One of the biggest hit remixes in the 2000s – ‘ Kaliyon ka chaman‘ – was a Lahiri original (from Jyoti ) and made a star out of everyone involved. Singers from Russia, East Europe, Africa and the Gulf countries have been sincerely singing this song for the last 40 years.Īfter a lifetime of being maligned, Bappi Lahiri had a second coming when the dancing youngsters of the 1980s and 1990s went places in the 2000s. Disco Dancer ’s ‘ Goron ki na kalon ki‘ is probably the Hindi song with the most international covers. Some of his best songs from this phase involved KJ Yesudas, probably the last singer one would associate with Lahiri! Just as his disco avatar permeated his other films, the melody avatar went into disco films as well. Sharaabi won Lahiri his only Filmfare award – though that year (1985), he had three nominations out of five. He composed a parade of beautiful numbers, melodious and soulful, making people do a double take when they saw the composer’s name. There is also the third avatar – the Chalte Chalte Bappi Lahiri. Even the mostly serious family drama, Saaheb (1985), was spiced up by the rocking ‘ Yaar bina chain kahan re.’ And ‘ Raat baaki baat baaki‘ and ‘ Jawaani jaaneman‘ ( Namak Halaal ) are two dance numbers that just send the dance floor afire. Disco Dancer, Kasam Paida Karne Wale Ki, Dance Dance were the genre’s canonical films here but every other film of his had a ‘disco’ number. The darling of dancing youngsters, Disco King, was just one avatar of Bappi Lahiri, though. The dancing youngsters on the streets hadn’t figured it out, though. These three would easily be among most popular film soundtracks of 1980s Bengali cinema, though old-timers lamented that Aparesh Lahiri’s son had gone rogue. Along with these two, the other surprise package from Lahiri’s Bengali discography is Ogo Bodhu Shundori (1981), Uttam Kumar’s last film and carrier of several cult songs. The latter’s ‘ Chirodini tumi je amar‘ was remade in Hindi as ‘ Dil mein ho tum.’ A large part of my teen years was spent in jerking between the ‘ Songii amar songiiiiiii’ chorus in Bengali and the ‘ Jaanuuuu meri jaanu’ crescendo in Hindi! Guru Dakshina was as music-centric as a film could be because it was about a talented singer’s sacrifice for his guru, with Bappi Lahiri’s tunes propelling the story.
In the 1980s, Bengali cinema was making maudlin melodramas by the dozen, and at one point, I remember every loudspeaker in Calcutta playing songs from two superhit Bappi Lahiri soundtracks – Guru Dakshina (1987) and Amar Sangi (1986).
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