The Story Behind the Song "Waqt Ne Kiya Kya Haseen Sitam"

This iconic song from India's first Cinemascope film Kagaz Ke Phool is now 60 years old. This song was picturized on Waheeda Rehman and Guru Dutt. Geeta Dutt giving voice to Waheeda Rehman. We can feel The"Dard" (Pain) in the voice of Geeta Dutt. What a composition by great S D Burman and penned by another great Kaifi Azmi.
A song bringing forth the tragedy in romance, a song telling us about the inevitability of life in general!.The amazing camera frame by the legendry cinematographer V K Murthy, shadows and light are combined beautifully to create the situation and sad mood of the scene where Guru Dutt and Waheeda meet in an unexpected situation.
The situation of this song was not there in the original script. There were 5 songs for the script, those were already composed and recorded by Burman Da and everybody was relaxed. Suddenly Burman Da started humming a new tune which was light and with a glimpse of sorrow. Guru Dutt, who was sitting next to Burman Da liked this new tune and was deeply touched by this tune, he suggested Burman Da that let's have a song with this tune.
Kaifi Azmi, who was also sitting with them was asked to write for this tune. Kaifi Azmi who seldom write for the pre-composed tunes agreed. He immediately wrote the Mukhda of this song, initially, Guru Dutt was not happy with the Mukhda but Burman Da was very much impressed with the words, he insisted Gutu Dutt think once again, he felt that these lines were enough to bring tears in his eyes.
In the meantime, Burman Da asked Kaifi Azmi to write the two antra of this song. He then beautifully tuned these antra, he thought immediately that Geeta Dutt would give full emotions to this song.

Burman Da called Geeta Dutt and asked her to sing this song in front of Guru Dutt. Guru Dutt liked the song and insisted on Burman Da to get it to record it for this film. The situation for this song was created and then picturized on Waheeda and himself.
When this song was shot, the relation between Waheeda and Guru Dutt were a hot topic. Kaifi Azmi wrote the lyrics with this in mind which later denied that he ever kept in mind about their relationship. However, this song became the highlight of the film.

The booming bass guitar, the soft piano, the tinkling triangle, the flowing strings – the orchestration of that song was mesmerizing. On-screen, a stunningly beautiful Waheeda and a somber, graceful Guru Dutt appearing in an exquisite light and shadow play of haunting black and white images then completed that masterpiece.

In 2018, after 59 years, there is a reference to this song in '102 Not Out'. Amitabh Bachchan who plays a 102-year-old man in the film recorded the track in his characteristic deep and booming voice. The song was arranged by Rohan Utpat and Vinayak K Salvi. 

Song of Kagaz Ke Phool 1959

Song of 102 Not Out 2018

Lata Mangeshkar's Tribute To Geeta Dutt by singing Waqt Ne Kiya Kya Haseen Sitam 

           

The Story Behind the Song" Lag Ja Gale"

This iconic song from the 1964 film "Woh Kaun Thi" was almost not recorded. Madan Mohan had composed the song with great care for a haunting romantic situation in the film but the  Director of the film Raj Khosla didn't like the tune, so he rejected it.
Madan Mohan, who was very sure that this song could be one of his immortal songs approached Manoj Kumar, the hero of the film to request Raj Khosla to listen to the tune once again. Manoj Kumar Kumar, who appreciated the tune too felt that this could be a memorable song.
When the second time this tune was played, Raj Khosla got bowled over by the composition. He immediately approved it. He wondered, how could he reject this song. 
This song was written by Raja Mehdi Ali Khan sung by Lata Mangeshkar was recorded in 1963. When the film released, this song was not as popular as today. You would be surprised to note that this song was not among the top 32 songs of the 1964 Binaca Geet Mala final. Two other songs(Naina Barse and. Jo Hamne Daastan )of this film were on that list, not this one.
There are many songs who are liked and become popular with the passing of time. This song is one such exceptional and inimitable. This song remains one of the favorite songs of Lata Mangeshkar.
The song has not only stood the test of time but has time and again been used by Bollywood and other to accentuate an emotional note in several films, in 1966 the tune of this song was kept in a Tamil film Yaar Nee, a remake of Woh Kaun This, this song was picturized on Jatyalalitha sung by Sushila.In the same year the Telugu movie Aame Evaru, it is rendered as "Andala ee reyi". Even contemporary ones like Karan Johar’s Ae Dil Hai Mushkil to the new Saheb Biwi Aur Gangster 3.this song is used, sung by different singers, the tune remains the same.
There are many versions of this song now available on Youtube. Very recently a video of this song sung by e years old toddler went Viral over social media,I present all the versions here including the original.

Song of Woh Kaun Thi 1964

                             Lag Ja Gale | Tamil Version 

Lag Ja Gale by 2 years child

Lag Ja Gale  (Acoustic) Sanam

                          

Lag Jaa Gale from Sahib Bibi Aur Gangster 3

                                        

Lag Jaa Gale from Ai Dil Hai Mushkil

Lag Jaa Gale  by Various Artists (Who Sang It Better?)

                                           

Lag Ja Gale by Anuradha Paudwal

Lag Ja Gale by Shreya Ghoshal

The Story Behind the Song "Chaudhavin Ka Chand Ho"

In the 1960 Annual Binaca Geetmala, there was a tough competition for the No 1 song, it was between the song "Chaudhavin Ka Chand Ho" and "Zindagi Bhar Na Bhulegi Barsaat Ki Woh Raat". Both the songs were solo and both the songs were sung by Mohammad Rafi. Both were Title songs.
There was a trend in those days that every film must have a title song. This trend was started by Shailendra from the film Barsaat in 1949. In this case, the Mukhada was the title of the film. The composer of this song was Ravi who was also a lyricist but for this film, Shakeel Badayuni was the lyricist. Composer Ravi made the tune of this song with the title as Mukhada but was not finding the exact words to complete the Mukhada, he then talked to Shakeel Badayuni and asked to complete the Mukhada and the song. This song remains one of the most romantic songs of the Hindi Film Industry.
What sets ‘Chaudhvin ka Chand’ apart? The classical romanticism that the song demanded found expression in the ‘period’ scene-setting and cast. But most importantly, the central character of the sequence is Waheeda. This is where it leaves other ‘very good’ or ‘great’ classical romance song-sequences behind.
Chaudhavin Ka Chand was a comeback film of Guru Dutt after the disastrous box office performance of Kaagaz Ke Phool.  He was not the director of this film, he produced the film and gave direction to Mohammed Sadiq. The film was a super hit and became a classic.
Another interesting fact that though the film was in Black & White but this song was picturized in colour. Waheeda Rehman in an interview told that the Censor Board objected to chaudavii.n kaa chaa.nd ho when Guru Dutt re-released a version of the song shot in color? As the color version was being filmed, Waheeda Rehman’s eyes became irritated from the heat of the high-powered lights used during the shoot. Upon seeing the red color of the heroine’s eyes, the Censor Board claimed that the colored picturization of the song contained suggestive and lustful implications inappropriate for audiences.
This song got two Filmfare awards, one for the Lyrics to Shakeel Badayuni and the other to Mohammad Rafi as a playback singer. This was the first Filmfare Award to Mohammad Rafi after debuting 15 years ago. It is the warmth, passion, and soul in his voice that renders this song a timeless masterpiece.

Song of Chaudhvin Ka Chand 1960

The Story Behind the song "Khaike Paan Banaras Wala"

Very few  of us know that the famous Amitabh Bachchan's film song "Khaike Paan Banaras Wala"was not originally created for the film "Don" but it was composed for Dev Anand for the film Banarsi Babu released in 1973.
The music directors for both the films were Kalyanji Anandji. The song was written by Anjaan and  composed by Kalyanji Anandji. When this song was discussed with Dev Anand, he disliked it saying that this will not go with his image, so the song was not included in that film.The song remained in the collection of Kalyanji-Anandji. 
The song was not even kept in Don earlier originally. The film shooting was completed and the film was under post production. It so happened that when the Director of the film Chandra Barot showed the film to his mentor Manoj Kumar to gather his advice. Manoj Kumar advised him that the film is going too fast, it needs some space to breathe, a song should be placed after the interval.
The music director Kalyanji-Anandji were called and were asked to compose one more song for the film urgently , they already had this song in their collection so they suggested this song to the Director. It was agreed by the producer and the director to get it recorded immediately.
When Kishore Kumar was contacted for singing this song he initially  refused to sing Khaike Paan Banarasiwala. The legendary singer said. 'I don't think I can sing this, please find another singer.'

"We pleaded with him. We said he was the best singer to sing it. Finally, he relented on one condition: He would sing it only once."

"If we liked it, good, otherwise, we would have to find another singer. It was agreed on Kishore Kumar's terrms. Kishore Kumar demanded paan while recording the song in the studio. He chewed the paan and spat it on the sheet spread on the floor. All the spitting and chewing that is heard in the song is all real.

We all know that this song became the USP of the film.

Song of Don 1978

The Story Behind the Song "Rim Jhim Ke Tarane Lekar Aayi Barsat"

This song of Kala Bazar (1960) was picturised on Dev Anand and Waheeda Rehman sung by Mohammad Rafi and Geeta Dutt.The song was written by Shailendra and the music was given by S D Brman.
The song became the most iconic rain song and is spontaneously remembered with the pitter-patter of rain. It catches the mood perfectly, the rhythm of falling rain drops and the romance.
It is the first time ever any duet was picturised in background. Thanks to the genius of Barman Dada who insisted that this should be played in background.
The Director of the film was Vijay Anand who was a master of picturising songs.He was picturising this song on the hero and heroine but Sachin Da told him that instead of singing this song should be played in the background. 
Vijay Anand in an interview said that SD Burman was very perceptive about the power and impact of the medium of films and took a keen interest in understanding the situation of a song and its context in the landscape of the entire movie.
The situation was that Waheeda Rehman is standing at the bus stand. Most people here are holding an umbrella each because it is raining. Only Dev Anand is holding a newspaper over his head. He calls a cab. Both he and Waheeda Rehman approach the stopped cab. When they reach it, they see and recognize each other. Within that moment an old woman enters the cab and leaves with it.
Waheeda Rehman wears a dark sari with a light colored blouse, while Dev Anand is wearing a dark kurta pyjama. She had closed the umbrella while approaching the cab. Now both are getting wet. So Dev Anand tells her to open the umbrella and she tells him to come under it too. They try to catch another taxi when it is taken by somebody else.
Suddenly, the camera shoots the sea with the playful waves hitting the large rocks on the shore. The playful nature of the waves represents the mood of the song that is to follow. The song begins. They feel the song in their hearts. They remember all the things that had happened to them together in the past. During the entire song, they are walking on the street. The song abruptly ends, when they reach Dev Anand’s home.

Sachin Da used to experiment a lot, not only during composition of his songs but during background music as well, at times putting his reputation at stake. Sometimes, he faced opposition but stood firm, the skeptical falling in line when the experiment succeeded.The picturised version of the song is less than two minutes long. but it gave an excellent impact in the film.This picturisation happened, and what an eye candy this picturisation was Dev Anand and Waheeda Rehman,

Song of Kala Bazar 1960

When Dilip Kumar Sang his own Song

Not many of us know that Dilip Kumar was a very good singer. Many die-hard fans of the maestro still might not have the information about the one instance wherein he actually rendered a classical song in an unbelievable manner in the late 50s. It was a duet with Lata Mangeshkar that too in semi-classical.
It was Hrishikesh Mukherjee’s first film( Musafir 1957) as a director after working with Bimal Roy as an editor and also the first Hindi film for the comedian Keshto Mukherjee. Besides it had a fabulously talented team working together, with Salil Choudhary as the music director, Ritwik Ghatak as a scriptwriter (along with Hrishi Da), dialogues by Rajendra Singh Bedi and lyrics by Shailendra. Written (story), produced and directed by Hrishi Da the film had Suchitra Sen, Durga Khote, Nirupa Roy, Kishore Kumar, Nazir Hussain, David and more playing the key roles.

Since 50s Mohammad Rafi had become the screen voice of Dilip Kumar but Salil Chaudhary wanted someone else to sing this particular song  “Laagi Naahin Chhootey, Chahey Jiya Jaaye” .One day Salil Chaudhary heard Dilip Kumar humming something in his own mood, Salil Da liked it and decided that this song be recorded in Dilip's own voice. It was a Raga based song and a duet with none other than Lata Mangeshkar, Dilip Kumar was reluctant to give his voice but agreed because of the respect felt for the maestro Salil Da.

It is said that Lata Mangeshkar was initially not agreeable, she wanted some professional singer to sing with her but Salil Da insisted that Dilip Kumar would sing this song.

Dilip Kumar performed the song confidently and the rendition really came out to be a truly touching one with great depth and feel, as if it had been sung by a trained classical exponent with perfection.

It is quite astonishing that Dilip Kumar never sang for himself for subsequent films. His singing voice is so soft and mellifluous – somewhere between Talat Mehmood & K.L. Saigal Saab, In fact, you would feel that Mohammad Rafi is singing. Later in 80s, he sang a few lines in Sagina with Kishore Kumar and In Karma.

Song of Musafir 1957

The Story behind the song "Jalte Hain Jiske Liye" from Sujata

This song was written by Majrooh Sultanpuri and composed by S D Burman, was picturised on Sunil Dutt and Nutan for the film Sujata 1959. It is a “phone” song, where Sunil Dutt rings up Nutan and sings this song on phone. Well, there were very few phones in 1959 ( exactly sixty years ago) and singing a song on phone was not good for one’s telephone bills those days unless one was doing it for very important reasons. 
Bimal Roy, the producer-director of the film wanted this song to be sung by Mohammad Rafi but Burman Da was not in favour, then the name of Manna Dey was suggested but Burman Da was looking for someone else.
SD Burman was always very particular about the voice of his singer to be matched with his composition. For this song, he asked Rafi, Manna Dey to sing back the tune to him over the phone. He was not satisfied with the texture he wanted for this song.
It is said that it was Jaidev who was his assistant in that film suggested the name of Talat Mahmood for this song. Burman Da agreed and asked Talat to sing the tune over the Telephone. On listening to the tune on the phone Burman da immediately decided that this song will be sung by Talat only.
And indeed, the soft silken voice of Talat sounds so wonderful in this song that made the song immortal
The beauty of this song is not only: its music, its words but also its picturization, Talat’s incomparable singing, Nutan’s acting—and, though often overlooked, also Sunil Dutt’s acting. 
Watch in the first verse, for instance, the earnestness in his face as he sings: as if he’s trying to be absolutely word-perfect, not one note out of place, focusing on his song and yet also addressing that girl he loves, who’s listening at the other end of the line. Then, as the song progresses, he begins to relax—not just physically stretching out, but also smiling more easily, letting himself feel more comfortable, more confident that she’s liking his song…

The Story Behind the Song "Dum Maro Dum"

This super hit song was once an anthem of the Indian young generation. To hear ‘Dum Maro Dum’ blaring over loudspeakers was a part of growing up in the 1970s. The job of composing music for ‘Hare Rama Hare Krishna’ was first offered to Sachin Dev Burman but he hated hippie culture and turned down the offer. But his son R. D. Burman was of a different opinion and decide to grab this opportunity. After this song, R. D. Burman became the new mega-composer of Bollywood.
Actually ‘Dum Maro Dum’ was supposed to be a duet between Usha Uthup (singing for the bad girl) and Lata Mangeshkar (singing for the good girl). But at the end, they were both checked off the list and Asha Bhosle ended up singing the song solo.
The song topped the Binaca Geetmala annual list 1972. In Binaca Geetmala, a song could appear for a maximum of 18 weeks, after which it was called a Sartaj Geet. On 15 March 1972, Dum Maro Dum became a Sartaj Geet while it was at #1 payddan (position). It had remained at #1 position for 12 weeks.
Dev Anand wanted some peppy music before his song "Ram Ka Naam Badnam Na Karo" R D Burman sat with Anand Bakshi and asked him to give him few words before starting the song Ram Ka Naam Badnam No Karo. It was Anand Bakshi who used the old phrase Dum Maro Dum Mit Jaye Gum as Mukhda for this song, R D Burman immediately made a tune which was liked by all his musicians. So he asked Anand Bakshi to complete the full song on this tune.

The song came out to be marvellous, everybody was convinced that it will become a craze. In fact, Dev Anand was scared of this song, he was worried that this song will overshadow his song Ram Ka Naam Badnam Na Karo. RDB suggested to him that they will keep this song only on the disc. After a few days, Dev Saab decided to picturise this song on Zeenat Aman but kept a small version of this separately in the film.
The song presented the lyricist Anand Bakshi as a versatile lyricist and shaped his career. It also boosted the composer Rahul Dev Burman's career. Bhupinder played the guitar for the song. Charanjit Singh played the distinctive drone of the transichord that opens the song.
This song has been remixed and sampled by a number of artists. It has also been included in many compilations.British DJ, San-j Sanj has used the infectious guitar hook and created a dance track featuring Natty A called "So Real So Right". DJ Ritu and Bally Sagoo compiled the song for their collection The Rough Guide to Bollywood in 2002. In 2004, the hip-hop artist Method Man sampled the song in his third album Tical 0: The Prequel, for the track "What's Happenin'" featuring Busta Rhymes.
Here is the original song along with many cover  versions of this song

Song of Hare Rama Hare Krishna 1971

Dum Maro Dum by Rowdy Brass Band "What Cheer

Method Man and Busta Rhymes, "What's Happenin'"

The Beatles of Bollywood

Naarghita - Dum maro dum

Robin and The New Revolution

Story Behind the Song "Yeh Aankhen Uff You Maa"

This Iconic song is sung by Rafi and Lata and it is picturised on the lead pair of Dev Saab and Asha Parekh. The film was directed by Nasir Hussain and the song was written by Hasrat Jaipuri and composed by Shankar Jaikishan. The film was a super hit, all the songs were hit.
When this song released everybody was curious to know the meaning of Uff Youmaa.These words became craze after the release of the film.
The story behind these words was that once Music Director Jaikishan along with lyricist Hasrat Jaipuri were attending a party in Bombay where an Arabic lady who was very beautiful said Uff Yumma and Jaikishan immediately took a liking for this very unusual word and there and then asked Hasrat Jaipuri to sit down and write a romantic song using this word for their upcoming film Jab Pyar Kisi Se Hota Hai.
The Mukhra of this song was ready in a few minutes. Jaikishan immediately left the party and went to Nasir Hussain's house Initially Nasir Hussain was reluctant to take these words but when the full song was ready he invited Dev Saab to listen to the song. Dev Anand instantly liked these words and approved this song.
This romantic song was picturised on the beautiful hills of Darjeeling. The situation was created for this song by the director for using these words. 

Song of Jab Pyar Kisise Hota Hai 1961

Please Click the Link Below to know more about Hasrat Jaipuri

https://youtu.be/58O0VJZZ0UU 

Story Behind the song Hotho Mein Aisi Baat

"Hotho Mein Aisi Baat, Mein Dabaa Ke Chali Ayee" is one of the best dance sequences in Indian Cinema. This is from Dev Anand's classic Jewel Thief(1967). That was the time when actresses were actually trained (long term!) in dance. Vyjantimala, of course, was the best of the best. But others like Waheeda Rehman, Hema Malini and others have also given some great dance sequences.
Vijay Anand was the director of this film, we all know that he was the master of picturising a song. This movie started a trend where directors began putting a song before the climax. Before that, he tried a song before the climax in Nau Do Gyaraha(1957) but this song remains one of the best Dance Songs of Bollywood.

Vijay Anand worked with Vyjantimala for the first time. She was a Super Star at that time. There were some date problems and many distractions but Vyjayantimala being the professional that she was, still came up with a polished performance. Goldie's only grievance was that she could have done better with Hoton Pe Aisi Baat. He wanted her to rehearse the number before we went for a final take. But she told me airily that she didn't need any rehearsals. he insisted she did, but she still didn't report for rehearsals and came straight to the set. he called for "pack-up" and told her firmly that she had to stay back in the studio and practise with the assistants. She did practise, for 15 minutes. Then she got into her car and drove off saying that Saroj Khan would be coming to her place later and they'd go over the steps together. The rehearsal never happened but Vyjayantimala being a good actress and an excellent dancer didn't find it too difficult to pick up the steps and the shots were okayed quickly. So if you see a single camera capture of Vyjantimala’s magic, it was ACTUALLY done in a single shot

The song is from those days where technology was so much poorer compared to today, the editing of that song was marvellous. Which means that they didn’t have sharp edits that could get stitched together, and look like one single camera sequence, Think of the choreography with the support dance troupe, and other stars like Dev Anand, floating in between the long sequence otherwise focused on Vyjantimala.
Honthon Mein Aisi Baat” (brilliantly choreographed by Master Sohanlal), as the camera follows Vyjayanthimala, he uses the circular tracks, dynamic angles and cuts to build up the tension to a crescendo. Here is an example of how Western technique could merge with Indian art. Even as you enjoy the aesthetics of dance.
As we all know that the music was given by S D Burman and he was assisted by his son R D Burman who by that time had become an independent Music Director and was giving the music of Teesri Manzil side by side. The song was sung by Lata Mangeshkar but you will be surprised to know that Bhupinder also participated in that song. Bhupinder sings the opening
refrain Hooooo for Dev and in the middle of the song he says " O Shalu". That was his total contribution to the song.

Song of Jewel Thief 1967

 

The Song "Gata Rahe Mera Dil" was the Last Addition in Guide

You would be surprised to know that this super hit song was originally not in the film. Vijay Anand in an interview said that the song Gata Rahe Mera Dil was inserted later, like a patchwork. We shot that song after the film was completed and then it was added. He said he along with Dev Anand thought that there was no song of Kishore Kumar, in fact, Kishore had not sung for Dev since Paying Guest in 1957.
It happened just like that. Firstly, Kishore Kumar was preoccupied with Madhubala’s health. He was not being able to devote time to rehearsals and recordings. And then with Rafi Sahab, their association was working perfectly. But Dev Bhai was missing Kishore for a long time and so he went to meet him. And then caught hold of him and sort of dragged him to Burman Dada’s home.
 The moment he saw Kishore he said in Bengali, ‘why didn’t you come all these days’ and hugged him. They loved each other a lot. Burman Dada then said let us start the rehearsal, we are going to record a song.
That time S D Burman was composing a song for Teen Deviyan and the song was Khwab Ho Tum Ya Koi Haqeeqat. This song was the first song Kishore recorded for Dev Bhai after a long hiatus under Burman Dada’s music direction. Kishore sang it so wonderfully, he won everyone’s heart. This is exactly what all of us, including Dev Bhai, was missing. Burman Dada kissed his (Kishore’s) head. He was delighted.
Guide was completed and about to release earlier than Teen Deviyan because there was some work still left with the latter. Besides, Teen Deviyan was being made in black and white and on a much smaller canvas. Guide had been mounted on a large scale and it was in colour and thus it was a much-awaited film. So why not include a song by Kishore in Guide.
So immediately Shailendra was called to write a romantic song thus this song was recorded in a record time. The song was a very big hit. It was the only song of Kishore Kumar in the film.

Song of Guide 1965

The story behind the song"Chahoonga Main Tujhe Saanj Savere"

The Filmfare Award in 1965 went to Dosti(1964) for five categories including three categories namely – music director, singer and lyricist gone to Dosti for the song Chahoonga main Tujhe Sanj Savere –The song was brilliantly rendered by Melody King Mohd. Rafi Saab and was composed by Laxmikant-Pyarelal and written by Majrooh Sultanpuri.
Laxmikant Pyarelal were the upcoming Music director Many of their earlier films were not successful at the Box Office only Parasmani was successful. Dosti was their first Super Hit film and the music was also super hit. The song Chahoonga main tujhe sanj savere tune was composed much earlier than any Parasmani song by the duo with Lata Mangeshkar in mind. They could not find a situation in their early films to use the song properly.
Originally the lines of the song written by Mazrooh were Chauhingi Mein Tujhe Saanjh Savere, Phir Bhi Kabhi Ab Naam Ko Tere, Awaz Mein Na Dungi.
Dosti was a small budget movie of Rajshri Films and getting Mohammad Rafi and Lata the Established singer was out of the budget for the composer but they thought of approaching Rafi to sing songs for Dosti.
They were very apprehensive when they drove to Rafi’s mansion early that day not knowing if the great singer would agree to sing for a low-budget movie and for such young, struggling music directors such as LP. 
 During the musical sitting of Dosti, Laxmikant sang this song out for Rafi at the very tail end of their session before departing Rafi’s house as a song they kept in their pocket as a reserve. Rafi was completely bowled over by the tune of Chahoonga  main tujhe , he agreed to sing songs for Dosti for the sake of singing this song. LP replied that there was no situation in the movie for this song. They did not want to use it. Rafi insisted persistently and said that he would sing all the songs for free if Chahoonga main tujhe was included in the film.  LP returned back and had to make the writer, producer, director re-write the story to include Chahoonga  main tujhe as a primary song in the film.
The movie was released and took India by storm in 1964. Rafi sang 5 solo songs in this film, all the songs were hit Rafi Saab had given his golden voice to many unknown actors, even in Dosti two boys played the part of friends were Sudhir Kumar and Sushil Kumar. All of the songs lip-synced by Sudhir Kumar (Mohan), the blind boy.  Even as a unique coincidence Dosti is the only movie in Hindi Cinema which made a record for the biggest hit without heroine. 
Rafi Saab was honoured by the Government of India with the coveted Padmashri Award as well as National Film Award for the Best Male Playback Singer for this song “Chahooga main Tujhe“

Song of Dosti 1964

Baazi 1951 Songs Were Banned by All India Radio

You would be surprised to note that the popular songs like Tadbeer Se Bigdi Hui Taqdeer Bana Le and many more songs were not allowed to air from All India Radio. It was in 1952 that the minister of information and broadcasting (I&B) of newly independent India, B.V. Keskar, decided that All India Radio (AIR)—the information and entertainment lifeline of the nation—would not air film songs as they were degenerate and far too “Westernized”. He believed they would hinder the cultural growth of a young nation on the cusp of a bright future. 
Mr Keskar who was a staunch supporter of Indian Classical music. To his mind, Indian film songs were straying from their responsibility of instilling national pride in people.
The influence of western music and instruments would keep the Indians away from their culture. 
In an article in The Hindu (19 July 1953), Keskar argued that the country’s appreciation for classical music had “fallen” and was “on the point of extinction” particularly in north India.
To begin with, he mandated that all songs aired on AIR would be screened, he imposed “a quota of 10 percent of all program time”. In addition, Keskar ensured that if a film song was played, the film’s title would not be announced, since he considered that advertising. Only the singer’s name would be mentioned.
As a result, Radio Ceylon got popularity. It created the legendary musical countdown Binaca Geetmala—a show entirely dedicated to Indian film songs. Every Wednesday, Indian listeners would tune into Radio Ceylon and listen to their favourite songs with their favourite show host—the iconic and charming Ameen Sayani, who would engage them with complimentary film trivia.

Song of Baazi 1951

"Tere Mere Sapne Ab Ek Rang Hain" An Immortal Art in Celluloid.

Vijay Anand was an Ace Director. His directorial excellence was as much about his deft camera work as it was about his nuanced characters. He was a master of picturising songs. His songs outlived his times. This great song from Guide is an immortal art in celluloid. Both he and his elder brother Dev had a  belief that the songs have repetitive value. Besides the composition of the song, they were very particular about the picturization of the song. Vijay Anand used to say “My camera listens to the song and moves with it,” Long shots, lush backdrops and sharp intercutting brought out the poetry in the prose.
Guide (1965) was Navketan’s first film in colour. Based on RK Narayan’s novel. It became a classic because it excelled in acting (Dev Anand-Waheeda Rehman), music (SD Burman), photography (Fali Mistry), editing (Vijay Anand and Babu Shiekh)... 
There was a situation in the film where the heroine was dejected and to bring hope the hero sings a song. For this situation, three legends, Dada Burman created a tune for which  Shailendra wrote the beautiful lines and Mohammad Rafi gave the voice.  Incidentally, the saxophone that plays in this song was played by Manohari Singh, a music assistant to S D Burman (and later R D Burman).

The song Tere Mere Sapne was shot in the early light(Sun Rise) in Udaipur. This sequence lasts more than four minutes, but it is made up of only three shots, which increase progressively in length – in other words, there are only two cuts in the whole scene. And this isn’t an arbitrary stylistic decision, it is central to what is happening in the film at this point. 
The two cuts in this scene (the first around the 39-second mark, the second around 1.44 minutes) both occur after a movement of the song has been completed, and both have Rosie drawing away from Raju after initially reaching for him. In the first scene, she strokes his shoulder; in the second she hugs him briefly, but then bunches up her fist and moves away. She is still conflicted at the end of both these movements, and in each case the cut serves as punctuation, indicating that the process of reassuring her must begin anew. And this is done at a dual level, by the lyrics of the song as well as by the sympathetic, probing movement of the camera.

 In his book Cinema Modern, Sidharth Bhatia quotes the cinematographer Fali Mistry’s son as saying of this sequence, “It was shot over two evenings and a morning, at dusk and dawn, which means they must have had a very small window of about 10 minutes each time, so they had to ensure nothing went wrong in the acting, camera placement, lighting etc … It required great coordination.” 

Song of Guide 1965