The masses loved the oR(af)iginal

Tayyab Ali, from Once Upon ay Time in Mumbai Dobaara! (2013), was a cover version of Taiyab Ali Pyaar Ka Dushman.

But by no means would it be incorrect to state that Hindi film music aficionados loved, and will always love the latter, which happened to be the shortest of the six tracks from Amar Akbar Anthony on this blog – it was four minutes and 40 seconds long.

The track, which was penned by Anand Bakshi, was rendered by none other than Mohammed Rafi.

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

Even atheists loved Rafi’s rendition

Shirdi Wale Sai Baba, from Amar Akbar Anthony, it was five minutes and 32 seconds long.

It couldn’t have been rendered by anyone but Mohammed Rafi, who was called Khuda ki awaaz.

He also rendered the shortest song in the film – Yeh Sach Hai Koi Kahani Nahin*.

There’s no two ways about the fact that even atheists loved the devotional number, which was penned by Anand Bakshi and composed by Laxmikant Shantaram Kudalkar and Pyarelal Ramprasad Sharma.

(*Note: It was just a couple of minutes and 22 seconds long, and was excluded from this blog.)

Rafi rendered a (Ku)marvellous qawwali

Parda Hai Parda was the longest song on the soundtrack of Amar Akbar Anthony – it was seven minutes and 59 seconds long.

While the qawwali was rendered by Mohammed Rafi (who was accompanied by a chorus), one line (“Akbar tera naam nahin hai”) was sung by Amit Kumar.

It earned Rafi and Anand Bakshi nominations in the Best Male Playback Singer and the Best Lyricist categories, respectively, at the Filmfare Awards in 1978.

The track was composed by Laxmikant-Pyarelal, who bagged the fourth of their seven Filmfare Awards in the Best Music Director Award category.

Kumar (Kisho)rendered and Bachchan spoke

There’s no two ways about the fact that the highlight of My Name is Anthony Gonsalves, the song from Amar Akbar Anthony, was Amitabh Bachchan's portion upon his emergence from the Easter egg.

It was based on former British prime minister Benjamin Disraeli's speech.

The track, which was (Kisho)rendered by Mr Kumar, was five minutes and 32 seconds long.

Anthony Gonsalves was named after Pyarelal’s music teacher and an arranger who hailed from Goa.

Pyarelal was one half of the duo who composed the track, the other being Laxmikant.

It was penned by Anand Bakshi.

The LegendaRy quartet created MagiK

The second longest song on the soundtrack of Amar Akbar Anthony was Humko Tumse Ho Gaya Hai Pyaar – it was seven minutes and 33 seconds long.

It was the first – and only – song to be rendered by the legendary quartet – Lata Mangeshkar, Mohammed Rafi, Mukesh and Kishore Kumar.

The hook of the song, which was penned by Anand Bakshi, went, “Bolo to jiyein, bolo to mar jaayen” (which could be translated to, “If you tell me, I will live, and if you tell me, I'll die).

Laxmikant Shantaram Kudalkar and Pyarelal Ramprasad Sharma composition it.

Mahendra and Shailendra (Kisho)rendered it

If the six songs from Amar Akbar Anthony (1977) on this blog were arranged in the alphabetical order, the film’s title track would be the first.

The track – whose opening line (“Anhoni ko honi kar de, honi ko anhoni”) summed up the career of Manmohan Desai, the film’s director – was five minutes and 52 seconds long.

It was (Kisho)rendered by Mahendra Kapoor [for Amar (Vinod Khanna)], Shailendra Singh [for Akbar Illahabadi (Rishi Kapoor)] and Mr Kumar [for Anthony Gonsalves (Amitabh Bachchan)].

Anand Bakshi penned the track, which Laxmikant Shantaram Kudalkar and Pyarelal Ramprasad Sharma composed.

Indeed, this solo was underRa(fi)ted

Although most of the posts on my blog today are upbeat, popular Mohammed Rafi numbers, the subject of this post – a Ravi Shankar Sharma composition, which was penned by Sahir Ludhianvi – was an exception.

There’s no two ways about the fact that Door Rehkar Na Karo Baat, the only song from Amaanat (1977) on this blog, was an underrated track. But it was undoubtedly outstanding.

If death hadn’t rendered the hook of this track – “Kareeb aa jao” – to him when he was just 55, he would have continued to enthrall his fans with more gems.

Lata’s fans Loved this tracK

Upon listening to the only song from Aashiq Hoon Baharon Ka (1977) on this blog, I could not help but wonder how much other listeners must have 'love'd it.

After all, the track, which was penned by Anand Bakshi, went, “I am in Love, You are in Love, He is in Love, She is in Love”.

The track was rendered by Lata Mangeshkar, who was joined behind the microphone by Kishore Kumar.

Incidentally, it happened to be the only duet in the film.

The track was composed by Laxmikant Shantaram Kudalkar and Pyarelal Ramprasad Sharma.

Bappi didn’t pen the L(ah)irics

Even if a Hindi film music buff doesn’t listen to Bambai Se Aaya Mera Dost [the only song from Aap Ki Khatir (1977)] regularly, one would instantly say that it bore the Bappi Lahiri stamp.

His involvement in this popular track wasn’t restricted to composing it, but he rendered it as well.

Lahiri was accompanied by a chorus.

The only thing he didn’t do was pen the song – the lyrics were credited to Shaily Shailendra.

The soundtrack of Chandni Chowk To China (2009) featured a version of the track, titled India Se Aaya Mera Dost.  

Rafi sang this wedding staple

It is one of the biggest ironies – today (July 31, 2019) is the 39^th death anniversary of the legendary Mohammed Rafi (who was born on December 24, 1924 and died in 1980), and this was a song without which no wedding procession was complete.

The track in question was Aaj Mere Yaar Ki Shaadi Hai.

It was the only song from Aadmi Sadak Ka (1977) on this blog.

Verma Malik penned the track, which was composed by Ravi Shankar Sharma (who was credited as one of Rafi’s back-up vocalists, the other being actor Deven Verma).   

Mehmood’s title track was recreated

I first heard the title track of Sabse Bada Rupaiya in its recreated avatar on the soundtrack of the 2005 Abhishek Bachchan-starrer Bluffmaster!

The fact that yesteryears’ funnyman Mehmood’s voice (which I was familiar with) was retained in that version prompted me to search for the original a few years later.

That was when I realised that he wasn’t just the actor it was picturised on, and the singer of course, but also the producer of the film.

Majrooh Sultanpuri penned the song, which R D Burman’s assistants, Basu Chakraborty and saxophonist Manohari Singh, composed.

Its LyriKs were its highlight

If the two songs from Sabse Bada Rupaiya (1976) were arranged in the alphabetical order, Dariya Kinare Ek Bungalow would be the first.

It was (Kisho)rendered by Lata Mangeshkar and Mr Kumar. 

Their other contribution to the soundtrack was Waada Karo Jaanam. I’ve heard that song a few times on the radio, but I didn’t know it was from Sabse Bada Rupaiya until I began writing this post.

The lyrics of the song – credited to Majrooh Sultanpuri – were undoubtedly its highlight.

It was composed by Basudeo Chakraborty and Manohari Singh (who were collectively called Basu-Manohari).  

The duet was very MeLodious

The soundtrack of Nagin (1976) featured a couple of versions of Tere Sang Pyaar Main Nahin Todna.

However, this blog contains a post on just one – the duet, rendered by Lata Mangeshkar and Mahendra Kapoor.

It was five minutes and 42 seconds long.

Mangeshkar’s solo was five minutes and eight seconds long.

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

It was one of the three Hindi film songs that featured on the soundtrack of Eternal Sunshine of the Spotless Mind, which released in 2004.

Kishore Kumar’s version induced goosebumps

This blog contains just a post on just one song from Mehbooba, which released in 1976.

The track in question was the male version of Mere Naina Sawan Bhadon.

No prizes for guessing that Mr Kumar (Kisho)rendered it.

It was five minutes and 25 seconds long.

The female version of the track was rendered by the one and only Lata Mangeshkar.

It was half-a-dozen minutes and 20 seconds long.

Anand Bakshi penned the R D Burman composition.

There’s no two ways about the fact that the track, which was based on Raga Shivaranjani, was haunting.

Sagar couldn’t milk the opportunity

Most Indians have grown up on at least one offering of Gujarat Co-operative Milk Marketing Federation Ltd (GCMMF), which markets its products under the brand name Amul.

The dairy player produced a film titled Manthan, which released in 1976.

The only song in the film was Mero Gaam Katha Parey.

It earned Preeti Sagar the Filmfare Award for Best Female Playback Singer in 1978, but sadly, she has remained a two-hit wonder as far as Hindi film music was concerned.

The track, which was penned by her sister Neeti Sagar, was composed by Vanraj Bhatia. 

Lata haazir thi gaane ko

This blog contains a post on just one song from Laila Majnu, which released in 1976.

It was titled Husn Haazir Hai.

The next two lines of the song went, “Mohabbat ki saza paane ko. Koi patthar se na maare mere deewane ko” (which could be translated to, “Beauty is here to be punished for love. Nobody should throw stones at my lover”).

Sahir Ludhianvi penned the track, which was rendered by the one and only Lata Mangeshkar, and topped the Binaca Geetmala annual list for 1977.

That was unusual for a Madan Mohan composition.

Lata rendered this short solo

Jaa Re Jaa O Harjai was the only solo on the soundtrack of Kalicharan.

It also happened to be the shortest song in the film – it was four minutes and 21 seconds long.

The track was rendered by the one and only Lata Mangeshkar.

It was penned by Rajkavi Inderjeet Singh Tulsi, and composed by Kalyanji Virji Shah and Anandji Virji Shah.

Ravindra Jain penned the two Asha Bhosle tracks in the film – Tum Jaano Ya Hum Jaane (a duet with Mohammed Rafi) and Yeh Pal Chanchal Kho Na Dena (a duet with Kishore Kumar).

It simply stated a fAKt

This blog contains posts on a couple of songs from Kalicharan (1976).

If they were arranged in the alphabetical order, as well as in the descending order of their durations, Ek Bata Do, Do Bate Chaar would be the first – it was five minutes and a second long.

The next line of the Kalyanji-Anandji composition, which Rajkavi Inderjeet Singh Tulsi penned, was “Chhoti chhoti baaton mein bant gaya sansaar”.

The line still holds true, as it could be translated to, “The world is divided over trivial things”.

It was rendered by Anuradha Paudwal and Kanchan.

For youngsters, it was (Kisho)reLatable

If young Hindi film buffs growing up in the 1970s in general, and couples in particular, were asked what their favourite track was, they might have replied, “Tere Chehre Se Nazar Hatti Nahin”.

Indeed, the song, which was from Kabhi Kabhie: Love is Life, was relatable.

After all, it could be translated to, “I can’t stop looking at your face. What sights do I see?”

The track was (Kisho)rendered by Lata Mangeshkar and Mr Kumar.

With due respect to the latter’s fans, the former got better lines to sing.

Sahir Ludhianvi penned the Khayyam composition.

This Kishore solo was fabulous

There’s nothing wrong with falling in love.

But Sahir Ludhianvi, who penned Pyaar Kar Liya To Kya, from Kabhi Kabhie: Love is Life, wrote a couple of lines that got the goat of the moral police, but were loved by the youth.

They went, “Tere honth mere honth sil gaye to kya hua. Dil ki tarah jism bhi mil gaye to kya hua” (which could be translated to, “What’s the big deal if we locked lips? What’s wrong if our bodies came into contact, just as our hearts connected?”)

Mr Kumar (Kisho)rendered the Khayyam composition.

Mukesh sang this evergreen nominee

By no means would it be incorrect to state that Main Pal Do Pal Ka Shayar Hoon was one of the most outstanding songs on the soundtrack of Kabhi Kabhie: Love is Life.

Another ‘version’ of the track was Main Har Ek Pal Ka Shayar Hoon. However, this blog doesn’t contain a post on that ‘version’.

Mukesh rendered both.

He pipped himself to the post, albeit posthumously – the former earned him a nomination in the Best Male Playback Singer category at the 1977 Filmfare Awards.

Sahir Ludhianvi penned the track, which was composed by Khayyam.

Mukesh’s version was undoubtedly superb

The soundtrack of Kabhi Kabhie: Love is Life featured three versions of the title track, Kabhi Kabhi Mere Dil Mein.

While this blog contains a post on the Mukesh solo, the other versions were a duet (rendered by Lata Mangeshkar and Mukesh) and Amitabh Bachchan’s version*.

Mukesh (posthumously) bagged the Filmfare Best Male Playback Singer Award in 1977.

The track earned Sahir Ludhianvi the Best Lyricist Award at the same ceremony.

It was composed by Khayyam.

(*Note: If it were a song, it would have sounded awesome in the actor’s baritone. But he recited it.)

The Knives certainLy weren’t out

If the five tracks from Kabhi Kabhie: Love is Life (1976) on this blog were arranged in the alphabetical order, the alliterative Chahe Chalein Chhuriyan (also called Tere Phoolon Jaisa Rang) would be the first.

Although it was an outstanding song, there’s no two ways about the fact that it was underrated.

No prizes for guessing that it was (Kisho)rendered by Lata Mangeshkar and Mr Kumar.

The track, which was penned by Sahir Ludhianvi, was composed by Khayyam, who bagged the first of his two Filmfare Awards in the Best Music Director category in 1977.

Kishore asked Lata, “What’s up?”

Having mentioned millennials in my previous post, this is a post on another song that might appeal to them, because its hook – which was in Punjabi – could be translated to, “What’s up?”

The track in question was Ki Gal Hai.

It was the only song from Jaaneman (1976) on this blog.

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

The response (by Lata Mangeshkar) to the aforementioned question – asked by the one and only Kishore Kumar – was, “Koi nahin” (which could be translated to, “Nothing”).

Kapoor (Kisho)rendered this faux bhajan

Millennials would only remember Hera Pheri as a 2000 comedy with a bunch of decent songs, but memorable dialogues.

However, its unrelated namesake, which released in 1976, had one very popular track – its title song, Waqt Ki Hera Pheri Hai.

Seven minutes and 46 seconds long, it was a faux bhajan.

It was (Kisho)rendered by Mr Kumar and Mahendra Kapoor.

By no means would it be incorrect to state that the lyrics of the song – credited to Anjaan – were the highlight of the track, which was penned by Kalyanji Virji Shah and Anandji Virji Shah.

Lata sang this ‘Tota-Maina’ (Kisho)‘redux’

Shashi Kapoor’s Tota-Maina songs from Chor Machaye Shor (1974) and Fakira (1976) had a couple of similarities – Lata Mangeshkar rendered both the Ravindra Jain compositions.

But there were three differences between Tota Maina Ki Kahani (the only song from Fakira on this blog) and its predecessor.

Firstly, it wasn’t just composed by Jain, but he penned it too (unlike the 1974 track, which Rajkavi Inderjeet Singh Tulsi penned).

Secondly, it was (Kisho)rendered by Mr Kumar. Mohammed Rafi sang the song from Chor Machaye Shor.

And lastly, it wasn’t picturised on Mumtaz, but on Shabana Azmi.   

Mukesh scored a perfect ten

This blog contains a post on just one track from Dus Numbri (1976) – its title track, Yeh Duniya Ek Numbri.

The track was rendered by Mukesh Chand Mathur, who died (at the age of 53) on August 27 the same year.

By no means would it be incorrect to state that he, Majrooh Sultanpuri (who penned it) and Laxmikant-Pyarelal (the composers) scored a perfect 10.

The song – which began with the line, “Kahat Kabir suno bhai sadho baat kahoon main khari” – was one of the songs in the Antakshari sequence in Maine Pyar Kiya (1989).

Mr Kumar (Kisho)rendered both versions

The soundtrack of Do Anjaane (1976) contained a couple of versions of Luk Chhip Luk Chhip Jao Na.

But this blog contains a post on just one – the male version, which I was aware of.

It was (Kisho)rendered by the one and only Mr Kumar.

The other version was a duet. Kumar was joined behind the microphone by Shivangi Kolhapure.

The song was penned by Anjaan, who – ironically, and much to the delight of his fans – could never be what his pseudonym meant (unknown).

It was composed by Kalyanji Virji Shah and Anandji Virji Shah.

Hemlata did become (Yesud)asuccess story

The shortest of the four songs on the soundtrack of Chitchor was Tu Jo Mere Sur Mein – it was four minutes and 57 seconds long.

Ravindra Jain’s involvement in the track – which would be the last if the songs of the film were arranged in the alphabetical order – wasn’t restricted to composing it, but he penned it too.

K J Yesudas rendered it with Hemlata (who bagged the Filmfare Best Female Playback Singer Award for it in 1977).

Incidentally, she was nominated for another Jain composition that year – Sun Ke Teri Pukar from Fakira (1976).   

Indeed, Hemlata sang (Yesud)asuperb track

The longest of the four songs on the soundtrack of Chitchor was Jab Deep Jale Aana – it was five minutes and 35 seconds long.

Apart from the aforementioned line (which could be translated to, “Come when the lamp is lit”), the hook of the song went, “Jab shaam dhale aana” (which could be translated to, “Come at dusk”).

The involvement of Ravindra Jain in the track wasn’t restricted to composing it, but he penned it too.

The song was rendered by K J Yesudas, who was joined behind the microphone by Hemlata (née Lata Bhatt).

Yesudas bagged a National Award

The longer of the two K J Yesudas solos on the soundtrack of Chitchor was Gori Tera Gaon Bada Pyara – it was five minutes and 11 seconds long.

The track earned him the third of his eight National Awards in the Best Male Playback Singer category in 1976. It was the only time he bagged the coveted accolade for a Hindi song.

He was also nominated for a Filmfare Award in the same category the following year. It was the first time he was nominated for a Hindi song.

Ravindra Jain penned and composed it.

Undoubtedly, it was (Yesud)asuperb song

The soundtrack of Chitchor (1976) contained four tracks, and this blog contains posts on all of them.

If they were arranged in the alphabetical order, Aaj Se Pehle Aaj Se Zyada would be the first.

The shorter of K J Yesudas’ two solos in the film, it was five minutes and seven seconds long.

Ravindra Jain’s involvement in the track – which could be translated to, “I have never been happier than I am now” – wasn’t restricted to composing it, but he penned it too.

There’s no two ways about the fact that it was outstanding.

Lata’s title track was Ma(ngeshka)rvellous

The second song from Chhoti Si Baat on this blog was its title track.

It was titled Na Jaane Kyon.

The opening verse of the song, which was penned by Yogesh, could be translated to, “I don’t know why this happens with life. All of a sudden, the mind remembers a person after he has gone. It is a little matter”.

The track, which was penned by Salil Choudhury, was rendered by Ms Mangeshkar.

By no means would it be incorrect to state that it wasn’t just a beautiful song, but a reLatable one too.

Yesudas (Bhos)lent it his voice

This blog contains posts on a couple of tracks from Chhoti Si Baat, which released in 1976 (and was among actor Amol Palekar’s hat-trick of hits with director Basu Chatterjee).

If they were arranged in the alphabetical order, Jaaneman Jaaneman Tere Do Nayan would be the first.

By no means would it be incorrect to state that as far as Hindi film music was concerned, it was a breakthrough for K J Yesudas.

He was joined behind the microphone by none other than Asha Bhosle.

Yogesh penned the song, which was composed by Salil Choudhury.

Lata (Kisho)rendered this fantastic song

Kal Ki Haseen Mulaqat Ke Liye was the only song from Charas (1976) on this blog.

The track, which was composed by Laxmikant-Pyarelal, was the only contribution of Kishore Kumar to the soundtrack of the film.

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

Her other contributions to its soundtrack were a couple of solos, a duet and a song titled Aaja Teri Yaad Aayi*. 

(*Note: It was of the few songs rendered by Anand Bakshi, who penned the film’s songs. Mohammed Rafi joined him and Mangeshkar behind the microphone.)

It inspired a fiLm’S title

If a list of songs rendered by Shailendra Singh and not picturised on Rishi Kapoor is made, Pyaar Mein Kabhi Kabhi would certainly be on it.

By no means would it be incorrect to state that it was one of the two most popular tracks on the soundtrack of Chalte Chalte.

Singh was joined behind the microphone by Lata Mangeshkar.

The track, which was penned by Amit Khanna, was composed by Bappi Lahiri.

It inspired the title of a film that released in 1999. Vishal Dadlani and Shekhar Ravjiani composed the songs of that film.

Bappi and Sulakshana sang (Pand)it

Bappi Lahiri has sung many of his own compositions over the years. 

One of them was Jaana Kahan Hai.

It was his only contribution to the soundtrack of Chalte Chalte.

By no means would it be incorrect to state that it was underrated.

He was joined behind the microphone by Sulakshana Pandit*.

Her other contribution to the film’s soundtrack was Sapnon Ka Raja. Shailendra shared Sing(h)ing credits with her.

(Am)it was penned by Khanna.

(*Note: She bagged the Filmfare Best Female Playback Singer Award in 1976 for Tu Hi Sagar Tu Hi Kinara, from Sankalp.)

Lata rendered this underrated track

A few years before Bappi Lahiri began to be identified as the disco king and the composer of songs from Hindi remakes of South Indian films, he had a few underrated gems under his belt.

A case in point was Door Door Tum Rahe.

The track, from Chalte Chalte, was rendered by the one and only Lata Mangeshkar.

(Am)It was penned by Khanna.

It was inspired by B J Thomas’ Raindrops Keep Fallin’ on My Head, from Butch Cassidy and the Sundance Kid, which released in 1969. Hal David and Burt Bacharach penned the track.   

Kumar’s (Kisho)rendition inspired Johar’s film

If the four songs from Chalte Chalte (1976) were arranged in the alphabetical order, its title track – Chalte Chalte – would be the first.

(Am)It was penned by Khanna, and composed by Bappi Lahiri.

The hook of the track – which was (Kisho)rendered by Mr Kumar – went, “Kabhi alvida na kehna” (which could be translated to, “Never say goodbye”).

While this blog contains a post on just one version, the soundtrack of the film featured another version of the track (i.e., the sad version).

It inspired Karan Johar’s 2006 film, which was spelled Kabhi Alvida Naa Kehna.

Burman compoSeD this Lata solo

The soundtrack of Barood – which released in 1976 – was music director S D Burman’s first posthumous soundtrack.

This blog contains a post on just one song from the film.

The track in question was Dil Kaanton Mein Uljhaya Hai (which could be translated to, “I have gotten my heart stuck in thorns”).

The next line of the song went, “Ke ek dushman pe pyar aaya hai” [which could be translated to, “(As) I have fallen in love with an enemy”].

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

(Am)It was Kumar Jr.’s breakthrough

Balika Badhu released in 1976.

This blog contains a post on just one track from the film.

The song in question was Bade Achche Lagte Hain.

It happened to be the longest song in the film – it was five minutes and nine seconds long.

By no means would it be called a breakthrough for Amit Kumar, the older son of the legendary Kishore Kumar.

The song, which was listed at number 26 on the Binaca Geetmala annual list for 1977, was penned by Anand Bakshi.

It was composed by none other than R D Burman.

Ms Bhosle rendered (R)afine track

By no means would it be incorrect to state that Saare Shehar Mein was the most popular song on the soundtrack of Bairaag.

The track – which could be translated to, “There is nobody like you in the city” – was penned by Anand Bakshi.

It was composed by Kalyanji Virji Shah and Anandji Virji Shah.

The song was the only contribution of Asha to the soundtrack of the film.

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

They (Bhos)lent their voice to another song in the film – Peete Peete Kabhi Kabhi.

Mangeshkar rendered this popuLa(ta)r solo

Bairaag released in 1976.

If the two songs from the film on this blog were arranged in the alphabetical order, Chhoti Si Umar Mein would be the first.

It was rendered by the one and only Lata Mangeshkar, whose other contribution to the soundtrack of the film was Main Bairaagi Nachoon Gaoon (a duet with Mohammed Rafi).

The track was penned by Anand Bakshi.

It was composed by Kalyanji Virji Shah and Anandi Virji Shah, who were nominated for the fifth time in the Best Music Director category at the 24^th Filmfare Awards in 1977.  

Indeed, their ReaLisation was melodious

As the saying goes, “Absence makes the heart grow fonder”.

That was precisely the premise on which Gulshan Bawra based Tumse Door Rehke.

It was the only song from Adalat (1976) on this blog.

The next two lines of the track – rendered by Lata Mangeshkar and Mohammed Rafi – went, “Humne jaane pyaar kya hai, dil na maana yaar kya hai” (which could be translated to, “After staying away from you, I understood what love is; the heart has realised the importance of the beloved”).

It was composed by Kalyanji Virji Shah and Anandji Virji Shah.  

By God, Mr Kumar rocked!

This blog contains a post on just one track from Zinda Dil, which released in 1975.

It was titled O Meri Jaan By God Main Teri Life Bana Doonga.

The film, incidentally, released at a time when Rishi Kapoor, the film’s lead, was trying to make something of his own life, in order to avoid being labelled a one-hit wonder.

His co-star in the film was Neetu Singh.

The track was (Kisho)rendered by the one and only Mr Kumar.

It was penned by Verma Malik, and composed by Laxmikant Shantaram Kudalkar and Pyarelal Ramprasad Sharma.   

This Kishore solo was philosophical

The third – and final – track from Zameer on this blog wasn’t merely a song, but a philosophy as well.

In fact, it wouldn’t be incorrect to state that Sahir Ludhianvi penned the mantra for happiness – Zindagi Hansne Gaane Ke Liye Hai.

This Kishore Kumar solo also contained a message that would bring anyone’s ego down to earth with a thud – “Tere girne mein bhi teri haar nahin, ki tu aadmi hai avatar nahin” (which could be translated to, “Your fall isn’t your loss, because you’re human, not an avatar”.)

It was composed by Sapan Chakraborty.

Ms Bhosle (Kisho)rendered this version

The soundtrack of Zameer contained a couple of versions of Tum Bhi Chalo Hum Bhi Chalen.

While one was a duet, the other was a solo.

This blog contains a post on just one version – the former, which was (Kisho)rendered by Asha Bhosle and Mr Kumar (who sang the solo).

The track – which could be translated to, “You must proceed, and so should I. Life goes on. Neither is the land the destination, nor is the sky. Life is life” – was penned by the one and only Sahir Ludhianvi.

It was composed by Sapan Chakraborty.

Kishore Kumar ren‘Dere’d this track

If the three tracks from Zameer (1975) on this blog were arranged in the alphabetical order, Phoolon Ke Dere Hain would be the first.

It was one of the two Kishore Kumar solos from the film on this blog.

The track, which Sahir Ludhianvi penned, was composed by Sapan Chakraborty.

Interestingly, it was the last Hindi film whose songs were composed by the latter. Naya Nasha (1973) marked his debut as a music director, who also composed the songs of a couple of films that released in 1974 – 36 Ghante and Jab Andhera Hota Hai.

It was a rocking trAcK

By no means would be it incorrect to state that Jalta Hai Jiya Mera, from Zakhmee, was a rocking song.

It was the only contribution of the (Bhos)legendary Asha to the soundtrack of the film.

She was joined behind the microphone by none other than Kishore Kumar, who also rendered a couple of solos in the film, in addition to a song titled Nothing is Impossible (for which he shared singing credits with Mohammed Rafi and Bappi Lahiri, who was also the composer of the songs of the film).

It was penned by Gauhar Kanpuri.

The liStenerS’ confusion wasn’t cLa(ta)rified

If the two songs from Zakhmee (1975) on this blog were arranged in the alphabetical order, Aao Tumhe Chand Pe would be the first.

Having grown up believing that Santa Claus lives at the North Pole, I was confused when I heard this song, as I am sure others would have been. 

When the kid (in Sushma Shrestha’s voice) asks, “Santa Claus ka ghar kahan hai?”, Asha Parekh’s character (in Lata Mangeshkar’s voice) replies, “Chand pe”.

The track, which was penned by Gauhar Kanpuri, began with a verse of Jingle Bells.

Bappi Lahiri composed it.  

Kumar (Kisho)rendered this melodious track

There’s no two ways about the fact that the most popular track on the soundtrack of Warrant (Ruk Jaana O Jaana Humse) was the shortest song in the film – it was three minutes and 38 seconds long.

It was (Kisho)rendered by Mr Kumar, whose other contribution to the film’s soundtrack was Sun Bhai Baaraati (which was four minutes and 45 seconds long).

However, Hindi film music aficionados those days did not have the heart to say, “Ruk jaana” to the unstoppable duo behind the melodious number – lyricist Anand Bakshi and music director R D Burman.

Lata (Kisho)rendered this exuberant number

If the two tracks from Warrant (1975) on this blog were arranged in the alphabetical order, as well as in the descending order of their durations, Ladi Najariya Ladi would be the first – it was four minutes and 59 seconds long.

It was, in fact, the longest song in the film, and the only duet – it was (Kisho)rendered by Lata Mangeshkar and Mr Kumar.

The hook of the song was, “Hadippa ladi”. There’s obviously no English equivalent of that Punjabi exclamation, but Anand Bakshi penned an exuberant track.

It was composed by R D Burman.

Dey (Kisho)rendered this friendship anthem

With Friendship Day around the corner, Yeh Dosti (the fifth – and final – track from Sholay on this blog) would be the most appropriate track to dedicate to one’s buddies.

The track was five minutes and 26 seconds long.

It was (Kisho)rendered by Manna Dey and Mr Kumar.

The song, which was penned by Anand Bakshi, was composed by the one and only R D Burman.

It was listed at number nine on the Binaca Geetmala annual list for 1976.

The sad version of the track – a Kumar solo – was a minute and 49 seconds long.

Burman was (Panch)among the nominees

The shortest of the five tracks from Sholay on this blog was undoubtedly the most popular.

Mehbooba Mehbooba, which was three minutes and 54 seconds long, was inspired by Greek singer Demis Roussos' Say You Love Me.

It wasn’t just composed, but also RendereD by the one and only Burman, who was nominated in the Best Male Playback Singer category at the Filmfare Awards in 1976.

The track was listed at number 24 on the Binaca Geetmala annual list for 1975, and sixth on the list the following year.

It was penned by Anand Bakshi.

The (Mal)inimitable Kumar (Kisho)rendered it

Despite the fact that the dialogues of Sholay became more popular than its songs, some tracks were listed on the Binaca Geetmala annual lists in 1975 and 1976.

Koi Haseena – the four-minute track in the film – was a case in point: it was 30^th on the list in 1975, and 20^th the following year.

The song was (Kisho)rendered by the one and only Mr Kumar.

He was joined behind the microphone by the film's leading lady, Hema Malini (whose only line in the song was, “Hat saale!”).

Anand Bakshi penned the R D Burman composition.

This Holi tracK became popuLa(ta)r

In the past, it was not uncommon for the soundtracks of Hindi films to feature a Holi song, and by no means would it be incorrect to state that Holi Ke Din was one of the most popular song sequences that revolved around the festival of colours.

The longest of the five songs from Sholay on this blog, it was five minutes and 42 seconds long.

It was (Kisho)rendered by the one and only Lata Mangeshkar, who was joined behind the microphone by Mr Kumar.

Anand Bakshi penned the track, which R D Burman composed.

Lata’s solo inspired Chopra’s last

If the five songs from the 1975 blockbuster Sholay on this blog were arranged in the alphabetical order, Haan Jab Tak Hai Jaan would the first.

The track, which Lata Mangeshkar rendered, was five minutes and 26 seconds long.

It could be translated to, “As long as I am alive”.

Anand Bakshi penned the song, which was composed by R D Burman, who was nominated in the Best Music Director category at the Filmfare Awards in 1976.

The last film directed by Yash Chopra derived its title from its opening line. It released in 2012.

Kanchan and Shailendra milaoed awaaz

Shailendra’s Kanchan connection dates back to Tumko Mere Dil Ne Pukara Hai.

Gulshan Bawra penned the track, which was composed by Kalyanji Virji Shah and Anandji Virji Shah.

Of course, the song, from Rafoo Chakkar, didn’t have a mention of a lady named Kanchan, but it was a lady named Kanchan who milaoed awaaz with the Sing(h)er.

Today (July 26) is the death anniversary of the latter, whose other contributions to the film’s soundtrack included a solo and a duet each with Aziz Nazan and Usha Mangeshkar. I would like to dedicate it to her.

Singh (Bhos)lent it his voice

Two of the three tracks from Rafoo Chakkar on this blog were rendered by Shailendra Singh.

If they were arranged in the alphabetical order, Kisi Pe Dil Agar Aa Jaaye To would be the first.

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

The next line of the track, which was penned by Gulshan Bawra, went, “Wohi hota hai jo manzoor-e-Khuda hota hai” (which could be translated to, “Only what God wills happens”). Shailendra's short-lived popularity as a Sing(h)er must have been His will too.

It was composed by Kalyanji-Anandji.

They MUst (As)have had fun

If the three tracks from Rafoo Chakkar (1975) on this blog were arranged in the alphabetical order, Chhuk Chhuk would be the first.

It was picturised on Rishi Kapoor and Paintal in drag in the ladies’ compartment of a train, and was rendered by Asha Bhosle, Usha Mangeshkar and Mahesh Kumar.

By no means would it be incorrect to call the song, which was penned by Gulshan Bawra, a fine example of sibling revelry, both behind the microphone and as far as the composition was concerned – Kalyanji Virji Shah and Anandji Virji Shah composed it.

This titLe track was Katchy

While radio stations deserve the lion’s share of the credit for introducing me to Hindi film songs of the 1970s and 1980s, Prem Kahani Mein – the title track of Prem Kahani – was a song I first heard from a vagabond of unsound mind on the street.

And thanks to Google, I came to know (many years after I heard it for the first time) that the original song was penned by Anand Bakshi and composed by Laxmikant Shantaram Kudalkar and Pyarelal Ramprasad Sharma.

The track, which was catchy, was (Kisho)rendered by Lata Mangeshkar and Kumar.

Children must have LiKed it

If the two tracks from Prem Kahani (1975) on this blog were arranged in the alphabetical order, Chal Dariya Mein Doob Jaayen would be the first. 

I called it the cause-and-effect song because of the lyrics (credited to Anand Bakshi).

The Laxmikant-Pyarelal composition, rendered by Lata Mangeshkar and Kishore Kumar, could be translated to, “If I love you, I’ll remember you. If I remember you, we’ll meet. When we meet, people will notice us. If they notice us, they won’t be able to spot us”.

It wouldn’t have been a surprise if kids loved it.

Rafi rendered this evergreen number

Main Jat Yamla Pagla Deewana – which could be translated to, “I am a crazy Jat lover” – was the only song from Pratiggya (1975) on this blog.

By no means would it be incorrect to state that it was one of the most popular songs picturised on Dharmendra.

The track, whose opening verse was in Punjabi, was rendered by Mohammed Rafi.

Anand Bakshi penned the Laxmikant-Pyarelal composition, whose opening line inspired two films – Yamla Pagla Deewana (2011) and its 2013 sequel, titled Yamla Pagla Deewana 2. They starred Dharmendra and his sons Sunny and Bobby Deol.    

Lata’s underrated solo was upbeat

Vis-à-vis the two Kishore Kumar solos from Mili, the third track – Maine Kaha Phoolon Se – was not just an underrated song, but it was undoubtedly an upbeat one as well.

There’s no two ways about the fact that the best lines of the Lata Mangeshkar solo went, “Aur yeh kaha jeevan hai, bhai mere bhai, hansne ke” (which could be translated to, “And they said, ‘Life, my brother, is for laughing’”).

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

Yogesh penned the song, which Burman compoSeD.

Kumar (Kisho)rendered another apt song

S D Burman’s demise indeed left a void, and any Hindi film music aficionado would vouch for the fact that it would be impossible to fill it.

The last track he composed was titled Badi Sooni Sooni Hai (which could be translated to, “My life is very lonely”).

The shortest of the three songs from Mili on this blog, it was three minutes and 29 seconds long.

It was penned by Yogesh, and (Kisho)rendered by the one and only Mr Kumar.

And by no means would it be incorrect to state that it was fitting.

Kishore's solo was truly memorable

Mili, which released in 1975, was Burman’s last SounDtrack. It released in June 1975 (i.e., four months before the legendary composer's death).

It earned him a nomination in the Best Music Director category at the Filmfare Awards in 1976.

If the three tracks from the film were arranged in the alphabetical order, the aptly-titled Aaye Tum Yaad Mujhe would be the first.

It was the second-longest song from the film on this blog, and the longer of the two solos (Kisho)rendered by Mr Kumar – it was four minutes and 41 seconds long.

Yogesh penned it.

It was nothing but Ma(ngeshka)rvellous

This is perhaps the most appropriate track to conclude my series on Gulzar’s 1975 double bill.

The song was titled Ruke Ruke Se Kadam.

It was from Mausam, and the aforementioned line implied that the person stopped in her tracks, before proceeding.

That is precisely what the restless ones (or the bekaraar ones, who, according to the next line of the song, rest for a while before leaving their loved ones' homes) do not do.

The track, which was penned by the one and only Lata Mangeshkar, was one of Madan Mohan's most outstanding compositions.

This duet was truly mind-BLowing

There’s no two ways about the fact that Dil Dhoondhta Hai was the most outstanding song on the soundtrack of Mausam.

While the film contained a couple of versions of the track, this blog contains a post on just one – the duet, rendered by Lata Mangeshkar and Bhupinder Singh.

The other version – a solo by Singh – was a sad song.

The track, which was composed by Madan Mohan, earned Gulzar a nomination in the Best Lyricist category at the Filmfare Awards in 1976.

It was 12^th on the Binaca Geetmala annual list the same year.