This Iconic Song was Picturised on Music Director Jaikishan

All the fans of Music Director Shankar Jaikishan and Indian film enthusiasts would be surprised to note that the haunting melody ‘Ae Pyase Dil Bezubaan’ from the film Begunah, sung by the great Mukesh was picturized on Jaikishan. In the song sequence, Jaikishan is playing the piano and also singing.
 This film was released on 8 March 1957 but The film was banned 10 days after its release because it was a plagiarized version of the American film Knock on Wood (1954, starring Danny Kaye, Mai Zetterling). The producers of the film filed a copyright lawsuit in India. They won the case and the judge ordered all prints of Begunah to be destroyed. However, the songs especially Mukesh number "Aye Pyase Dil Bezuban" became quite popular 
There is a story behind this song was that once Mukesh was in need of money and approached Shankar for a song That time Shankar was in the process of composing the tune for the film Gunah. The hero of the film was Kishore Kumar so there was no scope for Mukesh to sing in that film. Music Director Shankar assured Mukesh that he will give him a song in this film. Shankar got his collaborator and friend, the renowned lyricist Shailendra, to write the lyrics and called the film’s producer Mahipatray Shah to tell that the song, which would be sung by Mukesh, would be picturized on Jaikishan. The idea startled Shah, who feared that the song had no relation to the film. But in the late 1950s, Shanker-Jaikishan practically ruled the Indian film music world and Shanker’s word was final,” 
The song was the highlight of that film and Sheila Vaz’s dancing was another major highlight of the song.
Sheila Vaz was a popular dancer in Hindi films from 1953 – 1960. Some of her important films included Shree 420 (1955), where she danced memorably not just to Ramaiya Vastavaiya but also to Dil Ka Haal Sune Dilwala, CID (1956), Johnny Walker (1957), Tumsa Nahin Dekha (1957), Mr X (1957), Solva Saal (1958), Kaagaz Ke Phool (1959) and Bahana (1960).

Asha Bhonsle- Awarded for a song that never picturized

 

You would be surprised to know that Asha Bhosle won her 6th Filmfare Best Singer award of 1974 for a playback song that did not figure in the movie at all? The song was in the Long Playing Record but was not in the film.

The song was 'Chein se hum ko kabhi aap ne jeene na diyaa' from the film 'Pran Jaye Per Vachan Na Jaye'  released in 1974.The song was composed by O P Nayyar.It was the last song of Asha Bhonsle for O P Nayyar.After this song they parted away. Asha  Bhosle did not turn up to pick up the award, which was, ironically, received by OP Nayyar. 

The story behind the song was that this song was recorded after the completion of the shooting of the film. The song was to be added in the last moment but the producer had already sent the film to the censor board and before the song to be picturized, the film got the censor certificate.

The song was written by S H Bihari.lyrics are full of emotions and Ashadidiji sang this song from the depth of her heart and she made the song superb.

Asha Bhosle(born 8 September 1933) has won seven Filmfare Best Female Playback Awards of 18 nominations. After receiving the award in 1979, Bhosle emulated her elder sister and requested that her name not be considered for the nominations hereafter. Despite this, Bhosle is the most frequent winner of this award to date, tying with Alka Yagnik. She was later given a Special Award for Rangeela in 1996, and the Filmfare Lifetime Achievement Award in 2001. 

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

Main hoon jhum jhum jhum jhum Jhumroo- One Man Show

This song from the 1961 film'Jhumroo' was written, composed, and sung by Kishore Kumar. He was the producer, editor, story writer, and hero of this film. This song is a title song played with the opening credit titles of the film. The film starts with this song, Kishore Kumar is nowhere in the scene. The picturization shows a toy train finding its way on the picturesque terrain of Darjeeling hills while this song gets played in the background. Madhubala is one of the passengers traveling on this train.
Jhumroo was Kishore Kumar's first released film as a composer, before that two of his films as a composer was shelved. Both were to be directed by Phani Mazumdar. Both films couldn't see the light of the day.
 Kishore Kumar is at his absolute best as a singer in this song. This song has Kishore Kumar at his yodeling best  There were 11 songs in the film  Most of the songs were recorded well before the shooting of the film stated. There was no situation for this song, everybody was appreciating this song and wanting to retain this song, so it was kept in the beginning as a background song with the credit titles.
Since Kishore Kumar had no musicians, orchestra, and music arranger so the help of S D Burman's team was taken. Basu Chakravarti who was Burman Dada's arranger helped Kishore Kumar to complete songs.
The song starts with the rhythm of a guitar matching the sound of a steam engine followed by the yodeling of Kishore Kumar Before yodeling starts Kishore creates the sound of the whistle of the engine. There is no differentiation between Mukhda and Antra in this song, in fact, each Antra has the Mukhda in it. Between the Antra Kishore Kumar's high pitched laughter and yodeling is kept as an interlude. The words are simple and minimum use of musical instruments mainly guitar and accordion are the main instruments.

Song of Jhumroo 1961

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)

The Story Behind the Song'Tadbeer Se Bigdi Hui Taqdeer Bana Le'

This super hit song from the Navketan's Baazi(1951) was written by Sahir Ludhianvi was a Ghazal to be picturized as per the situation but Dada Burman felt that in this situation Ghazal will not suit so he effortlessly turned it into a club song and changed the situation. 
This song was sung by Geeta Roy(Dutt) You would be surprised to note that Guru Dutt who was the director of the film fell in love with Geeta Roy during the recording of this song.
The mahurat of Baazi took place in 1950, the mahurat shot was taken on the sequence of this song. Everybody present there appreciated the song and its picturization. When the film was released, it became a super-duper hit, this song became so popular that audiences came repeatedly to watch just this song. 
This was the first shot of the career as a director for Guru Dutt obviously wanted to use his skills as a choreographer, learned at no less an institution than Uday Shankar’ for the mahurat shot. It was a delicately balanced scene. A long shot on the gangster’s moll, who was to seduce the hero. Yet she was obviously half in love with the debonair, dashingly handsome young man, and even as she sang to him to lure him along, she wished to warn him of the dangers lurking around.
An NRI musician Sadanand Warrier says that it was surprising that Dada who had no affection and knowledge of western music could use chromatic notes in the interlude of the song. Even the 'Hey Hey Hey Hey' is essentially chromatic movement.
In an interview, Dada Burman said that he deliberately used the phrase 'Hey Hey Hey Hey' to capture the feelings of being truly liberated as portrayed by the young woman. This song became a rage, it is said the people liked this song so much that cine-goers used to see the movie only for this song, many would walk out after the song ends.
S D Burman once said in Filmfare that.once he was fishing in Calcutta and was not able to catch a single fish, he set patiently for the whole day but couldn't catch any. Thoroughly disappointedly he was calling it a bad day, suddenly a boy of 10 years jumped into the pond and started singing his this Baazi song not knowing the composer of the song sitting there. That made his day It was the biggest catch of his life.

Song of Baazi 1951

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

O Haseena Zulfon Wali - The song that made Pancham Unbeatable

 Who can forget the 20-feet-tall Rocky sculpture and the massive "human eye" visual in the "O Haseena Zulfon Wali" song with Helen and Shammi Kapoor? This super hit song from Teesri Manzil has a story behind it.
The creator of this song was R D Burman. Four films ahead of him, none of these a hit, looking for a big break was not the first choice of the producer Nasir Hussain and hero Shammi Kapoor. Both of them were keen on Shankar Jailishan or  O P Nayyar. It was only the director  Vijay Anand and lyricist Mazrooh Sultanpuri who persuaded both the producer and the hero to listen to his tunes then decide.

Pankaj in an interview once said that he had already prepared six tunes for this film and was sure that these will be approved by them. In the first sitting he started with the first  two lines of a Nepali tune, which was later remade as ‘Deewana mujhsa nahin’, when Shammi interrupted him, completed the rest of the lines ‘Deotara mattali oina’, Shammi Kapoor told him he knew the full Nepali song and heard it before, he liked the tune since then.
After this Pancham played the tunes he had reserved for this occasion. The first tune he presented was O Haseena Zulfon wali, listening to this Shammi Kapoor jumped from his seat. The next tune Pancham played was of the song Aaja Aaja Mein Hoon Pyar Tera. Shammi Kapoor stopped him abruptly and said, ‘I don’t want to hear any more songs.’ He rose and made for the exit. ‘You’ve passed. You are my music director,’ 
This is a duet of Asha Bhosle and Mohammad Rafi in which Pancham used a big orchestra of more than 80 musicians of whom close to forty were violinists. Pancham laid out a variety of instruments ranging from the drums and the violins for the main course of dominant sounds, the triangle and the trumpet for the side dishes of supporting sounds, and the acoustic guitar and sax in the Bossa nova-style interludes. 
. Filmed in multiple crane shots with fleeting close-ups and cuts introduced only when switching between characters, Manohari Singh the right-hand man of RDB said that this song was recorded well before Shammi Kapoor reaching the studio.  In the song, the Saxophone was played by Manohari Singh and in the film, Shammi Kapoor plays Saxophone. When Shammi Kapoor heard the recorded version of this song, he said it would set the standard for the portrayal of lively music and dance in Indian cinema.

Piya Tose Naina Lage Re- An Iconic Dance

"Piya Tose" the song from Guide was composed by Dada Burman using Roopak Taal (7 Beats) which was Dada's most favorite Taal. Waheeda Rehman looked extremely charming with her Gentle Dance Steps while singing "Piya Tose".If you notice carefully this song starts without any prelude which was Dada's typical style. Alaaps within this song were very carefully composed.
This is one of the best dances of Waheeda Rehman in films. Waheeda Rehman in an interview once said that Since this was a very long dance sequence, there was a possibility in final editing, part of this song would have been cut. Realizing this, Waheeda Rehman took a promise from Dev Anand that in the final editing he will cut something else from the movie but will not touch this dance song. And guess what, Dev Kept up that promise and this dance sequence was kept intact and no cuts were made.

This dance song was very long nearly 8 minutes. There are 4 stanzas and each stanza of 5 or 6 lines. It took 21 days to picturize this song. The specialty of this song, it presented a new dance aesthetics that blended Kathak, Bharatnatyam, and different folk dances from across India as also a celebration of different festivals. This dance was choreographed by Master Sohan Lal and his younger brother Hira Lal B, under the guidance of Vijay Anand. The choreography of the song and the picturization by the Cameraman Fali Mistry is simply superb. Vijay Anand is known for the excellence of picturizing a song.

The striking stage sets that accompany the song and dance sequence mapped the different stages of Rosie's success as a professional dancer. Beginning from a simple theatrical setting in a rural environment to a further grand scale. The costumes in this song according to the stanzas. Each stanza unfolded a different setting, dance style, music, and background. The innovative cinematography showed the backup dancers in novel ways. First, the camera only caught their moving feet but then their bodies filled the stage in various visual designs. The camera angles also enhanced the dance sequence. The sheer grace and beauty of Waheeda Rehman's dancing, her restrictive movements, and energy made the scene memorable.

Watch carefully the last stanza "Raat Ko Jab Chaand Chamake Jal Uthe Tan Mera" is a turning point of this song, where our soul is lost in the beautiful scene of moonlight of Raag Khamaj and the same in the second stanza about morning sunrise "Bhor Kii Bela" just observe the sound of a flute, what a composition by Dada Burman.
The interludes in "Piya Tose" are very rich and composed very intrinsically. Dada used a wide variety of musical instruments in this song such as Sarangi, Harmonium, Tabla, Ghungroos, and North Eastern Drums. There is also a piece of very interesting information to the readers that the world's best Santoor Player Pt. Shivkumar Sharma played Tabla for this song and flute by Hariprasad Chaurasia.
There is a story that this song was sung and recorded by S.D.Burman himself before he recorded Lata's song. It was a usual practice of Dada to sing the song himself first then tell his singers to sing like him.
There is one more story about this song that this song was already composed 10 years ago for the movie Devdas of Dilip Kumar. It was picturized on Dilip Kumar and Suchitra Sen as a background song. The wordings of the song were a little different. Even music was a little different. Whereas a tabla piece replaced original sitar piece. 

Song of Guide 1965

Story Behind the Song "Chalo Dildar Chalo"

This immortal song from Pakeezah(1972) was originally a solo sung by Lata Mangeshkar, intended for use as a dancing number, the fascinating solo version was cut from both the film and record released, later a romantic version, a duet was recorded. You may have noticed it or not, Rafi sab has sung but just a single line in it which is the Mukhda. Amazing how a single line sung by Rafi sab had made it an immortal Rafi song.
This was the only song in this film having a male voice. All the other songs were female solo. The music of this film was given by Ghulam Mohammad. He composed a total of 15 songs for the film out of which only six were used. The remaining songs were released in 1977 in an album called "Pakeezah Rang Barang". This album was released exclusively by Saregama in 1977.
This film took 16 years to complete. The mahurat of the film happened on July 16, 1956, and the film got released in Feb 1972. The music of the film was recorded by the end of 1959. Kamal Amrohi wanted this film to be a musical so 15 songs were recorded earlier.
The shooting of the film was halted in 1964 due to mutual differences between lead heroine Meena Kumari and her director-husband Amrohi. In 1968, the composer of the film passed away. So, when the film was revived in 1969, Naushad was roped in to complete the background music for the film. Many exhibitors suggested Kamal Amrohi change the music according to the then-popular trend and style. To this Amrohi said that he would have readily done this if only Ghulam Mohammed was still alive but now he cannot betray a man, who gave him such melodious songs, after his death. So he kept his music intact but used fewer songs as planned to keep up with the fast-changing trend.
In 1969 the shooting of the film resumed after a gap of five years. By this time Meena Kumari's health got deteriorated. She was suffering from Liver Cirrhosis. Few songs were yet to be picturized. Her condition became so bad that during the filming of the grueling emotional Mujraa “Teer-e Nazar,” Meena Kumari collapsed.  Keeping in mind her medical condition, a body double was brought. Actress Padma Khanna played her body double in this song as she was an adept Kathak dancer which was an urgent requirement of the song. Meena Kumari personally trained her for the scene, and the song was filmed with the majority of the dancing done under a veil in order to hide her face. 
Similarly in this song too Padma Khanna acted as Meena Kumari. Her face was actually never shown in the song.

Song of Pakeezah 1972

                    Chalo Dildar Chalo - Lata Solo version not in the film

"YAHOO" The Yell that Shook the Nation

This iconic foot-tapping song from film Junglee introduced a freestyle dancing by Shammi Kapoor. His sky-breaking scream ‘Yahoo!’ depicts a freedom-seeking soul. This song became a cult song.  The idea of "Yahoo" itself was Shammi Kapoor's who had used it earlier in "Tumsa Nahin Dekha" (1957) and "Dil Deke Dekho" (1959).
You would be surprised to know that the iconic yell "Yahoo!!" in this song was not rendered by Mohammad Rafi. In fact, Jaikishan the music director of this film had planned on using his voice for the scream but when he couldn't pull it off, he asked the writer Prayag Raj who happened to be in the. studio and gave that memorable shout. Shammi Kapoor once said it was only Rafi saheb who could sing on such a high scale.
Shammi Kapoor hurt himself while picturizing this song. He badly bruised his knees when he came hurtling down a snow-covered hill while shouting his signature call -- "yahoo" - This song was picturized at Pahalgam in Kashmir.
 It is this musical number alone that solidified Kapoor's reputation as an untamed screen presence (in the style of Dean and Presley) and set the tone for his future movies. 
After picturizing this song, when Rafi saheb saw the song, he hugged Shammi Kapoor and said that he thought of him while singing this song and you have exactly done that. After this song Rafi became his voice in films. 
Junglee was 1961 film which was in color, it was an attraction to those days. Shammi Kapoor was not sure that this film would be such a hit, especially this song. This song became a craze and Shammi Kapoor became a Superstar after this film. Kapoor steadily amassed a huge following that reached its zenith with this film.
This movie was first offered to Jagdeep before played by Shammi Kapoor. Jag deep 'Surma Bhopali' from Sholay fame famous for the comic role did some serious role in his early movies

Song of Junglee 1961

Suhana Safar Aur Yeh Mausam Haseen - The song that was kept on Hold

This song remains one of the most popular songs of Madhumati, released in 1958. The Madhumati soundtrack features eleven songs composed by Salil Chowdhry. Shailendra wrote the lyrics The soundtrack of Madhumati became the best-selling Bollywood soundtrack of 1958. This remains one of the personal favorite songs of Mukesh.
Suhana Safar Aur Ye Mausam Haseen is one of Hindi cinema’s greatest musical scores. An anthem in praise of natural beauty. Mukesh’s inimitable voice emanates the joy with a fantastic echo effect. Salil Chowdhury utilized this quality so adeptly in this composition that listening to it one feels like none but Mukesh could have rendered this song. Charming its way into people’s hearts and rightly securing his position in the league of legends.
It is said that Dilip Kumar, the hero of the film wanted this song to be sung by Talat Mahmood but Talat himself declined to sing saying Mukesh needed that break much more than him, Mukesh was not getting songs during those years and that he was hard up for money.
There is another story behind this song, that Shailendra who was the lyricist for this song couldn’t find a suitable line to follow this particular one “Ye Gori Nadiyon Ka Chalna Uchhal Kar”. So the song was kept on hold for quite some time till one day, he happened to chance upon a little girl who was crossing a lane and singing to herself. This inspired him to write the next line “Ki Jaise Alhad Chale Pee Se Mil Kar”. He immediately went to Salil Da's home and completed the full song. Shailendra has used words like ‘Alhar’, which is seldom used in film songs and it is north Indian rooted word, generally used by village and small-town folks.
Along with the composition of the song and its picturization; the lyrics were unique. Describing the movement of rivers, 
Unlike other films, shot indoors, Roy decided to shoot Madhumati outdoors and at a hill station. It had a six-week schedule in Ranikhet, Nainital. Some scenes were shot in Ghorakhal, near Nainital. In those days there were no monitors, so when the negatives were developed, it was found that most of the footage was foggy. Since a reshoot in far-away Uttarakhand wasn't possible, sets were created near Vaitarna Dam, Igatpuri, near Nashik. Art direction team, led by Sudhendu Roy, created fake pine trees, which were planted to matched the location in Nainital.

Song of Madhumati 1958

Kaanto Se Kheench Ke Ye Aanchal - An Experimental Song

EVERY song of ‘Guide’ is still fresh in the minds of people who love music. This 3.44-minute song of Lata Mangeshkar is one of her favorite songs  Could you believe that initially, she didn't like this song. This song was recorded in between the shooting of the film. Dev Anand, who was the producer of the film was also not satisfied with the song.
S D Burman experimented in his music in many of the songs of this film. In this song, he started the song with an Antara. Usually, Hindi songs start with a Mukhada but here Dada Burman started with Antara. The Mukada of the song is "Aaj Phir Jeene Ki Tamanna Hai" which comes after Antra. Probably a feat no other music director will ever be able to ever repeat
After the recording of this song in Bombay, Dev Anand joined the unit that was shooting at Udaipur in Rajasthan. Vijay Anand who was the director of the film now wanted to shoot the song but Dev Anand who was not satisfied with the song was not interested to shoot, Vijay Anand convinced him to shoot this song if even after he didn't like, they will re-record the song.

The song "was shot at Chittorgarh Fort, Rajasthan. In fact, the reflection of the heroine on one of the mirrors, during the song, is inspired by the legendary tale of Alauddin Khilji catching a glimpse of Queen Padmini on the same mirror in the main hall.
Composer Sachin Dev Burman fell seriously ill during this film and even requested Dev Anand to engage some other composer for the film. But Dev Anand stood firm to his side and said that he would wait till Dada Burman is fit again. Once cured, the masterpiece compositions started to flow; the first song recorded was the evergreen "Gaata Rahe Mera Dil".

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)