It was a mind-blowing (Sa)number

Yeh Hai Mumbai Meri Jaan, which released in 1999, was originally called Mr Aashiq*. It was a remake of The Secret of My Success, a Michael J Fox-starrer which released in 1987.

While the former’s failure was no secret, its most popular song was Mera Chand Mujhe Aaya Hai Nazar.

The track, which was five minutes and 50 seconds long, was rendered by the one and only Kumar Sanu.

Penned by Indeevar (who passed away two years before the film’s release), it was composed by Jatin-Lalit.

(*Note: The film’s music was launched under this name.)

Ms Krishnamurthy played SecoNd fiddle

There’s no two ways about the fact that Meri Duniya Hai was the best song on the soundtrack of Vaastav: The Reality.

There were a couple of versions of the track in the film. This blog contains a post on the duet, which was rendered by Kavita Krishnamurthy and Sonu Nigam. It was four minutes and 40 seconds long.

The other version, which was just a couple of seconds shorter, was a male solo. It was rendered by Nigam.

The tracks, which were penned by the one and only Sameer Anjaan, were composed by Jatin-Lalit.

It was an AVerage track

Folks, The Reality was that Har Taraf Hai Yeh Shor was no Govinda Aala Re, and although Jatin-Lalit, who composed it, were siblings, they were certainly no Kalyanji-Anandji.

Of the three songs from Vaastav on this blog, this Janmashtami number was the longest – it was five minutes and 41 seconds long. In fact, it was the longest song in the film.

The song was rendered by Vinod Rathod (who, continuing in the same vein as the beginning of this post, was no Mohammed Rafi). Atul Kale joined him behind the microphone.

Sameer Anjaan penned it.

ThiS(a)number was definitely a (Ka)letdown

In a discussion on tapori numbers from Hindi films, by no means would it be incorrect to state that Apni Toh Nikal Padi, from Vaastav: The Reality (which released in 1999), would not make the top ten.

And that is primarily because rendering songs of this genre was not Kumar Sanu’s cup of tea.

He was joined behind the microphone by Atul Kale.

Of the three songs from the film on this blog, it was the shortest – it was four minutes and 22 seconds long.

Sameer Anjaan penned the song, which was composed by Jatin-Lalit.

This track wAS quite disappointing

When one hears a line that goes, “Pehli pehli baar mohabbat ki hai” (which can be translated to, “I have fallen in love for the first time”), only one singer springs to mind. And that is none other than Kumar Sanu.

He was joined behind the microphone by none other than Alka Yagnik.

The song, from Sirf Tum, was seven minutes and 39 seconds long.

Its next line – “Kuch na samajh mein aaye main kya karoon” – meant, “I don’t know what to do”. Most lovers don’t.

Sameer penned the track, which was composed by Nadeem-Shravan.

Ms Yagnik rendered (Dilb)arocking track

Of the two songs from Sirf Tum, which released in 1999, on this blog, one continues to be popular.

The track in question is Dilbar Dilbar, which was picturised on Sushmita Sen.

It was the shorter of the two – it was five minutes and 46 seconds long. In fact, it was the shortest song in the film.

It was the only standalone female solo on the film’s soundtrack. It was rendered by the one and only Alka Yagnik.

Penned by Sameer Anjaan, it wouldn’t be incorrect to state that it was among Nadeem-Shravan's catchiest compositions.

Mr Rathod’s rendition was (Nig)amazing

The name of a certain Mr Ansari Israrely taken in the same breath as those of the other lyricists who collaborated on the soundtrack of Sarfarosh.

But it would not be incorrect to state that he penned one of the most awesome numbers in the film – Zindagi Maut Na Ban Jaaye.

The longest of the four songs from the film on this blog, it was half-a-dozen minutes and 18 seconds long. It was, in fact, the longest song in the film.

Composed by Jatin-Lalit, the track was rendered by Roop Kumar Rathod and Sonu Nigam.

This (Sa)number certAinlY did rock

One of the reasons I called the soundtrack of Sarfarosh one of my favourite Hindi film albums of the 1990s was Jo Haal Dil Ka.

A rocking number in every sense of the word, it was the longer of the two tracks penned by Sameer Anjaan on this blog – it was five minutes and 26 minutes long.

It was rendered by Alka Yagnik, who was joined behind the microphone by the one and only Kumar Sanu. It was, in fact, the only contribution of the latter to the soundtrack.

The song was composed by Jatin-Lalit.

AKtually, Alka hogged the limelight

Of the four songs from Sarfarosh on this blog, Is Deewane Ladke Ko was the shortest – it was four minutes and 40 seconds long.

It was one of the two tracks from the film on this blog that Sameer penned*.

Alka Yagnik rendered the track, which contained spoken portions by the film’s leads, Aamir Khan and Sonali Bendre.

Jatin-Lalit composed it.

(*Note: He penned three songs in the film. The one that wasn’t included on this blog was Yeh Jawaani Hadh Kar De, which Kavita Krishnamurthy sang. It was four minutes and 44 seconds long.)

Jagjit’s Sing(h)ing was the highlight

The soundtrack of Sarfarosh (1999) was one of my favourite Hindi film albums in my teenage years.

Deservedly, Jatin-Lalit were nominated in the Best Music Director category at the 45^th Filmfare Awards in 2000.

It wouldn’t be incorrect to state that Hoshwalon Ko Khabar Kya – which was five minutes and a couple of seconds long – was the best song in the film.

The ghazal was dedicated to Nida Fazli, who penned it, and Jagjit Singh, who rendered it. Incidentally, the former was born on October 12, 1938, and the latter died on October 10, 2011.

This gem by Nigam waS(on)underrated

The second track from Sangharsh on this blog was the solo by Sonu Nigam – Mujhe Raat Din, which was five minutes and 11 seconds long.

The song, which was penned by Sameer Anjaan, was composed by Jatin-Lalit. By no means would it be incorrect to state that it was one of their most underrated compositions.

That it sounded like Mujhe Dekhkar Aap Ka Muskurana, from the 1962 film Ek Musafir Ek Hasina was purely coincidental, but there’s no two ways about the fact that Nigam idolised Mohammed Rafi, who sang the O P Nayyar composition. 

(Pand)It didn’t fail to (Nig)amaze

By no means would (Pand)it be incorrect to state that the soundtrack of Sangharsh, which released in 1999, was one of the most underrated Jatin-Lalit scores.

Dil Ka Qaraar was the longer of the two tracks from the film on this blog – it was five minutes and 27 seconds long. In fact, it was the longest song in the film, which was a remake of the Hollywood film Silence of the Lambs, which released in 1991.

Sameer penned the Son(u)g, which was rendered by Mr Nigam, who was joined behind the microphone by Shraddha Pandit.

(Am)It certAinlY deserved being Pa(a)used

It cannot be stated that Aala Re Paaus Aala – from Safari (1999) – will give us any respite from the October heat that Mumbai is reeling under at the moment, and will lead to what can be termed as winter.

But by no means would it be incorrect to state that the song was not catchy.

Although the aforementioned line is Marathi for, “The rain is here”, it was very much a song from a Hindi film (composed by Shyam-Mohan).

The track, which was penned by Rani Malik, was rendered by Alka Yagnik and Amit Kumar.

This rocKKing track celebrated friendship

The songs of Rockford, which released in 1999, took the listeners for a stroll down melody and memory lane.

Yaaron – one of the tracks on KK’s debut album Pal, which released the same year – was included on the film’s soundtrack.

It was not only produced and composed, but also arranged by Lesle Lewis.

Although the album’s title can be translated to moments, it is also a synonym of friend in English. Hence, it was apt.

The song, which was penned by Mehboob Alam Kotwal (known mononymously as Mehboob), was four minutes and 32 seconds long.

Sunidhi sang this rocking (So)number

Ruki nahin thi Sunidhi Chauhan ki zindagi, but after she sang Ruki Ruki Si Zindagi from Mast, there’s no two ways about the fact that her professional life became more rocking than it was. Or to borrow a line from the song, unki professional life jhat se chal padi.

In 2001, the song fetched her the Filmfare R D Burman Award for New Music Talent. She was the first woman to win the award.

She was joined behind the microphone by none other than Sonu Nigam.

Nitin Raikwar penned the track, which Sandeep Chowta composed.

Ms Chauhan’s rendition was Mast

Mast, which released in 1999, marked the breakthrough of a singer who would go on to rule the roost because she wasn’t just a fine vocalist, but also a mast looker – the one and only Sunidhi Chauhan.

She rendered the title track of the film – Main Mast, a female solo.

It was penned by Nitin Raikwar, who, incidentally, essayed the part of one of the male lead’s (Aftab Shivdasani) co-workers at a café as well.

The film’s songs were composed by Sandeep Chowta, who rendered the male version of the title track (a solo too).

The listeners certAinlY loved (Ud)it

Invariably, a song whose name isn’t a word is quite enjoyable, and Tinak Tin Tana, from Mann, was no different.

Particularly, because the last lines of its opening verse went, “Nachoon main, gaaye dil, jhoome zamaana” (which can be translated to, “I’ll dance, my heart will sing and the world will sway”) – truly a positive outlook.

It was inspired by Yang Sedang Sedang Saja, a Malay number by Iwan.

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

The track, which was penned by Sameer Anjaan, was composed by Sanjeev-Darshan.

Alka nailed (Ud)it as usual

Just when the listeners had grown accustomed to listening to the inspired songs on the soundtrack of Mann, composers Sanjeev-Darshan sprang a pleasant surprise on them with an original number – the title track of the film.

Titled Mera Mann, it was penned by Sameer Anjaan.

No prizes for guessing that the track was rendered by Alka Yagnik and Udit Narayan.

It was indeed the sort of track everyone who has fallen in love wold be able to relate to, because at a point in everyone’s life, he/she has asked, “Why does my mind like you”?

(Ud)It was an outstanding solo

By no means would it be incorrect to state that Nasha Yeh Pyaar Ka Nasha Hai was the best song on the soundtrack of Mann.

And the credit for that goes to just one man – Udit Narayan, who rendered it. The song was the only solo in the film.

It was penned by Sameer Anjaan, and inspired by L’Italiano, an Italian pop song rendered by Toto Cutugno. It was from his 1983 album of the same name.

Sanjeev-Darshan composed the track, which stated that there is no bigger high than the one lovers are on.

(Ud)It was a Ka(vi)t(a)chy number

There’s no two ways about the fact that Kaali Nagin Ke Jaisi was the most popular song on the soundtrack of Mann.

It was inspired by Ya Rayah, which was sung by the France-based Algerian singer Rachis Taha and released in 1997.

The Hindi song, which compares the tresses of the girl to a black cobra, reunited the Aati Kya Khandala pair, Aamir Khan and Rani Mukerji.

(Ud)It was rendered by Kavita Krishnamurthy and Mr Narayan.

The track, which was penned by none other than Sameer Anjaan, continues to be one of Sanjeev-Darshan's catchiest compositions.

(Ud)It wasn’t upbeat, but APpreciated

By no means would it be incorrect to state that Chaaha Hai Tujhko, from Mann (1999), was a quintessential 1990s number.

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

The song, which was sappy, wasn’t original – it was inspired by Edho Oru Paatu, from Unnidathil Ennai Koduthen, a Tamil film that released in 1998.

It was penned by Sameer Anjaan.

The film marked the debut of composers Sanjeev-Darshan, who followed in the footsteps of their father, Shravan Rathod.

There’s no two ways about the fact that it is their most popular soundtrack to date.

It was a massive (Bhos)letdown

Lal Baadshah released in 1999.

By no means would it be incorrect to state that Koi Hai Dil Denewala was the most popular track on the soundtrack of the film.

A verse of the song, which was penned by Shyam Raj, went, “I like your dance baby, I like your eyes baby”.

The singers who (Bhos)lent it their voices were Asha and Sudesh.

The latter is a mimic who sings, and there’s no two ways about the fact that the song, and the portion sung by him, in particular, were disappointing.

Aadesh Shrivastava composed it.

It wasn’t a high-(A)quality trAcK

In 1997, the Danish-Norwegian dance-pop group Aqua launched their debut album Aquarium, which included a single titled Barbie Girl.

That it became popular in India would be an understatement.

And one Hindi film music director was inspired by the track – a certain Rajesh Roshan.

His composition was titled Tumne Jo Kaha.

It was from Laawaris (1999).

The song was rendered by Abhijeet Bhattacharya and Kavita Krishnamurthy.

The listeners wanted to say, “Kar lo pakka iraada” (which means, “Make a concrete plan”) to Roshan to avoid composing a forgettable number like this.

Javed Akhtar penned it.

  

It was JuSt about average

While the soundtrack of Kohram, which released in 1999, was nothing to write home about, it would not be incorrect to state that Pagal Hua Deewana Hua was its most popular number.

And by the way, even that track, which was rendered by Jaspinder Narula and Shankar Mahadevan, was run-of-the-mill.

The word hua was repeated thrice in each of the first couple of lines, but on listening to this track, listeners ko kuchh nahin hua. Except, maybe, a headache.

The song, which was penned by Dev Kohli, was composed by the Sens, Dilip and Sameer.

The song suited the Sing(h)er

Ghash Kha Ke* was not just penned, but also rendered by the one and only Sukhwinder.

By no means would it be incorrect to state the song from Khoobsurat was tailor-made for the Sing(h)er.

The man who co-wrote the track was none other Lalit Pandit, who composed it with his brother Jatin.

It was the weakest of the three tracks from the film on this blog.

(*Note: When I first heard the track, I did not know what its title meant. Many years later, I looked it up online. It could be translated to fainted.)

(Pand)It was indeed ABeautiful track

Only a lyricist of the calibre of Gulzar could pen a line that went, “Badi taaza khabar ki tum khoobsurat ho” (which could be translated to, “The latest news is that you are beautiful”).

These were the opening lines of Bahut Khoobsurat Ho, the title track of Khoobsurat.

It was one of the two tracks from the film that were rendered by Abhijeet Bhattacharya.

He was joined behind the microphone by Neerja Pandit, wife of filmmaker and social activist Ashoke Pandit.

Neerja wasn’t the only Pandit associated with the track – it was composed by Jatin-Lalit.

(Pand)It was rendered by Dutt

As per the phrase, “Beauty lies in the eyes of beholder”.

However, in this case, it wouldn’t be incorrect to state that the beholder – Sanjay Dutt – couldn’t be bolder.

The song in question was Aye Shivani, which was rendered by the actor, who was joined behind the microphone by Shraddha Pandit.

It was one of the three tracks from Khoobsurat, which released in 1999, on this blog.

The track was composed by Jatin-Lalit, the latter’s uncles.

There’s no two ways about the fact that its lyrics, which were credited to Sanjay Swami, were its highlight.

It was sung (Nus)rather well

By no means was this Nusrat Fateh Ali Khan double bill a pure coincidence.

Ishq Da Rutba was, and continues to be, the most popular track from Kartoos, which released in 1999.

The late Pakistani qawwal didn’t just render the song, but composed it too.

As unfair as it may seem, the arranger seldom gets the opportunity to share the limelight with the composer, lyricist and singer, but this was definitely a track for which the arranger should’ve got his share of the credit. Amar Haldipur, take a bow!

It was penned by Majrooh Sultanpuri. 

AH, this one was brilliant!

From the point of view of a Hindi film music aficionado, there could be no better tribute to Nusrat Fateh Ali Khan than the last film for which he composed the music – Kachche Dhaage, which released in 1999.

By no means would it be incorrect to state that Khaali Dil Nahin continues to be the most popular song in the film.

It was also one of the most underrated romantic numbers of that period, and the highlight, undoubtedly, was the Punjabi touch.

Anand Bakshi penned the song, which Alka Yagnik and Hans Raj Hans rendered.

The listeners went, “SaY what?”

Love Hua was the second-longest track on the soundtrack of Jaanam Samjha Karo – it was six minutes and 45 seconds long.

With the young generation of today liberally peppering their Hindi with English words (it’s sad that only a few literally pepper their English with Hindi ones), it seemed to going perfectly alright until the line, “Love is happening?” 

What the hell was Majrooh Sultanpuri thinking when he penned it?

Half-a-dozen minutes and 45 seconds long, the track was rendered by Alka Yagnik and Kumar Sanu.

No prizes for guessing that Anu Malik composed it.

It was tailor-(He)made for Malik

Those unimpressed by Anu Malik’s crooning skills had the last laugh when he rendered the title track of Jaanam Samjha Karo, which released in 1999.

But there’s no two ways about the fact that the track, which was also composed by him, suited his voice to a T.

Hema Sardesai shared singing credits with him.

It was the shorter of the two tracks from the film on this blog – it was half-a-dozen minutes and 35 seconds long.

The film marked the directorial debut of Andaleeb Sultanpuri, the son of Majrooh Sultanpuri, who penned the track. 

UnfortunateLy, this song was run-of-the-mill

Although the quartet associated with the chartbusting tracks of Dil To Pagal Hai collaborated on the title track of Hum Tum Pe Marte Hain, which released in 1999, they failed to replicate the success of the former.

Nonetheless, it wouldn’t be incorrect to state that the track, which was penned by Anand Bakshi, remains the most popular song from the film. The Uttam Singh composition is the only song from the film on this blog.

(Ud)It was rendered by Lata Mangeshkar and Mr Narayan. In fact, the latter sang all the songs in the film.

THiS trAcK became quite popUlAr

By no means would it be incorrect to state that Mhare Hiwda was the most popular song on the soundtrack of Hum Saath-Saath Hain.

It was a Rajasthani phrase, which could be translated to “(In) my heart”.

The only difference between the two tracks from the film on this blog is that they were penned by different individuals. This track, which was half-a-dozen minutes and 22 seocnds long, was credited to R Kiran.

The song, which was rendered by Alka Yagnik. Anuradha Paudwal, Hariharan, Kavita Krishnamurthy, Kumar Sanu and Udit Narayan, was composed by Raamlaxman.

THe title Song was PAKAU

The tagline of Hum Saath-Saath Hain (1999) was We Stand United. Hence, it was fitting that half-a-dozen popular singers of the time – Alka Yagnik, Anuradha Paudwal, Hariharan, Kavita Krishnamurthy, Kumar Sanu and Udit Narayan – teamed up to render its title track.

It would not be incorrect to state that it was a mediocre song. However, it did go on to become popular with the listeners. 

Incidentally, it was the shortest song in the film – it was just three minutes and 57 seconds long.

The song, which was penned by Dev Kohli, was composed by Raamlaxman.

KK did an outstanding (Cere)job

There’s no two ways about the fact that Tadap Tadap was the best track on the soundtrack of Hum Dil De Chuke Sanam, and definitely among the most haunting Hindi film songs of all time.

Six minutes and 36 seconds long, the song was rendered by KK.

By no means would it be incorrect to state that he became a sensation after he sang the track, which many Hindi film music buffs must’ve been able to relate to.

He was joined behind the microphone by Dominique Cerejo.

Mehboob penned the track, which Ismail Darbar composed.

Kavita rendered (Kars)an amazing track

Nimbooda, from Hum Dil De Chuke Sanam, was half-a-dozen minutes and 23 seconds long.

The track earned Saroj Khan the Filmfare Award for Best Choreography in 2000.

It was rendered by Kavita Krishnamurthy, who bagged the Zee Cine Award for Best Playback Singer – Female the same year.

She was joined behind the microphone by Karsan Sagathia.

By no means would it be incorrect to state that the track, which was penned by Mehboob, brought a folk tune from Rajasthan (popularised by Gazi Khan Barna of the Manganiar community) into the ‘lime’light.

Ismail Darbar composed it.

Man, Shankar sang it (Mohi)nicely

Of the ten songs from Hum Dil De Chuke Sanam on this blog, Man Mohini was the shortest – it was just a couple of minutes and 26 seconds long*.

The fast-paced number, which was penned by Mehboob, was rendered by the one and only Shankar Mahadevan.

Ismail Darbar composed it.

(*Note: The eleventh track from the film was titled Love Theme. It was the shortest song in the film – it was a couple of minutes and 11 seconds long. The song, which was rendered by Kavita Krishnamurthy and Mahadevan, hasn’t been included on this blog.)

UnDoubtedly, this track was JhaKKaS

People who grew up in India in the days of simple joys are aware of kites, but only Hindi film buffs would truly appreciate the fact that a crucial lesson – “Nazar sada ho oonchi” – can be learnt from them.

The line can be translated to, “Always keep your sight up”.

The track in question was Kaipoche, from Hum Dil De Chuke Sanam. 

It was five minutes and three seconds long.

Damayanti Bardai, Jyotsna Hardikar, KK and Shankar Mahadevan rendered it.

Mehboob penned the song, which is Gujarati for, “I’ve cut it!”

Ismail Darbar composed it.

HecK, this track was underrated

Considering that this track was from Hum Dil De Chuke Sanam, it would be a tad difficult to resist stating that hawa ka jhonka (which is Hindi for a gust of wind) referred to a fart in the film.

Scrunch up your nose all you want, but keep your ears wide open, folks. It wouldn’t be incorrect to state that Jhonka Hawa Ka was the most underrated song in the film.

Rendered by Hariharan and Kavita Krishnamurthy, it was five minutes and 46 seconds long.

The track, which Mehboob penned, was composed by Ismail Darbar.

Every SeKonD was worth it

The title track of Hum Dil De Chuke Sanam paired a veteran (Kavita Krishnamurthy) and a newbie, whose name, Mohammed Salamat, means safe. 

And since the duo was (Cere)joined behind the microphone by Dominique, it is safe to assume that the track, which was penned by Mehboob, was mind-blowing.

Incidentally, it earned Krishnamurthy the Star Screen Award for Best Female Playback in 2000.

It was the longest of the ten songs from the film on this blog – it was half-a-dozen minutes and 45 seconds long.

The track was composed by none other than Ismail Darbar.

Indeed, this Song did RocK

Dholi Taaro Dhol Baaje, from Hum Dil De Chuke Sanam, was half-a-dozen minutes and 16 seconds long.

This catchy number, which was rendered by the one and only Kavita Krishnamurthy, was Vinod Rathod's only contribution to the soundtrack.

The duo was joined by Karsan Sagathia, who rendered the opening lines of the song, which were undoubtedly its highlight.

The obvious must be stated – the song, which Mehboob penned, was fast with a capital F.

Although the Ismail Darbar composition wasn’t a chartbuster, there’s no two ways about the fact that its recall value was high.

Its popUlArity wasn’t in doubt

This post is on the track that earned Udit Narayan the Best Male Playback Award at the 45^th Filmfare Awards (in 2000), the inaugural International Indian Film Academy Award the same year and the Zee Cine Award for Best Playback Singer – Male.

The song in question was Chand Chhupa Baadal Mein, from Hum Dil De Chuke Sanam. It was five minutes and 46 seconds long.

He was joined behind the microphone by none other than Alka Yagnik.

It was the duo’s only contribution to the film’s soundtrack.

Mehboob penned the track, which Ismail Darbar composed.

This semi-classical song was KlaSSy

Albela Sajan, which was based on Raga Ahir Bhairav*, was a semi-classical song from Hum Dil De Chuke Sanam. It was three minutes and 20 seconds long.

While the highlight of the track was Ustad Sultan Khan’s rendition, Kavita Krishnamurthy and Shankar Mahadevan lent support. 

The song, which was penned by Mehboob, was composed by Ismail Darbar.

[*Note: This blog contains posts on a couple of other Hindi film songs based on this raga. One of them was Ab Tere Bin from Aashiqui (1990), and the other was Teri Umeed Tera Intezaar from Deewana (1992).]

Kavita rendered this outstanding (Sa)number

From the Darbar of Ismail, the composer, came the soundtrack of Hum Dil De Chuke Sanam, which released in 1999.

It earned him the 47^th National Film Award for Best Music Direction and the Filmfare R D Burman Award for New Music Talent the following year.

He was also nominated in the Best Music Director category at the Filmfare Awards that year.

Aankhon Ki Gustakhiyaan was five minutes long.

By no means would it be incorrect to state that the track, which was mind-blowing, was rendered by Kavita Krishnamurthy and Kumar Sanu.

Mehboob penned it.

It waS(an)undoubtedly the (Paudw)album’s highlight

The soundtrack of Hum Aapke Dil Mein Rehte Hain could at best be described as a mediocre album.

But there’s no two ways about the fact that the title track of the film was its highlight.

Among the best songs for a man to serenade his beloved, it was rendered by a duo who refined romance in Hindi film music in the 1990s – Anuradha Paudwal and Kumar Sanu.

Although they sang three songs in the film, this blog contains a post on just this track.

Sameer penned the song, which was composed by Anu Malik.

Its shelf life was SHoRt

Nowadays, it almost seems to be de rigueur for Hindi films to have at least one rap number, but back in the late 1990s, it was rare.

Hence, Dhingtara Dhingtara, the track from Hum Aapke Dil Mein Rehte Hain, caught the listeners’ attention, at least for a while.

It would be incorrect to state that it was a novelty, and the song, which was composed by Anu Malik and had a portion in English, had a low recall value.

Penned by Sameer Anjaan, it was rendered by Sonu Nigam, Hema Sardesai and Rahul B Seth.

This track UNdoubtedly deserved replAYs

There’s no two ways about the fact that Chhup Gaya Badli Mein was one of the most underrated gems of the late 1990s.

The song, from Hum Aapke Dil Mein Rehte Hain (1999), was worth playing on loop.

Once the listeners get over the fact this melodious number was composed by Anu Malik, it is possible that they may doff their hats to his versatility.

Alka Yagnik and Mr Narayan rendered (Ud)it.

Sameer Anjaan penned the track, which is one of the best songs to dedicated to one’s beloved, especially if the relationship is new.

They could HardLy go wrong

Well, don’t get me wrong. The title of this post may bear testimony to the versatility of the veterans who rendered it, but what I implied is that fans of the quartet who collaborated on Chhai Chhap Chhai could trust them to deliver a memorable number.

And that is prescisely what the song from Hu Tu Tu, which released in 1999, was.

By no means would it be incorrect to state that it was an underrated number.

Penned by the one and only Gulzar, the Vishal Bhardwaj composition was rendered by Lata Mangeshkar and Hariharan.

  

It was certainly A(l)katchy (So)number

The two lines at the beginning of Taalon Mein Nainital went, “Baalam mora aayo re, pyaar ka sandesa laayo re”.

It could be translated to, “My lover has arrived with a message of love”.

There’s no two ways about the fact that as far as the track from Hogi Pyaar Ki Jeet (1999), was concerned, the message was clear – it was the standout track from an average album.

Rendered by Alka Yagnik and Mr Nigam, the Son(u)g was four minutes and 48 seconds long.

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

AS(an)usual, Alka’s rendition was wonderful

Teri Chunariya, Himesh Reshammiya’s second contribution to the soundtrack of Hello Brother, reaffirmed his early fondness for the accessory that is integral to the wardrobes of women.

The song was five minutes and 48 seconds long.

It was penned by Sudhakar Sharma.

The track was rendered by the one and only Kumar Sanu. It was his only contribution to the soundtrack.

He was joined behind the microphone by Alka Yagnik.

Interestingly, the song could be translated to, “Your stole stole my heart”.

The remixed version of the track was four minutes and 52 seconds long.

It was far from JhaKkaS

The title track of Hello Brother was the longer of the two Sajid-Wajid compositions from the film on this blog – it was five minutes and 15 seconds long.

Faaiz Anwar penned it.

Although Narula, one of the three singers who (Jaspi)(re)ndered the track, sang several Hindi film songs at that point, her fans had no reason to complain, because most of them were popular. But this song was a letdown.

She was joined behind the microphone by Sonu Nigam and Kamaal Khan.

The remixed version of the track was four minutes and 58 seconds long.

Jaspinder sang this not-so-Sup(riyo)erb track

Hata Saawan Ki Ghata is a phrase taporis in Mumbai use. It could be translated to, “Get lost”.

It was the shortest of the four songs from Hello Brother on this blog – it was four minutes and 21 minutes long.

It was the shorter of the two tracks from the film that were composed by Sajid-Wajid.

The song was penned by Faaiz Anwar.

Although it was a run-of-the mill track, it did become very popular with the front-benchers.

Babul Supriyo and Jaspinder Narula rendered it.

Its remixed version was three minutes and 59 seconds long.

Salman’s rendition did ensure plAYs

There were four tracks from Hello Brother, which released in 1999, on this blog.

A couple of them were composed by Himesh Reshammiya.

Of these, Chandi Ki Daal Par was the longest – it was five minutes and 57 seconds long.

It was, incidentally, the longest track in the film.

The song was penned by Sudhakar Sharma.

Fans of Salman Khan, the film’s leading man, were in for an audio-visual treat – the track was rendered by him.

Alka Yagnik joined him behind the microphone.

Incidentally, it was the only track in the film that wasn’t remixed.

Nigam rendered this (Al)katchy track

Mobile phones are ubiquitous now, but in the late 1990s (when yours truly was preparing to take the school-leaving exams), they had just been launched.

At that point, Sameer penned a track that could have become, to use the mobile phone-using generation’s lingo, a caller tune.

Half-a-dozen minutes and 10 seconds long, it was titled What Is Mobile Number?

It was the shorter of the two Son(u)gs rendered by Alka Yagnik and Mr Nigam*.

Anu Malik composed it.

(*Note: Yoon Hua was the longer of the two – it was seven minutes and 42 seconds long.)

It was a pASSable SonG

While the song was called I Love You Bol Daal, that is probably not what music buffs uttered on listening this track from Haseena Maan Jaayegi.

That is because there was nothing exceptional about the song, which was penned by Nitin Raikwar. Yet, it wouldn’t be incorrect to state that it went on to become popular.

Alka Yagnik was joined behind the microphone by Sonu Nigam and Sudesh Bhosle. 

The film’s leads – Sanjay Dutt and Govinda – were credited as vocalists as well.

Anu Malik composed the track, which was half-a-dozen minutes and 40 seconds long.

Listeners Ma(hadev)an gaye, Shankar rocked!

Haseena Maan Jaayegi released in 1999. Note that the Jaayegi was spelled with an extra a to differentiate it from the film of the same name that released in 1968.

Its songs were penned by the one and only Anu Malik.

Of the three tracks from the film on this blog, its title track was the shortest – it was four minutes and 11 seconds long.

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

The song, which was penned by Sameer Anjaan, was rendered by Shankar Mahadevan. 

It did go on to become popular.

Mr Bhattacharya salvaged this track

Jatin-Lalit composed four songs on the soundtrack of Dillagi*.

The most popular of these, by far, was Haan Haan Yeh Pyaar Hai.

However, it was run-of-the-mill.

It was rendered by Abhijeet Bhattacharya. It was his second contribution** to – and only solo on – the film’s soundtrack.

Javed Akhtar penned the track. 

[*Note: The others were Koi Nahin Aisa Ki Jo Mujhko (sung by Alka Yagnik and Amit Kumar), Main Kya Karoon (rendered by Kumar Sanu) and Yeh Zameen Hai (rendered by Roop Kumar Rathod).]

(**Note: He was one of the ten who rendered the title track.)

This nuMber lacked MaSS appeal

Dhoom Dhoom Luck Luck was one of the two tracks composed by Sukhwinder* on the soundtrack of Dillagi (1999).

And if that were not enough, he penned it and was also one of the four Sing(h)ers of the run-of-the-mill song.

It certainly wouldn't be incorrect to state that fans of Hindi music from the Golden Era were in for a treat – Mahendra Kapoor was among the crooners.

The others were Shankar Mahadevan and Mohini Brahmbhatt.

Tejpal Kaur wrote it.

(*Note: The second song was titled Sangeet. It was rendered by Jaspinder Narula and Dilraj Kaur.)

The Sing(h)ers did aN(arul)amazing job

Menu Lagan Lagi was a Punjabi track from Dil Kya Kare.

The longer of the two songs from the film on this blog, it was five minutes and 52 seconds long.

It was rendered by a couple of Sing(h)ers whose command over the (Naru)language made them the best duo for the job – Jaspinder and Sukhwinder.

The song was their only contribution to the soundtrack.

By no means would it be incorrect to state that it salvaged a soundtrack that could best be described as mediocre.

Anand Bakshi penned the track, which was composed by Jatin-Lalit.

Udit rendered the hAppY version

There were a couple of versions of the title track of Dil Kya Kare, which released in 1999.

This blog contains a post on the happy version, which was four minutes and 27 seconds long.

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

The latter sang the sad version, which was a couple of minutes and 57 seconds long, as well.

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

It wouldn’t be incorrect to state that the track, which Anand Bakshi penned, was pleasing to the ears.

Jatin-Lalit composed it.

Undoubtedly, Hariharan’s vocalS(arga)mesmerised the listeners

By no means would it be incorrect to state that Saawan Barse Tarse Dil, from Dahek (1999), was an underrated track.

The song was indeed a project of (a burning) passion* for the quartet that collaborated on it.

Hariharan and Sadhana Sargam rendered it.

It would be fitting to dedicate the song to Majrooh Sultanpuri and Aadesh Shrivastava, who penned and composed the track, respectively.

While the former died a few months after the film’s release, the latter succumbed to cancer in 2015.

(*Note: In a nutshell, the film’s tagline couldn’t have been more appropriate.)

The Sing(h)er’s admirers weren’t Sukhi

What on earth is Daag: The Fire? Well, it is the title of a film that released in 1999, but shouldn’t it have been either Daag: The Stain or Aag: The Fire?

Regardless of the translation in the tagline, it had just one popular song – Lucky Kabootar.

And by no means would it be incorrect to state that even that wasn’t a mind-blowing number.

The song was rendered by Sukhwinder Singh.

No prizes for guessing that it was penned by Sameer Anjaan.

The only male solo in the film, it was composed by Rajesh Roshan.

Hema San(u)g this run-of-the-mill track

Jungle Hai Aadhi Raat Hai – Hema Sardesai's Gaana No. 2 on the soundtrack of Biwi No. 1 – was a tad better than her first, but by no means does that imply that it was a track worth listening to on loop.

She was joined behind the microphone by the one and only Kumar Sanu. It was, in fact, the only song in the film that he rendered.

It was half-a-dozen minutes and twice as many seconds long.

No prizes for guessing that the song, which was penned by Sameer Anjaan, was composed by Anu Malik.

Shankar didn’t (He)make an impression

By no means would it be incorrect to state that it wouldn’t have been surprising if on listening to Ishq Sona Hai, someone said, “Bas, ab aur nahin sunna hai” (which could be translated to, “That's enough. I don’t want to listen to it any more”).

It was, undoubtedly, the weakest song on the soundtrack of Biwi No. 1.

The track was half-a-dozen minutes and 15 seconds long.

It was rendered by Hema Sardesai and Shankar Mahadevan.

No prizes for guessing that the track, which was penned by Sameer Anjaan, was composed by Anu Malik.

It wAS pretty (Mir)chilled out

Just as chillies are integral to a number of dishes in India, it wouldn’t be incorrect to state that Hindi films are now incomplete without item numbers.

Hai Hai Mirchi, from Biwi No. 1, may not have become a universal favourite, but it was undoubtedly a catchy number.

It was five minutes and 36 seconds long.

Sukhwinder wasn’t just the Sing(h)er, but he also penned the track, which elicited both oohs and uffs.

He was joined behind the microphone by none other than Alka Yagnik.

This (A)number was composed by the one and only Malik.