Lilting Confederation :: RAJSHRI Productions with LAXMIKANT-PYARELAL

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)

“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 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

-- Mujhe Bhool Jaana ..  Mohammad Rafi

-- Jab Jab Bahar Aayee  .. Usha Mangeshkar, Usha Timothy, Mahendra Kapoor

-- 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

-- 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 best musical hit films.

Ajay Poundarik

Vadodara (Gujarat)

EUPHONIOUS THAUMATURGY :: Lata Mangeshkar + Laxmikant-Pyarelal

EUPHONIOUS  THAUMATURGY = Lata Mangeshkar + Laxmikant-Pyarelal  

Laxmikant Pyarelal were trend setters and their talent was spotted by Lata Mangeshkar at the Sureela Kala Kendra, an academy run by Mangeshkar Family in early fifties.

Lata Mangeshkar and Laxmikant-Pyarelal have collaborated on ever 712 songs to form  The Most Prolific as well as Versatile Composers-Singer Team The World Would Ever Know.

If Laxmikant-Pyarelal were the BEGETTER , Lata Mangeshkar  was the HERALD who also hyperbolize their jewels on the way towards TRANSMISSION to the audience.

Lata Mangeshkar and Laxmikant-Pyarelal were a longer, larger, closer and more rewarding association that than what ANY composer has had with ANY singer in Hindi cinema.

From 1963, to the next 35 years, Lata Mangeshkar and and Laxmikant-Pyarelal were to chalk up an astounding 712 songs together.

And what a mind boggling variety and range did we get in those 712 numbers which included chart-slammers and classics, and chaalu numbers as well as connoisseur choices. It is impossible to find that variety and that sustained excellence without monotony in the output of any other composer, with Lata or with any other singer.

The duo was known to bring the best out of the orchestration, moreover Lata Mangeshkar sounds extremely melodious under Laxmikant-Pyarelal.

Pyarelal, Laxmikant & Lata Mangeshkar 

Chemistry of Lata Mangeshkar + Laxmikant-Pyarelal = Euphonious Thaumaturgy, a sheer magic.

Having a privilege of witnessing an LP (Laxmikant-Pyarelal) era right from 1963 onwards. The beauty of Laxmikant-Pyarelal composition was that for the ordinary words the duo will create a very simple and  melodious tune and will decorate it with wonderful rhythm and mellifluous orchestra arrangements. Laxmikant-Pyarelal would also understand the situation, location and the timing of the song being filmed and also on whom it would be filmed etc.

For example the Lata Mangeshkar and Laxmikant-Pyarelal miraculous song, filmed on beautiful actress Saira Bano,  from ‘Shagird’ 1967,  ‘ruk ja ai hawa’ !! रुक जा ए हवा, थम जा ए बहार !!,  we call the song as An Indian Sound Of Music..To frame the JUNGLE scene, the Flute, Accordion, Viola, Violins, Birds-Tweet, etc are brilliantly synchronised with lovely voice of Lata Mangeshkar. Even the running of DEER in the jungle is very well displayed through the use of VIOLINs.

Lata Mangeshkar, Laxmikant & Pyarelal. 

Few best but different types of compositions from this exclusive amalgamation of Lata Mangeshkar with Laxmikant-Pyarelal are 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.

Dhadaka Hai Dil Mein Pyar Tumhara    JAAL   1967

(Lyricist:- Raja Mehdi Ali Khan )

In 1967, Laxmikant-Pyarelal music is flooded with the hit films like, ‘Milan’, ‘Shagird’, ‘Patthar Ke Sanam’, ‘Farz’, ‘Night In London’, ‘Anita’ etc. The music of “JAAL” came as a pleasant surprise. This song is  a ‘gem’ from Lata-LP combo. Altogether a different type.

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

Jaagi Badan Mein Jwala   IZZAT  1968

(Lyricist:- Sahir Ludhianvi)

IZZAT was a musical hit. This song’s RHYTHM,  Laxmikant-Pyarelal designed when they were in Beirut (Lebanon). It is 1-2-3-4-5-6, a Lebanese ‘folk’ rhythm. Laxmikant-Pyarelal were expert in utilizing CHORUS in their compositions. Just listen to how CHORUS sounds extremely melodious in this song.

Hypnotising ‘prelude’ of 26 seconds, excellently  intermixed with GLOCKENSPIEL or 'GLOCKS’, GHUNGROO BELLs and Lataji AALAPS . Excellent take off ‘Jagi..sss’..Jagi Badan Mein Jwala’ (जागी sssss जागी बदन में ज्वाला).  All the three interludes have different style of orchestra arrangements. NADASWARAM, VIOLINS, ACOUSTIC GUITAR as well as GHUNGROO BELLs  are harmoniously synchronized in all the interludes with different tunes. Lata Mangeshkar at her melodious best. The mind-boggling Rhythm of DRUM beats is totally different style. This rhythm was never repeated by Laxmikant-Pyarelal. The GREAT song filmed on late Jayalalitha, the ex Chief Minister of Tamil Nadu.  

O Ghata Sawari Thodi Thodi Bawari    ABHINETRI  1971

(Lyricist:- Majrooh Sultanpuri)

ABHINETRI another musical hit film with as many as  six songs sung by Lata Mangeshkar. This one is will always remain the  best. A Yoga song.

Magnetizing “prelude" of 57 seconds, with symphony style VIOLINS , JAZZ FLUTE, SANTOOR, GLOCKENSPIEL and Lata's Humming Sound.  How delicately and tunefully Laxmikant-Pyarelal have orchestrated the synchronization of Lata's voice with beautiful glimpses of JAZZ FLUTE, is just enthralling as well as creating the rainy season effect and also sets the mood of the song.  All the "interludes" are with different tunes. In second ‘interlude’ creating WATER SOUND is killer. Glimpses of JAZZ FLUTE , as filler, in between the song + "pause" and the western style rhythm s has made this song a special. Filmed on the actress Hema Malini, performing YOGA.

Roz Sham Aati Thi   IMTIHAN 1974

(Lyricist:- Majrooh Sultanpuri)

The song is from IMTIHAN 1974 with all the four songs hit. It was a film between super hits of Laxmikant-Pyarelal  “Bobby” , “Daag” , “Manchali” and “Roti Kapda Makan”, “Loafer”.

The unique combo of Lata Mangeshkar and Laxmikant-Pyarelal have given many memorable songs in sixties ( closed to 179 songs). It was also expected to deliver the best in seventies too. The song is popular even today. On the top of everything...the chemistry of Lataji and  LP worked miracle.

67 seconds “prelude”::-  0.15 seconds, TWEETING of BIRDS, Than GUITAR glimpses starts, FRENCH HORN (0.34 to 0.44), IRANI SANTOOR ( till 0.55) and than Lataji’s AALAP till 1.06 and the “pause”…giving the feel of ‘sunset’.  Just brilliant. It sets the mood of the song.

Powerful RHYTHM of BONGO / CONGA DRUMS and it’s PAUSES. Lataji stops after singing ‘roj sham aati thi’ (रोज़ शाम आती थी ) (1.11…1.14) just listen to the “rhythm”, again at 1.16 ….1.19…This gives an “ear-pleasing” moment to listen to the rhythm only. You will again find such “pauses” in the song.

“Interludes”:- Both the interludes are beautifully decorated in western style orchestra arrangements with use of VIOLINS, CELLOS, IRANI SANTOOR and FRENCH HORN.

Not to forget to listen to the mind-boggling “Postlude”. The song is filmed on Tanuja.

Neelam Pe Nabh Chhaye  UTSAV  1984

(Lyricist:- Vasant Dev)

Laxmikant-Pyarelal music entering into its 21st year. UTSAV music still sounds ever-fresh.

This song is a very very special from Lata Mangeshkar and Laxmikant-Pyarelal.

After Completing Successful 21 years, In 1984, there was myth that Laxmikant-Pyarelal needs a "Huge & Enrich Orchestra" arrangements to compose MELODIOUS and HIT Songs. Music of "Utsav" came as a pleasant surprise.

Minimum orchestra and "clapping"( ताली ) is used as Rhythm. Laxmikant-Pyarelal used old traditional musical instruments in "Utsav" music. This song is an extremely melodious and wonderfully composed in 'raag' BIBHAS. Fascinated use of BANSURI, as a filler in ‘mukhada’. The "interludes" are spellbindingly decorated with the MRIDANGAM, VEENA  and GHUNGROO BELLS. Once again very delicate and shrp use of CHORUS. The song is filmed on Rekha.  Producer Shashi Kapoor and Director Girish Karnad used the ancient house in which the movie Utsav was shot is in Udupi, Karnataka. It is called Shettibettu.

Ajay Poundarik

Vadodara (Gujarat)