It proved to be financially successful and one song from the film, "Hansta Hua Noorani Chehra, Kali Zulfen, Rang Sunehra", a duet by Lata Mangeshkar and Kamal Barot was a superhit and topped the musical charts that year.

[9] Its songs, "Jaanewalon Zara Mudke Dekho Mujhe", "Chaahunga Main Tujhe Sanjh Savere", "Mera To Jo Bhi Kadam Hai", "Koi Jab Raah Na Paaye", all solos by Mohammed Rafi were chartbusters which made Dosti one of the best-selling Hindi film albums of the 1960s and won Laxmikant-Pyarelal their maiden Filmfare Award for Best Music Director.

[1] In 1967, they scored music for Shagird, Patthar Ke Sanam, Night in London, Milan and Farz, all of which were among the top-earners of the year, which was attributed to their melodious soundtrack, especially the Jeetendra starrer spy thriller Farz whose songs, such as "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 and made its soundtrack one of the best-selling Hindi film album of the 1960s.

[22] One of its song "Ek Pyar Ka Nagma Hai", a duet by Mangeshkar and Mukesh with lyrics written by Santosh Anand emerged a mass favorite and got Laxmikant-Pyarelal another nomination in the Filmfare Award for Best Music Director category.

[17] Apart from Shor, their other notable works that year were in Basu Chatterjee's Piya Ka Ghar, Mohan Sehgal's Raja Jani and Naresh Kumar's Gora Aur Kala, which had evergreen melodies "Yeh Jeevan Hai", sung by Kishore Kumar, "Aa Aaja Aaja", a solo by Mangeshkar and "Dheere Dheere Bol, Koi Sun Na Le", a duet by Mukesh and Mangeshkar, respectively.

[25] The songs of the film like "Main Shayar To Nahin", "Hum Tum Ek Kamre Mein Band Ho", "Mujhe Kuchh Kehna Hai", "Na Mangun Sona Chandi" were huge chartbusters and remain popular till date.

[27][21] Apart from Bobby, they also delivered blockbuster music for Yash Chopra's romantic drama Daag: A Poem 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 former, "Aaj Mausam Bada Be-Imaan Hai" and "Koi Shehri Babu" in the latter.

[21][29] Other memorable songs composed by the 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 Range 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 by Mukesh.

[14][2] The final years of the decade saw the trend change from romantic to action oriented multi-starrers with filmmakers like Manmohan Desai and Prakash Mehra leading the road.

They made Mohammed Rafi sing majority of the songs as he was going through a rough patch owing to the meteoric rise of Kishore Kumar post-Aradhana (1969).

All the four films had a number of hit songs, such as "Dafli Wale Dafli Baja" and "Hum To Chale Pardes, Hum Pardesi Ho Gaye" (both Sargam), "Teri Rab Ne Bana Di Jodi" and "Ae Yaar Sun, Yaari Teri" (both Suhaag), "Chanda Mama Se Pyara Mera Mama" and "Doori Na Rahe Koi" (both Kartavya), "Chalo Re, Doli Uthao Kahaar" and "Tere Haathon Mein Pehnaake Chudiyan" (both Jaani Dushman).

[21][17] Despite facing competition from R. D. Burman in the beginning of decade, Laxmikant-Pyarelal emerged as the best-selling music composers of the 1970s with maximum number of songs in the year-end annual list of Binaca Geetmala from 1970 to 1979.

[21][14] Laxmikant-Pyarelal began the new decade with films, such as Aasha, Judaai, Karz, Dostana, Bandish and Ram Balram, all six of which had lyrics written by Anand Bakshi.

[38] At the box office, they emerged successful and their songs proved to be hugely popular among 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), "Mar Gayi Mujhe Teri Judaai" and "Mausam Suhane Aa Gaye, Pyar Ke Zamane Aa Gaye" (Judaai), "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).

[39][40][41] The soundtracks of Karz and Aasha proved to be two of the best-selling Hindi film albums of the 1980s with Laxmikant-Pyarelal winning their seventh and fourth consecutive Filmfare Award for Best Music Director for the former.

[42][43] They continued their winning streak from 1981 to 1983 by composing highly popular numbers in blockbusters, such as ""Zindagi Ki Na Toote Ladi" (Kranti), "John Jani Janardan" and "Mere Naseeb Mein" (Naseeb), "Tere Mere Beech Mein", "Hum Bane Tum Bane Ek Duuje Ke Liye" and "Solah Baras Ki" (Ek Duuje Ke Liye), "Mere Sang Sang Aaya" and "Kahaniyan Sunati Hai" (Rajput), "Bhanware Ne 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 Ne Bulaaya Hai" (Avtaar), "Sari Duniya Ka Bojh Hum Uthate Hai", "Lambuji Tinguji" and "Humka Ishq Hua" (Coolie).

[44][45][46] For Ek Duuje Ke Liye (1981), Prem Rog (1982) and Hero (1983), Laxmikant-Pyarelal received three successive Filmfare Award for Best Music Director nominations and their soundtracks emerged as three of the best-selling Bollywood albums of the decade along with that of Kranti (1981) and Naseeb (1981).

[14] In the mid-1980s, they delivered music 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), Parivaar (1987) and Mr. India (1987).

[48] Songs from both films emerged chartbusters and played a major role in their box office success and making Madhuri Dixit an overnight sensation.

[50] The following year, they delivered two more musical hits in Khuda Gawah and Prem Deewane, both of which received acclaim for their melodious songs and topped the sales-chart as well as the year-end annual list of Binaca Geetmala.

Signature works, such as those for the films Bobby (1973) and Amar Akbar Anthony (1977), exemplified their knack for innovation, combining catchy rhythms with melodic richness that appealed to a wide audience.

[67] Apart from Rafi, they also shared great rapport with Lata Mangeshkar, Kishore Kumar, Mukesh and lyricist Anand Bakshi with whom they worked in 302 films.

[68] Some of Laxmikant-Pyarelal's songs featured the tunes of popular foreign 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 from by George Benson's "We as Love (Live)", "Saathiya Tu Mere Sapno Ka Meet Hai" from Insaan (1982) was inspired by Brotherhood of Man's "Angelo" and "Jumma Chumma De De" from Hum (1991) was found to be similar to Mory Kanté's "Tama".