The Times of India (Dated 17.12.06) carried a full page article on how music has returned in Hindi films. It praised the new sounds, and even commended on the use of Urdu in few songs.

I disagree.

Yes, the sounds are new, the rhythms are different, but what happens to listeners like me who still prefer their Bollywood music to sound ‘filmi’ and traditional, and who still swear by the grammar promoted by Shankar-Jaikishan and Madan Mohan? I want to hear music that sounds like Hindi film soundtrack, and not a clone of Indian/South Asian/Arabian/Malaysian pop album!

Today’s music is so ‘youth-centric’ that I feel cheated and sorely left out. To this, I feel it is more ‘metro youth-centric’ than representing the whole strata of that generation. A few years back the films began to be so NRI and metro-centric, that an entire (and a profitable) belt in Bihar felt embittered, and turned to Bhojpuri films (and led to its revival). Perhaps, such a churning is now required in Hindi songs (and films).

Another disturbing fact is the songs’ low shelf life. Last year’s chart-scorcher, ‘Kajra re‘, is already on its way to ‘Bhoole Bisre’ Songs. ‘Dus Bahane’ is passé. ‘Ankhiya na maar bairi‘ is tossed in time’s cruel rubbish bin.

The same holds true for the composers. Shankar-Ehsan-Loy came with a bang, yet a few years in the industry, they are able to proffer only dull recycled tunes in KANK and Don. Vishal-Shekhar, whom the music know-alls crowned the new face of Indian film music, and a successor to R D Burman’s throne, are already wash-outs. And does anyone even remember Sandeep Chowta and Anand Raj Anand now?

As for the Urdu sprinkled in between the song, it is nothing but to encash on ‘unfamiliar’ words/sounds rather than any genuine love for the language. Else, whether it is ‘hibakki’ or any other Urdu (or Hindi, Tamil, Arabic) word it doesn’t make any difference to the so called composers, as long as it fits into their rhythm and can be repeated with ease!

My next big complaint against today’s music is that why have a celebrated wordsmith (for example Gulzar in Guru) when the singers end up chewing the lyrics and the music drowning the thoughts with their din! It’s ok to experiment with new voices, but at least ensure they know basic Hindi. In Maiya maiya from this film, what is that whiny foreign voice singing? I can’t make head or tail of it!

Of course, in the larger context, the singers themselves are to be blamed too – most have wrong dictions and awful pronunciations. There was a time when Lataji , Ashaji or Rafi saab and Kishore da sang and each word was crystal clear – often, they made a terrible lyric sound grand. But now, the reverse is happening. Even good lyrics are pulled into mediocrity by erroneous singing.

2006 was a musically dull year because of another fact – Lata Mangeshkar didn’t have a single release (Rang De Basanti’s audio was out in 2005). As a corollary, the list which you see below is devoid of any personal bias, and perhaps the best that I could do, given the dry and arid times.

So here are the few songs which I liked, in no particular order:-

Mujhe haq hai (Vivaah) – I am not fond of Ravindra Jain’s music; it lacks the punch that makes the heart flutter. So I was very wary of Barjatya’s choice of composer for what can be called his ‘come-back’ film, after the massive disaster Mai Prem Ki Deewani Hoon. Though Vivah’s music is overall average, ‘Mujhe haq hai’ is outstandingly shimmering. The naturally flowing tune ripples over the effortless lyrics with spontaneous ease. The tight arrangements and the flowing counter-music convincingly capture the urgency of lovers meeting in shy hesitancy on the roof-tops, away from the elders’ prying eyes. The pace and rhythm is extremely soft and sensitive. Both Udit and Shreya excel (This was Shreya Ghoshal’s year, having bagged many prestigious projects including Krrish, Vivaah, Woh Lamhe, Babul and other assorted songs) . As a stand-alone song, this is my most favorite duet this year.

Two other songs that I enjoyed were the energetic ‘Hamari shaadi mein abhi hai baaki hafte chaar’ and the dulcet ‘Milan abhi aadha adhura hai’- in the latter, I had my reservations towards the use of words like ‘prem madhuri’ and ‘divya vataavaran’ (this is film lyric, not Hindi poetry competition!), but in the film’s context it is very well-placed. In fact, the music grows on you once you view the film.

So jaaoon main tum agar mere khwaabon mein aao (Woh Lamhe) – The Bhatt productions continued to be musically the best this year also. Though the sound has changed in them too, still there was enough meat to sink one’s teeth into. From their doomed Woh Lamhe, my pick is this anguish laden love call, to which Shreya Ghoshal gives a mind-blowing rendition. She re-creates the magic that wowed the audience in ‘Jaadoo hai nasha hai’ – her voice permeates pain and passion, soaked in the alcohol of unrequited romance. The other good song from the film is Glenn John’s ‘Tu jo nahin hai kuchh bhi nahin hai’, though the tune gave a strong déjà vu feeling. ( It is a lift of an old Pakistani film song – but I have this uncanny feeling that it was used elsewhere in some other Hindi film too). Glenn’s voice has close proximity to Roop Kumar Rathod’s. I didn’t care much for James’s horribly Anglicised accent in Chal chalein. KK’s Kyun aajkal neend kam khwaab zyaada hain is the third wonderful number from this film (and a chartbuster as well – but is this a lift too??!!).

Chaand sifarish (Fanaa) – Admittedly, I loved the entire score from this film. Jatin-Lalit gave warm, lilting and mellifluous music, devoid of any inappropriate trappings and sans any pretensions. The music, like the film, was straight off the heart, and that’s where it gets placed. Mere haath mein and Chanda chamke were the two other delicious numbers. The songs gave Sunidhi Chauhan a much-needed break from her item numbers, and her voice rose to the occasion, especially in the warm and sensitive Mere haath mein tera haath ho. It would have been a befitting farewell score from the duo before their split, if only something unspeakably repulsive like Mera Dil Leke Dekho hadn’t come along a few months later!

More naina neer bahaye (Water) – I should have covered this last year, since I believe the music was out in 2005 itself. But as they say, better late than never! Water is a stupendous score from A R Rahman, and vastly different from what he creates now. Each number is an aural pleasure – and a showcase for Sadhna Sargam’s voice quality and singing capability. Detailed review here.

Salaam (Umrao Jaan) – The third album I enjoyed in its entirety. Industry’s maverick and maligned music maker Anu Mallik tried to snatch back his lost ground, and does so convincingly in both his scores this year (more on Jaan-E-Man later). However, both his lyricist and singer disappoint. Today, Alka Yagnik stands at a curious cusp in her career – she is experienced, has sung enough of the ‘young’ numbers and is therefore facing stiff competition in the music room from upstarts; and yet, she isn’t really old enough to be thrown aside. So, this could have been a landmark album where she could have provided that solid punch to competition proving that she is the ‘woman’ amongst the ‘girls’! Sadly, she chose to waste this opportunity, and the end-result is that her voice sounds dull, tired and forced. Umrao Jaan is most certainly Alka Yagnik’s waterloo. As far as lyrics are concerned, Javed Akhtar only confirmed my long-lasting impression about him – that he is the most over-hyped and over-stated lyricist around.

As regards Salaam, the mukhda tune is as old as the hills – used by C.Ramachandra first in Woh humse chup hai (Sargam) , then by L-P in Suni jo unnki aane kii aahat (Satyam Shivam Sundaram) and finally by Nadeem Shravann for Machi hai dhoom hamare ghar mein (Ansh).

Full album review here

Abhi nahi jaana / Pyar ne tere pyar ko mere (Mr. Khujli) – Good Heavens, how did these two beauties end up in this obscure and lunatic-titled film! Both these Udit-Shreya duets are tender, sober and fragile. They are sweet and fluffy like candy, but not vacuous or flirty. They are exactly the way I like my music. Both have one of the best interlude music this year! It’s indeed serendipity that I found them.

Meri aankhon mein ho tum / Bhoolna nahin / Tune mujhko deewana kiya iss qadar (Yaqeen) – Another last year album that I discovered in 2006. This small time Sudhanshu Pandey-Priyanka Chopra-Arjun Rampal film came and went without any one noticing it. A chance view of the film on Sahara Filmy introduced me to the songs (the film was okayish, though it could have been more taut) and I am thankful for it. Easy flowing songs, soft rhythms, fantastic interludes and natural tunes make all these numbers a delight to hear. This is the same old Himesh Reshammiya style that I loved in Aitraaz, Kyunki, Vaada, Julie, Tarzan, etc (which he has abandoned now). I love these kind of love duets that are so enticingly simple, with some cottony choral riffs. My strong recommendation for Meri aankhon mein ho tum – especially for that lip-smacking piano leitmotif.

Tose naina laage (Javeda zindagi) (Anwar)- Mithoon is the new kid on the block, having rocked the charts with Tere bin (Bas Ek Pal). In Anwar, he composes two songs, and both are pleasurable. From the two, I have a soft corner for ‘Tose naina laage‘ – it’s semi-classical hues and fluttering tabla-base are enchanting. I didn’t like its lack of structure or symmetry (for example, the lyrics are repeated randomly without a proper organization). If Mithoon had worked on those two aspects, ‘Tose naina laage‘ could have been ‘the’ song of 2006 – for me! The second number ‘Maula mere maula‘ is more in sync with today’s times, and Roop Kumar Rathod atypical voice charms.

Naina thug lenge / Beedi jalai le /Namak issak ka (Omkara) – An unconventional album from an unconventional composer (and director). Omkara was a surprise hit, since the music is not composed with an eye on the charts. Perhaps, that’s why the music hit bull’s eye – it was an honest, raw and direct score. My pick from this album is the lesser heard ‘Naina thug lenge’ sung with fervor by Shafqat Ali Khan. Gulzar’s legendary poetic visualizations never fail to enthrall. In Naina thug lenge, look at what he creates – nainon ki zubaan pe bharosa nahi aata , likhat padat raseed na khaata… Simply wow – and deserves a standing ovation! Of course, the two ‘item’ numbers rocked!

Jab se aankh ladi tere naal (Dil Diya Hai) / Tere sang ishq hai (Tom Dick and Harry) / Kitne armaan jaage tere vaaste (Phir Hera Pheri)/ Zikra karein jo tera (Aksar)/ Aa aa ashiqui mein teri (36 China Town) – Himesh Reshammiya continued his dream run for most part of this year. From his similar sounding, beat-induced, one-hook techno-music, these five are my picks.

From these five, I liked the construction of ‘Jab se aankh ladi’ – with Jayesh Gandhi coming in at the antara’s tip to repeat the mukhda in a stylized high-pitch. Of course, Alisha’s vivacious vocals helped a lot. Where beats are concerned, it’s ‘Kitne armaan’ all the way – firm and unyielding, they pound you to move your feet. 36 China Town was a pretty good score overall – I thoroughly enjoyed Rock your body and Mujhe tujhmein badi dilchaspi hai as well. I still maintain that Himesh is a good composer – if only, he would chuck his singing career aside.

Aksar‘s music was a hit in a big way – so much so that even the ghosts in Gujarat responded to the call of Jhalak dikhlaa jaa. But all said and done, there is some attraction in these numbers that compels you to hum along. From this film, I liked Zikra karein jo tera (loot jaayenge mar jaayenge) the best; Kunal Ganjawala’s singing added luster.

Mausam hai bada qaatil (Chup Chup Ke) – No one wanted to hear this number – not even the director/producer, since only a part of it is used in the film. Yet, I found this song pretty endearing, and Sonu Nigam well restrained (else, he often has a tendency to over-sing). The tune flows effortlessly, and the piano riffs are great.

Kitna pyaar kartein hai (Banaras) – What a non-Himesh sounding score from the man! And this love ballad was right up there in high echelons in terms of quality and tune. Even Himesh sounded less nasal and pleasing to the ear, but I think the female version by Alka Yagnik was the best. Poorab se is a high-quality bhajan; Shreya Ghoshal sings with appropriate devotion. Yeh hai shaan Banaras kii is a great percussion pleasure – listen to it on full volume on a good stereo system!

Tooteya na tooteya dhaaga yeh pyaar ka (Shaadi Se Pahle) – Another fine song that slipped into oblivion without causing many ripples. Daler Mehndi side-stepped his ‘balle balle’ image to render a tense and intense touching number about losing and longing. Other bearable numbers were Bijuria and Ankhiyon se gal kar gai.

Ya ali (Gangster) – As a composer, 2006 was most definitely Pritam’s year. He filched tunes from all across the globe, dressed them up attractively in bright sounds and presented the numbers with perfect panache. By the year end, his list at itwofs.com (the site which captures Indian songs copied/inspired/borrowed/stolen from abroad) had grown impossibly long – and even he himself admitted that he is a better designer than composer (to which I agree). Ya Ali is lifted from an Arabian Band Guitara’s Ya Ghali, and reportedly, they have also sued Preetam for using their tune without a thank you note. I found Ya Ali – part Sufi, part filmi – a very nice number – though, again somewhere within me, I do wish there were more ‘filmi’ songs released this year. However, considering today’s tastes, Gangster‘s score was overall pretty neat. Unfortunately, by the year end, the music suffered from a ‘hearing over-kill’. Perhaps, I should return to it after some months to fully appreciate it.

Phirta rahuun mai dar-badar (The Killer) – Whatever Hibbaki meant, it surely was on my lips for quite long. But the real killer melody was Phirta rahuun mai dar-ba-dar. Of course, the brief given by Bhatts to composers was clear and concise – the song had to be easy on lips, resemble Paki pop-music and have a deep meaning as well. On all fronts, Sajid-Wajid delivered. In Dil ko churaya, the whistle was infectious. And even the bump-and-grind (to which Nisha danced buoyantly) Yaar mila mujhe pyaar mila was fairly hummable. In total, a much-above-average score – and let me add, better than Gangster (comparisons done because they come from the same production house, with the same hero)!

Ankhon mein (Ankahee) – Soft as butter, these Pritam songs melted into the ears with wispy warmth. Though too much Anglicised in design, still they managed to stir the heart. Only problem? They all sounded similar!

Baazi lagaa (Guru) – When Udit Narayan throws up his voice with the clarion call Baazi lagaa, one only laments why is he keeping so low-profile these days! The song has propinquity to Rahman’s own Humrahi jab ho mastaana from Pukar.

Jaane ke jaane na (Jaaneman) – The purists fumed at Gulzar’s use of Hinglish, but I found it very sweet and endearing – and more importantly, making perfect sense. In Jaane ke jaane na, he writes a beautiful imagery – Piya ki judaii mein chaand ka gubaara hai, raat ko chadaya hai, din mein uttaara hai. Now comparing a moon to a balloon – only Gulzar saab could have done it! The strings leitmotif in the number is contagious. Kubool karle – a choral and compositional curry- is my next favorite. Humko maloom hai and its sorrowful counterpart Sau dard hai are the other good songs that complete Anu Mallik’s second straight musically successful itinerary this year!

Signaal pyaar ka signal (Bhagam Bhaag) – With a tune more infectious that dengue, Pritam created another superb chart-rocker. The traditionalist within me wants to mock the number, but then my lips and hips are both hooked on to it. A mad-cap song, sung with mad-cap energy by Remo Fernandes. Signal stops you right on tracks – and perhaps should be used by transport department to monitor the worsening traffic situation in the country!

Baanwri piya kii (Baabul) – A delicate classical music based number, and quite a surprise from Adesh Srivastav. A gentle tabla accompanies with subtlety. Sublime in its construction, the number evokes instant romance. Unfortunately, this number was the only gem in a can full of trash that also included the hopelessly boring Come on come on and a mundane Kah raha hai dil deewana (which seems a reprise of Adesh’s Pahle kabhi mera from the same director’s previous film Baaghbaan).

The only other number that generates some interest is Kahta hai babul, supposedly composed by Big B himself, sung by him in the film, and by Jagjit Singh in the album.

Dekha jo tujhe yaar / Gustaakh nigah ( Apna Sapna Money Money) – If I have to genuinely praise Preetam for one solid aspect, then it has to be his re-discovery of Amit Kumar. Listening to the singer’s deep throated voice in Dekha jo tujhe yaar is bliss; and since the song has a version by a diluted voiced Mika Sika as well, the comparison all the more proves that Amit Kumar is way ahead. I found the tune having traces of Pakistani pop hit from eighties Hawa hawa. But in reality, it is inspired by the song, ‘Sheloha shela’ by the Middle Eastern group, Miami Band! (Source: Karthik’s brilliant site, ITwoFs). Gustaakh nigaah is quite a typical item number, on the lines of ‘O saaqui saaqui’ (Musafir), and the Middle Eastern tune could have been borrowed from some Arabian band.

Dil dhak dhak karne lagaa ( Jaane Hoga Kya) – What a leisurely languid pace! I fell for the song instantly when I saw the crappy film. Its unhurried tempo, coupled with a tranquil tune and easygoing beats, make the song delightful. The picturisation (on Bipasha and Aftab) was quite efficient.

Also partially held my attention were these songs :

Aao sunaaoon pyaar ki ek kahani / Dil na diya (Krrish) – Surprisingly, Krrish‘s music was very routine and dull. Considering the amount Roshans spent on the FX, they could at least have ensured a better investment on its music as well. While Aao sunaoo pyaar ki kahani was quite lovable for its old-wordly charm, and Dil na diya made you swing, the rest of the songs didn’t register anywhere – either on the charts or on the hearts!

Tere bin main youn jiya (Bas Ek Pal) – Too much influence of Aadat in this one. I am getting bored of this stretched out singing style.

Lamha lamha zindagi (Corporate) – Could have been as shining as Kitne ajeeb (Page 3), but falls short due to mediocre music. The lyrics are banal, with no inter-connectivity in the thought of each preceding lines – it’s as if the lyricist had a bunch of thoughts that he has placed without any sense of form or construction.

Crazy kiya re (Dhoom2) – The song merits attention for its catchiness. Like it or hate it, but you can’t just ignore it. The music of Dhoom2 was far below its prequel (which to my taste wasn’t anyways that great!)

Chhori ki aankhein meethi chhoori hain (Fight Club) – Just for Amit Kumar! The tune? It’s Dhanno ki aankh by RD Burman all the way!

Humko deewana kar gaye / Mere saath chalte chalte /Fanaa / For Your Eyes Only (Humko Deewana Kar Gaye)- The entire album was passable, and warranted a few hears. However, the songs melted into oblivion and out of memory too soon.

Sini ne (Jawani Diwani) – Average, very average, the hookline caught my attention for a short span.

Bole toh bole woh kaisi hogi haaye / Pal pal pal (Lage Raho Munnabhai) – Both the Munnabhai movies didnt boast of great music. In the present version, Pradeep Sarkar simply went with the notion that director sambhaal lega – which Hirani did, since the music only caught on after the film’s release. BTW, how come no critic/reviewer has mentioned that Bande mein tha dam is nothing but a rehash of Hemant Kumar’s Aao bachhon tumhe dikhayein jhaanki Hindustan kii from the Gandhian oldie Jaagruti.

Yun hota toh kya hota – Since the song keeps playing in the film, it forces you to hum along. Had a few good thoughts in its lyrics.

That’s all from me this year.

Wishing all readers of Random Expressions a Very Happy, Musical and Prosperous New Year!

Previous years collections:

Top Songs – 2003
Top Songs – 2004
Top Songs – 2005