BAh! This track wasn’t Am(m)azing

While it would certainly be incorrect to call Indian rap crap, the role Hindi films have played in popularising the genre must be appreciated.

Amma Dekh, from Stunttman (1994), obviously didn’t earn anyone’s amma’s (mother’s) thumbs up, because it was a terrible track. Incidentally, there were a couple of ts in the film’s title.

But the trilingual* track, which was rendered by Alka Yagnik and Bali Brahmbhatt, did become quite popular.

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

(Note: The song had an English portion and a Punjabi one, in addition to Hindi.)

It was certainly a chArtBuSter

In the first line of this track, the girl asked the guy why he was looking at her face.

And in the next, she permitted him to enter her heart.

The song in question was Chehra Kya Dekhte Ho.

It was the most popular song on the soundtrack of Salaami, which released in 1994.

By no means would it be incorrect to state that the credit for that went to Asha and Kumar Sanu, the duo who (Bhos)lent its voice to this romantic number, which was underrated.

Penned by Sameer, it was composed by Nadeem-Shravan.

Poornima San(u)g this tacky track

Every Game of Thrones fan is familiar with Winter Is Coming, but Hindi film music aficionados became aware of it 17 winters before that.

That was when Sarkai Lo Khatiya – the track that was a cross between tacky and catchy – was thrust upon them.

The shortest of the three songs from Raja Babu on this blog, it was four minutes and 20 seconds long.

Sameer penned the Anand-Milind composition, which Poornima and Kumar Sanu rendered.

It wouldn’t be incorrect to state that the upholders of our sanskaar were caught – which, incidentally, sounds like cot – napping.

Vinod rendered this enJo(ll)yable number

Of the three tracks from Raja Babu on this blog, its title track – Pak Chik Pak Raja Babu – was the longest – it was five minutes and a couple of seconds long.

By no means was it the best song in the film. On the contrary, it was a run-of-the-mill number, but it was thoroughly entertaining.

And the credit for that went to the duo who rendered it – Jolly Mukherjee and Vinod Rathod.

When Sameer, the lyricist, wrote, “Chal gaya koi jadoo”, he must’ve been referring to his partnership with composers Anand-Milind, who composed the track.

Abhijeet’s rendition elicited an A(y)e

Parents who want their precocious toddlers to learn the vowels in the Hindi alphabet should press the stop button after listening to just the first line of A Aa E U Uu O.

This blog contains a post on the male version of the track from Raja Babu, which released in 1994, was four minutes and 55 seconds long. It was rendered by Abhijeet Bhattacharya.

Poornima sang the female version, which was just three seconds shorter.

It was penned by Sameer.

Although the track, which was composed by Anand-Milind, was tacky, it was a hit.

Sanu ne soundtrack ko sambhaala

Indeed, if it weren’t for Kumar Sanu’s solo, Sambhaala Hai Maine, the soundtrack of Naaraaz would have been mediocre. In other words, he salvaged it from relegation to the list of Anu Malik’s worst scores.

The line with which the track, which was penned by Qateel Shifai, began is Hindi for “I’ve taken care”, but another of its lines would be indeed be music to the ears of people who fancy a tipple. It went, “Mere saamne koi jaam aa raha hai” (which could be translated to, “A drink is coming in front of me”).

Alisha Sa(ya)ng this meaningless track

While I know what Roza means, I am just Say(a)(i)ng that I couldn’t make heads or tails of what Roza Roza Sayang Sayang Re meant.

There’s no two ways about the fact that the track from Naaraaz, which released in 1994, wasn’t catchy.

It was rendered by Alisha Chinai. 

Many a time, the use of English words by those penning Hindi songs can cause the listeners a great deal of annoyance, and that is precisely what Dev Kohli did.

By no means would it be incorrect to call it one of Anu Malik’s weakest compositions.

(Ud)It was a mast tracK

This post is a prime example of saving the best for last.

By no means would it be incorrect to state that Tu Cheez Badi Hai Mast Mast was the most popular number on the soundtrack of Mohra.

It was inspired by Ustad Nusrat Fateh Ali Khan’s qawwali Dam Mast Qalandar.

Anand Bakshi penned the track, which was composed by Viju Shah.

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

The former rendered Main Cheez Badi Hoon Mast Mast, the female version of the track. This blog doesn’t contain a post on that version.

A(l)k(ol)ades were showered upon (Ud)it

When I penned this post, the monsoon wasn’t in full swing in Mumbai.

But that wouldn’t have stopped anyone from strolling down melody lane and lending his/her ears to what was probably the best rain song of the 1990s.

Folks, the song in question was the sensuous Tip Tip Barsa Paani from Mohra.

When I was younger, I thought its next line (Paani ne aag lagaayi) was contradictory, because I was aware that water is used to put a fire out.

Anand Bakshi penned the Viju Shah composition, which Alka Yagnik and Udit Narayan rendered.

(Ud)It was far from (Sarg)amazing

A few years ago, there was a joke that went, “If a guy loves a girl from morning to night, when will they do anything else?”

It was obviously based on the literal translation of Subah Se Lekar Shaam Tak.

The track, which was composed by Viju Shah, was from Mohra. 

Although it was a run-of-the-mill number, it wouldn’t be incorrect to state that the listeners loved it.

Love certainly gives people a great deal of Anand, which brings to mind Mr Bakshi, who penned it.

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

Mr Udhas rendered thiS(arg)amazing number

Undoubtedly, Hindi film music aficionados had a reason to be delighted – a track from a shelved film eventually made it to the soundtrack of a film that was among the top grossers of 1994.

The song in question was Na Kajre Ki Dhaar from Mohra.

Penned by Indeevar, the song was originally composed by Kalyanji-Anandji and sung by Mukesh Chand Mathur.

Viju Shah composed three versions of the track. This blog contains a post on the duet, which was rendered by Pankaj Udhas and Sadhana Sargam.

They also sang a male and female solo, respectively.

It S(an)ucceeded at (Al)kapturing attention

By no means would it be incorrect to state that Paas Woh Aane Lage Zara Zara was one of the two most popular songs on the soundtrack of Main Khiladi Tu Anari.

And it was Jaipuri, who penned it, who deserved the lion's share of the credit for that.

The fact that the veteran was the mama (maternal uncle) of Anu Malik, who composed the track (and probably fulfilled Hindi film music aficionados' Hasrat to listen to a number that would take them down melody lane), was incidental.

Alka Yagnik and Kumar Sanu rendered it.

Mr Malik Ch(in)a(nnel)ised his MADness

Regardless of whether people like the songs Anu Malik croons, he fancies himself as a vocalist, and it is due to the sheer confidence he has in his abilities in that department that he occasionally goes behind the microphone.

He didn’t just compose My Adorable Darling from Main Khiladi Tu Anari, but also shared singing credits with Alisha Chinai.

The track, penned by Zameer Kazmi, began with MAD. Although that was its acronym, that is, unfortunately, what it failed to drive the listeners.

It wouldn’t be incorrect to state that the English words seemed forced.

This track could be BeMoaNed

There’s no doubt that the title track of Main Khiladi Tu Anari was catchy, but the listeners must have been in a fix about the expression they could use to describe it.

But Maya Govind, who penned it, came to their rescue, giving them four options – (a) Saala, (b) Aila, (c) Uff ma and (d) Aigo.

The track was composed by Anu Malik, who sang a portion of it as well. Aptly, one of his lines went, “Not permanent, temporary dhoondhenge re.”

He played second fiddle to Abhijeet Bhattacharya and Mr Narayan, who rendered (Ud)it.

Ms Yagnik San(u)g this chartbuster

Ms Malik’s collaboration with Mr Malik resulted in Chura Ke Dil Mera, the most popular track on the soundtrack of Main Khiladi Tu Anari, which released in 1994. The song, which was penned by Rani, was composed by Anu.

The soundtrack earned the latter nominations in the Best Music Director category at the Filmfare Awards and the Star Screen Awards in 1995.

Interestingly, a line of the song, which was rendered by Alka Yagnik and Kumar Sanu, went, “Nayi hasraton ke nayi sej par tum naya phool koi saja toh na loge.” That was direct.

Narayan rocked (Ud)it, re baba!

Laadla was a remake of Anuraga Aralithu, a Kannada film which released in 1986.

The former released in 1994, and its soundtrack was one of that year’s best-selling albums.

There’s no two ways about the fact that Ladki Hai Kya Re Baba was the most popular track in the film.

The song was rendered by Udit Narayan.

It should have been preceded by a warning, stating, “Do not attempt to sing this in a public place” (because it was categorised as a chhed-chhad number.)

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

It was PASSable, but catchy

If one took into account the fact that Love Rap, from Krantiveer (1994), had lines in three languages, he/she would say that the track was MEH, because it had a portion each in Marathi and English, besides Hindi.

But that wasn’t the case. The song, which was composed by the Shrivastava brothers, gave the listeners a great deal of Anand, (Mil)indeed.

Those who love rap may claim that Sameer, who penned it, was Anjaan about the genre, but the quartet who sang (Am)it – Kumar, Poornima, Sapna Mukherjee and Sudesh Bhosle – did a pretty good job. 

It S(an)urely (Al)kaught people’s attention

By no means would it be incorrect to state that Tumsa Koi Pyaara, from Khuddar, gave everyone, including the listeners, an opportunity to breathe a sigh of Rahat (Hindi for relief).

The song, which was in stark contrast to the other chartbuster from the film (which was certainly not for the masoom), was penned by Mr Indori.

Mr Malik composed the track, whose first three words were, “Barsaat ka mausam” (which is, incidentally, underway). Needless to say, they set the tone for Anumber of romantic lines.

It was rendered by Alka Yagnik and Kumar Sanu.

Malik (Chi)nailed this controversial number

Change can either be for the better or futile, but in 1994, there was one change that made no difference to a track that was dubbed either catchy or vulgar, depending on the side of the fence one was on.

The song in question was Sexy Sexy Sexy Mujhe Log Bole from Khuddar. The word Sexy was replaced by Baby.

It was penned by Indeevar.

The track wasn’t just composed by, but also rendered by, Anu Malik, who was controversy’s favourite child then.

He was joined behind the microphone by none other than Alisha Chinai.

(Pand)It was certainly (S)anunderrated track

Woh Toh Hai Albela – a melodious number from Kabhi Haan Kabhi Naa – was a track that showed the society a mirror, and reminded everyone of the importance of accepting others warts and all.

Since it was among the few Hindi films that portrayed the protagonist as a loser, the line that went, “Sada tumne aeb dekha, hunar toh na dekha” (which can be translated to, “You have always noticed his flaws, but not his talent”) was perfect.

The track, which was penned by Majrooh Sultanpuri, was composed by Jatin-Lalit.

Devaki and Kumar Sanu rendered (Pand)it.

This trio definitely added VAlUe

Sachchi Yeh Kahani Hai was the longer of the two tracks from Kabhi Haan Kabhi Naa which was rendered by Amit Kumar, Udit Narayan and Vijayta Pandit – it was six-and-a-half minutes long.

Majrooh Sultanpuri penned this situational number, which was about a don. 

It was composed by Jatin-Lalit.

The track sampled Rasputin, the track by German pop and Euro disco group Boney M. It was the second single from their 1978 album Nightflight to Venus.

Rasputin was also sampled by Pritam in I’ll Do The Talking Tonight, a song from the 2012 film Agent Vinod.

Vijayta sang this AUsome track

Amit Kumar, Udit Narayan and Vijayta Pandit rendered a couple of tracks from Kabhi Haan Kabhi Naa.

Kyon Na Hum Milke Pyaar Karen was the shorter of those – it was four minutes and 21 seconds long.

The hook of the song, which was penned by Majrooh Sultanpuri, wasn’t a word, but a sound – “Aa Aa Aa”.

It certainly wouldn’t be incorrect to state that it was a gift for a sister by her brothers – Pandit is the sister of Jatin-Lalit, who composed it.

Of course, young Hindi film music aficionados loved this melodious gift too.

Amit and Udit rendered it

Deewana Dil Deewana was the third track in the Rumaal trilogy of 1994* (after Haathon Mein Aa Gaya Jo Kal and Meri Pant Bhi Sexy).

The longest song on the soundtrack of Kabhi Haan Kabhi Naa, it was seven minutes and 37 seconds long.

(Ami)It was sung by Kumar and Udit Narayan.

Majrooh Sultanpuri penned the track, which was composed by Jatin-Lalit.

[*Note: One of the lines of the song went, “Dil se lagakar rakha hai ab tak resham ka tera rumaal” (which means, “I’ve kept your silk handkerchief close to my heart till now”).]

Sanu sang the sole solo

Kaash the word the began with the letter s. This post would have an alliterative title.

Jokes aside, it wouldn’t be incorrect to state that Aye Kaash Ke Hum, which was five minutes and 10 seconds long, was a beautiful number.

It was the only solo on the soundtrack of Kabhi Haan Kabhi Naa. Kumar Sanu rendered it.

Majrooh Sultanpuri penned the track, whose hook was, “Bas naghme tere pyaar ke gaate hi jaayein” (which can be translated to, “I would just go on singing the songs of your love.”)

It was composed by Jatin-Lalit.

Alka sang this rocking (Sa)number

By no means would it be incorrect to state that the soundtrack of Kabhi Haan Kabhi Naa, which released in 1994, was underrated.

Aana Mere Pyaar Ko (which should have actually been pronounced Anna*) was the shortest of the six tracks in the film – it was three minutes and 59 seconds long.

It was rendered by Alka Yagnik and Kumar Sanu.

The track, which was penned by Majrooh Sultanpuri, was composed by Jatin-Lalit.

(*Note: Anna was played by Suchitra Krishnamoorthi, a classically-trained singer. But she didn’t lend her voice to any of the film’s songs.)

This track certainly wasn’t Mind-Blowing

While Dama Dam Mast Kalandar (which has been rendered by many singers, including Nusrat Fateh Ali Khan) was ekdum mast (Hindi for awesome), the same couldn’t be said about Jhoole Jhoole Lal.

This version of the aforementioned song featured on the soundtrack of a film titled Jai Kishen, which released in 1994.

It was sung by Arun Bakshi and P T Mishra. While the former has lent his voice to several Hindi film songs, this was perhaps the only track credited to the latter.

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

Sanu left a long-lasting asar

It wouldn’t be incorrect to state that one track that has stood the test of time was Is Tarah Aashiqui Ka, from Imtihaan.

While this blog contains a post on Kumar Sanu’s version of the song (which was penned by Faaiz), I wasn’t A(n)war(e) of the fact that there was another version. It was rendered by Amit Kumar.

But by no means was that surprising, because the asar Kishore Kumar’s clone left on Hindi film music buffs’ minds has always been greater than that of the legend’s son. 

The track was composed by Anu Malik.

Sanu's rendition certainly touched (Sulak)hearts

Die-hard romantics who want to serenade their Belaveds needn’t look further. It wouldn’t be incorrect to state that Chaaha Toh Bahut (from Imtihaan, which released in 1994), was an underrated song.

One of its lines went, “Chaahat pe magar koi zor nahin” (which could be translated to, “But there is no control on desire.”)

Another line of the track, which was penned by Faaiz Anwar, could be translated to, “How do people live sans love? They must be stone-hearted.”

The track, which was composed by Anu Malik, was rendered by Kumar Sanu and Ms Sulakhe.

Ms Mangeshkar’s rendition was (Balasubrahmany)amazing

Of the four Lata Mangeshkar-S P Balasubrahmanyam duets from Hum Aapke Hain Koun..! on this blog, Wah Wah Ramji was the shortest – it was four minutes and 15 seconds long.

A portion of the track was heard at the beginning of Lo Chali Main.

By no means would it be incorrect to state that the song literally became ‘relative’ly popular, and could be used to teach people what various members of a family are called in Hindi.

On listening to the number, which was penned by Ravinder Rawal, people must have said, “Wah Wah Ra(a)m(laxman)ji!”

It was a SuPerB solo

Indeed, the best line of Pehla Pehla Pyaar Hai, from Hum Aapke Hain Koun..!, went, “Woh hai Nisha, woh hi meri zindagi ki bhor hai.”

It can be translated to, “She is Nisha. She is the dawn of my life.” Incidentally, Nisha – the name of Madhuri Dixit’s character in the film – is Hindi for night.

This song, which was four minutes and 25 seconds long, was penned by Dev Kohli and composed by Raamlaxman.

It was rendered by S P Balasubrahmanyam. In fact, it was the only male solo from the film on this blog.

It was tailor-Ma(y)(d)e for Lata

Maye Ni Maye, composed by Raamlaxman, was the longer of the two solos by Lata Mangeshkar from Hum Aapke Hain Koun..! on this blog – it was four minutes and 21 seconds long.

It earned her the first-ever Screen Award for Best Female Playback in 1995. That was the only time she bagged that accolade.

But by no means was that surprising, because it wouldn’t be incorrect to state that it was right up her alley.

This blog contains posts on three tracks from the film penned by Dev Kohli. Of them, this was the shortest.

Lata and SPB had fun

Mausam Ka Jadoo, from Hum Aapke Hain Koun..!, began with a countdown (which started with 10).

It was followed by the phrase, “Let’s start the fun” (because it rhymes with one.)

Those were the only English lines in the track, which was a hundred per cent desi.

Its first word was Yeh. 

It wasn’t just the duo who rendered the song – Lata Mangeshkar and S P Balasubrahmanyam – who had a blast, but the listeners did too.

The song, which was penned by Ravinder Rawal and composed by Raamlaxman, was five minutes and three seconds long.

This Lata solo wasn’t long

Lo Chali Main was the shorter of the two Lata Mangeshkar solos from Hum Aapke Hain Koun..! on this blog – it was just a couple of minutes and 53 seconds long.

It was purely a situational number. For the better part of the song, the tone of the song was playful.

But a couple of lines were what a sexagenarian – which is what the singer was when the film released – would say. They went, “Prem ki kaliyaan khile, pal pal khushiyaan mile, sachche man se aaj duaayen deti hai.”

Ravinder Rawal penned the Raamlaxman composition.

Mr Balasubrahmanyam sho(w)ed his cL(at)ass

Wedding customs differ from one place to another in India, but Hum Aapke Hain Koun..! introduced Hindi film buffs to a big fat North Indian wedding, replete with the build-up to the big day.

Although Joote Do, Paise Lo (which translates to, “Give me my shoes back, and take the money”) was a run-of-the-mill track, it would certainly not be incorrect to state that the duo who rendered it – Lata Mangeshkar and S P Balasubrahmanyam – did a great job.

Ravinder Rawal penned the song, which was four minutes and 36 seconds long.

Raamlaxman composed it.

The singers had a Blast

In terms of duration, Didi Tera Devar Deewana was the second longest song on the soundtrack of Hum Aapke Hain Koun..! It was eight minutes and five seconds long – just a couple of seconds shorter than Dhiktana (Part 2).

However, as far as the popularity of the song was concerned, this Raamlaxman composition had no match. In fact, it wouldn’t be incorrect to state that it is an iconic number.

The track, which was penned by Dev Kohli, was rendered by Lata Mangeshkar (who won a Filmfare Special Award in 1994) and S P Balasubrahmanyam.

They banished the listeners’ BLUeS

The most appropriate word that can be used to describe the soundtrack of Hum Aapke Hain Koun..! (1994) is humongous.

This blog contains posts on eight (out of the 14) songs from the film.

While Part 1 of Dhiktana (a solo by S P Balasubrahmanyam, which was five minutes and 20 seconds long) hasn’t been included, Part 2 was the longest track in the film – it was eight minutes and seven seconds long.

(Ud)It was rendered by Balasubrahmanyam, Lata Mangeshkar, Mr Narayan and Shailendra Singh.

Ravinder Rawal penned the track, which was composed by Raamlaxman.

This trio PAcKed a punch

It isn’t uncommon for listeners to take a shine to songs with words without meanings, but by no means would it be incorrect to state that Hai Hukku Hai Hukku had them huk(ku)ed.

The song, which was penned by Sameer, was from Gopi Kishan, whose album was one of the most sold Hindi film music albums of 1994.

It was rendered by Alka Yagnik, Kumar Sanu and Poornima.

The film, whose songs were composed by Anand-Milind, was a remake of Avasara Police 100 (a Tamil film which released in 1990 and starred M G Ramachandran).

Poornima rendered this vulgar (Sa)number

It wouldn’t be incorrect to state that the second song from Eena Meena Deeka on this blog was among the favourites of the front-benchers, particularly those who hail from the states of Uttar Pradesh and Bihar.

By no means is it a mere coincidence that Sameer, who penned it, is a native of Varanasi, Uttar Pradesh, and Anand-Milind, the composers, are from Bihar.

The track in question was Saiyan Ke Saath Madhaiya Mein. Its next line went, “Bada mazaa aaye rajaiya mein.”

The duo who rendered it was none other than Kumar Sanu and Poornima.

Poornima San(u)g this Eenane song

My blog on Hindi film music of the 1950s, titled Fascinated by the Fifties, contains a post on Kishore Kumar’s version of Eena Meena Deeka, from Aasha (1957).

The song inspired the title of a film, which released 37 years later. While the former was gibberish, the latter derived its title from the names of the characters essayed by the leads.

One of the two songs from the film on this blog was Eena Ko Mil Gayee Meena.

Sameer penned the track, which was rendered by Kumar Sanu and Poornima.

It was composed by Anand-Milind.  

They sang with GAY abandon

Govinda's innate confidence – to describe his shirt, pant (that’s desi English for trousers), hair and gait as sexy – was laudable.

His rendition of Ek Hai Anaar Yahaan, from Dulaara (1994), cocked a snook at those who called his outfits tacky.

There’s no two ways about the fact that he had a ball, both on screen and behind the microphone, because only he could pull it off.

Alka Yagnik shared singing credits with him.

The track, which was penned by Rani Malik, was composed by Nikhil-Vinay (then a popular jodi comprising Nikhil Kamath and Vinay Tiwari).

Alka did a S(an)uperb job

Of the three tracks from Dilwale on this blog, Saaton Janam Mein Tere was the shortest – it was five minutes and 52 seconds long (just a second shorter than Kitna Haseen Chehra).

While Nadeem was one of the two who composed the song (the other being Shravan), it was penned by Asad, his little-known Na(dee)mesake.

The track, which began with the phrase, “I Love You”, was rendered by Kumar Sanu. Was there any girl in the 1990s who wouldn’t have relished the prospect of being serenaded by him?

Alka Yagnik shared singing credits with him.

It was indeed a S(an)uperhit

Kitna Haseen Chehra, the song from Dilwale, was five minutes and 53 seconds long.

Penned by Sameer, it was rendered by Kumar Sanu.

Nadeem-Shravan, who have churned out many a melodious song over the years, composed the track, which went on to become a chartbuster.

By no means would it be incorrect to state that on listening to this number, someone must have been keen to remark, “Un donon ne banaya hoga fursat se is gaane ko mere yaar.”

Of course, that wasn’t true, but that was a parody of a line from the song.

Alka San(u)g this long number

This blog contains a post on Jeeta Tha Jiske Liye, the longest song on the soundtrack of Dilwale (1994). It was eight minutes and 18 seconds long.

It was rendered by Alka Yagnik and Kumar Sanu, who also sang another version of the track, which was half-a-dozen minutes and nine minutes long. It was titled Jeeta Hoon Jiske Liye (the passion, indeed, was in‘tense’).

Sameer penned the aforementioned tracks, as well as another version – a Sanu solo titled Ek Aisi Ladki Thi, which was four minutes and five seconds long.

They were composed by Nadeem-Shravan.

Sorry, but it wasn’t LoVely

I Am Very Very Sorry has re-entered this playlist, but that’s not because I felt sorry for deleting it earlier. It was a mediocre track, and made way for another song.

Mahesh-Kishor composed the song from Chaand Ka Tukdaa (1994).

It was five minutes and a second long, and was penned by none other than Saawan Kumar, who could perhaps be Taken for granted by cinegoers, because he also wrote the story of, produced and directed some films.

An opportunity to share singing credits with Lata Mangeshkar was (Vip)indeed a feather in Mr Sachdeva's cap.

INFAKt, this song was underrated

Being a Hindi film music aficionado, I am extremely proud of the fact that my birthday falls on October 13, the day one legend (Kishore Kumar) bade the world adieu and another (Ustad Nusrat Fateh Ali Khan) was born.

The latter, primarily a qawwal, wasn’t a regular music director and playback singer, but the few tracks that were credited to him became quite popular.

He didn’t just compose, but also rendered the underrated Saanware Tore Bin, from Bandit Queen, which released in 1994.

It is undoubtedly interesting that it was penned by an anonymous lyricist.

Poornima had a field day

Chane Ke Khet Mein was five minutes and 50 seconds long.

By no means would it be incorrect to state that it was one of the precursors to the current crop of item numbers that are either loved or hated, but definitely not ignored.

In fact, even this track, which was composed by the Shrivastava brothers, divided opinion – while it gave some listeners no Anand, others didn’t seem to M(il)ind it.

But there’s no two ways about the fact that Sameer Anjaan was aware of the Anjaam of penning it.

It was rendered by Poornima.

Mr Bhattacharya definitely (Mush)killed it

Badi Mushkil Hai was one of the two tracks from Anjaam, which released in 1994, on this blog.

In fact, it was the shorter of the two – it was five-and-a-half minutes long.

There’s no two ways about the fact that it was a melodious number. It is pertinent to mention that because they were, sadly, uncommon in the 1990s.

Although the song has the word mushkil (Hindi for difficult), it was pretty easy to grasp, and Sameer, who penned it, deserved the credit for that.

Abhijeet Bhattacharya rendered the track, which was composed by Anand-Milind.

These (Bhos)legends rendered it SuPerBly

An attempt was made to narrow the doori (distance) between the Golden Era and the period when the evergreen singers were not loaded with playback assignments.

To say that it was successful would be an understatement, because the song in question was Yeh Raat Aur Yeh Doori.

It was from Andaz Apna Apna, and was five minutes and a dozen seconds long.

Asha and S P Balasubrahmanyam (Bhos)lent their voices to the track. That probably gave many a complacent youngster hichkole (Hindi for jolts).

Majrooh Sultanpuri penned the song, which was composed by Tushar Bhatia.

This was a BEl(l)oVed song

It wouldn’t be incorrect to state that the old-world charm of Ello Ello was its unique selling proposition.

Tushar Bhatia composed the song, which paid homage to the tonga (horse-drawn carriage) songs of yesteryears' music director O P Nayyar.

The track, from Andaz Apna Apna, was five minutes and 54 seconds long.

Although there’s no two ways about the fact that it was a catchy number, it, unfortunately, didn’t do the duo who rendered it – Chatterjee and Vicky Mehta – a world of good. Having said that, they (Beh)roze to the occasion.

Majrooh Sultanpuri penned it.

They DiD a SuPerB job

The first two lines of Do Mastane Chale Zindagi Banane went, “Bom Bom Bom Bom”.

And by no means would it be incorrect to state that the track, from Andaz Apna Apna, was da Bom(b).

That was evidenced by the fact that these lines had a number of repetitions throughout the song.

Of the four tracks from the film on this blog, it was the longest – it was half-a-dozen minutes and four seconds long.

Majrooh Sultanpuri penned the song, which was rendered by S P Balasubrahmanyam and Debashish Dasgupta.

It was composed by Tushar Bhatia.

This Mangal Singh stole hearts

By no means would it be incorrect to state that Tushar Bhatia, who composed the songs of Andaz Apna Apna, which released in 1994, was a one-film wonder.

Of the four songs from the film, Dil Karta Hai Tere Paas Aaoon was the shortest – it was four minutes and 59 seconds long.

It was rendered by Mangal Singh. He may have shared his name with a daaku (dacoit), but all he stole were the hearts of countless listeners.

The biggest name associated with the track was that of the man who penned it – Majrooh Sultanpuri.

Kavita's (Vi)nod was a shocker

Yeh Maal Gaadi was certainly the most vulgar of the three tracks from Andaz on this blog.

In fact, it wouldn’t have been a surprise if people wondered why the duo who rendered it – Kavita Krishnamurthy and Mr Rathod – gave it their (Vi)nod.

There’s no two ways about the fact that one Indeev(ar)idual who deserved to be blamed for the derailment of his train of thought – he was the man who penned it.

Mr Lahiri composed the song. Therefore, this post would be incomplete without (Bap)pillorying him. It was appalling that the chain wasn’t pulled.

Alka S(an)urely didn’t deserve (Ku)kudos

If the man who penned the songs of Andaz Indeevared to convince the listeners that the bird of the heart (dil ka panchhi) and the flute of the breaths (saanson ki bansi) went, “Kuku Kuku”, he certainly did not fail.

People couldn’t care less about figuring out what on earth the aforementioned phrases meant.

But by no means would it be incorrect to state that the track, which was rendered by Alka Yagnik and Kumar Sanu, set the benchmark for vulgarity.

And that was no feather in the cap of Bappi Lahiri, who composed it.

Mr Rathod waS(ar)game for this

The Aankhen team – comprising producer Pahlaj Nihalani, director David Dhawan, lyricist Indeevar and composer Bappi Lahiri – collaborated on Andaz, which released the following year (i.e., in 1994).

If one were a fan of tracks that are laden with double entendre, he would say that the aforementioned quartet brought its A-game.

There’s no two ways about the fact that Khada Hai Khada Hai was a guilty pleasure. Its next line went, “Dar pe tere aashiq khada hai” (which could be translated to, “Your lover is standing at your doorstep.”)

Sadhana Sargam and Vinod Rathod rendered it.

Arun Bakshi was absolutely right

Yeh Duniya Kya Maange Money Money was a track from Amaanat, which released in 1994.

Although Mr Bakshi did not give other crooners Arun for their money, he was definitely in form.

There’s no doubt that the track, which was penned by Maya Govind, was catchy.

It was also a telling commentary on the times we live in, particularly the fact that one needs money if he/she wants to make friends or fall in love.

Bappi composed the track, which had an alL(ahir)iterative line that went, “Arre ghata ghat ghadiyal ghumakkad ghan ghan ghanti bole.”

This adaptation wasn’t MAJorly disappointing

Ya Mustafa – also spelled Ya Mustapha – was a song of Middle-Eastern origin. It was composed by Egyptian musician Mohammed Fawzi, and rendered by his compatriot Bob Azzam in France in 1960.

It was a multi-lingual track, so it wasn’t surprising that it had a Hindi version.

This adaptation – titled Ya Dilruba – featured on the soundtrack of Aatish: Feel The Fire.

By no means would it be incorrect to state that the song – which was penned by Sameer and composed by Nadeem-Shravan – (Musta)fared rather well.

It was rendered by Alka Yagnik, Jolly Mukherjee and Mukul Agarwal.

(Al)Kasam se, it was S(an)uperb

Khaate Hain Hum Kasam was A(l)katchy track from Aatish: Feel The Fire.

Although it was a run-of-the-mill romantic number, it went on to become pretty popular.

By no means was that surprising, because this was the kind of song that was right up the alley of the duo who rendered it – Ms Yagnik and Kumar Sanu.

Penned by Sameer, the track was composed by Nadeem-Shravan.

It was an example of a song that shouldn’t be literally translated [because if one did so, it would mean, “I eat a promise” (which, of course, doesn’t make sense).]