Sanu compelled us to listen

By no means would it be incorrect to state that Sun Sun Sun Barsaat Ki Dhun, from Sir, was one of the most underrated rain songs.

It was rendered by Kumar Sanu.

The track, which could be translated to, “Listen to the rhythm of the rain”, was penned by Qateel Shifai.

It was inspired by Listen To The Falling Rain by Jose Feliciano. It released in 1969.

The desi version should have been preceded by a warning stating that a literal translation was purely coincidental.

Jokes aside, the composer was none other than Anu Malik.

It was a KicKass (Sa)number

Regardless of whether one is a fan of Anu Malik or not, there’s no two ways about the fact that the soundtrack of Sir, which released in 1993, featured a couple of underrated gems.

One of them was its title track*, which was called Aaj Humne Dil Ka. On listening to it, people may revisit their college days, and remember their favourite professors.

It was sung by Kavita Krishnamurthy and Kumar Sanu.

(*Note: Each verse of the song, which was penned by Qateel Shifai, ended with the line, “Sir, Sir, O Sir, We Love You”.)

Mr Rathod rendered thiS(ude)shoddy version

In 1992, Khaled, the Algerian singer, released an eponymous album. Its lead single, Didi, became a chartbuster across the globe.

The soundtrack of Shreemaan Aashique, which released the following year, featured a desi adaptation of the aforementioned track. It was titled Ladki Ladki.

The fact that it was inspired by a song whose name, when translated into Hindi, means older sister may have increased its recall value, but it had a short shelf life.

Two singers (Bhos)lent their voices to the track – Sudesh and Vinod Rathod.

Penned by Noor Kaskar, it was composed by Nadeem-Shravan.

Sadhana sang this evergreen (Sa)number

Folks, here’s the backstory: Kitni Hasrat Hai Humein was a track I stumbled upon by chance when I was listening to the radio one afternoon.

Thanks to good old Google, I found out that it was from Sainik, which released in 1993. I listened to it again, and added it to my collection pronto.

And now, here are the details of the song – it was rendered by Kumar Sanu and Sadhana.

There’s no doubt that the Nadeem-Shravan composition waS(arg)amelodious number, but one that was unlikely to induce nostalgia, despite the fact that Sameer penned it.

Lata rendered this raga-based number

There was a dearth of raga-based songs from Hindi films for several years, hence the folks who grew up listening to this genre of music had a reason to be delighted, because the songs of Rudaali (1993) played a crucial role in popularising them.

There were two versions of Dil Hoom Hoom Kare, which was based on Raga Bhoopali.

This blog contains a post on the female version, which was rendered by Lata Mangeshkar.

Dr Bhupen Hazarika, the Assamese folk musician, composed and sang the male version of the track, which was penned by Gulzar.

Rathod’s (V)in(tr)oductory number wasn’t loved

By no means would it be incorrect to state that Roop Ki Rani Choron Ka Raja, which released in 1993, was a forgettable film. 

Even Romeo Naam Mera, which was undoubtedly the most popular track from the film, didn’t get the thumbs up from any Juliet, including the ones who adored bad boys.

It is pertinent to note that the song, whose next line went, “Chori hai kaam mera”, was rendered by Vinod Rathod, because, frankly, it didn’t suit any of his contemporaries.

The track, which was penned by Javed Akhtar, was composed by Laxmikant-Pyarelal.

This track waS(an)up their AlleY

Rang, which released in 1993, was Divya Bharti’s last film. In fact, she passed away three months before its release.

There’s no two ways about the fact that Tujhe Na Dekhoon Toh Chain was the most popular track from the film. It was picturised on her.

By no means was that the only reason the song rang in the listeners’ ears, but that was also because it was rendered by Alka Yagnik and Kumar Sanu.

That wasn’t surprising, because it was tailor-made for them.

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

(Ud)It was (Kavi)tailor-made for Krishnamurthy

Some songs simply state the obvious. But as long as they are melodious, there is no reason to complain.

Saal Ke Barah Mahine – from Phool, which released in 1993 – was an example of a track that tunefully reminded the listeners that a year has 12 months.

It was the longest track in the film – it was nine minutes and 17 seconds long. 

In fact, it was the only song from the film on this blog.

(Ud)it was right up the alley of Kavita Krishnamurthy and Narayan, who rendered it.

Anand Bakshi penned the Anand-Milind composition.

Indeed, this solo was S(an)uperb

Tere Dar Par Sanam was, undoubtedly, the most popular song on the soundtrack of Phir Teri Kahani Yaad Ayee.

Is it any wonder then that there were two versions of the track, which was composed by Anu Malik?

This blog contains a post on the male version, which was rendered by Kumar Sanu.

The female version was sung by Sadhana Sargam.

Incidentally, both were six minutes and eight seconds long.

They were penned by Qateel Shifai. By no means would it be incorrect to state that they were among his best contributions to Hindi films.

This gem by Alka waS(an)underrated

If you were a Hindi film music buff growing up in the 1990s, kaanon mein Kumar Sanu ki awaaz was certainly an abiding memory.

And if he were joined behind the microphone by Ms Yagnik, it wouldn’t be incorrect to (Al)kall it a double treat.

That is exactly what Dil Mein Sanam Ki Soorat was.

Of the four tracks from Phir Teri Kahani Yaad Ayee on this blog, it was the shortest – it was six minutes and as many seconds long.

 The underrated song, which was penned by Zameer Kazmi, was composed by Anu Malik.

Indeed, this was AlovelY (Sa)number

Badalon Mein Chhup Raha Hai Chand Kyon, from Phir Teri Kahani Yaad Ayee, was penned by Muhammad Aurangzeb (better known by his nom de plume Qateel Shifai).

Art truly knows no boundaries – in addition to penning a few Hindi film songs, the Pakistani, whose birth anniversary will be observed later this year, was an Urdu poet.

By no means would it be incorrect to state that the track, which was half-a-dozen minutes and 14 seconds long, was melodious.

It was composed by none other than Anu Malik, and rendered by Alka Yagnik and Kumar Sanu.

This waS(an)undoubtedly the absolute truth

Of the four songs from Phir Teri Kahani Yaad Ayee (1993) on this blog, Aanewaala Kal Ek Sapna Hai was the longest – it was seven minutes and 23 seconds long.

The aforementioned line can be translated to, “The future is a dream”. The next line went, “Guzra hua kal bas apna hai” (which means, “Only the past is ours.”)

It wouldn’t be incorrect to state that each word of the track, which was penned by Kaifi Azmi, was true.

It was Anumber that Mr Malik would have been proud of composing.

Kumar Sanu rendered it.

This version was S(an)ung well

Maya Memsaab, which released in 1993, was a desi adaptation of Gustave Flaubert's 1857 novel Madame Bovary.

It may not have given Shahrukh Khan’s career a (French) kiss of life, but it certainly gave his fans a memorable track – Ek Haseen Nigah Ka.

This song had a couple of versions.

This blog contains a post on the male version, which was rendered by Kumar Sanu. There’s no doubt that it was more popular than the female version, which was sung by Lata Mangeshkar.

The song, which was penned by Gulzar, was composed by Hridaynath Mangeshkar.

Hell(n)o, this number wA(zi)z tacky!

It wouldn’t be incorrect to state that the soundtrack of Kshatriya, which released in 1993, was one of Laxmikant-Pyarelal's weakest.

The film did not boast of a single track worth a recall. The only one that might ring a bell was Hello Hello Mera Telephone Number (which was penned by Anand Bakshi).

By no means would it be surprising if Hindi film music aficionados took a call on skipping the track, in which the girl was instructed to write his number on her heart (and call him every day).

It was rendered by Mohammed Aziz.

Nitin's LiMited range was evident

King Uncle wasn’t just a film that released in 1993. But, as it turned out, it was also a belated 36^th birthday present for Jackie Shroff, who essayed the titular character.

However, its best-known song, Is Jahaan Ki Nahin Hain Tumhari Aankhen, wasn’t picturised on him. It featured Shahrukh Khan and Nagma (whose name, incidentally, means song).

Indeevar penned the run-of-the-mill track, which could be translated to, “Your eyes don’t belong to this world.” (Was she an alien?)

Lata Mangeshkar and Nitin Mukesh, whose vocal limitations were apparent, rendered it.

Rajesh Roshan composed the number.

Ms Yagnik definitely (Pal)killed it

Palki Mein Hoke Sawaar Chali Re was a run-of-the-mill song from Khalnayak.

But there’s no two ways about the fact that it became pretty popular.

And that it was attributable to the fact that it was rendered by the one and only Alka Yagnik.

One of its lines went, “Main aa rahi hoon sajan.” It could be translated to, “I’m coming, darling.” In fact, that was, undoubtedly, a melodious way to convey that.

The trio that deserved the credit for that, of course, was Mr Bakshi, who penned the track, (An)and Laxmikant-Pyarelal, who composed it.

Vinod R(ath)o(cke)d, as did Kavita

“Yes, I am the villain,” declared the character played by Sanjay Dutt, at the beginning of Nayak Nahin Khalnayak Hoon Main, the title track of Khalnayak.

When a Hindi film music buff remembers the song, he/she obviously recalls that it was V(in)o(ice)d by Mr Rathod, who was nominated in the Best Male Playback Singer category at the 39^th Filmfare Awards.

He was joined behind the microphone by Kavita Krishnamurthy (who also rendered Nayak Nahin Khalnayak Hai Tu with Ila Arun).

Both the versions of the track were penned by Mr Bakshi (An)and composed by Laxmikant-Pyarelal.

Ms Yagnik's fans were Ilated

The stir it caused notwithstanding, Choli Ke Peeche, from Khalnayak (1993), was a chartbuster.

This blog contains a post on its better-known female version, rendered by Alka Yagnik and Ila Arun.

They shared the Best Female Playback Singer Award at the 39^th Filmfare Awards.

Saroj Khan bagged the Best Choreographer Award at the same ceremony.

The track, which was penned by Anand Bakshi, was composed by Laxmikant-Pyarelal. They were nominated in the Best Lyricist and Best Music Director categories, respectively, at the Filmfare Awards.

The male version of the track was sung by Vinod Rathod.

Alka rendered this inspirational (Sa)number

This track exemplified saving the longest (and perhaps the best) for last.

Although Hum Hain Raahi Pyaar Ke was a line of the Alka solo Bambai Se Gayi Poona too, the title track of the film was Yunhi Kat Jaayega Safar.

Seven minutes and 40 seconds long, it was rendered by Ms Yagnik and Kumar Sanu.

The former was nominated in the Best Female Playback Singer category at the 39^th Filmfare Awards, at which she was her own competitor (she sang all the four songs that were nominated that year).

Sameer penned the Nadeem-Shravan composition.

As Al(ka)ways, they were S(an)uperb

Mujhse Mohabbat Ka Izhaar Karta was a track from Hum Hain Raahi Pyaar Ke.

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

The song, which conveyed the wishes of every young lover, was rendered by Alka Yagnik and Kumar Sanu.

It wouldn’t be incorrect to state that two things worked in favour of Sameer, who penned it – (a) he had a finger on the pulse of the youth, and (b) he was an ace at writing romantic songs.

Nadeem-Shravan composed it.

ThiS(a)number earned Yagnik an award

Every dildaar (lover) believes all is 'veil' when his beloved looks forward to an adhoora deedar (glimpse) of him, Ghoonghat Ki Aad Se.

This track from Hum Hain Raahi Pyaar Ke became very popular, and earned Sameer the Best Lyricist Award at the 39th Filmfare Awards.

It was rendered by Alka Yagnik and Kumar Sanu.

The former bagged her maiden National Award for Best Female Playback Singer in 1993 (the year the film released). It was the 41^st essay of the prestigious honour.

Nadeem-Shravan composed the song, which was six minutes and 17 seconds long.

This track couldn't be (Al)kategorised

Hum Hain Raahi Pyaar Ke, which released in 1993, derived its title from the song of the same name, which was from Nau Do Gyarah (1957).

And like the latter, the former had a superb soundtrack. In fact, Nadeem-Shravan were nominated in the Best Music Director category at the 39th Filmfare Awards.

Of the four songs from the film on this blog, Bambai Se Gayi Poona was the shortest – it was four minutes and 23 seconds long.

Ms Yagnik rendered it. Although it was a run-of-the-mill song, it was (Al)katchy.

It was penned by Sameer.

Shailendra (Bhos)let his fans down

Gurudev released in 1993, after a three-year delay (due to the untimely demise of actor Vinod Mehra, who produced and directed the film).

The songs of the film (helmed by Raj N Sippy after Mehra’s death) were composed by R D Burman, who passed away four months after its release.

Undoubtedly, its best-known song was Jaipur Se Nikli Gaadi (which was, in fact, a tad disappointing).

Asha (Bhos)lent her voice to it, as did Shailendra Singh, whose career was chugging along halle halle (like the train in the song).

It was penned by Majrooh Sultanpuri.

It was rendered Rath(od)er well

The Dutts – Sunil and son Sanjay – have one thing in common: both starred in different films of the same name – Gumrah.

Unfortunately, the 1993 film, which starred the latter, didn’t boast of an outstanding soundtrack (which was ironic, considering its songs were composed by Laxmikant-Pyarelal).

But it had a memorable number – Main Tera Aashiq Hoon.

It certainly wouldn’t be incorrect to state that it was the breakthrough song of crooner Roop Kumar Rathod, one of the scions of a musical clan (his brothers are Shravan and Vinod Rathod).

The track was penned by Anand Bakshi.

Undoubtedly, this track was SPlendid

Gardish wasn’t just a film that released in 1993, but it was also where R D Burman's stars were at that point.

But it must be said that Hum Na Samjhe The, the most popular song from the film, was (Panch)among the genius’ most outstanding compositions. And, of course, one of his most underrated.

It would be safe to assume that Javed Akhtar penned a couple of lines of the song – “Sirf virani, sirf tanhayee, zindagi humko yeh kahaan laayi” – keeping the music director’s state of mind in mind.

S P Balasubrahmanyam's rendition was mind-blowing.

Indeed, Alka San(u)g it sweetly

Think romantic Hindi film songs of the 1990s and melody, and two names instantly spring to mind – Nadeem-Shravan.

And although the soundtrack of Dil Tera Aashiq (which released in 1993) wasn’t as successful as the composer jodi’s previous soundtracks, there’s no two ways about the fact that the film’s title track – which was rendered by Alka Yagnik and Kumar Sanu – did go on to become popular.

The song, which was five minutes and eight seconds long, was penned by the one and only Sameer Anjaan.

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

Mr Balasubrahmanyam's KlasS was evident

Hindi film music aficionados remember S P Balasubrahmanyam as the voice of Kamal Haasan and Salman Khan.

At one point, I was toying with the idea of compiling a list of tracks rendered by the legendary singer from South India and not picturised on either of the aforementioned superstars.

Of course, I hadn't heard Ek Hi Ghosla then. When I chanced upon it, I found out that it was from the Ajay Devgn-starrer Dhanwaan (1993).

Kavita Krishnamurthy and Sadhana Sargam shared singing credits with Balasubrahmanyam.

Sameer penned this mediocre song, which was composed by Anand-Milind.

It was a beautifUL track

Dear Hindi film music aficionados, you don’t have to be at sixes and sevens about Tu Mere Saamne – there’s no two ways about the fact that the track from Darr: A Violent Love Story, which was six minutes and seven seconds long, was melodious.

(Ud)It was rendered by Lata Mangeshkar and Mr Narayan.

By no means would it be incorrect to state that the track, which was penned by Bakshi, gave the listeners a great deal of Anand.

It was among Shiv-Hari's best compositions, and had a long shelf life and a high recall value.

(Ud)It was short and sweet

Jadoo Teri Nazar wasn’t just the most popular song on the soundtrack of Darr, but it was also the shortest – it was four minutes and 41 seconds long.

Barring the creepy Tu Hai Meri Kiran, which was undoubtedly the highlight of the track, (Ud)it was a melodious number, and Mr Narayan was nominated in the Best Male Playback Singer category at the Filmfare Awards in 1994.

Shiv-Hari were nominated in the Best Music Director category at the same ceremony.

Anand Bakshi penned the track, which should’ve been accompanied by the warning, “Don’t sing this anywhere.”

It had A LiMited appeal

It can’t be anything but coincidence that I was shutting the door just before I proceeded to compose a post on Darwaza Band Karlo for my blog.

The track, from Darr, was six minutes and five seconds long.

Although it did become fairly popular, it didn’t have a long shelf life, because it was a situational song.

But it was the certainly the kind of song that makes fans of Shiv-Hari wonder why they didn’t continue composing for films.

It was rendered by Lata Mangeshkar and Abhijeet Bhattacharya.

The track was penned by Anand Bakshi.

This track certainly VASn't Disappointing

It is a tad unfortunate that whenever the best Holi songs from Hindi films are listed, there’s one omission, and that’s Ang Se Ang Lagaana, from Darr: A Violent Love Story, which released in 1993.

Incidentally, it was the last film for which Shiv-Hari composed the music.

Of the four songs from the film on this blog, this was the longest – it was six minutes and 49 seconds long.

The four singers who (Bhos)lent their voices to the song included Alka Yagnik, Devki Pandit, Sudesh and Vinod Rathod.

The track was penned by Anand Bakshi.

Sadhana sang this outstanding (Sa)number

Damini – Lightning obviously struck the audience, but it was certainly a pleasant surprise that soundtrack of the film struck a chord with them.

Undoubtedly, its most popular song was Jabse Tumko Dekha Hai Sanam, which was a romantic song.

By no means would it be incorrect to state that the track was underrated.

No prizes for guessing that it was rendered by Kumar Sanu.

Sadhana Sargam joined him behind the microphone.

If one were to list the top ten numbers penned by Sameer and composed by Nadeem-Shravan, this track would surely be right up there. 

Sargam (Sadha)nailed this inspired (Sa)number

This blog contains posts on a couple of songs from Damini – Lightning (which released in 1993).

If they were to be arranged in the alphabetical order, Gawah Hain Chand Taare Gawah Hain would be the first.

The track, which was composed by Nadeem-Shravan, was penned by the one and only Sameer Anjaan, and rendered by Kumar Sanu, who was joined behind the microphone by Sadhana Sargam.

It was based on Malaika, a folk song penned by Tanzanian musician Adam Salim in 1945 and covered on numerous occasions – both across Africa and the world over – since.