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

SHAILENDRA - Lyricist of all Genre’s

Shailendra was a rare lyricist for whom there was no other life beyond lyrics.He was a complete lyricist in all genre’s of lyricism: serious, funny, spiritual, romantic, sad, happy and angry. . Gulzar called him the greatest lyricist in Hindi films. He was associated with not only with Shankar-Jaikishen but also with a number of music directors such as Salil Chowdhury and SD Burman.
His father hailed from Bihar. This U.P. – Bihar cultural influence was to show later in his folk-style film songs. The origins of Chadh gayo paapi bichhua, Sajanwa bairi ho gaye hamar and Ab ke baras bhej bhaiya ko babul  thus can be traced to this family back-ground. 
He was born in Rawalpindi, and brought up in Mathura. He came in contact with Indra Bahadur Khare at the Kishori Raman School. Both started composing poems, sitting on the rock located on the bank of a pond near to Mathura Railway Station
In 1947 he moved to Bombay and started his career as an apprentice with Indian Railways in Matunga workshop.His writing continued during that period also.
He used to recite his poem in Kavi Sammelans,in one such Sammelan Raj Kapoor heard his poem Jalta hai Punjab, he was so influenced by this poem,he thought of taking this poem in his upcoming movie AAH(1948).He approached  Shailendra to buy this poem which Shailendra refused because that time selling their poems was not  good morally.However Raj Kpoor gave him an open offer to write for him.
As you know the life of a writer is always tough,Shailendra was also living that life.During those days Shailendra's wife got pregnant he needed money that time Shailendra himself approached Raj Kapoor in need of money. At this time, Raj Kapoor was filming Barsaat (1949), and two of the film songs had not yet been written. For ₹ 500, Shailendra wrote these two songs: Patli kamar hai and Barsaat mein. Thus the filmy career of Shailendra started.The song "Barsaat mei hum se mile"started a new trend of title songs.This was started by Shailendra,after that he wrote the title song Awara Hoon for Awara which became a huge hit,
Normally, in Raj Kapoor movies in which Shankar Jaikishan have directed music and composed songs on the lyrics of Shailendra and Hasrat Jaipuri, there is always a title song. For example, I In fact the trend was started by him with Barsaat song. The Awara’s title song Awara Hoon was penned by Shailendra, which was the biggest international hit ever.
Although other contemporaries like Majrooh, Sahir, Kaifi, Shakeel, Jan Nisar Akhtar were regarded as poets who drifted from literature to film songs, Shailendra was generally thought primarily as a lyricist. His sheer diversity of thought is quite unique. Some of his songs are romantic (‘Yeh raat bheegi bheegi’, ‘Tere mere sapne’), some metaphysical (‘Wahan kaun hai tera’, ‘Zindagi khwab hai’, ‘Sajan re jhoot mat bolo’, ‘Jao re Jogi’) others of longing (‘Aja re Padesi’, ‘Oh jaanewalae ho sake’, ‘O basanti pawan pagal’) anguish (‘Kya se kya ho gaya’, ‘Dost dost na raha’, ‘Sajanwa bairi ho gaye’), abandon (‘Mud mud ke na dekh’, ‘Suhana Safar’, ‘Aaj phir jeene ki’), or even nonsensical (‘Tin kanastar’, ‘Chuhe mama’).
Shailendra became popular because he used to write in simple words.He  wrote in the common man’s language. He was economical in his use of words, yet his writing was very meaningful. Take for instance, Teesri Kasam’s Sajan re jhooth mat bolo. he  penned lullabies, bhajans, love songs and even item numbers with equal ease and panache,he was gifted with supernatural quality of writing any stuff of any genre.
In 1961 Shailendra invested heavily in the production of the movie Teesri Kasam (1966), directed by Basu Bhattacharya and starring Raj Kapoor and Waheeda Rehman. The film won the National Film Award for Best Feature Film. However, the film was a commercial failure.The falling health resulting from tensions associated with film production and anxiety due to financial loss, coupled with alcohol abuse, ultimately led to his death,he died on 14th December 1966.
The Milestone Songs of Shailendra 

Song of Barsaat 1949

Song of Awara1951

Song of Shree  420 1955

Song of Chori Chori 1956

Song of Yaudi 1958

Song of Madhumati 1958

Song of Anari 1959

 

Song of Parakh 1960

Song of Kala Bazar 1960

Song of Bandini 1963

Song of Dil Ek Mandir 1963

Song of Sangam 1964

Song of Guide 1965

Song of Teesri Kasam 1966

Leena Chandavarkar- Yeh Jo Chilman Hai

Today we know her the 4th wife of Kishore Kumar, once a successful actress of the 70s. She made her debut in Man Ka Meet for Sunil Dutt, and it was his wife Nargis who groomed her to be an actress. Between 1969 and 1979, Leena acted in many films. She was cast opposite many of popular heroes of that era. She gave one of her best performances in Mehboob Ki Mehndi with Rajesh Khanna in 1971.
She was one of the two heroines of Dilip Kumar in Bairag,she  was a heroine for Raj Kumar in Dil Ka Raja,she was heroine of Shammi Kapoor in Jaan Pehchaan,  she was heroine of Dharmendra and Jetendra.
In an interview she said Kishoreji wanted to do a film with me. He had written three scripts for me and he kept meeting me on the pretext of narrating the script and chat with me for hours. One fine day, he proposed to me.

I refused immediately but he didn’t say a word and said he wanted to narrate a script. I refused to meet him. But finally, I signed his film Pyaar Ajnabee and my friendship with Kishoreji deepened.

When I told my parents about my decision to marry him, they were very angry. They had heard stories about him and were concerned. When I called up Kishoreji, the first thing he asked me was whether my parents had consented. I said they hadn’t and had instead left for Dharwad. He was delighted and said, “Well, now I am free to marry you.” Then he said, “Let’s go to Dharwad and take your parents’ permission.”

I was sure my parents would never agree. But when we reached Dharwad, my mother and brother greeted him with so much warmth. He later asked for a mat and a harmonium. He sat down to sing songs to please my father but my father did not relent. His last song was Nafrat karne walon ke seene mein pyaar bhar do. My father came around and hugged him and said, “Your voice has touched my heart and I am sure you will keep my daughter happy.”

After Kishore's death in 1987, she continues to live with her singer-actor step-son, Amit Kumar, and has even written lyrics for his music album.

Songs of Leena Chandavarkar 

Song of Man Ka Meet 1969

Song of HumJolie 1970

Song of Mehboob Ki Mehndi  1971

Song of Jaane Anjane 1971

Song of Dil Ka Raja 1972

Song of Manchali 1973

Song of Bidaii 1974

Song of Bairag 1976

Dahi Handi Songs of Bollywood

On the occasion of Janmashtmi, I am posting few songs of Dahi Handi. In Maharashtra Janmashtmi is celebrated as Gokul Ashtmi. The festival gets this popular regional name from legend of baby Krishna. According to it, he would seek and steal milk products such as yoghurt and butter and people would hide their supplies high up out of the baby's reach.
Govinda would try all sorts of creative ideas in his pursuit, such as making human pyramids with his friends to break these high hanging pots. 
Bollywood celebrates all the festivals enthusiastically both on and off the screen. Dahi Handi, celebrated on the occasion of Lord Krishna's birth, is one such festival which gets a new twist by every filmmaker
The first Dahi Handi song that became popular was Govinda Ala Re from Bluff Master. Shammi Kapoor performed the song gracefully.

Song of Bluff Master 1963

Song of Badla 1974

Song of Muqabla 1979

Song of Khuddar 1982

Song of Kala Bazar 1989

Song of Hello Brother 1999

Song of Vaastav 1999

Song of Yeh Tera Ghar Yeh Mera Ghar 2011

Song of OMG 2012

Song of Rangrez 2013

Raga Based Songs of Kishore Kumar

We all know that Kishore Kumar never received any typical classical training yet proved with every song that he was in no way lesser than any of his contemporaries of the ‘Golden era’.
During his earlier career as an actor, not many opportunities came his way to sing songs based on classical ragas. Even there were many occasions when the music directors chose to have him lip-sync to Mohammed Rafi and Manna Dey as they were classically trained and so these music directors felt that Kishore Kumar may not do justice to the particular songs based on classical ragas.
In this post I bring to you some memorable Kishore Kumar solos based on different ragas.
The first song in my list is Koi Humdum Na Raha Koi Sahara Na. This song was originally composed by Khurshid Minocher-Homji, better known as Saraswati Devi, the first female composer of Bollywood, and sung by Kishore’s elder brother Ashok Kumar in Jeevan Naiya (1936). However, 25 years later, Kishore da crooned this melody based on Raag Jhinjhoti for his film, Jhumroo.

Song of Jhumroo 1961

Song of  Ek Raaz (1963)

Song of Door Gagan Ki Chaon Mein (1964)

Song of Khamoshi (1970)

Song of Safar (1970)

Song of Sharmilee 1971

Song of  Gambler (1971)

Song of  Door Ka Raahi (1971) 

Song of  Amar Prem (1972)

Song of Anamika (1973)

Song of Chor Machaye Shor (1974)

Song of Aap Ki Kasam (1974)

Song of Mehbooba (1976)

Song of Agar Tum Na Hote (1983)

Bollywood Songs songs that do not have tabla, dholak or any other percussion instrument

Last night I was listening the song "Jalte Hain Jis ke Liye" sung  by Talat Mahmood from the film Sujata. One interesting point I noted  that this song has no sound of Tabla, Dholak or any other percussion instrument.This made me curious to research those songs which do not have any rhythmic instruments.
However, you may be surprised to learn that some of the most popular songs of the Golden era (mostly 50s and 60s) do not have any percussion instrument. Yes, you read that right. There are no percussion instruments in some of the most popular songs. 
We all know that Melody and Rhythm are two essential elements of any Hindi film song.  Melody is mostly identified with the vocals or the singable part and rhythm is identified with accompanying percussion instruments like Tabla or Bongo or Drums. 
You may say that the songs that do not have percussion must be sad or slow songs. But it was not like that.There are some bright, cheerful songs as well that have Nothing but melody.
It is possible to create the rhythm for a song without using percussion instruments. Most composers created rhythm by using guitars, banjo or some other stringed instrument like a Double Bass or a Piano. In film songs, guitar can be played in three ways – as a lead guitar, bass guitar or rhythm guitar.
In the above mentioned song the composer of the song SD Burman  usesd Piano to provide rhythm.Similarly SD Burman’s another masterpiece song from Pyaasa – Jaane woh kaise log in which piano supplements guitars and double bass for rhythm.
Hemant Kumar too seems to have a penchant for composing songs without percussion. His lively Bekarar karke from Bees Saal Baad, surprisingly does not have any percussion instruments, very unusual for the situation in the movie.
Here are few songs where the rhythm is provided by a variety of stringed instruments like Double Bass, Guitars and so on. I hope you enjoy these extremely popular Nothing but melody songs.

Song of Pyaasa 1957

Song of Chalti Ka Naam Gaadi 1958

Song of Dilli Ka Thug 1958

Song of Sujata 1959

Song of Kagaz ke phool 1959

Song of Lal Qila 1960

Song of Jhumroo 1961

Song of Bees Saal Baad 1962

Song of Woh Kaun Thi 1964

Song of Waqt 1965

Song of Anupama 1966

Song of Khamoshi 1969

Gulzar - Humne DekhI Hai Un Aankhon Ki Mehakti Khushboo

Gulzar (Born on 18th August 1934) became popular as a lyricist in the unusually worded song from Khamoshi in 1969 "Humne dekhi hai un aankhon ki mehakti khushboo/Haath sey chhoo ke ise rishtoon ka koi naam na do". .Though he penned his first film song "Mora gora ang laiy ley mohe shaam rang daiye dey/chhup jaoongi raat he mein mohe pee ka sang daiye dey." from Bimal Roy's Bandini released in 1961.
Gulzar, who began as an apprentice with Bimal Roy, joined Hrishikesh Mukherjee after his death. He wrote for Kabuliwala, Sannaata, Do Dooni Chaar Biwi Aur Makan etc. With Mere Apne (1971), he turned director.The success of his Mere Apne encouraged Gulzar to experiment with novel subjects. Next in the line came films like Koshish, Parichay, Achanak, Kinara and Aandhi.
In Aandhi, Gulzar wove a story of estrangement between a couple (Sanjeev Kumar and Suchitra Sen) against the backdrop of politics. Gulzar is at his sublime best in the song "Tere bina zindagi se shiqwa to nahin."The lyrics 3 the agony and regret of the choices made.
However, Gulzar's most successful songs as a lyricist were to come out later, of his association with Rahul Dev Burman who he described later as an anchor in his life.Few of his songs with R D Burman are Beeti Na Bitai Raina, Parichay (1972), Tere Bina Zindagi Se, Aandhi (1975), Aaj Kal Paaon, Ghar (1978), Do Naina Aur Ek Kahani, Masoom (1983), Mera Kuch Samaan, Ijaazat (1988).

Song of Bandini 1963

Song of Khamoshii 1969

Song of Khamoshii 1969

Song of Anand 1971

Song of Aandhi1975

Song of Mausam 1976

Song of Kinara 1977

Song of Sadma 1983

Song of Masoom 1983

Song of Maachis 1996

Shamm Kapoor- Music and Rythum running in his veins.

When you think of Shammi Kapoor, music cannot be far behind. All his films had  songs and dance that were loud and energetic, joyous and boisterous, soft and romantic. In this blog on Shammi Kapoor,I have worked on the music interest of of Shammi Kapoor.
Few people know that Shammi Kapoor learnt classical music for five years along with his elder brother Raj Kapoor.Shammi  Kapoor became Pandit Jagannath Prasad's pupil. Later, as part of Prithvi Theatres, his music lessons continued. 
He entered the cinema world in 1948, as a junior artiste, at a salary of Rs. 50 per month, stayed with Prithvi Theatres for the next four years and collected his last pay check of Rs. 300, in 1952. He made his debut in Hindi Films in the year 1953, when the film Jeevan Jyoti was released. It was directed by Mahesh Kaul and Chand Usmani was Kapoor’s first heroine. 
He worked closely with the music directors and singers and musicians, and often sat in on recordings. He choreographed his own songs, his loose-limbed grace and innate sense of rhythm shaking every canon of 'dance' that Hindi films had hitherto seen on screen. And his obsession with music meant that, quite often, he often had an instrument with him. 
Shammi Kapoor once said in an interview that at recordings with Shankar-Jaikishen, he would observe the musicians performing, and get (music director) Jaikishen, a close friend, to teach him the nuances of each instrument.
Beside learning Indian Classical music he was also and  admirer of Western Music,Ramba, Samba, Western Classical, Gypsy Music, Jazz....He was a fan of Elvis Presley and later called as Elvis Presley of Bollywood. 
Shammi Kapoor played many instruments in various songs on screen, here I am posting few of those songs in which he is shown as playing the instrument.
Shammi Kapoor (21 October 1931– 14 August 2011) gave us hits like hits like Tumsa Nahin Dekha, Dil Deke Dekho, Singapore, Junglee, College Girl, Professor, China Town, Pyaar Kiya To Darna Kya, Kashmir Ki Kali, Janwar, Teesri Manzil, An Evening in Paris, Bramhachari, Andaz and Sachaai. Shortly before his death, he made his last film appearance in Imtiaz Ali's 2011 directorial venture Rockstar co-starring his grand-nephew Ranbir Kapoor, the grandson of his brother Raj Kapoor. He died on 14 August 2011, 05:15 am IST, of chronic renal failure, aged 79.
Shammi Kapoor starred in over 50 films as lead actor, and over 20 films in supporting roles. He has won the Filmfare Award for Best Actor once, for his performance in the film Brahmachari (1968) and then in 1982 for Vidhaata. 

The first song in my list is from the film Hum Sab Chor Hain (1956).Here in this song Shammi is trying his best to impress Vimala (Nalini Jaywant). He is a theatre manager, she is hoping to be the lead actress.  But since he cannot sing or play any instrument, his assistant manager (Ram Avatar) is doing both from behind the door.

Song of Hum Sab Chor Hain 1956

The next song in the list is from the film Dil Deke Dekho, in this song Shammi Kapoor is playing drums.

Song of Dil Deke Dekho  1959

Song of China Town 1962

Song of Bluff Master1963

Song of Kashmir Ki Kali1964

Song of Teesri Manzil 1966

Song of Brahamchari 1968

Song of Brahamchari 1968

Song of  Jaane Anjane1971