Tuesday, 27 February 2018

INDEEVAR- The Most Underrated Lyricist

Indeevar who wrote more than 1000 songs for Bollywood Films was not given his due he deserved.He had a wide range,penning emotionally uplifting songs, Indeevar also wrote peppy numbers including Nazia Hassan’s sung “Aap Jaisa Koi” and Feroz Khan’s Qurbani song “Laila O Laila”. 
Indeevar was born on 1st Jan in 1924 as Shyam Lal Babu Rai  and grew up to become a freedom fighter. He wrote under the pseudo name of Azad for which he was imprisoned by the British. He became a household name with the release of the song "Bade Armano Se Rakhha Hai Pehla Kadam"  from Malhar in 1949.

It was singer Mukesh who gave him the break as a lyricist from the film Malhar(1949) which was produced by him and composed by Roshan.He along with Music Director Kayanji Anandji gave many hit & memorable songs.
It was Indeevar with whose lyrics Laxmi-Pyare made their debut in ‘Parasmani’ I don’t have to quote the songs. They were so beautiful. In ‘Madari’ too the Lata song, ‘Pyar mera majboor pardesi piya’ was a big hit.. In ‘Dulha Dulhan’ Indeevar wrote that classic Mukesh number: ‘Jo pyar tu ne mujh ko diya hai’ and ‘Hum ne tum se pyar kiya hai jitna kaun kare ga itna’.

The songs of ‘Chotey Babu’, ‘Himalaya Ki God Mein’ and Saheli were also big hits. But Upkar came as a major hit in his career too. How can we forget, among other hits of the movie, that sad number by Manna Dey for Pran: ‘Kasme wade pyar wafa sab baaten hain baton se kya’
In ‘Poorab aur Pachchim’ too Indeevar created havoc with his lyrics, specially the song, ‘Koi jab tumhara hridaya tod de, ‘

He wrote for almost all the music directors of his time except S D burman.With the arrival of the disco beat and the Bhappi Lahiri wave, Indeevar put poetry on the backburner and stood up to the task of delivering mindless lyrics. There was a preset combination for all these Southern-style 'pots-n-pans' hits: Jeetendra, Sridevi, Jaya Pradha, Bhappi Lahiri and Indeevar. All the way from Himmatwalas' (1983) ‘Nainon Mein Sapna’ to Tohfa's nonsensical title song, Indeevar willfully accepted and adapted to the changing trends in film music.
Towards the end of his career, he notched up a few hits with actor-turned-filmmaker Rakesh Roshan such as Karan Arjun (1995) and Koyla (1997). But even as he was trying to redeem himself as a poet, Indeevar passed away on February 27, 1999, leaving behind his words :
Song from Malhar 1951

Song from Malhar 1951

Song from Baadbaan (1954)

Song from Parasmani (1963)

Song from Dulha Dulhan 1964

Song from Himalay Ki God Mein (1965)

Song from Saheli (1965)

Song from Upkar (1967)

Song from Dil Ne Pukara (1967)

Song from Saraswati Chandra (1968)

Song from Safar (1970)

Song from Johny Mera Naam (1970)

Song from Sachha Jhutha (1970)

Song from Purab Aur Pachhim (1971)

Song from Amanush (1975)

Song from Qurbani (1980)

Song from Jurm (1990)

Monday, 26 February 2018

MANMOHAN DESAI-The Miracle Man Of Bollywood

Manmohan Desai(26 Feb 1937-1 Mar 1994)-The Uncrowned King Of Bollywood in the &70s and 80s.On one occasion, in 1977, three of his fast-paced extravaganzas were released over a 52-day span, and all of them became runaway successes. One of them, Amar, Akbar, Anthony.He was one of India's most successful film directors and producers, was known as the 'Miracle man of Bollywood'
He was a Producer Director of the masses,he was often criticised for his absurd themes and story lines - blind people in his films suddenly regain sight and twins separated at birth are reunited under bizarre circumstances.He along with Amitabh Bachchan  gave Hits after hits. Such was their magic that film distributors snapped up Desai's films for astronomical sums the day they were offered for sale. 
He was a son of a moderately w ell known producer and director of entertaining stunt films. After school Desai attended St Xavier's College, in Bombay, but left before graduating for a career in films.
He started his career in 1960 with the film Chhalia starring Raj Kapoor,he wanted to become a great showman like him.His next film, Bluff Master, was a commercial disaster but he went on to direct a series of reasonably successful films like the amusing Budtameez and Kismat, a racy spy thriller.His big break came in 1970 with Sucha Jootha, a thriller with good music and one which effectively used a double-role routine with Rajesh Khanna playing the main part.
He became a great Showman only after the release of Amar Akbar Anthony followed by Naseeb,Suhaag,Coolie and Mard.
Out of the 20 films that Desai directed in his career span of 29 years (1960–1989), as many as 13 films were stupendous hits. His success ratio was 65 percent in an industry where flops abound. His favourite playback singer was Mohd Rafi. In most of his movie, Mohd Rafi was used to sing songs.
Towards the end of his career, Desai's previously successful stories and style began to lose favour with audiences. He met his tragic end on March 1st 1994. He fell from the balcony of his flat when it collapsed. It remains unclear if this was accident or suicide. 
A Tribute To Manmohan Desai
Song from Chhalia 1960

Song from Bluff Master 1963

Song from Budtameez 1966

Song from Kismat 1968

Song from Sachaa Jhutha 1970

Song from Aa Gale Lag Jaa 1973

Song from Roti 1974

Song from Amar Akbar Anthony 1977

Song from Parwarish 1977

Song from Suhaag 1979

Song from Naseeb 1981

Song from Coolie 1983

Sunday, 25 February 2018

Tribute To Sridevi

The legendary actress Sridevi died on Saturday night after a cardiac arrest.She Bollywood debut in 1978 with Solva Sawan but  she gained commercial success with Himmatwala starring with Jeetendra.Both of them working together gave many hit films in the 80s. She also received critical acclaim for commercially successful movies such as Sadma(1983), Nagina (1986), ChaalBaaz (1989), Lamhe (1991), Khuda Gawah (1992), Gumrah (1993), Laadla (1994) and Judaai (1997). Sridevi has won five Filmfare Awards and has been nominated ten times.In 2012, Sridevi returned to films after a 15-year-long hiatus with English Vinglish.Recently she was seen in revenge-drama — Mom — opposite Nawazuddin Siddiqui and Akshaye Khanna.

Most Popular Songs Of Sridevi

Friday, 23 February 2018

MADHUBALA-Whose Life Was Just As Tragic As Anarkali’s

Madhubala (February 14, 1933 - February 23, 1969) the woman who was born on Valentine's Day and became India's sweetheart struggled to find true love all through her life is one of the most gorgeous actresses to have graced the screens of Bollywood.Madhubala is an epitome of beauty, who had an unbeatable charm. She is admired for her looks and work even by the present day generations.
At a tender age of 9, Madhubala, then known as Mumtaz Begum, was signed in for the film Basant in 1942. It was only a matter of time that Madhubala shot to fame and her work in the 1949 film Mahal got her the success she rightfully deserved. She was just 16.
Her life was full of struggle,when she was 9 as her father lost his job. She was one of five children in the family and her earnings helped the family to survive hard times.  Her first film as child artist was Basant (1942), was a box-office success.As a child actress she went on to play in several movies. Actress Devika Rani was impressed by her performance and potential, and advised her to assume the screen name 'Madhubala'.
By the time she turned 14, Madhubala was playing the leading lady (in ‘Neel Kamal’) with Raj Kapoor in 1947.

It was in 1954 when the gorgeous Madhubala was shooting for SS Vasan’s film Bahut Din Huwe and during the shooting, she vomited blood, reportedly, for the very first time. She resumed shooting soon after being treated and everybody presumed that she was perfectly alright until she fainted while shooting with Raj Kapoor for the 1957 film Chalack
It was diagnosed that she had a serious condition of cyanosis and poor oxygen perfusion, colloquially referred to as a “hole in the heart”. And it’s our collective loss that during that time, the medical community’s understanding of the condition was in its infancy and there was no available treatment.
On the one hand, she was fighting for her life and doing justice to her art, and on the other, she was traversing and struggling with her personal life. Madhubala was engaged to the legendary actor Dilip Kumar. However, their relationship reportedly went south because Madhubala’s father wasn't happy with it.

Madhubala left Dilip Sahab soon after and subsequently, married Kishore Kumar. Well, things were looking up for her but the doctors soon informed her that she won’t live for long. The tragedy only deepened with Kishore Kumar buying her a house in Mumbai, only to leave her alone.

In 1960, Madhubala was at the peak of her career and popularity with the release of Mughal-e-Azam and Barsaat Ki Raat. She did have intermittent releases in the early 1960s. Some of these, like Jhumroo (1961), Half Ticket (1962) and Sharabi (1964).Her last film released was Jwala in 1971.
Isn’t it ironical that the beautiful and charming leading heroine of Indian films, who was growing into a vibrant and serene actor, accumulating recognition around the world, was also slowly and simultaneously degenerating into a fragile being, who’s plight was only known to a few.
Another tragedy was that She acted in 70 films but most of her films were flops.Only 15 films were hit,still she was the most saught after heroine of her time.but another irony was that she spent her last days in depression and loneliness. What was once the most beautiful face to ever grace the silver screen, full of freshness, vibrancy and youth, was left alone to perish.
She succumbed to her illness on February 23rd, 1969, and passed away, leaving behind a timeless remembrance, full of beauty, grit and ‘feathers’.
Best Of Madhubala's Song
Song from Mahal 1949

Song from Amar 1954

Song from Mr. & Mrs. '55 1955

Song from Kala Pani 1958

Song from Howrah Bridge 1958

Song from Chalti Ka Naam Gaadi 1958

Song from Barsaat Ki Raat 1960

Song from Mughal-e-Azam 1960

Wednesday, 21 February 2018

S D Burman- The Pioneer in Experimenting in Music

Few weeks ago I wrote a Blog on R D Burman about his lust for new and different sound for his songs.These genes he inherited from his father S D Burman. Burman Dada as called by those who loved and revered him was the first music director who was always busy in experimenting in his music whether its tunes ,melody or lyrics.  Sometimes, he faced opposition but stood firm, the skeptical falling in line when the experiment succeeded.
Music Maestro Pt Shiv Kumar Sharma said in an interview that While composing a song, Dada would say, ‘Even if my songs flop, I will still create something new’. What Dada meant was, ‘I will not take the beaten path. I will not compose as per the existing trend. Even if my songs flop, I will still do something new’.
 From 1930 to 1936, over these five to six years, he composed music fusing Indian classical music and folk music, which did not resemble anybody else’s. This way,he was able to create his own brand of music”Listen to this Bengali song Mono Dukkhe Mori re Shubol (1934),composed and sung by him.This song is a Kirtan which used to be sung in semi classical style but Sachin Da throws the words in the Bangal dialect that makes it more rural to the roots. The dialect is of East Bengal with some Sanskrit words used. Such songs are sung by boatmen from that part of the world.
Mono Dukkhe Mori re Shubol (1934)

His innovative tendency were visible as early as in 1934 during a Bengal Music Conference in 1934, inaugurated by Rabindranath Tagore, Sachin Dev Burman was asked to sing after Ustad Faiyaz Khan. Ustad Faiyaz Khan had finished with ‘Jhan, jhan, jhan…’, a song that spellbound the audience. Sachin Da began with the same song in Bangla, ‘Jhan, jhan, jhan – manjira baaje’. The audience roared in unison and Karta extended the song to last more than half an hour. Sukla Devi vividly remembers how Ustad Faiyaz Khan came to the stage and hugged Sachin Da.The same tune he used in the Buzdil(1951) song sung by Lata and asked Shailendra to keep same mukhda with a slight change in words.Listen to both version

                                          jhan jhan jhan manjira baje..S D Burman

                                jhan jhan jhan manjira baje by Lata from Buzdil 1951

The biggest contribution that Sachin Da carried out was to create the tune first and ask lyric writer to fill in the words to suit the meter and the situation. Earlier  the film songs was that the film director and the music director would ask the writer to write lyrics based on the situation and the emotion to be conveyed. With Dada’s arrival, it all changed. Gulzar the legendary Lyricist and poet agrees that the music is the soul of a song.He believe that in any song that becomes a hit, the primary factors are the rhythm and the tune. The words follow. In fact, the quality of the words depends on how much it matches the melody and the beat. That is why I consider the role of the lyricist as secondary to that of the composer.
Another experiment he did with Ghazals.For the Baazi song he asked Sahir Ludhianvi to write Gazal for his tune. Sahir wrote the lyrics and wanted the song to be sung in a mujra style. Burman Dada composed a jazzy tune for this Ghazal. Dada also asked Geeta Roy (Dutt) to sing it. During the rehearsal Sahir didn’t like it one bit and went to complain to the director Guru Dutt, who asked Dada what the matter was. Dada asked Guru Dutt to decide who was the music director, “Sahir or I?” Guru Dutt conveyed to Sahir that Dada will do as he wishes. Sahir then and there decided that he will never write again for S. D. Burman, but changed his mind after the song became super-hit and the film too was a big draw for the audience who used to return again and again.

Song from Baazi 1950
Similar situation happened during the making of Jaal 1951 song Yeh raat ye chandni.He transformed its Ghazal mood giving it a regular stressed beat. When he sang the tune to Sahir Ludhianvi, Sahir laughed.Sahir sugested that it should be sung by Talat but Sachin Da wanted Hemant Kumar.Even when the song was recorded by Hemant Kumar, Guru Dutt wanted to re-dub the song in Rafi Sahib’s voice. Dada stuck on to his choice and the song was a very big hit.
Song from Jaal 1951

One of the most marvelous experiments that Sachinda carried out was in the song O nighahen mastana (Paying Guest -1957). Young Kishore’s voice, supported by Asha Bhosle’s humming and alaap throughout the song, adds tremendous charm to the song.The unique thing about this song is that when the second antara gets over, the interlude music and the lights start fading out till the music can be hardly heard. While the remaining lights dim out, the third antara is sung in a softer tone.It is one of the most romantic songs ever created by any music director.

Song from Paying Guest 1957

In another Navketan production Kala Pani, in  the song Hum bekhudi mein tum ko pukare chale gaye. He used the rhythm of a ghazal in the mukhda and geet in the antara. This song was originally sung by Dada himself in Bengali,every body wanted Dada to sing this in hindi but he felt that rafi's voice  will suit well to Dev Anand in this situation.one finds Rafi’s soothing voice with only a few instruments used by Dada – Sarangi, tabla, gunghroo, khadtal and harmonium.

Song from Kala Pani 1958

Another innovation he did was the use of different singers for the same hero or heroine singing in the same film.In 1949 film Shabnam he used the voice of  Lalita Deolkar, Shamshad Begum and Geeta Roy (Dutt) for Kamini Kaushal.In Jewel Thief 1967 Kishore, Rafi, and Bhupindra Singh sang for Dev Anand.In Abhiman 1973 Kishore, Rafi and Manhar Udhas  sang for Amitabh Bachchan.
 Sacin Da was the composer  who would understand the subject matter, the situation, and choose the voice best suited, before composing a song.Some time he would suggest the Director to change the situation.For the song Khoya Khoya Chand he sugested that Dev Anand should walk fast in the song.In the same film in the song "Apni To Har aah Ek Toofan Hai"Waheeda is travelling in a train along with her parents. Dev Anand, trying to woo her, gets into the same compartment.In this song situation Dada thought of introducing the sound of the engine-whistle in the song. Using his ingenuity, he used a flute to create that sound effect. The result was so good, that the viewers did not realize that a flute had been used. 

Song from Kala Bazar 1960

Another gem of his innovation was Kaanton se kheench ke yeh aanchal, tod ke bandhan baandhi payal  from Guide 1965,the song starts with an antara,it was unique in itself Very rarely would a composer dare.

Song from Guide 1965
In a song "Gum Pe Dhool Daalo" from Prem Pujari he tried a unique thing  He used four different genres in the mukhda. The first two lines  based on folk. The third on classical. The fourth on pop. And the last line based on qawwali

Song from Prem Pujari 1970

In the song O PANCHHI PYARE from Bandini he used the actual sound of wheat and the soop

Song from Bandini 1963

Music Director Uttam Singh who was one of his musician said in interview that In the last 50 years Piya tose naina lage re (Guide – 1965) in ‘Roopak’ taal is the only dance song composed in seven matras (beats). It is difficult, very difficult, to compose a dance song in seven matras, but not for one who is an expert in the field. No one else has attempted it so far. 

Song from Guide 1965
His penchant & passion for experimenting has kept him at the forefront of the music world even at the last days of his life whereas his contemporaries, all greats, lost their way after certain period of time.Even his last released song “Chal Sapnon Ka Shahar” from Deewangi has unique kind of designing which could only be conceived by SDB.

Song from Deewangi 1979
He was innovative in Background Music also.In a scene in Kala Pani he used the actual sound of Printing press.In that scene he used the sound of Sitar along with the noise of the press.Besides using a single instrument for background music in Kala Pani, Dada used a single instrument for a scene in Bandini (1963).In an interview Music Director Pyarelal of LP, who was a violinist during those days said that his Guru Anthony Gonsalvis who was the music arranger for S D in that film,prepared some music for that scene which everyone liked. But S.D. Burman was not impressed, and rejected it.
Dada kept on thinking but nothing was coming in his mind suddenly he heard flutist Kamal Mitra, who was also getting bored, fiddling with the flute by putting his thumb on the wrong end of the flute and creating a noise, ‘tup, tup, tup’ like that. Dada asked him to do it in front of the mike, and used it as the background music for that scene. This was appreciated by Bimal Roy and everyone else.

Monday, 19 February 2018

Pankaj Mallik-The Singer,Composer Admired By Rabindranath Tagore

It is said that when Tagore heard Mullick sing one of his verses `Diner Sheshey Ghumer Deshey`, the `bard` hugged him and told him that he was free to set tune to those writings of his which he would not be able to accomplish during his lifetime.
The credit of taking Tagore’s songs and music, which have come to be known as 'Rabindra Sangeet', to the masses goes to 'Mukti'. 
The unprecedented popularity of Kanan Devi & Pankaj Mullick songs in 'Mukti' played a major role in creating a mass appeal for this kind of songs which were hitherto unknown. 

Pankaj Mallik was born on 10th May 1905 in Calcutta. He started his early training in Indian classical music under the tutelage of Durgadas BandopadhayaAn important turning point in his life came when, after finishing his studies, he came in contact with Dinendranath Tagore, who was Rabindranath Tagore's great-nephew. This led to Pankaj Mullick's lasting interest in Rabindra Sangeet. Rabindranath Tagore, in turn, grew fond of him, and soon Mullick became known as one of the leading exponents of Tagore's songs.
He started his career with the Indian Broadcasting Corporation in Calcutta in 1927, the forerunner of All India Radio (AIR), along with composer R. C. Boral, where he contributed as a music director and artist for nearly fifty years.
Along with RC Boral, Pankaj Mullick helped New Theatres dominate the film industry in the 1930s. They worked together on a few films and one of the best examples of their combined brilliance was President
He was a man of many talents. Other than composing music, he played the lead role in a few films and was an excellent singer. Undeniably, though, the highlights of his career were the songs he composed for KL Saigal.The two legendary songs in Zindagi were the musical opposites of each other. In ‘Main Kya Janoon Kya Jadoo Hai’and ‘So Ja Rajkumari’, on the other hand, was slow and sonorous. 
Pankaj Mullick innovated not only the Tonga rhythm, but was also the first to breathe the locomotive breath into a Hindi film song. Amazingly, he did both in the same film, Doctor
He was awarded the Padma Shri in 1970, followed by the Dadasaheb Phalke Award (India's highest award in cinema, given by thGovernment of India) in 1972 for lifetime contribution to Indian cinema.He died on 19th Feb 1978.
Here is my pick of Ten Pankaj Mullick songs that bring out the essence of his talent.
Song from Adhikar 1938

Song from Kapal Kundla.1939

Song from Zindagi 1940

Song from Zindagi 1940

Song from Nartaki 1940

Song from Nartaki 1940

Song from  Doctor 1941

Song from  Doctor 1941

Song from Meri Behen 1944

                                          Ye Ratein Ye Mousam - Pankaj Mullick.

Saturday, 17 February 2018

25 All Time Great Whistling Songs Of Bollywood

Whistling is an old art used in songs started in 1930s and 40s. A whistle can be used to express happiness or woo a beloved. Many a times whistling is a part of hero’s introduction song, where he is shown to whistle happily, either walking or riding a bicycle, or driving a car.
When we talk about whistling in Hindi films,one image immediately comes to our mind of Dev Anand.  As a matter of fact whistling was quite in vogue in most of the Dev Anand films and before the advent of the music from electronic instruments, whistling formed an integral part of the world of Hindi music.
Kishore kumar and Hemant Kumar are other two singers and composer who gave us some great songs. In the modern era the whistling after passing away of Pancham revived in a big way with Vishal Bhardwaj's ''Chod aaye hum wo galiyan.. from the film MACHIS sung competently by Suresh Wadekar and it again was a song that conveyed the sprit of vagabond and gay-abandon, what whistling signifies. It was followed by ''Pahli pahli Baar from DIL TO PAAGAL HAI which was composed by Anand Milind. Among other great songs based on whistles that the Hindi cinema has produced in the recent memory is '' Kiska Hai ye Tumko Intezaar main hoo Na''. from MAIN HOON NA, and ''Chand Sifarish Jo Karta Hamari''...from FANAA. 

Here are 25 Great Whistling Songs

I think this is the first whistle song of bollywood. This was from the film Khajanchi released in 1941 sung by Shamshad Begum,Khan Mastaan and chorus.
Song from Khajanchi 1941

This song is sung by Arun Kumar Mukherji. from 1944 film Caravan. “Seetee” figures prominently in the lyrics and one can also hear whistling in this song.Music of this innovative song is composed by Bulo C Rani.

Song from Caravan 1944

 Humour fills the whistling in the Chaplin-esque song sequence of ‘Aana meri jaan Sunday ke Sunday’ (Shehnai 1947). 

Song from Shehnai 1947

Whistling is an interlude that can have an esoteric story of its own to tell. So there is the gentle teasing of a statuesque Madhubala on a surreal stage by Kishore Kumar in ‘Nakhrewali’ in New Delhi (1956)

Song from New Delhi (1956)

The 1957 film Nau Do Gyarah begins with Dev Anand driving a truck and whistling a part of the famous song ‘Hum hain rahi pyaar ke, humse kuch na boliye’.

Song from Nau Do Gyarah 1957

Another song from the same film,  a romantic one with elements of ‘Chhed-Chhad’ in it. Plenty of whistling to listen to

Song from Nau Do Gyarah 1957

The whistling in this song has become an identity of the song and it’s very exciting to listen to it.Here we find the ladies whistling happily along the roads of Old Bombay (Marine Drive).

Song from Dekh Kabira Roya 1958

Madhubala mouthing a whistle along with Ashok Kumar in this song from Howrah Bridge released in 1958

Song from  Howrah Bridge 1958

The same year released Ghar Sansar and similar whistling sound is also heard in ‘Yeh hawa, yeh nadi ka kinara’ 

Song from Ghar Sansar  1958

Another whistling song was seen in Aakhari Dao (1958).The song picturised in a car on Nutan. Nutan is seen enjoying the ride with Shammi, the latter whistling throughout the song.

Song from Aakhari Dao (1958)

After the above big hit songs Raj Kapoor walks the city in the Anari (1959) song ‘Jeena isi ka naam hai’, complete with whistling interludes.

Song from Anari (1959)

This particular song has a very freshening touch to whisling, Asha’s voice just lingers through out the song.

Song from Picnic (1966)

In this hit song whistling can be heard in the last,the song was sung by Asha Bhosle and picturised on Sharmila Tagore and Manoj Kumar
Song from Sawan Ki Ghata 1966

Whistling in this song from Khamoshi has a sense of foreboding; unlike the other songs it carries no cheerful promise, only loneliness for the protagonist withdrawing from the scene.

Song from Khamoshi 1969

Among  the greatest Whistling song is Yeh Shaam Mastani’ from Kati Patang (1970), Rajesh Khanna serenades Asha Parekh, whistling the tune before he breaks into the song. His whistle and words capture their forbidden attraction away from the public gaze.

Song from Kati Patang (1970)

How whistling can make a career is a perfect example to Nagesh Surve who for the first time whistled in Julie After that he never looked back.Having whistled in over 1,500 Hindi film songs,Surve became Hindi film industry's chief whistler, collaborating with top notch music directors, right from Lakshmikant-Pyarelal and Shankarlal-Jaikishan to Shankar-Ehsaan-Loy and Pritam. 

Song from Julie 1975

Another whistle song is ‘Zindagi mil ke bitayenge’ from Satte Pe Satta (1982) 

Song from Satte Pe Satta (1982)

In this song the tense moments are eased out with the sound of whistle.

Song from Tezab 1988

Song from Maachis 1996

Surve's whistling not only immortalised music tracks of films like Karz (Ik haseena thi), Hero (Ding dong), Kuch Kuch Hota Hai (Hai hai re hai yeh ladka), Satya (Sapne me milti hai), 

Song from Satya 1998

Song from Dil To Pagal Hai 1997

Song from Fana 2006

Song from 3 Idiots 2009

Song from Dabang 2 (2009)

The latest whistling song is from the film Heropanti 2014

Song from Heropanti 2014