LAXMIKANT -PYARELAL
MADE HISTORY IN HINDI FILM WORLD
Laxmikant–Pyarelal were a popular Indian composer duo, consisting of Laxmikant Shantaram Kudalkar (1937–1998) and Pyarelal Ramprasad Sharma (born 1940). They composed music for about 635 Hindi movies from 1963 to 1998, working for almost all notable filmmakers including Raj Kapoor, Dev Anand, B.R. Chopra, Shakti Samanta, Manmohan Desai, Yash Chopra, Subhash Ghai and Manoj Kumar.
| Laxmikant–Pyarelal | |
|---|---|
Laxmikant (left)- Pyarelal (right)
| |
| Background information | |
| Also known as | LP, Laxmi–Pyare |
| Genres | Film score, Fusion music |
| Occupation(s) | Composer, music director, orchestrator, conductor |
| Years active | 1963–1998 |
| Laxmikant | |
|---|---|
| Birth name | Laxmikant Shantaram Kudalkar |
| Born | 3 November 1937 Bombay, Bombay Presidency, British India (now Mumbai, Maharashtra, India) |
| Died | 25 May 1998 (aged 60) |
| Years active | 1963–1998 |
Pyarelal[edit]
| Pyarelal | |
|---|---|
| Birth name | Pyarelal Ramprasad Sharma |
| Born | 3 September 1940 Wadia Hospital, Parel, Mumbai |
| Years active | 1963–present |
Formation of composer duo[edit]
When Laxmikant was about 10 years old, he once played mandolin in a Lata Mangeshkar concert in Radio Club, Colaba. Lata was so impressed that she talked to him after the concert.
Laxmikant and Pyarelal met at Sureel Kala Kendra, a music academy for children, run by the Mangeshkar family. After she came to know about their financially poor backgrounds, Lata recommended their names to music directors like Naushad, Sachin Dev Burman and C. Ramchandra. Similar financial backgrounds and age made Laxmikant and Pyarelal very good friends. They used to spend long hours at the recording studios, sometimes getting work for each other and even playing together whenever they got the opportunity.
Pyarelal often used to frequent the Bombay Chamber Orchestra and the Paranjoti Academy, where he would perfect his skills in the company of Goody Seervai, Coomi Wadia, Mehli Mehta and his son, Zubin Mehta. Laxmikant–Pyarelal were not content with the payments being made to them for their music, so they decided to go to Madras (now Chennai).
But, it was the same story there. So, they returned. Once Pyarelal decided to leave India and go to Vienna to play for symphony orchestras, just like Zubin. However, he stayed back at Laxmikant's insistence. Some of Laxmikant–Pyarelal's colleagues at this time included Pandit Shivkumar Sharma (Santoor) and Pandit Hariprasad Chaurasia (flute). Later, Shivkumar and Hariprasad also ventured in Hindi Cinema as Shiv-Hari. Laxmikant–Pyarelal worked with almost all reputed music directors (with the exception of O. P. Nayyar and Shankar-Jaikishan) of the 1950s.
In 1953, they became assistants to Kalyanji-Anandji and worked with them as assistants till 1963. They worked as music arrangers for many music directors including Sachin Dev Burman (in Ziddi) and also for his son Rahul Dev Burman (in his first film Chhote Nawab). Laxmikant–Pyarelal and R D Burman remained very good friends, even when Laxmikant–Pyarelal started giving music independently. R D Burman played mouth organ for all songs of Dosti. Laxmikant once made a guest appearance playing role of himself as a Composer of Song "Dil Ki Baat" in Teri Kasam (1982), which had music by R D Burman.
Music career[edit]
In their early days, Laxmikant–Pyarelal's music was very similar to Shankar-Jaikishan's music, as Laxmikant was a great fan of theirs. Once Shankar even changed his orchestration to make sure that his music did not sound like Laxmikant–Pyarelal's.[citation needed] Laxmikant–Pyarelal's first film as music directors was not released. The first released movie which featured them as music directors was Babubhai Mistry's Parasmani (1963), which was a costume drama.
All the songs of the film became immensely popular esp. "Hasata Hua Nurani Chehara", "Wo Jab Yaad Aaye" and "Mere Dil Main Halki Si". Throughout their tenure as music directors, Laxmikant–Pyarelal only used A-grade singers. Their mentors, Lata Mangeshkar and Mohammad Rafi, agreed to sing for them in spite of low budgets, and Laxmikant–Pyarelal always remained indebted to them. In fact, all three, Mohammad Rafi, Asha Bhosle and Lata have sung the maximum number of songs in their career for Laxmikant–Pyarelal.They continued to give patronage to Mohammed Rafi, sometimes against filmmakers' wishes. They had a great rapport with Kishore Kumar as well. Kishore Kumar sang maximum songs (402) for LP among all male singers, followed by Rafi(about 365 songs).[citation needed]
Laxmikant–Pyarelal hit the big time with Rajshri Productions' 1964 film Dosti. The film had two newcomer heroes who never became popular, and the film was a success due to its music. Songs like Chahoonga main tujhe shaam savere and Rahi manava became very popular. At that time, many used to think that there was a single person by the name of Laxmikant Pyarelal. Laxmikant–Pyarelal won their first Filmfare Best Music Director Award for the movie,
In 1966 LP started cementing their place in Hindi Film Music. LP's first musical hit film, with big star cast, Aaye Din Bahar Ke was released, followed by Pyar Kiye Jaa. Even in films with lesser-known actors, LP scored hit music: Sati Sawitri (Songs:"Tum Gagan Ke Chandram Ho", "Jeevan Dor Tumhi Sang Bandhi", "Kabhi To Miloge"); Sant Gyaneshwar (Songs: "Jyot Se Jyot Jagate Chalo", "Khabar More Na Line"); Hum Sab Ustaad Hai (Songs: "Pyar Batate Chalo", "Ajanabi Tum Jane Pehachane Se"); Mr. X in Bombay (Songs: "Mere Mehaboob Quayamat Hogi", "Chali Re Chali Re Gori", "Khoobsurat Haseena"); Shriman Fantush..(Songs: "Sultana Sultana Tu Na Ghabarana", "Yeh Dard Bhara Afasana").
In 1967, LP consolidated their position in the Hindi film industry with a series of hits by one after another. Non star cast film Farz was LP's first golden jubilee musical hit followed by big star cast films like Anita, Shagird, yet another Golden Jubilee hit, Patthar Ke Sanam, Night in London, Jaal and another evergreen musical hit Milan. LP received their second Filmfare Trophy for Milan without any stiff competition. The rise of Laxmikant–Pyarelal, Rahul Dev Burman, and Kalyanji-Anandji marked the end of an old era of Bollywood music, which belonged to Shankar-Jaikishan, Sachin Dev Burman, Naushad (Mausicar-e-azam), C. Ramchandra, Khayyam, Madan Mohan, O. P. Nayyar, Roshan and others.
Big film producing names, like Prasad Productions, Rajashri Productions, J. Om Prakash, Raj Khosla, Manoj Kumar, Ramanand Sagar, Madan Mohla, Mohan Sahagal, V.Shantaram, Raj Kapoor, Yash Chopra, Manmohan Desai, Subhash Ghai and many more, started replacing their regular music directors and preferred Laxmikant–Pyarelal on regular basis and in return LP have given an outstanding music to justify the replacement with big names.
The team of Laxmikant–Pyarelal and lyricist Anand Bakshi churned out some of the most popular songs in Hindi Cinemas history. The combo composed songs for more than 250 movies. Anand Bakshi was the lyricist who wrote the maximum number of texts Laxmikant–Pyarelal gave music to. He was actually the lyricist for all the films for which Laxmikant–Pyarelal won Filmfare Awards, except their very first award.
Style of music[edit]
Laxmikant–Pyarelal composed Indian classical music as well as Western music. But they were most popular for their folk tunes and semi-classical music. In Shagird, they created Rock-n-Roll-style foot-tapping melodies. The film Karz is worth specially mentioning here where LP successfully, gave disco-like music, in this film they had experimented with a ghazal "Dard-e-dil Dard-e- jigar" by westernising it. The song is strongly remembered even now, and the duo received the Filmfare Best Music Director Award for the year. Although its tune "Ek Hasina Thi" is a Blatant lift from George Benson's 'We as love' (1977) which was played by Gorakh Sharma who worked with the duo on many songs.[2]
Although not as a rule, Laxmikant mostly looked after vocals and Pyarelal used to take care of orchestration. Both had vast knowledge of various music genres, musical instruments and orchestra management.
Binaca Geet Mala[edit]
LP dominated the Weekly Hindi Film songs Countdown programme Binaca Geet Mala, the most popular musical radio programme of its time. Its first broadcast was in 1953 by Radio Ceylon and its host was the Ameen Sayani. The Binaca Geet Mala ranked the most popular Bollywood film songs according to sales in select shops in select cities.
In the third quarter of 1963, LP's first ever songs Hasta Hua Nurani Chehara form Parasmani hit the "Binaca Geet Mala". After that LP's songs were regularly and prominently aired on "Binaca Geet Mala". There used to be sixteen songs in each of the weekly "Binaca Geet Mala" countdown programme, more than half the numbers of the songs were of LP.[citation needed]There are certain weekly Binaca Geet Mala programmes in which more than 13 out of 16 songs of LP were broadcast when LP were right on top of their career.[citation needed]
BGM used to broadcast annual (Vasrshik ) programme giving the orders of the top 32 songs of every year. In this programme also LP were having upper hand. Not only that, on an average, there used to be at least more than 15 songs used to be of LP, that too about 50% of the songs in between top to first ten positions. The Binaca Geet Mala records shows that Laxmikant–Pyarelal have completely dominated this musical programme.[citat
Popular songs[edit source]
| Year | Film | Song | Singer(s) |
|---|---|---|---|
| 1964 | Dosti | "Rahi Manwa Dukh Ki Chinta" | Mohammad Rafi |
| 1967 | Milan | "Sawan Ka Mahina" | Mukesh, Lata Mangeshkar |
| 1968 | Shagird | "Dil Vil Pyar Vyar" | Lata Mangeshkar |
| 1969 | Intaquam | "Kaise Rahu Chup" | Lata Mangeshkar |
| 1969 | Do Raaste | "Bindiya Chamakegi" | Lata Mangeshkar |
| 1973 | Manchali | "O Manchali Kaha Chali" | Kishore Kumar |
| 1974 | Roti Kapda Aur Makaan | "Mehngai Mar Gayi" | Jani Babu Quwal, Lata Mangeshkar, Mukesh & Chanchal |
| 1977 | Amar Akbar Anthony | "Humko Tumse Ho Gaya" | Mohammad Rafi, Kishore Kumar, Mukesh & Lata Mangeshkar |
| 1977 | Dream Girl | "Dream Girl" | Kishore Kumar |
| 1980 | Sargam | "Dafali Wale" | Mohammed Rafi, Lata Mangeshkar |
| 1980 | Dostana (1980 film) | "Salamat Rahe Dostana Humara" | Mohammed Rafi & Kishore Kumar |
| 1980 | Karz (1980 film) | "Ek Hasina Thi" | Asha Bhosle & Kishore Kumar |
| 1981 | Ek Duuje Ke Liye | "Tere Mere Beech Mein" | Lata Mangeshkar & S. P. Balasubrahmanyam |
| 1983 | Hero | "Tu Mera Hero Hai" | Manhar Udhas, Anuradha Paudwal |
| 1983 | Utsav (1983 film) | "Saanjh Dale" | Suresh Wadkar] |
| 1985 | Sanjog | "Yashoda Ka Nandlala" | Lata Mangeshkar |
| 1986 | Naam | "Chithi Aayi Hai" | Pankaj Udhas |
| 1986 | Nagina | "Main Teri Dushman" | Lata Mangeshkar |
| 1987 | Mr India | "Hawa Hawai" | Kavita Krishnamoorthy |
| 1987 | Mr India | "Kaate Nahin Katte" | Kishore Kumar & Alisha Chinoy |
| 1988 | Tezaab | "Ek Do Teen" | Amit Kumar & Alka Yagnik |
| 1988 | Tezaab | "So Gaya Yeh Jahan" | Nitin Mukesh, Shabbir Kumar & Alka Yagnik |
| 1989 | Chaalbaaz | "Na Jaane Kahan Se Aayi Hai" | Amit Kumar & Kavita Krishnamoorthy |
| 1989 | Ram Lakhan | "My Name Is Lakhan" | Mohammad Aziz, Anuradha Paudwal, Nitin Mukesh, Anuradha Sriram |
| 1990 | Kroadh | "Bombay Bombay" | Amit Kumar & Mohammad Aziz |
| 1991 | Saudagar | "Ilu Ilu" | Manhar Udhas, Kavita Krishnamurthy, Udit Narayan & Sukhwinder Singh |
| 1991 | Hum | "Jumma Chumma De De" | Sudesh Bhonsle & Kavita Krishnamurthy |
| 1992 | Khuda Gawah | "Tu Mujhe Kabool" | Mohammed Aziz & Kavita Krishnamurthy |
| 1993 | Khalnayak | "Choli Ke Peeche" | Alka Yagnik, Ila Arun |
| 1993 | Aashiq Awara | "Main hon Ashiq Ashiq Awara" | Udit Narayan |
| 1998 | Deewana Mastana | "O Mummy Mummy O Dady Dady " | Udit Narayan |
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