Mangeshkar sang this popuLa(ta)r song

This blog contains a post on just one track from Nagina (1986). It happened to be the last song on this blog.

The song in question was Main Teri Dushman Dushman Tu Mera.

It was the only contribution of the one and only Lata Mangeshkar to the film’s soundtrack.

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

By no means would it be incorrect to state that it was the first film in the ‘his(s)’tory of Hindi films to spawn a sequel – Nigahen: Nagina Part II (1989).

It wA(zi)z indeed (Manh)arelated song

The soundtrack of Naam contained a couple of versions of Tu Kal Chala Jayega.

But this blog contained a post on just one – the duet, which was rendered by Manhar and Mohammed Aziz.

The other version was a solo, rendered by the latter. It was (Udh)asad version.

By no means would it be incorrect to state that while Aziz rendered three of the six songs in the film, the Udhas brothers were the stars of its soundtrack.

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

It became poPUlar with NRIs

In a country where one of the most favoured means of communication in the 21^st century (e-mail) can create a stir, a track that began with the word Chitthi became very popular, especially with non-resident Indians (NRIs).

The song in question was Chitthi Aayi Hai.

If the two tracks from Naam (1986) were arranged in the alphabetical order, it would be the first.

Pankaj Udhas’ involvement in the track wasn’t restricted to rendering it, but it was picturised on him too.

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

This patriotiK song was aMAzing

Aye Watan Tere Liye was the title track of Karma, which released in 1986.

Not only was it the only song from the film on this blog, but it was also one of the most popular patriotic songs of all time from Hindi films.

The aforementioned line, which was penned by Anand Bakshi, was preceded by a line that went, “Dil diya hai, jaan bhi denge” (which could be translated to, “We have given our hearts, and can lay down our lives as well”).

The Laxmikant-Pyarelal composition was rendered by Kavita Krishnamurthy and Mohammed Aziz.

Undoubtedly, (Am)it wAs(h)a B(hosl)eautiful duet

Tomorrow (September 8, 2019) is the 86^th birthday of the (Bhos)legendary singer Asha.

Roz Roz Ankhon Tale – the only song from Jeeva (1986) on this blog – was the last track by her on this blog.

She was joined behind the microphone by none other than Amit Kumar.

By no means would it be incorrect to state that the song was underrated, but over the years, it has become popular.

The shortest song on the film’s soundtrack, it was four minutes and 14 seconds long.

It was penned by Gulzar, and composed by R D Burman.

Sapna (Kisho)rendered this (Ku)marvellous track

By no means would it be incorrect to state that Tera Saath Hai Kitna Pyara, from Janbaaz, was a very melodious track.

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

No prizes for guessing that he was joined behind the microphone by Sapna Mukherjee.

The hook of the track, which was penned by Indeevar, went, “Humein aana padega duniya mein dobara” (which could be translated to, “I will have to reborn in this world”).

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

Sapna's solo was recreated too

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

The track in question was Pyar Do Pyar Lo, and it was rendered by Sapna Mukherjee.

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

It was the second song in the film that was recreated. There’s no two ways about the fact that the recreated version was a nightmare for the listeners, who responded to it using the title of the 2011 film on whose soundtrack it featured – Thank You, but no thank you.

Mukherjee made a Mind-blowinG debut

Janbaaz marked the debut of a singer whose last name was Mukherjee, and by no means would it be incorrect to state that it was a Sapna (dream) come true.

She rendered three tracks in the film.

If they were arranged in the alphabetical order, Jab Jab Teri Surat Dekhoon would be the first.

The man who joined her behind the microphone was Mahesh Gadhvi.

Although it was his only song from the film on this blog, it wasn’t his only contribution to the film’s soundtrack.

Indeevar penned the track, which was composed by Kalyanji-Anandji.

Manhar Udhas sang thiS(arg)amazing song

If the four tracks from Janbaaz (1986) were arranged in the alphabetical order, Har Kisi Ko Nahin Milta would the first.

It was rendered by Ms Sargam and Manhar Udhas, and waS(adh)anawesome song.

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

From 2010 To 20Teens, my upcoming blog (which, as the name suggests, is a blog on the music of Hindi films released between 2010 and 2019), contains a post on the recreated version of the track, which featured on the soundtrack of Boss, which released in 2013.

(Am)It had (Chi) Chilled vibes

Producer Pahlaj Nihalani, who became the sanskari chief of the Central Board of Film Certification (CBFC), may have been accused of a making a slew of ridiculous decisions, but he also deserved the credit for launching Govinda, a Virar ka chhokra (a boy from Virar, a suburb of Mumbai), who became one of the most saleable stars of the 1990s.

This blog contains a post on just one track from Ilzaam, which released in 1986, and marked the actor’s debut – I Am A Street Dancer.

Amit Kumar rendered the Bappi Lahiri composition, which Anjaan penned.

This trAcK had a message

Chameli Ki Shaadi, which released in 1986, was an entertaining film.

And by no means would it be incorrect to state that Peena Haraam Hai – the only song from the film on this blog – was purportedly a song with a message – it urged people to drink responsibly.

But people paid it no heed.

It was (Kisho)rendered by Alka Yagnik, who joined none other than Mr Kumar behind the microphone.

The track was penned by Prakash Mehra, but the film was neither produced nor directed by him.

Kalyanji Virji Shah and Anandji Virji Shah composed it.

Sushma (Pagdha)rendered it with Pushpa

One of the most popular devotional songs from Hindi films of recent vintage was Itni Shakti Humein De Na Daata.

It was the only song from Ankush on this blog.

The film, which released in 1986, marked the directorial debut of N Chandra (whose most popular work to date was Tezaab, which released two years later).

There were a couple of versions of the song, which was penned by Abhilash and composed by Kuldeep Singh.

But this blog contains a post on just one – the female version, which was (Pagdha)rendered by Pushpa and Sushma Shrestha.

It wA(zi)z a tad Ja(naki)rring

Aakhree Raasta* released in 1986.

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

The track in question was Gori Ka Saajan Saajan Ki Gori.

Its lyrics – which included a few words in English and a line in (mispronounced) Konkani (“Maaka naka go”, which means, “I don’t want”) – were credited to Anand Bakshi.

S Janaki was joined behind the microphone by Mohammed Aziz.

The song was rendered by Laxmikant Shantaram Kudalkar and Pyarelal Ramprasad Sharma.

[*Note: Chunky Pandey’s character in the Housefull series (Aakhri Pasta) was a pun on this film’s title.] 

Kumar (Kisho)rendered this Zabardast number

There were two not-too-distinct phases in the career of Rajiv Kapoor – the pre-Ram Teri Ganga Maili phase and the post-Ram Teri Ganga Maili phase.

Zabardast (1985) released a couple of months before Ram Teri Ganga Maili.

This blog contains a post on just one track from the film – Jab Chaha Yaara Tumne (which was picturised on the actor).

By no means would it be incorrect to state that it was tailor-made for the one and only Mr Kumar, who (Kisho)rendered it.

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

(Am)It was an inspiring song

All the other songs about Lord Krishna on my blogs so far have been about the naughty butter-stealing child, the (adopted) son and the one who is adored and worshipped.

But there was one song that highlighted his role as Arjuna’s advisor in the war.

The track in question was Yudh Kar.

It wasn’t just the title track of Yudh (1985), but also the only song from the film on this blog.

Amit Kumar rendered the inspirational number, that encouraged people to fight, regardless of who the foe was.

Anand Bakshi penned the Kalyanji-Anandji composition.

Dog loverSKould relate to it

The title track of Teri Meherbaniyan (1985) was the only male solo on the film’s soundtrack – it was rendered by Shabbir Kumar.

But the meherbaniyan (favours) the song referred to were not done by a two-legged person of the fairer sex, but by a four-legged buddy.

And though it was an emotional song, there’s no two ways about the fact that it would prompt those who love dogs, or have had a canine companion, to flash their canines.

The track, which S H Bihari penned, was composed by Laxmikant Shantaram Kudalkar and Pyarelal Ramprasad Sharma.  

Was it merely a trAcK?

Sitamgar released in 1985.

Mausam Pyar Ka wasn’t just the only song from the film on this blog, but for many people, it was also an Asha (wish) that (Kisho)remained unfulfilled.

But since this is a blog on Hindi film songs, the focus ought to be solely on the track, which could be translated to, “Let the season of love keep changing its colours and continue”.

By no means would it be incorrect to state that the track – which Ms Bhosle and Mr Kumar – rendered was underrated.

Majrooh Sultanpuri penned the R D Burman composition.

Ms Mangeshkar rendered this chart-topper

While one oral hygiene brand (Cibaca) replaced another (Binaca) as the sponsor of Ameen Sayani’s popular radio countdown Geetmala, it could never end Laxmikant Shantaram Kudalkar and Pyarelal Ramprasad Sharma’s rule over the charts or their fans’ hearts.

That was evidenced by the fact that the track that topped the annual list for 1986 was their composition – Yashoda Ka Nandlala, from Sanjog (1985).

It was purely a coincidence that it was rendered by Lata Mangeshkar and made it to the list, like their previous Nandlala song [from Satyam Shivam Sundaram (1978)].

Anjaan penned the song.

Didn’t composer-crooner Bappi (Jana)kill irony?

As far as Hindi film songs are concerned, there’s no two ways about the fact that the baap of all ironies was, “Sona nahin, chandi nahin, yaar to mila” (which could be translated to, “I may not have got gold or silver, but I found love”).

It was a line from Yaar Bina Chain Kahan Re, the only song from Saaheb (1985) on this blog.

The song wasn’t just composed, but also rendered by the one and only Bappi Lahiri.

He was joined behind the microphone by S Janaki.

The track was penned by Anjaan. 

Kumar (Kisho)rendered this (Balasubrahmany)amazing song

Kishore Kumar bagged his eighth – and final – Filmfare Award in the Best Male Playback Singer category for Saagar Kinare in 1986. It was his fourth trophy in a row.

Another song from the film eventually became his fans’ unfulfilled wish.

The track in question was Yunhi Gaate Raho.

He was joined behind the microphone by S P Balasubrahmanyam.

It was penned by Javed Akhtar (who was, incidentally, nominated for Saagar Kinare in the Best Lyricist category at the same ceremony), and composed by R D Burman (who was nominated in the Best Music Director category).

Undoubtedly, this solo was SuPerB

The second solo from Saagar on this blog was Sach Mere Yaar Hai.

The hook of this mind-blowing number, composed by the one and only R D Burman, went, “Yaar mere”, which could be translated to, “My friend”.

Be it stating that the best kind of love is one that isn’t unrequited; hoping for a companion who will change his fortune, praying that his beloved finds everlasting happiness, or ruing his loss (and another person’s success) in the game of life, S P Balasubrahmanyam did all that in just four verses penned by Javed Akhtar.

This titLe tracK was wonderful

Saagar Kinare was the second title track of Saagar.

The film contained two versions of the song – while this blog contains a post on the duet [(Kisho)rendered by Lata Mangeshkar and Mr Kumar], the other version was a solo, rendered by the former. And it was a sad version.

If I had included the latter in this blog, it would have been a perfect seven – seven seas, seven musical notes and, of course, seven songs from the film.

The track, which was penned by Javed Akhtar, was composed by none other than R D Burman.

Bhosle rendered this SuPerB song

Saagar didn’t just star the Bobby pair (Dimple Kapadia and Rishi Kapoor), but also had a song that contained a line that was inspired by a song from the 1973 film.

The track in question was O Maria, and the line went, “Hum tum hon kamre mein, aur chaabi kho jaaye” (a paraphrased line from Hum Tum Ek Kamre Mein Bandh Hon”).

Interestingly, the song was picturised on Kapadia and the film’s other lead, Kamal Haasan.

Asha and S P Balasubrahmanyam (Bhos)lent it their voices.

Javed Akhtar penned the track, which R D Burman composed.

Undoubtedly, it wAs(h)a Sensuous Song

By no means would it be incorrect to compare the soundtrack of Saagar to a thali (an Indian platter comprising a variety of dishes). It comprised songs that catered to the tastes of different kinds of listeners.

For instance, Jaane Do Na was one of the most sensuous tracks of all time.

But, at the same time, it did not sound vulgar.

The track, which Javed Akhtar penned, was composed by Rahul Dev Burman.

The one who (Bhos)lent it her voice was none other than Asha.

She was joined behind the microphone by Shailendra Singh.

Kumar (Kisho)rendered this title track

Today (September 4, 2019) is the 67^th birthday of Rishi Kapoor, who played the lead in Saagar (1985).

This blog contains posts on half-a-dozen tracks from the film.

If they were arranged in the alphabetical order, Chehra Hai Ya Chand Khila Hai would be the first.

Saagar Jaisi Aankhonwali was the alternative title of the song. Hence, it wouldn’t be incorrect to call it one of the two title tracks of the film.

The track, which was penned by Javed Akhtar, was (Kisho)rendered by the one and only Mr Kumar.

Rahul Dev Burman composed it.

Hasrat Jaipuri penned this cLa(ta)ssic

Hasrat Jaipuri penned a couple of songs with a verb-noun-verb construction (the verb being the same) during his association with Raj Kapoor.

The first was Bol Radha Bol [which was the title track of Sangam (1964), and, in turn, inspired the title of a 1992 film starring the latter’s son Rishi].

And the second is the subject of this post. The track in question was Sun Sahiba Sun, from Ram Teri Ganga Maili.

The involvement of Ravindra Jain in this track was restricted to composing it.

It was rendered by none other than Lata Mangeshkar.

Ms Mangeshkar expLa(ta)ined it superbly

Ek Radha Ek Meera, as the name suggests, was about the two women who loved Lord Krishna – the former was His consort, and the latter was His devotee.

The track, from Ram Teri Ganga Maili, wasn’t just penned, but also composed by Ravindra Jain.

People with a mythological bent of mind would obviously know the difference between the two, but even if one isn’t mythologically-inclined, it would be pertinent to state that the hook of the song was, “Antar kya hai” (which could be translated to, “What’s the difference?”).

It was rendered by Lata Mangeshkar.

This title track became popuLa(ta)r

Ram Teri Ganga Maili – the last film Raj Kapoor directed – released in 1985.

It was the best-known film of his youngest son, Rajiv Kapoor (a.k.a. Chimpu).

Like most of the showman’s previous films, it boasted of a great soundtrack.

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

If the four songs from the film were to be arranged in the alphabetical order, Ek Dukhiyari Kahe – the title track of the film – would be the first.

It was rendered by the one and only Lata Mangeshkar.

It was meLodiouS and memorable

The soundtrack of Pyar Jhukta Nahin (1985) contained a couple of versions of Tumse Milkar Na Jaane Kyon, its most popular song.

While one was a duet (rendered by the one and only Lata Mangeshkar, who was joined behind the microphone by Shabbir Kumar), the other was a solo (rendered by Kavita Krishnamurthy.

This blog contains a post on just one – the former.

The track, which S H Bihari penned, was composed by Laxmikant Shantaram Kudalkar and Pyarelal Ramprasad Sharma, who were nominated in the Best Music Director category at the Filmfare Awards in 1986.

This philosophicaL Number was awesome

The second song from Meri Jung on this blog was Zindagi Har Kadam Ek Nayi Jung Hai.

It could be translated to, “Life, at every step, is a new battle”.

By no means would it be incorrect to state that it was an outstanding song.

The soundtrack of the film contained a couple of versions of the track.

Lata Mangeshkar rendered both of them.

This blog contains the version rendered by Nitin Mukesh. The other version was sung by Shabbir Kumar.

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

Janaki and Jaaved (Kisho)rendered it

If the two tracks from Meri Jung (1985) on this blog were arranged in the alphabetical order, Bol Baby Bol Rock and Roll.

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

It was (Kisho)rendered by Mr Kumar, S Janaki and debutant Jaaved Jaffrey (who played the villain).

Fittingly, the track inspired the title of a musical game show on the small screen. The word Bol could also be translated to lyrics. The show, which aired on Star One in 2007-2008, was hosted by Adnan Sami.

It was Aziz’s breakthrough song

Manmohan Desai, a Laxmikant-Pyarelal loyalist post-Roti (1974), opted for Anu Malik to compose the songs of his 1985 film Mard.

Upon Mohammed Rafi’s death, the filmmaker was perhaps on the lookout for voices that resembled that of the legend, and one of those happened to be the voice of Mohammed Aziz, who rendered Mard Tangewala, the title track of the aforementioned film (which was the only song from the film on this blog).

Prayag Raj penned it.

Incidentally, Shabbir Kumar, whose voice was also similar to Rafi’s voice, sang the other songs in the film.

This Song merited an expLa(ta)nation

The only song from Ghulami (1985) on this blog was Zeehal-E-Muskin Makun Ba-Ranjish.

It was an Urdu line, penned by Gulzar.

As I am not well-versed in the language, I did make it a point to look its meaning up online.

The translation of the line is as follows – “Notice my poor heart. Do not look at it with enmity, because the wounds of separation have not healed yet.”

It was rendered by Lata Mangeshkar and Shabbir Kumar.

The song was composed by Laxmikant-Pyarelal. Today (September 3, 2019) marks the 79^th birthday of the latter.

Shailendra sang this superb song

The only song from Arjun (1985) on this blog was Mammaya Kero Kero Kero Mama.

It became an anthem of sorts, and was a desi distortion of Brazilian singer Carmen Miranda’s Mamãe Eu Quero (Portuguese for, “Mom, I want it”).

The track, which was penned by Javed Akhtar, was composed by none other than R D Burman.

It was rendered by Shailendra Singh. He may have become popular as the voice of Rishi Kapoor, but there’s no two ways about the fact that this was perhaps his finest song that wasn’t picturised on the actor.

Kumar (Kisho)rendered it sans remuneration

Alag Alag released in 1985.

This blog contains a post on just one track from the film – Dil Mein Aag Lagaye.

There were a couple of versions of the track, which was rendered by Anand Bakshi, and composed by the one and only Rahul Dev Burman.

While one was a duet [(Kisho)rendered by Lata Mangeshkar and Mr Kumar], the version on this blog was a Kumar solo.

Interestingly, the singer, who was particular about being paid in advance, didn’t accept a fee for his renditions in this film, which marked Rajesh Khanna’s debut as producer.

Bhupinder sang this fABulous ghazal

Think disco, and the first name that will pop into your mind is that of Bappi Lahiri.

But think ghazals, and then think again – he composed Kisi Nazar Ko Tera Intezaar Aaj Bhi Hai [the only song from Aitbaar (1985) on this blog] too.

The track, which was seven minutes and 45 seconds long, could be translated to, “Someone’s gaze awaits you even today”.

It was penned by Hasan Kamal.

Asha and Bhupinder Singh (Bhos)lent it their voices.

Incidentally, the film was directed by the late Mukul S Anand, who soon became a Laxmikant-Pyarelal loyalist.

(Am)It described modern-day reLat(a)ionships well

If filmmaker J Om Prakash and composers Laxmikant-Pyarelal had a wonderful association, Aakhir Kyon did he sign Rajesh Roshan to compose the music of the 1985 film?

Years before Karan Johar, it was he who believed that it was all about loving the extended family – Rajesh, after all, was the brother of his son-in-law, Rakesh, who starred in the film.

Jokes apart, this blog contains a post on just one song from the film – Dushman Na Kare

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

Indeevar penned the track, which described modern-day relationships superbly.

Lata’s rendition was undoubtedly Ma(ngeshka)rvellous

Not only was Aisa Sama Na Hota – the only song from Zameen Aasmaan (1984) on this blog – the most popular track in the film, but also one of the legendary Rahul Dev Burman’s most underrated compositions.

The track, which was penned by Anjaan, was superb.

It was rendered by the one and only Lata Mangeshkar, who had a couple of other contributions to the soundtrack of the film – a solo titled Yeh Faasle Yeh Dooriyan, and a duet titled Ho Maine Dil Diya*.

(*Note: The one who shared singing credits with her was Kishore Kumar.)

Wadkar sang this underrated gem

While Man Kyon Behka Re Behka earned Vasant Dev a nomination in the Best Lyricist category at the Filmfare Awards in 1986, it wouldn’t be incorrect to state that his other contribution to the soundtrack of Utsav – Saanjh Dhale Gagan Tale – was an underrated, but popular number.

The shorter of the two tracks from the film on this blog, it was four minutes and 13 seconds long.

The only male solo in the film, it was rendered by the one and only Suresh Wadkar.

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

It was an aurAL treat

This blog contained posts on a couple of tracks from Utsav (1984).

If they were arranged in the alphabetical order, as well as in the descending order, Man Kyon Behka Re Behka would be the first – it was five minutes and 41 seconds long.

By no means would it incorrect to state that the track was a result of sibling revelry in the studio.

Correction: There must have been sibling revelry in the studio – it was rendered by Lata Mangeshkar and Asha Bhosle.

The song, which was penned by Vasant Dev, was composed by Laxmikant-Pyarelal. 

The ‘gift’ed Asha (Kisho)rendered it

Pyar Ka Tohfa Tera was five minutes and 45 seconds long.

There’s no two ways about the fact that the highlight of the song were the lines in its opening verse, that contained multiple repetitions of the same words (including, “Tohfa tohfa tohfa tohfa”, “Laaya laaya laaya laaya” and “Chhaya chhaya chhaya”).

Not only was it the title track of Tohfa (which could be translated to, “Gift”), but it was also (Kisho)rendered by a gifted duo – Asha Bhosle and Mr Kumar.

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

Asha (Kisho)rendered this song too

The longest of the three tracks from Tohfa on this blog was Gori Teri Ang Ang Mein – it was seven minutes and 16 seconds long.

In fact, it was the longest song in the film.

The hook of the track, which was penned by Indeevar, went, “Dhim tara dhim tara dhim tara”.

An attempt to translate that would be futile.

No prizes for guessing that it was Asha who (Bhos)lent her voice to the track.

She was joined behind the microphone by the one and only Kishore Kumar.

The track was composed by Bappi Lahiri. 

No BhanKas, this trAcK rocked!

Bhankas is a word used by taporis in Mumbai to describe idle talk.

It became popular in 1984, when Tohfa released – it was a word in the risqué Ek Aankh Marun Toh.

The song was the shortest of the three tracks from the film on this blog – it was five minutes and 25 seconds long.

In fact, it was the shortest track in the film.

Asha, who (Bhos)lent her voice to the song, was joined behind the microphone by the one and only Kishore Kumar.

Indeevar penned the track, which was composed by Bappi Lahiri.   

Mangeshkar rendered this no(La)table number

Jaane Kya Baat Hai was the second song from Sunny on this blog.

The track – which could be translated to, “I don’t know what the matter is. I am unable to sleep. It is a long night” – was penned by Anand Bakshi.

It was rendered by the one and only Lata Mangeshkar.

Unfortunately, it happened to be Raj Khosla’s last film as director, and it wouldn’t be incorrect to state that like his other films on this blog (and my previous two blogs), it also boasted of a fantastic soundtrack – credited to R D Burman.   

Wadkar Sure(sh)ly sang it superbly

If the two tracks from Sunny (1984) on this blog were arranged in the alphabetical order, Aur Kya Ahed-E-Wafa would be the first.

The aforementioned Urdu phrase could be translated to, “A promise of loyalty”.

By no means would it be incorrect to state that that was what R D Burman made to his music, and kept till he breathed his last.

While the film had two versions of the track, this blog contained a post on just one – Suresh Wadkar’s version.

Asha (Bhos)lent her voice to the other.

They were penned by Anand Bakshi. 

Anwar (Bhos)lent it his voice

Those growing up in the 1990s were obviously familiar with Anu Malik’s compositions, but he was active for almost a decade-and-a-half before he got his breakthrough.

And one of the films whose songs he composed before he made it big was Sohni Mahiwal, which released in 1984.

In fact, its soundtrack earned him a nomination in the Best Music Director category at the Filmfare Awards the following year.

Its title track – Sohni Meri Sohni – was the only song from the film on this blog.

Anwar and Asha (Bhos)lent it their voices.

Anand Bakshi penned it.

This trAcK was not nominated

Mujhe Naulakha Mangaade was the longest song on the soundtrack of Sharaabi – it was 10 minutes and 56 seconds long.

It was the second song from the film on this blog that wasn’t nominated in any category at the 32^nd Filmfare Awards.

Obviously, it was in the voice of Asha Bhosle that the said necklace was being demanded (why would a guy order a neckpiece, unless, of course, it were Bappi Lahiri, who, incidentally, composed the song?)

No prizes for guessing that she was joined behind the microphone by Kishore Kumar.

Anjaan penned the track.

It earned Kishore the trophy

Manzilein Apni Jagah Hain, from Sharaabi, was five minutes and 55 seconds long.

Although it was a sad song, it certainly made one man very happy.

No prizes for guessing that the man in question was the one and only Kishore Kumar, who won the Best Male Playback Singer category at the 32^nd Filmfare Award in 1985.

In fact, it completed the crooner’s hat-trick of trophies in that category. And it happened to be the seventh time he took the trophy home.

The track, which was penned by Prakash Mehra, was composed by Bappi Lahiri.

This trAcK was nominated too

Log Kehte Hain Main Sharaabi Hoon – the title track of Sharaabi – was seven minutes and 53 seconds long.

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

It earned him yet another nomination in the Best Male Playback Singer category at the 32^nd Filmfare Awards in 1985.

He was joined behind the microphone by Asha Bhosle.

Anjaan and Prakash Mehra penned the track, whose highlight was the line that went, “Nasha sharaab mein hoti to naachti botal” (which could be translated to, “If the drink were intoxicated, the bottle would dance”).

Bappi Lahiri composed it.

Amitabh (Kisho)rendered the Hinglish portion

Half-a-dozen minutes and 36 seconds long, Jahan Chaar Yaar was the catchiest song on the soundtrack of Sharaabi.

It was the shorter of the two songs from the film on this blog that wasn’t nominated in any category at the Filmfare Awards in 1985.

It was (Kisho)rendered by Mr Kumar.

There’s no two ways about the fact that the Hinglish portion of the track – rendered by Amitabh Bachchan, the film’s lead – was its highlight.

Prakash Mehra penned the Bappi Lahiri composition, which could be translated, “When four friends meet, it is a fantastic night out”.