StrAngelY, this Son(u)g was good

Translate the opening line of Aate Jaate Jo Milta Hai, from Har Dil Jo Pyar Karega (which released in 2000), and you will understand why the post begins with the word strangely.

It went, “Aate jaate jo milta hai, tumsa lagta hai” (which means, “Whoever I meet while roaming looks like you”).

The Son(u)g, which was half-a-dozen minutes and twice as many seconds long, was rendered by Alka Yagnik and Mr Nigam.

Perhaps the perfect track to dedicate to one’s crush, it was penned by the one and only Sameer Anjaan.

Anu Malik composed it.

(Ud)It was just about okAY

Hindi film music aficionados ought to state that their hearts were with those who believed that the title track of Hamara Dil Aapke Paas Hai, which released in 2000, was the only song in the film that was worth listening to on loop.

However, it must be kept in mind that it could at best be described as a paasable song. And that was purely on account of the fact that (Ud)it was rendered by Alka Yagnik and Mr Narayan.

The track, which was penned by none other than Javed Akhtar, was composed by Sanjeev-Darshan.

(Ud)It VAS an inane number

By no means would it be incorrect to state that the last of the four tracks from Hadh Kar Di Aapne did cross the limits of inanity.

The track in question was Phir Tote Se Boli Maina.

Well, Anand Bakshi, who penned the track, conned the listeners into believing that the two lovebirds talk about the similarities between our des (India) and pardes.

And all they uttered was, “Kya kehna”!

The track, which was composed by Anand Raj Anand, was rendered by a quartet that comprised Udit Narayan, Anuradha Paudwal, Sudesh Bhosle and Vinod Rathod.     

Ms Narula certainly deserved Kud(i)os

Usually, it’s the guy who is in pursuit of the girl, and after playing hard to get for a while, she eventually comes around.

But it would be fair to state that Anand Raj gave women in love not just Anand, but a great deal of hope, with his composition, titled Kudi Kunwari Tere Pichhe Picche.

The track, from Hadh Kar Di Aapne, was rendered, spiritedly, by Jaspinder Narula. The operative word here is spirit, because that is what everyone, regardless of gender, requires to chase the object of their affection.

Anand Bakshi penned it.

LUcKily, it crossed no limit

When translated, the phrase Hadh Kar Di Aapne means, “You have crossed the limit”.

And that is often said of those who tease others, especially when what was once tolerable starts making the butt of the joke uncomfortable.

Speaking of tolerable, that was indeed the best adjective to describe the title track of the aforementioned film. In fact, it was the most outstanding number on what was otherwise a mediocre soundtrack. 

That was perhaps (Ud)It was rendered by Kavita Krishnamurthy and Mr Narayan.

Penned by Anand Bakshi, the track was composed by Anand Raj Anand.

Sonu’s rendition certainly wasn’t (Nig)amazing

This blog contains posts on four songs from Hadh Kar Di Aapne, which released in 2000.

By no means would it be incorrect to state that one of them was a track that no leading singer of that point was beqaraar (restless) to sing.

Incidentally, the Son(u)g was titled Beqaraar Main Beqaraar, and the man who rendered it was none other than Mr Nigam.

And here’s a fact that was purely coincidental – the track, which was penned by one Anand (Bakshi), was composed by another (Raj Anand).

The latter was credited as a crooner too.

Alka’s rendition was S(on)urely disappointing

The sixth and final song from Dulhan Hum Le Jayenge on this blog was Tera Pallu, which could only have been on the soundtrack of a David Dhawan film.

Although the last two words of the aforementioned line were ho jaaye, it wouldn’t be incorrect to state that the listeners did not utter that phrase.

The Son(u)g, which was five minutes and 33 seconds long, was rendered by Alka Yagnik and Mr Nigam, but it wasn’t up their alley.

The man who composed the track, which Sudhakar Sharma penned, was none other than Himesh Reshammiya.

It did not S(on)uit Alka

By no means would it be incorrect to state that Pyaar Dilon Ka Mela Hai, from Dulhan Hum Le Jayenge, was a mediocre song.

And the lion’s share of the blame for that went to the one and only Alka Yagnik, who tried, in vain, to step out of her comfort zone.

Sonu Nigam, who shared singing credits with her, failed to salvage the number, which was four minutes and 58 seconds long.

The track, which was penned by Sudhakar Sharma, would’ve let even the most die-hard fan of Himesh Reshammiya, who composed it, down.

This quartet showed its KlASS

Of the six tracks from Dulhan Hum Le Jayenge on this blog, Mujhse Shaadi Karogi was the shortest – it was four minutes and 37 seconds long.

Interestingly, while the film’s title was a declaration, the song, which was penned by Sudhakar Sharma, was a proposal.

By no means would it be incorrect to state that it was not the weakest song in the film.

And the credit for that went to the fact that it was rendered by four very popular singers – Alka Yagnik, Kumar Sanu, Shankar Mahadevan and Suresh Wadkar.

Himesh Reshammiya composed it.

They cut a SoRrY figure

Unfortunately, it was true that the soundtrack of Dulhan Hum Le Jayenge was a mediocre album, and even the title track of the film was nothing to write home about.

It must be kept in mind that that was despite the fact that the song was rendered by stalwarts Alka Yagnik and Kumar Sanu.

And they were joined behind the microphone by none other than Suneeta Rao, who shot to fame with the Indipop number Paree Hoon Main.

Sudhakar Sharma penned the song, which was five minutes and 24 seconds long.

Himesh Reshammiya composed it.

Mr Lever couldn’t SAlvage it

Of the six songs from Dulhan Hum Le Jayenge on this blog, Dheere Dheere Chalna was the longest – it was five minutes and 45 seconds long (which was, incidentally, just a couple of seconds longer than Chhamiya).

It was rendered by Alka Yagnik and Sonu Nigam. 

Undoubtedly, the highlight of this number – if it may be called that – was the Hinglish portion by actor Johny Lever. However, he could not salvage this number, in which the listeners lost interest dheere dheere.

Sudhakar Sharma penned the song, which was composed by none other than Himesh Reshammiya.

This track’s popularity wAS short-lived

Dulhan Hum Le Jayenge, which released in 2000, was Himesh’s maiden solo album as composer.

And it wouldn’t be incorrect to state that one of the six songs from the film on this blog could have been called Chhamiya by Reshammiya.

Unsurprisingly, the track, which derived its title from a word used by sadak-chhap youth (people on the roadside) to refer to a woman, did not enjoy a long shelf life or high recall value.

Alka Yagnik and Mr Nigam rendered the Son(u)g, which Sudhakar Sharma penned.

It was five minutes and 43 seconds long.

The (Bhos)legend did it justice

This post isn’t merely on a song, but also a mantra – if things don’t go as planned, Dil Pe Mat Le Yaar!!

It was the title track of a film that released in 2000. In fact, it wouldn’t be incorrect to state that it was the most memorable number on its soundtrack.

And the lion’s share of the credit for its popularity went to Asha Bhosle, who rendered it.

Incidentally, the lives of both the man who penned the track (Abbas Tyrewala) and the one who composed it (Vishal Bhardwaj) eventually took a different ‘direction’.

It ActuAllY deserved the nominations

There were three versions of Tum Dil Ki Dhadkan Mein on the soundtrack of Dhadkan.

But this blog contains a post on just one – the version rendered by Abhijeet Bhattacharya (who was nominated in the Best Male Playback category at the IIFA and Screen Awards in 2001) and Alka Yagnik.

Penned by fellow Filmfare and IIFA nominee Sameer, the Nadeem-Shravan composition was five minutes and 51 seconds long.

The sad version of the track, rendered by Kumar Sanu, was five minutes and 14 seconds long.

Its instrumental version was a second longer than the duet.

NobodY said Na to it

There was one track on the soundtrack of Dhadkan that was quite popular at the peak of the film’s success, but vis-a-vis the rest of the songs in the film, it would not be incorrect to state that it was an underrated song.

The song in question was Na Na Karte Pyaar.

It was half-a-dozen minutes and 36 seconds long.

(Ud)It was rendered by Alka Yagnik and Mr Narayan.

The track, which was penned by Sameer Anjaan, was composed by Nadeem-Shravan.

Incidentally, it was the only song in the film that didn’t have another version.

It tugged (Nusr)at everyone’s heartstrings

Of course, the first thing that springs to mind when one thinks of Dulhe Ka Sehra was Nusrat Fateh Ali Khan’s rendition, which was undoubtedly the highlight of the track from Dhadkan.

It was, incidentally, the longest of the five songs from the film on this blog – it was eight minutes and 32 seconds long.

Not many people, barring die-hard Hindi film music aficionados are aware that there was a female version of the wedding song as well.

Two seconds longer than Khan’s version, it was rendered by Jaspinder Narula.

Sameer penned the Nadeem-Shravan compositions.

(Ud)It wAS a delightful throwback

It wouldn’t be incorrect to call Dil Ne Yeh Kaha Hai Dil Se, from Dhadkan, a classic.

There were two versions of the song in the film, but this blog contains a post on the longer version, which was seven minutes and half-a-dozen seconds long. (Ud)It was rendered by

Alka Yagnik (who bagged the Filmfare Best Female Playback Award in 2001), Kumar Sanu and Mr Narayan.

Yagnik was joined by Sonu Nigam for the other version, which was five minutes and 47 seconds long.

The tracks, which were penned by Sameer, were composed by Nadeem-Shravan. 

Alka salvaged this mediocre number

Of the five songs from Dhadkan (2000), on this blog, Aksar Is Duniya Mein was the shortest – it was five minutes and 42 seconds long.

By no means would it be incorrect to state that it was also the weakest song in the film.

Of course, Alka Yagnik did a mind-blowing job. Is it any wonder then that she could be called Ms Dependable among the female playback singers of that period?

Sameer penned the track, which earned Nadeem-Shravan nominations in the Best Music Director category at the Filmfare, IIFA and Screen Awards in 2001.

It was certainly ABeautiful number

If a composer is among the A-listers in his field of expertise, a soundtrack is seldom a do-or-die situation for him.

But at one point, it would not be incorrect to state that a do-aur-dhaai situation was staring Jatin-Lalit in their faces.

The song in question was Do Lafzon Mein, and it was the longer of the two tracks from Dhaai Akshar Prem Ke on this blog – it was four minutes and 58 seconds long.

It was rendered by Anuradha Paudwal and Babul Supriyo, and penned by Sameer.

The song's USP, undoubtedly, was its melody.

This title track was PaSsable

By no means would it be incorrect to state that the soundtrack of Dhaai Akshar Prem Ke, which released in 2000, was among the weakest soundtracks of Jatin-Lalit's career.

Its run-of-the-mill title track was salvaged by the duo who rendered it – Anuradha Paudwal and Babul Supriyo.

It was the shorter of the two tracks from the film on this blog – it was four minutes and 48 seconds long.

The song, which was penned by Sameer and merited a number of replays (for it to grow on the listeners), deserved dhaai (two-and-a-half) stars out of five.

This track was relAtiVely run-of-the-mill

If Mr Raikwar’s only contribution to the soundtrack of Chal Mere Bhai could be described in one word, it would be (Nit)inane.

The song in question was Mere Baap Ki Beti. It was, of course, the perfect track to listen to if one were a parent who was trying to teach his/her kids what sundry relatives are called in Hindi.

Rendered by Abhijeet Bhattacharya and Vinod Rathod, it was the shortest of the three tracks from the film on this blog – it was four minutes and 40 seconds long.

It was among Anand-Milind's weakest compositions.

It wasn’t reAllY ABad track

There were a couple of versions of Chori Chori Sapnon Mein on the soundtrack of Chal Mere Bhai.

However, this blog contains a post on just one of them – the happy version, which was, in fact, the best song in the film.

It was, incidentally, the longest of the three tracks from the film on this blog – it was five minutes and three seconds long.

The sad version was just a minute and eight seconds long.

They were rendered by Abhijeet Bhattacharya and Alka Yagnik.

Sameer Anjaan penned the track, which was composed by Anand-Milind.

Sanjay Sa(lma)ng this awful song

There were a couple of versions of the title track of Chal Mere Bhai (2000).

While this blog contains the version that was sung by the film’s leads, Sanjay Dutt and Salman Khan, the other was its remixed version, which was rendered by Shankar Mahadevan, Lesle Lewis and Dominique.

The former, which was five minutes long, and it wouldn’t be incorrect to state that it was the weakest song in the film.

The latter was four minutes and 20 seconds long.

They were penned by the one and only Sameer Anjaan, and composed by Anand-Milind.

This song was H(eer)ardly Jazzy

The second song from Bulandi on this blog was a Punjabi number that was largely ignored – and rightfully so – by Indian music buffs, who have a reputation for lapping up anything that arrives on the country’s shores from the West.

The song in question was Teri Meri Ek Jind.

It was penned and rendered by J Kumar, a member of the United Kingdom-based bhangra group Heera. 

He was joined behind the microphone by Canadian singer Jazzy B (born Jaswinder Singh Bains) and Kenny, who sang the English rap portion.

It was composed by Sukshinder Shinda.   

It JuSt didn’t cReate hungama

By no means would it be incorrect to state that it was sad that Viju Shah, renowned for preferring quality to quantity, seemed to get it wrong with his compositions for Bulandi, which released in 2000.

Of the two tracks from the film on this blog, one was Hungama Ho Jaaye, which was ironically-named.

Although the Son(u)g was right up Jaspinder Narula's alley, there’s no two ways about the fact that she let her fans down.

She was joined behind the microphone by Mr Nigam and Rakesh Pandit.

The track was penned by Anand Bakshi.

Shweta's fans' prayers were (H)answered

Bichhoo, which released in 2000, gave its lead pair's (Bobby Deol and Rani Mukerji) fans no Anand, but one Anand Raj composition from the film probably did.

The track in question was Dil Tote Tote Ho Gaya, which is Punjabi for, “My heart has gone crazy”.

It was five minutes and 38 seconds long.

There’s no two ways about the fact that the best line of the song, which was rendered by Hans Raj Hans and Shweta Shetty, went, “No drugs, no war” – a mantra that Tot(e)ally ought to be followed.

Sameer Anjaan penned it.

(Ud)It certainly wasn’t An(uradh)awesome song

The most popular song on the soundtrack of Badal, which released in 2000, did, in fact, sound like a rejected track from the previous decade.

Folks, the song in question was Yaar Mere Yaara Mere.

Incidentally, the next word of the aforementioned line was Yaaram.

But the Anu Malik composition, which was five minutes and 40 seconds long, wasn’t a track one would like to listen to, with or sans his/her yaars, yaaras or yaarams.

(Ud)It was rendered by Anuradha Paudwal and Mr Narayan.

The man who penned it was the one and only Sameer.

Sukhwinder didn’t just Sing(h) it

Astitva (2000) was a bilingual film – it was made simultaneously in Marathi and Hindi. Of course, this blog contains a post on a track from the Hindi version only.

The song in question was Chal Chal Mere Sang Sang, which could be translated to, “Come with me”.

It was not just penned and composed by Sukhwinder Singh, but rendered by him as well.

And, appropriately, it is with this song that I'd like to kick my new blog off, and hope my friends will join me on this leg of my journey as a blogger.