Akhil was the (Gujr)all-rounder

There have been songless films, although it is not a regular occurrence. And, of course, there have been musical bonanzas.

But do you know a film whose entire soundtrack is just one song?

The answer to that Bhoot – Part One: The Haunted Ship, which released in 2020.

And interestingly, the involvement of Akhil Sachdeva in the track – titled Channa Ve – wasn’t restricted to composing it, but he penned and rendered it as well.

The only portion he didn’t sing was the female portion, which Mansheel Gujral sang.

The song was three minutes and 31 seconds long.

Neha needed a Musikal Sahara

My blog on the music of Hindi films released between 2010 and 2019 contained posts on two tracks from Good Newwz (2019).

Unsurprisingly, the third track – Laal Ghaghra – was recreated.

But it certainly was good news that Manj Musik and Herbie Sahara, who composed and rendered the original, teamed up for this version as well.

And they were joined behind the microphone by Neha Kakkar.

Sahara penned it with Tanishk Bagchi.

Spread across both my blogs, it was the longest of the three songs from the film – it was four minutes and 28 seconds long.

It certainly wasn’t Aslam-bang track

While my blog on the music of Hindi films released between 2010 and 2019 contains a couple of tracks from Loveyatri (2018), the subject of this post was in contrast to those.

Regardless of whether they are arranged in the ascending or descending order of their durations, Tera Hua would be the second – it was three minutes and 34 seconds long.

The track, which was penned by the one and only Manoj Muntashir, was composed by the resident recreator of the Hindi film industry at this point, Tanishk Bagchi.

It was rendered by Atif Aslam.

Sadly, it didn’t sound TazAA!

This blog contains a post on just one song from Guest Iin London (2017).

When I noticed the (mis)spelling of the word in in the film’s title, I assumed the track was credited to someone with a degree in recreation from IIN.

But that wasn’t the case – it was composed by Raghav Sachar, and penned and sung by T S Jarnail (a.k.a. Taz), whose songs blared from Stereos across the Nation. He was joined behind the microphone by Arya Acharya.

Titled Daru Vich Pyaar, it was a version of the track from Tum Bin (2001).

Mr Reshammiya rendered (K)apoor recreation

“Don’t you fool around with the chartbuster from Kaante (2002)!”

I wonder why this warning wasn’t issued to Himesh Reshammiya, whose involvement in Ishq Samundar (Reloaded) – from Teraa Surroor (2016) - wasn’t restricted to composing it, but he was one of the two who rendered it as well.

The other was Kanika Kapoor.

Mercifully, Anand Raj Anand, who penned and composed the original, wasn’t ignored – he was credited as the lyricist of this version.

My blog on the music of Hindi films released between 2010 and 2019 contains posts on two songs from the film.

It was the T(rived)itle track

Question: Which film, which released in 2015, was contrary to its title?

The answer was Shaandaar, which means wonderful, which this film certainly wasn’t.

However, lyricist Amitabh Bhattacharya salvaged the film’s soundtrack with a decent title track, titled Shaam Shaandaar.

Trivedi didn’t just compose (Am)it, but he rendered it too.

My blog on the music of Hindi films released between 2010 and 2019 contains posts on a couple of tracks from the film.

As far as their durations are concerned, this was the second-longest of the three – it was three minutes and 57 seconds long.

Indeed, Arijit’s rendition provided sukoon

My blog on the music of Hindi films released between 2010 and 2019 contains a post on one song from Mary Kom (2014). And here’s the second.

After the vocal equivalent of a punch in the gut that was the track rendered by Vishal Dadlani, this Arijit Singh number literally would’ve made the listener say, “Sukoon Mila” (which means, “I felt relieved”).

Spread over both my blogs, it was the shorter of the two tracks from the film – it was three minutes and 19 seconds long.

Penned by Sandip Ssingh, it was composed by Shivam.

Rao’s rendition elicited several “Wows”!

Here’s a question: Who is the music director – a current hotshot – who composed a superb track for a film, and composed the songs of a film that derived its title from that outstanding number half-a-decade later?

The answer is Amit Trivedi. He composed Manmarziyan, a song from Lootera (2013), as well as the songs of the 2018 film titled Manmarziyaan.

But this post is about the song from the former, which was rendered by Shilpa Rao.

The track, which was four minutes and 11 seconds long, was penned by the one and only Amitabh Bhattacharya.

 

Music aficionados’ Duaa was ANSwered

It was when Duaa played on the radio that I decided to start this blog.

Before I looked it up online, I didn’t know it was from Shanghai (2012).

My blog on the music of Vishal-Shekhar contains a post on one song from this film.

By no means would it be incorrect to state that the track, which was penned by Kumaar, was one of the most underrated tracks of that year, and Arijit deserved the Mirchi Music Award for Upcoming Vocalist of the Year.

He shared Sing(h)ing credits with Nandini Srikar and Shekhar Ravjiani.

Krishna didn’t ‘meat’ anyone’s expectations

Luv Ka The End released in 2011.

Incidentally, it could also be called Y-Films Ka The Beginning, because it was the first offering by the subsidiary of Yash Raj Films (YRF).

And although its most popular song – which was titled The Mutton Song, and was four minutes and 21 seconds long – was far from mind-blowing, it didn’t mark the end of the careers of the trio that collaborated on the track – namely the selective Ram Sampath, who composed it; Amitabh Bhattacharya (who is among the most sought-after lyricists now), and Krishna Beura, who rendered it.

Aditya couldn’t (Chau)handle multiple roles

Besides being the son of Udit Narayan, Aditya Narayan was a popular playback singer and child artiste in his own right.

But as was the case with several child stars, success proved elusive when he grew up.

Interestingly, he debuted with a film titled Shaapit, which released in 2010. The word means cursed, and in a way, he was, because of his background.

He penned, composed and rendered the film’s title track – Shaapit Hua. It was three minutes and 29 seconds long.

The only portion he didn’t sing was the portion that Sunidhi Chauhan sang.

This tracKK was pretty popular

My blog on the music of Hindi films that released between 2010 and 2019 contained a post on one track from Kites (2010).

The second track from the film was Zindagi Do Pal Ki. And like the other song from the film on the aforementioned blog, it was rendered by KK.

Spread across my blogs, it was the shorter of the two tracks from the film – it was four minutes and 16 seconds long.

Nasir Faraaz penned the Rajesh Roshan composition, whose remixed version – credited to DJ Amyth – was three minutes and 46 seconds long.  

It was for Nigam too

Sonu Nigam was the voice of 3 Idiots (2009), because he rendered two of the four tracks from the film that I’ve covered in my blog on the music of Hindi films released between 2000 and 2009.

But the fifth one – that took a while to grow on me – was a track that Swanand Kirkire probably penned keeping the choosy crooner in mind, and one that Nigam’s fans must have sung regularly.

The shortest song in the film (spread over both my blogs), Jaane Nahin Denge Tujhe was three-and-a-half minutes long.

Shantanu Moitra composed it.

Vishal D(adlan)idn’t drive anyone Krazzy

My blog on the music of Hindi films released between 2000 and 2009 contains one track from Krazzy 4, which released in 2008.

The film’s soundtrack also featured a track titled Break Free, which became the bone of contention between the film’s producer and composed Ram Sampath, who alleged that it was lifted from the hook phrase he composed for a commercial.

Rajesh Roshan composed the song, which was penned by Asif Ali Beg and rendered by Vishal Dadlani.

By no means would it be incorrect to state that it did not drive anyone krazzy.