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.