Lahiri's track became extremely poP(a)u(dwa)lar

There’s no doubt that Tamma Tamma, the song from Thanedaar, was one of the chartbusters of 1990, and continues to be popular.

It was inspired by Tama, a track by Guinean singer Mory Kante. The song was from his 1987 album Akwaba Beach.

The song was penned by Indeevar. It certainly wouldn’t be incorrect to state that the quirky lines were one of the reasons its recall value was high. The other, of course, was Saroj Khan’s choreography.

It wasn’t just composed, but also rendered by Bappi Lahiri.

Anuradha Paudwal shared singing credits with him.

(Am)It failed to evince (Nit)interest

When a man sings, “Filmon ke saare hero, mere aage hain zero”, one can’t help but chuckle at the claim.

And if the person in question is a certain Amit Kumar, there’s absolutely no doubt that it will elicit a guffaw.

He was joined behind the microphone by none other than Nitin Mukesh.

The aforementioned line was of a track from Swarg. Sadly, it lacked repeat value.

Interestingly, the involvement of the next generation in the track did not end with the duo who rendered it – it was penned by Sameer and composed by Anand-Milind.

(Am)It completed Kumar’s Mumbai trilogy

In my blog on the music of films released between 1987 and 1989, I had mentioned Amit Kumar’s Mumbai trilogy.

Bam Bam Bam Bam Bambai, from Swarg (1990), was the third song of the trilogy. It wouldn’t be incorrect to say that although it was a run-of-the-mill number, it was certainly not the weakest.

Like the second track in the trilogy, this one was penned by Sameer and composed by Anand-Milind.

It stated the obvious [that Mumbai is not only dotted with bastiyaan (settlements of the poor), but also inhabited by filmi hastiyaan (film stars)].

Ms Deshpande sang A(nupa)marvellous number

When one thinks of the top ten tracks picturised on Madhuri Dixit, there’s no doubt that the flood of memories will include Humko Aaj Kal Hai Intezaar, from Sailaab, which released in 1990.

The song, which was eight minutes and as many seconds long, earned Saroj Khan the Filmfare Award for Best Choreography in 1991. It was her third consecutive Filmfare trophy (and the second for a song picturised on Dixit, after Ek Do Teen from Tezaab).

The track, which was penned by Javed Akhtar and composed by Bappi Lahiri, was rendered by Anupama Deshpande.

Undoubtedly, this song waS PassaBLe

It was indeed surprising that Anand-Milind, who composed the music of Mera Pati Sirf Mera Hai, which released in 1990, failed to make the most of the opportunity to work with a pair of legendary singers.

The duo in question was none other than Lata Mangeshkar and S P Balasubrahmanyam, and the song was Maine Tujhe Khat Likha.

To be fair to the composers, and, of course, to Sameer, who penned the song, it was quite popular, but unfortunately, it did not have a high recall value. Hence its shelf life was short as well.

It wA(zi)z a decent tR(af)ibute

This song was from a film which released in 1990. By then, a number of Mohammed Rafi clones had arrived on the scene.

By no means would it be incorrect to state that Mohammed Aziz stood out from the Kro(w)(a)d(h).

He sang, “Na fankaar tujhsa tere baad aaya, Mohammed Rafi tu bahut yaad aaya”, paying homage to the legendary singer, who passed away a decade earlier.

It could be translated to, “No artiste like you came after you. Mohammed Rafi, we remembered you.”

The track, which was penned by Anand Bakshi, was composed by Laxmikant-Pyarelal.

(Am)It definitely suited Mr Kumar

If a song on the soundtrack of Kishen Kanhaiya was picturised on Kishen's character, why shouldn’t there be one picturised on Kanhaiya (also played by Anil Kapoor)? After all, he was the fun-loving twin, and the track (Suit Boot Mein Aaya Kanhaiya) certainly reflected that.

Although it became fairly popular, the track, which was penned by Indeevar and composed by Rajesh Roshan, was nothing to write home about.

It wouldn’t be incorrect to state that Amit Kumar was the right man to render the track, because it suited his vocal range, which, sadly, was limited. 

Mr Udhas Sa(dha)n(a)g (Manh)arun-of-the-mill track

If there was a line that was right from a logical standpoint, as well as a mythological one, there is no doubt that it was, “Radha bina hai Kishen akela”.

It was the opening line of a song from Kishen Kanhaiya, which was penned by Indeevar.

Although Rajesh Roshan certainly didn’t do a bad job as the composer, it wouldn’t be incorrect to state that it was a weak track.

The voice of Kishen (one of the two characters essayed by Anil Kapoor) wasn’t akela – Manhar Udhas was joined behind the microphone by Sadhana Sargam.

This track certainly wasn’t AMAzing

Kuchh ho gaya, kya ho gaya can be translated to, “Something happened. What happened?”

It was a song from Kishen Kanhaiya (which released in 1990).

But while kuchh ho gaya must’ve been the thought in the mind of Rajesh Roshan, who composed it, kya ho gaya was a question the listeners wanted to ask.

Although it wouldn’t be incorrect to state that the track was catchy, it didn’t have a long shelf life. The same could be said about its recall value.

Indeevar penned the song, which was rendered by Asha Bhosle and Mohammed Aziz.

Sadhana San(u)g this inspired hit

Being inspired wasn’t a Jurm. And who better to attest to that than Rajesh Roshan, who composed the music of the 1990 film?

Indeevar penned Jab Koi Baat Bigad Jaaye, the film’s best-known track, which was a cover of 500 Miles from The Journeymen's eponymous 1961 album.

It had three versions. The version on this blog was seven minutes and 56 seconds long. Kumar Sanu and Sadhana Sargam rendered it.

They rendered Version 2, which was a minute and 23 seconds long.

The sad version, a Sanu solo, was a minute and 39 seconds long.

The listeners ASKed for it

Lambada, the 1989 song by Brazilian pop group Kaoma, became popular.

Needless to say, there was a desi version.

Titled Sochna Kya, it was the catchiest song from Ghayal.

Indeevar penned the song, which Bappi Lahiri composed.

It was rendered by Kumar Sanu, Asha Bhosle and Shabbir Kumar.

One of its lines went, “Saath hain hum sab, isse badi kya khushi” (which could be translated to, “Is there any greater joy than the fact that all of us are together?”)

It was, incidentally, the title of the sad version of the track. Sanu sang it.

No (Jana)kidding, (Am)it was mediocre

The soundtrack of Ghayal (1990) was a tad better than that of its sequel, Ghayal Returns, which released 16 years later. But by no means did that imply that it was outstanding.

In fact, the next line of Pyaar Tum Mujhse Karti Ho went, “Don’t Say No”. But that must have been exactly what the listeners said on listening to it.

The track, whose opening line could be translated to, “You love me”, was penned by Anjaan and composed by the King of BLing (Bappi Lahiri).

It was rendered by Amit Kumar and S Janaki.

(Ud)It earned Ms Paudwal An(uradh)award

Mujhe Neend Na Aaye, the song from Dil, was a declaration of insomnia, but by no means was the jury at the 36th Filmfare Awards caught napping.

While the song earned Sameer the Best Lyricist Award, Anuradha Paudwal bagged the Best Female Playback Singer Award.

She was joined behind the microphone by Udit Narayan.

The track, which was six minutes and 13 seconds long, was composed by Anand-Milind.

There is no doubt that it was, and continues to be, the most popular song in the film (and is one of the best songs of 1990).

(Ud)It was (Naray)an enjoyable track

Khambe Jaisi Khadi Hai was the shortest (and undoubtedly the catchiest) song on the soundtrack of Dil – it was five minutes and 25 seconds long.

(Ud)It was also the only male solo in the film. And no prizes for guessing who crooned it – none other than Mr Narayan.

By no means can one miss the irony – Aamir Khan, who has always been poles apart from his peers as an actor, likened his co-star, Madhuri Dixit, to a khamba (pole). And the man himself is vertically-challenged.

The track was penned by Sameer and composed by Anand-Milind.

(Ud)It surely waS(adhan)a run-of-the-mill number

Humne Ghar Chhoda Hai, from Dil, was nothing to write home about.

It was picked (purely by oversight) over Hum Pyaar Karnewale (a song that wasn’t just a tad better, but also longer*) to lend the playlist (and the blog) some much-needed variety – Sadhana Sargam rendered it.

Udit Narayan joined her behind the microphone.

The track was six minutes and 17 seconds long.

It was penned by Sameer and composed by Anand-Milind.

[*Note: Rendered by Narayan and Anuradha Paudwal, (Ud)it was the longest track in the film – it was six minutes and 56 seconds long.]

(Ud)It had (Paudw)alot of dum

What does one call a man who threatens a woman, singing, “Aaj na chhodunga tujhe” and then asks her, “Tune kya samjha hai mujhe”?

The answer to that question would be an eve-teaser.

Fortunately, they weren’t the only people who loved Dum Duma Dum, the song from Dil, which released in 1990.

Sameer penned the track, which was six minutes and 40 seconds long.

It earned Anand-Milind a nomination in the Best Music Director category at the 36^th edition of the Filmfare Awards, which were held in 1991.

Mr Narayan and Anuradha Paudwal rendered (Ud)it.

(Ud)It was (Naray)an interesting song

The title track of Deewana Mujh Sa Nahin, which released in 1990, should have come with a warning – Guys, please do not try this anywhere.

That is because the opening verse of the song, which was penned by Sameer, had lines that went, “Tere peechhe aaoonga” (which can be translated to, “I will follow you”), and “Jaayegi bachke kahan” (which can be translated to, “Do you think you will be spared?”)

Sadly, these encouraged such abhorrent acts as stalking and harassment of women.\

The track was composed by Anand-Milind.

(Ud)It was rendered by Mr Narayan.

Sadly, Amit's talent remained unTapped

Tap Tap Tapori is not only a track from Baaghi: A Rebel for Love, but it is also the appropriate song to dedicate to the folks that flock to the cinema to root for the (Sal)man who starred in the film: a certain Mr Khan.

The song, which was quintessentially a Bambaiya Hindi number, was five minutes and 29 seconds long.

It was penned by Sameer Anjaan and composed by Anand-Milind.

Incidentally, Anand was also credited as one of the two men who rendered it.

Of course, the other was none other than Amit Kumar.

(Am)It was indeed APopular track

There is no doubt that Kaisa Lagta Hai was the only song on the soundtrack of Baaghi: A Rebel for Love that had the qualities to be a chartbuster and high recall and repeat values.

The music of the film earned Anand-Milind a nomination in the Best Music Director category at the Filmfare Awards.

Of the four songs from the film on this blog, it was the longest – it was six minutes and 33 seconds long.

Sameer penned the track.

(Am)It was rendered by Mr Kumar, who was joined behind the microphone by Anuradha Paudwal.

Abhijeet’s rendition was (K)a(vi)tad disappointing

By no means would it be incorrect to state that Har Kasam Se Badi Hai, from Baaghi: A Rebel for Love, was a run-of-the-mill song.

But no one was complaining, because it did go to become a fairly popular number, despite the fact that it was certainly not a track that had a high repeat value.

It was, in fact, the longer of the two tracks rendered by Abhijeet Bhattacharya and Kavita Krishnamurthy in the film – it was five minutes and 59 seconds long.

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