Laxmikant of Laxmikant Pyarelal - A Musical Prodigy

 Laxmikant(3rd Nov 1937- May 25, 1998)  spent his childhood amidst dire poverty in the slums of Vile Parle (East) in Mumbai. He lost his father very early in his life.
His father’s friend, a musician himself, advised Laxmikant to learn music. Accordingly, Laxmikant learned to play the mandolin from the well-known mandolin player Hussain Ali and later from Bal Mukund Indorker and violin from Husnalal (of the Husanlal Bhagatram fame). When he was only 10 years old, he played mandolin in a Lata Mangeshkar concert in Radio Club, Colaba. Lata was so impressed that she talked to him after the concert and asked him to join  Sureel Kala Kendra, a music academy for children, run by the Mangeshkar family. Here he met the young Pyarelal, who was 3years younger to him. 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.
Lata Mangeshkar saw talent in him and Pyarelal, helped them to fight poverty by recommending them as a musician to the music directors of that time like Shankar Jaikishan,, OP Nayyar, etc.
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 the role of himself as a Composer of Song “Dil Ki Baat” in Teri Kasam (1982), which had music by R D Burman.
Laxmikant was a diehard fan of Shankar Jaikishan, in fact In their early days, Laxmikant–Pyarelal's music was very similar to Shankar-Jaikishan's music,  Laxmikant–Pyarelal's first film as music director was not released. The first released movie which featured them as music directors was Babubhai Mistry's Parasmani (1963), all the songs of the film became immensely popular, esp. "Hasata Hua Nurani Chehara", "Wo Jab Yaad Aaye".In the third quarter of 1963, LP’s first-ever songs Hasta Hua Nurani Chehara form Parasmani hit the “Binaca Geet Mala”.
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. They won their first Filmfare Best Music Director Award for this movie, ahead of stalwarts like Shankar-Jaikishan (for Sangam) and Madan Mohan (for Woh Kaun Thi?). Then came Lootera, a superhit musical non-star cast film, which is remembered only because of Lata Mangeshkar's superhit songs with Laxmikant–Pyarelal.
In 1966 L-P consolidated its place in Hindi film music. L-P's first musical hit film, with a big star cast, Aaye Din Bahar Ke was released, followed by Pyar Kiye Jaa.In the same year few more of their films released such as Sant Gyaneshwar (Songs: "Jyot Se Jyot Jagate Chalo",); in Hum Sab Ustaad Hai (Songs: "Pyar Batate Chalo", "Ajanabi Tum Jane Pehachane Se"); in Mr. X in Bombay (Songs: "Mere Mehboob Quayamat Hogi", "Chali Re Chali Re Gori", "Khoobsurat Haseena"); and in Shriman Fantush..(Songs: "Sultana Sultana Tu Na Ghabarana", "Yeh Dard Bhara Afasana"). 
In 1967 LP received their second Filmfare Trophy for Milan without any stiff competition. That year this Jodi gave a series of hits, one after another. Non-star cast film Farz was L-P's first golden jubilee musical hit, followed by big star cast films such as Anita, Shagird, yet another Golden Jubilee hit, Patthar Ke Sanam,
They dominated the music industry along with R D Burman in the 70s and 80s.theycomposed over 3000 songs, or even more, in nearly 500 films. After Milan, they won 5 more Filmfare awards. for Best Music Director.
Their music in Bobby has been rated the 17th best soundtrack ever by Planet Bollywood on their "100 Greatest Bollywood Soundtracks". Other soundtracks in the list include Amar Akbar Anthony (25), Roti Kapada Aur Makaan (27), Dosti (32), Hero (36), Ek Duuje Ke Liye (44), Karz (50), Ram Lakhan (59), Kranti (61), Tezaab (65), Do Raaste (74), Milan (75), Khalnayak (77) and Prem Rog (85).
Laxmikant died on May 25, 1998, Pyarelal went to self retirement.

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Here are the songs of their Award-winning films of LP

Song of Dosti 1965

Song of Milan 1967

Song of Jeene Ki Raah 1970

Song of Amar Akbar Anthony 1977

Song of Satyam Shivam Sundaram 1978

Song of Sargam  1979

Song of Karz1980

Pyare Lal ji of the Laxmikant Pyare Lal Music Duo - A Music Genius

Pyare Lal ji of the Laxmikant Pyare Lal music duo may not be giving music any more but he is still actively participating in musical events.
At an age when other children were busy reciting nursery rhymes, Pyarelal could play several instruments with phenomenal dexterity? Obviously, the Gods decided to make him a musical genius whereby he was not only invited to music studios at the age of ten but also blessed with a lifelong friend in senior mandolin player Laxmikant.
Could you believe that at the age of 14, he arranged music for Khayyam for ‘Phir Subah Hogi'; its songs are remembered till date for their haunting orchestration.

Pyarelal credits Laxmikant for their partnership and for motivating him into turning composer. He recalls, “I was ready to sail for Venice in 1957 but Laxmikantji advised me to stay back as he felt we could form a great music team.” The decision may have meant spurning the chance of being a disciple of the legendary Yehudi Menuhin but it also led to the duo composing music for over 750 Hindi films.
Pyare Lal ji learned violin from his guru Anthony Gonsalves'.
The popular song, ‘Main Ye Soch Kar,' from ‘Haqeeqat,' which he created and played on Madan Mohan's request!. He was a. musician with SD Burman for few years, he became a good friend of R D Burman. Later he gave music arrangements to R D Burman's ‘Chhote Nawab' and ‘Bhoot Bangla.
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.
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 back to Mumbai. 
The two became assistant music directors in 1957 and after assisting Kalyanji-Anandji in a few films, they got their first break in the low-budget costume drama, Parasmani (1963).
The song Hansta hua noorani chehra hit the bull's eye. A year later, Parasmaniwas followed by Dosti. With songs like Chahunga main tujhe and Janewalon zara, there was no looking back. 
In 1966 L-P started cementing their place in Hindi film music. L-P's first musical hit film, with a big star cast, Aaye Din Bahar Ke was released, followed by Pyar Kiye Jaa. 
In 1967, L-P consolidated their position in the Hindi film industry with a series of hits, one after another. Non star cast film Farzwas L-P's first golden jubilee musical hit, followed by big star cast films such as Anita, Shagird, yet another Golden Jubilee hit, Patthar Ke Sanam, Night in London, Jaaland another evergreen musical hit Milan. L-P received their second Filmfare Trophy for Milan without any stiff competition.
Laxmikant–Pyarelal's tunes used to be very simple but at the same time it used to be extremely sweet, catchy and melodious. LP had an excellent sense of what would work at the common man's level and in cinema halls, more than in Internet forums. They had a vast command over Folk and Hindustani Tunes. L-P (Laxmi-Pyare), were the composers who excelled, consistently, for more than three decades. 
Lata Mangeshkar also played a major role in shaping up the careers of Laxmikant–Pyarelal. She sang the highest number of songs for them. 
Asha Bhosle recorded almost 494 songs for Laxmikant-Pyarelal. Their collaboration lasted almost 35 years, 1963-1998. 
Mohammad Rafi has sung as many as 379 songs under Laxmikant-Pyarelal. This is the highest number of songs sung by Mohammad Rafi with any of the music directors in Hindi film music. 
Laxmikant-Pyarelal also produced some memorable songs rendered by Kishore Kumar, (402).
Laxmikant–Pyarelal kept a balancing act between Mohammad Rafi (379 songs) and Kishore Kumar (402 songs). During the peak wave of Kishore Kumar after Aaradhana, it is Laxmikant–Pyarelal who gave highest numbers of songs to Mohammad Rafi.. In 1977 L-P brought back the glory of Mohammad Rafi through "Amar Akbar Anthony" and "Sargam".
After Laxmikant's death, Pyarelal has done some work independently. When the playback singer Kumar Sanu turned music director, he approached Pyarelal to arrange music for him. Pyarelal was approached to assist in the music of Farah Khan's Om Shanti Om song "Dhoom Tana" 
Despite an outstanding run of success, fame sits lightly upon Pyarelal's shoulders. He has no airs and speaks so softly that you have difficulty in catching his words. 

Song of Parasmani 1963

Song of Dosti 1964

Song of Aayi Milan Ki Bela 1964

Song of Milan 1967

Song of Shagird 1968

Song of Do Raste 1969

Song of Shor 1972

Song of Bobby 1973

Song of Roti Kapda Aur Makan 1974

Song of Amar Akbar Anthony 1977

Song of Karz 1980

Song of Hero 1983

Song of Mr India 1987

Song of Tezab 1988

Song of Ram Lakhan1989

Song of Hum  1991

Dev Anand's Association with Shankar Jaikishan

Shankar Jaikishan were associated with Raj Kapoor and Shammi Kapoor but they also composed for Dev Anand in 8 films with 63 scores. The first film they worked together was the 1953 film Patita. But when producers and directors approached Shankar Jaikishan for composing music in Dev Anand’s film, he took Hemant Kumar for Dev Anand. The song Yaad Kiya Dil Ne Kahan Ho Tum was super hit. Another song for Dev Anand was Talat Mahmood.
The combination of SJ and Dev Anand stormed Bollywood from the time he used Rafi for almost all the songs in the film Love Marriage in 1959.Rafi’s songs included “kahan ja rahe the“, “dheere dheere chal“, This combination created storms in the film Jab Pyar Kisi Se Hota Hai.
Jab Pyar Kisi Se Hota Hai was a musical film with Asha Parekh and all the songs became super hit in the early 60s. Some of them included “jiya ho, jiya ho jiya kuch bol do“, “sau saal pehele hume tumse pyar tha“, “yeh aankhe uff yummma“, “teri zulfonki“, to name a few. The success of the film Jab Pyar Kisi Se Hota Hai was followed up in Hrishikesh Mukherjee’s film Asli Nakli. All the songs of this film were hit especially “tera mera pyara amar“, “tujhe jeevan ki dor se bandh liya hai“, “ek buth banayunga“, “asli nakli chehera“ 
After this released Dev Anand Saira Bano starrer Pyar Mohabbat in 1966. The songs in the film Pyar Mohabbat, like “dil ki awaaz khuda khair Karen“, “pyar muhobbat” and duet songs with Sharda like “sun sun, sun re balam, dil tujhko pukare” were hits.
After this film SJ did 2 films with Dev Saab both released in 1968,Duniya and Kahin Aur Chal The songs of Duniya were popular in this film SJ used Kishore Kumar for Dev Anand.

Song of Patita 1953

Song of Love Marriage 1959

Song of Roop Ki Rani Choron Ka Raja (1961) 

Song of Jab Pyar Kisi Se Hota Hai (1961)

Song of Jab Pyar Kisi Se Hota Hai (1961)

Song of Asli Naqli (1962) 

Song of Asli Naqli (1962) 

Song of Pyar Mohabbat 1966

Song of Duniya 1968

Song of Duniya 1968

Kalyanji Anandji- From the Folk Music to Funky Music

Anandji the younger brother of Kalyanji grew up in an atmosphere rich in culture, stalwarts like V Shantaram and Durga Khote being their neighbours. His introduction to the world of music happened when an 11-year-old Anandji and his classmates were taken to be part of the chorus in Devika Rani’s Meghdoot (1944). 
He along with his elder brother Kalyanji started an orchestral group called Kalyanji Virji and Party and held musical shows. They participated in the Sarvajanik Utsav, Navratri and Ganpati celebrations. he’d play the tabla. Kalyanji, who introduced a new electronic instrument called the clavioline. With this instrument, they played the been (the music to entice snakes) for a snake sequence in Nag Panchami (1953), the music of which was scored by Chitragupt. People came to watch the film just to listen to this music,” they earmark their debut in film music.
Hemant Kumar heard their tune and decided to use this in the most popular song "Man Dole Mera Tan Dole" Soon their Nagin tune was being played in Mandirs, Navratri and even Shaadis.
 Samrat Chandragupta (1959) was their first film as Kalyanji Virji Shah. Songs like "Chahe Paas Ho" (Lata–Rafi) that are remembered to this day were what made the movie a commercial success. This was followed by his composing music scores for more films like Post Box 999 before Anandji who was assisting him, joined him officially to form the Kalyanji Anandji duo in Satta Bazar and Madari (1959). Chalia (1961) was their earliest major hit. In 1965, two decisive scores, Himalaya Ki God Mein and Jab Jab Phool Khile, established them as composers to reckon with.
Anandji is a multitalented personality. He not only mastered in many musical instruments but also be known for introducing Jaz in Hindi films. He used to do mimicry of many artists of his time. He also knows astrology and face reading.
It was the music of Saraswatichandra (1968) that endorsed the genius of the brothers, more so because the classical tunes came soon after their modern Rhapsody in Haseena Man Jayegi.The songs "Chandan sa badan, Phool tumhe bheja hai, Chod de sari duniya, Hamne apna sab kuch khoya... were instant hits.
Kalyanji-Anandji were dubbed ‘lucky’ for first-timers. They worked with debutant directors including Manmohan Desai (Chalia), Prakash Mehra (Hasina Maan Jayegi), Manoj Kumar (Upkar), Sultan Ahmed (Heera,), Feroz Khan (Apradh), Subhash Ghai (Kalicharan) and Chandra Barot (Don, 1978). They also played mentors to singers like Kumar Sanu, Alka Yagnik, Sadhna Sargam, Sapna Mukherjee and Sunidhi Chauhan. “They gave the name Kumar Sanu to Kedranath Bhattachraya and Sadhana Sargam to Sadhna Ganekar. 
Both Kalyanji and Anandji worked as music composers for over 250 films, 17 of which were golden jubilees and 39 silver. They organised many charitable concerts for NGOs and several charitable institutions in India and abroad with some of the biggest names in Bollywood, like Dilip Kumar, Amitabh Bachchan, Anil Kapoor, Vinod Khanna, Rekha and Sridevi.
From composing desi beats for Manoj Kumar the duo hit a contrasting octave when they composed for the ‘Texas cowboy’ Feroz Khan in films right from Apradh, Dharmatma, Qurbani and Jaanbaz till the ’80s. “Ferozji liked a Western and Arabian touch in his songs. 
The composers composed some popular songs rendered by Kishore Kumar such as "Jeevan se bhari teri aankhe", "Zindagi ka safar hai ye kaisa Safar", "Pal Pal dilke paas", "Neele Neele Ambar Par" "Zindagi ka safar" from Safar (1970), "O Saathi Re" from Muqaddar Ka Sikandar (1978), "mera jeevan kora kagaz" from Kora Kagaz (1974), Jeevan se bhari teri aankhe " from Safar (1970), "pal pal dil ke paas" from Blackmail (1974), "neele neele ambar par " from Kalakaar(1985), "samzauta gamon se kar lo" from Samjhauta (1973), "apne jeevan ki ulzan ko" from Ulzan (1975).. Their composition called "Pal bharke liye" was used in an episode of The Simpsons. Remixed version of the song "Apni Toh Jaise Taise," originally from the 1981 film Laawaris was used in 2010 Bollywood film Housefull. 
They got the following Awards 

• Cine Music Directors Award – 1965 – Himalay Ki God Mein
• First National Award – 1968 – Saraswatichandra
• Filmfare Award – 1974 – Kora Kagaz
• First Platinum Disc by HMV – Muqaddar Ka Sikandar (1978)
• 1st Platinum Disc by Polydor – Qurbani (1980)
• IMPPA Award – 1992 – For Contribution to Films
• Padmashree by the Government of India – For Outstanding Contribution
• IIFA Award (South Africa) – 2003 – Lifetime Achievement Award.

Song of Samrat Chandragupta, 1959

Song of Chhalia, 1960

Song of Dil Bhi Tera Hum Bhi Tere, 1960

Song of Bluff Master, 1963

Song of Jab Jab Phool Khile, 1965

Song of Johar Mahmood in Goa, 1965

Song of Himalay Ki God Mein, 1965

Song of Upkar, 1967

Song of Saraswatichandra, 1968

Song of Mahal, 1969

Song of Viswas, 1969

Song of Safar 1970

Song of Johny Mera Naam 1970

Song of Kora Kagaz, 1973

Song of Black Mail, 1973

Song of  Haath Ki Safai, 1974

Song of  Muqaddar Ka Sikander 1978

Song of Don, 1978 

Song of Qurbani, 1980

Song of Tridev, 1989

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The Great Composer Duo of the Golden Era of Bollywood

The duo of Shanker and Jaikishan ruled the Golden Era of Indian Film Music industry with an array of compositions which were remarkable for their unusual concepts and immensely successful. The duo was considered even more important and sellable than the stars of the movies for which they wrote music- their compositions were popular even if the movie itself failed on the box office.
Their association with Lyricist Shailendra and Hasrat Jaipuri was a golden page in annals of Hindi film music, the songs from movies like Barsaat, Awara, Anaari, Chori Chori, Daag, Patita, Kathputli, Yahudi, Dil Ek Mandir, Dil Apna Preet Paraye, Teesri Kasam, Mera Naam Joker, Junglee, Professor, An Evening in Paris, Brahmachari, Aarzoo, Sangam, Andaz and Mera Naam Joker are still fresh in our mind.
‘Barsaat’ ((1949) was the starting point for this foursome. How they met to form the most enduring musical partnership was an accident of fate and that accident was in a way masterminded by another artist called Raj Kapoor, a man with amazing creative talent and vision. 
There were very few occasions when this two lyricist not writing for Shankar Jaikishan. Except for ‘Aarzoo’ and College Girl, the two lyricists found themselves out of S-J favour. The superb chemistry between these four was not merely because they were great artists all. It was more because they were all great friends and great companions who enjoyed each other’s company to the fullest.
Unfortunately, the seeds of dissent and doubt were sown after the release of Sangam between the duo. All the songs were hit but when ‘Binaca Geet Mala’- then a litmus test for popularity- selected Rafi’s ‘Yeh mera prem patra padhkar’  from ‘Sangam’ for the top spot over Mukesh’s ‘Dost dost na raha’ from the same film, Rafi’s song was the creation of Jaikishan- Hasrat team whereas the Mukesh-song was conceived by Shankar-Shailendra combo.
Shankar had this misunderstanding that his song was purposely put down to promote Jaikishan’s song  Due to the intervention of the two lyricists that kept the working relationship intact. This jodi was broken only in 1971 when Jaikishan died. Even after the death of Jaikishan Shankar gave music in many films as Shankar Jaikishan.
Shankar was 7 years elder to Jaikishan. He was born on 15 October 1922. He started his career with a theater group run by Satyanarayan and Hemawati, before shifting to Prithvi Theatre where he played tabla and performed some minor roles in plays. Later he started working as an assistant to the leading composer duo of Husnlal Bhagatram and nurtured the ambition of becoming an independent music director.

Song of Barsaat 1949

Song of Awara 1951

Song of Daag 1952

Song of Patita 1953

Song of Chori Chori 1956

Song of Anari 1959

Song of Dil Apna Preet Paraye 1960

Song of Dil Ek Mandir 1963

Song of Sangam 1964