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Laxmikant-Pyarelal : the Music Kings of Hindi Cinema

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Laxmikant-Pyarelal : the Music Kings of Hindi Cinema 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.
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