Exquisite MUMTAZ and Canorous Laxmikant-Pyarelal

Exquisite MUMTAZ and Canorous Laxmikant-Pyarelal

There is a resemblance in the skyrocketing  carrier of actress Mumtaz and music director Laxmikant-Pyarelal. Both of them started their film carrier in early sixties. Both the artists, initially worked in B grade films. Even in B grade films, around mid sixties,  Mumtaz gave a splendid performances and gradually reach on top of the carrier. Alike, Laxmikant-Pyarelal also composed A grade music while working for B grade films in mid sixties.

Laxmikant-Pyarelal have composed some fabulous  music / songs for Mumtaz’s films, even when she was working in B grade films and also as a side actress during her struggling days.

The association of Mumtaz with Music by Laxmikant-Pyarelal lasted for as many as 21 films. Exquisite Mumtaz has got the maximum numbers of hit songs composed by Canorous Laxmikant-Pyarelal, with as many as 13 songs, the highest numbers by any  music director, in Binaca Geetmala Finals.

Laxmikant-Pyarelal magical super hit  song, ‘Bindiya Chamke Gi’  from “Do Raaste” in 1969 gave name and fame as well as ‘star’ status to Mumtaz. Likewise,  Laxmikant-Pyarelal music did similar success for Sridevi ‘Hawa Hawai’ from “Mr India” in 1987 and also for Madhuri Dixit ‘Ek Do Teen’ from “Tezab” in 1988.

Mumtaz, while acting as a supporting role, got some glittering songs from Laxmikant-Pyarelal in “Pyar Kiye Jaa” 1966, a rock-n-roll duet ‘O Meri Maina’, intonned by Manna Dey - Usha Mangeshkar, in “Patthar Ke Sanam” 1967, a provocative ‘Ai Dushman-E-Jaan’ , appealingly rendered by Asha Bhosle and an immortal qawali ‘Allah Ye Ada Kaisi Hai’ , melodiously rendered by Lata Mangeshkar for “Mere  Hamdam Mere Dost” 1968.

Crowd-Pulling as well as the popular pair of Mumtaz with Rajesh Khanna have maximum musical  hit films with the music by Laxmikant-Pyarelal. “Do Raaste” (1969), “Dushman” (1972), “Roti” (1974) and “Prem Kahani” (1975).

Mumtaz-Jeetendra, one of the most popular pair of late sixties and early seventies have the films like “Jigri Dost” 1969, “Himmat” 1970, “Maa Aur Mamta” 1970, “Chahat” 1971 and “Roop Tera Mastana” 1972.  All have prominent superhit music composed by Laxmikant-Pyarelal.

L V Prasad and Laxmikant-Pyarelal musical hit “Khilona” 1970,  powerfully acted by Mumtaz, considered to be the best film of her carrier. She received the best female actress award from filmfare. This film too have some extremely melodious songs including one of the best Mujra songs of hindi film music, ‘Sanam Tu Bewafa Ke Naam Se’, filmed on Mumtaz.

Not to forget the sensational hit song from Mumtaz starrer film ‘Loafer” 1973, Asha Bhosle’s stunner with Laxmikant-Pyarelal, ‘Koi Shahari Babu’ as well as Lata Mangeshkar’s soft melody, ‘Mein Tere Ishq Mein’.

Laxmikant-Pyarelal have used only four singers for Mumtaz.     

Lata Mangeshkar with maximum songs,  followed by Asha Bhosle, Suman Kalyanpur and Usha Mangeshkar.

Mumtaz with Laxmikant-Pyarelal Film List:-

Boxer   1965

Daku Mangal Singh    1966

Pyar Kiye Jaa   1966

Patthar Ke Sanam   1967

Mere Hamdam Mere Dost   1968

Shart   1969

Do Raaste   1969

Jigri Dost   1969

Mera Dost   1969

Khilona   1970

Himmat   1970

Humjoli   1970

Maa Aur Mamta   1970

Chahat   1971

Dushman   1972

Roop Tera Mastana   1972

Loafer   1973

Roti   1974

Prem Kahani   1975

Lafange   1976

Nagin  1976

Let us review few of the best of songs composed by Laxmikant-Pyarelal, for MUMTAZ. The songs which are filmed on Mumtaz are listed, below each films.

The orchestra arrangements in “PRELUDES” and “INTERLUDES” used to be the assets of the songs composed by Laxmikant-Pyarelal. It would be more proper to listen to the songs, listed below, after reading the write up, explaining peculiarities, for each of the songs you will enjoy it, more.

BOXER  1965

-- Tune Jo Samaja Hai

(Lyricist Anand Bakshi  / Singer Asha Bhosle)

A Black and White,  rare gem, in Rock-N-Roll style, from Asha Bhosle when Laxmikant-Pyarelal were relatively new.  39 seconds of “prelude” excellently orchestrated by ELECTRIC GUITAR intermixed with the rhythm of CLAPPING. The song has suitable BONGO DRUM rhythm suiting to rock-n-roll, twist song. “Interludes” are awesomely instrumented with BRASS instruments, mainly TRUMPET and GUITAR, VIOLINS and ACCORDION. Once again the CLAPPING is wonderfully used in the “interlude”.  

   

DAKU  MANGAL  SINGH 1966

Musical film starring Dara Singh - Mumtaz.

--Ek To Ye Bahar Uspe Tera Mera Pyar

(Lyricist Anand Bakshi  / Singer Lata Mangeshkar)

An extremely melodious song with 25 seconds of ‘prelude’,  full of VIOLINS and SITAR, sets the mood of the song. FLUTE is awesomely used as ‘filler’ in the song. Delicately sung by Lata Mangeshkar. Mumtaz looks stunning.

PYAR  KIYE JAA 1966

-- O Meri Maina Tu Manle Mera Kehna

(Lyricist Rajendra Krishan / Singer Manna Dey - Usha Mangeshkar - Mehmood)

One of the superhit song of Mumtaz from mix-sixties. Fast track, western style ‘Twist” and “Rock-N-Roll” rhythm. ELECTRIC GUITAR,  ACOUSTIC GUITAR , BRASS INSTRUMENTS mainly TRUMPETS are distinctively used in the orchestra arrangements.  

PATTHAR  KE SANAM 1967

--Ai Dushman-E-Jaan

(Lyricist Majrooh Sultanpuri  / Singer Asha Bhosle)

There's a story to that. While on a trip to Lebanon Laxmikant and Pyarelal met

Fairouz, the famous Arabic singer, and her husband and his brother who

composed her songs. Laxmikant-Pyarelal thought her guttural style was appealing, and

tried to get Ashaji to do it at the end of the word "Allah" - A-haaa. Superb take off by Ashaji and only she can give justice to such songs. The song is composed on western beats. In the “interludes”, GUITAR, VIOLINS, ACCORDION and CELLOs are awesomely orchestrated, overlapped with CLAPPING in the rhythm. Mumtaz looks provocative.  

MERE  HAMDAM  MERE DOST 1968

--Allah Ye Ada Kaisi Hai

Lyricist Majrooh Sultanpuri / Singer Lata Mangeshkar

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.

JIGRI  DOST 1969

Blockbuster with superhit songs

--Dil Mein Kya Hai ..Lata-Rafi

--Phool Hai Baharon Ka ..Lata-Rafi

and a ‘classic’ duet  

--Raat Suhani Jaag Rahi Hai

(Lyricist Anand Bakshi  / Singer Suman Kalyanpur - Mohammad Rafi)

An extremely euphonious song. Mesmerizing orchestra arrangements in SYMPHONY style VIOLINS in support with ACOUSTIC GUITAR and wonderful BONGO DRUM rhythm.

DO  RAASTE  1969

Who can forget the crowd-puller songs which made Rajesh Khanna-Mumtaz a illustrious pair. Who can forget very melodious super hit songs.

--Chhup Gaye Sare Nazare …. Lata-Rafi

--Yeh Reshmi Julfe …. Rafi

--Mere Naseeb Mein Ae Dost …. Kishore

and the Top HIT

--Bindiya Chamake Gi

(Lyricist Anand Bakshi  / Singer Lata Mangeshkar)

This “Punjabi” folkish style,  DHOLAK rhythm, sweet and melodious  song, with euphonic DHOLAK ‘rhythm’ is completely decorated with the glimpses of SANTOOR and FLUTE. Lataji’s rendering the word ‘chamake gi’ is admirable. The song rock the nation and was top hit, number 1 song, in Binaca Geetmala Finals of  the year 1970. The song made Mumtaz a ‘star’, overnight.

KHILONA 1970

Musical hit film, establishing Mumtaz as an A grade actress.

--Khilona Jaan  Kar Tum To ….Rafi

--Mein Sharabi Nahin ….Asha-Rafi

--Ek Natak Kavi Likh Gaye ...Lata-Manna Dey

and the classic “Mujra”

--Sanam Tu Bewafa Ke Naam Se

(Lyricist Anand Bakshi  / Singer Lata Mangeshkar)

Mellifluously orchestrated with prominent use of HARMONIUM, in ‘interludes’ as well as the ‘filler’, at the end of the “antara”.  One of the finest Mujra songs of Hindi Cinema. Wonderful ‘prelude’ of 32 seconds, full of DHOLAK rhythm synchronised with VIOLINS nd SITAR. Spectacular take off by Lata ji, at the same time 20 seconds ‘pause’ in the orchestra gives additional flavor to this resonant composition. The rhythm of the song is from DHOLAK / TABLA,  intermixed with the CLAPPING and GHUNGROO BELLS. All the ‘interlude’ are excellently orchestrated with traditional musical instruments NADASWARAM, RUBAB, SARANGI, MANDOLIN, SITAR, VIOLINS and HARMONIUM.  

MAA  AUR MAMTA 1970

--Rut Beqarar Hai

Lyricist Anand Bakshi  / Singer Lata Mangeshkar - Mohammad Rafi

Breezing Melody:: One of the finest and extremely melodious Lata-Rafi  duet. Arrangements of orchestra is in SYMPHONY style VIOLINS in support with JAZZ FLUTE, WHISTLE, MANDOLIN and ACOUSTIC GUITAR.

ROOP  TERA MASTANA 1972

With many hit songs this song stands out to be the best

--Dil Ki Baatein Dil Hi Jaane

(Lyricist Asad Bhopali / Singer Lata Mangeshkar - Kishore Kumar)

Western style composition with unique BONGO Drums rhythm. The orchestra arrangements hypnotises the music lovers. ACOUSTIC GUITAR, VIOLINS, ACCORDION are melodiously instrumented in all the interludes. Top hit song.

DUSHMAN  1972

Mumtaz - Rajesh Khanna top musical hit.

--Balma Sipahiya ..Lata

--Meine Dekha Tune Dekha.. Lata - Kishore

and a top hit

-- Dekho Dekho Dekho

(Lyricist Anand Bakshi  / Singer Lata Mangeshkar)

27 seconds of “prelude” orchestrated with folkish traditional musical instruments, DAMRU,  “BOLI” / “SHRUTTI” (This is a musical instrument made of two thin and small bamboo strips which have a reed in between and produces a sharp sound by blowing air in and out on it) RAVANHATTA ( a home made Violin from Rajasthan) and the VIOLINS. Entier song is woven around the  glimpses of RAVANHATTA and the DHOLAK rhythm. Mumtaz looks pretty in village traditional dress.

LOAFER  1973

A musical bonanza from Laxmikant-Pyarelal.

Asha Bhosle has sung as many as three solo songs, all filmed on Mumtaz.

--Motiyon Ki Ladi Hoon Mein ….Asha

--Kahan Hai Wo Deewana ….Asha

--Mein Tere Ishq Mein ….Lata

--Aaj Mausam Bada ….Rafi

and  TOP hit

--Koi Shahari Babu

(Lyricist Anand Bakshi  / Singer Asha Bhosle)

Perhaps the most popular song of Asha Bhosle with Laxmikant-Pyarelal. Asha Bhosle has sung as many as three solo songs, all filmed on Mumtaz. It is “folkish” songs

with “prelude” over 30 seconds is full of HARMONIUM, GHUNGROO BELLS, VIOLINS and SHEHNAI with mesmerizing DHOLAK rhythm. The same instruments are used in the orchestra arrangements for all the “interludes”. Mumtaz looks beautiful.

PREM  KAHANI 1975

Producer - Director Raj Khosla’s superhit musical blockbuster.

-- Phool Aahista Phenko …. Lata-Mukesh

-- Prem Kahani Mein Ek Raja …. Lata-Kishore

-- Kya Hoti Hai Prem  Kahani …. Lata Mangeshkar

-- Doston Mein Koi Baat …. Mohammad Rafi

-- Chal Dariya Mein Doob Jaye

(Lyricist Anand Bakshi  / Singer Lata Mangeshkar - Kishore Kumar)

Sweet-Sounding, accordant duet, beautifully synthesized by SAXOPHONE, SANTOOR and  VIOLINS with CONGA DRUMS and TABLA in the dulcet rhythm.

Ajay Poundarik
Atlanta (Georgia)
USA

ENTHRALLING Lata Mangeshkar and Laxmikant-Pyarelal :: SATYAM SHIVAM SUNDARAM

ENTHRALLING  Lata Mangeshkar and Laxmikant-Pyarelal.

SATYAM SHIVAM SUNDARAM

Music geniuses Laxmikant-Pyarelal were famous for many of their musical hits in the past associated with diversified producers and directors.  After the thumping musical success of Raj Kapoor’s ‘Bobby’, Laxmikant-Pyarelal was the obvious choice for the music of ‘Satyam Shivam Sundaram’, released on the day of Holi festival in the year  1978.

"Satyam Shivam Sundaram" Long Playing Record Cover Page

Originally, in 1950, the film was planned as a low budget "quickie" with unknown actors. But after 25 years Raj Kapoor’s  confidence strengthened by the astounding success of Bobby.

Directed by Raj Kapoor and written by Jainendra Jain, ‘Satyam Shivam Sundaram‘ is a social drama about the differences between physical and spiritual love and clashing religious beliefs. The film starred Shashi Kapoor and Zeenat Aman. It was an iconic film set in a village that captured the brewing romance between the protagonists despite their differences. The film is also known for its amazing soundtrack and melodious songs.  The soundtrack also displays the trio who have given record breakings 712 songs, music directors Laxmikant-Pyarelal and the legendary singer Lata Mangeshkar, at their zenith.

Manna Dey, Shashi Kapoor, Laxmikant, Guest, Randhir Kapoor, Raj Kapoor, Pt. Narendra Sharma, Pyarelal
standing front Hrishikesh Laxmikant (son of Laxmikant) 

Out of 9 melodious songs, Lata Mangeshkar has sung as many as 7 songs, including 3 solos. Coincidently, singer Mukesh sings his last song of his carrier  (‘chanchal sheetal nirmal’) at the same time his son Nitin Mukesh sings his first song (‘mein kaise use pasand karu’)

National Poet Pandit Narendra Sharma has penned 5 songs, lyricists Anand Bakshi and Vithalbhai Patel have written 3 songs and 1 song, respectively.

During the Diwali of 1977, HMV released the Long Play record, in 4  page covered folder. One of the page containing the picture of Laxmikant-Pyarelal. (ref the pic  on top).

Filmfare Best Music Award was unanimously chosen for this euphonious musical “SATYAM SHIVAM SUNDARAM” and thus Laxmikant-Pyarelal won their fifth and  second successive award. Beating Kalyanji-Anandji “Don”, R D Burman’s “Shalimar”, Rajesh Roshan’s “Des Parades” and Ravindra Jain’s “Akhiyon Ke Jharokon Se”.

Laxmikant-Pyarelal receiving Filfare Trophy for "Satyam Shivam Sundaram" from Raj Kapoor. 

Let us discuss / review the songs.

The orchestra arrangements in “PRELUDES” and “INTERLUDES” used to be the assets of the songs composed by Laxmikant-Pyarelal. It would be more proper to listen to the songs, listed below, after reading the writeup, explaining peculiarities, for each of the songs you will enjoy it, more.

1 Satyam Shivam Sundaram …. (Singer Lata Mangeshkar)

 (Lyricist Pandit Narendra Sharma )

Hypnotized “prelude” of 50 seconds, outsetting through BAMBOO FLUTE , followed by VICHITRA VEENA then surround sound effect of SYMPHONY style VIOLINS . Beautiful ‘take off’ by Lata ji (Ishwar satya hai) ‘stroke’ of TEMPLE BELL, at 0.58 second, synchronised with CHORUS and awesome sounds of TWEETING BIRDS. It has beautiful TABLA rhythm. Overlapping sound effect of Lataji’s rendering and CHORUS crooning, in different tunes as well as the word. In the first ‘interlude’ SANTOOR, SITAR are mellifluously orchestrated with MANJIRA sounding at the end. Second ‘interludes’ starts with the resonant ‘aalaps’ by Lataji surrounding CELLOs and TEMPLE BELL followed by SITAR and VIOLINS. Once again the the  overlapping sound effect can be heard at the end with Lataji’s ‘aalaps’ and CHORUS. One of the finest song sung by Lata Mangeshkar for Laxmikant-Pyarelal.

2 Bhor Bhaye Panghat Pe ….(Lata Mangeshkar)

   (Lyricist Anand Bakshi)

67 seconds of resonant ‘preludes’ starts with euphonic ‘aalaps’ by Lataji, TWEETING BIRDS sound, protruding as well as integrating surround sound effect of symphony style VIOLINS, GHUNGROO BELLS and finally hypnotising DHOLAK / TABLA rhythm which is the asset of this songs. GHUNGROO BELLS are beautifully synchronised  with the DHOLAK / TABLA rhythm, throughout the song. Interludes are well orchestrated with GUITAR, SITAR, FLUTE, SYMPHONY style VIOLINS and CELLOS.

3  Yashomati Maiya Se Bole …. (Singers 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.

4 Chanchal Sheetal Nirmal Komal …. (Singer Mukesh)

  (Lyricist Anand Bakshi)

This angelic western style composition  is gorgeously orchestrated in SYMPHONY style orchestra arrangements by utilizing WALTZ rhythm. Throughout the song use of SYMPHONY style VIOLINS, in the “surrounds”, sounds delightful. Apart from that the instruments like IRANI SANTOOR, solo VIOLIN, VIOLAS and CELLOS are sweetly orchestrated in the “prelude’ as well as “interludes”.

5 Suni Jo Unke Aane Ki Aahat …. (Singer Lata Mangeshkar)

  (Lyricist Pandit Narendra Sharma )

Laxmikant-Pyarelal known for the best use of CHORUS. The song is melodiously composed by using CHORUS and Lataji’s sweet rendering.  This is the song which has no “interludes” tunes. But has tuneful ‘prelude’ of CHURCH-ORGAN, CHORUS and Lataji’s wonderful “aalaps”. The song too has tuneful DHOLAK rhythm.

6 Rangmahal Ke Dus Darwaze …. (Singer Lata Mangeshkar - Bhupinder Singh)

   (Lyricist Vithalbhai Patel)

SHEHNAI is prominently, efficaciously and mellifluously orchestrated in "Prelude", "Interlude" and "Postlude" and also as a 'filler' in 'antara'. At some places SHEHNAI is wonderfully synchronized with male singer Bhupendra Singh rendering.

7 Mein Kaise Use Pasand Karoon …. (Singers Lata Mangeshkar - Nitin Mukesh)

  (Lyricist Anand Bakshi)

Magical composition with meaningful lyrics and melodious tune, as well. SYMPHONY style VIOLINS are excellently orchestrated in the  “interlude”.

 

8 Shree Radha Mohan …. (Singer Manna Dey)

  (Lyricist Pandit Narendra Sharma )

Full song is credited to brilliant and mellifluous use of CHORUS throughout the song, with few lines for Manna Dey to sing. Indian traditional musical instruments like TEMPLE BELL, SHELL, MANJIRA  and MRIDANG are nicely orchestrated in the “prelude” .

9 Yashomati Maiya Se Bole …. (Singers Lata Mangeshkar-Zeenat Aman-Shashi Kapoor)

   (Lyricist Pandit Narendra Sharma )

Enchantingly rendered by Lata Mangeshkar on Laxmikant-Pyarelal  mesmerizing DHOLAK / MATKI rhythm. “Postlude” of over 70 seconds full of LATA ji different “aalaaps” intermixed with mild use of SITAR in the surround sounds, hypnotizes.

Satyam Shivam Sundaram is a soundtrack that shines more amidst Laxmikant-Pyarelal  many melody accomplishments.

Ajay Poundarik

Avon, Cleveland (OHIO)

USA.

JAZZ Flavored "opera"::Laxmikant-Pyarelal Music.

JAZZ Flavored "opera"::Laxmikant-Pyarelal Music.

Jazz first came to India in the 1920.  The Goans learned Western music including jazz under Portuguese rule and then infused it into Indian cinema so that it spread from entertainment purely for the elite to the general public via Bollywood soundtracks.

Honestly I don't think Bollywood songs can truly be called JAZZ  songs. BUT “Jazz flavored” and  there are many. Many songs ‘preludes’, ‘interludes’ as well as ‘postludes’ have been decorated with JAZZ style orchestra arrangements.

Bollywood has been adapting Jazz style to their songs from time immemorial. Music composers C Ramchandra, S D Burman, O P Nayyar, Shankar-Jaikishan, Laxmikant-Pyarelal, RD Burman and many music directors have elements of jazz in so many of their songs. There is a lot of scope to use jazz in Bollywood music, because the genre is adaptable, flexible and rhythmic. It swings. It’s modern and progressive, and adds a certain gusto to the song arrangements.

Laxmikant-Pyarelal (1969) 

Laxmikant-Pyarelal have composed many of the such “Jazz Flavoured” songs. Selected the best of the lots for the review purpose.

Laxmikant-Pyarelal, Pt. Hariprasad Chaurasiya (left side partly hidden)

The orchestra arrangements in “PRELUDES” and “INTERLUDES” used to be the assets of the songs composed by Laxmikant-Pyarelal. It would be more proper to listen to the songs,listed below, after reading the write up, explaining peculiarities, for each of the songs,you will enjoy it, more.

Mera Naam Hai Jameela …. (Night In London, 1967)

(Singer :- Lata Mangeshkar,  Lyricist:- Anand Bakshi)

JAMEELA ssssssss:: JAMEE sssssssLA::JAMEELA::    HELEN has gamboled this CABARET song with Rich Orchestral Arrangements, with the distinctive style. Almost NINE different versions of rendering the word “JAMEELA” by Lata Mangeshkar in this song. “Prelude” of 50 seconds, consists of heavy orchestration,  is worth to listen 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.

Aa Jaan-E-Jaan …. (Intaquam, 1968 )

(Singer :- Lata Mangeshkar,  Lyricist:-Rajendra Krishan)

One of the best Cabaret song in Hindi Film Music.  Laxmikant-Pyarelal’s Heavy and Rich Orchestration, Lata Mangeshkar’s extremely soft rendering, Helen’s malleable gamboling and best choreographed by P. L. Raj.  “Prelude” of over 70 seconds is full of BRASS and TRUMPETS, musical instruments, is mesmerizing. Brilliant take off by Lataji.. ‘aa jaane jaan’ than ‘ear-pleasing’ pause for 3 seconds,  forced the listeners to concentrate on ‘euphonic’ RHYTHM orchestrated for this gem of song. Just listen how beautifully Lataji renders the ‘Aa lala lala lala lala’ is a ‘killer’. No other singer could have managed to bring such finesse into that expression. Laxmikant-Pyarelal have extraordinarily orchestrated this cabaret with maximum use of BRASS, TRUMPET, SAXOPHONE, CLARINET, GUITAR  and JAZZ FLUTE without disturbing the melody paft of the song. Despite being a cabaret song the dance by Helen ji looks so graceful, totally devoid of vulgarity. The song became an instant hit on the charts and still popular, even today.

Tik Tik Tik Mera Dil Dole …. (Humjoli 1971)

(Singer :- Lata Mangeshkar-Mohammad Rafi,  Lyricist:- Anand Bakshi)

Distinguishable composed melodious Cabaret song in the duet form. “Prelude” 34 seconds is consists of Lataji’s aalap in western style. Fasttrack BONGO rhythm. All the “interludes” are awesomely orchestrated in JAZZ flavored,  with BRASS instruments, including SAXOPHONE, BASS GUITAR. All the three ‘antaras’ are mellifluously ‘filled’ with Lataji’s rendering ‘aalaps’ (second antara) as well as Rafi sahab's vocal ‘aalaps’ ( first and third antara) followed by “filling” with SAXOPHONE. The pair of Mumtaz-Jeetendra  looks charming as a cabaret dancers. A superhit song, still popular.

Dard-E-Dil Badhta Jaye …. (Buniyaad 1972)

(Singer :- Lata Mangeshkar,  Lyricist:- Anand Bakshi)

This is an OUTSTANDING composition in western style with JAZZ flavoured orchestra. You can have an idea about the "Chemistry" between LP and  Lata, how brilliantly, LP orchestra has synchronized JAZZ FLUTE with Lata's voice, in the beginning of the each of the “interludes”.

Sham Bheegi Bheegi Badan Jal Raha Hai …. (Gehri Chaal 1974)

(Singer :- Asha Bhosle,  Lyricist:-Rajendra Krishan)

Melodious Cabaret Song: Soft Rhythm of BONGO Drums, use of SAXOPHONE, as a filler and in both the interlude is at it's best. JAZZ FLUTE and GUITAR, synchronized with the SAXOPHONE, sounds ear-pleasing throughout the entire song. Actress BINDU looks beautiful while dancing.  ASHA BHONSLE sounds superb.

Dhak Dhak Dhadke….    (Pagli 1974)

(Singer :- Asha Bhosle,  Lyricist:- Anand Bakshi)

Entire song is orchestrated in western style with SAXOPHONE, GUITAR and VIOLINS. Actress BINDU dances superbly. Asha Bhosle rendering is simply superior.

Wai Wai Mein Jal Gayi…(Gaddar 1974)

(Singer :- Lata Mangeshkar,  Lyricist:- Anand Bakshi)

What a sensational rendering by Lata Lata Mangeshkar. JAZZ FLUTE, SAXOPHONE and GUITAR are preeminently orchestrated with different style of ‘rhythm’. Padama Khanna is simply superb.

Hungama Ho Gaya….(Anhonee 1974)

(Singer :- Asha Bhosle,  Lyricist:- Verma Malik)

Today’s ‘hot cake’. Full credit to Laxmikant-Pyarelal, Asha Bhosle and the dancer BINDU. Excellent use of GUITAR. Cinematographer S Ramchandra has wonderfully shot the song by  synchronising ithe the ‘rhythm’.

Hawa Hawai….(Mr. India 1987)

(Singer :- Kavita Krishnamurthy,  Lyricist:- Javed Akhtar)

This is too, today’s sensation. Use of BRASS instruments mainly SAXOPHONE is just brilliant. VIOLINS, GUITAR and CHORUS are excellently surrounded in the song. Second ‘interlude’ is beautifully overlapped with the rhythm of CLAPPING and SAXOPHONE.

This song gave name / fame to both Sridevi and Kavita Krishnamurthy. 

Om Shanti Om …. (Karz 1980)

(Singer :- Kishore Kumar,  Lyricist:- Anand Bakshi)

Spellbind, Huge and Enrich  orchestra arrangements in western style,  throughout the song. Despite Kishore Kumar’s usual shouts and Laxmikant-Pyarelal boisterous orchestra, the melody part of the song is not lost. The song has become a youth anthem. Kishoreji sounds  like a ‘man’ of the age of 30. This composition from Laxmikant-Pyarelal  came up with a solid riposte to their critics. All the BRASS musical instruments like TUBA and FLUGELHORN, SAXOPHONE and CLARINET along with GUITAR are wonderfully orchestrated in enrich orchestra arrangements with the powerful western ‘beats’.

Jumma Chumma….(Hum 1991)

(Singer :- Sudesh Bhosle,  Lyricist:- Anand Bakshi)

“Prelude” of 75 seconds, with beautiful glimpses of GUITAR sets the mood of the song. All the BRASS musical instruments like TUBA and FLUGELHORN, SAXOPHONE and CLARINET along with GUITAR are wonderfully orchestrated as a ‘filler’ (after rendering ‘jumma chumma de de’). Despite Sudesh Bhosle’s  usual shouts and Laxmikant-Pyarelal boisterous orchestra, the melody part of the song is not lost. The song has become a youth anthem.

Ajay Poundarik

Cleveland, Avon (OHIO)

USA