The singers sKAled greater heights

The third track from Welcome on this blog was Uncha Lamba Kad, which wasn’t mediocre.

It was four minutes and 40 seconds long.

By no means would it be incorrect to state that if Anand Raj Anand, who penned, composed and rendered the song, could sing the feminine portion of the track, he probably would.

Kalpana Patowary joined him behind the microphone.

The most interesting line of the track was, “Hoga tera good luck, dil mere liye rakh” (which could be translated to, “It’ll be your good luck if you keep your heart for me”).

Anand did justice to (Pand)it

Kiya Kiya was the longest of the three songs from the soundtrack of Welcome on this blog – it was five minutes and a couple of seconds long.

While it was a raunchy number, and therefore, targeted at a certain section of the listeners, it would not be incorrect to state that it was catchy.

Anand Raj Anand didn’t just compose the track, but he rendered it too.

He was joined behind the microphone by Shweta Pandit.

Sadly, Sagari, who penned it, didn’t live up to his name, which he, incidentally, shares with Sameer’s father (Anjaan).

It wasn’t a first-clASS number

This blog contains posts on three tracks from Welcome, which released in 2007.

If they were arranged in alphabetical order, Honth Rasiley would the first.

It was four minutes and 40 seconds long.

The track was composed by Ibrahim Ashq.

It wasn’t just composed by Anand Raj Anand, but he is also credited as one of the three singers. He was joined behind the microphone by Shankar Mahadevan and Shreya Ghoshal.

Despite boasting of such a line-up, it would not be incorrect to state that it was a run-of-the-mill number, targeted primarily at the masses.

Mithoon excelled in both R(a)oles

Indeed, some lines should never be crossed.

But this blog contains a post on just one ‘track’ from The Train (which released in 2007 and starred Harbhajan Singh’s wife Geeta Basra), and its lines could be hummed.

The song in question was Woh Ajnabee.

Mithoon composed and rendered it.

He was joined behind the microphone by Shilpa Rao (no ajnabee to playback singing, but definitely one who deserves more offers to sing Hindi film songs).

Sayeed Quadri penned the song.

Its remixed version, which was titled Club Mix, was four minutes and 36 seconds long.

The composer joined the Sing(h)ers

Unke Nashe Mein was the longer of the two songs from Shootout at Lokhandwala on this blog – it was four minutes and 49 seconds long.

It was surprising to read that Sanjay Gupta, the film’s co-producer, was credited with penning the track.

The song, which didn’t give the listeners a high, wasn’t just composed by Anand Raj Anand, but he was one of the three men who rendered it.

The others are Sing(h)ers who, incidentally, share a last name – Mika and Sukhwinder.

Its remixed version, titled Club Mix, was five minutes and 25 seconds long.

Mika didn’t just Sing(h) it

Ganpat was the shorter of the two tracks from Shootout at Lokhandwala (2007) on this blog – it was four minutes and 29 seconds long.

Mika’s involvement in the song wasn’t just restricted to Sing(h)ing it, but he was credited as the lyricist and the composer too.

It earned him nominations in the Stardust Best Music Director and Playback Singer categories.

The album featured a longer version of the track. It was titled Ganpat (Rap). It was composed and sung by Singh, who penned it with Virag Mishra. It was five minutes and 47 seconds long. 

Shaan and Sunidhi salvaged it

There’s no two ways about the fact that the soundtrack of Shakalaka Boom Boom, which released in 2007, is one of composer Himesh Reshammiya’s worst albums to date.

This blog contains a post on just one track from the film. The song in question was Thaare Vaaste, which was four-and-a-half minutes long.

It is a Rajasthani phrase that can be translated to, “For you”, and indeed, if it weren’t for the duo who rendered it (Shaan and Sunidhi Chauhan), it would have been ignored.

Sameer penned the song, whose remixed version was 21 seconds shorter.

Parthiv's rendition was the hiG(o)h(i)light

Parthiv Gohil was the runner-up of TVS Sa Re Ga Ma, and as far as the Hindi film music industry is concerned, there’s no two ways about the fact that Yun Shabnami is his most popular song to date.

Of the three songs from Saawariya on this blog, it was the longest – it was five minutes and 15 seconds long.

It was penned by guest lyricist Sandeep Nath.

Monty Sharma got his 'dew' in the form of a Filmfare nomination in the Best Music Director and the Set Max Stardust Award for Music in 2008.

Shail certainly Hada dream debut

Of the three tracks from Saawariya on this blog, its title track was the shortest – it was just a couple of minutes and 45 seconds long.

While the film will always be remembered for marking the debuts of the leads [Ranbir Kapoor (on whom it was picturised) and Sonam Kapoor], the track also marked the debut of the man who rendered it – Shail Hada.

It was penned by none other than Sameer Anjaan, and composed by Monty Sharma.

There was another version of the track, titled Reprise. It was three minutes and half-a-dozen seconds long.

The towel waS(haa)n’t thrown in

Jab Se Tere Naina, from Saawariya (which released in 2007), was four minutes and 44 seconds long.

The track, which was undoubtedly one of the most popular towel songs in Hindi films, was composed by Monty Sharma*.

The song, which was composed by Sameer, was rendered by none other than Shaan.

[*Note: The soundtrack earned him the Filmfare R D Burman Award for New Music Talent in 2008. His uncle is the legendary Pyarelal Ramprasad Sharma of the Laxmikant-Pyarelal jodi. Fellow composer Mithoon, of Bas Ek Pal (2006) and Anwar (2007) fame, is his cousin.]

 

(Pand)It was upbeat, but unimprESSive

Although there’s no two ways about the fact that You’re My Love was an upbeat number, as all the other songs on the soundtrack of Partner were, it didn’t appeal to many listeners.

The reason was that it sounded too classy to strike a chord with the masses.

The song, which was four minutes and 35 seconds long, was penned by Shabbir Ahmed.

No prizes for guessing that it was composed by Sajid-Wajid.

(Pand)It was rendered by a quartet comprising Earl Edgar D’Souza (popularly known by his stage name URL), Shaan, Shweta and Suzanne D’Mello.

Janjua’s rendition WaS the highlight

Short certainly wasn’t sweet, but by no means would it be incorrect to state that it was catchy, and a lion’s share of the credit went to Shabbir Ahmed, who penned it. 

Of the five songs from Partner on this blog, Soni De Nakhre was the shortest – it was four minutes and 17 seconds long.

It seemed that the composers (Sajid and Wajid Khan) took turns to go behind the microphone – on this occasion, it was Wajid who played second fiddle to Labh Janjua (whose rendition was the highlight of the track) and Sneha Pant.

HoNeStly, this Son(u)g was pointleSS

It wouldn’t be incorrect to state that Maria Maria was the weakest track on the soundtrack of Partner.

The track, which was four minutes and 36 seconds long, was penned by guest lyricist Jalees Sherwani. It was his only contribution to the soundtrack.

It was peppered with Spanish lines, and rendered by two of the most So(n)ught-after singers in the Hindi film industry – Mr Nigam and Sunidhi Chauhan.

It was the turn of Sajid Khan, who composed it with Wajid, to join the regulars behind the microphone.

They were supported by Naresh Iyer and Shakib. 

This Son(u)g certainly wasn’t KLaSSy

Dupatta Tera Nau Rang Da was the longest song on the soundtrack of Partner – it was five minutes long.

By no means would it be incorrect to state that Shabbir Ahmed, who penned the track, was the chief lyricist, because he penned three of the five tracks from the film on this blog.

This Son(u)g, which was about a multi-coloured stole, was rendered by multiple voices – Kunal Ganjawala, Shreya, Mr Nigam and Suzanne D'Mello.

None of them ‘stole’ the show, (Ghosh)although each of them has the potential to do so.

It was composed by Sajid-Wajid.

UNdoubtedly, this Song WaS Catchy

This blog contains posts on five tracks from Partner, which released in 2007.

The fact that the film’s title track – Do You Wanna Partner – would be first if they were arranged in alphabetical order is purely coincidental, but the song was four-and-a-half minutes long.

The song, was penned by Sanjay Chhel, who was one of the two guest lyricists on the soundtrack.

(Ud)It was rendered by a quintet comprising Clinton Cerejo, Shaan, Suzanne D’Mello, Mr Narayan and Wajid Khan. 

It was composed by Sajid-Wajid.

The song’s remixed version was three minutes and 58 seconds long.

Rafta Rafta, Reshammiya became ReDouBtable

Since it was the soundtrack of Namastey London (which was, incidentally, about a Punjabi in the British capital), it was only fair that the third track from the film on this blog – Rafta Rafta – featured the vocals of RDB (which stands for Rhythm Dhol Bass, a Bradford, Yorkshire, United Kingdom-based bhangra band).

It was the shortest song in the film – it was four minutes and 42 seconds long. In fact, it was the only song in the film that was under five minutes long.

Javed Akhtar penned the track, which was composed by Himesh Reshammiya.

This Indo-Pak KollaBoRa(ha)tion was awesome

Main Jahaan Rahoon was the longest of the three songs from Namastey London on this blog – it was half-a-dozen minutes and 22 seconds long.

By no means would it be incorrect to call it one of the best Ind0-Pak collaborations in recent times – Rahat Fateh Ali Khan and Krishna Beura rendered it.

Javed Akhtar penned the track, which Himesh Reshammiya composed.

The soundtrack featured a couple of remixed versions of the song. While the one titled Remix was five minutes and nine seconds long, its Mehfil Mix was seven minutes and as many seconds long.

Well, Mr Reshammiya (Chak)nailed it!

This blog contains posts on three songs from Namastey London (2007).

If they were arranged in alphabetical order, Chakna Chakna would be the first. It was five minutes and 45 seconds long.

It wouldn’t be appropriate to translate the track from Punjabi to English, but it was definitely a track that could have been playing in the background during a round of drinks*.

Sameer Anjaan penned the song, which was composed and rendered by Himesh Reshammiya.

(*Note: Chakhna – which is similar to the song’s title – is Hindi for the snacks served as accompaniments to drinks.)

This tracKK certainly wasn’t unforgettable

Mera Pehla Pehla Pyaar, which released in 2007, was abbreviated to MP3.

With the reference to an audio format, it would only have been fair to expect a great soundtrack, right?

Well folks, it wasn’t outstanding. This blog contains a post on just one song from the film – its title track, which was four minutes and 31 seconds long.

To be fair, it was popular for a while, and the lion’s share of the credit for that went to KK, who rendered it.

Vipin Mishra penned the song, which Ashutosh Phatak and Dhruv Ghanekar composed.

These SingerS were truly Powerhouses

This blog contains a post on just one track from Laaga Chunari Mein Daag – Journey of a Woman (2007).

The song in question was Hum Toh Aise Hain Bhaiyya.

It was five minutes and seven seconds long.

The song was penned by the one and only Swanand Kirkire, who was also credited as one of the four who rendered it.

Undoubtedly, Shantanu Moitra, the composer, pulled off a coup, getting Shreya Ghoshal and Sunidhi Chauhan to render it, and needless to say, the result was mind-blowing.

They were joined behind the microphone by Pranab Biswas.

It waS(wanan)definitely (Jhingr)an underrated track

By no means would it be incorrect to state that the title track of Khoya Khoya Chand, which released in 2007, was the most popular song in the film.

It happened to be the only track from the film on this blog.

Despite being far from traditional, it was undoubtedly one of the best qawwalis in Hindi films.

Swanand Kirkire's involvement with the song wasn’t restricted to penning it. He was one of two men who rendered it too.

The other was Ajay Jhingran.

No prizes for guessing that it was composed by Shantanu Moitra.

This tRacK deserved its due

I have already written posts on most of the songs from Jab We Met, which released in 2007, on my blog dedicated to Pritam’s music.

But the film’s soundtrack had one track that was composed by Sandesh Shandilya.

The song in question was Aaoge Jab Tum.

Vis-a-vis the other tracks in the film, this song – which was four minutes and 25 seconds long – lacked universal appeal (because not everyone likes classical music). But there’s no two ways about the fact that it deserved its due.

Ustad Rashid Khan penned the song, which Irshad Kamil penned.

Mr Ganjawala salvaged (K)apoor track

Himesh Reshammiya – whose purple patch in 2006 should have earned him the sobriquet Mr Prolific – kept it up in 2007 too. One of the films whose songs he composed was Fool N Final.

The only song from the film on this blog was the inane Tere Layee. It was four minutes and 55 seconds long.

It was rendered by Kunal Ganjawala and Himani Kapoor (who was a Sa Re Ga Ma Pa Challenge finalist in 2005).

The remixed version of the track was 55 seconds shorter than the original, which was penned by Sameer Anjaan.

Xulfi gave it his (C)all

The only song from Ek Chalis Ki Last Local (2007) on this blog was Laree Chhootee.

There’s no two ways about the fact that it was the most popular song in the film. 

It was written and composed by Call, a Pakistani rock band, and rendered by its lead vocalist Zulfiqar Jabbar Khan, better known as Xulfi.

The song was preceded by a monologue that went, “Woh kehte hain na, jo hota hai achche ke liye hota hai, galat kehte hain”.

It ended with a monologue that contradicted the aforementioned one (and that was sahi).

THeSe SingerS struck no chord

If the team that collaborated on Dum Laga, the only song from Dil Dosti Etc. (2007) on this blog, believed that it mirrored the lives of a majority of collegians, they were mistaken.

Only the young and the restless could relate to it.

The song, which was four minutes and 10 seconds long, was composed by Siddharth-Suhas, was rendered by a quartet. Of these, two were the composers themselves. The others were Hamza Faruqui and Suraj Jagan.

Siddharth-Suhas were among the quintet that penned it too. The others were Kumaar, Prashant Pandey and Raam Gautam.

(Am)It was (Adn)another title track

By no means would it be incorrect to state that Miss India Martee Mujhpe staked its claim to being the title track of Dhamaal by virtue of the repetitions of the word in the song.

It was far from outstanding, and was the shorter of the two tracks from the film on this blog – it was five minutes and as many seconds long.

(Am)It wasn’t just composed, but also rendered by Adnan, who was joined behind the (Sa)microphone by Kumar.

While on the subject of claims, the song, which Sameer penned, comprised several tall ones.

Adnan and Shaan had fun

This blog contains posts on a couple of tracks from Dhamaal, which released in 2007.

Dekho Dekho Dil Yeh Bole, the longer of those (and the title track of the film), was five minutes and 13 seconds long.

By no means would it be incorrect to state that it was a run-of-the-mill track.

Nonetheless, Adnan Sami seemed to have a blast (which, incidentally, is what Dhamaal could be translated to), because he was involved in it as both the composer and one of the two who rendered it (the other being Shaan).

Sameer penned it.

It was Shergill's (Rab)big break

Gurpreet Singh Shergill may not instantly ring a bell, even if one is an ardent Indipop fan, but his stage name – Rabbi – certainly would.

It was also the name of his debut album, which released in 2004.

Tere Bin, a song from the album, became extremely popular at that point, and featured on the soundtrack of Delhii Heights.

It was penned, composed and rendered by Shergill.

With the two words – Hindi for, “Without you” – used in numerous Hindi film songs, it wouldn’t be incorrect to call this song the Punjabi Tere Bin to avoid confusion.

ThiS(o)number did enjoy short-lived popularity

This blog contains posts on a couple of songs from Delhii Heights, which released in 2007.

If they were arranged in alphabetical order, Kitni Der Tak would be the first of these.

By no means would it be incorrect to state that the track was popular when the film released, but it did not have a long shelf life. However, it did appeal to those who were in love.

It was rendered by the one and only Sonu Nigam (for whom it was tailor-made).

The song wasn’t just penned, but also composed by Rabbi Shergill.

Shreya sang this twice-adapted solo

(Ghosh)Although Shreya’s second solo on the soundtrack of Cheeni Kum was titled Jaane Do Na, it wasn’t a song that was likely to take the listeners’ leave.

Music buffs from the South would certainly recall the tracks that inspired it – Jotheyali Jothe Jotheyali, from the 1981 Kannada film Geetha, and Vizhiliye Mani Vizhiyil, from Nooravathu Naal, a Tamil film that released in 1984*.

All the three tracks were composed by Ilaiyaraaja.

The Hindi version was penned by none other than Sameer.

(*Note: It was remade in Hindi as 100 Days. The film released in 1991.) 

It was a Shreya (Ghosh)album

There’s no two ways about the fact that Cheeni Kum, which released in 2007, was a Shreya Ghoshal-dominated soundtrack.

She rendered the female version of the title track, which is the first of the two tracks from the film on this blog (in alphabetical order).

It was composed by Ilaiyaraaja, and was an adaptation of his composition Mandram Vantha, from Mouna Raagam, a Tamil film which released in 1986.

The track was penned by Sameer.

Its male version, which was another adaptation of the aforementioned Tamil song, was titled Sooni Sooni. Vijay Prakash rendered it.

Undoubtedly, Mr Beura's rendition waS(al)impactful

By no means would it be incorrect to state that Maula Mere Le Le Meri Jaan was an underrated song, but it surely left a long-standing impact on the listeners.

The track, from Chak De! India, was four minutes and 47 seconds long, and had a high emotional quotient (EQ).

Salim Merchant's involvement in the song wasn’t restricted to composing it (with Sulaiman), but he was credited as one of the two crooners too (the other was Krishna Beura, who was actually the main singer).

It was penned by the one and only Jaideep Sahni.

KK and SRK deserved kudos

The longest of the four songs from Chak De! India on this blog was Ek Hockey Doongi Main Rakh Ke – it was five minutes and 14 seconds long.

That was because it was the song in which the members of the Indian women’s hockey team, and their coach, Kabir Khan (Shahrukh Khan), were introduced.

In fact, the actor was credited as one of the two crooners, the other being KK.

Jaideep Sahni, who penned the track, and Salim-Sulaiman, the composers, deserved the lion's share of the credit for reigniting India’s passion for its national sport.

There was SoMething about Singh

There’s no two ways about the fact that Sukhwinder shares a special working relationship with Shahrukh Khan [as evidenced by Chaiyya Chaiyya from Dil Se... (1998)]. He is the go-to Sing(h)er when it comes to title tracks [that of Omkara (2006) being a case in point].

Put these facts together, and you have the awesome title track of Chak De! India, which is played to cheer Team India, regardless of the sport.

Jaideep Sahni penned the Salim-Sulaiman composition, which was four minutes and 43 seconds long.

Marianne D'Cruz and Salim joined Singh behind the microphone.

Sa(r)d(esai)ly, it was not oft-He(m)ard

Chak De! India released a few days before India’s Independence Day in 2007, but it continues to evoke the patriot in every desi over a decade later, and will continue to do so for years to come.

Baadal Pe Paaon Hain was the shortest of the four tracks from the film on this blog – it was four minutes and five seconds long.

It was truly a treat for Hindi film music aficionados, who, unfortunately, don’t get an opportunity to listen to Hema Sardesai's voice often.

Jaideep Sahni penned the track, which was composed by Salim-Sulaiman.

This Ocean of talent rocked

Although Black Friday premiered at the Locarno International Film Festival in 2004, it released in India in 2007.

There’s no two ways about the fact that Bandeh was the most popular track in the film. It was seven minutes and 48 seconds long.

It marked New Delhi-based fusion rock band Indian Ocean’s maiden foray into the film industry. Their involvement with the song wasn’t limited to composing it, but they sang it too.

Of course, its success was attributable to its lyrics, which were credited to a man noted for donning many hats – Piyush Mishra.

Aptly, Roop KR(ath)o(one)d this gem

There are some songs that listeners tend to associate with just one singer. 

Maula Mere Maula, from Anwar (2007), was a case in point.

This underrated number was rendered by the one and only Roop Kumar Rathod.

There were four versions of the track on the album. Sayeed Quadri penned them.

The main version was half-a-dozen minutes and four seconds long. 

Interestingly, the other versions were titled Version 1 (seven minutes and 25 seconds long), Version 2 (six minutes and 53 seconds long) and Version 3 (four minutes and 31 seconds long).

Mithoon composed them.

It was a RocKing Song

There’s no two ways about the fact that Show Me Your Jalwa was the catchiest track on the soundtrack of Aaja Nachle.

It was also the shortest of the three songs from the film on this blog – it was four minutes and 13 seconds long.

So peppy was the track that even Salim Merchant, who composed it with Sulaiman, couldn’t resist joining Kailash Kher and Richa Sharma behind the microphone. 

Of course, it wouldn’t be incorrect to state that Kher and Sharma’s rendition was the highlight of the song, which was penned by Jaideep Sahni. 

It provided some much-needed Rahat

Soul-stirring isn’t an adjective that one would associate with too many voices today, but one singer whose renditions definitely justify the use of that word is none other than Rahat Fateh Ali Khan.

By no means would it be incorrect to state that he rendered the best song on the soundtrack of Aaja Nachle – O Re Piya.

It was also the longest of the three tracks from the film on this blog – it was half-a-dozen minutes and 19 seconds long.

This underrated gem was penned by Jaideep Sahni and composed by the Merchant brothers, Salim-Sulaiman.

It (Suni)d(h)idn’t win (Chau)hands down

Although fans of Hindi films released in the 1980s and 1990s were obviously curious to know how the soundtrack of dancing diva Madhuri Dixit’s comeback film Aaja Nachle (2007) fared, it wouldn’t be incorrect to state that it was a mixed bag.

This blog contains posts on three tracks from the film. If they were to be arranged in alphabetical order, its title track, which was five minutes and four seconds long, would be first.

Sadly, it was a run-of-the-mill number, and Sunidhi Chauhan’s rendition salvaged it.

Piyush Mishra penned the track, which Salim-Sulaiman composed.

Himesh had many people jhooming

Without wishing to sound unkind, Himesh Reshammiya had his finger on the pulse of every Tom, Dick and Harry.

In fact, he even composed the music of a film by that name. It released in 2006.

By no means would it be incorrect to state that the most popular song on its soundtrack was Zara Jhoom Jhoom, which was a promotional track (well, it certainly did an outstanding job!)

Mr Reshammiya's involvement in the song wasn’t restricted to composing it – he rendered it too.

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

Ms Yagnik sprang this Su(khwinde)rprise

The second song from Shaadi Se Pehle on this blog was titled Bijuriya.

It is Hindi for lightning, which was certainly not inappropriate – it summed up what struck the listeners upon finding out that Alka Yagnik, noted for her sweet renditions, was the one oozing oomph.

The Sing(h)er who joined her behind the microphone was none other than Sukhwinder.

No prizes for guessing that the song, which was penned by Sameer, was composed by Himesh Reshammiya.

The album featured a remixed version of this track, as was the case with Ankhiyon Se Gal Kar Gayi.

The S(on)uper Sing(h)ers did (Suni)d(h)isappoint

The duo that was on a roll in 2006 – composer Himesh Reshammiya and lyricist Sameer Anjaan – collaborated on yet another film that released that year (phew!)

The film in question was Shaadi Se Pehle, and this blog contains posts on a couple of tracks from it.

If they were arranged in alphabetical order, Ankhiyon Se Gal Kar Gayi would be the first.

The song's title is Punjabi for, “Her eyes spoke”. It was just as well, because if she actually spoke, she would say the Sing(h)ers – Sonu Nigam, Sukhwinder and Sunidhi Chauhan – were a let-down.

Mr Reshammiya took the Kak(e)

The first name that pops into a film buff's mind at the mention of the word Rocky is either Sylvester Stallone or our very own Sanjay Dutt, but certainly not Zayed Khan.

But the lad played the eponymous character in a film titled Rocky: The Rebel, which released in 2006.

This blog contains a post on just one track from the film.

Titled Junoon Junoon, it wasn’t just composed, but also rendered by Himesh Reshammiya.

He was joined behind the microphone by Amrita Kak.

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

Ma(a)n, Himesh’s Re(shammiya)ndition was edgy

Mujhko Yaad Sataye Teri was the second song from Phir Hera Pheri on this blog. It was the shorter of the two – it was four minutes and 38 seconds long. In fact, it was the shortest song in the film.

This was another solo. Incidentally, it was composed and rendered by the one and only Himesh Reshammiya, and penned by Sameer Anjaan.

The hook of the song went, “Kitne armaan maam maan maan jaage tere vaaste soniye” (which could be translated to, “How many times I desired you”). The three repetitions of maan weren’t words.

It did (Hime)showcase Reshammiya’s talent(s)

This blog contains posts on a couple of tracks from Phir Hera Pheri, which released in 2006 and was the sequel to Hera Pheri (2000).

Aye Meri Zohrajabeen was the longer of those – it was five minutes and 23 seconds long.

It wasn’t just composed, but also rendered by Himesh Reshammiya.

Although the title of the track was derived from the song of the same name from Waqt, it was unlikely to take the listeners back in time to the mid-1960s. 

But it wouldn’t be incorrect to state that Sameer Anjaan penned a catchy track. 

Vishal’s (Ghosh)all-round brilliance became evident

O Saathi Re, the song from Omkara, was a Bhardwaj number (Vish)all the way – he ddin’t just compose the track, but rendered it too.

And there’s no two ways about the fact that he excelled in both departments.

The winner of the Star Screen Award for Best Music Director and a nominee in the same category at the Zee Cine Awards, the IIFA Awards and the Bollywood Movie Awards was joined behind the microphone by the one and only Shreya Ghoshal.

No prizes for guessing that Gulzar penned the track, which was five-and-a-half minutes long.

Sukhwinder was apt for it

When it comes to rendering the title tracks of films, particularly those that have a swashbuckling male as the protagonist, there’s no two ways about one thing – Sukhwinder Singh is king.

The crooner’s description of Omkara (Ajay Devgn’s character in the film of the same name) was undoubtedly enthralling, and it earned him nominations in the Best Male Playback Singer category at the Star Screen Awards and the Bollywood Movie Awards.

The track, which was five minutes and 22 seconds long, was penned by the one and only Gulzar.

It was composed by Vishal Bhardwaj.  

(Pand)It wasn’t an auR(ekh)al as‘sa(u)lt’

It would be grossly unfair to call Namak an item number, but the rustic song was undoubtedly a chartbuster.

Of the five songs from Omkara on this blog, it was the longest – it was half-a-dozen minutes and 49 seconds long.

The vocals of Rekha Bhardwaj – the wife of Vishal Bhardwaj, who didn’t just compose the song, but directed the film as well – were the highlight of the track.

She was nominated in the Best Female Playback Singer category at the Star Screen Awards.

(Pand)It must be stated that Rakesh lent able support.

Gulzar penned it.

It gave the listeners Rahat

Over the years, the eyes – especially those of women – have inspired many a lyricist, but only one of Gulzar’s calibre could state that the eyes are tricksters.

The song in question is Naina Thag Lenge, from Omkara. It was half-a-dozen minutes and 49 seconds long.

This isn’t a song that would instantly appeal to listeners of all age groups. One must listen to it repeatedly, so that it grows on him/her. But once it does, the melody – credited to none other than Vishal Bhardwaj – will surely linger.

It was rendered by Rahat Fateh Ali Khan.

Ms Chauhan’s CoNSistency was amazing

This blog contains posts on five posts on Omkara, which released in 2006.

Beedi was the shortest of them – it was five minutes and as many seconds long.

It was rendered by Sunidhi Chauhan, who bagged the Filmfare Award and the Zee Cine Award and shared the Star Screen Award in the Best Female Playback Singer category, in addition to bagging the Bollywood Movie Award and the Global Indian Film Awards.

She was joined behind the microphone by Sukhwinder Singh, Clinton Cerejo and Nachiketa Chakraborty.

Gulzar penned the Vishal Bhardwaj composition, which became very popular.

AS(anj)usual, Vinod Wa(r)sin his element

Everyone’s favourite tapori duo, Munna Bhai and Circuit (essayed by Sanjay Dutt and Arshad Warsi, respectively) undoubtedly had a blast in Samjho Ho Hi Gaya, and there’s no two ways about the fact that the happiness they spread was infectious.

And their involvement in the Shantanu Moitra composition from Lage Raho Munna Bhai wasn’t limited to their on-screen appearance, but they joined Vinod Rathod behind the microphone as well.

It was the shortest of the five tracks from the film on this blog – it was three minutes and 31 seconds long.

Swanand Kirkire penned it.

This inspired SonG was (Nig)amazing

Pal Pal…Har Pal was the longest track on the soundtrack of Lage Raho Munna Bhai – it was four minutes and 32 seconds long.

(Ghosh)Although the Son(u)g, which was rendered by Shreya and Mr Nigam, was not original*, there’s no two ways about the fact that it was a beautiful song.

This track, which was penned by Swanand Kirkire, was one a person would want to listen to on loop in the company of his/her significant other. 

It was composed by Shantanu Moitra. 

(*Note: It was inspired by Cliff Richard’s 1961 song Theme for a Dream.)  

Vinod was Munna Bhai’s voice

Though it is rare these days to state that a singer is a particular star’s ghost voice (unlike in the Golden Era), it would not be incorrect to say that Vinod Rathod was the voice of Sanjay Dutt in a number of films, including Khalnayak and the Munna Bhai series.

And he nailed the title track of Lage Raho Munna Bhai, which was four minutes and 25 seconds long.

Shaan replaced him in its remixed version, which was seven minutes shorter.

Bole toh, the Shantanu Moitra composition was an enjoyable number, penned by Swanand Kirkire.

It S(on)ummed Gandhi up SuPerbly

By no means would it be state that though it was parody on India’s national song (and a song about the Father of the Nation), Bande Mein Tha Dum… Vande Mataram, from Lage Raho Munna Bhai, was a fantastic song.

It was penned by Swanand Kirkire, who bagged the National Film Award for Best Lyricist in 2007.

The song was rendered by none other than Sonu Nigam, who was joined behind the microphone by Shreya Ghoshal and Pranab Biswas.

It was composed by Shantanu Moitra, and was four minutes and a couple of seconds long.

It was N(icely) C(rooned), Karunya!

This blog contains posts on five songs from Lage Raho Munna Bhai, which released in 2016. In alphabetical order, the first of these was Aane Chaar Aane, which was four-and-a-half minutes long.

It was rendered with the requisite gusto by N C Karunya, who emerged the first runner-up of the second season of Indian Idol, aired on Sony Entertainment Television in 2005-06.

To borrow a line from the track, it was hit, “Seedha stadium ke paar” (which could be translated to, “Straight out of the stadium”).

Swanand Kirkire penned the song, which Shantanu Moitra composed.

This Son(u)g was definitely (Ghosh)aletdown

Krrish, which released in 2006, may have been the sequel to Koi… Mil Gaya, but by no means would it be incorrect to state that the soundtrack of the former wasn’t a patch on that of the latter.

Pyaar Ki Ek Kahani, which was half-a-dozen minutes and 28 seconds long, was the only song from the film on this blog. 

(Ghosh)Although Shreya and Mr Nigam rendered it, the Son(u)g was a tad disappointing.

The song was penned by Ibrahim Ashq. It was his only contribution to the film, whose songs were composed by Rajesh Roshan.

It was truly a cracK(h)er

With the unique voice he possesses, it is unlikely that Kailash Kher will ever be as prolific as many of his peers, but there’s no two ways about the fact that the crooner will forever be associated with a few gems.

One of them was Chak De Phattey, the longest and most popular song on the soundtrack of Khosla Ka Ghosla, which released in 2006.

Five minutes and 46 seconds long, the track was penned by Jaideep Sahni, and was truly a cracker of a number.

It was composed by a debutant named Dhruv Dhalla.

Sachar wasn’t (Ragh)averse to experimentation

Kabul Fiza, the shorter of the two tracks from Kabul Express on this blog, was just four minutes long.

The song, which was penned by Aditya Dhar, wasn’t just composed, but also rendered by Raghav Sachar, who was making his debut. An ace at playing a number of musical instruments, he proved that he is willing to experiment. 

The remixed version of the track was three minutes and 24 seconds long.

The soundtrack also featured an instrumental version of the track. Titled Kabul Fiza Theme, it was a couple of minutes and eight seconds long.

Indeed, Mudgal’s version waS(hubh)a treat

Kabul Express’ soundtrack was one of the most underrated albums of 2006.

This blog contains posts on a couple of tracks from the film on this blog. The longer of these was Shubha Mudgal’s version of Banjar, which was four minutes and 15 seconds long.

There’s no two ways about the fact that her voice was like a breath of fresh air for the listeners.

Aditya Dhar, Swaratmika Mishra and Vijay Kumar penned the Raghav Sachar composition, which had a couple of other versions – Sunidhi Chauhan’s Lounge Mix and KK’s version, which was titled Revisited.

Their SKillS were on point

Jaane Ke Jaane Na was the shorter of the two tracks from the film with a mouthful for a title, Jaan-E-Mann: Let’s Fall in Love…Again – it was five-and-a-half minutes long.

The track was an instant mood-lifter. 

It was rendered by three crooners – Sonu Nigam, Sukhwinder Singh and Krishna Beura.

There’s no two ways about the fact that it was one of the most surprising tracks penned by Gulzar.

It was composed by none other than Anu Malik. 

The remixed version of the song – which was titled Club Mix – was four minutes and 36 seconds long.

Everyone knew these SingerS rocked

This blog contains posts on a couple of posts from Jaan-E-Mann, which released in 2006.

The longer of these was Humko Maloom Hai, which was seven minutes and 15 seconds long. It took a while to grow on the listeners.

There’s no two ways about the fact that the couplet that preceded the song was its highlight.

It was a Sonu Nigam track all the way. In fact, Sadhana Sargam, who joined him behind the microphone, had to play second fiddle.

Gulzar penned it.

No prizes for guessing that it was composed by Anu Malik.

Tulsi certainly (Resham)m(iy)ade her (Ku)mark

Himesh Reshammiya, who was on a roll circa 2006 as both a music director and a singer, got an opportunity to compose (and, of course, render) one of the songs on the soundtrack of Humko Deewana Kar Gaye.

Needless to say, he grabbed it with both hands. 

The track in question was Tum Saanson Mein.

And he was joined behind the microphone by none other than Tulsi Kumar.

The track, which had a couple of other versions, was penned by Sameer Anjaan. While one of these was the remixed version, the other was titled Unplugged.

ThiS(o)number (Ku)marked Tulsi’s singing debut

Tulsi Kumar is the daughter of the late T-Series founder Gulshan Kumar, and the sister of Bhushan Kumar, the company’s current chairman and managing director.

She was launched as a singer with Humko Deewana Kar Gaye, which released in 2006.

There were four versions of its title track. A couple of these were sad versions.

While this blog contains a post on the duet (with Sonu Nigam), her second contribution to the soundtrack was Version-II of its sad version (a female solo).

The tracks, which were penned by Sameer Anjaan, were composed by Anu Malik.

The AKtors joined the SingerS

Mere Haath Mein, from Fanaa, was four minutes and 48 seconds long.

It certainly wouldn’t be incorrect to state that it was the most underrated of the three songs from the film, and also the most beautiful.

Prasoon Joshi, who penned it, deserved a huge chunk of the credit for that.

The Jatin-Lalit composition was rendered by Sonu Nigam and Sunidhi Chauhan.

And fans of the film’s lead pair (Aamir Khan and Kajol) were in for a treat – they recited a few lines of poetry in it. Needless to say, they did an outstanding job.

Ms Chauhan ko S(on)uno na

The longest song on the soundtrack of Fanaa may have been titled Dekho Na, but by no means would it have been incorrect if it were titled Suno Na.

And of course, there was no bigger incentive to listen to the Jatin-Lalit composition, which was five minutes and 24 seconds long, than the voices of the duo who rendered it – Sonu Nigam and Sunidhi Chauhan.

Prasoon Joshi’s lyrics had the listeners hooked right from the word go. Its opening line, that went, “Koi saazish hai boondon ki”, was indeed one of the most outstanding lines.