Mellifluous Use of FLUTE : Laxmikant-Pyarelal Canorous Orchestra

 Mellifluous Use of  FLUTE :  Laxmikant-Pyarelal Canorous Orchestra 

Hindi Film Music orchestra is full of various musical instruments. FLUTE is the most commonly used in most of the songs. Any devotional song featured the FLUTE. But there are also several songs in which the Flute is used in various ways.

 

Flute is a natural fit in some situations like Lord Krishna songs. Almost all the music directors have a liking for the Flute and broadly used it. Many music directors have also created some different types of sound by synchronising the Flute with other instruments. 

Flutists like Sumant Raj, Pannalal Ghosh, Nityanand Haldipur, Hariprasad Chaurasia, Raghunath Seth and many, have contributed heavily in bollywood music. 

There are two musical hit movies woven around the glimpses of Flute. Raja Nawathe’s  Basant Bahar 1956 music by Shankar-Jaikishan, Flute played by Pannalal Ghosh. 

The other musical hit was Subhash Ghai’s Hero, 1983, music by Laxmikant-Pyarelal. Flute played by Pandit Hariprasad Chaurasia who was a regular musician in Laxmikant-Pyarelal orchestra, in sixties and seventies. 

Highlighting  few of the songs on Flute, composed by various music directors.   

Naushad 

Tu Mera Chand Main Teri Chandani      “Dillagi”  1949

S D Burman

Jaye To Jaye Kahan          “Taxi Driver”  1954

Shankar-Jaikishan       

Main Piya Teri Tu Mane      “Basant Bahar”  1956

Roshan

Bahot Diya Denewalene    “Surat Aur Sirat”      1962

Salil Chudhari  

Jaa Re Jaa Re Uda Jaa Re    “Maya”    1961

Kalyanji-Anandji        

Jis Dil Mein Basa Tha            “Saheli”   1965

Ravi

Neele Gagan Ke Tale                 “Humraaz”  1967

R D Burman

Aaja Piya Tohe                             “Baharon Ke Sapne”  1967 

Jaidev 

Ye Din Aur Unki Nigahon Ke         “Prem Parbat”   1973

Shiv-Hari

Tere Mere Hothon Pe            “Chandni”   1989

Flute was extensively utilised by Laxmikant-Pyarelal in their conorous as well as enrich orchestra arrangements right from the duo’s first film Parasmani, 1963. Flutist Pandit Hariprasad Chaurasia, maximum contribution for Laxmikant-Pyarelal. Flutists Sumant Raj, Nityanand Haldipur, Raghunath Seth etc have also contributed to the Laxmikant-Pyarelal orchestra. 

It must be noted that Laxmikant-Pyarelal have composed close to 30 songs on Lord Krishna and all these songs are orchestrated with Flute.

Listing out a few hits, 10 songs, below and considered 14 songs for review. 

1 Mere Dil Mein Halki Si       Lata Mangeshkar    ‘Parasmani’  1963.

   Beautiful use of Flute in ‘mukhada’ as a filler.

2 Chahunga Main Tujhe     Mohammad Rafi     ‘Dosti’  1964.

   Jazz Flute / Bamboo Flute in prelude and interludes

3 Julmi Hamare Sanwariyan   Lata Mangeshkar  ‘Mr X In Bombay’  1964. 

   34 seconds prelude Flute

4 Jyot Se Jyot Jagate Chalo   Mukesh     ‘Sant Gyaneshwar’   1964

   Awesome use of Flute in prelude, interludes and as a filler. 

 

5 Bada Natkhat Hai Tero Nandlal      Lata     “Aasra”   1966

Second interlude Flute is mellifluously orchestrated. 

6 Ram Kare Aisa Ho Jaye   Mukesh     “Milan”    1967

Entire song is woven around the ear-pleasing glimpses of Flute 

as a 'filler' and also in all the interludes.

7 Tauba Ye Matwali Chaal     Mukesh     “Patthar Ke Sanam”  1967

Prelude and interludes are orchestrated with Flute.

8 Hi Hi Yeh Majboori     Lata        “Roti Kapda Aur Makan”   1974

Prelude and interludes.

9 Yashomati Maiyya Se   Lata-Manna Dey    “Satyam Shivam Sundaram” 1978

Prelude and interludes.

10 Tere Mere Beech Main     Lata - SPB          “Ek Duje Ke Liye”     1981

Flute is orchestrated in the first interlude.

Meri Dosti Mera Pyar          DOSTI  1964

(Majrooh Sultanpuri / Mohammad Rafil)

Honeyed and melodious, Rafi Saab is  singing from the heart. Prelude of 11 seconds is orchestrated with VIOLINS and MANDOLIN. The best part of the song is the use of FLUTE with DHOLAK, in the first interlude as well as third interlude.  Second interlude has ACCORDION, GUITAR and  MANDOLIN. FLUTE is also orchestrated as filler, in ‘mukhada’ . Simple but sweet orchestral arrangements with an awesome DHOLAK rhythm . The FLUTE is played by Pandit Hariprasad Chaurasia. 

Sakhi Ri Pee Ka Naam        SATI SAVITRI   1964

(Pandit Bharat Vyas / Lata Mangeshkar)

Extremely melodious tune and composition. Awesome Take off by Lata ji सखी री सखी री पी का नाम, नाम न पूछो.  Delicate use of FLUTE  in both the Interludes. That second interlude FLUTE mesmerizes. FLUTE is also used as a filler in ‘antara’.  DHOLAK is worth listening to. The FLUTE is played by Pandit Hariprasad Chaurasia.

Nind Kabhi Rehati Thi      AASRA   1966

(Anand Bakshi / Lata Mangeshkar)

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 ‘ नींद कभी रहती थी आँखों मैं’ 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 surround sound of Lataji, in ‘mukhada’ and ‘antara’). The rhythm of DHOLAK and TABLA is worth listening to as it is of different flavor. On the top of everything…the chemistry of Lataji & LP worked miracles. Filmed on Mala Sinha.

Suno Sajna Papeehe Ne                    AAYE DIN BAHAR KE   1966

(Anand Bakshi / Lata Mangeshkar)

The most liked Lata-LP song .TWEETING sounds of BIRDS have been effectively used by music directors Laxmikant-Pyarelal in many of the songs. This song has a wonderful prelude of 10 seconds, full of TWEETING sounds of BIRDS. The song is awesomely orchestrated with SANTOOR, (by Pt. Shivkumar Sharma ) FLUTE (by Pt. Hariprasad Chaurasiya ) and SITAR with mellifluous TABLA rhythm. Lata Mangeshkar is simply outstanding in rendering this gem, filmed on Asha Parekh - Dharmendra.

Jare Kare Badara       DHARTI KAHE PUKAR KE      1968

(Majrooh Sultanpuri / Lata Mangeshkar)

This is also an extremely melodious gem. Orchestra covers 75% use of FLUTE. 24 seconds of prelude is FLUTE synchronised with GHUNGROO BELLS and a ‘pause’. The song has a beautiful DHOLAK rhythm. First and second interludes are melodiously orchestrated FLUTE. Second interlude is BANJO sound and GHUNGROO BELLS overlapping sound effects. The song is an addict one just one reason, FLUTE. The FLUTE is played by Pandit Hariprasad Chaurasia. Postlude of 20 seconds is full of SITAR, played by Ustad Rais Khan. Filmed on actress Nanda. 

Mehfil Soyee Aisa Koi       INTAQUAM    1969

(Rajinder Kishan / Lata Mangeshkar)

An astonishing cabaret song, wonderfully orchestrated with BONGA DRUM and  ACOUSTIC GUITAR  rhythm. Mind Boggling  display of JAZZ FLUTE intermixed with ACOUSTIC GUITAR. BRASS instruments are amazingly orchestrated throughout the song. It is filmed on Helen. 

Sajna O Sajna        ABHINETRI       1970

(Majrooh Sultanpuri / Lata Mangeshkar)

Pandit Hariprasad Chaurasia and Pandit Shivkumar Sharma have played the FLUTE and SANTOOR, respectively, under music directors Laxmikant-Pyarelal. 

Starts with astounding display of SANTOOR followed by melodious DHOLAK rhythm, synchronized with ACOUSTIC GUITAR. Awe-Inspiring take off by Lataji सजना ssss ओ सजना   6 seconds singing ‘pause’.....’stroke’ of SANTOOR, at 0.29. It is repeated again. First interlude starts with FLUTE. SANTOOR is played in the interlude. Second interlude starts with SANTOOR and it ends with FLUTE. Third interlude starts with Symphony VIOLINS, SANTOOR takes over and now listens to the best part of the Orchestra of  the song, overlapping sound effects of Lataji’s HUMMING, SANTOOR and FLUTE. It;s ear-pleasing. Filmed on Shashi Kapoor - Hema Malini.

Aaya Re Khilonewala Khel Khilone        BACHAPAN  1970

(Anand Bakshi / Mohammad Rafi)

An extremely melodious song. 25 seconds of prelude is full of FLUTE, ( played by Pandit Hariprasad Chaurasia ), supported with VIOLINS and CELLOS. Astonishing take off by Rafi आया रे खिलौनेवाला खेल खिलोने लेके आया रे, synchronising tuneful DHOLAK rhythm. First interlude is full of FLUTE. Awesome use of FLUTE as a filler, in antara. Second and third interludes are orchestrated with symphony VIOLINS as well as CELLOS. There  is wonderful rhythm as well as singing ‘pause’ to highlight SANTOOR. The stroke of SANTOOR (played by Pt. Shivkumar Sharma) at the end of each antra gives an ear-pleasing moment. Filmed on Sanjeev Kumar.

Sham Dhale Jamuna Kinare       PUSHPANJALI    1970

(Anand Bakshi / Manna Dey - Lata Mangeshkar)

Laxmikant-Pyarelal  AMAZING WORK ON FLUTE :  played by Pandit Hariprasad Chaurasia. In the interlude, the overlapping sound effects  of FLUTE  with  MANDOLIN  and VIOLA are worth listening to. Great Composition. Wonderful execution of CHORUS.

Dard-E-Dil Badhata Jaye         BUNIYAD 1971

(Anand Bakshi / Lata Mangeshkar)

Cabaret song with Melody. Laxmikant-Pyarelal’s work is characterized by a notable openness to a wide variety of musical styles and instruments. Classical ragas mix with JAZZ horns, WAH-WAH GUITAR, FLUTE, funk and disco RHYTHMS, and the insistent beat of the DHOLAK.  How brilliantly the western instruments like BAMBOO FLUTE and GUITAR are synchronized with Lata’s sweet voice, in this mellifluous orchestra arrangement . All the three interludes have different tunes.During sixties & seventies Lata and Laxmikant-Pyarelal combination have delivered some of the most melodious songs to the Indian Film Industry and this is one them.This is one of the sweetest cabaret song sung by Lata for Laxmikant-Pyarelal. Filmed on Actress Bindu.

Man Ki Pyas Mere           JAL BIN MACHHLI NRITYA BIN BIJLI   1971

(Majrooh Sultanpuri / Lata Mangeshkar)

The prelude of 28 seconds of SANTOOR and FLUTE is mind-blowing. Use of minimum musical instruments. Entire song is woven around the glimpses of FLUTE (played by Pt. Hariprasad Chaurasia) and SANTOOR (played by Pt. Shivkumar Sharma). Excellent “DHOLAK”/“tabla’ rhythm. An addict song. Filmed on Sandhya.

Ding Dong O Baby Sing A Song,             HERO   1983

(Anand Bakshi /Manhar Udhas & Anuradha Paudwal)

Western style orchestra arrangements and rhythm. Prelude of 40 seconds is mind-boggling, in particular the use of BAMBOO-FLUTE and ACOUSTIC GUITAR. Anuradha Paudwal has brilliantly synchronized her voice with the “filler” of glimpses of the JAZZ FLUTE. One will wonder how nicely the ’SITAR’ is used in the song, immediately after the words “ding dong” .”sing song” stroke of SITAR…BRASS instruments, SAXOPHONE are orchestrated in the “interludes”. It is also a “rock n roll” style orchestra.

Lambi Judai             HERO   1983

(Anand Bakshi / Reshma ) 

What a composition in ‘punjabi folk’ style. Minimum orchestra to give excellent ’throw’ of voice of Reshma. FLUTE, RUBAB and GUITAR are excellently exhibited in the entire orchestra. Mesmerizing ‘rhythm’. Second interlude full of the theme tune of the film, FLUTE,  played by Pandit Hariprasad Chaurasia, mesmerizes.  “Postlude” is also beautifully decorated with FLUTE, BANJO and GUITAR ( from 4.00 to 4.34).

FLUTE THEME MUSIC…Pandit Hariprasad Chaurasiya…Excellently composed tune on FLUTE ….mellifluous efforts by Laxmikant-Pyarelal.

Ajay Poundarik

Vadodara 

30th April, 2021.

AN LP Era :: LAXMIKANT-PYARELAL :: 1963 - 1998

AN LP Era  ::  LAXMIKANT-PYARELAL ::  1963 - 1998 

GENERAL  INTRODUCTION:- 

Laxmikant-Pyarelal is the name that needs no introduction in the field of Hindi Film Music or Hindustani Music. 

Laxmikant-Pyarelal (1963 – 1998) was / is a household name in every part of India, from the mid sixty to till date.  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.

Laxmikant-Pyarelal

Laxmikant Shantaram Kudalkar, was born on the day of  “Laxmi Pujan” (Diwali) in the year 1937 (2nd / 3rd November).  Maybe because of that his parents named him as Laxmikant.  He spent his childhood amidst dire poverty in the slums of Vile-Parle (E) Mumbai which in those days was comparable to today’s Dharavi slums. His father died when he was child.  Because of the poor financial conditions of the family he also could not even complete his academic education. Laxmikant’s father’s friend, a musician himself, advised him and his elder brother to learn music. Accordingly Laxmikant learnt to play the mandolin and his elder brother learnt to play the tabla. In spite of spending two full years in the company of known mandolin player Hussain Ali, Laxmikant was never really given an opportunity to operationally learn how to play the instrument. However he mastered this art on his own. He began organising and performing in Indian Classical Instrumental Music concerts in order to earn some money. Later Laxmi did get the opportunity to learn the mandolin from known player Bal Mukund Indorker and also to learn the violin from none other than Husnalal from the popular duo of Music directors  Husnlal Bhagatram, especially in the 1940’s. All this occurred when Laxmikant was barely 10 years old!  

Laxmikantji have also worked as a musician, to play Mandolin with C. Ramchandra, Shankar-Jaikishan, O P Nayyar, Hemant Kumar, Ravi, Roshan and S D Burman. 

Pyarelal Ramprasad Sharma, was born on 3rd September, 1940. He was the son of a renowned trumpeter Ramprasad Sharma, whose knowledge of music was well known and extended well beyond playing the trumpet. Pyarelal learnt his music basics from his father and later went on to  learn the violin from a Goan teacher Mr. Anthony Gonsalves. Later the name Anthony Gonsalves was even used in the film Amar Akbar Anthony released in 1977 having LP’s music as a tribute to Mr. Gonsalves. Pyarelal started to play the violin when he was eight years old and practiced the same 8 to 12 hours daily. By the age of 12, his family’s financial condition forced him to earn money by playing in studios. Pyarelal then used to frequent visiting and playing the violin in studios such as Ranjit Studio. 

Pyarelalji have worked as a Violin Player, as a musician with Bulo C Raani, Naushad, Madan Mohan, C Ramchandra,  Khayyam, Chitragupta and S D Burman. 

Laxmikant-Pyarelal

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), Usha Khanna and Ramlal. 

                                                                Laxmikant-Pyarelal

It was 1952. Sometimes Pyarelal used to be indulged in playing cricket on the ground after working in the studio with the other people. On one of these occasions, Laxmikant came and asked them whether he could join in, and everyone agreed. That’s how Laxmikant and Pyarelal first met. Laxmikant was 15 and Pyarelal was 12 years old at that time. There were a lot of people like the two of them, but most of the other players were older. In those days most songs were recorded with just eight to ten musicians. Laxmikant and Pyarelal being small were made to play standing on chairs! Comparable age and very poor financial background gave birth to a tight friendship between Laxmikant and Pyarelal. 

                                                                   Laxmikant-Pyarelal

When Laxmikant was 10-11 years old, he had to play the mandolin in a Lata Mangeshkar concert in Radio Club Colaba. His beautiful and polished playing did not go unnoticed. The legendary Lata herself called Laxmikant after the show and inquired about him. After learning of his financially poor background, Lata recommended Laxmikant’s name to great music directors like Shankar Jaikishen, S. D. Burman and C. Ramchandra.

Laxmikant-Pyarelal & Lata Mangeshkar 60s & 70s

Both Laxmikant & Pyarelal have a strong bonding at Sureel Bal Kala Kendra, a music academy for children, run by the Mangeshkar family. 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, day and night absorbed in the notes of golden music, intoxicated by rhythm and melody.

Both Laxmikant and Pyarelal have a strong bonding at “Sureela Bal Kala Kendra”. Their friendship started from Lata Mangeshkar’s house. Laxmikant-Pyarelal name emanates from the house of Lata Mangeshkar.

Pyarelal & Laxmikant

Laxmikant and Pyarelal started to get work for each other and also play together whenever they had the opportunity. Due to bad payment to musicians from the music directors in Mumbai in those days, Laxmikant and Pyarelal even went to play in Madras. In between, Pyarelal had even decided to leave India and go to Venice to play for symphony orchestras, similar to his colleague, the renowned conductor Zubin Metha. However, Laxmikant discouraged him from doing this. Even renowned mastros like Pt. Hariprasad Chaurasia(flute) and Pt. Shivkumar Sharma (Santoor) were their colleagues and at that time were indulged only in playing rather than composition. Slowly, the pair that had now got recognition got an opportunity to assist music directors Kalyanji-Anandji in 1957. Once during this tenure, the absence of Kalyanji Anandji’s regular arranger Sebastian D’Souza gave Pyarelal the opportunity to be arranger for one of the songs. Pyarelal showed unusual prowess in this. It was LP then, who became the assistants of Kalyanji Anandji. 

Laxmikant-Pyarelal, 1969. After winning the filmfare award for the music of “Jeene Ki Raah”

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 tunes used to be very simple but at the same time it used to be extremely sweet, catchy and melodious. 

Pyarelal & Laxmikant 

LP had an excellent sense of what would work at the common man’s level and in cinema halls, more than in Internet forums. They had a vast command over Folk and Hindustani Tunes. L-P (Laxmi-Pyare), were the composers who excelled, consistently, for  more than three decades,  in all forms of film songs such as Classical, Folk, Qawwali, Mujra, Western, Lori, Bhajan and Ghazal etc. They were also outstanding at exploiting several instruments, including their favorite Dholak, Tabla and also the Violin, Guitar, Bongo and Piano, Santoor, Sitar, Mandolin and many Indian as well as  Western instruments.

Laxmikant-Pyarelal’s music is of the common people, for the common people and inspired by the common people. It was a perfect music for any successful film to have.

                                                             Laxmikant-Pyarelal

::: LAXMIKANT-PYARELAL ::: (1963 – 1998) :                                                                                  :::  THE SPARKLING JOURNEY OF an LP  ERA ::: 

Unstoppable Flow of Passion and Talent. 

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 the film became immensely popular. Songs like Hasata Hua Nurani Chehara, Wo Jab Yaad Aaye, Mere Dil Main Halki Si etc. are still being hummed by the people even though they are more than 58 years old. (as of April, 2021). 

Laxmikant-Pyarelal

In 1964. After that Laxmikant-Pyarelal got the “B Grade” films, to score the music. Films like Sati Savitri.(Songs:-.Tum Gagan Ke Chandram Ho,.. Jeevan Dor Tumhi Sang Bandhi,..Kabhi To Miloge, Intani Jaldi Kya Hai Gori )… Sant Gyaneshwar (Songs:- Jyot Se Jyot Jagate Chalo,.. Khabar More Na Line)… Hum Sab Ustaad Hai…(Songs:- Pyar Batate Chalo,… Ajanabi Tum Jane Pehachane Se,)…Mr. X In Bombay .(Songs:- Mere Mehaboob Quayamat Hogi,.. Chali Re Chali Re Gori,…Khoobsurat Haseena..) .. Shreeman Fantoosh..(Songs:- Sultana Sultana Tu Na Ghabarana,…Yeh Dard Bhara Afasana). All these sweet and melodious songs became immensely popular and are still in demand even after 56 years.

Laxmikant-Pyarelal got the opportunity to score the music in Rajshri Films Dosti in 1964. (Songs:-Chahunga Main Tuze,.. Janewalo Zara,..Meri Dosti Tera Pyar,..Mera To Jo Bhi Kadam,..Rahi Manawa Dukhti Chinta,.. Gudiaya Hama Se Ruthi Rahogi..). All the songs became hit. 

Music of Dosti kept LP in top position in Hindi Film Music. This position of Laxmikant-Pyarelal remained unaffected and continued till 35 more years.

Laxmikant, Kishore Kumar, Lata Mangeshkar & Pyarelal

The LP era had now begun even when other older and established music directors of the golden era were still very much active. Dosti film music gave Laxmikant-Pyarelal their first ever Filmfare Award (by defeating Shankar-Jaikishan’s “Sangam” and Madan Mohan’s “Woh Kaun Thi”).. Then came Lootera a super hit musical non star cast film which is remembered only because of Lata Manageshkar’s superhit songs with Laxmikant-Pyarelal. 

After this victorious feat LP and success went together without a break or loss of continuity.

Laxmikant-Pyarelal & Mohammad Rafi

In 1966 Laxmikant-Pyarelal started cementing their place in Hindi Film Music. Laxmikant-Pyarelal’s first musical hit film, with a big star cast, Aaye Din Bahar Ke  was released, followed by Pyar Kiye Jaa.  

Truly speaking 1967 belongs to Laxmikant-Pyarelal, they not only confirmed the Number One position in Hindi Film Music, but also consolidated it with a series of hits by one after another. Non star cast film Farz was Laxmikant-Pyarelal’s first ‘golden jubilee’ musical hit followed by big star cast films like Anita, Shagird yet another ‘Golden Jubilee’ hit. Patthar Ke Sanam, Night In London, Jaal and another evergreen musical hit Milan. Laxmikankt-Pyarelal  received their second Filmfare Trophy for the fabulous music of Milan without any stiff competition.  

Lata Mangeshkar, Recordist Minoo Kartik, Laxmikant, Anand Bakshi & Pyarelal

Now this was the time that Laxmikant-Pyarelal’s music became an essential component of every successful film. 

Big film producing names, like Prasad Productions, Rajshri Productions, K Sridhar, Rajkumar Kohli, Mohan Saigal, J. Om Prakash, Raj Khosla, Mohan Kumar, S. Mukharjee, Manoj Kumar, Ramamand Sagar, Harmesh Malhotra, R K Nayyar (Actress Sadhana’s Husband), Ravi Tondon, Tirupati Pictures (Jeetendra), Bikramjit Films (Dharmendra), Surinder Kapoor (Anil Kapoor), Yash Johar(Karan Johar’s Father), including V.Shantaram, Raj Kapoor, Yash Chopra, Manmohan Desai, Subhash Ghai and many more, started replacing their regular music directors and preferred Laxmikant-Pyarelal on regular basis and in return LP have given an outstanding music to justify the replacement with big names.

Naushad shaking hands with Manoj Kumar and Laxmikant Pyarelal 

Entire list of the LP’s film will be too long but just to highlight the names of a few more films with hit music such as Raja Aur Rank, Taqdeer, Jeene Ki Raah, Do Raaste, Mere Humdam Mere Dost, Jeevan Mrityu, Piya Ka Ghar, Aaya Sawn Zumake, Uphar, Dharati Kahe Pukark Ke, Dushman, Hathi Mere Saathi, Humjoli, Mera Gaon Mera Desh, Sharafat, Jigari Dost, Abhinetri, Shor, Roti Kapda Aur Makaan, Aan Milo Sajna, Raja Jani, Dost, Meheboob Ki Mehendi, Daag, Bobby, Loafer, Pratigya, Imtihaan, Khilona, Majboor, Dharam-Veer, Chacha Bhatija, Roti, Prem Kahani, Anurodh, Satyam Shivam Sundaram, Amar Akbar Anthony, Gautam Govinda, Aasha, Badaltey Rishtey, Suhaag, Desh Premee, Sargam, Karz, Kranti, Mian Tulasi Tere Angan Ki, Prem Rog, Ek Duje Ke Liye, Ek Hi Bhool, Sur Sargam, Hero, Pyar Jhukta Naheen, Utsav, Aakhri Raasta, Naam, Nagina, , Inquilaab, Hum, Tezaab, Naam, Meri Jung, Eeshwar, Ram Lakhan, Chalbaaz, Mr. India, Khuda Gawaah, Saudagar, Khalnayak, Bhairavi, Deewana Mastana etc. and many more are enough to realize the potential of the LP duo to churn out hit music over a continuous stretch in time. The pair gave music to approximately 500 films in the 35 year span. Most of the composed songs carried the fragrance of beautiful melody.

Laxmikant, Raj Kapoor and Pyarelal

:: LAXMIKANT-PYARELAL :: Song Composing Culture / System. 

 The songs composed by Laxmikant-Pyarelal.  it is very difficult to Judge / Find which song is composed by Laxmikant OR which song is composed by Pyarelal. It’s still remains the secret. 

Pyarelal, Laxmikant & Lata Mangeshkar

PHILOSOPHY OF SONG COMPOSITION 

One must understand how Laxmikant-Pyarelal used to compose the songs. Most of the Music directors pairs will compose the song separately / individually, under the respective banner likewise, Shankar-Jaikishan or Kalyanji-Anandji…

Kalyanji-Anandji, Shankar, Raj Kapoor, Jaikishan, Laxmikant-Pyarelal

Interestingly, Laxmikant was the follower of Jaikishan style, not only in music but also in following Jaikishan’s wearing of wrist watch, cloth etc. Whereas Pyarelal was a follower of Shankar style of music. 

Both Laxmikant and Pyarelal were complete musicians. Both of them knew the art of film song compositions as well as the orchestra arrangements. Both of them were capable of extracting the “best” from the singers as well as from the musicians. 

 

In particular Pyarelalji, other than his proficiency in conducting the orchestra, he was an adroit in eliciting impishly rendering from the singers. For example, Lata Mangeshkar’s solo songs,  ‘नींद निगाहों से खो जातीहै मुहोब्बत मुहोब्बत (Lootera 1965). The मुहोब्बत word was repeatedly rendered 58 times, each time in different way.   बिंदिया चमकेगी sssss (Do Raaste, 1969), giving the stress on चमकेगी.  चलो sss सजना (Mere Hamdam Mere Dost, 1968), rendering the word  चलो sss, romantically.   मैं तेरे इश्क़ मैं मर न जाऊं ssss  कभी and many more. 

The act of song compositions of Laxmikant-Pyarelal, still remains a secret.  No one could guess which is Laxmikant composition or which is Pyarelal composition. It was complete teamwork. All songs have an “LP” stamp. No THIRD person was involved.

Laxmikant-Pyarelal have composed over 2900 songs, according to change of time and the situation demands, for nearly 503 films ( a record ), in the span of 35 years. It should be noted that Laxmikant-Pyarelal were consistent in delivering top hit songs. 

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 situation. 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 media support for Laxmikant-Pyarelal songs.

In SIXTIES (1963 to 1969), Laxmikant-Pyarelal gave tough challenges to Old Horses like Shankar-Jaikishan, O P Nayyar, Madan Mohan, Roshan, Ravi, Chitragupt, Hemant Kumar, Kalyanji-Anandji, etc. 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 Laxmikant-Pyarelal’s competitors were, R D Burman, Kalyanji-Anandji, Ravindra Jain, Rajesh Roshan, Khayyam (after 1976)

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 to top till 1994. But this time LP’s competition was with New generation music directors like Anu Malik, Anand-Milind A R Rehman and Nadeem-Shravan.

The Long Playing Record / 50 Years of Friendship of Laxmikant-Pyarelal broken on 25th May, 1998 when Laxmikant died.

In this web / blog, I have tried to incorporate Laxmikant-Pyarelal associations with Singers, Songwriters, Filmmaker, Filmfare Awards. Binaca Geetmala, Few Films Music Review, Variety of Songs composed etc.  Hope ! Music Lovers will enjoy it. I will appreciate the feedback, either way, in the comment box. 

                                                     Ajay Poundarik with Living Legend Pyarelal

Enjoy over 90 blogs exclusively on Laxmikant-Pyarelal. In the Book

"LAXMIKANT-PYARELAL, Music Forever"  An LP Era  1963 - 1998

ajaypoundarik

I am a Mechanical Engineering Graduate. Boiler Proficiency Engineer.  Deeply In Love With Hindi Film Music When I Was Eight Years Of Age,  Since 1963.  I Have A Liking For All Contemporary Music Directors Compositions.  I Am A Fan Of Laxmikant-Pyarelal Music. I Have Grown-Up By Listening To Laxmikant-Pyarelal Music. I Like Test Cricket Only. Worked In The Capacity Of General Manager For The Fields Of Project Implementation, Facility Management, Construction Management and Plant Maintenance In INDIA,  NIGERIA  &  AFGHANISTAN.