Reshammiya (Hime)shouldn’t have rendered it

Sadly, it has become pretty apparent that the team behind the soundtrack of The Body (2019) has taken Aksar – which means often, and was also the title of a 2006 film – too seriously.

While Jhalak Dikhlaja was the most popular track in the latter, its remixed version – titled Jhalak Dikhlaja Reloaded – is the only song from the former on this blog.

Just two minutes and 28 seconds long, it was composed by none other than Tanishk Bagchi.

As was the case with the original, this version was penned by Sameer and rendered by Himesh Reshammiya.

This single was reK(akka)reated too

The soundtrack of Pati Pati Aur Woh featured a recreation of Dheeme Dheeme, a single that released in 2019.

Contrary to its title (which could be translated to, “Slowly”), there’s no two ways about the fact that the song – which was rendered by the Kakkars, Tony (who sang the original) and Neha – became popular quickly.

The former was one of the three who penned the film version as well. The others were Tanishk Bagchi and MellowD.

Tony teamed up with Bagchi to compose the track, which was a couple of minutes and 57 seconds long.

Mika Singh was the (Tul)singer

The dismay of the 1990s kid has resurfaced, and no prizes for guessing that Tanishk Bagchi deserves the blame for that.

On this occasion, he recreated Ankhiyon Se Goli Maare, the chartbuster from Dulhe Raja (1998).

Three minutes and 26 seconds long, it featured on the soundtrack of Pati Patni Aur Woh, which was the 2019 remake of the 1978 film of the same name.

That did make sense – the dulhe raja (groom) is the pati (husband).

Jokes apart, the track, which was penned by Shabbir Ahmed, was rendered by Mika Singh and Tulsi Kumar.

  

Ganjawala did an outstandiNG job

This blog contains a post on one track from Panipat, which released in 2019.

The song in question was Mann Mein Shiva, and it happened to be the shortest song in the film – it was five minutes and 17 seconds long.

It was penned by the one and only Javed Akhtar, and composed by the Gogavale brothers, Ajay-Atul.

By no means would it be incorrect to state that Kunal Ganjawala, who is seldom heard on Hindi film soundtracks now, did a marvellous job.

He was joined behind the microphone by Deepanshi Nagar and Padmanabh Gaikwad.  

Ms Bhanushali rendereD(ilj)it with Sukhbir

Having grown up in the 1990s, I was exposed to Indipop in general, and bhangra in particular.

And, undoubtedly, one of the most popular exponents of the said genre was Sukhbir, who rendered Sauda Khara Khara.

A recreated version of the track featured on the soundtrack of Good Newwz. It was the longer of the two songs from the film on this blog – it was three minutes and 31 seconds long.

The song, which was penned by Kumaar, was composed by Lijo George, DJ Chetas and Sukhbir, who rendereD(ilj)it with Dhvani Bhanushali and Mr Dosanjh.

This quintet had a BLAST

Good Newwz released in 2019.

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

If they were arranged in the alphabetical order, as well as in the ascending order of their durations, Chandigarh Mein would be the first – it was three minutes and 25 seconds long.

The involvement of the one and only Tanishk Bagchi wasn’t restricted to composing it (with Badshah), but he penned it too.

Incidentally, the latter was credited as one of the four people who rendered it too. The others were Asees Kaur, Lisa Mishra and Harrdy Sandhu.

Payal Sa(lma)ng it with Khan

Salman Khan – who, as Chulbul Pandey, is the face of the Dabangg series – not only has the financial muscle (as was evidenced by the fact that he co-produced Dabangg 3), but also exercised his vocal chords for the sixth – and final – song in the film, Yu Karke (if they were arranged in the alphabetical order).

He was joined behind the microphone by Payal Dev.

The song, which was penned by Danish Sabri, was composed by Sajid-Wajid, and was the shortest track on the soundtrack of the film – it was three minutes and 45 seconds long.

Javed rendered the lone solo

The soundtrack of Dabangg featured a song that contained the word Nain (Tere Mast Mast Do Nain).

And that of Dabangg 2 featured one that contained the word Naina (Dagabaaz Re).

The soundtrack of Dabangg 3 featured one song that contained the word Nain, and another that contained the word Naina.

This is a post about the latter – Naina Lade.

Four minutes and 49 seconds long, it was penned by Danish Sabri and composed by Sajid-Wajid.

The only solo on the soundtrack of the film, it was rendered by the one and only Javed Ali.

Mamta’s number was no throwBacK

If Dabangg made Munni famous (or should I say badnaam), Dabangg 3 gave her male counterpart, Munna, a chance to have his four minutes and six seconds of badnaami. And sadly, he blew it!

The Sajid-Wajid composition was penned by Danish Sabri.

Mamta Sharma, who shot to fame with Munni, rendered this track as well. She was joined behind the microphone by Badshah and Kamaal Khan.

Keeping in mind the branding exercises that the item numbers in the Dabangg series have been, stay tuned for the reference to Marico’s Set Wet Gel in this one.  

This title track waS DiSappointing

If you loved Hud Hud Dabangg from Dabangg, chances are you’ll be left underwhelmed by the song of the same name from Dabangg 3.

More importantly, you’ll miss the punch that Sukhwinder Singh, who sang the original, lent that track.

The Sajid-Wajid composition, which was four minutes and 24 seconds long, was penned by Jalees Sherwani and Danish Sabri.

While Wajid joined Singh behind the microphone for the first film’s title track, it was Sajid’s turn to double up as one of the vocalists on this occasion.

Divya Kumar and Shabab Sabri were the others.

A formidable pair saNG it

By no means would it be incorrect to state that the songs describing the eyes [Tere Mast Mast Do Nain from Dabangg (2010) and Dagabaaz Re from Dabangg 2 (2012)] have been the ear candy of the Dabangg series so far.

And Habibi Ke Nain, from Dabangg 3, was no different. Like its immediate predecessor, it described a beautiful girl’s eyes as cheats.

The longest song in the film, the Sajid-Wajid composition was five minutes and 51 seconds long.

Irfan penned the song, which was rendered by Kamal ke singers Shreya Ghoshal and Jubin Nautiyal.

Salman Ali rendered (Muska)anice number

If the six tracks from Dabangg 3 (2019) were arranged in the alphabetical order, Awara would be the first.

Interestingly, the aforementioned word made an appearance in the third verse of the track, which was four minutes and 56 seconds long. The line contained three repetitions of it, and there were threepeats in a couple of subsequent verses.

The romantic number with a Sufi influence was penned by Sameer Anjaan and Sajid Khan. 

The latter also composed it (with his brother Wajid).

It was rendered by Indian Idol Season 10 winner Salman Ali and Muskaan.

Another 1990s NuMber was recreated

The recreated version of another Kavita Krishnamurthy number featured on the soundtrack of Pagalpanti.

The track in question was Tum Par Hum Hain Atke, from Pyaar Kiya To Darna Kya (1998).

My blog on the music of Hindi films released in the 1990s contained a post on the original, which Sudhakar Sharma penned. It was composed by Himesh Reshammiya. Krishnamurthy was joined behind the microphone by Kumar Sanu.

This version, which was two minutes and 58 seconds long, was penned by Shabbir Ahmed and composed by Tanishk Bagchi.

Neha Kakkar shared Sing(h)ing credits with Mika.

Jubin rendered yet another ReK(au)reation

The longer of the two tracks from Pagalpanti (2019) on this blog was Bimar Dil – it was five minutes long.

It was a recreated version of Tera Beemar Mera Dil from ChaalBaaz (1989). My blog on the music of Hindi films released between 1987 and 1989 contains a post on the Laxmikant-Pyarelal composition, which was penned by Anand Bakshi and rendered by Kavita Krishnamurthy and the late Mohammed Aziz.

This version, which was penned by Shabbir Ahmed, was composed by the one and only Tanishk Bagchi.

It was rendered by Asees Kaur and Jubin Nautiyal.

Indeed, Jubin gave it (Nautiy)alift

Tum Hi Aana, the song from Marjaavaan, was four minutes and nine seconds long.

The track, which Kunaal Vermaa penned, was (Pay)alove ballad, composed by Ms Dev.

The latter’s name isn’t one that Hindi film music buffs are unfamiliar with – she has rendered a couple of recreated tracks, viz., Haseeno Ka Deewana from Kaabil (2017) and The Jawaani Song from Student of the Year 2 (2019).

By no means would it be (Jub)incorrect to state that it was a run-of-the-mill composition with ordinary lyrics that was given a lift by none other than Mr Nautiyal.

No one iMaJineD this version

Obviously, the title of this post is sarcastic, but it does sum up the current pet peeve of Hindi film music aficionados – the trend of recreations.

A version of Kinna Sona was the longest of the four tracks from Marjaavaan on this blog – it was four minutes and 33 seconds long.

The song, which completed the hat-trick of recreations on the film’s soundtrack, wasn’t just composed, but also rendered by Meet Bros.

It was Jubin Nautiyal’s second recreation in the film.

They were joined behind the microphone by Dhvani Bhanushali.

It was penned by Kumaar.

Jubin rendered this recreated TracK

Another Feroz Khan film, another recreated track from Marjaavaan.

The song that was recreated was Chaahe Meri Jaan Tu Le Le, which was from Dayavan (1988).

My blog on the music of Hindi films released between 1987 and 1989 contained a post on the original, which Laxmikant-Pyarelal composed. 

This version was titled Haiya Ho, and it was just a couple of minutes and 50 seconds long.

The involvement of the one and only Tanishk Bagchi in the song wasn’t restricted to composing it, but he penned it too.

Jubin Nautiyal and Tulsi Kumar rendered it.

It elicited a collective NaY

Ek Toh Kum Zindagani, from Marjaavaan (2019), was the second recreation of Pyaar Do Pyaar Lo from Jaanbaaz (1986)*.

It was three minutes and 10 seconds long.

Tanishk, the recreator-in-(Bag)chief, composed this appalling version, and was one of the two who penned it too. The other was A M Turaz.

Yash Narvekar joined Neha Kakkar behind the microphone.

[*Note: My blog on songs from Hindi films released between 1969 and 1986 contains a post on the original, and my blog on Pritam’s music contains a post on Pyaar Do Pyaar Lo from Thank You (2011).]

This track was quite cAtchY

Today’s composers are often accused of lacking the drive, but Makhna – which was composed by Tanishk Bagchi, and was the only song from Drive (2019) on this blog – became quite popular, because it was an original track.

By no means would it be incorrect to state that it was an OtT song in more ways than one – not only was it from a film that directly released on Netflix, but it was also penned by Ozil Dalal and Bagchi.

Three minutes and as many seconds long, it was rendered by Asees Kaur and Yasser Desai.

Bhiwandiwala (Far)had a dual role

Tera Baap Aaya was the shortest track on the soundtrack of Commando 3 (2019) – it was just a couple of minutes and 44 seconds long.

The opening lines of this hip-hop number went, “Teetar ke aage do teetar, teetar ke peechhe do teetar”. They reminded the listeners of those of the song from Mera Naam Joker (1970).

But sadly, that was where the similarity ended – this ridiculous song was penned by Farhad Bhiwandiwala and Vikram. Neither of theM(ont)rose to the occasion.

Incidentally, the track, which was composed by the former, was rendered by the latter. 

Ms Thakkar JoiNed Nitin Mukesh

By no means would it be incorrect to state that Mukesh’s beta, who never became alpha, seems to be determined to milk the popularity of his redemption song, So Gaya Yeh Jahan from Tezaab (1988).

After all, the version that featured on the soundtrack of Bypass Road (2019) was the second recreation of the Laxmikant-Pyarelal hit [after the version that featured on the soundtrack of Nautanki Saala (2013)].

The latest version of the song was penned by Shabbir Ahmed.

It was composed by Raaj Aashoo.

Saloni Thakkar and Jubin Nautiyal joined Nitin behind the microphone.

SurPrisingly, Har(r)d(l)y anyone said, “Naah!”

After the release of Naah, a Punjabi song, in 2017, Sandhu, who rendered it, Har(r)d(l)y needed an introduction.

Of course, Swasti Mehul, the female singer of the recreated version (which featured on the soundtrack of Bala), wasn’t a household name.

She was joined behind the microphone by B Praak.

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

The track was penned by Jaani, who composed it with Praak.

Fans of the original must’ve wondered why nobody gave it the thumbs down.

It was Sachin-Jigar’s BiGgeSt blunder

Don’t Be Shy, the Dr Zeus composition, featured on Rouge’s eponymous album, which was penned by Lola Olafisoye and Gabriel Olegavich, and released in 2004.

And the recreators seemed to have taken the song’s title literally.

The remake – titled Don’t Be Shy Again – was the shorter of the two tracks from Bala (2019) on this blog – it was three minutes and a second long.

It was penned by MellowD and Badshah. The latter, and Sachin-Jigar (the composers), were among the quintet who rendered it.

Shalmali Kholgade and Gurdeep Mehndi – Daler Mehndi’s son – were the others.

The Vishals were the vocalists

Womaniya, from Saand Ki Aankh, and O Womaniya from Gangs of Wasseypur-I (2012), had just one thing in common – they were from Anurag Kashyap films.

The former, which was three minutes and 54 seconds long, wasn’t just composed, but also rendered by Vishal Mishra, who was joined behind the microphone by his namesake, the one and only Dadlani.

And there’s no two ways about the fact that they nailed it.

Incidentally, Mishra also rendered the Raw version of the track, which was as long as the original.

Both the versions were penned by Raj Shekhar.

Sunidhi sang this (Jyo)title track

Udta Teetar wasn’t just the title track of Saand Ki Aankh, but it also hit the bull’s eye, because it was rendered – with characteristic gusto – by the one and only Sunidhi Chauhan, who was J(y)o(t)ined behind the microphone by the younger of the Nooran Sisters.

And by no means would it be incorrect to state that it was a song that was tailor-made for them.

It was four-and-a-half minutes long, and was penned by Raj Shekhar.

The track was composed by Vishal Mishra, and certainly seemed to have the word earworm written all over it.

This duo PacKed a punch

All but one of the five tracks from Saand Ki Aankh on this blog were duets, and three of them were female duets.

One of these was Jhunna Jhunna.

While there’s no two ways about the fact that this folk song was catchy (and far from the kinds of songs in Hindi films nowadays), the duo who rendered it – Krutika Borkar and Pratibha Singh Baghel – aren’t household names. Nonetheless, they did an outstanding job.

It was four minutes and 11 seconds long.

The track, which was penned by Raj Shekhar, was composed by Vishal Mishra.

Tangri sang this catchy (Mohapa)track

Every sportsperson’s dream – gold – inspired the catchiest song on the soundtrack of Saand Ki Aankh.

Baby Gold also happened to be the shortest song in the film – it was three minutes and 35 seconds long.

Incidentally, one of the two ladies who rendered it was the one and only Ms Mohapatra, whose first name – Sona – is Hindi for gold.

She was joined behind the microphone by Jyotica Tangri.

The song, which was penned by Raj Shekhar, combined colloquial Hindi words with commonly-used English ones (to rhyme with its hook).

It was penned by Vishal Mishra.

The (Bhos)legend’s fans were delighted

Saand Ki Aankh – which released in 2019 and was the literal translation of bull’s eye – was the biopic of Shooter Dadi (grandma) Chandro Tomar and her sister-in-law Prakashi Tomar, a.k.a. Revolver Dadi.

And appropriately, the longest of the five tracks from the film on this blog was rendered by the one and only Asha Bhosle, who could be fondly called the Singing Dadi.

The song in question was Aasmaa, and it was half-a-dozen minutes and nine seconds long.

It was penned by Raj Shekhar, and composed by Vishal Mishra (who also rendered its male version).  

Priya and Jigar Sa(chi)ng (Arij)it

Valam* was the joint-shortest track on the soundtrack of Made In China** – it was three minutes and 15 seconds long.

The involvement of Sachin Sanghvi and Jigar Saraiya in it wasn’t restricted to composing it, but they were among the quartet who rendered it too.

They were joined behind the microphone by Priya Saraiya (who, incidentally, penned the track, which had Gujarati and Hindi lyrics) and Arijit Singh.

[*Note (1): Valam is a Gujarati expression of love for one’s beloved.]

[**Note (2): It was as long as Odhani, the most popular song in the film.]

ThiS VerSion wasn’t a (Gand)hit

In 2001, Egyptian pop singer Hisham released a popular number titled Habibi Dah (Naari Narain).

The Naari Naari Song, a desi version of the track, would have made the listeners go, “Ab bas”*.

Vayu penned the song, which was from Made In China and was three minutes and 16 seconds long.

It was composed and sung by Sachin-Jigar, who were Jo(nita)ined behind the microphone by Ms Gandhi and Vishal Dadlani.

[*Note: That wasn’t just a play on the crooner’s surname (Abbas), but also a Hindi phrase, which could be translated to, “That’s enough for now”.]

It was far from MiNd-Blowing

Sanedo is a form of folk music from Gujarat.

It was also the name of a song from Made In China.

The longest of the four tracks from the film on this blog, it was three minutes and 51 seconds long.

The involvement of Jigar Saraiya in the song wasn’t restricted to penning it (with Niren Bhatt), but he also composed it (with Sachin Sanghvi).

It was rendered by Mika Singh, who was joined behind the microphone by Nikhita Gandhi and Benny Dayal.

It wouldn’t be incorrect to state that it wasn’t a mind-blowing number.

This Gujarati song was ReKreated

What are the odds of a recreated song featuring on the soundtrack of a film titled Made In China, which released on the occasion of Diwali in 2019?

Jokes apart, Odhani – a popular Gujarati song* – was recreated.

The Hindi version was three minutes and 15 seconds long.

Penned by Jigar Saraiya and Niren Bhatt, it was composed by the former and Sachin Sanghvi.

The only non-Gujarati associated with this version was the one and only Neha Kakkar.

She shared singing credits with Darshan Raval.

[*Note: The original, which Kanti Ashok penned, was composed by Mahesh-Naresh.]

Samji wasn’t just the Sing(h)er

It would be incorrect to state that The Bhoot Song, from Housefull 4, was a reB(h)oot of Bhoot Raja, the song from ChaalBaaz (1989), but Ammudu, Let’s Do Kummudu, a Devi Sri Prasad (DSP) composition from Khaidi No. 150, a Telugu film that released in 2017, was recreated for the film.

Farhad Samji’s involvement in the track wasn’t restricted to penning and composing it, but he rendered it as well.

He teamed up with Vayu for the lyrics, and DSP and Sandeep Shirodkar for the composition, and was joined behind the microphone by Mika Singh.

Sohail didn’t make (Vish)alasting impression

Bala has four letters, and so does bald, but the bald truth ought to be told – Shaitan Ka Saala was far from impressive.

The shortest track from Housefull 4 on this blog, it was just a couple of minutes and 27 seconds long.

It was penned by Farhad Samji, who also happens to be the director of the film.

The involvement of Sohail Sen in the song wasn’t restricted to composing it, but he was one of the two men who rendered it too.

He was joined behind the microphone by the hairless Vishal Dadlani.

It wasn’t (So)hailed as FanTastic

It was with Housefull 4 that Akshay Kumar, its lead, completed his Chumma trilogy, which began with Zeher Hai Ke Pyaar Hai Tere Chumma from Sabse Bada Khiladi (1995) and continued with Kiss Me Baby from Garam Masala (which released a decade later).

The last song in the said trilogy was Ek Chumma.

It was four minutes and as many seconds long.

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

It wasn’t just composed, but also rendered by Sohail Sen.

He was joined behind the microphone by Jyotica Tangri and Altamash Faridi.

It was a SenSeleSS throwback

While the inspired Kammo was picturised on big brother Sunny Deol, the insipid Chammo was picturised on Bobby Deol.

The longest of the five tracks from Housefull 4 on this blog, it was four minutes and 34 seconds long.

Sameer penned the track, which was composed by Sohail Sen, who was among the quartet who rendered it too.

It waS(had)absolutely shocking that he and Faridi were joined behind the microphone by a pair of Sing(h)ers who left the listeners wondering what they were thinking when they gave their nod to it – Shreya Ghoshal and Sukhwinder.

It wa‘Sabri’ef, and run-of-the-mill, number

It wouldn’t be incorrect to state that Samji (Far)had no jitters when he was working on the soundtrack of Housefull 4 (2019).

But one did wonder what he was seeking Badla (revenge) for when he penned and composed a track of the same name, which featured on its soundtrack.

Incidentally, the word also means changed, and the fact that the track was just two minutes and 32 seconds long was a welcome change from the long numbers we are accustomed to listening to.

It was the only solo in the film – Danish Sabri rendered it.

Parampara didn’t just Sing(h) (Arij)it

My blog on the music of Hindi films released between 1969 and 1986 contains a post on Pal Pal Dil Ke Paas, from the Dharmendra-starrer Black Mail (1973).

In 2019, his grandson Karan Deol (Sunny Deol’s older son) carried on the ‘Parampara’ (tradition) by debuting in a film whose title was inspired by the evergreen song.

The song, which was four minutes and 14 seconds long, was composed by Sachet Tandon and Ms Thakur.

The latter rendered (Arij)it too. She was joined behind the microphone by none other than Mr Singh.

Siddharth-Garima penned the track.

Meet Bros sang (Am)it too

If Dhagala Lagli was an ode to Ganesh Chaturthi and, of course, to Mumbai’s monsoon*, Radhe Radhe, as the same suggests, was the Meet Bros’ Janmashtami gift to their fans.

Their involvement in it wasn’t restricted to composing it, but they penned it too.

They were joined behind the microphone by Mr Gupta.

(Am)It was three-and-a-half minutes long.

The remixed version of the song – which was credited to the aforementioned trio and DJ Harshit Shah – was a couple of minutes and 45 seconds long. 

(*Note: The song could be translated to, “The clouds have parted”.)

The Meet Bros certainly disAPpointed

Ik Mulaqaat was the longest of the four songs from Dream Girl on this blog – it was four minutes and seven seconds long.

The involvement of the Meet Bros wasn’t restricted to composing it, but they were among the quartet who rendered it as well.

The others were Altamash Faridi and Palak Muchhal.

The soundtrack of the film contained another version of the track, which was titled Unplugged.

It was three minutes and 33 seconds long, and was rendered by Ayushmann Khurrana, who played the titular character.

Both the versions were penned by Shabbir Ahmed.

It wasn’t an eNJoyable nuMBer

Dil Ka Telephone, from Dream Girl, was three minutes and 29 seconds long.

But it would not have been surprising if the listeners took a call – to give it a miss.

Meet Bros’ involvement in the track wasn’t restricted to composing it, but they were among the quartet who rendered it too.

The others were Jonita Gandhi and Nakash Aziz.

A line of the song went, “Nahin aisa waisa shayar, hoon Ghalib ka bachcha” (which could be translated to, “I’m no ordinary poet. I’m Ghalib’s child”).

But Kumaar, who penned it, was anything but that.

This nuMBer didn’t evoke noSTalgia

Dream Girl, which released in 2019, was not related to the Hema Malini-starrer of the same name, which released in 1977.

If the four tracks from the film were arranged in the alphabetical order, Dhagala Lagli would be the first – it was three minutes and half-a-dozen seconds long.

A recreated version of the evergreen Marathi song, its failure to evoke nostalgia was no surprise.

Meet Bros’ involvement in the track wasn’t restricted to composing it, but they rendered it too.

Jyotica Tangri and Mika shared Sing(h)ing credits with them.

This version was penned by Kumaar.

Bagchi did handle all traDeS

No lover would want to be called Pyscho Saiyaan, but it was the shortest of the three tracks from Saaho on this blog – it was just a couple of minutes and 46 seconds long.

It wouldn’t be incorrect to call Tanishk Bagchi the Jack of all trades as far as the track was concerned.

After all, his involvement in the track wasn’t restricted to composing it, but he penned it too.

And if that weren’t enough, he was one of the three who rendered it as well – the others being Dhvani Bhanushali and Sachet Tandon.

Guru (Randha)wasn’t just the (Tul)singer

Saaho was simultaneously shot in three languages – Hindi, Tamil and Telugu.

The longest of the three tracks from the Hindi version of the film was Enni Soni* – it was four minutes and 18 seconds long.

The involvement of Gurshanjot Singh Randhawa (better known as Guru Randhawa) in the track was not restricted to rendering it, but he penned and composed it too.

The only thing he didn’t do was render the female portion of the track – that was credited to Tulsi Kumar.

(*Note: The title of the track is Punjabi for, “How beautiful you are”.)

Badshah rendered this forgettable NuMber

More often than not, Badshah lives upto his stage name when he is involved in songs that youngsters like to listen to on Saturdays.

But it certainly would not be incorrect to state that Bad Boy had a short shelf life and low recall value.

The song, from Saaho (2019), was a couple of minutes and 58 seconds long, wasn’t just penned and composed, but also rendered by the man who was born Aditya Prateek Singh Sisodia.

It was just as well he didn’t sing the female portion of the track – Neeti Mohan sang it. 

Mr Dayal sang (Sar)afantastic track

Aim for the stars, and hey, you might just reach Mars – well, that certainly seemed to be the motto of the inspirational Dil Mein Mars Hai.

It was the only song from Mission Mangal (2019) on this blog, and was just three minutes and five seconds long.

(Am)It wouldn’t be incorrect to state that Mr Trivedi, who composed the track, and his partner in (quirky) rhyme, Amitabh Bhattacharya, are on another planet when it comes to collaborating on Hindi film soundtracks, and that was evidenced by this track, which Benny Dayal and Vibha Saraf rendered.

This ’90s ChArTBuster was recreated

Tanishk Bagchi’s recreation factory seems to be churning out new stuff with alarming regularity.

His involvement in his latest offering – Shehar Ki Ladki – wasn’t restricted to composing it (with Anand-Milind, who composed the original), but he penned it too.

The track, of course, was the remake of the song of the same name, which was from Rakshak, released in 1996.

Apart from Abhijeet Bhattacharya and Chandana Dixit (the duo who rendered the original), the new version from Khandaani Shafakhana – features the vocals of Badshah and Tulsi Kumar.

It was three minutes and 10 seconds long.  

The recreation trend didn’t BuDJe

It seems the trend of recreating popular songs will continue for a while, thanks to Tanishk Bagchi, whose involvement in Koka wasn’t restricted to composing it, but he penned it too.
MellowD shared the credits for the lyrics with him.

The song, from Khandaani Shafakhana (2019), was a revamped version of Jasbir Jassi’s track of the same name, which released in 2003.

The Punjabi crooner was credited as one of the three singers of the recreated version, which was just a couple of minutes and 56 seconds long.

The others are Dhvani Bhanushali and Badshah.

This recreation wasn’t on PoiNT

My blog on the music of Vishal-Shekhar contained a post on Saaki Saaki, from Musafir, which released in 2004.

This blog contains a post on the recreated version, which was from Batla House (2019).

No prizes for guessing that the involvement of Tanishk Bagchi in the track wasn’t restricted to composing this version, but he penned it too.

The original, which was penned by Dev Kohli, was rendered by Sunidhi Chauhan, who shared Sing(h)ing credits with Sukhwinder.

Neha Kakkar, Tulsi Kumar and B Praak rendered the track, which was three minutes and 11 seconds long.

Narayan S(hrey)ang this colloquial number

The soundtrack of Super 30 (2019) included a track titled Jugraafiya, which was four minutes and 34 seconds long.

If it were to be described in three words, they would be rustic, colloquial and melodious.

There’s no two ways about the fact that the song, which was penned by Amitabh Bhattacharya and composed by Ajay-Atul, would bring smiles to the faces of youngsters and grown-ups alike. While the former would be able to relate to it instantly, it would remind the latter of their student days.

(Ud)It was rendered by Shreya Ghoshal and Mr Narayan.

Clearly, no lesson was LeaRNt

Yet another recreation credited to Tanishk Bagchi.

What’s new, you might not even want to ask.

The track in question was The Wakhra Swag, a recreated version of the popular 2015 track of the same name.

Bagchi’s involvement in this version wasn’t restricted to composing it, but he penned it too.

Navv Inder, who sang the original (with Badshah), and Lisa Mishra teamed up for this version, which was from Judgementall Hai Kya (2019).

Raja Kumari did not just pen its rap portion, but sang it too.

It was three minutes and 16 seconds long.

This track (Randha)wasn’t a (Gand)hit

This blog contains a post on one song from Arjun Patiala, which released in 2019.

The song in question was Main Deewana Tera.

It was three minutes and 14 seconds long.

The involvement of Guru in the track (Randha)wasn’t restricted to penning it, but he also composed it with Sachin Sanghvi and Jigar Saraiya.

And clearly that weren’t enough – he rendered it as well.

The one who joined him behind the microphone was Nikhita Gandhi.

It contained some insipid Hinglish lines such as, “Body teri lage like a diamond, one in a million baby girl”.

Singh was A(riji)t it again

When one thinks of sad, romantic numbers, the first – or perhaps only – name that is likely to pop into his/her head is that of the one and only Arijit Singh.

His latest offering in that genre – Tujhe Kitna Chahne Lage, from Kabir Singh – was four minutes and 44 seconds long.

Mithoon Sharma’s involvement in the track wasn’t restricted to composing it, but he penned it too.

There’s no two ways about the fact that it was Godswill that they collaborate again, but the song was produced by Mergulhao.

The drums were credited to Bobby Shrivastava.

Akhil wasn’t just the (Tul)singer

Each of the four tracks from Kabir Singh on this blog wasn’t just penned, but also composed by different lyricists and music directors.

And Tera Ban Jaunga – which was three minutes and 56 seconds long – was no different.

While the listeners wanted to ask him how he could be so confident, Akhil Sachdeva walked away with the lion’s share of the credit – after all, he wasn’t just the composer, but he rendered it too.

It was none other than Ms Kumar who shared (Tul)singing credits with him.

Interestingly, the track was penned by Mr Kumaar.

Mishra’s contribution was (Vish)alyrical gem

Kaise Hua wasn’t just a song from Kabir Singh, but it wouldn’t be incorrect to state that it was also the question many a discerning listener must have asked.

But the disbelief did turn to a pleasant surprise at how this perfect combo of touching lyrics, a melodious composition, and of course, an outstanding rendition happened (after such a long time).

The track, which was three minutes and 54 seconds long, was penned by Manoj Muntashir.

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

Sachet was a surprise package

Kabir Singh (2019) was the Hindi remake of the Telugu film Arjun Reddy, which released in 2017.

Its longest song was Bekhayali, which could be translated to, “I am thinking of you even when I am not thinking”.

There were a couple of versions of this mind-blowing number, but this blog contains a post on the version rendered by Sachet Tandon. It was half-a-dozen minutes and 11 seconds long.

Tandon and Parampara Thakur composed the track, which was penned by Irshad Kamil.

Version 2 – which was just a second shorter – was rendered by Arijit Singh.

Mr Mahadevan's son didn’t (Sha)shine

Hindustani, from the unreleased film Dus, has been giving every desi goosebumps since 1997. Lyricist Sameer and composers Shankar-Ehsan-Loy deserved the lion’s share of the credit for that.

It wouldn’t be incorrect to state that its recreated version – which was the only song from PM Narendra Modi (2019) on this blog – lacked the impact of the original, which was rendered by Shankar Mahadevan.

His son, Siddharth Mahadevan, did no justice to this version.

Shashi Suman joined him behind the microphone.

Parry G rendered the rap portion.

Sardaara penned the Shashi-Khushi composition, which was three-and-a-half-minutes long.

This soNG certainly wasn’t Mellow

Ironically, the dance number on the soundtrack of De De Pyaar De was titled Hauli Hauli, which could be translated to, “Slowly”.

It was the shorter of the two songs from the film on this blog – it was three minutes and 29 seconds long.

The involvement of Tanishk Bagchi was not restricted to penning it, but he composed it too.

Garry Sandhu shared writing credits with him, and was one of the three who rendered it as well.

He was joined behind the microphone by Neha Kakkar and MellowD, whose contribution was the rap portion. 

It was relatable (Arma)and (Ma)likeable

Chale Aana was the longer of the two songs from De De Pyaar De (2019) on this blog – it was four minutes and 31 seconds long.

Many people were able to relate to the track, and in particular, to the lines that went, “Kabhi main yaad aaoon to chale aana, chale aana” (which could be translated to, “If you remember me, do come over”).

The track was penned by Kunaal Vermaa.

It was composed by Amaal Mallik. It was the shorter of his two contributions to the soundtrack of the film.

Armaan Malik rendered it.

Arko did P(ra)a(c)k a punch

The soundtrack of Blank (2019) featured two versions of Ali Ali.

They were penned, composed and rendered by Arko Pravo Mukherjee.

This blog contains a post on just one – the duet, which was three minutes and 52 seconds long.

While Adeip Singh shared the credits for the lyrics of both versions with him, B Praak joined him behind the microphone.

The other version – a solo, rendered by Navraj Hans – was just four minutes longer than the duet.

By no means would it be incorrect to state that the song drew what the film’s title suggested.

(Moh)It was a touching track

This blog contains a post on just one track from Romeo Akbar Walter, which released in 2019.

The song in question was Jee Len De.

It was four minutes and 37 seconds long.

(Moh)It was rendered by the one and only Mr Chauhan, and there’s no two ways about the fact that it was touching (which is of the essence to a song like this, which is a romantic number with a twinge of heartbreak).

The song had Punjabi lyrics, which were penned by Murli Agarwal and Shabbir Ahmed.

It was composed by Raaj Aashoo.

Composer Mishra K(au)rooned it too

Nai Lagda was the longer of the two tracks from Notebook on this blog – it was four minutes and 47 seconds long.

There’s no two ways about the fact that it was a song that a majority of the listeners would be able to related to, as it was about unrequited love. 

The involvement of Vishal Mishra in the track wasn’t restricted to composing it, but he rendered it as well.

He was joined behind the microphone by Asees Kaur.

The track marked the Hindi film debut of Akshay Tripathi, the man who penned it.

This version did Kamaal too

Bumbro is a Kashmiri folk song, whose better-known film version featured on the soundtrack of Mission Kashmir (2000), whose music was composed by Shankar-Ehsaan-Loy. My blog on the trio’s music contained a post on that adaptation.

The soundtrack of Notebook (2019) featured a revamped version of the track, which was titled Bumro. It borrowed just the hook of the original.

It was the shorter of the two songs from the film on this blog – it was three minutes and 21 seconds long.

Kaushal Kishore penned the Vishal Mishra composition, which was rendered by Kamaal Khan.

MiSsioN recreation wasn’t a success

The soundtrack of Luka Chuppi featured a recreation of Poster Lagwado Bazaar Mein.

The original was from Aflatoon (which released in 1997).

The recreated version – which was just a couple of minutes and 58 seconds long – was titled Poster Lagwa Do.

The new version was rendered by Mika.

Sunanda Sharma shared Sing(h)ing credits with him.

The song, which featured a rap portion by Nikhita Gandhi, wasn’t just penned, but also composed by White Noise, who did not make any noise.

(Note: The track was, coincidentally, playing on the radio as I was writing this post.)

It was short (Kar)and S(ehmb)imple

Photo, which released in 2016, was a single penned by Nirmaan and composed by Goldboy (no, not an adolescent Bappi Lahiri).

Karan Sehmbi rendered the track, which paved the way for his debut in Hindi films as a playback singer.

It was the shortest of the four tracks from Luka Chuppi on this blog – it was just a couple of minutes and 57 seconds long.

The film version of the track was credited to the one and only Tanishk Bagchi.

And it wouldn’t be incorrect to state that its popularity was attributable to its simplicity.

Ms Bhanushali rendered A(khi)likeable track

In 2016, Akhil rendered a track titled Khaab.

And the Hindi film industry, where many dreams have come true, showed him a whole new world when a recreated version of the track – titled Duniya – featured on the soundtrack of Luka Chuppi.

Interestingly, it was the longest of the four songs from the film on this blog – it was three minutes and 42 seconds long.

He was joined behind the microphone by Dhvani Bhanushali.

By no means would it be incorrect to state that the Abhijit Vaghani composition, which was penned by Kunaal Vermaa, was likeable.

 

TonY anD Neha sang (Kakk)arecreation

Unsurprisingly, all the four tracks from Luka Chuppi (2019) on this blog were recreations.

If they were arranged in the alphabetical order, Coca Cola would be the first.

It was the longest of the four songs from the film on this blog – it was two minutes and 59 seconds long.

No prizes for guessing that it was composed by Tanishk Bagchi.

Tony Kakkar’s involvement in the track wasn’t restricted to penning it (with MellowD), but he rendered it too.

Neha Kakkar joined him behind the microphone.

It also featured a rap portion by Young Desi.

Singh and Kaur certainly rocked

There’s no two ways about the fact that Ve Maahi is one of the best romantic songs of the year 2019.

The track, from Kesari, was three minutes and 44 seconds long.

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

In fact, it wouldn’t be incorrect to state that it was a pleasant surprise to listen to an original track credited to the man who is now regarded the best in the business as far as recreations are concerned.

(Arij)It was rendered by Singh and Asees Kaur.

Praak sang this patriotic track

Teri Mitti, the patriotic track from Kesari, was composed by none other than Arko Pravo Mukherjee.

This blog contains a post on the male version of the song. 

The longer of the two songs from the film on this blog, it was five minutes and 14 seconds long. In fact, it was the longest track in the film.

B Praak rendered it.

The female version of the track – also a Mukherjee composition – was rendered by Parineeti Chopra, the film’s female lead. It was three minutes and 37 seconds long.

Manoj Muntashir penned both the versions.

It was a celebratory numBeR

Sanu Kehndi [Punjabi for, “She requests me” (in this context)] was the shorter of the two songs from Kesari (2019) on this blog – it was just a couple of minutes and 48 seconds long.

Although it was a situational song, it could go on to become a generic celebratory track. After all, going by the current trend, no one can be the life of a party like the people of the northern state, right?

It was penned by Kumaar, and composed by the one and only Tanishk Bagchi.

Brijesh Shandilya and Romy rendered the track.