Poornima (Bhos)lent it her voice

It wouldn’t be incorrect to state that Mirchi Re Mirchi – the only track from the 1996 film Jurmana on this blog – screamed tacky.

But it must have been the guilty pleasure of the critics jinko mirchi lagi.

The opening verse of the song – whose next one-and-a-half lines went, “Kamaal kar gayi, dhoti ko phaad ke rumaal kar gayi” – could be translated to, “The chilli has done wonders. It has torn my loincloth and turned it into a handkerchief”.

Mithilesh Maan Singh penned the Dilip Sen-Sameer Sen composition, to which Poornima and Sudesh (Bhos)lent their voices.

ThiS Song was positively S(an)uperb

My blog on the music of Hindi films that released between 1990 and 1999 contained posts on a couple of tracks from Barsaat, which released in 1995.

Although the title of the third song from the film – Nahin Yeh Ho Nahin Sakta – was negative, it was positively a very popular song.

The track was half-a-dozen minutes and four seconds long.

It was rendered by Sadhana Sargam and the one and only Kumar Sanu, jinke gaane fail ho nahin sakte.

Sameer Anjaan penned the song, which was composed by Nadeem Akhtar Saifi and Shravan Kumar Rathod.

Poornima didn’t get Amma's nod

My blog on the music of Hindi films released in the 1990s contained three tracks from Raja Babu, which released in 1994.

This is a post on the fourth track from the film – Ui Amma Ui Amma.

If the four tracks from the film – spread across my blogs – were arranged in the alphabetical order, as well as in the ascending order of their durations, it would be the last – it was five minutes and half-a-dozen minutes long.

It was rendered by Poornima.

The appalling track, which was penned by Sameer Anjaan, and composed by Anand-Milind.

This track was ek (Sa)number

(Note: Ek number is a colloquial phrase that can be translated to awesome.)

Spread across my blogs, Do Baatein Ho Sakti Hain was the third track from Imtihaan, which released in 1994.

However, if they were arranged in the alphabetical order, it would be the second song from the film.

I heard this track recently, and all I knew about it was the fact that it was rendered by Kumar Sanu, who was the numero uno male playback singer in the Hindi film industry in the 1990s anyway.

Faaiz Anwar penned the Anu Malik composition.

Sanu (Poorni)made many people cringe

My blog on the music of Hindi films that released in the 1990s contains posts on a couple of tracks from Eena Meena Deeka, which released in 1994.

This is a post on the third track from the film – Towel Mein Bahar Jaogi.

Incidentally, this would also be the third song from the film – spread across my blogs – if they were arranged in the alphabetical order.

It was rendered by Sushma Shrestha (a.k.a. Poornima) and Kumar Sanu.

Sameer Anjaan penned the Anand-Milind composition, which must've prompted a number of listeners to throw in the towel. 

It didn’t make a MArk

My blog on the music of Hindi films that released in the 1990s contained a post on one song from Dil Tera Aashiq, which released in 1993.

The subject of this post is the second song from the film – Kam Se Kam Itna Kaha Hota.

If the two tracks from the film – spread across my blogs – were arranged in the alphabetical order, and in the descending order of their durations, this was the second song – it was exactly half-a-dozen minutes long.

Alka Yagnik rendered it with Mukul Agarwal.

Sameer penned the track, which Nadeem-Shravan composed.

The ListeNers liked this track

My blog on the music of Hindi films that released in the 1990s contained a post on one song from Aaina, which released in 1993.

The second track from the film was Dil Ne Dil Se Kya Kaha.

If the two tracks from the film – spread across my blogs – were arranged in the alphabetical order and the ascending order of their durations, this track was the first – it was three minutes and 25 seconds long.

It was rendered by Lata Mangeshkar and Nitin Mukesh.

Sameer penned the song, which Dilip Sen and Sameer Sen composed.

Alka San(u)g it on screen

My blog on the music of Hindi films that released in the 1990s contained a post on one track from the 1992 film Sapne Saajan Ke.

The second song from the film was Yeh Dua Hai Meri Rab Se.

If the two tracks from the film – spread across my blogs – were arranged in the descending order of their durations, this track would be the first – it was half-a-dozen minutes and 15 seconds long.

Anwar Sagar penned the Nadeem-Shravan composition, which was rendered by Alka Yagnik and Kumar Sanu (who made special appearances on screen too).

Abhijeet (Bhos)lent it his voice

Spread across my blogs, I have already written posts on three songs from Khiladi, which released in 1992.

The fourth song from the film – which is the subject of this post – was Kya Khabar Thi Jaana.

If they were arranged in the ascending order of their durations, it was the shortest of the four songs – it was exactly five minutes long.

And if they were arranged in the alphabetical order, it would be the third.

Abhijeet Bhattacharya joined the (Bhos)legendary Asha Bhosle behind the microphone.

Jatin-Lalit composed the track, which was penned by Dev Kohli.

Sanu (Bhos)lent it his awaaz

In the early 1990s, the phrase Kal Ki Awaaz could refer to both Asha Bhosle and Kumar Sanu, who rendered Tumhari Nazron Mein Humne Dekha, the only track from the film – which released in 1992 – on this blog.

Technically, it wouldn’t be incorrect to state that the former was the voice of yesterday, and the latter, of course, was being seen as the voice of tomorrow at that point*.

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

(*Note: Kal could be translated to both yesterday and tomorrow.)

(Vip)Indeed, it waSanunderrated friendship song

By no means was Yaarana Yaar Ka as popular as Yeh Dosti, but there’s no two ways about the fact that it was among the most underrated Hindi film songs about friendship.

It was the only song from Saathi – which released in 1991 – on this blog.

Incidentally, it also happened to be the shortest song from the film – it was four minutes and a second long.

The track was penned by the legendary Hasrat Jaipuri.

It was rendered by Kumar Sanu and Vipin Sachdeva, and was composed by Nadeem Akhtar Saifi and Shravan Kumar Rathod.

Aziz rendered (Am)it with Kumar

Baap Numbri Beta Dus Numbri was a film that released in 1990.

Usually, the phrase Baap Numbri is used for a trickster, but it would certainly not be incorrect to describe Amit Kumar, one of the two men who rendered Baap Numbri Beta Dus Numbri (the title track of the film), as Beta Numbri (which could be loosely translated as, “The son who is associated with numbers”).

The man who joined him behind the microphone by Mohammed Aziz.

It was penned by Sameer Anjaan, and was composed by Nadeem Akhtar Saifi and Shravan Kumar Rathod.

ThiS tracK certainly wasn’t memorabLe

Oops, These Got Away! – my blog that was s compilation of songs I either omitted from my previous blogs or heard recently but didn’t know much about – contained a post on a song from Mitti Aur Sona (1989).

This is a post on another track from the film – Zindagi Mein Pehli Pehli Baar.

I recall listening to this song eons ago, but did not know which film it was from at that point. However, I knew it was rendered by Lata Mangeshkar.

Mr Kumar Sha(bbi)red singing credits with her.

Anjaan penned the Bappi Lahiri composition.

This fusion could’ve been AVoided

Love Love Love released in 1989, and starred Aamir Khan and Juhi Chawla, the cuties who starred in the 1988 film abbreviated as QSQT.

But the use of the same word thrice in its title certainly didn’t mean that film buffs loved the film, whose most popular song was Disco Dandiya.

It was a fusion of the genre popularised by Bappi Lahiri and the dance form for which Gujarat is famous.

No prizes for guessing who composed the track, which Anjaan penned.

However, neither Alisha nor Vijay Benedict – who lent it their voices – (Chi)nailed it.

It was UNdoubtedly APopular song

(Paudw)Although the teens of today might mistake Kya Karte The Saajna for a track from the 2020 film Shubh Mangal Zyada Saavdhan, it actually dated back to 1989, when a made-for-television film titled Lal Dupatta Malmal Ka released.

The track, which was also titled Kya Batlayen Jaanejaan, was rendered by Anuradha and Udit Narayan.

Majrooh Sultanpuri penned the Anand-Milind composition.

It wouldn’t be incorrect to state that the original is more popular than its recreated version, which I have written about in my blog on the music of Hindi films that released in the 2020s.

Govinda rendered this appalling version

Pakistani singer Hassan Jahangir became popular across the Indian subcontinent when he released Hawa Hawa.

And versions on this side of the border were inevitable.

One of them was Jawaan Jawaan, which was from Billoo Badshah, which released in 1989.

Not only was it an appalling song, but it made many Hindi film music aficionados do a double take – (Jagj)it was composed by Mr Singh.

The track, which was penned by Nida Fazli, was rendered by Govinda, who happened to be one of the film's leads. It marked the latter’s debut as a playback singer.

Lata rendered it with Singh

Waaris released in 1988.

Mere Pyar Ki Umar Ho Itni Sanam was the only song from the film on this blog.

There’s no two ways about the fact that this melodious song was one of the best tracks of the 1980s, a decade in which Hindi film music was well and truly going through one of its leanest patches ever.

It was rendered by the one and only Lata Mangeshkar, who was joined behind the microphone by Manmohan Singh.

The song, which was penned by Verma Malik, was composed by Uttam Singh and Jagdish Sodhi.

It wA(zi)z rendered by Mangeshkar

My blog on the music of Hindi films that released between 1987 and 1989 contains a post on one track from Shahenshah.

The second track from the film, which released in 1988, was Jaane Do Jaane Do Mujhe.

Spread across my blogs, it was the shorter of the two tracks from the film – it was half-a-dozen minutes and 28 seconds long.

It was rendered by the one and only Lata Mangeshkar, who was joined behind the microphone by the late Mohammed Aziz.

The track, which Anand Bakshi penned, (Bis)was composed by Amar Haldipur and Utpal.

Mr Kumar 'tota'lly (Jana)killed it

My blog titled Oops, These Got Away! contained a post on one track from Paap Ki Duniya, which released in 1988.

The second song from the film – spread across my blogs – was Main Tera Tota.

It was the Hindi version of a Marathi song titled Navin Popat Ha*, and was (Kisho)rendered by the one and only Mr Kumar, who was joined behind the microphone by S Janaki.

No prizes for guessing that the track, which was penned by Anjaan, was composed by Bappi Lahiri.

(*Note: Tota and popat mean parrot in Hindi and Marathi, respectively.)

(Jagj)It was – and is – popular

Aaj, which released in 1987, marked Akshay Kumar's maiden on-screen appearance.

By no means would it be incorrect to state that the most popular song in the film was Woh Kagaz Ki Kashti (Part-1).

A couple of lines of the track went, “Yeh daulat bhi let lo, yeh shohrat bhi le lo”.

The involvement of Jagjit Singh in the song wasn’t restricted to rendering it, but he composed it as well.

Although the song, which was penned by Sudarshan Faakir, dates back to the 1980s, it is as fantastic aaj (today) as it was then.

Asha did render it B(hosl)eautifully

It would be pointless to start a War between the two versions of Ghunghroo Toot Gaye (spread across my blogs), because there’s no two ways about the fact that the one sung by Asha Bhosle was the better of the two.

It was the only song from Dharam Kanta, which released in 1982, on this blog.

One of the most underrated songs of the 1980s (which was one of the worst decades in the history of Hindi film music), it was composed by none other than Naushad Ali.

The song was penned by Majrooh Sultanpuri.

Kishore's lone contribution became popuLa(ta)r

Although the soundtrack of the 1981 film Aas Paas featured a number of songs by Mohammed Rafi (including its title track, which happened to be the last one he recorded), there’s no two ways about the fact that the most popular song in the film was Kishore Kumar's only contribution to its soundtrack – Tum Jo Chale Gaye To.

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

Also called Dariya Mein Phenk Doon Chabi, the song – which was penned by Anand Bakshi – was composed by Laxmikant Shantaram Kudalkar and Pyarelal Ramprasad Sharma.

Raficionados loved this devotional song

My blog on the music of Hindi films released between 1969 and 1986 contains posts on two tracks from Sargam, which released in 1979.

This is a post on the third track from the film – Ramji Ki Nikli Sawari.

If the three tracks from the film (spread across my blogs) were arranged in the alphabetical order, this Mohammed Rafi solo would be the last.

It happened to be the longest of the three – it was five minutes and 21 seconds long.

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

Ms Mangeshkar (Kisho)rendered this track

My blog on the music of Hindi films released between 1969 and 1986 contains posts on a couple of tracks from Sabse Bada Rupaiya, which released in 1976.

This blog contains a post on another song from the film.

It was a duet titled Waada Karo Jaanam.

Lata Mangeshkar (Kisho)rendered it with the one and only Mr Kumar.

The track, which was penned by Majrooh Sultanpuri, was composed by Basu-Manohari, a duo comprising Basudeo Chakraborty and Manohari Singh. While the former was a violinist, the latter was a saxophonist. They were R D Burman's assistants.

It was a run-of-the-MilL number

Chal Sanyasi Mandir Mein was the title track of Sanyasi, which released in 1975.

And much as I had hoped never to make this remark about a song from a film released in the 1970s, I couldn’t help but state that it was a run-of-the-mill song.

And the reason for that was that Jaikishan, one half of the duo who composed it, had passed away, and without him, things weren’t quite the same for Shankar as they were in the duo's heyday.

Lata Mangeshkar and Mukesh rendered the song, which was penned by Vishweshwar Sharma.

The ‘time’less Asha rendered it

My blog on the music of Hindi films released between 1969 and 1986 contains a post on a track from the 1974 film Kasauti.

I recently heard Yeh Time Time Ki Baat Hai, and upon looking it up, I found out that it was from the same film.

The one who (Bhos)lent it her voice was none other than Asha, who is almost a month shy of her 87^th birthday. 

Verma Malik penned the track, which was composed by Kalyanji Virji Shah (whose 20th death anniversary falls on August 24, 2020) and Anandji Virji Shah.

Mukesh S(um)ang this Song too

My blog on the music of Hindi films released between 1969 and 1986 contains a post on a song from Pehchan, which released in 1970.

Spread across my blogs, Gangaram Ki Samajh Mein Na Aaye was the second track from the film.

And like the other song from the film (viz., Bas Yehi Apradh Main Har Baar Karta Hoon), this track was also rendered by Mukesh.

On this occasion, he was joined behind the microphone by Suman Kalyanpur and Sharda.

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

Rafi's wish was for everyone

My blog on the music of Hindi films released between 1969 and 1986 contains a post on a song from Khilona, which released in 1970. It was the film's title track.

And the quartet that collaborated on that song also happened to be the team behind the second song from the film (spread across my blogs) – Khush Rahe Tu Sada.

By no means would it be incorrect to state that it was Mohammed Rafi's wish for every music buff.

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

Lata's solo was truly mind-blowing

My blog on the music of Hindi films released between 1960 and 1968 contains a post on the most popular song from Jhuk Gaya Aasman, which released in 1968.

No prizes for guessing that the song in question was the Mohammed Rafi solo Kaun Hai Jo Sapnon Mein Aaya.

This blog contains a post on another track from the film – Unse Mili Nazar Ke Mere Hosh Ud Gaye.

It was rendered by the one and only Lata Mangeshkar.

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

Undoubtedly, Asha's rendition was outstanding

The death of music director Roshanlal Nagrath in 1967 was a blow to his family, the Hindi film industry and his fans alike.

But by no means would it be incorrect to state that his final labour of love did be(a)r sweet fruit.

The track in question was Meri Beri Ke Ber Mat Todo, and it was from Anokhi Raat, which released in 1968.

The singer who (Bhos)lent it her voice was the one and only Asha, and it was penned by Indeevar.

Spread across my blogs, this was the second song from the film.

Mukesh rendered this superb track

My blog on the music of Hindi films released between 1960 and 1968 contains posts on a couple of songs from Upkar, which released in 1967.

They were male solos. While one was rendered by Manna Dey, the other was sung by Mahendra Kapoor.

This is a post on another male solo from the film – Deewanon Se Yeh Mat Poochho.

It was, incidentally, rendered by another singer whose name and surname begin with the letter M – Mukesh Chand Mathur.

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

It was a MeLodious duet

My blog on the music of Hindi films released between 1960 and 1968 contained posts on a couple of tracks from Patthar Ke Sanam, which released in 1967.

The third song from the film was Mehboob Mere.

It was the shortest of the three songs from the film (spread across my blogs) – it was four minutes and 13 seconds long.

The only duet from the film on my blogs, it was rendered by Lata Mangeshkar, who was joined behind the microphone by Mukesh.

The track, which was penned by Majrooh Sultanpuri, was composed by Laxmikant-Pyarelal.

This was a Ma(thu)rvellous solo

The second song from Milan on this blog – and the third overall – was Ram Kare Aisa Ho Jaaye.

And unlike the other songs from the film on my blogs, it was not a duet.

It was rendered by the one and only Mukesh Chand Mathur (whose other solo in the film was titled Main To Deewana).

And there was no two ways about the fact that it was one of the most popular lullabies in Hindi films.

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

Mukesh’s ‘title track’ was Ma(ngeshka)rvellous

My blog on the music of Hindi films released between 1960 and 1968 contains a post on a song from Milan, which released in 1967.

No prizes for guessing that it was the superb Saawan Ka Mahina, which was rendered by Lata Mangeshkar and Mukesh.

This is a post on another duet by them from the same film – Hum Tum Yug Yug Se.

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

Both of them were penned by Anand Bakshi, and were composed by Laxmikant Shantaram Kudalkar and Pyarelal Ramprasad Sharma.

Mahendra’s solo was sound advice

My blog on the music of Hindi films released between 1960 and 1968 contains posts on a couple of tracks from Hamraaz, which released in 1967.

Both of them were rendered by none other than Mahendra Kapoor, who also rendered the third song from the film, which is the subject of this post – Na Munh Chhupa Ke Jiyo.

It could be translated to, “There’s no point living if you have to hide your face”. And that – quite literally – was sound advice.

The track, which was penned by Sahir Ludhianvi, was composed by Ravi Shankar Sharma.

Kishore sang about girls’ routine

Ladka Ladki released in 1966.

This blog contains a post on just one track from the film. It was titled Suniye Suniye Aaj Kal Ki Ladkiyon Ka Program (which could be translated to, “Listen to the routine of today’s girls”).

No prizes for guessing that it was (Kisho)rendered by the one and only Mr Kumar, who was the film’s leading man.

He described himself as, “Kishora chhora qawwal Khandwewala”, which could be translated to, “A guy named Kishore, who is a qawwal from Khandwa”.

Rajinder Krishan penned the track, which was composed by Madan Mohan.

Kumar didn’t just (Kisho)render it

My blog on the music of Hindi films released between 1960 and 1968 contains a post on one track from Bhoot Bungla, which released in 1965.

This is a post on another song from the film – Jaago Sonewaalon.

If the two songs from the film (spread across my blogs) were arranged in the descending order of their durations, this would be the longer of the two – it was five minutes and 28 seconds long.

It was composed by R D Burman and Kumar, and (Kisho)rendered by the latter.

The song was penned by Hasrat Jaipuri.

Mangeshkar made her presence felt

My blog on the music of Hindi films that released between 1960 and 1968 contains posts on five songs from Dosti, which released in 1964.

All of them were rendered by the one and only Mohammed Rafi.

This is a post on the only female solo in the film – a children’s song titled Gudiya Humse Roothi Rahogi.

It could be translated to, “Doll, how long will you sulk?”

No prizes for guessing that Lata Mangeshkar sang the track, which was penned by Majrooh Sultanpuri, and was composed by Laxmikant Shantaram Kudalkar and Pyarelal Ramprasad Sharma.

Asha (Bhos)lent it her voice

My blog on the music of Hindi films that released between 1960 and 1968 contained a post on one track from Sahib Bibi Aur Ghulam, which released in 1962.

While Na Jao Saiyan was rendered by Geeta Dutt, Asha (Bhos)lent her voice to Bhanwara Bada Nadaan.

The song, which was penned by Shakeel Badayuni, likens the film’s protagonist to a naïve bee, who is a ‘visitor to the garden’, but fails to notice the smile of the buds.

The lyricist, Shakeel Badayuni, used the simile and the euphemisms beautifully.

It was composed by Hemant Kumar.

Mukesh’s title track was M(angeshk)arvellous

My blog on the music of Hindi films released between 1960 and 1968 contains posts on a couple of tracks from Hariyali Aur Rasta, which released in 1962.

This is a post on another track of the film – Bol Meri Taqdeer Mein.

It was one of the two title tracks of the film. Incidentally, Lata Mangeshkar sang both.

While Yeh Hariyali Aur Yeh Rasta was a solo, this was a duet – she was joined behind the microphone for Mukesh.

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

Mukesh did ‘Meet’ the expectations

Aashiq released in 1962.

The film was directed by Hrishikesh Mukherjee and starred Raj Kapoor.

This blog contains a post on one song from the film. It was titled Tum Jo Hamare Meet Na Hote.

It could be translated to, “If you weren’t my companion, my songs would not be songs”.

By no means would it be incorrect to state that the track echoed the sentiments of the quartet who collaborated on it – Shailendra (who penned it), Shankarsingh Raghuvanshi and Jaikishan Dayabhai Panchal (who composed it), and of course, Mukesh Chand Mathur (who rendered it).

Lata’s solo inspired Shammi’s film

My blog on the music of Hindi films released between 1960 and 1968 contains posts on four songs from Junglee, which released in 1961.

Shammi Kapoor played the lead in the film, which marked Saira Banu’s debut.

This is the post on the fifth song from the film – Kashmir Ki Kali Hoon Main.

Hasrat Jaipuri penned the song, which was rendered by none other than Lata Mangeshkar, and composed by Shankarsingh Raghuvanshi and Jaikishan Dayabhai Panchal.

The song inspired the title of a 1964 film which starred Kapoor and marked Sharmila Tagore’s Hindi film debut.   

Lata sang this version too

My blog on the music of Hindi films released between 1960 and 1968 contains posts on four tracks from Hum Dono, which released in 1961.

While one of them was a post on Allah Tero Naam, I hadn’t mentioned the other version of the Lata Mangeshkar solo, which was titled Prabhu Tero Naam.

The track was penned by Sahir Ludhianvi.

It was composed by Jaidev Verma (who is known mononymously as Jaidev). In fact, it was a belated tribute to him on the occasion of his 102^nd birth anniversary (which fell on August 3, 2020).

This title song was Ma(ngeshka)rvellous

My blog on the music of Hindi films released between 1960 and 1968 contains a track on Ajeeb Dastaan Hai Yeh [which is, undoubtedly, the most popular song on the soundtrack of Dil Apna Aur Preet Parai, which released in 1960].

I recently heard the title track of the film, which could be translated to, “My heart belongs to me, but my love is for someone else”.

No prizes for guessing that it was rendered by none other than Lata Mangeshkar.

Shailendra penned the song, which was composed by Shankasingh Raghuvanshi and Jaikishan Dayabhai Panchal.

Lata celebrated the sibling bond

Today (August 3, 2020) is Raksha Bandhan – the day sisters tie a rakhi on their brothers’ wrists.

And I was wondering why I hadn’t included Bhaiya Mere Rakhi Ke Bandhan Ko Nibhana in my blog on the music of Hindi films released between 1950 and 1959.

The song – interestingly from the 1959 film Chhoti Bahen – is one of the most popular songs associated with the annual celebration of the bond between siblings, and was rendered by none other than Lata Mangeshkar.

It was penned by Shailendra, and composed by Shankarsingh Raghuvanshi and Jaikishan Dayabhai Panchal.

Kishore did mention another Kumar

My blog on the music of Hindi films released between 1950 and 1950 contains posts on five songs from Chalti Ka Naam Gaadi, which released in 1958.

The sixth song from the film, which starred Kishore Kumar, his brothers and his second wife Madhubala, was In Haathon Se Sab Ki Gaadi.

Needless to say, Kumar (Kisho)rendered it too.

Interestingly, there was a reference to Dilip Kumar (who was in a relationship with the actress for a long time) in a line of the song, which was penned by Majrooh Sultanpuri.

S D Burman composed it.

These words were (Kisho)repeated later

My blog on the music of Hindi films released between 2000 and 2009 contains a post on Denewala Jab Bhi Deta, which was from Hera Pheri (which released in 2000).

The aforementioned line was heard (albeit with a different tune) in Funtoosh, whose release preceded that of Hera Pheri by 44 years.

The rest of the line went, “Poora chhappad phaad ke deta”.

Almost a decade-and-a-half after the release of the S D Burman composition, it had become a line Mr Kumar – who (Kisho)rendered it – could vouch for.

The song was penned by Sahir Ludhianvi.

Kumar (Kisho)rendered R D’s composition

My blog on the music of films released between 1950 and 1959 contains a post on Dukhi Mann Mere from Funtoosh (1956).

I heard a couple of other songs from the film. If they were arranged in the alphabetical order, the aforementioned song would be the last (spread across all my blogs).

This is a post on Aye Meri Topi Palat Ka Aa. While S D Burman was credited as the composer, it was his son R D who composed the tune when he was nine.

Sahir Ludhianvi penned the track, which Mr Kumar (Kisho)rendered.

Geeta was in (Ra)fine form

Gareeb jaanke humko na tum mita dena was the only track from Chhoo Mantar (1956) on this blog.

Its first line could be translated to, “Don’t get me out of your mind just because I am poor”.

The song – which was penned by Jan Nisar Akhtar – could also be titled, “Tumhi ne dard diya hai tumhi dava dena” (which meant, “You have given me pain, and now you have to give me the medicine to soothe it”).

Geeta Dutt and Mohammed Rafi rendered this Nayyar cOmPosition, which didn’t vanish from Hindi film music buffs’ memories.

Hemant rendered this M(angeshk)arvellous track

Lata Mangeshkar sang most of the songs from Jhanak Jhanak Payal Baaje, which released in 1955.

While four of these were solos, five were duets. Of the duets, three were with Manna Dey, and a couple of them were with Hemant Kumar.

This is a post on one of the Lata-Hemant duets in the film*.

It was titled Nain So Nain Naahi Milao.

The track, which Hasrat Jaipuri penned, was a Vasant Desai composition.

(*Note: The other was a version of the film’s title track. The other version, of course, was sung by Ustad Amir Khan.)

  

Kumar’s track iS Still (Kisho)relatable

The longer of the two racks from Naukri on this blog was Ek Chhoti Si Naukri Ka – it was three minutes and 20 seconds long.

There’s no two ways about the fact that it is as relevant now as it was 66 years ago (probably more so now because of the lockdown).

The face, and of course, the voice of the youth seeking a job were those of Kishore Kumar.

He was joined behind the microphone by a couple of other singers – Shankar Dasgupta and Shyamal Mitra.

Shailendra penned the song, which Salil Chowdhury composed.

Kumar (Kisho)rendered it with Usha

Naukri released in 1954.

If the two tracks from the film on this blog were arranged in the alphabetical order, as well as in the ascending order of their durations, Chhota Sa Ghar Hoga would be the first – it was three minutes and 13 seconds long.

The track was (Kisho)rendered by Ms Mangeshkar, who (U)shared singing credits with the one and only Mr Kumar.

It was penned by Shailendra, and composed by Salil Chowdhury.

The song had a harmonica (a.k.a. mouth organ) piece, which was played by Milon Gupta, a renowned player of that instrument.