Thanks pradeepji for providing info about my favourite jodi LP.

Regards
RAFI FAN

shashank_72@rediffmail.com

wow what a post thnks for such a grt n informative post.i hope u wud keep enlightening us with other such posts

thnks again!!

Thanks for the detailed analysis on LP success stories.

1. For a few years during the late 1950’s LP worked in Chennai (Madras) for several South Indian Music Directors because they could not get enough work in Mumbai.

2. When they first started in the hindi film industry as musicians (Laxmikant on mandolin) and Pyarelal on violin), they were so young (just 13 to 14 years old) that MDs Naushad, C. Ramachandra, Husnlal Bhagatram, SD Burman, Roshan and many others used to place them on stools on top of chairs in the front section, so that they could be seen by all members.

3. Laxmikant played in the orchestra of Shankar Jaikishan for many hit songs, but SJ never called Pyarelal to play the violin.

4. They assisted music directors Roshan, Madan Mohan, Hemant Kumar, Ravi, Bipin-Babul, Sardar Malik, Usha Khanna and many others during the early years.

5. They had a unique relationship with Music Directors Kalyanji Anandji. They were full assistant MDs during the recordings of Himlay Ki Godmein, Ishara, Ji Chahta Hai, Poonima, Bluff Master, Dulha Dulhan and Jab Jab Phool Khile. Once they started getting independent assignments, they slowly branched out with the blessings of KA.

6. Mohd Rafi and Lata Mangeshkar took a unique interest in the lads and helped them out a lot. Both the singers knew that LP where really talented and would one day become great music directors.

7. The “Chahoonga Mein Tujhe” tune was composed much earlier than any Parasmani song by the duo. Many of the films that they signed before “Parasmani” failed to be made and they were dejected with the hindi film industry. They could not find a situation in their early films to use the song properly.

8. The song was composed with Lata Mangeshkar in mind. They had such reverence for her that they wanted all their songs sung by Lata. During the musical sitting of “Dosti”, Laxmikant sang this song out for Rafi at the very tail end of their session before departing Rafi’s house – as a song they kept in their pocket as a reserve. Majrooh Sultanpuri and Pyarelal were present. They were very apprehensive when they drove to Rafi’s mansion early that day – not knowing if the great singer would agree to sing for a low-budget movie and for such young, struggling MDs such as LP. As soon as they entered, Rafi put them at ease and was very cordial.

9. Having already been blown away by the Dosti numbers he had just heard, Mohd Rafi who was thrilled that he had three full solos that he agreed to sing for a small fee was completely bowled over by “Chahoonga Mein Tujhe”. He took this song and superbly rendered it for LP and told them that this song would be a big hit in Dosti. LP replied that there was no situation in the movie for this song. They did not want to use it. Rafi insisted persistently (while making the song greater every time he rendered it) and said that he would sing all the songs for free – if “Chahoonga Mein” was included in the film.

10. LP returned back and had to make the writer, producer, director re-write the story to include “Chahoonga Mein Tujhe” as a primary song in the film.

11. RD Burman played all the mouth organ pieces for Dosti.

12. The songs of Dosti were recorded including “Chahoonga Mein Tujhe”. LP concentrated on all their other numbers in Dosti and did not give any special care for this song. As we all know Rafi sang all these songs superbly, and Dosti is considered to be a landmark in Hindi Film music.

13. The movie was released and took India by storm in 1964. It was not just Mumbai (Bombay), but all across the country the songs of Dosti swept and swayed the masses. All the way from East-to-West and North-to-South, people would stand by radios just to hear the songs of this film. During the same year, Raj Kapoor’s prestigious Sangam was released with music by Shankar Jaiksihan. People liked the Sangam songs, but the songs of Dosti overtook every other film.

14. Rafi Saab’s prediction had come true. He moved even higher up in popularity and Laxmikant Pyarelal where catapulted to the forefront of popular Hindi film music and never looked back. LP won Filmfare’s Best Music Director Award for Dosti in 1964. Mohd Rafi won the best singer award. The award was conveyed to them during the early morning hours on announcement day by MD C. Ramachandra (one of their gurus) who banged on their door and called out “Get up you donkeys. You have won !!!”. They were bewildered …won which award and from whom ? When they were told, they could not believe their ears. Shankar Jaikishan was their favourite MD and they had won over SJ. They had really arrived in the music scene.

15. Laxmikant emulated Jaikishan in every way. He was in awe of Jaikishan for many years. He dressed like Jaikishan (flashy expensive shirts, tight pants, collar up all the time), talked like Jaikishan and wore his watch on his right wrist.

16. Besides the songs of Parasmani and Dosti, Rafi Saab sang some beautiful early numbers for LP. Listen to “Khamosh Zindagi Ko” from Naag Mandir, “Abhi Kamsin Ho” from Aya Toofan, “Tumhi Se Hui Hai” from Mere Dost, “Shokiyan Nazar Mein Hain” from Aasra, “Jab Jab Bahar Aayi” and “Mujhe Bhool Jaana” from Taqdeer. All these songs use minimal instruments with Rafi Saab’s beautiful voice and soulful rendering given prominence.

17. LP started moving more towards the SJ style of compositions with very large orchestration in the mid to late 60’s – when they started getting movies with top hindi film producing companies like - J. OmPrakash, Subodh Mukerjee, Ramanand Sagar, LV Prasad, AVM Studios etc. who regularly used SJ, but were switching to LP because they were quoting lower rates and providing similar popular hit music. Films like “Aaye Din Bahar Ke”, “Milan”, “Pyar Kiye Jaa”, “Jaal”, “Anita”, “Shagird”, “Farz”, “Night In London”, Pathar Ke Sanam”, “Mere Humdum Mere Dost”, “Man Ki Aankhen”, “Sajan”, “Aaya Sawan Jhoom Ke”, “Satyakam”, “Intaqam”, “Dharti Kahe Pukar Ke”, “Raaja Aur Rank”, “Jawab”, “Humjoli”, “Darpan” are some of their movies from 1966 to 1969. They really peaked between years 1966 to 1973.

18. The song “Ram Kare Aisa Ho Jaaye” from the film “Milan” sung by Mukesh irritated the director LV Prasad so much that he supposedly told LP – “get rid of this song”. “What is this ? Do you call this a tune”. “Bring Rafi in and give him some songs”. But LP convinced the director that this song and all the songs of “Milan” would become big hits. They proved to be right.

19. LP (especially Laxmikant) had a very easy nature of placing singers and musicians at ease. He used to invite Lata and Rafi to the studios and before providing them the songs and tunes – would put them at ease and crack a few jokes. LP knew Rafi and Lata since they were small boys; so they knew how to treat each of them with respect and reverence. One can imagine the atmosphere in the studios when Rafi and Lata sang numerous hit duets for LP. It would appear to a listener that they all enjoyed these recording sessions and found a lot of joy while singing these delightful LP songs.

20. LP’s songs had that “whole India” feeling about them. People in the North or East could find a strain of their regional folk music in their compositions. People in the south could listen to one of their great Rafi or Lata solos or a duet and think…the melody is catchy and feels as if it came from one of their villages.

21. They were able to adapt, adopt and polish their tuning and orchestration to move with the times and were so successful in doing this for over 37 to 38 years. Their legacy of Mohd Rafi songs are everlasting.

Binu Nair The rafi foundation.