Chords:
EADGBe
D: xx0232
Bm: 224432
Em7: 022030
F#m7: xx2222
Am: x02210
C: 032010
A: x02220

You can download the song here. The video of a wonderful unplugged performance of the song, featuring Rahul Ram and Pritam, has been provided at the end.

(D)Aahatein, ho (Bm)rahin teri
Dil ke (Em7)dar pe mere
Tu (F#m7)yahin hai kahin na kahin
(D)Aahatein, ho (Bm)rahin teri
Dil ke (Em7)dar pe mere
Tu (F#m7)yahin hai kahin

Kabhi (D)mere khwab sa
Kabhi (Bm)uljhe jawaab sa
Ke chanda (Em7)mein bhi daag sa
Mere jaisa (F#m7)tu

Ke dariya (D)ka ho ik sira
Ke armaa(Bm)no ka silsila
Ke sehra (Em7)mein bhi aab sa
Mere jaisa (F#m7)tu, mere jaisa tu

(D)Aahatein, ho (Bm)rahin teri
Dil ke (Em7)dar pe mere
Tu (F#7)yahin hai kahin na (D)kahin

(Am)Tera hoon main, tujhe kyon na (D)yaqeen hai
(Am)Chaahat mein meri aakhir kya (D)kami hai
(Am)Tujhme hi toh chhupi meri (D)khudi hai
(C)Meri (G)khudi kuch na (A)sahi
Kuch (F#m7)na sahi, Kuch na sahi

(D)Aahatein, ho (Bm)rahin teri
Dil ke (Em7)dar pe mere
Tu (F#7)yahin hai kahin

Kabhi (D)mere khwab sa
Kabhi (Bm)uljhe jawaab sa
Ke chanda (Em7)mein bhi daag sa
Mere jaisa (F#m7)tu

Ke tu hi dariya (D)ka hay ik sira
Ke armaa(Bm)no ka silsila
Ke sehra (Em7)mein bhi aab sa
Mere jaisa (F#m7)tu, mere jaisa tu

(D)Aahatein, ho (Bm)rahin teri
Dil ke (Em7)dar pe mere
Tu (F#7)yahin hai kahin na (D)kahin

Just hours after India snatched a tie from the jaws of victory at the World Cup match against England in Bangalore (and thereby wasting away for the umpteenth time another spectacular effort from the God aka Sachin Tendulkar), more disappointing news for Indian fans, this time from the music world, as A R Rahman missed both the Oscars he was nominated for at the 83rd Annual Academy Awards, again with one-third English involvement. The Best Original Score award went to Trent Reznor and Atticus Ross for The Social Network, which had a few days back won the Golden Globes as well. In the Best Original Song ARR lost out to Randy Newman for his song We Belong Together from Toy Story 3. Ironic that ARR won the Oscars two years back for Slumdog Millionaire while he missed it for 127 Hours, by all means a worthier soundtrack for the Oscars than SM. But to be fair the competition was tougher this year, and Reznor & Ross’s was an outstanding effort. So, may be the deserving soundtrack won today. Nevertheless as a hardcore ARR fan I have the right to be disappointed, and shall find solace in the fact that Oscars could be wrong. And this year they did, big time. They did after all give best director and best film to The King’s Speech!

- A disgruntled ARR and SRT fan

Another late post. The Star Plus theme song has been doing the rounds on TV and radio for quite some time now. Nevertheless decided to post it for the sake of less fortunate people bereft of much mass media access (yours truly included) who might have still not heard of this song. Brainchild of Piyush Pandey and composed by the versatile Vishal Bhardwaj, Tu Hi Tu is an attempt to pay the tribute to a woman’s contribution to life. A sensible idea from the marketing perspective to woo the junta who form a major chunk of the channel’s target audience.

VB has got Master Saleem to deliver this track, and it is quite like the song they offered in 7 Khoon Maaf, classical-oriented (raga Subhapanthuvarali I thought) and dark, though a bit lean on the richness of arrangement. While a sinister raga is surprising choice for a song extolling womanhood, the song makes a wonderful listen – for Saleem’s trained rendition, for VB’s masterful orchestration, especially the violin and the percussion rising to a feverish crescendo towards the end.

You can watch the video below (a tad over-the-top and cliched, if I may say so). You can download the video of the song here and the mp3 audio here.

Please buy the soundtrack from here. It is totally worth it, and with just 40 rupees for 11 songs, it is not like you are spending a fortune in any case.

Sachin-Jigar had proved their flair at composing Sufi rock songs right in their debut work Teree Sang, and Le Ja Tu Mujhe which opens F.A.L.T.U. confirms the fact, the duo following a template quite reminiscent of Morey Saiyyaan, except for those brilliant sarangi segments. Atif Aslam sounds fabulous singing this one, excelling at the soaring portions. Hard Kaur’s Char Baj Gaye has a catchy hook, but I doubt this will induce multiple listens. A tad slow to be a big party hit also, I felt. Rab Sab Se Sona is quite evocative of Chor Bazari, partly due to the arrangement, but also owing to the Neeraj Shridhar factor. Engaging track nevertheless, Apeksha Dandekar doing her part on the backing vocals. Jigar Saraiya (yup that’s his surname. Got to know it courtesy FALTU website) gets to delivering the next track called Awaaz and does a neat job of it. The arrangement of the track, especially in the interludes, is bound to remind one of Rahman of yore, and is equally refreshing. The composers round it off with a spectacular strings-led orchestral crescendo. Fully Faltu, like Char Baj Gaye, stands out for its catchy refrain Aal Tu Jalaal Tu and is likely to face the same fate as Char.. due to the repetitiveness. But yes, Mika Singh’s exuberance does merit a listen.

The composers offer another breezy beauty in Gale Laga Le, the arrangement attaining an orchestral flavor in the right places. Vijay Prakash and Priya Panchal delight with their contrast – Vijay strong and resounding, Priya following on the exact low octave, almost whispering in places. And excellent backing vocals, which I assume have been provided by Jigar. Nayee Subah belongs to the Indipop scene of the 90s, and would have made a chartbuster then. Here though, it is just marginally entertaining. Jigar has a really good voice, a fact which comes out prominently in this song. O Teri sees the composers set to an assortment of genres a set of nonsensical lyrics, with brilliant results! Jigar does the honours with vocals here too. On the same gear the composers do Percentage as well, starting with Celtic, switching to rock and so on. The lyrics once again arbit, even including Tamil this time! Neuman Pinto gets the vocals this time, and nails it. Beh Chala has a smartly adapted rock-and-roll template, Neeraj Shridhar nicely complementing the arrangement with a fine attempt. Just days after Lehmber Hussainpuri’s Sadi Galli got a new lease on life with Tanu Weds Manu, Sachin-Jigar present a revamped version of another Hussainpuri hit, infusing a techno loop which I have heard previously in Prodigy’s Smack My Bitch Up. And the track derives heavily from the original, Hussainpuri’s rendition and the frivolous lyrics for its appeal.

For the third time in as many attempts, Sachin-Jigar impress with their score. And to do that for a 11-song soundtrack is no joke. *Bow* to their consistency. Here is praying that at least this movie doesn’t live upto its title, and instead gives the songs their due. I really don’t want to see S-J end up like Sandesh Shandilya.

Music Aloud Rating – 8/10

Recommended Tracks – Awaaz, Percentage, Le Ja Tu Mujhe, Gale Laga Le

One of the most awaited releases of this week is Tanu Weds Manu. While the music of the movie has already made it big on the charts, a lot of our readers were miffed at very little info available online about the debutant composer Krsna. We set out to resolve the problem, and the result is this exclusive (and extensive!) interview, conducted jointly by Music Aloud and Pavan Jha, music and movie critic with BBC India, and owner of the site http://gulzaronline.com. We are really thankful to him for providing some really insightful questions. Apologies for not getting the composer’s real name or his snap, Krsna is very particular that his music do the talking, and people associate his music with Krsna and this logo he has fashioned, rather than go by his actual personality. Read on then.

Let us start with your unique name reminiscent of the spelling in ISKCON. Is this your actual name or is there a devotional aspect to it? Even the logo which you have made your online identity seems to be an adaptation of the peacock feather commonly associated with Lord Krishna.

KRSNA is actually my adopted musical identity. No, there isn’t any devotional aspect associated with it. For me, music is my only religion, faith and language. Since globally, Krsna is symbolic entity for music, love, poetry, hope, victory, truth and life itself, I felt liberated to imbibe such a powerful name for all my musical expressions.

Anyone who hears your version of Rangrez would have little doubt that you are classically trained. Even the other 2 melodies had a semiclassical touch to them. So tell us about your classical upbringing. Your music had specific nuances related to North Indian music. Did you grow up in North India?

Well! You might be surprised to know that, my upbringing is anything but Indian classical music because I hail from a completely non-musical background. My musical learning has mostly been self taught, listening to pop, r&b and soft rock. It’s only when I struggled in Mumbai with my half-nurtured dreams of becoming a pop singer and dabbled in music direction for ad film industry, I realized the importance of learning Indian music formally. I started my Hindustani classical training only 3 years back, under Ustad Mehboob Khan.

As a music director, my role will always be to create songs that weave well with a film’s requirement. Since Tanu Weds Manu is a story based in Lucknow, Punjab and around, the nuances of the music had to be North Indian by default.  If I really have been able to create that association well, I am humbled.

And about my background, I did my schooling in Kolkata from CBSE, and then graduated in films and video communication from National Institute of Design, Ahmedabad. Thereafter, I shifted to Mumbai to pursue my dreams. This is when I met my mentor, Jawahar Chavda, who helped me become the musician that I am today.

In today’s times it is difficult to get a film without a profile. So were you involved in albums/jingles or any other assisting job in Bollywood before TwM? And how did you land this composition job?

I started my professional career by directing and producing ad films in Mumbai.  Since my heart always remained in music, I quite naturally changed my destined path in a year or two. I put behind my professional training of film making without a second thought and started focussing only on music direction for jingles, corporate theme songs and likewise. And with every project, I kept learning hands on about music production and the technology involved, from concept to completion. That was the only experience I gathered which came to good use.

Yes, I agree it is difficult to get a Hindi feature film without a profile. But I have come to realize, that in Bollywood, everyone does get an opportune moment when he or she is needed to prove his/her abilties to the fullest. And when I felt ready for feature films and decided to venture out in Bollywood, I had a chance meeting with Rajshekhar for the first time, who by then had finished writing Mannu Bhaiya. I created the composition overnight for a hearing. On listening to the track, Aanand Rai and Himanshu Sharma (Writer) heartily welcomed me in the team. Mannu Bhaiya was all that Aanandji ever needed as my portfolio to put in his blind faith for the rest of the songs. Thereafter, Shailesh Singh, the producer of the film also shared equal confidence in my music and stood by me throughout the process like a pillar.

How much did the director contribute to the music? The music in TwM seems to be nicely integrated with script/characters (like Mohit Chauhan’s vocals suiting Madhavan’s image of an Intense lover superbly.. or Mannu Bhaiyya having that family ambience, Rangrez probably been used at a highpoint or important juncture and Saadi Gali being used at a marriage, also Jugni highlights the character of Kangna very well..).  What kind of directors would you like to work with?

Yes you’ve got this so right. We genuinely wanted to create music that gets smoothly integrated with our story. My director Aanand Rai had a very simple brief to Rajshekhar and me. He visualized the songs to be a continuation of the story and characterisation and not as mere entertainment fillers. Hence, all the songs are thoughtfully placed as vital ingredients of the story telling process. It is only Anand Rai’s vision which I translated into the music that came out to be.

I now fully understand the role of a good director being responsible for inspiring good music. Whether a first time director or a veteran, I would just need to stay excited with the script and the director’s vision through the whole process, to be able to deliver my best. With so many promising new directors in bollywood today, I’m really hopeful to come across more opportunities and challenges to create good music in my future projects. Also, I definitely feel ready to work with all the reputed directors of the industry today.

Given the rock and dance-y flavors that dominate Bollywood music these days, are you concerned regarding the acceptance of your songs among the audience (and by songs I refer to my 3 fave songs from the album – rangrez, piya and yun hi)?

Although, this Friday onwards, I will be more clear about the acceptence level of TwM songs, I definitely can never want them to be any lesser accepted. But from what I have understood always as a musician, melodies with Indianness at the core do linger on our minds for long. Which is why, we are still hooked to everlasting melodies of the golden era. Honestly speaking, I never had any pre-concieved notion about the kind of music I was to create. I just followed my heart without a concern whatsoever.

The resultant sound, rendition, style, lyrics and intensity of the songs are completely governed by the story, background and characters. This film demanded certain kind of nuances that are there in the album. Being inspired by all genres of music from Western, Indian, World music, I know I will experiment with various flavours in my future projects. But with TwM, I feel lucky that I got to compose these kinds of melodies in Bollywood today. The real feedback from the audience will help me improvise my music the next time around.

You used the fabulous Wadali Brothers for Rangrez. The inspiration for using them? Did you use any other veterans on the instruments section as well?

When Rangrez was born, being the ambitious musician I am, I just couldn’t think of anyone else but the legendary Wadalis, who I felt could leave an eternal impression with their divine voices. Rangrez is a song that needed to ooze romance, intensity, crescendo, pain, confession, submission, prayer and a mix of many feelings in one go. Although the music of Wadali Brothers is beyond the commercial realms of Bollywood, I still wanted to reach out to them.

Both the maestros, Puranchandji Wadali and Pyarelalji Wadali loved the composition so much that they decided to bless me with it, thus making it one of my most priceless possessions til date.

In the instrumentation section, Im priveleged to have got Sanjiv Sen on tablas, Madhukar Ji on Shehnai, Firoz Shah on the harmonium amongst the veterans.

Your lyricist for the movie Rajshekhar is also a debutant. How was the experience of working with him? Could you share something about his background too? The sync between lyrics and music in TwM hints that you and Raj have been working together for quite some time. Is that so?

Working with Rajshekhar has been a very heart warming experience for the kind of human being he is and the way he approaches his art. He is basically from Bihar, who majored in Hindi literature from Kirorimal College, Delhi. Thereafter he pursued his Masters from Delhi Unversity. He continued his creative expressions through theatrical art often by acting, directing plays and writing scripts. Poetry has always been his constant passion which found place in all his creative endevours. He considers lyrics to be a form of musical diaogue that sprouts from within the characters and must justify the context of a story. He is extremely sensitive to the objective of his lyrics and the intensity of a situation he is writing for.

We struck a chord the very first time we met, and have become lifelong friends over the music of TwM. He according to me is one of the finest poets in bollywood today. Any appreciation for TwM Music would be incomplete without crediting him for his meaningful poetry. Definitely we worked in close tandem and all of us in the team enjoyed the whole process. All the songs were written first under Aanandji’s able guidance, and then I tried to compliment them with my compositions.

Like you told us, you are currently busy with the BGM composition for TWM. What after that? Any other projects in the pipeline? Are you working on anything in the in-rage genres (rock/Punjabi etc)?

Since, I can never again repeat the experience of a debut release, I did not want to divide my attention beyond TwM in Bollywood after committing to this responsibility. It’s only after the completion of BGM composition, I intended to explore newer horizons. Though I have already started to look at fresh opportunities that have come by, in due time I myself will let you know of all the projects I commit to.

The choral work for Mannu Bhaiyya and the electronic ambience of the traditional Piya were evocative of ARR of the 90s. So who are your fave musicians? Who have you considered your inspiration in your formative years? And what are your thoughts on fusion (considering you have incorporated some yourself), specifically the folk, sufi and semi-classical genre?

My favorite musicians have been R.D Burman, Michael Jackson, Neyo, A R Rehman, George Michael, Ustad Nusrat Fateh Ali Khan, Norah Jones, Lataji, Stevie Wonders, Ashaji, Madonna, Salil Choudhury, Nat King Cole, Pundit Jasraj, Boyz II Men, Lionel Richie, MlTR, Rahat Saab, Scorpions, ABBA, Bappi Lahiri, Eminem, Himesh, Anuji, Purnadas Baul, Eagles, Beyonce, Rihanna, Mariah, Britney, Christina and Justin and the list is endless. I must say, Michael Jackson was one soul whose boundless energy and superlative perfection gripped me to music the very first time I heard him, and the idea of becoming a musician was born sometime during my school days.

I think, most music in Bollywood today can be aptly termed as World Music. Knowingly or unknowingly musicians around the world are fusing various elements today and experimenting with cross cultural sounds and styles. I too, definitely aim to create various forms of fusion music, whether folk, oriental, Sufi, semi-classical, pop, rock or any style for that matter.

Do you believe in assembling of music or prefer live recordings?

I wouldn’t necessarily call assembling of music a preference but an integral part of studio music production today. The final product is all about assembling of live recordings, vocals, backings, musical instrumentation and everything else that goes in the mix. Being a composer and a music producer, I do look at a live recording and imagine the possibilities of the same in a final product. It is because that’s what matters in this business. When we talk of music releases, any live recording, when captured on tape or digital format is meant for mass production. So the best output calls for the best of all elements in the assembly. But I will always try to retain the essense of live recordings in my songs.

What are your thoughts on the change in the way the music production is being done today (moving away from Live recordings, post production of music, moving away from lip sync songs to on screen songs etc.)?

Although I consider myself a technology’s child, I can’t stop emphasizing the fact enough that, one can’t give away the core soul of music to technology no matter what. Music production techniques are so powerful today that you can dream of doing wonderful things with music singlehandedly, which were impossible to imagine even 10 years back. I feel, it is not a choice but a must for every music director and producer to know about the nitigrities of music production today. But at the same time, one’s top priority should only be to retain the soul, feel and expression of a song through the words, vocals and instrumentation using technology as the means and not otherwise.

The gadgets and softwares do make it fun, intuitive, offering you tremendous scope to experiement with the renditions. So much so that electronic music can at times completely replicate live instruments with superb perfection. But there is a downside to it which I realize every moment.

With audio technology growing more powerful by the day, trying to perfect the sound of real instruments, live musicians are suffering a lot with reduced session jobs and people getting lesser inclined to take up these instruments for a profession actively. We have pros and cons with the way we record vocals too. The ability to deliver one take vocal lines like in olden times is almost an unnecessary thought today. Although we save studio time, money and churn out near perfect takes in the final product, the need for rigourous riyaz and song sittings are getting compromised a lot too.

I personally do swear by audio technology in my profession, but still will always strive to retain the human touch in my tracks as and when I can.

As far as lip sync songs and screen songs are concerned, I feel they both have had their respective appeal in films since the beginning. As long as it justifies the plot and the entertainment value intended, both the treatments are just perfect to go by.

You can listen to Twm songs here, and here are the links to the reviews of the soundtrack: Music Aloud; Pavan Jha. You can follow Krsna on his official site or on his facebook page.

Being no strangers to the whodunit line of arrangement, Shankar-Ehsaan-Loy create a neat thrill-inducing title track out of It’s A Game. Vishal Dadlani does a trademark rendition of the track that sees a techno-based veneer over a rich mix of orchestral and rock. The strings section towards the end does faintly remind one of the background the trio had provided for Don’s title song for a fleeting moment. The composers increase the electronic elements in a smartly done Reprise version which could very well pass off for a work from their regular remixers Midival Punditz. Sunitha Sarathy always sounds her best in the low notes, and hence the decision to have her render this song in low pitch works wonderfully. Maine Yeh Kab Socha starts with a beautifully haunting piano piece before switching mode with Shaan’s vocals into a regular melody, made interesting more by the vocal quality of Shaan and Anusha Mani, and the ambient chorus led by Loy Mendonsa. The piano piece returns in the interlude in a much grander fashion, accompanied by an orchestral background.

Mehki Mehki has an interesting arrangement, going from retro to Arabic, and with Shreya Ghoshal at the helm of affairs and good support from Kshitij, the song is an engaging listen, though not the best cross-genre track from the trio. With the arrangement replaced by a standard electronic template, the remix is an unimpressive affair. The soundtrack closes with Kaun Hai Ajnabi sung by Aditi Singh Sharma and KK, an intriguingly mixed track, bordering on a retro vaudevillian sound with a techno twist. And the singularity of the orchestration will have you returning to this track. The remix follows the same path as the previous one, and faces similar results.

Though not the best soundtrack of this kind from Shankar-Ehsaan-Loy, Game is an engaging work from the composer trio.

Music Aloud Rating – 7.5/10

Recommended Tracks – It’s A Game, Kaun Hai Ajnabi, Maine Yeh Kab Socha

Quite surprised I missed this one. Folk rock band Agnee came out with the theme song for MTV Splitsvilla 4 a few days back, and have made it available for free download. While in Season 3 the band had gone for a dark, heavily rock-oriented semi-classical (in raag Sindhubhairavi) track, this time they have gone back to the tune they used for Season 2, with lyrics supplied by Khurram Nisar and Neeraj Sharma and have called it Aahatein. While the humming version in Season 2 itself was a beauty, the lyrics have accentuated the heart-tugging feel, Mohan’s raw vocals conveying the pain quite effectively. The band has also given out for download the Unplugged version of the song Mohan and Koco played at MTV Rock On, accompanied by Pritam and Rahul Ram. Which is even more awesome than the original, featuring some fantastic improvs by Koco, Mohan and Rahul. I can only repeat what I had told Mohan in our interview, Agnee is too good a band for a show like Splitsvilla. But yes, if that would mean their songs get more listeners, amen! You can download the songs here. Below are the videos of the unplugged version, and of Raanjhan Yaar Di, the Season 3 theme.

The title song’s semi-classical arrangement is wonderfully serene and soothing, and would have been a perfect opener if not for Ali Zafar’s vocals sounding a tad below-par. The flair that the man displayed in Coke Studio season 1 delivering tracks like Allah Hu and Yaar Daddi is strangely missing on this relatively easier-to-render track. The rough edges are less noticeable in the breezy and much more Ali Zafar-esque R&B Mix version of the track. Zafar sounds much better in home turf crooning Tu Jaanay Na which is trademark Ali Zafar material, sweetly romantic, pop and very sing-along. A beautifully buoyant arrangement and an excellent use of the chorus makes this song one of the picks of the album (though after listening to the rest of the album this song would seem rather shallow). Equally hummable is Jab Say Dekha Tujhko, a mildly rock-flavored track, Zafar doing a fab job at the vocals hitting the high notes quite effortlessly. The singer returns to ghazal mode with the fabulously packaged Jee Dhoondta Hai. Once again the vocals are left wanting in places – Zafar seems to flounder in the languid portions every time. But despite that flaw the song is a beauty, incredibly comforting! The composer side of Ali Zafar continues his spectacular form into the next track as well, the melancholic and haunting ghazal Koi Umeed that sees some excellent use of the sarangi.

Jaan-e-Mann is another tranquil semi-classical whose highlight is the piano phrases. In spite of the slowness of the track Zafar carries out his part behind the mic quite well, literally pouring his heart out. Of the last five tracks of the album, four have already made their appearance almost as-is in Season 1 of Coke Studio (fifth being a remix) and sound as good as they did then. Nahi Re Nahi is feel-good, its soft orchestration and Zafar’s soulful rendition forming a winning combo. Zafar’s smart Arabicized rearrangement of Ustad Juman Khan’s classic Yaar Dhadhi Ishq still works big time. The flute flourishes are just brilliant! And though not quite a replacement for Juman Khan, the singe carries out the rendition commendably, especially the opening ad-lib. Allah Hu figures the only other vocalist of the album, Tufail Ahmed, Zafar’s compatriot in Coke Studio. The two singers complement each other very well in this sinister Sufi song, though Tufail’s superiority in this genre comes out clearly in many places. The final track is Dastan-e-Ishq, the song which apparently was never performed at Coke Studio coz AZ was overcome by emotion while rehearsing for the song. For good reason too, the lyrics are pretty touching (not sure if the entire song is written by Baba Bulleh Shah, the opening lines definitely are), and the man has done justice to them with a beautiful arrangement (bows to the flautist) and a fittingly stirring rendition. The Dhol Version is true to its name, just a dhol added over the original arrangement, and works quite like the original.

Twelve fabulously arranged tracks across semi-classical, pop, folk genres. Barring that small grouse about not giving the two slower semi-classical tracks to some other vocalist, Jhoom is a peach of an album, and Ali Zafar’s most impressive work to date. I bow to thee, Mr. Zafar!

Music Aloud Rating – 8.5/10

Recommended Tracks – Jee Dhoondhta Hai, Yaar Dhadhi Ishq, Dastan-e-Ishq, Allah Hu, Tu Jaanay Na

(Below are the videos of the four tracks that appeared on Coke Studio Season 1.)

Here is our Valentine’s Day gift to all of you, our list of the top 17 love songs of 2010 (ya 17 is a strange number I agree, but hey, whats in a number?! ). Enjoy the songs, and have a wonderful V Day.

Dil To Bachcha Hai Ji (Ishqiya) – Rahat Fateh Ali Khan|Vishal Bhardwaj

Tumse Hi Tumse (Anjaana Anjaani) – Shekhar Ravjiani|Vishal Shekhar

Pee Loon (Once Upon A Time In Mumbaai) – Mohit Chauhan|Pritam

Tere Naina (My Name Is Khan) – Shafqat Amanat Ali|Shankar Ehsaan Loy

Madhno (Lamhaa) – Kshitij, Chinmayi|Mithoon

Call Me Dil (Jhootha Hi Sahi) – Rashid Ali|A R Rahman

Aadha Ishq (Band Baaja Baaraat) – Shreya Ghoshal|Salim Sulaiman

Meri Rooh (Admissions Open) – Naresh Iyer, Aditi Singh Sharma|Amit Trivedi

Tera Zikr (Guzaarish) – Master Saleem|Sanjay Leela Bhansali

Jaane Yeh Kya Hua (Karthik Calling Karthik) – KK|Shankar Ehsaan Loy

Cham Cham (Striker) – Sonu Nigam|Shailendra Barve

Rabba (Aashayein) – Shiraz Uppal|Shiraz Uppal

O Bekhabar (Action Replayy) – Shreya Ghoshal|Pritam

Bin Tere (I Hate Luv Storys) – Shafqat Amanat Ali, Sunidhi Chauhan|Vishal Shekhar

Dil Kyun Ye Mera (Kites) – KK|Rajesh Roshan

Mere Bina (Crook) – Nikhil D’Souza|Pritam

Tere Mast Mast Do Nain (Dabangg) – Rahat Fateh Ali|Sajid Wajid

Today happens to be the 730th day of existence of Music Aloud. The second year has been really great for us, highlighted by the kicking off of two new categories. Klassical Korner, an attempt to cover various aspects of Indian classical music through Ajay Parasuraman, was well-received. Ajay shall be back soon with his next article. The second was an interview series, which got us in touch with a lot of immensely talented people, both within India and outside, some of the most memorable ones being Ehsaan Noorani, Amit Trivedi, Prem Joshua and Zeb & Haniya. We thank all our readers for your heartfelt support of our website, and hope that you will continue to do so in the coming days. This year too we have quite a few plans in store for the website, which we shall unroll as the year progresses. So just watch this space for updates. In the meantime, if there is something you would like to see on our site (related to music of course!), feel free to drop us a mail on response [at] musicaloud [dot] com.

Since it is a birthday, we leave you with three of our favorite birthday songs from Bollywood.. Cheerio!

Baar Baar Din Yeh Aaye (Farz – 1969)

Tum Jiyo Hazaaron Saal (Sujata – 1959)

Aati Rahengi Bahaarein (Kasme Vaade  – 1978)