Raj Khosla & Laxmikant-Pyarelal :: Musical Blockbuster “Mera Gaon Mera Desh”

 Raj Khosla & Laxmikant-Pyarelal :: Musical Blockbuster “Mera Gaon Mera Desh”

Mera Gaon Mera Desh  released in 1971, is a complete movie in itself. The film has a persuasive direction from Raj Khosla, honeyed music streaming with story, by 

Laxmikant-Pyarelal, powerful dialogues, story, superb performances by all. 

 

Dharmendra is excellent in his role and plays it superbly.  Asha Parekh is good too, Jayant is good as Fauji, Laxmi Chhaya is excellent in her role and the career best performance by Vinod Khanna who those days started as a villain is superb as Jabbar Singh.  

Sholey released in 1975 was inspired by Mera Gaon Mera Desh, 1971, in many ways. 

-- Coin Toss, before taking decision

-- Strapped shoulders of Jayant and Sanjeev Kumar. (similar roles) 

-- Mausi / A K Hangal

-- Jabbar Singh (Vinod Khanna)  /  Gabbar Singh (Amjad Khan)

-- Teaching of  Gun Dharmendra - Asha Parekh / Dharmendra - Hema Malini

++ Many

Mera Gaon Mera Desh celebrated Golden Jubilee run (50 week) all over India

The songs were / are hit, even today. Once again the rocking combo of Lata Mangeshkar / Laxmikant-Pyarelal jiggles. Lata Mangeshkar has sung all five songs, including four solos.

1 Sona Layi Ja Re …. Lata

2 Mar Diya Jaaye Ke Chhod Diya Jaay …. Lata

3 Apni Prem Kahaniyan …. Lata

4 Aaya Aaya Atariya Pe Koi …. Lata

5 Kuchh Kehata Hai Ye Sawan …. Lata-Rafi.

Asha Parekh lends the glamour quotient but it is Laxmi Chhaya who gives a stellar performance as a nautch girl. A special word of praise for Laxmi Chhaya. She gets to lip-sync to three of the film’s most famous songs—Maar diya jaaye ya chhod diya jaaye, Aaya aaya atariya pe koi chor and Apni prem kahaaniyaan—and dances up a storm in each of them.  This film has the best performance from her. She had a regrettably short film career and is not even remembered today. But see her here and you will never forget her. What a natural she was.

Maar Diya Jaaye Ke Chhod Diya Jaay …. Lata

Raj Khosla explained to Anand Bakshi a situation where the hero is tied to a pillar and the girl wants to rescue him. Anand Bakshi was at once reminded of the dialogue between Alexander the Great and King Porus where the former asked the latter !! तुम्हारे साथ क्या सुलूक किया जाए !! "Tumhare saath kya sulook kiya jaye?" And the song Maar diya jaye, ke chhod diya jaye... was born. Laxmikant-Pyarelal have mind-blowingly orchestrated this fabulous song, with 43 seconds of “prelude”, “interludes” and mesmerizing DHOLAK rhythm. Filmed on Laxmi Chhaya Dharmendra-Asha Parekh.

Apni Prem Kahaniyan …. Lata

One of the best ""situational"" numbers you would get to see. It's a gestural song situation. Raj Khosla has done the best to film this song. The police get no help either, when they arrive in the village "mela"/Fair.. . Nobody is willing to recognize "Dacoit ''  Jabbar Singh (VINOD KHANNA) and his gang. Ajit ( DHARMENDRA ) seeks the help of dancing girl Munnibai (LAXMI CHHAYA), to identify Jabbar Singh in a village "mela". Through the dancing on song, Munnibai is giving many hints of Jabbar Singh's physic, dress and the location where he is standing…This popular dancing song has a perfect set of village fare. Costumes, Cinematography is excellent.  

ANAND BAKSHI, has worded this song according to the situation demand.  LAXMIKANT-PYARELAL have decorated this song with mellifluous orchestra arrangements.

Prelude of 75 seconds steals the show, it is orchestrated by using  VIOLINS, RAVANHATTA (a violin from Rajasthan), RUBAB, GHUNGROO BELLS and wonderful display of MANDOLIN as well DHOLAK rhythm. Lataji’s take off  हाय शरमाऊं किस किस को बताऊं , 4 seconds singing ‘pause’,(at 1.17),  highlighting rhythm, followed by 7 seconds rhythmic ‘pause” (at 1.22).  Interludes  are justifying the village "mela"/fair . First interlude is orchestrated with RUBAB, NADASWARAM & VIOLINS. Second interlude starts with DHOLAK rhythm, NADASWARAM, VIOLINS  & finally it ends with RUBAB. Third interlude starts with VIOLINS overlapping sounds of TEMPLE BELLS, CONCH-SHELL, RAVANHATTA and NADASWARAM. The RHYTHM of the song is mesmerizing. LATA MANGESHKAR is simply outstanding..filmed on Laxmi Chhaya. .

Aaya Aaya Atariya Pe Koi Chor       Lata

आया-आया अटरिया पे कोई चोर.  49 seconds of 'prelude', orchestrated with VIOLINS, RAVANHATTA and NADASWARAM and finally with GHUNGROO BELLS, with many variations in DHOLAK rhythm, is a 'killer'. In mukhada an awesome 'take off' by Lata ji आया - आया अटरिया पे कोई चोर… singing ‘pause’ of 3 seconds (1.00 - 1.03)  & the synchronization Lataji’ rendering with the ‘stroke’ of DHOLAK , are  ear-pleasing. NADASWARAM / SHEHNAI is awesomely orchestrated in the first interlude. Second interlude is orchestrated with BANJO & SHEHNAI. Third interlude is instrumented with NADASWARAM, FLUTE and SHEHNAI In all the ataras BANJO sound & NADASWARAM are melodiously used in surround sounds.

Kuchh Kehata Hai Ye Sawan         Lata - Rafi

Anand Bakshi’s ‘class’ can be heard in this song. Question - Answer. Astonishing DHOLAK rhythm. SITAR, played by Ustad Rais Khan, mellifluously orchestrated in interludes & also as a filler. Singing ‘pause’ 1.29 to 1.31, highlighting DHOLAK rhythm and SITAR. Another singing ‘and rhythmic pauses’ at 2.32 to 2.39, mesmerises you for SITAR. The song is filmed on Dharmendra-Asha Parekh.

Sona Lai Ja Re         Lata

Typical LP style composition. 10 seconds of prelude TANPURA  is orchestrated. The beauty of the song is DHOLAK rhythm is synchronised with TANPURA, throughout the song. At the end singing ‘pause’ highlighting FLUTE. Very melodious composition. Filmed on Dharmendra-Asha Parekh.

Ajay Poundarik, Vadodara. 

CLASSICAL Manna Dey :: RHYTHMIC Laxmikant-Pyarelal

 CLASSICAL  Manna Dey :: RHYTHMIC Laxmikant-Pyarelal

Manna Dey has sung some beautiful songs of various types under Laxmikant-Pyarelal. Manna Dey has sung close to 70 songs, of various types, under Laxmikant-Pyarelal.

Laxmikant & Manna Dey

Laxmikant-Pyarelal made the detonation start with the music of Parasmani, 1963. Next year, in 1964, the duo’s third and fourth films,  Sati Savitri as well as Sant Gyaneshwar released.  

Laxmikant-Pyarelal composed some of their best musical scores in these two films. Manna Dey has sung one song in each of the above mythological films. tum gagan ke chandrama ho a semi-classical duet with Lata Mangeshkar in Sati Savitri and a pure classical, solo, jago re prabhat aaya  from Sant Gyaneshwar. 

In the year 1966 Laxmikant-Pyarelal scored a beautiful ‘raag-mala’ involving Lata Mangeshkar - Manna Dey, ek ritu aaye ek ritu jaye from the film So Saal Baad 1966. In the same year the duo scored a rock-n-style duet with Usha Mangeshkar, o meri maina tu manle mera kehna from Pyar Kiye Jaa.

Laxmikant-Pyarelal also used Manna Dey to compose male duets, Manoj Kumar’s Shor 1972, an inspirational song sung with Mahendra Kapoor jeevan chalne ka naam. Raj Kapoor’s Bobby, 1973, na mangu sona chandi with Shailendra Singh. 

There are few solo songs too. Darpan, 1970, darpan jhoot na bole

and Maa Aur Mamta, 1970, koi na jane bin tere naam

Manna Dey, Shashi Kapoor, Laxmikant, Randhir 

Kapoor, Raj Kapoor, Pandit Narendra Sharma, Pyarelal

Manna Dey Quote:-

 “Even though both of them (Laxmikant and Pyarelal ) are of my son’s age but would like to touch the feet of both Laxmikant and Pyarelal for their immense talent in music, dedication and complete devotion towards the music”….

Tum Gagan Ke Chandrama Ho             Sati Savitri  1964

(Lata Mangeshkar - Manna Dey  /  Pandit Bharat Vyas)

तुम क्षमा मैं भूल हूँ…..तुम गगन के चंद्रमा ..मै धरा की धूल हूँ.. The extreme of gratitude in love expressed ever in words.A beautiful song composed in Hindustani Raag “Yaman Kalyan”. 53 years have been passed since Lata Mangeshkar and Manna Dey got to gather to sing this magical song, NOT A SINGLE CREASE HAS APPEARED ON THE SMOOTH SHINING SURFACE OF THIS SONG…..The classical based song is mellifluously composed in symphony style orchestra arrangements. Use of soft pieces of VIOLINS and SITAR in all the 'interludes' is just mesmerizing. 

Jago Prabhat Aaya                                 Sant Gyaneshwar  1964

(Manna Dey  /  Pandit Bharat Vyas)

Beautiful melodious classical composition. Wonderful use of Chorus.  The song, based on raag Miyan Ki Todi. Solo VIOLIN, in the interlude sounds very nice. Melodious TABLA rhythm.

Ek Ritu Aaye Ek Ritu Jaye                        So Saal Baad  1966

(Lata Mangeshkar - Manna Dey  / Anand Bakshi)

One of the best classical compositions of Laxmikant-Pyarelal superbly sung by Bharat Ratna Lataji and Manna dey, both masters of classical song. The song is called “raag-mala”. Solo VIOLIN, SANTOOR and FLUTE are superbly orchestrated synchronizing TABLA and MRIDANGAM rhythm.

O Meri Maina  Tu Maan Le                   Pyar Kiye Jaa    1966

(Usha Mangeshkar - Manna Dey  /  Rajinder Krishan)

A naughty song, Manna Dey saab has superbly rendered this song, composed in Rock-N-Roll style rhythm. Renditions of the words अयी अयी यो, अयी अयी यो steals the show. Filmed on Mehmood - Mumtaz. Prelude of 22 seconds starts with ACOUSTIC GUITAR, DRUMS, in rock-n-roll rhythm.  BRASS instruments, TRUMPET etc. Manna Dey’ awesome take off..ओ मेरी मैना तू मानले मेरा कहना। First interlude is full of GUITAR and BRASS instruments. Second interlude is also GUITAR and BRASS (TRUMPET), with different tunes. Also enjoy the overlapping sound effects from the singers.

Keh Gaye Father Ibrahim                          Izzat       1968

(Manna Dey  /  Sahir Ludhiyanvi)

It’s a motivational song. Zero prelude starts with wonderful AALAPs from Manna Dey. excellent take off इस तालिमसे बढ़कर जग में कोई नहीं तालीम। Beautiful folkish rhythm of  DHOLAK synchronised melodiously with CHURCH BELL. This sounds good. Interludes are orchestrated with RAVANAHATHA,  FLUTE and NADASWARAM. The strokes of CHURCHBELL in the rhythm gives ear-pleasing moments. The song is filmed on actor comedian Mehmood. 

Sham Dhale Jamuna Kinare                          Pushpanjali   1970

(Lata Mangeshkar - Manna Dey  / Anand Bakshi)

शाम ढले जमुना किनारे ! किनारे ! आजा राजे आजा तुझे शाम पुकारे !

 An amazing work on FLUTE  

In the interludes, overlapping sound effects of FLUTE and MANDOLIN, VIOLIN and RUBAB are worth listening to. Great Composition. Wonderful execution of CHORUS also synchronized with Lataji's HUMMING and 'alaaps". The FLUTE is played by Pandit Hariprasad Chaurasiya who was a regular musician in Laxmikant-Pyarelal Orchestra. 

 

Jeevan Chalane Ka Naam                            Shor    1971

(Manna Dey - M Kapoor - Shyama Chittar / Indrajeet Singh Tulsi)

Inspiration song. Beautifully composed and filmed while driving Bicycle, on Manoj Kumar, Jaya Bhaduri and Prem Nath. 22 seconds of ‘prelude’ orchestrated with IRANI SANTOOR and VIOLINS. ‘Interludes’ are instrumented with VIOLINS, ACOUSTIC GUITAR, IRANI SANTOOR, MANDOLIN, ACCORDION and BICYCLE BELL. 

Na Mangoo Sona Chandi                               Bobby    1973

(Manna Dey - Shailendra Singh / Vitthalbhai Patel)

Based on “Goa” folk tunes this song starts with an excellent “Prelude” of 54 seconds. All BRASS instruments, GUITAR, ACOUSTIC GUITAR, solo VIOLIN, are wonderfully played in the orchestra.

Dharti Ambar Nind Se Jage                             Chaitali    1974

(Lata Mangeshkar - Manna Dey  / Anand Bakshi)

Hrisihekesh Mukharjee directed film, produced by Manobina Roy, (Bimal Roy’s wife).  

Marvelously sung by Manna Dey & Lata Mangeshkar. Stupefying 19 seconds prelude starts with Lata ji’s mind-boggling HUMMING as well as AALAPS followed by SITAR. Mellifluous TABLA / DHOLAK  rhythm. First interlude is orchestrated with SARANGI, FLUTE, TWEETING sound. Second interlude is full of SAROD. 

Ye Biraha Ki Aag Aisi                             Ponga Pandit  1975

(Manna Dey   /  Rajinder Kishan)

An extremely melodious song rendered by Manna Dey. HUMMING sound is awesomely intermixed with SANTOOR. TEMPLE BELL, SANTOOR, MANJIRA, FLUTE are beautifully orchestrated as a filler and in interludes. A hidden GEM. 

Ajay Poundarik, Vadodara 

 

 

 

Few of the songs sung by Manna Dey for Laxmikant-Pyarelal

 

1) Tum Gagan Ke Chandrama Ho….(with Lata)….”Sati Savitri”

2) Jago Prabhat Aaya….”Sant Gyaneshwar” 1964

3) Ek Ritu Aaye Ek Ritu Jaye…….(Pure Classical with Lata) ”Sau Saal Baad” 1966

4) O Meri Maina ..(Rock N Roll Style with Usha Mangeshkar)…”Pyar Kiye Jaa” 1966,,, A HIT song

5) Keh Gay Father Ibrahim …”Izzat” 1968

6) Darpna Jhooth Na Bole ..”Darpan” 1970

7) Sham Dhale Jamana Kinare…( Very sweet melody with Lata Mangeshkar )…”Pushpanjali” 1970

8) Kahan Din Hoye Kahan Sham “Maa Aur Mamata” …1970

9) Yeh Natak Kavi Likha Gaye Kalidas…”Khilona”

10) Jeevan Chalane Ka Naam…( with Mahendra Kapoor)..”Shor” 1972

11) Dharti Ambar Nind Se Jaage…(beaitiful melody in Hrishikesh Mukhaarjee’s “Chaitali” 1973)

12) Yashomati Maiyya Se ..(with Lata)…”Satyam Shivam Sundaram” 1978

13) Shree Radha Mohan …”Satyam Shivam Sundaram” 1977

14) Tum Be Sahara Ho To…”Anurodh”…1978

You can have his songs form “Karz”, “Majaboor”, “Kranti” etc..

15) Hamari Mutthi Main Hai Aakash…”Prahar” 1991.. (Manna Deys’s ) last film song..

Sound of SHEHNAI :: Laxmikant-Pyarelal Enrich Orchestra

Sound of SHEHNAI :: Laxmikant-Pyarelal Enrich Orchestra 

SHEHNAI  Originated from India. Mostly used in North India. It is must in Indian Weddings,  

It is especially played when the bride leaves his father's place but this time it sounds sad. 

Shehnai player,  late Ustad Bismillah and SHEHNAI have become a synonym in India. In the Year 1958 Producer / Director Mr. Vijay Bhatt had made the movie “Goonj Uthi Shehnai”. The film's story was based on Shehnai Player. Lots of scope for Shehnai. Late Ustad Bismillah Khan have played the Shehnai for the background music as well as for the songs composed by the music director Vasant Desai.

Actually SHEHNAI was not utilized as much as Sitar, Flute, Sarod and Santoor etc in the  Hindi Film Songs. However, many music directors orchestrated SHEHNAI in their songs.

Music Director Ramlal who composed the music for V Shantaram’s “Sehra” 1963, was a very good SHEHNAI player. He played the Shehnai for many hit songs including Raj Kapoor and Laxmikant-Pyarelal classic “Satyam Shivam Sundaram” 1978, ‘rang mahal ke dus darwaze’ rendered by Lata Mangeshkar - Bhupendra Singh. 

Use of SHEHNAI by various music directors. 

Ram Ganguli

Zinda Hoon Is Tarah   “Aag” 1948

Naushad

Aaye Na Balam Vada Kar Ke    “Shabab” 1954

Pee Ke Ghar Aaj                      “Mother India”  1957

Salil Chaudhari

Jhoome Re Kali Bhanwara     “Naukari”     1954

Chitragupt

Chal Ud Ja Re Panchhi          “Patang”   1957

Vasant Desai

Tere Sur Aur Mere Geet   “Goonj Uthi Shehnai”  1958.

N Dutta

Tu Mere Pyar Ka Phool   “Dhool Ka Phool” 1958

C Ramchandra  

Tu Chhupi Hai Kahan     “Navrang”  1959

S D Burman

Chal Ri Sajni    “Bambai Ka Babu”   1960

Roshan 

Aap Ne Yaad Dilaya          “Aarti”  1962

Ramlal 

Taqdeer Ka Fasana       “Sehra”  1963

Ravi

Babul Ki Dua Leti Ja         “Neel Kamal”  1968

Khaiyyam

Kabhi Kabhi Mere Dil Main   “Kabhi Kabhi”   1976’

Laxmikant-Pyarelal also composed some melodious songs, harmonizing Shehnai, in their enrich orchestra arrangements. Few of the songs are considered for the review. 

Songs Not Reviewed :-

Koi Shahari Babu "Loafer" 1973

Ni Main Year Manani "Daag" 1973

Meri Kismat Main "Prem Rog" 1981

Likhanewale Ne Likh Dale "Arpan" 1983

SHEHNAI player late Ustad Bismillah Khan praised of Laxmikant-Pyarelal for the beautiful use of SHEHNAI in the songs ‘Main To Deewana’ and ‘Ram Kare Aisa Ho Jaye’ both from the super musical hit film “Milan”, 1967.

Chori Chori Jo Tum Se Mili      “Parasmani” 1963

(Lata Mangeshkar - Mukesh   /  Farooq Qaisar)

Use of SHEHNAI and MANDOLIN in “Prelude” and all the “interludes” are worth listening to.

Itni Jaldi Kya Hai Gori         “Sati Savitri” 1964

(Lata - Usha - Kamal Barot  / Pandit Bharat Vyas

A wedding and slightly naughty song, beautifully decorated with glimpses of FLUTE, SHEHNAI and DHOLAK. Don’t forget to listen to the MANDOLIN in “Prelude”.

Mubarak Ho Sabko Sama Ye Suhana      “Milan”  1967

(Mukesh / Anand Bakshi)

Singer Mukesh is simply the best choice for this song. Sad songs starts with ‘zero’ prelude. Ravishing DHOLAK rhythm, intermixed with DUFF, at some places. FLUTE is awesomely used as filler in the mukhada. First ‘interlude’ MANDOLIN, beautifully orchestrated followed by superb display of symphony style VIOLINS. Second ‘interlude’ starts with VIOLINS, later tunefully  intermixed with SHEHNAI. Third ‘interlude’ beautiful display of FLUTE. First and third  ‘antaras’ are melodiously filled with FLUTE. The second  is filled with SHEHNAI. ‘Postlude’ of 12 seconds is synchronization of FLUTE, MANDOLIN and SHEHNAI, sounds well. Filmed on Sunil Dutt and Nutan.

Khushi Ki Woh Raat Aa Gayi     “Dharti Kahe Pukar Ke”  1969 .                                          (Mukesh / Majrooh Sultanpuri)       

One of the excellent songs on SHEHNAI. “Prelude” of 57 seconds mesmerizes. It is awesomely orchestrated with SHEHNAI and FLUTE with astounding  DHOLAK rhythm. Second ‘interlude’ is superbly orchestrated with synchronization of SHEHNAI and SITAR.The postlude is full of SHEHNAI. Filmed on Jeetendra. 

Jawani O Diwani Tu Zindabad     “Aan Milo Sajna” 1970 (Kishore Kumar  / Anand Baksh)i

Kishore Kumar-Rajesh Khanna at it’s best. Enchantingly orchestrated 39 seconds ‘prelude’ with MANDOLIN, SHEHNAI / NADASWARAM and VIOLINS. All these musical instruments are once again used, with different tune, in the interludes. DHOLAK rhythm is fantastic, in particular the “pick-up” at 0.56/0.57.

Hathon Mein Mehandi        “Uphaar” 1971

Lata Mangeshkar  /  Anand Bakshi

The perfect wedding song, sweet and melodious, as well. Excellent “prelude”, starting from 0.41 to 1.14 This song is a ‘folk’ showing traditional Rajasthani “ KATHPUTLI”. HAND DRUMS and the “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) are beautifully decorated in the orchestra to give the traditional “FOLK” touch. Lata Mangeshkar has brilliantly synchronized her voice with Laxmikant-Pyarelal's orchestra arrangements.

Shehnai Baje Na Baje     “Shor”  1972

(Lata Mangeshkar / Verma Malik)

Lata Mangeshkar's "humming" "aa oomm  oomm aa oomm oomm" and few string instruments in the "prelude" of the song are beautifully synchronized with "Jaya Bhaduri"s swinging action. The "Dholak'' rhythm is absolutely "ear-pleasing". Interludes are orchestrated with SHEHNAI and RUBAB.

Rang Mahal Ke Dus Darwaze   “Satyam Shivam Sundaram”  1978

(Lata Mangeshkar - Bhupendra Singh / Vitthalbhai 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.

Chalo Re Doli Uthao        “Jaani Dushman”  1979

(Mohammad Rafi  / Verma Malik)

One of the finest compositions on SHEHNAI. ‘Prelude’ CHORUS Humming. SHEHNAI used in interlude is wonderful. Filmed on Jeetendra, Neetu Singh, Shatrughn Sinha

Tere Haathon Mein Pehna Ke    “Jaani Dushman”  1979

(Mohammad Rafi - Asha Bhosle  / Verma Malik)

Mesmerizing composition. “Prelude” of 40 seconds. SHEHNAI and NADASWARAM are awesomely intermixed followed by VIOLINS in SYMPHONY style then “folkish” DHOLAK rhythm and then glimpses of HARMONIUM. All the “interludes” are also orchestrated with the above musical instruments in addition it has a “CLAPPING” in the “rhythm”. Filmed on Jeetendra - Neetu Singh.

Ladaka Tumhara Kunwara Rah Jata   “Krodhi”  1980

(Kishore Kumar - Lata Mangeshkar  /  Anand Bakshi)

Tere Mere Beech Main   “Ek Duje Ke Liye” 1981

(Lata Mangeshkar - S P Balasubramaniam  / Anand Bakshi)

Composed in Hindustani Classical Raag “SHIVRANJANI”. 16 seconds of ‘prelude’ orchestrated with glimpses of GUITAR, Symphony style CELLOs, and VIOLINS and awesome aalaps by Lataji. Excellent “DHOLAK” rhythm. SANTOOR, FLUTE, VIOLINS and SHEHNAI are mellifluously decorated in the orchestra. 

Ye Galiya Ye Chaubara      “Prem Rog”  1982

(Lata Mangeshkar  /  Santosh Anand)

Wonderful traditional wedding song. Awesome DHOLAK rhythm, SHAHNAI is wonderfully orchestrated in the second interlude. 

 

Ajay Poundarik

Vadodara (Gujarat)