Music
The soundtrack has seven songs composed by Anand-Milind and authored by Sameer. The music was hugely popular when it released and enjoys the honour of being played on radio stations even today. The most popular song of this film is "Chandini Raat Hain," rendered by Kavita Krishnamurthy and Abhijeet Bhattacharya, who was re-launched by Anand-Milind with this film. Abhijeet and Anand-Milind went on to record several songs together since. The songs "Tapori" and "Chandni Raat Hai" were lifted from Illayaraja's movies, Agni Natchathiram and Pudhu Pudhu Arthangal respectively.
However, a minor controversy arose when singer Amit Kumar was mistakenly nominated for "Chandini Raat Hai" at the Filmfare awards ceremony. Anand-Milind were nominated at the Filmfare awards for Best Music but lost out to Nadeem-Shravan for Aashiqui.
| # | Title | Singer(s) | Length |
|---|---|---|---|
| 1 | "Ek Chanchal Shokh Haseena" | Abhijeet | 06:40 |
| 2 | "Kaisa Lagta Hai" | Amit Kumar & Anuradha Paudwal | 06:33 |
| 3 | "Chandni Raat Hai" | Abhijeet & Kavita Krishnamurthy | 04:59 |
| 4 | "Tapori" | Amit Kumar & Anand Chitragupt | 05:29 |
| 5 | "Har Kasam Se Badi Hai" | Abhijeet & Kavita Krishnamurthy | 05:59 |
| 6 | "Maang Teri Saja Doon Mein" | Amit Kumar | 01:29 |
| 7 | "Saajan O Saajan" | Pramila Gupta | 04:52 |
Read more about this topic: Baaghi: A Rebel For Love
Famous quotes containing the word music:
“Poetry is either something that lives like fire inside you—like music to the musician or Marxism to the Communist—or else it is nothing, an empty formalized bore around which pedants can endlessly drone their notes and explanations.”
—F. Scott Fitzgerald (1896–1940)
“It was a poetic recreation to watch those distant sails steering for half-fabulous ports, whose very names are a mysterious music to our ears.... It is remarkable that men do not sail the sea with more expectation. Nothing was ever accomplished in a prosaic mood.”
—Henry David Thoreau (1817–1862)
“For the introduction of a new kind of music must be shunned as imperiling the whole state; since styles of music are never disturbed without affecting the most important political institutions.”
—Plato (c. 427–347 B.C.)