The song "Pardesiya" from Param Sundari feels a lot like A.R. Rahman's early songs, especially "Tu hi re" from Bombay. It makes you wonder why it sounds so similar. Is it because the heroine is a South Indian and the film was mostly shot there? Or maybe because Sachin-Jigar, who usually creates original music, was told to make a song that sounds like Rahman's style? Could it be that Dinesh Vijan, the director, was influenced by Rahman, who did the music for Mimi and Chhaava, which is the only hit in that film?
On the other hand, could it just be that Sachin-Jigar really admires Rahman and wants to copy his style?
Music composers have always been influenced by others. There are so many examples, but I can't list them all.
Now, about the credits.
The title track of Saiyaara gained popularity, but what stands out is the unusual credit line. Music duos have been a big part of Hindi films, going back to Husnlal-Bhagatram in the 1940s, and later Sachin-Jigar. Shankar-Ehsaan-Loy were the first trio. When a song comes from them, it's unclear how they all worked together. No one usually talks about how much each person contributed to the song.
But what's unusual is that the song "Pardesiya" was written by Irshad Kamil but composed by three different people: Tanishk Bagchi, Faheem A, and Arslan N. So, can we know how they put it together?
This reminds me of a song from nine years ago, "Taang uthaa ke" from Housefull 3, which was credited to four lyricists.
The song was written by Sameer Sen, the film's writers Sajid and Farhad, Mamta Sharma, who was also one of the singers, and Sanjeev Chaturvedi.
The Great Gender Flip!
Laxmikant-Pyarelal had to go through a lot before they got their first big hit, Parasmani.
One of their earlier films, Piya Log Kya Kahenge, was shelved. The lyrics were written by Qamar Jalalabadi. The song was going to be sung by Lata Mangeshkar.
But the duo couldn't forget the tune.
When they worked with Majrooh Sultanpuri on Dosti, the lyricist heard it and suggested a male song with new lyrics. L-P were a bit uncertain, but Mohammed Rafi believed it would work. So they changed the song to be sung by a man, which became the most popular track in that film's soundtrack.
Divine Timing!
Saira Banu shared on Instagram that her 1967 song, "Kanha Kanha aan padi main tere dwar," sung by Lata Mangeshkar for Shagird, was filmed on Krishna Janmasthami Day.
The song was written by Majrooh Sultanpuri and composed by Laxmikant-Pyarelal. It was shot by Samir Ganguly at night because Hussain had to film with Dilip Kumar the same day for Ram Aur Shyam in Chennai.
The Writer Who Stood His Ground for a Rhyme!
Pt.
Narendra Sharma, who once wrote for All-India Radio and also worked on shows like Vividh Bharti and Hawa Mahal, suggested names like Dilip Kumar for Yusuf Khan and Navketan for Dev Anand. He made a comeback as a lyricist for Raj Kapoor's Satyam Shivam Sundaram, and soon after, Raj asked him to write a song for Prem Rog: "Bhanwre ne khilaya phool."
Sudhakar Sharma, who was a fan of Pt.
Narendra Sharma, remembers the second line of the song, which was "Phool ko le gaya rajkunwar." Raj suggested changing it to "rajkumar" for simplicity, but Pt. Narendra Sharma refused because it fit the rhyme better. This choice allowed him to use rarer words in the song, adding to its charm.
From Chaahat to Aashiqui
Sameer, a lyricist, remembers the story behind Aashiqui.
Gulshan Kumar planned to record 11 songs for an album with Nadeem-Shravan and Sameer. The album was called Chaahat, and the first song was "Main duniya bhula doonga teri chaahat mein." Mahesh Bhatt heard the songs and decided to make a film around them, inspired by a similar incident with O.P. Nayyar's tunes for Kashmir Ki Kali in 1964.
Bhatt loved the music and the three new composers and took charge of promoting the music when Kumar was worried about the film and songs.
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