::LAXMIKANT-PYARELAL and The LORD KRISHNA Chorals::

::LAXMIKANT-PYARELAL and The LORD KRISHNA Chorals::

Hindi Film Music has always given us reasons and songs to celebrate the traditions and festivals of our country. One of the reasons for its popularity is that it brings to the motion picture  the ebullience and heterogeneity of the Indian culture.

In the span of 35 years from 1963 to 1998, Laxmikant-Pyarelal  have composed over 2800 songs, according to change of time and the situation demand,  for nearly 500 films, A record.

Laxmikant-Pyarelal songs are for all the generations, Laxmikant-Pyarelal songs are available for any situations,  moreover Laxmikant-Pyarelal songs are also available for all the Indian festivals, including Eid, Easter and Christmas.

So, on the birth occasion of  The Lord Krishna this year, this Blog  brings to you the melodious songs composed by Laxmikant-Pyarelal  that portray the various shades of Lord Krishna's nature.

Laxmikant-Pyarelal have recorded many memorable songs that characterize assorted nature of  The Lord Krishna. Among the Music Directors, it is LAXMIKANT-PYARELAL who have composed maximum songs on LORD KRISHNA, in Hindi Films. Many of these songs can be heard in temples, all across the world.

Listing out few songs (20 numbers) below + 7 best songs for review.

O Kanhaiya Teri Murli Ki Taan... Lata Mangeshkar - Manna Dey  “Raja Aur Runk” 1968 
Nandlal Gopal Daya Kar Ke… Asha Bhosle - Usha Mangeshkar   “Sadhu Aur Shaitan” 1968. 
Nandlala Holi Khele… Lata-Rafi-Asha-Mukesh   “Mastana” 1970  
Bansuri Tihari Nandlal… Asha Bhosle  “Sajan” 1970  
Sham Dhale Jamuna Kinare… Lata Mangeshkar - Manna Dey  “Pushpanjali” 1970  
Gokul Ki Galiyon Ki Aur… Kishore Kumar  “Badla” 1972. 
Chhodo Kanhai Mein Dungi Duhai…Lata Mangeshkar  “Shadi Ke Baad” 1972.   
Soja Krishn Kanhaiyya....Lata Mangeshkar  “Shadi Ke Baad” 1972.        
Krishna Krishna… Kishore Kumar - Lata Mangeshkar    “Naya Din Nayi Raat” 1974.  
Jai Jai Krishna Jai Jai Krishna… Lata Mangeshkar  “Bidai” 1975.
Achchhe Samay Pe Tum Aaye Krishna… Asha Bhosle  “Bidai” 1975. 
Bhor Bhaye Panghat Pe… Lata Mangeshkar   “Satyam Shivam Sundaram” 1978.  
Teen Batti Wala Govinda Aala.... Mohammad Rafi - Kishore Kumar   “Muqabla” 1979.  
Bansi Bajao Bansi Bajaiya …. Kishore Kumar  “Judaai” 1981.  
Gokul Ki Galiyon Ka Gwala… Kishore - Asha - Usha  “Raaste Pyar Ke” 1982 
Mora Roop Rang … Lata Mangeshkar  “Qatl” 1986.  
Chal Hat Kal Phir…  Lata Mangeshkar   “Nache Mayuri” (1987)
Nand  Ka Lala Nand Gopala…Anuradha Paudwal    “Insaaf” (1987)  
Bansi Wale Ne Gher Layi… Lata Mangeshkar  “Santosh” 1989  
Krishna Aayega…  Amit Kumar - Kavita Krishnamurthy “Yugandhar” 1993.

Review  of 7 songs with  consummate fascination of 

Laxmikant-Pyarelal and Lata Mangeshkar

Daiyya Re Daiyya Yashoda Maiya.    “AASRA”    1966  
(Singers :- Lata Mangeshkar.  Lyricist:- Anand Bakshi)

An extremely melodious song. How beautifully Lataji has rendered the word ‘Bada sss Natkhat Hai Tero Nandlal’ (‘ बड़ा ssss नटखट है तेरो नंदलाल ). Honeyed DHOLAK rhythm. SITAR as well as FLUTE are awesomely executed in the ‘interludes’ giving an ear pleasing moments.  The song is filmed on actress Ameeta.  Actors Jagdeep, Balraj Sahni, Nirupa Roy, David can also be seen in the video clip.

Kanha Kanha Aan Padi Main Tere Dwar.    “SHAGIRD”    1967  
(Singer :- Lata Mangeshkar. Lyricist:- Majrooh Sultanpuri)

Hypnotising ‘prelude’ of 30 seconds full of Lataji’s AALAPS as well as sharply played SITAR. Beautiful take off by Lataji ‘Kaanha ssss, Kaanha ssss’ ( कान्हा sss कान्हा sss ). All the ‘interludes’ are wonderfully orchestrated with the use of SITAR, solo VIOLIN as well as FLUTE (Indian Bansuri). It has admirable DHOLAK / TABLA rhythm. This melody is filmed on Saira Banu who looks very beautiful.

Sanjh Savere Adharon Pe Mere .   “MADHAVI”    1968                                               
(Singer :- Lata Mangeshkar.  Lyricist:- Anand Bakshi)

Melodious as well as pure classical song based on raag Majh Khamaj. Lataji rendering is phenomenal particularly the ‘take off’ ‘Sanz Savere, Adhron Pe Mere’ (साँझ सवेरे, अधरों पे मेरे ) supported with the ‘stroke’ of ACOUSTIC GUITAR. FLUTE (Indian Bansuri) is appealingly used as a ‘filler’ in the ‘mukhada’.  In all the ‘interludes’ use of SITAR as well as FLUTE is phenomenal. Beautiful DHOLAK / TABLA rhythm.  

Yashomati Maiya Se Bole.   “SATYAM  SHIVAM SUNDARAM”  1978         
 (Singer:- 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. How radiantly Lataji has changed her rendering style, while singing ‘Radha Kyon Gori’ ( राधा  क्यूँ गोरी, में क्यूँ काला ), suiting to  child artist, then,  Padmini Kolhapure. Actor Kanhaiyalal can be seen on Harmonium.

Jaun Tore Charan Kamal.   “SUR  SANGAM”   (1985)  
(Singers :- Lata Mangeshkar - Rajan / Sajan Mishra.  Lyricist:- Vasant Dev)

The song is composed on ‘Raag’ Bhupali. How magnificently Lataji has given ‘AALAPS’ and rendered the words ‘Jaun Tore Charan  Kamal’ (जाऊं तोरे चरण कमल ) . An amazing orchestra arrangement in Indian Classical style as well as melodious DHOLAK rhythm. The ‘interludes’ are mellifluously orchestrated, synchronized as well as overlapped with different tunes, by using  SANTOOR,  JALTARANG,  FLUTE, VICHITRA VEENA,  SITAR and MANJIRA.

Yashoda Ka Nandlala Brij Ka Ujala     “SANJOG”   (1986)
(Singer :- Lata Mangeshkar.  Lyricist:- Anjan)

The beauty of this song is Lataji’s crooning in lullaby style  Ju Ju Ju Ju, Yashoda Ka Nandlala 
(जु जु जु जु जु जु , यशोदा का नंदलाला ). It has a accordant DHOLAK rhythm. ‘Interludes’ are orchestrated with JAZZ FLUTE, symphony style VIOLINS as well as SITAR. Song is filmed on Jaya Prada.

Radha Nachegi.   “SAUDAGAR”  (1991)  
 (Singers :- Lata Mangeshkar - Mohammad Aziz.  Lyricist:- Anand Bakshi)

The best part of this song is use of CHORUS and it’s synchronization with the enrich orchestra by using traditional Indian Musical Instruments like SHELL SOUND, TEMPLE BELLS, MANJIRA, MRIDANG etc. Dulcet take off by Lataji AALAPS rendering ‘Jamuna Ke Tat Par Jab Natkhat Bansi Wale Ki’ ‘(जमुना के तट पर जब नटखट बंसीवाले की ) harmonizes with the melodious DHOLAK rhythm intermixed with GHUNGROO BELLS. Wonderful use of FLUTE and SITAR in the ‘interludes’. Song is filmed on Dilip Kumar - Manisha Koirala.

The songs missing on this theme (The Lord Krishna Songs and Laxmikant-Pyarelal) can added in the comment section of this Blog.

Ajay Poundarik.

"WALTZ" Cadency and LAXMIKANT-PYARELAL Music.

"WALTZ" Cadency and LAXMIKANT-PYARELAL Music.

In Hindi Film Music many of the music directors have orchestrated WALTZ ‘rhythm’ to compose some beautiful melodies. In this topic reviewing few best songs composed by Laxmikant-Pyarelal on “WALTZ” Cadency.

WALTZ  is type of musical ‘rhythm’ created for  a ballroom dance in 3/4 time with strong accent on the first beat and a basic pattern of step-step-close.

WALTZ is originated from the Germany in 16th century. WALTZ, from the old German word walzen to roll, turn, or to glide. In simple words to move or glide in a lively or conspicuous manner (to advance easily and successfully).

Technically speaking, a WALTZ  is a closed position dance to be performed in triple time. In layman's terms, this means that the partners both hold and face each other while dancing to a rhythm of hard-soft-soft-hard-soft-soft.

Originally introduced as a ballroom dance, the catchy rhythm, combined with the fact that the partners were allowed to be so close to each other, made the waltz popular within other styles.

Anil Biswas the legendary music director was the first to introduce the WALTZ ‘rhythm’ in Bollywood music, In the year 1940, through the song Hum Aur Tum Aur Yeh Khushi from the film “Alibaba”.  

Later many legendary music directors have used WALTZ ‘rhythm’.  Listing out few memorable hit songs composed by various music directors to get an idea / feel about WALTZ ‘rhythm’.

Naushad

‘Tara Ri Aara Ri Aara Ri’  /  Suraiya - Mohammad Rafi / “Dastan” 1950.  
Husnlal-Bhagatram  

‘Abhi To Mein Jawan Hoon’  /  Lata Mangeshkar / “Afsana” 1951.

S D Burman

‘Hum Aap Ki Aankhon Mein’ / Mohammad Rafi - Geeta Dutt / “Pyaasa” 1955.

Shankar-Jaikishan (Many songs composed on Waltz rhythm)

‘Aaja Ke Intezar Mein’ / Lata Mangeshkar - Mohammad Rafi / “Halaku”1956.

‘Dil Ki Girah Khol Do’ / Lata Mangeshkar  - Manna Dey / “Raat Aur Din” 1967.

‘Bhanware Ki Gunjan’ / Kishore Kumar / “Kal Aaj Aur Kal” 1971.

Khayyam

‘Wo Subah Kabhi To’  / Mukesh - Asha Bhosle / “Phir Subah Hogi” 1958.

O P Nayyar  (Many songs composed on Waltz rhythm)

‘Tum Jo Hue Mere Hamsafar’ / Mohammad Rafi - Geeta Dutt / “12 O'Clock” 1958.

‘Kaisa Jadoo Balam Tune’ / Geeta Dutt / “12 O’Clock” 1958.

Ravi

‘Ye Raaten Ye Mausam’ / Kishore Kumar - Asha Bhosle / “Dilli Ka Thug” 1958.

Mukul Roy

‘Mujhko Tum Jo Mil Gaye’ / Geeta Dutt - Hemant Kumar / “Detective” 1958.
Usha Khanna
'Hum Aur Tum Aur / Asha - Rafi / "Dil Deke Dekho" 1959.

Kishore Kumar (as music director)

‘Thandi Hawa Yeh Chandni ‘ / Kishore Kumar / “Jhumroo” 1961.

Madan Mohan

‘Shokh Nazar Ki Bijliyan’ / Asha Bhosle / “Woh Kaun Thi ?” 1963.
Chitragupt
'Ye Parbaton Ke Dayare / Lata Mangeshkar - Mohammad Rafi / "Aulad" 1968.

Kalyanji-Anandji

‘Sama Hai Suhana Suhana’ / Kishore Kumar / “Ghar Ghar Ki Kahani” 1970.

R D Burman

‘Tera Mujhse Hai Pehle Ka’ / Kishore Kumar - Sushma Shreshth / “Aa Gale Lag Jaa” 1973.

Rajesh Roshan

‘Ye Raatein Nayi Purani’ / Lata Mangeshkar / “Julie” 1974.

Laxmikant-Pyarelal too,  have extensively used WALTZ “rhythm” in their compositions, including mesmerizing Main Shayar To Nahin” (Raj Kapoor’s “Bobby”, 1973) and stupefying ‘Dhadkan Zara Ruk Gayi Hai’ (Nana Patekar’s “Prahaar”, 1991).  Let us review few of the best.

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

Wo Hai Zara     “SHAGIRD” (1967).

(Singers:- Lata Mangeshkar - Mohammad Rafi. Lyricist:- Majrooh Sultanpuri)

Enthralling  “toe stepping” WALTZ ‘rhythm’ generated through the intermixing sound effect of ACOUSTIC GUITAR and a SNARE DRUM, a percussion instrument. Entire song is woven around the glimpses of ACOUSTIC GUITAR.  Another beauty of the song is mellifluous overlapping of AALAAPS with words and also AALAAP with AALAAPS, by Lata Mangeshkar & Mohammad Rafi. This overlapped aalaps" can be heard at the end of the song.  i) "overlapped aalaps" at 3.22-3.28 and again at 3.48-3.54) ii) "overlapped aalaaps with words" at 3.28 to 3.48, simultaneously both by Lataji and Rafi sab. This beautiful, melodious and sweet song naughtily acted by Saira Banu and Joy Mukherjee

Diye Jalaye Pyar Ke    “DHARTI  KAHE PUKAR  KE” (1969)

(Singer:- Lata Mangeshkar. Lyricist:- Majrooh Sultanpuri)

This awsome "WALTZ'' rhythm with melodious tune.  The song is beautifully decorated with use of PIANO and mellifluous SYMPHONY style VIOLINS...Lata Mangeshkar is simply outstanding, giving justification for this GEM of composition. The perfect song for DIWALI occasion.  The song is filmed on Nivedita (Libi Rana) and Sanjeev Kumar.

Main Hardam Kisi Ko Dhundhata Hoon.   “RAASTE  KA PATTHAR”  (1972)

(Singers:- Mukesh - Asha Bhosle.  Lyricist:- Anand Bakshi)

A melodious duet beautifully orchestrated in WALTZ ‘rhythm’. The song has wonderful BONGO DRUM rhythm. The ‘interludes’ are mellifluently instrumented with SYMPHONY style VIOLINS, GUITAR.  The WHISTLE sound, synchronized with Mukesh rendering supported by Asha Bhosle, is simply ear-pleasing. Amitabh Bachchan dancing on Waltz ‘rhythm’ with Laxmi Chhaya.

Dilbar Jani    “HAATHI  MERE SAATHI”   (1971)

(Singers:- Lata Mangeshkar-Kishore Kumar.  Lyricist:- Anand Bakshi)

The "prelude" is full of WHISTLE, SANTOOR.  Rich Orchestra also has SAXOPHONE, FLUTE. The entire song has ACOUSTIC GUITAR as "base" for the rhythm.  The song is filmed on Rajesh Khanna - Tanuja.

Hum Aur Tum    “DAAG”  (1973)

(Singers:- Lata Mangeshkar-Kishore Kumar.  Lyricist:- Sahir Ludhianvi)

This romantic song is completely woven around the WALTZ rhythm based ACOUSTIC GUITAR as well BONGO DRUMS.  Another beauty of this song is it's 'interludes'. Both the 'interludes' have different tunes. First 'interlude' full of 'aalaps' by Kishore and  Lata with glimpses of VIOLINS. In second 'interlude' the VIOLINS are decorated in 'Waltz' style with beautiful "pauses". Even Lataji and Kishorji have also rendered the 'pauses' in the songs.

Rajesh Khanna-Sharmila Tagore look fanciful.

Main Shayar To Nahin   “BOBBY”  (1973)

(Singer:- Shailendra Singh.  Lyricist:- Anand Bakshi)

Truly a mesmerizer. Mellifluously decorated the WALTZ style orchestra for this lovely song. Use of VIOLINS,  IRANI SANTOOR, GUITAR, ACCORDION as well as VIOLA are brilliantly executed in the "prelude", all the "interludes" and also in "postlude"…The ‘overlapping’ sound effect of IRANI SANTOOR and SYMPHONY style VIOLINS in the first ‘interlude’ is mind-boggling.  Rishi Kapoor and Aruna Irani can be seen dancing in waltz style, specially in the "interludes, in the song. Brilliantly filmed by Raj Kapoor as a director.

Chanchal Sheetal   “SATYAM  SHIVAM SUNDARAM”   (1978)

(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”. Shashi Kapoor - Zeenat Aman looks awesome.

Tumhe Apna Saathi Banane Se   “PYAR  JHUKTA NAHIN” (1985)

(Singers:- Lata Mangeshkar-Shabbir Kumar.  Lyricist:- S H Bihari)

This sweet duet has  melodiously WALTZ ‘rhythm’ in the “interludes”. It is  orchestrated in SYMPHONY style VIOLINS, CELLOs, ACCORDION and GUITAR. Filmed on Mithun Chakraborty - Padmini Kolhapure

Dhadkan Zara Ruk Gayi Hai   “PRAHAAR”  (1991)

(Singer:- Suresh Wadkar.  Lyricst:- Mangesh Kulkarni)

A stupefying composition, cursive rendering and resonant orchestra arrangements in “prelude’, ‘interlude’ and ‘postlude’, as well. In first ‘interlude’ solo VIOLIN (played by late Aadesh Shrivastava) is awesomely synchronised with  surround sound of CELLOs. The second ‘interlude’ also have solo VIOLIN and intermixed with SYMPHONY style VIOLINS and PIANO. Those who like SYMPHONY orchestra will certainly enjoy third ‘interlude’. The ‘postlude’ is full of PIANO. The “pauses” given in between the song giving additional flavor. The song  is filmed on Madhuri Dixit, Gautam Joglekar and Aadesh Shrivastava.

Ajay Poundarik

Vadodara (Gujarat)

INDIA