Laxmikant-Pyarelal
: The Music Kings of Hindi Cinema
Songs and Music are the integral
part of Indian cinema. Be it Hindi films or regional movies, the department of
music is given utmost attention by the makers. Indian film industry is more
than hundred years old. The first film in India was made by Dadasaheb Phalkey
in. The title of this film was ‘Raja Harishchandra’. It was a silent movie made
in 1913 and based on Hindu mythology.
In the beginning the Indian movies
used to be silent but in 1930s the sound was added to the films and the first
talkie of the Indian cinema was ‘Alam
Ara’ made by Ardeshir Irani and released in 1931. Subsequently colour was
added to the films and India’s first indigenously made colour movie was ‘Kisan Kanya’ again produced by Ardeshir
Irani and directed by Moti. B. Gidwani. This film was released in 1937. We can
say that with this film an era of colour cinema ushered in India.
In 1930s songs started featuring in Indian films,
especially Hindi films. But, in the beginning the actors acting in the films
used to sing the songs themselves. Many
Indians still relish or enjoy the songs sung by ‘Dadamuni’ Ashok Kumar and Devika Rani in 1930s and these songs were
picturised on them in the films. By the beginning of the 1940s the play-back
singing became the major features of Hindi cinema. By this time great singers
like K. L. Saigal, Noor Jehan, Johrabai Ambalawali, Shamshad Begum,etc. had
established themselves as the lead singers. The most prominent Music Director
of this time was Naushad (Ali), if we call him the ‘Dadamuni’ of the Hindi Film Music, it would not be an exaggeration.
No doubt, there were many other Music Directors at that time who were giving
fantastic music and composing great songs. Some of them were Khemchand Prakash
(‘Mahal’-1949- fame), Bulo C Rani
(Full name-Bulo Chandiram Ramchandani, born in
Hyderabad, Sindh in 1920), Anil Biswas, Ghulam Haider, etc. But, with the
release of ‘Rattan’ in 1944, Naushad
really took the filmi music to new level. The famous song- ‘Aakhiyan Milake, Jiya Bharmake Chale Nahi Jaana….’ from the film ‘Rattan’ is still popular among cine
lovers.
The 1950s and early 1960s were ruled
by the Music Directors like Shankar-Jaikishan, Naushad, S. D. Burman, C.
Ramchandra, Roshan, Madan Mohan, Ravi, Salil Choudhary, etc. All these Music
Directors gave evergreen music and composed melodious songs in innumerable
films. We can say that Kalyanji Anandji, Laxmikant Pyarelal and R. D. Burman
were the third generation Music Directors of Hindi Film industry i.e.
Bollywood. They started dominating the music charts mainly from 1960s onwards.
Laxmikant Pyarelal made their entry
with bang in 1963. Their first film as a full-fledged music directors was ‘Parasmani’. It was a costume drama. They
tasted the huge success with ‘Parasmani’
and declared their arrival on the music scene of Bollywood. Hence, Laxmikant
(Shantaram Kudalkar) named his bungalow which he built in Juhu, as ‘Parasmani’. Laxmikant Pyarelal brought
the great musical wave with their second film which was ‘Dosti’. Infact, these heavenly talented music greats had started
their musical journey much before the release of ‘Parasmani’. It is said that Laxmikant Shantaram Kudalkar and
Pyrelal Ramprasad Sharma were discovered by the musical group formed by the
legendary nightingale of India i.e. Lata Mangeshkar and her equally talented
brother Hridaynath Mangeshkar. Laxmikant
used to play ‘Mandolin’ and Pyarelal was the exponent of ‘Violin’. These two
immensely talented youngsters had worked as musicians, arrangers and even as
assistant music directors before becoming the music directors and they had
worked for many well-known legends of Hindi cinema. Laxmikant, in one of his
interviews had once explained how the release of ‘Parasmani’ was delayed and due to it how some people used to say
whether they would become the music directors or not. But, ultimately, ‘Parasmani’ was released and the new
stars in the field of film music were born.
Laxmikant Pyarelal used to consider
Lata Mangeshkar and Mohammad Rafi as their mentors. It is said that when
Kishore Kumar reached the pinnacle of his singing career in the 1970s and Rafi
Saab’s singing offers started declining for a while, Laxmikant Pyarelal revived
the career of Rafi Saab-their mentor, single-handedly by giving all-time hit
songs like ‘Parda Hai Parda’ (Amar Akbar
Anthony), ‘Dard-E-Dil Dard-E-Jigar’
(Karz), ‘Jon Jonny Janardan, Tar Ram Pam Pam’ (Nasib), ‘Ek Raasta Do Raahi’
(Ram Balram), ‘Tere Haato Me Pehnake Chudiya’ (Jaani
Dushman), ‘Tere Mere Ya raane Ho’
(Naagin) and many more. The last film
of Rafi Saab for Laxmikant Pyarelal (LP) was ‘Aas
Paas’ released in 1980. It was also the last film of Rafi saab’s career as a
singer. J. Om Prakash, the director of this film had given the tribute to Rafi
Saab in this film. ‘Tu Kahin Aas Paas Hai
Dost’ from the film ‘Aas Paas’ is
the last song sung by Rafi Saab. It’s heartbreaking and emotional coincidence
that ‘Guru’ i.e. Rafi Saab sang the
last song of his life for his ‘Shishyas’
viz. Laxmikant Pyarelal.
Laxmikant Pyarelal were also known
as LP and Laxmi Pyare. There were times when people used to think that
Laxmikant Pyarelal was a single person. Pyarelalji in one of his interviews
jokingly had said that when he was about to get married, at that time many
people were thinking that marriage of Laxmikant Pyarelal, the single person was
taking place.
As far as music style of LP was
considered it was based on Indian classical, semi-classical and Indian folk
music. They extensively made use of Indian instruments like Dholak, Flute, Mridang, Sitar, Veena,
etc. for composing music.
Even though
Laxmikant-Pyarelal considered Mohammad Rafi as their 'Guru', they gave lots of
songs to Kishore Kumar also. It is said that Kishore Kumar has sung maximum
songs in his career for Laxmikant-Pyarelal. Pyarelalji had once revealed that
Kishore Kumar was famous for his jovial nature and had created one imaginary
character called 'Nandu'. He went on to tell that Kishorda used to show others
through his behaviour that a character called 'Nandu' always accompanies him,
especially to the recording studios and he used to talk to invisible 'Nandu'.
In reality this 'Nandu' never existed. This incident unfolds the jolly nature
of Kishore Kumar, one of the greatest playback singers of India. Kishore Kumar
used to call LP as 'Laxmikantam'. 'Pyarelalam', it shows what kind of a great
and healthy relationship would have existed between LP and Kishorda. Pyarelalji
had narrated one more incident regarding Kishore Kumar. It happened so that
once LP were sitting in the music room of Kishoreda at his residence. LP saw
that music room of Kishorda was well furnished and decorated. But, in the
middle of the room there was one concrete pillar which was not plastered
properly and even one could see the iron rods which were inside it. Pyarelalji
said that he could control himself and didn't ask Kishorda about why this only
pillar has been kept unfurnished even though entire hall has been beautified.
The room was also having air conditioner. But, Laxmiji couldn't control his
curiosity and asked Kishorda about it and pat came reply that 'Issi liye rakha tha ki koi puchche'
this again indicates the ebullient nature of Kishore Kumar. Once, Kishore Kumar
had insisted LP to make Rafi Saab to sing the famous 'Vaada Tera Vaada' song from Rajesh Khanna's hit film 'Dushman' but LP insisted Kishore Kumar
to sing this song because they knew that this particular song would suit
Kishore's voice. It shows the loyalty if LP towards the situation in the film
for which the song was being recorded and also towards the producer of the film
as they wanted that the song should be the super duper hit and which indeed,
went on to become the one. Even today this song is played on radio and many
people listen to it and hum it. For LP Rafi Saab was 'farishta' but still in case of this song they acted more
professionally than emotionally. This indicates the greatness of LP as Music
Directors.
LP also gave many songs to one
more legendary singer viz. Mukesh (Mathur). But, when LP used to tell the tune
and narrate how to sing a particular song to Mukesh, he used to say that Laxmi
Pyare - you tell anything but I will sing the song in my own style. Even though
he used to say it but ultimately used to sing the song as told or taught by LP.
This shows the greatness of the artists of that time. Even though Mukesh used
to say that he will sing songs in his own style, actually he used to sing in
the way as they were 'taught' by LP.
LP used to top the famous Music
Chart Show called 'Binaca Geet Mala' with maximum number of songs in it
including in the top five category. The 'Binaca Geet Mala' was renamed as
'Cibaca Geet Mala' later on. LP always topped both of it.
It is said that Laxmiji used to look after
the tuning or composing the tune of the song and Pyareji used to look into the
department of or aspects of orchestration. But, both heavenly gifted Laxmiji
and Pyareji were well versed in both the departments and both of them had the
knowledge of playing hundreds of instruments.
LP even
though worked with established singers like Rafi Saab, Lata Didi, Kishore
Kumar, Mukesh, etc. They also could extract the great songs and melody from
many new comers like Shailendra Singh (Bobby fame), Anuradha Paudwal (Hero
onwards), Manhar Udhas (Hero) , S. P. Balasubramanyam (New at least to Hindi
Film Industry, 'Ek Duje Je Ke Liye' being the first Hindi language film), Anup
Jalota (Hero, at least new to filmi playback singing), Sudesh Bhosale (Jumma Chumma- song from the film- '
Hum') and many more.
My personal opinion is that
seldom anyone could compose the lengthy songs running more than six, seven or
eight minutes than LP. They have composed the filmi ‘bhajans’ also in their
unique way and style, the testimonials of it being- 'Chalo Bulawa Aaya Hai Maata Ne Bulaya Hai......Jai Maata Di'- sung
by Narendra Chanchal from Rajesh Khanna's hit film- ‘Avataar'. One more song in this category was 'Tune Mujhe Bulaya Sherawaliye Mai Aaya Mai Aaya Sherawaliye'
jointly sung by the legendary Rafi Saab and Narendra Chanchal.
Even, in case of composing the
'filmi qawwali' , 'filmi ghazal' and 'cabre' nobody would come
closer to LP, the three songs listed hereafter will prove this point profoundly
beyond doubt and these songs are- 'Parda
Hai Parda'- ‘Amar Akbar Anthony’,
' 'Dard-E-Dil, Dard-E-Jigar'- ‘Karz’ and 'Aa Jane Jaa, Ye Husn Tera Jawaan Jawaan’- ‘Inteqam’.
Many established film makers
whenever they wanted to change their music directors their first choice would
be LP. For instance, when Raj Kapoor Saab after the death of Jaikishan of the
legendary Shankar-Jaikishan wanted to change the music directors of RK(Raj
Kapoor) banner his first choice was LP for ‘Bobby’-the launching pad for his
youngest son 'Chintu' a.k.a. Rishi Kapoor. K. Balchandar, who has done a
monumental work in Tamil, Telugu and Kannada cinema and L. V. Prasad another
great stawart from south Indian and Hindi cinema who also won the presitigious
‘Dadasaheb Phalkey Award when wanted to make ‘Ek Duje Ke Liye' there choice as a music directors were LP, K.
Vishwanath another prominent film maker from south when decided to make ‘Sargam’, and ‘Sanjog’ in Hindi they asked LP to score the music. Subhash Ghai,
known as the ‘Showman’ in film industry has consistently used LP for scoring
the music of his film like- ‘Hero’, ‘Meri
Jung’, ‘Karma’, ‘Ram Lakhan’, ‘Saudagar’, ‘Khalnayak’, etc. The songs of
all these films are still popular and remembered by the cine lovers.
As mentioned above, the first
choice of the south Indian film makers were mostly LP on several occasions.
Another film maker from south who extensively worked with LP was T. Rama Rao.
It is said that LP scored the music of minimum seventeen film of T. Rama Rao.
It clearly shows that LP believed in long term relationship with the people
with whom they were working and Directos and Producers also liked the marvelous
music composed by LP. It indicates the confidence of these non-Hindi film
makers in LP and proves the fact that they won hearts of these film
personalities with their music.tSongs like ‘Dafliwale
dafli Baja’ (Sargam), ‘Hum Bane Tum Bane Ek Duje Ke Liye’ (Ek Duje Ke Liye),
‘Ju Ju Ju Ju Yashoda Ka Nand Lala (Sanjog) are still immensely popular and
people still listen to the songs of these films with great interest. Many
newcomers in film industry have time and again acknowledged that they were
immensely influenced and inspired from the work and style of LP's music.
Experts observe that successful Music Directors such as Anu Malik,
Anand-Milind, Rajesh Roshan, Nadeem Shravan, etc. have derived inspiration
from LP.
LP had scored music for the
films of many successful stars of Hindi cinema viz. Dilip Kumar, Raj Kapoor,
Dev Anand, Rajendra Kumar, Rajesh Khanna, Dharmendra, Shashi Kapoor, etc.
Rather one can say that LP's music certainly played very important role in the
success of the films of these actors. In case of Rajesh Khanna, the first Super
Star of Hindi cinema LP have given immortal music to the films like 'Dushman', 'Haathi Mere Saathi', 'Daag',
'Aan Milo Sajana', 'Do Raaste', 'Roti', 'Chhaila Babu', 'Anurodh', 'Avataar',
'Amrut', 'Rajput', etc.
LP also scored memorable music for many films of Dharmendra. To mention a few
of them- 'Aaya Saawan Jhoom Ke', 'Jeevan
Mrityu', 'Mera Gaon Mera Desh', 'Pratigya', 'Charas', 'Man Ki Aankhe', 'Loafer'
'Aaye Din Bahar Ke', 'Dharam Veer' and many more. The song ' Mai Jat Yamala Pagala Diwana' from the
film 'Pratigya' is still considered
as the iconic song of Dharmendra.
In 1960s, 1970s and 1980s LP not only keep on scoring music for the films
of Dharmendra but also that of Jeetendra. As far as Jeetendra is considered
LP's music for his films such as 'Farz',
'Humjoli', 'Banfool', 'Arpan', 'Aasha', ‘ Sanjog, etc. is still remembered.
Experts say that LP used to
change their style of music and bring changes to their music as per the taste
of the new generation; this is one of the prominent reasons for their
unbelievable success as Music Directors for more than three decades. Throughout
their career they always remained at the top of the game. Pyareji in one of the
interviews has said that for same producer or director they did not repeat the
same style of music. Here we can give the example of the film of Manoj Kumar
a.k.a Bharat Kumar such as ‘Kranti’,
‘Shor’, ‘Roti Kapda Aur Makaan’, ‘Dus
Numbari’, etc. and also that of RK Banner for which LP had scored the music
for 'Bobby', 'Satyam Shivam Sundaram' and 'Prem Rog'. The music of all these
films was very much different from each other. In fact, the music of all these
films sounded different from each other and had its own identity. This shows
the originality of LP. We can see that in showbiz many a times directors,
actors and music directors repeat their style and the way they work but LP were
exception to it, they always tried to be creative and give something new to
directors, producers, audience and their fans. It also shows the hard work they
used to put in their work. It is said that except Sunday they always used to
have music sessions.
Laxmiji was a very handsome
guy. He had also acted in few films. He was the exponent of 'Mandolin'.
Nevertheless, both Laxmiji and Pyareji had immense knowledge of hundreds of
instruments and both of them were good arrangers and could do the fabulous
orchestration. It is said that Laxmiji used to prefer to employ more musicians
in orchestra than the usual requirement so that more people should get the
chance to earn livelihood. This shows that these great music duos had not
forgotten their own struggling years even when they had reached at the top and
believed in helping others.
Rajesh Khanna used to visit
the house of Laxmiji frequently for music sessions and fans literally used to
climb the walls of the bungalow in order to have the glimpse of their favourite
actor Super Star and music Super Star engrossed in making music. Laxmiji and
Pyareji had a great rapport and working relationship with Anand Bakshi one of
the best song writers of Hindi cinema. Many a times Anand Bskshi and Laxmiji
used to sit together and Anandji used to dictate and Laxmiji used to write down
the songs. In one of the interviews Laxmiji had said that at one point of time
Anand Bskshi used to write 80% songs of the Hindi film industry and he used to
write songs very quickly. It shows not only the intellectual capacity of Bskshi
Saab but his love for his profession. Anand Bskshi has also sung few songs
under the baton of LP.
LP and R. D. Burman (Pancham)
were good friends. They used to help each other. In the songs of 'Dosti' R. D. Burman had played the
mouth-organ. In the song 'Hai Apna Dil To
Aawara' from the film 'Solvaha Saal',
Laxmiji and Pancham were on the same mike and Laxmiji was playing 'Mandolin'
and Pancham was playing 'Mouth-Organ' respectively. The music of this film was
composed by the legendary S. D. Burman.
One of the
most important characteristics of LP was that they never underestimated the
newcomers and worked with the younger generation with equal comfort and
interest. Laxmiji believed that each generation has its own kind of talent and
new singers are also very talented.
Once, Laxmiji had gone for inspecting the site at Juhu where the work of his
Bungalow was going on. Anand Bskshi also came over there. Both Laxmiji and
Bakshi Saab were going in and coming out of various rooms of that under
construction bungalow and on the basis of this incident the famous song 'Andar We Koi Bahar Na Jaye Sake Bahar Se
Koi Andar As Sake Socho Kabhi Aisa Hi To Kya....Hum Tum Ek Kambre Me Band Ho
Aur Chaabi Kho Jaye' was made. It was Laxmiji who suggested that we should
make something on this funny incident for Raj Kapoor and one of the all times
hit song was born.
Laxmiji was born in 1937 and
Pyareji was born in 1940. Laxmiji's full name was Laxmikant Shantaram Kudalkar
and Pyareji's full name is Pyarelal Ramprasad Sharma. Laxmiji was Maharashtrian
and Pyareji's family originally belonged to Uttar Pradesh. Pyareji's father was
the well-known violinist and Pyareji got first lessons of violin from him only.
Pyarelalji also learnt violin from Goan exponent Mr. Anthony Gonsalvis. LP have
immortalised him through their much popular song- 'My Name is Anthony Gonsalvis' from the film- 'Amar Akbar Anthony'. It was a great tribute to Mr. Gonsalvis from
LP.
LP's music played very
important role in making the films of various stars super hit. It is applicable
to Mr. Amitabh Bachchan also. The music of most of the successful films of Mr.
Bachchan was composed by LP. They were very favourite music directors of
Manmohan Desai who has made many successful films of Mr. Bachchan like 'Amar Akbar Anthony', 'Naseeb', 'Parvarish', 'Suhaag', 'Desh Premee' and 'Coolie'. The music of all these films was composed by LP. Hence,
if we say that in Mr. Bachchan's success two pairs have played significant
roles and these pairs were Salim-Javed (the legendary screen writers who have
written the most influential and successful films of Hindi cinema for Mr.
Bachchan such as 'Zanjeer', 'Deewar',
'Sholay', 'Dostana', 'Don',
'Majboor', 'Trishul', etc. Salim Saab's full name is Salim Khan and he is
the father of reigning mega star of Asia, Mr. Salman Khan and Javed Saab's full
name is Javed Akhtar who nowadays active as lyricist and his children Mr.
Farhan Akhtar and Ms. Zoya Akhtar are well-known film directors) and the second
pair is the all time great duos LP. Laxmiji in one of the interviews had said
that after the death of Rafi Saab and Kishore Kumar they were in the search of
a suitable voice for Mr. Bachchan and ultimately they found the one in Sudesh
Bhosale. Actually, LP made Sudesh Bhosale to sing ditto in the style of Mr.
Bachchan and literally it used to sound that it was Mr. Bachchan singing
the song and not Sudesh Bhosale. It all began with the famous song- 'Jumma Chumma- De' from the film 'Hum'. Readers can listen to this song
and they will come to know how Sudesh Bhosale used to sing in the voice of Mr.
Bachchan. LP were the first one to discover and use this talent of Sudesh
Bhosale. It shows how genius were LP. They always used to remain alert and
search for new talent and used to give exposure and chance to new talent. They
had given many songs to Anuradha Paudwal, Manhar Udhas, Shailendra Singh, Vinod
Rathod and many other singers when they were newcomers.
Laxmiji's opinion was that
while film was being written and in the creative stages from that time onwards
simultaneously the musical graph of the film should be made. In such a scenario
the melodious and impactful music and songs could be composed. He also used to
say that if film has good music and songs then it helps in giving the repeat
run to the film i.e. people watch it again and again and it helps in making
more business. It's hundred percent true. If the music of the film is good then
definitely the film buffs watch it for many times. The select films from the
1990s like 'Maine Pyar Kiya', 'Hum Aap Ke Hai Kaun', 'Aashiqui' and many more have proved it.
Laxmiji used to chew the betel
quid or 'paan'. Pyareji before the
beginning of his career with Laxmiji wanted to go to Vienna, the capital of
central European country Austria and play in western symphony/orchestra. But,
it was Laxmiji who stopped him from doing so and insisted or suggested to form
the pair of LP and work together in India as Music Directors. Once, the pair of
LP was formed, Laxmiji and Pyareji decided to work together forever and make
efforts to take their music to the highest level and keep on improving always.
LP throughout their career kept these words and promise which they had made to
each other in the beginning of their musical journey together.
Pyareji's father was a trumpet
player. He was the one who gave initial training of violin to Pyareji. Lateron,
Pyareji got advanced training of violin from Mr. Anthony Gonsalvis.
Lata Mangeshkar had suggested Pyareji to do symphony and world music while
recording the songs of 'Ek Duje Ke Liye'.
Rafi Saab never used to charge
from the new composers for singing their first song.
Laxmiji took Pyareji to Kalyanji-Anandji and Pyareji became arranger and later
on assistant music director along-with Laxmiji. At that time Laxmiji used to
work as Assistant to Kalyanji-Anandji. One more interesting thing about LP is
that both Laxmiji and Pyareji got married in the same month i.e. May. Pyareji
had said that the news of Laxmi-Pyare winning the Filmfare award for the film 'Dosti' was given to Pyareji by
legendary music director C. Ramchandra.
Laxmiji was a great music
director, great friend, great businessman and he never said 'No' to Pyareji-
(Pyarelalji has said it in one of the interviews). LP had brought Rafi Saab,
Mukesh, Kishore Kumar and Lata Mangeshkar together for singing the song 'Humko Tum Se Ho Gaya Hai Pyar Kya Kare' from 'Amar Akbar Anthony' and it was very
rare and difficult thing to bring so many legendary and busy singers together
for a single song but this magic was done by LP or rather only LP could do it.
Manmohan Desai had decided to
use the name Anthony Fernandis in the song ‘My
Name is Anthony Gonsalvis’ from the film ‘Amar Akbar Anthony’ but Pyareji requested him to change the name
to Anthony Gonsalvis and Anthony Gonsalvis was present during the recording
of this song. LP were known for completing recordings very fast or quickly, it
is said that many a times nobody present except LP used to realise that the
recording of the song is finished. This throws immense light on the
talent and musical genius of LP.
At a time LP have used 180 to
210 musicians for playing different instruments in the song. In 'Chanchal Sheetal Nirmal Komal' song
from ‘Satyam Shivam Sundaram’ sung by
Mukesh, LP had used 72 violinists and this song was recorded in seven hours.
After completing the recording of this song Mukesh took the flight for going
abroad because he was having his Live Show abroad. This song was recorded
during night. Once, LP had recorded five songs in a day with Rafi Saab. This
proves the enormous energy and working capacity of LP.
Laxmiji in one of the interviews had
said that they wanted to do a typical LP piece wherein there should be the
hundred piece orchestra and in between opposite it should come one 'Sitar' and the outcome was the music
composed for the song 'Kaate Nahi Katate
Ye Din Raat........I Love you' from 'Mr.
India'.
Unfortunately, Laxmiji died on
25th May 1998 and the beautiful musical journey of LP came to an abrupt end.
They were working together for more than thirty five years hence, once Laxmiji
had said that it is said that if you work and remain together for so many years
then your blood also becomes one. It's very true nobody can separate the
eternal duos viz. Laxmikant-Pyarelal from the memories of Indian music lovers.
My heartfelt tribute to Laxmiji and I wish for very long, healthy and musical
life to Pyareji.
Asst. Prof.
Subhash G, Shinde
Vice Principal and
HoD, History,
VPM’s
Joshi-Bedekar College, Thane
9820328226
subhashinscotland@gmail.com
