Tribute & Features part 2


Producer Mr Krishnamurthy

(Tina Films International) worked with AB in: Ghar Ek Mandir, Swarg Se Sundar, Sindoor, Charnon Ki Saugandh, Gharana. My relationship with Bakshi saab goes days back when I was working in Gemini Studios and we used to meet very often at music composers Kalyanji Anandji’s place. And my friendship started with Jab Jab Phool Khile 1965. We used to frequently meet and then we started working in many films for the producers from south I worked for. Bakshi saab is such a human being that you cannot find anyone like him today. He was very affectionate. He was interested in other people’s welfare, and his producers and directors and family and friend’s welfare – That was his life motto. He was always smiling and happy. I started my career as Producer with Ghar Ek Mandir (1984) Bakshi saab agreed to write lyrics for me, and then Bakshi saab worked in all my pictures, and also some films of my son as director years later. So he has stood by my family through the years. I admire him like anything. His great qualities and his way of working that within minutes he would give us lyrics. He was very prompt and systematic and no one can imagine nowadays how he worked. In south there is a very famous lyricist Karnadasan, whenever I go to Madras Mr. Karnadasan talks of Mr. Anand Bakshi saab. Mr Anand Bakshi used to always admire Mr. Karnadasan’s lyrics too. Bakshi saab used to always say be open minded. He says always family first, please concentrate on family and give them happiness in life. I was working for producers in this industry and south from 1948 to 1962 in Gemini studios, and 1962-79 with Venus pictures, and whenever he used to see me he always encouraged me saying ‘Krishnamurthy please start your own picture, become a producer yourself, I am there to help you start your own film. You are good man and hard working.’ I can say with Mr Bakshi’s inspiration and enthusiasm and help I started my first picture Ghar Ek Mandir 1984, which was my first movie and I was established as independent producer in this business. God Bless him and his family. My sons first picture as director, was Sindoor – 1987. The lyrics he wrote for his film, ‘Pathjhad saawan basant bahaar, ek baras mein mausam char, panchwa mausam pyaar ka…’ was a super hit and memorable song and it was written by Bakshi saab within 15 minutes. Fifteen minutes! K Ravi Shankar, my son, directed this film and was established. In a way he helped my son get established too. Suresh Wadkar sung the song, female voice was of Lata Mangeshkar. Bakshi saab used to always work with a smile. Service before Self was always his way of working and with a smile. The funny thing was whenever I would give him a song situation he would always worry and say it is difficult to write and it will take time to write this song, but, he will go home and same day or next day or two days he will himself call me and tell me ‘come, your song is ready.’ He was a workaholic and genius. He never delayed my songs. Let me tell you about the film Hathi Mere Saathi. My friend and great producer from south Santo Devar who has made 14 movies with MGR the super hero of south. He came t Bombay and he wanted to make this movie Haathi Mere Saathi. First mr Devar approached Sanjeev Kumar. Then I suggested him to cast Mr. Rajesh Khanna. It was very difficult to work with him those days but the subject of the film was such I felt that Rajesh Khanna would suit. I told mr Devar do not worry and I will make you meet him. I arranged for a meeting with rajesh khanna and told him about MGR working with Devar on 14 pictures, the status of Devar the producer and the great dedication with which he works in Madras and I assured him mr Devar will complete the film in 2 months. Mr Devar suggested RDB for the music but I told him Laxmikant Pyarelal suits the music needs of this film. I fixed a meeting with LP and Bakshi saab and Devar, and I must tell you that Bakshi saab within no time was ready with all the lyrics we needed for the film – within 2 weeks Bakshi saab wrote all the songs of Hathi Mere Saathi. He always delivered before he promised, such was his capacity talent and dedication. I cannot find such a person, I miss him. Feb 7 2013. Told to me – Rakesh Anand Bakshi    

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 Bakshi

Producer Rajkumar Barjatya (Rajshri Productions Pvt. Ltd.)

“I met Bakshi ji first time two or three years after his super hit film Jab Jab Phool Khile (1965). I met him sometime in 1966-67 maybe, he told me with folded hands that he is from an army background and writes lyrics and would like an opportunity to write lyrics in our films. He did not say he is the lyrics writer of the super hit and musical hit film, Jab Jab Phool Khile which was a very big hit and the music was very popular too. Such was his humility right from the start of his success. When he wrote the title song of our first film together, Taqdeer (1968), ‘kaise koi jaane bhala khwabon ki taabeer, aakaash pe, baitha huwa, likhta hai woh taqdeer.’ he surprised me by writing 6 verses, antras, for the song,  and each verse was so wonderfully written that we were perplexed which ones to reject and which ones to keep. There were tears in my eyes reading all the verses, each was so emotional and so good. He replied to me, ‘I have written all these six for you, so it is up to you to keep the verses you like. Just give me a chance to write the songs for your film.’ His humility was such, and until today I remember those words of his, and I can say that only with much difficulty God gives us or we receive an opportunity to meet writers and people as talented and sincere and dedicated as Bakshi ji.  We worked on three more films after Taqdeer, Jeevan Mrityu (1970), Uphaar (1971), Piya Ka Ghar (1972). When he wrote the verse ‘Jhil Mil Sitaron Ka Angan Hoga, Rim Jhim Barasta Saawan hoga.’ For Jeevan Mrityu, I politely objected reasoning how can one see stars if it is raining, because the sky will be covered by rain clouds. Bakshi ji replied ‘ Do not go by the words literally, do not go so deep into what I have written. Think of what is being said like a poet, because the situation of this song is romance. Further, on close observation you will realize I have played with two letters ‘N’ and ‘M’. There is the letter ‘M’ in Jhil Mil, and ‘N’ in Aangan Hoga. There is a ‘M’ in Rim Jhim, and a ‘N’ in Saawan Hoga. It is the play of the sounds of ‘N’ and ‘M’ that I want you to hear which will make this song a pleasure to hear and sing, and thus this will make a popular song.” I can say he was right.  The simple words he used in his songs was a blessing because not only could anyone understand the song, but the kind of words he used helped the directors shoot the song. His words inspired visuals that we could find around us and we chose locations to shoot songs according to some words that he used in his songs. His lyrics itself would tell us how to direct the songs, how to make the characters behave and where to shoot them. That was the biggest goodness in his writing. He had knowledge far beyond the words he used, he used every day normal and regular conversational words, language, that was the most beautiful thing about his writing. The last word in song writing is his lyrics from our film, Piya Ka Ghar, ‘Yeh Jeevan Hai Iss Jeevan Ka, Yahi Hai Yahi Hai, Yahi hai ran roop, thode ghum hain, thodi khusiyan, yahi hai, yahi hai yahi hai chaaon dhoop..” It was also the best song of that year. He was so fast or prolific, he has written the songs for our films, and even the films like Milan, Jeene Ki Raah, in front of me within 20 or 30 minutes. He never found it a problem or difficult and would write there and then. He would write as soon as he heard the tune, and he would write words that caught every note he heard in the tunes, never missing a note he heard, so sharp and good he wrote. He would use words that the character could sing, and not use words to impress upon others his knowledge of urdu or hindi. He wrote for the characters according to their geographical location, circumstances, and status. Like in the film, Milan he uses the words ‘Purwaiya’, in his song ‘Saawan ka mahina pawan kare sor’, and did not use the word ‘Hawa’; because a boatman would use the word ‘Purwaiya’ and not ‘Hawa’for wind and breeze, so deep was his understanding of the milieu he wrote for. I was present for all the songs he wrote for us and many films of Prasad Productions. The writing was so good that even after 48 years I can remember the main verses of his songs. His verses had life. In the song from Raja Aur Rank, ‘Oh phirki waali, tu kal phir aana, nahin phir jaana” he has used the word ‘Phir’ in three contexts. The first phir is on ‘phir-ki waali’ the second phir means ‘again’, and the third phir meaning ‘ to go back on a promise’. Such a play of words, with one word, three meanings. Such a talented writer!” Feb 28 2013. Told to me – Rakesh Anand Bakshi  

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 Bakshi  

Lyricist Sameer Anjaan

And today I happened to meet Sameer ji too. this is what Bakshi ji told lyricist Sameer a few months before he passed away – ”  “… I am not scared of dying. are immortality is known. What I am sad about is that if I die, due to this recent illness, so many songs, poems, emotions, which are still inside me will die with me. I wish I could give them to you, but I cannot how much ever I wish to, and that’s only because they came with me and have to leave with me alone. And that makes me sad, that they will remain unsaid.’  Sameer told me ‘rakesh, can you imagine the passion of this man! he was not afraid of death because he will not last, he was sad that his death will mean that so many songs still within him that he knows he can still write still express still share will die with him. even in death he was only thinking of writing songs, more songs. He still had so much more to say at 70 plus!’  And something similar rajkumar bharjatya said when he met AB in 1966 or 1967, after he wrote the songs of Taqdeer Bakshi ji told him, “you wanted two verses, I have written 6. you keep what you like from them, just give me a chance to write. that’s all I want, a chance to write.”  It all comes together like a jigsaw puzzle, he lived not for us, or for money or fame. he just wanted to pour the songs he believed have come with him and will go away with him too. Most biographies I have read, and filmmakers I have met, I realized they suffered immense grief in their formative years or youth, or as adults. A story teller, an artist, comes to his craft by being bruised, shattered in some way. Only when they came to know the language of grief that they were born as the creative people we know them to be.  This was also mentioned by mahesh bhatt. Two events I have heard my father speak of as traumatic are, his mother dying when he was 5 or 9, and the partition, leaving your place of birth and childhood in forced, violent, traumatic circumstances. he had said he saw women and children raped and burnt and hung from trees and poles and those images never left him for over 60 years he had told his LIC agent and friend Mr Puri. Mr Puri mentioned that to me. Those tragedies shaped him, sadly, but truly. –         Told to me – Rakesh Anand Bakshi    

Music composer Anandji Bhai (Kalyanji)

Music composer Anandji Bhai (Kalyanji) told me something amazing! He said, ‘If there is one song that describes your father, and what your father really was all about, before and after success, he was still a stranger in this world. He always remained what he was when he arrived here in 1950s, a stranger to this world. His own song that describes his truth is the song he wrote for us in Jab Jab Phool Khile, ‘Yahan Main Ajnabi Hoon. No human being other than Bakshi can or could have written that mukhda and those verses. Because that is what he was when he came here and that is what he remained even after immense success, ‘an ajnabi in a strange world he felt he never belonged.  Anandji Bhai’s understanding and perspective of Bakshi ji, blew blew blew my mind. If that is what he felt seeing Bakshi ji at work over 32 films with him, that is what we all felt at home too from late 1980s. I found the title for his book, is what I felt today. –  Told to me – Rakesh Anand Bakshi    

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 Bakshi    

Producer 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 Bakshi  


Bakshi ji seedhe the. Honest. Simple. Saaf dil, peer. Main SD Burman aur Bakshi ji ke saath tha ek music sitting mein, aur Burman Da ne Bakshi ji se kaha geet likhne ke liye jiss mein ‘dil aur deewana’ sabdh paanch ya che baar aaye. Bakshi ji ne humare saamne baithe baithe gaana likh diya – ‘Yeh dil deewana hai, dil toh deewana hai, deewana dil hai yeh, dil deewana.’ Film thi, Ishq Par Zor Nahin. Unko false ceiling ke girne ka bahot darr tha. Jahan bhi baithathe the yeh zaroor dekh lete ki uss room mein false ceiling hai ya nahin. Aur agar uss room mein false ceiling hoti, toh unka dhyaan har waqt uss false ceiling par hi reheta ki yeh bas ab giri ke giri. (laughs) Sab se mil kar bhi sab se alag rehete the. Humari family ki tarah bhi unhonein apni family ko film waalon se door rakha. Unko Rawalpindi bahot yaad aata tha, jaise ki unhonein apni film Jab Jab Phool Khile mein bhi likha tha ‘… mujhe yaad aa raha hai woh chota sa shikara.’ (Yahan Main Ajnabi Hoon, tha uss gaane ka mukda). He also told me that he was fascinated by the manner Bakshi ji held his cigarette and took a puff and the manner in which he would hit his right hand against his left arm to drop the ash, and used it in a film once. next time I meet him (he said he would rather write a tribute than speak one as he must do justice to it and will do only if he writes one himself. he told me ‘Bakshi ji is too important a person from my life for me not to myself write a tribute for.) Complete interview  Told to me – Rakesh Anand Bakshi  

A teenage love

By Harminder Singh Chawla
Ever since his was a pre-teen, Harminder, (Harminder Singh Chawla ji, from Ludhiana, wanted to meet the person whose lyrics playing on his radio fascinated him. He said – Anand Bakshi’s name wold be mentioned on radio daily, and very often too through the day. His songs would play one after the other often. I have been wanting to meet him since then, but alas, my circumstances, financial and otherwise, never permitted me. As he grew older, young Harminder realized Anand Bakshi’s lyrics made him ponder; on life, relationships, God, humanity, love, and many other things including himself, and they continue to make him reflect even today after nearly 50 years since he first met him via the radio speakers. He marveled, on watching those films, at how much the lyrics even gelled with the film’s script. Bakshiji always believed he was a film lyrics writer and he believed he was not a poet, and that it was the film’s story that inspired him he always admitted. But, he never realized that many of the beautiful and profound metaphors he wrote within his lyrics were his very own and are good enough to be considered a work of sheer beautiful poetry. It’s about time I, not as his son but simply another fan, told Bakshji “Dude, you were a poet too!” Harminder ji’s tribute for Bakshiji is attached herewith as a document. He himself is a writer and poet, and he has written a beautiful poem too for Bakshji as his tribute to a lyricists he adores since his pre teens. I would like his son, Harpreet Singh Chawla, to make his dad read my post here, and ask him post, in the comments page below, one of his poems for all of us to read. Thank you. Warm Regards Harminder Singh Chawla (Ludhiana, Punjab)    

Woh Phir Nahi Aate

by Farhana Farooq (Filmfare)    

Death 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.    

Pakistan media


Where It All Began. By Shiraz Hassan. The  

Waseem Altaf in Pakistan’s The News – Dec 2013.    

Revisit the legacy of Anand Bakshi @NDTV Puja Talwar    

Anand Bakshi’s Khazana for Rajesh Khanna

by Dr Rajiv Vijaykar    

The Punjabi contribution to cinema

By Ishtiaq Ahmed 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: The Friday Times, 18 March 2016 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.    


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 Bakshi    

Director 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 Bakshi    

Vinay 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  
What kind of relationship did the awesome music composer A R Rahman share with his lyricist #Anand Bakshi?  “Bakshi ji was already a legend when I arrived in Mumbai film industry. In the mid 1990’s. Our first work together was with director #SubhashGhai, for a film that eventually did not get made. (Shikar). Of course, I had heard of Bakshi ji much earlier, in South (India). Few Hindi films become big hits down South, and some of them had his lyrics. Like, #Sholay#DDLJ and some others.  Bakshi ji was a very kind man. Because, even though I had perceived him as a legend, on meeting him and working with him I did not feel intimidated in his presence. (Thinks) He had a peaceful aura, a serene presence like kindness has, in spite of his achievements. (Pauses) Bakshi ji was always in his own zone, very quiet and reflective most of the time.  By ‘kind man’ I mean empathy. (Thinks) Bakshi ji had a certain approach to creative people which I think was empathetic. I was not new in the film industry when I met him, I was only new to the ‘Mumbai film industry’, and he took to someone ‘new’ like me with such ease and affection. It’s the ease that comes with kindness. You know, it was fun working with him. Speaking of his talent, (Pauses) the most difficult thing in films is, creating something ‘simple’. By simple I do not mean simplistic. Simple things are things that are very charming. Immediately charming to our senses. Because in a world of clutter and noise simple things pop-out, they create an impact immediately. Bakshi ji was a king of that simplicity, I felt. while working with him. He was very profound, yet simple were his lyrics. (Pauses) That, is actually an aspect of being a genius, I would say. Because, only a genius can keep all the human complexities within and yet pull out an expression that is so simple, so charming so easily.  An example of such genius in simplicity would be, our song from Taal (!999), ‘Kariye na, koi vada kissise kariye na.’  (Thinks, begins to hum) Even the other song, ‘Nahin saamne yeh alag baat hai.’ ‘Kariya na’ got adapted in #AndrewLloydWebber’s theatre production #BombayDreams,  for which I composed music. Andrew loved the ‘kariye na’ song and proposed we adapt it for his production. That song is my favorite too. (Smiles) When I worked with Bakshi ji in Taal, Subhash ji asked me to give Bakshi ji a tune to write on. But I wanted Bakshi ji to write the lyrics freely, without a tune, and I will compose according to his lyrics. Because, I was new to Hindi film industry and I was trying to understand, discover actually, how to compose to Hindi and Urdu lyrics. So I wanted him to write the lyrics first and then I will compose to them and learn along the way. (Pauses) You know, there was a kind of fierce fire burning between the three of us (Bakshi ji, Subhash ji & me), because all three of us were in a discovery mode during the music creation of Taal.  So Taal was an interesting experience for all of us, is what I really mean when I said it was ‘fun’ working on the songs of Taal with Bakshi ji. Because it’s fun to discover new things as you work. There were conflicts, of course, but it all resulted and ended in sheer beauty, I think. (Smiles) Bakshi ji had a Harmonium and he could sing in tune. (Smiles) That was another reason it was fun working with him.  Fun also because, he was so quick at writing lyrics that if I did not as quickly as him come up with a tune, he would start singing his lyrics in his own tunes. (Laughs)  Because he had a good sense of music in him. And he had a good voice, so he would start singing his lyrics in his own tune! And what he sang would sound good too. (Laughs)  So I used to get a little ‘tension’ working with him (Laughs), that if I delay making the tune for his lyrics he may sing a better tune than I can make and then my director, Subhash ji will okay it! (Laughs) so then what am I doing there as the music composer? (Laughs)  However, Bakshi ji’s tunes were so beautiful, also because he sang well he could do justice to his lyrics. (Smiles) So ya, it was really fun working with him, and Subhash ji, having to be really fast composing the tunes really quickly in front of him and Subhash ji. (Laughs) Music composers are expected to deliver hits. So it helps us if our lyrics writer has the ability to write a catchy and interesting mukhda. With Bakshi Saab that was never a problem. Everything he wrote was so simple and attractive. And phonetically interesting too, so, honestly, I did not have to work hard at it. That is one of the reasons I had mentioned to you during the background scoring of Taal’s music scoring that ‘I like working with Bakshi ji because he makes my work easier.’ (Pauses) Even if you take the song “Choli ke peeche kya hai” Khal Nayak (1993), composed by#LaxmikantPyarelal, even without knowing the meaning of the lyrics the sound of it is so musical and catchy! Same for the rhyme of the song ‘Taal se taal mila’  from Taal.  I feel lucky to have worked with Bakshi Saab. And even with some others who are no longer with us today. (Pauses) We all miss Bakshi Saab. Especially, Subhash ji. He was very close to him.  I still remember the living room of Bakshi ji’s house where we composed songs together; it had an old world charm, a nostalgia, just like a beautiful ghazal. (Pauses) On visiting Bakshi ji I would always feel I am entering the personal space of a ‘legend’. You mentioned Bakshi ji wrote much more than the usual three or four paragraphs that directors and producers had wanted from him. It comes from a kind of love, a sheer passion for your work that cannot be explained or expressed. These people are blessed that they can give so much of themselves to their work, to their listeners.  In all humility, I too feel fortunate that I have the blessings of Ajmer Sharif’s Khwaja Garibnawaz, and through my music I have opportunities to give back the love I am receiving from the almighty and my listeners. Thank you very much for this Rakesh.” – A R Rahman Mumbai, July 2016


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. 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          

My 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 …..



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:

–          Dr Rajiv Vijayakar



Director 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



Lyricist Sameer Anjaan’s tribute for Anand Bakshi

Uss mukkamal fankar ke naam chand alfaaz jise main apana murshid Maanata hoon ………

Roohani mahake huve woh , khayalat kahan se laayen , lufz toh dhoondh len , lekin woh iazbaat kahaan se laayen , jo apane fun ke jadu se subko hasaata aur roolata hai , aisa Kalam ka jadugar , duniya me buss ek baar aata hai ……. 



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*


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*


Rimjhim ke geet sawan gaaye

Aap Aaye Bahar Aayi:

Mujhe teri mohabbat ka

 *Raj Kapoor*


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


Mehbooba mehbooba

 *Shakti Samanta*


Roop tera mastana

Amar Prem:

Chingari koyi bhadke

 *Subhash Ghai*


Om shanti om

Khal Nayak:

Choli ke peechhe kya hai

 *Yash Chopra*


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 Iyer



Tribute 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



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 लक्ष्मीकांतप्यारेलाल … The songwriter Anand Bakshi and the music director Laxmikant-Pyarelal and the song starts. A NUMBER ONE trio of Hindi Film Music.

Tetrad Of Dulcet Music:

Anand Bakshi :: Lata Mangeshkar :: Laxmikant-Pyarelal

Philosophical Songs Penned By ANAND BAKSHI and Composed by LAXMIKANT-PYARELAL.

ASTOUNDING FOURSOME Mohammad Rafi Anand Bakshi Laxmikant-Pyarelal

Metaphysical ANAND BAKSHI &




Kishwar 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


SAILOR, SOLDIER, LYRICIST-A SALUTE ANAND BAKSHI Literally means “Giver of Happiness” . 


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. 


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.


“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.)

A child born in a tiny village in Punjab (Rawalpindi) was named Anand (Happiness) Bakshi (To gift) by his parents; and all his life he gifted happiness to millions of his listeners.

When a child is born in India, the parents not only give him an appropriate name according to his star sign, but also get his Destiny Chart prepared by an astrologer.

This is no ordinary custom, as it could be an image and reflection of a life time.

Some people who believe in superstitions keep a weak or inappropriate name for their child, as I have known of many billionaires who have names which when translated mean opposite to their financial status and I also know of poor people who have names that translate to being a person of immense wealth.

But some people prove in their life time that they were rightly named. A child born in a tiny village in Punjab was named Anand (Happiness) Bakshi (To gift) by his parents; and all his life this poet gifted happiness to millions of his musical listeners. He was gifted with the talent of writing poetry that enthralled millions of people in his life time of 72 years and professional life span of more than 50 years. Even just before the period of his Death he completed his life’s mission of spreading happiness amongst his music lovers and listeners. Very few people are as fortunate and as gifted to be able to fulfil their destiny on Earth with such flair and style as the late Anand Bakshi.

During the period of Indian Independence very few socialists poets wrote film songs, like poet Josh Malihawadi, Sahir Ludhianvi, Kaifi Azmi, Shailander. The poets of that period were colored with colors of Indian Nationalism. And they were Politically colored too, the effect of which we heard in their film songs too. To be attached to the Politics of the State, or to have belief in a particular ideology is not incorrect. Every poet has a right to his or her belief and conviction.

All these above-named poets have written wonderful songs, but Anand Bakshi was never influenced or attached to any socialist or Political ideologies. He was first and foremost a film song writer who was completely immersed and his writings emerged from the characters and the narrative of the film’s story. He didn’t have and aspire for fame in the world of Poetry, but he was amongst the very best in the world of Film songs.

His success in writing film songs could make one feel that he took birth only to fulfil his destiny of being the best lyricists.

Child of a middle class family, he admitted himself in the Army, but such was his fierce ambition in poetry and music that he came to Bombay to become a film poet.

In that period there were already great established poets like Shakeel, Shailendra, Majrooh, Raja Mehendi Ali Khan, and Prem Dhawan. There was no opportunity and no one could stand against these giants, especially a meagre soldier ambitious to be a Poet.

The many famous music composers of that period already had their own favorite poets and song writers they were happy working with, so there was no scope nor chance of Anand Bakshi breaking through, especially with other good poets like Indeevar and Anjaan  waiting to breakthrough much before Anand Bakshi arrived with his pen and paper. But it was the courage of Anand Bakshi that he jumped straight on into the fiery sea of competition where much bigger fish were already the major players.

Anand Bakshi had a great and good sense of music and he even had the gift of capturing and expressing deep philosophies in lesser and simpler words. Slowly but gradually he began to receive work to write film songs. The unsaid rules of the film business say there is no dearth of people in this business who will not value the warm and brilliant rays of the rising Sun and worship it.

When Anand Bakshi was knocking on the doors of success and they were yet to begin opening completely, at the same time there appeared on the horizon the rising Sun of Laxmikant Pyarelal. The musical duo and geniuses recognized the talent in Anand Bakshi and soon made him their favorite and preferred lyrics writer. The triangle of Anand Bakshi, Laxmikant, and Pyarelal, rewrote the musical history of Hindi film songs.

Anand Bakshi respected music composer Anil Biswas tremendously. Bakshi saab told me of an incident when he met Anil Biswas. Bakshi expressed his desire to work with Anil Biswas. Anilda had confidence in Bakshi’s abilities as a poet, and looking at the Harmonium in his music room he regretted “I feel as though I have lost the music within me. There was a period when this Harmonium gave birth to melodies and sang for me the moment, I touched it. But sadly it has not happened lately. I now await the day my Harmonium will return to me along with the melodies that have left me, we shall certainly work together.” This was what he expressed to Bakshi.

Bakshi was a very simple, non-pretentious, and sincere man. He had a phobia for air travel and travel in enclosed lifts of high rise buildings. The claustrophobic and small lifts made him fear traveling to meet work mates or friends who worked or lived in high rise buildings. He climbed high on the steps of life and reached the pinnacle of success climbing every step of life on the strength of his talents. He was not one who would have used any sort of machine other than his talent to rise high in this world.

It was the deep culture and the strong roots of his simple village in Punjab that beat in his simple heart, that’s why he never found himself lost in the mega dream city of Bombay, the path to his dreams but a jungle of illusions and obstacles. His simplicity and humility was his strength that kept his head above water even though he tasted success consistently, year after year.

His humility was also the very bridge that helped him crossover into the hearts of the people of the heartland, his rural listeners, along with his urban and international non resident Indians. He forged ties with both the hearts and the minds of his listeners all over, by use of simple everyday spoken words carrying the deepest philosophies.

His simplicity was so sincere that he would often invite himself to my home by saying, “Because you live on the first floor and one does need to travel by lift to reach your home, and since your beloved wife Salma cooks the most delicious meals, I am coming over for a meal at your Home tonight.”

He was unique in the sense that normally in the world of show business I experienced that most celebrities and people hide their true intentions. Unlike Bakshi, their hearts don’t reflect what their mind speaks.

Once Bakshi narrated an incident to me.

A successful and famous English writer had an unfinished poem. The last paragraph was left unfinished in spite of many attempts. He realized he needed help to finish his poem. One of his friends recommended that he travel to a distant village and there he will find an old writer who has the talent but was never recognized for. But he is high on self-esteem as he knows he is worthy even though he didn’t get fame.

The successful and famous writer traveled to the distant village and he met the old writer and asked him for his help. The old writer read the incomplete poem and said he can compete the poem but he will charge 500 pound sterling for the job. The successful and famous writer agreed to the terms and very soon the old writer had done his job. He completed the unfinished poem.

The successful writer was surprised that the old writer finished the incomplete poem so quickly and in a few words. He removed his check book to pay the old writer and hesitated while paying the old writer the contracted amount of 500 pound sterling. He asked the old writer if he was justified in asking for 500 pounds sterling for such an easy job accomplished by him within a few minutes.

The old writer replied, “You are hesitating to pay me because you are not convinced that I should charge you so much money for a job I accomplished with much ease and in a few minutes, even though it’s been done to your satisfaction. You are taking into account the few minutes I took to complete your poem, but you are not taking into account the many years I have lived and experienced life to be able to arrive at this moment in my life which gives me the wisdom and experience to be able to complete your poem. You are only counting these few minutes you have spent with me but not considering the millions of moments I have spent to reach here today. It’s only thanks to the long life I’ve lead that I could accomplish the job for you in a few minutes.”

The successful and famous writer was humbled and humiliated in the presence of the wise writer and immediately paid the writer his fee willingly.

Similarly, Anand Bakshi achieved much fame through the depth in his writing which he earned via his life’s varied experiences. He firmly believed that at every moment life is offering you lessons, but because we are preoccupied with life’s material and physical goals, overwhelmed by our ambitions and challenges in life’s paths, we are unable to absorb the valuable lessons life offers us alongside. We have cut short the antennae that helps us pick these signals and lessons of life, and thus we do not recognize the teachings of Mother Nature. Life’s lessons are imprinted in the very grains of sand that we leave our footprints on, but sadly we blind ourselves to them.

This lesson Bakshi taught me makes me recollect, an incident from the film I wrote, “NAAM”. The protagonist in my story has migrated to a foreign land to earn a better living for his family. But he gets trapped in the illusion of ambitions. But he suddenly remembers his Mother and now he badly misses the love of his family back home.

Bakshi understood the pain and suffering of the protagonist so well and he expressed himself in a most popular song, on the strength of which the film did a roaring business. The song helped the film do much better. The song was “Chitti Aayee Hai…” (A letter from Home has arrived, a memory of love has arrived…”.

Before the dawn of his death, from his death bed in the Hospital, Bakshi wrote a song for Subhash Ghai for a yet to release film MAJNU. I was awestruck by the depth of the lyrics when I heard them. It also amazed me that he wrote the song in illness just before Death arrived knocking at his doorsteps.

I believe he wrote so, because writing was not only his religion, but his breath too, his mission for the cycle of life and death, much beyond his destiny. There have been many poets much better poets than him, but he was the most supreme amongst the song writers.

He passed by in march 30th 2002, and since 1957 he wrote more than 650 films and 3500 film songs. He wrote songs for every occasion and relationship of life, even though he didn’t even manage to complete his schooling.

Bakshi was a Star born. He became a Legend. And Legends never die. He lives in his songs and in our Hearts.


फिल्‍म लेखक सलीम ख़ान

जब भारत में किसी बच्‍चे का जन्म होता है तो ना सिर्फ माता-पिता उसकी राशि के मुताबिक़ उसे एक सही नाम देते हैं, बल्कि किसी ज्योतिषी से उसकी कुंडली भी तैयार करवाते हैं। ये कोई आम परंपरा नहीं है, क्‍योंकि इससे एक छबि बन जाती है, ये विचार जीवन भर बच्‍चे के साथ चलता है। कुछ बच्‍चे जो अंधविश्‍वासी होते हैं, अपने बच्‍चे का कोई कमज़ोर या बेकार नाम रख लेते हैं। मेरे परिचित कई रईस लोग रहे हैं, जिनके नाम ऐसे थे कि उनकी हैसियत या उनके किरदार से एकदम उल्‍टे लगते थे। मैं कई ऐसे ग़रीब लोगों को जानता हूं जिनके नाम से ऐसा लगता है मानो वो बहुत ही ज्यादा रईस हैं। पर कई लोग ऐसे होते हैं, जो साबित कर देते हैं कि उनका नाम एकदम सही रखा गया है। पंजाब के एक छोटे-से गांव में पैदा हुए एक बच्‍चे का नाम रखा गया ‘आनंद’ यानी ख़ुशी और बख्‍़शी यानी ‘तोहफ़ा’। वो अपने मां-बाप के लिए एक तोहफ़ा थे। अपनी पूरी ज़िंदगी ये कवि-गीतकार अपने लाखों-करोड़ों सुनने वालों को ख़ुशियों का तोहफ़ा ही बांटता रहा। ऊपर वाले ने उसे कविता लिखने का तोहफ़ा दिया था। बहत्‍तर सालों की अपनी जिस्‍मानी ज़िंदगी और पचास सालों से ज़्यादा की अपनी पेशेवर ज़िंदगी में उसने अपनी कविता से अनगिनत लोगों को लुभाया। बहुत कम लोग आनंद बख्‍़शी की तरह ख़ुशनसीब और प्रतिभाशाली होते हैं कि वो अपने नाम और अपने नसीब को इतनी ख़ूबसूरती और अदा के साथ निभाते हैं।  भारत की आज़ादी के दिनों में बहुत कम समाजवादी शायरों ने फिल्मी गाने लिखे, जैसे जोश मलीहाबादी, साहिर लुधियानवी, कैफ़ी आज़मी, शैलेंद्र वगैरह। उन दिनों के गीतकारों पर देशभक्ति का रंग चढ़ा था। वो राजनीतिक रूप से जागरूक भी थे और इसका असर उनके फिल्‍मी गानों पर भी नज़र आता है। किसी देश की राजनीति से आपका जुड़ाव होना या आपका किसी ख़ास विचारधारा के पक्ष में होना ग़लत नहीं है। ये हर कवि का अधिकार है कि वो अपने विचारों या धारणा पर चले। मैंने जिन कवियों-शायरों का ज़िक्र किया उन सबने कमाल के गीत लिखे हैं, लेकिन आनंद बख्शी कभी किसी समाजवादी या राजनीतिक विचारधारा से प्रभावित या जुड़े नहीं थे। वह पहले और अकेले फिल्मी गीतकार थे, जो अपने काम में पूरी तरह से डूबे हुए थे और उनके गीत फिल्‍म की कहानी और उसके किरदारों से निकलकर आते थे। उन्‍होंने कभी कविता की दुनिया में नाम कमाने की तमन्‍ना नहीं की, पर फिल्‍मी गानों की दुनिया में उनसे बेहतर कोई नहीं था। जिस तरह वो फिल्‍मी गाने एकदम सहजता से लिखते थे, उसे देखकर लगता है कि मानो वो दुनिया में एक बेहतरीन फिल्‍मी गीतकार बनने की तकदीर लेकर ही आए थे।  उस ज़माने में शैलेन्द्र, राजा मेहदी अली ख़ां, प्रेम धवन जैसे कई गीतकार पहले से ही सक्रिय थे। ज़ाहिर है कि कोई मौक़ा नहीं था और इन कोई भी इन दिग्गजों के सामने खड़ा नहीं हो सकता था, ख़ासकर एक मामूली फौजी जो गीतकार बनने का सपना देख रहा था। उस ज़माने के कई मशहूर फिल्‍मी-संगीतकारों के अपने अपने पसंदीदा गीतकार थे और वो उन्‍हीं के साथ काम करके ख़ुश थे, इसलिए आनंद बख्‍़शी के पास कोई गुंजाइश नहीं थी। उस दौर के कई प्रसिद्ध संगीत रचनाकारों के पास पहले से ही अपने पसंदीदा कवि और गीत लेखक थे, जिनके साथ काम करके वे खुश थे, इसलिए आनंद बख्शी के पास न तो कोई गुंजाइश थी और ना ही कामयाब होने का कोई मौक़ा था। ख़ासतौर पर इंदीवर और अंजान जैसे गीतकार आनंद बख़्शी के आने से पहले से सक्रिय थे और कामयाबी की राह देख रहे थे। पर ये आनंद बख्शी की हिम्मत थी कि वो सीधे ज़बर्दस्‍त प्रतियोगिता के तूफ़ानी समुद्र में कूद गए, जहां पहले से बहुत बड़ी मछलियां मौजूद थीं। आनंद बख्‍़शी के पास मज़ाक और संगीत दोनों की गहरी समझ थी। दिलचस्‍प बात ये है कि उनके अंदर गहरी फिलॉसफी को भी बहुत ही आसान और कम शब्‍दों में बयां करने की काबलियत थी। धीरे-धीरे लगातार उन्‍हें फिल्‍मों में गाने लिखने का मौक़ा मिलने लगा। वैसे भी मुंबई फिल्‍म जगत के बारे में कहा जाता है कि यहां ऐसे लोगों की कमी नहीं है जो उगते हुए सूरज की किरणों और उसकी गरमी को सलाम करना और उसकी इबादत करना ना जानते हों। जब आनंद बख्‍़शी कामयाबी के दरवाज़े खटखटा रहे थे और वो पूरी तरह से खुले नहीं थे, ठीक उसी वक्‍त एक और सूरज उग रहा था, लक्ष्‍मीकांत-प्‍यारेलाल का सूरज। इस जीनियस संगीतकार जोड़ी ने आनंद बख़्शी की प्रतिभा को पहचाना। इस तरह आनंद बख्‍़शी जल्‍दी ही उनके पसंदीदा और चुनिंदा गीतकार बन गये। आनंद बख़्शी, लक्ष्‍मीकांत और प्‍यारेलाल की इस तिकड़ी ने हिंदी फिल्‍मी गीतों के इतिहास को बदलकर रख दिया। इन्‍होंने एक साथ क़रीब 303 फिल्‍मों के गीत तैयार किए। इसी तरह की जोड़ी उनकी आर. डी. बर्मन के साथ भी बनी, जिनके साथ उन्‍होंने 99 फिल्‍में कीं।

बख़्शी बहुत ही सीधे-सादे, बिना दिखावे वाले और ईमानदार इंसान थे। उन्‍हें हवाई जहाज़ में सफ़र करने से और ऊंची इमारतों की बंद लिफ़्ट में जाने से डर लगता था। छोटी-छोटी तंग लिफ़्ट उन्‍हें डराती थीं इसलिए वो ऐसे लोगों या दोस्‍तों के पास नहीं जा पाते थे, जो ऊंची इमारतों में रहते या काम करते थे। ज़िंदगी की ऊँचाई उन्‍होंने सीढ़ी-दर-सीढ़ी चढ़कर ही छुई और अपनी प्रतिभा की ताक़त से सीढियां चढ़ते हुए कामयाबी के शिखर पर पहुंचे। दुनिया में कामयाबी के लिए किसी मशीन या किसी सहारे का उन्‍होंने इस्‍तेमाल नहीं किया। वो पंजाब के एक छोटे से गांव की अपनी मज़बूत जड़ें और अपनी तहज़ीब लेकर आए थे, गांव उनके दिल में धड़कता था। इसलिए वो मायानगरी बंबई में कभी खोए नहीं, मुश्किलों और माया-मोह के जंगल में उन्‍होंने अपने सपनों के रास्‍ते को खोने नहीं दिया। उनकी सादगी और विनम्रता उनकी ताकत थी, इसी ने लगातार कामयाबी के दिनों में भी उनको बचाकर रखा। अपनी सादगी की वजह से ही उन्‍होंने गांव और शहर के लोगों का और इसके साथ साथ विदेशों में बसे भारतीयों का दिल जीता। रोज़मर्रा के शब्‍दों में ज़िंदगी के गहरे फ़लसफ़े को पिरोकर उन्‍होंने पूरी दुनिया में बसे फिल्‍म-संगीत के चाहने वालों के दिलो-दिमाग़ पर क़ब्‍ज़ा कर लिया। ये उनकी सादगी ही थी कि वो अकसर ये कहकर मेरे घर आ जाया करते थे— “भाई, चूंकि आप पहली मंजिल पर रहते हैं और किसी को आपके घर तक पहुंचने के लिए लिफ्ट से सफ़र नहीं करना पड़ता और चूंकि आपकी प्यारी बीवी सलमा सबसे लज़ीज़ खाना बनाती है, मैं आज रात आपके घर खाने पर आ रहा हूं।” आमतौर पर मैंने देखा है कि फिल्‍मी-दुनिया में तमाम मशहूर हस्तियां, तमाम सितारे अपने असली मक़सद को छिपाते हैं, पर बख़्शी इस मामले में अनूठे थे क्‍योंकि जो उनके दिल में होता था, उनकी ज़बां पर आ जाता था। हम सब जानते हैं कि अपने गीतों की गहराई की वजह से आनंद बख़्शी बहुत मशहूर हुए। ज़िंदगी के हर मोड़ से उन्‍होंने सीखा। वो ये बात बहुत शिद्दत से मानते थे कि ज़िंदगी का हर पल आपको कुछ ना कुछ सिखा रहा है, पर हम ज़िंदगी में कामयाबी और पैसों के पीछे भागने में इतने मशगूल हो जाते हैं, हम अपनी चुनौतियों और अपने सपनों में इतने खो जाते हैं कि ज़िंदगी हमें क्‍या सिखा रही है, ये देख पाने की मोहलत तक हमें नहीं मिल पाती और इसी वजह से हम कुदरत की सिखायी बातों को समझ नहीं पाते। समय की रेत पर हम अपने क़दमों के निशान छोड़ते चले जाते हैं, इस रेत के हर कण पर ज़िंदगी के सबक छपे हुए होते हैं, पर अफ़सोस, हम उनकी तरफ़ नज़र उठाकर नहीं देखते।     बख्‍़शी ने मुझे ये सबक सिखाया और इसी बहाने मुझे याद आ गया कि फिल्‍म ‘नाम’ लिखते वक्‍त एक बड़ी दिलचस्‍प बात हुई थी। मेरी फिल्‍म का हीरो बेहतर ज़िंदगी की तलाश में अपने परिवार को छोड़कर विदेश चला जाता है पर वो वहां अपनी महत्वाकांक्षाओं के जाल में फंस जाता है। अचानक उसे अपनी मां की याद आती है, उसे अपने वतन में अपने परिवार का प्‍यार याद आता है। बख्‍़शी ने इस हीरो की तकलीफ़ और उसके दर्द को बड़ी अच्‍छी तरह से समझ लिया और एक ऐसा गाना रचा, जो उसके सबसे मशहूर गीतों में से एक है। इस गाने की बिना पर फिल्‍म ने ज़बर्दस्‍त कारोबार किया। यक़ीन मानिए फिल्‍म की कामयाबी में इस गाने का बड़ा योगदान है। ये गाना था—‘चिट्ठी आयी है, वतन से चिट्ठी आई है’। बख़्शी ने अपनी क़ीमत पहचानने के बारे में मुझे एक कहानी सुनायी थी। एक कामयाब और मशहूर अंग्रेज़ कवि की एक कविता अधूरी रह गयी थी। कई बार कोशिश की कि पर वो इस कविता को पूरा नहीं कर पाया। उसे अहसास हुआ कि इस कविता को पूरा करने के लिए उसे किसी से मदद लेनी होगी। एक दोस्‍त ने उसे बताया कि तुम दूर एक गांव में चले जाओ, वहां तुम्‍हें एक बुज़ुर्ग लेखक मिलेगा, उसके पास प्रतिभा तो है पर वो उसे कभी पहचान नहीं पाया। पर उसके भीतर कमाल का आत्‍मविश्‍वास है। वो जानता है कि वो कामयाबी का हक़दार है भले ही कामयाबी उसे मिल नहीं रही है।   कामयाब और मशहूर लेखक दूर-दराज़ के उस गांव में गया, उस बुज़ुर्ग लेखक से मिला और उससे मदद मांगी। बुज़ुर्ग लेखक ने वो अधूरी कविता पढ़ी और कहा कि वो इसे पूरी तो कर देगा पर उसे इसके बदले में पाँच सौ पाउंड स्‍टर्लिंग चाहिए। ज़ाहिर है कि कामयाब लेखक राज़ी हो गया और जल्‍दी ही इस बुज़ुर्ग ने कविता पूरी कर दी।   कामयाब लेखक हैरान रह गया कि बुज़ुर्ग लेखक ने इतनी जल्‍दी और इतने कम शब्‍दों में कविता कैसे पूरी कर दी। उसने अपनी चेक-बुक निकाली ताकि बुज़ुर्ग को तयशुदा पाँच सौ पाउंड स्‍टर्लिंग दे सके। उसने बुज़ुर्ग लेखक से पूछा कि इतने आसान और कम शब्‍दों वाले काम के लिए आपने पाँच सौ पाउंड स्‍टर्लिंग मांगे, क्‍या ये जायज़ है? ये काम तो फटाफट हो गया।   बुज़ुर्ग लेखक ने जवाब दिया, “आप इसलिए मुझे पैसे देने में हिचक रहे हैं क्‍योंकि आपको लग रहा है जिस काम को मैंने इतनी आसानी से कुछ ही मिनिटों में पूरा कर लिया, उसके लिए मुझे इतने पैसे नहीं मांगने चाहिए थे। हालांकि मैंने काम ऐसा किया कि आपको पूरी तसल्‍ली हो। आप इस बात पर ध्‍यान दे रहे हैं कि मैंने कुछ ही मिनिटों में काम कर लिया पर आप इस बात पर ध्‍यान नहीं दे रहे कि मैंने ज़िंदगी के कितने सालों का अनुभव लगा दिया है तब जाकर ये काबलियत आयी है कि मैं कुछ ही मिनिटों में उम्‍दा तरीक़े से आपकी कविता को पूरा कर पाऊं। आप बस वो चंद लम्‍हे ही गिन रहे हैं जो आपने मेरे साथ बिताए पर आप उन लाखों करोड़ों पलों को भूल रहे हैं जिन्‍हें बिताने के बाद मैं यहां तक पहुंचा हूं। इतनी लंबी ज़िंदगी के उन तजुर्बात का शुक्रिया कि जिनकी वजह से मैं आपकी अधूरी कविता को चंद मिनिटों में ही पूरा कर पाया।” कामयाब और मशहूर लेखक को ये बात फौरन समझ में आ गयी और वो शर्मिंदा हुआ। उसने फौरन ही तयशुदा फीस अदा कर दी।

अपनी मौत से ठीक पहले जब आनंद बख्‍़शी बीमार थे, तो अस्‍पताल से उन्‍होंने सुभाष घई की फिल्‍म ‘मजनूँ’ के लिए एक गाना लिखा, ये फिल्‍म अभी तक रिलीज़ नहीं हो सकी है। जब मैंने वो गाना सुना तो उसमें कविता की जो गहराई थी, उसे महसूस करके मैं दंग रह गया था। मुझे इस बात पर भी हैरत हुई कि उन्‍होंने ये गाना अपनी बीमारी के दिनों में लिखा था, अपनी मौत से ठीक पहले। ऐसा उन्‍होंने इसलिए किया क्‍योंकि लिखना उनका मज़हब ही नहीं था, उनकी ज़िंदगी था, ज़िंदगी और मौत के इस सिलसिले में लिखना उनका एक मिशन था, वो सिर्फ़ उनकी तक़दीर नहीं थी। हमारे यहां कई शायर हुए हैं, उनसे बेहतर शायर, पर गीतकारों में वो सबसे ऊपर रहे। 30 मार्च 2002 को उन्‍होंने इस फ़ानी दुनिया को अलविदा कह दिया। सन 1957 से शुरू करके उन्‍होंने साढ़े छह सौ फिल्‍मों में साढ़े तीन हज़ार गाने लिखे। उन्‍होंने हर मौक़े और ज़िंदगी के हर रिश्‍ते के लिए गाने रचे, जबकि बख्‍़शी अपनी स्‍कूल की पढ़ाई भी ठीक से पूरी नहीं कर पाये थे। बख़्शी एक पैदाईशी सितारे थे। वो मिथक बन गये। मिथक कभी मरते नहीं हैं। बख्‍़शी हमेशा अपने गानों के ज़रिए हमारे दिलों में ज़िंदा रहेंगे। – Salim Khan.

Javed Akhtar:



Lyricist poet Vijay Akela (author of Main Shayar Badnaam book) & author filmmaker Rakesh Anand Bakshi

“Anand Bakshi is the Mir Taqi Mir, Nazeer Akbarabadi and Kabir Das of modern times. Yun toh sabne geet likhe, sab mein hi auqat thi, Bakhshi mein ek baat hai aur Bakhshi mein ek baat thi.” – Vijay Akela

Vijay Akela is the first person to write a book on his compilation of Anand Bakshi’s best and or hit songs, Main Shayar Badnaam, published in Hindi by Rajkamal Prakashan.

The relevance of Anand Bakshi in 2021, 19 years post his demise.

Dil diya hai jaan bhi denge, Ae watan tere liye


Yun to sabne geet likhe

Sab hi me aukaat thi

Bakshi me ek baat hai aur

Bakshi me ek baat thi

Bakshi aaj bhi utne hi saamayik (contempaory) hain jitne bees saal pahle the. Jab wo hayaat the aur geet likh rahe the.

Wo 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 kismat sanwaara kiye.

Bakshi ko samajhna ho to zara mumbai ki sarhad se baahar nikal jaiye. Aapko lagega ki aaj Anand Bakshi kal se bhi jyaada lokpriya aur aadarneey hain.

Geeton me chhupe Bakshi ke shandaar khayalon ko apna khayal kahne wale directors kahan gaye aaj? Jo scriptwriters kahte the “agar hamare situations achchhe na hote to Bakshi itna achchha thode likhte” wo situations kahan gark ho gaye aaj? Bakshi ke jaate hi unke kile kyun dhwast ho gaye aaj?

Bakshi 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 har birthday par ‘farz’ ka hi geet bajaya jaata hai- “Baar baar din ye aaye.”

“Chitthi na koi sandes/ jaane wo kaun sa des/jahan tum chale gaye” jo aaj bhi sabse jyada bajne wale geeton me ek hai, Jagjit singh ka nahi, Anand Bakshi ka likha geet hai.

Hindostan ki do sabse jyada chalne wali filmen ‘Sholay’ aur ‘Dil wale dulhaniya le jayenge’ (jo aaj bhi chal rahi hai) Bakshi ke geeton se hi roshan hain na?

Bakshi ek chiraag the jinki style of writing se na jaane kitne deeye jale. Maine swaym unse hi likhna seekha aur jab gahre utara to paya ki SONGS OF BAKHSHI & BAKHSHI STYLE OF WRITING kuchh aur nahi balki dil-o-dimaag ko sukoon pahunchane wali ek shifa hai.

–          Vijay Akela


दिल दिया है जाँ भी देंगे  वतन तेरे लिए – आनन्द बख़्शी


‘यूँ तो सबने गीत लिखे सबही में औक़ात थी 

बख़्शी में इक बात है और बख़्शी में इक बात थी’- Vijay Akela

              बख़्शी आज भी उतने ही सामयिक(contempaory) हैं जितने २० साल पहले थे, जब वो हयात थे और गीत लिख रहे थे। 

              वो अपने गीतों को देसी मुहावरेदार बोली का पैरहन देते थे जिनमें न सिर्फ़ उस दौर के बल्कि हर दौर के आख़िरी सच की परख होती थी । मुश्किल लफ़्ज़ों  को उन्होंने अदब(literature) की गहरी साज़िश समझा और इसीलिए हमेशा आसान लफ़्ज़ों को पहचान कर अपने गीतों की क़िस्मत संवारा किए । 

              बख़्शी को समझना हो तो ज़रा मुम्बई की सरहद से बाहर निकल जाइए। आपको लगेगा कि आनन्द बख़्शी आज कल से भी ज़्यादा लोकप्रिय, ज़रूरी और आदरणीय हैं ।  

              गीतों में छुपे बख़्शी के शानदार ख़यालों को अपना ख़याल कहने वाले डिरेक्टर्ज़ (directors)कहाँ गए आज ? 

              जो scriptwriters कहते थे ‘अगर हमारे situations अच्छे न होते तो बख़्शी इतना अच्छा थोड़े लिखते’ वो situations कहाँ ग़र्क हो गए आज ?  बख़्शी के जाते ही उनके क़िले क्यूँ घ्वस्त हो गए आज ?  

              बख़्शी को सम्मान देने से कतराने वाले हमारे इसी  देश में आज जब भी कोई आंदोलन होता है -‘कर्मा’ का  ‘दिल दिया है जाँ भी देंगे ऐ वतन तेरे लिए’ ही बजाया जाता है । आज भी हर birthday पर ‘फ़र्ज़’ ही का गीत बजाया जाता है – ‘ बार बार दिन ये आए—‘ । 

               ‘चिट्ठी  न कोई संदेश/ जाने वो कौन सा देश /जहाँ तुम चले गए ‘ जो आज भी सबसे ज़्यादा बजने वाले गीतों में एक है, जगजीत सिंह का लिखा नहीं आनन्द बख़्शी का लिखा गीत है ।

                 हिन्दोस्तान की दो सबसे ज़्यादा चलनेवाली फ़िल्म ‘ शोले ‘ और ‘दिलवाले दुल्हनिया ले जाएँगे ‘ ( आज भी चल रही है ) बख़्शी के गीतों से रोशन हैं न ? 

                 बख़्शी एक चिराग़ थे जिनकी style of writing से न जाने कितने दीये जले । मैंने स्वयम् उनसे ही गीत लिखना सीखा और जब गहरे उतरा तो पाया कि SONGS OF BAKHSHI & BAKHSHI STYLE OF WRITING कुछ और नहीं  बल्कि दिलो दिमाग़ को सुकून पहुँचानेवाली एक शिफ़ा है – Vijay Akela.






Dil diya hai jaan bhi denge, Ae watan tere liye


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!

By Dr Rajiv M. Vijayakar (journalist, author, film historian)

Anand Bakshi continues to be relevant: every year that quotient increases as we realize from his work output that he was no mere songwriter—he was a visionary and philosopher without peer, who lived very much in the present. His thoughts and his pen remained strongly contemporary with a healthy futuristic quality and timelessness, despite working in 5 decades with multiple generations of composers. And so the present as well as the future also, so to speak, will thrive in the work of Anand Bakshi.

Bakshi’s mastery, come Gaadi bula rahi hai, Chitthi aayi hai, Pardesiyon se na ankhiyaan milana, Chingari koi bhadke, Dil kya kare jab kisiko, Ghar aaja pardesi or Roop tera mastana was not restricted to his interactions with the composers, director or singer and his work for an actor. “Story sunkar hi  mind chalta hai!” was his memorable quote to me, but, as composer Ismail Darbar said, “Baap re! Kya cheez hai Bakshi-saab!”

The reason was that Bakshi never gave just two or three antaras (inner verses) as per the needs of the song. He would offer—for each of the 6000 songs he wrote!—a minimum 8 to 10 from which he would tell his associated to choose. Look at the wealth we have all missed—we have heard only 20 percent of Bakshi’s actual output!

Needless to say, all the antaras he wrote would be relevant to the situation, and many even helped shape the song’s picturization, if not the film’s script! A perfect example was the title-song of the super-hit South potboiler Swarag Se Sunder in which he wrote the line “Apna ghar hai swarag se sunder” for the hero. The heroine retorts: “Swarag mein kahaan se aaye macchar?” and the hero replies, “Arey macchar bhi aashiq hain tere, kya karoon!”

Perceptive to the core, he once told me that in his last few years, the sad song had almost disappeared, with this simple truth as explanation for the way film music was going: “Because you can’t dance while singing a sad song!” He paused, and with a mischievous glint in his eye, had added, “Or maybe people are not sad anymore!”

One reason why Bakshi was never outdated was his firm belief that different eras see not only different talents but different trends. Having worked with composers who had faded out or exited from the late ‘50s (when he began) to the early millennium, he knew he had to score with generations far younger than him, and he never baulked at that, but enjoyed it.

In 2000 he had signed a film with Himesh Reshammiya, which never took off. His success stories with Nadeem-Shravan, Jatin-Lalit, Shiv-Hari, Viju Shah, M.M. Kreem, A.R. Rahman, Dilip Sen-Sameer Sen, Sajid-Wajid, Nusrat Fateh Ali Khan and even Neeraj-Uttank are well-known, and ditto his expertise with directors from Rajiv Rai and Aditya Chopra to Milan Luthria, Joy Augustine and others. And I dare say many of these names were even born after Bakshi began working in 1957!

Today, I can also dare say that the maximum re-creations (a deplorable trend that indicates creative poverty and yet highlights the perennial quality of the original songs) sees Bakshi up there. Led by Main jat yamla pagla deewana, we have his songs like Mehbooba o mehbooba, O meri mehbooba, Aa dekhen zara, Dum maro dum, Paisa yeh paisa, Tera beemar mera dil, Ek hasina thi, Taiyab Ali, Tu cheez badi hai mast mast, Aankh maare, Tip tip barsa pani and many more, showing the instant resonance his words have with GenY and GenZ.

The typical Anand Bakshi song thus finds an instant identification with even youngsters in the sentiments expressed even outside his re-creations. With the R.D. Burman promotion in overdrive till recently and the Laxmikant-Pyarelal melody that is having an edge now, Bakshi has been also instrumental in the maximum number of hit songs of both composers. And every hit or immortal song, as we all know, has a reason to become so. And that reason begins with the words…

The older folks have already expressed the magic of Bakshi’s words, including on-screen. And they now realize that even the seemingly lighter Bakshi song, which they merely enjoyed then, can have deep insights—into character, situation and life itself, like the Nastik song, “Aaj ka yeh din kal ban jayega kal / Peeche mudke na dekh pyaare aage chal.

And that’s what Bakshi’s songs teach us—to live in the present and in sync with the times, with happiness as a choice. Remember his classic Amrit gem, “Duniya mein kitna gham hai / Mera gham itna kam hai /Logon ka gham dekha to / Main apna gham bhool gaya.”

As long as Hindi film music lives on, Bakshi too will be relevant. And he will be among the main reasons why Hindi film music will survive for all time!

  • Situational Imperative

By author and film historian Manek Premchand

It is strange how our minds work, isn’t it, often with leaps of associations. I live in Bombay which is a wonderful city on many counts, but it has a few downsides, one of them being the omnipresence of beggars at every street and traffic intersection. Whenever I see those beggars I think of a popular joke that has done the rounds and then with a quiet chuckle I think of prodigious songwriter Anand Bakshi. You have probably heard the joke before, but here it is anyway, followed by the reason why I think of Anand Bakshi.

A beggar has been asking for alms on a busy street. A passer-by asks him how much money he wants. The beggar says 20 Rupees would be nice. The man asks the beggar, “Why do you need the money? To do drugs or smoke?” “Saahab, I don’t do drugs or smoke”. “What then, booze?”. “I don’t do any of these things. I’m just trying to eat and survive. Main shareef aadmi hoon, ye sab naheen karta”. The man says, “Ok, I’ll tell you what. I won’t give you 20 Rupees. I’ll give you 100 instead. But for that you’ll have to come with me to my home, it’s nearby”. The beggar agrees. The householder rings the bell at his door, his wife opens it, and he tells her to look at this person, a shareef aadmi brought to beggary because he doesn’t drink or smoke, none of the things that she keeps advising him against. The man pays off the beggar, shuts the door and tells his wife, “This is what happens to people if they lead such a boring and clinical life” J

Joke done, my imagination enters the scene. Now that a high moral ground has been achieved, the householder pours himself a drink. Once under the influence, he starts singing the situational Shareefon ka zamaane mein aji bas haal wo dekha ke sharaafat chhod di maine, sung by Lata Mangeshkar for Laxmikant-Pyarelal in Sharafat (1970). This poem was written by Anand Bakshi.

That was on a lighter note. On a more serious note, do consider the magnificence of this gifted writer when he wrote songs so pertinent to the situations within films.

In Zindagi Zindagi (1972), we found Tu ne humen kya diya ri zindagi, rendered by Kishore Kumar for SD Burman. Here the writer personified life and bemoaned what all it had done to him. It was Deb Mukerji, a patient who sang this as he lay bedridden in the general ward of a hospital, even as the camera panned Farida Jalal, Waheeda Rehman, Sunil Dutt and a slew of patients, all of them clearly resonating with the lyrics as they battled with the gloom in their individual destinies.

In Sholay (1975), the director wanted to show the unbreakable bond between Dharmendra and Amitabh, two criminal buddies. So we found an energetic ode to friendship scripted by Bakshi: Ye dosti hum naheen todenge, rendered by Manna and Kishore for RD Burman. Earlier, this lyricist had taken a completely opposite route too. Nearly a decade before Sholay he had offered arguably the ultimate lines of curse for a friend-turned-enemy: Mere dushman tu meri dosti ko tarse, Mujhe gham dene waale, tu khushi ko tarse. This song deserves to be heard in its entirety for us to feel the sting expressed by Rafi for Laxmikant-Pyarelal in Aaye Din Bahaar Ke (1966). The situation was like this: Asha Parekh and Dharmendra are lovers who get separated for some reason, and then they lose touch completely. Finally the reluctant Dharmendra listens to his mother and agrees to marry Nazima, who has become acquainted with Asha Parekh’s recently. At the engagement party, Nazima also invites Asha who has no idea who her friend’s fiancé is. She is stunned to see that it’s none other than Dharmendra. When she composes herself, she picks up someone’s child to make it appear to Dharmendra that she is married now. Her idea is for the engagement to proceed seamlessly. But the unaware Dharmendra sees her wedded status as an act of disloyalty. Let’s not forget that this was a Hindi film. Bakshi saab rose to the demands of this situation with curses of the choicest kind.

Anand Bakshi will be remembered for some exceptional lyrics in a qawwali that pitted women vs men in Jabse Tumhen Dekha Hai (1963). Tumhen husn deke Khuda ne sitamgar banaaya banaaya went the men, led by Shammi Kapoor and Shashi Kapoor. But this line became a terrible gambit, backfiring on the men. The women, led by Shyama and Kumkum, responded with a killer line: Chalo is bahaane tumhen bhi Khuda yaad aaya ji aaya. The singers were Rafi, Manna, Lata and Asha, in the studio for maestro Dattaram.

Anand Bakshi wrote scores of situationally relevant songs, like Humen kya jo harsoo ujaale hue hain (Rafi/GS Kohli/Namaste Ji, 1965), Saawan ka maheena pawan kare sor (Mukesh, Lata/L-P/Milan, 1967), Kaahe ko roye (SD Burman/SD Burman/Aradhana, 1969), Khilona jaan kar tum to (Rafi/L-P/Khilona, 1970), Muhabbat ke suhaane din (Rafi/K-A/Maryada, 1971), Maar diya jaaye ya chhod diya jaaye (Lata/L-P/Mera Gaon Mera Desh, 1971), and Mujhko hui na khabar (Asha/Uttam Singh/Dil To Pagal Hai, 1997).

But perhaps the ultimate words that came out of Anand Bakshi’s mind were the many songs he wrote in Amar Prem (1971), which had music by RD Burman. In the Kishore Kumar song Kuchh to log kahenge, Rajesh Khanna was pitching hard to console Sharmila Tagore, in the film playing a prostitute trapped in her destiny. Bakshi’s words in this poem have the escape velocity to go up into the heavens, because he states many facts here. He has drawn from universal truths and from the Ramayana to come up with words that are situationally valid not just for a character in a film, but for all of us, carrying our own cross, crying about our own condition and looking for our own inspiration to somehow plod on and survive positively.

Kuchh to log kahenge, logon ka kaam hai kena…

Kuchh reet jagat ki aisi hai har ek subah ki shaam hui

Tu kaun hai, tera naam hai kya, Sita bhi yahaan badnaam hui

Phir kyoon sansaar ki baaton se bheeg gaye tere naina?

Words to frame in gold.

Thank you Anand Bakshi ji, you have enriched our lives with such wonderful poetry!



My #GratitudePost for the Bollywood’s legendary Lyricist Anand Bakshi Sahab ✍️❤🙏

By Sangeeta Yadav

“If you are going to sing a song with the wrong lyrics then please don’t sing it all, take your time maybe sing  tomorrow and then upload, this will add ethics to your profession from your side If you are giving your tribute to The Lyricist Anand Bakshi Sahab …. Aren’t you ? When you are giving tribute to a Lyricist then the lyrics matter the most. He must have thought something and then only he must have written the song the way he wrote it. My husband was telling me things like he was looking directly into my soul.

I nodded my head in affirmation and bit of guilt. ” Yes I’m… and ofcourse he is my inspiration! But aaj time kahan hai ? It’s already 11pm it’ll take me so much time to upload the song after I sing it, by the time I’m done, it’ll be the new day already. I was supposed to sing one song of Bakshi Sahab everyday and upload it without any gap.

“Jo bhi ho do it the right way, why didn’t you sing at day time baby? You have enough free time right ? Hubby asked. “Yes! I’ve…  I replied and then got myself submerged into the deeper thoughts. Again was going to do the same job which I usually used to do everyday at the day time i.e;  “OVERTHINKING”

Yes! you read it right!!! Overthinking is a बीमारी ( Disease) which makes you think deeper and deeper it’s like  diving deep and picking up the garbage ( sadness/despair) from the depth of ocean of your thoughts and then ultimately end up becoming sad for a longer time.

I have memories as beautiful as shining pearls as well in the in depth of my mind but मुझे तो सिर्फ garbage hi choose karna aata tha aur Rona bhi aata tha, I had forgotten to feel happy for quite a sometime then… It was a habit I was living with for a couple of years. Chalo…  वो भी एक दौर था  I ended my thoughts and dragged myself back to my productive self.

The song my husband and I were talking about was a song Anand Bakshi Sahab ✍️ had written for a bollywood movie called Julie ( 1975)

दिल क्या करे जब किसी को, किसी से प्यार हो जाए And how I was singing it was, ” दिल क्या करे जब किसी से, किसी को  प्यार हो जाए” I used to feel it’s all same because of the similar kinda music for both the words . Roshan Sahab created magical music for the song.

The mistake was so minute ( Only for me ) that I grew up singing the ” Wrong” lyrics all my life and didn’t even realise that I was doing it that way 😅

Fortunately when I was writing the lyrics for this song which was to be uploaded on instagram that day I noticed the correct lyrics and told my husband very casually before sleeping that I had sung the wrong lyrics and it’s very minute and unnoticeable.   People who help us walk on the right path and help us maintain our ethics are blessings in life ❤

Because of what my husband told me I re-sang it correctly and it was uploaded the next day. Yes when it all started it was 11pm and by the time I was done, it was 12:30am. The satisfaction I got that day was unmatchable ❤🙏 After that till the 100th day, my focus used to be actually on the lyrics. And now it’s a habit I got to develop.

I sang #100songsofAnandBakshi Sahab to help myself. My experience of Getting to read and understand his songs was like experiencing a beautiful sunrise after a dark and long night.

There are so many of Bakshi Sahab’s songs helped me when I was going through the dark phase I’ll write about few of those here:

Interpretation of few of the Anand Bakshi Sahab’s songs through my eyes and how my mind perceived :

1. Amarprem ( 1971)

हम क्यूँ, शिकवा करें झूठा, क्या हुआ जो दिल टूटा शीशे का खिलौना था, कुछ ना कुछ तो होना था हुआ ये क्या हुआ…

Here शिकवा is told to be jhootha bcz not many people believe in our version of story, and to make everyone understand and to wait till everyone understands/approves of it is difficult and not worth. If your heart is broken then let it be , it was very fragile .. it had to. You should not waste your time in thinking about it anymore. Start a new journey from where you are at present.

हमने, जो देखा था, सुना था, क्या बताएँ वो क्या था सपना सलोना था, खत्म तो होना था हुआ ये क्या हुआ…

You should see your dreams with 0% dependency on anyone. Your dreams should be solely yours, you should have courage to fulfill them yourself. Do not expect anything from anyone. The probability of fulfilling a dream shared by two or more people is less than having/owning it individually bcz sometimes people change sometimes the need vanishes.

2. Amar prem (1971)

कुछ तो लोग कहेंगे, लोगों का काम है कहना छोड़ो बेकार की बातों में कहीं बीत ना जाए रैना

कुछ रीत जगत की ऐसी है, हर एक सुबह की शाम हुई तू कौन है, तेरा नाम है क्या, सीता भी यहाँ बदनाम हुई फिर क्यूँ संसार की बातों से, भीग गये तेरे नैना कुछ तो लोग कहेंगे…

This song was the most effective medicine for me ❤️ I literally had not known of the line ” तू कौन है, तेरा नाम है क्या, सीता भी यहाँ बदनाम हुई ” it literally shook my mind and soul. I thought sahi baat hai when people don’t refrain themselves from judging even gods then hum to fir bhi insaan hain 💔 And then in my eyes The height of Bakshi Sahab grew as tall as the Mount Everest stands i.e; 8848 Meters.

3. Asha 1980

शीशा हो या दिल हो आख़िर, टूट जाता है लब तक आते-आते, हाथों से साग़र छूट जाता है शीशा हो या दिल…

काफी बस अरमान नहीं कुछ मिलना आसान नहीं दुनिया की मजबूरी है फिर तक़दीर ज़रूरी है ये दो दुश्मन हैं ऐसे दोनों राज़ी हों कैसे एक को मनाओ तो दूजा रूठ जाता है शीशा हो या दिल…

I don’t how but every time I read/hear these lyrics , I feel so overwhelmed 💔

दुनिया एक तमाशा है आशा और निराशा है थोड़े फूल हैं काँटे हैं जो तक़दीर ने बाँटे हैं अपना-अपना हिस्सा है अपना-अपना किस्सा है कोई लुट जाता है कोई लूट जाता है शीशा हो या दिल…

Harsh reality of life as soon as one accepts it he/she will be at peace. I’m at peace btw. It gives me strength.

4. Asha 1980

लिखने वाले ने लिख डाले मिलने के साथ बिछोड़े

अस्साँ हुंण टुर जाणा ए दिन रह गये थोड़े लिखने वाले ने लिख डाले मिलने के साथ बिछोड़े अस्साँ हुंण टुर जाणा ए दिन रह गये थोड़े

मुश्किल है इस शहर से जाना फिर जाने कब होगा आना याद ना आना भूल ना जाना यह दिल कैसा है दीवाना चार दिनों में इसने कितने रिश्ते नाते जोड़े अस्साँ हुंण टुर जाणा ए दिन रह गये थोड़े –

The above is about the thoughts of a girl when she is about to marry someone and how painful it is for her to leave her parents and house and everyone/everything she grew up with, all is very well explained by Bakshi Sahab ✍️❤🙏

मिलना बिछड़ना रीत यही है – हार यही है जीत यही है प्यार यही है प्रीत यही है मेरा आखिरी गीत यही है इस बैरन बिरहा ने जाने कितनो के दिल तोडे अस्सा हुंण टुर जाणा ए दिन रह गये थोड़े

I see the above paragraph from the perspective of a mother of a daughter ❤

दुनिया के दस्तूर है ऐसे – सारे बंधन सपनों जैसे दिल गम से लेते है वैसे कोई आंसू रोके कैसे जब बेटी डोली में बैठे हो जब बेटी डोली में बैठे बाबुल का घर छोड़े अस्सा हुंण टुर जाणा ए दिन रह गये थोड़े

I see the above lines from the perspective of a father who loves his daughter dearly. Fathers are very good at hiding their emotions but this song successfully bares off them all and we manage to see the emotions of a father at the time of his daughter’s wedding❤🙏

This song made me understand my parents better ❤️ and it’s among my top 5 favourite songs of Anand Bakshi Sahab ✍️ among all the songs I have come across till date.

5 Aawaragi ( 1990)

चमकते चाँद को टूटा हुआ तारा बना डाला मेरी आवारगी ने मुझको आवारा बना डाला

बड़ा दिलकश, बड़ा रँगीन, है ये शहर कहते हैं यहाँ पर हैं हज़ारों घर, घरों में लोग रहते हैं मुझे इस शहर की गलियों का बंजारा बना डाला चमकते चाँद को टूटा…

मैं इस दुनिया को अक्सर देखकर हैरान होता हूँ न मुझसे बन सका छोटा सा घर, दिन रात रोता हूँ खुदाया तूने कैसे ये जहां सारा बना डाला चमकते चाँद को टूटा…

मेरे मालिक, मेरा दिल क्यूँ तड़पता है, सुलगता है तेरी मर्ज़ी, तेरी मर्ज़ी पे किसका ज़ोर चलता है किसी को गुल, किसी को तूने अंगारा बना डाला चमकते चाँद को टूटा…

यही आग़ाज़ था मेरा, यही अंजाम होना था मुझे बरबाद होना था, मुझे नाकाम होना था मेरी तक़दीर ने मुझको, तक़दीर का मारा बना डाला चमकते चाँद को टूटा…

I was 19- 20 years old when I heard this song for the first time. I remember after coming back from the college and having lunch I sat to study and at the same time I logged in into my desktop computer and played songs in the background. Honestly I’ve never been able to study whenever my favourite songs were played in the room. But I convinced myself that I’ll study. This song always took out the raw emotions from my heart. I didn’t realise when the tears started to flow also I didn’t realise my mom was standing next to my chair and watching me cry. She became very upset she thought it was a heartbreak since only few months ago i had joined college. She said you should never trust boys they lie. ye sun ke Mere to tote udd gaye 😰 I stopped mom just over there ” Mummy aisa kuch nahi hai, main to bas gaana sun ke emotional ho gayi thi .. dekhiye kitna accha gaana hai … 😅 Mom said, ” Tum suno aur meri baat ko dhayaan me rakhna humesha” nahi to log ullu bana dete hain 😅 and she left my room. Uske baad I started to laugh uncontrollably 😅 kya yaar chain se ro bhi nahi sakte. Everytime I think of that day I feel like laughing the same way.

Everytime I hear this song I fall in love with even more ❤️ it’s among the top 2 songs I love and is written by  Bakshi Sahab I’ve heard till date.

7. Main Tulasi Tere Aangan Ki (1978)

मैं तुलसी तेरे आँगन की कोई नहीं मैं कोई नहीं मैं तेरे साजन की मैं तुलसी तेरे आँगन की

माँग भी तेरी, सिंदूर भी तेरा सब कुछ तेरा, कुछ नहीं मेरा तोहे सौगन्ध तेरे (मेरे???) अँसुअन की मैं तुलसी तेरे आँगन की

काहे को तू मुझसे जलती है ऐ री मोहे तो तू लगती है कोई सहेली बचपन की मैं तुलसी तेरे आँगन की

This is the Temple 🙏🙏🙏 it’s not just a song Bakshi Sahab has written. He just created a pious place we all can go and see with our closed eyes 🎵🌷🌸 Experience the piousness of music with our hearts 🙏 I’ve not seen any other beautiful song than this particular song 🎵🌷🙏

8. Zindagi Ke Safar Mein ( 1974)

ज़िन्दगी के सफ़र में गुज़र जाते हैं जो मकाम वो फिर नहीं आते, वो फिर नहीं आते ज़िन्दगी के सफ़र में…

फूल खिलते हैं, लोग मिलते हैं फूल खिलते हैं, लोग मिलते हैं मगर पतझड़ में जो फूल मुरझा जाते हैं वो बहारों के आने से खिलते नहीं कुछ लोग एक रोज़ जो बिछड़ जाते हैं वो हजारों के आने से मिलते नहीं उम्र भर चाहे कोई पुकारा करे उनका नाम वो फिर नहीं आते…

सुबहो आती है, रात जाती है सुबहो आती है, रात जाती है यूँ ही वक़्त चलता ही रहता है रुकता नहीं एक पल में ये आगे निकल जाता है आदमी ठीक से देख पाता नहीं और परदे पे मंज़र बदल जाता है एक बार चले जाते हैं जो दिन-रात, सुबहो-शाम वो फिर नहीं आते…

I wish I understood this song as well before and not only just heard it. This is one of those masterpiece creations of Anand Bakshi Sahab which has inspired million of people around the globe for half a century now. This song will be a 50 year song within 2-3 years but it still looks as fresh as daisy. No matter how much we humans have evolved or how technology has changed, the environment has changed but life remains the same … God is too powerful we all are very weak infront of him. Again and again god makes us realise that humans can’t win over the supreme power 🙏 Kuch hai jo hum control nahi kar sakte irrespective of the power we possess. Here Time is THE God I think.

There is not a single day I don’t think about Anand Bakshi Sahab ✍️ , he changed my life through his songs. I didn’t see any doctor when I was depressed. I just became better by listening and understanding Bakshi Sahab’s songs. He is one among the greatest of all time philosophers who knew what life was and he decoded the complexity of life with his mighty pen for the common people ✍️🙏 That’s what poets/shayars/authors do. An ordinary person experience life and remains silent but these people not only experience life but they inspire the people and make them aware through their creations/poetry/Nazms/ghazals.

The role of Anand Bakshi Sahab in my life has multiple dimensions … I see through different horizons. It’s truly said by Javed Akhtar Sahab that a PhD could be done on him. But yes to become worthy of even thinking like that one needs to do a lot of research on him, I’m still discovering , acquiring knowledge about him.

Thank you Bakshi Sahab for blessing me with strength which I needed the most in the time of despair and teaching me the power of acceptance and understand life better through your songs ❤🙏 Things/thoughts that bothered me then still exists but now I’m mentally stronger, I survived! 🙏

Sangeeta Yadav <>

Some of my favorite films of Anand Bakshi and people he teamed with to co-create those songs are from these films (by Rakesh Bakshi):


Bhala Admi, C.I.D. Girl, Ek Armaan Mera, Lal Nishan, Maine Jeena Seekh Liya.


Mehlon Ke Khwab, Jasoos, Zameen Ke Taare, Razia Sultana, Warrant, Banke Sanwaria, Aaye Din Bahaar Ke , Kala Samunder, Jab Se Tumhen Dekha Hai, Phool Bane Angaare, Mr X In Bombay, Himalay Ki God Mein, Teesra Kaun, Aasra, Chhota Bhai, Devar, Aamne Saamne, Chandan Ka Palna, Night in London, Taqdeer, Raja Aur Runk, Anjaana, Aya Sawan Jhoom Ke, Jeene Ki Raah, Jigri Dost, Mahal, Sajan, Mehndi Lagi Mere Haath, Jab Jab Phool Khile, Milan, Farz, Aradhana, Do Raaste.


Aan Milo Sajna, Geet, Ishq Par Zor Nahin, Jeevan Mrityu, Kati Patang, Amar Prem, Khilona, My Love, Mere Humsafar, Sharafat, The Train, Aap Aye Bahaar Ayee, Dushman, Haathi Mere Saathi, Hare Rama Hare Krishna, Main Sunder Hoon, Maryada, Mehboob Ki Mehndi, Mera Gaon Mera Desh, Naya Zamana, Paraya Dhan, Uphaar, Anuraag, Apna Desh, Jawani Diwani, Raja Jani, Seeta Aur Geeta, Zindagi Zindagi, Bobby, Heera Panna, Jheel Ke Us Paar, Jugnu, Kuchhe Dhaage, Loafer, Namak Haraam, Raja Rani, Manchali, Shareef Budmaash, Aap Ki Kasam, Ajnabee, Dost, Majboor, Prem Nagar, Roti, Chupke Chupke , Julie, Pratiggya, Prem Kahani, Sholay, Aap Beati, Balika Badhu, Barood, Bairaag, Charas, Maha Chor, Mehbooba, Amar Akbar Anthony, Anurodh, Apnapan, Dharam Veer, Dream Girl, Mukti, Yehi Hai Zindagi, Aahutee, Satyam Shivam Sundaram, Azaad, Dil Aur Deewar, Main Tulsi Tere Aangan Ki, Pati Patni Aur Woh, Shalimar, Gautam Govinda, Jurmana, Kali Ghata, Mr Natwarlal, Sargam, Suhaag, The Great Gambler.  


Aap Ke Deewane, Aasha, Aas Paas, Abdullah, Dostana, Hum Paanch, Judaai, Karz, Patita, Shaan, Ek Duje Ke Liye, Love Story, Naseeb, Rocky, Bemisaal, Desh Premee, Ghazab, Rajput, Shakti, Teri Kasam, Vidhaata, Andhaa Kaanoon, Arpan, Avtaar, Betaab, Coolie, Hero, Lovers, Nastik, Woh 7 Din, Zara Si Zindagi, Sohni Mahiwal, Aar Paar, Meri Jung, Yudh, Amrit, Karma, Naam, Nagina, Sindoor, Shahenshah, Chaalbaaz, Chandni, Ram Lakhan, Tridev, Awaargi, Agneepath.  


Akayla, Hum, Lamhe, Saudagar, Angaar, Heer Ranjha, Khuda Gawah, Kshatriya, Parampara, Vishwatma, Darr, Gumraah, Kha;l Nayak, Sahibaan, Mohra, Dilwale Dulhania Le Jayenge – DDLJ, Ram Jaane, Trimurti, Dhun, Jaan, Rajkumar, Tere Mere Sapna, Ankhon Mein Tum Ho, Deewana Mastana, Dil Toh Pagal Hai, Ghulam – E – Mustafa (Musthafa), Gupt, Pardes, Dushman, Jab Pyaar Kisise Hota Hai, Jhooth Bole Kauva Kaate, Zakhm, Aarzoo, Dil Kya Kare, Kachche Dhaage, Taal, Love You Hamesha.

2000, 2001, 2002

Hadh Kar Di Aapne, Yeh Raaste Hain Pyaar Ke, Nayak, Pyaar Ishq Aur Mohabbat, Rahul, Raju Chacha, Mohabbatein, Gadar – Ek Prem Katha, Asoka (1 song), Yaadein, Mujhse Dosti Karoge, Hum Kisi Se Kam Nahin, Kranti, Kitne Door Kitne Paas, Na Tum Jaano Na Hum, The Hero.


Yeh Jo Mohabbat Hai (1 song)

  • Rakesh Anand Bakshi


Fan love:


The ‘bandar ka khel wala’ and his monkey ‘Michael” have a message for us.

Named after Michael Jackson, I happened to encounter Michael the monkey and his caretaker this morning, and was pleasantly surprised Michael was dancing to my dad’s song lyrics from the 70s film Haathi Mere Saathi.

I asked him if I can record Michael’s dance and song performance, while he is entertaining the kids, and consequently rewarded Michael and Michael’s mate handsomely for agreeing. The song reminding me of my dad’s core philosophy he built his life on – duniya mein rehana hai toh kaam karo.

Its against the law to earn from performing monkeys, I was told by Michaels mate, and he added – “… But I care for my monkey more than my family. Because of him I have a livelihood.”



Fan love, from across the border. A tribute to all lyricists by Maria Memon.

  —————————————————————————————————————————— From Dharmendra Mehta, son of fauji N K Mehta   .   Audio     
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
“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.

Miraculous TRILOGY : By Ajay Poundarik

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. 
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
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)
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)
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)
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)
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)
Bhor Bhaye Panghat Par .. Lata (SATYAM SHIVAM SUNDARAM)
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)
Bindiya Chamke Gi .. Lata  (DO RAASTE, 1970)
Koi Shahri Babu  .. Asha (LOAFER
Sanam Tu Bewafa Ke Naam Se .. Lata (KHILONA, 1971) , 1974)
Tere Sang Pyar Mein  .. Lata – Mahendra Kapoor (NAGIN, 1976),
Sheesha Ho Ya Dil Ho  .. Lata (AASHA, 1980)
Main Teri Dushman .. Lata ( NAGINA 1986)
Kisi Ke Haath Na Aayyegi .. Kavitha (CHAALBAZ, 1989)
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)
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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.
Rajshri Pictures Musical  TAQDEER  1967 .    
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’.
Dalal Guha and Premji’s Musical Hit DOST  1974.      
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.
J Omprakash super Musical Hit   APNAPAN  1977
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.
Subhash Ghai’s Musical Blockbuster  MERI JUNG  1985.   One of the most popular songs of the mid-eighties. 
–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. 
Director T Ramarao’s   ANDHA KANOON  1983   Anand Bakshi writes  रोते रोते हँसना सीखो, हँसते हँसते रोना –Rote Rote Hasna Sikho….Kishore Kumar. 
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
Producer/Director Mohan Kumar’s AMRIT 1986.  Here Bakshi Sahab writes about ‘ghum’, sorrow.
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 
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
Ajay Poundarik, Atlanta (Georgia), USA. 11th June, 2020.   
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.
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.
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)
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Tetrad Of Dulcet Music:: Anand Bakshi :: Lata Mangeshkar :: 
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.
  • Lootera 1966 ( an outstanding Album with all SIX solo with variety from Lata  )
  • Sharafat 1970
  • Mera Gaon Mera Desh 1972..(Folkish Album, all time hit )
  • Raja Jani 1972
  • Bobby 1973 (All time hit songs)
  • Satyam Shivam Sundaram 1978 (Eternal Classic)
  • 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 MangeshkarLaxmikant-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)

The Combination of Anand Bakshi, Laxmikant-Pyarelal and Kishore Kumar was involved in a total of  273 songs, including 103 solo songs.

—————————————————   Laxmikant-Pyarelal & Anand Bakshi Heterogeneity Of Songs For Kishore Kumar   
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.


Manchali Kahan Chali       Manchali       1973  
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


Rajesh Khanna still enjoying the song created by Bakshi Saab, LP and KK. Wonderful rhythm of Horse ‘Tappa’. 
Zindagi Ek Latifa ……Amrit  1986
Beautifully penned by Bakshi Saab. Intelligent composition. Morality in lyrics
and very impressive singing by legendary kishoreda
Ajay Poundarik, Vadodara.                       23rd May, 2021. 
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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