Composing music for a contemporary Bollywood film has to be high on the list of thankless jobs in the film industry. Music labels strong-arm musicians into signing away the rights to their songs, lyricists have to fight for credit on music streaming platforms, and composers have no guarantee that every song in a film will find a home in the album â which is what happened to Pritam in Anurag Basuâs 29-song musical Jagga Jasoos. But most heartbreaking of all is that if the film tanks, the soundtrack will usually sink right along with it no matter how good it is.
How can that be fair? As connoisseurs of good music, we must be able to discern and celebrate a quality soundtrack even if itâs from a movie that bombed, or simply wasnât up to scratch. Here then are 19 excellent albums that deserve to be heard even if the films they were in do not deserve to be seen.
1. Kyun! Ho Gaya Na⊠(2004)
Samir Karnikâs film made all kinds of headlines because it was the first to co-star the then real-life couple of Vivek Oberoi and Aishwarya Rai. It had some wonderful music by Shankar-Ehsaan-Loy that was wasted on Oberoi and Raiâs yawn-inducing love story. âPyaar Mein Sau Uljhane Haiâ with its gypsy influences, the relatively conventional ballad âAao Naâ, and the vibrant âBas Main Hoonâ are all good songs if you shut your eyes to the lukewarm, insincere romance between the filmâs leads. Most criminal of all is that a brilliant song called âDheere Dheereâ, sung by a mesmerising Shankar Mahadevan, is wasted in the filmâs final 20 minutes. Highly unlikely that anyone was even awake to hear it by then.
2. Lakeer: Forbidden Lines (2004)
Choreographer-turned-director Ahmed Khanâs wish was granted when A R Rahman agreed to compose music for his directorial debut. The star-studded cast (well for that time at least) of Sunny Deol, Suniel Shetty, Sohail Khan, John Abraham and Nauheed Cyrusi, and potboiler-ish drama (although a love triangle was very dated in 2004 too) failed to salvage the film at the box office, but Rehmanâs music deserves a revisit.
âNachleyâ was one of Rahmanâs earliest forays into leveraging the power of the dhol, and there is a little bit of magic in how the distinct voices of Daler Mehndi and Kunal Ganjanwala come together in the song. Then there is âShehzaadeâ which has echoes of the music that Rahman had composed a year ago for Boys (2003) â think expensive race cars and Ganjawala singing, âWassup wassup baby whatcha doing, watch out! Bang bang!â The filmâs two finest songs, however, are âPaighamâ and âSadiyaanâ. The semi-classical hook of âPaighamâ has a very interesting bassline, and both Shaan and Kavita Krishnamurthy sing at the top of their game. âSadiyaanâ sounds like a deceptively easy melody, but changes mood every few lines; another plus is that it features the voices of Hariharan, Madhushree, Karthik, and the always refreshing Udit Narayan.
3. Popcorn Khao! Mast Ho Jao⊠(2004)
Full points to you if you recognise the name of this movie. It really says something about a film when Kajolâs sister, Tanishaa Mukerji, is the most recognisable person in the cast. But by no means should we underestimate Vishal-Shekharâs superlative album. Frequent collaborator Sunidhi Chauhan, who was being trusted with a majority of Bollywoodâs âitem numbersâ at this point, always found a way to reinvent the space. And she does exactly that with âDupatta Beimaan Reâ. Then there is âO Solemiyaâ (also sung by Chauhan), a likeable experimentation with Spanish sounds before Vishal-Shekhar went full flamenco with âPyaar Ki Ek Kahaniâ in Honeymoon Travels Pvt. Ltd. (2007). The songs âKal Se Koiâ and âLe Chaleâ, performed by Shaan and KK, are pleasant enough, but the album belongs to Richa Sharmaâs emotion-packed âDooriyaanâ, an exceptional track lost to this listless movie.
4. Karam (2005)
Sanjay F Guptaâs directorial debut looked like a fan-made Sin City tribute to Robert Rodriguez and Quentin Tarantino. With its slow-motion rain and black-and-white visuals of John Abrahamâs existential angst-ridden face, this film appropriated glumness as its main aesthetic. The only place where all the nihilism got really interesting was in Vishal-Shekharâs soundtrack. Thereâs obviously the terrific âTinka Tinkaâ (sung brilliantly by Alisha Chinai) that has stood the test of time, and âKoi Aisa Alamâ featuring Sonu Nigam and Mahalaxmi Iyer at the peak of their ballad powers. But what is really worth returning to in this album are the other songs â Vishal Dadlaniâs superbly morbid vocals in âLe Jaaâ, Pankaj Awasthiâs âTera Hi Karamâ, and a fascinating stab at some âauthenticâ trance in âIshq Nachaya Kareâ.
5. Dil Jo Bhi Kahey⊠(2005)
Amitabh Bachchan apparently did this film as a favour for his good friend Romesh Sharma (best known for producing and acting alongside Bachchan in 1991âČs Hum). The film was supposed to be a launch vehicle for Sharmaâs son, Karan, but it turned out to be a bit of a crash landing. Also starring Bollywoodâs default bring-her-to-mother girl of that time, Bhumika Chawla, and British actor Annabelle Wallis, this âmodern romanceâ had an astoundingly ancient love triangle at its core. And I know this because I watched the film after falling head over heels in love with the album by Shankar-Ehsaan-Loy. It has a title track sung fabulously by Shaan, and serving as an appropriately âcool introâ for the star-kid. Then thereâs yet another Holi song by Bachchan called âCâest La Vieâ, an intriguing combo of reggae and Indian festive folk. There are a couple of competent Shankar Mahadevan songs, namely âKaun Jaaneâ and âMere Munnaâ, but itâs Sonu Nigamâs âKitni Narmi Seâ that is positively doused in young love and what really makes this album memorable even after 15 years.
6. Shabd (2005)
Vishal-Shekhar in their peak edgelord days came up with this intriguing album for yet another Pritish Nandy Communications (PNC) film (after Popcorn Khao! Mast Ho JaoâŠ). Directed by Leena Yadav, Shabd tried a little too hard to be âunconventionalâ, even going so far to use Sanjay Duttâs voiceover (reciting poetry) as a device in the filmâs narrative. The only ones who seemed to be awake during this process were Vishal-Shekhar. Thereâs the energetic âSholon Siâ (sung by Dadlani and Sunidhi Chauhan), the quirky âKhoya Khoya Saâ featuring a brave melody that plays with the overall metre of the rest of the song, and âBolo Naâ, where Sonu Nigam takes control of the proceedings with beautiful results.
7. Mangal Pandey: The Rising (2005)
The long production of this Aamir Khan passion project was the stuff of legend, but it really wasnât worth the wait. The question on everyoneâs lips was, âAamir Khan took three-and-a-half years to make this?â Unfortunately, the disappointment overshadowed even A R Rahmanâs superb music.
While Kailash Kherâs three renditions of âMangal Mangalâ didnât help the albumâs case, there are some shining moments in there, whether itâs the astonishing use of bass in the otherwise standard mujra song âMain Vaari Vaariâ (sung superbly by Kavita Krishnamurthi), the bleeding sexuality in âRasiyaâ (rendered by Richa Sharma and Bonnie Chakraborty), or Aamir Khanâs own vocals in âHoli Reâ (a great encore moment for Khan and Ketan Mehta). The most outstanding song of the album, though, is sung by Rahman himself â âAl Madath Maulaâ. The final flourish in this song is a testament to Rahmanâs preternatural vocal range.
8. Salaam-E-Ishq (2007)
Nikhil Advaniâs remake of Love Actually had at least a dozen occasions for a breakout song, and Shankar-Ehsaan-Loy met the challenge with near perfection. Whether itâs the title song, or Adnan Samiâs âDil Kya Kareâ, or Kailash Kherâs âYa Rabbaâ â the album has just-right songs for each of the filmâs different moods. In âTenu Lekeâ, Sonu Nigam showcases his skills as a playback singer who can modulate his voice to fit a characterâs mood; indeed, Salman Khan actually looked like a better actor when he was channelling Nigamâs voice. Nihira Joshiâs rendition of the classic âBabuji Dheere Chalnaâ is another high point.
9. U, Me Aur Hum (2008)
Vishal Bharadwaj generally composes music only for his own films, and the best known ones have been rather dark and Shakespearean. But Ajay Devgnâs soulless adaptation of The Notebook sees Bhardwaj having some of the most fun heâs ever had in his career. Thereâs the opening salsa number âJee Leâ, and the drunk-at-a-nightclub song âDil Dhakada Haiâ, both featuring the excellent duo of Adnan Sami and Shreya Ghoshal. Although âPhatteâ and âSaiyaanâ feel like by-the-numbers compositions to inject life into the filmâs second half, the title song is a treat for the ears where Shreya Ghoshal proves why she is called one of the finest playbacks of her generation.
10. Striker (2010)
Chandan Aroraâs action-drama has an extremely committed central performance by Siddharth, but the rest of it falls apart much like the career of Aditya Pancholi, who plays a crime boss in the movie. The only respite from the underwhelm of this endeavour is the eclectic soundtrack, featuring some really interesting names, including Blaaze, Shailendra Barve, Yuvan Shankar Raja, Amit Trivedi, and Vishal Bhardwaj. Barveâs two songs, âChham Chhamâ (sung by Sonu Nigam) and âPiya Saanvraâ (Sunidhi Chauhan) start off the album on a high note, while Blaazeâs âAim Laga Ungli Chalaâ is a nice desi version of hip-hop at a time when Gully rap was still several years away. Rajaâs âHaq Seâ and Bhardwajâs âYun Huaâ are not mind-blowing but are still well worth a listen.
11. Anjaana Anjaani (2010)
Starting from Salaam Namaste (2005), Vishal-Shekhar have been giving a solid boost to Siddharth Anandâs films, and by the time Bachna Ae Haseeno (2008) came around, the pinnacle seemed to have been reached. But it was in Anjaana Anjaani where the duo delivered their best work for Anand. The title song, featuring Nikhil DâSouza and Monali Thakur, brims with a surprisingly fresh energy for a typical battle-of-the-sexes song situation. âHairatâ is one of the best songs that Lucky Ali has ever lent his vocals to, leveraging his distinctive voice quality to the hilt. Mohit Chauhan and Shruti Pathakâs âTujhe Bhula Diyaâ became the nationâs heartbreak song for some time, while âI Feel Goodâ, which was filmed in Las Vegas, had Dadlani and Shilpa Rao having rip-roaring fun. Alas, all these songs were wasted in a film that was so awed by landing Ranbir Kapoor and Priyanka Chopra in the same frame that it forgot about the script.
12. Jhootha Hi Sahi (2010)
This Abbas Tyrewala film is hopelessly derivative and tedious, but the music by A R Rahman is wacky and original. âCry Cryâ, sung by Rashid Ali, starts with the words âRote kayko humâ, which certainly isnât Gulzar-level stuff, but the minimal arrangement featuring bass and simple percussion works a treat. Ali also sings the sweetly melodious âCall Me Dilâ. Other highlights include Karthikâs âHello Helloâ, Shreya Ghoshalâs âPam Pa Raâ, and the fun âMaiyya Yashodaâ (Javed Ali and Chinmayi). What really takes the cake (again) is Sonu Nigamâs plaintive ballad âDo Nishaaniyaanâ. Itâs a great album, but itâs a pity itâs main job was to convince us that John Abraham can essay the Clark Kent routine. He cannot.
13. Khelein Hum Jee Jaan Sey (2010)
Ashutosh Gowariker often teams up with A R Rahman, but in the late 2000s, the composer was far too busy jetting around the world picking up his Grammys and Oscars and signing Hollywood films. Gowarikarâs choice then became Sohail Sen, who did a competent job in 2009âs Whatâs Your Rashee? and then an even better one in Khelein Hum Jee Jaan Sey, which was set around the 1930 Chittagong uprising. Even though the title of the film is quite an unwieldy mouthful, Sen successfully managed to weave a rousing melody around it by recruiting a chorus from Suresh Wadkarâs music academy. Then thereâs âYeh Des Hai Meraâ, sung by Sen himself, a Rahman-esque melody that stops short of sounding like a cloning attempt. The mischievous âNaiyn Tereâ, a song involving two girls teasing each other about their respective crushes, is imbued with the requisite Bengali flavour thanks to the use of folk instruments such as the ektara and flute.
14. Raavan (2010)
Itâs well known that A R Rahman saves his best work for Mani Ratnam, the man who gave him his first break in 1993âs Roja. In Ratnamâs retelling of the Ramayana, set around an adivasi leader, Rahmanâs score is deeply atmospheric and has a wild energy to it. The dense backing vocals accompanying the percussion in âBeeraâ add a souldful complexity to the song. The heavy use of drums and xylophones in âBehne Deâ, and the rustic folk elements of âKata Kataâ also lend to the albumâs rich flavour. However, itâs âJaa Re Ud Jaa Reâ (sung by Rahman himself) that is the fulcrum of the score. Rahmanâs signature mumbling vocals, accompanied by an accordion and some light percussion, make it one of the most haunting melodies of his career.
15. Aiyaa (2012)
This Rani Mukerji starrer tried to be experimental but was let down by its one-line plot about a girl who becomes obsessed with a manâs heady fragrance. Amit Trivediâs score is as outlandish and compelling as the movie probably hoped (and failed) to be. The tongue-in-cheek âDreamum Wakeupumâ is a delightful homage to 80sâ hits from Tamil cinema; âAga Baiâ and âSava Dollarâ also have a nudge-nudge-wink-wink feel to them in how Trivedi seems to be riffing on item song culture. Itâs all ironically over-the-top, which is why Shreya Ghoshalâs âMehak Bhiââwhere the shehnai seems to communicate the protagonistâs yearning â is such an important component of the album, and serves to ground the entire soundtrack.
16. Ghanchakkar (2013)
Amit Trivediâs unapologetically eccentric score for Rajkumar Guptaâs overcooked and underwhelming heist movie is perhaps itâs only redeeming feature. In this album, Trivedi brings back the former pop sensation Altaf Raja in âJholu Ramâ, featuring just the sort of kitschy melody that made the singer a household name in the â90s. Then thereâs Divya Kumarâs âAllah Meherbaanâ, where Trivedi uses the banjo to supreme effect in an interlude. The quirky title song, sung by Trivedi himself, features untranslatable yet funny lines such as âhua bheja talke sabudana reâ. And if this wasnât enough, thereâs a Richa Sharma song called âLazy Lad Saiyaanâ to top things off in this weird and beautiful album.
17. Fitoor (2016)
Abhishek Kapoorâs modern-day interpretation of Great Expectations was a visual treat, but ultimately hollow â which really shouldnât have been a surprise with Aditya Roy Kapur and Katrina Kaif in the lead roles. Amit Trivediâs music, though, is first-rate through and through, and itâs tough to pick favourites between Arijit Singhâs brimming-with-obsession vocals in the title track, Trivedi in âPashminaâ, or Zeb Bangashâs balmy vocals in âHaminastuâ and âHone Do Batiyaanâ. Sunidhi Chauhan too is in magnificent form in âTere Liyeâ and âRanga Reâ. Itâs a shame that the layered and wide-ranging music of Fitoor ended up being overlooked because of the limitations of the film.
18. Baar Baar Dekho (2016)
Nitya Mehraâs directorial debut was much talked about for what many described as Katrina Kaifâs ârevenge bodâ. But even Kaifâs hypnotic dancing during âKaala Chashmaâ couldnât distract the audience from Sidharth Malhotraâs general cluelessness throughout the film. The remix aside, Baar Baar Dekho had a nice assortment of songs, which really held up the filmâs pre-release buzz as a âpleasantâ film. Jasleen Royalâs âKho Gaye Hum Kahaanâ, also featuring Prateek Kuhad, is whimsical, and dream-like and evocative of childhood romances. Royal is also behind the peppy Sangeet ceremony song, âNachde Ne Saareâ, where her vocals with Siddharth Mahadevanâs high-pitched voice create a nice dissonance. Amaal Malikâs âSau Aasmanâ and Arkoâs âDariyaâ, are run-of-the-mill songs, but melodious. The icing on the cake is Bilal Saeedâs âTeri Khair Mangdiâ, a classic break-up song, which is wasted on Malhotraâs weird hair extensions. Now only if the filmâs two leads were as clued in as the various music directors.
19. Love Aaj Kal (2020)
Does Imtiaz Ali keep making the same movie over and over again? Or is he trying to build upon the meaning of his earlier films? Whatever it may be, the 2020 version of Love Aaj Kal featured one of the worst performances of the year by Sara Ali Khan, surpassing even her co-star Kartik Aaryan â which is quite a feat. Itâs a film that is so âold schoolâ and so ladka-aur-ladki-kabhi-dost-nahi-ban-sakte that one cannot blame the audience for tuning out of Pritamâs music as well. Except that the score is arguably even better than the original Love Aaj Kal (2009), which was also pretty good. Pritamâs compositions have matured and deepened in recent years, which is evident in tracks such as âShayadâ, âAur Tanhaâ, and âHaan Tum Hoâ. Irshad Kamilâs lyrics are also evocative, such as this line from âAur Tanhaâ: âAb chhoda hai toh sach mein chhod de mujhko, kyun har pal ki mehmaan ho gayiâ. To skip this album is to miss the chance to enjoy a composer at his peak.