Anand and Milind are an Indian music chiefs couple comprising of Anand Shrivastav and his more youthful sibling Milind. They have made music for more than 200 Bollywood movies and are the children of 60s music executive, Chitragupta.
Anand–Milind appeared in Ab Aayega Mazaa (1984) and rose to notoriety after the achievement of Qayamat Se Qayamat Tak (1988). The film's fruitful melodies incorporate "Father Kehte Hain","Ghazab Ka Hai Din", and "Akele Hai To Kya Gham Hai". The music for "Akele Hain To Kya Gum Hai" is a precise generation of the instrumental number Return to the Alamo by the band The Shadows. That year likewise saw the moderate achievement of the blood and gore movie Woh phir Aayegi.
Lal Dupatta Malmal Ka raged the music remains in 1989 and the music of this telefilm turned out to be a work of art, staying well known even today. The film additionally reinforced their work-association with music noble Gulshan Kumar of T-Series. The team then created the tunes for Salman Khan's film, Baaghi: A Rebel for Love. Baaghi was trailed by a progression of film industry hits like Dil, Beta (1992). Love (1991), featuring Salman Khan and Revathy, bragged of chartbusting-music, prevalent even today, in spite of the film's disappointment in the cinema world. It additionally denoted the introduction of the southern songbird Chitra, into Bollywood and Hindi movies. In 1994 they additionally created, now well known music for Rahul Rawail's Anjaam which featured Madhuri Dixit and Shahrukh Khan. Suhaag (1994), featuring Ajay Devgun, Akshay Kumar, Karishma Kapoor and Naghma, is another film that sold enormous units that year. One of their best collections in 1994 was the exceedingly overlooked Vikram Bhatt coordinated sentimental film Madhosh, which propelled Aamir Khan's sibling Faisal Khan.
Towards the end of the 90's they formed music for some Mithun Chakraborty movies with little achievement. They have additionally created music for a couple Bhojpuri movies.
Anand–Milind assumed a part in propelling numerous Bollywood stars, including Aamir Khan and Juhi Chawla in Qayamat Se Qayamat Tak; Naghma in Baaghi; Akshay Kumar in Saugandh and Karisma Kapoor in Prem Qaidi.They additionally played god-fathers to vocalists Abhijeet, Poornima, Gayatri Iyer, and Parvez.They likewise gave music for motion picture Insaaf Ki Manzil discharged on 1986 Produced by Ram Nandan Prasad and coordinated by Braj Bhushan
Their coordinated effort with Gulshan Kumar yielded a few music achievement's similar to Lal Dupatta Malmal Ka, Ayee Milan Ki Raat and Sangeet. Sangeet and Dhanwan with chief K. Vishwanath, are amongst their finest works. Anand–Milind for the most part discovered followers in makers Nitin Manmohan and Nandu Tolani, who rehashed them in every one of their undertakings all through the 90's. With Nitin Manmohan, the couple conveyed hits in Maha-Sangram, Baaghi, Adharm, Bol Radha Bol, Laadla, Eena Meena Deeka, Army and Chal Mere Bhai. With Nandu Tolani, they chipped away at hits such as Yaad Rakhegi Duniya, Swarg, Raja Babu, Mr. Bechara and Banarsi Babu. They likewise had a decent reputation with maker executive Suneel Darshan, for whom they summoned hit music in Lootere (1993) (delivered by Suneel Darshan and coordinated by Dharmesh Darshan), Ajay (1996) and Jaanwar (1999). They additionally conveyed hits with Vashu Bhagnani in movies such as Coolie No. 1 and Hero No. 1 and were regulars with maker Dr. D. Rama Naidu with hit scores in movies such as Rakhwala, Prem Qaidi, Santaan, Anari and Taqdeerwala.
They likewise formed more present day melodies for Rakshak: "Shehar Ki Ladki" and "Sundara". They shaped a hit-group with Ashok Honda in movies such as Anth, Rakshak and Krodh.
Anand–Milind styled their music for the most part taking into account Indian songs and society tunes. Their organizations looked to some extent like the Laxmikant-Pyarelal school of music, in the mid 90's, bringing about the greater part of their arrangements between 1988-1995 being mainstream in the insides and provincial India, even today. Truth be told, Laxmikant-Pyarelal supporters like Mohan Kumar, Harmesh Malhotra, K. Vishwanath, Ashok Ghai, Boney Kapoor, to give some examples, decided on Anand–Milind in the 90's over Laxmikant-Pyarelal for their new tasks.
Later, they went ahead to be affected by a few tunes by maestro Illayaraja, and the beats and style from these tunes shaped a noteworthy piece of their courses of action. To such an extent, that a considerable measure of their tunes started sounding alike. This was one of the principle purposes behind their ruin in the late 1990s from the enormous prevalence they accomplished amid the mid 1990s, offering space to new authors and their new arrangements.
Anand–Milind explored different avenues regarding their music and demonstrated their actual musical virtuoso with Mrityudand (1997) (where they worked interestingly with scribe Javed Akhtar) and Daayraa (1997) (with verse by none other than Gulzar). Both these collections got rave audits by pundits consistently, yet both soundtracks were very overlooked, as far as advancement. Sangeet was another fine illustration of them investigating and testing.