Raahi ably supported all-rounder Enbee

This is a post on the fifth – and final – song from Taish.

As the title suggests, Shehnaiyan Wajan Do was a wedding song (although one would certainly think twice about attending one while the world grapples with the pandemic).

If the songs from the film (barring Funk) were arranged in the descending order of their durations, it would be the second – it was three minutes and 45 seconds long.

The involvement of Enbee in the track wasn’t restricted to rendering it, but he composed and penned it as well.

Raahi joined him behind the microphone. 

Ashwin sang it Preeti well

It wouldn’t be incorrect to state that the Pillai siblings, composer Prashant and singer Preeti, did a fine job when they collaborated on Roshni Si, from Taish.

Three minutes and 18 seconds long, it was the shorter of the two tracks from the film that Hussain Haidry penned.

Ashwin Gopakumar joined Preeti behind the microphone.

Armaan Khera, who was also a member of the film’s cast, wrote its Reprise version with Haidry, and sang it with Preeti.

The track – All I See Is The Light – was a couple of seconds longer than the aforementioned song.

 

Undoubtedly, Govind (Prartha)nailed the track

If Funk were excluded from the blog, Re Bawree would be the longest of the three songs from Taish on this blog – it was five minutes long.

It was composed and rendered by Govind Vasantha, who was making his debut as a Hindi film composer.

He was joined behind the microphone by Prarthana Indrajith.

There was another version of the song. Titled Jahaan Lost In Love, it was just three seconds shorter than the aforementioned song.

It was a female solo, rendered by the one and only Sona Mohapatra.

Hussain Haidry penned both these versions. 

Tangri sang the female version

The soundtrack of Taish had a couple of versions of Kol Kol.

But the blog features a post on just one – the female version, which was rendered by Jyotica Tangri.

It was, incidentally, the shorter of the two versions – it was three minutes and 36 seconds long.

The male version – which was called the Reprise version, and was just three seconds longer than the aforementioned song – was sung by Mohan Kannan.

Both the versions were penned by Rohit Sharma (the cricketer’s namesake, who happens to be a composer too).

They were composed by Raghav Sachar.

Mr Dharia joined the F(r)ate(h)rnity

If the five tracks from Taish (2020) were arranged in the alphabetical order, Funk would be the first.

Don’t be followed by the English title – the song was as Punjabi as they come (and was the film version of a single).

And the involvement of Pav Dharia in the track wasn’t restricted to being the lyricist, and one of the two who composed it [the other being The PropheC (a.k.a. Neal Chatha)], but he was one of the two men who sang it too.

The other artiste credited with him on the track was Fateh.

Mika’s NumBer was recreated again

Saawan Mein Lag Gayi Aag was composed, penned and rendered by Mika Singh, and was from the 1998 album of the same name.

Its first recreated version featured on the soundtrack of Woodstock Villa, which released a decade later.

Another version of the song featured on the soundtrack of Ginny Weds Sunny (2020).

It was the longer of the two tracks from the film on this blog – it was three minutes and 46 seconds long.

Payal Dev composed it, and penned it with Mohsin Shaikh and Badshah.

Singh, Badshah and Neha Kakkar rendered the song. 

It was certainly worth (Kam)alisten

Songs of heartbreak aren’t uncommon to Hindi film soundtracks, but they aren’t everyone’s cup of tea either.

However, by no means would it be incorrect to state that Rubaru, from Ginny Weds Sunny, wasn’t just a relatable track, but it was quite easy on the ears too.

Four minutes and a couple of seconds long, it was rendered by Kamal Khan [who sang the male version of Ishq Sufiyana from The Dirty Picture (2011) and Jhooth Boliya from Jolly LLB (2013)].

The track, which was penned by Peer Zahoor, was composed by Jaan Nissar Lone.

Neeti wasn’t the (Dhil)lone Sing(h)er

Phoonk Phoonk – which blended a Punjabi song and Sufi rock (the two genres that are now a part and parcel of almost every Hindi film soundtrack) – was the longest of the five songs from Ginny Weds Sunny on this blog – it was four minutes and 58 seconds long.

It was one of the two tracks in the film that Payal Dev didn’t compose – the man to whom it was credited was Gaurav Chatterji.

The track was rendered by Neeti Mohan, with whom Jatinder and Harjot Dhillon shared Sing(h)ing credits.

It was penned by Sandeep Gaur.

(Jub)Indeed, Nautiyal’s rendition was magical

By no means would it be incorrect to state that Phir Chala – from Ginny Weds Sunny – was tailor-made for Jubin Nautiyal, and the singer certainly did not disappoint.

The track was three minutes and 46 seconds long.

It was penned by Kunaal Vermaa, and was the only song in the film which was an original composition by Payal Dev (and not one whose hook was borrowed).

What worked in the favour of this track, which was laden with pathos, is the fact that it was the most relatable song on the soundtrack of the film.  

Payal and Dev didn’t impress

LOL – a widely-used Internet acronym that is expanded to, “Laugh Out Loud” – also happened to be a track from Ginny Weds Sunny, which released in 2020.

But, contrary to what its title suggested, it barely elicited a smile.

It was the shorter of the two tracks from the film on this blog – it was three minutes and a couple of seconds long.

The involvement of Payal Dev in the song, which was penned by Kunaal Vermaa, wasn’t restricted to rendering it, but she composed it too.

She was joined behind the microphone by Dev Negi.   

The composers rendered this TRack

Being an avid watcher of stand-up comedy (and obviously a Hindi film music buff), Comedy Couple (2020) piqued my interest.

To be precise, the only song in the film – Kya Yeh Tumhe Pata Hai? – did.

Just three minutes and 20 seconds long, it was a pretty good track.

The involvement of Tanmaya Bhatnagar in the track wasn’t restricted to penning it, but she composed and rendered it as well.

While she did not collaborate with anybody on the lyrics, she teamed up with Reuksh [whose name is, quite literally, Alag(h)] to compose and sing it. 

This shoulD(han)not have been RecreateD

My blog on the music of Hindi films that released between 1969 and 1986 contained a post on Dhanno Ki Aankhon Mein, which was from Kitaab (1977).

Gulzar penned the aforementioned the track, which was composed and rendered by R D Burman.

Fans of Pancham must have been appalled at the recreated version of the track, which featured on the soundtrack of Bahut Hua Sammaan.

Thankfully, both Gulzar and Pancham were credited for this version, which was four minutes long*.

(*Note: It was the longest of the three tracks from the film on this blog).

Nazia’s Boom Boom went bust

My blog on the music of Hindi films that released between 1969 and 1986 contained posts on a couple of tracks from Star/Boom Boom, which released in 1982.

Boom Boom wasn’t the title of a film, but of an album by Nazia Hassan, and also that of its title track.

A recreated version of the song, which was three minutes and 42 seconds long, featured on the soundtrack of Bahut Hua Sammaan.

Hassan and Indeevar, the lyricist of the original, were credited with this awful version, titled Boom Boom Mix Up.

Mannan Munjal composed it.   

Indeed, Parry’s rap was hard-hitting!

I associated the phrase Bahut Hua Sammaan (Hindi for, “No more respect”) with stand-up comic Rajeev Nigam, but in 2020, a film of the same name released.

Its title track was a rap number.

By no means was that a surprise, because it has been among the trending genres in the Hindi film music industry of late.

The song – which was composed by Mannan Munjal – was three minutes and five seconds long.

The involvement of Prikshit Gupta (whose stage name is Parry G) in it wasn’t restricted to penning it, but he rendered it too.

Megha didn’t just render it

When I read about a film titled Cargo (which released in 2020), and then looked its song up on YouTube, I must admit that I couldn’t help but chuckle at the irony.

The song was titled Forget Me Not.

The majority of the latest songs from Hindi films are actually forgettable, so it did make sense.

However, it wouldn’t be incorrect to state that this song – which was composed by Sagar Shah – is the earworm of the year.

Megha Ramaswamy’s involvement in the song wasn’t restricted to rendering it, but she penned it as well.

Runa’s solo was a‘Maa’zing too

Mothers have inspired Hindi film lyricists for decades, and the latest to join the bandwagon is Aalok Shrivastav, who obviously isn’t a household name.

However, his song – which was titled O Maa Meri Maa – has the potential to make it to the mother of all playlists – the one featuring the top tracks about moms.

It was from Atkan Chatkan.

Four minutes and thiry-eight seconds long, it was the second contribution of Runa Rizvii Sivamani to the film’s soundtrack as a singer. It also happened to be her only solo in the film.

Sivamani composed it. 

Uthara’s second track was awesome

Nar Ho was the second contribution of Uthara Unnikrishnan to the soundtrack of Atkan Chatkan (if they were arranged in the alphabetical order).

And if they were arranged in the ascending order of their durations, it would still be second – it was five minutes and 37 seconds long.

The track was penned by a poet upon whom the title of Rashtrakavi (Hindi for, “national poet”) has been conferred – Maithili Sharan Gupt.

By no means would it be incorrect to state that it was an outstanding song, and composer Sivamani certainly deserves the credit for that.  

Sonu sang this soulful song

As if songs by two legends weren’t enough, Hindi film music aficionados were in for a triple treat, because the soundtrack of Atkan Chatkan also featured a song by the one and only Sonu Nigam.

It was titled Mann Tu, and by no means would it be incorrect that this soulful track was suited to him.

The song, which was five minutes and 59 seconds long, was penned by Abhishek Brahmachari.

The title of the song could be translated to, “Mind you”, and mind you, it was composed by the one and only ‘Drums’ Sivamani.

Uthara rendered this Kabir doha

Having had Hindi as a compulsory subject upto the eighth grade, I’m familiar with a few dohas (couplets) of Kabir, the 15^th-century mystic and poet.

Some of these, in fact, provided the base for a song which was, incidentally, titled Kabira.

It featured on the soundtrack of Atkan Chatkan, and was three minutes and 55 seconds long.

The song happened to be the shorter of singer Uthara Unnikrishnan’s two contributions to the film’s soundtrack.

It had additional lyrics too. These were credited to Shiv Hare.

Needless to say, Sivamani, who composed the track, is versatile.

Hariharan definitely (Ru)nailed this number

By no means would it be incorrect to state that Dil Zara was a breath of fresh air, given the kinds of tracks the Hindi film music industry has been dishing out of late.

And the lion’s share of the credit for that went to Hariharan, who rendered it.

Runa Rizvii Sivamani joined him behind the microphone.

The longest of the seven songs from Atkan Chatkan on this blog, it was half-a-dozen minutes and 18 seconds long.

Raqueeb Alam penned it.

The song was composed by the man fondly called ‘Drums’ Sivamani for obvious reasons.

Amitabh rendered this devotional track

Daata Shakti De – which could be translated to, “Oh Lord, grant us the strength” – was a devotional song from Atkan Chatkan.

Amitabh Bachchan was the best choice to render it, for a couple of reasons – (a) he is the possessor of the best-known baritone in the Hindi film industry, and (b) he has faced numerous setbacks, so the makers of the film believed his prayer for the strength to cope with the tough times we’re living in would be answered.

Three minutes and 39 seconds long, the Sivamani composition was penned by Runa Rizvii Sivamani.   

The age of INnocence Returned

Although maestro A R Rahman was the presenter of Atkan Chatkan (2020), Sivamani – the ace percussionist and Rahman’s childhood buddy – composed its music.

The title track of the film – which was four minutes and 19 seconds long – was a throwback to our childhood, which has aptly been referred to the age of innocence.

It was penned by Shiv Hare, the film’s director, and Runa Rizvii Sivamani, the composer’s wife.

Lydian Nadhaswaram (the lad who plays the lead role in the film) lent his voice to the song, as did R S Rakthaksh and Idazhiga I. 

Undoubtedly, Mr Tiwari (Lee)nailed it

The fourth – and final – track from Sadak 2 on this blog was Tum Se Hi.

The involvement of Ankit Tiwari in the track wasn’t restricted to composing it, but he rendered the version on this blog as well.

Leena Bose joined him behind the microphone.

The track, which was four minutes and 43 seconds long, was penned by Shabbir Ahmed.

As was the case with two of the previous three tracks from the film, it had a Reprise version, which was four minutes and five seconds long.

Alia Bhatt, the film’s leading lady, rendered it.

This tracKK was (Nautiy)alyrical treat

Shukriya wasn’t just a track from Sadak 2.

It was also what Hindi film music aficionados wanted to say to Jeet Gannguli (who composed it), and of course, to Rashmi Virag (who penned it) for collaborating on it.

There’s no two ways about the fact that KK and Jubin Nautiyal’s rendition gave the listeners goosebumps.

The song was four minutes and 45 seconds long.

While its Reprise version was as long as the original, the Rendition version was 10 seconds longer than them. Arijit Singh joined the aforementioned duo behind the microphone for the latter.

Javed's solo was Alively number

If Dil Ki Purani Sadak was the longest of the four tracks from Sadak 2 on this blog, Ishq Kamaal was the shortest – it was four minutes and 19 seconds long.

By no means would it be incorrect to state that the song – which was the lone contribution of Javed Ali to the soundtrack of the film – was lively.

Suniljeet composed the track, which was penned by him and Shalu Vaish.

Interestingly, it was the only track in the film that didn’t have either a Reprise version or an Unplugged version or a Rendition version.

KK rendered this intense number

Sadak 2, which released in 2020, was the sequel to the 1991 film Sadak.

If the four tracks from the film on this blog were arranged in the alphabetical order, as well as in the ascending order of their durations, Dil Ki Purani Sadak would be the first – it was four minutes and 49 seconds long.

It was composed by Samidh Mukherjee (who also rendered its Unplugged version) and Urvi.

Vijay Vijawatt penned the intense track, which was rendered by KK, who also crooned its Reprise version, which was three minutes and 24 seconds long.

It was a MArVellous number

This is a post on Jaan Ban Gaye, the only track from Khuda Haafiz.

It hasn’t released (at the time of writing this post) – it is slated to release on an OTT platform on August 14, 2020 (on account of the COVID-19 pandemic).

It is three minutes and 31 seconds long.

The involvement of Mithoon in the track wasn’t restricted to penning and composing it, but he was one of the three who rendered it too. The others were Asees Kaur and Vishal Mishra.

It would not be incorrect to state that it is outstanding.

It wA(zi)zn't dedicated to Rekha

The sixth – and final – track from Gunjan Saxena: The Kargil Girl on this blog was Rekha O Rekha.

It had nothing to do with Ms Bhardwaj, who rendered Dori Tutt Gaiyaan (which I wrote about a couple of tracks ago).

The track, which was three minutes and 38 seconds long, was rendered by Nakash Aziz.

By no means would it be incorrect to state that while it was a catchy number, it was unlikely to have a long shelf life.

Kausar Munir penned the track, which was composed by the one and only Amit Trivedi.

 

Mr Malik rendered this version

The soundtrack of Gunjan Saxena: The Kargil Girl contained another song with the word Dori (Mann Ki Dori).

While it had a couple of versions, this blog contains a post on just one – the male version, which was sung by the one and only Armaan Malik.

It happened to be the longer of the two versions – it was three minutes and 35 seconds long.

The female version – which was rendered by Palak Muchhal – was a couple of minutes and 56 seconds long.

The track, which was penned by Kausar Munir, was composed by Amit Trivedi.

Rekha’s rendition lifted this track

Dori Tutt Gaiyaan was the shorter of the two female solos on the soundtrack of Gunjan Saxena: The Kargil Girl – but just by a second (it was three minutes and 51 seconds long).

By no means would it be incorrect to state that it was a treat to the ears of Hindi film music aficionados – the song was the only contribution of Rekha Bhardwaj to the soundtrack of the film.

Unlike its predecessors, it was a sombre number, and she lifted it.

The song, which was penned by Kausar Munir, was composed by Amit Trivedi.

Sukhwinder sang this celebratory track

If there’s a song that needs the characteristic Punjabi exuberance, chances are the team behind the album dials S for Sukhwinder.

And he was the Sing(h)er chosen to render Dhoom Dhadaka, from Gunjan Saxena: The Kargil Girl.

It was the shortest of the six tracks from the film on this blog – it was three minutes and a dozen seconds long.

The hook of the Amit Trivedi composition – which was penned by Kausar Munir – was the phrase that forms its title, plus the phrase, “Kudi patakha” (which could be translated to, “A firecracker of a girl”). 

(Arij)It celebrated the Indian woman

This is a post on the longest of the six songs from Gunjan Saxena: The Kargil Girl.

It was titled Bharat Ki Beti, and was four minutes and 20 seconds long.

(Am)It was composed by Mr Trivedi.

Kausar Munir penned the track, which contained extremely simple words.

By no means would it be incorrect to state that the hook of the track was the line that went, “Jeeti raho, jeetti raho” (which could be translated to, “May you live long, and may you keep winning”).

It was rendered by the one and only Arijit Singh.  

Jyoti did this track justice

Gunjan Saxena: The Kargil Girl released in 2020.

Asmaan Di Pari was the longer of the two female solos on the film's soundtrack (and the second-longest song in it) – it was three minutes and 52 seconds long.

The track began with Allama Iqbal's immortal quote, that went, “Khudi ko kar buland itna, ke har taqdeer se pehle, Khuda bande se khud poochhe, bata teri raza kya hai”.

Buland (powerful) is, incidentally, the adjective that best describes the voice of Jyoti Nooran, who rendered it.

Kausar Munir penned the song, which was composed by Amit Trivedi.

Sunidhi’s solo had English lyrics

If Aamir Khan essayed the eponymous Raja Hindustani 24 years ago, Vidya Balan, who plays Shakuntala Devi in the film of the same name, proclaimed herself to be Rani Hindustani.

While it was a situational track, there’s no two ways about the fact that the English lyrics – or, to be precise, a portion containing lines said in a British accent – were its highlight.

A couple of minutes and 24 seconds long, it was Sunidhi Chauhan’s second solo in the film.

The song, which was penned by Vayu, was composed by Sachin Sanghvi and Jigar Saraiya.   

Sunidhi made arithmetic sound sexy

“Didn’t you wish your mathematics teacher could make the subject ‘sound’ sexy?”

That was perhaps the mantra Sachin Sanghvi and Jigar Saraiya were chanting when they composed Pass Nahin Toh Fail Nahin, the track from Shakuntala Devi.

If the three tracks from the film on this blog were arranged in the alphabetical order, as well as in the descending order of their durations (which, incidentally, they were), this song would be the second – it was two minutes and 31 seconds long.

It was penned by Vayu, and rendered by the one and only Sunidhi Chauhan.

Ms Ghoshal did it justice

Shakuntala Devi – which is slated to release on an OTT platform tomorrow (i.e., July 31, 2020) – is the biopic of a lady who left many people fascinated and, of course, ‘puzzle’d [because she was a mathematician (nicknamed the Human Computer), author of books on a number of subjects, astrologer and politician].

Is it any wonder then that the longest of the three tracks from the film on this blog was titled Paheli?

Priya Saraiya penned the Sachin-Jigar composition, which was three minutes and 21 seconds long.

It was rendered by none other than Shreya Ghoshal.

SuRpriSing(h)ly, Mika rendered this track

This is a post on a song from Raat Akeli Hai, which released in 2020.

It was titled Aadhe Aadhe Se, and was half-a-dozen minutes and 20 seconds long.

The track was lyricist Raj Shekhar’s only contribution to the soundtrack of the film, and was composed by Sneha Khanwalkar.

There’s no two ways about the fact that its highlight was its rendition.

Listeners who are accustomed to hearing Mika Sing(h) party songs and songs from gangster flicks were certainly surprised to hear this departure from tradition.

He was joined behind the microphone by Shilpa Rao.