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)

::LAXMIKANT-PYARELAL and The LORD KRISHNA Chorals::

::LAXMIKANT-PYARELAL and The LORD KRISHNA Chorals::

Hindi Film Music has always given us reasons and songs to celebrate the traditions and festivals of our country. One of the reasons for its popularity is that it brings to the motion picture  the ebullience and heterogeneity of the Indian culture.

In the span of 35 years from 1963 to 1998, Laxmikant-Pyarelal  have composed over 2800 songs, according to change of time and the situation demand,  for nearly 500 films, A record.

Laxmikant-Pyarelal songs are for all the generations, Laxmikant-Pyarelal songs are available for any situations,  moreover Laxmikant-Pyarelal songs are also available for all the Indian festivals, including Eid, Easter and Christmas.

So, on the birth occasion of  The Lord Krishna this year, this Blog  brings to you the melodious songs composed by Laxmikant-Pyarelal  that portray the various shades of Lord Krishna's nature.

Laxmikant-Pyarelal have recorded many memorable songs that characterize assorted nature of  The Lord Krishna. Among the Music Directors, it is LAXMIKANT-PYARELAL who have composed maximum songs on LORD KRISHNA, in Hindi Films. Many of these songs can be heard in temples, all across the world.

Listing out few songs (20 numbers) below + 7 best songs for review.

O Kanhaiya Teri Murli Ki Taan... Lata Mangeshkar - Manna Dey  “Raja Aur Runk” 1968 
Nandlal Gopal Daya Kar Ke… Asha Bhosle - Usha Mangeshkar   “Sadhu Aur Shaitan” 1968. 
Nandlala Holi Khele… Lata-Rafi-Asha-Mukesh   “Mastana” 1970  
Bansuri Tihari Nandlal… Asha Bhosle  “Sajan” 1970  
Sham Dhale Jamuna Kinare… Lata Mangeshkar - Manna Dey  “Pushpanjali” 1970  
Gokul Ki Galiyon Ki Aur… Kishore Kumar  “Badla” 1972. 
Chhodo Kanhai Mein Dungi Duhai…Lata Mangeshkar  “Shadi Ke Baad” 1972.   
Soja Krishn Kanhaiyya....Lata Mangeshkar  “Shadi Ke Baad” 1972.        
Krishna Krishna… Kishore Kumar - Lata Mangeshkar    “Naya Din Nayi Raat” 1974.  
Jai Jai Krishna Jai Jai Krishna… Lata Mangeshkar  “Bidai” 1975.
Achchhe Samay Pe Tum Aaye Krishna… Asha Bhosle  “Bidai” 1975. 
Bhor Bhaye Panghat Pe… Lata Mangeshkar   “Satyam Shivam Sundaram” 1978.  
Teen Batti Wala Govinda Aala.... Mohammad Rafi - Kishore Kumar   “Muqabla” 1979.  
Bansi Bajao Bansi Bajaiya …. Kishore Kumar  “Judaai” 1981.  
Gokul Ki Galiyon Ka Gwala… Kishore - Asha - Usha  “Raaste Pyar Ke” 1982 
Mora Roop Rang … Lata Mangeshkar  “Qatl” 1986.  
Chal Hat Kal Phir…  Lata Mangeshkar   “Nache Mayuri” (1987)
Nand  Ka Lala Nand Gopala…Anuradha Paudwal    “Insaaf” (1987)  
Bansi Wale Ne Gher Layi… Lata Mangeshkar  “Santosh” 1989  
Krishna Aayega…  Amit Kumar - Kavita Krishnamurthy “Yugandhar” 1993.

Review  of 7 songs with  consummate fascination of 

Laxmikant-Pyarelal and Lata Mangeshkar

Daiyya Re Daiyya Yashoda Maiya.    “AASRA”    1966  
(Singers :- Lata Mangeshkar.  Lyricist:- Anand Bakshi)

An extremely melodious song. How beautifully Lataji has rendered the word ‘Bada sss Natkhat Hai Tero Nandlal’ (‘ बड़ा ssss नटखट है तेरो नंदलाल ). Honeyed DHOLAK rhythm. SITAR as well as FLUTE are awesomely executed in the ‘interludes’ giving an ear pleasing moments.  The song is filmed on actress Ameeta.  Actors Jagdeep, Balraj Sahni, Nirupa Roy, David can also be seen in the video clip.

Kanha Kanha Aan Padi Main Tere Dwar.    “SHAGIRD”    1967  
(Singer :- Lata Mangeshkar. Lyricist:- Majrooh Sultanpuri)

Hypnotising ‘prelude’ of 30 seconds full of Lataji’s AALAPS as well as sharply played SITAR. Beautiful take off by Lataji ‘Kaanha ssss, Kaanha ssss’ ( कान्हा sss कान्हा sss ). All the ‘interludes’ are wonderfully orchestrated with the use of SITAR, solo VIOLIN as well as FLUTE (Indian Bansuri). It has admirable DHOLAK / TABLA rhythm. This melody is filmed on Saira Banu who looks very beautiful.

Sanjh Savere Adharon Pe Mere .   “MADHAVI”    1968                                               
(Singer :- Lata Mangeshkar.  Lyricist:- Anand Bakshi)

Melodious as well as pure classical song based on raag Majh Khamaj. Lataji rendering is phenomenal particularly the ‘take off’ ‘Sanz Savere, Adhron Pe Mere’ (साँझ सवेरे, अधरों पे मेरे ) supported with the ‘stroke’ of ACOUSTIC GUITAR. FLUTE (Indian Bansuri) is appealingly used as a ‘filler’ in the ‘mukhada’.  In all the ‘interludes’ use of SITAR as well as FLUTE is phenomenal. Beautiful DHOLAK / TABLA rhythm.  

Yashomati Maiya Se Bole.   “SATYAM  SHIVAM SUNDARAM”  1978         
 (Singer:- Lata Mangeshkar - Manna Dey.  Lyricist:- Pandit Narendra Sharma)

Fascinating 34 seconds ‘prelude’ awesomely instrumented with TANPURA, FLUTE and HARMONIUM.  It has captivative DHOLAK rhythm which will ‘swing’ your neck. FLUTE is sumptuously used in the ‘interlude’ which gives you an ear-pleasing effect. How radiantly Lataji has changed her rendering style, while singing ‘Radha Kyon Gori’ ( राधा  क्यूँ गोरी, में क्यूँ काला ), suiting to  child artist, then,  Padmini Kolhapure. Actor Kanhaiyalal can be seen on Harmonium.

Jaun Tore Charan Kamal.   “SUR  SANGAM”   (1985)  
(Singers :- Lata Mangeshkar - Rajan / Sajan Mishra.  Lyricist:- Vasant Dev)

The song is composed on ‘Raag’ Bhupali. How magnificently Lataji has given ‘AALAPS’ and rendered the words ‘Jaun Tore Charan  Kamal’ (जाऊं तोरे चरण कमल ) . An amazing orchestra arrangement in Indian Classical style as well as melodious DHOLAK rhythm. The ‘interludes’ are mellifluously orchestrated, synchronized as well as overlapped with different tunes, by using  SANTOOR,  JALTARANG,  FLUTE, VICHITRA VEENA,  SITAR and MANJIRA.

Yashoda Ka Nandlala Brij Ka Ujala     “SANJOG”   (1986)
(Singer :- Lata Mangeshkar.  Lyricist:- Anjan)

The beauty of this song is Lataji’s crooning in lullaby style  Ju Ju Ju Ju, Yashoda Ka Nandlala 
(जु जु जु जु जु जु , यशोदा का नंदलाला ). It has a accordant DHOLAK rhythm. ‘Interludes’ are orchestrated with JAZZ FLUTE, symphony style VIOLINS as well as SITAR. Song is filmed on Jaya Prada.

Radha Nachegi.   “SAUDAGAR”  (1991)  
 (Singers :- Lata Mangeshkar - Mohammad Aziz.  Lyricist:- Anand Bakshi)

The best part of this song is use of CHORUS and it’s synchronization with the enrich orchestra by using traditional Indian Musical Instruments like SHELL SOUND, TEMPLE BELLS, MANJIRA, MRIDANG etc. Dulcet take off by Lataji AALAPS rendering ‘Jamuna Ke Tat Par Jab Natkhat Bansi Wale Ki’ ‘(जमुना के तट पर जब नटखट बंसीवाले की ) harmonizes with the melodious DHOLAK rhythm intermixed with GHUNGROO BELLS. Wonderful use of FLUTE and SITAR in the ‘interludes’. Song is filmed on Dilip Kumar - Manisha Koirala.

The songs missing on this theme (The Lord Krishna Songs and Laxmikant-Pyarelal) can added in the comment section of this Blog.

Ajay Poundarik.