Lata Mangeshkar & Laxmikant-Pyarelal :: Black & White GEMs
Laxmikant-Pyarelal the most prolific musical duos of Indian cinema. The duos musical journey started when they were in their adolescence. In 1952 , it was Lata Mangeshkar who looked out the duo’s talent when Laxmi-Pyare were working for Sureel Bal Kala Kendra, a music academy for children, run by Mangeshkar family.
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| Lata Mangeshkar, Laxmikant and Pyarelal. |
Both Laxmikant and Pyarelal have a strong bonding at Sureel Bal Kala Kendra. It was named after a gang of Sureela boys including Laxmiji, Pyareji, Lataji’s younger brother, Hridaynath Mangeshkar, Laxmiji’s brother Shashikant, Pyareji’s brothers Ganesh and Gorakh as well as few friends, totaling 15 young boys. The sureela boy’s gang hung around together at Lataji’s home.
Lata Mangeshkar recommended Laxmikant-Pyarelal names to music directors like C Ramchandra, Shankar-Jaikishan, S D Burman.
Laxmikantji has worked as a musician to play Mandolin, with C. Ramchandra, Shankar-Jaikishan, O P Nayyar, Hemant Kumar, Ravi, Roshan and S D Burman.
Pyarelalji has worked as a musician to play Violin, with Bulo C Rani, Naushad, Madan Mohan, C Ramchandra, Khayyam, Chitragupta and S D Burman.
Both Laxmikant-Pyarelal have worked together as an assistant with R D Burman (Chhote Nawab) and Kalyanji-Anandji (Chhaliya, Poornima, Satta Bazar, Mehandi Lagi Mere Haath, Bluffmaster, Himalay Ki God Main, Jab Jab Phool Khile, and many).
In 1963, noted filmmaker Mr. Babubhai Mistry gave a chance to Laxmikant and Pyarelal to score the music independently for the film “Parasmani” which was released in 1963. They started the music director’s name as Laxmikant-Pyarelal. . (LP in short). The LP era has now started. All the songs of “Parasmani” a B grade film, became immensely popular.
Later this exclusive conglomeration of Lata Mangeshkar and Laxmikant-Pyarelal went on to make history by recording 712 songs (from 1963 to 1998). The highest numbers of the songs sung by Lata Mangeshkar under any music director.
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| Pyarelal, Rashtrakavi Pradeep, Lata Mangeshkar, Laxmikant. |
During initial stages, BLACK and WHITE era, this magical “threesome” have given A grade music, even if the film was B or C grade. We are going to review a few gems of songs from Lata Mangeshkar and Laxmikant-Pyarelal.
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.
Mere Dil Main Hal Ki Si PARASMANI 1963
Lyricist: Asad Bhopali Mellifluously orchestrated, beautiful "Prelude" consists of SITAR and TABLA. Awesome take off by Lataji. "Interludes" with Symphony VIOLINS, FLUTE, GUITAR and SAXOPHONE with BONGO Drums Rhythm, leaves you speechless. Lata Mangeshkar sounds extremely melodious in both the ‘antaras’. Worth to listen to 40 seconds ‘postlude’.
Main Ek Nanha Sa Chhota Sa Baccha Houn HARISHCHANDRA TARAMATI 1963
Lyricist: Rashtravi Kavi Pradeep
मैं एक छोटासा नन्हासा बच्चा हूँ , तुम हो बड़े बलवान, प्रभूजी मेरी लाज रखो A huge hit song from Laxmikant-Pyarelal second released movie "HARISHCHANDRA TARAMATI", 1963. All the songs of this film became extremely popular. It was a surprise package from Laxmikant-Pyarelal when their 1963 released "Parasmani" songs were still very much popular and in demand, as well. The above mentioned song is the most popular and "crowded puller" song of the film. Hit the Binaca Geetmala Chart List. Wonderfully orchestrated with FLUTE, Symphony VIOLINS and melodious DHOLAK rhythm. One of the best "devotional" songs filmed on Child Artist. The first song of Lata Mangeshkar and Laxmikant-Pyarelal, filmed on Child Artist. This song is awesomely worded by "Rashtra Kavi PRADEEP" (who also wrote 'ai mere watan ke logo'). Coincidently, after many years actor Shakti Kapoor used this songs wording, as a comedy dialogue, in the film "Raja Babu". Enjoy this beautiful melody.
Khabar Mori Na Li SANT GYANESHWAR 1964
Lyricist: Pandit Bharat Vyas Extremely Melodious, based on Hindustani Classical Raag, 'SHIVRANJANI'…Awesome
TABLA rhythm. FLUTE is wonderfully used as ‘filler’ in Mukhada and in the “Interlude”.
One of the best of Lata-LP
Kabhi To Miloge Jeevan Saathi SATI SAVITRI 1964
Lyricist: Pandit Bharat Vyas
Mind-Blowing composition in Raag KALAWATI. Beautiful use of FLUTE, SYMPHONY style orchestra arrangements, VIOLINS, in- between the song. Both FLUTE and VIOLINS in ‘symphony’ style melodiously executed in ‘antara’ as filler. Beautiful composition on raag 'KALAVATI'. The depth of emotions, soul and divine melody of this rendition in Rag kalavati is timeless and matchless.
Gudiya Humse Ruthi Rahogi DOSTI 1964
Lyricist: Majrooh Sultanpuri
Very innocent song, pleasantly sung and composed. It has been softly orchestrated
with the excellent use of ACCORDION, FLUTE, GUITAR and MANDOLIN.
Allah Kare Tu Bhi Aa Jaye MR X IN BOMBAY 1964
Lyricist: Asad Bhopali
A musical hit movie, starring great actor/dancer KUM KUM and evergreen Kishore Kumar. The film have some outstanding songs sung by Kishore Kumar-Lata Mangeshkar. BUT also some fabulous solos by Lata Mangeshkar. This song starts with wonderful "prelude" (33 seconds) PIANO and Symphony VIOLINS. A unique ‘QAWWALI” rhythm. An extremely melodious song. Awesome use of CLAPPING intermixed with rhythm. The perfect example of "Chemistry" between Lata Mangeshkar and Laxmikant-Pyarelal. The song is written by Asasd Bhopali.
Balama Kitna Nadan Hai Tu SHREEMAN FANTOOSH 1965
Lyricist: Anand Bakshi
Laxmikant Pyarelal crafts a brilliant song with utterly delectable SITAR in 'prelude'. Wonderful use of DHOLAK. Everything seems to fit into the composition.
Tum Kaun Ho Tumhara Naam Hai Kya AASRA 1966
Lyricist: Anand Bakshi
This melodious song starts with 10 seconds of ‘prelude’ in the form of resonant ‘humming’ by Lataji . ACOUSTIC GUITAR awesomely orchestrated in soft ‘rhythm’. FLUTE is prominently used in first ‘interlude’. SITAR is mellifluently used in second ‘interlude’.
Nind Kabhi Rehati Thi AASRA 1966
Lyricist: Anand Bakshi
(नींद कभी रहती थी आँखों मैं ) , The song with full of “pauses”. This is an extremely melodious romantic song starts with the ‘humming’ by Lataji for first 10 seconds, we get first beautiful “pause” at 0.10 - 0.13, second, after rendering ‘Neend Kabhi Rehti Thi Aankhon Mein’ at 0.20 - 0.23, third after rendering word ’sanwariya’ at 0.33 - 0.36, this pause gives you to listen to the beautiful ‘RHYTHM’ created for this lovely song. You will listen to all these “pauses” regularly till the end. Don’t forget to listen to the ‘pause’ at 3.58 to 4.01 to highlight the FLUTE.The entire song, mainly “interludes”, are woven around the glimpses of FLUTE (by Pt. Hariprasad Chaurasiya) and SANTOOR (by Pt. Shivkumar Sharma) and SYMPHONY style VIOLINS (at the surrounds sound of Lataji, in ‘mukhada’ and ‘antara’). The rhythm of DHOLAK and TABLA is worth to listen to as it is of different flavor. On the top of everything…the chemistry of Lataji & LP worked miracle.
Payal Ki Jhankar Raste MERE LAL 1966
Lyricist: Majrooh Sultanpuri
Mesmerizing "Prelude" of 44 seconds, full of HARMONIUM, FLUTE and DHOLAK, sets the mood to listen to this gem of composition. Entire song is woven around glimpses of HARMONIUM (played by Sonik Verma, a Blind Musician, of Sonik-Omi music director pair). In all the "Interludes" and also as a "filler", the HARMONIUM is used mellifluously giving ear-pleasing moments. Super Duper HIT song of the year 1966.
Maa Mujhe Apane Aanchal Main Chhupale CHHOTA BHAI 1968
Lyricist: Anand Bakshi
One of the extremely melodious songs from the unique combo of Lata Mangeshkar & Laxmikant-Pyarelal. Anand Baxi has put touching wordings on mother and son relations. In terms of composition it is one of the finest compositions from the desk of LP. BAMBOO FLUTE with VIOLINS is wonderfully displayed in the entire orchestra. DHOLAK theka suits the tempo of the song.
Also vist >>> https://laxmikantpyarelal.com
Ajay Poundarik
Ajay Poundarik
Vadodara (Gujarat)
