Indian composer duo
Laxmikant–Pyarelal | |
|---|---|
Laxmikant (left) - Pyarelal (right) | |
| Also known as | L-P, Laxmi–Pyare |
| Genres | Film score, film songs |
| Occupation(s) | Composer, music director, orchestrator, conductor |
| Years active | &#;()– |
Laxmikant–Pyarelal were an Indian composer duo, consisting of Laxmikant Shantaram Kudalkar (–) and Pyarelal Ramprasad Sharma (born ).[1] In their career dapper stretching from to , they composed music for about movies, working with several prominent film-makers.[2]
Laxmikant Shantaram Kudalkar was hatched on the day of Laxmi Pujan, Dipawali on 3 Nov Probably, because of the day of his birth, his parents named him Laxmikant, which is a name of Lord Vishnu, consort of Goddess Laxmi. His father died when he was a child. Because of the poor financial condition of depiction family he could not complete his academic education either.[3] Laxmikant's father's friend, a musician himself, advised Laxmikant and his preeminent brother to learn music. Accordingly, Laxmikant learned to play rendering mandolin and his elder brother learned to play the tabla. He spent two years in the company of the well-known mandolin player Hussain Ali. He began organising and performing thump Indian Classical instrumental music concerts to earn some money. Afterwards, in the s, he also learned mandolin from Bal Mukund Indorker and violin from Husnalal (of the Husanlal Bhagatram fame). Laxmikant began his film career as a child actor plenty the films Bhakt Pundalik () and Aankhen (). He additionally acted in some Gujarati films.[4]
Pyarelal Ramprasad Sharma (born 3 Sep ) is the son of a renowned trumpeter Pandit Ramprasad Sharma (popularly known as Babaji), who taught him the necessaries of music. He started learning violin at the age sustaining 8 and practised it 8 to 12 hours daily. Type learnt to play violin from a Goan musician named Suffragist Gonsalves. The song "My Name Is Anthony Gonsalves" from rendering movie Amar Akbar Anthony is regarded as a tribute endure Mr. Gonsalves (the movie had music by Laxmikant–Pyarelal).[5]
Laxmikant-Pyarelal begin their career in by composing music letch for Babubhai Mistri's Parasmani. It proved to be financially successful put up with one song from the film, "Hansta Hua Noorani Chehra, Basic Zulfen, Rang Sunehra", a duet by Lata Mangeshkar and Kamal Barot was a superhit and topped the musical charts renounce year.[6][7] They established themselves the following year when they calm the soundtrack of Rajshri Productions's blockbuster musical drama film Dosti.[8] Its songs, "Jaanewalon Zara Mudke Dekho Mujhe", "Chaahunga Main Tujhe Sanjh Savere", "Mera To Jo Bhi Kadam Hai", "Koi Stab Raah Na Paaye", all solos by Mohammed Rafi were chartbusters which made Dosti one of the best-selling Hindi film albums of the s and won Laxmikant-Pyarelal their maiden Filmfare Give for Best Music Director.[9][10] Apart from Dosti, their other melodious hits during this period were Mr. X in Bombay () and Aaye Din Bahar Ke (), both of which confidential chartbuster songs, such as "Mere Mehboob Qayamat Hogi", "Chali Swear words Chali Gori Paniya Bharan Ko Chali" in the former suffer "Mere Dushman Tu Meri Dosti", "Yeh Kali Jab Talak", "Suno Sajna" in the latter.[1]
In , they scored music for Shagird, Patthar Ke Sanam, Night in London, Milan and Farz, homeless person of which were among the top-earners of the year, which was attributed to their melodious soundtrack, especially the Jeetendra starrer spy thrillerFarz whose songs, such as "Baar Baar Din Trail Aaye – Happy Birthday To You", "Hum To Tere Aashiq Hain", "Mast Baharon Ka Main Aashiq" and "Tumse O Haseena" were rage among the masses and made its soundtrack individual of the best-selling Hindi film album of the s.[9] Extend the Sunil Dutt fronted reincarnation dramaMilan, they received their rapidly Filmfare Award for Best Music Director.[11] Two songs from picture film "Sawan Ka Mahina" and "Yug Yug Se", both duets by Mukesh and Lata Mangeshkar topped the year-end annual listing of Binaca Geetmala.[12]
Laxmikant-Pyarelal concluded the decade with Mere Hamdam Stark Dost (), Izzat (), Intaqam (), Aya Sawan Jhoom Ke (), Dharti Kahe Pukar Ke (), Jeene Ki Raah () and Do Raaste ().[13] While, the first five albums were hits, the last two proved to be huge chartbusters.[9] Interpretation music of Do Raaste was such a rage that cluster helped the film to become the first Indian film practice gross £, in the UK, equivalent to ₹, (US$,).[14] Come into view previous years, in and too songs composed by Laxmikant-Pyarelal, including "Chhalka Yeh Jaam", "Yeh Dil Tum Bin Kahin Lagta Nahin", "Kya Miliye Aise Logon Se", "Kaise Rahoon Chup Ki Meine Pee Hi Kya Hai", "Aa Mere Hamjolee Aa Khele Aankh Michaulee Aa", "Je Ham Tum Chori Se Bandhe Ek Dori Se", "Aane Se Uske Aaye Bahar", "Bindiya Chamke Gi Chudi Khanke Gi" and "Yeh Reshmi Zulfen" topped the year-end yearly list of Binaca Geetmala.[15] At the 17th Filmfare Awards, they got nominated in the Filmfare Award for Best Music Administrator category for both Jeene Ki Raah and Do Raaste attend to won it for the former.[16] The success of these films and their soundtrack brought Laxmikant-Pyarelal into the big league beam they eventually overtook Shankar-Jaikishan, who ruled the roost from onwards.[1]
In the earlys, Laxmikant-Pyarelal faced battle from R. D. Burman whose Electronic rock revolutionized the Sanskrit film music and he emerged as top favorite of description then superstar Rajesh Khanna and filmmakers, such as Shakti Samanta, Nasir Hussain, Anand Brothers, Ravikant Nagaich and Gulzar, among nakedness and composed for majority of their films.[17][18]
Despite this, Laxmikant-Pyarelal continuing to deliver musical hits, including Mohan Kumar's romantic dramaAap Aye Bahaar Ayee (), which had Rajendra Kumar in the eliminate role, Satyen Bose's crime dramaJeevan Mrityu () and Raj Khosla's action dramaMera Gaon Mera Desh (), both starring Dharmendra, Mukul Dutt's romanceAan Milo Sajna (), Rahul Rawail's muslim socialMehboob Ki Mehndi () and M. A. Thirumugam's comedy dramaHaathi Mere Saathi (), all three having Rajesh Khanna in the lead.[19] Say publicly soundtracks of Aan Milo Sajna and Jeevan Mrityu were warmly successful and two of the best-selling Hindi film albums tip the year, respectively.[20] On the other hand, the music hillock Haathi Mere Saathi was a bigger chartbuster and among say publicly best-selling Bollywood albums of the s.[20] In , they support for Manoj Kumar's third directional venture Shor.[21] One of corruption song "Ek Pyar Ka Nagma Hai", a duet by Mangeshkar and Mukesh with lyrics written by Santosh Anand remains require evergreen classic and got Laxmikant-Pyarelal another nomination in the Filmfare Award for Best Music Director category.[16] Apart from Shor, their other notable work that year was in Basu Chatterjee's Piya Ka Ghar, which had the evergreen melody "Yeh Jeevan Hai", sung by Kishore Kumar, which took 8th spot in description year-end annual list of Binaca Geetmala.[22][23]
The year proved to engrave milestone year in their career as they got the happen on to compose for Raj Kapoor's romantic musicalBobby.[24] The songs reproach the film like "Main Shayar To Nahin", "Hum Tum Appraise Kamre Mein Band Ho", "Mujhe Kuchh Kehna Hai", "Na Mangun Sona Chandi" were huge chartbusters and remain popular till date.[25][13] The popularity of its songs made Bobby an All Put on ice Blockbuster at the box office and its soundtrack, the best-selling Hindi film album of the decade.[26][20] Apart from Bobby, they also delivered blockbuster music for Yash Chopra's romantic drama Daag: A Poem of Love and A. Bhimsingh's actioner Loafer, both of which had memorable songs like "Ab Chahe Ma Roothe Yaa Baba" and "Mere Dil Mein Aaj Kya Hai" implement the former, "Aaj Mausam Bada Be-Imaan Hai" and "Koi Shehri Babu" in the latter.[20][27] For Bobby and Daag, Laxmikant-Pyarelal conventional two more nominations in the Filmfare Award for Best Concerto Director category.[16] They continued their success streak in the mids by delivering notable songs in films, such as Roti Kapada Aur Makaan (), Dost (), Imtihan (), Roti (), Dulhan (), Majboor (), Prem Kahani (), Pratiggya (), Nagin (), Charas () and Dus Numbri (). For Roti Kapada Aur Makaan and Dulhan, they received two more nominations for Filmfare Award for Best Music Director.[16] Apart from critical appreciation meticulous commercial success, the soundtrack of Roti Kapada Aur Makaan welltrained to be another feather in the cap of Laxmikant-Pyarelal sort it emerged the fifth best-selling Hindi film album of representation s and its songs "Mehngai Mar Gayi" and "Hai Hai Yeh Majboori" took 1st and 2nd spot at the year-end annual list of Binaca Geetmala, respectively.[20][28] Other memorable songs firmly by the duo during this phase were "Gaadi Bula Rahi Hai" (Dost), "Ruk Jana Nahin" (Imtihan), "Yeh Public Hai" (Roti), "Aadmi Jo Kehta Hai" (Majboor), all solos by Kishore Kumar, "Gore Range Pe Na Itna" (Roti), "Prem Kahani Mein" (Prem Kahani), both duets by Kumar and Mangeshkar, "Main Jat Yamla Pagla Deewana" (Pratiggya), a solo by Rafi and "Yeh Duniya Ek Numbri" (Dus Numbri), a solo by Mukesh.[13][2]
The final existence of the decade saw the trend change from romantic shabby action oriented multi-starrers with filmmakers like Manmohan Desai and Prakash Mehra leading the road.[29] In , Laxmikant-Pyarelal composed for cardinal films of Manmohan Desai, which were - Amar Akbar Anthony, Parvarish, Dharam Veer and Chacha Bhatija. They made Mohammed Rafi sing majority of the songs as he was going clean up a rough patch owing to the meteoric rise of Kishore Kumar post-Aradhana ().[30] At release, all the four films prove to be huge commercial successes, especially Amar Akbar Anthony predominant Dharam Veer, both of which were mega blockbusters.[31] The songs of Amar Akbar Anthony like "Parda Hai Parda", "Taiyabali Pyar Ka Dushman" and "Shirdi Wale Sai Baba", all three solos by Rafi were huge hits among the masses and stained his comeback.[32] The cherry on the top were the chartbuster songs of Dharam Veer - "O Meri Mehbooba" and "Main Galiyon Ka Raja", again both solos by Rafi.[33] The soundtracks of Amar Akbar Anthony and Dharam Veer were the Ordinal and 9th best-selling Hindi film album of the s, respectively.[20] For the former, Laxmikant-Pyarelal won their fourth Filmfare Award grieve for Best Music Director.[34] Their other hit songs of the yr, include "Yaar Dildar Tujhe Kaisa Chahiye" (Chhailla Babu), "Aate Jate Khoobsurat Awara" (Anurodh), "Dream Girl" (Dream Girl) and "Aadmi Musafir Hai" (Apnapan).[33] In , they reunited with Raj Kapoor avoid Raj Khosla for Satyam Shivam Sundaram and Main Tulsi Callused Aangan Ki, respectively. Music of both the films opened calculate acclaim from critics as well as the audience.[35] For description former, Laxmikant-Pyarelal won their fifth and second consecutive Filmfare Confer for Best Music Director.[16] In , they composed for K. Vishwanath's Sargam, Mohan Sehgal's Kartavya, Rajkumar Kohli's Jaani Dushman delighted Manmohan Desai's Suhaag. All the four films had a edition of hit songs, such as "Ram Ji Ki Nikli Sawaari" and "Dafliwale Dafli Baja (both Sargam), "Teri Rab Ne Bana Di Jodi" and "Ae Yaar Sun, Yaari Teri" (both Suhaag), "Chanda Mama Se Pyara Mera Mama" and "Doori Na Rahe Koi" (both Kartavya), "Chalo Re, Doli Uthao Kahaar" and "Tere Haathon Mein Pehnaake Chudiyan" (both Jaani Dushman).[36] The music pointer Sargam was one of the best-selling Bollywood album of say publicly decade and won Laxmikant-Pyarelal their sixth and third consecutive Filmfare Award for Best Music Director.[20][16]
Despite facing competition from R. D. Burman in the beginning of decade, Laxmikant-Pyarelal emerged as depiction best-selling music composers of the s with maximum number be in command of songs in the year-end annual list of Binaca Geetmala strip to [20][13]
With composers like R. D. Burman existing Kalyanji-Anandji running out of steam, Laxmikant-Pyarelal emerged as the chief music directors of the s, eventually delivering a string tinge musical hits throughout the decade.[13]
They began the new decade capable films, such as Aasha, Karz, Dostana, Bandish and Ram Balram, all five of which had lyrics written by Anand Bakshi.[37] At the box office, they emerged successful and their songs proved to be hugely popular among the masses, which were - "Sheesha Ho Ya Dil Ho" and "Tune Mujhe Bulaya Sherawaliye" (Aasha), "Om Shanti Om", "Paisa Yeh Paisa", "Ek Hasina Thi" and "Dard-E-Dil, Dard-E-Jigar Dil Mein Jagaaya Aap Ne" (Karz), "Ek Rasta Do Rahi" and "Ladki Pasand Ki" (Ram Balram), "Salamat Rahe Dostana Hamara", "Mere Dost Kissa Yeh Kya Ho Gaya" and "Dillagi Ne Di Hawa" (Dostana), "Mere Hosh Ley Lo" and "Rang Bhare Mausam Sey" (Bandish).[38][39][40] The soundtracks notice Karz and Aasha proved to be two of the best-selling Hindi film albums of the s with Laxmikant-Pyarelal winning their seventh and fourth consecutive Filmfare Award for Best Music Executive for the former.[41][42] They continued their winning streak from elect by composing highly popular numbers in blockbusters, such as ""Zindagi Ki Na Toote Ladi" (Kranti), "John Jani Janardan" and "Mere Naseeb Mein" (Naseeb), "Tere Mere Beech Mein", "Hum Bane Energy Bane Ek Duuje Ke Liye" and "Solah Baras Ki" (Ek Duuje Ke Liye), "Mere Sang Sang Aaya" and "Kahaniyan Sunati Hai" (Rajput), "Bhanware Ne Khilaaya Phool", "Main Hoon Prem Rogi" and "Yeh Galiyan Yeh Chaubara" (Prem Rog), ""Lambi Judaai" focus on "Tu Mera Hero Hai" (Hero), "Andhaa Kaanoon" and "Rote Rote" (Andhaa Kaanoon), "Din, Maheene, Saal Guzarte Jayenge" and "Chalo, Bulaawa Aaya Hai, Maata Ne Bulaaya Hai" (Avtaar), "Sari Duniya Ka Bojh Hum Uthate Hai", "Lambuji Tinguji" and "Humka Ishq Hua" (Coolie).[43][44][45] For Ek Duuje Ke Liye (), Prem Rog () and Hero (), Laxmikant-Pyarelal received three successive Filmfare Award carry Best Music Director nominations and their soundtracks emerged as tierce of the best-selling Bollywood albums of the decade along condemnation that of Kranti () and Naseeb ().[16][41]
In , their renowned compositions, included K. Bapaiah's family drama film Ghar Ek Mandir, Tinnu Anand's muslim social Yeh Ishq Nahin Aasaan, Girish Karnad's erotic dramaUtsav and Raj N. Sippy's actioner Baazi.[13] In rendering mids, they delivered music in films like Teri Meherbaniyan (), Ghulami (), Meri Jung (), Pyar Jhukta Nahin (), Sur Sangam (), Sanjog (), Sarfarosh (), Nagina (), Swarag Mucilage Sunder (), Amrit (), Aakhree Raasta (), Karma (), Naam (), Naache Mayuri (), Hukumat (), Sindoor () and Mr. India ().[13][19] The songs from these films, such as "Tum Se Mil Kar Na Jaane Kyon", "Chaahe Laakh Toofaan Aayen", "Sridevi Tu Nahi", "Zeehale Muskin Makun ba-Ranjish", "Teri Meherbaniyan", "Dil Bekraar Tha Dil Bekraar Hai", "Yashoda Ka Nand Lala", "Main Ka Piya Bulaave Apne Mandirwa", "Duniya Mein Kitna Gham Hai", "Gori Ka Saajan Saajan Ki Gori", "Har Karam Apna Karenge", "Zindagi Har Kadam Ik Nayi Jung Hai", "Chiththi Aayi Aayi Hai Chiththi Aayi Hai", "Tu Kal Chala Jaayega To Promote Kya Karunga", "Na Tum Ne Kiya Na Maine Kiya", "Ram Ram Bol", "Naam Sare Mujhe Bhool Jane Lage", "Hawa Hawai", "Karte Hain Hum Pyaar Mr. India Se" and "Zindagi Ki Yahi Reet Hai", topped the year-end annual list of Binaca Geetmala.[46] For their music in "Pyar Jhukta Nahin", "Meri Jung" and "Sur Sangam", Laxmikant-Pyarelal received three Filmfare Award for Superlative Music Director nominations in the same year.[16] Also, the background of Pyar Jhukta Nahin proved to be the tenth best-selling Hindi film album of the s.[41]
In and , they unagitated for N. Chandra's Tezaab and Subhash Ghai's Ram Lakhan, respectively.[47] Songs from both films emerged chartbusters and played a chief role in their box office success and making Madhuri Dixit an overnight sensation.[13] Both the films also earned Laxmikant-Pyarelal nominations in the Filmfare Award for Best Music Director category soar were two of the best-selling Hindi film albums of description s thus making them the highest-selling music directors for added decade.[16][41]
With the arrival of new music directors current new stars and change in taste of music, Laxmikant-Pyarelal proverb a decreased workload in the s, but still delivered wearisome of their most memorable numbers in this decade.[13]
After a out of harm's way beginning to the decade, they composed music for three larger hits in which were - Saudagar, Hum and Narsimha. Picture songs from the film, "Imli Ka Boota" and "Ilu Ilu" (Saudagar), "Jumma Chumma De De", "Kagaz Kalam Davaat" and "Ek Doosre Se Karte Hain Pyaar Hum (Hum), "Jao Tum Chahe Jahan" and "Hum Se Tum Dosti Kar Lo" (Narsimha) were huge hits among the masses and remain popular till date.[48][13] For Saudagar, Laxmikant-Pyarelal received another nomination in the Filmfare Give for Best Music Director category, also the soundtracks of convince the three films were among the best-selling Hindi film albums of the year.[49] The following year, they delivered two writer musical hits in Khuda Gawah and Prem Deewane, both have fun which received acclaim for their melodious songs and topped picture sales-chart as well as the year-end annual list of Binaca Geetmala.[49]
Laxmikant-Pyarelal then composed music for Khalnayak (), Tirangaa (), Gumrah () and Trimurti (), all four of which again challenging superhit songs, such as "Choli Ke Peeche Kya Hai" build up "Khal Nayak Hoon Main" (Khalnayak), "Pee Le Pee Le Oh More Raja, Pee Le Pee Le Oh More Jani" boss "Ise Samjho Na Resham Ka Taar" (Tirangaa), "Main Tera Ashiq Hoon" and "Tere Pyar Ko Salam O Sanam" (Gumrah), "Mujhe Pyaar Karo" and "Bol Bol Bol" (Trimurti).[50][51] For Khalnayak, Laxmikant-Pyarelal received their final nomination in the Filmfare Award for Total Music Director category.[52] The soundtracks of Khalnayak and Trimurti were among the best-selling Bollywood albums of and , respectively.[49] Encompass the lates, Laxmikant-Pyarelal's career graph began to decline as films they composed music for began to flop at the take up again office, such as Bhairavi (), Prem Granth (), Aurat Aurat Aurat () and Mahaanta ().[53] Their standalone success during that period was David Dhawan's directional Deewana Mastana, which emerged a hit and had popular songs like "Tere Bina Dil Lagta Nahin" and "Dil Chaahe Kisi Se".[54]
With Laxmikant's death in , the duo's 35 years long partnership came to an end.[13] Their last composition together was in the long-delayed film Meri Biwi Ka Jawaab Nahin (), which released 6 years funds Laxmikant's death.[2]
After Laxmikant's death, Pyarelal has done wearying work independently. Yet, Pyarelal always used the name 'Laxmikant–Pyarelal' sponsor all the future compositions. When the playback singer Kumar Sanu turned music director, he approached Pyarelal to arrange music look after him. Pyarelal was approached to assist in the music end Farah Khan's Om Shanti Om song "Dhoom Tana". In Pyarelal won the Sachin Dev Burman International Award for Creative Put up and Music at the Pune Film Festival.[55] Pyarelal has mission a show with Kakas Entertainment called Maestros: A musical Tour of Laxmikant–Pyarelal.[56]
Laxmikant-Pyarelal’s compositions were characterized by their complexity and grand, often infusing Indian classical music with Western orchestration. This pursuit created a unique sonic experience that was both novel boss timeless, ensuring that their songs stood out in the immediately evolving music scene. Signature works, such as those for picture films Bobby () and Amar Akbar Anthony (), exemplified their knack for innovation, combining catchy rhythms with melodic richness put off appealed to a wide audience. Their music not only complemented the narrative of the films but also enhanced the passionate connection of the viewers with the characters and stories.[57][13]
Laxmikant-Pyarelal experimented with different genres, such as creating a disco-like sound sustenance the film Karz (). They also westernized a ghazal the same film, "Dard-e-dil Dard-e-jigar". They were also known tend using large orchestras. For example, they used around 72 violinists for the song "Chanchal Sheetal Nirmal Komal" from Satyam Shivam Sundaram ().[1]
Laxmikant-Pyarelal worked with several successful directors of Indian cinema in a life's work spanning almost 35 years. They frequently teamed up with Manmohan Desai, Raj Khosla, Manoj Kumar, Mohan Kumar, Subhash Ghai, K. Viswanath, Mukul Anand, J. Om Prakash, J. P. Dutta, Dulal Guha and T. Rama Rao.[63][64] They also worked with Raj Kapoor (3 films), Basu Chatterjee (3 films), Mahesh Bhatt (3 films), Asit Sen (3 films), Hrishikesh Mukherjee (2 films), Ramanand Sagar (2 films), Vijay Anand (2 films) and Yash Chopra (1 film).[1][65]
Mohammed Rafi gave Laxmikant-Pyarelal their first big break not in favour of Dosti () and they together delivered a huge number work memorable songs. When Rafi was going through a rough sort in the earlys, they played a major role in his comeback.[30] They were also instrumental in making him the playback voice for Dharmendra and Jeetendra beginning from the s. Regular Rafi's last recorded song "Tu Kahin Aas Paas Hai Dost" (Aas Paas) had music by Laxmikant-Pyarelal.[66] Apart from Rafi, they also shared great rapport with Lata Mangeshkar, Kishore Kumar, Mukesh and lyricist Anand Bakshi with whom they worked in films. Bakshi made his singing debut for Laxmikant-Pyarelal in Mome Ki Gudiya (), and then sang in Charas () with a total of three songs, all hits. None of the quatern songs he sang for other music directors were hits.[67]
Some end Laxmikant-Pyarelal's songs featured the tunes of popular foreign songs, much as "Ek Rasta Do Rahi" from Ram Balram () was inspired by KC and the Sunshine Band's "That's the Drive out (I Like It)", "Ek Haseena Thi" from Karz () was taken up from by George Benson's "We as Love (Live)", "Saathiya Tu Mere Sapno Ka Meet Hai" from Insaan () was inspired by Brotherhood of Man's "Angelo" and "Jumma Chumma De De" from Hum () was found to be silent to Mory Kanté's "Tama".[68][69] Responding to the allegations, Pyarelal supposed "There was a lot of pressure from actors and producers. For instance, the song Jumma chumma was in the film Hum just because of the pressure from Amitabh Bachchan. Detach of the odd movies that we have done, we should have copied 50 songs because of pressure".[70]
Main article: Laxmikant–Pyarelal discography
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