The 80s for my part symbolize the worst decade for Hindi movie music. In reality, the worst decade for Hindi movies per se. Add to that Lata Mangeshkar’s quickly deteriorating voice high quality. Her voice had proven indicators of decay within the 70s as properly, however just a few composers like Jaidev, Khaiyyam and Salil Chowdhury composed some excellent songs for her. 80s have been dominated by Laxmikant Pyarelal, whose output ranged from actually good to sheer noise (particularly within the second half of the last decade), R D Burman, who fortunately continued to compose melodious tunes for Lata, and Bappi Lahiri who, within the phrases of Baradwaj Rangan, “was doing to Hindi movie music what the villain often did to the hero’s youthful sister”. For some unusual motive even within the 80s, most composers continued to make Lata sing at a really excessive pitch, which was as soon as her forte, however now ended up making her sound shrill. She would have effortlessly sung these compositions a decade or two again, however now appeared to battle as soon as too typically.

Mockingly, my obsession with Lata Mangeshkar’s voice began in my rising up years within the 80s, when my publicity was largely to atrocities like Jaate Ho To Jao (Desh Premee, Laxmikant Pyarelal), Mara Thumka (Kranti, Laxmikant Pyarelal), Chal Chameli Baagh Mein (Krodhi, Laxmikant Pyarelal), Humka Le Chal Yaara (Painter Babu, Uttam Jagdish), Chal Bhag Chalein (Kalyug Aur Ramayan, Kalyanji Anandji), Disco 82 (Khuddar, Rajesh Roshan), and so on. It’s only now that I name them “atrocities”. At the moment, nevertheless, I discovered these very songs attention-grabbing (!!!) and was fascinated by the ‘sweetness’ of Lata’s voice regardless that she was properly previous her prime.

If one have been to have a look at Lata Mangeshkar’s output within the 80s, it’s evident that from 1980-85 the standard of her songs was a lot superior to these from the 1985-89 interval. And I am not speaking solely about how she sounded. The compositions themselves have been fairly ear-unfriendly within the submit 1985 interval. In fact, there have been just a few exceptions, however the songs within the submit 1985 interval have been typically fairly insufferable.

1980: No matter the standard of their compositions, Laxmikant Pyarelal have been the kings when it got here to churning out hits. In 1980, that they had Lata croon two of their greatest hits of the 12 months – Sheesha Ho Ya Dil Ho (Asha) and Tu Kitne Baras Ka (Karz). Kitna Aasan Hai (Dostana) was additionally standard however that tune leaves me fairly chilly.

Bappi Lahiri was but to launch a full fledged assault on the ears of the listeners along with his weird compositions for Jitendra-Sridevi-Jaya Prada movies from the south and the noisy disco-influenced songs, and composed some actually good songs for Lata like Dooriyan Sab Mita Do (Saboot), Baithe Baithe Aaj Aayi (Patita), and naturally the beautiful Jaane Kyun Mujhe (Settlement).

Rahul Dev Burman continued to make use of Lata for melodious compositions like Bhor Bhaye Panchhi (Aanchal), Aaja Sar-e-Bazaar (Alibaba Aur Chalis Chor), Bindiya Tarase (Phir Wohi Raat), and the pleasant duet the place Lata gave good expression to Gulzar’s lyrics – Thodi Si Zameen (Sitara).

Rajesh Roshan’s collaboration with Dev Anand in Lootmaar and Manpasand resulted in songs like Paas Ho Tum Magar Qareeb Nahin and Sumansudha Rajni Chandha respectively. However what I contemplate his greatest tune for Lata in 1980 is a duet with Rafi – Mujhe Chhoo Rahi Hain (Swayamwar). Madan Mohan’s compositions for Chaalbaaz have been launched 5 years after his dying and included two Lata gems – Raat Ujiyari Din Andhera Hai and Jaiye Hum Se Khafa Ho Jaiye.

In my view, it was Khaiyyam who composed the 2 greatest Lata songs in 1980, each duets. The primary one is a duet with Kishore Kumar – Hazaar Rahein Mud Ke Dekhi (Thodi Si Bewafai). The opposite, which is my decide for 1980, is Simti Huyi Ye Ghadiyan from Chambal Ki Kasam. The explanation why I decide this tune is neither the gorgeous phrases penned by Sahir nor the melodious tune by Khaiyyam. I’ve a really deep sense of nostalgia related to this tune. It was shot on the place the place I spent my childhood, and I keep in mind how excited we youngsters have been after we learnt {that a} movie crew had come to shoot there.

Simti Huyi Ye Ghadiyan (1980 – Chambal Ki Kasam – Khaiyyam – Sahir Ludhiyanvi)

1981: I’m not certain if 1981 was the 12 months when Lata was essentially the most prolific within the 80s, however that is the 12 months from which I’ve the utmost variety of songs. And the record of songs I like additionally runs fairly lengthy. Hridayanath Mangeshkar had Kale Kale Gehre Saye (Chakra), which was unmistakably Hridaynath; Ye Ankhen Dekh Kar (Dhanwan), which had a slight Khaiyyam contact; and Kuchh Log Mohabbat Ko (Dhanwan), which lay within the L-P territory by way of orchestration.

Khaiyyam’s Dard had two Lata numbers – Na Jane Kya Hua and the transferring Ahl-e-dil Yun Bhi, whereas Nakhuda had an above common Lata-Nitin Mukesh duet – Tumhari Palkon Ki Chilmanon Mein.

A number of the Laxmikant Pyarelal songs which have been standard and I like from this 12 months embrace Hum Ko Bhi Gham Ne Mara (Aas Paas), Aap Ka Khat Mila (Sharda), Mere Naseeb Mein (Naseeb), Megha Re Megha Re (Pyasa Sawan), Zindagi Ki Na Toote Ladi (Kranti), and Solah Baras Ki Bali Umar (Ek Duje Ke Liye).

Rahul Dev Burman’s output included common love songs like Kya Yahi Pyar Hai (Rocky), Dekho Maine Dekha Hai (Love Story), Apne Pyar Ke (Barsaat Ki Ek Raat) and Tune O Rangeele (Kudrat). Nonetheless, the songs I completely love are Jahan Pe Savera Ho (Basera), which is a superb composition regardless of indicators of Lata not being utterly relaxed with the impossibly excessive scale in locations, and the beautiful Tere Liye Palkon Ki (Harjaee).

In 1981 there have been just a few different composers who created first rate Lata songs. These embrace Usha Khanna with Chand Apna Safar (Shama) and Raamlaxman with Har Ek Jeevan (Bezubaan). After which there may be Bappi Lahiri’s Thoda Resham Lagta Hai (Jyoti). I do not care a lot about this tune and do not even recall having heard it until the Fact Hurts controversy and the next remix model.

The soundtrack of the 12 months was Shiv-Hari’s Silsila. This was a typical Yash Chopra rating, with a marriage tune, a holi tune, love ballad, et al., however was steeped in melody. Dekha Ek Khwab is certainly extra standard, however I choose Neela Aasman So Gaya, Jo Tum Todo Piya and the very best of the lot, Ye Kahan Aa Gaye Hum.

Now comes my decide of the 12 months. I’ve all the time had a comfortable nook for Salil Chowdhury’s compositions for Lata. So I have to decide what was amongst their final collaborations. Aaj Koi Nahin Apna from Agni Pariksha. It is a tune which, if composed within the 50s, would have had a variety of scale variations Salil Chowdhury specialised in. Within the 80s, nevertheless, was smart sufficient to mould his composition to the degraded vocal capability of his singer. This turns into very evident within the antara the place you all of a sudden count on the tune to take a lot sharper jumps throughout octaves. But this does not take a lot away from the fantastic thing about this tune.

Aaj Koi Nahin Apna (1981 – Agni Pariksha – Salil Chowdhury – Yogesh)

1982: A number of the songs I like from this 12 months embrace Dard Ki Ragini (Pyaas, Bappi Lahiri), Ab Chiraghon Ka Koi Kaam Nahin (Baawri, Khaiyyam),Chandni Raat Mein (Dil-e-Nadaan, Khaiyyam), Tum Se Hello To Shuru Hai (Adhura Aadmi, Rahul Dev Burman), Ae Ri Pawan (Bemisal, Rahul Dev Burman), Jaane Kaise Kab Kahan (Shakti, Rahul Dev Burman), Kabhi Kabhi Bezubaan (Johnny I Love You, Rajesh Roshan). Laxmikant-Pyarelal’s Prem Rog was standard, however not one of the songs maintain a lot attraction for me, apart from Ye Galiyan Ye Chaubara. Ditto for Rajesh Roshan’s Kaamchor, which had Tujh Sang Preet Lagayi (Kaamchor, Rajesh Roshan).

Speaking of L-P, they produced top-of-the-line soundtracks of the 12 months, which sadly belonged to one of many greatest flops of Indian cinema – Deedar-e-Yaar. With songs like Sarakti Jaye Hai, Tumko Dekha To, and the exquisitely composed and orchestrated dance quantity – Aaye Wo Phoolon Ke Rath Pe. I’d have absolutely picked Aaye Wo Phoolon Ke Rath Pe as my favorite tune from this 12 months, had Khaiyyam’s Bazaar not launched in the identical 12 months. How may I ignore a gem like Dikhayi Diye Yun Ki Bekhud Kiya?

Dikhayi Diye Yun Ki Bekhud Kiya (1982 – Bazaar – Khaiyyam – Mir Taqi Mir)

1983: Within the 80s, it was virtually a norm that if a star-son was to be launched, Rahul Dev Burman would rating the music and Lata could be the lead feminine singer. After Love Story and Rocky in 1981, it was Betaab in 1983, the place Jab Hum Jawan Honge grew to become immediately standard. RD additionally composed another romance flicks like Lovers and Romance which had Lata duets like Aa Mulaqaton Ka Mausam and Dil Ke Aasman Pe. The perfect RD compositions for Lata this 12 months have been Humein Aur Jeene Ki (Agar Tum Na Hote), Tujhse Naraaz Nahin (Masoom), Kahin Na Ja (Bade Dil Wala) and Jeevan Ke Din (Bade Dil Wala), which was most likely Udi Narayan’s first break as he bought to sing a quick line at first of the tune. RD’s assistants, Basu-Manohari, bought a break as impartial composers in Chatpatee the place they composed a hummable Lata-Kishore duet – Aa Humsafar, which appeared like a curious mixture of RD’s and Rajesh Roshan’s types.

The LP hit machine churned out Likhnewale Ne Likh Dale (Arpan), which was as soon as extraordinarily standard on Chitrahar on DD; Din Maheene Saal from Avtaar, which revived Rajesh Khanna’s profession after an limitless collection of flops; Pyar Karnewale (Hero), which I personally discover fairly insufferable; and Nindiya Se Jagi Bahar (Hero), a pleasant tune that will have sounded nicer if Lata had sung it perhaps a decade earlier. The thickening of her voice was turning into fairly evident now. Usha Khanna’s Shayad Meri Shaadi Ok Khayal (Souten) was most likely the most important hit of her profession. Zindagi Pyar Ka Geet Hai from the identical movie was standard as properly, however I keep in mind getting so badly postpone by the movie that it was troublesome for me to develop any liking in any respect for the songs. Usha Khanna’s Sweekar Kiya Maine had a pair good Lata songs, however for some unexplained motive there was an enormous Khaiyyam affect in these songs. On first listening to, it is simple for anybody to mistake Ajnabi Kaun Ho Tum and Chaand Ke Paas for Khaiyyam’s creations.

Among the best songs from this 12 months is Hridaynath Mangeshkar’s Tum Aasha Vishwas Hamare from Subah, however when we’ve got Khaiyyam’s Razia Sultan, the place is the potential for some other tune to outshine Aye Dil-e-Nadaan. Ostensibly a solo, I contemplate this tune to be a duet – the santoor passages virtually comply with Lata’s vocals observe to notice, thus imparting a novel character to the tune. And when all of the music stops apart from a deep thump on the tabla, it’s extremely goosebumpy. Razia Sultan had different good Lata numbers like Jalta Hai Badan and Choom Kar Raat, however they fall wanting the excellence of Aye Dil-e-Nadaan.

Aye Dil-e-Nadaan (1983 – Razia Sultan – Khaiyyam – Jaan Nisar Akhtar)

1984: There are only a handful of fine Lata songs from this 12 months. I’ve heard rather a lot about her tune in Tarang, composed by Vanraj Bhatia, however I have not heard that tune. The songs that I like from this 12 months are: Mujhe Tum Yaad Karna (Mashaal, Hridaynath Mangeshkar); Rahul Dev Burman’s Gehre Halke (Duniya), Kaisi Lag Rahi Hoon Foremost (Jhoota Sach), Jaane Kya Baat Hai (Sunny) and Aisa Sama Na Hota (Zameen Aasmaan); and Khayyam’s songs from LorieBhar Lein Tumhe Bahon Mein and Aaja Nindiya Aaja.

My decide from 1984 is from Laxmikant Pyarelal’s Utsav. No, not the well-known Man Kyun Behka, however Neelam Ke Nabh Chhayi (the identical tune as Saanjh Dhale sung by Suresh Wadkar). I like this tune for 2 causes – one, Vasant Dev’s poetic lyrics (neelam ke nabh chhayi pukhraji jhaanki….how typically do you get to listen to such phrases in Hindi movies?) and secondly, the expression Lata lends to this tune, particularly when within the antara she covers the sapt swars in only one phrase.

Neelam Ke Nabh Chhayi (1984 – Utsav – Laxmikant Pyarelal – Vasant Dev)

1985: After 1981, this the 12 months with the utmost variety of Lata songs in my assortment. By now Laxmikant Pyarelal have been clearly getting stale. Noise grew to become the hallmark of their music and it was pretty evident that little effort was being expended in creating the essential tunes. What else can one say about cringe-worthy songs like O Dilbar Janiye (Pyar Jhukta Nahin). A number of the not-so-bad songs from this 12 months have been Tum Se Mil Kar (Pyar Jhukta Nahin), Zu Zu Zu (Sanjog), Zindagi Har Qadam (Meri Jung), and Baith Mere Paas (Yaadon Ki Kasam), which was not an authentic tune anyway. There have been two movies, nevertheless, the place Laxmikant Pyarelal composed comparatively higher songs. One was Ghulami, which had Zeehale Miskin and a multi-part Mere Pee Ko Pawan. Then there was Sur Sangam, a movie based mostly on classical music. Although the songs from this movie (sung largely by Rajan & Sajan Mishra) would rank nowhere within the record of greatest classical songs from movies, however given the period when it was created, it was fairly a courageous effort and pretty first rate at that. This movie had two Lata numbers – Maika Piya Bulave and Jaoon Tore Charan Kamal Par Vaari, each of which I like. Apparently, the state of affairs of Maika Piya Bulave demanded that Lata went besur in the direction of the top however my untrained ear finds her going off-key proper within the first line.

R.D Burman’s downfall had additionally began by this time. In some way, the progressive nature of his compositions disappeared someplace. Most of his songs from 1985 are straightforward on the ears, however they do not have a stand-out high quality in them. A couple of of his Lata songs from this 12 months: Tum Dilwalon Ke Aage (Sitamgar), Ek Baat Dil Mein Aayi Hai (Rahi Badal Gaye), Hum Tum Dono (Lava), Is Jeevan Ki (Alag Alag), Machal Machal Jata Hai (Ram Tere Kitne Naam), Bhuri Bhuri Aankhon Wala (Arjun), and naturally Sagar Kinare (Sagar).

Rajesh Roshan had already misplaced his uniqueness by this time and his songs began sounding extra like LP’s. Dushman Na Kare (Aakhir Kyun?) is one such instance. Debutante music director Vijay Singh produced, directed and composed for cricketer Sandeep Patil’s (and Kirmani’s) movie debut in Kabhi Ajnabi The. Whereas the movie sank and not using a hint, it had just a few good songs like Geet Mere Hoton Ko, Kabhi Ajnabi The, and Is Dafa.

Shiv-Hari’s second collaboration with Yash Chopra in Faasle resulted in some melodious tunes like Hum Chup Hain and Janam Janam. Although the very best songs from this movie have been sung by Asha Bhosle, my favorite Lata quantity from this movie is In Aankhon Ke Zeenon Se, a composition that is sparse in orchestration, excessive on melody and wonderful by way of lyrics (Shahryar). This movie additionally had the favored Solar Le Ye Sara Zamana.

I do know lots of people really feel in any other case, however my favorite soundtrack of 1985 is Ram Teri Ganga Maili. After LP’s sonorous compositions in Prem Rog, Raj Kapoor switched to Ravindra Jain, who introduced in a sure Pahadi-influenced freshness to this rating. Though Ravindra Jain’s tunes have been largely high-pitched, I nonetheless love them. I keep in mind the craze Solar Sahiba Solar grew to become in these days, however I choose Ek Dukhiyari, Husn Pahadon Ka and Ek Radha Ek Meera. And, in fact, my favorite tune from this 12 months – Tujhe Bulayen Ye Meri Baahen. I just like the construction of the mukhda that modifications tempo after the primary line.

Tujhe Bulayen Ye Meri Baahen/ Suno To Ganga (1985 – Ram Teri Ganga Maili – Ravindra Jain – Ravindra Jain)

1986: It’s powerful to select any good tune from this 12 months. Most of Lata’s tune from this 12 months have been with Laxmikant Pyarelal, and I do not discover anybody of them value a second pay attention. They comply with virtually the identical template – over-orchestrated, high-pitched sub-standard tunes that had Lata at her shriekiest greatest (or ought to it’s worst?). Let me record down these songs and you’ll know what I imply – Jind Le Gaya (Aap Ke Saath), Vairiya Ve (Naam), Aaj Subah Jab Foremost Jagi (Aag Aur Shola), just about every part from Naache Mayuri, which incorporates Sadhna Aradhna, Paijaniya Bol, Foremost Tose Boloon Na, and Jhoom Jhoom Naach Mayuri, and doubtless the most important hit of this 12 months Foremost Teri Dushman (Nagina)

The one songs from 1986 which are considerably bearable are Mora Roop Rang (Qatl, Laxmikant Pyarelal) and Ae Sagar Ki Lehron (Samundar). Since I’ve began this train of itemizing down one favorite tune per 12 months, I’d achieve this, understanding very properly that the tune I decide up for 1986 wouldn’t determine even in my record of 1000 or 2000 greatest Lata songs of all time. The tune I decide up is Rahul Dev Burman’s Din Pyar Ke Aayenge from Savere Wali Gaadi.

Din Pyar Ke Aayenge (1986 – Savere Wali Gaadi – Rahul Dev Burman – Majrooh Sultanpuri)

1987: One other awful 12 months. Lata songs launched this 12 months embrace Rajesh Roshan’s Tu Vaada Na Tod (Dil Tujhko Diya); LP’s Jhan Jhanan Jhan Payal (Nazrana), Tujhe Itna Pyar Karein (Kudrat Ka Kanoon), and Naam Saare Mujhe (Sindoor); and Anu Malik’s Tere Pyar Pe Bharosa (Hawalat). Among the many comparatively higher ones have been Rahul Dev Burman’s Wo Teri Duniya Nahin (Dacait), and my choice from this 12 months – Patjhad Sawan Basant Bahar (Sindoor).

Patjhad Sawan Basant Bahar (1987 – Sindoor – Laxmikant Pyarelal – Anand Bakshi)

1988: For a change let me first record down the worst Lata songs from this 12 months. The highest runners for this is able to be Nachegi Saraswati (Ganga Jamuna Saraswati, Anu Malik), Hoga Thanedar Tu (Shahenshah, Amar-Utpal). Within the dangerous class could be Sajan Mera Us Paar Hai (Ganga Januma Sarawati), Pati Parmeshwar (Ganga Jamuna Saraswati) Jaane Do Mujhe (Shahehnshah), and Ungli Mein Angoothi (Ram Avtaar, Laxmikant Pyarelal). Within the OK class would fall Mere Pyar Ki Umar (Waaris, Uttam Jagdish) and Badal Pe Chalke Aa (Vijay, Shiv-Hari). The one tune that I discover good among the many releases from 1988 is Kiran Kiran Mein Shokhiyan (Ek Naya Rishta, Khaiyyam).

My selection from this 12 months should be from a movie that by no means bought launched. I am placing it underneath 1988 solely it was meant to be launched that 12 months, though the soundtrack was truly launched 6 years later, and the movie, by no means (I contemplate myself to be fortunate for having watched this movie at a movie pageant in 1991-92). I am referring to Libaas, which noticed the Gulzar-Pancham mixture provide you with yet one more basic. All of the songs from this movie have been sung by Lata – Kya Bhala Hai Kya Bura with Pancham, Khamosh Sa Afsana with Suresh Wadkar, and two solos Phir Kisi Shakh Ne & my decide for this 12 months – Seeli Hawa Chhoo Gayi.

Seeli Hawa Chhoo Gayi (1988 – Libaas – Rahul Dev Burman – Gulzar)

1989: Naushad returned from a digital retirement with an above common rating in Teri Payal Mere Geet. It was troublesome for each Naushad and Lata to recreate the magic that they had created collectively greater than three many years again, but songs like Mohabbat Ka Ek Devta, Duniya Ke Mele and Kya Kahein Aaj Kya have been higher than the noise we have been being subjected to in these days. Bappi Lahiri’s Jaiyyo Na (Guru), Usha Khanna’s Hum Bhool Gaye Re (Souten Ki Beti) and Laxmikant Pyarelal’s Ye Isak Dank Bichhua Ka (Batwara) have been a few of the different Lata songs launched this 12 months. Nonetheless, the three greatest hits of this 12 months have been Maine Pyar Kiya, Ram Lakhan and Chandni. The success of those soundtracks had an enormous position to play in reviving HMV’s fortunes and likewise led to much more producers clamouring to get Lata sing a minimum of one tune for his or her movies.

Raamlaxman’s music in Maine Pyar Kiya grew to become a nation-wide craze, however I by no means actually developed a lot of a affinity in the direction of it. I discovered songs like Dil Deewana, Kabootar Ja, and others strictly OK. Blame it on my Sridevi fascination, however I actually took to Shiv-Hari’s Chandni soundtrack in these days, actually sporting off the cassette by taking part in it in limitless loops. Mere Haathon Mein, Aa Meri Jaan and Shehron Mein Se Shehr do not maintain the identical attraction for me now as they did in these days, however the easy melody of Tere Mere Hoton Pe is one thing I nonetheless like.

My decide for this 12 months would possibly look like an uncommon selection. Laxmikant Pyarelal’s O Ramji Tere Lakhan Ne from Ram Lakhan. I personally really feel that this was LP’s greatest composition for Lata since Aaye Wo Phoolon Ke Rath Par in 1982. The orchestration removed the noise issue and the refrain actually added to the tune, not like in different LP songs from the 80s the place the refrain performed the position of creating the tune much more insufferable.

O Ramji Tere Lakhan Ne (1989 – Ram Lakhan – Laxmikant Pyarelal – Anand Bakshi)



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