(Ud)Its populAritY couldn’t be doubted

There’s no two ways about the fact that Thoda Sa Pyaar Hua Hai was the most popular song on the soundtrack of Maine Dil Tujhko Diya (2002).

Is it any wonder then that it featured a couple of versions of the track?

This blog contains a post on the version which was four minutes and 52 seconds long. (Ud)It was rendered by Alka Yagnik and Mr Narayan.

Faaiz Anwar penned the Daboo Malik composition.

Sonu Nigam sang the sad version, which was five minutes and as many seconds long. It was penned by Praveen Bhardwaj.

Sorry, but it wasn’t mASt!

The second track from Kyaa Dil Ne Kahaa on this blog was Taaza Taaza.

It had the zing one would associate with a number that was fresh (pun intended) when it released.

And the credit for that went to Shaan, who was joined behind the microphone by none other than Alka Yagnik.

However, the track eventually seemed to have a short shelf life and a relatively low recall value.

And if it weren’t for Sanjay Chhel, who penned the track, most listeners wouldn’t agree that the song, which was composed by Himesh Reshammiya, was mast. 

Shaan sang this JoyouS song

Of the two songs from Kyaa Dil Ne Kahaa (2002) on this blog, there’s no two ways about the fact that Nikamma Kiya Is Dil Ne became extremely popular.

In fact, so exuberant was the track that the word Nikamma – Hindi for useless – sounded cool at that point. 

Moreover, there were a couple of versions of the number, which was composed by Himesh Reshammiya, on the film’s soundtrack. But this blog contains just one.

It was penned by Sanjay Chhel, who directed the film.

The track was rendered by Jaspinder Narula, Shaan and Sanjeevani Bhelande.

Sonu’s Punjabi solo was sad

The title of this post merits a clarification – the word sad doesn’t mean pathetic. It is just a description of the mood of the song.

The track in question was Yaar Maangiyasi, from Kaante.

While the remainder of the soundtrack comprised Hindi songs, this was a Punjabi number.

But the fact that it was penned by a Punjabi (Dev Kohli) and composed by another (Anand Raj Anand) was purely coincidental.

The Son(u)g – which could be translated to, “Weeping, I just asked God for my beloved, and not for the universe” – was rendered by Mr Nigam.

Dutt wAS a ZeStful number

While this blog contains a post on Rama Re, from Kaante, I have excluded Socha Nahin Tha (the sad version of the track, which was rendered by Shaan and Zubeen Garg).

The former was toplined by Sanjay Dutt, who was one of the film’s leads. It was tailor-made for the possessor of loads of machismo, symbolised by the collar oopar and the cigarette ke dhuen ka chhalla.

He was joined behind the microphone by Anand Raj Anand (the composer of the track), Shaan, Sudesh Bhosle and Garg.

Both the tracks were penned by Dev Kohli.

Richa was the apt Sing(h)er

By no means would it be incorrect to state that Maahi Ve, from Kaante, continues to be as popular as it became when the film, which celebrated its 16^th anniversary recently, released.

And the lion’s share of the credit for that went to the duo who rendered the track – Richa Sharma and Sukhwinder Singh (in that order).

The man who penned the lyrics – most of which were in Hindi, interspersed with Punjabi lines – was Dev Kohli.

Anand Raj Anand composed the song, which was picturised on Malaika Arora (who played a cameo in the film).

It Su(nidh)ited her and Anand

Anand Raj Anand’s involvement with Ishq Samundar – which, undoubtedly, was the most popular song on the soundtrack of Kaante – wasn’t merely as its composer, but he penned and rendered it too.

But by no means would it be incorrect to state that the highlight of the item number, which featured Isha Koppikar, was Sunidhi Chauhan’s rendition. But that wasn’t a surprise, because such tracks have always been her forte.

Over the years, lyricists have likened love to a number of things, but would it be fair to say that it is like an ocean? Definitely!

Kavita sang this incongruent (Sa)number

Hey Anand Raj Anand fans, brace yourselves for the bonanza coming your way in the form of his contributions to the soundtrack of Kaante (2002).

Of the seven songs composed by him in the film, this blog contains posts on five.

If they were to be arranged in alphabetical order, Dil Kya Kare would be the first. Being a romantic number in a thriller, the song literally stood out. It would be appropriate to add the phrase like a sore thumb.

It was penned by Vishal Dadlani.

Kumar Sanu and Kavita Krishnamurthy rendered the track.

ThiS(o)number featured six other singers

Jaani Dushman: Ek Anokhi Kahani (2002) marked the debut – as a leading man – of noted playback singer Sonu Nigam, who acted in several Hindi films in the 1980s.

By no means would it be incorrect to state that the most popular track on its soundtrack was Roop Salona Tera Dekhke, which was half-a-dozen minutes and 28 seconds long. 

The song, which Dev Kohli penned, was composed by Anand Raj Anand.

It was rendered by Nigam (unsurprisingly), Poornima and five others – Devendra Singh, Harry Anand (the brother of the composer), Nayan Rathod, Pamela Jain and Sanchaita. 

Nigam’s rendition wasn’t the (Awast)highlight

The soundtrack of Hum Tumhare Hain Sanam, which released in 2002, had two versions of Sab Kuchh Bhula Diya.

While the male solo, which Sonu Nigam rendered, was seven minutes and 56 seconds long, the duet, which was rendered by Sapna Awasthi and Mr Nigam, was a second shorter. 

This blog contains a post on the latter. It is, in fact, the only track from the film on this blog.

Interestingly, the sad song was a departure from the sorts of tracks associated with its composer, rapper Bali Brahmbhatt.

Kartik Avasthi penned both the versions.

It earned the singers nominAtionS

Sanam Mere Humraaz, the title track of Humraaz (which was, incidentally, the highest-selling soundtrack album of the year in 2002), was outstanding.

It was five-and-a-half minutes long.

Interestingly, it earned all the four individuals associated with it nominations at the Filmfare Awards in 2003.

While Sudhakar Sharma, who penned the track, was nominated in the Best Lyricist category, Himesh Reshammiya, who composed it, was nominated in the Best Music Director category.

It earned the duo who rendered it – Alka Yagnik and Kumar Sanu – nominations in the Best Female Playback and Best Male Playback categories, respectively.

Sunidhi sang this mind-blowing tracKK

While Bardaasht means tolerate, that wasn’t what Hindi film music buffs did to the song from Humraaz, which released in 2002 – it was an awesome song.

While this blog contains a post on the original [which was rendered by KK (who bagged a Filmfare nomination in the Best Male Playback category in 2003) and Sunidhi Chauhan], it had a remixed version, which was S(on)ung by the latter and Nigam.

The former was five minutes and 36 seconds long, and the latter was four minutes and 53 seconds long.

Sudhakar Sharma penned the Himesh Reshammiya composition.

This track wAS Appropriately titled

“Yeh kya ho raha hai?” could be translated to, “What on earth is happening here?”

Was it merely a song from Hum Kisise Kum Nahin or did Anand Bakshi, who penned it, pre-empt what the listeners were going to wonder on listening to the track? Given his finger on their pulse, it is possible he did.

Jokes apart, the track, which Anu Malik composed, was eight minutes and 20 seconds long.

And apologies to those who thought his involvement with it ended there, but he joined Alka Yagnik and Sonu Nigam behind the microphone too.

It certainly wasn’t (M)alikeable (So)number

Of the three tracks from Hum Kisise Kum Nahin on this blog, Munna Mobile was the shortest – it was half-a-dozen minutes and 21 seconds long*.

It wasn’t just composed, but also crooned by Anu Malik. He was joined behind the microphone by the one and only Sonu Nigam.

Anand Bakshi, who penned the song, proved his versatility.

(*Note: If the songs of the film were arranged in the descending order of their duration, it would be the second shortest. The shortest was Kya Kehna Mera Sher Ka, which was five minutes and 25 seconds long.)

The trio couldn’t SAlVage it

Was Main Sohni Tu Mahiwal an ode to the protagonists of the tragic Punjabi romance or just plain odious? I will go for the latter.

Of the three songs from Hum Kisise Kum Nahin (2002), on this blog, it was the longest – it was eight minutes and 29 seconds long*.

Anuradha Paudwal, Mr Nigam and Vinod Rathod rendered the Son(u)g.

It was penned by Anand Bakshi.

Anu Malik composed the track, which had a line that went, “Hey, mere baare mein kya khayal hai?”

(*Note: It was, in fact, the longest track in the film.)

The (Bhos)legend did it justice

“Yeh lamha filhaal jee lene de” was the hook of the title track of Filhaal…, which released in 2002.

The track, which was five minutes and 27 seconds long, could be translated to, “Let me live for the moment”.

By no means would it be incorrect to state that it was the most popular song in the film, and there’s no two ways about the fact that the credit for that went to two legends – Gulzar, who penned it, and Asha Bhosle, who rendered it.

The song was composed by none other than Anu Malik.

The trio rocked as USuAl

If there was a song on the soundtrack of Dil Hai Tumhaara that had chartbuster written all over it, it was Mohabbat Dil Ka Sakoon.

It was the shorter of the two tracks from the film on this blog – it was five minutes and 37 seconds long.

Hindi film music aficionados certainly needed a great deal of sakoon (peace), given the majority of tunes that were being churned out at that point, and, Nadeem-Shravan, who composed it, provided that.

Sameer Anjaan penned the track, which was penned by Alka Yagnik, Kumar Sanu and Udit Narayan.

(Ud)It wASn’t brilliant, but hummable

For a Hindi film music buff growing up in the 1990s, throwbacks to that decade in the 21^st century did bring back some wonderful memories – and, of course, melodies. One of them was the title track of Dil Hai Tumhaara, which released in 2002.

The longer of the two tracks from the film on this blog, it was half-a-dozen minutes and 41 seconds long.

While it wasn’t an outstanding number, it was hummable, as many Nadeem-Shravan compositions were.

Sameer penned the track, which the formidable trio of Alka Yagnik, Kumar Sanu and Udit Narayan rendered.

Undoubtedly, the SinGer was flawless

Just as a meal is incomplete sans dessert, no mention of the soundtrack of Devdas is complete without a mention of the sweet vocals Shreya Ghoshal infused into Silsila Yeh Chaahat Ka, the last of the six songs from the film on this blog. It was five minutes and 26 seconds long.

She was a deserving recipient of the Filmfare R D Burman Award for New Music Talent in 2003. 

Incidentally, the song, which was penned by Nusrat Badr, was composed by a former recipient of the award, Ismail Darbar. He bagged it in 2000.

KK and KK killed it

Of the six songs from Devdas on this blog, Maar Daala was the shortest – it was four minutes and 40 seconds long.

The kind of track one had to listen to a number of times for it to grow on him/her, it was rendered superbly by Kavita Krishnamurthy.

KK – the male singer who, incidentally, shares his initials with the aforementioned singer – played second fiddle to her, hence it would be unfair to omit the fact that he contributed to the track, which Nusrat Badr penned.

It was composed by the one and only Ismail Darbar.

(Ud)It was Kavita's (Cha)aha moment

Of the six songs from Devdas on this blog, Hamesha Tumko Chaaha was the second longest – it was half-a-dozen minutes and a couple of seconds long.

The song had a number of repetitions of the words chaaha (which, in this context, means loved) and pooja (was devoted to, in this context), hence the pun on the phrase aha moment in the title of this post.

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

The track was penned by Nusrat Badr.

No prizes for guessing that it was composed by none other than Ismail Darbar.

Kavita and Ms Ghoshal rocKKed

Superb tha gaana, Dola Re Dola. Sab ne suna, aur yehi bola. 

This could be translated to, “Dola Re Dola was a superb song. This is what all those who listened to it had to say.”

Of the six songs from Devdas on this blog, it was the longest – it was half-a-dozen minutes and 35 seconds long.

The Ismail Darbar composition, which Nusrat Badr penned fetched Kavita Krishnamurthy and Shreya Ghoshal the Filmfare, IIFA and Zee Cine Awards in the Best Female Playback category.

They were joined behind the microphone by none other than KK.

Shreya and Mr Narayan R(ath)o(cke)d

Devdas’ glass of joy runneth over. The song in question was Chhalak Chhalak.

Penned by Nusrat Badr, it was five minutes and a dozen seconds long.

By no means would it be incorrect to state that Mr Darbar, who composed it, gave his fans a reason to (I)smail.

The song, which began with the words, “Sheeshe se sheesha takraaye” (which could be translated to clinking glasses), was obviously a treat for Shreya Ghoshal and Udit Narayan’s fans, but it was also a joy to listen to the one and only Vinod. And he definitely R(ath)o(cke)d.

Ms Ghoshal sang (Ud)it imp‘ish’ly

Two thousand two was an annus horribilis for the Hindi film industry, but it wouldn’t be incorrect to state that Devdas was one of the year’s best films, and its soundtrack was outstanding too.

Shreya Ghoshal, then a teenager, couldn’t have got a better launch pad than this film. Bairi Piya, which was five minutes and 23 seconds long, marked her debut. Ish was undoubtedly the highlight of the song.

She was joined behind the microphone by none other than Udit Narayan.

The song, which was penned by Nusrat Badr, was composed by Ismail Darbar.

The Raja of qawwalis mesmerised

There’s no two ways about the fact that Tumse Kitna Pyaar Hai was the most underrated song on the soundtrack of Company. 

It was a pity that this number, which Sandeep Chowta composed, finished second best, despite the fact that its music was its highlight. 

Each of the three tracks from the film on this blog was penned by a different lyricist. This Roman(t)i(c) qawwali was penned by Taabish.

The track, which was four minutes and 28 seconds long, was right up the alley of Altaf Raja, who rendered it. And he certainly didn’t disappoint.

The mASS appeal wasn’t missing

By no means would it be incorrect to state that Khallas – Mumbaiya slang for finished – was the most popular song on the soundtrack of Company. Ironic, wasn’t it?

While the blog contains a post on the original (which was five minutes long), the soundtrack featured a remixed version of the track, which was 11 seconds longer.

No prizes for guessing that Nitin Raikwar penned it.

The track was rendered by the Bhosles (Asha and Sudesh), who were joined behind the microphone by Sapna Awasthi.

Undoubtedly, it continues to be one of Sandeep Chowta’s catchiest compositions.

Chowta waS(an)deeply involved in it

This blog contains three tracks from Company, which released in 2002.

One of them – Ganda Hai – had Sandeep Chowta written almost all over it – he didn’t just compose the track, but he rendered it too.

It was penned by Jaideep Sahni.

By no means would it be incorrect to state that the second line of the track was the most interesting. It went, “Matlab ke yaar, aage se pyaar, peechhe se waar” (which could be translated to, “Friends with an ulterior motive, who love you when you are face-to-face, but stab you behind your back”.)

Sriram rendered this weiR(atho)d song

Although the lyrics of Tum Tata Ho Ya Birla*, from Chor Machaaye Shor, were hilarious, it wouldn’t be incorrect to state that the track was weird.

The next three lines of the Anu Malik composition, which Dev Kohli penned, went, “Raho Carter Road ya Irla, par mujhpe tumhara dil hai, mera dil bhi Pali Hill hai”**.

The song was rendered by Anuradha Sriram and Vinod Rathod.

[*Note: Tata and Birla are Indian industrialists.]

[**Note: While Carter Road and Pali Hill are localities in Mumbai’s upmarket suburb of Bandra (West), Irla is in Vile Parle (West).]

It salvaged the mediocre SoundtrAcK

In the 2000s, it was perhaps foolhardy to expect too much from the soundtracks of David Dhawan films nor starring either Govinda or Salman Khan.

And the same was the case with that of Chor Machaaye Shor, a Bobby Deol-starrer which released in 2002.

By no means would it be incorrect to state that Ishqan Ishqan was the song that salvaged the soundtrack.

The track was penned by Tejpal Kaur, the ex-wife of Sing(h)er Sukhwinder, and composed by the one and only Anu Malik.

It was rendered by Adnan Sami, Karsan Sagathia and Sunidhi Chauhan.

Shaan (Adn)and Sunidhi salvaged it

Every cloud has a silver lining, and by no means would it be incorrect to state that the silver lining of the soundtrack of Awara Paagal Deewana was Ya Habibi.

The track was seven minutes and 19 seconds long.

It began with an Arabic portion, and even the Hindi portions were interspersed with a number of Arabic lines. In fact, the title of the song is an Arabic phrase, which means, “Oh my beloved one”.

Sameer Anjaan penned the song, which was composed by Anu Malik and rendered by Adnan Sami, Shaan and Sunidhi Chauhan.

Unfortunately, it wasn’t even pASSable

By no means would it be incorrect to state that More Saawariya was a mediocre number.

Of the three tracks from Awara Paagal Deewana – which certainly ranks among Anu Malik's worst scores to date – on this blog, it was the shortest – it was half-a-dozen minutes and 36 seconds long.

Sadly, his involvement in the track went beyond merely composing it – he rendered it too.

So it would perhaps be appropriate to say that Malik was joined behind the microphone by Shaan and Sunidhi Chauhan.

The song was penned by the one and only Sameer Anjaan.

This Son(u)g wASn’t a SUccesS

Of the three songs from Awara Paagal Deewana (2002) on this blog, Jise Hansna Rona Hai was the longest – it was seven-and-a-half minutes long.

Sameer Anjaan merely corroborated what everyone in love is aware of – that love gives you reasons to laugh and cry. The listeners only wished that he hadn’t penned a run-of-the-mill number.

(Ud)It was rendered by half-a-dozen singers – Alka Yagnik, Sarika Kapoor (no spring chicken on the Hindi film music scene, but a little-known contemporary of Yagnik), Shaan, Sonu Nigam, Sunidhi Chauhan and Mr Narayan.

The track was composed by Anu Malik.

It APPealed to the jilted

Bewafa Bar is an interesting Hinglish phrase. While it literally means a bar for disloyal folks, it was, ironically, a watering hole that offered solace to the heartbroken, in addition to their poison of choice.

It was from a film titled Annarth, which released in 2002 and marked the Bollywood debut of former Indian cricketer Vinod Kambli. In fact, it is only remembered for that.

Dev Kohli penned the track, which was rendered by Adnan Sami, Preeti and Pinky. 

Although it was composed by Anand Raj, it did not give too many people much Anand.

NAA, this track was avoidable

Phatela Jeb, from Aankhen, was the proverbial broth that too many cooks spoiled – four, to be precise. (Pand)It was composed by Aadesh Shrivastava, Jatin-Lalit and Nitin Raikwar (who was, unsurprisingly, credited as the lyricist too – after all, he is known to dip into his jeb and pull out one tapori track after another).

Interestingly, Shrivastava and Raikwar rendered the song as well. Arun Bakshi joined them behind the microphone.

Its second line went, “Jo chaahega mil jaayega” (which could be translated to, “You will get what you desire”.) Did anybody want this number? Probably not!

Shrivastava rockeDas a crooner too

My blog on Hindi film music of the 1990s contained a post on Aankhon Ki Gustakhiyaan, from Hum Dil De Chuke Sanam, which released in 1999.

This blog contains one on Aankhen ki Gustakhiyaan (in other words, a track titled Gustakhiyaan, which was from Aankhen, which released in 2002).

The rocking number was penned by Prasoon Joshi.

It was not just composed, but also rendered by Aadesh Shrivastava. And by no means would it be incorrect to state that he did a great job of both.

He was joined behind the microphone by Vasundhara Das.

This Son(u)g's lyrics were (Nig)amazing

By no means would it be incorrect to state that Saraswati, the goddess of knowledge, has showered Her blessings upon Sonu Nigam, who rendered the title track of Yeh Teraa Ghar Yeh Meraa Ghar.

Incidentally, the song, which was five minutes and eight seconds long, began with Saraswati, the name of the character essayed by Mahima Chaudhry in the film.

But in the case of this track, it is imperative to note that the crooner was overshadowed by the man who penned it, Ibrahim Ashq.

Unfortunately, it continues to be one of Anand-Milind’s little-heard compositions.

Alka sang this relatABle number

It would be incorrect to state that the songs of Yeh Teraa Ghar Yeh Meraa Ghar, which released in 2001, were nothing to write home about.

In fact, every person in love would be able to relate to Hansate Ho Rulate Ho, the longer of the two songs from the film on this blog – it was five minutes and 41 seconds long.

The track, which was rendered by Abhijeet Bhattacharya and Alka Yagnik, was penned by Ibrahim Ashq.

There’s no two ways about the fact that the highlight of the Anand-Milind composition was its melody.

Hariharan sang this memorable number

There were a couple of versions of the title track of Yaadein. 

However, this blog contains a post on its male version, which was five minutes and 13 seconds long.

It was rendered by Hariharan.

By no means would it be incorrect to state that it was the only unforgettable track in the film.

The female version of the song, which was four minutes and 43 seconds long, was rendered by Kavita Krishnamurthy, Mahalakshmi Iyer and Sunidhi Chauhan.

They were penned by the one and only Anand Bakshi.

The tracks were composed by Anu Malik. 

(Ud)It brought (Bhos)legendary Sing(h)erS together

Jub Dil Miley may have taken a jab at transliteration, but if the three songs on the soundtrack of Yaadein were arranged in descending order of their durations, it would be the second longest – it was half-a-dozen minutes and 52 seconds long.

The track was rendered by four (Bhos)legendary Sing(h)ers – Asha, Sukhwinder, Sunidhi Chauhan and Udit Narayan.

The floricultural phenomenon (its first two lines went, “Jub dil miley, tab gul khile” [which could be translated to, “When hearts meet, flowers bloom”]) – was penned by Anand Bakshi.

No prizes for guessing that Anu Malik composed it.

ThElisteners certAinlY were not HUKed

It would be extremely unfair to blame Hindi film music aficionados for not having good Yaadein of the soundtrack of the 2001 film of the same name.

Of the three tracks from the film on this blog, Eli Re Eli was the longest – it was eight minutes and three seconds long.

(Ud)It was rendered by Alka Yagnik, Hema Sardesai and Kavita Krishnamurthy, who were joined behind the microphone by Mr Narayan.

Unfortunately, it wouldn’t be incorrect to state that the song, which was penned by Anand Bakshi and composed by Anu Malik, was a letdown.

(Ud)It was indeed (Paudw)alovely track

If Tumhare Siva, from Tum Bin…, were to be described in a single line, there’s no two ways about the fact that it would be, “a gem of a song”.

While I always make it a point to mention the singer(s) prominently in each of my posts, it wouldn’t be incorrect to state that one of the highlights of this track was the fact that (Ud)it was rendered by Anuradha Paudwal and Mr Narayan.

The other was the melody, which was credited to Nikhil-Vinay.

However, the lyrics, penned by Faaiz Anwar, were a tad disappointing.

The title (Chi)t(h)rack was hummable

After a few plays, the title track of Tum Bin… would seem to be a rather mundane number.

But that was far from the truth – by no means would it be incorrect to state that the song was quite hummable.

There’s no two ways about the fact that the highlight of the track was its rendition by none other than K S Chithra.

If there was anything that came in the way of this underrated number, which was composed by Nikhil-Vinay, and repeated listens, it had to be the pedestrian lyrics, penned by Faaiz Anwar.

Taz wasn’t among the fame-Hunterz

Every bartender makes his concoction with a few ingredients and whole lot of love. So how does that make Daroo Vich Pyaar, from Tum Bin..., different from other things heady?

Well, for starters, it was the only track on the film’s soundtrack that wasn’t credited to either Nikhil-Vinay or Ravi Pawar, who composed a couple of songs in the film.

It wasn’t just penned, but also composed and crooned by T S Jarnail, better known as Taz of Stereo Nation.

The rap portion of the track was credited to the British Asian urban musician Hunterz.

This Son(u)g (Anurad)had two versions

The tagline of Tum Bin…, which released in 2001, was, “Love will find a way”. But one thing is for sure – the soundtrack of the film found its way into the hearts of Hindi film music aficionados.

The first of the four songs from the film on this blog was Chhoti Chhoti Raatein. There were a couple of versions of the track. Both of them were rendered by the same pair – Anuradha Paudwal and Sonu Nigam.

They were penned by Faaiz Anwar, and composed by Nikhil-Vinay, who were, incidentally, discovered by none other than Paudwal.

Mr Nigam obligeD(hapa)akouple of debutants

Tere Liye, which released in 2001, marked the debuts of a pair of composers – Chandrajeet Ganguly (known as Jeet Gannguli or mononymously as Jeet) and Pritam Chakraborty (often credited as Pritam, whose solo compositions are the subject of my blog, Pritam Da Dhoom Machaoer).

By no means would it be incorrect to state that there was just one popular track on the film’s soundtrack. It was titled Dil Dhapaak, and was penned by Abbas Tyrewala, who convinced the listeners that dhak dhak is passe, and Dhapaak is the new heartbeat.

Mr Nigam rendered the Son(u)g.

Excuse me, this was NoNSensical!

By no means would it be incorrect to state that the most popular song on the soundtrack of Style (which released in 2001) – and the closest in the film that could be termed a chartbuster, if you please – was Excuse Me.

That must’ve also been the politest phrase Hindi film music buffs wanted to utter when, upon listening to the track, they realised that it wasn’t just penned, but also composed and rendered by one man – Nitin Raikwar.

He was joined behind the microphone by a couple of female vocalists, namely Nisha Rajagopal and Simmie.

Jayashri wowed Bombay’s music buffs

If Zara Zara, from Rehnaa Hai Terre Dil Mein, wasn’t one of the best female solos of the 21^st century (if not all time), then yours truly really does not know which song was.

It was four minutes and 58 seconds long.

The song was rendered by Jayashri Ramnath, popularly known as Bombay Jayashri.

And by no means would it be incorrect to state that Hindi film music aficionados based in the metropolis that is a part of her stage name – and elsewhere – were impressed.

The song, penned by Sameer, was composed by Harris Jayaraj.

The Krooner’s Klass was evident

By no means would it be incorrect to state that Sach Keh Raha Hai Deewana was the best of the three male solos from Rehnaa Hai Terre Dil Mein on this blog.

Five minutes and 28 seconds long, it was rendered by KK*.

The track, which was penned by Sameer Anjaan, was composed by Harris Jayaraj.

(*Note: It was the longer of the two solos rendered by KK in the film. His shorter solo – Kaise Main Kahoon Tujhse – was just a minute and four seconds long. This blog doesn’t contain a post on this track.)

This Sonu solo wasn’t (M)amazing

Oh Mama Mama was the shortest of the four tracks from Rehnaa Hai Terre Dil Mein on this blog – it was four minutes and 35 seconds long.

It was rendered by none other than Sonu Nigam.

This upbeat track, which was penned by Sameer Anjaan, broke the monotony – the soundtrack, credited to Harris Jayaraj, largely comprised slow numbers, which, surprisingly, caught the fancy of the youth, who usually prefer songs to which they can tap their feet.

Ironically, this song, which was about deewane, mastane Mumbaiya (crazy, carefree Mumbaikars), didn’t appeal to the city’s youth.

Its EQ was Rath(od)er high

Rehnaa Hai Terre Dil Mein, which released in 2001, was a remake of Minnale, a Tamil film that released the same year.

Of the four tracks from the film on this blog, Dil Ko Tumse was the longest – it was five minutes and 31 seconds long.

Although it was a Rath(od)er emotionally-charged track, it wouldn’t be incorrect to state that Roop, who rendered it, did a (Ku)marvellous job.

The song, which was penned by none other than Sameer Anjaan, was composed by Tamil film music director Harris Jayaraj, who was making his Hindi film debut.

It was a smASh hit

On a soundtrack that boasted of a song like Kambakth Ishq setting the bar for popularity several notches high, it was unlikely that another track could be described as awesome, right?

Think again! That was precisely what the title track of Pyaar Tune Kya Kiya was. 

While there were a couple of versions of the song in the film, the one on this blog was a duet, rendered by Alka Yagnik and Sonu Nigam.

The other was a solo, rendered by K S Chithra.

Nitin Raikwar penned the tracks, which were composed by Sandeep Chowta.

It was a KIckASS track

While there are two tracks from Pyaar Tune Kya Kiya (2001) on this blog, the one that went on to become a rage was Kambakth Ishq.

Often people in love state that they are fortunate, but Nitin Raikwar, who penned the track, deserved kudos for expressing a differing opinion – the title of the song could be translated to wretched love.

It was rendered by three Sing(h)ers – Asha Bhosle, Sonu Nigam and Sukhwinder.

Sandeep Chowta composed the track, whose musical structure was inspired by Afro Celt Sound System’s Eireann. Its remixed version was called Kambakht Mix.

  

(Ud)It was a cAtchY ditty

There were a couple of versions of the title track of Pyaar Ishq Aur Mohabbat, which was mind-blowing.

While the version on this blog was five minutes and 32 seconds long, the other version, which was suffixed by the word Theme, was five minutes and four minutes long.

Incidentally, the Viju Shah compositions were rendered by different pairs – while the former was sung by Alka Yagnik and Udit Narayan, the latter was rendered by Sadhana Sargam and Shaan.

The song, whose title contained three words that happened to be synonyms, was penned by Anand Bakshi.

Ms Yagnik sang thiS(on)underrated track

Two adjectives – beginning with the letter U – sum up the song from Pyaar Ishq Aur Mohabbat whose first two lines went, “Chand ho ya no ho, chandni raat hai, main tere saath hoon, tu mere saath hai”.

They are underrated and uber-romantic.

The aforementioned lines of the duet, which Anand Bakshi penned, could be translated to, “Regardless of whether the moon is shining or not, it’s a moonlit night when I’m with you and you’re with me”.

Alka Yagnik and Sonu Nigam rendered the Viju Shah composition, which was five minutes and 14 seconds long.

It certainly waS(ha)an awesome number

It is rather unfortunate that Hindi film aficionados didn’t get too many opportunities to hear the compositions of an unheralded genius named Vijay Kalyanji Shah, popularly known as Viju, in the 21^st century, because his assignments were limited to a number of forgettable soundtracks.

However, the songs of a memorable one – Pyaar Ishq Aur Mohabbat (2001) – were credited to him.

There were three tracks from the film on this blog. The shortest of these – Apni Yaadon Ko – was four minutes and 40 seconds long.

The outstanding song, which Anand Bakshi penned, was rendered by Shaan. 

Sukhwinder certainly (He)made no impression

If the 2001 film Mujhe Meri Biwi Se Bachaao and the word highlight were to be used in the same sentence, all one could come up with was a song titled Naach Meri Jaan Naach Naach.

It would be fair to state that the Sing(h)ers – Hema Sardesai and Sukhwinder – salvaged the song, which could, at best, be described as a run-of-the-mill number. 

However, given their phenomenal talent, they certainly deserved a better track.

Of course, they needn’t be blamed for its failure to impress the listeners – Majrooh Sultanpuri penned the track, which Rajesh Roshan composed.

Nigam sang this outstanding (So)number

As far as the soundtrack of Mujhe Kucch Kehna Hai was concerned, it certainly wouldn’t be incorrect to state that the icing on the cake – or the piece de resistance, if you please – was Rabba.

Of the three tracks from the film on this blog, it was, incidentally, the longest – it was half-a-dozen minutes and 52 seconds long. 

The Son(u)g was rendered by the one and only Mr Nigam, who earned – and deserved – a nomination in the Best Male Playback category at the 2002 Star Screen Awards.

Sameer penned the track, which Anu Malik composed. 

It was an aPPalling S(upriy)ong

Was Maine Koi Jadoo Nahin Kiya a song from Mujhe Kucch Kehna Hai or a confession by the lyricist (Sameer Anjaan) and the composer (Anu Malik), who finally decided to own up to the fact that they came with an annoying track?

If yours truly were to answer that question, I would say I’d like to believe it was the latter (prefixed by the film’s title).

The song was half-a-dozen minutes and four minutes long.

It was rendered by Babul Supriyo, who was joined behind the microphone by (the mercifully seldom-heard) siblings Preeti and Pinky.

It waS(rir)among the soundtrack’s highlights

There were three songs from Mujhe Kucch Kehna Hai (2001) on this blog.

It was an average album. Anu Malik had definitely dished out better fare in the past.

However, it earned him nominations in the Best Music Director category at the Filmfare Awards, Star Screen Awards and Zee Cine Awards in 2002.

The first of the three tracks (in alphabetical order) was Dupatta Mera, which was half-a-dozen minutes and as many seconds long.

Sameer penned the song, which was rendered by Anuradha Sriram. It was one of the best songs on the film’s soundtrack. 

Kavita re(Sukhwi)ndered this mind-blowing number

By far the most popular song on the soundtrack of Moksha: Salvation (2001) was Jaan Leva. In fact, it is the only track from the film on this blog.

The soundtrack featured a couple of versions of the song, which was rendered by Kavita Krishnamurthy and Sukhwinder Singh.

While the original (which is on this blog) was five minutes and 41 seconds long, its remixed version was four-and-a-half minutes long.

It was a collaboration between two veterans – it was penned by Javed Akhtar, and was among Rajesh Roshan's most popular compositions outside his brother's banner.

Indeed, it wAs(h)an outstanding (So)number

The adjective in the title of this post was a relative term – it wouldn’t be incorrect to state that Rama Rama was the best of the four tracks from Love Ke Liye Kuch Bhi Karega on this blog.

In fact, the Son(u)g showcased the versatility of Mr Nigam, who was joined behind the microphone by none other than the (Bhos)legendary Asha.

The man who composed the track, which was penned by Abbas Tyrewala, was a certain Mr Bhardwaj, whose first name – Vishal – is Hindi for large. Given his talent, it could be synonymous with limitless.

Udit’s rendition wasn’t the (Sunid)highlight

The title track of Love Ke Liye Kuch Bhi Karega probably became popular on account of the use of saala [the oft-used expletive, and not the Hindi word for one’s brother-in-law (i.e. one’s wife’s brother)].

(Ud)It was rendered by Sunidhi Chauhan and Mr Narayan. But it wouldn’t be incorrect to state that the former overshadowed the latter. And moreover, the listeners probably couldn’t digest Narayan, who always seems to be smiling, mouthing a gaali.

The Vishal Bhardwaj composition, which was penned by Abbas Tyrewala, couldn’t salvage the soundtrack, which had already begun to go downhill.

(Ud)It was (Naray)an avoidable track

By no means would it be incorrect to state that Dil Mera Dil Hai Akela – the second of the two male solos from Love Ke Liye Kuch Bhi Karega on this blog – wasn’t worth listening to on loop, despite the fact that (Ud)it was rendered by the one and only Mr Narayan.

The track referred to a number of women, including a few whose names are common words (for instance, “Ruby ki pehnoon angoothi main”, “Sapna ke sapne bunoon” and “Seema mein seemit rahoon”).  These lines were credited to Abbas Tyrewala.

Vishal Bhardwaj composed it.

It was (Asl)amirth-inducing Son(u)g, bhai!

If the four tracks from Love Ke Liye Kuch Bhi Karega (2001) were arranged in alphabetical order, Aslam Bhai would the first.

By no means would it be incorrect to state that the highlight of the song were its lyrics, which were credited to Abbas Tyrewala. If they were to be described in a word, it would be hilarious.

Sonu Nigam rendered the track, which didn’t just praise the bhai who aspired to become an actor, but also poked fun at stars such as the Khans and Hrithik Roshan.

It was composed by Vishal Bhardwaj.

This track was not (Srir)amazing

Both Anuradhas had solos on the female-dominated soundtrack of Lajja, a film that released in 2001 and whose cast was toplined by ladies who were A-listers.

But by no means would it be incorrect to state that Aaiye Aa Jaaiye Aa Hi Jaaiye – the song rendered by Ms Sriram – was the most popular track in the film. In fact, it was the only song from the film on this blog.

The track, which was penned by Sameer Anjaan and composed by the one and only Anu Malik, could, at best, described as an average number.    

Mr Joseph could not keeP(ra)ti(c)king

The second song on the soundtrack of Kyo Kii… Main Jhuth Nahin Bolta was titled Ek Ladki Deewani Si.

It wasn’t just penned by the one-hit wonder Pratik Joseph (whose name will forever be suffixed by the phrase, “of Ande Ka Funda fame”), by also rendered by him. 

But by no means would it be incorrect to state that like the song from Jodi No. 1, this number left him with anda on his face.

It sounded like locker-room talk between a man in love and his buddies, set to music by Anand Raj Anand.

 

Jaspinder sang this upbeat (So)number

It is purely a coincidence that the two best-known songs on the soundtrack of Kyo Kii… Main Jhuth Nahin Bolta, which released in 2001, began with the same two words – Ek Ladki.

The first of these in alphabetical order – Ek Ladki Chahiye – was about the pair’s expectations from their life partners, in terms of qualifications, appearance, etc.

Penned by Dev Kohli and rendered by Jaspinder Narula and Sonu Nigam, it had a line that went, “Uska standard bhi high chahiye”.

While it was peppy, the standard of the Anand Raj Anand composition was pretty low.

This (Sa)number certAinlY stood out

It would not be incorrect to state that Saamne Baithkar was the only song on the soundtrack of Kuch Khatti Kuch Meethi, which released in 2001, that was worth listening to.

And that was only because it was a catchy number. But, of course, the track, which was penned by the one and only Anu Malik, didn’t have a long shelf life or high recall value.

While Sameer's lyrics were the song's highlight, it is possible that by then, the listeners had begun to prefer new voices to those of Alka Yagnik and Kumar Sanu.

(Ud)It was certAinlY not run-of-the-mill

If the three tracks from Kasoor were arranged in the alphabetical order, Zindagi Ban Gaye Ho Tum would be the last.

And as far as the duration was concerned, if they were arranged in the descending order, it was the shortest – it was five minutes and 35 seconds long.

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

By no means would it be incorrect to state that the song, which was penned by the one and only Sameer Anjaan, was pleasing to the ears.

A throwback to the 1990s, it was composed by Nadeem-Shravan.

ThiS(a)number wasn’t up their AlleY

If you think there's a typo in the title of this post, you’re mistaken. Yes, Mohabbat Ho Na Jaaye, from Kasoor, wasn’t a song that Hindi film music aficionados would associate with either of the two who rendered it, despite the fact that it is a versatile pair. And that is precisely why the track was a hit.

The duo in question was Alka Yagnik and Kumar Sanu.

The track, which was penned by none other than Sameer, was half-a-dozen minutes and 35 seconds long.

No prizes for guessing that it was composed by Nadeem-Shravan.

Alka sang this UNderrated track

It is rather unfortunate that a gem of a soundtrack like that of Kasoor, which released in 2001, hasn’t got its due.

But by no means does it mean that it wasn’t worth listening to repeatedly.

This blog contains posts on three tracks from the film. Of these, Kitni Bechain Hoke was the longest – it was seven minutes and 25 seconds long.

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

The song took the listeners for a stroll down melody lane to the 1990s. It was penned by Sameer Anjaan and composed by Nadeem-Shravan.

Ms Yagnik was on Son(u)g

There was no toss-up between Deewana Hai Dekho and You Are My Soniya for the sixth song from Kabhi Khushi Kabhie Gham…

While the latter, which was five minutes and 45 seconds long, continues to be one of Sandesh Shandilya's most popular compositions, the former, which was just a second longer, was avoidable.

While both were rendered by Alka Yagnik and Sonu Nigam, the difference between the two songs was that Deewana Hai Dekho had a few lines by Kareena Kapoor (which, inexplicably, merited her a singing credit alongside the aforementioned duo).

Sameer penned it.