It rocked, noBoDy was ShocKed

By no means was the irony lost on the listeners. While the song was titled Daaru Desi, it was from a film titled Cocktail, which released in 2012.

Personally, I wouldn’t approve of a song whose opening lines – “Chadhi mujhe yaari teri aisi jaise daaru desi” – can be translated to, “Your friendship has given me a kick, in the manner of country liquor.”

However, the track, which was penned by Irshad Kamil, was undoubtedly catchy.

It was composed by Pritam, and was rendered by Benny Dayal and Shalmali Kholgade.

The song was four-and-a-half minutes long.

Arijit sang this haunting melody

Saawali Si Raat, from Barfi!, was penned by Swanand Kirkire.

The track, which was composed by Pritam, was five minutes and eight seconds long.

(Arij)It was rendered by Singh. 

In fact, it had similes using Jhilmil and Barfi, the names of the characters played by Priyanka Chopra and Ranbir Kapoor, respectively.

They were as follows: Jhilmil taaron si aankhen teri (which can be translated to, “Your eyes are like the twinkling stars”) and Barfi ke tukde sa chand dekho aadha hai (which can be translated to, “The half moon is like a piece of barfi”).

The listeners simply loved (Arij)it

It wouldn’t be wrong to rechristen Phir Le Aaya Dil Phir Le Aaya Pritam. That’s because the soundtrack of Barfi! had three versions of the track, which was the best song in the film.

This blog contains a post on the version rendered by Arijit Singh. It was five minutes and as many seconds long.

While its Reprise version, which was four minutes and 45 seconds long, was rendered by Rekha Bhardwaj, its Redux version, which was five minutes and three seconds long, was sung by Shafqat Amanat Ali.

They were penned by Sayeed Quadri.

    

Paul George (Ni)k(h)illed it again

One thing is for sure: Pritam backs singers to the (Nik)hilt, as he did to Mr Paul George, who rendered another track of the soundtrack of Barfi! – Main Kya Karoon.

It was four minutes and 30 seconds long.

The track was the lament of a guy who has fallen in love (which has, in turn, left him exasperated).

This was evident from the following lines – “Karta hai awaargi, is pe toh dhun chadhi hai pyaar ki” (which can be translated to, “It is wandering aimlessly, thinking only of love.”)

They were penned by Ashiesh Pandit.

Papon certainly grabbed the Ch(auh)ance

Kyon was the first of the three guest lyricists’ contributions to the soundtrack of Barfi! It was penned by Neelesh Misra.

Only a man who is adept at wordplay could write a line like, “Na lafz kharch tum karo, na lafz kharch hum karenge” (which can be translated to, “Neither you should spend words, nor will I.”)

Harf (Urdu for a letter of the alphabet) was another interesting word.

Pritam composed the song, which Papon and Sunidhi Chauhan rendered.

At four minutes and 26 seconds long, it was the second shortest track in the film.

(Moh)It was a sweet number

True to its title, Ala Barfi, the title track of Barfi!, was a sweet song.

But in this context, Barfi wasn’t the sweet, but a corruption of Murphy, the name of the character essayed by Ranbir Kapoor, the film’s leading man.

The track, which was five minutes and 19 seconds long, was penned by Swanand Kirkire.

Pritam composed it.

It wouldn’t be incorrect to call the song, which was rendered by Mr Chauhan, a (Mo)hit. Moreover, it was certainly worth listening to repeatedly.

There was a reference to Murphy Radio, the England-based manufacturer of radios. 

Nikhil G(hosha)laddened the listeners’ hearts

In addition to a host of nominations, the soundtrack of Barfi! (2012) earned Pritam several trophies in the Best Music Director category, including the International Indian Film Award and the Filmfare Award the following year. And he deserved them.

Aashiyaan, which was penned by Kirkire, was three minutes and 56 seconds long. It gave the listeners with a great deal of (Sw)anand.

Nikhil Paul George, a London-based crooner with roots in Kerala, Sh(rey)ared singing credits with Ms Ghoshal.

He also sang the Solo version of the track, which was four minutes and eight seconds long.    

Arijit S(hrey)ang this sublime track

Amitabh Bhattacharya penned the four versions of Raabta, the mind-blowing track from Agent Vinod. Pritam composed them.

Arijit rendered all of them.     

This post is about the version titled Kehte Hain Khuda Ne, which was four minutes and 50 seconds long. Ghoshal Sh(rey)ared Sing(h)ing credits with him.

The solo was four minutes and four seconds long.

He and Aditi Singh Sharma rendered the Night In A Motel version, which was three minutes and 32 seconds long.

Hamsika Iyer and Barua Joined him for the Siyaah Raatein version, which was four minutes and 50 seconds long.

MAN, Pritam ne Pungi bajaayi

A week before the release of Agent Vinod, Barobax, an Iranian band, sued Pritam for being inspired by their song Soosan Khanoom.

They withdrew the case and apologised to him a couple of weeks after its released, stating that both the tracks were different.

The song that undoubtedly benefited from this controversy was Pungi. It was four minutes and 10 seconds long.

Both Amitabh Bhattacharya, who penned it, and the composer were credited with rendering it, because they shared Sing(h)ing credits with Mika and Nakash Aziz.

Interestingly, its remixed version was just a second shorter.

The MASSes certainly weReN’t impressed

Agent Vinod, which released in 2012, borrowed its title from the 1977 film of the same name. 

One of its tracks, Dil Mera Muft Ka, must have left a number of people miffed.

It was penned by Neelesh Misra and penned by Pritam.

It featured a line-up of half-a-dozen singers, led by Nandini Srikar. The others were the Faridis (Altamash and Shadaab), Muazzam, Rizwan and Shabab Sabri.

The track was four minutes and 26 seconds long.

It had a remixed version, which was three minutes and 48 seconds long. Folk singer Malini Awasthi rendered it.  

Saleem Riturned with (P)at(h)a(c)ky number

Can we get enough of tracks that objectify women? Apparently not, if Razia, from Thank You, is anything to go by.

But sadly, like others of its ilk, the track, which was penned by Ashiesh Pandit and composed by Pritam, went on to become pretty popular, albeit for a limited period.

It was rendered by Master Saleem and Ritu, and didn’t just take the cake, but also the baker and the bakery as far as (Pa)t(h)a(c)kiness was concerned.

While the song was four minutes and 54 seconds long, its remixed version was 28 seconds shorter.

Mika sang a shocking version

Pyaar Do Pyaar Lo, from Thank You, was a bawdy version of the track of the same name from Jaanbaaz*. Sadly, that’s where the similarity ended.

It was the longest song in the film – it was five minutes and 15 seconds long.

Mika Singh rendered the track, which was penned by Amitabh Bhattacharya.

Pritam composed it.

If the original wasn’t distasteful enough, it had a remixed version, which was four minutes and 39 seconds long.

(*Note: For the post on the original, please visit my blog on songs from films released between 1969 and 1986.)

It waS(hrid)hardly worth pumping up

Upon listening to the soundtrack of Thank You (2011), no one wanted to thank Pritam, who composed the songs, including the ironically-titled Full Volume.

The track, which was penned by Kumaar, was four minutes and seven seconds long.

Even (Sharidh)ardent fans of Neeraj and Richa Sharma, who rendered it, wouldn’t have played it (even on a low volume).

Suzanne D’Mello shared singing credits with the duo.

However, she didn’t join them behind the microphone for its remixed version, which was credited to Anand Raj Anand’s brother Harry. It was 18 seconds longer than the original.

This Kakophony was (Shrid)hardly enjoyable

Salman Khan's fans would be Ready for a panga upon reading the title of this post, but the fact was that Character Dheela, the song from the 2011 remake of the Telugu film of the same name, was trite.

It was penned by Amitabh Bhattacharya and was three minutes and 47 seconds long.

Neeraj Sh(ridh)ared singing credits with Amrita Kak.

Pritam was nominated in the Best Music Director category at the 2012 Producers’ Guild Film Awards, and was nominated in the BIG Star Most Entertaining Music category.

DJ A-Myth’s remixed version was 41 seconds shorter.

  

Kapur Sr joined the Sing(h)er

Mausam marked the big-screen directorial debut of veteran character actor Pankaj Kapur, who also mouthed a few lines in the film’s most popular track, Saj Dhaj Ke.

The song, which was four minutes and 54 seconds long, was sung by Mika Singh.

It was penned by Irshad Kamil and composed by Pritam.

The track had a couple of remixed versions, which were credited to Tiger Style.

One of them was called Club Mix. It was four minutes and 56 seconds long.

The other was titled Desi Mix. It was four minutes and 55 seconds long.     

Shahid's voice was indeed Mall(e)yable

With one Shahid (Mallya) behind the microphone and another (Kapur) on screen, the younger listeners were probably unable to (Sha)hide their excitement whenever Rabba Main Toh Mar Gaya Oye (which literally means, “God, I died”) was played.

Irshad Kamil penned the track, which was from Mausam (2011). It was four minutes and 13 seconds long.

It had another version, titled 1. It was four minutes and 43 seconds long. It was rendered by Rahat Fateh Ali Khan.

The music of the film, which was composed by Pritam, released on India's 65th Independence Day (August 15). 

Sunidhi wowed the wannabe aAshiqs

Te Amo, which is Spanish for I love you, was indeed a beautiful track from Dum Maaro Dum. The Duet version, which was four minutes and 46 seconds long, was Sun(idhi)g by Ms Chauhan and Ash.

Although this track, which was penned by Jaideep Sahni and composed by Pritam, had a remixed version (which was 19 seconds longer), the fans weren’t K(omplain)ing.

Ms Chauhan rendered the female version of the song, which was five minutes and as many seconds long.

Mr Chauhan (Mohit) sang its Reprise version, which was four minutes and 55 seconds long. 

Anushka should have been Ashamed

Mit Jaaye Gham (Dum Maaro Dum), the title track of Dum Maaro Dum, was a recreated version of the song of the same name from Hare Rama Hare Krishna* (1971).

The latter, which Bhosle rendered, wAs(h)a classic. Sadly, the same couldn’t be said of this version, which was three minutes and 54 seconds long.

It was picturised on Deepika Padukone.

Sung by Anushka Manchanda, it was penned by Jaideep Sahni and composed by Pritam.

(*Note: For the post on the original, please visit my blog on songs from Hindi films released between 1969 and 1986.)

   

Angaraag Mahanta was (Pap)on fire

Jiyein Kyon was the most rocking song on the soundtrack of Dum Maaro Dum (which released in 2011).

And it introduced Hindi film music buffs to the baritone of an Assamese singer. Born Angaraag Mahanta, he’s popularly known by his stage name Papon (which also happens to be his nickname).

However, it wouldn’t be incorrect to say that the second half of his real name (raag) sealed his fate (much to the delight of music buffs all over India).

It was four minutes and 26 seconds long.

Jaideep Sahni penned the track. Pritam composed it. 

Ms Alvares rendered (Shef)alively track

Yeh Dil Hai Nakhrewala, from Dil Toh Baccha Hai Ji, was a track with a retro vibe. There were a couple of versions of it.

This blog contains a post about the longer version, which was four minutes and 33 seconds long. It was rendered by Ms Alvares.

It wouldn’t be incorrect to state that it would take a while for it to grow on the (Shefa)listeners.

The shorter version, titled Film Version, was 14 seconds shorter. It was sung by Antara Mitra.

Both the versions were penned by Neelesh Misra and composed by Pritam.

It was (Nig)among Sonu's best

Kumaar's only contribution to the soundtrack of Dil Toh Baccha Hai Ji was Tere Bin, which was the longest track in the film (it was five minutes and 17 seconds long).

Pritam composed the Son(u)g, which was rendered by Mr Nigam (who also sang its remixed version, which five minutes and 34 seconds long).

Since the movie released two-and-a-half weeks prior to St Valentine’s Day and this was a romantic number, there couldn’t have been a better person behind the microphone.

Naresh Iyer sang the Reprise version, which was five minutes and 32 seconds long. 

It was a pleasant Ch(auh)ange

Song sequences in a Madhur Bhandarkar film? Till 2011, the year the auteur's Dil Toh Baccha Hai Ji hit the screens, the answer to that question would have been, “Unthinkable”. But he has seldom failed to surprise the audience.

There was obviously a great deal of curiosity, because Pritam was the composer of the songs, including Abhi Kuchh Dinon Se, which was rendered by Mr Chauhan.

By no stretch of the imagination was it a (Mo)hit, but it was hummable.

The song, which was penned by Neelesh Misra, was four minutes and 45 seconds long. 

Shefali sang a B(ohemi)anal track

Mika’s name may have been intentionally omitted from the title of this post, but make no mistake, he was the lead Sing(h)er of Subah Hone Na De from Desi Boyz.

Pakistani American rapper Bohemia (born Roger David in Karachi) and Shefali Alvares joined him behind the microphone.

Although the track, which was penned by Kumaar and composed by Pritam, was catchy, it couldn’t hold the listeners’ attention longer that its duration – four minutes and 48 seconds.

Its remixed version was 11 seconds longer.

It had another version – Tu Mera Hero, which was four seconds longer.

Bob did maKKe some noise

Make Some Noise For The Desi Boyz, the title track of Desi Boyz, wasn’t a song one would associate with KK. But he did prove his versatility.

It was perhaps the best track in the film, and the third-shortest – it was four minutes and six seconds long.

Incidentally, the man who shared singing credits with him was a videsi boy – the Kenyan-born rapper Bob.

The track was penned by Kumaar (who threw in a reference to American pop star Lady Gaga) and composed by Pritam.

Its remixed version was four minutes and 32 seconds long. 

The track did lacK(au)recall value

Jhak Maar Ke was passable and was no topper when it came to recall value. But the fact that it was catchy more than made up for its ordinariness.

It was the second-shortest track on the soundtrack of Desi Boyz – it was three minutes and 53 seconds.

Penned by Irshad Kamil, it was rendered by Neeraj Shridhar (K)aur Harshdeep.

The song was composed by Pritam.

It has almost become mandatory to have the remixed versions of a film’s songs on its soundtrack, and this song was no different. Fifty seconds were shaved off the original.  

Sadly, this Son(u)g didn’t R(a)rock

Those who dig masala films must have enjoyed Desi Boyz, which released in 2011. It wouldn’t be incorrect to say that its So(n)undtrack was its unique selling point (USP).

But the track that stood out like a sore thumb was Allah Maaf Kare, which was rendered by Mr Nigam and Shilpa Rao.

Penned by Irshad Kamil, it was penned by Pritam.

The shortest of the original songs in the film, it was three minutes and 51 seconds long.

Although it wasn’t required, it had a remixed version. It was four minutes and 41 seconds long. 

King did a decent (Cere)job

Pritam’s sole contribution to the soundtrack of Bodyguard (2011), was I Love You. It earned him a nomination in the Best Music Director category at the seventh Apsara Awards in 2011.

Penned by Neelesh Misra, the song, which was rendered by Ash King and Clinton Cerejo, was four minutes and 20 seconds long (as was its remixed version).

The latter was nominated in the Most Entertaining Singer – Male category at the 2011 BIG Star Entertainment Awards.

Mr Mukherjee and Cerejo S(ha)ang the Unplugged version of the track, which was nine seconds shorter than King's version. 

Singh sang this coMikal song

Jis Din from Toh Baat Pakki! (2010) was a situational song about the proverbial butterflies in the tummy of a bridegroom-to-be.

There couldn’t have been a better Sing(h)er than Mika to render it, and the fact that he had a ball behind the microphone was evident.

Mayur Puri penned the track, which was composed by Pritam.

It wasn’t worth listening to on loop, and its shelf life was considerably shorter than the wedding season.

However, it wouldn’t be incorrect to say that the song was catchy. Or else, there wouldn’t have been a remixed version. 

Ms Mitra delivered a (Mo)hit

The soundtrack of Raajneeti (2010) was fabulous.

Pritam was perhaps an unlikely choice for the composer’s job, but he had one contribution to it – Bheegi Si Bhaagi Si. The track was catchy and engaging.

Penned by Irshad Kamil, it was four minutes and 37 seconds long.

It was rendered by Mohit Chauhan and Antara Mitra.

The latter was nominated in the Best Female Playback Singer category at the Zee Cine Awards in 2011. 

Apologies are in order for those who like remixed versions, because this wasn’t the sort of song that would w(h)et their appetites.   

The (Tul)singers weRe in Form

Tum Jo Aaye Zindagi Mein Baat Ban Gayi was a melodious ballad from Once Upon A Time In Mumbaai.

It took a while to grow on the listeners. But once it did, it held their attention.

The track, which was penned by Irshad Kamil, was composed by Pritam.

The original, which was four minutes and 48 seconds long, was rendered by Rahat Fateh Ali Khan and Tulsi Kumar.

The soundtrack included another version of the track, which was suffixed by the word Reprise. It was a solo (sung by Khan) and was three seconds shorter.    

Chauhan rendered and rerendered (Moh)it

Pee Loon – the track from Once Upon A Time in Mumbaai – was melodious. But by no means did (Moh)it merit so many repetitions.

Mr Chauhan rendered three versions of it, each of which was two minutes and 36 seconds long. Each of these had a remixed version. They were two minutes and 37 seconds long.

And obviously these weren’t enough. Hence the track, which was penned by Irshad Kamil and composed by Pritam, had a female version by Tulsi Kumar. It was as long as Chauhan’s originals, and its remixed version was a second longer.   

Singh sang a not-so-Mast song

Firstly, there have been better gangster songs that Baburao Mast Hai, from Once Upon A Time In Mumbaai (2010).

And secondly, Mika, the go-to Sing(h)er when it comes to tracks in the aforementioned genre, let the listeners down on this occasion.

Amitabh Bhattacharya penned the track, which was composed by Pritam and took a long time to grow on the listeners.

At four minutes and 49 seconds, it was the longest song in the film. Not to mention, the one that wasn’t promoted as aggressively as the others in the film. 

Incidentally, it wasn’t remixed.  

It was (Chauh)an awesome track

It wouldn’t be incorrect to say that Sajde Kiye was the most melodious track in Khatta Meetha. Not to mention the longest – it was five minutes and seven seconds long.

Penned by Irshad Kamil and composed by Pritam, it earned KK a nomination in the Best Playback Singer (Male) category at the sixth Apsara Film and Television Producers’ Guild Awards.

Sunidhi Chauhan joined him behind the microphone.

Although it didn’t really merit a remixed version, it had one, which was 28 seconds shorter than the original. While KK’s voice was retained, Harshdeep Kaur replaced Chauhan.

Ganjawala rendered a catChi gaana

Some singers prefer to stay away from the rat race (isn’t that what music has become now?), focusing on quality and not quantity.

And it is possible that Kunal Ganjawala is one of them.

Until he is offered a track that appeals to him (like the song from Khatta Meetha that had a Marathi hook), he probably says, “Nana chi taang” to all the opportunities that come a-knocking.

The track, which was five minutes and a second long, was rocking.

Penned by Irshad Kamil and composed by Pritam, its remixed version was 56 seconds shorter.

Mehndi got this Pa(r)t(owar)y started

Like its title, the soundtrack of Khatta Meetha (2010) provided the listeners a sweet and sour experience.

Those who love to hit the dance floor might have liked Aila Re Aila.

Penned by Nitin Raikwar, it was four minutes and 22 seconds long.

While I would like to refrain from translating the hook line (which is in Marathi), it must be stated that although the track, which was composed by Pritam, wasn’t exceptional, it was catchy.

It was rendered by Daler Mehndi and Kalpana Patowary.

The remixed version of the track was four minutes long.

Anushka S(ha)ang an uninspiring track

“Live each day as if it were your last” may work as a Man(chanda)tra, but as a song, it wasn’t able to hold the attention of most listeners beyond a few plays.

The track in question was Apna Har Din (which is, actually, a literal translation of the aforementioned line).

It was on the soundtrack of Golmaal 3 and was four minutes and 27 seconds long.

Anushka and Mr Mukherjee S(ha)ang the song, which was penned by Kumaar and composed by Pritam.  

The remixed version of the song was three minutes and 57 seconds long. 

Mitra, Neeraj left everyone appAl(l)ed

Prolific Pritam was expected to make the most of the Diwali weekend in 2010. Incidentally, Golmaal 3 and Action Replayy hit the screens the same day.

But by no means was it a double dhamaka. In fact, the songs of both the films left the listeners disappointed.

Hence, it was truly surprising when those of the former earned him a nomination in the Best Music Director category at the Zee Cine Awards.

Kumaar penned Ale, which was four minutes and 41 seconds long. It was rendered by his blue-eyed boy Neeraj Shridhar and Antara Mitra.  

It certainly wasn’t a (Mo)hit

Tujhko Jo Paaya was nothing but a run-of-the-mill track from Crook – It’s Good To Be Bad.

The shortest song on the soundtrack (it was just three minutes and five seconds long), it would certainly not be incorrect to state that it fell short on the expectations of the listeners as well.

It was rendered by Mr Chauhan, and was one of the tracks that could have been a (Mo)hit, but wasn’t. Of course, it lacked the qualities required for a song to be called a chartbuster.

It was penned by Kumaar and rendered by Pritam.

D’Sou(za)l was certainly not missing

The soundtrack of Crook – It’s Good To Be Bad earned Pritam a nomination at the sixth essay of the Apsara Film and Television Producers’ Guild Awards, which took place in 2011.

Although Mere Bina was a soft rock number, it wouldn’t be incorrect to say it was soulful too.

A fresh voice was required to render it. And there couldn’t have been a better singer than Nikhil D’Souza.

The song, which was four minutes and 50 seconds long, was penned by Kumaar.

Mohit Chauhan rendered its Unplugged version, which was as long as the original.    

Man(n), this track was good

The tagline of Crook (2010) was It’s Good To Be Bad. Given his reputation, Pritam must have paraphrased that to It’s OK To Be Inspired.

A Man(n) named Babbu was roped in to render Challa, which was three minutes and 45 seconds long. Suzanne D’Mello joined him behind the microphone.

The song, which became popular, was inspired by Australian Challa. It was sung by Babbal, a Melbourne-based Punjabi singer, and went viral on YouTube in 2008. Eyebrows were obviously Raised.

It was penned by Kumaar.

Its remixed version was four minutes and 25 seconds long.

   

Shridhar failed to (SHeh)nail it

When one says shehnai (the instrument that produces the Pe.. Pe.. Pepein... sound associated with weddings), the first name that is likely to pop into another person’s head is that of Ustad Bismillah Khan, its most renowned exponent, and not that of Neeraj Shridhar.

The latter was one of the trio who rendered the underwhelming song from Chance Pe Dance (2010). The others were Master Saleem and Hard Kaur. Tulsi Kumar joined them in rendering its Duet version.

The track, which was four minutes and 21 seconds long, was penned by Kumaar.

Pritam composed it.   

Krishna couldn’t get anyone hooked

It isn’t uncommon for people to develop a Chaska (taste or addiction) for the finer things in life, but one thing is for sure: the track from Badmaash Company wasn’t among them.

Upon listening to it, I’m sure the first thing most people wanted to do was Be(u)rate Anvita Dutt Guptan (who penned it), Pritam (the composer) and Krishna (who rendered it).

If the original (which, at five minutes and 14 seconds long, was the longest track in the film) weren’t enough, it had a remixed version, which was a minute and 25 seconds shorter.

Mr Kunnath didn’t render A(yaas)hit

When someone boasts a lavish lifestyle, he is called a hedonist. Or, as actor-turned-director Parmeet Sethi insisted, a badmaash. But that would be a bit too mild, and with reference to the context, incorrect.

Badmaash Company, the 2010 film he helmed, didn’t just glorify those indulging in unethical practices, but also passed a below-par soundtrack off as cool.

Ayaashi – which was penned by Anvita Dutt Guptan and composed by Pritam – was a KKase in point.

While the track was four minutes and 24 seconds long, its remixed version was four minutes and 12 seconds long.    

Richa gave Dal(isten)ers a jhatka

Much as I would hate to admit it, Zor Ka Jhatka – the track from Action Replayy – was the most entertaining songs composed by Pritam.

The song was four minutes and nine seconds long.

It was penned by Irshad Kamil, who described shaadi (marriage) as umar qaid ki saza (a life sentence).

It was renD(al)ered by Mehndi and Richa Sharma.

They earned nominations in the Best Playback Singer – Male and Best Playback Singer – Female categories, respectively, at the 2011 Zee Cine Awards.  

Its remixed version was three minutes and 54 seconds long. Master Saleem replaced Mehndi.

Ch(au)han’s R(end)it(u)ion didn’t impress anyone

Action Replayy – which was spelled R-E-P-L-A-double Y, or given how the film fared at the box office, R-E-P-L-A-Why?-Why? – released in 2010.

For a Ch(auh)ange, hardly anyone in any mohalla (neighbourhood) in India was impressed with Chhan Ke Mohalla, which was five minutes and 16 seconds long.

Penned by Irshad Kamil and composed by Pritam, it was sung by Sunidhi and Ritu Pathak (who participated in two reality shows – Indian Idol 2 and Fame X).

And if the original weren’t enough, the track had a remixed version too. It was four minutes and 49 seconds long.

    

Neeraj dashed the listeners’ hopes

Aashayein released in 2010. Its title was derived from the song of the same name, which was on the soundtrack of Iqbal.

Pritam composed just one of the tracks – Mera Jeena Hai Kya.

Incidentally, it was the longest song on the soundtrack – it was five minutes and 53 seconds long.

The fact that the composer was growing in stature didn’t mean the track didn’t fall short on the expectations of the listeners.

Penned by Sameer, the song was rendered by Neeraj Shridhar.

The remixed version of the track was six minutes and 36 seconds long.

It waS(hridh)arun-of-the-mill track by Neeraj

If there was a weak track on the soundtrack of Tum Mile, it was Neeraj Shridhar’s version of the title track. It also happened to be the longest song in the film – it was five minutes and 43 seconds long.

However, credit must go to Kumaar, who penned it.

While the song, composed by Pritam, was catchy, it wouldn’t be wrong to call it unspectacular.

It had two other versions – Javed Ali’s Love Reprise version, which was 40 seconds shorter, and Shafqat Amanat Ali’s Rock version, which was just three seconds shorter than the original.

Why wasn’t Javed an A(-)lister?

Dependable is an adjective that may be used to describe Javed’s vocals. But while all tracks cannot be described as right up Mr Ali’s alley, Tu Hi Haqeeqat , from Tum Mile, certainly was.

If Irfan Ashraf and Shadaab Faridi – the two vocalists who backed him – weren’t credited, it would be grossly unfair to them.

The track, which was penned by Sayeed Quadri and composed by Pritam, was five minutes and a couple of seconds long.

Mercifully, it wasn’t remixed. It would, in fact, be futile to recreate a song like this in any way.  

It was an amazing KomebacK

It would be incorrect to call Tum Mile, which released in 2009, a male-dominated album. In fact, there couldn’t be a more appropriate term to describe it than male-only. But by no means did the soundtrack sound monotonous. 

One of the best offerings by Pritam and his pyaare KK, Dil Ibaadat was five minutes and 29 seconds long.

It could be called the duo’s return to form after a lull.

This track was penned by Sayeed Quadri.

Its remixed version, which was suffixed by the word Rock, was just three seconds shorter than the original.

Sunidhi Sang this weak track

Mere Sang, the longest of the original tracks on the soundtrack of New York, was six minutes and 28 seconds long.

Sung by Sunidhi Chauhan, it was among the weakest tracks composed by Pritam.

One of the lines of the track, which was penned by Sandeep Srivastava, went, “How can I love you more?”

Unfortunately, the listeners couldn’t say the same about the track (or claim that Ms Chauhan salvaged it, because that wasn’t true either.)

The remixed version of the track, which was credited to Julius Packiam, was five minutes and 55 seconds long.

A breaKK was needed, pronto

Hai Junoon, from New York (2009), was inspired by Naluri Lelaki, from the debut album of the same name by Samsons, an Indonesian band. It released in 2006.

But by no means would it be incorrect to state that Pritam did a below-par job.

While the song was five minutes and 31 seconds long, its remixed version* was 38 seconds longer.

It was penned by Sandeep Srivastava and rendered by Krishnakumar Kunnath (who, on this oKKasion, was equally to blame).

(*Note: It was credited to Julius Packiam, who composed the background score of the film.)  

This track was iNSanely catchy

Upping the fun quotient was the last track on the soundtrack of Love Aaj Kal in my collection – Twist.

It had a few Hinglish lines, but by no means was that a surprise – the song was rendered by Neeraj Shridhar and Suzanne D’Mello. It wouldn’t be wrong to call this amalgamation the duo’s signature singing style.

The track, which was penned by Irshad Kamil, was composed by Pritam.

And it was due to its catchiness that it had a remixed version (sans the female portion). Of course, it was rendered by none other than Shridhar.   

The Ch(auh)ange of tempo worked

Interestingly, I noticed the alternating tempos when I arranged the songs of Love Aaj Kal in the alphabetical order.

And although Dooriyaan – the fourth of the five tracks from the film in my playlist – cannot be called a smash (Mo)hit, it was certainly worth recommending to those who prefer mellower stuff to loud fare.

Mr Chauhan has done a pretty decent job, but that is hardly surprising, because songs like these are right up his alley.

Without an iota of doubt, Irshad Kamil’s lyrics are the highlight of the track, which was composed by Pritam.

  

Neeraj sang thiS(unidh)incredibly catchy track

There’s no doubt that Chor Bazaari, from Love Aaj Kal, was an upbeat number, and the listeners must’ve had as much fun listening to it as Irshad Kamil had penning it, Pritam had composing it and Neeraj Shridhar and Sunidhi Chauhan had rendering it.

It was a song that must have struck a Chord – obviously not instantly, but over a period of time – with the youth, who like to party.

And where there’s a bash, there has to be a DJ. The man who remixed this track (and the others in the film) was Sanj. 

Everyone listened with Ra(ha)(p)t attention

Upon listening to Ajj Din Chadheya, from Love Aaj Kal, Pritam’s fans must have wished that his nominations in the Best Music Director category at the Filmfare Awards and the Star Screen Awards got converted into wins.

Of course, he bagged the Best Music Director Award at the International Indian Film Awards and the Apsara Awards in 2010.

The track, penned by Irshad Kamil, proved that simplicity is the key to brilliance.

With his heartfelt rendition, there is no doubt that Rahat Fateh Ali Khan mesmerised.

It was the most underRa(ha)ted gem in the film.

The SiNgerS’ renditions elicited (H)A(h)ah(un)s

With some mirth-inducing lyrics (credited to Irshad Kamil), there isn’t an iota of doubt that Aahun Aahun – a Punjabi/Hindi track from Love Aaj Kal (2009), which was interspersed with English lines – was an incredibly catchy number.

The track was composed by Pritam.

And if Mr Chakraborty is wielding the music director’s baton, how can Neeraj Shridhar, who is one of his favourite crooners, be far behind?

The duo that joined him behind the microphone were Master Saleem and Suzanne D’Mello.

It was among the three on the soundtrack of the film that had remixed versions.

SADly, this track was kooky

Kuke Kuke was a song from Life Partner, which released in 2009. The song was bizarre and tacky.

And the biggest shocker of them all is that it was penned by Javed Akhtar.

It was a song about an off-tune singer, and the taunts she has to endure on account of her singing skills (or the lack thereof).

Pritam composed the track, which was four minutes and 22 seconds long.

It was rendered by Shaan, Antara Mitra and Debojit Dutta, who made the top five on Zee TV’s Sa Re Ga Ma Pa Challenge 2009.