'1988-2006': MUSICAL DUOS AND MELODIOUS ERA OF HINDI CINEMA

The phase in Hindi cinema was turning out to be crampy and was going downhill. In Hindi cinema, Music has played a defining role in determining role on the life of a movie, though it has changed now. The times were dominated by action-movies, high-pitch drama, loud-disco music. In music, Bappi-Lahiri style was being served like old wine in new glasses. Shabbir Kumar was singing for actors, who were heartbroken, when circumstances drifted them from the love- interest in the movies. 

Then, came Qayamat se Qayamat Tak(referred as QSQT henceforth) in 1988. It was like a fresh air of breeze, which changed the discourse of Hindi music. The musical duo of brothers, Anand-Milind had disclosed that there was no plan for that music as such. It happened like on a picnic tour with Mansoor Khan, the director of the movie.(Mansoor happens to be the son of late Naseer Hussain Sahab, a noted film- maker and cousin of  actor, Amir Khan). Even 30 years after its release, when tracks of QSQT are played, it brings the same freshness and easiness and it will surely do that after years to come. In 1989, came Maine Pyaar Kiya. Many of the production houses collaborated with pet music directors. For Rajshri Productions, it was either Ram-Laxman or Ravindra Jain. In case of Maine Pyaar Kiya, it was Ram-Laxman. The innocent love story, charm of young Salman Khan, sweetness of Bhagyashree, musical love theme connected with the audience quite well and its songs are very likeable. People listen to it today also. 

Around the same time, another musical duo of friends, Nadeem Saifi-Shravan Rathod(referred as Nadeem-Shravan henceforth) were trying to make a mark in Hindi music industry. They started early, from the 70's they were working. After that, they got chances to compose Bhojpuri songs. Meanwhile, they got an opportunity to compose for Hindi film industry, but it was not working their way. They got a movie, Ilaaka, a multi-starrer movie, which failed to garner success. Devastated by this, the duo left a touch with Hindi film industry for a while. A sincere effort never goes in vain. Same thing goes with them. They had prepared a bunch of songs, during their years of struggle. They had prepared songs on situational basis, like the college songs, hero wanted to confess his love, the heroine accepting the proposal, the separation situation, meeting again, etc. The theme of the movies largely revolved around these situations in those times. The duo were waiting for right platform to deliver. And it happened around in the last months of 1989, when Anuradha Paudwal, a prominent female playback singer recommended their name to Gulshan Kumar, a music baron and owner of T-Series. Gulshan Kumar heard their compositions and was mesmerised by them. He promised them that he would create a musical album for them with those songs. Then, songs were recorded with the playback singing of Kumar Sanu(who was also discovering his path in the music industry) and Anuradha Paudwal and an album was created. Then, Mahesh Bhatt happened to listen to such songs. He said that the songs deserve to be in a movie. Everyone jokingly asked Bhatt Saab that whether he would make movie out of it. Bhatt Saab responded in the affirmative, and a movie was penned down with those songs. The music of the film released and it became an overnight sensation. The movie was titled 'Aashiqui' and the rest is history. The songs of Aashiqui have created a benchmark for Hindi film music and its songs have become immortal. It is surely one of the most popular musical album in the history of Hindi cinema. Their collaboration with Bhatt Sahab created other masterpieces such as Dil Hai Ki Maanta Nahin, Sadak, Hum Hain Raahi Pyaar Ke and fine music-tracks in Saathi, Junoon, etc. Before association with Nadeem-Shravan, Bhatt Saab took Rajesh Roshan as the music director, the combination of which had delivered good soundtracks in Jurm, Daddy. In the early 90's, Nadeem-Shravan music was selling like hotcakes and they were the most in demand. Production- houses would line up at their doorstep. Their music was the guarantee of success. They delivered melodious soundtracks in  Phool Aur Kaante, Rang, Dil ka kya Kasoor, Balma, Deewana etc. Then, excellent soundtrack in Barsaat and good work in Agni Sakshi.  There was a magical combination of Nadeem-Shravan-Kumar Sanu- Sameer. There was a shift in the pattern of music from mid-90's. There also, they delivered well in Dilwale, Raja and melodious soundtrack in Raja Hindustani good songs in Jeet.  They had collaborated with Subhash Ghai for the first time, who used to work with Laxmikant-Pyarelal in most of his films. Nadeem-Shravan delivered melodious songs in Pardes. Then in 1997, a tragedy occurred.  Gulshan Kumar was murdered and Nadeem Saifi's name surfaced in the murder. Nadeem left India and took exile in other country. The career of Nadeem-Shravan took a backseat then and Jatin- Lalit became the hot favourite. After leaving India, Nadeem used to work from abroad, and still used the tag of Nadeem-Shravan. Then came, Sirf Tum, Dhadkan, Kasoor, Ek Rishta, Raaz, Yeh Dil Aashiqana, Haan Maine bhi Pyaar Kiya, Dil ka Rishta, Andaaz.  The music of Sirf Tum, Dhadkan is over the top, the music of Kasoor, Raaz is exceptional. They shared a special relation with Darshan Brothers, Dharmesh Darshan and Sunil Darshan. The music of Ek Rishta, Yeh Dil Aashiqana, Dil ka Rishta connected quite well with the listeners. They went a bit mediocre in Barsaat, Dosti and did not work after that. The highlight of Nadeem-Shravan's music was adherence to Hindustani music with heavy reliance on Shehnai, Harmonium, Flute and they also tried Jhankar beats, Bonjos, Electronic drum fusion beats.  Rural India's favourite is Nadeem-Shravan music. The echoes of their songs is still heard loud in the heartland of India. Their soundtracks continue to sway the music-listeners till today, as listeners crave for melody, which is missing today. The music of Nadeem-Shravan is timeless.

The musical duo of Anand Milind also tasted success in the early 90's. During the late 80's, Laxmikant Pyarelal's music( musical duo) was the highlight of Hindi music industry. Anand-Milind's music was inspired from that of Laxmikant-Pyarelal. Their music got noticed and they started getting offers. The one's which would hire Laxmikant-Pyarelal started hiring Anand-Milind. Their music was running all over the country post QSQT, musical album Lal Dupatta Malmal ka( an album created by T-Series). Kya Karte the Saajna from Lal Dupatta Malmal Ka continues to sway the heartland of India. The songs of Dil are remembered for highly melodious notes. With Baaghi, they went to another good level. They created brilliant playscores in Beta(although Dhak-Dhak song was inspired from a Telugu song), Anari( Kya Mausam Aaya Hai was inspired from Illayraja's score), Anjaam, Krantiveer, Vijeta. They created melodious scores in Lootere. In Bol Radha Bol, Eena Meena Deeka, they worked with David Dhawan the music of which was quite popular. Their music featured regularly in Govinda-David Dhawan movies like Raja Babu, Hero Number 1, Coolie Number 1, Aunty Number 1, Dulhe Raja. Their music had a folkish touch. They did a fine job in Jaan. Illayraja's music had a deep impact on their compositions. Later, taking inspiration from them, they started composing music. They portrayed their brilliance in Suneel Darshan's Jaanwar. They delivered good songs in Dahek,  Chal Mere Bhai. They appeared as guest composers in Salman Khan starrer Jaanam Samjha Karo. They used variety of singers in their compositions, from Amit Kumar, Udit Narayan, Abhijeet, Suresh Wadekar, Sudesh Bhosale, Sonu Nigam,   Alka Yagnik, Anuradha Paudwal, Kavita Krishnamoorthy, Sadhana Sargam, Sapna Mukherjee, Poornima, Sapna Awasthi, Jaspinder Narula, Gayatri Ganjawala, etc.

The musical duo of brothers, Jatin-Lalit is also a big name from that era. They were trained under Pyarelal Sharma, from the musical duo of Laxmikant-Pyarelal.  Their music was much influenced from that of R.D. Burman. Even R.D. Burman had said once to Abhijeet, that in the Antara of the song, Waada Raha Sanam(Khiladi), there is a certain style which was quite similar to his and he was grateful to them, that they were taking the music further, which Pancham Da was leaving. The music of their debut movie, Yaara Dildaara was a huge success. Bin Tere Sanam is popular today also, of which certain remixes have been made, Tum Hi Hamari Manzil was composed very beautifully. They had a good association with Majrooh Sultanpuri Saab, which began with Yaara Dildaara and got stronger with Jo Jeeta Woh Sikandar(referred to as JJWS henceforth). Pehla Nasha from JJWS is remembered even today and continue to hold a space for its freshness. They got a fair amount of attention with Khiladi and they delivered well with Raju Ban Gaya Gentleman. They created perfect sync with a story based in Goa, Kabhi Haan Kabhi Naa. They shared a perfect bond with Yashraj Productions. They created the playscore for cult classic, Dilwaale Dulhania Le Jaayenge. Its songs have become eternal. They generated wonderful music in Khamoshi: The Musical. They had a perfect bond with Aziz Mirza too, which began with Raju Ban Gaya Gentleman, and continued with Yes Boss, Phir Bhi Dil Hai Hindustani. In between, they created a brilliant playscore in Fareb, which is under- rated otherwise. After mid- 90's and by late 90's Shah Rukh Khan had become a phenomenon, and Jatin-Lalit's music was the defining score in his movies. Their collaboration created another immensely popular music in Kuch Kuch Hota Hai. Then, beautiful playscore was created in Pyar to Hona Hi Tha, they showed depth and intensity with Ghulam and also did well in Khoobsurat, Dil Kya Kare, Pyaar Koi Khel Nahin. The music of Sarfarosh was also appreciated.Then, they repeated the magic again in typical Yash Raj-SRK combo in Mohabbatein. They collaborated with Karan Johar after Kuch Kuch Hota Hai in Kabhi Khushi Kabhi Gham, for which they composed some of the songs. They stroke a chord with the theme of the movie and delivered on the target. They did remarkable work in Chalte Chalte which is a landmark in Abhijeet's career. Abhijeet's best surely came in Jatin- Lalit music. They did quite well in Haasil, whose music is under-rated otherwise. They created the typical urban symphony in Yashraj Production's Hum Tum, which garnered success and the duo split after creating another masterpiece in a Yashraj Production's Fanaa. 

There was another musical- duo of Chacha-Bhatija of Dilip Sen- Sameer Sen, who hailed from musical family. Their soundtracks were fast-paced and they had their unique style. They had arrived on the scene, but their first recognised work was Aaina. They got immense popularity with Yeh Dillagi, Ole -Ole became a rage, and Abhijeet's voice also became quite popular and not to forget Lata Mangeshkar's masterpiece, Hothon Pe Bas Tera Naam Hai, which is still remembered. They did quite well in Sanjay Kapoor starrer Kartavya. Tu Chor Main Sipahi also caught the attention of listeners, and they showed depth with Itihaas. The soundtrack of Aflatoon became quite popular. They featured prominently in Guddu Dhanoa-Sunny Deol combo and their songs suited the theme of the movies where the system faced the backlash of angry-man Sunny Deol. They created amazing music in Ziddi, did a good job in Salakhein. They did a fine job in Achanak, did well in Zulmi.  Anari Number 1 music also created a huge buzz then. The music of Kohram was also popular then. 

There was another musical duo of friends, Nikhil- Vinay. They collaborated mostly with T-Series. They got recognition with Bewafa Sanam, which brought Sonu Nigam to the limelight. They worked well in English Babu Desi Mem. They also created playscore for Hum Tumhare Hain Sanam, which released years after. After the murder of Gulshan Kumar, T-Series had sidelined  Nadeem-Shravan and had collaborated with Nikhil- Vinay. By late-90's there was a trend of music videos and albums. They created masterpieces with Sonu Nigam in Jaan and Deewana. It's songs have become eternal. They created exceptional music in Tum Bin, it's music garnered a huge success. It's music is the highlight of early 2000's. They did a fine job with Aapko Pehle Bhi Kahin Dekha Hai. They created melodious soundtrack in Muskaan, where we could hear Anuradha Paudwal again. The duo split in 2006.

It is remarkable to note that the masses in India consider the period of Hindi music from late-80's to early 2000's under the umbrella of 90's. The musical duo of Shiv Sharma and Hari Prasad Chaurasia, known as Shiv-Hari generated good music scores in movies like Chandni, Dar, Lamhe and also in movies like Sahibaan, Parampara in that era.  In that era, there were other music directors also who created a huge impact with their music and their music is still popular today. A lot can be written and said about the music of Viju Shah, Anu Malik, AR Rehman, Sandeep Chowta,  Anand Raj Anand, Aadesh Shrivastav, Ismail Darbar, Uttam Singh, Shankar-Ehsan-Loy, Himesh Reshammiya, Sajid-Wajid, Pritam, Sandesh Shandilya, etc. In this blog, the impetus is on the musical duos of that era, who brought in a weave of change in the outlook and presentation of music. The masses in India still relate to the songs of that era and connect mostly with them. The songs of that era are liked more today as listeners crave for melody, which is missing today. The style which Himesh Reshammiya infused after mid-2000's, from 2005-07, trend of and advent of singer like Atif Aslam infected the essence of Hindi music industry. We had brilliant and  emerging singers during that period, KK was enamouring the youths, Shaan stroke a chord well, Mithoon was doing well, Sonu Nigam was at his peak, then how did the  nasal- tone of Himesh Reshammiya came close to singing. His Aashiq Banaya Aapne, Jhalak Dikhlaja style was surely enjoyable but that was not neat singing at all. Himesh has done quite well as music composer with his music in films like Pyaar Kiya to Darna Kya, Bandhan, Hello Brother, Dulhan Hum Le Jaayenge,  Kurukshetra, Kahin Pyaar Na Ho Jaaye,  Jodi Number 1, Yeh Hai Jalwa, Footpath,  Zameen, Bardaasht,  Kya Dil ne Kaha, Footpath, Humraaz, Tere Naam, Taarzan, Aitraaz , Dil Maange More,  Maine Pyaar Kyun Kiya, Kyun Ki. And we could hear more of Atif Aslam, where soul was missing in most of his songs.  We must accept that Hindi music is going downhill. The phase from 1988 to 2006 is surely a golden phase for Hindi music and has registered a special place in the history of Hindi songs.