Phaili Hui Hai Sapnon Ki Bahen- The Song Takes You In Different World

 

This song from House No 44 is a gem polished by three genius music greats of the Golden Era of Bollywood.  The lyrics are one of the finest of Sahir Ludhiyanvi.The music composed by SD Burman and the song sung by Lata Mangeshkar.  Picturized on Kalpna Kartik 

If you close your eyes and listen to this song with concentration, you will find yourself in a different world. You go into a trance The song takes you for a quick look at the world over the rainbow. The lyrics of this song is marvellous. Every single line of the song is inspirational and stirring.

There is a story behind this song that all the three creators of this song wanted to be paid one rupee more than each other just to justify with their ego, however, they created a gem for us to relax and enjoy. We should also appreciate the director of the film Raj Khosla, how beautifully the song was picturized.

Kalpana Kartik – the heroine of the film stands in front of a mirror and start imagining. Swinging and dancing around tall and picturesque trees surrounded with mist …..The scene is breathtaking.

S D Burman composed this song in Raga Shuddha Kalyan, this raga is a combination of raga Bhopali and raga Yaman. This raga is used by very intelligent musicians as this raga is aesthetically challenging with melodic subtleties. Dada Burman used this raga again in the 1957 film Paying Guest in the song 'Chand Fir Nikala'

Song of House No 44

Story Behind the Song 'Jhooth Bole kauwa Kate'

 

This popular song of the 1973 film Bobby was sung by Lata Mangeshkar and Shailendra Singh. This was composed by Laxmikant Pyarelal. The song was in fact based on Bundelkhand folk song ' Mein Mayke Chali Jaongi'. These lines were suggested by Vithal Bhai Patel, the great Hindi poet to Raj Kapoor.

Raj Kapoor added Mukhra( 'Jhooth Bole Kauwa Kate') to these lines which he heard from Rajendra Kumar 8 years back in 1962 during the shooting of Sangam.

There was an incident at the time of the shooting of Sangam in Paris. After the shooting of previous day Raj Kapoor told Raj Kapoor that in the next day they will start shooting early so he takes care that he wakes him up early. 

The next day Rajendra Kumar got up and was ready for shooting, finds Raj Kapoor still sleeping, he went to his room and knocked Raj Kapoor's door. Raj Kapoor was annoyed by being disturbed. Rajendra Kumar on this said that he himself had asked him to get up in the time which Raj Kapoor said you are lying. Rajendra Kumar at that instance saw 2 crows sitting on the balcony of the room and suddenly said Jhooth Bolun to Kauwa Kate, Raj Kapoor remembered those words and used these words as Mukhra of the song. 

Vithalbhai Patel was credited for this song in this film but Anand Baxi who completed the song was not happy that he did not get credit for the song. In the film immediately the song finishes another song starts. This song was also written by Vithalbhai Patel.'Na Chahon Sona Chandi'

Song of Bobby 1973

'Thandi Hawayein Lehra Ke Aayein'- The Tune Clicked in a Restaurant

 

This immortal song from 'Naujawan' film created waves in 1951 continued to mesmerize music lovers and creators for decades. Music Director Roshan used the same tune in the song Rahein Na Rahe Hum from Mamta (1966). R D Burman used the same tune in the song 'Saagar Kinare Dil Yeh Pukare' from Ramesh Sippy's Saagar (1985).

The birth of this song is quite interesting. Sachin Dev Burman, the composer of this film made one tune which was not liked by Director Mahesh Kaul, Sachin Da made one tune after another but none of the tunes clicked to the director. Dada got irritated and moved out of that place and went for a walk at Juhu Beach. He kept humming one tune after another but was not getting satisfaction.

After walking for a bit, he decided to have a break, he went to a restaurant for a cup of tea. When he was sipping the tea, he suddenly heard a tune on a Piano,' Sa-Re-Sa-Sa-Pa'. it clicked to him, he immediately went to the Piano to see who is playing. He saw a waiter at that Restaurant was playing the Piano and keeping on repeating the same keys. 

He immediately went to his home and improvised the tune. Next day he called the director of the film to his workplace and presented the new tune. Mahesh Kaul liked and approved the song. This is how an immortal tune was created. 

The song became a great hit and remains one of Lata’s and S D Burman's career bests. This song is picturized on Nalini Jaywant.

Song of Naujawan' 1951

Over the years, many composers used the first few notes and made minor changes to them to compose many more mellifluous songs each of which was popular in its own right.

 Roshan (father of Rajesh & Rakesh Roshan) who was so inspired by the music of the song that he formally requested S D Burman’s permission to recreate the tune and use it for the initial part of his composition Tera Dil Kahaan Hai which was sung by Asha Bhosle for the movie “Chandni Chowk” in 1954 with lyrics by Majrooh Sultanpuri.

Song of Chandni Chowk 1954

 Roshan used it again in 1966 for the movie “Mamta”. Picturised on the beautiful Suchitra Sen and penned by Majrooh Sultanpuri, Rahe Na Rahe Hum had two versions. The more popular version was sung by Lata Mangeshkar

Song of Mamta 1966

Ten years later in 1964, legendary Madan Mohan used the same few notes for the initial lines of the composition Yehi Hai Tamanna Tere Dar Ke Saamne sung by Mohammed Rafi and penned by Raja Mehndi Ali Khan for the Dharmendra-starrer “Aap Ki Parchchaiyan”.

Song of Aap Ki Parchchaiyan 1964

 In 1983 R D Burman used this tune for Hame Aur Jeene Ki Chaahat with lyrics by Gulshan Bawra in the Rajesh Khanna, Raj Babbar and Rekha-starrer “Agar Tum Na Hote”. 

Song of Agar Tum Na Hote 1983

Two years later Pancham used the same tune for Saagar(1985) song

Song of Saagar  1985

Aaj Kal Tere Mere Pyar Ke Charche- The song created for Dev Anand.

 

This super hit song was originally written and composed by Hasrat Jaipuri and Shankar Jaikishan for Jab Pyar Kisi Se Hota Hai released in 1961to be picturized on Dev Anand and Asha Parekh. But Dev Anand rejected it because he felt it wouldn't go down well with his personality.

When an upset  Jaikishen mentioned Shammi Kapoor about this song, he asked him to play this song for him.he just freaked on it" I love this song"He immediately told Jaikishan to keep it reserved for him, he will use this song in one of his future films.

Shammi Kapoor gave this song to Manmohan Desai who was making 'Budtameez' at that time but he couldn't be picturized for that film. Shammi Kapoor then gave this song to G P Sippy for Brahmachari

This song was picturized on Shammi Kapoor and Mumtaz.Bhappi Sonie, the director of the film, wanted Mumtaz to Wear a Sari in this song but Mumtaz declined saying that she would be uncomfortable dancing in a Sari. Bhappie Sonie then discussed this with the costume designer Bhanu Athaiya who tried something innovative which became a rage as the Mumtaz Sari after the release of the film. She devised the Sari with readymade pleats and a zipper on the side.

The song became hit before the film got released.  People rushed to the theatres to catch a glimpse of this song and its incredible star cast. Mumtaz draped in a  low-waist, unconventional pre-pleated saree, which featured gold gota borders and a frilled hemline form-fitting bright orange saree, paired with a short sleeveless blouse was the attraction. She paired it with gold chandelier earrings, a choker necklace, a hath Patti, and the iconic 60s puffy hairstyle.

The song was one of the Top Songs in Binaca Geetmala of that year competing with Mere Samne Wali Khidki Mein from Padosan. Shammi Kapoor and Mumtaz made the Shake Dance popular in India. The signature tune of this song was its Prelude music. As soon as this music starts, everybody started to tap their feet and shake head.

This song has been recreated multiple times since but nobody has come close to repeating what Shammi achieved.

Song of Brahamchari 1968

Dil Dhoondta Hai- A Song Composed While Cooking

 

This song from Mausam(1976) was written by Gulzar, composed by Madan Mohan, and sung by Bhupinder. The song has two versions, one a solo by Bhupinder and a duet of Lata Mangeshkar with Bhupinder. The solo was used during the titles of the film and the duet was picturized on the young Sanjeev Kumar and Sharmila Tagore.

The solo version happens to be Gulzar's favorite, is by far the soberer and serene. The duet has a faster tempo. Both versions have three stanzas with different interludes. The Mukhada was taken from a Ghalib ghazal with a slight change. In the ghazal, it is 'Jee Dhoondta Hai', Madan Mohan changed it to Dil Dhoondta Hai., since it worked better for the metre.

This wasn’t the only time Gulzar was inspired by Ghalib. He went a step further in the song Satrangi Re, (Dil Se, 1998), in which he wove Ghalib’s couplet into his lyrics, crediting the source by its name.

This song is the pivot around which the film revolves. It connects the characters in time. the first time when the Doctor(Sanjeev Kumar) is traveling from Calcutta to Darjiling by road where he met Chanda decades ago.

Gulzar in a book told that while composing the interludes of the song Madan Mohan was strolling between his music room and his kitchen. He(Gulzar) had gone to his house for dinner. Madan Mohan was a good cook, he was cooking mutton at that time. During that duration, he composed the tune of this song.

Gulzar was one of the contenders for the National Award for that year. Unfortunately, no award was given to any lyricist that yeat. Similarly, he was nominated for Filmfare's Best lyricist award but lost out to lyricist Sahir Ludhianvi for Kabhie Kabhie.

Madan Mohan had a habit of making 5-6 tunes of one song, he then selects the best out of them. For this song too he made 6 tunes one of which was later used in Veer Zara (2004). Here a clipping is given below, you could see his versatility

Dil Dhoondhta Hai - Madan Mohan sings many tunes for one song

Song of Mausam 1975 Solo Version

Song of Mausam 1975  Duet Version

Jane Kahan Gaye Woh Din- The Tune of this Song taken from the Background music of Aah(1953)

 

This song was recorded 4 years before the film released in 1970. In fact, Mukesh sang a few stanzas of this song in front of a crowd of 2500 at the Shanmukhananda Hall Mumbai during the Filmfare Award function in June 1967.

The tune of this song was taken from background music in a scene of Aah released in 1953. This piece of music has also been used as a prelude to the song and appears in bits and pieces throughout the movie. Shankar Jaikishan had many times used a tune played in the earlier film and recreate it a new song. 

The writer of this song was Hasrat Jaipuri who wrote 7 stanzas of this song. Shankar Ji. was the original composer of this tune. Jaikishan later composed the full song in Raga Shivaranjani and Bhairavi, Some modifications were incorporated for Mukesh to make it simple.

The background music of Aah(1953)

Song of Mera Naam Jokeer 1970

Sunn Mere Bandhu Re- The Take Was Completed Before the Song was Recorded

 

This immortal song from Sujata(1959) was written by Majrooh Sultanpuri and composed and sung by the great S D Burman. Both born on 1st Oct. This song was a background song.

 The director of the film Bimal Roy gave a rough outline to Sachin Da for a song situation to be sung by a commoner. He wanted a song to sound as if it was straying off-tune, in spite of being in tune. Many singers were tried but ultimately Sachin Da himself finally recorded in his own voice. This was his second song in Hindi films sung after a gap of 12 years.

The situation was that the hero wanted to express his love for the heroine and also wanted to know her feelings. She being shy couldn't express her feeling in words, so to express her feelings Dada suggested a song in the Background.

Majrooh Sultanpuri wrote beautiful lyrics for this situation. The Hero and Heroine are in love They are on a riverfront and a boatman singing in the background expressing their love for each other. Their emotions are caressed by the gentle breeze. The unclear, dispersed light of late evening gives this 'Bhatiyali' song a perfect background. The excellent picturization. Their lips seem to be moving but the sound is mooted, the lyrics in the background expressing their feelings.

Surprisingly the scenes were shot well before the song was ready, in fact, the lyrics were written at the time the scene was being shot. Song recording was done after a few days. It was S D Burman singing solo after 12 years, 

Song of Sujata 1959

This song was used in many films after Sujata. In the 1963 film Bandini , the first two lines were hummed by SD Burman himself. In the 1973 film Abhiman, a few lines were used in the background in a scene

A Scene from Abhiman 1973

It was again used in the background by Gulzar in his film Achanak(1973), one line in a female voice of Lily Chakravarti along with Dada's voice

A Scene from Achanak 1973

In the 1974 film Dil Diwana the opening lines of this song were sung by Asha Bhosle in the song ' Mein Ladki Tu Ladka' composed by RD Burman

In the 1983 film Pukar, R D Burman gave his tribute to this tune in his own voice by changing the lyric as Sun Mere Lamboo Re in a song sung by Amitabh Bachchan 'Tu Maike Mat Jaiyo'

Song of Pukar 1983

Jaane Woh Kaise Log The Jinke Pyar Ko Pyar Mila

This immortal song of Pyaasa(1957) was written by Sahir Ludhianvi, sung by Hemant Kumar and composed by S D Burman. This song was inspired by the second stanza of our national anthem, according to a book on celebrated music composer S. D. Burman.
"In a conversation with lyricist Pulak Bandyopadhyay, Burman had mentioned that the second line of the national anthem—Punjab Sindh(u) Gujarat Maratha Dravid Utkal Banga—had inspired the line, 'Humne to Jab Khushiyaan Maangi'.
"The reference to the national anthem is so subtle that unless someone points it out, it is next to impossible to spot a similarity."
Pyaasa had 10 songs, two solo songs were sung by Geeta Dutt, and one duet of Geeta Dutt and Mohammad Rafi, all the other were solo of Rafi except this song. In fact, Guru Dutt wanted this song to be sung by Rafi but Burman Dada insisted on Hemant Kumar. Dada knew that this song suits Hemant Kumar, one of the highlights of this song was the aching frailty of Hemant's rendition.  A major argument took place between Guru Dutt, composer Burman Dada, writer Abrar Alvi, and Geeta Dutt. Finally, Dutt, who remained unconvinced, had to give in to the pressure.

This song was picturized on Guru Dutt. He is leaning against a bookshelf, wearing a white shawl, stretching his hands, a wry smile even though he was deserted. Singing in a small gathering organized by his employer Rehman, where he meets his ex-girlfriend Mala Sinha, who abandoned him for wealth by marrying none other than the man currently employing him. 
If you listen carefully you will find a piece of very light music is being played in the background. Burman Dada had arranged the song with delicate piano notes, surprisingly np piano is shown on the screen. 
Once  Burman dada was asked why this song had such little music. He replied that the poetry was the hero of the song and had to be showcased. And it’s true, the soft tune in the background pushes Sahir Ludhianvi’s words to the forefront. Unfortunately, this was the last song of Sahir composed by Dada Burman. They never worked together after this song and film.

Song of Pyaasa 1957

Seene Mein Sulagte Hain Armaan - An Immortal Song

The writer of this immortal song was Prem Dhawan. It was composed by Anil Biswas and sung by Talat Mehmood and Lata Mangeshkar. Anil Biswas composed the tune of this song in just 15 minutes while riding in a car.
There was a rumor that the lyrics had been bought from Sahir Ludhianvi for Rs 5/-, as Sahir was in need of money, and Prem Dhawan had helped him. It is very sad that Prem Dhawan was always underrated. He was multitalented, he was a composer beside lyricist and as well as a Choreographer.and also acted in a few films.
He wrote songs like Mera Rag De Basanti Chola, Ae Watan Ai Watan from Shaheed, and many more songs. He won the National Film Award for Best Lyrics in 1971 for the film, Nanak Dukhiya Sub Sansar

This song was picturized on Dilip Kumar and Madhubala for the film Tarana released in 1951. This was the first film of Dilip Kumar and Madhubala together. Regarding this song, Shikha Biswas Vohra, daughter of music director Anil Biswas said in an interview that how her father composed this song. Prem Dhawan and her father were good friends, they were booked for two films Tarana and Arman in 1950. One day Prem Dhawan gave him few lines of this song and asked him to make the tune while going to meet the famous Punjabi singer Surinder Kaur On reaching.the destination Anil Biswas asked Prem Dhawan to go to meet the singer and he sat on the parapet and started humming the tune. By the time Prem Dhawan returned, the tune was ready.
Interestingly the song was a sad song but Anil Biswas used the major scale and another point to highlight that he used three different tunes for the three Antaras. A very rare occurrence and only a genius like Anil Biswas could do that. Madan Mohan also did the same in many songs later.in the 60s.If we look technically the use of Teevra 'Ma'gives it the feeling of Raga Yaman Kalyan.
This is probably one of the greatest duets of Bollywood. Everything is perfect, lyrics, music, singing, and picturization on two of the greatest actors Dilip Kumar and Madhubala.

Song of Tarana 1951

'Jiya Jale Jaan Jale' - The Creation of Three Geniuses

This song from 1998 film 'Dil Se' is written by Gulzar, composed by A R Rehman and sung by Lata Mangeshkar. This is the first song Lata Mangeshkar sang for A R Rehman'This song was recorded in Chennai in the recording studio of Rehman. It was the first time Lara Di was recording outside Mumbai.
Gulzar in his book has mentioned this song. He said that Lata Ji had not met Rehman before and also not familiar with his style, she asked Gulzar saheb to be present there at the time of recording. He was not only present there but also accompanied her to Chennai. Rehman received her at the airport and took her and Gulzar saheb to the studio. Reman has many studios in Chennai, this was his first studio. Rehman explained the tune to Lata Ji and asked her to sing. Nowadays composers ask singers to sing one line and record it but Lata Ji told him that she will sing the full song in one take but before that she wants a rehearsal. Rehman agreed and took her to the singer's cabin The cabin had a glass on the front side and no glass on the side walls. Unfortunately, Lata Ji could not see the mixing desk from there, nor could she see the musicians. That was a big problem for her, as she was used to having eye contact with the composer. 
After one rehearsal, Lataji called Gulzar saheb to her side and said  ‘Gulzarji, it feels as though I am blind.’ You kindly sit in front of me. so he sat on a stool outside the cabin’s glass door from where he could see both Lataji and Rahman. 
Despite the fact she recorded the whole song in one session, the song itself was not finalized. Rahman then worked on it for about ten days. He usually works out the instrumentation etc., and so the song evolves slowly into its final form.
The next day returned back to Mumbai. After a week Rehman made a call to Gulzar saheb and said ‘Gulzar Saab, I have recorded a male and female chorus and inserted it in between the antaras. The words are in Malayalam, will you translate them into Hindi?
He played the song to him over the phone. It sounded very beautiful, so I suggested we keep the chorus in Malayalam. It’s the impact of the overall sound that matters. Malayalam has its own sound and folk songs have their own kind of music. Lataji and the chorus sounded wonderful.
Another interesting thing about the song was its lyrics. The song is about the description of a wedding night, Lata Ji usually not sing a song that has anything to do with sex or includes vulgar words or expressions. So it was decided that it will not be picturized as a typical wedding night. 
This song was picturized on Pritty Zinta and Shahrukh Khan on an outdoor location.

Song of Dil Se 1997

Watch this Video on Gulzar for his work in Bollywood

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Yun Toh Humne Lakh Haseen Dekhe Hain- The Game Changer for Shammi Kapoor

This song and the film'Tumsa Nahin Dekha' was a gamechanger for Shammi Kapoor. Before this film, he had given 18 flop films in a row. This film was written by Nasir Hussain in keeping Dev Anand in mind. When Dev Anand refused to do this film, Shammi Kapoor was given this film.
This superhit song was written by Sahir Ludhianvi and composed by O P Nayyar well in advance keeping in mind Dev Anand. This was the only song written by Sahir in this film, he also opted out of the film because Dev Anand is not doing the film. Those days only Dev Anand had a flamboyant image and his earlier films (Munimji and Paying Guest)  with the producers had similar roles and were superhit.
The director of the film Nasir Hussain said in an interview that he was reluctant to take Shammi Kapoor as his hero for this film, it was his first film as a director and he wanted to work with an established hero. S Mukkharjee the producer suggested the name of Sunil Dutt after Dev Anand's refusal, ultimately the name of Shammi Kapoor emerged. 
Shammi Kapoor, who knew the story of the film and also knew that it will be a musical Rom-Com was desperate to grab this film to boost his sinking career. Nasir Hussain thought of changing the earlier image of Shammi Kapoor, asked him to remove his mustaches and change his hairstyle.
Shammi Kapoor told in an interview that this film was his dream film, he wanted this type of a role to show to the world his style. Those days no specialized choreographers were available for the songs. Heroes used to be sober or simpler in their songs. I had a great sense of dance and music, could improvise my own steps. So I asked Nasir Hussain to give him the recording of the song so that he could prepare for the song.
The day he got the recording of this song he went up to the terrace of his house at Chembur, he danced with the rhythm throughout the night., until every line, every beat had seeped into his body.
When the song was being picturized, Nasir Hussain gave him the full freedom to make his moves and steps. Everybody present there were surprised to see Shammi performing the song. Nasir Hussain was happy, he wanted Shammi Kapoor to do differently and he did it.
This is a version song, the other version was sung by Asha Bhonsle, the favorite of composer O P Nayyar.

Song of Tumsa Nahin Dekha 1957 (Both Versions)

Ek Chatur Naar - The Brain Child of Kishore Kumar

This immortal song from Padosan 1968 was the highlight of the film. More than 50 years have passed, it still entertains us. The pivotal role of creating this song goes to Kishore Kumar. He didn't just act or sing in the film, he conducted the proceedings around him. He turned the entire sequence of Meri Pyari Bindu, which was actually a scene into a song. He came up with the tune, polished the words, and even choreographed it on the spot. 
The plan to use the song in Padosan was of Kishore himself. He told Padosan lyricist Rajinder Krishan to do an extended version of the old song sung by his brother Ashok Kumar in Jhoola (1941), which was then picturized so memorably on Saira Banu, Mehmood, Sunil Dutt and Kishore Kumar. A constant companion of brother Ashok in those days, he had heard the song and the tunes stayed with him.
sing for Mehmood and Kishore to sing for Sunil Dutt. When Manna De was approached for this song everybody liked his idea, a situation in the film was created where a music competition to take place between the hero and the music teacher of the heroine. It, being a classical song, Manna De was to by R D Burman with regards to the famous musical face-off number, Manna Dey refused to lose to Kishore, the reality was that he didn't wish to lose to him in the classical song competition since he was a classically trained singer and Kishore wasn't. 
The task of convincing took by Mehmood. He convinced him that its not a real competition but a reel competition. In films, anything is possible when a skinny hero can beat a strong villain why can't this happen in a song. Ultimately Manna De agreed to sing.
 Though the old song was a solo here it will be modified and more catchy to be sung a male duet. Mehmood's voice is also in this song. It was destined to be the most hilarious songs of Bollywood.
Manna De in an interview told,  it took 10 days to compose this song. Everyone who participated in composing this song has contributed. In the final rehearsal of this song, it took 9 hours before they went for a recording. This being a very long song so it was recorded in two parts, later it was merged into one. Manna De further informed that he was surprised when during the recording Kishore Kumar suddenly changed the Sargam and the context by adding his touches like "hmm dhaam.. O Tedhe Seedhe Ho Jaa Re" which took the classical song to a different level.
The song has been composed in the form of a combination of Carnatic and Hindustani music. Mahmood begins with the Aalaap in Carnatic music and the song proper while playing the harmonium. Kishore Kumar sings the Hindustani counterpart for Sunil Dutt. Their preparation for the ‘concert’ itself is funny.
While Mahmood dances, Sunil Dutt moves back towards Kishore Kumar in sync with the rhythm of the song. Kishore Kumar pushes Sunil Dutt in front and simultaneously sings a Bengali song. Beside Kishore, Mukri, Keshto Mukharjee, and Raj Kishore were also part of this song.
Mr. Sadanand Kamath in the book, ” R D Burman – The Man, The Music” by Anirudha Bhattacharjee & Balaji Vittal writes, this song was not only inspired by Ashok Kumar song but also from ‘Van Chale Ram Raghurai’ [SANT TULSIDAS (1939)] for the line ‘….Dekhi teri chaturayee’ and from ‘ Chanda re ja re ja re’ [ZIDDI (1948)] for the line ‘… Kaalaa re ja re ja re’. 
For your reference, I am posting all the three songs

Song of Jhoola 1941

Song of Sant Tulsi Das 1939

Song of Ziddi 1948

Song of Padosan 1968

Ek DO Teen- The Song that Shot Madhuri Dixit to Fame

"Ek Do Teen" featured in 1988 film Tezaab which proved to be Madhuri’s first claim to fame. The song was choreographed by Saroj Khan, sung by Alka Yagnik and composed by Laxmikant Pyarelal. 
Before the release of the film, the song became a super hit, Looking to its popularity a male version of this song was included in the film after the release of the film. The song was driving people crazy. Ek Do. Teen...they hum from the shower to the office. From the office to the bedroom. And everywhere else in between. The film was released on 11th Nov 1988 and all the cinema halls all over India witnessed a huge crowd. It ran in theatres for more than 50 weeks, becoming a golden jubilee, and it was the highest blockbuster at the box office for the year 1988 The film's soundtrack album sold more than 8 million units, becoming the second best-selling Bollywood music album of 1988.
The iconic hook step by Madhuri Dixit in this song was the creation of the choreography genius Saroj Khan. She was the first recipient of the Filmfare Best Choreography Award. Filmfare instituted this award after watching the excellent choreography and audience response to Khan's song "Ek Do Teen" from Tezaab. 
This song and dance were unique in itself, till that time in Indian cinema it had never happened that dance is being performed on stage, but the audience isn’t sitting, they are standing the way the crowd stands on Pop concerts in the west. The director of the film N Chandra wanted Saroj to have such an atmosphere that the crowd going wild and tearing their clothes with excitement.
For this song, Madhuri Dixit had to rehearse for15 days  This song was finally shot in front of a real crowd of 1000 people, everybody connected with this song was very proud that an iconic dance is in making.
In a recent tweet, Madhuri Dixit remembered the dance number and said, “The hook step became so popular at that time. I was shocked to know that people used to demand the song to be replayed in the theatres before the movie could continue & fling money on the screens. Everyone had started calling me Mohini.
This song was inspired by the opening bars of an old popular song "Chanda mama door ke" composed by the famous yesteryears music composer Ravi for the film Vachan.
It is almost 32 years completed of this song and its popularity is still there among the young generation. This song was recreated in the 2018 film Baghi 2.Now Jacqueline, dressed similarly in a pink and yellow skirt danced to the new version of the song.
Very recently Tiktok Users started a #EkDoTeenChallenge. Madhuri Dixit also joined TikTok to celebrate the momentous occasion with her fans, taking up the challenge herself to groove on her popular track with the community of over 200 million users. The #EkDoTeenChallenge clocked a phenomenal over 140 million views in just two days!

Song of Tezab 1988

Song of Tezab 1988 male version

Song of Baghi 2 (2018)

R D Burman-The music composer always look out for new sound

A lot has been written about R D Burman creating sound from various sources, like a broom and a comb, a glass hit by spoon, blow wind into a bottle or beat the table or the human back. It is not important to create that sound, in my mind the genius is to apply that sound into music and make it part of the melody. 

Song from Sholay 1975

In  Mehbooba Mehbooba  song from Sholay (1975), the song begins with the sound he created by blowing from his mouth into half filled cold drink bottles. Nobody before or after him has had these ideas.
In an interview he said that even a motorcycle wheel could get him thinking of a tune. In the song Kal Kya Hoga from Kasme Vaade (1978), he used the recorded sound of a motorbike and also created it vocally himself.

Song from Warrant 1975

On stage display of the sound created from coke bottle

Botal se ik baat chali hai (Ghar, 1978) with real time bottle effect ,similarly the sound from bottle was used in the Warrant song "Ruk Jana O Jana", watch above video.

Song from Kitab 1977

Masterji ki aa gai chitthi (Kitab, 1977) with students beating the table, and which kid has not done this in his/her school days? Then the Chhoti si kahani se, barishon ke paani se (Ijaazat, 1987) with rainfall sound, these and many more are not contrived sound effects, they are natural fits – uniquely blended within the melody, something that is unprecedented and was not heard of before.

Song from Yaadon Ki Baaraat (1973)

 In 'Chura Liya Hai Tumne', from Yaadon Ki Baaraat (1973), the spoon-on-glass sound heard in the beginning is an actual recording of a glass being struck by a spoon.

Song from Darling Darling 1977

In the song 'Raat Gai Baat Gai', from the Dev Anand-Zeenat Aman starrer Darling Darling (1977), at one point (the 2:22 mark in the video above), a beat is heard which doesn't sound like a conventional percussion instrument. In the song's picturisation, it is Aman who is creating the beat by tapping various parts of her own body (as well as a few extras). In the studio, that beat was played by Burman, literally, on the back of one of his trusted percussionists, Amrutrao Katkar.

Song from  Agar Tum Na Hote (1983),

 In 'Dheere Dheere Zara Zara' from Agar Tum Na Hote (1983), the rhythm created by actress Rekha on screen, where she's shown tapping a piece of jewelry around her waist, was actually the sound of a bunch of keys that was used in lieu of the traditional hi-hat.

Song from Zamane Ko Dikhana Hai 1981

In the song above "Hoga Tumse Pyara Kaun" from Zamane Ko Dikhana Hai he created a sound by rubbing two sand papers for creating the sound of a train.

Song from Mahan 1983

He created a different sound by a school bell dipping in a bucket full of water,Watch the above song "Yeh Din To aata Hai Ek Din Jawani Mein" from 1983 film Mahan.See how this sound was created in the video below.

Song from Ajnabee 1974

In the song"Bheegi Bheegi Raaton Mein" from Ajnabee 1974 film,he created the thunder sound by shaking a metal sheet
In Padosan song Mere Samne Wali Khidki Mein the beginning sound was created by rubbing Comb with a grooved pipe.Same sound again  was used in "Chingari Koi Bhadke" from Amar Prem Song.
R D was very fond of new and different types of musical instruments.He introduced Thumba to Bollywood,Pancham and his group had gone for some shows in Africa. There they saw this African Instrument called Tumba. This triggered Pancham and thus he brought TUMBA to India. The legendary TUMBA played in “Aya Hoon Main Tujhko Le Jaunga” from Manoranjan is a classic example of his rhythmic playing.  
In the film Jawani Diwani in asong "Samne Yeh Kaun Aya" he invented an instrument called Pedal Matka to produce a different sound.watch this video below.

Pancham Da was always on a look out for novelty.In the following song"Bandar Salam" from Teen Murti 1982 in the beginning the sound we listen is not from any instrument but produced from the mouth 

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He would make music out of everything — from a bunch of keys to physically playing a beat on the back of a shirtless and bewildered session percussionist