Abhijeet’s solo was the highlight

If the five songs from Yeh Dillagi on this blog were to be listed in alphabetical order, Ole Ole would be the last.

Of course, it could also be an example of saving the best for last, because by no means would it would be incorrect to state that it was the most popular song in the film.

Four minutes and 32 seconds long, it was rendered by Abhijeet Bhattacharya.

Ole is Spanish for “Bravo!”, and that was precisely what the listeners wanted to tell Sameer Anjaan, who penned it, and composers Dilip Sen-Sameer Sen.

  

ThiS(a)number didn’t make a M(angeshk)ark

Naam Kya Hai was the shortest of the five songs from Yeh Dillagi on this blog – it was three minutes and 28 seconds long.

It wouldn’t be incorrect to state that it was a run-of-the-mill number. By no means did that mean the listeners were unimpressed, as was evidenced by its popularity.

Lata Mangeshkar and Kumar Sanu rendered it. While the former sought such information as the guy’s name, address and what he does in the first verse, the latter provided it.

The track, which Sameer Anjaan penned, was composed by Dilip and Sameer Sen.

It was an awesome NuMBer

Every lover wants the object of his affection to believe that he isn’t merely infatuated with her, but wants to establish a bond with her.

That was what the first two lines of Lagi Lagi Hai Yeh Dil Ki Lagi could be translated to.

The song, from Yeh Dillagi, was four minutes and 21 seconds long.

By no means would it be incorrect to state that the trio who rendered (Ud)it – Lata Mangeshkar, Abhijeet Bhattacharya and Mr Narayan – did a great job.

Sameer Anjaan penned the track, which was composed by Dilip and Sameer Sen. 

Lata did a S(an)uperb job

Honthon Pe Bas was the longest of the five tracks from Yeh Dillagi on this blog – it was four minutes and 54 seconds long.

Lata Mangeshkar and Kumar Sanu rendered it.

While they sang, “I Love You, You Love Me”, it wouldn’t be incorrect to state that the listeners showed the song, which was penned by Sameer Anjaan, a lot of love.

Sen wasn’t just the last name of the duo who composed it (Dilip and Sameer), but they also happened to be the first three letters of the word that described it best – sensuous. 

ThiS(a)number was unable to La(ta)st

The soundtrack of Yeh Dillagi, which released in 1994, was certainly not a mediocre album. And it earned Dilip Sen-Sameer Sen a nomination in the Best Music Director category at the Filmfare Awards in 1995.

But by no means would it be incorrect to state that Dekho Zara Dekho, one of the three duets by Lata Mangeshkar and Kumar Sanu in the film, was a run-of-the-mill, but popular, number. Although it had a high recall value, its shelf life was short.

The track, which was four minutes and 45 seconds long, was penned by Sameer.

This track was given Alis(ha)ten

There’s no two ways about the fact that Ruk Ruk Ruk, the song from Vijaypath, was incredibly catchy. 

In fact, given that most bilingual numbers don’t stick in the listeners’ memories for a long time, it must be said that the English portion of the track complemented the Hindi portion. 

The song, which Anu Malik composed, was penned by Shyam Anuragi.

It was (Chi)nailed by Alisha. But that’s no surprise, because the track was right up her alley. She was nominated for it in the Best Female Playback category at the Filmfare Awards in 1995.

Alka S(an)urely deserved the nomination

It wouldn’t be incorrect to state that Raah Mein Unse Mulaqaat was one of the most popular mushy numbers of the 1990s, and can be considered an evergreen song.

The song was from Vijaypath, which released in 1994.

It earned Alka Yagnik a nomination in the Best Female Playback category at the Filmfare Awards in 1995. In fact, it was her second nomination at the same ceremony – she was nominated for Chura Ke Dil Mera as well.

Kumar Sanu shared singing credits with her.

Zameer Kazmi penned the track, which was composed by Anu Malik.

Udit sang this (Al)katchy number

Suhaag was one of the best-selling albums of 1994, but by no means would it be incorrect to say that there was one track from the film that deserved the lion’s share of the credit for that.

The song in question was Gore Gore Mukhde Pe Kala Kala Chashma.

Although the song was picturised on Nagma, there was a reference to Karisma Kapoor, the film’s other leading lady, in a line of the track, which was catchy.

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

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

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.