Pyarelal on Lata : LP musical equation
Flashback: It is 2005. Pyarelal (the famous second half of Laxmikant- Pyarelal) is in Dubai to attend a tribute show. I along with Kaustubh- (KCP for the PFC readers!), we are dutifully chaperoning him to various TV and radio-stations for various interviews. We enter a studio of a famous Pakistani TV- channel. The host happens to be a veteran Pakistani TV-presenter, who spends a great deal of time gloating over his great (!) past meetings with other artistes including Yusuf-saab (Dilip Kumar)! He has had more than two days to prepare for the show and yet, he throws a bombshell in his flowery Urdu. “Pyarelal saab, maaf karna. Mujhe iss show ke pehle aapke baare mein zara bataana! Waise aap ne ab tak kya kya kiya hai?”
Sitting there besides Pyarelal, I feel a hollow sensation in my stomach-pit! Suresh Wadkar, Pyarelal’s wife, Kaustubh – everyone else in that waiting- room is perhaps going through the same shock. But Pyarelal responds calmly: “Waise humne kaafi music diya hai- Laxmikant Pyarelal naam se!” The presenter continues his ignorant ranting: “Iss show mein hum kuchh khaas hastiyon ke reactions bhi lete hain. To aap ke liye hum kisko call karein?” Pyarelal icily tells him: “Aap kisiko bhi call kar sakte hain. Waise film-industry mein humne sabhi bade artistes ke saath kaam kiya hai. Lekin aap Lataji ko call kerein.” The presenter looks at him with disbelief. Calling Lata for this man called Pyarelal seems rather outlandish to him. The ignoramus doesn’t know that the melody queen’s maximum recordings (666) are in LP’s music!
The crunch moment comes on the actual recording of the show. The TV-station’s call goes out to Lata. The most famous voice from the Indian subcontinent comes online and for the next five minutes, the audience is held spellbound as Lata fondly reminisces about her musical association with Laxmikant- Pyarelal! The host is now sheepishly looking at Pyarelal with newfound admiration! From outside the recording booth, I just keep savouring the blissful satisfaction on Pyarelal’s contented face!
Lata and Laxmikant- Pyarelal is one such special relationship. Thankfully I have the good fortune to say the same thing when it comes to describing my relationship with Pyarelal. The chemistry and proximity generated in that 2005- Pyarelal-visit, has provided me with many memorable interactions with the maestro over these 4 years. The man is temperamental and moody at times but on most occasions, he (and his sweet wife) are two gentle, friendly souls ever ready to share their memories in candid words.
In recent weeks, I called him up three- four times to conduct an informal interview specifically targeting the Lata- LP equation. As usual, the conversation was great and informative. Here are the excerpts from this exclusive Pyarelal interview for PFC:
Lata with Laxmikant - Pyarelal
(In an irritated tone) Who told you that? She was not some stranger for us. From 1951 to 57, we were regulars in the Mangeshkar household. Balasaab (Hridaynath) was our great friend and together we used to run a music-group- ‘Surel Kala Kendra’. Then from Chandrasena (1960) we were working as Kalyanji- Anandji’s assistants till we stopped in Himalay Ki Goad Mein (1965). So Lataji always knew us well for so many years and asking her to sing for us was just a Ghar Ki Baat!
First we got a chance in Hum Tum Aur Woh but the film was never completed. In 1963 we got another chance in Babubhai Mistry’s Parasmani and that was our first film.
Do you remember your first recording with Lataji? Any special memories?
It was for ‘Hansta Hua Noorani Chehra’. Lataji and Kamal Barot sang that song. I distinctly remember one thing about that song. We had used 36 violins in the orchestra! In those days, Naushad used to have 20 violins and Shankar- Jaikishan used 30. We had that newcomers’ silly, child-like enthusiasm and we wanted to outdo everyone else! I remember that after the recording, Lataji had given us her compliments and her blessings!
You can safely say that without Lataji- and also without Rafiji, Laxmikant – Pyarelal would not have been there! Even as a person, Lataji is one of a kind. She is so simple. While talking to others, she gives so much importance to the person before her, that sometimes they get a wrong impression that she doesn’t know a thing! Even to this date, we have been in regular touch.
In your early struggle period, you composed for B-grade Dara Singh- starrers.
(The irritation reappears!) In those days, Dara Singh was not a B-grade actor! He was so famous that he commanded the same price as Ajit! Getting his film was considered a big thing. And if you listen to songs of Lutera, you will know that we did give our best there.
Yes, and there was your work in the mythologicals.
(Interrupts me midway)- There too, we did our best. Take Sant Gyaneshwar. Each song is like a pearl!
You composed some wonderful classical numbers for Lata. Songs like Bahut Din Beete, Bandhan Toote Na and Suno Sajna were just too good. Lataji even named Jeevan Dor Tum Hi Sang Baandhi in her Top 10.
(Sounds happy now!) Other composers often used readymade classical bandish for their songs but we never did that. We were not trained in classical music but both of us were very fond of attending classical mehfils and listening to the masters. We kept learning and experimenting from what we had listened over the years! While playing as musicians for Pt. Ravishankar’s Anuradha- song ‘Haaye Re Woh Din Kyun Na Aaye’ we were attracted by the beauty of Kalavati raga. But when we composed ‘Meghava Gagan Beech Jhaanke’ in Harischandra Taramati using the same raga, we employed a Madhyam, which happens to be a forbidden note for that raga. Similarly ‘Bandhan Toote Na’ from Mom Ki Gudiya was based on Puriya Dhanashri- raga but in that we placed a Shuddha Rishabh instead of the prescribed Komal Rishabh- note. In ‘Suno Sajna’ too, we did away with the convention of following Nishaad with the landing note of Shadja. Lataji was always appreciative of such innovations. She made it clear to us that in popular music, what sounds good to the ear is more important than just rigidly following the prescribed norms!
You also used folk- music to great effect.
Yes, we especially used Punjabi folk style a lot. But we did it with our touch. So ‘Bindiya Chamkegi’ is an original LP- composition but with a Punjabi folk touch. Only rarely we used a folk-song as it is. ‘Ankhiyon Ko Rehne De’ was one such song.
In the Mere Laal- song ‘Meri Patli Kamar Lambe Baal Re’, we used a folk-song from Lataji’s grandmother’s village! The same tune was also used by C. Ramchandra (‘Tu Na Aaya Aur Hone Lagi Shaam Re’ in Aasha.) It was Lataji who had suggested the tune on both occasions!
Qawwali-style often showed up in your tunes.
There too, I tried to bring in the original qawwali flavour by bringing authentic qawwali – musicians. They have their distinct way of playing harmonium, sarangi, tabla and dholak. They even have a distinct way of clapping! In ‘Parda Hai Parda’, I had brought an entire qawwali troupe for the recording!
I always strived for this authenticity in my orchestration. To play brass instruments like trumpets and trombones, I used to bring musicians from Navy Band!
Choir-effect was also used effectively in your songs like ‘Jab Jab Bahar Aayi’ (Taqdeer) and ‘Mother Mary’ (Bachpan).
For that we used Mumbai’s leading Paranjyoti choir.
Your orchestration was grand. When did you use the maximum number of musicians in your songs?
In 2008 October, I conducted an orchestra of 188 musicians in Paris. Director Shaad Ali had presented a show on Bollywood in India Festival over there and for that we were playing our songs. In Farah Khan’s Om Shanti Om- song ‘Dhoom Taana’, too, I had conducted over 100 musicians.
Do you remember any such grand orchestration from your early years?
For Lataji’s ‘Satyam Shivam Sundram’ title-song, we had used more than 100 musicians and even for Mukeshji’s ‘Chanchal Sheetal Nirmal Komal’ we had employed almost 130 musicians with more than 70 violins!
People used to criticize me for using so many musicians. But we brought so many talented musicians into this industry. We had a great team in Shivkumar Sharma (Santoor), Hariprasad Chaurasia (Flute), Sumant Raj (Flute), Kawas Lord (Bongo), Gorakh (Guitar) and Lewis Banks (Piano, Keyboard).
What instruments played the famous LP- theka?
That rhythm was played on tabla and dholak. Sometimes we even used bongo and conga to complement its sound. Actually Shankar- Jaikishan had started that trend but we did it in our own style.
Wasn’t it piccolo playing in the background of the Roop Tera Mastana- song ‘Dekh Lo Woh Ghata’?
No, it was a small flute. Hariji (Chaurasia) had played in the piccolo-style!
Tell me, why did you compose ‘Meri Zindagi Ke Chirag Ko’ (Jaal) in Madan Mohan-style?
We liked doing such experiments. Earlier we had tried to emulate Naushadji’s style in Lataji’s Aaya Toofan-song ‘Hum Pyaar Kiye Jaayenge Koi Rok Sake To Rok Le’. In Jaal, we composed ‘Meri Zindagi Ke Chirag Ko’ in Madanji’s style because Lataji herself told us to create something in Madan Bhaiya’s style!
How did you convince Lataji to sing cabaret songs in Inteqam?
We did not require any convincing. She was always sure that we would never give her a substandard tune. In 1967 Laxmi and I had gone to Lebanon. Over there, we met the famous Arabic singer Fayrooz and became quite friendly with her husband. They introduced us to their music and we were quite impressed. In ‘Aa Jaane Jaan’, we tried to bring in that kind of soft rendition style in the cabaret genre and Lataji was simply brilliant in that. She breathed life into our tune. Just listen how beautifully she renders the ‘Aa lala lala lala lala’ part of the song. No other singer could have managed to bring such finesse into that expression. Also a lot of credit of that song’s popularity must go to Helen, who danced on screen singing the song and to P.L. Raj, the choreographer who conceptualized that dance.
You also made her sing in a child’s voice.
(Laughs). Heroine, mother, sister, child, grandmother- we made her sing for every character. If it was possible we would have even made her to sing for the hero! In ‘Maa Mujhe Apne Aanchal Mein Chhupa Le’ (Chhota Bhai), she sings for a small boy, in ‘Yashomati Maiya Se’ (Satyam Shivam Sundaram) she sings for a small girl and in Bidaai, she sings for the elderly Durga Khote! Every song sounds different. That’s her greatness as a singer.
In the Sant Gyaneshwar-song ‘Mera Chhaila Chhaledaar’, I felt the song has a Marathi laavani- touch but it also dabbles in Punjabi Bhangra- style. Was it done on purpose?
Your observation is absolutely correct! Many Marathi composers like Vasant Pawar and Ram Kadam have composed some wonderful original laavanis. But our laavani was not just for Marathi audience. To widen its appeal, the orchestration is in Bhangra-style but there too, I have not used Dhol. No authentic bhangra is complete without a dhol! In this song, the main attraction in the rhythm is Anna Joshi’s dholki!
I just love Lataji’s infectious laughter in ‘Yeh Kaun Hansa’. Do you remember that song?
“Oh how could I ever forget that song? That song was in Mere Sajna and Raakhi had sung it on screen. It must be one of Lataji’s best renditions! As composers, we could only conceptualize the laughter but she was the one who really made that song come alive!”
The rhythm in ‘Koi Mere Maathe Ki Bindiya Saja De Re’ (Palkon Ki Chhaon Mein) was awesome.
That was Khemta- taal. With Gulzar-saab we worked only in a few films and Palkon Ki Chhaon Mein was one of them. Every song from that film was a hit. Kishore’s ‘Daakiya Daak Laaya’ and Asha – Kishore’s ‘Allah Megh De’ are still popular. Every monsoon, they begin playing ‘Allah Megh De’ on radio!
You also used to specially create certain spectacular entry points for Lata in your duets.
Yes but it was not only done for Lata, even with Rafi-saab, Kishore and Asha we always made that special effort. Kishore Kumar first sang with us in Mr. X In Bombay. That song was ‘Mere Mehboob Qayamat Hogi’. It was also Anand Bakshi-saab’s first song for us. In those days, Kishore’s songs with Burman-saab (S.D. Burman) were already so popular. But if you listen to ‘Mere Mehboob’- (Here Pyarelal sings to show that effect!), you will immediately see a different Kishore! That is LP-style!
Just like his Piya Ka Ghar- song ‘Yeh Jeevan Hai’.
Absolutely right!
Kishore- Lata’s ‘Saragamapa’ (Abhinetri) is one of the cutest love-songs ever.
That tune uses the actual sargam as its notes. (Sings and shows me!) We took inspiration from a similar experiment (‘Jab Dil Ko Sataave Ghum Tu Chhed Sakhi Sargam’), which was earlier done by C. Ramchandra in the old film Sargam.
Lata – Rafi’s chemistry in ‘Woh Hai Zara Khafa Khafa’ was another highlight.
They always tried to outdo each other in a song. See how they play on each word in this song. (Again sings to demonstrate). That is the real fun in this song!
The Utsav- song ‘Neelam Pe Nabh Chhayi’ is mentioned as a Lata- Asha duet in the anthologies. But I feel that the other voice in that song is not Asha’s. Do you remember?
You are right. That was just some chorus singer – not Ashaji!
How did Anand Bakshi come to sing with Lata in Mom Ki Gudiya- song- Baagon Mein Bahar Aayi?
“Bakshi- saab had come into the film-industry with an ambition of becoming a singer and a composer but instead he ended up becoming a lyricist. We had a great friendship with him and asked him to sing that song in Mom Ki Gudiya. I still remember that he had come to the recording wearing a suit! I had ribbed him a lot about that but he said: ‘Today, I am singing with Lata. There will be photographers and I want to look good in the photos!’ The song did well but the film did not run even for a week! We later started pulling his leg by saying: ‘If any producer wants his film out of theatres within a week, then simply he should take Bakshi-saab as a singer!’
I think he had sung one song for Pancham in Sholay, which was cut from the film! Later in Charas, when we asked him to sing the opening lines in ‘Aaja Teri Yaad Aayi’, director Saagar- saab (Ramanand Saagar) started the song’s picturization by showing a Holy Cross and pictures of a host of other Gods. This was done to ward off the Bakshi- bad luck – effect!” (Laughs!)
I have read that Lataji announced that her Filmfare award days are over with Acchha To Hum Chalte Hain. How did it happen?
It was a Filmfare awards night in 1970. Both, Lata and Kishore had got awards as the best singers. Just before they started singing ‘Acchha To Hum Chalte Hain’ as the concluding number, Lataji kept her purse hanging on the mike. As the song was getting over, she picked up that purse and stylishly waving it to the audience, she walked off the stage singing that famous ‘Tata- Bye Bye’ in the end. After that it was announced that from next year onwards, she wouldn’t be accepting any more nominations for the award. We were on stage conducting the orchestra for that song and we were left speechless. The entire audience drew a collective gasp. Nobody knew of her decision before that moment. She did it in such great style. She is just a class act! Hats off to her!
Tags: Interview, Lata Mangeshkar, laxmikant, Pyarelal
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Wow! I mean wow!! This was a fantastic interview. Really got me down memory lane. LP always rocked! And still does!!
Oh. My. God!
Fantastic!
I thoroughly enjoyed reading that, Dr. Mandar V. Bichu!
I absolutely love LP!
And miss their scores so much.
Their orchestra?
Their melody?
Remains unmatched, even today!
What a superb read :-)
Wait till Tushar sees this :-)
Thankyou Dr. Mandar V. Bichu!
Hahaha !! I still remember that host’s face when Lataji was online on air ! lovely interview doc ! Keep them flowing from your khazana !
Very nice one Doctor! It’s a pleasure to read interviews where the interviewer is as knowledgable as you!
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I am sure Pyarelal sir would also have enjoyed the interaction and the opportunity to reminiscence. Please convey the thanks on behalf of all readers of PFC to him.
Thank you guys! Reactions like these make these efforts worthwhile!:)
Great interview.
You were prepared with your knowledge of the subject.The interview would’nt have been good without you. You were so well informed. Take for example the utsav song or mera Chailla lachhedar.
This is one of the best interviews that i had read. I am sure even Pyarelal will be impressed with what you were able get out of him.
Dr Saab, Aapko yahan dekh ke bahut achcha laga..
Want to c more of your articles here .
aapka mob no pls sms kar dena.. I dunno where i have stored ur no. my no is the same
Warm Regards
Neela
Dr.Saab great interview & I’m really envying you for you were so fortunate to have this experience.LP will always be remembered for the innumerable sound tracks & blockbuster numbers created for years together.I just love to hear their songs again & again.And yes the LP-Anand Bakshi jodi was fantastic I must say.
Take a bow Dr. Saab. This is reallly one of the most brilliant interview i have read on Indian film industry. May be today’s journalists shall take a lesson from you. You could have asily pandered to the same old trick of extracting juicy gossips from the legendary musician but you followed the other path- the road less travelled and the result is marvelous.
Wonderful interview.
Apart from Meri Zindagi Ke Chiragh from Jaal, I think another song that was sone by LP in Madan Mohan style was Qareeb Aa Ye Nazar from Anita. Must have been a Raj Khosla influence, who moved away from Madan Mohan after two musically great films Woh Kaun Thi and Mera Saya, to LP in Anita.
A few months back I had played a few Lata-LP songs of my choice on Radio Farishta. These are the 20 songs I chose (in chronological order). Incidentally, this list includes many of the songs mentioned in the interview (including 2 songs from Dara Singh films)
1) Meghva Gagan Beech Jhaanke – Harishchandra Taramati
2) Bahut Din Beete – Sant Gyaneshwar
3) Jeevan Dor Tumhi Sang Baandhi – Sati Savitri
4) Do Nain Bechain – Boxer
5) Sanam Raah Bhoole Yahan Aate Aate – Lutera
6) Tum Kaun Ho Batao – Aasra
7) Suno Sajna Papeehe Ne – Aaye Din Bahaar Ke
8) Qareeb Aa Ye Nazar Phir Mile Na Mile- Anita
9) Mere Zindagi Ke Chiraagh Ko – Jaal
10) Nigahen Kyon Bhatakti Hain – Baharon Ki Manzil
11) Aa Jaan-E-Jaan – Intaqam
12) Saanjh Savere Adharon Pe Mere – Madhavi
13) Ye Kaisa Gham Sajna – Pyasi Shaam
14) O Ghata Saanwri Thodi Thodi Baawri – Abhinetri
15) Hum Kashmakash-e-Gham Se – Free Love
16) Roz Shaam Aati Thi – Imtehan
17) Sargam Ke Phoolon Se – Chaitaali
18) Bhor Bhayi Panghat Pe – Satyam Shivam Sundaram
19) Tum Ko Dekha To – Deedar-e-Yaar
20) Neelam Ke Nabh Chhayi – Utsav
Guys, Doctor saab has has interviewed the whoz who of the industry. All for his passionforcinema ! I have not seen a SINGLE movie ( his movie watching passion, holly/bolly, on VHS-DVD-VCD is legendary ) and music-cataloging (filing/tagging/separating music ) personality, as Doc Mandar is. And what a Lata-fan !! In fact we should expect more from him and make this place richer.
Dr. saab,
Great reading.. Thanks a lot for posting such a superb interview.. Hope to see more from you in future…
btw Ye Jeevan Hai in Uphaar was a slip of tongue? or was it really recorded for that film? (same query for Pyarelal ji’s resposne to Palkon ki chhanv me, where he mentioned ik ritu aaye)
Pavan
Hey Kaustubh (KCP), I would prefer meeting you in person rather than reading these eulogies!
Staying within few kms and meeting in cyberspace- what the life has turned into!
Aditya- your playlist was superb. Tum kaun ho batao, Hum Kasmkashe ghumse, Sargam ke phoolon se- really imprssed! In Baharon Ki Manzil- I would have picked ‘Aaja Re Piya Khilne Lage Tan Man Mein Phool’ and also would have included either ‘Mere Sanam’ (Naagmani) or ‘Yeh Raat Bhi Jaa Rahi Hai’ (Sau Saal Baad)for the haunting effect. And ‘Kisne Pukara Mujhe’ (Pyar Kiye Jaa), Hamein To Ho Gaya Hai Pyar (Mere Humdum Mere Dost)and ‘Tip Tip Tip Pade Boondaniya’ (Prayaschit). , May be next time, you give these numbers a try.
Dr. Saab, wah, what an interview, sir as KCP says, i just admire ur passion and knowledge of movies n music.
Some of my favorite Lata-LP numbers
* Rimjhim Sitaron Ka Aangan-Jeevan Mrityu
* Nindiya se jaagi Bahaar-Hero
* Hastha hua Noorani Chehra-Parasmani
* Dil, Dil, Pyaar, Vyaar main kya Jaano Re-Shagird
* Main tere Ishq mein, mar na Jaao Kahin-Loafer
* Jaane Kyon Log Mohabbat Kiya Karti hain-Mehboob ki Mehndi
Sorry if i got the spellings wrong.
Also i remember Yeh Jeevan Hai is from Piya Ka Ghar, not Uphaar.
Also was just listening to the Lata-KK duet from Mr X in Bombay, “Khoobsurat Hasina” composed by LP. Such a lovely duet, and also the way LP integrates the car horn sound into the song is excellent. Annu Mallik lifted it for “Ae Mere Humsafar” in Baazigar.
..
Also loved Lata’s “Solah baras ki” from Ek Duje Ke Liye, “Bada Dukh deena” from Ram Lakhan. Lata sure was one of LP’s favorite singers, and she sang many a memorable song for them.
Ratnakar, I think ‘Yeh Jeevan Hai’ is indeed from Piya Ka Ghar. I will be correcting it!
During quizzing days in college I would know by heart music director-lyricist-movie-song…Now I realize there is someone who does it all his life…hats off to you Doctor…and this is one interview..that Pyarelal would have been really happy to participate…as it was primarily about his music and not focusing on fringe issues like ‘Aapko kis ke saat kaam karte hue accha laga’..’Jab woh award mila to kaisa laga’ and other nonsense…
As they say its good questions that make up a good interview…these had amazing and specific questions….equally honest answers…great stuff Doctor..
No other wesbsite can publish such a good material on music with so much dedication and intensity. Bravo !
BTW have you visited cinemasangeet.com? Please do that. I think you can find enough passion about films and film music over there!:)
LP were average composers (can be compared to himesh reshmiyya).
Best in film music are Naushad, Madan Mohan, SD Burman and RD Burman
One other aspect of Lata’s singing could be the way she takes over from or joins the opening orchestra. For eg. in Hemant Kumar’s Nagin song, Man dole, mera tan dole, the been goes on and on and on making listeners anxious, even worry, how would Lata enter? And she does it so unobtrusively.so beautifully.
Wish the scholarly interview had covered this aspect in LP’s music and brought out more of Lata.
Well, when analysing Lata’s singing there are so many artistic aspects that I don’t think one can cover that in this life-time!
Doctor saab..thanks a lot..wonderful interview…trying to be greedy here..erm..is it possible to have a video interview?
Hi OM, next time I will definitely try to get one video interview.
I would like to rate Lata Mangeshkar & Laxmikant-Pyarelal as no 1 combination, when Lata is compaired with other music directors….What a variety we get..My personal favorite Lata-LP albums are
1) Sati Savitri 1964
2) Lootera 1966
3) Intequam 1968
4) Sharafat 1970
5) Abhinetri 1971
6) Jal Bin Machhali Nrutya Bin Bijali 1971
7) Mera Gaon Mera Desh 1971
8) Satyam Shivam Sundaram…1977
I would also like to add “Bobby” 1973 & “Ek Duje Ke Liye” 1981 in this catagory….
According to me Lata sounds extremely melodious under Laxmikant-Pyarelal.
Dr. Mandar !!! It is indeed an excellent interview. I thank you for the same. Now a days Indian Media has totally forgotten Laxmi-Pyare.
Gr8 job Dr. Saab
if u cant imagine how much emotional i am getting right now, i wish i cud meet pyarelal ji and all those who love him/them their music and their creativity.
that GEO TV’s anchors’ atitude reflects how much the media people are biased and how much UNFIT ppl r trying to so called RULE THE MEDIA … shame on him
i have a humble request from all of u that plzzzz cum up with sum more interviews and info of LP and pyarelal ji ….. m anxiously waiting for something by PYARELAL ji
Being a PAKISTANI u cant measure my luv n enthusiasm for LP ….
LP rulezzzzzzzzzzzzzzzzzz n they willlllllllllllllllll
i have a challenge to the fans of all other MDs , just name a single MD who was or is that much successfull with a continous span and higher edge
JATIN LALIT ????
ANU MALIK ????
NADEEM SHARVAN ????
even
A R REHMAN ????
no one can be even 2nd to LP
Ya…I agree 110% with Tamsheel..No one MDs can compare with our beloved LP either in quantity or in quality…SJ is an exceptional…except that no any MDs are comaparable with LP…Let Indian media be baiased..LP music is immortal & no need to any media publicity..becz. now a days,their music are also playing in each & every nook & cranny in the country inspite of Medias’ biased approach..
On second thoughts, the channel I think was ARYDigital
Gr8 and quite knowledgeable…thanks doctor sab.
This is what happens when a well-researched Scholar meets a Musical Genius,truly we all here are indebted to you for this musical piece which is one of it’s kind !!!
GK
@KCP- Was it ARY? May be! Perhaps I should just say a Pakistani TV channel!
Guys- all these reactions have made my day!
Dr. saab, Hats off for such a great insight into LP magic!
@Pavan,
You are right about slip of tongue about Kishore’s ‘Ik Ritu Aaye’. It is not from Palkon Ki Chhaon mein but from ‘Gautam Govinda’(?). I have removed that mention from the article.
@Dr.Mandar,
Thank you Dr Saab for this nice interview. Many great songs LP have created in the past.
Few questions always come in to the mind whenever Lata+LP equation come in to the mind. Since you are in to the researching hindi film music with special focus on Lata, could you say anything on
” can it be said that LP may be, if not sole responsible Music directors than, one of few music directors who pushed Lata to sing in high pitch in late 50s and early 60s”. There is a sudden change in the singing of Lata in that period and is it due to this new love for singing in high pitch, or entry of new technology and bit sophisticated recording instruments were responsible for this”?
. . . . .
Second, Did you ask Pyarelal ji’s thoughts on ” Taron mein Sajke apne Sooraj se” from Jal bin machli nritya bin bijli? Why they had modelled the starting tune of this song on the famous tune of “The good, The bad, The Ugly”? Was there any specific reason? They had liked it so much that thought to give a start to their song with this fascinating tune? or it was just a coincidence?
. . . .
Third, It seems that you have prepared the transcript on the basis of an oral interview and whatever sayings, you have quoted, are actual sayings of Pyarelal ji. In such cases IMHO, it does not seem right to make corrections if he has mistakenly quoted song of Gautam Govinda with the name of Plakon ki chhanv mein.
It is not mistake on your part. I mean to say it is not factual mistake but slip of tongue and we should take it this way only. It happens so many times and in old age it should happen often. Should not we let it like this only. Facts will not be changed because of this slip. If you had asked him to correct it at that time when he had said it then it could have become the continous part of the interview. Now it will look like editing of a live interview.
This thing is seen in many interviews of other people also and such slips do not affect the interview,
rather so many times they break the sleep of reader:)
Just a thought!
Dr.Saab, Tamseel & Ajay.
I’m in touch with ARY & Geo poeples in India for Pyarelalji’s tribute interview to laxmikantji.
I’ll post You guys as & when I get some response.
Pritam Sharma.
www.pritam4pr.blogspot.com
Hi rk, really interesting thoughts from your side. I feel that LP being heavily influenced by SJ just continued the SJ- trend of ‘high- pitch’ Lata renditions. Of course, after the mid-70s, Lata could not cope up fully with that and lost out on the sweetness in many songs.
Taaron Mein Sajke prelude is definitely inspired by the Good Bad and Ugly. The danger of asking about known ‘unpleasant/ inconvenient truths’ is sometimes ruining the whole mood of the interviewee. So I usually prefer to sideline them in telephonic conversations. While interviewing face to face, you have a clear view of person’s emotional state and then you can take your chances with such questions- especially if you have struck a good rapport by then. I will definitely ask that question when we meet in person.:)
As far as my efforts to ‘correct’ the things in such live interview is the probablity of such things being quoted later and being misused/ misinterpreted.
Thank you for sharing this, and yay Pyarelal for sticking up for Dara Singh! :-)
Excellent interview.
Your knowledge of music in general, Lata-LP combination in particular and the respectful way in which you have conducted the interview make for a very enjoyable and meaningful interview.
Thank you very much for this. I thoroughly enjoyed it. I was not aware of PFC. Will frequent it from now on. I am a huge fan of old Hindi music.
Lataji has sung so many beautiful songs for LP that making a shortlist must be a very difficult job.
In addition to songs mentioned here, I would like to mention “abhi kya sunoge” from Satyakam.
And even her duets in movies like Milan and Shor are unforgettable. “Ek pyar ka nagma hai” is just magic.
I could go on and on, there is so much wealth in the Lata-LP combination that it is there just to be imbibed and enjoyed. I will say only so much. Thank you very much, Doctor Saab.
Subhash Ghai once said that the music of Manoj Kumar’s ‘Kranti’ was the best score ever in the history of Indian cinema. I agree with him there..even now in post-Rahman era.
Dear Dr. Mandar,
This is far and away the best, the most perceptive interview of Laxmikant-Pyarelal that I have ever read.
As a lifelong fan of the duo, my only regret is that I was not present with you during your meeting with him!
Comparisons are odious, but there is a substantial echo chamber out there that thinks that one music director is the last word in innovation and currency, and that L-P were all ’sound and fury, signifying nothing’. I see your interview as a stunning rebuttal of that misplaced perception.
Your have brilliantly drawn Pyarelal out of his setting shadows and into the wondrous morning and high noon of their times, when they could do no wrong. Incidentally, in other published interviews, he always insists that when he speaks, he speaks also for Laxmikant, his friend, his partner, his inspiration, his jaan-se-pyara compatriot.
Your interview – with what must have been seriously researched questions – gave him the platform to exhibit just how rich, deeply layered, steeped in Indian musical traditions, and assiduously prepared their compositions were.
On this last point, they were a brute force in the sheer amount of effort they spent at their music. Flat out, no one worked harder then them.
Which was one direct reason they could sign so many contracts. I like to cite the recording of ‘chanchal sheetal’ (SSS) as just one example of this attribute; a song at which they took nearly a whole day in the recording studio, and drove it to perfection. Perfect enough for Raj Kapoor to want to open a bottle of champagne, and that’s really saying someting.
They worked the hardest amongst their peers and the results showed, including at the box-office, which they understood as finely as Pyare finesses his violin.
I wish both you and he had more time to reminisce about Laxmikant. I do believe (though don’t know for sure) that Laxmikant was the one who infused the Western instrumentation in their songs; though both were consummate artists at all ends of the composition and recording spectrum; a perfect case of a synergistic team.
I recently watched again ‘Mere Humdum Mere Dost’ and after all these decades and hundreds of times having heard, still marvel at the gathering of Indian and Western instruments in ‘chalo sajna jahan tak ghata chale’, incidentally a song whose opening notes have been sadly clipped in audio records.
On the subject of Lata and L-P, we could spend months discussing them!
There are just so many songs, some remembered, some forgotten – for example, the classical song from ‘Ek Nayi Paheli’ or one of my favorites, ‘neend kabhi rehti thi’ from Aasra and of course some of the solos from Pathhar Ke Sanam, Shagird, Jawaab, Dharti Kahe Pukar Ke, Pyasi Shyam, Milan, Jaal, Anita, Baharon Ki Manzil.. the list stretches into a horizon longer than the ships outside your window.
The cynics always tend to hone in on their post-Rafi output, which I think was mostly terrible.
Though if one is serious about them, and looking for value and not junk, will find a gem scattered here and there all throughout.. I am thinking of many of their songs for Kavita Krishnamurthy and Suresh Wadkar. (Kshatriya, Prahaar and others)..
As I like to rebut, they left more trash to be thrown out than many other music directors could account for as their body of work in their entire career.
In the end, I see Laxmikant-Pyarelal as a seminal, defining force in Hindi film music: a ‘force majeure’ which made their marquee an almost sure bet, a creative machine with ROI written all over it; a spring which launched, mentored and enriched dozens of names in the industry; and even if a glass not quite full, that which we imbibed has still not lost its headiness.
That feeling, upon hearing yet one more of their gems, better expressed by Kishore Kumar as:
“ab to laharaayaa mastii bharii chhaa.Nv me.n
baa.Ndho lo chaahe ghu.Ngharuu mere paa.Nv me.n
mai.n bahakataa nahii.n thaa magar kyaa karuu.N
aaj mausam suhaanaa Gazab Dhaa gayaa
haal kyaa hai dilo.n kaa na puchho sanam”
–
Keep up the great work at your website!
–
Regards,
Robin
It was magical that LP could produce so many
creative songs in rapid succession one after another in their peak years.
I have mentioned the series in my History posts.
But with the 80s except for big films like Arpan, Pyar Jhukta Nahin, Nache Mayuri, Woh Saat Din, Meri Jung, regular songs of Lata by LP did not shine much.
And in the 90s it was indeed sad to see films with Lata like Sanam Bewafaa, Maine Pyar Kiya, DDLJ, HAHK, Chandni, Darr, Aaina, Lekin, being directed by MDs other than LP.
Songs in Kshatriya, Dil Hi To Hai were ignored,
Prem Granth with RK banner could not help the Lata song. May be LP were human after all.
Great stuff. Thanks (specially for putting
reactions of the person being interviewed)for sharing it.