REWIND 2015 : Bollywood Songs We Played In Loop This Year + Our Dhinchak List

Posted: December 23, 2015 by moifightclub in bollywood, cinema, music, Music review, rewind
Tags: , , , , ,

It’s that time of the year again. And we are back with our year end “Rewind” series.

Here is a list of songs and albums that kept us hooked to film music, in the order we heard them, beginning from the oldest all the way down to the latest.

Dil-e-Nadaan (Hawaizaada) – Ayushmann Khurrana draws extreme opinions for his singing, and, I am the last one to like his work. Still, I was pleasantly surprised at his contemporary tribute to Ghalib’s classic. In Dil-e-nadaan, Shweta Subram and Ayushmann were fluid and the result was quite hummable . The song was released in January, and it continues to be in my playlist. The slight guitar riff in the background of ‘humko unse’ is what the rush of first love feels like. The entire album was actually quite good!

Jee Karda (Badlapur) – The trailer gave me an inkling to wait for the song that has the lionhearted guitar riff. Truth be told, I was underwhelmed by the album but this song is what I felt defined the tone of the film. Divya kumar is what Sukhwinder Singh used to be. More often than not, his presence in a song means the song would be good. For me, the guitar riff of the year…badass!

Dum Laga Ke Haisha (Album) – The music of DLKH is a case study in sticking to the feel of the subject without compromising on anything. While Rahul Ram, Kumar Sanu and Sadhna Sargam were reasons enough to hear the album on the repeat, Moh moh ke dhaage gets my vote. I like the Monali Thakur version better. Delicate, unbelievably sweet and durable! Kudos to a certain Mr. Anu Malik! I don’t know why I kept on thinking about the music of ‘Mrityudand’ while listening to this album, in a good way that is.

Kya karein (NH10) – I became a fan of Rachel Varghese on the first hearing of Kya karein from NH10. Savera Mehta & Ayush Shrestha kept the sinking feel of the song with a harmony like treatment, and I absolutely loved the way the song ends, abruptly.  Haunting, heartbreaking, and so beautiful!

Chori chori (Hunterrr) – While I am still a proud lover of the title song of Hunterr, this song grew quietly on repeated listening for the simplicity of composition and emotive singing by Sona and Arijit Singh. Isn’t it reassuring to hear Arijit in a song that isn’t filled with ‘made-to-order-for-Arijit’ long taans?

Detective Byomkesh Bakshy (Album) – Having the courage to have such varied contemporary genres in a film album itself is so crazy, and add to the fact that the film was based in 1940s, you get what I call the definitive album of the year! The album was filled with right amount of hysteria, melody, joie de vivre, and sensuous sparks. I don’t think we will have a better album than this for a long time, not only in terms of music but how the music came together in accentuating the feel of the film as a whole.

Journey Song (Piku) – I like the way Anupam Roy has made his debut in Bollywood with Piku. The entire album is musically light and lyrically rich. While it was tough for me to pick between ‘Bezubaan’ and this song, I picked the journey song because it is such a happy song and that bangla in between by Shreya Ghoshal is so charming, it nearly took me to ‘Learn Bengali in one week’ course coaching!

Dhadaam dhadaam (Bombay Velvet) – No other song this year can be called ‘Majestic’. In dhadaam dhadaam, Neeti Mohan has done what our people up north refer to as ‘Kaleja nikaal ke rakh dena’. Marvelous composition, excellent music arrangement got almost overlooked thanks to Neeti. The regular forceful rhythm of the composition is addictive to say the least. It would be wrong to call this a swan song for someone as promising as Neeti, but i feel this song would take some getting to be surpassed. Magnificence and pain in equal measure. Take a bow, Neeti and Amit Trivedi!

Mann Kasturi (Masaan) – is a song that will outlive us all. Future generations would keep coming back to the song to get the meaning of life. I don’t think anyone else could have done justice to the cogent lyrics than Indian ocean and talking of Indian Ocean, my senses swirl like a lattu every time I hear Rahul ram in the song. These are the kind of songs which, when we grow old would be a reference point to the ‘music of our times was so good’ argument.

O saathi mere (Tanu Weds Manu Returns) – The song that was too good for the film, and I say this because this is a song that would have worked wonders had it been included in the film and film’s promotion. Sonu Nigam has gone choosy in picking up his songs, but if he wants to give us songs like this, I have no problems with that. The layered composition and easy lyrics just needed the gayaki of Sonu nigam to capture our imagination, and boy, did the song did just that or what!

Bhor bhayo (Bezubaan Ishq) – Osman Mir wasn’t a new name to come across, thanks to my mum who played some of his songs over last few years and insisted that I like him because he was singing in Morari bapu’s baithaks. Anyway, in a film like Bezubaan Ishq, catching his name in the credit was intriguing and once you hear his powerful voice with the magical flute in the minimal music arrangement that adorns this song, you will know why he is one of the most exciting voices we have. Hope he gets noticed a lot and goes mainstream.

Sapna jahan (Brothers) – A film as inconsequential and boring as Brothers had one good thing, and that was this song. Neeti Mohan and Sonu Nigam gave us a very 90-ish Jatin-Llalit-sque dreamy song with Ajay-Atul’s signature splendour. The lullaby like treatment of the stanzas is a super touch. Sonu Nigam, please sing more!

Insaaf insaaf insaaf hoga (Talvar) – I didn’t know Arooj Aftab. I heard ‘Insaaf Insaaf’ from Talvar, and now I cannot wait for her next outing. Trust Gulzar-Vishal to come up with a song that gives us hope in a prejudiced backdrop of our logical society. Arooj’s voice gave newness to pain. I don’t think this song was talked about as much as it should have been, because here is a song that lifts the feel and leaves that sense of loss we can all empathize with if we just look around.

Tamasha (Album) – I couldn’t find anything ‘Level-ARR-outstanding’ about the album but it did give us four good songs, and for the same, it deserves a mention. Parade de la bastille is breezy, Wat wat wat is a riot, and so is Heer to badi sad hai. What surprised post-viewing the film was the ‘Agar tum saath ho’ song. I pretty much like it the way I used to like it before watching the film. I disliked the fact that the ‘composed-to-be-liked-after-watching-the-film soundtrack’ forgot to make good use of the moans in ‘wat wat wat’🙂

There is a lot to look forward to in 2016, and we hope there is more innovation than routine, more melody than soulless grandeur, more masti than item number driven chutiyapa.

What are your favorites? Comment section is all yours.


(Disclaimer – One of the editors of the blog was part of Talvar. Two of the contributors of this blog were part of Masaan. Also, fuck disclaimers)

You can hear the playlist here


Now that the ‘rewind’ is done, allow me to share the ‘other’ list that consists of songs which might not get you RT’s and endorsements from thinkers, but they are amazing when you play them and sing in your car, bathroom or any other place you think you are alone🙂

In no particular order, here we go!

Chittiyan kalaiyan – (Roy) – If there were an award for wasting a song by badly filming it (and there were way too many this year), this song would win it hands down! Kanika kapoor can make you dance just by reading out daily newspaper and if you give her a tune that has 1990s ‘dance music’ touch, you are asking for a murderous dance song and this was it!

Hunterr 303 – Nothing and absolutely nothing can cause the same level of ‘let’s dance banjo’ mood like Bappi lahiri’s voice in a new film song treated with junk food level of sinfulness. This song had everything going for it especially the backup vocals and Bappi ‘cowboy’ lahiri giving it like only he can! Insanely enjoyable!

Tera happy budday (ABCD2) – Yet another party song by Sachin Jigar where they took a conventional song and twisted it. In this case, it worked and the ‘saarey bolo’ chants…heeeehaw!

Banno tera swagger (Tanu weds Manu returns) – Mix of Rajasthani folk, sprinkled with intelligent choice of english words and treated with punjabi  craziness..I say Winner!!!

Guddu Rangeela title song – While I love the ‘jagrata’ treatment and excellent word choice in ‘Mata ka email’, I keep going back to the title song of the film. I cannot get enough of Amit Trivedi’s yodel and his mischievous singing!

Hogi Kranti (Bangistan) – Never before sarcasm and repressed anger sounded better. Kudos on the lyrics!

Afghan jalebi (Phantom) – Asrar is amazing as we have already mentioned so earlier and this year he took the ‘dhaasu’ film dance song to another level with this belter of a track…Still addictive…Still infectious! 

Neeli bullet ( Main aur Charles) – With so many ‘nouveau riche’ making laddakh trips on it, we feel bullet the bike, deserved a song and it was long overdue (much before the ‘nouveau riche’ were born, to be precise). Lyrics might be a bit cringeworthy at times but my word the hook!

Neendein khul jaati hain (Hate story 3) – Yes! Hate story 3! Kanika Kapoor being herself in a naughty song with Mika singing so clearly that you can actually understand every single word…Junky tune and it works!

And here is the playlist…Let’s hear your favourites we have missed!


Disclaimer – All the editors of the blog have sometime or the other danced a bit (in public or alone) on one or more songs mentioned above🙂

Happy new year everyone!



  1. teraaslibaap says:

    Neendein Khul Jaati hai???? Looks like I would have to listen to the song(audio) once, coz the video is terrible.

  2. Ramen says:

    No song from Bajirao?… Of course the film sucked but SLB seems really underrated as a music director…

  3. An Jo says:


    Well then, Bhansali finally has a historical to his name. And I finally have the credit of watching a Bhansali movie on screen – and also kind of liking it. To me, it is not a great movie. But for sure it is a good movie – and far better than the messy, hotchpotch of a movie called Jodhaa Akbar where history and anything pre-fixed to the word ‘story’ went for a toss and the stardom of Aishwarya and Hrithik took over.

    The good thing about this film is that Bhansali has at least made an attempt to restrain himself and not get carried away with his indulgences: And this is reflected in how the characters here speak. He has them delivering dialogues in a comparatively controlled-fashion even when they seem to be emotionally mighty weighty. It is actually remarkable and pretty ironic that it is Bhansali who has managed to do that!! Not one character here contorts his or her facial muscles—remember that lady contorting her eye-lashes into a snaky spaghetti in Devdas at the death-scene of Devdas’ father?—and is alarmingly controlled displaying respect to the times and historicity associated with these characters. Acting ‘wild’ might be good when making Spartacus or Quvadis but not here and it is great fun to see every character respecting the manner in which speech conveyed emotions at that point in time – however light or heavy.

    I haven’t read Inamdar’s RAUU [am curious to read it now after watching this movie] and hence cannot really comment on the ‘escapades’ of Bhansali with available historical records. [Inamdar’s book itself is a ‘novel.’]. But yes, he makes it clear that he IS on home-ground when it comes to the tag-line of the movie: BAJIRAO MASTANI: The LOVE-STORY of a warrior. It is a cue to the audience to just treat history as any other story but to treat this movie as THE love story. Coming to the ‘filmy’ part, Bajirao’s introduction is a smart ode to Asif’s iconic romantic/erotic gesture from Mughal-E-Azam. He used the feather to accentuate the eroticism between Salim and Anarkali. Here, Bhansali uses the feather to display Bajirao’s ‘shastra’ skills! The dismembering of its roots symbolically represents the cutting off of roots of the Mughal Sultanate in Dilli for Bajirao. From here on, the film progresses to show Bajirao’s non-adherence to ‘established’ norms, be they war strategies, his ‘impulses’ on religion, marriage, or relationships.
    If there’s one front where Bhansali delivers as he promises, it is the visual arc-dependent narrative of his movies. He painstakingly provides glimpses of the Maratha architecture. Shanivaar Vada, the fort of Shahu Maharaj and the Mastani Mahal are truly unique in the sense that one does not elicit a déjà-vu regarding the depiction of ‘palaces’. He has captured the architecture to be quite ‘distinct’ from what the Indian audiences are used to when it comes to capturing life and life-style of kings in ‘palaces.’ The ‘Aaina Mahal’ is a distraction—stunning of course—and serves nothing but an endorsement of visual superiority of Bhansali’s imagination. The battle scenes are minimal but do not appear as ludicrous as that of Jodhaa Akbar [the battle-scenes there looked as though kids in 2nd grade were rushing and jostling against one another to lay their hands on Hershey’s chocolates]. The aerial views of battle-grounds are well-shot and do convey visually a sense of ‘largeness’ of the impact and import of the battles.
    Bhansali loses it in the final act when he goes all out with his pet obsession – man losing a woman and vice-versa to societal blocks – and resorts to a Romeo and Juliet transference. He literally makes Rao’s death a direct cause of the failure of a ‘love’ story. Yes, it is visually stunning to see Rao thrash his free-flowing sword in the waters of the Narmada in the face of an imagined enemy carrying ‘black’ flags [a smart move again to not color the flags ‘green’]. But beyond a point, visuals can only stun you — not move you. And this, alas, Bhansali has yet to learn.

    There are some fantastic visuals here that remain etched. And in the Hindi film industry of today, it is only Bhansali that has this almost-extinct talent of making the visuals talk without words. The Brahmans’ ‘bhojan’ scene; the ‘saptami’ pooja scene; the joint ‘aartis’ praying for the welfare of Rao – these are but just a few of the many, many visual splendors the film offers. In the initial battle scene, after Bajirao strides atop two of his soldiers’ shields and then atop the elephant’s trunk and slaughter’s Bangash, he gets down and triumphantly faces Mastani while a ‘saffron’ flag flutters right from across his face. Powerful symbolism here. And when it comes to words and rhymes, he is superb too. Krishna Bhatt, the Brahman priest-head – a superb Yatin Karyekar [Kamesh of ‘Shanti’ fame]—thunders about Mastani: ‘Arre Ise toh Dargah or Durga ke beech ka farak bhi nahin pata’. And then Mastani softly ‘thunders’ back: Kesar aur Hare rang ke bare mein toh nahin pata, haan lekin aise log bhe dekhe hain jo rang mein mazhab dekhte hain aur unka zameer ka rang kaala dikhta hain.’ In another scene, Baji Rao makes Brahmans wait but takes his own sweet time to first enjoy Eid feast with Mastani and then comes late to the Brahman-feast and brazenly says that he was enjoying Eid feast! Krishna Bhatt is in the background saying ‘ Shiva Shiva.’ Krishna Bhatt then turns back angrily when Chimmaji – Bajirao’s brother – pleads saying the Brahman community cannot insult the Peshwas and retorts,’ Arre Khairat to Masjid mein bhi milta hain’: A fantastic line here underlining the importance of religion as ‘identity’ and ‘self-worth’ in those times. Initially, Bajirao thunders to Shahu Maharaj that he won’t rest until ‘Hindu Swaraj’ – note, he doesn’t say ‘Hindu Samrajya’— is established in Hindustaan. Pretty powerful [by powerful I mean ‘unadulterated’] stuff from Bhansali in these ‘intolerant’ times. But then he again tries political correctness with statements from Baji Rao that paraphrased underline that he isn’t against the ‘religion’ of Delhi-rulers but the ‘’dynasty’ – take that Rahul Gandhi— of Mughal Sultanate. Of course, there is no mention of that dreaded phrase, ‘Hindu Pad Paadshahi’. Marxist ‘historians’ would have you believe that this term only originated from Veer Savarkar. But you know the tricks of the trade.

    The greatest glory of BM is that Bhansali brings back those grandiose poetry-laden lines to the Hindi screen after a long, lonnnng time. Sample this: ‘TUJHE YAAD KAR LIYA HAIN AAYAT KI TARAH, AAB TERA ZIKR HOGA IBAADAT KI TARAH.’ Great! Dedh Ishqiya gave folks like me the luxury of dwelling on the Lucknowi ‘tehzeeb’ and this one again gives us the pleasure of going back in time when poetry could be substituted for conversation and conversation for poetry. Another gem: ‘JAB DEEWARON SE JYAADA DOORIYAN DIL MEIN HO JAAYE TOH CHAAT NAHIN TIKTI.’

    Coming to performances, I am in two minds about the ‘glories’ that Ranveer is getting. He walks dangerously close on that thin red-line separating his inherent ‘taporiness’ to the ‘gravitas’ required in this role. He succeeds most of the times, but also fails almost the same number of times! His personification of Rao comes across more as ‘chichorapan’ than that of a wily war-fox. However, there are some scenes where he does excel. [Checkout the scene where he first show signs of mental imbalance]. Priyanka walks out with the meatiest part as a self-suffering ‘legit’ wife. This is author-backed. But to Priyanka’s credit, she does a damn good job. Her first confrontation scene with Deepika’s Mastani is a gem. Also the scene where she comes to offer her saree and other pooja paraphernalia to pray for the husband’s longevity is a gem. Watch her when she dismisses Mastani’s rant about ‘dil ka kya kasoor’ scenario right out of the Mastani Mahal window. Great one there! Deepika, however, comes across as the weakest link amongst these three performers. She just couldn’t convince me as a warrior who HAPPENS to be beautiful and musically gifted. There is a lot of ‘lightness’ to her act and moves that prove to be her undoing.

    And PINGA PINGA is the BEST example of Bhansali’s excesses. Absolutely unnecessary, zero value-added song. Just as Bhansali decided to use Madhuri and Aishwarya in Dola Dola, he uses these 2 here. ‘Hey, I got 2 of the hottest heroines of this age. What do I do? Duh, Pinga Ponga!!’ And then, you have Ranveer’s Rao trying ultra-hard to speak Marathi-accented Hindi when using words like ‘Kudrat’, ‘Aurat’, ‘pharak’ [instead of ‘farak’]. Surprisingly, all other Marathi-speaking court-members speak in normal Hindi, including Priyanka’s Kashibai! It sounds stagey and jarring. And go figure, every Marathi-speaking character mentions ‘Poona’, instead of ‘Pune.’ ‘Poona’ is what the Brits would have us believe. Hardly anyone speaking the vernacular tongue called/calls it Poona.
    One of the fantastic, long-remembering scenes of this movie to me remains that scene between Tanvi Azmi’s Radhabai and Priyanka’s Kashibai where they are stitching a ‘saffron’ cloth. In a rare moment of tenderness, when they are stitching a pretty long yarn of ‘saffron’ they bond with each other saying, ‘Arre Hara rang he see dete’! And they laugh away hiding beneath years and labyrinths of pain while Tanvi wipes away a tear.

    — An Jo

  4. Anonymous says:

    Abey kya faltu list banayi hai

  5. Shivani says:

    I agree on the neendei khul jaati part.. Have played it on loop..😉..

  6. @Rohwit says:

    Reblogged this on Almost a review per post…Almost! and commented:
    List of film songs we loved (including the bollywood dinchak songs that got stuck in the head) 2015!

  7. Wounder full collections. One more suggestion !!! If you give the download link for all the song its easy for all the visitors to download.

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