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HomeCELEBSTRIVIA TUNES: The significance of ‘Galliyan’ to Manoj Muntashir to how Anu...

TRIVIA TUNES: The significance of ‘Galliyan’ to Manoj Muntashir to how Anu Malik got to do Sooraj R. Barjatya’s Main Prem Ki Deewani Hoon, and the greatest compliment that veteran Pyarelal treasures

The significance of the Manoj Muntashir track ‘Teri Galliya’
The song ‘Teri Galliyan’ from the 2014 Ek Villain has become a musical brand for the franchise, a la Golmaal and Dhoom. It is heard in Ek Villain Returns in a reprised version. But very few know the significance of these words, which led lyricist Manoj Muntashir into the galliyan (lanes) of fame. This young man, who arrived in Mumbai with Rs. 700 in his pocket, struggled as a reality show writer and occasional lyricist. One day, as he was talking a walk in his neighborhood, the complexities of all the lanes struck him and he came up with a song, ‘Galliyan’. And the rest is his story.

How Anu Malik got to do Sooraj R. Barjatya’s Main Prem Ki Deewani Hoon
And here is how Anu Malik got to do Sooraj R. Barjatya’s Main Prem Ki Deewani Hoon. After Rajshri Productions’ 1989 Maine Pyar Kiya, Anu, though fairly busy at the time, approached Sooraj’s father, Rajkumar Barjatya, for a film. A full decade later, he again requested him to at least hear his compositions. After the sitting, Sooraj did not make any comment. 10 days later, the director called him and said the magic words, “Welcome to the Rajshri family.”

Why Bappi Lahiri and not OP Nayyar eventually did the music for Namak Halaal
The year 1982 was significant for Bappi Lahiri. After almost a decade of good work, he first entered the big league this year with Haathkadi, Namak Halaal and Disco Dancer leading his hit parade. He even won his first Gold Disc for the smash-hit score of Namak Halaal. But the original choice for the Prakash Mehra-Amitabh Bachchan blockbuster had been—hold several breaths—O.P. Nayyar! According to Nayyar, the “arrogant” filmmaker announced his name without asking him in a trade paper, as Nayyar was looking for good comebacks after two misfired ones in Khoon Ka Badla Khoon and Heera Moti. This incensed the composer and he turned down what would have been for him a bumper hit.

The greatest compliment that veteran Pyarelal treasures
The greatest compliment that veteran (Laxmikant-)Pyarelal treasures is that by Raj Kapoor. Before forming the duo that did (exactly) 500 films, Pyarelal had dreamt of going abroad to become a successful Indian violinist abroad. And the phenomenal global success his partner and he got as film composers earned him another monumental reward when Raj Kapoor told him, “Pyare, accha hua ke tum wahaan nahin gaye (It was good you did not go there)!”

Raj Kapoor’s daughter Ritu Nanda remembers Mukesh’s gesture on her bidaai
Mukesh, who was born on July 22, is known for his very high proportion of hit songs vis-à-vis Mohammed Rafi and Kishore Kumar. But Raj Kapoor’s daughter, Ritu Nanda, never forgot the singer’s gesture on her bidaai. A special song, ‘Laadli meri nazron ki pali / Chal di teri doli motiyonwali’ was composed by her father Raj Kapoor, set to music by Shankar-Jaikishan, penned by Hasrat Jaipuri and recorded for the occasion. Ritu revealed that the song was rendered by Mukesh in public only once, on that day (February 1, 1969). Her father had made arrangements that she could keep hearing the song all the way from her bidaai to the airport, as her husband was based in Faridabad.

When a single sold for more than the album
How many of us remember the K3G single in 2001? Following a trend set by Raj Kapoor for Satyam Shivam Sundaram a full 24 years earlier, Sony Music, producer Yash Johar and director Karan Johar released the Jatin-Lalit-Sameer title song by Lata Mangeshkar in three versions. It was filmed on the entire ensemble cast and was shown as a promo in movie-halls from April—the film released in December. Within seven days, over 50 percent stock of the single, priced at Rs 30, were sold. Sony had earlier done this experiment with a higher-priced (Rs. 45) single of Phir Bhi Dil Hai Hindustani just four weeks before release, but this had not worked.

Here’s what lyricist Sameer had to say about media-hyped talents
Sameer, the prolific lyricist, had this to say about media-hyped talents: “In this line, the true achievers in every field will always be found to be humble human beings without airs! It is only the badly-brought up people who think no end of themselves and flaunt their arrogance!” He went on to mention a media-hyped composer-and-more (not A.R. Rahman!) who worked with him only once, who claimed, among other things (!), a “down-to-earth nature” just because he was sitting on the floor with his harmonium!  Over two decades after that one film, the composer is creatively and commercially nowhere, though incredibly still being hyped by the media.

What was common between Papa Kahte Hain and Tum Bin
What was common between Plus Music’s Papa Kahte Hain in 1996 and T-Series’ Tum Bin half a decade later? Well, though the first film was a non-starter and the latter the 2001 pygmy hit that took on the Aks Goliath, both these movies that, between them, launched six new faces, recovered the cost of the film production from the music sales itself, and even made profits. An annual (end-2001) estimate of the latter album’s sales was pitched at 30 lakh units, almost matching the year’s top selling albums, Kabhi Khushi Kabhie Gham and Mujhe Kucch Kehna Hai.

When practicing Buddhist Tata Young prayed to Lord Ganesh
It has been 18 years since Tata Young smashed records with her English title-song from Dhoom. Born Amita Marie Young to an American father and Thai mother, she was renamed “Tata” by her father as he was working in India and loved the word, which also meant “To paint” in his wife’s language! The Indian connection expanded when Tata, a practicing Buddhist, was introduced to Hinduism by a friend who told her to pray to Lord Ganesh when she was down. “My prayers were answered, and since then, I have always prayed to him, and also to his mother Parvati, father Shiva, Durga and Krishna!” Tata told me.

Three famous Shamshad Begum tracks
In the 1960s, 1940s and 1950s top singer, Shamshad Begum, thanks to her thick voice that was now considered passé, was the voice of choice for heroes who enacted songs in drag! Kalyanji-Anandji began this ‘trend’ of sorts with the Usha Mangeshkar-Shamshad qawwali ‘Chali Chali Kaisi Hawa Yeh Chali’ (in Manmohan Desai’s Bluff Master) in which she sang for Shammi Kapoor. K-A’s assistants on the film, Laxmikant-Pyarelal, did the same in their Lootera. Lata Mangeshkar duet ‘Patli Kamar Nazuk Umar’ for a male supporting actor. The third—and most famous!—song was the Asha-Shamshad mujra, ‘Kajara Mohabbatwala’ from Kismet, directed again by Desai, in which Shamshad sang for chocolate hero Biswajit! And the music was by O.P. Nayyar, who at one time, employed Shamshad and Geeta Dutt as his top female choices!

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