mukhda’ and ‘antara’ is melodiously synthesized with the surround sounds of “symphony” VIOLINS, around Lataji’s rendering. It has a unique DHOLAK / TABLA rhythm which gripes the listeners, throughout the song.
It is a CHEMISTRY OF Lata Mangeshkar + Laxmikant-Pyarelal = Musical Magic.
SUBSTANTIATING LAXMIKANT-PYARELAL FOR DADASAHEB PHALKE AWARD.
Laxmikant-Pyarelal is the name that needs no introduction in the field of Hindi Film Music or Hindustani Music.
The name represents an archive of hit film music that was churned out, non-stop, right from 1963 till the end of the century. LP, Laxmikant-Pyarelal were amongst the few Hindi Film Music Directors of the good old yesteryears who were active right till the end.
Both Laxmikant and Pyarelal Coming from Very Poor Family Background have achieved the highest feat in Hindi Film Music.
When the discussion about the film comes one always feel that any movie is remembered because of its songs only. It is recognized by its music only. The film music is the heart of the any film.
It is known fact that Laxmikant-Pyarelal have dominated the Hindi Film Music from 1963 to 1998. Apart from that LP were consistent throughout.
There are very few personalities in the Hindi Films who were persistently active for more than 35 years and most of them have been awarded by prestigious “Dadasaheb Phalke Award”.. ..Raj Kapoor, V Shantaram, L V Prasad, K Vishwanath, Amitabh Bachchan, Yash Chopra, Gulzar, Pran, Manoj Kumar, Lata Mangeshkar, Asha Bhonsle, Manna Dey, Mohammad Rafi, Kishore Kumar …But in the Film Music Direction, it is ONLY Laxmikant-Pyarelal have worked for 35 non-stop years by giving various types of Mass Appealing music for the Indians.
The duo has given some remarkable music in past and had maintained the consistency for about 35 years which itself is great feat. Since 1963 till date the name Laxmikant–Pyarelal is the house hold name. Laxmikant–Pyarelal has won as many as seven filmfare awards but they could have won even more than that. Apart from 7 Filmfare trophies, Laxmikant-Pyarelal were nominated for 18 films. The films like, Do Raaste, Shor, Bobby, Daag, Ek Duje Ke Liye, Utsav, Tejab, Sur Sangam, Khalnayak etc deserve to win the best music award, which they narrowly missed, for the respective years.
The duo has given all type of variety of music/songs whether it Classical, Folk, Westernized, Cabaret, Mujra, Devotional, Qawwali, Lori, Ghazal, Patriotic or Disco. Most of the songs composed by them were catchy, melodious and was liked by all classes. The songs composed by Laxmikant–Pyarelal were used to become most popular in most of the villages of India.
Most of the songs composed by them were catchy, melodious and was liked by all classes. Songs composed by Laxmikant-Pyarelal are so popular even today that they are rendered in marriages and functions by changing a few words here and there.
Laxmikant-Pyarelal songs are available for all the Indian festivals, including Eid, Easter and Christmas. Laxmikant-Pyarelal songs are for all generations. Laxmikant-Pyarelal songs are available for any situations. If any Radio station starts playing Laxmikant-Pyarelal songs 24 hours X 7 days, none of the songs will be repeated. Such an enormous quantity of popular songs with quality, variety and melody, as well.Unfortunately, there is no any media support for Laxmikant-Pyarelal songs.
Laxmikant-Pyarelal have a dominance in the most popular radio programme “Binaca Geetmala”, in sixties, seventies, eighties and nineties, the weekly countdown programme broadcast by radio Sri Lanka, then.
Moreover the Laxmikant–Pyarelal have worked with most of the “Dadasaheb Phalke Award” winner filmmakers. For instance V. Shantaram (Jal Bin Machhali Nritya Bin Bijlee…), Raj Kapoor (Bobby, SSS and Premrog), Manoj Kumar (Shor and many more), Yash Chopra (Daag), B. R. Chopra (Dastaan), L V Prasad (Milan, Jeene Ki Raah and many more), K Vishwanath (Sargam, Sur Sangam and more), K Balachander (Ek Duje Ke Liye), Shashi Kapoor (Utsav), Hrishikesh Mukharjee (Satyakam). Manoj Kumar (Shor), Amitabh Bachchan (Amar Akbar Anthony), Vinod Khanna (Imtihan). Moreover the Laxmikant–Pyarelal have also worked with all the topmost Producers and Directors of their time.
For instance Raj Khosla (Anita, Mera Gaon Mera Dehj, Do Raaste and many more), Manmohan Desai (Amar Akbar Anthony and many more), Rajshri Productions ( Dosti, Taqdeer, Uphar and Piya Ka Ghar and many). Ramanand Sagar (Charas and more), Subhash Ghai (Karz, Hero and many more), Shekhar Kapoor (Mr India), David Dhavan (Diwana Mastana). Just to add few more J. Omprakash, Mohan Kumar, Shakti Samanta, Satyen Bose, Dalal Guha, Raja Nawathe, Shreedhar, Raghoonath Zalani, Babubhai Mistry, Vijay Bhatt, Mahesh Bhatt, Rahul Rawail, Brij, Vijay Anand, Darasingh, Rajkumar Kohli, Rajkumar Santoshi, Nitin Mohan, Mehul Kumar, Raj Kanwar Satish Kaushik etc…The list includes the great Producers and Directors of yesterday’s and today’s.
This list has no end but it is doubtful that any other music director has worked with as many as prominent film producers/directors and companies in the manner Laxmikant-Pyarelal have worked. The songs of their respective films were super duper hit and are still popular even though some of them are more than 50 years old.
It is not easy to maintain the consistency in this field. But Laxmikant-Pyarelal were able to do it so, for more than 35 years since their emergence with the super hit music of “Parasmani” in 1963. No any other music director is able to do so.
Laxmikant-Pyarelal had maintained the popularity of their songs
Laxmikant-Pyarelal
In SIXTIES (1963 to 1969) and gave tough challenges to old horses like Shankar-Jaikishan, O P Nayyar, Madan Mohan, Roshan, Ravi, Chitragupt, Hemant Kumar, S D Burman etc. and conquered Number ONE position in the year 1967.
In SEVENTIES (1970 to 1979) Laxmikant-Pyarelal’s position remain unaffected, maintained number ONE position but this time LP’s competitors were, R D Burman, Kalyanji-Anandji, Ravindra Jain, Rajesh Roshan, Khayyam etc.
In EIGHTIES (1980 to 1989) Laxmikant-Pyarelal’s position still remained the same, maintaining number ONE position but this time the challenges were from Bappi Lahiri, Rajesh Roshan, Khayyam, Anand Milind and to some extent R D Burman (till 1985).
In NINETIES (1990 to 1998) Laxmikant-Pyarelal were right on top till 1994. But this time LP’s competition was with New generation music directors like, Anu Malik, Anand-Milind and Nadeem-Shravan.
Their music had a magic to the extent that even non-star cast films like Dosti, Sant Gyaneshwar, Lootera, Farz, Wapas, Bobby, Jal Bin Machli.., Ek Duje Ke Liye, Hero, Sur Sangam, Prem and many more became successful because of the good music.
Laxmikant-Pyarelal’s film music was not limited to the song. But their background music used to be an asset for most of the film. LP’s songs orchestra arrangement is nothing short of celestial symphony, which a has classic extensions blending it to Indian music.
Laxmikant Shantaram Kudalkar died on 25th May, 1998. The Long Playing record breaking friendship / partnership came to an end. Pyarelal Ramprasad Sharma is still active in performing live shows all across the world. Very recently Pyarelalji have designed a SYMPHONY , named “Om Shivam” which was very well appreciated in GERMANY. Please watch the standing ovation being given by Germans. (Last Two Minutes Standing Ovation) . Don’t forget to watch
TWO MINUTES Standing Ovation for Pyarelal Ramprasad Sharma in Germany
Just to highlight few of their achievements.
—Consistent throughout 35 years.
—Gave the music according to the change of time and situation demand (1963 to 1998)
—Delivered maximum Popular and HIT songs for Hindi Film Music.
—Dominance in Binaca Geetmala
—7 Filmfare Trophies with maximum Nominations
—35 films with Golden Jubilee
—75 films with Silver Jubilee.
—Composed over 2850 songs, close to 500 films.
Outstanding contribution by Laxmikant-Pyarelal in Hindi Film Music.
With this blog Laxmikant-Pyarelal fans are SUBSTANTIATING LAXMIKANT-PYARELAL FOR DADASAHEB PHALKE AWARD.
Dada Saheb Phalke Award Winner Manoj Kumar started his film career in 1958 with a small role in “Fashion” released in 1957. In the year 1960 Manoj Kumar got the leading role in “Kaanch Ki Gudiya”.
Manoj Kumar’s image as the patriotic hero started with the film “Shaheed” released in 1965. The film story was based on Bhagat Singh, the independence revolutionary. Former Prime Minister Shri Lal Bahadur Shastri asked Manoj Kumar to make a film on his popular slogan “Jai Jawan Jai Kisan” (hail the soldier, hail the farmer). Honoring the Prime Minister’s request, in 1967 Manoj Kumar made the film “Upkar”. He became Actor/Producer/Director/Editor.
Manoj Kumar’s association with music directors Laxmikant-Pyarelal started from the film, produced by A G Nadiadwala, directed by Raja Nawathe, “Patthar Ke Sanam”, 1967. It was a musical blockbuster film, starring Manoj Kumar, Waheeda Rehman and Mumtaz.
In 1967 yet another musical hit film, Manoj Kumar – Sadhana starrer, producer / director Raj Khosla’s maiden film, “Anita” was released.
Such was the “charm / craze” of Laxmikant-Pyarelal, in the mid 60s that Raj Khosla took the duo in “Anita”, despite the musical success of music director Madan Mohan with Raja Mehadi Aali Khan as the songwriter in his previous films (“Woh Kaun Thi” and “Mera Saya” ) and music director Ravi with the songwriter Shakeel Badayuni (“Do Badan”).
Manoj Kumar and Laxmikant-Pyarelal were associated with a total of 10 films, including 4 films as a Producer / Director, from 1967 to 1999.
Naushad shaking hands with Manoj Kumar. Pyarelal and Laxmikant.
In 1972, Manoj Kumar took an unpalatable decision when he signed, in form music directors Laxmikant-Pyarelal for “Shor”, leaving behind music directors Kalyanji-Anandji who scored excellent music in Manoj Kumar’s earlier films like “Upkar” 1967 and “Purab Aur Paschim”,1970.
List of the films Writer/Editor/Producer/Director/Actor Manoj Kumar associated with the music director Laxmikant-Pyarelal. Almost all the films have excellent music, except “Jai Hind”.
1 Patthar Ke Sanam 1967
2 Anita 1967
3 Sajan 1969
4 Shor 1972
5 Roti Kapda Aur Makaan 1974
6 Dus Numbri 1976
7 Kranti 1981
8 Santosh 1989
9 Deshwasi 1991
10 Jai Hind 1999 ( as a director)
Laxmikant-Pyarelal has utilized four singers for Manoj Kumar. Mukesh, Mohammad Rafi, Mahendra Kapoor and Nitin Mukesh.
BINACA GEETMALA:–
Manoj Kumar’s total 13 numbers of final songs which have music by Laxmikant-Pyarelal, appeared in Binaca Geetmala Finals. “Anita” 1967, Main Dekhu Jis Aur Sakhi Ri at 23rd position and Na Baba Na Baba at 7th position. “Patthar Ke Sanam” 1968, Mehboob Mere Mehboob Mere at 20th position and Batadu Kya Lana at 11th position. “Sajan” 1969, Resham Ki Dori, at 23rd position. “Shor” 1972, Iconic song Ek Pyar Ka Nagma Hai at 29th position. “Shor” song again in 1973, Macha Diya Shor at 34 position. “Roti Kapda Aur Makan” 1975, Hi Hi Yeh Majaboori at 2nd position and Mehangai Mar Gayi Mar Gayee at 1st position. “Dus Numbri” 1976, Mujhe Dard Rehata Hai at 24th position, Duniya Ek Numbari at 10th position.”Kranti” 1981, Luii Shama Sha Lui at 26th position and Zindagi Ki Na Toote Ladi, at 2nd position.
Many songs from ‘Anita’, ‘Patthar Ke Sanam’, ‘Shor’, ‘Roti Kapada Aur Makan’ and ‘Kranti’ did appear in Binaca Geetmala weekly countdown but failed to reach the finals.
Laxmikant-Pyarelal were nominated for the best music director’s filmfare award, for the music of “Shor” in 1972 as well as “Roti Kapda Aur Makan” in 1974.
However “Roti Kapda Aur Makan” in 1974, won three filmfare awards. 1) Best director Manoj Kumar 2) Best songwriter, Santosh Anand, for the song Main Na Bhulunga 3) Best male playback singer, Mahendra Kapoor, for the song Aur Nahi Bas Aur Nahi
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.
PATTHAR KE SANAM 1967
It was A G Nadiadwala production film directed by Raja Nawathe. Manoj Kumar,WaheedaRehman Mumtaz starrer, a super hit movie. All the songs are hit. The songs became popular and still can be heard even today.
— Bata Du Kya Lana …Lata
— Koi Nahi Hai Phir Bhi ….Lata
— Aye Dushman – E- Ja…. Asha
— Mehboob Mere Mehboob Mere…Mukesh-Lata
— Tauba Ye Matwali Chal…….Mukesh
(Mukesh :: Majrooh Sultanpuri)
A Romantic song. This lovely song is filmed on Manoj Kumar, Mumtaz and WaheedaRehman on the screen. Romantically sung by Mukesh. Song has a beautiful DHOLAK rhythm. First part is very nicely orchestrated by VIOLINS. The second half of the song starts with ear-pleasing FLUTE and MANDOLIN.
— Patthar Ke Sanam
(Mohammad Rafi :: Majrooh Sultanpuri)
35 seconds of ‘prelude’ is orchestrated in ‘symphony’ style with PIANO, VIOLINS and CELLOS. ‘Pause’ in the orchestra for 19 seconds for brilliant ‘take off’ by Rafi Saab. Interludes also have symphony style orchestra arrangement, PIANO, VIOLINS and NADASWARAM. Traditional DHOLAK / TABLA rhythm.
ANITA 1967
Famous Director Raj Khosla started his own Production Unit naming Raj Khosla Films through ANITA. It was a suspense thriller with very good music. It was a star studded movie with Majoj Kumar and Sadhana in lead supported by I S Johar. Excellent lyrics by Raja Mehadi Ali Khan saab and Laxmikant-Pyarelal justify the selection of Raj Khosla as a replacement of Madan Mohan saab. Sudden death of Raja Mehadi Ali Khan gave the full stop to the RMAK and LP’s rising partnership. ANITA has six songs. Four are sung by Lata Mangeshkar and Two by Mukesh. Actress Sadhana looks very pretty in all the songs. “तुम बीन जीवन कैसे बीता” (“Yaman Kalyan”) and “सामने मेरे सांवरिया” (“Bhairavi”)
— Na Baba Na Baba ...Lata
— Kareeb Aaye Nazar...Lata
— Gore Gore Chand Ke…Mukesh
— Hai Nazar Ka Ishara…Lata – Usha
— Samne Mere Sawariya
(Lata Mangeshkar :: Raja Mehadi Ali Khan)
Extremely melodious song starts with Lataji’s mind-boggling AALAPS, HUMMING in ‘Bhairavi’ Ear-Pleasing DHOLAK rhythm. First “Interlude” is orchestrated in SYMPHONY style VIOLINS intermixed with BIRD’s TWEETING. Second ‘Interlude’ is awesomely decorated with FLUTE. Third “interlude” starts with MRIDANG and ends with VIOLINS in ’SYMPHONY style. The magic number “Samne Mere Sawariya” beautifully shot with Sadhana walking the hills. Manoj Kumar looks handsome.
— Tum Bin Jeevan
(Mukesh :: Raja Mehadi Ali Khan)
Elegant melodious song composed in Raag “Yaman Kalyan”………effectively sung by Mukesh ji ……deep touching lyrics. Simple ‘TABLA’ rhythm for mukhda and antara. Another beauty of this song is a mellifluous SYMPHONY style orchestra arrangements with soft VIOLINS (no rhythm) in all the “interludes”. Filmed on Manoj Kumar and Sadhna.
SAJAN 1969
A suspense thriller, directed by Mohan Saigal, with good music. Manoj Kumar – Asha Parekh in the lead role.
— Sajan Sajan Pukaroon Galiyon Mein...Lata
— Sajan Sajan Pukaroon Galiyon Mein…Rafi
— Bansuri Tihari Nandlal...Asha
— Ai Mere Meherban …Lata
— Resham Ki Dori
(Lata – Rafi :: Anand Bakshi)
Melodious duet, punjabi flavoured “folk” with mellifluous DHOLAK / TABLA rhythm. Interludes are wonderfully orchestrated with SANTOOR, FLUTE and VIOLINS. Enjoy the ‘rhythmic’ ‘pause’ in the middle of the ‘antara’. Awesome ‘ ‘HUMMING’’ by Lata ji and Rafi saab in ‘Postlude’. The song is filmed on Manoj Kumar – Asha Parekh.
SHOR 1972
Manoj Kumar directed and starred in this film revolves around the relationship of a mute son and his father. The film story is written by Manoj Kumar. The film is full of emotions. The smash hit song Ek Pyaar Ka Naghma Hai, is the anthem of the film, written by Santosh Anand and sung in different versions by Lata Mangeshkar and Mukesh. The song which plays throughout the film, retains its chartbuster status till date. Film has Manoj Kumar, Nanda & Jaya Bhaduri. The music by Laxmikant-Pyarelal is one of the strongest points of “Shor”.
— Paani Re Paani Tera Rang Kaisa ….Lata-Mukesh
— Ek Pyar Ka Nagma Hai..Lata – Mukesh (Smash Hit Song)
— Jara Sa Usne Chhua To….Lata
— Shehnai Baje Na Baje
(Lata Mangeshkar :: Verma Malik)
28 seconds of “prelude” contains tweeting sound of BIRDS and Lataji’s unique style of HUMMING, synchronised with Jaya Bhaduri’s swinging action. Beautiful DHOLAK rhythm. Interludes are awesomely orchestrated with MANDOLIN, SHEHNAI / NADASWARAM and VIOLINS. Filmed on Jaya Bhaduri – Manoj Kumar.
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.
ROTI KAPDA AUR MAKAAN 1974
Roti Kapda Aur Makan remains one of the highlights from classic Indian Cinema, with a strong theme, affecting performances and the timeless music by Laxmikant-Pyarelal. Directed by Manoj Kumar. With Manoj Kumar, Shashi Kapoor, Amitabh Bachchan,Zeenat Aman, Moushumi Chatterjee and Prem Nath.
— Panditji Mere Marne Ke Baad…Lata
— Aur Nahin Bas Aur Nahin….Mahendra Kapoor.
— Mehngai Mar Gayee..Lata, Mukesh, Chanchal, Jaani Babu Quwwal
— Maina Bhulunga
(Lata-Mukesh :: Santosh Anand)
Splendid composition. 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
—Hi Hi Yeh Majboori
(Lata Mangeshkar :: Verma Malik)
This enthralling composition is completely woven around the glimpses of SPANISH GUITAR and JAZZ FLUTE. It has a unique rhythm. SPANISH GUITAR is played by Charanjit Singh. Filmed on Zeenat Aman and Manoj Kumar.
DUS NUMBRI 1976
Produced and Directed by Madan Mohla. Manoj Kumar – Hema Malini
— Dil Mein Dard Rehta Hai
(Mukesh – Lata :: Majrooh Sultanpuri)
KRANTI 1981
An Indian epic historical drama produced and directed by Manoj Kumar. Manoj Kumar was supported by Hema Malini, Dilip Kumar, Shatrughn Sinha. Laxmikant-Pyarelal’s music is simply spectacular and a strong point of the movie.
— Abke Baras Tujhe Dharti Ki …Mahendra Kapoor
— Dilwale Tera Naam ….N. Mukesh, Manna Dey, M Kapoor, Lata
— Chana Jor Garam ….N. Mukesh, M Rafi, Kishore, Lata
— Zindagi Ki Na Toote Ladi…
(Lata Mangeshkar – Nitin Mukesh :: Santosh Anand)
“PRELUDE” of the song is just mesmerizing. Use of FRENCH HORN, FLUTE and Solo VIOLIN are brilliantly used in “PRELUDE”. Apart from this all the “INTERLUDES” have different tunes purely in western style orchestra with BONGO Drums in the Rhythm.
Once again very simple tune mellifluously orchestrated and that is why LAXMIKANT-PYARELAL are considered to be Champions of all.
— Looie Shama Sha Looie
(Lata Mangeshkar – Nitin Mukesh :: Santosh Anand)
Excellently composed melodious duet. Use of ‘clapping’ ( ताली ) in rhythm is the best part of the song. Once again the use of CHORUS is a ‘class’ act. GUITAR, VIOLINS and MANDOLIN are awesomely orchestrated in the song.
Music of Manoj Kumar films with Laxmikant-Pyarelal :: “Shor”, “Roti Kapada Aur Makan” and “Kranti” are outstanding
Sharmila Tagore is one of the iconic veteran actresses of the Indian Cinema. She was one of the few actresses who got many musical hit films. A Bengali actress who achieved success at a very young age. Sharmila Tagore appeared in numerous Bengali classics before making the jump to Hindi cinema, which first made her a romantic actress.
1967 was the busiest year for Laxmikant-Pyarelal. The duo was in full form then with a series of hits, “Farz”, “Anita”, “Night In London”, ”Jaal”, ”Shagird”, “Patthar Ke Sanam” and “Milan”. In the same year Laxmikant-Pyarelal got an opportunity to compose the music for R. Bhattacharya’s Black and White, Sharmila Tagore – Sanjay Khan starrer “Milan Ki Raat”.
Laxmikant-Pyarelal music was associated for as many as 10 films of Sharmila Tagore. Music of “Mere Hamdam Mere Dost” 1968, “Suhana Safar”, 1970 and Yash Chopra’s “Daag”, 1973, remains the best of the ten.
1 Milan Ki Raat 1967
2 Mere Hamdam Mere Dost 1968
3 Satyakam 1969
4 Pyasi Shaam 1969
5 Suhana Safar 1970
6 Dastaan 1972
7 Daag 1973
8 Shandaar 1974
9 Anari 1975
10 Desh Premi 1982
11 Aashiq Awara 1993
Laxmikant-Pyarelal utilised only three singers for Sharmila Tagore.
Lata Mangeshkar
Asha Bhosle
Suman Kalyanpur (“Suhana Safar” Title Track)
BINACA GEETMALA:–
Sharmila Tagore’s total 6 numbers of final songs which has music by Laxmikant-Pyarelal, appeared in Binaca Geetmala Finals. “Milan Ki Raat”, 1967 Aankh Milaye Na Muskuraye Na at 21st position. Two songs from “Mere Hamdam Mere Dost”, 1968 Chhalkaye Jaam 24thposition and Chalo Sajna Jahan Tak 14th position. One song from “Dastan”, 1972, Na Tu Zameen Ke Liye 34th position. Two songs from “Daag” 1973, Mere Dil Main Aaj Kya Hai, 20th position and Ab Chahe Ma Ruthe Ya Baba 7th position.
However, many songs from “Mere Hamdam Mere Dost”, “Daag” (in addition to the final songs), “Satyakam”, “Suhana Safar” and “Pyasi Sham” did appear in weekly countdown but failed to reach ‘finals’.
Review of some of the best songs composed by Laxmikant-Pyarelal for Sharmila Tagore.
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.
1 MILAN KI RAAT 1967
Sanjay Khan-Sharmila Taigore starer. This film was released in 1967 when Laxmikant-Pyarelal was right on TOP. The duo’s other musical hits like, ‘Farz’, ‘Shagird’, “Patthar Ke Sanam’, ‘Night In London’, ‘Anita’, ‘Jaal’ and ‘Milan’ were also released. “Milan Ki Raat” was an average hit with a couple of good songs.
— Gham Ki Badli chhayi….Mukesh
— Chinta Mat Kariyo Ji...Lata
— Babu Re Babu...Asha
— Doom Tara Ek Doom Tara
(Lyricist:- Anand Bakshi. Singer :- Asha Bhosle)
17 seconds of ‘prelude’, stroke of GUITAR followed by awesome trembling by Ashaji..दुम तारा एक दुम तारा दो दम ताराfollowed by female CHORUS singing. A unique composition by utilizing female CHORUS. At the end of each “Antara”, Ashaji has tunefully synchronised her rendering, after the rhythmic ‘pause’ with female CHORUS, that is the best part of this song. ‘Interludes’ are orchestrated with GUITAR, VIOLINS, CHORUS, BAGPIPER and superb “AALAPS” as well as “HUMMING” by Ashaji. Sharmilal Tagore has gamboled excellently by integrating the exclusive rhythm created for this song. One of the best songs of Asha Bhosle with Laxmikant-Pyarelal.
–Aankh Milaye Na Muskuraye Na
(Singer:- Mohammad Rafi Songwriter:- Anand Bakshi))
This song is effortlessly sung by Rafi saab in a “ROCK N ROLL” style, synchronizing his rendering with BONGO DRUMS ‘rhythm’. Another beauty of the song is that it is completely woven around the glimpses of GUITAR, in the ‘interludes’ and as ‘filler’ to create a romantic feel through the orchestra.
HIT song of 1967 at “right” moment…When late Mansoor Ali Khan Pataudi Playing Test Cricket at Leeds (UK), “proposed” Sharmila Tagore, by scoring brilliant Century (148 runs).
2 MERE HAMDAM MERE DOST 1968 An outstanding musical album from the legends Laxmikant-Pyarelal and Majrooh Sultanpuri. As many as “ 7 SOLO”” songs….4 lovely, melodious solo songs by Lata Mangeshkar and 3 mellifluous solo sung by Mohammad Rafi. The film was directed by Amar Kumar, starring Dharmendra – Sharmila Tagore and Mumtaz.
Laxmikant-Pyarelal were in supreme form in 1967/68. Whatever Laxmikant-Pyarelal composed used to become popular and hit. MERE HAMDAM MERE DOST is one of the best musical albums, ever-fresh, ever-green. The songs are popular even today. Almost all the songs are melodious and sweet and are beautifully decorated with wonderful orchestra arrangements.
— Chhalkaye Jaam …Rafi
— Tum Jao Kahin ..Lata
— Allah Ye Ada Kaisi ….Lata
— Hame To Ho Gaya Hai Pyar.…Lata
— Hui Sham Unka Khayal.…Lata
— Chalo Sajana Jahan Tak Ghata Chale
(Singer:- Lata Mangeshkar Songwriter:- Majrooh Sultanpuri)
“Prelude” is full of VIOLINS and SAXOPHONE, beautiful “pause” at the start…The way Lataji sings the words.. “Chalo oooo….” and ‘laga kar mujhe ‘’’gale ..eee”””………is the ‘beauty’ of romantic rendering. First “interlude” full of SANTOOR and later with VIOLINS just brilliant. Second “interlude” starts with SAXOPHONE. VIOLINS are overlapped with the sound of SANTOOR. Third “interlude” starts with VIOLINS and ends with FLUTE. Not to forget about different types of DHOLAK rhythm…and “pause” by Lataji at the end.
— Na Ja Kahin Ab Na Ja
(Singer:- Mohammad Rafi. Songwriter:- Majrooh Sultanpuri)
Romantically sung and composed an addict song. “Prelude” is full of Rafi sab’s ‘humming’ and VIOLINS. The entire song is composed of the western style rhythm created on ACOUSTIC GUITAR. In all the ‘interludes’ .ACCORDION, BASS GUITAR and VIOLINS are beautifully executed without changing the rhythm.
MERE HAMDAM MERE DOST is the rarest of rare musical film by Laxmikant-Pyarelal which could not do any magic at the box office. Even preLATA MANGESHKAR & Laxmikant-Pyarelal “classic”sense of BIG stars Dharmendra/Sharmila Tagore/Mumtaz could not do anything. But the songs “clicked”.
3 SATYAKAM 1969
Satyakam is directed, in a persuasive manner by Hrishekesh Mukharjee. Other assets are powerful performances by Dharmendra, Sharmila Tagore and Sanjeev Kumar , excellent dialogues by Rajendrasingh Bedi as well as melodious music by Laxmikant-Pyarelal who were working with Lyricist Kaifi Azmi for the first time.
— Abhi Kya Sunoge ..Lata
— Zindagi Hai Kya Bolo… Mukesh, Mahendra Kapoor, Kishore Kumar
— Do Din Ki Zindagi….
(Singer:- Lata Mangeshkar. Songwriter:- Kaifi Azmi.)
An extremely melodious song. SANTOOR in 14 seconds ‘prelude’. Beautiful DHOLAK/TABLA rhythm. First interlude is orchestrated with SANTOOR, SAROD, FLUTE and solo VIOLINS. Second ‘interlude’ is full of SITAR and SAROD. Third ‘interlude’ awesome AALAP by Lataji as well as solo VIOLINS. Also listen to the ‘rhythmic “pause”
4 PYASI SHAM 1969
Starring Sharmila Tagore – Sunil Dutt. Average hit. Good Songs.
— Aawara Mazi...Rafi
— Yaron Mera Saath ….Rafi
— Duniya Mein Dilwale….Rafi-Lata
— Yeh Kaisa Gham Sajna
(Singer:- Lata Mangeshkar. Songwriter:- Majrooh Sultanpri)
Inebriant, INTOXICATED Song. LATA MANGESHKAR and Laxmikant-Pyarelal “classic” An extremely melodious song. Lata Mangeshkar sounds very sweet with an enthralling orchestra arrangement from Laxmikant-Pyarelal . In ‘prelude’ and all the three ‘interludes’ harmonised with different tunes, by using ELECTRIC GUITAR (played by late Gorakh Sharma, the brother to Pyarelalji) 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 looks smoking hot. Sunil Dutt totally intoxicated. GUITAR played in the song, mesmerizes the listeners.
5 SUHANA SAFAR 1970
Sharmila Tagore with Shashi Kapoor, very good songs.
— Paise Ka Kya Yakeen…Rafi
— Tim Tim Chamke Re…Lata
— Aaha Aaha Aa Ye Suhana Safar…Rafi
— Sari Khushiya Hai
(Singer:- Mohammad Rafi. Songwriter:- Anand Bakshi)
Mohammad Rafi, Laxmikant-Pyarelal & Anand Bakshi Simply Outstanding, The ‘Interludes’ are excellently, mellifluously & melodiously orchestrated with ‘symphony’ VIOLINS. and ACOUSTIC GUITAR.. Both the “antras” are surrounded with ‘symphony’ VIOLINS. Also enjoy tuneful BONGA DRUM ‘rhythm’.
— Chudiyan Bazar Se
(Singer:- Mohammad Rafi – Asha Bhosle. Songwriter:- Anand Bakshi)
This film was produced by Director B. R. Chopra’s re-make of “Afsana”. This was the first and last time Laxmikant-Pyarelal worked with B R films. Film was ‘flop’, and the music was average except for two songs.
— O Mela ..Mahendra Kapoor
— Na Tu Jamee Ke Liye….Rafi (the most heard song of the film)
— Mariya My Sweet Heart ...Mahendra Kapoor- Asha Bhosle
To start with YASH RAJ Films first ever film, producer and director Yash Chopra wanted to utilize the ‘best’ artists available then. Rajesh Khanna was in supreme form in the early seventies, he along with Sharmila Tagore, Rakhi were the stars of the film. LAXMIKANT-PYARELAL, in top gear, from 1967, got the honor of the first music director for ”YASH RAJ FILMS”. An outstanding/evergreen/ever-fresh music of ”Daag” is still popular.
Sad song with magical lyrics words by Sahir Ludhiyanvi. In this “gazal” style song ‘interludes’ are beautifully decorated by VIOLINS in “symphony” style orchestra with beautiful overlapping sound effects.
— Hum Aur Tum
(Singer:- Kishore – Lata. Songwriter:- Sahir Ludhiyanvi)
This Kishore Kumar and Lata Mangeshkar romantic song is completely woven around the rhythm based ACOUSTIC GUITAR. Another beauty of this song is ‘interludes’. Both the ‘interludes’ have different tunes. First ‘interlude’ full of ‘aalaps’ by Kishore & Lata with glimpses of VIOLINS. In the second ‘interlude’ the VIOLINS are decorated in ‘Waltz’ style with beautiful ‘pauses”.
Laxmikant-Pyarelal :: Exquisite Music For SANJAY KHAN
Actor Producer Director Sanjay Khan and the Music Directors Laxmikant-Pyarelal started their respective film careers around the same time. Laxmikant-Pyarelal’s first film “Parasmani” was released in 1963 and Sanjay Khan made his debut, through a small roll, in the year 1964, through director Chetan Anand’s “Haqeeqat”.
In 1964, Sanjay Khan got an opportunity to work in Rajshri Pictures “DOSTI”, which has music by Laxmikant-Pyarelal. From here the association of Sanjay Khan and Laxmikant-Pyarelal started.
Sanjay Khan & Laxmikant-Pyarelal
In 1966 Sanjay Khan got an opportunity to work as a lead role, opposite vetern actress Mala Sinha in the musical hit film “DILLAGI”, which had music by Laxmikant-Pyarelal. The film has some beautiful songs.Usha Mangeshkar’s one song Ye Aaj Kal Ke Ladakerocks. She got name and fame through this song.
Total 15 films in which Laxmikant-Pyarelal has given the music for Sanjay Khan’s film.
1 Dosti 1964.
2 Dillagi 1966.
3 Milan Ki Raat 1967
4 Shart 1968
5 Intequam 1968
6 Madhavi 1969
7 Pushpanjali 1970
8 Woh Din Yaad Karo 1970
9 Haseenon Ka Devata 1971
10 Wafaa 1971
12 Duniya Ka Mela 1974
13 Nagin 1976
14 Mastan Dada 1977
15 Kala Dhanda Gore Log 1986 (Also as a Director)
Laxmikant-Pyarelal has utilized four singers for Sanjay Khan. Mohammad Rafi, Mukesh, Kishore Kumar and Talat Mehmood.
BINACA GEETMALA:-
Sanjay Khan’s eight songs, which has music by Laxmikant-Pyarelal, appeared in Binaca Geetmala Finals. Four songs from “Dosti” 1964 / 1965. One song each from “Dillagi” 1966, Ye Aaj Kal Ke Ladake at 14th position and that of “Milan Ki Raat”, 1967 Aankh Milaye Na Muskuraye Na at 21st position. 1st positions for the song from “Inteqam” 1969, Kaise Rahoo Chup ?. The positions for songs of “Dosti” and “Nagin” are not considered, as they were not filmed on Sanjay Khan.
However, many songs from “Shart”, “Madhavi”, “Pushpanjali”, “Woh Din Yaad Karo”, “Wafaa” etc did appear in weekly countdown but failed to reach ‘finals’.
Laxmikant-Pyarelal have given excellent music, according to change of time, throughout their stay of 35 years (1963 – 1998). The duo was in top form in the sixties, the initial stage. Whether it is B grade or C grade film, the music was excellent. Sanjay Khan was lucky to get some of the outstanding songs from Laxmi-Pyare.
1 DILLAGI 1966
Sanjay Khan – Mala Sinha starrer. If I am to ask the best musical film of Sanjay Khan with Laxmikant-Pyarelal, I will vote for “DILLAGI”. A Black & White Musical. All the songs are superb. Have taken 3 songs of the film for review.
Rock & Roll style rhythm. Excellent work on GUITAR (played by Gorakh Sharma), The super-hit song of the film.
–Tum Meri Zindagi Ho
(Singer:- Lata Mangeshkar – Mukesh. Songwriter:- Majrooh Sultanpuri)
Sweet and Melodious duet with lots of ‘rhythmic’ ‘pauses’. The rhythm sounds like “Qawwali” style. Typical duet matching to the other duets of sixties.
—Tauba Ye Nazare
(Singer:- Mohammad Rafi Songwriter:- Majrooh Sultanpuri)
“Prelude” of 44 seconds is very melodious, Rafi Saab’s humming, ACOUSTIC GUITAR and VIOLINS. Flawless ‘romantic’ rendering, beautiful BONGO DRUM fast rhythm. First and last ‘interludes’ are orchestrated with ACCORDION and GUITAR. Second “interlude” Rafi Saab has repeated the humming.
2 MILAN KI RAAT 1967
Sanjay Khan-Sharmila Taigore starer. This film was released in 1967 when Laxmikant-Pyarelal was right on TOP. The duo’s other musical hits like, ‘Farz’, ‘Shagird’, “Patthar Ke Sanam’, ‘Night In London’, ‘Anita’, ‘Jaal’ and ‘Milan’ were also released. “Milan Ki Raat” was an average hit with a couple of good songs.
— Babu Re Babu Is Zamane….Asha Bhosle
— Dum Tara Dum Tara ……Asha Bhosle (superb composition)
— Gham Ki Badli Chhai Judai Leke Aayee …..Mukesh
— Chinta Mat Kariyo….Lata
–Aankh Milaye Na Muskuraye Na
(Singer:- Mohammad Rafi Songwriter:- Anand Bakshi))
This song is effortlessly sung by Rafi saab in a “ROCK N ROLL” style, synchronizing his rendering with BONGO DRUMS ‘rhythm’. Another beauty of the song is that it is completely woven around the glimpses of GUITAR, in the ‘interludes’ and as ‘filler’ to create a romantic feel through the orchestra.
HIT song of 1967 at “right” moment…When late Mansoor Ali Khan Pataudi Playing Test Cricket at Leeds (UK), “proposed” Sharmila Tagore, by scoring brilliant Century (148 runs).
3 INTEQAM 1968
R K Nayyar and actress Sadhana home production. Excellent music, blockbuster. Sanjay Khan – Sadhna
— Aa Jaan E Jaa…Lata
— Geet Tere Saaz Ka …..Lata
— Mehfil Soyee….Lata
–– Hum Tumhare Liye ….Lata-Rafi
— Jo Unki Tamanna Hai Barbad Ho Ja
(Singer:- Mohammad Rafi. Songwriter:- Rajendra Krishan)
A classic song. Just close your eyes and feel the fragrance and elegance of the eternal voice of Rafi Saab. Beautifully orchestrated on PIANO with mesmerizing DHOLAK rhythm. The “interludes” are designed by instrumenting solo VIOLIN, SYMPHONY style VIOLINS and PIANO. Sanjay Khan looks smart. Sadhana and Anju Mahendru look charming.
— Kaise Rahoon Chup
(Singer:- Lata Mangeshkar. Songwriter:- Rajendra Krishnan)
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 at a party, much to the embarrassment of Sanjay Khan and Rehman. This soundtrack is still memorable today. The “prelude” of 34 seconds 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.
4 MADHAVI 1969
Sanjay Khan with new actress then, Deepa. Extremely melodious songs.
— Sanz Savere ….a beauty from Lata
— Tum Mere Sapno Mein Aana Chhod Do
(Singers:- Asha Bhosle – Mohammad Rafi, Songwriter:- Anand Bakshi)
Mind-Boggling “prelude” of 65 seconds. First 28 seconds, SHEHNAI followed by wonderful AALAP by Ashaji, till 0.43, VIOLINS sounds mellifluous, Asha-Rafi rendering, with no orchestra, lastly strokes of VEENA for 5 seconds. Brilliant take off by Ashaji at 1.25. Ear-Pleasing DHOLAK ‘rhythm’. First interlude full of SITAR and VIOLINS. “Antara” has Rafi Saab’s AALAPS. Second ‘interlude’ VIOLINS and FLUTE
also awesome AALAPS by Asha ji. Third ‘interlude’ same. Ashaji rendering “AAHa”, आssहाss, mesmerizes the listeners.
5 PUSHPANJALI 1970
This film was Produced / Directed by Kishore Sahoo (Mr. Marco of Guide). NainaSahoo (daughter of Kishore Sahoo) was in the lead role, opposite Sanjay Khan. The film has excellent music.
Meaningful wording, excellent rendering, simple tune with lots of melody. A sad song. Interludes are melodiously orchestrated with FLUTE and ‘symphony’ VIOLINS.
6 WOH DIN YAAD KARO 1970
The film has excellent music. Sanjay Khan – Nanda starrer, movie.
— Yaar Jinhe Tum Bhool Gaye Ho…Lata
— Yaar Jinhe Tum Bhool Gaye Ho…Rafi
—Hoy Aasamaan Se Tod Ke Taare Zulf Men Teri …Kishore – Sulakshna Pandit
— Maine Chand Dekha Hai..Rafi
— Mohabbat Ki Kahaniyan …(Lata – Talat Mahmood)
(Singer:- Lata Mangeshkar – Talat Mahmood. Songwriter:- Anand Bakshi)
Very sweet song. Overlapping sound effect from Talat Mahmood * Lata Mangeshkar is ear-pleasing. Wonderfully orchestrated with ‘symphony’ VIOLINS, SANTOOR, GUITAR. Tuneful DHOLAK rhythm. This is for the first and last time legendary singer sung for Laxmikant-Pyarelal
7 WAFAA 1971
The average hit, Sanjay Khan – Rakhee
— Aankhon Se Yaar Pilaye…Kishore Kumar
— Aaloo Ki Bhaji Baingan Ka Bharta …Kishore-Lata
(Singers:- Lata Mangeshkar – Kishore Kumar. Songwriter:- Rajendra Krishnan)
The association of actress Hema Malini with Laxmikant-Pyarelal started in 1969/1970 through the film Sharafat . It was Hema Malini’s fifth Hindi Film. In-Form duo, music directors Laxmikant-Pyarelal, Sharafat was their 70th film. In the span of 22 years, the duo has scored the music for 34 films of Hema Malini.
The film was produced by Madan Mohla and directed by Asit Sen. The very first film of this Fascinating Hema Malini and Symphonious Laxmikant-Pyarelal went on to become a super hit.
It was also First film of Dharmendra – Hema Malini, the most successful and popular, pair of Hindi cinema. Dharmendra-Hema Malini pair was lucky to have as many as 17 numbers (out of total 26 filmsof Dharmendra and Hema Malini) of the films in which Laxmikant-Pyarelal have scored the music.
In 1977 Hema Malini produced the film “Dream Girl“, starring the popular pair of Dharmendra – Hema Malini, with music by Laxmikant-Pyarelal .
Laxmikant-Pyarelal and Hema Malini
The final Binaca Geetmala Songs:- Hema Malini and Laxmikant-Pyarelal have 28 numbers of the final songs, the highest numbers of the songs by any music directors for Hema Malini. Zindagi Ki Na Tute Ladifrom Kranti, second spot in 1981.
Undoubtedly, Laxmikant-Pyarelal has utilized Lata Mangeshkar’s voice for most of Hema Malini’s songs and few to Asha Bhosle. This is to note that Hema Malini has also sung the songs under Laxmikant-Pyarelal in the films Dream Girl and Aap Beati (with Shashi Kapoor).
List of the Films:- HEMA MALINI & LAXMIKANT-PYARELAL
1982:- 25 Samrat, 26 Farz Aur Kanoon, 27 Do Dishayen, 28 Rajput, 29 Bagawat, 30 Desh Premee,
1983:- 31 Andha Kanoon,
1984:- 32 Sharara,
1989:- 33 Santosh.
1991:- 34 Jamai Raja
Few Songs Of Hema Malini Composed By Laxmikant-Pyarelal Are Being Reviewed.
The orchestra arrangements in “Preludes” and “Interludes” used to be the assets of the songs composed by Laxmikant-Pyarelal. Listen to the songs, listed below, after reading the write up, explaining peculiarities, for each of the songs, you will enjoy it more.
Sharafat 1970 The first film with the legendary jodi of Hema Malini-Dharmendra and the chemistry is visible from the get-go. If you’re a fan of Hema Malini and her graceful dancing in any movie, you’ll love the songs of Sharafat, which exploit her talent excellently. Lata Mangeshkar has sung as many as five solo songs and all are great.
— Jeevan Data Jagat Pita Tum.…Lata
— Sharafat Chhod Di Maine ..Lata (The most popular song of the film)
— Pehale Na Dekha Aise Kisi Ne …..Lata (amazing work on Sitar)
— Mera Rasta Rok Rahe Hai …Lata
— Ek Din Aapne Yaad Kiye.…Asha
and the melodious Mujra
— Duniya Ne Sunali Hai Chhupke
( Songwriter Anand Bakshi. Singer Lata Mangeshkar)
An extremely melodious ‘mujra’. The song is awesomely woven around the glimpses of HARMONIUM, as a filler, in surround sound and also in ‘interludes’. Interludes are orchestrated with HARMONIUM, VIOLINS, SAROD, SITAR and FLUTE. The rhythm of DHOLAK / TABLA synchronised with GHUNGROO BELLS.
Abhinetri 1971
It was Subodh Mukharjee’s musical hit movie. Once again Album is dominated by Lata Mangeshkar who has sung as many as 6 songs, including 4 solos. All songs are melodious and wonderfully composed.
— O Ghata Sawari ….Lata (Fabulous melody and composition)
— Sa Re Ga Ma Pa….Lata-Kishore (The most popular song of the film)
— Milte Hi Rahenge Hum …. Lata-Mahendra – K.
— Bane Bade Raja ….Asha Bhosle.
and the most melodious
—Sajna More Sajna ….Lata
(Songwriter Majrooh Sultanpuri. Singer Lata Mangeshkar)
Entire song is woven around the glimpses of SANTOOR (by Pt. Shivkumar Sharma) and FLUTE (by Pt. Hariprasasd Chaurasia). The “prelude’ of 34 seconds is full of SANTOOR as well as Lataji’s HUMMING. It also has a beautiful “Paus” of 5 to 6 secoonds. One can listen to the “rhythm” DHOLAK / TABLA. Awesome take off >> सजना ओ सजना<< by Lataji and the wonderful ‘stroke’ of SANTOOR, before “antara” starts. The first “interlude” has a wonderful overlapping sound effect of SANTOOR & FLUTE. Mesmerizing second ‘interlude’ starts with VIOLINS, in ‘symphony’ style. Lataji’s HUMMING brilliantly synchronized with SANTOOR and FLUTE and this is the best melodious composition of the song.
Raja Jaani 1972
Again it is Lata Mangeshkar dominated album. Musically, super-hit. All songs hit.
— Aa Aaja Aaja Kuchh Kehja… Lata
— Duniya Ka Mela Mele Mein Ladaki ….Lata
— Mubarak Ho Tuze Ae Dil…Lata
— ABCD Chhodo …Lata
— Jaani O Jaani….Kishore Kumar
and very sweet song
— Kitna Maja Aa Raha Hai….Lata
(Songwriter Anand Bakshi. Singer Lata Mangeshkar)
16 seconds of ‘prelude’ contains VIOLINS as well as melodious HUMMING by Lataji.
Another beauty of this song is the mellifluous use of surround sound of VIOLINS in ‘symphony’ style, in ‘Mukhada’ as well as in “Antara”. SANTOOR is beautifully used in the ‘Interludes”.This song has different tunes in the first & second “antara”. An ‘ear-pleasing’ DHOLAK rhythm. Hema Malini looks beautiful and charming. It is the rarest of rare song, filmed on Prem Chopra.
Gora Aur Kala 1972
(Songwriter Anand Bakshi. Singer Mohammad Rafi)
Rajendra Kumar in double role. Rajkumar Kohli’s musical block-blaster. (considering only those songs filmed on Hema Malini).
— Dheere Dheerre Bol Koi …Lata – Mukesh (top hit song of the film)
— Tere Nain Nashele ….Mohammad Rafi
and Laxmikant-Pyarelal & Mohammad Rafi “classic”.
— Ek Na Ek Din Ye Kahani….M. Rafi.
Wonderfully orchestrated in western style. WALTZ rhythm. Use of GUITAR and ACCORDION is worth listening to.
Dulhan 1974
Hema Malini with Jeetendra. Excellent music,
— Aayegi Jaroor Chitthi Mere Naam Ki ….Lata
— Main Dulhan Teri….Lata
and a ‘classic’ song rendered by Kishore Kumar
— Jane Chaman Jane Bahar …. Kishore Kumar.
(Songwriter Anand Bakshi. Singer Kishore Kumar)
Mesmerizing, Breezing Melody. 41 seconds of ‘prelude’ with symphony style VIOLINS, Kishore Kumar’s HUMMING and AALAPS set the mood of this romantic song. Interludes are orchestrated with VIOLINS, FLUTE and SAXOPHONE. Song.
Pratigya 1976
It was Dharmendra’s first home production film directed by Dalal Guha.
-Morni Re Morni Main Jungle Ki Morni…Lata
-Pardesi Aaya Desh Me…Lata
-Uth Neend Se…(Lata-Rafi)
AND Huge Hit, everfresh and evergreen Song
Main Jat Yamla Pagla Deewana
(Songwriter Anand Bakshi. Singer Mohammad Rafi)
“Prelude” of 45 seconds is full of intermixing of the VIOLINS, Indian WIND musical instruments and Rafi Sahab’s “shouts” in “folkish” flavor. Beautiful, fast-track, DHOLAK rhythm. “Interludes” are mellifluously orchestrated with VIOLINS, Rajasthani Violins (RAVANHATTA), Punjabi DHOLs and Rafi Sahab’s sweet “screaming”.
Charas 1976
It was Ramanand Sagar’s musical film starring Dharmendra-Hema Malini.
It was Hema Malini’s first home production film. It has very good music.
Songwriter Anand Bakshi have penned a ‘special’ song for the ‘dream girl’.
Dream Girl Dream Girl, Kisi Shayar Ki Gazal
(Singer Kishore Kumar. Songwriter Anand Bakshi)
The song is wonderfully composed on western style. Use of CLARINET in all the interludes is mellifluous. Awesomely rendered by Kishore Kumar and specially penned by Anand Bakshi, for the natural dream girl Hema Malini.
Palkon Ki Chhaon Mein 1977
Gulzar is working first time with Laxmikant-Pyarelal.
— Dakiya Daak Laya …Kishore Kumar.
and a GEM of a song.
— Koi Mere Mathe Ki Bindiya
(Songwriter Gulzar Singer Lata Mangeshkar
Excellent example of an off beat song in hindi film music. “Prelude” of 40 seconds, tunefully orchestrated with SHEHNAI and “pause” with concordant DHOLAK rhythm.A superbly composed song with a unique DHOLAK / TABLA ‘rhythm’. The first interlude is short and instrumented with ACOUSTIC GUITAR. Second interlude full of soft VIOLINS played in ‘symphony’ style. This song was recorded in just one take.
Kranti 1981
(Songwriter Santosh Anand. Singer Lata Mangeshkar-Nitin Mukesh)
This was Manoj Kumar’s patriotic, super-hit film with very good music.
— Kranti Kranti….M. Kapoor, Lata, Manna Dey, N. Mukesh, Shailendra Singh
—Dilwale Tera Naam Kya Hai ….M. Kapoor – Minoo Puroshattam
–Mara Thumka ….Lata Mangeshkar and
–Zindagi Ki Na Toote Ladi ….
(Songwriter Santosh Anand. Singer Lata Mangeshkar-Nitin Mukesh)
“PRELUDE” of the song is just mesmerizing. Use of FRENCH HORN, FLUTE and Solo VIOLIN are brilliantly used in ́ ‘PRELUDE”. Apart from this all the “INTERLUDES ” have different tunes purely in western style orchestra with BONGO Drums in the Rhythm. Once again very simple tune mellifluously orchestrated to please the musical ears of True Music Lovers. That is why LAXMIKANT-PYARELAL are considered to be Champions of all.
Naseeb 1981
Manmohan Desai’s super musical.
— Mere Naseeb Mein Tu Hai Ki Nahi..
(Songwriter Anand Bakshi. Singer Lata Mangeshkar)
The song starts with Lataji “aalaps” clapping and then ACCORDION. Euphonic western “rhythm”, “interludes” orchestration with BASS GUITAR, ACCORDION and VIOLINS are worth listening to. Hema Malini rocks.
Desh Premi 1982
Manmohan Desai film.
— Gore Nahin Hum Kale Sahi...Laxmikant and Asha Bhosle
Beautiful club dance song. BONGA DRUM rhythm sounds ‘African’ style.Filmed on Hema Malini – Amitabh Bachchan
Sharara 1984
(Songwriter Anand Bakshi. Singer Lata Mangeshkar)
Beautiful WALTZ a sheer Magic from Lata Mangeshkar and Laxmikant-Pyarelal. ‘Prelude’ of 98 seconds, full of solo VIOLIN and awesome AALAP and HUMMING rendered by LATAji, hypnotizes. ‘Interludes’ are mellifluously orchestrated with Symphony VIOLINS, FLUTE and Lataji’s AALAP and Humming. In particular third ‘interlude’ is full of solo VIOLIN and Lataji’s AALAPs and CHORUS overlapped with Symphony VIOLINS. The song is filmed on Hema Malini and Raj Kumar.
Ajay Poundarik, Atlanta (Georgia), USA. 11th February, 2020.
Laxmikant-Pyarelal 