Akhil was the (Gujr)all-rounder

There have been songless films, although it is not a regular occurrence. And, of course, there have been musical bonanzas.

But do you know a film whose entire soundtrack is just one song?

The answer to that Bhoot – Part One: The Haunted Ship, which released in 2020.

And interestingly, the involvement of Akhil Sachdeva in the track – titled Channa Ve – wasn’t restricted to composing it, but he penned and rendered it as well.

The only portion he didn’t sing was the female portion, which Mansheel Gujral sang.

The song was three minutes and 31 seconds long.

Neha needed a Musikal Sahara

My blog on the music of Hindi films released between 2010 and 2019 contained posts on two tracks from Good Newwz (2019).

Unsurprisingly, the third track – Laal Ghaghra – was recreated.

But it certainly was good news that Manj Musik and Herbie Sahara, who composed and rendered the original, teamed up for this version as well.

And they were joined behind the microphone by Neha Kakkar.

Sahara penned it with Tanishk Bagchi.

Spread across both my blogs, it was the longest of the three songs from the film – it was four minutes and 28 seconds long.

It certainly wasn’t Aslam-bang track

While my blog on the music of Hindi films released between 2010 and 2019 contains a couple of tracks from Loveyatri (2018), the subject of this post was in contrast to those.

Regardless of whether they are arranged in the ascending or descending order of their durations, Tera Hua would be the second – it was three minutes and 34 seconds long.

The track, which was penned by the one and only Manoj Muntashir, was composed by the resident recreator of the Hindi film industry at this point, Tanishk Bagchi.

It was rendered by Atif Aslam.

Sadly, it didn’t sound TazAA!

This blog contains a post on just one song from Guest Iin London (2017).

When I noticed the (mis)spelling of the word in in the film’s title, I assumed the track was credited to someone with a degree in recreation from IIN.

But that wasn’t the case – it was composed by Raghav Sachar, and penned and sung by T S Jarnail (a.k.a. Taz), whose songs blared from Stereos across the Nation. He was joined behind the microphone by Arya Acharya.

Titled Daru Vich Pyaar, it was a version of the track from Tum Bin (2001).

Mr Reshammiya rendered (K)apoor recreation

“Don’t you fool around with the chartbuster from Kaante (2002)!”

I wonder why this warning wasn’t issued to Himesh Reshammiya, whose involvement in Ishq Samundar (Reloaded) – from Teraa Surroor (2016) - wasn’t restricted to composing it, but he was one of the two who rendered it as well.

The other was Kanika Kapoor.

Mercifully, Anand Raj Anand, who penned and composed the original, wasn’t ignored – he was credited as the lyricist of this version.

My blog on the music of Hindi films released between 2010 and 2019 contains posts on two songs from the film.

It was the T(rived)itle track

Question: Which film, which released in 2015, was contrary to its title?

The answer was Shaandaar, which means wonderful, which this film certainly wasn’t.

However, lyricist Amitabh Bhattacharya salvaged the film’s soundtrack with a decent title track, titled Shaam Shaandaar.

Trivedi didn’t just compose (Am)it, but he rendered it too.

My blog on the music of Hindi films released between 2010 and 2019 contains posts on a couple of tracks from the film.

As far as their durations are concerned, this was the second-longest of the three – it was three minutes and 57 seconds long.

Indeed, Arijit’s rendition provided sukoon

My blog on the music of Hindi films released between 2010 and 2019 contains a post on one song from Mary Kom (2014). And here’s the second.

After the vocal equivalent of a punch in the gut that was the track rendered by Vishal Dadlani, this Arijit Singh number literally would’ve made the listener say, “Sukoon Mila” (which means, “I felt relieved”).

Spread over both my blogs, it was the shorter of the two tracks from the film – it was three minutes and 19 seconds long.

Penned by Sandip Ssingh, it was composed by Shivam.

Rao’s rendition elicited several “Wows”!

Here’s a question: Who is the music director – a current hotshot – who composed a superb track for a film, and composed the songs of a film that derived its title from that outstanding number half-a-decade later?

The answer is Amit Trivedi. He composed Manmarziyan, a song from Lootera (2013), as well as the songs of the 2018 film titled Manmarziyaan.

But this post is about the song from the former, which was rendered by Shilpa Rao.

The track, which was four minutes and 11 seconds long, was penned by the one and only Amitabh Bhattacharya.

 

Music aficionados’ Duaa was ANSwered

It was when Duaa played on the radio that I decided to start this blog.

Before I looked it up online, I didn’t know it was from Shanghai (2012).

My blog on the music of Vishal-Shekhar contains a post on one song from this film.

By no means would it be incorrect to state that the track, which was penned by Kumaar, was one of the most underrated tracks of that year, and Arijit deserved the Mirchi Music Award for Upcoming Vocalist of the Year.

He shared Sing(h)ing credits with Nandini Srikar and Shekhar Ravjiani.

Krishna didn’t ‘meat’ anyone’s expectations

Luv Ka The End released in 2011.

Incidentally, it could also be called Y-Films Ka The Beginning, because it was the first offering by the subsidiary of Yash Raj Films (YRF).

And although its most popular song – which was titled The Mutton Song, and was four minutes and 21 seconds long – was far from mind-blowing, it didn’t mark the end of the careers of the trio that collaborated on the track – namely the selective Ram Sampath, who composed it; Amitabh Bhattacharya (who is among the most sought-after lyricists now), and Krishna Beura, who rendered it.

Aditya couldn’t (Chau)handle multiple roles

Besides being the son of Udit Narayan, Aditya Narayan was a popular playback singer and child artiste in his own right.

But as was the case with several child stars, success proved elusive when he grew up.

Interestingly, he debuted with a film titled Shaapit, which released in 2010. The word means cursed, and in a way, he was, because of his background.

He penned, composed and rendered the film’s title track – Shaapit Hua. It was three minutes and 29 seconds long.

The only portion he didn’t sing was the portion that Sunidhi Chauhan sang.

This tracKK was pretty popular

My blog on the music of Hindi films that released between 2010 and 2019 contained a post on one track from Kites (2010).

The second track from the film was Zindagi Do Pal Ki. And like the other song from the film on the aforementioned blog, it was rendered by KK.

Spread across my blogs, it was the shorter of the two tracks from the film – it was four minutes and 16 seconds long.

Nasir Faraaz penned the Rajesh Roshan composition, whose remixed version – credited to DJ Amyth – was three minutes and 46 seconds long.  

It was for Nigam too

Sonu Nigam was the voice of 3 Idiots (2009), because he rendered two of the four tracks from the film that I’ve covered in my blog on the music of Hindi films released between 2000 and 2009.

But the fifth one – that took a while to grow on me – was a track that Swanand Kirkire probably penned keeping the choosy crooner in mind, and one that Nigam’s fans must have sung regularly.

The shortest song in the film (spread over both my blogs), Jaane Nahin Denge Tujhe was three-and-a-half minutes long.

Shantanu Moitra composed it.

Vishal D(adlan)idn’t drive anyone Krazzy

My blog on the music of Hindi films released between 2000 and 2009 contains one track from Krazzy 4, which released in 2008.

The film’s soundtrack also featured a track titled Break Free, which became the bone of contention between the film’s producer and composed Ram Sampath, who alleged that it was lifted from the hook phrase he composed for a commercial.

Rajesh Roshan composed the song, which was penned by Asif Ali Beg and rendered by Vishal Dadlani.

By no means would it be incorrect to state that it did not drive anyone krazzy.

Shridhar S(ha)ang just this version

It is only after I heard Baat Humari Pakki Hai, the only song from Just Married (2007) on this blog, that I realised that it seemed like the lyricist and the composer of the track were stuck in a marriage of convenience at that point.

While Version-I of the track, which Neeraj Shridhar and Shaan sang, wasn’t appalling, I found myself wondering whether Gulzar, who is an inspiration, and the inspiration-seeking Pritam were compatible.

Version-II was sung by Mahalaxmi Iyer, Shaan, Sukhwinder Singh and Sunidhi Chauhan.

Both versions were four minutes and 18 seconds long.

Tarey R(a)ose to the occasion

I’ve no qualms about admitting that the exclusion of this track from my blog on the music of Hindi films released between 2000 and 2009 was a surprise – to myself.

The song in question was Tose Naina Lage [a.k.a. Javeda Zindagi (which could be translated to, “An eternal life”)].

Eight minutes and 22 seconds long, it was rendered by Shilpa Rao and Kshitij Tarey.

I listened to the Mithoon composition, which Hasan Kamal penned, recently while watching Rao’s interview, and realised that I’d missed an outstanding track.

As the saying goes, better later than never.

They tugged at our heart‘Strings’

I omitted Strings’ mid-2000s track Yeh Hai Meri Kahani, because I assumed it was a single. Those were, after all, the heady days of Indipop, and it wasn’t uncommon for actors to jump onto the music video bandwagon.

A while later, I noticed that it was on the soundtrack of Zinda (2006), and the film version was credited to Vishal-Shekhar (to whom I’ve dedicated a separate blog, which, at the moment, contains about 142 from films released between 1999 and now).

The Pakistani band penned, composed and sang it.

Maybe the credits left me baffled.

It wasn’t a Kool trAcK

Hey folks, do you want to know the recipe for disaster?

Here we go – take an overrated composer who also happens to be among the most overrated singers, and a couple of underrated singers. And, of course, the most prolific lyricist of our times. And what do you get?

The answer to that is the title track of Kyaa Kool Hai Hum, which released in 2005.

For the record, the track, which Sameer Anjaan penned, wasn’t just composed, but also rendered by Anu Malik, who was joined behind the microphone by KK and Kunal Ganjawala.

Ms Ghoshal rendered (Arn)abeautiful version

My blog on the music of Hindi films released between 2000 and 2009 contains posts on a couple of tracks from Khakee, which released in 2004.

This blog contains a post on another track from the film – or, to be precise, a version of another track.

The song in question was Wada Raha. Both versions were four minutes and 41 minutes long, and rendered by the same female singer – Shreya Ghoshal.

While the male singer of the version on this blog was Arnab Chakrabarty, Udit Narayan sang Version 2. 

Sameer penned the Ram Sampath composition.

Lovers plAYed it baar baar

Since I prefer listening to the radio to watching television, I often miss some tracks and am aware of only the popular one(s) from a film.

That was indeed the case with Ishq Vishk (2003) – my blog on the music of Hindi films released between 2000 and 2009 contains posts on two tracks from the film, but I hadn’t heard the subject of this post.

The song in question is the Alka Yagnik solo, Aisa Kyon Hota Hai Baar Baar.

Sameer Anjaan penned the Anu Malik composition, which was four minutes and 54 seconds long.

(Ud)It was the lone solo

The second track from Devdas on this blog was the only solo in the film.

Titled Woh Chand Jaisi Ladki, it was five minutes and 40 seconds long.

(Ud)It was rendered by none other than Mr Narayan, who bagged the Star Screen Award for Best Male Playback Singer* in 2003.

The late Nusrat Badr was the man who likened the girl to the moon.

The track was composed by Ismail Darbar.

(*Note: It was the second time he won the award, after bagging it in 1997 for Aaye Ho Meri Zindagi Mein, from Raja Hindustani.)

 

(Dix)It was Birju Maharaj’s tracKK

Devdas (2002) was an embarrassment of musical riches, hence two tracks that I hadn’t heard regularly were excluded from my blog on the music of Hindi films released between 2000 and 2009 (despite that, it contained posts on half-a-dozen gems from the film).

I heard them recently. One of them was Kaahe Chhede, which was penned, composed and sung by Kathak exponent Pandit Birju Maharaj.

He was joined behind the microphone by Kavita Krishnamurthy and Madhuri Dixit, who essayed the role of Chandramukhi in the film.

The track was five minutes and 23 seconds long.

Digging it was not eAsY

This is a post on Badi Mushkil, the second track from Lajja.

Although I had heard it in the past, I excluded it from my blog on the music of Hindi films released between 2000 and 2009 because I didn’t want a run-of-the-mill track to merely make up the numbers (pun intended).

Later, I decided to include it in this composite blog, because I was compiling a list of at least one song per year, and this Anu Malik composition was 2001’s representative to it.

Sameer penned the song, which was rendered by Alka Yagnik.

(Jagj)It was rendered by Alka

My blog on the music of Hindi films released in the first decade of the 21^st century – i.e. between 2000 and 2009 – features one track from Tarkieb, which released in 2000.

The second song from the film – which was in contrast to that one – is the subject of this post.

It was titled Kiska Chehra, and was rendered by Jagjit Singh, the king of ghazals.

The lady who joined him behind the microphone was none other than Alka Yagnik.

It was penned by Nida Fazli, and composed by Aadesh Shrivastava, the underrated brother-in-law of Jatin-Lalit.

Alka, as usual, was outstanding

Gaane ke liye paanch minute (aur teen second) yun toh kum nahin the, aur is gaane ko playlist se exclude karnewaale hum nahin the. 

Of course, I heard it very late – over two decades after the film’s release, to be precise.

The song in question was Pyar Ke Liye [the only solo on the soundtrack of Dil Kya Kare (1999)].

Hence, I couldn’t include it in my blog on the music of Hindi films released in the 1990s, which contained two tracks from the film.

Alka Yagnik sang the Jatin-Lalit composition, which Anand Bakshi penned.

Amit’s version PacKed a pUNch

My blog on the music of Hindi films released in 1990s contained three tracks from Bade Miyan Chote Miyan (1998).

This blog contains a post on another track from the film – or, to be more precise, one of the two versions of a track.

The song in question was Deta Jai Jo Re (Version 1).

Kavita Krishnamurthy and Udit Narayan were common to both the versions.

While Version 1 featured the vocals of Anuradha Paudwal and Amit Kumar, Alka Yagnik and Sudesh (Bhos)lent their voices to Version 2.

Sameer Anjaan penned the Viju Shah composition.

Abhijeet couldn’t recreate the (Poorni)magic

From sharing singing credits with legends such as Mohammed Rafi and Kishore Kumar to joining the new crop of singers behind the microphone, Sushma (a.k.a. Poornima) has come a long way, proving that she was a singer par excellence, as suggested by the word that sounds like her surname (Shrestha).

And that was why San Sanana Sai Sai – the only song from Banarasi Babu (1997) on this blog – made the listeners sigh.

The man who rendered it with her was Abhijeet Bhattacharya.

It was penned by Sameer Anjaan, and composed by the Shrivastav brothers, Anand-Milind.

 

Alka sang thiS(an)underrated romantic number

My blogs contained posts on just one song each from the two films titled Fareb, until I heard the subject of this post.

Combining science and old English, it went, “Thou hath stepped down from my oculi and into my cardiac organ, and now thou art in the pulsations of the said organ.”

Folks, the track in question is the underrated romantic song from the 1996 film – Aankhon Se Dil Mein Utar Ke.

Penned by Neeraj, the Jatin-Lalit composition, which was five minutes and 55 seconds long, was rendered by Alka Yagnik and Kumar Sanu.

The track wAS far froM(a)Iikable

The subject of this post – Aanan Faanan – made me scratch my head for two reasons.

Firstly, because I didn’t know how to react to the tackiness unfolding on screen. Of course, Govinda could get away with anything at that point.

And secondly, because I didn’t, for the life of me, know what Aanan Faanan meant. On looking it up online, I realised it was the Urdu word for immediately.

The track, from Haathkadi (1995), was composed and sung by Anu Malik, who was joined behind the microphone by Abhijeet and Swarnalatha.

Maya Govind penned it.  

This title track was S(a)nubbed

A cursory glance at the filmography of Anil reveals that the titles of three of his films, released between 1987 and 1996, began with Mr.

Mr India (1987), of course, made him the darling of the nation (and kids, in particular), but we’re a free audience – his performance in Mr Azaad (1994) was (Ka)poorly received.

Its title song, Azaad Aaya Re, was rendered by Kumar Sanu. Indeevar penned the track, which Bappi Lahiri composed.

Needless to say, the third film in his Mr trilogy was the 1996 film Mr Bechara, whose songs I haven’t heard.  

It KUdn’t be a champion

Although Dekho Toh Jaane Jaana – the only song from Madhosh (1994) on this blog – had a line that went, “Champion”, the song could, at best, be called an also-ran.

However, I read the meanings of the names of the lyricist (Sameer) and the composers (Anand-Milind).

Sameer is wind, Anand is joy, and Milind apparently means a honey bee.

The winds of change were blowing, and the siblings, who had given the listeners a great deal of joy in the past, didn’t create any buzz on this occasion.

(Ud)It was rendered by Kavita Krishnamurthy and Narayan.

Rathod’s song was a lie

In the 1990s, Deepak was busy filling his Tijori with earnings from supporting roles [such as that of Akshay Kumar’s bestie in Khiladi (1992)].

But he aspired to land a lead role. And he did so in Pehla Nasha (1993), which derived its name from a song from his 1992 hit Jo Jeeta Wohi Sikandar.

The only track from the film on this blog was Mr Zero Ban Gaya Hero. But in reality, while he wasn’t the former, he could never be the latter.

Anand Bakshi penned the Neeraj-Uttank composition, which Vinod Rathod rendered.

Indeed, it waS(h)a S(an)uperb duet

Venus Worldwide Entertainment proved that they were the true Khiladis when it came to the soundtrack of Abbas-Mustan’s 1992 hit of the same name.

Of course, the songs, which Jatin-Lalit composed, become very popular – my blog on the music of Hindi films released in the 1990s contains posts on two tracks from the film.

The third song – titled Dekha Teri Mast Nigahon Mein – was five minutes and 48 seconds long. Mahendra Dehlvi* penned it.

Asha and Kumar Sanu (Bhos)lent it their voices.

(*Note: Of the other two, Anwar Sagar and Shyam Raj penned one each).

  

Sadhana sang this innocent (Sa)number

“Ek ladka aur ladki kabhi dost nahin ho sakte,” said Mohnish Bahl in Maine Pyar Kiya, the 1989 film that made Salman Khan a household name.

Cut to three years later, and a film titled, well, Ek Ladka Ek Ladki.

Prem (Khan) proved Jeevan (Bahl) right, in the opening line of the only song from the film on this blog – Kitna Pyar Tumhe Karte Hain.

In the innocence-oozing next line, lyricist Majrooh Sultanpuri said, “Aaj humein maloom hua” (which means, “I realised it today”).

Anand-Milind composed the track, which Sadhana Sargam and Kumar Sanu sang.

Bicycle thieves certAiNly loved it

Although music director Anu S Malik (yes, the son of Sardar) deserves a kick up his backside for repeated plagiarism, I am pretty sure the Italian director Vittorio De Sica wasn’t on his list of inspirations.

Yet, he, in tandem with his maamu (maternal uncle), the veteran lyricist Jaipuri, made bicycle thieves’ Hasrat come true in Bhabhi, which released in 1991.

The track was titled Sone Ki Cycle Chandi Ki Seat.

And its next line went, “Aao chalen darling, chalen double seat” (Partners in crime, anyone?)

It was rendered by Anuradha Paudwal and Nitin Mukesh.

ReAlisticallY speaking, (Am)it wasn’t possible

Who says dating is only for the well-off?

If you were a youngster in the 1990s, with a limited amount of money (obviously), and more importantly, an understanding girlfriend, you could say, “Chali Aana Tu Paan Ki Dukaan Pe”.

On being asked when this not-so-clandestine meeting would happen, you could say, “Half-past three pm”.

That’s what Alka Yagnik and Amit Kumar sang in Aaj Ka Arjun (1990).

Anjaan penned the Bappi Lahiri composition.

Of course, it was realistically impossible, because people have always spent a lot (of money, not necessarily time) on those they love.

YUp, this was the original

My blog on the music of Hindi films released between 1987 and 1989 contained posts on a couple of tracks from Tridev (1989).

While one was picturised on Naseeruddin Shah and Sonam, the other was picturised on Sunny Deol and Madhuri Dixit.

I apologise for ignoring the film’s third pair (Jackie Shroff and Sangeeta Bijlani) earlier. The track picturised on them was Gali Gali Mein Phirta Hai.

Alka Yagnik and Manhar Udhas sang the Kalyanji-Anandji composition, which Anand Bakshi penned.

It was recreated for the dubbed version of the Kannada film K.G.F: Chapter 1 (2018).  

It had loads of SASs

The transliterations of Hindi film songs into English have occasionally left me puzzled. That was my state of mind twice in 1989, when I read the inlay cards in audio tapes.

One confusing transliteration was that of Paap Ka Ant (I read Ant as the insect, so it sounded like the ant of sin) and the other was that of Gajar Ne Kiya Hai Ishara, from Tridev.

I knew plants were living things, but a carrot that gestured?

Jokes apart, Anand Bakshi penned the Kalyanji-Anandji composition, which Alka Yagnik, Sadhana Sargam and Sapna Mukherjee sang.

Shailendra Sure(sh)ly had a ball

My blog on the music of songs released between 1987 and 1989 contained a post on one track from Parinda (1989).

Sehre Mein Dulha Hoga, which I first heard eons ago, was the second song from the film, spread over both my blogs.

Half-a-dozen minutes and 32 seconds long, it was about a wedding (as the title suggests). Needless to say, Shailendra and Suresh Wadkar had a blast Sing(h)ing it.

Here’s a special holler at lyricist Khurshid Hallauri for spoofing songs like Shirdiwale Sai Baba and Khaike Paan Banaraswala in the R D Burman composition.

(Am)It wAs(h)a ‘number’ nobody ‘love’d

Thanks to the visionary producer Pahlaj Nihalani, Chunky Pandey is probably the only actor to star in his own biopic, even before his career actually took off.

It was titled Mitti Aur Sona, and it released in 1989.

In the 1990s, Pandey’s career bit the dust, and two decades later, he struck gold playing comic roles in such films as the Housefull series.

I’m a-joking – the only song from the film on this blog was One Two Three Pyar Karo.

Anjaan penned the Bappi Lahiri composition.

Asha Bhosle and Kishore Kumar Ganguly’s first-born rendered (Am)it.

Kavita sang this superb NuMber

With due respect to Mukesh’s son, I don’t think he was the right man to render Aage Sukh Toh Peechhe Dukh Hai [the only song from Eeshwar (1989) on this blog.]

The words sukh and dukh should have beeN(it)nterchanged, because he had no role to play in the aforesaid sukh, and he probably didn’t get enough opportunities to alleviate his professional dukh.

The lady who joined him behind the microphone was none other than Kavita Krishnamurthy.

Having said that, Anjaan penned a wonderful song.

It was composed by Laxmikant Shantaram Kudalkar and Pyarelal Ramprasad Sharma.

Ms Chinai rendered this (Lahi)rip-off

Archana Puran Singh may now be the human equivalent of the canned laughter track on a popular comedy show on television, but let us hark back to the time when the joke was on her.

And, of course, on the others involved in the rip-off of Hawa Hawa, Pakistani pop star Hasan Jahangir’s 1987 track.

The Indian version was titled Aaya Aaya, and it was the only song from Aag Ka Gola (1989) on this blog.

Anjaan penned the track, which was composed and rendered by Bappi Lahiri.

Ms Chinai (Ali)shared singing credits with him.

Kumar (Kisho)rendered this inspired track

Walk Like an Egyptian – a 1986 track by The Bangles – must have inspired Bappi Lahiri because he is fond of ornaments.

I wonder if the rock band had heard his adaptation [which was titled Chori Chori Yun Jab Hon, and was the only track from Paap Ki Duniya (1988) on this blog], and said, “Humne bhi choodiyan nahin pehnin”.

Anjaan penned the song, which Mr Kumar (Kisho)rendered.

The subsequent films in the Deols’ sequentially-titled Paap trilogy were the Dharmendra-starrer Paap Ko Jalaa Kar Raakh Kar Doonga (1988) and the Sunny Deol-starrer Paap Ka Ant (1989).

As U(dha)sual, Kishore was awesome!

Khaane ke baad peena toh banta hai na, public?

Although I did not intend it to be that way, Ek Ek Ho Jaaye followed Batata Wada on this blog.

The former was the most popular song on the soundtrack of Gangaa Jamunaa Saraswathi (1988).

Please note that the words Gangaa and Jamunaa in the film’s title end with two As. Was that because of the ek-ek that was guzzled?

Indeevar penned this run-of-the-mill number, which was composed by the one and only Anu Malik.

Pankaj Udhas, the prince of ghazals, (Kisho)rendered it with Mr Kumar.

They did an incr‘edible’ JoB

By the time Hifazat – a 1987 film – released, R D Burman’s career was on the wane, and that wasn’t just evidenced by the fact that the offers had considerably reduced, but the quality was suffering as well.

But by no means had the hunger of the man, who was among the most prolific composers in the 1970s, diminished – and that reflected in the only song from the aforementioned film on this blog.

It was titled Batata Wada, and was penned by Majrooh Sultanpuri.

S Janaki and S P Balasubrahmanyam lent their voices to the track.

Bappi (Chi)nailed this super(b) track

I hadn’t heard Super Dancer, from Dance Dance (1987), when I wrote a post on Zooby Zooby – the most popular song on the soundtrack of the film – for my blog on the music of Hindi films released between 1987 and 1989.

But I knew that Anjaan penned the Bappi composition.

What I didn’t know was that the La(hiri)tter (Ali)shared singing credits with Chinai.

And what knocked my socks off was the fact that it was picturised on Smita Patil.

Incidentally, it was among her posthumous releases – she died at the age of 31 in 1986.  

Lata (Kisho)rendered this underrated number

This blog contains a post on just one track from Samundar, which released in 1986.

It was titled Aye Saagar Ki Lehron.

By no means would it be incorrect to state that the man who composed it – the one and only R D Burman – was an ocean of talent. Incidentally, he had also composed the mind-blowing songs of Saagar, which released the previous year.

It is among Lata Mangeshkar’s most underrated songs to date. No prizes for guessing that she was joined behind the microphone by Kishore Kumar.

The track was penned by Anand Bakshi.

The thespian wielded the MiKe

Elderly leads are a rarity in the Hindi film industry, and songs picturised on them are rarer – barring Balraj Sahni serenading Achala Sachdev in Ae Meri Zohra Jabeen [in Waqt (1965)] and the Amitabh Bachchan numbers in Baghban (2003), I don’t recall many.

Thespian Dilip Kumar was credited as a crooner in Karma (1986). Remember Aye Sanam Tere Liye?

Incidentally, my blog on the music of Hindi films released between 1969 and 1986 contained a post on the patriotic version of this Laxmikant-Pyarelal composition, which Anand Bakshi penned.

Kavita Krishnamurthy and Mohammed Aziz rendered both.

Kapoor sang this jhakkas track

Two words describe Anil Kapoor. And incidentally, both begin with the letter E – enduring and endearing.

And that is because he has always been willing to reinvent himself and unafraid to dabble in new things – for instance, singing.

Well, he rendered Chameli Chameli, the title track of his 1986 comedy Chameli Ki Shaadi. 

My blog on the music of Hindi films released between 1969 and 1986 contains a post on a track from the film, but I hadn’t heard this Kalyanji-Anandji composition when I wrote that post.

Anjaan penned this song, which was undoubtedly jhakkas.

Undoubtedly, this duet was WonderfuL

I’ve already posted three tracks from Ram Teri Ganga Maili (1985) on my blog dedicated to the music of Hindi films released between 1969 and 1986. I had written a post on another song from the film (Husn Pahadon Ka), but my failure to post it was an oversight.

This beautiful duet was rendered by none other than Lata Mangeshkar, who was joined behind the microphone by Suresh Wadkar.

It wasn’t just penned, but also composed by Ravindra Jain.

The soundtrack of the film earned him the Filmfare Award for Best Music Director in 1986.

Kishore Kumar absolutely (Jana)killed it!

The folks at St Sebastian’s Goan High School in Girgaum, a locality in South Mumbai, must have beamed with joy to watch two of its notable alumni – Ravi Kapoor and Jatin Khanna – set the box office alight.

For the uninitiated, Kapoor adopted the screen name Jeetendra, and Khanna was superstar Rajesh Khanna (a.k.a. Kaka).

And it was the latter on whom Garmi Hai Kahan Hai – the only song from Maqsad on my blog – was picturised.

Bappi Lahiri composed the music of the 1984 film.

Indeevar penned the track, which S Janaki and Mr Kumar (Kisho)rendered.

They stepped on the AKcelerator

In the 1980s, the career of Jeetendra – who earned the epithet of Jumping Jack for putting on his (white) shoes and dancing vigorously – literally went south, when he was paired with actresses hailing from that region (like Sridevi) in Hindi remakes of Telugu films.

One of those was Justice Chaudhary (1983).

This blog contains a post on one track from the film – Mamma Mia Pom Pom.

No prizes for guessing that the track, which was penned by Indeevar and composed by Bappi Lahiri, was (Kisho)rendered by the one and only Asha Bhosle and Mr Kumar.

Undoubtedly, Shabbir Kumar was burdened

My blog on the music of Hindi films contains a post on one song from Coolie, which released in 1983.

I recently heard another track from the film, which I vaguely recall listening to when I was in school.

It was titled Saari Duniya Ka Bojh, and was five minutes and 55 seconds long.

The oR(af)iginal is the original, and the clone is, well, Shabbir Kumar, who rendered it.

Although he had a huge pair of boots to fill, he did a pretty good job.

Anand Bakshi penned the song, which was composed by Laxmikant-Pyarelal.

Asha (Kisho)rendered this beautiful number

When he wasn’t contesting the Assembly elections, it wouldn’t be incorrect to state that Vitthalbhai Patel was winning the votes of lovers in parts of India where Hindi is spoken with the lyrics of many a romantic number, including Tum Badi Khoobsurat Ho, from Daulat, which released in 1982.

It was picturised on Vinod Khanna, who, at that point, chucked up a successful career in films. The celluloid no-show was due to his stint at the ashram of Osho.

The song was composed by R D Burman.

Asha and Kishore Kumar (Bhos)lent it their voices.

Undoubtedly, Mr Kumar was unparalleled

I’ve already written posts on three tracks from Bemisal (1982) in my blog on the music of Hindi films released between 1969 and 1986.

I heard the fourth – Kisi Baat Pe Main Kisi Se Khafa Hoon – recently.

Anand Bakshi penned the R D Burman composition, which Mr Kumar (Kisho)rendered.

Bemisal is, thus, the third Hrishikesh Mukherjee film [after the Raj Kapoor-starrer Anari (1959) and the Amitabh Bachchan-starrer Abhimaan (1971)] whose entire soundtrack features in my blogs.

Kapoor affectionately called Mukherjee Babumoshai, the Bengali honorific Rajesh Khanna’s character in Anand (1971) used to address Bachchan’s character.

The titLe tracK was wonderful

My blog on the music of Hindi films released between 1969 and 1986 contains posts of three tracks from Harjaee (1981).

Interestingly, each of them was penned by a different lyricist. One was penned by Nida Fazli, another by Gulshan Bawra and the third by Vitthalbhai Patel.

I recently heard another superb track from the film – Yeh Rut Hai Haseen, which could be called the title track of the film. It was penned by Patel.

The track, which was composed by none other than R D Burman, was (Kisho)rendered by Lata Mangeshkar and Mr Kumar.

Needless to say, these voices(ib)lingered

My blog on the music of Hindi films released between 1969 and 1986 contains a post on a track from Alibaba Aur 40 Chor, an Indo-Soviet co-production based on the Arabian Nights tale, which released in 1980.

This is a post on another track from the film – Saare Shehar Mein.

By no means would it be incorrect to state that R D Burman – who composed the track, which was penned by Anand Bakshi – probably opined that, “Lata Mangeshkar aur Asha Bhosle jaisi koi nahin hain, aur is gaane ke liye woh dono hi sahi hai”.

It was a timeless trAcK

Although I certainly didn’t intend it to be that way, the last six posts have been about songs from films starring at last one member of the Kapoor clan.

And this one is no different – Jhoota Kahin Ka (1979), starred Rishi Kapoor and Neetu Singh.

In my blog on the music of Hindi films released between 1969 and 1986, I have already written posts on a couple of tracks from this film.

The third – Barah Baje Ki Suiyon Jaise – was (Kisho)rendered by Asha Bhosle and Mr Kumar.

Gulshan Bawra penned the R D Burman composition.

This Lata-Kishore duet was short

I’ve already written about three songs from Trishul (1978) in my blog dedicated to the music of Hindi films released between 1969 and 1986.

The fourth, which is the subject of this post, was I have, albeit belatedly, heard on the radio a number of times.

The track was Jo Ho Yaar Apna. Spread over both my blogs, it was the shortest song from the film – it was three minutes and 29 seconds long.

But the Khayyam composition certainly didn’t come up short, because Lata Mangeshkar and Mr Kumar (Kisho)rendered it.

Sahir Ludhianvi penned it.

It was tailor-made for Kishore

Vyjayanthimala – one of the foremost female superstars of the Indian film industry – starred in a 1953 film titled Ladki.

Saira Banu, who tied the knot with Dilip Kumar, was a popular actress of the 1960s. She played the leading lady in Padosan (1968).

And for those who haven’t figured out where this is going, the two aforementioned films had one thing in common – they starred Kishore Kumar.

He rendered O Padosan Ki Ladki, the only song from Heeralaal Pannalaal (1978) on this blog.

Majrooh Sultanpuri penned the track, which was composed by R D Burman.

Indeed, the reality was StArK

At the outset, I must admit to being unable to initially identify the female singer of Yeh Duniya Ke Badaltey Rishtey, the title track of Badaltey Rishtey, which released in 1978.

I mistook her for Lata Mangeshkar, only to discover that it was actually rendered by Suman Kalyanpur.

She joined a pair of legends – Kishore Kumar and Mohammed Rafi – behind the microphone.

The Laxmikant-Pyarelal composition was penned by Anjaan, and by no means would it be incorrect to state that it reflected a reality that was as stark at that point as it is now.  

Kumar (Kisho)rendered this popuLa(ta)r song

Doosara Aadmi released on October 14, 1977. So had I been born five years earlier, I would’ve been a day old the film hit the screens.

Jokes apart, it starred Shashi, his nephew Rishi and the latter’s would-be missus, Neetu. That certainly wasn’t (K)apoor musical legacy, so awesome songs were a given.

While I’ve already mentioned two of them in my blog on the music of Hindi films released between 1969 and 1986, I had not heard Nazron Se Keh Do earlier.

Lata Mangeshkar and Kumar (Kisho)rendered the Rajesh Roshan composition, which Majrooh Sultanpuri penned.

  

Asha could never be Gumsum

Bhala Maanus, which released in 1976, was a Randhir Kapoor-starrer, as was Ponga Pandit, which released in 1975.

Interestingly, while his co-star in Ponga Pandit was Neeta Mehta, the lady paired with him in this film was none other than Neetu Singh, his sister-in-law-to-be.

This blog contains a post on one track from the film. It was titled Gumsum Hai Kyon Sanam.

Only the (Bhos)legendary Asha could have rendered it. By the way, neither she nor R D Burman, who composed the track, could be described as gumsum (still).

It was penned by Gulshan Bawra.

This wasn’t a RocK(K)(y)ing number

At the beginning of Woh Mere Peechhe Padi Hui Hai [the only song from Ponga Pandit (1975) on this blog], Rocky – the character essayed by Danny Denzongpa – introduces himself as, “The man born with the golden spoon”.

Buddy, we gather that you’re a wealthy man, so we can’t help wondering why you used the dough to polish your singing skills instead of acquiring an education (else you’d have known that the proverb is, “born with a silver spoon”).

Jokes apart, Rajinder Krishan penned this run-of-the-mill Laxmikant-Pyarelal composition, which the one and only Mr Kumar (Kisho)rendered.

Indeed, this mantra was (Kisho)remarkable

Given my long-standing love for finding humour even in tracks that were far from funny, I’ve often read songs containing the word Jeevan (which means life) in the voice of character actor Jeevan, who has essayed Narad Muni in many a mythological, and later, the baddie.

Unfortunately, the subject of this post – Jeevan Mein Tu Darna Nahin – made no sense in that context.

It wasn’t merely a song from Khote Sikkay (1974), but a mantra too.

The track, which was (Kisho)rendered by Mr Kumar, was penned by Majrooh Sultanpuri and composed by R D Burman.  

Bada maza aaya, Lata Didi!

In Jugnu (1973), Hema Malini wondered aloud, “Jaane kya pilaya tune”.

A wag, on listening to that line, remarked, “Bagpiper, Kent RO-purified paani ke saath”.

Well, those who know that Dharmendra was her co-star in the film, and he endorsed the former (a brand of whisky), and of course, the fact that she endorses the latter (a leading water purifier brand) know that is just a joke.

But the track, which was composed by S D Burman, was quite popular.

It was penned by Anand Bakshi, and sung by the one and only Lata Mangeshkar.