It was a ViShy-Vash(malle)y track

Four minutes and 36 seconds long, Vashmalle was the only song from Thugs of Hindostan (2018) on this blog.

The fact that it was celebratory track, coupled with the fact that Sukhwinder and Vishal Dadlani were sharing Sing(h)ing credits, the listeners did expect an energetic number.

But what they got instead was a song that wasn’t worth listening to on loop.

It certainly wouldn’t be incorrect to state that it was one of Ajay-Atul’s weakest albums to date.

Amitabh Bhattacharya penned the track, which could be translated to, “Dance your heart out and make merry”.

It was all about BADshah

It was a mere coincidence that Proper Patola was playing on the radio when I started writing a post on it.

It was the shorter of the two songs from Namaste England on this blog – it was just a couple of minutes and 58 seconds long.

Interestingly, it was the shortest song on the film’s soundtrack. 

There’s no two ways about the fact that the track was all about the man who introduces himself as It’s Yo Boy Badshah – he penned, composed and rendered it.

Aastha Gill and Diljit Dosanjh shared singing credits with him.

It De(ser)V(e)D to Become Popular

If the two tracks from Namaste England (2018) on this blog were to be arranged in the alphabetical order, as well as in the descending order of their durations, Bhare Bazaar would be the first – it was three minutes and 34 seconds long.

Badshah’s involvement in the track (which Master Rakesh penned) wasn’t restricted to penning its rap portion and composing it (with Rishi Rich), but he was one of the four people who rendered it too.

The others were Vishal Dadlani, Payal Dev and B Praak.

A catchy track, it deserved to become popular.

It was an ADdictive track

The longer – and catchier – of the two tracks from Loveyatri on this blog was Chogada – it was four minutes and nine seconds long.

It was a recreation of a Gujarati folks song titled Hey Ranglo, and the fact that it released when Navratri was around the corner added to its popularity. 

Darshan Raval penned and rendered the track, which was composed by Lijo George and DJ Chetas.

Shabbir Ahmed was credited as the other lyricist.

Asees Kaur shared singing credits with Raval.

The remixed version of the track was nine seconds shorter than the original.

A(see)s (Nautiy)always, Badshah was impressive

This blog contains posts on a couple of tracks from Loveyatri (2018).

If they were arranged in the alphabetical order, as well as in the ascending order of their durations, Akh Lad Jaave would be the first – it was just three minutes long.

The involvement of Tanishk Bagchi in the track wasn’t restricted to composing it, but he penned it as well.

Asees Kaur and Jubin Nautiyal rendered it.

There’s no two ways about the fact that the highlight of the track was its rap portion, which was credited to Badshah, who penned it too.



 

It wAS sweet and underrated

So underrated a song was Pal that I listened to it when it played on the radio before looking it up online.

Appropriately, the sweet romantic number was from a film titled Jalebi (2018). It is the only song from the film on this blog.

Kunaal Vermaa and Prashant Ingole penned the Javed-Mohsin composition, which was four minutes and seven seconds long.

(Arij)It was rendered by Mr Singh and Shreya Ghoshal.

Its remixed version was 29 seconds longer than the original.

Ghoshal rendered the female version, which was just a second longer than the duet. 

Surprisingly, this reK(akka)reation (Randha)was decent

There’s no two ways about the fact that the film version of Morni Banke was worth listening to on loop.

While the original was a track by Panjabi MC, the recreated version, which was three minutes and 18 seconds long, was the only song from Badhaai Ho (2018) on this blog.

No prizes for guessing that it was credited to Tanishk Bagchi, who has, of late, been crowned the king of recreations as far as Hindi film music is concerned.

The song, which was penned by MellowD, was rendered by Guru Randhawa and Neha Kakkar.

Ronkini's rendition was (Pap)on point

There’s no two ways about the fact that Chaav Laaga, a melodious track, was one of the most underrated songs of 2018.

It was the only song from Sui Dhaaga – Made in India on this blog.

Incidentally, it was also the longest track in the film – it was five minutes and 48 seconds long.

Hindi film music buffs are aware of the talent of Papon.

But it was Ronkini Gupta, who shared singing credits with him, who stole the show.

The track, which Varun Grover penned, was composed by the one and only Anu Malik.

DanDIya lovers definitely loved it

A couple of posts before this one, I wrote about Kamariya from Stree.

Now it is the turn of the namesake, which was the only track from Mitron (2018) on this blog – it was four minutes and 35 seconds long.

While I have refrained from using the word obviously (keeping the series of recreations in mind), the two Kamariyas were different.

Kumaar penned the Mitron track, which was a Dandiya number.

Rendered by Darshan Raval, the song featured a rap portion too. It was credited to Ikka Singh.

Lijo George and DJ Chetas composed it.

Mr Aslam made A(ti)fantastic attempt

The only song from Batti Gul Meter Chalu (2018) on this blog was yet another recreation.

And the track in question was Dekhte Dekhte.

The original was a ghazal and qawwali titled Sochta Hoon. It was rendered in 1985 by the one and only Nusrat Fateh Ali Khan.

While the version on this blog was rendered well by Atif Aslam, Version 2 was rendered by Rahat Fateh Ali Khan.

Incidentally, both the versions happened to be four minutes and 16 seconds long.

They were penned by Manoj Muntashir.

The recreation was credited to Rochak Kohli.

Mr Saraiya bAckeD the S(ach)ingers

This is a post on the only song from Stree (2018) on this blog, and it was rendered by a stree named Aastha Gill.

The singer, who is best known for her 2015 single titled DJ Waley Babu, was joined behind the microphone by the one and only Divya Kumar.

The track in question was Kamariya.

Undoubtedly an entertaining number, it was three minutes and eight seconds long.

Sachin Sanghvi and Jigar Saraiya’s involvement in the song wasn’t restricted to composing it, but they happened to be the back-up vocalists as well.

Vayu penned it.

It wAsn’T a damp squib

Paniyon Sa was the longer of the two tracks from Satyameva Jayate on this blog – it was three minutes and 56 seconds long.

It wasn’t the most outstanding romantic song. In fact, it wouldn’t be incorrect to state that those who love that genre would probably have experienced the aural equivalent of déjà vu on listening to it.

However, it was a decent effort on the part of the one and only Atif Aslam, who was joined behind the microphone by Tulsi Kumar.

The track, which was penned by Kumaar, was composed by Rochak Kohli.

It certainly DIdN’t surprise anybody

Akshay Kumar’s Gold and John Abraham’s Satyameva Jayate clashed on August 15, 2018.

This blog contains a post on a couple of tracks from the latter.

The song in question was Dilbar Dilbar, a recreated version of the chartbuster from Sirf Tum (1999).

The original, which was penned by Sameer, was composed by Nadeem-Shravan. 

The recreated version, which was three minutes and four seconds long, was penned by Shabbir Ahmed. It was credited to the one and only Tanishk Bagchi.

Neha Kakkar and Dhvani Bhanushali sang it.

Ikka Singh penned and rendered the rap portion.

It was a MaJor diS(inh)appointment

The only track from Happy Phirr Bhag Jayegi (2018) on this blog was a recreation.

This time, it was the turn of the Howrah Bridge (1958) classic, Mera Naam Chin Chin Chu, to be mauled.

Qamar Jalalabadi penned the original (which was composed by O P Nayyar). His lyrics were retained.

The recreated version – titled Chin Chin Chu – was credited to Sohail Sen, who composed the music of the film and that of its 2016 prequel, Happy Bhag Jayegi.

Jassi Gill, Mudassar Aziz (the film’s director) and Sonakshi Sinha (one of its leads) rendered it.

Desai definitely rendered it (Yas)s(up)erbly

This blog contains a post on just one song from Gold*, which released on August 15, 2018 (India’s 72^nd Independence Day). 

The track in question was Nainon Ne Baandhi.

It was four minutes and a second long.

The involvement of Arko Pravo Mukherjee in the track wasn’t restricted to composing it, but he penned it too.

It was rendered splendidly by Yasser Desai.

(*Note: The film was based on the first Olympic title won by India’s hockey team after the country became independent. This was at the 1948 Games, which, interestingly, took place in London.)

It certainly waSN’t (R)afine recreation

One would not use Amit Trivedi and recreation in the same sentence, and upon listening to the recreated version of Badan Pe Sitare, even a person whose knowledge of music is limited to Sa Re Ga Ma would know why.

The original – which was from Prince (1969) – was penned by Hasrat Jaipuri, composed by Shankar-Jaikishan and rendered by Mohammed Rafi.

The recreated version – which was from Fanney Khan (2018) – was rendered by the one and only Sonu Nigam, who began his career with albums of Rafi’s songs.

It was three minutes and 37 seconds long.

Another classic was (Joni)tampered with

There’s no two ways about the fact that Lag Jaa Gale, from Woh Kaun Thi (1964), continues to be one of Lata Mangeshkar's best songs.

It was penned by Raja Mehdi Ali Khan and composed by Madan Mohan.

By no means would it be fair to blame people for not knowing the man behind the recreated version. Woh Rana Mazumder tha.

It was the only song from Saheb, Biwi Aur Gangster 3 (2018) on this blog (and, incidentally, the shortest as well – it was four minutes and seven seconds long).

Jonita Gandhi rendered the track.

Sadly, it (Randha)wasn’t Highly Rated

In 2017, Guru Randhawa teamed up with Manj Musik and released a single titled High Rated Gabru.

It was just a matter of time before the song, which became popular, featured on the soundtrack of a Hindi film, and that was precisely what happened.

The film in question was Nawabzaade, and it released in 2018.

Randhawa’s involvement in the track wasn’t restricted to rendering it, but he penned and composed it too.

Unfortunately, the film version – which was just two minutes and 59 seconds long – failed to live up to the adjective in its title.

Ajay-Atul (Gogava)lent it their voices

Zingaat was the Hindi version of the Marathi chartbuster of the same name from Sairat, and went on to become popular too.

It was the shortest of the three tracks from Dhadak on this blog – it was three minutes and 46 seconds long. In fact, it was as long as the original.

The involvement of Ajay and Atul Gogavale in the Hindi version of the song wasn’t restricted to composing it, but they rendered it as well.

Its lyrics weren’t credited to the brothers (although they penned the original). It was penned by Amitabh Bhattacharya. 

Ajay didn’t drive anyone crazy

Pehli Baar – the longest of the three songs from Dhadak on this blog – was five minutes and 15 seconds long.

In fact, it was the longest song in the film.

The song was a recreation of Yad Lagla, from Sairat.

While the Marathi version, true to its name, did drive the listeners crazy, it would not be incorrect to state that the Hindi version was a run-of-the-mill, yet relatable track, which took a while to grow on the listeners.

Ajay-Atul composed the track, which was rendered by the former.

It was rendered by Amitabh Bhattacharya.
            

This SonG was indeed AGem

Dhadak – which released in 2018 – was the remake of the Marathi film Sairat (which released in 2016).

If the three songs from the film on this blog were arranged in the alphabetical order, its title track, which was four minutes and three seconds long, would be the first.

Ajay Gogavale’s involvement in the track wasn’t restricted to composing it (with his brother Atul), but he rendered it too.

He was joined behind the microphone by Shreya Ghoshal, the only female singer to lend her voice to the soundtrack.

The track was penned by Amitabh Bhattacharya.

Badshah’s (Taree)fan following grew exponentially

There’s no two ways about the fact that Badshah is a hit-maker, and his fans probably rephrase a line credited to him, crooning, “Badshah mera mind tu kare blow”.

The line was from the rap portion of Tareefan, the only song from Veere Di Wedding (2018) on this blog.

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

Badshah’s involvement in the track wasn’t restricted to rendering it, but he was one of the three who penned it as well. The others were Qaran (who was, incidentally, credited as the composer as well) and Rupin Pahwa. 

It waS(unidh)indeed an entertaining Son(u)g

Main Badhiya Tu Bhi Badhiya was the shorter of the two songs from Sanju on this blog – it was four minutes and 34 seconds long.

It was rendered by Sonu Nigam and Sunidhi Chauhan, and upon listening to it, the listeners did realise that they were apt for it, given the former’s knack for mimicry and the innate flexibility in the latter’s voice.

The track was penned by Puneet Sharma, who deserved a pat on the back for a badhiya (excellent) job.

It was composed by Rohan-Rohan (a duo comprising Rohan Pradhan and Rohan Gokhale). 

Sukhwinder SanG this inspiring track

This blog contains posts on a couple of songs from Sanju, which released in 2018 and was actor Sanjay Dutt’s biopic.

The longer of these was Kar Har Maidan Fateh – it was five minutes and 11 seconds long. In fact, it was the longest track in the film.

As the name suggests, it was a rousing number (its title could be translated to, “Conquer every field”).

It was rendered by none other than Sukhwinder Singh, who was joined behind the microphone by Shreya Ghoshal.

Shekhar Astitva penned the track, which was composed by Vikram Montrose.

Mr Khan certAInly wasn’t Selfish

Songs from Salman Khan’s films invariably put the spotlight on him, but in what could be described as a departure from tradition, he was the star behind the scenes as far as Selfish – the only song from Race 3 (2018) on this blog – was concerned.

That was because he was credited with penning the track, which was four minutes and 57 seconds long.

The track, which was rendered by Atif, certainly wasn’t (Asl)amazing.

He was joined behind the microphone by Iulia Vantur.

Vishal Mishra composed the song, as well as its Solo and Unplugged versions.

The veterans ABsolutely RocKed it

I must confess that I did a double take when I read that Badumbaaa – the only song from 102 Not Out (2018) on this blog – was composed by Amitabh Bachchan.

And his involvement with the track wasn’t restricted to that, but he rendered it too.

That wasn’t surprising, but the fact that he was joined behind the microphone by co-star (and fellow veteran) Rishi Kapoor definitely was.

Five minutes and 46 seconds long, it happened to be the longest song in the film.

The rocking number was penned by the Big B’s namesake, Amitabh Bhattacharya.

Armaan Malik certainly made magic

The film was October, and it released in April 2018.

And this blog contained a post on just one track from the film – Theher Ja.

By no means would it be incorrect to state that it was underrated.

The shortest song in the film, it was just a couple of minutes and 41 seconds long.

It was penned by Abhiruchi Chand.

Abhishek Arora composed the track, which was rendered by none other than Armaan Malik.

Interestingly, the song had a remixed version too. Credited to DJ Notorious, it was three minutes and 34 seconds long.

All-rounder Guru (Randha)was the recreator

Patola – Punjabi for an attractive woman – was the title of the only track from Blackmail (2018) on this blog.

It was the recreated version of the Preet Hundal composition of the same name, which released in 2015.

Guru Randhawa was the lyricist of the original (with Sabi) and one of the two men who rendered it (the other being Bohemia).

The film version of the track was three minutes and four seconds long.

Hundal, Sabi and Bohemia were not associated with this version, which was solely credited to Randhawa (who penned, composed and rendered it).

The (Ra)haters had a ball

Sanu Ek Pal Chain was the shorter of the two tracks from Raid on this blog – it was three-and-a-half minutes long.

It was another tribute by Rahat Fateh Ali Khan to his legendary uncle, Nusrat Fateh Ali Khan.

But unfortunately, the former’s rendition of the track wouldn’t have done the latter proud.

By no means would it be incorrect to blame Manoj Muntashir for penning it, and Tanishk Bagchi for recreating it (and giving Hindi film music aficionados yet another reason to believe that this trend of old wines in new bottles will be short-lived).  

(Rah)At least it passed muster

If the two tracks from Raid (2018) on this blog were arranged in the alphabetical order, as well as in the descending order of their durations, Nit Khair Manga would be the first – it was three minutes and 48 seconds.

It was a recreated version of a song by Nusrat Fateh Ali Khan, rendered by Rahat Fateh Ali Khan. 

And by no means would it be incorrect to state that while it obvious was no patch on the original, it managed to pass muster.

Manoj Muntashir penned the track, which was recreated by Tanishk Bagchi.

It HaRdly made anyone NostalgiK

The only song from Hate Story 4 (2018) on this blog was the recreated version of Aashiq Banaya Aapne, the title track of the 2005 film.

It was three minutes and 42 seconds long.

The original, which was penned by the one and only Sameer Anjaan, wasn’t just composed, but also rendered by Himesh Reshammiya.

The recreated version was penned by Manoj Muntashir.

No prizes for guessing that it was credited to Tanishk Bagchi.

It was rendered by Neha Kakkar and Reshammiya (who, interestingly, seemed content playing second fiddle).

Hence, it failed to evoke nostalgia.

  

Hardly anyone JumPed with joy

A recreated version of Gazab Ka Hai Din – from Qayamat Se Qayamat Tak (1988) – featured on the soundtrack of Dil Juunglee. 

It was, in fact, the only song from the film, that released in 2018, on this blog. 

No prizes for guessing that the track, which was three minutes and 56 seconds long, was also titled Gazab Ka Hai Din.

Tanishk Bagchi’s involvement in the track wasn’t restricted to composing it, but he penned it as well.

Arafat Mehmood was credited as the other lyricist.

The track was rendered by Jubin Nautiyal and Prakriti Kakar.

PaNjabi MC’s hit was recreated

Interestingly, Panjabi MC’s 1998 chartbuster Mundiyan To Bach Ke featured on the soundtrack of a film that featured Jackie Shroff [Boom (2003)] as well as on that of a film starring his son Tiger [Baaghi 2 (2018)].

This is a post on the version that featured on the latter’s soundtrack.

The second recreation – titled Mundiyan – was credited to Sandeep Shirodkar.

It was, in fact, the shorter of the two tracks from Baaghi 2 on this blog – it was three-and-a-half minutes long. 

Ginny Diwan penned it.

Navraj Hans was joined behind the microphone by Palak Muchhal.

This tamper-Proof SonG was recreated

My blog on the music of Hindi released between 1987 and 1989 contained a post on Ek Do Teen, from Tezaab (1988). 

The track, which was composed by Laxmikant-Pyarelal, wasn’t just there to make up the numbers (pun intended).

Alas, the same couldn’t be said of its recreated version, which was credited to Sandeep Shirodkar.

It was the longer of the two songs from Baaghi 2 (2018) – it which was four minutes and as many seconds long.

Shreya Ghoshal rendered the recreated version, which featured a rap portion by Parry G.

Javed Akhtar penned both.

(Arij)It wAS a relatable tRacK

Rochak Kohli composed the most relatable song on the soundtrack of Sonu Ke Titu Ki Sweety.

Titled Tera Yaar Hoon Main, the track was sung by the one and only Arijit Singh.

He was joined behind the microphone by Kohli, while Anita Bhatt and Simerjit Kumar were the back-up singers.

Kumaar penned the track, which everyone could dedicate to their buddies (especially their chaddi buddies and those they have not kept in touch with).

It was the shorter of the two original songs on the film’s soundtrack – it was four minutes and 24 seconds long.

This track APpeAled to everyone

Keeping in mind the tastes of those who don’t dig recreations, the soundtrack of Sonu Ke Titu Ki Sweety featured a couple of original tracks too.

The longer of these was Subah Subah – it was four minutes and 37 seconds long.

In fact, it was the longest of the five songs from the film on this blog.

The track was penned by none other than Kumaar.

The involvement of Amaal Mallik in the song wasn’t restricted to composing it, but he rendered it as well.

Arijit Singh and Prakriti Kakar joined him behind the microphone.

Honey’s comeback track wasn’t SKIppable

Dil Chori, from Sonu Ke Titu Ki Sweety, marked the comeback of Yo Yo Honey Singh after a couple of years.

The song, which was three minutes and 46 seconds long, was the recreated version of Dil Chori Sadda Ho Gaya, from Hans Raj Hans’ 2000 album Chorni.

While Singh was credited as the sole composer, Singhsta and Oye Sheraa shared the credits for penning the new version with him.

Ishers and Simar Kaur shared singing credits with him.

It wouldn’t be incorrect to state that the recreated version was as catchy as the original.

Honey sang yet aNother recreation

Chhote Chhote Peg was the shortest of the five tracks from Sonu Ke Titu Ki Sweety on this blog – it was three minutes and 24 seconds long.

The track was a recreated version of Dil Tote Tote Ho Gaya, from Bichhoo (2000).

It wasn’t just penned and composed by Yo Yo Honey Singh, but he rendered it as well. 

He was joined behind the microphone by Navraj Hans (son of Hans Raj Hans, who sang the original, and son-in-law of Daler Mehndi) and Neha Kakkar.

The song had additional lyrics by Singhsta and Oye Sheraa.   

Mr Knight’s track W(ali)as (Jasm)included

This blog contains five tracks from Sonu Ke Titu Ki Sweety (2018).

If they were arranged in the alphabetical order, Bom Diggy Diggy would be the first.

Three minutes and 58 seconds long, the track was a recreation of Bom Diggy, a Punjabi-English song which released in 2017.

The involvement of British-Pakistani singer Zack Knight wasn’t restricted to composing both the versions of the track, but he penned and rendered them too.

He was joined behind the microphone by British-Indian singer Jasmin Walia. 

Kumaar collaborated with Knight to pen the lyrics of the film version.

Mika Singh hailed PaD Man

The Pad Man Song, the title track of the Akshay Kumar-starrer, was the shorter of its two songs on this blog – it was three minutes and 23 seconds long.

In fact, it was the shortest song in the film.

Kumar’s character (who was named Lakshmikant Chauhan and based on the inventor of a low-cost sanitary pad making machine, Arunachalam Muruganantham) was lauded as a superhero by Mika Singh, whose vocals were backed by those of three ladies – Deepti Rege, Mayuri Kudalkar and Pragati Joshi.

The track was penned by Kausar Munir.

Mr Trivedi composed (Am)it.

Undoubtedly, Mr Singh nailed (Arij)it

If the two tracks from Pad Man (2018) on this blog were arranged in the alphabetical order, as well as in the descending order of their durations, Aaj Se Teri would be the first – it was five minutes and a dozen seconds long.

By no means would it be incorrect to state that Kausar Munir, who penned it, KISSed (kept it simple and straightforward).

The track was rendered by the one and only Mr Singh, who nailed (Arij)it.

And (Am)it could be called a perfect song, because Mr Trivedi, the composition, did an outstanding job.

Chauhan’s vocals were the (Sunid)highlight

Aiyaary released in 2018.

The word could be translated to disguising, but there was one fact that could not be concealed – Lae Dooba, the only song from the film on this blog, was beautiful.

Incidentally, it happened to be the shortest track in the film – it was three minutes and 49 seconds long.

While Sunidhi Chauhan’s rendition was undoubtedly the highlight, it would be unfair to deny Asees Kaur, the backing vocalist, her share of the credit.

The track, which Manoj Muntashir penned, was one of composer Rochak Kohli’s two contributions to the film’s soundtrack.

Their aggreSSion was its highlight

Khalibali – another track from Padmaavat with a Middle-Eastern flavour – was four minutes and 19 seconds long.

There’s no two ways about the fact that the song waS(hiv)amazing, and that was attributable to the matchless energy of Ranveer Singh (who essayed the part of the film’s antagonist, Alauddin Khilji) on screen, and the aggressive rendition of Mr Pathak and Shail Hada.

A M Turaz penned the track, whose hook was, “Khalibali ho gaya hai dil”. It could be translated to, “The heart has become detached”.

But of course, composer Sanjay Leela Bhansali was attached to it.  

Shreya sang (Kh)an instant hit

Ghoomar, a Rajasthani folk number, was the longest of the four songs from Padmaavat on this blog – it was four minutes and 42 seconds long.

It was rendered by Shreya Ghoshal, who bagged the Filmfare Award for Best Playback Singer – Playback and the Female Vocalist of the Year at the Mirchi Music Awards in 2019.

She was joined behind the microphone by Swaroop Khan, who penned its Rajasthani lyrics as well.

There’s no two ways about the fact that the Sanjay Leela Bhansali composition, which A M Turaz penned, had chartbuster written all over it.

Undoubtedly, this track was (Shiv)amazing

Ek Dil Ek Jaan, the second male solo on the soundtrack of Padmaavat, was three minutes and 40 seconds long.

It was rendered by Shivam Pathak, and was one of the most beautiful romantic numbers of the year.

A M Turaz penned the track, which was composed by Sanjay Leela.

It would not be incorrect to categorise it as a Bhansali ballad. 

Of course, there’s no such category, but it could be used to describe a track which isn’t just classy, but also goes on to have a long shelf life and high recall value.

Singh gave the listeners A(riji)treat

If the four tracks from Padmaavat (2018) on this blog were to be arranged in the alphabetical order, Binte Dil would be the first.

The shortest of the four songs on the blog, it was three minutes and a dozen seconds long.

The first line of the track – penned by A M Turaz – went, “Binte dil Misriya mein”, and considering that it was a song with a Middle-Eastern flavour, it could be translated to, “The girl of my heart is in Egypt”.

Sanjay Leela Bhansali, the film’s director, composed the track, which Arijit Singh rendered.

This modeRN version wasn’t impressive

Adding contemporary trends to traditional numbers does tend to dilute their impact considerably.

That was precisely what happened to Kaala Doreya, the Punjabi folk song, upon the inclusion of its modern – and rather umimpressive – version on the soundtrack of Kaalakaandi, which released in 2018.

This version of the track, which was a couple of minutes and 28 seconds long, was rendered by Neha, and featured a rap portion, which was credited to Raxstar.

Sameer Uddin, who happens to be the (Bha)singer’s husband, composed it.

It was the only song from the film on this blog.

Mr Dutta sang (Arn)abeautiful track

When life gives you Arnab, it had better not be a news anchor who yells on prime-time television, but a crooner who politely requests the listeners to lend him their ears.

The last name of the latter was Dutta, and he sang Sunn Le Zara.

It was the only song from 1921 (2018) on this blog, and it was four minutes and 37 seconds long.

By no means would it be incorrect to state that it was a beautiful track.

It was penned by Shakeel Azmi, and was composed by a newcomer named Harish Sagane.

NaRY were they on (Ra)fire

Mehbooba was the recreated version of O Meri Mehbooba, from Dharam Veer (1977).

The former was the only track from Fukrey Returns* (2017) – the sequel to Fukrey, which released in 2013 – on this blog.

It was just a couple of minutes and 59 seconds long.

The recreated version was penned by Kumaar and composed by Prem Hardeep.

It was rendered by Neha Kakkar and Yasser Desai, retained the legendary Mohammed Rafi’s voice from the original, and featured a rap portion by Raftaar.

(*Note: From a grammatical standpoint, shouldn’t the film’s title have been Fukrey Return?)

This iKoniK Song was recreaTed

My blog on the music of Hindi films released between 1987 and 1989 featured a post on Hawa Hawai, the iconic number from Mr. India, which released in 1987.

The original, which was penned by Javed Akhtar, was composed by Laxmikant-Pyarelal.

It was rendered by Kavita Krishnamurthy, whose voice was retained in the recreated version (Hawa Hawai 2.0), which was the shorter of the two tracks from Tumhari Sulu on this blog – it was a couple of minutes and 58 seconds long.

Tirupati Sha(shaa)red singing credits with her.

The recreation was credited to Tanishk Bagchi.

 

It (Randha)was a rocking track

There’s no two ways about the fact that Ban Ja Rani was a chartbuster.

It was a recreated version of the song of the same name from Guru Randhawa’s 2016 album Tu Meri Rani.

The song featured on the soundtrack of Tumhari Sulu (2017).

If the two tracks from the film on this blog were arranged in the descending order of their durations, it would be the first – it was three minutes and 46 seconds long.

Randhawa didn’t just compose it, but he penned and rendered it too.

Rajat Nagpal shared composing credits with him. 

It wasn’t a JoYFul listen

Pallo Latke was the longer of the two tracks from Shaadi Mein Zaroor Aana on this blog – it was four minutes and 56 seconds long.

It borrowed the hook from the song from Nauker (1979), but sadly, the quartet who collaboRateD on it – lyricist Majrooh Sultanpuri, composer Burman and singers Asha Bhosle and Kishore Kumar – was not given its due credit.

The recreated version was penned by Kumaar (and Rossh, who penned the rap portion) and composed by Zain-Sam-Raees.

While Jyotica Tangri and Yasser Desai rendered the track, the rap portion was credited to Fazilpuria.

This duet was sung beAutifullY

The soundtrack of Shaadi Mein Zaroor Aana (2017) featured three versions of Jogi – a duet, a female solo and a male solo (titled Reprise).

However, this blog contains a post on just one – the duet, which Aakanksha Sharma and Yasser Desai rendered.

It was the shorter of the two tracks from the film on this blog – it was four minutes and 33 seconds long. 

Arko Pravo Mukherjee’s involvement in the song was not restricted to composing it, but he penned it too.

While Sharma sang the female solo, Shafqat Amanat Ali sang the male solo.

This version was not eNJoyable

Ittefaq (2017) was inspired by its 1969 namesake, which was a songless film.

The soundtrack of the former (if I may call it that) featured just one track.

And no prizes for guessing that it was a poorly recreated version of an awesome number. 

The song in question was Raat Baaki from Namak Halal (1982). 

While Bappi Lahiri composed the original, its recreation was credited to none other than Tanishk Bagchi (who also penned it with Groot).

This version, which was three minutes and 20 seconds long, was rendered by Jubin Nautiyal and Nikhita Gandhi.

The Sing(h)er was anybody’s guess

On listening to Arijit Singh’s songs, most Hindi film music buffs croon, “Aaj, kal aur hamesha gaane ki zid karte raho” (which could be translated to, “Please continue to insist on singing, today, tomorrow and forever”).

He rendered the only song from Aksar 2 – which released in 2017, and was the sequel to Aksar (2006) – on this blog.

The track in question, incidentally, was titled Aaj Zid, and it happened to be the shortest song on the film’s soundtrack – it was four minutes and 12 seconds long.

Sayeed Quadri penned the track, which Mithoon composed.

Ms Mishra definitely impressed again

Nachdi Phira was the longer of the two tracks from Secret Superstar on this blog – it was four minutes and 15 seconds long.

It wouldn’t be incorrect to state that the track was impressive.

Meghna Mishra bagged the Filmfare Award for Best Female Playback Singer for it in 2018, and was nominated in the Upcoming Female Vocalist of the Year category at the Mirchi Music Awards the same year.

The track earned Kausar Munir and Amit Trivedi nominations in the Best Lyricist and the Best Music Director categories, respectively, at the Filmfare Awards in 2018.

Mishra surely made her M(eghn)ark

This blog contains posts on a couple of tracks from Secret Superstar, which released in 2017.

If they were to be arranged in the alphabetical order, as well as in the ascending order of their durations, Main Kaun Hoon would be the first – it was three minutes and 45 seconds long.

It was rendered by teenager Meghna Mishra, who bagged the International Indian Film Academy (IIFA) Award in the Best Playback Singer (Female) category and the Mirchi Music Award for Upcoming Female Vocalist of the Year in 2018.

Kausar Munir penned the Amit Trivedi composition.

Another NinetieS hit was recreated

Neend Churayi Meri was a popular song from Ishq, which released in 1997.

The soundtrack of Golmaal Again – which starred Ajay Devgn, who was, incidentally, one of the leads in the aforementioned film as well – featured a recreated version of the aforementioned track.

Titled Maine Tujhko Dekha, it was the shorter of the two songs from the film on this blog – it was three minutes and 27 seconds long.

The recreated version was credited to Amaal Mallik, whose uncle Anu Malik composed the original. 

Kumaar penned the track, which Neeraj Shridhar and Sukriti Kakar rendered. 

Brijesh rendered the (Adi)title track

This blog contains posts on two tracks from Golmaal Again (2017), which was the fourth installment in the Golmaal franchise.

If they were to be arranged in the alphabetical order, and in the descending order of their duration, the title track of Golmaal would the first – it was four minutes and 24 seconds long.

Kumaar penned the track, which Ghantasala Srinivas Sai Thaman Siva Kumar (a.k.a. S Thaman) composed. The film marked the Hindi film debut of the latter, a noted composer in the Telugu film industry.

Aditi Singh Sharma and Brijesh Shandilya rendered it.

Armaan did Ma(li)ke an impression

Tere Mere was the only song from Chef – which released in 2017 and was the remake of the American film of the same name (which released in 2014) – on this blog.

In fact, it was the longest song in the film as well – it was five minutes and 43 seconds long.

Its Reprise version was three minutes and 59 seconds long.

Both the versions were penned by Rashmi Virag, and were guest composer Amaal Mallik’s only contributions to the soundtrack*.

They were rendered by Armaan Malik.

(*Note: Raghu Dixit composed the remainder of the tracks.)

Ms Gandhi’s rendition (Randha)was energetic

Lagdi Hai Thaai – Punjabi for, “(A girl who is) as sharp as a gunshot” – was the only song from Simran (2017) on this blog.

In fact, it was the shortest track in the film – it was just a couple of minutes and 45 seconds long.

It was penned by Vayu.

Sachin-Jigar composed the track, which was rendered by Gursharanjot Singh Randhawa (a.k.a. Guru Randhawa) and Jonita Gandhi.

And keeping in mind the current trend, it wouldn’t be incorrect to state that it was a HEP track (i.e. a combination of Hindi, English and Punjabi lyrics).

Ritu surely had a BlasT

Rocket Saiyyan was the title of the only track from Shubh Mangal Saavdhan (2017) on this blog.

It was the shortest song in the film – it was just a couple of minutes and 42 seconds long. In fact, it was the only track in the film that was under three minutes.

The involvement of Tanishk Bagchi and Vayu in the song wasn’t restricted to composing it, but they penned it as well.

Moreover, Bagchi was one of three people who rendered it too.

He was joined behind the microphone by Brijesh Shandilya and Ritu Pathak.

Neha Kakkar certainly didn’t (Mehn)disappoint

This blog contains a post on just one track from Poster Boys (2017).

It was the remake of Poshter Boyz, a Marathi film that released in 2014.

The song in question was Kudiyan Shehar Diyan.

Three minutes and 32 seconds long, it was a recreated version of the track of the same name from Arjun Pandit (1999).

The original was penned by Javed Akhtar. 

It was rendered by Daler Mehndi (who composed it too) and Alka Yagnik.

Neha Kakkar joined the former behind the microphone for the recreated version, which Akhtar and Shabbir Ahmed penned.

Mr Kumar rendereD(ivy)a decent version

Sixteen Monsoons (and, in my case, no Wedding) after the original released, a recreated version of Kaavaan Kaavaan featured on the soundtrack of Lucknow Central (2017).

While the original was penned and composed by Mychael Danna and Sukhwinder Singh, the recreated version was penned by Kumaar, Danna and Singh, and credited to Arjunna Harjaie.

It was rendered by Divya Kumar, who stepped into Singh’s shoes.

While the song was four minutes and 19 seconds long, its remixed version – credited to Danna, Singh (who rendered it) and Tanishk Bagchi – was three minutes and 16 seconds long.

Anu rendered this reK(akka)reated version

In an attempt to build on the popularity of Oonchi Hai Building, from Judwaa, the jodi comprising Dev Kohli (who penned the original) and Anu Malik (who composed and sang the original) recreated the track.

Titled Oonchi Hai Building 2.0, the track was the shortest of the three songs from Judwaa 2 on this blog – it was three minutes and 24 seconds long.

It was, in fact, the shortest song in the film.

Sandeep Shirodkar was a key member of the team behind the recreated version.

Malik was joined behind the microphone by Neha Kakkar.

ThaNKfully, they retained the ori(Ne)ginal

If the two recreated tracks on the soundtrack of Judwaa 2 were arranged in the alphabetical order, as well as in the descending order of their durations, Chalti Hai Kya 9 Se 12 would be the first – it was four minutes and 21 seconds long.

It was penned by Dev Kohli (who penned the original too).

Anu Malik – the composer of the original – teamed up with Sandeep Shirodkar to recreate the track.

Thankfully, the 1997 chartbuster (rendered by Abhijeet Bhattacharya and Poornima) was retained as is.

Dev Negi and Neha Kakkar rendered the recreated version.