INVINCIBLE Laxmikant-Pyarelal and EUPHONIC Mohammad Rafi (Few Black & White “Romantic Songs”)

INVINCIBLE  Laxmikant-Pyarelal and EUPHONIC  Mohammad Rafi

(Few Black and White  “Romantic Songs”)

24 December is the Birth Anniversary of legendary singer Mohammad Rafi.

“Parasmani”  marked the beginning of a long association between Mohammad Rafi Saab and Laxmikant-Pyarelal.  When filmmaker Babubhai Mistry signed Laxmikant-Pyarelal to compose music for the low-budget costume drama Parasmani in 1963. Laxmikant-Pyarelal began thinking of which singers to choose. LP’s  natural choice was Mohommad Rafi.  Two songs of Mohammad Rafi “Woh Jab Yaad Aye, bahut yaad aye” and “Roushan tumhi se duniya” brought fame for the musical duo.

Laxmikant, Pyarelal and Rafi Saab, in 1969. 

Success was not easy for Laxmikant-Pyarelal, since they had no Godfathers to promote them. They both started with B grade films, which were never released. Their first breakthrough came via film Parasmani.  Dosti established them as full flagged music composers. The most unique aspect of these two films was that they had unknown actors for whom Laxmikant-Pyarelal and Rafi Saab gave A grade performance. The song ‘Chahunga mein tujhe‘ for which Rafi Saab and lyricist Majrooh Saab won Filmfare awards was to be scrapped from the soundtrack. It was Rafi Saab who insisted Laxmikant-Pyarelal to retain the song and what a momentous decision that was from Dosti where there was no looking back. Rafi was so impressed with the compositions of Laxmikant Pyarelal that he had taken just one rupee for singing the song because it was the custom of a singer to take something in return for a professional song. The film became a huge success.

Laxmikant-Pyarelal were the staunch Rafi loyalist throughout their life. Their greatness lies in their simplicity, commitment and the quality of unconquered versatility gave Laxmikant-Pyarelal a supreme staying power of 35 years in the Hindi Film Music.

Laxmikant-Pyarelal’s s association with Rafi Saab continued till his last day, 31st July, 1980. During Rafi Saab’s lean years in the early 70s apart from Madan Mohan it was Laxmikant-Pyarelal who stood by him. Both were instrumental in bringing Rafi Saab comeback in the year 1977.

Mohammad Rafi has sung as many as 379 numbers of the songs, including 183 solo, under Laxmikant-Pyarelal. This is the highest numbers of the songs sung by Mohammad Rafi under any music directors in Hindi Film Music.

It is very difficult to select the best of Mohammad Rafi with Laxmikant-Pyarelal. Here I have selected few “Black and White” era’s Romantic songs, from Rafi-LP combo. Most of these songs are of the period when Laxmikant-Pyarelal were relatively new. Just listen to it. They are just amazing in all respect.

1. Abhi Kamseen Ho Nadan Ho …”Aaya Toofan” 1964. 
This song is a “landmark” for Rafi-LP combo, just before “Dosti”. Extremely ‘tender’ song, delicately rendered by Rafi in his own style. The way Rafi Saab takes off and renders “ABHI KAMASEEN HO"... is just a mesmerizer. Apart from western style orchestra arrangements using VIOLINS and ACCORDION  in all the “interludes”, it has ear-pleasing “prelude” of MANDOLIN. Another beauty of this song is the “pauses” given in between.  It is an addict song for all RAFI FANS. Asad Bhopali have written this lovely romantic words.

                                       

2. Tauba Ye Nazare …”Dillagi” 1966

“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 have repeated the humming. The song is written by Majarooh Sultanpuri.

3. Mera Yaar Bada Sharmila ..”Milan Ki Raat” 1967

This song is effortlessly sung by Rafi saab on 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. This song is written by Anand Bakshi.

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).

                                     

4. Jab Jab Bahar Aayee ..”Taqdeer” 1968

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) with mellifluous DHOLAK/TABLA ‘rhythm’. This song has many versions, sung by various singers but solo sung by Rafi Saab is the best. This songs beautiful words are written by Anand Bakshi. 

  

5. Aayee Baharon Ki Sham ..”Wapas” 1969

Western style composition with rhythm on ACOUSTIC GUITAR mesmerizes the musical ears. Beautiful song with sweet & soulful lyrics. Rafi sab is always at his best when he sings soft, soothing romantic songs.Here too he has succeeded to spread magic with his extremely melodious singing…..lovely composition. Majaroooh Sultanpuri has written the song.

Long Live Laxmikant-Pyarelal Music. 

Ajay Poundarik

Atlanta (Georgia)

USA

Inimitable Voice of MUKESH & Laxmikant-Pyarelal

Inimitable Voice of MUKESH & Laxmikant-Pyarelal

On 22nd July, we are celebrating the birth anniversary of legendary singer Mukesh. Right from the very first film "Parasmani" (1963), Laxmikant-Pyarelal have utilized singer Mukesh's voice as and when required. 

It was not an easy task for any music directors to extract the "best" from singer Mukesh. That is why Mukeshji was a very special singer in his own way. 

It is very surprise to note that MUKESHji was not used by many BIG Music Directors..
C Ramchandra (4 songs)
Madan Mohan (9 songs)
O P Nayyar (4 songs)
S D Burman ( 12 songs)
R D Burman ( 15 songs) and 
Naushad ( 27 songs). 

But very effectively used by following music directors 
Shankar-Jaikishan ..136 songs (highest numbers) 
Kalyanji-Anandji…107 songs..

Mukesh has sung as many as 80 songs under the music direction of Laxmikant-Pyarelal. More importantly music directors Laxmikant-Pyarelal brought back the glory of singer Mukesh through the "Milan" songs in addition to the songs of "Anita", "Farz" and "Patthar Ke Sanam". In return Mukeshji strongly recommended Laxmikant-Pyarelal's name to Raj Kapoor for the music of  "BOBBY".

Laxmikant, Pyarelal & Mukesh 

There are some different type of variety of songs sung by Mukeshji for the duo. 

I have selected the five such songs of Mukesh sung under Laxmikant-Pyarelal.

1) Naach Haseena Naach Ke Duniya Dekhe ("Ek Bechara" 1972).  A 'Western' Style. 

Mukesh sounds delicious in this "western style" composition. The "prelude" of 1.24 is full of 'Arabic Tunes' and  VIOLINS. Beautiful 'BONGO DRUMS' rhythm starts at 1.22 , giving the 'pause' of 3 seconds, brilliant take off my Mukesh ji "naach haseen naach"…at 1.25. ACCORDION is effectively synchronized. 

First "interlude" is once again on "Arabic Folk Tunes' intermixed with glimpses of ACCORDION. Once again Mukeshji has given a "pause" at the end of the interlude. Second "interlude" is folkish type. The third interlude is the BEST part of this song. Rano Mukharjee ( daughter singer / music director Hemant Kumar) has rendered this interlude in typical "Arabic" vocal style. Anand Bakshi has written this song. 

The song is filmed on Jeetendra and Rekha. 

I consider this song is one of the best song from the combo of Mukesh & Laxmi-Pyare. 

2) Tum Bin Jeevan Kaise Beeta ("Anita" 1967).  A 'Classical' Style. 

Song writer Raja Mehadi Ali Khan has written this elegant melodious song composed in Raag “Yaman Kalyan”………effectively sung by Mukesh ji ……deep touching lyrics. 

Simple ‘TABLA’ rhythm for mukhada and antara. Another beauty of this songs is a mellifluous SYMPHONY style orchestra arrangements with soft VIOLINS (no rhythm) in all the “interludes”.  The song is filmed on Manoj Kumar and Sadhna. 

3) Ram Kare Aisa Ho Jaye  ("Milan" 1967).  A Beautiful "LORI". 

 Mukesh has sung almost all the songs in 1967's super duper hit film "Milan". The song selected is filmed on Sunil Dutt and Nutan. 

Extremely melodious song, melleflously sung by Mukesh  in the form of "LORI". Entire song is woven around the ear-pleasing glimpses of FLUTE as a 'filler' and also in all the interludes. MANDOLIN is also used in the 'interludes'. DHOLAK/Tabla 'rhythm' is just simply mind-blowing and suits the  theme of the song. Anand Bakshi has penned the song. 

4) Tauba Ye Matawali Chal ("Patthar Ke Sanam" 1967). A Romantic song. 

This lovely  song is written by Majarooh Sultanpuri, filmed on Manoj Kumar, Mumtaz and Waheeda Rehman on the screen. Romantically sung by Mukesh. Song has beautiful DHOLAK rhythm. First part is very nicely orchestrated by VIOLINS. The second half of the song starts with ear-pleasing FLUTE and MANDOLIN. 

The "postlude" is full of SITAR ( played by late Rais Khan). 

5) Jyot Se Jyot Jagate Chalo ("Sant Gyaneshwar" 1964).  A Devotional song.

One of the most popular song of Mukesh and of the film, as well.   The entire song is woven around the glimpses of FLUTE and SITAR with mesmerizing rhythm of DHOLAK. 

The film is still being remembered for one big HIT song..”Jyot Se Jyot Jagate Chalo””…It can be heard in many of the Temples at any part of the world. Devotionally penned by Pandit Bharat Vyas. 

Ajay Poundarik
Atlanta (Georgia)
USA

Yash Chopra's "DAAG" 1973, FIRST Super Duper Musical Hit Film.

As a Director Yash Chopra has given many musical hits under the banner of B.R Films, owned by his brother B.R.Chopra. In 1973 Yash Chopra opted to come out of B R Chopra banner and form ''YASH RAJ FILMS''. Yash Chopra wanted to get the Top Stars and Top Names for his maiden film ''DAAG'', as a Producer and the Director. 

((Yash Chopra with Laxmikant-Pyarelal during the Golden Disc Ceremony of Subhash Ghai's musical hit "HERO" in 1983.))

To start with YASH RAJ Films first ever film, producer and director Yash Chopra wanted to utilize the 'best' artists available then. 

Rajesh Khanna was in supreme form in early seventies, he along with Sharmila Taigor, Rakhi were the stars of the film. 

LAXMIKANT-PYARELAL, in top gears, form 1967,  got the honor of the first music director for ''YASH RAJ FILMS''. Yash choose his favorite lyricist Sahir Ludhiyanvi to penned the songs.

An outstanding/evergreen/ever-fresh music of ''Daag'' is still popular. 

Let us review the songs..

Mere Dil Main Aaj Kya  Hai  

लाजवाब, सुमधुर, कर्णप्रिय एवं बेहद रोमांटिक गाना। Mesmerizing Orchestra arrangements..IRANI SANTOOR (played by Pt Shivkumar Sharma) & GUITAR (played by Gorakh Sharma)  are brilliantly executed in the entire orchestra of the song. 

The song starts with "zero" 'Prelude"...First 'Interlude' starts with IRANI SANTOOR at 0.42...with brilliant overlapping sound effect and ends at 1,00. The second 'Interlude' starts at 1.46 and listen how mellifluously IRANI SANTOOR have been played till 1.58...The third 'Interlude' starts at 2.45 and how effectively GUITAR is played to give the perfection to the romance and great "pick up" through IRANI SANTOOR from 2.53 to 3.02..The song has beautiful DHOLAK as "rhythm" excepting in "Interludes"…SAHIR LUDHIYANVI's elegiac lyrics and KISHORE KUMAR's tender as well as romantic rendition and LAXMIKANT-PYARELAL's wonderful composition with beautiful decoration of the orchestra has made this song as all time classics.

You just have to look at the way Rajesh Khanna croons, “Mera pyaar keh raha hai main tujhe khuda bana doon” and you will want to watch the song. Nobody could act out a love song better than Rajesh Khanna.

Also full credit to Kishore Kumar who was nominated by filmfare awards, the best male singer, for singing this romantic GEM. One of the finest song of KK under Laxmikant-Pyarelal.

Hum Aur Tum Tum Aur Hum 

This Kishore Kumar & Lata Mangeshkar romantic song is completely woven around the rhythm based ACOUSTIC GUITAR. Another beauty of this song is it's 'interludes'. 

Both the 'interludes' have different tunes. First 'interlude' full of 'aalaps' by Kishore & Lata with glimpses of VIOLINS. In second 'interlude'  the VIOLINS are decorated in 'Waltz' style with beautiful "pauses". Even Lataji and Kishorji have also rendered the 'pauses' in the songs. 

Ni Main Yaar Mana Ni 

Typically Punjabi flavored and very famous female duet excellently sung by Lata Mangeshkar - Minoo Purushottam. . Powerful rhythm of the song consists of “DHOL”, “DHOLAK”, “TABLA" and "CLAPPING" is just mind-blowing. 

All the "interludes" are orchestrated with SHEHNAI and other Indian traditional instruments. "Postlude" is worth to listen to. 

Ab Chahe Maa Ruthe Ya Baba

This song is composed in "BHANGADA" style of dance. Stylishly rendered by Kishore Kumar & Lata Mangeshkar to justify the voice of college students. 

It has a typical LP style rhythm. One more hit song from the film. Both Rajesh Khanna and Sharmila Taigore look good. 

Jab Bhi Chahe Nayi Duniya

Sad song with magical lyrics words by Sahir Ludhiyanvi. In this "gazal" style song 'interludes' 

are beautifully decorated by VIOLINS in "symphony" style orchestra with beautiful overlapping sound effect. 

Hawa Chale Kaise 

Song starts with zero prelude, Lata rendering then VIOLINS (big 'pause') and SANTOOR. Melodious Lata 

singing on different type "rhythm" by using BONGO DRUMS in this song. 

Laxmikant-Pyarelal were nominated for the best music directors for "DAAG" along with Raj Kapoor's "BOBBY" In 1973.. Sadly, none of these films got the best music director award, in spite of an outstanding music for both the films. 

After the thumping success of musical hit film ''DAAG'',Yash Chopra wanted Laxmikant-Pyarelal to score the music for his next film ''KABHI KABHI''.  But Laxmikant-Pyarelal were very busy with some other projects. 

It is an UNFORTUNATE….that Yash Chopra's First Musical Hit Film "DAAG" became the FIRST and LAST film for Laxmikant-Pyarelal.

If you compare all Yash Raj Films Musical score, DAAG remains top sellers and also the best. 


Ajay Poundarik 
Cleveland, Avon (OHIO)
USA,