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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