It d(r)ove the liSTeners away

My blog on the music of A R Rahman’s music contained a post on Masakali, from Delhi-6 (2009).

And my blog on the music of Hindi films that released between 2010 and 2019 contained posts on four songs from Marjaavaan (2019).

Combining those was yet another track from Marjaavaan – Masakali 2.0.

Awful would be the right word to describe the recreation.

No prizes for guessing that it was credited to Tanishk Bagchi, who penned it too.

Three minutes and 48 seconds long, the track was rendered by Sachet Tandon and T-Series’ in-house talent, Tulsi Kumar. 

Trivedi rendered his underrated composition

Naina Da Kya Kasoor was a song I recently heard on the radio, and I didn’t know which film it was from.

Obviously, Google came to my rescue, and I came to know that it was from Andhadhun, which released in 2018.

By no means would it be incorrect to state that it was one of the most underrated songs.

Amit Trivedi’s involvement in it wasn’t restricted to composing it, but he rendered it too.

Jaideep Sahni penned the song, which was three-and-a-half minutes long.

Its Electronic version was 18 seconds longer than the original.

Indeed, RFAK’s solo was soulful

Following a toss-up between Trippy Trippy and the solo version of Lag Ja Gale (both from Bhoomi, which released in 2017), I finally picked the latter, because while the former did not take me on a trip, the latter – which was rendered by Rahat Fateh Ali Khan, and was three minutes and 46 seconds long – had a lot of soul.

Priya Saraiya penned the song, which was composed by Sachin-Jigar.

Its duet version – which was four minutes and nine seconds long – was also sung by Khan, who was joined behind the microphone by Shruti Pathak.

This was Mr Singh’s version

My blog on the music of Hindi films that released between 2010 and 2019 contains a post on one song from Raaz: Reboot, which released in 2016.

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

Actually, there’s a correction – Arijit Singh’s version of the song is the one on this blog.

The second version – titled Unplugged – was three minutes and 43 seconds long, and was rendered by Jubin Nautiyal.

Kausar Munir penned the track, which Jeet Gannguli composed.   

Shrivastava sang his own composition

A few years ago, I happened to chance upon a song from the 2014 film Revolver Rani.

It was titled I Am Brutal, and it had Hinglish lyrics.

When I was compiling this playlist of fillers, I recalled the song again, but I didn’t know the names of the lyricist and composer.

However, a line of the song went, “When in doubt, go and Google”. And that’s precisely what I did.

The song was penned by Puneet Sharma, and the involvement of Sandeep Sharma in it wasn’t restricted to composing it – he sang it too.

 

Shreya’s rendition waS(ha)an (Shaba)absolute surprise

Tere Naina Maar Hi Daalenge was the longest of the three songs from the 2014 film Jai Ho (spread across my blogs) – it was five minutes long.

Pardon what I think is the catchiest title I’ve ever written for a blog post (owing to the irony), but I certainly believe that it stood out, because it was melodious, and the others were pure noise.

That perhaps explains why the track, which was penned by Sameer Anjaan, wasn’t remixed.

It was rendered by Shaan and Shreya Ghoshal, who were joined behind the microphone by Shabaab Sabri.  

This was Sagathia Jr’s version

Mujh Mein Tu was a song from Special 26 (2013).

The soundtrack of the film featured three versions of the track, but the one on this blog was Version 1, which was the longest – it was four minutes and 24 seconds long. It was rendered by Keerthi Sagathia.

M M Kreem, who composed them, sang Version 2, which was three minutes and 20 seconds long.

And Akshay Kumar, the film’s lead, sang the Film Version, which was the shortest of the three – it was three minutes and 13 seconds long.

Irshad Kamil penned the song.

  

  

It was an Indian tracKK

While all the songs in my playlist are from Hindi films, not all are by Indian singers.

Take the case of Jannat 2 (2012) in particular. My blog dedicated to Pritam’s music contains posts on a couple of tracks from the film, and both of them were rendered by crooners from the other side of the border.

Hence, I stated that Tujhe Sochta Hoon (From The Heart) – the third track from the film – was an Indian song, because it was rendered by KK.

Five minutes and 14 seconds long, it was penned by Sayeed Quadri.

Aga Bai, it wasn’T(haku)really (Kholga)delightful

Completing the trilogy of songs penned by the Amitabhs and having a Maharashtrian touch on this blog was Aga Bai.

Mr Bhattacharya penned the song, whose title was a Marathi expression of surprise that literally means, “Oh lady!”

Spread across my blogs, it was the second track from Aiyyaa (2012).

It was, in fact, the longer of the two – it was four minutes and 25 seconds long.

Although the Amit Trivedi composition, which Shalmali Kholgade and Monali Thakur rendered, was a tad disappointing, it is possible that it grew on some listeners after repeated hearings.

Ajay (Gogava)lent it his voice

My blog on the music of Hindi films released between 2010 and 2019 contains posts on three songs from Agneepath, which released in 2012.

But the subject of this post – Deva Shree Ganesha – had been at the back of my mind for a while.

So when I decided to compile a playlist of fillers, I promptly added the Gogavale brothers’ (composers Ajay-Atul) dedication to the elephant-headed god to it.

Ajay, the younger of the two by a couple of years, rendered it.

Amitabh Bhattacharya penned the track, which was five minutes and 56 seconds long.

   

(Moh)It was Ms Mukherjee’s breakthrough

My blog on the music of Hindi films that released between 2010 and 2019 contained posts on a couple of songs from Tanu Weds Manu, which released in 2011.

Spread across my blogs, the third track from the film was titled Yun Hi.

It was four minutes and 19 seconds long.

Rajshekhar penned the Krsna composition, which, contrary to the music director’s stage name, was not a Solo – (Moh)it was rendered by Mr Chauhan, who was joined behind the microphone by Ujjaini Mukherjee, who finished seventh in the Sa Re Ga Ma Pa Challenge 2005.

Ms Chauhan (Ra)nailed this medley

Parda – as the name suggests – was a throwback to the 1970s. In fact, it should have been part of my blog titled Medleys of Popular Melodies.

Spread across my blogs, it was the longest of the five songs from Once Upon A Time In Mumbaai – it was five minutes and 23 seconds long.

Sunidhi Chauhan was joined behind the microphone by Rana Mazumder.

Irshad Kamil penned the Pritam composition, which sampled Piya Tu Ab To Aaja [from Caravan (1971)] and Duniya Mein Logon Ko [from Apna Desh (1972)].

Black Strobe’s I’m A Man wasn’t credited.

Dominique rendered this relatable tracKK

My blog dedicated to the music of Pritam contained three tracks from Once Upon A Time In Mumbaai (2010).

This blog contains posts on two more tracks from the film.

If they were arranged in the alphabetical order, as well as in the ascending order of their durations, I Am In Love would the first – it was four minutes and 47 seconds long.

The song, which every person was able to relate to, was rendered by KK, who was (Cere)joined behind the microphone by Dominique.

The man who penned it was the multi-talented Neelesh Misra.

Natalie was the other SinGer

My blog on the music of Hindi films released between 2010 and 2019 contained posts on three tracks from Band Baaja Baaraat, which released in 2010.

The fourth track from the film was Aadha Ishq, a track that was four minutes and 43 seconds long.

While the main singer was Shreya Ghoshal, the additional vocals were credited to Natalie Di Luccio.

Amitabh Bhattacharya penned the song, which was composed by the Merchant brothers, Salim and Sulaiman.

Of the four songs from the film (spread across my blogs), two weren’t remixed. This was one of them.

It was (Chauh)an underrated track

This is a post on another Pritam composition that didn’t make it to my blog dedicated to the composer’s music, because I heard it during the lockdown.

The track in question was Tune Jo Na Kaha, and it was from the 2009 film New York*.

Spread across my blogs, it was the shortest of the three songs from the film – it was five minutes and 10 seconds long.

Mohit Chauhan rendered the song, which was penned by Sandeep Shrivastava.

(*Note: My blog on Pritam’s music contained posts on a couple of tracks from the film.)

Debutant King sang with Chinmayi

As was the case with the previous track, Dil Gira Dafatan was at the back of my mind.

I had compiled a playlist of songs composed by A R Rahman, and it contained posts on the other five songs from Delhi-6, which released in 2009.

I added this song to this playlist of fillers when I heard it again.

Five minutes and 39 seconds long, it was penned by Prasoon Joshi.

It marked the debut of Ashutosh Ganguly (who is popularly known by his stage name, Ash King).

Chinmayi Sripada joined him behind the microphone.

(Shrid)HardLy any listener got high

I must confess that Talli Hua was at the back of my mind, because my blog dedicated to Pritam’s music contained posts on the other five songs from Singh Is Kinng, which released in 2008.

The song, which was four minutes and 50 minutes long, was rendered by Neeraj Shridhar and the late Labh Janjua.

While the film’s soundtrack became popular, this was a disappointing track.

Mayur Puri penned the song, whose remixed version (titled Jay Dhabi Mix), was 17 seconds shorter than the original, and featured additional vocals by rapper Stylebhai, a.k.a. Jai Menon.   

It was AN ExpensIve trAck

When I was updating my playlist of Pritam’s songs, I realised that I hadn’t included a song from Golmaal Returns (2008).

The track in question was Tha Kar Ke, which wasn’t a Pritam composition – it was credited to Ashiesh Pandit.

Four minutes and 24 minutes long, it was penned by Sameer, and sung by Akriti Kakar, Anwesha Datta Gupta, Neeraj Shridhar, Earl and Indie.

The song’s video cost Rs 3.5 crore, which, at that point, was the most expensive video for a Hindi film song.

Its remixed version was two seconds longer than the original. 

Sonu sang without a hiccup

Akbar Sami is one of India’s pioneering DJs.

So it definitely wasn’t a surprise when he became a full-fledged composer, with two contributions to the soundtrack of the 2007 film Risk.

This blog contains a post on just one of those – Hichki, which was four-and-a-half minutes long.

The track, which had a Maharashtrian flavour, was penned by Amitabh Verma.

It was rendered by Sonu Kakkar, the older sister of fellow singers Neha and Tony Kakkar.

Although the track translates to, “Hiccup”, it was pretty popular.

Its remixed version was five seconds longer than the original.

It certainly was (Ghosh)alovely tracKK

Shreya Ghoshal and KK sang a couple of tracks from The Killer, which released in 2006*.

But this blog contains a post on just one of them – O Sanam**.

Jalees Sherwani penned the song.

By no means would it be incorrect to state that it was dedicated to two people who passed away in 2020 – Sajid-Wajid composed the song, and the titular role in the film was essayed by Irrfan.

[*Note (1): Their other contribution to the film’s soundtrack was Teri Yaadon Mein.]

[**Note (2): The male version of O Sanam was a KK solo.]

The SonG was pretty catchy

My blog on the music of Hindi films that released between 2000 and 2009 contained a post on one track from Krrish (2006).

The second song from the film was Koi Tumsa Nahin.

There were two similarities between both the songs – firstly, they were composed by Rajesh Roshan, and, secondly, they were rendered by Shreya Ghoshal and Sonu Nigam.

And there were also a couple of differences between them.

Firstly, Koi Tumsa Nahin was the shorter of the two – it was half-a-dozen minutes and 15 seconds long.

And secondly, it was penned by Nasir Faraaz.

Lata sang it with Adnan

When I had written posts about the songs of Lucky: No Time for Love (2005), I had not heard Shayad Yehi Toh Pyaar Hai.

If the four songs from the film in my collection were arranged in the alphabetical order, it would be the third.

And if they were arranged in the descending order of their durations, it would be the fourth – it was half-a-dozen minutes and 27 seconds long.

Adnan Sami composed it and was one of the two people who sang it.

The other was the legendary Lata Mangeshkar.

Sameer Anjaan penned it.

This recreated track wAs(l)amassive hit

My blog on the music of Hindi films that released between 2000 and 2009 contained just one song from Kalyug (2005).

The second track from the film was Aadat.

It was rendered by Atif Aslam, and was five minutes and 36 seconds long.

Mithoon recreated the song, which was originally penned and composed by Goher Mumtaz (who founded the Pakistani rock band Jal).

Its remixed version – which was composed by Jal, and was four minutes and 10 seconds long – was credited to DJ Suketu.

Jal’s original – which Mumtaz penned and composed – was four-and-a-half minutes long.

 

(Ud)It was tailor-made for Yagnik

My blog on the music of Hindi films that released between 2000 and 2009 contains posts on three songs from Mujhse Shaadi Karogi (2004).

The fourth song from the film, spread across my blogs, was Lal Dupatta.

Five minutes and 14 seconds long, (Ud)it was rendered by Alka Yagnik and Mr Narayan. And there’s no two ways about the fact that only they could have done it justice.

I wish I had included it in tribute to Wajid, who composed the song with Sajid.

It was lyricist Arun Bhairav’s only contribution to the film’s soundtrack.

(Ud)It was a pertinent question

My blog on the music of Hindi films that released between 2000 and 2009 contains posts on three tracks from Tere Naam, which released in 2003.

The third song was Kyon Kisi Ko.

Five minutes and 37 seconds long, (Ud)it was a solo by Mr Narayan. In fact, so accustomed was I to listening to his happy songs that this sad song had to make it to the playlist.

In fact, it was pertinent question, because the translation of its opening line was, “Why doesn’t loyalty beget loyalty?”

Sameer Anjaan penned the Himesh Reshammiya composition.

Lucky sang this long song

My blog on the music of Hindi films that released between 2000 and 2009 contains posts on two songs from Sur – The Melody of Life, which released in 2002, and made me – and countless others, I’m sure – wonder why music director M M Keeravani (a.k.a. M M Kreem) didn’t contribute to more Hindi film soundtracks.

The third track from the film was Jaane Kya Dhoondhta Hai, and it was actually the longest of the three songs, spread across my blogs – it was seven minutes and 12 seconds long.

Nida Fazli penned the Lucky Ali solo.

Ms Yagnik did (Ud)it justice

My blog on the music of Hindi films that released between 2000 and 2009 contains a post on just one song from Mere Yaar Ki Shaadi Hai, which released in 2001.

I later happen to another track, which I looked up online only to find that it was from the same film.

The song in question was Ek Ladki Ki Tumhein, and it was five minutes and 37 seconds long.

No prizes for guessing that Alka Yagnik and Mr Narayan rendered (Ud)it.

Jeet Gannguli and Pritam composed the song, which was penned by Javed Akhtar.

 

Singh sang this underrated ghazal

Koi Fariyaad, from the 2001 film Tum Bin, was considered as one of the finest ghazals in the history of Hindi film music.

By no means would it be incorrect to state that it was also one of the most underrated ghazals.

And it was rendered by Jagjit Singh, who was one of the most renowned exponents of that genre.

The track, which was penned by Faaiz Anwar, was composed by Nikhil-Vinay.

Singh also sang Teri Fariyaad with Rekha Bhardwaj. It was from Tum Bin 2, which released in 2016 (five years after he died).

Kareena wAS credited on this

My blog on the music of Hindi films that released between 2000 and 2009 contained posts on half-a-dozen tracks from Kabhi Khushi Kabhie Gham…, which released in 2001.

But for a long time, I actually had Kareena Kapoor’s attitude to the song on which she was credited for mouthing a few lines – Deewana Hai Dekho made me say, “Whatever” until I decided to compile this list of fillers and was a few tracks short.

Five minutes and 46 seconds long, the Sandesh Shandilya composition was sung by Alka Yagnik and Sonu Nigam.

Sameer penned it.

DebUtAnte Bipasha BAcKed the others

My blog on the music of Hindi films that released between 2000 and 2009 contained posts on four songs from Ajnabee, which released on Kareena Kapoor’s 21^st birthday in 2001, and marked Bipasha Basu’s debut.

This post is on the song from the film to which they lent their voices, as did the male leads, Akshay Kumar and Bobby Deol.

It was titled Kaun Main Haan Tum, and was half-a-dozen minutes and 44 seconds long.

For the record, the Anu Malik composition, which was penned by Sameer, was rendered by Alka Yagnik and Udit Narayan.  

Trivedi rendered this underrated gem

My blog on the music of A R Rahman contains posts on three songs from Thakshak, which released in 1999.

A few days ago, I recalled another beautiful number from the film – Boondon Se Baatein.

But since I couldn’t delete all the songs from the film and from films released in the 2000s from my blog dedicated to the man known as ‘The Mozart of Madras’, I added it to this playlist containing ‘fillers’.

The track, which Mehboob penned, was rendered by Sujata Trivedi. It was, in fact, her only contribution to the film’s soundtrack.

 

Ms Narula rendered AFantastic song

My blog on the music of Hindi films that released in the 1990s contained posts on two tracks from Sirf Tum, which released in 1999.

Ek Mulaqat Zaroori Hai Sanam was the third song from the film (spread across my blogs).

While it is hard to miss the irony (especially with the pandemic still looming large), it must be stated that it was the longest song in the film – it was a dozen minutes and 13 seconds long.

Jaspinder Narula joined the Sabris (Ameen and Farid) behind the microphone.

Sameer Anjaan penned the Nadeem-Shravan composition.  

Alka and Manpreet sang (Ud)it

My blog on the music of Hindi films that released in the 1990s contains posts on five songs from Kuch Kuch Hota Hai (1998).

When I decided to compile a playlist containing ‘fillers’, the sixth track from the film seemed to be telling me, “Tujhe Yaad Na Meri Ayee”.

I had actually excluded it because it was a tearjerker. But while my opinion about it hasn’t changed, I added it on a whim.

Sameer penned the Jatin-Lalit composition, which was seven minutes and five seconds long.

Alka Yagnik, Manpreet Akhtar and Mr Narayan rendered (Ud)it.

Hariharan JoiNed Alka for this

Many inspired tracks are popular, but seldom has an inspiration been as good as the original.

And there’s no two ways about the fact that Mujhe Ek Pal Chain Na Aaye – the title track of Judaai (1997) – was a decent inspiration.

Also called Judaai Judaai, the song was inspired by Sanu Ek Pal Chain Na Aave, which was rendered by the late Pakistani qawwal Nusrat Fateh Ali Khan.

It was rendered by Alka Yagnik, Jaspinder Narula and Hariharan.

The track, which was penned by Sameer, was composed by Nadeem Akhtar Saifi and Shravan Kumar Rathod.  

(Ud)It was rendered by Sadhana

I was actually contemplating writing a blog post on songs that contained singers’ names, but there was one song that slipped out of my memory.

The track was titled Chinai Chun Chun, and it was from Jallaad, which released in 1995.

Interestingly, the lady who lent it her voice was not Alisha (whose last name is Chinai and who happens to be selective about her playback assignments*), but Sadhana Sargam.

Udit Narayan shared singing credits with her.

The song, which was penned by Sameer Anjaan, was composed by Anand-Milind.

(*Note: Chun is Hindi for choose.)

AbbreviAtion didn’t make a difference

Oops, These Got Away! – my blog on songs I hadn’t heard earlier, but heard during the lockdown – contained a post on a track from Haathkadi, which released in 1995.

This is a post on another song from the film – LML Baba LML.

I vaguely remember watching, and listening to, it in my early teens, and recall that it left nothing to the imagination – LML is an abbreviation of Let’s Make Love.

Anu Malik didn’t just compose the song, but sang it too.

Ms Chinai (Ali)shared singing credits with him.

It was penned by Dev Kohli.   

It was among Alka’S(an)underrated duets

My blog on the music of Hindi films that released in the 1990s contained posts on four songs from Akele Hum Akele Tum (1995).

But I hadn’t heard the fifth song from the film – Dil Kehta Hai – when I completed that blog.

I recently heard this underrated track, which happened to be the longest song in the film – it was half-a-dozen minutes and 44 seconds long.

It was Alka Yagnik’s second contribution to the film’s soundtrack, and the only male-female duet sung by Kumar Sanu in the film.

Majrooh Sultanpuri penned the Anu Malik composition.

SPB’s ‘inspired’ (Chi)t(h)rack was awesome

There is a similarity between Tere Liye Jaanam [from Suhaag (1994)] and Roja Jaaneman, the title track of the 1992 film Roja (originally a Tamil song titled Kaadhal Rojave).

Unfortunately, I noticed it long after I posted a series of videos in which I mentioned my playlist of the most popular S P Balasubrahmanyam songs picturised on actors other than Kamal Haasan and Salman Khan, as a tribute to the legend when he passed away.

The singer was joined behind the microphone by K S Chithra.

Sameer penned the track, which was composed by Anand-Milind.

Poornima sang this S(an)uggestive song

While I knew that Poornima was the name by which Sushma Shrestha came to be known when she grew up, I couldn’t, for the life of me, believe that she sang timeless melodies as a child and dished out suggestive songs as an adult.

When I was actually listing songs that left nothing to the imagination, Turu Ru Turu Ru – from the 1994 film Elaan – came to mind, and I was glad I didn’t initially include it in my collection.

Kumar Sanu joined her behind the microphone for the Shyam-Surender composition, which Rani Malik penned.

It was far from MArVelloUs

This is a post on another song I recently heard on the radio – Kami Nahin Hai Ladkiyon Ki.

Needless to say, I had to look it up online, and that was when I found out that it was from Waqt Hamara Hai, which released in 1993.

It was rendered by four singers, of which just one remains unknown to many. Her name is Mitalee Choudhary.

The others were Alka Yagnik, Udit Narayan and Vinod Rathod.

The song was penned by none other than Sameer, and was composed by Nadeem Akhtar Saifi and Shravan Kumar Rathod.

 

Ms Sargam’s solo was superb

My blog on the music of Hindi films that released in the 1990s contains posts on four songs from Hum Hain Rahi Pyar Ke, which released in 1993.

The fifth song from the film – Woh Meri Neend Mera Chain – happened to be a female solo; it was Sadhana Sargam’s only contribution to the soundtrack.

By no means would it be incorrect to state that the track, which was four minutes and 48 seconds long, was something that a person suffering from insomnia would sing.

It was penned by Sameer Anjaan, and was composed by Nadeem-Shravan.   

 

Ageless Asha San(u)g this song

While the previous two posts were on songs from Ajay Devgn’s debut, this is about a track from his better half, Kajol’s debut – Bekhudi (1992).

The song in question was Aa Khel Khelein Hum.

I heard it recently, hence I had to look it up online.

Asha, who was in her late fifties at that point, (Bhos)lent her voice to the song, which was picturised on a teenaged Kajol and fellow debutant Kamal Sadanah, whose portion was rendered by none other than Kumar Sanu.

The track was penned by Surendra Saathi, and composed by Nadeem-Shravan.

 

Mr Bhattacharya’s solo waS(an)ubiquitous

While Abhijeet Bhattacharya was usually credited mononymously, one of his contemporaries, who happened to share his last name, was rechristened entirely. And to say that that change did him a world of good is an understatement.

The man in question was Kedarnath Bhattacharya, popularly known as Kumar Sanu.

The soundtrack of Phool Aur Kaante featured another solo by him.

It was titled Premi Aashiq Awaara.

While one composer duo (Kalyanji-Anandji) gave Sanu a new identity, another (Nadeem-Shravan) got the lion’s share of the credit for many of his hit numbers, including this song, which Sameer penned.

    

Sanu’s solo did impress collegians

My blog on the music of Hindi films released in the 1990s contained posts on three songs from Phool Aur Kaante, which released in 1991.

I later heard a couple of other songs from the film.

The first of these was Jise Dekh Mera Dil Dhadka.

The song was about a girl who studied in the same college as the film’s protagonist (played by debutant Ajay Devgn). And by no means would it be incorrect to state that collegians loved it.

It was penned by Sameer Anjaan, composed by Nadeem-Shravan and rendered by Kumar Sanu.

  

Ano‘Der’ Lata-Suresh Song waS Featured

My blog on the music of Hindi films that released in the 1990s featured posts on three songs from Henna (1991).

One of them was Main Der Karta Nahin.

This is a post on another song from the same film that contained the word Der – Der Na Ho Jaaye.

Incidentally, Lata Mangeshkar and Suresh Wadkar rendered both those songs.

In fact, Der Na Ho Jaaye – a qawwali which also had the voices of Mohammed Sayeed, Farid Sabri and Satish – had a verse from Main Der Karta Nahin.

Ravindra Jain was the lyricist and the composer.

Music buffs loved the AttitUde

My blog on the music of Hindi films that released in the 1990s contains posts on four songs from Dil, which released in 1990.

This is a post on another track from the film, which I was aware of, but skipped by oversight.

The song in question was Hum Pyaar Karne Wale, and it happened to be the longest song in the film – it was half-a-dozen minutes and 57 seconds long.

Sameer Anjaan penned the song, which was composed by the Shrivastav siblings, Anand and Milind.

(Ud)It was rendered by Anuradha Paudwal and Mr Narayan.

 

Malik and Bhosle (Kisho)rendered (Am)it

Maalamaal released in 1988, a year after Kishore Kumar passed away.

Thus, it wouldn’t be incorrect to state that its title track – Maal Hai To Taal Hai – was one of his most popular posthumous numbers.

The involvement of Anu Malik in the song, which Indeevar penned, wasn’t restricted to composing it, but he was one of the three men who joined the legend behind the microphone as well.

The others were Amit Kumar and Sudesh Bhosle, who bagged an opportunity to showcase the talent for which he has always been right on the money – mimicry.

Ms Bhosle’s rendition was terrific

Although I hadn’t heard Kitni Haseen Hai Nasheeli Nasheeli until recently, I didn’t have to look up the film’s title online – I had heard of Yeh Nazdeekiyan.

The song was, in fact, the title track of the film.

I also knew that it was rendered by Asha Bhosle.

However, I had to look up the song for the other details – namely, the year of the film’s release (1982), the lyricist (Vinod Pande) and the music director (Pandit Raghunath Seth).

Incidentally, Pande was the director of the film, and played a supporting role in it too.

 

It was a sensuous track

There is a fine line* between being sensuous and being vulgar, and there’s no two ways about the fact that Dil Machal Raha Hai – the R D Burman composition from Khalifa (1976) – didn’t border on the latter.

The film’s title is the Arabic word for ruler, and as far as the audience’s hearts were concerned, Pancham certainly was one.

The song, which was penned by Gulshan Bawra, was (Kisho)rendered by Asha Bhosle and the one and only Mr Kumar.

(*Note: Rekha is Hindi for line, and she happened to be the film’s leading lady too.)

Ms Mangeshkar’s message was effective

My blog on the music of Hindi films that released between 1969 and 1986 contained a song from Zinda Dil, which released in 1975.

And this blog contains another track from the film – Nahin Nahin Jaana Nahin, which I heard on the radio recently, and had to look up online, because the only thing I knew about it was that it was sung by Lata Mangeshkar.

By no means would it be incorrect to state that the Laxmikant-Pyarelal composition, which was penned by Verma Malik, was a message to Mangeshkar’s fans, and it was effective.