It was a KLaSsy number

By no means is this the last post on this blog, but it is the post on the last song from Yuva, in alphabetical order, on it.

Hence, it is appropriate to bid adieu with the phrase Khuda Hafiz.

The track, which was five minutes and a couple of seconds long, was penned by Mehboob.

It wasn’t often that one was Lucky to listen to Mr Ali’s rendition on a film soundtrack, so his fans would have thanked A R Rahman, who composed it.

He was joined behind the microphone by Sunitha Sarathy and Karthik.

Rahman certainly Mad(hushre)e no mistake

Kabhi Neem Neem from Yuva was a song the listeners would have loved to listen to on loop. Not because it was an A R Rahman composition (which one must listen to repeatedly for it to grow on him/her), but for the female singer.

That possessor of a voice as sweet as shahad (honey) was Madhushree. And she was joined behind the microphone by Rahman.

The other man who deserves kudos for transporting the listeners to a different era was the one who penned it – Mehboob.

The track was four minutes and 57 seconds long.

It waS a Fan(aa)tastic TRack

While all the songs of Yuva were outstanding, the only one that didn’t just have what it takes to be a chartbuster, but also the qualities to stay on the charts, was Fanaa.

The song, which was penned by Mehboob, was four minutes and 41 seconds long.

It is believed that A R Rahman, who didn’t just compose it, but also rendered it, has lost his mass appeal over the years.

That was proved by this song, which was appreciated by those who frequent discotheques.

Sunitha Sarathy and newbie Tanvi Sha(h)red singing credits with him.

Blaaze (Shah)incessantly Doled it out

The soundtrack of Yuva featured a track called Dol Dol, which was three minutes and 59 seconds long.

It was nothing but a series of repetitions of the aforementioned phrase, with the only other phrase in it being Salaam Namaste [which, incidentally, was a 2005 film (and its title track*).]

Composed by A R Rahman, the song was rendered by Blaaze (who also penned it) and featured ethnic vocals by Shahin Badar, an English singer of Indian and Bangladeshi descent.

(*For the post on the song, please visit my blog titled Hip-‘Shekhar’s: A ‘Vishal’ Collection.)

The creators made a MaRK

While listening to Dhakka Laga Bukka, and even after it has ended, the chances of a listener translating the word Bukka are slim.

But there’s no doubt that the song, which was four minutes and 59 seconds long, was pretty catchy.

It wouldn’t be incorrect to say that it was the title track of Yuva, because the title of the film appeared in it.

The song, which was penned by Mehboob, was composed by A R Rahman.

Incidentally, it was rendered by the aforementioned duo as well. They were joined behind the microphone by Karthik.

Mr Sami rendered Al(i)kable track

Yuva was the Hindi version of a bilingual film, whose Tamil version was titled Aaytha Ezhuthu. They simultaneously released in 2004.

Baadal was the longest of the six songs in the former. It was five minutes and 25 seconds long.

Although the film’s soundtrack wasn’t mind-blowing, it was memorable.

Therefore, contrary to its title, the song, penned by Mehboob, was the proverbial silver lining.

Rendered by Sami (Adn)and Alka Yagnik, it took a long time to grow on the listeners, as have most of A R Rahman's compositions. However, it was pleasing to the ears.

(Ud)It was the KatcHiest track

The piece de resistance of Swades’ soundtrack was Yunhi Chala Chal, which was, incidentally, the longest song in the film as well – it was seven minutes and 28 seconds long.

It was the perfect song to play when one is on a road trip or at a jam session with friends.

And the best part of it is it gave the listeners a message (to keep going forward) without becoming preachy.

Penned by Javed Akhtar and composed by A R Rahman, (Ud)it was rendered by Narayan, Hariharan and Kailash Kher (the highlight of the track).

Udit played a PiVotal role

When a film’s soundtrack includes a song featuring kids, there’s a fear that their wish to sound like grown-ups might rob them of their innocence.

However, Yeh Tara Woh Tara, from Swades, required the little lad and lass (Master Vignesh and Baby Pooja, respectively) to sound a tad mature. Needless to say, they did.

(Ud)It was rendered by Narayan, who earned a nomination in the Best Male Playback Singer category at the Filmfare Awards (which he shared with Vignesh).

Javed Akhtar penned the A R Rahman composition, which was seven minutes and 13 seconds long.

Mr Rahman ARoused patriotic feelings

Yeh Jo Des Hai Tera, the title track of Swades, is the sort of song that is unlikely to be named even by ARdent fans of Rahman (or the film) as a song worth playing on loop. Yet, once it grows on the listeners, it was a universal favourite.

He did not just compose the song, which was penned by Javed Akhtar and was six minutes and 28 seconds long, but also rendered it.

Needless to say, he was able to play both the roles to perfection (which wasn’t a surprise, because he is gifted).

Yagnik (Al)kame, sang and mesmerised

Saanwariya Saanwariya was the shortest of the five tracks from Swades on this blog – it was five minutes and 17 seconds long.

In fact, Alka Yagnik's rendition was the highlight of the song, and it wouldn’t be incorrect to state that it was because of her that it was appreciated by the listeners.

By no means does that imply that the one who penned it (Javed Akhtar) or the (Rah)man who composed it (A R) haven’t done a satisfactory job, because at the end of the day, an outstanding song is the result of teamwork.

Gowariker proVed his singing Mettle

There is no doubt that the soundtrack of Swades, which released in 2004, was one of A R Rahman’s best scores of all time.

It wouldn’t be incorrect to say that Pal Pal Hai Bhaari, which was six minutes and 50 seconds long, was lai bhaari (a Marathi phrase that can be translated to mind-blowing).

The song was penned by Javed Akhtar.

Although Ashutosh Gowariker, the film’s director, was given importance in the title of this post, it must be stated that he was just a back-up singer.

Madhushree and Vijay Prakash rendered the track.

Bhardwaj, the debutante, (Ree)nailed it

Yeh Rishta Kya Kehlata Hai, the song from Meenaxi: A Tale of Three Cities, deserved more plays on radio stations, because while the listeners didn’t know what the relationship was called*, it definitely would not be incorrect to state that yeh gaana underrated kehlata hai.

It was rendered by Reena Bhardwaj, a singer who was born in London and was making her debut as a playback singer in Hindi films.

The track, which was penned by Rahat Indori, was composed by A R Rahman.

(*Note: This, incidentally, is what the song can be translated to.)

Sukhwinder wasn’t just the Sing(h)er

Sure, people were aware that music had worsened since A R Rahman made his debut, but those who believed he was synonymous with great soundtracks would have been delighted, because Chinnamma Chilakamma, his bilingual composition from Meenaxi: A Tale of Three Cities (2004), was a pretty catchy number.

It was penned and rendered by Sukhwinder Singh.

My first thought on listening to it was that someone must contact the Society for the Prevention of Cruelty to Animals pronto, because one of its lines went, “Titli daboch li maine” (which means, “I have grabbed a butterfly”).

Daler Ku(na)ldn't salvage this track

Although the tagline of Lakeer, which released in 2004, was Forbidden Lines, there was nothing forbidden in any of the lines of Nach Le, inarguably the best song in the film.

It was penned by Mehboob.

A R Rahman, who composed it, reused Thaniye Tananthaniye, a song he composed for Rhythm, a Tamil film which released in 2000.

The Hindi version was renD(al)ered by a couple of men whose styles Ku(na)ldn't be more dissimilar – Mehndi and Ganjawala.

It was a chartbuster, but was sorely lacking in what a track needs to stay on the charts.

Only Sukhwinder could’ve sung it

When Sukhwinder rendered Pagdi Sambhal Jatta, from The Legend of Bhagat Singh, it was unlikely that the listeners doffed their hats to the Sing(h)er.

But there’s no denying that he was the right man for the song, which, in turn, was tailor-made for him.

However, despite having a fistful of aggression and a pinch of gusto, it’s unfortunate that the track, which was four minutes and 45 seconds long and penned by Sameer, was a disaster, because the ingredients weren’t in the correct proportion.

A R Rahman, who composed it, was to blame for that.

This Wa(ri)s an iconic Son(u)g

There is no track that is more closely associated with Bhagat Singh than Mera Rang De Basanti.

Needless to say, whenever there’s a celluloid adaptation of the freedom fighter's life, the composer of the film’s songs will interpret the track.

And that is precisely what A R Rahman, who scored the music of The Legend of Bhagat Singh, did.

The track, which was penned by Sameer, was five minutes and seven seconds long.

It Wa(ri)s rendered by Sonu Nigam and Manmohan. The latter, whose real name is Manmohan Singh Heer, is a well-known Punjabi singer.

(Rah)Many admired this Sing(h)ing jodi

Patriotic films have seldom failed to strike a chord with cinegoers, but the Desision of a bunch of filmmakers to jump on the Bhagat Singh bandwagon at the same time (i e in 2002) was indeed surprising.

From a musical standpoint, expectations were high from just one version – The Legend of Bhagat Singh, because its songs were composed by A R Rahman.

Des Mere Des, which was penned by Sameer, was five minutes and 24 seconds long.

It wouldn’t be incorrect to say that Sing(h)ing credits were shared by a legendary pair – Rahman and Sukhwinder.

This Son(u)g earned Nigam awards

It would not be incorrect to say that the title track of Saathiya the piece de resistance of the soundtrack.

It was penned by Gulzar, who bagged the Best Lyricist Award at the Filmfare Awards, the Zee Cine Awards and the MTV Immies.

A R Rahman bagged the Best Music Director Award at the Filmfare Awards, the Zee Cine Awards, the International Indian Film Awards, the MTV Immies and the Bollywood Movie Awards.

And Sonu Nigam won the Best Male Playback Singer Award at all the aforementioned ceremonies, in addition to the Bollywood Music Awards.

The KroonerS KePt it short

If O Humdum Suniyo Re, the track from Saathiya, were parodied, it would have been an instruction – O listeners, suniyo re.

It would not be incorrect to say that the four men who rendered it – KK, Kunal Ganjawala, Shaan and Pravin – were right on the Mani.

Now that was certainly an awesome line-up of singers associated with a track that – ironically – did not have too many lines.

The song, which is likely to be sung by a group of buddies at an impromptu jam session, was penned by Gulzar and composed by A R Rahman.

For sure, Madhushree's rendition waS(arg)amazing

The soundtrack of Saathiya was a Sadhana Sargam double bill, and her fans were overjoyed.

Her second contribution to it was Naina Milaike.

There’s no doubt that she did a marvellous job, and so did Madhushree, who joined her behind the microphone.

Even those who ARen't fans of Rahman, who composed it, or of the music of films that released in the 21^st century would probably appreciate the song, because the plaints would take them back to the Golden Era.

After all, it was penned by Gulzar, who has been active in both the eras.

The language bARRier was overcome

It is not uncommon for a person who is not fluent in a language to struggle to even speak a few lines in it, let alone sing a song.

But one can believe that nothing is impossible when the (Rah)man is none other than A R, who didn’t just compose a solo from Saathiya, but also rendered it.

The track in question was Mera Yaar Mila De.

Of course, he was criticised for his inability to pronounce the words, which were penned by none other than Gulzar.

But he had the last laugh, didn’t he?

ThiS Kuintet (Srini)vas indeed RocKing

The soundtrack of Saathiya was so chock-full of songs that it is easy to overlook a few of them and write posts on the others, only because they went on to become more popular.

But by no means can those tracks be ignored.

That was the thought that crossed my mind when I realised that I hadn’t written a post on Mangalyam, which was rendered by a male quintet, headed by none other than A R Rahman, who composed it.

The others were KK, Kunal Ganjawala, Shaan and Srinivas.

The track was penned by Gulzar.

Sargam Sa(dha)n(g)a ReMarQably underrated number

When a veteran, whose career goes back decades, sings a song, people are all ears.

That was the feeling the listeners got when Sadhana Sargam rendered Chupke Se from Saathiya.

Needless to say, the singer continues to mesmerise them. It is a pity that she is seldom heard these days.

The (Rah)man who joined her behind the microphone was none other than A R, who composed it.

It wouldn’t be incorrect to state that the chorus – featuring the voices of Murtaza and Qadir Khan – was the highlight of the track, which was penned by Gulzar.

Blaaze and Karthik were (Bhos)letdowns

The soundtrack of Saathiya did have its share of disappointing tracks. The biggest of them all was Chori Pe Chori.

The inane English portion of the track is the reason it is easy to be blasé about rap in Hindi film music. Frankly, Blaaze, who sang it, didn’t exactly excite the listeners.

It would also be in the fitness of things to be critical of Karthik.

If it weren’t for Asha, who salvaged it, the song, which was penned by Gulzar, would have been one of the most forgettaB(hos)le tracks in A R Rahman’s discography.

This fouRSoMe Vas indeed awesome

By no means would it be incorrect to say that girl power came to the 'four' in Chhalka Chhalka Re from Saathiya.

The track, which could be called an underrated gem from the standpoint of the soundtrack, was rendered by Mahalakshmi Iyer, Richa Sharma, Shoma Banerjee and Vaishali Samant.

There is no doubt that A R Rahman, the composer of the song, loves to surprise the listeners.

The highlight of this song, which was penned by none other than Gulzar, was the change in tempo – it was slow at the beginning and picked up pace.

It waSamilestone in Adnan's career

The soundtrack of Saathiya, which released in 2002 and was the remake of the Tamil film Alaipayuthey (which released a couple of years earlier), was undoubtedly one of the year's biggest hits.

A R Rahman composed the music of both the films. In fact, the songs of the Tamil film were reused in the Hindi version.

There’s no denying that Aye Udi Udi Udi, his first collaboration with Adnan, waS(a)mind-blowing.

The song must have reminded the latter’s fans of the tracks in his albums (which, incidentally, topped the Indipop charts).

It was penned by Gulzar.

This track had A(l)kasual vibe

Mehndi Hai Rachnewali, the track from Zubeidaa, was perhaps a tad too casual for the liking of Hindi film music buffs.

Although it was about the pre-wedding ritual, by no means could it be called a winner hands down.

So while ARdent fans of Rahman would claim that the marriage of melody and lyrics wasn’t bad, they would probably not listen to the song, which was penned by Javed Akhtar, on loop.

Would it be incorrect to say that it was salvaged by Alka Yagnik? Probably not. And, as usual, she did a great job.

Kavita outshone the male Sing(h)er

The title of this post can’t be called anything but an understatement, because Main Albeli, the track from Zubeidaa, was the sort of song that gave the male Sing(h)er virtually no scope.

So, while Kavita Krishnamurthy did an outstanding job, it was hardly a surprise that Sukhwinder played second fiddle to her.

However, it wouldn’t be incorrect to say that the song, which was penned by Javed Akhtar, was one of the weakest songs in the film.

And for this, it would only be fair to blame the man who composed it – A R Rahman.

(Ud)It couldn’t be (Al)kalled weak

The romantic duet from Zubeidaa was regarded as the weakest song on the soundtrack of the film. But that could not have been further from the truth.

On the contrary, it should have been a must-have on the playlist of every A R Rahman fan, hai na?

However, for the sake of argument, it can be stated that the song, which was penned by Javed Akhtar, was perhaps not as successful as a standalone track, purely from an audio standpoint.

(Ud)It was rendered by Mr Narayan and Alka Yagnik. Could anyone else have sung it?

It was (Kavi)tailor-made for Krishnamurthy

It wouldn’t be incorrect to say that Dheeme Dheeme wasn’t just a song from Zubeidaa (which released in 2001), but also the phrase that aptly sums up the manner in which many of A R Rahman’s compositions, including the track in question, grows on the listeners.

No reference to the song would be complete without a mention of the lyrics, and in particular, the fact that the opening lines also contained two synonyms of the Hindi word for slowly – Dheere Dheere and Haule Haule.

It was penned by Javed Akhtar and rendered by Kavita Krishnamurthy.

Lata sang an awesome Son(u)g

One 2 Ka 4 (2001) summed up Khamoshiyan Gungunane Lageen – the best song on its soundtrack – perfectly.

One is the number of songs from the film that merited a post on this blog.

Two was the number of versions of this track in the film.

Four was the number of people who collaborated to make the song the highlight of the soundtrack.

Both the versions of the song were penned by Mehboob.

They were composed by A R Rahman.

A couple of legends – Lata Mangeshkar and Mr Nigam – rendered both the versions of the Son(u)g.

This track was PoSitiVely catchy

Shakalaka Baby, from Nayak: The Real Hero, is a prime example of a popular song from a below-par film.

It was reused in Andrew Lloyd Webber’s musical Bombay Dreams, whose London production opened in 2002 and ran for a couple of years.

A R Rahman, wasn’t just the composer of the song, but the music director of the musical too.

Its lyrics, which made absolutely no ‘Sen’se, were penned by Anand Bakshi. It was picturised on Sushmita.

The track was rendered by Vasundhara Das, who was joined behind the M(an)icrophone by Pravin and Shiraz Uppal.

HuRraH, it was a (Sunid)hit

As surprising as it may sound, Saiyyan, an original song on the soundtrack of Nayak: The Real Hero*, became popular, despite being a run-of-the-mill track.

And there’s no doubt that it was because of the tune, the credit for which goes to none other than A R Rahman.

His knack of picking the right man (and, in this case, woman) for the job must be commended – Hans Raj Hans and Sunidhi Chauhan rendered the song, which Anand Bakshi penned.

(*Note: The remainder of the tracks in the film were Hindi versions of those from Mudhalvan.)

It waS(hank)arun-of-the-mill, but (Al)katchy song

Rukhi Sukhi Roti wasn’t just a song from Nayak: The Real Hero, but also a lesson that many young couples in love must learn – there’s nothing wrong with being ambitious, but it’s absolutely important to stay grounded and be there for your partner, even if all you can do is share a dry roti and thanda thanda paani (cold water).

Having said that, this track, which was penned by Anand Bakshi and composed by A R Rahman, could, at best, be described as an average song.

It was rendered by Shankar Mahadevan and Alka Yagnik.

(Ud)It waS(warnalath)a fairly Ka(vita)tchy number

Nayak: The Real Hero (2001) was a remake of Mudhalvan, a Tamil film that released a couple of years earlier.

Although Chalo Chalein Mitwa appeared to be a run-of-the-mill romantic number, there is no doubt that it went on to become pretty popular (for reasons that no Hindi film music aficionado has been able to, or even tried to, put his/her finger on to date).

The song was penned by Anand Bakshi and composed by A R Rahman.

(Ud)It was rendered by Mr Narayan and Kavita Krishnamurthy, who were joined behind the microphone by Swarnalatha.

Undoubtedly, (Ud)it wAs(h)a (Vaisha)lively number

A song involving teasing may not be every Hindi film music buff's choice, but Radha Kaise Na Jale, from Lagaan, was different. And that’s why it continues to be popular.

For starters, the vocal duel, if it may be called that, was about Radha's envy, the reason for which was the attention showered upon the gopis by Lord Krishna.

(Ud)It was rendered by Ms Bhosle and Mr Narayan.

Vaishali Samant (A)shared singing credits with them.

Javed Akhtar penned the track, which was five minutes and 34 seconds long.

It was composed by A R Rahman.

It wasn’t A VUnderful song

It wouldn’t be incorrect to say that O Ri Chhori, which was five minutes and 59 seconds long, was the weakest song on the soundtrack of Lagaan.

And it is possible that the listeners would have skipped it if the English portion of the track, which was rendered by Vasundhara Das, weren’t understandable.

Its Hindi portion was sung by Mr Narayan and Alka Yagnik.

Undoubtedly, the credit for ensuring that even the least impressive track is etched in the listeners’ memories, goes to A R Rahman, who composed it.

It was penned by Javed Akhtar.

Lata Sa(dha)n(a)g (Naray)an outstanding bhajan

Since the soundtrack of Lagaan had a song for everyone, it would be unfair to leave those who dig devotional songs out.

Of the six songs in the film, O Palanhaare was the shortest – it was five minutes and 19 seconds long.

It was among the best bhajans of all time (from the standpoint of Hindi films).

It would not be incorrect to state that Lata Mangeshkar's rendition was the highlight.

She was joined behind the microphone by Udit Narayan and Sadhana Sargam.

It was penned by Javed Akhtar and composed by A R Rahman.

It wAS an oUtStanding track

To paraphrase the opening lines of the song from Lagaan, “Har fan kahe, critic kahe, punch aur melody hain jinke compositions mein, loop pe geet unhi ki baje.”

The longest track in the film, (M)itwas six minutes and 47 seconds long.

The opening lines of this post were written for none other than A R Rahman, who bagged the National Award and the Filmfare Award for Best Music Director in 2001 and 2002, respectively.

The song was penned by Javed Akhtar.

(Ud)It was rendered by four Sing(h)ers, namely Mr Narayan, Alka Yagnik, Sukhwinder and Srinivas.

This song was SUng KlASSily

Agriculture is the mainstay of the Indian economy. That’s why Rain, rain, go away cannot, and will not, hold water in this country.

Only an invocation of the rain gods – like Ghanan Ghanan, which was from Lagaan and the desi antithesis of the aforementioned nursery rhyme – will.

The song was rendered by Alka Yagnik, Kishori Gowariker*, Shaan, Shankar Mahadevan, Sukhwinder Singh and Udit Narayan.

It was six minutes and 11 seconds long.

Javed Akhtar penned the track, which was composed by A R Rahman.

(*Note: She is the mother of Ashutosh Gowariker, the film’s director.)

It (Srini)vas the composer’s (Rah)mantra

Chale Chalo – Hindi for keep going forward – was a song from Lagaan, the 2001 film whose tagline was Once Upon a Time in India.

It was six minutes and 40 seconds long. Although a song of that duration has the tendency to become preachy, this track didn’t.

Being a song about teamwork, it would be unfair if there were no mentions of the team that collaborated on it.

Javed Akhtar penned it.

The song wasn’t just composed, but also rendered by A R Rahman. He was joined behind the microphone by Srinivas and a chorus.

Unsurprisingly, Kavita S(warnalath)ang (Ud)it well

Make no mistake, Sunta Hai Mera Khuda, from Pukar, was a typical A R Rahman composition – (Ud)it did (Kavi)take a long time to grow on the listeners. When it did, all one could say is, “Woh sunte rahe.”

Narayan and Krishnamurthy were joined behind the microphone by Swarnalatha.

By no means would it be incorrect to say that the lyrics of the song, which Majrooh Sultanpuri penned, were its highlight.

The song, which was six minutes and 36 seconds long, was shot at a picturesque locale – Arches National Park in the American state of Utah.

Ms Paudwal sang (Nig)amind-blowing Son(u)g

Kismat Se Tum, the romantic track from Pukar, was one of the best Son(u)gs in the film.

It was rendered by Mr Nigam and Anuradha Paudwal.

While Anil Kapoor and Madhuri Dixit were professing their love for each other on screen, Hindi film music aficionados couldn’t be blamed for wondering whether the singers were expressing how fortunate they were to bag the song, which was six minutes and 20 seconds long.

The A R Rahman composition was penned by Majrooh Sultanpuri.

It was shot at Glacier Bay National Park in the American state of Alaska.

Ms Krishnamurthy sang (Shank)arocking track

With Mahadevan Sha(nka)ring singing credits with Kavita Krishnamurthy*, and Prabhu Deva and Madhuri Dixit dancing, Kay Sera Sera, which derived its name from Que Sera Sera (Whatever Will Be, Will Be)**, was an audio-visual treat.

Javed Akhtar penned the track, which was six minutes and 51 seconds long.

The song, from Pukar, was a remake of Kadhal Nayagara from En Swasa Kaatre. Both the tracks were composed by A R Rahman.

(*Note: Swarnalatha joined them behind the microphone.)

[**Note: Rendered by Doris Day, it was from Alfred Hitchcock’s The Man Who Knew Too Much (1956).]

(Ud)It was salvaged by Sardesai

Humrahi Jab Ho Mastana was a passable song from Pukar. In fact, that would be putting it mildly – it was the weakest song in the film.

Of the five songs from the film on this blog, it was the shortest – it was four minutes and 26 seconds long.

It was penned by Majrooh Sultanpuri.

Even A R Rahman, who composed it, could not boast of an unblemished record, at least as far as Hindi film soundtracks were concerned.

(Ud)It wouldn’t be incorrect to state that the track was salvaged by Mr Narayan and Hema Sardesai.

Lata didn’t let anyone down

Pukar, which released in 2000, was undoubtedly among A R Rahman’s top ten Hindi film soundtracks.

The song, which was six minutes and 29 seconds long, was penned by the veteran Majrooh Sultanpuri (who passed away three months after the film’s release).

Ek Tu Hi Bharosa, which wasn’t just rendered by, but also picturised on Lata Mangeshkar, continues to give the listeners goosebumps.

Rahman reused his composition, O Bosnia (which was performed by him at his 1996 concert in Malaysia, which was in aid of Bosnian victims), as this track. He also played the piano.

Rahman was a guest KoMpoSer

Mumbai's Haji Ali Dargah, which is as much a symbol of the city’s pluralism as it is an architectural marvel, inspired Piya Haji Ali, a song in Fiza (2000).

Fans of A R Rahman, who is known for his all-or-nothing approach to composing the music of films, were pleasantly surprised, because this was the only track on the soundtrack of the film that was composed by him.

He was also one of the four singers who rendered it, the others being Kadar Ghulam Mustafa, Murtaza Ghulam Mustafa and Srinivas.

It was penned by Shaukat Ali.

Mr Fernandes rendered (M)aninane number

Although O Maria, which was on the soundtracks of Dil Hi Dil Mein and Kadhalar Dhinam, was about chatting via the Internet, which had become a craze among the youth at that point, it wouldn’t be incorrect to state that it failed to connect with them.

Its Hindi version, which was rendered by Remo Fernandes and Febi (who also sang the Tamil version*), was six minutes and 21 seconds long.

The track, which was penned by Mehboob, was composed by A R Rahman.

[*Note: She was joined behind the M(an)icrophone by Devan Ekambaram and Yugendran.]

Abhijeet sang a below-par geet

Dil Hi Dil Mein, which was a partially-reshot version of the 1999 Tamil film Kadhalar Dhinam, released in 2000.

The soundtrack of the Hindi version, which was far from outstanding, had a below-average song, which was titled Ae Nazneen Suno Na and rendered by Abhijeet.

Unfortunately, the listeners, barring Mr Bhattacharya's fans (and perhaps a few teenagers who had fallen in love), seemed to be in no mood to pay heed to his request.

The track, which was five minutes and 58 seconds long, was penned by Mehboob.

It was composed by A R Rahman.

Asha’s rendition B(hos)lew everyone’s minds

While the majority of Hindi film music buffs heard Mujhe Rang De, die-hard fans of Asha couldn’t be B(hos)l(am)ed for wondering whether the Hindi word for colour was misspelled.

It seemed as if A R Rahman, who didn’t just compose the track from Thakshak, but also sang it, wanted the legendary singer to give him a glimpse of her range, and to everyone’s delight, she complied.

As far as showcasing multiple talents was concerned, how could Sukhwinder be far behind? This track was one of the two songs in the film that the Sing(h)er penned.

This was an under-Rat(ho)(e)d gem

It is imperative that a die-hard A R Rahman fan listens to his songs on loop, or else they won’t grow on him/her. The music of Thakshak was no different.

Khamosh Raat, the romantic track from the film, was no Silent Night (although that is what it could be translated to). But it was certainly a great pick for a man with a plan to serenade his ladylove.

One of those deceptively simple songs that have become the composer’s trademark over the years, it was rendered by Roop Kumar Rathod.

It was penned by Mehboob.

Mr Mahadevan (Chi)nailed this track

To the listeners whose heads were a jumble trying to find out the meaning of the word Jumbalika, it can only be said that it was a track from Thakshak (1999). It was undoubtedly catchy.

It was reused from Jumbalakka from En Swasa Kaatre, a Tamil film which, incidentally, released the same year.

While the Tamil song was a male solo*, the Hindi version was a duet, rendered by Shankar Mahadevan and Alisha Chinai.

Jumbalika was penned by Mehboob.

Both the songs were composed by A R Rahman.

(*Note: That track was sung by Rafee.)

Udit and Alka stood Ta(a)l(l)

By no means was (Ud)it a surprise that Mr Narayan and Alka Yagnik rendered the title track of Taal.

After all, they had been milaoing taal se taal since their breakthrough at the end of the previous decade.

In fact, it earned the latter the Filmfare Award for Best Female Playback.

The track, which was six minutes and 18 seconds long, was penned by Anand Bakshi.

It was composed by A R Rahman.

The Western version of the song was rendered by Sukhwinder Singh. It was just a couple of minutes and 34 seconds long.

Alka joined the (Jo)gifted Sukhwinder

Sukhi isn’t just Sukhwinder Singh’s nickname, but also what he invariably gives his fans a reason to be.

And that is precisely what they felt when he rendered Ramta Jogi from Taal.

The one who shared singing credits with him was Alka Yagnik.

It would be unfair to compare this track with the other number sung by the pair in the film.

However, it must be stated that it was a shorter track – it was six minutes and 17 seconds long.

The song, which was penned by Anand Bakshi, was composed by A R Rahman.

Sukhwinder sang a (Ri)challenging number

By no means was Ni Main Samajh Gayi a chartbuster, but it was certainly one of the most difficult songs on the soundtrack of Taal.

It was also the shortest of the seven tracks from the film on this blog – it was four minutes and 33 seconds long.

The song, which was penned by Anand Bakshi, was composed by A R Rahman, whose penchant for challenging his Sing(h)ers is well-known.

But, to the listeners’ delight, Sukhwinder, who rendered the track, did a marvellous job. And so did Richa Sharma, who joined him behind the microphone.

Singh could Har(iharan)dly be heard

Clichéd as it may sound, everyone wants his/her partner to say, “You are not in front of me. But that is besides the point. You are near me.”

That was what Nahin Saamne, from Taal, could be translated to.

The next couple of lines of the song, which was six minutes and four seconds long, went, “Yeh alag baat hai, mere paas hai tu.”

It was rendered by Hariharan, who was joined behind the microphone by Sukhwinder Singh (who was barely heard).

The track was penned by Anand Bakshi and composed by A R Rahman.

Suniye, because the Sing(h)ers rocked

Apart from the fact that Kariye Na, from Taal, also began with the letter K, it had another thing in common with Kahin Aag Lage – it was also seven minutes and 15 seconds long.

Of course, the two tracks had a couple of other similarities – they were penned by Anand Bakshi and composed by A R Rahman.

Sukhwinder Singh and Alka Yagnik rendered a couple of songs in the film, and this was the longer of those.

By no means would it be incorrect to say that they gave everyone a reason to be Sukhi.

The (Bhos)legend sang ARocking number

Asha is a singer who has (Bhos)left an indelible mark on music aficionados, regardless of age.

And, to their delight, nothing curbed her enthusiasm even when she was in her mid-sixties, as was evident from her rendition of Kahin Aag Lage from Taal.

She was joined behind the microphone by a couple of singers – Richa Sharma and Aditya Narayan. While the former was a teenager at that point, the latter was a pre-teen.

The track, which was seven minutes and 15 seconds long, was penned by Anand Bakshi.

It was composed by A R Rahman.

It wAS an awesome Son(u)g

It is interesting to note that Ishq Bina was originally composed for a film titled Shikhar.

When that film was shelved, it featured on the soundtrack of Taal, which released in 1999 and was a shikhar (peak) scaled by A R Rahman.

Seven minutes and 45 seconds long, it was the longest song in the film.

It earned Anand Bakshi the Filmfare Award for Best Lyricist in 2000. It was his fourth and final Filmfare trophy.

The Son(u)g was rendered by Mr Nigam, who was joined behind the microphone by Anuradha Sriram and Sujatha Mohan.