Contortionist HELEN & Cadence of LAXMIKANT-PYARELAL

Contortionist HELEN & Cadence of LAXMIKANT-PYARELAL

Helen Jairag Richardson Khan is a Hindi film actress and dancer, best known for playing vamps and vixens in Bollywood movies of the 1950s to 1980s. She was famous for her performances in flamboyant dance sequences and cabaret numbers. It was in 1963, Laxmikant-Pyarelal’s very first film “Parasmani”, HELEN got an opportunity to act and dance on a very popular number of the film,  “Ooi Maa Ooi Maa Ye Kya Ho Gaya” . Contortionist Helen have danced on the cadence of Laxmikant-Pyarelal for over 30 films.

Many of the dancing compositions from the desk of Laxmikant-Pyarelal have been amusingly filmed and choreographed on Helen. It is not possible to list out all films. Listing few … “Parasmani” 1963, “Harisihchandra Taramati” 1963, “Aaya Toofan 1964, “Lootera” 1965, “Night In London” 1967, “Anita” 1967, “Intaquam” 1969 and many .

The creation of the astounding combo of Helen and Laxmikant-Pyarelal, includes Dance-Music/Songs  for Folk, Mujra, Classical, Cabaret, Western Classical, Item songs etc.

Ten best of the aristocratic songs from this combo are being reviewed. Nine out of the Ten songs, including Three Cabaret, boisterously orchestrated, have been sung by Lata Mangeshkar. All the songs, individually,  have been interpreted with useful informations.

It would be more proper to listen to the songs, listed below, after reading the write up, explaining peculiarities, for each song, you will enjoy the songs, more.

The songs are.>>>

1 Ooi Maa Ooi Ma Ye Kya Ho Gaya …. (Parasmani, 1963)

(Singer :- Lata Mangeshkar  Lyricist:- Farooq Qaisar)

Extremely melodious song with fascinating “prelude” of 58 seconds is decorated with VIOLINS, ACOUSTIC GUITAR, FLUTE and also the modulating sound of GHUNGHROO, overlapped with the chorus, sets the mood of this ‘folkish’ style composition. The rollick and natural dancing from Helen on Laxmikant-Pyarelal’s “DHOLAK” rhythm synchronized with GHUNGHROO, throughout the song. All the “interludes” are composed with VIOLINS, ACOUSTIC GUITAR and  FLUTE.

2 Meghawa Gagan Beench Jhanke …. (Harischandra Taramati, 1963)

  (Singer :- Lata Mangeshkar  Lyricist:- Rashtrakavi Pradeep)

This particular song is based on "classical' raag KALAWATI. The prelude of 90 seconds is just mesmerizing. Musical instruments  like FLUTE, JALTARANG, SITAR, GHUNGHROO, Lataji’s ‘aalap’,  rhythm of MRIDANGAM and TBALA etc are wonderfully orchestrated in the “prelude”. Again all these musical instruments with Lata’s “aalaps” and “chorus”  are mellifluously executed in all the “interludes”. Helen is choreographing the act in front of leading actor Prithviraj Kapoor. A fabulous song in all respect.

3 Aap Ne Kya Kaha …. (Aaya Toofan, 1964)

(Singer :- Lata Mangeshkar  Lyricist:- Asad Bhopali)

This is an immensely sweet, romantic descant. It starts with 16 seconds “prelude” of SANTOOR than mind-boggling take off by Lata ji. Certainly it is outstanding and superb performance by Helen. Although Helen was in a leading role opposite Dara Singh in the film but she couldn’t overlooked her natural dancing talent which can be easily seen during the “interludes” which are awesomely adapted by Laxmikant-Pyarelal with the use of FLUTE, SANTOOR, SITAR and SARANGI. The song has ear-pleasing DHOLAK rhythm.

4 Hum Pyar Kiye Jayenge …. (Aaya Toofan, 1964)

(Singer :- Lata Mangeshkar  Lyricist:- Asad Bhopali)

This song of Helen/Laxmikant-Pyarelal reminds us Madhubala/Naushad’s “pyar kiya to darana kya” from ‘Mughal-E-Aazam”. The biggest asset of this song is that it is tunefully orchestrated with a SYMPHONY style VIOLINS and ACOUSTIC GUITAR in “60 second “prelude’,  all the ‘interludes’ and also as ‘filler’ in ‘mukhada’ and ‘antara’, as well. Helen has heatedly performed this dance number on the persuasive ‘rhythm’ of DHOLAK.  Lataji is simply outstanding.

5 Muze Dekhiye Main Koi Daastan Houn ….(Lootera, 1965)

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

In the beginning of their career Laxmikant-Pyarelal have  scored excellent music for many numbers of B grade films. “Lootera” is one of them. It has as many as six Dance Numbers all sung by Lata Mangeshkar, danced my many actress. This an enchanting melody charmingly frisked by Helen in her own style, on a  ‘QAWWALI’ style “rhythm” on DHOLAK.

6 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 Mangeshakar 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.

                                                                        

7 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.

8 Mehfil Soyee Aisa Koi …. (Intaquam, 1968)

(Singer :- Lata Mangeshkar  Lyricist:-Rajendra Krishna)

Yet another melodious cabaret song from the combo of “Helen-Lata-LP”. Laxmikant-Pyarelal have orchestrated this westernized song with the excellent and maximum use of the JAZZ FLUTE, ACOUSTIC GUITAR  and VIOLINS with beautiful BONGO DRUM ‘rhythm’. Once again wonderful  cabaret by Helen, a lesson for modern dancer. This song, being the best,  has got less importance as the other cabaret (‘aa jaane jaan’) is more known and popular, from the same film, “Intaquam”.

9 Mehrabaan  Mehaboob Dilbar Jaan-E-Man …. (Aansoo Ban Gaye Phool, 1969)

(Singer :- Asha Bhonsle  Lyricist:-Taj Bhopali)

Intoxicated melody and ‘rhythm’. One of the best song composed by Laxmikant-Pyarelal for Asha Bhonsle. The song is completely woven around the “aalap” and “humming” by Ashaji, supported by westernized orchestra with excellent use of SAXOPHONE, GUITAR and the SYMPHONY style VIOLINS. Beautiful and frolicsome Helen dancing effortlessly.

10 Mubarak Ho Tujhe Ae Dil …. (Raja Jani, 1972)

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

Although this song is submissively filmed on Hema Maliniji but overwhelmingly gamboled on the floor by Helen. The song has WALTZ style ‘rhythm’ and mellifluously orchestrated “interludes” by VIOLINS, GUITAR and ACCORDION. The fabulioius dancing by Helen in all the “interludes” is worth to watch.  

Ajay Poundarik

Atlanta (Georgia)

USA

STERLING but BELITTLED KISHORE KUMAR and LAXMIKANT-PYARELAL

STERLING  but  BELITTLED   

KISHORE KUMAR  and  LAXMIKANT-PYARELAL

It was in 1964 director Shantilal Soni was making “Mr X In Bombay” starring Kishore Kumar and Kumkum in  lead roll. Obviously, Kishore Kumar as a singer was the choce for all the songs of “Mr. X In Bombay”.  Laxmikant-Pyarelal had already made a high impact, in hindi film music,  through the songs of their earlier hit, B grade, films from “Parasmani”, “Harishchandra Taramati”, “Sati Savitri”, “Sant Gyaneshwar” & “Dosti” etc. In these films Laxmikant-Pyarelal had an opportunity to work with great singers like Lata Mangeshkar, Mukesh, Mohammad Rafi and Manna Dey to compose “A Grade” music.

Now it was the time for Laxmikant-Pyarelal to work with Actor / Singer Kishore Kumar, in “Mr X In Bombay”. Kishore Kumar was passing through the lean period of his musical career, then. Both Laxmikant and Pyarelal 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”

Kishore Kumar & Laxmikant-Pyarelal combo ( 402 songs) was formed in 1964, "Mr. X In Bombay", much before formation of combo of Kishore Kumar & R D Burman (499 songs).

Thus this historical song  “Mere Mehaboob Quyamat Hogi” become the first song for the STERLING but BELITTLED combo of Kishore Kumar and  Laxmikant-Pyarelal. Later on this combo of KK-LP went on to score as many as 402 songs, from 1964 to 1987. This figure of 402 is the second highest songs sung by Kishore Kumar with any music directors, first being Kishore Kumar & R D Burman with 499 songs.  Coincidently, this  historical song, “Mere Mehaboob Quyamat Hogi”,  also happens to be the first song of legendary song writer Anand Bakshi with Laxmikant-Pyarelal & Kishore Kumar, as well.  Kishore Kumar’s very first reaction / judgment for this song was correct. The song is still popular, even today.

Laxmikant, Kishore Kumar & Pyarelal, in 1964.

In the combo of Kishore Kumar and  Laxmikant-Pyarelal,  402 songs with diversification,

one will always find everything, in the form of ….

Folk (Main Jahan Chala Jaoun, “Banphool”, 1970),  

Mujra (naach meri bulbul, Roti, 1974),  

Gazal (pyar ko chahiye kya ek nazar, “Ek Nazar”, 1972),  

Lori (soi ja tara “Mastana, 1970),

Qawwali (haal kya hai dilon ka, “Anokhi Ada”, 1973),  

Philosophical (aadmi jo kehata hai, “Majboor”, 1974)

Classical (chali re chali re gori (with Lata), “Mr X In Bombay”, 1964),

Romantic (mere dil main aaj kya hai, “Daag”, 1973),

Western Classics (jaani o jaani, “Raja Jaani”, 1972),  

Sad (ye dard bhara afasana, “Shreeman Fantoosh”, 1965),

Devotional (prem ka rog laga muze “Do Premee”, 1980),

Inspiration (gaadi bula rahi hai, “Dost”, 1974),

Patriotic (dekho veer jawano, “Aakraman”, 1975),

Disco (paisa ye paisa, “Karz”, 1980) to ‘Chalu’  songs.

This variety of songs will not be found in Kishore Kumar’s songs with any music directors. It is unfortunate that this ‘combo’ did not get the kind of recognition, acclamation which certainly deserves, unbiasedly.

YES ! Intrinsically  this ‘combo’ has given many memorable hits to Rajesh Khanna.

Moreover, Kishore Kumar have uniquely diversified his rendering style in many of the songs composed by Laxmikant-Pyarelal.

We will discuss more useful aspects of few selected songs elaborating the features of this Sterling but underestimated combo of Kishore Kumar and Laxmikant-Pyarelal.

It would be more proper to listen to the songs, listed below, after reading the write up, for each song, you will enjoy the songs, more.

1)  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 sec0nds with the glimpses of VIOLINS, ACCORDION, GUITAR and MANDOLIN. Wonderful take off by Kishore Kumar with the “beats” of BONGO DRUMS.  One can feel the “dard” (pain) in Kishore Kumar’s voice.  Kishore Kumar  has rendered this song with  some peculiar voice. Both the “interludes’ are orchestrated with the VIOLINS, ACCORDION, MANDOLIN and GUITAR. The song is written by Anand Bakshi.  

When we watch this movie and see that Kishore Kumar himself is singing this song gives healthy impression for this song.  What were the days when Kishore Kumar used act as well as sing. Kishore Kumar himself  has rated this song, as a favorite,  among the top ten songs.

2) Pyare Batate Chalo  …(Hum Sab Ustad Hai, 1965) Patriotic Song.

One of the rarest of rare Patriotic song sung by Kishore Kumar. Laxmikant-Pyarelal have composed this song in western beats with  “Rock-N-R0ll” and “Twist” style. “Prelude” of 46 seconds is mesmerizing. Train Sound is brilliantly synchronized with the VIOLINS and ACOUSTIC  GUITAR.  One of the best song filmed on train. Kishore Kumar is simply awesome,  both in rendering and in acting, as well. The song has harmonious BONGO DRUM ‘rhythm’. It is written by Asad Bhopali

3)  Mere Naseeb Main Ai 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 with overlapping sound effects of VIOLINS, VIOLA, FLUTE and SANTOOR are the significant aspects of this song. Another beauty of this song is that Kishore Kumar  has brilliantly ‘synchronized’ the "pause" in the LP orchestra. The rhythm of the song is completely on BONGO DRUMS. The song is written by Anand Bakshi.

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

First class rendering by Kishore Kumar. Kishore Kumar was reluctant to sing this song because he felt that Rafi Saab suited it more. As Laxmikant-Pyarelal had crafted the song with him in mind.  Rajesh Khanna and the composers duo hoodwinked him into singing it, by stating that they were scrapping the song because he was not ready to sing it.  This song is composed as Mujra in Qawwali style. 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. The song is written by Anand Bakshi.

Such was a craze for Rajesh Khanna and this song that a downpour of coins on the screen were seen. It was a super duper hit song in ‘Binaca Geeetmala’.

5) Yeh Jeevan Hai ….(Piya Ka Ghar, 1971)  Western

One of the finest songs from  Kishore Kumar with Laxmikant-Pyarelal. Kishore Kumar’s extremely soft and silky rendering in a totally different way and Laxmikant-Pyarelal’s westernized orchestra, very delicate rendering by CHORUS in surround sound for the “interludes”, are the features of this lovely song. The song is completely woven around the glimpses of ACOUSTIC  GUITAR (played by late Gorakh Sharma, Pyarelalji's younger brother). WHISTLE in surround sound gives the listeners Ear-Pleasing. Another beauty of this song is ‘finger pinch’ used in the ‘rhythm’, at the end of each ‘antara’. Essence of life captured beautifully in simple words by Anand Bakshi.

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

This romantic song is 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. First ‘interlude’ is orchestrated with the sounds of FLUTE, VIOLINS and SANTOOR. Second ‘interlude’ is decorated with SARANGI and SAXOPHONE with overlapping sound of the VIOLINS in ‘symphony’ style. Third ‘interlude’ starts with VIOLINS, VIOLINS and SANTOOR. The song has lovely ‘DHOLAK’ beats. It is written by Anand Bakshi.

7)  Krishna Krishna Bolo Krishna….(Naya Din Nayee Raat, 1974) Devotional

One of the rarest of rare ‘devotional’ song sung by Kishore Kumar (with Lata Mangeshkar).

“Prelude” of 34 seconds is full of traditional religious instruments, sets the mood of this extremely melodious song. Kishorji’s beautiful take off, rendering, “Krishna Krishna” is a mesmerizer. Entire song is rendered in a ‘soft’ voice and on high pitch too. The song is orchestrated with SITAR and FLUTE with the ‘rhythm’ of MRIDANGAM. Another ‘beauty’ of this “Bhajan” is the overlapping sound effect of rendering of Kishoreji and Lataji, in different tunes and notes. This song is penned by Rajendra Krishna.  

8)  Ruk Jana Nahin Tu Kahin Har Ke…. (Imtihan, 1974)  Inspiration

Wonderful Singing by Kishore Kumar on “high notes” and perhaps one of his best songs in mid-seventies, carrying  variety. Beautifully penned by Majaroooh Sultanpuri, truly an inspire words. Wonderful decoration of highly RICH orchestra consists of CHURCH BELL (overlapping with the ‘rhythm’), GUITAR, IRANI SANTOOR, ACOUSTIC GUITAR, VIOLINs, FLUTE  and TRUMPET (Military BIGUL). Western style “rhythm” with Bongo Drums. All the three “interludes’ have three different tunes.  Another ‘killer’  part of the song is the various “pauses” given by KK-LP.

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

Hypnotizing orchestra from Laxmikant-Pyarelal  and stupefying rendering by Kishore Kumar. This mellifluent song is composed on Raag “Yaman Kalyan”. 13 seconds of ‘prelude’ enthrals with the sounds of VEENA and PIANO. Cool and calm rendering by Kishore Kumar with fascinate TABLA/KONGA Drum ‘rhythm’. First ‘interlude’ orchestrated with VEENA and SANTOOR. Second ‘interlude’ is decorated with PIANO and VEENA and also used as a ‘filler’ in  the second ‘antara’. Third ‘interlude’ is executed with SITAR and SAROD supported with soft surround VIOLINS. One of the best song from  KK-LP combo. The song is written by Anand Bakshi.    

10)  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 have used BICYCLE BELL sound in the ‘rhythm’ in support with KONGA Drums. Later the ‘rhythm’ pattern converted to DHOLAK.  Fascinating “interludes” are orchestrated with the instruments like solo VIOLIN,  SAROD, CLARINET, IRANI SANTOOR  and VIOLINs. The song is written by Anand Bakshi.

11)  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. 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’. The song is written by Anand Bakshi.     

12) Kahan Ja Raha Tha….(Qatl, 1986)  Roaring Kishore Kumar

The ‘roaring’ like sound by Kishore Kumar.  Tune and orchestra creates a strong feeling just like a man hatching conspiracy to do some crime like killing a person. The background orchestra played in the second stanza and at the end shows tremendous  mind storming of a person, Sanjeev Kumar. The song has PIANO in ‘prelude’ & in all the ‘interludes’ with beautiful DHOLAK rhythm. This song is written by Rajendra Krishna.

Long Live Laxmikant-Pyarelal Music.

Ajay Poundarik

Atlanta (Georgia)

USA.