S(an)urely, this duo (Sap)nailed it

One of the catchiest numbers from Hindi films of the 1990s was credited to Channi Singh, and by no means would it be incorrect to state that it was, and is, the best-known film song composed by the man who is regarded as the Godfather of Bhangra in the West.

Folks, the track in question was Ho Jaata Hai Kaise Pyaar, from Yalgaar.

There’s absolutely no doubt that the song gave Sapna Mukherjee’s career a massive boost. The man who shared singing credits with her was none other than Kumar Sanu.

Sudarshan Faakir penned it.

(Ud)It rained, and Sapna rocked

When it is raining cats and dogs, as it does in Mumbai almost every monsoon, there can’t be a song more apt than Aakhir Tumhe Aana Hai, from Yalgaar (1992), to dedicate to the city’s professionals.

In fact, it is every boss’ reply to his/her subordinates, who croon, “Baarish ka bahaana hai, zara der lagegi.”

(Ud)It was rendered by Mr Narayan and Sapna Mukherjee.

The song was penned by Sudarshan Faakir and composed by Harcharanjit Singh Rupal, professionally known as Channi Singh. The latter is a bhangra musician of Indian origin, based in the UK.

It waS(arg)amilestone in Sadhana's career

Melody is indeed chocolatey, as was evidenced by the song in the Cadbury Dairy Milk commercial.

It was Saat Samundar Paar, the most popular track from Vishwatma.

The song was inspired by Heart, the 1988 song by English synthpop duo Pet Shop Boys. It was from their second studio album, Actually.

By no means would it be incorrect to state that it was, and continues to be, (Sarg)among the biggest hits in the careers of Viju Shah, who composed it, and Sadhana, who rendered it.

It was penned by the one and only Anand Bakshi.

(Am)It SUrely WA(zi)z a hit

Although the track contained India (and its desi equivalent, Hindustan), Dil Le Gayi Teri Bindiya wasn’t a patriotic song.

In fact, if there’s one adjective that can be used to describe the Vishwatma (1992) track, it has to be cheesy.

The film marked Viju Shah's debut as composer. By no means would it be incorrect to state that he did emerge from the formidable shadows of his legendary father, Kalyanji, and uncle, Anandji.

(Am)It was rendered by four singers – Mr Kumar, Mohammed Aziz, Sadhana Sargam and Udit Narayan.

The song was penned by Anand Bakshi.

It was undoubtedly rendered SuPerBLy

If there was a song from the 1990s that would win the title of the most underrated gem hands down, it was Aake Teri Baahon Mein.

It was indeed the most popular song on the soundtrack of Vansh, which released in 1992. The film was a remake of Agni Natchathiram, a Tamil film that released four years earlier.

The song was rendered by Lata Mangeshkar and S P. And the veterans did (Balasubrahmany)amarvellous job.

Would it be incorrect to state that it oozed sensuality? Certainly not.

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

(Am)It wasn’t a KicKass track

Chances of a track named Jaane De Jaane De having a long shelf life aren’t too bright, are they?

The song, which was five minutes and 36 seconds long, wasn’t just the shortest song on the soundtrack of Shola Aur Shabnam (1992), but it was also a number with a low recall value.

(Am)It was rendered by Mr Kumar and Kavita Krishnamurthy.

It wouldn’t be incorrect to state that it was one of the last hits in the career of Anjaan, who penned the track, which was composed by the one and only Bappi Lahiri.

Alka sang this (Agarw)almost-forgotten number

In Ram Lakhan (1989), Tera Naam Liya was Jackie Shroff’s character’s answer to Kya Kiya, the question asked by Dimple Kapadia.

In Sapne Saajan Ke, which released in 1992, the latter asked him the same question. But on this occasion, his answer was more interesting.

“Kabhi bhoola kabhi yaad kiya,” he lip-synched.

The listeners, however, haven’t just forgotten the song, but its male singer – Mukul Agarwal – too.

He was joined behind the microphone by the legendary Alka Yagnik.

Sameer penned the track, which was five minutes and 58 seconds long.

It was composed by Nadeem-Shravan.

It was Sure(sh)ly worth (Paudw)alisten

Expectations of Sangeet, which released in 1992, were high for a couple of reasons.

Firstly, the title of the film, when translated into English, means music.

And secondly, and perhaps more importantly, Anand-Milind, who composed its songs, were on a roll at that point.

If there was a song in the film that literally gave the listeners a double dose of Anand, it had to be O Rabba Koi Toh Bataaye. It was penned by Santosh.

By no means would it be incorrect to state that Suresh Wadkar’s and Anuradha Paudwal’s rendition was the highlight.

Alka sang a Sa(a)t(h)isfactory (Sa)number

Tu Mere Saath Saath may not have been the catchiest song on the soundtrack of Raju Ban Gaya Gentleman, but it was certainly one of the most melodious, and a go-to song when one wanted to escape the cacophony.

There is absolutely no doubt that one man would’ve been De(h)l(v)ighted with that description – Mahendra, who penned the track.

It was rendered by Kumar Sanu and Alka Yagnik, who defied the idiom, “The sky is the limit”, and more often than not, went aasmaan ke aage (literally, because their success was stratospheric).

Jatin-Lalit composed the song.

Ms Yagnik sang thiS(an)underrated track

By no means would it be incorrect to state that Seene Mein Dil Hai was not only the most underrated songs from Raju Ban Gaya Gentleman, but also one of the most underrated gems of the 1990s.

Alka Yagnik and Kumar Sanu rendered four songs in the film*. This blog contains posts on a couple of them, including this track.

It was lyricist Madan Pal’s only contribution to the soundtrack.

The track was penned by Jatin-Lalit.

(*Note: The ones that were excluded from the blog were Tham Tham Tham and Kehti Hai Dil Ki Lagi.)

The Song waS Surely Jo(ll)yous

There were a couple of versions of the title track of Raju Ban Gaya Gentleman.

There were three similarities between them – they were penned by Dev Kohli, composed by Jatin-Lalit and rendered by Sadhana Sargam.

While this blog contains a post on the happy version of the track, the other, which was a solo, was its sad version.

The former, of course, featured the vocals of three crooners – Kumar Sanu, Sudesh and Jolly.

By no means would it be incorrect to state that the voices of Bhosle and Mukherjee gave the colloquial number the tadka.

Alka San(u)g this Jolly song

Loveria – an 'ailment' that 'afflicts' many a youngster – isn’t a word.

It was coined by Mahendra Dehlvi, who penned Loveria Hua.

It was one of his two contributions to the soundtrack of Raju Ban Gaya Gentleman*. And it did go on to become very popular, as most songs with colloquial lines do.

The song, which was composed by Jatin-Lalit, was rendered by Alka Yagnik, Kumar Sanu and a certain Mr Mukherjee. By no means would it be incorrect to state that the mood must’ve been Jolly.

(*Note: This blog contains posts on both the songs.)

ThiS(a)number was for aspirational folks

Of the five songs from Raju Ban Gaya Gentleman (1992) on this blog, two were penned by Dev Kohli.

One was Dil Hai Mera Deewana, which was apt, because one must have a crazy heart to accomplish what he/she has set out to do.

It was, in fact, the only solo by a male singer in the film – Kumar Sanu rendered it.

The best line of the Jatin-Lalit composition went, “Meri manzil door hai, par jaana zaroor hai” (which can be translated to, “My destination is at a distance, but I definitely have to go.”)

UNdoubtedly, this track was AnnoYing

When the first line of a song is ABCDEFGHIJKLMNOP, it can sound puerile and prompt the listener to press the stop button.

That was exactly what one was tempted to do on hearing Pi Pi Piya from Prem Deewane, which released in 1992.

(Ud)It was rendered by Mr Narayan and Alka Yagnik.

The track, which must have given some youngsters a great deal of Anand, was penned by Bakshi.

Although a line of the Laxmikant-Pyarelal composition went, “Jiya le liya”, there must be a group of older listeners who would say, “Jiya ko dard diya.”

Ms Sargam sang (S)anunderrated track

The film, which released in 1992, was titled Muskurahat (Hindi for smile). And that was precisely what its most popular song – Gun Gun Karta Aaya Bhanwara – brought to the faces of the listeners.

By no means would it be incorrect to state that the track, which was rendered by Kumar Sanu and Sadhana, waS(arg)among the most underrated gems of the 1990s.

It was penned by Sanim, whose first name is Suraj. Although he didn’t shine as a lyricist, he has written the stories, screenplays and dialogues of a number of films.

Raamlaxman composed the song.

It certainly didn’t fare Poor(nima)ly

It was indeed the mother of all coincidences – the singer's former stage name and the one she went by in the 1990s ended with ma.

Yes folks, the lady in question is none other than Poornima, who was formerly known as Sushma Shrestha.

She rendered Barsaat Mein Jab Aayega Saawan Ka Mahina, the track from Maa, which released in 1992.

The song – whose first line can be translated to, “When it rains, it will be the fifth month of the Hindu calendar” – was penned by Dev Kohli.

It was composed by the prolific Anu Malik.

It wasn’t MAgiKAl, but enjoyable

It is interesting to note that if the number of minutes and seconds of the previous track were interchanged, it will display the duration of the next one.

The song in question was Tu Na Jaa Mere Baadshah, from Khuda Gawah. It was five minutes and eight seconds long. Incidentally, it was the shortest song on the film’s soundtrack.

It was rendered by three singers, namely Alka Yagnik, Kavita Krishnamurthy and Mohammed Aziz.

Anand Bakshi penned this exchange between a departing Baadshah (not an emperor, but Amitabh Bachchan's character) and his beloved.

Laxmikant-Pyarelal composed it.

This version did MAKe waves

The soundtrack of Khuda Gawah, which released in 1992, had a couple of versions of Tu Mujhe Qabool.

Both were the same duration – eight minutes and five seconds.

It was indeed interesting that Version 1 of the track (which was rendered by Mohammed Aziz and Kavita) was more popular than Version 2 which was sung by Lata Mangeshkar).

And this blog contains a post on the former, which earned Krishnamurthy a nomination in the Best Female Playback Singer category at the 38^th Filmfare Awards.

Anand Bakshi penned both versions, and they were composed by Laxmikant-Pyarelal.

AYe, it was ABeautiful track

There were a couple of versions of Waada Raha Sanam on the soundtrack of Khiladi.

One was a duet, which was six minutes and a couple of seconds long. This blog contains a post on this version, which was rendered by Abhijeet Bhattacharya and Alka Yagnik.

The other, which was just three seconds longer, was an Abhijeet solo.

From the point of view of Hindi film music aficionados growing up in the 1990s, the former was one of Jatin-Lalit’s best compositions.

Unfortunately, Anwar, who penned it, was a mere drop in the Sagar of melody.

It rocked beKAUSe of them

Although Khud Ko Kya Samajhti Hai, the song from Khiladi (1992), was a popular number, Shyam Raj, the man who penned it, wasn’t able to do what his last name suggests – rule the Hindi film music industry.

It was the longer of the two tracks from the film on this blog – it was six minutes and 35 seconds long.

The song, which was composed by Jatin-Lalit, was rendered by a quartet with an ABUNdance of SKills – Abhijeet Bhattacharya, Udit Narayan, Sapna Mukherjee and Kavita Krishnamurthy.

Undoubtedly, the listeners enjoyed the chhed-chhad (teasing) on campus thoroughly.

It wasn’t among Asha’s B(hosl)est

By no means would it be incorrect to state that the soundtrack of Khel, which released in 1992, was one of the weakest offerings by the Roshan brothers (director Rakesh and composer Rajesh).

In fact, the most popular track from the film left people wondering what Idli Doo Idli Doo meant.

While nobody knew whether it was inspired by the South Indian breakfast staple, it might just as well have been an instruction to the listeners – “Do(o) (Bhos)lend Asha your ears, while you are Idling.”

The track was penned by none other than Javed Akhtar.

(Lal)It was a JoyoUS number

Yahaan Ke Hum Sikandar was the longest song on the soundtrack of Jo Jeeta Wohi Sikandar – it was five minutes and 29 seconds long.

It earned Majrooh Sultanpuri a nomination in the Best Lyricist category at the 38th Filmfare Awards.

Jatin and Lalit didn’t just compose the track, but were also credited as singers.

Of course, they shared singing credits with Udit Narayan and Sadhana Sargam.

It should’ve become an anthem for the youth, particular because it had a line that went, “Arre humse bachke rehna mere yaar” (which means, “Beware of us, my friend.”)

(Ud)It waS(arga)melodious and undoubtedly innocent

Sheher Ki Pariyon, from Jo Jeeta Wohi Sikandar, was rendered by Udit Narayan, and it was five minutes and 16 seconds long.

He was joined behind the microphone by none other than Sadhana Sargam.

By no means would it be incorrect to state that innocence was the unique selling proposition of the song, and the listeners, on going back in time to the early 1990s, can’t help but wish tracks like these were penned and composed today.

Of course, credit for the former must go to Majrooh Sultanpuri, while Jatin-Lalit deserve kudos for the latter.

Pandit (Jat)infused it with sadness

Perhaps I was so enamoured of the popular songs from films that I didn’t give the ones that aren’t oft-heard the attention they deserved. 

And one song from that category that instantly springs to mind was Rooth Ke Humse from Jo Jeeta Wohi Sikandar.

Majrooh Sultanpuri penned the track, which was five minutes and 15 seconds long.

The Jatin-Lalit composition was rendered by Jatin.

It wouldn’t be incorrect to say that its second line, which went, “Yeh na socha tha kabhi itne yaad aaoge tum”, would go on to become the lament of their fans.

Unfortunately, (Ud)it didn’t bag (Sadh)anaward

Pehla Nasha wasn’t just the most popular track of the soundtrack of Jo Jeeta Wohi Sikandar, but also one of the best romantic songs of the 1990s.

While Jatin-Lalit were nominated in the Best Music Director category at the 38th Filmfare Awards, Mr Narayan (who was joined behind the microphone by Sadhana Sargam) was nominated in the Best Male Playback Singer category at the same ceremony.

(Ud)It wouldn’t be incorrect to state that it was unfortunate that neither of them won them.

Majrooh Sultanpuri penned the track, which was four minutes and 51 seconds long.

(Am)It was indeed Al(i)kable track

Majrooh Sultanpuri took grammatical liberties in the zany Hum Toh Mohabbat Karega, which was sung by Kishore Kumar.

Thirty-four years later, he did the same while penning the catchy Naam Hai Mera Fonseca, which was rendered by Kumar’s son Amit and Alka Yagnik.

The song, from Jo Jeeta Wohi Sikandar, was four minutes and 41 seconds long.

It obviously did not go to become as popular as the Dilli Ka Thug hit, but that was because of the key difference between the two – the JJWS track, which was composed by Jatin-Lalit, was a situational song.

Jatin excelled aS(adhan)a singer too

Humse Hai Saara Jahaan was the shortest song on the soundtrack of Jo Jeeta Wohi Sikandar – it was four minutes and 13 seconds long.

The track was composed by Jatin-Lalit. The duo, incidentally, played students of one of the colleges in the film. 

In fact, the song was also picturised on them – while Jatin was the guy singing it with a girl, the bass guitar in the first shot of the song was played by Lalit.  

The former also rendered it. Sadhana Sargam shared singing credits with him.

The track was penned by Majrooh Sultanpuri.

(Ud)It should've been a Vijayta

Jatin-Lalit went on to become household names, following the success of Jo Jeeta Wohi Sikandar (1992).

The youth loved Arre Yaaron Mere Pyaaron, because their aspirations, be it driving a car or being embraced by a beautiful woman, couldn’t have been put more succinctly.

The track, which was five minutes and 16 seconds long, was penned by the young-at-heart Majrooh Sultanpuri, who was a septuagenarian when the film released.

(Ud)It was rendered by Mr Narayan (a no-brainer, because he was the voice of Aamir Khan at the beginning of the latter’s career) and Vijayta Pandit.

It waS(an)unfortunately far from outstanding

Although Akkha India Jaanta Hai, from Jaan Tere Naam (1992), became the rage with collegians when it released, it was a lacklustre song.

It wouldn’t be incorrect to state that it was the film’s title track, as was evidenced by the line, “Dil kya cheez hai jaanam apni jaan tere naam karta hai” (which means, “What is the heart, darling? I dedicate my life to you.”)

Akkha India knows that Kumar Sanu rendered the song, which was six minutes and 46 seconds long.

But a few know that Aziz Khan Shahani penned the Nadeem-Shravan composition.

ThiS(a)number appealed to the youth

Here’s a question to many a youngster in love: Why are you willing to sacrifice your life when all your beloved wants is your heart and gaze?

But that was obviously lost on the man who lip-synched, “Dil, jigar, nazar kya hai, main toh tere liye jaan bhi de doon”, the longest track in Dil Ka Kya Kasoor (1992) – it was seven minutes and 46 seconds long.

It was rendered by Kumar Sanu.

The song, which was penned by the man whose name means a prince with a desire (Nawab Arzoo), was composed by Nadeem-Shravan.

Indeed, Mr Wadkar's rendition waS(arg)amazing

Dil Aashna Hai*, which released in 1992, marked the debut of actress Hema Malini as producer and director.

Although it ended in a nightmare for the Dream Girl, the only highlight of the film, if it may be called that, was its title track.

It was picturised on the film’s young leads, Shahrukh Khan and Divya Bharti. The adjective is important because it was chock-full of actors past their prime.

The song, which was penned by Majrooh Sultanpuri, was composed by Anand-Milind.

Suresh Wadkar and Sadhana Sargam rendered it.

(*Note: The word aashna means beloved.)

(Sarg)Amazingly, they San(u)g two versions

The surprises don’t cease, do they?

There were a couple of versions of Teri Umeed Tera Intezaar on the soundtrack of Deewana.

This blog contains a post on the longer version, which was six minutes and 19 seconds long.

The shorter version, which was suffixed with I (one, in Roman numerals), was a couple of minutes and 13 seconds long.

Both the versions of the song, which was composed by Nadeem-Shravan, were penned by Sameer, who bagged the Best Lyricist Award at the 38th Filmfare Awards.

They were rendered by Kumar Sanu and Sadhana Sargam.

It was truly a S(an)urprise

Of the five songs from Deewana on this blog, it was, interestingly, the shortest that went on to strike a chord with the listeners.

Folks, the track in question was Sochenge Tumhe Pyaar, which was six minutes and three seconds long.

The fact that it earned Sanu his third consecutive Filmfare Award in the Best Male Playback Singer category must have come as a surprise to even the most (Kum)ardent fan of the crooner.

The song, which was penned by Sameer, was composed by Nadeem-Shravan, who also achieved a hat-trick at the aforementioned award ceremony.

It bore (S)anunmistakable Alka stamp

Those who are of the opinion that Payaliya was a(nk)letdown are requested to listen to it again.

The track from Deewana, which was seven minutes and 57 seconds long, may not have been mind-blowing, but by no means was it awful.

It would not be incorrect to say that the track was right up the alley of the duo who rendered it – Kumar Sanu and Alka Yagnik.

Despite the use of common Punjabi phrases, the essence of a Hindi film song was retained.

No prizes for guessing that Sameer penned the track, which Nadeem-Shravan composed.

Rathod's solo was V(in)o(n)derful too

Yes, everyone wants someone to love him (or her) wholeheartedly.

That could not have been stated more emphatically than it was in Shahrukh Khan’s first sequence in Deewana.

The track in question was Koi Na Koi Chahiye. The first line of this post was a translation of the first two lines of the song, which was six minutes and 23 seconds long.

It would certainly not be incorrect to say that it was a milestone in the career of Vinod Rathod, who rendered it.

The song, which was penned by Sameer, was composed by Nadeem-Shravan.

Alka got the listeners’ (Vi)nod

Deewana (1992) marked Shahrukh Khan's debut. It was the best-selling album of the year, and the songs continue to be popular.

In fact, Nadeem-Shravan bagged the Filmfare Award for Best Music Director at the 38^th essay of the event, which took place the following year.

Aisi Deewangi, the title track of the film, was penned by Sameer. It was six minutes and 59 seconds long.

Vinod Rathod (Shravan’s brother) and Alka Yagnik rendered it.

They were nominated in the Best Male Playback Singer and Best Female Playback Singer categories, respectively, at the 38th Filmfare Awards.

(Ud)It was indeed (Sarg)amusical prophecy

Barring those who frequently stroll down memory lane, only a handful of people listen to the songs of films like Deedar (1992) now.

And it wouldn’t be incorrect to state that that is a pity, because its most popular track – Din Ba Din Mohabbat Badhti Jayegi – was actually a prophecy set to music (by Anand-Milind).

When translated into English, the line means, “As the days pass, our love will grow.” The fans' love for Akshay Kumar, the film's leading man, certainly did.

(Ud)It was rendered by Mr Narayan and Sadhana Sargam.

Sameer penned the track.

It waSanunderrated track by Alka

“Don’t gaze at me so fondly. You might fall in love.”

If it were rendered by an amateur instead of Kumar Sanu, that line may have sounded cheesy, and it is likely the object of the person’s affection may just chuckle.

But it was the translation of Is Pyaar Se Meri Taraf Na Dekho, from Chamatkar.

The track was five minutes and 28 seconds long.

The lady who shared singing credits with him was none other than Alka Yagnik.

It was penned by Anand Bakshi, and was, undoubtedly, one of Anu Malik’s most underrated compositions.

The (Bhos)legend was naughty too

We have seen numerous instances of the 'hero' in Hindi films getting away with just about anything, including eve-teasing, and may even have marvelled at the Chamatkar (Hindi for miracle) unfolding on screen.

But one man got his just deserts in Bichhoo O Bichhoo, a track from the aforementioned film, which released in 1992. He was Shahrukh Khan, who is, incidentally, a Scorpion by birth.

The song, which was five minutes and 45 seconds long, was rendered by none other than the (Bhos)legendary Asha.

It was penned by Anand Bakshi and composed by Anu Malik.

It waS(an)undoubtedly Poornima's biggest hit

Of course, there are a number of purists who will scrunch their noses up at the mere mention of Tu Tu Tu Tu Tu Tara, but here’s a fun fact: the song from Bol Radha Bol was a chartbuster.

There’s no doubt that the song was a milestone in the career of Poornima, who shared singing credits with Kumar Sanu.

Kudos to Sameer for conjuring up a song out of something as mundane as a lover's tiff, with the next line going, “Todo na dil hamara” (which means, “Don’t break my heart”.)

Anand-Milind composed it.

Wadkar (Sadha)nailed this run-of-the-mill track

Kishen: Tell me, Radha, what have you done?

Radha: I have given my heart to my Kishen.

These lines were a translation of the opening verse of the title track of Bol Radha Bol, which released in 1992.

By no means was the song a chartbuster, but it Sure(sh)ly became popular. And one of reasons for that was the fact that it was rendered by Mr Wadkar.

He was joined behind the microphone by Sadhana Sargam.

The man who penned the track couldn’t have been anyone but Sameer.

Anand-Milind, his partners in rhyme, composed it.

(Ud)It was certainly An(uradh)apt description

“Your voice is like that of a (or drives me) cuckoo. You have an innocent face. Your eyes are kohl-rimmed and your lips are akin to flames.”

Those are lines every woman wants to hear from her beau.

When translated, this is the opening verse of Koyal Si Teri Boli, the song from Beta.

Five minutes and 38 seconds long, it was penned by Sameer, whose choice of words is the reason it has stood the test of time.

(Ud)It was rendered by none other than Mr Narayan and Anuradha Paudwal, and composed by Nadeem-Shravan.

(Ud)It deserved (Paudw)all the accolades

Dhak Dhak Karne Laga, from Beta (1992), had chartbuster written (Paudw)all over (Ud)it.

The track earned Madhuri Dixit the moniker Dhak Dhak Girl.

It was rendered by Mr Narayan and Anuradha, who won the Best Female Playback Singer award at the 38th Filmfare Awards, which took place in 1993.

Another awardee, unsurprisingly, was Saroj Khan, who bagged the Best Choreographer Award at the aforementioned ceremony.

Sameer penned the song, which was five minutes and 20 seconds long.

It was composed by Anand-Milind, who did not win the Filmfare Award in the Best Music Director category.

AKapABle pair rendered this track

When Sameer combined the confident Indian youngster's claim that all that is needed for the world to bow is a person who can get it to bow with the exuberance that is a characteristic of the Punjabi male, the result was Tuna Tuna.

The song was from Adharm, which released in 1992.

There is absolutely no doubt that although it had a short shelf life, and a low recall value, the Anand-Milind composition was incredibly catchy.

The duo who shared singing credits was Amit Kumar and Arun Bakshi, who is also a well-known character actor.

Appreciating (Am)it was a challenge

By no means does the title of this post allude to Amit Kumar’s singing skills. Of course, he hasn’t always proved to be the chip off the old block, but It’s A Challenge did not just take the cake, but also the bakery and the baker, for unintentionally being hilarious.

The song was from Aaj Ka Goonda Raaj. The film, which released in 1992, was a remake of the Telugu film Gang Leader, which released the previous year.

Sameer penned the track, whose opening line went, “No one can dance with me.”

Anand-Milind composed it.

(Ud)It was a foot-(Kavi)tapping track

Bin Tere Sanam got a new lease of life, so to speak, thanks to DJ Suketu’s remixed version.

But it was actually a song from Yaara Dildara, which released in 1991 and marked the debut of the Pandit brothers, Jatin-Lalit, as a composer duo.

The original, which was penned by Majrooh Sultanpuri, was a mind-blowing number.

The duo who rendered (Ud)it was none other than Mr Narayan and Kavita Krishnamurthy.

Since I chanced upon the original after listening to the remixed version, I must say that the adjective that best described the latter was tasteful.

Aziz sang a B(hosl)eautiful song

The soundtrack of Saudagar included two versions of Imli Ka Boota, which was loved by Hindi film music buffs, regardless of age, because of its lyrics, which were penned by Anand Bakshi and were simple.

This blog contains a post on the male duet, which was rendered by Mohammed Aziz and Sudesh Bhosle. It was suffixed by the phrase Version 2.

Aziz sang Version 1 of the track as well. For that version, he was joined behind the microphone by Sadhana Sargam.

Laxmikant-Pyarelal composed the track, picturised on the two legendary Kumars, Dilip and Raaj.

This track wasn’t KUM catchy

Ilu Ilu was probably what a young man of today would type while texting his girlfriend, and certainly not something a legend of Anand Bakshi's stature would write.

But when the abbreviation of I Love You made its way into a cute track from Saudagar, who were the listeners to complain? After all, the film’s music was composed by Laxmikant-Pyarelal.

There was a formidable trio behind the microphone as well – Manhar Udhas, Udit Narayan and Kavita Krishnamurthy rendered it.

It was a pretty long track – the mukhda was followed by as many as four antaras.

Sukhwinder wasn’t a household naam

Sukhwinder is a Sing(h)er with a number of hits under his belt and a legion of deewane now, but in 1991, he was a newbie on the musical horizon.

And that was when Laxmikant-Pyarelal, who composed the songs of Saudagar, employed his vocals for one of its underrated tracks, Deewane Tere Naam Ke.

But the young crooner had to wait dil thaam ke* (to borrow a part of the next line of the aforementioned track, which was penned by Anand Bakshi) for a breakthrough hit.

(*Note: The phrase can be translated to, “With bated breath.”)

This track was (L)atad insipid

Lata Mangeshkar may have enthralled Hindi film music aficionados for decades, but there have been songs sung by her that cannot exactly be called gems. One was the less-than-mazedaar Choodi Maza Na Degi.

It was from Sanam Bewafa, which released in 1991.

The track, which was six minutes and 50 seconds long, was penned by Saawan Kumar Tak, who was also the producer, director and one of the writers of the film.

It was composed by Mahesh-Kishor (Sharma), erstwhile assistants to music director Usha Khanna (who frequently collaborated with, and was briefly married to, Tak).

Sanu did leave (Paudw)alasting impression

Tumhein Apna Banane Ki Kasam, from Sadak, had three versions – a male version, a female version and a duet.

This blog contains a post on the duet, which was five minutes and 38 seconds long. It was rendered by Kumar Sanu and Anuradha Paudwal, who sang its other versions, respectively.

The song, which was penned by Sameer, was composed by Nadeem-Shravan.

It was inspired by Chalay toh kat hi jaayega safar aahistah, aahistah, which was sung by Pakistan’s Musarrat Nazir.

Sanu’s version was three seconds longer than the duet, while Paudwal’s was four seconds longer.

This duo JoineD Kumar Sanu

Ideally, nobody in Mumbai (or anywhere else) should ever croon, “Rehne ko ghar nahin, sone ki bistar nahin” (which can be translated to, “We neither have a house to stay, nor a bed to sleep in.”)

But trust Sameer, who penned the track from Sadak, and Nadeem-Shravan, the composers, to offer the listeners something different – the notion that the homeless are a happy lot.

Kumar Sanu was the most famous of the trio who rendered the song, which was five minutes and 28 seconds long.

Debashish Dasgupta and Junaid Akhtar joined him behind the microphone.

Mr Udhas sang (Paudw)alovely number

For Manhar Udhas, Hindi film music was the Sadak less often travelled. But his renditions were always appreciated by the listeners.

And Hum Tere Bin Kahin Reh Nahin Paate, from the aforementioned film (which released in 1991), was no exception.

It was a duet – he was joined behind the microphone by Anuradha Paudwal.

The song, which was penned by Sameer Anjaan and composed by Nadeem-Shravan, was the longest track in the film – it was eight minutes and as many seconds long.

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

Alka sang this underrated song

Tu Shayar Hai was a standalone female solo from Saajan*.

The longest song in the film, it was six minutes and 26 seconds long.

By no means would it be incorrect to state that it was the most underrated song in the film, and perhaps, in the career of Alka Yagnik, who rendered it.

The shelf life of the track, which was penned by Sameer and composed by Nadeem-Shravan, was low. However, its recall value was fairly high.

(*Note: Anuradha Paudwal rendered the female versions of Bahut Pyaar Karte Hain and Jeeyen Toh Jeeyen Kaise.)

This track certainly wasn't (Balasubrahmany)amazing

Do not be fooled by the title of this post. Tumse Milne Ki Tamanna Hai (whose first line means, “I have a desire to meet you”) was rendered by S P Balasubrahmanyam, who did a great job.

The remaining lines of the first verse of the song from Saajan are the reason it shouldn't be sung by anyone else. They went, “Pyaar ka iraada hai, aur ek vaada hai jaanam, jo kabhi hum mile toh zamaana dekhega apna pyaar, o mere yaar.”

Sameer penned the Nadeem-Shravan composition, which was four minutes and 35 seconds long.

Alka sang an award-winning (Sa)number

Even those whose hearts weren’t mad about anyone in the early 1990s couldn’t have avoided listening to Mera Dil Bhi Kitna Paagal Hai.

Doesn’t that speak (or yell) volumes about the popularity of the track from Saajan?

It was five minutes and 25 seconds long, and composed by Nadeem-Shravan.

The song earned Kumar Sanu the second of his five consecutive Filmfare Awards for Best Male Playback Singer.

He was joined behind the microphone by Alka Yagnik.

The track was penned by Sameer, who earned a nomination in the Best Lyricist category at the Filmfare Awards.

This version was indeed (Udh)asoul-stirrer

This blog contains a post on the male solo version of Jeeyen Toh Jeeyen Kaise from Saajan, which was three-and-a-half minutes long.

The track was rendered by Pankaj, which wasn’t (Udh)asurprise – it was straight up the ghazal singer’s alley.

The film had a couple of other versions of the song, which was penned by Sameer and composed by Nadeem-Shravan.

While one was a female solo by Anuradha Paudwal, the other was rendered by a quartet comprising Mr Udhas, Ms Paudwal, Kumar Sanu and S P Balasubrahmanyam.

These were just a second longer than Udhas’ version.

Ms Yagnik sang it SuPerBly

Hindi film music aficionados may have differing views on the best track on the soundtrack of Saajan.

But by no means would it be incorrect to state that at that point, S P Balasubrahmanyam was on a roll.

He rendered Dekha Hai Pehli Baar, a duet from the film, which was five minutes and 46 seconds long.

And the lady who shared singing credits with him was none other than Alka Yagnik.

She was nominated for a Filmfare Award in the Best Female Playback Singer category.

The song, which Sameer penned, was composed by Nadeem-Shravan.