It was the Singhs’ best

By no means would it be incorrect to call the Singhs – Jagjit and Chitra – the first couple of ghazals.

And one of their finest duets from Hindi films was Tumko Dekha To Yeh Khayal Aaya.

If their three contributions to the soundtrack of Saath Saath were arranged in the alphabetical order, it would be the first.

The next line of the Kuldeep Singh composition, which was penned by Javed Akhtar, was probably the highlight. It went, “Zindagi dhoop tum ghana saaya” (which could be translated to, “Life is sunlight, and you are the cool shade”).

(Jagj)It was a Singh solo

Pyaar Mujhse Jo Kiya Tumne To Kya Paogi could be translated to, “What will you get if you love me?”

The song would have made sense if it were sung by a struggling crooner, but it happened to be the only male solo on the soundtrack of Saath Saath (1982) – (Jagj)it was rendered by none other than Mr Singh, who was one of the most popular singers in India by then.

The track was composed by his namesake, Kuldeep, who happens to be the father of ghazal Sing(h)er Jaswinder.

It was penned by Javed Akhtar.

Kishore Kumar ‘Sang’ this song

The title of this post contains a homographic pun – the word Sang (Hindi for with) is pronounced the same way as the English word sung. And sang, of course, is the past tense of the English verb sing.

It is a post on the only song from Rajput (1982) on this blog.

The track in question was Mere Sang Sang Aaya.

Its opening line went, “Akela gaya tha main, haan main, na akela aaya”.

Mr Kumar (Kisho)rendered the song, which was penned by Anand Bakshi, and composed by Laxmikant Shantaram Kudalkar and Pyarelal Ramprasad Sharma.

People Listened to it dobara

By no means would it be incorrect to say, “Yeh gaana tha super hit, isko zaroor sunna dobara”.

It could be translated to, “This track was a super hit. You must definitely listen to it again”.

The song in question was Yeh Galiyan Yeh Chaubara.

It was rendered by nnoe other than Lata Mangeshkar, and happened to be the shortest of the five tracks from Prem Rog on this blog – it was seven minutes and 11 seconds long.

It was penned by Santosh Anand, and was composed by Laxmikant Shantaram Kudalkar and Pyarelal Ramprasad Sharma.  

It Won a FiLMfare award

Mohabbat Hai Kya Cheez was the shortest of the three duets from Prem Rog* on this blog – it was seven minutes and 14 seconds long.

No prizes for guessing that it was rendered by Suresh Wadkar and Lata Mangeshkar.

It earned Santosh Anand the Filmfare Best Lyricist Award in 1983.

The track was composed by Laxmikant-Pyarelal. 

(*Note: The shortest song in the film – Yeh Pyaar Tha Ya Kuchh Aur Tha – was half-a-dozen minutes and 26 seconds long. Anand penned the track, which was sung by Sudha Malhotra and Anwar. It was excluded from this blog.)

Wadkar earned another FiLMfare nomination

In 1983, Suresh Wadkar ki qismat mein Filmfare Award nahin tha shayad, but he was nominated in the Best Male Playback Singer category for Meri Qismat Mein Tu Nahin Shayad too.

The song, from Prem Rog, was seven minutes and 31 seconds long.

The one he shared singing credits with was none other than Lata Mangeshkar.

The track was the only contribution of Amir Qazalbash to the soundtrack of the film. He earned a nomination in the Best Lyricist category at the Filmfare Awards in 1983.

Laxmikant Shataram Kudalkar and Pyarelal Ramprasad Sharma composed it.

This title track Was long

Main Hoon Prem Rogi wasn’t just the title track of Prem Rog, but it was also the longest of the five tracks from the film on this blog – it was seven minutes and 58 seconds long.

It was the only male solo in the film – it was rendered by Suresh Wadkar.

It was one of the two tracks in the film for which he was nominated in the Best Male Playback Singer category at the Filmfare Awards in 1983.

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

The Second-Longest track created buzz

Prem Rog (1982) meant bittersweet memories for Laxmikant-Pyarelal – they were nominated in the Best Music Director category at the Filmfare Awards in 1983, but despite its success, they found themselves out of favour with the R K camp until their comeback to the banner 14 years later.

If the five tracks from the film on this blog were (Wadk)arranged in the alphabetical order, Bhanware Ne Khilaya Phool would be the first.

It was penned by Pandit Narendra Sharma.

The track, which was seven minutes and 48 seconds long, was rendered by Lata Mangeshkar and Suresh.

Nationalists must have been Aghast

It is the festive season, but I won’t restrict myself to happy songs.

But the track that is the subject of this post made one lady very happy.

The song was Dil Ke Armaan Aansuon Mein Beh Gaye, from Nikaah.

It was four minutes and 23 seconds long, and was rendered by Pakistani-born singer and actress Salma Agha, who won the Filmfare Best Female Playback Singer Award in 1983, and was nominated in the Best Actress category at the same ceremony.

The track, which was penned by Hasan Kamal, was composed by Ravi Shankar Sharma.

Ghulam Ali popularised this ghazal

The longer of the two tracks from Nikaah (1982) on this blog was Chupke Chupke Raat Din – it was seven minutes and 48 seconds long.

The ghazal, which was penned by Maulana Hasrat Mohani, originally released in 1976, and became popular after it was rendered by Ghulam Ali.

Incidentally, Ali composed the track as well.

It contained the Urdu word dafatan, which was also heard in the Dil Gira Dafatan, which was from Delhi-6 (2009), and was composed by A R Rahman. I just looked up its meaning online. It could be translated to, “Suddenly”.  

   

LyriKally, this track was outstanding

Once upon a time, the purpose of a song in a Hindi film WAS to take its story forward. I’ve deliberately used the past tense because most of today’s songs fail to do so.

But what if I told you about a track that wasn’t just about the lives of truck drivers, but was a journey itself too?

Well, the track in question was Raah Pe Rehte Hain.

It was the only song from Namkeen (1982) on this blog.

Gulzar penned the track, which was composed by R D Burman and (Kisho)rendered by Mr Kumar.

Kishore sang this (hicc)upbeat number

I just realised the second and fourth lines of Akbar Allahabadi’s* ghazal Hungama Hai Kyon Barpa (which was rendered by Ghulam Ali) were the first two lines of a track from Namak Halaal.

The first line of the track**, which Mr Kumar (Kisho)rendered, went, “Thodi si jo pee li hai”.

The song, which was penned by Anjaan, was composed by Bappi Lahiri. 

[*Note (1): Allahabadi was a poet. His name shouldn’t be confused with that of Rishi Kapoor’s character in Amar Akbar Anthony (1977).]

[**Note (2): The next line went, “Chori to nahi ki hai”.]

Lahiri (Bhos)lent it hiS voice

Although the post on the next track is more appropriate for Saturday night, I am posting it at noon. 

But regardless of the time, there’s no two ways about the fact that Raat Baaki Baat Baaki – from Namak Halaal – was an awesome number.

The involvement of Bappi Lahiri in the track wasn’t restricted to composing it, but he rendered it too.

The one who joined him behind the microphone was the one and only Asha Bhosle.

The track also featured a monologue by Shashi Kapoor, one of the film’s leads.

It was penned by Anjaan.

Kumar (Kisho)rendered this complex track

There’s no two ways about the fact that the adjective that best describes Pag Ghunghroo Baandh was the most complex, as well as the catchiest, song on the soundtrack of Namak Halaal.

No prizes for guessing that it was (Kisho)rendered by none other than Mr Kumar.

It earned him the Filmfare Award in the Best Male Playback Singer category in 1983. It was the fifth time he took the trophy time.

Anjaan and Prakash Mehra, the film’s director, shared the credits for penning the track, which was composed by the one and only Bappi Lahiri.

Asha sang this erroneously-named track

I have read a number of websites that spell the lone Asha Bhosle solo on the soundtrack of Namak Halaal Jawani Jaan-E-Man.

From a grammatical point of view, that does not make sense, because jawani is a noun (which means youth).

It should be spelled Jawaan Jaan-E-Man (which could be translated to, “Young lover”). And that is how I shall spell it, because the next line of the track of the track went, “Haseen dilruba” (which means, “Beautiful beloved”).

The song, which was penned by Anjaan, was composed by the one and only Bappi Lahiri.

Kumar (Kisho)rendered this fABulous track

The soundtrack of Namak Halaal (1982) contained just five tracks, and this blog contains posts on all of them.

If they were arranged in the alphabetical order, Aaj Rapat Jaayen To – the rain song – would be the first.

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

In fact, the former’s was the only female voice on the soundtrack of the film.

Uthaiyyo, in the context of this track (which Anjaan penned) could be translated to, “Pick me up”, and that was precisely what the song – which Bappi Lahiri composed – was.

Lata (Kisho)rendered the longer version

The fourth – and final – track from Khud-Daar on this blog was Oonche Neeche Raaste.

There were a couple of versions of the song in the film, but this blog contains a post on just one – the duet, which was (Kisho)rendered by Lata Mangeshkar and Kumar Senior.

It was the longer of the two – it was five minutes and 22 seconds long.

The shorter version was a sad version, and was a couple of minutes and 22 seconds long.

(Am)It was rendered by Kumar Junior.

Majrooh Sultanpuri penned the track, which was composed by Rajesh Roshan.

Lata rendered this (Kisho)re-recorded track

Happy Janmashtami to you and your families.

I wanted to begin the day with a post on a song that is apt for the festive occasion, and since this is a blog on music from Hindi films released between 1969 and 1986, it would be incomplete without Mach Gaya Shor, from Khud-Daar.

Majrooh Sultanpuri penned the Rajesh Roshan composition, which was half-a-dozen minutes and 17 seconds long.

The track – which was originally rendered by the film’s lead, Amitabh Bachchan – was later (Kisho)re-recorded in Mr Kumar’s voice.

He was joined behind the microphone by Lata Mangeshkar.

Love didn’t (Kisho)require a L(at)anguage

While Disco 82 (which was three minutes and 46 seconds long) was the shortest of the four songs from Khud-Daar on this blog, I Love You was the longest – it was half-a-dozen minutes and 21 seconds long.

Love, when expressed in any language [be it Angrezi (English), Gujarati, Bengali or Punjabi], is a wonderful feeling, and it was expressed enthusiastically by the one and only Kishore Kumar.

No prizes for guessing that it was Lata Mangeshkar who joined him behind the microphone.

The track, which was penned by Majrooh Sultanpuri, was composed by Rajesh Roshan.

                                                                                                                       

Mr Kumar heLMed the vocals

Folks, it is #DiscoShukravaar, and this is the last song of the day, so to speak.

It is a post on Disco 82.

If the four songs from Khud-Daar (which, as the title of the track suggests, released in 1982) were arranged in the alphabetical order, it would be the first.

Lata Mangeshkar and Mr Kumar (Kisho)rendered it.

Majrooh Sultanpuri penned an inane line that went, “Main ek disco, tu ek disco” and followed it up with, “Duniya hai ek disco”.

The song was not composed by disco king Bappi Lahiri, but by Rajesh Roshan. 

Alka (Kisho)rendered it with Kumar

The second song from Kaamchor on this blog was Tumse Badhkar Duniya Mein.

Indeevar penned the track, which was composed by Rajesh Roshan.

Upon listening to it, it certainly would not have been surprising if the listeners said, “Aapse badhkar duniya mein na suna koi aur [which could be translated to, “We haven’t heard anyone better than (the two of) you.”]

The duo in question was Alka Yagnik and Kishore Kumar.

Incidentally, the film marked the debut (as a child artiste) of Sonu Nigam, who would go on to share singing credits with the former.

Lata’s (Kisho)rendition was ‘Preet’ty good

Kaamchor, which released in 1982, was Rakesh Roshan's second film – and first hit – as producer.

Although the film began with K, his fixation with the letter began with Khudgarz, which released in 1987 and marked his directorial debut.

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

If they were arranged in the alphabetical order, Tujh Sang Preet Lagayi Sajna would be the first.

The track, which Indeevar penned, was (Kisho)rendered by Lata Mangeshkar, who was joined behind the microphone by Mr Kumar.

Needless to say, it was composed by Rajesh Roshan.                                                         

It wAs(h)a popular disco track

Yatrigan kripya dhyan den (“Passengers please note”) that the blingy train has been running quite nicely so far, and has just arrived at the Disco Station.

Incidentally, that is the name of the song that is the subject of this post.

It was the only track from Haathkadi* (1982) on this blog.

No prizes for guessing that it was composed by none other than Bappi Lahiri, who is synonymous with disco in Hindi films.

Asha (Bhos)lent her voice to the song, which Majrooh Sultanpuri penned.

(*Note: Shouldn’t the title of the film be spelled Hathkadi?)

Lahiri composed and rendered it

Yaad Aa Raha Hai was the second-longest track on the soundtrack of Disco Dancer – it was half-a-dozen minutes and 22 seconds long.

The involvement of Bappi Lahiri in the song wasn’t restricted to composing it, but he rendered it too.

The track was penned by Anjaan.

A couple of tracks from the Mithun Chakraborty-starrer were recreated for (Ro)hitmaker Shetty’s 2010 film Golmaal 3, whose supporting cast included the veteran actor.

One of those was this song. Sudesh (Bhos)lent his voice to it.

The other was I Am A Disco Dancer. Lahiri rendered the recreated version.

Parvati’s solo became popular overseas

Trinidad and Tobago is home to a sizeable number of people of Indian descent. Among the notable Indo-Trinidadians is Parvati Khan (whose maiden last name was Maharaj).

The singer shot to fame in India, as well as in Russia, for her rendition of Jimmy Jimmy Jimmy Aaja.

It was the shortest of the five tracks from Disco Dancer on this blog – it was just three minutes and four seconds long.

The track, which was penned by Anjaan, was composed by Bappi Lahiri.

It was inspired by the 1980 track T’es OK, T’es Bath by Ottawan.

This track was Benedict’s breakthrough

Vijay Benedict, the former playback singer, has now chosen faith over fame.

But although he was never really a household name, he was fairly popular back in the early 1980s, following his rendition of I Am A Disco Dancer, the title track of Disco Dancer. 

It was the longest song in the film – it was seven minutes and 49 seconds long.

According to the track (which was penned by Anjaan), DISCO happened to be an acronym, which stood for, “Dance, item, singer, chorus and orchestra.”

It was composed by the one and only Bappi Lahiri.

Undoubtedly, this track waS Underrated

Of the five tracks from Disco Dancer on this blog, Goron Ki Na Kaalon Ki was the most underrated.

Anjaan penned the track, whose next line (“Duniya hai dilwalon ki”) could be translated to, “The world belongs to those who have hearts”.

It was five minutes and 23 seconds long.

The song was rendered by Usha Mangeshkar and Suresh Wadkar.

It had a L(ahir)ine that went, “Na sona na chandi, geeton se humko pyaar” (which could be translated to, “Neither gold nor silver, but we love songs”).

But Bappi, the composer, loves gold and songs.  

The BUggles’ hit inspired it

The Buggles was an English band, whose debut single Video Killed The Radio Star released in 1979 and featured on their maiden album The Age of Plastic, which released in 1980.

It inspired Auva Auva Koi Yahan Naache Naache, the song from Disco Dancer, which released in 1982.

Five minutes and 28 seconds long, it was the only contribution of lyricist Faruk Kaiser to the soundtrack of the film.

Bappi Lahiri’s involvement in the song wasn’t restricted to composing it, but he rendered it as well.

He was joined behind the microphone by Usha Uthup.

The title track was meMoRable

The title track of Desh Premee was titled Mere Deshpremiyon, and it was rendered by none other than Mohammed Rafi.

It was, in fact, his only contribution to the soundtrack of the film.

There’s no two ways about the fact that it was a memorable song, but what delighted the legend's fans more was the fact that the film was dedicated to his memory (as well as that of Bengali actor Uttam Kumar, who, like Rafi, died a couple of years before the film’s release).

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

Kumar’s (Kisho) rendition certainly wasn’t (Hydera)bad

Mohammed Rafi rendered Hum Kaale Hain To Kya Hua Dilwale Hain from Gumnaam, which released in 1965.

The soundtrack of Desh Premee featured a track influenced by that song.

The song in question was Khatoon Ki Khidmat Mein.

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

The song, which was penned by Anand Bakshi, began with a line that went, “Arri o potti, kahan chali?”

It is a common question in Hyderabad. It could be translated to, “Hey lady, where are you going?”

Laxmikant Shantaram Kudalkar and Pyarelal Ramprasad Sharma composed it.

Laxmikant (Bhos)lent it his voice

If the three tracks from Desh Premee (1982) on this blog were arranged in the alphabetical order, Gore Nahin Hum Kaale Sahi would be the first.

It was Asha Bhosle’s only contribution to the film’s soundtrack.

The involvement of Laxmikant in the track wasn’t restricted to composing it, but he also joined her behind the microphone.

Pyarelal shared composing credits with him.

There's no two ways about the fact that the most appropriate line of the track, which Anand Bakshi penned, was, “Humsa ek nahin” (which could be translated to, “There’s no one like us”).

Undoubtedly, this song was memoRabLe

Bheegi Palkein was not just the title of a film that released in 1982, but also described the eyelids of the fans of two legends associated with the only song from the film on this blog – Mohammed Rafi and Smita Patil, the film’s leading lady.

The song in question was Janam Janam Ka Saath Hai.

It was rendered by Lata Mangeshkar and Mohammed Rafi*.

M G Hashmat penned the track, which Jugal Kishore and Tilak Raj composed.

(*Note: Rafi sang a song of the same name in Tumse Achha Kaun Hai, which released in 1969.)

Wadkar (Kisho)rendered this beautifuL track

By no means would it would be incorrect to state that Kitni Khoobsurat Yeh Tasveer Hai was the title track of Bemisal – its next line went, “Mausam bemisal benazir hai”.

Interestingly, bemisal and benazir are synonyms – both can be translated to matchless, and the words were used by Anand Bakshi, who penned the track, to describe the weather of Kashmir.

It was Suresh Wadkar’s only contribution to the soundtrack of the film.

He joined veterans Lata Mangeshkar and Kishore Kumar behind the microphone.

The track was composed by the one and only R D Burman.

Kumar’s (Kisho)rendition sounded like threats

Ek Roz Main Tadapkar, from Bemisal, was (Kish)orendered by the one and only Mr Kumar.

The track was penned by Anand Bakshi.

A portion of it went, “Tune mujhe jagaya. Sone na doonga tujhko. Hansne na doonga tujhko. Rone na doonga tujhko”.

The first three lines were threats. They could be translated to, “You have kept me awake. I will not let you sleep. I won’t let you laugh”

And the next line showed his caring side. It could be translated to, “I won’t let you cry”.

The song was composed by R D Burman.

Mangeshkar’s solo became very popuLa(ta)r

Bemisal could be translated to unparalleled, and that was what its soundtrack was.

This blog contains posts on three songs from the 1982 film.

If they were arranged in the alphabetical order, Ae Ri Pawan would be the first.

The track, which was an underrated gem, continues to be one of Lata Mangeshkar’s most popular songs.

There’s no two ways about the fact that the highlight of the song were its lyrics, which was penned by Anand Bakshi.

It was composed by R D Burman.

The soundtrack also featured an instrumental version of the track.

It wA(zi)z among Lata’s best

The second song from Bazaar on this blog was Phir Chhidi Raat.

It was the most popular song in the film.

This Sunday will mark the 50^th death anniversary of one of the two men who penned the track – Abu Sayeed Mohammad Makhdoom Mohiuddin Khudri (better known as Makhdoom Mohiuddin). He was born on February 4, 1908 and died at the age of 61 on August 25, 1969.

Bashar Nawaz shared penning credits with him.

The Khayyam composition, which was rendered by Lata Mangeshkar, who was joined behind the microphone by ghazal singer Talat Aziz.

This Mangeshkar cLa(ta)ssic was underrated

Underrated is, in fact, the adjective that would best describe Bazaar, which released in 1982.

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

If they were arranged in the alphabetical order, Dikhayee Diye Yun would be the first.

Rendered by the one and only Ms Mangeshkar, this song did go on to become a cLa(ta)ssic.

It wasn’t penned by a Hindi film lyricist, but by the 18^th-century poet Mir Taqi Mir.

The soundtrack of the earned Khayyam a nomination in the Best Music Director category at the Filmfare Awards in 1983.

Shailendra (Kisho)rendered it with Asha

This blog contains a post on just one track from Ashanti, which released in 1982.

The song in question was Na Tujhse Na Mujhse.

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

The only female singer who (Bhos)lent the track her voice was Asha.

And the Sing(h)er who joined them behind the microphone was Shailendra.

While Bhosle’s other contribution to the film’s soundtrack was a duet with Amit Kumar, Singh’s other contribution to it was a solo.

Anand Bakshi penned the R D Burman composition.

(Jagj)It was among Singh’s best

There’s no two ways about the fact that the most memorable song on the soundtrack of Arth was Tum Itna Jo Muskura Rahe Ho.

The track could be translated to, “You seem to be smiling a lot”.

But it was the next line of the track, which was penned by the one and only Kaifi Azmi, which was interesting.

It went, “Kya gham hai jisko chhupa rahe ho?”

The line could be translated to, “Is there some sadness that you are hiding (behind the smile)?”

(Jagj)It wasn’t just composed, but also sung by Mr Singh.

Jagjit zinda kyon nahin hain?

By no means would it be incorrect to state that Koi Yeh Kaise Bataye was the most underrated song on the soundtrack of Arth.

The opening verse of the song comprised four lines, and all of them ended with the same phrase – “Kyon hai?”

It could be translated to, “Why is?”

On listening to the track, I’m sure I am not the only one who is wondering, “Jagjit zinda kyon nahin hain?”

His involvement in the song, which was penned by Kaifi Azmi, was not restricted to compoSing(h) it, but he rendered it as well.

Singh didn’t just sing (Jagj)it

Of late, many filmmakers seem to be jumping onto the biopic bandwagon, but it wouldn’t be incorrect to call the kinds of films that Mahesh has been making for decades semi-autobiopics (I know that’s not a word, Bhatt does it matter?)

Arth (1982) was one.

This blog contains posts on three tracks from the film.

If they were arranged in the alphabetical order, Jhuki Jhuki Si Nazar would be the first.

The involvement of Jagjit wasn’t restricted to compoSing(h) it, but he rendered it as well.

It was penned by none other than Kaifi Azmi.

Asha Roz to the occasion

This blog contains a post on just one track from Angoor, which released in 1982.

The song was Roz Roz Dali Dali, and by no means would it be incorrect to state that in the 37 years since its release, the film – and by extension, the track – has aged like the finest of wines.

By no means would it be incorrect to state that Asha (Bhos)lent her voice to an underrated number.

It was penned by Gulzar, who directed the film as well.

The track was composed by the one and only R D Burman.

This tRAck did become PopulaR

By no means would it be incorrect to state that this post was a fine example of saving the best for last.

There’s no two ways about the fact that Poochho Na Yaar Kya Hua was the most popular song on the soundtrack of Zamane Ko Dikhana Hai

Asha and Mohammed Rafi (Bhos)lent it their voices.

They were joined behind the microphone by the film’s leads, Padmini Kolhapure and Rishi Kapoor, but theirs was a spoken portion in the track, which was penned by Majrooh Sultanpuri and composed by none other than R D Burman.

Rishi joined Asha and Shailendra

Zamane Ko Dikhana Hai starred Rishi Kapoor, whose involvement in the film wasn’t restricted to acting, but he was credited as one of the three voices for a track in the film as well*.

The song in question was Pari Ho Aasmani Tum.

Of course, the others who (Bhos)lent it their voices were Asha and Shailendra Singh (who was, by then, the intermittent voice of the aforementioned actor).

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

(*Note: Kapoor didn’t sing it. He said the monologue at the beginning of the track.)

It was a Shailendra solo

In my post on Tumko Mere Dil Ne Pukara Hai, from Rafoo Chakkar (1975), I wrote about Shailendra Singh’s Kanchan connection.

But while Kumari Kanchan Dinkarrao Mail joined him behind the microphone for that song, the track that is the subject of this post was a solo by the latter.

The song in question was Hoga Tumse Pyara Kaun, and it was from Zamane Ko Dikhana Hai.

Kanchan was the name of Padmini Kolhapure’s character in the film, and was mentioned in this track, which was penned by Majrooh Sultanpuri.

R D Burman composed it.  

Pancham composed and RendereD it

Dil Lena Khel Hai Dildaar Hai, from Zamane Ko Dikhana Hai, could be translated to, “Taking the beloved’s heart away is nothing but a game for the sweetheart”.

The involvement of R D Burman wasn’t restricted to composing the track, but he rendered it as well.

Wasn’t it (Panch)amazing how superbly he sang what was a bitter verse [the next line of the track, which was penned by Majrooh Sultanpuri, went, “Bhoole se naam na lo pyaar ka” (which could be translated to, “Refrain from taking the name of love, even if it is inadvertent”)]?

It was a mind-blowing tRAck

Although Zamane Ko Dikhana Hai, which released in 1981, didn’t fare as well at the box office as the previous films produced by Nasir Hussain, it certainly boasted of a superb soundtrack, credited to the one and only Rahul Dev Burman.

The blog contains five songs from the film, which marked actress Padmini Kolhapure’s debut as the leading lady.

If they were arranged in the alphabetical order, Bolo Bolo Kuchh To Bolo would be the first.

It was rendered by Asha Bhosle, who was joined behind the microphone by Mohammed Rafi.

Majrooh Sultanpuri penned it.

Kishore (Yaara)nailed this title track

If the three tracks from Yaarana were arranged in the alphabetical order, as well as in the ascending order of their durations, Tere Jaisa Yaar Kahan – the film’s title track – would be the last – it was four minutes and 40 seconds long.

No prizes for guessing that it was (Kisho)rendered by the one and only Mr Kumar, who, at that point, was the go-to man for friendship songs in Hindi films – after all, he had sung the title track of Dostana (1980) too.

The track, which was penned by Anjaan, was composed by Rajesh Roshan.

This Kumar solo was (Kisho)recreated

Saara Zamaana – from Yaarana – was a song that must have made many Amitabh Bachchan fans exclaim, “Watt on earth was that?” His outfit was fitted with electric bulbs.

The track was four minutes and 27 seconds long.

No prizes for guessing that the one and only Mr Kumar (Kisho)rendered it.

Anjaan penned the track, which was composed by Rajesh Roshan, who recreated it for Kaabil, the 2017 film that starred his nephew Hrithik.

It smacked of irony – didn’t Rajesh cry foul when his iconic number Mungda [from Inkaar (1977)] was recreated for Total Dhamaal (2019)?

Kishore was a proud father

Incidentally, Amjad Khan, who said, “Bahut yaarana lagta hai” in Sholay (1975), played a positive role in Yaarana (1981).

This blog contains posts on three tracks from the latter.

If they were arranged in the alphabetical order, as well as the ascending order of their durations, Chhookar Mere Man Ko would be the first – it was four minutes and 15 seconds long.

It earned Kishore Kumar a nomination in the Best Male Playback Singer category at the Filmfare Awards in 1982, but his son took (Am)it home.

Anjaan penned the track, which Rajesh Roshan composed.

It wAs(h)a game-changer for Bhosle

In Aankhon Ki Masti Ke was the shorter of the two tracks from Umrao Jaan on this blog – it was five minutes and 42 seconds long.

By no means would it be incorrect to state that the track (which could be translated to, “There are thousands who revel in the joy of these eyes”) proved to be a game-changer for the one who (Bhos)lent it her voice – Asha.

One of the most popular ghazals in Hindi films, it was penned by Shahryar.

The song was composed by Mohammed Zahur Khayyam Hashmi, better known as Khayyam.

Asha rendered this (Khayy)amazing song

This is a tribute to Khayyam, who died in Mumbai at the age of 92 on August 19, 2019.

The composer was born in Rahon, Punjab on February 18, 1927.

Umrao Jaan (1981) earned him the National Award for Best Music Direction the same year, and the Filmfare Best Music Director Award in 1982.

Dil Cheez Kya Hai, the longer of the two tracks from the film on this blog, was half-a-dozen minutes and as many seconds long.

The song, which Shahryar penned, earned Asha Bhosle the National Best Female Playback Singer Award in 1981.

Lata rendered (Bachch)another outstanding number

Yeh Kahan Aa Gaye Hum was an awesome track from Silsila, which, incidentally, turned 38 a week ago (on the eve of India’s Independence Day).

The soundtrack of the film earned Pandit Shivkumar Sharma and Pandit Hariprasad Chaurasia a nomination in the Best Music Director category at the 29^th Filmfare Awards, which took place in 1982.

The song, which was penned by Javed Akhtar, could be translated to, “Where have we come, walking together, just like this?”

It was rendered by none other than Lata Mangeshkar, who was joined behind the microphone by Amitabh Bachchan.

The Lata-Kumar combo was (Kisho)repeated

Sar Se Sarke was (Kisho)rendered by Lata Mangeshkar and Mr Kumar.

It was the pair’s third – and final – duet on the soundtrack of the film.

The track was penned by Pandit Shivkumar Sharma and Pandit Hariprasad Chaurasia*.

It was the only contribution of lyricist Hasan Kamal to the film’s soundtrack.

[*Note: My blogs don’t contain posts on songs from four of the eight films on whose soundtracks the duo collaborated – Faasle (1985), Vijay (1988) and the two films that released in 1993 (Parampara and Sahibaan). Of these, just one – Sahibaan – wasn’t directed by Yash Chopra.]

Amitabh sang Seniormost Bachchan's song

By no means would it be incorrect to state that Amitabh Bachchan was the poster boy for Holi songs in Hindi films.

And no celebration of the festival of colours was/is complete without Rang Barse, from Silsila.

The involvement of the actor in the track wasn’t restricted to its picturisation, but he rendered it too.

The song, which was based on a bhajan by 16th-century mystic poet Meerabai, was penned by Bachchan’s father, the renowned Hindi poet Dr Harivansh Rai Bachchan.

It was composed by Bachchan’s fellow Allahabadi Pandit Hariprasad Chaurasia and Pandit Shivkumar Sharma.

Bachchan rendered Shammi Kapoor’s composition

Shammi Kapoor’s ear for music was the stuff of legend.

Apparently, he composed Neela Aasman So Gaya on the sets of Zameer (1975).

So, it would also be appropriate to credit the actor for the tune of the Shiv-Hari track from Silsila, which was penned by Javed Akhtar.

The soundtrack of the film contained two versions of the song – a female solo and a male solo.

This blog contains a post on just one – the latter, which was rendered by Kapoor’s Zameer co-star, Amitabh Bachchan.

The former was rendered by none other than Lata Mangeshkar.

Youngsters must’ve LiKed it then

Yash Raj Films’ soundtracks can be divided into three phases – YRF soundtracks pre-Chandni, YRF soundtracks in the 1990s and the YRF soundtracks that cater to the tastes of today’s youth.

I’m a fan of the pre-Chandni phase, and wonder whether we’ll ever witness the return of the melodies the banner was renowned for at that point.

Although the soundtrack of Silsila wasn’t for the youth per se, one song from the film – Ladki Hai Ya Shola – became popular among them.

Lata Mangeshkar and Mr Kumar (Kisho)rendered the Shiv-Hari composition, which was penned by Rajinder Krishan.

This titLe tracK was awesome

Silsila, which released in 1981, launched a pair that would, over the next 12 years, go on to be instrumental (literally) in creating wonderful tunes for Yash Raj Films (YRF), a banner that was once synonymous with awesome soundtracks.

The duo in question comprised santoor player Shivkumar Sharma and flautist Hariprasad Chaurasia (collectively called Shiv-Hari).

If the six tracks from the film were arranged in the alphabetical order, Dekha Ek Khwab – the title track of the film – would be the first.

Javed Akhtar penned the track, which was (Kisho)rendered by Lata Mangeshkar and Mr Kumar. 

Kishore sang this popuLa(ta)r duet

By no means would it be incorrect to state that Kya Yehi Pyar Hai was the most popular duet on the soundtrack of Rocky.

It was the longer of the two duets (Kisho)rendered by the one and only Lata Mangehkar and Mr Kumar in the film – it was half-a-dozen minutes and 24 seconds long.

There have been a number of Bengali songs composed by R D Burman that inspired his Hindi compositions, and this track was no different – it was the Hindi version of his Bengali number Eki Bhalobasha.

It was penned by Anand Bakshi.

Lata (Kisho)rendered this underrated track

By no means would it be incorrect to state that Hum Tumse Mile was the most underrated of the four songs from Rocky on this blog.

It also happened to be the shortest of the four songs from the film on the blog – it was just half-a-dozen minutes long.

The track, whose opening stanza could be translated to, “We met, parted ways and met again”, was rendered by the one and only Lata Mangeshkar, who was joined behind the microphone by Mr Kumar.

It was penned by Anand Bakshi, and composed by R D Burman.

Kumar (Kisho)rendered Baba’s introductory number

Rocky wasn’t just one of Sylvester Stallone’s most memorable film series, but closer home, it marked Sanjay Dutt’s (fondly called Sanju Baba) debut as the leading man*.

There’s no two ways about the fact that the film’s title track, Doston Ko Salaam, was an apt introductory number.

Half-a-dozen minutes and as many seconds long, it was (Kisho)rendered by Mr Kumar.

Anand Bakshi penned the R D Burman composition.

[*Note: He made his maiden on-screen appearance as a qawwali singer in Reshma Aur Shera (1971), which, like Rocky, was also directed by his father, Sunil Dutt.]  

Neil revisited R D’s trAcK

This blog contains posts on four songs from Rocky (1981).

If they were arranged in the alphabetical order, Aa Dekhen Zara would be the first.

It was the longest track in the film – it was eight minutes and 31 seconds long.

R D Burman didn’t just compose the song, but he was one of the three who (Kisho)rendered it too. The others were Asha Bhosle and Mr Kumar.

Anand Bakshi penned the track.

Actor Neil Nitin Mukesh rendered a recreated version of the track in his film titled Aa Dekhen Zara, which released in 2009.

It was a Long Song

This blog contained a post on just one track from Pyaasa Sawan, which released in 1981.

The track in question was Megha Re Megha Re, and it happened to be the longest track in the film – it was half-a-dozen minutes and 28 seconds long.

It was rendered by Ms Mangeshkar and Suresh Wadkar*, and continues to be popuLa(ta)r.

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

(*Note: The duo rendered another song in the film – In Haseen Wadiyon Se, which was five minutes and 44 seconds long.)