The record winds down

For a seventies child who grew up on a wholesome diet of Hindi film music, it was impossible to escape the influence of Laxmikant-Pyarelal -...

For a seventies child who grew up on a wholesome diet of Hindi film music, it was impossible to escape the influence of Laxmikant-Pyarelal 8212; the most prolific music director duo of the decade. It8217;s difficult to think about one without the other, now that Laxmikant8217;s death has brought an era in Hindi film music to an end.

From as early as 1973, the legendary teen-chant of Bobby, Hum tum ek kamre mein band ho and the poetic Main shaayar to nahin left love-struck youngsters in a tizzy. The zany My name is Anthony Gonsalvez 8212; the song Pyarelal dedicated to his Goan music teacher of the same name 8212; and the breezy Humko tumse ho gaya hai pyar had an entire generation swaying to their music.

What set them apart from the competition was their unique ability to deliver quality in unbelievable quantities 8212; the only music-directors to do so after Shanker-Jaikishen. They have to their credit over 400 film scores, a record that isn8217;t likely to be equalled anytime soon. Mohammed Rafi and LataMangeshkar sang most of their songs for Laxmikant-Pyarelal.

From 1963, when they recorded their first score for Parasmani, till 1997, when O Mummy Mummy from Deewana Mastana made it to the top of the charts, Laxmikant-Pyarelal were a force to reckon with for nearly 35 years.

It all started in the late 1950s when Laxmikant and Pyarelal played the mandolin and the violin for film recordings. From there, they graduated to becoming music arrangers and assisted stalwarts like Naushad, C. Ramchandra and Kalyanji-Anandji.

But with Parasmani and the Lata Mangeshkar-Kamal Barot duet Hansta hua noorani chehera, they left an unforgettable first impression on film music. After two lean years, they once again made melody magic in Rajshri8217;s Dosti.

In 1966-67 Laxmikant-Pyarelal8217;s mellifluous songs in Aaye Din Bahaar Ke Suno sajana and Milan Saawan ka mahina established their credentials as frontline music directors. Then came Bindiya chamkegi, thechartbuster from Do Raaste 1969, and Vaada tera vaada from Dushman 1971.

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But the jewel in the crown was Bobby. They effectively realised Raj Kapoor8217;s vision of youth with music so young that it was evergreen. Kapoor stayed with them for Satyam Shivam Sundaram 1978 and Prem Rog 1982.

We grew up with the veritable line-up of hits that followed. Sargam showcased their ability to create haunting melodies drawn from Indian classical and folk influences and fetched them their third consecutive Filmfare award after Amar Akbar Anthony and Satyam Shivam Sundaram.Karz 1980 and Om shanti om gave us a new mantra for liberation, like R D Burman8217;s Dum maro dum in the early 8217;70s.

And as we swung to new musical influences through the 8217;80s and 8217;90s 8212; Bappi Lahiri, Anand Milind, Anu Malik and Nadeem Shravan 8212; Laxmikant-Pyarelal were still with us.

Take, for example, two memorable films that knocked the wind out of theircompetitors8217; sails 8212; Sur Sangam and Utsav 8212; with melodious compositions seeped in the tradition of Indian classical music.

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It is impossible to forget Maika piya bulave based on Raag Kalavati in the former, or Man kyon beheka in the latter, which brought the singing sisters, Lata and Asha Bhonsle together for the last time.

But they also came up with popular chartbusters in film after film. Ek, do, teen in Tezaab 1988, Jumma chumma de de in Hum 1991 and Choli ke peechay in Khalnayak 1993.

In these days when music can be computer-generated their belief in all things Indian 8212; instruments and taal 8212; proved to be a winner, even with the re-mix and techno generation.