My association with Bappi da began in 1978, when we collaborated on my directorial venture Taqdeer Ka Badshah, starring Mithun Chakraborty. It was on the set of this film that I decided to make Disco Dancer (1982).

It all began when, one day, I asked my assistant to call Mithun for his shot, but was told that he’s upset. When I went to meet Mithun, he said that he is earnest with his work, but things don’t seem to be working out. That’s when I told him that I’ll make Disco Dancer, which will make him a superstar. 

Back then, Bappi da was working on popularizing the disco genre in India. Disco Dancer paved the way for Bappi da, Mithun and myself to become a [successful] trio of sorts. We three went on to collaborate on several films like Kasam Paida Karne Wale Ki (1984), Dance Dance (1987), and Pyar Ke Naam Qurbaan (1990). While every song of Disco Dancer became a hit, Jimmy Jimmy was in another league altogether, becoming immensely popular in China, Dubai, Israel, Ethiopia and even Russia.

When I first heard the song post recording, I told Bappi da that [it wasn’t quite doing justice to] the situation it comes in, in the film. He came up with the idea of using a double voice. Here, the artiste sings it twice separately, after which both [renditions] are blended. The result blew us away.

Apart from being a versatile composer and knowing how to play many musical instruments, Bappi da was also a great sound engineer. He knew exactly which technique to use [to enhance a song]. With Disco Dancer, we also introduced new singers like Vijay Benedict, Nandu Bhende and Parvati Khan.

Did you know that the song, Yaad Aa Raha Hai Tera Pyaar was to be actually sung by Kishore Kumar? On the day Kishore da was to record the song at a new studio in Cuffe Parade, the lift wasn’t working. Kishore da said he wouldn’t be able to climb the stairs due to health issues, and that we could do a scratch recording [with someone else]. So Bappi da recorded the scratch. When I heard Bappi da’s rendition, I felt it brought out the emotions of the song effectively. I wanted to retain it, and told Kishore da that I’d like to go ahead with [the musician’s] version if he agreed.

When Kishore da heard the version, he told Bappi da that he had sung it very well, and that his rendition should be retained. Till date, whenever my actor friends like Jackie Shroff call me, they never say ‘Hello’, but sing, ‘Yaad Aa Raha Hai..’. Such is the magic of Bappi da.

During the making of Disco Dancer, I would shoot the film during the day. Bappi da would use the time to compose the music. At the end of the day, we’d have our music sittings at 10 pm. When I first heard his composition of Ae Oh Aa Zara Mudke, I told him the song wasn’t sounding right, [given the context]. In an hour-and-a-half, he gave me a [reworked version] that was punchy.

At 11:30 pm, we decided the song had to be written too, so Kishore da could record it the following morning. So, I picked up lyricist Anjaan saab and brought him to Bappi da’s place. In another couple of hours, the song was ready. [The next morning] when I narrated to Kishore da how the song was created, he was all praise for Bappi da’s dedication.

Bappi da was a foodie. While working, he indulged only in biscuits. While travelling to international destinations, he would shop for two things — a musical instrument or cookies.

As told to Hiren Kotwani

(Clockwise) B Subhash and wife Tillottama with Smita Patil, Amrish Puri, Mithun Chakraborty, Mandakini, Bappi Lahiri, Shakti Kapoor and Dalip Tahil during the making of Dance Dance