Mr Mishra composed this NuMber

The seventh – and final – track on the soundtrack of Time To Dance was not the best, but it was certainly the longest song from the film on this blog – it was five minutes and 20 seconds long.

It happened to be the third contribution of lyricist Kumaar to the soundtrack of the film.

The involvement of Vishal Mishra in the track was not restricted to composing it, but he was one of the two people who rendered it as well.

The lady who joined him behind the microphone was the one and only Neeti Mohan. 

It was a Hans solo

The title of the third male solo on the soundtrack of Time To Dance had three words, of which the last was a five-letter word that began with K and ended with li.

Incidentally, the composer’s last name also had five letters, beginning with K and ending with li.

The song in question was Thok De Killi, and it was the only contribution of music director Rochak Kohli to the film’s soundtrack.

Three minutes and 10 seconds long, it was rendered by Navraj Hans.

It was one of lyricist Kumaar’s three contributions to the soundtrack.

It (Randha)was a one-man show

Seldom does a Hindi film soundtrack not contain a Punjabi song nowadays, and the token Punjabi number on the soundtrack of Time To Dance was Munde Mar Gaye.

It was virtually a one-man show – the involvement of Guru Randhawa wasn’t restricted to penning and informing the listeners that the boys fell in love, but he also happened to be one of the two people who composed it.

The other was Vee.

It was the shortest of the three male solos on the soundtrack of the film – it was just two minutes and 45 seconds long.

 

Raja (Ha)sang the longest solo

This – and the next two posts – are on male solos from Time To Dance.

The longest of those was Hathon Se Yoon – it was four minutes and 33 seconds long.

Raja Hasan rendered it.

It was the longer of the two Vijay Verma compositions from the film on this blog*, and the only contribution of lyricist Rajesh Manthan to the soundtrack of the film.

[*Note: Interestingly, Verma also composed seven short tracks (I Saw You, We Are One, You Become Me, Common Dance, Tender Touch, Re Sara, and Now I Know) and an instrumental piece.]

 

 

 

The lyricist was the SiNGer

Geetkaar is the Hindi word for lyricist, and incidentally, one of the songs from Time To Dance was penned by a man named Geet Sagar, whose full name could be translated to, “An ocean of songs”.

The song was titled Get Down To Groove, and Sagar happened to be one of the three people who rendered it too.

The others were Shivang Upadhyay and Neha Karode.

It was composed by Vijay Verma, and was the shortest of the seven songs from the film on this blog – it was just two minutes and 37 seconds long.  

The composer SanG it too

Most of the songs in Hindi films today are likely to make the listeners go, “Baba! Tu Na Gaa” (which could be translated to, “Hey, please don’t sing!”)

But one of the songs on the soundtrack of Time To Dance was Baby! Tu Na Jaa (which was four minutes and 19 seconds long).

The involvement of Gurinder Seagal wasn’t restricted to composing it, but he was one of the two people who sang it too.

The other was Jonita Gandhi.

It was their – and lyricist Kunaal Vermaa’s – only contribution to the soundtrack of the film.

Mishra composed and SanG it

This blog contains posts on seven songs from Time To Dance, which released in 2021.

If they were arranged in the alphabetical order, Aaye Haaye would be the first.

It was the shorter of Vishal Mishra’s contributions to the film’s soundtrack – it was a couple of minutes and 47 seconds long.

His involvement in the song wasn’t restricted to composing it, but he was one of the three who rendered it too.

The others were Aditi Singh Sharma and Millind Gaba.

It was one of the three contributions of lyricist Kumaar to the film’s soundtrack.

Haripuri penned and sang it

The soundtrack of Sandeep Aur Pinky Faraar contained a post on another song that began with a Hindi word for mother (and it was not Maa).

That happened to be the fifth – and final – song from the film on this blog.

It was titled Maata Dharti Pe Aaja, and it was just a minute and 42 seconds long.

The involvement of Kamlesh Haripuri in the song wasn’t restricted to rendering it, but he was one of the two men who penned and composed it as well.

The other was the one and only Dibakar Banerjee.

 

 

Mangesh didn’t Shirk(e) his responsibility

If you are a young crooner, and a bulaava comes your way from the one and only Dibakar Banerjee, you have to grab it with both hands.

And that is precisely what Mangesh Shirke did, when a track titled Maa Ka Bulaava Aayega was assigned to him.

It was the shortest of the five songs on the soundtrack of Sandeep Aur Pinky Faraar – it was merely 56 seconds long.

Incidentally, the filmmaker was one of the two men who composed the song.

The other was Kamlesh Haripuri, who was credited with penning it as well.   

Khan’s solo certainly wasn’t smart

An iPhone is a smartphone, but by no means would it be incorrect to state that there was nothing smart about the decision to include a song of the same name on the soundtrack of the film.

For the record, the film was Sandeep Aur Pinky Faraar, and the track in question was three minutes and 42 seconds.

It was the second contribution of Narendra Chandra to the soundtrack of the film – he didn’t just compose the song, but penned it too.

Sangeeta Chandra was the other lyricist.

The song was rendered by Sohaan Khan. 

 

Malik made a DraB comeback

The longest of the five songs on the soundtrack of Sandeep Aur Pinky Faraar was Faraar – it was five minutes and 42 seconds long.

The track marked the comeback of Anu Malik [and it would not be incorrect to state that it was F(ara)ar from interesting.]

In fact, the involvement of the veteran wasn’t restricted to composing and rendering it, but he was one of the two men who wrote it too.

The other was Dibakar Banerjee, who did not just produce, direct and write the film, but he composed its background score as well.

 

This Don was certainly disappointing

Two minutes and 46 seconds is a duration that is too good to be true, given that Hindi film songs today are far from impressive.

And that could certainly be said about the first track on the soundtrack of Sandeep Aur Pinky Faraar (2021).

In fact, it wouldn’t be incorrect to say that, “Is Don se pakna mushqil bhi tha, aur mumkin bhi”.

Narendra Chandra’s involvement in the song wasn’t restricted to composing it, but he penned and rendered it too.

Pardhaan teamed up with him to write the lyrics of and sing the song.

Amaal didn’t just compose it

If the three songs from Saina on this blog were arranged in the alphabetical order, Parinda would be the last.

And if they were arranged in the ascending order of their durations (or the descending order, for that matter), it would be the second – it was five minutes and 14 seconds long.

The involvement of Amaal, the older of the Mallik siblings, in this song wasn’t restricted to composing it, but he rendered it too*.

Manoj Muntashir penned it.

(*Note: In fact, most of the songs he has rendered for films were his own compositions.)

It was also Armaan’s assurance

Every individual – regardless of the relationships he/she has with others – wants to hear the five words that make up the title of the longest of the three songs from Saina* – Main Hoon Na Tere Saath.

Ostensibly, it was just a romantic number, but it would not be incorrect to state that it was also the assurance of a pair of siblings to each other.

The brothers in question are composer Amaal Mallik and singer Armaan Malik.

It was lyricist Kunaal Vermaa’s only contribution to the soundtrack.

(*Note: It was five minutes and 28 seconds long.)

Shreya’s fans loved this gift

March 12 is singer Shreya Ghoshal’s birthday.

And 11 days after her 37^th birthday (i.e., on March 23, 2021), she gifted her fans a song that was worth listening to on loop.

The track in question was Chal Wahin Chalein, and it was from Saina (which released in 2021, and was Indian badminton player Saina Nehwal’s biopic).

Surprisingly, its soundtrack contains just three songs, and this blog has posts on all of them.

And this was the shortest of those – it was five minutes and 10 seconds long.

Manoj Muntashir penned the Amaal Mallik composition.

It Didn’t lAcK Mellow D

Not just in alphabetical order was Panghat the fifth – and final – song from Roohi on this blog, but it was the longest too – the track was a couple of minutes and 59 seconds long.

It was Divya Kumar’s second contribution to the soundtrack of the film.

He was joined behind the microphone by the better-known Kaur on the playback singing scene currently – Asees.

The song, which was penned by Amitabh Bhattacharya, certainly lacked melody, but Mellow D was credited with the rap portion of the song, which was composed by Sachin Sanghvi and Jigar Saraiya.

Shamur aur Kaur sang it

Regardless of whether one calls it Nadiyon Paar or Let The Music Play Again, the subject of this post was the most popular song on the soundtrack of Roohi, even before the film released.

After all, it was a remake of the Italian act Shamur’s track titled Let The Music Play.

This version, which was a couple of minutes and 44 seconds, featured their vocals, as well as those of Rashmeet Kaur.

It was composed by Sachin Sanghvi and Jigar Saraiya.

The latter was also credited with the additional lyrics, as was I P Singh.

Mr Nautiyal’s rendition was pleasing

If there was a toss-up for the best song on the soundtrack of Roohi, there’s no two ways about the fact that it was between the subject of this post (Kiston) and that of the next one.

By the way, Kiston was the last of the three (male) solos on the soundtrack of the film – it was rendered by none other than Jubin Nautiyal.

And it was pleasing to the ear.

The track, which was penned by Amitabh Bhattacharya, was composed by Sachin Sanghvi and Jigar Saraiya.

It was two minutes and 41 seconds long.

 

Mika’s ‘spirit’ was infectious too

The soundtrack of Singh Is Kinng (2008) contained a Pritam composition titled Bhootni Ke, which was rendered by Daler Mehndi.

And recently, Mika Singh, the younger brother of the king of Bhangra, teamed up with composers Sachin Sanghvi and Jigar Saraiya (who were, incidentally, Pritam’s proteges) for a song titled Bhootni, which was from Roohi.

It was penned by Amitabh Bhattacharya, and was a couple of minutes and 27 seconds long.

Like Bhootni Ke (which could loosely be translated to idiot), Bhootni – which means a female ghost – was a comic number that was purely situational.    

 

Kumar’s solo was ‘relative’ly mediocre

This blog contains five tracks from Roohi, which released in 2021.

Interestingly, they weren’t just arranged in the alphabetical order, but also in the ascending order of their durations.

The first song was titled Bhauji, which is Bhojpuri for sister-in-law.

But by no means would it be incorrect that the Sachin-Jigar composition, which was penned by Amitabh Bhattacharya, wasn’t a track that your sister-in-law, or anyone in your family – immediate or extended – for that matter, should bother listening to.

It was rendered by Divya Kumar, and was a couple of minutes and 26 seconds long.

Himani did a fine job

The eighth – and final – track from Pagglait on this blog was Thode Kam Ajnabi.

I felt a word was missing in the song’s title, and upon reading about, and listening to, it, my doubt was cleared – it should have been titled Thode Se Kam Ajnabi.

Four minutes and 58 seconds long, it was rendered by Himani Kapoor.

The Arijit Singh composition was penned by Neelesh Misra.

The soundtrack of the film featured the Reprise version of the song, which was three seconds longer than the original. Kapoor joined Singh behind the microphone for this version.

Ms Sripada’s solo was awesome

If the soundtrack of Pagglait had a song dedicated to Meera, how could Radha be far behind?

The song in question was Radha’s Poem, and it was three minutes and 42 seconds long.

It was the only contribution of Chinmayi Sripada to the soundtrack of the film.

And the song was composed by the one and only Arijit [who shared Sing(h)ing credits with her for Sooiyan, the Amit Trivedi composition from Guddu Rangeela, which released in 2015.]

By no means would it be incorrect to state that the song, which Neelesh Misra penned, was outstanding.

The Singhs rendered this tRacK

As said before, the soundtrack of Pagglait had 3Ps (i.e., three tracks that began with the letter P).

And the third of those was Phire Faqeera.

It was the longest of the eight songs from the film on this blog – it was five minutes and 41 seconds long.

The involvement of Arijit in the song wasn’t restricted to composing it, but he was one of the three who rendered it too.

The second was Amrita Singh.

And the rapper who joined them behind the microphone by Raja Kumari.

The song was penned by Neelesh Misra.

Raftaar joined the two Singhs

The involvement of Arijit in the title track of Pagglait wasn’t restricted to composing it, but he was the Sing(h)er too.

And, as I stated in my previous post, he was joined behind the microphone by a lady who happens to have the same last name – Amrita.

The only one who wasn’t a Singh, but shared singing credits with the two Singhs, was Raftaar*.

It was three minutes and 49 seconds long.

(*Note: The rapper penned it as well. In fact, it was the only track in the film that wasn’t penned by Neelesh Misra.)

Amrita Singh sang this tRacK

The first female duet on the soundtrack of Pagglait was titled Pagal.

It was five minutes and 38 seconds long, and was rendered by Amrita Singh and Raja Kumari*.

The song, which Neelesh Misra penned, was composed by Arijit. Frankly, only he could’ve composed it, after driving Hindi film music buffs crazy with his Sing(h)ing.

(*Note: Incidentally, all of Amrita’s three contributions to the soundtrack of the film began with P. And both of Kumari’s contribution to it began with the same letter. I will be writing about these two tracks in the subsequent posts.)

 

Mondal rendered the shortest track

As a teenager, I had heard of author Jhumpa Lahiri’s Pulitzer prize-winning debut collection, Interpreter of Maladies.

And now, I am well into my thirties, and I have just heard a song by her namesake, Jhumpa Mondal.

By no means would it be incorrect to state that Meera’s Poem – the track in question – made her an interpreter of a melody (which happened to be the shortest of the eight songs from Pagglait on this blog*.)

It was penned by Neelesh Misra, and composed by Arijit Singh.

(*Note: It was three minutes and 35 seconds long.)

This (Mi)track wasn’t just Revisited

If the four female solos on the soundtrack of Pagglait were arranged in the alphabetical order, Lamha was the first.

The (Mi)track, which was three minutes and 38 seconds long, was rendered by a lady who was perhaps destined to be a singer (owing to having a musical term for a name) – Antara.

Mitra and Arijit Singh, who composed the song, sang its Revisited version, which was just a second longer than the original.

Its Reprise version – sung by Sumana Banerjee – was four minutes and 20 seconds long.

The song was penned by Neelesh Misra.

Truly, Neeti’s disposition was Sunny

This blog contains posts on eight tracks from Pagglait, which released in 2021, and marked the debut of Arijit Singh as composer.

If they were arranged in the alphabetical order, Dil Udd Jaa Re would the first.

It was five minutes and three seconds long.

The track, which was penned by Neelesh Misra, was rendered by Neeti Mohan and Sunny M R (whose real name was Sunny Sanour).

By the way, Singh was joined behind the microphone by Meghna Mishra for the Revisited version of the track, which was 31 seconds longer than the original.

Honey and Hommie Machaoed Shor

Two of the songs from Mumbai Saga happened to be about noise.

The longer of those – which is the subject of this post – was Shor Machega.

Appropriately, the track was written in the future tense, because both the present and future of Hindi film music are a reason to be tense.

It was three minutes and 28 seconds long.

While Yo Yo Honey Singh was the only man credited with composing the song, he was one of the two men who penned and sang it.

The other was Hommie, whose last name, interestingly, is Dilliwala.

Nautiyal’s solo wasn’t a single

When I first chanced upon Lut Gaye, I was surprised to know that it was a single.

But it was included on the soundtrack of a film – Mumbai Saga.

Of course, that wasn’t a surprise, given the fact that the video of the song featured actor Emraan Hashmi, who is one of the film’s leads.

It was penned by Manoj Muntashir, was composed by Tanishk Bagchi, and rendered by Jubin Nautiyal.

In fact, it was the longest of the three songs from the film on this blog – it was three minutes and 48 seconds long.

 

Dev sang Mrs Dev’s composition

The soundtrack of Mumbai Saga, which released in 2021, contains three tracks.

This blog contains posts on all of them.

If they were arranged in the alphabetical order, as well as in the ascending order of their durations, Danka Baja would be the first – it was three minutes and as many seconds long.

The first Dev in the title of this post refers to Dev Negi, the man who rendered it.

And the song was composed by a lady whose surname happens to be his first name – Payal Dev.

It was written by Prashant Ingole.

 

Khan sang this traditional number

Peer Meri Piya Jaane Na – the sixth and final song from Mera Fauji Calling on this blog – was three minutes and 56 seconds long*.

Although it was a traditional song, the version on the soundtrack of the film had additional lyrics credited to Pooja Saini.

It was rendered by Rabbani Mustafa Khan, the son of Hindustani vocalist, Ustad Ghulam Mustafa Khan (who died on January 17, 2021).

The song was the only contribution of music director Harpriet Singh Vig to the film’s soundtrack.

(*Note: It was just a second longer than Mera Aasmaan Hai Papa.)

Ms Sinha did feel SPecial

In contrast to the previous post, this is a post on the shortest song on the soundtrack of Mera Fauji Calling – Mera Aasmaan Hai Papa.

It was three minutes and 55 seconds long.

The song, which Vijay Verma composed, was rendered by Shalini Prateek Sinha.

With the lyricist sharing his first name with one legendary songwriter and his last name (and of course, his hometown) with another, expectations were bound to be high.

But it wouldn’t be incorrect to state that Shakeel Azmi, who penned this track, filled both these big pairs of boots admirably.

 

 

 

Kumar packed a vocal punch

Hum Apne Watan Pe Mar Gaye was the longest song on the soundtrack of Mera Fauji Calling – it was half-a-dozen minutes long.

With the word Fauji in the title of the film, a song that could be translated to laying down one’s life for is motherland was not a surprise.

By no means would it be incorrect to state that the powerful vocals of Divya Kumar were apt for this.

It was the only contribution of both the lyricist (A M Turaz) and the music director (Sajjad Ali Chandwani) to the soundtrack of the film.

Sonu’s version was (Nig)amazing too

The male version of Bheeni Bheeni Si – from Mera Fauji Calling – was rendered by the one and only Sonu Nigam.

As I mentioned in my post on Hariharan’s solo from the film, this song too was a pleasant surprise for fans of Hindi film music of the 1990s (including yours truly).

And that was because like Hariharan, Nigam, who once ruled the roost, is seldom heard these days.

It was four minutes and 25 seconds long (which was just a couple of seconds shorter than the female version).

Rajesh Manthan penned the Vijay Verma composition.

It (Bagh)elicited a fantastic response

The female version of Bheeni Bheeni Si, from Mera Fauji Calling, was the longer version of the track – it was four minutes and 27 seconds long.

I hadn’t planned to include it in collection, because I wanted it to feature just the male version, which I will discuss in the next post.

But I did so, for the sake of rounding off the number of songs in my playlist, and, of course, to listen to a new voice – this song was rendered by Pratibha Singh Baghel.

Rajesh Manthan penned this song, which Vijay Verma composed.

It was a refreshing cH(arihar)ange

This blog contains posts on six songs from Mera Fauji Calling, which released in 2021.

If they were arranged in the alphabetical order, Aa Zindagi Tujhe Zara Sa Ji Toh would be the first.

It was one of music director Vijay Verma’s four contributions to the soundtrack of the film, and the shortest of the three contributions of lyricist Rajesh Manthan to it – it was four minutes and half-a-dozen seconds long.

Hariharan rendered the song.

And it wouldn’t be incorrect to state that it wasn’t just a pleasant surprise, but a refreshing change as well.

Benny’s Son(u)g was not incr‘edible’

Mumbaikars call it pani puri, and people in Kolkata call it puchka.

And in Delhi, it is called golgappa.

Since the soundtrack of Tuesdays and Fridays contained a song set in Chandni Chowk, it was aptly called The Golgappa Song.

Obviously, I hadn’t heard the song, which was penned by Kumaar and composed by Tony Kakkar, when I was recording my video on Hindi film songs inspired by food (which I have posted to my YouTube channel).

And, to be honest, it was quite run-of-the-mill.

The track was rendered by Sonu Kakkar and Benny Dayal. 

 

Neha played to the ‘gallery’

Just when we though the Kakkar sisters had no further contributions to the soundtrack of Tuesdays And Fridays, Neha bounced back with a solo that was, well, Nehuesque.

It was titled Mere Phone Mein Teri Photo.

Tony Kakkar’s involvement in the song wasn’t restricted to composing it, but he penned it too.

And clearly, he enjoyed being the indulgent big bro too, especially with a couple of verses of the song containing names of girls’ celebrity crushes like Ranbir (Kapoor), Shahid (Kapur), (Virat) Kohli, John (Abraham), Yo Yo (Honey Singh), Badshah, (Justin) Bieber and Akon.  

Undoubtedly, Shreya’s solo was superb

Thanks to Vicky Donor (2012), I know that Hanju means tears.

And if any were shed on listening to Hanjuaan, they were obviously those of joy, because the track – from Tuesdays And Fridays – was rendered by the reigning queen of playback singing, Shreya Ghoshal.

Like I mentioned in my post on Sukhwinder Singh’s solo from The Girl On The Train, this song was a welcome departure from the prevalent trends too.

And there’s no two ways about the fact that this Tony Kakkar composition, which Kumaar penned, was the most outstanding song in the film.

Shreya and Benny sang thiS(o)number

Over the years, lyricists in the Hindi film industry have let their imagination run wild while describing love.

And the latest addition to that list is Funky Mohabbat.

This phrase, which was rather interesting, was credited to Tony Kakkar, who also composed the track, which was from Tuesdays And Fridays.

And he roped in the older of his two sisters, Sonu Kakkar* to sing it.

She was joined behind the microphone by Shreya Ghoshal and Benny Dayal.

(*Note: Sonu is a couple of years younger than Tony, and a couple of years older to Neha.)

(Nak)‘Ashleel’ta enthused Rohu di biwi

‘Rohu’ in the title of this post refers to Rohanpreet Singh, the Punjabi singer and husband of singer Neha Kakkar.

When there’s talk of a crackdown on Ashleel (obscene) content, is there a need for a song of that name to feature on the soundtrack of a film?

Not really, but that didn’t deter her – and Nakash Aziz – from collaborating on just that.

The song was from Tuesdays And Fridays.

Tony Kakkar’s involvement in it wasn’t restricted to composing it, but he was one of the two who penned it too.

The other was Bohemia.

Rapper Bohemia joined the Kakkars

Tuesdays and Fridays – which released in 2021 – marked the debut of Anmol Thakeriaa Dhillon, the son of producer Ashok Thakeria and Poonam Dhillon, the popular actress from the late 1970s and 1980s.

This blog contains half-a-dozen tracks from the film.

If they were to be arranged in the alphabetical order, Akhiyaan would be the first.

Tony Kakkar’s involvement in the song wasn’t restricted to composing it – he penned it, and was one of the three who rendered it.

The female portion was rendered by his sister, Neha.

They were joined behind the microphone by Bohemia.

 

Was this Neha solo relatable?

It is quite possible that many people are of the opinion that a few of their friendships are not genuine, but need-based.

Else, Neha Kakkar wouldn’t be rendering a song titled Matlabi Yaariyan.

And more importantly, it wouldn’t be the shortest track on the soundtrack of The Girl On The Train – it was four minutes and half-a-dozen seconds long.

Composer Vipin Patwa’s only contribution to the film’s soundtrack, it was written by Kumaar.

The Unplugged version of the song was rendered by Parineeti Chopra, the leading lady of the film. It was four-and-a-half minutes long.  

This track was pretty eNJoyable

These days, many Hindi film soundtracks feature Punjabi songs, and Mahi Mera Ranjha filled the ‘Punjabi quota’ on the soundtrack of The Girl On The Train.

It was the longest of the three songs from the film on this blog – it was four minutes and 14 seconds long.

In fact, it happened to be the lone duet in the film – it was rendered by Navraj Hans and Jonita Gandhi.

Kumaar wrote the song, whose Punjabi portions were simple enough for people who don’t understand the language to comprehend it.

Sunny and Inder Bawra composed it.  

Sukhwinder’s Sing(h)ing was the highlight

For the last few years, Hindi film music has mostly been about either recreated versions of old songs or rap (spelt with a silent C).

So, it was definitely a welcome change to listen to Sukhwinder Singh’s rendition of Chhal Gaya Chhalla.

If the three songs from The Girl On The Train (2021) on this blog were arranged in the alphabetical order, it would be the first.

Four minutes and 10 seconds long, it was composed by the Bawra brothers, Paramjeet Singh (a.k.a. Sunny) and Inderjeet Singh (a.k.a. Inder).

The track was penned by Kumaar.