Shraddha, perhaps, salvaged (K)apoor soundtrack

The intrinsic inability of the soundtrack of Rock On 2 to hold the attention of the listeners certainly didn’t prove a hindrance to the blossoming of the film’s leading lady, Shraddha Kapoor, into a singer of some repute.

Of course, she comes from a lineage of distinguished entertainment professionals (with Lata Mangeshkar and Asha Bhosle being her maternal grand-aunts), and that was evident in her rendition of Tere Mere Dil, which was four minutes and a couple of seconds long.

Penned by Javed Akhtar, it was composed by Shankar Mahadevan, Ehsaan Noorani and Loy Mendonsa.    

It certainly didn’t merit (Akht)arevisit

Rock On (Revisited) was on the soundtrack of Rock On 2 merely to promote the sequel. Of course, a music video was duly shot for the same, but it made the listeners wonder why the title track of the first film was revisited.

Three minutes and 33 seconds long, it was penned by Javed Akhtar and composed by Shankar Mahadevan, Ehsaan Noorani and Loy Mendonsa.

It was, obviously, rendered by Farhan Akhtar, but the revisited track wasn’t a solo (as if that were any consolation to the listeners!)

Shraddha Kapoor shared singing credits with him.  

F(a)r(h)ankly, everyone had had enough

Rock On 2, the 2016 sequel to Rock On!!, came with a weight of expectations. And it wouldn’t be incorrect to state that its soundtrack, which reunited the team who collaborated on that of the original, was crushed under it.

Jaago, which was five minutes and 38 seconds long, was the longest track in the film. It was actually a wake-up call to Farhan Akhtar (by the listeners, who have become exasperated by his crooning).

Siddharth Mahadevan accompanied him.

It was penned by Javed Akhtar and composed by Shankar Mahadevan, Ehsaan Noorani and Loy Mendonsa.  

Siddharth and Zahoor Sa(i)ng well

Teen Gawah Hain Ishq Ke, the track from Mirzya, can be translated to, “There are three witnesses to love.”

Teen composers the is gaane ke – Shankar Mahadevan, Ehsaan Mendonsa and Loy Mendonsa. It was four minutes and 38 seconds long.

The track was penned by Gulzar.

And since the first witness was God, it wasn’t surprising that Sain Zahoor* was roped in to accompany Siddharth Mahadevan.

[*Note: His name isn’t Sain. It is a Sindhi honorific, which is also spelled Saieen or Saeen. Zahur is an alternate spelling of Zahoor. His last name is Ahmad.]

The S(a)ingers kept everyone eNgAgeD

The music of films helmed by Rakeysh Omprakash Mehra has always been awesome. So when he roped in Shankar Mahadevan, Ehsaan Noorani and Loy Mendonsa to compose the tracks of his 2016 film Mirzya [which marked the debuts of Harshvardhan Kapoor (Anil Kapoor’s son) and Saiyami Kher (granddaughter of yesteryears’ actress Usha Kiran)], expectations were obviously sky-high.

The title track of the film, which was penned by Gulzar, was three minutes and 19 seconds long.

It was rendered by Sain Zahoor (a noted Sufi musician from Pakistan), Daler Mehndi, the Nooran Sisters and Akhtar Chinnal.

  

Let’s SAY nobody was impressed

Ghayal Once Again, which released in 2016, was the sequel to the Sunny Deol-starrer Ghayal, which released in 1990. The film marked the actor’s return to the director’s chair.

Shankar Mahadevan, Ehsaan Noorani and Loy Mendonsa [who composed the music of his directorial debut, Dillagi (1999)] were roped in to step into the shoes of Bappi Lahiri, who composed the music of Ghayal.

However, the film’s soundtrack left much to be desired.

Amitabh Bhattacharya penned Lapak Jhapak, which was rendered by Armaan Malik, Siddharth Mahadevan and Yashita Yashpal Sharma. It didn’t connect with the youngsters.

Rasika sang a dhAansoo song

Sau Aansoo, from Katti Batti, is a song recommended to all those who have experienced a break-up.

The track, which was five minutes and 41 seconds long, was penned by Kumaar.

Its first three lines – “Sau aansoo roye do akhiyaan. Maara hai jinhein neendon ne, kabhi na soye woh akhiyaan” – can be translated to, “My two eyes are shedding a hundred tears. The eyes that were killed by sleep will never sleep.”

It was composed by Shankar Mahadevan, Ehsaan Noorani and Loy Mendonsa.

The ones who Sha(nka)red singing credits were Mr Mahadevan and Rasika Shekar.    

Siddharth's Ma(ha)d(eva)ness complemented Neeti's perfectly

Without an iota of doubt, Sarfira, from Katti Batti, struck a chord with party animals for a couple of reasons – (a) it was incredibly catchy and (b) Ma(hadeva)ny of them don’t possess long attention spans.

In fact, the latter was the reason it was the shortest song in the film. It was four minutes and as M(oh)any seconds long.

Kumaar penned the track, which was composed by Shankar Mahadevan, Ehsaan Noorani and Loy Mendonsa.

It was rendered by Siddharth and Neeti.

Alas, it did not stay in the memories of listeners for a long time.

Mohan’s melancholic rendition was outstanding

At six minutes and as many seconds, the male version of Ove Janiya, from Katti Batti, was the longest track in the film.

But Hindi film music aficionados who wouldn’t mind it if their favourite tracks had a tinge of melancholy would not deny that the song, which was penned by Kumaar, was pretty good.

It was composed by Shankar Mahadevan, Ehsaan Noorani and Loy Mendonsa.

Kannan, the M(oh)an who rendered it, deserved kudos (and a few more playback singing assignments).

The female version, sung by Sayani Palit, was four minutes and 48 seconds long.  

Mr D’Souza Pa(tha)(c)ked a punch

It wouldn’t be incorrect to state that Shankar Mahadevan, Ehsaan Noorani and Loy Mendonsa weren’t Katti with versatility when they composed the songs of Katti Batti, which released in 2015.

Given his penchant for quirky lyrics, it was hardly a surprise that Lip To Lip was penned by Kumaar. The track, which was four minutes and nine seconds long, was catchy.

It was rendered by Nikhil D’Souza and Ms Pathak. There’s no doubt that the former did a good job, because it was right up his alley. Fortunately, the latter was in (Ri)tune with him.  

These youngsters showed SoMe SparK

Ironically, the track named Pehli Baar – from Dil Dhadakne Do – wasn’t one that would appeal to the listeners the first time they listened to it.

It was the kind of song that would take a while to grow on them, because it was a run-of-the-mill track, whose highlight was the second interlude (where the tempo changes).

Four minutes and 23 seconds long, it was penned by Javed Akhtar and composed by Shankar Mahadevan, Ehsaan Noorani and Loy Mendonsa.

Siddharth Mahadevan and Sukriti Kakar* (Akriti’s younger sibling) rendered it.

(*Note: Sukriti has a twin named Prakriti.)

Sunidhi definitely loved to sing

Shankar Mahadevan, Ehsaan Noorani and Loy Mendonsa are long-standing and firm believers in the promotion of new musical talent, and have steered clear of employing the vocals of A-listers, particularly female singers, unless absolutely necessary.

But Girls Like To Swing, the track from Dil Dhadakne Do (which was composed by them), was in sync with the image Sunidhi Chauhan has assiduously cultivated over the years.

Hence, it was no surprise that she did a good job of rendering the mediocre track, which was four minutes and three seconds long.

It was penned by Javed Akhtar.   

FM StationS found it groovY

Gallan Goodiyaan wasn’t just the catchiest track in Dil Dhadakne Do, but it was also the longest – it was four minutes and 56 seconds long.

Perhaps a hot favourite for Punjabi music aficionados and those who love to shake a leg, the track was penned by Javed Akhtar and composed by Shankar Mahadevan, Ehsaan Noorani and Loy Mendonsa.

Five Sing(h)ers, toplined by Mahadevan and Sukhwinder, rendered it.

Akhtar, whose singing abilities certainly cannot be described as F(arh)antastic, was among the crooners.

The track also featured the voices of Yashita Yashpal Sharma and Manish Kumar Tipu.

PC rendered a FAbulous track

The title track of Dil Dhadakne Do (2015) was the shortest track in the film – it was just three minutes and 48 seconds long.

It was rendered by Farhan Akhtar and Priyanka Chopra, who were paired opposite each other on screen.  

While the majority of Hindi film music buffs would say that the former’s voice lacked the punch required for a track as rebellious as this, the latter certainly did a fine job, because she possessed the spunk.

The song was penned by Javed Akhtar, and composed by Shankar Mahadevan, Ehsaan Noorani and Loy Mendonsa.

It waSamicrosong, but was fun

If Kill Dil were a buffet, the dessert, appropriately, would be called Sweeta.

It was the shortest song in the film – just a couple of minutes and three seconds long.

Alas, the SHeLf life of the song – which was composed by Shankar Mahadevan, Ehsaan Noorani and Loy Mendonsa – was as short as that of chocolate ke tukde [the simile used by Gulzar, who penned it, to describe (believe it or faint!) the female lead’s lips].

There’s absolutely no doubt that the track’s fun quotient was high, thanks to its unique selling proposition – Adnan Sami’s vocals.

Gulzar Jo(sh)ined the two Sing(h)ers

Nearly a (Deshpan)decade after her debut, Nihira Joshi and composers Shankar Mahadevan, Ehsaan Noorani and Loy Mendonsa teamed up again.

The song in question was Sajde from Kill Dil. It was five minutes and 25 seconds long.

She played second fiddle to Arijit.

But if his co-Sing(h)er isn’t an A-lister, there are no two ways about the fact that he gets top billing.

Yet, Hindi film aficionados must obviously have wished her share in the track were larger than it was.

The highlight of the track, indeed, was a portion by Gulzar, who penned it.  

  

Gulzar lifted this paSSable track

The title track of Kill Dil, which released in 2014, was five minutes and 50 seconds long.

The Son(u)g was penned by Gulzar, who recited the lines that preceded it.

There’s no iota of doubt that if it weren’t for that portion, many wouldn’t have listened to it.

In fact, it wouldn’t be incorrect to state that he salvaged the track.

The track was composed by Mahadevan [who Sha(nka)red singing credits with Nigam], Ehsaan Noorani and Loy Mendonsa.

Of the soundtracks of all the films helmed by Shaad Ali, this one was indeed the weakest. 

Ad(d)itionally, Amitabh was the singer

As was the case with the other songs in 2 States, Offo* – the shortest song in the film** – was also penned by Amitabh Bhattacharya.

However, Shankar Mahadevan, Ehsaan Noorani and Loy Mendonsa, who composed the track, entrusted him with an Ad(d)itional responsibility – that of rendering it.

He shared Sing(h)ing credits with Sharma.

And it instantly lifted the listeners’ mood (which wasn’t really surprising, because it was catchy.)

[*Note (1): This expression is commonly used in India to describe something that’s either interesting or exasperating.]

[** Note (2): It was three minutes and 34 seconds long.] 

Chinmayi’s Sing(h)ing Mastery was evident

It’s true that most Hindi film buffs, upon listening to Mast Magan from 2 States, were raving about Arijit’s versatility as a Sing(h)er.

And by no means were they incorrect – it earned him a nomination in the Best Male Playback Singer category at the 60^th Filmfare Awards.

But make no mistake, the track, which was four minutes and 40 minutes long, wouldn’t have been as awesome as it was if his vocals weren’t complemented by those of Chinmayi Sripada.

It was penned by Amitabh Bhattacharya and composed by Shankar Mahadevan, Ehsaan Noorani and Loy Mendonsa.   

Benny rendered this without (Day)aLocha

Locha-E-Ulfat was arguably the best song in 2 States.

At four minutes and 48 seconds long, it was, incidentally, the longest as well.

The track, which was rendered by Benny (Dayal), was picturised on the son of Boney (Arjun Kapoor).

It earned him a nomination in the Best Male Playback Singer category at the 60^th essay of the Filmfare Awards (which was held in 2015).

Incidentally, Shankar Mahadevan, Ehsaan Noorani and Loy Mendonsa – who composed the track (which was penned by Amitabh Bhattacharya) – bagged the Filmfare Award in the Best Music Director category that year.

S(h)a(hi)dly, this track wasn’t sensA(kri)tional

Iski Uski, from 2 States, was four minutes and 14 seconds long.

The track, which was composed by Shankar Mahadevan, Ehsaan Noorani and Loy Mendonsa, failed to impress even their most ardent fans.

It was penned by Amitabh Bhattacharya, who interspersed the Punjabi words with a fair sprinkling of English ones.

But none of that linguistic gimmickry could save the track, whose recall value was low vis-à-vis that of the other tracks in the film.

However, it wouldn’t be incorrect to say that Shahid Mallya and Aakriti Kakar did a fine job of salvaging it.   

Mohan made (Yash)ita special track

Chaandaniya, from 2 States (which released in 2014, and was an adaptation of Chetan Bhagat’s novel of the same name) was a soulful track. It was four minutes and seven seconds long.

Amitabh Bhattacharya penned the track, which was composed by Shankar Mahadevan, Ehssan Noorani and Loy Mendonsa.

It was rendered by K Mohan and Yashita Yashpal Sharma.

Shankar had the opportunity to listen to the latter at close quarters, when he was one of the four M(ahad)e(va)ntors on Sa Re Ga Ma Pa Challenge 2009, the reality show in which she was a finalist.     

Mika’s version was indeed Dumdaar

The soundtrack of D-Day, which released in 2013, featured a version of Duma Dum Mast Qalandar*, the iconic qawwali.

Over the years, a number of Sing(h)ers have immortalised it, but Mika rendered the version which was used in the film.

The track, which was four minutes and 40 seconds long, was penned by Niranjan Iyengar and composed by Shankar Mahadevan, Ehsaan Noorani and Loy Mendonsa.

[*Note: Originally written by Amir Khusrow in honour of Shahbaz Qalandar (the Sufi saint from Sehwan Sharif, Sindh), it was adapted by Bulleh Shah. Ashiq Hussain composed the modern melody.] 

Siddharth made a rocking debut

Barring the truism, “Koyla kaala hai” (which can be translated to, “Coal is black”), Zinda – the track from Bhaag Milkha Bhaag – was one of the best progressive rock numbers in a Hindi film.

The song was three minutes and 31 seconds long. It was rendered by the debutant Siddharth Mahadevan (the older son of Shankar, who composed the track with Ehsaan Noorani and Loy Mendonsa).

Prasoon Joshi penned the quasi-anthem, whose opening line went, “Zinda hai toh pyaala poora bhar le” (which can be translated to, “If you’re alive, fill the cup to the brim.”)  

It suited Sukhwinder’s Sing(h)ing StyLe

Contrary to its name, Slow Motion Angreza – the country song from Bhaag Milkha Bhaag, which was four minutes and 20 seconds long – was spirited and one that might find takers in those who fancy the fusion of Western and desi music.

While Loy Mendonsa sang the English portion, Sukhwinder infused Punjabi exuberance into the track.

Although Mahadevan Sha(nka)red Sing(h)ing credits with them, his contribution to it could merely be described as a cameo.

The track, which was penned by Prasoon Joshi, was composed by Mahadevan, Mendonsa and the third member of the triumvirate, Ehsaan Noorani.      

Divya certainly rendered (Kum)arollicking track

When Prasoon Joshi is wielding the pen and the composing credits are Sha(nka)red by Mr Mahadevan, Ehsaan Noorani and Loy Mendonsa, the listeners can expect nothing but a surprise.

And Maston Ka Jhund, from Bhaag Milkha Bhaag (2013), was just one of the many the aforementioned quartet sprang on them.

Inarguably the catchiest track in the film, its refrain (Havan karenge*), was amusing.

It was rendered by Divya Kumar.

(*Note: It literally means, “We will light a sacred fire to perform a ritual.” But in this context, it can be translated to, “We’ll work hard.”) 

There were no HAlF Measures

While Farhan Akhtar has sung on screen on numerous occasions, his sister Zoya proved that she was a perfectionist by insisting that his co-stars, Hrithik Roshan and Abhay Deol, join him in crooning the popular flamenco track Senorita, from Zindagi Na Milegi Dobara.

And the trio was joined behind the microphone by Maria del Mar Fernandez, a singer from Spain.

The song, which was three minutes and 51 seconds long, was penned by Javed Akhtar and composed by Shankar Mahadevan, Ehsaan Noorani and Loy Mendonsa.

Its remixed version was four minutes and 23 seconds long.    

Although unexceptional, it wA(lys)sa (Mo)hit

Javed Akhtar has SELdom failed to impress the youth with his words, that ooze simplicity. That’s because he has a finger on their pulse.

And Khwaabon Ke Parindey – which was four minutes and 13 seconds long – was no exception. But there was nothing remarkable about the track from Zindagi Na Milegi Dobara, which was composed by Shankar Mahadevan, Ehsaan Noorani and Loy Mendonsa.

The song, which Mohit Chauhan and Alyssa (Mendon)sang, may not be the song one wants to listen to on loop, but there’s no denying the fact that they’ve done a good job.

They certainly (Eh)sa(a)ng with SVAG

Ik Junoon (Paint It Red) – from Zindagi Na Milegi Dobara – introduced Hindi film aficionados to Spain’s La Tomatina festival.

Energetic would be the appropriate word to describe it.

Penned by Javed Akhtar, the track was five minutes long.

It featured the vocals of Mr Mahadevan and Ehsaan Noorani (who composed it with Loy Mendonsa).

The duo Sha(nka)red Sing(h)ing credits with Vishal Dadlani, Alyssa Mendonsa and Gulraj.

Although it’s no surprise that this popular track was remixed, it is interesting to note that at four minutes and as many seconds, it was shorter than the original.

The listeners weren’t exactly overJoied

Trust the Akhtars to slip the titles of their forthcoming films in their tracks. Dil Dhadakne Do, which was from Zoya Akhtar’s Zindagi Na Milegi Dobara (2011) and was three minutes and 51 seconds long, inspired the title of her next film, which released in 2015.

The song, which was penned by Javed Akhtar, was composed by Shankar Mahadevan, Ehsaan Noorani and Loy Mendonsa.

Mahadevan Sha(nka)red singing credits with Suraj Jagan and Barua, a singer from Assam. Although it was a track for the youth, they didn’t really jump with Joi on listening to it.    

The coHESiveness certainly wasn’t MiSsing

There’s no doubt that Rola Pe Gaya, the track from Patiala House which was four minutes and 31 seconds long, was a catchy song, but it had a short ShELf life, like its remixed version, which was just a couple of minutes and 48 seconds long.

Penned by Anvita Dutt Guptan, it was composed by Shankar Mahadevan, Ehsaan Noorani and Loy Mendonsa.

It was the quinte(ssen)tial Punjabi track. Mr Mahadevan was joined behind the (Mahalaksh)microphone by Ms Iyer, Hard Kaur (whose rap was the highlight), Earl Edgar D’Souza (popularly known as URL) and Master Saleem.   

(H)Ardent fans were MaJorly disappointed

Even if one has very little exposure to popular Punjabi music (not the fare routinely dished out by Hindi film music composers), he/she is likely to state that he/she has experienced a feeling of déjà vu after listening to Laung De Lashkara from Patiala House.

The track was five minutes and seven seconds Laung.

Jasbir Jassi was joined behind the (Mahalaksh)microphone by Ms Iyer and Hard Kaur.

Penned by Anvita Dutt Guptan, it was composed by Shankar Mahadevan, Ehsaan Noorani and Loy Mendonsa.

Its remixed version was a couple of minutes and 51 seconds long.

   

It waS(hafq)atrack that was soulful

It’s hoped that nobody has to sing lines like, “Mujhe yun hi karke khwaabon se judaa, jaane kahan chhup ke baitha hai khuda” (which can be translated to, “Just like that, He separated me from my dreams, and now I don’t know where God is hiding.”)

But even if one has to, he/she would do well to recall Shafqat Amanat Ali’s anguish when he rendered Kyon Main Jaagoon from Patiala House (2011).

Anvita Dutt Guptan penned the track, which was five minutes and 45 seconds long. Shankar Mahadevan, Ehsaan Noorani and Loy Mendonsa composed it. 

Dadlani’s V(ish)(oc)als left Mani unimpressed

It would certainly not be surprising if Hindi film music buffs mistook the word thaam in Zara Dil Ko Thaam Lo (which can be translated to, “Hold on to your heart”) for thaamb (Marathi for stop).

That, incidentally, was the button Mani people would’ve wanted to press if they were listening to the track from Don 2: The Chase Continues (2011).

The song, which was five minutes and eight seconds long, was penned by Javed Akhtar and composed by Shankar Mahadevan, Ehsaan Noorani and Loy Mendonsa.

Vishal Dadlani was joined behind the microphone by Anusha.

(Moh)It certainly waS(hrey)an Achcha song

It wouldn’t be incorrect to say that the soundtrack of Aarakshan (2011) lacked aakarshan (Hindi for attraction).

In fact, the most outstanding track in the film was called Achcha Lagta Hai.

Prasoon Joshi penned the song, which was three minutes and 57 seconds long.

He couldn’t have explained Seedhe point pe aa jaana* (which means, “Come to the point”) more succinctly.

Shankar Mahadevan, Ehsaan Noorani and Loy Mendonsa composed it.

It was (Chauh)another feather in the cap of Mohit, who Sh(rey)ared singing credits with Ms Ghoshal.

(*Note: It was, incidentally, a line of the song.)

It wA(A)Sn’t an Elvis tribute

Don’t be fooled by the title, folks! Dil Kholke Let’s Rock, from We Are Family (2010), apparently paid homage to Elvis Presley (and his 1957 hit Jailhouse Rock).

But by no means did it rock, and presumably, the only things that were rolled were the eyes (of the King of Rock and Roll’s fans).

The track, which was three minutes and 57 seconds long, was penned by Anvita Dutt Guptan and composed by Shankar Mahadevan, Ehsaan Noorani and Loy Mendonsa.

It was rendered by Akriti Kakar, Anushka Manchanda and Suraj Jagan, and worth a skip. 

It ReAli was pedestrian (Za)fare

Ullu Da Pattha is an oft-used Punjabi term of endearment (because a mild cuss word is an oxymoron). The phrase, which literally means the son of an owl (but is used to describe a foolish person), was the name of a song in Tere Bin Laden, which released in 2010.

The track, which was penned by Jaideep Sahni, was composed by Shankar Mahadevan, Ehsaan Noorani and Loy Mendonsa.

Quirky as the song was, it wasn’t to everyone’s liking. Ali Zafar, who also made his acting debut in the film, Sha(nka)red singing credits with Mr Mahadevan.

Shafqat’s rendition was Alisteners’ delight

Songs like Tere Naina, from My Name Is Khan, are the kinds of tracks Shafqat Ali [whose (last) name, incidentally, is Khan] is completely (Aman)at ease rendering.

It was unlike its namesake from Chandni Chowk To China. In fact, the only similarity between the two was that they were composed by Shankar Mahadevan, Ehsaan Noorani and Loy Mendonsa.

The shortest of the three tracks from the film on this blog, it was four minutes and 38 seconds long.

Niranjan Iyengar penned the track, whose refrain was, “Aise nainon ki baaton mein koi kyon na aaye.”

ReSt assuRed, it was awesome

Lovers of Sufi music would attribute the long ShELf life of the soundtrack of My Name Is Khan to Sajda, the song which was six minutes and five seconds long and penned by Niranjan Iyengar.

And they wouldn’t be incorrect, because it was a goosebump-inducing track.

It was rendered by Rahat Fateh Ali and Richa Sharma, who have a couple of things in common – unique voices and a K(ha)nack for stirring the souls of music buffs.

It was composed by Mr Mahadevan [who Sha(nka)red singing credits with the aforementioned duo], Ehsaan Noorani and Loy Mendonsa.

This track was absolute clASS

If Noor-E-Khuda, from My Name Is Khan (2010), doesn’t present a strong case for Shankar Mahadevan, Ehsaan Noorani and Loy Mendonsa (the joint winners of the Star Screen Award for Best Music Director in 2011) to employ Shreya Ghoshal’s vocals more frequently, there’s probably no track that does.

She Sha(nka)red singing credits with Mr Mahadevan and Adnan Sami, whose rendition didn’t just lift the song, but instantly elevated the mood of the listeners as well.

It was penned by Niranjan Iyengar.

At six minutes and 37 seconds, it was the longest track in the film. 

Ma(hadeva)ny must have (Alys)said, “Uff!”

Uff Teri Adaa was, undoubtedly, the catchiest song on the soundtrack of Karthik Calling Karthik.

And although that doesn’t mean it was the best, it certainly wasn’t one that connoisseurs of high-quality Hindi film music would ignore.

The track, which was penned by Javed Akhtar, was five minutes and six seconds long.

It was composed by Mr Mahadevan [who Sha(nka)red singing credits with Alyssa Mendonsa], Ehsaan Noorani and Loy Mendonsa.

(Nu)Cle(y)arly, one version of the track wasn’t enough. Hence it was remixed by Udyan Sagar. And, surprisingly, it was a minute shorter than the original.

KK crooned this weaK tracK

Jaane Yeh Kya Hua wasn’t just a track from Karthik Calling Karthik. Upon listening to it, that must’ve also been the thought that ran through the minds of quite a few people, considering that if one were to describe the song, which was four minutes and 10 seconds long, in one word, it would be passable.

It was penned by Javed Akhtar, composed by Shankar Mahadevan, Ehsaan Noorani and Loy Mendonsa (who were nominated in the Best Music category at the Star Screen Awards and the Zee Cine Awards in 2011) and rendered by KK.

They surely kept it CLaSsy

Make no mistake, Karthik Calling Karthik – which released in 2010 – wasn’t a film for the masses. And, by extension, neither was its soundtrack.

And since it involved the Akhtars – producer/actor Farhan and lyricist Javed, the listeners expected nothing but a mind-blowing album from the composers – Shankar Mahadevan, Ehsaan Noorani and Loy Mendonsa. And that is precisely what it was.

Clinton teamed up with Shankar and Loy to render Hey Ya!, which was four minutes and 17 seconds long.

And boy, did they do a marvellous (Cere)job? In fact, they inched a step CLoSer to perfection.

It didn’t eARN Papa’s approval

Frivolous? Yeah! Quirky? Absolutely! But a track one would like to listen to on loop? Hell no! That’s perhaps what Hindi film buffs opined about Papa Jag Jaayega from Housefull.

At three minutes and 17 seconds, it was the joint-shortest track in the film. And it was definitely not the sort of song one could convince his/her dad to listen to, particularly if he habitually strolls down melody lane.

Penned by Amitabh Bhattacharya, it was composed by Shankar Mahadevan, Ehsaan Noorani and Loy Mendonsa.

Alyssa Mendonsa shared singing credits with Neeraj Shridhar and Ritu Pathak. 

The tALented Mr Sagar debuted

To say that India is a vast Sagar of talent would be an understatement. And from this emerged Tarun, a reality show alumnus*.

He made his playback singing debut with Oh Girl You’re Mine from Housefull, and was joined behind the microphone by Alyssa Mendonsa.

Sameer penned the track, which was three minutes and 56 seconds long.

It was composed by Shankar Mahadevan, Ehsaan Noorani and Loy Mendonsa (who was also credited as a singer.)  

(*Note: He participated in Hero Honda – Sa Re Ga Ma Pa Challenge 2009. Mahadevan was a judge on the show.)

Vivienne sang (Amit)ab(h)out a Loser

Loser, from Housefull, was an entertaining track, but by no means was it contradictory to its name.

However, it wouldn’t be incorrect to state that the biggest winner was Amitabh Bhattacharya. Not only did the Luck(now)y (Po)chap pen the track, but he also fulfilled his dreams of being a singer (with which he arrived in Mumbai from the capital of Uttar Pradesh). Vivienne rendered it with him.

At three minutes and seventeen seconds, it was the joint-shortest song on the soundtrack of the film.

It was composed by Shankar Mahadevan, Ehsaan Noorani and Loy Mendonsa.

  

This was worth a MiSS

Fans of retro music, and especially of that of the 1980s, must have cringed at the recreation of Apni Toh Jaise Taise, the Kishore Kumar track from Laawaris (1981).

While the new track [from Housefull (2010)] was named after a line from the original (Aapka Kya Hoga), there was an overdose of nostalgia – it was also called Dhanno. 

Five minutes and eight seconds long, it was penned by Sameer and composed by Shankar Mahadevan, Ehsaan Noorani and Loy Mendonsa.

Mika (the go-to man for most tunes boisterous), Sunidhi Chauhan and Sajid Khan were the Sing(h)ers.

Shankar awakened the listeners too

When Shankar Mahadevan, Ehsaan Noorani and Loy Mendonsa began working on the soundtrack of Wake Up Sid!, a sense of ennui had definitely crept in, and was engulfing Hindi film music lovers as well.

The songs of the film were zingy and unlike those that people had grown accustomed to listening to. 

Its title track – penned by Javed Akhtar and rendered by Mahadevan – was, undoubtedly, a pleasant surprise.

At three minutes and 51 seconds, it was the shortest track in the film.

Its remixed version, titled Club Mix, was three minutes and 44 seconds long.

Everyone Be(nega)lieved Shankar and Uday

Even if it means stating the obvious, nobody can claim that he/she has no problems. It’s recommended that one listens to Life Is Crazy, from Wake Up Sid!, repeatedly, because it aptly sums life up. 

Although it was just four minutes and 14 seconds long, it was the longest track in the film.

Penned by Javed Akhtar, it was composed by Mahadevan [who Sha(nka)red singing credits with Uday Benegal, the vocalist of the rock band Indus Creed], Ehsaan Noorani and Loy Mendonsa (who was one of the back-up vocalists, the other being his daughter Alyssa).

Clinton did an outstanding (Cere)job

Kya Karoon? – which, at four minutes and 13 seconds, was as long as the track that was the subject of the previous post on this blog – is a song that requires an opportunity to grow on the listeners. So, listening to it a few times is definitely recommended.

Cerejo, who was tasked with C(lint)onnecting the listeners with the protagonist of Wake Up Sid! (essayed by Ranbir Kapoor), did a fine job.

His better half, Dominique, and Loy Mendonsa – who composed it with Shankar Mahadevan and Ehsaan Noorani – were the back-up vocalists.

Javed Akhtar penned it. 

Shankar coolly upped everyone’s EQ

The soundtrack of Wake Up Sid! (2009) didn’t consist of the run-of-the-mill fare, and Hindi film music aficionados were grateful to Shankar Mahadevan, Ehsaan Noorani and Loy Mendonsa for that.

In fact, it wouldn’t be incorrect if it were included in the list of the top ten albums in their discography.

Aaj Kal Zindagi, which was four minutes and 13 seconds long, was an emotional track penned by Javed Akhtar.

It was rendered by Mahadevan. It didn’t seem that he had to put in a great deal of effort to tug at the listeners’ heartstrings.

  

What was Mr Mahadevan thinking?

Shortkut – The Con is On released in 2009. And those who lent their kaan to Patli Galli, which was composed by Shankar Mahadevan (who also rendered it), Ehsaan Noorani and Loy Mendonsa, would concur that even if they didn’t take a Shortkut, the track was abysmal.

Javed Akhtar penned the track, which had a couple of versions. While one was three minutes and 35 seconds long, the other was a minute and five second long.

And as if those weren’t enough, there was a remixed version too. It was four minutes and 17 seconds long.   

Shankar’s Ma(hadeva)ntra for dreamers rocked

Sapnon se bhare naina, toh neend hai na chaina can be translated to, “If your eyes are filled with dreams, there is neither sleep nor rest.”

This track, from Luck By Chance (which released in 2009), was extremely catchy, and the aforementioned line was, is and will always be true.

Four minutes and 59 seconds long, the song was penned by Javed Akhtar and picturised on Farhan Akhtar. But it wasn’t sung by the latter (thank heavens for small mercies!)

It was rendered by Shankar Mahadevan, who composed it with Ehsaan Noorani and Loy Mendonsa.

  

The roMa(hadeva)ntics were certainly pleased

Shankar Mahadevan – in collaboration with Ehsaan Noorani and Loy Mendonsa – aimed at giving a twist to the serenade and succeeded at it.

That was evident from Mann Ko Ati Bhavey Saiyyan, which was five minutes and 14 seconds long.

The London Dreams track, which was comical, couldn’t have been picturised on anyone but Salman Khan.

Prasoon Joshi deserved kudos for his use of shuddh Hindi words (which were strikingly incongruent with the backdrop*), as did Mahadevan for the nasal voice in which he rendered it.

(*Note: It was set against the Eiffel Tower in Paris.)   

Mohan’s Agnee couldn’t be extinguished

Khanabadosh is Hindi for gypsy, and the word could well be used to describe Shankar Mahadevan, Ehsaan Noorani and Loy Mendonsa, whose ability to traverse a host of musical genres, rather than calling a particular one as an influence, has been their unique selling proposition for the last couple of decades.

It was also a track from London Dreams. Four minutes and 41 seconds long, it was penned by Prasoon Joshi.

The song was rendered by Kannan Mohan, the lead vocalist of the Pune-based rock band Agnee. They had plenty of that in their bellies.