PAL, short for Phase Alternating Line, is an analog color television encoding system used in broadcast television systems in many countries. Other common analogue television systems are SECAM and NTSC. This page primarily discusses the colour encoding system. See the articles on broadcast television systems and analogue television for additional discussion of frame rates, image resolution and audio modulation. For discussion of the 625-line / 50 field (25 frame) per second television standard, see 576i.

History

In the 1950s, the Western European countries commenced planning to introduce colour television, and were faced with the problem that the NTSC standard demonstrated several weaknesses, including colour tone shifting under poor transmission conditions. To overcome NTSC's shortcomings, alternative standards were devised, resulting in the development of the PAL and SECAM standards. The goal was to provide a colour TV standard for the European picture frequency of 50 fields per second (50 hertz), and finding a way to eliminate the problems with NTSC.

PAL was developed by Walter Bruch at Telefunken in Germany. The format was first unveiled in 1963, with the first broadcasts beginning in the United Kingdom in 1964 and Germany in 1967, though the one BBC channel initially using the broadcast standard only began to broadcast in colour from 1967.

Telefunken was later bought by the French electronics manufacturer Thomson. Thomson also bought the Compagnie Générale de Télévision where Henri de France developed SECAM, the first European Standard for colour television. Thomson also co-owns the RCA brand for consumer electronics products, which created the NTSC colour TV standard before Thomson became involved.

The term PAL is often used informally to refer to a 625-line/50 Hz (576i) television system, and to differentiate from a 525-line/60 Hz (480i) NTSC system. Accordingly, DVDs are labelled as either PAL or NTSC (referring informally to the line count and frame rate) even though technically the discs do not have either PAL or NTSC composite colour. The line count and frame rate are defined as EIA 525/60 or CCIR 625/50. PAL and NTSC are only the method of the colour transmission used.

Colour encoding

The basics of PAL and the NTSC system are very similar; a quadrature amplitude modulated subcarrier carrying the chrominance information is added to the luminance video signal to form a composite video baseband signal. The frequency of this subcarrier is 4.43361875 MHz for PAL, compared to 3.579545 MHz for NTSC. The SECAM system, on the other hand, uses a frequency modulation scheme on its two line alternate colour subcarriers 4.25000 and 4.40625 MHz.

The name "Phase Alternating Line" describes the way that the phase of part of the colour information on the video signal is reversed with each line, which automatically corrects phase errors in the transmission of the signal by cancelling them out, at the expense of vertical frame colour resolution. Lines where the colour phase is reversed compared to NTSC are often called PAL or phase-alternation lines, which justifies one of the expansions of the acronym, while the other lines are called NTSC lines. Early PAL receivers relied on the imperfections of the human eye to do that cancelling; however, this resulted in a comblike effect known as Hanover bars on larger phase errors. Thus, most receivers now use a chrominance delay line, which stores the received colour information on each line of display; an average of the colour information from the previous line and the current line is then used to drive the picture tube. The effect is that phase errors result in saturation changes, which are less objectionable than the equivalent hue changes of NTSC. A minor drawback is that the vertical colour resolution is poorer than the NTSC system's, but since the human eye also has a colour resolution that is much lower than its brightness resolution, this effect is not visible. In any case, NTSC, PAL, and SECAM all have chrominance bandwidth (horizontal colour detail) reduced greatly compared to the luminance signal.

The 4.43361875 MHz frequency of the colour carrier is a result of 283.75 colour clock cycles per line plus a 25 Hz offset to avoid interferences. Since the line frequency (number of lines per second) is 15625 Hz (625 lines x 50 Hz / 2), the colour carrier frequency calculates as follows: 4.43361875 MHz = 283.75 * 15625 Hz + 25 Hz.

The original colour carrier is required by the colour decoder to recreate the colour difference signals. Since the carrier is not transmitted with the video information it has to be generated locally in the receiver. In order that the phase of this locally generated signal can match the transmitted information, a 10 cycle burst of colour subcarrier is added to the video signal shortly after the line sync pulse but before the picture information, during the so called back porch. This colour burst is not actually in phase with the original colour subcarrier but leads it by 45 degrees on the odd lines and lags it by 45 degrees on the even lines. This swinging burst enables the colour decoder circuitry to distinguish the phase of the R-Y which reverses every line.

PAL vs. NTSC

NTSC receivers have a tint control to perform colour correction manually. If this is not adjusted correctly, the colours may be faulty. The PAL standard automatically cancels hue errors by phase reversal, so a tint control is unnecessary. Chrominance phase errors in the PAL system are cancelled out using a 1H delay line resulting in lower saturation, which is much less noticeable to the eye than NTSC hue errors.

However, the alternation of colour information — Hanover bars — can lead to picture grain on pictures with extreme phase errors even in PAL systems, if decoder circuits are misaligned or use the simplified decoders of early designs (typically to overcome royalty restrictions). In most cases such extreme phase shifts do not occur. This effect will usually be observed when the transmission path is poor, typically in built up areas or where the terrain is unfavourable. The effect is more noticeable on UHF than VHF signals as VHF signals tend to be more robust.

In the early 1970s some Japanese set manufacturers developed decoding systems to avoid paying royalties to Telefunken. The Telefunken licence covered any decoding method that relied on the alternating subcarrier phase to reduce phase errors. This included very basic PAL decoders that relied on the human eye to average out the odd/even line phase errors. One solution was to use a 1H delay line to allow decoding of only the odd or even lines. For example, the chrominance on odd lines would be switched directly through to the decoder and also be stored in the delay line. Then, on even lines, the stored odd line would be decoded again. This method effectively converted PAL to NTSC. Such systems suffered hue errors and other problems inherent in NTSC and required the addition of a manual hue control.

PAL and NTSC have slightly divergent colour spaces, but the colour decoder differences here are ignored.

:* PAL supports SMPTE 498.3 while NTSC is compliant with EBU Recommendation 14.

The issue of frame rates and colour subcarriers is ignored in this technical explanation. These technical details play no direct role (except as subsystems and physical parameters) to the decoding of the signal.

PAL vs. SECAM

SECAM is an earlier attempt at compatible colour television which also tries to resolve the NTSC hue problem. It does so by applying a different method to colour transmission, namely alternate transmission of the U and V vectors and frequency modulation, while PAL attempts to improve on the NTSC method.

SECAM transmissions are more robust over longer distances than NTSC or PAL. However, owing to their FM nature, the colour signal remains present, although at reduced amplitude, even in monochrome portions of the image, thus being subject to stronger cross colour. Like PAL, a SECAM receiver needs a delay line.

PAL signal details

For PAL-B/G the signal has these characteristics.

(Total horizontal sync time 12.05 µs)

After 0.9 µs a colourburst of cycles is sent. Most rise/fall times are in range. Amplitude is 100% for white level (white colour on a monochrome receiver), 30% for black, and 0% for sync.

) signal used in analogue television systems M and N before combination with a sound carrier and modulation onto an RF carrier.]]

The vertical timings are:

(Total vertical sync time 1.6 ms)

As PAL is interlaced, every two fields are summed to make a complete picture frame.

Luminance, $Y$, is derived from red, green, and blue ($R\text{'}G\text{'}B\text{'}$) signals: has no significant impact on either non system I receivers or non system I source material as the extra lines are not within the normal display area and do not contain anything in the other standards anyway. All Digital TV broadcasts and digital recordings (e.g. DVDs) conform to the 576 active line standard.

PAL-B/G/D/K/I

The majority of countries using PAL have television standards with 625 lines and 25 frames per second, differences concern the audio carrier frequency and channel bandwidths. Standards B/G are used in most of Western Europe, Australia and New Zealand, standard I in the UK, Ireland, Hong Kong, South Africa and Macau, standards D/K in most of Central and Eastern Europe and Standard D in mainland China. Most analogue CCTV cameras are Standard D.

Systems B and G are similar. System B is used for 7 MHz-wide channels on VHF, while System G is used for 8 MHz-wide channels on UHF (and Australia uses System B on UHF). Similarly, Systems D and K are similar except for the bands they use: System D is only used on VHF, while System K is only used on UHF. Although System I is used on both bands, it has only been used on UHF in the United Kingdom due to 405-line TV services on VHF operating until the 1980s.

PAL-M (Brazil)

In Brazil, PAL is used in conjunction with the 525 line, 29.97 frame/s system M, using (very nearly) the NTSC colour subcarrier frequency. Exact colour subcarrier frequency of PAL-M is 3.575611 MHz. Almost all other countries using system M use NTSC.

The PAL colour system (either baseband or with any RF system, with the normal 4.43 MHz subcarrier unlike PAL-M) can also be applied to an NTSC-like 525-line (480i) picture to form what is often known as "PAL-60" (sometimes "PAL-60/525", "Quasi-PAL" or "Pseudo PAL"). PAL-M (a broadcast standard) however should not be confused with "PAL-60" (a video playback system — see below).

PAL-N (Argentina, Paraguay, Uruguay)

In Argentina, Paraguay and Uruguay the PAL-N variant is used. It employs the 625 line/50 field per second waveform of PAL-B/G, D/K, H, I, but on a 6MHz channel with a chrominance subcarrier frequency of 3.582 MHz very similar to NTSC.

VHS tapes recorded from a PAL-N or a PAL-B/G, D/K, H, I broadcast are indistinguishable because the downconverted subcarrier on the tape is the same. A VHS recorded off TV (or released) in Europe will play in colour on any PAL-N VCR and PAL-N TV in Argentina, Paraguay, and Uruguay. Likewise, any tape recorded in Argentina or Uruguay off a PAL-N TV broadcast, can be sent to anyone in European countries that use PAL (and Australia/New Zealand, etc.) and it will display in colour. This will also play back successfully in Russia and other SECAM countries, as the USSR mandated PAL compatibility in 1985 - this has proved to be very convenient for video collectors.

People in Uruguay, Argentina and Paraguay usually own TV sets that also display NTSC-M, in addition to PAL-N. Direct TV also conveniently broadcasts in NTSC-M for North, Central and South America. Most DVD players sold in Argentina, Uruguay and Paraguay also play PAL discs - however, this is usually output in the European variant (colour subcarrier frequency 4.433618 MHz), so people who own a TV set which only works in PAL-N (plus NTSC-M in most cases) will have to watch those PAL DVD imports in black and white as the colour subcarrier frequency in the TV set is the PAL-N variation, 3.582056 MHz.

In the case that a VHS or DVD player works in PAL (and not in PAL-N) and the TV set works in PAL-N (and not in PAL), there are two options:

images can be seen in black and white, or

an inexpensive transcoder (PAL -> PAL-N) can be purchased in order to see the colours

Some DVD players (usually lesser known brands) include an internal transcoder and the signal can be output in NTSC-M, with some video quality loss due to the system's conversion from a 625/50 PAL DVD to the NTSC-M 525/60 output format. A few DVD players sold in Argentina, Uruguay and Paraguay also allow a signal output of NTSC-M, PAL, or PAL-N. In that case, a PAL disc (imported from Europe) can be played back on a PAL-N TV because there are no field/line conversions, quality is generally excellent.

Extended features of the PAL specification, such as Teletext, are implemented quite differently in PAL-N. PAL-N supports a modified 608 closed captioning format that is designed to ease compatibility with NTSC originated content carried on line 18, and a modified teletext format that can occupy several lines.

PAL-L

The PAL L (Phase Alternating Line with L-sound system) standard uses the same video system as PAL-B/G/H (625 lines, 50 Hz field rate, 15.625 kHz line rate) but with 6 MHz video bandwidth rather than 5.5 MHz. This requires the audio subcarrier to be moved to 6.5 MHz. An 8 MHz channel spacing is used for PAL-L.

PAL-L is used on some hotel internal distribution systems, as well as other public display and plant television systems. It is not used by any national TV networks. One example of a receiver with PAL-L support is Thomson 24WK25.

System A

The BBC tested their pre-war 405 line monochrome system with all three colour standards including PAL, before the decision was made to abandon 405 and transmit colour on 625/System I only.

PAL interoperability

The PAL colour system is usually used with a video format that has 625 lines per frame (576 visible lines, the rest being used for other information such as sync data and captioning) and a refresh rate of 50 interlaced fields per second (i.e. 25 full frames per second), such systems being B, G, H, I, and N (see broadcast television systems for the technical details of each format).

This ensures video interoperability. However as some of these standards (B/G/H, I and D/K) use different sound carriers (5.5MHz, 6.0MHz 6.5MHz respectively), it may result in a video image without audio when viewing a signal broadcasted over the air or cable. Some countries in Eastern Europe which formerly used SECAM with systems D and K have switched to PAL while leaving other aspects of their video system the same, resulting in the different sound carrier. Instead, other European countries have changed completely from SECAM-D/K to PAL-B/G.

On the other hand, the PAL-N system not only has a different sound carrier, but also a different color subcarrier, leading to a non interoperability with the other PAL systems resulting in a black and white video image without sound. Finally, the PAL-M system not only has a different sound carrier and a different color subcarrier, but it is not even 625/50 leading to total non interoperability. This would result in no video or audio at all when viewing a European signal.

Multisystem PAL support and "PAL 60"

Recently manufactured PAL television receivers can typically decode all of these systems except, in some cases, PAL-M and PAL-N. Many of receivers can also receive Eastern European and Middle Eastern SECAM, though rarely French-broadcast SECAM (because France uses the unique positive video modulation) unless they are manufactured for the French market. They will correctly display plain CVBS or S-video SECAM signals. Many can also accept baseband NTSC-M, such as from a VCR or game console, and RF modulated NTSC with a PAL standard audio subcarrier (i.e. from a modulator), though not usually broadcast NTSC (as its 4.5 MHz audio subcarrier is not supported). Many sets also support NTSC with a 4.43 MHz subcarrier.

Many 1990s onwards VCR players sold in Europe can play back NTSC tapes/discs. When operating in this mode most of them do not output a true (625/25) PAL signal but rather a hybrid consisting of the original NTSC line standard (525/30) but with colour converted to PAL 4.43 MHz - this is known as "PAL 60" (also "quasi-PAL" or "pseudo PAL") with "60" standing for 60 Hz (for 525/30), instead of 50 Hz (for 625/25). Some video game consoles also output a signal in this mode. Most newer television sets can display such a signal correctly but some will only do so (if at all) in black and white and/or with flickering/foldover at the bottom of the picture, or picture rolling (however, many old TV sets can display the picture properly by means of adjusting the V-Hold and V-Height knobs — assuming they have them). Some TV tuner cards or video capture cards will support this mode (although software/driver modification can be required and the manufacturers' specs may be unclear). A "PAL 60" signal is similar to an NTSC (525/30) signal but with the usual PAL chrominance subcarrier at 4.43 MHz (instead of 3.58 as with NTSC and South American PAL variants) and with the PAL-specific phase alternation of the red colour difference signal between the lines.

Most European DVD players output a true NTSC-M signal when playing NTSC discs, which many modern European TV sets can resolve.

Countries and territories using PAL

Over 120 countries and territories use or once used the terrestrial PAL system. Many of these are currently converting terrestrial PAL to DVB-T (PAL still often used by cable TV or in conjunction with a digital standard, such as DVB-C).

PAL B, G, D, K or I

(DVB-T introduction started in 2004) Ascension Island (PAL broadcast to be abandoned by 2012, simulcast in DVB-T) (DVB-T introduction started in 2001, PAL to be abandoned for DVB-T by 2013) (migrated from SECAM 1994–1996) (set to migrate to DVB-T in 2012, although such broadcasts are currently only available in Sofia) (PAL-D, digital broadcast using DMB-T/H) (historic, Chile adopted NTSC-M and now will be abandoned for ISDB-T) (see Australia) (see New Zealand) (PAL broadcast abandoned by the end of 2010; broadcasting now in DVB-T, introduction started in 2005) (migrated from SECAM 1992–1994) (DVB-T introduction started in 2006, PAL to be abandoned for DVB-T by 2012) (Timor-Leste) (migrated from SECAM 1990–1992) (UHF only) (used SECAM, completely migrated to PAL-D/K in 2000s) (East Germany used SECAM, after reunification migrated to PAL in early 1990s; PAL broadcast abandoned at the end of 2008; DVB-T introduction started in 2003) (State TV ERT migrated from SECAM in ca. 1992- private channels use PAL since their launch in 1989 - DVB-T introduction started in 2006.) (PAL-I, DMB-T/H introduced since 31 December 2007, PAL-I broadcast planned to be abandoned in 2012) (migrated from SECAM 1995–1996; PAL broadcast to be abandoned by 31 December 2011; is converting to DVB-T) (PAL broadcast to be abandoned by 2018; simulcast in DVB-T since 2008) (VHF and UHF) (PAL transmitter shutdown complete on 30 March 2011; DVB-T introduced) (PAL broadcast to be abandoned by 2012, already abandoned in some provinces; currently converting to DVB-T) (migrated from SECAM 1997–1999; PAL to be abandoned by 29 October 2012, Simulcast in DVB-T) (PAL-I, digital broadcast using DMB-T/H) (PAL broadcast to be abandoned by 2012; DVB-T introduction started in 2005) (Preliminary DVB-T Trials ended, further trials planned. Set top box and Digital TV not yet available on sale, but USB DVB-T receivers for viewing on a computer are widely available now. Plans to abandon PAL broadcast by 2015) (Broadcasting now in DVB-T) (PAL broadcast to be abandoned by 2012–2017, simulcast in DVB-S (since 2007) & DVB-T (gradually rolled out since mid-2008 starting with major centres)) (see Australia) (Gaza & West Bank) (migrated from SECAM 1993–1995; PAL broadcast to be abandoned by 2013; is converting to DVB-T) , including and (PAL broadcast to be fully abandoned by 2011, DVB-T simulcast since 2007) (PAL broadcast to be abandoned by 2010–2011; is converting to DVB-T since early 2007) (Samoa is converting to NTSC and probably ATSC) (which also uses SECAM) (DVB-T introduction started in 2005, PAL broadcast to be abandoned by 2015) (which also uses DVB-T for HDTV broadcasts) (migrated from SECAM 1992–1994; PAL to be abandoned by 2012, is converting to DVB-T) (PAL to be abandoned by 2013, is converting to DVB-T) (Tonga is converting to NTSC and probably ATSC) (along with SECAM) (UHF only, PAL broadcast to be abandoned by 2012, already abandoned in some regions. Simulcast in DVB-T. DVB-T introduction started in 1998, DVB-T2 added from 2009.)

PAL-M

(simulcast with digital format in SBTVD-T, an update to ISDB-T, started in December 2007. PAL broadcast continues until 2016)

PAL-N

(ISDB-T with Brazilian mods chosen for Digital TV) (will use ISDB-T but no date decided yet)

Countries and territories that once used PAL

{| class="wikitable sortable" border="1" cellspacing="0" cellpadding="5" |- ! Country ! Switched to ! Switchover completed |- | | DVB-T | 2007-09-2525 September 2007 |- | | DVB-T | 2011-06-077 June 2011 |- | | DVB-T | 2010-03-011 March 2010 |- | | DVB-T | 2010-10-055 October 2010 |- | | DVB-T | 2009-11-011 November 2009 |- | | DVB-T | 2010-07-011 July 2010 |- | | DVB-T | 2007-09-011 September 2007 |- | | DVB-T | 2010-06-011 June 2010 |- | | DVB-T | 2006-09-011 September 2006 |- | | DVB-T | 2006-12-1414 December 2006 |- | | DVB-T | 2009-12-011 December 2009 |- | | DVB-T | 2010-12-011 December 2010 |- | | DVB-T | 2010-04-033 April 2010 |- | | DVB-T | 2007-10-2929 October 2007 |- | | DVB-T | 2007-11-2626 November 2007 |- |}

See also

PALplus

Broadcast television systems

*ATSC Standards

*BTSC

*NTSC

*NTSC-J

*RCA

*SECAM

Moving image formats

Early television stations

Digital television

Broadcast safe

PAL region

Differential gain

References

External links

More information about TV standards

Review of the different refresh rates of PAL, NTSC and motion picture films

Australian VHF/UHF PAL B/G Television System Datasheet

Convert PAL DVD to NTSC DVD

Category:Video formats Category:Television technology Category:ITU-R recommendations

Name	Laxmikant-Pyarelal
Background	non_performing_personnel
Birth name	Laxmikant Shantaram Kudalkar, Pyarelal Ramprasad Sharma
Alias	LP, Laxmi-Pyare
Born	1937Maharashtra, India (Laxmikant), 1940 Gorakhpur, Uttar Pradesh, India (Pyarelal)
Died	May 25, 1998 (Laxmikant)
Genre	Film score, Fusion music
Occupation	Composer, music director, orchestrator, conductor
Years active	1963–present

Laxmikant-Pyarelal (, also known as LP or Laxmi-Pyare) were a popular Bollywood composer duo, consisting of Laxmikant Shantaram Kudalkar (1937–1998) and Pyarelal Ramprasad Sharma (born 1940). They composed music for about 500 Bollywood movies from 1963 to 1998, working for almost all notable filmmakers including Raj Kapoor, Dev Anand, Feroze Khan, B.R. Chopra, Shakti Samanta, Manmohan Desai, Yash Chopra, Subhash Ghai and Manoj Kumar.

Early life

Laxmikant

Laxmikant was born into a poor family. He was quite impressed by mandolin and learnt to play it on his own eventually playing the mandolin publicly in street functions. Later, for financial reasons, he started organizing Indian Classical Music concerts and started performing in them. He also started playing mandolin for Bollywood film music directors.

Pyarelal

Pyarelal was the son of a renowned trumpeter Pt. Ramprasad Sharma (popularly known as Babaji), who taught him the basics of music. He learnt to play violin from a Goa Amar Akbar Anthony as a tribute to Mr. Gonsalves (The movie had music by Laxmi-Pyarelal).

Pyarelal was born in Gorakhpur district of Uttar Pradesh. Started learning violin at the age of 8 and practised it 8 to 12 hours daily. At the age of 12, he started playing violin in studios to earn money for his family, whose financial condition had deteriorated.

Formation of composer duo

When Laxmikant was about 10 years old, he once played mandolin in a Lata Mangeshkar concert in Radio Club, Colaba. Lata was so impressed that she talked to him after the concert

Laxmikant and Pyarelal met at Sureel Kala Kendra, a music academy for children, run by the Mangeshkar family. After she came to know about their financially poor backgrounds, Lata recommended their names to music directors like Naushad, Sachin Dev Burman and C. Ramchandra. Similar financial backgrounds and age made Laxmikant and Pyarelal very good friends. They used to spend long hours at the recording studios, sometimes getting work for each other and even playing together whenever they got the opportunity.

Pyarelal often used to frequent the Bombay Chamber Orchestra and the Paranjoti Academy, where he would perfect his skills in the company of Goody Seervai, Coomi Wadia, Mehli Mehta and his son, Zubin Mehta. Laxmi-Pyare were not content with the payments being made to them for their music, so they decided to go to Madras (now Chennai). But, it was the same story there. So, they returned back. Once Pyarelal decided to leave India and go to Venice to play for symphony orchestras, just like Zubin. However, he stayed back at Laxmikant's insistence. Some of Laxmi-Pyare's colleagues at this time included Pandit Shivkumar Sharma (Santoor) and Pandit Hariprasad Chaurasia (flute). Later, Shivkumar and Hariprasad also ventured in Bollywood as Shiv-Hari.

Laxmi-Pyare worked with almost all reputed music directors (with the exception of O. P. Nayyar and Shankar-Jaikishan) of the 1950s. In 1953, they became assistants to Kalyanji-Anandji and worked with them as assistants till 1963. They worked as music arrangers for many music directors including Sachin Dev Burman (in Ziddi) and also for his son Rahul Dev Burman (in his first film Chhote Nawab). Laxmi-Pyare and R D Burman remained very good friends, even when Laxmi-Pyare started giving music independently. R D Burman played mouth organ for all songs of Dosti. Laxmikant once made a guest appearance playing role of himself as a Composer of Song "Dil Ki Baat" in Teri Kasam (1982), which had music by R D Burman.

Music career

In their early days, Laxmi-Pyare's music was very similar to Shankar-Jaikishan's music, as Laxmikant was a great fan of theirs. Once Shankar even changed his orchestration to make sure that his music did not sound like Laxmi-Pyare's. Laxmi-Pyare's first film as music directors was not released. The first released movie which featured them as music directors was Babubhai Mistry's Parasmani (1963), which was a B-grade mythological film. Throughout their tenure as music directors, Laxmi-Pyare only used A-grade singers. Their mentors, Lata Mangeshkar and Mohammad Rafi, agreed to sing for them in spite of low budgets, and Laxmi-Pyare always remained indebted to them. In fact, both Mohammad Rafi and Lata have sung the maximum number of songs in their career for Laxmi-Pyare.They continued to give patronage to Mohammed Rafi , sometimes against filmmakers' wishes. They had a great rapport with Kishore Kumar as well. Kishore Kumar sang maximum songs (402) for LP among all male singers, followed by Rafi(about 365 songs).

Laxmi-Pyare hit the big time with Rajshri Productions' 1964 film Dosti. The film had two newcomer heroes who never became popular, and the film was a success due to its music. Songs like Chahoonga main tujhe shaam savere and Rahi manava became very popular. At that time, many used to think that there was a single person by the name of Laxmikant Pyarelal. Laxmi-Pyare won their first Filmfare Best Music Director Award for the movie, ahead of stalwarts like Shankar-Jaikishan (for Sangam) and Madan Mohan (for Woh Kaun Thi?).

After Dosti's success, Laxmi-Pyare started getting work from all major filmmakers. The rise of Laxmi-Pyare, Rahul Dev Burman, and Kalyanji-Anandji marked the end of an old era of Bollywood music, which belonged to Shankar-Jaikishan, Sachin Dev Burman, Naushad(Mausicar-e-azam), C. Ramchandra, Khayyam, Madan Mohan, O. P. Nayyar, Roshan and others.

The team of Laxmi-Pyare and lyricist Anand Bakshi churned out some of the most popular songs in Bollywood history. The combo composed songs for more than 250 movies. Anand Bakshi was the lyricist who wrote the maximum number of texts Laxmi-Pyare gave music to. He was actually the lyricist for all the films for which Laxmi-Pyare won Filmfare Awards, except their very first award.

Style of music

Laxmi-Pyare gave Indian classical music as well as Western music. But they were most popular for their folk tunes and semi-classical music. In Shagird, they created Rock-n-Roll-style foot-tapping melodies. The film Karz is worth specially mentioning here where LP successfully, gave disco-like music, in this film they had experimented with a ghazal "Dard-e-dil Dard-e- jigar" by westernizing it. The song is strongly remembered even now, and the duo the Filmfare Best Music Director Award for the year.

Although not as a rule, Laxmikant mostly looked after vocals and Pyarelal used to take care of orchestration. Both had vast knowledge of various music generes, musical instruments and orchestra management.

Kishore, Lata and Laxmikant-Pyarelal

Lata Mangeshkar played a major role in shaping up the careers of LP. She sang the maximum numbers of songs for them. She sounded extremely melodious under LP. Lata Mangeshkar and Laxmikant-Pyarelal shared a long, close and rewarding association. From 1963, to the next 35 years, Lata Mangeshkar and Laxmikant-Pyarelal were to chalk up around 700 songs together, which accounted for one in every 10 Hindi film songs recorded by the Melody Queen, and one of every four songs composed by the duo. Their work includes a variety and range; there were chart-slammers and classics, and chaalu numbers as well as connoisseur choices.

LP also produced some memorable songs rendered by Kishore Kumar namely "Mere Mehboob Quayamat hogi", "Ye Dard Bhara Afsana", "Ye Jeevan Hai", "mere Diwane Pan Ki", "Aap Ke Anurodh Pe", "Ik Ritu Aaye", "Gadi bula rahi hai", "Ruk jana Nahi" and "Om Shanti Om" amongst many others.

LP worked with Mohammad Rafi, Kishore Kumar, Mukesh, Asha Bhosle, Manna Dey, Mahendra Kapoor, Amit Kumar, Alka Yagnik, Udit Narayan, Shailender Singh, S.P.Balasubrahmanyam, Anuradha Paudwal. However, they also gave big breaks to many newcomers like , Kavita Krishnamurthy, Mohammed Aziz, Suresh Wadkar and Shabbir Kumar, Sukhwinder Singh, Vinod Rathod, Roop Kumar Rathod etc.

After Laxmikant's death

After Laxmikant's death, Pyarelal has done some work independently. When the playback singer Kumar Sanu turned music director, he approached Pyarelal to arrange music for him. Pyarelal was approached to assist in the music of Farah Khan's Om Shanti Om song "Dhoom Tana", but no credit was given to him on the album, as per Pyareji's insistence. In 2009 Pyarelal won the Sachin Dev Burman International Award for Creative Sound and Music at the Pune Film Festival.

Selected discography

Laxmi-Pyare gave music for almost 635 films in their 35-year career, winning 32 Gold Discs. They won seven Filmfare Awards, including four times in a row. They also won the Lata Mangeshkar Award. Some of their successful scores include

Parasmani (1963)

Dosti (1964)

Sati Savitri (1964)

Aaye Din Bahar Ke (1966)

Farz (1967)

Milan (1967)

Shagird (1967)

Mere Humdum Mere Dost (1968)

Raja Aur Runk (1968)

Do Raaste (1969)

Jeene Ki Raah (1969)

Aan Milo Sajna (1971)

Humjoli (1970)

Khilona (1970)

Mehboob Ki Mehndi (1971)

Mera Gaon Mera Desh (1971)

Patthar ke Sanam (1971)

Shor (1972)

Dushman (1972)

Gora Aur Kala (1972)

(1973)

Bobby (1973)

Roti (1974)

Roti Kapda Aur Makaan (1974)

Amar Akbar Anthony (1977)

Anurodh (1977)

Chacha Bhatija (1977)

Satyam Shivam Sundaram (1978)

Sargam (1979)

Karz (1980)

Ek Duuje Ke Liye (1981)

Kranti (1981)

Naseeb (1981)

Prem Rog (1982)

Hero (1983)

Utsav (1984)

Mr. India (1987)

Tezaab (1988)

Chaalbaaz (1989)

Ram Lakhan (1989)

Hum (1991)

Saudagar (1991)

Khuda Gawah (1992)

Khalnayak (1993)

Trimurti (1995)

Poonila Mazha Malayalam -Gireesh Puthenchery''.

In 1997 they also given music for a Malayalam film Poonila Mazha with the Lyricist Gireesh Puthenchery.

For a complete filmography, please see Pyarelal's IMDB entry and Laxmikant's IMDB entry.

Awards

After Laxmikant-Pyarelal made debut as a music director duo in 1963, they were nominated for the Filmfare Awards (Best Music Director) almost every year. Many times, they were nominated for three or more numbers of films in a particular year. At the same time LP narrowly missed the awards for musical hits like Aaye Din Bahar Ke, Intquam, Do Raste, Mera Gaon Mera Desh, Shor, Daag, Bobby, Ek Duje Ke Liye, Utsav and Sur Sangam, Farz, Shagird, Tejab, Hero and Mr. India''.

LP got 7 Filmfare Trophies, for the following films:

1964: Dosti

1967: Milan

1969: Jeene Ki Raah

1977: Amar Akbar Anthony

1978 Satyam Shivam Sundaram

1979: Sargam

1980: Karz

Achievements

As musicians, Laxmikant Pyarelal have worked for every reputed music director of the 1950s with the exception of O.P. Nayyar.

Laxmikant Pyarelal have given music to over 500 Hindi films.

Laxmikant Pyarelal are also winners of Indian Government’s prestigious Lata Mangeshkar Award.

Singer Lata Mangeshkar has sung the maximum number of songs in her career ever for this duo.

In the third quarter of 1963, LP's first ever songs Hasta Hua Nurani Chehara form Parasmani hit the Binaca Geetmala. After that LP's songs were regularly and prominently aired on the radio show. There used to be sixteen songs in each of the weekly Binaca Geetmala programme, more than half the numbers of the songs were of LP. There are certain weekly Binaca Geetmala programmes in which more than 13 out of 16 songs of LP were broadcast.

Even today, LP’s music is very popular all over India, even in the interior hearts of the country, and their music has always been more well-known than they personally ever were, contrary to all their contemporaries.

References

External links

Pyarelal's IMDB entry

Laxmikant's IMDB entry

A Website Dedicated to LP with Official Support

Filmography of Laxmikant-Pyarelal (over 490 movies)

List of hindi songs from Laxmikant-Pyarelal (over 825 songs)

Lyrics of Hindi Movie Songs composed by Laxmikant-Pyarelal

Category:Indian film score composers Category:Filmfare Awards winners Category:Duos Category:1937 births Category:1940 births Category:1998 deaths

Name	Kishore Kumar
Background	solo_singer
Spouse	Rama Devi, Madhubala, Yogeeta Bali, Leena Chandawarkar
Birth name	Abhas Kumar Ganguly
Born	August 04, 1929Khandwa, Central Provinces and Berar
Died	October 13, 1987Mumbai, Maharashtra
Genre	Playback, Rabindra Sangeet, rock and roll
Occupation	Singer, actor, director, musician, producer
Years active	1946–1987

Kishore Kumar (Bengali:কিশোর কুমার ( ; 4 August 1929 – 13 October 1987) was an Indian film playback singer and an actor who also worked as lyricist, composer, producer, director, screenwriter and scriptwriter. Kishore Kumar sang in many Indian languages including Bengali, Hindi, Marathi, Assamese, Gujarati, Kannada, Bhojpuri, Malayalam and Oriya. He was the winner of 8 Filmfare Award for Best Male Playback Singer and holds the record for most number of Filmfare Awards won for that category.

Early life

Kishore Kumar was born into the Bengali Brahmin Ganguly family in Khandwa, Central Provinces and Berar (now in Madhya Pradesh) as Abhas Kumar Ganguly. His father Kunjalal Ganguly (Gangopadhya) was a lawyer. His mother Gouri Devi came from a Bengali family. Kishore was the youngest of four siblings, the other three being Ashok Kumar (the eldest), Sati Devi, and Anoop Kumar.

While Kishore was still a child, Ashok Kumar became a Bollywood actor. (Later, Anoop Kumar also ventured into cinema with the help of Ashok Kumar). Spending time with his brothers, Kishore also started to take a keen interest in movies and music. He became a fan of singer-actor Kundan Lal Saigal, whom he considered his guru, and tried to follow Saigal's singing style.

Career

After Ashok Kumar became a Bollywood star, the Ganguly family used to visit Bombay regularly. Abhas Kumar changed his name to Kishore Kumar and started his cinema career as a chorus singer at Bombay Talkies, where his brother worked. His first film as an actor was Shikari (1946), in which Ashok Kumar played the lead role. Music director Khemchand Prakash gave him a chance to sing the song Marne ki duayen kyon mangu for the film Ziddi (1948). After this, Kishore Kumar got many other assignments, but he was not very serious about a film career. In 1949, he decided to settle in Mumbai.

Kishore Kumar played hero in the Bombay Talkies film Andolan (1951), directed by Phani Majumdar. Although Kishore Kumar got some assignments as an actor with help of his brother, he was more interested in becoming a singer. He was not interested in acting, but his elder brother Ashok Kumar wanted him to be an actor like himself.

He starred in Bimal Roy's Naukri (1954) and Hrishikesh Mukherjee's directorial debut Musafir (1957). Salil Chowdhury, the music director for Naukri was initially dismissive of him as a singer, when he came to know that Kishore Kumar didn't have any formal training in music. However, after hearing his voice, he gave him the song Chhota sa ghar hoga, which was supposed to be sung by Hemant Kumar.

Kishore Kumar starred in films New Delhi (1957), Aasha (1957), Chalti Ka Naam Gaadi (1958), Half Ticket (1962), and Padosan (1968). Chalti Ka Naam Gaadi'', his home production, starred the three Ganguly brothers, and Madhubala. The film is about romance between a city girl (Madhubala) and a car mechanic (Kishore Kumar), with a subplot involving brothers.

Music director S. D. Burman is credited with spotting Kishore Kumar's talent as a singer, and advancing his singing career. During the making of Mashaal (1950), Burman visited Ashok Kumar's house, where he heard Kishore imitating K. L. Saigal. He complimented Kishore, but also told him that he should develop a style of his own, instead of copying Saigal. He kept Burman's advice in mind, and eventually developed his own style of singing, which featured the yodeling that he had heard on some records of Jimmie Rodgers bought by his brother Anoop Kumar.

S. D. Burman recorded with Kishore for Dev Anand's Munimji (1954), Taxi Driver (1954), House No. 44 (1955), Funtoosh (1956), Nau Do Gyarah (1957), Paying Guest (1957), Guide (1965), Jewel Thief (1967), Prem Pujari (1970), and Tere Mere Sapne (1971). He also composed music for Kishore Kumar's home production Chalti Ka Naam Gaadi (1958). Some of their initial films included the songs Maana Janaab Ne Pukara Nahin from Paying Guest, Hum Hain Rahi Pyar Ke from Nau Do Gyarah (1957), Ai Meri Topi Palat Ke Aa from Funtoosh, and Ek Ladki Bheegi Bhaagi Si and Haal Kaisa Hai Janaab Ka from Chalti Ka Naam Gaadi (1958). Asha Bhosle and Kishore Kumar performed duets composed by S. D. Burman including Chhod Do Aanchal from Paying Guest (1957), Ankhon Mein Kya Ji from Nau Do Gyarah (1957), Haal Kaisa Hai Janaab Ka and Paanch Rupaiya Baara Aana from Chalti Ka Naam Gaadi (1958), Chhedo Na Meri Zulfein from Ganga Ki Lahren (1964), and Arre Yaar Meri Tum Bhi Ho Gajab from [Teen Devian|Teen Deviyan] (1965).

C. Ramchandra was another music director who recognized Kishore Kumar's talent as a singer.

R. D. Burman frequently used Kishore Kumar as the male singer, and recorded several songs with him in the 1970s. Some Kishore Kumar-R. D. Burman songs include O Maajhi Re from Khushboo, Yeh Shaam Mastaani and Yeh Jo Mohabbat Hai from Kati Patang (1971), Kuchh To Log Kahenge from Amar Prem (1972), "Raat Kali Ek Khwab Mein Aayi" from Buddha Mil Gaya (1971), Musafir Hoon Yaaron from Parichay (1972), Diye Jalte Hain from Namak Haraam (1973), Meri Bheegi Bheegi Si from Anamika (1973), Zindagi Ke Safar Mein from Aap Ki Kasam (1974), Agar Tum Na Hote, Humein Tum Se Pyaar Kitna from Kudrat, "Mere Naina Saawan Bhadon" from Mehbooba, and Chingari Koi Bhadke (Amar Prem), Jab Bhi Koi Kangana from Shaukeen (1986). R. D. Burman also recorded several duets pairing Kishore Kumar with Asha Bhosle and with Lata Mangeshkar. Some of these duets include Panna Ki Tamanna from Heera Panna (1973), Neend Chura Ke Raaton Mein from the film Shareef Budmaash, Kya Yehi Pyaar Hai from Sanjay Dutt's debut film Rocky (1981), Sagar Kinare from Sagar in [1985], Aap Ki Aankhon Mein Kuchh from Ghar, Jaane Ja Dhoondta and Nahi Nahi from Jawani Diwani, "Kharoshoo" from Harjai (1982).

Apart from the Burmans, Kishore Kumar worked with other music directors as well. The composer duo Laxmikant-Pyarelal (L-P) also composed many songs sung by Kishore Kumar. Some of their songs include Mere Mehboob Qayamat Hogi from Mr. X In Bombay, Mere Naseeb Mein Aye Dost from Do Raaste, Yeh Jeevan Hai from Piya Ka Ghar, Mere Dil Mein Aaj Kya Hai from , Nahi Mai Nahi Dekh Sakta from Majboor, Mere diwanepan ki bhi from Mehboob Ki Mehndi, Naach Meri Bulbul from Roti, Chal Chal Mere Haathi from Haathi Mere Saathi, Gaadi Bula Rahi Hai from Dost, Ruk Jaana Nahi from Imtihaan, Ek Ritu Aaye from Gautam Govinda, My Name Is Anthony Gonsalves from Amar Akbar Anthony Bahut Khoobsurat Jawan Ek Ladki from Dostana and Om Shanti Om as well as Paisa Yeh Paisa from Karz. Laxmikant-Pyarelal also composed several Kishore-Lata duets, including Achchha To Hum Chalte Hain from Aan Milo Sajna, Gore Rang Pe Na Itna from Roti, Main Solah Baras Ki from Karz, and Din Mahine Saal from Avtaar, Tu Kitne Baras Ki from Karz. L-P also got Kishore Kumar and Mohammed Rafi to sing duets for the films Dostana, Ram Balram and Deedaar-E-Yaar. L-P composed a duet with Kishore Kumar and Alisha Chinoy, I love you (Kaate Nahin Katate Yeh Din Yeh Raat) from Mr. India in (1987). Salil Chowdhury recorded songs like Koi Hota Jisko Apna from Mere Apne and Gujar Gaye Din Din from Annadata. Ravindra Jain recorded Ghungroo Ki Tarah, and the duet Tota Maina Ki Kahani from Fakira. Khaiyyaam recorded beautiful duets with Lata Mangeshkar such as Hazar Rahein from Thodisi Bewafai, Aankhon Mein Humne Aapke Sapne Sajaye Hain, Chandani Raat Mein Ek Bar. Hridaynath Mangeshkar recorded Zindagi Aa Raha Hoon Main from Mashaal. Kalyanji-Anandji recorded several songs with Kishore Kumar including Zindagi Ka Safar and Jeevan se na haar Jeenewale , from Safar, Pal Pal Dil Ke Paas from Black Mail, Apne Jeevan Ki Uljhan from Uljhan, Mera Jeevan Kora Kagaz from Kora Kagaz, O Saathi Re from Muqaddar Ka Sikandar, Khaike Paan Banaraswala from Don, Neele Neele Ambar Par from Kalakar and Pal Bhar Ke Liye from Johny Mera Naam.

Other composers including Rajesh Roshan, Sapan Chakravarty, and Bappi Lahiri also worked with Kishore Kumar. Rajesh Roshan's film Julie featured songs sung by Kishore Kumar, Bhool Gaya Saab Kuchh (duet with Lata Mangeshkar) and Dil Kya Kare Jab Kisise. Their other songs include Chhookar mere man ko from Yaarana, Tune Abhi Dekha Nahin from Do Aur Do Paanch and Kahan Tak Ye Man Ko Andhere Chhalenge from Baaton Baaton Mein. Bappi Lahiri also recorded many songs with Kishore Kumar, including Pag Ghunghroo Bandh from Namak Halal (1982), Manzilen Apni Jagah Hai from Sharaabi (1984) and Chalte Chalte Mere Ye Geet from Chalte Chalte (1976), Saason Se Nahi Kadmose Nahi from Mohabbat in (1987) and duets with (Lata Mangeshkar)) like Taa thaiya from Himmatwala in (1984), Albela Mausam from Tohfa in (1985) and another duet Pyar Ka Tohfa from the same film.

During the Indian Emergency (1975–1977), Sanjay Gandhi asked Kishore Kumar to sing for an Indian National Congress rally in Mumbai, but Kishore Kumar refused. As a result, the government put an unofficial ban on playing Kishore Kumar songs on the All India Radio or television.

Later years

Kishore Kumar produced and directed some movies in the late 1970s and early 1980s, such as Badhti Ka Naam Daadhi (1978), Zindagi (1981) and Door Wadiyon Mein Kahin (1980). His last appearance as an actor was in Door Wadiyon Mein Kahin.

With patronage from R. D. Burman and Rajesh Roshan, Kishore Kumar's son Amit Kumar also became a Bollywood singer in the 1980s. Kishore Kumar also continued singing for several actors. He also did some stage shows, apparently to earn money to pay his income tax arrears.

On 13 October 1987, he died of a heart attack in Mumbai at 4:45 pm. His body was taken to Khandwa for cremation. He had recorded his last song a day before he died. The song was Guru Guru, a duet with Asha Bhosle, for the film Waqt Ki Aawaz (1988) composed by Bappi Lahiri for Mithun Chakraborty and Sridevi.

Kishore Kumar's song Pal Bhar Ke Liye from the film Johny Mera Naam (1970) was used in an episode of The Simpsons titled "Kiss Kiss, Bang Bangalore". His songs have also been featured in several films, including Such a Long Journey (1998) and Side Streets (1998). Sony TV organised the television singing contest K for Kishore to search for a singer like Kishore Kumar.

Personal life

Kishore Kumar married four times. His first wife was Ruma Guha Thakurta aka Ruma Ghosh. Their marriage lasted from 1950 to 1958. Kishore's second wife was actress Madhubala, who had worked with him on many films including his home production Chalti Ka Naam Gaadi (1958). When Kishore Kumar proposed to her, Madhubala was sick and was planning to go to London for treatment. At this time, she didn't know that she had a ventricular septal defect, and her father wanted her to wait and consult the London doctors first. Nevertheless, Madhubala married Kishore in 1960. Madhubala was a Muslim, and the two had a civil marriage. Kishore converted to Islam and took the name Karim Abdul.

The doctors in London told Madhubala that she would not live for long. The marriage lasted for nine years, and ended with Madhubala's death on 23 February 1969. Kishore Kumar's third marriage was to Yogeeta Bali, and lasted from 1976 to 4 August 1978. Kishore was married to Leena Chandavarkar from 1980 until his death.

Kishore Kumar sired two sons, Amit Kumar (playback singer) with Ruma, and Sumit Kumar with Leena Chandavarkar.

Kumar is said to have been paranoid about not being paid. Once, when he discovered that his dues hadn't been fully paid, he landed up for shooting with make-up on only one side of his face. When the director questioned him, he replied "Aadha paisa to aadha make-up." (Half make-up for half payment). On another occasion, when producer R. C. Talwar did not pay his dues in spite of repeated reminders, Kishore turned up at Talwar's residence one morning and started shouting "Hey Talwar, de de mere aath hazaar" ("Hey Talwar, give me my eight thousand"). He did this every morning until Talwar paid him. Hrishikesh Mukherjee, the director of the film, was asked to meet Kishore Kumar to discuss the project. However, when he went to Kishore Kumar's house, he was driven away by the gatekeeper due to a misunderstanding. Kishore Kumar (himself a Bengali) hadn't been paid for a stage show organized by another Bengali man, and had instructed his gatekeeper to drive away this "Bengali", if he ever visited the house. When Hrishikesh Mukherjee (also a Bengali) went to Kishore Kumar's house, the gatekeeper drove him away, mistaking him for the "Bengali" that Kishore Kumar had asked him to drive away. Consequently, Mehmood had to leave the film as well, and new actors (Rajesh Khanna and Amitabh Bachchan) were signed up for the film. On one occasion, Kishore Kumar helped actor-turned-producer Bipin Gupta, by giving him Rs. 20,000 for the film Dal Mein Kala (1964). When actor Arun Kumar Mukherjee died, Kishore Kumar regularly sent money to his family in Bhagalpur. 1972 - Best Male Playback Singer for Andaz 1973 - Best Male Playback Singer for Hare Rama Hare Krishna 1975 - Best Male Playback Singer for Kora Kagaz

See also

Kishore Kumar filmography

List of Indian playback singers

Hindi songs

References

Further reading

External links

Category:1929 births Category:1987 deaths Category:Bengali people Category:People from Khandwa Category:Indian male singers Category:Indian actors Category:Indian film actors Category:Indian film singers Category:Cardiovascular disease deaths in India Category:Indian comedians Category:Bollywood playback singers Category:Yodelers Category:Bengali musicians Category:Bengali actors Category:Assamese playback singers Category:Indian former Muslims Category:People from Mumbai Category:Hindi film actors Category:Hindi film directors Category:Indian film directors Category:Indian film producers