Producer Mr Krishnamurthy
Music composer Viju (Kalyanji Bhai) Shah
“I would tell people, if you go to Bakshi ji’s house, before he arrives to meet you please just look up at the walls and the ceiling displays and observe each and every film trophy and film awards resting there of some of the most amazing and innumerable films and innumerable hit songs of Hindi cinema and you will not be able to speak for long thereafter realizing where you have fortunately come. Because that is how I felt each time I went there for a music sitting and looked at those trophies. Another amazing thing about him, his conviction in what he was saying, his opinions and suggestions, was unshakable. He somehow knew what he is saying about a song or film or people is absolutely correct and it mostly turned out to be so. Feb 23 2013. Told to me – Rakesh Anand BakshiProducer Rajkumar Barjatya (Rajshri Productions Pvt. Ltd.)
Mrs Hari Prasad Chaurasia
In late 1950s, Bakshi ji was staying in the same guest house, (Evergreen Hotel, Khar station road, Khar west), that my husband and I, Hariji, were staying in. His family was living in Lucknow I was told. He lived here on his own as he could not afford to bring them to Bombay. We had rooms on the same floor so when I would pass his room, I would often encounter the daily sweeper complaining that he finds too much crumpled paper in Bakshi ji’s room, and wondered what does Bakshi ji write so much because he throws so much paper daily making his sweeping job harder. Two decades later we happened to live in the same residential building near in Bandra, we were one floor above his, and every day we would see the best of cars and film people and music composers and singers arrive to meet Bakshi ji for music sittings, we would often hear music sittings going on in his house until late nights up to 9 and 10pm often. Told to me – Rakesh Anand BakshiLyricist Sameer Anjaan
Music composer Anandji Bhai (Kalyanji)
Music composer Ismail Darbar – “Khatarnaak Bakshi saab.”
Today I met Ismail Darbar, he did one film with AB, Mehbooba 2008, it released after a delay of 6 to 8 years, in 2008; he said ‘The most amazing thing in Bakshi saab was, and I have not found that in any writer even today, is that he was so fond, so passionate, so deeply interested in writing, even though we required one mukhda and three antras, he would offer us three to four mukhdas as a choice for every song, and six to eight antras once we selected the one mukhda we needed. To me that explains why most of his producers, directors, composers, who worked with him over the years have the same compliments for him that how much and how fast Bakshi saab wrote songs for them, even though it was not required because our songs have only 3 to 4 verses in total – that showed that Bakshi saab was so passionate about writing that he wrote for reasons beyond what anyone paid, beyond what was needed, and that is an artist who I consider ‘Khatarnak’!, and that is why I always compliment him by telling people ‘Toba, Toba, Bakshi saab khatarnak the.’ Unka toh aaj bhi muqabla nahin. I have asked many many writers to write me a song like ‘bali umar ne mera haal woh kiya’ from ek duje ke liye, and no one, no one, no one has been able to meet that challenge for me so far. For me song writing ended with that one song, and now if any writer can write a love song better than that song from ek duje ke liye, for me a writer of caliber has been born once again. Until then, we will just have to miss khatarnaak bakshi saab.’
– Told to me – Rakesh Anand BakshiProducer Kanwar Ajit Singh Deol
“Bakshi ji peer the, dil aur dimag ke peer. Bahut ache, bahut pyaare, bahut dildaar, bahut khushmizaaz, bahut khoob personality thi unki, bahot yaad aate hain hum sab ko. Unke gaane se hi humme humari film ka title mila, Main Jat Yamla Pagla Diwana. Aaj bhi woh bajta hai, har shehar mein aaj bhi.’ – Kanwar Ajit Singh Deol. Producer of PRATIGYAA 1975. (Brother of Dharamji; Father of actor Abhay Deol). Told to me – Rakesh Anand BakshiDharmendra
A teenage love
By Harminder Singh Chawla
Woh Phir Nahi Aate
by Farhana Farooq (Filmfare) http://www.filmfare.com/features/woh-phir-nahin-aate-10409.htmlDeath of the lyric
Sunday, April 7, 2002 By Chandan Mitra, The Pioneer
It is not that we don’t have splendid writers. Half the problem is that they are not commercially viable because audience demands have altered radically. The remaining half of the problem, of course, is that poetry is at a discount, fewer and fewer lyric writers are born, music directors want wordsmiths not words that make you think and catchiness is all that is required of lyricists and composers. CHANDAN MITRA pays a tribute to the last of the Mohicans, Anand Bakshi Humse hai zinda wafaa aur hum hi seHai teri mehfil jawaan,Hum jab na honge to ro ro ke duniyaDhoondegi meri nishaan… The lyric is finally dead. Many would say it was brain dead for a long time and an ailing Anand Bakshi only personified a life support system for poetry over the last few years. But in the death of the last “traditional” lyricist, India’s popular music industry has lost its remaining link with a magnificent past. Its contemporary aesthetic barrenness appears even starker now than ever before. Of course, some qualifications are in order. Javed Akhtar, despite his rampant ommercialism, is occasionally capable of creating some magnificent webs of thought. Gulzar, if he suspends his penchant for weaving abstruse, often contrived, imageries can give us great poetry. (How I long for his return to the Haath se chhooke isey rishton ka ilzaam na do and Tum jo kehdo to aaj ki raat chand doobeyga nahin… days). The hitherto under-rated Nida Fazli, provided he delves into his fascinating array of past writing, could produce stunners. So, it is not thatwe don’t have some splendid song-writers. Half the problem is that they are not commercially viable because audience demands have altered radically. The remaining half of the problem, of course, is that poetry is at a discount, fewer and fewer lyric writers are born, music directors want wordsmiths not words that make you think and catchiness is all that is required of lyricists and composers. You don’t need a Sahir, Shakeel or Shailendra to write Kehdo na, kehdo na, you are my Sonia or Mehbooba, mehbooba, mehbooba… When the refrain takes over the structure of a lyric, anything goes. It is not that these two hits are bad. In fact, they are vivacious and infectiously rhythmic. Both Jatin- Lalit and Anu Malik deserve full marks for these compositions. But where is the scope for poetry in them? Regretfully, I have to admit Sahir has finally been proved wrong. No longer can it be asserted with conviction: Kal aur aayenge naghmon ki khilti kaliyan chunne wale, Mujhse behtar kahnewale, tumse behtar sun ne wale, Kal koyi mujhko yaad kare, kyon koyi mujhko yaad kare? Masroof zamana mere liye kyon waqt apna barbaad kare? Main pal do pal ka shair hoon, pal do pal meri kahani hai, Pal do pal meri hasti hai, pal do pal meri kahani hai (Tomorrow there will be better selectors to make bouquets of poetry, Better writers than I, better listeners than you, Tomorrow why should anybody remember me? Why should a self-obsessed world waste its time over me? For I am a poet only of the moment, My status is only transitory, my story too is just transitory) Sahir Ludhianvi was wrong. There are no better poets than there were in his time; and, the listeners decidedly possess less depth of emotion. And it is also untrue that masroof zamana will not recall him or others of his class. We shall forever remember the age of the lyric and its creators with fond nostalgia, especially now that the epoch is over with Anand Bakshi’s death. Anand Bakshi faced a lot of criticism in his lifetime for reducing the lyric to tukbandi, that is, pure rhyming. Undeterred, he went on simplifying and demystifying the lyric for the benefit of commoners, for the Ye jo public hai ye sab jaanti hai. His strength was his ability to communicate with people who, like him, never had a privileged economic or educational background. Sometimes, he replied to his critics with infinite aplomb, taking the reductio ad absurdum route. Remember Baag mein bhanwra gaa-ing/Akash mein panchhi flying/ Jheel mein paani lying from Khuddar? Or how he forcibly rhymed one stanza in the high-pitched, emotion-charged Karz number Ek hasina thi by suddenly declaring us gali mein, mera aana jaana tha? When I first heard these numbers as a young adult, I was horrified by the liberties Anand Bakshi took with listeners’ sensitivities. But over the years, I concluded it required a great deal of courage and intellect to deliberately write the absurd or even rhyme for rhyming’s sake. How many writers could have carried off the Ek duuje ke liye lift number Mere jeevan saaathi… Satyam shivam sundaram? (I can only think of Javed who penned a tribute to Anand Bakshi’s favourite composers, Laxmikant-Pyarelal with his Topiwale ball dila). But then one also often wondered if Anand Bakshi was the same man who also wrote Kuchh reet jagat ki aisi hai/Jo har subah ki shaam huyi, Tu kaun hai tera naam hai kya/Sita bhi yahan badnaam huyi… Was it the same master of role reversals who could pen such startling notions as Majhdhar mein naiya dole to majhi paar lagaye/Majhi jo naao duboye usey kaun bachaye? Or its 1969 Aya Sawan Jhoom Ke predecessor, Yeh shama to jali roshni ke liye/Is shama se kahin aag lag jaye to yeh shama kya kare? When a definitive history of popular music is penned, Anand Bakshi is unlikely to occupy the seat of honour in its Hall of Fame. The convent-educated intelligentsia that has recently taken to adulating filmi culture will, no doubt, accord a special status to less prolific song writers. This class, for instance, never recognised the creative talent of Bollywood’s most successful composer duo Laxmikant-Pyarelal, so much so that Laxmikant’s widow has to put out an advertisement in the Mumbai edition of The Times of India every year on May 25 to remind his countless admirers of his death anniversary. But irrespective of intellectual recognition, Anand Bakshi will live in the heart of every Indian for decades to come for the sheer simplicity of his poetry. In fact, every Punjabi-adorning Indipop singer (such as Stereo Nation, composers of lines like Jado-jado maine tainu dekhiyan in O Baby! Don’t break my heart) or Kiska Band Bajega contestant should have paid a tribute to the man who first made Punjabi intelligible to a pan-Indian audience with Bindiya chamkegi in Do Raaste, Koyi Shehri babu in Loafer and Ki gal hai? Koyi nahi in Amir Garib. But it’s not Anand Bakshi alone who is at issue. It is the end of poetry in Hindi film songs that calls for an obituary. The 1950s witnessed a surge in the respectability of Hindi film music, a trend pioneered by Raj Kapoor. Prior to that, lyrics and music were both commonplace. No amount of nostalgia-hunting will convince me that composers like Ram Ganguly (music director of RK Films’ first venture Aag which had just one memorable number Dekh chand ki ore musafir…) were more talented than their successors Shankar-Jaikishan. Similarly, can my preceding generation tell me who wrote the lyrics for myriad KL Saigal, Pankaj Mullick, CH Atma, Kanan Devi or Angur Bala renditions? But everybody from my generation remembers Shailendra, Hasrat Jaipuri, Rajendra Krishan, Raja Mehdi Ali Khan, Bharat Vyas, Shakeel Badayuni, Indivar, Yogesh, Majrooh Sultanpuri, Neeraj, and of course, the greatest of them all, Sahir. The only lyricist of our times that the next generation will remember is Anand Bakshi because he wrote for superhits like Dilwale Dulhaniya Le Jayenge, Dil To Paagal Hai and even Mohabbatein – all Yash Chopra musicals. Strangely, the Chopra brothers never used Bakshi when he was at his prime in the 1970s and 80s. When I was in school, we had to submit poetry to memory. So, even now I remember clichéd efforts of 19th century writers profoundly informing us “Our sweetest songs are those that tell us our saddest thoughts”. The great thing about Anand Bakshi was that he loathed recalling sadness to us. It’s not that he was incapable. Na koyi umang hai from Kati Patang must rank as one of the most despondent numbers ever written for screen. But the practical man he was, he preferred recognising, Yeh jeevan hai/Is jeevan ka/Yehi hai, yehi hai, yehi hai rang-roop/Thodi gham hai, thodi khushiyan/ Yehi hai, yehi hai, yehi hai chhaon- dhoop. Throughout his 74 years, of which more than 50 were spent writing lyrics for popular compositions, Anand Bakshi tried to spread the “feel good” factor. Today, Generation Next feels good almost all the time. So maybe we don’t need an Anand Bakshi anymore. Perhaps, then, he has left us before we reduced him to complete irrelevance. Now that the last classical lyricist is no more, we can finally raise a toast proclaiming: “The lyric is dead! Long live the lyric”. It will, I am sure, in another world. Nafrat ki duniya chhod ke pyar ki duniya mein, Khush rehna mere yaar…Simple poet of an unending hit parade
By Sidharth Bhatia, The Pioneer Sunday, April 7, 2002 It is a curious coincidence that the two stalwarts of the Hindi film industry, who died within days of each other last month, never worked with each other. Nasir Husain, after experimenting with various song-writers in his early days, eventually settled with Majrooh Sultanpuri after the songs of Tumsa Nahin Dekha became hits. And Anand Bakshi, who was at his most productive in the 1970s and 1980s, once his career had taken off after Aradhana, was churning them out for almost every other filmmaker of the period. Yet, in an interesting irony, the two never crossed paths. Yet, that in no way reflects on Bakshi, the most prolific film lyricist ever, whose repertoire consists of over 4,000 songs. Indeed, during his heyday, it was a good probability that every popular song on the hit parade was by him. Just consider the man’s output in the first few years of the 70s-Aradhana, Do Raaste, Haathi Mere Saathi, Aan Milo Sajana, Kati Patang, Jeevan Mrityu, Amar Prem, Khilona-each film a smash box-office success and each song from the film remembered even today. Even relatively less successful films like Paraya Dhan had immensely hummable songs like Aaj Unse Pehli Mulaqat Hogi and Dil Haye Mera Dil. Cast your mind back to Mere Jeevan Saathi, with its eternal Oh mere, dil ke chain, the sweet Roz Shaam aati thi, from Imtihaan (a highly underrated film, incidentally) and the classic that simply grows on you after you hear it the first time, Aaj mausam bada beimaan hai (Loafer), Rafi’s masterpiece sung in the last few years of his life. What do all these songs have in common? Each one is simple to a fault. No high-sounding words, nothing that the front bencher would find complicated, no complex Urdu shairi. That has always been the strength of Bombay’s film lyricists – Rajinder Kishan was a good example of using simple words – but Bakshi carried it to new heights. His was the everyday patois, the chatty line converted, with deftness, into a song which had a little more than obvious at first glance. Take a song like Acha to ham chalte hein. The next line goes Phir Kab Miloge, to which the reply comes Jab Tum Kahoge. It is a song of parting, a bitter-sweet moment, and in the past Sahir has written the ultimate lovers’ parting song Abhi na jao chod kar, but Bakshi manages to come up with a deceptively simple lyric which captures the sentiment perfectly and in a spirit of teasing and fun, without making it frivolous. Yet, he was never simplistic. Yeh jo mohabbat hai or Chingari koi bhadke are songs that have depth and layers which reveal themselves gradually. Both these songs were composed by R D Burman, who elevated them to greater heights. But Bakshi was also blessed to team up with Laxmikant Pyarelal, themselves masters of the simple and straightforward yet hummable tune and right from Milan, with its Bol gori bol to Bobby (Hum tum ek kamre mein band ho) to Mein tulsi tere aangan ki to Karz, the team churned out hits at an amazing pace. Of course, Bakshi was no less creative with other musicians. With Kalyanji-Anandji,one of his earliest hits was Yeh duniya waale poochenge (Mahal), with SD Burman he gave us Mere Sapnon ki Rani and just the other day, he was writing for Dilwaale dulhaniya leh jayenge and Mohabbatein. It is tempting to think of Bakshi as a hack, writing a song on demand to fit the situation and writing obvious lines like Ke aaja teri yaad aayi. After all, juggling several films at the same time can take a toll on even the most creative mind. But that is the demand placed on the film writer and the great ones always rise to the occasion. Bakshi was a master and yet, none of his songs sounds trite or mechanical. The title song is usually the toughest for a lyricist, because it has to use the name of the film and sum up the story and the theme. And a writer cannot pass on a previously written song; he has to write an original one. Bakshi gave us Khilona jaan kar (Khilona) and Naa Koi Umang hai (Kati Patang), both of which live on today, much after many of the hit songs of later years have faded into oblivion (does anyone, for instance, remember oye, oye?) Anand Bakshi, therefore, needs to be mourned more than most because he was writing songs till the very end and as long as he was alive, there was some semblance of poetry and simple elegance in our films. With his passing, we will now have to remain content with aati kya khandala?Degrees of truth
By Chandan Mitra, The Pioneer Sunday, June 11, 2006 I wonder if some readers recall a couple of lines from the antara of a popular 70s song, Hum bewafa hargiz na thhey. The lines I refer to run like this: “Humne jo dekha suna, sach thha magar/ Kitna na thha sach yeh kisko pataa…” This baffled me for years as we grew up believing the truth to be indivisible. So the idea that there could be degrees of truth as lyricist Anand Bakshi made out in this song from Shalimar, was quite incomprehensible. But over time I have concluded that Bakshi wasn’t being deliberately abstruse like Gulzar; the concept he propounded is profoundly philosophical.Anand Bakshi’s long career speaks about his success in adapting himself to changing times.
By Sundeep Pahwa A few years ago, film historian Pavan Jha posed a question on Twitter: Name five pairs of father-son composers for whom Anand Bakshi has written lyrics. It’s a fantastic question because it gives us a sense of how extensive Bakshi’s career was. Anand Bakshi’s long career is indicative of the compromises he had to make along the way (quality may have suffered at the expense of quantity) but more importantly, it speaks about his ability of connecting with the common man over several generations and his success in adapting himself to changing times. Here is my pick of Anand Bakshi’s songs for five father-son composers he worked with out of the 3000+ songs he wrote for Hindi films: (Contributed by Sundeep Pahwa : It should be Six composers – Anil Biswas and his sons Amar and Utpal Biswas of the Amar Utpal duo.) SD Burman and RD Burman Anand Bakshi had debuted in 1958 and proven his mettle earlier with films like Jab Jab Phool Khile (1965) and Devar (1966), but he had to wait till 1969 for an opportunity to work with SD Burman. It is well known that RD Burman played an important role in the music of Aradhana (1969) – he was credited as Associate Music Director – and one wonders if the younger Burman had anything to do with picking Anand Bakshi for the first time for SD Burman. Anand Bakshi went on to work with SD Burman in many other films including Jugnu (1973), Prem Nagar (1974) and Chupke Chupke (1975), but couldn’t quite match Aradhana’s success. My pick from Aradhana is ‘Kora Kagaz Tha Yeh Man Mera’: Anand Bakshi’s body of work with RD Burman is far richer than that with his father. It contains bona fide classics like Kati Patang (1970), The Train (1970), Amar Prem (1971), Hare Rama Hare Krishna (1971), Namak Haram (1973), Aap Ki Kasam (1974), Ajanabee (1974) and Mehbooba (1976), Sholay 1975. I consider Amar Prem to be the pinnacle of their partnership. Although I am in awe of the powerful lyrics of ‘Chingari Koi Bhadke’, my pick from the film is ‘Kuchh To Log Kahenge’ because of the deftness with which Bakshi saab took a song of compassion and transformed it into a unflattering commentary on society. Roshan and Rajesh Roshan Roshan was one of the big name music directors to work with Anand Bakshi early on in his career but they worked together on just a handful of films. Devar (1966) was the only film in which the two enjoyed a measure of success. My pick from Devar is ‘Baharon Ne Mera Chaman Loot Kar’ because it’s one of the few songs in which Anand Bakshi challenges the average Hindi film music listener with limited knowledge of Urdu, while keeping his trademark simple core intact. Rajesh Roshan’s Filmfare Award came in a film for which Anand Bakshi wrote lyrics, Julie (1975). My pick though is from a film which came the next year Tumhari Kassam (1978). ‘Hum Dono Milke Kagaz Pe Dil Pe’ belonged to a category of Hindi film songs Anand Bakshi did very well in – the conversational romantic duet. As with other songs in this category penned by him, Anand Bakshi keeps the lovers’ exchange light-hearted, flirtatious and very real. Kalyandji – Anandji and Viju Shah (son of Kalyanji) After almost a decade of a rather unremarkable career, it was Kalyanji – Anandji who gave Anand Bakshi a blockbuster hit record with Jab Jab Phool Khile (1965), and almost overnight transformed him into the industry’s leading lyricist. I am not particularly fond of the album, but clearly I am in the minority. The film’s music was very popular and with its range of themes and genres, it had something for everyone. My pick from the film is ‘Ek Tha Gul Aur Ek Thi Bulbul’. Contrived as the situation is, I think Anand Bakshi does a masterful job of telling the film’s story in three verses. In terms of popularity, Mohra (1994) and Gupt (1997), would surpass anything else Anand Bakshi wrote for Viju Shah. At the age of 64, Bakshi saab managed to write something as juvenile (some may say crass) as ‘Tu Cheez Badi Hai Mast Mast’. We could see the song’s lyrics as an unnecessary compromise by a senior lyricist or we could marvel at an old man’s ability to read the pulse of a generation far removed. My favourite Viju Shah – Anand Bakshi coming together, however, happens in the lesser heard Tere Mere Sapne (1996) with its two outstanding romantic duets ‘Kuchh Mere Dil Ne Kaha’ and ‘Mere Piya Maine Jise Yeh Dil Diya’. My pick is ‘Mere Piya’: Chitragupt and Anand – Milind There isn’t a lot to choose from when it comes to Anand Bakshi’s lyrics for Chitragupt – just six songs from two obscure films Aadhi Raat Ke Baad (1965) and Angaaray (1975). In fact, I came upon those songs only while writing for this post. My pick is Lata Mangeshkar’s ghazal from Aadhi Raat Ke Baad. Anand – Milind did 10 films with Anand Bakshi but nothing really clicked. The duo could not really get the best out of the aging lyricist. My pick of this combination is an OK melody but to be honest, I picked it for the resplendent Madhuri Dixit. The song – Kumar Sanu and Sadhna Sargam’s ‘Kitna Pyar Karta Hoon’ (Phool, 1993). Nadeem-Shravan and Sanjeev-Darshan (sons of Shravan Rathod) Nadeem–Sharavan did just two films with Anand Bakshi. Bakshi saab’s advancing age and the disruption in Nadeem–Shravan’s career due to Nadeem’s legal troubles (he was named accused in T-Series’ Gulshan Kumar’s murder) meant that they didn’t work together after Pardes (1997). But what an album Pardes was! The film had many good songs and deservedly won Nadeem–Shravan a Screen the award for Best Music Director. My pick is the mellow love ballad sung by Kumar Sanu, ‘Do Dil Mil Rahe Hain’. Anand Bakshi’s work for Sanjeev–Darshan came in the last two years of his life when he was a spent force, although still prolific and with the ability to produce a sporadic good song. I’d rather not pick a Sanjeev–Darshan song. Instead, I will end the post with a song Anand Bakshi wrote for his most significant collaborators, Laxmikant – Pyarelal. About half of all the film songs Anand Bakshi ever wrote were for LP. Theirs was a hit making team as they churned out one chartbuster after the other – Do Raaste (1969), Aan Milo Sajna (1970), Mehboob Ki Mehndi (1971), Bobby (1973), Anurodh (1977) and Karz (1980) – to name just a few. My pick is ‘Aadmi Musafir Hai’ (Apnapan, 1977) which won Anand Bakshi the Filmfare award for Best Lyricist and is an apt song to revisit the beautiful memories the people’s poet left behind. http://www.dnaindia.com/entertainment/report-bollywood-retrospect-the-enduring-lyrics-of-anand-bakshi-2105701Pakistan media
Where It All Began. By Shiraz Hassan. The Dawn.com
http://epaper.dawn.com/DetailNews.php?StoryText=24_08_2014_152_002Waseem Altaf in Pakistan’s The News – Dec 2013.
http://e.thenews.com.pk/pindi/12-18-2013/page20.aspRevisit the legacy of Anand Bakshi @NDTV Puja Talwar
https://www.ndtv.com/video/shows/bollywood-roots/revisit-the-legacy-of-talented-lyricist-anand-bakshi-227928Anand Bakshi’s Khazana for Rajesh Khanna
by Dr Rajiv Vijaykar
http://www.bollywoodhungama.com/movies/features/type/view/id/3736The Punjabi contribution to cinema
By Ishtiaq Ahmed billumian@gmail.com Dr Ishtiaq Ahmed Professor Emeritus of Political Science, Stockholm University; Visiting Professor Government College University; and, Honorary Senior Fellow, Institute of South Asian Studies, National University of Singapore. My book, The Punjab Bloodied, Partitioned and Cleansed, *(Karachi: Oxford University Press, 2012), won the Best Non-Fiction Book Prize at the 2013 Karachi Literature Festival and the 2013 UBL-Jang Groups Best Non-Fiction Book Prize at Lahore. My latest book is, Pakistan: The Garrison State, Origins, Evolution, Consequences (1947-2011), Oxford, 2013. I can be reached at: billumian@gmail.com The Friday Times, 18 March 2016 http://www.thefridaytimes.com/tft/the-punjabi-contribution-to-cinema-I/ It was Anand Bakshi (born Rawalpindi 1930 died Bombay 2002) who should be credited with starting the trend to use Punjabi words, phrases and even verses in Hindi songs. His output outstrips that of all other song writers, including non-Punjabis. Another Punjabi, Gulzar, is considered to have created an entirely new imagery and symbolism in his poetry and indeed in his film songs. Ahmed Faqih tells me that Gulzar is a class by himself. Others too have generated most beautiful and exquisite film songs. We shall be looking at some of their great creative contributions in forthcoming articles. Ishtiaq Ahmed, on the Punjabis who shaped song-writing in the Indian film industry In light of such a discussion, my understanding is that since Punjabis were fully conversant with Urdu/Hindi or Hindustani prose and poetry they were able to respond innovatively to the demands of the film industry. In doing so they brought in the Punjabi tappas and kafis and other such genres into their Hindustani verses and created an exotic film song-writing culture than existed traditionally in the more orthodox regions of classical Urdu and Hindi poetry. Some wrote in both Hindustani and Punjabi and were catering for all three film centers. Music director Vinod and his family – another scion of Lahore Qamar Jalalabadi The earliest Punjabi who started writing for all three industries was Dina Nath Madhok, better known as D. N. Madhok (born Gujranwala 1902 – died Hyderabad Deccan 1982). Others from the pre-partition era included Kidar Sharma, Aziz Kashmiri, Qamar Jalalabadi (Om Prakash Bhandari), Zahir Kashmiri, Nazim Panipati, Saifuddin Saif, Tanveer Naqvi, Raja Mehdi Ali Khan (nephew of Maulana Zafar Ali Khan), Qatil Shifai, Prem Dhawan, Verma Malik and several others. Two Muslims who left Lahore during partition included Aziz Kashmiri (who until then was Lahore based) and Sahir Ludhianvi (who was not writing film songs at that time). Tanveer Naqvi returned to Lahore after partition. Zahir Kashmiri, Saifuddin Saif and Qateel Shifai were based in Lahore, but used to write for Bombay films as well. They stayed behind. West Punjabi Hindus and Sikhs who later made a great name for themselves in Bollywood include Rajinder Krishan, Anand Bakshi, Gulzar (Sampuran Singh Kalra) and Naqsh Lyallpuri (Balwant Rai Sharma). Shailendra was born in Rawalpindi, where his father had set up a small business, but the family was originally from Bihar and it left for Mathura, UP, much before Partition, when Shailendra was still going to school in Rawalpindi. I thought this fact should be noted, even if one cannot claim that Shailendra was a Punjabi. On the other hand, Nazim Panipati (just as Khawaja Ahmed Abbas) hailed from Panipat and was an Urdu- or rather Haryanvi-speaker. Till 1947, Ambala division was a part of united Punjab and therefore we include him among Punjabi song writers. ‘Meray piya gae Rangoon’ – the film ‘Patanga’ is an example of collaboration between Naushad and D. N. Madhok Geet is simply poetry which can easily be expressed in melody As this series develops and evolves, we will have many occasions to discuss some of the songs which the Punjabis wrote for the Calcutta and Bombay film industries. However, already I want to make the following distinctions. D. N. Madhok was definitely the earliest of the Punjabis to establish himself in Bombay. Naushad has mentioned in an interview that during the formative phase when he was looking for a breakthrough in Bombay, D. N. Madhok helped him a great deal. Their finest cooperation was in the filmRattan (1944). The song, Sawan kae badlo unn sae ye jaa kaho’ sung by Zohrabai Ambalvi and Karan Dewan is even now remembered with great nostalgia by film buffs. Then, another, ‘merey pia gaye Rangoon wahaan sae kyia hai telephone’ sung by Shamshad Begum and Chitalkar (C. Ramchandra) and filmed on Nigar Sultana and comedian Gope in the film Patanga (1949), was a sensation. One can name dozens of others. Anand Bakshi properly started the trend of using Punjabi words in Hindi songs Rajinder Krishan (born Jalalpur Jattan, Gujrat district, 1922 – died Bombay 1988) was undoubtedly one of the greatest geetwriters and one can compare him with Shailendra in terms of how beautifully he could express himself in romantic poetry. I will devote more space to his songs in a forthcoming article. The first song, I believe, in which Punjabi words were used in a Hindustani film made in Bombay was penned by Aziz Kashmiri. The song was “Lara lappa lara lappa lyee rakdha”, picturised on Meena Shorey in the film Eik Thee Larki (1949), and it was an instant hit. The music was by Vinod. All three were from Lahore originally. However, it was Anand Bakshi (born Rawalpindi 1930 died Bombay 2002) who should be credited with starting the trend to use Punjabi words, phrases and even verses in Hindi songs. His output outstrips that of all other song writers, including non-Punjabis. Another Punjabi, Gulzar, is considered to have created an entirely new imagery and symbolism in his poetry and indeed in his film songs. Ahmed Faqih tells me that Gulzar is a class by himself. Others too have generated most beautiful and exquisite film songs. We shall be looking at some of their great creative contributions in forthcoming articles. D. N. Madhok one of the earliest Punjabis to write film songs Sahir Ludhianvi But the man who transformed the song-writing scene in Bombay and created an entirely new style of socially-conscious film songs with a clear message for fundamental change was undoubtedly Sahir Ludhianvi (given name Abdul Hayee born Ludhiana 1921 – died Bombay 1980). I will devote one or two forthcoming articles to his contribution. With the death of Anand Bakshi only Gulzar remains from among the Punjabi lyricists at Bombay mentioned above, who is among the top-ranking song writers in Bollywood. Ishtiaq Ahmed is Professor Emeritus of Political Science at Stockholm University; Visiting Professor at Government College University, Lahore and Honorary Senior Fellow at the Institute of South Asian Studies, National University of Singapore. http://www.thefridaytimes.com/tft/the-punjabi-contribution-to-cinema-v/#sthash.DxQxTxR5.dpufImmortals
When I saw his pyre burn, back in 2002, I thought ‘The pyre has consumed him. He no longer exists in the form we knew’. Few weeks later, when we let go of his ashes in the arms of our beloved Ganges at Haridwar, looking longingly at his part ashes sink and part float quickly far away from us, very soon beyond our reach, the Ganges at Haridwar rages, and races, I once again thought ‘The pyre consumes us, until no trace of us is left.’ However, this week on Monday, I was a the launch of a brand of jewelry designed by Bibhu Mohapatra, and before the show began, the Italian singer Natalie Di Luccio sang some songs, in Italian, English and Hindi. Of the three Hindi songs she sang, before she performed the last song she said, with great enthusiasm and passion, “I am now going to sing one of my favorite Hindi numbers.” It was Dum Maro Dum from Hare Krishna Hare Ram. That is when I thought, while looking at many young and old privileged guests and press invitees seated along and around the runway, many of them singing along with Natalie ‘He left behind a legacy no fire could consume.’ Yes, a pyre will consume us. All pyres do. However, sometimes the work one leaves behind no fire can consume. And I think, creative people, especially, have that privilege to leave behind a legacy no fire can consume, no Earth can bury. April 23 2016. – Rakesh Anand BakshiDirector Milan Luthria
When I was making Kacche Dhaage, on the very first song sitting, the producer was present, bakshii wrote the mukhda ‘khali dil nai jaan bhi yeh mangda, ishq di galli wich koi koi langda, sung by Nusrat later. The producer objected, that no one wil understand the punjabi lyrics so Bakshi ji should write a hindi verse he requested. Bakshi ji tried to explain to the producer that it will be understood easily, but the producer refused to budge. Bakshi ji asked me to come out of the room alone he wanted to say something in private. We went out, without the producer, and Bakshi ji said to me, which I will never forget “This is the moment in your life, when you have two choices in front of you. either you be a ghulam and listen to what people have to say to you, or you go with your conviction and become a filmmaker. ghulam or filmmaker/director, today you make the decision.’ We went in together and I stuck with Bakshi ji’s punjabi mukhda, I refused to budge. the producer had to accept the punjabi verse. that day I became a filmmaker, I think. – Milan Luthria. Narrated to me by my niece Divya Bali Mehra, Milan Luthria met her yesterday in Delhi. – Rakesh Anand BakshiVinay Mehta
Shri N K Mehta my uncle now in his 80s, lives in Bangalore. He’s a 1971 war veteran, having participated in tank battles on the western front. In one of the ironies of fate, he who lost much of his hearing amidst exploding artillery shells, happened to be a life-long connoisseur of good music as well. In the late 1980s he’d made a TV program to highlight how soldiers continued serving the nation with distinction even after their stint in the armed forces. Having served in the Navy, Bakshi Saheb was a perfect example of precisely what the show intended to convey. He also happened to be from the same extended clan as my uncle, with both having links to pre-partition Rawalpindi. I met my uncle after years this week, and he fondly recalled how Bakshi Saheb had not only given his blessings and enthusiastic voluntary participation to the TV program, but also displayed his genius by composing a short poem for army veterans on the spot within a minute. Memories often tend to fade in old age, but not only did my uncle vividly remember that display of Anand Bakshi’s calibre, but proudly narrated the poem as well. (I made an audio clipping of his narration too, but am still figuring out how to share it). Hum purane faujiyon ko aap ne Yaad rakha, pyar ka tohfa diya. Sarhadon pe phir khade ho jayenge Waqt ne agar humko mauqa diya. Shukriya aye meherbanon, shukriya Shukriya aye meherbanon, shukriya – Anand Bakshi 1980s.When I met Music Composer A R Rahman
By Rakesh Anand Bakshi
JUSTICE WITH JUDICIOUSNESS
By Shekhar Gupta “Iss duniya mein o duniyawalon, bada mushkil hai insaaf karna, bada aasan hai dena sazayein, bada mushkil hai par maaf karna” It’s tough to be a judge when it’s much more convenient to punish than to forgive. https://www.youtube.com/watch?v=kpIGJfTUADE Judiciary remains our most trusted institution. Since it’s working this summer vacation, it should also debate its internal health. If I am often allowed to slip cricket into deadly boring politics, I can also smuggle film music into this comment on our judiciary. Especially as I write this on the death anniversary of lyricist Anand Bakshi. Remembering his era and thinking about the judiciary at the same time brought back to me the lines he wrote for the 1969 Ashok Kumar-Jeetendra-Mala Sinha starrer, Do Bhai. In the film, Ashok Kumar and Jeetendra are brothers, judge and cop. The rest is predictable, with the judge caught in that eternal dilemma, to punish or to forgive. Anand Bakshi scripted this for Mohammed Rafi to sing as “iss duniya mein o duniyawalo, bada mushkil hai insaf karna/bada aasan hai dena sazayein, bada mushkil hai par maaf karna” (briefly meaning: It’s tough to be a judge when it’s much more convenient to punish than to forgive). While an editor’s station in life is leagues below that of a judge, the same logic also applies to our lives: It is easier to publish and be damned than to refrain and explain. It’s a reckless editor who lets go of a juicy story only because it is a little unconvincing. The one I am bringing up here is to do with the then Chief Justice of India, in the winter of 1998. If I am breaking confidences 20 years later and mentioning the names of a few wise and respectable people, they will forgive me because they will understand my reasons. Our very solid legal editor worked on a meticulous investigation on the past of Justice A S Anand, who had just taken over as CJI. It painted the picture of a judge who had cut corners, overlooked conflict of interest, wasn’t transparent on gifts, and short-changed share-croppers on his lands. The series went through many editing changes as we went over it in the most minute manner possible. The story was big enough for me to personally take it to top lawyers for advice, say 10 of the then top 12. The split, to publish or not, was about 2:8. Reasons for not publishing, however, weren’t always legal or factual. Be careful, not to end up hurting an innocent and damage our greatest institution. Of the two who said go ahead, one said facts were facts and no other logic should apply and the other was gung-ho. What will the judge do, I asked him. Kill us with contempt? He will do no such thing, all he will have left to do is commit suicide, he said. That shook us up. Inadvertently, this doyen of Indian law had flagged to us the real import of what we were contemplating. We went over each line again. There was just one thing missing: A response from Justice Anand. To all inquiries, his office said as a serving CJI, he couldn’t engage with the media. So we had our alibi. Two public figures I greatly respect got in touch with me then: Sushma Swaraj and Arun Shourie, both members of the Vajpayee cabinet. Both knew Justice Anand and family for long and said they were totally unconvinced he would have done anything dishonest. I told them our story was convincing, that we had waited long enough, and it wasn’t possible to keep holding it. If our facts are wrong, we need Justice Anand to convince us. Ms Swaraj came back with a suggestion that I call him, which I did. Justice Anand agreed to see me, with all facts, but off-the-record. The rest, briefly, is as follows. He received me, with a mix of suspicion and warmth. We spent several hours going over every charge. He had a leather briefcase filled with documents, tax returns, scribbles, paddy sale receipts, his children’s wedding invites, ledgers he had given the court and tax authorities on “shagun” amounts received at the weddings. I came back with his “facts”. There was plenty of further to-ing and fro-ing. It seemed he had a convincing answer for everything. Net-net, there was only one thing left unaccounted for: Six half-bags of paddy many years earlier, the value of which may have been denied to a sharecropper. At that point, it was worth no more than Rs 3,000-4,000 and could be an accounting error. I returned deflated. Here we thought we had the scoop of our lifetime, and now this cold shower of facts. No newspaper was going to damn the Chief Justice over a doubtful transaction of six half-bags of paddy. One moment stays imprinted on my mind out of those mutually awkward and painful hours and Justice Anand, I hope, will forgive me for mentioning this. Every fact is before you, I am the Chief Justice of India and have answered each question raised by you, he said, do you think you will still go ahead and hurt not just me but this great institution? And sorry again, Justice Anand, for my betraying this confidence 20 years later, but I saw — in my own embarrassment and horror — his eyes moist. That story was killed. It remains the most difficult of the very few similar calls I have had to make in my career. I have reflected on it often enough since. Would we be so patient and so open-minded and ultimately so self-denying if it was to do with a politician or a civil servant? The only reason we waited that long to get the CJI’s version was that it had to do with an institution we so respect, and go running to whenever our freedoms are under threat, never to be let down. The judiciary remains our most trusted institution when the annual Edelman-WEF survey tells you that trust in governments is globally at a historic low. As Saurabh Shukla the “judge” caricature tells the court in Jolly LLB-2, there is much wrong with our judiciary, look at how dirty this court is, I don’t even feel like coming to work each morning and can’t wait for it to be 6 pm, so I can head home. But remember even then, when two people fight, what does one tell the other? I will see you in court. Because people believe whatever its problems, the judiciary will give them justice. It’s for all these reasons that our top judiciary should engage in deep internal debate on how to preserve and enhance this incredible popular capital and social contract. Is intervening in the executive domain on a too-frequent basis the best way to invest this capital? How far from judicial vigilantism is the concept of setting up empowered committees of retired judges to administer governance issues, from air quality to illegal constructions to cricket? Does speaking, and acting in anger and irritation enhance judicial capital? Is the fact that (as research by NGO Vidhi Centre for Legal Policy shows) 70 per cent of all retiring Supreme Court judges have found a place on a government tribunal, body, or a court-appointed committee not worth debating? Even if the conclusion is that the retirement age should be extended to 70, an idea I support. Sixty-two for the high courts and 65 for the Supreme Court is too soon to retire for the post-statin generations. Is a retiring CJI in a Raj Bhawan ok? Nothing is too sensitive to debate, least of all if it is so vital to an institution so valuable it will make us editors sit on a blockbuster story for weeks and then put it to sword, the editorial equivalent of the late Anand Bakshi’s most difficult decision in that song’s lyrics – it’s tough to be a judge when it’s much more convenient to punish than to forgive https://www.youtube.com/watch?v=kpIGJfTUADEMy dear Bakshi Uncle
Tribute by Swaminathan Narayan (Narayanan), my college friend: Bakshi Uncle! Who says you have gone away, You still as a phenomenon on this universe sway. See here and there, your songs sing your glory, Mere words cannot capture or describe your story …. If you said ” Zikr hota hai jab Qayamat ka ” You extolled…. chand aahen barega ….” Only to say …” Kisi raah mein, kisi mod par, kahin chal na dena tu chhodkar, mere humsafar…” Then to re-affirm …kabhi raat din hum door the…. Din raat aab saath hain, If you philosophised ” jaane chale jaate hain kahan, duniya se jaane wale…”… You called….aaja teri ….yaad aaayi …… Only to say ….” Hum tum yug yug se yeh geet milan ke gaathe rahen hai , gaate rahenge …” And to summarise…. Hum dono …do premi duniya chhod chale, jeevan ki hum saari rasme tod chale…..” If you explained ….” Yeh jeevan hai …iss jeevan ka ..yahi hai yahi hai rang roop…” You cautioned…… Zindagi ke safar mein guzar jaate hain jo makam , woh phir nahi aate….” Then you guided …. Gaadi bula rahi hai … Seeti baja rahi hai … Chalna hi zindagi hai …. Chalti hi jaa rahi hai ….. To summarise…… Aa bata dein ke tujhe kaise jiya jaata hai … Dost toh dost hai …dushman se bhi raks kiya jaata hai ….. If you queried the wind with …aae ri pawan …doondhe kise tera maan …chalte chalte …” You pleaded…… Sun ri pawan …. Pawan puruwaiyya …. Mein toh aleki … Tu saheli meri ban ja ….. Saathi aaa…. You mentioned …… Ik ritu aaye , ik ritu jaaye re …. Mausam badale naa, badle naseeb…. Then concluded ….. Mere naseeb mein tu hai ke nahi , tere naseeb mein main hun ke nahi …yeh hum kya jaane , yeh wohi jaane …. Jisne likha hai … Sabka naseeb…. If you complained……. Yeh kya hua, kaise hua , kab hua , kyun hua …… You reasoned …….jab dard nahi tha seena mein… Tab khaak mazaa tha jeene main…. Then you explained….. Ek banjara gaaye …. Jeevan ki reet sunaye …. Hum sab jeene walon ko jeene ki raah bataye …. To enjoy saying …..aao jhume gaye milke dhum machaye,chunle gum ke kate …. khushiyo ke phul khilaye Bakshi ji …. If you said ….. Kuch toh log kehenge …logon ka kaam hai kehna…. You generalised …. Admi jo kehta hai , aadmi jo sunta hai …zindagi baar woh sadayen picha karti hai …. Only to add….diye jalte hain , phool kilte hain, badi mushkil se magar duniya mein dost milte hain …. And for those who indeed had friends …you propesied …yeh dosti hum nahi todenge … Todenge dum magar tera saath na chhodenge ….. You eulogised ……..tujhe dekha toh yeh jana sanam …pyaar hota hai deewana sanam…. To continue ………maine poocha chand se …. Ke dekha hai kahin ..mere yaar sa haseen…. To keep continuing…..pyaar deewana hota hai …mastana hota hai …har khushi ,har gham se begana hota hai …. To cajole the beauty you ended….main toh dewaana deewana …dewaana …. Very down to earth you confessed….main shayar toh nahi …magar aaaeee haseen , jab se dekha maine tujhko , …mujhko sayari aa gayi ….. In times of a small fight … You exclaimed….koi haseena jab rooth jathi hai toh …aur bhi haseen ho jati hai….. Or apologised …..hum bewafa hargis na the… Par hum wafa kar na sake…. Or convinced…….main tere isqh mein…marna jaaoon kahin…tu mujhe aazmane ki koshish na kar …..SPCA
Anand Bakshi is perhaps the only lyricist in bollywood who won an award for his lyrics in favor of animal rights नफरत की दुनिया को छोड़ के प्यार की दुनिया में (हाथी मेरे साथी) (#HaathiMereSaathi), presented by the Society for Prevention of Cruelty to Animals (SPCA) Song: https://www.youtube.com/watch?v=NzUGxYbAv4w – Dr Rajiv VijayakarDirector Producer Shyam Benegal‘s tribute
A Poet of the People: The Life of Legendary Lyricist Anand Bakshi
An unimaginable number of his 3,500 film songs are nothing short of anthemic. By KHALID MOHAMED 21 Jul 2019 https://www.thequint.com/entertainment/music/remembering-the-life-of-legendary-lyricist-anand-bakshiLyricist Sameer Anjaan’s tribute for Anand Bakshi
Lyricist Irshad Kamil
Three songs of Anand Bakshi Sahib I like: ‘कुछ तो लोग कहेंगे‘ सिर्फ़ एक गीत के बोल ही नहीं हैं बल्कि चार शब्दों में बयान हमारे स माज काबहुत बड़ा और बहुत ज़रूरी सच है। आनंद बख़्शी साहिब के गानों की यही ख़ासियत रहती है। वो अपनेगानों में मिठास बरकरार रखते हुये समाज का बड़े से बड़ा सच कह जाते हैं। ‘अमर प्रेम’ फिल्म का यहगाना अपने सच की वजह से अमर हुआ है और गाने में आये ऐतिहासिक हवाले कि ‘सीता भी यहाँ बदनामहुई’ इस कड़वे सच को और मज़बूती देते हैं। ये गीत मुझे साहिर साहिब की भी याद दिलाता है। वो’जिन्हें नाज़ है हिन्द पर वो कहाँ हैं’ में लिखते हैं ‘ यहाँ पीर भी आ चुके हैं जवान भी, तनोमन्द बेटे भीअब्बा मियां भी’ उसी दर्जे पर जाकर बख़्शी साहिब लिखते हैं, हमको जो ताने देते हैं हम खोये हैं इनरंगरलियों में, हमने उनको भी छुप छुप के आते देखा इन गलियों में।’ कुछ तो लोग कहेंगे’ गीत कभी पुराना नहीं हो सकता। ‘गाड़ी बुला रही है‘ सीधे और सरल तरीक़े से गाड़ी की नहीं बल्कि ज़िन्दगी की बात है। यहाँ भी बख़्शीसाहिब ने बेहद बड़ा फ़लसफ़ा चार आसान लफ़्ज़ों में कह दिया है और वो है, ‘चलना ही ज़िन्दगी है।’ मुश्क़िल विचार को आसान बनाना और आसान बात को आम लोगों की ज़ुबान पर चढ़ा देना एक हुनर हैजो अज़ीम कद गीतकार बख़्शी साहिब के तक़रीबन हर गाने में है। इस गीत में उन्होंने खेल-खेल में कहदिया ‘सीखो सबक जवानों, मैं इस बात को ‘एकला चलो रे’ के बरक्स रख के भी देखता हूँ। बल्कि इसमेंतो सिर्फ ‘चलना’ है और छोटी लेकिन और भी बड़ी बात। ‘यहाँ मैं अजनबी हूँ‘ बख़्शी साहिब का लिखा मेरा पसंदीदा गाना है। जिस ख़ूबसूरती से उन्होंने इन गानेमें दो वर्गों का और दो समाजों का ज़िक्र किया है वो सब इतना आसान नहीं था जितना इस गाने में लगताहै। भारतीय और पश्चिमी सभ्यता के बीच की खींचा तानी, निम्न-मध्यवर्ग और उच्च वर्ग के बीच की खाई, मासूमियत और चालाकी के बीच का अंतर, क्या नहीं है इस गाने में। और इन सब के साथ मोहब्बत मेंअधिकार की बात, ‘तेरी बाहों में देखूँ सनम ग़ैरों की बाहें, मैं लाऊंगा कहाँ से भला ऐसी निगाहें ?’ शिकवा, शिकायत और गिले की बात। सिर्फ़ यही गाना नहीं बल्कि ‘जब जब फूल खिले’ फिल्म के सबगाने ही तराशे हुए नगीने हैं।Lyricist Amitabh Bhattacharya
बचपन से बक्शी साहब के लिखे गाने ज़बानी याद हैं. क्योंकि वो सुनने और गाने में हमेशा आसान लगे. लेकिन जब उनके जैसा लिखने की नाकाम कोशिश की, तब पता चला कि कितना मुश्किल काम आसानी कर गये बक्शी साहब. I salute the legend Anand Bakshi.Lyricist Manoj Muntashir
1. Yahan Main Ajnabi Hoon The magic of writing lies in its power to connect. Bakshi Sahab had mastered the art of connecting to the listeners very subtly, on a very subconscious level. That’s what turned many of his songs into idioms and proverbs. One such song is ‘Yahan Main Ajnabi Hoon’. No matter how socially active or accepted we are, at some point in time we feel as if we are living in an alien world. In my case, this is a very regular phenomenon. Every now and then I go through this ‘Bairag’, the strong desire to escape from everything good and bad around me as I just don’t relate to any of it. When it happens, the only song I take recluse in is ‘Yahan Main Ajnabi Hoon’. This haunting of being in a strange world became all the more agonizing when I moved to Mumbai from my small town- Gaurigunj in U.P. I could not get accustomed to a city which has no breaks in its system, only accelerators. Nobody has time for anyone. Back in Gaurigunj, everyone knew everyone, in Mumbai, people living in the same building are clueless about each other. I remember playing the following verses in the loop while staying in an Andheri hutment. “Kahan Shamo-Sahar Ye, Kahan Din-Raat Mere… Bahut Ruswa Hue Hain Yahan Jazbaat Mere.. Nayi Tahzeeb Hai Ye, Naya Hai Ye Zamana… Magar Main Aadmi Hoon, Wahi Sadiyon Purana”. 2. Kuchh To Log Kahenge In a society like India, where we have 5000 years of imposed moral values and so-called ‘Sanskars’ to carry on our shoulders, Bakshi Sahab had the creative-courage to rebel against all of it. In 1 plain simple line, he burst the bubble of pretentious social dynamics… “Kuchh To Log Kahenge Logon Ka Kaam Hai Kahna”. If I am asked to pick the top 10 all-time greatest songs of India, this one may just find its place on the topmost spot. “Kuchh Reet Jagat Ki Aisi Hai, Har Ek Subah Ki Shaam Hui… Tu Kaun Hai Tera Naam Hai Kya, Seeta Bhi Yahan Badnaam Hui”. Anyone who has heard and mulled over this song even once will stop caring for the world with immediate effect. Also, this song is a brilliant example of cinematic writing. 50 scenes in the film ‘Amar Prem’ would not be as effective to describe Rajesh Khanna’s character, as a few words of this song did. Another example of Bakshi Sahab being the best screen lyricist of all times is the film ‘Dar’. Shahrukh’s character was very complex and layered for the time film released in. I can bet the audience would never understand the plot of the film and adjust to the anti-hero philosophy of Yash Chopra Ji, in the absence of the song. ‘Tu Hai Meri Kiran’. Look at these 9 simple words which magically encapsulated the 150 pages of the script, ‘Tu Haan Kar Ya Na Kar, Tu Hai Meri Kiran’. I remember writing songs for ‘Badshaho’, which was being directed by Milan Luthria. Every time we sat to make a song, he would miss Bakshi Sahab with a sigh. In fact, it was one of the most challenging films of my career, as I was writing for a director whose tastebuds were used to legendary Bakshi Sahab’s words. India is a land of poets and writers, many more will come but Bakshi Sahab would always be missed with the same sigh, forever.Some *POPULAR songs of Anand Bakshi* (Banner wise/Filmmaker wise)
By Manohar Mohabbat Iyer *Dev Anand* Hare Rama Hare Krishna: Dum maaro dum Hare Rama Hare Krishna: Phoolon ka taaron ka *Hrishikesh Mukherjee* Namak Haram: Diye jalte hain Chupke Chupke: Ab ke sajan sawan mein *J Om Pakash* Aan Milo Sajna: Achha to hum chalte hain Aap Ki Kasam: Jai jai shiv shankar *L V Prasad* Milan: Sawan ka mahina Ek Duuje Ke Liye: Tere mere beech mein *Manmohan Desai* Amar Akbar Anthony: Anhonee ko honi karde Amar Akbar Anthony: Parda hai parda *Mohan Kumar* Anjana Rimjhim ke geet sawan gaaye Aap Aaye Bahar Aayi: Mujhe teri mohabbat ka *Raj Kapoor* Bobby: Hum tum ek kamre mein band ho Main shair to nahin *Raj Khosla* Do Raaste: Bindiya chamkegi Do Raaste: Chhup gaye saare nazaare *Ramesh Sippy* Seeta aur Geeta: Hawa ke saath saath Sholay: Mehbooba mehbooba *Shakti Samanta* Aradhana: Roop tera mastana Amar Prem: Chingari koyi bhadke *Subhash Ghai* Karz: Om shanti om Khal Nayak: Choli ke peechhe kya hai *Yash Chopra* Chandni: Mere haathon mein Dilwale Dulhaniya Le Jaayenge: Tujhe dekha to ye jaana sanam ~~~~~~~~~~~~~~~~ Note: The above list purely on the basis of POPULARITY and need not be his BEST of these filmmakers. Therefore, the list excludes, arguably, some of his lyrically poignant songs (from films of above filmmakers) which were also popular; songs like: Ankhinyon ko rehne de Doston mein koyi baat chal jaati hai Duniya mein kitna gham hai Hey maa tujhe salaam Kuch to log kahenge Main shair badnaam Main tulsi tere aangan ki Mubarak ho sabko Solah baras ki baali umar ko salaam Zindagi ke safar mein Just to mention a few as there is not an end to this anand of enlisting his songs. – Manohar Mohabbat IyerTribute to Anand Bakshi on his birth anniversary
By @go_mohan
Since the last few months, I have had the opportunity of doing some Twitter and email exchanges with Rakesh Anand Bakshi, the son of Anand Bakshi. Rakesh has been sending me invitations to the shows he appears in and I have seen a few. This has given me an opportunity to learn a little more about the great lyricist. I have always been a fan of Anand Bakshi. As a diehard Kishore/ RD fan it was natural to be one. Here, I would like to bring out some of my learnings about Bakshi saab (referred as AB) . I will only focus on his creativity and professional work ethic. Customer orientation: – Subhash Ghai said that Anand Bakshi would listen to the story so keenly that he would internalise the full story. Bakshisaab knew the story better than even the Director himself. In every film Ghai would have a theme song that had the basic story. Once Bakshi had written the song that would be so comprehensive that Ghai would use that as a guide to shoot the movie. Through ” Zindagi ke safar mein: song in Aap Ki Kasam AB conveyed so much in 5 mins that J Om Prakash the director could remove many scenes and cut the length of his film by 20 mins Beyond Customer satisfaction, customer delight – For every song, he would give 5 to 6 antaras , even though only two would finally be selected. Customer appreciation is invaluable:- After Bakshisaab died, in his wallet they found a 100 rupee note .. This was carrying Subhash Ghai’s signature. Subhash Ghai gave this note when he felt thrilled listening to his lyric ” Maa tujhe salaam’ in Khalnayak. Anand Bakshi valued it much more than the four Filmfare awards he received. He never missed a deadline. He was so professional that once he gave the commitment he would always deliver on time. Anand Bakshi knew when to work with others and when alone. He got inspiration for the songs from the stories that the directors narrated to him. He felt his songs with directors like Yash Chopra, Shakti Samanta or Subhash Ghai were good because they gave him a good brief. After a good brief, he preferred to work alone. Subhash Ghai said that Bakshi would drive him out, because he did not like group brainstorming. Bakshi did not believe that there was any correlation between time and creativity. Good ideas can come in a jiffy and there is no point in labouring over it. The Saudagar song ” Ilu Ilu Kya Hai” came from the conversation between Bakshi and Ghai that became the mukhda . Whatever he had to learn he learned in his childhood! …When Bakshi was asked why his songs were using very simple words and ideas…Self-deprecatingly, he used to say, he only knew that much, because he had studied only upto Class 7… Yet, he had tremendous confidence to keep coming up with new lyrics on very familiar themes and situations like dil …He wrote only in Urdu script that he had learnt in childhood. He could draw upon many of the folk songs that he had heard in childhood spent in Western Punjab. He maintained working relationships with all the people he worked with. He had no problem working with people he disliked. He advised the same to others also. He had few or no close friends from industry .. In his parties, besides Subhash Ghai there would be no industry person. He knew his limitations He never considered himself a poet. He was clear he was a songwriter for commercial cinema only. He adapted himself as a lyricist but did not do other things. No story writing or direction or other creative work for him. He never forgot his roots. Bakshisaab would reply to his fan mails personally. He loved letters. He has written so many songs on chhitti. Smaller the town the mail would come from, more time he would spend on the reply. He knew the value of his letter the fan would have. For all WFH professionals, there is an interesting lesson. He used to operate from his bedroom only. He could generate all his ideas from his bedroom. Not for him tours and trips to get ideas. When he would be free, he would be dusting his trophies and workspace. Very fussy about cleanliness Anand Bakshi’s life tell us that you dont need infinite talent to be successful. if you know your strengths and continue working at it without feeling frustrated or bored , you can achieve what Bakshisaab did.5 Career Lessons from Anand Bakshi
by Nishant Pandey https://www.linkedin.com/pulse/5-career-lessons-from-anand-bakshi-nishant-pandey-pmp-cbap-/Tributes by Ajay Poundarik (Massive fan of LP)
Miraculous TRILOGY: Laxmikant-Pyarelal & Anand Bakshi (304 Films with as many as 1680 songs) The most commonly and very regularly aired sentence on the Radio Stations is गीतकार आनंद बक्षी और संगीतकार लक्ष्मीकांत–प्यारेलाल … The songwriter Anand Bakshi and the music director Laxmikant-Pyarelal and the song starts. A NUMBER ONE trio of Hindi Film Music. https://bit.ly/2YJTiBY Tetrad Of Dulcet Music: Anand Bakshi :: Lata Mangeshkar :: Laxmikant-Pyarelal https://bit.ly/39gY9Qs Philosophical Songs Penned By ANAND BAKSHI and Composed by LAXMIKANT-PYARELAL. https://bit.ly/2XXNkz7 ASTOUNDING FOURSOME Mohammad Rafi Anand Bakshi Laxmikant-Pyarelal https://bit.ly/392MggG Metaphysical ANAND BAKSHI & Rhythmic LAXMIKANT-PYARELAL https://bit.ly/2XXNkz7Kishwar Hasrat Jaipuri (Daughter of legend Hasrat saab; Anand Bakshi was a fan of Hasrat saab)
My lifetime favourite song Bakshi saabs falsafa which is beshkeemti and yet very meaningful is the song ..waada tera waada ..waadey pe tere maara gaya banda main seedha saadha . The rhyming kaagiyas ..waada ,saada, Radha are just beyond tareef. Every sher of this song demands “daad” which is tareef in Urdu. Tumhari zulf hai ya sadak ka mod hai ye tumhari aankh hai ya nashey ka tod hai ye .kitaabey husn mein to wafa ka naam nahin arey Mohabbat tum karogi tumhara kaam nahin ..each of these lines demand Irshad Irshad. Rab ne Bakshi Saab ko khoob Baksha.. Hunar likkhney ka ANDAZ niraala Har sift Bakshi ki qalam aur kalaam mein behad aala. Kis ki himmat Hai jo ho Bakshi ke kalaam se naala.. Post death CAPT. N.K. MEHTA RAVE SAILOR, SOLDIER, LYRICIST-A SALUTE ANAND BAKSHI Literally means “Giver of Happiness” . ALI PETER JOHN @ Screen His songs played a very prominent part in the success of most films especially Taal, Dilwale Dulhaniya Le Jayenge,Dill To Pagal Hai,Mohabbatein and Gaddar- Ek Prem Katha toward the end of his life. ASIAN AGE – WE HAVE LOST OUR BHARAT RATNA: SUBHASH GHAI Though his songs, he spread message of communal harmony. His songs aimed to bring people from either side of the border closer. Even on his death bed, he kept working. He has left us with one word – silence. MOHYAL MITTER (APRIL,2002) A TEARFUL FAREWELL “I shall journey through this world but once. Any good that I can do or any kindness that I can show any human being, let me do it now. Let me not neglect or defer it, for I shall not pass this way again.” Smt Sushma Swaraj, Minister of information & Broadcasting, on behalf of the Union Government paying rich Tributes stated that Bakshiji’s music had touched the hearts of one and all and “इन्होने फ़िल्मी दुनिया में चार चाँद लगा दिये है” and he will be sorely missed.Anand Bakshi ne anand baksha umr bhar
By screenwriter Salim Khan. (This tribute has been used as a Preface in Anand Bakshi’s biography, releasing in March 2021.)
Lyricist poet Vijay Akela (author of Main Shayar Badnaam book) & author filmmaker Rakesh Anand Bakshi
THE RELEVANCE OF ANAND BAKSHI IN 2021
Dil diya hai jaan bhi denge, Ae watan tere liye SONGS OF BAKHSHI ARE NOTHING BUT A HEALTH-SPA TREATMENT, YESTERDAY AND EVEN TODAY. By Vijay Akela (poet, lyricist, radio host) Yun to sabne geet likhe Sab hi me auqaat thi Bakhshi me ek baat hai aur Bakhshi me ek baat thi. Bakhshi aaj bhi utne hi saamayik (contemporary) hain jitne bees saal pahle the. Jab wo hayaat the aur geet likh rahe the. Woh apne geeton ko desi muhawaredaar boli ka pairahan dete the jinme na sirf us daur ke balki har daur ke aakhiri sach ki parakh hoti thi. Mushkil lafzon ko unhone adab (literature) ki gahri sazish samjha aur isiliye hamesha asaan lafzon ko pahchaan kar apne geeton ki qismat sanwaara kiye. Bakhshi ko samajhna ho to zara Mumbai ki sarhad se baahar nikal jaiye. Aap ko lagega ki aaj Anand Bakhshi kal se bhi zyada lokpriy aur aadarneey hain! Geeton me chhupe Bakhshi ke shandaar khayalon ko apna khayal kahne wale directors kahan gaye aaj? Jo scriptwriters kahte the “Agar hamare situations achchhe na hote toh Bakhshi itna achchha thode likhte?” Woh situations kahan ghark ho gaye aaj? Bakhshi ke jaate hi unke qile kyun dhwast ho gaye aaj? Bakhshi ko samman dene se katrane wale hamare isi desh me aaj jab bhi koi aandolan hota hai, ‘Karma’ ka “Dil diya hai jaan bhi denge ae watan tere liye” hi bajaya jaata hai. Aaj bhi birthday par ‘Farz’ ka hi geet bajaya jaata hai – “Baar baar din ye aaye, baar baar dil yeh gaye.” “Chitthi na koi sandes/jaane wo kaun sa des/jahan tum chale gaye” jo aaj bhi sabse zyada bajne wale geeton me ek hai, Jagjit Singh ka nahi, Anand Bakhshi ka likha geet hai. Hindostan ki do sabse jyada chalne wali filmein ‘Sholay’ aur ‘Dilwale Dulhaniya Le Jayenge’ (jo aaj bhi chal rahi hai) Bakhshi ke geeton se hi roshan hain na? Bakhshi ek chiragh the jinki STYLE OF WRITING se na jaane kitne deeye jale. Maine swaym unse hi likhna seekha aur jab gahre utra to paya ki SONGS OF BAKHSHI & BAKHSHI STYLE OF WRITING kuchh aur nahi balki dil-o-dimagh ko sukoon pahunchane wali ek shifa hai.- Mr. 2021: Anand Bakshi continues to be relevant!
- Situational Imperative
| Sangeeta Yadav <ersangy4@gmail.com> |
- Rakesh Anand Bakshi
Audio https://chirb.it/8t1CAM
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और जादू जब घटता है तो किसी एक के लिए नहीं घटता.
कुछ देर पहले राकेश ने कहा भी था कि हम उसे देखें न देखें, हर पुरुष के भीतर एक स्त्री होती है. बेशक. हर स्त्री के भीतर भी एक पुरुष होता ही है. एक तारे का टूटना सिर्फ़ उस तारे का टूटना नहीं है. एक स्त्री की त्रासदी सिर्फ उसकी नहीं है. एक कश्मीरी का विस्थापन सिर्फ़ उसका नहीं है. आनंद बख्शी के गीत सिर्फ उनके नहीं हैं. श्रीनगर में बड़े हो रहे उस लड़के ने आनंद बख्शी के गीत गुनगुनाते वक्त कहाँ सोचा था कि वो कल उनके बेटे से उनके बारे में बात करेगा, उनके बहाने न जाने किस-किस की बात करेगा. पर जादू कुछ तो होता है. और जादू जब घटता है तो किसी एक के लिए नहीं घटता.
by Pradeepika Saraswat
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“Main shayar nahi, main sirf filmy geetkar hoon; I stay far away from those who consider me a poet as i fear they expect too much from me and ill let them down.” – Anand Bakshi.
A very early interview with Anand Bakshi, in the formative years of his profession, early 1970s. By K K Nayyar, master broadcaster, known for his unique voice, rich expression and depth of knowledge.
https://youtu.be/qhpR-95OKcI
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Miraculous TRILOGY : By Ajay Poundarik ajaypoundarik@gmail.com
Laxmikant-Pyarelal & Anand Bakshi (304 Films with as many as 1680 songs)
The most commonly and very regularly aired sentence on the Radio Stations गीतकार आनंद बक्षी और संगीतकार लक्ष्मीकांत-प्यारेलाल
When we talk of Lyricists who have worked with Laxmikant-Pyarelal the number comes out to be 72 (songwriters). The major share is from none other than ANAND BAKSHI who have written songs for 302 films only for Laxmikant-Pyarelal with closed to 1680 songs.
Top SIX Music Directors with Anand Bakshi, in terms of number of films.
Laxmikant-Pyarelal :: Anand Bakshi 302 films
R D Burman :: Anand Bakshi 99 films
Kalyanji-Anandji :: Anand Bakshi 32 films
Anu Malik :: Anand Bakshi 28 films
Rajesh Roshan :: Anand Bakshi 17 films
S D Burman :: Anand Bakshi 13 films
Laxmikant-Pyarelal have given the music for close to 500 films. Anand Bakshi have written the songs for close to 600 films. More than 60% of the total work of Laxmikant-Pyarelal is with Anand Bakshi. More than 50% of the total work done by Bakshi Sahab is with Laxmikant-Pyarelal.
| Laxmikant, Anand Bakshi and Pyarelal. |
Gargantuan contribution to the Hindi Film Music from the TRIO of Anand Bakshi and Laxmikant-Pyarelal . It is doubtful, if any combo of Songwriter – Music Director have given such a gigantic entertaining songs to our film music.
The record-breaking partnership of Laxmikant-Pyarelal with Anand Bakshi started with the everlasting as well as immortal song ‘Mere Mehboob Qayamat Hogi’ sung by Kishore Kumar from the film “Mr X In Bombay” 1964. This cult classic song also happened to be the first song of Kishore Kumar with Laxmikant-Pyarelal and Anand Bakshi, as well.
All the songs of the mystical film “Mr X In Bombay” became immensely popular.
-Chali Re Chali Re Gori Paniya Kishor-Lata ( a classical )
–Khoobsurat Haseena Jan-E-Jan-E-Man Kishor-Lata ( all time hit romantic duet)
–Zulmi Hamare Sawariya Ho Ram.. Lata
–Allah Kare Tu Hi Ajaye Lata
Another mystical musical from the ‘trio’ “Shreeman Funtoosh” 1965
–Yeh Dard Bhara Afsana Kishore Kumar
–Sultana Sultana Tu Na Ghabrana Kishore-Lata
| Laxmikant, Anand Bakshi, Lata Mangeshkar and Pyarelal |
Another musical hit “Lootera” 1965. Lata Mangeshkar singing six solo.
All the songs of this film have different flavor and compositions. Every song has different rhythm. Gazal, Chalu song, Western classical / Arabian Folk and Cabaret. Sheer variety of songs. All The songs are written by Anand Bakshi. This B Grade, non star cast “King Queen” film, was Rajkumar Kohli’s first film. The film was super hit.
— Kisi Ko Pata Na Chale Baat Ka Lata
— Raat Se Kaho Ruke Jara Lata
— Sanam Raah Bhule Yahan Lata
— Nind Nigahon Se Kho Jaati Hai Lata
— O Dilwalo Saje Dil Pe Zumo Lata
— Muze Dekhiye Main Koi Dastaan Hoon. Lata
The partnership of Anand Bakshi * Laxmikant-Pyarelal started getting momentum with many hit songs from “Aasra”(Lata’s classic ‘Nind Kabhi Rehati Thi Aankhon Main’ & ‘Daiyya Re Daiyya Yashoda Maiyya’ + Asha’s cult classic ‘Mere Sune Jeevan Ka Aasra Hai Tu’ ), “Chhota Bhai”, (Lata’s sentimental ‘Maa Muze Apane Aachal Mein Chhupale’), “Boxer” and J Omprakash’s musical “Aaye Din Bahar Ke” (all songs hit).
(Lata’s classic ‘Suno Sajna Papihe Ne’, Asha’s folk ‘Khat Likhade Sawariya’ , Rafi’s sentimental ‘Mere Dushman Tu Meri Dosti Ko’)
BUT the “trio” got the immense popularity through the songs of “Milan”, 1967
(‘Sawan Ka Mahina Pawan Kare Sor) by Mukesh-Lata was a smash-hit.
”Milan” songs storm the nation.
–Bol Gori Bol Tera Kaun Piya Lata-Mukesh
–Hum Tum Yug Yug Se Lata-Mukesh
–Mubaraq Ho Sabko Sama Ye Mukesh
–Ram Kare Aisa Ho Jaye Mukesh
–Aaj Dil Pe Koi Jor Lata
–To He Sawariya Lata
In the same year, 1967, many musical hits
“Night In London” (‘nazar na lag jaye’ and ‘bahosh-o-hawas main deewana’).
“Farz” which made Jeetendra a ‘star’ (Rafi’s top hit ‘Mast Baharon Ka Main Aashiq’, Lata-Mukesh romantic ‘Hum To Tere Aashiq Hai’, Birthday Special Song by Rafi ‘Bar Bar Din Ye Aaye Bar Bar Dil Ye Gaye’).
Rajashree Production’s “Taqdeer” (‘Rafi’s ‘Jab Jab Bahar Aayee’, Lata’s ‘Pappa Jaldi Aa Jana’ and ‘Aaiye Bahar Ko Hum Batle’).
| Lata Mangeshkar, Minoo Kartik (song recordist), Laxmikant, Anand Bakshi & Pyarelal |
After this thumping success this “trio” never looked back and gave series of hits after hits songs almost every year for 34 non-stop years, 1964 to 1998.
Laxmikant-Pyarelal and Anand Bakshi were Three CREATURES with One SOUL.
Anand Bakshi was like an instant poet (शीघ्र कवी ). On a situation given he can write the song within minutes and Laxmikant-Pyarelal can tuned it to the public taste. In many songs Bakshi Sab have converted the ‘dialogues’ / ‘conversation’ into the songs and Laxmikant-Pyarelal have decorated it with mellifluous orchestra arrangements. There are songs in which the trio of Anand Bakshi and Laxmikant-Pyarelal have narrated the complete story of the film. The TRIO was knowing the ‘pulses’ of the masse.
| Producer/Director Mohan Kumar, Laxmikant, Anand Bakshi and Pyarelal |
These Miraculous TRILOGY of Laxmikant-Pyarelal and Anand Bakshi were ‘best’ known to create the songs that would be charbuster to help the film to become superhit. That is why the TRILOGY was favorite for many famous Filmmakers with whom they have long lasting relations like L V Prasad (9 films), J Omprakash (12 films), Raj Khosla (10 films), Mohan Kumar (9 films), Manmohan Desai (10 films) and Subhash Ghai (10 films).
| Laxmikant, Anand Bakshi, Subhash Ghai and Pyarelal. |
Binaca Geetmala:-
This triumvirate have full domination in Binaca Geetmala with 164 songs appearing in Finals of Binaca Geetmala. On individual records Laxmikant-Pyarelal 245 final songs, the highest by any music directors as well as Anand Bakshi 209 final songs, the highest by any songwriters.
8 following songs of the trio topping respective year.
1967 Milan:- Sawan Ka Mahina Mukesh & Lata Mangeshkar
1970 Do Raste:- Bindiya Chamake Gi Lata Mangeshkar
1980 Sargam:- Dafali Wale Mohammad Rafi & Lata
1984 Hero:- Tu Mera Hero Hai Anuradha Paudwal & Manhar
1986 Sanjog:- Yashoda Ka Nandlala Lata Mangeshkar
1987 Naam:- Chitthi Aayi Hai Pankaj Udhas
1989 Ram Lakhan:- My Name Is Lakhan Mohammed Aziz
1993 Khalnayak:- Choli Ke Peeche Alka Yagnik & Ila Arun
Many BIG stars and actors have been lucky to get the famous songs composed by this TRILOGY. We cannot list out all such songs but many of the superhit songs have been listed
Filmed on big stars. These songs are the “signature” tunes for the respective actors/actress.
| Vikram Gokhle, Anand Bakshi, Amitabh Bachchan, Laxmikant. |
AMITABH BACHCHAN–
Aadmi Jo Kehta Hai .. Kishore Kumar ( MAJBOOR, 1974)
My Name is Anthony .. Kishore Kumar (AMAR AKBAR ANTHONY, 1977)
Bane Chahe Dushman .. Mohammad Rafi – Kishore Kumar (DOSTANA, 1980)
John Jani Janardhan .. Mohammad Rafi (NASEEB, 1981)
Gori Ka Sajan Sajan Ki Gori .. M. Aziz – S. Janki (AAKHRI RAASTA, 1987)
Jumma Chumma De De .. Sudesh Bhosle (HUM, 1990)
Tu Muze Kubul M. Aziz – Kavita Krishnamurthy (KHUDA GAWAH, 1991)
| Anand Bakshi, Laxmikant and Rajesh Khanna |
RAJESH KHANNA –
Mere Naseeb Mein .. Kishore Kumar (DO RAASTE, 1969)
Yeh Reshmi Julfe .. Mohammad Rafi ( DO RAASTE, 1969
Achha To Hum Chalte Hai .. Lata – Kishore (AAN MILO SAJNA, 1970)
Veda Tera Vaada .. Kishore Kumar (DUSHMAN, 1971)
Ye Jo Chilman Hai .. Mohammad Rafi (MEHBOOB KI MEHNDI, 1971)
Mere Deewanepan Ki .. Kishore Kumar (MEHBOOB KI MEHANDI, 1971)
Chal Chal Mere Saathi .. Kishore Kumar (HAATHI MERE SAATHI, 1971)
Ye Jo Public Hai .. Kishore Kumar (ROTI,1974)
Aap Ke Anurodh Pe .. Kishore Kumar (ANURODH, 1977)
Akela Gaya Han Main .. Kishore Kumar (RAJPUT, 1981)
DHARMENDRA –
Mere Dushman Tu Meri .. Mohammad Rafi (AAYE DIN BAHAR KE, 1966)
Saathiya Nahi Jaana Ke Jeena Lage .. Lata-Rafi (AAYA SAWAN ZUM KE, 1969)
Kuchh Kehata Hai Ye Sawan .. Lata-Rafi (MERA GAON MERA DESH, 1971)
Jaani O Jaani .. Kishore (RAJA JANI, 1972)
Aaj Mausam Bada Beimaan .. Mohammad Rafi Hai (LOAFER, 1973)
Gadi Bula Rahi Hai .. Kishore Kumar (DOST, 1974)
Main Jat Yamla Pagla .. Mohammad Rafi (PRATIGYA, 1976)
O Meri Mehabooba .. Mohammad Rafi (DHARM VEER, 1977)
JEETENDRA –
Mast Baharon Ka main Aashiq .. Rafi (FARZ, 1967)
Badi Mastani Hai Meri Mehbooba .. Rafi (JEENE KI RAAH, 1969)
Hi Re Hi Nind Nahin Aaye .. Lata-Rafi (HUMJOLI, 1971)
Dhal Gaya Din Ho Gayi Sham .. Asha-Rafi (HUMJOLI, 1971)
RISHI KAPOOR –
Main Shayar To Nahin .. Shailendra Singh (BOBBY,1973),
Parda Hai Parda Hai .. M. Rafi (AMAR AKBAR ANTHONY, 1977)
Dafli Wale .. Lata-Rafi (SARGAM, 1979),
Om Shanti Om .. Kishore (KARZ, 1980)
Dard – E – Dil .. Kishore (KARZ, 1980)
Paisa Yeh Paisa .. Kishore (KARZ, 1980)
HEMA MALINI-
Sharafat Chhod Di Maine .. Lata (SHARAFAT, 1970)
ABCD Chhodo .. Lata (RAJA JANI, 1972)
Aaja Teri Yaad Aayee .. Anand Bakshi, Lata-Rafi (CHARAS, 1976)
Dream Girl Dream Girl .. Kishore (DREAM GIRL,1977)
Mere naseeb Main Tu Hai .. Lata (NASEEB, 1982)
ZEENAT AMAN –
Bhor Bhaye Panghat Par .. Lata (SATYAM SHIVAM SUNDARAM)
ASHA PAREKH –
Suno Sajna Papihe Ne .. Lata ( AAYE DIN BAHAR KE , 1966)
Tere Karan Mere Sajan .. Lata (AAN MILO SAJNA, 1970)
Sona Layi Ja Re .. Lata (MERA GAON MERA DESH, 1971)
Main Tulasi Tere Aangan Ki .. Lata (MAIN TULASI TERE ANGAN KI, 1979)
MUMTAZ –
Bindiya Chamke Gi .. Lata (DO RAASTE, 1970)
Koi Shahri Babu .. Asha (LOAFER
Sanam Tu Bewafa Ke Naam Se .. Lata (KHILONA, 1971) , 1974)
REENA ROY –
Tere Sang Pyar Mein .. Lata – Mahendra Kapoor (NAGIN, 1976),
Sheesha Ho Ya Dil Ho .. Lata (AASHA, 1980)
SRIDEVI –
Main Teri Dushman .. Lata ( NAGINA 1986)
Kisi Ke Haath Na Aayyegi .. Kavitha (CHAALBAZ, 1989)
MADHURI DIXIT-
O Ramji Bada Dukh Dina .. Lata (RAM LAKHAN, 1989)
Choli Ke Pichhe .. Alka Yagnik – Ila Arun (KHALNAYAK, 1993)
The list has no end. BUT here I am Highlighting the songs which became top hit and even popular today, not sung by ‘stars’ or big names. There are many, reviewing few.
Pappa Jaldi Aa Jana .. (Taqdeer, 1967)
(Lata Mangeshkar, Sulakshna Pandit, Ila Desai, Meena Patki)
The song is popular even though it is filmed on unknown child artists. One of the most sentimentally popular, sweet and melodious song written by Anand Bakshi. ACOUSTIC GUITAR and PIANO are brilliantly executed in the orchestra. Incidentally Sulakshna Pandit was introduced to hindi film music through this song.
Tu Kitni Achhi Hai O Maa O Maa .. (Raja Aur Rank, 1968)
(Lata Mangeshkar)
The most popular song on ‘Maa’ (Mother). Bakshi Saab has emotionally expressed child’s feeling for Mother. Tenderly rendered, SYMPHONICALLY Orchestrated, mesmerizing DHOLAK rhythm, Sweet and Melodious Song. The overlapping sound effect of the musical instruments in all the “interludes” is just mesmerizing. One of the best of Lata-LP.
Chanda Ko Dhoondhne Sabhi .. (Jeene Ki Raah, 1969)
(Asha Bhosle, Usha Mangeshkar, Hemlata)
Maudlin song penned by Bakshi saab. Three children are looking for their father.
Mellifluous DHOLAK / TABLA rhythm. The song was recently included in Hollywood Movie Garth Davis “LION” in 2017. All time hit melody.
Mar Diya Jaye Ke Chhod Diya Jaay .. (Mera Gaon Mera Desh, 1971)
(Lata Mangeshkar)
The song is filmed on Laxmi Chhaya. Raj Khosla explained to Anand Bakshi a situation where the hero is tied to a pillar and the girl wants to rescue him. Anand Bakshi was at once reminded of the dialogue between Alexander the Great and King Porus where the former asked the latter “Tumhare saath kya sulook kiya jaye?” And the song Maar diya jaye, ke chhod diya jaye… was born. Laxmikant-Pyarelal have mind-blowingly orchestrated this fabulous song, with 43 seconds of “prelude”, “interludes” and mesmerizing DHOLAK rhythm.
Bago Mein Bahar Aayee .. (Mom Ki Gudiya, 1974)
(Anand Bakshi – Lata Mangeshkar)
It is an extremely melodious duet filmed on Ratan Chopra, an unknown actor -Tanuja. Beautifully orchestrated with an enthralling use of Indian FLUTE (BANSURI), SITAR and VIOLINS in ‘symphony’ style supported with dulcet DHOLAK rhythm.
Aadmi Musafir Hai .. (Apnapan, 1977)
(Mohammad Rafi – Lata Mangeshkar)
One of the most popular song giving preaching. It is filmed on Sudhir Dalvi and a child artist.
Excellent use of HARMONIUM with different type of DHOLAK rhyth.
Ek Ritu Aaye Ek Ritu Jaye .. (Gautam Govinda, 1979)
(Kishore Kumar)
Filmed on Vijay Arora. Exceptionally soft rendering by Kishoreji, many pathos. In the beginning of the song Laxmikant-Pyarelal have used BICYCLE BELL sound in the ‘rhythm’ in support with KONGA Drums. Later the ‘rhythm’ pattern converted to DHOLAK. Fascinating “interludes” are orchestrated with the instruments like solo VIOLIN, SAROD, CLARINET, IRANI SANTOOR and VIOLINs.
The enormous contribution done by Laxmikant-Pyarelal as well as Anand Bakshi cannot be covered in one BLOG. Will update in coming blogs.
Ajay Poundarik
Vadodara (Gujarat)
INDIA
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Metaphysical ANAND BAKSHI & Rhythmic LAXMIKANT-PYARELAL
The association of Songwriter Anand Bakshi and Music Directors Laxmikant-Pyarelal started from the famous song ‘mere mehboob qayamat hogi’ from “Mr. X In Bombay”, 1964. This combo has worked for 304 films, composing 1680 songs of various types and varieties.
Anand Bakshi has written some excellent songs giving philosophical touch, in a very simple way. . In this topic, named Metaphysical ANAND BAKSHI & Rhythmic LAXMIKANT-PYARELAL we are going to review some of the best songs of this trio’s philosophical songs.
Anand Bakshi with Laxmikant-Pyarelal
It is also found that Producer / Director J. Omprakash films have more thoughtful songs. “Aaya Sawan Jhoom Ke” has as many as three such songs, “Apnapan” two songs.
Listing out a few songs which are not discussed / reviewed.
Himmat Kare Insaan Rafi “Himmat”
Do Rang Duniya Ke Mukesh “Do Raaste”
Aaj Dil Pe Koi Zor Lata “Milan”
Darpan Jhoot Na Bole Manna Dey “Darpan”
Mujhe Teri Mohabbat Ka Lata-Rafi “Aap Aaye Bahar Aayee”
Yaar Hamari Baat Suno Kishore Kumar “Roti”
Jaane Walon Ka Gham To M. Rafi “Kali Ghata”
Tum Besahara Ho To Manna Dey “Anurodh”
Koi Na Jab Tera Saathi Ho Kishore Kumar “Insaan”
Phool Ahista Phenko Mukesh – Lata “Prem Kahani”
Is Duniya Mein O Duniya Rafi “Do Bhai”
Bhagwan Ne Apne Jaisa Lata “Chhota Bhai”
O Manzi Naiya Dhoondhe Mukesh “Uphaar”
Many Of Anand Bakshi’s Situational Songs Have One Philosophical Stanza
| Pyarelal, Laxmikant and Anand Bakshi. |
Anand Bakshi have written one abstract song मिल के रोये मिल के मुस्कुराये हम ! अपनी जीत हार को हम बाँट ले . It is a picnic song filmed on FARIDA JALAL, JALAL AGHA & Subhash Ghai (playing ACOUSTIC GUITAR).
–Aaiye Bahar Ko Hum Baant Le …..Lata Mangeshkar.
Mellifluous composition by Laxmikant-Pyarelal, in western style. Instruments like Acoustic Guitar,Violins, Mouth Organ, Cycle Bells, Accordion etc.. are brilliantly executed in the orchestra arrangements. Lata Mangeshkar’s voice is simply sweet and melodious. Subhash Ghai can be seen in the video, playing acoustic guitar.
J. Omprakash’s Musical Hit AAYA SAWAN JHOOM KE 1968. Anand Bakshi has written as many as three philosophical songs in this movie.
—Bura Mat Suno Bura Mat Dekho M. Rafi
–Ye Shama To Jali Roshni Ki Liye M. Rafi
–O Majhi Chal O Majhi Chal Mohammad Rafi
A Sheer Magical from Anand Bakshi आशाओं से नाता जोड़ दे, ये निराशा के बंधन तोड़ दे . The song is filmed on Dharmendra.
Laxmikant-Pyarelal have beautifully orchestrated. “Prelude” of 16 seconds with ACOUSTIC GUITAR. “Rhythm” on BONGO DRUMS, both the “interludes” are beautifully decorated with the VIOLINS, CELOs in SYMPHONY style orchestra arrangements, in support with the glimpses of FLUTE (first ‘interlude’) and MANDOLIN and SANTOOR (second ‘interlude’).
L.V. Prasad’s Musical Hit JEENE KI RAAH 1969
Anand Bakshi has written one meaningfully worded song, filmed on Jeetendra.
—Ek Banjara Gaye Jeevan Ke Geet Sunaye Mohammad Rafi.
Each and every line of this song written by Anand Bakshi is consequential …. अगर जीना है तो ज़माने मैं तो हंसी का कोई बहाना ढूंढो !! कागज के फूलों को भी जो महका कर दिखलाये
Laxmikant-Pyarelal have composed this song with zero ‘prelude’ but a mind-boggling display of ELECTRIC GUITAR. Interludes are awesomely instrumented with symphony style of VIOLINS and ACCORDION. It has conventional DHOLAK rhythm.
Rajshri Pictures Basu Chatterjee directed, super musical PIYA KA GHAR 1972. Essence Of Life Captured Beautifully, In Simple Words By Anand Bakshi. ये जीवन है इस जीवन का यही है, यही है, रंग-रूप
–Yeh Jeevan Hai ...Kishore Kumar
Anand Bakshi writes ये ना सोचो इसमें अपनी हार है की जीत है ! उसे अपना लो जो भी जीवन की रीत है
One of the finest songs from Kishore Kumar with Laxmikant-Pyarelal. Kishore Kumar’s extremely soft and silky rendering in a totally different way and Laxmikant-Pyarelal’s westernized orchestra, very delicate rendering by CHORUS in surround sound for the “interludes”, are the features of this lovely song. The song is completely woven around the glimpses of ACOUSTIC GUITAR (played by late Gorakh Sharma, Pyarelalji’s younger brother). WHISTLE in surround sound gives the listeners Ear-Pleasing. Another beauty of this song is ‘finger pinch’ used in the ‘rhythm’, at the end of each ‘antara’.
Anand Bakshi has written two philosophical songs in this song, filmed on Dharmendra.
–Aa Bata De Tuze Kaise Jiya Jata Hai….Lata – Rafi.
—Gaadi Bula Rahi Hai Kishore Kumar.
This Song Means Be Positive Every Time Do Not Think Negative Any Time In Life. Life Will Be Happy. Pretty Philosophical Words Penned By Anand Bakshi. गाडी को देख कैसी है नेक अच्छा बुरा न देखे ! सब है सवार दुश्मन के यार सबको चली ये लेके !
Smoothly Rendered By Kishore Kumar Wonderfully Composed By Laxmikant-Pyarelal.
38 seconds of ‘prelude’ is awesome. A unique ‘rhythm’ created to sound like an exhausting of steam from the ‘steam engine’, and also the typical steam engine horn. All of these sounds are synchronized with VIOLINS, ACOUSTIC GUITAR and BONGO DRUM, to make the ‘rhythm’ perfect to visualize the movement of the Train. Interludes are orchestrated with VIOLINS, SAXOPHONE, CHURCH BELL, ACOUSTIC GUITAR, MOUTHORGAN & other BRASS instruments.
Ravi Tondon’s Musical Hit MAJBOOR 1974
Bakshi Sahab wrote a splendid as well as an immortal song, filmed on Amitabh Bachchan
–Aadmi Jo Kehta Hai ….Kishore Kumar
Anand Bakshi penned कोई भी हो हर ख्वाब तो अच्छा नहीं होता ! बहोत ज्यादा प्यार भी अच्छा नहीं होता
To decorate the song with the phenomenal “Long Prelude” was a normal practice for the Music Directors Laxmikant-Pyarelal. There are many songs, composed by the duo, with the long “prelude”. This song has a Mind-Boggling “Prelude” of 144 seconds. This prelude is mellifluously orchestrated in a SYMPHONY style with solo VIOLIN, CELLOs, FLUTE and VIOLINs. Brilliant take off by Kishore Kumar at 2.24. Apart from the long prelude in ‘symphony’ style, both the “interludes” are brilliantly composed, by using different tunes, with ACCORDION and VIOLINS.
Anand Bakshi’s one of the most popular song giving preaching. Filmed on Sudhir Dalvi and Nivedita Joshi.
–-Is Duniya Main Jeena …Kishore – Lata
–Aadmi Musafir Hai Aata Hai Jata Hai ..M. Rafi – Lata Mangeshkar
Doctrine worded, each and every line. Anand Bakshi writes क्या साथ लाये क्या छोड़ लाये ! रस्ते मैं हम क्या छोड़ लाये ! मंज़िल पे जाके याद आते है !
Laxmikant-Pyarelal’s composition is simply superb. 32 seconds of ‘prelude’ is composed by GHUNGROO BELLS, VIOLINS and HARMONIUM.The ‘rhythm’ has DHOLAK synchronized with GHUNGROO BELLS. Interludes are instrumented with SANTOOR, FLUTE, CLERANATE, VIOLINS and HARMONIUM.
Another J Omprakash Super Musical Hit AASHA 1979.
One more Sheer Magical song, a top hit, from Anand Bakshi.
–Sheesha Ho Ya Dil …Lata Mangeshkar.
Here Bakshi Sahab says काफी बस अरमान नहीं, कुछ मिलना आसान नहीं। दुनिया की मजबूरी है ! फिर तक़दीर जरूरी है ! Filmed on REENA ROY, Looks beautiful..
Laxmikant-Pyarelal’s splendid composition. 20 seconds of ‘prelude’ is full of Latajis honeyed AALAPS. Brilliant take off…शीशा हो या दिल हो …She gives 3 seconds of singing ‘pause’ for symphonious DHOLAK rhythm. First and Second interludes are orchestrated with an ACCORDION. Third interlude has a solo display of VIOLIN. Another beauty of this song is ‘singing’ and ‘rhythmic’ pauses.
–Zindagi Har Kadam Ek Nayi Jung Hai Shabbir – Lata – Nitin Mukesh
Anand Bakshi writes हौसला ना छोड़ कर सामना जहाँ का ! बदल रहा है देख रंग आसमान का
Laxmikant-Pyarelal have orchestrated this song by using PIANO as well as VIOLINS in symphony style. The song is filmed on Nutan, Girish Karnad, Anil Kapoor.
Meaningful philosophical words by Anand Bakshi बड़ी बड़ी खुशियां हैं छोटी छोटी बातों में नन्हे मुन्हे तारे जैसे सोती रातों में ऐसा सुन्दर है ये जीवन, जैसे कोई सपना सलोना. Filmed on Amitabh Bachchan
—Duniya Mein Kitna Ghum Hai ,Mohammad Aziz. Very much philosophical wording by Anand Bakshi दुनिया मैं कितना गम है ! मेरा गम कितना कम है ! लोगों का गम देखा तो मैं अपना गम भूल गया filmed on Rajesh Khanna.
This is a typical Laxmikant-Pyarelal moulded song.
| Laxmikant, Anand Bakshi and Pyarelal |
Added On PUBLIC DEMAND
Rajesh Khanna’s Biggest Musical Hit HAATHI MERE SAATHI 1971
–Duniya Main Rehna Hai To Kaam Kar” Pyare” Kishore Kumar
पैसे बिना दुनियाँ में रोटी नहीं मिलती. रोटी नहीं मिलती लंगोटी नहीं मिलती
ASTOUNDING FOURSOME :: Mohammad Rafi..
Anand Bakshi.. Laxmikant-Pyarelal
Mohammad Rafi is considered no less than a genius when it comes to varied styles of music. This great singer had the perfect blend of melody, emotions and energy, which resulted into thousands of soulful songs.
Mohammad Rafi has recorded the maximum numbers of songs under the music directors Laxmikant-Pyarelal, precisely 379 songs, including 183 solo.
| Left Laxmikant-Pyarelal, /Top Right Laxmikant-Pyarelal with Mohammad Raf /Bottom Right Laxmikant-Pyarelal with Anand Bakshi |
ASTOUNDING FOURSOME :: Mohammad Rafi, Anand Bakshi, Laxmikant-Pyarelal.
Out of gigantic 379 songs composed by Laxmikant-Pyarelal for Mohammad Rafi, monumental 254 songs (including 122 solo) are written by Anand Bakshi, ONLY.
We get incomparable variety of songs from these astounding FOURSOME of Mohammad Rafi/Anand Bakshi and Laxmikant-Pyarelal. Gazal, Western, Semi-Classical, Lori (lullaby), Folk, Qawwali, Mujra, Patriotic etc. Sad Songs, Romantic Songs, Devotional Songs etc, many more varieties can be found in this QUARTET.
This “TETRAD” of Mohammad Rafi, Anand Bakshi, Laxmikant-Pyarelal came together for the first time for the song, ‘Shokhiyan Nazar Mein Hai’ from “Aasra” in 1966. Followed by super musical from J. Om Prakash’s “Aaye Din Bahar Ke”. The association lasted till July, 1980 when Rafi Sahab recorded his last song ‘Tu Kahin Aas Paas Hai Dost’ for J. Om Prakash’s “Aas Paas”.
The ‘era’ has now begun with series of hits after hit songs from these ‘FOURSOME”
1966:- Biswajit’s “Aasra”, Dharmendra’s “Aaye Din Bahar Ke”
1967:- Bishwajeet’s “Night In London”, Jeetendra’s “Farz”, Rajshri Production’s “Taqdeer”, Sanjay Khan’s “Milan Ki Raat”.
1968:- Dharmendra’s “Aaya Sawan Jhoom Ke” , Rajendra Kumar’s “Anjana” ,
Sanjeev Kumar’s “Raja Aur Runk” .
1969:- Jeetendra’s “Jeene Ki Raah”, “Do Bhai” and “Jigari Dost”, Rajesh Khanna’s “Do Raaste” Manoj Kumar’s “Sajan” .
These “FOURSOME” are instrumental in ceding most of the “stars” many ‘signature tunes’.
— Jeetendra :: ‘Mast Baharon Ka Main Ashiq’ …”Farz” 1967
— Rajesh Khanna :: ‘Yeh Reshmi Zulfein’ “Do Raaste” 1969
— Biswajeet :: ‘Nazar Na Lag Jaye’ … “Night In London” 1967
— Sanjeev Kumar :: ‘O Phirki Wali Tu Kal Phir Aana’ … “Raja Aur Runk” 1968
— Rajendra Kumar :: ‘Aap Aaye Bahar Aayee’ … “Aap Aaye Bahaar Aayee” 1971
— Dharmendra :: ‘Main Jat Yamla Pagla Deewana’ … “Pratigya” 1975
— Rishi Kapoor :: ‘Ramji Ki Nikli Sawari’ … “Sargam” 1979
— Shashi Kapoor :: ‘Kali Ghata Chhayi’ … “Kali Ghata” 1980
— Amitabh Bachchan :: ‘John Jani Janardhan’ … “Naseeb” 1981
Binaca Geetmala:-
Many songs of the “FOURSOME” have aired in weekly Binaca Geetmala Programme. Interestingly 48 songs of the “QUARTET”, Mohammad Rafi/Anand Bakshi/Laxmikant-Pyarelal appeared in Binaca Geetmala Finals, with one song as number one in 1979, ‘Dafliwale Dafli Baja’ ( Rafi-Lata) from “Sargam”.
Filmfare Awards / Nominations:-
As many as SIX songs of the “TETRAD”, Mohammad Rafi/Anand Bakshi/Laxmikant-Pyarelal were nominated for filmfare awards. (Best Male Singer Category ).
1969 ‘Badi Mastani Hai Meri Mehbooba’ … “Jeene Ki Raah”
1970 ‘Khilona Jaan Kar Tum Mera Dil’ … “Khilona”
1977 ‘Parda Hai Parda’ … “Amar Akbar Anthony”
1978 ‘Aadmi Musafir Hai’ … “Apnapan” (with Lata Mangeshkar)
1980 ‘Mere Dost Kissa Ye Kya Ho Gaya’ … “Dostana”
1980 ‘Dard-E-Dil Dard-E-Jigar’ … “Karz”
However Laxmikant-Pyarelal did win the awards, involving these “FOURSOME” for
“Jeene Ki Raah” (1969)
“Amar Akbar Anthony” (1977)
“Sargam” (1979)
“Karz” (1980)
Anand Bakshi too win the filmfare award for the song, created by the “FOURSOME”
‘Aadmi Musafir Hai’ (Rafi-Lata), “Apnapan” in 1978.
Unfortunately, NONE for Rafisaab, involving “QUARTET”.
Period after 197o:-
Till 1970, Mohd. Rafi was undisputed and demanded singer in Bollywood music industry. But after 1970, Kishore Kumar came into limelight and his popularity increases after he sang super hit songs for the movie Aradhana (1969).
During this ‘lean’ period of Mohammad Rafi it was ONLY Laxmikant-Pyarelal gave many hit songs for Mohammad Rafi to sing. To be precise Laxmikant-Pyarelal have recorded 264 numbers of songs (Out of total of 379 songs from Rafi-LP combo) of Mohammad Rafi in post “Aradhana” period.
Laxmikant-Pyarelal along with Anand Bakshi are instrumental in bringing back the Glory of Mohammad Rafi, in post “Aradhana” (1969) period. That too without damaging the giant popularity of Kishore Kumar. This “FOURSOME” have recorded as many as 192 songs (out of total of 254 songs) which includes many hits as well as memorable songs.
Listing few hit albums.
1970:- Rajesh Khanna’s ”Aan Milo Sajna”, Jeetendra’s “Humjoli”, Sanjeev Kumar’s ”Khilona”, Shashi Kapoor’s “Suhana Safar”, Dharmendra’s “Jeevan Mrityu”.
1971:- Rajendra Kumar’s “Aap Aaye Bahar Aayi”, Rajesh Khanna’s “Mehboob Ki Mehndi” and “Haathi Mere Saathi”, Jeetendra’s “Banphool”, Rajashi Production’s “Uphaar”.
1972:- Jeetendra’s “Jeet” and “Roop Tera Mastana”, Rajendra Kumar’s “Gora Aur Kala” and “Mom Ki Gudiya”.
1973 :- Dharmendra’s “Loafer”, Sanjeev Kumar’s “Suraj Aur Chanda”.
1974:- Shatrughan Sinha’s “Dost”
1975:- Dharmendra’s “Pratigya”, Rajesh Khanna’s “Prem Kahani”.
1976:- Shashi Kapoor’s “Naach Uthe Sansaar” and Dharmendra’s “Maa”.
1977:- Manmohan Desai’s FOUR hits . Amitabh / Rishi Kapoor’s “Amar Akbar Anthony”, Dharmendr’s “Dharam Veer” and “Chacha Bhatija”, Amitabh / Shashi Kapoor’s “Parvarish”. Jeetendra’s “Apnapan”.
1978:- Shashi Kapoor’s “Amar Shakti”, Sunil Dutt’s “Daku Aur Jawan”
1979:- Rishi Kapoor’s “Sargam” (LAXMIKANT-PYARELAL have given all the SEVEN songs for MOHAMMAD RAFI to sing. This was very unusual phenomena during seventies.), “Karz” , “Do Premee” and also Jeetndra’s “Aasha” and Sanjeev Kumar’s “Ladies Tailor”. Rajesh Khanna’s and Dharmendra’s “Rajput” ++ Many more.
The above analysis confirms that both Anand Bakshi and Laxmikant-Pyarelal have given more melodious as well as hit songs for Mohammad Rafi in seventies (Post “Aradhana” period)
Let us review few of the BEST songs from these “FOURSOME”.
The orchestra arrangements in “PRELUDES” and “INTERLUDES” used to be the assets of the songs composed by Laxmikant-Pyarelal. It would be more proper to listen to the songs, listed below, after reading the write up, explaining peculiarities, for each of the songs you will enjoy it, more.
1 AAYE DIN BAHAR KE – 1966
— Mere Dushman Tu Meri Dosti Ko Tarse
Song Writer ANAND BAKSHI’s painful wordings, showing vexation. MOHAMMAD RAFI’s soulful and heart touching rendering and LAXMIKANT-PYARELAL ‘symphonic’ orchestra arrangements are justifying the frustration in this song. Also not to forget the expressions shown on screen by Dharmendra.
2 NIGHT IN LONDON – 1967
— Bahosh-O-Hawas Mein Deewana
ANAND BAKSHI’s fanciful wordings. LAXMIKANT-PYARELAL’s Wonderful Westernized Orchestra Arrangements In SYMPHONY Style. “PRELUDE” of 51 seconds is just mesmerizing. Use of VIOLINS and VIOLA for first 33 seconds and than again huge “pick” at 48 seconds as well as in the first “interlude” from 1.25 to 1.45 is just ear pleasing. Both the interludes have different tunes. There are some glimpses ‘pauses’. The “symphony style violins” vowing around MOHAMMAD RAFI’s voice that gives an additional mellifluousness and romantic feeling to this song. Each and every moment of this GEM of song makes you “thrill” and that is why it is one of my all time favorite song.
3 JEENE KI RAAH – 1969
— Aane Se Uske Aaye Bahar
ANAND BAKSHI comparing nature beauty and intermixing it in romantic mood. Mesmerizing “Prelude” of 40 seconds, with overlapping sound effects of VIOLINS, Twitting of
BIRDs, Mohammad Rafi’s “aalap” as well as ACOUSTIC GUITAR, gives the feeling of village
background. Both the mellifluous “Interludes” have different orchestra arrangements, decorated with FLUTE, VIOLIN and ACCORDION. This sweet and melodious song have ear-pleasing ‘DHOLAK’ rhythm. Jeetendra looks handsome.
4 DO RAASTE – 1969
— Ye Reshmi Julfe
Concordant romantic song, penned by ANAND BAKSHI, seductively performed by Rajesh Khanna. Glamorous inception by Rafi saab after 19 seconds ‘prelude’ of 19 seconds, VIOLINS overlapped with MANDOLIN. It has a ear-pleasing, melodic DHOLAK rhythm, with few ‘pause’ of 8 seconds at the end of each mukhada. The “rhythm” keeps listeners enchanted, throughout. Mumtaz looks beautiful. MOHAMMAD RAFI in supreme form.
5 UPHAAR – 1971
— Mein Ek Raja Hoon Tu Ek Rani Hai
Soft Romantic words by ANAND BAKSHI. “Prelude” of 27 seconds comprises of VINA and SANTOOR and Mohammad Rafi’s beautiful take off (main ek raja hoon) is just brilliant. Extremely Soft and Melodious ROMANTIC song composed in the “raag” ‘ BAIRAGI’. Use of the BONGO drum in “Toe Stepping Rhythm” intermixed with SANTOOR is ear-pleasing. Use of FLUTE , ACOUSTIC GUITAR, SANTOOR and SITAR and other string instruments are mellifluously executed in the song. In early seventies Mohammad Rafi was almost forgotten but it was only Laxmikant-Pyarelal gave some of the finest songs to Rafi. This is one of them. It was a “Binaca Geetmala Hit song”
6 KHILONA – 1971
— Khilona Jaankar Tum To Mera Dil Tod Jaate Ho
I have chosen the famous song, title song, heartbroken wordings by ANAND BAKSHI, rendered by MOHAMMAD RAFI with pain. No words to describe the elegance of Mohd Rafi. The song starts with the ‘aalap’. It has wonderful “DHOLAK” rhythm. “Interludes” are beautifully decorated with MANDOLIN, VIOLINS and SAROD. In the second “interlude” SYMPHONY orchestra is mellifluously overlapped with SHEHNAI. Sanjeev Kumar have acted wonderfully. In early 70s when most of the music directors had forgotten Mohammad Rafi, it was only Laxmikant-Pyarelal used to give some of the best songs to Rafi Sahab. This is one of them.
7 MEHBOOB KI MEHANDI – 1971
— Ye Jo Chilman Hai, Dushman Hai Hamari
Flawless composition, with ‘zero’ ‘prelude’, by using bare minimum instruments along with the rhythm of DHOLAK / TABLA. Radiant take off by Rafi Saab. All the ‘interludes’ are glitteringly orchestrated with SARANGI, SITAR, VIOLIN, SANTOOR and SAROD. The “pause” given at the end of each the ‘antara’ gives a soothing effect to this erotic song.
Rajesh Khanna simply awesome.
8 LOAFER – 1973
Once again ANAND BAKSHI masters in writing romantic words, with difference. “Prelude” of SYMPHONY style VIOLINS, brilliantly synchronized with Rafi Sahab’s HUMMING sets the mood of this sensational and romantic composition. The first “interlude” is remarkably decorated with SITAR (played by Ustad Rais Khan). Second and third “interludes” have mellifluous effect of SYMPHONY style VIOLINS. Rafi Sahab’s rendering is simply outstanding. Dharmendra looks romantic.
9 AMAR AKBAR ANTHONY – 1977
— Parda Hai Parada
Superbly composed “Qawwali” . “Prelude” 67 seconds, full of RUBAB, MANDOLIN, SHEHNAI / NADASWARAM, GUITAR, HARMONIUM, synchronised with DHOLAK rhythm, mesmerizes you. Brilliant take off by Rafi Sahab. SHEHNAI / NADASWARAM are mellifluously used as ‘filler’ in ‘mukhda’. Wonderfully performed by Rishi Kapoor.
10 SARGAM – 1979
— Hum To Chale Pardes Hum Pardesi Ho Gaye
Mohammad Rafi sounds very different in all of the “Sargam” songs, perhaps at it’s best.
The song starts with beautiful ‘aalap’ from Rafi Sahab”. The DHOLAK rhythm hypnotizes. The song has a village background the music is justifying it too. The “interludes” of the song is just worth to listen to. Sounds of BULLOCK CART BELLS wonderfully synchronized with NADASWARAM and MANDOLIN as well as in second “interlude’ with FLUTE and SANTOOR.
11 KARZ – 1980
— Dard- E-Dil, Dard-E-Jigar
Enjoy fascinatingly instrumented solo VIOLIN in 52 seconds of “Prelude”. This is a western style GHAZAL composition orchestrated awesomely with GUITAR in the rhythm. All the “Interludes” are mellifluously synthesised with TRUMPETS, SYMPHONY style VIOLINS, GUITAR, percussion instruments.
Ajay Poundarik
Vadodara (Gujarat)
INDIA.
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Tetrad Of Dulcet Music:: Anand Bakshi :: Lata Mangeshkar ::
Laxmikant-Pyarelal
Tribute to popular songwriter Anand Bakshi on his 90th Birth anniversary, 21 July.
Laxmikant-Pyarelal with Anand Bakshi, 1680 songs from 302 films, a massive contribution to Hindi Film Music.
When we talk of Lata Mangeshkar and Laxmikant-Pyarelal songs, 712 in numbers of sheer variety. What mind-boggling range did we get in those numbers.
गायिका लता मंगेशकर, गीतकार आनंद बक्षी और संगीतकार लक्ष्मीकांत-प्यारेलाल
In this blog highlighting the Tetrad Of Dulcet Music, Anand Bakshi, Laxmikant-Pyarelal and Lata Mangeshkar. Lata Mangeshkar have rendered as many as 240 solo songs, involving Laxmikant-Pyarelal & Anand Bakshi. The Tetrad’s First Song was Julmi Hamare Sanwariya from the Film, Kishore Kumar – Kum Kum Starer “Mr. X In Bombay“, 1964
| Laxmikant, Anand Bakshi, Lata Mangeshkar, Pyarelal. |
240 solo songs of different types and sheer variety, rendered by Lata Mangeshkar in the quadripartite. Considering 15 songs for the review. There are many films, listed below from this Tetrad in which Lata Mangeshkar has sung five or more songs.
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Lootera 1966 ( an outstanding Album with all SIX solo with variety from Lata )
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Sharafat 1970
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Mera Gaon Mera Desh 1972..(Folkish Album, all time hit )
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Raja Jani 1972
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Bobby 1973 (All time hit songs)
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Satyam Shivam Sundaram 1978 (Eternal Classic)
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Ek Duje Ke Liye 1981
Anand Bakshi and Laxmikant-Pyarelal were known to compose a ‘Situational Songs’. Two such songs from “Mera Gaon Mera Desh” are revied.
The orchestra arrangements in “preludes” and “interludes” used to be the assets of the songs composed by Laxmikant-Pyarelal. It would be more proper to listen to the songs after reading the write up, explaining peculiarities, for each of the songs, you will enjoy it more.
Julmi Hamare Sanwariya “Mr In Bombay” 1964
An extremely melodious song. Prelude of 38 seconds with VIOLINS, GUITAR, FLUTE and beautiful aalap by Lata ji. Awesome take off जुल्मी हमारे सांवरिया हो राम। Ear-Pleasing DHOLAK rhythm. First ‘interlude’ is orchestrated with NADASWARAM/SHEHNAI. Second ‘interlude’ is orchestrated with NAGIN BIN, VIOLINS. Third ‘interlude’ again NAGIN BIN and VIOLINS. Actress Kum Kum danced wonderfully through the song.
O Dilwalo Saaz-E-Dil “Lootera” 1965
Actress Bela Bose entertains sea dacoits with a fabulous song and a dance onboard. GEM of composition, beautifully sung by Lata Mangeshkar. Based on Arabian Folk Tune…’Prelude” of 37 seconds with VIOLINS, BRASS INSTRUMENTS, ACOUSTIC GUITAR and western style ‘Aalaps’ from Lata j, mesmerizes the listers. The other speciality of the song is Lata’s Voice is surrounded by the MALE CHORUS and the FLUTE, both in ‘antara’ as well as in ‘mukhada’….The orchestra arrangements is just simply the best, specially use of FLUTE, solo VIOLIN, ACOUSTIC GUITAR, CLAPPING and the BONGO DRUM in rhythm. Dancer Bela Bose has danced this old fashion cabaret perfectly on tune masterly filmed on Balener Ship.
Suno Sajna Papeehe Ne “Aaye Din Bahar Ke” 1966
My most liked Lata-LP song…..The chirping sound of birds and a mesmerizing aalap at the beginning sets the tone of the song……..fabulous Flute (played by Pt. Hariprasad Chaurasiya), Santoor (played by Shivkumar Sharma) and Sitar pieces in the interludes.
Nind Kabhi Rehati Thi Aankhon Mein “Aasra” 1966
The song with full of “pauses”
This is an extremely melodious romantic song starts with the ‘humming’ by Lataji for first 10 seconds, we get first beautiful “pause” at 0.10 – 0.13, second, after rendering ‘Neend Kabhi Rehti Thi Aankhon Mein’ at 0.20 – 0.23, third after rendering word ’sanwariya’ at 0.33 – 0.36, this pause gives you to listen to the beautiful ‘RHYTHM’ created for this lovely song. You will listen to all these “pauses” regularly till the end. Don’t forget to listen to the ‘pause’ at 3.58 to 4.01 to highlight the FLUTE.
The entire song, mainly “interludes”, are woven around the glimpses of FLUTE (by Pt. Hariprasad Chaurasiya) and SANTOOR (by Pt. Shivkumar Sharma) and SYMPHONY style VIOLINS (at the surround sound of Lataji, in ‘mukhda’ and ‘antara’). The rhythm of DHOLAK and TABLA is worth listening to as it is of different flavor. On the top of everything…the chemistry of Lataji & LP worked miracles. Filmed on Mala Sinha.
Jab Jab Bahar Aayee “Taqdeer” 1967
Entire song is woven around the glimpses of PIANO, VIOLINS as well as CHORUS.
Sanz Savere Adharon Pe Mere “Madhavi” 1969
A beautiful, melodious, sweet ‘MEERA’ “BHAJAN” from the film “Madhavi” 1969. A classic song from the unique Tetrad of Lata Mangeshkar, Laxmikant-Pyarelal and Anand Bakshi.
Bindiya Chamake Gi “Do Raaste” 1969
This “Punjabi” folkish style, DHOLAK rhythm, sweet and melodious song, with euphonic DHOLAK ‘rhythm’ is completely decorated with the glimpses of SANTOOR and FLUTE. Lataji’s rendering of the word ‘chamake gi’ (चमके गी) is admirable. The song rock the nation and was a top hit, number 1 song, in Binaca Geetmala Finals of the year 1970. The song made Mumtaz a ‘star’, overnight.
Mar Diya Jaaye Ke Chhod Diya Jaay “Mera Gaon Mera Desh” 1971
Raj Khosla explained to Anand Bakshi a situation where the hero is tied to a pillar and the girl wants to rescue him. Anand Bakshi was at once reminded of the dialogue between Alexander the Great and King Porus where the former asked the latter “Tumhare saath kya sulook kiya jaye?” And the song Maar diya jaye, ke chhod diya jaye… was born. Laxmikant-Pyarelal have mind-blowingly orchestrated this fabulous song, with 43 seconds of “prelude”, “interludes” and mesmerizing DHOLAK rhythm. The song is beautifully filmed on Laxmi Chhaya.
Apani Prem Kahaniyan “Mera Gaon Mera Desh” 1971
One of the best “”situational”” numbers you would get to see. It’s gestural song situation. Raj Khosla have done the best to film this songThe police get no help either, when they arrive in village “mela”/Fair.. . Nobody is willing to recognizing “Dacoit” Jabbar Singh (VINOD KHANNA) and his gang. Ajit ( DHARMENDRA ) seeks the help of dancing girl Munnibai (LAXMI CHHAYA), to identify Jabbar Singh in a village “mela”. Through the dancing on song, Munnibai is giving many hints of Jabbar Singh’s physic, dress and the location where he is standing…This popular dancing song has a perfect set of village fare. Costumes, Cinematography is excellent. ANAND BAXI, has worded this song according to the situation demand. LAXMIKANT-PYARELAL have decorated this song with mellifluent orchestra arrangements. “Prelude” and all the “Interludes” are justifying the village “mela”/fair music. The RHYTHM of the song is mesmerizing. LATA MANGESHKAR simply outstanding…The song is beautifully filmed on Laxmi Chhaya.
Bandhan Toote Na “Mom Ki Gudiya” 1972
This song can be considered as a Very Very Special from Lata Mangeshkar / Laxmikant-Pyarelal/Anand Bakshi. Rendered on high pitch, without losing it’s Melody part. It is based on Indian Classical raaga. SAROD, RUBAB as well as VIOLINS are sweetly instrumented in the song. Based on Indian Classical ‘Raag’. Filmed on Tanuja
Dard – E – Dil Badhata Jaye “Buniyad” 1972
CABARET song with MELODY: Laxmikant-Pyarelal’s work is characterized by a notable openness to a wide variety of musical styles and instruments. Classical ragas mix with JAZZ horns, WAH-WAH GUITAR, FLUTE, funk and disco RHYTHMS, and the insistent beat of the DHOLAK. How brilliantly the western instruments like BAMBOO FLUTE and GUITAR are synchronized with Lata’s sweet voice, in this mellifluous orchestra arrangements . All the three interludes have different tunes.
During the sixties & seventies Lata and Laxmikant-Pyarelal combination have delivered some of the most melodious songs to the Indian Film Industry and this is one them.
This is one of the sweetest cabaret song sung by Lata for LP. This song is written by none other than Anand Baxi. Filmed on actress Bindu.
Bhor Bhaye Panghat Pe “Satyam Shivam Sundaram” 1978
67 seconds of resonant ‘preludes’ starts with euphonic ‘aalaps’ by Lataji, TWEETING BIRDS sound, protruding as well as integrating surround sound effect of symphony style VIOLINS, GHUNGROO BELLS and finally hypnotising DHOLAK / TABLA rhythm which is the asset of this songs. GHUNGROO BELLS are beautifully synchronised with the DHOLAK / TABLA rhythm, throughout the song. Interludes are well orchestrated with GUITAR, SITAR, FLUTE, SYMPHONY style VIOLINS and CELLOS. Filmed on Zeenat Aman.
Sheesha Ho Ya Dil Ho “Aasha” 1979
20 seconds of ‘prelude’ is full of Latajis honeyed AALAPS. Brilliant take off…शीशा हो या दिल हो …She gives 3 seconds of singing ‘pause’ for symphonious DHOLAK rhythm. First and Second interludes are orchestrated with an ACCORDION. Third interlude has a solo display of VIOLIN. Another beauty of this song is ‘singing’ and ‘rhythmic’ pauses. This beautiful song is filmed on Reena Roy singing this song on stage.
Tere Mere Beech Main “Ek Duje Ke Liye” 1981
Composed in Hindustani Classical Raag “SHIVRANJANI”. 16 seconds of ‘prelude’ orchestrated with glimpses of GUITAR, Symphony style CELLOs, and VIOLINS and awesome aalaps by Lataji. Excellent “DHOLAK” rhythm. SANTOOR, FLUTE, VIOLINS and SHEHANAI are mellifluously decorated in the orchestra. Filmed on Rati Agnihotri
Nindiya Se Aayee Bahar Hero 1983
55 seconds of “Prelude” is in SYMPHONY style with excellent use of CELOs intermixed with the rendering of Lataji and BIRDs TWEETING sound. SHEHNAI is nicely played in the first “ interlude”. Second “interlude” is full of FLUTE. Once again an excellent DHOLAK rhythm. Lovely composition. glimpses of FLUTE (by Pt. Hariprasad Chaurasiya). Filmed on Meenakshi Sheshadri.
Jind Le Gaya Wo Dil Ka Jaani “Aap Ke Saath” 1986.
Good song with typical LP style melody filmed on Smita Patil.
Ajay Poundarik
Atlanta (Georgia)
USA.
The Combination of Anand Bakshi, Laxmikant-Pyarelal and Kishore Kumar was involved in a total of 273 songs, including 103 solo songs.
——————————Laxmikant-Pyarelal made banging as well as vigorous start through the music of Parasmani, released in the fourth quarter of 1963.
In the next year, 1964, after creating a Magical Hits with Lata Mangeshkar Sati-Savitri and Sant Gyaneshwar and Mohammad Rafi Dosti, it was now time for Kishore Kumar to create a vintage musical hit songs with Laxmikant-Pyarelal.
Both Laxmikant and Pyarelal, relatively new, went to Kishore Kumar’s house with the song “tune”. Kishore Kumar was so happy to listen to the tune that he started telling everyone present in the house, his gardener, stewards, security guard that see these two boys (Laxmikant & Pyarelal ) has bring very sweet and memorable tune for me. That song was “Mere Mehaboob Quyamat Hogi”.
Memorable Primer Meet Of Kishore Kumar, Anand Bakshi & Laxmikant-Pyarelal
Eternal Classic Song “मेरे मेहबूब क़यामत होगी” “MR X IN BOMBAY” 1964
FIRST EVER SONG of Songwriter ANAND BAKSHI with LAXMIKANT-PYARELAL. Later this combo went on to work for 304 films with over 1680 songs,
FIRST EVER SONG of Singer KISHORE KUMAR with LAXMIKANT-PYARELAL . Later this combo went on to be associated with 402 songs.
The Combination of Anand Bakshi, Laxmikant-Pyarelal and Kishore Kumar was involved in a total of 273 songs, including 103 of solo songs.
There are many films in which Kishore Kumar has sung 4 or more songs involving, Anand Bakshi and Laxmikant-Pyarelal. Haathi Mere Saathi, Amir Garib, Roti, Aakraman, Aashiq Hoon Baharon Ka, Anurodh etc
We are to highlight few of the best
Mere Mehaboob Quyamat Hogi …(Mr X In Bombay, 1964)… Sad Song
The song is based on raag Bhairavi and it starts with the beautiful “prelude” of 20 seconds with the glimpses of VIOLINS, ACCORDION, GUITAR and MANDOLIN.
Mere Naseeb Mein Ae Dost…. (Do Raaste, 1969) Emotional Song
The song is based on raag Yaman Kalyan. Kishore Kumar’s soft rendering and Laxmikant-Pyarelal’s SYMPHONY style orchestra arrangements.
Vaada Tera Vaada …(Dushman, 1972 ) Mujra /Qawwali
Entire song has “qawwali” style DHOLAK / MATAKI rhythm. SANTOOR and SARANGI are well executed in the ‘interludes”. SARANGI is also used as filler in the “mukhada” to give Mujra touch to the song.
Mere Dwanepan ki bhi dawa nahin…. (Mehaboob Ki Mehandi, 1972) Romantic
This romantic song based on Raag “Tilang” starts with the ‘humming’ sound by Kishore Kumar. “Mukhada” is wonderfully synchronized by ‘filling’ SARANGI and FLUTE around Kishoreji’s melodious and romantic rendering. All the three ‘interludes’ have different type of tunes and orchestral arrangements.
Yeh Jeevan Hai …(Piya Ka Ghar, 1972) Anand Bakshi – writes ये ना सोचो इसमें अपनी हार है की जीत है ! उसे अपना लो जो भी जीवन की रीत है One of the finest songs from Kishore Kumar with Laxmikant-Pyarelal.
Gaadi Bula Rahi Hai (Dost, 1974) This Song Means Be Positive Every Time Do Not Think Negative Any Time In Life. Life Will Be Happy. Pretty Philosophical Words Penned By Anand Bakshi. गाडी को देख कैसी है नेक अच्छा बुरा न देखे ! सब है सवार दुश्मन के यार सबको चली ये लेके !
Aadmi Jo Kehta Hai ….(Majboor, 1974) Anand Bakshi penned कोई भी हो हर ख्वाब तो अच्छा नहीं होता ! बहोत ज्यादा प्यार भी अच्छा नहीं होता
Aap Ke Anurodh Pe…. (Anurodh, 1977) Classical
Hypnotizing orchestra from Laxmikant-Pyarelal and stupefying rendering by Kishore Kumar. This mellifluous song is composed on Raag “Yaman Kalyan”.
Ek Ritu Aaye Ek Ritu Jaye…. Goutam Govinda, 1979 Soft Rendering
Exceptionally soft rendering by Kishoreji, many pathos. In the beginning of the song Laxmikant-Pyarelal used BICYCLE.
Om Shanti Om Karz 1980 Disco /Western
Spellbind, Huge and Enrich orchestra arrangements in western style, throughout the song. Despite Kishore Kumar’s usual shouts and Laxmikant-Pyarelal’s boisterous orchestra, the melody part of the song is not lost.
Ye Dard Bhara Afansana Shreeman Fantoosh 1965
Laxmikant-Pyarelal was able to get the best output from Kersi Lord when he played the ACCORDION for this beautiful song.
ये दर्द भरा अफसाना, सुनले अनजान ज़माना जमाना
मैं हूँ एक पागल प्रेमी मेरा दर्द न कोई जाना
In the mid-sixties Kishore Kumar was passing through the lean period of his musical career. Laxmikant-Pyarelal composed some of the best songs for Kishore Kumar. This song is one of them. A beautiful GEM of a song from this combo. A song which shows Laxmikant-Pyarelal class and talent right in the beginning of their career. The entire song is woven around t“Haathi Mere Saathi”. he glimpses of ACCORDION. ACOUSTIC GUITAR, symphony VIOLINS are beautifully orchestrated in ‘interlude’ ‘prelude’ and ‘postlude’. Western style, ROCK N ROLL, rhythm.
Soi Ja Tara Mastana 1971
This is filmed on actor Mehmood and beautiful child artist Nain-Tara Dhanraj. Extremely melodious and emotional song with wonderful DHOLAK rhythm. The song is orchestrated with symphony VIOLINS, FLUTE and SANTOOR.
Chal Chal Mere Saathi Haathi Mere Saathi. 1971
Song that stormed the nation.
Kishore Kumar, Laxmikant-Pyarelal & Anand Bakshi.
It was the peak period for film star RAJESH KHANNA, singer Kishore Kumar, the songwriter Anand Bakshi as well as the music director Laxmikant-Pyarelal.
A Huge Hit Song. Kishore Kumar’s voice is really refreshing enough and melodiously unmatched. Wonderful Orchestra Arrangements in particular the SAXOPHONE / CLARINET / TRUMPET is brilliantly executed to generate the Elephant Sound (roaring/trumpeting) with unique toe-stepping rhythm. The song is written by Anand Bakshi. “Haathi Mere Saathi” ranks high among the biggest ever hits of RAJESH KHANNA’s career. But the film ranks as a classic because it is still unequalled as the complete family fare in its genre for kids. It was the biggest hit ever made by a South producer in Hindi.
The film was released in the year 1971 in the month of May. A time for school /college vacations. A perfect time to catch the audience. It has celebrated the “SILVER JUBILEE” in almost every part of India.It was the very first film for writer SALIM-JAVED.. This pair took off from this film only.
Melodious, Sweet as well as very popular music pulled the crowd to the cinema hall.
Jaani O Jaani Jaani O Jaani Raja Jani 1972
The title track song is filmed in the background. Distinctively intoned by Kishore Kumar on western notes. Entire song is orchestrated on ACOUSTIC GUITAR, BASS GUITAR, WHISTLING, FLUTE and CHORUS on western notes. One of the best from Kishore Kumar and Laxmikant-Pyarelal.
Romantic Song, orchestrated with ACOUSTIC GUITAR, GUITAR, VIOLINS and SAXOPHONE. The rhythm is BONGA DRUM.
Jaan-E-Chaman Jaan-E-Bahar Dulhan 1974
One more romantic song. Breezing melody with westernized orchestra arrangements.
Aate Jate Khoobsurat Anurodh 1977
Bakshi sahab has narrated the story of a man how he met the girl, what exactly has happened etc, in the form of a song.
Prem Ka Rog Laga Mujhe …. Do Premee 1980
Typical Laxmikant-Pyarelal and Kishore Kumar flavoured song. It is one of the rare devotional songs sung by Kishore Kumar. Filmed on Rishi Kapoor
Akela Gaya Tha Main … Rajput 1981
Zindagi Ek Latifa ……Amrit 1986
Beautifully penned by Bakshi Saab. Intelligent composition. Morality in lyrics
and very impressive singing by legendary kishoreda
SONGWRITERS & LAXMIKANT-PYARELAL
Laxmikant-Pyarelal made the debut from the film Parasmani released in 1963. Songwriters like Farooq Qaisar, Asad Bhopali, Indeevar penned the songs. The duo’s next films Harisihchandra Taramati, (1963), Sati Savitri, Sant Gyaneshwar, Dosti, Mr X In Bombay (1964) etc saw the big names of songwriters like National Poet Kavi Pradeep, Pandit Bharat Vyas, Majrooh Sultanpuri and Anand Bakshi, respectively. Since than Laxmikant-Pyarelal have worked with as many as 72 songwriters, till 1998.
Laxmikant-Pyarelal with Anand Bakshi (Top) and Majrooh Sultanpuri.
Lyricists with Laxmikant-Pyarelal right from Parasmani 1963 to Deewana Mastana 1998.
Following of the five ‘unique‘ songs, considered for review.
Kaifi Aazmi “Satyakam” 1969 ‘zindagi hai kya’ (Kishore Kumar, Mukesh & Mahendra Kapoor)
Amit Khanna, “Bhairavi” 1996 ‘om namah shivay’ (Kavitha Krishnmurthy & Roopkumar Rathod)
RashtraKavee Pradeep, “Harishchandra Taramati” 1963 ‘suraj re’ (Hemant Kumar)
Pandit Narendra Sharma “Satyam Shivam Sundaram” 1978 ‘suni jo unke’ (Lata Mangeshkar)
Rajkavee Indrajetsingh Tulsi “Shor” 1972 ‘jeevan chalne ka naam’ (M Kapoor, Manna Dey, )
The major share is from none other than ANAND BAKSHI who have written songs for 302 films only for Laxmikant-Pyarelal with close to 1680 songs.
‘Rajesh Khanna would call up dad when he felt lonely,’ says Anand Bakshi’s son – Click Here To View
Music and Lyrics: For Anand Bakshi, his life was his muse – Click Here To View
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