Laxmikant-Pyarelal & Anand Bakshi Heterogeneity Of Songs For Kishore Kumar

 Laxmikant-Pyarelal & Anand Bakshi Heterogeneity Of Songs For Kishore Kumar 

Laxmikant-Pyarelal made banging as well as vigorous start through the music of Parasmani, released in the fourth quarter of 1963.

In the next year, 1964, after creating a Magical Hits with Lata Mangeshkar Sati-Savitri and Sant Gyaneshwar and Mohammad Rafi Dosti,  it was now time for Kishore Kumar to create a vintage musical hit songs with Laxmikant-Pyarelal.

Both Laxmikant and Pyarelal, relatively new, went to Kishore Kumar’s house with the song “tune”. Kishore Kumar was so happy to listen to the tune that he started telling everyone present in the house, his gardener, stewards, security guard that see these two boys (Laxmikant & Pyarelal ) has bring very sweet and memorable tune for me. That song was “Mere Mehaboob Quyamat Hogi”.

Memorable Primer Meet Of  Kishore Kumar, Anand Bakshi & Laxmikant-Pyarelal

Eternal Classic Song “मेरे मेहबूब क़यामत होगी”  "MR X IN BOMBAY" 1964

FIRST EVER SONG of Songwriter ANAND BAKSHI with LAXMIKANT-PYARELAL. Later this combo went on to work for 304 films with over 1680 songs,

FIRST EVER SONG of Singer KISHORE KUMAR with LAXMIKANT-PYARELAL . Later this combo went on to be associated with 402 songs. 

The Combination of Anand Bakshi, Laxmikant-Pyarelal and Kishore Kumar was involved in a total of 273 songs, including 103 of solo songs. 

There are many films in which Kishore Kumar has sung 4 or more songs involving, Anand Bakshi and Laxmikant-Pyarelal. Haathi Mere Saathi, Amir Garib, Roti, Aakraman, Aashiq Hoon Baharon Ka, Anurodh etc

We are to highlight few of the best 

Mere Mehaboob Quyamat Hogi …(Mr X In Bombay, 1964)... Sad Song  

The song is based on raag Bhairavi and it starts with the beautiful “prelude” of 20 seconds with the glimpses of VIOLINS, ACCORDION, GUITAR and MANDOLIN.

Mere Naseeb Mein Ae Dost…. (Do Raaste, 1969) Emotional Song

The song is based on raag Yaman Kalyan.  Kishore Kumar’s  soft rendering and Laxmikant-Pyarelal's SYMPHONY style orchestra arrangements.

Vaada Tera Vaada …(Dushman, 1972 ) Mujra /Qawwali

Entire song has  “qawwali” style DHOLAK / MATAKI rhythm. SANTOOR and SARANGI are well executed in the ‘interludes”. SARANGI is also used as filler in the “mukhada” to give Mujra touch to the song. 

Mere Dwanepan ki bhi dawa nahin…. (Mehaboob Ki Mehandi, 1972)  Romantic

This romantic song based on Raag “Tilang” starts with the ‘humming’ sound by Kishore Kumar. “Mukhada” is wonderfully synchronized by ‘filling’ SARANGI and FLUTE around Kishoreji’s melodious and romantic  rendering. All the three ‘interludes’ have different type of tunes and orchestral  arrangements.

Yeh Jeevan Hai …(Piya Ka Ghar, 1972)                                                                        Anand Bakshi - writes ये ना सोचो इसमें अपनी हार है की  जीत है ! उसे अपना लो जो भी जीवन की रीत है   One of the finest songs from  Kishore Kumar with Laxmikant-Pyarelal.

Gaadi Bula Rahi Hai   (Dost, 1974)                                                                              This Song Means Be Positive Every Time Do Not Think Negative Any Time In Life. Life Will Be Happy. Pretty Philosophical Words Penned By Anand Bakshi. गाडी को देख कैसी है नेक अच्छा बुरा न देखे ! सब है सवार दुश्मन के यार सबको चली ये लेके !

Aadmi Jo Kehta Hai ….(Majboor,  1974)                                                                       Anand Bakshi penned   कोई भी हो हर ख्वाब तो अच्छा नहीं होता ! बहोत ज्यादा प्यार भी अच्छा नहीं होता 

Aap Ke Anurodh Pe…. (Anurodh, 1977)  Classical

Hypnotizing orchestra from Laxmikant-Pyarelal  and stupefying rendering by Kishore Kumar. This mellifluous song is composed on Raag “Yaman Kalyan”.

Ek Ritu Aaye Ek Ritu Jaye…. Goutam Govinda, 1979 Soft Rendering

Exceptionally soft  rendering by Kishoreji, many pathos. In the beginning of the song Laxmikant-Pyarelal used BICYCLE.

Om Shanti Om        Karz  1980  Disco /Western    

Spellbind, Huge and Enrich  orchestra arrangements in western style,  throughout the song. Despite Kishore Kumar’s usual shouts and Laxmikant-Pyarelal’s boisterous orchestra, the melody part of the song is not lost. 

REVIEW  OF  FEW  SONGS.

Ye Dard Bhara Afansana      Shreeman Fantoosh  1965 

Laxmikant-Pyarelal was able to get the best output from Kersi Lord  when he played the ACCORDION for this beautiful song.

ये दर्द भरा अफसाना, सुनले अनजान ज़माना जमाना 

मैं हूँ एक पागल प्रेमी मेरा दर्द न कोई जाना                      

In the mid-sixties Kishore Kumar was passing through the lean period of his musical career. Laxmikant-Pyarelal composed some of the best songs for Kishore Kumar. This song is one of them. A beautiful GEM of a song from this combo. A song which shows Laxmikant-Pyarelal class and talent right in the beginning of their career. The entire song is woven around t"Haathi Mere Saathi". he glimpses of ACCORDION. ACOUSTIC GUITAR, symphony VIOLINS are beautifully orchestrated in 'interlude' 'prelude' and 'postlude'. Western style, ROCK N ROLL, rhythm.

Soi Ja Tara     Mastana   1971

This is filmed on actor Mehmood and beautiful child artist Nain-Tara Dhanraj.   Extremely melodious and emotional song with wonderful DHOLAK rhythm. The song is orchestrated with symphony VIOLINS, FLUTE and SANTOOR.

Chal Chal Mere Saathi               Haathi Mere Saathi. 1971

Song that stormed the nation.

Kishore Kumar, Laxmikant-Pyarelal & Anand Bakshi.  

It was the peak period for film star RAJESH KHANNA, singer Kishore Kumar,  the songwriter Anand Bakshi as well as the music director Laxmikant-Pyarelal. 

A Huge Hit Song. Kishore Kumar's voice is really refreshing enough and melodiously unmatched. Wonderful Orchestra Arrangements in particular the SAXOPHONE / CLARINET / TRUMPET  is brilliantly executed to generate the Elephant Sound (roaring/trumpeting) with unique toe-stepping rhythm. The song is written by Anand Bakshi. "Haathi Mere Saathi” ranks high among the biggest ever hits of RAJESH KHANNA’s career. But the film ranks as a classic because it is still unequalled as the complete family fare in its genre for kids. It was the biggest hit ever made by a South producer in Hindi.

The film was released in the year 1971 in the month of May. A time for school /college vacations. A perfect time to catch the audience. It has celebrated the “SILVER JUBILEE” in almost every part of India.It was the very first film for writer SALIM-JAVED.. This pair took off from this film only.

Melodious, Sweet as well as very popular music pulled the crowd to the cinema hall.

Jaani O Jaani Jaani O Jaani     Raja Jani  1972

The title track song is filmed in the background. Distinctively intoned by Kishore Kumar on western notes. Entire song is orchestrated on ACOUSTIC GUITAR,  BASS GUITAR, WHISTLING, FLUTE and CHORUS on western notes. One of the best from Kishore Kumar and Laxmikant-Pyarelal.

Manchali Kahan Chali       Manchali       1973

Romantic Song, orchestrated with ACOUSTIC GUITAR, GUITAR, VIOLINS and SAXOPHONE. The rhythm is BONGA DRUM.

Jaan-E-Chaman Jaan-E-Bahar        Dulhan    1974

One more romantic song. Breezing melody with westernized orchestra arrangements. 

Aate Jate Khoobsurat               Anurodh  1977

Bakshi sahab has narrated the story of a man how he met the girl, what exactly has happened etc, in the form of a song.

Prem Ka Rog Laga Mujhe …. Do Premee   1980

Typical Laxmikant-Pyarelal and Kishore Kumar flavoured song. It is one of the rare devotional songs sung by Kishore Kumar. Filmed on Rishi Kapoor

                                                                        

   

Akela Gaya Tha Main    … Rajput   1981

Rajesh Khanna still enjoying the song created by Bakshi Saab, LP and KK. Wonderful rhythm of Horse ‘Tappa’. 

Zindagi Ek Latifa …...Amrit  1986

Beautifully penned by Bakshi Saab. Intelligent composition. Morality in lyrics

and very impressive singing by legendary kishoreda

Ajay Poundarik, Vadodara.                       23rd May, 2021. 

Supreme, Unsurpassed Combo of Lata Mangeshkar & Laxmikant-Pyarelal

Supreme, Unsurpassed Combo of Lata Mangeshkar & Laxmikant-Pyarelal

Laxmikant-Pyarelal took the Hindi film industry by storm for over 35 years with their enchanting songs. Laxmikant-Pyarelal, resembles the story of several others who wanted to find their footing in Mumbai. Their parents were neither rich nor famous, but what they passed on was humongous talent. 

Laxmikant-Pyarelal, Laxmikant died on 25th May, 1998, the senior half of Hindi cinema’s most prolific, longest-lasting, most versatile and the most successful music composers Laxmikant-Pyarelal. Their one of the phenomenal records included scoring the maximum songs of Lata Mangeshkar. 

Laxmikant was spotted by Lata Mangeshkar. Late forties (around 1949) a child musician, aged 12 years, named Laxmikant Shantaram Kudalkar was playing a Mandolin at one of the musical concerts in Colaba, Mumbai. Lata Mangeshkar was the chief guest of the function.  Lataji was so impressed by the polished display of Mandolin by Laxmikant she called him and enquired about him, about the financial condition and recommended Laxmikanji’s name to the noted music directors, C Ramchandra, Naushad, Shankar-Jaikishan to utilise him as musician. 

Around the same time Lata Mangeshkar  and her family members were running a music academy  named  Sureela Bal Kala Kendra. The academy was run by the children of the age group of 15. This Sureela Bal Kala Kendra was operated by child musicians Hridaynath Mangeshkar, Ushah Mangeshkar, Meena Mangeshkar,  Pyarelal Ramprasad Sharma (Pyarelal) and all his younger brothers, Ganesh, Gorakh, Anand, Naresh.. Later joined by Laxmikant Shantaram Kudalkar (Laxmikant) , his elder brother Shashikant. The “Sureela children’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. 

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 Laxmikant-Pyarelal were to chalk up an astounding 712 songs together, which accounted for one in every 10 Hindi film songs recorded by the Melody Queen, and one of every four songs composed by the duo. The unmatchable variety of songs.

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.

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 hyperbolized their jewels  on the way towards TRANSMISSION to the audience.

Have tried to focus on few of Lata Mangeshkar / Laxmikant-Pyarelal songs  which 

Includes, Classical / Semi-Classical, Western Classics, Gazal, Qawwali, Cabaret, Dance-Musical. Have also tried to mention the unique aspects of the song.

Sati Savitri   1964

If we are to talk of LAXMIKANT-PYARELAL’s Classical or Semi-Classical Songs and that too with LATA MANGESHKAR ..songs of “Sati Savitri” stands out to be number one. Lata has sung as many as Six songs ( four Solos) and all are based on classical ragas…

kabhi to miloge jeevan sathi                                                                                                                           sakhiri pee ka naam na puchho                                                                                                                    tum gagan ke chandrama   (with Manna Dey)                                                                                              itni jaldi kya hai gori  (with Usha Mangeshkar & Kamal Barot)

The songs of this film can be heard even today. The meaningful wordings of these immortal songs are written by PANDIT BHARAT VYAS.

 Jeevan Dor Tumhi Sang Bandhi…   Lyricist Pandit Bharat Vyas 

Composed  on Yaman Kalyan. This song is the GEM of composition. Simply divine rendering soulful music soulful rendering and the most delicate expression of love …takes you to different levels. One of the top favorites of Lata Mangeshkar herself. The musical notes orchestrated with symphony style VIOLINS, of both the interludes are worth listening to.

 

https://www.youtube.com/watch?v=ww6BYhEDlrI

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Sant Gyaneshwar  1964

Laxmikant-Pyarelal have made Lata Mangeshkar to sing for five different characters in the film and each songs Lataji have diversified her singing.

An old lady : mere ladalo tum to  phoolo phalo

Child artist master Raju : ek do teen char bhaiyya bano hoshiyar

Babloo : jyot se jyot jagate chalo

Surekha leading lady : khabar mori na lini, bahut din beete

“Lavani”, marathi folk : main to chhel chhabili naar

Bahut Din Beete…       Lyricist Pandit Bharat Vyas 

Extremely Melodious, based on Hindustani Classical Raag, ‘SHIVRANJANI’…One of the best of Lata-LP.. Start with Lataji’s awesome rendering ..भोर भये नित सूरज सांझ पड़े ढल जाये। ………..खबर मोरी ना लीनी। बहोत दिन बीते  and Beautiful TABLA rhythm starts. There is a beautiful singing ‘pause’ of 3 seconds. The first ‘interlude’ orchestrated with SAROD, VIOLINS and the FLUTE. Second ‘interlude’ starts with SAROD, VIOLINS and XYLOPHONE. Both the “antras” have different tunes. FLUTE is tunefully used as a filler in the second ‘antra’ . A masterpiece from Lata-LP combo.

https://www.youtube.com/watch?v=yF_rhTJDjgc

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Lootera    1965

Lata Mangeshkar has sung as many as SIX solo songs. All the songs of LOOTERA have melodies with different flavors and compositions. Every song has a different rhythm. We have Gazal, Chalu song, Western classical / Arabian Folk and Cabaret. Sheer variety of songs. Songs are written by Anand Bakshi.

kisi ko pata na chale baat ka

o dilwalo saaz e dil

raat se kaho ruke zara

sanam raah bhoole 

neend nigahon ki kho jati hai

Sanam Raah Bhoole Yahan Aate Aate       Lyricist Anand Bakshi

 

It’s a beautiful and melodious ‘ghazal’ style composition with western style orchestra in the “interludes” specially the use of  ACOUSTIC GUITAR, MANDOLIN, VIOLINs in “symphony” style.  Lata Mangeshkar has rendered it with amazing softness, grace and ease…her genius is on display…..Just listen to the words ‘यहाँ आते आते’, sung by Lataji.

     

https://www.youtube.com/watch?v=14NBG2b14XQ

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Jaal   1967

Excellent Album. Laxmikant-Pyarelal worked for the first time with famous lyricist 

Raja Mehadi Ali Khan. Lata Mangeshkar’s four  melodious songs (three  solo)

Gazal meri zindagi ke chirag ko

Western classic dhadaka hai dil main 

Romantic rokna hai agar rok lijiye magar

Dhadaka Hai Dil Main Pyar Tumhara        Lyricist  Raja Mehadi Ali Khan

     

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. The second interlude, full of SAXOPHONE,  is hypnotizing. Overall its a Mesmerising Orchestra Arrangement. The song is filmed on Mala Sinha.

https://www.youtube.com/watch?v=TFcuudmcVD0

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Night In London  1967

Lata Mangeshkar has sung two Cabaret songs, solo +  title song, duet with M. Rafi,  synchronising the mind-boggling orchestra from Laxmikant-Pyarelal. In a solo cabaret song Lata Mangeshkar has awesomely uttered / rendered the word Jameela…aaaa. with almost NINE different versions, which enthralls the listeners

Mera Naam Hai Jameela            Lyricist Anand Bakshi

Lata Mangeshkar has sung two Cabaret songs, solo +  title song, duet with M. Rafi,  synchronising the mind-boggling orchestra from Laxmikant-Pyarelal. In a solo cabaret song Lata Mangeshkar has awesomely uttered / rendered the word Jameela…aaaa. with almost NINE different versions, which enthralls the listeners

JAMEELA ssssssss:: JAMEE sssssssLA::JAMEELA::    HELEN has gamboled this CABARET song with Rich Orchestral Arrangements, with the distinctive style. Laxmikant-Pyarelal made Lata Mangeshkar to render almost NINE different versions of the word “JAMEELA”.  Lata Mangeshkar  did it in this song. “Prelude” of 50 seconds, consists of heavy orchestration,  is worth listening to. All the three “Interludes” have different tunes. Use of the BRASS instruments, in entire song, is the asset of the orchestra arrangements. The entire song is brilliantly synchronized with the fast rhythm of BONGO DRUMS. Electric GUITAR is also used in-between the orchestra.

The another beauty of the song is Lata Mangeshkar’s sweet ‘tone’ is being surrounded by the MALE CHORUS, in all the ‘antaras’.

Lata Mangeshkar has sung many of cabaret songs under Laxmikant-Pyarelal, this is the ‘first’ one.

https://www.youtube.com/watch?v=vtJtEHdcNW4

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Mere Hamdam Mere Dost    1968

All the songs of this film are gems. Lata Mangeshkar has four solo songs.

chalo sajna jahan tak ghata chale

tum jaaon kahin

allah yeh ada kaisi hai

hamen to ho gaya hai pyar

Allah Ye Ada Kaisi Hai In  Lyricist Majrooh Sultanpuri.

This is ‘’QAWWALI” sung by Lataji. Amazing work on “rhythm” .. “DHOLAK”, “TABLA” and the “CLAP”. The song is full of variation in all aspects, second stanza is on fast track..Mumtaz has justified the song by dancing on the rhythm. Wonderful song.

https://www.youtube.com/watch?v=56MKuqoi5uA

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Abhinetri     1970

ABHINETRI is another musical hit film with as many as  six  songs ( five solos) sung by Lata Mangeshkar. 

sajna o sajna 

khinche hum se sanware

o ghata sawari 

dhadkan har dilki 

This one will always remain the  best.  A Yoga song.

O Ghata Sawari Thodi Thodi Bawari     Lyricist Majrooh Sultanpuri

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 the 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.

https://www.youtube.com/watch?v=apLH59yDlm8 

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Jal Bin Machhli Nritya Bin Bijlee   1971

It was not an easy job to enter V. Shantaram Camp. He has his own choice of music directors which was limited to 2 to 3. Many BIG names of Music Directors of Forties, Fifties, Sixties and Seventies, could not get an opportunity, baring C Ramchandra and Vasant Desai,  to work with V. Shantaram. It was in 1970..LAXMIKANT-PYARELAL got an opportunity to work for the first and last time for V Shantaram’s “classic” film “JAL BIN MACHHLI NRITYA BIN BIJLI”.

Lata Mangeshkar has sung as many as FOUR solo songs in addition to TWO duets with Mukesh. If you look at this JBMNB Album, all the songs are composed in a different style. Each and every song has different compositions and ‘rhythm’ pattern, as well. 

man ki pyas mere man se na nikali

jo mein chali

kajra laga ke re bindiya saja ke

o mitwa o mitwa yeh duniya to kya hai

The orchestra arrangements for all the songs is just mesmerizing. LAXMIKANT-PYARELAL, have synchronized as well overlapped  LATA MANGESHKAR’s voice in highly rich orchestra arrangements. In other words Laxmikant-Pyarelal opulently orchestrated Lata Mangeshkar‘s modulation. It is one of the finest musical albums for the unique combo of Lata Mangeshkar and Laxmikant-Pyarelal.

Kajara Laga Ke Re Bindiya Saja Ke    Lyricist Majrooh Sultanpuri

HOW THIS SONG WAS COMPOSED >> A Story narrated by PYARELAL ji

When Actress  SANDHYA ( wife of V SHANTARAM )told Laxmikant-Pyarelal and MAJROOH to write the words, compose the song and the Rhythm by watching her dancing steps.

कजरा लगाके रे बिंदिया सजाके !! हो आई में तो आई रे आई लायी मोहे लायि मिलन धुन पिया की !!. .A long musical sitting was held between V. Shantaram, Actress Sandhya, Laxmikant-Pyarelal and Majrooh Sultanpuri. Actress Sandhya first demonstrated the dance steps, performed the full dance and then told Laxmikant-Pyarelal to prepare the tune and rhythm by watching her steps. It was a different and unique style to compose the song. BUT Laxmikant-Pyarelal along with LATA MANGESHKAR and Majrooh came out with an outstanding composition.A song on MAYUR DANCE. One more gem of composition with different styles. FLUTE is prominently used in western style. 

https://www.youtube.com/watch?v=bGPX7j1IrtU

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Sauda       1974

लक्ष्मीकांत-प्यारेलाल और लता मंगेशकर का संगीतमय अनमोल, “जादू”

!! सूरज उतरा बिंदिया में कौन है तेरी निंदिया में !! 

Suraj Utara Bindiya Mein.          National Poet Indrajeetsingh Tulsi 

लक्ष्मीकांत-प्यारेलाल और लता मंगेशकर का संगीतमय अनमोल, “जादू” 

Stupefying Rendering and Sterling Orchestra arrangements.The song that enthralls the listeners. "Prelude" 12 seconds starts with SITAR followed by GUITAR and at 12th seconds how beautiful 'take off' by Lata's rendering, synchronizing her voice with symphony VIOLINS. Exceptional singing particularly rendering the word सूsssरज
and giving the "pauses" at 0.17/0.18 and at 0.22 to 0.25, FLUTE used as 'filler' in wonderful DHOLAK rhythm. First "Interlude" is awesomely instrumented with SITAR,VIOLINS, IRANI SANTOOR and FLUTE. At the end of each "antra" at 1.41 how mellifluously surround sound of 'symphony' VIOLINs synchronizes with Lata's voice, that is one of the beauty of this melodious song. Second 'interlude' is orchestrated with GUITAR, SAROD and VIOLINS. The song is filmed on Yogita Bali.

https://www.youtube.com/watch?v=zWS0eVszgQk

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Utsav     1984

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 a myth that Laxmikant-Pyarelal needed a "Huge & Enrich Orchestra" arrangement to compose MELODIOUS and HIT Songs. Music of "Utsav" came as a pleasant surprise.

Neelam Pe Nabh Chhaye     Lytists   Vasant Dev

Minimum orchestra and "clapping"( ताली ) is used as Rhythm. Laxmikant-Pyarelal used old traditional musical instruments in "Utsav" music. This song is 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.

https://www.youtube.com/watch?v=vWD3DFXN9Ak

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Ajay Poundarik.