Aaj Kal Tere Mere Pyar Ke Charche- The song created for Dev Anand.

 

This super hit song was originally written and composed by Hasrat Jaipuri and Shankar Jaikishan for Jab Pyar Kisi Se Hota Hai released in 1961to be picturized on Dev Anand and Asha Parekh. But Dev Anand rejected it because he felt it wouldn't go down well with his personality.

When an upset  Jaikishen mentioned Shammi Kapoor about this song, he asked him to play this song for him.he just freaked on it" I love this song"He immediately told Jaikishan to keep it reserved for him, he will use this song in one of his future films.

Shammi Kapoor gave this song to Manmohan Desai who was making 'Budtameez' at that time but he couldn't be picturized for that film. Shammi Kapoor then gave this song to G P Sippy for Brahmachari

This song was picturized on Shammi Kapoor and Mumtaz.Bhappi Sonie, the director of the film, wanted Mumtaz to Wear a Sari in this song but Mumtaz declined saying that she would be uncomfortable dancing in a Sari. Bhappie Sonie then discussed this with the costume designer Bhanu Athaiya who tried something innovative which became a rage as the Mumtaz Sari after the release of the film. She devised the Sari with readymade pleats and a zipper on the side.

The song became hit before the film got released.  People rushed to the theatres to catch a glimpse of this song and its incredible star cast. Mumtaz draped in a  low-waist, unconventional pre-pleated saree, which featured gold gota borders and a frilled hemline form-fitting bright orange saree, paired with a short sleeveless blouse was the attraction. She paired it with gold chandelier earrings, a choker necklace, a hath Patti, and the iconic 60s puffy hairstyle.

The song was one of the Top Songs in Binaca Geetmala of that year competing with Mere Samne Wali Khidki Mein from Padosan. Shammi Kapoor and Mumtaz made the Shake Dance popular in India. The signature tune of this song was its Prelude music. As soon as this music starts, everybody started to tap their feet and shake head.

This song has been recreated multiple times since but nobody has come close to repeating what Shammi achieved.

Song of Brahamchari 1968

Dil Dhoondta Hai- A Song Composed While Cooking

 

This song from Mausam(1976) was written by Gulzar, composed by Madan Mohan, and sung by Bhupinder. The song has two versions, one a solo by Bhupinder and a duet of Lata Mangeshkar with Bhupinder. The solo was used during the titles of the film and the duet was picturized on the young Sanjeev Kumar and Sharmila Tagore.

The solo version happens to be Gulzar's favorite, is by far the soberer and serene. The duet has a faster tempo. Both versions have three stanzas with different interludes. The Mukhada was taken from a Ghalib ghazal with a slight change. In the ghazal, it is 'Jee Dhoondta Hai', Madan Mohan changed it to Dil Dhoondta Hai., since it worked better for the metre.

This wasn’t the only time Gulzar was inspired by Ghalib. He went a step further in the song Satrangi Re, (Dil Se, 1998), in which he wove Ghalib’s couplet into his lyrics, crediting the source by its name.

This song is the pivot around which the film revolves. It connects the characters in time. the first time when the Doctor(Sanjeev Kumar) is traveling from Calcutta to Darjiling by road where he met Chanda decades ago.

Gulzar in a book told that while composing the interludes of the song Madan Mohan was strolling between his music room and his kitchen. He(Gulzar) had gone to his house for dinner. Madan Mohan was a good cook, he was cooking mutton at that time. During that duration, he composed the tune of this song.

Gulzar was one of the contenders for the National Award for that year. Unfortunately, no award was given to any lyricist that yeat. Similarly, he was nominated for Filmfare's Best lyricist award but lost out to lyricist Sahir Ludhianvi for Kabhie Kabhie.

Madan Mohan had a habit of making 5-6 tunes of one song, he then selects the best out of them. For this song too he made 6 tunes one of which was later used in Veer Zara (2004). Here a clipping is given below, you could see his versatility

Dil Dhoondhta Hai - Madan Mohan sings many tunes for one song

Song of Mausam 1975 Solo Version

Song of Mausam 1975  Duet Version

Jane Kahan Gaye Woh Din- The Tune of this Song taken from the Background music of Aah(1953)

 

This song was recorded 4 years before the film released in 1970. In fact, Mukesh sang a few stanzas of this song in front of a crowd of 2500 at the Shanmukhananda Hall Mumbai during the Filmfare Award function in June 1967.

The tune of this song was taken from background music in a scene of Aah released in 1953. This piece of music has also been used as a prelude to the song and appears in bits and pieces throughout the movie. Shankar Jaikishan had many times used a tune played in the earlier film and recreate it a new song. 

The writer of this song was Hasrat Jaipuri who wrote 7 stanzas of this song. Shankar Ji. was the original composer of this tune. Jaikishan later composed the full song in Raga Shivaranjani and Bhairavi, Some modifications were incorporated for Mukesh to make it simple.

The background music of Aah(1953)

Song of Mera Naam Jokeer 1970

Sunn Mere Bandhu Re- The Take Was Completed Before the Song was Recorded

 

This immortal song from Sujata(1959) was written by Majrooh Sultanpuri and composed and sung by the great S D Burman. Both born on 1st Oct. This song was a background song.

 The director of the film Bimal Roy gave a rough outline to Sachin Da for a song situation to be sung by a commoner. He wanted a song to sound as if it was straying off-tune, in spite of being in tune. Many singers were tried but ultimately Sachin Da himself finally recorded in his own voice. This was his second song in Hindi films sung after a gap of 12 years.

The situation was that the hero wanted to express his love for the heroine and also wanted to know her feelings. She being shy couldn't express her feeling in words, so to express her feelings Dada suggested a song in the Background.

Majrooh Sultanpuri wrote beautiful lyrics for this situation. The Hero and Heroine are in love They are on a riverfront and a boatman singing in the background expressing their love for each other. Their emotions are caressed by the gentle breeze. The unclear, dispersed light of late evening gives this 'Bhatiyali' song a perfect background. The excellent picturization. Their lips seem to be moving but the sound is mooted, the lyrics in the background expressing their feelings.

Surprisingly the scenes were shot well before the song was ready, in fact, the lyrics were written at the time the scene was being shot. Song recording was done after a few days. It was S D Burman singing solo after 12 years, 

Song of Sujata 1959

This song was used in many films after Sujata. In the 1963 film Bandini , the first two lines were hummed by SD Burman himself. In the 1973 film Abhiman, a few lines were used in the background in a scene

A Scene from Abhiman 1973

It was again used in the background by Gulzar in his film Achanak(1973), one line in a female voice of Lily Chakravarti along with Dada's voice

A Scene from Achanak 1973

In the 1974 film Dil Diwana the opening lines of this song were sung by Asha Bhosle in the song ' Mein Ladki Tu Ladka' composed by RD Burman

In the 1983 film Pukar, R D Burman gave his tribute to this tune in his own voice by changing the lyric as Sun Mere Lamboo Re in a song sung by Amitabh Bachchan 'Tu Maike Mat Jaiyo'

Song of Pukar 1983

Jaane Woh Kaise Log The Jinke Pyar Ko Pyar Mila

This immortal song of Pyaasa(1957) was written by Sahir Ludhianvi, sung by Hemant Kumar and composed by S D Burman. This song was inspired by the second stanza of our national anthem, according to a book on celebrated music composer S. D. Burman.
"In a conversation with lyricist Pulak Bandyopadhyay, Burman had mentioned that the second line of the national anthem—Punjab Sindh(u) Gujarat Maratha Dravid Utkal Banga—had inspired the line, 'Humne to Jab Khushiyaan Maangi'.
"The reference to the national anthem is so subtle that unless someone points it out, it is next to impossible to spot a similarity."
Pyaasa had 10 songs, two solo songs were sung by Geeta Dutt, and one duet of Geeta Dutt and Mohammad Rafi, all the other were solo of Rafi except this song. In fact, Guru Dutt wanted this song to be sung by Rafi but Burman Dada insisted on Hemant Kumar. Dada knew that this song suits Hemant Kumar, one of the highlights of this song was the aching frailty of Hemant's rendition.  A major argument took place between Guru Dutt, composer Burman Dada, writer Abrar Alvi, and Geeta Dutt. Finally, Dutt, who remained unconvinced, had to give in to the pressure.

This song was picturized on Guru Dutt. He is leaning against a bookshelf, wearing a white shawl, stretching his hands, a wry smile even though he was deserted. Singing in a small gathering organized by his employer Rehman, where he meets his ex-girlfriend Mala Sinha, who abandoned him for wealth by marrying none other than the man currently employing him. 
If you listen carefully you will find a piece of very light music is being played in the background. Burman Dada had arranged the song with delicate piano notes, surprisingly np piano is shown on the screen. 
Once  Burman dada was asked why this song had such little music. He replied that the poetry was the hero of the song and had to be showcased. And it’s true, the soft tune in the background pushes Sahir Ludhianvi’s words to the forefront. Unfortunately, this was the last song of Sahir composed by Dada Burman. They never worked together after this song and film.

Song of Pyaasa 1957

Seene Mein Sulagte Hain Armaan - An Immortal Song

The writer of this immortal song was Prem Dhawan. It was composed by Anil Biswas and sung by Talat Mehmood and Lata Mangeshkar. Anil Biswas composed the tune of this song in just 15 minutes while riding in a car.
There was a rumor that the lyrics had been bought from Sahir Ludhianvi for Rs 5/-, as Sahir was in need of money, and Prem Dhawan had helped him. It is very sad that Prem Dhawan was always underrated. He was multitalented, he was a composer beside lyricist and as well as a Choreographer.and also acted in a few films.
He wrote songs like Mera Rag De Basanti Chola, Ae Watan Ai Watan from Shaheed, and many more songs. He won the National Film Award for Best Lyrics in 1971 for the film, Nanak Dukhiya Sub Sansar

This song was picturized on Dilip Kumar and Madhubala for the film Tarana released in 1951. This was the first film of Dilip Kumar and Madhubala together. Regarding this song, Shikha Biswas Vohra, daughter of music director Anil Biswas said in an interview that how her father composed this song. Prem Dhawan and her father were good friends, they were booked for two films Tarana and Arman in 1950. One day Prem Dhawan gave him few lines of this song and asked him to make the tune while going to meet the famous Punjabi singer Surinder Kaur On reaching.the destination Anil Biswas asked Prem Dhawan to go to meet the singer and he sat on the parapet and started humming the tune. By the time Prem Dhawan returned, the tune was ready.
Interestingly the song was a sad song but Anil Biswas used the major scale and another point to highlight that he used three different tunes for the three Antaras. A very rare occurrence and only a genius like Anil Biswas could do that. Madan Mohan also did the same in many songs later.in the 60s.If we look technically the use of Teevra 'Ma'gives it the feeling of Raga Yaman Kalyan.
This is probably one of the greatest duets of Bollywood. Everything is perfect, lyrics, music, singing, and picturization on two of the greatest actors Dilip Kumar and Madhubala.

Song of Tarana 1951

'Jiya Jale Jaan Jale' - The Creation of Three Geniuses

This song from 1998 film 'Dil Se' is written by Gulzar, composed by A R Rehman and sung by Lata Mangeshkar. This is the first song Lata Mangeshkar sang for A R Rehman'This song was recorded in Chennai in the recording studio of Rehman. It was the first time Lara Di was recording outside Mumbai.
Gulzar in his book has mentioned this song. He said that Lata Ji had not met Rehman before and also not familiar with his style, she asked Gulzar saheb to be present there at the time of recording. He was not only present there but also accompanied her to Chennai. Rehman received her at the airport and took her and Gulzar saheb to the studio. Reman has many studios in Chennai, this was his first studio. Rehman explained the tune to Lata Ji and asked her to sing. Nowadays composers ask singers to sing one line and record it but Lata Ji told him that she will sing the full song in one take but before that she wants a rehearsal. Rehman agreed and took her to the singer's cabin The cabin had a glass on the front side and no glass on the side walls. Unfortunately, Lata Ji could not see the mixing desk from there, nor could she see the musicians. That was a big problem for her, as she was used to having eye contact with the composer. 
After one rehearsal, Lataji called Gulzar saheb to her side and said  ‘Gulzarji, it feels as though I am blind.’ You kindly sit in front of me. so he sat on a stool outside the cabin’s glass door from where he could see both Lataji and Rahman. 
Despite the fact she recorded the whole song in one session, the song itself was not finalized. Rahman then worked on it for about ten days. He usually works out the instrumentation etc., and so the song evolves slowly into its final form.
The next day returned back to Mumbai. After a week Rehman made a call to Gulzar saheb and said ‘Gulzar Saab, I have recorded a male and female chorus and inserted it in between the antaras. The words are in Malayalam, will you translate them into Hindi?
He played the song to him over the phone. It sounded very beautiful, so I suggested we keep the chorus in Malayalam. It’s the impact of the overall sound that matters. Malayalam has its own sound and folk songs have their own kind of music. Lataji and the chorus sounded wonderful.
Another interesting thing about the song was its lyrics. The song is about the description of a wedding night, Lata Ji usually not sing a song that has anything to do with sex or includes vulgar words or expressions. So it was decided that it will not be picturized as a typical wedding night. 
This song was picturized on Pritty Zinta and Shahrukh Khan on an outdoor location.

Song of Dil Se 1997

Yun Toh Humne Lakh Haseen Dekhe Hain- The Game Changer for Shammi Kapoor

This song and the film'Tumsa Nahin Dekha' was a gamechanger for Shammi Kapoor. Before this film, he had given 18 flop films in a row. This film was written by Nasir Hussain in keeping Dev Anand in mind. When Dev Anand refused to do this film, Shammi Kapoor was given this film.
This superhit song was written by Sahir Ludhianvi and composed by O P Nayyar well in advance keeping in mind Dev Anand. This was the only song written by Sahir in this film, he also opted out of the film because Dev Anand is not doing the film. Those days only Dev Anand had a flamboyant image and his earlier films (Munimji and Paying Guest)  with the producers had similar roles and were superhit.
The director of the film Nasir Hussain said in an interview that he was reluctant to take Shammi Kapoor as his hero for this film, it was his first film as a director and he wanted to work with an established hero. S Mukkharjee the producer suggested the name of Sunil Dutt after Dev Anand's refusal, ultimately the name of Shammi Kapoor emerged. 
Shammi Kapoor, who knew the story of the film and also knew that it will be a musical Rom-Com was desperate to grab this film to boost his sinking career. Nasir Hussain thought of changing the earlier image of Shammi Kapoor, asked him to remove his mustaches and change his hairstyle.
Shammi Kapoor told in an interview that this film was his dream film, he wanted this type of a role to show to the world his style. Those days no specialized choreographers were available for the songs. Heroes used to be sober or simpler in their songs. I had a great sense of dance and music, could improvise my own steps. So I asked Nasir Hussain to give him the recording of the song so that he could prepare for the song.
The day he got the recording of this song he went up to the terrace of his house at Chembur, he danced with the rhythm throughout the night., until every line, every beat had seeped into his body.
When the song was being picturized, Nasir Hussain gave him the full freedom to make his moves and steps. Everybody present there were surprised to see Shammi performing the song. Nasir Hussain was happy, he wanted Shammi Kapoor to do differently and he did it.
This is a version song, the other version was sung by Asha Bhonsle, the favorite of composer O P Nayyar.

Song of Tumsa Nahin Dekha 1957 (Both Versions)

Ek Chatur Naar - The Brain Child of Kishore Kumar

This immortal song from Padosan 1968 was the highlight of the film. More than 50 years have passed, it still entertains us. The pivotal role of creating this song goes to Kishore Kumar. He didn't just act or sing in the film, he conducted the proceedings around him. He turned the entire sequence of Meri Pyari Bindu, which was actually a scene into a song. He came up with the tune, polished the words, and even choreographed it on the spot. 
The plan to use the song in Padosan was of Kishore himself. He told Padosan lyricist Rajinder Krishan to do an extended version of the old song sung by his brother Ashok Kumar in Jhoola (1941), which was then picturized so memorably on Saira Banu, Mehmood, Sunil Dutt and Kishore Kumar. A constant companion of brother Ashok in those days, he had heard the song and the tunes stayed with him.
sing for Mehmood and Kishore to sing for Sunil Dutt. When Manna De was approached for this song everybody liked his idea, a situation in the film was created where a music competition to take place between the hero and the music teacher of the heroine. It, being a classical song, Manna De was to by R D Burman with regards to the famous musical face-off number, Manna Dey refused to lose to Kishore, the reality was that he didn't wish to lose to him in the classical song competition since he was a classically trained singer and Kishore wasn't. 
The task of convincing took by Mehmood. He convinced him that its not a real competition but a reel competition. In films, anything is possible when a skinny hero can beat a strong villain why can't this happen in a song. Ultimately Manna De agreed to sing.
 Though the old song was a solo here it will be modified and more catchy to be sung a male duet. Mehmood's voice is also in this song. It was destined to be the most hilarious songs of Bollywood.
Manna De in an interview told,  it took 10 days to compose this song. Everyone who participated in composing this song has contributed. In the final rehearsal of this song, it took 9 hours before they went for a recording. This being a very long song so it was recorded in two parts, later it was merged into one. Manna De further informed that he was surprised when during the recording Kishore Kumar suddenly changed the Sargam and the context by adding his touches like "hmm dhaam.. O Tedhe Seedhe Ho Jaa Re" which took the classical song to a different level.
The song has been composed in the form of a combination of Carnatic and Hindustani music. Mahmood begins with the Aalaap in Carnatic music and the song proper while playing the harmonium. Kishore Kumar sings the Hindustani counterpart for Sunil Dutt. Their preparation for the ‘concert’ itself is funny.
While Mahmood dances, Sunil Dutt moves back towards Kishore Kumar in sync with the rhythm of the song. Kishore Kumar pushes Sunil Dutt in front and simultaneously sings a Bengali song. Beside Kishore, Mukri, Keshto Mukharjee, and Raj Kishore were also part of this song.
Mr. Sadanand Kamath in the book, ” R D Burman – The Man, The Music” by Anirudha Bhattacharjee & Balaji Vittal writes, this song was not only inspired by Ashok Kumar song but also from ‘Van Chale Ram Raghurai’ [SANT TULSIDAS (1939)] for the line ‘….Dekhi teri chaturayee’ and from ‘ Chanda re ja re ja re’ [ZIDDI (1948)] for the line ‘… Kaalaa re ja re ja re’. 
For your reference, I am posting all the three songs

Song of Jhoola 1941

Song of Sant Tulsi Das 1939

Song of Ziddi 1948

Song of Padosan 1968