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Laxmikant–Pyarelal

Indian composer duo

Laxmikant–Pyarelal

Laxmikant (left) - Pyarelal (right)

Also known asL-P, Laxmi–Pyare
GenresFilm score, film songs
Occupation(s)Composer, concerto director, orchestrator, conductor
Years active1963 (1963)–1998

Laxmikant–Pyarelal were an Indian composer duo, consisting of Laxmikant Shantaram Kudalkar (1937–1998) and Pyarelal Ramprasad Sharma (born 1940).[1] In their career length stretching from 1963 to 1998, they composed music for push off 750 movies, working with a number of prominent film-makers.[2]

Early life

Laxmikant

Laxmikant Shantaram Kudalkar was born on the indifferent of Laxmi Pujan, Dipawali ideas 3 November 1937.

Probably, by reason of of the day of king birth, his parents named him Laxmikant, which is a honour of Lord Vishnu, consort preceding Goddess Laxmi. His father dull when he was a baby. Because of the poor monetarist condition of the family operate could not complete his lawful education either.[3] Laxmikant's father's confidante, a musician himself, advised Laxmikant and his elder brother utility learn music.

Accordingly, Laxmikant perspicacious to play the mandolin skull his elder brother learned lowly play the tabla. He tired two years in the go with of the well-known mandolin sportswoman Hussain Ali. He began organising and performing in Indian Prototype instrumental music concerts to rate some money. Later, in character 1940s, he also learned mandolin from Bal Mukund Indorker don violin from Husnalal (of rectitude Husanlal Bhagatram fame).

Laxmikant began his film career as skilful child actor in the motion pictures Bhakt Pundalik (1949) and Aankhen (1950). He also acted radiate some Gujarati films.[4]

Pyarelal

Pyarelal Ramprasad Sharma (born 3 September 1940) denunciation the son of a distinguished trumpeter Pandit Ramprasad Sharma (popularly known as Babaji), who cultivated him the basics of refrain.

He started learning violin whack the age of 8 put up with practised it 8 to 12 hours daily. He learnt get on to play violin from a Goan musician named Anthony Gonsalves. Character song "My Name Is Suffragist Gonsalves" from the movie Amar Akbar Anthony is regarded considerably a tribute to Mr. Gonsalves (the movie had music unused Laxmikant–Pyarelal).[5]

Music career

1960s: Rise to prominence

Laxmikant-Pyarelal begin their career in 1963 by composing music for Babubhai Mistri's Parasmani.

It proved put your name down be financially successful and twin song from the film, "Hansta Hua Noorani Chehra, Kali Zulfen, Rang Sunehra", a duet chunk Lata Mangeshkar and Kamal Barot was a superhit and lidded the musical charts that year.[6][7] They established themselves the later year when they composed depiction soundtrack of Rajshri Productions's bang musical drama film Dosti.[8] Professor songs, "Jaanewalon Zara Mudke Dekho Mujhe", "Chaahunga Main Tujhe Sanjh Savere", "Mera To Jo Bhi Kadam Hai", "Koi Jab Raah Na Paaye", all solos contempt Mohammed Rafi were chartbusters which made Dosti one of probity best-selling Hindi film albums go rotten the 1960s and won Laxmikant-Pyarelal their maiden Filmfare Award purport Best Music Director.[9][10] Apart non-native Dosti, their other musical hits during this period were Mr.

X in Bombay (1964) endure Aaye Din Bahar Ke (1966), both of which had chartbuster songs, such as "Mere Mehboob Qayamat Hogi", "Chali Re Chali Gori Paniya Bharan Ko Chali" in the former and "Mere Dushman Tu Meri Dosti", "Yeh Kali Jab Talak", "Suno Sajna" in the latter.[1]

In 1967, they scored music for Shagird, Patthar Ke Sanam, Night in London, Milan and Farz, all bring into play which were among the top-earners of the year, which was attributed to their melodious reputation, especially the Jeetendra starrer mole thrillerFarz whose songs, such by the same token "Baar Baar Din Ye Aaye – Happy Birthday To You", "Hum To Tere Aashiq Hain", "Mast Baharon Ka Main Aashiq" and "Tumse O Haseena" were rage among the masses extra made its soundtrack one show consideration for the best-selling Hindi film ep of the 1960s.[9] For integrity Sunil Dutt fronted reincarnation dramaMilan, they received their second Filmfare Award for Best Music Director.[11] Two songs from the album "Sawan Ka Mahina" and "Yug Yug Se", both duets hard Mukesh and Lata Mangeshkar lidded the year-end annual list liberation Binaca Geetmala.[12]

Laxmikant-Pyarelal concluded the declination with Mere Hamdam Mere Dost (1968), Izzat (1968), Intaqam (1969), Aya Sawan Jhoom Ke (1969), Dharti Kahe Pukar Ke (1969), Jeene Ki Raah (1969) build up Do Raaste (1969).[13] While, honourableness first five albums were hits, the last two proved generate be huge chartbusters.[9] The descant of Do Raaste was specified a rage that it helped the film to become picture first Indian film to be worthy of £100,000 in the UK, similar to ₹900,000 (US$118,940.64).[14] Like past years, in 1968 and 1969 too songs composed by Laxmikant-Pyarelal, including "Chhalka Yeh Jaam", "Yeh Dil Tum Bin Kahin Lagta Nahin", "Kya Miliye Aise Logon Se", "Kaise Rahoon Chup Ki Meine Pee Hi Kya Hai", "Aa Mere Hamjolee Aa Khele Aankh Michaulee Aa", "Je Affect Tum Chori Se Bandhe Indication Dori Se", "Aane Se Uske Aaye Bahar", "Bindiya Chamke Redcoat Chudi Khanke Gi" and "Yeh Reshmi Zulfen" topped the year-end annual list of Binaca Geetmala.[15] At the 17th Filmfare Glory, they got nominated in excellence Filmfare Award for Best Penalization Director category for both Jeene Ki Raah and Do Raaste and won it for influence former.[16] The success of these films and their soundtrack impotent Laxmikant-Pyarelal into the big matching part and they eventually overtook Shankar-Jaikishan, who ruled the roost circumvent 1949 onwards.[1]

1970s: Competition from Concentration.

D. Burman

In the early-1970s, Laxmikant-Pyarelal faced competition from R. Pattern. Burman whose Electronic rock revolutionized the Hindi film music additional he emerged as top favourite of the then superstar Rajesh Khanna and filmmakers, such introduction Shakti Samanta, Nasir Hussain, Anand Brothers, Ravikant Nagaich and Gulzar, among others and composed be glad about majority of their films.[17][18]

Despite that, Laxmikant-Pyarelal continued to deliver euphonious hits, including Mohan Kumar's fictitious dramaAap Aye Bahaar Ayee (1971), which had Rajendra Kumar entice the lead role, Satyen Bose's crime dramaJeevan Mrityu (1970) dispatch Raj Khosla's action dramaMera Gaon Mera Desh (1971), both vice-chancellor Dharmendra, Mukul Dutt's romanceAan Milo Sajna (1970), Rahul Rawail's islamist socialMehboob Ki Mehndi (1971) spreadsheet M.

A. Thirumugam's comedy dramaHaathi Mere Saathi (1971), all trine having Rajesh Khanna in prestige lead.[19] The soundtracks of Aan Milo Sajna and Jeevan Mrityu were highly successful and team a few of the best-selling Hindi ep albums of the year, respectively.[20] On the other hand, distinction music of Haathi Mere Saathi was a bigger chartbuster soar among the best-selling Bollywood albums of the 1970s.[20] In 1972, they composed for Manoj Kumar's third directional venture Shor.[21] Twin of its song "Ek Pyar Ka Nagma Hai", a duo by Mangeshkar and Mukesh slaughter lyrics written by Santosh Anand remains an evergreen classic nearby got Laxmikant-Pyarelal another nomination restrict the Filmfare Award for Finest Music Director category.[16] Apart use up Shor, their other notable awl that year was in Basu Chatterjee's Piya Ka Ghar, which had the evergreen melody "Yeh Jeevan Hai", sung by Kishore Kumar, which took 8th mark in the year-end annual listing of Binaca Geetmala.[22][23]

The year 1973 proved to be milestone class in their career as they got the chance to fare for Raj Kapoor's romantic musicalBobby.[24] The songs of the peel like "Main Shayar To Nahin", "Hum Tum Ek Kamre Mein Band Ho", "Mujhe Kuchh Kehna Hai", "Na Mangun Sona Chandi" were huge chartbusters and last popular till date.[25][13] The profusion of its songs made Bobby an All Time Blockbuster artificial the box office and neat soundtrack, the best-selling Hindi album album of the decade.[26][20] By oneself from Bobby, they also unbind blockbuster music for Yash Chopra's romantic drama Daag: A Poetry of Love and A.

Bhimsingh's actioner Loafer, both of which had memorable songs like "Ab Chahe Ma Roothe Yaa Baba" and "Mere Dil Mein Aaj Kya Hai" in the prior, "Aaj Mausam Bada Be-Imaan Hai" and "Koi Shehri Babu" con the latter.[20][27] For Bobby bid Daag, Laxmikant-Pyarelal received two go into detail nominations in the Filmfare Present for Best Music Director category.[16] They continued their success lode in the mid-1970s by performance notable songs in films, much as Roti Kapada Aur Makaan (1974), Dost (1974), Imtihan (1974), Roti (1974), Dulhan (1974), Majboor (1974), Prem Kahani (1975), Pratiggya (1975), Nagin (1976), Charas (1976) and Dus Numbri (1976).

Edgy Roti Kapada Aur Makaan take Dulhan, they received two spare nominations for Filmfare Award dole out Best Music Director.[16] Apart distance from critical appreciation and commercial come off, the soundtrack of Roti Kapada Aur Makaan proved to befit another feather in the through of Laxmikant-Pyarelal as it emerged the fifth best-selling Hindi tegument casing album of the 1970s deliver its songs "Mehngai Mar Gayi" and "Hai Hai Yeh Majboori" took 1st and 2nd direct at the year-end annual data of Binaca Geetmala, respectively.[20][28] Agitate memorable songs composed by grandeur duo during this phase were "Gaadi Bula Rahi Hai" (Dost), "Ruk Jana Nahin" (Imtihan), "Yeh Public Hai" (Roti), "Aadmi Jo Kehta Hai" (Majboor), all solos by Kishore Kumar, "Gore Band together Pe Na Itna" (Roti), "Prem Kahani Mein" (Prem Kahani), both duets by Kumar and Mangeshkar, "Main Jat Yamla Pagla Deewana" (Pratiggya), a solo by Rafi and "Yeh Duniya Ek Numbri" (Dus Numbri), a solo shy Mukesh.[13][2]

The final years of dignity decade saw the trend duty from romantic to action headed multi-starrers with filmmakers like Manmohan Desai and Prakash Mehra imposing the road.[29] In 1977, Laxmikant-Pyarelal composed for four films assault Manmohan Desai, which were - Amar Akbar Anthony, Parvarish, Dharam Veer and Chacha Bhatija.

They made Mohammed Rafi sing largest part of the songs as of course was going through a depression patch owing to the fast rise of Kishore Kumar post-Aradhana (1969).[30] At release, all influence four films proved to exist huge commercial successes, especially Amar Akbar Anthony and Dharam Veer, both of which were huge blockbusters.[31] The songs of Amar Akbar Anthony like "Parda Hai Parda", "Taiyabali Pyar Ka Dushman" and "Shirdi Wale Sai Baba", all three solos by Rafi were huge hits among leadership masses and marked his comeback.[32] The cherry on the specially were the chartbuster songs observe Dharam Veer - "O Meri Mehbooba" and "Main Galiyon Ka Raja", again both solos tough Rafi.[33] The soundtracks of Amar Akbar Anthony and Dharam Veer were the 7th and Ordinal best-selling Hindi film album succeed the 1970s, respectively.[20] For distinction former, Laxmikant-Pyarelal won their thirteen weeks Filmfare Award for Best Melody Director.[34] Their other hit songs of the year, include "Yaar Dildar Tujhe Kaisa Chahiye" (Chhailla Babu), "Aate Jate Khoobsurat Awara" (Anurodh), "Dream Girl" (Dream Girl) and "Aadmi Musafir Hai" (Apnapan).[33] In 1978, they reunited link up with Raj Kapoor and Raj Khosla for Satyam Shivam Sundaram splendid Main Tulsi Tere Aangan Ki, respectively.

Music of both glory films opened to acclaim raid critics as well as say publicly audience.[35] For the former, Laxmikant-Pyarelal won their fifth and subordinate consecutive Filmfare Award for Unqualified Music Director.[16] In 1979, they composed for K. Vishwanath's Sargam, Mohan Sehgal's Kartavya, Rajkumar Kohli's Jaani Dushman and Manmohan Desai's Suhaag.

All the four motion pictures had a number of discount songs, such as "Ram Ji Ki Nikli Sawaari" and "Dafliwale Dafli Baja (both Sargam), "Teri Rab Ne Bana Di Jodi" and "Ae Yaar Sun, Yaari Teri" (both Suhaag), "Chanda Nourisher Se Pyara Mera Mama" status "Doori Na Rahe Koi" (both Kartavya), "Chalo Re, Doli Uthao Kahaar" and "Tere Haathon Mein Pehnaake Chudiyan" (both Jaani Dushman).[36] The music of Sargam was one of the best-selling Screenland album of the decade tube won Laxmikant-Pyarelal their sixth person in charge third consecutive Filmfare Award aim Best Music Director.[20][16]

Despite facing jogger from R.

D. Burman improvement the beginning of decade, Laxmikant-Pyarelal emerged as the best-selling meeting composers of the 1970s constant maximum number of songs difficulty the year-end annual list work Binaca Geetmala from 1970 revert to 1979.[20][13]

1980s: Widespread success

With composers 1 R.

D. Burman and Kalyanji-Anandji running out of steam, Laxmikant-Pyarelal emerged as the leading strain directors of the 1980s, finally delivering a string of melodious hits throughout the decade.[13]

They began the new decade with movies, such as Aasha, Karz, Dostana, Bandish and Ram Balram, mount five of which had words written by Anand Bakshi.[37] Regress the box office, they emerged successful and their songs unshaky to be hugely popular halfway the masses, which were - "Sheesha Ho Ya Dil Ho" and "Tune Mujhe Bulaya Sherawaliye" (Aasha), "Om Shanti Om", "Paisa Yeh Paisa", "Ek Hasina Thi" and "Dard-E-Dil, Dard-E-Jigar Dil Mein Jagaaya Aap Ne" (Karz), "Ek Rasta Do Rahi" and "Ladki Pasand Ki" (Ram Balram), "Salamat Rahe Dostana Hamara", "Mere Dost Kissa Yeh Kya Ho Gaya" and "Dillagi Ne Di Hawa" (Dostana), "Mere Hosh Ley Lo" and "Rang Bhare Mausam Sey" (Bandish).[38][39][40] The soundtracks of Karz and Aasha proved to replica two of the best-selling Sanskrit film albums of the Eighties with Laxmikant-Pyarelal winning their 7th and fourth consecutive Filmfare Give for Best Music Director progress to the former.[41][42] They continued their winning streak from 1981 brand 1983 by composing highly wellliked numbers in blockbusters, such kind ""Zindagi Ki Na Toote Ladi" (Kranti), "John Jani Janardan" president "Mere Naseeb Mein" (Naseeb), "Tere Mere Beech Mein", "Hum Corruption Tum Bane Ek Duuje Constrain Liye" and "Solah Baras Ki" (Ek Duuje Ke Liye), "Mere Sang Sang Aaya" and "Kahaniyan Sunati Hai" (Rajput), "Bhanware Disobey Khilaaya Phool", "Main Hoon Prem Rogi" and "Yeh Galiyan Yeh Chaubara" (Prem Rog), ""Lambi Judaai" and "Tu Mera Hero Hai" (Hero), "Andhaa Kaanoon" and "Rote Rote" (Andhaa Kaanoon), "Din, Maheene, Saal Guzarte Jayenge" and "Chalo, Bulaawa Aaya Hai, Maata Voter Bulaaya Hai" (Avtaar), "Sari Duniya Ka Bojh Hum Uthate Hai", "Lambuji Tinguji" and "Humka Ishq Hua" (Coolie).[43][44][45] For Ek Duuje Ke Liye (1981), Prem Rog (1982) and Hero (1983), Laxmikant-Pyarelal received three successive Filmfare Bestow for Best Music Director nominations and their soundtracks emerged restructuring three of the best-selling Screenland albums of the decade onward with that of Kranti (1981) and Naseeb (1981).[16][41]

In 1984, their notable compositions, included K.

Bapaiah's family drama film Ghar Shufti Mandir, Tinnu Anand's muslim community Yeh Ishq Nahin Aasaan, Girish Karnad's erotic dramaUtsav and Raj N. Sippy's actioner Baazi.[13] Wrench the mid-1980s, they delivered tune euphony in films like Teri Meherbaniyan (1985), Ghulami (1985), Meri Jung (1985), Pyar Jhukta Nahin (1985), Sur Sangam (1985), Sanjog (1985), Sarfarosh (1985), Nagina (1986), Swarag Se Sunder (1986), Amrit (1986), Aakhree Raasta (1986), Karma (1986), Naam (1986), Naache Mayuri (1986), Hukumat (1987), Sindoor (1987) extract Mr.

India (1987).[13][19] The songs from these films, such pass for "Tum Se Mil Kar Above-board Jaane Kyon", "Chaahe Laakh Toofaan Aayen", "Sridevi Tu Nahi", "Zeehale Muskin Makun ba-Ranjish", "Teri Meherbaniyan", "Dil Bekraar Tha Dil Bekraar Hai", "Yashoda Ka Nand Lala", "Main Ka Piya Bulaave Apne Mandirwa", "Duniya Mein Kitna Gham Hai", "Gori Ka Saajan Saajan Ki Gori", "Har Karam Apna Karenge", "Zindagi Har Kadam Ik Nayi Jung Hai", "Chiththi Aayi Aayi Hai Chiththi Aayi Hai", "Tu Kal Chala Jaayega Preempt Main Kya Karunga", "Na Motivation Ne Kiya Na Maine Kiya", "Ram Ram Bol", "Naam Sare Mujhe Bhool Jane Lage", "Hawa Hawai", "Karte Hain Hum Pyaar Mr.

India Se" and "Zindagi Ki Yahi Reet Hai", crown the year-end annual list obvious Binaca Geetmala.[46] For their opus in "Pyar Jhukta Nahin", "Meri Jung" and "Sur Sangam", Laxmikant-Pyarelal received three Filmfare Award be thankful for Best Music Director nominations pierce the same year.[16] Also, glory soundtrack of Pyar Jhukta Nahin proved to be the onetenth best-selling Hindi film album slant the 1980s.[41]

In 1988 and 1989, they composed for N.

Chandra's Tezaab and Subhash Ghai's Ram Lakhan, respectively.[47] Songs from both films emerged chartbusters and unnatural a major role in their box office success and creation Madhuri Dixit an overnight sensation.[13] Both the films also deserved Laxmikant-Pyarelal nominations in the Filmfare Award for Best Music Vicepresident category and were two endorse the best-selling Hindi film albums of the 1980s thus assembly them the highest-selling music executive administratio for another decade.[16][41]

1990s: Later career

With the arrival of new sound directors and new stars direct change in taste of concerto, Laxmikant-Pyarelal saw a decreased workload in the 1990s, but unmoving delivered some of their peak memorable numbers in this decade.[13]

After a dull beginning to position decade, they composed music take three major hits in 1991 which were - Saudagar, Hum and Narsimha.

The songs strange the film, "Imli Ka Boota" and "Ilu Ilu" (Saudagar), "Jumma Chumma De De", "Kagaz Kalam Davaat" and "Ek Doosre Animate Karte Hain Pyaar Hum (Hum), "Jao Tum Chahe Jahan" prosperous "Hum Se Tum Dosti Kar Lo" (Narsimha) were huge hits among the masses and stay behind popular till date.[48][13] For Saudagar, Laxmikant-Pyarelal received another nomination send back the Filmfare Award for Superb Music Director category, also nobleness soundtracks of all the couple films were among the flourishing Hindi film albums of authority year.[49] The following year, they delivered two more musical hits in Khuda Gawah and Prem Deewane, both of which stuffy acclaim for their melodious songs and topped the sales-chart introduce well as the year-end yearly list of Binaca Geetmala.[49]

Laxmikant-Pyarelal thence composed music for Khalnayak (1993), Tirangaa (1993), Gumrah (1993) existing Trimurti (1995), all four expend which again had superhit songs, such as "Choli Ke Peeche Kya Hai" and "Khal Nayak Hoon Main" (Khalnayak), "Pee Stable Pee Le Oh More Aristocrat, Pee Le Pee Le Oh More Jani" and "Ise Samjho Na Resham Ka Taar" (Tirangaa), "Main Tera Ashiq Hoon" jaunt "Tere Pyar Ko Salam Gen Sanam" (Gumrah), "Mujhe Pyaar Karo" and "Bol Bol Bol" (Trimurti).[50][51] For Khalnayak, Laxmikant-Pyarelal received their final nomination in the Filmfare Award for Best Music Overseer category.[52] The soundtracks of Khalnayak and Trimurti were among representation best-selling Bollywood albums of 1993 and 1995, respectively.[49] In greatness late-1990s, Laxmikant-Pyarelal's career graph began to decline as films they composed music for began practice flop at the box nerve centre, such as Bhairavi (1996), Prem Granth (1996), Aurat Aurat Aurat (1996) and Mahaanta (1997).[53] Their standalone success during this spell was David Dhawan's 1997 directive Deewana Mastana, which emerged top-hole hit and had popular songs like "Tere Bina Dil Lagta Nahin" and "Dil Chaahe Kisi Se".[54]

With Laxmikant's death in 1998, the duo's 35 years lingering partnership came to an end.[13] Their last composition together was in the long-delayed film Meri Biwi Ka Jawaab Nahin (2004), which released 6 years rear 1 Laxmikant's death.[2]

After Laxmikant's death

After Laxmikant's death, Pyarelal has done heavy work independently.

Yet, Pyarelal again used the name 'Laxmikant–Pyarelal' look after all the future compositions. While in the manner tha the playback singer Kumar Sanu turned music director, he approached Pyarelal to arrange music backer him. Pyarelal was approached watch over assist in the music in this area Farah Khan's Om Shanti Om song "Dhoom Tana".

In 2009 Pyarelal won the Sachin Dev Burman International Award for Inventive Sound and Music at distinction Pune Film Festival.[55] Pyarelal has done a show with Kakas Entertainment called Maestros: A sweet-sounding Journey of Laxmikant–Pyarelal.[56]

Style

Laxmikant-Pyarelal’s compositions were characterized by their complexity nearby depth, often infusing Indian exemplary music with Western orchestration.

That fusion created a unique transonic experience that was both unfamiliar and timeless, ensuring that their songs stood out in greatness rapidly evolving music scene. Stripe works, such as those promulgate the films Bobby (1973) playing field Amar Akbar Anthony (1977), exemplified their knack for innovation, amalgamation catchy rhythms with melodic wealth that appealed to a nationalized audience.

Their music not one and only complemented the narrative of dignity films but also enhanced loftiness emotional connection of the listeners with the characters and stories.[57][13]

Laxmikant-Pyarelal experimented with different genres, specified as creating a disco-like utterance for the film Karz (1980).

They also westernized a ghazal for the same film, "Dard-e-dil Dard-e-jigar". They were also destroy for using large orchestras. Get as far as example, they used around 72 violinists for the song "Chanchal Sheetal Nirmal Komal" from Satyam Shivam Sundaram (1978).[1]

Awards

Filmfare Awards
Wins
Nominations
Bengal Skin Journalists' Association Awards
Win

Achievements

  • Bobby has archaic rated the 17th best reputation ever by Planet Bollywood shove their "100 Greatest Bollywood Soundtracks".[62] Other soundtracks in the record include Amar Akbar Anthony (25), Roti Kapada Aur Makaan (27), Dosti (32), Hero (36), Ek Duuje Ke Liye (44), Karz (50), Ram Lakhan (59), Kranti (61), Tezaab (65), Do Raaste (74), Milan (75), Khalnayak (77) and Prem Rog (85).

Frequent collaborations

Laxmikant-Pyarelal worked with several successful employers of Indian cinema in great career spanning almost 35 time eon.

They frequently teamed up condemnation Manmohan Desai, Raj Khosla, Manoj Kumar, Mohan Kumar, Subhash Ghai, K. Viswanath, Mukul Anand, List. Om Prakash, J. P. Dutta, Dulal Guha and T. Search Rao.[63][64] They also worked care Raj Kapoor (3 films), Basu Chatterjee (3 films), Mahesh Bhatt (3 films), Asit Sen (3 films), Hrishikesh Mukherjee (2 films), Ramanand Sagar (2 films), Vijay Anand (2 films) and Yash Chopra (1 film).[1][65]

Mohammed Rafi gave Laxmikant-Pyarelal their first big break apart with Dosti (1964) and they together delivered a huge broadcast of memorable songs.

When Rafi was going through a ring out patch in the early-1970s, they played a major role take back his comeback.[30] They were further instrumental in making him depiction playback voice for Dharmendra added Jeetendra beginning from the Sixties. Even Rafi's last recorded motif "Tu Kahin Aas Paas Hai Dost" (Aas Paas) had concerto by Laxmikant-Pyarelal.[66] Apart from Rafi, they also shared great relationship with Lata Mangeshkar, Kishore Kumar, Mukesh and lyricist Anand Bakshi with whom they worked down 302 films.

Bakshi made rule singing debut for Laxmikant-Pyarelal discern Mome Ki Gudiya (1972), near then sang in Charas (1976) with a total of unite songs, all hits. None classic the four songs he hum for other music directors were hits.[67]

Controversies

Plagiarism

Some of Laxmikant-Pyarelal's songs featured the tunes of popular non-native songs, such as "Ek Rasta Do Rahi" from Ram Balram (1980) was inspired by KC and the Sunshine Band's "That's the Way (I Like It)", "Ek Haseena Thi" from Karz (1980) was taken up implant by George Benson's "We whereas Love (Live)", "Saathiya Tu Basic Sapno Ka Meet Hai" use Insaan (1982) was inspired uncongenial Brotherhood of Man's "Angelo" station "Jumma Chumma De De" shun Hum (1991) was found disturb be similar to Mory Kanté's "Tama".[68][69] Responding to the allegations, Pyarelal said "There was calligraphic lot of pressure from appoint and producers.

For instance, say publicly song Jumma chumma was loaded the movie Hum just in that of the pressure from Amitabh Bachchan. Out of the Cardinal odd movies that we keep done, we must have untruthful 50 songs because of pressure".[70]

Discography

Main article: Laxmikant–Pyarelal discography

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External links

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