The title track was (Ku)marvellous

This is a post on the fourth and final track from Safar on this blog, but by no means has my safar in the wonderful world of blogging come to an end.

The title track of the film, which was titled Zindagi Ka Safar, was (Kisho)rendered by Mr Kumar.

It was penned by Indeevar, and composed by Kalyanji-Anandji.

And with this Fab Four collaborating on the track, it would not be incorrect to state that sabne jaana (everybody knew) that it was going to be an outstanding song. And that was precisely what it was.

Mukesh’s solo became everyone’s pasand

It wouldn’t have been surprising if Feroz Khan became every woman’s dream man in the 1970s – not because he was a charmer, but because he was obedient.

After all, no other man declared, “Jo tumko ho pasand, wohi baat karenge” (which could be translated to, “I will say only what you like”). And the ladies must have found that irresistible.

Jokes apart, the song from Safar became popular.

The track, which was penned by Indeevar, was composed by Kalyanji Virji Shah and Anandji Virji Shah.

It was rendered by none other than Mukesh Chand Mathur.

  

It was a KicKass solo

Actually, the adjective in the title of this post should be KIcKAss, wherein the first K stands for Kishore (Kumar), I stands for Indeevar, the second K stands for Kalyanji and the A stands for Anandji.

This fabulous foursome collaborated on a couple of solos from Safar.

If they were arranged in the alphabetical order, Jeevan Se Bhari Teri Aankhen would be the first.

The track – which could be translated to, “Your eyes are full of life” – was rendered by Kumar.

It was penned by Indeevar and composed by the Shah brothers, Kalyanji and Anandji.  

Lata sang this sentimental track

Of the four songs from Safar on this blog, only one was a female solo.

The track in question was Hum The Jinke Sahare.

It was a sentimental song, rendered by Lata Mangeshkar.

While this song, which was rendered by Indeevar, is a part of an ongoing series (#DusKADum) on this blog, it wouldn’t be incorrect to state that it is turning out to be a series within a series.

Titled #KhannAKeSaat, it features seven Kalyanji-Anandji compositions from Rajesh Khanna-starrers that released in 1970*.

(*Note: I’ve already written posts on three songs from Sachaa Jhutha.)

Undoubtedly, this duet was wondeRfuL

The fact that Manmohan Desai was an admirer of Mohammed Rafi was well-known, so the fact that the latter contributed to the soundtracks of most of the former’s films was not surprising.

Sachaa Jhutha was no exception – the singer’s contribution to its soundtrack was the duet titled Yunhi Tum Mujhse Baat Karti Ho.

He was joined behind the microphone by the one and only Lata Mangeshkar.

By no means would it be incorrect to state that the song, which was penned by Indeevar and composed by Kalyanji Virji Shah and Anandji Virji Shah, was superb.

Everyone loved this sibling (Kisho)revelry

The bond between a brother and a sister has inspired many a Hindi film lyricist over the years, and Indeevar was no different.

He penned Meri Pyari Behaniya, which was rendered by none other than Kishore Kumar.

Although the soundtrack of Sachaa Jhutha featured a couple of versions of the track, this blog contains a post on just one – the longer version, whose second verse began with, “Solah singar meri behna karegi”.

The second verse of the other version of the song began with, “Apne paseene ko moti kar doonga”.

Kalyanji-Anandji composed both the versions.

Kishore sang a (Ku)marvellous number

Sachaa Jhutha released in 1970.

If the three tracks from the film were arranged in the alphabetical order, Dil Ko Dekho – which happened to be its title track – would be the first.

If a list of the top songs from Manmohan Desai films that did not star Amitabh Bachchan were made, there’s no two ways about the fact that this track would be on it. 

The song, which was penned by Indeevar, was rendered by the one and only Kishore Kumar.

Incidentally, this post continues my tribute to Kalyanji (who composed the song with Anandji).

Mukesh won many a hriday

Despite saying, “Mera dar khula hai, khula hi rahega” (which could be translated to, “My door is open, and will always be”) to producers who didn’t go by Raj Kapoor, Mukesh wasn’t as prolific as either Mohammed Rafi or Kishore Kumar.

Yet he did render quite a few gems, including Koi Jab Tumhara Hriday Tod De (the track the aforementioned line was from).

It was from Purab Aur Paschim.

Indeevar penned the track, which was composed by Kalyanji-Anandji, and must have prompted the listeners to wonder why he was cocksure someone would break her heart.

Mr Kapoor’s passion was un‘bridal’ed

More often that not, the imagination of Hindi film lyricists stretches to things others wouldn’t bother thinking about. 

However, that was, by no means, a bad thing. In fact, it wouldn’t be incorrect to state that it made for interesting listening.

Indeevar, for instance, likened India to a bride, whose outfit is the tricolour.

The track in question is Dulhan Chali, and it was from Purab Aur Paschim.

It was composed by Kalyanji Virji Shah and Anandji Virji Shah, and rendered by the one and only Mahendra Kapoor, whose passion for music was undoubtedly unbridled.

Kapoor became synonymous with patriotism

If the three songs from Purab Aur Paschim (1970) on this blog were arranged in the alphabetical order, Bharat Ka Rehnewaala Hoon would be the first.

And there’s no two ways about the fact that Hindi film music buffs will always be grateful to the film’s producer, director and leading man Manoj Kumar for ‘zero’ing in on Mahendra Kapoor, whose voice was associated with patriotic songs.

The song was penned by Indeevar.

It was composed by Kalyanji Virji Shah and Anandji Virji Shah. Today (June 30, 2019) is the 91^st birth anniversary of the former.

Mangeshkar’s duet had a (Kisho)revival

The shortest of the three tracks from Prem Pujari on this blog was Shokhiyon Mein Ghola Jaaye. It was five minutes and as many seconds long.

Gopaldas Saxena ‘Neeraj’ penned the S D Burman composition, which Lata Mangeshkar and Kumar (Kisho)rendered.

Its Revival version was the longer of the two tracks in the film that had Revival versions* – it was just half-a-dozen seconds longer than the original.

[*Note: The Revival version of Kishore Kumar’s solo, Phoolon Ke Rang Se, was four minutes and 55 seconds long (i.e., a couple of seconds shorter than the original).]

Lata’s solo had no revival

The longest of the three songs from Prem Pujari on this blog was Rangeela Re – it was half-a-dozen minutes and 15 seconds long.

It was rendered by the one and only Lata Mangeshkar, whose other solo in the film was Doongi Tainu Reshmi Rumaal. That track was four minutes and three seconds long.

The song, which was penned by Gopaldas Saxena ‘Neeraj’, was undoubtedly one of the best compositions of S D Burman.

Of the three tracks from the film on this blog, it was the only song that did not have a Revival version.  

Mr Kumar’s (Kisho)rendition was madir

This blog contains three tracks from Prem Pujari (1970).

If they were arranged in the alphabetical order, Phoolon Ke Rang Se would be the first.

It was also the shortest of the three tracks from the film on the blog – it was four minutes and 57 seconds long.

Though I’ve heard it several times over the years, I wasn’t familiar with the word madir. I later came to know that it meant flawless – which was precisely what Kumar’s (Kisho)rendition was.

The track, which was penned by Gopaldas Saxena ‘Neeraj’, was composed by S D Burman.

Mukesh sang with gay abandon

This isn’t a track dedicated to the Indian LGBTQIA+ community, which has been trying to find its Pehchan. But it is the only song from the 1970 film of the same name on this blog.

Indeed, the track is Bas Yehi Apradh Mein Har Baar Karta Hoon.

What Gopaldas Saxena ‘Neeraj’ wanted to convey when he penned its next line – “Aadmi hoon, aadmi se pyar karta hoon” – was that he was a man who loved mankind.

It earned him a nomination in the Filmfare Best Lyricist category in 1971.

Mukesh rendered the Shankar Jaikishan composition.

Mr Kumar’s (Kisho)rendition was compelling

Pavitra Paapi released in 1970.

Teri Duniya Se Hoke Majboor Chala was the only song from the film on this blog.

By no means would it be incorrect to state that it made for extremely compelling listening, despite the fact that it was a sad song. 

Incidentally, the song – which wasn’t just penned, but also composed by Prem Dhawan – could be translated to, “I am compelled to leave your world. I’m going far away.” 

It happened to the be the only contribution of the one and only Kishore Kumar to the soundtrack of the film.

This song was truly imMoRtal

Indeed, koi Mohammed Rafi ko yun bhula na payega.

That, of course, is a paraphrased line. The original – Tum Mujhe Yun Bhula Na Paoge – was an immortal song from Pagla Kahin Ka.

It was penned by Hasrat Jaipuri and composed by Shankar Jaikishan.

By no means was that a boast, given how popular the legendary crooner continues to be, despite the fact that he died (at the age of 55) on July 31, 1980.

The first line of the said song is emblazoned across Rafi’s memorial in Bandra (West), the Mumbai suburb he called home.

B(h)a(in)sically, Dey had a blast

If the two tracks from Pagla Kahin Ka (1970) on this blog were arranged in the alphabetical order, Meri Bhains Ko Danda Kyon Maara would be the first.

There's no two ways about the fact that the song – which was composed by Shankarsingh Raghuvanshi and Jaikishan Dayabhai Panchal, and could be translated to, “Why did you beat my buffalo with a stick?” – elicited chuckles.

Hasrat Jaipuri penned the track, which was rendered by the one and only Prabodh Chandra Dey, a.k.a. Manna Dey. It was the latter’s only contribution to the soundtrack of the film.

This title track was MeLodious

This blog contains a post on just one track from Mere Humsafar, which released in 1970.

The song in question was its title track – Kisi Raah Mein Kisi Mod Par.

Its second line went, “Kahin chal na dena tu chhodkar”. And its third was the film’s title. 

Five minutes and 20 seconds long, it happened to be the longest song in the film.

The track, which was penned by Anand Bakshi, was rendered by Lata Mangeshkar and Mukesh Chand Mathur.

By no means would it be incorrect to state that the Kalyanji-Anandji composition was melodious.

Mr Mathur's rendition was mind-blowing

While a line of Kehta Hai Joker Saara Zamana, from Mera Naam Joker, went, “Aadhi haqeeqat, aadha fasana” (which could be translated to, “Half reality, half a tale”), the poori haqeeqat was that the song was awesome.

The track was five minutes and 28 seconds long.

No prizes for guessing that it was rendered by the one and only Mukesh Chand Mathur (whose other contributions to the soundtrack of the film were a couple of duets with Asha Bhosle).

Gopaldas Saxena ‘Neeraj’ penned the track, which was composed by Shankarsingh Raghuvanshi and Jaikishan Dayabhai Panchal. 

Mukesh rendered this iconic track

On listening to Jeena Yahan Marna Yahan, I’m sure many people may have wanted to replace the words of its next line (which went, “Iske siva jaana kahan”) with, “Iske jaisa gaana kahan” (which could be translated to, “Is there a song like this?”)

And truly, the track from Mera Naam Joker was iconic.

The shortest of the four songs from the film on this blog, it was four minutes and 28 seconds long.

It was penned by Shaily Shailendra, the son of the late lyricist Shailendra.

The Shankar Jaikishan composition was rendered by Mukesh.

Mukesh sang this poignant number

A line of the touching Jaane Kahan Gaye Woh Din went, “Tumko na bhool payenge” (which means, “We will never be able to forget you”).

Indeed, that was what the listeners – perhaps wistfully reminiscing the Golden Era of Hindi film music – might utter when they think of the fabulous five that collaborated on this track from Mera Naam Joker (viz. lyricist Hasrat Jaipuri, composers Shankarsingh Raghuvanshi and Jaikishan Dayabhai Panchal, singer Mukesh and, of course, the one and only Raj Kapoor, on whom it was picturised).

The track was four minutes and 48 seconds long.

It earned Dey an award

If the four tracks from Raj Kapoor’s magnum opus Mera Naam Joker (1970) on this blog were arranged in the alphabetical order, Ae Bhai Zara Dekh Ke Chalo would be the first.

Incidentally, it was also the longest of the four songs from the film on the blog – it was half-a-dozen minutes and a couple of seconds long.

It was rendered by Manna Dey, who bagged his only Filmfare Award in the Best Male Playback Singer category in 1972.

The track, which was penned by Neeraj, was composed by Shankarsingh Raghuvanshi and Jaikishan Dayabhai Panchal.

The (Jo)gifted duo KiLled it!

As far as this blog is concerned, this song many have been hazaaron mein ek (one in a thousand), but it was from Lakhon Mein Ek (1970).

The track in question was Jogi O Jogi, and it was the only song from the film on the blog.

Lata Mangeshkar and Kishore Kumar rendered it.

Anand Bakshi penned the R D Burman composition.

Incidentally, the film’s soundtrack featured a parody of Mere Saamne Wali Khidki Mein, titled Mere Saamne Wali Kamre Mein. The original track, from Padosan (1968), was composed by Burman and sung by Kumar.    

This bR(af)illiant track was parodied

The only song from Khilona (1970) on this blog was Khilona Jaankar Tum To (i.e., the title track of the film).

Four minutes and a couple of seconds long, it was penned by Anand Bakshi and composed by Laxmikant-Pyarelal.

No prizes for guessing that it was rendered by the one and only Mohammed Rafi, who was nominated in the Best Male Playback Singer category in 1971.

The soundtrack of the 1987 cult film Mr India featured a parody of this track, which was titled Khilona Mere Bachchon Ka. Inicidentally, it was also composed by Laxmikant-Pyarelal.

This Kishore solo went international

Pal Bhar Ke Liye, from Johny Mera Naam, was five minutes and as many seconds long.

(Kisho)Rendered by the one and only Mr Kumar, the track, which was penned by Indeevar, was composed by Kalyanji Virji Shah and Anandji Virji Shah.

The track was used at the end of an episode of The Simpsons. It was titled Kiss Kiss, Bang Bangalore, and was aired in 2006.

And clearly, that weren’t enough. A couple of lines of the song were a part of Phir Milenge Chalte Chalte, a song from Rab Ne Bana Di Jodi (2008).

   

King Kumar (Kisho)rendered this track

O Mere Raja, from Johny Mera Naam, was five minutes and as many seconds long.

No prizes for guessing that it was rendered by Kishore Kumar, who had just been crowned the Raja of playback singing the.

He was joined behind the microphone by the one and only Asha Bhosle.

The track, which was penned by Indeevar, was composed by Kalyanji Virji Shah and Anandji Virji Shah.

It was shot at a couple of locations in Bihar – the ruins of Nalanda University and against the backdrop of Buddhist monasteries and on the ropeway in Rajgir.

It was short and KicKass!

Nafrat Karne Waalon Ke was the shortest of the four songs from Johny Mera Naam on this blog* – it was three minutes and 55 seconds long.

The track – which could be translated to, “I will fill the hearts of haters with love. I am the moth who can turn a stone to wax” – was rendered by Kishore Kumar.

It was penned by Indeevar, and composed by Kalyanji-Anandji.

[*Note: Only the instrumental piece that played as the film’s title credits rolled (which was a minute and 59 seconds long) and another two-minute-long instrumental piece were shorter.]

Only Asha could’ve sung it

On listening to some songs, listeners get the feeling that only one singer could do them justice.

By no means would it be incorrect to state that Husn Ke Lakhon Rang was an example of such tracks – no one but Asha Bhosle could have rendered it. 

If the four songs from Johny Mera Naam (1970) on this blog were arranged in the alphabetical order, it would be the first.

The longest song from the film on this blog, it was five minutes and 19 seconds long.

It was penned by Indeevar and composed by Kalyanji-Anandji.

It was another popuLaR duet

By no means would it be incorrect to state that a list of the best Mohammed Rafi songs from films released after 1969 would be incomplete without Jhilmil Sitaron Ka Aangan Hoga.

It was the only song from Jeevan Mrityu (1970) on this blog.

He was joined behind the microphone by none other than Lata Mangeshkar.

The track, which was penned by Anand Bakshi, was composed by Laxmikant Shantaram Kudalkar and Pyarelal Ramprasad Sharma.

The soundtrack of the film featured another version of the song, which was a female solo. It was rendered by Mangeshkar.

As usual, they were bRiLliant

The only song from Ishq Par Zor Nahin (1970) on this blog was Yeh Dil Deewana Hai.

Incidentally, its next two lines went, “Dil to deewana hai, deewana dil hai yeh”.

In other words, the first word of the third line of the S D Burman composition was the last word of its first line.

Anand Bakshi penned the song, whose title was inspired by a Mirza Ghalib couplet, which was used as is in Satrangi Re, from Dil Se.. (1998).

Lata Mangeshkar was joined behind the microphone by the one and only Mohammed Rafi.

Never did its popuLa(ta)R(af)ity wane

The second song from Humjoli on this blog was Haye Re Haye.

Although the next couple of lines of the track, which was penned by Anand Bakshi, went, “Neend nahin aaye, chain nahin aaye”, it was not a song about insomnia.

The track, which was composed by Laxmikant Shantaram Kudalkar and Pyarelal Ramprasad Sharma, was rendered by Lata Mangeshkar and Mohammed Rafi.

If a list of the top rain songs from Hindi films was made, this song – which continues to be as popular as it was when the film released – would definitely be on it.

It was a ‘court’ship tRAck

If the two songs from Humjoli (1970) on this blog were arranged in the alphabetical order, Dhal Gaya Din would be the first.

‘The badminton song’, as I called it when I was younger, was picturised on Jeetendra and Leena Chandavarkar. Regardless of who won or lost the game, the score probably was love-all.

The iconic number, which was penned by Anand Bakshi, was composed by Laxmikant Shantaram Kudalkar and Pyarelal Ramprasad Sharma.

It was rendered by Asha Bhosle and Mohammed Rafi, and recreated for a sequence in Dhoom Tana, from Om Shanti Om (2007).

It was Rafi’s turning point

There are many opinions about the song that proved to be the turning point when Mohammed Rafi’s career was at its lowest ebb, but I believe it was Yeh Duniya Yeh Mehfil, from Heer Ranjha, that restored his confidence.

Ironically, the Madan Mohan composition, which Kaifi Azmi penned, could be translated to, “This world, and this gathering, are of no use to me”.

Rafi’s other contributions to the soundtrack of the film were a solo (Tere Kooche Mein Tera Deewana) and a duet with the one and only Lata Mangeshkar (Meri Duniya Mein Tum Aayi).

It was among Mangeshkar’s Milestones

Lest I forget, June 24, 2019 was the 95th birth anniversary of Madan Mohan, who died at the age of 51 on July 14, 1975.

He composed the music of Heer Ranjha, which released in 1970.

This blog contains posts on a couple of songs from the film.

If they were arranged in the alphabetical order, Milo Na Tum To (which was penned by Kaifi Azmi) would be the first.

It was rendered by the one and only Lata Mangeshkar, whose other contributions to the film’s soundtrack were a couple of solos and a duet.

It was Rafi's forever-relevant number

Having spoken about the weather in my previous post, I think it is only fair that I dedicate this post to a special category of (ahem!) friends – not mine, thankfully, because I am talking about fair-weather friends.

The song that instantly springs to mind when this phrase is uttered is Sukh Ke Sab Saathi.

The only track from Gopi* (1970) on this blog, it was rendered by Mohammed Rafi.

Rajinder Krishan penned the Kalyanji-Anandji composition.

[*Note: The Antakshari sequence in Maine Pyar Kiya (1989) featured a song from this film – Ramchandra Keh Gaye Siya Se.]

Kumar (Kisho)rendered this evergreen track

What are the odds of it being an awesome day as far as the weather is concerned, and me writing a post on an appropriate track, which also happens to be fantastic?

That is precisely what I am feeling as I pen this post on Sama Hai Suhana Suhana, the only song from Ghar Ghar Ki Kahani (1970) on this blog.

It was rendered by the one and only Kishore Kumar.

Anand Bakshi penned the Kalyanji-Anandji composition.

It was, incidentally, one of the songs in the Antakshari sequence in Maine Pyar Kiya (1989) as well.

Rafi rendered this melodious song

It is only fair to expect that a film whose title translates to song would boast of a fabulous soundtrack, and it probably did.

But this blog contained a post on just one track from Geet, which released in 1970. 

Or, to be precise, one of the two versions of one song from the film (i.e., the male version of its title track, Mere Mitwa Mere Geet Re).

It was rendered by none other than Mohammed Rafi.

The other version was a Rafi-Lata Mangeshkar duet.

They were penned by Anand Bakshi, and composed by Kalyanji-Anandji.

It was a superLat(a)ive rendition

This blog contains a post on one track from Dastak (1970) – Baiyan Na Dharo, which was based on Raga Charukesi.

There’s no two ways about the fact that it was one of the finest songs rendered by Lata Mangeshkar.

Majrooh Sultanpuri penned it.

It was composed by Madan Mohan. The composer, who was nominated for a couple of Filmfare Awards in the 1960s, did not take the covered trophy home on either occasion. But it was for this film that the National Film Award for Best Music Direction came knocking on his door in 1971.

Lata’s (Kisho)rendered this ‘note’worthy track

This blog contains a post on just one song from Abhinetri, which released in 1970.

The track in question was Sa Re Ga Ma Pa.

It was rendered by Lata Mangeshkar and Kishore Kumar.

While it was the only contribution of the latter to the soundtrack, Mangeshkar sang another duet (Milte Hi Rahenge Hum with Mahendra Kapoor) and four solos (Dhadkan Har Dil Ki, Khinche Humse Sanware, O Ghata Sanwari and Sajna O Sajna) in the film.

The track, which was penned by Majrooh Sultanpuri, was composed by Laxmikant Shantaram Kudalkar and Pyarelal Ramprasad Sharma.

Lata sang this Ma(ngeshka)rvellous solo

Tere Kaaran Mere Saajan was the longest of the three tracks from Aan Milo Sajna on this blog – it was five minutes and three seconds long*.

It was rendered by none other than Lata Mangeshkar.

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

[*Note: It was the third longest track in the film. Both Mohammed Rafi's contributions to its soundtrack were longer. While Rang Rang Ke Phool Khile (a duet with Mangeshkar) was half-a-dozen minutes and 29 seconds long, Koi Nazrana Lekar Aaya Hoon – a solo – was five minutes and 45 seconds long.]

The youth loved Kumar’s (Kisho)rendition

When Kishore Kumar rendered, “Jawani O Deewani Tu Zindabad” (which could be translated to, “Long live this crazy youth”), he was referring to the period between the deewana bachpan and the sayana budhapa, but there’s no two ways about the fact that he drove the youth crazy.

The shortest of the three tracks from Aan Milo Sajna on this blog*, it was four minutes and 47 seconds long.

Anand Bakshi penned the Laxmikant-Pyarelal composition.

(*Note: The Asha Bhosle solo Palat Meri Jaan, the shortest song in the film, was four minutes and 43 seconds long.)

Goodbyes should’ve been LiKe this

Folks, I ain’t going nowhere, because I have a question: What was common to Kishore Kumar, Laxmikant Shantaram Kudalkar, Anand Bakshi and Rajesh Khanna?

The answer is they didn’t just collaborate on Achcha To Hum Chalte Hain, but they bid us adieu in that order too.

If the three songs from Aan Milo Sajna (1970) were arranged in the alphabetical order, this track, which was four minutes and 56 seconds long, would be the first.

Kumar was joined behind the microphone by none other than Lata Mangeshkar.

Pyarelal Ramprasad Sharma shared composing credits with Kudalkar.

Rafi's version was the highlight

While 1969 was a watershed in the Hindi film industry (as far as music was concerned), it would be incorrect to state that Mohammed Rafi was no longer relevant.

This was evidenced by the fact that the male version of Gar Tum Bhula Na Doge – the only track from Yakeen on this blog – was better known than its female version, which was rendered by Lata Mangeshkar.

The track, “Jise tum bhula na sakoge” (which could be translated to, “One that you won’t be able to forget”), was penned by Hasrat Jaipuri.

Shankar Jaikishan composed it.

Rafi’s hit inspired Kapil’s debut

The second song from Tumse Achha Kaun Hai on this blog was Kis Kis Ko Pyaar Karoon.

The song took the phrase “an embarrassment of riches” (i.e., too much – or at least more than enough – of a desired or needed thing) to a whole new level. Needless to say, hilarity ensued.

It was picturised on Shammi Kapoor, and rendered by Mohammed Rafi.

The track, which was penned by Rajinder Krishan, was composed by Shankar Jaikishan.

Incidentally, the song inspired the title of comedian Kapil Sharma’s debut film as the leading man. It released in 2015.

Rafi sang this immortal classic

Tumse Achha Kaun Hai (1969) derived its title from a song from Janwar, which released in 1965. Incidentally, both the films were Shammi Kapoor-starrers.

If the two songs from the film on this blog were arranged in the alphabetical order, Janam Janam Ka Saath Hai would be the first.

Needless to say, it was a Mohammed Rafi solo.

A line of the Shankar Jaikishan composition, which Hasrat Jaipuri penned, went, “Maut badan ko aati hai, rooh ka jalwa rehta hai” (which means, “Death comes to the body, but the charm of the soul is intact”).

This RoMantic duet was underrated

Palkon Ke Peechhe Se was the only song from Talash (1969) on this blog.

A romantic duet, it was rendered by Lata Mangeshkar and Mohammed Rafi*.

The underrated song, which was four minutes and 43 seconds long, was penned by Majrooh Sultanpuri, and composed by S D Burman.

If a list of hit songs picturised on Rajendra Kumar in his post-Jubilee Kumar phase were made, this track would definitely be on it.

(*Note: They also sang the longest song in the film, Aaj Ki Junli Raat Ma. It was half-a-dozen minutes and 59 seconds long.)

Kishore Kumar’s version overshadowed Rafi’s

The soundtrack of Pyar Ka Mausam featured a couple of versions of Tum Bin Jaoon Kahan.

While Kishore Kumar’s version (which appears twice in the film) was picturised on Bharat Bhushan, Mohammed Rafi’s version (which appears thrice) was picturised on Shashi Kapoor, the film’s lead.

This blog contains a post on the former’s version, because there’s no two ways about the fact that it was better than the latter’s version.

Both these tracks were penned by Majrooh Sultanpuri, and composed by the legendary R D Burman, who would have been 80 on June 27, 2019.

The duggi pLayeR composed it

If the two tracks from Pyar Ka Mausam (1969) were arranged in the alphabetical order, its title song – Ni Sultana Re – would be the first.

The only duet in the film, it was rendered by Lata Mangeshkar and Mohammed Rafi.

The song, which was composed by Majrooh Sultanpuri, was composed by percussionist Homi Mullan*. It was his only contribution to the film’s soundtrack as a music director. R D Burman composed the other songs in the film.

(*Note: Mullan, who played the duggi, was born on October 22, 1940, and died on December 26, 2015.)

Undoubtedly, this tRAck was catchy

There’s no two ways about the fact that Tu Mera Main Teri – the only duet on the soundtrack of Pyar Hi Pyar – was the catchiest song in the film.

The song could be translated to, “You are mine, and I am yours. If others are jealous, so be it”.

No prizes for guessing that the male singer was none other than Mohammed Rafi.

He was joined behind the microphone by Asha Bhosle (whose other contribution to the film’s soundtrack was a solo titled O Sakhiyan Sakhiyan).

Hasrat Jaipuri penned the song, which Shankar Jaikishan composed.

Rafi and the kavi rocked

Given the fact that Hasrat Jaipuri's love letter to a certain Radha resulted in one of the finest Hindi film songs of all time [Yeh Mera Prem Patra Padhkar from Sangam (1964)], the first line of his song from Pyar Hi Pyar – “Main kahin kavi na ban jaoon tere pyar mein aye Kavita” – was ironic.

However, there’s no two ways about the fact that the Shankar Jaikishan composition, which was rendered by Mohammed Rafi, was fantastic.

And the icing on the cake was that Kavita was none other than Vyjayanthimala, who played Radha in Sangam.

Raficionados' appreciation was beshumaar too

The same composer duo (Shankar Jaikishan): Check.

The same lyricist (Hasrat Jaipuri): Check.

The same singer (Mohammed Rafi): Check.

The same leading lady (Vyjayanthimala): Check.

In fact, even the first letter of the film’s title (P) and the year of its release (1969) were the same.

But I’m not talking about Prince.

If the three tracks from Pyar Hi Pyar were arranged in the alphabetical order, its title track – Dekha Hai Teri Aankhon Mein – would be the first.

And another thing the track and Badan Pe Sitare had in common – the listeners appreciated them beshumaar.

Indeed, Rafi was the king

Shammi Kapoor may have played the titular role in Prince (1969), but Badan Pe Sitare, the only track from the film on this blog, proved why Mohammed Rafi was the king of playback singing.

The song was four minutes and 48 seconds long.

Penned by Hasrat Jaipuri, the mukhda of the Shankar Jaikishan composition was inspired by the glittering costumes of the dancers at a nightclub Jaipuri and Jaikishan visited in Paris in the 1960s.

A revamped version of the track – credited to Amit Trivedi – was used in Fanney Khan (2018). Sonu Nigam rendered it.

Kishore’s vocal range was (Ku)marvellous

While Kishore Kumar’s contributions to the soundtrack of Aradhana, and his solo in Do Raaste took him to the top, there’s no two ways about the fact that it was his solo in another Rajesh Khanna-starrer that, incidentally, released the same year that kept him there.

The film was Khamoshi, and the song – that showcased his outstanding vocal range – was Woh Shaam Kuch Ajeeb Thi.

Of course, that is my opinion, and I’m no expert on Hindi film music, but a mere fan.

The track, which was penned by Gulzar, was composed by Hemant Kumar.   

Kumar sang this (He)ma(g)n(ificen)t track

The involvement of Hemant Kumar in Tum Pukar Lo – the song from Khamoshi – wasn’t restricted to composing it, but he rendered it as well. 

To borrow a part of a line of the song (which was penned by Gulzar), “Mukhtasar si baat hai” (which could be translated to, “In short”), it was mind-blowing.

In fact, it wouldn’t be a surprise if a list of the top ten tracks by Kumar was made, and this track took pole position. 

Khamoshi also happened to be the last Hindi film produced by Kumar (under his banner, Geetanjali Productions).

This Mangeshkar solo was underrated

This blog contains posts on three tracks from Khamoshi, which released in 1969.

If they were arranged in the alphabetical order, Humne Dekhi Hai Un Aankhon Ki Mehekti Khushboo – which could be translated to, “I have seen the fragrance emanating from those eyes” – would be the first.

It was penned by Sampooran Singh Kalra, whose nom de plume (Gulzar) couldn’t have been more appropriate, given that he seemed to be blooming forever.

Hemant Kumar composed it.

By no means would it be incorrect to state that it was one of Lata Mangeshkar’s most underrated songs.

Rafi rendered this simple philosophy

Jeene Ki Raah means the way to live, and there’s no better person to teach Hindi film music aficionados that than Anand Bakshi, who penned simple lines like, “Zamanewaalon kitaab-e-gham mein khushi ka koi fasana dhoondho” (which could be translated to, “People of the world, search for a tale of happiness in the book of sadness”.)

It was one of the best lines in Ek Banjara Gaaye, the philosophical title track of the aforementioned film.

The song, whose title means, “A gypsy sings”, was composed by Laxmikant-Pyarelal and rendered by none other than Mohammed Rafi.

Ms Mangeshkar rendered AMA(rve)LLous song

Lata Mangeshkar bagged the Filmfare Award for Best Female Playback Singer in 1970. She was also the loser.

While the winning track was Aap Mujhe Achche Lagne Lage* (from Jeene Ki Raah), the one that lost was Kaise Rahoon Chup from Intequam, which also released in 1969.

Interestingly, both the tracks were composed by Laxmikant Shantaram Kudalkar and Pyarelal Ramprasad Sharma.

However, the lyricists of the two nominated numbers were different – Anand Bakshi penned the songs of Jeene Ki Raah.

(*Note: It inspired the title of a 2002 film, starring Hrithik Roshan and Ameesha Patel.)

It was thR(af)ice as nice

The soundtrack of Jeene Ki Raah featured three versions of Aane Se Uske Aaye Bahar.

While the fast version was the only version on this blog, the second version was the slow version. They were rendered by Mohammed Rafi.

The third version was a duet. No prizes for guessing that one of the singers was Rafi. The Sing(h)er who joined him behind the microphone was Bhupinder.

The song – which could be translated to, “When she comes, it is spring” – was penned by Anand Bakshi.

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

Undoubtedly, the ListeneRs were pleased

If the four songs from Jeene Ki Raah (1969) were arranged in the alphabetical order, Aa Mere Humjoli Aa would be the first.

While the song was about a game of hide and seek, it must be noted that Mohammed Rafi (who was joined the microphone by Lata Mangeshkar) was seeking his confidence (which he had lost at that point), the listeners could barely hide their excitement.

The track, which was penned by Anand Bakshi, earned Laxmikant Shantaram Kudalkar and Pyarelal Ramprasad Sharma their third Filmfare Award in the Best Music Director category in 1970.

Lata stepped into Asha’s shoes

Having seen and heard several cabaret numbers (yes millennials, they were not called item numbers then) over the years, I know that most of them were rendered by Asha Bhosle.

So imagine my surprise on realising that it was Lata Mangeshkar who rendered Aa Jaane Jaan, the only track from Intequam (1969) on this blog.

Needless to say, the surprise doubled when I discovered that while Mangeshkar sang four solos (including this one) and a duet in the film, Bhosle did not contribute to the film’s soundtrack at all.

Rajinder Krishan penned the Laxmikant-Pyarelal composition.

Lyrically, this numBeR became popular

The second song from Ek Phool Do Mali on this blog was Yeh Parda Hata Do.

There’s no two ways about the fact that the chief reason for its popularity was its lyrics, which appealed to people of all ages. The one (or should I say Dhawan?) who penned it was Prem.

The track, which was rendered by Asha Bhosle and Mohammed Rafi*, was composed by Ravi Shankar Sharma.

(*Note: It wasn’t their only contribution to the soundtrack of the film. They also rendered Chal Chal Re Naujawan, which parodied a number of popular songs.)

Dey sang this magnificent lullaby

This blog contains posts on a couple of tracks from Ek Phool Do Mali, which released in 1969.

If they were arranged in the alphabetical order, Tujhe Suraj Kahoon Ya Chanda would be the first.

As another week draws to a close, I reckon there couldn’t be a more appropriate track to wind up, because it was an extremely popular lullaby.

The one who penned it was Prem Dhawan.

The song, which was composed by Ravi Shankar Sharma, was rendered by the one and only Manna Dey.

Needless to say, they did an outstanding job!

Rafi rendered this ‘different’ solo

Yeh Reshmi Zulfen was the lone solo by Mohammed Rafi on the soundtrack of Do Raaste.

Five minutes and 16 seconds long, it was penned by Anand Bakshi and composed by Laxmikant Shantaram Kudalkar and Pyarelal Ramprasad Sharma.

And this post would not be complete without an explanation of the use of the word ‘different’ in its title.

While the other songs from the film had shorter Revival versions, this was the only song whose Revival version happened to be longer than the original. However, the difference in their durations was a mere five seconds.

Kumar (Kisho)rendered this melancholy number

While Khiza – the first word of Mere Naseeb Mein Aye Dost – is Urdu for fall (the season, also called autumn), there’s no two ways about the fact that the track, from Do Raaste, helped Kishore Kumar* rise.

The shortest of the four songs from the film on this blog, it was four minutes and 43 seconds long.

The track, which was penned by Anand Bakshi, was composed by Laxmikant Shantaram Kudalkar and Pyarelal Ramprasad Sharma.

(*Note: It was his only contribution to the soundtrack of the film. Incidentally, it did not have a Revival version.)

It was an immoRtaL duet

Regardless of whether one calls it Chhup Gaye Saare Nazaare or Dil Ne Dil Ko Pukara, there’s no two ways about the fact that the track from Do Raaste was superb.

The only duet in the film, it was rendered by Lata Mangeshkar and Mohammed Rafi.

While the version on this blog was five minutes and 36 seconds long, its Revival version was just five seconds shorter.

On listening to the track, which was penned by Anand Bakshi and composed by Laxmikant Shantaram Kudalkar and Pyarelal Ramprasad Sharma, the listeners said, “Oye, kya baat hai”.   

This Mangeshkar solo was nominated

This blog contains posts on chaar gaane from Do Raaste (1969).

If they were arranged in the alphabetical order, Bindiya Chamkegi would be the first.

It also happened to be the longest track in the film – it was five minutes and 45 seconds long.

Anand Bakshi and Lata Mangeshkar were nominated in the Best Lyricist and the Best Female Playback Singer categories, respectively, at the 1971 Filmfare Awards.

Laxmikant-Pyarelal were nominated in the Best Music Director category at the same ceremony.

Another version of the track – titled Revival – was four minutes and 55 seconds long.

Rafi’s version was the high‘light’

This blog contains a post on just one song from Chirag (1969) – the male version of Teri Aankhon Ke Siva. 

There’s no two ways about the fact that this version, which was four minutes and 13 seconds long, was the most popular song in the film.

Mohammed Rafi rendered it.

The female version of the track – which Lata Mangeshkar rendered – was 16 seconds longer than Rafi’s version.

Majrooh Sultanpuri penned the Madan Mohan Kohli composition, whose title was inspired by a line from Faiz Ahmed Faiz’s nazm Mujhse Pehli Si Mohabbat Meri Mehboob Na Maang.

It was, and is, popuLaR

From a fan’s perspective, a song becomes evergreen when people listen to it over and over again, and don’t get bored doing so.

And if some people can relate to it, it is a bonus.

Saathiya Nahin Jaana – from Aya Sawan Jhoom Ke – was, and always will be, popular, because it had the aforementioned qualities.

Enumerating the other reasons for its popularity would be stating the obvious.

Firstly, it was rendered by Lata Mangeshkar and Mohammed Rafi.

And secondly, the track, which Anand Bakshi penned, was penned by Laxmikant Shantaram Kudalkar and Pyarelal Ramprasad Sharma.

The LegendaRy duo rendered it

Mumbaikars hope aye sawan jhoom ke (which could be translated to, “The rains come dancing”), because while it may be too much to expect the soundtracks of today’s films to feature melodious songs, a few showers are the need of the hour.

This blog contains posts on a couple of tracks from Aya Sawan Jhoom Ke, which released in 1969.

If they were arranged in the alphabetical order, the title track of the film would be the first.

Anand Bakshi penned the Laxmikant-Pyarelal composition, which was rendered by legendary singers Lata Mangeshkar and Mohammed Rafi.