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25 May 2009
Lata Mangeshkar Sings for Laxmikant Pyarelal Part 1
In her career spanning six decades, Lata Mangeshkar has sung Hindi film songs for more than 170 composers. Over the next few weeks I will be writing several posts on her collaboration with composers for whom she has sung the maximum number of songs.
I am no fan of Laxmikant Pyarelal’s music. However, when we talk of Lata there is no way we can ignore this highly prolific and successful composer duo. Lata and LP have collaborated for close to 700 songs (I think the actual figure is around 680), that range from plain mediocre to truly sublime, from cacophonous assault on the ears to sweet melodies. Given the sheer number of songs the duo composed, it is only natural that consistent quality is difficult to find in their repertoire. What is, however, noteworthy about LP’s collaboration with Lata is that very few other composers have created such a wide variety of songs for her to vocalize. Unfortunately, when we talk of LP today, all that is discussed is the heavily orchestrated, dholak dominated cacophonous mess that characterized their later output. If one carefully sifts through their output, especially their creations vocalized by Lata, one will come across many gems. Through this post I would like to reveal some of the beautiful melodies that the Lata-LP combination produced.
LP made their debut with Parasmani (1963), a fantasy film with a hugely popular music score. Lata Mangeshkar sang 5 songs in the film, out of which Hansta Hua Noorani Chehra (a duet with Kamal Barot) ranked high on the charts of 1963. In the same year, LP also composed the music for a mythological – Harishchandra Taramati. The soundtrack of this film included a beautiful dance number in Raag Kalavati – Meghva Gagan Beech Jhaanke.
Despite winning the Filmfare award for Dosti in 1964, Laxmikant Pyarelal were mostly associated B-list films – mostly mythologicals and fantasy films. Yet, they continued to produce extremely melodious compositions for these films. Their compositions in Sati Savitri (1964) and Sant Gyaneshwar (1964) rank among their very best. One of my all time favourite Lata-LP song is Jeevan Dor Tumhi Sang Baandhi from Sati Savitri, set to the strains of Raag Yaman.
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During the early phase of their career, LP were closely associated with the action flicks starring Dara Singh. On such film was Lutera (1965), which had as many as 6 songs sung by Lata. Of these I have a special fondness for Sanam Raah Bhoole, whose antaras represent the creative zenith of the duo.
Other noteworthy Lata songs from Dara Singh movies include Aapne Kya Kaha (Aaya Toofan 1964) and Do Nain Bechain (Boxer 1964)
In the period 1966-1969, LP were clearly on their way up but their output was still focused on quality rather than quantity - a trend that would reverse itself towards the second half of 70s. Lata continued to be their preferred female singer. Some of her best songs for LP are from this period. These include:
Suno Sajna – Aaye Din Bahar Ke (1966): the opening alaap is extremely evocative.
Mere Sanam – Naag Mandir (1966): a worthy inclusion in the ‘haunting melody’ category.
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Tum Kaun Ho Batao – Aasra (1966) – absolutely love the humming in the beginning.
As LP started their climb on the popularity ladder, big banners started taking note of them. Lata Mangeshkar was one of their strongest supporters at that time and was probably instrumental in them bagging a number of plum assignments. One of the most significant movies they bagged was Anita (1967). This was significant not because this film or its music was a big hit, but because they replaced Madan Mohan, who had a long standing relationship with producer-director Raj Khosla (Raj Khosla had even sung a song in Madan Mohan’s first film as a composer), in a film that was a part of the trilogy which included musical masterpieces like Woh Kaun Thi and Mera Saaya. One isn’t sure about what made Raj Khosla switch loyalties, but starting with Anita, LP came to be associated with almost every subsequent Raj Khosla movie. Maybe it was the Raj Khosla connection, but some songs in Anita were strongly reminiscent of Madan Mohan.
Qareeb Aa Ye Nazar – Anita (1967)
In the same year, LP also produced a few Madan Mohan-style songs in Jaal and Milan. I must add that these songs, though reminiscent of Madan Mohan, were original tunes
Mere Zindagi Ke Chiragh Ko – Jaal (1967)
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Aaj Dil Pe Koi – Milan (1967)
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The last 2 years of the 1960s also saw LP at their melodious best. There were several gems rendered perfectly by Lata Mangeshkar. There is a lot I can talk about these songs, but since I’ve already used so much of space, I will limit myself to listing those songs for you to judge yourself
Nigahen Kyun Bhatakti Hain – Baharon Ki Manzil (1968)
Chalo Sajna – Mere Humdum Mere Dost (1968) – Lata Mangeshkar counts this as among her difficult songs as the tune doesn’t allow for too much breathing space.
Diye Jalaye Pyar Ke – Dharti Kahe Pukar Ke (1969)
Saanjh Savere – Madhavi (1969)
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Ye Kaisa Gham Sajna – Pyaasi Shaam (1969)
Abhi Kya Sunoge – Satyakam (1969)
In the next part of this article, I will talk about some Lata-LP songs from the 70s through 90s.
22:19 Posted in Film, Lata Mangeshkar, Music | Permalink | Comments (7) | Email this
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Aaditya Bhai,
Wonderful would be an understatement for you elaborate write up on our favourite Lata tai :)
The other day I was flipping across Muneer Kabir's "Lata" -Pictorial biograpgy in a local bookstore. Its content pales in front of the onderful insights you ddeliver throuh your write-ups.
A humble suggestion - why don't u start writing a book on Lata :) I would be very glad if you decide to do so :)
Nilay
Posted by: Nilay Bala | 26 May 2009
Nilay, Thanks for your words of appreciation. I am not sure about a book, but I will continue to write about Lata Mangeshkar on this blog.
Aditya
Posted by: Aditya | 26 May 2009
It is a known fact that Lata Mangeshkar was responsible for bringing up Laxmikant-Pyarelal. In fact Lata Mangeshkar have played major role in the entire musical career of LP. Lata has sung maximum numbers of songs under the banner of LP. Moreover Lata Mangeshkar sounds extremely melodious under the LP.
Lata Mangeshkar and Laxmikant-Pyarelal were a longer, larger, closer and more rewarding association that than what ANY composer has had with ANY singer in Hindi cinema
From 1963, to the next 35 years, Lata Mangeshkar and and Laxmikant-Pyarelal were to chalk up an astounding 700 songs together, which accounted for one in every 10 Hindi film songs recorded by the Melody Queen, and one of every four songs composed by the duo. The unmatchable variety of songs.
And what a mind boggling variety and range did we get in those 700 numbers which included chart-slammers and classics, and chaalu numbers as well as connoisseur choices. It is impossible to find that variety and that sustained excellence without monotony in the output of any other composer, with Lata or with any other singer.
We get the unmatached variety of songs of Laxmikant-Pyarelal with Lata Mangeshkar.
There are many albums ( Films ) in which Lata Mangeshkar has sung more than 90% songs.
Sati Savitri 1964
Lootera 1966
Intquam 1968
Sharafat 1970
Abhinetri 1971
Jal Bin Machhali Nrutya Bin Bijalee 1971
Mera Gaon Mera Desh 1971
Bobby 1973
Satyam Shivam Sundaram 1977
Ek Duje Ke Liye 1981
Listen to these films songs, you will know what Lata-LP combo has done...AMAZING
Posted by: Ajay P | 27 May 2009
Ajay, I completely agree with you that when it comes to sheer variety the Lata-LP combo stands unique. However, in terms of personal liking I prefer her collaboration with some other MDs more than with LP. They indeed produced many gems, but going by the volume of work they did together, it was only natural that for every gem, there were 2-3 highly mediocre songs.
Posted by: Aditya | 27 May 2009
You state that in the beginning of their career LP composed music for B grade films.
But do you know that LP are the only music composers who won Filmfare Award for best music for three years in a row?
Posted by: Girish | 07 June 2009
Girish, Of course I know that LP won 3 Filmfares in a row. But you're wrong that they are the "only" composers to have achieved this. Or even the first. This achievement was first schieved by Shankar Jaikishan in 1971-73, and then repeated by Nadeem Shravan in the 1990s, and AR Rahman in the last 3 years.
Posted by: Aditya | 07 June 2009
To All
Laxmikant-Pyarelal are the only music directors who have won the filmfare award for 4 successive years..1977, 1978, 1979 and 1980. The list of the award is as under
1964 - Dosti
1967 - Milan
1969 - Jeeni Ki Raah
1977 - Amar Akbar Anthony
1978 - Satyam Shivam Sundaram
1979 - Sargam
1980 - Karz
Not only that they are the only music directors who have been nominated for the maximum times ( 35 nominations )...but unfortunately they won only 7..There are many occasions ( years ) that LP were nominated for 2 or more films in particular year.
The major upset was ( LP Narrowly missed the award)
"Do Raaste"...1971.( SJ won the award for "Mera Nam Jocker")
"Shor" ...1972 ( SJ won the award for "Pehchan")
"Bobby" and "Daag"..1973 (SDB won the award for " Abhiman")
"Ek Duje Ke Liye"...1981( Khayyam won the award for Ümrao Jan") "
"Hero" 1982 ( RDB won for "Masoom"')
"Utsav" 1984 ( Bappi Lahir won for "Sharabi")
"Sur Sangam" 1985 ( Ravindra Jain won for "Ram Teri Ganga Maili")
"Hum" 1990 (Ram Laxman won for "Mane Pyar Kiya")
"Saudagar" 1991 (Nadeem Shravn won for "Aashiqi")
"Khalnayak" 1993 ( Nadeem Shravan won for "Dewana")
Posted by: Ajay | 21 October 2009
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