Sridevi obviously enJo(ll)yed her en’title’ment

Shiv-Hari forayed into Hindi film music sporadically. One of their assignments was the soundtrack of Chandni (1989). It earned them their second nomination in the Best Music Director category at the Filmfare Awards the following year.

Its title track, Chandni O Meri Chandni was four minutes and 32 seconds long.

Not only was it picturised on Sridevi (who essayed the eponymous character), but she also lent her voice to it.

The childlike enthusiasm with which she exercised her vocal chords was ‘note’worthy.

Jolly Mukherjee was the male singer of the duet, penned by Anand Bakshi. 

Amit and Kavita were Jolly

Circa 1989, many a biggie was saying, “Gadbad ho gayee”. But the makers of ChaalBaaz, a film that released that year and was a hit at the box office, realised that humour invariably helps tide over (G)a(d)bad phase.

Hence, a phrase used to rue the fact that things were in a state of disarray became the hook of a Laxmikant-Pyarelal composition.

Penned by Bakshi, it gave the listeners a great deal of Anand.

(Am)It was sung by Kumar and Kavita Krishnamurthy. And since the mood was Jolly, it featured the vocals of Mukherjee as well.

This duet was Jolly good

Chaahe Meri Jaan Tu Le Le – the song from Dayavan – was sung by a pair who shared a surname.

While Mr Mukherjee’s name gave Hindi film music aficionados ample indication of his disposition [and, of course, the mood of the track, which is, in fact, punctuated by a woman’s laugh and several repetitions of Haiya Ho, a Jo(ll)yous cry], what Ms Mukherjee was living at that point was nothing short of a Sapna.

It’s Indee(var)d mandatory that everyone associated with a song R(a)ises to the occasion, as did Shyamalal Babu, who penned this Laxmikant-Pyarelal composition.