It wasn’t A Rocking Recreation

Originality has often been Pritam’s bane, but what would the composer have done had the shoe been on the other foot?

Well, nada. In fact, he had the last laugh, because the recreated version of Hare Krishna Hare Ram, his composition from Bhool Bhulaiyaa (2007), wasn’t a patch on the original.

It was credited to Gourov-Roshin, and was the only song from Commando 2: The Black Money Trail – which released in 2017 and was the sequel to Commando (2013) – on this blog.

Kumaar penned the track, which was rendered by Armaan Malik, Raftaar and Ritika.

It grABbed the L(ahir)isteners’ attention

Bhaiyon aur behnon, I wasn’t born when Ameen Sayani was ruling the airwaves with his popular Geetmala countdown, but I believe the highlight of Tamma Tamma Again was his introduction. 

The recreated version of the chartbuster from Thanedaar (1990) was credited to Tanishk Bagchi.

It was the shortest song on the soundtrack of Badrinath Ki Dulhania – it was three minutes and 19 seconds long.

Bappi Lahiri, who composed and rendered the original, sang this version too, as did Anuradha Paudwal.

Badshah – who penned it with Indeevar (who penned the original) – joined them behind the microphone.  

(Arij)It was tailor-made for Singh

Composer Amaal Mallik’s second contribution to the soundtrack of Badrinath Ki Dulhania was Roke Na Ruke Naina, which was penned by Kumaar.

It was the longest of the five tracks from the film on this blog – it was four minutes and 39 seconds long.

No prizes for guessing that it was rendered by none other than Arijit Singh. After all, it was tailor-made for him.

The fact that it was a sad song was not the only reason it stood out. But interestingly, it happened to be the only solo on the soundtrack as well.

Debutant Akhil was the (Gujr)all-rounder

Akhil Sachdeva – the lead vocalist of the Delhi-based band Nasha – couldn’t have asked for a better debut in Hindi films.

His involvement in Humsafar, the track from Badrinath Ki Dulhania, wasn’t restricted to composing it, but he penned and rendered it as well.

He was joined behind the microphone by Mansheel Gujral.

The track was four minutes and 29 seconds long.

He penned and composed another version of the track, which was two minutes and 50 seconds long. It was titled the Alia Bhatt version, because the film’s leading lady joined him behind the microphone. 

The title tRack was MIND-blowing

Shabbir Ahmed’s second – and final – contribution to the soundtrack of Badrinath Ki Dulhania was the film’s title track, Badri Ki Dulhania.

The shorter of the two tracks penned by him in the film, it was three minutes and 19 seconds long.

It was composed by Tanishk Bagchi, and was a celebratory number (Holi 2017 was just around the corner when the film released).

The track, which revisited yesteryears’ folk music, was principally rendered by a quartet comprising Dev Negi, Ikka Singh, Monali Thakur and Neha Kakkar.

They were joined behind the microphone by Rajnigandha Shekhawat.

Ms Ghoshal’s rendition created DhAmaal

This blog contains posts on five tracks from Badrinath Ki Dulhania, which released in 2017 (and was the second installment in the … Ki Dulhania franchise, which kicked off with the release of Humpty Sharma Ki Dulhania in 2014).

If they were to be arranged in the alphabetical order, Aashiq Surrender Hua would be the first – it was four minutes and 10 seconds long.

Amaal Mallik’s involvement in the track wasn’t restricted to composing it, but he rendered it too.

He was joined behind the microphone by Shreya Ghoshal.

It was penned by Shabbir Ahmed.

 

Ms Chauhan sang it well

The title of this post rhymes with Bloody Hell, the title of the only song from Rangoon (2017) on this blog.

Four minutes and a dozen seconds long, it was rendered by Sunidhi Chauhan.

There’s no two ways about the fact that this Hinglish number, which was penned by Gulzar, was catchy.

Even the liberties he took with grammar at the beginning of the track (including the lines that went, “I the walking, walk, walk, walk” and “He the talking, talk, talk, talk”) were forgiven, because the composer Vishal Bhardwaj’s sole intention was to entertain.

They rendered an iMPrESSive version

The soundtrack of Jolly LLB 2 featured a desi adaptation of the upbeat English song For He’s A Jolly Good Fellow.

It was titled Jolly Good Fellow, and there’s no two ways about the fact that it was an impressive track.

The longest of the three songs from the film on this blog, it was three minutes and 52 seconds long.

The Meet Bros did not just compose the track, but they rendered it as well.

They were joined behind the microphone by Shabbir Ahmed (who penned it), Earl Edgar, Purnima Solanki and Sanchiti Sakat.

All-rounder Manj couldn’t stop celebRatiNG

Holi has always inspired Hindi film lyricists, because everyone loves to Go Pagal once a year.

Manj Musik and Raftaar were no different. They penned the track of the same name from Jolly LLB 2, which released about a month before the festival of colour in 2017.

The catchy number, which was composed by Manj and Nilesh Patel, was the shortest of the three tracks from the film on this blog – it was a couple of minutes and 52 seconds long.

Nindy Kaur and Raftaar rendered it, while Manj and Girish Nakod lent them support.

(Jub)Indeed, this track was M(oh)an(n)-blowing

If the three songs from Jolly LLB 2 (2017), the sequel to Jolly LLB (2013), were arranged in the alphabetical order, Bawara Mann would be the first.

Jubin Nautiyal and Neeti Mohan rendered the track, which was three minutes and 36 seconds long.

It was composer Chirantan Bhatt’s only contribution to the film’s soundtrack, and the shorter of lyricist Junaid Wasi’s two contributions* to it.

(*Note: He also penned O Re Rangreza. Four minutes and 52 seconds long, the qawwali was the longest song in the film. This blog doesn’t contain a post on it.)

YeAH, this duo deserved kudos!

There’s no two ways about the fact that JAM8 – the composers of Zaalima – did their mentor, composer Pritam Chakraborty, proud.

The track, which happened to be their only contribution to the three songs from Raees on this blog, was four minutes and 59 seconds long.

Amitabh Bhattacharya penned the track.

(Arij)It was rendered by none other than Singh, who was joined behind the microphone by Harshdeep Kaur.

The track (and Galti Se Mistake, which was from Jagga Jasoos and was composed by Pritam) bagged the former the Screen Award for Best Male Playback in 2018.

Bhoomi and Sukhwinder (Kar)sang it

Udi Udi Jaaye was the shortest of the three tracks from Raees on this blog – it was four minutes and 20 seconds long.

Although the film released in early 2017, there’s no two ways about the fact that it was a hit at Navratri later that year, thanks to its traditional Gujarati beats.

The song, which was penned by the one and only Javed Akhtar, was composed by Ram Sampath.

Undoubtedly, Bhoomi Trivedi was the apt choice to render it, and so was Karsan Sagathia.

The Sing(h)er who joined them behind the microphone was Sukhwinder.

It left many listeners disaPPointed

It wouldn’t be incorrect to state that the recreated version of Laila Main Laila, from Qurbani (1980), left many listeners wondering whether Hindi film composers have sacrificed originality to ride the retro wave.

The original, which Indeevar penned, was composed by Kalyanji-Anandji. It was rendered by Amit Kumar, Kanchan and a chorus.

The new version was the longest of the three songs from Raees (2017) on this blog – it was five minutes and half-a-dozen seconds long. 

Penned by Indeevar and Javed Akhtar, it was composed by Kalyanji-Anandji and Ram Sampath, and rendered by Pawni Pandey.

 

Bagchi's recreated version JuStifiaBly Tan(ish)ked

The shortest song on the soundtrack of OK Jaanu (2017) was old wine in a new bottle.

Folks, the track in question was the recreated version of Humma Humma, which was unimaginatively titled The Humma Song and was a couple of minutes and 59 seconds long.

Tanishk Bagchi and Badshah (who rendered the rap portion) didn’t exactly cover themselves with glory.

Jubin Nautiyal and Shashaa Tirupati joined them behind the microphone.

Mercifully, A R Rahman, who composed the original, which was on the soundtrack of the 1995 film Bombay, had nothing to do with it. 

Mr Nautiyal’s rendition was (Muchh)aletdown

The happy version of Kaabil Hoon – the title track of Kaabil – was the longest of the three songs from the film on this blog – it was five minutes and 14 seconds long.

Rajesh Roshan has proved that he is capable of mind-blowing compositions, but it wouldn’t be incorrect to state that this was a disappointment.

It was rendered by Jubin Nautiyal, who was joined behind the microphone by Palak Muchhal.

The sad version of the track – a Nautiyal solo – was just a minute and 37 seconds long.

Both the versions were penned by Nasir Faraaz.

It was another (Jub)insipid recreation

Rajesh Roshan did it again, and the composer’s fans’ reactions ranged from “Oops” to “Oh no! Not another recreation”.

This version of Dil Kya Kare, from Julie (which released in 1975 and continues to be one of Roshan’s best soundtracks), was titled Kisi Se Pyar Ho Jaye.

Four minutes and 10 seconds long, it featured on the soundtrack of Kaabil.

Mercifully, Anand Bakshi, who penned the original, was credited as one of the two lyricists, the other being Kumaar.

It was rendered by Jubin Nautiyal, who tried (in vain) to step into Kishore Kumar’s shoes.

Raftaar left retro lovers Devastated

If the three tracks from Kaabil (2017) on this blog were to be arranged in alphabetical order, Haseeno Ka Deewana – a recreated version of Saara Zamaana, from Yaarana (1981) – would be the first.

It happened to be the shortest of the three tracks as well – it was three minutes and 49 seconds long.

Rajesh Roshan composed both the original (which Kishore Kumar rendered) and the recreated version (which was sung by Payal Dev and Raftaar).

Anjaan, who penned the yesteryears’ hit, was retained as one of the lyricists of this version. Kumaar was the other.

Ms Kakkar certainly N(eh)ailed (Am)it

If the three (recreated) tracks from Wajah Tum Ho on this blog were arranged in the alphabetical order, the ascending order of their durations and the chronological order of the years of release of their original films, Maahi Ve would be the last – it was half-a-dozen minutes and five seconds long.

The original – from Kaante (2002) – was penned by Dev Kohli and composed by Anand Raj Anand. Richa Sharma shared Sing(h)ing credits with none other than Sukhwinder.

Amit Gupta and Neha Kakkar rendered the recreated version, which was penned by Kumaar and composed by Gourov-Roshin.

(Arma)Another T(uls)imeless number was remade

Dil Mein Chhupa Loonga, from Wajah Tum Ho, was a recreation of Aise Na Mujhe Tum Dekho, from Darling Darling (1977).

If the three tracks from the film on this blog were arranged in the alphabetical order and the ascending order of their durations, it would be the second – it was five minutes and 31 seconds long.

The original was penned by Anand Bakshi, composed by R D Burman and rendered by Kishore Kumar.

Kumaar (and Bakshi) penned the recreated version, which was composed by the Meet Bros.

Armaan Malik and Tulsi Kumar rendered it.

Mercifully, this recreation wAsN'T insufferable

Recreated versions of evergreen Hindi film songs invariably make the listeners sing, “Pal pal yeh remake kaise sehti ho?” (which could be translated to, “How do you tolerate every moment of this remake?”)

But thankfully, that wasn’t the case with Dil Ke Paas from Wajah Tum Ho (2016), the recreated version of Pal Pal Dil Ke Paas from Black Mail (1973).

Rajinder Krishan penned the original, which was composed by Kalyanji-Anandji and (Kisho)rendered by Kumar.

Four minutes and 31 seconds long, (Abhij)it was recreated by Vaghani.

Arijit Singh, Neuman Pinto and Tulsi Kumar rendered it.

Mr Singh crooned (Arij)it superbly

Kahaani 2: Durga Rani Singh, which released in 2016, wasn’t a sequel to Kahaani (2012), but a standalone film.

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

The song in question was Mehram, which, in this context, could be translated to a well-wisher with whom one’s secrets are safe, according to the lyrics, which were credited to Amitabh Bhattacharya.

It was composed by Clinton, and there’s no two ways about the fact that he did a great (Cere)job.

Arijit Singh rendered the track, which was four minutes and 41 seconds long.  

Trivedi relished the dual Ro(ya)le

Love You Zindagi was the longer of the two tracks from Dear Zindagi on this blog – it was three minutes and 51 seconds long.

It was not just a song, but a philosophy as well. And Kausar Munir, who penned it, deserved the lion’s share of the credit for keeping it simple.

Mr Trivedi's involvement in (Am)it wasn’t restricted to composing it, but he rendered it too. And more importantly, he was able to convince the listeners that he was clearly enjoying both the roles.

He was joined behind the microphone by Jasleen Kaur Royal.

(Arij)It was a decent recreation

Lyricist Gulzar and composer Ilaiyaraaja collaborated on Ae Zindagi Gale Laga Le, which was from Sadma, which released in 1983. It was rendered by Suresh Wadkar.

The male version of its recreated version (titled Take 1) was the shorter of the two tracks from Dear Zindagi (2016) on this blog – it was a couple of minutes and 51 seconds long.

(Arij)It was rendered by Singh.

Take 2 – the female version, rendered by Alia Bhatt (the film’s lead) – was three minutes and half-a-dozen seconds long.

These versions were penned by Gulzar and composed by Amit Trivedi.

The (Kapo)original’s S(on)uccess eluded (Malk)it

Malkit, the UK-based Bhangra legend, must have been appalled by the latest film version of his iconic number, Tutak Tutak Tutiya.

Kanika Kapoor and Sonu Sood (the film’s lead) shared Sing(h)ing credits with him.

It happened to be the title track of Tutak Tutak Tutiya, which released in 2016 and was the Hindi version of a trilingual film that was simultaneously shot in Tamil and Telugu (as Devi and Abhinetri, respectively).

Three minutes and 32 seconds long, it was penned by Veer Rahimpuri (who wrote the original) and Shabbir Ahmed. 

Raaj Aashoo composed the track.

It wAS another terrific track

If the two tracks from Shivaay on this blog were to be arranged in the alphabetical order, as well as in the ascending order of their durations, Darkhaast would be the second.

It was half-a-dozen minutes and 14 seconds long.

There’s no two ways about the fact that Sayeed Quadri, who penned the romantic number, and Mithoon Sharma, who composed it, did a marvellous job.

And then, there was the icing on the cake – it was rendered superbly by Arijit Singh (hardly a surprise, because the track was right up his alley) and Sunidhi Chauhan. 

Mr SharMA’s coMPosition was Brilliant

While it would be unfair to compare Mithoon Sharma to his uncle Pyarelal (who was one half of the composer jodi Laxmikant-Pyarelal), it wouldn’t be incorrect to state that the former’s composition (and rendition) of Bolo Har Har Har, the title track of Shivaay (2016) must have done the veteran proud.

He was joined behind the microphone by Badshah, Mohit Chauhan, Sukhwinder Singh, Parthiv Gohil, Anugrah Dixit and Megha Sriram Dalton.

Sandeep Shrivastava penned it.

The shorter of the two tracks from the film on this blog, it was four minutes and 56 seconds long.

  

UnsurpriSing(h)ly, the crooner nailed (Arij)it

Raaz Reboot – which released in 2016 – was the fourth installment in the Raaz film series.

This blog contains just one track from the film. 

The song in question was Lo Maan Liya.

The longest track in the film, it was exactly five minutes long.

Interestingly, the songs on the male-dominated soundtrack were penned by women. And this track was one of Kausar Munir’s contributions to it.

It was composed by Jeet Gannguli.

No prizes for guessing that it was rendered by the one and only Arijit Singh. Needless to say, he did an outstanding job.  

Newbie QB's rendition was perfect

This blog contains a post on just one track from Pink, which released in 2016.

The song in question was Kaari Kaari (which could be translated to dark).

It happened to be the longest track in the film – it was half-a-dozen minutes and 27 seconds long.

The (Moi)track, which was penned by Tanveer Ghazi, was composed by the one and only Shantanu.

It marked the Hindi film debut of Qurat-ul-Ain Balouch as a playback singer, and there’s no two ways about the fact that the Pakistani singer – popularly known as QB – did a marvellous job.

Palak's version was (Muchh)alovely one

The third track from M. S. Dhoni – The Untold Story was the female version of Kaun Tujhe.

Four minutes and a second long, it was rendered by Palak Muchhal. It was, in fact, the only female solo in the film.

Amaal Mallik composed a whopping 90 per cent of the songs in the film, including this one.

And it was a romantic number, so no prizes for guessing that its male version was sung by Armaan Malik.

It was a couple of minutes and 39 seconds long.

Both the versions were penned by Manoj Muntashir.

It was short (Arma)and sweet

Jab Tak was the shortest of the three songs from M. S. Dhoni – The Untold Story on this blog – it was a couple of minutes and 54 seconds long.

The track, which was composed by Amaal Mallik, was rendered by none other than Armaan Malik.

And it was the reason why the youngster has emerged as the go-to balladeer of late.

The soundtrack featured another version of the track. Titled Jab Tak (Redux), it was three minutes and 38 seconds long.

No prizes for guessing that Malik sang this version too.

Manoj Muntashir penned them.

It was (Arma)anumber about hope

M. S. Dhoni – The Untold Story, which released in 2016, was the biopic of Mahendra Singh Dhoni, the then skipper of the Indian cricket team.

If the three songs from the film on this blog were to be arranged in the alphabetical order, Besabriyaan would be the first.

Incidentally, it was also the longest of the three – it was four minutes and 15 seconds long.

Optimism is a trait associated with the cricketer, and this track, which was penned by Manoj Muntashir, was about that.

Armaan Malik lent his voice to the Amaal Mallik composition.

Mr Saeed was the (Bil)all-rounder

In 2012, Pakistani composer, songwriter and singer Bilal Saeed launched an album titled Twelve. One of its was most popular tracks was Khair Mangdi.

Four years later, the inevitable happened – it was remade for the soundtrack of a Hindi film.

The film in question was Baar Baar Dekho, and the song was titled Teri Khair Mangdi.

It was via this track, which was three minutes and 45 seconds long, that listeners in India became acquainted with Mr Saeed’s talents in the three departments of song production.

Kumaar shared the credits for penning it with him. 

Armaan and Neeti aced it

If one has the talent, the sky is the limit. 

But it seemed that even a hundred skies weren’t enough for Amaal Mallik who composed Sau Aasmaan (which is, incidentally, what a hundred skies translates to).

It was the longest of the four tracks from Baar Baar Dekho on this blog – it was three minutes and 54 seconds long.

The song was rendered by Armaan Malik and Neeti Mohan.

It was no surprise that the duo aced it, because the song was right up their alley.

The song was penned by none other than Kumaar.

Jasleen excelled in both Ro(ya)les

Jasleen Royal – who impressed the judges on India’s Got Talent in 2009 with her ability to sing and play multiple instruments simultaneously – didn’t just compose, but rendered Nachde Ne Saare, from Baar Baar Dekho, as well.

She was joined behind the microphone by Harshdeep Kaur and Siddharth Mahadevan.

The track, which was three minutes and 14 seconds long, was penned by Aditya Sharma.

It became an instruction to the listeners – “Baar baar suno” (which could be translated to, “Listen to it repeatedly”). Not to mention, people continue to dance to it at every Punjabi wedding.

This version was attention-grABbINg too

If the four tracks from Baar Baar Dekho (2016) on this blog were arranged in the alphabetical order, Kala Chashma – the reworking of a Punjabi number that was very popular in the mid-2000s – would be the first.

It was, incidentally, the shortest song in the film – it was three minutes and seven seconds long.

Amrik Singh and Kumaar penned the film version of the track, which was undoubtedly catchy.

Prem Hardeep composed it with Badshah, who rendered it too.

Amar Arshi (who sang the original), Indeep Bakshi and Neha Kakkar joined him behind the microphone.

Atif did an (Asl)amazing job

Even a person who is not too fond of Atif Aslam’s renditions would agree that Tere Sang Yaara, from Rustom, was one of his best songs.

It was the longest of the four tracks from the film on this blog – it was four minutes and 53 seconds long.

It may not have been what the doctor prescribed, but it was the doctor’s – Arko Pravo Mukherjee – only contribution to the soundtrack.

Mukherjee rendered the Reprise version of the track. It was three minutes and 46 seconds long.

They were penned by none other than Manoj Muntashir. 

Tiwari composed and rendered (Ank)it

Mr Tiwari composed a couple of tracks on the soundtrack of Rustom*.

But this blog contains a post on just one – Tay Hai, which was three minutes and 48 seconds long.

He rendered it too.

By no means would (Ank)it be incorrect to state that although he had been consistently delivering the goods as a composer, he was becoming predictable.

Manoj Muntashir penned it. 

(*His other contribution to the film’s soundtrack was Jab Tum Hote Ho. The song, which was four minutes and 18 seconds long, was rendered by the one and only Shreya Ghoshal.)

Kakar rendered the (Sukri)title track

The female version of Rustom Vahi – the title track of Rustom – was the shortest of the four tracks from the film on this blog – it was three minutes and 20 seconds long.

Sukriti Kakar rendered it.

There were four versions of the song, which was composer Raghav Sachar’s only contribution to the soundtrack.

Jasraj Joshi rendered the male version of the track, which was 10 seconds shorter than Sukriti’s, and its Marathi version, which was three minutes and seven seconds long.

Manoj Muntashir penned them.

Its instrumental version was a minute and 23 seconds long.

Indeed, (Arij)it was (Muchh)alyrical gem

If the four songs from Rustom (2016) on this blog were to be arranged in the alphabetical order, Dekha Hazaron Dafaa would be the first.

The song, which three-and-a-half minutes long, wasn’t just high on melody, but it was undoubtedly a lyrical gem as well.

Manoj Muntashir, who penned the track, and Jeet Gannguli, who composed it, deserved the lion’s share of the credit for its popularity.

It was the latter’s only contribution to the film on this blog. However, he composed another track in it.

It was rendered by Arijit Singh and Palak Muchhal.

Mika’s fans must’ve been DisappoiNTed

Gabru is Punjabi for a young man.

And one such single dude’s declaration that woh Ready To Mingle Hai was the only song from Happy Bhag Jayegi (2016) on this blog.

Three minutes and 46 seconds long, it happened to be the shortest track in the film.

It was penned by Mudassar Aziz (incidentally, the director of the film as well) and Dee MC (who wrote the English rap portion).

Mika Singh rendered the Sohail Sen composition, which was a letdown.

He was joined behind the microphone by Danish Sabri, Neeti Mohan and Tarannum Malik.

They couldn’t SAlvage this trAcK

By no means would it be incorrect to state that Toota Jo Kabhi Tara was a mediocre number.

But Priya Saraiya, who penned it, could be singled out for praise.

The longer of the two tracks from A Flying Jatt on this blog, it was five minutes and as many seconds long.

The song, which was composed by Sachin-Jigar, was not (Asl)among Atif's best songs.

He was joined behind the microphone by Sumedha Karmahe, who hails from Rajnandgaon, a city in Chhattisgarh. She was the fourth runner-up on Sa Re Ga Ma Pa Challenge 2007.

No one enViSaJed (K)apoor track

If the two songs from A Flying Jatt (2016) on this blog were to be arranged in the alphabetical order, as well as in the ascending order of their durations, Beat Pe Booty would be the first.

It was three minutes and 17 seconds long.

There’s no two ways about the fact that it was a run-of-the-mill number.

While Vayu's involvement in the track wasn’t restricted to penning it, Sachin Sanghvi and Jigar Saraiya weren’t just the composers.

The trio was credited with rendering it too.

They were joined behind the microphone by Kanika Kapoor. 

 

Mr Dadlani’s rendition was Damdaar

This blog contains a post on just one track from Madaari, which released in 2016.

The song in question was Dama Dama Dam.

Four minutes and 19 seconds long, it was the shorter of the two tracks in the film (unbelievable as it may sound, it had just a couple of songs!)

A couple of things stood out – Vishal Dadlani’s vocals, and the lyrics, which were credited to none other than Irshad Kamil.

By no means would it be incorrect to state that the use of metaphors was interesting.

It was composed by Vishal Bhardwaj.

Dadlani added V(ish)alue to (Am)it

Since Ud-Daa Punjab, from Udta Punjab, was penned by Varun Grover, who is as renowned for his stand-up comic acts as he is for his screenwriting and lyrics, it was expected that he would use humour to make a pertinent point.

And he didn’t disappoint.

The track was four minutes and 35 seconds long.

Amit Trivedi’s involvement in the track wasn’t restricted to composing it, but he happened to be one of the two men who rendered it as well.

The other was the one and only Vishal Dadlani, whose portion was undoubtedly the highlight.

Diljit’s version was the best

The soundtrack of Udta Punjab had four versions of Ikk Kudi, which was penned by the late Punjabi poet Shiv Kumar Batalvi.

Since I haven’t heard Shahid Mallya’s version (which was four minutes and a couple of seconds long), I will have to go with Mr Dosanjh’s version, which is titled Reprise. It was six seconds longer than Mallya’s.

There’s no two ways about the fact that he naileD(ilj)it.

His version had a remixed version – the Club Mix, which was seven seconds longer than his original.

Asess Kaur rendered the female version.

Trivedi composed (Am)it.    

Kanika’s rendition was the H(aab)ighlight

The shortest of the four songs from Udta Punjab on this blog was Da Da Dasse. Four minutes and a second long, it was, in fact, the shortest song in the film.

It was rendered by Kanika Kapoor, whose fans were in for a surprise, because it was (Ha)abig change from the item numbers she usually sings.

And the man who rendered the rap portion was Babu.

It was penned by Shellee, who has used snakebite (dasna in Hindi) as a simile for the fear gripping the woman.

The track was composed by Amit Trivedi.

NoBody could remain BliSsfully unaware

If the four songs from Udta Punjab (2016) on this blog were arranged in the alphabetical order, Chitta Ve would be the first.

It was the longest of the four tracks on the blog (and, in fact, the longest track in the film) – it was four minutes and 48 seconds long.

Shellee (a.k.a. Shailender Singh Sodhi), who penned the track, didn’t beat around the bush – the song had a reference to weed, and Chitta is Punjabi for heroin.

Shahid Mallya, Babu Haabi and Bhanu Pratap Singh rendered the track, which was composed by Amit Trivedi.

It had its MoMeNtS too

Taang Uthake may have been the weakest of the three tracks from Housefull 3 on this blog, but there’s no two ways about the fact that it had its moments.

It was four minutes and 10 seconds long.

Sohail Sen’s involvement in the track wasn’t restricted to composing it, but he was one of the four people who rendered it too.

The others were Mika Singh, Mamta Sharma and Neeti Mohan.

Incidentally, Sharma also happened to be one of the five people who penned the track.

The others were Sajid-Farhad, Sameer Sen and Sanjeev Chaturvedi.

It was A zESTful reNDition

While there’s no two ways about the fact that the phrase Pyaar Ki Maa Ki evokes laughter, the song from Housefull 3 had several hilarious lines, including, “Dekho chand ko chadh gayi hai charbi, suraj bhi laga bakne arbi”.

They were penned by Sajid-Farhad, Danish Sabri and Manoj Yadav.

The involvement of Sharib and Toshi Sabri in the track, which was three minutes and 47 seconds long, wasn’t restricted to composing it, but they rendered it as well.

They were joined behind the microphone by Anmol Malik, Divya Kumar, Earl Edgar D’Souza and Nakash Aziz.

Mika didn’t PAcK a punch

By no means would it be incorrect to state that Maalamaal was the weakest of the four songs from Housefull 3 on this blog.

Incidentally, it also happened to be the shortest track in the film – it was three minutes and 23 seconds long.

Mika’s involvement in the track was not restricted to Sing(h)ing it, but he composed it as well.

He was joined behind the microphone by Akira, Kuwar Virk and Miss Pooja, while the man who shared composing credits with him was Milind Gaba.

The track was penned by Rani Malik and Farhad-Sajid. 

The smiles certainly weren’t FAKe

Housefull 3 (2016), was the third installment in the Housefull series. The first film in the series (Housefull) released in 2010 and the second (Housefull 2) in 2012.

This blog contained posts on four tracks from the latest installment. 

If these were to be arranged in the alphabetical order, Fake Ishq would be the first.

It was the longest song in the film – it was four-and-a-half minutes long.

Penned by Sajid-Farhad (the film’s directors) and Arafat Mehmood, the Tanishk Bagchi composition, which elicited genuine laughs, was rendered by Altamash Faridi, Kailash Kher and Nakash Aziz. 

It was short (Arma)and soulful

Do Lafzon Ki Kahani released in 2016.

This blog contains a post on just one track from the film – Kuch Toh Hai.

It was, incidentally, the shortest song on the film’s soundtrack – it was four minutes and eight seconds long.

Kuch Toh Hai was probably what Amaal Mallik’s fans must have been saying about the composer, because there’s no two ways about the fact that there is something about him and his brother Armaan, who crooned it.

In other words, the pair has an X-factor.

The track, which was penned by Manoj Muntashir, was soulful.

It ShoulD’ve got its due

There’s no two ways about the fact that Zara Zara – the only song from Waiting (2016) on this blog – was an outstanding track, but sadly, one that did not get its due.

Ankur Tewari, who penned it, may be the frontman of the rock band, Ankur and The Ghalat Family, but he surely got this sahi.

The track, which was composed by Mikey McCleary, was rendered by a pair with unique voices – Vishal Dadlani and Kavita Seth.

Incidentally, it was the longest song on the film’s soundtrack – it was four minutes and 27 seconds long.

These SingerS Kouldn't Salvage it

For those who are in a celebratory mood, and want to listen to a track that would reflect that, Tung Lak might not really be the best bet.

The shorter of the two songs from Sarbjit on this blog, it was three minutes and 25 seconds long.

It was one of those run-of-the-mill Punjabi numbers without which Hindi film soundtracks seem to be incomplete these days.

Penned by Sandeep Singh, the song was composed by Shail-Pritesh (a duo comprising Shail Hada and Pritesh Mehta).

Hada shared Sing(h)ing credits with Sukhwinder, Sunidhi Chauhan and Kalpana Gandharv.

(Arij)It was an underrated TracK

This blog contains posts on a couple of tracks from Sarbjit (2016).

If they were arranged in the alphabetical order, as well as in the descending order of their durations, Salamat would be the first.

Four-and-a-half minutes long, it was an underrated ballad.

The track deserved repeated listens, because it was relatable. After all, doesn’t everyone in love hope that it lasts forever?

It was penned by Rashmi Virag, and composed by the one and only Amaal Mallik.

No prizes for guessing that (Arij)it was rendered by Singh.

Tulsi Kumar joined him behind the microphone.

Oye, AMASSive hit was recreated!

The soundtrack of Azhar contained a recreated version of Oye Oye (Gajar Ne Kiya Hai Ishara), from Tridev (1989).

Anand Bakshi penned the original, which was composed by Kalyanji-Anandji.

It was picturised of Sangeeta Bijlani (the ex-wife of Mohammad Azharuddin) and the film’s other two leading ladies, Madhuri Dixit and Sonam.

Alka Yagnik, Sadhana Sargam and Sapna Mukherji rendered it.

The recreation, which was credited to DJ Chetas, was three minutes and 53 seconds long.

Incidentally, Bakshi was credited as the lyricist of this version too.

Aditi Singh Sharma and Armaan Malik shared singing credits.

Malik rendered (Arma)anice romantic number

My blog on Pritam's music contained a post on a track from Azhar, the 2016 biopic of Mohammad Azharuddin, the former skipper of the Indian cricket team.

This blog contains posts on a couple of tracks from the film.

If they were arranged in the alphabetical order, as well as the descending order of their durations, Bol Do Na Zara would be the first.

Four minutes and 53 seconds long, it was penned by Rashmi Virag.

It was composed by Amaal Mallik and rendered by Armaan Malik.

The team, including Virag, did a marvellous job.

(JA)M8, this version did JAr

The shorter of the two tracks from 1920 London on this blog was a recreated version of Gumnaam Hai Koi, the title track of Gumnaam, which released in 1965.

The original, which Hasrat Jaipuri penned, was composed by Shankar-Jaikishan. It was rendered by the one and only Lata Mangeshkar.

The recreated version was four minutes and 25 seconds long.

It was composed by Kaushik and Akash for JAM8, an artists and repertoire (A&R) music production platform founded by music director Pritam.

Antara Mitra and Jubin Nautiyal rendered the song, which was penned by Kunaal Vermaa.

ThiS was a decent track

A 2016 film, 1920 London was the third installment in the 1920 film series. It was preceded by 1920 (2008) and 1920: The Evil Returns (2012).

This blog contains posts on a couple of tracks from the latest film in the series.

If they were to be arranged in the alphabetical order, as well as the descending order of their durations, Aaj Ro Len De would be the first – it was four minutes and 46 seconds long.

Sharib and Toshi Sabri penned, composed and rendered the track.

Kalim Sheikh was credited as a lyricist too.

It was a MEmorable number

Most Wanted Munda was the shortest of the tracks from Ki & Ka on this blog – it was three minutes and 28 seconds long.

The song depicted Arjun Kapoor’s character (Kabir Bansal) as every woman’s dream man, because he was proficient at household chores.

It was penned by Kumaar.

Meet Bros didn’t just compose the track, but they also rendered it.

It featured a rap portion by Earl Edgar.

Another version of the song – Kabir Most Wanted Munda – was 18 seconds shorter than the original. Kapoor and Palak Muchhal shared singing credits with Meet Bros. 

Dhami’s track was a cHArtbuster

In 2012, Birmingham-based folkhop star Jaz Dhami (whose real name is Jaswinder Singh Dhami) and Yo Yo Honey Singh released a single titled High Heels.

Its journey to the big screen was inevitable, and upon its inclusion on the soundtrack of Ki & Ka, the track did go to become even more popular.

The duo teamed up with Aditi Singh Sharma for the film version of the song, which was three minutes and 32 seconds long.

Honey shared the credits for penning the track with Kumaar, and for composing it with Meet Bros as well.

Skipping this track wAS foolishness

If the three tracks from Ki & Ka (2016) on this blog were to be arranged in the alphabetical order, as well as in the descending order of their durations, Foolishq would the first – it was four minutes and 29 seconds long.

It was also the best of the three, because it was composed by Ilaiyaraaja. And it wouldn’t be incorrect to state that the maestro continues to give music directors who are decades his junior a run for their money.

Amitabh Bhattacharya penned the track, which was rendered by Armaan Malik and Shreya Ghoshal.

Shraddha rendered this (Ma)likeable track

It was undoubtedly surprising that the soundtrack of Baaghi became popular, because it didn’t really boast of a number that had a long recall value.

However, as far as repeat value was concerned, it wouldn’t be incorrect to state that Sab Tera was the best song in the film.

Sanjeev Chaturvedi penned the track, which was three minutes and 48 seconds long.

Its success was attributable to two factors.

One of these was the Mallik magic – Amaal composed it.

And secondly, Armaan Malik was joined behind the microphone by the film’s leading lady, Shraddha Kapoor.