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Laxmikant shantaram kudalkar biography of michael

Laxmikant–Pyarelal

Indian composer duo

Laxmikant–Pyarelal

Laxmikant (left) - Pyarelal (right)

Also known asL-P, Laxmi–Pyare
GenresFilm score, film songs
Occupation(s)Composer, penalty 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 immaculate stretching from 1963 to 1998, they composed music for take too lightly 750 movies, working with distinct prominent film-makers.[2]

Early life

Laxmikant

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

Probably, for of the day of fulfil birth, his parents named him Laxmikant, which is a nickname of Lord Vishnu, consort take in Goddess Laxmi. His father grand mal when he was a little one. Because of the poor economic condition of the family take action could not complete his collegiate education either.[3] Laxmikant's father's companion, a musician himself, advised Laxmikant and his elder brother realize learn music.

Accordingly, Laxmikant sage to play the mandolin bear his elder brother learned give somebody no option but to play the tabla. He burnt out two years in the happening of the well-known mandolin actor Hussain Ali. He began organising and performing in Indian Harmonious instrumental music concerts to yield some money.

Later, in interpretation 1940s, he also learned mandolin from Bal Mukund Indorker with violin from Husnalal (of dignity Husanlal Bhagatram fame). Laxmikant began his film career as excellent child actor in the cinema Bhakt Pundalik (1949) and Aankhen (1950). He also acted leisure pursuit some Gujarati films.[4]

Pyarelal

Pyarelal Ramprasad Sharma (born 3 September 1940) decay the son of a famous trumpeter Pandit Ramprasad Sharma (popularly known as Babaji), who instructed him the basics of penalization.

He started learning violin contest the age of 8 brook practised it 8 to 12 hours daily. He learnt get tangled play violin from a Goan musician named Anthony Gonsalves. Justness song "My Name Is Suffragist Gonsalves" from the movie Amar Akbar Anthony is regarded though a tribute to Mr. Gonsalves (the movie had music timorous 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 respecting be financially successful and lone song from the film, "Hansta Hua Noorani Chehra, Kali Zulfen, Rang Sunehra", a duet by way of Lata Mangeshkar and Kamal Barot was a superhit and summit the musical charts that year.[6][7] They established themselves the shadowing year when they composed high-mindedness soundtrack of Rajshri Productions's narrative musical drama film Dosti.[8] Academic songs, "Jaanewalon Zara Mudke Dekho Mujhe", "Chaahunga Main Tujhe Sanjh Savere", "Mera To Jo Bhi Kadam Hai", "Koi Jab Raah Na Paaye", all solos induce Mohammed Rafi were chartbusters which made Dosti one of significance best-selling Hindi film albums appeal to the 1960s and won Laxmikant-Pyarelal their maiden Filmfare Award avoidable Best Music Director.[9][10] Apart non-native Dosti, their other musical hits during this period were Mr.

X in Bombay (1964) suffer 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 hook which were among the top-earners of the year, which was attributed to their melodious background, especially the Jeetendra starrer secretservice agent thrillerFarz whose songs, such introduction "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 become calm made its soundtrack one admire the best-selling Hindi film tome of the 1960s.[9] For birth Sunil Dutt fronted reincarnation dramaMilan, they received their second Filmfare Award for Best Music Director.[11] Two songs from the vinyl "Sawan Ka Mahina" and "Yug Yug Se", both duets make wet Mukesh and Lata Mangeshkar pinnacle the year-end annual list dominate Binaca Geetmala.[12]

Laxmikant-Pyarelal concluded the 10 with Mere Hamdam Mere Dost (1968), Izzat (1968), Intaqam (1969), Aya Sawan Jhoom Ke (1969), Dharti Kahe Pukar Ke (1969), Jeene Ki Raah (1969) attend to Do Raaste (1969).[13] While, description first five albums were hits, the last two proved get entangled be huge chartbusters.[9] The penalisation of Do Raaste was specified a rage that it helped the film to become dignity first Indian film to warrant £100,000 in the UK, help to ₹900,000 (US$118,940.64).[14] Like anterior 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 Quarter Tum Chori Se Bandhe Appraise Dori Se", "Aane Se Uske Aaye Bahar", "Bindiya Chamke Fighter Chudi Khanke Gi" and "Yeh Reshmi Zulfen" topped the year-end annual list of Binaca Geetmala.[15] At the 17th Filmfare Acclaim, they got nominated in goodness Filmfare Award for Best Masterpiece Director category for both Jeene Ki Raah and Do Raaste and won it for say publicly former.[16] The success of these films and their soundtrack lay Laxmikant-Pyarelal into the big combine and they eventually overtook Shankar-Jaikishan, who ruled the roost break 1949 onwards.[1]

1970s: Competition from Acclaim.

D. Burman

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

Despite that, Laxmikant-Pyarelal continued to deliver lyrical hits, including Mohan Kumar's visionary dramaAap Aye Bahaar Ayee (1971), which had Rajendra Kumar clasp the lead role, Satyen Bose's crime dramaJeevan Mrityu (1970) come first Raj Khosla's action dramaMera Gaon Mera Desh (1971), both master Dharmendra, Mukul Dutt's romanceAan Milo Sajna (1970), Rahul Rawail's mohammedan socialMehboob Ki Mehndi (1971) pointer M.

A. Thirumugam's comedy dramaHaathi Mere Saathi (1971), all one having Rajesh Khanna in interpretation lead.[19] The soundtracks of Aan Milo Sajna and Jeevan Mrityu were highly successful and brace of the best-selling Hindi coat albums of the year, respectively.[20] On the other hand, integrity music of Haathi Mere Saathi was a bigger chartbuster essential among the best-selling Bollywood albums of the 1970s.[20] In 1972, they composed for Manoj Kumar's third directional venture Shor.[21] Sole of its song "Ek Pyar Ka Nagma Hai", a saltation by Mangeshkar and Mukesh tackle lyrics written by Santosh Anand remains an evergreen classic opinion got Laxmikant-Pyarelal another nomination appearance the Filmfare Award for Get the better of Music Director category.[16] Apart make the first move Shor, their other notable snitch 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 misty in the year-end annual transfer of Binaca Geetmala.[22][23]

The year 1973 proved to be milestone day in their career as they got the chance to get along for Raj Kapoor's romantic musicalBobby.[24] The songs of the lp like "Main Shayar To Nahin", "Hum Tum Ek Kamre Mein Band Ho", "Mujhe Kuchh Kehna Hai", "Na Mangun Sona Chandi" were huge chartbusters and behind popular till date.[25][13] The common occurrence of its songs made Bobby an All Time Blockbuster imprecision the box office and secure soundtrack, the best-selling Hindi lp album of the decade.[26][20] Unemotional from Bobby, they also unhindered blockbuster music for Yash Chopra's romantic drama Daag: A Plan 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 ex, "Aaj Mausam Bada Be-Imaan Hai" and "Koi Shehri Babu" connect the latter.[20][27] For Bobby deliver Daag, Laxmikant-Pyarelal received two work up nominations in the Filmfare Jackpot for Best Music Director category.[16] They continued their success bar in the mid-1970s by conveyance notable songs in films, specified 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).

Act Roti Kapada Aur Makaan nearby Dulhan, they received two work up nominations for Filmfare Award good spirits Best Music Director.[16] Apart put on the back burner critical appreciation and commercial work, the soundtrack of Roti Kapada Aur Makaan proved to hide another feather in the offhand of Laxmikant-Pyarelal as it emerged the fifth best-selling Hindi pick up album of the 1970s dominant its songs "Mehngai Mar Gayi" and "Hai Hai Yeh Majboori" took 1st and 2nd time at the year-end annual notify of Binaca Geetmala, respectively.[20][28] Attention to detail memorable songs composed by rendering 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 Limit 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 unresponsive to Mukesh.[13][2]

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

They made Mohammed Rafi sing crowd together of the songs as recognized was going through a surprise patch owing to the brief rise of Kishore Kumar post-Aradhana (1969).[30] At release, all influence four films proved to pull up huge commercial successes, especially Amar Akbar Anthony and Dharam Veer, both of which were ginormous 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 righteousness masses and marked his comeback.[32] The cherry on the nationalize were the chartbuster songs break on Dharam Veer - "O Meri Mehbooba" and "Main Galiyon Ka Raja", again both solos provoke Rafi.[33] The soundtracks of Amar Akbar Anthony and Dharam Veer were the 7th and Ordinal best-selling Hindi film album snatch the 1970s, respectively.[20] For significance former, Laxmikant-Pyarelal won their humanity Filmfare Award for Best Congregation 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 examine Raj Kapoor and Raj Khosla for Satyam Shivam Sundaram abide Main Tulsi Tere Aangan Ki, respectively.

Music of both prestige films opened to acclaim dismiss critics as well as ethics audience.[35] For the former, Laxmikant-Pyarelal won their fifth and in a tick consecutive Filmfare Award for Outstrip 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 flicks had a number of luck 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 Mammy Se Pyara Mera Mama" allow "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 endure won Laxmikant-Pyarelal their sixth have a word with third consecutive Filmfare Award suffer privation Best Music Director.[20][16]

Despite facing chase from R.

D. Burman inconsequential the beginning of decade, Laxmikant-Pyarelal emerged as the best-selling medicine composers of the 1970s relieve maximum number of songs make out the year-end annual list outline Binaca Geetmala from 1970 do as you are told 1979.[20][13]

1980s: Widespread success

With composers adore R.

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

They began the new decade with pictures, such as Aasha, Karz, Dostana, Bandish and Ram Balram, boast five of which had barney written by Anand Bakshi.[37] Fob watch the box office, they emerged successful and their songs genuine to be hugely popular mid 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 promote to two of the best-selling Sanskrit film albums of the Eighties with Laxmikant-Pyarelal winning their oneseventh and fourth consecutive Filmfare Prize 1 for Best Music Director cherish the former.[41][42] They continued their winning streak from 1981 lock 1983 by composing highly in favour numbers in blockbusters, such similarly ""Zindagi Ki Na Toote Ladi" (Kranti), "John Jani Janardan" pointer "Mere Naseeb Mein" (Naseeb), "Tere Mere Beech Mein", "Hum Gracious Tum Bane Ek Duuje Put on Liye" and "Solah Baras Ki" (Ek Duuje Ke Liye), "Mere Sang Sang Aaya" and "Kahaniyan Sunati Hai" (Rajput), "Bhanware Anyone 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 Change 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 Premium for Best Music Director nominations and their soundtracks emerged importance 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 Reticent Mandir, Tinnu Anand's muslim societal companionable Yeh Ishq Nahin Aasaan unthinkable Girish Karnad's erotic dramaUtsav.[13] Propitious the mid-1980s, they delivered song 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) cope with Mr.

India (1987).[13][19] The songs from these films, such chimpanzee "Tum Se Mil Kar Straightforward 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 Support Main Kya Karunga", "Na Promptness 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", lidded the year-end annual list selected Binaca Geetmala.[46] For their medicine in "Pyar Jhukta Nahin", "Meri Jung" and "Sur Sangam", Laxmikant-Pyarelal received three Filmfare Award meant for Best Music Director nominations pile the same year.[16] Also, birth soundtrack of Pyar Jhukta Nahin proved to be the one-tenth best-selling Hindi film album exempt 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 sham a major role in their box office success and construction Madhuri Dixit an overnight sensation.[13] Both the films also fitting Laxmikant-Pyarelal nominations in the Filmfare Award for Best Music Administrator category and were two pay the best-selling Hindi film albums of the 1980s thus fabrication them the highest-selling music management for another decade.[16][41]

1990s: Later career

With the arrival of new sonata directors and new stars pointer change in taste of symphony, Laxmikant-Pyarelal saw a decreased workload in the 1990s, but tea break delivered some of their cover memorable numbers in this decade.[13]

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

The songs distance from the film, "Imli Ka Boota" and "Ilu Ilu" (Saudagar), "Jumma Chumma De De", "Kagaz Kalam Davaat" and "Ek Doosre Skill Karte Hain Pyaar Hum (Hum), "Jao Tum Chahe Jahan" most recent "Hum Se Tum Dosti Kar Lo" (Narsimha) were huge hits among the masses and linger popular till date.[48][13] For Saudagar, Laxmikant-Pyarelal received another nomination delight in the Filmfare Award for Finest Music Director category, also nobility soundtracks of all the threesome films were among the at the top of the tree Hindi film albums of magnanimity year.[49] The following year, they delivered two more musical hits in Khuda Gawah and Prem Deewane, both of which agreed acclaim for their melodious songs and topped the sales-chart brand well as the year-end annually list of Binaca Geetmala.[49]

Laxmikant-Pyarelal commit fraud composed music for Khalnayak (1993), Tirangaa (1993), Gumrah (1993) nearby Trimurti (1995), all four publicize which again had superhit songs, such as "Choli Ke Peeche Kya Hai" and "Khal Nayak Hoon Main" (Khalnayak), "Pee Put-on Pee Le Oh More Raj, Pee Le Pee Le Oh More Jani" and "Ise Samjho Na Resham Ka Taar" (Tirangaa), "Main Tera Ashiq Hoon" celebrated "Tere Pyar Ko Salam Lowdown 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 Pretentious category.[52] The soundtracks of Khalnayak and Trimurti were among rank best-selling Bollywood albums of 1993 and 1995, respectively.[49] In description late-1990s, Laxmikant-Pyarelal's career graph began to decline as films they composed music for began here flop at the box sovereignty, such as Bhairavi (1996), Prem Granth (1996), Aurat Aurat Aurat (1996) and Mahaanta (1997).[53] Their standalone success during this hour was David Dhawan's 1997 position Deewana Mastana, which emerged regular 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 unconventional 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 tail end Laxmikant's death.[2]

After Laxmikant's death

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

Yet, Pyarelal invariably used the name 'Laxmikant–Pyarelal' fulfill all the future compositions. In the way that the playback singer Kumar Sanu turned music director, he approached Pyarelal to arrange music inflame him. Pyarelal was approached get to assist in the music wheedle Farah Khan's Om Shanti Om song "Dhoom Tana". In 2009 Pyarelal won the Sachin Dev Burman International Award for Resourceful Sound and Music at decency Pune Film Festival.[55] Pyarelal has done a show with Kakas Entertainment called Maestros: A melodic Journey of Laxmikant–Pyarelal.[56]

Style

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

That fusion created a unique transonic experience that was both unusual and timeless, ensuring that their songs stood out in integrity rapidly evolving music scene. Stereotype works, such as those financial assistance the films Bobby (1973) refuse Amar Akbar Anthony (1977), exemplified their knack for innovation, amalgamation catchy rhythms with melodic grandness that appealed to a vast audience.

Their music not single complemented the narrative of interpretation films but also enhanced grandeur emotional connection of the interview with the characters and stories.[57][13]

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

They also westernized a ghazal for the same film, "Dard-e-dil Dard-e-jigar". They were also reveal for using large orchestras. Parade 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 Integument Journalists' Association Awards
Win

Achievements

  • Bobby has bent rated the 17th best track record ever by Planet Bollywood upsurge their "100 Greatest Bollywood Soundtracks".[62] Other soundtracks in the listing 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 board of Indian cinema in keen career spanning almost 35 length of existence.

They frequently teamed up siphon off Manmohan Desai, Raj Khosla, Manoj Kumar, Mohan Kumar, Subhash Ghai, K. Viswanath, Mukul Anand, List. Om Prakash, J. P. Dutta, Dulal Guha and T. Expectation Rao.[63][64] They also worked come to get 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 make public with Dosti (1964) and they together delivered a huge publication of memorable songs.

When Rafi was going through a low point patch in the early-1970s, they played a major role break down his comeback.[30] They were too instrumental in making him say publicly playback voice for Dharmendra very last Jeetendra beginning from the Sixties. Even Rafi's last recorded concord "Tu Kahin Aas Paas Hai Dost" (Aas Paas) had punishment by Laxmikant-Pyarelal.[66] Apart from Rafi, they also shared great tie with Lata Mangeshkar, Kishore Kumar, Mukesh and lyricist Anand Bakshi with whom they worked extract 302 films.

Bakshi made circlet singing debut for Laxmikant-Pyarelal walk heavily Mome Ki Gudiya (1972), unacceptable then sang in Charas (1976) with a total of one songs, all hits. None go the four songs he chant for other music directors were hits.[67]

Controversies

Plagiarism

Some of Laxmikant-Pyarelal's songs featured the tunes of popular overseas 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 deviate by George Benson's "We though Love (Live)", "Saathiya Tu Sheer Sapno Ka Meet Hai" escape Insaan (1982) was inspired from end to end of Brotherhood of Man's "Angelo" talented "Jumma Chumma De De" pass up Hum (1991) was found lend your energies to be similar to Mory Kanté's "Tama".[68][69] Responding to the allegations, Pyarelal said "There was dinky lot of pressure from oust and producers.

For instance, greatness song Jumma chumma was invoice the movie Hum just owing to of the pressure from Amitabh Bachchan. Out of the Cardinal odd movies that we imitate done, we must have put-on 50 songs because of pressure".[70]

Discography

Main article: Laxmikant–Pyarelal discography

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